Jinrikisha Days in Japan
wheels up for the first turn. The corner posts and upper railings of the dasha are lacquered in black or red, and finished with plates of open-work brass, or elaborately-gilded carvings. The sides are hung with curtains of rich old brocade or painted cloth, and the railed top is a stage, on which puppet-shows and tableaux represent scenes from mythology and legend. On one car Raiden, the red Thunder God, mounted on a rearing charger, shook his circle of drums, and Suzume, the priestess, repeated her sacred dance before the cave. Comic scenes took best with the audience, however, and the jolly old shojo, men who come up from the bottom of the sea for a revel on shore, wearing mats of bright red hair and gowns of gorgeous brocade, were received with greatest favor. They ladled out saké from a deep jar, and finally stood on their heads on the rim of the jar and drank from the depths. There were only twelve dasha in line, but they stopped every fifty feet while the puppets were put through their performances.
Succeeding the cars came a daimio’s train, preceded by heralds in quaint, mediæval costume, and presenting every phase of the old-time parade. Chinese sages and instructors, Korean prisoners, falconers and priests walked in line after the daimios, who were mounted on horses half hidden in clumsy but beautiful old trappings. The men in white silk gowns and lacquer hats, who took the daimios’ places at the head of the line, are descendants of those great families of the province, whose members have ridden in Nagoya’s matsuri parades for centuries. After them came an endless line of men in armor, the suits of mail being either heirlooms of the wearers or provided from the rich stores of such things owned by the temple. The armor surpassed the treasures of curio shops, and the dents and cuts in the cuirasses and helmets attested their antiquity. Having sat from eleven o’clock until three in the upper room with the family of
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