The fees payable to a geisha are calculated at the kemban-sho by the number of hours her samisen box is away from the office. The fee is 12-1⁄2 sen per hour (it was 2 shu—Yen 1.25—in the olden days) and the tip given (tentō or shūgi) generally 1 Yen: for younger geisha (o shaku) the fee is 10 sen per hour and the tip about 20 sen. At present there is a class of cheap geisha who charge the rate of a younger geisha (o shaku nami no gyoku-dai = a fee the same as that of an o shaku). A small percentage of the geisha’s earnings is taken as commission by the tea-houses arranging the engagement. Some features of the old style of geisha are still retained among the singing-girls of the Yoshiwara. For instance, they wear a large maru-obi (a broad sash made out of a single piece of stuff folded lengthways once and sewn together at the edges, loosely tied and hanging down quite low) and a dress so long that it touches, and almost trails upon, the ground. The ancient styles of the coiffure are fast disappearing, their place being usurped by the Ichōgaeshi (or inverted maidenhair-leaf which requires no false hair, but consists of two tresses parted at the crown, made into rings, and gathered in at the top) and even the sokuhatsu (European style) style. Formerly the shimada was en regle and any other style was considered as impolite vis-a-vis guests. [Nowadays the ordinary geisha in the cities violate ancient customs in a hundred and one ways]. They also considered it stylish and “the thing” to go about barefooted and never, even in the coldest weather, wore socks, whereas of late years the geisha all wear tabi.

It is stated that geisha first came into existence at Kyōto and Ōsaka in the 1st year of Hōreki (1751), but they were vastly different to those of the present day. Up to the eras of Shōtoku (1711–1715) and Kyōhō (1716–1735) nearly all the courtesans were skilled in the arts of singing, dancing, music, etc., and as they were equal to the task of enlivening parties with their performances there was no room nor necessity for geisha. Besides the fact that the courtesans were accomplished, it was the custom for the wives and daughters of brothel-keepers to play the samisen and dance for the amusement of guests: these were called tori-mochi (entertainers). Again, those shinzō who were versed in amusing arts such as dancing and music, were invited by guests to assist at parties, although no fixed arrangement was made with them. These things ceased at the end of the Hōreki era (1751–1763).

Formerly there was a class of female professionals called odori-ko (dancers), who not only gave exhibitions of dancing but even offered themselves as substitutes for the ordinary courtesans in order to eke out their means of subsistence.

