The Usurper: An Episode in Japanese HistoryGautier, Judith
History
The Usurper: An Episode in Japanese History
Gautier, Judith
French fiction -- Translations into English; Japan -- History -- Fiction
Two huge blue-silk banners, covered with Chinese characters, hang
from flag-staffs at either corner of the house, rising high above the
roof. Upon large tablets, on a gold ground, are painted the principal
scenes in the plays to be performed. They are painted with marvellous
wealth of color, and depict warriors, princesses, gods, and demons in
the most exaggerated attitudes. Sometimes, instead of a picture, we
find a combination of stuffs arranged in broad relief, velvet, crape,
or satin, representing the dresses of the various characters, and
producing the most brilliant effects. From the red cross-beams beneath
the roof hang enormous lanterns, round in shape on the lower floor,
square upstairs. On the ridge-pole, a fabulous animal, something like a
dog or lion, juts forward, opening wide his jaws, with bristling mane
and tail.
By eight o'clock in the morning--the dragon's hour--the crowd collected
before the doors of the Grand Theatre. Those who had no hope of
admittance meant at least to enjoy the dazzling spectacle of the
arrival of wealthy citizens and elegantly dressed ladies.
On each side of the principal entrance, reached by a broad staircase,
were reared lofty platforms, upon which various delegates from the
company of actors stood forth, in street dress, fan in hand. In pompous
style, with merry gestures and grimaces, they loudly commended the
pieces which they were to give to the public, praising the splendor
of the costumes and stage setting, and the incomparable merit of the
players; and when that subject was exhausted, they amused the mob by
all sorts of jokes, puns, and anecdotes, delivered with comic gravity,
and accompanied by the perpetual motion of the fan, handled in skilful,
graceful style.
Soon the favored portion of the public, who were able to engage their
seats in advance, arrived from all sides. Across the two bridges
arching the canal to right and left of the theatre came norimonos and
cangos, their bearers advancing with measured pace, and following one
after the other in infinite succession; from every street appeared
countless palanquins. The black lacquer glittered in the sun, the
dresses of the women, in haste to enter, had the fresh tints of newly
opened flowers. Some young men arrived on horseback; they threw the
bridle to the groom, who ran before them, and mounted the stairs to
the theatre hurriedly. Under the shade of broad parasols came various
families on foot. Upon the canal a throng of boats besieged the
landing-stage; the rowers exchanged hard words; the women stepped on
shore with little shrieks of alarm. They were followed by maid-servants
carrying magnificent boxes of carved ivory, mother-of-pearl, or
sandal-wood. The hall was soon filled, and the doors were closed.
Public-domain text, read in full here on John Shaqi.
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