Meiri

**Meiri** [设欺; めいり] was the name given to high-ranking or noble Kantonese courtesans. Divided into a number of ranks within this category, meiri were considered to above common prostitutes, known as *yūya* (物女). Though meiri by definition engaged in prostition, they were distinguished by their skills in the traditional arts, with the highest-ranking women being able to choose which customers they accepted, or even being able to take long-term lovers. Once a meiri earned back her debt and reached a certain level of prestige, she would be able to retire and live out the rest of her life in peace and luxury - although unfortunately, it was difficult for most women to achieve this.

The term meiri first appeared in the 14th century to describe prostitutes who were particularly prized or sought after, reknowned for their unique abilities, talents or beauty. However, by the 1500s it was used to describe high-ranking sex workers who were trained or educated in activities such as playing music, singing, dancing and writing.

The services of the meiri were known for being exclusive and expensive. They typically only entertained the wealthy upper classes of society, and were famously able to steal the hearts and match the wits of aristocratic men. Many meiri became celebrities both inside and outside of their pleasure quarters, and were commonly depicted in artwork and as characters in theatre. By the beginning of the 1400s, it was common for wealthy and powerful upper-class men to take on meiri as their concubines or private courtesans, whisking her away from the brothel and paying off her debts. These men were called *ōtōmi* [literally, 'one who brings you to the big house'].

Along with offering sexual services, meiri were expected to be well-versed in the traditional arts of singing, dancing and playing music; in fact, there was a specific kind of flute called the *fukomi* which was often played by meiri and heavily associated with pleasure-district culture. Alongside these abilities, courtesans were also expected to be articulate and intelligent, able to discuss any topic with their client in formal and eloquent language.

Though regarded as trend-setting, fashionable women at the historical height of their professions, meiri were later usurped in the 18th and 19th centuries by *senkō*, who appealed to the growing, wealthy merchant classes. The popularity and numbers of meiri began to decline steadily throughout the 1800s, before prostitution was eventually outlawed in Kanton in 1963. However, some of the remaining meiri across the country were able to continue practicing their performing arts, declared as a 'antiquated variety of senkō.

## Etymology

The word *meiri* consists of two characters: 设 [*mei*], meaning 'flower', and 欺 [*ri*] meaning 'as', 'seeming' or 'like'. Therefore, when literally translated, the term means 'one who is like a flower'. Flowers were often thought to be the symbol for both feminine beauty and sexuality in Kantonese history, and so this name alludes to both the attractiveness and the alluring qualities of the meiri themselves.

## Culture

### Traditional arts

The primary purpose of normal, low-ranking prostitutes [*yūya*] was to provide sexual services and earn enough money to pay back their debts. Meiri, in general, had a more relaxed, luxurious and sophisticated career and lifestyle. Having proved their worth by paying their debts and often making profit for their brothel, they were allowed to train as performers and entertainers to further increase their value. Since most *yūya* were recruited at 14 or 15, girls would often hope to earn the rank of meiri by the age of 18 or 19. Once a *yūya* prostitute surpassed the age of twenty, she was considered too old to become a meiri, and her opportunity was lost forever.

Those lucky few who managed to become higher-ranking courtesans were trained in the arts of performing, which included singing, dancing, playing music and reciting poetry. Calligraphy, letter-writing, and sometimes basic composing or painting were also taught. Instruments used by the meiri were restricted and soon became heavily associated with their business - the *fukomi*, a long thin flute with a reedy tone, a hand-drum known as *hazari*, a stringed instrument resembling a shamisen called *yasana* and a set of cymbals called *kanpa*. Most performances would feature all of these instruments, or else only one as a solo act. Clients expected meiri to be able to sing most popular songs and recite any famous poem, and they were also expected to be sharp and quick-witted, able to match any man with eloquence and intelligence.

Songs and poems were also occasionally written and composed by meiri themselves to be performed for clients, and these often centred around themes of romance, beauty and longing. The bawdiness of a dance performance was decided by how many cups of *gizan* had been consumed during the session, meaning that the longer a customer stayed, the more likely he was to see a more indecent dance, and the more inclined the meiri would be to perform it.

