you just two hours give a proposal its fine
Japanese Tales:
Introduction: pp. ix-lvi.
Stories about other worlds:
4: The Maiden from the Sky (Konjaku, pp. 7-8)
13: The Grisly Box (Konjaku, pp. 18- 19)
99: The Wine Spring (Konjaku, pp. 139-141)
188: Through the Water Curtain (Konjaku, pp. 274-280)
189: Cannibal Island (Konjaku, p. 281)
Stories about hell:
149: Incorrigible (Uji shūi pp. 211-215)
216: Hell in Broad Day (Konjaku, pp. 313-314)
Stories about yin-yang divination:
59: The Genie (Uji shūi, pp. 82-83)
60: One Frog Less (Uji shūi, p. 83)
61: The Spellbound Pirates (Konjaku, pp. 83-84)
62: The Test (Uji shūi, pp. 84-85)
63: Man’s Best Friend (Uji shūi, pp. 85-86)
127: The Master (Konjaku, pp. 182-184)
162: Daddy, Who Were Those People? (Konjaku, pp. 230-231).
Stories about ghosts:
16: An Old, Old Ghost (Konjaku, pp.23-24)
133: She Died Long Ago (Konjaku, pp. 190-191)
166: Astride the Corpse (Konjaku, pp. 235-236)
190: No Nonsense (Konjaku, p. 282)
191: Quite a Bit of Nonsense (Kojidan, p. 283)
192: One Mouthful (Uji shūi, pp.283-284)
Stories about demons:
11: Better Late than Early (Konjaku, pp. 16-17)
12: The Ravenous Storehouse (Konjaku, pp. 17-18)
14: The Bridge(Konjaku, pp. 19-22)
92: Sea Devils (Kokon chomonjū, pp. 133-134)
146:The Bloody Sword (Konjaku, pp. 207-208)
148: The Voice from the Cave (Konjaku, pp. 209-211)
153: The Pot-Headed Demon (Shasekishū, 219-220),
164: The Harmless Haunt (Konjaku, pp. 232-233)
167: Twinleaf (Jikkinshō,pp. 236-237)
168: No Night to be Out Courting (Konjaku, pp. 237-239)
169: Lump on, Lump off (Uji shūi, pp. 239-240)
170: Take a Good Look (Uji shūi,p. 240)
218: Mother (Konjaku, pp. 316-317)
220: The Ugly Son (Uji shūi, pp.319-320).
Stories about foxes and “badgers” (tanuki)：
80: Enough is Enough (Kokon chomonjū, pp. 114-115)
81: The Loving Fox (Kokon chomonjū, pp. 115-116)
82: Touched in the Head (Konjaku, pp. 116-118)
84: The Eviction (Konjaku, pp. 122-124)
121: NoFool, the Hunter (Uji shūi pp. 174-175)
122: The Hairy Arm (Kokonchomonjū, p. 176)
204: The Grinning Face of an Old Woman (Kokonchomonjū, pp. 297-298)
205: Fox Arson (Uji shūi pp. 298-299)
206: TheFox’s Ball (Konjaku, pp. 299-300)
207: Singed Fur (Konjaku, pp. 300-303),
208: Not Really a Tree at All (Konjaku, pp. 303-304);
Stories about tengu:
33: The Murmuring of the Sea (Konjaku, pp. 47-48)
34: Japan Means Trouble(Konjaku, pp. 48-52)
118: Not Exactly the Land of Bliss (Uji shūi, p. 171)
119: One Last Shower of Petals (Uji shūi, p. 172)
120: Inspiring, Unfortunately (Jikkinshō, pp. 173-174)
126: Quite a Stink (Konjaku, pp. 181-182).
Dragons and Water Spirits:
35: The Invincible Pair (p. 52-53)
36: Rain (p. 53-54), 37: No Dragon (p. 55)
181: The Water Spirit (p. 264-265)
183: The Dragon Cave (p. 266)
184: Gold from the Dragon Palace (p.267-269)
Snakes:
136: Tug of War (p. 194-195)
137: As Deep as the Sea (p.195-196)
138 What the Snake had in Mind (p. 196-198)
139: Red Plum Blossoms (p. 198-199)
185: The Pond God Takes a Wife (p. 269-270);
Sex and the Supernatural:
20: Two Buckets of Marital Bliss (p. 27-29)
29: The Dog and His Wife (p. 39-40)
52: Small Time Magic (p. 72-75)
108: Young Lust (p.157-158)
109: The Pretty Girl (p. 158-159)
110: Mesmerized (p. 159-160)
111: Red Heat (p. 160-162)
112: Lovesick (p. 162)
125: A Memorable Empress (p. 178-180)
155: the Boy who laid the Golden Stone (p. 221-223),
177: The Awakening (p. 252-257)
Pollution and Purity:
126: Quite a Stink (p. 181-182)
115: No Compromise (p. 165-168)
213: The Jellyfish’s Bones (p.307-310)
214: The Stinking Hut (p. 310-312).
Tales of Moonlight and Rain I:
“A Serpent’s Lust” (Jasei no in)
“The Reed-Choked House”
Tales of Moonlight and Rain II:
“The Carp of my Dreams” (Muō no rigyo)
“The Blue Hood” (Aozukin) in Tales of Moonlight and Rain.
©Kanesaka 2020
Do not repost, copy, or reproduce without the consent of the instructor.
Japanese 170: Tales of the Supernatural
Final Research Paper Guidelines
Kirk Kanesaka
Papers must be typed and double-spaced in Times New Roman Font, font size 12, with one-inch
margins, unjustified on the right side for a total of fifteen to twenty pages (excluding the
Bibliography, footnotes, etc). Your name, course (J170) and date must be placed on the upper
right hand corner singled spaced. Papers must be minimum fifteen pages and no longer than
twenty pages. Papers that do not fall into these guidelines will be penalized half of a grade. The
ability to research subjects, write coherently and grammatically, and make persuasive arguments
will be assumed.
You MUST submit it online to CCLE by 3:30 PM PST on June 8, 2020. Failure to do so will
result in an automatic F. Under no circumstances (unless in cases of emergency with proper
documentation) will a late paper be accepted. Papers turned in via e-mail will not be accepted
under any circumstances. Students should include citations using the approved APA or MLA
style to support their argument.
A plot summary of the texts in discussion will not be considered as an analytical paper and
will result in an automatic F.
Guidelines
1) The purpose of this paper is to rigorously analyze at least two of the texts we have covered in
this course. If you wish to pursue a topic that does not involve comparing and contrasting, or
using in addition to course materials other texts not covered in this course, you must submit a
written request immediately to your instructor. The approval of your request is at the sole
discretion of your instructor. Papers should provide a critical evaluation of the themes, formal
strategies, and styles of the texts under consideration, and consist of close readings of academic
scholarships that correlates to your topic. Refer to specific examples from the texts in order to
support your arguments.
2) IN ADDITION to rigorously analyzing at least two texts, your research paper is a critical
analysis of the academic scholarship revolving around your thesis. Although there is not a
minimum to the number of sources you must use, remember, this is a research paper. Your grade
will depend on the quality of your research in addition to your arguments. This is NOT an
OPINION paper.
3) Remember to title your paper, number each page, and type them in double space. Footnote or
endnote your paper properly, giving full reference information for your citations. You must
properly cite the film, if you are choosing to include an analysis of it (Film Title, TIME). If you
want to cite lecture (Lecturer, DATE).
4) In writing your paper, draw from lectures, your notes, readings assigned in the course and
because this is a research paper, you must include other critical resources. This paper should not
consist solely of opinions or responses, but of arguments. (NOTE: be careful when using
internet sources, they are not always reliable or accurate). You may not use Wiki in your paper.
Your research paper must consist of academic scholarships. You are free to draw upon as many
©Kanesaka 2020
Do not repost, copy, or reproduce without the consent of the instructor.
sources as possible, but you must properly cite and footnote all sources fully. Failure to do so
amounts to plagiarism and will result in a failing grade.
5) Write clearly and concisely: you must PROOFREAD your essays. Grading will take into
account the strength of your argument, your use of examples from the texts and citations from
your research, but also the quality of your writing. Ungrammatical sentences, misspelled words,
and poorly articulated sentences will result in lower marks.
TALES OF
MOONLIGHT AND RAIN
Ueda Akinari
Columbia University Press New York
tales of moonlight and rain
Translations from the Asian Classics
Image has been suppressed
tales
of
moon l igh t
a n d
ra i n
Ueda Akinari
A Study and Translation by
anthony h. chambers
C O L U M B I A U N I V E R S I T Y P R E S S
N E W Y O R K
Image has been suppressed
Columbia University Press
Publishers Since 1893
New York Chichester, West Sussex
Copyright © 2007 Columbia University Press
All rights reserved
Library of Congress Cataloging-in-Publication Data
Ueda, Akinari, 1734–1809.
[Ugetsu monogatari. English]
Tales of moonlight and rain : a study and translation by Anthony H. Chambers.
p. cm. — (Translations from the Asian classics)
Includes bibliographical references.
ISBN 0-231-13912-8 (cloth : alk. paper)
ISBN 0-231-51124-8 (electronic)
I. Chambers, Anthony H. (Anthony Hood)
II. Title. III. Series.
PL794.8.U3413 2006
895.6’33—dc22 2006015127
Columbia University Press books are printed on permanent and durable acid-free paper.
Printed in the United States of America
c 10 9 8 7 6 5 4 3 2 1
Frontispiece: Tosa Hidenobu, portrait of Ueda Akinari (1786).
(Tenri Central Library, Nara)
Acknowledgments vii
I n t ro du c t i o n 1
The Early Modern Period in Japan 2
About the Author 3
Bunjin, National Learning, and Yomihon 8
About Tales of Moonlight and Rain 11
About the Translation 34
Ta l e s o f M o o n li g h t a n d R a i n 45
pre fac e 47
B o o k O n e
Shiramine 51
The Chrysanthemum Vow 75
B o o k two
The Reed-Choked House 91
The Carp of My Dreams 110
contents
B o o k t h re e
The Owl of the Three Jewels 121
The Kibitsu Cauldron 139
B o o k f ou r
A Serpent’s Lust 155
B o o k five
The Blue Hood 186
On Poverty and Wealth 202
Bibliography 221
vi contents
Haruo Shirane provided the initial spark by asking me to
translate three stories from Ueda Akinari’s Tales of Moon-
light and Rain for his Early Modern Japanese Literature: An
Anthology, 1600–1900, and then suggesting that I translate
the whole collection. Deborah Losse, Lawrence E. Marceau,
and Donald Richie deserve special thanks for their encour-
agement and suggestions. The College of Liberal Arts and
Sciences at Arizona State University provided time for the
work by giving me a year’s sabbatical. Even with time, the
study and translation would have been impossible without
the pathbreaking work of earlier scholars and the compilers
of the marvelous reference works we all depend on. Thanks
go also to my incomparable circle of friends and colleagues,
who sustain me emotionally and intellectually.
Michael Ashby read the first draft and made countless
perceptive comments. I am also indebted to Jennifer Crewe,
Anne McCoy, Irene Pavitt, and the rest of the staff at Colum-
bia University Press. The anonymous readers recruited by
the press offered encouragement, pointed out errors, and
provided valuable advice. Any problems that remain are, of
course, my own responsibility.
ACKNOWLEDGMENTS
The translation is dedicated to all my teachers, especially,
Ch’en Shou-yi, who introduced me to the study of East Asia;
Makoto Ueda, who introduced me to Akinari; Robert H.
Brower, who tutored me in Japanese court poetry; and Edward
G. Seidensticker, my principal mentor over the years.
viii acknowledgments
tales of moonlight and rain
Tales of Moonlight and Rain (Ugetsu monogatari), nine sto-
ries by Ueda Akinari (1734–1809) published in Osaka and
Kyoto in 1776, is the most celebrated example in Japan of
the literature of the strange and marvelous. It is far more,
however, than an engrossing collection of ghost stories.
Japanese scholars regard it, along with Genji monogatari
(The Tale of Genji, early eleventh century) and the stories
of Ihara Saikaku (late seventeenth century), as among the
finest works of fiction in the canon of traditional Japanese
literature. The reasons for this esteem have to do primar-
ily with Akinari’s elegant prose—a model of literary Japa-
nese enriched by Chinese borrowings—and with his subtle
exploration of the psychology of men and women at the
extremes of experience, where they come into contact with
the strange and anomalous: ghosts, fiends, dreams, and
other manifestations of the world beyond logic and com-
mon sense.
Tales of Moonlight and Rain exerted a powerful influ-
ence in the twentieth century. Many novelists—including
Izumi Kyoka (1873–1939), Tanizaki Jun’ichiro (1886–1965),
Akutagawa Ryunosuke (1892–1927), Ishikawa Jun (1899–
1987), Enchi Fumiko (1905–1986), and Mishima Yukio
INTRODUCTION
2 introduction
(1925–1970)—were avid readers of the collection. Two of
the tales inspired Mizoguchi Kenji’s cinematic masterpiece
Ugetsu monogatari (1953; known to Western viewers as
Ugetsu), which is widely regarded as “one of the greatest of
all films.”1 Deeply rooted in its eighteenth-century cultural
context, Tales of Moonlight and Rain is nonetheless a work of
timeless significance and fascination.
The Early Modern Period in Japan
In 1603 Japan began to settle into a long era of relative calm
and prosperity after a century of disastrous civil war (War-
ring States period [Sengoku jidai], 1467–1568) and nearly
forty years of gradual pacification and unification (Azuchi–
Momoyama period) under the successive warlord-unifiers
Oda Nobunaga (1534–1582), Toyotomi Hideyoshi (1536–
1598), and Tokugawa Ieyasu (1542–1616). The Tokugawa
shogunate—the military regime established by Ieyasu—
governed Japan for 265 years, an era that is commonly
referred to as the Edo period, after the site of the shogun’s
capital, or the Tokugawa period. The emperor and the court
continued to hold ultimate, though symbolic, authority in
Kyoto during these years, but real power was wielded by the
Tokugawa bureaucracy until it collapsed in 1868 and the
Meiji emperor moved from Kyoto to Edo, which was then
renamed Tokyo.
Cultural historians refer to the years from 1603 to 1868 as
the early modern period and have divided it into three parts
on the basis of cultural and political developments: early
(1603–1715), middle (1716–1800), and late (1801–1868).2 The
first blossoming of early modern literature came toward the
end of the seventeenth century, particularly with the work of
three major figures: the fiction writer Ihara Saikaku (1642–
1693), the poet Matsuo Basho (1644–1694), and the drama-
tist Chikamatsu Monzaemon (1653–1724).
introduction 3
The period we are most concerned with here, the eigh-
teenth century, can be regarded as the time when Tokugawa
culture reached its high point.3 The stability of the country
under Tokugawa rule (among other factors) made possible
a flourishing of artistic activity by and for commoners, who
previously had enjoyed only limited access to high culture.4
The man now recognized as the outstanding Japanese author
of fiction in the eighteenth century was such a commoner,
Ueda Akinari. By the time he began writing, a good educa-
tion was no longer the monopoly of the court aristocracy, the
samurai class, and the clergy: literacy rates were comparable
to those in Europe,5 and education had spread to large num-
bers of affluent residents of the great cities of Kyoto, Osaka,
and Edo.6 As a commoner, Akinari wrote primarily for an
audience of other well-educated urban residents.
About the Author
Ueda Senjiro was born in 1734 in Osaka, then the commercial
center of Japan.7 Akinari, the name by which he is known, is a
pen name that he began to use in the early 1770s. His mother,
Matsuo Osaki, was the granddaughter of a peasant from Yam-
ato Province who had gone to Osaka to become a merchant;
the identity of his father is not known. In his fourth year, he
was adopted by a prosperous merchant named Ueda Mosuke.
Surviving a severe bout of smallpox that left several of his fin-
gers malformed, the young Akinari had a comfortable child-
hood and received a good education, possibly at the Kaitokudo,
one of the most prominent of the new schools chartered by
the government to provide “an appropriately practical Confu-
cian education” to the children of the merchant and artisan
classes.8 The curriculum would have included the Confucian
canon—the Four Books (Lun yü [Analects] of Confucius, Da
xue [The Great Learning], Zhong yong [The Doctrine of the Mean],
and Mengzi [Mencius]) and the Five Classics (I jing [The Book
4 introduction
of Changes], Shu jing [The Book of Documents], Shi jing [The
Book of Songs], Li ji [The Book of Rites], and Chun qiu [Spring
and Autumn Annals])—and Japanese classics, especially waka
(thirty-one-syllable court poems), Ise monogatari (Tales of Ise,
ca. 947), and The Tale of Genji.
Akinari’s earliest surviving literary efforts are haikai verses
included in several collections published in 1753 and 1755.
Although composing haikai (playful, humorous) poetry, an
outgrowth of renga (linked verse), began as an amusing pas-
time, it had evolved into a serious pursuit by the eighteenth
century. Akinari continued to write haikai throughout his
life—even if he did not take it as seriously as did some of his
contemporaries9—and the pursuit brought him into contact
with important literary figures in Osaka and Kyoto, includ-
ing the painter and haikai poet Yosa Buson (1716–1783), and
with proponents of kokugaku (National Learning or Nativist
Study), which emphasized the philological study of ancient
Japanese literature.10
Akinari never made his living as a writer, however. He
married Ueyama Tama in 1760; they enjoyed a happy mar-
riage but had no children. Akinari’s adoptive father died in
1761, leaving to Akinari the family business and the respon-
sibility for supporting himself, his new bride, and his adop-
tive mother, to whom he was devoted. They lost their busi-
ness and all their belongings to a fire in 1771, after which
Akinari turned to the study of medicine, probably under
Tsuga Teisho (ca. 1718–ca. 1794), one of many intellectuals of
the time who combined scholarship, writing, and medicine.
Akinari worked as a physician in Osaka until 1787, when he
retired from medicine and occupied himself with scholar-
ship, teaching, and writing. How he supported his family
during these years is unclear; he may have lived on accumu-
lated savings, and he may have earned some money from
teaching Japanese classics.
Along with his friend Buson and his sometime mentor
Takebe Ayatari (1719–1774), Akinari was a classic example of
introduction 5
the eighteenth-century bunjin—a nonconformist, indepen-
dent artist, typically a painter and writer, who, though not
a member of the aristocracy, devoted himself or herself to
high culture, stood aloof from commercial or political profit,
and felt disdain for the “vulgarity” of contemporary society.11
What the bunjin of the mid-Edo period shared was “avoiding
the ‘vulgar’ (zoku) and placing themselves on heights beyond
the reach of the ‘vulgar.’”12 The bunjin ideal was inspired in
part by the Chinese wen-jen (written with the same charac-
ters as bunjin, signifying a person of letters) of earlier times,
and one aspect of the eighteenth-century bunjin’s avoidance
of vulgarity involved the study of Chinese culture, including
vernacular Chinese fiction. This was true of Akinari.
Akinari’s first works of fiction, however, owe little to Chi-
nese models and much to the ukiyo zoshi (books of the floating
world) tradition of the late seventeenth and early eighteenth
centuries, with its typically lighthearted, satirical treatment
of the foibles of ordinary people. Akinari produced two col-
lections of stories in this genre, Shodo kikimimi sekenzaru
(A Worldly Monkey Who Hears About Everything, 1766) and
Seken tekake katagi (Characters of Worldly Mistresses, 1767),
which turned out to be the last significant ukiyo zoshi.13 Aki-
nari quickly turned his attention to other interests.
One of these was National Learning. Akinari had begun a
serious study of the Japanese classics, especially waka, before
1760. A few years later, he studied with Ayatari and then with
Kato Umaki (1721–1777), a disciple of the great nativist scholar
Kamo no Mabuchi (1697–1769). This led him to abandon
the ukiyo zoshi tradition in favor of writing fiction that is far
richer and more serious, as well as treatises on such classics
as Tales of Ise; the Man’yoshu (Collection of Myriad Leaves, ca.
759), the oldest anthology of Japanese poetry; and the Kokin-
shu (Collection of Ancient and Modern Poems, 905), the first
imperially commissioned anthology of waka. His studies also
embroiled him in a famous scholarly debate, which contin-
ued over a number of years and on various subjects, with the
6 introduction
most noted of the National Learning scholars, Motoori Nori-
naga (1730–1801)—a confrontation that Blake Morgan Young
has characterized as “a clash between the rustic’s blind faith
and the urbanite’s critical scepticism,” Norinaga, who lived
in Ise, being the rustic.14 Their disagreements ranged from
phonology to mythology. Norinaga’s arguments depended on
his absolutely literal reading of ancient Japanese compendia
of myth and history, while Akinari insisted on a more inter-
pretative, empirical approach.15
Akinari’s studies of ancient Japanese literature merged
with bunjin ideals, especially the avoidance of vulgarity and
the fascination with Chinese fiction, to shape the solemn
beauty of his masterpiece, Tales of Moonlight and Rain. The
nine stories in this collection frequently allude to, quote
from, and borrow words and phrases from Japanese classics
and Chinese fiction and rise above zoku—even though most
of the characters in the stories are commoners—to achieve
the aesthetic ideal of ga (elegance, refinement), which had
been associated with Kyoto court culture.16 No one doubts
Akinari’s authorship of Moonlight and Rain, but he signed
the work with a pen name and never acknowledged that he
had written it. Although the collection is the principal basis
for his fame, he probably would have preferred to be remem-
bered for his waka, his studies in National Learning, and his
expertise in a form of tea ceremony.
As a scholar, Akinari distinguished himself through edit-
ing and publishing works by Kamo no Mabuchi and his cir-
cle. In 1773 he wrote Ya kana sho (or Yasaisho), a commentary
on the particles ya and kana, but for some reason he would
not allow it to be published until 1787, when it appeared
with a preface by Buson. Kaseiden, Akinari’s biographi-
cal study of the great Man’yoshu poet Hitomaro (late sev-
enth–early eighth centuries), apparently was written in 1781.
The astonishing Reigotsu (ca. 1793) was “a comprehensive
work in six sections, one each on the names of Shinto dei-
ties, the names of Japan’s provinces, noted products of the
introduction 7
various regions, poetry, terminology, and systems of kana
orthography,” but only the kana section survives.17 In 1794
he published Man’yoshu kaisetsu, a short study of the ancient
anthology, and in 1800 he began a comprehensive commen-
tary on the Man’yoshu, which, however, he left unfinished.
Kinsa (1804) and Kinsa jogen (1804) bring together favorite
poems from the Man’yoshu, with Akinari’s commentaries
on them.
Akinari also compiled several miscellanies. Two are col-
lections of humorous and satirical stories: Kakizome kigen kai
(New Year’s Calligraphy and a Sea of Changing Feelings, 1787)
and Kuse monogatari (Tales of Eccentricity, 1791; published
1822), whose title parodies Ise monogatari. Tsuzurabumi
(Basket of Writings, 1805–1806), a collection of his prose and
poetry, represents the final stage of Akinari’s serious liter-
ary work, as he saw it; after it was published, he threw all
his manuscripts down a well. Tandai shoshinroku (A Record of
Daring and Prudence) was completed in 1808.18
Akinari wrote waka and haikai verse throughout his adult
life and was one of the most distinguished waka poets of his
time. His personal collection of waka, Aki no kumo (Autumn
Clouds), was completed in 1807. He also distinguished him-
self as an expert in senchado (the Way of sencha), a form of tea
ceremony that employs tea leaves instead of the powdered
tea of the better-known chanoyu ceremony. Seifu sagen (Triv-
ial Words on Pure Elegance, 1794), his treatise on senchado, is
a classic in the field. Pottery implements that Akinari made
for the ceremony survive.19
Akinari did not abandon fiction after Moonlight and Rain.
In 1808 and 1809, he gathered ten of his stories and essays
under the title Harusame monogatari (Tales of the Spring
Rain). The collection is uneven, partly because Akinari
died before he could polish it to his satisfaction, and per-
haps because he wrote more for his own enjoyment than
for publication. The pieces in Spring Rain are less tightly
structured than the stories in Moonlight and Rain, and the
8 introduction
element of the marvelous and strange is relatively unimport-
ant. The language is plainer, and there is much less reliance
on Chinese sources. Perhaps even more than the tales in
Moonlight and Rain, the stories and essays in Spring Rain
attest to Akinari’s studies in National Learning, particularly
in the emphasis he placed on naoki kokoro (true heartedness,
sincerity, guilelessness), which he apparently held to be the
essential nature of the Japanese people. The stories in Spring
Rain represent Akinari’s most important fiction aside from
Moonlight and Rain.20
In 1793 Akinari and his wife moved from Osaka to Kyoto,
where they lived in poverty near the temple Chion-in, on the
east side of the capital. His wife died in 1797. Within a few
months, Akinari, whose vision had been failing for some
time, went blind, but then regained partial vision in one eye.
He continued his writing and scholarship as he moved here
and there in Kyoto, depending on friends for support, until
his death in 1809 on the twenty-seventh day of the Sixth
Month (August 8, in the Western calendar), in his seventy-
sixth year. His grave is at the Buddhist temple Saifukuji, near
the Nanzenji monastery.
Bunjin, National Learning, and Yomihon
The result of Akinari’s synthesis, in Moonlight and Rain, of
a bunjin orientation with the National Learning was a new
genre: the yomihon (books for reading).
The distinction between ga and zoku arose from ancient
Chinese poetics and was embraced by Japanese artists of the
Tokugawa period. As the painter Gion Nankai (1677–1751)
said, “ga is neatness, propriety, elegance; zoku is vulgarity.”21
This analysis was applied to all the arts, including painting
and literature. From the Japanese point of view, elegant liter-
ary genres encompassed Chinese poetry and prose, includ-
ing fiction; Japanese court poetry and linked verse; classi-
introduction 9
cal monogatari, such as Ise and Genji; and no dramas.22 The
traditional ga–zoku aesthetic was modified, however, by
Japanese artists in the seventeenth and eighteenth centuries
from a system that distinguished clearly between the courtly
and the common, into a quest for elegance in realms that
had traditionally been considered vulgar. Thus Basho urged
his students to raise their minds “to an enlightened state,
[and then] return to zoku,” by which he meant “practicing ga
while remaining in the ordinary zoku world of haikai.”23 In
short, “Basho raised haikai poetry, traditionally a zoku form,
to the world of ga, thereby confounding the traditional dis-
tinctions of ga and zoku.”24
The objective of finding elegance in the vulgar dovetails
with one of the goals of the scholars of National Learning,
the “articulation of links between the mythological past, the
recorded history of the aristocratic few, and the daily lives
of common folk.”25 This agenda is related, of course, to the
rising wealth and influence of the urban classes—primar-
ily merchants and artisans—in the early modern period
and their desire to participate in the high culture associ-
ated with the court aristocracy. The consequent blurring of
the distinction between ga and zoku can be seen clearly in
Moonlight and Rain. As a bunjin, Akinari rejected the com-
mon, and all the elegant genres are reflected in Moonlight
and Rain. At the same time, the peasants (zoku) in “The
Reed-Choked House,” for example, are remarkably well
versed in waka (ga), and the inclusion of haikai (zoku) in
the same context as waka and Chinese poetry (ga) in “The
Owl of the Three Jewels” implicitly raises haikai to the same
level of elegance. In Moonlight and Rain, then, peasants and
haikai participate in the aristocratic tradition as Akinari lifts
them—and eighteenth-century Japanese fiction—from the
vulgar realm of ukiyo zoshi to the elegant sphere of court
poetry and monogatari.26
The National Learning agenda is reflected in Moonlight
and Rain in at least two other ways. First, the philological
10 introduction
study of ancient Japanese texts, one of the principal activi-
ties of National Learning scholars, influenced Akinari’s
choice of vocabulary and phrasing so often that a reader is
hard put to count the examples.27 Indeed, the abundance
of archaic words and expressions from, and allusions to,
the Kojiki (Record of Ancient Matters, 712), the Man’yoshu,
Tales of Ise, the Kokinshu, The Tale of Genji, and other clas-
sics is the main reason that Moonlight and Rain is difficult to
read. The classical lexicon also serves to associate Moonlight
and Rain with court literature. Second, in opposition to the
Confucian emphasis on rationalism, scholars of National
Learning insisted that many things lie beyond the ability of
human beings to understand, analyze, and explain—a belief
that was based on an unquestioning acceptance of Japanese
mythology.28 While Akinari rejected Norinaga’s uncritical
embrace of ancient mythology, he did share the National
Learning scholars’ propensity to “celebrate the mysterious
wonders of life,”29 which takes an especially vivid form in
Moonlight and Rain.
In synthesizing the bunjin aesthetic and National Learn-
ing, Akinari produced a masterpiece in a new genre—the
yomihon, a more serious form of literature than its prede-
cessor, the ukiyo zoshi. The term yomihon comes from the
genre’s characteristically heavy emphasis on the written text,
as opposed to oral narratives and booklets in which illustra-
tions play a central role. The language of yomihon, including
Moonlight and Rain, is elegant, somewhat archaic, and often
full of allusions to Chinese and Japanese antecedents. In
short, the emphasis is on serious reading. The first yomihon
writers were Tsuga Teisho, who probably instructed Akinari
in medicine, and Takebe Ayatari, one of Akinari’s mentors
in National Learning. Teisho’s Hanabusa soshi (A Garland of
Heroes, 1749) is considered the first yomihon. Its prose style
is characterized by wakan konko (a blend of Japanese and
Chinese) and gazoku setchu (a blend of elegant and vulgar).
Like Moonlight and Rain, A Garland of Heroes consists of nine
12 introduction
Why the preface bears the date “Meiwa 5, late spring” (the
Third Month of 1768) has been the subject of considerable
research and discussion, since the preface and the stories
were first published eight years later. There are good reasons
to think that a preface that Akinari had drafted in 1768, as
part of the “Saigyo Stories” project, was followed by eight
years of studying, writing, and revising before the tales in
Moonlight and Rain reached their present form.33 Another
possibility is that Akinari used the date of 1768 so that his
work would appear to be contemporaneous with A Tale of the
Western Hills, the preface of which is dated “Meiwa 5, spring,
Second Month.”34
Moonlight and Rain belongs, of course, to a different
genre—yomihon—from A Worldly Monkey and Worldly Mis-
tresses and, presumably, their planned sequels. Neverthe-
less, the titles of the unpublished works contain tantalizing
suggestions of connections with Moonlight and Rain. First,
both titles—“Tidings from a Cargo Ship in Various Prov-
inces” and “Saigyo Stories: Poetic Sites Bundled in a Dyed
Cloth”—anticipate the prominence of travel in Moonlight
and Rain (in all but the last of the nine tales) and the location
of all the stories in the provinces (as opposed to the great
cities). Second, “Saigyo Stories: Poetic Sites Bundled in a
Dyed Cloth” anticipates Moonlight and Rain in two additional
ways: Saigyo, the beloved poet-monk of the twelfth century,
appears in the first Moonlight and Rain story, “Shiramine”;
and “poetic sites” (utamakura), place-names used frequently
in poetry and listed in handbooks of poetic composition, are
mentioned in almost all the tales, with special prominence
in “Shiramine,” “The Carp of My Dreams,” “The Owl of the
Three Jewels,” and “A Serpent’s Lust.” In short, “various
provinces,” “Saigyo,” and “poetic sites” in the titles of the
unpublished ukiyo zoshi are important elements in Moon-
light and Rain. There can be little doubt that Moonlight and
Rain grew from the germs of “Tidings from a Cargo Ship
in Various Provinces” and “Saigyo Stories.” The resulting
introduction 13
yomihon is a work of far greater psychological depth, narra-
tive sophistication, and historical and philological awareness
than A Worldly Monkey and Worldly Mistresses, and it incor-
porates two new elements: the adaptation of Chinese stories
and the strange or anomalous.
t itle
The title Ugetsu monogatari (literally, “rain-moon tales”)
comes from the phrase “misty moon after the rains” in the
preface. It alludes to the no play Ugetsu, in which Saigyo
appears, as he does in “Shiramine,” and in which rain and
the moon are central images.35 Commentators have also
pointed to a passage in “Mudan deng ji” (Peony Lantern),
a story in Qu You’s Jiandeng xinhua (New Tales After Trim-
ming the Lamp, 1378), one of Akinari’s principal sources for
“The Kibitsu Cauldron,” which suggests that mysterious
beings appear on cloudy, rainy nights and in mornings with
a lingering moon. In any case, educated East Asian readers
would probably guess immediately that a book containing
the term “rain-moon” in its title would deal with the strange
and marvelous.
sources
Much has been written about Akinari’s use of Chinese and
Japanese sources in Moonlight and Rain—more than sixty
Chinese sources, according to Noriko T. Reider, and more
than a hundred Japanese.36 (For the titles of important
sources, see the introductions to the tales.)
Akinari used his sources in several ways. For some tales—
“The Chrysanthemum Vow,” “The Carp of My Dreams,”
“The Kibitsu Cauldron,” and “A Serpent’s Lust”—he bor-
rowed the story line of a Chinese work, always with signifi-
14 introduction
cant modifications that ease the transition to a Japanese set-
ting. Further, many scenes and situations in the tales echo
those in Chinese or Japanese sources. Examples include the
description of Katsushiro’s house when he returns from
the capital in “The Reed-Choked House,” which echoes the
“Yomogiu” (The Wormwood Patch) chapter of The Tale of
Genji; the depiction of the temple at Yoshino in “A Serpent’s
Lust,” which echoes the “Wakamurasaki” (Lavender) chap-
ter of Genji; and the arrival of Kaian at the village in “The
Blue Hood,” which echoes chapter 5 of Shuihu zhuan (Water
Margin, fourteenth century), attributed to Shi Nai’an and Luo
Guanzhong. Akinari also borrowed words and phrases from
his Chinese sources and from the Japanese classics he stud-
ied, especially the Kojiki, the Man’yoshu, Tales of Ise, and The
Tale of Genji. Finally, he seems to have structured individual
stories along the lines of Chinese tales and in imitation of
the structure of no plays, and the organization of the collec-
tion as a whole seems to be influenced by the no.
Far from trying to hide his indebtedness to Chinese
and Japanese precedents, Akinari undoubtedly hoped
and expected that his readers would derive pleasure from
recognizing his sources and appreciate his ingenuity in
adapting them. The borrowings, allusions, and echoes that
fill Moonlight and Rain also add richness and complexity
to the tales. As with the references to earlier texts in The
Tale of Genji and the use of honkadori (allusive variation)
in Japanese court poetry, the reader’s awareness of other
texts interacting with Akinari’s adds resonance and depth
to the reading experience.37 The borrowings also draw the
reader into the text and involve him or her in the creative
process, as they reward, flatter, and delight the reader who
is erudite enough to recognize them.38 Finally, the liberal
use of Chinese and courtly Japanese sources lifts Moonlight
and Rain, by association, into the elegant realm of Water
Margin and Genji, the two works that Akinari mentions at
the beginning of his preface, and, in the same way, lifts
introduction 15
Akinari himself into the lofty company of his Chinese and
Japanese predecessors.
Even when Akinari’s borrowings from Chinese sources
are most direct—in “The Chrysanthemum Vow,” “The Carp
of My Dreams,” “The Kibitsu Cauldron,” and “A Serpent’s
Lust”—he ingeniously adapted the stories to Japanese set-
tings and enriched them with a psychological complexity
that is absent in their Chinese counterparts. Again and
again, the reader is struck by the wonderful aptness of the
time and place in which Akinari placed his tales. By mak-
ing Akana Soemon a samurai in “The Chrysanthemum
Vow,” for example, he introduced the themes of samurai
loyalty and honor, whereas the character who corresponds
to Soemon in the Chinese story is a merchant who sim-
ply forgets the date of his appointment.39 In “The Carp of
My Dreams,” Akinari introduced the crucial theme of Bud-
dhist compassion by placing a Buddhist monk at the cen-
ter of the story and invoked a long tradition of descriptive
Japanese literature and art by setting the story at Miidera. In
“The Kibitsu Cauldron,” he introduced Shinto elements—
prophecy and the role of spirits—by connecting the charac-
ters to the Kibitsu Shrine. In “A Serpent’s Lust,” he imbeds
the Chinese-inspired story line in the context of Japanese
legends about storied places: Kumano, Yoshino, and Dojoji.
In these carefully chosen settings, Akinari’s characters
reveal distinctive personalities, unlike the characters in
his Chinese sources. As Robert Ford Campany has pointed
out, the authors of Chinese anomaly accounts were not
concerned with “the ‘inner’ nature (xing of intellectual
and emotional disposition, nor the structure of the self’s
ascent toward perfection through self-cultivation, but pre-
cisely humankind’s taxonomic place among other kinds of
beings, the nature of its relationships to other kinds.”40 In
Moonlight and Rain, by contrast, it is precisely the charac-
ters’ inner natures—saga, the reading in Japanese of the
character read xing in Chinese—that concerned Akinari, as
Image has been suppressed
16 introduction
Uzuki Hiroshi emphasizes in his commentaries.41 Donald
Keene makes the same point: “The very fact that one can
describe Katsushiro’s character places him in an altogether
different category from Chao or Seiroku [who correspond
to Katsushiro in the Chinese and Japanese antecedents to
“The Reed-Choked House”], neither of whom displays any
distinctive traits.”42
narrating the strange
Moonlight and Rain has been called a collection of “ghost
stories,”43 “gothic tales,”44 and “tales of the supernatural.”45
In Japanese, they are called kaidan; indeed, the edition of
1776 includes the subtitle Kinko [present and past] kaidan.
As Reider says, “Kaidan are tales of the strange and mys-
terious, supernatural stories often depicting the horrific
and gruesome,” and the word kaidan means “narrating the
strange.”46 No one would argue with “strange and mysteri-
ous,” but “supernatural” is probably an inappropriate word,
since what is considered to be supernatural in one culture
is regarded as merely strange—but natural—in another.47
Belief in revenants, spirit possessions, and other phenom-
ena that we might call “supernatural” was widespread in
eighteenth-century Japan and was apparently shared by
Akinari.48 If the term “supernatural” is inappropriate, so is
“fantastic,” as defined by Tzvetan Todorov, because “the basis
of the fantastic is . . . the ambiguity as to whether the weird
event is supernatural or not,”49 and such ambiguity is absent
in Akinari’s world. “Strange” and “anomalous,” words that
have been used in the study of Chinese stories, are more
useful when discussing Moonlight and Rain.50
Strange beings abound in Japanese art, folklore, and liter-
ature. They include kami (Shinto deities); spirits, deities, and
divine beings from other traditions, such as Buddhist and
Chinese lore; spirits of humans, living or dead, that can pos-
introduction 17
sess other people; revenants; oni (demons and fiends); tengu
(goblins); trickster animals, such kitsune (fox) and tanuki
(raccoon-dog); and other animals, such as serpents, that have
strange powers. All of these, except kami and trickster ani-
mals, figure prominently in Moonlight and Rain. The venge-
ful ghost of the former emperor Sutoku returns to earth as
king of the tengu in “Shiramine.” In “The Chrysanthemum
Vow” and “The Reed-Choked House,” a faithful revenant ful-
fills a promise. In “The Owl of the Three Jewels,” vengeful
ghosts return as asura (J. ashura or shura), violent human
beings who, in Buddhist lore, are reborn as violent demons.
“The Kibitsu Cauldron” features the possessing spirit of a
jealous woman—first when she is alive and then after she
has died. In “A Serpent’s Lust,” a jealous serpent in the form
of a woman seeks revenge on her husband. A monk turns
into an oni and then miraculously stays alive for a year while
meditating, in “The Blue Hood.” “On Poverty and Wealth”
features a little man who introduces himself as the spirit of
gold. “The Carp of My Dreams” differs from the other sto-
ries in that no anomalous being plays a major role; instead,
the story deals with the anomaly of a man who crosses the
boundaries between human and animal, and between the
waking world and the world of dreams.
Tengu and oni, which have no exact Western equivalents,
require some explanation. Tengu are goblins said to live
deep in the mountains. In Japanese art, they often resemble
birds but sometimes take human form, with wings and a
beak or long nose. They were “regarded as harbingers of
war” because of their “insatiable desire to be destructive and
to wreak havoc upon people’s lives.”51 It is fitting, then, that
the malicious spirit of the former emperor Sutoku becomes
a tengu to exact his revenge. The Minamoto leader Yoshi-
tsune, who had defeated Sutoku’s enemies, was said to have
learned martial arts from a tengu. Tengu were apparently
brought under control by the Tokugawa government, which
issued commands to them and expected them to obey.52 Oni
18 introduction
are usually depicted as grotesque, humanlike beings with
horns, fangs, and claws, and clad in a tiger-skin loincloth
or, sometimes, a monk’s robes, as in the Otsu prints that
depict an oni-nembutsu (oni dressed as an itinerant monk).53
Some oni serve as soldiers in the Buddhist hell, but oni can
also be benevolent, as was Ryogen (912–985), chief abbot of
the Tendai sect, who is said to have become an oni after his
death in order to protect the Enryakuji temple complex on
Mount Hiei.54 Finally, the word oni is often applied to a cruel
or frightening person. The mad abbot in “The Blue Hood”
becomes an oni in this last sense of the word.
The categories suggested by Campany in his study of
Chinese anomaly accounts help clarify the nature of the
anomalies in Moonlight and Rain.55 As Campany says,
“Most (but not all) anomalies . . . occur at or across bound-
aries”56—for example, between humans and animals or the
living and the dead. Two of Akinari’s stories involve “anom-
aly by transformation,”57 in which a being is metamor-
phosed across a boundary that normally separates humans
from animals and the apparent from the real: “The Carp
of My Dreams,” in which a man seems to become a fish,58
and “A Serpent’s Lust,” in which a woman turns out to be a
serpent.59 A category not posited by Campany—the bound-
ary between mineral and animal—also figures in “The
Carp of My Dreams,” when paintings turn into real fish.
Most of the stories in Moonlight and Rain involve “anom-
aly by contact,” specifically, “contact with the realm of the
dead”:60 “Shiramine,” “The Chrysanthemum Vow,” “The
Reed-Choked House,” “The Owl of the Three Jewels,” and
“The Kibitsu Cauldron,” which also features the vengeful,
possessing spirit of a living person, a type not mentioned
by Campany. “The Carp of My Dreams” belongs to the
category of “contact through dreams.”61 In the last story,
“On Poverty and Wealth,” contact occurs between a human
being and a spirit.62 Finally, two stories involve “sexual con-
tact with non-human (or non-living human) beings”:63 “The
introduction 11
stories adapted from Chinese sources to Japanese settings
and grouped into five books, as does its sequel, Shigeshige
yawa (1766). It seems likely that Akinari modeled his col-
lection on Teisho’s.30 Ayatari’s Nishiyama monogatari (A Tale
of the Western Hills) appeared in 1768, eight years before the
publication of Moonlight and Rain. In contrast to Teisho’s
and Akinari’s yomihon, A Tale of the Western Hills consists of
ten chapters grouped into three books and concerns a con-
temporary scandal in the capital. The prose style of Moon-
light and Rain combines that of A Garland of Heroes with the
elegant, neoclassical prose of A Tale of the Western Hills.31
Tales of Moonlight and Rain is unquestionably the finest of
the early yomihon.
About Tales of Moonlight and Rain
composit ion and publicat ion
An advertisement at the end of Akinari’s story collection A
Worldly Monkey Who Hears About Everything announces the
forthcoming publication of two more works by the same
author: Characters of Worldly Mistresses and “Shokoku kaisen
dayori” (Tidings from a Cargo Ship in Various Provinces).32
Worldly Mistresses, published the following year, repeats the
advertisement for “Tidings from a Cargo Ship,” adding “Se-
kenzaru kohen” (A Worldly Monkey, Part Two) to the title, and
announces a forthcoming work to be called “Saigyo hanashi
utamakura somefuroshiki” (Saigyo Stories: Poetic Sites
Bundled in a Dyed Cloth). The context and the titles suggest
that both “Tidings from a Cargo Ship” and “Saigyo Stories”
were to have been ukiyo zoshi like A Worldly Monkey and
Worldly Mistresses, but neither “Tidings from a Cargo Ship”
nor “Saigyo Stories” was published. In their place came Tales
of Moonlight and Rain in 1776, with a preface dated 1768, the
year after the publication of Worldly Mistresses.
introduction 19
Reed-Choked House,” in which “marital relations estab-
lished during life continue after death,”64 and “A Serpent’s
Lust.” “The Blue Hood” generally follows the pattern that
Campany has described for Buddhist tales (for a detailed
explanation, see the introduction to “The Blue Hood”).65 In
most of Akinari’s stories, then, the anomalies correspond
to categories that had been used for centuries by Chinese
writers. This is not only because Akinari adapted Chinese
stories, but also because Chinese lore had been trickling
into Japan, along with Chinese Buddhist and secular texts,
for more than a thousand years and naturally influenced
the methods of Japanese storytellers.
sett ings
The chronological and geographical settings of each story in
Moonlight and Rain are shown in the table. The names of
provinces are accompanied by the names, in parentheses, of
the corresponding modern prefectures.
Title Date Location
1 “Shiramine” 1168 Sanuki (Kagawa)
2 “The Chrysanthemum Vow” 1486 Harima (Hyogo)
3 “The Reed-Choked House” 1455–1461 Shimosa, Omi
(Chiba, Shiga)
4 “The Carp of My Dreams” 923–931 Omi (Shiga)
5 “The Owl of the Three Jewels” ca. 1616 Mount Koya, in Kii
(Wakayama)
6 “The Kibitsu Cauldron” ca. 1500 Kibi, Harima
(Okayama, Hyogo)
7 “A Serpent’s Lust” 794–1185? Kii, Yamato
(Wakayama, Nara)
8 “The Blue Hood” 1471–1472 Shimotsuke (Tochigi)
9 “On Poverty and Wealth” ca. 1595 Aizu (Fukushima)
20 introduction
Three things are striking about the settings. First, they are
specific. Second, all the stories except “The Owl of the Three
Jewels” take place before the establishment of the Tokugawa
shogunate in 1603. Third, none of the stories is set in any
of the three great cities of Akinari’s time—Kyoto (the capi-
tal), Osaka (the center of commerce), and Edo (the seat of
the shogunate)—where most of his readers lived. In other
words, the stories are specifically located at a chronological,
geographical, and, therefore, political distance from Akinari’s
world. Various reasons can be imagined for this distancing,
and it affects the stories in various ways.
None of the stories is set “in a certain province,” but always
in a real place and, with the exception of “A Serpent’s Lust,” at
a more or less precisely specified time, not “once upon a time”
or its Japanese equivalent, mukashi mukashi. This specificity
has the effect of grounding the strange beings and events in
the real world, thus lending plausibility to the stories. Speci-
ficity also makes the geographical and chronological distanc-
ing more effective than vagueness would have done.
Improvements in highways and other means of trans-
portation—not to mention prosperity and relative freedom
from bandits and warlords—made domestic travel in Japan
fairly safe and increasingly popular during the Edo period.
By contrast, the dangers of travel in the fifteenth century are
portrayed in “The Reed-Choked House.” Akinari is known
to have traveled widely in Japan, possibly as far as the Kanto
region (now greater Tokyo).66 Journeys and far-off destina-
tions thus were subjects of intrinsic interest to the author
and his intended audience. The opening words of the first
story—“Allowed by the guards to pass through the Osaka
Barrier, he found it hard to look away from the mountain’s
autumn leaves, but he traveled on to Narumi Shore”—put
the reader on notice that the narrative is moving away from
the capital and toward the provinces. More than a love of
travel is involved, however. From the perspective of the cap-
introduction 21
ital—and of Osaka and Edo—the provinces were more or
less exotic places and definitely less civilized than the great
cities. This conventional attitude has a long history in Japan.
In The Tale of Genji, even Uji, just a few miles outside the
capital, is depicted (with some hyperbole) as a wild, danger-
ous place. Nor is this attitude unique to Japan. As Campany
has written, “From the point of view of a center of urban
culture, the ‘distance’ between the center and its periphery
is seldom a matter of mere geographical space, or of the
calendrical time required for the journey out and back. The
peripheral is, from a centrist perspective, the anomalous—
the external other.”67 Thus when a story moves away from
the capital, the reader is prepared to encounter strange and
wonderful things; mysterious happenings are more believ-
able when they occur far from home; and a provincial setting
facilitates the Japanese reader’s “suspension of disbelief,” in
Coleridge’s phrase.
Nevertheless, anomalies, even when they occur in dis-
tant provinces, represent disorder, and it would not do to
suggest that the Tokugawa regime permitted disorder any-
where in Japan—especially in such extreme forms as canni-
balism, necrophilia, and sexual relations between humans
and nonhumans.68 This is why the chronological settings
of the stories, before Tokugawa rule began, is at least as
significant as the geographical settings. As a collection of
pre-Tokugawa anomalies in the provinces, Moonlight and
Rain indirectly draws attention to the orderliness of the
Tokugawa era and reinforces the normality of the center, the
big city. “The Owl of the Three Jewels,” the only story that
is set during Tokugawa times, is the exception that proves
the rule: it opens with praise for the Tokugawa regime and
portrays one of the predecessors of the Tokugawa as having
been so bloodthirsty that he was reborn as an asura. The old
days, according to these stories, were not nearly as good as
the present.
22 introduction
structure of the stories
Much of Campany’s analysis of the structure of Chinese
anomalous accounts is applicable to the Moonlight and Rain
stories.69 He identifies ten typical structural elements, the
last three of which are not present in all the stories he stud-
ies. I use “The Owl of the Three Jewels” to illustrate these
elements in Moonlight and Rain.
1. Chronological and geographical settings. The opening
paragraph hints that “The Owl of the Three Jewels” takes
place during the Edo period; this time frame is made explicit
later: “more than eight hundred years” after the founding of
Mount Koya. The second paragraph identifies the place: “In
a village called Oka, in Ise.”
2. Specifier. The story provides “some indication . . . of the
specific situation or string of events . . . , so that the focus is
narrowed to a particular occasion when an event happened.
This focusing is usually accomplished in part by introducing
a protagonist.”70 In “The Owl of the Three Jewels,” a “man of
the Hayashi clan transferred his affairs to his heir, shaved his
head . . . , [and] changed his name to Muzen.”
3. Process. “Some sort of familiar process or type of inter-
action is set underway—some human activity with a predict-
able sequence.”71 Muzen “looked forward to traveling here
and there in his old age” and sets out on a journey to Mount
Koya with his son.
4. Hints. The story provides clues that “something anoma-
lous is about to occur.”72 The most obvious in “The Owl of
the Three Jewels” are Muzen’s decision to spend the night
in front of Kobo Daishi’s mausoleum and the riveting cry of
the owl.
5. Limen. Campany’s list of liminal markers includes
several that figure in “The Owl of the Three Jewels”: travel
through mountains, sunset, and a gateway.73 In addition, the
extraordinary historical and spiritual associations of Mount
introduction 23
Koya make it, ipso facto, a liminal place, and the mausoleum
itself represents liminality.
6. Pivot. “Something distinctly odd now happens and
the reader—usually joined at this point . . . by the protago-
nist—becomes unmistakably aware of the strangeness of
the situation.”74 Muzen, “taking out his travel-inkstone, . . .
wrote down the verse by lantern light, then strained his ears
in hopes of hearing the voice of the bird again, when, to his
surprise, he heard instead the stern voice of a forerunner,
coming from the direction of the distant temples and gradu-
ally drawing closer.”
7. Climax. “The full force of the anomaly hits home to
both protagonist and reader.”75 The climax of “The Owl of
the Three Jewels” comes when Joha identifies Hidetsugu
and the other ghosts: “It was so horrible that the hair on
Muzen’s head would have stood on end, had there been any
hair, and he felt as though his innards and his spirit alike
were flying away into space.” The climax continues to the
point where the ghosts reveal their true form as asuras and
threaten Muzen and his son.
8. Response. “Some tales . . . continue by reporting the
protagonist’s response” to the climax.76 In “The Owl of the
Three Jewels,” Muzen produces the verse required of him
and then faints.
9. Outcome. “In tales in which there is some response by the
protagonist, comment is usually made on how things worked
out.”77 In “The Owl of the Three Jewels,” Muzen and his son
wake up, return to the capital, and seek medical treatment.
10. Impact. “Very occasionally—especially in Buddhist
miracle tales and in stories concerning the origins of cults
and temples—further comment is made on reactions by
persons other than the protagonist, or on some later situ-
ation relevant to the tale. In every case these comments
concern the lasting impact made by the narrated event on
a person or group of people or on the landscape.”78 “The
Owl of the Three Jewels,” of course, concerns the origin
24 introduction
of Mount Koya and the legends surrounding Kobo Daishi.
The story concludes: “One day as he was passing the Sanjo
Bridge, Muzen thought of the Brutality Mound [containing
the remains of Hidetsugu and his family] and felt his gaze
being drawn toward the temple. ‘It was horrible, even in
broad daylight,’ he recounted to people in the capital. The
story has been recorded here just as he told it.” These sen-
tences describe the lasting impact of the events at Mount
Koya both on Muzen and on the landscape (in the form of
the Brutality Mound). The impact on other people is sug-
gested in the survival of the story as it has been passed
down from Muzen.
