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diff --git a/15320-h/15320-h.htm b/15320-h/15320-h.htm new file mode 100644 index 0000000..6839b1d --- /dev/null +++ b/15320-h/15320-h.htm @@ -0,0 +1,6859 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> +<head> + <meta http-equiv="Content-Type" + content="text/html; charset=iso-8859-1" /> + + <title>The Romance of the Milky Way and Other Studies & + Stories.</title> + <style type="text/css"> + /*<![CDATA[*/ + + <!-- + body {margin-left: 10%; margin-right: 10%;} + p {text-align: justify;} + blockquote {text-align: justify;} + h1,h2,h3,h4 {text-align: center;} + h5,h6 {text-align: left;} + pre {font-size: 0.7em;} + .sc {font-variant: small-caps;} + + hr {text-align: center; width: 50%;} + html>body hr {margin-right: 25%; margin-left: 25%; width: 50%;} + hr.full {width: 100%;} + html>body hr.full {margin-right: 0%; margin-left: 0%; width: 100%;} + + .note + {margin-left: 12%; margin-right: 12%; font-size: 0.9em;} + + span.pagenum + {position: absolute; left: 1%; right: 91%; font-size: 8pt; text-indent: 0;} + + .poem + {margin-left:10%; margin-right:10%; margin-bottom: 1em; text-align: left;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem p {margin: 0; padding-left: 3em; text-indent: -3em;} + .poem p.i2 {margin-left: 1em;} + + .footnote {font-size: 0.9em; margin-right: 10%; margin-left: 10%;} + + p.author {text-align: right; margin-right:10%;} + --> + /*]]>*/ + </style> +</head> + +<body> + + +<pre> + +Project Gutenberg's The Romance of the Milky Way, by Lafcadio Hearn + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Romance of the Milky Way + And Other Studies & Stories + +Author: Lafcadio Hearn + +Release Date: March 10, 2005 [EBook #15320] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE ROMANCE OF THE MILKY WAY *** + + + + +Produced by Ted Garvin, William Flis, and the Online Distributed +Proofreading Team. + + + + + + +</pre> + + <h4>SHORT STORY</h4> + + <h1>THE ROMANCE OF THE MILKY WAY</h1> + + <h2>AND OTHER STUDIES & STORIES</h2> + + <h2>BY LAFCADIO HEARN</h2> + + <h4>HOUGHTON MIFFLIN AND COMPANY<br /> + BOSTON AND NEW YORK 1905</h4> + + <h4>COPYRIGHT 1905 BY HOUGHTON MIFFLIN & COMPANY ALL RIGHTS + RESERVED</h4> + + <h4>PUBLISHED OCTOBER 1905</h4> + + <h2>CONTENTS</h2> + + <div class="poem"> + <div class="stanza"> + <p>THE ROMANCE OF THE MILKY WAY + <a href="#page1">1</a></p> + </div> + + <div class="stanza"> + <p>GOBLIN POETRY <a href="#page51">51</a></p> + </div> + + <div class="stanza"> + <p>"ULTIMATE QUESTIONS" <a href="#page103">103</a></p> + </div> + + <div class="stanza"> + <p>THE MIRROR MAIDEN <a href="#page125">125</a></p> + </div> + + <div class="stanza"> + <p>THE STORY OF ITŌ NORISUKÉ + <a href="#page139">139</a></p> + </div> + + <div class="stanza"> + <p>STRANGER THAN FICTION <a href="#page167">167</a></p> + </div> + + <div class="stanza"> + <p>A LETTER FROM JAPAN <a href="#page179">179</a></p> + </div> + </div><span class="pagenum"><a name="pagevii" + id="pagevii"></a>[pg vii]</span> + + <h2>INTRODUCTION</h2> + + <p>Lafcadio Hearn, known to Nippon as Yakumo Koizumi, was born + in Leucadia in the Ionian Islands, June 27, 1850. His father + was an Irish surgeon in the British Army; his mother was a + Greek. Both parents died while Hearn was still a child, and he + was adopted by a great-aunt, and educated for the priesthood. + To this training he owed his Latin scholarship and, doubtless, + something of the subtlety of his intelligence. He soon found, + however, that the prospect of an ecclesiastical career was + alien from his inquiring mind and vivid temperament, and at the + age of nineteen he came to America to seek his fortune. After + working for a time as a proof-reader, he obtained employment as + a newspaper reporter in Cincinnati. Soon he rose to be an + editorial writer, and went in the course of a few years to New + Orleans to join the editorial staff of the "Times-Democrat." + Here he lived until 1887, writing odd fantasies and arabesques + for his paper, contributing articles and sketches + <span class="pagenum"><a name="pageviii" + id="pageviii"></a>[pg viii]</span> to the magazines, and + publishing several curious little books, among them his + "Stray Leaves from Strange Literature," and his translations + from Gautier. In the winter of 1887 he began his pilgrimages + to exotic countries, being, as he wrote to a friend, "a + small literary bee in search of inspiring honey." After a + couple of years, spent chiefly in the French West Indies, + with periods of literary work in New York, he went in 1890 + to Japan to prepare a series of articles for a magazine. + Here through some deep affinity of mood with the marvelous + people of that country he seems suddenly to have felt + himself at last at home. He married a Japanese woman; he + acquired Japanese citizenship in order to preserve the + succession of his property to his family there; he became a + lecturer in the Imperial University at Tōkyō; and + in a series of remarkable books he made himself the + interpreter to the Western World of the very spirit of + Japanese life and art. He died there of paralysis of the + heart on the 26th of September, 1904.</p> + <hr /> + + <p>With the exception of a body of familiar letters now in + process of collection, the present volume contains all of + Hearn's writing <span class="pagenum"><a name="pageix" + id="pageix"></a>[pg ix]</span> that he left uncollected in + the magazines or in manuscript of a sufficient ripeness for + publication. It is worth noting, however, that perfect as is + the writing of "Ultimate Questions," and complete as the + essay is in itself, the author regarded it as unfinished, + and, had he lived, would have revised and amplified some + portions of it.</p> + + <p>But if this volume lacks the incomparably exquisite touch of + its author in its arrangement and revision, it does, + nevertheless, present him in all of his most characteristic + veins, and it is in respect both to style and to substance + perhaps the most mature and significant of his works.</p> + + <p>In his first days as a writer Hearn had conceived an ideal + of his art as specific as it was ambitious. Early in the + eighties he wrote from New Orleans in an unpublished letter to + the Rev. Wayland D. Ball of Washington: "The lovers of antique + loveliness are proving to me the future possibilities of a long + cherished dream,—the English realization of a Latin + style, modeled upon foreign masters, and rendered even more + forcible by that element of <i>strength</i> which is the + characteristic of Northern tongues. This no man can hope to + accomplish, but even a translator + <span class="pagenum"><a name="pagex" + id="pagex"></a>[pg x]</span> may carry his stones to the + master-masons of a new architecture of language." In the + realization of his ideal Hearn took unremitting pains. He + gave a minute and analytical study to the writings of such + masters of style as Flaubert and Gautier, and he chose his + miscellaneous reading with a peculiar care. He wrote again + to the same friend: "I never read a book which does not + powerfully impress the imagination; but whatever contains + novel, curious, potent imagery I always read, no matter what + the subject. When the soil of fancy is really well enriched + with innumerable fallen leaves, the flowers of language grow + spontaneously." Finally, to the hard study of technique, to + vast but judicious reading, he added a long, creative + brooding time. To a Japanese friend, Nobushige Amenomori, he + wrote in a passage which contains by implication a deep + theory not only of literary composition, but of all + art:—</p> + + <p>"Now with regard to your own sketch or story. If you are + quite dissatisfied with it, I think this is probably due + <i>not</i> to what you suppose,—imperfection of + expression,—but rather to the fact that some + <i>latent</i> thought or emotion has not yet defined itself in + <span class="pagenum"><a name="pagexi" + id="pagexi"></a>[pg xi]</span> your mind with sufficient + sharpness. You feel something and have not been able to + express the feeling—only because you do not yet quite + know what it is. We feel without understanding feeling; and + our most powerful emotions are the most undefinable. This + must be so, because they are inherited accumulations of + feeling, and the multiplicity of them—superimposed one + over another—blurs them, and makes them dim, even + though enormously increasing their strength.... + <i>Unconscious</i> brain work is the best to develop such + latent feeling or thought. By quietly writing the thing over + and over again, I find that the emotion or idea often + <i>develops itself</i> in the process,—unconsciously. + Again, it is often worth while to <i>try</i> to analyze the + feeling that remains dim. The effort of trying to understand + exactly what it is that moves us sometimes proves + successful.... If you have any feeling—no matter + what—strongly latent in the mind (even only a haunting + sadness or a mysterious joy), you may be sure that it is + expressible. Some feelings are, of course, very difficult to + develop. I shall show you one of these days, when we see + each other, a page that I worked at for <i>months</i> before + the idea came clearly.... When the best result comes, it + <span class="pagenum"><a name="pagexii" + id="pagexii"></a>[pg xii]</span> ought to surprise you, for + our best work is out of the Unconscious."</p> + + <p>Through this study, reading, and brooding Lafcadio Hearn's + prose ripened and mellowed consistently to the end. In mere + workmanship the present volume is one of his most admirable, + while in its heightened passages, like the final paragraph of + "The Romance of the Milky Way," the rich, melancholy music, the + profound suggestion, are not easily matched from any but the + very greatest English prose.</p> + + <p>In substance the volume is equally significant. In 1884 he + wrote to one of the closest of his friends that he had at last + found his feet intellectually through the reading of Herbert + Spencer which had dispelled all "isms" from his mind and left + him "the vague but omnipotent consolation of the Great Doubt." + And in "Ultimate Questions," which strikes, so to say, the + dominant chord of this volume, we have an almost lyrical + expression of the meaning for him of the Spencerian philosophy + and psychology. In it is his characteristic mingling of + Buddhist and Shinto thought with English and French psychology, + strains which in his work "do not simply mix well," as he says + in one of his letters, but "absolutely unite, like chemical + <span class="pagenum"><a name="pagexiii" + id="pagexiii"></a>[pg xiii]</span> elements—rush + together with a shock;"—and in it he strikes his + deepest note. In his steady envisagement of the horror that + envelops the stupendous universe of science, in his power to + evoke and revive old myths and superstitions, and by their + glamour to cast a ghostly light of vanished suns over the + darkness of the abyss, he was the most Lucretian of modern + writers.</p> + <hr /> + + <p>In outward appearance Hearn, the man, was in no way + prepossessing. In the sharply lined picture of him drawn by one + of his Japanese comrades in the "Atlantic" for October, 1905, + he appears, "slightly corpulent in later years, short in + stature, hardly five feet high, of somewhat stooping gait. A + little brownish in complexion, and of rather hairy skin. A + thin, sharp, aquiline nose, large protruding eyes, of which the + left was blind and the right very near-sighted."</p> + + <p>The same writer, Nobushige Amenomori, has set down a + reminiscence, not of Hearn the man, but of Hearn the genius, + wherewith this introduction to the last of his writings may + fitly conclude: "I shall ever retain the vivid remembrance of + the sight I had when I stayed over night at his house for the + first time. Being <span class="pagenum"><a name="pagexiv" + id="pagexiv"></a>[pg xiv]</span> used myself also to sit up + late, I read in bed that night. The clock struck one in the + morning, but there was a light in Hearn's study. I heard + some low, hoarse coughing. I was afraid my friend might be + ill; so I stepped out of my room and went to his study. Not + wanting, however, to disturb him, if he was at work, I + cautiously opened the door just a little, and peeped in. I + saw my friend intent in writing at his high desk, with his + nose almost touching the paper. Leaf after leaf he wrote on. + In a while he held up his head, and what did I see! It was + not the Hearn I was familiar with; it was another Hearn. His + face was mysteriously white; his large eye gleamed. He + appeared like one in touch with some unearthly presence.</p> + + <p>"Within that homely looking man there burned something pure + as the vestal fire, and in that flame dwelt a mind that called + forth life and poetry out of dust, and grasped the highest + themes of human thought."</p> + + <p class="author">F.G.</p> + + <p>September, 1905.</p><span class="pagenum"><a name="page1" + id="page1"></a>[pg 1]</span> + + <h2>THE ROMANCE, OF THE MILKY WAY</h2> + + <blockquote> + <p>Of old it was said: 'The River of Heaven is the Ghost of + Waters.' We behold it shifting its bed in the course of the + year as an earthly river sometimes does.</p> + + <p class="author"><i>Ancient Scholar</i></p> + </blockquote><span class="pagenum"><a name="page3" + id="page3"></a>[pg 3]</span> + + <p>Among the many charming festivals celebrated by Old Japan, + the most romantic was the festival of Tanabata-Sama, the + Weaving-Lady of the Milky Way. In the chief cities her holiday + is now little observed; and in Tōkyō it is almost + forgotten. But in many country districts, and even in villages, + near the capital, it is still celebrated in a small way. If you + happen to visit an old-fashioned country town or village, on + the seventh day of the seventh month (by the ancient calendar), + you will probably notice many freshly-cut bamboos fixed upon + the roofs of the houses, or planted in the ground beside them, + every bamboo having attached to it a number of strips of + colored <span class="pagenum"><a name="page4" + id="page4"></a>[pg 4]</span> paper. In some very poor + villages you might find that these papers are white, or of + one color only; but the general rule is that the papers + should be of five or seven different colors. Blue, green, + red, yellow, and white are the tints commonly displayed. All + these papers are inscribed with short poems written in + praise of Tanabata and her husband Hikoboshi. After the + festival the bamboos are taken down and thrown into the + nearest stream, together with the poems attached to + them.</p> + <hr /> + + <p>To understand the romance of this old festival, you must + know the legend of those astral divinities to whom offerings + used to be made, even by, the Imperial Household, on the + seventh day of the seventh month. The legend is Chinese. This + is the Japanese popular version of it:—</p> + + <p>The great god of the firmament had a lovely daughter, + Tanabata-tsumé, who passed her days in weaving garments for her + august parent. She rejoiced in her work, and thought that there + was no greater pleasure than the + <span class="pagenum"><a name="page5" + id="page5"></a>[pg 5]</span> pleasure of weaving. But one + day, as she sat before her loom at the door of her heavenly + dwelling, she saw a handsome peasant lad pass by, leading an + ox, and she fell in love with him. Her august father, + divining her secret wish, gave her the youth for a husband. + But the wedded lovers became too fond of each other, and + neglected their duty to the god of the firmament; the sound + of the shuttle was no longer heard, and the ox wandered, + unheeded, over the plains of heaven. Therefore the great god + was displeased, and he separated the pair. They were + sentenced to live thereafter apart, with the Celestial River + between them; but it was permitted them to see each other + once a year, on the seventh night of the seventh moon. On + that night—providing the skies be clear—the + birds of heaven make, with their bodies and wings, a bridge + over the stream; and by means of that bridge the lovers can + meet. But if there be rain, the River of Heaven rises, and + becomes so wide that the bridge cannot be formed. So the + husband and wife cannot always meet, even on the seventh + night of the seventh <span class="pagenum"><a name="page6" + id="page6"></a>[pg 6]</span> month; it may happen, by reason + of bad weather, that they cannot meet for three or four + years at a time. But their love remains immortally young and + eternally patient; and they continue to fulfill their + respective duties each day without fault,—happy in + their hope of being able to meet on the seventh night of the + next seventh month.</p> + <hr /> + + <p>To ancient Chinese fancy, the Milky Way was a luminous + river,—the River of Heaven,—the Silver Stream. It + has been stated by Western writers that Tanabata, the + Weaving-Lady, is a star in Lyra; and the Herdsman, her beloved, + a star in Aquila, on the opposite side of the galaxy. But it + were more correct to say that both are represented, to + Far-Eastern imagination, by groups of stars. An old Japanese + book puts the matter thus plainly: "Kengyū (the Ox-Leader) + is on the west side of the Heavenly River, and is represented + by three stars in a row, and looks like a man leading an ox. + Shokujo (the Weaving-Lady) is on the east side of the Heavenly + River: three stars <span class="pagenum"><a name="page7" + id="page7"></a>[pg 7]</span> so placed as to appear like the + figure of a woman seated at her loom.... The former presides + over all things relating to agriculture; the latter, over + all that relates to women's work."</p> + <hr /> + + <p>In an old book called Zatsuwa-Shin, it is said that these + deities were of earthly origin. Once in this world they were + man and wife, and lived in China; and the husband was called + Ishi, and the wife Hakuyō. They especially and most + devoutly reverenced the Moon. Every clear evening, after + sundown, they waited with eagerness to see her rise. And when + she began to sink towards the horizon, they would climb to the + top of a hill near their house, so that they might be able to + gaze upon her face as long as possible. Then, when she at last + disappeared from view, they would mourn together. At the age of + ninety and nine, the wife died; and her spirit rode up to + heaven on a magpie, and there became a star. The husband, who + was then one hundred and three years old, sought consolation + for his bereavement in looking at the Moon and when he welcomed + her <span class="pagenum"><a name="page8" + id="page8"></a>[pg 8]</span> rising and mourned her setting, + it seemed to him as if his wife were still beside him.</p> + + <p>One summer night, Hakuyō—now immortally beautiful + and young—descended from heaven upon her magpie, to visit + her husband; and he was made very happy by that visit. But from + that time he could think of nothing but the bliss of becoming a + star, and joining Hakuyō beyond the River of Heaven. At + last he also ascended to the sky, riding upon a crow; and there + he became a star-god. But he could not join Hakuyō at + once, as he had hoped;—for between his allotted place and + hers flowed the River of Heaven; and it was not permitted for + either star to cross the stream, because the Master of Heaven + (<i>Ten-Tei</i>) daily bathed in its waters. Moreover, there + was no bridge. But on one day every year—the seventh day + of the seventh month—they were allowed to see each other. + The Master of Heaven goes always on that day to the + Zenhōdo, to hear the preaching of the law of Buddha; and + then the magpies and the crows make, with their hovering bodies + and outspread wings, a bridge over the + <span class="pagenum"><a name="page9" + id="page9"></a>[pg 9]</span> Celestial Stream; and + Hakuyō crosses that bridge to meet her husband.</p> + + <p>There can be little doubt that the Japanese festival called + Tanabata was originally identical with the festival of the + Chinese Weaving-Goddess, Tchi-Niu; the Japanese holiday seems + to have been especially a woman's holiday, from the earliest + times; and the characters with which the word Tanabata is + written signify a weaving-girl. But as both of the star-deities + were worshiped on the seventh of the seventh month, some + Japanese scholars have not been satisfied with the common + explanation of the name, and have stated that it was originally + composed with the word <i>tané</i> (seed, or grain), and the + word <i>hata</i> (loom). Those who accept this etymology make + the appellation, Tanabata-Sama, plural instead of singular, and + render it as "the deities of grain and of the loom,"—that + is to say, those presiding over agriculture and weaving. In old + Japanese pictures the star-gods are represented according to + this conception of their respective attributes;—Hikoboshi + being figured as a peasant lad + <span class="pagenum"><a name="page10" + id="page10"></a>[pg 10]</span> leading an ox to drink of the + Heavenly River, on the farther side of which Orihimé + (Tanabata) appears, weaving at her loom. The garb of both is + Chinese; and the first Japanese pictures of these divinities + were probably copied from some Chinese original.</p> + + <p>In the oldest collection of Japanese poetry + extant,—the Manyōshū, dating from 760 + A.D.,—the male divinity is usually called Hikoboshi, and + the female Tanabata-tsumé; but in later times both have been + called Tanabata. In Izumo the male deity is popularly termed + O-Tanabata Sama, and the female Mé-Tanabata Sama. Both are + still known by many names. The male is called Kaiboshi as well + as Hikoboshi and Kengyū; while the female is called + Asagao-himé ("Morning Glory Princess")<a id="footnotetag1" + name="footnotetag1"></a><a href="#footnote1"><sup>1</sup></a>, + Ito-ori-himé ("Thread-Weaving Princess"), Momoko-himé + ("Peach-Child Princess"), Takimono-himé ("Incense + Princess"), and Sasagani-himé ("Spider Princess"). Some of + these names are difficult to explain,—especially + <span class="pagenum"><a name="page11" + id="page11"></a>[pg 11]</span> the last, which reminds us of + the Greek legend of Arachne. Probably the Greek myth and the + Chinese story have nothing whatever in common; but in old + Chinese books there is recorded a curious fact which might + well suggest a relationship. In the time of the Chinese + Emperor Ming Hwang (whom the Japanese call Gensō), it + was customary for the ladies of the court, on the seventh + day of the seventh month, to catch spiders and put them into + an incense-box for purposes of divination. On the morning of + the eighth day the box was opened; and if the spiders had + spun thick webs during the night the omen was good. But if + they had remained idle the omen was bad.</p> + <hr /> + + <p>There is a story that, many ages ago, a beautiful woman + visited the dwelling of a farmer in the mountains of Izumo, and + taught to the only daughter of the household an art of weaving + never before known. One evening the beautiful stranger vanished + away; and the people knew that they had seen the Weaving-Lady + of Heaven. The daughter of the farmer + <span class="pagenum"><a name="page12" + id="page12"></a>[pg 12]</span> became renowned for her skill + in weaving. But she would never marry,—because she had + been the companion of Tanabata-Sama.</p> + <hr /> + + <p>Then there is a Chinese story—delightfully + vague—about a man who once made a visit, unawares, to the + Heavenly Land. He had observed that every year, during the + eighth month, a raft of precious wood came floating to the + shore on which he lived; and he wanted to know where that wood + grew. So he loaded a boat with provisions for a two years' + voyage, and sailed away in the direction from which the rafts + used to drift. For months and months he sailed on, over an + always placid sea; and at last he arrived at a pleasant shore, + where wonderful trees were growing. He moored his boat, and + proceeded alone into the unknown land, until he came to the + bank of a river whose waters were bright as silver. On the + opposite shore he saw a pavilion; and in the pavilion a + beautiful woman sat weaving; she was white like moonshine, and + made a radiance all about her. Presently he saw a handsome + young peasant <span class="pagenum"><a name="page13" + id="page13"></a>[pg 13]</span> approaching, leading an ox to + the water; and he asked the young peasant to tell him the + name of the place and the country. But the youth seemed to + be displeased by the question, and answered in a severe + tone: "If you want to know the name of this place, go back + to where you came from, and ask + Gen-Kum-Pei."<a id="footnotetag2" + name="footnotetag2"></a><a href="#footnote2"><sup>2</sup></a> + So the voyager, feeling afraid, hastened to his boat, and + returned to China. There he sought out the sage Gen-Kum-Pei, + to whom he related the adventure. Gen-Kum-Pei clapped his + hands for wonder, and exclaimed, "So it was you!... On the + seventh day of the seventh month I was gazing at the + heavens, and I saw that the Herdsman and the Weaver were + about to meet;—but between them was a new Star, which + I took to be a Guest-Star. Fortunate man! you have been to + the River of Heaven, and have looked upon the face of the + Weaving-Lady!..."</p> + <hr /> + + <p>—It is said that the meeting of the Herdsman and the + Weaver can be observed by + <span class="pagenum"><a name="page14" + id="page14"></a>[pg 14]</span> any one with good eyes; for + whenever it occurs those stars burn with five different + colors. That is why offerings of five colors are made to the + Tanabata divinities, and why the poems composed in their + praise are written upon paper of five different tints.</p> + + <p>But, as I have said before, the pair can meet only in fair + weather. If there be the least rain upon the seventh night, the + River of Heaven will rise, and the lovers must wait another + whole year. Therefore the rain that happens to fall on Tanabata + night is called <i>Namida no Amé</i>, "The Rain of Tears."</p> + + <p>When the sky is clear on the seventh night, the lovers are + fortunate; and their stars can be seen to sparkle with delight. + If the star Kengyū then shines very brightly, there will + be great rice crops in the autumn. If the star Shokujo looks + brighter than usual, there will be a prosperous time for + weavers, and for every kind of female industry.</p> + <hr /> + + <p>In old Japan it was generally supposed that the meeting of + the pair signified <span class="pagenum"><a name="page15" + id="page15"></a>[pg 15]</span> good fortune to mortals. Even + to-day, in many parts of the country, children sing a little + song on the evening of the Tanabata festival,—<i>Tenki + ni nari!</i> ("O weather, be clear!") In the province of Iga + the young folks also sing a jesting song at the supposed + hour of the lovers' meeting:—</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Tanabata ya!</p> + + <p>Amari isogaba,</p> + + <p class="i2">Korobubéshi!<a id="footnotetag3" + name="footnotetag3"></a><a href="#footnote3"><sup>3</sup></a></p> + </div> + </div> + + <p>But in the province of Izumo, which is a very rainy + district, the contrary belief prevails; and it is thought that + if the sky be clear on the seventh day of the seventh month, + misfortune will follow. The local explanation of this belief is + that if the stars can meet, there will be born from their union + many evil deities who will afflict the country with drought and + other calamities.</p> + <hr /> + <span class="pagenum"><a name="page16" + id="page16"></a>[pg 16]</span> + + <p>The festival of Tanabata was first celebrated in Japan on + the seventh day of the seventh month of Tombyō + Shōhō (A.D. 755). Perhaps the Chinese origin of the + Tanabata divinities accounts for the fact that their public + worship was at no time represented by many temples.</p> + + <p>I have been able to find record of only one temple to them, + called Tanabata-jinja, which was situated at a village called + Hoshiaimura, in the province of Owari, and surrounded by a + grove called Tanabata-mori.<a id="footnotetag4" + name="footnotetag4"></a><a href="#footnote4"><sup>4</sup></a></p> + + <p>Even before Tembyō Shōhō, however, the legend + of the Weaving-Maiden seems to have been well known in Japan; + for it is recorded that on the seventh night of the seventh + year of Yōrō (A.D. 723) the poet Yamagami no Okura + composed the song:—</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Amanogawa,</p> + + <p>Ai-muki tachité,</p> + + <p class="i2">Waga + koïshi</p><span class="pagenum"><a name="page17" + id="page17"></a>[pg 17]</span> + + <p>Kimi kimasu nari—</p> + + <p>Himo-toki makina!<a id="footnotetag5" + name="footnotetag5"></a><a href="#footnote5"><sup>5</sup></a></p> + </div> + </div> + + <p>It would seem that the Tanabata festival was first + established in Japan eleven hundred and fifty years ago, as an + Imperial Court festival only, in accordance with Chinese + precedent. Subsequently the nobility and the military classes + everywhere followed imperial example; and the custom of + celebrating the Hoshi-mat-suri, or Star-Festival,—as it + was popularly called,—spread gradually downwards, until + at last the seventh day of the seventh month became, in the + full sense of the term, a national holiday. But the fashion of + its observance varied considerably at different eras and in + different provinces.</p> + + <p>The ceremonies at the Imperial Court were of the most + elaborate character: a full account of them is given in the + <i>Kōji Kongen</i>,—with explanatory illustrations. + On the evening of the seventh day of the seventh month, + mattings <span class="pagenum"><a name="page18" + id="page18"></a>[pg 18]</span> were laid down on the east + side of that portion of the Imperial Palace called the + Seir-yōden; and upon these mattings were placed four + tables of offerings to the Star-deities. Besides the + customary food-offerings, there were placed upon these + tables rice-wine, incense, vases of red lacquer containing + flowers, a harp and flute, and a needle with five eyes, + threaded with threads of five different colors. + Black-lacquered oil-lamps were placed beside the tables, to + illuminate the feast. In another part of the grounds a tub + of water was so placed as to reflect the light of the + Tanabata-stars; and the ladies of the Imperial Household + attempted to thread a needle by the reflection. She who + succeeded was to be fortunate during the following year. The + court-nobility (<i>Kugé</i>) were obliged to make certain + offerings to the Imperial House on the day of the festival. + The character of these offerings, and the manner of their + presentation, were fixed by decree. They were conveyed to + the palace upon a tray, by a veiled lady of rank, in + ceremonial dress. Above her, as she walked, a great red + umbrella was borne <span class="pagenum"><a name="page19" + id="page19"></a>[pg 19]</span> by an attendant. On the tray + were placed seven <i>tanzaku</i> (longilateral slips of fine + tinted paper for the writing of poems); seven + <i>kudzu</i>-leaves;<a id="footnotetag6" + name="footnotetag6"></a><a href="#footnote6"><sup>6</sup></a> + seven inkstones; seven strings of <i>sōmen</i> (a kind + of vermicelli); fourteen writing-brushes; and a bunch of + yam-leaves gathered at night, and thickly sprinkled with + dew. In the palace grounds the ceremony began at the Hour of + the Tiger,—4 A.M. Then the inkstones were carefully + washed,—prior to preparing the ink for the writing of + poems in praise of the Star-deities,—and each one set + upon a <i>kudzu</i>-leaf. One bunch of bedewed yam-leaves + was then laid upon every inkstone; and with this dew, + instead of water, the writing-ink was prepared. All the + ceremonies appear to have been copied from those in vogue at + the Chinese court in the time of the Emperor Ming-Hwang.