CHAPTER V.

A Daimio Retainer. [Native Drawing.]A Daimio Retainer. [Native Drawing.]

A Daimio Retainer. [Native Drawing.]

Though most of the Daimios have enormous revenues, and are surrounded by men devotedly attached to them, the policy of the country so trammels their actions with formalities and espionage as to keep them in considerable subjection to the Tycoon; nor is even the privacy of their houses respected,for their families are retained in Yeddo, as hostages for their good behaviour, while they are absent in their principalities. As an occasional relaxation from the cares attendant on their high position, they avail themselves of a privilege called 'naiboen,' which enables them to share incognito in the pleasures and amusements of their countrymen. Those drawings and coloured representations of scenes connected with the higher classes which so largely engross the attention of Japanese artists, generally depict naiboen intrigues and adventures: these convey, however, a very exaggerated idea of the manner in which the Daimios conduct themselves on these occasions.

Coolies carrying Norimon. [From Native Drawing.]Coolies carrying Norimon. [From Native Drawing.]

Coolies carrying Norimon. [From Native Drawing.]

The family in the house-boat witnessing a pyrotechnic display in the bay of Yeddo, may be regarded as a faithful representation of a Daimio's party enjoying the naiboen. The great man in his light summer robe has apparently cast aside the cares of office, and seems thoroughly to enjoy the cool evening breeze and the society of his wives, only one of whom has a legal claim to that title, by right of which she takes precedence of the others. Of the two bonzes, or priests, in the stem of the boat, one, probably, is a member of the family, and the other its spy, for even naiboen excursions are not exempted from espionage: indeed the Japanese are so habituated to this custom that they generally regard it as a necessary check upon themselves. Naiboen excursions to the tea-houses are very frequent, notice being sent previously in order to insure proper accommodation and privacy: the latter precaution being principally taken on account of the ladies of the family, who never go beyond the palace except in a norimon guarded by armed retainers.

A DAIMIO AND FAMILY WITNESSING FIREWORKSA DAIMIO AND FAMILY WITNESSING FIREWORKS

A DAIMIO AND FAMILY WITNESSING FIREWORKS

In their homes, the aristocracy are as simple in their habits as the rest ofthe people. They are much given to study, the favourite subjects being poetry,3history, astronomy, and logic. The children are usually taught the rudiments of education by their mothers, and as they advance in years, are either privately instructed by masters or sent to the great schools at Miako, which are said to be attended by upwards of four thousand scholars.

The spiritual Emperor of Japan is supposed to be a direct descendant of the gods, and as such enjoys the adoration, as well as the fealty of his subjects. Unfortunately, his divine attributes deprive him of the free exercise of his human functions, as his feet are never permitted to touch the ground out of doors; nor is he allowed to cut his hair, beard, or nails, or to expose himself to the rays of the sun, which, would detract from the excellency of his person. His principal titles are, 'Zen Zi'—'Son of Heaven;' 'Mikado,'—'Emperor;' and 'Dairi,' or 'Kinrai,'—'Grand Interior:' the latter denoting the perpetual seclusion of his person. It is said that his ancestry can be traced in an unbroken line from nearly 700 years before the Christian era.

The Mikado never goes beyond the precincts of the Imperial residence, which occupies a large portion of the city of Miako, comprising numerous palaces and gardens; and connected with it are the schools alluded to in the last chapter, which are established on the plan of a university, and are much resorted to by the children of the nobility.

A MINISTER OF THE MIKADO ON A RELIGIOUS EXPEDITIONA MINISTER OF THE MIKADO ON A RELIGIOUS EXPEDITION

A MINISTER OF THE MIKADO ON A RELIGIOUS EXPEDITION

Whenever this great personage wishes to take an airing, he is carried by fourteen men in a large norimon with latticed windows, through which he is able to see without being seen; and even when granting an audience he is said to be concealed from view by bamboo screen-work. His court consists of the members of his own family and certain great officers of State appointedby the Tycoon, who nominally receive and promulgate his commands; but, in ordinary times, he has no real power in the temporal affairs of the empire, and only refuses to confer legality on the acts of his lieutenant under the pressure of intrigue, or of undue family influence.