The structure of “The Owl of the Three Jewels” thus
resembles that of Chinese anomalous accounts. A similar
analysis could be made of the other stories in Moonlight and
Rain, all of which follow this pattern. It is characteristic of
Akinari’s tales that the last three elements—response, out-
come, and impact—which are often absent in Chinese sto-
ries, not only are present but are developed at length (except
in “The Kibitsu Cauldron,” “A Serpent’s Lust,” and “The
Blue Hood,” where they are present but abbreviated). The
third through seventh elements are repeated several times
in “A Serpent’s Lust,” which thus might be regarded as sev-
eral stories in one. The response section of “On Poverty and
Wealth” is exceptionally long, consisting of Sanai’s conversa-
tion with the spirit of gold.
Another way to describe the Moonlight and Rain stories is
in terms of the structure of no plays, as many commentators
have noted.79 Indeed, Akinari invited comparisons by using
the title of a no play—Ugetsu—in the title of the collection.
Four elements of no structure can be found in some or all of
the stories.
1. Michiyuki. Originating in the no theater and found in
other performance and literary genres as well, a michiyuki
introduction 25
(going on the road) is a literary convention in which the
route, sights, and impressions of a journey are evoked with a
litany of familiar place-names, often modified by makura-
kotoba (pillow-words) or other epithets. In addition to pro-
viding a display of beautiful rhetoric and enriching the
audience’s experience by prompting the memory and imagi-
nation to envision famous scenes and their associations, a
michiyuki guides the reader into a world apart, where unex-
pected, wondrous beings and events are likely to be encoun-
tered. Three of the stories in Moonlight and Rain include con-
spicuous michiyuki: Saigyo’s poetic journey at the beginning
of “Shiramine,” Muzen’s journey with his son in “The Owl of
the Three Jewels,” and Kaian’s journey in “The Blue Hood.”
A fourth story, “The Carp of My Dreams,” includes a par-
ticularly beautiful passage—Kogi’s tour of Lake Biwa—that
resembles a michiyuki, although it does not serve the same
structural function.
2. Shite and waki. A typical no play has two important
characters: the shite (central figure) and the waki ([man at]
the side). The shite is preceded on the stage by the waki,
who is frequently a traveler or an itinerant monk. The waki
arrives at a famous site, where he meets a local person—the
shite—whom he questions about the history of the area.
As the waki draws out the shite’s story, it turns out that the
shite is actually the ghost of a historical figure who is still
clinging to this world because of obsessive anger, desire for
revenge, or love. Often the shite asks the waki to pray for
his or her release from obsession so that he or she might be
reborn in Amida Buddha’s Western Paradise. Characters in
at least four of the stories in Moonlight and Rain resemble
the waki and shite roles, in greater or lesser degrees. Saigyo,
in “Shiramine,” corresponds to the waki as his michiyuki
takes him to Shiramine. There he encounters the ghost of
Sutoku, who corresponds to the shite, and they engage in a
mondo (dialogue), a common element in no plays.80 As in a
no play, Sutoku’s true form is revealed near the end of the
26 introduction
story. In “The Chrysanthemum Vow,” Samon resembles the
waki insofar as he elicits a story from Soemon, who corre-
sponds to the shite. Samon ceases to behave like a waki at the
end of the story, however. In “The Owl of the Three Jewels,”
Muzen corresponds to the waki (and his son to a wakizure
[waki companion]) as he travels to Mount Koya. Hidetsugu’s
ghost, of course, corresponds to the shite (and his follow-
ers to shitezure), and the fact that Hidetsugu turns out to be
an asura encourages the reader to recall no plays, such as
Yashima, in which the shite is an asura. Finally, the itinerant
monk Kaian functions as the waki in “The Blue Hood,” and
the mad abbot can be thought of as the shite. The Moonlight
and Rain stories are not no plays, of course, and it would be
a mistake to press the waki–shite analogy too far, but the
resemblance is unmistakable.
3. Dreams. In some no plays of the mugen (dream mys-
tery) type, it is conceivable that the waki dozes off at the end
of the first part of the play and dreams of his subsequent
encounter with a ghost. This possibility exists in “Shira-
mine” and “The Owl of the Three Jewels.” In “Shiramine,”
Saigyo “began to doze” just before Sutoku makes his appear-
ance, and the strange events in “The Owl of the Three Jew-
els” take place after Muzen and his son have laid out their
bedding and as they are trying to go to sleep. The central
event of “The Carp of My Dreams” occurs in a dream, but
parallels with mugen no are less obvious in this story than
in the other two.
4. Jo-ha-kyu. The fourth structural element of no plays
that is shared by the Moonlight and Rain stories is the jo-ha-
kyu (introduction-development-climax) rhythm—common
not only in no, but in all Japanese traditional performing
arts—in which the performance begins slowly, the pace
gradually quickens, and a swift, dramatic climax is reached
at the end. The development, typically the longest section,
also consists of three parts, resulting in five sections alto-
gether. This structure is fairly clear in, for example, “The
introduction 27
Blue Hood.” In the introduction (jo), Kaian reaches Tonda
and meets his host. In the first part of the development (ha),
the host explains Kaian’s odd reception and the problem
that has been troubling the village. Kaian responds in the
second part of the development, goes to the mountain tem-
ple, and meets the abbot. In the third part of the develop-
ment, Kaian confronts the abbot’s madness. Finally, in the
climax (kyu), Kaian returns to the temple a year later and
meets the abbot again, resolving the crisis faced by both the
village and the abbot. The same analysis could be applied
fruitfully to “Shiramine,” “The Owl of the Three Jewels,”
“The Kibitsu Cauldron,” and “A Serpent’s Lust.”81
The themes or motifs of several of the stories recall spe-
cific no plays as well. “The Owl of the Three Jewels” resem-
bles a shuramono (asura play), such as Yashima, in which the
angry ghost of a warrior returns to the scene of his defeat.
“The Reed-Choked House” employs the traditional theme of
a woman who waits loyally and patiently for her husband or
lover—a motif that is common in Japanese court poetry and
in no plays such as Matsukaze (Wind in the Pines) and Izutsu
(The Well Curb). “A Serpent’s Lust,” which explicitly alludes
to the Dojoji legend, naturally recalls the no play Dojoji and
its serpent-woman.82
structure of the collect ion
Contemporary publishers of short-story collections com-
monly put the best—or the most appealing, exciting, or
evocative—story first, in order to hook readers and keep
them reading. If the publisher of Moonlight and Rain had
followed this practice, he might have chosen to begin with
“The Reed-Choked House,” “The Kibitsu Cauldron,” or “The
Blue Hood,” rather than with the stately, poetic “Shiramine,”
which opens the collection as we have it. The organization
28 introduction
of Moonlight and Rain is so unlike that with which Western
readers are accustomed that Kengi Hamada, in his transla-
tion, apparently found it necessary to rearrange the stories to
conform more closely to Western tastes, beginning his ver-
sion with “The Reed-Choked House.”83 In fact, the structure
of the collection—the grouping and ordering of the stories—
is complex and certainly not random.
The nine stories are arranged in five books:
Book One
“Shiramine”
“The Chrysanthemum Vow”
Book Two
“The Reed-Choked House”
“The Carp of My Dreams”
Book Three
“The Owl of the Three Jewels”
“The Kibitsu Cauldron”
Book Four
“A Serpent’s Lust”
Book Five
“The Blue Hood”
“On Poverty and Wealth”
This organization recalls two parallels: first, Teisho’s A Gar-
land of Heroes and Shigeshige yawa, which likewise consist of
nine stories in five books; and, second, the five-part jo-ha-kyu
rhythm of no. This structure applies not only to individual
plays, but also to the arrangement of the five kinds of plays
into a five-play no program.84
To some extent, Moonlight and Rain can be compared with
a program of no plays.85 The five types of plays and their
sequence in a full program are shown in the table.
It is tempting to try to apply this program of five plays to
the five books of Moonlight and Rain—to say that Book One
corresponds to the first category of no plays, for example—
introduction 29
but the analogy breaks down almost immediately, since
“The Chrysanthemum Vow” has little in common with a
wakino or kamino, nor are “The Reed-Choked House” and
“The Carp of My Dreams” at all analogous to shuramono.
The five books of Moonlight and Rain do, however, parallel
the five-part rhythmic structure of the no program, with a
gradual heightening of pace and excitement. The stories in
Book One unfold at an appropriately dignified pace, with
elevated language and high-ranking characters: an eminent
poet-monk and the ghost of a deified former emperor in
“Shiramine” and a scholar and a samurai in “The Chrysan-
themum Vow.” The excitement picks up in Book Two and
continues to grow, as the status of the characters declines,
through Book Four. In Book Five, the pace and excite-
ment reach a climax in “The Blue Hood,” and the collec-
tion ends with an auspicious prophecy of good times under
the Tokugawa government, in “On Poverty and Wealth.” In
addition, there are unmistakable parallels between the five
types of no plays and the central characters of some of the
stories and the order in which they appear. The ghost of the
former emperor Sutoku, in “Shiramine,” can be thought of
as a deity, insofar as all emperors were believed to be divine
descendants of Amaterasu, the sun goddess, and this one
was actually enshrined at Shiramine. The second story, “The
Chrysanthemum Vow,” involves the ghost of a samurai, and
“The Reed Choked House” focuses on a beautiful woman.
With “The Carp of My Dreams” the collection departs from
Number Name Typical central character (shite)
1 wakino or kamino A deity
2 shuramono The ghost of a warrior
3 katsuramono A beautiful young woman
4 kyojomono or genzaimono A mad person or a modern person
5 kirino or ki(chiku)mono A demon or another strange creature
30 introduction
any correspondence with the subject matter of a no pro-
gram, but “The Owl of the Three Jewels” resembles a shura-
mono and draws the collection back toward the no pattern.
“The Kibitsu Cauldron” can be seen as a combination of a
katsuramono, kyojomono, and kirino, since Isora starts out
as a beautiful young woman and ends up as a possessing
spirit. Finally, each of the remaining stories focuses on an
anomalous creature: a serpent-woman, a necrophiliac and
cannibalistic monk, and the spirit of gold. The sequencing
of the nine stories does, then, approximate a no program in
its gradually accelerating pace and in the nature of the cen-
tral characters. While the presence of the jo-ha-kyu rhythm
might be explained as the automatic choice of a Japanese
artist of the time, the downward progression of characters
suggests a deliberate imitation of the no form.
There are other ways of looking at the organization
of Moonlight and Rain.86 The most persuasive is the link-
ing structure described by the prominent Akinari scholar
Takada Mamoru.87
Stories 1–2. The clash of wills between a ghost and a liv-
ing man in “Shiramine” is followed by the meeting of minds
between a ghost and a living man in “The Chrysanthemum
Vow.” (The first two stories are also linked by an interest
in Confucianism and by the theme of loyalty—Saigyo’s
to Sutoku, and Soemon’s and Samon’s to each other. The
intimacy and loyalty that bond Saigyo to his former master,
Sutoku, in “Shiramine” anticipate an even closer relation-
ship between two men in “The Chrysanthemum Vow.”)
Stories 2–3. The fraternal loyalty of a ghost in “The Chry-
santhemum Vow” is echoed by the marital fidelity of a ghost
in “The Reed-Choked House,” in which the loyal ghost is
the woman who waits, not the man who returns. (There
is a link by contrast, as well, in that the man who vows to
return by a certain date keeps his promise in “The Chrysan-
themum Vow,” but not in “The Reed-Choked House.” The
introduction 31
parallel between the two stories is even closer if we think
of Samon and Soemon as lovers: the steadfast love between
two men in “The Chrysanthemum Vow” is followed by the
undependability of a husband in “The Reed-Choked House.”
Upper-class men of exemplary character are replaced by a
pusillanimous farmer and his devoted wife. Miyagi, the ideal
wife, anticipates another idealized wife, with a twist, in “The
Kibitsu Cauldron,” and a mockery of the ideal wife plays a
central role in “A Serpent’s Lust.”)
Stories 3–4. The image of water links “The Reed-Choked
House” to “The Carp of My Dreams”: the former ends with
the legend of a girl who threw herself into the water, and the
latter concerns an artist who dreams that he swims about
like a fish. (“The Carp of My Dreams” is a lighthearted,
peaceful story with a happy ending, a cheerful interlude
after the solemnity of “Shiramine” and “The Chrysanthe-
mum Vow” and the pathos of “The Reed-Choked House”
and before the darkness of “The Owl of the Three Jewels.”
Like Saigyo, in “Shiramine,” Kogi was an eminent monk,
and “The Carp of My Dreams” makes many references to
Buddhist teachings. The water motif is picked up again in
“A Serpent’s Lust.”)
Stories 4–5. Kogi, in “The Carp of My Dreams,” comes back
from the strange world of a watery dream to tell his story;
similarly, Muzen, in “The Owl of the Three Jewels,” barely
returns alive from the strange world of Mount Koya and a
brush with the asura realm to tell others about his experience.
Daytime turns to night; fish is replaced by owl. (The stories
are also linked by the prominent role that Buddhism plays
in each. If Muzen dreams of his encounter with Hidetsugu,
the connection becomes even closer. The implicit contrast
in “The Owl of the Three Jewels” between the revered Kobo
Daishi and the murderous Hidetsugu—both of them famous
historical figures—echoes the contrast between Saigyo and
Sutoku in “Shiramine” and anticipates that between Kaian
and the mad monk in “The Blue Hood.”)
32 introduction
Stories 5–6. The story of a cruel man who fell to the asura
realm, in “The Owl of the Three Jewels,” is followed, in “The
Kibitsu Cauldron,” by that of a betrayed woman whose jeal-
ousy turns her into an angry possessing spirit, and this time
the man does not survive. (The Shinto context of “The Kib-
itsu Cauldron,” as well as the amoral spirit of Isora, form
a sharp contrast with the Buddhism of “Shiramine,” “The
Carp of My Dreams,” and “The Owl of the Three Jewels.”)
Stories 6–7. The lascivious husband of “The Kibitsu
Cauldron” is followed, in “A Serpent’s Lust,” by a lascivi-
ous and jealous serpent-woman who, like the jealous wife
of “The Kibitsu Cauldron,” tries to kill her husband. (The
reference to serpent-women in the first paragraph of “The
Kibitsu Cauldron” anticipates “A Serpent’s Lust.” Both Sho-
taro, in “The Kibitsu Cauldron,” and Toyoo, in “A Serpent’s
Lust,” are led by a servant girl to meet a mysterious lady
at a house that turns out to be something other than what
it first appears to be. In both stories, one or more wise
old men tries to help: in “The Kibutsu Cauldron,” he is a
yin–yang master, while in “A Serpent’s Lust,” the first is a
Shinto priest; the second, an overrated Buddhist monk; and
the third, a Buddhist sage. Pervasive water imagery in “A
Serpent’s Lust” echoes that in “The Reed-Choked House”
and “The Carp of My Dreams.”)
Stories 7–8. The destructive power of lust is an issue in
“The Blue Hood,” as in “A Serpent’s Lust,” but the focus
shifts from a serpent-woman to a previously upright monk
who becomes a fiend, and the weak husband is replaced by a
Zen “priest of great virtue.” (Buddhism returns as a central
concern, as in “Shiramine,” “The Carp of My Dreams,” and
“The Owl of the Three Jewels.”)
Stories 8–9. “The Blue Hood” is linked to “On Poverty and
Wealth” by the important role of Chinese verse—the lines
with which Kaian leads the mad abbot to enlightenment, and
the prophetic lines bestowed on Sanai by the spirit of gold.
introduction 33
Stories 9–1. The last story in Moonlight and Rain, “On Pov-
erty and Wealth,” is linked to the first story, “Shiramine,”
since both involve a philosophical dialogue between a human
and a nonhuman, and the gold spirit’s prediction of a happy
future for the nation echoes, and contrasts with, Sutoku’s
grim predictions of war. (Another parallel between the first
and last stories is that “Shiramine” alludes to the Hogen,
Heiji, and Gempei conflicts, while “On Poverty and Wealth”
reviews the struggles of the Warring States and Azuchi–
Momoyama periods before predicting peace and prosperity
under the Tokugawa. Tributes to the Tokugawa are included
in the “Preface” and “The Owl of the Three Jewels” as well.)
At least two other patterns in the structure of Moonlight
and Rain are noteworthy. First, anomalous beings and events
grow more dangerous as the collection progresses and then
less threatening again. They present no danger to Saigyo,
Samon, Katsushiro, and Kogi, in the first four stories. In the
fifth, however, Muzen is nearly killed, and Shotaro dies in
the sixth. The danger recedes slightly in the seventh story, in
which Tomiko is killed but Toyoo escapes, and the eighth, in
which Kaian is threatened but survives because of his great
virtue. Danger is not an element in the ninth story. The other
notable pattern is the contrast between a steadfast character
and an undependable, erratic, or vicious one. The motif is
established in “Shiramine,” with Saigyo’s unshakable loyalty
and Sutoku’s thirst for revenge, and is repeated in all the
stories except “The Carp of My Dreams” and “On Poverty
and Wealth.” Further, the loyalty that Samon and Soemon
show for each other in “The Chrysanthemum Vow” con-
trasts with the weakness of the central male characters in
“The Reed-Choked House,” “The Kibitsu Cauldron,” and
“A Serpent’s Lust,” and the theme is driven home with the
warning in “The Chrysanthemum Vow”: “Bond not with a
shallow man.”
34 introduction
About the Translation
Tales of Moonlight and Rain has already attracted an impres-
sive company of translators and adapters, and yet it is a tru-
ism that English translations of the work have been inad-
equate. Takada understated the problem: “Readers of Ugetsu
Monogatari in translation may not be able fully to grasp the
classic beauty of the . . . original’s literary style, its elegant
phraseology, and its precise mode of expression, replete
with concatenations yet without redundancy.”88 To reflect
adequately in translation the style and tone of the original
text is a tall order. Akinari was a great master of Japanese,
but few of us who translate from Japanese are great masters
of English. His prose is terse, elliptical, sinewy, highly lit-
erary, allusive, scholarly, dignified, elegant, and sometimes
obscure—never slack or insipid. His is a neoclassical, self-
conscious, quirky style, with many usages borrowed from
archaic Japanese texts and Chinese sources, resulting in a
rich, dense text that is meant to be read slowly and savored. I
have tried to let the text speak for itself as directly as possible,
rather than embroidering it with interpretations and expla-
nations. Some of the existing translations strike me as wordy
and insufficiently dignified, because they have gone too far
in accommodating the Western reader and so fail to convey
the tone, pace, and elegance of the original. Leon M. Zolbrod
wanted his translation “to read as if the original were written
in common English.”89 In this, he echoed Dryden: “I have
endeavoured to make Virgil speak such English as he would
himself have spoken, if he had been born in England, and in
this present age.”90 Commonsensical as it sounds, this is an
impossible goal.91 In any case, Akinari certainly did not write
in common Japanese.
Translators of Moonlight and Rain who attempted to
“[leave] the reader alone as much as possible and [move] the
writer toward the reader”92—in other words, to “naturalize”
Akinari’s prose into modern English—have vitiated the text.
introduction 35
In my translation, I have tried to leave Akinari alone as much
as possible without doing violence to my mother tongue. I
have looked for ways to convey in English the distinctive
qualities of Akinari’s prose more successfully than some
of my predecessors have done, even though I am aware
of my limitations as an English stylist and of the ultimate
impossibility of a close approximation. Akinari’s original (as
opposed to the modern, edited texts on which we base our
translations) presents each tale as a steady narrative flow,
uninterrupted by paragraphs or quotation marks and only
occasionally guided by punctuation. One effect of this pre-
sentation (which was common at the time) is to blur the dis-
tinction between narrative and dialogue: early editions give
the impression that both narrative and dialogue are told in
the voice of the narrator. I considered dispensing with quo-
tations marks and other modern techniques for setting off
dialogue, but finally decided that this would make the trans-
lation too odd and remote for the tastes of most readers. For
the same reason, I have also used English tenses, despite
the advice of those who emphasize the inherent differences
between Japanese and English narrative.93 Probably these
compromises will satisfy no one, but I hope that my transla-
tion will bring readers of English a little closer to the tone,
texture, and excitement of Akinari’s masterpiece.
Some readers may think that I have accepted Vladimir
Nabokov’s advice to provide “copious footnotes, footnotes
reaching up like skyscrapers.”94 In the case of Moonlight and
Rain, I believe that extensive notes are desirable to explain
exotic references and to demonstrate the rich intertextuality
of the stories. Even so, the notes are far from exhaustive. I
have emphasized sources that readers are most likely to be
familiar with, such as The Tale of Genji, and secondary mate-
rial in English. I hope that the notes will be sufficient for the
scholarly reader and not too tedious for the casual. Informa-
tion that is immediately useful for understanding the text is
provided in footnotes; longer notes, of interest primarily to
36 introduction
students and scholars, appear at the end of each story. Truly
comprehensive notes can be found in Uzuki Hiroshi’s indis-
pensable Ugetsu monogatari hyoshaku. Many of my notes
paraphrase Uzuki’s.
Rather than inflating the footnotes further, I have pro-
vided an introduction for each story, with information on its
title, characters, places, time, background, and affinities. I
have presented this information in a format commonly used
in no texts, partly because it is a convenient arrangement
and partly because Tales of Moonlight and Rain reminds me
of a collection of no plays.
For English equivalents of court titles, I am indebted to
William H. McCullough and Helen Craig McCullough’s A
Tale of Flowering Fortunes.95
Personal names and ages are given as in the original:
family name precedes given name, and the calendar years
in which a character has lived are counted, rather than the
number of full years elapsed since the day of birth. The pre-
modern Japanese calendar consisted of twelve lunar months,
of which the first three coincided with spring, the next three
with summer, and so on. The Seventh Month, therefore, cor-
responds not to July but to the first month of autumn.
The translation is based on the text, notes, and commentary
in Uzuki’s Ugetsu monogatari hyoshaku. I have also referred to
Ueda Akinari shu, edited by Nakamura Yukihiko;96 Hanabusa
soshi, Nishiyama monogatari, Ugetsu monogatari, Harusame
monogatari, edited by Nakamura Yukihiko, Takada Mamoru,
and Nakamura Hiroyasu; and the introductions, translations,
and notes in Wilfred Whitehouse’s “‘Shiramine’: A Transla-
tion with Comments” and “Ugetsu Monogatari: Tales of a
Clouded Moon,” Dale Saunders’s “Ugetsu Monogatari, or Tales
of Moonlight and Rain,” Kengi Hamada’s Tales of Moonlight
and Rain: Japanese Gothic Tales, and Leon M. Zolbrod’s Ugetsu
Monogatari: Tales of Moonlight and Rain. The translation would
not have been feasible without the tireless efforts of Japanese
scholars who have made the text as accessible as it is.
introduction 37
The woodcuts that accompany each story are from the
edition of 1776. All the translations, including those in the
notes, are my own unless otherwise indicated.
N O T E S
1. Roger Ebert, “Misguided Ambition, Forbidden Passion,” Chicago
Sun-Times, May 9, 2004.
2. See, for example, Nakano Mitsutoshi, “The Role of Traditional Aes-
thetics,” trans. Maria Flutsch, in C. Andrew Gerstle, ed., 18th Century
Japan: Culture and Society (Sydney: Allen & Unwin, 1989), p. 124.
3. Nakano, “Role of Traditional Aesthetics,” p. 125.
4. C. Andrew Gerstle, “Introduction,” in Gerstle, ed., 18th Century Japan,
p. xii.
5. Gerstle, “Introduction,” p. xii.
6. Conrad Totman, Early Modern Japan (Berkeley: University of Califor-
nia Press, 1993), p. 354.
7. Since a full biography of Akinari is available in English, I offer
only an overview of his life here. For a thorough treatment of his
life and works, see Blake Morgan Young, Ueda Akinari (Vancouver:
University of British Columbia Press, 1982). Other useful English-
language sources on Akinari include Donald Keene, World Within
Walls: Japanese Literature of the Pre-Modern Era, 1600–1867 (New York:
Holt, 1976), pp. 371–395; the introductions to Wilfrid Whitehouse,
trans., “‘Shiramine’: A Translation with Comments,” Monumenta
Nipponica 1, no. 1 (1938): 242–258, and “Ugetsu Monogatari: Tales of a
Clouded Moon,” Monumenta Nipponica 1, no. 2 (1938): 549–567, and
4, no. 1 (1941): 166–191; to Dale Saunders, trans., “Ugetsu Monoga-
tari, or Tales of Moonlight and Rain,” Monumenta Nipponica 21, nos.
1–2 (1966): 171–202; and to Leon M. Zolbrod, trans. and ed., Ugetsu
Monogatari: Tales of Moonlight and Rain: A Complete English Version
of the Eighteenth-Century Japanese Collection of Tales of the Supernatu-
ral (Vancouver: University of British Columbia Press, 1974); Takata
[Takada] Mamoru, “Ugetsu Monogatari: A Critical Interpretation,” in
Kengi Hamada, trans., Tales of Moonlight and Rain: Japanese Gothic
Tales (Tokyo: University of Tokyo Press, 1971; New York: Colum-
bia University Press, 1972), pp. xxi–xxix; Haruo Shirane, ed., Early
Modern Japanese Literature: An Anthology, 1600–1900 (New York:
38 introduction
Columbia University Press, 2002), pp. 563–567; Noriko T. Reider,
Tales of the Supernatural in Early Modern Japan: Kaidan, Akinari,
Ugetsu Monogatari, Japanese Studies, vol. 16 (Lewiston, N.Y.: Mellen,
2002); James T. Araki, “A Critical Approach to the Ugetsu Monogatari,”
Monumenta Nipponica 22, nos. 1–2 (1967): 49–64; Susanna Fessler,
“The Nature of the Kami: Ueda Akinari and Tandai Shoshin Roku,”
Monumenta Nipponica 51, no. 1 (1996): 1–15; and Dennis Washburn,
“Ghostwriters and Literary Haunts: Subordinating Ethics to Art in
Ugetsu Monogatari,” Monumenta Nipponica 45, no. 1 (1990): 39–74.
8. Totman, Early Modern Japan, pp. 302, 353. On the Kaitokudo, see also
Tetsuo Najita, Visions of Virtue in Tokugawa Japan: The Kaitokudo, Mer-
chant Academy of Osaka (Chicago: University of Chicago Press, 1987).
9. Young, Ueda Akinari, p. 12.
10. On kokugaku, see, for example, Shirane, ed., Early Modern Japanese
Literature, pp. 599–630; and Peter Nosco, Remembering Paradise:
Nativism and Nostalgia in Eighteenth-Century Japan, Harvard Yen-
ching Monograph Series, no. 31 (Cambridge, Mass.: Harvard Univer-
sity, Council on East Asian Studies, 1990).
11. On bunjin, see, for example, Lawrence E. Marceau, Takebe Ayatari: A
Bunjin Bohemian in Early Modern Japan (Ann Arbor: Center for Japa-
nese Studies, University of Michigan, 2004), pp. 1–21; Mark Morris,
“Buson and Shiki: Part One,” Harvard Journal of Asiatic Studies 44,
no. 2 (1984): 381–425, and “Group Portrait with Artist: Yosa Buson
and His Patrons,” in Gerstle, ed., 18th Century Japan, pp. 87–105; and
Patricia J. Graham, Tea of the Sages: The Art of Sencha (Honolulu: Uni-
versity of Hawai’i Press, 1998).
12. Inoue Yasushi, Ugetsu monogatari ron—gensen to shudai (Tokyo:
Kasama Shoin, 1999), p. 3.
13. For fuller discussions of Akinari’s ukiyo zoshi, see Young, Ueda Aki-
nari, pp. 16–33; and Keene, World Within Walls, pp. 372–375.
14. Young, Ueda Akinari, p. 79.
15. On the debate, see Young, Ueda Akinari, pp. 78–87.
16. On ga and zoku in the eighteenth century, see Nakano, “Role of Tra-
ditional Aesthetics.”
17. Young, Ueda Akinari, p. 109.
18. Excerpts from A Record of Daring and Prudence are in Fessler, “Nature
of the Kami,” pp. 8–15.
19. Graham, Tea of the Sages, pp. 22, 87–90, 92.
introduction 39
20. Barry Jackman, trans., Tales of the Spring Rain (Tokyo: University of
Tokyo Press, 1975; New York: Columbia University Press, 1979). See
also Young, Ueda Akinari, pp. 128–139.
21. Quoted in Nakano, “Role of Traditional Aesthetics,” p. 127.
22. Marceau, Takebe Ayatari, p. 103.
23. Nakano, “Role of Traditional Aesthetics,” p. 129.
24. Nakano, “Role of Traditional Aesthetics,” p. 128.
25. Totman, Early Modern Japan, p. 366.
26. On Akinari’s desire to change zoku into ga, see also Morita Kiro,
Ueda Akinari bungei no kenkyu (Osaka: Izumi Shoin, 2003), pp. 583–
585. Akinari was not the first bunjin to make this transformation in
fiction. In his preface to Nishiyama monogatari (A Tale of the Western
Hills), Kinryu Keiyu (1712–1782) praised Takebe Ayatari (also a bun-
jin) for his ability to “achieve ga while adhering to zoku” (Nakamura
Yukihiko, Takada Mamoru, and Nakamura Hiroyasu, eds., Hanabusa
soshi, Nishiyama monogatari, Ugetsu monogatari, Harusame mono-
gatari, Nihon koten bungaku zenshu, vol. 48 [Tokyo: Shogakukan,
1973], p. 251). Keiyu’s preface and Nishiyama monogatari have been
translated by Blake Morgan Young: Takebe Ayatari, “A Tale of the
Western Hills: Takebe Ayatari’s Nishiyama Monogatari,” Monumenta
Nipponica 37, no. 1 (1982): 77–121.
27. Young, Ueda Akinari, p. 88.
28. Totman, Early Modern Japan, p. 363.
29. Totman, Early Modern Japan, p. 363. See also Keene, World Within
Walls, p. 388.
30. Morita, Ueda Akinari bungei no kenkyu, p. 59.
31. Nakamura Yukihiko, introduction to Hanabusa soshi, in Nakamura,
Takada, and Nakamura, eds., Hanabusa soshi, Nishiyama monogatari,
Ugetsu monogatari, Harusame monogatari, pp. 37–38; Shirane, ed.,
Early Modern Japanese Literature, pp. 563–564.
32. Details in this paragraph come from Young, Ueda Akinari, p. 32; and
Morita, Ueda Akinari bungei no kenkyu, p. 57.
33. Morita lists nine persuasive reasons in Ueda Akinari bungei no ken-
kyu, p. 58. Takada Mamoru argues that the whole collection was com-
pleted in 1768, in “Kaisetsu” for Ugetsu monogatari, in Nakamura,
Takada, and Nakamura, eds., Hanabusa soshi, Nishiyama monogatari,
Ugetsu monogatari, Harusame monogatari, pp. 46–48.
34. Morita, Ueda Akinari bungei no kenkyu, pp. 58–59.
40 introduction
35. The no play Ugetsu has not been published in English translation.
36. Reider, Tales of the Supernatural in Early Modern Japan, p. 138. On
the influence of Chinese fiction in the eighteenth century and Aki-
nari’s sources, see the extensive notes and commentaries throughout
Uzuki Hiroshi, Ugetsu monogatari hyoshaku, Nihon koten hyoshaku
zenchushaku sosho (Tokyo: Kadokawa, 1969), and, in English, Mar-
ceau, Takebe Ayatari, p. 12; Keene, World Within Walls, pp. 375–378;
and Zolbrod, trans. and ed., Ugetsu Monogatari, pp. 61–72.
37. On intertextuality in The Tale of Genji, see Haruo Shirane, The Bridge
of Dreams: A Poetics of The Tale of Genji (Stanford, Calif.: Stanford
University Press, 1987), esp. pp. 17–23. On honkadori, see Robert H.
Brower and Earl Miner, Japanese Court Poetry (Stanford, Calif.: Stan-
ford University Press, 1961), pp. 14–15, 286–291.
38. Most modern readers depend on footnotes, but Akinari’s intended
audience would have recognized many of his borrowings without an
editor’s assistance.
39. Reider, Tales of the Supernatural in Early Modern Japan, p. 90.
40. Robert Ford Campany, Strange Writing: Anomaly Accounts in Early
Medieval China, SUNY Series in Chinese Philosophy and Culture
(Albany: State University of New York Press, 1996), pp. 270–271.
41. Uzuki, Ugetsu monogatari hyoshaku.
42. Keene, World Within Walls, p. 383.
43. Keene, World Within Walls, p. 379.
44. In the subtitle of Hamada, trans., Tales of Moonlight and Rain.
45. In the subtitle of Zolbrod, trans. and ed., Ugetsu Monogatari; and the
title of Reider, Tales of the Supernatural in Early Modern Japan, p. 1.
46. Reider, Tales of the Supernatural in Early Modern Japan, p. 7.
47. According to Rania Huntington, “Use of the term ‘supernatural’ in
the Chinese context is problematic, because foxes and ghosts were
not seen as distinct from the natural world” (Alien Kind: Foxes and
Late Imperial Chinese Narrative [Cambridge, Mass.: Harvard Univer-
sity Asia Center, 2003], p. 2, n. 3).
48. Young, Ueda Akinari, pp. 48–50; Fessler, “Nature of the Kami,” passim;
Reider, Tales of the Supernatural in Early Modern Japan, pp. 46–52.
49. Christine Brooke-Rose, A Rhetoric of the Unreal: Studies in Narrative
and Structure, Especially of the Fantastic (Cambridge: Cambridge Uni-
versity Press, 1981), p. 63. See also Tzvetan Todorov, The Fantastic: A
Structural Approach to a Literary Genre, trans. Richard Howard (Cleve-
land: Press of Case Western Reserve University, 1973).
introduction 41
50. Books on Chinese literature that are useful in a study of kaidan
include S. Y. Kao, ed., Classical Chinese Tales of the Supernatural and
the Fantastic: Selections from the Third to the Tenth Century (Bloom-
ington: Indiana University Press, 1985); Judith T. Zeitlin, Historian
of the Strange: Pu Songling and the Chinese Classical Tale (Stanford,
Calif.: Stanford University Press, 1993); and Campany, Strange Writ-
ing. Zeitlin defines “the strange” as “a cultural construct created and
constantly renewed through writing and reading; moreover, it is a
psychological effect produced through literary or artistic means. In
this sense, the concept of the strange differs from our notions of the
supernatural, fantastic, or marvelous, all of which are to some extent
predicated on the impossibility of a narrated event in the lived world
outside the text. This opposition between the possible and the impos-
sible has been the basis of most contemporary Western theories of
the fantastic, most notably Tzvetan Todorov’s influential study” (His-
torian of the Strange, p. 6).
51. Pat Fister, “Tengu, the Mountain Goblin,” in Stephen Addiss, ed.,
Japanese Ghosts and Demons: Art of the Supernatural (New York: Bra-
ziller, in association with the Spencer Museum of Art, University of
Kansas, 1985), p. 105.
52. For the text of one of these edicts, see Fister, “Tengu,” p. 110.
53. Otsu-e (Otsu prints) were hand-colored woodblock prints sold as
souvenirs to travelers in Otsu, on the edge of Lake Biwa, in Shiga
Prefecture.
54. Juliann Wolfgram, “Oni: The Japanese Demon,” in Addiss, ed., Japa-
nese Ghosts and Demons, p. 94.
55. Campany, Strange Writing, pp. 237–271.
56. Campany, Strange Writing, p. 266.
57. Campany, Strange Writing, p. 250.
58. Campany’s “human/animal” (Strange Writing, p. 251).
59. Campany’s “apparent/real” (Strange Writing, pp. 253–254). Since “A
Serpent’s Lust” is adapted from a Chinese story, it is not surprising
that it fits Campany’s description perfectly: “an apparent woman or
man . . . seduces the opposite-sex protagonist of the tale, then trans-
forms into her or his ‘true form’—some species of animal” (Strange
Writing, p. 254).
60. Campany, Strange Writing, pp. 259, 260.
61. Campany, Strange Writing, p. 265.
62. Campany, Strange Writing, p. 261.
63. Campany, Strange Writing, pp. 263–264.
64. Campany, Strange Writing, p. 264.
65. Campany, Strange Writing, pp. 321–328.
66. On Akinari’s travels, see Young, Ueda Akinari, pp. 10, 16, 70–74, 76.
67. Campany, Strange Writing, p. 9.
68. One of the social functions of fantastic literature, according to Todo-
rov, is that it allows for the treatment of forbidden themes, among
which he lists necrophilia (Fantastic, p. 158). The same could be said
for the function of setting a story at a geographical and chronological
distance.
69. Campany, Strange Writing, pp. 224–230.
70. Campany, Strange Writing, p. 224.
71. Campany, Strange Writing, p. 225.
72. Campany, Strange Writing, p. 225.
73. Campany, Strange Writing, p. 225.
74. Campany, Strange Writing, pp. 225–226.
75. Campany, Strange Writing, p. 226.
76. Campany, Strange Writing, p. 229.
77. Campany, Strange Writing, p. 229.
78. Campany, Strange Writing, pp. 229–230.
79. Virtually all Japanese commentators have pointed out affinities
between individual stories and no. In English-language studies, paral-
lels between no plays and individual stories are noted in Araki, “Criti-
cal Approach to the Ugetsu Monogatari,” pp. 61, 62, 63; J. Thomas
Rimer, Modern Japanese Fiction and Its Traditions: An Introduction
(Princeton N.J.: Princeton University Press, 1978), pp. 134–136;
Washburn, “Ghostwriters and Literary Haunts,” p. 44; and Shirane,
ed., Early Modern Japanese Literature, p. 567.
80. As Washburn points out, Saigyo is far more assertive than is a typical
waki in no (“Ghostwriters and Literary Haunts,” p. 44).
81. Rimer draws attention to the jo-ha-kyu pacing in “The Kibitsu Caul-
dron,” in Modern Japanese Fiction and Its Traditions, p. 135.
82. The parallels of “The Reed-Choked House” and “A Serpent’s Lust”
with no are mentioned in Shirane, ed., Early Modern Japanese Litera-
ture, p. 567.
83. In Tales of Moonlight and Rain, Hamada also assigned titles of his own
invention to the stories, which he arranged in this order (with my
versions of the titles): “The Reed-Choked House,” “A Serpent’s Lust,”
“Shiramine,” “The Owl of the Three Jewels,” “The Kibitsu Cauldron,”
42 introduction
“The Chrysanthemum Vow,” “The Carp of My Dreams,” “The Blue
Hood,” and “On Poverty and Wealth.”
84. The grouping of plays into five categories developed in the eighteenth
century, according to Earl Miner, Hiroko Odagiri, and Robert E. Mor-
rell, The Princeton Companion to Classical Japanese Literature (Prince-
ton, N.J.: Princeton University Press, 1985), p. 308.
85. The comparison has been suggested by Zolbrod in the introduction
to his translation of Ugetsu Monogatari, pp. 74–75.
86. Morita summarizes other Japanese scholars’ approaches to the ques-
tion of structure in Ueda Akinari bungei no kenkyu, pp. 550–554, after
offering his own analysis on pp. 535–550.
87. The rest of this paragraph summarizes Takada’s analysis (with my
supplementary comments in parentheses) in “Kaisetsu” for Ugetsu
monogatari, pp. 50–53.
88. Takata, “Ugetsu Monogatari,” p. xxi. Along the same lines, Araki wrote,
“Those in the West who have read the Ugetsu monogatari in transla-
tion may have felt that some of the tales are curiously composed,
and may have questioned their excellence” (“Critical Approach to
the Ugetsu Monogatari,” p. 49); Zolbrod argued that “one can hardly
claim that the tales have been available [in English translation] in
a suitable form for the general public” (Ugetsu Monogatari, p. 82);
and Keene noted that “it probably would not occur to anyone reading
‘Shiramine’ in translation that Akinari was a writer of the first qual-
ity, considered by the Japanese to be worthy of a lifetime’s research”
(World Within Walls, p. 381).
89. Zolbrod, trans. and ed., Ugetsu Monogatari, p. 83.
90. John Dryden, “On Translation,” in Rainer Schulte and John Biguenet,
eds., Theories of Translation: An Anthology of Essays from Dryden to Der-
rida (Chicago: University of Chicago Press, 1992), p. 26.
91. According to Friedrich Schleiermacher, “Indeed, the goal of trans-
lating in such a way as the author would have written originally in
the language of the translation is not only unattainable but is also
futile and empty in itself” (“On the Different Methods of Translat-
ing,” trans. Waltraud Bartscht, in Schulte and Biguenet, eds., Theories
of Translation, p. 50).
92. Schleiermacher, “On the Different Methods of Translating,” p. 42.
93. See, for example, H. Richard Okada, Figures of Resistance: Language,
Poetry, and Narrating in The Tale of Genji and Other Mid-Heian Texts
(Durham, N.C.: Duke University Press, 1991).
introduction 43
94. Vladimir Nabokov, “Problems of Translation: Onegin in English,” in
Schulte and Biguenet, eds., Theories of Translation, p. 143.
95. William H. McCullough and Helen Craig McCullough, trans., A Tale
of Flowering Fortunes: Annals of Japanese Aristocratic Life in the Heian
Period (Stanford, Calif.: Stanford University Press, 1980), vol. 2, pp.
789–831.
96. Nakamura Yukihiko, ed., Ueda Akinari shu, Nihon koten bungaku tai-
kei, vol. 56 (Tokyo: Iwanami, 1968).
44 introduction
tales of moonlight and rain
PREFACE
The Preface is written in kambun, or Japanese-style Classical
Chinese. This practice was common in premodern Japanese
texts, especially during the early modern period, when interest
in Chinese literature reached new heights. The style afforded
an author the opportunity to show that he was both erudite
and au courant. Akinari’s publications before Tales of Moon-
light and Rain were, however, written entirely in Japanese.
Composing the Preface in kambun might have been a way to
signal the greater seriousness of the work that follows.1
The Preface opens with references to two of the greatest
classics of Chinese and Japanese fiction: Shuihu zhuan and
Genji monogatari. The first, written in the fourteenth cen-
tury in colloquial Chinese and attributed to Shi Nai’an and
Luo Guanzhong (both fl. before 1400), has been translated
by Pearl S. Buck (as All Men Are Brothers), J. H. Jackson (as
Water Margin), Sidney Shapiro (as Outlaws of the Marsh), and
John Dent-Young and Alex Dent-Young (as The Marshes of
Mount Liang). Genji monogatari, written in the early elev-
enth century in colloquial Japanese by Murasaki Shikibu
(976?–1015?), has been translated as The Tale of Genji by
Arthur Waley, Edward G. Seidensticker, and Royall Tyler. The
unhappy fates of Luo and Murasaki, as recounted by Akinari,
are based on old legends. In the Confucian view, which held
that literature should be didactic and edifying, the authors’
“wrongful actions” consisted of leading readers astray by
writing fiction.
Akinari therefore adopts a modest tone in the Preface, dis-
paraging his “scribbled” stories as “idle,” “flawed,” “baseless,”
and unbelievable, especially in comparison with the mas-
terpieces of his two illustrious predecessors. It is tempting,
however, to conclude that Akinari’s modesty is ironic; that he
wanted his work to be considered in the same league as Water
Margin and The Tale of Genji; that he hints at retribution in
the present, in the form of his crippled fingers; and that his
offspring may well turn out to be deformed.2 Akinari’s choice
of one Chinese and one Japanese precedent is appropriate,
since he drew heavily on both Chinese and Japanese sources
in writing the stories in Tales of Moonlight and Rain. The Pref-
ace serves to signal this borrowing to his readers.
Akinari lauds the Tokugawa regime, which governed Japan
during his lifetime, with a reference to “a time of peace and
contentment.” He compliments the regime again at the open-
ing of “The Owl of the Three Jewels,” the fifth story, and at
the conclusion of “On Poverty and Wealth,” the last story in
the collection. Maybe government censors concentrated on
beginnings and endings, as many readers do to this day. The
mention of wars in three other stories—“Shiramine,” “The
Chrysanthemum Vow,” and “The Reed-Choked House”—also
served to remind Akinari ’s readers that they lived in a peace-
ful era. Akinari’s praise for his rulers was probably sincere.
Akinari used the pen name Senshi Kijin in none of his
other works. Senshi is written with characters that signify
“clipping limbs” or “pruning,” but also suggest “clipped
fingers,” an allusion to Akinari’s two fingers deformed by
smallpox when he was in his fifth year. Kijin can mean “an
eccentric,” but here probably signifies “a cripple.” Thus the
possible meanings of the pen name range from “an eccen-
48 preface
tric who prunes branches” to (more pertinently) “a cripple
with clipped fingers.” The pen name also alludes to Qu You’s
Jiandeng xinhua (New Tales After Trimming the Lamp, 1378),
since the first character, read sen in Japanese, is also the first
character in the title of the Chinese story collection.
Master Luo compgenerations of deaf-mutes. Lady Murasaki wrote The Tale of Genji and fell for a time into a dreadful
realm.3 No doubt it was for their wrongful actions that they
suffered so. Look at their writings: each depicts many inge-
nious scenes and stories; their silences and songs are true to
life;4 rising and falling, their language rolls smoothly along;
and so their work resonates like fine music in the reader’s
heart. Even after a thousand years, the events of those times
show clearly in the mirror of the present. I, too, have scrib-
bled down some idle tales for a time of peace and content-
ment. A pheasant cries, dragons fight:5 I know that these
tales are flawed and baseless; no one who skims them will
find them believable. How, then, can I expect retribution,
whether in the form of harelips or flat noses?6 In the late
spring of Meiwa 5, on a night with a misty moon after the
rains have cleared, I compose this at my window and give it
to the bookseller. The title is “Tales of Moonlight and Rain.”
Written by Senshi Kijin.
N O T E S
1. Morita Kiro, Ueda Akinari bungei no kenkyu (Osaka: Izumi Shoin,
2003), p. 61.
preface 49
Image has been suppressed
2. This is the view of Uzuki Hiroshi, Ugetsu monogatari hyoshaku, Nihon
koten hyoshaku zenchushaku sosho (Tokyo: Kadokawa, 1969), pp.
17–18; and Morita, Ueda Akinari bungei no kenkyu, pp. 60–62.
3. “for a time”: reflects a legend that Murasaki Shikibu was rescued by
memorial services sponsored by her admirers.
“dreadful realm” (akushu): in Buddhism, people who had commit-
ted bad actions were thought to be reborn in one of the three most
undesirable realms of the Six Realms: hell, the lowest (jigoku); the
realm of hungry ghosts; and the realm of beasts.
4. “silences and songs”: style, rhythm, and tone.
5. “A pheasant cries, dragons fight”: examples of exceptionally strange
stories, drawn from the Confucian classics Shu Jing (Book of Docu-
ments) and I Jing (Book of Changes), respectively.
6. That is, “I do not expect my descendants to suffer deformities in ret-
ribution, since I admit that my stories are weird and baseless and so
will not deceive anyone, as Luo’s and Murasaki Shikibu’s writings
have done.”
50 preface
t itle
The title, “Shiramine” (White Peak), refers to a mountain
in the coastal village of Matsuyama, now part of the city of
Sakade, Kagawa Prefecture (formerly, Sanuki Province), on
the island of Shikoku. To a knowledgeable reader, it evokes the
tragic story of Emperor Sutoku, who was banished to Shira-
mine, where he died, was buried, and finally was enshrined.
characters
There are only two characters in “Shiramine,” both men who
are important historical figures.
The first is the revered poet-monk Saigyo (1118–1190),
born Sato Norikiyo. In his youth, he served Emperors Toba
and Sutoku as a palace guard, but he took Buddhist vows
and became a monk in 1140, initially with the name En’i.
He is remembered for his extensive travels in Japan and,
especially, for his remarkable poetry. His work appears in his
personal collection, Sankashu (Poems of a Mountain Home),1
and in imperial anthologies, especially the great Shinkokin-
BOOK ONE
SHIRAMINE
52 book one
shu (New Collection of Ancient and Modern Poems, early thir-
teenth century). Many stories and legends have accrued to
his name over the years.
The second character is the abdicated, exiled emperor
Sutoku (1119–1164, r. 1123–1141). After his abdication, he was
referred to as the new retired emperor (shin’in), to distin-
guish him from his father, Retired Emperor Toba (1103–1156,
r. 1107–1123).
places
On Shiramine, see “Title.”
“Shiramine” begins with a michiyuki (going on the road),
in which a journey is evoked with familiar place-names,
most of which had acquired the status of utamakura (poetic
sites)—place-names used frequently in poetry and listed in
handbooks of poetic composition. The michiyuki begins with
Osaka Barrier, situated on Mount Osaka, between Yamashiro
and Omi Provinces (Kyoto and Shiga Prefectures). It was the
first barrier to be encountered by a traveler heading east from
Kyoto, the capital. Mention of the Osaka Barrier signals to
the reader that the world of the story lies in the provinces,
far from the familiar, civilized capital. The route progresses
to the east and north of Kyoto, along the Tokaido (highway
along the Pacific coast between Kyoto and Edo) and beyond,
and then doubles back and heads to the west of the capital, to
Shikoku. All the place-names are utamakura:
Narumi Shore: coastline, now swallowed up by the south-
eastern part of the city of Nagoya.
Mount Fuji: although now dormant, an active volcano through
much of history.
Ukishimagahara: marsh in Suruga Province (Shizuoka Pre-
fecture).
Kiyomi Barrier: in Suruga Province.
shiramine 53
Oiso and Koiso: towns in Sagami Province (Kanagawa Pre-
fecture).
Musashino: plain on which greater Tokyo stands. I have fol-
lowed Edward G. Seidensticker’s example in translating
murasaki (a gromwell [Lithospermum erythrorhizon]) as
“lavender.”2
Shiogama: in Rikuzen Province (Miyagi Prefecture), near
Matsushima, which is said to be one of the three most
beautiful spots in Japan.
Kisagata: inlet on the Sea of Japan, in Ugo Province (Akita
Prefecture).
Sano: in Ueno Province (Gumma Prefecture). A funabashi
(boat bridge) was constructed by tying boats together, side
by side, across a river, and laying planks on top of them.
Kiso: in Shinano Province (Nagano Prefecture).
Naniwa: old name for Settsu Province, the area around what
are now the cities of Osaka and Kobe.
Suma: in Settsu Province, in what is now the city of Kobe.
Akashi: west of Suma, in Harima Province (Hyogo Prefec-
ture). Suma and Akashi are famous as the settings and
titles of chapters 12 and 13 of The Tale of Genji.
Mio Hill (Miozaka): in the northern part of the city of Sakade,
now called Mizuozaka.
t ime
Autumn of 1168 (Ninnan 3).
background
The dramatic historical events in the background of “Shira-
mine” would have been familiar to Akinari’s readers through
the chronicle Hogen monogatari (Tale of the Disorder in Hogen,
1219–1220?) and many other sources, including plays and
54 book one
legends; but the events are complicated and perhaps hard to
follow for contemporary readers, whether Japanese or West-
ern. The disorder began in 1141, with the decision by Retired
Emperor Toba to force Emperor Sutoku, his eldest son and
successor, to abdicate in favor of another son, Sutoku’s half
brother Narihito (whom Akinari mistakenly calls Toshihito).
According to Tale of the Disorder in Hogen, “It was shocking
to force the previous emperor to retire, although he had no
special incapacity. . . . In truth, he left the Throne against his
will.”3 Narihito became Emperor Konoe at the age of three,
with Toba governing on his behalf. When Konoe died in
1155, a disagreement arose over the succession. New Retired
Emperor Sutoku—and many others at court—assumed that
Sutoku’s son Shigehito would succeed Konoe as emperor,
but instead Toba unexpectedly elevated his own fourth son,
Masahito, to become Emperor Go-Shirakawa (1127–1192,
r. 1155–1158). It was rumored that Bifukumon’in, Toba’s con-
sort and Konoe’s mother, suspected that her son had died
because of a curse from Sutoku and persuaded Toba to
bypass Shigehito in favor of Masahito.
When Toba died in 1156, the first year of Hogen, Sutoku
thought that he saw his opportunity. Resentful that he and
his line had been shut out of the imperial succession, he
led a revolt, known as the Hogen Insurrection, against Go-
Shirakawa; but his uprising was quickly suppressed, and he
was banished to Matsuyama, where he died in exile eight
years later. In “Shiramine,” Sutoku takes credit for two
other conflicts as well. He looks back to the first of these,
which occurred during his exile, and he predicts the sec-
ond, which began twelve years after Saigyo’s visit in 1168 to
Sutoku’s grave.
The first conflict is the Heiji Insurrection, a brief war
that began and ended in the last month of lunar 1159, the
first year of Heiji (January 1160 in the Gregorian calendar).
Fujiwara Nobuyori (1133–1159), a favorite of Go-Shirakawa,
shiramine 55
had been promoted repeatedly, despite his mediocrity, and
aspired to the high position of major captain of the impe-
rial bodyguard (konoe no taisho); but he was thwarted by Fuji-
wara Shinzei, whose lay name was Michinori (1106–1159), a
scholarly, unscrupulous official who served Emperors Toba,
Sutoku, Konoe, and Nijo (r. 1158–1165) and who was espe-
cially close to Go-Shirakawa. Nobuyori responded by con-
spiring with Minamoto no Yoshitomo (1123–1160), who had
supported Go-Shirakawa during the Hogen Insurrection,
in a plot to seize power. Although Nobuyori succeeded in
killing his nemesis Shinzei, the coup failed, Nobuyori was
executed, and Taira no Kiyomori (1133–1181) emerged as
the most powerful figure in Japan. According to legend, the
Heiji Insurrection was caused by Sutoku’s vengeful spirit.