</p> + <hr /> + + <p>It was not until the time of the Tokugawa Shōgunate + that the Tanabata festival became really a national holiday; + and the popular custom of attaching <i>tansaku</i> of different + colors <span class="pagenum"><a name="page20" + id="page20"></a>[pg 20]</span> to freshly-cut bamboos, in + celebration of the occasion, dates only from the era of + Bunser (1818). Previously the <i>tanzaku</i> had been made + of a very costly quality of paper; and the old aristocratic + ceremonies had been not less expensive than elaborate. But + in the time of the Tokugawa Shōgunate a very cheap + paper of various colors was manufactured; and the holiday + ceremonies were suffered to assume an inexpensive form, in + which even the poorest classes could indulge.</p> + + <p>The popular customs relating to the festival differed + according to locality. Those of Izumo—where all classes + of society, <i>samurai</i> or common folk, celebrated the + holiday in much the same way—used to be particularly + interesting; and a brief account of them will suggest something + of the happy aspects of life in feudal times. At the Hour of + the Tiger, on the seventh night of the seventh month, everybody + was up; and the work of washing the inkstones and + writing-brushes was performed. Then, in the household garden, + dew was collected upon yam-leaves. This dew was called + <i>Amanogawa no suzuki</i> + <span class="pagenum"><a name="page21" + id="page21"></a>[pg 21]</span> ("drops from the River of + Heaven"); and it was used to make fresh ink for writing the + poems which were to be suspended to bamboos planted in the + garden. It was usual for friends to present each other with + new inkstones at the time of the Tanabata festival; and if + there were any new inkstones in the house, the fresh ink was + prepared in these. Each member of the family then wrote + poems. The adults composed verses, according to their + ability, in praise of the Star-deities; and the children + either wrote dictation or tried to improvise. Little folk + too young to use the writing-brush without help had their + small hands guided, by parent or elder sister or elder + brother, so as to shape on a <i>tanzaku</i> the character of + some single word or phrase relating to the + festival,—such as "Amanogawa," or "Tanabata," or + "Kasasagi no Hashi" (the Bridge of Magpies). In the garden + were planted two freshly-cut bamboos, with branches and + leaves entire,—a male bamboo (<i>otoko-daké</i>) and a + female bamboo (<i>onna-daké</i>). They were set up about six + feet apart, and to a cord extended between them were + suspended <span class="pagenum"><a name="page22" + id="page22"></a>[pg 22]</span> paper-cuttings of five + colors, and skeins of dyed thread of five colors. The + paper-cuttings represented upper-robes,—<i>kimono</i>. + To the leaves and branches of the bamboos were tied the + <i>tanzaku</i> on which poems had been written by the + members of the family. And upon a table, set between the + bamboos, or immediately before them, were placed vessels + containing various offerings to the + Star-deities,—fruits, <i>sōmen</i>, rice-wine, + and vegetables of different kinds, such as cucumbers and + watermelons.</p> + + <p>But the most curious Izumo custom relating to the festival + was the <i>Nému-nagashi</i>, or "Sleep-wash-away" ceremony. + Before day-break the young folks used to go to some stream, + carrying with them bunches composed of <i>némuri</i>-leaves and + bean-leaves mixed together. On reaching the stream, they would + fling their bunches of leaves into the current, and sing a + little song:—</p> + + <div class="poem"> + <div class="stanza"> + <p>Nému wa, nagaré yo!</p> + + <p>Mamé no ha wa, tomaré!</p> + </div> + </div> + + <p>These verses might be rendered in two ways; + <span class="pagenum"><a name="page23" + id="page23"></a>[pg 23]</span> because the word <i>nému</i> + can be taken in the meaning either of <i>némuri</i> (sleep), + or of <i>nemuri-gi</i> or <i>némunoki</i>, the "sleep-plant" + (mimosa),—while the syllables <i>mamé</i>, as written + in <i>kana</i>, can signify either "bean," or "activity," or + "strength," "vigor," "health," etc. But the ceremony was + symbolical, and the intended meaning of the song + was:—</p> + + <div class="poem"> + <div class="stanza"> + <p>Drowsiness, drift away!</p> + + <p>Leaves of vigor, remain!</p> + </div> + </div> + + <p>After this, all the young folk would jump into the water, to + bathe or swim, in token of their resolve to shed all laziness + for the coming year, and to maintain a vigorous spirit of + endeavor.</p> + <hr /> + + <p>Yet it was probably in Yédo (now Tōkyō) that the + Tanabata festival assumed its most picturesque aspects. During + the two days that the celebration lasted,—the sixth and + seventh of the seventh month,—the city used to present + the appearance of one vast bamboo grove; fresh bamboos, with + poems attached to them, being erected upon the roofs of the + <span class="pagenum"><a name="page24" + id="page24"></a>[pg 24]</span> houses. Peasants were in + those days able to do a great business in bamboos, which + were brought into town by hundreds of wagonloads for holiday + use. Another feature of the Yédo festival was the children's + procession, in which bamboos, with poems attached to them, + were carried about the city. To each such bamboo there was + also fastened a red plaque on which were painted, in Chinese + characters, the names of the Tanabata stars.</p> + + <p>But almost everywhere, under the Tokugawa régime, the + Tanabata festival used to be a merry holiday for the young + people of all classes,—a holiday beginning with lantern + displays before sunrise, and lasting well into the following + night. Boys and girls on that day were dressed in their best, + and paid visits of ceremony to friends and neighbors.</p> + <hr /> + + <p>—The moon of the seventh month used to be called + <i>Tanabata-tsuki</i>, or "The Moon of Tanabata." And it was + also called <i>Fumi-tsuki</i>, or "The Literary Moon," because + during the seventh month poems were everywhere + <span class="pagenum"><a name="page25" + id="page25"></a>[pg 25]</span> composed in praise of the + Celestial Lovers.</p> + <hr /> + + <p>I think that my readers ought to be interested in the + following selection of ancient Japanese poems, treating of the + Tanabata legend. All are from the <i>Manyōshū</i>. + The <i>Manyōshū</i>, or "Gathering of a Myriad + Leaves," is a vast collection of poems composed before the + middle of the eighth century. It was compiled by Imperial + order, and completed early in the ninth century. The number of + the poems which it contains is upwards of four thousand; some + being "long poems" (<i>naga-uta</i>), but the great majority + <i>tanka</i>, or compositions limited to thirty-one syllables; + and the authors were courtiers or high officials. The first + eleven <i>tanka</i> hereafter translated were composed by + Yamagami no Okura, Governor of the province of Chikuzen more + than eleven hundred years ago. His fame as a poet is well + deserved; for not a little of his work will bear comparison + with <span class="pagenum"><a name="page26" + id="page26"></a>[pg 26]</span> some of the finer epigrams of + the Greek Anthology. The following verses, upon the death of + his little son Furubi, will serve as an example:—</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Wakakeréba</p> + + <p>Nichi-yuki shiraji:</p> + + <p class="i2">Mahi wa sému,</p> + + <p>Shitabé no tsukahi</p> + + <p>Ohité-tohorasé.</p> + </div> + </div> + + <blockquote> + <p>—[<i>As he is so young, he cannot know the way.... + To the messenger of the Underworld I will give a bribe, and + entreat him, saying: "Do thou kindly take the little one + upon thy back along the road."</i>]</p> + </blockquote> + + <p>Eight hundred years earlier, the Greek poet Diodorus Zonas + of Sardis had written:—</p> + + <blockquote> + <p>"<i>Do thou, who rowest the boat of the dead in the + water of this reedy lake, for Hades, stretch out thy hand, + dark Charon, to the son of Kinyras, as he mounts the ladder + by the gang-way, and receive him. For his sandals will + cause the lad to slip, and he fears to set his feet naked + on the sand of the shore.</i>"</p> + </blockquote><span class="pagenum"><a name="page27" + id="page27"></a>[pg 27]</span> + + <p>But the charming epigram of Diodorus was inspired only by a + myth,—for the "son of Kinyras" was no other than + Adonis,—whereas the verses of Okura express for us the + yearning of a father's heart.</p> + <hr /> + + <p>—Though the legend of Tanabata was indeed borrowed + from China, the reader will find nothing Chinese in the + following compositions. They represent the old classic poetry + at its purest, free from alien influence; and they offer us + many suggestions as to the condition of Japanese life and + thought twelve hundred years ago. Remembering that they were + written before any modern European literature had yet taken + form, one is startled to find how little the Japanese written + language has changed in the course of so many centuries. + Allowing for a few obsolete words, and sundry slight changes of + pronunciation, the ordinary Japanese reader to-day can enjoy + these early productions of his native muse with about as little + difficulty as the English reader finds in studying the poets of + the Elizabethan era. Moreover, the refinement and the + <span class="pagenum"><a name="page28" + id="page28"></a>[pg 28]</span> simple charm of the + <i>Manyōshū</i> compositions have never been + surpassed, and seldom equaled, by later Japanese poets.</p> + + <p>As for the forty-odd <i>tanka</i> which I have translated, + their chief attraction lies, I think, in what they reveal to us + of the human nature of their authors. Tanabata-tsumé still + represents for us the Japanese wife, worshipfully + loving;—Hikoboshi appears to us with none of the + luminosity of the god, but as the young Japanese husband of the + sixth or seventh century, before Chinese ethical convention had + begun to exercise its restraint upon life and literature. Also + these poems interest us by their expression of the early + feeling for natural beauty. In them we find the scenery and the + seasons of Japan transported to the Blue Plain of High + Heaven;—the Celestial Stream with its rapids and + shallows, its sudden risings and clamourings within its stony + bed, and its water-grasses bending in the autumn wind, might + well be the Kamogawa;—and the mists that haunt its shores + are the very mists of Arashiyama. The boat of Hikoboshi, + impelled by a single oar working upon a + <span class="pagenum"><a name="page29" + id="page29"></a>[pg 29]</span> wooden peg, is not yet + obsolete; and at many a country ferry you may still see the + <i>hiki-funé</i> in which Tanabata-tsumé prayed her husband + to cross in a night of storm,—a flat broad barge + pulled over the river by cables. And maids and wives still + sit at their doors in country villages, on pleasant autumn + days, to weave as Tanabata-tsumé wove for the sake of her + lord and lover.</p> + <hr /> + + <p>—It will be observed that, in most of these verses, it + is not the wife who dutifully crosses the Celestial River to + meet her husband, but the husband who rows over the stream to + meet the wife; and there is no reference to the Bridge of + Birds.... As for my renderings, those readers who know by + experience the difficulty of translating Japanese verse will be + the most indulgent, I fancy. The Romaji system of spelling has + been followed (except in one or two cases where I thought it + better to indicate the ancient syllabication after the method + adopted by Aston); and words or phrases necessarily supplied + have been inclosed in + parentheses.</p><span class="pagenum"><a name="page30" + id="page30"></a>[pg 30]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Amanogawa</p> + + <p>Ai-muki tachité,</p> + + <p class="i2">Waga koïshi</p> + + <p>Kimi kimasu nari</p> + + <p>Himo-toki makéna!</p> + </div> + </div> + + <blockquote> + <p>[<i>He is coming, my long-desired lord, whom I have been + waiting to meet here, on the banks of the River of + Heaven.... The moment of loosening my girdle is + nigh!</i><a id="footnotetag7" + name="footnotetag7"></a><a href="#footnote7"><sup>7</sup></a>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Hisakata no<a id="footnotetag8" + name="footnotetag8"></a><a href="#footnote8"><sup>8</sup></a></p> + + <p>Ama no kawasé ni,</p> + + <p class="i2">Funé ukété,</p> + + <p>Koyoï ka kimi ga</p> + + <p class="i2">Agari kimasan?</p> + </div> + </div><span class="pagenum"><a name="page31" + id="page31"></a>[pg 31]</span> + + <blockquote> + <p>[<i>Over the Rapids of the Everlasting Heaven, floating + in his boat, my lord will doubtless deign to come to me + this very night.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Kazé kumo wa</p> + + <p>Futatsu no kishi ni</p> + + <p class="i2">Kayoëdomo,</p> + + <p>Waga toho-tsuma no</p> + + <p>Koto zo kayowanu!</p> + </div> + </div> + + <blockquote> + <p>[<i>Though winds and clouds to either bank may freely + come or go, between myself and my faraway spouse no message + whatever may pass.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Tsubuté<a id="footnotetag9" + name="footnotetag9"></a><a href="#footnote9"><sup>9</sup></a> + ni mo</p> + + <p>Nagé koshitsu-béki,</p> + + <p class="i2">Amanogawa</p> + + <p>Hédatéréba ka mo,</p> + + <p>Amata subé-naki!</p> + </div> + </div><span class="pagenum"><a name="page32" + id="page32"></a>[pg 32]</span> + + <blockquote> + <p>[<i>To the opposite bank one might easily fling a + pebble; yet, being separated from him by the River of + Heaven, alas! to hope for a meeting (except in autumn) is + utterly useless.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Aki-kazé no</p> + + <p>Fukinishi hi yori</p> + + <p class="i2">"Itsushika" to—;</p> + + <p>Waga machi koîshi</p> + + <p>Kimi zo kimaséru.</p> + </div> + </div> + + <blockquote> + <p>[<i>From the day that the autumn wind began to blow (I + kept saying to myself), "Ah! when shall we meet?"—but + now my beloved, for whom I waited and longed, has come + indeed!</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Amanogawa</p> + + <p>Ito kawa-nami wa</p> + + <p class="i2">Tatanédomo,</p> + + <p>Samorai gatashi—</p> + + <p>Chikaki kono sé wo.</p> + </div> + </div> + + <blockquote> + <p>[<i>Though the waters of the River of Heaven have not + greatly risen, (yet to cross) this near stream and to wait + upon (my lord and lover) remains impossible.</i>]</p> + </blockquote><span class="pagenum"><a name="page33" + id="page33"></a>[pg 33]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Sodé furaba</p> + + <p>Mi mo kawashitsu-béku</p> + + <p class="i2">Chika-kerédo,</p> + + <p>Wataru subé nashi,</p> + + <p>Aki nishi aranéba.</p> + </div> + </div> + + <blockquote> + <p>[<i>Though she is so near that the waving of her (long) + sleeves can be distinctly seen, yet there is no way to + cross the stream before the season of autumn.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Kagéroï no</p> + + <p>Honoka ni miété</p> + + <p class="i2">Wakarénaba;—</p> + + <p>Motonaya koïn</p> + + <p>Aü-toki madé wa!</p> + </div> + </div> + + <blockquote> + <p>[<i>When we were separated, I had seen her for a moment + only,—and dimly as one sees a flying + midge;<a id="footnotetag10" + name="footnotetag10"></a><a href="#footnote10"><sup>10</sup></a> + now I must vainly long for her as before, until time of + our next meeting!</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Hikoboshi no</p> + + <p>Tsuma mukaë-buné</p> + + <p class="i2">Kogizurashi,—</p> + + <p>Ama-no-Kawara ni</p> + + <p>Kiri no tatéru wa.</p> + </div> + </div><span class="pagenum"><a name="page34" + id="page34"></a>[pg 34]</span> + + <blockquote> + <p>[<i>Methinks that Hikoboshi must be rowing his boat to + meet his wife,—for a mist (as of oar-spray) is rising + over the course of the Heavenly Stream.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Kasumi tatsu</p> + + <p>Ama-no-Kawara ni,</p> + + <p class="i2">Kimi matsu to,—</p> + + <p>Ikayō hodo ni</p> + + <p>Mono-suso nurenu.</p> + </div> + </div> + + <blockquote> + <p>[<i>While awaiting my lord on the misty shore of the + River of Heaven, the skirts of my robe have somehow become + wet.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Amanogawa,</p> + + <p>Mi-tsu no nami oto</p> + + <p class="i2">Sawagu-nari:</p> + + <p>Waga matsu-kimi no</p> + + <p>Funadé-surashi mo.</p> + </div> + </div> + + <blockquote> + <p>[<i>On the River of Heaven, at the place of the august + ferry, the sound of the water has become loud: perhaps my + long-awaited lord will soon be coming in his boat.</i>]</p> + </blockquote><span class="pagenum"><a name="page35" + id="page35"></a>[pg 35]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Tanabata no</p> + + <p>Sodé maku yoï no</p> + + <p class="i2">Akatoki wa,</p> + + <p>Kawasé no tazu wa</p> + + <p>Nakazu to mo yoshi.</p> + </div> + </div> + + <blockquote> + <p>[<i>As Tanabata (slumbers) with her long sleeves rolled + up, until the reddening of the dawn, do not, O storks of + the river-shallows, awaken her by your + cries.</i><a id="footnotetag11" + name="footnotetag11"></a><a href="#footnote11"><sup>11</sup></a>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Amanogawa</p> + + <p>Kiri-tachi-wataru:</p> + + <p class="i2">Kyō, kyō, to—</p> + + <p>Waga matsu-koïshi</p> + + <p>Funadé-surashi!</p> + </div> + </div> + + <blockquote> + <p>[<i>(She sees that) a mist is spreading across the River + of Heaven.... "To-day, to-day," she thinks, "my + long-awaited lord will probably come over in his + boat."</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Amanogawa,</p> + + <p>Yasu no watari ni,</p> + + <p class="i2">Funé + ukété;—</p><span class="pagenum"><a name="page36" + id="page36"></a>[pg 36]</span> + + <p>Waga tachi-matsu to</p> + + <p>Imo ni tsugé koso.</p> + </div> + </div> + + <blockquote> + <p>[<i>By the ferry of Yasu, on the River of Heaven, the + boat is floating: I pray you tell my younger + sister<a id="footnotetag12" + name="footnotetag12"></a><a href="#footnote12"><sup>12</sup></a> + that I stand here and wait.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Ō-sora yo</p> + + <p>Kayō waré sura,</p> + + <p class="i2">Na ga yué ni,</p> + + <p>Amanokawa-ji no</p> + + <p>Nazumité zo koshi.</p> + </div> + </div> + + <blockquote> + <p>[<i>Though I (being a Star-god) can pass freely to and + fro, through the great sky,—yet to cross over the + River of Heaven, for your sake, was weary work + indeed!</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Yachihoko no</p> + + <p>Kami no mi-yo yori</p> + + <p class="i2">Tomoshi-zuma;—</p> + + <p>Hito-shiri ni keri</p> + + <p>Tsugitéshi omoëba.</p> + </div> + </div><span class="pagenum"><a name="page37" + id="page37"></a>[pg 37]</span> + + <blockquote> + <p>[<i>From the august Age of the + God-of-Eight-Thousand-Spears</i>,<a id="footnotetag13" + name="footnotetag13"></a><a href="#footnote13"><sup>13</sup></a> + <i>she had been my spouse in + secret</i><a id="footnotetag14" + name="footnotetag14"></a><a href="#footnote14"><sup>14</sup></a> + <i>only; yet now, because of my constant longing for + her, our relation has become known to men.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Amé tsuchi to</p> + + <p>Wakaréshi toki yo</p> + + <p class="i2">Onoga tsuma;</p> + + <p>Shika zo té ni aru</p> + + <p>Aki matsu aré wa.</p> + </div> + </div> + + <blockquote> + <p>[<i>From the time when heaven and earth were parted, she + has been my own wife;—yet, to be with her, I must + always wait till autumn.</i><a id="footnotetag15" + name="footnotetag15"></a><a href="#footnote15"><sup>15</sup></a>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Waga kōru</p> + + <p>Niho no omo + wa</p><span class="pagenum"><a name="page38" + id="page38"></a>[pg 38]</span> + + <p class="i2">Koyoï mo ka</p> + + <p>Ama-no-kawara ni</p> + + <p>Ishi-makura makan.</p> + </div> + </div> + + <blockquote> + <p>[<i>With my beloved, of the ruddy-tinted + cheeks</i>,<a id="footnotetag16" + name="footnotetag16"></a><a href="#footnote16"><sup>16</sup></a> + <i>this night indeed will I descend into the bed of the + River of Heaven, to sleep on a pillow of stone.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Amanogawa.</p> + + <p>Mikomori-gusa no</p> + + <p class="i2">Aki-kazé ni</p> + + <p>Nabikafu miréba,</p> + + <p>Toki kitarurashi.</p> + </div> + </div> + + <blockquote> + <p>[<i>When I see the water-grasses of the River of Heaven + bend in the autumn wind (I think to myself): "The time (for + our meeting) seems to have come."</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Waga séko ni</p> + + <p>Ura-koi oréba,</p> + + <p class="i2">Amanogawa</p> + + <p>Yo-funé kogi-toyomu</p> + + <p>Kaji no 'to kikoyu.</p> + </div> + </div><span class="pagenum"><a name="page39" + id="page39"></a>[pg 39]</span> + + <blockquote> + <p>[<i>When I feel in my heart a sudden longing for my + husband</i>,<a id="footnotetag17" + name="footnotetag17"></a><a href="#footnote17"><sup>17</sup></a> + <i>then on the River of Heaven the sound of the rowing + of the night-boat is heard, and the plash of the oar + resounds.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Tō-zuma to</p> + + <p>Tamakura kawashi</p> + + <p class="i2">Nétaru yo wa,</p> + + <p>Tori-gané na naki</p> + + <p>Akéba aku to mo!</p> + </div> + </div> + + <blockquote> + <p>[<i>In the night when I am reposing with my (now) + far-away spouse, having exchanged + jewel-pillows</i><a id="footnotetag18" + name="footnotetag18"></a><a href="#footnote18"><sup>18</sup></a> + <i>with her, let not the cock crow, even though the day + should dawn.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Yorozu-yo ni</p> + + <p>Tazusawari ité</p> + + <p class="i2">Ai + mi-domo,</p><span class="pagenum"><a name="page40" + id="page40"></a>[pg 40]</span> + + <p>Omoi-sugu-béki</p> + + <p>Koi naranaku ni.</p> + </div> + </div> + + <blockquote> + <p>[<i>Though for a myriad ages we should remain + hand-in-hand and face to face, our exceeding love could + never come to an end. (Why then should Heaven deem it + necessary to part us?)</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Waga tamé to,</p> + + <p>Tanabata-tsumé no,</p> + + <p class="i2">Sono yado ni,</p> + + <p>Oreru shirotai</p> + + <p>Nuït ken kamo?</p> + </div> + </div> + + <blockquote> + <p>[<i>The white cloth which Tanabata has woven for my + sake, in that dwelling of hers, is now, I think, being made + into a robe for me.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Shirakumo no</p> + + <p>I-ho é kakurité</p> + + <p class="i2">Tō-kédomo,</p> + + <p>Yoï-sarazu min</p> + + <p>Imo ga atari wa.</p> + </div> + </div> + + <blockquote> + <p>[<i>Though she be far-away, and hidden from me by five + hundred layers of white cloud, still shall I turn my gaze + each night toward the dwelling-place of my younger sister + (wife).</i>]</p> + </blockquote><span class="pagenum"><a name="page41" + id="page41"></a>[pg 41]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Aki saréba</p> + + <p>Kawagiri tatéru</p> + + <p class="i2">Amanogawa,</p> + + <p>Kawa ni muki-ité</p> + + <p>Kru<a id="footnotetag19" + name="footnotetag19"></a><a href="#footnote19"><sup>19</sup></a> + yo zo ōki!</p> + </div> + </div> + + <blockquote> + <p>[<i>When autumn comes, and the river-mists spread over + the Heavenly Stream, I turn toward the river, (and long); + and the nights of my longing are many!</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Hito-tosé ni</p> + + <p>Nanuka no yo nomi</p> + + <p class="i2">Aü-hito no—</p> + + <p>Koï mo tsuki-néba</p> + + <p>Sayo zo aké ni keru!</p> + </div> + </div> + + <blockquote> + <p>[<i>But once in the whole year, and only upon the + seventh night (of the seventh month), to meet the beloved + person—and lo! The day has dawned before our mutual + love could express itself!</i><a id="footnotetag20" + name="footnotetag20"></a><a href="#footnote20"><sup>20</sup></a>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Toshi no koï</p> + + <p>Koyoï tsukushíté,</p> + + <p class="i2">Asu yori + wa,</p><span class="pagenum"><a name="page42" + id="page42"></a>[pg 42]</span> + + <p>Tsuné no gotoku ya</p> + + <p>Waga koï oran.</p> + </div> + </div> + + <blockquote> + <p>[<i>The love-longing of one whole year having ended + to-night, every day from to-morrow I must again pine for + him as before!</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Hikoboshi to</p> + + <p>Tanabata-tsumé to</p> + + <p class="i2">Koyoï aü;—</p> + + <p>Ama-no-Kawa to ni</p> + + <p>Nami tatsu-na yumé!</p> + </div> + </div> + + <blockquote> + <p>[<i>Hikoboshi and Tanabata-tsumé are to meet each other + to-night;—ye waves of the River of Heaven, take heed + that ye do not rise!</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Aki-kazé no</p> + + <p>Fuki tadayowasu</p> + + <p class="i2">Shirakumo wa,</p> + + <p>Tanabata-tsumé no</p> + + <p>Amatsu hiré kamo?</p> + </div> + </div> + + <blockquote> + <p>[<i>Oh! that white cloud driven by the + autumn-wind—can it be the heavenly + hiré<a id="footnotetag21" + name="footnotetag21"></a><a href="#footnote21"><sup>21</sup></a> + of Tana-bata-tsumé?</i>]</p> + </blockquote><span class="pagenum"><a name="page43" + id="page43"></a>[pg 43]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Shiba-shiba mo</p> + + <p>Ai minu kimi wo,</p> + + <p class="i2">Amanogawa</p> + + <p>Funa-dé haya séyo</p> + + <p>Yo no fukénu ma ni.</p> + </div> + </div> + + <blockquote> + <p>[<i>Because he is my not-often-to-be-met beloved, hasten + to row the boat across the River of Heaven ere the night be + advanced.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Amanogawa</p> + + <p>Kiri tachi-watari</p> + + <p class="i2">Hikoboshi no</p> + + <p>Kaji no 'to kikoyu</p> + + <p>Yo no fuké-yukéba.</p> + </div> + </div> + + <blockquote> + <p>[<i>Late in the night, a mist spreads over</i>] + <span class="pagenum"><a name="page44" + id="page44"></a>[pg 44]</span> <i>the River of Heaven; + and the sound of the oar<a id="footnotetag22" + name="footnotetag22"></a><a href="#footnote22"><sup>22</sup></a> + of Hikoboshi is heard.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Amanogawa</p> + + <p>Kawa 'to sayakéshi:</p> + + <p class="i2">Hikoboshi no</p> + + <p>Haya kogu funé no</p> + + <p>Nami no sawagi ka?</p> + </div> + </div> + + <blockquote> + <p>[<i>On the River of Heaven a sound of plashing can be + distinctly heard: is it the sound of the rippling made by + Hikoboshi quickly rowing his boat?</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Kono yūbé,</p> + + <p>Furikuru amé wa,</p> + + <p class="i2">Hikoboshi no</p> + + <p>Haya kogu funé no</p> + + <p>Kaï no chiri ka mo.</p> + </div> + </div> + + <blockquote> + <p>[<i>Perhaps this evening shower is but the spray (flung + down) from the oar of Hikoboshi, rowing his boat in + haste.</i>]</p> + </blockquote><span class="pagenum"><a name="page45" + id="page45"></a>[pg 45]</span> + + <div class="poem"> + <div class="stanza"> + <p>Waga tama-doko wo</p> + + <p class="i2">Asu yori wa</p> + + <p class="i2">Uchi haraï,</p> + + <p>Kimi to inézuté</p> + + <p>Hitori ka mo nen!</p> + </div> + </div> + + <blockquote> + <p>[<i>From to-morrow, alas! after having put my jewel-bed + in order, no longer reposing with my lord, I must sleep + alone!</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Kazé fukité,</p> + + <p>Kawa-nami tachinu;—</p> + + <p class="i2">Hiki-funé ni</p> + + <p>Watari mo kimasé</p> + + <p>Yo no fukénu ma ni.</p> + </div> + </div> + + <blockquote> + <p>[<i>The wind having risen, the waves of the river have + become high;—this night cross over in a + towboat,<a id="footnotetag23" + name="footnotetag23"></a><a href="#footnote23"><sup>23</sup></a> + I pray thee, before the hour be late!</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Amanogawa</p> + + <p>Nami wa tatsutomo,</p> + + <p class="i2">Waga funé wa</p> + + <p>Iza kogi iden</p> + + <p>Yo no fukénu ma ni.</p> + </div> + </div> + + <blockquote> + <p>[<i>Even though the waves of the River of</i> + <span class="pagenum"><a name="page46" + id="page46"></a>[pg 46]</span> <i>Heaven run high, I + must row over quickly, before it becomes late in the + night.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Inishié ni</p> + + <p>Oritéshi hata wo;</p> + + <p class="i2">Kono yūbé</p> + + <p>Koromo ni nuïté—</p> + + <p>Kimi matsu aré wo!</p> + </div> + </div> + + <blockquote> + <p>[<i>Long ago I finished weaving the material; and, this + evening, having finished sewing the garment for + him—(why must) I still wait for my lord?</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Amanogawa</p> + + <p>Sé wo hayami ka mo?</p> + + <p class="i2">Nubatama no</p> + + <p>Yo wa fuké ni tsutsu,</p> + + <p>Awanu Hikoboshi!</p> + </div> + </div> + + <p>[<i>Is it that the current of the River of</i> + <span class="pagenum"><a name="page47" + id="page47"></a>[pg 47]</span> <i>Heaven (has become too) + rapid? The jet-black night<a id="footnotetag24" + name="footnotetag24"></a><a href="#footnote24"><sup>24</sup></a> + advances—and Hikoboshi has not come!</i>]</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Watashi-mori,</p> + + <p>Funé haya watasé;—</p> + + <p class="i2">Hito-tosé ni</p> + + <p>Futatabi kayō</p> + + <p>Kimi naranaku ni!</p> + </div> + </div> + + <blockquote> + <p>[<i>Oh, ferryman, make speed across the stream!—my + lord is not one who can come and go twice in a + year!</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Aki kazé no</p> + + <p>Fukinishi hi yori,</p> + + <p class="i2">Amanogawa</p> + + <p>Kawasé ni dédachi;—</p> + + <p>Matsu to tsugé koso!</p> + </div> + </div> + + <blockquote> + <p>[<i>On the very day that the autumn-wind began to blow, + I set out for the shallows of the River of Heaven;—I + pray you, tell my lord that I am waiting here + still!</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Tanabata no</p> + + <p>Funanori surashi,—</p> + + <p class="i2"> + Maso-kagami,</p><span class="pagenum"><a name="page48" + id="page48"></a>[pg 48]</span> + + <p>Kiyoki tsuki-yo ni</p> + + <p>Kumo tachi-wataru.</p> + </div> + </div> + + <blockquote> + <p>[<i>Methinks Tanabata must be coming in her boat; for a + cloud is even now passing across the clear face of the + moon.</i><a id="footnotetag25" + name="footnotetag25"></a><a href="#footnote25"><sup>25</sup></a>]</p> + </blockquote> + + <p>—And yet it has been gravely asserted that the old + Japanese poets could find no beauty in starry skies!...