To relieve the wearisome monotony of his life, as well as to prevent the possibility of the sacred race becoming extinct, he is allowed twelve wives, who are chosen from the most beautiful daughters of the chief princes of the empire. These ladies occupy separate palaces in the immediate vicinity of his, where they are attended by their own retainers; but only one of them enjoys the rank of empress, although they are all treated with the deference due to royalty. He is also said to have an unlimited number of concubines, who reside within the bounds of the Imperial establishment.

The distinctive mark of the members of the Mikado's court and of the ladies of his family consists of two black patches placed on the forehead, and in the arrangement of the hair, which is gathered up in a long cue and curved over the head by one sex, and worn dishevelled and without any kind of ornament by the other. Though the Mikado has little influence in the secular affairs of state, his authority in religious questions is supreme; but it is doubtful if he personally takes any part in the solemnities which are constantly occurring at Miako.

The subject of illustration represents one of these sacred observances: the procession is coming from the Mikado's palace, which, properly speaking, is a temple, being full of idols and effigies of the 'Kamis,' or 'canonised saints.' The principal figure is the third minister of state, and from this circumstance the white dresses worn by the 'Kargardhee,' or 'fire-bearers,' and the presence of some of the Imperial children, it is probably a midnight pilgrimage to some neighbouring shrine, in honour of the manes of a departed member of the family.

The early education of the Mikado's children is entrusted to the ladies of the court: the sons, while still young, are sent to different religious fraternities; and the daughters, on attaining a suitable age, are bestowed inmarriage on the nobles of the country, except the eldest, who is appointed chief priestess of the temple of the Sun at Issie, which contains the shrine of Ten-zio-dai-zin, to which all Japanese are supposed to make a pilgrimage once in their lifetime.

A Begging Criminal. [Native Drawing.]A Begging Criminal. (Native Drawing.)

A Begging Criminal. (Native Drawing.)

The Mikado is said to spend the greatest portion of his time in the society of his wives, who contribute to his amusement by singing, dancing, and theatrical entertainments. The latter sometimes take place in the open air, as in the scene depicted opposite; on which the 'Grand Interior' and a select party are supposed to be looking down through the jalousies of the palace. The vocal, instrumental, and theatrical talents of the performers, are here called into play, the arena for the latter being the 'Mekoshee,' or movable stage, in which a female figure may be noticed declaiming her part. The long-handled, fantastically-coloured umbrellas, belong to the Imperial attendants taking part in the theatricals, whose hair, it will be noticed, is arranged according to court etiquette.

The men whose features are concealed by their broad hats are 'Ninsokee,' or 'public singers.' Generally speaking they belong to the aristocratic class, and are reduced to earn their livelihood in this manner in consequence of some misdemeanour, on account of which their property has been forfeited to the state. Their occupation is in itself a punishment, as Japanese gentlemen never sing, regarding that accomplishment as derogatory to their dignity. A certain class of criminals also wear a disguise of this nature, as shown in the woodcut.

THEATRICAL PERFORMANCE IN FRONT OF THE MIKADO'S PALACE

LADIES OF THE MIKADO'S COURT PERFORMING THE BUTTERFLY DANCELADIES OF THE MIKADO'S COURT PERFORMING THE BUTTERFLY DANCE

The band here represented is much stronger than those that generally figure in Japanese orchestral and theatrical entertainments. Music is not used, as with us, to fill the interval between the pieces, but accompanies the performers throughout; the louder instruments being energetically struck as the singing becomes impassioned or the actors declamatory.

Lady waiting on the Mikado. (from Photograph.)Lady waiting on the Mikado. (from Photograph.)

The butterfly dance is another specimen of the amusements with which the ladies of the Mikado's court while away their monotonous existence. As here shown, it is a private performance, of which the Empress and her principal attendants are the only spectators. The insects are personated by two of her ladies, who mimic their motions and sing praises of the different flowers they pretend to alight upon, to the accompaniment of a band of fair musicians. But the most interesting part of the affair is a spirited dialogue, in which they cleverly criticise, under floral appellations, the different ladies of the court, in a manner equally gratifying and flattering to their royal mistress.

The Mikado is always waited upon by the ladies of his court, and is said never to eat twice from the same vessels, which are broken to pieces as they are removed. An intelligent yaconin, however, on being questioned about this point, was much amused; and, though he professed ignorance of the subject, was evidently very sceptical on the matter of the dishes.

Although we have long been aware of the existence of this peculiar mode of suicide, the exclusive policy of the Japanese has placed insuperable difficulties in the way of obtaining accurate information concerning it.

