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Fragment
Fragment
And it was at the hour of sunset that they came to the foot of the mountain. There was in that place no sign of life,—neither token of water, nor trace of plant, nor shadow of flying bird,—nothing but desolation rising to desolation. And the summit was lost in heaven. Then the Bodhisattva said to his young companion:—“What you have asked to see will be shown to you. But the place of the Vision is far; and the way is rude. Follow after me, and do not fear: strength will be given you.” Twilight gl
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Furisodé
Furisodé
Recently, while passing through a little street tenanted chiefly by dealers in old wares, I noticed a furisodé , or long-sleeved robe, of the rich purple tint called murasaki , hanging before one of the shops. It was a robe such as might have been worn by a lady of rank in the time of the Tokugawa. I stopped to look at the five crests upon it; and in the same moment there came to my recollection this legend of a similar robe said to have once caused the destruction of Yedo. Nearly two hundred an
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III
III
The common incense everywhere burned by poor people before Buddhist icons is called an-soku-kō . This is very cheap. Great quantities of it are burned by pilgrims in the bronze censers set before the entrances of famous temples; and in front of roadside images you may often see bundles of it. These are for the use of pious wayfarers, who pause before every Buddhist image on their path to repeat a brief prayer and, when possible, to set a few rods smouldering at the feet of the statue. But in ric
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IV
IV
But the use of incense in Japan is not confined to religious rites and ceremonies: indeed the costlier kinds of incense are manufactured chiefly for social entertainments. Incense-burning has been an amusement of the aristocracy ever since the thirteenth century. Probably you have heard of the Japanese tea-ceremonies, and their curious Buddhist history; and I suppose that every foreign collector of Japanese bric-à-brac knows something about the luxury to which these ceremonies at one period atta
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V
V
Although the original signification of incense in Buddhist ceremonies was chiefly symbolical, there is good reason to suppose that various beliefs older than Buddhism,—some, perhaps, peculiar to the race; others probably of Chinese or Korean derivation,—began at an early period to influence the popular use of incense in Japan. Incense is still burned in the presence of a corpse with the idea that its fragrance shields both corpse and newly-parted soul from malevolent demons; and by the peasants
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A Story of Divination
A Story of Divination
I once knew a fortune-teller who really believed in the science that he professed. He had learned, as a student of the old Chinese philosophy, to believe in divination long before he thought of practising it. During his youth he had been in the service of a wealthy daimyō, but subsequently, like thousands of other samurai, found himself reduced to desperate straits by the social and political changes of Meiji. It was then that he became a fortune-teller,—an itinerant uranaiya ,—travelling on foo
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I
I
It was the evolutional lesson of this latter fact that chiefly occupied me while Niimi and his younger brother (who feeds the worms) were kindly explaining the methods of the industry. They told me curious things about different breeds, and also about a wild variety of silkworm that cannot be domesticated:—it spins splendid silk before turning into a vigorous moth which can use its wings to some purpose. But I fear that I did not act like a person who felt interested in the subject; for, even wh
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II
II
First of all, I found myself thinking about a delightful revery by M. Anatole France, in which he says that if he had been the Demiurge, he would have put youth at the end of life instead of at the beginning, and would have otherwise so ordered matters that every human being should have three stages of development, somewhat corresponding to those of the lepidoptera. Then it occurred to me that this fantasy was in substance scarcely more than the delicate modification of a most ancient doctrine,
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III
III
I told the substance of my revery to Niimi. He used to be a great reader of Buddhist books. “Well,” he said, “I was reminded of a queer Buddhist story by the proverb that you asked me to explain,— The silkworm-moth eyebrow of a woman is the axe that cuts down the wisdom of man. According to our doctrine, the saying would be as true of life in heaven as of life upon earth…. This is the story:— “When Shaka [2] dwelt in this world, one of his disciples, called Nanda, was bewitched by the beauty of
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II
II
Shinzaburō knew nothing of what had happened; but his disappointment and his anxiety had resulted in a prolonged illness. He was slowly recovering, but still very weak, when he unexpectedly received another visit from Yamamoto Shijō. The old man made a number of plausible excuses for his apparent neglect. Shinzaburō said to him:—“I have been sick ever since the beginning of spring;—even now I cannot eat anything…. Was it not rather unkind of you never to call? I thought that we were to make anot
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III
III
