Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-07-23
KISSING G.
By Etsu Inagaki Sugimoto

NNE time went with several friends to
~ see a modern play in which there was
great deal of what Americans call 'love-
making" Afterward we went to supper
and were discussing the play, when some one
said:
is It really true that in Japan there is no
kissing-even between husband and wife?'
There is bowling you know" l replied.
That Is our mode Of heart expression"
But you don't mean that your mother
never kissed you - exclaimed one young lady.
What did she do when you came to
America"
only bowed" answered, land then she
said very gently. "A safe journey for you, my
daughter"
I had not been here long enough then to
understand the peculiar expression which
came over my friends face. nor the moments
silence that followed before the conversation
drfted into other channels.
JAPANESE people are very undemonstra-
y tive. We are taught that strong emo
tional expression is not consistent with ele-
gance and dignity. But that does not mean
that we try to repress our feelings-only the
expression of them. Bowing is not only a
bending of the body; 1t has spiritual side
also. One does not bow exactly the same to
father. younger sister, friend, servant and
child. My mothers long. dignified bow and
gentle-voiced farewell held no lack of deep
love. ! felt keenly each heart throb and
every other person present also recognized
the QepIn OF NluQen emotion. UHlu ldtc
years the repression of any appearance Of
strong emotion was carefully drilled into the
mind and life of every Japanese child of the
better class. There Is much more freedom
now than formerly, but the influence of past
training is seen everywhere-in art. in litera-
ture, on the stage and in the customs Of
daily life Artists paint the autumn moon.
which every Japanese adores, but he wraps
the brilliant disk within a veil OF cloud
Novelsts lead the readers TO the borders Of
the enchanted land, then just at the crisis
leave them to complete the journey by them
selves in the realm of Imagination. On the
stage our love, scenes are generally so demure
and quiet that American audience would
ever be thrilled, but the dignified bearing of
those taking part has a stronger effect on
Japanese audience than would the most
ardent and eloquent rawlings.
WHEN saw Ellen Terry In "The Mer-
w chant Of Venice IT was one of the great
disappontments of my life. I had been quite
excited over seeing for the first time west
ern actress of worldwide fame. and had
formed n picture in my mind of a modest
young doctor of laws, who would walk across
the stage with slow-moving ceremony and
with grave dignity deliver the wonderful
monologue OF course. I unconsciously pic
tured the Japanese ideal.
Instead tall figure in scarlet gown and
cap. which looked to me, like the dress of a
clown, swept on to the stage with the free
dom and naturalness that belong only to
common class people in Japan. Portia
talked too loud and fast for a lady Of ele-
gance and culture. even in disguise. And
the gestures-oh. most of all, the vigorous
manlike gestures IL had no impression but
one Of shocked surprise.
The beautiful moonlight scene where
Jessica meets her lover and also the last act.
where the two husbands recognize their
wives. were full of too many kisses and
seemed to be most indelicate. wished I
was not there to see It.
/ know now how ignorant I was. but
| then-just as japanese actions are SO often
misunderstood by Americans-my face GRIM
| soned over what to an American would be
most innocent and perhaps beautiful
| THE Japanese lack Of demonstration ext
i tends deeply into the customs of daily
| life. With all the cheerful hospitality and
| friendliness of everyday intercourse there Ia
| certain stiffness of etiquette which holds
| in check all exuberance of expression 1t
dictates the ceremonies Of birth and the cere-
monies Of death and guides everything be-
| tween-working playing, eating. sleeping.
| walking. running, laughing. crying Every
| motion Is chained--and by ones own wish
with the shackles Of politeness. A merry girl
| will laugh softly behind her sleeve, hurt
| child chokes back his tears and sobs out, II
| am not crying q stricken mother will smile
| as she tells, you that her child is dying and a
| distressed servant wtll giggle as she con-
| fesses having broken your treasured piece OF
china, This 10 most myedeytng 70 tor
keiguer, VT TN ~ oqlx 0fne - -
. M, I1 m u.