### Ranks

Within the pleasure quarters, a meiri's prestige was based on her beauty, character, education and artistic ability. Unlike senkō or common sex workers, she could be promoted or demoted by the owner of her brothel, and it was possible for her to lose the rank of meiri entirely if she committed an offense [this could be an accidental pregnancy, or the sabotage of one of her 'sisters']. A newly-admitted meiri would often undergo a trial period of two weeks, during which she would be given the opportunity to prove her worth and convince her brothel manager that she deserved the promotion. If she failed this test, she would not be allowed a second chance.

In addition, new meiri [often referred to as *hanmei*] would be expected to act subserviently to older, more experienced courtesans and show them due respect. They would often do tasks and errands for older women in order to be taught humility. Hanmei also underwent a ritual called *kannaiki*, during which their virginity would be bid upon through auction.

The women with the highest levels of prestige and fame were called *ukihana*, and were able to refuse clients or take on lovers without damaging their reputations. Their fee for one evening was measured by the burning of incense. One stick equalled one half-hour, and the client would have to pay according to the amount of incense burned by the end of the night. For a session of 4-5 hours, perhaps from seven o'clock until eleven o'clock at night, an ukihana could demand the equivalent of roughly £900. On paper, this price was justified by the expense of the incense.

However, it was very uncommon for even the well-respected courtesans to reach the level of ukihana. Garnering enough prestige, skill and fame, along with being beautiful, eloquent, and charming enough to everyone's taste, was difficult and required a lot of luck.

Most meiri worked the same hours as common prostitutes, often entertaining many different clients for up to 18 hours a day. The main difference was that they were met with a certain amount of respect and approval for their skills in performing, and had the opportunity to meet rich, influential *ōtōmi* who might decide to take them as a concubine and give them a better life.

### Appearance

The appearance of the meiri was markedly different from that of the average woman or the common prostitute, reflecting upper class tastes and the expectations of customers. At the height of meiri popularity in the 1600s, they would wear an abundance of hair accessories and ornaments, jewellery made from precious metals and gems, and large, elaborate wigs [*donmi*] in specific styles denoting their courtesan status. The wearing of these items, especially *donmi*, helped to distinguish the meiri from their lower *yūya* counterparts.

A meiri's outfit typically consisted of a heavily layered robe, heavily decorated on the outercoat with silk satin or brocade, the sleeves of which would reach down to her knees. When attending a particularly formal or high-brow event, or performing for a special occasion, it was common for courtesans to wear eight-inch-tall wooden clogs, known as *habutsu*, along with large headdresses fixed onto their wigs. Long cape-like garments made of fluttering sheer silk were also popular. Wearing *habutsu* forced the woman to take small, slow steps while walking, and she was often accompanied by a *shōshin* servant, usually a male prostitute or light entertainer, to assist her in case she stumbled. But when walking in the street or paying a casual visit, meiri would wear normal three-inch-tall clogs, and were often simply dressed, only identifiable by their elaborate hairstyles and distinctly high-quality clothing.

In terms of make-up, meiri were discouraged from caking their faces in paints and powders: thick make-up among prostitutes was associated with open solicitation and the concealment of ugliness, and therefore considered distasteful and unattractive. A courtesan would lightly dust her face with a white powder, leaving her forehead, ears, hairline and neck untouched. Eyebrows were shaved off to invoke an unreadable, somewhat innocent look. A thick line of kohl was drawn under each eye. Lipstick was not traditionally used until the 1500s, when it then became quite popular but was only applied to the inner creases of the mouth. In the 1600s, make-up became popular in conveying certain emotions or personas on a meiri's face, a trick taken from senkō practices. Up-turned eyebrows and heart-shaped lipstick was a particularly popular look, which was thought to give an appearance of innocence and youthful sensitivity. From the 1750s, the addition of a fake mole or beauty spot became an extremely pervasive trend.

## History

The profession of meiri arose in the late Nittori period [1000-1300], as a rise in the popularity of prostitution and casual sex gave birth to thriving red-light districts in many major cities and towns throughout Kanton. Although the common *yūya* was typically found walking the streets and charging cheap prices for a basic experience, meiri were girls who had the monopoly of beauty and elegance, and were often promoted by their brothels. By the early 15th century, meiri were no longer considered equal to *yūya* and a celebrity subculture was beginning to develop. However, since pleasure districts were often isolated from the larger part of a city and had a kind of insular atmosphere, meiri never really became known to the outside world.

