[Biographies of Famous Women of Past and Present] Shirabyoshi Gio
|Shirabyoshi| |Gio| |is the number one shirabyoshi in the capital. |She is beautiful in appearance and skilled in the arts. |Together with her younger sister, |Gijo, |she enjoys a great reputation. |Summoned by the |Chancellor, |she is favored |beyond compare, |receiving |one hundred koku of rice |and one hundred kan of coins |every month, |and her mother, |Toji, |also prospers in wealth.
|At this time, |a dancing girl |called |Hotoke |is also summoned |at the same time, |and when the Nyudo-dono |watches her |sing and dance, |he finds that her |appearance and skill |surpass those of Gio. |In particular, |because she is |very young, |the Nyudo-dono |is infatuated, |takes her into his |bedchamber, |and suddenly |dismisses Gio.
|At that time, Gio |writes on the |front of the sliding door:
|Whether they sprout |or wither, |they are the same |grasses of the field
Which one |will not |perish |without meeting the autumn?
|and, |sadly, |returns to her |lodgings, |lamenting the |fleeting world |like the |changing depths and shallows of the Asuka River, |until she is |summoned |to appear again.
|Though she tries to refuse, |saying she will not go again, |fearing the |future consequences for her |mother, |she is |forced to go, |but having had enough of such |sorrowful experiences, |she hides in |Sagano |and becomes a |nun. |At that time, |she is twenty-one |years old.
|The sea, |the robes, |and the mountains |have all become |a monk; today's moon
※ "|Chancellor" refers to Taira no Kiyomori.
※ "|Toji" is a title for a woman. It implies the head of a household because women managed domestic affairs. Reference: "Dai Nihon Kokugo Jiten Vol. 3 (Toji) (National Diet Library Digital Collections)"
※ "|Dancing girl called |Hotoke" refers to |Hotoke Gozen, a shirabyoshi who received the favor of Taira no Kiyomori.
※ "Hyochi" means having a beautiful appearance.
※ "|Chodai" is a sleeping place for a noble, shaped like a square platform with tatami mats laid on it, pillars at the four corners, and curtains hanging down. Reference: "Shokai Kanwa Daijiten Expanded Edition" (National Diet Library Digital Collections)"
※ "|Asuka River with its changing depths and shallows" is a metaphor for the fact that the world is constantly changing. The |depths and shallows of the Asuka River.
※ "|The sea, |the robes, |and the mountains..." is a haiku composed by the Edo-period haiku poet |Shimizu |Shuchiku upon shaving his head. Reference: "Meika Haiku Shu" (National Diet Library Digital Collections)"
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|Gio was a woman who lived at the end of the Heian period.
Dates of birth and death unknown (late Heian period)
She was born in Nakai Village, Yasu District, Omi Province. She lost her father at a young age, and while she was visiting the Iwashimizu Kannon for her sick mother, she caught the eye of the then |Grand |Minister of State, |Taira no Kiyomori.
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|Gio was a skilled |shirabyoshi whose name was known in the capital at the time. |Kiyomori was attracted by her beauty and tried to summon her to his mansion, but she firmly refused, citing her mother's |illness. However, Kiyomori was not the type to listen to such excuses.
Not only Gio, but her mother (|Toji) and younger sister (|Gijo) were also summoned together to the |Nishi |Hachijo |Palace (the Nishi Hachijo Palace (|Nishi Hachijo-tei) was a mansion that Kiyomori had built separately from his |Rokuhara residence, located south of Umekoji Park, west of the current Kyoto Station).
Source: National Diet Library Digital Collections "Genpei Seisuiki Zuga"
This illustration depicts the scene when Gio first visited Kiyomori's mansion. The woman in the center wearing a |tate-eboshi (tall cap) is |Gio, and the man sitting behind the |bamboo blinds is Kiyomori. Incidentally, her mother and sister were also shirabyoshi.
