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diff --git a/34215-h/34215-h.htm b/34215-h/34215-h.htm new file mode 100644 index 0000000..4615ce3 --- /dev/null +++ b/34215-h/34215-h.htm @@ -0,0 +1,12220 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<!-- $Id: header.txt 236 2009-12-07 18:57:00Z vlsimpson $ --> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of Shadowings, by Lafcadio Hearn. + </title> + <style type="text/css"> + +body { + margin-left: 10%; + margin-right: 10%; +} + +h1 { + margin-top: 1.75em; + text-indent: 0em; + text-align: center; + clear: both; +} + +h2 { + margin-top: 1em; + text-indent: 0em; + text-align: center; + clear: both; +} + +h3, h4 { + text-indent: 0em; + text-align: center; + clear: both; +} + +/* horizontal rulers */ + +hr { + width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; +} + +.hr2 +{ + width: 90%; + max-width: 32em; + color: white; + background-color: white; + border: none; + border-bottom: 6px double black; + margin: 2em auto; +} + +/* tables */ + +table { + margin-left: 0%; + margin-right: 0%; +} + +.tdr {text-align: right;} /* right align cell */ + +.tdl {text-align: left;} /* left align cell */ + +/* paragraphs */ + +p { + margin-top: .75em; + text-align: justify; + margin-bottom: .75em; +} + +p.cap:first-letter { float: left; clear: left; + margin: -0.15em 0.1em 0 0; + padding:0; + line-height: 1.2em; font-size: 250%; +} + +p.indent { + text-indent: 1em; +} + +p.margin-left4 +{ + margin-left: 10%; +} + +p.margin-left8 +{ + margin-left: 20%; +} + +p.margin-left8s +{ + margin-left: 20%; + font-size: smaller; +} + +p.margin-left16 { + margin-left: 30%; +} + +.pagenum { + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; +} /* page numbers */ + +.blockquot { + margin-left: 10%; + margin-right: 10%; +} + +.blockquotsm { + margin-left: 10%; + margin-right: 10%; + font-size: smaller; +} + +.center {text-align: center;} + +.right {text-align: right;} + +.smcap {font-variant: small-caps;} + +.caption {font-weight: bold;} + +/* Images */ + +img { + padding: 6px; +} /* without border */ + +img.border{ + border: 1px solid black; + padding: 6px; +} /* with border */ + +.figcenter { + margin: auto; + text-align: center; +} + +/* Footnotes */ +.footnotes {border: dashed 1px; background-color: #f6f2f2;} + +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + +.footnote .label {position: absolute; right: 84%; text-align: right;} + +.fnanchor { + vertical-align: super; + font-size: .8em; + text-decoration: + none; +} + +/* Other */ + +span.cursive {font-family: Blackmoor LET, cursive;} + +span.lalign { + position: relative; + margin-left: 10%; + text-align: left; + top: auto; +} + +span.lalign2 { + position: relative; + margin-left: 14%; /* some extra indent for the secondary items */ + text-align: left; + top: auto; +} +span.ralign { + position: absolute; + right: 10%; + top: auto; +} + +div.tnote { + border-style: dotted; + margin-left: 10%; + margin-right: 10%; + padding: 1em; + font-style: normal; + font-size: smaller; + text-align: justify; + background-color: #f6f2f2; +} + + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Shadowings, 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: Shadowings + +Author: Lafcadio Hearn + +Release Date: November 5, 2010 [EBook #34215] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK SHADOWINGS *** + + + + +Produced by Juliet Sutherland, Ernest Schaal, and the +Online Distributed Proofreading Team at https://www.pgdp.net + + + + + + +</pre> + + +<h1><span style="font-size: larger">SHADOWINGS</span></h1> + +<h1><span class="smcap">By</span> LAFCADIO HEARN</h1> + +<h3>LECTURER ON ENGLISH LITERATURE IN<br /> +THE IMPERIAL UNIVERSITY, TŌKYŌ, JAPAN</h3> + +<hr /> + +<h3><i>AUTHOR OF</i> "EXOTICS AND RETROSPECTIVES,"<br /> +"IN GHOSTLY JAPAN," ETC., ETC.</h3> + +<p class="indent"> </p> + +<div class="figcenter" style="width: 100px;"> +<img src="images/dec1.jpg" width="100" height="117" alt="decloration1" title="decloration1" /> +</div> + +<p class="indent"> </p> + +<p class="center">BOSTON<br /> +LITTLE, BROWN, AND COMPANY<br /> +1919</p> + +<hr class="hr2"/> + +<p class="center"> +<i>Copyright, 1900</i>,<br /> +<span class="smcap">By Little, Brown, and Company</span></p> + +<hr /> + +<p class="center"><i>All rights reserved</i></p> + +<p> </p> + +<p> </p> + +<p class="center"> +<span class="cursive">Printers</span><br /> +<span class="smcap">S. J. Parkhill & Co. Boston, U. S. A.</span> +</p> + +<hr class="hr2"/> + +<h1>Contents</h1> + +<div class="blockquot"> +<p><b>STORIES FROM STRANGE BOOKS:</b></p> + +<p class="indent"> +I. <span class="smcap">The Reconciliation</span> <span class="ralign"><a href="#The_Reconciliation">5</a></span></p> + +<p class="indent"> +II. <span class="smcap">A Legend of Fugen-Bosatsu</span> <span class="ralign"><a href="#A_Legend_of_Fugen-Bosatsu">15</a></span></p> + +<p class="indent"> +III. <span class="smcap">The Screen-Maiden</span> <span class="ralign"><a href="#The_Screen-Maiden">23</a></span></p> + +<p class="indent"> +IV. <span class="smcap">The Corpse-Rider</span> <span class="ralign"><a href="#The_Corpse-Rider">33</a></span></p> + +<p class="indent"> +V. <span class="smcap">The Sympathy of Benten</span> <span class="ralign"><a href="#The_Sympathy_of_Benten">41</a></span></p> + +<p class="indent"> +VI. <span class="smcap">The Gratitude of the Samébito</span> <span class="ralign"><a href="#The_Gratitude_of_the_Samebito">57</a></span></p> + +<p><b>JAPANESE STUDIES:</b></p> + +<p class="indent"> +I. <span class="smcap">Sémi</span> <span class="ralign"><a href="#Semi">71</a></span></p> + +<p class="indent"> +II. <span class="smcap">Japanese Female Names</span> <span class="ralign"><a href="#Japanese_Female_Names">105</a></span></p> + +<p class="indent"> +III. <span class="smcap">Old Japanese Songs</span> <span class="ralign"><a href="#Old_Japanese_Songs">157</a></span></p> + +<p><b>FANTASIES:</b></p> + +<p class="indent"> +I. <span class="smcap">Noctilucć</span> <span class="ralign"><a href="#Noctilucae">197</a></span></p> + +<p class="indent"> +II. <span class="smcap">A Mystery of Crowds</span> <span class="ralign"><a href="#A_Mystery_of_Crowds">203</a></span></p> + +<p class="indent"> +III. <span class="smcap">Gothic Horror</span> <span class="ralign"><a href="#Gothic_Horror">213</a></span></p> + +<p class="indent"> +IV. <span class="smcap">Levitation</span> <span class="ralign"><a href="#Levitation">225</a></span></p> + +<p class="indent"> +V. <span class="smcap">Nightmare-Touch</span> <span class="ralign"><a href="#Nightmare-Touch">235</a></span></p> + +<p class="indent"> +VI. <span class="smcap">Readings from a Dream-Book</span> <span class="ralign"><a href="#Readings_from_a_Dream-book">249</a></span></p> + +<p class="indent"> +VII. <span class="smcap">In a Pair of Eyes</span> <span class="ralign"><a href="#In_a_Pair_of_Eyes">265</a></span></p> +</div> + +<hr class="hr2"/> + +<h1>Illustrations</h1> + +<p><span class="ralign"><i>Facing page</i></span></p> + +<p> </p> + +<p><span class="lalign">PLATE I</span> +<span class="ralign"><a href="#Plate_1">72</a></span><br /> +<span class="lalign2">1-2, <i>Young Sémi.</i></span><br /> +<span class="lalign2">3-4, <i>Haru-Zémi</i>, also called <i>Nawashiro-Zémi</i>.</span></p> + +<p><span class="lalign">PLATE II</span> +<span class="ralign"><a href="#Plate_2">76</a></span><br /> +<span class="lalign2">"<i>Shinné-Shinné</i>" also called <i>Yama-Zémi</i>, and <i>Kuma-Zémi</i>.</span></p> + +<p><span class="lalign">PLATE III</span> +<span class="ralign"><a href="#Plate_3">80</a></span><br /> +<span class="lalign2"><i>Aburazémi.</i></span></p> + +<p><span class="lalign">PLATE IV</span> +<span class="ralign"><a href="#Plate_4">84</a></span><br /> +<span class="lalign2">1-2, <i>Mugikari-Zémi</i>, also called <i>Goshiki-Zémi</i>.</span><br /> +<span class="lalign2">3, <i>Higurashi</i>.</span><br /> +<span class="lalign2">4, "<i>Min-Min-Zémi</i>."</span></p> + +<p><span class="lalign">PLATE V</span> +<span class="ralign"><a href="#Plate_5">88</a></span><br /> +<span class="lalign2">1, "<i>Tsuku-tsuku-Bōshi</i>," also called "<i>Kutsu-kutsu-Bōshi</i>," +etc. (<i><span style="font-size: smaller">Cosmopsaltria Opalifera?</span></i>)</span><br /> +<span class="lalign2">2, <i>Tsurigané-Zémi</i>.</span><br /> +<span class="lalign2">3, <i>The Phantom</i>.</span></p> + +<hr class="hr2"/> + +<h1><span class="smcap">Stories from Strange Books</span></h1> + +<div class="blockquot"> +<p class="margin-left8"> +Il avait vu brűler d'étranges pierres,<br /> +Jadis, dans les brasiers de la pensée ...</p> + +<p class="margin-left16"> +<span class="smcap">Émile Verhaeren</span></p> +</div> + +<hr class="hr2"/> + +<h1>The Reconciliation<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></h1> + +<div class="figcenter" style="width: 54px;"> +<img src="images/dec2.jpg" width="54" height="57" alt="decloration2" title="decloration2" /> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span> +</a> The original story is to be found in the curious volume entitled +<i>Konséki-Monogatari</i></p> +</div> +</div> + +<hr class="hr2"/> + +<p class="indent"> +<span class="pagenum">[Pg 5]</span> +</p> + +<h2><a name="The_Reconciliation" id="The_Reconciliation"></a>The Reconciliation</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<p class="cap">THERE was a young Samurai of Kyōto who +had been reduced to poverty by the ruin +of his lord, and found himself obliged to +leave his home, and to take service with the +Governor of a distant province. Before quitting +the capital, this Samurai divorced his wife,—a +good and beautiful woman,—under the belief +that he could better obtain promotion by another +alliance. He then married the daughter of a +family of some distinction, and took her with +him to the district whither he had been called.</p> + +<hr /> + +<p class="indent"> +But it was in the time of the thoughtlessness +of youth, and the sharp experience of want, that +the Samurai could not understand the worth of +the affection so lightly cast away. His second +marriage did not prove a happy one; the character +of his new wife was hard and selfish; and he +<span class="pagenum">[Pg 6]</span> +soon found every cause to think with regret of +Kyōto days. Then he discovered that he still +loved his first wife—loved her more than he +could ever love the second; and he began to feel +how unjust and how thankless he had been. +Gradually his repentance deepened into a remorse +that left him no peace of mind. Memories +of the woman he had wronged—her gentle +speech, her smiles, her dainty, pretty ways, her +faultless patience—continually haunted him. +Sometimes in dreams he saw her at her loom, +weaving as when she toiled night and day to +help him during the years of their distress: more +often he saw her kneeling alone in the desolate +little room where he had left her, veiling her +tears with her poor worn sleeve. Even in the +hours of official duty, his thoughts would wander +back to her: then he would ask himself how she +was living, what she was doing. Something in +his heart assured him that she could not accept +another husband, and that she never would refuse +to pardon him. And he secretly resolved to seek +her out as soon as he could return to Kyōto,—then +to beg her forgiveness, to take her back, to +do everything that a man could do to make +atonement. But the years went by.</p> + +<p class="indent"> +<span class="pagenum">[Pg 7]</span> +At last the Governor's official term expired, +and the Samurai was free. "Now I will go back +to my dear one," he vowed to himself. "Ah, +what a cruelty,—what a folly to have divorced +her!" He sent his second wife to her own +people (she had given him no children); and +hurrying to Kyōto, he went at once to seek his +former companion,—not allowing himself even +the time to change his travelling-garb.</p> + +<hr /> + +<p class="indent"> +When he reached the street where she used to +live, it was late in the night,—the night of the +tenth day of the ninth month;—and the city +was silent as a cemetery. But a bright moon +made everything visible; and he found the house +without difficulty. It had a deserted look: tall +weeds were growing on the roof. He knocked +at the sliding-doors, and no one answered. Then, +finding that the doors had not been fastened from +within, he pushed them open, and entered. The +front room was matless and empty: a chilly wind +was blowing through crevices in the planking; +and the moon shone through a ragged break in +the wall of the alcove. Other rooms presented +a like forlorn condition. The house, to all seeming, +was unoccupied. Nevertheless, the Samurai +<span class="pagenum">[Pg 8]</span> +determined to visit one other apartment at the +further end of the dwelling,—a very small room +that had been his wife's favorite resting-place. +Approaching the sliding-screen that closed it, he +was startled to perceive a glow within. He +pushed the screen aside, and uttered a cry of +joy; for he saw her there,—sewing by the light +of a paper-lamp. Her eyes at the same instant +met his own; and with a happy smile she greeted +him,—asking only:—"When did you come +back to Kyōto? How did you find your way +here to me, through all those black rooms?" +The years had not changed her. Still she seemed +as fair and young as in his fondest memory of +her;—but sweeter than any memory there came +to him the music of her voice, with its trembling +of pleased wonder.</p> + +<p class="indent"> +Then joyfully he took his place beside her, +and told her all:—how deeply he repented his +selfishness,—how wretched he had been without +her,—how constantly he had regretted her,—how +long he had hoped and planned to make +amends;—caressing her the while, and asking +her forgiveness over and over again. She answered +him, with loving gentleness, according to +his heart's desire,—entreating him to cease all +<span class="pagenum">[Pg 9]</span> +self-reproach. It was wrong, she said, that he +should have allowed himself to suffer on her account: +she had always felt that she was not +worthy to be his wife. She knew that he had +separated from her, notwithstanding, only because +of poverty; and while he lived with her, +he had always been kind; and she had never +ceased to pray for his happiness. But even if +there had been a reason for speaking of amends, +this honorable visit would be ample amends;—what +greater happiness than thus to see him +again, though it were only for a moment? +"Only for a moment!" he answered, with a +glad laugh,—"say, rather, for the time of +seven existences! My loved one, unless you +forbid, I am coming back to live with you always—always—always! +Nothing shall ever +separate us again. Now I have means and +friends: we need not fear poverty. To-morrow +my goods will be brought here; and my +servants will come to wait upon you; and we +shall make this house beautiful.... To-night," +he added, apologetically, "I came thus late—without +even changing my dress—only because +of the longing I had to see you, and to tell you +this." She seemed greatly pleased by these +<span class="pagenum">[Pg 10]</span> +words; and in her turn she told him about all +that had happened in Kyōto since the time of +his departure,—excepting her own sorrows, of +which she sweetly refused to speak. They +chatted far into the night: then she conducted +him to a warmer room, facing south,—a room +that had been their bridal chamber in former +time. "Have you no one in the house to help +you?" he asked, as she began to prepare the +couch for him. "No," she answered, laughing +cheerfully: "I could not afford a servant;—so +I have been living all alone." "You will have +plenty of servants to-morrow," he said,—"good +servants,—and everything else that you need." +They lay down to rest,—not to sleep: they had +too much to tell each other;—and they talked +of the past and the present and the future, until +the dawn was grey. Then, involuntarily, the +Samurai closed his eyes, and slept.</p> + +<hr /> + +<p class="indent"> +When he awoke, the daylight was streaming +through the chinks of the sliding-shutters; and +he found himself, to his utter amazement, lying +upon the naked boards of a mouldering floor.... +Had he only dreamed a dream? No: +she was there;—she slept.... He bent above +<span class="pagenum">[Pg 11]</span> +her,—and looked,—and shrieked;—for the +sleeper had no face!... Before him, wrapped in +its grave-sheet only, lay the corpse of a woman,—a +corpse so wasted that little remained save the +bones, and the long black tangled hair.</p> + +<hr /> + +<p class="indent"> +Slowly,—as he stood shuddering and sickening +in the sun,—the icy horror yielded to a despair +so intolerable, a pain so atrocious, that he +clutched at the mocking shadow of a doubt. +Feigning ignorance of the neighborhood, he +ventured to ask his way to the house in +which his wife had lived.</p> + +<p class="indent"> +"There is no one in that house," said the person +questioned. "It used to belong to the wife +of a Samurai who left the city several years ago. +He divorced her in order to marry another +woman before he went away; and she fretted +a great deal, and so became sick. She had no +relatives in Kyōto, and nobody to care for her; +and she died in the autumn of the same year,—on +the tenth day of the ninth month...."</p> + +<hr class="hr2"/> +<h1>A Legend of Fugen-Bosatsu<a name="FNanchor_1_2" id="FNanchor_1_2"></a><a href="#Footnote_1_2" class="fnanchor">[2]</a></h1> + +<div class="figcenter" style="width: 54px;"> +<img src="images/dec2.jpg" width="54" height="57" alt="decloration2" title="decloration2" /> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_2" id="Footnote_1_2"></a><a href="#FNanchor_1_2"><span class="label">[2]</span> +</a> From the old story-book, <i>Jikkun-shō</i></p> +</div> +</div> + +<hr class="hr2"/> + +<p class="indent"> +<span class="pagenum">[Pg 15]</span> +</p> + +<h2><a name="A_Legend_of_Fugen-Bosatsu" id="A_Legend_of_Fugen-Bosatsu"></a>A Legend of Fugen-Bosatsu</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<p class="cap">THERE was once a very pious and learned +priest, called Shōku Shōnin, who lived in +the province of Harima. For many years +he meditated daily upon the chapter of Fugen-Bosatsu +[the Bodhisattva Samantabhadra] in the +Sűtra of the Lotos of the Good Law; and he +used to pray, every morning and evening, that +he might at some time be permitted to behold +Fugen-Bosatsu as a living presence, and in the +form described in the holy text.<a name="FNanchor_1_3" id="FNanchor_1_3"></a><a href="#Footnote_1_3" class="fnanchor">[3]</a></p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_3" id="Footnote_1_3"></a><a href="#FNanchor_1_3"><span class="label">[3]</span> +</a> The priest's desire was probably inspired by the +promises recorded in the chapter entitled "The Encouragement +of Samantabhadra" (see Kern's translation of the +Saddharma Pundarîka in the <i>Sacred Books of the East</i>,—pp. +433-434):—"Then the Bodhisattva Mahâsattva Samantabhadra +said to the Lord: ... 'When a preacher who +applies himself to this Dharmaparyâya shall take a walk, +then, O Lord, will I mount a white elephant with six tusks, +and betake myself to the place where that preacher is +walking, in order to protect this Dharmaparyâya. And +when that preacher, applying himself to this Dharmaparyâya, +forgets, be it but a single word or syllable, then +will I mount the white elephant with six tusks, and show +my face to that preacher, and repeat this entire Dharmaparyâya."—But +these promises refer to "the end of +time."</p> +</div> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 16]</span> +One evening, while he was reciting the Sűtra, +drowsiness overcame him; and he fell asleep +leaning upon his <i>kyōsoku</i>.<a name="FNanchor_1_4" id="FNanchor_1_4"></a><a href="#Footnote_1_4" class="fnanchor">[4]</a> Then he dreamed; +and in his dream a voice told him that, in order +to see Fugen-Bosatsu, he must go to the house +of a certain courtesan, known as the "Yujō-no-Chōja,"<a name="FNanchor_2_5" id="FNanchor_2_5"></a><a href="#Footnote_2_5" class="fnanchor">[5]</a> +who lived in the town of Kanzaki. +Immediately upon awakening he resolved to go +to Kanzaki;—and, making all possible haste, he +reached the town by the evening of the next +day.</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_4" id="Footnote_1_4"></a><a href="#FNanchor_1_4"><span class="label">[4]</span> +</a> The <i>Kyōsoku</i> is a kind of padded arm-rest, or arm-stool, +upon which the priest leans one arm while reading. +The use of such an arm-rest is not confined, however, to +the Buddhist clergy.</p> +</div> + +<div class="footnote"><p><a name="Footnote_2_5" id="Footnote_2_5"></a><a href="#FNanchor_2_5"><span class="label">[5]</span> +</a> A yujō, in old days, was a singing-girl as well as a +courtesan. The term "Yujō-no-Chōja," in this case, +would mean simply "the first (or best) of yujō."</p> +</div> +</div> + +<p class="indent"> +When he entered the house of the <i>yujō</i>, he +found many persons already there assembled—mostly +young men of the capital, who had been +attracted to Kanzaki by the fame of the woman's +<span class="pagenum">[Pg 17]</span> +beauty. They were feasting and drinking; and +the <i>yujō</i> was playing a small hand-drum (<i>tsuzumi</i>), +which she used very skilfully, and singing +a song. The song which she sang was an +old Japanese song about a famous shrine in +the town of Murozumi; and the words were +these:—</p> + +<div class="blockquot"> +<p class="margin-left4"> +<i>Within the sacred water-tank</i><a name="FNanchor_1_6" id="FNanchor_1_6"></a><a href="#Footnote_1_6" class="fnanchor">[6]</a> <i>of Murozumi in Suwō,<br /> +Even though no wind be blowing,<br /> +The surface of the water is always rippling.</i></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_6" id="Footnote_1_6"></a><a href="#FNanchor_1_6"><span class="label">[6]</span> +</a> <i>Mitarai</i>. <i>Mitarai</i> (or <i>mitarashi</i>) is the name especially +given to the water-tanks, or water-fonts—of stone or +bronze—placed before Shintō shrines in order that the +worshipper may purify his lips and hands before making +prayer. Buddhist tanks are not so named.</p> +</div> +</div> + +<p class="indent"> +The sweetness of the voice filled everybody +with surprise and delight. As the priest, who +had taken a place apart, listened and wondered, +the girl suddenly fixed her eyes upon him; and +in the same instant he saw her form change into +the form of Fugen-Bosatsu, emitting from her +brow a beam of light that seemed to pierce beyond +the limits of the universe, and riding a +snow-white elephant with six tusks. And still +<span class="pagenum">[Pg 18]</span> +she sang—but the song also was now transformed; +and the words came thus to the ears +of the priest:—</p> + +<div class="blockquot"> +<p class="margin-left4"><i>On the Vast Sea of Cessation,<br /> +Though the Winds of the Six Desires and of the Five Corruptions never blow,<br /> +Yet the surface of that deep is always covered<br /> +With the billowings of Attainment to the Reality-in-Itself.</i></p> +</div> + +<p class="indent"> +Dazzled by the divine ray, the priest closed +his eyes: but through their lids he still distinctly +saw the vision. When he opened them again, it +was gone: he saw only the girl with her hand-drum, +and heard only the song about the water +of Murozumi. But he found that as often as +he shut his eyes he could see Fugen-Bosatsu +on the six-tusked elephant, and could hear the +mystic Song of the Sea of Cessation. The other +persons present saw only the <i>yujō</i>: they had not +beheld the manifestation.</p> + +<p class="indent"> +Then the singer suddenly disappeared from +the banquet-room—none could say when or +how. From that moment the revelry ceased; +and gloom took the place of joy. After having +waited and sought for the girl to no purpose, +<span class="pagenum">[Pg 19]</span> +the company dispersed in great sorrow. Last +of all, the priest departed, bewildered by the +emotions of the evening. But scarcely had he +passed beyond the gate, when the <i>yujō</i> appeared +before him, and said:—"Friend, do not speak +yet to any one of what you have seen this +night." And with these words she vanished +away,—leaving the air filled with a delicious +fragrance.</p> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec4.jpg" width="50" height="43" alt="decloration 4" title="decloration 4" /> +</div> + +<p class="indent"> +The monk by whom the foregoing legend was +recorded, comments upon it thus:—The condition +of a <i>yujō</i> is low and miserable, since she is +condemned to serve the lusts of men. Who +therefore could imagine that such a woman +might be the <i>nirmanakaya</i>, or incarnation, of +a Bodhisattva. But we must remember that +the Buddhas and the Bodhisattvas may appear +in this world in countless different forms; choosing, +for the purpose of their divine compassion, +even the most humble or contemptible shapes +when such shapes can serve them to lead men +into the true path, and to save them from the +perils of illusion.</p> + +<hr class="hr2"/> + +<h1>The Screen-Maiden<a name="FNanchor_1_7" id="FNanchor_1_7"></a><a href="#Footnote_1_7" class="fnanchor">[7]</a></h1> + +<div class="figcenter" style="width: 54px;"> +<img src="images/dec2.jpg" width="54" height="57" alt="decloration2" title="decloration2" /> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_7" id="Footnote_1_7"></a><a href="#FNanchor_1_7"><span class="label">[7]</span> +</a> Related in the <i>Otogi-Hyaku-Monogatari</i></p> +</div> +</div> + +<hr class="hr2"/> + +<p class="indent"> +<span class="pagenum">[Pg 23]</span> +</p> + +<h2><a name="The_Screen-Maiden" id="The_Screen-Maiden"></a>The Screen-Maiden</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<p class="cap">SAYS the old Japanese author, Hakubai-En +Rosui:—<a name="FNanchor_1_8" id="FNanchor_1_8"></a><a href="#Footnote_1_8" class="fnanchor">[8]</a></p> + +<p class="indent"> +"In Chinese and in Japanese books there +are related many stories,—both of ancient and +of modern times,—about pictures that were so +beautiful as to exercise a magical influence upon +the beholder. And concerning such beautiful +pictures,—whether pictures of flowers or of birds +or of people, painted by famous artists,—it is +further told that the shapes of the creatures or +<span class="pagenum">[Pg 24]</span> +the persons, therein depicted, would separate +themselves from the paper or the silk upon which +they had been painted, and would perform various +acts;—so that they became, by their own +will, really alive. We shall not now repeat any +of the stories of this class which have been known +to everybody from ancient times. But even in +modern times the fame of the pictures painted +by Hishigawa Kichibei—'Hishigawa's Portraits'—has +become widespread in the land."</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_8" id="Footnote_1_8"></a><a href="#FNanchor_1_8"><span class="label">[8]</span> +</a> He died in the eighteenth year of Kyōhō (1733). The +painter to whom he refers—better known to collectors as +Hishigawa Kichibei Moronobu—flourished during the +latter part of the seventeenth century. Beginning his +career as a dyer's apprentice, he won his reputation as an +artist about 1680, when he may be said to have founded +the <i>Ukiyo-yé</i> school of illustration. Hishigawa was especially +a delineator of what are called <i>fūryū</i>, ("elegant manners"),—the +aspects of life among the upper classes of society.</p> +</div> +</div> + +<p class="indent"> +He then proceeds to relate the following story +about one of the so-called portraits:—</p> + +<div class="blockquot"><p class="indent"> +There was a young scholar of Kyōto whose +name was Tokkei. He used to live in the street +called Muromachi. One evening, while on his +way home after a visit, his attention was attracted +by an old single-leaf screen (<i>tsuitaté</i>), exposed +for sale before the shop of a dealer in second-hand +goods. It was only a paper-covered screen; +but there was painted upon it the full-length +figure of a girl which caught the young man's +fancy. The price asked was very small: Tokkei +bought the screen, and took it home with him.</p> + +<p class="indent"> +When he looked again at the screen, in the +solitude of his own room, the picture seemed to +<span class="pagenum">[Pg 25]</span> +him much more beautiful than before. Apparently +it was a real likeness,—the portrait of a +girl fifteen or sixteen years old; and every little +detail in the painting of the hair, eyes, eyelashes, +mouth, had been executed with a delicacy and +a truth beyond praise. The <i>manajiri</i><a name="FNanchor_1_9" id="FNanchor_1_9"></a><a href="#Footnote_1_9" class="fnanchor">[9]</a> seemed +"like a lotos-blossom courting favor"; the lips +were "like the smile of a red flower"; the whole +young face was inexpressibly sweet. If the real +girl so portrayed had been equally lovely, no man +could have looked upon her without losing his +heart. And Tokkei believed that she must have +been thus lovely;—for the figure seemed alive,—ready +to reply to anybody who might speak +to it.</p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_9" id="Footnote_1_9"></a><a href="#FNanchor_1_9"><span class="label">[9]</span> +</a> Also written <i>méjiri</i>,—the exterior canthus of the eye. +The Japanese (like the old Greek and the old Arabian poets) +have many curious dainty words and similes to express +particular beauties of the hair, eyes, eyelids, lips, fingers, +etc.</p> +</div> +</div> + +<div class="blockquot"> +<p class="indent"> +Gradually, as he continued to gaze at the picture, +he felt himself bewitched by the charm of +it. "Can there really have been in this world," +he murmured to himself, "so delicious a creature? +How gladly would I give my life—nay, a thousand +years of life!—to hold her in my arms +<span class="pagenum">[Pg 26]</span> +even for a moment!" (The Japanese author +says "for a few seconds.") In short, he became +enamoured of the picture,—so much enamoured +of it as to feel that he never could love any +woman except the person whom it represented. +Yet that person, if still alive, could no longer +resemble the painting: perhaps she had been +buried long before he was born!</p> + +<p class="indent"> +Day by day, nevertheless, this hopeless passion +grew upon him. He could not eat; he could not +sleep: neither could he occupy his mind with +those studies which had formerly delighted him. +He would sit for hours before the picture, talking +to it,—neglecting or forgetting everything else. +And at last he fell sick—so sick that he believed +himself going to die.</p> + +<p class="indent"> +Now among the friends of Tokkei there was +one venerable scholar who knew many strange +things about old pictures and about young hearts. +This aged scholar, hearing of Tokkei's illness, +came to visit him, and saw the screen, and understood +what had happened. Then Tokkei, being +questioned, confessed everything to his friend, +and declared:—"If I cannot find such a woman, +I shall die."</p> + +<p class="indent"> +<span class="pagenum">[Pg 27]</span> +The old man said:—</p> + +<p class="indent"> +"That picture was painted by Hishigawa +Kichibei,—painted from life. The person whom +it represented is not now in the world. But it is +said that Hishigawa Kichibei painted her mind as +well as her form, and that her spirit lives in the +picture. So I think that you can win her."</p> + +<p class="indent"> +Tokkei half rose from his bed, and stared +eagerly at the speaker.</p> + +<p class="indent"> +"You must give her a name," the old man +continued;—"and you must sit before her picture +every day, and keep your thoughts constantly +fixed upon her, and call her gently by the name +which you have given her, <i>until she answers +you</i>...."</p> + +<p class="indent"> +"Answers me!" exclaimed the lover, in +breathless amazement.</p> + +<p class="indent"> +"Oh, yes," the adviser responded, "she will +certainly answer you. But you must be ready, +when she answers you, to present her with what +I am going to tell you...."</p> + +<p class="indent"> +"I will give her my life!" cried Tokkei.</p> + +<p class="indent"> +"No," said the old man;—"you will present +her with a cup of wine that has been bought at +one hundred different wine-shops. Then she will +come out of the screen to accept the wine. After +<span class="pagenum">[Pg 28]</span> +that, probably she herself will tell you what +to do."</p> + +<p class="indent"> +With these words the old man went away. +His advice aroused Tokkei from despair. At +once he seated himself before the picture, and +called it by the name of a girl—(what name the +Japanese narrator has forgotten to tell us)—over +and over again, very tenderly. That day it +made no answer, nor the next day, nor the next. +But Tokkei did not lose faith or patience; and +after many days it suddenly one evening answered +to its name,—</p> + +<p class="indent"> +"<i>Hai!</i>" (Yes.)</p> + +<p class="indent"> +Then quickly, quickly, some of the wine from +a hundred different wine-shops was poured out, +and reverentially presented in a little cup. And +the girl stepped from the screen, and walked +upon the matting of the room, and knelt to +take the cup from Tokkei's hand,—asking, with +a delicious smile:—</p> + +<p class="indent"> +"How could you love me so much?"</p> + +<p class="indent"> +Says the Japanese narrator: "She was much +more beautiful than the picture,—beautiful to +the tips of her finger-nails,—beautiful also in +heart and temper,—lovelier than anybody else +in the world." What answer Tokkei made to +<span class="pagenum">[Pg 29]</span> +her question is not recorded: it will have to be +imagined.</p> + +<p class="indent"> +"But will you not soon get tired of me?" she +asked.</p> + +<p class="indent"> +"Never while I live!" he protested.</p> + +<p class="indent"> +"And after—?" she persisted;—for the +Japanese bride is not satisfied with love for one +life-time only.</p> + +<p class="indent"> +"Let us pledge ourselves to each other," he +entreated, "for the time of seven existences."</p> + +<p class="indent"> +"If you are ever unkind to me," she said, "I +will go back to the screen."</p> + +<hr /> + +<p class="indent"> +They pledged each other. I suppose that +Tokkei was a good boy,—for his bride never +returned to the screen. The space that she had +occupied upon it remained a blank.</p> +</div> + +<hr /> + +<p class="indent"> +Exclaims the Japanese author,—</p> + +<p class="indent"> +"How very seldom do such things happen in +this world!"</p> + +<hr class="hr2"/> +<h1>The Corpse-Rider<a name="FNanchor_1_10" id="FNanchor_1_10"></a><a href="#Footnote_1_10" class="fnanchor">[10]</a></h1> + +<div class="figcenter" style="width: 54px;"> +<img src="images/dec2.jpg" width="54" height="57" alt="decloration2" title="decloration2" /> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_10" id="Footnote_1_10"></a><a href="#FNanchor_1_10"><span class="label">[10]</span> +</a> From the <i>Konséki-Monogatari</i></p> +</div> +</div> + +<hr class="hr2"/> + +<p class="indent"> +<span class="pagenum">[Pg 33]</span> +</p> + +<h2><a name="The_Corpse-Rider" id="The_Corpse-Rider"></a>The Corpse-Rider</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<p class="cap">THE body was cold as ice; the heart had +long ceased to beat: yet there were no +other signs of death. Nobody even spoke +of burying the woman. She had died of grief +and anger at having been divorced. It would +have been useless to bury her,—because the last +undying wish of a dying person for vengeance +can burst asunder any tomb and rift the heaviest +graveyard stone. People who lived near the +house in which she was lying fled from their +homes. They knew that she was only <i>waiting +for the return of the man who had divorced her</i>.</p> + +<p class="indent"> +At the time of her death he was on a journey. +When he came back and was told what had happened, +terror seized him. "If I can find no help +before dark," he thought to himself, "she will +tear me to pieces." It was yet only the Hour of +<span class="pagenum">[Pg 34]</span> +the Dragon;<a name="FNanchor_1_11" id="FNanchor_1_11"></a><a href="#Footnote_1_11" class="fnanchor">[11]</a> but he knew that he had no time +to lose.</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_11" id="Footnote_1_11"></a><a href="#FNanchor_1_11"><span class="label">[11]</span> +</a> <i>Tatsu no Koku</i>, or the Hour of the Dragon, by old +Japanese time, began at about eight o'clock in the morning.</p> +</div> +</div> + +<p class="indent"> +He went at once to an <i>inyōshi</i><a name="FNanchor_2_12" id="FNanchor_2_12"></a><a href="#Footnote_2_12" class="fnanchor">[12]</a> and begged for +succor. The <i>inyōshi</i> knew the story of the dead +woman; and he had seen the body. He said to +the supplicant:—"A very great danger threatens +you. I will try to save you. But you must +promise to do whatever I shall tell you to do. +There is only one way by which you can be +saved. It is a fearful way. But unless you find +the courage to attempt it, she will tear you limb +from limb. If you can be brave, come to me +again in the evening before sunset." The man +shuddered; but he promised to do whatever +should be required of him.</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_12" id="Footnote_2_12"></a><a href="#FNanchor_2_12"><span class="label">[12]</span> +</a> <i>Inyōshi</i>, a professor or master of the science of <i>in-yō</i>,—the +old Chinese nature-philosophy, based upon the +theory of a male and a female principle pervading the +universe.</p> +</div> +</div> + +<hr /> + +<p class="indent"> +At sunset the <i>inyōshi</i> went with him to the +house where the body was lying. The <i>inyōshi</i> +pushed open the sliding-doors, and told his client +to enter. It was rapidly growing dark. "I dare +<span class="pagenum">[Pg 35]</span> +not!" gasped the man, quaking from head to +foot;—"I dare not even look at her!" "You +will have to do much more than look at her," +declared the <i>inyōshi</i>;—"and you promised to +obey. Go in!" He forced the trembler into +the house and led him to the side of the corpse.</p> + +<hr /> + +<p class="indent"> +The dead woman was lying on her face. +"Now you must get astride upon her," said the +<i>inyōshi</i>, "and sit firmly on her back, as if you +were riding a horse.... Come!—you must do +it!" The man shivered so that the <i>inyōshi</i> had +to support him—shivered horribly; but he +obeyed. "Now take her hair in your hands," +commanded the <i>inyōshi</i>,—"half in the right +hand, half in the left.... So!... You must +grip it like a bridle. Twist your hands in it—both +hands—tightly. That is the way!... +Listen to me! You must stay like that till morning. +You will have reason to be afraid in the +night—plenty of reason. But whatever may +happen, never let go of her hair. If you let go,—even +for one second,—she will tear you into +gobbets!"</p> + +<p class="indent"> +The <i>inyōshi</i> then whispered some mysterious +words into the ear of the body, and said to its +<span class="pagenum">[Pg 36]</span> +rider:—"Now, for my own sake, I must leave +you alone with her.... Remain as you are!... Above +all things, remember that you must +not let go of her hair." And he went away,—closing +the doors behind him.</p> + +<hr /> + +<p class="indent"> +Hour after hour the man sat upon the corpse in +black fear;—and the hush of the night deepened +and deepened about him till he screamed to break +it. Instantly the body sprang beneath him, as to +cast him off; and the dead woman cried out +loudly, "Oh, how heavy it is! Yet I shall bring +that fellow here now!"</p> + +<p class="indent"> +Then tall she rose, and leaped to the doors, +and flung them open, and rushed into the night,—always +bearing the weight of the man. But +he, shutting his eyes, kept his hands twisted +in her long hair,—tightly, tightly,—though +fearing with such a fear that he could not even +moan. How far she went, he never knew. +He saw nothing: he heard only the sound of +her naked feet in the dark,—<i>picha-picha</i>, +<i>picha-picha</i>,—and the hiss of her breathing as +she ran.</p> + +<p class="indent"> +At last she turned, and ran back into the +house, and lay down upon the floor exactly as +<span class="pagenum">[Pg 37]</span> +at first. Under the man she panted and moaned +till the cocks began to crow. Thereafter she lay +still.</p> + +<p class="indent"> +But the man, with chattering teeth, sat upon +her until the <i>inyōshi</i> came at sunrise. "So you +did not let go of her hair!"—observed the <i>inyōshi</i>, +greatly pleased. "That is well ... Now +you can stand up." He whispered again into the +ear of the corpse, and then said to the man:—"You +must have passed a fearful night; but +nothing else could have saved you. Hereafter +you may feel secure from her vengeance."</p> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec4.jpg" width="50" height="43" alt="three dots" title="three dots" /> +</div> + +<p class="indent"> +The conclusion of this story I do not think to +be morally satisfying. It is not recorded that the +corpse-rider became insane, or that his hair turned +white: we are told only that "he worshipped the +<i>inyōshi</i> with tears of gratitude." A note appended +to the recital is equally disappointing. +"It is reported," the Japanese author says, +"that a grandchild of the man [<i>who rode the +corpse</i>] still survives, and that a grandson of +the <i>inyōshi</i> is at this very time living in a village +<span class="pagenum">[Pg 38]</span> +called Otokunoi-mura [<i>probably pronounced +Otonoi-mura</i>]."</p> + +<p class="indent"> +This village-name does not appear in any Japanese +directory of to-day. But the names of +many towns and villages have been changed +since the foregoing story was written.</p> + +<hr class="hr2"/> + +<h1>The Sympathy of Benten<a name="FNanchor_1_13" id="FNanchor_1_13"></a><a href="#Footnote_1_13" class="fnanchor">[13]</a></h1> + +<div class="figcenter" style="width: 54px;"> +<img src="images/dec2.jpg" width="54" height="57" alt="decloration2" title="decloration2" /> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_13" id="Footnote_1_13"></a><a href="#FNanchor_1_13"><span class="label">[13]</span> +</a> The original story is in the <i>Otogi-Hyaku-Monogatari</i></p> +</div> +</div> + +<hr class="hr2"/> + +<p class="indent"> +<span class="pagenum">[Pg 41]</span> +</p> + +<h2><a name="The_Sympathy_of_Benten" id="The_Sympathy_of_Benten"></a>The Sympathy of Benten</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<p class="cap">IN Kyōto there is a famous temple called Amadera. +Sadazumi Shinnō, the fifth son of +the Emperor Seiwa, passed the greater part +of his life there as a priest; and the graves of +many celebrated persons are to be seen in the +temple-grounds.</p> + +<p class="indent"> +But the present edifice is not the ancient Amadera. +The original temple, after the lapse of ten +centuries, fell into such decay that it had to be +entirely rebuilt in the fourteenth year of Genroku +(1701 <span class="smcap">a. d.</span>).</p> + +<p class="indent"> +A great festival was held to celebrate the rebuilding +of the Amadera; and among the thousands +of persons who attended that festival there +was a young scholar and poet named Hanagaki +Baishū. He wandered about the newly-laid-out +grounds and gardens, delighted by all that he saw, +until he reached the place of a spring at which he +<span class="pagenum">[Pg 42]</span> +had often drunk in former times. He was then +surprised to find that the soil about the spring +had been dug away, so as to form a square pond, +and that at one corner of this pond there had +been set up a wooden tablet bearing the words +<i>Tanjō-Sui</i> ("Birth-Water").<a name="FNanchor_1_14" id="FNanchor_1_14"></a><a href="#Footnote_1_14" class="fnanchor">[14]</a> He also saw +that a small, but very handsome temple of the +Goddess Benten had been erected beside the +pond. While he was looking at this new temple, +a sudden gust of wind blew to his feet a <i>tanzaku</i>,<a name="FNanchor_2_15" id="FNanchor_2_15"></a><a href="#Footnote_2_15" class="fnanchor">[15]</a> +on which the following poem had been +written:—</p> + +<div class="blockquot"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Shirushi aréto</span><br /> +Iwai zo somuru<br /> +<span style="margin-left: 1em;">Tama hōki,</span><br /> +Toruté bakari no<br /> +Chigiri narétomo. +</p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_14" id="Footnote_1_14"></a><a href="#FNanchor_1_14"><span class="label">[14]</span> +</a> The word <i>tanjō</i> (birth) should here be understood in +its mystical Buddhist meaning of new life or rebirth, rather +than in the western signification of birth.</p> +</div> + +<div class="footnote"><p><a name="Footnote_2_15" id="Footnote_2_15"></a><a href="#FNanchor_2_15"><span class="label">[15]</span> +</a> <i>Tanzaku</i> is the name given to the long strips or ribbons +of paper, usually colored, upon which poems are +written perpendicularly. Poems written upon <i>tanzaku</i> are +suspended to trees in flower, to wind-bells, to any beautiful +object in which the poet has found an inspiration.</p> +</div> +</div> + +<p class="indent"> +This poem—a poem on first love (<i>hatsu koi</i>), +composed by the famous Shunrei Kyō—was not +<span class="pagenum">[Pg 43]</span> +unfamiliar to him; but it had been written +upon the <i>tanzaku</i> by a female hand, and so +exquisitely that he could scarcely believe his +eyes. Something in the form of the characters,—an +indefinite grace,—suggested that period +of youth between childhood and womanhood; +and the pure rich color of the ink seemed to +bespeak the purity and goodness of the writer's +heart.