In the 4th year of Hōreki (1754) regular geiko (kind of geisha) sprang into existence for the time, and the term geisha developed later on about the 11th year (1761). In the latter year, we read that in the “Daikoku-rō” (brothel), was a geiko named Toyotake Yasohachi, in the “Ōgiya” (brothel) a geisha named Kasen, in “Tama-ya” (brothel) two geisha called Ran and Toki respectively, while another geisha known as Mondo was engaged in the “Iseya” (brothel), etc. The geisha were experts in gidayū (musical drama), naga-uta (lyric poetry or song), and bungo-bushi (a style of song which originated in Bungo), etc., and, as their name implies, they were accomplished women. The proper sphere of the geisha, on the other hand, was to entertain parties by playing popular airs and singing popular “catchy” songs. When the geisha first came into existence—about the 10th or 11th year of Hōreki (1760–1761) they were employed by the brothels and lent to guests of the houses, but, as their popularity and number increased, they came to be engaged by tea-houses and individuals, or to start independently, and so gradually formed a separate and distinct profession. The liberty of action which they had acquired since they had set up independently soon degenerated into license, and it often happened that geisha not only sold their accomplishments but their charms as well: this led to the establishment of the kemban-sho by Daikoku-ya Shūmin in the 8th year of Anyei (1779) and the placing of geisha under proper control. Prior to the establishment of this kemban-sho the geisha were at liberty to go out of the great gate with guests, but subsequently this was strictly forbidden except to two geisha each day. Only on New Year’s day and the 13th day of the 7th month (Bon no jū-san-nichi) were they free to pass out of the Yoshiwara irrespective of number, but even on those days their hours of liberty expired at 4 o’clock in the afternoon. We find it recorded that the rules were so stringently enforced that comparatively few geisha actually ventured outside the gateway even on the special days above mentioned. The kemban-sho further made strict sumptuary regulations prohibiting geisha from wearing unnecessarily fine clothes, believing that if these women were dressed too magnificently it might lead to their making easy conquests of the guests they met. The dress was limited to clothes of plain non-figured stuffs dyed with their crests, and collars of some white material (shiro-eri muji no mon-tsuki) while their coiffures had to be made in the “shimada” style ornamented with one kōgai (hair-pin), one comb, and one smaller hair-pin only. This style of dress is adopted even in these times on certain days called mom-bi (crest days). In order to make assurance doubly sure, geisha were generally recruited from among comparatively plain women so as not to set up a counter-attraction to the oiran or out-shine the latter, and in a party of guests they were not allowed to sit close beside the latter except in cases of sheer necessity. When a geisha was suspected of too much intimacy with a guest an enquiry was held by the kemban-sho people, and if they considered the suspicion to be well-grounded they would suspend the fair sinner from the exercise of her profession for the space of from one to three days and admonish her as to her future conduct. Nowadays, geisha have perfect freedom of action in the matter of going out of the Yoshiwara, the only stipulation being that they are required to notify the kemban-sho of their purpose. Formerly, geisha licenses were issued by the nanushi but are now given by the kemban. In the kemban hung a number of wooden tickets bearing the names of geisha registered there, and as soon as a woman was engaged her ticket was taken down and hung up again with its face to the wall: this enabled the kemban people to tell instantly whether a certain geisha was “in” or “out.” Three geisha made one “set” (kumi) and not less than three could be engaged: this was a precaution against allowing one girl to make herself unduly familiar with a guest, but now the “set” has been reduced to two geisha only. The hours of engagement were limited from noon to 10 p.m., and during that time 7 joss-sticks (senkō shichi hon) were supposed to have been consumed: the fee was fixed at 1 ryō 3 bu (Yen 17.50) and was divided between the kemban and the geisha, the latter receiving 2 bu 2 shu (Yen 6.25). The geisha also received a gratuity of from 2 shu to 1 bu (Yen 1.25 to Yen 2.50). In the Yoshiwara there were no hakoya (samisen-box carriers) the clerks of the kemban acting in that capacity: at night time these clerks carried lighted lanterns on which were painted the sign of the kemban.

On the 2nd day of the first month the ceremony of hikizome (first playing of the samisen in the new year) was observed. After about 4 o’clock in the afternoon the geisha and hōkan, in groups of fives or sevens, went round to the various tea-houses and brothels in their holiday dress wishing the proprietors and inmates a happy new year, playing tunes of a felicitous nature, and soliciting future patronage. The tea-houses and brothels entertained these callers with toso (spiced saké), ordinary saké, and food. This custom of celebrating the hikizome still prevails.

In closing this chapter it may be of some interest to readers to note that the Sakura-gawa school of hōkan is the most influential in the Yoshiwara, and consequently many persons have concluded that this style is indigenous to the quarter: such, however, is not the case, for it originated in Fukagawa. Of late, several classes of amusements and many new songs, said to be in the Sakura-gawa style, have been introduced, but they do not seem to be particularly noteworthy.

The Europeanization of the Yoshiwara and the Introduction of Loochooan Courtesans.

The origin of the addition of rō (樓 = a two-storied or “high” house) to the names of brothels is traced back to the Go-mei-rō (五明樓) which was another name for the “Ōgiya” of the Shin Yoshiwara about the era of Temmei (1781–1786). In the pre-Restoration days no houses were allowed which exceeded two stories in height, but since the beginning of the Meiji (the present) era changes have been introduced into the architecture of brothels and several magnificent and commodious houses have been built in a hybrid European style. The Tōkyō-kaikwa-hanjō-shi (東京開化繁昌誌) states:—

“At the time of the Restoration, high and commodious buildings, such as had never been seen even in the mansions of nobles, were constructed in the European fashion, etc., etc.” Illustrations of the Kimpei-rō and the Go-sei-rō in the European style are given.