The illustration below shows the Gio sisters. Both are wearing tate-eboshi caps.
|Shirabyoshi (a dance in men's clothing that began in the late Heian period) is a long story, so I will write the explanation at the end of the text. Please read it if you like. 👀
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Gio, who began living at Kiyomori's mansion in Nishi Hachijo, received his undivided |favor, and her mother, |Toji, and sister, |Gijo, were also given special treatment. According to "The Tale of the Heike," they were sent one hundred koku of rice and one hundred kan of coins as a monthly allowance, and it is written that "the household was wealthy and enjoyed unparalleled happiness."
There were two shirabyoshi known in the capital named Gio and Gijo. They were the daughters of a shirabyoshi named Toji. The Chancellor Nyudo favored the elder sister, Gio, and the way the people of the world treated her younger sister, |Gijo, was also extraordinary. He built a fine house for their mother, Toji, and sent them one hundred koku of rice and one hundred kan of coins every month, so the household was wealthy and enjoyed unparalleled happiness.
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However, this life did not last long. About three years later, Gio's situation changed completely when a beautiful shirabyoshi visited.
Source: National Diet Library Digital Collections, "The Tale of the Heike, Vol. 12 [1]"
That woman was Hotoke, a shirabyoshi born in Kaga Province. She was even younger than the beautiful young Gio, only sixteen years old (or perhaps eighteen by traditional counting). Hotoke, who had become famous in Kyoto, visited without any introduction, thinking that since she was in the capital, she wanted to be summoned by Kiyomori, the man in power at the time.
Kiyomori was angry at the impudent visit and tried to turn her away, but Gio, who was nearby, interceded, saying, "Since she has come all this way, why not at least meet her?" and so the two were allowed to meet.
Hotoke, who had been called back, sang a song and danced before Kiyomori and Gio. The illustration below shows that scene.
Source: National Diet Library Digital Collections, "Illustrated Tale of the Heike: Vol. 2"
Kiyomori, completely captivated by Hotoke's dance, singing voice, and beauty, actually declared on the spot that he would take her in.
Even Hotoke was troubled by this and said, "Since it was through Lady Gio's intercession that I was able to see you like this, if you keep me here, I wonder how Lady Gio will feel... Please, let me leave this place."
However, Kiyomori was not the type to listen to such things.
He told Hotoke, "In that case, don't worry, I will kick Gio out," and then he drove Gio away, saying, "Gio, get out of here at once."
Source: National Diet Library Digital Collections, "
Musha Kagami Ichimei Ninsou-ai Nanden 2"
Gio must have been surprised by this sudden turn of events.
Although Gio had been prepared for the day she might lose Kiyomori's favor, she had never imagined it would happen in this way today. As she left the room, being driven out, she tearfully wrote a poem on the sliding door.
Both those that sprout and those that wither are grasses of the field;
which of them will not perish when autumn comes?
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However, why did Gio introduce Hotoke to Kiyomori?
If Gio had not suggested, "Since she's here, why not meet her?", this would not have happened. Generally, it is said that she felt pity seeing Hotoke being turned away, as she was in the same situation as she had been three years prior, but personally, I think there may have been more complex emotions involved.
At this time, their ages were: Gio was twenty, and Hotoke was sixteen. As for Kiyomori, he had already taken the tonsure and was in his early fifties. (Ages vary slightly depending on the literature.)
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Driven out of Kiyomori's mansion and with her monthly allowance cut off, Gio spent her days in grief. I imagine it was also very painful for her to be exposed to the curious eyes of the people of Kyoto.
Up to this point, one could still understand and accept the situation, but from here on, Kiyomori, who was famously described as 'the arrogant do not last long,' begins to display his haughtiness.
The following spring, Gio was summoned to the mansion by Kiyomori. He told her that Hotoke was bored and lonely, and asked her to keep her company.
Source: National Diet Library Digital Collections
"Mukashigatari Obana Furisode, Vol. 6"
Gio had no intention of complying. However, her mother tearfully begged her, saying they could not survive in the capital if they defied Lord Kiyomori, so Gio tearfully went up to the palace at Nishi-Hachijo.
What had been prepared for her was a seat of much lower status, incomparable to the one she had before. Sitting in such a place, Gio shed tears of regret over her own misery.
Seeing this, Hotoke hurriedly said, 'It is not right for Lady Gio to sit in such a place... Please, come here (to the seat of honor). If not, I will take my leave and meet you outside,' but Kiyomori would not listen.
