of paper in a pile on my desk and carefully wiping every article in my ink-box with a square of silk. Reverence for learning was so strong in Japan at that time that even the tools we used were considered almost sacred. I was supposed to do everything for myself on this day, but my kind Ishi hovered around me, helping in every way she could without actually doing the work herself. Finally we went to the porch overlooking the garden. The snow was deep everywhere. I remember how the bamboo grove looked with its feathery tops so snow-laden that they were like wide-spread umbrellas. Once or twice a sharp crack and a great soft fluff of spurting snow against the gray sky told that a trunk had snapped under its too heavy burden. Ishi took me on her back and, pushing her feet into her snow-boots, slowly waded to where I could reach the low branch of a tree, from which I lifted a handful of perfectly pure, untouched snow, just from the sky. This I melted to mix for my penmanship study. I ought to have waded to get the snow myself, but—Ishi did it.
Since the absence of bodily comfort meant inspiration of mind, of course I wrote in a room without a fire. Our architecture is of tropical origin; so the lack of the little brazier of glowing charcoal brought the temperature down to that of outside. Japanese picture-writing is slow and careful work. I froze my fingers that morning without knowing it until I looked back and saw my good nurse softly crying as she watched my purple hand. The training of children, even of my age, was strict in those days, and neither she nor I moved until I had finished my task. Then Ishi wrapped me in a big padded kimono that had been warmed and hurried me into my grandmother's room. There I found a bowl of warm, sweet rice-gruel made by my grandmother's own hands. Tucking my chilled knees beneath the soft, padded quilt that covered the sunken fire-box I drank the gruel, while Ishi rubbed my stiff hand with snow.
Of course, the necessity of this rigid discipline was never questioned by any one, but I think that, because I was a delicate child, it sometimes caused my mother uneasiness. Once I came into the room where she and Father were talking.
"Honourable Husband," she was saying, 'I am sometimes so bold as to wonder if Etsu-bo's studies are not a little severe for a not-too-strong child."
My father drew me over to his cushion and rested his hand gently on my shoulder.
"We must not forget, Wife," he replied, "the teaching of a samurai home. The lioness pushes her young over the cliff and watches it climb slowly back from the valley without one sign of pity, though her heart aches for the little creature. So only can it gain strength for its life work."
Because I was having the training and studies of a boy was one of the reasons why my family got in the habit of calling me Etsu-bo, the termination bo being used for a boy's name, as ko is for a girl's. But my lessons were not confined to those for a boy. I also learned all the domestic accomplishments taught my sisters—sewing, weaving, embroidery, cooking, flower-arranging, and the complicated etiquette of ceremonial tea.
Nevertheless my life was not all lessons. I spent many happy hours in play. With the conventional order of old Japan, we children had certain games for each season—the warm, damp days of early spring, the twilight evenings of summer, the crisp, fragrant harvest time, or the clear, cold, snow-shoe days of winter. And I believe I enjoyed every game we ever played—from the simple winter-evening pastime of throwing a threaded needle at a pile of rice-cakes, to see how many each of us could gather on her string, to the exciting memory contests with our various games of poem cards.
We had boisterous games, too, in which a group—all girls, of course—would gather in some large garden or on a quiet street where the houses were hemmed in behind hedges of bamboo and evergreen. Then we would race and whirl in "The Fox Woman from the Mountain" or "Hunting for Hidden Treasure"; we would shout and scream as we tottered around on stilts in the forbidden boy-game of "Riding the High-stepping Bamboo Horse" or the hopping game of "The One-legged Cripples."
But no outdoor play of our short summers nor any indoor game of our long winters was so dear to me as were stories. The servants knew numberless priest tales and odd jingles that had come down by word of mouth from past generations, and Ishi, who had the best memory and the readiest tongue of them all, possessed an unending fund of simple old legends. I don't remember ever going to sleep without stories from her untiring lips. The dignified tales of Honourable Grandmother were wonderful, and the happy hours I spent sitting, with primly folded hands, on the mat before her—for I never used a cushion when Grandmother was talking to me—have left lasting and beautiful memories. But with Ishi's stories everything was different. I listened to them, all warm and comfortable, snuggled up crookedly in the soft cushions of my bed, giggling and interrupting and begging for "just one more" until the unwelcome time would arrive when Ishi, laughing but stern, would reach over to my night lantern, push one wick down into the oil, straighten the other, and drop the paper panel. Then, at last, surrounded by the pale, soft light of the shaded room, I had to say good-night and settle myself into the kinoji, which was the proper sleeping position for every samurai girl.
Samurai daughters were taught never to lose control of mind or body—even in sleep. Boys might stretch themselves into the character dai, carelessly outspread; but girls must curve into the modest, dignified character kinoji, which means "spirit of control."
CHAPTER IV
THE OLD AND THE NEW
IWAS about eight years old when I had my first taste of meat. For twelve centuries, following the introduction of the Buddhist religion, which forbids the killing of animals, the Japanese people were vegetarians. In late years, however, both belief and custom have changed considerably, and now, though meat is not universally eaten, it can be found in all restaurants and hotels. But when I was a child it was looked upon with horror and loathing.
How well I remember one day when I came home from school and found the entire household wrapped in gloom. I felt a sense of depression as soon as I stepped into the "shoe-off" entrance, and heard my mother, in low, solemn tones, giving directions to a maid. A group of servants at the end of the hall seemed excited, but they also were talking in hushed voices. Of course, since I had not yet greeted the family, I did not ask any questions, but I had an uneasy feeling that something was wrong, and it was very hard for me to walk calmly and unhurriedly down the long hall to my grandmother's room.
"Honourable Grandmother, I have returned," I murmured, as I sank to the floor with my usual salutation. She returned my bow with a gentle smile, but she was graver than usual. She and a maid were sitting before the black-and-gold cabinet of the family shrine. They had a large lacquer tray with rolls of white paper on it and the maid was pasting paper over the gilded doors of the shrine.
Like almost every Japanese home, ours had two shrines. In time of sickness or death, the plain wooden Shinto shrine, which honours the Sun goddess, the Emperor, and the nation, was sealed with white paper to guard it from pollution. But the gilded Buddhist shrine was kept wide open at such a time; for Buddhist gods give comfort to the sorrowing and guide the dead on their heavenward journey. I had never known the gold shrine to be sealed; and besides, this was the very hour for it to be lighted in readiness for the evening meal. That was always the pleasantest part of the day; for after the first helping of our food had been placed on a tiny lacquer table before the shrine, we all seated ourselves at our separate tables, and ate, talked and laughed, feeling that the loving hearts of the ancestors were also with us. But the shrine was closed. What could it mean?
I remember that my voice trembled a little as I asked, "Honourable Grandmother, is—is anybody going to die?"
I can see now how she looked—half amused and half shocked.
"Little Etsu-ko," she said, "you talk too freely, like a boy. A girl should never speak with abrupt unceremony."
"Pardon me, Honourable Grandmother," I persisted anxiously; "but is not the shrine being sealed with the pure paper of protection?"
