Page:Japanese plays and playfellows (1901).djvu/249

Rh clinging green, protesting and protecting with graceful curve, or beckoning with siren gesture to passing mariners. Every island has its name, rooted in historic or legendary allusion. To the Japanese one has suggested "Buddha's entry into Nirvana," another "The island of question and reply," while a third group is symbolic of "The twelve Imperial consorts." But our Western eyes could well dispense with that strange bias of Eastern fancy which prefers to associate form with meaning: for us it was enough to glide slowly through the haunted waters, to watch the blue waves foaming at the island's edge or leaping in the sunlight to meet the pine's tentacular caress.

From the last of the islands to the mouth of the Kitakami River, on which Ishinomaki stands, is a rough stretch of sea exposed to the full force of the Pacific rollers. Our tiny steamer was buffeted by wind and rain, and my companion suffered such agonies of sea-sickness that it took him two days to recover health and spirits. By good luck we found in the Asano-ya one of those cosy and coquettish hostelries which only Japan can boast, where the eye is as constantly charmed by good taste as the body is comforted by good cheer. The sliding doors which divided our apartment from others had panels of white paper, flecked with clouds of gold-dust and framed in black lacquer. In the tokonoma or alcove stood a pink-flowered shrub and a peacock of bronze beneath a beautiful painting by Kano Tan-yu. In vain we offered to buy this kakemono from the landlord, or the screen, which displayed fighting dragons on one side and a noble tiger on the other. They were heirlooms, which his children must inherit. Nearly everything was pretty in the Asano-ya, except O Maru San. She