</p> + + <p>Perhaps the legend of Tanabata, as it was understood by + those old poets, can make but a faint appeal to Western minds. + Nevertheless, in the silence of transparent nights, before the + rising of the moon, the charm of the ancient tale sometimes + descends upon me, out of the scintillant sky,—to make me + forget the monstrous facts of science, and the stupendous + horror of Space. Then I no longer behold the Milky Way as that + awful Ring of the Cosmos, + <span class="pagenum"><a name="page49" + id="page49"></a>[pg 49]</span> whose hundred million suns + are powerless to lighten the Abyss, but as the very + Amanogawa itself,—the River Celestial. I see the + thrill of its shining stream, and the mists that hover along + its verge, and the water-grasses that bend in the winds of + autumn. White Orihimé I see at her starry loom, and the Ox + that grazes on the farther shore;—and I know that the + falling dew is the spray from the Herdsman's oar. And the + heaven seems very near and warm and human; and the silence + about me is filled with the dream of a love unchanging, + immortal,—forever yearning and forever young, and + forever left unsatisfied by the paternal wisdom of the + gods.</p><span class="pagenum"><a name="page51" + id="page51"></a>[pg 51]</span> + + <h2>GOBLIN POETRY</h2><span class="pagenum"><a name="page53" + id="page53"></a>[pg 53]</span> + + <p>Recently, while groping about an old book shop, I found a + collection of Goblin Poetry in three volumes, containing many + pictures of goblins. The title of the collection is + <i>Kyōka Hyaku-Monogatari</i>, or "The Mad Poetry of the + <i>Hyaku-Monogatari</i>." The <i>Hyaku-Monogatari</i>, or + "Hundred Tales," is a famous book of ghost stories. On the + subject of each of the stories, poems were composed at + different times by various persons,—poems of the sort + called <i>Kyōka</i>, or Mad Poetry,—and these were + collected and edited to form the three volumes of which I + became the fortunate possessor. The collecting was done by a + certain Takumi Jingorō, who wrote under the literary + pseudonym <span class="pagenum"><a name="page54" + id="page54"></a>[pg 54]</span> "Temmér Réōjin" (Ancient + of the Temmér Era). Takumi died in the first year of + Bunkyū (1861), at the good age of eighty; and his + collection seems to have been published in the sixth year of + Kaéï (1853). The pictures were made by an artist called + Masazumi, who worked under the pseudonym "Ryōsai + Kanjin."</p> + + <p>From a prefatory note it appears that Takumi Jingorō + published his collection with the hope of reviving interest in + a once popular kind of poetry which had fallen into neglect + before the middle of the century. The word <i>kyōka</i> is + written with a Chinese character signifying "insane" or + "crazy;" and it means a particular and extraordinary variety of + comic poetry. The form is that of the classic <i>tanka</i> of + thirty-one syllables (arranged 57577);—but the subjects + are always the extreme reverse of classical; and the artistic + effects depend upon methods of verbal jugglery which cannot be + explained without the help of numerous examples. The collection + published by Takumi includes a good deal of matter in which a + Western reader can discover no merit; but the + <span class="pagenum"><a name="page55" + id="page55"></a>[pg 55]</span> best of it has a distinctly + grotesque quality that reminds one of Hood's weird + cleverness in playing with grim subjects. This quality, and + the peculiar Japanese method of mingling the playful with + the terrific, can be suggested and explained only by + reproducing in Romaji the texts of various + <i>kyōka</i>, with translations and notes.</p> + + <p>The selection which I have made should prove interesting, + not merely because it will introduce the reader to a class of + Japanese poetry about which little or nothing has yet been + written in English, but much more because it will afford some + glimpses of a supernatural world which still remains for the + most part unexplored. Without knowledge of Far Eastern + superstitions and folk-tales, no real understanding of Japanese + fiction or drama or poetry will ever become possible.</p> + <hr /> + + <p>There are many hundreds of poems in the three volumes of the + <i>Kyōka Hyaku-Monogatari</i>; but the number of the + ghosts and goblins falls short of the one hundred suggested by + <span class="pagenum"><a name="page56" + id="page56"></a>[pg 56]</span> the title. There are just + ninety-five. I could not expect to interest my readers in + the whole of this goblinry, and my selection includes less + than one seventh of the subjects. The Faceless Babe, The + Long-Tongued Maiden, The Three-Eyed Monk, The Pillow-Mover, + The Thousand Heads, The Acolyte-with-the-Lantern, The + Stone-that-Cries-in-the-Night, The Goblin-Heron, The + Goblin-Wind, The Dragon-Lights, and The Mountain-Nurse, did + not much impress me. I omitted <i>kyōka</i> dealing + with fancies too gruesome for Western nerves,—such as + that of the <i>Obumédori</i>,—also those treating of + merely local tradition. The subjects chosen represent + national rather than provincial folklore,—old beliefs + (mostly of Chinese origin) once prevalent throughout the + country, and often referred to in its popular + literature.</p> + + <h3>I. KITSUNÉ-BI</h3> + + <p>The Will-o'-the-wisp is called <i>kitsuné-bi</i> + ("fox-fire"), because the goblin-fox was formerly supposed to + create it. In old Japanese + <span class="pagenum"><a name="page57" + id="page57"></a>[pg 57]</span> pictures it is represented as + a tongue of pale red flame, hovering in darkness, and + shedding no radiance upon the surfaces over which it + glides.</p> + + <p>To understand some of the following <i>kyōka</i> on the + subject, the reader should know that certain superstitions + about the magical power of the fox have given rise to several + queer folk-sayings,—one of which relates to marrying a + stranger. Formerly a good citizen was expected to marry within + his own community, not outside of it; and the man who dared to + ignore traditional custom in this regard would have found it + difficult to appease the communal indignation. Even to-day the + villager who, after a long absence from his birthplace, returns + with a strange bride, is likely to hear unpleasant things + said,—such as: "<i>Wakaranai-mono we hippaté-kita!... + Doko no uma no honé da ka?</i>" ("Goodness knows what kind of a + thing he has dragged here after him! Where did he pick up that + old horse-bone?") The expression <i>uma no honé</i>, "old + horse-bone," requires + explanation.</p><span class="pagenum"><a name="page58" + id="page58"></a>[pg 58]</span> + + <p>A goblin-fox has the power to assume many shapes; but, for + the purpose of deceiving <i>men</i>, he usually takes the form + of a pretty woman. When he wants to create a charming phantom + of this kind, he picks up an old horse-bone or cow-bone, and + holds it in his mouth. Presently the bone becomes luminous; and + the figure of a woman defines about it,—the figure of a + courtesan or singing-girl.... So the village query about the + man who marries a strange wife, "What old horse-bone has he + picked up?" signifies really, "What wanton has bewitched him?" + It further implies the suspicion that the stranger may be of + outcast blood: a certain class of women of pleasure having been + chiefly recruited, from ancient time, among the daughters of + Éta and other pariah-people.</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Hi tomoshité</p> + + <p>Kitsuné no kwaséshi,</p> + + <p class="i2">Asobimé<a id="footnotetag26" + name="footnotetag26"></a><a href="#footnote26"><sup>26</sup></a> + wa—</p><span class="pagenum"><a name="page59" + id="page59"></a>[pg 59]</span> + + <p>Izuka no uma no</p> + + <p>Honé ni ya aruran!</p> + </div> + </div> + + <blockquote> + <p>[<i>—Ah the wanton (lighting her + lantern)!—so a fox-fire is kindled in the time of + fox-transformation!... Perhaps she is really nothing more + than an old horse-bone from somewhere or other....</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Kitsuné-bi no</p> + + <p>Moyuru ni tsukété,</p> + + <p class="i2">Waga tama no</p> + + <p>Kiyuru yō nari</p> + + <p>Kokoro-hoso-michi!</p> + </div> + </div> + + <blockquote> + <p>[<i>Because of that Fox-fire burning there, the very + soul of me is like to be extinguished in this narrow path + (or, in this heart-depressing + solitude).</i><a id="footnotetag27" + name="footnotetag27"></a><a href="#footnote27"><sup>27</sup></a>]</p> + </blockquote><span class="pagenum"><a name="page60" + id="page60"></a>[pg 60]</span> + + <h3>II. RIKOMBYŌ</h3> + + <p>The term <i>Rikombyō</i> is composed with the word + <i>rikon</i>, signifying a "shade," "ghost," or "spectre," and + the word <i>byō</i>, signifying "sickness," "disease." An + almost literal rendering would be "ghost-sickness." In + Japanese-English dictionaries you will find the meaning of + <i>Rikombyō</i> given as "hypochondria;" and doctors + really use the term in this modern sense. But the ancient + meaning was <i>a disorder of the mind which produced a + Double</i>; and there is a whole strange literature about this + weird disease. It used to be supposed, both in China and Japan, + that under the influence of intense grief or longing, caused by + love, the spirit of the suffering person would create a Double. + Thus the victim of <i>Rikombyō</i> would appear to have + two bodies, exactly alike; and one of these bodies would go to + join the absent beloved, while the other remained at home. (In + my "Exotics and Retrospectives," under the title "A Question in + the Zen Texts," the reader will find a typical + <span class="pagenum"><a name="page61" + id="page61"></a>[pg 61]</span> Chinese story on the + subject,—the story of the girl Ts'ing.) Some form of + the primitive belief in doubles and wraiths probably exists + in every part of the world; but this Far Eastern variety is + of peculiar interest because the double is supposed to be + caused by love, and the subjects of the affliction to belong + to the gentler sex.... The term <i>Rikombyō</i> seems + to be applied to the apparition as well as to the mental + disorder supposed to produce the apparition: it signifies + "doppelgänger" as well as "ghost-disease."</p> + <hr /> + + <p>—With these necessary explanations, the quality of the + following <i>kyōka</i> can be understood. A picture which + appears in the <i>Kyōka Hyaku-Monogatari</i> shows a + maid-servant anxious to offer a cup of tea to her + mistress,—a victim of the "ghost-sickness." The servant + cannot distinguish between the original and the apparitional + shapes before her; and the difficulties of the situation are + suggested in the first of the <i>kyōka</i> which I have + translated:—</p><span class="pagenum"><a name="page62" + id="page62"></a>[pg 62]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Ko-ya, soré to?</p> + + <p>Ayamé mo wakanu</p> + + <p class="i2">Rikombyō:</p> + + <p>Izuré we tsuma to</p> + + <p>Hiku zo wazuraü!</p> + </div> + </div> + + <blockquote> + <p>[<i>Which one is this?—which one is that? Between + the two shapes of the Rikombyō it is not possible to + distinguish. To find out which is the real wife—that + will be an affliction of spirit indeed!</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Futatsu naki</p> + + <p>Inochi nagara mo</p> + + <p class="i2">Kakégaë no</p> + + <p>Karada no miyuru—</p> + + <p>Kage no wazurai!</p> + </div> + </div> + + <blockquote> + <p>[<i>Two lives there certainly are + not;—nevertheless an extra body is visible, by reason + of the Shadow-Sickness.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Naga-tabi no</p> + + <p>Oto we shitaïté</p> + + <p class="i2">Mi futatsu ni</p> + + <p>Naru wa onna no</p> + + <p>Sāru rikombyō.</p> + </div> + </div><span class="pagenum"><a name="page63" + id="page63"></a>[pg 63]</span> + + <blockquote> + <p>[<i>Yearning after her far-journeying husband, the woman + has thus become two bodies, by reason of her ghostly + sickness.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Miru kagé mo</p> + + <p>Naki wazurai no</p> + + <p class="i2">Rikombyō,—</p> + + <p>Omoi no hoka ni</p> + + <p>Futatsu miru kagé!</p> + </div> + </div> + + <blockquote> + <p>[<i>Though (it was said that), because of her ghostly + sickness, there was not even a shadow of her left to be + seen,—yet, contrary to expectation, there are two + shadows of her to be seen!</i><a id="footnotetag28" + name="footnotetag28"></a><a href="#footnote28"><sup>28</sup></a>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Rikombyō</p> + + <p>Hito ni kakushité</p> + + <p class="i2"> + Oku-zashiki,</p><span class="pagenum"><a name="page64" + id="page64"></a>[pg 64]</span> + + <p>Omoté y dëasanu</p> + + <p>Kagé no wazurai.</p> + </div> + </div> + + <blockquote> + <p>[<i>Afflicted with the Rikombyō, she hides away + from people in the back room, and never approaches the + front of the house,—because of her + Shadow-disease.</i><a id="footnotetag29" + name="footnotetag29"></a><a href="#footnote29"><sup>29</sup></a>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Mi wa koko ni;</p> + + <p>Tama wa otoko ni</p> + + <p class="i2">Soïné suru;—</p> + + <p>Kokoro mo shiraga</p> + + <p>Haha ga kaihō.</p> + </div> + </div> + + <blockquote> + <p>[<i>Here her body lies; but her soul is far away, asleep + in the arms of a man;—and the white-haired mother, + little knowing her daughter's heart, is nursing (only the + body).</i><a id="footnotetag30" + name="footnotetag30"></a><a href="#footnote30"><sup>30</sup></a>]</p> + </blockquote><span class="pagenum"><a name="page65" + id="page65"></a>[pg 65]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Tamakushigé</p> + + <p>Futatsu no sugata</p> + + <p class="i2">Misénuru wa,</p> + + <p>Awasé-kagami no</p> + + <p>Kagé no wazurai.</p> + </div> + </div> + + <blockquote> + <p>[<i>If, when seated before her toilet-stand, she sees + two faces reflected in her mirror,—that might be + caused by the mirror doubling itself under the influence of + the Shadow-Sickness.</i><a id="footnotetag31" + name="footnotetag31"></a><a href="#footnote31"><sup>31</sup></a>]</p> + </blockquote> + + <h3>III. Ō-GAMA</h3> + + <p>In the old Chinese and Japanese literature the toad is + credited with supernatural + <span class="pagenum"><a name="page66" + id="page66"></a>[pg 66]</span> capacities,—such as the + power to call down clouds, the power to make rain, the power + to exhale from its mouth a magical mist which creates the + most beautiful illusions. Some toads are good + spirits,—friends of holy men; and in Japanese art a + famous Rishi called "Gama-Sennin" (Toad Rishi) is usually + represented with a white toad resting upon his shoulder, or + squatting beside him. Some toads are evil goblins, and + create phantasms for the purpose of luring men to + destruction. A typical story about a creature of this class + will be found in my "Kottō," entitled "The Story of + Chugōrō."</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Mé wa kagami,</p> + + <p>Kuchi wa tarai no</p> + + <p class="i2">Hodo ni aku:</p> + + <p>Gama mo késhō no</p> + + <p>Mono to kosō shiré.</p> + </div> + </div> + + <blockquote> + <p>[<i>The eye of it, widely open, like a (round) mirror; + the mouth of it opening like a wash-basin—by these + things you may know that the Toad is a goblin-thing (or, + that the Toad is a toilet + article).</i><a id="footnotetag32" + name="footnotetag32"></a><a href="#footnote32"><sup>32</sup></a>]</p> + </blockquote><span class="pagenum"><a name="page67" + id="page67"></a>[pg 67]</span> + + <h3>IV. SHINKIRŌ</h3> + + <p>The term <i>Shinkirō</i> is used in the meaning of + "mirage," and also as another name for Hōrai, the Elf-land + of Far Eastern fable. Various beings in Japanese myth are + credited with power to delude mortals by creating a mirage of + Hōrai. In old pictures one may see a toad represented in + the act of exhaling from its mouth a vapor that shapes the + apparition of Hōrai.</p> + + <p>But the creature especially wont to produce this illusion is + the <i>Hamaguri</i>,—a Japanese mollusk much resembling a + clam. Opening its shell, it sends into the air a purplish misty + breath; and that mist takes form and defines, in tints of + mother-of-pearl, the luminous vision of Hōrai and the + palace of the Dragon-King.</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Hamaguri no</p> + + <p>Kuchi aku toki + ya,</p><span class="pagenum"><a name="page68" + id="page68"></a>[pg 68]</span> + + <p class="i2">Shinkirō!</p> + + <p>Yo ni shiraré ken</p> + + <p>Tatsu-no-miya-himé!</p> + </div> + </div> + + <blockquote> + <p>[<i>When the hamaguri opens its mouth—lo! + Shinkirō appears!... Then all can clearly see the + Maiden-Princess of the Dragon-Palace.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Shinkirō—</p> + + <p>Tatsu no miyako no</p> + + <p class="i2">Hinagata<a id="footnotetag33" + name="footnotetag33"></a><a href="#footnote33"><sup>33</sup></a> + wo</p> + + <p>Shio-hi no oki ni</p> + + <p>Misuru hamaguri!</p> + </div> + </div> + + <blockquote> + <p>[<i>Lo! in the offing at ebb-tide, the hamaguri makes + visible the miniature image of Shinkirō—the + Dragon-Capital!</i>]</p> + </blockquote> + + <h3>V. ROKURO-KUBI</h3> + + <p>The etymological meaning of <i>Rokuro-Kubi</i> can scarcely + be indicated by any English rendering. The term <i>rokuro</i> + is indifferently used to designate many revolving + objects—objects <span class="pagenum"><a name="page69" + id="page69"></a>[pg 69]</span> as dissimilar as a pulley, a + capstan, a windlass, a turning lathe, and a potter's wheel. + Such renderings of Rokuro-Kubi as "Whirling-Neck" and + "Rotating-Neck" are unsatisfactory;—for the idea which + the term suggests to Japanese fancy is that of a neck which + revolves, <i>and lengthens or retracts according to the + direction of the revolution</i>.... As for the ghostly + meaning of the expression, a Rokuro-Kubi is either (1) a + person whose neck lengthens prodigiously during sleep, so + that the head can wander about in all directions, seeking + what it may devour, or (2) a person able to detach his or + her head completely from the body, and to rejoin it to the + neck afterwards. (About this last mentioned variety of + <i>Rokuro-Kubi</i> there is a curious story in my "Kwaidan," + translated from the Japanese.) In Chinese mythology the + being whose neck is so constructed as to allow of the head + being completely detached belongs to a special class; but in + Japanese folk-tale this distinction is not always + maintained. One of the bad habits attributed to the + Rokuro-Kubi is that of drinking the oil in night-lamps. In + <span class="pagenum"><a name="page70" + id="page70"></a>[pg 70]</span> Japanese pictures the + Rokuro-Kubi is usually depicted as a woman; and old books + tell us that a woman might become a Rokuro-Kubi without + knowing it,—much as a somnambulist walks about while + asleep, without being aware of the fact.... The following + verses about the Rokuro-Kubi have been selected from a group + of twenty in the <i>Kyōka + Hyaku-Monogatari</i>:—</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Nemidaré no</p> + + <p>Nagaki kami woba</p> + + <p class="i2">Furi-wakété,</p> + + <p>Chi hiro ni nobasu</p> + + <p>Rokuro-Kubi kana!</p> + </div> + </div> + + <blockquote> + <p>[<i>Oh!... Shaking loose her long hair disheveled by + sleep, the Rokuro-Kubi stretches her neck to the length of + a thousand fathoms!</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">"Atama naki</p> + + <p>Bakémono nari"—to</p> + + <p class="i2">Rokuro-Kubi,</p> + + <p>Mité odorokan</p> + + <p>Onoga karada we.</p> + </div> + </div> + + <blockquote> + <p>[<i>Will not the Rokuro-Kubi, viewing with</i> + <span class="pagenum"><a name="page71" + id="page71"></a>[pg 71]</span> <i>astonishment her own + body (left behind) cry out, "Oh, what a headless goblin + have you become!</i>"]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Tsuka-no-ma ni</p> + + <p>Hari we tsutawaru,</p> + + <p class="i2">Rokuro-Kubi</p> + + <p>Kéta-kéta warau—</p> + + <p>Kao no kowasa yo!</p> + </div> + </div> + + <blockquote> + <p>[<i>Swiftly gliding along the roof-beam (and among the + props of the roof), the Rokuro-Kubi laughs with the sound + of "kéta-kéta"—oh! the fearfulness of her + face!</i><a id="footnotetag34" + name="footnotetag34"></a><a href="#footnote34"><sup>34</sup></a>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Roku shaku no</p> + + <p>Byōbu ni nobiru</p> + + <p class="i2">Rokuro-Kubi</p> + + <p>Mité wa, go shaku no</p> + + <p>Mi wo chijimi-kéri!</p> + </div> + </div><span class="pagenum"><a name="page72" + id="page72"></a>[pg 72]</span> + + <blockquote> + <p>[<i>Beholding the Rokuro-Kubi rise up above the six-foot + screen, any five-foot person would have become shortened by + fear (or, "the stature of any person five feet high would + have been diminished").</i><a id="footnotetag35" + name="footnotetag35"></a><a href="#footnote35"><sup>35</sup></a>]</p> + </blockquote> + + <h3>VI. YUKI-ONNA</h3> + + <p>The Snow-Woman, or Snow-Spectre, assumes various forms; but + in most of the old folk-tales she appears as a beautiful + phantom, whose embrace is death. (A very curious story about + her can be found in my "Kwaidan.")</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Yuki-Onna—</p> + + <p>Yosō kushi mo</p> + + <p class="i2">Atsu kōri;</p> + + <p>Sasu-kōgai ya</p> + + <p>Kōri naruran.</p> + </div> + </div> + + <blockquote> + <p>[<i>As for the Snow-Woman,—even her best comb, if + I mistake not, is made of thick ice; and her + hair-pin<a id="footnotetag36" + name="footnotetag36"></a><a href="#footnote36"><sup>36</sup></a>, + too, is probably made of ice.</i>]</p> + </blockquote><span class="pagenum"><a name="page73" + id="page73"></a>[pg 73]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Honrai wa</p> + + <p>Kū naru mono ka,</p> + + <p class="i2">Yuki-Onna?</p> + + <p>Yoku-yoku mireba</p> + + <p>Ichi-butsu mo nashi!</p> + </div> + </div> + + <blockquote> + <p>[<i>Was she, then, a delusion from the very first, that + Snow-Woman,—a thing that vanishes into empty space? + When I look carefully all about me, not one trace of her is + to be seen!</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Yo-akéréba</p> + + <p>Kiété yuku é wa</p> + + <p class="i2">Shirayuki<a id="footnotetag37" + name="footnotetag37"></a><a href="#footnote37"><sup>37</sup></a> + no</p> + + <p>Onna to mishi mo</p> + + <p>Yanagi nari-keri!</p> + </div> + </div> + + <blockquote> + <p>[<i>Having vanished at daybreak (that Snow-Woman), none + could say whither she had gone. But what had seemed to be a + snow-white woman became indeed a willow-tree!</i>]</p> + </blockquote><span class="pagenum"><a name="page74" + id="page74"></a>[pg 74]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Yuki-Onna</p> + + <p>Mité wa yasathiku,</p> + + <p class="i2">Matsu wo ori</p> + + <p>Nama-daké hishigu</p> + + <p>Chikara ari-keri!</p> + </div> + </div> + + <blockquote> + <p>[<i>Though the Snow-Woman appears to sight slender and + gentle, yet, to snap the pine-trees asunder and to crush + the live bamboos, she must have had strength.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Samukésa ni</p> + + <p>Zotto<a id="footnotetag38" + name="footnotetag38"></a><a href="#footnote38"><sup>38</sup></a> + wa surédo</p> + + <p class="i2"> + Yuki-Onna,—</p><span class="pagenum"><a name="page75" + id="page75"></a>[pg 75]</span> + + <p>Yuki oré no naki</p> + + <p>Yanagi-goshi ka mo!</p> + </div> + </div> + + <p>[<i>Though the Snow-Woman makes one shiver by her + coldness,—ah, the willowy grace of her form cannot be + broken by the snow (i.e. charms us in spite of the + cold).</i>]</p> + + <h3>VII. FUNA-YŪRÉÏ</h3> + + <p>The spirits of the drowned are said to follow after ships, + calling for a bucket or a water-dipper (<i>hishaku</i>). To + refuse the bucket or the dipper is dangerous; but the bottom of + the utensil should be knocked out before the request is + complied with, and the spectres must not be allowed to see this + operation performed. If an undamaged bucket or dipper be thrown + to the ghosts, it will be used to fill and to sink the ship. + These phantoms are commonly called <i>Funa-Yūréï</i> + ("Ship-Ghosts").</p> + + <p>The spirits of those warriors of the Héïké clan who perished + in the great sea-fight at Dan-no-ura, in the year 1185, are + famous among Funa-Yūréï. Taïra no Tomomori, one + <span class="pagenum"><a name="page76" + id="page76"></a>[pg 76]</span> of the chiefs of the clan, is + celebrated in this weird rôle: old pictures represent him, + followed by the ghosts of his warriors, running over the + waves to attack passing ships. Once he menaced a vessel in + which Benkéï, the celebrated retainer of Yoshitsuné, was + voyaging; and Benkéï was able to save the ship only by means + of his Buddhist rosary, which frightened the spectres + away....</p> + + <p>Tomomori is frequently pictured as walking upon the sea, + carrying a ship's anchor on his back. He and his fellow-ghosts + are said to have been in the habit of uprooting and making off + with the anchors of vessels imprudently moored in their + particular domain,—the neighborhood of Shimonoséki.</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Erimoto yé</p> + + <p>Mizu kakéraruru</p> + + <p class="i2">Kokochi seri,</p> + + <p>"Hishaku kasé" chō</p> + + <p>Funé no kowané ni.</p> + </div> + </div> + + <blockquote> + <p>[<i>As if the nape of our necks had been sprinkled with + cold water,—so we felt while listening</i> + <span class="pagenum"><a name="page77" + id="page77"></a>[pg 77]</span> <i>to the voice of the + ship-ghost, saying:—"Lend me a + dipper!"</i><a id="footnotetag39" + name="footnotetag39"></a><a href="#footnote39"><sup>39</sup></a>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Yūrei ni</p> + + <p>Kasu-hishaku yori</p> + + <p class="i2">Ichi-hayaku</p> + + <p>Onoré ga koshi mo</p> + + <p>Nukéru senchō.</p> + </div> + </div> + + <blockquote> + <p>[<i>The loins of the captain himself were knocked out + very much more quickly than the bottom of the dipper that + was to be given to the ghost.</i><a id="footnotetag40" + name="footnotetag40"></a><a href="#footnote40"><sup>40</sup></a>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Benkéï no</p> + + <p>Zuzu no kuriki ni</p> + + <p class="i2">Tomomori no</p> + + <p>Sugata mo ukamu—</p> + + <p>Funé no yūréï.</p> + </div> + </div> + + <blockquote> + <p>[<i>By the virtue of Benkéï's rosary, even</i> + <span class="pagenum"><a name="page78" + id="page78"></a>[pg 78]</span> <i>the ship-following + ghost—even the apparition of Tomomori—is + saved.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Yūréï wa</p> + + <p>Ki naru Izumi no</p> + + <p class="i2">Hito nagara,</p> + + <p>Aö-umibara ni</p> + + <p>Nadoté itsuran?</p> + </div> + </div> + + <blockquote> + <p>[<i>Since any ghost must be an inhabitant of the Yellow + Springs, how should a ghost appear on the Blue + Sea-Plain?</i><a id="footnotetag41" + name="footnotetag41"></a><a href="#footnote41"><sup>41</sup></a>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Sono sugata,</p> + + <p>Ikari wo ōté,</p> + + <p class="i2">Tsuki-matoü</p> + + <p>Funé no hésaki ya</p> + + <p>Tomomori no réï!</p> + </div> + </div> + + <blockquote> + <p>[<i>That Shape, carrying the anchor on its back, and + following after the ship—now at the bow and now at + the stern—ah, the ghost of + Tomomori.</i><a id="footnotetag42" + name="footnotetag42"></a><a href="#footnote42"><sup>42</sup></a>]</p> + </blockquote><span class="pagenum"><a name="page79" + id="page79"></a>[pg 79]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Tsumi fukaki</p> + + <p>Umi ni shidzumishi,</p> + + <p class="i2">Yūréï no</p> + + <p>"Ukaman" toté ya!</p> + + <p>Funé ni sugaréru.</p> + </div> + </div> + + <blockquote> + <p>[<i>Crying, "Now perchance I shall be saved!" The ghost + that sank into the deep Sea of Sin clings to the passing + ship!</i><a id="footnotetag43" + name="footnotetag43"></a><a href="#footnote43"><sup>43</sup></a>]</p> + </blockquote><span class="pagenum"><a name="page80" + id="page80"></a>[pg 80]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Ukaman to</p> + + <p>Funé we shitaëru</p> + + <p class="i2">Yuréï wa,</p> + + <p>Shidzumishi híto no</p> + + <p>Omoï naruran.</p> + </div> + </div> + + <blockquote> + <p>[<i>The ghosts following after our ship in their efforts + to rise again (or, "to be saved") might perhaps be the + (last vengeful) thoughts of drowned + men.</i><a id="footnotetag44" + name="footnotetag44"></a><a href="#footnote44"><sup>44</sup></a>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Uraméshiki</p> + + <p>Sugata wa sugoki</p> + + <p class="i2">Yuréï no,</p> + + <p>Kaji we jama suru</p> + + <p>Funé no Tomomori.</p> + </div> + </div> + + <blockquote> + <p>[<i>With vengeful aspect, the grisly ghost of Tomomori + (rises) at the stern of the ship to hinder the play of her + rudder.</i><a id="footnotetag45" + name="footnotetag45"></a><a href="#footnote45"><sup>45</sup></a>]</p> + </blockquote><span class="pagenum"><a name="page81" + id="page81"></a>[pg 81]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Ochi-irité,</p> + + <p>Uwo no éjiki to</p> + + <p class="i2">Nari ni ken;—</p> + + <p>Funa-yūréï mo</p> + + <p>Nama-kusaki kazé.</p> + </div> + </div> + + <blockquote> + <p>[<i>Having perished in the sea, (those Héïké) would + probably have become food for fishes. (Anyhow, whenever) + the ship-following ghosts (appear), the wind has a smell of + raw fish!</i><a id="footnotetag46" + name="footnotetag46"></a><a href="#footnote46"><sup>46</sup></a>]</p> + </blockquote> + + <h3>VIII. HÉÏKÉGANÍ</h3> + + <p>Readers can find in my "Kottō" a paper about the + Héïké-Crabs, which have on their upper shells various + wrinklings that resemble the outlines of an angry face. At + Shimono-séki dried specimens of these curious creatures + <span class="pagenum"><a name="page82" + id="page82"></a>[pg 82]</span> are offered for sale.... The + Héïké-Crabs are said to be the transformed angry spirits of + the Héïké warriors who perished at Dan-no-ura.</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Shiwo-hi ni wa</p> + + <p>Séïzoroë shité,</p> + + <p class="i2">Héïkégani</p> + + <p>Ukiyo no sama we</p> + + <p>Yoko ni niramitsu.</p> + </div> + </div> + + <blockquote> + <p>[<i>Marshaled (on the beach) at the ebb of the tide, the + Héïké-crabs obliquely glare at the apparition of this + miserable world.</i><a id="footnotetag47" + name="footnotetag47"></a><a href="#footnote47"><sup>47</sup></a>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Saikai ni</p> + + <p>Shizumi-nurédomo,</p> + + <p class="i2">Héïkégani</p> + + <p>Kōra no iro mo</p> + + <p>Yahari aka-hata.</p> + </div> + </div> + + <blockquote> + <p>[<i>Though (the Héïké) long ago sank and perished in the + Western Sea, the Héïké-crabs still display</i> + <span class="pagenum"><a name="page83" + id="page83"></a>[pg 83]</span> <i>upon their upper + shells the color of the Red + Standard.</i><a id="footnotetag48" + name="footnotetag48"></a><a href="#footnote48"><sup>48</sup></a>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Maké-ikusa</p> + + <p>Munen to muné ni</p> + + <p class="i2">Hasami ken;—</p> + + <p>Kao mo makka ni</p> + + <p>Naru Héïkégani.