A more enlightened policy is now gaining ground in the country. The chromo-lithographs that illustrate these 'Sketches' are fac-similes of paintings by native artists, selected from a series lately published at Yeddo, and sold to foreigners with the connivance, if not by permission, of the authorities; for the spy system in Japan is so perfect, that illicit dealings are next to impossible.

As Japanese punishments entail disgrace on every member of the culprit's family, the 'Hara Kiru,' or 'happy dispatch,' which is the only exception, is regarded as a great privilege by the classes entitled to avail themselves of it These consist of the nobility, military, and official of a certain rank holding civil appointments.

It seems to be a prevalent idea that this sacrifice is reserved for political offences; but this is not the case, as crimes of all descriptions are condoned by it.

A simple act of suicide does not constitute the 'Hara Kiru.' To render the act legal, and to ensure the heir and family of the person performing it against disgrace and loss of property, an order for its performance must be issued by the Tycoon, or by the suzerain prince of the culprit.

The Japanese, being a high-spirited and patriotic people, consider that death under any circumstances is preferable to dishonour; and the privileged classes always carry about with them when they travel the paraphernalia used at the performance of the 'Hara Kiru,' in token of their readiness to prove their patriotism, or to die rather than disgrace their family.

The dress consists of a robe and 'harakama,' or 'winged official dress,' of coarse white cloth—white being the funeral colour of the country—which is undistinguished by the crest or any sign of the rank of the owner. There is also the disembowelling knife, the blade of which is about eight inches long, and very sharp.

When the sentence of the 'Hara Kiru' is awarded, or the humble request of a defeated politician to perform it is acceded to, a formal document is made out and duly signed by the competent authorities. It is then delivered to two commissioners, by whom it is conveyed to the culprit.

Should the proposed victim be a Daimio of importance, and sufficiently powerful to set the Tycoon at defiance, the delivery of the imperial mandate is likely to be attended with unpleasant results, as the bearers are sometimes waylaid and murdered by retainers of the doomed prince, and have frequently to resort to stratagem to accomplish their task. But when once the mandate is delivered, the prince must submit, or he would lose caste even with his own followers, so strongly are the Japanese imbued with respect for the ancient customs of their country.

The accompanying illustrations represent the different formalities that are observed at the performance of the 'Hara Kiru' by a Daimio.

On receiving the official intimation of his sentence, he orders the necessary preparations to be made, and informs his friends and relatives of it, inviting them to share in a parting carouse with him.

On the appointed day, after taking a private farewell of his family, he receives his friends. He is habited in his white robes, and supported by two of his relatives or ministers, similarly attired. When the time arrives (which is previously arranged with the commissioners) he takes leave of the guests,as on any ordinary occasion, and enters the screened enclosure, accompanied by his supporters. It will be noticed, that the retainers guarding the exterior and entrance are barefooted, which is a mark of respect in honour of the rank of the culprit, and of the solemnity of the occasion.

THE TYCOON'S MESSENGERS READING THE SENTENCETHE TYCOON'S MESSENGERS READING THE SENTENCE

The Tycoon's messengers then read the imperial mandate, which proclaims that, in accordance with the ancient custom of the country, the Daimio is permitted honourably to sacrifice himself for its benefit, and thus to expiate in his own person the crime or offence he has committed against the welfare of the state. In the illustration, the two officials charged with this disagreeable office are sitting opposite the Daimio and his friends, reading the fatal document, their suite surrounding them in respectful attitudes.

The whole party wear the official dress, which intimates at once the respect due to the victim and the official nature of the ceremony.

The second scene shows the Daimio on the point of performing the sacrificial ceremony. His forelock is reversed, as a sign of submission to his fate, and to assist the executioner, who, as soon as his master goes through the form of disembowelling himself with the knife on the stand, will, with one blow of his razor-edged sword, complete the sacrifice by decapitation. Only the two chief commissioners appointed by the Tycoon, and the sorely-tasked supporters of the victim, remain to witness the last act of the drama. The rest of the party await its completion in the adjoining compartment of the enclosure, which is expressly constructed for that purpose.

The funeral procession, which is the subject of the next scene, is accompanied by all the pomp indicative of the high position of the deceased. The mourners wear robes of white cloth, and all the feudal paraphernalia are draped with the same material; which, as before mentioned, is used in Japanese mourning. The coffin is carried near the head of the procession; it is a square box of resinous wood, covered over with white, and the body is placed in it in a sitting posture.