<a name="FNanchor_1_16" id="FNanchor_1_16"></a><a href="#Footnote_1_16" class="fnanchor">[16]</a></p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_16" id="Footnote_1_16"></a><a href="#FNanchor_1_16"><span class="label">[16]</span> +</a> It is difficult for the inexperienced European eye to +distinguish in Chinese or Japanese writing those characteristics +implied by our term "hand"—in the sense of individual +style. But the Japanese scholar never forgets the +peculiarities of a handwriting once seen; and he can even +guess at the approximate age of the writer. Chinese and +Japanese authors claim that the color (quality) of the ink +used tells something of the character of the writer. As +every person grounds or prepares his or her own ink, the +deeper and clearer black would at least indicate something +of personal carefulness and of the sense of beauty.</p> +</div> +</div> + +<p class="indent"> +Baishū carefully folded up the <i>tanzaku</i>, and +took it home with him. When he looked at it +again the writing appeared to him even more +wonderful than at first. His knowledge in caligraphy +assured him only that the poem had been +written by some girl who was very young, very +intelligent, and probably very gentle-hearted. +<span class="pagenum">[Pg 44]</span> +But this assurance sufficed to shape within his +mind the image of a very charming person; and +he soon found himself in love with the unknown. +Then his first resolve was to seek out the writer +of the verses, and, if possible, make her his wife.... +Yet how was he to find her? Who was +she? Where did she live? Certainly he could +hope to find her only through the favor of the +Gods.</p> + +<p class="indent"> +But presently it occurred to him that the +Gods might be very willing to lend their aid. +The <i>tanzaku</i> had come to him while he was +standing in front of the temple of Benten-Sama; +and it was to this divinity in particular that lovers +were wont to pray for happy union. This reflection +impelled him to beseech the Goddess for +assistance. He went at once to the temple of +Benten-of-the-Birth-Water (<i>Tanjō-sui-no-Benten</i>) +in the grounds of the Amadera; and there, +with all the fervor of his heart, he made his +petition:—"O Goddess, pity me!—help me +to find where the young person lives who wrote +the <i>tanzaku</i>!—vouchsafe me but one chance to +meet her,—even if only for a moment!" And +after having made this prayer, he began to perform +a seven days' religious service (<i>nanuka-mairi</i>)<a name="FNanchor_1_17" id="FNanchor_1_17"></a><a href="#Footnote_1_17" class="fnanchor">[17] +</a> +<span class="pagenum">[Pg 45]</span> +in honor of the Goddess; vowing at +the same time to pass the seventh night in ceaseless +worship before her shrine.</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_17" id="Footnote_1_17"></a><a href="#FNanchor_1_17"><span class="label">[17]</span> +</a> There are many kinds of religious exercises called +<i>mairi</i>. The performer of a <i>nanuka-mairi</i> pledges himself +to pray at a certain temple every day for seven days in +succession.</p> +</div> +</div> + +<hr /> + +<p class="indent"> +Now on the seventh night,—the night of his +vigil,—during the hour when the silence is most +deep, he heard at the main gateway of the temple-grounds +a voice calling for admittance. Another +voice from within answered; the gate was opened; +and Baishū saw an old man of majestic appearance +approaching with slow steps. This venerable +person was clad in robes of ceremony; and +he wore upon his snow-white head a black cap +(<i>eboshi</i>) of the form indicating high rank. +Reaching the little temple of Benten, he knelt +down in front of it, as if respectfully awaiting +some order. Then the outer door of the temple +was opened; the hanging curtain of bamboo +behind it, concealing the inner sanctuary, was +rolled half-way up; and a <i>chigo</i><a name="FNanchor_2_18" id="FNanchor_2_18"></a><a href="#Footnote_2_18" class="fnanchor">[18]</a> came forward,—a +<span class="pagenum">[Pg 46]</span> +beautiful boy, with long hair tied back in +the ancient manner. He stood at the threshold, +and said to the old man in a clear loud voice:—</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_18" id="Footnote_2_18"></a><a href="#FNanchor_2_18"><span class="label">[18]</span> +</a> The term <i>chigo</i> usually means the page of a noble +household, especially an Imperial page. The <i>chigo</i> who +appears in this story is of course a supernatural being,—the +court-messenger of the Goddess, and her mouthpiece.</p> +</div> +</div> + +<p class="indent"> +"There is a person here who has been praying +for a love-union not suitable to his present condition, +and otherwise difficult to bring about. +But as the young man is worthy of Our pity, you +have been called to see whether something can +be done for him. If there should prove to be +any relation between the parties from the period +of a former birth, you will introduce them to +each other."</p> + +<p class="indent"> +On receiving this command, the old man +bowed respectfully to the <i>chigo</i>: then, rising, he +drew from the pocket of his long left sleeve a +crimson cord. One end of this cord he passed +round Baishū's body, as if to bind him with it. +The other end he put into the flame of one of +the temple-lamps; and while the cord was there +burning, he waved his hand three times, as if to +summon somebody out of the dark.</p> + +<p class="indent"> +Immediately, in the direction of the Amadera, a +sound of coming steps was heard; and in another +<span class="pagenum">[Pg 47]</span> +moment a girl appeared,—a charming girl, fifteen +or sixteen years old. She approached gracefully, +but very shyly,—hiding the lower part of +her face with a fan; and she knelt down beside +Baishū. The <i>chigo</i> then said to Baishū:—</p> + +<p class="indent"> +"Recently you have been suffering much +heart-pain; and this desperate love of yours +has even impaired your health. We could not +allow you to remain in so unhappy a condition; +and We therefore summoned the Old-Man-under-the-Moon<a name="FNanchor_1_19" id="FNanchor_1_19"></a><a href="#Footnote_1_19" class="fnanchor">[19]</a> +to make you acquainted +with the writer of that <i>tanzaku</i>. She is now +beside you."</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_19" id="Footnote_1_19"></a><a href="#FNanchor_1_19"><span class="label">[19]</span> +</a> <i>Gekkawō</i>. This is a poetical appellation for the +God of Marriage, more usually known as <i>Musubi-no-kami</i>. +Throughout this story there is an interesting mingling of +Shintō and Buddhist ideas.</p> +</div> +</div> + +<p class="indent"> +With these words, the <i>chigo</i> retired behind the +bamboo curtain. Then the old man went away +as he had come; and the young girl followed +him. Simultaneously Baishū heard the great bell +of the Amadera sounding the hour of dawn. He +prostrated himself in thanksgiving before the +shrine of Benten-of-the-Birth-Water, and proceeded +homeward,—feeling as if awakened from +some delightful dream,—happy at having seen +<span class="pagenum">[Pg 48]</span> +the charming person whom he had so fervently +prayed to meet,—unhappy also because of the +fear that he might never meet her again.</p> + +<p class="indent"> +But scarcely had he passed from the gateway +into the street, when he saw a young girl walking +alone in the same direction that he was going; +and, even in the dusk of the dawn, he recognized +her at once as the person to whom he had been +introduced before the temple of Benten. As he +quickened his pace to overtake her, she turned +and saluted him with a graceful bow. Then for +the first time he ventured to speak to her; and +she answered him in a voice of which the sweetness +filled his heart with joy. Through the yet +silent streets they walked on, chatting happily, +till they found themselves before the house +where Baishū lived. There he paused—spoke +to the girl of his hopes and fears. Smiling, she +asked:—"Do you not know that I was sent for +to become your wife?" And she entered with +him.</p> + +<hr /> + +<p class="indent"> +Becoming his wife, she delighted him beyond +expectation by the charm of her mind and heart. +Moreover, he found her to be much more accomplished +than he had supposed. Besides being +<span class="pagenum">[Pg 49]</span> +able to write so wonderfully, she could paint +beautiful pictures; she knew the art of arranging +flowers, the art of embroidery, the art of +music; she could weave and sew; and she knew +everything in regard to the management of +a house.</p> + +<hr /> + +<p class="indent"> +It was in the early autumn that the young +people had met; and they lived together in +perfect accord until the winter season began. +Nothing, during those months, occurred to disturb +their peace. Baishū's love for his gentle +wife only strengthened with the passing of time. +Yet, strangely enough, he remained ignorant of +her history,—knew nothing about her family. +Of such matters she had never spoken; and, +as the Gods had given her to him, he imagined +that it would not be proper to question her. But +neither the Old-Man-under-the-Moon nor any +one else came—as he had feared—to take her +away. Nobody even made any inquiries about +her. And the neighbors, for some undiscoverable +reason, acted as if totally unaware of her +presence.</p> + +<p class="indent"> +Baishū wondered at all this. But stranger +experiences were awaiting him.</p> + +<p class="indent"> +<span class="pagenum">[Pg 50]</span> +One winter morning he happened to be passing +through a somewhat remote quarter of the +city, when he heard himself loudly called by +name, and saw a man-servant making signs to +him from the gateway of a private residence. +As Baishū did not know the man's face, and did +not have a single acquaintance in that part of +Kyōto, he was more than startled by so abrupt a +summons. But the servant, coming forward, +saluted him with the utmost respect, and said, +"My master greatly desires the honor of speaking +with you: deign to enter for a moment." After +an instant of hesitation, Baishū allowed himself +to be conducted to the house. A dignified +and richly dressed person, who seemed to be +the master, welcomed him at the entrance, and +led him to the guest-room. When the courtesies +due upon a first meeting had been fully +exchanged, the host apologized for the informal +manner of his invitation, and said:—</p> + +<p class="indent"> +"It must have seemed to you very rude of us +to call you in such a way. But perhaps you will +pardon our impoliteness when I tell you that we +acted thus upon what I firmly believe to have +been an inspiration from the Goddess Benten. +Now permit me to explain.</p> + +<p class="indent"> +<span class="pagenum">[Pg 51]</span> +"I have a daughter, about sixteen years old, +who can write rather well,<a name="FNanchor_1_20" id="FNanchor_1_20"></a><a href="#Footnote_1_20" class="fnanchor">[20]</a> and do other things +in the common way: she has the ordinary nature +of woman. As we were anxious to make her +happy by finding a good husband for her, we +prayed the Goddess Benten to help us; and we +sent to every temple of Benten in the city a +<i>tanzaku</i> written by the girl. Some nights later, +the Goddess appeared to me in a dream, and +said: 'We have heard your prayer, and have +already introduced your daughter to the person +who is to become her husband. During the +coming winter he will visit you.' As I did not +understand this assurance that a presentation had +been made, I felt some doubt; I thought that +the dream might have been only a common +dream, signifying nothing. But last night again +I saw Benten-Sama in a dream; and she said to +me: 'To-morrow the young man, of whom I +<span class="pagenum">[Pg 52]</span> +once spoke to you, will come to this street: then +you can call him into your house, and ask him +to become the husband of your daughter. He +is a good young man; and later in life he will +obtain a much higher rank than he now holds.' +Then Benten-Sama told me your name, your +age, your birthplace, and described your features +and dress so exactly that my servant found no +difficulty in recognizing you by the indications +which I was able to give him."</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_20" id="Footnote_1_20"></a><a href="#FNanchor_1_20"><span class="label">[20]</span> +</a> As it is the old Japanese rule that parents should +speak depreciatingly of their children's accomplishments +the phrase "rather well" in this connection would mean, +for the visitor, "wonderfully well." For the same reason +the expressions "common way" and "ordinary nature," +as subsequently used, would imply almost the reverse of +the literal meaning.</p> +</div> +</div> + +<hr /> + +<p class="indent"> +This explanation bewildered Baishū instead of +reassuring him; and his only reply was a formal +return of thanks for the honor which the master +of the house had spoken of doing him. But +when the host invited him to another room, for +the purpose of presenting him to the young +lady, his embarrassment became extreme. Yet +he could not reasonably decline the introduction. +He could not bring himself, under such +extraordinary circumstances, to announce that he +already had a wife,—a wife given to him by +the Goddess Benten herself; a wife from whom +he could not even think of separating. So, in +silence and trepidation, he followed his host to +the apartment indicated.</p> + +<p class="indent"> +<span class="pagenum">[Pg 53]</span> +Then what was his amazement to discover, +when presented to the daughter of the house, +that she was the very same person whom he +had already taken to wife!</p> + +<p class="indent"> +<i>The same,—yet not the same.</i></p> + +<p class="indent"> +She to whom he had been introduced by the +Old-Man-under-the-Moon, was only the soul of +the beloved.</p> + +<p class="indent"> +She to whom he was now to be wedded, in +her father's house, was the body.</p> + +<p class="indent"> +Benten had wrought this miracle for the sake +of her worshippers.</p> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec4.jpg" width="50" height="43" alt="three dots" title="three dots" /> +</div> + +<p class="indent"> +The original story breaks off suddenly at this +point, leaving several matters unexplained. The +ending is rather unsatisfactory. One would like +to know something about the mental experiences +of the real maiden during the married life +of her phantom. One would also like to know +what became of the phantom,—whether it +continued to lead an independent existence; +whether it waited patiently for the return of +its husband; whether it paid a visit to the real +bride. And the book says nothing about these +<span class="pagenum">[Pg 54]</span> +things. But a Japanese friend explains the +miracle thus:—</p> + +<p class="indent"> +"The spirit-bride was really formed out of the +<i>tanzaku</i>. So it is possible that the real girl did +not know anything about the meeting at the +temple of Benten. When she wrote those beautiful +characters upon the <i>tanzaku</i>, something of +her spirit passed into them. Therefore it was +possible to evoke from the writing the double +of the writer."</p> + +<hr class="hr2"/> +<h1>The Gratitude of the Samébito<a name="FNanchor_1_21" id="FNanchor_1_21"></a><a href="#Footnote_1_21" class="fnanchor">[21]</a></h1> + +<div class="figcenter" style="width: 54px;"> +<img src="images/dec2.jpg" width="54" height="57" alt="decloration2" title="decloration2" /> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_21" id="Footnote_1_21"></a><a href="#FNanchor_1_21"><span class="label">[21]</span> +</a> The original of this story may be found in the book called +<i>Kibun-Anbaiyoshi</i></p> +</div> +</div> + +<hr class="hr2"/> + +<p class="indent"> +<span class="pagenum">[Pg 57]</span> +</p> + +<h2><a name="The_Gratitude_of_the_Samebito" id="The_Gratitude_of_the_Samebito"></a>The Gratitude of the Samébito</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<p class="cap">THERE was a man named Tawaraya Tōtarō, +who lived in the Province of Ōmi. His +house was situated on the shore of Lake +Biwa, not far from the famous temple called +Ishiyamadera. He had some property, and +lived in comfort; but at the age of twenty-nine +he was still unmarried. His greatest ambition +was to marry a very beautiful woman; and he +had not been able to find a girl to his liking.</p> + +<p class="indent"> +One day, as he was passing over the Long Bridge +of Séta,<a name="FNanchor_1_22" id="FNanchor_1_22"></a><a href="#Footnote_1_22" class="fnanchor">[22]</a> +he saw a strange being crouching close +to the parapet. The body of this being resembled +<span class="pagenum">[Pg 58]</span> +the body of a man, but was black as ink; its +face was like the face of a demon; its eyes were +green as emeralds; and its beard was like the +beard of a dragon. Tōtarō was at first very +much startled. But the green eyes looked at +him so gently that after a moment's hesitation +he ventured to question the creature. Then it +answered him, saying: "I am a <i>Samébito</i>,<a name="FNanchor_1_23" id="FNanchor_1_23"></a><a href="#Footnote_1_23" class="fnanchor">[23]</a>—a +Shark-Man of the sea; and until a short time +ago I was in the service of the Eight Great +Dragon-Kings [<i>Hachi-Dai-Ryū-Ō</i>] as a subordinate +officer in the Dragon-Palace [<i>Ryūgū</i>].<a name="FNanchor_2_24" id="FNanchor_2_24"></a><a href="#Footnote_2_24" class="fnanchor">[24]</a> +But because of a small fault which I committed, +I was dismissed from the Dragon-Palace, and +also banished from the Sea. Since then I have +been wandering about here,—unable to get any +food, or even a place to lie down. If you can +<span class="pagenum">[Pg 59]</span> +feel any pity for me, do, I beseech you, help me +to find a shelter, and let me have something to +eat!"</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_22" id="Footnote_1_22"></a><a href="#FNanchor_1_22"><span class="label">[22]</span> +</a> The Long Bridge of Séta (<i>Séta-no-Naga-Hashi</i>), famous +in Japanese legend, is nearly eight hundred feet in length, and +commands a beautiful view. This bridge crosses the waters +of the Sétagawa near the junction of the stream with Lake +Biwa. Ishiyamadera, one of the most picturesque Buddhist +temples in Japan, is situated within a short distance from +the bridge.</p> +</div> + +<div class="footnote"><p><a name="Footnote_1_23" id="Footnote_1_23"></a><a href="#FNanchor_1_23"><span class="label">[23]</span> +</a> Literally, "a Shark-Person," but in this story the +<i>Samébito</i> is a male. The characters for <i>Samébito</i> can also be +read <i>Kōjin</i>,—which is the usual reading. In dictionaries +the word is loosely rendered by "merman" or "mermaid;" +but as the above description shows, the <i>Samébito</i> +or <i>Kōjin</i> of the Far East is a conception having little in +common with the Western idea of a merman or mermaid.</p> +</div> + +<div class="footnote"><p><a name="Footnote_2_24" id="Footnote_2_24"></a><a href="#FNanchor_2_24"><span class="label">[24]</span> +</a> <i>Ryūgū</i> is also the name given to the whole of that +fairy-realm beneath the sea which figures in so many +Japanese legends.</p> +</div> +</div> + +<p class="indent"> +This petition was uttered in so plaintive a +tone, and in so humble a manner, that Tōtarō's +heart was touched. "Come with me," he said. +"There is in my garden a large and deep pond +where you may live as long as you wish; and I +will give you plenty to eat."</p> + +<p class="indent"> +The <i>Samébito</i> followed Tōtarō home, and appeared +to be much pleased with the pond.</p> + +<p class="indent"> +Thereafter, for nearly half a year, this strange +guest dwelt in the pond, and was every day supplied +by Tōtarō with such food as sea-creatures +like.</p> + +<div class="blockquot"><p class="indent"> +<span style="font-size: smaller">[<i>From this point of the original narrative the Shark-Man is +referred to, not as a monster, but as a sympathetic Person of +the male sex.</i>]</span></p> +</div> + +<p class="indent"> +Now, in the seventh month of the same year, +there was a female pilgrimage (<i>nyonin-mōdé</i>) to +the great Buddhist temple called Miidera, in the +neighboring town of Ōtsu; and Tōtarō went to +Ōtsu to attend the festival. Among the multitude +of women and young girls there assembled, +he observed a person of extraordinary beauty. +She seemed about sixteen years old; her face was +<span class="pagenum">[Pg 60]</span> +fair and pure as snow; and the loveliness of her +lips assured the beholder that their every utterance +would sound "as sweet as the voice of a +nightingale singing upon a plum-tree." Tōtarō +fell in love with her at sight. When she left the +temple he followed her at a respectful distance, +and discovered that she and her mother were +staying for a few days at a certain house in the +neighboring village of Séta. By questioning +some of the village folk, he was able also to +learn that her name was Tamana; that she was +unmarried; and that her family appeared to be +unwilling that she should marry a man of ordinary +rank,—for they demanded as a betrothal-gift +a casket containing ten thousand jewels.<a name="FNanchor_1_25" id="FNanchor_1_25"></a><a href="#Footnote_1_25" class="fnanchor">[25]</a></p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_25" id="Footnote_1_25"></a><a href="#FNanchor_1_25"><span class="label">[25]</span> +</a> <i>Tama</i> in the original. This word <i>tama</i> has a multitude +of meanings; and as here used it is quite as indefinite as our +own terms "jewel," "gem," or "precious stone." Indeed, +it is more indefinite, for it signifies also a bead of coral, a +ball of crystal, a polished stone attached to a hairpin, etc., +etc. Later on, however, I venture to render it by "ruby,"—for +reasons which need no explanation.</p> +</div> +</div> + +<hr /> + +<p class="indent"> +Tōtarō returned home very much dismayed by +this information. The more that he thought about +the strange betrothal-gift demanded by the girl's +parents, the more he felt that he could never +<span class="pagenum">[Pg 61]</span> +expect to obtain her for his wife. Even supposing +that there were as many as ten thousand +jewels in the whole country, only a great prince +could hope to procure them.</p> + +<p class="indent"> +But not even for a single hour could Tōtarō +banish from his mind the memory of that beautiful +being. It haunted him so that he could +neither eat nor sleep; and it seemed to become +more and more vivid as the days went by. And +at last he became ill,—so ill that he could not +lift his head from the pillow. Then he sent for +a doctor.</p> + +<p class="indent"> +The doctor, after having made a careful examination, +uttered an exclamation of surprise. "Almost +any kind of sickness," he said, "can be +cured by proper medical treatment, except the +sickness of love. Your ailment is evidently love-sickness. +There is no cure for it. In ancient +times Rōya-Ō Hakuyo died of that sickness; and +you must prepare yourself to die as he died." +So saying, the doctor went away, without even +giving any medicine to Tōtarō.</p> + +<hr /> + +<p class="indent"> +About this time the Shark-Man that was living +in the garden-pond heard of his master's sickness, +and came into the house to wait upon Tōtarō. +<span class="pagenum">[Pg 62]</span> +And he tended him with the utmost affection +both by day and by night. But he did not know +either the cause or the serious nature of the sickness +until nearly a week later, when Tōtarō, +thinking himself about to die, uttered these words +of farewell:—</p> + +<p class="indent"> +"I suppose that I have had the pleasure of +caring for you thus long, because of some relation +that grew up between us in a former state of +existence. But now I am very sick indeed, and +every day my sickness becomes worse; and my +life is like the morning dew which passes away +before the setting of the sun. For your sake, +therefore, I am troubled in mind. Your existence +has depended upon my care; and I fear that +there will be no one to care for you and to feed +you when I am dead.... My poor friend!... +Alas! our hopes and our wishes are always disappointed +in this unhappy world!"</p> + +<p class="indent"> +No sooner had Tōtarō spoken these words +than the Samébito uttered a strange wild cry of +pain, and began to weep bitterly. And as he +wept, great tears of blood streamed from his +green eyes and rolled down his black cheeks and +dripped upon the floor. And, falling, they were +blood; but, having fallen, they became hard and +<span class="pagenum">[Pg 63]</span> +bright and beautiful,—became jewels of inestimable +price, rubies splendid as crimson fire. For +when men of the sea weep, their tears become +precious stones.</p> + +<p class="indent"> +Then Tōtarō, beholding this marvel, was so +amazed and overjoyed that his strength returned +to him. He sprang from his bed, and began to +pick up and to count the tears of the Shark-Man, +crying out the while: "My sickness is cured! +I shall live! I shall live!"</p> + +<p class="indent"> +Therewith, the Shark-Man, greatly astonished, +ceased to weep, and asked Tōtarō to explain this +wonderful cure; and Tōtarō told him about the +young person seen at Miidera, and about the +extraordinary marriage-gift demanded by her +family. "As I felt sure," added Tōtarō, "that +I should never be able to get ten thousand jewels, +I supposed that my suit would be hopeless. +Then I became very unhappy, and at last fell +sick. But now, because of your generous weeping, +I have many precious stones; and I think +that I shall be able to marry that girl. Only—there +are not yet quite enough stones; and I +beg that you will be good enough to weep a +little more, so as to make up the full number +required."</p> + +<p class="indent"> +<span class="pagenum">[Pg 64]</span> +But at this request the Samébito shook his +head, and answered in a tone of surprise and of +reproach:—</p> + +<p class="indent"> +"Do you think that I am like a harlot,—able +to weep whenever I wish? Oh, no! Harlots shed +tears in order to deceive men; but creatures of the +sea cannot weep without feeling real sorrow. I +wept for you because of the true grief that I felt +in my heart at the thought that you were going +to die. But now I cannot weep for you, because +you have told me that your sickness is cured."</p> + +<p class="indent"> +"Then what am I to do?" plaintively asked +Tōtarō. "Unless I can get ten thousand jewels, +I cannot marry the girl!"</p> + +<p class="indent"> +The Samébito remained for a little while silent, +as if thinking. Then he said:—</p> + +<p class="indent"> +"Listen! To-day I cannot possibly weep any +more. But to-morrow let us go together to the +Long Bridge of Séta, taking with us some +wine and some fish. We can rest for a time on +the bridge; and while we are drinking the wine +and eating the fish, I shall gaze in the direction +of the Dragon-Palace, and try, by thinking of +the happy days that I spent there, to make myself +feel homesick—so that I can weep."</p> + +<p class="indent"> +Tōtarō joyfully assented.</p> + +<p class="indent"> +<span class="pagenum">[Pg 65]</span> +Next morning the two, taking plenty of wine +and fish with them, went to the Séta bridge, and +rested there, and feasted. After having drunk a +great deal of wine, the Samébito began to gaze +in the direction of the Dragon-Kingdom, and to +think about the past. And gradually, under the +softening influence of the wine, the memory of +happier days filled his heart with sorrow, and the +pain of homesickness came upon him, so that he +could weep profusely. And the great red tears +that he shed fell upon the bridge in a shower of +rubies; and Tōtarō gathered them as they fell, +and put them into a casket, and counted them +until he had counted the full number of ten +thousand. Then he uttered a shout of joy.</p> + +<p class="indent"> +Almost in the same moment, from far away +over the lake, a delightful sound of music was +heard; and there appeared in the offing, slowly +rising from the waters, like some fabric of cloud, +a palace of the color of the setting sun.</p> + +<p class="indent"> +At once the Samébito sprang upon the parapet +of the bridge, and looked, and laughed for joy. +Then, turning to Tōtarō, he said:—</p> + +<p class="indent"> +"There must have been a general amnesty +proclaimed in the Dragon-Realm; the Kings are +calling me. So now I must bid you farewell. +<span class="pagenum">[Pg 66]</span> +I am happy to have had one chance of befriending +you in return for your goodness to me."</p> + +<p class="indent"> +With these words he leaped from the bridge; +and no man ever saw him again. But Tōtarō +presented the casket of red jewels to the parents +of Tamana, and so obtained her in marriage.</p> + +<hr class="hr2"/> +<h1>JAPANESE STUDIES</h1> + +<div class="figcenter" style="width: 54px;"> +<img src="images/dec2.jpg" width="54" height="57" alt="decloration2" title="decloration2" /> +</div> + +<div class="blockquot"> +<p class="margin-left16"> +<span style="margin-left: 8em;">... Life ere long</span><br /> +Came on me in the public ways, and bent<br /> +Eyes deeper than of old: Death met I too,<br /> +<span style="margin-left: 4.5em;">And saw the dawn glow through.</span><br /> +<br /> +<span style="margin-left: 9em; font-variant: small-caps;">—George Meredith</span></p> +</div> + +<hr class="hr2"/> +<h1><a name="Semi" id="Semi"></a>Sémi</h1> + +<h2>(CICADĆ)</h2> + +<div class="figcenter" style="width: 54px;"> +<img src="images/dec2.jpg" width="54" height="57" alt="decloration2" title="decloration2" /> +</div> + +<div class="blockquot"> +<p class="margin-left16"> +<span style="margin-left: 2.5em;">Koë ni mina</span><br /> +Naki-shimōté ya—<br /> +<span style="margin-left: 2.5em;">Sémi no kara!</span><br /> +<span style="margin-left: 4.5em;">—<i>Japanese Love-Song</i></span></p> + +<p class="center"> +The voice having been all consumed by crying, there remains only +the shell of the <i>sémi!</i></p> +</div> + +<hr /> + +<div class="figcenter" style="width: 400px;"><a name="Plate_1" id="Plate_1"></a> +<img class="border" src="images/plate1.png" width="400" height="611" alt="PLATE I. +1-2, Young Sémi. +3-4, Haru-Zémi, also called Nawashiro-Zémi." title="PLATE I. +1-2, Young Sémi. +3-4, Haru-Zémi, also called Nawashiro-Zémi." /> +<span class="caption">PLATE I.<br /> +1-2, Young Sémi.<br /> +3-4, Haru-Zémi, also called Nawashiro-Zémi.</span> +</div> + +<hr class="hr2"/> + +<p class="indent"> +<span class="pagenum">[Pg 71]</span> +</p> +<h2>Sémi</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<h3>I</h3> + +<p class="cap">A CELEBRATED Chinese scholar, known in +Japanese literature as Riku-Un, wrote +the following quaint account of the Five +Virtues of the Cicada:—</p> + +<div class="blockquot"><p class="indent"> +"I.—The Cicada has upon its head certain +figures or signs.<a name="FNanchor_1_26" id="FNanchor_1_26"></a><a href="#Footnote_1_26" class="fnanchor">[26]</a> These represent its [written] +characters, style, literature.</p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_26" id="Footnote_1_26"></a><a href="#FNanchor_1_26"><span class="label">[26]</span> +</a> The curious markings on the head of one variety of +Japanese <i>sémi</i> are believed to be characters which are +names of souls.</p> +</div> +</div> + +<div class="blockquot"><p class="indent"> +"II.—It eats nothing belonging to earth, and +drinks only dew. This proves its cleanliness, +purity, propriety.</p> + +<p class="indent"> +"III.—It always appears at a certain fixed +time. This proves its fidelity, sincerity, truthfulness.</p> + +<p class="indent"> +"IV.—It will not accept wheat or rice. This +proves its probity, uprightness, honesty.</p> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 72]</span> +</p> + +<div class="blockquot"><p class="indent"> +"V.—It does not make for itself any nest +to live in. This proves its frugality, thrift, +economy."</p> +</div> + +<hr /> + +<p class="indent"> +We might compare this with the beautiful +address of Anacreon to the cicada, written +twenty-four hundred years ago: on more than +one point the Greek poet and the Chinese sage +are in perfect accord:—</p> + +<div class="blockquot"><p class="indent"> +"<i>We deem thee happy, O Cicada, because, +having drunk, like a king, only a little dew, +thou dost chirrup on the tops of trees. For all +things whatsoever that thou seest in the fields +are thine, and whatsoever the seasons bring +forth. Yet art thou the friend of the tillers of +the land,—from no one harmfully taking aught. +By mortals thou art held in honor as the pleasant +harbinger of summer; and the Muses love +thee. Phœbus himself loves thee, and has given +thee a shrill song. And old age does not consume +thee. O thou gifted one,—earth-born, +song-loving, free from pain, having flesh without +blood,—thou art nearly equal to the +Gods!</i> "<a name="FNanchor_1_27" id="FNanchor_1_27"></a><a href="#Footnote_1_27" class="fnanchor">[27]</a></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_27" id="Footnote_1_27"></a><a href="#FNanchor_1_27"><span class="label">[27]</span> +</a> In this and other citations from the Greek anthology, +I have depended upon Burges' translation.</p> +</div> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 73]</span> +And we must certainly go back to the old +Greek literature in order to find a poetry comparable +to that of the Japanese on the subject +of musical insects. Perhaps of Greek verses on +the cricket, the most beautiful are the lines of +Meleager: "<i>O cricket, the soother of slumber +... weaving the thread of a voice that causes +love to wander away!</i>" ... There are Japanese +poems scarcely less delicate in sentiment on +the chirruping of night-crickets; and Meleager's +promise to reward the little singer with gifts of +fresh leek, and with "drops of dew cut up +small," sounds strangely Japanese. Then the +poem attributed to Anyté, about the little girl +Myro making a tomb for her pet cicada and +cricket, and weeping because Hades, "hard to +be persuaded," had taken her playthings away, +represents an experience familiar to Japanese +child-life. I suppose that little Myro—(how +freshly her tears still glisten, after seven and +twenty centuries!)—prepared that "common +tomb" for her pets much as the little maid of +Nippon would do to-day, putting a small stone +on top to serve for a monument. But the wiser +Japanese Myro would repeat over the grave a +certain Buddhist prayer.</p> + +<p class="indent"> +<span class="pagenum">[Pg 74]</span> +It is especially in their poems upon the cicada +that we find the old Greeks confessing their +love of insect-melody: witness the lines in the +Anthology about the tettix caught in a spider's +snare, and "making lament in the thin fetters" +until freed by the poet;—and the verses by +Leonidas of Tarentum picturing the "unpaid +minstrel to wayfaring men" as "sitting upon +lofty trees, warmed with the great heat of summer, +sipping the dew that is like woman's +milk;"—and the dainty fragment of Meleager, +beginning: "<i>Thou vocal tettix, drunk with +drops of dew, sitting with thy serrated limbs +upon the tops of petals, thou givest out the +melody of the lyre from thy dusky skin</i>." ... +Or take the charming address of Evenus to a +nightingale:—</p> + +<div class="blockquot"><p class="indent"> +"<i>Thou Attic maiden, honey-fed, hast chirping +seized a chirping cicada, and bearest it to +thy unfledged young,—thou, a twitterer, the +twitterer,—thou, the winged, the well-winged,—thou, +a stranger, the stranger,—thou, a +summer-child, the summer-child! Wilt thou +not quickly cast it from thee? For it is not +right, it is not just, that those engaged in song +<span class="pagenum">[Pg 75]</span> +should perish by the mouths of those engaged in +song.</i>"</p> +</div> + +<p class="indent"> +On the other hand, we find Japanese poets +much more inclined to praise the voices of night-crickets +than those of sémi. There are countless +poems about sémi, but very few which commend +their singing. Of course the sémi are +very different from the cicadć known to the +Greeks. Some varieties are truly musical; but +the majority are astonishingly noisy,—so noisy +that their stridulation is considered one of the +great afflictions of summer. Therefore it were +vain to seek among the myriads of Japanese +verses on sémi for anything comparable to the +lines of Evenus above quoted; indeed, the only +Japanese poem that I could find on the subject of +a cicada caught by a bird, was the following:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Ana kanashi!</span><br /> +Tobi ni toraruru<br /> +<span style="margin-left: 1em;">Sémi no koë.</span><br /> +<span style="font-variant: small-caps; margin-left: 2em;">—Ransetsu.</span> +</p> + +<p> +<span style="margin-left: 6em">Ah! how piteous the cry of the sémi seized by the kite!</span> +</p> +</div> + +<p class="indent"> +Or "caught by a boy" the poet might equally +well have observed,—this being a much more +frequent cause of the pitiful cry. The lament of +<span class="pagenum">[Pg 76]</span> +Nicias for the tettix would serve as the elegy of +many a sémi:—</p> + +<div class="blockquot"> +<p class="indent"> +"<i>No more shall I delight myself by sending out +a sound from my quick-moving wings, because +I have fallen into the savage hand of a boy, who +seized me unexpectedly, as I was sitting under +the green leaves.</i>"</p> +</div> + +<p class="indent"> +Here I may remark that Japanese children +usually capture sémi by means of a long slender +bamboo tipped with bird-lime (<i>mochi</i>). The +sound made by some kinds of sémi when caught +is really pitiful,—quite as pitiful as the twitter +of a terrified bird. One finds it difficult to persuade +oneself that the noise is not a <i>voice</i> of anguish, +in the human sense of the word "voice," +but the production of a specialized exterior membrane. +Recently, on hearing a captured sémi +thus scream, I became convinced in quite a new +way that the stridulatory apparatus of certain +insects must not be thought of as a kind of +musical instrument, but as an organ of speech, +and that its utterances are as intimately associated +with simple forms of emotion, as are the +notes of a bird,—the extraordinary difference +being that the insect has its vocal chords <i>outside</i>. +<span class="pagenum">[Pg 77]</span> +But the insect-world is altogether a world of +goblins and fairies: creatures with organs of +which we cannot discover the use, and senses +of which we cannot imagine the nature;—creatures +with myriads of eyes, or with eyes +in their backs, or with eyes moving about at +the ends of trunks and horns;—creatures with +ears in their legs and bellies, or with brains in +their waists! If some of them happen to have +voices outside of their bodies instead of inside, +the fact ought not to surprise anybody.</p> + +<hr /> + +<p class="indent"> +I have not yet succeeded in finding any Japanese +verses alluding to the stridulatory apparatus +of sémi,—though I think it probable that such +verses exist. Certainly the Japanese have been +for centuries familiar with the peculiarities of +their own singing insects. But I should not +now presume to say that their poets are incorrect +in speaking of the "voices" of crickets +and of cicadć. The old Greek poets who actually +describe insects as producing music with +their wings and feet, nevertheless speak of the +"voices," the "songs," and the "chirruping" of +such creatures,—just as the Japanese poets do. +For example, Meleager thus addresses the cricket:</p> + +<p class="indent"> +<span class="pagenum">[Pg 78]</span> +</p> + +<div class="blockquot"> +<p class="indent"> +"<i>O thou that art with shrill wings the self-formed +imitation of the lyre, chirrup me something +pleasant while beating your vocal wings +with your feet!</i> ..."</p> +</div> + +<hr /> + +<h3>II</h3> + +<p class="cap">BEFORE speaking further of the poetical +literature of sémi, I must attempt a few +remarks about the sémi themselves. But +the reader need not expect anything entomological. +Excepting, perhaps, the butterflies, the insects +of Japan are still little known to men of +science; and all that I can say about sémi has +been learned from inquiry, from personal observation, +and from old Japanese books of an interesting +but totally unscientific kind. Not only +do the authors contradict each other as to the +names and characteristics of the best-known +sémi; they attach the word sémi to names of +insects which are not cicadć.</p> + +<p class="indent"> +The following enumeration of sémi is certainly +incomplete; but I believe that it includes the better-known +varieties and the best melodists. I +must ask the reader, however, to bear in mind +that the time of the appearance of certain sémi +<span class="pagenum">[Pg 79]</span> +differs in different parts of Japan; that the same +kind of sémi may be called by different names +in different provinces; and that these notes have +been written in Tōkyō.</p> + +<h4>I.—<span class="smcap">Haru-Zémi.</span></h4> + +<p class="indent"> +<span class="smcap">Various</span> small sémi appear in the spring. But +the first of the big sémi to make itself heard is +the <i>haru-zémi</i> ("spring-sémi"), also called <i>uma-zémi</i> +("horse-sémi"), <i>kuma-zémi</i> ("bear-sémi"), +and other names. It makes a shrill +wheezing sound,—<i>ji-i-i-i-i-iiiiiiii</i>,—beginning +low, and gradually rising to a pitch of painful +intensity. No other cicada is so noisy as the +<i>haru-zémi;</i> but the life of the creature appears +to end with the season. Probably this is the +sémi referred to in an old Japanese poem:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Hatsu-sémi ya!</span><br /> +"Koré wa atsui" to<br /> +<span style="margin-left: 1em;">Iu hi yori.</span><br /> +<br /> +<span style="font-variant: small-caps; margin-left: 2em;">—Taimu.</span></p> + +<p class="indent"> +The day after the first day on which we exclaim, "Oh, +how hot it is!" the first sémi begins to cry.</p> +</div> + +<hr /> + +<div class="figcenter" style="width: 393px;"><a name="Plate_2" id="Plate_2"></a> +<img class="border" src="images/plate2.jpg" width="393" height="700" alt="PLATE II. +"Shinné-Shinné, +Also called Yama-Zémi, and Kuma-Zémi." title="PLATE II. +"Shinné-Shinné, +Also called Yama-Zémi, and Kuma-Zémi." /> +<span class="caption">PLATE II.<br /> +"Shinné-Shinné,<br /> +Also called Yama-Zémi, and Kuma-Zémi.</span> +</div> + +<hr /> + +<h4>II.—"<span class="smcap">Shinné-shinné.</span>"</h4> + +<p class="indent"> +<span class="smcap">The</span> <i>shinné-shinné</i>—also called <i>yama-zémi</i>, or +"mountain-sémi"; <i>kuma-zémi</i>, or "bear-sémi"; +<span class="pagenum">[Pg 80]</span> +and <i>ō-sémi</i>, or "great sémi"—begins to sing as +early as May. It is a very large insect. The +upper part of the body is almost black, and the +belly a silvery-white; the head has curious red +markings. The name <i>shinné-shinné</i> is derived +from the note of the creature, which resembles a +quick continual repetition of the syllables <i>shinné</i>. +About Kyōto this sémi is common: it is rarely +heard in Tōkyō.</p> + +<p class="indent"> +[My first opportunity to examine an <i>ō-sémi</i> +was in Shidzuoka. Its utterance is much more +complex than the Japanese onomatope implies; +I should liken it to the noise of a sewing-machine +in full operation. There is a double +sound: you hear not only the succession of +sharp metallic clickings, but also, below these, a +slower series of dull clanking tones. The stridulatory +organs are light green, looking almost +like a pair of tiny green leaves attached to the +thorax.]</p> + +<hr /> + +<div class="figcenter" style="width: 400px;"><a name="Plate_3" id="Plate_3"></a> +<img class="border" src="images/plate3.jpg" width="400" height="642" alt="PLATE III. +Aburazémi." title="PLATE III. +Aburazémi." /> +<span class="caption">PLATE III.<br /> +Aburazémi.</span> +</div> + +<hr /> + +<h4>III.—<span class="smcap">Aburazémi.</span></h4> + +<p class="indent"> +<span class="smcap">The</span> <i>aburazémi</i>, or "oil-sémi," makes its appearance +early in the summer. I am told that it +owes its name to the fact that its shrilling resembles +the sound of oil or grease frying in a pan.</p> + +<p class="indent"> +<span class="pagenum">[Pg 81]</span> +Some writers say that the shrilling resembles the +sound of the syllables <i>gacharin-gacharin</i>; but +others compare it to the noise of water boiling. +The <i>aburazémi</i> begins to chant about sunrise; +then a great soft hissing seems to ascend from +all the trees. At such an hour, when the foliage +of woods and gardens still sparkles with dew, +might have been composed the following verse,—the +only one in my collection relating to the +<i>aburazémi</i>:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Ano koë dé</span><br /> +Tsuyu ga inochi ka?—<br /> +<span style="margin-left: 1em;">Aburazémi!</span> +</p> + +<p class="indent"> +Speaking with that voice, has the dew taken life?—Only +the <i>aburazémi</i>!</p> +</div> + +<hr /> + +<div class="figcenter" style="width: 400px;"> +<a name="Plate_4" id="Plate_4"></a> +<img class="border" src="images/plate4.jpg" width="400" height="659" alt="PLATE IV. +1-2, Mugikari-Zémi, also called Goshiki-Zémi. +3, Higurashi. +4, "Min-Min-Zémi."" title="" /> +<span class="caption">PLATE IV.<br /> +1-2, Mugikari-Zémi, also called Goshiki-Zémi.<br /> +3, Higurashi.<br /> +4, "Min-Min-Zémi."</span> +</div> + +<hr /> + +<h4>IV.—<span class="smcap">Mugi-kari-Zémi.</span></h4> + +<p class="indent"> +<span class="smcap">The</span> <i>mugi-kari-zémi</i>, or "barley-harvest sémi," +also called <i>goshiki-zémi</i>, or "five-colored sémi," +appears early in the summer. It makes two +distinct sounds in different keys, resembling the +syllables <i>shi-in, shin—chi-i, chi-i</i>.</p> + +<h4>V.—<span class="smcap">Higurashi, or "Kana-kana.