Source: National Diet Library Digital Collections
"Mukashigatari Obana Furisode, Vol. 6"
After telling Hotoke, 'That will not do!', he turned to Gio and said, 'How have you been since then? Hotoke seems lonely, so please cheer her up. Won't you sing an imayo for her?'
It would be one thing if he had at least sent some monthly support... but this is truly pitiful for Gio.
"Heike Monogatari, Vol. 3, Book 12, Part 1"
Gio sang the song while holding back her tears.
Even the Buddha was once a common mortal,
We too will eventually become Buddhas.
Since we all possess the Buddha-nature within us,
It is only the separation that is sad.
It was such a magnificent song that all the court nobles of the Taira clan who were present were moved to tears.
Kiyomori also seemed impressed, but he said this: 'I would like to see you dance as well, but I have other business today. From now on, even if I do not call for you, come here whenever you like to sing imayo and dance to comfort Hotoke.'
After holding back her tears and leaving the mansion, Gio decided to become a nun, determined never to face such an experience again. In reality, she intended to take her own life but was persuaded by her mother to stop, but I will omit that here as it would make the story too long.
"Zenken Kojitsu, Vol. 7"
It goes without saying that Kiyomori was unreasonable to Gio, but I also think her mother, Toji, was quite unreasonable as well.
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One day, while the three of them were spending their days chanting the Nembutsu at Ojo-in in Saga, there was a tapping sound on the bamboo screen door. Wondering who could be visiting a mountain hermitage where no one came even during the day, let alone at such a late hour, Gio opened the door to find Hotoke standing there.
Source: National Diet Library Digital Collections "Heike Monogatari, Vol. 7 [1]"
It is said that upon realizing how fleeting the glories of this world were from the poem Gio wrote on the sliding door, Hotoke finally left Kiyomori, shaved her head, and came to visit Gio. Hearing her story, Gio welcomed Hotoke, and thereafter, the four of them—Gio, her mother, her sister, and Hotoke—lived together chanting the Nembutsu.
Source: National Diet Library Digital Collections
『Mukashi Gatari Obana Furisode, Vol. 6』
In the Edo period work 'Mukashi Gatari Obana Furisode,' the graves of the four women—Gio, her mother (Toji), her sister (Gijo), and Hotoke—as well as Kiyomori's memorial tower are depicted within the grounds of Ojo-in Temple.
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Whether budding or withering, they are the same, the grasses of the field,
Which of them shall not perish before the autumn?
About Shirabyoshi
Shirabyoshi refers to a style of cross-dressing dance that began in the late Heian period; the dancers perform wearing suikan (a type of robe), a tate-eboshi (tall hat), and a shirosayamaki (white-sheathed sword) at their waist.
『Dai Nihon Kokugo Jiten, Vol. 2』
There are two theories regarding their origin, with different accounts recorded in 'The Tale of the Heike' and 'Tsurezuregusa' (Essays in Idleness).
● 'The Tale of the Heike'
The theory that two women named 'Shima no Chitose' and 'Waka no Mae' began performing this dance during the era of Retired Emperor Gotoba.
● 'Tsurezuregusa'
The theory that Fujiwara no Michinori (later Saigyo) had 'Iso no Zenshi' perform the dance. * Iso no Zenshi was the mother of Shizuka Gozen (a concubine of Minamoto no Yoshitsune). Shizuka Gozen was also a shirabyoshi.
Later, 'shirabyoshi' seems to have become the name for the dance of female entertainers, or a title for the entertainers who performed it. It is well summarized in the Meiji-era book 'Shakushi Teigi Geisha no Kokoroe' by Kanagaki Robun, so I will quote it here.
