Alice A. Parmelee Morris

Summary

Alice A. Parmelee Morris Dragons and Cherry Blossoms (1896)

You have heard much of the sunshine and the flowers, the tea-drinking, and the various æsthetic touches of Japanese life, so it may be somewhat disillusioning to learn that there are other points of view. This thought forces itself upon my mind whenever I think of our watery journey to Nara,—for it rains in Japan. The days can be cold and dark, hotel accommodations can be scanty, and foreigners can take a long and hungry railroad ride, and have impressions that they do not care to put down in a book of travels.
Source: Gutenberg

Alice A. Parmelee Morris Dragons and Cherry Blossoms (1896)

The dejected air that suddenly spreads over his face is the kind of which a Japanese merchant is alone capable. He gives a great sigh and gazes at you with a look that seems to ask if you were born without a heart. His emotion is so great that he may even rise, walk around the shop, and examine several of his dearly beloved curios that have not been subjected to such outrageous treatment. He will soon return, however, and, with the humblest voice in the world and a sadly withered smile, announce his ultimatum,—
“Will give for thirty yen.”
Source: Gutenberg

Alice A. Parmelee Morris Dragons and Cherry Blossoms (1896)

The curtain obediently rose, and we settled ourselves for the enjoyment of an oriental performance. Even at the beginning we could see that the Japanese prefer to manage these things in a way of their own, for the orchestra with them is not a mere incident of the performance with which to appease the impatience of the audience between the acts or to drown the weak portions of a faltering tenor’s solo. In Japan the orchestra is kept behind the curtain as the chief performer, and comes in as generously for its share of applause.
Source: Gutenberg

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