All the members of the family attend the funeral, either on foot or in norimons. If the wife and the heir be absent in Yeddo, they are represented by the nearest relations. In this instance both are present, from which it may be inferred that the sacrificial act has taken place in the neighbourhood of Yeddo.

Although the Japanese sometimes bury their dead, they generally practise cremation. Repulsive as this custom is to European ideas, it must be remembered that the Japanese are not singular in preferring it, as several of the most civilised nations of antiquity considered it the most honourable mode of disposing of the bodies of the dead. While the body is being reduced to ashes the priests tell their beads and chant prayers for the soul of the departed, as the followers of almost every religious sect in Japan believe in a state of purgatory.

The last scene shows the wife and son of the victim of the 'Hara Kiru' collecting his ashes and depositing them in an earthenware jar. This is afterwards sealed down and conveyed to the cemetery, or temple, which contains the remains of his ancestors.

Some of the Japanese cemeteries are very extensive; and they are generally situated in secluded, picturesque spots, in the neighbourhood of the towns and villages.

The graves are small, round, cemented receptacles; just large enough to receive the jar containing the ashes. If the body is buried (which only happens when the deceased is friendless, or too poor to pay the expenses of cremation), the head is always placed pointing to the north. The tombstones are ordinarily about three feet high; and are either square or circular in shape, resting on square pedestals, in which small holes are cut to contain rice and water. The supplies of these are replenished from time to time, generally by the women of the family, lest the spirit of the deceased should revisit its grave and imagine itself neglected. Sometimes flowers are placed before the graves, and flowering sprigs of peach and plum are stuck in the ground about them.

Like the Chinese, the Japanese burn joss-sticks to propitiate the deities in favour of their departed relatives; and the neighbourhood of a graveyard may generally he detected by the peculiar aromatic odour emitted during the burning of these. For some time after a funeral the relatives daily visit the tomb and intercede for the dead, holding their hands up in the attitude of prayer, and rubbing the palms together as they mutter their monotonous orisons.

Notwithstanding the industrious habits of the Japanese, they are great lovers of pleasure, and much addicted to sight-seeing; theatres and wax-work exhibitions are very numerous, and jugglers, top-spinners, and tumblers, are regularhabituésof the streets.

Though they do not allow pleasure to come before business, they do not hesitate to associate it with religious observances; and on solemn festival occasions, the vicinity of even the most sacred temples is occupied by a variety of shows and common stalls, for the sale of sweetmeats, toys, and coloured pictures.

Their principal athletic amusement is wrestling, which may he regarded as the national game of the country. It is very generally practised, and pairs of 'brawny fellows' are to be frequently met with of an evening in the outskirts of towns and villages, either crouched down in the preliminary attitude, which resembles that of angry fighting-cocks, or dragging one another to and fro like frogs struggling over a choice morsel. The game is necessarily a dragging and pulling one, its grand object being to force the opponent beyond a certain boundary.

So popular is it, that in addition to public performers, who travel about the country exhibiting their prowess, the Daimios keep private bands: each district has some especial champion; and every Japanese a favourite 'smoo' as they term the wrestlers, whose exploits are canvassed with anenthusiasm totally at variance with the stolid indifference which usually characterises the people, when any subject is broached that does not directly concern their ordinary vocations.

The professional wrestlers are generally men of herculean proportions. From constant practice they attain a muscular development that would eclipse that of our prize-ring champions; but their paunchy figures and sluggish movements render any further comparison impossible, as they neither practise nor appreciate what we call training. Size and weight are prized more than activity in the limited arena to which their performances are confined: so, instead of walking down superabundant flesh, they endeavour to increase it, dieting themselves on rice and fish, which is far from productive of any Bantingite result. The illustration of the Great Wrestling Amphitheatre at Yeddo conveys a fair idea of the estimation in which athletic games are held by the Japanese. The enclosure is capable of containing several thousand spectators, and is always filled when a match of importance takes place.

In the centre is the 'docho,' or 'boundary-ring,' which is about eighteen feet in diameter. The game is generally decided by one or other of the combatants being forced against this boundary; for, although a fair throw counts, it rarely decides the mastery, as the great weight and the crouching position of the wrestlers necessitate dragging, pushing, and even carrying; and the tenacity of their grasp is such, that any other results are almost impossible.