</span>"</h4> + +<p class="indent"> +<span class="smcap">This</span> insect, whose name signifies "day-darkening," +is the most remarkable of all the Japanese +<span class="pagenum">[Pg 82]</span> +cicadć. It is not the finest singer among them; +but even as a melodist it ranks second only to +the <i>tsuku-tsuku-bōshi</i>. It is the special minstrel +of twilight, singing only at dawn and sunset; +whereas most of the other sémi make their music +only in the full blaze of day, pausing even when +rain-clouds obscure the sun. In Tōkyō the +<i>higurashi</i> usually appears about the end of June, +or the beginning of July. Its wonderful cry,—<i>kana-kana-kana-kana-kana</i>,—beginning +always +in a very high clear key, and slowly +descending, is almost exactly like the sound of +a good hand-bell, very quickly rung. It is not a +clashing sound, as of violent ringing; it is quick, +steady, and of surprising sonority. I believe that +a single <i>higurashi</i> can be plainly heard a quarter +of a mile away; yet, as the old Japanese poet +Yayū observed, "no matter how many <i>higurashi</i> +be singing together, we never find them noisy." +Though powerful and penetrating as a resonance +of metal, the <i>higurashi's</i> call is musical even to +the degree of sweetness; and there is a peculiar +melancholy in it that accords with the hour of +gloaming. But the most astonishing fact in regard +to the cry of the <i>higurashi</i> is the individual +quality characterizing the note of each insect. +<span class="pagenum">[Pg 83]</span> +No two <i>higurashi</i> sing precisely in the same tone. +If you hear a dozen of them singing at once, you +will find that the timbre of each voice is recognizably +different from every other. Certain notes +ring like silver, others vibrate like bronze; and, +besides varieties of timbre suggesting bells of various +weight and composition, there are even differences +in tone, that suggest different <i>forms</i> of bell.</p> + +<p class="indent"> +I have already said that the name <i>higurashi</i> +means "day-darkening,"—in the sense of twilight, +gloaming, dusk; and there are many +Japanese verses containing plays on the word,—the +poets affecting to believe, as in the following +example, that the crying of the insect hastens the +coming of darkness:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Higurashi ya!</span><br /> +Sutétéoitémo<br /> +<span style="margin-left: 1em;">Kururu hi wo.</span></p> + +<p class="indent"> +O Higurashi!—even if you let it alone, day darkens fast +enough!</p> +</div> + +<p class="indent"> +This, intended to express a melancholy mood, +may seem to the Western reader far-fetched. +But another little poem—referring to the effect +of the sound upon the conscience of an idler—will +be appreciated by any one accustomed to hear +the <i>higurashi</i>. I may observe, in this connection, +<span class="pagenum">[Pg 84]</span> +that the first clear evening cry of the insect is +quite as startling as the sudden ringing of a +bell:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Higurashi ya!</span><br /> +Kyō no kétai wo<br /> +<span style="margin-left: 1em;">Omou-toki.</span><br /> +<span style="font-variant: small-caps; margin-left: 4.5em;">—Rikei.</span> +</p> + +<p> +Already, O Higurashi, your call announces the evening!<br /> +Alas, for the passing day, with its duties left undone!</p> +</div> + +<h4>VI.—"<span class="smcap">Minmin"-Zémi.</span></h4> + +<p class="indent"> +<span class="smcap">The</span> <i>minmin-zémi</i> begins to sing in the Period of +Greatest Heat. It is called "<i>min-min</i>" because +its note is thought to resemble the syllable +"<i>min</i>" repeated over and over again,—slowly at +first, and very loudly; then more and more +quickly and softly, till the utterance dies away +in a sort of buzz: "<i>min—min—min-min-min-minminmin-dzzzzzzz</i>." +The sound is plaintive, +and not unpleasing. It is often compared +to the sound of the voice of a priest chanting the +<i>sűtras</i>.</p> + +<hr /> + +<div class="figcenter" style="width: 399px;"> +<a name="Plate_5" id="Plate_5"></a> +<img class="border" src="images/plate5.jpg" width="399" height="683" alt="PLATE V. +1, "Tsuku-tsuku-Bōshi," also called "Kutsu-kutsu-Bōshi," +etc. (Cosmopsaltria Opalifera?) +2, Tsurigané-Zémi. +3, The Phantom." title="PLATE V. +1, "Tsuku-tsuku-Bōshi," also called "Kutsu-kutsu-Bōshi," +etc. (Cosmopsaltria Opalifera?) +2, Tsurigané-Zémi. +3, The Phantom." /> +<span class="caption">PLATE V.<br /> +1, "Tsuku-tsuku-Bōshi," also called "Kutsu-kutsu-Bōshi," +etc. (Cosmopsaltria Opalifera?)<br /> +2, Tsurigané-Zémi.<br /> +3, The Phantom.</span> +</div> + +<hr /> + +<h4>VII.—<span class="smcap">Tsuku-tsuku-bōshi.</span></h4> + +<p class="indent"> +<span class="smcap">On</span> the day immediately following the Festival +of the Dead, by the old Japanese calendar<a name="FNanchor_1_28" id="FNanchor_1_28"></a><a href="#Footnote_1_28" class="fnanchor">[28]</a> +<span class="pagenum">[Pg 85]</span> +(which is incomparably more exact than our +Western calendar in regard to nature-changes +and manifestations), begins to sing the <i>tsuku-tsuku-bōshi</i>. +This creature may be said to sing +like a bird. It is also called <i>kutsu-kutsu-bōshi</i>, +<i>chōko-chōko-uisu</i>, <i>tsuku-tsuku-hōshi</i>, <i>tsuku-tsuku-oī</i><i>shi</i>,—all +onomatopoetic appellations. +The sounds of its song have been imitated in +different ways by various writers. In Izumo the +common version is,—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +Tsuku-tsuku-uisu,<br /> +Tsuku-tsuku-uisu,<br /> +Tsuku-tsuku-uisu:—<br /> +<span style="margin-left: 2em;">Ui-ōsu</span><br /> +<span style="margin-left: 2em;">Ui-ōsu</span><br /> +<span style="margin-left: 2em;">Ui-ōsu</span><br /> +<span style="margin-left: 2em;">Ui-ōs-s-s-s-s-s-s-s-su.</span></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_28" id="Footnote_1_28"></a><a href="#FNanchor_1_28"><span class="label">[28]</span> +</a> That is to say, upon the 16th day of the 7th month.</p> +</div> +</div> + +<p class="indent"> +Another version runs,—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +Tsuku-tsuku-uisu,<br /> +Tsuku-tsuku-uisu,<br /> +Tsuku-tsuku-uisu:—<br /> +<span style="margin-left: 2em;">Chi-i yara</span>!<br /> +<span style="margin-left: 2em;">Chi-i yara!</span><br /> +<span style="margin-left: 2em;">Chi-i yara!</span><br /> +<span style="margin-left: 2em;">Chi-i, chi, chi, chi, chi, chiii.</span> +</p> +</div> + +<p class="indent"> +But some say that the sound is <i>Tsukushi-koďshi</i>. +There is a legend that in old times a +<span class="pagenum">[Pg 86]</span> +man of Tsukushi (the ancient name of Kyūshū) +fell sick and died while far away from home, +and that the ghost of him became an autumn +cicada, which cries unceasingly, <i>Tsukushi-koďshi!—Tsukushi-koďshi!</i> +("I long for Tsukushi!—I +want to see Tsukushi!")</p> + +<hr /> + +<p class="indent"> +It is a curious fact that the earlier sémi have +the harshest and simplest notes. The musical +sémi do not appear until summer; and the +<i>tsuku-tsuku-bōshi</i>, having the most complex +and melodious utterance of all, is one of the +latest to mature.</p> + +<h4>VIII.—<span class="smcap">Tsurigané-Sémi.</span><a name="FNanchor_1_29" id="FNanchor_1_29"></a><a href="#Footnote_1_29" class="fnanchor">[29]</a></h4> + +<p class="indent"> +<span class="smcap">The</span> <i>tsurigané-sémi</i> is an autumn cicada. The +word <i>tsurigané</i> means a suspended bell,—especially +the big bell of a Buddhist temple. I am +somewhat puzzled by the name; for the insect's +music really suggests the tones of a Japanese +harp, or <i>koto</i>—as good authorities declare. +Perhaps the appellation refers not to the boom +of the bell, but to those deep, sweet hummings +which follow after the peal, wave upon wave.</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_29" id="Footnote_1_29"></a><a href="#FNanchor_1_29"><span class="label">[29]</span> +</a> This sémi appears to be chiefly known in Shikoku. +</p> +</div> +</div> + +<hr /> + +<p class="indent"> +<span class="pagenum">[Pg 87]</span> +</p> + +<h3>III</h3> + +<p class="cap">JAPANESE poems on sémi are usually very +brief; and my collection chiefly consists of +<i>hokku</i>,—compositions of seventeen syllables. +Most of these <i>hokku</i> relate to the sound +made by the sémi,—or, rather, to the sensation +which the sound produced within the poet's +mind. The names attached to the following +examples are nearly all names of old-time poets,—not +the real names, of course, but the <i>gō</i>, or +literary names by which artists and men of +letters are usually known.</p> + +<hr /> + +<p class="indent"> +Yokoi Yayū, a Japanese poet of the eighteenth +century, celebrated as a composer of <i>hokku</i>, has +left us this naďve record of the feelings with +which he heard the chirruping of cicadć in +summer and in autumn:—</p> + +<p class="indent"> +"In the sultry period, feeling oppressed by the +greatness of the heat, I made this verse:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">"Sémi atsushi</span><br /> +Matsu kirabaya to<br /> +<span style="margin-left: 1em;">Omou-madé.</span> +</p> + +<p> +[The chirruping of the sémi aggravates the heat until I +wish to cut down the pine-tree on which it sings.]</p> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 88]</span> +"But the days passed quickly; and later, when +I heard the crying of the sémi grow fainter and +fainter in the time of the autumn winds, I began +to feel compassion for them, and I made this +second verse:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">"Shini-nokoré</span><br /> +Hitotsu bakari wa<br /> +<span style="margin-left: 1em;">Aki no sémi."</span></p> + +<p class="margin-left8"> +[Now there survives<br /> +But a single one<br /> +Of the sémi of autumn!]</p> +</div> + +<p class="indent"> +Lovers of Pierre Loti (the world's greatest +prose-writer) may remember in <i>Madame Chrysanthčme</i> +a delightful passage about a Japanese +house,—describing the old dry woodwork as +impregnated with sonority by the shrilling crickets +of a hundred summers.<a name="FNanchor_1_30" id="FNanchor_1_30"></a><a href="#Footnote_1_30" class="fnanchor">[30]</a> There is a Japanese +poem containing a fancy not altogether +dissimilar:—</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_30" id="Footnote_1_30"></a><a href="#FNanchor_1_30"><span class="label">[30]</span> +</a> Speaking of his own attempt to make a drawing of +the interior, he observes: "Il manque ŕ ce logis dessiné +son air fręle et sa sonorité de violon sec. Dans les traits +de crayon qui représentent les boiseries, il n'y a pas la +précision minutieuse avec laquelle elles sont ouvragées, ni +leur antiquité extręme, ni leur propreté parfaite, <i>ni les +vibrations de cigales qu' elles semblent avoir emmagasinées pendant +des centaines d'étés dans leurs fibres desséchées</i>."</p> +</div> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 89]</span></p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Matsu no ki ni</span><br /> +Shimikomu gotoshi<br /> +<span style="margin-left: 1em;">Sémi no koë.</span> +</p> + +<p class="margin-left8"> +Into the wood of the pine-tree<br /> +Seems to soak<br /> +The voice of the sémi.</p> +</div> + +<p class="indent"> +A very large number of Japanese poems about +sémi describe the noise of the creatures as an +affliction. To fully sympathize with the complaints +of the poets, one must have heard certain +varieties of Japanese cicadć in full midsummer +chorus; but even by readers without experience +of the clamor, the following verses will probably +be found suggestive:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Waré hitori</span><br /> +Atsui yō nari,—<br /> +<span style="margin-left: 1em;">Sémi no koë!</span><br /> +<span style="font-variant: small-caps; margin-left: 8em;">—Bunsō.</span></p> + +<p> +Meseems that only I,—I alone among mortals,—<br /> +Ever suffered such heat!—oh, the noise of the sémi!</p> +</div> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Ushiro kara</span><br /> +Tsukamu yō nari,—<br /> +<span style="margin-left: 1em;">Sémi no koë.</span><br /> +<span style="font-variant: small-caps; margin-left: 8em;">—Jofū.</span></p> + +<p> +Oh, the noise of the sémi!—a pain of invisible seizure,—<br /> +Clutched in an enemy's grasp,—caught by the hair from behind!</p> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 90]</span> +</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Yama no Kami no</span><br /> +Mimi no yamai ka?—<br /> +<span style="margin-left: 1em;">Sémi no koë!</span><br /> +<span style="font-variant: small-caps; margin-left: 7.5em;">—Teikoku.</span></p> + +<p> +What ails the divinity's ears?—how can the God of the Mountain<br /> +Suffer such noise to exist?—oh, the tumult of sémi!</p> + +<p class="margin-left16"> +<span style="margin-left: 1em;">Soko no nai</span><br /> +Atsusa ya kumo ni<br /> +<span style="margin-left: 1em;">Sémi no koë!</span><br /> +<span style="font-variant: small-caps; margin-left: 8em;">—Saren.</span></p> + +<p> +Fathomless deepens the heat: the ceaseless shrilling of sémi<br /> +Mounts, like a hissing of fire, up to the motionless clouds.</p> + +<p class="margin-left16"> +<span style="margin-left: 1em;">Mizu karété,</span><br /> +Sémi wo fudan-no<br /> +<span style="margin-left: 1em;">Taki no koë.</span><br /> +<br /> +<span style="font-variant: small-caps; margin-left: 7.5em;">—Gen-U.</span></p> + +<p> +Water never a drop: the chorus of sémi, incessant,<br /> +Mocks the tumultuous hiss,—the rush and foaming of rapids.</p> + +<p class="margin-left16"> +<span style="margin-left: 1em;">Kagéroishi</span><br /> +Kumo mata satté,<br /> +<span style="margin-left: 1em;">Sémi no koë.</span><br /> +<span style="font-variant: small-caps; margin-left: 8em;">—Kitō.</span></p> + +<p> +Gone, the shadowing clouds!—again the shrilling of sémi<br /> +Rises and slowly swells,—ever increasing the heat!</p> + +<p class="margin-left16"> +<span style="margin-left: 1em;">Daita ki wa,</span><br /> +Ha mo ugokasazu,—<br /> +<span style="margin-left: 1em;">Sémi no koë!</span><br /> +<span style="font-variant: small-caps; margin-left: 8em;">—Kafū.</span></p> + +<p> +Somewhere fast to the bark he clung; but I cannot see him:<br /> +He stirs not even a leaf—oh! the noise of that sémi!</p> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 91]</span></p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Tonari kara</span><br /> +Kono ki nikumu ya!<br /> +<span style="margin-left: 1em;">Sémi no koë.</span><br /> +<span style="font-variant: small-caps; margin-left: 7em;">—Gyukaku.</span></p> + +<p> +All because of the Sémi that sit and shrill on its branches—<br /> +Oh! how this tree of mine is hated now by my neighbor!</p> +</div> + +<p class="indent"> +This reminds one of Yayū. We find another +poet compassionating a tree frequented by +sémi:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Kazé wa mina</span><br /> +Sémi ni suwarété,<br /> +<span style="margin-left: 1em;">Hito-ki kana!</span><br /> +<span style="font-variant: small-caps; margin-left: 6.5em;">—Chōsui.</span></p> + +<p>Alas! poor solitary tree!—pitiful now your lot,—every +breath of air having been sucked up by the sémi!</p> +</div> + +<p class="indent"> +Sometimes the noise of the sémi is described as +a moving force:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Sémi no koë</span><br /> +Ki-gi ni ugoité,<br /> +<span style="margin-left: 1em;">Kazé mo nashi!</span><br /> +<span style="font-variant: small-caps; margin-left: 8em;">—Sōyō.</span></p> + +<p> +Every tree in the wood quivers with clamor of sémi:<br /> +Motion only of noise—never a breath of wind!</p> + +<p class="margin-left16"> +<span style="margin-left: 1em;">Také ni kité,</span><br /> +Yuki yori omoshi<br /> +<span style="margin-left: 1em;">Sémi no koë.</span><br /> +<span style="font-variant: small-caps; margin-left: 7em;">—Tōgetsu.</span><br /></p> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 92]</span></p> + +<div class="blockquotsm"> +<p>More heavy than winter-snow the voices of perching sémi:<br /> +See how the bamboos bend under the weight of their song!<a name="FNanchor_1_31" id="FNanchor_1_31"></a><a href="#Footnote_1_31" class="fnanchor">[31]</a></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_31" id="Footnote_1_31"></a><a href="#FNanchor_1_31"><span class="label">[31]</span> +</a> Japanese artists have found many a charming inspiration +in the spectacle of bamboos bending under the weight +of snow clinging to their tops.</p> +</div> +</div> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Morogoë ni</span><br /> +Yama ya ugokasu,<br /> +<span style="margin-left: 1em;">Ki-gi no sémi.</span></p> + +<p> +All shrilling together, the multitudinous sémi<br /> +Make, with their ceaseless clamor, even the mountain move.</p> + +<p class="margin-left16"> +<span style="margin-left: 1em;">Kusunoki mo</span><br /> +Ugoku yō nari,<br /> +<span style="margin-left: 1em;">Sémi no koë.</span><br /> +<span style="font-variant: small-caps; margin-left: 7em;">—Baijaku.</span></p> + +<p> +Even the camphor-tree seems to quake with the clamor +of sémi!</p> +</div> + +<p class="indent"> +Sometimes the sound is compared to the noise +of boiling water:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Hizakari wa</span><br /> +Niétatsu sémi no<br /> +<span style="margin-left: 1em;">Hayashi kana!</span></p> + +<p> +In the hour of heaviest heat, how simmers the forest +with sémi!</p> + +<p class="margin-left16"> +<span style="margin-left: 1em;">Niété iru</span><br /> +Mizu bakari nari—<br /> +<span style="margin-left: 1em;">Sémi no koë.</span><br /> +<span style="font-variant: small-caps; margin-left: 7em;">—Taimu.</span><br /></p> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 93]</span></p> + +<div class="blockquotsm"> +<p>Simmers all the air with sibilation of sémi,<br /> +Ceaseless, wearying sense,—a sound of perpetual boiling.</p> +</div> + +<p class="indent"> +Other poets complain especially of the multitude +of the noise-makers and the ubiquity of the +noise:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Aritaké no</span><br /> +Ki ni hibiki-kéri<br /> +<span style="margin-left: 1em;">Sémi no koë.</span></p> + +<p> +How many soever the trees, in each rings the voice of +the sémi.</p> + +<p class="margin-left16"> +<span style="margin-left: 1em;">Matsubara wo</span><br /> +Ichi ri wa kitari,<br /> +<span style="margin-left: 1em;">Sémi no koë.</span><br /> +<span style="font-variant: small-caps; margin-left: 7em;">—Senga.</span></p> + +<p> +Alone I walked for miles into the wood of pine-trees:<br /> +Always the one same sémi shrilled its call in my ears.</p> +</div> + +<p class="indent"> +Occasionally the subject is treated with comic +exaggeration:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Naité iru</span><br /> +Ki yori mo futoshi<br /> +<span style="margin-left: 1em;">Sémi no koë.</span></p> + +<p class="indent"> +The voice of the sémi is bigger [<i>thicker</i>] than the tree on +which it sings.</p> + +<p class="margin-left16"> +<span style="margin-left: 1em;">Sugi takashi</span><br /> +Sarédomo sémi no<br /> +<span style="margin-left: 1em;">Amaru koë!</span></p> + +<p class="indent"> +High though the cedar be, the voice of the sémi is incomparably +higher!</p> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 94]</span> +</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Koë nagaki</span><br /> +Sémi wa mijikaki<br /> +<span style="margin-left: 1em;">Inochi kana!</span></p> + +<p> +How long, alas! the voice and how short the life of the +sémi!</p> +</div> + +<p class="indent"> +Some poets celebrate the negative form of +pleasure following upon the cessation of the +sound:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Sémi ni dété,</span><br /> +Hotaru ni modoru,—<br /> +<span style="margin-left: 1em;">Suzumi kana!</span><br /> +<span style="font-variant: small-caps; margin-left: 7em;">—Yayū.</span></p> + +<p class="indent"> +When the sémi cease their noise, and the fireflies come +out—oh! how refreshing the hour!</p> +</div> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Sémi no tatsu,</span><br /> +Ato suzushisa yo!<br /> +<span style="margin-left: 1em;">Matsu no koë.</span><br /> +<span style="font-variant: small-caps; margin-left: 7em;">—Baijaku.</span></p> + +<p>When the sémi cease their storm, oh, how refreshing the +stillness!<br /> +Gratefully then resounds the musical speech of the pines.</p> +</div> + +<p class="indent"> +[Here I may mention, by the way, that there +is a little Japanese song about the <i>matsu no koë</i>, +in which the onomatope "zazanza" very well +represents the deep humming of the wind in the +pine-needles:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 4em;">Zazanza!</span><br /> +Hama-matsu no oto wa,—<br /> +<span style="margin-left: 4em;">Zazanza,</span><br /> +<span class="pagenum">[Pg 95]</span> +<span style="margin-left: 4em;">Zazanza!</span><br /> +<span style="margin-left: 4em;">Zazanza!</span><br /> +The sound of the pines of the shore,—<br /> +<span style="margin-left: 4em;">Zazanza!</span><br /> +<span style="margin-left: 4em;">Zazanza!]</span> +</p> +</div> + +<p class="indent"> +There are poets, however, who declare that the +feeling produced by the noise of sémi depends +altogether upon the nervous condition of the +listener:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Mori no sémi</span><br /> +Suzushiki koë ya,<br /> +<span style="margin-left: 1em;">Atsuki koë.</span><br /> +<span style="font-variant: small-caps; margin-left: 7em;">—Otsushu.</span> +</p> + +<p> +Sometimes sultry the sound; sometimes, again, refreshing:<br /> +The chant of the forest-sémi accords with the hearer's mood.</p> + +<p class="margin-left16"> +<span style="margin-left: 1em;">Suzushisa mo</span><br /> +Atsusa mo sémi no<br /> +<span style="margin-left: 1em;">Tokoro kana!</span><br /> +<span style="font-variant: small-caps; margin-left: 7em;">—Fuhaku.</span></p> + +<p class="indent"> +Sometimes we think it cool,—the resting-place of the +sémi;—sometimes we think it hot (it is all a matter of +fancy).</p> + +<p class="margin-left16"> +<span style="margin-left: 1em;">Suzushii to</span><br /> +Omoéba, suzushi<br /> +<span style="margin-left: 1em;">Sémi no koë.</span><br /> +<span style="font-variant: small-caps; margin-left: 7em;">—Ginkō.</span></p> + +<p class="indent"> +If we think it is cool, then the voice of the sémi is cool +(that is, the fancy changes the feeling).</p> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 96]</span> +In view of the many complaints of Japanese +poets about the noisiness of sémi, the reader may +be surprised to learn that out of sémi-skins there +used to be made in both China and Japan—perhaps +upon homœopathic principles—a medicine +for the cure of ear-ache!</p> + +<hr /> + +<p class="indent"> +One poem, nevertheless, proves that sémi-music +has its admirers:—</p> + +<div class="blockquotsm"><p class="margin-left16"> +Omoshiroi zo ya,<br /> +Waga-ko no koë wa<br /> +Takai mori-ki no<br /> +<span style="margin-left: 2em;">Sémi no koë!<a name="FNanchor_1_32" id="FNanchor_1_32"></a><a href="#Footnote_1_32" class="fnanchor">[32]</a></span></p> + +<p class="indent"> +Sweet to the ear is the voice of one's own child as the +voice of a sémi perched on a tall forest tree.</p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_32" id="Footnote_1_32"></a><a href="#FNanchor_1_32"><span class="label">[32]</span> +</a> There is another version of this poem:— +</p> + +<p class="margin-left16"> +Omoshiroi zo ya,<br /> +Waga-ko no naku wa<br /> +Sembu-ségaki no<br /> +<span style="margin-left: 2em;">Kyō yori mo!</span></p><p class="indent"> +"More sweetly sounds the crying of one's own child +than even the chanting of the sűtra in the service for the +dead." The Buddhist service alluded to is held to be particularly +beautiful.</p> +</div> +</div> + +<p class="indent"> +But such admiration is rare. More frequently +the sémi is represented as crying for its nightly +repast of dew:—</p> + +<p class="indent"> +<span class="pagenum">[Pg 97]</span> +</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Sémi wo kiké,—</span><br /> +Ichi-nichi naité<br /> +<span style="margin-left: 1em;">Yoru no tsuyu.</span><br /> +<span style="font-variant: small-caps; margin-left: 7em;">—Kikaku.</span></p> + +<p> +Hear the sémi shrill! So, from earliest dawning,<br /> +All the summer day he cries for the dew of night.</p> + +<p class="margin-left16"> +<span style="margin-left: 1em;">Yū-tsuyu no</span><br /> +Kuchi ni iru madé<br /> +<span style="margin-left: 1em;">Naku sémi ka?</span><br /> +<span style="font-variant: small-caps; margin-left: 7em;">—Baishitsu.</span></p> + +<p class="indent"> +Will the sémi continue to cry till the night-dew fills its +mouth?</p> +</div> + +<p class="indent"> +Occasionally the sémi is mentioned in love-songs +of which the following is a fair specimen. +It belongs to that class of ditties commonly sung +by geisha. Merely as a conceit, I think it pretty, +in spite of the factitious pathos; but to Japanese +taste it is decidedly vulgar. The allusion to +beating implies jealousy:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +Nushi ni tatakaré,<br /> +Washa matsu no sémi<br /> +Sugaritsuki-tsuki<br /> +<span style="margin-left: 2em;">Naku bakari!</span></p> + +<p class="margin-left4"> +Beaten by my jealous lover,—<br /> +Like the sémi on the pine-tree<br /> +I can only cry and cling!</p> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 98]</span> +And indeed the following tiny picture is a truer +bit of work, according to Japanese art-principles +(I do not know the author's name):—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +Sémi hitotsu<br /> +Matsu no yū-hi wo<br /> +Kakaé-kéri.</p> + +<p> +Lo! on the topmost pine, a solitary cicada<br /> +Vainly attempts to clasp one last red beam of sun.</p> +</div> + +<h3>IV</h3> + +<p class="cap"> +PHILOSOPHICAL verses do not form a +numerous class of Japanese poems upon +sémi; but they possess an interest altogether +exotic. As the metamorphosis of the +butterfly supplied to old Greek thought an +emblem of the soul's ascension, so the natural +history of the cicada has furnished Buddhism +with similitudes and parables for the teaching of +doctrine.</p> + +<p class="indent"> +Man sheds his body only as the sémi sheds +its skin. But each reincarnation obscures the +memory of the previous one: we remember our +former existence no more than the sémi remembers +the shell from which it has emerged. Often +<span class="pagenum">[Pg 99]</span> +a sémi may be found in the act of singing +beside its cast-off skin; therefore a poet has +written:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Waré to waga</span><br /> +Kara ya tomurō—<br /> +<span style="margin-left: 1em;">Sémi no koë.</span><br /> +<span style="font-variant: small-caps; margin-left: 7em;">—Yayū.</span></p> + +<p> +Methinks that sémi sits and sings by his former body,—<br /> +Chanting the funeral service over his own dead self.</p> +</div> + +<p class="indent"> +This cast-off skin, or simulacrum,—clinging +to bole or branch as in life, and seeming still +to stare with great glazed eyes,—has suggested +many things both to profane and to religious +poets. In love-songs it is often likened to a body +consumed by passionate longing. In Buddhist +poetry it becomes a symbol of earthly pomp,—the +hollow show of human greatness:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Yo no naka yo</span><br /> +Kaëru no hadaka,<br /> +<span style="margin-left: 1em;">Sémi no kinu!</span></p> + +<p> +Naked as frogs and weak we enter this life of trouble;<br /> +Shedding our pomps we pass: so sémi quit their skins.</p> +</div> + +<p class="indent"> +But sometimes the poet compares the winged +and shrilling sémi to a human ghost, and the +broken shell to the body left behind:—</p> + +<p class="indent"> +<span class="pagenum">[Pg 100]</span> +</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Tamashii wa</span><br /> +Ukiyo ni naité,<br /> +<span style="margin-left: 1em;">Sémi no kara.</span></p> + +<p> +Here the forsaken shell: above me the voice of the creature<br /> +Shrills like the cry of a Soul quitting this world of pain.</p> +</div> + +<p class="indent"> +Then the great sun-quickened tumult of the +cicadć—landstorm of summer life foredoomed +so soon to pass away—is likened by preacher +and poet to the tumult of human desire. Even +as the sémi rise from earth, and climb to warmth +and light, and clamor, and presently again return +to dust and silence,—so rise and clamor and +pass the generations of men:—</p> + +<div class="blockquotsm"> +<p class="margin-left16"> +<span style="margin-left: 1em;">Yagaté shinu</span><br /> +Keshiki wa miézu,<br /> +<span style="margin-left: 1em;">Sémi no koë.</span><br /> +<span style="font-variant: small-caps; margin-left: 7em;">—Bashō.</span></p> + +<p> +Never an intimation in all those voices of sémi<br /> +How quickly the hush will come,—how speedily all must die.</p> +</div> + +<p class="indent"> +I wonder whether the thought in this little +verse does not interpret something of that summer +melancholy which comes to us out of +nature's solitudes with the plaint of insect-voices. +Unconsciously those millions of millions of tiny +beings are preaching the ancient wisdom of the +East,—the perpetual Sűtra of Impermanency.</p> + +<p class="indent"> +<span class="pagenum">[Pg 101]</span> +Yet how few of our modern poets have given +heed to the voices of insects!</p> + +<p class="indent"> +Perhaps it is only to minds inexorably haunted +by the Riddle of Life that Nature can speak to-day, +in those thin sweet trillings, as she spake +of old to Solomon.</p> + +<p class="indent"> +The Wisdom of the East hears all things. +And he that obtains it will hear the speech of +insects,—as Sigurd, tasting the Dragon's Heart, +heard suddenly the talking of birds.</p> + +<hr /> + +<div class="blockquotsm"><p class="indent"> +<span class="smcap">Note.</span>—For the pictures of sémi accompanying this paper, I am +indebted to a curious manuscript work in several volumes, preserved in +the Imperial Library at Uyéno. The work is entitled <i>Chūfu-Zusetsu</i>,—which +might be freely rendered as "Pictures and Descriptions of Insects,"—and +is divided into twelve books. The writer's name is unknown; +but he must have been an amiable and interesting person, to +judge from the naďve preface which he wrote, apologizing for the labors +of a lifetime. "When I was young," he says, "I was very fond of +catching worms and insects, and making pictures of their shapes,—so +that these pictures have now become several hundred in number." He +believes that he has found a good reason for studying insects: +"Among the multitude of living creatures in this world," he says, +"those having large bodies are familiar: we know very well their +names, shapes, and virtues, and the poisons which they possess. But +there remain very many small creatures whose natures are still unknown, +notwithstanding the fact that such little beings as insects and +worms are able to injure men and to destroy what has value. So I +think that it is very important for us to learn what insects or worms +have special virtues or poisons." It appears that he had sent to him +"from other countries" some kinds of insects "that eat the leaves and +shoots of trees;" but he could not "get their exact names." For the +names of domestic insects, he consulted many Chinese and Japanese +books, and has been "able to write the names with the proper Chinese +characters;" but he tells us that he did not fail "to pick up also the +<span class="pagenum">[Pg 102]</span> +names given to worms and insects by old farmers and little boys." The +preface is dated thus:—"<i>Ansei Kanoté, the third month—at a little +cottage</i>" [1856].</p> + +<p class="indent"> +With the introduction of scientific studies the author of the <i>Chūfu-Zusetsu</i> +could no longer hope to attract attention. Yet his very modest +and very beautiful work was forgotten only a moment. It is now a +precious curiosity; and the old man's ghost might to-day find some +happiness in a visit to the Imperial Library.</p> +</div> + +<hr class="hr2"/> + +<h1>Japanese Female Names</h1> + +<hr class="hr2"/> + +<p><span class="pagenum">[Pg 105]</span> +</p> + +<h2><a name="Japanese_Female_Names" id="Japanese_Female_Names"></a>Japanese Female Names</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<h3>I</h3> + +<p class="cap">BY the Japanese a certain kind of girl is +called a Rose-Girl,—<i>Bara-Musumé</i>. Perhaps +my reader will think of Tennyson's +"queen-rose of the rosebud-garden of girls," +and imagine some analogy between the Japanese +and the English idea of femininity symbolized +by the rose. But there is no analogy whatever. +The <i>Bara-Musumé</i> is not so called because she +is delicate and sweet, nor because she blushes, +nor because she is rosy; indeed, a rosy face is +not admired in Japan. No; she is compared to +a rose chiefly for the reason that a rose has +thorns. The man who tries to pull a Japanese +rose is likely to hurt his fingers. The man who +tries to win a <i>Bara-Musumé</i> is apt to hurt himself +much more seriously,—even unto death. +<span class="pagenum">[Pg 106]</span> +It were better, alone and unarmed, to meet a tiger +than to invite the caress of a Rose-Girl.</p> + +<p class="indent"> +Now the appellation of <i>Bara-Musumé</i>—much +more rational as a simile than many of our own +floral comparisons—can seem strange only because +it is not in accord with our poetical usages +and emotional habits. It is one in a thousand +possible examples of the fact that Japanese similes +and metaphors are not of the sort that he +who runs may read. And this fact is particularly +well exemplified in the <i>yobina</i>, or personal names +of Japanese women. Because a <i>yobina</i> happens +to be identical with the name of some tree, or +bird, or flower, it does not follow that the personal +appellation conveys to Japanese imagination +ideas resembling those which the corresponding +English word would convey, under like circumstances, +to English imagination. Of the <i>yobina</i> +that seem to us especially beautiful in translation, +only a small number are bestowed for ćsthetic +reasons. Nor is it correct to suppose, as many +persons still do, that Japanese girls are usually +named after flowers, or graceful shrubs, or other +beautiful objects. Ćsthetic appellations are in +use; but the majority of <i>yobina</i> are not ćsthetic. +Some years ago a young Japanese scholar published +<span class="pagenum">[Pg 107]</span> +an interesting essay upon this subject. He +had collected the personal names of about four +hundred students of the Higher Normal School +for Females,—girls from every part of the Empire; +and he found on his list only between +fifty and sixty names possessing ćsthetic quality. +But concerning even these he was careful to +observe only that they "<i>caused</i> an ćsthetic sensation,"—not +that they had been given for +ćsthetic reasons. Among them were such names +as <i>Saki</i> (Cape), <i>Miné</i> (Peak), <i>Kishi</i> (Beach), +<i>Hama</i> (Shore), <i>Kuni</i> (Capital),—originally +place-names;—<i>Tsuru</i> (Stork), <i>Tazu</i> (Ricefield +Stork), and <i>Chizu</i> (Thousand Storks);—also +such appellations as <i>Yoshino</i> (Fertile Field), +<i>Orino</i> (Weavers' Field), <i>Shirushi</i> (Proof), and +<i>Masago</i> (Sand). Few of these could seem +ćsthetic to a Western mind; and probably no +one of them was originally given for ćsthetic +reasons. Names containing the character for +"Stork" are names having reference to longevity, +not to beauty; and a large number of names +with the termination "<i>no</i>" (field or plain) are +names referring to moral qualities. I doubt +whether even fifteen per cent of <i>yobina</i> are +really ćsthetic. A very much larger proportion +<span class="pagenum">[Pg 108]</span> +are names expressing moral or mental qualities. +Tenderness, kindness, deftness, cleverness, are frequently +represented by <i>yobina</i>; but appellations +implying physical charm, or suggesting ćsthetic +ideas only, are comparatively uncommon. One +reason for the fact may be that very ćsthetic +names are given to <i>geisha</i> and to <i>jōro</i>, and consequently +vulgarized. But the chief reason certainly +is that the domestic virtues still occupy in +Japanese moral estimate a place not less important +than that accorded to religious faith in the +life of our own Middle Ages. Not in theory only, +but in every-day practice, moral beauty is placed +far above physical beauty; and girls are usually +selected as wives, not for their good looks, but for +their domestic qualities. Among the middle +classes a very ćsthetic name would not be considered +in the best taste; among the poorer +classes, it would scarcely be thought respectable. +Ladies of rank, on the other hand, are privileged +to bear very poetical names; yet the majority +of the aristocratic yobina also are moral rather +than ćsthetic.</p> + +<hr /> + +<p class="indent"> +But the first great difficulty in the way of a +study of <i>yobina</i> is the difficulty of translating +<span class="pagenum">[Pg 109]</span> +them. A knowledge of spoken Japanese can +help you very little indeed. A knowledge of +Chinese also is indispensable. The meaning of a +name written in <i>kana</i> only,—in the Japanese +characters,—cannot be, in most cases, even +guessed at. The Chinese characters of the name +can alone explain it. The Japanese essayist, already +referred to, found himself obliged to throw +out no less than thirty-six names out of a list +of two hundred and thirteen, simply because +these thirty-six, having been recorded only in +<i>kana</i>, could not be interpreted. <i>Kana</i> give only +the pronunciation; and the pronunciation of a +woman's name explains nothing in a majority of +cases. Transliterated into Romaji, a <i>yobina</i> may +signify two, three, or even half-a-dozen different +things. One of the names thrown out of the +list was <i>Banka</i>. <i>Banka</i> might signify "Mint" +(the plant), which would be a pretty name; but +it might also mean "Evening-haze." <i>Yuka</i>, +another rejected name, might be an abbreviation +of <i>Yukabutsu</i>, "precious"; but it might just as +well mean "a floor." <i>Nochi</i>, a third example, +might signify "future"; yet it could also mean +"a descendant," and various other things. My +reader will be able to find many other homonyms +<span class="pagenum">[Pg 110]</span> +in the lists of names given further on. <i>Ai</i> in +Romaji, for instance, may signify either "love" +or "indigo-blue";—<i>Chō</i>, "a butterfly," or "superior," +or "long";—<i>Ei</i>, either "sagacious" or +"blooming";—<i>Kei</i>, either "rapture" or "reverence";—<i>Sato</i>, +either "native home" or +"sugar";—<i>Toshi</i>, either "year" or "arrow-head";—<i>Taka</i>, +"tall," "honorable," or "falcon." +The chief, and, for the present, insuperable +obstacle to the use of Roman letters in writing +Japanese, is the prodigious number of homonyms +in the language. You need only glance into any +good Japanese-English dictionary to understand +the gravity of this obstacle. Not to multiply +examples, I shall merely observe that there are +nineteen words spelled <i>chō</i>; twenty-one spelled +<i>ki</i>; twenty-five spelled <i>to</i> or <i>tō</i>; and no less +than forty-nine spelled <i>ko</i> or <i>kō</i>.</p> + +<hr /> + +<p class="indent"> +Yet, as I have already suggested, the real signification +of a woman's name cannot be ascertained +even from a literal translation made with the +help of the Chinese characters. Such a name, +for instance, as <i>Kagami</i> (Mirror) really signifies +the Pure-Minded, and this not in the Occidental, +but in the Confucian sense of the term. <i>Umé</i> +<span class="pagenum">[Pg 111]</span> +(Plum-blossom) is a name referring to wifely +devotion and virtue. <i>Matsu</i> (Pine) does not +refer, as an appellation, to the beauty of the tree, +but to the fact that its evergreen foliage is the +emblem of vigorous age. The name <i>Také</i> (Bamboo) +is given to a child only because the bamboo +has been for centuries a symbol of good-fortune. +The name <i>Sen</i> (Wood-fairy) sounds charmingly to +Western fancy; yet it expresses nothing more than +the parents' hope of long life for their daughter +and her offspring,—wood-fairies being supposed +to live for thousands of years.... Again, many +names are of so strange a sort that it is impossible +to discover their meaning without questioning +either the bearer or the giver; and sometimes all +inquiry proves vain, because the original meaning +has been long forgotten.</p> + +<p class="indent"> +Before attempting to go further into the subject, +I shall here offer a translation of the Tōkyō +essayist's list of names,—rearranged in alphabetical +order, without honorific prefixes or suffixes. +Although some classes of common names +are not represented, the list will serve to show +the character of many still popular <i>yobina</i>, and +also to illustrate several of the facts to which +I have already called attention.</p> + +<hr /> + +<p class="indent"> +<span class="pagenum">[Pg 112]</span> +</p> + +<h4>SELECTED NAMES OF STUDENTS AND GRADUATES<br /> +OF THE HIGHER NORMAL SCHOOL FOR<br /> +FEMALES (1880-1895):—</h4> + +<p class="right">Number of<br /> +students<br /> +so named.</p> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="selected names"> +<tr> +<td class="tdl" style="width: 15%;"><i>Ai</i></td> +<td class="tdl" style="width: 75%;">("Indigo,"—the color) </td> +<td class="tdr" style="width: 10%;">1</td> +</tr> + +<tr> +<td class="tdl"><i>Ai</i></td> +<td class="tdl">("Love") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Akasuké</i></td> +<td class="tdl">("The Bright Helper") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Asa</i></td> +<td class="tdl">("Morning") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Asa</i></td> +<td class="tdl">("Shallow")<a name="FNanchor_1_33" id="FNanchor_1_33"></a><a href="#Footnote_1_33" class="fnanchor">[33]</a> </td> +<td class="tdr">2</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p> +<a name="Footnote_1_33" id="Footnote_1_33"></a><a href="#FNanchor_1_33"><span class="label">[33]</span></a> Probably a place-name originally.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="selected names (cont1)"> + +<tr> +<td class="tdl" style="width: 15%;"><i>Au</i></td> +<td class="tdl" style="width: 75%;">("Meeting") </td> +<td class="tdr" style="width: 10%;">2</td> +</tr> + +<tr> +<td class="tdl"><i>Bun</i></td> +<td class="tdl">("Composition"—in the literary sense)<a name="FNanchor_2_34" id="FNanchor_2_34"></a><a href="#Footnote_2_34" class="fnanchor">[34]</a></td> +<td class="tdr">1</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p> +<a name="Footnote_2_34" id="Footnote_2_34"></a><a href="#FNanchor_2_34"><span class="label">[34]</span></a>Might we not quaintly say, "A Fair Writing"?</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="selected names (cont2)"> + +<tr> +<td class="tdl" style="width: 15%;"><i>Chika</i></td> +<td class="tdl" style="width: 75%;">("Near")<a name="FNanchor_3_35" id="FNanchor_3_35"></a><a href="#Footnote_3_35" class="fnanchor">[35]</a></td> +<td class="tdr" style="width: 10%;">5</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p> +<a name="Footnote_3_35" id="Footnote_3_35"></a><a href="#FNanchor_3_35"><span class="label">[35]</span> +</a> Probably in the sense of "near and dear"—but not certainly so.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="selected names (cont3)"> + +<tr> +<td class="tdl" style="width: 15%;"><i>Chitosé</i></td> +<td class="tdl" style="width: 75%;">("A Thousand Years") </td> +<td class="tdr" style="width: 10%;">1</td> +</tr> + +<tr> +<td class="tdl"><i>Chiyo</i></td> +<td class="tdl">("A Thousand Generations") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Chizu</i></td> +<td class="tdl">("Thousand Storks") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Chō</i></td> +<td class="tdl">("Butterfly") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Chō</i></td> +<td class="tdl">("Superior") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Ei</i></td> +<td class="tdl">("Clever") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Ei</i></td> +<td class="tdl">("Blooming") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Etsu</i></td> +<td class="tdl">("Delight") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Fudé</i></td> +<td class="tdl">("Writing-brush") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Fuji</i></td> +<td class="tdl">("Fuji,"—the mountain) </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Fuji</i></td> +<td class="tdl">("Wistaria-flower") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Fuki</i></td> +<td class="tdl">("Fuki,"—name of a plant, <i>Nardosmia Japonica</i>) </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Fuku</i></td> +<td class="tdl">("Good-fortune") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Fumi</i></td> +<td class="tdl">("Letter")<a name="FNanchor_4_36" id="FNanchor_4_36"></a><a href="#Footnote_4_36" class="fnanchor">[36]</a> </td> +<td class="tdr">5</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p> +<a name="Footnote_4_36" id="Footnote_4_36"></a><a href="#FNanchor_4_36"><span class="label">[36]</span> +</a> <i>Fumi</i> signifies here a letter written by a woman only—a letter written according to the rules of feminine epistolary style.