In the “Shin-Yoshiwara-Zensei-kurabe-Shōgi-hyōban-ki”, (新吉原全盛競娼妓評判記) published in 1870, is a passage which reads:—“Houses were built in the Western fashion and many rare and delicate things were placed on the table” (sic.)

The adoption of foreign costume by prostitutes was first introduced by the Yamada-rō of Ageya-machi in 1886, and later on this example was followed by the Shin-Inaben-rō and several other houses, but before long the new fashion fell into disfavour and was abandoned. When the “foreign craze” was at its height, the Yamada-rō provided foreign bedsteads for the women, and served up food in foreign dishes; but they never got so far as knives and forks, and although the plates were of a Western pattern one was expected to eat the viands with the cedarwood chopsticks provided!!! The Yamada-rō seems to be great on new sensations, for in 1889 that house engaged two or three Loochooan women as courtesans. This novel departure filled the house for a time, but before long the novelty wore off and the lovely Loochooans ceased to be an attraction.

Zegen.
(Procurers.)

There may be various causes which compel many an unfortunate girl to plunge into the “sea of trouble and bitterness” (ku-gai), and out of each the enterprising novelist and feuilleton writer has over and over again constructed a peg on which to hang his story, but, when all is said and done, the cause of causes is poverty. Nowadays, the police regulations are so stringent that it is virtually impossible for persons to traffic in human flesh and blood and sell their fellow-creatures, but in former times there were rascally scoundrels known as “zegen” who made a regular business of procuring, selling, and buying women. These infamous pimps not only extorted outrageous fees for their services but treated their victims in a most cruel brutal manner, and they even had the temerity to kidnap young innocent girls for the purpose of selling them to brothels. Even the officials of the Bakufu (Tokugawa Government) were startled out of their perfunctory method of doing things when they realized the danger these pestilent fellows were to the community, and in the 5th month of the 4th year of Kwansei (1792) the following notification was issued by the government prohibiting procurers from exercising their nefarious calling:—

In the official rules relative to deeds of engagement of courtesans issued in the 7th year of Kwansei (1797)—that is four years after the issue of the above notification—occurred the following clauses:—

From the above it would appear that the profession was not altogether abolished, and that it was merely concentrated in the Yoshiwara for the purpose of enforcing a strict control over zegen and naka-tsugi. Even these regulations were relaxed in course of time, and by the era of Tempō (1830–1843) there were over ten houses carrying on the business of zegen in Tamachi, Asakusa, and Sanya. Among these, the most famous was the establishment of Ōmiya Sampachi, as he employed ten or more kobun (partly employé and partly protégé) who, in conjunction with the provincial zegen, freely resorted to the practice of kidnapping girls. These zegen sent agents into the country to buy, beg, borrow, or steal, women and girls, whom they brought back and locked up securely till the moment of their absolute transfer into the hands of brothel-keepers. How they maltreated the poor wretches whom they had kidnapped may be inferred from the fact that the owners of these “registry offices” were in the habit of stripping the girls absolutely naked every night, and hiding their clothes under their own futon (mattress) lest the unhappy victims should escape. When the women were about to be sold to the brothels with whom the men had made previous arrangements, they were nicely dressed in hired clothes (in order to make them appear to better advantage and thus enhance the selling price) and taken round as “goods on view.” Then followed protracted negotiations between the parties interested, each haggling over the bargain like a fish-monger and a house-wife, the zegen trying to squeeze out as much money as possible from the intending buyer, and the brothel-keeper endeavouring to beat him down. At length the price would be settled to the satisfaction of both the buyer and seller, but even then there would generally ensue a struggle relative to the payment of mizu-kin, or rebate allowed to the buyer as a fund with which to provide the woman with an outfit. (Some people say that this word should be mizu-kin 不見金 = money without seeing because the money was never seen by the parents but deducted immediately by the brothel-keeper). Another version says that is a corruption of mi-tsuki-kin (身付金 = money attached to the body) because with this money the clothes and personal effects of the woman were supposed to be purchased. When a girl was sold as a prostitute, a certificate—called a nenki shōmon (年季證文)—was given by the parents to the brothel-keeper. It ran (freely translated) as follows:—