In 1191 Go-Shirakawa ordered that a shrine be built next to
Sutoku’s grave in order to placate his spirit. A branch of the
Shiramine Shrine stands in Kyoto.
The second conflict is the epochal Gempei (Minamoto–
Taira) War of 1180 to 1185. Minamoto no Yoritomo (1147–
1199), the third son of Yoshitomo, had been spared after the
Heiji Insurrection and, in 1180, raised an army in eastern
Japan to attack the rival Taira clan, headed by Kiyomori. At
the same time, Yoritomo’s cousin Minamoto (Kiso) no Yoshi-
naka (1154–1184) raised an army in northern Japan. In 1183
Yoshinaka succeeded in driving the Taira from the capital.
They fled west toward their power base in the Inland Sea,
but suffered a devastating defeat at Yashima, not far from
Sutoku’s grave, and on the nearby waters of Shido. Finally, in
1185, the Taira met with complete defeat at Dannoura, in the
straits near Akamagaseki (modern Shimonoseki). Emperor
Antoku (1178–1185, r. 1180–1185) was drowned during the
battle. This pivotal conflict, which led to the establishment of
military rule under a shogun, is the subject of Heike monoga-
tari (The Tale of the Heike, mid-thirteenth century) and many
other works in every genre.
56 book one
aff init ies
The principal sources from which Akinari adapted material
for “Shiramine” are the military chronicles Tale of the Disor-
der in Hogen, Heiji monogatari (Tale of the Heiji Insurrection,
1221?), The Tale of the Heike, Genpei josuiki (or seisuiki; Record
of the Rise and Fall of the Minamoto and Taira, thirteenth cen-
tury), and Taiheiki (Record of Great Peace, fourteenth century);
the setsuwa collection Senjusho (Selected Stories, mid-thir-
teenth century), formerly attributed to Saigyo; Saigyo’s Poems
of a Mountain Home; the no play Matsuyama tengu (Goblin of
Matsuyama, late fourteenth–early fifteenth centuries); Tsuga
Teisho’s Hanabusa soshi (A Garland of Heroes, 1749), which
includes a story about a debate between Emperor Go-Daigo
and one of his ministers; the joruri play Sutoku-in Sanuki
denki (Biography of Retired Emperor Sutoku at Sanuki, 1756);
and Honcho jinja ko (Studies of Japanese Shrines), by Hayashi
Razan (1583–1657). It is notable that all these sources are
Japanese, except for the Chinese tale from which the story in
A Garland of Heroes was derived.
In addition, the text quotes from or refers to Confucius;
Mencius; Wuzazu (Five Miscellanies, 1618), by the late-Ming
official Xie Zhaozhe (1567–1624), which was reprinted and
widely read in Japan from the 1660s on; Shi jing (The Book
of Songs, eleventh–sixth centuries B.C.E.); Laozi’s Daodejing
(Classic of the Way and Its Power, fourth or third century
B.C.E.); and the Diamond Sutra. Other sources and related
works listed by Uzuki Hiroshi include Nihon shoki (Chron-
icles of Japan, 720), Shiramineji engi (History of Shiramine
Temple, 1406), and several Chinese works.4
other observat ions
Mishima Yukio considered “Shiramine” to be “a perfect mas-
terpiece” and wrote that, with “The Carp of My Dreams,” it
shiramine 57
was his favorite story in the collection.5 Tanizaki Jun’ichiro
singled out the opening of “Shiramine” as “a masterpiece
of classical style,” “an exemplary piece of Japanese prose,
employing the special strengths of our language.”6 He did
so in part because Akinari provides no subject in the open-
ing paragraphs, even though the knowledgeable reader will
guess that the subject is Saigyo. (Indeed, Saigyo is not clearly
identified until the end of the fourth paragraph, and then
only indirectly, by his lesser-known name of En’i.) As Tanizaki
points out, the original reads smoothly without subjects, but
English requires the use at least of pronouns.7 “Shiramine”
can even be read as a first-person narrative, and has been
translated as such by Leon M. Zolbrod.8 Thus it is impos-
sible to capture in translation the “special strengths,” and
particularly the ambiguity, of the language of “Shiramine.”
Allowed by the guarhe found it hard to look away from the mountain’s autumn leaves, but he traveled on to Narumi Shore,
where plovers leave tracks in the sand; to the high peak of
Fuji, with its constant smoke; to Ukishimagahara, Kiyomi
Barrier, the rocky shores of Oiso and Koiso, the lavender-
rich plains of Musashino, the tranquil morning landscape
at Shiogama, the fishermen’s thatched huts at Kisagata, the
boat-bridge at Sano, the suspended bridges of Kiso—none
of these places failed to move him, but, wanting also to see
poetic sites in the western provinces, he went in the autumn
of Ninnan 3 past the reeds that shed their blooms at Naniwa,
felt the piercing winds on the shores of Suma and Akashi,
and finally arrived at Sanuki, where, in the woods at a place
called Mio Hill, he rested his staff for a time. Here he built a
hut, not for comfort after pillows of grass on the long road,
but as a way to practice contemplation and self-discipline.9
Image has been suppressed
58 book one
He learned that, near this village, at a place called Shira-
mine, was the grave of the New Retired Emperor, and wish-
ing to pay his respects he climbed the mountain early in the
Tenth Month. Pines and cypress grew so thickly together that
a misty rain seemed to fall even on a fine day when white
clouds trailed across the sky. A steep hill called Chigogadake
towered behind the site, while clouds and mist rose from the
depths of the valley, blurring even objects close at hand. In
a small opening among the trees, soil had been piled high
with three stones laid on top, and the whole was overgrown
with wild roses and vines. This melancholy mound must be
the imperial grave, he thought, as a shadow fell on his heart
and he could barely distinguish dream from reality.
When he had seen him in person, the emperor had con-
ducted the business of the court from the Royal Seats in the
Shishinden and Seiryoden, while the one hundred officials
had listened in awe and obeyed his commands, exclaiming
at the wisdom of their lord.10 Even after abdicating in favor of
Emperor Konoe, he had occupied a jeweled forest on Mount
Hakoya—and to think that now he lay dead beneath this
wild mountain thicket where no attendants could be seen,
only the tracks of passing deer! Emperor though he was,
the karma of former lives clung fearsomely to him, and he
could not evade his wrongdoing. From this came thoughts of
mutability, and no doubt tears began to flow.
Wishing to hold a memorial service through the night, he
sat on a flat stone before the grave and, while quietly chant-
ing a sutra, composed this poem as an offering:
“The view of the waves at Matsuyama may not have changed,
but like the tidelands, traces of my lord have gradually
disappeared.”11
l. 19 “jeweled forest”: an elegant term for a palace.
l. 19 “Mount Hakoya”: a conventional term for the residence of a retired
emperor, deriving from the name of a mountain where immortal sages
dwelt. Both terms come from Chinese legends.
shiramine 59
He continued tirelessly chanting the sutra. How damp with
dew his sleeves must have grown! As the sun set, the night
was menacing here, deep in the mountains. He was cold
with his bed of stone and fallen leaves for nightclothes; his
mind clear and his body chilled to the bone, he began to
sense something bleak and awful. The moon rose, but the
thick woods allowed no light to penetrate. In the darkness,
his heart grew weary and he began to doze, when a voice
called unmistakably, “En’i, En’i.”
Opening his eyes and peering into the darkness, he saw the
strange form of a person, tall and haggard, but could make out
neither the face nor the color or pattern of the robes on the
figure that stood facing him. Saigyo was, of course, a monk
with a strong faith in the Buddhist Way, and so fearlessly he
replied, “Who is there?” The other said, “I have appeared
because I wish to reply to the verse you have recited:
The ship that drifted here on Matsuyama’s waves
has quickly faded into nothingness.12
I am glad that you have come.”
Realizing that this was the ghost of the New Retired
Emperor, he pressed his forehead to the ground and said,
with tears in his eyes, “But why do you wander like this,
Your Majesty? It was because I envied your having shunned
this degenerate world that I have tried to draw closer to the
Buddha’s Way through my observances tonight; but for you
to appear here, while it is more than I deserve, is surely very
l. 1 “How damp with dew his sleeves”: damp sleeves conventionally con-
note tears, as well as dew.
l. 22 “why do you wander like this”: in other words, “Why does your spirit
cling to this world, without achieving enlightenment?”
l. 23 “shunned this degenerate world” (jokuse o enri shi): has been interpreted
in two ways: as a reference to Sutoku’s having taken Buddhist vows after
his failed uprising, or as a reference to his having died and, presumably,
achieved buddhahood.
60 book one
sad for you. You must set your mind on leaving this world
behind, quickly forgetting its attachments, and rise, through
your good karma, to the level of a perfect Buddha.” Thus he
remonstrated with all his heart.
The New Retired Emperor gave a great laugh: “You do not
know. The recent turmoil in the land has been of my doing.
While I was still alive I devoted myself to the Tengu Way and
caused the insurrection of the Heiji era, and since my death
I have placed a curse on the imperial family. Watch! Soon I
will bring about a great war in the land.”
Hearing these words, Saigyo checked his tears: “I am
astonished to hear these ill-considered, woeful sentiments
from you. You were always known for your wisdom, and
you understand the nature of the Royal Way. Let me ask
you a question. Did you decide upon the Hogen Insurrec-
tion believing that it was in accord with the Heavenly Deity’s
oracle? Or did you plan it out of selfishness? Please explain
this to me in detail.”
The Retired Emperor’s expression changed: “Listen. The
status of emperor is the highest among men. When an
emperor corrupts morality, then one must follow the Man-
date of Heaven, respond to the people’s wishes, and strike.13
No one can say that I was motivated by selfishness when, long
ago in the Eiji era, I humbly acceded to my imperial father’s
command and, though innocent of any crime, relinquished
l. 1 “sad for you”: it is sad for Sutoku that he still clings to this world, unable
to achieve buddhahood.
l. 7 Tengu Way (mado): mado (literally, “evil way”) leads one away from or
interferes with the Buddha’s teachings. Commentators agree that ten-
gudo (the tengu way) is meant here. On tengu, see the introduction.
l. 14 Royal Way (odo): a Confucian concept that emphasizes enlightened rule
through the virtues of benevolence (J. jin, Ch. ren) and righteousness
(J. gi, Ch. yi), as opposed to military rule (hado).
l. 16 Heavenly Deity (Ame no kami): Amaterasu Omikami, the sun goddess,
who is said to have prophesied that her progeny would rule Japan with-
out interruption.
l. 24 Eiji: the years 1141/1142.
shiramine 61
the throne to the three-year-old Toshihito. When Toshihito
died in his youth, I and others assumed that naturally my son
Shigehito would rule the country next, but we were thwarted
by the jealousy of Bifukumon’in, and the throne was seized
by the Fourth Prince, Masahito. This caused deep bitter-
ness, did it not? Shigehito would be an able ruler. What tal-
ent does Masahito possess? Ignoring a person’s virtues and
consulting a consort about the future of the realm were my
imperial father’s crimes. Nevertheless, as long as he lived,
I maintained my sincere devotion to him and gave no sign
of discontent; but when he died, I asked myself how long
matters could go on like this, and summoned my courage.
A mere vassal’s striking down his king led to eight hundred
years of the Zhou,14 because the vassal had followed Heaven
and responded to the people’s wishes; and so no one can
call it unreasonable that men who have the status to gov-
ern should try to replace a reign in which hens announce
the dawn. You took your vows and became infatuated with
the Buddha in a selfish desire to escape earthly passions and
achieve nirvana in the next life. Now are you trying to sway
me by forcing morality into the law of cause and effect, and
mixing the teachings of Yao and Shun with Buddhism?” He
spoke harshly.
Showing no fear, Saigyo moved forward and spoke: “In
what you have just said, you have applied the principles of
l. 1 Toshihito: the name should be Narihito.
l. 12 “courage”: that is, courage to resort to force in order to rectify the wrong
that Sutoku believed had been done to himself and his son.
l. 16 “men who have the status to govern”: Sutoku is referring to himself and
his son Shigehito.
l. 17 “hens announce the dawn”: a proverb signifying that a wife has usurped
her husband’s authority, referring here to Bifukumon’in’s influence
over Toba.
l. 22 Sutoku rebukes Saigyo for having embraced Buddhism (“law of cause
and effect”) and for trying to force ancient Confucian morality, as rep-
resented by the legendary sage-kings Yao and Shun (ca. twenty-fourth
century B.C.E.), into the mold of Buddhism.
62 book one
morality but have not escaped from desire and contamina-
tion.15 There is no need to speak of distant China. In our
own country, long ago, Emperor Ojin passed over an older
son, Prince Osasagi, to make his youngest son, Prince Uji,
the Heir Apparent. When the emperor died, each brother
yielded to the other and neither would ascend to the throne.
Prince Uji grew deeply concerned when this situation con-
tinued for three years, and, asking himself why he should
go on living and causing trouble for the people, took his
own life, whereupon his older brother had no choice but to
become emperor.16 He did so because he revered the posi-
tion of emperor, observed filial and fraternal devotion, was
utterly sincere, and had no personal desires.17 Surely this is
what is meant by ‘the Way of Yao and Shun.’ In our country,
esteem for Confucianism, and its position as the sole basis
of the Royal Way, began when Prince Uji summoned Wani
of Paekche as his tutor,18 and so we can say that the spirit of
these princely brothers was precisely the spirit of the Chi-
nese sages.
“Also, a book called Mencius, I am told, says that at the
beginning of Zhou, King Wu brought peace to the people in
a fit of rage. One should not say that a vassal killed his lord.
Rather, he executed a man named Zhou who had trampled
on benevolence and righteousness.19 Although the Chinese
classics, histories, and even poetry and prose collections have
all been brought to Japan, this book called Mencius alone has
not yet come. The reason is said to be that all the ships carry-
ing this book have met with violent storms and sunk.20 Why?
Since the great goddess Amaterasu established our country
and ruled, there has never been a break in the succession of
emperors; but if the sly, specious teachings of Mencius were
transmitted to Japan, then some future villain might over-
throw the divine progeny and say that he had done no wrong:
realizing this, the gods all hated the book and raised divine
winds to capsize the ships. Thus many of the teachings of
the sages of another country are not suited to our land. Fur-
shiramine 63
ther, is it not said in the Songs that brothers might quarrel
at home but must defend against insults from outside?21
You, however, not only forgot the love of your own flesh and
blood when the Retired Emperor died, but unfurled banners
and raised bows to fight over the succession before his body
had grown cold in the funerary palace—surely there is no
worse crime against filial devotion than this.22 The world is
a sacred vessel.23 The truth is that one who greedily tries to
seize it will fail: Prince Shigehito’s accession may have been
the wish of the people, but when you resorted to wayward
methods and brought chaos to the world instead of spread-
ing virtue and harmony, even those who loved you until yes-
terday suddenly became wrathful enemies today, you were
unable to attain your goal, you received an unprecedented
punishment, and you turned to dust in this remote province.
I beg you to forget your old resentments and return to the
Pure Land.”
The Retired Emperor heaved a long sigh and said, “You
have clearly stated the rights and wrongs of the matter and
rebuked me for my crimes. What you say is not without rea-
son. But what can I do? Banished to this island, confined in
the Takato house at Matsuyama,24 I had no one to serve me
but those who brought my three meals a day. Only the cries of
the wild geese that cross the sky reached my pillow at night,
and I longed for the capital, toward which they might be fly-
ing;25 and it broke my heart to hear the plovers at dawn,26
crying to each other at the tip of the sandbar. Crows’ heads
would turn white before the time came for me to return to
the capital: I would surely wander this shore as a ghost. For
the sake of the future world, I devoted myself to copying five
l. 17 Pure Land (Jodo): a Buddhist paradise in the west, presided over by the
Buddha Amitabha (J. Amida). Here Saigyo implores Sutoku’s wandering
ghost to put his grudges behind him, let go of his worldly attachments,
achieve enlightenment, and enter the Pure Land.
64 book one
Mahayana sutras,27 but there was no place to keep them on
this desolate strand, where no sound of conch or bell is ever
heard. I sent the sutras with a poem to the prince at Ninwaji,
asking that at least the traces of my brush be allowed to enter
the capital.28
A plover on the shore—his traces go to the capital
but he himself only waits and cries at Matsuyama.29
But Lesser Counselor Shinzei, taking charge of the matter,
told the emperor that the sutras might be intended as a curse,
and so they were returned unopened, causing me great bit-
terness. Since ancient times in both Japan and China, there
have been many examples of brothers who became enemies
competing for the realm; but no matter who interfered in his
decision, for the emperor to ignore the law that requires con-
sideration for members of the family30 and reject even the
traces of my brush—the sutras I copied, aware of the depth
of my guilt and repentant for my wrong-heartedness—is
something I can never forgive. In the end, I decided to throw
off my resentment by dedicating those sutras to the Tengu
Way: biting my finger, I wrote a petition with the blood and
sent it with the sutras to the bottom of the Shito Sea,31 after
which I shut myself away, meeting no one, and fervently
petitioned that I might become King of the Tengu—and then
came the Heiji Insurrection. First I induced in Nobuyori the
arrogance to wish for high rank, and caused Yoshitomo to
become his ally. Yoshitomo was a hateful enemy. Everyone
in his family, beginning with his father, Tameyoshi, gave his
life for my sake, while Yoshitomo alone drew his bow against
me.32 Victory was in sight, thanks to Tametomo’s valor and
l. 2 “no sound of conch or bell”: that is, there were no Buddhist temples,
where conches and bells were used to mark the hour, among other
functions.
shiramine 65
the strategy of Tameyoshi and Tadamasa,33 but attacked by
a fire borne on a southwesterly wind, we fled the Shirakawa
Palace,34 after which I tore my feet on the crags of Mount
Nyoi35 and endured the rain and dew, my body covered with
oak-cuttings from the mountain people, until finally I was
arrested and banished to this island—and all of these tor-
ments arose from Yoshitomo’s perverse plot. In revenge, I
cursed him by giving him the heart of a tiger or a wolf and
had him conspire with Nobuyori, so that Nobuyori commit-
ted the crime of defying the earthly deity and was struck
down by Kiyomori, who has no talent for military affairs.36
Retribution for killing his own father, Tameyoshi, came to
Yoshitomo when he was deceived by one of his own retain-
ers: this was heaven’s punishment!37 As for Lesser Counselor
Shinzei: inciting his twisted heart, which had always led him
to show off his erudition and block the advancement of oth-
ers, I made him the enemy of Nobuyori and Yoshitomo, so
that in the end he abandoned his home and hid in a hole
at Uji, where he was finally discovered and captured, and
his severed head was exposed on the riverbank at Rokujo.38
This brought to a close his crime of sycophancy in returning
my sutras. Caught up with my anger, I took Bifukumon’in’s
life in the summer of the Oho era and placed a curse on
Tadamichi39 in the spring of the Chokan era, and in the
autumn of that year I left the world myself; but the flames
of my resentment still blazed undiminished, and I became
the Great King of Evil, the master of more than three hun-
dred. When my followers see happiness in others, they turn
l. 8 “heart of a tiger or a wolf”: that is, a cruel, grasping heart.
l. 10 “earthly deity”: the emperor; here Cloistered Emperor Go-Shirakawa.
l. 23 Oho: the years 1161 to 1163. Bifukumon’in actually died in the winter of
1160.
l. 24 Chokan: the years 1163 to 1165.
l. 27 “three hundred”: there were said to be more than three hundred tengu
in Japan.
66 book one
it to calamity; seeing the realm at peace, they incite turmoil.
Kiyomori’s karmic reward has been large in this life, so that
all the members of his clan have achieved high position and
rank, and he governs as he wishes; but since Shigemori
assists him devotedly, their time has not yet come.40 You
watch—the Taira clan will surely not last long. In the end,
I shall take my revenge on Masahito to the same extent that
he was cruel to me.” His voice had grown steadily more omi-
nous. Saigyo said, “Tied so strongly to the evil karma of the
Tengu World, Your Majesty is separated one trillion leagues
l. 6 Masahito: Ex-Emperor Go-Shirakawa.
Image has been suppressed
shiramine 67
“ He sat facing him
silently.”
from the Pure Land. I shall say nothing more.” He sat facing
him silently.
Just then, the peaks and valleys shook; a wind seemed
to knock over the forest and lifted sand and pebbles twist-
ing into the sky. In the next instant, a goblin-fire burst from
below the Retired Emperor’s knees, and the mountains and
valleys grew as bright as at noontime. Staring at the royal
figure in this light, Saigyo saw a face as red as though blood
had been poured over it; a tangle of knee-length hair; angry,
glaring eyes; and feverish, painful breathing. The robe was
brown and hideously stained with soot; the nails on the
hands and feet had grown as long as an animal’s claws: he
Image has been suppressed
68 book one
had exactly the aspect of the King of Evil himself, appalling
and dreadful. Looking to the sky, the Retired Emperor cried,
“Sagami, Sagami.” In response, a goblin flew down in the
form of a hawk-like bird, prostrated itself, and waited for its
master to speak. The Retired Emperor said to the goblin-
bird, “Why do you neither take Shigemori’s life quickly nor
torment Masahito and Kiyomori?” The goblin-bird replied,
“The Ex-Emperor’s luck has not yet run out, and Shigemo-
ri’s devotion keeps him beyond our reach. After one zodiac
cycle, Shigemori’s life span will come to an end;41 if you wait
for him die then, the luck of his clan will perish as well.”
The Retired Emperor clapped his hands in delight: “I shall
destroy all these enemies, here in the sea before me!”42 The
horror of his voice, echoing in the valleys and peaks, was
beyond description.
Witnessing the baseness of the Tengu Way, Saigyo could
not hold back his tears. Composing another poem, he urged
the Retired Emperor again to embrace the Buddha’s Way:
“Long ago you may have dwelt, my lord, in jeweled splendor,
but what good is that to you now?43
Royalty and peasants—they are the same,” he cried, pouring
out his feelings.
The Retired Emperor appeared to be moved by these
words: his expression softened, the goblin-fire flickered and
went out, and his figure faded from sight; the goblin-bird,
too, disappeared without a trace; the moon, nearly full, was
hidden by the peak, and in the obscurity of the dark woods
Saigyo felt as though he were wandering in a dream. Soon
the dawn sky brightened and filled with the fresh chirping
of morning birds, and so he chanted the Diamond Sutra
as a final offering44 and then descended the mountain and
l. 8 Ex-Emperor: Go-Shirakawa (Masahito).
shiramine 69
returned to his hut, where he quietly reviewed the events of
the night before. Realizing that there had been no discrepan-
cies in the Retired Emperor’s account of the Heiji Insurrec-
tion, the fates of various people, or the dates, he was deeply
awed and spoke to no one about it.
Thirteen years later, in the autumn of the fourth year of
Jisho, Taira no Shigemori fell ill and died, whereupon the
Taira Lay-Priest Chancellor, angry at his lord, confined him
in the Toba Detached Palace and then tormented him in the
thatched palace at Fukuhara.45 When Yoritomo, contending
with the eastern winds, and Yoshinaka, sweeping away the
northern snows, emerged, the whole Taira clan drifted on the
western sea, finally reaching Shido and Yashima in Sanuki,
where many brave warriors ended up in the stomachs of
turtles and fish, and, pursued to Dannoura at Akamagaseki,
their young lord entered the sea and all their commanders
perished. It was a strange, terrifying story, differing in no
detail from the Retired Emperor’s prophesy. Later, a shrine
was built for him, studded with jewels and brightly painted,
where he is honored and revered. All who visit the province
should put up offerings, purify themselves, and pay their
respects to this deity.46
l. 6 “fourth year of Jisho”: the year 1179.
l. 8 Taira Lay-Priest Chancellor: Kiyomori.
l. 8 “his lord”: Ex-Emperor Go-Shirakawa.
70 book one
N O T E S
1. Saigyo, Poems of a Mountain Home, trans. Burton Watson (New York:
Columbia University Press, 1991).
2. Murasaki Shikibu, The Tale of Genji, trans. Edward G. Seidensticker
(New York: Knopf, 1976), p. 102, n. *.
3. William R. Wilson, trans., Hogen Monogatari: Tale of the Disorder in
Hogen, Cornell East Asia Series, no. 99 (Ithaca, N.Y.: East Asia Pro-
gram, Cornell University, 2001), p. 3.
4. Uzuki Hiroshi, Ugetsu monogatari hyoshaku, Nihon koten hyoshaku
zenchushaku sosho (Tokyo: Kadokawa, 1969), pp. 707–708.
5. Mishima Yukio, “Ugetsu monogatari ni tsuite,” in Mishima Yukio
zenshu (Tokyo: Shinchosha, 1975), vol. 25, pp. 272–273.
6. Tanizaki Jun’ichiro, Bunsho tokuhon, in Tanizaki Jun’ichiro zenshu
(Tokyo: Chuo Koronsha, 1974), vol. 21, pp. 137–138.
7. Tanizaki, Bunsho tokuhon, p. 175.
8. Leon M. Zolbrod, trans. and ed., Ugetsu Monogatari: Tales of Moonlight
and Rain: A Complete English Version of the Eighteenth-Century Japa-
nese Collection of Tales of the Supernatural (Vancouver: University of
British Columbia Press, 1974), pp. 98–108.
9. “contemplation” (kannen): refers to contemplating and meditating on
the truth of Buddhist teachings and the path to enlightenment.
“self-discipline” (shugyo): refers to a monk’s maintaining the rules
for proper conduct, as taught by the Buddha.
10. The Shishinden (Hall of the Royal Seat) was the main ceremonial build-
ing of the emperor’s residential compound, and the Seiryoden (Hall of
Cool and Refreshing Breezes) was the emperor’s private residence.
“one hundred officials”: a formulaic expression for the many mili-
tary and civil officials serving the court.
11. This poem is identical, except for the last word, to one by Saigyo,
which begins with a headnote: “I traveled to Sanuki and searched for
the site of the Retired Emperor’s residence at a harbor called Mat-
suyama, but there was no trace / no tideland”:
The view of the waves at Matsuyama may not have changed,
but like the tidelands, my lord is gone without a trace.
(Sankashu, no. 1354)
Both “tidelands” and “trace” translate the word kata, which Saigyo
used as a pun.
shiramine 71
12. Sankashu, no. 1353. Although this poem was written by Saigyo, there
is a tradition that it was composed by the ghost of Emperor Sutoku
when Saigyo visited his grave. Embedded in the poem is a second
layer of meaning: “The exiled emperor who came, borne upon the
waves of Matsuyama, died here before long.”
13. It was the Confucian philosopher Mencius (372?–289? B.C.E.) who
most clearly enunciated the concept that the people have the right to
depose a ruler whose corruption has caused him to lose the Mandate
of Heaven.
14. King Wu of Zhou, a vassal of the notorious King Zhou of Shang,
defeated his overlord around 1122 B.C.E. and established the Zhou
dynasty, which lasted for eight hundred to nine hundred years,
depending on which dates are accepted.
15. “you . . . have not escaped from desire and contamination”: in short,
“You have not achieved enlightenment.”
“desire and contamination” (yokujin): in Buddhism, enlighten-
ment is hindered by “five desires” and “six contaminants”—that is,
five objects of desire (color, voice, smell, taste, and touch; alterna-
tively, color, fame, food, fortune, and sleep) and the six “roots” of
these desires (eyes, ears, nose, tongue, body, and consciousness).
Together, they refer to the passions and desires that impede one’s
progress toward enlightenment.
16. Prince Osasagi, the fourth son of Emperor Ojin (late fourth–early
fifth centuries; legendary r. 270–310), became Emperor Nintoku
(early fifth century; legendary r. 313–399).
17. “filial and fraternal devotion”: along with sincerity, were traditional
Confucian virtues: “Filial piety and fraternal submission!—are they
not the root of all benevolent actions?” (Confucius, Analects 1:2, in
James Legge, trans., The Four Books: Confucian Analects, The Great
Learning, The Doctrine of the Mean, and The Works of Mencius [1879,
1923; reprint, New York: Paragon, 1966], p. 3).
18. Around 400, the scholar Wani immigrated from Paekche (a state
in the southwest of the Korean Peninsula) to Japan, where he intro-
duced Confucian texts and tutored Prince Uji.
19. King Wu “brought peace to the people of the Empire in one outburst
of rage” (Mencius, Mencius, trans. D. C. Lau [Harmondsworth: Pen-
guin, 1970], 1.B.3, p. 63). The reference is to Wu’s killing of the des-
potic King Zhou: “A man who mutilates benevolence is a mutilator,
while one who cripples righteousness is a crippler. He who is both
72 book one
a mutilator and a crippler is an ‘outcast.’ I have indeed heard of the
punishment of the ‘outcast Tchou [Zhou],’ but I have not heard of any
regicide” (Mencius, Mencius 1.B.8, p. 68).
20. This is reported in book 4 of Xie Zhaozhe, Five Miscellanies: “The
Japanese prize Confucian texts and believe in Buddhist teachings.
They pay high prices for all the Chinese classics. Only Mencius is
lacking, it is said. If anyone tries to carry this book to Japan, his ship
will capsize and sink. This is a very strange thing.”
21. The Book of Songs, one of the five Confucian classics, was compiled
between the eleventh and sixth centuries B.C.E. The reference is to a
passage in song no. 164: “Brothers may quarrel within the walls, /
But outside they defend one another from insult” (Arthur Waley, ed.
and trans., The Book of Songs [1937; reprint, New York: Grove Press,
1960], no. 194, p. 203).
22. Saigyo is referring to Sutoku’s rebellion against his brother Go-Shi-
rakawa after the death of their father, Toba.
“funerary palace” (mogari no miya): a temporary palace building
or shrine where the body of a deceased emperor or empress was kept
while preparations were being made for the funeral.
23. Quoted from chapter 29 of Laozi, Classic of the Way: “Some want to
control the world. I have seen that this is not possible. The world is
a sacred vessel; one cannot control it.” Saigyo (perhaps speaking for
Akinari) embraces Chinese classics selectively, linking the original
Confucian virtues of benevolence, righteousness, and filial and fra-
ternal devotion, as well as the Taoist concept of wu wei (inaction),
to the Japanese imperial tradition, and rejecting Mencius’s theory of
revolution.
24. The Takato were a prominent family in Matsuyama.
25. In Chinese and Japanese legend, wild geese (kari) were often associ-
ated with messengers, partly because of their migratory habits. Kari
is homophonous with a word meaning “temporary” or “transitory,”
and so carries Buddhist connotations as well.
26. Wild geese were associated with autumn; plovers, with winter. There
is a progression from night (geese) to dawn (plovers) as well.
27. Through performing good karma (copying sutras), Sutoku sought
to be reborn in better circumstances, preferably in Amida’s Pure
Land. Mahayana is the school of Buddhism prevalent in China,
Korea, and Japan (in contrast to Theravada, widespread in, for
example, Thailand).
shiramine 73
28. Ninwaji, now called Ninnaji, is a Buddhist monastery in Kyoto.
Sutoku’s younger brother Prince Motohito (Kakusho Hoshinno) was
the abbot of Ninnaji.
29. In this poem, which appears in Hogen monogatari, Sutoku likens
himself to a plover.
“traces” (ato): signifies both “footprints” and “writing.”
matsu: both “pine tree” (in the place-name Matsuyama) and “to
wait.”
30. A provision in the Taiho Code, promulgated in 701, called for penal-
ties to be reduced in the case of the emperor’s close relatives.
31. The reference to Shito Sea (Shito no umi) is unclear. Shido no ura
(Shido Bay), near the city of Takamatsu, and Shido no umi (Shido
Sea), near the city of Sakade, have been suggested, but neither is writ-
ten with the same characters as Akinari’s “Shito no umi.”
32. Minamoto no Tameyoshi (1096–1156) and six of his sons—except
Yoshitomo—sided with Sutoku in the Hogen Insurrection.
33. Minamoto no Tametomo (1139–1170), Tameyoshi’s eighth son, was
known for his courage and strength. Taira no Tadamasa (d. 1156)
sided with Sutoku in the Hogen Insurrection and was executed by
his own nephew, Kiyomori.
34. Shirakawa Palace was Sutoku’s headquarters during the Hogen
Insurrection. The fire was Yoshitomo’s “perverse plot,” mentioned at
the end of the sentence.
35. Mount Nyoi (Nyoigamine), located on the eastern edge of Kyoto above
the Ginkaku (Silver Pavilion), is now called Nyoigatake or Daimonji-
yama.
36. Tale of the Disorder in Hogen reports that Kiyomori, head of the Taira
clan, was a “weak shot” (Wilson, trans., Hogen Monogatari, p. 27).
37. In 1156 Yoshitomo had resisted the emperor’s command to kill
Tameyoshi, but finally ordered that it be done (Wilson, trans., Hogen
Monogatari, pp. 65–68). He was assassinated in 1160 by a retainer in
whose house he had taken refuge.
38. Uji is a village south of Kyoto. Criminals were often executed, and
their heads displayed, on the bank of the Kamo River near Rokujo
(Sixth Avenue) in Kyoto.
39. Fujiwara Tadamichi (1097–1164), chancellor and regent, conspired
with Bifukumon’in to deny the throne to Sutoku’s son Shigehito and
install Go-Shirakawa instead, and sided with the emperor (against
Sutoku) during the Hogen Insurrection.
40. Shigemori (1138–1179), Taira no Kiyomori’s eldest son, was noted for
his good character.
41. “zodiac cycle” (eto hitomeguri): normally refers to the sixty-year Chi-
nese cycle, which combines five elements with twelve animals of the
zodiac, but here a twelve-year cycle is meant.
42. “sea before me”: refers to the Inland Sea (Setonaikai), where the Taira
clan was defeated by the Minamoto in 1185.
43. Saigyo, Sankashu, no. 1355. The headnote reads, “Visiting a place
called Shiramine, where the emperor’s grave is located.”
44. The Diamond Sutra (J. Kongo [hannyaharamitta] kyo, Skt. Vajracche-
dika-sutra) is fascicle 547 of the Large Sutra on Perfect Wisdom (J. Dai-
hannyaharamitta-kyo, Skt. Mahaprajñaparamita-sutra).
45. The Toba Detached Palace was a luxurious estate in what is now
Fushimi Ward in Kyoto. For a few months in 1180, Kiyomori had the
capital moved from Kyoto to Fukuhara, the present Hyogo Ward in
Kobe, whose palace was proverbially rough and primitive, compared
with the elegant mansions of Kyoto.
46. “offerings” (nusa): hangings made of cloth or paper that are attached
to the gates and eaves of a Shinto shrine.
“diety”: a translation of kami. All Japanese emperors were consid-
ered kami, especially those who had been enshrined, as was Sutoku.
74 book one
t itle
The title, “Kikka no chigiri,” refers to the Chrysanthemum
Festival, observed on the ninth day of the Ninth Month, the
last month of autumn in the old Japanese calendar. Although
the festival originated in China, it has a long history in Japan,
having first been observed there in 824.
The choice of the Chrysanthemum Festival as the day
on which the central characters will reunite defines their
relationship. In early modern Japan, the chrysanthemum
blossom (kikka) was a common symbol of homosexual inter-
course because it was thought to resemble an anus. Both kiku
no chigiri (chrysanthemum vow) and kiku asobi (chrysanthe-
mum play) are euphemisms for homosexual intercourse.
The story’s title, then, tells the alert reader that Samon and
Soemon are not just friends, but lovers.1
characters
Like “Shiramine,” “The Chrysanthemum Vow” has only two
principal characters: the Confucian scholar Hasebe Samon
BOOK ONE
THE CHRYSANTHEMUM VOW
and the samurai Akana Soemon. Both men represent upper
levels of society and are paragons of dependability and integ-
rity. The cast also includes several supporting characters,
most notably Samon’s mother. Unlike the fictional protago-
nists Samon and Soemon, as well as Samon’s mother, En’ya
Kamon-no-suke, Sasaki Ujitsuna, and Amako Tsunehisa
lived in the fifteenth century.
places
Most of “The Chrysanthemum Vow” takes place at the home
of Samon in the town of Kako, the modern city of Kakogawa,
Hyogo Prefecture, about 65 miles west of Kyoto. Soemon is
from Matsue, a city in Shimane Prefecture (formerly, Izumo
Province), across the mountains on the coast of the Sea of
Japan, about 125 miles west-northwest of Kakogawa.
t ime
Spring, early summer, and autumn of 1486.
background
Far from stigmatizing the sexual bond between Samon and
Soemon, “The Chrysanthemum Vow” presents the two
men as models of friendship, loyalty, dependability, cour-
age, erudition, and self-sacrifice—the opposite of the shal-
low men against whom the story warns the reader. Samon
and Soemon are, in fact, idealized figures, as are the devoted
samurai lovers in Ihara Saikaku’s Nanshoku okagami (The
Great Mirror of Male Love, 1687). Given the consistently dys-
functional heterosexual relationships featured in the subse-
quent tales, erotic friendship between men, as depicted in
76 book one
this story, becomes a sort of model for human relationships.
This is not surprising in a society led by a samurai class that
idealized male–male sexuality.
The attack on Toda (Tomita, in Akinari’s unorthodox
reading) Castle, mentioned in “The Chrysanthemum Vow,”
began on the last day of the Twelfth Month of 1485. The ruins
of Toda Castle can still be seen in Shimane Prefecture.
aff init ies
Akinari adapted “The Chrysanthemum Vow,” in part, from
“Fan Juqing jishu sisheng jiao” (Fan Chü-ch’ing’s Eternal
Friendship), a Ming vernacular tale in the collection Gujin
xiaoshuo (Old and New Stories, 1620–1621), edited by Feng
Menglong.2
In keeping with the story’s Chinese origins, Akinari also
refers, directly or indirectly, to Mencius, Confucius, the Li ji
(The Book of Rites, ca. 300 B.C.E.), and the Shiji (Records of the
Grand Historian), by Sima Qian (145?–90? B.C.E.), as well as
to The Tale of Genji and several waka.
Lush and green is tyour garden. In friendship, bond not with a shallow man. Though the willow comes early into leaf, will
it withstand the first winds of autumn? The shallow man is
quick to make friends and as quick to part. Year after year,
the willow brightens in the spring, but a shallow man will
not visit again.
In the province of Harima, in the post town of Kako, lived
a Confucian scholar named Hasebe Samon. Content with
an upright life of poverty, he abhorred the encumbrance of
possessions, except for the books that he made his compan-
the chrysanthemum vow 77
Image has been suppressed
ions. With him was his elderly mother, as virtuous as the
mother of Mencius.3 She worked steadily, twisting and spin-
ning thread to support Samon’s desire for learning. He had
a younger sister, too, who was provided for by the Sayo clan,
of the same town. The Sayos had great wealth. Admiring the
sagacity of the Hasebe mother and son, they took the sis-
ter as a bride, thus becoming family, and often would send
goods to Samon and his mother; but insisting that they could
not trouble others for their own sustenance, Samon and his
mother never accepted the gifts.
One day Samon was visiting a man of the same town, talk-
ing with him of matters ancient and contemporary, when,
just as the conversation was gaining momentum, he heard a
sad moaning from the other side of the wall. He questioned
his host, who replied, “The man seems to be from someplace
west of here. He asked for a night’s lodging, saying that he
had fallen behind his traveling companions. He appeared to
me to be a man of quality, a fine samurai, and so I allowed
him to stay; but that night he was seized by a violent fever that
made it difficult for him even to rise by himself, and so, tak-
ing pity on him, I have let him stay these three or four days;
but I am not sure where he is from and think I might have
made a terrible mistake. I do not know what to do.” Samon
said, “A sad story indeed. Your misgivings are understand-
able, of course, but a fever must be especially distressing to a
man who takes ill on a journey, far from everyone he knows.
I should like to have a look at him.” His host restrained him:
“I have heard that such diseases can spread and afflict others,
and so I have forbidden everyone in my household to go in
there. You must not put yourself in danger by going to him.”
With a smile, Samon replied, “Life and death are a matter of
Destiny.4 What disease will spread to another? It is the igno-
rant who say such things; I do not believe them.” With this,
he opened the door and went in. Looking at the man, he saw
that his host had not been mistaken—this was no ordinary
person, and the illness appeared to be grave: his face was yel-
78 book one
low; his skin was dark and gaunt; and he lay in agony on an
old quilt. Looking affably at Samon, he said, “Give me a cup
of hot water, if you would.” Samon went to his side. “Have
no fear, sir, I shall help you,” he said. Consulting his host, he
selected some medicines and, by himself, determined the
dosage and prepared a decoction, which he gave to the man
to drink. He also had him eat some rice porridge. In short,
he cared for the man with extraordinary kindness, as though
he were nursing his own brother.
The samurai was moved to tears by Samon’s warm com-
passion. “That you should be so kind to me, a complete
stranger . . . Even if I die, I will show my gratitude,” he said.
Samon comforted him: “You must not use fainthearted words.
Generally this disease has a certain term; once it has run its
course, your life will be in no danger. I shall come every day
to look after you,” he vowed with all sincerity. Samon cared
for the man devotedly, and the illness gradually abated. Feel-
ing quite refreshed, the man thanked his host warmly and,
esteeming Samon for his unobtrusive kindness, inquired
into his vocation and then related his own circumstances:
“I am from the village of Matsue, in the province of Izumo,
and my name is Akana Soemon. Since I have attained some
slight understanding of military texts, the master of Tomita
Castle, En’ya Kamon-no-suke, employed me as his tutor.5
During that time, I was sent as a secret envoy to Sasaki Uji-
tsuna, in Omi.6 While I was staying there, the former master
of Tomita Castle, Amako Tsunehisa, enlisted the support of
the Nakayama, launched a surprise New Year’s Eve attack,
and captured the castle. Lord Kamon-no-suke was among
those killed. Since Izumo was, properly speaking, a Sasaki
domain, and En’ya the administrator, I urged Ujitsuna to
join the Mizawa and Mitoya clans to overthrow Tsunehisa;
but Ujitsuna, despite his formidable appearance, was in fact
a coward and a fool—far from carrying out my proposal, he
ordered me to stay in his domain. Seeing no point in remain-
ing there, I slipped away and started for home, only to be
the chrysanthemum vow 79
stricken by this disease and forced against my will to impose
on you, sir. Your kindness is more than I deserve. I shall
devote the rest of my life to repaying you.” Samon responded,
“It is only human nature to help someone in distress;7 I have
done nothing to earn your very gracious thanks. Please stay
on and recuperate.” Taking strength from the sincerity of
Samon’s words, Akana stayed for some days, and his health
returned almost to normal.
During this time, thinking what a good friend he had
found, Samon spent his days and nights with Akana. As they
talked together, Akana began to speak hesitantly of various
Chinese thinkers, regarding whom his questions and under-
80 book one
Image has been suppressed
standing were exceptional, and on military theory he spoke
with authority. Finding that their thoughts and feelings were
in harmony on every subject, the two were filled with mutual
admiration and joy, and finally they pledged their brother-
hood. Being the elder by five years, Akana, in the role of older
brother, accepted Samon’s expressions of respect and said
to him, “Many years have passed since I lost my father and
mother. Your aged mother is now my mother, and I should
like to pay my respects to her anew. I wonder if she will take
pity on me and agree to my childish wish.” Samon was over-
joyed: “My mother has always lamented that I was alone.
Your heartfelt words will give her a new lease on life when I
mako Tsunehisa . . .
unched a surprise
ew Year’s Eve attack,
nd captured the
astle.”
the chrysanthemum vow 81
Image has been suppressed
convey them to her.” With this, he took Akana to his house,
where his mother greeted them joyfully: “My son lacks tal-
ent, his studies are out of step with the times, and so he has
missed his chance to advance in the world. I pray that you do
not abandon him, but guide him as his elder brother.” Akana
bowed deeply and said, “A man of character values what is
right. Fame and fortune are not worthy of mention. Blessed
with my honored mother’s love, and receiving the respect
of my wise younger brother—what more could I desire?”
Rejoicing, he stayed for some time.
Although they had flowered, it seemed, only yesterday
or today, the cherry blossoms at Onoe had scattered, and
waves rising with a refreshing breeze proclaimed that
early summer had arrived.8 Akana said to Samon and his
mother, “Since it was to see how things stand in Izumo that
I escaped from Omi, I should like to go down there briefly
and then come back to repay your kindness humbly as a
servant living on bean gruel and water. Please allow me to
take my leave for a time.” Samon said, “If it must be so, my
brother, when will you return?” Akana said, “The months
and days will pass quickly. At the latest, I shall return before
the end of this autumn.” Samon said, “On what day of
autumn shall I expect you? I beg you to appoint the time.”
Akana said, “Let us decide, then, that the Chrysanthemum
Festival, the ninth day of the Ninth Month, shall be the day
of my return.” Samon said, “Please be certain not to mis-
take the day. I shall await you with a sprig of blossoming
chrysanthemum and poor saké.” Mutually they pledged
their reunion and lamented their separation, and Akana
returned to the west.
l. 18 “living on bean gruel and water”: a hyperbolic expression of filial devo-
tion that derives from a line attributed to Confucius in the Book of Rites:
“To sip bean gruel and drink water, and to do so joyfully—this is what I
call filial devotion.”
l. 28 “poor saké”: an expression of humility.
82 book one
The ever-renewing months and days sped by, the berries
colored on the lower branches of the oleaster, and the wild
chrysanthemum in the hedge put out brilliant blossoms as
the Ninth Month arrived. On the ninth day, Samon rose ear-
lier than usual, swept the mats of his grass hut, placed two
or three sprigs of yellow and white chrysanthemums in a
small vase, and emptied his purse to provide saké and food.
His aged mother said, “I have heard that Izumo, the Land of
Eight Clouds, lies far to the north of the mountains, more
than one hundred ri from here, and so we cannot be sure
that he will arrive today. It would not be too late if you made
your preparations when you see that he has come.” Samon
said, “Being a samurai of honor, Akana certainly will not
break his vow. I am ashamed at what he would think if he
should find me rushing to get ready only after I had seen
him.” Buying fine saké and cooking some fish, he prepared
them in the kitchen.
On this day, the sky was clear and cloudless in every direc-
tion, and many groups of travelers appeared, talking as they
went. “So-and-so enjoys good weather today as he enters
the capital, an omen that our merchandise will fetch a good
profit,” said one as he passed. A samurai in his fifties said to
his companion, a man in his twenties and wearing the same
attire: “The weather is so good, the sea so calm. If we had
hired a boat at Akashi and set out at dawn,9 we would now
be approaching the harbor at Ushimado Straits. You young-
sters waste money with your timidity.” The other soothed
him, saying, “I should think that anyone would hesitate to
cross here. Our lord had a terrible time, according to his
attendants, crossing from Azukijima to Murozu on his way
up to the capital. Do not be angry. I shall treat you to some
soba noodles when we reach Uogahashi.”10 They moved on
out of sight. A packhorse man said angrily, “Are you dead,
l. 5 “grass hut”: signifies a humble dwelling and is not to be taken literally.
l. 9 “more than one hundred ri”: signifies a great distance.
the chrysanthemum vow 83
you nag? Open your eyes.” Pushing the packsaddle back
into place, he drove the horse on. Noon passed, too, but the
one awaited had not come. As the sun sank in the west, the
travelers’ steps quickened in their search for lodging. Samon
saw them, but his gaze was fixed on the distance, and he felt
something like intoxication.
Samon’s aged mother called to him: “Although the man’s
heart be not fickle like autumn, is it only today that the hue
of the chrysanthemum is rich and warm?11 If he is sincere
about returning here, what reason have you to reproach him,
though the gentle rains of early winter fall? Come inside, lie
down, and wait again tomorrow.” Unable to disobey, Samon
reassured his mother and asked her to retire first, and then,
just in case, he stepped out through the door and looked
again. The Milky Way shone faintly; the solitary moon cast
its light on him alone; a watchdog’s bark reached him clearly
from the distance; and the waves on the shore seemed to
crash at his very feet.12 As the moon set behind the hills
and its light faded from the sky, he thought it time to go
inside and was about to shut the door behind him when he
glimpsed a figure in the shadows, moving toward him with
the wind. Doubting his eyes, he looked again. It was Akana
Soemon.
Samon’s heart leaped with joy. “I have been waiting for
you since early this morning. How delighted I am that you
have kept your pledge! Here, please come in,” he said, but
Akana merely nodded and did not speak. Samon led him
to the south window and seated him there: “Since you were
so late, my brother, our mother grew weary of waiting. ‘He
will come tomorrow,’ she said, and went into her bedroom.
I shall go to waken her.” Akana stopped him with a shake of
the head. Still he said nothing. Samon said, “You have trav-
eled day and night; your heart must be weary and your legs
tired. Please have a cup of saké and rest.” He warmed the
saké, arranged some dishes of food, and served them; but
Akana covered his face with his sleeve, as though to avoid
84 book one
a foul smell. Samon said, “This is simple, homemade fare,
inadequate to welcome you properly, but I prepared it with
all my heart. Please do not refuse it.” Akana still did not
reply. Heaving a long sigh, he paused, then finally spoke:
“My brother, what reason could I have to decline your heart-
felt hospitality? I lack the words to deceive you, and so I shall
tell the truth. You must not be startled. I am not a man of this
world. A filthy ghost has taken this form briefly to appear
before you.”
Samon was astounded: “What makes you say this mon-
strous thing, my brother? I am certain that I have not been
dreaming.” Akana said, “Parting from you, I returned to
my native place. Most of the people there had submitted to
Tsunehisa’s authority; no one remembered En’ya’s kindness.
I called on my cousin, Akana Tanji, at Tomita Castle. He
explained the advantages and disadvantages and arranged
for me to have an audience with Tsunehisa. Tentatively
accepting my cousin’s advice, I observed Tsunehisa’s con-
duct closely and found that even though he is a man of great
courage who trains his troops well, he is jealous and suspi-
cious in his dealings with men of learning and, as a conse-
quence, confides in no one and has no retainers willing to
give their lives for him. I saw no point in lingering there,
and so, explaining my chrysanthemum vow with you, asked
for leave to go; but Tsunehisa looked displeased and ordered
Tanji not to let me out of the castle. This state of affairs con-
tinued until today. Imagining how you would regard me if I
broke my pledge, I pondered my options but found no way to
escape. As the ancients said: A man cannot travel a thousand
ri in one day; a spirit can easily do so. Recalling this, I fell on
my sword and tonight rode the dark wind from afar to arrive
in time for our chrysanthemum tryst. Please understand my
feelings and take pity on me.” As he finished speaking, his
eyes seemed to fill with tears: “Now we part forever. Please
serve our mother faithfully.” With this, he rose from his seat
and faded from sight.
the chrysanthemum vow 85
In a panic, Samon tried to stop him, but, blinded by the
dark wind, he could not tell where Akana had gone. Falling
to his knees and then on his face, he began to wail loudly. His
mother, startled from sleep, came to look and found Samon
lying on the floor among the saké flasks and plates of fish
that he had arranged by the seat of honor. Hurrying to help
him rise, she asked, “What is wrong?” But he sobbed qui-
etly, saying nothing. His mother spoke again: “If you resent
your brother Akana now for breaking his pledge, you will
have nothing to say if he comes tomorrow. Are you such a
child that you can be so foolish?” Thus she admonished and
encouraged him. Finally Samon replied, “My brother came
tonight to fulfill our chrysanthemum pledge. When I wel-
comed him with saké and food, he refused them again and
again and said, ‘For this and that reason, I was about to break
our pledge, and so I fell on my sword and came these one
hundred ri as a ghost.’ Then he vanished. As a result, I have
roused you from your sleep. Please forgive me,” he said and
began to weep, the tears streaming down his face, where-
upon his mother said, “I have heard that a man in prison
dreams that he has been pardoned, and a thirsty man drinks
water in his dreams. You must be like them. Calm yourself.”
But Samon shook his head: “Truly, it was nothing like an
empty dream. My brother was here.” Again he cried out in
grief and threw himself down, weeping. His mother no lon-
ger doubted him, and together they passed the night raising
their voices in lamentation.
The next day, Samon bowed in supplication to his mother
and said, “Since childhood I have devoted myself to the writ-
ing brush and ink, but I have neither made a name for myself
in public service nor been able to discharge my filial duty
to my family; I have merely dwelt here uselessly between
heaven and earth. My brother Akana gave his life for loyalty.
l. 32 “dwelt here uselessly”: that is, he has not been a good Confucian, in
either his public or his private life, except insofar as he loves learning.
86 book one
Today I shall set out for Izumo, where I intend at least to
bury his remains and fulfill his trust. Please take good care
of yourself and give me leave to be away for a time.” His
mother said, “Go, my son, but come back soon and comfort
me in my old age. Do not stay there so long that you make
today the day of our final parting.” Samon said, “Our lives
are like foam on the water—we cannot know but what they
might fade away, morning or evening, but I shall come back
soon.” Brushing away his tears, he left the house, went to
beg the Sayos to look after his mother, and started down the
road to Izumo. Even though he was hungry, he did not think
of food; even though he was cold, he forgot about clothing;
and when he dozed off, he lamented all night in his dreams.