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="selected names (cont4)"> + +<tr> +<td class="tdl" style="width: 15%;"><i>Fumino</i></td> +<td class="tdl" style="width: 75%;">("Letter-field") </td> +<td class="tdr" style="width: 10%;">1</td> +</tr> + +<tr> +<td class="tdl"><span class="pagenum">[Pg 113]</span> +<i>Fusa</i></td> +<td class="tdl">("Tassel") </td> +<td class="tdr">3</td> +</tr> + +<tr> +<td class="tdl"><i>Gin</i></td> +<td class="tdl">("Silver") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Hama</i></td> +<td class="tdl">("Shore") </td> +<td class="tdr">3</td> +</tr> + +<tr> +<td class="tdl"><i>Hana</i></td> +<td class="tdl">("Blossom") </td> +<td class="tdr">3</td> +</tr> + +<tr> +<td class="tdl"><i>Haruë</i></td> +<td class="tdl">("Spring-time Bay") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Hatsu</i></td> +<td class="tdl">("The First-born") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Hidé</i></td> +<td class="tdl">("Excellent") </td> +<td class="tdr">4</td> +</tr> + +<tr> +<td class="tdl"><i>Hidé</i></td> +<td class="tdl">("Fruitful") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Hisano</i></td> +<td class="tdl">("Long Plain") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Ichi</i></td> +<td class="tdl">("Market") </td> +<td class="tdr">4</td> +</tr> + +<tr> +<td class="tdl"><i>Iku</i></td> +<td class="tdl">("Nourishing") </td> +<td class="tdr">3</td> +</tr> + +<tr> +<td class="tdl"><i>Iné</i></td> +<td class="tdl">("Springing Rice") </td> +<td class="tdr">3</td> +</tr> + +<tr> +<td class="tdl"><i>Ishi</i></td> +<td class="tdl">("Stone") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Ito</i></td> +<td class="tdl">("Thread") </td> +<td class="tdr">4</td> +</tr> + +<tr> +<td class="tdl"><i>Iwa</i></td> +<td class="tdl">("Rock") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Jun</i></td> +<td class="tdl">("The Obedient")<a name="FNanchor_1_37" id="FNanchor_1_37"></a><a href="#Footnote_1_37" class="fnanchor">[37]</a> </td> +<td class="tdr">1</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p> +<a name="Footnote_1_37" id="Footnote_1_37"></a><a href="#FNanchor_1_37"><span class="label">[37]</span> +</a> <i>Jun suru</i> means to be obedient unto death. The word <i>jun</i> has a +much stronger signification than that which attaches to our word +"obedience" in these modern times.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="selected names (cont5)"> + +<tr> +<td class="tdl" style="width: 15%;"><i>Kagami</i></td> +<td class="tdl" style="width: 75%;">("Mirror") </td> +<td class="tdr" style="width: 10%;">3</td> +</tr> + +<tr> +<td class="tdl"><i>Kama</i></td> +<td class="tdl">("Sickle") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kamé</i></td> +<td class="tdl">("Tortoise") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Kaméyo</i></td> +<td class="tdl">("Generations-of-the-Tortoise")<a name="FNanchor_2_38" id="FNanchor_2_38"></a><a href="#Footnote_2_38" class="fnanchor">[38]</a> </td> +<td class="tdr">1</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p> +<a name="Footnote_2_38" id="Footnote_2_38"></a><a href="#FNanchor_2_38"><span class="label">[38]</span> +</a> The tortoise is supposed to live for a thousand years.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="selected names (cont6)"> + +<tr> +<td class="tdl" style="width: 15%;"><i>Kan</i></td> +<td class="tdl" style="width: 75%;">("The Forbearing")<a name="FNanchor_3_39" id="FNanchor_3_39"></a><a href="#Footnote_3_39" class="fnanchor">[39]</a> </td> +<td class="tdr" style="width: 10%;">11</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p> +<a name="Footnote_3_39" id="Footnote_3_39"></a><a href="#FNanchor_3_39"><span class="label">[39]</span> +</a> Abbreviation of <i>kannin</i>, "forbearance," "self-control," etc. The +name might equally well be translated "Patience."</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="selected names (cont7)"> + +<tr> +<td class="tdl" style="width: 15%;"><i>Kana</i></td> +<td class="tdl" style="width: 75%;">("Character"—in the sense of written character)<a name="FNanchor_4_40" id="FNanchor_4_40"></a><a href="#Footnote_4_40" class="fnanchor">[40]</a></td> +<td class="tdr" style="width: 10%;">2</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p> +<a name="Footnote_4_40" id="Footnote_4_40"></a><a href="#FNanchor_4_40"><span class="label">[40]</span> +</a> <i>Kana</i> signifies the Japanese syllabary,—the characters with +which the language is written. The reader may imagine, if he wishes, +that the name signifies the Alpha and Omega of all feminine charm; +but I confess that I have not been able to find any satisfactory explanation +of it.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="selected names (cont8)"> + +<tr> +<td class="tdl" style="width: 15%;"><i>Kané</i></td> +<td class="tdl" style="width: 75%;">("Bronze") </td> +<td class="tdr" style="width: 10%;">3</td> +</tr> + +<tr> +<td class="tdl"><i>Katsu</i></td> +<td class="tdl">("Victorious") </td> +<td class="tdr"><span class="pagenum">[Pg 114]</span> +2</td> +</tr> + +<tr> +<td class="tdl"><i>Kazashi</i></td> +<td class="tdl">("Hair-pin,"—or any ornament worn in the hair) </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kazu</i></td> +<td class="tdl">("Number,"—i.e., "great number") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kei</i></td> +<td class="tdl">("The Respectful") </td> +<td class="tdr">3</td> +</tr> + +<tr> +<td class="tdl"><i>Ken</i></td> +<td class="tdl">("Humility") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kiku</i></td> +<td class="tdl">("Chrysanthemum") </td> +<td class="tdr">6</td> +</tr> + +<tr> +<td class="tdl"><i>Kikuë</i></td> +<td class="tdl">("Chrysanthemum-branch") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kikuno</i></td> +<td class="tdl">("Chrysanthemum-field") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kimi</i></td> +<td class="tdl">("Sovereign") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kin</i></td> +<td class="tdl">("Gold") </td> +<td class="tdr">4</td> +</tr> + +<tr> +<td class="tdl"><i>Kinu</i></td> +<td class="tdl">("Cloth-of-Silk") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kishi</i></td> +<td class="tdl">("Beach") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Kiyo</i></td> +<td class="tdl">("Happy Generations") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kiyo</i></td> +<td class="tdl">("Pure") </td> +<td class="tdr">5</td> +</tr> + +<tr> +<td class="tdl"><i>Ko</i></td> +<td class="tdl">("Chime,"—the sound of a bell) </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kō</i></td> +<td class="tdl">("Filial Piety") </td> +<td class="tdr">11</td> +</tr> + +<tr> +<td class="tdl"><i>Kō</i></td> +<td class="tdl">("The Fine") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Koma</i></td> +<td class="tdl">("Filly") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Komé</i></td> +<td class="tdl">("Cleaned Rice") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Koto</i></td> +<td class="tdl">("Koto,"—the Japanese harp) </td> +<td class="tdr">4</td> +</tr> + +<tr> +<td class="tdl"><i>Kuma</i></td> +<td class="tdl">("Bear") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kumi</i></td> +<td class="tdl">("Braid") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kuni</i></td> +<td class="tdl">("Capital,"—chief city) </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kuni</i></td> +<td class="tdl">("Province") </td> +<td class="tdr">3</td> +</tr> + +<tr> +<td class="tdl"><i>Kura</i></td> +<td class="tdl">("Treasure-house") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kurano</i></td> +<td class="tdl">("Storehouse-field") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kuri</i></td> +<td class="tdl">("Chestnut") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Kuwa</i></td> +<td class="tdl">("Mulberry-tree") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Masa</i></td> +<td class="tdl">("Straightforward,"—upright) </td> +<td class="tdr">3</td> +</tr> + +<tr> +<td class="tdl"><i>Masago</i></td> +<td class="tdl">("Sand") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Masu</i></td> +<td class="tdl">("Increase") </td> +<td class="tdr">3</td> +</tr> + +<tr> +<td class="tdl"><i>Masuë</i></td> +<td class="tdl">("Branch-of-Increase") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Matsu</i></td> +<td class="tdl">("Pine") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><span class="pagenum">[Pg 115]</span> +<i>Matsuë</i></td> +<td class="tdl">("Pine-branch") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Michi</i></td> +<td class="tdl">("The Way,"—doctrine) </td> +<td class="tdr">4</td> +</tr> + +<tr> +<td class="tdl"><i>Mië</i></td> +<td class="tdl">("Triple Branch") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Mikië</i></td> +<td class="tdl">("Main-branch") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Miné</i></td> +<td class="tdl">("Peak") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Mitsu</i></td> +<td class="tdl">("Light") </td> +<td class="tdr">5</td> +</tr> + +<tr> +<td class="tdl"><i>Mitsuë</i></td> +<td class="tdl">("Shining Branch") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Morië</i></td> +<td class="tdl">("Service-Bay")<a name="FNanchor_1_41" id="FNanchor_1_41"></a><a href="#Footnote_1_41" class="fnanchor">[41]</a> </td> +<td class="tdr">1</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p> +<a name="Footnote_1_41" id="Footnote_1_41"></a><a href="#FNanchor_1_41"><span class="label">[41]</span> +</a> The word "service" here refers especially to attendance at meal-time,—to +the serving of rice, etc.</p></div></div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="selected names (cont.)"> +<tr> +<td class="tdl" style="width: 15%;"><i>Naka</i></td> +<td class="tdl" style="width: 75%;">("The Midmost") </td> +<td class="tdr" style="width: 10%;">4</td> +</tr> + +<tr> +<td class="tdl"><i>Nami</i></td> +<td class="tdl">("Wave") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Nobu</i></td> +<td class="tdl">("Fidelity") </td> +<td class="tdr">6</td> +</tr> + +<tr> +<td class="tdl"><i>Nobu</i></td> +<td class="tdl">("The Prolonger")<a name="FNanchor_2_42" id="FNanchor_2_42"></a><a href="#Footnote_2_42" class="fnanchor">[42]</a> </td> +<td class="tdr">1</td> +</tr> + +</table> + +<div class="footnotes"> +<div class="footnote"><p> +<a name="Footnote_2_42" id="Footnote_2_42"></a><a href="#FNanchor_2_42"><span class="label">[42]</span> +</a> Perhaps in the hopeful meaning of extending the family-line; but +more probably in the signification that a daughter's care prolongs the +life of her parents, or of her husband's parents.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="selected names (cont again)"> +<tr> +<td class="tdl" style="width: 15%;"><i>Nobuë</i></td> +<td class="tdl" style="width: 75%;">("Lengthening-branch") </td> +<td class="tdr" style="width: 10%;">1</td> +</tr> + +<tr> +<td class="tdl"><i>Nui</i></td> +<td class="tdl">("Tapestry,"—or, Embroidery) </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Orino</i></td> +<td class="tdl">("Weaving-Field") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Raku</i></td> +<td class="tdl">("Pleasure") </td> +<td class="tdr">3</td> +</tr> + +<tr> +<td class="tdl"><i>Ren</i></td> +<td class="tdl">("The Arranger") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Riku</i></td> +<td class="tdl">("Land,"—ground) </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Roku</i></td> +<td class="tdl">("Emolument") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Ryō</i></td> +<td class="tdl">("Dragon") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Ryū</i></td> +<td class="tdl">("Lofty") </td> +<td class="tdr">3</td> +</tr> + +<tr> +<td class="tdl"><i>Sada</i></td> +<td class="tdl">("The Chaste") </td> +<td class="tdr">8</td> +</tr> + +<tr> +<td class="tdl"><i>Saki</i></td> +<td class="tdl">("Cape,"—promontory) </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Saku</i></td> +<td class="tdl">("Composition")<a name="FNanchor_3_43" id="FNanchor_3_43"></a><a href="#Footnote_3_43" class="fnanchor">[43]</a> </td> +<td class="tdr">3</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p> +<a name="Footnote_3_43" id="Footnote_3_43"></a><a href="#FNanchor_3_43"><span class="label">[43]</span> +</a> Abbreviation of <i>sakubun</i>, a literary composition.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="selected names (cont9)"> + +<tr> +<td class="tdl" style="width: 15%;"><i>Sato</i></td> +<td class="tdl" style="width: 75%;">("Home,"—native place) </td> +<td class="tdr" style="width: 10%;">2</td> +</tr> + +<tr> +<td class="tdl"><i>Sawa</i></td> +<td class="tdl">("Marsh") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Sei</i></td> +<td class="tdl">("Force") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Seki</i></td> +<td class="tdl">("Barrier,"—city-gate, toll-gate, etc.). </td> +<td class="tdr">3</td> +</tr> + +<tr> +<td class="tdl"><i>Sen</i></td> +<td class="tdl">("Fairy")<a name="FNanchor_1_44" id="FNanchor_1_44"></a><a href="#Footnote_1_44" class="fnanchor">[44]</a> </td> +<td class="tdr"><span class="pagenum">[Pg 116]</span> +3</td> +</tr> + +</table> + +<div class="footnotes"> +<div class="footnote"><p> +<a name="Footnote_1_44" id="Footnote_1_44"></a><a href="#FNanchor_1_44"><span class="label">[44]</span> +</a> As a matter of fact, we have no English equivalent for the word +"sen," or "sennin,"—signifying a being possessing magical powers +of all kinds and living for thousands of years. Some authorities consider +the belief in <i>sennin</i> of Indian origin, and probably derived from old +traditions of the Rishi.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="selected names (cont10)"> + +<tr> +<td class="tdl" style="width: 15%;"><i>Setsu</i></td> +<td class="tdl" style="width: 75%;">("True,"—tender and true) </td> +<td class="tdr" style="width: 10%;">2</td> +</tr> + +<tr> +<td class="tdl"><i>Shidzu</i></td> +<td class="tdl">("The Calmer") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Shidzu</i></td> +<td class="tdl">("Peace") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Shigë</i></td> +<td class="tdl">("Two-fold") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Shika</i></td> +<td class="tdl">("Deer") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Shikaë</i></td> +<td class="tdl">("Deer-Inlet") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Shimé</i></td> +<td class="tdl">("The Clasp,"—fastening) </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Shin</i></td> +<td class="tdl">("Truth") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Shina</i></td> +<td class="tdl">("Goods") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Shina</i></td> +<td class="tdl">("Virtue") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Shino</i></td> +<td class="tdl">("Slender Bamboo") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Shirushi</i></td> +<td class="tdl">("The Proof,"—evidence) </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Shun</i></td> +<td class="tdl">("The Excellent") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Sué</i></td> +<td class="tdl">("The Last") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Sugi</i></td> +<td class="tdl">("Cedar,"—cryptomeria) </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Suté</i></td> +<td class="tdl">("Forsaken,"—foundling) </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Suzu</i></td> +<td class="tdl">("Little Bell") </td> +<td class="tdr">8</td> +</tr> + +<tr> +<td class="tdl"><i>Suzu</i></td> +<td class="tdl">("Tin") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Suzuë</i></td> +<td class="tdl">("Branch of Little Bells") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Taë</i></td> +<td class="tdl">("Exquisite") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Taka</i></td> +<td class="tdl">("Honor") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Taka</i></td> +<td class="tdl">("Lofty") </td> +<td class="tdr">9</td> +</tr> + +<tr> +<td class="tdl"><i>Také</i></td> +<td class="tdl">("Bamboo") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Tama</i></td> +<td class="tdl">("Jewel") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Tamaki</i></td> +<td class="tdl">("Ring") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Tamé</i></td> +<td class="tdl">("For-the-Sake-of—") </td> +<td class="tdr">3</td> +</tr> + +<tr> +<td class="tdl"><i>Tani</i></td> +<td class="tdl">("Valley") </td> +<td class="tdr">4</td> +</tr> + +<tr> +<td class="tdl"><i>Tazu</i></td> +<td class="tdl">("Ricefield-Stork") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><span class="pagenum">[Pg 117]</span> +<i>Tetsu</i></td> +<td class="tdl">("Iron") </td> +<td class="tdr">4</td> +</tr> + +<tr> +<td class="tdl"><i>Toku</i></td> +<td class="tdl">("Virtue") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Tomé</i></td> +<td class="tdl">("Stop,"—cease)<a name="FNanchor_1_45" id="FNanchor_1_45"></a><a href="#Footnote_1_45" class="fnanchor">[45]</a> </td> +<td class="tdr">1</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p> +<a name="Footnote_1_45" id="Footnote_1_45"></a><a href="#FNanchor_1_45"><span class="label">[45]</span> +</a> Such a name may signify that the parents resolved, after the birth +of the girl, to have no more children.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="selected names (cont11)"> + +<tr> +<td class="tdl" style="width: 15%;"><i>Tomi</i></td> +<td class="tdl" style="width: 75%;">("Riches") </td> +<td class="tdr" style="width: 10%;">3</td> +</tr> + +<tr> +<td class="tdl"><i>Tomijū</i></td> +<td class="tdl">("Wealth-and-Longevity") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Tomo</i></td> +<td class="tdl">("The Friend") </td> +<td class="tdr">4</td> +</tr> + +<tr> +<td class="tdl"><i>Tora</i></td> +<td class="tdl">("Tiger") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Toshi</i></td> +<td class="tdl">("Arrowhead") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Toyo</i></td> +<td class="tdl">("Abundance") </td> +<td class="tdr">3</td> +</tr> + +<tr> +<td class="tdl"><i>Tsugi</i></td> +<td class="tdl">("Next,"—i. e., second in order of birth) </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Tsuna</i></td> +<td class="tdl">("Bond,"—rope, or fetter) </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Tsuné</i></td> +<td class="tdl">("The Constant,"—or, as we should say, Constance) </td> +<td class="tdr">10</td> +</tr> + +<tr> +<td class="tdl"><i>Tsuru</i></td> +<td class="tdl">("Stork") </td> +<td class="tdr">4</td> +</tr> + +<tr> +<td class="tdl"><i>Umé</i></td> +<td class="tdl">("Plum-blossom") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Umégaë</i></td> +<td class="tdl">("Plumtree-spray") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Uméno</i></td> +<td class="tdl">("Plumtree-field") </td> +<td class="tdr">2</td> +</tr> + +<tr> +<td class="tdl"><i>Urano</i></td> +<td class="tdl">("Shore-field") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Ushi</i></td> +<td class="tdl">("Cow,"—or Ox)<a name="FNanchor_2_46" id="FNanchor_2_46"></a><a href="#Footnote_2_46" class="fnanchor">[46]</a> </td> +<td class="tdr">1</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p> +<a name="Footnote_2_46" id="Footnote_2_46"></a><a href="#FNanchor_2_46"><span class="label">[46]</span> +</a> This extraordinary name is probably to be explained as a reference +to date of birth. According to the old Chinese astrology, years, +months, days, and hours were all named after the Signs of the Zodiac, +and were supposed to have some mystic relation to those signs. I surmise +that Miss Ushi was born at the Hour of the Ox, on the Day of the +Ox, in the Month of the Ox and the Year of the Ox—"<i>Ushi no Toshi +no Ushi no Tsuki no Ushi no Hi no Ushi no Koku.</i>" +</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="selected names (cont12)"> + +<tr> +<td class="tdl" style="width: 15%;"><i>Uta</i></td> +<td class="tdl" style="width: 75%;">("Poem,"—or Song) </td> +<td class="tdr" style="width: 10%;">1</td> +</tr> + +<tr> +<td class="tdl"><i>Wakana</i></td> +<td class="tdl">("Young <i>Na</i>,"—probably the rape-plant is referred to) </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Yaë</i></td> +<td class="tdl">("Eight-fold") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Yasu</i></td> +<td class="tdl">("The Tranquil") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Yō</i></td> +<td class="tdl">("The Positive,"—as opposed to Negative or Feminine in the old Chinese philosophy;—therefore, perhaps, Masculine) </td> +<td class="tdr"><span class="pagenum">[Pg 118]</span> +1</td> +</tr> + +<tr> +<td class="tdl"><i>Yoné</i></td> +<td class="tdl">("Rice,"—in the old sense of wealth) </td> +<td class="tdr">4</td> +</tr> + +<tr> +<td class="tdl"><i>Yoshi</i></td> +<td class="tdl">("The Good") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Yoshino</i></td> +<td class="tdl">("Good Field") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Yū</i></td> +<td class="tdl">("The Valiant") </td> +<td class="tdr">1</td> +</tr> + +<tr> +<td class="tdl"><i>Yuri</i></td> +<td class="tdl">("Lily") </td> +<td class="tdr">1</td> +</tr> +</table> + +<hr /> + +<p class="indent"> +It will be observed that in the above list the +names referring to Constancy, Forbearance, and +Filial Piety have the highest numbers attached +to them.</p> + +<h3>II</h3> + +<p><span class="smcap">A few</span> of the more important rules in regard to +Japanese female names must now be mentioned.</p> + +<p class="indent"> +The great majority of these <i>yobina</i> are words +of two syllables. Personal names of respectable +women, belonging to the middle and lower +classes, are nearly always dissyllables—except +in cases where the name is lengthened by certain +curious suffixes which I shall speak of further +on. Formerly a name of three or more syllables +indicated that the bearer belonged to a superior +class. But, even among the upper classes to-day, +female names of only two syllables are in fashion.</p> + +<p class="indent"> +<span class="pagenum">[Pg 119]</span> +Among the people it is customary that a +female name of two syllables should be preceded +by the honorific "O," and followed by the +title "San,"—as <i>O-Matsu San</i>, "the Honorable +Miss [or Mrs.] Pine"; <i>O-Umé San</i>, "the Honorable +Miss Plum-blossom."<a name="FNanchor_1_47" id="FNanchor_1_47"></a><a href="#Footnote_1_47" class="fnanchor">[47]</a> But if the name +happen to have three syllables, the honorific +"O" is not used. A woman named <i>Kikuë</i> +("Chrysanthemum-Branch") is not addressed +as "O-Kikuë San," but only as "Kikuë San."</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_47" id="Footnote_1_47"></a><a href="#FNanchor_1_47"><span class="label">[47]</span> +</a> Under certain conditions of intimacy, both prefix and +title are dropped. They are dropped also by the superior +in addressing an inferior;—for example, a lady would not +address her maid as "<i>O-Yoné San</i>," but merely as "<i>Yoné</i>."</p> +</div> +</div> + +<p class="indent"> +Before the names of ladies, the honorific "O" +is no longer used as formerly,—even when the +name consists of one syllable only. Instead of +the prefix, an honorific suffix is appended to the +<i>yobina</i>,—the suffix <i>ko</i>. A peasant girl named +<i>Tomi</i> would be addressed by her equals as +<i>O-Tomi San</i>. But a lady of the same name +would be addressed as <i>Tomiko</i>. Mrs. Shimoda, +head-teacher of the Peeresses' School, for example, +has the beautiful name <i>Uta</i>. She would +be addressed by letter as "Shimoda Utako," and +would so sign herself in replying;—the family-name, +by Japanese custom, always preceding the +<span class="pagenum">[Pg 120]</span> +personal name, instead of being, as with us, +placed after it.</p> + +<p class="indent"> +This suffix <i>ko</i> is written with the Chinese +character meaning "child," and must not be +confused with the word <i>ko</i>, written with a different +Chinese character, and meaning "little," +which so often appears in the names of dancing +girls. I should venture to say that this genteel +suffix has the value of a caressing diminutive, +and that the name <i>Aiko</i> might be fairly well +rendered by the "Amoretta" of Spenser's <i>Faerie +Queene</i>. Be this as it may, a Japanese lady +named <i>Setsu</i> or <i>Sada</i> would not be addressed +in these days as O-Setsu or O-Sada, but as +Setsuko or Sadako. On the other hand, if a +woman of the people were to sign herself as +Setsuko or Sadako, she would certainly be +laughed at,—since the suffix would give to her +appellation the meaning of "the Lady Setsu," +or "the Lady Sada."</p> + +<p class="indent"> +I have said that the honorific "O" is placed +before the <i>yobina</i> of women of the middle and +lower classes. Even the wife of a <i>kurumaya</i> +would probably be referred to as the "Honorable +Mrs. Such-a-one." But there are very +<span class="pagenum">[Pg 121]</span> +remarkable exceptions to this general rule regarding +the prefix "O." In some country-districts +the common <i>yobina</i> of two syllables is made a +trisyllable by the addition of a peculiar suffix; +and before such trisyllabic names the "O" is +never placed. For example, the girls of Wakayama, +in the Province of Kii, usually have +added to their <i>yobina</i> the suffix "<i>ë</i>,"<a name="FNanchor_1_48" id="FNanchor_1_48"></a><a href="#Footnote_1_48" class="fnanchor">[48]</a> signifying +"inlet," "bay," "frith,"—sometimes "river." +Thus we find such names as <i>Namië</i> ("Wave-Bay"), +<i>Tomië</i> ("Riches-Bay"), <i>Sumië</i> ("Dwelling-Bay"), +<i>Shizuë</i> ("Quiet-Bay"), <i>Tamaë</i> +("Jewel-Bay"). Again there is a provincial +suffix "<i>no</i>" meaning "field" or "plain," which +is attached to the majority of female names in +certain districts. <i>Yoshino</i> ("Fertile Field"), +<i>Uméno</i> ("Plumflower Field"), <i>Shizuno</i> ("Quiet +Field"), <i>Urano</i> ("Coast Field"), <i>Utano</i> ("Song +Field"), are typical names of this class. A girl +called <i>Namië</i> or <i>Kikuno</i> is not addressed as +"O-Namië San" or "O-Kikuno San," but as +"Namië San," "Kikuno San."</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_48" id="Footnote_1_48"></a><a href="#FNanchor_1_48"><span class="label">[48]</span> +</a> This suffix must not be confused with the suffix "<i>ë</i>," +signifying "branch," which is also attached to many popular +names. Without seeing the Chinese character, you +cannot decide whether the name <i>Tamaë</i>, for example, +means "Jewel-branch" or "Jewel Inlet."</p> +</div> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 122]</span> +"San" (abbreviation of <i>Sama</i>, a word originally +meaning "form," "appearance"), when +placed after a female name, corresponds to either +our "Miss" or "Mrs." Placed after a man's +name it has at least the value of our "Mr.",—perhaps +even more. The unabbreviated form +<i>Sama</i> is placed after the names of high personages +of either sex, and after the names of +divinities: the Shintō Gods are styled the <i>Kami-Sama</i>, +which might be translated as "the Lords +Supreme"; the Bodhisattva Jizō is called <i>Jizō-Sama</i>, +"the Lord Jizō." A lady may also be +styled "Sama." A lady called <i>Ayako</i>, for instance, +might very properly be addressed as +Ayako Sama. But when a lady's name, independently +of the suffix, consists of more than +three syllables, it is customary to drop either +the <i>ko</i> or the title. Thus "the Lady Ayamé" +would not be spoken of as "Ayaméko Sama," +but more euphoniously as "Ayamé Sama,"<a name="FNanchor_1_49" id="FNanchor_1_49"></a><a href="#Footnote_1_49" class="fnanchor">[49]</a> or +as "Ayaméko."</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_49" id="Footnote_1_49"></a><a href="#FNanchor_1_49"><span class="label">[49]</span> +</a> "Ayamé Sama," however, is rather familiar; and this +form cannot be used by a stranger in verbal address, +though a letter may be directed with the name so written. +As a rule, the <i>ko</i> is the more respectful form.</p> +</div> +</div> + +<p class="indent"> +So much having been said as regards the +etiquette of prefixes and suffixes, I shall now +<span class="pagenum">[Pg 123]</span> +attempt a classification of female names,—beginning +with popular <i>yobina</i>. These will be +found particularly interesting, because they reflect +something of race-feeling in the matter of +ethics and ćsthetics, and because they serve to +illustrate curious facts relating to Japanese custom. +The first place I have given to names of +purely moral meaning,—usually bestowed in the +hope that the children will grow up worthy of +them. But the lists should in no case be regarded +as complete: they are only representative. +Furthermore, I must confess my inability to explain +the reason of many names, which proved +as much of riddles to Japanese friends as to +myself.</p> + +<hr /> + +<h4>NAMES OF VIRTUES AND PROPRIETIES</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of virtures etc."> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Ai</i></td> +<td class="tdl" style="width: 70%;">"Love."</td> +</tr> + +<tr> +<td><i>O-Chië</i></td> +<td>"Intelligence."</td> +</tr> + +<tr> +<td><i>O-Chū</i></td> +<td>"Loyalty."</td> +</tr> + +<tr> +<td><i>O-Jin</i></td> +<td>"Tenderness,"—humanity.</td> +</tr> + +<tr> +<td><i>O-Jun</i></td> +<td>"Faithful-to-death."</td> +</tr> + +<tr> +<td><i>O-Kaiyō</i></td> +<td>"Forgiveness,"—pardon.</td> +</tr> + +<tr> +<td><i>O-Ken</i></td> +<td>"Wise,"—in the sense of moral discernment.</td> +</tr> + +<tr> +<td><i>O-Kō</i></td> +<td>"Filial Piety."</td> +</tr> + +<tr> +<td><i>O-Masa</i></td> +<td>"Righteous,"—just.</td> +</tr> + +<tr> +<td><i>O-Michi</i></td> +<td>"The Way,"—doctrine.</td> +</tr> + +<tr> +<td><i>Misao</i></td> +<td>"Honor,"—wifely fidelity.</td> +</tr> + +<tr> +<td><span class="pagenum">[Pg 124]</span><i>O-Nao</i></td> +<td>"The Upright,"—honest.</td> +</tr> + +<tr> +<td><i>O-Nobu</i></td> +<td>"The Faithful."</td> +</tr> + +<tr> +<td><i>O-Rei</i></td> +<td>"Propriety,"—in the old Chinese sense.</td> +</tr> + +<tr> +<td><i>O-Retsu</i></td> +<td>"Chaste and True."</td> +</tr> + +<tr> +<td><i>O-Ryō</i></td> +<td>"The Generous,"—magnanimous.</td> +</tr> + +<tr> +<td><i>O-Sada</i></td> +<td>"The Chaste."</td> +</tr> + +<tr> +<td><i>O-Sei</i></td> +<td>"Truth."</td> +</tr> + +<tr> +<td><i>O-Shin</i></td> +<td>"Faith,"—in the sense of fidelity, trust.</td> +</tr> + +<tr> +<td><i>O-Shizu</i></td> +<td>"The Tranquil,"—calm-souled.</td> +</tr> + +<tr> +<td><i>O-Setsu</i></td> +<td>"Fidelity,"—wifely virtue.</td> +</tr> + +<tr> +<td><i>O-Tamé</i></td> +<td>"For-the-sake-of,"—a name suggesting unselfishness.</td> +</tr> + +<tr> +<td><i>O-Tei</i></td> +<td>"The Docile,"—in the meaning of virtuous obedience.</td> +</tr> + +<tr> +<td><i>O-Toku</i></td> +<td>"Virtue."</td> +</tr> + +<tr> +<td><i>O-Tomo</i></td> +<td>"The Friend,"—especially in the meaning of mate, companion.</td> +</tr> + +<tr> +<td><i>O-Tsuné</i></td> +<td>"Constancy."</td> +</tr> + +<tr> +<td><i>O-Yasu</i></td> +<td>"The Amiable,"—gentle.</td> +</tr> + +<tr> +<td><i>O-Yoshi</i></td> +<td>"The Good."</td> +</tr> + +<tr> +<td><i>O-Yoshi</i></td> +<td>"The Respectful."</td> +</tr> +</table> + +<hr /> + +<p class="indent"> +The next list will appear at first sight more +heterogeneous than it really is. It contains a +larger variety of appellations than the previous +list; but nearly all of the <i>yobina</i> refer to some +good quality which the parents trust that the +child will display, or to some future happiness +which they hope that she will deserve. To the +<span class="pagenum">[Pg 125]</span> +latter category belong such names of felicitation +as <i>Miyo</i> and <i>Masayo</i>.</p> + +<hr /> + +<h4>MISCELLANEOUS NAMES EXPRESSING PERSONAL +QUALITIES, OR PARENTAL HOPES</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of personal qualties"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Atsu</i></td> +<td class="tdl" style="width: 70%;">"The Generous,"—liberal.</td> +</tr> + +<tr> +<td><i>O-Chika</i></td> +<td>"Closely Dear."</td> +</tr> + +<tr> +<td><i>O-Chika</i></td> +<td>"Thousand Rejoicings."</td> +</tr> + +<tr> +<td><i>O-Chō</i></td> +<td>"The Long,"—probably in reference to life.</td> +</tr> + +<tr> +<td><i>O-Dai</i></td> +<td>"Great."</td> +</tr> + +<tr> +<td><i>O-Den</i></td> +<td>"Transmission,"—bequest from ancestors, tradition.</td> +</tr> + +<tr> +<td><i>O-É</i></td> +<td>"Fortunate."</td> +</tr> + +<tr> +<td><i>O-Ei</i></td> +<td>"Prosperity."</td> +</tr> + +<tr> +<td><i>O-En</i></td> +<td>"Charm."</td> +</tr> + +<tr> +<td><i>O-En</i></td> +<td>"Prolongation,"—of life.</td> +</tr> + +<tr> +<td><i>O-Etsu</i></td> +<td>"Surpassing."</td> +</tr> + +<tr> +<td><i>O-Etsu</i></td> +<td>"The Playful,"—merry, joyous.</td> +</tr> + +<tr> +<td><i>O-Fuku</i></td> +<td>"Good Luck."</td> +</tr> + +<tr> +<td><i>O-Gen</i></td> +<td>"Source,"—spring, fountain.</td> +</tr> + +<tr> +<td><i>O-Haya</i></td> +<td>"The Quick,"—light, nimble.</td> +</tr> + +<tr> +<td><i>O-Hidé</i></td> +<td>"Superior."</td> +</tr> + +<tr> +<td><i>Hidéyo</i></td> +<td>"Superior Generations."</td> +</tr> + +<tr> +<td><i>O-Hiro</i></td> +<td>"The Broad."</td> +</tr> + +<tr> +<td><i>O-Hisa</i></td> +<td>"The Long." (?)</td> +</tr> + +<tr> +<td><i>Isamu</i></td> +<td>"The Vigorous,"—spirited, robust.</td> +</tr> + +<tr> +<td><i>O-Jin</i></td> +<td>"Superexcellent."</td> +</tr> + +<tr> +<td><i>Kaméyo</i></td> +<td>"Generations-of-the-Tortoise."</td> +</tr> + +<tr> +<td><i>O-Kané</i><a name="FNanchor_1_50" id="FNanchor_1_50"></a><a href="#Footnote_1_50" class="fnanchor">[50]</a></td> +<td>"The Doubly-Accomplished."</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_50" id="Footnote_1_50"></a><a href="#FNanchor_1_50"><span class="label">[50]</span> +</a> From the strange verb <i>kaneru</i>, signifying, to do two things at the +same time.</p> +</div> +</div> + +<p><span class="pagenum">[Pg 126]</span></p> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of personal qualties2"> + +<tr> +<td class="tdl" style="width: 30%;"><i>Kaoru</i></td> +<td class="tdl" style="width: 70%;">"The Fragrant."</td> +</tr> + +<tr> +<td><i>O-Kata</i></td> +<td>"Worthy Person."</td> +</tr> + +<tr> +<td><i>O-Katsu</i></td> +<td>"The Victorious."</td> +</tr> + +<tr> +<td><i>O-Kei</i></td> +<td>"Delight."</td> +</tr> + +<tr> +<td><i>O-Kei</i></td> +<td>"The Respectful."</td> +</tr> + +<tr> +<td><i>O-Ken</i></td> +<td>"The Humble."</td> +</tr> + +<tr> +<td><i>O-Kichi</i></td> +<td>"The Fortunate."</td> +</tr> + +<tr> +<td><i>O-Kimi</i></td> +<td>"The Sovereign,"—peerless.</td> +</tr> + +<tr> +<td><i>O-Kiwa</i></td> +<td>"The Distinguished."</td> +</tr> + +<tr> +<td><i>O-Kiyo</i>}</td> +<td>{"The Clear,"—in the sense of</td> +</tr> + +<tr> +<td><i>Kiyoshi}</i></td> +<td>{ bright, beautiful.</td> +</tr> + +<tr> +<td><i>O-Kuru</i></td> +<td>"She-who-Comes"(?).<a name="FNanchor_1_51" id="FNanchor_1_51"></a><a href="#Footnote_1_51" class="fnanchor">[51]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_51" id="Footnote_1_51"></a><a href="#FNanchor_1_51"><span class="label">[51]</span> +</a> One is reminded of, "O whistle, and I'll come to you, my lad"—but +no Japanese female name could have the implied signification. +More probably the reference is to household obedience.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of personal qualties3"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Maru</i></td> +<td class="tdl" style="width: 70%;">"The Round,"—plump.</td> +</tr> + +<tr> +<td><i>O-Masa</i></td> +<td>"The Genteel."</td> +</tr> + +<tr> +<td><i>Masayo</i></td> +<td>"Generations-of-the-Just."</td> +</tr> + +<tr> +<td><i>O-Masu</i></td> +<td>"Increase."</td> +</tr> + +<tr> +<td><i>O-Mië</i></td> +<td>"Triple Branch."</td> +</tr> + +<tr> +<td><i>O-Miki</i></td> +<td>"Stem."</td> +</tr> + +<tr> +<td><i>O-Mio</i></td> +<td>"Triple Cord."</td> +</tr> + +<tr> +<td><i>O-Mitsu</i></td> +<td>"Abundance."</td> +</tr> + +<tr> +<td><i>O-Miwa</i></td> +<td>"The Far-seeing."</td> +</tr> + +<tr> +<td><i>O-Miwa</i></td> +<td>"Three Spokes"(?).<a name="FNanchor_2_52" id="FNanchor_2_52"></a><a href="#Footnote_2_52" class="fnanchor">[52]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_52" id="Footnote_2_52"></a><a href="#FNanchor_2_52"><span class="label">[52]</span> +</a> Such is the meaning of the characters. I cannot understand the +name. A Buddhist explanation suggests itself; but there are few, if +any, Buddhist <i>yobina</i>.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of personal qualties4"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Miyo</i></td> +<td class="tdl" style="width: 70%;">"Beautiful Generations."</td> +</tr> + +<tr> +<td><i>Miyuki</i><a name="FNanchor_3_53" id="FNanchor_3_53"></a><a href="#Footnote_3_53" class="fnanchor">[53]</a></td> +<td>"Deep Snow."</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_3_53" id="Footnote_3_53"></a><a href="#FNanchor_3_53"><span class="label">[53]</span> +</a> This beautiful name refers to the silence and calm following a +heavy snowfall. But, even for the Japanese, it is an ćsthetic name +also—suggesting both tranquillity and beauty.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of personal qualties5"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Moto</i></td> +<td class="tdl" style="width: 70%;">"Origin."</td> +</tr> + +<tr> +<td><span class="pagenum">[Pg 127]</span> +<i>O-Naka</i></td> +<td>"Friendship."</td> +</tr> + +<tr> +<td><i>O-Rai</i></td> +<td>"Trust."</td> +</tr> + +<tr> +<td><i>O-Raku</i><a name="FNanchor_1_54" id="FNanchor_1_54"></a><a href="#Footnote_1_54" class="fnanchor">[54]</a></td> +<td>"Pleasure."</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_54" id="Footnote_1_54"></a><a href="#FNanchor_1_54"><span class="label">[54]</span> +</a> The name seems curious, in view of the common proverb, <i>Raku +wa ku no tané</i>,—"Pleasure is the seed of pain."</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of personal qualties6"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Sachi</i></td> +<td class="tdl" style="width: 70%;">"Bliss."</td> +</tr> + +<tr> +<td><i>O-Sai</i></td> +<td>"The Talented."</td> +</tr> + +<tr> +<td><i>Sakaë</i></td> +<td>"Prosperity."</td> +</tr> + +<tr> +<td><i>O-Saku</i></td> +<td>"The Blooming."</td> +</tr> + +<tr> +<td><i>O-Sei</i></td> +<td>"The Refined,"—in the sense of "clear."</td> +</tr> + +<tr> +<td><i>O-Sei</i></td> +<td>"Force."</td> +</tr> + +<tr> +<td><i>O-Sen</i></td> +<td>"Sennin,"—wood-fairy.</td> +</tr> + +<tr> +<td><i>O-Shigé</i></td> +<td>"Exuberant."</td> +</tr> + +<tr> +<td><i>O-Shimé</i></td> +<td>"The Total,"—<i>summum bonum</i>.</td> +</tr> + +<tr> +<td><i>O-Shin</i></td> +<td>"The Fresh."</td> +</tr> + +<tr> +<td><i>O-Shin</i></td> +<td>"Truth."</td> +</tr> + +<tr> +<td><i>O-Shina</i></td> +<td>"Goods,"—possessions.</td> +</tr> + +<tr> +<td><i>Shirushi</i></td> +<td>"Proof,"—evidence.</td> +</tr> + +<tr> +<td><i>O-Shizu</i></td> +<td>"The Humble."</td> +</tr> + +<tr> +<td><i>O-Shō</i></td> +<td>"Truth."</td> +</tr> + +<tr> +<td><i>O-Shun</i></td> +<td>"Excellence."</td> +</tr> + +<tr> +<td><i>O-Suki</i></td> +<td>"The Beloved,"—<i>Aimée</i>.</td> +</tr> + +<tr> +<td><i>O-Suké</i></td> +<td>"The Helper."</td> +</tr> + +<tr> +<td><i>O-Sumi</i></td> +<td>"The Refined,"—in the sense of "sifted."</td> +</tr> + +<tr> +<td><i>O-Suté</i></td> +<td>"The Forsaken,"—foundling.<a name="FNanchor_2_55" id="FNanchor_2_55"></a><a href="#Footnote_2_55" class="fnanchor">[55]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_55" id="Footnote_2_55"></a><a href="#FNanchor_2_55"><span class="label">[55]</span> +</a> Not necessarily a real foundling. Sometimes the name may be +explained by a curious old custom. In a certain family several children +in succession die shortly after birth. It is decided, according to traditional +usage, that the next child born must be exposed. A girl is the +next child born;—she is carried by a servant to some lonely place in +the fields, or elsewhere, and left there. Then a peasant, or other person, +hired for the occasion (it is necessary that he should be of no kin to the family), promptly appears, pretends to find the babe, and carries it back +to the parental home. "See this pretty foundling," he says to the +father of the girl,—"will you not take care of it?" The child is received, +and named "Suté," the foundling. By this innocent artifice, it +was formerly (and perhaps in some places is still) supposed that those +unseen influences, which had caused the death of the other children, +might be thwarted.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of personal qualties6"> +<tr> +<td class="tdl" style="width: 30%;"><span class="pagenum">[Pg 128]</span> +<i>O-Taë</i></td> +<td class="tdl" style="width: 70%;">"The Exquisite."</td> +</tr> + +<tr> +<td><i>O-Taka</i></td> +<td>"The Honorable."</td> +</tr> + +<tr> +<td><i>O-Taka</i></td> +<td>"The Tall."</td> +</tr> + +<tr> +<td><i>Takara</i></td> +<td>"Treasure,"—precious object.</td> +</tr> + +<tr> +<td><i>O-Tama</i></td> +<td>"Jewel."</td> +</tr> + +<tr> +<td><i>Tamaë</i></td> +<td>"Jewel-branch."</td> +</tr> + +<tr> +<td><i>Tokiwa</i><a name="FNanchor_1_56" id="FNanchor_1_56"></a><a href="#Footnote_1_56" class="fnanchor">[56]</a></td> +<td>"Eternally Constant."</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_56" id="Footnote_1_56"></a><a href="#FNanchor_1_56"><span class="label">[56]</span> +</a> Lit., "Everlasting-Rock,"—but the ethical meaning is "Constancy-everlasting-as-the-Rocks." +"Tokiwa" is a name famous both +in history and tradition; for it was the name of the mother of Yoshitsuné. +Her touching story,—and especially the episode of her flight +through the deep snow with her boys,—has been a source of inspiration +to generations of artists.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of personal qualties7"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Tomi</i></td> +<td class="tdl" style="width: 70%;">"Riches."</td> +</tr> + +<tr> +<td><i>O-Toshi</i></td> +<td>"The Deft,"—skilful.</td> +</tr> + +<tr> +<td><i>O-Tsuma</i></td> +<td>"The Wife."</td> +</tr> + +<tr> +<td><i>O-Yori</i></td> +<td>"The Trustworthy."</td> +</tr> + +<tr> +<td><i>O-Waka</i></td> +<td>"The Young."</td> +</tr> +</table> + +<hr /> + +<p class="indent"> +Place-names, or geographical names, are +common; but they are particularly difficult to +explain. A child may be called after a place +because born there, or because the parental +home was there, or because of beliefs belonging +to the old Chinese philosophy regarding +direction and position, or because of traditional +<span class="pagenum">[Pg 129]</span> +custom, or because of ideas connected with the +religion of Shintō.</p> + +<hr /> + +<h4>PLACE-NAMES</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of places1"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Fuji</i></td> +<td class="tdl" style="width: 70%;">[Mount] "Fuji."</td> +</tr> + +<tr> +<td><i>O-Hama</i></td> +<td>"Coast."</td> +</tr> + +<tr> +<td><i>O-Ichi</i></td> +<td>"Market,"—fair.</td> +</tr> + +<tr> +<td><i>O-Iyo</i></td> +<td>"Iyo,"—province of Iyo, in Shikoku.</td> +</tr> + +<tr> +<td><i>O-Kawa</i></td> +<td>(rare) "River."</td> +</tr> + +<tr> +<td><i>O-Kishi</i></td> +<td>"Beach,"—shore.</td> +</tr> + +<tr> +<td><i>O-Kita</i></td> +<td>"North."</td> +</tr> + +<tr> +<td><i>O-Kiwa</i></td> +<td>"Border."</td> +</tr> + +<tr> +<td><i>O-Kuni</i></td> +<td>"Province."</td> +</tr> + +<tr> +<td><i>O-Kyō</i></td> +<td>"Capital,"—metropolis,—Kyōto.</td> +</tr> + +<tr> +<td><i>O-Machi</i></td> +<td>"Town."</td> +</tr> + +<tr> +<td><i>Matsuë</i></td> +<td>"Matsuë,"—chief city of Izumo.</td> +</tr> + +<tr> +<td><i>O-Mina</i><a name="FNanchor_1_57" id="FNanchor_1_57"></a><a href="#Footnote_1_57" class="fnanchor">[57]</a></td> +<td>"South."</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_57" id="Footnote_1_57"></a><a href="#FNanchor_1_57"><span class="label">[57]</span> +</a> Abbreviation of <i>Minami</i>.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of names of places2"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Miné</i></td> +<td class="tdl" style="width: 70%;">"Peak."</td> +</tr> + +<tr> +<td><i>O-Miya</i></td> +<td>"Temple" [<i>Shintō</i>].<a name="FNanchor_2_58" id="FNanchor_2_58"></a><a href="#Footnote_2_58" class="fnanchor">[58]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_58" id="Footnote_2_58"></a><a href="#FNanchor_2_58"><span class="label">[58]</span> +</a> I must confess that in classing this name as a place-name, I am +only making a guess. It seems to me that the name probably refers to +the <i>ichi no miya</i>, or chief Shintō temple of some province.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of names of places3"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Mon</i><a name="FNanchor_3_59" id="FNanchor_3_59"></a><a href="#Footnote_3_59" class="fnanchor">[59]</a></td> +<td class="tdl" style="width: 70%;">"Gate."</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_3_59" id="Footnote_3_59"></a><a href="#FNanchor_3_59"><span class="label">[59]</span> +</a> I fancy that this name, like that of O-Séki, must have originated +in the custom of naming children after the place, or neighborhood, +where the family lived. But here again, I am guessing.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of places4"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Mura</i></td> +<td class="tdl" style="width: 70%;">"Village."</td> +</tr> + +<tr> +<td><i>O-Nami</i><a name="FNanchor_4_60" id="FNanchor_4_60"></a><a href="#Footnote_4_60" class="fnanchor">[60]</a></td> +<td>"Wave."</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_4_60" id="Footnote_4_60"></a><a href="#FNanchor_4_60"><span class="label">[60]</span> +</a> This classification also is a guess. I could learn nothing about +the name, except the curious fact that it is said to be unlucky.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of places5"> +<tr> +<td class="tdl" style="width: 30%;"><i>Naniwa</i></td> +<td class="tdl" style="width: 70%;">"Naniwa,"—ancient name of Ōsaka.</td> +</tr> + +<tr> +<td><i>O-Nishi</i></td> +<td>"West."</td> +</tr> + +<tr> +<td><span class="pagenum">[Pg 130]</span> +<i>O-Rin</i></td> +<td>"Park."</td> +</tr> + +<tr> +<td><i>O-Saki</i></td> +<td>"Cape."</td> +</tr> + +<tr> +<td><i>O-Sato</i></td> +<td>"Native Place,"—village,—also, home.</td> +</tr> + +<tr> +<td><i>O-Sawa</i></td> +<td>"Marsh."</td> +</tr> + +<tr> +<td><i>O-Seki</i></td> +<td>"Toll-Gate,"—barrier.</td> +</tr> + +<tr> +<td><i>Shigéki</i></td> +<td>"Thickwood,"—forest.</td> +</tr> + +<tr> +<td><i>O-Shima</i></td> +<td>"Island."</td> +</tr> + +<tr> +<td><i>O-Sono</i></td> +<td>"Flower-garden."</td> +</tr> + +<tr> +<td><i>O-Taki</i></td> +<td>"Cataract,"—or Waterfall.</td> +</tr> + +<tr> +<td><i>O-Tani</i></td> +<td>"Valley."</td> +</tr> + +<tr> +<td><i>O-Tsuka</i></td> +<td>"Milestone."</td> +</tr> + +<tr> +<td><i>O-Yama</i></td> +<td>"Mountain."