Senké and the Merchants' Dinner
than quinine, twelve spoonfuls of powdered tea being the measure used. This was his koi cha. The usu cha was a less strong decoction, demanding a simpler ceremony, and was served in a bowl passed around for all to sip from in turn. Previous study enabled us to note intelligently every movement of the old master, and the significant position of each thumb and finger, hand, elbow, and wrist, as the venerable artist of cha no yu exemplified the grace and niceties of the “outward” school.
At the proper time we asked the history of the implements used in the ceremony. The na tsume, or tea-bowl of Raku ware, in Jo-o shape, belonged to Rikiu, Jo-o having been the teacher of Rikiu, and the arbiter of the form of many implements of cha no yu. The little bamboo slip with a flat, curved end, which lifted the powdered tea from its box, was cut by Rikiu. It bears no decoration or mark, and is of the ordinary shape; but this commonplace cha shaku cannot be bought for even two hundred dollars. The Emperor Komei, father of the present Emperor, was taught by the elder Senké, and bequeathed to his master various autographs and an incense-box of great antiquity. Driven though he is by the spirit of innovation and progress, the present Emperor occasionally enjoys a few quiet hours at cha no yu. The Empress is most accomplished in its ceremonial, and delights in the little poems which guests are always expected to write for the host.
When the moment arrived for the production of these tributes at Senké’s tea, our Japanese friends dashed them off in an instant, as if, with the return to their ceremonial silk gowns, they had returned to the habits of thought of old Japan, when poetry filled the air. But one of them whispered, to encourage us, “I have been thinking it these two weeks.”
With regret we saw cha ire (tea-caddy), cha wan (tea-
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