</p> + </div> + </div> + + <blockquote> + <p>[<i>Because of the pain of defeat, claws have grown on + their breasts, I think;—even the faces of the + Héïké-crabs have become crimson (with anger and + shame).</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Mikata mina</p> + + <p>Oshi-tsubusaréshi</p> + + <p class="i2">Héïkégani</p> + + <p>Ikon we muné ni</p> + + <p>Hasami mochikéri.</p> + </div> + </div> + + <blockquote> + <p>[<i>All the (Héïké) party having been utterly crushed, + claws have grown upon the breasts of the Héïké-crabs + because of the resentment in their + hearts.</i><a id="footnotetag49" + name="footnotetag49"></a><a href="#footnote49"><sup>49</sup></a>]</p> + </blockquote><span class="pagenum"><a name="page84" + id="page84"></a>[pg 84]</span> + + <h3>IX. YANARI</h3> + + <p>Modern dictionaries ignore the uncanny significations of the + word <i>Yanari</i>,—only telling us that it means the + sound of the shaking of a house during an earthquake. But the + word used to mean the noise of the shaking of a house moved by + a goblin; and the invisible shaker was also called + <i>Yanari</i>. When, without apparent cause, some house would + shudder and creak and groan in the night, folk used to suppose + that it was being shaken from without by supernatural + malevolence.</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Tokonoma ni</p> + + <p>Ikéshi tachiki mo</p> + + <p class="i2"> + Taoré-keri;</p><span class="pagenum"><a name="page85" + id="page85"></a>[pg 85]</span> + + <p>Yanari ni yama no</p> + + <p>Ugoku kakémono!</p> + </div> + </div> + + <blockquote> + <p>[<i>Even the live tree set in the alcove has fallen + down; and the mountains in the hanging picture tremble to + the quaking made by the Yanari!</i><a id="footnotetag50" + name="footnotetag50"></a><a href="#footnote50"><sup>50</sup></a>]</p> + </blockquote> + + <h3>X. SAKASA-BASHIRA</h3> + + <p>The term <i>Sakasa-bashira</i> (in these <i>kyōka</i> + often shortened into <i>saka-bashira</i>) literally means + "upside-down post." A wooden post or pillar, especially a + house-post, should be set up according to the original position + of the tree from which it was hewn,—that is to say, with + the part nearest to the roots downward. To erect a house-post + in the contrary way is thought to be unlucky;—formerly + such a blunder was believed to involve unpleasant consequences + of a ghostly kind, because an "upside-down" pillar would do + malignant things. It would moan and groan in the night, and + move all its cracks <span class="pagenum"><a name="page86" + id="page86"></a>[pg 86]</span> like mouths, and open all its + knots like eyes. Moreover, the spirit of it (for every + house-post has a spirit) would detach its long body from the + timber, and wander about the rooms, head-downwards, making + faces at people. Nor was this all. A <i>Sakasa-bashira</i> + knew how to make all the affairs of a household go + wrong,—how to foment domestic quarrels,—how to + contrive misfortune for each of the family and the + servants,—how to render existence almost insupportable + until such time as the carpenter's blunder should be + discovered and remedied.</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Saka-bashira</p> + + <p>Tatéshi wa tazo ya?</p> + + <p class="i2">Kokoro ni mo</p> + + <p>Fushi aru hito no</p> + + <p>Shiwaza naruran.</p> + </div> + </div> + + <blockquote> + <p>[<i>Who set the house-pillar upside-down? Surely that + must have been the work of a man with a knot in his + heart.</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Hidayama we</p> + + <p>Kiri-kité tatéshi</p> + + <p class="i2"> + Saka-bashira—</p><span class="pagenum"><a name="page87" + id="page87"></a>[pg 87]</span> + + <p>Nanno takumi<a id="footnotetag51" + name="footnotetag51"></a><a href="#footnote51"><sup>51</sup></a> + no</p> + + <p>Shiwaza naruran?</p> + </div> + </div> + + <blockquote> + <p>[<i>That house-pillar hewn in the mountains of Hida, and + thence brought here and erected upside-down—what + carpenter's work can it be? (or, "for what evil design can + this deed have been done?")</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Uë shita wo</p> + + <p>Chigaëté tatéshi</p> + + <p class="i2">Hashira ni wa</p> + + <p>Sakasama-goto no</p> + + <p>Uréï aranan.</p> + </div> + </div> + + <blockquote> + <p>[<i>As for that house-pillar mistakenly planted + upside-down, it will certainly cause adversity and + sorrow.</i><a id="footnotetag52" + name="footnotetag52"></a><a href="#footnote52"><sup>52</sup></a>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Kabé ni mimi</p> + + <p>Arité, kiké to ka?</p> + + <p class="i2">Sakashima + ni</p><span class="pagenum"><a name="page88" + id="page88"></a>[pg 88]</span> + + <p>Tateshi hashira ni</p> + + <p>Yanari suru oto!</p> + </div> + </div> + + <blockquote> + <p>[<i>O Ears that be in the wall!<a id="footnotetag53" + name="footnotetag53"></a><a href="#footnote53"><sup>53</sup></a> + listen, will ye? to the groaning and the creaking of the + house-post that was planted upside-down!</i>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Uri-iyé no</p> + + <p>Aruji we toëba,</p> + + <p class="i2">Oto arité:</p> + + <p>Waré mé ga kuchi wo</p> + + <p>Aku saka-bashira.</p> + </div> + </div> + + <blockquote> + <p>[<i>When I inquired for the master of the house that was + for sale, there came to me only a strange sound by way of + reply,—the sound of the upside-down house-post + opening its eyes and mouth!<a id="footnotetag54" + name="footnotetag54"></a><a href="#footnote54"><sup>54</sup></a> + (i.e. its cracks).</i>]</p> + </blockquote><span class="pagenum"><a name="page89" + id="page89"></a>[pg 89]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Omoïkiya!</p> + + <p>Sakasa-bashira no</p> + + <p class="i2">Hashira-kaké</p> + + <p>Kakinishit uta mo</p> + + <p>Yamai ari to wa!</p> + </div> + </div> + + <blockquote> + <p>[<i>Who could have thought it!—even the poem + inscribed upon the pillar-tablet, attached to the pillar + which was planted upside-down, has taken the same (ghostly) + sickness.</i><a id="footnotetag55" + name="footnotetag55"></a><a href="#footnote55"><sup>55</sup></a>]</p> + </blockquote> + + <h3>XI. BAKÉ-JIZÖ</h3> + + <p>The figure of the Bodhi-sattva Jizö, the savior of + children's ghosts, is one of the most beautiful and humane in + Japanese Buddhism. Statues of this divinity may be seen in + almost every village and by every roadside. But some statues of + Jizö are said to do uncanny + <span class="pagenum"><a name="page90" + id="page90"></a>[pg 90]</span> things—such as to walk + about at night in various disguises. A statue of this kind + is called a <i>Baké-Jizō</i><a id="footnotetag56" + name="footnotetag56"></a><a href="#footnote56"><sup>56</sup></a>,—meaning + a Jizō; that undergoes transformation. A conventional + picture shows a little boy about to place the customary + child's-offering of rice-cakes before the stone image of + Jizō,—not suspecting that the statue moves, and + is slowly bending down towards him.</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Nanigé naki</p> + + <p>Ishi no Jizō no</p> + + <p class="i2">Sugata saë,</p> + + <p>Yo wa osoroshiki</p> + + <p>Mikagé to zo naki.</p> + </div> + </div> + + <blockquote> + <p>[<i>Though the stone Jizō looks as if nothing were + the matter with it, they say that at night it assumes an + awful aspect (or, "Though this image appears to be a common + stone Jizō, they say that at night it becomes an awful + Jizō; of granite."</i><a id="footnotetag57" + name="footnotetag57"></a><a href="#footnote57"><sup>57</sup></a>)]</p> + </blockquote><span class="pagenum"><a name="page91" + id="page91"></a>[pg 91]</span> + + <h3>XII. UMI-BŌZU</h3> + + <p>Place a large cuttlefish on a table, body upwards and + tentacles downwards—and you will have before you the + grotesque reality that first suggested the fancy of the + <i>Umi-Bōzu</i>, or Priest of the Sea. For the great bald + body in this position, with the staring eyes below, bears a + distorted resemblance to the shaven head of a priest; while the + crawling tentacles underneath (which are in some species united + by a dark web) suggests the wavering motion of the priest's + upper robe.... The Umi-Bōzu figures a good deal in the + literature of Japanese goblinry, and in the old-fashioned + picture-books. He rises from the deep in foul weather to seize + his prey.</p><span class="pagenum"><a name="page92" + id="page92"></a>[pg 92]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Ita hitoë</p> + + <p>Shita wa Jigoku ni,</p> + + <p class="i2">Sumizomé no</p> + + <p>Bōzu no umi ni</p> + + <p>Déru mo ayashina!</p> + </div> + </div> + + <blockquote> + <p>[<i>Since there is but the thickness of a single plank + (between the voyager and the sea), and underneath is Hell, + 'tis indeed a weird thing that a black-robed priest should + rise from the sea (or, "'tis surely a marvelous happening + that," etc.!</i><a id="footnotetag58" + name="footnotetag58"></a><a href="#footnote58"><sup>58</sup></a>)]</p> + </blockquote> + + <h3>XIII. FUDA-HÉGASHI<a id="footnotetag59" + name="footnotetag59"></a><a href="#footnote59"><sup>59</sup></a></h3> + + <p>Homes are protected from evil spirits by holy texts and + charms. In any Japanese <span class="pagenum"><a name="page93" + id="page93"></a>[pg 93]</span> village, or any city + by-street, you can see these texts when the sliding-doors + are closed at night: they are not visible by day, when the + sliding-doors have been pushed back into the + <i>tobukuro</i>. Such texts are called <i>o-fuda</i> (august + scripts): they are written in Chinese characters upon strips + of white paper, which are attached to the door with + rice-paste; and there are many kinds of them. Some are texts + selected from sutras—such as the Sûtra of Transcendent + Wisdom (Pragña-Pâramitâ-Hridaya-Sûtra), or the Sûtra of the + Lotos of the Good Law (Saddharma-Pundarikâ-Sûtra). Some are + texts from the dhâranîs,—which are magical. Some are + invocations only, indicating the Buddhist sect of the + household.... Besides these you may see various smaller + texts, or little prints, pasted above or beside windows or + apertures,—some being names of Shinto gods; others, + symbolical pictures only, or pictures of Buddhas and + Bodhi-sattvas. All are holy charms,—<i>o-fuda</i>: + they protect the houses; and no goblin or ghost can enter by + night into a dwelling so protected, unless the <i>o-fuda</i> + be removed.</p><span class="pagenum"><a name="page94" + id="page94"></a>[pg 94]</span> + + <p>Vengeful ghosts cannot themselves remove an <i>o-fuda</i>; + but they will endeavor by threats or promises or bribes to make + some person remove it for them. A ghost that wants to have the + <i>o-fuda</i> pulled off a door is called a + <i>Fuda-hégashi</i>.</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Hégasan to</p> + + <p>Rokuji-no-fuda wo,</p> + + <p class="i2">Yuréï mo</p> + + <p>Nam'mai dā to</p> + + <p>Kazoëté zo mini.</p> + </div> + </div> + + <blockquote> + <p>[<i>Even the ghost that would remove the charms written + with six characters actually tries to count them, + repeating: "How many sheets are there?" (or, repeating, + "Hail to thee, O Buddha Amitábha!"<a id="footnotetag60" + name="footnotetag60"></a><a href="#footnote60"><sup>60</sup></a>)</i>]</p> + </blockquote><span class="pagenum"><a name="page95" + id="page95"></a>[pg 95]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Tada ichi no</p> + + <p>Kami no o-fuda wa</p> + + <p class="i2">Sasuga ni mo</p> + + <p>Noriké naku to mo</p> + + <p>Hégashi kanékéri.</p> + </div> + </div> + + <blockquote> + <p>[<i>Of the august written-charms of the god (which were + pasted upon the walls of the house), not even one could by + any effort be pulled off, though the rice-paste with which + they had been fastened was all gone.</i>]</p> + </blockquote> + + <h3>XIV. FURU-TSUBAKI</h3> + + <p>The old Japanese, like the old Greeks, had their + flower-spirits and their hamadryads, concerning whom some + charming stories are told. They also believed in trees + inhabited by malevolent beings,—goblin trees. Among other + weird trees, the beautiful <i>tsubaki</i> (<i>Camellia + Japonica</i>) was said to be an unlucky tree;—this was + said, at least, of the red-flowering variety, the + white-flowering kind having a better reputation and being + prized as a rarity. The large fleshy crimson flowers have this + curious habit: they detach themselves bodily from the + <span class="pagenum"><a name="page96" + id="page96"></a>[pg 96]</span> stem, when they begin to + fade; and they fall with an audible thud. To old Japanese + fancy the falling of these heavy red flowers was like the + falling of human heads under the sword; and the dull sound + of their dropping was said to be like the thud made by a + severed head striking the ground. Nevertheless the tsubaki + seems to have been a favorite in Japanese gardens because of + the beauty of its glossy foliage; and its flowers were used + for the decoration of alcoves. But in samurai homes it was a + rule never to place tsubaki-flowers in an alcove <i>during + war-time</i>.</p> + + <p>The reader will notice that in the following + <i>kyōka</i>—which, as grotesques, seem to me the + best in the collection—the goblin-tsubaki is called + <i>furu-tsubaki</i>, "old tsubaki." The young tree was not + supposed to have goblin-propensities,—these being + developed only after many years. Other uncanny trees—such + as the willow and the <i>énoki</i>—were likewise said to + become dangerous only as they became old; and a similar belief + prevailed on the subject of uncanny animals, such as the + cat—innocent in kittenhood, but devilish in + age.</p><span class="pagenum"><a name="page97" + id="page97"></a>[pg 97]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Yo-arashi ni</p> + + <p>Chishiho itadaku</p> + + <p class="i2">Furu tsubaki,</p> + + <p>Hota-hota ochiru</p> + + <p>Hana no nama-kubi.</p> + </div> + </div> + + <blockquote> + <p>[<i>When by the night-storm is shaken the blood-crowned + and ancient tsubaki-tree, then one by one fall the gory + heads of the flowers, (with the sound of) + hota-hota!</i><a id="footnotetag61" + name="footnotetag61"></a><a href="#footnote61"><sup>61</sup></a>]</p> + </blockquote> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Kusa mo ki mo</p> + + <p>Némuréru koro no</p> + + <p class="i2">Sayo kazé ni,</p> + + <p>Méhana no ugoku</p> + + <p>Furu-tsubaki kana!</p> + </div> + </div> + + <blockquote> + <p>[<i>When even the grass and the trees are sleeping under + the faint wind of the night,—then do the eyes and the + noses of the old tsubaki-tree (or "the buds and the flowers + of the old tsubaki-tree") move!</i><a id="footnotetag62" + name="footnotetag62"></a><a href="#footnote62"><sup>62</sup></a>]</p> + </blockquote><span class="pagenum"><a name="page98" + id="page98"></a>[pg 98]</span> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Tomoshibi no</p> + + <p>Kagé ayashigé ni</p> + + <p class="i2">Miyénuru wa</p> + + <p>Abura shiborishi</p> + + <p>Furu-tsubaki ka-mo?</p> + </div> + </div> + + <blockquote> + <p>[<i>As for (the reason why) the light of that lamp + appears to be a Weirdness,<a id="footnotetag63" + name="footnotetag63"></a><a href="#footnote63"><sup>63</sup></a>—perhaps + the oil was expressed from (the nuts of) the ancient + tsu-baki?</i>]</p> + </blockquote> + <hr /> + <span class="pagenum"><a name="page99" + id="page99"></a>[pg 99]</span> + + <p>—Nearly all the stories and folk-beliefs about which + these <i>kyōka</i> were written seem to have come from + China; and most of the Japanese tales of tree-spirits appear to + have had a Chinese origin. As the flower-spirits and hamadryads + of the Far East are as yet little known to Western readers, the + following Chinese story may be found interesting.</p> + <hr /> + + <p>There was a Chinese scholar—called, in Japanese books, + Tō no Busanshi—who was famous for his love of + flowers. He was particularly fond of peonies, and cultivated + them with great skill and patience.<a id="footnotetag64" + name="footnotetag64"></a><a href="#footnote64"><sup>64</sup></a></p> + + <p>One day a very comely girl came to the house of Busanshi, + and begged to be taken into his service. She said that + circumstances obliged her to seek humble employment, but that + she had received a literary education, and + <span class="pagenum"><a name="page100" + id="page100"></a>[pg 100]</span> therefore wished to enter, + if possible, into the service of a scholar. Busanshi was + charmed by her beauty, and took her into his household + without further questioning. She proved to be much more than + a good domestic: indeed, the nature of her accomplishments + made Busanshi suspect that she had been brought up in the + court of some prince, or in the palace of some great lord. + She displayed a perfect knowledge of the etiquette and the + polite arts which are taught only to ladies of the highest + rank; and she possessed astonishing skill in calligraphy, in + painting, and in every kind of poetical composition. + Busanshi presently fell in love with her, and thought only + of how to please her. When scholar-friends or other visitors + of importance came to the house, he would send for the new + maid that she might entertain and wait upon his guests; and + all who saw her were amazed by her grace and charm.</p> + + <p>One day Busanshi received a visit from the great + Teki-Shin-Ketsu, a famous teacher of moral doctrine; and the + maid did not respond to her master's call. Busanshi went + <span class="pagenum"><a name="page101" + id="page101"></a>[pg 101]</span> himself to seek her, being + desirous that Teki-Shin-Ketsu should see her and admire her; + but she was nowhere to be found. After having searched the + whole house in vain, Busanshi was returning to the + guest-room when he suddenly caught sight of the maid, + gliding soundlessly before him along a corridor. He called + to her, and hurried after her. Then she turned half-round, + and flattened herself against the wall like a spider; and as + he reached her she sank backwards into the wall, so that + there remained of her nothing visible but a colored + shadow,—level like a picture painted on the plaster. + But the shadow moved its lips and eyes, and spoke to him in + a whisper, saying:—</p> + + <p>"Pardon me that I did not obey your august call!... I am not + a mankind-person;—I am only the Soul of a Peony. Because + you loved peonies so much, I was able to take human shape, and + to serve you. But now this Teki-Shin-Ketsu has come,—and + he is a person of dreadful propriety,—and I dare not keep + this form any longer.... I must return to the place from which + I came."</p><span class="pagenum"><a name="page102" + id="page102"></a>[pg 102]</span> + + <p>Then she sank back into the wall, and vanished altogether: + there was nothing where she had been except the naked plaster. + And Busanshi never saw her again.</p> + + <p>This story is written in a Chinese book which the Japanese + call "Kai-ten-i-ji."</p><span class="pagenum"><a name="page103" + id="page103"></a>[pg 103]</span> + + <h2>"ULTIMATE + QUESTIONS"</h2><span class="pagenum"><a name="page105" + id="page105"></a>[pg 105]</span> + + <p>A memory of long ago.... I am walking upon a granite + pavement that rings like iron, between buildings of granite + bathed in the light of a cloudless noon. Shadows are short and + sharp: there is no stir in the hot bright air; and the sound of + my footsteps, strangely loud, is the only sound in the + street.... Suddenly an odd feeling comes to me, with a sort of + tingling shock,—a feeling, or suspicion, of universal + illusion. The pavement, the bulks of hewn stone, the iron + rails, and all things visible, are dreams! Light, color, form, + weight, solidity—all sensed existences—are but + phantoms of being, manifestations only of one infinite + ghostliness for which the language of man has not any + word....</p><span class="pagenum"><a name="page106" + id="page106"></a>[pg 106]</span> + + <p>This experience had been produced by study of the first + volume of the Synthetic Philosophy, which an American friend + had taught me how to read. I did not find it easy reading; + partly because I am a slow thinker, but chiefly because my mind + had never been trained to sustained effort in such directions. + To learn the "First Principles" occupied me many months: no + other volume of the series gave me equal trouble. I would read + one section at a time,—rarely two,—never venturing + upon a fresh section until I thought that I had made sure of + the preceding. Very cautious and slow my progress was, like + that of a man mounting, for the first time, a long series of + ladders in darkness. Reaching the light at last, I caught a + sudden new vision of things,—a momentary perception of + the illusion of surfaces,—and from that time the world + never again appeared to me quite the same as it had appeared + before.</p> + <hr /> + + <p>—This memory of more than twenty years ago, and the + extraordinary thrill of the moment, were recently revived for + me by the <span class="pagenum"><a name="page107" + id="page107"></a>[pg 107]</span> reading of the essay + "Ultimate Questions," in the last and not least precious + volume bequeathed us by the world's greatest thinker. The + essay contains his final utterance about the riddle of life + and death, as that riddle presented itself to his vast mind + in the dusk of a lifetime of intellectual toil. Certainly + the substance of what he had to tell us might have been + inferred from the Synthetic Philosophy; but the particular + interest of this last essay is made by the writer's + expression of personal sentiment regarding the problem that + troubles all deep thinkers. Perhaps few of us could have + remained satisfied with his purely scientific position. Even + while fully accepting his declaration of the identity of the + power that "wells up in us under the form of consciousness" + with that Power Unknowable which shapes all things, most + disciples of the master must have longed for some chance to + ask him directly, "But how do <i>you</i> feel in regard to + the prospect of personal dissolution?" And this merely + emotional question he has answered as frankly and as fully + as any of us could have desired,—perhaps + <span class="pagenum"><a name="page108" + id="page108"></a>[pg 108]</span> even more frankly. "Old + people," he remarks apologetically, "must have many + reflections in common. Doubtless one which I have now in + mind is very familiar. For years past, when watching the + unfolding buds in the spring, there has arisen the thought, + 'Shall I ever again see the buds unfold? Shall I ever again + be awakened at dawn by the song of the thrush?' Now that the + end is not likely to be long postponed, there results an + increasing tendency to meditate upon ultimate questions."... + Then he tells us that these ultimate questions—"of the + How and the Why, of the Whence and the Whither"—occupy + much more space in the minds of those who cannot accept the + creed of Christendom, than the current conception fills in + the minds of the majority of men. The enormity of the + problem of existence becomes manifest only to those who have + permitted themselves to think freely and widely and deeply, + with all such aids to thought as exact science can furnish; + and the larger the knowledge of the thinker, the more + pressing and tremendous the problem appears, and + <span class="pagenum"><a name="page109" + id="page109"></a>[pg 109]</span> the more hopelessly + unanswerable. To Herbert Spencer himself it must have + assumed a vastness beyond the apprehension of the average + mind; and it weighed upon him more and more inexorably the + nearer he approached to death. He could not avoid the + conviction—plainly suggested in his magnificent + Psychology and in other volumes of his great work—that + there exists no rational evidence for any belief in the + continuance of conscious personality after death:—</p> + + <blockquote> + <p>"After studying primitive beliefs, and finding that + there is no origin for the idea of an after-life, save the + conclusion which the savage draws, from the notion + suggested by dreams, of a wandering double which comes back + on awaking, and which goes away for an indefinite time at + death;—and after contemplating the inscrutable + relation between brain and consciousness, and finding that + we can get no evidence of the existence of the last without + the activity of the first,—we seem obliged to + relinquish the thought that consciousness continues after + physical organization has become inactive."</p> + </blockquote><span class="pagenum"><a name="page110" + id="page110"></a>[pg 110]</span> + + <p>In this measured utterance there is no word of hope; but + there is at least a carefully stated doubt, which those who + will may try to develop into the germ of a hope. The guarded + phrase, "we <i>seem</i> obliged to relinquish," certainly + suggests that, although in the present state of human knowledge + we have no reason to believe in the perpetuity of + consciousness, some larger future knowledge might help us to a + less forlorn prospect. From the prospect as it now appears even + this mightiest of thinkers recoiled:—</p> + + <blockquote> + <p>... "But it seems a strange and repugnant conclusion + that with the cessation of consciousness at death there + ceases to be any knowledge of having existed. With his last + breath it becomes to each the same thing as though he had + never lived.</p> + + <p>"And then the consciousness itself—what is it + during the time that it continues? And what becomes of it + when it ends? We can only infer that it is a specialized + and individualized form of that Infinite and Eternal Energy + which transcends both our knowledge and our imagination; + <span class="pagenum"><a name="page111" + id="page111"></a>[pg 111]</span> and that at death its + elements lapse into that Infinite and Eternal Energy + whence they were derived."</p> + </blockquote> + <hr /> + + <p>—<i>With his last breath it becomes to each the same + thing as though he had never lived?</i> To the individual, + perhaps—surely not to the humanity made wiser and better + by his labors.... But the world must pass away: will it + thereafter be the same for the universe as if humanity had + never existed? That might depend upon the possibilities of + future inter-planetary communication.... But the whole universe + of suns and planets must also perish: thereafter will it be the + same as if no intelligent life had ever toiled and suffered + upon those countless worlds? We have at least the certainty + that the energies of life cannot be destroyed, and the strong + probability that they will help to form another life and + thought in universes yet to be evolved.... Nevertheless, + allowing for all imagined possibilities,—granting even + the likelihood of some inapprehensible relation between all + past and all future <span class="pagenum"><a name="page112" + id="page112"></a>[pg 112]</span> + conditioned-being,—the tremendous question remains: + What signifies the whole of apparitional existence to the + Unconditioned? As flickers of sheet-lightning leave no + record in the night, so in that Darkness a million billion + trillion universes might come and go, and leave no trace of + their having been.</p> + <hr /> + + <p>To every aspect of the problem Herbert Spencer must have + given thought; but he has plainly declared that the human + intellect, as at present constituted, can offer no solution. + The greatest mind that this world has yet produced—the + mind that systematized all human knowledge, that revolutionized + modern science, that dissipated materialism forever, that + revealed to us the ghostly unity of all existence, that + reestablished all ethics upon an immutable and eternal + foundation,—the mind that could expound with equal + lucidity, and by the same universal formula, the history of a + gnat or the history of a sun—confessed itself, before the + Riddle of Existence, scarcely less helpless than the mind of a + child.</p><span class="pagenum"><a name="page113" + id="page113"></a>[pg 113]</span> + + <p>But for me the supreme value of this last essay is made by + the fact that in its pathetic statement of uncertainties and + probabilities one can discern something very much resembling a + declaration of faith. Though assured that we have yet no + foundation for any belief in the persistence of consciousness + after the death of the brain, we are bidden to remember that + the ultimate nature of consciousness remains inscrutable. + Though we cannot surmise the relation of consciousness to the + unseen, we are reminded that it must be considered as a + manifestation of the Infinite Energy, and that its elements, if + dissociated by death, will return to the timeless and + measureless Source of Life.... Science to-day also assures us + that whatever existence has been—all individual life that + ever moved in animal or plant,—all feeling and thought + that ever stirred in human consciousness—must have + flashed self-record beyond the sphere of sentiency; and though + we cannot know, we cannot help imagining that the best of such + registration may be destined to perpetuity. On this latter + subject, for <span class="pagenum"><a name="page114" + id="page114"></a>[pg 114]</span> obvious reasons, Herbert + Spencer has remained silent; but the reader may ponder a + remarkable paragraph in the final sixth edition of the + "First Principles,"—a paragraph dealing with the + hypothesis that consciousness may belong to the cosmic + ether. This hypothesis has not been lightly dismissed by + him; and even while proving its inadequacy, he seems to + intimate that it may represent imperfectly some truth yet + inapprehensible by the human mind:—</p> + + <blockquote> + <p>"The only supposition having consistency is that that in + which consciousness inheres is the all-pervading ether. + This we know can be affected by molecules of matter in + motion, and conversely can affect the motions of + molecules;—as witness the action of light on the + retina. In pursuance of this supposition we may assume that + the ether, which pervades not only all space but all + matter, is, under special conditions in certain parts of + the nervous system, capable of being affected by the + nervous changes in such way as to result in feeling, and is + reciprocally capable under these conditions of affecting + the nervous changes. But if we accept this explanation, we + must assume that the potentiality + <span class="pagenum"><a name="page115" + id="page115"></a>[pg 115]</span> of feeling is + universal, and that the evolution of feeling in the + ether takes place only under the extremely complex + conditions occurring in certain nervous centres. This, + however, is but a semblance of an explanation, since we + know not what the ether is, and since, by confession of + those most capable of judging, no hypothesis that has + been framed accounts for all its powers. Such an + explanation may be said to do no more than symbolize the + phenomena by symbols of unknown natures."—["First + Principles," § 71 <i>c</i>, definitive edition of + 1900.]