</td> +</tr> +</table> + +<hr /> + +<p class="indent"> +The next list is a curious medley, so far as regards +the quality of the <i>yobina</i> comprised in it. +Some are really ćsthetic and pleasing; others industrial +only; while a few might be taken for +nicknames of the most disagreeable kind.</p> + +<hr /> + +<h4> +NAMES OF OBJECTS AND OF OCCUPATIONS +ESPECIALLY PERTAINING TO WOMEN</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of occupations1"> +<tr> +<td class="tdl" style="width: 30%;"><i>Ayako</i>or }</td> +<td class="tdl" style="width: 70%;">"Damask-pattern."</td> +</tr> + +<tr> +<td><i>O-Aya</i><a name="FNanchor_1_61" id="FNanchor_1_61"></a><a href="#Footnote_1_61" class="fnanchor">[61]</a> }</td> +<td></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_61" id="Footnote_1_61"></a><a href="#FNanchor_1_61"><span class="label">[61]</span> +</a> <i>Aya-Nishiki</i>,—the famous figured damask brocade of Kyōto,—is +probably referred to.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of occupations2"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Fumi</i></td> +<td class="tdl" style="width: 70%;">"Woman's Letter."</td> +</tr> + +<tr> +<td><i>O-Fusa</i></td> +<td>"Tassel."</td> +</tr> + +<tr> +<td><i>O-Ito</i></td> +<td>"Thread."</td> +</tr> + +<tr> +<td><i>O-Kama</i><a name="FNanchor_2_62" id="FNanchor_2_62"></a><a href="#Footnote_2_62" class="fnanchor">[62]</a></td> +<td>"Rice-Sickle."</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_62" id="Footnote_2_62"></a><a href="#FNanchor_2_62"><span class="label">[62]</span> +</a> <i>O-Kama</i> (Sickle) is a familiar peasant-name. <i>O-Kama</i> (caldron, +or iron cooking-pot), and several other ugly names in this list are ' names. Servants in old time not only trained their children to +become servants, but gave them particular names referring to their +future labors.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of occupations3"> +<tr> +<td class="tdl" style="width: 30%;"><span class="pagenum">[Pg 131]</span> +<i>O-Kama</i></td> +<td class="tdl" style="width: 70%;">"Caldron."</td> +</tr> + +<tr> +<td><i>Kazashi</i></td> +<td>"Hair-pin."</td> +</tr> + +<tr> +<td><i>O-Kinu</i></td> +<td>"Cloth-of-Silk."</td> +</tr> + +<tr> +<td><i>O-Koto</i></td> +<td>"Harp."</td> +</tr> + +<tr> +<td><i>O-Nabé</i></td> +<td>"Pot,"—or cooking-vessel.</td> +</tr> + +<tr> +<td><i>O-Nui</i></td> +<td>"Embroidery."</td> +</tr> + +<tr> +<td><i>O-Shimé</i></td> +<td>"Clasp,"—ornamental fastening.</td> +</tr> + +<tr> +<td><i>O-Somé</i></td> +<td>"The Dyer."</td> +</tr> + +<tr> +<td><i>O-Taru</i></td> +<td>"Cask,"—barrel.</td> +</tr> +</table> + +<hr /> + +<p class="indent"> +The following list consists entirely of material +nouns used as names. There are several <i>yobina</i> +among them of which I cannot find the emblematical +meaning. Generally speaking, the <i>yobina</i> +which signify precious substances, such as silver +and gold, are ćsthetic names; and those which +signify common hard substances, such as stone, +rock, iron, are intended to suggest firmness or +strength of character. But the name "Rock" +is also sometimes used as a symbol of the wish +for long life, or long continuance of the family +line. The curious name <i>Suna</i> has nothing, however, +to do with individual "grit": it is half-moral +and half-ćsthetic. Fine sand—especially +colored sand—is much prized in this fairy-land +<span class="pagenum">[Pg 132]</span> +of landscape-gardening, where it is used to cover +spaces that must always be kept spotless and +beautiful, and never trodden,—except by the +gardener.</p> + +<hr /> + +<h4>MATERIAL NOUNS USED AS NAMES</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of material nouns1"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Gin</i></td> +<td class="tdl" style="width: 70%;">"Silver."</td> +</tr> + +<tr> +<td><i>O-Ishi</i></td> +<td>"Stone."</td> +</tr> + +<tr> +<td><i>O-Iwa</i></td> +<td>"Rock."</td> +</tr> + +<tr> +<td><i>O-Kané</i></td> +<td>"Bronze."</td> +</tr> + +<tr> +<td><i>O-Kazé</i><a name="FNanchor_1_63" id="FNanchor_1_63"></a><a href="#Footnote_1_63" class="fnanchor">[63]</a></td> +<td>"Air,"—perhaps Wind.</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_63" id="Footnote_1_63"></a><a href="#FNanchor_1_63"><span class="label">[63]</span> +</a> I cannot find any explanation of this curious name.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of material nouns2"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Kin</i></td> +<td class="tdl" style="width: 70%;">"Gold."</td> +</tr> + +<tr> +<td><i>O-Ruri</i><a name="FNanchor_2_64" id="FNanchor_2_64"></a><a href="#Footnote_2_64" class="fnanchor">[64]</a> }</td> +<td>"Emerald,"—emeraldine?</td> +</tr> + +<tr> +<td><i>Ruriko</i> }</td> +<td></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_64" id="Footnote_2_64"></a><a href="#FNanchor_2_64"><span class="label">[64]</span> +</a> The Japanese name does not give the same quality of ćsthetic +sensation as the name Esmeralda. The <i>ruri</i> is not usually green, but +blue; and the term "ruri-iro" (emerald color) commonly signifies a +dark violet.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of material nouns3"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Ryū</i></td> +<td class="tdl" style="width: 70%;">"Fine Metal."</td> +</tr> + +<tr> +<td><i>O-Sato</i></td> +<td>"Sugar."</td> +</tr> + +<tr> +<td><i>O-Seki</i></td> +<td>"Stone."</td> +</tr> + +<tr> +<td><i>O-Shiwo</i></td> +<td>"Salt."</td> +</tr> + +<tr> +<td><i>O-Suna</i></td> +<td>"Sand."</td> +</tr> + +<tr> +<td><i>O-Suzu</i></td> +<td>"Tin."</td> +</tr> + +<tr> +<td><i>O-Tané</i></td> +<td>"Seed."</td> +</tr> + +<tr> +<td><i>O-Tetsu</i></td> +<td>"Iron."</td> +</tr> +</table> + +<hr /> + +<p class="indent"> +The following five <i>yobina</i> are ćsthetic names,—although +literally signifying things belonging +to intellectual work. Four of them, at least, +<span class="pagenum">[Pg 133]</span> +refer to calligraphy,—the matchless calligraphy +of the Far East,—rather than to anything +that we should call "<i>literary</i> beauty."</p> + +<hr /> + +<h4>LITERARY NAMES</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="literary names"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Bun</i></td> +<td class="tdl" style="width: 70%;">"Composition."</td> +</tr> + +<tr> +<td><i>O-Fudé</i></td> +<td>"Writing-Brush."</td> +</tr> + +<tr> +<td><i>O-Fumi</i></td> +<td>"Letter."</td> +</tr> + +<tr> +<td><i>O-Kaku</i></td> +<td>"Writing."</td> +</tr> + +<tr> +<td><i>O-Uta</i></td> +<td>"Poem."</td> +</tr> +</table> + +<hr /> + +<p class="indent"> +Names relating to number are very common, +but also very interesting. They may be loosely +divided into two sub-classes,—names indicating +the order or the time of birth, and names of +felicitation. Such <i>yobina</i> as <i>Ichi</i>, <i>San</i>, <i>Roku</i>, +<i>Hachi</i> usually refer to the order of birth; but +sometimes they record the date of birth. For +example, I know a person called O-Roku, who +received this name, not because she was the sixth +child born in the family, but because she entered +this world upon the sixth day of the sixth month +of the sixth Meiji. It will be observed that the +numbers Two, Five, and Nine are not represented +in the list: the mere idea of such names as <i>O-Ni</i>, +<i>O-Go</i>, or <i>O-Ku</i> seems to a Japanese absurd. I +do not know exactly why,—unless it be that they +<span class="pagenum">[Pg 134]</span> +suggest unpleasant puns. The place of <i>O-Ni</i> is +well supplied, however, by the name <i>O-Tsugi</i> +("Next"), which will be found in a subsequent +list. Names signifying numbers ranging from +eighty to a thousand, and upward, are names of +felicitation. They express the wish that the +bearer may live to a prodigious age, or that her +posterity may flourish through the centuries.</p> + +<hr /> + +<h4>NUMERALS AND WORDS RELATING TO NUMBER</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="numbers1"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Ichi</i></td> +<td class="tdl" style="width: 70%;">"One."</td> +</tr> + +<tr> +<td><i>O-San</i></td> +<td>"Three."</td> +</tr> + +<tr> +<td><i>O-Mitsu</i></td> +<td>"Three."</td> +</tr> + +<tr> +<td><i>O-Yotsu</i></td> +<td>"Four."</td> +</tr> + +<tr> +<td><i>O-Roku</i></td> +<td>"Six."</td> +</tr> + +<tr> +<td><i>O-Shichi</i></td> +<td>"Seven."</td> +</tr> + +<tr> +<td><i>O-Hachi</i></td> +<td>"Eight."</td> +</tr> + +<tr> +<td><i>O-Jū</i></td> +<td>"Ten."</td> +</tr> + +<tr> +<td><i>O-Iso</i></td> +<td>"Fifty."<a name="FNanchor_1_65" id="FNanchor_1_65"></a><a href="#Footnote_1_65" class="fnanchor">[65]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_65" id="Footnote_1_65"></a><a href="#FNanchor_1_65"><span class="label">[65]</span> +</a> Such a name may record the fact that the girl was a first-born +child, and the father fifty years old at the time of her birth.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="numbers2"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Yaso</i></td> +<td class="tdl" style="width: 70%;">"Eighty."</td> +</tr> + +<tr> +<td><i>O-Hyaku</i></td> +<td>"Hundred."<a name="FNanchor_2_66" id="FNanchor_2_66"></a><a href="#Footnote_2_66" class="fnanchor">[66]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_66" id="Footnote_2_66"></a><a href="#FNanchor_2_66"><span class="label">[66]</span> +</a> The "O" before this trisyllable seems contrary to rule; but +<i>Hyaku</i> is pronounced almost like a dissyllable.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="numbers3"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Yao</i></td> +<td class="tdl" style="width: 70%;">"Eight Hundred."</td> +</tr> + +<tr> +<td><i>O-Sen</i></td> +<td>"Thousand."</td> +</tr> + +<tr> +<td><i>O-Michi</i></td> +<td>"Three Thousand."</td> +</tr> + +<tr> +<td><i>O-Man</i></td> +<td>"Ten Thousand."</td> +</tr> + +<tr> +<td><span class="pagenum">[Pg 135]</span> +<i>O-Chiyo</i></td> +<td>"Thousand Generations."</td> +</tr> + +<tr> +<td><i>Yachiyo</i></td> +<td>"Eight Thousand Generations."</td> +</tr> + +<tr> +<td><i>O-Shigé</i></td> +<td>"Two-fold."</td> +</tr> + +<tr> +<td><i>O-Yaë</i></td> +<td>"Eight-fold."</td> +</tr> + +<tr> +<td><i>O-Kazu</i></td> +<td>"Great Number."</td> +</tr> + +<tr> +<td><i>O-Mina</i></td> +<td>"All."</td> +</tr> + +<tr> +<td><i>O-Han</i></td> +<td>"Half."<a name="FNanchor_1_67" id="FNanchor_1_67"></a><a href="#Footnote_1_67" class="fnanchor">[67]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_67" id="Footnote_1_67"></a><a href="#FNanchor_1_67"><span class="label">[67]</span> +</a> "Better half?"—the reader may query. But I believe that this +name originated in the old custom of taking a single character of the +father's name—sometimes also a character of the mother's name—to +compose the child's name with. Perhaps in this case the name of the +girl's father was <span class="smcap">Han</span>yémon, or <span class="smcap">Han</span>bei.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="numbers1"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Iku</i></td> +<td class="tdl" style="width: 70%;">"How Many?"(?)</td> +</tr> +</table> + +<hr /> + +<h4>OTHER NAMES RELATING TO ORDER OF BIRTH</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="order of birth"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Hatsu</i></td> +<td class="tdl" style="width: 70%;">"Beginning,"—first-born.</td> +</tr> + +<tr> +<td><i>O-Tsugi</i></td> +<td>"Next,"—the second.</td> +</tr> + +<tr> +<td><i>O-Naka</i></td> +<td>"Midmost."</td> +</tr> + +<tr> +<td><i>O-Tomé</i></td> +<td>"Stop,"—cease.</td> +</tr> + +<tr> +<td><i>O-Sué</i></td> +<td>"Last."</td> +</tr> +</table> + +<hr /> + +<p class="indent"> +Some few of the next group of names are probably +ćsthetic. But such names are sometimes +given only in reference to the time or season of +birth; and the reason for any particular <i>yobina</i> +of this class is difficult to decide without personal +inquiry.</p> + +<hr /> + +<h4>NAMES RELATING TO TIME AND SEASON</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="literary names"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Haru</i></td> +<td class="tdl" style="width: 70%;">"Spring."</td> +</tr> + +<tr> +<td><i>O-Natsu</i></td> +<td>"Summer."</td> +</tr> + +<tr> +<td><span class="pagenum">[Pg 136]</span> +<i>O-Aki</i></td> +<td>"Autumn."</td> +</tr> + +<tr> +<td><i>O-Fuyu</i></td> +<td>"Winter."</td> +</tr> + +<tr> +<td><i>O-Asa</i></td> +<td>"Morning."</td> +</tr> + +<tr> +<td><i>O-Chō</i></td> +<td>"Dawn."</td> +</tr> + +<tr> +<td><i>O-Yoi</i></td> +<td>"Evening."</td> +</tr> + +<tr> +<td><i>O-Sayo</i></td> +<td>"Night."</td> +</tr> + +<tr> +<td><i>O-Ima</i></td> +<td>"Now."</td> +</tr> + +<tr> +<td><i>O-Toki</i></td> +<td>"Time,"—opportunity.</td> +</tr> + +<tr> +<td><i>O-Toshi</i></td> +<td>"Year [of Plenty]."</td> +</tr> +</table> + +<hr /> + +<p class="indent"> +Names of animals—real or mythical—form +another class of <i>yobina</i>. A name of this kind +generally represents the hope that the child will +develop some quality or capacity symbolized by +the creature after which it has been called. +Names such as "Dragon," "Tiger," "Bear," etc., +are intended in most cases to represent moral +rather than other qualities. The moral symbolism +of the <i>Koi</i> (Carp) is too well-known to require +explanation here. The names <i>Kamé</i> and +<i>Tsuru</i> refer to longevity. <i>Koma</i>, curious as the +fact may seem, is a name of endearment.</p> + +<hr /> + +<h4>NAMES OF BIRDS, FISHES, ANIMALS, ETC.</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of animals1"> +<tr> +<td class="tdl" style="width: 30%;"><i>Chidori</i></td> +<td class="tdl" style="width: 70%;">"Sanderling."</td> +</tr> + +<tr> +<td><i>O-Kamé</i></td> +<td>"Tortoise."</td> +</tr> + +<tr> +<td><i>O-Koi</i></td> +<td>"Carp."<a name="FNanchor_1_68" id="FNanchor_1_68"></a><a href="#Footnote_1_68" class="fnanchor">[68]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_68" id="Footnote_1_68"></a><a href="#FNanchor_1_68"><span class="label">[68]</span> +</a> <i>Cyprinus carpio.</i></p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of animals2"> +<tr> +<td class="tdl" style="width: 30%;"><span class="pagenum">[Pg 137]</span> +<i>O-Koma</i></td> +<td class="tdl" style="width: 70%;">"Filly,"—or pony.</td> +</tr> + +<tr> +<td><i>O-Kuma</i></td> +<td>"Bear."</td> +</tr> + +<tr> +<td><i>O-Ryō</i></td> +<td>"Dragon."</td> +</tr> + +<tr> +<td><i>O-Shika</i></td> +<td>"Deer."</td> +</tr> + +<tr> +<td><i>O-Tai</i></td> +<td>"Bream."<a name="FNanchor_1_69" id="FNanchor_1_69"></a><a href="#Footnote_1_69" class="fnanchor">[69]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_69" id="Footnote_1_69"></a><a href="#FNanchor_1_69"><span class="label">[69]</span> +</a> <i>Chrysophris cardinalis.</i></p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of names of animals3"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Taka</i></td> +<td class="tdl" style="width: 70%;">"Hawk."</td> +</tr> + +<tr> +<td><i>O-Tako</i></td> +<td>"Cuttlefish."(?)</td> +</tr> + +<tr> +<td><i>O-Tatsu</i></td> +<td>"Dragon."</td> +</tr> + +<tr> +<td><i>O-Tora</i></td> +<td>"Tiger."</td> +</tr> + +<tr> +<td><i>O-Tori</i></td> +<td>"Bird."</td> +</tr> + +<tr> +<td><i>O-Tsuru</i></td> +<td>"Stork."<a name="FNanchor_2_70" id="FNanchor_2_70"></a><a href="#Footnote_2_70" class="fnanchor">[70]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_70" id="Footnote_2_70"></a><a href="#FNanchor_2_70"><span class="label">[70]</span> +</a> Sometimes this name is shortened into <i>O-Tsu</i>. In Tōkyō at the +present time it is the custom to drop the honorific "O" before such +abbreviations, and to add to the name the suffix "chan,"—as in the +case of children's names. Thus a young woman may be caressingly +addressed as "Tsu-chan" (for O-Tsuru), "Ya-chan" (for O-Yasu), +etc.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of names of animals3"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Washi</i></td> +<td class="tdl" style="width: 70%;">"Eagle."</td> +</tr> +</table> + +<hr /> + +<p class="indent"> +Even <i>yobina</i> which are the names of flowers or +fruits, plants or trees, are in most cases names of +moral or felicitous, rather than of ćsthetic meaning. +The plumflower is an emblem of feminine +virtue; the chrysanthemum, of longevity; the pine, +both of longevity and constancy; the bamboo, of +fidelity; the cedar, of moral rectitude; the willow, +of docility and gentleness, as well as of physical +grace. The symbolism of the lotos and of the +cherryflower are probably familiar. But such +names as <i>Hana</i> ("Blossom ") and <i>Ben</i> ("Petal") +<span class="pagenum">[Pg 138]</span> +are ćsthetic in the true sense; and the Lily remains +in Japan, as elsewhere, an emblem of +feminine grace.</p> + +<hr /> + +<h4>FLOWER-NAMES</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="flower names1"> +<tr> +<td class="tdl" style="width: 30%;"><i>Ayamé</i></td> +<td class="tdl" style="width: 70%;">"Iris."<a name="FNanchor_1_71" id="FNanchor_1_71"></a><a href="#Footnote_1_71" class="fnanchor">[71]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_71" id="Footnote_1_71"></a><a href="#FNanchor_1_71"><span class="label">[71]</span> +</a> <i>Iris setosa, or Iris sibrisia.</i></p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="flower names2"> +<tr> +<td class="tdl" style="width: 30%;"><i>Azami</i></td> +<td class="tdl" style="width: 70%;">"Thistle-Flower."</td> +</tr> + +<tr> +<td><i>O-Ben</i></td> +<td>"Petal."</td> +</tr> + +<tr> +<td><i>O-Fuji</i></td> +<td>"Wistaria."<a name="FNanchor_2_72" id="FNanchor_2_72"></a><a href="#Footnote_2_72" class="fnanchor">[72]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_72" id="Footnote_2_72"></a><a href="#FNanchor_2_72"><span class="label">[72]</span> +</a> <i>Wistaria chinensis.</i></p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="flower names3"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Hana</i></td> +<td class="tdl" style="width: 70%;">"Blossom."</td> +</tr> + +<tr> +<td><i>O-Kiku</i></td> +<td>"Chrysanthemum."</td> +</tr> + +<tr> +<td><i>O-Ran</i></td> +<td>"Orchid."</td> +</tr> + +<tr> +<td><i>O-Ren</i></td> +<td>"Lotos."</td> +</tr> + +<tr> +<td><i>Sakurako</i></td> +<td>"Cherryblossom."</td> +</tr> + +<tr> +<td><i>O-Umé</i></td> +<td>"Plumflower."</td> +</tr> + +<tr> +<td><i>O-Yuri</i></td> +<td>"Lily."</td> +</tr> +</table> + +<hr /> + +<h4>NAMES OF PLANTS, FRUITS, AND TREES</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="plants and trees1"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Iné</i></td> +<td class="tdl" style="width: 70%;">"Rice-in-the-blade."</td> +</tr> + +<tr> +<td><i>Kaëdé</i></td> +<td>"Maple-leaf."</td> +</tr> + +<tr> +<td><i>O-Kaya</i></td> +<td>"Rush."<a name="FNanchor_3_73" id="FNanchor_3_73"></a><a href="#Footnote_3_73" class="fnanchor">[73]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_3_73" id="Footnote_3_73"></a><a href="#FNanchor_3_73"><span class="label">[73]</span> +</a> <i>Imperata arundinacea.</i></p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="plants and trees1"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Kaya</i></td> +<td class="tdl" style="width: 70%;">"Yew."<a name="FNanchor_4_74" id="FNanchor_4_74"></a><a href="#Footnote_4_74" class="fnanchor">[74]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_4_74" id="Footnote_4_74"></a><a href="#FNanchor_4_74"><span class="label">[74]</span> +</a> <i>Torreya nucifera.</i></p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of plants trees2"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Kuri</i></td> +<td class="tdl" style="width: 70%;">"Chestnut."</td> +</tr> + +<tr> +<td><i>O-Kuwa</i></td> +<td>"Mulberry."</td> +</tr> + +<tr> +<td><i>O-Maki</i></td> +<td>"Fir."<a name="FNanchor_5_75" id="FNanchor_5_75"></a><a href="#Footnote_5_75" class="fnanchor">[75]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_5_75" id="Footnote_5_75"></a><a href="#FNanchor_5_75"><span class="label">[75]</span> +</a> <i>Podocarpus chinensis.</i></p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of plants trees3"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Mamé</i></td> +<td class="tdl" style="width: 70%;">"Bean."</td> +</tr> + +<tr> +<td><span class="pagenum">[Pg 139]</span> +<i>O-Momo</i></td> +<td>"Peach,"—the fruit.<a name="FNanchor_1_76" id="FNanchor_1_76"></a><a href="#Footnote_1_76" class="fnanchor">[76]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_76" id="Footnote_1_76"></a><a href="#FNanchor_1_76"><span class="label">[76]</span> +</a> Yet this name may possibly have been written with the wrong +character. There is another <i>yobina</i>, "Momo" signifying "hundred,"—as +in the phrase <i>momo yo</i>, "for a hundred ages."</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of plants trees4"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Nara</i></td> +<td class="tdl" style="width: 70%;">"Oak."</td> +</tr> + +<tr> +<td><i>O-Ryū</i></td> +<td>"Willow."</td> +</tr> + +<tr> +<td><i>Sanaë</i></td> +<td>"Sprouting-Rice."</td> +</tr> + +<tr> +<td><i>O-Sané</i></td> +<td>"Fruit-seed."</td> +</tr> + +<tr> +<td><i>O-Shino</i></td> +<td>"Slender Bamboo."</td> +</tr> + +<tr> +<td><i>O-Sugé</i></td> +<td>"Reed."<a name="FNanchor_2_77" id="FNanchor_2_77"></a><a href="#Footnote_2_77" class="fnanchor">[77]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_77" id="Footnote_2_77"></a><a href="#FNanchor_2_77"><span class="label">[77]</span> +</a> <i>Scirpus maritimus.</i></p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of plants trees5"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Sugi</i></td> +<td class="tdl" style="width: 70%;">"Cedar."<a name="FNanchor_3_78" id="FNanchor_3_78"></a><a href="#Footnote_3_78" class="fnanchor">[78]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_3_78" id="Footnote_3_78"></a><a href="#FNanchor_3_78"><span class="label">[78]</span> +</a> <i>Cryptomeria Japonica.</i></p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of plants trees"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Také</i></td> +<td class="tdl" style="width: 70%;">"Bamboo."</td> +</tr> + +<tr> +<td><i>O-Tsuta</i></td> +<td>"Ivy."<a name="FNanchor_4_79" id="FNanchor_4_79"></a><a href="#Footnote_4_79" class="fnanchor">[79]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_4_79" id="Footnote_4_79"></a><a href="#FNanchor_4_79"><span class="label">[79]</span> +</a> <i>Cissus Thunbergii.</i></p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of plants trees6"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Yaë</i></td> +<td class="tdl" style="width: 70%;">"Double-Blossom."<a name="FNanchor_5_80" id="FNanchor_5_80"></a><a href="#Footnote_5_80" class="fnanchor">[80]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_5_80" id="Footnote_5_80"></a><a href="#FNanchor_5_80"><span class="label">[80]</span> +</a> A flower-name certainly; but the <i>yaë</i> here is probably an abbreviation +of <i>yaë-zakura</i>, the double-flower of a particular species of cherry-tree.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of plants trees7"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Yoné</i></td> +<td class="tdl" style="width: 70%;">"Rice-in-grain."</td> +</tr> + +<tr> +<td><i>Wakana</i></td> +<td>"Young <i>Na</i>."<a name="FNanchor_6_81" id="FNanchor_6_81"></a><a href="#Footnote_6_81" class="fnanchor">[81]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_6_81" id="Footnote_6_81"></a><a href="#FNanchor_6_81"><span class="label">[81]</span> +</a> <i>Brassica chinensis.</i></p> +</div> +</div> + +<hr /> + +<p class="indent"> +Names signifying light or color seem to us the +most ćsthetic of all <i>yobina</i>; and they probably +seem so to the Japanese. Nevertheless the relative +purport even of these names cannot be divined +at sight. Colors have moral and other +values in the old nature-philosophy; and an +appellation that to the Western mind suggests +only luminosity or beauty may actually refer +<span class="pagenum">[Pg 140]</span> +to moral or social distinction,—to the hope that +the girl so named will become "illustrious."</p> + +<hr /> + +<h4>NAMES SIGNIFYING BRIGHTNESS</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of brightness1"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Mika</i></td> +<td class="tdl" style="width: 70%;">"New Moon."<a name="FNanchor_1_82" id="FNanchor_1_82"></a><a href="#Footnote_1_82" class="fnanchor">[82]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_82" id="Footnote_1_82"></a><a href="#FNanchor_1_82"><span class="label">[82]</span> +</a> <i>Mika</i> is an abbreviation of Mikazuki, "the moon of the third night" +[of the old lunar month].</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of brightness2"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Mitsu</i></td> +<td class="tdl" style="width: 70%;">"Light."</td> +</tr> + +<tr> +<td><i>O-Shimo</i></td> +<td>"Frost."</td> +</tr> + +<tr> +<td><i>O-Teru</i></td> +<td>"The Shining."</td> +</tr> + +<tr> +<td><i>O-Tsuki</i></td> +<td>"Moon."</td> +</tr> + +<tr> +<td><i>O-Tsuya</i></td> +<td>"The Glossy,"—lustrous.</td> +</tr> + +<tr> +<td><i>O-Tsuyu</i></td> +<td>"Dew."</td> +</tr> + +<tr> +<td><i>O-Yuki</i></td> +<td>"Snow."</td> +</tr> +</table> + +<hr /> + +<h4>COLOR-NAMES</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="color names1"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Ai</i></td> +<td class="tdl" style="width: 70%;">"Indigo."</td> +</tr> + +<tr> +<td><i>O-Aka</i></td> +<td>"Red."</td> +</tr> + +<tr> +<td><i>O-Iro</i></td> +<td>"Color."</td> +</tr> + +<tr> +<td><i>O-Kon</i></td> +<td>"Deep Blue."</td> +</tr> + +<tr> +<td><i>O-Kuro</i></td> +<td>"Dark,"—lit.,"Black."</td> +</tr> + +<tr> +<td><i>Midori</i><a name="FNanchor_2_83" id="FNanchor_2_83"></a><a href="#Footnote_2_83" class="fnanchor">[83]</a></td> +<td>"Green."</td> +</tr> + +<tr> +<td><i>Murasaki</i><a href="#Footnote_2_83" class="fnanchor">[83]</a></td> +<td>"Purple."</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_83" id="Footnote_2_83"></a><a href="#FNanchor_2_83"><span class="label">[83]</span> +</a> <i>Midori</i> and <i>Murasaki</i>, especially the latter, should properly be +classed with aristocratic <i>yobina</i>; and both are very rare. I could find +neither in the collection of aristocratic names which was made for me +from the records of the Peeresses' School; but I discovered a "Midori" +in a list of middle-class names. Color-names being remarkably few +among <i>yobina</i>, I thought it better in this instance to group the whole of +them together, independently of class-distinctions.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="color names2"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Shiro</i></td> +<td class="tdl" style="width: 70%;">"White."</td> +</tr> +</table> + +<hr /> + +<p class="indent"> +<span class="pagenum">[Pg 141]</span> +The following and final group of female +names contains several queer puzzles. Japanese +girls are sometimes named after the family +crest; and heraldry might explain one or two of +these <i>yobina</i>. But why a girl should be called a +ship, I am not sure of being able to guess. Perhaps +some reader may be reminded of Nietzsche's +"Little Brig called Angeline":—</p> + +<p class="margin-left8"> +<span style="margin-left: -0.5em;">"Angeline—they call me so—</span><br /> +Now a ship, one time a maid,<br /> +(Ah, and evermore a maid!)<br /> +Love the steersman, to and fro,<br /> +Turns the wheel so finely made."</p> + +<p class="indent"> +But such a fancy would not enter into a Japanese +mind. I find, however, in a list of family crests, +two varieties of design representing a ship, twenty +representing an arrow, and two representing a +bow.</p> + +<hr /> + +<h4>NAMES DIFFICULT TO CLASSIFY OR EXPLAIN</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="difficult names1"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Fuku</i><a name="FNanchor_1_84" id="FNanchor_1_84"></a><a href="#Footnote_1_84" class="fnanchor">[84]</a></td> +<td class="tdl" style="width: 70%;">"Raiment,"—clothing.</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_84" id="Footnote_1_84"></a><a href="#FNanchor_1_84"><span class="label">[84]</span> +</a> Possibly this name belongs to the same class as <i>O-Nui</i> ("Embroidery"), +<i>O-Somé</i> ("The Dyer"); but I am not sure.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="difficult names2"> +<tr> +<td class="tdl" style="width: 30%;"><i>O-Funé</i></td> +<td class="tdl" style="width: 70%;">"Ship,"—or Boat.</td> +</tr> + +<tr> +<td><i>O-Hina</i><a name="FNanchor_2_85" id="FNanchor_2_85"></a><a href="#Footnote_2_85" class="fnanchor">[85]</a></td> +<td>"Doll,"—a paper doll?</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_85" id="Footnote_2_85"></a><a href="#FNanchor_2_85"><span class="label">[85]</span> +</a> Probably a name of caress. The word <i>hina</i> is applied especially +to the little paper dolls made by hand for amusement,—representing +young ladies with elaborate coiffure; and it is also given to the old-fashioned +dolls representing courtly personages in full ceremonial costume. +The true doll—doll-baby—is called <i>ningyō</i>.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="difficult names3"> +<tr> +<td class="tdl" style="width: 30%;"><span class="pagenum">[Pg 142]</span> +<i>O-Kono</i></td> +<td>"This."</td> +</tr> + +<tr> +<td><i>O-Nao</i></td> +<td>"Still More."</td> +</tr> + +<tr> +<td><i>O-Nari</i></td> +<td>"Thunder-peal."</td> +</tr> + +<tr> +<td><i>O-Nibo</i></td> +<td>"Palanquin" (?).</td> +</tr> + +<tr> +<td><i>O-Rai</i></td> +<td>"Thunder."</td> +</tr> + +<tr> +<td><i>O-Rui</i></td> +<td>"Sort,"—kind, species.</td> +</tr> + +<tr> +<td><i>O-Suzu</i><a name="FNanchor_1_86" id="FNanchor_1_86"></a><a href="#Footnote_1_86" class="fnanchor">[86]</a></td> +<td>"Little Bell."</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_86" id="Footnote_1_86"></a><a href="#FNanchor_1_86"><span class="label">[86]</span> +</a> Perhaps this name is given because of the sweet sound of the +<i>suzu</i>,—a tiny metal ball, with a little stone or other hard object inside, +to make the ringing.—It is a pretty Japanese custom to put one of these +little <i>suzu</i> in the silk charm-bag (<i>mamori-bukero</i>) which is attached to a +child's girdle. The <i>suzu</i> rings with every motion that the child makes,—somewhat +like one of those tiny bells which we attach to the neck of +a pet kitten.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="difficult names4"> +<tr> +<td class="tdl" style="width: 30%;"><i>Suzuë</i></td> +<td class="tdl" style="width: 70%;">"Branch-of-Little-Bells."</td> +</tr> + +<tr> +<td><i>O-Tada</i></td> +<td>"The Only."</td> +</tr> + +<tr> +<td><i>Tamaki</i></td> +<td>"Armlet,"—bracelet.</td> +</tr> + +<tr> +<td><i>O-Tami</i></td> +<td>"Folk,"—common people.</td> +</tr> + +<tr> +<td><i>O-Toshi</i></td> +<td>"Arrowhead,"—or barb.</td> +</tr> + +<tr> +<td><i>O-Tsui</i></td> +<td>"Pair,"—match.</td> +</tr> + +<tr> +<td><i>O-Tsuna</i></td> +<td>"Rope,"—bond.</td> +</tr> + +<tr> +<td><i>O-Yumi</i></td> +<td>"Bow,"—weapon.</td> +</tr> +</table> + +<hr /> + +<p class="indent"> +Before passing on to the subject of aristocratic +names, I must mention an old rule for Japanese +names,—a curious rule that might help to account +for sundry puzzles in the preceding lists. +This rule formerly applied to all personal names,—masculine +or feminine. It cannot be fully explained +in the present paper; for a satisfactory +<span class="pagenum">[Pg 144]</span> +explanation would occupy at least fifty pages. +But, stated in the briefest possible way, the rule +is that the first or "head-character" of a personal +name should be made to "accord" (in the Chinese +philosophic sense) with the supposed <i>Sei</i>, or +astrologically-determined nature, of the person to +whom the name is given;—the required accordance +being decided, not by the meaning, but by +the sound of the Chinese written character. +Some vague idea of the difficulties of the subject +may be obtained from the accompanying +table. (Page 143.)</p> + +<hr /> + +<div class="figcenter" style="width: 700px;"> +<img src="images/illus159.png" width="700" height="386" alt="PHONETIC RELATION of the FIVE ELEMENTAL-NATURES to the JAPANESE SYLLABARY" title="PHONETIC RELATION of the FIVE ELEMENTAL-NATURES to the JAPANESE SYLLABARY" /> +<span class="caption">PHONETIC RELATION of the FIVE ELEMENTAL-NATURES to the JAPANESE SYLLABARY</span> +</div> + +<hr class="hr2"/> +<h3>III</h3> + +<p><span class="smcap">For</span> examples of contemporary aristocratic +names I consulted the reports of the <i>Kwazoku-Jogakkō</i> +(Peeresses' School), published between +the nineteenth and twenty-seventh years of Meiji +(1886-1895). The Kwazoku-Jogakkō admits +other students besides daughters of the nobility; +but for present purposes the names of the latter +only—to the number of one hundred and forty-seven—have +been selected.</p> + +<p class="indent"> +It will be observed that names of three or +more syllables are rare among these, and also +<span class="pagenum">[Pg 145]</span> +that the modern aristocratic <i>yobina</i> of two syllables, +as pronounced and explained, differ little +from ordinary <i>yobina</i>. But as written in +Chinese they differ greatly from other female +names, being in most cases represented by characters +of a complex and unfamiliar kind. The +use of these more elaborate characters chiefly +accounts for the relatively large number of +homonyms to be found in the following +list:—</p> + +<hr /> + +<h4>PERSONAL NAMES OF LADY STUDENTS OF THE +KWAZOKU JOGAKKŌ</h4> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of kwazoku jogakkou1"> +<tr> +<td class="tdl" style="width: 30%;"><i>Aki-ko</i></td> +<td class="tdl" style="width: 70%;">"Autumn."</td> +</tr> + +<tr> +<td><i>Aki-ko</i></td> +<td>"The Clear-Minded."</td> +</tr> + +<tr> +<td><i>Aki-ko</i></td> +<td>"Dawn."</td> +</tr> + +<tr> +<td><i>Asa-ko</i></td> +<td>"Fair Morning."</td> +</tr> + +<tr> +<td><i>Aya-ko</i></td> +<td>"Silk Damask."</td> +</tr> + +<tr> +<td><i>Chiharu-ko</i></td> +<td>"A Thousand Springs."</td> +</tr> + +<tr> +<td><i>Chika-ko</i></td> +<td>"Near,"—close.</td> +</tr> + +<tr> +<td><i>Chitsuru-ko</i></td> +<td>"A Thousand Storks."</td> +</tr> + +<tr> +<td><i>Chiyo-ko</i></td> +<td>"A Thousand Generations."</td> +</tr> + +<tr> +<td><i>Ei-ko</i></td> +<td>"Bell-Chime."</td> +</tr> + +<tr> +<td><i>Etsu-ko</i></td> +<td>"Delight."</td> +</tr> + +<tr> +<td><i>Fuji-ko</i></td> +<td>"Wistaria."</td> +</tr> + +<tr> +<td><i>Fuku-ko</i></td> +<td>"Good-Fortune."</td> +</tr> + +<tr> +<td><i>Fumi-ko</i></td> +<td>"A Woman's Letter."</td> +</tr> + +<tr> +<td><i>Fuyō-ko</i></td> +<td>"Lotos-flower."</td> +</tr> + +<tr> +<td><i>Fuyu-ko</i></td> +<td>"Winter."</td> +</tr> + +<tr> +<td><i>Hana-ko</i></td> +<td>"Flower."</td> +</tr> + +<tr> +<td><span class="pagenum">[Pg 146]</span> +<i>Hana-ko</i></td> +<td>"Fair-Blooming."</td> +</tr> + +<tr> +<td><i>Haru-ko</i></td> +<td>"The Tranquil."</td> +</tr> + +<tr> +<td><i>Haru-ko</i></td> +<td>"Spring,"—the season of flowers.</td> +</tr> + +<tr> +<td><i>Haru-ko</i></td> +<td>"The Far-Removed,"—in the sense, perhaps, of superlative.</td> +</tr> + +<tr> +<td><i>Hatsu-ko</i></td> +<td>"The First-born."</td> +</tr> + +<tr> +<td><i>Hidé-ko</i></td> +<td>"Excelling."</td> +</tr> + +<tr> +<td><i>Hidé-ko</i></td> +<td>"Surpassing."</td> +</tr> + +<tr> +<td><i>Hiro-ko</i></td> +<td>"Magnanimous,"—literally, "broad," "large,"—in the sense of beneficence.</td> +</tr> + +<tr> +<td><i>Hiro-ko</i></td> +<td>"Wide-Spreading,"—with reference to family prosperity.</td> +</tr> + +<tr> +<td><i>Hisa-ko</i></td> +<td>"Long-lasting."</td> +</tr> + +<tr> +<td><i>Hisa-ko</i></td> +<td>"Continuing."</td> +</tr> + +<tr> +<td><i>Hoshi-ko</i></td> +<td>"Star."</td> +</tr> + +<tr> +<td><i>Iku-ko</i></td> +<td>"The Quick,"—in the sense of living.</td> +</tr> + +<tr> +<td><i>Ima-ko</i></td> +<td>"Now."</td> +</tr> + +<tr> +<td><i>Iho-ko</i></td> +<td>"Five Hundred,"—probably a name of felicitation.</td> +</tr> + +<tr> +<td><i>Ito-ko</i></td> +<td>"Sewing-Thread."</td> +</tr> + +<tr> +<td><i>Kamé-ko</i></td> +<td>"Tortoise."</td> +</tr> + +<tr> +<td><i>Kané-ko</i></td> +<td>"Going around"(?).<a name="FNanchor_1_87" id="FNanchor_1_87"></a><a href="#Footnote_1_87" class="fnanchor">[87]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_87" id="Footnote_1_87"></a><a href="#FNanchor_1_87"><span class="label">[87]</span> +</a> It is possible that this name was made simply by taking one character +of the father's name. The girl's name otherwise conveys no +intelligible meaning.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of kwazoku jogakkou2"> +<tr> +<td class="tdl" style="width: 30%;"><i>Kané-ko</i></td> +<td class="tdl" style="width: 70%;">"Bell,"—the character indicates a large suspended bell.</td> +</tr> + +<tr> +<td><i>Kata-ko</i></td> +<td>"Condition"?</td> +</tr> + +<tr> +<td><i>Kazu-ko</i></td> +<td>"First."</td> +</tr> + +<tr> +<td><i>Kazu-ko</i></td> +<td>"Number,"—a great number.</td> +</tr> + +<tr> +<td><i>Kazu-ko</i></td> +<td>"The Obedient."</td> +</tr> + +<tr> +<td><i>Kiyo-ko</i></td> +<td>"The Pure."</td> +</tr> + +<tr> +<td><span class="pagenum">[Pg 147]</span> +<i>Kō</i><a name="FNanchor_1_88" id="FNanchor_1_88"></a><a href="#Footnote_1_88" class="fnanchor">[88]</a></td> +<td>"Filial Piety."</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_88" id="Footnote_1_88"></a><a href="#FNanchor_1_88"><span class="label">[88]</span> +</a> The suffix "<i>ko</i>" is sometimes dropped for reasons of euphony, +and sometimes for reasons of good taste—difficult to explain to readers +unfamiliar with the Japanese language—even when the name consists +of only one syllable or of two syllables.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of kwazoku jogakkou3"> +<tr> +<td class="tdl" style="width: 30%;"><i>Kō-ko</i></td> +<td class="tdl" style="width: 70%;">"Stork."</td> +</tr> + +<tr> +<td><i>Koto</i></td> +<td>"Harp."</td> +</tr> + +<tr> +<td><i>Kuni-ko</i></td> +<td>"Province."</td> +</tr> + +<tr> +<td><i>Kuni</i></td> +<td>"Country,"—in the largest sense.</td> +</tr> + +<tr> +<td><i>Kyō-ko</i></td> +<td>"Capital,"—metropolis.</td> +</tr> + +<tr> +<td><i>Machi</i></td> +<td>"Ten-Thousand Thousand."</td> +</tr> + +<tr> +<td><i>Makoto</i></td> +<td>"True-Heart."</td> +</tr> + +<tr> +<td><i>Masa-ko</i></td> +<td>"The Trustworthy,"—sure.</td> +</tr> + +<tr> +<td><i>Masa-ko</i></td> +<td>"The Upright."</td> +</tr> + +<tr> +<td><i>Masu-ko</i></td> +<td>"Increase."</td> +</tr> + +<tr> +<td><i>Mata-ko</i></td> +<td>"Completely,"—wholly.</td> +</tr> + +<tr> +<td><i>Matsu-ko</i></td> +<td>"Pine-tree."</td> +</tr> + +<tr> +<td><i>Michi-ko</i></td> +<td>"Three Thousand."</td> +</tr> + +<tr> +<td><i>Miné</i></td> +<td>"Peak."</td> +</tr> + +<tr> +<td><i>Miné-ko</i></td> +<td>"Mountain-Range."</td> +</tr> + +<tr> +<td><i>Mitsu-ko</i></td> +<td>"Light,"—radiance.</td> +</tr> + +<tr> +<td><i>Miyo-ko</i></td> +<td>"Beautiful Generations."</td> +</tr> + +<tr> +<td><i>Moto-ko</i></td> +<td>"Origin,"—source.</td> +</tr> + +<tr> +<td><i>Naga-ko</i></td> +<td>"Long,"—probably in reference to time.</td> +</tr> + +<tr> +<td><i>Naga-ko</i></td> +<td>"Long Life."</td> +</tr> + +<tr> +<td><i>Nami-ko</i></td> +<td>"Wave."</td> +</tr> + +<tr> +<td><i>Nao-ko</i></td> +<td>"Correct,"—upright.</td> +</tr> + +<tr> +<td><i>Nyo-ko</i><a name="FNanchor_2_89" id="FNanchor_2_89"></a><a href="#Footnote_2_89" class="fnanchor">[89]</a></td> +<td>"Gem-Treasure."</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_89" id="Footnote_2_89"></a><a href="#FNanchor_2_89"><span class="label">[89]</span> +</a> This name is borrowed from the name of the sacred gem <i>Nyoihōju</i>, +which figures both in Shintō and in Buddhist legend. The divinity +Jizō is usually represented holding in one hand this gem, which is said +to have the power of gratifying any desire that its owner can entertain. +Perhaps the <i>Nyoihōju</i> may be identified with the Gem-Treasure <i>Veluriya</i>, mentioned in the Sűtra of The Great King of Glory, chapter i. (See +<i>Sacred Books of the East</i>, vol. xi.)</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of kwazoku jogakkou4"> +<tr> +<td class="tdl" style="width: 30%;"><span class="pagenum">[Pg 148]</span><i>Nobu-ko</i></td> +<td class="tdl" style="width: 70%;">"Faithful."</td> +</tr> + +<tr> +<td><i>Nobu-ko</i></td> +<td>"Abundance,"—plenty.</td> +</tr> + +<tr> +<td><i>Nobu-ko</i></td> +<td>"The Prolonger."</td> +</tr> + +<tr> +<td><i>Nori-ko</i></td> +<td>"Precept,"—doctrine.</td> +</tr> + +<tr> +<td><i>Nui</i></td> +<td>"Embroidery,"—sewing.</td> +</tr> + +<tr> +<td><i>Oki</i></td> +<td>"Offing,"—perhaps originally a place-name.<a name="FNanchor_1_90" id="FNanchor_1_90"></a><a href="#Footnote_1_90" class="fnanchor">[90]</a></td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_90" id="Footnote_1_90"></a><a href="#FNanchor_1_90"><span class="label">[90]</span> +</a> A naval officer named Oki told me that his family had originally +been settled in the Oki Islands ("Islands of the Offing"). This interesting +coincidence suggested to me that the above <i>yobina</i> might have +had the same origin.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of kwazoku jogakkou5"> +<tr> +<td class="tdl" style="width: 30%;"><i>Sada-ko</i></td> +<td class="tdl" style="width: 70%;">"The Chaste."</td> +</tr> + +<tr> +<td><i>Sada-ko</i></td> +<td>"The Sure,"—trustworthy.</td> +</tr> + +<tr> +<td><i>Sakura-ko</i></td> +<td>"Cherry-Blossom."</td> +</tr> + +<tr> +<td><i>Sakaë</i></td> +<td>"The Prosperous."</td> +</tr> + +<tr> +<td><i>Sato-ko</i></td> +<td>"Home."</td> +</tr> + +<tr> +<td><i>Sato-ko</i></td> +<td>"The Discriminating."</td> +</tr> + +<tr> +<td><i>Seki-ko</i></td> +<td>"Great."</td> +</tr> + +<tr> +<td><i>Setsu-ko</i></td> +<td>"The Chaste."</td> +</tr> + +<tr> +<td><i>Shigé-ko</i></td> +<td>"Flourishing."</td> +</tr> + +<tr> +<td><i>Shigé-ko</i></td> +<td>"Exuberant,"—in the sense of rich growth.</td> +</tr> + +<tr> +<td><i>Shigé-ko</i></td> +<td>"Upgrowing."</td> +</tr> + +<tr> +<td><i>Shigé-ko</i></td> +<td>"Fragrance."</td> +</tr> + +<tr> +<td><i>Shiki-ko</i></td> +<td>"Prudence."</td> +</tr> + +<tr> +<td><i>Shima-ko</i></td> +<td>"Island."</td> +</tr> + +<tr> +<td><i>Shin-ko</i></td> +<td>"The Fresh,"—new.</td> +</tr> + +<tr> +<td><i>Shizu-ko</i></td> +<td>"The Quiet,"—calm.</td> +</tr> + +<tr> +<td><i>Shizuë</i></td> +<td>"Quiet River."</td> +</tr> + +<tr> +<td><i>Sono-ko</i></td> +<td>"Garden."</td> +</tr> + +<tr> +<td><i>Suë-ko</i></td> +<td>"Last,"—in the sense of youngest.</td> +</tr> + +<tr> +<td><i>Suké-ko</i></td> +<td>"The Helper."</td> +</tr> + +<tr> +<td><span class="pagenum">[Pg 149]</span> +<i>Sumi-ko</i></td> +<td>"The Clear,"—spotless, refined.</td> +</tr> + +<tr> +<td><i>Sumi-ko</i></td> +<td>"The Veritable,"—real.</td> +</tr> + +<tr> +<td><i>Sumië-ko</i></td> +<td>"Clear River."</td> +</tr> + +<tr> +<td><i>Suzu-ko</i></td> +<td>"Tin."</td> +</tr> + +<tr> +<td><i>Suzu-ko</i></td> +<td>"Little Bell."</td> +</tr> + +<tr> +<td><i>Suzunë</i></td> +<td>"Sound of Little Bell."</td> +</tr> + +<tr> +<td><i>Taka-ko</i></td> +<td>"High,"—lofty, superior.</td> +</tr> + +<tr> +<td><i>Taka-ko</i></td> +<td>"Filial Piety."</td> +</tr> + +<tr> +<td><i>Taka-ko</i></td> +<td>"Precious."</td> +</tr> + +<tr> +<td><i>Také-ko</i></td> +<td>"Bamboo."</td> +</tr> + +<tr> +<td><i>Taki-ko</i></td> +<td>"Waterfall."</td> +</tr> + +<tr> +<td><i>Tama-ko</i></td> +<td>"Gem,"—jewel.</td> +</tr> + +<tr> +<td><i>Tama-ko</i></td> +<td>"Gem,"—written with a different character.</td> +</tr> + +<tr> +<td><i>Tamé-ko</i></td> +<td>"For the Sake of—"</td> +</tr> + +<tr> +<td><i>Tami-ko</i></td> +<td>"People,"—folks.</td> +</tr> + +<tr> +<td><i>Tané-ko</i></td> +<td>"Successful."</td> +</tr> + +<tr> +<td><i>Tatsu-ko</i></td> +<td>"Attaining."</td> +</tr> + +<tr> +<td><i>Tatsuru-ko</i><a name="FNanchor_1_91" id="FNanchor_1_91"></a><a href="#Footnote_1_91" class="fnanchor">[91]</a></td> +<td>"Many Storks."</td> +</tr> +</table> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_91" id="Footnote_1_91"></a><a href="#FNanchor_1_91"><span class="label">[91]</span> +</a> So written, but probably pronounced as two syllables only.</p> +</div> +</div> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="names of kwazoku jogakkou6"> +<tr> +<td class="tdl" style="width: 30%;"><i>Tatsuru-ko</i></td> +<td class="tdl" style="width: 70%;">"Ricefield Stork."</td> +</tr> + +<tr> +<td><i>Teru-ko</i></td> +<td>"Beaming,"—luminous.</td> +</tr> + +<tr> +<td><i>Tetsu-ko</i></td> +<td>"Iron."</td> +</tr> + +<tr> +<td><i>Toki-ko</i></td> +<td>"Time."</td> +</tr> + +<tr> +<td><i>Tomé-ko</i></td> +<td>"Cessation."</td> +</tr> + +<tr> +<td><i>Tomi-ko</i></td> +<td>"Riches."</td> +</tr> + +<tr> +<td><i>Tomo</i></td> +<td>"Intelligence."</td> +</tr> + +<tr> +<td><i>Tomo</i></td> +<td>"Knowledge."</td> +</tr> + +<tr> +<td><i>Tomo-ko</i></td> +<td>"Friendship."</td> +</tr> + +<tr> +<td><i>Toshi-ko</i></td> +<td>"The Quickly-Perceiving."</td> +</tr> + +<tr> +<td><i>Toyo-ko</i></td> +<td>"Fruitful."</td> +</tr> + +<tr> +<td><i>Tsuné</i></td> +<td>"Constancy."</td> +</tr> + +<tr> +<td><i>Tsuné-ko</i></td> +<td>"Ordinary,"—usual, common.</td> +</tr> + +<tr> +<td><span class="pagenum">[Pg 150]</span> +<i>Tsuné-ko</i></td> +<td>"Ordinary,"—written with a different character.</td> +</tr> + +<tr> +<td><i>Tsuné-ko</i></td> +<td>"Faithful,"—in the sense of wifely fidelity.</td> +</tr> + +<tr> +<td><i>Tsuru-ko</i></td> +<td>"Stork."</td> +</tr> + +<tr> +<td><i>Tsuya-ko</i></td> +<td>"The Lustrous,"—shining, glossy.</td> +</tr> + +<tr> +<td><i>Umé</i></td> +<td>"Female Hare."</td> +</tr> + +<tr> +<td><i>Umé-ko</i></td> +<td>"Plum-Blossom."</td> +</tr> + +<tr> +<td><i>Yachi-ko</i></td> +<td>"Eight Thousand."</td> +</tr> + +<tr> +<td><i>Yaso-ko</i></td> +<td>"Eighty."</td> +</tr> + +<tr> +<td><i>Yasoshi-ko</i></td> +<td>"Eighty-four."</td> +</tr> + +<tr> +<td><i>Yasu-ko</i></td> +<td>"The Maintainer,"—supporter.</td> +</tr> + +<tr> +<td><i>Yasu-ko</i></td> +<td>"The Respectful."</td> +</tr> + +<tr> +<td><i>Yasu-ko</i></td> +<td>"The Tranquil-Minded."</td> +</tr> + +<tr> +<td><i>Yoné-ko</i></td> +<td>"Rice."