It must be understood that many of these documents were “fakes” as regards the signatures of the parent and of the landlord of the parents’ house. So long as some persons were found to act as the necessary parties, the papers were signed and stamped, and in exchange for such an instrument the mi-no-shiro-kin (price of the body) was paid over in hard cash on strictly business principles. The “parcel of goods” having been taken delivery of by the brothel keeper, the zegen appropriated 10 per cent as his commission, but besides that they generally managed to obtain further sums of money on various pretexts, including hone-ori-kin (money for labour performed) ifuku no son-ryō (hire of clothes), makanai-ryō (expenses for food and lodging), etc., etc. [In passing, it may be noted that in zegen circles a girl who had been kidnapped was known by the name of “Inari” (really the Goddess of Rice, but in popular superstition the fox-deity) which is perhaps the reason why people often call courtesans “kitsune” (foxes)].

As already mentioned, the Kwansei (1789–1800) notification prohibiting the improper selling of women by zegen had very little practical effect, but on the 2nd October, 1872 (2nd day of the 10th month of the 5th year of Meiji) the Japanese Government earned the everlasting gratitude of right-thinking persons by issuing Decree No. 295 which ordered the unconditional liberation of all prostitutes throughout the length and breadth of the Empire. This Decree reads, according to the official translation, as follows:—

[Since then, detailed regulations have been established relating to the profession of prostitutes and are still in operation]. The losses sustained by the brothel-keepers at the time of this wholesale liberation of women are said to have been simply enormous. The “Tōkyō-Kwaika Hanjō-shi” (東京開化繁昌誌) has the following under the caption of “Liberation of Courtesans”:—“In the winter of 1872, all the prostitutes and geisha who had been engaged in the brothels and inns throughout the country were unconditionally set free. * * * * * Thousands of wretched women (whose lives might be compared to those of birds cooped up in cages) having been suddenly liberated, the confusion caused by the crowds of delighted parents and daughters who thronged the prostitute quarters beggars description. * * * * * Notwithstanding the general rejoicing, owing to being in debt, or to other circumstances, a large number of these unfortunates were compelled to apply for new licenses and to continue their calling in the brothels which were now re-named kashi-zashiki (貸座敷 = a house with rooms to let).” From the above remarks the actual condition of affairs at the time may well be imagined.

The old fashioned style of zegen (procurer) have now disappeared, and most of the women desirous of becoming courtesans are hired through yatoinin-kuchi-ire-jo (Registry offices for persons seeking situations). By law these registry offices are forbidden to negotiate such transactions, but it is well known that this prohibition cannot be enforced in practice. The brothel-keeper, or his substitute, attends to the engaging of women, and is always on the look out for “bargains.” In the same manner that vultures swoop down to feast on the dead bodies of soldiers after a sanguinary battle, so these rascally fellows turn the misfortunes of others to their own profit by visiting localities which have been overtaken by terrible natural calamity. Earthquakes, fires, floods, and bad crops are the natural allies, of the brothel-keepers, as is proved by actual statistics. For instance, out of the present 3,000 inmates of the Yoshiwara fully 40 per cent. are natives of Gifu and Aichi Prefectures, and we know quite well that these localities have suffered severely from earthquakes, floods, and bad seasons of late years. It is said that when a particular district is visited by some serious misfortune the various brothel-keepers proceed to the spot in order to see what game they can bag at cheap rates.