Shinzaburō long remained stupefied with grief by the news of O-Tsuyu’s death. But as soon as he found himself again able to think clearly, he inscribed the dead girl’s name upon a mortuary tablet, and placed the tablet in the Buddhist shrine of his house, and set offerings before it, and recited prayers. Every day thereafter he presented offerings, and repeated the Nembutsu; and the memory of O-Tsuyu was never absent from his thought. Nothing occurred to change the monotony of his solitude befor
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IV
IV
Now there was a man called Tomozō, who lived in a small cottage adjoining Shinzaburō’s residence, Tomozō and his wife O-Miné were both employed by Shinzaburō as servants. Both seemed to be devoted to their young master; and by his help they were able to live in comparative comfort. One night, at a very late hour, Tomozō heard the voice of a woman in his master’s apartment; and this made him uneasy. He feared that Shinzaburō, being very gentle and affectionate, might be made the dupe of some cunn
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V
V
Hakuōdō Yusai, the ninsomi , was a very old man; but in his time he had travelled much, and he had heard and seen so many things that he could not be easily surprised. Yet the story of the terrified Tomozō both alarmed and amazed him. He had read in ancient Chinese books of love between the living and the dead; but he had never believed it possible. Now, however, he felt convinced that the statement of Tomozō was not a falsehood, and that something very strange was really going on in the house o
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VI
VI
When questioned next morning by Yusai, Shinzaburō at first attempted to deny that any women had been visiting the house; but finding this artless policy of no avail, and perceiving that the old man’s purpose was altogether unselfish, he was finally persuaded to acknowledge what had really occurred, and to give his reasons for wishing to keep the matter a secret. As for the lady Iijima, he intended, he said, to make her his wife as soon as possible. “Oh, madness!” cried Yusai,—losing all patience
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VII
VII
The high-priest Ryōseki was a learned and a holy man. By spiritual vision he was able to know the secret of any sorrow, and the nature of the karma that had caused it. He heard unmoved the story of Shinzaburō, and said to him:— “A very great danger now threatens you, because of an error committed in one of your former states of existence. The karma that binds you to the dead is very strong; but if I tried to explain its character, you would not be able to understand. I shall therefore tell you o
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VIII
VIII
With Yusai’s advice and help, Shinzaburō was able before dark to fix the holy texts over all the apertures of his dwelling. Then the ninsomi returned to his own house,—leaving the youth alone. Night came, warm and clear. Shinzaburō made fast the doors, bound the precious amulet about his waist, entered his mosquito-net, and by the glow of a night-lantern began to recite the Ubō-Darani-Kyō . For a long time he chanted the words, comprehending little of their meaning;—then he tried to obtain some
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IX
IX
Night after night the shadows came at the Hour of the Ox; and nightly Shinzaburō heard the weeping of O-Tsuyu. Yet he believed himself saved,—little imagining that his doom had already been decided by the character of his dependents. Tomozō had promised Yusai never to speak to any other person—not even to O-Miné—of the strange events that were taking place. But Tomozō was not long suffered by the haunters to rest in peace. Night after night O-Yoné entered into his dwelling, and roused him from h
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X
X
Another day went, and another night came, and the dead came with it. But this time no lamentation was heard without the house of Hagiwara; for the faithless servant found his reward at the Hour of the Ox, and removed the o-fuda . Moreover he had been able, while his master was at the bath, to steal from its case the golden mamori , and to substitute for it an image of copper; and he had buried the Kai-On-Nyōrai in a desolate field. So the visitants found nothing to oppose their entering. Veiling
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XI
XI
Hakuōdō Yusai, the fortune-teller, went to view the corpse at the prayer of the faithless Tomozō. The old man was terrified and astonished at the spectacle, but looked about him with a keen eye. He soon perceived that the o-fuda had been taken from the little window at the back of the house; and on searching the body of Shinzaburō, he discovered that the golden mamori had been taken from its wrapping, and a copper image of Fudō put in place of it. He suspected Tomozō of the theft; but the whole
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I
I
An outline of the footprints as engraved on one of the Japanese pedestals [3] should have some interest even for persons familiar with Indian sculptures of the S’rîpâda. The double-page drawing, accompanying this paper, and showing both footprints, has been made after the tracing at Dentsu-In, where the footprints have the full legendary dimension, It will be observed that there are only seven emblems: these are called in Japan the Shichi-Sō , or “Seven Appearances.” I got some information about
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II
II
Strange facts crowd into memory as one contemplates those graven footprints,—footprints giant-seeming, yet less so than the human personality of which they remain the symbol. Twenty-four hundred years ago, out of solitary meditation upon the pain and the mystery of being, the mind of an Indian pilgrim brought forth the highest truth ever taught to men, and in an era barren of science anticipated the uttermost knowledge of our present evolutional philosophy regarding the secret unity of life, the