</td> +</tr> + +<tr> +<td><i>Yori-ko</i></td> +<td>"The Trustful."</td> +</tr> + +<tr> +<td><i>Yoshi</i></td> +<td>"Eminent,"—celebrated.</td> +</tr> + +<tr> +<td><i>Yoshi-ko</i></td> +<td>"Fragrance."</td> +</tr> + +<tr> +<td><i>Yoshi-ko</i></td> +<td>"The Good,"—or Gentle.</td> +</tr> + +<tr> +<td><i>Yoshi-ko</i></td> +<td>"The Lovable."</td> +</tr> + +<tr> +<td><i>Yoshi-ko</i></td> +<td>"The Lady-like,"—gentle in the sense of refined.</td> +</tr> + +<tr> +<td><i>Yoshi-ko</i></td> +<td>"The Joyful."</td> +</tr> + +<tr> +<td><i>Yoshi-ko</i></td> +<td>"Congratulation."</td> +</tr> + +<tr> +<td><i>Yoshi-ko</i></td> +<td>"The Happy."</td> +</tr> + +<tr> +<td><i>Yoshi-ko</i></td> +<td>"Bright and Clear."</td> +</tr> + +<tr> +<td><i>Yuki-ko</i></td> +<td>"The Lucky."</td> +</tr> + +<tr> +<td><i>Yuki-ko</i></td> +<td>"Snow."</td> +</tr> + +<tr> +<td><i>Yuku-ko</i></td> +<td>"Going."</td> +</tr> + +<tr> +<td><i>Yutaka</i></td> +<td>"Plenty,"—affluence, superabundance.</td> +</tr> +</table> + +<hr class="hr2"/> + +<p class="indent"><span class="pagenum">[Pg 151]</span></p> + +<h3>IV</h3> + +<p><span class="smcap">In</span> the first part of this paper I suggested that the +custom of giving very poetical names to <i>geisha</i> +and to <i>jorō</i> might partly account for the unpopularity +of purely ćsthetic <i>yobina</i>. And in the +hope of correcting certain foreign misapprehensions, +I shall now venture a few remarks about +the names of <i>geisha</i>.</p> + +<p class="indent"> +<i>Geisha</i>-names,—like other classes of names,—although +full of curious interest, and often in +themselves really beautiful, have become hopelessly +vulgarized by association with a calling the +reverse of respectable. Strictly speaking, they +have nothing to do with the subject of the +present study,—inasmuch as they are not real +personal names, but professional appellations only,—not +<i>yobina</i>, but <i>geimyō</i>.</p> + +<p class="indent"> +A large proportion of such names can be distinguished +by certain prefixes or suffixes attached +to them. They can be known, for example,—</p> + +<p class="indent"> +(1) By the prefix <i>Waka</i>, signifying "Young";—as +in the names <i>Wakagusa</i>, "Young Grass"; +<i>Wakazuru</i>, "Young Stork"; <i>Wakamurasaki</i>, +"Young Purple"; <i>Wakakoma</i>, "Young Filly".</p> + +<p class="indent"> +<span class="pagenum">[Pg 152]</span> +(2) By the prefix <i>Ko</i>, signifying "Little";—as +in the names, <i>Ko-en</i>, "Little Charm"; <i>Ko-hana</i>, +"Little Flower"; <i>Kozakura</i>, "Little +Cherry-Tree".</p> + +<p class="indent"> +(3) By the suffix <i>Ryō</i>, signifying "Dragon" +(the Ascending Dragon being especially a symbol +of success);—as <i>Tama-Ryō</i>, "Jewel-Dragon"; +<i>Hana-Ryō</i>, "Flower-Dragon"; <i>Kin-Ryō</i>, "Golden-Dragon".</p> + +<p class="indent"> +(4) By the suffix <i>ji</i>, signifying "to serve", +"to administer";—as in the names <i>Uta-ji</i>, +<i>Shinné-ji</i>, <i>Katsu-ji</i>.</p> + +<p class="indent"> +(5) By the suffix <i>suké</i>, signifying "help";—as +in the names <i>Tama-suké</i>, <i>Koma-suké</i>.</p> + +<p class="indent"> +(6) By the suffix <i>kichi</i>, signifying "luck", +"fortune";—as <i>Uta-kichi</i>, "Song-Luck"; +<i>Tama-kichi</i>, "Jewel-Fortune".</p> + +<p class="indent"> +(7) By the suffix <i>giku</i> (i. e., <i>kiku</i>) signifying +"chrysanthemum";—as <i>Mitsu-giku</i>, "Three +Chrysanthemums"; <i>Hina-giku</i>, "Doll-Chrysanthemum"; +<i>Ko-giku</i>, "Little Chrysanthemum".</p> + +<p class="indent"> +(8) By the suffix tsuru, signifying "stork" +(emblem of longevity);—as <i>Koma-tsuru</i>, +"Filly-Stork"; <i>Ko-tsuru</i>, "Little Stork"; <i>Ito-zuru</i>, +"Thread-Stork".</p> + +<p class="indent"> +<span class="pagenum">[Pg 153]</span> +These forms will serve for illustration; but +there are others. <i>Geimyō</i> are written, as a general +rule, with only two Chinese characters, and +are pronounced as three or as four syllables. +<i>Geimyō</i> of five syllables are occasionally to be +met with; <i>geimyō</i> of only two syllables are rare—at +least among names of dancing girls. And +these professional appellations have seldom any +moral meaning: they signify things relating to +longevity, wealth, pleasure, youth, or luck,—perhaps +especially to luck.</p> + +<hr /> + +<p class="indent"> +Of late years it became a fashion among certain +classes of <i>geisha</i> in the capital to assume real +names with the genteel suffix <i>Ko</i>, and even aristocratic +<i>yobina</i>. In 1889 some of the Tōkyō +newspapers demanded legislative measures to +check the practice. This incident would seem to +afford proof of public feeling upon the subject.</p> + +<hr class="hr2"/> +<h1>Old Japanese Songs</h1> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="" title="" /> +</div> + +<hr class="hr2"/> + +<p><span class="pagenum">[Pg 157]</span> +</p> + +<h2><a name="Old_Japanese_Songs" id="Old_Japanese_Songs"></a>Old Japanese Songs</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<p class="cap">THIS New Year's morning I find upon my +table two most welcome gifts from a +young poet of my literary class. One +is a roll of cloth for a new kimono,—cloth such +as my Western reader never saw. The brown +warp is cotton thread; but the woof is soft white +paper string, irregularly speckled with black. +When closely examined, the black specklings +prove to be Chinese and Japanese characters;—for +the paper woof is made out of manuscript,—manuscript +of poems,—which has been deftly +twisted into fine cord, with the written surface +outwards. The general effect of the white, black, +and brown in the texture is a warm mouse-grey. +In many Izumo homes a similar kind of cloth is +manufactured for family use; but this piece was +woven especially for me by the mother of my +pupil. It will make a most comfortable winter-robe; +<span class="pagenum">[Pg 158]</span> +and when wearing it, I shall be literally +clothed with poetry,—even as a divinity might +be clothed with the sun.</p> + +<p class="indent"> +The other gift is poetry also, but poetry in the +original state: a wonderful manuscript collection +of Japanese songs gathered from unfamiliar +sources, and particularly interesting from the +fact that nearly all of them are furnished with +refrains. There are hundreds of compositions, +old and new,—including several extraordinary +ballads, many dancing-songs, and a surprising +variety of love-songs. Neither in sentiment nor +in construction do any of these resemble the +Japanese poetry of which I have already, in previous +books, offered specimens in translation. +The forms are, in most cases, curiously irregular; +but their irregularity is not without a strange +charm of its own.</p> + +<hr /> + +<p class="indent"> +I am going to offer examples of these compositions,—partly +because of their unfamiliar +emotional quality, and partly because I think that +something can be learned from their strange art +of construction. The older songs—selected from +the antique drama—seem to me particularly +worthy of notice. The thought or feeling and +<span class="pagenum">[Pg 159]</span> +its utterance are supremely simple; yet by primitive +devices of reiteration and of pause, very +remarkable results have been obtained. What +strikes me especially noteworthy in the following +specimen is the way that the phrase, begun with +the third line of the first stanza, and interrupted +by a kind of burthen, is repeated and finished in +the next stanza. Perhaps the suspension will +recall to Western readers the effect of some +English ballads with double refrains, or of such +quaint forms of French song as the famous—</p> + +<p class="margin-left16"> +Au jardin de mon pčre—<br /> +<span style="margin-left: 2em;"><i>Vole, mon cœur, vole!</i></span><br /> +Il y a un pommier doux,<br /> +<span style="margin-left: 2em;"><i>Tout doux!</i></span></p> + +<p class="indent"> +But in the Japanese song the reiteration of the +broken phrase produces a slow dreamy effect as +unlike the effect of the French composition as the +movements of a Japanese dance are unlike those +of any Western round:—</p> + +<p><span class="pagenum">[Pg 160]</span></p> + +<h4>KANO YUKU WA</h4> + +<p class="center"> +(<i>Probably from the eleventh century</i>)</p> + +<p class="margin-left16"> +Kano yuku wa,<br /> +Kari ka?—kugui ka?<br /> +Kari naraba,—<br /> +<br /> +<span style="margin-left: 5.5em;">(Ref.) <i>Haréya tōtō!</i></span><br /> +<span style="margin-left: 8em;"><i>Haréya tōtō!</i></span><br /> +<br /> +Kari nara<br /> +Nanori zo sémashi;—<br /> +Nao kugui nari-ya!—<br /> +<br /> +<span style="margin-left: 5.5em;">(Ref.) <i>Tōtō!</i></span></p> + +<p class="margin-left8s"> +That which yonder flies,—<br /> +Wild goose is it?—swan is it?<br /> +Wild goose if it be,—<br /> +<br /> +<span style="margin-left: 8em;"><i>Haréya tōtō!</i></span><br /> +<span style="margin-left: 8em;"><i>Haréya tōtō!</i></span><br /> +<br /> +Wild goose if it be,<br /> +Its name I soon shall say:<br /> +Wild swan if it be,—better still!<br /> +<br /> +<span style="margin-left: 8em;"><i>Tōtō!</i></span></p> + +<p class="indent"> +There are many old lyrics in the above form. +Here is another song, of different construction, +also from the old drama: there is no refrain, but +<span class="pagenum">[Pg 161]</span> +there is the same peculiar suspension of phrase; +and the effect of the quadruple repetition is +emotionally impressive:—</p> + +<p class="margin-left16"> +<span style="margin-left: 2em;">Isora ga saki ni</span><br /> +<span style="margin-left: 2em;">Tai tsuru ama mo,</span><br /> +<span style="margin-left: 2em;">Tai tsuru ama mo,—</span><br /> +<br /> +<span style="margin-left: 2em;">Wagimoko ga tamé to,</span><br /> +<span style="margin-left: 2em;">Tai tsuru ama mo,</span><br /> +<span style="margin-left: 2em;">Tai tsuru ama mo!</span></p> + +<p class="margin-left8s"> +Off the Cape of Isora,<br /> +Even the fisherman catching <i>tai</i>,<a name="FNanchor_1_92" id="FNanchor_1_92"></a><a href="#Footnote_1_92" class="fnanchor">[92]</a><br /> +Even the fisherman catching <i>tai</i>,—<br /> +<br /> +[Works] for the sake of the woman beloved,—<br /> +Even the fisherman catching <i>tai</i>,<br /> +Even the fisherman catching <i>tai</i>!</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_92" id="Footnote_1_92"></a><a href="#FNanchor_1_92"><span class="label">[92]</span> +</a> <i>Chrysopbris cardinalis</i>, a kind of sea-bream,—generally esteemed +the best of Japanese fishes.</p> +</div> +</div> + +<p class="indent"> +But a still more remarkable effect is obtained in +the following ancient song by the extraordinary +reiteration of an uncompleted phrase, and by a +double suspension. I can imagine nothing more +purely natural: indeed the realism of these simple +utterances has almost the quality of pathos:—</p> + +<p><span class="pagenum">[Pg 162]</span></p> +<h4>AGÉMAKI</h4> + +<p class="center"> +(<i>Old lyrical drama—date uncertain</i>)</p> + +<p class="margin-left16"> +<span style="margin-left: 2em;">Agémaki<a name="FNanchor_1_93" id="FNanchor_1_93"></a><a href="#Footnote_1_93" class="fnanchor">[93]</a> wo</span><br /> +Waséda ni yarité ya!<br /> +<span style="margin-left: 2em;">So omou to,</span><br /> +<span style="margin-left: 2em;">So omou to,</span><br /> +<span style="margin-left: 2em;">So omou to,</span><br /> +<span style="margin-left: 2em;">So omou to,</span><br /> +<span style="margin-left: 2em;">So omou to,—</span><br /> +<br /> +<span style="margin-left: 2em;">So omou to,</span><br /> +Nani-mo sezushité,—<br /> +<span style="margin-left: 2em;">Harubi sura,</span><br /> +<span style="margin-left: 2em;">Harubi sura,</span><br /> +<span style="margin-left: 2em;">Harubi sura,</span><br /> +<span style="margin-left: 2em;">Harubi sura,</span><br /> +<span style="margin-left: 2em;">Harubi sura!</span></p> + +<p class="margin-left8s"> +<span style="margin-left: 3em;">My darling boy!—</span><br /> +Oh! they have sent him to the ricefields!<br /> +<span style="margin-left: 3em;">When I think about him,—</span><br /> +<span style="margin-left: 3em;">When I think,</span><br /> +<span style="margin-left: 3em;">When I think,</span><br /> +<span class="pagenum">[Pg 163]</span> +<span style="margin-left: 3em;">When I think,</span><br /> +<span style="margin-left: 3em;">When I think,—</span><br /> +<br /> +<span style="margin-left: 3em;">When I think about him!</span><br /> +I—doing nothing at all,—<br /> +<span style="margin-left: 3em;">Even on this spring-day,</span><br /> +<span style="margin-left: 3em;">Even this spring-day,</span><br /> +<span style="margin-left: 3em;">Even this spring-day,</span><br /> +<span style="margin-left: 3em;">Even this spring-day,</span><br /> +<span style="margin-left: 3em;">Even on this spring-day!—</span></p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_93" id="Footnote_1_93"></a><a href="#FNanchor_1_93"><span class="label">[93]</span> +</a> It was formerly the custom to shave the heads of boys, leaving +only a tuft or lock of hair on either temple. Such a lock was called +<i>agémaki</i>, a word also meaning "tassel"; and eventually the term +came to signify a boy or lad. In these songs it is used as a term of +endearment,—much as an English girl might speak of her sweetheart +as "my dear lad," or "my darling boy."</p> +</div> +</div> + +<p class="indent"> +Other forms of repetition and of refrain are +furnished in the two following lyrics:—</p> + +<h4>BINDATARA</h4> + +<p class="center"> +(<i>Supposed to have been composed as early as the twelfth +century</i>)</p> + +<p class="margin-left16"> +<span style="margin-left: 1em;">Bindatara wo</span><br /> +Ayugaséba koso,<br /> +Ayugaséba koso,<br /> +Aikyō zuitaré!<br /> +<br /> +<span style="margin-left: 4em;"><i>Yaréko tōtō,</i></span><br /> +<span style="margin-left: 4em;"><i>Yaréko tōtō!</i></span></p> + +<p class="margin-left8s"> +<span style="margin-left: 3em;">With loosened hair,—</span><br /> +Only because of having tossed it,<br /> +Only because of having shaken it,—<br /> +<span style="margin-left: 3em;">Oh, sweet she is!</span><br /> +<br /> +<span style="margin-left: 8em;"><i>Yaréko tōtō!</i></span><br /> +<span style="margin-left: 8em;"><i>Yaréko tōtō!</i></span></p> + +<hr /> + +<p><span class="pagenum">[Pg 164]</span></p> +<h4>SAMA WA TENNIN</h4> + +<p class="center"> +(<i>Probably from the sixteenth century</i>)</p> + +<p class="margin-left16"> +Sama wa tennin!<br /> +<span style="margin-left: 2em;"><i>Soré-soré</i>,</span><br /> +<span style="margin-left: 2em;"><i>Tontorori!</i></span><br /> +<br /> +Otomé no sugata<br /> +Kumo no kayoiji<br /> +Chirato mita!<br /> +<span style="margin-left: 2em;"><i>Tontorori!</i></span><br /> +<br /> +Otomé no sugata<br /> +Kumo no kayoiji<br /> +Chirato mita!<br /> +<span style="margin-left: 2em;"><i>Tontorori!</i></span></p> + +<p class="margin-left8s"> +My beloved an angel is!<a name="FNanchor_1_94" id="FNanchor_1_94"></a><a href="#Footnote_1_94" class="fnanchor">[94]</a><br /> +<span style="margin-left: 3em;"><i>Soré-soré!</i></span><br /> +<span style="margin-left: 3em;"><i>Tontorori!</i></span><br /> +<br /> +The maiden's form,<br /> +In the passing of clouds,<br /> +In a glimpse I saw!<br /> +<span style="margin-left: 3em;"><i>Tontorori!</i></span><br /> +<br /> +The maiden's form,<br /> +In the passage of clouds,<br /> +In a glimpse I saw!<br /> +<span style="margin-left: 3em;"><i>Tontorori!</i></span></p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_94" id="Footnote_1_94"></a><a href="#FNanchor_1_94"><span class="label">[94]</span> +</a> Lit., "a Tennin";—that is to say, an inhabitant of the Buddhist +heaven. The Tennin are usually represented as beautiful maidens.</p> +</div> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 165]</span> +My next selection is from a love-song of uncertain +date, belonging to the Kamakura period +(1186-1332). This fragment is chiefly remarkable +for its Buddhist allusions, and for its very +regular form of stanza:—</p> + +<p class="margin-left16"> +<span style="margin-left: 1em;">Makoto yara,</span><br /> +Kashima no minato ni<br /> +Miroku no mifuné ga<br /> +Tsuité gozarimōsu.<br /> +<br /> +<span style="margin-left: 4em;"><i>Yono!</i></span><br /> +<span style="margin-left: 3em;"><i>Sā iyoë, iyoë!</i></span><br /> +<span style="margin-left: 3em;"><i>Sā iyoë, iyoë!</i></span><br /> +<br /> +<span style="margin-left: 1em;">Hobashira wa,</span><br /> +Kogané no hobashira;<br /> +Ho niwa Hokkékyō no<br /> +Go no man-makimono.<br /> +<span style="margin-left: 3em;"><i>Sā iyoë, iyoë!</i></span><br /> +<span style="margin-left: 3em;"><i>Sā iyoë, iyoë!</i></span></p> + +<hr /> + +<p class="margin-left8s">I know not if 't is true<br /> +That to the port of Kashima<br /> +The august ship of Miroku<a name="FNanchor_1_95" id="FNanchor_1_95"></a><a href="#Footnote_1_95" class="fnanchor">[95]</a> has come!<br /> +<br /> +<span style="margin-left: 4em;"><i>Yono!</i></span><br /> +<span style="margin-left: 3em;"><i>Sā iyoë, iyoë!</i></span><br /> +<span style="margin-left: 3em;"><i>Sā iyoë, iyoë!</i></span></p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_95" id="Footnote_1_95"></a><a href="#FNanchor_1_95"><span class="label">[95]</span> +</a> Miroku Bosatsu (Maitręya Bodhisattva) is the next great Buddha +to come.</p> +</div> +</div> + +<p class="margin-left8s"> +<span class="pagenum">[Pg 166]</span> +As for the mast,<br /> +It is a mast of gold;—<br /> +The sail is the fifth august roll<br /> +Of the Hokkékyō<a name="FNanchor_1_96" id="FNanchor_1_96"></a><a href="#Footnote_1_96" class="fnanchor">[96]</a><br /> +<br /> +<span style="margin-left: 8em;"><i>Sā iyoë, iyoë!</i></span><br /> +<span style="margin-left: 8em;"><i>Sā iyoë, iyoë</i></span></p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_96" id="Footnote_1_96"></a><a href="#FNanchor_1_96"><span class="label">[96]</span> +</a> Japanese popular name for the Chinese version of the Saddhârma +Pundarîka Sűtra.—Many of the old Buddhist scriptures were written +upon long scrolls, called <i>makimono</i>,—a name also given to pictures +printed upon long rolls of silk or paper.</p> +</div> +</div> + +<hr /> + +<p class="indent"> +Otherwise interesting, with its queer refrain, is +another song called "Agémaki,"—belonging to +one of the curious class of lyrical dramas known +as <i>Saibara</i>. This may be found fault with as +somewhat "free"; but I cannot think it more +open to objection than some of our much-admired +Elizabethan songs which were probably +produced at about the same time:—</p> + +<h4>AGÉMAKI</h4> + +<p class="center"> +(<i>Probably from the sixteenth century</i>)</p> + +<p class="margin-left16"> +Agémaki ya!<br /> +<span style="margin-left: 5em;"><i>Tonton!</i></span><br /> +Hiro bakari ya—<br /> +<span style="margin-left: 5em;"><i>Tonton!</i></span><br /> +<span class="pagenum">[Pg 167]</span> +Sakarité netarédomo,<br /> +Marobi-ainikéri,—<br /> +<span style="margin-left: 5em;"><i>Tonton!</i></span><br /> +Kayori-ainikéri,<br /> +<span style="margin-left: 5em;"><i>Tonton!</i></span></p> + +<p class="margin-left8s"> +Oh! my darling boy!<br /> +<span style="margin-left: 5em;"><i>Tonton!</i></span><br /> +Though a fathom<a name="FNanchor_1_97" id="FNanchor_1_97"></a><a href="#Footnote_1_97" class="fnanchor">[97]</a> apart,<br /> +<span style="margin-left: 5em;"><i>Tonton!</i></span><br /> +Sleeping separated,<br /> +By rolling we came together!<br /> +<span style="margin-left: 5em;"><i>Tonton!</i></span><br /> +By slow approaches we came together,<br /> +<span style="margin-left: 5em;"><i>Tonton!</i></span></p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_97" id="Footnote_1_97"></a><a href="#FNanchor_1_97"><span class="label">[97]</span> +</a> Lit., "<i>hiro</i>." The <i>hiro</i> is a measure of about five feet English, and +is used to measure breadth as well as depth.</p> +</div> +</div> + +<p class="indent"> +My next group of selections consists of "local +songs"—by which term the collector means +songs peculiar to particular districts or provinces. +They are old—though less old than +the compositions previously cited;—and their +interest is chiefly emotional. But several, it +will be observed, have curious refrains. Songs +of this sort are sung especially at the village-dances—<i>Bon-odori</i> +and <i>Hōnen-odori</i>:—</p> + +<p><span class="pagenum">[Pg 168]</span></p> +<h4>LOVE-SONG</h4> + +<p class="center"> +(<i>Province of Echigo</i>)</p> + +<p class="margin-left16"> +<span style="margin-left: 2.5em;">Hana ka?—chōchō ka?</span><br /> +<span style="margin-left: 2.5em;">Chōchō ka?—hana ka?</span><br /> +<br /> +<span style="margin-left: 13em;"><i>Don-don!</i></span><br /> +<br /> +Kité wa chira-chira mayowaséru,<br /> +Kité wa chira-chira mayowaséru!<br /> +<br /> +<span style="margin-left: 13em;"><i>Taichokané!</i></span><br /> +<span style="margin-left: 13em;"><i>Sōkané don-don!</i></span><br /> +</p> + +<p class="margin-left8s"><span style="margin-left: 2.5em;">Flower is it?—butterfly is it?</span><br /> +<span style="margin-left: 2.5em;">Butterfly or flower?</span><br /> +<br /> +<span style="margin-left: 13em;"><i>Don-don!</i></span><br /> +<br /> +When you come thus flickering, I am deluded!—<br /> +When you come thus twinkling, I am bewitched!<br /> +<br /> +<span style="margin-left: 13em;"><i>Taichokané!</i></span><br /> +<span style="margin-left: 13em;"><i>Sōkané don-don!</i></span></p> + +<hr /> + +<h4>LOVE-SONG</h4> + +<p class="center"> +(<i>Province of Kii,—village of Ogawa</i>)</p> + +<p class="margin-left16"> +Koë wa surédomo<br /> +Sugata wa miénu—<br /> +Fuka-no no kirigirisu!</p> + +<p class="margin-left8s"> +Though I hear the voice [<i>of the beloved</i>], the form I cannot +see—a <i>kirigirisu</i><a name="FNanchor_1_98" id="FNanchor_1_98"></a><a href="#Footnote_1_98" class="fnanchor">[98]</a> in the high grass.</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_98" id="Footnote_1_98"></a><a href="#FNanchor_1_98"><span class="label">[98]</span> +</a> <i>The kirigirisu</i> is a kind of grasshopper with a very musical note. +It is very difficult to see it, even when it is singing close by, for its +color is exactly the color of the grass. The song alludes to the happy +peasant custom of singing while at work in the fields.</p> +</div> +</div> + +<hr /> + +<p><span class="pagenum">[Pg 169]</span></p> + +<h4>LOVE-SONG</h4> + +<p class="center"> +(<i>Province of Mutsu,—district of Sugaru</i>)</p> + +<p class="margin-left16"> +Washi no kokoro to<br /> +Oki kuru funé wa,<br /> +Raku ni misétémo,<br /> +<span style="margin-left: 3.5em;">Ku ga taënu.</span></p> + +<p class="margin-left8s"> +My heart and a ship in the offing—either seems to +move with ease; yet in both there is trouble enough.</p> + +<hr /> + +<h4>LOVE-SONG</h4> + +<p class="center"> +(<i>Province of Suwō,—village of Iséki</i>)</p> + +<p class="margin-left16"> +Namida koboshité<br /> +Shinku wo kataru,<br /> +Kawairashi-sa ga<br /> +<span style="margin-left: 4em;">Mashimasuru!</span></p> + +<p class="margin-left8s"> +As she tells me all the pain of her toil, shedding tears,—ever +her sweetness seems to increase.</p> + +<hr /> + +<h4>LOVE-SONG</h4> + +<p class="center"> +(<i>Province of Suruga, village of Gotemba</i>)</p> + +<p class="margin-left16"> +Hana ya, yoku kiké!<br /> +Shō aru naraba,<br /> +Hito ga fusagu ni<br /> +<span style="margin-left: 3.5em;">Nazé hiraku?</span></p> + +<p class="margin-left8s"> +O flower, hear me well if thou hast a soul! When any +one sorrows as I am sorrowing, why dost thou bloom?</p> + +<hr /> + +<p><span class="pagenum">[Pg 170]</span></p> + +<h4>OLD TŌKYŌ SONG</h4> + +<p class="margin-left16"> +Iya-na o-kata no<br /> +Shinsetsu yori ka<br /> +Suita o-kata no<br /> +<span style="margin-left: 3.5em;">Muri ga yoi.</span></p> + +<p class="margin-left8s"> +Better than the kindness of the disliked is the violence +of the beloved.</p> + +<hr /> + +<h4>LOVE-SONG</h4> + +<p class="center"> +(<i>Province of Iwami</i>)</p> + +<p class="margin-left16"> +Kawairashi-sa ya!<br /> +Hotaru no mushi wa<br /> +Shinobu nawaté ni<br /> +<span style="margin-left: 3em;">Hi wo tomosu.</span></p> + +<p class="margin-left8s"> +Ah, the darling!... Ever as I steal along the ricefield-path +[<i>to meet my lover</i>], the firefly kindles a light to show +me the way.</p> + +<hr /> + +<h4>COMIC SONG</h4> + +<p class="center"> +(<i>Province of Shinano</i>)</p> + +<p class="margin-left16"> +<span style="margin-left: 3.5em;">Ano yama kagé dé</span><br /> +<span style="margin-left: 3.5em;">Hikaru wa nanja?—</span><br /> +Tsuki ka, hoshi ka, hotaru no mushi ka?<br /> +<span style="margin-left: 3.5em;">Tsuki démo naiga;</span><br /> +Hoshi démo naiga;—<br /> +<span style="margin-left: 3.5em;">Shūto no o-uba no mé ga hikaru,—</span><br /> +<span style="margin-left: 8.5em;">(Chorus) <i>Mé ga hikaru!</i></span></p> + +<p class="margin-left8s"> +<span class="pagenum">[Pg 171]</span> +In the shadow of the mountain<br /> +What is it that shines so?<br /> +Moon is it, or star?—or is it the firefly-insect?<br /> +<span style="margin-left: 4em;">Neither is it moon,</span><br /> +<span style="margin-left: 4em;">Nor yet star;—</span><br /> +It is the old woman's Eye;—it is the Eye of my<br /> +mother-in-law that shines,—<br /> +<br /> +<span style="margin-left: 7em;">(Chorus) <i>It is her Eye that shines!</i></span></p> + +<hr /> + +<h4> +KAËRI-ODORI<a name="FNanchor_1_99" id="FNanchor_1_99"></a><a href="#Footnote_1_99" class="fnanchor">[99]</a></h4> + +<p class="center"> +(<i>Province of Sanuki</i>)</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_99" id="Footnote_1_99"></a><a href="#FNanchor_1_99"><span class="label">[99]</span> +</a> I am not sure of the real meaning of the name <i>Kaëri-Odori</i> (lit. +"turn-dance" or "return-dance").</p> +</div> +</div> + +<p class="margin-left8"> +Oh! the cruelty, the cruelty of my mother-in-law!—<br /> +<br /> +<span style="margin-left: 10em;">(Chorus) <i>Oh! the cruelty!</i></span><br /> +<br /> +Even tells me to paint a picture on running water!<br /> +If ever I paint a picture on running water,<br /> +You will count the stars in the night-sky!<br /> +<br /> +<span style="margin-left: 9em;"><i>Count the stars in the night-sky!</i></span><br /> +<br /> +—<i>Come! let us dance the Dance of the Honorable +Garden!</i>—<br /> +<br /> +<span style="margin-left: 2em;"><i>Chan-chan!</i></span><br /> +<span style="margin-left: 2em;"><i>Cha-cha!</i></span><br /> +<span style="margin-left: 2em;"><i>Yoitomosé,</i></span><br /> +<span style="margin-left: 2em;"><i>Yoitomosé!</i></span></p> + +<p class="margin-left8"> +<span class="pagenum">[Pg 172]</span> +Who cuts the bamboo at the back of the house?—<br /> +<br /> +<span style="margin-left: 8.5em;">(Chorus) <i>Who cuts the bamboo?</i>—</span><br /> +<br /> +My sweet lord's own bamboo, the first he planted,—<br /> +<br /> +<span style="margin-left: 17em;"><i>The first be planted?</i></span><br /> +<br /> +—<i>Come! let us dance the Dance of the Honorable Garden!</i>—<br /> +<br /> +<span style="margin-left: 10em;"><i>Chan-chan!</i></span><br /> +<span style="margin-left: 10em;"><i>Cha-cha!</i></span><br /> +<span style="margin-left: 10em;"><i>Yoitomosé,</i></span><br /> +<span style="margin-left: 10em;"><i>Yoitomosé!</i></span><br /> +<br /> +Oh! the cruelty, the cruelty of my mother-in-law!—<br /> +<br /> +<span style="margin-left: 19.5em;"><i>Oh! the cruelty!</i></span><br /> +<br /> +Tells me to cut and make a hakama<a name="FNanchor_1_100" id="FNanchor_1_100"></a><a href="#Footnote_1_100" class="fnanchor">[100]</a> out of rock!<br /> +If ever I cut and sew a hakama of rock,<br /> +Then you will learn to twist the fine sand into thread,—<br /> +<br /> +<span style="margin-left: 17em;"><i>Twist it into thread.</i></span><br /> +<br /> +—<i>Come! let us dance the Dance of the Honorable +Garden!</i>—<br /> +<span class="pagenum">[Pg 173]</span> +<span style="margin-left: 2em;"><i>Chan-chan!</i></span><br /> +<span style="margin-left: 2em;"><i>Cha-cha!</i></span><br /> +<span style="margin-left: 2em;"><i>Yoitomosé,</i></span><br /> +<span style="margin-left: 2em;"><i>Yoitomosé!</i></span><br /> +<i>Chan-chan-chan!</i></p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_100" id="Footnote_1_100"></a><a href="#FNanchor_1_100"><span class="label">[100]</span> +</a> A divided skirt of a peculiar form, worn formerly by men chiefly, +to-day worn by female students also.</p> +</div> +</div> + +<hr /> + +<h4> +OTERA-ODORI (TEMPLE-DANCE)</h4> + +<p class="center"> +(<i>Province of Iga, village called Uenomachi</i>)</p> + +<p class="margin-left4"> +Visiting the honorable temple, when I see the august gate,<br /> +The august gate I find to be of silver, the panels of gold.<br /> +Noble indeed is the gate of the honorable temple,—<br /> +<span style="margin-left: 10em;"><i>The honorable temple!</i></span><br /> +<br /> +Visiting the honorable temple, when I see the garden,<br /> +I see young pinetrees flourishing in the four directions:<br /> +On the first little branch of one the <i>shijūgara</i><a name="FNanchor_1_101" id="FNanchor_1_101"></a><a href="#Footnote_1_101" class="fnanchor">[101]</a> has made her nest,—<br /> +<span style="margin-left: 10em;"><i>Has made her nest</i>.</span></p> + +<p class="margin-left4"> +<span class="pagenum">[Pg 174]</span> +Visiting the honorable temple, when I see the water-tank,<br /> +I see little flowers of many colors set all about it,<br /> +Each one having a different color of its own,—<br /> +<span style="margin-left: 16.5em;"><i>A different color.</i></span><br /> +<br /> +Visiting the honorable temple, when I see the parlor-room,<br /> +I find many kinds of little birds gathered all together,<br /> +Each one singing a different song of its own,—<br /> +<span style="margin-left: 17em;"><i>A different song.</i></span><br /> +<br /> +Visiting the honorable temple, when I see the guest-room,<br /> +There I see the priest, with a lamp beside him,<br /> +Reading behind a folding-screen—oh, how admirable it is!—<br /> +<span style="margin-left: 16.5em;"><i>How admirable it is!</i></span></p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_101" id="Footnote_1_101"></a><a href="#FNanchor_1_101"><span class="label">[101]</span> +</a> The Manchurian great tit. It is said to bring good fortune to the +owners of the garden in which it builds a nest,—providing that the +nest be not disturbed and that the brood be protected.</p> +</div> +</div> + +<p class="indent"> +Many kinds of popular songs—and especially +the class of songs sung at country-dances—are +composed after a mnemonic plan. The stanzas +are usually ten in number; and the first syllable +of each should correspond in sound to the first +syllable of the numeral placed before the verse. +<span class="pagenum">[Pg 175]</span> +Sometimes Chinese numerals are used; sometimes +Japanese. But the rule is not always +perfectly observed. In the following example +it will be observed that the correspondence of +the first two syllables in the first verse with the +first two syllables of the Japanese word for one +(<i>hitotsu</i>) is a correspondence of meaning only;—<i>ichi</i> +being the Chinese numeral:—</p> + +<hr /> + +<h4>SONG OF FISHERMEN</h4> + +<p class="center"> +(<i>Province of Shimosa,—town of Chōshi</i>)<a name="FNanchor_1_102" id="FNanchor_1_102"></a><a href="#Footnote_1_102" class="fnanchor">[102]</a></p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_102" id="Footnote_1_102"></a><a href="#FNanchor_1_102"><span class="label">[102]</span> +</a> Chōshi, a town of some importance, is situated at the mouth of the +Tonégawa. It is celebrated for its <i>iwashi</i>-fishery. The <i>iwashi</i> is a +fish about the size of the sardine, and is sought chiefly for the sake of +its oil. Immense quantities of <i>iwashi</i> are taken off the coast. They +are boiled to extract the oil; and the dried residue is sent inland to +serve as manure.</p> +</div> +</div> + +<div class="blockquot"> +<p> +<i>Hitotsutosé</i>,—<br /> +<span style="margin-left: 1em;">Ichiban buné é tsumi-kondé,</span><br /> +<span style="margin-left: 1em;">Kawaguchi oshikomu ō-yagoë.</span><br /> +<br /> +<span style="margin-left: 7em;"><i>Kono tai-ryō-buné!</i></span><br /> +<br /> +<i>Futatsutosé</i>,—<br /> +<span style="margin-left: 1em;">Futaba no oki kara Togawa madé</span><br /> +<span style="margin-left: 1em;">Tsuzuité oshikomu ō-yagoë.</span><br /> +<br /> +<span style="margin-left: 7em;"><i>Kono tai-ryō-buné</i></span><br /> +<br /> +<span class="pagenum">[Pg 176]</span> +<i>Mitsutosé</i>,—<br /> +<span style="margin-left: 1em;">Mina ichidō-ni manéki wo agé,</span><br /> +<span style="margin-left: 1em;">Kayowasé-buné no nigiyakasa</span><br /> +<br /> +<span style="margin-left: 8.5em;"><i>Kono tai-ryō-buné!</i></span><br /> +<br /> +<i>Yotsutosé</i>,—<br /> +<span style="margin-left: 1em;">Yoru-hiru taitémo taki-amaru,</span><br /> +<span style="margin-left: 1em;">San-bai itchō no ō-iwashi!</span><br /> +<br /> +<span style="margin-left: 8.5em;"><i>Kono tai-ryō-buné!</i></span><br /> +<br /> +<i>Itsutsutosé</i>,—<br /> +<span style="margin-left: 1em;">Itsu kité mitémo hoshika-ba ni</span><br /> +<span style="margin-left: 1em;">Akima sukima wa sarani nai.</span><br /> +<br /> +<span style="margin-left: 8.5em;"><i>Kono tai-ryō-buné!</i></span><br /> +<br /> +<i>Mutsutoyé</i>,—<br /> +<span style="margin-left: 1em;">Mutsu kara mutsu madé kasu-wari ga</span><br /> +<span style="margin-left: 1em;">Ō-wari ko-wari dé té ni owaré.</span><br /> +<br /> +<span style="margin-left: 8.5em;"><i>Kono tai-ryō-buné!</i></span><br /> +<br /> +<i>Nanatsutosé</i>,—<br /> +<span style="margin-left: 1em;">Natakaki Tonégawa ichi-men ni</span><br /> +<span style="margin-left: 1em;">Kasu-ya abura wo tsumi-okuru</span><br /> +<br /> +<span style="margin-left: 8.5em;"><i>Kono tai-ryō-buné!</i></span><br /> +<br /> +<i>Yatsutosé</i>,—<br /> +<span style="margin-left: 1em;">Yatébuné no okiai wakashu ga,</span><br /> +<span style="margin-left: 1em;">Ban-shuku soroété miya-mairi.</span><br /> +<br /> +<span style="margin-left: 8.5em;"><i>Kono tai-ryō-buné!</i></span><br /> +<br /> +<span class="pagenum">[Pg 177]</span> +<i>Kokonotsutosé</i>,—<br /> +<span style="margin-left: 1em;">Kono ura mamoru kawa-guchi no</span><br /> +<span style="margin-left: 1em;">Myōjin riyaku wo arawasuru.</span><br /> +<br /> +<span style="margin-left: 8.5em;"><i>Kono tai-ryō-buné!</i></span></p></div> + +<div class="blockquotsm"> +<p class="indent"> +<i>Firstly</i> (or "Number One"),—</p> + +<p class="indent"> +The first ship, filled up with fish, squeezes her way +through the river-mouth, with a great shouting.<a name="FNanchor_1_103" id="FNanchor_1_103"></a><a href="#Footnote_1_103" class="fnanchor">[103]</a></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_103" id="Footnote_1_103"></a><a href="#FNanchor_1_103"><span class="label">[103]</span> +</a> <i>Ō-yagoë.</i> The chorus-cry or chant of sailors, pulling all together, +is called yagoë.</p> +</div> +</div> + +<div class="blockquotsm"><p class="indent"> +<i>O this ship of great fishing!</i><a name="FNanchor_2_104" id="FNanchor_2_104"></a><a href="#Footnote_2_104" class="fnanchor">[104]</a></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_104" id="Footnote_2_104"></a><a href="#FNanchor_2_104"><span class="label">[104]</span> +</a> <i>Tai-ryō buné</i>, lit.:—"great-fishing," or "great-catching-ship." +The adjective refers to the fishing, not to the ship. The real meaning +of the refrain is, "this-most-successful-in-fishing of ships."</p> +</div> +</div> + +<div class="blockquotsm"><p class="indent"> +<i>Secondly</i>,—</p> + +<p class="indent"> +From the offing of Futaba even to the Togawa,<a name="FNanchor_3_105" id="FNanchor_3_105"></a><a href="#Footnote_3_105" class="fnanchor">[105]</a> the +ships, fast following, press in, with a great shouting.</p> + +<p class="indent"> +<i>O this ship of great fishing!</i></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_3_105" id="Footnote_3_105"></a><a href="#FNanchor_3_105"><span class="label">[105]</span> +</a> Perhaps the reference is to a village at the mouth of the river Togawa,—not +far from Chōshi on the Tonégawa. The two rivers are +united by a canal. But the text leaves it uncertain whether river or +village is meant.</p> +</div> +</div> + +<div class="blockquotsm"><p class="indent"> +<i>Thirdly</i>,—</p> + +<p class="indent"> +When, all together, we hoist our signal-flags, see how +fast the cargo-boats come hurrying!</p> + +<p class="indent"> +<i>O this ship of great fishing!</i></p> + +<p class="indent"> +<i>Fourthly</i>,—</p> + +<p class="indent"> +Night and day though the boiling be, there is still too +much to boil—oh, the heaps of <i>iwashi</i> from the three +ships together!</p> + +<p class="indent"> +<i>O this ship of great fishing!</i></p></div> + +<p class="indent"><span class="pagenum">[Pg 178]</span></p> + +<div class="blockquotsm"><p class="indent"> +<i>Fifthly</i>,— +Whenever you go to look at the place where the dried +fish are kept,<a name="FNanchor_1_106" id="FNanchor_1_106"></a><a href="#Footnote_1_106" class="fnanchor">[106]</a> never do you find any room,—not even a +crevice.</p> +</div> + +<div class="blockquotsm"><p class="indent"> +<i>O this ship of great fishing!</i></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_106" id="Footnote_1_106"></a><a href="#FNanchor_1_106"><span class="label">[106]</span> +</a> <i>Hoshika-ba</i>: lit., "the hoshika-place" or "hoshika-room." "Hoshika" +is the name given to dried fish prepared for use as fertilizer.</p> +</div> +</div> + +<div class="blockquotsm"><p class="indent"> +<i>Sixthly</i>,—</p> + +<p class="indent"> +From six to six o'clock is cleaning and washing: the +great cutting and the small cutting are more than can be +done.</p> + +<p class="indent"> +<i>O this ship of great fishing!</i></p> + +<p class="indent"> +<i>Seventhly</i>,—</p> + +<p class="indent"> +All up and down the famous river Tonégawa we send +our loads of oil and fertilizer.</p> + +<p class="indent"> +<i>O this ship of great fishing!</i></p> + +<p class="indent"> +<i>Eighthly</i>,—</p> + +<p class="indent"> +All the young folk, drawing the <i>Yatai-buné</i>,<a name="FNanchor_2_107" id="FNanchor_2_107"></a><a href="#Footnote_2_107" class="fnanchor">[107]</a> with ten +thousand rejoicings, visit the shrine of the God.</p> + +<p class="indent"> +<i>O this ship of great fishing!</i></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_107" id="Footnote_2_107"></a><a href="#FNanchor_2_107"><span class="label">[107]</span> +</a> <i>Yatai</i> is the name given to the ornamental cars drawn with ropes +in a religious procession. <i>Yatai-buné</i> here seems to mean either the +model of a boat mounted upon such a car, or a real boat so displayed +in a religious procession. I have seen real boats mounted upon festival-cars +in a religious procession at Mionoséki.</p> +</div> +</div> + +<div class="blockquotsm"> +<p class="indent"> +<i>Ninthly</i>,—</p> + +<p class="indent"> +Augustly protecting all this coast, the Deity of the river-mouth +shows to us his divine favor.</p> + +<p class="indent"> +<i>O this ship of great fishing!</i></p> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 179]</span> +A stranger example of this mnemonic arrangement +is furnished by a children's song, composed +at least a hundred years ago. Little girls of +Yedo used to sing it while playing ball. You can +see the same ball-game being played by girls to-day, +in almost any quiet street of Tōkyō. The +ball is kept bounding in a nearly perpendicular +line by skilful taps of the hand delivered in time +to the measure of a song; and a good player +should be able to sing the song through without +missing a stroke. If she misses, she must yield +the ball to another player.<a name="FNanchor_1_108" id="FNanchor_1_108"></a><a href="#Footnote_1_108" class="fnanchor">[108]</a> There are many +pretty "ball-play songs;" but this old-fashioned +and long-forgotten one is a moral curiosity:—</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_108" id="Footnote_1_108"></a><a href="#FNanchor_1_108"><span class="label">[108]</span> +</a> This is the more common form of the game; but +there are many other forms. Sometimes two girls play +at once with the same ball—striking it alternately as it +bounds.</p> +</div> +</div> + +<p class="margin-left4"> +<i>Hitotsu to ya:</i>—<br /> +<br /> +Hito wa kō na hito to iu;<br /> +On wo shiranéba kō naraji.<br /> +<br /> +<i>Futatsu to ya:</i>—<br /> +<br /> +Fuji yori takaki chichi no on;<br /> +Tsuné-ni omouté wasuré-naji.<br /> +<br /> +<span class="pagenum">[Pg 180]</span> +<i>Mitsu to ya:</i>—<br /> +<br /> +Mizu-umi kaetté asashi to wa,<br /> +Haha no on zo ya omou-beshi.<br /> +<br /> +<i>Yotsu to ya:</i>—<br /> +<br /> +Yoshiya mazushiku kurasu tomo,<br /> +Sugu-naru michi wo maguru-moji.<br /> +<br /> +<i>Itsutsu to ya:</i>—<br /> +<br /> +Itsumo kokoro no kawaranu wo,<br /> +Makoto no hito to omou-beshi.<br /> +<br /> +<i>Mutsu to ya:</i>—<br /> +<br /> +Munashiku tsukihi wo kurashi-naba,<br /> +Nochi no nagéki to shirinu-beshi.<br /> +<br /> +<i>Nanatsu to ya:</i>—<br /> +<br /> +Nasaki wa hito no tamé narodé,<br /> +Waga mi no tamé to omou-beshi.<br /> +<br /> +<i>Yatsu to ya:</i>—<br /> +<br /> +Yaku-nan muryō no wazawai mo<br /> +Kokoro zen nara nogaru-beshi.<br /> +<br /> +<i>Kokonotsu to ya:</i>—<br /> +<br /> +Kokoro kotoba no sugu-naraba,<br /> +Kami ya Hotoké mo mamoru-beshi.</p> + +<p class="margin-left4"> +<span class="pagenum">[Pg 181]</span> +<i>Tō to ya</i>:—</p> + +<p class="margin-left4"> +Tōtoi hito to naru naraba,<br /> +Kōkō mono to iwaru-beshi.</p> + +<p class="indent"> +<i>This is the first</i>:—</p> + +<p class="indent"> +[Only] a person having filial piety is [worthy to be] called a person:<a name="FNanchor_1_109" id="FNanchor_1_109"></a><a href="#Footnote_1_109" class="fnanchor">[109]</a><br /> +If one does not know the goodness of parents, one has not filial piety.</p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_109" id="Footnote_1_109"></a><a href="#FNanchor_1_109"><span class="label">[109]</span> +</a> Lit., "A person having filial piety is called a person." The word +<i>hito</i> (person), usually indicating either a man or a woman, is often used +in the signification of "people" or "Mankind." The full meaning of +the sentence is that no unfilial person deserves to be called a human +being.</p> +</div> +</div> + +<p class="indent"> +<i>The second</i>:—</p> + +<p class="indent"> +Higher than the [mountain] Fuji is the favor of a father:<br /> +Think of it always;—never forget it.</p> + +<p class="indent"> +<i>The third</i>:—</p> + +<p class="indent"> +[Compared with a mother's love] the great lake is shallow indeed!<br /> +[By this saying] the goodness of a mother should be estimated.</p> + +<p class="indent"> +<i>The fourth</i>:—</p> + +<p class="indent"> +Even though in poverty we have to pass our days,<br /> +Let us never turn aside from the one straight path.</p> + +<p class="indent"> +<i>The fifth:</i>—</p> + +<p class="indent"> +The person whose heart never changes with time,<br /> +A true man or woman that person must be deemed.</p> + +<p class="indent"> +<span class="pagenum">[Pg 182]</span> +<i>The sixth</i>:—</p> + +<p class="indent">If the time [of the present] be spent in vain,<br /> +In the time of the future must sorrow be borne.</p> + +<p class="indent"> +<i>The seventh</i>:—</p> + +<p class="indent"> +That a kindness done is not for the sake of others only,<br /> +But also for one's own sake, should well be kept in mind.</p> + +<p class="indent"> +<i>The eighth</i>:—</p> + +<p class="indent"> +Even the sorrow of numberless misfortunes<br /> +We shall easily escape if the heart be pure.</p> + +<p class="indent"> +<i>The ninth</i>:—</p> + +<p class="indent"> +If the heart and the speech be kept straight and true,<br /> +The Gods and the Buddhas will surely guard us well.</p> + +<p class="indent"> +<i>The tenth</i>:—</p> + +<p class="indent"> +In order to become a person held in honor,<br /> +As a filial person one must [first] be known.</p> + +<p class="indent"> +The reader may think to himself, "How terribly +exigent the training that could require the +repetition of moral lessons even in a 'ball-play +song'!" True,—but it produced perhaps the +very sweetest type of woman that this world has +ever known.</p> + +<hr /> + +<p class="indent"> +In some dance-songs the burthen is made by +the mere repetition of the last line, or of part +of the last line, of each stanza. The following +<span class="pagenum">[Pg 183]</span> +queer ballad exemplifies the practice, and is +furthermore remarkable by reason of the curious +onomatopoetic choruses introduced at certain +passages of the recitative:—</p> + +<h4> +KANÉ-MAKI-ODORI UTA</h4> + +<div class="blockquotsm"><p class="center"> +("<i>Bell-wrapping-dance song</i>."—<i>Province of Iga—Naga district</i>) +</p></div> + +<div class="blockquot"><p class="indent"> +A Yamabushi of Kyōto went to Kumano. There resting +in the inn Chōjaya, by the beach of Shirotaka, he saw a +little girl three years old; and he petted and hugged her, +playfully promising to make her his wife,—</p> + +<p class="right"> +(Chorus) <i>Playfully promising.</i></p> + +<p class="indent"> +Thereafter that Yamabushi travelled in various provinces; +returning only when that girl was thirteen years old. "O +my princess, my princess!" he cried to her,—"my little +princess, pledged to me by promise!"—"O Sir Yamabushi," +made she answer,—"good Sir Yamabushi, take me +with you now!—</p> + +<p class="right"> +"<i>Take me with you now!</i>"</p> + +<p class="indent"> +"O soon," he said, "I shall come again; soon I shall +come again: then, when I come again, I shall take you with +me,—</p> + +<p class="right"> +"<i>Take you with me.</i>"</p> + +<p class="indent"> +Therewith the Yamabushi, escaping from her, quickly, +quickly fled away;—with all haste he fled away. Having +passed through Tanabé and passed through Minabé, he fled +on over the Komatsu moor,—</p> + +<p class="right"> +<i>Over the Komatsu moor.</i></p> +</div> + +<p class="center"> +<span class="pagenum">[Pg 184]</span> +KAKKARA, KAKKARA, KAKKARA, KAKKA!