Dote-bushi no koto oyobi Hayari-uta. [Dote-bushi (songs) and popular songs.]

Nowadays, a visitor to the Yoshiwara usually hurries there in a jinrikisha, drawn by a couple of agile and sprightly young fellows who rush along like the wind, brandishing their lanterns and giving vent to unearthly yells as they run. In former days, in contrast to the present time, a visitor rode slowly to the quarter on the back of a white horse caparisoned in white and red, the animal being led by two mago (grooms) who sang komuro-bushi in turn as they walked. The charges from Nihon-bashi to the Ōmon (gate-way) were 348 mon (34 sen 8 rin) including the fee for singing!

There were in the Genroku (1688–1704) and Teikyō (1684–1687) eras many popular songs such as the nage-bushi, tsuyi-bushi, magaki-bushi, kaga-bushi of Uji Kagajō, tanzen, numeri-utu, rōsai, etc. In the beginning of Kwambun (1661–1673) a song called the “Dote-bushi” (embankment song) came into vogue, its name being derived from the fact that it was generally sung while people walked on the embankment. The words were about as follows:—

“Though it is such an out-of-the-way place, yet when I think of the place of your abode it is dearer to me than a gallery of precious jewels. Pray do not laugh at me in not paying heed to what others may think or say. Rumours may spread.”

The “Dōbō Goyen” (洞房語園) says that the above mentioned dote-bushi was composed by an old man named Odaka Josuisai who lived at the foot of Matsuchi-yama. This old gentleman was also accredited with having written many other popular dote-bushi songs which were sung by men belonging to the associations (kumi) of otoko-date, such as the Roppō-gumi, Sekirei-gumi, Yoshiya-gumi, Kanabō-gumi, Daishō-jingi-gumi, Tōken-gumi, etc. It is said that three of these songs remained popular up to the 2nd year of Bunkwa (1805), and that two of them ran as follows:—

“Yesterday was a jolly day, but somehow or other to-day seems gloomy. Shall we send for Wadadsumi (sea deity) or Shusubiin (?). There is something much better than these. What is it? We have left behind the fruit of an egg-plant painted with beni. Where? It was drawn somewhere at the funa-yado. Set your wits to work Bekuzō: have you no good ideas about the matter? I have none, absolutely none. I have no concern at all in the matter. The path of love, after all, is a weary one. Last night when in the Yoshiwara I learned a popular song, but I cannot remember either the beginning, middle, nor end of it.

Thinking I might forget it, I got it written down, but even the paper on which it was written I left at the entrance of my house. It is just the same with justice and reason. It is by no means amusing.”

There are only a few people who know whether the notes of these songs still remain in the miscellaneous songs of to-day. The air of the “Yoshiwara Suzume” seems to have been derived from the dote-bushi, owing to the composition of Hara Budayū who from his infancy used to recite these songs and attained great proficiency in singing them as he grew up. The preservation of the dote-bushi note to this day—after the lapse of two centuries—must be attributed to him.

In a light song in vogue in the Yoshiwara about the era of Kwambun (1661–1673), which was also popular even outside the quarter, it is said:—

“The shaven-pated taiko-mochi (jester) Kōhei, wearing a long haori (over garment), goes strutting round the place.”

In a song sung by hōkan about the same period are the words—“It being very lonely we looked out at the brothels. In another direction the tinkling of samisen and the sound of merry voices is heard. Who are these ladies wearing broad satin or damask obi? Let us ask their names. Who are they? They are Taka-o, Usugumo, Shibazaki, Tsushima, Yatsuhashi, Karasaki, and Yoshino. After having seen these beauties, our wives looked like the ghosts of Suzuki-chō. Having fed and clothed them, and left them at leisure, the beauty of these courtesans excels the celebrated cherry-blossoms of Yoshino. Well, well, I met with a remarkably lovely damsel. I rushed upon her with my javelin and we wrestled together right valiantly, then I pretended to be in my cups, and went round annoying everybody in the same manner as the plant-louse injures and vexes the azalea.

Do you support your parents? I am a night watchman; if you have compassion upon me pray speak to me. If possible give me your help.

The simpleton who has been jilted by the girl he fancies screens his face with a haori. Is there any girl who will become his partner? No doubt but that some Kendon (low class strumpet) will be found for him; taiko-mochi will negotiate for him.”

The fact that during the era of Kwambun (1661–1673) visitors to the Yoshiwara rode there on the backs of white horses, having the leaders of the animals sing the komuro-bushi, is well-known to the general public. The komuro-bushi songs were generally sung by the horse coolies on the Tōkaidō when they were carrying the baggage of daimyō passing to and from Yedo. Originally the songs appear to have begun in Mikawa province, and since the emigration of the people of that province to the East, when the Tokugawa family moved to Yedo, they resided in Mikawa-shima, Toshima-gōri, Musashi Province, and the songs gradually spread among their descendants. The most popular one is: “How pretty are the beautifully dyed reins of the horses which go up and down carrying baggage! It is the habit of the mago (horse-leaders) to accompany the sound of the horse-bells by singing in aloud voice—‘When one passes through Yoshida, somebody dressed in a long-sleeved garment of kanoko beckons him from the second story.’”

The notes of these songs are still remembered by some persons. Singers of komuro-bushi in the old days may be compared to the people who go round the brothels nowadays singing ribald songs, hōkai-bushi, and hayari-uta.