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Ululation
Ululation
She is lean as a wolf, and very old,—the white bitch that guards my gate at night. She played with most of the young men and women of the neighborhood when they were boys and girls. I found her in charge of my present dwelling on the day that I came to occupy it. She had guarded the place, I was told, for a long succession of prior tenants—apparently with no better reason than that she had been born in the woodshed at the back of the house. Whether well or ill treated she had served all occupant
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III
III
But for the same reason that Japanese short poems may be said to resemble. Japanese pictures, a full comprehension of them requires an intimate knowledge of the life which they reflect. And this is especially true of the emotional class of such poems,—a literal translation of which, in the majority of cases, would signify almost nothing to the Western mind. Here, for example, is a little verse, pathetic enough to Japanese comprehension:— Chōchō ni!.. Kyonen shishitaru Tsuma koishi! Translated, t
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IV
IV
The poems above rendered are more than pictorial: they suggest something of emotion or sentiment. But there are thousands of pictorial poems that do not; and these would seem mere insipidities to a reader ignorant of their true purpose. When you learn that some exquisite text of gold means only, “ Evening-sunlight on the wings of the water-fowl ,”—or,” Now in my garden the flowers bloom, and the butterflies dance ,”—then your first interest in decorative poetry is apt to wither away. Yet these l
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Japanese Buddhist Proverbs
Japanese Buddhist Proverbs
As representing that general quality of moral experience which remains almost unaffected by social modifications of any sort, the proverbial sayings of a people must always possess a special psychological interest for thinkers. In this kind of folklore the oral and the written literature of Japan is rich to a degree that would require a large book to exemplify. To the subject as a whole no justice could be done within the limits of a single essay. But for certain classes of proverbs and proverbi
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Suggestion
Suggestion
I had the privilege of meeting him in Tōkyō, where he was making a brief stay on his way to India;—and we took a long walk together, and talked of Eastern religions, about which he knew incomparably more than I. Whatever I could tell him concerning local beliefs, he would comment upon in the most startling manner,—citing weird correspondences in some living cult of India, Burmah, or Ceylon. Then, all of a sudden, he turned the conversation into a totally unexpected direction. “I have been thinki
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Ingwa-banashi[1]
Ingwa-banashi[1]
[1] Lit., “a tale of ingwa .” Ingwa is a Japanese Buddhist term for evil karma, or the evil consequence of faults committed in a former state of existence. Perhaps the curious title of the narrative is best explained by the Buddhist teaching that the dead have power to injure the living only in consequence of evil actions committed by their victims in some former life. Both title and narrative may be found in the collection of weird stories entitled Hyaku-Monogatari . The daimyō’s wife was dying
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Story of a Tengu[1]
Story of a Tengu[1]
[1] This story may be found in the curious old Japanese book called Jikkun-Shō . The same legend has furnished the subject of an interesting Nō -play, called Dai-É (“The Great Assembly”). In Japanese popular art, the Tengu are commonly represented either as winged men with beak-shaped noses, or as birds of prey. There are different kinds of Tengu; but all are supposed to be mountain-haunting spirits, capable of assuming many forms, and occasionally appearing as crows, vultures, or eagles. Bu
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II
II
The structure was very simple. The bottom was a piece of thick plank, perfectly square, and measuring about ten inches across. Each one of its corners supported a slender slick about sixteen inches high; and these four uprights, united above by cross-pieces, sustained the paper sides. Upon the point of a long nail, driven up through the centre of the bottom, was fixed a lighted candle. The top was left open. The four sides presented five different colors,—blue, yellow, red, white, and black; the
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III
III
Usually about the time of the Bon, the sea gets rough; and I was not surprised to find next morning that the surf was running high. All day it grew. By the middle of the afternoon, the waves had become wonderful; and I sat on the sea-wall, and watched them until sundown. It was a long slow rolling,—massive and formidable. Sometimes, just before breaking, a towering swell would crack all its green length with a tinkle as of shivering glass; then would fall and flatten with a peal that shook the w
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IV
IV
Long I lay awake that night, and listened to the thunder-rolls and crashings of the mighty tide. Deeper than these distinct shocks of noise, and all the storming of the nearer waves, was the bass of the further surf,—a ceaseless abysmal muttering to which the building trembled,—a sound that seemed to imagination like the sound of the trampling of infinite cavalry, the massing of incalculable artillery,—some rushing, from the Sunrise, of armies wide as the world. Then I found myself thinking of t
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