<a name="FNanchor_1_110" id="FNanchor_1_110"></a><a href="#Footnote_1_110" class="fnanchor">[110]</a></p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_110" id="Footnote_1_110"></a><a href="#FNanchor_1_110"><span class="label">[110]</span> +</a> These syllables, forming a sort of special chorus, are simply +onomatopes; intended to represent the sound of sandalled feet running +at utmost speed.</p> +</div> +</div> + +<div class="blockquot"><p class="indent"> +Therewith the damsel, pursuing, quickly, quickly followed +after him;—with all speed she followed after him. +Having passed through Tanabé and passed through Minabé, +she pursued him over the Komatsu moor,—</p> + +<p class="right"> +<i>Over the Komatsu moor.</i></p> + +<p class="indent"> +Then the Yamabushi, fleeing, came as he fled to the river +of Amoda, and cried to the boatman of the river of Amoda,—"O +good boatman, good sir boatman, behind me comes +a maid pursuing!—pray do not take her across, good +boatman,—</p> + +<p class="right"> +"<i>Good sir boatman!</i>"</p> +</div> + +<p class="center"> +<i>DEBOKU, DEBOKU, DEBOKU, DENDEN!</i><a name="FNanchor_2_111" id="FNanchor_2_111"></a><a href="#Footnote_2_111" class="fnanchor">[111]</a></p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_111" id="Footnote_2_111"></a><a href="#FNanchor_2_111"><span class="label">[111]</span> +</a> These onomatopes, chanted by all the dancers together in chorus, +with appropriate gesture, represent the sound of the ferryman's single +oar, or scull, working upon its wooden peg. The syllables have no +meaning in themselves.</p> +</div> +</div> + +<div class="blockquot"><p class="indent"> +Then the damsel, pursuing, came to the river of Amoda +and called to the boatman, "Bring hither the boat!—take +me over in the boat!"—"No, I will not bring the boat; I +will not take you over: my boat is forbidden to carry +women!—</p> + +<p class="right"> +"<i>Forbidden to carry women!</i>"</p> + +<p class="indent"> +"If you do not take me over, I will cross!—if you do +not take me over, I will cross!—there is a way to cross +the river of Amoda!" Taking off her sandals and holding +them aloft, she entered the water, and at once turned into a +dragon with twelve horns fully grown,—</p> + +<p class="right"> +<i>With twelve horns fully grown.</i></p> +</div> + +<div class="blockquot"><p class="indent"><span class="pagenum">[Pg 185]</span> +Then the Yamabushi, fleeing, reached the temple Dōjōji, +and cried to the priests of the temple Dōjōji:—"O good +priests, behind me a damsel comes pursuing!—hide me, I +beseech you, good sir priests!—</p> + +<p class="right"> +"<i>Good sir priests!</i>"</p> + +<p class="indent"> +Then the priests, after holding consultation, took down +from its place the big bell of the temple; and under it they +hid him,—</p> + +<p class="right"> +<i>Under it they hid him</i>.</p> + +<p class="indent"> +Then the dragon-maid, pursuing, followed him to the +temple Dōjōji. For a moment she stood in the gate of the +temple: she saw that bell, and viewed it with suspicion. +She thought:—"I must wrap myself about it once." She +thought:—"I must wrap myself about it twice!" At +the third wrapping, the bell was melted, and began to flow +like boiling water,—</p> + +<p class="right"> +<i>Like boiling water</i>.</p> + +<p class="indent"> +So is told the story of the Wrapping of the Bell. Many +damsels dwell by the seashore of Japan;—but who among +them, like the daughter of the Chōja, will become a +dragon?—</p> + +<p class="right"> +<i>Become a dragon?</i></p> + +<p class="indent"> +This is all the Song of the Wrapping of the Bell!—this +is all the Song,—</p> + +<p class="right"> +<i>All the song!</i><a name="FNanchor_1_112" id="FNanchor_1_112"></a><a href="#Footnote_1_112" class="fnanchor">[112]</a></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_112" id="Footnote_1_112"></a><a href="#FNanchor_1_112"><span class="label">[112]</span> +</a> This legend forms the subject of several Japanese dramas, both +ancient and modern. The original story is that a Buddhist priest, called +Anchin, having rashly excited the affection of a maiden named Kiyohimé, +and being, by reason of his vows, unable to wed her, sought safety +from her advances in flight. Kiyohimé, by the violence of her frustrated +passion, therewith became transformed into a fiery dragon; and +in that shape she pursued the priest to the temple called Dōjōji, in Kumano (modern Kishū), where he tried to hide himself under the great +temple-bell. But the dragon coiled herself round the bell, which at +once became red-hot, so that the body of the priest was totally consumed. +</p> + +<p class="indent"> +In this rude ballad Kiyohimé figures only as the daughter of an inn-keeper,—the +<i>Chōja</i>, or rich man of his village; while the priest Anchin +is changed into a Yamabushi. The Yamabushi are, or at least were, +wandering priests of the strange sect called Shugendo,—itinerant +exorcists and diviners, professing both Shinto and Buddhism. Of late +years their practices have been prohibited by law; and a real Yamabushi +is now seldom to be met with. +</p> + +<p class="indent"> +The temple Dōjōji is still a famous place of pilgrimage. It is situated +not far from Gobō, on the western coast of Kishū. The incident of +Anchin and the dragon is said to have occurred in the early part of the +tenth century.</p> +</div> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 186]</span> +I shall give only one specimen of the true +street-ballad, +—the kind of ballad commonly +sung by wandering samisen-players. It is written +in an irregular measure, varying from twelve to +sixteen syllables in length; the greater number +of lines having thirteen syllables. I do not know +the date of its composition; but I am told by aged +persons who remember hearing it sung when +they were children, that it was popular in the +period of Tenpō (1830-1843). It is not divided +into stanzas; but there are pauses at irregular +intervals,—marked by the refrain, <i>Yanrei!</i></p> + +<h4>O-KICHI-SEIZA KUDOKI</h4> + +<p class="center"> +("<i>The Ditty of O-Kichi and Seiza</i>")</p> + +<div class="blockquot"><p class="indent"> +Now hear the pitiful story of two that died for love.—In +Kyōto was the thread-shop of Yoëmon, a merchant +<span class="pagenum">[Pg 187]</span> +known far and near,—a man of much wealth. His business +prospered; his life was fortunate. One daughter he +had, an only child, by name O-Kichi: at sixteen years she +was lovely as a flower. Also he had a clerk in his house, +by name Seiza, just in the prime of youth, aged twenty-and-two.</p> + +<p class="right"><i>Yanrei!</i></p> + +<p class="indent"> +Now the young man Seiza was handsome; and O-Kichi +fell in love with him at sight. And the two were so often +together that their secret affection became known; and the +matter came to the ears of the parents of O-Kichi; and +the parents, hearing of it, felt that such a thing could not +be suffered to continue.</p> + +<p class="right"><i>Yanrei!</i></p> + +<p class="indent"> +So at last, the mother, having called O-Kichi into a private +room, thus spoke to her:—"O my daughter, I hear that +you have formed a secret relation with the young man +Seiza, of our shop. Are you willing to end that relation at +once, and not to think any more about that man, O-Kichi?—answer +me, O my daughter."</p> + +<p class="right"><i>Yanrei!</i></p> + +<p class="indent"> +"O my dear mother," answered O-Kichi, "what is this +that you ask me to do? The closeness of the relation between +Seiza and me is the closeness of the relation of the +ink to the paper that it penetrates.<a name="FNanchor_1_113" id="FNanchor_1_113"></a><a href="#Footnote_1_113" class="fnanchor">[113]</a> Therefore, whatever +may happen, O mother of mine, to separate from Seiza is +more than I can bear."</p> + +<p class="right"><i>Yanrei!</i></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_113" id="Footnote_1_113"></a><a href="#FNanchor_1_113"><span class="label">[113]</span> +</a> Lit.:—"that affinity as-for, ink-and-paper-soaked-like affinity."</p> +</div> +</div> + +<div class="blockquot"><p class="indent"> +<span class="pagenum">[Pg 188]</span> +Then, the father, having called Seiza to the innermost +private room, thus spoke to him:—"I called you here +only to tell you this: You have turned the mind of our +daughter away from what is right; and even to hear of +such a matter is not to be borne. Pack up your things at +once, and go!—to-day is the utmost limit of the time that +you remain in this house."</p> + +<p class="right"><i>Yanrei!</i></p> + +<p class="indent"> +Now Seiza was a native of Ōsaka. Without saying +more than "Yes—yes," he obeyed and went away, returning +to his home. There he remained four or five days, +thinking only of O-Kichi. And because of his longing for +her, he fell sick; and as there was no cure and no hope for +him, he died.</p> + +<p class="right"><i>Yanrei!</i></p> + +<p class="indent"> +Then one night O-Kichi, in a moment of sleep, saw the +face of Seiza close to her pillow,—so plainly that she could +not tell whether it was real, or only a dream. And rising +up, she looked about; but the form of Seiza had vanished.</p> + +<p class="right"><i>Yanrei!</i></p> + +<p class="indent"> +Because of this she made up her mind to go at once to +the house of Seiza. And, without being seen by any one, +she fled from the home of her parents.</p> + +<p class="right"><i>Yanrei!</i></p> + +<p class="indent"> +When she came to the ferry at the next village, she did +not take the boat, but went round by another road; and +making all haste she found her way to the city of Ōsaka. +There she asked for the house of Seiza; and she learned +that it was in a certain street, the third house from a +certain bridge.</p> + +<p class="right"><i>Yanrei!</i></p> +</div> +<div class="blockquot"><p class="indent"> +<span class="pagenum">[Pg 189]</span> +Arriving at last before the home of Seiza, she took off +her travelling hat of straw; and seating herself on the +threshold of the entrance, she cried out:—"Pardon me +kindly!—is not this the house of Master Seiza?"</p> + +<p class="right"><i>Yanrei!</i></p> + +<p class="indent"> +Then—O the pity of it!—she saw the mother of Seiza, +weeping bitterly, and holding in her hand a Buddhist rosary. +"O my good young lady," the mother of Seiza +asked, "whence have you come; and whom do you want +to see?"</p> + +<p class="right"><i>Yanrei!</i></p> + +<p class="indent"> +And O-Kichi said:—"I am the daughter of the thread-merchant +of Kyōto. And I have come all the way here only +because of the relation that has long existed between Master +Seiza and myself. Therefore, I pray you, kindly permit +me to see him."</p> + +<p class="right"><i>Yanrei!</i></p> + +<p class="indent"> +"Alas!" made answer the mother, weeping, "Seiza, +whom you have come so far to see, is dead. To-day is +the seventh day from the day on which he died." ... Hearing +these words, O-Kichi herself could only shed tears.</p> + +<p class="right"><i>Yanrei!</i></p> + +<p class="indent"> +But after a little while she took her way to the cemetery. +And there she found the sotoba<a name="FNanchor_1_114" id="FNanchor_1_114"></a><a href="#Footnote_1_114" class="fnanchor">[114]</a> erected above the grave +of Seiza; and leaning upon it, she wept aloud.</p> + +<p class="right"><i>Yanrei!</i></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_114" id="Footnote_1_114"></a><a href="#FNanchor_1_114"><span class="label">[114]</span> +</a> A wooden lath, bearing Buddhist texts, planted above graves. For +a full account of the sotoba see <i>my Exotics and Retrospectives</i>: "The +Literature of the Dead."</p> +</div> +</div> + +<div class="blockquot"><p class="indent"> +<span class="pagenum">[Pg 190]</span> +Then—how fearful a thing + is the longing of a person<a name="FNanchor_1_115" id="FNanchor_1_115"></a><a href="#Footnote_1_115" class="fnanchor">[115]</a>—the +grave of Seiza split asunder; and the form of Seiza +rose up therefrom and spoke.</p> + +<p class="right"><i>Yanrei!</i></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_115" id="Footnote_1_115"></a><a href="#FNanchor_1_115"><span class="label">[115]</span> +</a> In the original:—<i>Hito no omoi wa osoroshi mono yo!</i>—("how +fearful a thing is the thinking of a person!"). The word <i>omoi</i>, used +here in the sense of "longing," refers to the weird power of Seiza's +dying wish to see his sweetheart. Even after his burial, this longing +has the strength to burst open the tomb.</p> + +<p class="indent"> +—In the old English ballad of "William and Marjorie" (see Child: +vol. ii. p. 151) there is also a remarkable fancy about the opening and +closing of a grave:—<br /> +<span style="margin-left: 8em;">She followed him high, she followed him low,</span><br /> +<span style="margin-left: 9em;">Till she came to yon churchyard green;</span><br /> +<span style="margin-left: 8em;"><i>And there the deep grave opened up</i>,</span><br /> +<span style="margin-left: 9em;">And young William he lay down.</span></p> +</div> +</div> + +<div class="blockquot"> +<p class="indent"> +"Ah! is not this O-Kichi that has come? Kind indeed +it was to have come to me from so far away! My O-Kichi, +do not weep thus. Never again—even though you weep—can +we be united in this world. But as you love me +truly, I pray you to set some fragrant flowers before my +tomb, and to have a Buddhist service said for me upon the +anniversary of my death."</p> + +<p class="right"><i>Yanrei!</i></p> + +<p class="indent"> +And with these words the form of Seiza vanished. "O +wait, wait for me!" cried O-Kichi,—"wait one little moment!<a name="FNanchor_2_116" id="FNanchor_2_116"></a><a href="#Footnote_2_116" class="fnanchor">[116]</a> +I cannot let you return alone!—I shall go with +you in a little time!"</p> + +<p class="right"><i>Yanrei!</i></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_2_116" id="Footnote_2_116"></a><a href="#FNanchor_2_116"><span class="label">[116]</span> +</a> With this episode compare the close of the English ballad "Sweet +William's Ghost" (Child: vol. ii., page 148):— +</p><p class="indent"> +<br /> +"O stay, my only true love, stay!"<br /> +<span style="margin-left: 1em;">The constant Margaret cried:</span><br /> +Wan grew her cheeks; she closed her een,<br /> +<span style="margin-left: 1em;">Stretched her soft limbs, and died.</span></p> +</div> +</div> + +<p><span class="pagenum">[Pg 191]</span> +</p> + +<div class="blockquot"><p class="indent"> +Then quickly she went beyond the temple-gate to a moat +some four or five <i>chō</i><a name="FNanchor_1_117" id="FNanchor_1_117"></a><a href="#Footnote_1_117" class="fnanchor">[117]</a> distant; and having filled her sleeves +with small stones, into the deep water she cast her forlorn +body.</p> + +<p class="right"><i>Yanrei!</i></p> +</div> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_117" id="Footnote_1_117"></a><a href="#FNanchor_1_117"><span class="label">[117]</span> +</a> A <i>chō</i> is about one fifteenth of a mile.</p> +</div> +</div> + +<p class="indent"> +And now I shall terminate this brief excursion +into unfamiliar song-fields by the citation of two +Buddhist pieces. The first is from the famous +work <i>Gempei Seisuiki</i> ("Account of the Prosperity +and Decline of the Houses of Gen and +Hei"), probably composed during the latter part +of the twelfth, or at the beginning of the thirteenth +century. It is written in the measure +called <i>Imayō</i>,—that is to say, in short lines alternately +of seven and of five syllables (7, 5; 7, 5; +7, 5, <i>ad libitum</i>). The other philosophical composition +is from a collection of songs called +<i>Ryūtachi-bushi</i> ("Ryūtachi Airs"), belonging +to the sixteenth century:—</p> + +<h4>I</h4> + +<p class="center">(<i>Measure, Imayō</i>)</p> + +<p class="margin-left16"> +Sama mo kokoro mo<br /> +Kawaru kana!<br /> +Otsuru namida wa<br /> +<span class="pagenum">[Pg 192]</span> +Taki no mizu:<br /> +Myō-hō-rengé no<br /> +Iké to nari;<br /> +Guzé no funé ni<br /> +Sao sashité;<br /> +Shizumu waga mi wo<br /> +Nosé-tamaë!</p> + +<p class="margin-left8"> +Both form and mind—<br /> +Lo! how these change!<br /> +The falling of tears<br /> +Is like the water of a cataract.<br /> +Let them become the Pool<br /> +Of the Lotos of the Good Law!<br /> +Poling thereupon<br /> +The Boat of Salvation,<br /> +Vouchsafe that my sinking<br /> +Body may ride!</p> + +<h3>II</h3> + +<p class="center">(<i>Period of Bunrokū—1592-1596</i>)</p> + +<div class="blockquot"><p> +<span style="margin-left: 12.5em;">Who twice shall live his youth?</span><br /> +<span style="margin-left: 12.5em;">What flower faded blooms again?</span><br /> +<span style="margin-left: 12.5em;">Fugitive as dew</span><br /> +<span style="margin-left: 12.5em;">Is the form regretted,</span><br /> +<span style="margin-left: 12.5em;">Seen only</span><br /> +<span style="margin-left: 12.5em;">In a moment of dream.</span></p> +</div> + +<hr class="hr2"/> + +<h1><span class="smcap">Fantasies</span></h1> + +<div class="figcenter" style="width: 54px;"> +<img src="images/dec2.jpg" width="54" height="57" alt="decloration2" title="decloration2" /> +</div> + +<div class="blockquot"><p> +<span style="margin-left: 12.5em;">... Vainly does each, as he glides,</span><br /> +<span style="margin-left: 12.5em;">Fable and dream</span><br /> +<span style="margin-left: 12.5em;">Of the lands which the River of Time</span><br /> +<span style="margin-left: 12.5em;">Had left ere he woke on its breast,</span><br /> +<span style="margin-left: 12.5em;">Or shall reach when his eyes have</span><br /> +<span style="margin-left: 13.5em;">been closed.</span><br /> +<br /> +<span style="font-variant: small-caps; margin-left: 19em;">Matthew Arnold</span></p> +</div> + +<hr class="hr2"/> +<h1>Noctilucć</h1> + +<div class="figcenter" style="width: 54px;"> +<img src="images/dec2.jpg" width="54" height="57" alt="decloration2" title="decloration2" /> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 197]</span> +</p> +<hr class="hr2"/> +<h2><a name="Noctilucae" id="Noctilucae"></a>Noctilucć</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<p class="cap">THE moon had not yet risen; but the vast of +the night was all seething with stars, and +bridged by a Milky Way of extraordinary +brightness. There was no wind; but the sea, +far as sight could reach, was running in ripples +of fire,—a vision of infernal beauty. Only the +ripplings were radiant (between them was blackness +absolute);—and the luminosity was amazing. +Most of the undulations were yellow like +candle-flame; but there were crimson lampings +also,—and azure, and orange, and emerald. +And the sinuous flickering of all seemed, not a +pulsing of many waters, but a laboring of many +wills,—a fleeting conscious and monstrous,—a +writhing and a swarming incalculable, as of +dragon-life in some depth of Erebus.</p> + +<p class="indent"> +And life indeed was making the sinister splendor +of that spectacle—but life infinitesimal, +<span class="pagenum">[Pg 198]</span> +and of ghostliest delicacy,—life illimitable, yet +ephemeral, flaming and fading in ceaseless alternation +over the whole round of waters even to +the sky-line, above which, in the vaster abyss, +other countless lights were throbbing with other +spectral colors.</p> + +<hr /> + +<p class="indent"> +Watching, I wondered and I dreamed. I +thought of the Ultimate Ghost revealed in that +scintillation tremendous of Night and Sea;—quickening +above me, in systems aglow with +awful fusion of the past dissolved, with vapor +of the life again to be;—quickening also beneath +me, in meteor-gushings and constellations +and nebulosities of colder fire,—till I found myself +doubting whether the million ages of the sun-star +could really signify, in the flux of perpetual +dissolution, anything more than the momentary +sparkle of one expiring noctiluca.</p> + +<p class="indent"> +Even with the doubt, the vision changed. I +saw no longer the sea of the ancient East, with +its shudderings of fire, but that Flood whose +width and depth and altitude are one with the +Night of Eternity,—the shoreless and timeless +Sea of Death and Birth. And the luminous +haze of a hundred millions of suns,—the Arch +<span class="pagenum">[Pg 199]</span> +of the Milky Way,—was a single smouldering +surge in the flow of the Infinite Tides.</p> + +<hr /> + +<p class="indent"> +Yet again there came a change. I saw no +more that vapory surge of suns; but the living +darkness streamed and thrilled about me with +infinite sparkling; and every sparkle was beating +like a heart,—beating out colors like the +tints of the sea-fires. And the lampings of all +continually flowed away, as shivering threads +of radiance, into illimitable Mystery....</p> + +<p class="indent"> +Then I knew myself also a phosphor-point,—one +fugitive floating sparkle of the measureless +current;—and I saw that the light which +was mine shifted tint with each changing of +thought. Ruby it sometimes shone, and sometimes +sapphire: now it was flame of topaz; +again, it was fire of emerald. And the meaning +of the changes I could not fully know. But +thoughts of the earthly life seemed to make the +light burn red; while thoughts of supernal being,—of +ghostly beauty and of ghostly bliss,—seemed +to kindle ineffable rhythms of azure and +of violet.</p> + +<hr /> + +<p class="indent"> +But of white lights there were none in all the +Visible. And I marvelled.</p> + +<p class="indent"> +<span class="pagenum">[Pg 200]</span> +</p> + +<p class="indent"> +Then a Voice said to me:—</p> + +<p class="indent"> +"The White are of the Altitudes. By the +blending of the billions they are made. Thy +part is to help to their kindling. Even as the +color of thy burning, so is the worth of thee. +For a moment only is thy quickening; yet the +light of thy pulsing lives on: by thy thought, +in that shining moment, thou becomest a Maker +of Gods."</p> + +<hr class="hr2"/> + +<h1>A Mystery of Crowds</h1> + +<div class="figcenter" style="width: 54px;"> +<img src="images/dec2.jpg" width="54" height="57" alt="decloration2" title="decloration2" /> +</div> + +<hr class="hr2"/> + +<p class="indent"> +<span class="pagenum">[Pg 203]</span> +</p> + +<h2><a name="A_Mystery_of_Crowds" id="A_Mystery_of_Crowds"></a>A Mystery of Crowds</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<p class="cap">WHO has not at some time leaned over +the parapet of a bridge to watch the +wrinklings and dimplings of the current +below,—to wonder at the trembling permanency +of surface-shapes that never change, +though the substance of them is never for two +successive moments the same? The mystery of +the spectacle fascinates; and it is worth thinking +about. Symbols of the riddle of our own being +are those shuddering forms. In ourselves likewise +the substance perpetually changes with the +flow of the Infinite Stream; but the shapes, +though ever agitated by various inter-opposing +forces, remain throughout the years.</p> + +<p class="indent"> +And who has not been fascinated also by the +sight of the human stream that pours and pulses +through the streets of some great metropolis? +This, too, has its currents and counter-currents +<span class="pagenum">[Pg 204]</span> +and eddyings,—all strengthening or weakening +according to the tide-rise or tide-ebb of the city's +sea of toil. But the attraction of the greater +spectacle for us is not really the mystery of +motion: it is rather the mystery of man. As +outside observers we are interested chiefly by +the passing forms and faces,—by their intimations +of personality, their suggestions of sympathy +or repulsion. We soon cease to think +about the general flow. For the atoms of the +human current are visible to our gaze: we see +them walk, and deem their movements sufficiently +explained by our own experience of +walking. And, nevertheless, the motions of the +visible individual are more mysterious than those +of the always invisible molecule of water.—I +am not forgetting the truth that all forms of +motion are ultimately incomprehensible: I am +referring only to the fact that our common relative +knowledge of motions, which are supposed +to depend upon will, is even less than our possible +relative knowledge of the behavior of the +atoms of a water-current.</p> + +<hr /> + +<p class="indent"> +Every one who has lived in a great city is +aware of certain laws of movement which regulate +<span class="pagenum">[Pg 205]</span> +the flow of population through the more +crowded thoroughfares. (We need not for present +purposes concern ourselves about the complex +middle-currents of the living river, with +their thunder of hoofs and wheels: I shall speak +of the side-currents only.) On either footpath +the crowd naturally divides itself into an upward +and a downward stream. All persons going in +one direction take the right-hand side; all going +in the other direction take the left-hand side. +By moving with either one of these two streams +you can proceed even quickly; but you cannot +walk against it: only a drunken or insane person +is likely to attempt such a thing. Between +the two currents there is going on, by reason +of the pressure, a continual self-displacement +of individuals to left and right, alternately,—such +a yielding and swerving as might be represented, +in a drawing of the double-current, by +zigzag medial lines ascending and descending. +This constant yielding alone makes progress +possible: without it the contrary streams would +quickly bring each other to a standstill by lateral +pressure. But it is especially where two crowd-streams +intersect each other, as at street-angles, +that this systematic self-displacement is worthy +<span class="pagenum">[Pg 206]</span> +of study. Everybody observes the phenomenon; +but few persons think about it. Whoever +really thinks about it will discover that +there is a mystery in it,—a mystery which no +individual experience can fully explain.</p> + +<hr /> + +<p class="indent"> +In any thronged street of a great metropolis +thousands of people are constantly turning aside +to left or right in order to pass each other. +Whenever two persons walking in contrary directions +come face to face in such a press, one of +three things is likely to happen:—Either there +is a mutual yielding,—or one makes room for +the other,—or else both, in their endeavor to +be accommodating, step at once in the same +direction, and as quickly repeat the blunder by +trying to correct it, and so keep dancing to and +fro in each other's way,—until the first to perceive +the absurdity of the situation stands still, +or until the more irritable actually pushes his +<i>vis-ŕ-vis</i> to one side. But these blunders are +relatively infrequent: all necessary yielding, as +a rule, is done quickly and correctly.</p> + +<p class="indent"> +Of course there must be some general law +regulating all this self-displacement,—some law +in accord with the universal law of motion in +<span class="pagenum">[Pg 207]</span> +the direction of least resistance. You have only +to watch any crowded street for half an hour to +be convinced of this. But the law is not easily +found or formulated: there are puzzles in the +phenomenon.</p> + +<hr /> + +<p class="indent"> +If you study the crowd-movement closely, you +will perceive that those encounters in which one +person yields to make way for the other are +much less common than those in which both +parties give way. But a little reflection will convince +you that, even in cases of mutual yielding, +one person must of necessity yield sooner than +the other,—though the difference in time of +the impulse-manifestation should be—as it often +is—altogether inappreciable. For the sum of +character, physical and psychical, cannot be precisely +the same in two human beings. No two +persons can have exactly equal faculties of perception +and will, nor exactly similar qualities of +that experience which expresses itself in mental +and physical activities. And therefore in every +case of apparent mutual yielding, the yielding +must really be successive, not simultaneous. +Now although what we might here call the +"personal equation" proves that in every case of +<span class="pagenum">[Pg 208]</span> +mutual yielding one individual necessarily yields +sooner than the other, it does not at all explain +the mystery of the individual impulse in cases +where the yielding is not mutual;—it does not +explain why you feel at one time that you are +about to make your <i>vis-ŕ-vis</i> give place, and +feel at another time that you must yourself give +place. What originates the feeling?</p> + +<p class="indent"> +A friend once attempted to answer this question +by the ingenious theory of a sort of eye-duel +between every two persons coming face to +face in a street-throng; but I feel sure that his +theory could account for the psychological facts +in scarcely half-a-dozen of a thousand such encounters. +The greater number of people hurrying +by each other in a dense press rarely observe +faces: only the disinterested idler has time for +that. Hundreds actually pass along the street +with their eyes fixed upon the pavement. Certainly +it is not the man in a hurry who can +guide himself by ocular snap-shot views of +physiognomy;—he is usually absorbed in his +own thoughts.... I have studied my own case +repeatedly. While in a crowd I seldom look at +faces; but without any conscious observation I +am always able to tell when I should give way, +<span class="pagenum">[Pg 209]</span> +or when my <i>vis-ŕ-vis</i> is going to save me that +trouble. My knowledge is certainly intuitive—a +mere knowledge of feeling; and I know not +with what to compare it except that blind faculty +by which, in absolute darkness, one becomes +aware of the proximity of bulky objects without +touching them. And my intuition is almost +infallible. If I hesitate to obey it, a collision is +the invariable consequence.</p> + +<p class="indent"> +Furthermore, I find that whenever automatic, +or at least semi-conscious, action is replaced by +reasoned action—in plainer words, whenever I +begin to think about my movements—I always +blunder. It is only while I am thinking of other +matters,—only while I am acting almost automatically,—that +I can thread a dense crowd +with ease. Indeed, my personal experience has +convinced me that what pilots one quickly and +safely through a thick press is not conscious +observation at all, but unreasoning, intuitive +perception. Now intuitive action of any kind +represents inherited knowledge, the experience +of past lives,—in this case the experience of +past lives incalculable.</p> + +<p class="indent"> +Utterly incalculable.... Why do I think so? +Well, simply because this faculty of intuitive +<span class="pagenum">[Pg 210]</span> +self-direction in a crowd is shared by man with +very inferior forms of animal being,—evolutional +proof that it must be a faculty immensely +older than man. Does not a herd of +cattle, a herd of deer, a flock of sheep, offer us +the same phenomenon of mutual yielding? Or +a flock of birds—gregarious birds especially: +crows, sparrows, wild pigeons? Or a shoal of +fish? Even among insects—bees, ants, termites—we +can study the same law of intuitive self-displacement. +The yielding, in all these cases, +must still represent an inherited experience unimaginably +old. Could we endeavor to retrace +the whole course of such inheritance, the attempt +would probably lead us back, not only to the +very beginnings of sentient life upon this planet, +but further,—back into the history of non-sentient +substance,—back even to the primal evolution +of those mysterious tendencies which are +stored up in the atoms of elements. Such atoms +we know of only as points of multiple resistance,—incomprehensible +knittings of incomprehensible +forces. Even the tendencies of atoms doubtless +represent accumulations of inheritance—— but +here thought checks with a shock at the +eternal barrier of the Infinite Riddle.</p> + +<hr class="hr2"/> + +<h1>Gothic Horror</h1> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="" title="" /> +</div> + +<hr class="hr2"/> + +<p class="indent"> +<span class="pagenum">[Pg 213]</span> +</p> + +<h2><a name="Gothic_Horror" id="Gothic_Horror"></a>Gothic Horror</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<h3>I</h3> + +<p><span class="smcap">Long</span> before I had arrived at what catechisms +call the age of reason, I was frequently +taken, much against my will, to +church. The church was very old; and I can +see the interior of it at this moment just as plainly +as I saw it forty years ago, when it appeared to +me like an evil dream. There I first learned to +know the peculiar horror that certain forms of +Gothic architecture can inspire.... I am using +the word "horror" in a classic sense,—in its +antique meaning of ghostly fear.</p> + +<p class="indent"> +On the very first day of this experience, my +child-fancy could place the source of the horror. +The wizened and pointed shapes of the windows +immediately terrified me. In their outline I found +the form of apparitions that tormented me in +<span class="pagenum">[Pg 214]</span> +sleep;—and at once I began to imagine some +dreadful affinity between goblins and Gothic +churches. Presently, in the tall doorways, in the +archings of the aisles, in the ribbings and groinings +of the roof, I discovered other and wilder +suggestions of fear. Even the façade of the +organ,—peaking high into the shadow above its +gallery,—seemed to me a frightful thing.... +Had I been then suddenly obliged to answer the +question, "What are you afraid of?" I should +have whispered, "<i>Those points!</i>" I could not +have otherwise explained the matter: I only +knew that I was afraid of the "points."</p> + +<p class="indent"> +Of course the real enigma of what I felt in +that church could not present itself to my mind +while I continued to believe in goblins. But long +after the age of superstitious terrors, other Gothic +experiences severally revived the childish emotion +in so startling a way as to convince me that +childish fancy could not account for the feeling. +Then my curiosity was aroused; and I tried to +discover some rational cause for the horror. I +read many books, and asked many questions; +but the mystery seemed only to deepen.</p> + +<p class="indent"> +Books about architecture were very disappointing. +I was much less impressed by what I could +<span class="pagenum">[Pg 215]</span> +find in them than by references in pure fiction to +the awfulness of Gothic art,—particularly by +one writer's confession that the interiorof a +Gothic church, seen at night, gave him the idea +of being inside the skeleton of some monstrous +animal; and by a far-famed comparison of the +windows of a cathedral to eyes, and of its door +to a great mouth, "devouring the people." +These imaginations explained little; they could +not be developed beyond the phase of vague +intimation: yet they stirred such emotional +response that I felt sure they had touched some +truth. Certainly the architecture of a Gothic +cathedral offers strange resemblances to the architecture +of bone; and the general impression that +it makes upon the mind is an impression of life. +But this impression or sense of life I found to be +indefinable,—not a sense of any life organic, +but of a life latent and dćmonic. And the manifestation +of that life I felt to be in the <i>pointing</i> of +the structure.</p> + +<p class="indent"> +Attempts to interpret the emotion by effects of +altitude and gloom and vastness appeared to me +of no worth; for buildings loftier and larger and +darker than any Gothic cathedral, but of a different +order of architecture,—Egyptian, for +<span class="pagenum">[Pg 216]</span> +instance,—could not produce a like impression. +I felt certain that the horror was made by something +altogether peculiar to Gothic construction, +and that this something haunted the tops of the +arches.</p> + +<p class="indent"> +"Yes, Gothic architecture is awful," said a +religious friend, "because it is the visible expression +of Christian faith. No other religious +architecture symbolizes spiritual longing; but +the Gothic embodies it. Every part climbs or +leaps; every supreme detail soars and points like +fire...." "There may be considerable truth in +what you say," I replied;—"but it does not relate +to the riddle that baffles me. Why should shapes +that symbolize spiritual longing create horror? +Why should any expression of Christian ecstasy +inspire alarm?..."</p> + +<hr /> + +<p class="indent"> +Other hypotheses in multitude I tested without +avail; and I returned to the simple and savage +conviction that the secret of the horror somehow +belonged to the points of the archings. But for +years I could not find it. At last, at last, in the +early hours of a certain tropical morning, it +revealed itself quite unexpectedly, while I was +looking at a glorious group of palms.</p> + +<p class="indent"> +<span class="pagenum">[Pg 217]</span> +Then I wondered at my stupidity in not having +guessed the riddle before.</p> + +<hr /> + +<h3>II</h3> + +<p class="indent"> +<span class="smcap">The</span> characteristics of many kinds of palm have +been made familiar by pictures and photographs. +But the giant palms of the American tropics cannot +be adequately represented by the modern +methods of pictorial illustration: they must be +seen. You cannot draw or photograph a palm +two hundred feet high.</p> + +<p class="indent"> +The first sight of a group of such forms, in +their natural environment of tropical forest, is a +magnificent surprise,—a surprise that strikes you +dumb. Nothing seen in temperate zones,—not +even the huger growths of the Californian slope,—could +have prepared your imagination for the +weird solemnity of that mighty colonnade. Each +stone-grey trunk is a perfect pillar,—but a pillar +of which the stupendous grace has no counterpart +in the works of man. You must strain your +head well back to follow the soaring of the prodigious +column, up, up, up through abysses of +green twilight, till at last—far beyond a break in +that infinite interweaving of limbs and lianas +<span class="pagenum">[Pg 218]</span> +which is the roof of the forest—you catch one +dizzy glimpse of the capital: a parasol of emerald +feathers outspread in a sky so blinding as tosuggest +the notion of azure electricity.</p> + +<hr /> + +<p class="indent"> +Now what is the emotion that such a vision +excites,—an emotion too powerful to be called +wonder, too weird to be called delight? Only +when the first shock of it has passed,—when the +several elements that were combined in it have +begun to set in motion widely different groups of +ideas,—can you comprehend how very complex +it must have been. Many impressions belonging +to personal experience were doubtless revived in +it, but also with them a multitude of sensations +more shadowy,—accumulations of organic memory; +possibly even vague feelings older than man,—for +the tropical shapes that aroused the emotion +have a history more ancient than our race.</p> + +<p class="indent"> +One of the first elements of the emotion to +become clearly distinguishable is the ćsthetic; +and this, in its general mass, might be termed the +sense of terrible beauty. Certainly the spectacle +of that unfamiliar life,—silent, tremendous, +springing to the sun in colossal aspiration, striving +for light against Titans, and heedless of man +<span class="pagenum">[Pg 219]</span> +in the gloom beneath as of a groping beetle,—thrills +like the rhythm of some single marvellous +verse that is learned in a glance and remembered +forever. Yet the delight, even at its vividest, is +shadowed by a queer disquiet. The aspect of +that monstrous, pale, naked, smooth-stretching +column suggests a life as conscious as the serpent's. +You stare at the towering lines of the +shape,—vaguely fearing to discern some sign of +stealthy movement, some beginning of undulation. +Then sight and reason combine to correct +the suspicion. Yes, motion is there, and life +enormous—but a life seeking only sun,—life, +rushing like the jet of a geyser, straight to the +giant day.</p> + +<hr /> + +<h3>III</h3> + +<p class="indent"> +<span class="smcap">During</span> my own experience I could perceive +that certain feelings commingled in the wave of +delight,—feelings related to ideas of power and +splendor and triumph,—were accompanied by a +faint sense of religious awe. Perhaps our modern +ćsthetic sentiments are so interwoven with various +inherited elements of religious emotionalism +that the recognition of beauty cannot arise independently +<span class="pagenum">[Pg 220]</span> +of reverential feeling. Be this as it +may, such a feeling defined itself while I gazed;—and +at once the great grey trunks were changed +to the pillars of a mighty aisle; and from altitudes +of dream there suddenly descended upon me the +old dark thrill of Gothic horror.</p> + +<p class="indent"> +Even before it died away, I recognized that it +must have been due to some old cathedral-memory +revived by the vision of those giant +trunks uprising into gloom. But neither the +height nor the gloom could account for anything +beyond the memory. Columns tall as those +palms, but supporting a classic entablature, could +evoke no sense of disquiet resembling the Gothic +horror. I felt sure of this,—because I was able, +without any difficulty, to shape immediately the +imagination of such a façade. But presently the +mental picture distorted. I saw the architrave +elbow upward in each of the spaces between the +pillars, and curve and point itself into a range of +prodigious arches;—and again the sombre thrill +descended upon me. Simultaneously there flashed +to me the solution of the mystery. I understood +that the Gothic horror was a <i>horror of monstrous +motion</i>,—and that it had seemed to belong to +the points of the arches because the idea of such +<span class="pagenum">[Pg 221]</span> +motion was chiefly suggested by the extraordinary +angle at which the curves of the arching +touched.</p> + +<hr /> + +<p class="indent"> +To any experienced eye, the curves of Gothic +arching offer a striking resemblance to certain +curves of vegetal growth;—the curves of the +palm-branch being, perhaps, especially suggested. +But observe that the architectural form suggests +more than any vegetal comparison could illustrate! +The meeting of two palm-crests would +indeed form a kind of Gothic arch; yet the +effect of so short an arch would be insignificant. +For nature to repeat the strange impression of +the real Gothic arch, it were necessary that the +branches of the touching crests should vastly +exceed, both in length of curve and strength of +spring, anything of their kind existing in the +vegetable world. The effect of the Gothic arch +depends altogether upon the intimation of energy. +An arch formed by the intersection of two short +sprouting lines could suggest only a feeble power +of growth; but the lines of the tall medićval +arch seem to express a crescent force immensely +surpassing that of nature. And the horror of +Gothic architecture is not in the mere suggestion +<span class="pagenum">[Pg 222]</span> +of a growing life, but in the suggestion of an +energy supernatural and tremendous.</p> + +<hr /> + +<p class="indent"> +Of course the child, oppressed by the strangeness +of Gothic forms, is yet incapable of analyzing +the impression received: he is frightened without +comprehending. He cannot divine that the points +and the curves are terrible to him because they represent +the prodigious exaggeration of a real law of +vegetal growth. He dreads the shapes because +they seem alive; yet he does not know how to +express this dread. Without suspecting why, he +feels that this silent manifestation of power, +everywhere pointing and piercing upward, is not +natural. To his startled imagination, the building +stretches itself like a phantasm of sleep,—makes +itself tall and taller with intent to frighten. +Even though built by hands of men, it has ceased +to be a mass of dead stone: it is infused with +Something that thinks and threatens;—it has +become a shadowing malevolence, a multiple +goblinry, a monstrous fetish!</p> + +<hr class="hr2"/> +<h1>Levitation</h1> +<div class="figcenter" style="width: 54px;"> +<img src="images/dec1.jpg" width="54" height="57" alt="" title="" /> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 225]</span> +</p> +<hr class="hr2"/> +<h2><a name="Levitation" id="Levitation"></a>Levitation</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<p class="cap">OUT of some upper-story window I was +looking into a street of yellow-tinted +houses,—a colonial street, old-fashioned, +narrow, with palm-heads showing above its +roofs of tile. There were no shadows; there +was no sun,—only a grey soft light, as of early +gloaming.</p> + +<p class="indent"> +Suddenly I found myself falling from the window; +and my heart gave one sickening leap of +terror. But the distance from window to pavement +proved to be much greater than I supposed,—so +great that, in spite of my fear, I began to +wonder. Still I kept falling, falling,—and still +the dreaded shock did not come. Then the fear +ceased, and a queer pleasure took its place;—for +I discovered that I was not falling quickly, +but only <i>floating</i> down. Moreover, I was floating +feet foremost—must have turned in descending. +<span class="pagenum">[Pg 226]</span> +At last I touched the stones—but very, +very lightly, with only one foot; and instantly +at that touch I went up again,—rose to the +level of the eaves. People stopped to stare at +me. I felt the exultation of power superhuman;—I +felt for the moment as a god.