The Dress of Courtesans.

Nowadays there is no fixed rule as to the dress of these women, and they dress themselves in accordance with the wishes of the brothel-keepers or according to the dictates their own taste. Thus we find some of the modern courtesans dressed in gold or silver embroidered brocades after the fashion of oiran of bygone days, others are clad in gaudy red crêpe (hi-jirimen) with embroidered collars, and wear gigantic satin sashes (obi) tied in front, while others again try and make themselves look younger and prettier by wearing yūzen stuff (generally silk crêpe decorated with various beautiful figures) purple satin collars and maki-obi (a narrow sash wound round and round the waist: this sash is not tied into a bow but the end is merely tucked in to hold it in place). Other women wear plain crested clothes, or imitate the style of geisha (singing girls) or of Court ladies, and others even go so far as to ape the (save the mark!) European style! In low-class houses a long loose robe (shikake) of striped stuff and an under garment (naga-juban) of mousseline (merensu) compose the whole stock of the wardrobe of a prostitute. At present a long loose robe (shikake) of black colour is only worn by the chief courtesans (o shoku kabu) of the best houses. Compared with the luxurious costumes of former years, the present holiday clothes of the women only correspond in quality to those of the ordinary every-day garments worn by their predecessors: from this statement the comparatively inferior nature of the present costumes may be inferred. It is the custom of prostitutes nowadays to wear clothes of striped material (shima-mono) when they are in their own rooms with intimate guests. In the ō mise (best house) after her introduction (hikitsuke) to a strange guest (shokwai no kyaku) the servants cry “o meshi-kae” (honourable change of garments), and immediately the courtesan goes to her room, changes her clothes, returns clad in a dress made of some figured material (moyō mono), and waits on the visitor during the feasting and wine-bibbing which follows. At the time of “o hiké” (honourable retirement, i.e.—the time to go to bed) she again changes her clothes for a costume of striped stuff. In the medium and lower class houses the women only change their dress once, and the material employed in their wearing apparel is exclusively crêpe (chirimen).