General Theory on the Naming of Geisha (Omitted) Now, although geisha are a descendant stream of the shirabyoshi, the shirabyoshi of the middle ages drifted into becoming true prostitutes, and the name 'yujo' (courtesan) remained with the current 'shogi' (prostitutes). Those who made singing, dancing, and playing instruments their profession disappeared, but since the reign of the Tokugawa clan, there have been 'geiko' in Kyoto and 'geisha' in Edo who add to the fun of drinking parties by pouring sake. However, because the government of that time strictly forbade the nobility and high-ranking officials from entering the pleasure quarters, they mostly became playthings for those of the middle class and below. Naturally, the character of these singing girls declined, and they became mere tools to entice revelers by playing the shamisen and singing vulgar, lewd songs like kouta and joruri. It is truly regrettable to say that many of them are now engaged in secret sales, falling even lower than the low-class prostitutes, and turning their backs on the original stream of the shirabyoshi who once mediated the social exchanges of the upper class. (Omitted)
Maiko: 'Maiko' is originally written with the characters for 'small prostitute.' In the capital, they are called 'maiko,' and in the East (Azuma), they are called 'odoriko.' Now, they are also called 'geisha.' They are likely a descendant stream of the ancient 'shirabyoshi.' Regarding the facts of the shirabyoshi, the scholar's 'Daming Huidian' calls the entertainers who perform folk music 'shirabyoshi.' Also, 'Shibutsu Imyo' states they are called 'gikijo.' These are the female musicians of ancient times. Some call them 'shoyu,' 'maigi,' 'shogi,' or 'gijo.' All have the Japanese readings 'maionna,' 'utame,' or 'maibime' (Omitted). 'Genpei Seisuiki' says there are people in the world called shirabyoshi. In China, those called Yu Shi, Yang Guifei, and Wang Zhaojun were all shirabyoshi. In our country, during the reign of Retired Emperor Toba, two entertainers named Shima no Chitose and Waka no Mae began to dance. At first, they danced wearing hitatare (robes) and tate-eboshi (tall hats) with a sword at their waist, so it was called 'otoko-mai' (men's dance). Later, thinking it was too rough, they stopped wearing the hats and swords, and danced wearing only suikan and hakama. The story of Gio, Gijo, and Hotoke Gozen, who were favored by Kiyomori Nyudo, is detailed in that record. Also, Shonagon Michinori Nyudo Shinzei selected interesting parts of the dance and taught them to a woman called Iso no Zenshi to perform. Because she wore a white suikan, carried a sayamaki (sword), and wore an eboshi, it was called 'otoko-mai.' Zenshi's daughter, Shizuka, mastered this art. This is the root of the shirabyoshi. They sing of the origins of Buddhas and gods. Later, Toki Saemon-no-jo Mitsuyuki of the Retired Emperor Gotoba's Hokumen guards created many things. There are also works by Retired Emperor Gotoba himself. It appears in 'Tsurezuregusa' that he taught his favored dancing girl, Kame. I do not know which of the two theories regarding the origin of the shirabyoshi is correct.
* Reference: "Chronicle of Illustrated Books (Shima Chitose began the female dance, which is called Shirabyoshi)", "Illustrated Chronicle: Newly Published in Meiji (Shima Chitose began the female dance)", "Shortcuts to Literature: Essentials for Beginners", "New Yoshiwara Chronicle", "Geisha Imagawa Letter", "Miyagino the Virtuous Geisha", "Biographies of Famous Japanese Women", "Rise and Fall of the Genji and Heike", "Illustrated Tale of the Heike: Vol. 2", "Biographies of Famous Japanese Geisha", "Illustrated Rise and Fall of the Genji and Heike, 2nd Edition", "Opposition to Women's Rights: Stubborn Logic (Gio and Hotoke Gozen)", "Great Japanese Biographical Dictionary, Vol. 1, Revised 2nd Edition (Gio)", "Commentary on Songs", "Biographies of Figures in Our Country (Hotoke) (Gio)", "Study of Japanese Military Equipment and Collected Ancient Illustrations, Vol. 2 [2]", "Great Japanese Dictionary, Vol. 3", "Tale of the Heike, 12 Volumes [1] (The Story of Gio)", "Tale of the Heike, 12 Volumes [1] (Gio)", "Tale of the Heike, 12 Volumes [1] (The Story of Gio)", "Tale of the Heike, 12 Volumes [1] (Gio)", "Tale of the Heike, 12 Volumes [1] (The Story of Gio)"
Author's Note: I will update this as needed when I decipher new characters or notice typos/misreadings. For details, please read the "Self-Introduction / Disclaimer" section. 📖