The price of admission to these exhibitions is very low; and, like everything else of a public nature, is regulated by the government Officials are appointed to superintend the arrangements, and to see that no accidents arise from overcrowding. For this purpose they are provided with a box that overlooks the whole building.

The lofty scaffolding outside the enclosure is a time stage, from which the commencement and duration of each match are intimated to the audience by a certain number of strokes on the drum that surmounts it.

PUBLIC WRESTLING IN THE GREAT AMPHITHEATRE AT VEDDOPUBLIC WRESTLING IN THE GREAT AMPHITHEATRE AT VEDDO

Before each wrestling-match commences, the 'geogee,' or 'judge,' who superintends it, shouts out the names and exploits of the contenders, who, after kowtowing very ceremoniously to one another, rise to the preliminary attitude.

At a signal from the judge the combatants commence. At first they move cautiously about the centre of the ring, watching a favourable opportunity to close, which they presently do with deep guttural exclamations. Then great working of muscle and tugging and straining follow, the spectators cheering on their respective favourites, until the fall of the geogee's fan—which is the moment depicted by the artist—proclaims the victor.

Thundering plaudits greet the hero of the occasion, who presently strolls about among the assembled multitude, attended by his 'coegi,' or 'servant,' who collects the offerings with which they liberally reward his exertions. When money fails, articles of clothing are frequently bestowed—and sometimes too freely, as it is by no means unusual for both sexes to half denude themselves at these exhibitions; and it is a favourite joke with the women to send their male friends to redeem the articles from the wrestler.

Although fencing is a military exercise, it is so commonly practised by the Japanese 'yaconinierie,' or 'soldiery,' who comprise a large portion of the population, and is entered into by them in so spirited a manner, that it deserves to be classed as an amusement.

The woodcut is a very faithful representation of yaconins fencing. The masks cover the whole of the head; and the arms, breast, and hips, are protected by cuirass, petticoat, &c. of leather ribbed with bamboo.

The fencing sticks are of the same length as the 'obi-todee-auf-catana,'or 'great fighting-sword.' They are made of split canes, bound tightly together, and are used with both hands.

The Japanese fence well, and deliver their points with great precision, especially an awkward downward thrust at the breast.

They deliver their cuts and points with fierce guttural exclamations, which are peculiarly disagreeable to European ears; especially when the listener is located in the vicinity of a guard-house, whose occupants notify their employment at daybreak with such cries as 'Hie-e! Ah-h! Atturah-h!' ('That's at! that's into you!') and continue this information, accompanied by the clashing of their sticks, and occasional chuckles, until late in the afternoon.

The Japanese are great frequenters of the theatres, of the interior of one of which the illustration is a very good representation—the exterior is generally very like that of the temples; and in some, the ground-floor is laid out with miniature lakes and bridges, the audience looking down on the performance from lateral and opposite galleries.

The stage is a little smaller than ours, but sometimes has a promenade through the centre of the theatre, which facilitates by-play, to which the Japanese attach great importance. The body of the house is divided into boxes, which are generally taken by family parties, who bring their provisions with them and remain all day, as the performances begin about 10 A.M. and last until late in the evening. Their plays are very tedious, although enlivened by a good deal of smartrepartéeand telling jokes, but the morality even of the most correct is very questionable. Love, of course, is the prevailing feature; and the adventures of the principal heroes contain enough bloodshed and murder to satisfy the most ardent admirer of sensation dramas. In their hand-to-hand encounters they cut and slash at one another with naked swords, which they manage very skilfully, never permitting the blades to come into contact. The female parts are performed by boys and young men, who, with the assistance of paint and powder, make admirablesubstitutes for women, though singing and dancing-girls are frequently introduced as divertissements.

Kite-flying is also a favourite amusement; and old age and childhood may frequently be seen side-by-side, tugging at soaring monsters, in the construction of which great ingenuity is displayed.

The Japanese often play with cards, which are about a quarter of the size of ours; and they are much given to gambling, although it is strictly prohibited, and, when detected, severely punished. But the most popular in-door game is & sort of combination of draughts and chess, which frequently engrosses the players for hours at a time.