With regard to the sumptuary regulations relative to restrictions on the dress of prostitutes, among the five items of the notification given to Shōji Jinyemon by Honda Lord of Sado in the 3rd year of Genna (1617) it was provided that “prostitutes are forbidden to wear clothes with gold and silver embroidery on them; they are to wear ordinary dyed stuffs.” This policy of enforcing simplicity of dress was adopted by the authorities at the time when the establishment of the old (Moto) Yoshiwara was permitted, and the courtesans therefore used to wear either plain kenchū (pongee?) or striped clothes: their obi (sashes) were broader than those of ordinary women, but never exceeded 4 sun (if this is cloth measure it will equal 6 inches English) whereas in those times the usual obi did not exceed 2 sun (say 3 inches English) in width. The sleeves also were much shorter at that time, but later on they were gradually made longer as the sumptuary laws fell into desuetude. Since the founding of the Shin Yoshiwara luxurious habits of dress gradually spread in the quarter, and bye and bye extravagance was carried to its utmost point. In the Kwambun and Empō eras (1661–1680) the tayū usually wore rinzu (figured satin) or habutaye (a superior kind of pongee) dresses. In the “Dōbō Go-en” (洞房語園) we read about the narrative of an old gentleman named Muramatsu Shō-a who said that in the era of Kwambun (1661–1672) a certain person met the Tayū Takao of Mi-ura-ya Dō-an’s house in Kyōmachi and saw one of her new costumes: the lining was of pale blue silk, the face of the dress black habutae, and the whole garment so made as to be suitable for a man’s wear. In the “Saikaku Ichida i-Otoko” (西鶴一代男), published in the 2nd year of Tenna (1682) it is mentioned that the clothes of some women were made of shiro rinzu (white figured satin) for underwear, over which were worn two dresses, the under one of scarlet kanoko (material dyed with minute white spots) and the upper one of pale-blue Hachijo-silk. These clothes were used when the wearers attended to parties of guests, the taste of the period demanding stuffs costly as regarded price but plain and simple in appearance as compared with the brilliant gold and silver embroideries and the velvets used in later days. In the Teikyō (1684–1687) and Genroku (1688–1703) periods it had become a general custom to use plain purple materials (murasaki-mu-ji) for the shikake (cloak). In the Hōyei era (1704–1710)—fifty years after the opening of the Shin Yoshiwara—magnificent embroidered clothes came into fashion, and in the era of Gembun (1736–1740), some thirty-years later, a courtesan named Shigasaki introduced the custom of wearing a broad obi (sash) she herself having worn one 33″ (kujira 2 shaku 2 sun) in width (sic). This sash was worn and tied in a style known as “Karuta-musubi,” and the woman who first set the fashion was known as “Obi Shigasaki” or “Obi-goku-mon.” (The first means simply “Sash” Shigasaki: the second “Sash-exposing-a-criminal’s head.” The latter has a joking reference to the ancient custom of exposing the severed head of an executed criminal to public gaze: the sash was supposed to be so broad that only the head was visible above it.) Since then, a luxurious and extravagant tendency in the dress of courtesans manifested itself so strongly that in the 7th year of Kwansei (1795) the authorities again considered it necessary to impose restrictions on this rage for idle show: it was therefore announced that dresses should be of plain stuffs (according to ancient custom) and that date-mon (伊達紋 ornamental crests) should not exceed 6 sun (if ordinary measure = 7.1586 inches: if “kujira”—cloth measure—about 9 inches) in diameter. The tide of luxury, however, could no more be stemmed by a mere notification than could the waters of the ocean be dammed by a man’s hand, and in the eras of An-ei and Bunsei (1772–1829) the zenith of barbaric splendour was attained. Costumes of crêpe, velvet, figured satin, plain satin, habutae, etc., were freely used, while obi (sashes) were made of velvet, gold-brocade, silk-brocade, damask, etc. As to colours and patterns, these were chosen according to the taste of the individual courtesan and were by no means uniform. In a book called “Nishiki-no-Ura” (錦ノ裏 “Behind the Brocades”) published in the 3rd year of Kwansei (1791) a very elaborate description of an elegant costume of the time is given. The upper garment consisted of white nanako dyed with purple clouds among which peeped out some tasteful pattern: every here and there were flowers embroidered in silk and finished by handpainting representing in vivid colours the four seasons, while the crest consisted of a wistaria flower sewn upon the dress with purple silk-thread. The underwear consisted of a figured satin garment bordered with plain brown Hachijō silk and embroidered with the same pattern in coloured silk, and of a lower girdle of claret-coloured figured satin lined with bright scarlet silk crêpe. As an instance of the beauty and costliness of the night-gown of a certain young miss, the “Keisei-kai Shi-ju-hat-te” (“Forty-eight methods of buying courtesans”) mentions:—“The garment was of scarlet crêpe, trimmed with purple figured satin and edged with gold and silver threads so as to give the effect of waves breaking upon the sea-shore, while her night-sash was of kabe-chōro (wrinkled silk.”) In the eras of Bunkwa and Bunsei (1804–1829) the costumes were simply gorgeous. The pattern of the shikake or cloak generally represented a cloud with lightning and a golden dragon, or rocks with peonies, and a tiger chasing a butterfly; the embroidery being silver and gold. That the dresses of the “jōro” of these later periods were gorgeous, the paintings of Utamaro, Eizan, Kunisada, and others, clearly show. It appears that in those times there was a fixed rule in every brothel appointing the make, stuff, colour, and pattern of the dresses to be worn by the respective grades of women, and that this rule was strictly adhered to. No courtesan, therefore, was permitted to wear a dress unsuitable to her particular rank in the brothel, even though she could afford it, but nowadays the girls are at liberty to wear any clothes they choose and can pay for, especially if they are popular and beautiful women. There are various arrangements made as to defraying the expenses of dress in different brothels, and the clothes of modern shōgi are divided into awase (worn in May, June and October), hitoemono (worn in July, August and September), wata-ire worn (November to April,) etc., according to the season, in the same way as with ordinary persons.