After ten days, he reached Tomita Castle.
He went directly to Akana Tanji’s house and sent in his
name, whereupon Tanji came to greet him and led him
inside. Questioning Samon closely, he said, “Unless you
heard of Soemon’s death from some winged creature, how
could you know? It does not seem possible.” Samon said, “A
samurai does not concern himself with the vicissitudes of
rank and fortune; he values only loyalty. Valuing his pledge,
my brother Soemon came one hundred ri as a ghost. I, in
return, have traveled day and night to come down here. I
should like to ask you, sir, about something I learned in
my studies. Please answer clearly. In ancient times, when
Gongshu Zuo of Wei lay ill in bed, the king of Wei himself
came and, holding Zuo’s hand, said, ‘If the unavoidable
should happen, whom shall I appoint to protect the country?
Give me your guidance.’ Zuo replied warmly, saying, ‘Even
though Shang Yang is young, he has rare ability. If your high-
ness does not employ him, do not let him cross the border,
even if you must kill him. If you allow him to go to another
country, calamity will surely result.’ Then Zuo secretly sum-
moned Shang Yang and told him, ‘I recommended you,
but the king appeared not to accept my advice, and so I told
him to kill you if he does not employ you. This is putting
the chrysanthemum vow 87
the lord first and the retainer after. You must go quickly to
another country and escape harm,’ he said.13 How would
you compare this case, sir, with that of you and Soemon?”
Tanji hung his head and said nothing. Samon moved closer:
“My brother Soemon was a loyal retainer for remembering
En’ya’s former kindness and not serving Amako. You, sir,
having abandoned En’ya, your former master, and submitted
to Amako, lack the righteousness of a samurai. My brother,
cherishing his chrysanthemum pledge, gave up his life and
traveled one hundred ri: this is the ultimate sincerity. You,
sir, seeking favor with Amako, have tormented your own kin
and caused his unnatural death: this is to lack the sincer-
ity of a friend. Tsunehisa forced him to stay here; but if you
had remembered your long-standing friendship, you would
secretly have shown the utter sincerity of Zuo with Shang
Yang. Instead you were driven by wealth and fame—this dif-
fers from the way of a samurai house and must be the way of
the House of Amako as well. No wonder my brother had no
wish to linger here. Now I, valuing loyalty, have come. Leave
behind you a name stained by unrighteousness!” He had
not finished speaking when he drew his sword and struck in
one motion. Tanji fell with a single blow. Before the retain-
ers could raise an alarm, Samon escaped without a trace. It
is said that Amako Tsunehisa heard the story and, moved
by the warmth of the brothers’ loyalty, chose not to pursue
Samon. Truly, one must not form bonds of friendship with
a shallow man.
N O T E S
1. The nature of Samon’s and Soemon’s relationship has been debated
by Japanese scholars. The most persuasive arguments in favor of a
homosexual reading have been offered by Matsuda Osamu, “‘Kikka
no chigiri’ no ron: Ugetsu monogatari no saihyoka (2),” Bungei to shiso
28 (1963); and Uzuki Hiroshi, Ugetsu Monogatari hyoshaku, Nihon
koten hyoshaku zenchushaku sosho (Tokyo: Kadokawa, 1969), pp.
88 book one
135–136. Neither of them mentions the title of the story in this con-
text, although it is the title that clinches the matter. The most thor-
ough treatment I have found in English is in Timon Screech, Sex
in the Floating World: Erotic Images in Japan, 1700–1820 (Honolulu:
University of Hawai’i Press, 1999), pp. 151–154. See also Gary Leupp,
Male Colors: The Construction of Homosexuality in Tokugawa Japan
(Berkeley: University of California Press, 1996), p. 110; and Bernard
Faure, The Red Thread: Buddhist Approaches to Sexuality (Princeton,
N.J.: Princeton University Press, 1998), p. 259, n. 49, which quotes
Onna Imagawa oshiebumi (An Imagawa [copybook and book of max-
ims] Teaching Text for Women, 1778?): “On the ninth day of the ninth
moon occurs the union of the chrysanthemums, after a banquet dur-
ing which many wines are served; one celebrates that day by prac-
ticing the way of the youths.” “The way of the youths” translates
wakashudo (sexual relations between a man and a boy).
2. John Lyman Bishop, trans., “Fan Chü-ch’ing’s Eternal Friendship,” in
The Colloquial Short Story in China: A Study of the San-Yen Collections
(Cambridge Mass.: Harvard University Press, 1956), pp. 88–102.
3. The virtue of the mother of Mencius was proverbial.
4. Samon is quoting Confucius, Analects 12:5.
5. “military texts”: refers to the seven Chinese military classics, the best
known of which is Sunzi, Sunzi bing fa (The Art of War, sixth century
B.C.E.).
6. Omi Province corresponds to the modern Shiga Prefecture.
7. This sentiment derives from Mencius 2.A.6., in which Mencius
argues that humans are altruistic by nature.
8. “Onoe”: can mean simply “mountaintop” or refer to the Onoe district
of Kakogawa. The text alludes to a poem composed in 1171 by Priest
Gen’yu:
The blossoms at Onoe [or, on the summit] will have scattered
in the spring breeze—
waves lap at the row of cherries here on Takasago shore.
(Fuboku wakasho, vol. 25, no. 94)
Takasago is at the mouth of the Kako River.
9. An allusion to a poem by Mansei:
To what shall I compare the world?
Like a ship that rows out at dawn and vanishes, leaving no
wake. (Man’yoshu, no. 351)
the chrysanthemum vow 89
10. Akashi is a port in Hyogo Prefecture, on the Inland Sea, about twelve
miles southeast of Kakogawa; Ushimado is a port in Okayama Prefec-
ture, about thirty-seven miles southwest of Kakogawa, and just north
of the island of Shodoshima; Azukijima, now called Shodoshima, is
an island in the Inland Sea, in Kagawa Prefecture, about twenty miles
by sea southwest of Murotsu; and Murozu, now called Murotsu, is
a major port in the Inland Sea, in Hyogo Prefecture, between Ka-
kogawa and Ushimado.
11. An allusion to a poem by Sagami:
When I saw the hagi’s lower leaves change color,
I knew before all else the fickle heart of man in autumn.
(Shinkokinshu, no. 1352)
Hagi (Lespedeza japonica) is Japanese bush clover.
12. An allusion to the “Suma” chapter of The Tale of Genji, in which the
pounding of the surf at Suma seems to be at Genji’s ear.
13. Akinari based this account on chapter 68, “Biography of Lord Shang,”
of Sima Qian’s Records of the Grand Historian. Gongshu Zuo was
prime minister of the kingdom of Wei (fourth century B.C.E.). Shang
Yang, or Lord Shang (d. 338 B.C.E.), one of the fathers of the Legalist
school of Chinese thought, left Wei and eventually reorganized the
state of Qin, paving the way for the unification of the Chinese empire
about a century later by the first Qin emperor (259–210 B.C.E.).
90 book one
t itle
The title, “Asaji ga yado,” denotes a neglected house overgrown
with chigaya reeds. The wording recalls a waka in the “Kiri-
tsubo” (The Paulownia Court) chapter of The Tale of Genji:
Even here above the clouds [at court] the autumn moon is
blurred with tears.
How then could it be clear, and how can you dwell, in a house
overgrown with reeds [asaji fu no yado]?1
The phrase asaji ga yado appears in chapter 137 of Yoshida
Kenko’s Tsurezuregusa (Essays in Idleness, early fourteenth
century), which is more closely related to Akinari’s story:
Does the love between men and women refer only to the
moments when they are in each other’s arms? The man who
grieves over a love affair broken off before it was fulfilled, who
bewails empty vows, who spends long autumn nights alone,
who lets his thoughts wander to distant skies, who yearns for
the past in a dilapidated house [asaji ga yado]—such a man
truly knows what love means.2
BOOK TWO
THE REED-CHOKED HOUSE
characters
Like “Shiramine” and “The Chrysanthemum Vow,” “The
Reed-Choked House” has only two important characters,
the fictional Katsushiro and Miyagi, supported by minor
figures. Unlike the previous stories, however, this tale
focuses on the lives of peasants, who were second on
the Tokugawa social scale, below the samurai class but
above artisans and merchants. Katsushiro and Miyagi are
remarkably literary peasants, given to quoting and allud-
ing to court poetry. This has the effect of elevating them
to a status closer to that of the characters in the previous
two stories.
places
“The Reed-Choked House” is centered on the village of
Mama, now part of the city of Ichikawa, just east of Tokyo,
in Chiba Prefecture (formerly, Shimosa Province). Mama is
implicitly contrasted with the sophistication of Kyoto (the
capital) and Omi Province (Shiga Prefecture).
t ime
Spring of 1455 to summer of 1461.
background
The historical events mentioned in “The Reed-Choked
House” provide a factual background for the strange story,
but the details have no direct bearing on the lives of Katsu-
shiro and Miyagi.3
92 book two
aff init ies
“The Reed-Choked House” draws from a number of Chi-
nese and Japanese sources, the most important being the
story “In Which a Wife, After Her Death, Meets Her Former
Husband” (27:24), in the late-Heian setsuwa collection Kon-
jaku monogatari shu (Tales of Times Now Past, ca. 1120); Qu
You’s “Aiqing zhuan” (The Story of Aiqing), in Jiandeng xin-
hua (New Tales After Trimming the Lamp, 1378); Asai Ryoi’s
adaptation of “Aiqing zhuan”: “Fujii Seiroku yujo Miyagino
o metoru koto” (In Which Fujii Seiroku Marries the Cour-
tesan Miyagino), in Otogiboko (Talisman Dolls, 1666); and
the “Yom0giu” (The Wormwood Patch) chapter of The Tale
of Genji. The story also contains parallels to Zeami’s no play
Kinuta (The Fulling Block) and allusions to a number of other
Japanese classics, including Ise monogatari (Tales of Ise, ca.
947) and Genji. Many waka from imperial anthologies and
other sources are alluded to or quoted.
other observat ions
“The Reed-Choked House,” along with “A Serpent’s Lust,” was
the basis for Mizoguchi Kenji’s film Ugetsu monogatari (1953).
I n the province of S village of Mama, lived a man named Katsushiro. Since his grandfather’s time, his family had lived here in
comfort, holding many paddies and fields; but being by
nature indifferent to details, Katsushiro came to dislike farm-
ing as he grew up, finding it irksome, so that finally the family
grew poor. Mortified to see that he had lost favor with many
the reed -choked house 93
Image has been suppressed
of his relatives, he considered various schemes to revive the
family fortunes. In those days, a man named Soji of Sasabe
came down from the capital every year to stock up on dyed
silk from Ashikaga.4 Having distant relatives in the village, he
often came to visit and had been on familiar terms with Katsu-
shiro for some time. Katsushiro pleaded that he, too, wanted
to become a merchant and go up to the capital. Sasabe agreed
immediately. “Let me see, when will the next trip be?” he said.
Delighted that he could now rely on Sasabe, Katsushiro sold
off his remaining paddies, used the gold to buy a large supply
of plain silk, and prepared for his journey to the capital.
Katsushiro’s wife, Miyagi, was a woman of arresting
beauty, intelligence, and steady disposition. Dismayed to
hear that he had bought merchandise and was going to the
capital, she used every argument she could think of to dis-
suade him; but she was helpless before his obstinacy, now
worse than ever, and so, despite her misgivings about how
she would fare in the future,5 she applied herself with alac-
rity to his preparations. As they talked together that night
about the painful separation to come, she said, “With no
one to depend on, my woman’s heart will know the extremi-
ties of sadness, wandering as though lost in the fields and
mountains.6 Please do not forget me, morning or night, and
come back soon. If only I live long enough, I tell myself,7
but in this life we cannot depend on the morrow, and so
take pity on me in your stalwart heart.” He replied, “How
could I linger in a strange land, riding on a drifting log?
I shall return this autumn, when the arrowroot leaf turns
over in the wind.8 Be confident and wait for me.” Thus he
reassured her; the night sky brightened with dawn; and
l. 27 “riding on a drifting log”: signifies rootlessness and anxiety, as in the
“Matsukaze” (The Wind in the Pines) chapter of The Tale of Genji (Mura-
saki Shikibu, Genji monogatari, ed. Yamagishi Tokuhei, Nihon koten
bungaku taikei, vol. 14 [Tokyo: Iwanami, 1958], p. 199):
How many autumns have come and gone as I was dwelling here—
why now should I return, riding on a drifting log?
94 book two
leaving the East Country, where the roosters crow, he hur-
ried toward the capital.9
In the summer of 1455, the shogun’s deputy in Kamakura,
Lord Ashikaga Shigeuji, had a falling out with the family of
Uesugi, his own deputy, and so when troops burned his pal-
ace to the ground, he took refuge with an ally in Shimosa.
From that moment, the lands east of the barrier were thrown
into chaos, and each man did just as he pleased.10 The aged
fled to the mountains and hid; the young were conscripted;
women and children, hearing the rumors—“They will burn
this place today! The enemy will attack tomorrow!”—fled
weeping, now east, now west. Katsushiro’s wife, Miyagi, too,
wanted to escape, but relying on her husband’s words—“Wait
for me this fall”—she lived on, anxiously counting the days.
Autumn came, but there was no word, not even in the wind.
Sad and resentful that the heart of man proved to be as unre-
liable as this world itself, she composed in her despondency:
“No one will report my misery, I fear—
oh decorated cock of Meeting Hill, tell him autumn too has
passed.”11
And yet she had no way to communicate with him, since
many provinces separated them. Men’s hearts grew more
villainous in the turbulence of the world. Passersby, noting
Miyagi’s beauty, tried to seduce her with comforting words,
but, firmly guarding her chastity, she would treat them dis-
tantly, close the door, and refuse to meet them. Her maidser-
vant departed; her meager savings melted away; and that year,
too, came to a close. The New Year brought no peace. What is
more, in the autumn of the old year the shogun had bestowed
the flag on To no Tsuneyori,12 governor of Shimotsuke and
lord of Gujo, Mino Province, who went down to the domain
of Shimosa, made plans with his kinsman Chiba no Sanetane,
and attacked; but Shigeuji’s forces defended their position
resolutely, and so there was no end in sight. Bandits threw up
the reed -choked house 95
strongholds here and there, set fires, and pillaged. No haven
remained in the Eight Provinces; the losses were appalling.13
Katsushiro accompanied Sasabe to Kyoto and sold all his
silk. Because it was an age when the capital delighted in lux-
ury, he made a good profit.14 As he prepared to return to the
East Country, word spread that Uesugi troops had toppled
the shogun’s deputy and then had pursued and attacked
him. Katsushiro’s home village would be the battlefield of
Zhoulu, bristling with shields and halberds. Even rumors
close at hand are frequently untrue; his home was in a dis-
tant land beyond myriad layers of white clouds.15 Anxiously,
he left the capital at the start of the Eighth Month. Crossing
the pass at Misaka in Kiso, he found that robbers had blocked
the road, and to them he lost all his baggage.16 Furthermore,
he heard reports that new barrier stations had been estab-
lished here and there to the east, where even travelers were
not allowed to pass. In that case, there would be no way to
send any message at all. His house had surely been leveled
by the fires of battle. His wife would no longer be alive. His
village would have become a den of ogres, he told himself,
and so he turned back toward the capital; but as he entered
the province of Omi, he suddenly felt unwell and came
down with a fever. In a place called Musa lived a wealthy
man named Kodama Yoshibei.17 This being the birthplace of
Sasabe’s wife, Katsushiro pleaded for help; and Kodama did
not turn him away, but summoned a physician and devoted
himself to Katsushiro’s care. Feeling well again at last, Kat-
sushiro thanked Kodama deeply for his great kindness. He
was still unsteady on his feet, however, and so he found him-
self still there when they greeted the New Year. Presently he
made new friends in the town, where he was admired for his
unaffected honesty, and formed close ties with Kodama and
many others. Thereafter, he would call on Sasabe in the capi-
l. 9 Zhoulu: in the present Hebei Province, China, the scene of an ancient
battle involving the legendary Yellow Emperor.
96 book two
tal and then return to stay with Kodama in Omi, and seven
years passed like a dream.
In 1461 the struggle between the Hatakeyama brothers in
the province of Kawachi showed no sign of ending, and the
turmoil approached the capital.18 What is more, corpses piled
up in the streets as an epidemic swept through the city in the
spring. Thinking that a cosmic epoch must be coming to an
end, the people lamented the impermanence of all things.19
Katsushiro pondered his situation: “Reduced to this pointless
existence, how long should I drag out my life, and for what,
lingering in this distant land, depending on the generosity
of people with whom I have no ties of blood? It is my own
faithless heart that has let me pass long years and months in
a field overgrown with the grass of forgetfulness, unmindful
even of the fate of her I left at home.20 Even if she is no longer
of this world and has gone to the Land of the Dead, I would
seek out her remains and construct a burial mound.” Thus
he related his thoughts to those around him and, during a
break in the rains of the Fifth Month, said farewell. Traveling
for more than ten days, he arrived at his village.
Although the sun had already sunk in the west and the
rain clouds were so dark that they seemed about to burst,
he doubted he could lose his way, having lived for so long
in the village, and so he pushed through the fields of sum-
mer; but the jointed bridge of old had fallen into the rap-
ids, so that there could be no sound of a horse’s hoofs;21 he
could not find the old paths because the farmland had been
abandoned to grow wild, and the houses that used to stand
there were gone. Scattered here and there, a few remaining
houses appeared to be inhabited, but they bore no resem-
blance to those in former days. “Which is the house I lived
in?” he wondered, standing in confusion, when about forty
yards away, he saw, by the light of stars peeking through the
clouds, a towering pine that had been riven by lightning. “The
tree that marks the eaves of my house!” he cried and joyfully
moved forward. The house was unchanged and appeared
the reed -choked house 97
to be occupied, for lamplight glimmered through a gap in
the old door. “Does someone else live here now? Or is she
still alive?” His heart pounding, he approached the entrance
and cleared his throat. Someone inside heard immediately
and asked, “Who is there?” He recognized his wife’s voice,
though greatly aged. Terrified that he might be dreaming, he
said, “I have come back. How strange that you should still be
living here alone, unchanged, in this reed-choked moor!”22
Recognizing his voice, she quickly opened the door. Her skin
was dark with grime, her eyes were sunken, and long strands
of hair fell loose down her back. He could not believe that
she was the same person. Seeing her husband, she burst into
wordless tears.
Stunned, Katsushiro could say nothing for a time. Finally
he spoke: “I would never have let the years and months slip
by had I thought that you were still living here like this. One
day years ago, when I was in the capital, I heard of fight-
ing in Kamakura—the shogun’s deputy had been defeated
and taken refuge in Shimosa. The Uesugi were in eager pur-
suit, people said. The next day, I took my leave from Sasabe
and, at the beginning of the Eighth Month, left the capital.
As I came along the Kiso road, I was surrounded by a large
band of robbers, who took my clothing and all my money. I
barely escaped with my life. Then the villagers said that trav-
elers were being stopped at new barriers on the Tokaido and
Tosando.23 They also said that a general had gone down from
the capital the day before, joined forces with the Uesugi, and
set out for battle in Shimosa. Our province had long since
been razed by fire, and every inch trampled under horses’
hoofs, they said, and so I could only think that you had been
reduced to ashes and dust or had sunk into the sea. Return-
ing to the capital, I lived on the generosity of others for these
seven years. Seized in recent days with constant longing, I
returned, hoping at least to find your remains, but I never
dreamed that you would still be living in this world. I wonder
if you might not be the Cloud of Shaman Hill or the Appa-
98 book two
rition in the Han Palace.”24 Thus he rambled on, tediously
repeating himself.
Drying her tears, his wife said, “After I bid you farewell,
the world took a dreadful turn, even before the arrival of
the autumn I relied on,25 and the villagers abandoned their
houses and set out to sea or hid in the mountains. Most of
the few who remained had hearts of tigers or wolves and
sought, I suppose, to take advantage of me now that I was
alone. They tempted me with clever words, but even if I had
been crushed like a piece of jade, I would not imitate the per-
fection of the tile, and so I endured many bitter experiences.
The brilliance of the Milky Way heralded the autumn, but
you did not return.26 I waited through the winter, I greeted
the New Year, and still there was no word. Now I wanted
to go to you in the capital, but I knew that a woman could
not hope to pass the sealed barrier gates where even men
were turned away; and so, with the pine at the eaves, I waited
vainly in this house, foxes and owls my companions, until
today.27 I am happy now that my long resentment has been
dispelled. No one else can know the resentment of one who
dies of longing, waiting for another to come.”28 With this,
she began to sob again. “The night is short,” he said, com-
forting her, and they lay down together.
He slept soundly, weary from his long journey and cooled
through the night as the paper in the window sipped the
pine-breeze. When the sky brightened in the fifth watch of
night, he felt chilly, though still in the world of dreams, and
groped for the quilt that must have slipped off. A rustling
sound wakened him. Feeling something cold dripping on
his face, he opened his eyes, thinking that rain was seeping
l. 10 “ crushed . . . tile”: that is, “I would not prolong my life [the perfect tile]
by being unfaithful, even though death [the crushed jade] might be the
consequence.”
l. 26 “fifth watch”: the time between sunset and sunrise was divided into five
equal watches of about two hours each. The fifth watch corresponded
roughly to the period from 4:00 A.M. until daybreak.
the reed -choked house 99
in: the roof had been torn off by the wind, and he could see
the waning moon lingering dimly in the sky. The house
had lost its shutters. Reeds and plumed grasses grew tall
through gaps in the decaying floorboards, and the morning
dew dripped from them, saturating his sleeves. The walls
were draped with ivy and arrowroot; the garden was buried
in creepers—even though fall had not come yet, the house
was a wild autumn moor.29 And where, come to think of it,
had his wife gone, who had been lying with him? She was
nowhere in sight. Perhaps this was the doing of a fox? But
the house, though dilapidated in the extreme, was certainly
the one he used to live in: from the spacious inner rooms to
the rice-storehouse beyond, it still retained the form that he
had favored. Dumbfounded, he felt as though he had lost his
footing; but then he considered carefully: since the house
had become the dwelling place of foxes and raccoon-dogs—a
wild moor—perhaps a spirit had appeared before him in the
form of his wife. Or had her ghost, longing for him, come
back and communed with him? It was just as he had feared.
He could not even weep. “I alone am as I was before,” he
thought as he walked around.30 In the space that was her
bedroom, someone had taken up the floor, piled soil into a
mound, and protected the mound from rain and dew. The
ghost last night had come from here—the thought fright-
ened him and also made him long for her. In a receptacle for
water offerings stood a stick with a sharpened end, and to
this was attached a weathered piece of Nasuno paper,31 the
writing faded and in places hard to make out, but certainly in
his wife’s hand. Without inscribing a dharma name or date,
she had, in the form of a waka, movingly stated her feelings
at the end:
l. 29 “dharma name” (homyo or kaimyo): a posthumous name, usually com-
posed by a Buddhist priest and inscribed on a gravestone with the date
of death.
100 book two
“Nevertheless, I thought, and so deceived
I have lived on until today!”32
Realizing now for the first time that his wife was dead, he
cried out and collapsed. It added to his misery that he did
not even know what year, what month and day, she had met
her end. Someone must know, he thought, and so, drying his
tears, he stepped outside. The sun had climbed high in the
sky. He went first to the nearest house and met the master,
a man he had never seen before. On the contrary, the man
asked him what province he had come from. Katsushiro
addressed him respectfully: “I was the master of the house
next door, but to make my living I spent seven years in the
capital. When I came back last night, the house had fallen
into ruins and no one was living there. Apparently my wife
has left this world, for I found a burial mound, but there is
no date, which makes my grief all the more intense. If you
know, sir, please tell me.” The man said, “A sad story indeed.
I came to live here only about one year ago and know nothing
of the time when she was living there. It would seem that she
lost her life long before that. All the people who used to live
in this village fled when the fighting began; most of those
who live here now moved in from somewhere else. There is
one old man who seems to have lived here for a long time.
Occasionally he goes to that house and performs a service to
comfort the spirit of the departed. This old man must know
the date.” Katsushiro said, “And where does the old man
live?” The man told him, “He owns a field thickly planted
with hemp, about two hundred yards from here, toward the
beach, and there he lives in a small hut.” Rejoicing, Katsu-
shiro went to the house, where he found an old man of about
seventy, terribly bent at the waist, sitting in front of a hearth
on a round, wicker cushion and sipping tea. Recognizing
Katsushiro, the old man said, “Why have you come back so
late, my boy?” Katsushiro saw that he was the old man called
Uruma, who had lived in the village for a long time.
the reed -choked house 101
Katsushiro congratulated the old man on his longevity and
then related everything in detail, from going to the capital
and remaining there against his true desires, to the strange
events of the night before, and expressed his deep gratitude
to the old man for raising a burial mound and performing
services there. He could not stop his tears. The old man said,
“After you went far away, soldiers began to brandish shields
and halberds in the summer; the villagers ran off; the young
were conscripted; and, as a result, the mulberry fields turned
quickly into grasslands for foxes and rabbits.33 Only your vir-
tuous wife, honoring your pledge to return in the fall, would
not leave home. I, too, stayed inside and hid, because my legs
102 book two
Image has been suppressed
had grown weak and I found it hard to walk two hundred
yards. I have seen many things in my years, but I was deeply
moved by the courage of that young woman, even when the
land had become the home of tree spirits and other ghastly
monsters.34 Autumn passed, the New Year came, and on the
tenth day of the Eighth Month of that year she departed. In
my pity for her, I carried soil with my own hands, buried
the coffin, and, using as a grave marker the brush marks
she left at the end, performed a humble service with offer-
ings of water; but I could not inscribe the date, not knowing
how to write, and I had no way to seek a posthumous name,
as the temple is far away. Five years have passed. Hearing
“ Leaning on his staff,
he led the way.”
the reed -choked house 103
Image has been suppressed
your story now, I am sure that the ghost of your virtuous wife
came and told you of her long-held resentment. Go there
again and carefully perform a memorial service.” Leaning on
his staff, he led the way. Together they prostrated themselves
before the mound, raised their voices in lamentation, and
passed the night invoking the Buddha’s name.
Because they could not sleep, the old man told a story:
“Long, long ago, even before my grandfather’s grandfather
was born, there lived in this village a beautiful girl named
Tegona of Mama.35 Since her family was poor, she wore a
hempen robe with a blue collar; her hair was uncombed, and
she wore no shoes; but with a face like the full moon and a
smile like a lovely blossom, she surpassed the fine ladies in the
capital, wrapped in their silk brocades woven with threads of
gold. Men in the village, of course, and even officials from the
capital and men in the next province, all came courting and
longed for her. This caused great pain for Tegona, who sank
deep in thought and, the better to requite the love of many
men, threw herself into the waves of the inlet here. People in
ancient times sang of her in their poems and passed down
her story as an example of the sadness of the world. When
I was a child, my mother told the story charmingly, and I
found it very moving; but how much sadder is the heart of
this departed one than the young heart of Tegona of old!”
He wept as he spoke, for the aged cannot control their tears.
Katsushiro’s grief needs no description. Hearing this tale, he
expressed his feelings in the clumsy words of a rustic:
“Tegona of Mama, in the distant past—
this much they must have longed for her, Tegona of Mama.”
It can be said that an inability to express even a fragment
of one’s thoughts is more moving than the feelings of one
skilled with words.
This is a tale passed down by merchants who traveled
often to that province and heard the story there.
104 book two
N O T E S
1. Murasaki Shikibu, Genji monogatari, ed. Yamagishi Tokuhei, Nihon
koten bungaku taikei, vol. 14 (Tokyo: Iwanami, 1958), p. 41.
2. Yoshida Kenko, Essays in Idleness: The “Tsurezuregusa” of Kenko, trans. Don-
ald Keene (New York: Columbia University Press, 1967), pp. 117–118.
3. George Sansom provides a good summary of the “absurd situation”
in A History of Japan, vol. 2, 1334–1615 (Stanford, Calif.: Stanford Uni-
versity Press, 1961), p. 241.
4. Sasabe was a village northwest of Kyoto, later incorporated into the
city of Fukuchiyama; Ashikaga, in Ibaraki Prefecture, north of Tokyo,
was noted for its dyed silk.
5. An allusion to an anonymous, alternative version of Man’yoshu, no.
2985:
Though I know not how I will fare in the [catalpa bow] future,
my heart is with you.
6. An allusion to a poem by Sosei, who, having taken holy vows, won-
ders where to live away from society:
Where shall I loathe this world?
Whether in fields or in mountains my heart will surely wan-
der. (Kokinshu, no. 947)
7. An allusion to a poem by Shirome: “Composed when parting from
Minamoto no Sane at Yamazaki, as he set out for the hot springs of
Tsukushi”:
If only life obeyed the wishes of our hearts
what pain would we feel in our partings? (Kokinshu, no. 387)
8. This sentence contains a pun on kaeru, which means both “to return”
and “to turn over.” Arrowroot, being one of the “seven autumn
grasses,” signifies autumn.
9. “roosters crow” (tori ga naku): a pillow-word for Azuma, the East
Country, an old name for the region now called Kanto, or greater
Tokyo. The image is further enriched by the truism that roosters crow
at dawn and the fact that the word “Azuma” is often written with char-
acters signifying “my wife.”
10. “lands east of the barrier”: refers to the eight provinces to the east of
the barrier station at Hakone: Sagami, Musashi, Awa, Kazusa, Shi-
mosa, Hitachi, Shimotsuke, and Kozuke (corresponding to the mod-
the reed -choked house 105
ern Kanto prefectures of Kanagawa, Tokyo, Saitama, Chiba, Ibaraki,
Tochigi, and Gumma).
11. “decorated cock of Meeting Hill”: cocks decorated with mulberry-cloth
ribbons were occasionally sent to the barrier stations around Kyoto,
including the Osaka Barrier, as part of a purification ritual. On the
Osaka Barrier, see the introduction to “Shiramine.” Since “Osaka”
(the barrier, not the city) means “Meeting Hill,” poets frequently used
the name in a double sense, as in this anonymous poem:
Does the decorated cock of Meeting Hill, like me,
long for someone, and that is why we cry in vain? (Kokinshu,
no. 536)
and in a poem by Kan’in: “Sent to the Middle Counselor Lord Mina-
moto no Noboru, when he was Vice-Governor of Omi”:
If only I were the decorated cock of Meeting Hill,
crying, I could watch you come and go. (Kokinshu, no. 740)
12. “bestowed the flag on”: in the autumn of 1455, the shogun Ashikaga
Yoshimasa appointed Tsuneyori (1401–1494), a leading poet and
commander, to subdue the disloyal Shigeuji and his supporters.
13. Shimotsuke corresponds to the modern Tochigi Prefecture; Mino
Province, to Gifu Prefecture.
“domain of Shimosa”: Akinari mistakenly wrote “Shimotsuke”
instead of Shimosa.
“Eight Provinces”: see note 10.
14. Yoshimasa’s reign (1443–1490) was a golden age in culture, as the
shogun led the way in promoting garden design, architecture, no the-
ater, and other arts. His Ginkaku (Silver Pavilion) in Kyoto, with its
splendid garden, is the most famous relic of the period.
15. An allusion to a poem by Ki no Tsurayuki: “Composed for a person
who was going to Michinokuni”:
Even far away where white clouds pile in myriad layers
let not your heart grow distant from him who thinks of you.
(Kokinshu, no. 380)
16. Misaka in Kiso is an old name for Magome Pass, on the Nakasendo
(highway through the mountains between Kyoto and Edo), at the bor-
der of Gifu and Nagano Prefectures.
17. Musa is now part of the city of Omi Hachiman, Shiga Prefecture, on
the shore of Lake Biwa, about twenty miles northeast of Kyoto.
106 book two
18. The Hatakeyama brothers Masanaga and Yoshinari fought for some
years over which should hold the office of shogun’s deputy (kanrei).
Their dispute was one of several that led to the infamous Onin War
(1467–1477), which devastated the capital. Kawachi corresponds to the
eastern part of the modern Osaka Prefecture, just southwest of Kyoto.
19. “cosmic epoch” (ko): kalpa, a Sanskrit word for an almost unimagin-
ably long period of time. Here the reference is to the second kalpa,
during which there is life on earth. Epidemics and famines occurred
throughout Japan in the 1450s. This sentence echoes Kamo no Cho-
mei’s description of Kyoto in 1182, in Hojoki (An Account of a Ten-
Foot-Square Hut, 1212).
20. “grass of forgetfulness” (wasuregusa): a kind of daylily (Hemerocallis
aurantiaca), mentioned in section 100 of Tales of Ise: “Long ago, as a
man was passing by the Koroden, a high-ranking lady sent a message
out to him, saying, Do you refer to the grass of forgetfulness as grass
of remembrance? to which he replied with a poem:
This may look to be a field overgrown with grass of forgetful-
ness,
but it is remembrance, and I shall continue to depend on you.”
21. An allusion to an anonymous poem:
I wish for a horse whose hoofs would make no sound.
Across the jointed bridge of Mama in Katsushika would I
always go to her. (Man’yoshu, no. 3387)
22. This paragraph contains several echoes of the “Yomogiu” (The Worm-
wood Patch) chapter of The Tale of Genji, in which the Hitachi Prin-
cess has waited for ten years for another visit from Genji (Murasaki
Shikibu, Genji monogatari, NKBT, vol. 15, pp. 155–160). Her mansion
has fallen into ruin, most of her servants have left, and she is almost
without resources, when Genji happens to notice her dilapidated
estate. He sends in his attendant, Koremitsu, to learn whether the
princess still lives there. Koremitsu first lets his presence be known
by clearing his throat, in response to which an aged voice asks, “Who
is there? Who are you?” He recognizes the voice, that of an attendant.
After identifying himself, he says, “If the princess has not changed,
then my lord’s desire to visit her, too, has not ceased.” The aged voice
replies, “If my lady had changed, would she still be living in this reed-
choked moor [asaji ga hara]?” When Genji finally meets the princess
again, he composes a waka for her:
the reed -choked house 107
I found it hard to ignore the waves of wisteria blooms
because the pine they drape on is the mark of your waiting
house.
23. Kiso road refers to the section of the Nakasendo between Nakatsu-
gawa (Gifu Prefecture) and Shiojiri (Nagano Prefecture). The Tokaido
ran along the Pacific coast between Kyoto and Edo; the Tosando,
through the mountains between Kyoto and the northern tip of
Honshu.
24. “Cloud of Shaman Hill”: refers to a story in the Wenxuan (Anthology
of Writing, sixth century), edited by Xiao Tong, in which King Xiang of
Chu dreams that he has slept with a woman at Shaman Hill (Wushan,
in Sichuan) who turns out to have been a cloud (Sun Yü, “The Kao
T’ang Fu,” in The Temple and Other Poems, trans. Arthur Waley [New
York: Knopf, 1923], pp. 65–72).
“Apparition in the Han Palace”: derives from a story in the Han
shu (History of the Former Han Dynasty), by Ban Gu (32–62), in which
the Han emperor Wu, grieving the death of a beloved lady, com-
mands a sorcerer to summon her spirit.
Both tales bespeak a confusion of illusion and reality.
25. “autumn I relied on” (tanomu no aki): a pun on tanomu no hi (the
day relied upon / the day of the fruits of the field), a harvest and gift-
exchanging festival on the first day of the Eighth Month. Compare a
poem by the Sessho Daijodaijin: “On the returning geese”:
Do not forget, oh geese who rise from the sheltering marsh
by the fields,
the wind on the rice leaves in the evening of autumn.
(Shinkokinshu, no. 61)
26. The Milky Way, which brightens as the air becomes less humid in the
autumn, is associated with the Tanabata festival, the seventh night of
the Seventh Month, the only night when, in Sino-Japanese legend,
the Oxherd (the star Altair) may cross the River of Heaven (the Milky
Way) to meet his love, the Weaver Maid (the star Vega).
27. Miyagi employs the usual pun on matsu, which means both “pine
tree” and “to wait.” The pine also echoes the tree that leads Katsu-
shiro to his house, and Genji to the mansion of the Hitachi Princess,
where he finds foxes and owls.
28. An allusion to a poem by Taira no Kanemori:
108 book two
If unknown to him I die of longing while I wait for him to come,
for what shall I say I have exchanged my life? (Goshuishu, no.
656)
29. An allusion to a poem by Priest Henjo:
The house is ruined, the people are grown old—
garden and brushwood-fence have both become a wild
autumn moor. (Kokinshu, no. 248)
30. An allusion to a poem by Ariwara no Narihira:
The moon is not that moon nor the spring the spring of old,
and I alone am as I was before. (Tales of Ise, sec. 4; Kokinshu,
no. 747)
31. Nasuno, in Shimotsuke Province (Tochigi Prefecture), produced a
thick, sturdy paper of high quality.
32. Miyagi’s waka is borrowed from the collection of the courtier and
poet Fujiwara no Atsutada (905?–943): Gon Chunagon Atsutada kyo shu,
in Hanawa Hokiichi, comp., Gunsho ruiju (Classified Collection of Vari-
ous Books) (1819), vol. 9, no. 235.
33. The proverb Soden henjite sokai to naru (mulberry fields [soden]
change into blue seas [sokai]) refers to the world’s mutability.
34. “home of tree spirits and other ghastly monsters”: another echo of
the mansion of the Hitachi Princess in “The Wormwood Patch” chap-
ter of The Tale of Genji.
35. The legend of Tekona (or Tegona, the pronunciation that Akinari pre-
ferred) of Mama is told in the Man’yoshu, nos. 431–433, 1807–1808.
The old man’s narrative is based on a long poem by Takahashi Mushi-
maro, “Of the Maiden of Mama of Katsushika” (Man’yoshu, no. 1807).
See The Manyoshu: The Nippon Gakujutsu Shinkokai Translation of
One Thousand Poems (New York: Columbia University Press, 1965),
pp. 223–224.
the reed -choked house 109
t itle
The title, “Muo no rigyo,” comes from the first paragraph of the
story, in which Kogi gives this name to one of his paintings.
characters
“The Carp of My Dreams” has only one important character,
the Buddhist monk Kogi, who narrates the story within the
story. According to the setsuwa collection Kokon chomonju
(Stories Heard from Writers Old and New, 1254), edited by
Tachibana Narisue, there was a painter-monk named Kogi at
Miidera, but nothing else is known of him.
places
Miidera, also known as Onjoji, an important Buddhist temple
established in the seventh century on a hill overlooking Lake
Biwa, in what is now the city of Otsu, just east of Kyoto, is the
BOOK TWO
THE CARP OF MY DREAMS
setting of “The Carp of My Dreams.” During his underwater
journey around Lake Biwa, Kogi passes a number of famous
sights, including several of the famous Eight Views of Lake
Biwa (Omi hakkei):
Mount Nagara: behind Miidera, west of the southern end of
Lake Biwa.
Great Bay of Shiga: southwestern part of Lake Biwa, offshore
from the former Shiga capital. This section echoes a poem
by the monk Jakuren:
Strollers tread the ice along the shore,
crossing without getting wet at the Great Bay of Shiga.
(Shokukokinshu, no. 641)
Mount Hira: west of Lake Biwa. “Evening Snow at Hira” is
one of the Eight Views of Lake Biwa.
Katada: village on the western shore of Lake Biwa, now part
of the city of Otsu. “Wild Geese Descending at Katada” is
one of the Eight Views.
Mount Kagami (mirror-mountain): southeast of Lake Biwa.
Okino Isle: slightly southwest of the center of Lake Biwa.
Chikubu Isle: near the northern end of Lake Biwa, famous for
its Benzaiten shrine, enclosed by a red-lacquered fence.
Asazuma Boat: ferry connecting the Nakasendo (highway
through the mountains between Kyoto and Edo), on the
northeastern shore of Lake Biwa, with Otsu, on the south-
western shore. Onboard prostitutes provided companion-
ship for travelers.
Mount Ibuki: east of the northern end of Lake Biwa, paired
with the Asazuma Boat in a poem by Saigyo:
It makes me anxious: will the Asazuma Boat not face
the brunt of the gale blowing down from Mount Ibuki?
(Sankashu, no. 1005)
the carp of my dreams 111
Yabase: village on the southeastern shore of Lake Biwa, con-
nected by ferry to Otsu. “Sailboats at Yabase” is one of the
Eight Views.
Seta: river at the southernmost tip of Lake Biwa, spanned
by a bridge. “Sunset at Seta Bridge” is one of the Eight
Views. Carp-Kogi is frightened by the guard’s footfalls on
the planks of the bridge.
t ime
Summer (peach season), one year during the Encho era
(923–931).
background
In contrast to the late twelfth and mid-fifteenth centuries,
during which the first three stories take place, the Encho era,
a little more than a century into the Heian period (794–1185)
and the time frame of “The Carp of My Dreams,” was a
period of relative stability and calm in Japan.
There was a priest named Enchin, or Chisho Daishi (814–
891), who restored Miidera and was famous for his Buddhist
paintings.
aff init ies
Akinari adapted “The Carp of My Dreams” from two Chi-
nese stories in Ming collections: “Xue lu-shi yu fu zheng
xian” (Junior Magistrate Xue’s Piscine Metamorphosis),
in Feng Menglong’s Xingshi hengyan (Constant Words to
Awaken the World, 1628), and “Yu fu ji” (Account of a Piscine
Metamorphosis), in Lu Ji’s Gujin shuohai (Sea of Tales Old
and New, sixteenth century).1 Uzuki Hiroshi has identified
112 book two
three stories—“Concerning Priest Myotatsu of Ryugeji in
Dewa Province” (13:13), “In Which a Man from the Province
of Settsu Who Killed an Ox Returns from the Underworld
Through the Power of Releasing Living Beings” (20:25), and
“In Which a Man from the Province of Sanuki Goes to the
Underworld and Comes Back” (20:17)—in the late-Heian set-
suwa collection Konjaku monogatari shu (Tales of Times Now
Past, ca. 1120) as being closely related to “The Carp of My
Dreams,” in that they deal with people who come back from
death because of merit accumulated by releasing captured
creatures.2 Ultimately, the roots of the story can be traced
back to two passages in the Chinese Taoist classic Chuang
Tzu (fourth–third centuries B.C.E.):
Once Chuang Chou dreamt he was a butterfly, a butterfly
flitting and fluttering around, happy with himself and doing
as he pleased. He didn’t know he was Chuang Chou. Sud-
denly he woke up and there he was, solid and unmistakable
Chuang Chou. But he didn’t know if he was Chuang Chou
who had dreamt he was a butterfly, or a butterfly dreaming
he was Chuang Chou.3
Chuang Tzu and Hui Tzu were strolling along the dam of the
Hao River when Chuang Tzu said, “See how the minnows
come out and dart around where they please! That’s what
fish really enjoy!”
Hui Tzu said, “You’re not a fish—how do you know what
fish enjoy?”
Chuang Tzu said, “You’re not I, so how do you know I
don’t know what fish enjoy!”4
other observat ions
Kogi’s clockwise circuit of Lake Biwa—a kind of michiyuki—
is a rhetorical tour de force and a masterpiece of imaginative,
the carp of my dreams 113
scenic description. Mishima Yukio called it “the ultimate in
the poetry that Akinari attempted.”5
L ong ago, in the Encnamed Kogi, who was recognized as a master painter. He did not limit himself to painting buddhas, land-
scapes, or birds and flowers. On days when he was free from
temple chores, he would go out on the lake in a small boat
and give money to fishermen in exchange for fish that they
had caught with their nets and hooks, and then he would
release the fish into the bay,6 watch them swim about, and
paint them; and as he did this over the years, he became
extremely precise and skilled. Once, as he concentrated on a
painting, he grew sleepy and dreamed that he had gone into
the water and was swimming about with all kinds of fish,
large and small. As soon as he woke up, he painted exactly
what he had seen and fastened the painting to his wall. He
called it The Carp of My Dreams. Marveling at how wonderful
his paintings were, people jostled for a place in line to acquire
them, but Kogi, though he happily gave his flowers, birds, and
landscapes to anyone who wanted them, stubbornly held on
to his paintings of carp. Playfully he would say, “This monk
will never give away the fish he has reared to ordinary laymen
who kill living things and eat fresh meat.”7 Word of his paint-
ings and of this joke spread throughout the realm.
One year he fell ill and, after seven days, suddenly closed
his eyes, stopped breathing, and lost consciousness. His disci-
ples and friends came together to grieve, but, finding that his
chest was still a little warm, they gathered around him to keep
watch, thinking that he might recover; and after three days,
his arms and legs seemed to move a little, and he suddenly
heaved a long sigh, opened his eyes, and sat up as though
awakening from sleep. “I have forgotten human affairs for
114 book two
Image has been suppressed
a long time,” he said to the people around him. “How many
days have passed?” His disciples said, “Master, you stopped
breathing three days ago. People from throughout the tem-
ple, and others you have always been close to, came to discuss
your funeral, but noticing that your chest was still warm, we
watched you without putting you in a coffin, and now that you
have come back to life, we are all rejoicing that, fortunately,
we did not bury you.” Kogi nodded: “Someone go to the
house of our danapati the Taira officer and report that I have
mysteriously come back to life. The officer is now pouring
saké and preparing thinly sliced fish, but ask him to interrupt
his banquet for a moment and come to the temple. Say that
I will tell him a most unusual tale, and look closely at what
everyone there is doing. Repeat exactly what I have told you,
nothing else.” The messenger was dubious, but he went to
the mansion, gave the message to an intermediary, and then
stealthily looked inside. The officer, his younger brother Juro,
his retainer Kamori, and others were seated in a circle, drink-
ing saké. The messenger was startled, because the scene was
exactly as his master had said it would be. When they heard
the message, the people in the officer’s house were greatly
surprised. Putting down his chopsticks, the officer went to
the temple, attended by Juro and Kamori.
Raising his head from the pillow, Kogi thanked his visitor
for coming, and the officer congratulated Kogi on his recovery.
Then Kogi said, “Listen to what I have to say. Have you ever
bought fish from that fisherman named Bunshi?” Startled,
the officer replied, “Yes, I have indeed. How did you know?”
Kogi said, “The fisherman entered your gate with a basket
containing a fish more than three feet long. You were in the
south wing, playing go with your younger brother. Kamori
was sitting beside you, eating a large peach and watching the
game. Delighted by the big fish that the man had brought,
l. 9 danapati (J. dan’otsu): the Sanskrit word for a lay believer who supports
the monastic community with donations.
the carp of my dreams 115
you gave him a tray of peaches and shared your saké with
him. The cook proudly took out the fish and cut it into thin
slices. Am I right so far?” Hearing this, the officer and his
men, suspicious and confused, pressed him to explain how
he knew these things in such detail. Kogi told them.
“The suffering caused by my illness became unbearable.
Unaware that I had stopped breathing, I leaned on my staff
and went out through the gate, hoping to relieve the feverish-
ness a little, whereupon my illness began to ease and I felt
like a caged bird returning to the land of clouds. Making my
way through mountains and villages, I arrived again at the
edge of the lake. When I saw the pale-jade water, I felt reality
slip away and thought that I would have a swim, and so, shed-
ding my robe, I threw myself in, plunged to the depths, and
swam here and there, frolicking as I pleased, even though I
am not one who grew accustomed to the water as a child. I
realize now that it was all a foolish dream. But a man cannot
float in the water with the ease of a fish. I began to wish that I
could disport myself like a fish. Nearby was a large fish, who
said, ‘The master’s wish is easily granted. Please wait here.’
He disappeared into the depths, but soon a man wearing
a crown and robes ascended toward me, sitting astride the
same large fish and leading many other fish behind him. He
said to me, ‘I bear a message from the Lake God: “You, old
monk, have acquired much merit by releasing creatures that
were captured by men. Now you have entered the water and
wish to swim about like a fish. For a time, we will give you
the garb of a golden carp and let you enjoy the pleasures of
the water world. But you must be careful not to be tempted
by the fragrance of bait, get caught on a line, and lose your
life.”’ Having said this much, he disappeared. Astonished,
I looked at myself, and found that I had acquired glowing,
golden scales and turned into a carp.
“Not thinking this particularly strange, I swished my tail,
moved my fins, and rambled about as I pleased.8 First I rode
the waves that were raised by the wind blowing down from
116 book two
Mount Nagara, and then, wandering along the edge of the
Great Bay of Shiga, I was startled by people strolling back and
forth, so close to the water that their skirts got wet, and so I
tried to dive in the depths where high Mount Hira casts its
reflection, but I found it hard to hide myself when the fishing
flares of Katada at night drew me as though I were dream-
ing. The moon resting on the waters of the berry-black night
shone clear on the peak of Mount Kagami and drove the
shadows from the eighty corners of the eighty ports to cast a
lovely scene.9 Okino Isle, Chikubu Isle—the vermillion fence
reflected in the waves startled me. Soon I was awakened from
my dreams among the reeds as the Asazuma Boat rowed out
in the wind from Mount Ibuki; I dodged the practiced oar of
the Yabase ferryman and many times was driven away by the
bridge-guard of Seta. When the sun grew warm, I rose to the
surface; when the wind was strong, I swam in the depths.
“Suddenly feeling hungry, I searched here and there for
something to eat. I swam around frantically, unable to find
anything, until I came upon the line that Bunshi was dan-
gling in the water. His bait was wonderfully fragrant. Then I
remembered the Lake God’s warning. I am a disciple of the
Buddha. How should I stoop to eating fish bait, just because
I have been unable to find food for a while? I swam away.
With time, the hunger grew steadily worse, and I reconsid-
ered, thinking: I can hardly bear it any longer. Even if I swal-
lowed the bait, would I be so reckless as to get caught? I have
known Bunshi for a long time; why should I hold back? I
took the bait. Bunshi promptly hauled in the line and caught
me. ‘Hey! What are you doing?’ I cried, but, pretending not
to hear me, he passed a cord through my chin, tied up his
boat in the reeds, placed me in a basket, and went in through
your gate. You were in the south room, playing go with your
younger brother. Kamori sat nearby, eating fruit. Seeing the
large fish that Bunshi had brought, everyone was delighted
and congratulated him. At that point, I spoke to all of you.
‘Have you forgotten Kogi? Release me, please! Let me go
the carp of my dreams 117
back to the temple,’ I cried, again and again, but you pre-
tended not to hear and just clapped your hands in delight.
The cook pressed both of my eyes hard with the fingers of
his left hand, took up a well-sharpened knife in his right
hand, placed me on the chopping block, and was about to
cut, when I screamed in agony. ‘Is there any precedent for
hurting a disciple of the Buddha this way? Help me, help
me!’ I cried, but no one listened. When I felt that I was about
to be cut, I awakened from my dream.”
Everyone was deeply moved and amazed. “Thinking
about the master’s story,” said the officer, “I remember see-
ing the fish’s mouth move each time, but there was no voice
118 book two
Image has been suppressed
at all. It is marvelous to have seen such a thing with my own
eyes.” Sending a messenger running to his house, he had
the remaining slices of fish thrown into the lake.
After this, Kogi recovered completely and lived for many
years before he died of old age. As his end approached, he took
the many carp that he had painted and released them into the
lake, where the fish left the paper and silk to swim about in
the water. For this reason, none of Kogi’s paintings survived.
A disciple named Narimitsu inherited Kogi’s divine skill and
became famous in his time. It is recorded in an old tale that he
painted a chicken on a sliding door at the Kan’in Palace, and
when a live chicken saw the painting, he kicked it.10
When I felt that I
was about to be cut,
I awakened from
my dream.”
the carp of my dreams 119
Image has been suppressed
N O T E S
1. The Tang story on which the former is based has been translated by
Lin Yutang as “The Man Who Became a Fish,” in Famous Chinese
Short Stories (New York: Day, 1948), pp. 273–278. On Chinese ver-
nacular fiction, see, for example, Feng Meng-Lung, ed., Stories from
a Ming Collection: Translations of Chinese Short Stories Published in the
Seventeenth Century, trans. Cyril Birch (New York: Grove, 1958); and
Patrick Hanan, The Chinese Vernacular Story (Cambridge, Mass.: Har-
vard University Press, 1981).
2. Uzuki Hiroshi, Ugetsu monogatari hyoshaku, Nihon koten hyoshaku
zenchushaku sosho (Tokyo: Kadokawa, 1969), pp. 298–299.
3. Burton Watson, trans., Chuang Tzu: Basic Writings (New York: Colum-
bia University Press, 1964), p. 45.
4. Watson, trans., Chuang Tzu, p. 110.
5. Mishima Yukio, “Ugetsu monogatari ni tsuite,” in Mishima Yukio
zenshu (Tokyo: Shinchosha, 1975), vol. 25, p. 273.
6. In Buddhist teachings, releasing captured creatures is meritorious.
7. Taking life is the first of the five proscribed actions in Buddhism.
The others are stealing, licentiousness, lying, and consuming alco-
hol. These bad karma (actions) impede one’s gradual progress toward
enlightenment and buddhahood.
8. The michiyuki follows, studded with utamakura, as carp-Kogi swims
clockwise around Lake Biwa and evokes famous sights from the point
of view of a fish.
9. “berry-black night” (nubatama no yoru): nubatama, the seed of the
blackberry lily (Belamcanda chinensis), also called leopard lily, is a pillow-
word conventionally used to modify the terms “night,” “black,” “dark-
ness,” “evening,” “hair,” and, by extension, “dream” and “moon.”