</p> + +<p class="indent"> +Then softly I began to sink; and the sight of +faces, gathering below me, prompted a sudden +resolve to fly down the street, over the heads of +the gazers. Again like a bubble I rose, and, with +the same impulse, I sailed in one grand curve to a +distance that astounded me. I felt no wind;—I +felt nothing but the joy of motion triumphant. +Once more touching pavement, I soared at a +bound for a thousand yards. Then, reaching +the end of the street, I wheeled and came back +by great swoops,—by long slow aerial leaps of +surprising altitude. In the street there was dead +silence: many people were looking; but nobody +spoke. I wondered what they thought of my +feat, and what they would say if they knew +how easily the thing was done. By the merest +chance I had found out how to do it; and the +only reason why it seemed a feat was that no +one else had ever attempted it. Instinctively I +felt that to say anything about the accident, which +<span class="pagenum">[Pg 227]</span> +had led to the discovery, would be imprudent. +Then the real meaning of the strange hush in +the street began to dawn upon me. I said to +myself:—</p> + +<p class="indent"> +"This silence is the Silence of Dreams;—I am +quite well aware that this is a dream. I remember +having dreamed the same dream before. But +the discovery of this power is not a dream: <i>it is +a revelation!</i> ... Now that I have learned +how to fly, I can no more forget it than a swimmer +can forget how to swim. To-morrow morning +I shall astonish the people, by sailing over the +roofs of the town."</p> + +<p class="indent"> +Morning came; and I woke with the fixed resolve +to fly out of the window. But no sooner +had I risen from bed than the knowledge of physical +relations returned, like a sensation forgotten, +and compelled me to recognize the unwelcome +truth that I had not made any discovery at all.</p> + +<hr /> + +<p class="indent"> +This was neither the first nor the last of such +dreams; but it was particularly vivid, and I therefore +selected it for narration as a good example +of its class. I still fly occasionally,—sometimes +over fields and streams,—sometimes through +familiar streets; and the dream is invariably +<span class="pagenum">[Pg 228]</span> +accompanied by remembrance of like dreams +in the past, as well as by the conviction that I +have really found out a secret, really acquired a +new faculty. "This time, at all events," I say +to myself, "it is impossible that I can be mistaken;—I +<i>know</i> that I shall be able to fly after +I awake. Many times before, in other dreams, I +learned the secret only to forget it on awakening; +but this time I am absolutely sure that I shall not +forget." And the conviction actually stays with +me until I rise from bed, when the physical effort +at once reminds me of the formidable reality of +gravitation.</p> + +<hr /> + +<p class="indent"> +The oddest part of this experience is the feeling +of buoyancy. It is much like the feeling of +floating,—of rising or sinking through tepid +water, for example;—and there is no sense of +real effort. It is a delight; yet it usually leaves +something to be desired. I am a low flyer; I can +proceed only like a pteromys or a flying-fish—and +far less quickly: moreover, I must tread +earth occasionally in order to obtain a fresh +impulsion. I seldom rise to a height of more +than twenty-five or thirty feet;—the greater +part of the time I am merely skimming surfaces. +<span class="pagenum">[Pg 229]</span> +Touching the ground only at intervals +of several hundred yards is pleasant skimming; +but I always feel, in a faint and watery way, the +dead pull of the world beneath me.</p> + +<hr /> + +<p class="indent"> +Now the experience of most dream-flyers I +find to be essentially like my own. I have met +but one who claims superior powers: he says +that he flies over mountains—goes sailing from +peak to peak like a kite. All others whom I +have questioned acknowledge that they fly low,—in +long parabolic curves,—and this only by +touching ground from time to time. Most of +them also tell me that their flights usually begin +with an imagined fall, or desperate leap; and no +less than four say that the start is commonly +taken from the top of a stairway.</p> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec4.jpg" width="50" height="43" alt="decloration 4" title="decloration 4" /> +</div> + +<p class="indent"> +For myriads of years humanity has thus been +flying by night. How did the fancied motion, +having so little in common with any experience +of active life, become a universal experience of +the life of sleep?</p> + +<p class="indent"> +It may be that memory-impressions of certain +kinds of aerial motion,—exultant experiences of +leaping or swinging, for example,—are in dream-revival +<span class="pagenum">[Pg 230]</span> +so magnified and prolonged as to create +the illusion of flight. We know that in actual +time the duration of most dreams is very brief. +But in the half-life of sleep—(nightmare offering +some startling exceptions)—there is scarcely more +than a faint smouldering of consciousness by +comparison with the quick flash and vivid thrill +of active cerebration;—and time, to the dreaming +brain, would seem to be magnified, somewhat +as it must be relatively magnified to the feeble +consciousness of an insect. Supposing that any +memory of the sensation of falling, together +with the memory of the concomitant fear, should +be accidentally revived in sleep, the dream-prolongation +of the sensation and the emotion—unchecked +by the natural sequence of shock—might +suffice to revive other and even pleasurable +memories of airy motion. And these, again, +might quicken other combinations of interrelated +memories able to furnish all the incident and +scenery of the long phantasmagoria.</p> + +<p class="indent"> +But this hypothesis will not fully explain certain +feelings and ideas of a character different +from any experience of waking-hours,—the exultation +of voluntary motion without exertion,—the +pleasure of the utterly impossible,—the +<span class="pagenum">[Pg 231]</span> +ghostly delight of imponderability. Neither can +it serve to explain other dream-experiences of +levitation which do not begin with the sensation +of leaping or falling, and are seldom of a pleasurable +kind. For example, it sometimes happens +during nightmare that the dreamer, deprived of +all power to move or speak, actually feels his +body lifted into the air and floated away by the +force of the horror within him. Again, there are +dreams in which the dreamer has no physical +being. I have thus found myself without any +body,—a viewless and voiceless phantom, hovering +upon a mountain-road in twilight time, and +trying to frighten lonely folk by making small +moaning noises. The sensation was of moving +through the air by mere act of will: there was +no touching of surfaces; and I seemed to glide +always about a foot above the road.</p> + +<hr /> + +<p class="indent"> +Could the feeling of dream-flight be partly +interpreted by organic memory of conditions of +life more ancient than man,—life weighty, and +winged, and flying heavily, <i>a little above the +ground?</i></p> + +<p class="indent"> +Or might we suppose that some all-permeating +Over-Soul, dormant in other time, wakens within +<span class="pagenum">[Pg 232]</span> +the brain at rare moments of our sleep-life? +The limited human consciousness has been beautifully +compared to the visible solar spectrum, +above and below which whole zones of colors +invisible await the evolution of superior senses; +and mystics aver that something of the ultra-violet +or infra-red rays of the vaster Mind may +be momentarily glimpsed in dreams. Certainly +the Cosmic Life in each of us has been all things +in all forms of space and time. Perhaps you would +like to believe that it may bestir, in slumber, some +vague sense-memory of things more ancient than +the sun,—memory of vanished planets with +fainter powers of gravitation, where the normal +modes of voluntary motion would have been like +the realization of our flying dreams?...</p> + +<hr class="hr2"/> + +<h1>Nightmare-Touch</h1> + +<div class="figcenter" style="width: 54px;"> +<img src="images/dec2.jpg" width="54" height="57" alt="decloration2" title="decloration2" /> +</div> + +<hr class="hr2"/> + +<p class="indent"> +<span class="pagenum">[Pg 235]</span> +</p> + +<h2><a name="Nightmare-Touch" id="Nightmare-Touch"></a>Nightmare-Touch</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<h3>I</h3> + +<p class="cap">WHAT <i>is</i> the fear of ghosts among those +who believe in ghosts?</p> + +<p class="indent"> +All fear is the result of experience,—experience +of the individual or of the race,—experience +either of the present life or of lives forgotten. +Even the fear of the unknown can have +no other origin. And the fear of ghosts must be +a product of past pain.</p> + +<p class="indent"> +Probably the fear of ghosts, as well as the belief +in them, had its beginning in dreams. It is a +peculiar fear. No other fear is so intense; yet +none is so vague. Feelings thus voluminous and +dim are super-individual mostly,—feelings inherited,—feelings +made within us by the experience +of the dead.</p> + +<p class="indent"> +What experience?</p> + +<p class="indent"> +<span class="pagenum">[Pg 236]</span> +Nowhere do I remember reading a plain statement +of the reason why ghosts are feared. Ask +any ten intelligent persons of your acquaintance, +who remember having once been afraid of ghosts, +to tell you exactly why they were afraid,—to +define the fancy behind the fear;—and I doubt +whether even one will be able to answer the question. +The literature of folk-lore—oral and written—throws +no clear light upon the subject. +We find, indeed, various legends of men torn +asunder by phantoms; but such gross imaginings +could not explain the peculiar quality of +ghostly fear. It is not a fear of bodily violence. +It is not even a reasoning fear,—not a fear that +can readily explain itself,—which would not be +the case if it were founded upon definite ideas of +physical danger. Furthermore, although primitive +ghosts may have been imagined as capable +of tearing and devouring, the common idea of a +ghost is certainly that of a being intangible and +imponderable.<a name="FNanchor_1_118" id="FNanchor_1_118"></a><a href="#Footnote_1_118" class="fnanchor">[118]</a></p> + +<div class="footnotes"> +<div class="footnote"><p><a name="Footnote_1_118" id="Footnote_1_118"></a><a href="#FNanchor_1_118"><span class="label">[118]</span> +</a> I may remark here that in many old Japanese legends +and ballads, ghosts are represented as having power to <i>pull +off</i> people's heads. But so far as the origin of the fear of +ghosts is concerned, such stories explain nothing,—since +the experiences that evolved the fear must have been real, +not imaginary, experiences.</p> +</div> +</div> + +<p class="indent"> +<span class="pagenum">[Pg 237]</span> +Now I venture to state boldly that the common +fear of ghosts is <i>the fear of being touched by +ghosts</i>,—or, in other words, that the imagined +Supernatural is dreaded mainly because of its imagined +power to touch. Only to <i>touch</i>, remember!—not +to wound or to kill.</p> + +<p class="indent"> +But this dread of the touch would itself be +the result of experience,—chiefly, I think, of +prenatal experience stored up in the individual +by inheritance, like the child's fear of darkness. +And who can ever have had the sensation of +being touched by ghosts? The answer is +simple:—<i>Everybody who has been seized by +phantoms in a dream.</i></p> + +<p class="indent"> +Elements of primeval fears—fears older than +humanity—doubtless enter into the child-terror +of darkness. But the more definite fear of ghosts +may very possibly be composed with inherited +results of dream-pain,—ancestral experience of +nightmare. And the intuitive terror of supernatural +touch can thus be evolutionally explained.</p> + +<p class="indent"> +Let me now try to illustrate my theory by +relating some typical experiences.</p> + +<hr /> + +<p class="indent"> +<span class="pagenum">[Pg 238]</span> +</p> + +<h3>II</h3> + +<p class="indent"> +<span class="smcap">When</span> about five years old I was condemned to +sleep by myself in a certain isolated room, thereafter +always called the Child's Room. (At that +time I was scarcely ever mentioned by name, but +only referred to as "the Child.") The room was +narrow, but very high, and, in spite of one tall +window, very gloomy. It contained a fire-place +wherein no fire was ever kindled; and the Child +suspected that the chimney was haunted.</p> + +<p class="indent"> +A law was made that no light should be left +in the Child's Room at night,—simply because +the Child was afraid of the dark. His fear of +the dark was judged to be a mental disorder +requiring severe treatment. But the treatment +aggravated the disorder. Previously I had been +accustomed to sleep in a well-lighted room, with +a nurse to take care of me. I thought that I +should die of fright when sentenced to lie alone in +the dark, and—what seemed to me then abominably +cruel—actually <i>locked</i> into my room, +the most dismal room of the house. Night after +night when I had been warmly tucked into bed, +the lamp was removed; the key clicked in the +<span class="pagenum">[Pg 239]</span> +lock; the protecting light and the footsteps of +my guardian receded together. Then an agony +of fear would come upon me. Something in the +black air would seem to gather and grow—(I +thought that I could even <i>hear</i> it grow)—till I had +to scream. Screaming regularly brought punishment; +but it also brought back the light, which +more than consoled for the punishment. This fact +being at last found out, orders were given to pay +no further heed to the screams of the Child.</p> + +<hr /> + +<p class="indent"> +Why was I thus insanely afraid? Partly because +the dark had always been peopled for me +with shapes of terror. So far back as memory +extended, I had suffered from ugly dreams; and +when aroused from them I could always <i>see</i> the +forms dreamed of, lurking in the shadows of the +room. They would soon fade out; but for several +moments they would appear like tangible +realities. And they were always the same figures.... +Sometimes, without any preface of +dreams, I used to see them at twilight-time,—following +me about from room to room, or +reaching long dim hands after me, from story +to story, up through the interspaces of the deep +stairways.</p> + +<p class="indent"> +<span class="pagenum">[Pg 240]</span> +I had complained of these haunters only to be +told thatI must never speak of them, and that +they did not exist. I had complained to everybody +in the house; and everybody in the house +had told me the very same thing. But there was +the evidence of my eyes! The denial of that +evidence I could explain only in two ways:—Either +the shapes were afraid of big people, and +showed themselves to me alone, because I was +little and weak; or else the entire household had +agreed, for some ghastly reason, to say what was +not true. This latter theory seemed to me the +more probable one, because I had several times +perceived the shapes when I was not unattended;—and +the consequent appearance of secrecy +frightened me scarcely less than the visions did. +Why was I forbidden to talk about what I +saw, and even heard,—on creaking stairways,—behind +wavering curtains?</p> + +<p class="indent"> +"Nothing will hurt you,"—this was the merciless +answer to all my pleadings not to be left +alone at night. But the haunters <i>did</i> hurt me. +Only—they would wait until after I had fallen +asleep, and so into their power,—for they possessed +occult means of preventing me from rising +or moving or crying out.</p> + +<p class="indent"> +<span class="pagenum">[Pg 241]</span> +Needless to comment upon the policy of locking +me up alone with these fears in a black room. +Unutterably was I tormented in that room—for +years! Therefore I felt relatively happy +when sent away at last to a children's boarding-school, +where the haunters very seldom ventured +to show themselves.</p> + +<hr /> + +<p class="indent"> +They were not like any people that I had ever +known. They were shadowy dark-robed figures, +capable of atrocious self-distortion,—capable, for +instance, of growing up to the ceiling, and then +across it, and then lengthening themselves, head-downwards, +along the opposite wall. Only their +faces were distinct; and I tried not to look at their +faces. I tried also in my dreams—or thought +that I tried—to awaken myself from the sight of +them by pulling at my eyelids with my fingers; but +the eyelids would remain closed, as if sealed.... +Many years afterwards, the frightful plates in +Orfila's <i>Traité des Exhumés</i>, beheld for the first +time, recalled to me with a sickening start the +dream-terrors of childhood. But to understand the +Child's experience, you must imagine Orfila's drawings +intensely alive, and continually elongating or +distorting, as in some monstrous anamorphosis.</p> + +<p class="indent"> +<span class="pagenum">[Pg 242]</span> +Nevertheless the mere sight of those nightmare-faces +was not the worst of the experiences +in the Child's Room. The dreams always began +with a suspicion, or sensation of something +heavy in the air,—slowly quenching will,—slowly +numbing my power to move. At such +times I usually found myself alone in a large +unlighted apartment; and, almost simultaneously +with the first sensation of fear, the atmosphere +of the room would become suffused, half-way to +the ceiling, with a sombre-yellowish glow, making +objects dimly visible,—though the ceiling +itself remained pitch-black. This was not a true +appearance of light: rather it seemed as if the +black air were changing color from beneath.... +Certain terrible aspects of sunset, on the eve of +storm, offer like effects of sinister color.... +Forthwith I would try to escape,—(feeling at +every step a sensation <i>as of wading</i>),—and +would sometimes succeed in struggling half-way +across the room;—but there I would always find +myself brought to a standstill,—paralyzed by +some innominable opposition. Happy voices I +could hear in the next room;—I could see light +through the transom over the door that I had +vainly endeavored to reach;—I knew that one +<span class="pagenum">[Pg 243]</span> +loud cry would save me. But not even by the +most frantic effort could I raise my voice above +a whisper.... And all this signified only that +the Nameless was coming,—was nearing,—was +mounting the stairs. I could hear the step,—booming +like the sound of a muffled drum,—and +I wondered why nobody else heard it. A +long, long time the haunter would take to come,—malevolently +pausing after each ghastly footfall. +Then, without a creak, the bolted door +would open,—slowly, slowly,—and the thing +would enter, gibbering soundlessly,—and put +out hands,—and clutch me,—and toss me to +the black ceiling,—and catch me descending to +toss me up again, and again, and again.... In +those moments the feeling was not fear: fear +itself had been torpified by the first seizure. It +was a sensation that has no name in the language +of the living. For every touch brought a shock +of something infinitely worse than pain,—something +that thrilled into the innermost secret being +of me,—a sort of abominable electricity, discovering +unimagined capacities of suffering in +totally unfamiliar regions of sentiency.... This +was commonly the work of a single tormentor; +but I can also remember having been caught by +<span class="pagenum">[Pg 244]</span> +a group, and tossed from one to another,—seemingly +for a time of many minutes.</p> + +<hr /> + +<h3>III</h3> + +<p class="indent"> +<span class="smcap">Whence</span> the fancy of those shapes? I do not +know. Possibly from some impression of fear +in earliest infancy; possibly from some experience +of fear in other lives than mine. That +mystery is forever insoluble. But the mystery +of the shock of the touch admits of a definite +hypothesis.</p> + +<p class="indent"> +First, allow me to observe that the experience of +the sensation itself cannot be dismissed as "mere +imagination." Imagination means cerebral activity: +its pains and its pleasures are alike inseparable +from nervous operation, and their physical +importance is sufficiently proved by their physiological +effects. Dream-fear may kill as well as +other fear; and no emotion thus powerful can +be reasonably deemed undeserving of study.</p> + +<p class="indent"> +One remarkable fact in the problem to be considered +is that the sensation of seizure in dreams +differs totally from all sensations familiar to +ordinary waking life. Why this differentiation? +How interpret the extraordinary massiveness and +depth of the thrill?</p> + +<p class="indent"> +<span class="pagenum">[Pg 245]</span> +I have already suggested that the dreamer's +fear is most probably not a reflection of relative +experience, but represents the incalculable total of +ancestral experience of dream-fear. If the sum +of the experience of active life be transmitted by +inheritance, so must likewise be transmitted the +summed experience of the life of sleep. And +in normal heredity either class of transmissions +would probably remain distinct.</p> + +<p class="indent"> +Now, granting this hypothesis, the sensation +of dream-seizure would have had its beginnings +in the earliest phases of dream-consciousness,—long +prior to the apparition of man. The first +creatures capable of thought and fear must often +have dreamed of being caught by their natural +enemies. There could not have been much +imagining of pain in these primal dreams. But +higher nervous development in later forms of +being would have been accompanied with larger +susceptibility to dream-pain. Still later, with the +growth of reasoning-power, ideas of the supernatural +would have changed and intensified the +character of dream-fear. Furthermore, through +all the course of evolution, heredity would have +been accumulating the experience of such feeling. +Under those forms of imaginative pain evolved +<span class="pagenum">[Pg 246]</span> +through reaction of religious beliefs, there would +persist some dim survival of savage primitive +fears, and again, under this, a dimmer but incomparably +deeper substratum of ancient animal-terrors. +In the dreams of the modern child all +these latencies might quicken,—one below another,—unfathomably,—with +the coming and +the growing of nightmare.</p> + +<p class="indent"> +It may be doubted whether the phantasms of +any particular nightmare have a history older +than the brain in which they move. But the +shock of the touch would seem to indicate <i>some +point of dream-contact with the total race-experience +of shadowy seizure</i>. It may be that +profundities of Self,—abysses never reached by +any ray from the life of sun,—are strangely +stirred in slumber, and that out of their blackness +immediately responds a shuddering of memory, +measureless even by millions of years.</p> + +<hr class="hr2"/> + +<h1>Readings from a Dream-book</h1> + +<div class="figcenter" style="width: 54px;"> +<img src="images/dec2.jpg" width="54" height="57" alt="decloration2" title="decloration2" /> +</div> + +<hr class="hr2"/> + +<p class="indent"> +<span class="pagenum">[Pg 249]</span> +</p> + +<h2><a name="Readings_from_a_Dream-book" id="Readings_from_a_Dream-book"></a>Readings from a Dream-book</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<p class="cap">OFTEN, in the blind dead of the night, I find +myself reading a book,—a big broad +book,—a dream-book. By "dream-book," +I do not mean a book about dreams, +but a book made of the stuff that dreams are +made of.</p> + +<p class="indent"> +I do not know the name of the book, nor the +name of its author: I have not been able to see +the title-page; and there is no running title. As +for the back of the volume, it remains,—like the +back of the Moon,—invisible forever.</p> + +<p class="indent"> +At no time have I touched the book in any +way,—not even to turn a leaf. Somebody, +always viewless, holds it up and open before +me in the dark; and I can read it only because it +is lighted by a light that comes from nowhere. +Above and beneath and on either side of the +book there is darkness absolute; but the pages +<span class="pagenum">[Pg 250]</span> +seem to retain the yellow glow of lamps that +once illuminated them.</p> + +<p class="indent"> +A queer fact is that I never see the entire text +of a page at once, though I see the whole page +itself plainly. The text rises, or seems to rise, +to the surface of the paper as I gaze, and fades +out almost immediately after having been read. +By a simple effort of will, I can recall the +vanished sentences to the page; but they do +not come back in the same form as before: they +seem to have been oddly revised during the +interval. Never can I coax even one fugitive +line to reproduce itself exactly as it read at +first. But I can always force something to return; +and this something remains sharply distinct +during perusal. Then it turns faint grey, +and appears to sink—as through thick milk—backward +out of sight.</p> + +<hr /> + +<p class="indent"> +By regularly taking care to write down, immediately +upon awakening, whatever I could remember +reading in the dream-book, I found myself +able last year to reproduce portions of the text. +But the order in which I now present these +fragments is not at all the order in which I +recovered them. If they seem to have any interconnection, +<span class="pagenum">[Pg 251]</span> +this is only because I tried to arrange +them in what I imagined to be the rational +sequence. Of their original place and relation, I +know scarcely anything. And, even regarding +the character of the book itself, I have been able +to discover only that a great part of it consists of +dialogues about the Unthinkable.</p> + +<hr /> + +<h3>Fr. I</h3> + +<p class="indent"> +... Then the Wave prayed to remain a wave +forever.</p> + +<p class="indent"> +The Sea made answer:—</p> + +<p class="indent"> +"Nay, thou must break: there is no rest in me. +Billions of billions of times thou wilt rise again +to break, and break to rise again."</p> + +<p class="indent"> +The Wave complained:—</p> + +<p class="indent"> +"I fear. Thou sayest that I shall rise again. +But when did ever a wave return from the place +of breaking?"</p> + +<p class="indent"> +The Sea responded:—</p> + +<p class="indent"> +"Times countless beyond utterance thou hast +broken; and yet thou art! Behold the myriads of +the waves that run before thee, and the myriads +that pursue behind thee!—all have been to the +place of breaking times unspeakable; and thither +<span class="pagenum">[Pg 252]</span> +they hasten now to break again. Into me they +melt, only to swell anew. But pass they must; +for there is not any rest in me."</p> + +<p class="indent"> +Murmuring, the Wave replied:—</p> + +<p class="indent"> +"Shall I not be scattered presently to mix with +the mingling of all these myriads? How should +I rise again? Never, never again can I become +the same."</p> + +<p class="indent"> +"The same thou never art," returned the Sea, +"at any two moments in thy running: perpetual +change is the law of thy being. What is thine +'I'? Always thou art shaped with the substance +of waves forgotten,—waves numberless +beyond the sands of the shores of me. In thy +multiplicity what art thou?—a phantom, an +impermanency!"</p> + +<p class="indent"> +"Real is pain," sobbed the Wave,—"and +fear and hope, and the joy of the light. Whence +and what are these, if I be not real?"</p> + +<p class="indent"> +"Thou hast no pain," the Sea responded,—"nor +fear nor hope nor joy. Thou art nothing—save +in me. I am thy Self, thine 'I': thy +form is my dream; thy motion is my will; thy +breaking is my pain. Break thou must, because +there is no rest in me; but thou wilt break only +to rise again,—for death is the Rhythm of Life. +<span class="pagenum">[Pg 253]</span> +Lo! I, too, die that I may live: these my waters +have passed, and will pass again, with wrecks of +innumerable worlds to the burning of innumerable +suns. I, too, am multiple unspeakably: dead +tides of millions of oceans revive in mine ebb and +flow. Suffice thee to learn that only because +thou wast thou art, and that because thou art thou +wilt become again."</p> + +<p class="indent"> +Muttered the Wave,—</p> + +<p class="indent"> +"I cannot understand."</p> + +<p class="indent"> +Answered the Sea,—</p> + +<p class="indent"> +"Thy part is to pulse and pass,—never to +understand. I also,—even I, the great Sea,—do +not understand...."</p> + +<hr /> + +<h3>Fr. II</h3> + +<p class="indent"> +... "The stones and the rocks have felt; the +winds have been breath and speech; the rivers +and oceans of earth have been locked into chambers +of hearts. And the palingenesis cannot +cease till every cosmic particle shall have passed +through the uttermost possible experience of the +highest possible life."</p> + +<p class="indent"> +"But what of the planetary core?—has that, +too, felt and thought?"</p> + +<p class="indent"> +<span class="pagenum">[Pg 254]</span> +"Even so surely as that all flesh has been sun-fire! +In the ceaseless succession of integrations +and dissolutions, all things have shifted relation +and place numberless billions of times. Hearts +of old moons will make the surface of future +worlds...."</p> + +<hr /> + +<h3>Fr. III</h3> + +<p class="indent"> +... "No regret is vain. It is sorrow that spins +the thread,—softer than moonshine, thinner than +fragrance, stronger than death,—the Gleipnir-chain +of the Greater Memory....</p> + +<p class="indent"> +"In millions of years you will meet again;—and +the time will not seem long; for a million years +and a moment are the same to the dead. Then +you will not be all of your present self, nor she +be all that she has been: both of you will at +once be less, and yet incomparably more. Then, +to the longing that must come upon you, body +itself will seem but a barrier through which you +would leap to her—or, it may be, to him; for +sex will have shifted numberless times ere then. +Neither will remember; but each will be filled +with a feeling immeasurable of having met +before...."</p> + +<hr /> + +<p class="indent"> +<span class="pagenum">[Pg 255]</span> +</p> + +<h3>Fr. IV</h3> + +<p class="indent"> +... "So wronging the being who loves,—the +being blindly imagined but of yesterday,—this +mocker mocks the divine in the past of the +Soul of the World. Then in that heart is revived +the countless million sorrows buried in +forgotten graves,—all the old pain of Love, in +its patient contest with Hate, since the beginning +of Time.</p> + +<p class="indent"> +"And the Gods know,—the dim ones who +dwell beyond Space,—spinning the mysteries +of Shape and Name. For they sit at the roots +of Life; and the pain runs back to them; and +they feel that wrong,—as the Spider feels in +the trembling of her web that a thread is +broken...."</p> + +<hr /> + +<h3>Fr. V</h3> + +<p class="indent"> +"Love at sight is the choice of the dead. +But the most of them are older than ethical +systems; and the decision of their majorities is +rarely moral. They choose by beauty,—according +to their memory of physical excellence; and +<span class="pagenum">[Pg 256]</span> +as bodily fitness makes the foundation of mental +and of moral power, they are not apt to choose +ill. Nevertheless they are sometimes strangely +cheated. They have been known to want beings +that could never help ghost to a body,—hollow +goblins...."</p> + +<hr /> + +<h3>Fr. VI</h3> + +<p class="indent"> +... "The Animulć making the Self do not +fear death as dissolution. They fear death +only as reintegration,—recombination with the +strange and the hateful of other lives: they +fear the imprisonment, within another body, of +that which loves together with that which +loathes...."</p> + +<hr /> + +<h3>Fr. VII</h3> + +<p class="indent"> +... "In other time the El-Woman sat only in +waste places, and by solitary ways. But now +in the shadows of cities she offers her breasts to +youth; and he whom she entices, presently goes +mad, and becomes, like herself, a hollowness. +For the higher ghosts that entered into the making +of him perish at that goblin-touch,—die as the +<span class="pagenum">[Pg 257]</span> +pupa dies in the cocoon, leaving only a shell and +dust behind...."</p> + +<hr /> + +<h3>Fr. VIII</h3> + +<p class="indent"> +... The Man said to the multitude remaining +of his Souls:—</p> + +<p class="indent"> +"I am weary of life."</p> + +<p class="indent"> +And the remnant replied to him:—</p> + +<p class="indent"> +"We also are weary of the shame and pain of +dwelling in so vile a habitation. Continually we +strive that the beams may break, and the pillars +crack, and the roof fall in upon us."</p> + +<p class="indent"> +"Surely there is a curse upon me," groaned +the Man. "There is no justice in the Gods!"</p> + +<p class="indent"> +Then the Souls tumultuously laughed in scorn,—even +as the leaves of a wood in the wind do +chuckle all together. And they made answer to +him:—</p> + +<p class="indent"> +"As a fool thou liest! Did any save thyself +make thy vile body? Was it shapen—or misshapen—by +any deeds or thoughts except thine +own?"</p> + +<p class="indent"> +"No deed or thought can I remember," returned +the Man, "deserving that which has come +upon me."</p> + +<p class="indent"> +<span class="pagenum">[Pg 258]</span> +"Remember!" laughed the Souls. "No—the +folly was in other lives. But we remember; +and remembering, we hate."</p> + +<p class="indent"> +"Ye are all one with me!" cried the Man,—"how +can ye hate?"</p> + +<p class="indent"> +"One with thee," mocked the Souls,—"as +the wearer is one with his garment!... How +can we hate? As the fire that devours the wood +from which it is drawn by the fire-maker—even +so we can hate."</p> + +<p class="indent"> +"It is a cursed world!" cried the Man—"why +did ye not guide me?"</p> + +<p class="indent"> +The Souls replied to him:—</p> + +<p class="indent"> +"Thou wouldst not heed the guiding of ghosts +that were wiser than we.... Cowards and +weaklings curse the world. The strong do not +blame the world: it gives them all that they +desire. By power they break and take and +keep. Life for them is a joy, a triumph, an +exultation. But creatures without power merit +nothing; and nothingness becomes their portion. +Thou and we shall presently enter into nothingness."</p> + +<p class="indent"> +"Do ye fear?"—asked the Man.</p> + +<p class="indent"> +"There is reason for fear," the Souls answered. +"Yet no one of us would wish to delay the time +<span class="pagenum">[Pg 259]</span> +of what we fear by continuing to make part of +such an existence as thine."</p> + +<p class="indent"> +"But ye have died innumerable times?"—wonderingly +said the Man.</p> + +<p class="indent"> +"No, we have not," said the Souls,—"not +even once that we can remember; and our memory +reaches back to the beginnings of this world. +We die only with the race."</p> + +<p class="indent"> +The Man said nothing,—being afraid. The +Souls resumed:—</p> + +<p class="indent"> +"Thy race ceases. Its continuance depended +upon thy power to serve our purposes. Thou +hast lost all power. What art thou but a charnel-house, +a mortuary-pit? Freedom we needed, +and space: here we have been compacted together, +a billion to a pin-point! Doorless our +chambers and blind;—and the passages are +blocked and broken;—and the stairways lead to +nothing. Also there are Haunters here, not of +our kind,—Things never to be named."</p> + +<p class="indent"> +For a little time the Man thought gratefully of +death and dust. But suddenly there came into +his memory a vision of his enemy's face, with +a wicked smile upon it. And then he wished +for longer life,—a hundred years of life and +pain,—only to see the grass grow tall above the +<span class="pagenum">[Pg 260]</span> +grave of that enemy. And the Souls mocked his +desire:—</p> + +<p class="indent"> +"Thine enemy will not waste much thought +upon thee. He is no half-man,—thine enemy! +The ghosts in that body have room and great +light. High are the ceilings of their habitation; +wide and clear the passageways; luminous the +courts and pure. Like a fortress excellently garrisoned +is the brain of thine enemy;—and to +any point thereof the defending hosts can be +gathered for battle in a moment together. <i>His</i> +generation will not cease—nay! that face of his +will multiply throughout the centuries! Because +thine enemy in every time provided for the +needs of his higher ghosts: he gave heed to their +warnings; he pleasured them in all just ways; +he did not fail in reverence to them. Wherefore +they now have power to help him at his need.... +How hast thou reverenced or pleasured us?"</p> + +<hr /> + +<p class="indent"> +The Man remained silent for a space. Then, as +in horror of doubting, he questioned:—</p> + +<p class="indent"> +"Wherefore should ye fear—if nothingness +be the end?"</p> + +<p class="indent"> +"What is nothingness?" the Souls responded. +"Only in the language of delusion is there +<span class="pagenum">[Pg 261]</span> +an end. That which thou callest the end is +in truth but the very beginning. The essence +of us cannot cease. In the burning of worl +ds it +cannot be consumed. It will shudder in the +cores of great stars;—it will quiver in the light +of other suns. And once more, in some future +cosmos, it will reconquer knowledge—but only +after evolutions unthinkable for multitude. Even +out of the nameless beginnings of form, and +thence through every cycle of vanished being,—through +all successions of exhausted pain,—through +all the Abyss of the Past,—it must +climb again."</p> + +<p class="indent"> +The Man uttered no word: the Souls spoke on:—</p> + +<p class="indent"> +"For millions of millions of ages must we +shiver in tempests of fire: then shall we enter +anew into some slime primordial,—there to +quicken, and again writhe upward through all +foul dumb blind shapes. Innumerable the metamorphoses!—immeasurable +the agonies!... +And the fault is not of any Gods: it is thine!"</p> + +<p class="indent"> +"Good or evil," muttered the Man,—"what +signifies either? The best must become as the +worst in the grind of the endless change."</p> + +<p class="indent"> +"Nay!" cried out the Souls; "for the strong +there is a goal,—the goal that thou couldst not +<span class="pagenum">[Pg 262]</span> +strive to gain. They will help to the fashioning +of fairer worlds;—they will win to larger light;—they +will tower and soar as flame to enter the +Zones of the Divine. But thou and we go +back to slime! Think of the billion summers +that might have been for us!—think of the joys, +the loves, the triumphs cast away!—the dawns +of the knowledge undreamed,—the glories of +sense unimagined,—the exultations of illimitable +power!... think, think, O fool, of all that +thou hast lost!"</p> + +<p class="indent"> +Then the Souls of the Man turned themselves +into worms, and devoured him.</p> + +<hr class="hr2"/> +<h1>In a Pair of Eyes</h1> + +<div class="figcenter" style="width: 54px;"> +<img src="images/dec2.jpg" width="54" height="57" alt="decloration2" title="decloration2" /> +</div> + +<hr class="hr2"/> + +<p class="indent"> +<span class="pagenum">[Pg 265]</span> +</p> + +<h2><a name="In_a_Pair_of_Eyes" id="In_a_Pair_of_Eyes"></a>In a Pair of Eyes</h2> + +<div class="figcenter" style="width: 50px;"> +<img src="images/dec3.jpg" width="50" height="59" alt="decloration3" title="decloration3" /> +</div> + +<p class="cap">THERE is one adolescent moment never to +be forgotten,—the moment when the boy +learns that this world contains nothing +more wonderful than a certain pair of eyes. At +first the surprise of the discovery leaves him +breathless: instinctively he turns away his gaze. +That vision seemed too delicious to be true. +But presently he ventures to look again,—fearing +with a new fear,—afraid of the reality, afraid +also of being observed;—and lo! his doubt +dissolves in a new shock of ecstasy. Those eyes +are even more wonderful than he had imagined—nay! +they become more and yet more entrancing +every successive time that he looks at +them! Surely in all the universe there cannot +be another such pair of eyes! What can lend +them such enchantment? Why do they appear +divine?... He feels that he must ask somebody +to explain,—must propound to older and +<span class="pagenum">[Pg 266]</span> +wiser heads the riddle of his new emotions. +Then he makes his confession, with a faint intuitive +fear of being laughed at, but with a strange, +fresh sense of rapture in the telling. Laughed at +he is—tenderly; but this does not embarrass +him nearly so much as the fact that he can get +no answer to his question,—to the simple +"Why?" made so interesting by his frank surprise +and his timid blushes. No one is able to +enlighten him; but all can sympathize with the +bewilderment of his sudden awakening from the +long soul-sleep of childhood.</p> + +<hr /> + +<p class="indent"> +Perhaps that "Why?" never can be fully answered. +But the mystery that prompted it constantly +tempts one to theorize; and theories may +have a worth independent of immediate results. +Had it not been for old theories concerning the +Unknowable, what should we have been able to +learn about the Knowable? Was it not while +in pursuit of the Impossible that we stumbled +upon the undreamed-of and infinitely marvellous +Possible?</p> + +<hr /> + +<p class="indent"> +Why indeed should a pair of human eyes +appear for a time to us so beautiful that, when +likening their radiance to splendor of diamond +<span class="pagenum">[Pg 267]</span> +or amethyst or emerald, we feel the comparison +a blasphemy? Why should we find them deeper +than the sea, deeper than the day,—deep even +as the night of Space, with its scintillant mist of +suns? Certainly not because of mere wild fancy. +These thoughts, these feelings, must spring from +some actual perception of the marvellous,—some +veritable revelation of the unspeakable. +There is, in very truth, one brief hour of life +during which the world holds for us nothing so +wonderful as a pair of eyes. And then, while +looking into them, we discover a thrill of awe +vibrating through our delight,—awe made by +a something <i>felt</i> rather than seen: a latency,—a +power,—a shadowing of depth unfathomable as +the cosmic Ether. It is as though, through some +intense and sudden stimulation of vital being, we +had obtained—for one supercelestial moment—the +glimpse of a reality, never before imagined, +and never again to be revealed.</p> + +<p class="indent"> +There is, indeed, an illusion. We seem to +view the divine; but this divine itself, whereby +we are dazzled and duped, is a ghost. Not to +actuality belongs the spell,—not to anything +that is,—but to some infinite composite phantom +of what has been. Wondrous the vision— +<span class="pagenum">[Pg 268]</span> +but wondrous only because our mortal sight then +pierces beyond the surface of the present into +profundities of myriads of years,—pierces +beyond the mask of life into the enormous night +of death. For a moment we are made aware of +a beauty and a mystery and a depth unutterable: +then the Veil falls again forever.</p> + +<p class="indent"> +The splendor of the eyes that we worship +belongs to them only as brightness to the morning-star. +It is a reflex from beyond the shadow +of the Now,—a ghost-light of vanished suns. +Unknowingly within that maiden-gaze we meet +the gaze of eyes more countless than the hosts +of heaven,—eyes otherwhere passed into darkness +and dust.</p> + +<p class="indent"> +Thus, and only thus, the depth of that gaze is +the depth of the Sea of Death and Birth,—and +its mystery is the World-Soul's vision, watching +us out of the silent vast of the Abyss of Being.</p> + +<p class="indent"> +Thus, and only thus, do truth and illusion +mingle in the magic of eyes,—the spectral past +suffusing with charm ineffable the apparition of +the present;—and the sudden splendor in the +soul of the Seer is but a flash,—one soundless +sheet-lightning of the Infinite Memory.</p> + +<hr class="hr2"/> + +<div class="tnote"> +<h3>Transcriber's Notes:</h3> + +<hr /> + +<p class="indent"> +Some of the illustrations have been moved so that they correspond to the +text and do not break up paragraphs. Because of this, the page number +of the illustration no longer matches the page number in the List of +Illustrations. For instance, the illustration constituting page 143, was moved to the end of the paragraph continuing on page 144. The page number 143 was deleted to remove the confusion that would have resulting from page 144 coming before page 143.</p> + +<p class="indent"> +Throughout the document, there are instances where punctuation seems to +be missing, but it is unclear whether the missing punctuation is +deliberate or what the missing punctuation should be. In those cases the +punctuation was not "corrected".</p> + +<p class="indent"> +Sometimes in the text the word "Samébito" was italicized and sometimes +it was not italicized. That inconsistency was persevered.</p> + +<p class="indent"> +In the third footnote, on page 15, there was a missing close +quotation mark. That "error in punctuation" was not changed, as it +appeared in a quotation from another work.</p> + +<p class="indent"> +On page 55, a period was added after "Kibun-Anbaiyoshi".</p> + +<p class="indent"> +On page 140, two footnote markers point to footnote 83. That is because +the footnote is about the two words marked by the two footnote marker. +That was how it was in the original text.</p> + +<p class="indent"> +On page 178, an emdash was added after "Sixthly,".</p> + +<p class="indent"> +On page 178, "processsion" was replaced with "procession".</p> +</div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Shadowings, by Lafcadio Hearn + +*** END OF THIS PROJECT GUTENBERG EBOOK SHADOWINGS *** + +***** This file should be named 34215-h.htm or 34215-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/4/2/1/34215/ + +Produced by Juliet Sutherland, Ernest Schaal, and the +Online Distributed Proofreading Team at https://www.pgdp.net + + +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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