The result of this conversation was that when Matsuo returned from Japan he brought an entire set of school readers, from kindergarten to high school; also the five steps of articles for the Doll Festival. This festival is ages old and educational in character. Any one who understands it thoroughly has a nearly complete knowledge of Japanese folklore, history, customs, and ideals. Every girl has a doll festival set, and when she marries, takes it with her to her new home. The set Matsuo brought to Hanano was mine—the one which Brother objected to my bringing with me to America.
When the set came we all went out to the big, light carriage house, and after William had opened the rough board box, Matsuo and he carefully lifted out the smooth, various-sized whitewood boxes, each holding a doll. My eyes fell on a long, flat package wrapped in purple crêpe bearing the Inagaki crest.
“Why, Mother has sent the Komoro kamibina!” I cried in astonishment, lifting the package respectfully to my forehead.
“I thought all the Komoro dolls were gone except the two that you used to play with,” said Mother.
“The kamibina are different,” said Matsuo.
“Yes,” I said slowly, “the kamibina are different. They belong to the family. They can never be sold, or given away, or disposed of in any way. My mother must have had these put away for years—and now she has sent them to me.”
I was touched, for it brought forcibly before me the truth that I was the last of the “honourable inside” of the house of Inagaki. A doll festival set belonged to the daughter; the master of the house having no control over the home department.
No doll festival set, however elaborate, is complete without these two long, odd-shaped dolls. In olden time