“eighty corners of the eighty ports” (yaso no minato no yasokuma):
yaso (eighty) here means “many”; yaso no minato could be a place-
name (Yaso Port), but I take it here to mean “many ports.”
10. “old tale”: story 11:16 in Narisue, Stories Heard from Writers Old and
New. Narimitsu probably lived in the middle of the tenth century.
The Kan’in Palace, originally the mansion of Fujiwara Fuyutsugu
(775–826), in Kyoto, served as an imperial palace in the twelfth and
thirteenth centuries.
120 book two
t itle
The title, “Bupposo,” refers to two different birds: bupposo, a
broad-billed roller (Eurystomus orientalis), and konohazuku, the
Japanese scops owl (Otsu scops japonicus). The call of the owl
is thought to sound like buppan (Buddhist dharma) or bup-
poso—Buddha, dharma, sa≈gha (the Buddha, his teachings,
and the community of monks, nuns, and laity), which consti-
tute the “Three Jewels” of Buddhism. Accordingly, this owl is
sometimes called bupposo or sambocho (three-jewel bird).
characters
The number of characters in “The Owl of the Three Jew-
els” expands beyond the one or two in the previous stories
to include the fictional merchants Muzen and his son, the
ghost of the famous poet Satomura Joha, the ghosts of Toyo-
tomi Hidetsugu and his retainers, and Kobo Daishi, whose
spirit hovers over the story, constantly in the minds of the
characters and readers.
BOOK THREE
THE OWL OF THE THREE JEWELS
Kobo Daishi, or Kukai (774–835), the founder of the Shin-
gon (True Word) sect of Buddhism, is perhaps the greatest
figure in the history of Japanese religion. In the story, he is
referred to as the “Great Teacher.” The honorific title Kobo
Daishi (Great Teacher Who Spread the Dharma) was con-
ferred on him posthumously by Emperor Daigo in 921.
Toyotomi Hidetsugu (1568–1595) was the nephew and
adopted son of the national unifier Toyotomi Hideyoshi
(1537–1598). Although Hidetsugu succeeded Hideyoshi as
regent (kampaku) in 1592, he fell out of favor after the birth
of Hideyoshi’s natural son, Hideyori, in 1593; two years later,
he was ordered to commit suicide at Mount Koya with six-
teen of his retainers. Hidetsugu had a deep interest in no,
poetry, and other classics, but also was so bloodthirsty that
he earned the nickname Sassho Kampaku (Killer Regent), a
pun on sessho kampaku, in which the word sessho is the title of
a regent who serves a child emperor. The Portuguese Jesuit
missionary Luis Frois (1532–1597) reported that Hidetsugu
“had one weakness, namely a passionate delight in killing.”1
Satomura Joha (1524–1602) was the leading poet of his
time and the last major renga master. The title by which
he identifies himself, Bridge of the Dharma (Hokkyo), was
applied to holy men, especially those who were also writers,
painters, or physicians who served as a “bridge” for ordinary
people who sought to understand the dharma. Joha is known
to have been invited to compose renga with Hidetsugu.
places
“The Owl of the Three Jewels” begins in Oka, now the town
of Taki, located to the west of the Ise Shrines in Mie Prefec-
ture. Muzen and his son travel to Kyoto and then to Mount
Koya (Koyasan), where most of the story takes place.
Like “Shiramine” and “The Blue Hood,” “The Owl of the
Three Jewels” includes a michiyuki:
122 book three
Nijo: district just to the south of the imperial palace in Kyoto.
Having a second house at this location is a sign of Muzen’s
wealth.
Yoshino: mountainous area of Nara Prefecture, south of
Kyoto, celebrated since ancient times for its magnificent
cherry blossoms. Part of “A Serpent’s Lust” also takes
place in Yoshino.
Mount Koya: mountain with a vast complex of monasteries,
the headquarters of the Shingon sect of Buddhism, about
sixty-two miles southwest of Kyoto, in Wakayama Prefec-
ture (formerly, Kii Province).
Tennokawa: village through which pilgrims coming from the
east passed on the road to Mount Koya.
Mani: “holy mountain of Mani” (mani no miyama) some-
times refers to the whole of Mount Koya, but here may
refer specifically to the mountain called Mani, east of the
Mount Koya temple complex. Mani is originally a Sanskrit
word meaning “pure” or “jewel.”
t ime
Early summer in a year after 1616, early in the Tokugawa
period: “more than eight hundred years” after the founding
of Koyasan.
background
In 804, as a student monk, Kukai sailed to China, where he
met with great success in his studies of esoteric Buddhism.
Legend has it that, just before his return to Japan in 806, he
threw a three-pronged vajra (J. sanko) toward Japan. It landed
in a pine tree—the Vajra Pine (Sanko no matsu), which
stands in the center of the main compound on Mount Koya.
(The vajra [Sanskrit for “diamond”], originally an Indian
the owl of the three jewels 123
weapon resembling a two-headed mallet with three blades
on each end, evolved in tantric and esoteric Buddhism into
a ceremonial implement.) Kukai established the monastic
complex at Mount Koya in 816. Most of the story takes place
at the Lantern Hall (Torodo) in front of Kobo Daishi’s mau-
soleum at Mount Koya, where his followers believe he lies in
a state of animated suspension. Pilgrims to the Mausoleum
recite the chant Namu Daishi Henjo Kongo: “I put my faith in
the great teacher who brings light to all the people, Universal
Adamantine Illuminator.”2
The Lantern Hall and Mausoleum are at some remove
from the central compound at Koya, which is called the
Platform (Danjo). About 5 acres in area, the Platform con-
tains the Great Pagoda, the Golden Hall, other important
buildings, and the Vajra Pine. A 1¼-mile path lined with
thousands of gravestones, including those of some of the
most famous figures of Japanese history, leads east from
the Platform through giant cedars to the Mausoleum. The
path, the Lantern Hall, the Mausoleum, and other buildings
together are referred to as the Inner Sanctuary (Oku-no-in).
The flames in the Lantern Hall are said to have burned con-
tinuously since 1016. A narrow stream called the Tamagawa
(Jewel River) flows in front of the Lantern Hall, where it is
spanned by a short bridge.
Poetry in both Chinese and Japanese plays an important
role in “The Owl of the Three Jewels.” Muzen is an amateur
poet in the “haikai style,” which refers to a style of renga
in which links of seventeen (5–7–5) and fourteen (7–7) sylla-
bles alternate. Muzen’s verse, given in the story, could stand
alone as a haiku or serve as the hokku (first link) of a linked-
verse sequence. It was presumably composed by Akinari,
who began writing and publishing haikai in his youth. The
other poet in the tale is Joha. The prominence of poetry in
the story, especially Joha’s explication of Kobo Daishi’s waka,
reflects Akinari’s kokugaku interests.
124 book three
aff init ies
Several sources of inspiration for “The Owl of the Three Jew-
els” have been identified: two stories in Qu You’s Jiandeng
xinhua (New Tales After Trimming the Lamp, 1378); Asai Ryoi’s
adaptation of one of them, “Yurei shosho o hyosu” (Ghosts
Evaluate Various Generals), in Otogiboko (Talisman Dolls,
1666); “Fushimi Momoyama borei no gyoretsu no koto”
(A Procession of Ghosts at Fushimi Momoyama), in Kai-
dan tonoibukuro (Ghost Stories: A Sack of Courtly Bedclothes,
1768), edited by Oe Bunpa; Taiheiki (Record of Great Peace,
fourteenth century); Oze Hoan’s Taikoki (Chronicle of the
Taiko [Hideyoshi], 1617); and Hayashi Razan’s Honcho jinja ko
(Studies of Japanese Shrines).
other observat ions
For an analysis of “The Owl of the Three Jewels,” see “Struc-
ture of the Stories,” in the introduction.
The story echoes the indirect praise for the Tokugawa
regime that appears in the Preface: “the ancient Tranquil
Land” alludes, with an elegant old epithet for Japan (urayasu no
kuni), to the tranquillity of the period and, with “ancient” (hisa-
shiku), refers both to the unbroken line of emperors and to the
long rule of the Tokugawa family, which had continued peace-
fully for more than 150 years by the time the story was writ-
ten. The indirect praise continues, as the first paragraph refers
to the popularity and relative safety of domestic travel, which
before the Tokugawa regime had been fraught with danger, as
depicted in “The Reed-Choked House.” In a broader sense, the
entire story pays tribute to the Tokugawa, who brought peace
and stability to the country after the turbulent Toyotomi era, of
which the story is such a vivid reminder. The praise is echoed
again in the last story, “On Poverty and Wealth.”
the owl of the three jewels 125
I n the ancient Tranq tasks and in their leisure hours relax under blossoms in the spring, visit brocade forests in the fall, and, think-
ing they must know Tsukushi of the unknown fires, rest their
heads on rudders, and then turn eager thoughts to the peaks
of Fuji and Tsukuba.3
In a village called Oka, in Ise, a man of the Hayashi clan
transferred his affairs to his heir, shaved his head (though he
had suffered no particular misfortune), changed his name
to Muzen, and, being robust and free of any disease, looked
forward to traveling here and there in his old age. Lamenting
that his youngest son, Sakunoji, was boorish and inflexible
by nature, he took the boy to stay for more than a month at his
second house, in the Nijo district, thinking that he would show
him how people of the capital behaved; then, late in the Third
Month, they viewed the blossoms in the depths of Yoshino,
where they rested for seven days at a temple he knew; and,
being nearby, he thought that they would go also to Mount
Koya, which they had never seen, and so they pushed their
way through the lush green leaves of early summer, crossed
the mountains from a place called Tennokawa, and arrived at
the holy mountain of Mani. Exhausted from the steep path,
they were surprised to see the sun beginning to set.
After worshipping at the Platform and all the various
halls and mausoleums, they asked for lodging, but no one
responded. When they questioned a passerby about the rules
l. 4 Tsukushi: an old name for the island of Kyushu.
l. 4 “unknown fires” (shiranuhi): a pillow-word that conventionally modifies
Tsukushi.
l. 5 “heads on rudders” (kajimakura): refers to a journey by ship.
l. 8 “shaved his head”: signifies the taking of Buddhist vows.
l. 10 Muzen: a Buddhist name meaning, literally, “dreamlike.”
126 book three
Image has been suppressed
of the place, they were told, “People with no connection to a
temple or to a monks’ residence go down to the foot of the
mountain to spend the night. No one puts up travelers for
the night on this mountain.” What would they do? Although
he was healthy, Muzen was an old man who had just toiled
up a steep path, and now, hearing this, he felt completely
spent. Sakunoji said, “It is growing dark, our legs are sore—
how can we go back down that long road? A young person
does not mind lying down on the grass, but I worry that you
would take sick.” Muzen said, “The poignancy of travel lies
in just this sort of thing. Even if we went down the mountain
tonight, dejected, exhausted, and injuring our legs, we would
not be back at home. There is no telling what awaits us on
the road tomorrow, either. This mountain is the holiest place
in Japan. There are no words to describe the boundless vir-
tue of the Great Teacher. Having come this far, we must pass
the night in prayer at a temple, asking for an easy rebirth in
the next life, and now is the perfect opportunity—we shall
spend the night praying at the Mausoleum.” Passing through
the shadows on the path beneath the cedars, they ascended
to the veranda of the Lantern Hall, which stands before the
Mausoleum; spread out their rain gear to make a place to
sit; and chanted calmly while the night gradually deepened,
making them feel lonesome and desolate.
The temple grounds were an auspicious, holy place, a
clearing one-third of a mile on each side without a shabby
grove in sight, where even the smallest pebble had been swept
away;4 but here, far removed from the temples, no sound of
incantations, bells, or ringing-staffs could be heard. Luxuri-
ant trees pushed through the clouds; the sound of water flow-
l. 29 “incantations” (J. darani, Skt. dharaçi): Sanskrit phrases—the “true
words” of Shingon—believed to have mystical power.
l. 29 “ringing-staffs” (shaku[jo]): wooden staffs with brass heads, decorated
with metal loops that ring when moved. Originally used by itinerant holy
men in India to frighten off snakes, they evolved into ceremonial staffs
carried by priests.
the owl of the three jewels 127
ing beside the path was light and clear, deepening the melan-
choly. Unable to sleep, Muzen spoke: “The Great Teacher’s
godlike moral influence brings enlightenment even to the
soil, rocks, grass, and trees, and coming down to us today
after more than eight hundred years it is ever more splen-
did and noble. Among his many achievements all around the
country is this mountain, the greatest of all Buddhist temples.
When the Teacher was living, he crossed to distant China,
where something happened that moved him deeply. Saying
‘Wherever this lands will be the holy spot from which I shall
spread my Way,’ he threw a vajra into the far-off sky, and this
mountain is where it came to rest. I have heard that it lodged
in the Vajra Pine at the front of the Platform. They say there
is no grass, tree, spring, or rock on this mountain that is not
sacred. That we are able unexpectedly to take lodgings here
this night is the result of a happy bond, transcending a single
life.5 Although you are young, you must never neglect your
faith.” He spoke softly, his voice clear and wistful.
In the woods behind the Mausoleum, it seemed, a bird
cried buppan, buppan, and the echo sounded close at hand.
Muzen felt suddenly wide awake: “Extraordinary. The bird
that just sang must be the one called bupposo. I heard a long
time ago that it nests on this mountain, but I have never
met anyone who had actually heard its voice. The fact that
we have been able to hear this while we lodge here tonight
may be an omen that our misdeeds will vanish and we will
take good karma into the next life. They say that this bird
chooses immaculate places to live. It is well known that it
nests on Mount Kasho in the province of Kanzuke, Mount
Futara in the province of Shimozuke, the peak of Daigo in
Yamashiro, Mount Shinaga in Kawachi,6 and especially on
this mountain, as a gatha poem by the Great Teacher says:
l. 32 “gatha poem” (shige): praise (Skt. gatha) for the Buddha’s virtue and an
explanation of his teachings, in the form of a Chinese poem.
128 book three
In the quiet forest, sitting alone in my hut at dawn
I hear the call of the Three Jewels in one bird.
The bird has a voice, I have a mind—
voice, mind, clouds, water, all perfectly enlightened.7
Another old poem says:
As the peak of Matsuno-o quietly greets the dawn
I look up and hear the bird cry bupposo.8
It has been handed down that, long ago, the gods of Mat-
suno-o commanded this bird always to serve the priest Enro
of Saifukuji, because he was without equal as a believer in the
Lotus Sutra, and so we know that the bird lives in that sacred
precinct as well.9 Tonight, strangely enough, we have already
heard the voice of the bird. How can I fail to be moved in
these circumstances?”10 After cocking his head in thought
for a time, he recited a seventeen-syllable verse in the haikai
style, of which he had long been fond:
“The cry of the bird is mysterious, too—lush foliage on the
secret mountain.”11
Taking out his travel-inkstone, he wrote down the verse
by lantern light, then strained his ears in hopes of hear-
ing the voice of the bird again, when, to his surprise, he
heard instead the stern voice of a forerunner, coming from
the direction of the distant temples and gradually drawing
closer. “Who could be coming to worship so late at night?”
he said, in puzzlement and fear. Exchanging glances, father
and son held their breath as they peered toward the voice.
Soon a young samurai outrider approached them, stomping
roughly on the planks of the bridge.
Startled, they hid on the right side of the hall, but the
samurai quickly discovered them. “Who are you?” he said.
“His Excellency is coming. Get down quickly.” In a panic,
the owl of the three jewels 129
they climbed down from the veranda and prostrated them-
selves on the ground. Soon they could hear the sound of
many shoes, particularly the resounding echo of clogs, as
a nobleman dressed in court robes and cap ascended to the
hall, followed by four or five samurai, who sat to his right
and left. The nobleman said to his attendants, “Why is so-
and-so not here?” “He should be here soon,” one of them
replied. Again footsteps could be heard, and another group,
l. 3 “clogs” (asagutsu): made of black-lacquered paulownia and lined with
silk, worn by court nobles.
l. 4 “court robes and cap” (eboshi noshi): the everyday wear of nobles.
130 book three
Image has been suppressed
including a dignified samurai and a lay-priest with a shaved
head, bowed and ascended to the hall. Addressing the samu-
rai who had just arrived, the nobleman said, “Hitachi, why
are you late?” The samurai replied, “Shirae and Kumagae
were hard at work, saying that they would offer saké to Your
Excellency, and so I wanted to prepare some fresh fish to go
with it. This is why I have arrived late to serve Your Excel-
lency.”12 When the fish had been arranged and presented,
the nobleman said, “Mansaku, you pour.”13 A beautiful
young samurai respectfully approached on his knees and
raised the saké flask. As the cup was passed from person
to person, the party appeared to grow lively. The nobleman
“ Soon a young samurai
outrider approached
them, stomping
roughly on the planks
of the bridge.”
the owl of the three jewels 131
Image has been suppressed
spoke again: “I have not heard Joha’s stories for a long time.
Summon him.” The order seemed to be passed from man
to man, until a large monk with a flat face and prominent
features, wearing a priest’s robes, appeared from behind the
prostrate Muzen and sat at the end of the row. The noble-
man questioned him on various ancient matters, about
which he replied in detail. Greatly impressed, the nobleman
said, “Give him a reward.”
One of the samurai asked the monk a question: “I have
heard that this mountain was established by a priest of high
virtue, that there is no soil, rock, grass, or tree here that is not
sacred. Yet there is poison in the waters of the Jewel River.14
A man who drinks this water will die. For this reason, I have
heard, the Great Teacher composed a poem:
Forgetting, the traveler will surely scoop and drink—
the waters of the Jewel River deep in Takano.15
Why is it that, despite his high virtue, he did not dry up this
poisonous stream? What is your analysis of this strange
matter?” Smiling, the monk said, “The poem was selected
for inclusion in the Fugashu.16 In the headnote, the author
explained, ‘There being many poisonous insects upstream
in the river called “Jewel River,” on the path to the Inner
Sanctuary of Takano, I cautioned against drinking from
the stream and later wrote this poem.’ And so it is just
as you have recalled. Further, your question is reasonable
because the Great Teacher, having mysterious, god-like
powers, made the invisible gods open up roads where there
had been none before; he cut through rocks more easily
than digging in the soil, imprisoned great serpents, and
subdued goblin-birds—when we consider that he accom-
plished these great deeds, which are revered by all under
heaven, we cannot accept the headnote as the truth. There
are, of course, streams called Jewel River in various prov-
inces,17 and all the poems composed about them praise
132 book three
the purity of their waters, leading us to conclude that this
Jewel River, too, is not a poisonous stream; that the spirit
of the poem is ‘Even if someone coming here to worship
has forgotten the existence of such a famous river on this
mountain, he will be delighted by the purity of the stream
and scoop some water up to drink’; and that somebody
concocted the headnote later, having heard a groundless
report about poison. If we pursue our doubts further, we
will see that the poem is not in the style of the early days of
the present capital.18 Generally, in the old language of this
country, ‘jeweled chaplet,’ ‘jeweled curtain,’ ‘jeweled robe,’
and the like were words of praise for a beautiful form or
purity, so that pure water, too, was praised as ‘jewel water,’
‘jewel well,’ and ‘jewel river.’19 Why would anyone have
attached ‘jewel’ to the name of a poisonous stream? People
who embrace Buddhism blindly and fail to grasp the spirit
of poetry often make this kind of mistake. It is very percep-
tive of you to question the meaning of this poem, especially
as you are not a poet yourself,” he concluded, praising the
man warmly. The nobleman and all the others lauded the
reasonableness of this explanation.
From behind the hall came the cry buppan, buppan, sound-
ing quite near. Raising his cup, the nobleman said, “That
bird rarely calls. Tonight’s party is better than ever. Joha, how
about it?” The monk bowed and said, “A link from me would
surely sound fusty to your ears, my Lord. A traveler passing
the night here has been reciting haikai in the current style.
It would seem fresh to you, my Lord; please summon him
and listen.” “Call him,” said the nobleman. A young samu-
rai turned to Muzen and said, “You have been summoned.
Approach.” Unsure whether he was dreaming or awake,
Muzen crept forward, trembling with fear. The monk turned
to him. “That verse you just composed—present it to my Lord,”
he said. Muzen replied fearfully, “I do not remember what it
l. 24 “how about it”: the nobleman is asking Joha for a verse.
the owl of the three jewels 133
was. Please forgive me.” The monk pressed him: “You said
‘the secret mountain,’ did you not? His Excellency is wait-
ing. Quickly.” More terrified than ever, Muzen said, “Who
is the person you call His Excellency, holding a banquet by
night, deep in this mountain? It is very mysterious.” The
monk answered, “The man I refer to as His Excellency is the
regent, Lord Hidetsugu. The others are Kimura Hitachi-no-
suke, Sasabe Awaji, Shirae Bingo, Kumagae Daizen, Awano
Moku, Hibino Shimotsuke, Yamaguchi Shoun, Marumo
Fushin, the lay-monk Ryusai, Yamamoto Tonomo, Yamada
Sanjuro, Fuwa Mansaku, and, addressing you, Joha, Bridge
of the Dharma.20 It is due to a strange and fortunate bond
that you are able to behold His Excellency. Now hurry and
give him your verse.” It was so horrible that the hair on
Muzen’s head would have stood on end, had there been any
hair, and he felt as though his innards and his spirit alike
were flying away into space. Trembling, he drew a clean
sheet of paper from his pilgrim-bag, wrote on it with a fal-
tering brush, and presented it. Tonomo took the paper and
recited in a loud voice:
“The cry of the bird is mysterious, too—lush foliage on the
secret mountain.”
“Clever,” said the nobleman. “Someone provide a linking
stanza.”21 Yamada Sanjuro moved forward and said, “I
shall try.” Cocking his head in thought for a moment, he
produced:
“Burning poppy seeds till dawn of a short night on the dais.22
How is this?” He showed it to Joha. “Well done,” the monk
said, and presented it to his lord, who said, “Not bad.” Well
pleased, he took a drink and passed the cup around.
Suddenly turning pale, the man called Awaji said, “The
134 book three
asura time is here already. The asuras say that they have
come to escort you. Please rise.” Instantly, the faces of the
entire party turned as red as though blood had been poured
over them. In high spirits they cried, “Again tonight we shall
take Ishida, Masuda, and the rest by surprise.”23 Hidetsugu
turned to Kimura. “I have shown myself to these two nobod-
ies,” he said. “Take them with us to the asura realm.” The
senior retainers intervened and spoke with one voice: “Their
life spans have not yet run out. Do not repeat your evil deeds,”
but their words, and the figures of all the party, seemed to
fade into the distant sky.
Muzen and his son fainted and lay motionless for a time,
and then, as the eastern sky brightened, they were revived by
the chill of the dew; but still terrified in the partial darkness,
they fervently chanted the name of the Great Teacher,24 until,
finally seeing the sun emerge, they rushed down the moun-
tain, returned to the capital, and sought treatment with med-
icines and acupuncture. One day as he was passing the Sanjo
Bridge, Muzen thought of the Brutality Mound and felt his
gaze being drawn toward the temple.25 “It was horrible, even
in broad daylight,” he recounted to people in the capital. The
story has been recorded here just as he told it.
l. 1 “asura” (J. ashura or shura): in Buddhism, former human beings reborn
as demons in the asura realm, which among the Six Realms is the one
reserved for those who have been arrogant and jealous or have indulged
in dissipation and fighting. The cruel and dissolute Hidetsugu has been
reborn in the asura realm, where he and the other inhabitants are con-
demned to constant fighting.
the owl of the three jewels 135
N O T E S
1. Quoted in George Sansom, A History of Japan, vol. 2, 1334–1615 (Stan-
ford, Calif.: Stanford University Press, 1961), p. 366.
2. Translated by Oliver Statler, Japanese Pilgrimage (New York: Morrow,
1983), p. 28.
3. Fuji and Tsukuba are, by convention, the two principal peaks of east-
ern Japan. With the stability and prosperity of Japan and improved
transportation under the Tokugawa regime, domestic travel became
increasingly popular.
4. “clearing one-third of a mile on each side”: the main compound at
Koya is, in fact, about one-third of a mile west to east, and about 120
yards north to south.
5. Muzen is saying that their good fortune is the result of a bond from a
former life.
6. Mount Kasho is in the city of Numata, Gumma Prefecture; Mount
Futara, now called Mount Nikko, is in Tochigi Prefecture (it is said
that Kukai changed the name from Futara to Nikko during a visit
in 820); Mount Daigo is in Fushimi Ward, southeastern Kyoto; and
Kawachi is the modern Osaka Prefecture. Shinaga apparently was the
name of a mountain in Taishi, Minami-kawachi County.
7. This verse, which is in Chinese, appears in volume 10 of Kobo Daishi,
Shoryoshu (Collected Inspirations, 835), with the title “A Poem on Hear-
ing [a] Bupposo at Night at Ryukoin on Mount Koya.” Paraphrased,
the poem reads: “In the quiet forest, meditating alone in my hut at
dawn, I hear the call of a three-jewel bird singing bupposo, ‘Buddha,
dharma, sa≈gha,’ the Three Jewels. In its voice the bird embodies the
Three Jewels, and I, hearing it, have a mind that responds. In this
holy place, the animate voice and mind, the inanimate clouds and
water all have attained perfect enlightenment.” Ryukoin, one of the
Koya sub-temples, stands just northeast of the main compound.
8. This poem, a waka, is by Fujiwara Mitsutoshi (1210–1276) and appears
in Fubokusho (The Japanese Collection, ca. 1310). Mount Matsuno-o
(Matsuo) is in Ukyo Ward, west of the Matsuno-o Shrine, Kyoto.
9. The deities enshrined at the Matsuno-o Shrine are Oyamakui-no-
kami and Ichikishimahime-no-mikoto. Enro (1130–1208), an emi-
nent priest of the Tendai sect, became abbot of Saifukuji, a temple
that stood south of the Matsuno-o Shrine, in 1176. The Lotus Sutra (J.
Myohorengekyo) is the basic scripture of the Tendai sect and perhaps
the most important text in East Asian Buddhism.
136 book three
10. Muzen echoes Kukai, who, in his poem, said that his mind responded
to the bird’s call. Having heard the bird, Muzen is inspired to com-
pose a poem.
11. “secret mountain”: refers to Mount Koya, the center of the Shingon
sect of esoteric Buddhism.
12. At this point, a reader familiar with Japanese history will realize that
the nobleman must be Toyotomi Hidetsugu. Kimura Hitachi-no-suke
Shigekore (d. 1595) was a retainer and confidant of Hidetsugu; Shirae
Bingo-no-kami (d. 1595) and Kumagae Daizen-no-suke Naoyuki (d.
1595) also were retainers of Hidetsugu. Hitachi-no-suke, Bingo-no-
kami, and Daizen-no-suke are honorary court titles. Unlike many of
Hidetsugu’s other retainers, who died with him at Koya, Kimura, Shi-
rae, and Kumagae took their lives elsewhere; in this story, they have
rejoined their master at Mount Koya, but have arrived late.
13. Fuwa Mansaku (1579–1595), Hidetsugu’s page, was noted for his
beauty. He took his own life at Koya, before his master.
14. Conventional wisdom held at the time that the waters of the Tamagawa
(Jewel River) were poisonous.
15. This poem, a waka, is attributed to Kobo Daishi and appears in the
Fugashu (Collection of Elegance, 1346), no. 1778. The headnote that
precedes it reads (as Joha says): “There being many poisonous insects
upstream in the river called ‘Jewel River,’ on the path to the Inner
Sanctuary of Takano, I cautioned against drinking from the stream
and later wrote this poem.” “Takano” is an alternative reading of the
characters for Koya. My translation of the poem follows Joha’s inter-
pretation, which reflects Akinari’s own reading (Tandai shoshinroku [A
Record of Daring and Prudence, 1808], sec. 46) and differs from earlier
readings in rejecting the headnote and interpreting the poem without
reference to it. For readers who accept the headnote as authentic, the
ambiguity of the first part of the poem has led to two distinct read-
ings: “Forgetting [that the river is poisonous], did the [dead] traveler
scoop and drink?” and “Even forgetting [that the river is poisonous],
should the traveler scoop and drink? [No, he should not.]”
16. The Fugashu is number seventeen of the twenty-one imperially com-
missioned anthologies of poetry.
17. The six most famous Jewel Rivers (Tamagawa)—all of them utama-
kura—are in the prefectures of Kyoto, Shiga, Osaka, Wakayama (at
Koya), Tokyo, and Miyagi.
18. Kyoto became the capital in 794, when Kobo Daishi, the putative
author of the poem, was five years old, or about a generation before
the owl of the three jewels 137
the great Kokinshu poets Henjo (816–890?), Narihira (825–880), and
Komachi (fl. ca. 833–857). The natural assumption is that Kobo Dai-
shi would have composed poetry in the style of his own time.
19. “jeweled chaplet . . . jewel river”: tamakazura (the title of the “Jeweled
Chaplet” chapter of The Tale of Genji), tamadare, tamaginu, tamamizu,
tamanoi, and tamagawa.
20. Sasabe Awaji-no-kami served as Hidetsugu’s second when the dis-
graced regent committed suicide; Awano Moku-no-suke, Hibino Shimo-
tsuke-no-kami, Yamaguchi Shoun, Marumo Fushin, Ryusai, Yamamoto
Tonomo-no-suke, and Yamada Sanjuro were retainers of Hidetsugu
who committed suicide just before or after their master. Yamamoto and
Yamada were young pages. Awaji-no-kami, Moku-no-suke, Shimotsuke-
no-kami, and Tonomo-no-suke are honorary court titles.
21. “linking stanza” (tsukeku): in renga (linked-verse), a tsukeku is
a stanza that links with the preceding stanza. Renga poets had to
observe strict rules.
22. This stanza, presumably composed by Akinari, evokes the image
of a goma ritual, common in Shingon Buddhism, in which a priest
chants spells and incantations while burning poppy seeds and slips of
wood on a dais, to symbolize the flames of wisdom extinguishing bad
karma. Reference to the goma ritual echoes “secret mountain” (Mount
Koya) in the first stanza, in that both allude to esoteric Buddhism. In
other ways, too, the linking stanza conforms to the rules of renga:
“dais”: the gomadan in the Goma Hall (Gomado), one of the build-
ings in the Inner Sanctuary at Koya.
“till dawn”: recalls the cry of the bupposo at dawn in the first stanza.
“short night”: like “lush foliage,” in the first stanza, alludes to
summer.
23. Ishida Mitsunari (1560–1600) and Masuda Nagamori (1545–1615),
close retainers of Toyotomi Hideyoshi, were said to have conspired to
turn Hideyoshi against Hidetsugu in the first place and were among
those who signed the order for Hidetsugu’s suicide.
24. That is, they chanted Namu Daishi Henjo Kongo.
25. On the grounds of the Buddhist temple Zuisenji, southeast of the
bridge spanning the Takase River at Sanjo, in Kyoto, stands the
Hidetsugu Brutality Mound (Hidetsugu Akugyakuzuka), in which
are buried Hidetsugu’s head and the remains of his wife, concu-
bines, and children—some thirty people in all—who were executed
on Hideyoshi’s orders.
138 book three
t itle
The title, “Kibitsu no kama,” refers to the rice-cauldron ora-
cle at the Kibitsu Shrine, in Okayama Prefecture.
characters
All the characters in “The Kibitsu Cauldron” are fictional.
The protagonists are Shotaro, a farmer; his wife, Isora, the
daughter of a Shinto priest; his lover, Sode, a prostitute; and
Hikoroku, Sode’s cousin.
places
“The Kibitsu Cauldron” begins in the Kibi region, in the
village of Niise, now called Niwase, Okayama Prefecture.
Kibi consisted of the provinces of Bizen, Bitchu, Mima-
saka, and Bingo, corresponding to Okayama Prefecture
and part of Hiroshima Prefecture. The nearby Kibitsu
Shrine, a major Shinto shrine in western Japan, is located
BOOK THREE
THE KIBITSU CAULDRON
in the town of Magane, Okayama Prefecture. It enshrines
Okibitsuhiko-no-mikoto, son of Emperor Korei (legendary
dates, 290–215 B.C.E.).
The rest of the story takes place in the village of Arai, now
part of the city of Takasago, Hyogo Prefecture, about fifty
miles east of Niise/Niwase on the road to the capital.
t ime
Autumn, around 1500, or three generations from 1441 (the
year of the Kakitsu Incident).
background
The Cauldron Purification ritual (Mikamabarai) is held in a
small building on the grounds of the Kibitsu Shrine. Inside,
a large iron rice cauldron rests on a clay hearth. When the
water boils, fueled by burning pine needles, the cauldron
makes a rumbling sound, the volume of which is taken to
indicate good or bad fortune.
In “The Kibutsu Cauldron,” Isora is depicted as the ideal
wife of the time, as prescribed in such books as Onna daigaku
(The Great Learning for Women, 1716), attributed to Kaibara
Ekiken (1630–1714): she rises early, retires late, faithfully
serves her husband and parents-in-law, and secretly empa-
thizes with her husband’s concubine. The most dramatic
example in Japanese literature of a wife’s concern for her
husband’s lover is in Chikamatsu Monzaemon’s play Shinju
Ten no Amijima (Love Suicides at Amijima, 1720), in which the
wife overcomes her jealousy and secretly corresponds with
the mistress. The tradition of the good wife who supports
an unfaithful husband goes back at least as far as section 23
of Ise monogatari (Tales of Ise, ca. 947). The husband of the
lady in Ise is so moved by her loyalty that he stops visiting the
140 book three
other woman.1 Shotaro pretends to be moved by his wife’s
devotion, but soon proves to be unworthy of her.
aff init ies
There is a long history of tales similar to “The Kibitsu Caul-
dron” in China and Japan. Commentators have identified a
number of sources on which Akinari drew in writing this
story, including, especially, Qu You’s “Mudan deng ji” (Peony
Lantern), in Jiandeng xinhua (New Tales After Trimming the
Lamp, 1378), and its Japanese adaptation, Asai Ryoi’s “Botan
no toro” (The Peony Lantern), in Otogiboko (Talisman Dolls,
1666);2 “Onna no ichinen kite otto no mi o hikisoite torite
kaeru koto” (A Woman’s Vindictive Spirit Comes, Draws
near Her Husband, and Takes Him Away with Her), in Zen-
aku mukui hanashi (Stories of Karmic Retribution, Good and
Evil, ca. 1700?), which combines tales 27:20 and 24:20 of the
late-Heian setsuwa collection Konjaku monogatari shu (Tales
of Times Now Past, ca. 1120); and Hayashi Razan’s Honcho
jinja ko (Studies of Japanese Shrines). Some of the details in
the opening paragraph are derived from book 8 of Xie Zhao-
zhe’s Wuzazu (Five Miscellanies, 1618).
A jealous wife is intrmerits.” Alas! Whose words are these? Even if the harm she does is mild, she interferes with making
a living and ruins everything, and the neighbors’ censure is
hard to escape; and when the harm is severe, she loses her
family, brings down the realm, and everywhere becomes a
laughingstock. There is no telling how many people since
ancient times have suffered this poison. The kind who, after
death, vents her wrath by turning into a serpent or a vio-
the kib itsu cauldron 141
Image has been suppressed
lent thunderbolt will never rest, though her flesh be pickled
in salt. But such cases are rare. The husband who behaves
uprightly and instructs his wife carefully can surely escape
this affliction; and yet with some trivial thing, he will incite
her perverse nature and bring grief upon himself. It is said
that “what controls a bird is the human will; what controls a
wife is her husband’s manliness.” Truly, this is so.
In the province of Kibi, county of Kaya, village of Niise
lived a man named Izawa Shodayu. His grandfather served
the Akamatsu clan in Harima, but left their mansion at the
time of the Kakitsu Incident and came here, where the three
generations down to Shodayu prospered, plowing in the
spring and harvesting in the fall.3 Shodayu’s only son, Sho-
taro, disliked farming and disobeyed his father’s precepts,
indulging in saké and sensual pleasure. Lamenting this, his
parents held secret conversations: “If we could only find a
pretty girl from a good family for him to marry, he would
behave himself.” They searched tirelessly throughout the
province, until, happily, a matchmaker said, “The daughter
of Kasada Miki, the head priest at Kibitsu, has an elegant,
refined nature and is devoted to her parents; moreover, she
composes poetry and plays the koto masterfully. Since the
family is a good one, descended from Kibi no Kamowake,
this would be a splendid match for your family. I would hope
that a marriage could be arranged. What do you think?”
Shodayu was delighted: “You have brought wonderful news.
This could be the means to a thousand years of good for-
tune for my family; but the Kasadas are a noble house in
this province, while we are nameless peasants. We cannot
compare in social standing; I fear that they would not accept
a proposal from us.” The old matchmaker smiled: “You are
l. 1 “pickled in salt”: one form of punishment in ancient China was to mince
and pickle a criminal’s flesh.
l. 23 Kibi no Kamowake: Kibi Kamowake-no-mikoto, the younger half brother
of Okibitsuhiko-no-mikoto, the deity enshrined at Kibitsu.
142 book three
far too modest. I will be congratulating you soon, without a
doubt.” He went to speak with Kasada, who was delighted as
well; and when Kasada talked with his wife, she said, in high
spirits, “Our daughter is already seventeen, and my heart has
had no rest, night or day, wishing that we might find a good
man for her to marry. Choose a date quickly, and exchange
the betrothal gifts.” Since she was so enthusiastic, they soon
agreed to the engagement and reported to Izawa. The fami-
lies exchanged generous gifts, chose a propitious day, and
prepared for the wedding ceremony.
Further, in order to pray to the god for happiness, Kasada
assembled shrine maidens and priests to make an offering
of hot water. It has long been the custom for worshippers at
the Kibitsu Shrine to make abundant offerings, present hot
water to the god, and seek a divination of good or bad for-
tune. When the maidens complete their ritual prayers and
the water comes to a boil, the cauldron will, if the prospects
are good, produce a sound like the lowing of cattle. If the
prospects are bad, the cauldron will make no sound. This
is called the Kibitsu Cauldron Purification. In the matter
concerning the Kasada family, however, there was no sound,
not even the feeble chirping of insects in the autumn grass.
Could it be that the god would not accept their prayers? This
awakened misgivings in Kasada, who consulted his wife
about the oracle. She had no doubts whatever: “It is because
the priests’ bodies were impure that the cauldron made no
sound. Do they not say that, once betrothal gifts have been
exchanged, the red cord is tied and the engagement must not
be broken, even if the families are enemies or come from
different lands? And especially in the case of the Izawas—I
hear that they are a strict family, descended from men who
knew one end of a bow from the other; surely they would
l. 28 “red cord . . . broken”: this sentiment derives from a Chinese tale about
an old man who possessed a red cord that he would use to bind the legs
of a man and a woman. Once bound, they would inevitably marry.
the kib itsu cauldron 143
not accept a refusal from us now. And our daughter is count-
ing the days, having somehow learned that her fiancé is very
good looking. There is no telling what she might do if she
heard this inauspicious talk. If it came to that, our regrets
would be futile.” Her use of every argument to remonstrate
with her husband no doubt resulted from her disposition
as a woman. Kasada did not pursue his doubts any further,
because he favored the match, and he went along with his
wife. Having completed their preparations, the two families
assembled and congratulated the bride and groom, singing of
the crane’s one thousand years, the tortoise’s ten thousand.
After Isora, Kasada’s daughter, went to live with the Iza-
was, she served them with all her heart, rising early, retiring
late, always ready to help her parents-in-law, and accommo-
dating to her husband’s nature, so that the older Izawas were
overjoyed at her admirable devotion and fidelity. Shotaro,
too, was moved by her sincerity, and their life as husband
and wife was happy. And yet, there was no getting around
his willful, dissolute nature. At some point, he grew close
to a woman of pleasure named Sode, at Tomonotsu;4 finally,
he redeemed her contract and installed her in a house at a
nearby village, where he would spend days at a time with-
out returning home. Resentful of this, Isora remonstrated
with him, sometimes using her in-laws’ anger as an excuse,
sometimes lamenting her husband’s fickleness; but he paid
no attention and stayed away for more than a month. Sho-
dayu, unable to stand idly by in the face of Isora’s devotion,
l. 4 “If it came to that”: the implication seems to be “if she lost her mind” or,
even, “if she took her own life.”
l. 11 “the crane’s one thousand years, the tortoise’s ten thousand”: prover-
bially, cranes live for one thousand years; tortoises, for ten thousand.
The families use these conventional phrases to wish for a long, happy
marriage.
l. 20 “woman of pleasure” (asobimono or ukareme): an indentured prostitute,
whose contract could be redeemed by a patron who wanted to take her
as a wife or mistress.
144 book three
reprimanded Shotaro and confined him in a room. This sad-
dened Isora, who behaved more steadfastly than ever, wait-
ing on her husband faithfully morning and night and send-
ing things secretly to Sode.
One day, when his father was away from home, Shotaro
appealed to Isora, saying, “When I see how truly faithful you
are, I feel nothing but remorse for my misdeeds. I shall send
that woman back to her home village and assuage Father’s
anger. She is from the Inami Plain, in Harima. It made me
sad to see her in that wretched position, without parents, and
I took pity on her. If I abandon her, she will surely go back to
entertaining men at some port again. I have heard that people
are more compassionate in the capital, and so I want to take
her there and help her find service with a man of substance,
even if it means that she continues in the same wretched sta-
tus. She must be in terrible straits now, with me shut up like
this. Who will see to her expenses on the road and her cloth-
ing? Could you manage these things and help her?” Isora
responded joyfully to his courteously phrased entreaties. “Put
your mind at rest,” she said. Secretly exchanging her own
clothing and accessories for cash and using some pretense
to plead for money from her mother, she gave everything to
Shotaro. Once he had the money, he slipped out of the house
and fled with Sode toward the capital. Isora, having been so
cruelly deceived, now was overwhelmed by resentment and
distress and took to her bed, seriously ill. The Izawas and
Kasadas hated him and pitied her, and fervently hoped that
medical treatment would effect her recovery; but even por-
ridge was more than she could swallow, and she weakened
day by day, until finally there was no hope.
In Harima Province, district of Inami, village of Arai,
there was a man called Hikoroku. Because he was her
cousin, Sode and Shotaro called on him first and stopped to
rest their feet for a while. Hikoroku said to Shotaro, “Even
in the capital, not everyone is trustworthy. Stay here. We
will share our rice and find a way to make a living together.”
the kib itsu cauldron 145
Relieved to hear these welcome words, Shotaro decided
that he and Sode would live here. Hikoroku, delighted to
have new companions, rented the run-down house adjoin-
ing his for them to occupy. Sode, however, seemed to come
down with a cold; she began to be vaguely unwell and then
appeared to have lost her mind, as though possessed by
some malign spirit. In his distress that this disaster had
befallen them, and only a few days after their arrival, Sho-
taro forgot even to eat as he looked after her. Sode only
wailed, apparently feeling an unbearable pressure on her
chest,5 and then, whenever the fever subsided, she would
seem the same as always. Could it be an angry spirit? Had
something happened to her whom he had abandoned in
his village? Shotaro’s heart ached. Hikoroku encouraged
him: “How could that be? I have seen many cases of people
suffering from an ague. When the fever goes down a little,
you will forget all about it, as though it had been a dream.”
His easy manner was reassuring. Their care, however, had
not the slightest effect, and on the seventh day Sode passed
away. Looking up at the sky and stamping his feet on the
ground, Shotaro wailed with grief like one insane, saying
that he wanted to accompany her in death. Hikoroku tried
to comfort him. “Nothing more can be done,” he said, and
finally they turned her into smoke on a remote field. Gather-
ing the bones, they constructed a grave, erected memorial
tablets, and, summoning a priest, prayed earnestly for her
enlightenment in the next life.
Now Shotaro, lying prostrate, longed for the Land of the
Dead, but he could not employ the Way of Calling Back the
Spirit;6 looking up, he thought of his home, but it seemed
even more distant than the Underworld: there was no ferry
before him, and he had lost the road that would take him
back; all day he lay in bed, and each evening he visited the
grave, where the grass had already grown thick and the
voices of the insects were vaguely forlorn. As he was telling
himself that the loneliness of autumn was for him alone,7
146 book three
he saw the same grief elsewhere under the clouds in the
sky,8 for there was a new grave near this one and a sorrowful
woman making an offering of flowers and water. “How sad
for a young woman like you to be wandering on this deso-
late field,” he said. She turned to look at him and said, “I
come every evening, but you are always here before me. You
must have parted from someone very dear to you. It makes
me sad to think how you must feel.” Tears were streaming
down her cheeks. Shotaro said, “Yes, ten days ago I lost my
beloved wife, and I feel helpless and alone. Coming here
is my only consolation. I suppose it is the same for you.”
The woman said, “This is my master’s grave; we buried him
here some days ago. I bring incense and flowers in place of
my widowed mistress, who is so heartbroken that she has
taken seriously ill.” Shotaro said, “It is only natural that she
should fall ill. Who was the deceased, and where do you
live?” The woman said, “My master was from a prominent
family in this province, but he lost his holdings because of
slander and came to live miserably on the edge of this field.
My mistress is known as a great beauty, even in neighbor-
ing provinces; it was because of her that my master lost his
house and land.”9 His heart stirred by this account, Shotaro
said, “Then, is your mistress’s lonely dwelling close by? Per-
haps I should visit her, so that we can comfort each other
by expressing the sadness we share. Please take me with
you.” “The house is a little way off the road by which you
came. She has no one to turn to; please visit her often. She
must be waiting anxiously.”10 With this, she stood and led
the way.
Walking about 250 yards, they came to a little path.
Another 100 yards brought them to a small, thatched house
in a gloomy wood. Light from the moon, past its first quarter,
streamed brightly through a dreary bamboo gate, illuminat-
ing a meager, neglected garden.11 The feeble light of a candle
shone desolately through a paper window. “Please wait here,”
she said, and went inside. Standing next to a moss-covered
the kib itsu cauldron 147
well, he peered into the house. Through the narrow space
where a sliding door had been left open, he saw the glow of
elegant, black-lacquered shelves as the flame wavered in a
draft, exciting his curiosity. The woman came out: “When
I told my mistress of your visit, she said, ‘Please come in; I
will speak with you from behind a screen,’ and she has crept
to the edge.12 Please come inside.” She led him in through
the garden. The door to a twelve-foot-wide reception room
was open just enough for a person to enter; inside stood a
low folding screen, from which protruded the edge of some
old bedding; apparently, the lady of the house lay there. Fac-
ing the screen, Shotaro said, “I have heard that you not only
148 book three
Image has been suppressed
suffered a bereavement, but also have fallen ill—I, too, have
lost my precious wife, and so, thinking that we might call
on each other in our mutual grief, I have presumed to visit
you.” The lady pushed aside the folding screen a little. “So
we meet again, after all this time,” she said. “Let me show
how I repay your cruelty.” Astonished, he looked closely. It
was Isora, whom he had left behind in his home village. Her
face was ghastly pale, the bleary, tired eyes appalling, and a
pale, wasted hand pointed horribly this way. Crying out, he
collapsed and lost consciousness.
He came to after a time. Opening his eyes just a little,
he saw that what had appeared to be a house was in fact
“ Let me show how I
repay your cruelty.”
the kib itsu cauldron 149
Image has been suppressed
a Samadhi Hall in the desolate field, and only a statue of
the Buddha stood inside, darkened with age. Following the
barks of a dog coming from the faraway village, he ran back
home and told Hikoroku what had happened. “You were
probably tricked by a fox,” said Hikoroku. “A deceiving
spirit will possess you when you feel low. A grief-stricken
weakling like you needs to pray to the gods and buddhas
and calm your heart. There is a venerable yin–yang master
in the village of Toda. Have him purify you and ask him for
some talismans.” Leading Shotaro to the yin–yang master,
he explained the situation in detail, from the beginning,
and requested a divination. The master considered his divi-
nation and said, “Misfortune is already pressing close upon
you. This is no easy matter. The spirit first took a woman’s
life, and yet its resentment is not dissipated. Your life, too,
could end tonight or tomorrow morning. Because seven
days have passed since the spirit left this world, you must
shut yourself inside for forty-two more days and exercise
the greatest restraint on your behavior during that period.
If you obey my warning, you just might escape death; if you
go astray, for even a moment, you will not escape.” After
giving him this firm warning, the master took up a brush,
wrote characters in the seal-style on Shotaro’s back and
limbs, and gave him a number of paper talismans written
in cinnabar. “Affix these charms to every door and pray to
the gods and buddhas,” he instructed. “Make no mistake,
150 book three
l. 1 Samadhi Hall (Sanmaido): samadhi is a Sanskrit word meaning “concen-
tration”—the calm state in which all desires and distractions are absent
and the mind is prepared for enlightenment. A Samadhi Hall is a place
where one tries to achieve samadhi or, as here, a cemetery chapel where
visitors pray for the enlightenment of the dead.
l. 8 “yin–yang master”: in the Edo period, yin–yang masters practiced divina-
tion using the I jing (The Book of Changes) and physiognomy, performed
Shinto purifications, and recited Buddhist incantations for the protec-
tion of their clients.
l. 18 “forty-two more days”: in Buddhism, the spirit of the dead was believed
to wander in this realm for forty-nine days.
lest you lose your life.” Feeling both fearful and jubilant,
Shotaro returned to his house, where he affixed the cinna-
bar charms to the doors and windows and shut himself in,
exercising the greatest restraint.
That night, during the third watch, he heard a horrid voice.
“Oh! I loathe him! Sacred charms have been put up here,” it
muttered. That was all. Terrified, Shotaro bewailed the length
of the night. At dawn, reviving, he immediately pounded
on the wall that separated his house from Hikoroku’s and
recounted the events of the night before. Finally grasping the
uncanny accuracy of the yin–yang master’s words, Hikoroku,
too, stayed up the following night and waited for the third
watch. The wind in the pines sounded fierce enough to topple
things over, and then the rain began to fall. As this extraor-
dinary night progressed, the two men called to each other,
back and forth through the wall, until the fourth watch came.
Then a crimson light pierced the window-paper of Shotaro’s
house. “Oh! I loathe him! They have been affixed here, too!”
The voice was even more horrible so late at night; the hair on
Shotaro’s head and body stood on end, and he fainted away.
At daybreak, he talked about the night before; at nightfall,
he longed for daybreak: the days and weeks seemed to pass
more slowly than a thousand years. Every night, the spirit
circled the house or screamed from the ridgepole, its angry
voice more horrible each night than the night before.
This continued until the forty-second night. It would all
be over in one more night, and Shotaro exercised special
restraint. At last, the sky of the fifth watch brightened. Feel-
ing as though he had awakened from a long dream, Shotaro
immediately called to Hikoroku, who came to the wall and
asked, “How are you?” “My strict confinement is over now,”
Shotaro said. “I have not seen your face for a long time. I
the kib itsu cauldron 151
l. 5 “third watch”: the time between sunset and sunrise was divided into five
equal watches of about two hours each. The third watch corresponded
roughly to the period from midnight to 2:00 A.M.
long to see you and to comfort my heart by talking with you
about the pain and fear of these past days. Get up. I shall
step outside.” Hikoroku, being a rash and thoughtless man,
replied, “What could happen now? Come over here.” He had
not yet opened the door halfway when a scream pierced his
ears from the eaves next door, and he fell back on his rump.
Thinking that something must have happened to Shotaro,
he picked up an ax and went out into the main street, where
he found that the night, which they thought had ended, was
still dark; the moon cast a dim light from high in the sky,
the wind was cold, and Shotaro’s door stood open, but he
was nowhere to be seen. Maybe he had fled back inside?
Hikoroku ran in to see, but it was not the sort of residence
that offered any place to hide. Was he lying in the street?
Hikoroku searched, but found nothing. What could have
happened to him? he thought, both puzzled and afraid. Hold-
ing up a torch, he looked all around, until, next to the open
door, he saw fresh blood dribbling from the wall onto the
ground. And yet neither corpse nor bones were to be seen.
In the moonlight, he glimpsed something at the edge of the
eaves. When he held up the torch to look, he found a man’s
topknot hanging there, and nothing else. The pity and hor-
ror were more than can be expressed with brush and paper.
When dawn came, he searched the nearby fields and hills,
but he could find no trace of Shotaro.
He reported this to the Izawa family, who tearfully in-
formed Kasada. Thus it was said, as people passed the story
down, that the accuracy of the yin–yang master’s divination,
and the ultimate rightness of the cauldron’s unfavorable ora-
cle, were truly precious and sacred.
N O T E S
1. Helen Craig McCullough, trans., Tales of Ise: Lyrical Episodes from
Tenth-Century Japan (Stanford, Calif.: Stanford University Press,
1968), pp. 87–89.
152 book three
2. Asai Ryoi, The Peony Lantern: “Botan no toro” from Otogi boko (1666),
trans. Maryellen Toman Mori, An Episodic Festschrift for Howard
Hibbett, vol. 3 (Hollywood, Calif.: Highmoonoon, 2000).
3. The Akamatsu clan governed Harima Province, now part of Hyogo
Prefecture, from the mid-fourteenth century until 1441, the first year
of Kakitsu, when Akamatsu Mitsutsuke assassinated the shogun and
was, in turn, forced to commit suicide, in what is known as the Ka-
kitsu Incident. The family later regained power in Harima and gov-
erned there until 1521.
