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CHAPTER IX. PEASANT WOMEN. - 3

In considering this great héimin class, it is well to remember that the artisans, who form so large a part of it, are also the artists who have made the reputation of Japan, in Europe and America, as one of the countries where art and the love of[236] beauty in form and color are still instinct with life. The Japanese artisan works with patient toil, and with the skill and originality of the artist, to produce something that shall be individual and his own; not simply to make, after a pattern, some utensil or ornament for which he cares nothing, so long as a purchaser can be found for it, or an employer can be induced to pay him money for making it. It seems as easy for the Japanese to make things pretty and in good taste, even when they are cheap and only used by the poorer people, as it is for American mills and workers to turn out endless varieties of attempts at decoration,—all so hideous that a poor person must be content, either to be surrounded by the worst possible taste, or to purchase only such furnishings and utensils as are entirely without decoration of any kind. "Cheap" and "nasty" have come to be almost synonymous words with us, for the reason that taste in decoration is so rare that it commands a monopoly price, and can only be procured by the wealthy. In Japan this is not the case, for the cheapest of things may be found in graceful and artistic designs,—indeed can[237] hardly be found in any designs that are not graceful and artistic; and the poorest and commonest of the people may have about them the little things that go to cultivate the æsthetic part of human nature. It was not the costly art of Japan that interested me the most, although that is, of course, the most wonderful proof of the capacity and patience of individuals among this héimin class: but it was the common, cheap, every-day art that meets one at every turn; the love for the beautiful, in both nature and art, that belongs to the common coolie as well as to the nobleman. The cheap prints, the blue and white towels, the common teacups and pots, the great iron kettles in use over the fire in the farmhouse kitchen,—all these are things as pretty and tasteful in their way as the rich crêpes, the silver incense burners, the delicate porcelain, and the elegant lacquer that fill the storehouse of the daimiō; and they show, much more conclusively than these costlier things, the universal sense of beauty among the people.

The artisan works at his home, helped less often by hired laborers than by his own children, who learn the trade of their[238] father; and his house, though small, is clean and tasteful, with its soft mats, its dainty tea service, its little hanging scroll upon the walls, and its vase of gracefully arranged flowers in the corner; for flowers, even in winter and in the great city of Tōkyō, are so cheap that they are never beyond the reach of the poorest. In homes that seem to the foreign mind utterly lacking in the comforts and even the necessities of life, one finds the few furnishings and utensils beautiful in shape and decoration; and the money that in this country must be spent in beds, tables, and chairs can be used for the purchase of kakémonos, flowers, and vases, and for various gratifications of the æsthetic taste. Hence it is that the Japanese laborer, who lives on a daily wage which would reduce an American or European to the verge of starvation, finds both time and money for the cultivation of that sense of beauty which is too often crushed completely out of the lower classes by the burdens of this nineteenth century civilization which they bear upon their shoulders. To the Japanese, the "life is more than meat," it is beauty as well; and this love of beauty has[239] upon him a civilizing and refining effect, and makes him in many ways the superior of the American day-laborer.[*]

The peasants and farmers of Japan, thrifty and hard-working as they are, are not by any means a prosperous class. As one passes into the country districts from the large cities, there seems to be a conspicuous dearth of neat, pleasant homes,—a lack of the comforts and necessities of life such as are enjoyed by city people. The rich farmers are scarce, and the laborers in the rice-fields hardly earn, from days of hardest toil with the rudest implements, the little that will provide for their families. In the face of heavy taxes, the incessant toil, the frequent floods of late years, and the threatening famine, one would expect the poor peasants to be a most discouraged and unhappy class. That all this toil and anxiety does wear on them is no doubt true, but the laborers are always ready to bear submissively whatever comes, and are always hopeful and prepared to enjoy life again in happier times. The charms of the city tempt them sometimes to exchange their daily labor for the excitement of life as jinrikisha men; but in any case[240] they will be perfectly independent, and ask no man for their daily rations.