Because of their isolation, the rigidity of their contracts as prostitutes - which often ran for a decade or so - and their inability to seek a life outside their home district, meiri were generally perceived as being outdated and overly traditional by the late 18th century. Further and further removed from popular society, bound by their strict rules of etiquette, behaviour and speech, meiri represented an old and restrictive world. Combined with their financial inaccessibility to most people, this created a vacuum of lost entertainment for the rising merchant classes, whose high wealth and low social status made them unable to hire meiri. During this time, many turned to the newly-emerging class of female entertainers, senkō, who provided even more amusement and fun at a cheaper price, and without the binding etiquette.

Over time, meiri also lost their celebrity status in wider society, or what little of it had ever been there. Art and poetry depicting meiri was viewed as old-fashioned and outdated by the early 1700s; it was also thought to be rather vacant and unengaging. A common view of meiri as 'caged birds' emerged, indentured women who were unable to leave the pleasure districts and remained chained to the debts they owed their brothel. In addition to this, authorities were beginning to clamp down on the excessive tastes of the aristocratic upper classes; prostitution was beginning to be seen as a sinful industry in which both men and women fell from grace and their hearts were corrupted. In this somewhat puritanical atmosphere, senkō became ever more popular.

The entertainment that meiri offered had remained mostly unchanged for hundreds of years. Though meiri played musical instruments just like senkō, they did not play the popular and contemporary tunes composed at the time, instead sticking to longer, verse-heavy ballads called *ayõ*, which had refined yet restrained lyrical content and were considered stale and old-fashioned. In contrast, the genre of *yayō*, upbeat contemporary music favoured and sung by senkō, had more heartfelt and honest sentiments while still being easy to dance to.

### Competition with senkō (18th century onwards)

As the wealthy merchant classes of the Nata period grew in wealth and appreciation of the arts, they became the main patrons of senkō, who represented both social and financial accessibility in a way that meiri did not. Senkō were generally fun and outgoing, informal in their conversations and friendly to all their customers - in contrast with the demure, straitlaced meiri, who spoke in honourifics and seemed bound to their etiquette. Interactions with the latter was awkward and jarring for the merchant class.

Though senkō worked within the pleasure districts as meiri did - and at times were forbidden to work outside of them - they represented a completely different world and in fact, a changing society. The differences between meiri and senkō became more noticeable when laws were passed. Senkō could not sleep with clients; they were forbidden from dressing 'immodestly' or 'showily' so as not to incite lust from their patrons, and they were also required to work eight hours a day. Still, senkō were considered more desirable for their lack of refinement, and their abandonment of an elaborate, uptight image was endearing to the marchant classes.

From a female perspective, too, the life of a senkō performer was much more desirable than that of a meiri. For a start, achieving the rank of meiri was a difficult and painstaking climb, depending mostly on one's fortune or lack therefore; training to become senkō was comparatively easier. The obvious advantage of being senkō was the fact that the profession did not involve sex work. And in wider society, prostitution was becoming more and more perceived as a dirty profession. Many people no longer felt interested in the 'tasteful' prostitution that meiri offered; the idea of there being any such thing was almost hard to stomach. Additionally, paying for sex was now associated with the lower classes, who were often considered too 'base' to prevent themselves from following such perverted desires.

Additionally, senkō were known to generally have more freedom. Senkō were able to take lovers, choose their patrons, and generally had lower debts that meiri did, which made them less beholden to their managers. Unlike meiri, senkō were not considered physical property owned by their employers. Though many senkō went into further debt with their managers, few found themselves in situations of financial domination and insecurity which many of even the most respected meiri were bound to.

### Twilight years (1912-1963)

Towards the dawn of the Daisei period, the meiri continued to dwindle in popularity as senkō grew in number and appeal. By the beginning of the 1910s, official attitudes towards prostitution in Kanton had changed, and it was generally frowned upon much more than ever before. By 1935, any prostitute caught outside of a certain district or curfew could be fined, or even inprisoned.

Senkō had firmly replaced meiri as the entertainer of choice for the wealthiest in Kantonese society, with the once-vibrant allure of the meiri in their old-fashioned finery and donmi now considered remote and undesirable. Meiri continued to see clients within the old pleasure quarters, but their rather uptight and bloodless act particularly during sex was not popular with contemporary trends. The culture surrounding meiri was dealt its final blow in 1963 with the Anti-Prostitution Law - after which the profession of high-ranking courtesan, sex services and all, was made illegal.