</p> + + <p>—"Inscrutable is this complex consciousness which + has slowly evolved out of infantine + vacuity—consciousness which, in other shapes, is + manifested by animate beings at large—consciousness + which, during the development of every creature, makes its + appearance out of what seems unconscious matter; + <i>suggesting the thought that consciousness, in some + rudimentary form, is omnipresent.</i>"<a id="footnotetag65" + name="footnotetag65"></a><a href="#footnote65"><sup>65</sup></a></p> + </blockquote> + + <p>—Of all modern thinkers, Spencer was perhaps the most + careful to avoid giving encouragement to any hypothesis + unsupported <span class="pagenum"><a name="page116" + id="page116"></a>[pg 116]</span> by powerful evidence. Even + the simple sum of his own creed is uttered only, with due + reservation, as a statement of three probabilities: that + consciousness represents a specialized and individualized + form of the infinite Energy; that it is dissolved by death; + and that its elements then return to the source of all + being. As for our mental attitude toward the infinite + Mystery, his advice is plain. We must resign ourselves to + the eternal law, and endeavor to vanquish our ancient + inheritance of superstitious terrors, remembering that, + "merciless as is the Cosmic process worked out by an Unknown + Power, yet vengeance is nowhere to be found in + it."<a id="footnotetag66" + name="footnotetag66"></a><a href="#footnote66"><sup>66</sup></a></p> + <hr /> + + <p>In the same brief essay there is another confession of + singular interest,—an acknowledgment of the terror of + Space. To even the ordinary mind, the notion of infinite + <span class="pagenum"><a name="page117" + id="page117"></a>[pg 117]</span> Space, as forced upon us by + those monstrous facts of astronomy which require no serious + study to apprehend, is terrifying;—I mean the mere + vague idea of that everlasting Night into which the blazing + of millions of suns can bring neither light nor warmth. But + to the intellect of Herbert Spencer the idea of Space must + have presented itself after a manner incomparably more + mysterious and stupendous. The mathematician alone will + comprehend the full significance of the paragraph dealing + with the Geometry of Position and the mystery of + space-relations,—or the startling declaration that + "even could we penetrate the mysteries of existence, there + would remain still more transcendent mysteries." But Herbert + Spencer tells us that, apart from the conception of these + geometrical mysteries, the problem of naked Space itself + became for him, in the twilight of his age, an obsession and + a dismay:—</p> + + <blockquote> + <p>... "And then comes the thought of this universal matrix + itself, anteceding alike creation or evolution, whichever + be assumed, and infinitely + <span class="pagenum"><a name="page118" + id="page118"></a>[pg 118]</span> transcending both, + alike in extent and duration; since both, if conceived + at all, must be conceived as having had beginnings, + while Space had no beginning. The thought of this blank + form of existence which, explored in all directions as + far as imagination can reach, has, beyond that, an + unexplored region compared with which the part which + imagination has traversed is but + infinitesimal,—the thought of a Space compared + with which our immeasurable sidereal system dwindles to + a point is a thought too overwhelming to be dwelt upon. + Of late years the consciousness that without origin or + cause infinite Space has ever existed and must ever + exist, produces in me a feeling from which I + shrink."</p> + </blockquote> + <hr /> + + <p>How the idea of infinite Space may affect a mind + incomparably more powerful than my own, I cannot + know;—neither can I divine the nature of certain problems + which the laws of space-relation present to the geometrician. + But when I try to determine the cause of the horror which that + idea evokes within my own feeble imagination, I am able to + distinguish different elements of the emotion,—particular + <span class="pagenum"><a name="page119" + id="page119"></a>[pg 119]</span> forms of terror responding + to particular ideas (rational and irrational) suggested by + the revelations of science. One feeling—perhaps the + main element of the horror—is made by the thought of + being <i>prisoned</i> forever and ever within that + unutterable Viewlessness which occupies infinite Space.</p> + + <p>Behind this feeling there is more than the thought of + eternal circumscription;—there is also the idea of being + perpetually penetrated, traversed, thrilled by the + Nameless;—there is likewise the certainty that no least + particle of innermost secret Self could shun the eternal touch + of It;—there is furthermore the tremendous conviction + that could the Self of me rush with the swiftness of + light,—with more than the swiftness of + light,—beyond all galaxies, beyond durations of time so + vast that Science knows no sign by which their magnitudes might + be indicated,—and still flee onward, onward, downward, + upward,—always, always,—never could that Self of me + reach nearer to any verge, never speed farther from any centre. + For, in that Silence, all vastitude + <span class="pagenum"><a name="page120" + id="page120"></a>[pg 120]</span> and height and depth and + time and direction are swallowed up: relation therein could + have no meaning but for the speck of my fleeting + consciousness,—atom of terror pulsating alone through + atomless, soundless, nameless, illimitable potentiality.</p> + + <p>And the idea of that potentiality awakens another quality of + horror,—the horror of infinite Possibility. For this + Inscrutable that pulses through substance as if substance were + not at all,—so subtly that none can feel the flowing of + its tides, yet so swiftly that no life-time would suffice to + count the number of the oscillations which it makes within the + fraction of one second,—thrills to us out of + endlessness;—and the force of infinity dwells in its + lightest tremor; the weight of eternity presses behind its + faintest shudder. To that phantom-Touch, the tinting of a + blossom or the dissipation of a universe were equally facile: + here it caresses the eye with the charm and illusion of color; + there it bestirs into being a cluster of giant suns. All that + human mind is capable of conceiving as possible (and how much + <span class="pagenum"><a name="page121" + id="page121"></a>[pg 121]</span> also that human mind must + forever remain incapable of conceiving?) may be wrought + anywhere, everywhere, by a single tremor of that + Abyss....</p> + <hr /> + + <p>Is it true, as some would have us believe, that the fear of + the extinction of self is the terror supreme?... For the + thought of personal perpetuity in the infinite vortex is enough + to evoke sudden trepidations that no tongue can + utter,—fugitive instants of a horror too vast to enter + wholly into consciousness: a horror that can be endured in + swift black glimpsings only. And the trust that we are one with + the Absolute—dim points of thrilling in the abyss of + It—can prove a consoling faith only to those who find + themselves obliged to think that consciousness dissolves with + the crumbling of the brain.... It seems to me that few (or + none) dare to utter frankly those stupendous doubts and fears + which force mortal intelligence to recoil upon itself at every + fresh attempt to pass the barrier of the Knowable. Were that + barrier unexpectedly pushed + <span class="pagenum"><a name="page122" + id="page122"></a>[pg 122]</span> back,—were knowledge + to be suddenly and vastly expanded beyond its present + limits,—perhaps we should find ourselves unable to + endure the revelation....</p> + <hr /> + + <p>Mr. Percival Lowell's astonishing book, "Mars," sets one to + thinking about the results of being able to hold communication + with the habitants of an older and a wiser world,—some + race of beings more highly evolved than we, both intellectually + and morally, and able to interpret a thousand mysteries that + still baffle our science. Perhaps, in such event, we should not + find ourselves able to comprehend the methods, even could we + borrow the results, of wisdom older than all our civilization + by myriads or hundreds of myriads of years. But would not the + sudden advent of larger knowledge from some elder planet prove + for us, by reason, of the present moral condition of mankind, + nothing less than a catastrophe?—might it not even result + in the extinction of the human species?...</p> + + <p>The rule seems to be that the dissemination of dangerous + higher knowledge, before + <span class="pagenum"><a name="page123" + id="page123"></a>[pg 123]</span> the masses of a people are + ethically prepared to receive it, will always be prevented + by the conservative instinct; and we have reason to suppose + (allowing for individual exceptions) that the power to gain + higher knowledge is developed only as the moral ability to + profit by such knowledge is evolved. I fancy that if the + power of holding intellectual converse with other worlds + could now serve us, we should presently obtain it. But if, + by some astonishing chance,—as by the discovery, let + us suppose, of some method of ether-telegraphy,—this + power were prematurely acquired, its exercise would in all + probability be prohibited.... Imagine, for example, what + would have happened during the Middle Ages to the person + guilty of discovering means to communicate with the people + of a neighboring planet! Assuredly that inventor and his + apparatus and his records would have been burned; every + trace and memory of his labors would have been extirpated. + Even to-day the sudden discovery of truths unsupported by + human experience, the sudden revelation of facts totally + opposed to <span class="pagenum"><a name="page124" + id="page124"></a>[pg 124]</span> existing convictions, might + evoke some frantic revival of superstitious + terrors,—some religious panic-fury that would strangle + science, and replunge the world in mental darkness for a + thousand years.</p><span class="pagenum"><a name="page125" + id="page125"></a>[pg 125]</span> + + <h2>THE MIRROR + MAIDEN</h2><span class="pagenum"><a name="page127" + id="page127"></a>[pg 127]</span> + + <p>In the period of the Ashikaga Shōgunate the shrine of + Ogawachi-Myōjin, at Minami-Isé, fell into decay; and the + daimyō of the district, the Lord Kitahataké, found himself + unable, by reason of war and other circumstances, to provide + for the reparation of the building. Then the Shintō priest + in charge, Matsumura Hyōgo, sought help at Kyōto from + the great daimyō Hosokawa, who was known to have influence + with the Shōgun. The Lord Hosokawa received the priest + kindly, and promised to speak to the Shōgun about the + condition of Ogawachi-Myōjin. But he said that, in any + event, a grant for the restoration of the temple could not be + made without due investigation and considerable + <span class="pagenum"><a name="page128" + id="page128"></a>[pg 128]</span> delay; and he advised + Matsumura to remain in the capital while the matter was + being arranged. Matsumura therefore brought his family to + Kyōto, and rented a house in the old Kyōgoku + quarter.</p> + + <p>This house, although handsome and spacious, had been long + unoccupied. It was said to be an unlucky house. On the + northeast side of it there was a well; and several former + tenants had drowned themselves in that well, without any known + cause. But Matsumura, being a Shintō priest, had no fear + of evil spirits; and he soon made himself very comfortable in + his new home.</p> + <hr /> + + <p>In the summer of that year there was a great drought. For + months no rain had fallen in the Five Home-Provinces; the + river-beds dried up, the wells failed; and even in the capital + there was a dearth of water. But the well in Matsumura's garden + remained nearly full; and the water—which was very cold + and clear, with a faint bluish tinge—seemed to be + supplied by a spring. During the hot season many + <span class="pagenum"><a name="page129" + id="page129"></a>[pg 129]</span> people came from all parts + of the city to beg for water; and Matsumura allowed them to + draw as much as they pleased. Nevertheless the supply did + not appear to be diminished.</p> + + <p>But one morning the dead body of a young servant, who had + been sent from a neighboring residence to fetch water, was + found floating in the well. No cause for a suicide could be + imagined; and Matsumura, remembering many unpleasant stories + about the well, began to suspect some invisible malevolence. He + went to examine the well, with the intention of having a fence + built around it; and while standing there alone he was startled + by a sudden motion in the water, as of something alive. The + motion soon ceased; and then he perceived, clearly reflected in + the still surface, the figure of a young woman, apparently + about nineteen or twenty years of age. She seemed to be + occupied with her toilet: he distinctly saw her touching her + lips with <i>béni</i><a id="footnotetag67" + name="footnotetag67"></a><a href="#footnote67"><sup>67</sup></a> + At first her face was visible in profile only; but presently + she turned towards him and smiled. Immediately he felt a + strange shock <span class="pagenum"><a name="page130" + id="page130"></a>[pg 130]</span> at his heart, and a + dizziness came upon him like the dizziness of wine, and + everything became dark, except that smiling + face,—white and beautiful as moonlight, and always + seeming to grow more beautiful, and to be drawing him + down—down—down into the darkness. But with a + desperate effort he recovered his will and closed his eyes. + When he opened them again, the face was gone, and the light + had returned; and he found himself leaning down over the + curb of the well. A moment more of that dizziness,—a + moment more of that dazzling lure,—and he would never + again have looked upon the sun...</p> + + <p>Returning to the house, he gave orders to his people not to + approach the well under any circumstances, or allow any person + to draw water from it. And the next day he had a strong fence + built round the well.</p> + <hr /> + + <p>About a week after the fence had been built, the long + drought was broken by a great rain-storm, accompanied by wind + and lightning and thunder,—thunder so tremendous + <span class="pagenum"><a name="page131" + id="page131"></a>[pg 131]</span> that the whole city shook + to the rolling of it, as if shaken by an earthquake. For + three days and three nights the downpour and the lightnings + and the thunder continued; and the Kamogawa rose as it had + never risen before, carrying away many bridges. During the + third night of the storm, at the Hour of the Ox, there was + heard a knocking at the door of the priest's dwelling, and + the voice of a woman pleading for admittance. But Matsumura, + warned by his experience at the well, forbade his servants + to answer the appeal. He went himself to the entrance, and + asked,—</p> + + <p>"Who calls?"</p> + + <p>A feminine voice responded:—</p> + + <p>"Pardon! it is I,—Yayoi!<a id="footnotetag68" + name="footnotetag68"></a><a href="#footnote68"><sup>68</sup></a>... + I have something to say to Matsumura Sama,—something + of great moment. Please open!"...</p> + + <p>Matsumura half opened the door, very cautiously; and he saw + the same beautiful face that had smiled upon him from the well. + But it was not smiling now: it had a very sad look.</p> + + <p>"Into my house you shall not come," + <span class="pagenum"><a name="page132" + id="page132"></a>[pg 132]</span> the priest exclaimed. "You + are not a human being, but a Well-Person.... Why do you thus + wickedly try to delude and destroy people?"</p> + + <p>The Well-Person made answer in a voice musical as a tinkling + of jewels (<i>tama-wo-korogasu-koë</i>.):—</p> + + <p>"It is of that very matter that I want to speak.... I have + never wished to injure human beings. But from ancient time a + Poison-Dragon dwelt in that well. He was the Master of the + Well; and because of him the well was always full. Long ago I + fell into the water there, and so became subject to him; and he + had power to make me lure people to death, in order that he + might drink their blood. But now the Heavenly Ruler has + commanded the Dragon to dwell hereafter in the lake called + Torii-no-Iké, in the Province of Shinshū; and the gods + have decided that he shall never be allowed to return to this + city. So to-night, after he had gone away, I was able to come + out, to beg for your kindly help. There is now very little + water in the well, because of the + <span class="pagenum"><a name="page133" + id="page133"></a>[pg 133]</span> Dragon's departure; and if + you will order search to be made, my body will be found + there. I pray you to save my body from the well without + delay; and I shall certainly return your + benevolence."...</p> + + <p>So saying, she vanished into the night.</p> + <hr /> + + <p>Before dawn the tempest had passed; and when the sun arose + there was no trace of cloud in the pure blue sky. Matsumura + sent at an early hour for well-cleaners to search the well. + Then, to everybody's surprise, the well proved to be almost + dry. It was easily cleaned; and at the bottom of it were found + some hair-ornaments of a very ancient fashion, and a metal + mirror of curious form—but no trace of any body, animal + or human.</p> + + <p>Matusmura imagined, however, that the mirror might yield + some explanation of the mystery; for every such mirror is a + weird thing, having a soul of its own,—and the soul of a + mirror is feminine. This mirror, which seemed to be very old, + was deeply crusted with scurf. But when it had been carefully + cleaned, <span class="pagenum"><a name="page134" + id="page134"></a>[pg 134]</span> by the priest's order, it + proved to be of rare and costly workmanship; and there were + wonderful designs upon the back of it,—also several + characters. Some of the characters had become + indistinguishable; but there could still be discerned part + of a date, and ideographs signifying, "<i>third month, the + third day</i>." Now the third month used to be termed + <i>Yayoi</i> (meaning, the Month of Increase); and the third + day of the third month, which is a festival day, is still + called <i>Yayoi-no-sekku</i>. Remembering that the + Well-Person called herself "Yayoi," Matsumura felt almost + sure that his ghostly visitant had been none other than the + Soul of the Mirror.</p> + + <p>He therefore resolved to treat the mirror with all the + consideration due to a Spirit. After having caused it to be + carefully repolished and resilvered, he had a case of precious + wood made for it, and a particular room in the house prepared + to receive it. On the evening of the same day that it had been + respectfully deposited in that room, Yayoi herself unexpectedly + appeared before the priest as he sat alone in his study. She + looked even more lovely than + <span class="pagenum"><a name="page135" + id="page135"></a>[pg 135]</span> before; but the light of + her beauty was now soft as the light of a summer moon + shining through pure white clouds. After having humbly + saluted Matsumura, she said in her sweetly tinkling + voice:—</p> + + <p>"Now that you have saved me from solitude and sorrow, I have + come to thank you.... I am indeed, as you supposed, the Spirit + of the Mirror. It was in the time of the Emperor Saimei that I + was first brought here from Kudara; and I dwelt in the august + residence until the time of the Emperor Saga, when I was + augustly bestowed upon the Lady Kamo, Naishinnō of the + Imperial Court.<a id="footnotetag69" + name="footnotetag69"></a><a href="#footnote69"><sup>69</sup></a> + Thereafter I became an heirloom in the House of Fuji-wara, + and so remained until the period of Hōgen, when I was + dropped into the well. There I was left and forgotten during + the years <span class="pagenum"><a name="page136" + id="page136"></a>[pg 136]</span> of the great + war.<a id="footnotetag70" + name="footnotetag70"></a><a href="#footnote70"><sup>70</sup></a> + The Master of the Well<a id="footnotetag71" + name="footnotetag71"></a><a href="#footnote71"><sup>71</sup></a> + was a venomous Dragon, who used to live in a lake that once + covered a great part of this district. After the lake had + been filled in, by government order, in order that houses + might be built upon the place of it, the Dragon took + possession of the well; and when I fell into the well I + became subject to him; and he compelled me to lure many + people to their deaths. But the gods have banished him + forever.... Now I have one more favor to beseech: I entreat + that you will cause me to be offered up to the Shōgun, + the Lord Yoshimasa, who by descent is related to my former + possessors. Do me but this last great kindness, and it will + bring you <span class="pagenum"><a name="page137" + id="page137"></a>[pg 137]</span> good-fortune.... But I have + also to warn you of a danger. In this house, after + to-morrow, you must not stay, because it will be + destroyed."... And with these words of warning Yayoi + disappeared.</p> + <hr /> + + <p>Matsumura was able to profit by this premonition. He removed + his people and his belongings to another district the next day; + and almost immediately afterwards another storm arose, even + more violent than the first, causing a flood which swept away + the house in which he had been residing.</p> + + <p>Some time later, by favor of the Lord Hosokawa, Matsumura + was enabled to obtain an audience of the Shōgun Yoshimasa, + to whom he presented the mirror, together with a written + account of its wonderful history. Then the prediction of the + Spirit of the Mirror was fulfilled; for the Shōgun, + greatly pleased with this strange gift, not only bestowed + costly presents upon Matsumura, but also made an ample grant of + money for the rebuilding of the Temple of + Ogawachi-Myōjin.</p><span class="pagenum"><a name="page139" + id="page139"></a>[pg 139]</span> + + <h2>THE STORY OF ITŌ + NORISUKÉ</h2><span class="pagenum"><a name="page141" + id="page141"></a>[pg 141]</span> + + <p>In the town of Uji, in the province of Yamashiro, there + lived, about six hundred years ago, a young samurai named + Itō Tatéwaki Norisuké, whose ancestors were of the Héïké + clan. Itō was of handsome person and amiable character, a + good scholar and apt at arms. But his family were poor; and he + had no patron among the military nobility,—so that his + prospects were small. He lived in a very quiet way, devoting + himself to the study of literature, and having (says the + Japanese story-teller) "only the Moon and the Wind for + friends."</p> + + <p>One autumn evening, as he was taking a solitary walk in the + neighborhood of the <span class="pagenum"><a name="page142" + id="page142"></a>[pg 142]</span> hill called Kotobikiyama, + he happened to overtake a young girl who was following the + same path. She was richly dressed, and seemed to be about + eleven or twelve years old. Itō greeted her, and said, + "The sun will soon be setting, damsel, and this is rather a + lonesome place. May I ask if you have lost your way?" She + looked up at him with a bright smile, and answered + deprecatingly: "Nay! I am a + <i>miya-dzukai</i>,<a id="footnotetag72" + name="footnotetag72"></a><a href="#footnote72"><sup>72</sup></a> + serving in this neighborhood; and I have only a little way + to go."</p> + + <p>By her use of the term <i>miya-dzukai</i>, Itō knew + that the girl must be in the service of persons of rank; and + her statement surprised him, because he had never heard of any + family of distinction residing in that vicinity. But he only + said: "I am returning to Uji, where my home is. Perhaps you + will allow me to accompany you on the way, as this is a very + lonesome place." She thanked him gracefully, seeming pleased by + his offer; and they walked on together, chatting as they went. + She talked about the weather, the flowers, the butterflies, + <span class="pagenum"><a name="page143" + id="page143"></a>[pg 143]</span> and the birds; about a + visit that she had once made to Uji, about the famous sights + of the capital, where she had been born;—and the + moments passed pleasantly for Itō, as he listened to + her fresh prattle. Presently, at a turn in the road, they + entered a hamlet, densely shadowed by a grove of young + trees.</p> + <hr /> + + <p>[Here I must interrupt the story to tell you that, without + having actually seen them, you cannot imagine how dark some + Japanese country villages remain even in the brightest and + hottest weather. In the neighborhood of Tōkyō itself + there are many villages of this kind. At a short distance from + such a settlement you see no houses: nothing is visible but a + dense grove of evergreen trees. The grove, which is usually + composed of young cedars and bamboos, serves to shelter the + village from storms, and also to supply timber for various + purposes. So closely are the trees planted that there is no + room to pass between the trunks of them: they stand straight as + masts, and mingle their crests so as to form a roof that + excludes <span class="pagenum"><a name="page144" + id="page144"></a>[pg 144]</span> the sun. Each thatched + cottage occupies a clear space in the plantation, the trees + forming a fence about it, double the height of the building. + Under the trees it is always twilight, even at high noon; + and the houses, morning or evening, are half in shadow. What + makes the first impression of such a village almost + disquieting is, not the transparent gloom, which has a + certain weird charm of its own, but the stillness. There may + be fifty or a hundred dwellings; but you see nobody; and you + hear no sound but the twitter of invisible birds, the + occasional crowing of cocks, and the shrilling of cicadæ. + Even the cicadæ, however, find these groves too dim, and + sing faintly; being sun-lovers, they prefer the trees + outside the village. I forgot to say that you may sometimes + hear a viewless shuttle—<i>chaka-ton, + chaka-ton</i>;—but that familiar sound, in the great + green silence, seems an elfish happening. The reason of the + hush is simply that the people are not at home. All the + adults, excepting some feeble elders, have gone to the + neighboring fields, the women carrying their babies on their + backs; and most <span class="pagenum"><a name="page145" + id="page145"></a>[pg 145]</span> of the children have gone + to the nearest school, perhaps not less than a mile away. + Verily, in these dim hushed villages, one seems to behold + the mysterious perpetuation of conditions recorded in the + texts of Kwang-Tze:—</p> + + <blockquote> + <p>"<i>The ancients who had the nourishment of the world + wished for nothing, and the world had enough:—they + did nothing, and all things were transformed:—their + stillness was abysmal, and the people were all + composed.</i>"]</p> + </blockquote> + <hr /> + + <p>... The village was very dark when Itō reached it; for + the sun had set, and the after-glow made no twilight in the + shadowing of the trees. "Now, kind sir," the child said, + pointing to a narrow lane opening upon the main road, "I have + to go this way." "Permit me, then, to see you home," Itō + responded; and he turned into the lane with her, feeling rather + than seeing his way. But the girl soon stopped before a small + gate, dimly visible in the gloom,—a gate of trelliswork, + beyond which the lights of a dwelling could be seen. "Here," + she said, "is the honorable residence in which I serve. + <span class="pagenum"><a name="page146" + id="page146"></a>[pg 146]</span> As you have come thus far + out of your way, kind sir, will you not deign to enter and + to rest a while?" Itō assented. He was pleased by the + informal invitation; and he wished to learn what persons of + superior condition had chosen to reside in so lonesome a + village. He knew that sometimes a family of rank would + retire in this manner from public life, by reason of + government displeasure or political trouble; and he imagined + that such might be the history of the occupants of the + dwelling before him. Passing the gate, which his young guide + opened for him, he found himself in a large quaint garden. A + miniature landscape, traversed by a winding stream, was + faintly distinguishable. "Deign for one little moment to + wait," the child said; "I go to announce the honorable + coming;" and hurried toward the house. It was a spacious + house, but seemed very old, and built in the fashion of + another time. The sliding doors were not closed; but the + lighted interior was concealed by a beautiful bamboo curtain + extending along the gallery front. Behind it shadows were + moving—shadows of women;—and suddenly + <span class="pagenum"><a name="page147" + id="page147"></a>[pg 147]</span> the music of a <i>koto</i> + rippled into the night. So light and sweet was the playing + that Itō could scarcely believe the evidence of his + senses. A slumbrous feeling of delight stole over him as he + listened,—a delight strangely mingled with sadness. He + wondered how any woman could have learned to play + thus,—wondered whether the player could be a + woman,—wondered even whether he was hearing earthly + music; for enchantment seemed to have entered into his blood + with the sound of it.</p> + <hr /> + + <p>The soft music ceased; and almost at the same moment + Itō found the little <i>miya-dzukai</i> beside him. "Sir," + she said, "it is requested that you will honorably enter." She + conducted him to the entrance, where he removed his sandals; + and an aged woman, whom he thought to be the <i>Rōjo</i>, + or matron of the household, came to welcome him at the + threshold. The old woman then led him through many apartments + to a large and well-lighted room in the rear of the house, and + with many respectful salutations requested him to take the + <span class="pagenum"><a name="page148" + id="page148"></a>[pg 148]</span> place of honor accorded to + guests of distinction. He was surprised by the stateliness + of the chamber, and the curious beauty of its decorations. + Presently some maid-servants brought refreshments; and he + noticed that the cups and other vessels set before him were + of rare and costly workmanship, and ornamented with a design + indicating the high rank of the possessor. More and more he + wondered what noble person had chosen this lonely retreat, + and what happening could have inspired the wish for such + solitude. But the aged attendant suddenly interrupted his + reflections with the question:</p> + + <p>"Am I wrong in supposing that you are Itō Sama, of + Uji,—Itō Tatéwaki Norisuké?"</p> + + <p>Itō bowed in assent. He had not told his name to the + little <i>miya-dzukai</i>, and the manner of the inquiry + startled him.