4. The port of Tomonotsu, now part of the city of Fukuyama, Hiroshima
Prefecture, is about twenty miles west of Niise/Niwase.
5. “Sode only wailed . . . chest”: this wording is almost identical to
that in the “Aoi” (Heartvine) chapter of The Tale of Genji, in which
Genji’s wife is possessed by the spirit of the Rokujo lady (Mura-
saki Shikibu, The Tale of Genji, trans. Edward G. Seidensticker [New
York: Knopf, 1976], p. 165). Sode’s plight also recalls an incident
in the “Yugao” (Evening Faces) chapter of Genji, in which one of
Genji’s lovers dies, apparently in the grasp of a possessing spirit
(pp. 71–72).
6. The Way of Calling Back the Spirit was a ritual practiced in ancient
China: when a person died, someone would ascend to the roof and
hold the deceased’s clothing toward the north while calling his or her
name three times.
7. An allusion to a poem by Oe no Chisato:
Looking at the moon I am saddened by a thousand things—
though the autumn is not for me alone. (Kokinshu, no. 193)
8. “clouds in the sky” (amakumo no): a pillow-word, here modifying
“elsewhere” (yoso).
9. The reasons are unclear, but presumably have to do with the slander
mentioned in the previous sentence.
10. Most commentators interpret this sentence (machiwabitamawan
mono o) as something the woman says to herself: “She will be waiting
for me, [I had better go].” Uzuki Hiroshi agrees, but suggests that the
words are a double entendre, directed at Shotaro as well: “She will be
waiting for you” (Ugetsu monogatari hyoshaku, Nihon koten hyoshaku
zenchushaku sosho [Tokyo: Kadokawa, 1969], p. 431).
11. This description echoes that of the residence of the lady of the “eve-
ning faces,” in the “Evening Faces” chapter of The Tale of Genji (Mura-
saki Shikibu, Tale of Genji, pp. 68–69).
the kib itsu cauldron 153
12. It was customary for upper-class women to receive men from behind
a screen. It is unclear whether the lady has crept to the edge of her
bedding, the edge of the room, or the edge of the veranda—or all
three. Uzuki opts for “the edge of the room, in other words, near
the veranda” (Ugetsu monogatari hyoshaku, p. 436). In what follows,
it is also unclear where the screen is and where Shotaro is when he
addresses the lady behind the screen. The woodblock illustration
accompanying this scene in the edition of 1776 appears to have Sho-
taro and the maid kneeling in the garden and the lady kneeling or
sitting on her bedding, just inside the open door, as she pushes the
folding screen aside.
154 book three
t itle
The title, “Jasei no in,” refers to a monstrous serpent’s lust
for a handsome youth, Toyoo.
characters
As in “The Kibitsu Cauldron,” all the characters in “A Ser-
pent’s Lust” are fictional. The principal figures are Toyoo,
the studious son of a fisherman, and Manago, the serpent-
woman who seduces him.
places
“A Serpent’s Lust” begins at Cape Miwa, now part of the city
of Shingu, Wakayama Prefecture (formerly, Kii Province), on
the southeastern shore of the Kii Peninsula. The story then
moves to several other sites.
BOOK FOUR
A SERPENT’S LUST
Tsubaichi (Tsuba Market), now part of Miwa-cho, in the
city of Sakurai, Nara Prefecture (formerly, Yamato Prov-
ince), was a market town at the foot of Mount Miwa on the
approach to Hasedera, the celebrated Buddhist temple at
Hatsuse (now Hase, in Sakurai).
Yoshino is a region in Nara Prefecture, south of Sakurai,
celebrated since ancient times for its beautiful mountain
scenery and vast groves of blossoming cherry trees. Mount
Mifune and the Natsumi River (an alternative name for part
of the Yoshino River) are among the famous sights. Yoshino
is also mentioned in “The Owl of the Three Jewels.”
The Buddhist temple Dojoji stands about one mile from
Komatsubara, now part of the city of Gobo, on the south-
western coast of the Kii Peninsula, through which pilgrims
passed on their way to and from the temple.
t ime
Late autumn of one year, spring of the following year, and
later in the same year, apparently. Although the date of “A
Serpent’s Lust” is unclear, there are hints that it takes place
during the Heian period (794–1185).
background
Shingu is home to the Kumano Gongen Hayatama Shrine,
which is about three miles north of Cape Miwa and one of
the “Three Mountains of Kumano”: the Shinto shrines of
Hongu, Shingu, and Kumano Nachi, which together consti-
tuted a popular destination for pilgrims in the Heian period.
The retired emperor Go-Shirakawa—a younger brother of
Sutoku, one of the protagonists in “Shiramine”—is said to
have made the pilgrimage, a round trip requiring nearly a
month, as often as thirty-four times.
156 book four
The Buddhist temple at Hatsuse, now called Hasedera,
is dedicated to the bodhisattva Avalokitesvara (J. Kanzeon
or Kannon) and was another popular destination for aris-
tocratic pilgrims. It appears frequently in Heian literature.
In a well-known example in The Tale of Genji, Tamakazura
and her party undertake a pilgrimage to Hatsuse, having
been told that it is “known even in China as the Japanese
temple among them all that gets things done.” They stay at
Tsubaichi, where by chance they are reunited with Ukon.1
Another association makes Tsubaichi especially appro-
priate to “A Serpent’s Lust.” The deity of Mount Miwa “was
notorious in early literature for his liking for beautiful
women” and “was regarded as a snake—or at least as fre-
quently assuming the form of a snake. Today, Mount Miwa is
the center of a flourishing religious cult; the mountain, itself
considered sacred, is infested with snakes, who consume the
offerings left by the pious, and stories of supernatural mar-
riage are grouped together by Japanese scholars as ‘Mount
Miwa type’ tales.”2
The Buddhist temple Dojoji is famous for its association
with the legend of the young monk Anchin, from Kurama,
and Kiyohime, the daughter of the steward of Masago in the
village of Shiba. According to the legend, Kiyohime fell in
love with the handsome Anchin when he spent the night at
her father’s house during a pilgrimage to Kumano. When
he failed to return to her, as he had promised, her jealous
anger transformed her into a serpent and she pursued him
to Dojoji, where he had taken refuge inside the temple bell.
She coiled herself around the bell and roasted him to death
with the heat of her passion.
aff init ies
Akinari based “A Serpent’s Lust” principally on “Bai
Niangzi yong zhen leifengda” (Eternal Prisoner Under the
a serpent ’ s lust 157
Thunder Peak Pagoda), a Ming vernacular tale in the col-
lection Jingshi tongyan (Warning Words to Penetrate the Age,
1625), edited by Feng Menglong, and several other Chinese
stories.3 It also shows many signs of Akinari’s intimate
knowledge of the Man’yoshu, The Tale of Genji, and other
Japanese classics.
Much of the description of the temple in Yoshino, for
example, derives from two passages in the “Wakamurasaki”
(Lavender) chapter of The Tale of Genji:
The sun rose high in the sky. Stepping outside, he looked
out from the high vantage point and could clearly see monks’
residences here and there below.4
The sky at dawn was very thick with haze, and mountain
birds were chirping everywhere. The blossoms of trees and
grasses whose names he did not know scattered in a profusion
of color.5
The story of Kiyohime and Anchin is familiar in many
versions, including the no play Dojoji and kabuki plays.
other observat ions
Despite their superficial resemblances, the angry, vengeful
spirit of Isora, in “The Kibitsu Cauldron,” and the serpent-
woman Manago, in “A Serpent’s Lust,” are essentially differ-
ent. The former is the spirit of a good woman who has been
wronged by her husband. While Isora is still alive, her spirit
appears to act without her knowledge, like the spirit of the
Rokujo lady in The Tale of Genji. After Isora dies, her spirit,
now free of human morality, takes revenge on Shotaro for
his betrayal. The latter, though, is not a woman, but a mon-
strous serpent that has temporarily assumed human form.
Manago is motivated by simple lust for a young man.
158 book four
The serpent-woman in this story is repeatedly associated
with images of water. Manago first appears during a rain-
storm that has blown in from the southeast—tatsumi, the
direction of the dragon (east-southeast) and the serpent
(south-southeast)—and she first meets Toyoo in the rain,
on a seashore. Rain falls at night when she and Toyoo are
reunited near the Hatsuse River. She is seated next to the
falls at Miyataki, on the Natsumi River, when a Shinto priest
recognizes her as a serpent. As she dives into the river, water
boils up into the sky and a heavy rain begins to fall. Later, a
Buddhist monk mixes orpiment with water in order to com-
bat the serpent, and when the serpent repels him, Tomiko’s
family unsuccessfully tries to revive him with water.
“A Serpent’s Lust” has survived in the twentieth-century
popular imagination. It was adapted to the silent screen
in 1921 in Jasei no in, directed by Thomas Kurihara, with
a screenplay by Tanizaki Jun’ichiro. A partial translation of
the screenplay appears in Joanne R. Bernardi’s Writing in
Light.6 More famously, “A Serpent’s Lust,” along with “The
Reed-Choked House,” was the basis for Mizoguchi Kenji’s
film Ugetsu monogatari (1953). This was followed, in 1958, by
Hakujaden (Legend of the White Snake), released in the West
in 1961 as Panda and the Magic Serpent. It was the first full-
length, color, animated film made in Japan and was based
on “Eternal Prisoner Under the Thunder Peak Pagoda,” the
Chinese story that inspired “A Serpent’s Lust.”
nce—what era w
Oya no Takesuke, of Cape Miwa in the province of
Kii.7 Enjoying the luck of the sea, he employed many
fishermen, caught fish of every kind and size, and lived with
his family in wealth. He had two sons and a daughter. Taro,
the eldest, had an unaffected, honest nature and managed
a serpent ’ s lust 159
O
Image has been suppressed
the family business well. The second child, the daughter,
had been welcomed as a bride by a man of Yamato and gone
to live with him.8 Then there was the third child, Toyoo. A
gentle boy, he favored the courtly, refined ways of the capi-
tal and had no heart for making a living. Distressed by this,
his father deliberated: if he left part of the family fortune to
Toyoo, it would soon find its way into the hands of others. Or
he could make Toyoo the heir of another family; but the bad
news, which surely would come sooner or later, would be too
painful. No, he would simply rear Toyoo as the boy wished,
eventually to become a scholar or a monk, and let him be
Taro’s dependent for the rest of his life. Having reached this
conclusion, he did not go out of his way to discipline his
younger son.
Toyoo traveled back and forth to study with Abe no Yumi-
maro, a priest at Shingu. One day late in the Ninth Month,
the sea was remarkably calm, with no trace of wind or wave,
when suddenly clouds appeared from the southeast and a
gentle rain began to fall. Borrowing an umbrella at his men-
tor’s house, Toyoo started toward home, but just as the Asuka
Shrine came into distant view, the rain fell harder, and so he
stopped at a fisherman’s hut that happened to be nearby. The
old man of the house scrambled out to meet him: “Well, well,
the master’s younger son. I am honored that you have come
to such a shabby place. Here, please sit on this.” He brushed
the filth off a round wicker cushion and presented it. “I shall
stay for only a moment,” Toyoo said. “Anything will do. Please
do not go to any trouble.” He settled down to rest. A lovely
voice came from outside, saying, “Please be kind enough to
let me rest under your eaves.” Curious, Toyoo turned to look
and saw a woman of about twenty, resplendently beautiful
in face, figure, and coiffure, wearing a kimono printed in
fine colors with the distant-mountain pattern, and accompa-
l. 8 “heir of another family”: he could marry Toyoo into another family,
whose adopted son and heir he would become.
160 book four
nied by a lovely servant girl of fourteen or fifteen to whom
she had entrusted a package of some kind. Drenched to the
skin, she appeared to be at her wits’ end, but her face flushed
with embarrassment when she saw Toyoo. His heart leaped
at her elegance, and he thought, “If such a noble beauty lived
around here, I would surely have heard of her before this. No
doubt she is from the capital, here for a look at the sea on her
return from a pilgrimage to the Three Mountains. But how
careless of her not to have a male attendant.” Moving back
a little, he said, “Do come in. The rain will soon end.” The
woman said, “Just for a moment, then; please excuse me.”
The hut was small, and when she sat directly before him,
he saw that her beauty at close range was scarcely that of a
person of this world. His heart soaring, he said to her, “You
appear to be of noble family. Have you been on a pilgrimage
to the Three Mountains? Or perhaps you have gone to the
hot springs at Yunomine? What could there be for you to
see on this desolate strand? Someone wrote of this place in
ancient times:
How distressing this sudden fall of rain—
and there is no shelter at Sano Crossing of Cape Miwa.9
Truly, the verse expresses the mood of today. This is a shabby
house, but my father looks out for the man here. Please relax
and wait for the rain to clear. And where are you lodging
on your travels? It would be impertinent for me to escort
you there, but please take this umbrella when you go.” The
woman said, “Your words cheer me, and I am most grate-
ful. My clothing will surely dry in the warmth of your kind-
ness. I do not come from the capital but have been living
near here for many years. Thinking that today would be fair,
I made a pilgrimage to Nachi,10 but frightened by the sud-
den rain, I came bursting into this house, not knowing that
you had already taken shelter here. I have not far to go; I
shall start now, during this lull in the rain.” “Do take the
a serpent ’ s lust 161
umbrella, please,” Toyoo urged. “I will come for it sometime
later. The rain shows no sign of letting up. Where is your
home? I shall send someone for the umbrella.” She replied,
“Ask at Shingu for the house of Agata no Manago. Soon the
sun will set. I shall be on my way, then, shielded by your
kindness.” She took the umbrella and left. He watched her
go and then borrowed a straw hat and raincoat from his host
and returned home; but her dew-like figure lingered in his
mind, and when at dawn he finally dozed off, he dreamed of
going to Manago’s house, where he found an imposing gate
and a mansion, with shutters and blinds lowered and the
lady residing gracefully inside. Manago came out to welcome
him. “Unable to forget your kindness, I have longed for you
to visit,” she said. “Please come inside.” Leading him in, she
entertained him elaborately with saké and small dishes of
food. Enraptured, he finally shared her pillow, but then day
broke and his dream faded. “How I wish it had been true,”
he thought. In his excitement, he forgot breakfast and left
the house in high spirits.
Arriving at Shingu, Toyoo asked for the house of Agata
no Manago, but no one had heard of it. He continued his
inquiries wearily into the afternoon, when the servant girl
approached him from the east. Overjoyed to see her, he said,
“Where is your house? I have come for the umbrella.” The
girl smiled and said, “You were good to come; please follow
me.” She led the way and in no time said, “Here it is.” He
saw a high gate and a large house. Everything, even the shut-
ters and the lowered blinds, was exactly as he had seen in his
dream. Marvelous, he thought as he went through the gate.
Running ahead, the servant girl said, “The gentleman has
come for his umbrella, and I have led him here.” Manago
came out, saying, “Where is he? Show him this way.” Toyoo
said, “There is a Master Abe in Shingu, with whom I have
been studying for some years. I am on my way to see him
and thought that I would stop here for the umbrella. It was
rude of me to call unexpectedly. Now that I know where you
162 book four
live, I shall come again.” Manago detained him. “Maroya, do
not allow him to leave,” she said. The servant girl stood in
his way, saying, “You forced us to take the umbrella, did you
not? In return, we shall force you to stay.” Pushing him from
behind, she guided him to a south-facing room. Woven mats
had been placed on the wooden floor; the curtain stands, the
decorated cabinet, and the illustrated draperies—all were
fine antiques.11 This was not the home of any ordinary per-
son. Manago entered and said, “For certain reasons, this has
become a house without a master, and so we cannot enter-
tain you properly. Let me just offer you a cup of poor saké.”
Maroya spread delicacies from the mountains and the seas
on immaculate stands and trays, presented a flask and an
unglazed cup, and poured for him. Toyoo thought that he
was dreaming again and must awaken. That everything was
real made it all the more wonderful for him.
When both guest and host were feeling the effects of drink,
Manago raised her cup to Toyoo. Her face was like the surface
of a pond that warmly greets the spring breeze and reflects
the limbs of the cherry, laden with luscious pink blossoms;
and her voice was as bewitching as the song of the warbler,
fluttering from treetop to treetop, as she said, “If I keep my
shameful thoughts to myself and fall ill as a result, which
god will carry the undeserved blame?12 Do not imagine that I
speak flippantly. I was born in the capital but lost my parents
early and was reared by my nurse. Already three years have
passed since I married a man named Agata, an assistant
to the governor of this province, and came down here with
him. This spring, before completing his term, my husband
died of some trifling disease, leaving me with no one to rely
on. When I learned that my nurse, back in the capital, had
become a nun and set out on ascetic wanderings, that place,
too, became for me an unknown land. Take pity on me. From
your kindness yesterday as we took shelter from the rain,
I know that you are a truehearted man, and so I ask that I
may devote the rest of my life to serving you. If you do not
a serpent ’ s lust 163
dismiss me in disgust, let us initiate, with this cup, a vow of
one thousand years.” Since in his agitated longing for her he
had hoped for exactly this, Toyoo felt his heart leap with joy,
like a bird soaring from its roost, but then he recalled that he
was not yet on his own and did not have permission from his
father and brother. Now joyous, now afraid, he could not find
words with which to reply right away. Seeing his hesitation,
Manago looked forlorn and said, “I am ashamed at having
spoken, from a woman’s shallow heart, foolish words that I
cannot take back. Miserable creature that I am, it was wrong
for me to trouble you instead of sinking beneath the waves.
Although I did not speak flippantly, please take my words as
a drunken jest and cast them into the sea.” Toyoo said, “From
the first, I thought that you were a high-ranking lady from
the capital, and I was right. How often can someone who has
grown up on this whale-haunted shore expect to hear such
joyful words? I did not answer straight away because I still
serve my father and my brother and have nothing to call my
own but my nails and hair. I can only lament my lack of for-
tune, for I have no betrothal gift with which to welcome you
as my bride. If you are willing to put up with all adversity,
then I will do anything to stand by you, forgetting filial obe-
dience and my status for the sake of the mountain of love,
where even Confucius stumbled.”13 “What joyful words I
hear,” she said. “In that case, do please come and stay from
time to time. Here is a sword that my late husband cherished
as his greatest treasure. Wear it always at your waist.” She
handed it to him. Decorated with gold and silver, it was a
wonderfully tempered antique. To refuse a gift at the start of
their relationship would be inauspicious, he thought, and so
he accepted it. “Stay here tonight,” she said, eager to detain
l. 22 “stand by you”: that is, become your husband.
l. 25 “stay from time to time”: in Heian court society, it was customary for the
husband and wife to live separately and for the husband to spend the
night at his wife’s residence from time to time.
164 book four
him, but he replied, “My father would punish me if I slept
away from home without his leave. I shall make some clever
excuse tomorrow night and come.” He departed. That night,
too, he lay awake until dawn.
Taro rose early to assemble the net boys.14 Glancing into
the bedroom through a gap in the door, he saw Toyoo in bed
and, beside the pillow, a sword glittering in the lingering
lamplight. “Strange, where did he get that?” Suspicious, he
opened the door roughly, and Toyoo awoke to the sound. See-
ing Taro there, he said, “Do you need me for something?”
Taro said, “What is that glittery thing beside your pillow?
Valuables have no place in a fisherman’s house. How Father
would scold you if he saw it.” Toyoo said, “I did not spend
money to buy it. Someone gave it to me yesterday, and I have
placed it here.” Taro said, “Who in these parts would give you
such a treasure? If you ask me, even these bothersome Chi-
nese writings that you collect are a terrible waste of money,
but I have held my tongue until now because Father has said
nothing about it. I suppose you plan to wear that sword in
the procession at the Great Shrine Festival.15 Have you lost
your mind?” He spoke so loudly that his father heard him.
“What has that useless boy done? Bring him here, Taro,” he
called. Taro replied, “Where could he have gotten it? Buying
a glittery thing such as a general should wear—it is not right.
Please call him to you and ask him about it. As for me, the
net boys are probably loafing.” With this he went out. The
mother summoned Toyoo: “Why did you buy such a thing?
Both rice and cash belong to Taro. What can you call your
own? We have always let you do as you please, but if Taro
were to turn against you over something like this, where
in the world would you live? How can one who studies the
wisdom of the past fail to understand a matter as simple as
this?” Toyoo said, “Truly, I did not buy it. Someone gave it
to me for a good reason, but Brother was suspicious when
he saw it and said what he said.” The father shouted, “And
what have you done to deserve such a gift? I am even more
a serpent ’ s lust 165
suspicious now. Tell us the whole story this moment.” Toyoo
said, “I am too embarrassed. I shall explain through someone
else.” His father said roughly, “To whom can you speak if not
to your parents and brother?” Taro’s wife, the mistress of the
house, was seated to one side. She said, “Inadequate though
I am, I shall listen to his story. Come with me.” Thus making
peace among them, she stood and led Toyoo out of the room.
“I had planned to tell you secretly, even if Brother had not
seen the sword and questioned me, but I was scolded before
I could. A certain man’s wife,16 now left defenseless, asked
me to care for her and gave me the sword. For me to pro-
ceed without permission, when I am not on my own, could
bring the heavy penalty of disinheritance, and so I regret all
the more what I have done. Please, Sister, take pity on me.”
The mistress of the house smiled: “For some time, I have
felt sorry that you sleep alone. This is very good news. Inad-
equate though I am, I shall put in a good word for you.” That
night she explained the situation to Taro. “Do you not think
it very fortunate?” she said. “Please speak with Father and
work things out.” Taro knitted his brows: “Strange. I have
never heard of an assistant to the governor named Agata.
Since our family is the village head, we could hardly have
failed to hear of the death of such a person. Anyway, bring
the sword here.” She returned immediately with the sword,
and Taro examined it closely. Heaving a great sigh, he said,
“This is terrible. Recently a court minister presented a great
many treasures to the avatar when his prayer was fulfilled,17
but the sacred objects quickly vanished from the shrine trea-
sury, whereupon the head priest appealed to the provincial
governor. In order to find the thief, the governor sent the vice
governor, Fun’ya no Hiroyuki, to the head priest’s mansion;
and I have heard that he is now devoting all his attention to
this matter. However you look at it, this is not a sword that a
mere provincial official would have worn. I shall show it to
Father.” Taking it to him, he explained the dreadful circum-
stances. “What should we do?” he asked. His father blanched.
166 book four
“This is a wretched business indeed. What retribution from
a former life could have aroused such evil thoughts in a boy
who, until now, never stole so much as a hair? If this matter
is exposed by someone else, our family could be wiped out.
For the sake of our ancestors and descendents, I shall har-
bor no regrets over one unfilial child. Turn him in tomorrow
morning,” he said. Taro waited for dawn and then went to
the head priest’s mansion, where he explained matters and
displayed the sword. Astonished, the head priest said, “This
sword was indeed an offering from the minister.” The vice
governor heard and said, “We must find the other missing
objects. Arrest him.” Ten soldiers set out with Taro in the
lead. Toyoo knew nothing of this and was reading when the
soldiers rushed in and arrested him. “What is my crime?” he
asked, but they paid no attention and tied him up. Now that
it had come to this, father, mother, Taro, and his wife all were
lost in grief. “A summons from the government office! Hurry
up!” the soldiers cried as they surrounded Toyoo and pushed
him along to the mansion. The vice governor glared at him:
“Your theft of sacred treasures is an unprecedented crime
against the state. Where have you hidden the various other
treasures? Tell me everything.” Finally understanding, Toyoo
began to weep and said, “I have stolen nothing. For this and
that reason, the wife of a certain Agata gave the sword to
me, saying that her late husband had worn it. Please sum-
mon this woman, right away, and you will understand my
innocence.” “We have never had an assistant named Agata.
Such lies will only make your crimes greater.” “Why would I
lie, when I have already been arrested like this? I beg of you,
please find that woman and question her.” The vice governor
turned to the soldiers and said, “Where is the house of Agata
no Manago? Take him with you, arrest her, and bring them
back here.”
The soldiers bowed respectfully and, pushing Toyoo along
once more, went to the house. The posts of the imposing
gate were rotting, and most of the roof tiles had fallen off
a serpent ’ s lust 167
and shattered; ferns had taken root and were trailing from
the eaves.18 The place did not appear to be occupied. Toyoo
was dumbfounded. Soldiers went around and assembled the
neighbors. Old woodcutters, rice huskers, and the like knelt
in terror. A soldier said to them, “Who lived in this house?
Is it true that the wife of a man named Agata lives here?”
An elderly blacksmith came forward and said, “I have never
heard of a person by that name. Until three years ago, a man
named Suguri lived here, and a lively, prosperous place it
was, but then he sailed for Tsukushi with a load of merchan-
dise and the ship was lost.19 After that, the remaining peo-
ple scattered, and no one has lived here since; but the old
lacquer maker here says that he was surprised to see this
boy go inside yesterday and then leave a little while later.”
“Let us take a good look, in any case, and report to our lord,”
said the soldiers. They pushed open the gates and went in.
The house was even more dilapidated than the exterior. They
moved farther inside. In the spacious landscape garden, the
pond had dried up, and even the water weeds had withered.
A giant pine, blown over in the wind, lay ominously in the
drooping thicket on the wild moor. When they opened the
shutters of the guest hall, a reeking gust of air came at them,
and everyone fell back in terror. Toyoo was speechless with
fear and sorrow.
Among the soldiers was a bold one named Kose no
Kumagashi. “Follow me,” he said as he went in, stomping
roughly on the floorboards. An inch of dust had piled up.
Amid the rat droppings, beside an old curtain stand, sat a
blossom-like woman. Addressing her, Kumagashi said,
“The governor summons you. Come quickly.” When she did
not reply, he approached and tried to grasp her. Suddenly
there was a clap of thunder as violent as though the ground
itself were splitting open. They had no time to escape;
everyone toppled over. When they finally looked up, the
woman had vanished without a trace. Something glittered
on the floor. Creeping forward, they found Korean brocades,
168 book four
Chinese damasks, shizuri weavings, katori weavings, shields,
halberds, quivers, hoes, and the like—the lost sacred trea-
sures.20 Gathering up these objects and carrying them back,
the soldiers recounted the strange events in detail. The vice
governor and the head priest, recognizing the work of an evil
spirit, relaxed their investigation of Toyoo. Nevertheless, he
could not escape his obvious offense. He was sent to the gov-
ernor’s mansion and confined in jail. The Oya family made
large payments in an attempt to redeem him and were able
to obtain a pardon after about a hundred days. Toyoo said,
“Under the circumstances, I would be ashamed to mingle
in society. I would like to visit my sister in Yamato and live
there for a while.” His family replied, “Truly, one is likely to
fall gravely ill after such a dreadful experience. Go and spend
some months there.” They sent him off with attendants.
Toyoo’s elder sister, the Oyas’ second child, lived in a
place called Tsubaichi with her husband, a merchant named
Tanabe no Kanetada. They were delighted to have Toyoo visit
them and, taking pity on him for the events of the past few
months, consoled him warmly, saying, “Stay here just as
long as you like.” Tsubaichi was near the temple at Hatsuse.
Among the many buddhas, that of Hatsuse in particular
was known as far away as China for its wonderful effective-
ness and so drew many pilgrims from the capital and from
the countryside, especially in the spring. Since the pilgrims
always stayed here, travelers’ lodgings lined the streets. The
Tanabe family dealt in lamp wicks and other goods for the
sacred flames. Into the crowd of customers came a beautiful,
aristocratic lady with a servant girl, apparently on an incog-
nito pilgrimage from the capital, asking for incense. Seeing
Toyoo, the servant girl said, “The master is here!” Startled,
he looked up—it was Manago and Maroya. Crying out in ter-
ror, he fled to the back. “What is going on?” asked Kanetada
and his wife. “That demon has followed me here. Do not go
l. 7 “obvious offense”: possession of a stolen sword.
a serpent ’ s lust 169
near it,” said Toyoo, desperately looking for a place to hide.
“Where? Where?” cried the other customers. Manago went
among them and said, “Do not be startled, people. My hus-
band, do not be afraid. In my sorrow at having incriminated
you through my own imprudence, I wanted to seek out your
home, explain the circumstances, and put your heart at rest.
I am overjoyed that I could find this place and meet with
you again. Shopmaster, please listen carefully and decide
for yourself. If I were some kind of monster, could I appear
among this crowd of people and, moreover, at noon on such
a tranquil day as this? My robes have seams; when I face
the sun, I cast a shadow. Please consider the truth of what
I say and throw off your doubts.” Feeling more like himself
again, Toyoo said, “It is clear that you are not human, for
when I was arrested and went with the soldiers, we found
the place in a shambles, utterly unlike its condition of the
day before, and there, in a house befitting a demon, you
sat alone; and when the soldiers tried to capture you, you
caused a clear sky suddenly to shake with thunder, and then
you disappeared without a trace. All of this I saw with my
own eyes. Why have you come chasing after me again? Go
away at once.” Weeping, Manago said, “Truly, it is no won-
der that you think this way, but listen now a little longer to
my words. Hearing that you had been taken to the govern-
ment office, I approached the old man next door, to whom I
had shown some kindness in the past, and persuaded him to
transform the place quickly into a house in the wilderness.
Maroya contrived to have thunder sound when they tried to
arrest me. After that, we hired a boat and fled to Naniwa.21
In my desire to learn what had become of you, I prayed to
the Buddha here. It is through his great compassion that,
with the sacred sign of the twin cedars,22 we have flowed
l. 11 “My robes . . . a shadow”: a popular belief held that ghosts cast no shad-
ows, nor did their clothing have seams, however cunningly they might
disguise themselves as humans.
170 book four
again together on the rapids of joy.23 How could a woman
have stolen those many sacred treasures? That was the doing
of my late husband’s wicked heart. Please consider carefully
and try to grasp even a dewdrop of the love I feel.” The tears
streamed down her face. Now suspicious, now sympathetic,
Toyoo could find nothing more to say. Kanetada and his wife,
seeing Manago’s reasonableness and feminine demeanor,
no longer harbored the slightest doubt: “We were terrified
by Toyoo’s account, but surely such things could not occur
in this day and age. We are deeply moved by the feeling you
have shown in your long search and shall let you stay here,
even if Toyoo does not agree.” They showed her to a room.
Ingratiating herself to them during the next day or two, she
entreated them, and they, moved by the depth of her deter-
mination, prevailed on Toyoo and finally arranged a wedding
ceremony. Toyoo’s heart melted day by day; he had always
rejoiced in her beauty, and as he exchanged thousand-year
vows with her, clouds rose by night on Mount Takama of
Kazuraki, and the rains subsided at dawn with the bell of the
temple at Hatsuse.24 Toyoo regretted only that their reunion
had been so long delayed.
The Third Month came. Kanetada said to Toyoo and his
wife, “Of course, it does not compare with the capital, but
it surpasses Kii: Yoshino, fair of name, is a lovely place in
spring.25 Mount Mifune, Natsumi River—one would never
tire of the views even if one saw them every day, and how fas-
cinating they will be right now. Let us set off.” Manago smiled
and said, “People of the capital, too, say that they regret not
seeing the place that good people consider good,26 but since
childhood I have suffered from an ailment that causes blood
to rush to my head when I go among a crowd or walk a long
distance, and so, to my deep regret, I cannot go with you.
I eagerly await the souvenir that you will surely bring me
from the mountains.” Kanetada and his wife encouraged
her, saying, “Yes, walking would no doubt be painful. We do
not have a carriage, but one way or another we shall not let
a serpent ’ s lust 171
your feet touch the ground. Think how worried Toyoo would
be if you stayed behind.” Toyoo said, “Since they have spoken
so reassuringly, you cannot refuse to go, even if you collapse
on the way.” And so, reluctantly, she went. Everyone dressed
gaily, but none could compare with Manago’s beauty and
elegance. They stopped at a certain temple with which they
had long been on friendly terms. The head priest welcomed
them: “You have come late this spring. Half the blossoms
have fallen, and the warbler’s song has grown a bit wild, but
I shall show you where to find the good spots that remain.”
He served them a beautifully simple and refreshing evening
meal. The sky at dawn was thick with haze, but as it cleared
they looked out from the temple’s high vantage point and
could clearly see monks’ residences here and there below.
Mountain birds were chirping everywhere; trees and grasses
blossomed in a profusion of color. Although it was a moun-
tain village like any other, they felt as though their eyes had
been opened anew. Thinking that the falls offered the most
for a first-time visitor, they employed a guide familiar with
that area and set out. They wound their way down the valley.
At the site of the ancient detached palace, the rapids crashing
along the boulders and the tiny sweetfish struggling against
the current delighted their eyes.27 They spread out their
cypress boxes and reveled in the outing as they dined.
Someone approached them, stepping from boulder to
boulder. It was an old man with hair like a bundle of hemp
threads, but with sturdy-looking limbs. He came alongside
the falls. Seeing the group, he eyed them suspiciously, where-
upon Manago and Maroya turned their backs and pretended
not to see him. Glaring at them, the old man muttered, “Dis-
graceful. Demons. Why do you go on deceiving people? Do
you think that you can get away with this before my very
eyes?” Hearing him, the two sprang to their feet and plunged
into the falls. Water boiled up into the sky, and they vanished
from sight. Just then, as though the clouds had overturned
a pot of ink, rain began to fall so hard that it might have
172 book four
crushed dwarf bamboo. The old man calmed the panicky
group and led them down to the village, where they cringed
together under the eaves of a shabby house, feeling more
dead than alive. The old man said to Toyoo, “Looking closely
at your face, I see that you are tormented by that demon.
If I do not help you, you will surely lose your life. Be very
careful from now on.” Pressing his forehead to the ground,
Toyoo related the affair from the beginning. “Please help me
keep my life,” he pleaded fearfully and respectfully. The old
man said, “It was just as I expected. That demon is a giant
snake and very old. Having a lascivious nature, it is said to
bear unicorns when it couples with a bull, and dragon-steeds
when it couples with a stallion. It appears that out of lust,
inspired by your beauty, it has attached itself to you and led
you astray. If you do not take special care with one so tena-
cious as this, you will surely lose your life.” When the old
man had finished, they were more terrified than ever and
began to pay reverence to him as though he were a god in
human form. The old man smiled: “I am not a god. I am an
old man named Tagima no Kibito who serves at the Yamato
Shrine. I shall see you on your way. Let us go.” He started
out, and they followed him until they reached home.28
The next day, Toyoo went to the village of Yamato, thanked
the old man, and gave him three bolts of Mino silk and twenty
pounds of Tsukushi cotton.29 “Please perform a purification
rite to protect me from the monster,” he asked respectfully.
The old man accepted the gifts and divided them among the
priests under him, keeping not a single measure for himself.
Then he turned to Toyoo: “The beast has attached itself to
you out of lust for your beauty. You, for your part, have been
bewitched by the shape it took and have lost your manly spirit.
If henceforth you summon your courage and calm your rest-
less heart, you will not need to borrow an old man’s powers
to repel these demons. You must quiet your heart.” Feeling
as though he had awakened from a dream, Toyoo thanked
the old man profusely and returned. To Kanetada he said,
a serpent ’ s lust 173
“It is because of the unrighteousness of my heart that I have
been deceived by the beast these years and months. There is
no reason for me to presume on your family, neglecting my
duty to my parents and elder brother. I am deeply grateful
for your kindness, and I shall come again.” So saying, he
returned to the province of Kii.
When they heard of these dreadful events, Toyoo’s par-
ents, Taro, and Taro’s wife felt even greater pity for him in
his blamelessness and also feared the demon’s tenacity. “It
is because he is single,” they said, and discussed finding a
wife for him. In the village of Shiba lived a man known as
the steward of Shiba.30 He had sent his daughter into service
174 book four
Image has been suppressed
at the sovereign’s palace, but his request that she be relieved
had been granted, and, thinking that Toyoo would make a
fine son-in-law, he approached the Oya family through a go-
between. The talks went well, and in no time the two were
engaged. An escort was sent to the capital for her, and so
the palace lady, whose name was Tomiko, happily came back
home. Having grown accustomed to her years in service
at the palace, she surpassed other women in the beauty of
her manners and appearance. When Toyoo was received in
Shiba, he saw that Tomiko was a great beauty. Satisfied in
every respect, he could barely remember the giant snake that
had been in love with him. Nothing unusual occurred the
a serpent ’ s lust 175
“ The two sprang to
their feet and plunged
into the falls.”
Image has been suppressed
first night, and so I shall not write about it.31 The second
night, Toyoo was feeling pleasantly tipsy. “Considering your
years of living in the palace, I suppose you have grown to dis-
like us rustics. I wonder which captains and councillors you
slept with there. It is too late now, but I am quite provoked
with you,” he said playfully. Tomiko looked up quickly: “And I
am all the more provoked with you, who have forgotten your
old vows and bestowed your favors on this undistinguished
person.”32 The voice was unmistakably Manago’s, though
her form had changed. Appalled, Toyoo felt his hair stand on
end and was speechless with horror. The woman smiled: “Do
not be startled, my husband. Even though you have quickly
176 book four
Image has been suppressed
forgotten our vows of the sea and of the mountains,33 a bond
from a former life ensured that I would meet you again. But
if you believe what others say and try to avoid me, I shall hate
you and take revenge. However tall the mountains of Kii may
be, I shall pour your blood from the peaks into the valleys.
Do not throw away your precious life.” He trembled with fear
and felt faint, thinking that he was about to be taken. Some-
one emerged from behind a folding screen, saying, “Master,
why do you fret so? This is such an auspicious match.” It
was Maroya. Aghast, Toyoo shut his eyes and fell face down.
Manago and Maroya spoke to him by turns, now soothing,
now threatening, but he remained unconscious until dawn.
“ Master, why do you
fret so? This is such
an auspicious match.”
a serpent ’ s lust 177
Image has been suppressed
Then Toyoo slipped out of the bedroom, went to the stew-
ard, and described to him these frightening events. “How
can I escape? Please help me find an answer,” he said, keep-
ing his voice low in case someone was listening behind him.
The steward and his wife blanched at the news and were
grief-stricken: “What shall we do? There is a monk from
Kurama Temple in the capital who goes on a pilgrimage
to Kumano every year.34 Yesterday he took up lodgings at a
temple atop the hill across the way. He is a wonderfully effi-
cacious dharma master, revered by everyone in the village for
his skill in exorcising plagues, evil spirits, and locusts. Let us
call on him for help.” They sent for him quickly and, when
he finally came, explained the situation. With his nose in the
air, the monk said, “It should not be difficult to capture these
fiends. You need not worry.” He spoke as though nothing
could be easier, and everyone felt relieved. First he asked for
some orpiment, which he mixed with water and poured into
a small flask. Then he turned toward the bedroom. When
everyone ran to hide, the monk said with a sneer, “All of you
stay there, young and old. I shall capture this giant snake
now and show it to you.” He advanced toward the bedroom.
The moment he opened the door, a giant snake thrust out
its head and confronted him. And what a head this was! Fill-
ing the door frame, gleaming whiter than a pile of snow,
its eyes like mirrors, its horns like leafless trees, its gaping
mouth three feet across with a crimson tongue protruding,
it seemed about to swallow him in a single furious gulp. He
screamed and threw down the flask. Since his legs would not
support him, he rolled about and then crawled and stumbled
away, barely making his escape. To the others he said, “Terri-
ble! It is a calamitous deity; how can a monk like me exorcise
it? Were it not for these hands and feet, I would have lost my
life.” Even as he spoke, he lost consciousness. They held him
up, but his face and skin looked as though they had been
dyed black and red, and he was so hot that touching him was
like holding one’s hand to a fire. He appeared to have been
178 book four
struck by poisonous vapors, for after he came to himself he
could move only his eyes, and, although he seemed to want
to speak, he could not produce a sound. They poured water
over him, but finally he died. Seeing this, they felt as though
their spirits had fled their bodies, and they could only weep
in terror.
Composing himself, Toyoo said, “Since it pursues me so
tenaciously and cannot be exorcised by even such an effi-
cacious monk, it will track me down and catch me as long
as I am here between the heavens and the earth. It is false
hearted of me to let others suffer for the sake of my own life.
I shall not ask for help any longer. Please set your minds
at ease.” He started toward the bedroom. The steward and
his wife cried, “Have you lost your senses?” but he paid no
attention and kept going. When he opened the door gently,
all inside was calm and quiet. The two were seated facing
each other. Tomiko turned to Toyoo: “What enmity has led
you to enlist another to capture me? If you continue to treat
me like an enemy, I shall not only take your life, but also tor-
ment the people of this village. Be glad that I am faithful to
you; forget your fickle thoughts.” As she spoke, she put on
coquettish airs, moving him to disgust. Toyoo replied, “It is
as the proverb says: ‘Though a man means no harm to the
tiger, the tiger will hurt the man.’35 Your unhuman feelings
have led you to pursue me, and even to torment me time and
time again, and, what is more, you answer my playful words
by speaking of a horrible revenge. You terrify me. Neverthe-
less, your love for me is, in the end, no different from the
love that humans feel. It is cruel for me to stay here and
cause these people to grieve. If only you will spare Tomiko’s
life, you may take me anywhere you wish.” She nodded joy-
fully in agreement.
Toyoo went again to the steward and said, “Since I have
been possessed by this wretched demon, it would be wrong
l. 10 “between the heavens and the earth”: that is, as long as I live.
a serpent ’ s lust 179
for me to stay on here and torment everyone. If I may have
your permission to depart right now, I am sure that your
daughter’s life will be spared.” The steward refused, saying,
“I know one end of the bow from the other, and the Oyas’
view of such an unavailing notion would put me to shame.
Let us think some more. There is a priest named Hokai at
the Dojoji in Komatsubara, a venerable prayer master.36 He is
very old now, and I have heard that he does not leave his room,
but surely he will not reject an appeal from me.” He galloped
off on horseback. Since the way was long, he reached the
temple at midnight. The old priest crept out of his bedroom
and listened to the story. “Indeed, you must be perplexed.
Having grown so old and foolish, I doubt that I will be of any
use, but I cannot ignore a calamity in your family.37 You go
ahead; I shall follow soon.” He took out a stole scented with
the smoke of poppy seeds and gave it to the steward.38 “Trick
the monster into coming close, throw this over its head, and
press down with all your might. If you falter, it will probably
escape. Pray well and do your best,” the priest instructed him
carefully. Rejoicing, the steward galloped back.
He quietly summoned Toyoo, exhorted him to carry out
the priest’s instructions carefully, and handed him the stole.
Toyoo hid it inside his robes and returned to the bedroom.
“The steward has just given me permission to go. Let us be on
our way.” She was delighted. Pulling out the stole, he quickly
threw it over her and pressed down with all his strength.
“Oh! You’re hurting me! How can you be so heartless? Take
your hands off me!” she cried, but he pressed down ever
harder. Priest Hokai’s palanquin arrived right away. Helped
inside by the steward’s people, he mumbled incantations as
he pushed Toyoo away and lifted the stole. Tomiko was lying
prone, unconscious, and on top of her a white serpent, more
than three feet long, lay coiled, perfectly motionless. The old
l. 4 “I know one end of the bow from the other”: in other words, “I have
some knowledge of the martial arts” or “I am a samurai.”
180 book four
priest picked it up and placed it in an iron bowl that one
of his disciples held up to him. As he renewed his incan-
tations, a little snake, about one foot long, came slithering
out from behind the folding screen. He took it up, placed
it in the bowl, covered the bowl tightly with the stole, and
entered his palanquin with it. The people of the household,
tears streaming down their faces, held their hands together
and paid reverence to him. Returning to the temple, he had a
deep hole dug in front of the main hall, had the bowl buried
there with all its contents, and forbade them ever to appear
in this world again. It is said that a Serpent Mound stands
there to this day.39 The steward’s daughter eventually fell
ill and died. Toyoo’s life was spared. So the story has been
handed down.40
N O T E S
1. Murasaki Shikibu, The Tale of Genji, trans. Edward G. Seidensticker
(New York: Knopf, 1976), pp. 394–400.
2. Donald L. Philippi, trans., Kojiki (Princeton, N.J.: Princeton Univer-
sity Press, 1969), pp. 178, n. 4, 415, additional n. 21.
3. Diana Yu, trans., “Eternal Prisoner Under the Thunder Peak Pagoda,”
in Y. W. Ma and Joseph S. M. Lau, eds., Traditional Chinese Stories:
Themes and Variations (New York: Columbia University Press, 1978),
pp. 355–378.
4. Murasaki Shikibu, Genji monogatari, ed. Yamagishi Tokuhei, Nihon
koten bungaku taikei, vol. 14 (Tokyo: Iwanami, 1958), p. 178.
5. Murasaki Shikibu, Genji monogatari, NKBT, vol. 14, p. 196.
6. Joanne R. Bernardi, Writing in Light: The Silent Scenario and the Japa-
nese Pure Film Movement (Detroit: Wayne State University Press,
2001), pp. 300–304.
7. “what era was it?” (itsu no tokiyo nariken): this opening formula echoes
the openings of earlier tales, such as The Tale of Genji—“In which
reign was it?” (izure no oontoki ni ka)—and thus gives the reader an
early hint that the story is probably set in the Heian period.
8. Yamato Province corresponds to the modern Nara Prefecture, north
of Shingu and south of Kyoto.
a serpent ’ s lust 181
9. Toyoo is showing off his learning. This poem, by Naga Okimaro,
appears in the Man’yoshu, no. 265. Sano Crossing was southwest of
Cape Miwa, now in the city of Shingu.
10. Nachi refers to the various sacred sites of the Nachi area, including
the Kumano Nachi Shrine and Seiganto Temple, in Katsuura, south
of Shingu.
11. In former times, mats (tatami) were placed on a polished wooden
floor as needed for guests. The curtain stand (kicho), decorated cabinet
(mizushi), and draperies (kabeshiro) were all characteristic furnishings
of aristocratic houses in the Heian period. The cabinet would have
been decorated with lacquer; the draperies, often painted or embroi-
dered silk, were used to separate one living space from another.
12. That is, “If I died without saying anything, some god would be blamed
unfairly for my death, and so I shall tell you.” Manago’s speech tends
to be flowery and decorated with poetic allusions. In this case, the
allusion is to a poem by Ariwara no Narihira:
If I died of love unknown to others, pointlessly,
which god would carry the unfounded blame? (Tales of Ise, sec.
89; Shinzokukokinshu, no. 1157)
13. The origin of the proverb “Confucius stumbled on the mountain
of love” is unclear. It appears in the “Kocho” (Butterflies) chapter of
The Tale of Genji, in reference to Higekuro (Murasaki Shikibu, Tale of
Genji, p. 424).
14. An allusion to a poem by Naga Okimaro:
Even in the palace it can be heard—
the cry of a fisherman assembling the net boys to pull in the
nets. (Man’yoshu, no. 238)
15. Great Shrine (Shingu Hayatama Jinja): the festival was held on the
fifteenth and sixteenth days of the Ninth Month.
16. “certain man’s wife”: here and later, the text uses stock expressions to
indicate, without repeating them, that all the details are being provided.
17. “avatar”: in the blend of Buddhism and Shinto that was characteristic
of premodern Japan, the Shinto deity enshrined at Shingu was con-
sidered an avatar (gongen) of a Buddhist figure.
18. This description of the house and grounds echoes that of the residence
of the lady of the “evening faces,” in the “Yugao” (Evening Faces) chap-
ter of The Tale of Genji (Murasaki Shikibu, Tale of Genji, pp. 68–69).
182 book four
19. Tsukushi is the island of Kyushu.
20. “shizuri”: cloth woven from various fabrics and used principally for
sashes in ancient times.
“katori” (literally, “tight weave”): a thin but tightly woven silk fabric.
“hoes” (kuwa, here perhaps “plows”): symbolic of agriculture, are
often found among a shrine’s treasures.
21. Naniwa is the present-day city of Osaka.
22. Twin cedars standing on the banks of the Hatsuse River and associ-
ated with the sun goddess, Amaterasu, were celebrated in poetry as
a sign of meeting or reuniting. In the “Tamakazura” (The Jeweled
Chaplet) chapter of The Tale of Genji, Ukon, overjoyed to find Tamaka-
zura at Hasedera, recites:
Had I not come to the spot where twin cedars stand
would I have met you on this ancient riverbank?
(Murasaki Shikibu, Genji monogatari, NKBT, vol. 15, p. 354)
23. After reciting her waka, Ukon adds, “on the rapids of joy” (ureshiki se
ni mo), in which se (rapids) also denotes an occasion or opportunity
and echoes the “se” in Hatsuse (Murasaki Shikibu, Genji monogatari,
NKBT, vol. 15, p. 354).
24. Mount Takama is the highest peak in the Katsuragi (formerly,
Kazuraki) Range, southwest of Hatsuse. The passage recalls a poem
by Retired Emperor Go-Daigo:
Clouds on Kazuraki’s Mount Takama:
even from a distance it is clear that evening showers fall.
(Shinshuishu, no. 289)
The image of clouds rising at night and producing rain, which
then abates at dawn, suggests lovemaking. There is perhaps an
echo here of the legend of King Xiang of Chu, who dreams that
he has slept with a woman at Shaman Hill who turns out to have
been a rain cloud (Sun Yü, “The Kao T’ang Fu,” in The Temple
and Other Poems, trans. Arthur Waley [New York: Knopf, 1923],
pp. 65–72).
The bell at Hatsuse Temple anticipates that of Dojoji, the temple
that figures in the ending of the story.
25. There is a strong association between yayoi, the third month of spring
in the Japanese lunar calendar, and cherry blossoms.
“fair of name” (naguwashi): a pillow-word for Yoshino.
a serpent ’ s lust 183
26. Manago alludes to a poem by Emperor Tenmu: “On the occasion of a
visit to the Yoshino palace”:
Yoshino, which good people could well see was good, and said
is good—
look well, good people, look well. (Man’yoshu, no. 27)
The poet puns on “good” (yoshi), “well” (yoku), and Yoshino (good field).
27. The place described is Miyataki (Palace Falls), on the Natsumi River.
Royal visits to the villa that used to stand there are mentioned fre-
quently in the Man’yoshu.
28. The Yamato Shrine, now called Oyamato Jinja, is in the present-
day city of Tenri, about three miles north of Tsubaichi. The old man
would have passed through Tsubaichi on his way back to the shrine,
in any case.
29. Mino Province (Gifu Prefecture) produced high-quality silk used by
aristocrats.
30. Uzuki Hiroshi convincingly identifies Shiba with the present Kurisu-
gawa area of Nakaheji-cho (formerly, Shiba-mura), Nishimuro-gun,
Wakayama Prefecture, about twenty miles west of Shingu (Ugetsu
monogatari hyoshaku, Nihon koten hyoshaku zenchushaku sosho
[Tokyo: Kadokawa, 1969], pp. 538–539).
“steward” (shoji): originally designated one who managed a manor
(shoen) on behalf of its aristocratic owner, but later came to be applied
also to village heads and wealthy families of a region.
31. “I shall not write about it”: Akinari uses a narrative device often found
in Heian monogatari, such as The Tale of Genji.
32. Tomiko echoes the spirit that possesses the lady in the “Evening Faces”
chapter of The Tale of Genji: “Though I admire you so much, you do
not think of visiting me, but instead keep company with this undis-
tinguished person and bestow your favors on her. I am mortified and
hurt” (Murasaki Shikibu, Genji monogatari, NKBT, vol. 14, p. 146).
33. “vows of the sea and of the mountains”: in addition to reminding the
reader of the cliché that vows are “deeper than the seas and higher
than the mountains,” this phrase refers to the seas around Kii Prov-
ince and the mountains in Yamato Province.
34. Kurama Temple is on Mount Kurama, in the north of Kyoto. Its men-
tion here is probably due to two literary precedents. First, a popular
tradition holds that Murasaki Shikibu was thinking of Mount Kurama
when she had Genji, seeking a cure for his illness, visit a sage in the
184 book four
northern hills in the “Wakamurasaki” (Lavender) chapter of The Tale
of Genji. Second, the monk Anchin of the Dojoji legend was from
Kurama.
35. The biography of Guo Wen in the Jin shu (The Book of Jin, seventh
century) contains the lines “If a man has no wish to harm the beast,
the beast will not hurt the man.” In “Eternal Prisoner Under the
Thunder Peak Pagoda,” this saying becomes “Though a man means
no harm to the tiger, the tiger will hurt the man.”
36. Dojoji is about twenty-five miles from Shiba.
37. Hokai resembles the sage in the “Lavender” chapter of The Tale of
Genji, who “was old and bent and unable to leave his cave.” When
Genji goes to him to be cured of malaria, the sage says, “My mind has
left the world, and I have so neglected the ritual that it has quite gone
out of my head. I fear that your journey has been in vain” (Murasaki
Shikibu, Tale of Genji, pp. 84–85).
38. Poppy seeds were burned in exorcism rituals of esoteric Buddhism.
A vestment imbued with their smell, having been exposed to many
such rituals, was deemed to possess special powers. In the “Aoi”
(Heartvine) chapter of The Tale of Genji, the Rokujo lady is appalled to
discover the scent in her own clothing. It is there because, against her
will, her jealous spirit has possessed Genji’s wife (Murasaki Shikibu,
Tale of Genji, p. 169).