Coiffures of the Yūjo.

Although it is remarked in the “Yoshiwara Taizen” (吉原大全) “their hair even now is dressed in the ‘Hyōgo’ style after the fashion of the Hyōgo-ya brothel at Ōhashi, Yanagi-chō,” yet when we find no coiffure of this style in the pictures painted prior to the Tenna era (1681–1683) the correctness of the assertion may be doubted. Judging from ancient pictures of the “Uki-yo-e” school, it would appear that up to the era of Keichō (1594–1614) courtesans wore their hair hanging down the back, and that even in the era of Kwan-ei (1624–1643) they merely gathered it up on the top of the head in a very simple manner. It is mentioned in various books that in the era of Kwam-bun (1661–1672) a tayū named Katsuyama, living in the Yamamoto-ya in the Shin Yoshiwara, devised a method of coiffure, called after her, “Katsuyama-magé.” In the “Dōbō Go-en” (洞房語園) it says:—

[The Maru-magé of later years is believed to have been evolved from the Katsu-yama-magé.] In the era of Tenna (1681–1683) Hyōgo-magé and Kaisei-shimada came into vogue. The Shimada-magé is said to have originated in the era of Kwan-ei (1624–1643) with a dancing-girl of Kyōto named Shimada Jinsuke. The Keisei-shimada resembled the present Shimada in nearly every respect. In the era of An-ei (1772–1780) the Kinshōjo-bin, Utsusemi-mage, Nakabin, Hishidzuto, Yoko-hyōgo, Yamagata-tori-bin, Sogidzuto-musubi, Tate-hyōgo, and other styles, came into fashion, and later the Susuki-bin, Otoshi-barake, Tsutogiri, Sumi-Shimada, Adzuma-bin, Kainade-dzuto, Chasen-magé, Tsumi-hyōgo, etc., came into vogue. By the era of Bunsei (1818–1829), however, of these only the Tate-hyōgo, Shimada, and a few others had survived. [At present the hair of the red bear (sha-guma) is used to form a tuft of false hair over which to spread the natural hair in making up a Tate-hyōgo coiffure: sometimes, although very rarely, it is used in dressing the hair in Shimada style]. It appears that in the Tenna and Teikyō eras (1681–1687) only vegetable oil was used in dressing the hair, and that bin-tsuké (pomatum) had not yet come into use. In the “Go-nichi Mukashi-monogatari” (後日昔物語) the statement of an old man born in the 3rd year of Empō (1675) is quoted to the effect that:—

Moreover, in those days of comparative simplicity, the women used to dress their own hair. The “Hyōkwa Mampitsu” (萍花漫筆) remarks:—

According to the “Kumono-Itomaki” (蜘蛛糸卷) written by Kyōzan, a well-known writer, the professional female hair dresser came into existence at the end of An-ei (1772–1780) and therefore it was undoubtedly later than that period before the courtesans used to have their hair dressed by regular experts.

Referring to the style of hair dressing, the same authority says:—

For further information on the styles of hair-dressing, the reader is recommended to refer to the Reki-sei-oniia-sōkō (歷世女裝考). The woodcuts inserted in this section illustrate the principal styles of coiffures which have been adopted in the Yoshiwara from time to time.

Rooms of the Yūjo.

There is but little difference between the modern apartments (kyo-shitsu) of the yūjo and those of ancient times. The room in which a yūjo receives her guests is called the “zashiki,” and generally contains about eight mats (hachi-jō-jiki), while the adjoining room (tsugi no ma) is a smaller private apartment containing perhaps three or four mats. Some women have a third room placed at their disposal in addition, but this consideration is mostly granted to the “o shoku” exclusively.