</p> + + <p>"Please do not think my question rude," continued the + attendant. "An old woman like myself may ask questions without + improper curiosity. When you came to the house, I thought that + I knew your face; and I <span class="pagenum"><a name="page149" + id="page149"></a>[pg 149]</span> asked your name only to + clear away all doubt, before speaking of other matters. I + have some thing of moment to tell you. You often pass + through this village, and our young + Himégimi-Sama<a id="footnotetag73" + name="footnotetag73"></a><a href="#footnote73"><sup>73</sup></a> + happened one morning to see you going by; and ever since + that moment she has been thinking about you, day and night. + Indeed, she thought so much that she became ill; and we have + been very uneasy about her. For that reason I took means to + find out your name and residence; and I was on the point of + sending you a letter when—so unexpectedly!—you + came to our gate with the little attendant. Now, to say how + happy I am to see you is not possible; it seems almost too + fortunate a happening to be true! Really I think that this + meeting must have been brought about by the favor of + Enmusubi-no-Kami,—that great God of Izumo who ties the + knots of fortunate union. And now that so lucky a destiny + has led you hither, perhaps you will not refuse—if + there <span class="pagenum"><a name="page150" + id="page150"></a>[pg 150]</span> be no obstacle in the way + of such a union—to make happy the heart of our + Himégimi-Sama?"</p> + + <p>For the moment Itō did not know how to reply. If the + old woman had spoken the truth, an extraordinary chance was + being offered to him. Only a great passion could impel the + daughter of a noble house to seek, of her own will, the + affection of an obscure and masterless samurai, possessing + neither wealth nor any sort of prospects. On the other hand, it + was not in the honorable nature of the man to further his own + interests by taking advantage of a feminine weakness. Moreover, + the circumstances were disquietingly mysterious. Yet how to + decline the proposal, so unexpectedly made, troubled him not a + little. After a short silence, he replied:—</p> + + <p>"There would be no obstacle, as I have no wife, and no + betrothed, and no relation with any woman. Until now I have + lived with my parents; and the matter of my marriage was never + discussed by them. You must know that I am a poor samurai, + without any patron among persons of rank; and I did not + <span class="pagenum"><a name="page151" + id="page151"></a>[pg 151]</span> wish to marry until I could + find some chance to improve my condition. As to the proposal + which you have done me the very great honor to make, I can + only say that I know myself yet unworthy of the notice of + any noble maiden."</p> + + <p>The old woman smiled as if pleased by these words, and + responded:—</p> + + <p>"Until you have seen our Himégimi-Sama, it were better that + you make no decision. Perhaps you will feel no hesitation after + you have seen her. Deign now to come with me, that I may + present you to her."</p> + + <p>She conducted him to another larger guest-room, where + preparations for a feast had been made, and having shown him + the place of honor, left him for a moment alone. She returned + accompanied by the Himégimi-Sama; and, at the first sight of + the young mistress, Itō felt again the strange thrill of + wonder and delight that had come to him in the garden, as he + listened to the music of the <i>koto</i>. Never had he dreamed + of so beautiful a being. Light seemed to radiate from her + presence, and to shine through her garments, as the light of + the <span class="pagenum"><a name="page152" + id="page152"></a>[pg 152]</span> moon through flossy clouds; + her loosely flowing hair swayed about her as she moved, like + the boughs of the drooping willow bestirred by the breezes + of spring; her lips were like flowers of the peach + besprinkled with morning dew. Itō was bewildered by the + vision. He asked himself whether he was not looking upon the + person of Amano-kawara-no-Ori-Himé herself,—the + Weaving-Maiden who dwells by the shining River of + Heaven.</p> + + <p>Smiling, the aged woman turned to the fair one, who remained + speechless, with downcast eyes and flushing cheeks, and said to + her:—</p> + + <p>"See, my child!—at the moment when we could least have + hoped for such a thing, the very person whom you wished to meet + has come of his own accord. So fortunate a happening could have + been brought about only by the will of the high gods. To think + of it makes me weep for joy." And she sobbed aloud. "But now," + she continued, wiping away her tears with her sleeve, "it only + remains for you both—unless either prove unwilling, + <span class="pagenum"><a name="page153" + id="page153"></a>[pg 153]</span> which I doubt—to + pledge yourselves to each other, and to partake of your + wedding feast."</p> + <hr /> + + <p>Itō answered by no word: the incomparable vision before + him had numbed his will and tied his tongue. Maid-servants + entered, bearing dishes and wine: the wedding feast was spread + before the pair; and the pledges were given. Itō + nevertheless remained as in a trance: the marvel of the + adventure, and the wonder of the beauty of the bride, still + bewildered him. A gladness, beyond aught that he had ever known + before, filled his heart—like a great silence. But + gradually he recovered his wonted calm; and thereafter he found + himself able to converse without embarrassment. Of the wine he + partook freely; and he ventured to speak, in a + self-depreciating but merry way, about the doubts and fears + that had oppressed him. Meanwhile the bride remained still as + moonlight, never lifting her eyes, and replying only by a blush + or a smile when he addressed her.</p> + + <p>Itō said to the aged attendant:—</p> + + <p>"Many times, in my solitary walks, I + <span class="pagenum"><a name="page154" + id="page154"></a>[pg 154]</span> have passed through this + village without knowing of the existence of this honorable + dwelling. And ever since entering here, I have been + wondering why this noble household should have chosen so + lonesome a place of sojourn.... Now that your Himégimi-Sama + and I have become pledged to each other, it seems to me a + strange thing that I do not yet know the name of her august + family."</p> + + <p>At this utterance, a shadow passed over the kindly face of + the old woman; and the bride, who had yet hardly spoken, turned + pale, and appeared to become painfully anxious. After some + moments of silence, the aged woman responded:—</p> + + <p>"To keep our secret from you much longer would be difficult; + and I think that, under any circumstances, you should be made + aware of the facts, now that you are one of us. Know then, Sir + Itō, that your bride is the daughter of + Shigéhira-Kyō, the great and unfortunate San-mi + Chüjō."</p> + + <p>At those words—"Shigéhira-Kyō, San-mi + Chüjō"—the young samurai felt a + <span class="pagenum"><a name="page155" + id="page155"></a>[pg 155]</span> chill, as of ice, strike + through all his veins. Shigéhira-Kyō, the great Héïké + general and statesman, had been dust for centuries. And + Itō suddenly understood that everything around + him—the chamber and the lights and the + banquet—was a dream of the past; that the forms before + him were not people, but shadows of people dead.</p> + + <p>But in another instant the icy chill had passed; and the + charm returned, and seemed to deepen about him; and he felt no + fear. Though his bride had come to him out of Yomi,—out + of the place of the Yellow Springs of death,—his heart + had been wholly won. Who weds a ghost must become a + ghost;—yet he knew himself ready to die, not once, but + many times, rather than betray by word or look one thought that + might bring a shadow of pain to the brow of the beautiful + illusion before him. Of the affection proffered he had no + misgiving: the truth had been told him when any unloving + purpose might better have been served by deception. But these + thoughts and emotions passed in a flash, leaving him resolved + <span class="pagenum"><a name="page156" + id="page156"></a>[pg 156]</span> to accept the strange + situation as it had presented itself, and to act just as he + would have done if chosen, in the years of Jü-ei, by + Shigéhira's daughter.</p> + + <p>"Ah, the pity of it!" he exclaimed; "I have heard of the + cruel fate of the august Lord Shigéhira."</p> + + <p>"Ay," responded the aged woman, sobbing as she + spoke;—"it was indeed a cruel fate. His horse, you know, + was killed by an arrow, and fell upon him; and when he called + for help, those who had lived upon his bounty deserted him in + his need. Then he was taken prisoner, and sent to Kamakura, + where they treated him shamefully, and at last put him to + death.<a id="footnotetag74" + name="footnotetag74"></a><a href="#footnote74"><sup>74</sup></a> + His wife and child—this dear maid + <span class="pagenum"><a name="page157" + id="page157"></a>[pg 157]</span> here—were then in + hiding; for everywhere the Héïké were being sought out and + killed. When the news of the Lord Shigéhira's death reached + us, the pain proved too great for the mother to bear, so the + child was left with no one to care for her but + me,—since her kindred had all perished or disappeared. + She was only five years old. I had been her milk-nurse, and + I did what I could for her. Year after year we wandered from + place to place, traveling in pilgrim-garb.... But these + tales of grief are ill-timed," exclaimed the nurse, wiping + away her tears;—"pardon the foolish heart of an old + woman who cannot forget the past. See! the little maid whom + I fostered has now become a Himégimi-Sama indeed!—were + we living in the good days of the Emperor Takakura, what a + destiny might be reserved for her! However, she has obtained + the husband <span class="pagenum"><a name="page158" + id="page158"></a>[pg 158]</span> whom she desired; that is + the greatest happiness.... But the hour is late. The + bridal-chamber has been prepared; and I must now leave you + to care for each other until morning."</p> + + <p>She rose, and sliding back the screens parting the + guest-room from the adjoining chamber, ushered them to their + sleeping apartment. Then, with many words of joy and + congratulation, she withdrew; and Itō was left alone with + his bride.</p> + + <p>As they reposed together, Itō said:—</p> + + <p>"Tell me, my loved one, when was it that you first wished to + have me for your husband."</p> + + <p>(For everything appeared so real that he had almost ceased + to think of the illusion woven around him.)</p> + + <p>She answered, in a voice like a dove's voice:—</p> + + <p>"My august lord and husband, it was at the temple of + Ishiyama, where I went with my foster-mother, that I saw you + for the first time. And because of seeing you, the world became + changed to me from that hour and + <span class="pagenum"><a name="page159" + id="page159"></a>[pg 159]</span> moment. But you do not + remember, because our meeting was not in this, your present + life: it was very, very long ago. Since that time you have + passed through many deaths and births, and have had many + comely bodies. But I have remained always that which you see + me now: I could not obtain another body, nor enter into + another state of existence, because of my great wish for + you. My dear lord and husband, I have waited for you through + many ages of men."</p> + + <p>And the bridegroom felt nowise afraid at hearing these + strange words, but desired nothing more in life, or in all his + lives to come, than to feel her arms about him, and to hear the + caress of her voice.</p> + <hr /> + + <p>But the pealing of a temple-bell proclaimed the coming of + dawn. Birds began to twitter; a morning breeze set all the + trees a-whispering. Suddenly the old nurse pushed apart the + sliding screens of the bridal-chamber, and + exclaimed:—</p> + + <p>"My children, it is time to separate! By daylight you must + not be together, even for + <span class="pagenum"><a name="page160" + id="page160"></a>[pg 160]</span> an instant: that were + fatal! You must bid each other good-by."</p> + + <p>Without a word, Itō made ready to depart. He vaguely + understood the warning uttered, and resigned himself wholly to + destiny. His will belonged to him no more; he desired only to + please his shadowy bride.</p> + + <p>She placed in his hands a little <i>suzuri</i>, or + ink-stone, curiously carved, and said:—</p> + + <p>"My young lord and husband is a scholar; therefore this + small gift will probably not be despised by him. It is of + strange fashion because it is old, having been augustly + bestowed upon my father by the favor of the Emperor Takakura. + For that reason only, I thought it to be a precious thing."</p> + + <p>Itō, in return, besought her to accept for a + remembrance the <i>kōgai</i><a id="footnotetag75" + name="footnotetag75"></a><a href="#footnote75"><sup>75</sup></a> + of his sword, which were decorated with inlaid work of + silver and gold, representing plum-flowers and + nightingales.</p><span class="pagenum"><a name="page161" + id="page161"></a>[pg 161]</span> + + <p>Then the little <i>miya-dzukai</i> came to guide him through + the garden, and his bride with her foster-mother accompanied + him to the threshold.</p> + + <p>As he turned at the foot of the steps to make his parting + salute, the old woman said:—</p> + + <p>"We shall meet again the next Year of the Boar, at the same + hour of the same day of the same month that you came here. This + being the Year of the Tiger, you will have to wait ten years. + But, for reasons which I must not say, we shall not be able to + meet again in this place; we are going to the neighborhood of + Kyōto, where the good Emperor Takakura and our fathers and + many of our people are dwelling. All the Héïké will be rejoiced + by your coming. We shall send a + <i>kago</i><a id="footnotetag76" + name="footnotetag76"></a><a href="#footnote76"><sup>76</sup></a> + for you on the appointed day."</p> + <hr /> + + <p>Above the village the stars were burning as Itō passed + the gate; but on reaching the open road he saw the dawn + brightening beyond <span class="pagenum"><a name="page162" + id="page162"></a>[pg 162]</span> leagues of silent fields. + In his bosom he carried the gift of his bride. The charm of + her voice lingered in his ears,—and nevertheless, had + it not been for the memento which he touched with + questioning fingers, he could have persuaded himself that + the memories of the night were memories of sleep, and that + his life still belonged to him.</p> + + <p>But the certainty that he had doomed himself evoked no least + regret: he was troubled only by the pain of separation, and the + thought of the seasons that would have to pass before the + illusion could be renewed for him. Ten years!—and every + day of those years would seem how long! The mystery of the + delay he could not hope to solve; the secret ways of the dead + are known to the gods alone.</p> + <hr /> + + <p>Often and often, in his solitary walks, Itō revisited + the village at Kotobikiyama, vaguely hoping to obtain another + glimpse of the past. But never again, by night or by day, was + he able to find the rustic gate in the shadowed lane; never + again could he perceive the figure + <span class="pagenum"><a name="page163" + id="page163"></a>[pg 163]</span> of the little + <i>miya-dzukai</i>, walking alone in the sunset-glow.</p> + + <p>The village people, whom he questioned carefully, thought + him bewitched. No person of rank, they said, had ever dwelt in + the settlement; and there had never been, in the neighborhood, + any such garden as he described. But there had once been a + great Buddhist temple near the place of which he spoke; and + some gravestones of the temple-cemetery were still to be seen. + Itō discovered the monuments in the middle of a dense + thicket. They were of an ancient Chinese form, and were covered + with moss and lichens. The characters that had been cut upon + them could no longer be deciphered.</p> + <hr /> + + <p>Of his adventure Itō spoke to no one. But friends and + kindred soon perceived a great change in his appearance and + manner. Day by day he seemed to become more pale and thin, + though physicians declared that he had no bodily ailment; he + looked like a ghost, and moved like a shadow. Thoughtful and + solitary he had always been, but now he appeared indifferent + <span class="pagenum"><a name="page164" + id="page164"></a>[pg 164]</span> to everything which had + formerly given him pleasure,—even to those literary + studies by means of which he might have hoped to win + distinction. To his mother—who thought that marriage + might quicken his former ambition, and revive his interest + in life—he said that he had made a vow to marry no + living woman. And the months dragged by.</p> + + <p>At last came the Year of the Boar, and the season of autumn; + but I to could no longer take the solitary walks that he loved. + He could not even rise from his bed. His life was ebbing, + though none could divine the cause; and he slept so deeply and + so long that his sleep was often mistaken for death.</p> + + <p>Out of such a sleep he was startled, one bright evening, by + the voice of a child; and he saw at his bedside the little + <i>miya-dsukai</i> who had guided him, ten years before, to the + gate of the vanished garden. She saluted him, and smiled, and + said: "I am bidden to tell you that you will be received + to-night at Öhara, near Kyōto, where the new home is, and + that a <i>kago</i> has been sent for you." Then she + disappeared.</p><span class="pagenum"><a name="page165" + id="page165"></a>[pg 165]</span> + + <p>Itō knew that he was being summoned away from the light + of the sun; but the message so rejoiced him that he found + strength to sit up and call his mother. To her he then for the + first time related the story of his bridal, and he showed her + the ink-stone which had been given him. He asked that it should + be placed in his coffin,—and then he died.</p> + <hr /> + + <p>The ink-stone was buried with him. But before the funeral + ceremonies it was examined by experts, who said that it had + been made in the period of <i>Jō-an</i>(1169 A.D.), and + that it bore the seal-mark of an artist who had lived in the + time of the Emperor + Takakura.</p><span class="pagenum"><a name="page167" + id="page167"></a>[pg 167]</span> + + <h2>STRANGER THAN + FICTION</h2><span class="pagenum"><a name="page169" + id="page169"></a>[pg 169]</span> + + <p>It was a perfect West Indian day. My friend the notary and I + were crossing the island by a wonderful road which wound up + through tropic forest to the clouds, and thence looped down + again, through gold-green slopes of cane, and scenery amazing + of violet and blue and ghost-gray peaks, to the roaring coast + of the trade winds. All the morning we had been + ascending,—walking after our carriage, most of the time, + for the sake of the brave little mule;—and the sea had + been climbing behind us till it looked like a monstrous wall of + blue, pansy-blue, under the ever heightening horizon. The heat + was like the heat of a vapor-bath, but the air was good to + breathe with its tropical odor,—an odor made up of smells + of strange <span class="pagenum"><a name="page170" + id="page170"></a>[pg 170]</span> saps, queer spicy scents of + mould, exhalations of aromatic decay. Moreover, the views + were glimpses of Paradise; and it was a joy to watch the + torrents roaring down their gorges under shadows of + tree-fern and bamboo.</p> + + <p>My friend stopped the carriage before a gateway set into a + hedge full of flowers that looked like pink-and-white + butterflies. "I have to make a call here," he said;—"come + in with me." We dismounted, and he knocked on the gate with the + butt of his whip. Within, at the end of a shady garden, I could + see the porch of a planter's house; beyond were rows of cocoa + palms, and glimpses of yellowing cane. Presently a negro, + wearing only a pair of canvas trousers and a great straw hat, + came hobbling to open the gate,—followed by a multitude, + an astonishing multitude, of chippering chickens. Under the + shadow of that huge straw hat I could not see the negro's face; + but I noticed that his limbs and body were strangely + shrunken,—looked as if withered to the bone. A weirder + creature I had never beheld; and I wondered at his following of + chickens.</p><span class="pagenum"><a name="page171" + id="page171"></a>[pg 171]</span> + + <p>"Eh!" exclaimed the notary, "your chickens are as lively as + ever!... I want to see Madame Floran."</p> + + <p>"<i>Moin ké di</i>," the goblin responded huskily, in his + patois; and he limped on before us, all the chickens hopping + and cheeping at his withered heels.</p> + + <p>"That fellow," my friend observed, "was bitten by a + <i>fer-de-lance</i> about eight or nine years ago. He got + cured, or at least half-cured, in some extraordinary way; but + ever since then he has been a skeleton. See how he limps!"</p> + + <p>The skeleton passed out of sight behind the house, and we + waited a while at the front porch. Then a + métisse—turbaned in wasp colors, and robed in iris + colors, and wonderful to behold—came to tell us that + Madame hoped we would rest ourselves in the garden, as the + house was very warm. Chairs and a little table were then set + for us in a shady place, and the métisse brought out lemons, + sugar-syrup, a bottle of the clear plantation rum that smells + like apple juice, and ice-cold water in a <i>dobanne</i> of + thick red clay. My friend prepared the + <span class="pagenum"><a name="page172" + id="page172"></a>[pg 172]</span> refreshments; and then our + hostess came to greet us, and to sit with us,—a nice + old lady with hair like newly minted silver. I had never + seen a smile sweeter than that with which she bade us + welcome; and I wondered whether she could ever have been + more charming in her Creole girlhood than she now + appeared,—with her kindly wrinkles, and argent hair, + and frank, black, sparkling eyes....</p> + <hr /> + + <p>In the conversation that followed I was not able to take + part, as it related only to some question of title. The notary + soon arranged whatever there was to arrange; and, after some + charmingly spoken words of farewell from the gentle lady, we + took our departure. Again the mummified negro hobbled before + us, to open the gate,—followed by all his callow rabble + of chickens. As we resumed our places in the carriage we could + still hear the chippering of the creatures, pursuing after that + ancient scarecrow.</p> + + <p>"Is it African sorcery?" I queried.... "How does he bewitch + those chickens?"</p><span class="pagenum"><a name="page173" + id="page173"></a>[pg 173]</span> + + <p>"Queer—is it not?" the notary responded as we drove + away. "That negro must now be at least eighty years old; and he + may live for twenty years more,—the wretch!"</p> + + <p>The tone in which my friend uttered this epithet—<i>le + miserable!</i>—somewhat surprised me, as I knew him to be + one of the kindliest men in the world, and singularly free from + prejudice. I suspected that a story was coming, and I waited + for it in silence.</p> + + <p>"Listen," said the notary, after a pause, during which we + left the plantation well behind us; "that old sorcerer, as you + call him, was born upon the estate, a slave. The estate + belonged to M. Floran,—the husband of the lady whom we + visited; and she was a cousin, and the marriage was a + love-match. They had been married about two years when the + revolt occurred (fortunately there were no children),—the + black revolt of eighteen hundred and forty-eight. Several + planters were murdered; and M. Floran was one of the first to + be killed. And the old negro whom we saw to-day—the old + sorcerer, as you call him—left the + <span class="pagenum"><a name="page174" + id="page174"></a>[pg 174]</span> plantation, and joined the + rising: do you understand?"</p> + + <p>"Yes," I said; "but he might have done that through fear of + the mob."</p> + + <p>"Certainly: the other hands did the same. But it was he that + killed M. Floran,—for no reason whatever,—cut him + up with a cutlass. M. Floran was riding home when the attack + was made,—about a mile below the plantation.... Sober, + that negro would not have dared to face M. Floran: the + scoundrel was drunk, of course,—raving drunk. Most of the + blacks had been drinking tafia, with dead wasps in it, to give + themselves courage."</p> + + <p>"But," I interrupted, "how does it happen that the fellow is + still on the Floran plantation?"</p> + + <p>"Wait a moment!... When the military got control of the mob, + search was made everywhere for the murderer of M. Floran; but + he could not be found. He was lying out in the cane,—in + M. Floran's cane!—like a field-rat, like a snake. One + morning, while the gendarmes were still looking for him, he + rushed <span class="pagenum"><a name="page175" + id="page175"></a>[pg 175]</span> into the house, and threw + himself down in front of Madame, weeping and screaming, + '<i>Aïe-yaïe-yaïe-yaïe!—moin té tchoué y! moin té + tchoué y!—aïe-yaïe-yaïe!</i>' Those were his very + words:—'I killed him! I killed him!' And he begged for + mercy. When he was asked why he killed M. Floran, he cried + out that it was the devil—<i>diabe-à</i>—that + had made him do it!... Well, Madame forgave him!"</p> + + <p>"But how could she?" I queried.</p> + + <p>"Oh, she had always been very religious," my friend + responded,—"sincerely religious. She only said, 'May God + pardon me as I now pardon you!' She made her servants hide the + creature and feed him; and they kept him hidden until the + excitement was over. Then she sent him back to work; and he has + been working for her ever since. Of course he is now too old to + be of any use in the field;—he only takes care of the + chickens."</p> + + <p>"But how," I persisted, "could the relatives allow Madame to + forgive him?"</p> + + <p>"Well, Madame insisted that he was not mentally + responsible,—that he was only a + <span class="pagenum"><a name="page176" + id="page176"></a>[pg 176]</span> poor fool who had killed + without knowing what he was doing; and she argued that if + <i>she</i> could forgive him, others could more easily do + the same. There was a consultation; and the relatives + decided so to arrange matters that Madame could have her own + way."</p> + + <p>"But why?"</p> + + <p>"Because they knew that she found a sort of religious + consolation—a kind of religious comfort—in + forgiving the wretch. She imagined that it was her duty as a + Christian, not only to forgive him, but to take care of him. We + thought that she was mistaken,—but we could + understand.... Well, there is an example of what religion can + do."...</p> + <hr /> + + <p>The surprise of a new fact, or the sudden perception of + something never before imagined, may cause an involuntary + smile. Unconsciously I smiled, while my friend was yet + speaking; and the good notary's brow darkened.</p> + + <p>"Ah, you laugh!" he exclaimed,—"you laugh! That is + wrong!—that is a <span class="pagenum"><a name="page177" + id="page177"></a>[pg 177]</span> mistake!... But you do not + believe: you do not know what it is,—the true + religion,—the real Christianity!"</p> + + <p>Earnestly I made answer:—</p> + + <p>"Pardon me! I do believe every word of what you have told + me. If I laughed unthinkingly, it was only because I could not + help wondering" ...</p> + + <p>"At what?" he questioned gravely.</p> + + <p>"At the marvelous instinct of that negro."</p> + + <p>"Ah, yes!" he returned approvingly. "Yes, the cunning of the + animal it was,—the instinct of the brute!... She was the + only person in the world who could have saved him."</p> + + <p>"And he knew it," I ventured to add.</p> + + <p>"No—no—no!" my friend emphatically + dissented,—"he never could have known it! He only + <i>felt</i> it!... Find me an instinct like that, and I will + show you a brain incapable of any knowledge, any thinking, any + understanding: not the mind of a man, but the brain of a + beast!"</p><span class="pagenum"><a name="page179" + id="page179"></a>[pg 179]</span> + + <h2>A LETTER FROM + JAPAN</h2><span class="pagenum"><a name="page181" + id="page181"></a>[pg 181]</span> + + <p>Tokyo, August 1, 1904.</p> + + <p>Here, in this quiet suburb, where the green peace is broken + only by the voices of children at play and the shrilling of + cicadæ, it is difficult to imagine that, a few hundred miles + away, there is being carried on one of the most tremendous wars + of modern times, between armies aggregating more than half a + million of men, or that, on the intervening sea, a hundred + ships of war have been battling. This contest, between the + mightiest of Western powers and a people that began to study + Western science only within the recollection of many persons + still in vigorous life, is, on one side at least, a struggle + for national existence. It was inevitable, + <span class="pagenum"><a name="page182" + id="page182"></a>[pg 182]</span> this struggle,—might + perhaps have been delayed, but certainly not averted. Japan + has boldly challenged an empire capable of threatening + simultaneously the civilizations of the East and the + West,—a mediæval power that, unless vigorously + checked, seems destined to absorb Scandinavia and to + dominate China. For all industrial civilization the contest + is one of vast moment;—for Japan it is probably the + supreme crisis in her national life. As to what her fleets + and her armies have been doing, the world is fully informed; + but as to what her people are doing at home, little has been + written.</p> + + <p>To inexperienced observation they would appear to be doing + nothing unusual; and this strange calm is worthy of record. At + the beginning of hostilities an Imperial mandate was issued, + bidding all non-combatants to pursue their avocations as usual, + and to trouble themselves as little as possible about exterior + events;—and this command has been obeyed to the letter. + It would be natural to suppose that all the sacrifices, + tragedies, and uncertainties of the contest had thrown their + gloom over the life of <span class="pagenum"><a name="page183" + id="page183"></a>[pg 183]</span> the capital in especial; + but there is really nothing whatever to indicate a condition + of anxiety or depression. On the contrary, one is astonished + by the joyous tone of public confidence, and the admirably + restrained pride of the nation in its victories. Western + tides have strewn the coast with Japanese corpses; regiments + have been blown out of existence in the storming of + positions defended by wire-entanglements; battleships have + been lost: yet at no moment has there been the least public + excitement. The people are following their daily occupations + just as they did before the war; the cheery aspect of things + is just the same; the theatres and flower displays are not + less well patronized. The life of Tōkyō has been, + to outward seeming, hardly more affected by the events of + the war than the life of nature beyond it, where the flowers + are blooming and the butterflies hovering as in other + summers. Except after the news of some great + victory,—celebrated with fireworks and lantern + processions,—there are no signs of public emotion; and + but for the frequent distribution of newspaper extras, by + runners ringing bells, you + <span class="pagenum"><a name="page184" + id="page184"></a>[pg 184]</span> could almost persuade + yourself that the whole story of the war is an evil + dream.