39. A monument before the main hall of Dojoji is said to mark the site
of the bell in which Anchin died. A “serpent mound” (jazuka) stands
outside the temple grounds, in what used to be an inlet, marking the
spot where Kiyohime is said to have plunged into the water.
40. The story ends, as it began, with a conventional formula (to nan
kataritsutaekeru). Some chapters of The Tale of Genji conclude with an
abbreviated form (to nan, to zo, or to ya), and most of the stories in the
late-Heian setsuwa collection Konjaku monogatari shu (Tales of Times
Now Past, ca. 1120) end with to nan kataritsutaetaru to ya.
a serpent ’ s lust 185
BOOK FIVE
THE BLUE HOOD
t itle
The title, “Aozukin,” refers to the dark-blue cowl that Kaian
transfers from his own head to the head of the mad abbot of
Daichuji.
characters
After the large cast of “A Serpent’s Lust,” the number of char-
acters shrinks in “The Blue Hood.” Kaian, or Myokei (1422–
1493), was a priest of the Soto school of Zen Buddhism,
while the abbot of Daichuji is a fictional character.
places
“The Blue Hood” takes place at and near the Buddhist
monastery Daichuji, on the lower slopes of Mount Ohira in
Nishiyamada, village of Ohira, Tsuga County, Tochigi Prefec-
ture (formerly, Shimotsuke Province). A large establishment,
Daichuji contains a number of buildings on about eighty
wooded acres.
Like “Shiramine” and “The Owl of the Three Jewels,”
“The Blue Hood” includes a michiyuki, though it is a very
brief one:
Ryotaiji: temple of the Soto school of Zen Buddhism, in the
city of Seki, Gifu Prefecture (formerly, Mino Province).
Ou: area around Echigo Province (Niigata Prefecture).
Shimotsuke: Tochigi Prefecture.
Tonda: now called Tomita, part of the village of Ohira, Shi-
motsuga County, Tochigi Prefecture. It used to be a sta-
tion on a post road.
t ime
Autumn of 1471 and winter of 1472.
background
In 1489, seventeen years after the probable setting of “The
Blue Hood,” the locally powerful Oyama clan asked Kaian to
reestablish Daichuji—which had been founded in 1154 as a
monastery of the Shingon sect—as a monastery of the Soto
school of Zen Buddhism. Shingon and Zen are clearly dis-
tinguished in the story. Kaian is explicitly identified as a Zen
master, while the abbot of Daichuji is referred to as an ajari,
a title that designates a high clerical rank in Shingon. Shin-
gon is the esoteric sect established by Kukai (Kobo Daishi),
who figures in “The Owl of the Three Jewels.” Zen (medita-
tion [Skt. dhyana]) Buddhism was introduced to China in 520
by the Indian monk Bodhidharma (Ch. Da Mo, J. Daruma),
who is regarded as the first Zen patriarch. Zen emphasizes
the blue hood 187
“extralingual transmission” (kyogai or kyoge, short for kyoge-
betsuden), the nonverbal conveyance of Buddhist truths from
master to disciple, in preference to a reliance on the verbal
teachings of the Buddha as recorded in the sutras. This is
true of both the Soto school of Zen (Kaian’s affiliation) and
the Rinzai school, which is more familiar in the West.
Like “The Chrysanthemum Vow,” “The Blue Hood” alludes
to a sexual relationship between two males. Sexual relations
between monks and acolytes were common in premodern
Japan, and the sexual nature of the relationship in this story
would have gone without saying.1 No stigma is attached to
wakashudo (sexual relations between a man and a boy) per se.
The abbot’s mistake is “failing to control his mind” and allow-
ing himself to become attached to something ephemeral, which
deters him from progress toward enlightenment. Attachment
to a woman would have been just as undesirable for a monk in
the society of the time. As Kamo no Chomei wrote in Hojoki
(An Account of a Ten-Foot-Square Hut, 1212), “The essence of
the Buddha’s teachings is that we should cling to nothing.”
aff init ies
“The Blue Hood” seems not to have been adapted from any
particular Chinese or Japanese source. It recalls a number
of Chinese and Japanese stories that deal with mad monks
or cannibalism (or both), and some details were inspired
by scenes in chapters 5 and 6 of Shi Nai’an and Luo Guan-
zhong’s Shuihu zhuan (Water Margin, fourteenth century).
other observat ions
A confident, dependable man (Kaian)—a type established in
“The Chrysanthemum Vow”—is contrasted with an unsta-
188 book f ive
ble man (the abbot), repeating a pattern seen in “Shiramine”
and “The Owl of the Three Jewels.” Kaian’s maxim—“He
who fails to control his mind becomes a demon; he who
governs his mind attains to buddhahood”—applies equally
well to Sutoku, in “Shiramine”; Hidetsugu, in “The Owl of
the Three Jewels”; and the abbot, in “The Blue Hood.” To a
lesser extent, it could also be applied to Katsushiro, in “The
Reed-Choked House”; Shotaro, in “The Kibitsu Cauldron”;
and Toyoo, in “A Serpent’s Lust.” Although the maxim
has the look of a quotation, no source has been identified.
“Hankai,” the last story in Akinari’s Harusame monogatari
(Tales of the Spring Rain, 1808–1809), concludes with the
same sentiment.
The structure of “The Blue Hood” roughly follows that
outlined by Robert Ford Campany in his discussion of Chi-
nese Buddhist tales: “A seed of religious instruction or pious
habit is planted in the protagonist. . . . The protagonist does
something that is ‘marked’ . . . in the field of specific Bud-
dhist values or precepts. . . . There occurs an anomalous—
often strikingly contranatural—response to the protagonist’s
act. . . . Others react with amazement to the response. . . .
These events in turn stimulate . . . positively marked Bud-
dhist acts by others.”2
“The Blue Hood” has apparently been translated into Eng-
lish more often than any other story in the collection—at least
ten English versions exist, including this one.3 No doubt the
taut, economical narrative, references to Zen Buddhism, and
intrinsic drama of the story have appealed to translators.
L ong ago, there wascalled Zen Master Kaian. From the time he came of age, he understood the spirit of extralingual transmis-
the blue hood 189
Image has been suppressed
sion and surrendered his body to the clouds and waters. One
year, having completed the summer retreat at Ryotai Temple,
in Mino Province, he set out on a journey, having decided to
spend that autumn in the Ou region.4 Traveling on and on,
he entered the province of Shimotsuke.
The sun set as he reached a village called Tonda.5 When
he approached a large, prosperous-looking house to ask for a
night’s lodging, men who had just returned from the paddies
and fields seemed to be struck with fear at the sight of a monk
standing in the dim twilight. “The mountain demon is here!
Everyone come out,” they shouted. An uproar began inside
the house, with women and children screaming, thrashing
about, and hiding in shadows and nooks. The master of the
house took up a cowl-staff and rushed outside, where he
found an old monk, close to fifty years of age, standing with
a dark-blue hood on his head, a tattered black robe on his
body, and a bundle on his back. Raising his walking staff, the
monk beckoned to him: “Danapati, why do you take such
precautions? I am an itinerant monk, waiting here for some-
one to receive me as I seek lodgings for one night. To be met
with such distrust is not what I expected. This haggard monk
is not about to rob you. Please do not be suspicious of me.”
The master of the house dropped his cowl-staff, clapped his
hands, and laughed: “Thanks to those fellows’ undiscerning
eyes, we have startled you, a venerable traveling monk. Let
me compensate for our crime by offering you lodging here
tonight.” With all signs of respect, he escorted the monk
inside and cheerfully invited him to dine.
The master of the house gave this account: “There is
a reason why those fellows panicked when they saw Your
l. 1 “clouds and waters”: that is, he traveled as an itinerant, mendicant
monk, constantly on the move and without any particular destination,
like clouds and water. Unsui (cloud-water) is a common word for an itin-
erant monk.
l. 18 “Danapati” (J. dan’otsu): the Sanskrit word for a lay believer who sup-
ports the monastic community with donations.
190 book f ive
Reverence and cried ‘The demon is here.’ I have a most
unusual story to tell you. Please pass it on to others, though
it is a strange, wild tale. There is a monastery on a mountain
above this village.6 Originally, it was the family temple of the
Oyama clan, and many priests of great virtue have resided
there over the generations. The current ajari, the nephew of
a certain lord, was famous for his learning and asceticism,
and the people of the province were devoted to him, making
frequent offerings of flowers and incense. He often visited
my house, too, and spoke without reserve; but then came
the spring of last year. He was invited to Koshi to adminis-
ter the vows at an initiation ceremony and stayed for more
than one hundred days.7 He brought back with him a servant
boy in his twelfth or thirteenth year, whom he made his con-
stant attendant. I noticed that he began to neglect his long-
time practices, entranced as he was by the boy’s elegance
and beauty. Then, around the Fourth Month of this year, the
boy took to his bed with some slight illness, and as the days
passed his condition grew more serious. The abbot, greatly
distressed and saddened, even called in the official physician
from the provincial capital, but their ministrations had no
effect and the boy finally passed away. Feeling that the jewel
of his breast had been snatched from him, that the blossom
adorning his crown had been stripped away by a storm, the
abbot had no tears to weep, no voice with which to cry out,
and in the extremity of his grief he neither cremated the boy
nor buried him, but pressed his face to the boy’s and held his
hand, until, as the days went by, he lost his mind and began to
play with the boy just as he had when the boy was alive, and,
finally, lamenting the decomposition of the flesh, he ate the
flesh and licked the bones until nothing was left. The other
people of the temple fled in a panic, saying that their abbot
l. 16 “practices”: ascetic, religious practices designed to facilitate enlighten-
ment.
l. 24 “storm”: the storm of evanescence, a common Buddhist metaphor.
the blue hood 191
had turned into a demon. Since then, he has come down the
mountain every night, terrifying the villagers or digging up
graves and eating fresh corpses. I had heard of demons from
old tales, but now I have truly seen one with my own eyes.
How can we put a stop to this? Every family now locks its
doors tightly at dusk, and word has spread throughout the
province, so that no one comes here any more. This is why
you were mistaken for a demon.”
After hearing this tale, Kaian said, “Yes, strange things
happen in this world. Among those who have been born as
humans but end their days in foolishness and perversity,
because they know not the greatness of the teachings of the
192 book f ive
Image has been suppressed
buddhas and bodhisattvas, there are countless examples,
from the past down to the present, of those who, led astray
by the karmic obstacles of lust and wrong thoughts, reveal
their original forms and give vent to their resentments, or
turn into demons or serpents to take retribution. There have
also been people who turned into demons while they were
still alive.8 A lady-in-waiting to the king of Chu turned into
“ He has come down
the mountain every
night, terrifying the
villagers.”
l. 3 “karmic obstacles”: actions (including mental activity) that obscure
one’s understanding of Buddhist teachings and impede progress toward
enlightenment.
l. 4 “original forms”: one’s form, such as an animal, in a previous life.
the blue hood 193
Image has been suppressed
a snake;9 Wang Han’s mother became an ogre; Wu Sheng’s
wife became a moth.10 Also, long ago, when a certain travel-
ing monk was staying over in a poor house, the night brought
heavy rain and wind, so that the monk, lonely without even
a lamp, could not sleep. As the night deepened, he heard the
bleating of a sheep, and soon thereafter something sniffed at
him intently, to see if he was asleep. Suspicious, the monk
picked up his Zen staff, which lay by his pillow, and struck
out forcefully, whereupon the thing fell over with a scream.
Hearing the noise, the old woman who was the head of the
household lit a lamp and brought it in, and by its light they
saw a girl lying there. The old woman pleaded tearfully for
the girl’s life. What could he do? Leaving things as they were,
the monk departed; but later, when he had occasion to pass
through the village again, he found many people gathered
together in a rice paddy, looking at something. Approaching
them, he asked what it was. A villager told him, ‘We captured
a girl who has turned into a demon, and now we are burying
her.’ But these stories are all of women; I have never heard
one of a man. It is, after all, because of their perverse nature
that women turn into shameless demons. Now, as for men,
there was a minister of Emperor Yang of Sui named Ma
Shumou, who fancied the flesh of small children, whom he
would kidnap from the people, steam, and devour;11 but this
was shameless barbarity, quite different from the case you
have described. Nevertheless, your monk’s turning into a
demon must be the result of his actions in a former life. The
virtue he accumulated through his earlier ascetic practices
is due to his utter sincerity in serving the Buddha, and he
would surely have become a splendid priest had he not taken
in that boy. It was probably his single-minded nature that
caused him to turn into a demon when, once having entered
the maze of lust, he was burned by the karmic flames of
unenlightenment. He who fails to control his mind becomes
a demon; he who governs his mind attains to buddhahood.
Your priest is a good example of this. If I, an old monk, can
194 book f ive
instruct the demon and lead him back to his original mind,
I shall also be repaying your hospitality tonight.” Thus he
set a noble aim. The master of the house pressed his head to
the floor mat. “If you can accomplish this, Your Reverence, it
will be as though the people of the province had been reborn
in the Pure Land,” he said, weeping tears of joy. Lodging in
this mountain village, they heard no sound of conch or bell;
but they knew that the night was late, because the last-quar-
ter moon had risen, spilling its light through a crack in the
old door.12 “Well, then, have a good rest,” the master said,
and retired to his bedroom.
Since the mountain temple was almost deserted, bram-
bles clung to the two-story gate and moss grew on the
neglected sutra pavilion. Spiders had spun webs that bound
the Buddhist statues together; sparrow droppings covered
the goma dais; the abbot’s residence, the covered walkways,
and the monks’ quarters were all in terrible disrepair.13 As
the sun declined toward the southwest, Zen Master Kaian
entered the temple grounds and struck his ringing-staff
against the ground. “Please provide lodgings for a traveling
monk tonight,” he called, again and again, but there was no
response. Finally, from the sleeping quarters, a withered
monk emerged, came slowly toward him with uncertain
steps, and spoke in a dry, hoarse voice: “Where are you going
that would lead you here? For certain reasons, this temple
has gone to ruin, as you see, and turned into a wilderness.
There is no food, nor am I prepared to offer you lodging. Go
quickly to the village.” The Zen Master said, “I have come
l. 6 Pure Land (Jodo): a Buddhist paradise in the west, presided over by the
Buddha Amitabha (J. Amida).
l. 7 “no sound of conch or bell”: that is, there was no active Buddhist temple
nearby, where a conch or bell might be used to mark the hour, among
other functions.
l. 19 “ringing-staff” (shaku[jo]): wooden staff with brass heads, decorated with
metal loops that ring when moved. Originally used by itinerant holy
men in India to frighten off snakes, it evolved into a ceremonial staff
carried by priests.
the blue hood 195
from the province of Mino and am traveling to Michinoku.14
When I passed through the village below, I was drawn by
the beauty of this mountain and the streams and came here
on an impulse. As the sun is setting, the road to the village
would be long and dangerous. Please let me stay for just one
night.” The abbot said, “Bad things happen in a wilderness
like this. I cannot encourage you to stay, nor will I order you
to leave. Do as you please.” He said nothing more. Without
another word, Kaian sat near the abbot. Soon the sun went
down, and in the darkness of the night he could not make
out his surroundings, for no lamps were lit; he could hear
only the ripple of a brook nearby. The abbot returned to the
sleeping quarters and made no sound thereafter.
The night deepened and the moon rose, its brilliant light
reaching every corner. Shortly after midnight, the abbot
reemerged from the sleeping quarters and rushed about,
looking for something. Unable to find it, he cried, “Where’s
that damn monk hiding? He ought to be right here.” He ran
past the Zen master several times, but could not see him
at all. He appeared to hurry off toward the main hall, but
then danced crazily around the courtyard until finally he
collapsed, face down, in exhaustion. Dawn came, and the
morning sun began to shine. Looking like a man recover-
ing from too much wine, he seemed dumbfounded when he
saw the Zen master sitting right where he had been sitting
before. Leaning silently against a column, the abbot heaved
a great sigh but said nothing. Drawing near him, the Zen
master said, “Abbot, why are you grieving? If you are hungry,
fill your belly with my flesh.”15 The abbot said, “Were you
there all night?” The Zen master said, “I was here and did
not sleep.” The abbot said, “Shamefully, I have a fondness
for human flesh, but I have never tasted the flesh of a living
buddha. You truly are a buddha. It is no surprise that, with
the dark eyes of a fiend, I could not see the coming of a living
l. 32 “living buddha”: one who has achieved enlightenment in this life.
196 book f ive
buddha, try as I might.16 This is more than I deserve.” Bow-
ing his head, he fell silent.
The Zen master said, “Villagers tell me that, once your
mind had been distracted by lust, you quickly sank to the
level of a fiend. This is an almost unprecedented result of
bad karma, and neither ‘shameful’ nor ‘sad’ can describe it.
Because you go to the village night after night and hurt peo-
ple, no one in the villages nearby can rest easy. I could not
ignore this when I heard of it. I have come here especially to
instruct you and lead you back to your original mind. Will
you listen?” The abbot said, “Truly, you are a buddha. Teach
me, please, how I can quickly put these shameful actions out
of my mind.” The Zen master said, “If you will listen to me,
then, come with me.” Having the abbot sit on a flat stone in
front of the veranda, he removed the dark-blue hood from
his own head, placed it on the head of the abbot, and taught
him two lines from the Song of Enlightenment:17
The moon glows on the river, wind rustles the pines.
Long night, clear evening—what are they for?
Kaian instructed him kindly: “Seek quietly the meaning of
these lines without leaving this spot. When you have worked
out the meaning, you will probably, without trying, encoun-
ter your original buddha-nature.” Then he went down the
mountain. Although the villagers escaped great harm there-
after, they did not know whether the abbot was alive or dead,
and so, in their uncertainty and fear, they forbade anyone to
go up the mountain.
One year passed quickly. In the winter of the following
year, early in the Tenth Month, Priest of Great Virtue Kaian
traveled this way again on his return from the north, stopped
at the house of the man who had lodged him for a night, and
l. 23 “buddha-nature”: the potential for perfect enlightenment, inherent in
every person.
the blue hood 197
inquired about the abbot. The master of the house welcomed
him joyfully: “Thanks to Your Reverence’s great virtue, the
demon has not come down the mountain again, and all the
people feel as though they had been reborn in the Pure Land.
They are, however, terrified of going to the mountain, and so
not a single person has climbed it. Therefore, I do not know
what has happened to him. But how could he still be alive?
While you rest here tonight, may you pray that his spirit
achieve buddhahood. All of us will follow you in doing so.”
The Zen master said, “If he has passed on as a consequence
of his good actions, then he is my teacher, preceding me on
the Way. If he is still alive, then he is one of my disciples. In
either case, I must see what has become of him.” Going up
the mountain again, he could hardly believe that this was the
same path he had taken last year, for indeed it appeared that
all traffic had ceased. Entering the temple grounds, he found
plumed grasses growing thickly, taller than a man; the dew
fell on him like a cold autumn shower; and he could not even
make out the three paths. The doors of the main hall and
the sutra pavilion had toppled to the right and left, and moss
grew on rain-dampened cracks in the rotted wood of a walk-
way that connected the abbot’s residence with the kitchen.
When he sought out the place near the veranda where
he had told the abbot to sit, he found a shadowy man with
hair and beard so tangled that one could not tell if he were
monk or layman. Weeds coiled about him and plumed
grasses swayed above him, and he murmured something
almost inaudible in a wispy voice, no louder than the hum
of a mosquito:
l. 12 “the Way”: the way to Buddhist enlightenment.
l. 19 “three paths”: the proverbial paths in a hermit’s garden: to the gate, to
the well, and to the toilet. This section echoes a passage in the “Yomo-
giu” (The Wormwood Patch) chapter of The Tale of Genji: “The gates were
coming unhinged and leaning precariously. . . . Even the ‘three paths’
had disappeared in the undergrowth” (Murasaki Shikibu, The Tale of
Genji, trans. Edward G. Seidensticker [New York: Knopf, 1976], p. 296).
198 book f ive
“The moon glows on the river, wind rustles the pines.
Long night, clear evening—what are they for?”
Seeing this, the Zen master immediately took a firm hold
on his Zen staff, cried “Samosan, what are they for?” and
struck him on the head. Instantly, the figure began to fade,
like ice meeting the morning sun, until only the blue hood
and some bones remained on the leaves of grass. No doubt
his long obsession vanished at this moment. Herein lies a
venerable truth.
In this way, the great virtue of the Zen master came to
be known under the clouds and beyond the seas, and peo-
ple celebrated him, saying “The flesh of the First Patriarch
has not dried up.” Gathering together, the villagers cleared
the temple grounds, repaired the buildings, and chose the
Zen master to live at the temple as abbot, whereupon he
changed it from its original, esoteric, sect and established
a revered Soto site. It is said that the venerable temple still
flourishes today.
l. 4 “Samosan”: originally a slang expression in Song-era Chinese, used in
the Zen sect to mean something like “Well, how about it?”
l. 9 “venerable truth”: the truth of Buddhist teachings.
l. 11 “under the clouds”: that is, in distant lands.
l. 13 “has not dried up”: that is, the spirit or teachings of Bodhidharma lived
on in Kaian.
the blue hood 199
N O T E S
1. On this subject, see, for example, Bernard Faure, The Red Thread:
Buddhist Approaches to Sexuality (Princeton, N.J.: Princeton Univer-
sity Press, 1998).
2. Robert Ford Campany, Strange Writing: Anomaly Accounts in Early
Medieval China, SUNY Series in Chinese Philosophy and Culture
(Albany: State University of New York Press, 1996), pp. 324–328.
3. Hiroshi Chatani, trans., “The Pot at Kibitsu” and “The Blue Hood”
(available at: http://www.kcc.zaq.ne.jp/dfeea307/); Kengi Hamada,
trans., “Demon,” in Tales of Moonlight and Rain: Japanese Gothic
Tales (Tokyo: University of Tokyo Press, 1971; New York: Columbia
University Press, 1972), pp. 123–135; Alf Hansey, trans., “The Blue
Hood,” The Young East 2, no. 9 (1927): 314–319; Donald Richie, “The
Ghoul-Priest: A Commentary,” in Zen Inklings: Some Stories, Fables,
Parables, Sermons, and Prints (New York: Weatherhill, 1982), pp. 79–
90; Takamasa Sasaki, trans., Ueda Akinari’s Tales of a Rain’d Moon
(Tokyo: Hokuseido, 1981); Dale Saunders, trans., “Ugetsu Monoga-
tari, or Tales of Moonlight and Rain,” Monumenta Nipponica 21, nos.
1–2 (1966): 196–202; William F. Sibley, trans., “The Blue Cowl,”
in Stephen D. Miller, ed., Partings at Dawn: An Anthology of Japa-
nese Gay Literature (San Francisco: Gay Sunshine Press, 1996), pp.
125–133; Makoto Ueda, trans., “A Blue Hood,” San Francisco Review 1,
no. 4 (1960): 42–47; Leon M. Zolbrod, trans. and ed., Ugetsu Mono-
gatari: Tales of Moonlight and Rain: A Complete English Version of the
Eighteenth-Century Japanese Collection of Tales of the Supernatural
(Vancouver: University of British Columbia Press, 1974), pp. 185–194.
4. “summer retreat”: Buddhist monks traditionally stay inside their
monasteries for three months during the rainy season. In Japan,
the period of confinement was from the sixteenth day of the Fourth
Month to the fifteenth day of the Seventh Month of the old calendar,
in which the Fourth, Fifth, and Sixth Months were summer.
5. The situation that follows—a village householder conversing with a
traveling monk who ultimately saves the day—was apparently inspired
by chapter 5 of Shi Nai’an and Luo Guanzhong, Water Margin.
6. The temple is Daichuji.
7. Koshi refers to the former provinces of Echigo, Sado, Etchu, Kaga,
Noto, Echizen, and Wakasa (prefectures of Niigata, Toyama, Ishi-
kawa, and Fukui), on the coast of the Sea of Japan.
200 book f ive
8. The examples that follow are drawn, with some garbling, from book
5 of Xie Zhaozhe, Wuzazu (Five Miscellanies, 1618).
9. King Zhuang (r. 613–591 B.C.E.) ruled the ancient Chinese state of
Chu.
10. Nothing is known of Wang Han or Wu Sheng.
11. Emperor Yang succeeded to the throne of Sui in 605 by murdering
his father and reigned until his own assassination in 618. Ma Shu-
mou is said to have progressed from lamb meat, which he began
eating to treat a rare illness, to human flesh.
12. In the lunar calendar, the moon reaches its last quarter on the twenty-
first day of the month and rises at about midnight.
13. The description suggests a fairly large monastic complex and seems
to have been inspired by the first part of chapter 6 of Shi and Luo,
Water Margin.
“sutra pavilion”: a repository for sacred texts.
The Buddhist statues would be in the main hall of the temple.
“goma dais”: characteristic of Shingon temples, is used in the
goma ritual, in which a priest chants spells and incantations while
burning poppy seeds and slips of wood on a dais, to symbolize the
flames of wisdom extinguishing bad karma.
14. Michinoku was a province in northeastern Honshu, corresponding to
the modern prefectures of Aomori, Iwate, Miyagi, and Fukushima.
15. There is a precedent for Kaian’s offer in story 5:7 in the late-Heian
setsuwa collection Konjaku monogatari shu (Tales of Times Now Past,
ca. 1120), which tells of the Buddha’s giving his own flesh to save a
starving couple.
16. “dark eyes of a fiend” (kichiku, literally, “hungry-ghost beast”): in Japa-
nese Buddhism, hungry ghosts (gaki), whose bad karma condemned
them always to be famished, and beasts (chikusho) occupied two of
the Six Realms (rokudo) into which humans were reborn. Their eyes
are “dark” because they cannot discern the truth of the Buddha’s
teachings.
17. The Song of Enlightenment (Zhengdaoge), by Yongjia Xuanjue (665–
713), a disciple of the founder of the Soto school of Zen, expresses
essential Zen teachings in 166 lines of poetry. Quoted here are lines
103 and 104.
the blue hood 201
t itle
The title, “Hinpukuron,” refers to the discussion, in the story,
between a wealthy samurai and the spirit of gold.
characters
There are only two characters in “On Poverty and Wealth”:
Oka, or Okano, Sanai (late sixteenth century), a samurai in
the service of the Gamo and Uesugi clans, and the spirit
of gold.
place
“On Poverty and Wealth” is set at the home of Oka Sanai, in
Mutsu, which refers to the northeastern part of the island of
Honshu. Sanai’s master, Gamo Ujisato, was based in Aizu
Province (Fukushima Prefecture).
BOOK FIVE
ON POVERTY AND WEALTH
t ime
An autumn night in 1593, 1594, or 1595 (after the birth of
Toyotomi Hideyori and before the death of Gamo Ujisato),
during the hegemony of Toyotomi Hideyoshi.
background
Sanai’s master, Gamo Ujisato (1556–1595), was a warlord in
the service of Oda Nobunaga (1534–1582) and Hideyoshi (for
more on Hideyoshi, see the introduction to “The Owl of the
Three Jewels”).
Many samurai of the time pursued elegant hobbies such
as tea ceremony, incense sampling, and no drama. Several
sources confirm Sanai’s interest in money, a remarkable pre-
occupation for members of his class, since samurai ideals
disdained moneymaking.
The late-sixteenth-century warlords Nobunaga, Takeda
Shingen, Uesugi Kenshin, and Hideyoshi, as well as Hide-
yoshi’s baby son Hideyori (1593–1615), are mentioned toward
the end of “On Poverty and Wealth.” They contrast with
Tokugawa Ieyasu (1542–1616), the founder of the shogunate
that followed Hideyoshi’s hegemony and under whose rule
Akinari lived.
aff init ies
“On Poverty and Wealth” draws from or alludes to several
Chinese works: the Lun yü (Analects, fifth century B.C.E.?)
of Confucius; Zhong yong (The Doctrine of the Mean, fifth
century B.C.E.?), one of the classics of the Confucian canon;
the Mengzi (Mencius, third century B.C.E.?); Xie Zhaozhe’s
Wuzazu (Five Miscellanies, 1618); “Biographies of the Money-
makers,” part of Sima Qian’s Shiji (Records of the Grand
on poverty and wealth 203
Historian, early second–late first centuries B.C.E.); and Qu
You’s Jiandeng xinhua (New Tales After Trimming the Lamp,
1378). It is also indebted to Japanese historical sources that
mention Sanai.
I n Mutsu lived a s service of Gamo Ujisato. Highly paid and much hon- ored for his martial prowess, he was known for his
bravery everywhere east of the barrier. Sanai was a most
eccentric warrior. His desire for riches and honor far exceeded
that of the ordinary samurai. Because he ruled his house on
the principle of frugality, his wealth increased as the years
piled up. Furthermore, when he rested from military train-
ing, he would take pleasure not in savoring tea or playing
with incense, but in lining up a great many gold coins on
the floor of a room—a pastime he savored even more than
others might enjoy the moon and the blossoms.1 Everyone
considered Sanai’s behavior strange and dismissed him con-
temptuously as a miserly boor.
Hearing that a groom, long employed in his household,
secretly carried a gold piece with him, Sanai summoned the
man and said, “Even a disk of jade from the Kunlun Moun-
tains is, in troubled times, no better than a tile or a pebble.
One who has been born into this age and wields a bow and
arrow prizes, above all, a sword from Tangxi or Moyang and,
next, prizes wealth. Even with the best sword, however, one
l. 8 “east of the barrier”: that is, east of the Hakone Barrier, referring to what
is now the Tokyo region and the northeast.
l. 21 Kunlun Mountains: in western China, noted as a source of precious
stones.
l. 23 “wields a bow and arrow”: is a samurai.
l. 24 Tangxi and Moyang: noted in ancient China for the production of excel-
lent swords.
204 book f ive
Image has been suppressed
cannot fight off a thousand enemies; but the virtue of gold
will sway all the people of the world. A samurai must not use
it recklessly. He should store it away carefully. It is wonder-
fully rash of you to have gained wealth beyond your lowly
status. I must reward you.” He gave the man ten ryo in gold,
allowed him to wear a sword, and took him into his service.2
When people heard about this, they heaped praise on Sanai,
saying, “Sanai does not accumulate gold out of insatiable
greed. He is simply the most eccentric samurai of the day.”
That night, Sanai heard the sound of someone at his pil-
low. When he opened his eyes, he saw a tiny old man, smiling
as he sat near the lamp stand. Sanai raised his head from the
pillow and said, “Who are you? If you were here to borrow
provisions, you would have brought some brawny fellows
with you. Taking the form of a dotard like you and coming to
wake me up must be the prank of some fox or raccoon-dog.3
What tricks do you know? Show me a little something, to
drive away the sleepiness on this autumn night.” He showed
no sign of being agitated. The old man said, “This is neither
a goblin nor a man who has come to you tonight. I am the
spirit of the gold that you care for so well. In my joy at hav-
ing being warmly received all these years, I have presumed
to come for a nighttime chat. Deeply moved by the way you
rewarded your servant today, I felt that I could not rest until
I told you what is in my heart, and so I have appeared tem-
porarily in this form. What I have to say is only idle talk, not
worth one part in ten, but if I do not speak, my belly will be
overfull.4 This is why I have come to interrupt your sleep.
“Now, then, wealth without pride is the way of the great
sage.5 We hear insults, such as ‘The rich are always perverse’
and ‘Most rich men are fools,’ but these apply only to wild
dogs, wolves, snakes, and scorpions like Shi Chong of Jin and
Wang Yuanbao of Tang.6 The rich of ancient times derived
their wealth naturally, from measuring heavenly time and
closely observing the benefits of the land.7 When Lü Wang
was enfeoffed in Qi, he taught the people how to make a
on poverty and wealth 205
living, and so others came to his state from the seaside, hop-
ing for profit.8 Guan Zhong assembled the princes nine
times, but, although his status was only that of a minister,
his wealth was greater than that of the lords of all the states.9
Fan Li, Zigong, and Bo Gui profited from selling produce
and accumulated vast amounts of gold.10 Since Sima Qian
included these men in his ‘Biographies of the Money-mak-
ers,’11 later scholars vied with one another to condemn his
views as vulgar, but theirs were the words of men who lacked
deep understanding. ‘Without a constant livelihood, there
will be no constant heart.’12 Farmers work to produce grain,
artisans work to assist them, and merchants work to dis-
206 book f ive
Image has been suppressed
tribute their production: each manages his own livelihood,
enriches his family, venerates his ancestors, and plans for
his posterity—what else is there for a person to do? As the
proverbs say, ‘A millionaire’s son will not die in the city,’ and
‘The wealthy man’s pleasures are the same as the king’s.’13
If the pool is deep, the fish will swim freely; if the moun-
tains are vast, the animals will grow up strong—truly, this
principle follows the natural course of heaven.14 ‘Poor and
yet happy’15—these words have been a source of confusion
for men who study letters and search for rhymes; and for-
“ Sanai raised his
head from the
pillow and said,
‘Who are you?’”
l. 10 “men who study letters and search for rhymes”: scholars and writers.
on poverty and wealth 207
Image has been suppressed
getting that wealth is the foundation of the state, even war-
riors, with their bows and arrows, train in senseless tactics,
smash things, kill people, lose their own virtue, and let their
progeny die out—all because, in their confusion, they belittle
wealth and prize fame. If you think about it, the desire is
the same, whether for fame or for wealth. When people get
caught up in words and belittle the virtue of gold, they pro-
claim themselves immaculate and say that a man is wise who
wields a spade and abandons society. Such a man may be
wise, but such behavior is not wise. Gold is first among the
Seven Rarities. When buried in the earth, gold causes magi-
cal springs to spill forth, eliminates filth, and harbors a mys-
terious sound. Can it be that a thing of such purity gathers
only in the homes of the foolish, ignorant, greedy, and cruel?
It cannot be. I am overjoyed that tonight I have been able to
vent my resentment and dispel the gloom of many years.”
Sanai moved forward, intrigued: “You have said that the
way of wealth is noble, and this does not differ in the slight-
est from what I have always thought. Although my question
is foolish, I hope that you will give me a detailed answer.
The principle you have just elucidated is that one makes a
terrible mistake to underestimate the virtue of gold and to
be unaware that wealth is a great endeavor; and yet what the
bookworms say is not without reason. Eight of ten rich men
in the world today are greedy and cruel. Although they are
satisfied with their own stipends, they do nothing to help
the poor, including even brothers, relatives, and people who
have served their families for generations; when their long-
time neighbors lose their strength, have nowhere to turn for
help, and decline in the world, the rich will beat down the
price of the neighbors’ paddies and fields and take the land
as their own; even when they have risen to the esteemed
position of village head, they will not return the things they
l. 11 Seven Rarities: the Seven Rarities of Buddhist texts are gold, silver, lapis
lazuli, crystal, coral, agate, and clamshell.
208 book f ive
have borrowed in the past;16 if a courteous man yields his
seat to them, they will despise him as though he were a ser-
vant; if an old friend calls to offer greetings of the season,
they will suspect him of coming to borrow something and let
it be known that they are not at home. I have seen many of
this sort. There are also people who are utterly loyal to their
lords and are known for the purity of their devotion to their
parents, who respect their superiors and aid the wretched;
and yet they struggle through the three months of winter
with only a single woolen garment, and the heat of summer
with no chance to wash their single linen robe, and even in a
bountiful year they fill their stomachs, morning and evening,
with a single bowl of gruel; such people, of course, are never
visited by their friends and are shut out by their relatives; but
they have no way to express their sadness at being cut off
from others, and they live out their lives in drudgery.17 Is this
because they neglect their livelihoods? Rising early, retiring
late, they devote all their energy to their work and have no
time to pause as they rush frantically east and west—these
people are not stupid, but it is rare that the application of
their talents leads to success. They do not even know the
taste of Master Yan’s single gourd.18 A Buddhist will explain
this outcome in terms of actions in former lives; a Confucian
will tell you about the Will of Heaven. If there is a future,
then hidden virtues and meritorious actions hold promise
for the next life, and, in anticipation of this, people will sus-
pend their anger for a time.19 Can we say, then, that only
Buddhism fully accounts for the nature of the Way of wealth,
and that Confucian teachings on the subject are incoherent?
You seem to adhere to Buddhist teachings. If I am mistaken,
please explain your thoughts to me in detail.”
The old man said, “The point of your question has been
discussed since ancient times, but has never been resolved.
If we listen to Buddhist teachings, we hear that wealth and
poverty result from good and bad actions in former lives.
This is nothing more than wishful thinking. When a man
on poverty and wealth 209
who, in a former life, has cultivated himself, striven to be
compassionate, and dealt kindheartedly even with strangers
is, as a result, reborn into a rich family, struts before strang-
ers on the strength of his fortune, abuses others with out-
rageous nonsense, and reveals the base heart of a barbar-
ian—then we have to ask what kind of result it is when the
compassionate heart of a former life falls so low in this life.20
I have heard that the buddhas and bodhisattvas abhor fame
and greed; why, then, are they so obsessed with poverty and
wealth? The explanation that wealth comes as the result of
good actions in a former life, and poverty as the result of bad-
ness, is pseudo-Buddhism propagated for the deception of
ignorant old wives and girls. A man might not benefit him-
self who concentrates on doing good deeds without regard
for poverty and wealth, but his descendants will surely be
favored with good fortune. ‘His ancestral temple received
these; his descendants preserved these’ subtly expresses this
truth.21 It is not a sincere heart that does good and then waits
to be rewarded for it. I have my own view regarding covetous
men who do bad things and not only grow rich, but also live
long, fulfilling lives. Please listen to a little more of what I
have to say.
“I have taken this temporary form to speak with you, but
I am neither a god nor a buddha: I have no feelings, and
so my thinking is different from that of humans. The rich
of ancient times became wealthy by managing their affairs
in conformance with heavenly time and their observations
of the benefits of the land. Since this strategy followed the
natural course of heaven, it also followed the natural course
of heaven that wealth gathered around these people. Also,
when a base, stingy, cruel man, seeing gold and silver, treats
us as warmly as he treats his own parents, stops eating what
he should eat, stops wearing what he should wear, and even
l. 9 “obsessed with poverty and wealth”: in other words, “Why do they spend
so much time and effort trying to explain poverty and wealth?”
210 book f ive
risks his precious life as he thinks of gold and silver con-
stantly, whether awake or asleep, then it is perfectly obvious
that gold and silver will gather around him. I am neither a
god nor a buddha, simply a thing without feelings. As such,
I have no reason to weigh the good and bad in people and
act accordingly. It is heaven, the gods, and the buddhas who
praise goodness and punish badness. These three provide
Ways. We are no match for them. Nevertheless, you must
understand that we will gather around a man when he fawns
over us. In this respect, gold differs from the human heart,
even though it has a spirit. Further, a man may grow rich
and sow the seeds of good karma, but if he is generous for
no reason, or lends money to someone without perceiving
that he is dishonorable, then his fortune will surely dissipate
despite his good deeds. This is because a man like that treats
gold lightly, knowing how to use it but not knowing its vir-
tue. Also, a man who suffers in narrow circumstances, even
though he conducts himself well and is sincere to others,
will never attain wealth in his lifetime, no matter how much
he taxes his spirit, because he was born with few of the bless-
ings of nature. It is precisely for this reason that a wise man
of old escaped from society to the wooded hills, where he
lived out his years in peace just as he wanted to do, seeking
wealth when the search was fruitful, and not seeking when
the search was not fruitful.22 It makes one envious to think
how clean and fresh his heart must have been.23 Nonethe-
less, the Way of wealth is an art—the skillful will accumu-
late much; the foolish will crumble more easily than tiles.
Furthermore, we follow men’s livelihoods and depend on no
master in particular.24 No sooner have we gathered here than
we might run over there, depending on the master’s actions.
l. 7 “These three provide Ways”: heaven (ten) refers to the Chinese cosmol-
ogy adapted by Japan, especially as expressed in Confucianism; gods
(kami), to Shinto; and the buddhas (hotoke), to Buddhism.
l. 8 Ways (do, michi): teachings, values, and principles marking a path that
people should follow through life.
on poverty and wealth 211
We are like water flowing to the lowest spot. Day and night,
we come and go with no time to rest. An idle man with no
livelihood, however, will finally deplete even a Mount Tai of
food and drink up the rivers and oceans. As I said before,
the unrighteous man’s accumulation of wealth has noth-
ing to do with virtue or its lack; and the case of the upright
man need not be discussed.25 If a man who is blessed by the
trends of the times will exercise frugality, curtail expenses,
and work hard, his house will naturally grow rich and oth-
ers will surely bow to him. I know nothing of the Buddhists’
karma in a former life, nor do I concern myself with the
Confucianists’ Mandate of Heaven.26 I roam freely in a dif-
ferent realm.”
Sanai was more and more intrigued: “Your theory is mar-
velous. My long-held doubts have been dispelled tonight. Let
me try asking you one more thing. The powerful winds of
the Toyotomi have forced all within the four seas into sub-
mission, and the five home provinces and seven highways
seem finally to be calm;27 but samurai loyal to vanquished
domains are plotting to achieve their long-cherished desires,
lurking here and there in hiding, or serving masters of great
domains for the time being as they await upheavals in the
world.28 The people, too, being people of a country at war,
drop their plows, exchange them for halberds, and neglect
their crops. Samurai cannot sleep on high pillows. In this sit-
uation, surely the regime cannot last much longer. Who will
unite the country and bring respite to the people? And with
whom will you ally yourself?” The old man said, “Since this,
too, is of the world of men, I do not know. But speaking from
the perspective of wealth: Shingen’s schemes were on target
every time, and yet during his life he wielded power in only
l. 3 Mount Tai: in eastern China, used here as a metaphor for a vast amount.
l. 25 “sleep on high pillows”: that is, sleeping without any worries. The expres-
sion appears in Sima Qian, Records of the Grand Historian.
212 book f ive
three domains.29 Moreover, he was universally praised as a
masterful commander. They say that his last words were, ‘Of
all the generals today, Nobunaga’s karmic rewards are unsur-
passed. Underestimating him for all these years, I failed to
bring him down, and now I have taken ill. No doubt my pos-
terity will soon be destroyed by him.’ Kenshin was a brave
commander.30 There was no one to rival him after Shingen
died. Unfortunately, he died early. Nobunaga surpassed the
others in his capacities, but in wisdom was no match for
Shingen, and in courage was inferior to Kenshin. Neverthe-
less, he acquired wealth and was entrusted with control of
the whole country.31 Since he lost his life for humiliating a
vassal, however, he cannot be said to have combined both let-
ters and the martial arts.32 Although Hideyoshi’s ambitions
are great, they did not encompass the world at first. We know
this from the way he crafted the name ‘Hashiba,’ out of envy
for the wealth of Shibata and Niwa.33 Now he has turned into
a dragon, rising to the skies; but has he not forgotten what
life was like in the pond? Hideyoshi may have turned into
a dragon, but in fact he is no more than a water snake.34
It is said that a water snake that turns into a dragon lives
for only three years.35 Hideyoshi’s descendants will not last
long, will they?36 The world has never seen a realm endure
that was governed with arrogance and extravagance.37 What
people must cherish is frugality, but those who carry it too
far degenerate into meanness. One must strive, therefore,
carefully to maintain the distinction between frugality and
meanness. The rule of the Toyotomi may not last much lon-
ger, but the time cannot be far off when the people will pros-
per in peace, and every house will sing Music of a Thousand
Autumns.38 In answer to your question, let me offer this.” He
intoned an eight-character verse:
l. 18 “but has he not forgotten what life was like in the pond”: that is, in his
present ascendancy, he has forgotten his humble origins.
on poverty and wealth 213
“The ming-grass of Yao will grow, the sun will shine high in
the sky;
and the one hundred families will return to the house.”39
As they reached the end of their diverting conversation,
the bell of a distant temple signaled the fifth watch. “The
night is coming to an end. I must take my leave. I fear that
my long tale has disturbed your rest tonight.” The old man
seemed about to stand and depart, when suddenly he van-
ished without a trace.
Sanai thought back on what had occurred during the
night and considered the verse. When he grasped the sense
of the phrase “the one hundred families will return to the
house,” he came firmly to believe in what the old man had
said. Truly, these were auspicious words for an age of auspi-
cious grasses.40
l. 5 “fifth watch”: the time between sunset and sunrise was divided into five
equal watches of about two hours each. The fifth watch corresponded
roughly to the period from 4:00 A.M. until daybreak.
214 book f ive
N O T E S
1. The moon stands for the natural beauty of autumn, and blossoms for
the beauty of spring and, by extension, poetry, painting, and other arts.
2. In the 1590s, ten ryo would buy from three to six koku (150 to 300
bushels) of rice. By allowing the man to wear a sword, Sanai raised
him to the status of samurai.
3. Foxes and raccoon-dogs (tanuki) were thought to have the power to
assume human form and play tricks on people.
4. “if I do not speak, my belly will be overfull”: apparently a proverb, but
its provenance has not been identified.
5. The “great sage” is Confucius. The spirit is referring to Analects 1:15:
“Tsze-kung said, ‘What do you pronounce concerning the poor man
who yet does not flatter, and the rich man who is not proud?’ The Mas-
ter replied, ‘They will do; but they are not equal to him, who though
poor, is yet cheerful, and to him, who, though rich, loves the rules of
propriety’” (James Legge, trans., The Four Books: Confucian Analects,
The Great Learning, The Doctrine of the Mean, and The Works of Mencius
[1879, 1923; reprint, New York: Paragon, 1966], pp. 10–11).
6. “wild dogs . . . and Wang Yuanbao of Tang”: emblems of greed and
cruelty, from book 5 of Xie Zhaozhe, Five Miscellanies. Much in the
following section was probably drawn from this source. Shi Chong
(d. 300) was a famously rich man during the Jin dynasty (265–419),
and Wang Yuanbao of the Tang dynasty (618–906) was said to have
constructed walls of his house by piling up gold and silver. Toyotomi
Hideyoshi, who built a teahouse of gold, might be an implied target
of the spirit’s criticism.
7. “heavenly time”: refers to climate, the seasons, day and night, and
other cyclical phenomena.
“benefits of the land”: refers to topography, soil conditions, and
other terrestrial phenomena.
The phrases come from Mencius: “Heavenly time is less impor-
tant than the benefits of the land, and the benefits of the land are less
important than harmony among men” (2.2.1).
8. Lü Wang refers to Grand Duke Wang Lüshang, the first ruler of Qi
in the early Zhou dynasty (eleventh century–770 B.C.E.). This account
was derived from the Shiji (Ssu-ma Ch’ien [Sima Qian], Records of the
Grand Historian of China, trans. Burton Watson [New York: Columbia
University Press, 1961], vol. 2, p. 478).
on poverty and wealth 215
9. Guan Zhong was prime minister under Duke Huan (685–643 B.C.E.)
of Qi. Akinari apparently misread the Shiji: “assembled . . . nine times”
should be simply “assembled” (Ssu-ma Ch’ien, Records of the Grand His-
torian, vol. 2, pp. 478–479). According to Confucius, “That Duke Huan
was able to convene the rulers of all the States without resorting to the
use of his war-chariots was due to Kuan Chung” (The Analects, trans.
Arthur Waley [London: George Allen & Unwin, 1938], 14:17, p. 185).
10. Fan Li, a minister in the state of Chu (Spring and Autumn period,
722–481 B.C.E.), made several fortunes as he traveled from state to
state; Zigong was one of the favorite disciples of Confucius; and
Bo Gui was a merchant at the time of Marquis Wen of Wei (Zhou
dynasty, 424–387 B.C.E.).
11. “Biographies of the Money-makers” is a section in Sima Qian, Records
of the Grand Historian.
12. The spirit is quoting from Mencius 1.1.
13. Both proverbs are from “Biographies of the Money-makers” in Sima
Qian, Records of the Grand Historian.
“die in the city”: in ancient China, a euphemism for being exe-
cuted and having one’s corpse displayed in the city.
14. These aphorisms, too, are from “Biographies of the Money-makers.”
“follows the natural course of heaven”: that is, is in accordance
with the laws of nature.
15. The spirit is referring to Confucius, Analects 1:15 (see note 5).
16. “longtime neighbors . . . borrowed in the past”: examples from a
story in Qu You, New Tales After Trimming the Lamp.
17. “a single woolen garment . . . drudgery”: a sentence adapted from the
same story in New Tales After Trimming the Lamp.
18. Master Yan was Confucius’s favorite disciple, Yan Hui or Yan Yuan.
Sanai is alluding to Confucius, Analects 6:9: “The Master said, ‘Admi-
rable indeed was the virtue of Hui! With a single bamboo dish of rice,
a single gourd dish of drink, and living in his mean narrow lane,
while others could not have endured the distress, he did not allow
his joy to be affected by it. Admirable indeed was the virtue of Hui!’”
(Legge, trans., Four Books, p. 69).
19. In Buddhism, actions in previous lives have consequences in this life,
and actions in this life will affect the next. The idea here is that virtue
and good behavior in this life will be rewarded in the next.
“hidden virtues”: good qualities that are unknown to others. It
was considered tasteful to keep quiet about one’s virtues and good
216 book f ive
deeds. See, for example, Confucius, Analects 5:25: “Yan Yuan said, ‘I
should like not to boast of my excellence, nor to make a display of my
meritorious deeds’” (Legge, trans., Four Books, pp. 61–62).
20. Underlying this question is the Buddhist principle of cause and
effect, or action (karma) and result (phala). The spirit questions the
principle by raising the example of a man whose goodness results in
wealth and baseness in the next life.
21. The spirit is quoting from chapter 17 of The Doctrine of the Mean:
“How greatly filial was Shun! His virtue was that of a sage; his dig-
nity was the throne; his riches were all within the four seas. His
ancestral temple received these; his descendants preserved these. There-
fore having such great virtue, it could not but be that he should
obtain the throne, that he should obtain those riches, that he should
obtain his fame, that he should attain to his long life” (Legge, trans.,
Four Books, pp. 372–373; italicized sentence, my translation, adapted
from Legge). Shun was one of the legendary sage-kings of ancient
China. The idea is that Shun’s ancestors and descendants benefited
from his virtue: his ancestors, from receiving the filial king’s venera-
tion; and his descendants, from preserving his throne, riches, fame,
and longevity.
22. The spirit is alluding to Confucius, Analects 7:11: “The Master said, ‘If
the search for riches is sure to be successful, though I should become
a groom with whip in hand to get them, I will do so. As the search
may not be successful, I will follow after that which I love’” (Legge,
trans., Four Books, p. 83).
23. An allusion to a poem by Fujiwara Kinto (966–1041), sent to a friend
who had taken Buddhist vows and gone to live in Omi:
Ripples in the breeze on Shiga Bay—
how clean and fresh your heart must be. (Shuishu, no. 1336)
24. “Nonetheless . . . particular”: paraphrases from “Biographies of the
Money-makers” (Ssu-ma Ch’ien, Records of the Grand Historian, vol.
2, p. 499).
25. The original sentence, the most obscure in the book, has been vari-
ously interpreted. The thrust of the second part could be that (a) the
case of an upright man who has accumulated wealth is so different
from that of the unrighteous man that it should not be discussed in
the same context; (b) there is nothing to discuss, since an upright man
does only good; or (c) an upright man should not discuss such things.
on poverty and wealth 217
26. It was the Confucian philosopher Mencius who most clearly enun-
ciated the concept that the people have the right to depose a ruler
whose corruption has caused him to lose the Mandate of Heaven.
27. The Toyotomi refers to Toyotomi Hideyoshi and his son Hideyori.
Hideyoshi completed the unification of Japan in 1590.
“within the four seas” (a phrase from the Analects) and “five
home provinces and seven highways”: that is, all of Japan. The five
home provinces were those of the capital and the surrounding region
(Yamashiro, Yamato, Kawachi, Izumi, and Settsu, corresponding to
all or part of the prefectures of Kyoto, Nara, Osaka, and Hyogo), and
the seven highways linked the capital with the rest of the country.
28. The cherished desire of the loyal samurai was to reinstate their mas-
ters, who had been vanquished by Oda Nobunaga and Hideyoshi.
29. Takeda Shingen (1521–1573), who controlled the three domains of
Kai, Shinano, and Echigo (prefectures of Yamanashi, Nagano, and
Niigata), died of illness while laying siege to Nobunaga’s forces.
30. Uesugi Kenshin (1530–1578), a warlord based in Echigo (Niigata Pre-
fecture), was a rival of Shigen and Nobunaga.
31. That is, his hegemony over the country was recognized by the
emperor.
32. The vassal was Akechi Mitsuhide (1528–1582), who turned on Nobu-
naga and forced him to commit suicide. The mastery of both letters
and martial arts was a samurai ideal.
33. In 1572, Hideyoshi, whose surname had been Kinoshita, took the
name Hashiba, which consists of one character each from the sur-
names of Niwa Nagahide (1535–1585) and Shibata Katsuie (1522–
1583). Both Niwa and Shibata were vassals of Nobunaga. Hideyoshi
later defeated Shibata in battle and took Niwa as a vassal.
34. “water snake” (koshin or mizuchi): a mythical, water-dwelling creature
thought to have horns and four legs and to emit poisonous breath.
