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202 that one hour of their deeply engaged evening was at our disposal. Our room was brightened up with flowers and sweetmeats, saké and cigarettes were lavishly provided, cushions set and lanterns lit. The geisha were announced by their professional names—White Jewel and Young Butterfly—made smiling obeisance to the "honourable strangers," and took their seats in the centre of the room, while their duenna, the Katti Lanner of Shikoku, whose pupils had spread the fame of their teacher all over Japan, remained respectfully in the doorway. The age of Young Butterfly cannot have exceeded thirteen years. She wore a white silk kimono, heavily embroidered with gold, and gold dragons on a green sash chased one another round her slender waist. In her coiffure was an ivory pin, terminating in a miniature birdcage, from which a red tassel fluttered defiantly. Her pantomimic dances (in which she required occasional prompting) represented the wooing of a coy damsel and the capture of a standard in the Chinese war; her childish emphasis of amorous and martial gesture was extremely piquant. White Jewel was, however, not only a clever artist but a most intelligent woman. About ten years older than her sister, she was dressed far more simply. Her kimono was of black crépon, her sash of iris-coloured brocade, and her hair had no ornament but a purple iris. She sang, like all her tribe, with nasal intonation and harsh lower notes, but her smile when she talked was as bright as her wits, quick to grasp my questions and explain the meaning of her songs. Indeed, I owe to White Jewel some of the prettiest instances of popular dodoitsu collected in a previous chapter. She was very pleased with her calling, which she had found lucrative, and