</p> + + <p>Yet there has been, of necessity, a vast amount of + suffering—viewless and voiceless + suffering—repressed by that sense of social and patriotic + duty which is Japanese religion. As a seventeen-syllable poem + of the hour tells us, the news of every victory must bring pain + as well as joy:—</p> + + <div class="poem"> + <div class="stanza"> + <p class="i2">Gōgwai no</p> + + <p>Tabi teki mikata</p> + + <p class="i2">Goké ga fuè.</p> + </div> + </div> + + <blockquote> + <p>[<i>Each time that an extra is circulated the widows of + foes and friends have increased in multitude.</i>]</p> + </blockquote> + + <p>The great quiet and the smiling tearlessness testify to the + more than Spartan discipline of the race. Anciently the people + were trained, not only to conceal their emotions, but to speak + in a cheerful voice and to show a pleasant face under any + stress of moral suffering; and they are obedient to that + teaching to-day. It would still be thought a shame to betray + personal <span class="pagenum"><a name="page185" + id="page185"></a>[pg 185]</span> sorrow for the loss of + those who die for Emperor and fatherland. The public seem to + view the events of the war as they would watch the scenes of + a popular play. They are interested without being excited; + and their extraordinary self-control is particularly shown + in various manifestations of the "Play-impulse." Everywhere + the theatres are producing war dramas (based upon actual + fact); the newspapers and magazines are publishing war + stories and novels; the cinematograph exhibits the monstrous + methods of modern warfare; and numberless industries are + turning out objects of art or utility designed to + commemorate the Japanese triumphs.</p> + + <p>But the present psychological condition, the cheerful and + even playful tone of public feeling, can be indicated less by + any general statement than by the mention of ordinary + facts,—every-day matters recorded in the writer's + diary.</p> + <hr /> + + <p>Never before were the photographers so busy; it is said that + they have not been able <span class="pagenum"><a name="page186" + id="page186"></a>[pg 186]</span> to fulfill half of the + demands made upon them. The hundreds of thousands of men + sent to the war wished to leave photographs with their + families, and also to take with them portraits of parents, + children, and other beloved persons. The nation was being + photographed during the past six months.</p> + + <p>A fact of sociological interest is that photography has + added something new to the poetry of the domestic faith. From + the time of its first introduction, photography became popular + in Japan; and none of those superstitions, which inspire fear + of the camera among less civilized races, offered any obstacle + to the rapid development of a new industry. It is true that + there exists some queer-folk beliefs about + photographs,—ideas of mysterious relation between the + sun-picture and the person imaged. For example: if, in the + photograph of a group, one figure appear indistinct or blurred, + that is thought to be an omen of sickness or death. But this + superstition has its industrial value: it has compelled + photographers to be careful about their work,—especially + in these days of war, <span class="pagenum"><a name="page187" + id="page187"></a>[pg 187]</span> when everybody wants to + have a good clear portrait, because the portrait might be + needed for another purpose than preservation in an + album.</p> + + <p>During the last twenty years there has gradually come into + existence the custom of placing the photograph of a dead + parent, brother, husband, or child, beside the mortuary tablet + kept in the Buddhist household shrine. For this reason, also, + the departing soldier wishes to leave at home a good likeness + of himself.</p> + + <p>The rites of domestic affection, in old samurai families, + are not confined to the cult of the dead. On certain occasions, + the picture of the absent parent, husband, brother, or + betrothed, is placed in the alcove of the guest-room, and a + feast laid out before it. The photograph, in such cases, is + fixed upon a little stand (<i>dai</i>); and the feast is served + as if the person were present. This pretty custom of preparing + a meal for the absent is probably more ancient than any art of + portraiture; but the modern photograph adds to the human poetry + of the rite. In feudal time it was the + <span class="pagenum"><a name="page188" + id="page188"></a>[pg 188]</span> rule to set the repast + facing the direction in which the absent person had + gone—north, south, east, or west. After a brief + interval the covers of the vessels containing the cooked + food were lifted and examined. If the lacquered inner + surface was thickly beaded with vapor, all was well; but if + the surface was dry, that was an omen of death, a sign that + the disembodied spirit had returned to absorb the essence of + the offerings.</p> + <hr /> + + <p>As might have been expected, in a country where the + "play-impulse" is stronger, perhaps, than in any other part of + the world, the Zeitgeist found manifestation in the flower + displays of the year. I visited those in my neighborhood, which + is the Quarter of the Gardeners. This quarter is famous for its + azaleas (<i>tsutsuji</i>); and every spring the azalea gardens + attract thousands of visitors,—not only by the wonderful + exhibition then made of shrubs which look like solid masses of + blossom (ranging up from snowy white, through all shades of + pink, to a flamboyant purple) but also by displays + <span class="pagenum"><a name="page189" + id="page189"></a>[pg 189]</span> of effigies: groups of + figures ingeniously formed with living leaves and flowers. + These figures, life-size, usually represent famous incidents + of history or drama. In many cases—though not in + all—the bodies and the costumes are composed of + foliage and flowers trained to grow about a framework; while + the faces, feet, and hands are represented by some kind of + flesh-colored composition.</p> + + <p>This year, however, a majority of the displays represented + scenes of the war,—such as an engagement between Japanese + infantry and mounted Cossacks, a night attack by torpedo boats, + the sinking of a battleship. In the last-mentioned display, + Russian bluejackets appeared, swimming for their lives in a + rough sea;—the pasteboard waves and the swimming figures + being made to rise and fall by the pulling of a string; while + the crackling of quick-firing guns was imitated by a mechanism + contrived with sheets of zinc.</p> + + <p>It is said that Admiral Tōgō sent to + Tōkyō for some flowering-trees in pots—inasmuch + as his responsibilities allowed him no + <span class="pagenum"><a name="page190" + id="page190"></a>[pg 190]</span> chance of seeing the + cherry-flowers and the plum-blossoms in their + season,—and that the gardeners responded even too + generously.</p> + <hr /> + + <p>Almost immediately after the beginning of hostilities, + thousands of "war pictures"—mostly cheap + lithographs—were published. The drawing and coloring were + better than those of the prints issued at the time of the war + with China; but the details were to a great extent + imaginary,—altogether imaginary as to the appearance of + Russian troops. Pictures of the engagements with the Russian + fleet were effective, despite some lurid exaggeration. The most + startling things were pictures of Russian defeats in Korea, + published before a single military engagement had taken + place;—the artist had "flushed to anticipate the scene." + In these prints the Russians were depicted as fleeing in utter + rout, leaving their officers—very fine-looking + officers—dead upon the field; while the Japanese + infantry, with dreadfully determined faces, were coming up at a + double. The propriety and the wisdom of thus pictorially + <span class="pagenum"><a name="page191" + id="page191"></a>[pg 191]</span> predicting victory, and + easy victory to boot, may be questioned. But I am told that + the custom of so doing is an old one; and it is thought that + to realize the common hope thus imaginatively is lucky. At + all events, there is no attempt at deception in these + pictorial undertakings;—they help to keep up the + public courage, and they ought to be pleasing to the + gods.</p> + + <p>Some of the earlier pictures have now been realized in grim + fact. The victories in China had been similarly foreshadowed: + they amply justified the faith of the artist.... To-day the war + pictures continue to multiply; but they have changed character. + The inexorable truth of the photograph, and the sketches of the + war correspondent, now bring all the vividness and violence of + fact to help the artist's imagination. There was something + naïve and theatrical in the drawings of anticipation; but the + pictures of the hour represent the most tragic + reality,—always becoming more terrible. At this writing, + Japan has yet lost no single battle; but not a few of her + victories have been dearly + won.</p><span class="pagenum"><a name="page192" + id="page192"></a>[pg 192]</span> + + <p>To enumerate even a tenth of the various articles ornamented + with designs inspired by the war—articles such as combs, + clasps, fans, brooches, card-cases, purses—would require + a volume. Even cakes and confectionery are stamped with naval + or military designs; and the glass or paper windows of + shops—not to mention the signboards—have pictures + of Japanese victories painted upon them. At night the shop + lanterns proclaim the pride of the nation in its fleets and + armies; and a whole chapter might easily be written about the + new designs in transparencies and toy lanterns. A new revolving + lantern—turned by the air-current which its own flame + creates—has become very popular. It represents a charge + of Japanese infantry upon Russian defenses; and holes pierced + in the colored paper, so as to produce a continuous vivid + flashing while the transparency revolves, suggest the exploding + of shells and the volleying of machine guns.</p> + + <p>Some displays of the art-impulse, as inspired by the war, + have been made in directions entirely unfamiliar to Western + experience,—in <span class="pagenum"><a name="page193" + id="page193"></a>[pg 193]</span> the manufacture, for + example, of women's hair ornaments and dress materials. + Dress goods decorated with war pictures have actually become + a fashion,—especially crêpe silks for underwear, and + figured silk linings for cloaks and sleeves. More remarkable + than these are the new hairpins;—by hairpins I mean + those long double-pronged ornaments of flexible metal which + are called <i>kanzashi</i>, and are more or less ornamented + according to the age of the wearer. (The <i>kanzashi</i> + made for young girls are highly decorative; those worn by + older folk are plain, or adorned only with a ball of coral + or polished stone.) The new hairpins might be called + commemorative: one, of which the decoration represents a + British and a Japanese flag intercrossed, celebrates the + Anglo-Japanese alliance; another represents an officer's cap + and sword; and the best of all is surmounted by a tiny metal + model of a battleship. The battleship-pin is not merely + fantastic: it is actually pretty!</p> + + <p>As might have been expected, military and naval subjects + occupy a large place among the year's designs for toweling. The + <span class="pagenum"><a name="page194" + id="page194"></a>[pg 194]</span> towel designs celebrating + naval victories have been particularly successful: they are + mostly in white, on a blue ground; or in black, on a white + ground. One of the best—blue and + white—represented only a flock of gulls wheeling about + the masthead of a sunken iron-clad, and, far away, the + silhouettes of Japanese battleships passing to the + horizon.... What especially struck me in this, and in + several other designs, was the original manner in which the + Japanese artist had seized upon the traits of the modern + battleship,—the powerful and sinister lines of its + shape,—just as he would have caught for us the typical + character of a beetle or a lobster. The lines have been just + enough exaggerated to convey, at one glance, the real + impression made by the aspect of these iron + monsters,—vague impression of bulk and force and + menace, very difficult to express by ordinary methods of + drawing.</p> + + <p>Besides towels decorated with artistic sketches of this + sort, there have been placed upon the market many kinds of + towels bearing comic war pictures,—caricatures or + cartoons <span class="pagenum"><a name="page195" + id="page195"></a>[pg 195]</span> which are amusing without + being malignant. It will be remembered that at the time of + the first attack made upon the Port Arthur squadron, several + of the Russian officers were in the Dalny + theatre,—never dreaming that the Japanese would dare + to strike the first blow. This incident has been made the + subject of a towel design. At one end of the towel is a + comic study of the faces of the Russians, delightedly + watching the gyrations of a ballet dancer. At the other end + is a study of the faces of the same commanders when they + find, on returning to the port, only the masts of their + battleships above water. Another towel shows a procession of + fish in front of a surgeon's office—waiting their + turns to be relieved of sundry bayonets, swords, revolvers, + and rifles, which have stuck in their throats. A third towel + picture represents a Russian diver examining, with a + prodigious magnifying-glass, the holes made by torpedoes in + the hull of a sunken cruiser. Comic verses or legends, in + cursive text, are printed beside these pictures.</p> + + <p>The great house of Mitsui, which + <span class="pagenum"><a name="page196" + id="page196"></a>[pg 196]</span> placed the best of these + designs on the market, also produced some beautiful + souvenirs of the war, in the shape of <i>fukusa</i>. (A + <i>fukusa</i> is an ornamental silk covering, or wrapper, + put over presents sent to friends on certain occasions, and + returned after the present has been received.) These are + made of the heaviest and costliest silk, and inclosed within + appropriately decorated covers. Upon one <i>fukusa</i> is a + colored picture of the cruisers Nisshin and Kasuga, under + full steam; and upon another has been printed, in beautiful + Chinese characters, the full text of the Imperial + Declaration of war.</p> + + <p>But the strangest things that I have seen in this line of + production were silk dresses for baby girls,—figured + stuffs which, when looked at from a little distance, appeared + incomparably pretty, owing to the masterly juxtaposition of + tints and colors. On closer inspection the charming design + proved to be composed entirely of war pictures,—or, + rather, fragments of pictures, blended into one astonishing + combination: naval battles; burning warships; submarine mines + exploding; torpedo boats attacking; + <span class="pagenum"><a name="page197" + id="page197"></a>[pg 197]</span> charges of Cossacks + repulsed by Japanese infantry; artillery rushing into + position; storming of forts; long lines of soldiery + advancing through mist. Here were colors of blood and fire, + tints of morning haze and evening glow, noon-blue and + starred night-purple, sea-gray and field-green,—most + wonderful thing!... I suppose that the child of a military + or naval officer might, without impropriety, be clad in such + a robe. But then—the unspeakable pity of things!</p> + <hr /> + + <p>The war toys are innumerable: I can attempt to mention only + a few of the more remarkable kinds.</p> + + <p>Japanese children play many sorts of card games, some of + which are old, others quite new. There are poetical card games, + for example, played with a pack of which each card bears the + text of a poem, or part of a poem; and the player should be + able to remember the name of the author of any quotation in the + set. Then there are geographical card games, in which each of + the cards used bears the name, and perhaps a little picture, of + some famous site, town, <span class="pagenum"><a name="page198" + id="page198"></a>[pg 198]</span> or temple; and the player + should be able to remember the district and province in + which the mentioned place is situated. The latest novelty in + this line is a pack of cards with pictures upon them of the + Russian war vessels; and the player should be able to state + what has become of every vessel named,—whether sunk, + disabled, or confined in Port Arthur.</p> + + <p>There is another card game in which the battleships, + cruisers, and torpedo craft of both Japan and Russia are + represented. The winner in this game destroys his "captures" by + tearing the cards taken. But the shops keep packages of each + class of warship cards in stock; and when all the destroyers or + cruisers of one country have been put <i>hors de combat</i>, + the defeated party can purchase new vessels abroad. One torpedo + boat costs about one farthing; but five torpedo boats can be + bought for a penny.</p> + + <p>The toy-shops are crammed with models of + battleships,—in wood, clay, porcelain, lead, and + tin,—of many sizes and prices. Some of the larger ones, + moved by clockwork, are named after Japanese battleships: + Shikishima, <span class="pagenum"><a name="page199" + id="page199"></a>[pg 199]</span> Fuji, Mikasa. One + mechanical toy represents the sinking of a Russian vessel by + a Japanese torpedo boat. Among cheaper things of this class + is a box of colored sand, for the representation of naval + engagements. Children arrange the sand so as to resemble + waves; and with each box of sand are sold two fleets of tiny + leaden vessels. The Japanese ships are white, and the + Russian black; and explosions of torpedoes are to be figured + by small cuttings of vermilion paper, planted in the + sand.</p> + <hr /> + + <p>The children of the poorest classes make their own war toys; + and I have been wondering whether those ancient feudal laws + (translated by Professor Wigmore), which fixed the cost and + quality of toys to be given to children, did not help to + develop that ingenuity which the little folk display. Recently + I saw a group of children in our neighborhood playing at the + siege of Port Arthur, with fleets improvised out of scraps of + wood and some rusty nails. A tub of water represented Port + Arthur. Battleships were figured by bits of plank, into + <span class="pagenum"><a name="page200" + id="page200"></a>[pg 200]</span> which chop-sticks had been + fixed to represent masts, and rolls of paper to represent + funnels. Little flags, appropriately colored, were fastened + to the masts with rice paste. Torpedo boats were imaged by + splinters, into each of which a short thick nail had been + planted to indicate a smokestack. Stationary submarine mines + were represented by small squares of wood, each having one + long nail driven into it; and these little things, when + dropped into water with the nail-head downwards, would keep + up a curious bobbing motion for a long time. Other squares + of wood, having clusters of short nails driven into them, + represented floating mines: and the mimic battleships were + made to drag for these, with lines of thread. The pictures + in the Japanese papers had doubtless helped the children to + imagine the events of the war with tolerable accuracy.</p> + + <p>Naval caps for children have become, of course, more in + vogue than ever before. Some of the caps bear, in Chinese + characters of burnished metal, the name of a battleship, or the + words <i>Nippon Teikoku</i> (Empire of Japan),—disposed + <span class="pagenum"><a name="page201" + id="page201"></a>[pg 201]</span> like the characters upon + the cap of a blue-jacket. On some caps, however, the ship's + name appears in English letters,—Yashima, Fuji, + etc.</p> + <hr /> + + <p>The play-impulse, I had almost forgotten to say, is shared + by the soldiers themselves,—though most of those called + to the front do not expect to return in the body. They ask only + to be remembered at the Spirit-Invoking Shrine + (<i>Shōkonsha</i>), where the shades of all who die for + Emperor and country are believed to gather. The men of the + regiments temporarily quartered in our suburb, on their way to + the war, found time to play at mimic war with the small folk of + the neighborhood. (At all times Japanese soldiers are very kind + to children; and the children here march with them, join in + their military songs, and correctly salute their officers, + feeling sure that the gravest officer will return the salute of + a little child.) When the last regiment went away, the men + distributed toys among the children assembled at the station to + give them a parting <span class="pagenum"><a name="page202" + id="page202"></a>[pg 202]</span> cheer,—hairpins, with + military symbols for ornament, to the girls; wooden infantry + and tin cavalry to the boys. The oddest present was a small + clay model of a Russian soldier's head, presented with the + jocose promise: "If we come back, we shall bring you some + real ones." In the top of the head there is a small wire + loop, to which a rubber string can be attached. At the time + of the war with China, little clay models of Chinese heads, + with very long queues, were favorite toys.</p> + <hr /> + + <p>The war has also suggested a variety of new designs for that + charming object, the <i>toko-niwa</i>. Few of my readers know + what a <i>toko-niwa</i>, or "alcove-garden," is. It is a + miniature garden—perhaps less than two feet + square—contrived within an ornamental shallow basin of + porcelain or other material, and placed in the alcove of a + guest-room by way of decoration. You may see there a tiny pond; + a streamlet crossed by humped bridges of Chinese pattern; dwarf + trees forming a grove, and shading the model of a Shinto + temple; imitations <span class="pagenum"><a name="page203" + id="page203"></a>[pg 203]</span> in baked clay of stone + lanterns,—perhaps even the appearance of a hamlet of + thatched cottages. If the <i>toko-niwa</i> be not too small, + you may see real fish swimming in the pond, or a pet + tortoise crawling among the rockwork. Sometimes the + miniature garden represents Hōrai, and the palace of + the Dragon-King.</p> + + <p>Two new varieties have come into fashion. One is a model of + Port Arthur, showing the harbor and the forts; and with the + materials for the display there is sold a little map, showing + how to place certain tiny battle-ships, representing the + imprisoned and the investing fleets. The other <i>toko-niwa</i> + represents a Korean or Chinese landscape, with hill ranges and + rivers and woods; and the appearance of a battle is created by + masses of toy soldiers—cavalry, infantry, and + artillery—in all positions of attack and defense. Minute + forts of baked clay, bristling with cannon about the size of + small pins, occupy elevated positions. When properly arranged + the effect is panoramic. The soldiers in the foreground are + about an inch long; those a little farther away about + <span class="pagenum"><a name="page204" + id="page204"></a>[pg 204]</span> half as long; and those + upon the hills are no larger than flies.</p> + + <p>But the most remarkable novelty of this sort yet produced is + a kind of <i>toko-niwa</i> recently on display at a famous shop + in Ginza. A label bearing the inscription, <i>Kaï-téï no + Ikken</i> (View of the Ocean-Bed) sufficiently explained the + design. The <i>suïbon</i>, or "water-tray," containing the + display was half filled with rocks and sand so as to resemble a + sea-bottom; and little fishes appeared swarming in the + fore-ground. A little farther back, upon an elevation, stood + Otohimé, the Dragon-King's daughter, surrounded by her maiden + attendants, and gazing, with just the shadow of a smile, at two + men in naval uniform who were shaking hands,—dead heroes + of the war: Admiral Makaroff and Commander Hirosé!... These had + esteemed each other in life; and it was a happy thought thus to + represent their friendly meeting in the world of Spirits.</p> + <hr /> + + <p>Though his name is perhaps unfamiliar to English readers, + Commander Takeo Hirosé <span class="pagenum"><a name="page205" + id="page205"></a>[pg 205]</span> has become, deservedly, one + of Japan's national heroes. On the 27th of March, during the + second attempt made to block the entrance to Port Arthur, he + was killed while endeavoring to help a comrade,—a + comrade who had formerly saved him from death. For five + years Hirosé had been a naval attaché at St. Petersburg, and + had made many friends in Russian naval and military circles. + From boyhood his life had been devoted to study and duty; + and it was commonly said of him that he had no particle of + selfishness in his nature. Unlike most of his brother + officers, he remained unmarried,—holding that no man + who might be called on at any moment to lay down his life + for his country had a moral right to marry. The only + amusements in which he was ever known to indulge were + physical exercises; and he was acknowledged one of the best + <i>jūjutsu</i> (wrestlers) in the empire. The heroism + of his death, at the age of thirty-six, had much less to do + with the honors paid to his memory than the self-denying + heroism of his life.</p> + + <p>Now his picture is in thousands of + <span class="pagenum"><a name="page206" + id="page206"></a>[pg 206]</span> homes, and his name is + celebrated in every village. It is celebrated also by the + manufacture of various souvenirs, which are sold by myriads. + For example, there is a new fashion in sleeve-buttons, + called <i>Kinen-botan</i>, or "Commemoration-buttons." Each + button bears a miniature portrait of the commander, with the + inscription, <i>Shichi-shō hōkoku</i>, "Even in + seven successive lives—for love of country." It is + recorded that Hirosé often cited, to friends who criticised + his ascetic devotion to duty, the famous utterance of + Kusunoki Masashigé, who declared, ere laying down his life + for the Emperor Go-Daigo, that he desired to die for his + sovereign in seven successive existences.</p> + + <p>But the highest honor paid to the memory of Hirosé is of a + sort now possible only in the East, though once possible also + in the West, when the Greek or Roman patriot-hero might be + raised, by the common love of his people, to the place of the + Immortals.... Wine-cups of porcelain have been made, decorated + with his portrait; and beneath the portrait appears, in + ideographs of gold, the inscription, + <span class="pagenum"><a name="page207" + id="page207"></a>[pg 207]</span> <i>Gunshin Hirosé + Chūsa</i>. The character "gun" signifies war; the + character "<i>shin</i>" a god,—either in the sense of + <i>divus</i> or <i>deus</i>, according to circumstances; and + the Chinese text, read in the Japanese way, is <i>Ikusa no + Kami</i>. Whether that stern and valiant spirit is really + invoked by the millions who believe that no brave soul is + doomed to extinction, no well-spent life laid down in vain, + no heroism cast away, I do not know. But, in any event, + human affection and gratitude can go no farther than this; + and it must be confessed that Old Japan is still able to + confer honors worth dying for.</p> + <hr /> + + <p>Boys and girls in all the children's schools are now singing + the Song of Hirosé Chūsa, which is a marching song. The + words and the music are published in a little booklet, with a + portrait of the late commander upon the cover. Everywhere, and + at all hours of the day, one hears this song being + sung:—</p> + + <blockquote> + <p><i>He whose every word and deed gave to men an example + of what the war-folk of the</i> + <span class="pagenum"><a name="page208" + id="page208"></a>[pg 208]</span> <i>Empire of Nippon + should be,—Commander Hirosé: is he really + dead?</i></p> + + <p><i>Though the body die, the spirit dies not. He who + wished to be reborn seven times into this world, for the + sake of serving his country, for the sake of requiting the + Imperial favor,—Commander Hirosé: has he really + died?</i></p> + + <p><i>"Since I am a son of the Country of the Gods, the + fire of the evil-hearted Russians cannot touch + me!"—The sturdy Takeo who spoke thus: can he really + be dead?...</i></p> + + <p><i>Nay! that glorious war-death meant undying + fame;—beyond a thousand years the valiant heart shall + live;—as to a god of war shall reverence be paid to + him....</i></p> + </blockquote> + <hr /> + + <p>Observing the playful confidence of this wonderful people in + their struggle for existence against the mightiest power of the + West,—their perfect trust in the wisdom of their leaders + and the valor of their armies,—the good humor of their + irony when mocking the enemy's blunders,—their strange + capacity to find, in the world-stirring events of the hour, + <span class="pagenum"><a name="page209" + id="page209"></a>[pg 209]</span> the same amusement that + they would find in watching a melodrama,—one is + tempted to ask: "What would be the moral consequence of a + national defeat?"... It would depend, I think, upon + circumstances. Were Kuropatkin able to fulfill his rash + threat of invading Japan, the nation would probably rise as + one man. But otherwise the knowledge of any great disaster + would be bravely borne. From time unknown Japan has been a + land of cataclysms,—earth-quakes that ruin cities in + the space of a moment; tidal waves, two hundred miles long, + sweeping whole coast populations out of existence; floods + submerging hundreds of leagues of well-tilled fields; + eruptions burying provinces. Calamities like this have + disciplined the race in resignation and in patience; and it + has been well trained also to bear with courage all the + misfortunes of war. Even by the foreign peoples that have + been most closely in contact with her, the capacities of + Japan remained unguessed. Perhaps her power to resist + aggression is far surpassed by her power to endure.</p> + <hr /> + + <blockquote class="footnote"> + <a id="footnote1" + name="footnote1"></a><b>Footnote 1:</b> + <a href="#footnotetag1">(return)</a> + + <p>Asagao (lit., "morning-face") is the Japanese name for + the beautiful climbing plant which we call "morning + glory."</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote2" + name="footnote2"></a><b>Footnote 2:</b> + <a href="#footnotetag2">(return)</a> + + <p>This is the Japanese reading of the Chinese name.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote3" + name="footnote3"></a><b>Footnote 3:</b> + <a href="#footnotetag3">(return)</a> + + <p>"Ho! Tanabata! if you hurry too much, you will tumble + down!"</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote4" + name="footnote4"></a><b>Footnote 4:</b> + <a href="#footnotetag4">(return)</a> + + <p>There is no mention, however, of any such village in any + modern directory.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote5" + name="footnote5"></a><b>Footnote 5:</b> + <a href="#footnotetag5">(return)</a> + + <p>For a translation and explanation of this song, see + <i>infra</i>, page 30.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote6" + name="footnote6"></a><b>Footnote 6:</b> + <a href="#footnotetag6">(return)</a> + + <p><i>Pueraria Thunbergiana.