a bit of love, a bit of prostitution, a bit of Tokugawa…
July 8th, 2005 by loveluvYeap, the title says it all,but I’m not a P-E-R-V-E-R-T, and you shouldn’t be one either…yadabadaya…I lecture enough in class, so I’m not about to give you all a free lesson…so I’ll let you off d hook this time until I switch career doing something else other than yadabadaya in a classroom. Hmm, I can’t seriously remember how long ago this was…In fact, I don’t recall writing it…but since it has my name in it, I’d guess that I was the creator of this *boring* piece of writing. If the last posting didn’t bore you to death, this certainly has a better chance of achieving its aim………hehehe! But yes, I wrote it for my Japanese history term paper while I was in Doshisha Women’s College in Japan. Here goes…
Love and Prostitution During the Tokugawa Period
The Genroku period kabuki play called “Love letter from the licensed quarter”, written by Kuruwa Bunshoo, is recognized as a sewamono, which is a play about the lives of contemporary commoners and also called a keisei or keiseigai, which is a “prostitute” or “prostitute-buying” play (Brandon, p. 5). The prostitute play became a characteristic of
Kyoto (and
Osaka ) kabuki and it was brought to perfection by the
Kyoto actor, Sakata Toojuuroo (1644-1709) (Brandon, p. 6).
From this story, we can learn about how the brothels operated during the Tokugawa period and also how the Japanese people spent their New Year during that period by looking specifically at the pleasure quarters. Then, we will see how love fitted into the role of a high-ranking prostitute during that period and also take a brief look at how a typical low-ranking prostitute was viewed by the people of that period of time.
This story takes place in the Yoshida brothel and it talks about a fictional character called Fujiya Izaemon who is a wealthy and pampered young man who has been disowned by his family after squandering a small fortune on a courtesan by the name of Yuugiri of the Shinmachi licensed quarter in
Osaka . After two years of wandering, he finally returns to the quarter, wanting to meet Yuugiri, whom he hears is sick (Brandon, p. 6).
Yuugiri has promised to entertain a wealthy samurai that day for the first time since Izaemon left, and so Izaemon is very angry with Yuugiri and they have an argument when they finally meet. But good fortune is to come, and soon some family servants
rush in carrying chests of money to pay off Izaemon’s debts and to buy off Yuugiri’s contract with the brothel (Brandon, p. 7).
During the Genroku period, love scenes are explicitly erotic and there are even some theaters that showed lovers together in bed. Genroku prostitute plays were more sensual back then than we might imagine from reading the present script. Many people flocked to see prostitute plays because they instructed the spectator on how to carry off with the proper finesse a visit to the quarter (Brandon, p. 7).
The character, Yuugiri was based on a well-known courtesan by the same name from the Osaka Shinmachi prostitute quarter, who suddenly died in the year 1678. It is during this time that this play “Love letter from the licensed quarter” is performed and thus people start to make kabuki plays out of the latest town scandal (Brandon, p. 7).
When we read this play, we can see how the brothels operated during the Tokugawa period. During this period, in 1678 to be exact, a customer did not visit the house of the courtesan, but instead, met her at an ageya, which is a brothel, where they were entertained and where they spent he night together with the prostitutes (
Brandon , p.217).
During that time, when a courtesan became well-known, then her name would spread out all over
Japan , and thus she would receive patrons from faraway places who would travel a long way just to see her and to be entertained by her (Brandon, p. 218). To fit the title of a famous Genroku courtesan, she would have to have a white face, delicately formed and extremely beautiful, graceful in her movements, physically alluring, accomplished and sophisticated (
Brandon , p.231). Most of the courtesans
were sold to the brothels and became prostitutes at a young and tender age and then she would have to stay in the industry all her life unless she was bought by any man who was both willing and could afford to pay the money (Brandon, p. 235).
Her patrons would be wealthy men who would lavish small fortunes on her. Servants of the brothels would often flatter these wealthy men and quite naturally, they would throw coins (Brandon, p. 219). When a poor patron was to come to the brothel, he would receive bad treatments from the servants because he would be looked down upon, even by the low-status (Brandon, p. 221).
Patrons with delicate features and powdered white face were very attractive to the courtesans during that time, as most of them were forced to entertain the coarsest of men (Brandon, p. 223). But for the high-ranking courtesans, they could choose to either entertain a certain patron or not, as the master of the ageya had to seek consent from her before he could agree to entertain the patron on her behalf (Brandon, p. 219).
After looking at the way the brothels worked during the Tokugawa period, we now move on to the various customs practiced during that time in celebrating New Year’s Day, by looking specifically at the pleasure quarters. These brothels also received patrons during this time of celebration and they started the year auspiciously by keeping to the traditions of celebrating New Year with hanging Shintoo sacred straw rope under the eaves and also with great tubs of cut bamboo, plum and pine branches flanking from the entrance of the brothels (Brandon, p. 217).
Even the guest rooms in the brothels would be decorated with New Year
offerings and hanging decorations with large sliding doors painted in snow scenes
(Brandon, p. 224). Men servants of the brothels wearing short happi coats over plain cotton kimonos were made to pound mochi, which is a rice cake, a traditional New Year’s delicacy (Brandon, p. 217). This was a particular well-practiced custom during the Tokugawa period because the phrase “to pound mochi” has a sexual connotation, meaning sexual intercourse, which is what the brothels really depend on to earn big money (Brandon, p. 217).
Next, we will see how love fitted into the role of a high-ranking prostitute during that period. Nevertheless, even famous courtesans fell in love easily with patrons who possessed features like the ones Izaemon had (Brandon, p. 223). However, even if they fell in love, and had a child together, she was not allowed to leave the brothel until her contract had been paid off, which needed a lot of money. And the child they had would be put out for adoption, by either the master or the mistress of the brothel. But in truth, probably the infant would have been strangled and had his/her body thrown away (Brandon, p. 227).
When a courtesan kneeled beside her patron and arranged his hair with a pin that she took from her elaborate hairdo, this showed a sign of deep affection that she felt for him (Brandon, p. 234). Another way to show deep affection was the tying of the sleeves of their kimonos together and writing love letter on a letter scroll as long as ten or twelve feet (Brandon, pp. 234-235).
Those men who fell in love with the courtesans would often be very jealous when the courtesans had no choice but to entertain other men. They would fly into a rage and haul abuse at these women, but they could not do anything to help with the
situation of the women because they probably could not afford to buy off their lovers’ contracts (
Brandon , pp.226-235).
Now, we will look at how low-ranking prostitutes were viewed by the people during that time. These low-ranking prostitutes were called manzai geisei (street prostitutes) who probably didn’t belong to a brothel and looked for patrons by herself in the streets (Brandon, p. 232). Unlike the high-ranking prostitutes who worked in high-class establishments such as the Yoshida brothel and who were admired and patronized by many wealthy patrons, these manzai geisei were looked down upon by society in general.
In conclusion, we can see that the Tokugawa period was a very open-minded society and that high status and money were very important and desirable during that time because it determined how people looked at you. From this, we can see how the present Japanese ranking system was formed.
BIBLIOGRAPHY*
Brandon, James R. Kabuki: Five Classic Plays.
Honolulu :
University of Hawaii Press, 1992. [CENTER COLLECTION; LIBRARY RESERVE]
(* This is a nifty little trick to ensure that no lawyers come aknocking on my door and sueing me for plagiarism…Well, you know what they say? They say ‘teachers know best’…)