Crimes against property are rare in Japan, which is owing to the high-spirited and honourable feelings that actuate all classes of the community; but from the feudal nature of the government, the small value attached to life, and the deadly weapons constantly carried, by the military classes, who are notoriously proud and revengeful, crimes against the person are very frequent.

A great check upon criminal offences is the severity of the punishments inflicted, and the disgrace entailed upon the culprit's family.

Although the laws are extremely severe, and in their administration there is neither jury nor counsel, justice is delivered with great impartiality; and the judge, who is generally the governor of the town or district in which the offence has been committed, is entrusted with considerable discretionary power.

When a prisoner is being examined his arms are bound to his sides by a rope, which also passes round his neck, the end of which is held by an official, who, if his charge prove unruly, manages him by pulls and jerks.

'Thrashemono,' or 'public exposure,' is associated with all Japanese punishments, and is said to be in itself a great preventive of crime, as the spirited Japanese dread being held up to the reprobation of their acquaintance more than they fear the extreme penalty of the law.

MODE OF CONDUCTING A CRIMINAL TO EXECUTIONMODE OF CONDUCTING A CRIMINAL TO EXECUTION

The illustration, showing the mode of conducting a criminal to execution,is an instance of 'thrashemono.' The culprit is bound on a horse, and is preceded by a placard, borne by his relatives or neighbours, and indicating his crime. In this manner he is conducted through the town to the place of execution, where his sentence is read to him. He is then placed (with his limbs still bound) over a freshly-dug hole, where he is supported by his relatives till the executioner's sword performs its task.

After execution, the heads of malefactors are generally exposed: that of Simono Sedgi (the lonin who was decapitated in the presence of the British garrison of Yokohama, for being the organizer of the assassination of Major Baldwin and Lieutenant Bird of Her Majesty's 20th Regiment) was exhibited on the public stand at the guard-house at the entrance of the town.

This man was a fair specimen of the lonin type, and was a most determined ruffian, whose whole life had been a career of crime.

When exposed in the streets of Yokohama the day preceding his execution, he conducted himself with great bravado, remarking on the improvements in the town since he last visited it, and expressing his regret that he had not killed a consul.

At the place of execution he made an impassioned speech, in which he declared that he was a gentleman by birth, and had studied the arts and sciences, and never believed the government would sacrifice a Japanese for the death of a foreigner. He said that the days would come when they would repent the encouragement they were now giving to strangers; and ended by complimenting the executioner on his well-known skill.

The lonin differs from the ordinary criminal, and is thus ably described by the highest authority on Japanese matters:4—

'As a noble or head of a house is responsible for all who are of his family, or claim his protection, when any of his people are resolved upon a desperate enterprise they formally renounce the protection and declare themselves "lonins;"—in other words, outlaws, or friendless men: afterwhich no one is responsible for their acts, and this is considered a highly honourable and proper thing to do.

The worst of this system is, that any one harbouring or assisting a lonin endangers his head; and such men are, therefore, compelled to resort to robbery and extortion as means of supporting themselves. It generally happens that this legalised method of taking the law into their own hands drives those who avail themselves of it into a series of crimes, and frequently they become the associates of common thieves.

Of the gang represented in the illustration as robbing a rich merchant's house, one or two probably are lonins, the rest being thieves in disguise.

LONINS, OR OUTLAWS, ROBBING A RICH MERCHANT'S HOUSELONINS, OR OUTLAWS, ROBBING A RICH MERCHANT'S HOUSE

The servants, kowtowing before two men, whose naked swords plainly intimate the consequences of any attempt to give alarm, or to offer resistance to their demands, have apparently been collecting all the money in the house and are laying it before the thieves. The oblong boxes are iron safes, in which the Japanese keep their money.

From the position of the other members of the gang, it is evident that they have not got all they require, and are watching something going on in the interior of the house. They have probably learnt that the merchant has to forward some money for the purchase of goods by a certain date, and know exactly how much to expect.

In the spring of 1865 the Tycoon, in levying a tax on the Yeddo merchants, congratulated them on the fact that the portion of the country under his immediate control was exempt from the depredations of lonins; but notwithstanding this statement, a robbery of the nature described took place in the capital immediately after the issue of the Tycoon's manifesto, and a lonin concerned in it gave as an excuse for his conduct, that he had learnt that the money was intended for foreigners, who were settled in the country in opposition to the laws of Gongen Sama, which had never been revoked.