</i></p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote7" + name="footnote7"></a><b>Footnote 7:</b> + <a href="#footnotetag7">(return)</a> + + <p>The last line alludes to a charming custom of which + mention is made in the most ancient Japanese literature. + Lovers, ere parting, were wont to tie each other's inner + girdle (<i>himo</i>) and pledge themselves to leave the + knot untouched until the time of their next meeting. This + poem is said to have been composed in the seventh year of + Yōrō,—A.D. 723,—eleven hundred and + eighty-two years ago.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote8" + name="footnote8"></a><b>Footnote 8:</b> + <a href="#footnotetag8">(return)</a> + + <p><i>Hisakata-no</i> is a "pillow-word" used by the old + poets in relation to celestial objects; and it is often + difficult to translate. Mr. Aston thinks that the literal + meaning of <i>hisakata</i> is simply "long-hard," in the + sense of long-enduring,—<i>hisa</i> (long), + <i>katai</i> (hard, or firm),—so that + <i>hisakata-no</i> would have the meaning of "firmamental." + Japanese commentators, however, say that the term is + composed with the three words, <i>hi</i> (sun), <i>sasu</i> + (shine), and <i>kata</i> (side);—and this etymology + would justify the rendering of <i>hisakata-no</i> by some + such expression as "light-shedding," "radiance-giving." On + the subject of pillow-words, see Aston's <i>Grammar of the + Japanese Written Language</i>.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote9" + name="footnote9"></a><b>Footnote 9:</b> + <a href="#footnotetag9">(return)</a> + + <p>The old text has <i>tabuté</i>.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote10" + name="footnote10"></a><b>Footnote 10:</b> + <a href="#footnotetag10">(return)</a> + + <p><i>Kagéroï</i> is an obsolete form of + <i>kagérō</i>, meaning an ephemera.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote11" + name="footnote11"></a><b>Footnote 11:</b> + <a href="#footnotetag11">(return)</a> + + <p>Lit., "not to cry out (will be) good"—but a + literal translation of the poem is scarcely possible.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote12" + name="footnote12"></a><b>Footnote 12:</b> + <a href="#footnotetag12">(return)</a> + + <p>That is to say, "wife." In archaic Japanese the word + <i>imo</i> signified both "wife" and "younger sister." The + term might also be rendered "darling" or "beloved."</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote13" + name="footnote13"></a><b>Footnote 13:</b> + <a href="#footnotetag13">(return)</a> + + <p>Yachihoko-no-Kami, who has many other names, is the + Great God of Izumo, and is commonly known by his + appellation Oho-kuni-nushi-no-Kami, or the + "Deity-Master-of-the Great-Land." He is locally worshiped + also as the god of marriage,—for which reason, + perhaps, the poet thus refers to him.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote14" + name="footnote14"></a><b>Footnote 14:</b> + <a href="#footnotetag14">(return)</a> + + <p>Or, "my seldom-visited spouse." The word <i>tsuma</i> + (<i>zuma</i>), in ancient Japanese, signified either wife + or husband; and this poem might be rendered so as to + express either the wife's or the husband's thoughts.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote15" + name="footnote15"></a><b>Footnote 15:</b> + <a href="#footnotetag15">(return)</a> + + <p>By the ancient calendar, the seventh day of the seventh + month would fall in the autumn season.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote16" + name="footnote16"></a><b>Footnote 16:</b> + <a href="#footnotetag16">(return)</a> + + <p>The literal meaning is "<i>béni</i>-tinted + face,"—that is to say, a face of which the cheeks and + lips have been tinted with <i>béni</i>, a kind of + rouge.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote17" + name="footnote17"></a><b>Footnote 17:</b> + <a href="#footnotetag17">(return)</a> + + <p>In ancient Japanese the word <i>séko</i> signified + either husband or elder brother. The beginning of the poem + might also be rendered thus:—"When I feel a secret + longing for my husband," etc.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote18" + name="footnote18"></a><b>Footnote 18:</b> + <a href="#footnotetag18">(return)</a> + + <p>"To exchange jewel-pillows" signifies to use each + other's arms for pillows. This poetical phrase is often + used in the earliest Japanese literature. The word for + jewel, <i>tama</i>, often appears in compounds as an + equivalent of "precious," "dear," etc.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote19" + name="footnote19"></a><b>Footnote 19:</b> + <a href="#footnotetag19">(return)</a> + + <p>For <i>kofuru</i>.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote20" + name="footnote20"></a><b>Footnote 20:</b> + <a href="#footnotetag20">(return)</a> + + <p>Or "satisfy itself." A literal rendering is + difficult.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote21" + name="footnote21"></a><b>Footnote 21:</b> + <a href="#footnotetag21">(return)</a> + + <p>At different times, in the history of Japanese female + costume, different articles of dress were called by this + name. In the present instance, the <i>hiré</i> referred to + was probably a white scarf, worn about the neck and carried + over the shoulders to the breast, where its ends were + either allowed to hang loose, or were tied into an + ornamental knot. The <i>hiré</i> was often used to make + signals with, much as handkerchiefs are waved to-day for + the same purpose;—and the question uttered in the + poem seems to signify: "Can that be Tanabata waving her + scarf—to call me?" In very early times, the ordinary + costumes worn were white.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote22" + name="footnote22"></a><b>Footnote 22:</b> + <a href="#footnotetag22">(return)</a> + + <p>Or, "the creaking of the oar." (The word <i>kaji</i> + to-day means "helm";—the single oar, or scull, + working upon a pivot, and serving at once for rudder and + oar, being now called <i>ro</i>.) The mist passing across + the Amanogawa is, according to commentators, the spray from + the Star-god's oar.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote23" + name="footnote23"></a><b>Footnote 23:</b> + <a href="#footnotetag23">(return)</a> + + <p>Lit. "pull-boat" (<i>hiki-funé</i>),—a barge or + boat pulled by a rope.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote24" + name="footnote24"></a><b>Footnote 24:</b> + <a href="#footnotetag24">(return)</a> + + <p><i>Nubatama no yo</i> might better be rendered by some + such phrase as "the berry-black night,"—but the + intended effect would be thus lost in translation. + <i>Nubatama-no</i> (a "pillow-word") is written with + characters signifying "like the black fruits of + <i>Karasu-Ōgi</i>;" and the ancient phrase + "<i>nubatama no yo</i>" therefore may be said to have the + same meaning as our expressions "jet-black night," or + "pitch-dark night."</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote25" + name="footnote25"></a><b>Footnote 25:</b> + <a href="#footnotetag25">(return)</a> + + <p>Composed by the famous poet Ōtomo no Sukuné + Yakamochi, while gazing at the Milky Way, on the seventh + night of the seventh month of the tenth year of Tampyō + (A.D. 738). The pillow-word in the third line + (<i>maso-kagami</i>) is untranslatable.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote26" + name="footnote26"></a><b>Footnote 26:</b> + <a href="#footnotetag26">(return)</a> + + <p><i>Asobimé</i>, a courtesan: lit., "sporting-woman." The + Éta and other pariah classes furnished a large proportion + of these women. The whole meaning of the poem is as + follows: "See that young wanton with her lantern! It is a + pretty sight—but so is the sight of a fox, when the + creature kindles his goblin-fire and assumes the shape of a + girl. And just as your fox-woman will prove to be no more + than an old horse-bone, so that young courtesan, whose + beauty deludes men to folly, may be nothing better than an + Éta."</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote27" + name="footnote27"></a><b>Footnote 27:</b> + <a href="#footnotetag27">(return)</a> + + <p>The supposed utterance of a belated traveler frightened + by a will-o'-the-wisp. The last line allows of two + readings. <i>Kokoro-hosoi</i> means "timid;" and <i>hosoi + michi</i> (<i>hoso-michi</i>) means a "narrow path," and, + by implication, a "lonesome path."</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote28" + name="footnote28"></a><b>Footnote 28:</b> + <a href="#footnotetag28">(return)</a> + + <p>The Japanese say of a person greatly emaciated by + sickness, <i>miru-kagé mo naki</i>: "Even a visible shadow + of him is not!"—Another rendering is made possible by + the fact that the same expression is used in the sense of + "unfit to be seen,"—"though the face of the person + afflicted with this ghostly sickness is unfit to be seen, + yet by reason of her secret longing [for another man] there + are now two of her faces to be seen." The phrase <i>omoi no + hoka</i>, in the fourth line, means "contrary to + expectation;" but it is ingeniously made to suggest also + the idea of secret longing.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote29" + name="footnote29"></a><b>Footnote 29:</b> + <a href="#footnotetag29">(return)</a> + + <p>There is a curious play on words in the fourth line. The + word <i>omoté</i>, meaning "the front," might, in reading, + be sounded as <i>omotté</i>, "thinking." The verses + therefore might also be thus translated:—"She keeps + her real thoughts hidden in the back part of the house, and + never allows them to be seen in the front part of the + house,—because she is suffering from the + 'Shadow-Sickness' [of love]."</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote30" + name="footnote30"></a><b>Footnote 30:</b> + <a href="#footnotetag30">(return)</a> + + <p>There is a double meaning, suggested rather than + expressed, in the fourth line. The word <i>shiraga</i>, + "white-hair," suggests <i>shirazu</i>, "not knowing."</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote31" + name="footnote31"></a><b>Footnote 31:</b> + <a href="#footnotetag31">(return)</a> + + <p>There is in this poem a multiplicity of suggestion + impossible to render in translation. While making her + toilet, the Japanese woman uses two mirrors + (<i>awasé-kagami</i>)—one of which, a hand-mirror, + serves to show her the appearance of the back part of her + coiffure, by reflecting it into the larger stationary + mirror. But in this case of Rikombyō, the woman sees + more than her face and the back of her head in the larger + mirror: she sees her own double. The verses indicate that + one of the mirrors may have caught the Shadow-Sickness, and + doubled itself. And there is a further suggestion of the + ghostly sympathy said to exist between a mirror and the + soul of its possessor.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote32" + name="footnote32"></a><b>Footnote 32:</b> + <a href="#footnotetag32">(return)</a> + + <p>There are two Japanese words, <i>keshō</i>, which + in <i>kana</i> are written alike and pronounced alike, + though represented by very different Chinese characters. As + written in <i>kana</i>, the term <i>keshō-no-mono</i> + may signify either "toilet articles" or "a monstrous + being," "a goblin."</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote33" + name="footnote33"></a><b>Footnote 33:</b> + <a href="#footnotetag33">(return)</a> + + <p><i>Hinagata</i> means especially "a model," "a miniature + copy," "a drawn plan," etc.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote34" + name="footnote34"></a><b>Footnote 34:</b> + <a href="#footnotetag34">(return)</a> + + <p>It is not possible to render all the double meanings in + this composition. <i>Tsuka-no-ma</i> signifies "in a + moment" or "quickly"; but it may also mean "in the space + [<i>ma</i>] between the roof-props" [<i>tsuka</i>]. + "<i>Kéta</i>" means a cross-beam, but <i>kéta-kéta + warau</i> means to chuckle or laugh in a mocking way. + Ghosts are said to laugh with the sound of kéta-kéta.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote35" + name="footnote35"></a><b>Footnote 35:</b> + <a href="#footnotetag35">(return)</a> + + <p>The ordinary height of a full screen is six Japanese + feet.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote36" + name="footnote36"></a><b>Footnote 36:</b> + <a href="#footnotetag36">(return)</a> + + <p><i>Kōgai</i> is the name now given to a + quadrangular bar of tortoise-shell passed under the + coiffure, which leaves only the ends of the bar exposed. + The true hair-pin is called <i>kanzashi</i>.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote37" + name="footnote37"></a><b>Footnote 37:</b> + <a href="#footnotetag37">(return)</a> + + <p>The term <i>shirayuki</i>, as here used, offers an + example of what Japanese poets call <i>Kenyōgen</i>, + or "double-purpose words." Joined to the words immediately + following, it makes the phrase "white-snow woman" + (<i>shirayuki no onna</i>);—united with the words + immediately preceding, it suggests the reading, + "whither-gone not-knowing" (<i>yuku é wa + shira[zu]</i>).</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote38" + name="footnote38"></a><b>Footnote 38:</b> + <a href="#footnotetag38">(return)</a> + + <p><i>Zotto</i> is a difficult word to render literally: + perhaps the nearest English equivalent is "thrilling." + <i>Zotto suru</i> signifies "to cause a thrill" or "to give + a shock," or "to make shiver;" and of a very beautiful + person it is said "<i>Zotto-suru hodo no + bijin</i>,"—meaning! "She is so pretty that it gives + one a shock merely to look at her." The term + <i>yanagi-goshi</i> ("willow-loins") in the last line is a + common expression designating a slender and graceful + figure; and the reader should observe that the first half + of the term is ingeniously made to do double duty + here,—suggesting, with the context, not only the + grace of willow branches weighed down by snow, but also the + grace of a human figure that one must stop to admire, in + spite of the cold.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote39" + name="footnote39"></a><b>Footnote 39:</b> + <a href="#footnotetag39">(return)</a> + + <p><i>Hishaku</i>, a wooden dipper with a long handle, used + to transfer water from a bucket to smaller vessels.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote40" + name="footnote40"></a><b>Footnote 40:</b> + <a href="#footnotetag40">(return)</a> + + <p>The common expression <i>Koshi ga nukéru</i> (to have + one's loins taken out) means to be unable to stand up by + reason of fear. The suggestion is that while the captain + was trying to knock out the bottom of a dipper, before + giving it to the ghost, he fell senseless from fright.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote41" + name="footnote41"></a><b>Footnote 41:</b> + <a href="#footnotetag41">(return)</a> + + <p>The Underworld of the Dead—<i>Yomi</i> or + Kōsen—is called "The Yellow Springs;" these + names being written with two Chinese characters + respectively signifying "yellow" and "fountain." A very + ancient term for the ocean, frequently used in the old + Shintō rituals, is "The Blue Sea-Plain."</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote42" + name="footnote42"></a><b>Footnote 42:</b> + <a href="#footnotetag42">(return)</a> + + <p>There is an untranslatable play upon words in the last + two lines. The above rendering includes two possible + readings.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote43" + name="footnote43"></a><b>Footnote 43:</b> + <a href="#footnotetag43">(return)</a> + + <p>There is more weirdness in this poem than the above + rendering suggests. The word <i>ukaman</i> in the fourth + line can be rendered as "shall perhaps float," or as "shall + perhaps be saved" (in the Buddhist sense of + salvation),—as there are two verbs <i>ukami</i>. + According to an old superstition, the spirits of the + drowned must continue to dwell in the waters <i>until such + time as they can lure the living to destruction</i>. When + the ghost of any drowned person succeeds in drowning + somebody, it may be able to obtain rebirth, and to leave + the sea forever. The exclamation of the ghost in this poem + really means, "Now perhaps I shall be able to drown + somebody." (A very similar superstition is said to exist on + the Breton coast.) A common Japanese saying about a child + or any person who follows another too closely and + persistently is: <i>Kawa de shinda-yūréï no yona + tsuré-hoshigaru!</i>—"Wants to follow you everywhere + like the ghost of a drowned person."</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote44" + name="footnote44"></a><b>Footnote 44:</b> + <a href="#footnotetag44">(return)</a> + + <p>Here I cannot attempt to render the various plays upon + words; but the term "<i>omoï</i>" needs explanation. It + means "thought" or "thoughts;" but in colloquial + phraseology it is often used as a euphemism for a dying + person's last desire of vengeance. In various dramas it has + been used in the signification of "avenging ghost." Thus + the exclamation, "His <i>thought</i> has come + back!"—in reference to a dead man—really means: + "His angry ghost appears!"</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote45" + name="footnote45"></a><b>Footnote 45:</b> + <a href="#footnotetag45">(return)</a> + + <p>There is a double meaning given by the use of the name + <i>Tomomori</i> in the last line. <i>Tomo</i> means "the + stern" of a ship; <i>mori</i> means "to leak." So the poem + suggests that the ghost of Tomomori not only interferes + with the ship's rudder, but causes her to leak.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote46" + name="footnote46"></a><b>Footnote 46:</b> + <a href="#footnotetag46">(return)</a> + + <p><i>Namakusaki-kaze</i> really means a wind having a "raw + stench;" but the smell of bait is suggested by the second + line of the poem. A literal rendering is not possible in + this case; the art of the composition being altogether + suggestive.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote47" + name="footnote47"></a><b>Footnote 47:</b> + <a href="#footnotetag47">(return)</a> + + <p><i>Hi</i>, the third syllable of the first line of the + poem, does duty for <i>hi</i>, signifying "ebb," and for + <i>hikata</i>, "dry beach." <i>Séïzoroë</i> is a noun + signifying "battle-array"—in the sense of the Roman + term <i>acies</i>;—and <i>séïzoroé shité</i> means + "drawn up in battle-array."</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote48" + name="footnote48"></a><b>Footnote 48:</b> + <a href="#footnotetag48">(return)</a> + + <p>The ensign of the Héïké, or Taïra clan was red; while + that of their rivals, the Genji or Minamotō, was + white.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote49" + name="footnote49"></a><b>Footnote 49:</b> + <a href="#footnotetag49">(return)</a> + + <p>The use of the word <i>hasami</i> in the fifth line is a + very good example of <i>kenyōgen</i>. There is a noun + <i>hasami</i>, meaning the nippers of a crab, or a pair of + scissors; and there is a verb <i>hasami</i>, meaning to + harbor, to cherish, or to entertain. (<i>Ikon wo hasamu</i> + means "to harbor resentment against.") Reading the word + only in connection with those which follow it, we have the + phrase <i>hasami mochikéri</i>, "got claws;" but, reading + it with the words preceding, we have the expression <i>ikon + wo muné ni hasami</i>, "resentment in their breasts + nourishing."</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote50" + name="footnote50"></a><b>Footnote 50:</b> + <a href="#footnotetag50">(return)</a> + + <p>The <i>tokonoma</i> in a Japanese room is a sort of + ornamental recess or alcove, in which a picture is usually + hung, and vases of flowers, or a dwarf tree, are + placed.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote51" + name="footnote51"></a><b>Footnote 51:</b> + <a href="#footnotetag51">(return)</a> + + <p>The word <i>takumi</i>, as written in <i>kana</i>, may + signify either "carpenter" or "intrigue," "evil plot," + "wicked device." Thus two readings are possible. According + to one reading, the post was fixed upside-down through + inadvertence; according to the other, it was so fixed with + malice prepense.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote52" + name="footnote52"></a><b>Footnote 52:</b> + <a href="#footnotetag52">(return)</a> + + <p>Lit., "upside-down-matter-sorrow." <i>Sakasama-goto</i>, + "up-side-down affair," is a common expression for calamity, + contrariety, adversity, vexation.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote53" + name="footnote53"></a><b>Footnote 53:</b> + <a href="#footnotetag53">(return)</a> + + <p>Alluding to the proverb, <i>Kabé ni mimi ari</i> ("There + are ears in the wall"), which signifies: "Be careful how + you talk about other people, even in private."</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote54" + name="footnote54"></a><b>Footnote 54:</b> + <a href="#footnotetag54">(return)</a> + + <p>There is a pun in the fourth line which suggests more + than even a free translation can express. <i>Waré</i> means + "I," or "mine," or "one's own," etc., according to + circumstances; and <i>waré mé</i> (written separately) + might be rendered "its own eyes." But <i>warémé</i> (one + word) means a crack, rent, split, or fissure. The reader + should remember that the term <i>saka-bashira</i> means not + only "upside-down post," but also the goblin or spectre of + the upside-down post.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote55" + name="footnote55"></a><b>Footnote 55:</b> + <a href="#footnotetag55">(return)</a> + + <p>That is to say, "Even the poem on the tablet is + up-side-down,"—all wrong. <i>Hashira-kaké</i> + ("pillar-suspended thing") is the name given to a thin + tablet of fine wood, inscribed or painted, which is hung to + a post by way of ornament.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote56" + name="footnote56"></a><b>Footnote 56:</b> + <a href="#footnotetag56">(return)</a> + + <p>Perhaps the term might be rendered "Shape-changing + Jizō." The verb <i>bakéru</i> means to change shape, + to undergo metamorphosis, to haunt, and many other + supernatural things.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote57" + name="footnote57"></a><b>Footnote 57:</b> + <a href="#footnotetag57">(return)</a> + + <p>The Japanese word for granite is <i>mikagé</i>; and + there is also an honorific term <i>mikagé</i>, applied to + divinities and emperors, which signifies "august aspect," + "sacred presence," etc.... No literal rendering can suggest + the effect, in the fifth line, of the latter reading. + <i>Kagé</i> signifies "shadow," "aspect," and + "power"—especially occult power; the honorific prefix + <i>mi</i>, attached to names and attributes of divinities, + may be rendered "august."</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote58" + name="footnote58"></a><b>Footnote 58:</b> + <a href="#footnotetag58">(return)</a> + + <p>The puns are too much for me.... <i>Ayashii</i> means + "suspicious," "marvelous," "supernatural," "weird," + "doubtful."—In the first two lines there is a + reference to the Buddhist proverb: <i>Funa-ita ichi-mai + shita wa Jigoku</i> ("under the thickness of a single + ship's-plank is Hell"). (See my <i>Gleanings in + Buddha-Fields</i>, p. 206, for another reference to this + saying.)</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote59" + name="footnote59"></a><b>Footnote 59:</b> + <a href="#footnotetag59">(return)</a> + + <p><i>Hégashi</i> is the causative form of the verb + <i>hégu</i>, "to pull off," "peel off," "strip off," "split + off." The term <i>Fuda-hégashi</i> signifies + "Make-peel-off-august-charm Ghost." In my <i>Ghostly + Japan</i> the reader can find a good Japanese story about a + <i>Fuda-hégashi</i>.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote60" + name="footnote60"></a><b>Footnote 60:</b> + <a href="#footnotetag60">(return)</a> + + <p>The fourth line gives these two readings:—</p> + + <p><i>Nam'mai da?</i>—"How many sheets are + there?"</p> + + <p><i>Nam[u] Aɯida!</i>—"Hail, O Amitâbha!"</p> + + <p>The invocation, <i>Namu Amida Butsu</i>, is chiefly used + by members of the great Shin sect; but it is also used by + other sects, and especially in praying for the dead. While + repeating it, the person praying numbers the utterances + upon his Buddhist rosary; and this custom is suggested by + the use of the word <i>kazoëté</i>, "counting."</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote61" + name="footnote61"></a><b>Footnote 61:</b> + <a href="#footnotetag61">(return)</a> + + <p>The word <i>furu</i> in the third line is made to do + double duty,—as the adjective, <i>furu[i]</i>, + "ancient"; and as the verb <i>furu</i>, "to shake." The old + term <i>nama-kuhi</i> (lit., "raw head") means a human + head, freshly-severed, from which the blood is still + oozing.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote62" + name="footnote62"></a><b>Footnote 62:</b> + <a href="#footnotetag62">(return)</a> + + <p>Two Japanese words are written, in <i>kana</i>, as + "mé"—one meaning "a bud;" the other "eye." The + syllables "hana" in like fashion, may signify either + "flower" or "nose." As a grotesque, this little poem is + decidedly successful.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote63" + name="footnote63"></a><b>Footnote 63:</b> + <a href="#footnotetag63">(return)</a> + + <p><i>Ayashigé</i> is a noun formed from the adjective + <i>ayashi</i>, "suspicious," "strange," "supernatural," + "doubtful." The word <i>kagé</i> signifies both "light" and + "shadow,"—and is here used with double + suggestiveness. The vegetable oil used in the old Japanese + lamps used to be obtained from the nuts of the + <i>tsubaki</i>. The reader should remember that the + expression "ancient tsubaki" is equivalent to the + expression "goblin-tsubaki,"—the tsubaki being + supposed to turn into a goblin-tree only when it becomes + old.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote64" + name="footnote64"></a><b>Footnote 64:</b> + <a href="#footnotetag64">(return)</a> + + <p>The tree-peony (<i>botan</i>) is here referred + to,—a flower much esteemed in Japan. It is said to + have been introduced from China during the eighth century; + and no less than five hundred varieties of it are now + cultivated by Japanese gardeners.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote65" + name="footnote65"></a><b>Footnote 65:</b> + <a href="#footnotetag65">(return)</a> + + <p><i>Autobiography</i>, vol. ii, p. 470.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote66" + name="footnote66"></a><b>Footnote 66:</b> + <a href="#footnotetag66">(return)</a> + + <p><i>Facts and Comments</i>, p. 201.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote67" + name="footnote67"></a><b>Footnote 67:</b> + <a href="#footnotetag67">(return)</a> + + <p>A kind of rouge, now used only to color the lips.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote68" + name="footnote68"></a><b>Footnote 68:</b> + <a href="#footnotetag68">(return)</a> + + <p>This name, though uncommon, is still in use.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote69" + name="footnote69"></a><b>Footnote 69:</b> + <a href="#footnotetag69">(return)</a> + + <p>The Emperor Saimei reigned from 655 to 662 (A.D.); the + Emperor Saga from 810 to 842.—Kudara was an ancient + kingdom in southwestern Korea, frequently mentioned in + early Japanese history.—A <i>Naishinnō</i> was + of Imperial blood. In the ancient court-hierarchy there + were twenty-five ranks or grades of noble + ladies;—that of <i>Naishinno</i> was seventh in order + of precedence.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote70" + name="footnote70"></a><b>Footnote 70:</b> + <a href="#footnotetag70">(return)</a> + + <p>For centuries the wives of the emperors and the ladies + of the Imperial Court were chosen from the Fujiwara + clan—The period called Hōgen lasted from 1156 to + 1159: the war referred to is the famous war between the + Taira and Minamoto clans.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote71" + name="footnote71"></a><b>Footnote 71:</b> + <a href="#footnotetag71">(return)</a> + + <p>In old-time belief every lake or spring had its + invisible guardian, supposed to sometimes take the form of + a serpent or dragon. The spirit of a lake or pond was + commonly spoken of as <i>Iké-no-Mushi</i>, the Master of + the Lake. Here we find the title "Master" given to a dragon + living in a well; but the guardian of wells is really the + god Suijin.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote72" + name="footnote72"></a><b>Footnote 72:</b> + <a href="#footnotetag72">(return)</a> + + <p>August-residence servant.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote73" + name="footnote73"></a><b>Footnote 73:</b> + <a href="#footnotetag73">(return)</a> + + <p>A scarcely translatable honorific title compounded of + the word <i>himé</i> (princess) and <i>kimi</i> (sovereign, + master or mistress, lord or lady, etc.).</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote74" + name="footnote74"></a><b>Footnote 74:</b> + <a href="#footnotetag74">(return)</a> + + <p>Shigéhira, after a brave fight in defense of the + capital,—then held by the Taïra (or Héïké) + party,—was surprised and routed by Yoshitsuné, leader + of the Minamoto forces. A soldier named Iyénaga, who was a + skilled archer, shot down Shigéhira's horse; and Shigéhira + fell under the struggling animal. He cried to an attendant + to bring another horse; but the man fled. Shigéhira was + then captured by Iyénaga, and eventually given up to + Yoritomo, head of the Minamoto clan, who caused him to be + sent in a cage to Kamakura. There, after sundry + humiliations, he was treated for a time with + consideration,—having been able, by a Chinese poem, + to touch even the cruel heart of Yoritomo. But in the + following year he was executed by request of the Buddhist + priests of Nanto, against whom he had formerly waged war by + order of Kiyomori.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote75" + name="footnote75"></a><b>Footnote 75:</b> + <a href="#footnotetag75">(return)</a> + + <p>This was the name given to a pair of metal rods attached + to a sword-sheath, and used like chop-sticks. They were + sometimes exquisitely ornamented.</p> + </blockquote> + + <blockquote class="footnote"> + <a id="footnote76" + name="footnote76"></a><b>Footnote 76:</b> + <a href="#footnotetag76">(return)</a> + + <p>A kind of palanquin.</p> + </blockquote> + <hr class="full" /> + + + + + + + +<pre> + + + + + +End of Project Gutenberg's The Romance of the Milky Way, by Lafcadio Hearn + +*** END OF THIS PROJECT GUTENBERG EBOOK THE ROMANCE OF THE MILKY WAY *** + +***** This file should be named 15320-h.htm or 15320-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/5/3/2/15320/ + +Produced by Ted Garvin, William Flis, and the Online Distributed +Proofreading Team. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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