Page:Eliza Scidmore--Jinrikisha days in Japan.djvu/106

 with brilliant maple-leaves and broad obis of gold brocade, the loops of their blue-black hair thrust full of golden flowers, and waving gold fans painted with gay maples. To the melancholy accompaniment of the geisha, they danced the song of the maple-leaf in measures that were only a slow gliding and changing from one perfect pose to another. Watching these radiant creatures in their graceful movements, we were even deaf to the soft booming of the temple bells at the sunset hour, and the answering croak of the mighty ravens.

These maiko and geisha, professional dancers and singers, are necessary to any entertainment, and are trained to amuse and charm the guests with their accomplishments, their wit, and sparkling conversation; lending that attraction, brightness, and charm to social life, which wives and daughters are permitted to do in the Occident. The maiko dances as soon as she is old enough to be taught the figures and to chant the poems which explain them; and when she begins to fade, she dons the soberer attire of the geisha, and, sitting on the mats, plays the accompaniments for her successors and pupils. Until this modern era, the geisha were the most highly educated of Japanese women, and many of them made brilliant marriages.

Long before the beautiful band had finished their poem and dance of the four seasons, twilight had fallen. Andons, or saucers of oil, burning on high stands inside square paper lantern frames, made Rembrandtesque effects. Everything was lost in shadow but the figures of the maiko moving over the shining mats. One tiny girl of thirteen, belonging to the house, slipped in and out with a bronze box and snuffers, and, kneeling before the andons, opened the paper doors to nip off bits of the wicks. The child, a miniature beauty, was grace itself, gentle and shy as a kitten, blushing and quaintly bowing when addressed. 90