With such dread are these men regarded by the non-combatant classes, that it frequently happens that one or two will go into a village and extort what they require without the slightest resistance being offered.

As a rule, Japanese punishments resemble those inflicted by the Chinese, and seem to be based on the Mosaic principle of 'an eye for an eye and a tooth for a tooth.' Arson, for instance, is punished at the stake; and a thief who endeavours to conceal the results of his robberies by burying them, has the disadvantages of that mode of concealment impressed upon him, by being himself embedded for a day or two in the ground, with only his head out—a mode of instruction that rarely requires a repetition of the lesson.

Aproposof this punishment is the testimony of an eye-witness, who, in passing the public execution place at Yeddo, noticed a head on the ground, which he supposed to have been recently struck off. He had turned away with a shudder, when a laugh from the bystanders caused him to look again, when, to his great astonishment, the head was vigorously puffing at a pipe which the facetious executioner had a few moments before been smoking himself.

The last illustration shows a man and woman undergoing public exposure for adultery—a crime which is rare in Japan and which is punished with great severity.

With such detestation is it regarded, that, in addition to all legal cognizance, the husband is permitted, in certain instances, to avenge himself by taking the lives of the offenders upon the spot.

The curious instruments depicted in the woodcut are Japanese emblems of justice and are to be seen at all the guard-houses; they are used to catch runaway offenders or to pin a drunken yaconin against a wall or house, and so facilitate the task of disarming him without danger to the captors.

Although the Japanese use torture to extract information from obstinate criminals, they employ all necessary caution to preserve life; and a doctor and responsible officer are always present when it is employed, as representativesof the respective claims of humanity and justice. A singular punishment, to which only the nobles of the country are liable, is secret banishment to the island of *Fatzisiu, which is situated on the northern coast of the empire. It is small and barren, rising perpendicularly from the sea. The only communication with it is by means of a basket, which is lowered from an overhanging tree to the water, a distance of about fifty feet.5From this island there is no return, and the unhappy, incarcerated nobles, are compelled to support themselves by weaving silks, which are the most beautiful the country produces. A junk visits the island once a-year, when the silks are exchanged for provisions.

The Sintoo faith and Buddhism are the prevalent religions of the Japanese. The teaching of the other sects is modelled more or less on the tenets inculcated by these two. Some, however, hold a philosophic doctrine, which recognises a Supreme Being but denies a future state, holding that happiness is only to be insured by a virtuous life.

Sintooism may be regarded as the national religion of the country. It inculcates a high moral standard; and its chief personage is the Mikado, or spiritual emperor, who is considered to be a mediator between his subjects and the inhabitants of the other world.

Every Sintoo has the image of a patron 'kami,' or 'saint,' enshrined in his house, to which he lays open his necessities and confesses his shortcomings, and by whose intercession with the Supreme Being he trusts at his death to be translated to the regions of the 'kamis,' as they designate their heaven.

The wicked are supposed to be consigned to the abodes of the disembodied spirits, who are punished according to the nature of their crimes. For instance, saki merchants who have sold bad spirit are believed to be confined in stagnant pools; and murderers are supposed to haunt the graves of their victims, until the prayers of their relatives release them. Purity of life and body is the leading feature of the Sintoo faith. As an emblem of the natural purity of the soul, mirrors are hung up in the temples; andthe more ignorant people (who in Japan, like every other country, are most influenced by superstitions) believe, as they look into the mirror, that the Supreme Being sees their past lives as easily as they do their own faces. The value attached to indulgences and charms is very great, and the sale of them contributes largely to the revenues of the Mikado. Charms are eagerly purchased by the lower orders, who carry them about their persons, and never let anybody touch them except themselves.

At a tea-house at Kamakura, one of these charms was accidentally dropped by a lively little 'moosmie,' or 'girl,' who was waiting on a party of foreigners. One of them picked it up, and was on the point of opening the small box in which it is placed for safety when she discovered the loss, and made a desperate rush for its recovery. On finding the importance attached to it, the 'friske,' as she called it, was handed round the group as she eagerly darted after it; and on one of the party pretending to light a cigar with it she burst into tears, and was not to be pacified until it was restored.

A religious observance of great importance with the Japanese is 'Osurasma,' or 'praying a soul out of purgatory,' as they wisely consider that even the most holy must have some small peccadilloes to answer for.