35. This is reported in book 9 of Xie Zhaozhe, Five Miscellanies.
36. The Toyotomi clan came to an end in 1615 with the death of Hideyori.
37. This echoes the famous lines in the opening of Heike monogatari
(The Tale of the Heike, mid-thirteenth century): “The arrogant do not
endure; they are like a dream of a night in spring.”
38. Music of a Thousand Autumns (Senshuraku) is a piece of ancient court
music (gagaku) originally intended as a wish for a long reign. Here
the idea is that the people would sing it in celebration of their new-
found peace and prosperity.
218 book f ive
39. The lines of the poem are in Chinese.
“ming-grass”: auspicious ming-grass was said to grow during the
reign of the legendary sage-king Yao (with Shun, one of the rulers
held up as ideals by Confucius). According to legend, ming-grass put
out a new leaf each day for the first fifteen days of each month, and
then lost one leaf a day for the rest of the month.
“one hundred families” (hyakusei): that is, all the people, espe-
cially the farmers.
“return” (ki or kaeru): suggests “allegiance” (kifuku).
“house” (ie): alludes to Tokugawa Ieyasu.
The verse, then, is both the spirit’s prediction that Ieyasu would
prevail when Hideyoshi’s rule ended and, in the context of Akinari’s
times, a paean to the Tokugawa regime and an expression of alle-
giance to it.
40. “auspicious grasses”: refers to the auspicious ming-grass of the spir-
it’s verse. The implication is that the Tokugawa rulers were as sage
and upright as Yao of ancient China.
on poverty and wealth 219
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William Jefferson Tyler 1990
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Howard Goldblatt 1995
Modern Japanese Tanka, ed. and tr. Makoto Ueda 1996
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Diaries, tr. Burton Watson 2003
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Studies in Asian Culture
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1976
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other works in columbia asian studies series 233
Sir Sayyid Ahmad Khan and Muslim Modernization in India and Pakistan, by
Hafeez Malik 1980
The Khilafat Movement: Religious Symbolism and Political Mobilization in India,
by Gail Minault 1982
The World of K’ung Shang-jen: A Man of Letters in Early Ch’ing China, by Rich-
ard Strassberg 1983
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Marsha L. Wagner 1984
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Hessney 1985
Songs for the Bride: Women’s Voices and Wedding Rites of Rural India, by W. G.
Archer; ed. Barbara Stoler Miller and Mildred Archer 1986
The Confucian Kingship in Korea: Y∂ngjo and the Politics of Sagacity, by JaHyun
Kim Haboush 1988
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Early Chinese Literature, by Burton Watson. Also in paperback ed. 1962
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Embree 1964
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Watson. Also in paperback ed. 1971
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paperback ed. 1971
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A Syllabus of Japanese Civilization, by H. Paul Varley, 2d ed. 1972
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J. Mason Gentzler 1973
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Ukifune: Love in the Tale of Genji, ed. Andrew Pekarik 1982
The Pleasures of Japanese Literature, by Donald Keene 1988
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3d edition ed. Amy Vladeck Heinrich, 2 vols. 1989
Introduction to Asian Civilizations
wm. theodore de bary , general editor
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2001, compiled by Wm. Theodore de Bary, Donald Keene, George Tanabe,
234 other works in columbia asian studies series
and Paul Varley; vol. 2, 2005, compiled by Wm. Theodore de Bary, Carol
Gluck, and Arthur E. Tiedemann
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1988
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1999, compiled by Wm. Theodore de Bary and Irene Bloom; vol. 2, 2000,
compiled by Wm. Theodore de Bary and Richard Lufrano
Sources of Korean Tradition, 1997; 2 vols., vol. 1, 1997, compiled by Peter H.
Lee and Wm. Theodore de Bary; vol. 2, 2001, compiled by Y∂ngho Ch’oe,
Peter H. Lee, and Wm. Theodore de Bary
Neo-Confucian Studies
Instructions for Practical Living and Other Neo-Confucian Writings by Wang
Yang-ming, tr. Wing-tsit Chan 1963
Reflections on Things at Hand: The Neo-Confucian Anthology, comp. Chu Hsi
and Lü Tsu-ch’ien, tr. Wing-tsit Chan 1967
Self and Society in Ming Thought, by Wm. Theodore de Bary and the Confer-
ence on Ming Thought. Also in paperback ed. 1970
The Unfolding of Neo-Confucianism, by Wm. Theodore de Bary and the Con-
ference on Seventeenth-Century Chinese Thought. Also in paperback ed.
1975
Principle and Practicality: Essays in Neo-Confucianism and Practical Learning,
ed. Wm. Theodore de Bary and Irene Bloom. Also in paperback ed. 1979
The Syncretic Religion of Lin Chao-en, by Judith A. Berling 1980
The Renewal of Buddhism in China: Chu-hung and the Late Ming Synthesis, by
Chün-fang Yü 1981
Neo-Confucian Orthodoxy and the Learning of the Mind-and-Heart, by Wm.
Theodore de Bary 1981
Yüan Thought: Chinese Thought and Religion Under the Mongols, ed. Hok-lam
Chan and Wm. Theodore de Bary 1982
The Liberal Tradition in China, by Wm. Theodore de Bary 1983
The Development and Decline of Chinese Cosmology, by John B. Henderson
1984
The Rise of Neo-Confucianism in Korea, by Wm. Theodore de Bary and JaHyun
Kim Haboush 1985
Chiao Hung and the Restructuring of Neo-Confucianism in Late Ming, by Edward
T. Ch’ien 1985
Neo-Confucian Terms Explained: Pei-hsi tzu-i, by Ch’en Ch’un, ed. and tr. Wing-
tsit Chan 1986
Knowledge Painfully Acquired: K’un-chih chi, by Lo Ch’in-shun, ed. and tr. Irene
Bloom 1987
To Become a Sage: The Ten Diagrams on Sage Learning, by Yi T’oegye, ed. and
tr. Michael C. Kalton 1988
The Message of the Mind in Neo-Confucian Thought, by Wm. Theodore de Bary
1989
other works in columbia asian studies series 235
Translations f rom the Asian Classics
Editorial Board
Wm. Theodore de Bary, Chairman
Paul Anderer
Irene Bloom
Donald Keene
George A. Saliba
Haruo Shirane
Bur ton Watson
Wei Shang
CONTENTS
ACKNOWLEDGMENTS
INTRODUCTION
PREFACE
BOOK ONE
BOOK TWO
BOOK THREE
BOOK FOUR
BOOK FIVE
BIBLIOGRAPHY
J A P A N E S E
T
A
L
E
5
P a n t k c o n F a i r y X a l e a n J F o l k l o r e L i t r a r y
P A N T H E O N B O O K S
N E W Y O R K
Copyright © 1987 by Royal! Tyler
All rights reserved under International and Pan-American Copyright
Conventions. Published in the United States by Pantheon Books, a
division of Random House, Inc., New York, and simultaneously in
Canada by Random House of Canada Limited, Toronto. Originally
published in hardcover by Pantheon Books, a division of
Random House, Inc., in 1987.
Library of Congress Cataloging-in-Publication Data
Japanese Tales.
(Pantheon fairy tale and folklore library)
Bibliography: p.
Includes index.
I. Tales—Japan. I. Tyler, Royall. II. Series: Pantheon fairy
tale & folklore library.
GR340.J33 1987 398.2’0952 86-17017
ISBN 0-394-52190-0
0-394-75656-8 (pbk.)
Book design by Susan Mitchell
Manufactured in the United States of America
2 3 4 5 6 7 8 9
F O R L I Z
C O N T E N T S
A C K N O W L E D G M E N T S XVI
A N O T E O N P R O N U N C I A T I O N xvii
I N T R O D U C T I O N XLX
O A K , M E L O N , G O U R D , A N G E L , F L E A
l. The Giant Oak 3
a. Melon Magic 3
3. The Sparrows’ Gifts A
4 The Maiden from the Sky 7
5. The Flea 9
S U R P R I S E S
6. The Little Spicier 9
j. A Flash in the Palace 10
8. Salt Fish and Doctored Wine 10
o,. The Tapeworm’s Sad End 14
10. A Toad to Reckon With 15
H A U N T S
11. Better Late Than Early 16
is . The Ravenous Storehouse 17
13. The Grisly Box 18
14. The Bridge 19
15. The Rooted Corpse 22
16. An Old, Old Ghost 23
M O N K J O K E S
17. Syrup 24
18. Not Quite the Right Robe 25
v i i i
27
B U D D H I S T B E G I N N I N G S
aa. T h e E m p e r o r ‘ s F i n g e r 3 0
a3. J a p a n ‘ s F i r s t G o l d 3 1
a
O n c e t h e r e w a s n o o n e t o p l a y t h e oho for t h e e m p e r o r , a n d s o K a n e t o s h i ,
t h e f o r m e r g o v e r n o r o f C h i k u z e n p r o v i n c e , w a s g r a n t e d specia l p e r m i s –
s ion t o a u d i t i o n a t t h e p a l a c e . H e p u t t h e p r i ce le s s i n s t r u m e n t t h e y g a v e
h im r i g h t to his l ips a n d b e g a n to b l o w . U n f o r t u n a t e l y , t h e imper i a l obo
h a d a l i t t le s p i d e r i n s ide it. T h e n e x t t ime he inha led , t h e s p i d e r s h o t
s t r a i g h t t o t h e b a c k o f his t h r o a t . T h e c o u g h i n g a n d c h o k i n g fit t h a t
se ized h i m t h e n m a d e t h e e m p e r o r a n d his officials a l m o s t spli t t he i r s ides
l a u g h i n g . H a v i n g m a d e a t e r r i b l e fool o f himself, t h e p o o r m a n w a s n e v e r
a s k e d t o t h e p a l a c e a g a i n . H e s h o u l d h a v e rea l i zed t h a t a n imper i a l
t r e a s u r e l ike t h a t i s s e l d o m p l a y e d a n d t r i ed i t o u t c a u t i o u s l y first.
I 0
7 •
A FLASH IN THE PALACE
E a r l y i n his c a r e e r L o r d F u j i w a r a no N o r i k u n i w a s a c h a m b e r l a i n o f t h e
fifth r a n k . O n e d a y w h e n h e w a s o n d u t y h e h a d t o g o in to t he Pa lace
C o u n c i l C h a m b e r t o r ece ive a n imper i a l d e c r e e from M i n i s t e r o f t h e
R i g h t S a n e s u k e , t o g e t h e r w i t h s o m e i n s t r u c t i o n s o n w h e r e t o t ake it.
T h e r o o m w a s o p e n t o t h e b r e e z e s . A s N o r i k u n i a p p r o a c h e d the min-
is ter , h e g l a n c e d t o w a r d t h e n e x t b u i l d i n g ( t h e G r e a t Hal l o f S t a t e ) a n d
s p o t t e d L o r d M i n a m o t o no A k i s a d a , a l i e u t e n a n t in t h e Imper i a l Pol ice ,
o n t h e v e r a n d a o f t h e hal l . A k i s a d a h a d jus t w h i p p e d ou t his tool . T h e
m i n i s t e r w a s t o o far ins ide t h e r o o m to see h im, b u t N o r i k u n i , w h o h a d a
p e r f e c t v i e w , c o u l d no t h e l p b u r s t i n g ou t l a u g h i n g .
” I t a k e i t y o u rea l ize th i s i s a p r o c l a m a t i o n f rom H i s M a j e s t y , ” said t he
m i n i s t e r s h a r p l y . ” I fail t o u n d e r s t a n d w h y y o u find i t so a m u s i n g . ” He
r e p o r t e d N o r i k u n i ‘ s m i r t h t o t h e e m p e r o r immed ia t e ly . T h o u g h d e s p e r –
a t e l y f r i g h t e n e d , p o o r N o r i k u n i cou ld no t v e r y wel l exp la in his l a u g h t e r
b y r e v e a l i n g t h a t L o r d A k i s a d a h a d e x p o s e d his pen i s a t t h e p a l a c e .
A k i s a d a m u s t h a v e b e e n v e r y p l ea sed w i t h his j o k e .
8 .
SALT FISH
AND DOCTORED WINE
W h i l e g o v e r n o r o f E c h i z e n ( t h o u g h he ac tua l ly l ived i n K y o t o ) , L o r d
F u j i w a r a no T a m e m o r i failed t o c o n t r i b u t e his s h a r e o f t h e r ice s t i pend
d u e t h e P a l a c e G u a r d s . T h e six c o n t i n g e n t s o f t he g u a r d s r e s p o n d e d b y
r i s i ng u p a s o n e m a n a n d m a r c h i n g t o L o r d T a m e m o r i ‘ s r e s idence w h e r e
t h e y l ined u p s h o u l d e r t o s h o u l d e r , s e a t e d o n c a m p s tools , u n d e r a w n i n g s
t h e y h a d t h o u g h t f u l l y b r o u g h t w i t h t h e m . T h e y h a d the h o u s e b l o c k a d e d ,
a n d r e fused to let a n y o n e in o r o u t .
I t w a s t h e s ix th m o o n , a n d t h e d a y s w e r e l o n g a n d v e r y ho t . T h e
g u a r d s h a d b e e n t h e r e s ince ea r ly m o r n i n g . B y m i d d a y t h e y w e r e roas t –
ing, b u t t h e y m a n a g e d t o h a n g o n b y r e m i n d i n g t h e m s e l v e s t h a t t h e y
c o u l d no t l eave w i t h o u t sa t i s fac t ion . T h e n the g a t e o p e n e d a c r a c k a n d a
s e n i o r r e t a i n e r s t u c k his h e a d o u t .
” H i s E x c e l l e n c y t h e G o v e r n o r h a s a s k e d m e t o s p e a k t o y o u , ” t h e
r e t a i n e r a n n o u n c e d . ” H e s a y s h e w o u l d l ike t o m e e t y o u i m m e d i a t e l y ,
b u t u n f o r t u n a t e l y t h a t i s i m p o s s i b l e b e c a u s e y o u r p r e s e n c e h a s t e r r i b l y
f r i g h t e n e d all t h e w o m e n a n d c h i l d r e n . H e d o e s rea l ize , t h o u g h , t h a t i n
th i s h e a t y o u m u s t all b e t h i r s ty , a n d h e t h i n k s h e m i g h t d i s c u s s t h i n g s
w i t h y o u ins ide , t h r o u g h a s c r e e n , a s l ong a s y o u d o n ‘ t m i n d c o m i n g in
i n smal l p a r t i e s . H e s u g g e s t s s o m e r e f r e s h m e n t s . W e m i g h t first h a v e t h e
Left a n d R i g h t I n n e r G u a r d s , i f y o u h a v e n o ob j ec t i on . T h e o t h e r c o n t i n –
g e n t s c a n fol low. H i s E x c e l l e n c y k n o w s h e o u g h t t o h a v e y o u all c o m e i n
a t o n c e , b u t u n h a p p i l y h i s r e s i d e n c e i s t o o smal l a n d p o o r t o a l l ow t h a t .
S o p l ea se b e p a t i e n t , t h e res t o f y o u . Wil l t h e I n n e r G u a r d s n o w b e g o o d
e n o u g h t o c o m e in? H i s E x c e l l e n c y will r ece ive y o u . ”
T h e g u a r d s c e r t a i n l y were t h i r s ty , a n d t h e t h o u g h t o f g e t t i n g no t on ly a
d r i n k b u t a c h a n c e t o say t h e i r p i ece p l ea sed t h e m v e r y m u c h . ” H o w
k i n d o f h i m ! ” t h e y r ep l i ed . ” W e ‘ l l b e h a p p y t o g o i n a n d exp la in t o h im
w h y w e ‘ r e h e r e . ”
” F i n e ! ” sa id t h e r e t a i n e r a n d o p e n e d t h e g a t e . T h e m e n o f t h e Left a n d
R i g h t I n n e r G u a r d s q u i c k l y g a t h e r e d be fo re it.
L o n g m a t s h a d b e e n laid o u t i n t h e ga l l e ry n o r t h o f t h e m i d d l e g a t e ,
a n d o n t h e m s t o o d seve ra l d o z e n ind iv idua l t ab l e s a r r a n g e d fac ing e a c h
o t h e r i n t w o r o w s . T h e t a b l e s w e r e p i led h igh w i t h s l iced sea b r e a m ,
d r i e d a n d wel l s a l t ed ; s l ices o f v e r y s a l t y – l o o k i n g sal t s a l m o n ; sa l t ed h o r s e
m a c k e r e l ; a n d sea b r e a m p i ck l ed in muw. F o r fruit t h e r e w e r e t en g r e a t
l a c q u e r e d b o w l s h e a p e d w i t h n ice ly r i p e n e d p u r p l e p l u m s .
” T h i s w a y , p l e a s e ! ” c r i ed t h e r e t a i n e r . ” J u s t t h e Inner G u a r d s n o w , i f
y o u d o n ‘ t m i n d ! ”
I n t h e y t r o o p e d : K a n e t o k i from O w a r i p r o v i n c e a n d A t s u y u k i f rom
S h i m o s a first, fo l lowed by all t h e o ldes t a n d mos t s en io r officers. ” T h e
o t h e r c o n t i n g e n t s will all h a v e t h e i r t u r n ! ” cal led t h e r e t a i n e r to t h o s e left
o u t s i d e , t h e n l o c k e d t h e g a t e b e h i n d h im a n d k e p t t h e key .
T h e r e t a i n e r p r e s s e d t h e g u a r d s pol i te ly t o s t ep u p in to t he ga l l e ry a n d
t a k e t h e i r sea t s , w h i c h t h e y d id . W h e n t h e y w e r e all i n p lace , i n t w i n
r o w s , t h e r e t a i n e r ca l led for w i n e . I n fact, t h o u g h , t he w i n e w a s s low to
a p p e a r , a n d i n t h e m e a n t i m e t h e h u n g r y g u a r d s q u i c k l y p i c k e d u p t h e i r
c h o p s t i c k s a n d h e l p e d t h e m s e l v e s t o t h e v i c tua l s .
” W h a t can h a v e h a p p e n e d t o t h e w i n e ? ” t h e r e t a i n e r k e p t m u t t e r i n g ,
b u t still i t d id no t c o m e . At las t i t w a s a n n o u n c e d t h a t a l t h o u g h t h e
g o v e r n o r d id s o m u c h w a n t t o m e e t w i t h t h e g u a r d s , h e w a s j u s t n o w
1 2
su f f e r ing f rom a b o u t o f s o m e s t o m a c h a i lmen t a n d could not be w i t h
t h e m q u i t e y e t . H e w o u l d b e o u t w h e n t h e y h a d f inished the i r re f resh-
m e n t s .
F ina l l y t h e w i n e c a m e . T w o y o u n g m e n b r o u g h t i n a pa i r o f big c u p s
o n t r a y s a n d set t h e m d o w n be fo re K a n e t o k i a n d A t s u y u k i , w h o w e r e
o p p o s i t e e a c h o t h e r . W i t h g e n e r o u s lad les t h e y t h e n filled t he c u p s full.
K a n e t o k i a n d A t s u y u k i p i c k e d t h e m u p a n d d r a n k g reed i ly till w i n e
d r i b b l e d d o w n t h e i r c h i n s . T h e w i n e w a s a bi t c l o u d y a n d sour , b u t
h a v i n g b r o i l e d so l o n g in t h e s u n t h e m e n h a d a power fu l th i r s t , a n d t h e y
k e p t p o u r i n g i t d o w n . In fact, t h e i r c u p s h a d to be refilled twice before
t h e y w o u l d p a s s t h e m o n t o t h e n e x t i n l ine .
T u r n b y t u r n t h e m e n all d r a n k t h e i r fill w h i c h , p a r c h e d a s t h e y w e r e ,
w a s for s o m e a s m a n y a s five c u p s . N e x t t h e y h a d t h e p l u m s . S o o n t h e
w i n e w a s b a c k a g a i n a n d k e p t c o m i n g r o u n d (w i t h p l u m s i n b e t w e e n )
un t i l e v e r y o n e h a d w e t his w h i s t l e hal f a d o z e n t i m e s .
O n l y n o w d i d t h e g o v e r n o r e m e r g e a n d sea t h imsel f o n t h e o t h e r s ide
o f t h e b l i n d s w h i c h s c r e e n e d t h e ga l l e ry from t h e i n t e r io r o f t he h o u s e .
” A h , g e n t l e m e n , ” h e b e g a n , ” I n e v e r i m a g i n e d t h a t a n y fai lure o f gen –
e r o s i t y o n m y p a r t w o u l d set y o u a g a i n s t m e th i s w a y a n d hold m e u p t o
s h a m e b e f o r e all t h e w o r l d ! T h e r e ‘ s b e e n a d r o u g h t in my p r o v i n c e eve r
s i nce last y e a r , y o u see , a n d w e ‘ v e t a k e n i n n o t h i n g , n o t h i n g a t al l! A t
least , t h e t i ny a m o u n t we did h a r v e s t w a s c l a imed q u i t e pe r suas ive ly by
T h e i r E x c e l l e n c i e s a t c o u r t . T h e y t o o k e v e r y t h i n g , I ‘m afra id . T h e r e ‘ s
n o t a g r a i n left. My o w n h o u s e h o l d i s ou t of food, a n d t h e se rv ing-g i r l s
a r e g o i n g h u n g r y . W e l l , I s u p p o s e I d e s e r v e d it. Bu t , g e n t l e m e n , p lease
u n d e r s t a n d t h a t I c a n ‘ t offer y o u a s ingle m i s e r a b l e potful of r ice . I t ‘s th is
awfu l k a r m a o f m i n e t h a t k e p t me for y e a r s f rom a n y official a p p o i n t –
m e n t , a n d t h a t n o w h a s g o t t e n me a h o p e l e s s p r o v i n c e so p o o r tha t i t
y i e l d s me n o t h i n g b u t e m b a r r a s s m e n t . I c e r t a i n l y d o n ‘ t b l ame you for
a n y t h i n g , I a s s u r e y o u ! N o , I ‘m o n l y g e t t i n g w h a t w a s c o m i n g t o m e ! ”
T h e g o v e r n o r s o b b e d a l o u d .
K a n e t o k i a n d A t s u y u k i r e a s s u r e d h im t h a t t h e y q u i t e u n d e r s t o o d his
p r e d i c a m e n t , b u t t h e y r e m i n d e d h i m too t h a t t h e y d id not r e p r e s e n t only
t h e m s e l v e s . ” W e h a v e n o t h i n g a t t h e g u a r d s ‘ h e a d q u a r t e r s e i t h e r , ” t h e y
w e n t o n , ” a n d t h e m e n a r e v e r y u n h a p p y . T h a t ‘ s w h y w e ‘ r e all h e r e : t h e
p r o b l e m affects u s all . N a t u r a l l y we feel for y o u , sir, a n d w e ‘ r e s o r r y to
p r e s s u r e y o u l ike th is , b u t a t t h e s a m e t ime w e ce r t a in ly w o u l d n ‘ t h a v e
c o m e i f w e h a d n ‘ t felt w e h a d v e r y g o o d r e a s o n . . . ”
T h e i r s t o m a c h s r u m b l e d s h a m e l e s s l y a s t h e y s p o k e , w h i c h w a s pa r t i c –
u l a r l y e m b a r r a s s i n g s ince t h e y w e r e so c lose to t he g o v e r n o r . F o r a t ime
s o m e t r i ed c o v e r i n g t h e s q u a w k s a n d g u r g l e s b y t a p p i n g the i r formal
b a t o n s a g a i n s t t he i r t a b l e s , w h i l e o t h e r s t r i ed d i f ferent d o d g e s to d i s t r a c t T
a t t e n t i o n f rom t h e i r p r o b l e m . B u t t h e g o v e r n o r b e h i n d his b l ind co u l d
h e a r t h a t b o w e l s w e r e i n l oud rebe l l ion all d o w n t h e l ine a n d co u l d see
pe r fec t ly wel l t h a t t h e m e n w e r e d o u b l i n g u p w i t h c r a m p s . L
” E x c u s e me a m o m e n t ! ” e x c l a i m e d K a n e t o k i , a n d he bo l t ed o u t . E
E v e r y o n e else l e a p e d u p a n d p e l t e d he l t e r – ske l t e r af ter h i m . S o m e cu t
loose r igh t on t h e e d g e o f t h e ga l l e ry , even as t h e y w e r e j u m p i n g off.
S o m e m a d e i t t o t h e c a r r i a g e h o u s e a n d b u r s t be fore t h e y go t t h e i r
t r o u s e r s off. O t h e r s go t t h e i r t r o u s e r s off a n d s q u i r t e d l ike nozz l e s . T h e n
t h e r e w e r e t h o s e w h o d id no t e v e n look for a p lace to h ide b u t sha t ,
ob l i v ious t o all e lse , w h e r e v e r t h e y h a p p e n e d t o b e . All t h e w h i l e t h e y
w e r e l a u g h i n g t he i r h e a d s off. ” I k n e w t h e old b o y w o u l d pull s o m e –
t h i n g ! ” t h e y c h o r t l e d . ” N o , n o , w e ‘ v e go t n o c o m p l a i n t ! I t ‘ s o u r o w n
faul t . W e w e r e t oo g r e e d y for t h a t w i n e ! ” A n d l a u g h i n g still, b e l l y a c h e
a n d all, t h e y s h a t on i n c h o r u s .
M e a n w h i l e , t h e r e t a i n e r o p e n e d t h e g a t e a g a i n . ” V e r y w e l l , ” h e a n –
n o u n c e d , ” y o u g e n t l e m e n m a y leave . C o u l d w e h a v e t he nex t c o n t i n g e n t ,
p l e a s e ? ”
” O h y e s , ” t h e m e n c h u c k l e d a s t h e y left, ” b y all m e a n s get e m i n h e r e
a n d t r e a t ‘ em to a g o o d shi t t h e w a y y o u d id u s ! ”
T h e w e r e w i p i n g a t t h e i r filthy t r o u s e r s a s t h e y e m e r g e d . T h e m e n o f
t he o t h e r four c o n t i n g e n t s b u r s t in to l a u g h t e r a t t h e s ight a n d fled.
I t h a d g o n e e x a c t l y a s L o r d T a m e m o r i h a d p l a n n e d . T h e d a y w a s g o o d
a n d ho t . H e w o u l d let t h e m s t e w for h o u r s u n d e r t he i r a w n i n g s , t h e n
b r i n g t h e m in p a r c h e d , stuff t h e i r e m p t y s t o m a c h s w i t h salt fish a n d
p l u m s , a n d w a s h i t all d o w n for t h e m w i t h p l e n t y o f sou r , c l o u d y w i n e —
w i n e l ibera l ly fortified w i t h t h a t t r u s t y m e d i c i n e for i n n a r d s in n e e d of
e n c o u r a g e m e n t , g r o u n d m o r n i n g – g l o r y s e e d s . O h y e s , t h o s e r a sca l s
w o u l d shi t all r i gh t !
A c t u a l l y , L o r d T a m e m o r i w a s a c a g e y old s c a m p a n d a w h i z a t m a k i n g
p e o p l e l a u g h . T h i s w a s jus t his sor t o f t h i n g . T h e w h o l e c o u r t en joyed
t h e i n c i d e n t h u g e l y . T h o s e g u a r d s h a d p i c k e d a s l i ppe ry fellow to t a n g l e
w i t h !
P e r h a p s t h e g u a r d s l e a r n e d t h e i r lesson , too , b e c a u s e t h e y n e v e r a g a i n
d e s c e n d e d on a p r o v i n c i a l g o v e r n o r w h o failed to m a k e his c o n t r i b u t i o n .
T a m e m o r i w a s v e r y c l eve r t o c a t c h t h e m out t h e w a y h e d id . H e c o u l d
n e v e r h a v e g o t t e n rid o f t h e m by m a i n force .
1 A
9 •
THE TAPEWORM’S SAD END
Walnuts are still recommended in Japan
against intestinal worms.
O n c e a w o m a n w h o h a d a t a p e w o r m ins ide h e r m a r r i e d , conce ived , a n d
b o r e a s o n . W h e n t h e son g r e w u p , h e b e g a n a g o v e r n m e n t c a r e e r w h i c h
c u l m i n a t e d i n h i s a p p o i n t m e n t a s g o v e r n o r o f S h i n a n o p r o v i n c e .
O n a r r i v a l i n S h i n a n o t h e n e w g o v e r n o r w a s m e t a t t h e b o r d e r b y t h e
r e p r e s e n t a t i v e s o f t h e p r o v i n c e , a s c u s t o m r e q u i r e d , a n d w e l c o m e d w i t h
a b a n q u e t . T o g e t h e r , t h e g o v e r n o r ‘ s o w n m e n a n d t h e t h r o n g o f local
p e o p l e m a d e a l a rge p a r t y .
G a z i n g o u t o v e r t h e g a t h e r i n g , t h e g o v e r n o r no t i ced t h a t e v e r y s ingle
t a b l e , h i s o w n i n c l u d e d , w a s l ibera l ly h e a p e d w i t h w a l n u t s . T h e s ight
b o t h e r e d h i m i n t e n s e l y . H e felt s o m e h o w a s t h o u g h h e w a s b e i n g
s q u e e z e d d r y . O n a s k i n g w h y t h e g u e s t s sho u l d b e g iven s o m a n y w a l –
n u t s , h e w a s to ld t h a t s ince w a l n u t t r e e s g r e w all ove r t he p r o v i n c e ,
w a l n u t s w e r e r o u t i n e a t e v e r y m e a l . T h i s n e w s m a d e h im feel still w o r s e
a n d t h e s q u e e z i n g s e n s a t i o n c o n t i n u e d .
H e w a s g e t t i n g d e s p e r a t e . T h i s w a s no t mi s sed b y the d e p u t y gove r –
n o r , a s e a s o n e d o ld h a n d w h o f o u n d his n e w s u p e r i o r ‘ s b e h a v i o r c u r i o u s
— so o d d , i n fact, t h a t he w o n d e r e d w h e t h e r t h e g o v e r n o r migh t no t
a c t u a l l y be a t a p e w o r m w h i c h h a d m a n a g e d to ge t itself b o r n as a h u m a n .
T h e t h o u g h t i n s p i r e d h i m to t r y a little e x p e r i m e n t .
T h e d e p u t y m i x e d p l e n t y o f g r o u n d w a l n u t m e a t in to s o m e a g e d w i n e
a n d h e a t e d t h e w i n e wel l in a j a r . T h e n he p u t t h e c u p on a t r ay , lifted
t h e t r a y r e spec t fu l ly a b o v e his h e a d , a n d w e n t t o p r e s e n t i t t o t he g o v e r –
n o r . W h e n t h e g o v e r n o r t o o k t h e c u p , h is d e p u t y p r o m p t l y f i l l e d i t w i t h
w i n e , w h i c h t h e g r o u n d w a l n u t m a d e a c l o u d y w h i t e .
T h e s igh t m a d e t h e g o v e r n o r v e r y n e r v o u s . ” T h i s w i n e looks s t r a n g e , ”
he s a id . ” W h y ‘ s i t all c l o u d y ? ”
” I t ‘ s a n o ld c u s t o m o f o u r s , sir , t h a t w h e n w e w e l c o m e a n e w g o v e r n o r
w e offer h i m w i n e a g e d t h r e e y e a r s a n d m i x e d w i t h g r o u n d w a l n u t . T h e n
t h e n e w g o v e r n o r d r i n k s t h e w i n e . ” T h e d e p u t y ‘ s t o n e o f vo ice s u g g e s t e d
t h a t t h e c u s t o m w a s no t l ight ly t o b e i g n o r e d .
T h e n e w g o v e r n o r l o o k e d e v e n m o r e ill t h a n be fo re a n d t r e m b l e d
u n c o n t r o l l a b l y .
” Y o u m u s t d r i n k it, s i r , ” t h e d e p u t y ins i s t ed .
S h a k i n g v io l en t ly , t h e g o v e r n o r b r o u g h t t h e c u p t o his l ips. ” I ‘ m real ly
a t a p e w o r m ! ” he b l u r t e d . ” I c a n ‘ t t a k e th i s s tuff!” T h e n he t u r n e d to
w a t e r , s l u m p e d t o t h e floor, a n d f lowed a w a y . T h e r e w a s n o b o d y a t all .
T h e g o v e r n o r ‘ s r e t a i n e r s w e r e o v e r c o m e b y confus ion a n d d i s m a y .
” Y o u n e v e r rea l i zed , d id y o u ? ” sa id t h e d e p u t y . H e a n d t h e res t o f t h e
p a r t y f rom S h i n a n o p a c k e d u p a n d w e n t h o m e .
T h e g o v e r n o r ‘ s m e n cou ld o n l y r e t u r n t o t h e C a p i t a l a n d r e p o r t w h a t
h a d h a p p e n e d . T h e g o v e r n o r ‘ s wife , c h i l d r e n , a n d h o u s e h o l d w e r e v e r y
s u r p r i s e d , b u t e v e r y o n e w h o h e a r d t h e s t o r y go t a g o o d l a u g h .
1 o .
A TOAD TO RECKON WITH
O n c e a b ig t o a d l ived in t h e so-ca l led G u a r d s ‘ G a t e in to t h e p a l a c e
c o m p o u n d a n d u s e d t o t r i p p e o p l e u p . E v e r y e v e n i n g a t twi l igh t i t w o u l d
c o m e o u t a n d sit t h e r e l o o k i n g l ike a l ow rock . No o n e h e a d i n g in t o w a r d
t h e p a l a c e w o u l d fail to s t e p on i t a n d fall flat, as t he t o a d h o p p e d off in to
t h e g l o o m . T h e v i c t im m i g h t l ea rn his lesson a n d look ou t nex t t ime , b u t
for s o m e r e a s o n h e w o u l d a l w a y s s t e p o n t h e t o a d aga in a n y w a y a n d t a k e
t h e s a m e t u m b l e .
N o w a c e r t a i n s t u d e n t a t t h e A c a d e m y w a s a g r e a t fool, a l w a y s b r a y i n g
w i t h l a u g h t e r o r s p o u t i n g l oud a b u s e . I n t ime h e h e a r d a b o u t t h e t o a d
a n d a l l o w e d t h a t i t m i g h t ge t h im once , p e r h a p s , b u t no t a s e c o n d t i m e —
no i n d e e d , no t e v e n i f s o m e o n e w e r e l u r k i n g in t h e s h a d o w s to h e l p i t
w i t h a p u s h .
D a r k n e s s w a s fal l ing. A s t h e s t u d e n t left t h e A c a d e m y , h e r e m a r k e d
t h a t he w a s off t o see a l a d y w h o l ived on the pa l ace g r o u n d s . W i t h i n t h e
G u a r d s ‘ G a t e sat t h e t o a d .
” O h , t h e r e y o u a r e , a r e y o u ? ” t h e s t u d e n t s n e e r e d . ” W e l l , y o u m a y ge t
o t h e r p e o p l e b u t y o u w o n ‘ t ge t me\” A s h e j u m p e d ove r t h e t o a d his h a t
u n f o r t u n a t e l y s l i pped off, h i t t i n g his foot as i t fell.
” S o y o u ‘ d l ike t o t r i p m e , w o u l d y o u ? ” t h e s t u d e n t b e l l o w e d . ” W e ‘ l l
see a b o u t tkat\” He s t a m p e d v io len t ly on th i s t o a d o f his, b u t t he h a t w a s
t he stiff, l a c q u e r e d k i n d w o r n by t h e g e n t r y , a n d i t r e s i s t ed b e i n g
c r u s h e d . ” D a m n e d t o a d ! S t u p i d t o a d ! T h i n k y o u ‘ r e s o t o u g h , h u h ? ” T h e
s t u d e n t s u m m o n e d all h is pit iful s t r e n g t h a n d s t a m p e d like o n e p o s s e s s e d .
S o m e g e n t l e m e n c a m e o u t t o see w h a t t h e c o m m o t i o n w a s a b o u t ,
s e n d i n g s e r v a n t s a h e a d t o l ight t h e w a y . T h e s t u d e n t kne l t a c c o r d i n g t o
e t i q u e t t e a s t h e s e r v a n t s a p p r o a c h e d .
C o m i n g u p o n a d i s h e v e l e d y o u n g m a n , t h e y a s k e d him w h a t h e w a s
d o i n g t h e r e . T h e s t u d e n t ident i f ied h imse l f in t h e t one o f a w a r r i o r on t he
field of b a t t l e . ” Y o u h a v e s u r e l y h e a r d of m e ! ” he d e c l a i m e d . ” I am a
h i s t o r y s t u d e n t a t t h e A c a d e m y , F u j i w a r a n o T h i n g a m a j i g b y n a m e , a n d
c o n c u r r e n t l y c h a r g e d w i t h v i s i t i ng jus t i ce u p o n th i s t oad w h i c h t r ip s
p e o p l e u p a t t h e G u a r d s ‘ G a t e ! ”
” W h a t i n t h e w o r l d i s h e t a l k i n g a b o u t ? ” l a u g h e d the s e r v a n t s . ” G e t
h im u p . Le t ‘ s h a v e a l o o k ! ”
T h e y p u l l e d h im r o u g h l y t o his feet, t e a r i n g his c loak a n d w o u n d i n g
h i s d i g n i t y in t h e p r o c e s s . W h e n he felt o v e r his h e a d , he l o u n d his ha t
w a s g o n e . T h e s e r v a n t s m u s t h a v e t a k e n it. ” W h a t d id y o u steal m y hat
f o r ? ” h e r o a r e d . ” G i v e i t b a c k th i s m i n u t e ! G i v e i t b a c k ! ”
T h e s e r v a n t s l u n g e d a t h im a n d c h a s e d h im a w a y . A s h e fled d o w n the
a v e n u e o u t s i d e , he fell flat a n d s c r a p e d his face all b loody , b u t he p i c k e d
h i m s e l f up a n d r a n on , h i d i n g his face b e h i n d his s leeve, till he w a s qu i t e
lost . F i n a l l y he g l i m p s e d a l ight . I t w a s a little h o u s e . Alas , d e s p i t e all his
k n o c k i n g a t t h e d o o r t h e p e o p l e ins ide n a t u r a l l y re fused t o o p e n u p . B y
n o w i t w a s so la te t h a t all he cou ld do w a s lie d o w n by t h e d i t ch till
m o r n i n g .
W h e n t h e n e i g h b o r h o o d a w o k e a t d a w n t h e y found him t h e r e i n his
s a d s t a t e a n d c r i e d o u t w i t h s u r p r i s e . I t w a s on ly b y a s k i n g c o n s t a n t l y
for d i r e c t i o n s t h a t h e m a n a g e d t o find his w a y h o m e .
T h e r e rea l ly u s e d to be fools l ike t h a t in t h e old d a y s — even in t h e
A c a d e m y , a p p a r e n t l y , s i nce t h e fel low w a s a s t u d e n t t h e r e . H o w o d d t h a t
h e s h o u l d h a v e b e e n s o h o p e l e s s , y e t s o c l eve r i n s choo l !
H A U N T S
11
T h e staff o f t h e C o u n c i l o f S t a t e u s e d t o hold w h a t w e r e cal led ” m o r n i n g
s e s s i o n s , ” w h i c h t o o k p l ace be fo re d a w n . T h e p a r t i c i p a n t s w o u l d a r r ive
c a r r y i n g t o r c h e s .
BETTER LATE THAN EARLY
O n c e a c e r t a i n s e c r e t a r y a r r i v e d af ter t h e con t ro l l e r , w h o o u t r a n k e d
h im, h a d a l r e a d y t a k e n his sea t . T h e s e c r e t a r y h a d b e e n afra id th i s m i g h t
h a p p e n , a n d his fears w e r e c o n f i r m e d w h e n h e go t t h e r e a n d s a w t h e
c o n t r o l l e r ‘ s c a r r i a g e b y t h e g a t e . R u s h i n g t o t he counc i l b u i l d i n g h e f o u n d
t h e c o n t r o l l e r ‘ s s e r v a n t s w a i t i n g for t he i r m a s t e r b y t he wa l l . N e x t , h e
ran i n p a n i c t o t h e d o o r o f t h e E a s t C o u n c i l C h a m b e r a n d p e e r e d c a u –
t ious ly in to t h e hal l . T h e l a m p s w e r e o u t . N o o n e w a s t h e r e .
TbL< w a s a s u r p r i s e . B a c k he w e n t t o t h e con t ro l l e r ' s s e r v a n t s , w h o
c ou ld o n l y tell h im t h a t t h e i r m a s t e r w a s a l r e a d y ins ide . T h e s e c r e t a r y
ca l led a g u a r d w i t h a t o r c h a n d h a d h im l ight t h e w a y in to t h e c h a m b e r .
A t t h e c o n t r o l l e r ' s sea t t h e r e w a s o n l y a b l o o d y h e a d . T h e ha i r w a s
s c a t t e r e d far a n d w i d e . N e a r b y lay a c e r e m o n i a l b a t o n , a b l o o d y p a i r of
shoes , a n d a fan on w h i c h t h e c o n t r o l l e r h a d w r i t t e n t h e p r o c e d u r e for
t h e m e e t i n g . T h e m a t t i n g w a s s o a k e d w i t h b lood . T h e r e w a s n o t h i n g e lse .
T h e h o r r o r o f t h e s c e n e c a n s c a r c e l y b e d e s c r i b e d . A t d a w n a n e x c i t e d
c r o w d g a t h e r e d w h i l e t h e c o n t r o l l e r ' s s e r v a n t s left w i t h the i r m a s t e r ' s
h e a d .
Af te r t h a t , t h e m o r n i n g s e s s ions w e r e n o l o n g e r held i n t h e Eas t C h a m -
ber , b u t w e r e sh i f ted t o t h e W e s t .
1 2 .
THE RAVENOUS STOREHOUSE
T h e g r e a t l ove r A r i w a r a n o N a r i h i r a m a d e su re h e c o u r t e d e v e r y w o m a n
k n o w n t o b e a b e a u t y , w h e t h e r pa l ace lady o r c o m m o n g e n t l e m a n ' s
d a u g h t e r . H e b e c a m e espec ia l ly fasc ina ted w i t h one girl w h o w a s s u p -
p o s e d t o b e love ly b e y o n d i m a g i n i n g , b u t u n f o r t u n a t e l y h e r p a r e n t s h a d
t he i r h e a r t s set on g e t t i n g h e r a far m o r e exa l t ed h u s b a n d t h a n N a r i h i r a .
H e w a s no t e v e n i n t h e r u n n i n g . S o m e h o w , t h o u g h , h e m a n a g e d t o
p e r s u a d e h e r to r u n off w i t h h i m .
B u t n o w t h a t h e h a d he r , w h e r e w a s h e g o i n g t o h ide h e r ? F ina l ly , h e
r e m e m b e r e d a n a b a n d o n e d , t u m b l e d o w n m a n s i o n i n t h e m o u n t a i n s . T h e
d o o r o n t h e b ig s t o r e h o u s e w a s ly ing b r o k e n o n the g r o u n d , b u t s ince t h e
h o u s e no l o n g e r h a d a floor, he s p r e a d a m a t in t he s t o r e h o u s e af ter all .
H e h a d jus t lain d o w n o n i t w i t h t h e gir l w h e n l i gh tn ing f lashed a n d
t h e r e w a s a c r a s h o f t h u n d e r . D r a w i n g his s w o r d , he go t t he girl b e h i n d
h im a n d k e p t w a t c h t h r o u g h t h e s t o r m . A t d a w n i t finally p a s s e d .
I 8
P u z z l e d t o h e a r n o s o u n d f rom t h e gir l , N a r i h i r a g l a n c e d b e h i n d h im.
S h e w a s g o n e . N o t h i n g w a s left o f h e r b u t h e r c lo thes a n d h e r ha i r . H e
fled, t e r r i f i ed .
L a t e r h e l e a r n e d t h a t t h a t s t o r e h o u s e w a s k n o w n t o eat p e o p l e . I t w a s
n o t t h e t h u n d e r t h a t h a d g o t t e n h e r af ter all, b u t t he d e m o n i n t he
b u i l d i n g .
I t j u s t g o e s t o s h o w t h a t y o u s h o u l d n ' t g o n e a r a p lace y o u d o n ' t k n o w .
A n d a s for s p e n d i n g t h e n igh t t h e r e , y o u s h o u l d n ' t even c o n s i d e r it!
i 3 .
THE GRISLY BOX
K i n o T o s u k e l ived o n a n e s t a t e t he r e g e n t o w n e d i n M i n o p r o v i n c e .
W h e n t h e r e g e n t s e n t a g e n t l e m a n to look af ter t he es ta te , th i s g e n t l e m a n
c a m e t o re ly o n T o s u k e a b o v e all; a n d i t w a s T o s u k e w h o w a s sen t t o
s e r v e t h e r e g e n t d u r i n g a l e n g t h y p e r i o d w h e n the r egen t w a s o n d u t y a t
t h e p a l a c e .
F ina l l y T o s u k e go t l eave t o r e t u r n h o m e . O n the w a y h e na tu ra l l y
c r o s s e d t h e b r i d g e a t S e t a w h e r e t h e r i v e r f lows from t h e s o u t h e r n e n d
o f L a k e B i w a . A w o m a n w a s s t a n d i n g t h e r e o n t h e b r idge , h o l d i n g h e r
sk i r t i n h e r h a n d , a n d T o s u k e a s h e p a s s e d t h o u g h t she looked r a t h e r
o d d . J u s t t h e n s h e ha i l ed h i m .
" W h e r e a r e y o u g o i n g ? " s h e a s k e d .
H e d i s m o u n t e d po l i t e ly . " I ' m o n m y w a y t o M i n o , " h e rep l ied .
" I ' d a p p r e c i a t e i t so m u c h i f y o u ' d t a k e s o m e t h i n g t h e r e for m e . W o u l d
y o u d o t h a t ? "
" C e r t a i n l y . "
" O h , t h a n k y o u ! " sa id t h e w o m a n , d r a w i n g a s i l k - w r a p p e d b o x from
t h e i n n e r fold o f h e r r o b e . " P l e a s e t a k e th i s t o M o r o k o s h i vi l lage in M i n o .
You ' l l f ind a w o m a n a t t h e w e s t e r n e n d o f t h e b r i d g e t h e r e . G ive th is b o x
to h e r . "
B y n o w T o s u k e w a s u n c o m f o r t a b l e a b o u t t h e w h o l e t h i n g . N o t t h a t
t h e r e q u e s t i tself w a s difficult, b u t t h e w o m a n w a s awful ly s t r a n g e . I n
t h e e n d , t h o u g h , he f o u n d i t imposs ib l e t o re fuse . " W h a t ' s t he n a m e o f
t h i s w o m a n ? " h e a s k e d . " W h e r e d o e s s h e l ive? W h e r e s h o u l d I look for
h e r i f s h e i sn ' t on t h e b r i d g e ? A n d w h o s h o u l d I tell h e r th is i s f r o m ? "
" D o n ' t w o r r y , " t h e w o m a n a n s w e r e d . " J u s t g o t o t h e e n d o f t he b r i d g e
a n d she ' l l c o m e , y o u c a n c o u n t on t h a t . All y o u n e e d do i s w a i t . I h a v e to
tell y o u , t h o u g h , t h a t y o u a b s o l u t e l y m u s t no t open t h e b o x . "
M e a n w h i l e T o s u k e s s e r v a n t s , w h o s a w n o w o m a n , co u l d no t i m a g i n e
w h a t t h e i r m a s t e r w a s d o i n g . T o s u k e t ook t h e b o x a n d t h e w o m a n
w a l k e d off.
H e r o d e o n t o M i n o b u t forgot all a b o u t t h e b o x unt i l h e w a s h o m e ,
even t h o u g h h e a c t u a l l y c r o s s e d t h e b r i d g e w h e r e h e w a s s u p p o s e d t o
m a k e t h e d e l i v e r y . T h i s s l ip b o t h e r e d h im a g o o d dea l w h e n he n o t i c e d
it, a n d he d e c i d e d to m a k e a specia l t r i p b a c k to t h e b r i d g e . B u t s ince he
c o u l d no t g o r igh t a w a y , h e h u n g t h e b o x for t h e t ime b e i n g h igh u p i n
a n o u t b u i l d i n g .
U n f o r t u n a t e l y , h is wife , a j e a l o u s w o m a n , s p o t t e d h im h i d i n g the p a c k -
a g e . S h e a s s u m e d i m m e d i a t e l y t h a t i t w a s a p r e s e n t for s o m e mis t r e s s ,
a n d a s s o o n a s he w a s g o n e s h e t o o k i t d o w n a n d o p e n e d it. I t w a s full o f
g o u g e d - o u t h u m a n eyes a n d s e v e r e d ma le m e m b e r s w i t h t he h a i r still o n
t h e m .
H e r s c r e a m b r o u g h t T o s u k e r u n n i n g . R e m e m b e r i n g w i t h h o r r o r w h a t
t h e w o m a n h a d sa id a b o u t o p e n i n g t h e box , h e f rant ical ly p u t t h e lid
b a c k o n a n d w r a p p e d t h e b o x u p a g a i n . T h e n h e t o o k i t s t r a i g h t t o t h e
b r i d g e a n d w a i t e d . S u r e e n o u g h , a w o m a n a p p e a r e d . H e h a n d e d h e r t h e
p a c k a g e w i t h a s h o r t e x p l a n a t i o n o f h o w he h a d c o m e by it.
" T h i s b o x h a s b e e n o p e n e d a n d l o o k e d i n t o , " t h e w o m a n o b s e r v e d a s
s h e t o o k it.
" N o , n o i t h a s n ' t ! " T o s u k e p r o t e s t e d , " I a s s u r e y o u ! "
T h e w o m a n ' s e x p r e s s i o n b e c a m e d read fu l . " Y o u ' v e d o n e a t e r r i b l e
t h i n g , " s h e sa id , b u t a c c e p t e d t h e b o x n o n e t h e l e s s . H i s miss ion c o m -
p le t ed , T o s u k e h u r r i e d h o m e .
Ill n o w , he t o o k to his b e d . H i s wife b i t t e r ly r e g r e t t e d o p e n i n g t h e b o x ,
b u t i t w a s t oo l a t e . S h o r t l y h e w a s d e a d .
1 4 •
THE BRIDGE
A g o v e r n o r o f O m i p r o v i n c e h a d m a n y b r a v e y o u n g m e n in his s e rv i ce .
O n e m o r n i n g t h e y w e r e a m u s i n g t h e m s e l v e s p l a y i n g g a m e s , d r i n k i n g ,
a n d te l l ing s to r i e s w h e n o n e o f t h e m said, " H a v e y o u e v e r h e a r d o f Agi
2 0
B r i d g e ? I t ' s r i g h t h e r e in O m i . P e o p l e u s e d to use i t all t he t ime , bu t n o w
t h e y say n o o n e c a n c ro s s it, s o n o b o d y t a k e s tha t w a y a n y m o r e . ' '
O n e o f his l i s t ene r s s e e m e d to h a v e h e a r d o f t he b r i d g e a l r e a d y (o r
p e r h a p s h e s i m p l y d id no t be l i eve t h e s t o r y ) b e c a u s e h e q u i c k l y d e c l a r e d
t h a t he w o u l d c r o s s t h e b r i d g e . " I d o n ' t c a r e w h a t k ind of d e m o n i s
b l o c k i n g i t , " he c o n t i n u e d , "I ' l l ge t a c r o s s a s l ong as I 'm r id ing H i s
L o r d s h i p ' s b e s t h o r s e , t h e r o a n . "
T h e o t h e r s t h o u g h t th i s a fine idea . "All r igh t , let 's find o u t ! " t h e y
c r i e d . " L e t ' s see w h a t s o r t o f c o u r a g e y o u ' v e g o t ! " T h e g a t h e r i n g go t
q u i t e r o w d y w h i l e t h e y e g g e d h im on , till t h e g o v e r n o r himself h e a r d t he
no i se a n d w a n t e d t o k n o w w h a t i t w a s all a b o u t . W h e n h e found ou t h e
w a s n o t i m p r e s s e d w i t h t h e d e m o n - b a i t e r ' s g o o d sense , b u t h e d id not
ob jec t to t h e u s e of his h o r s e .
" T h i s i s c r a z y ! " t h e d a r e d e v i l e x c l a i m e d . " I ' m s o r r y I e v e r b r o u g h t i t
u p ! "
" S h a m e , s h a m e ! " t h e o t h e r s s h o u t e d . " C o w a r d ! "
" G e t t i n g a c r o s s t h e b r i d g e i s n o t h i n g , " t he m a n w e n t on . " W h a t m a k e s
me s o r r y i s t h a t I s h o u l d e v e r h a v e s e e m e d to covet H i s L o r d s h i p ' s
h o r s e ! "
L o u d vo i ce s o b j e c t e d t h a t t h e s u n w a s a l r e a d y high a n d tha t t h e y w e r e
w a s t i n g t i m e . T h e r o a n w a s s a d d l e d .
T h o u g h h e w i s h e d h e h a d n e v e r o p e n e d his m o u t h , t he m a n w a s
d e t e r m i n e d t o see t h e t h i n g t h r o u g h . H e s m e a r e d t h e ho r se ' s h i n d q u a r -
t e r s l ibe ra l ly w i t h g r e a s e , c i n c h e d the s a d d l e on t ight , a n d l igh tened his
c l o t h i n g , t h e n s l i p p e d his w r i s t t h r o u g h t h e loop o n t h e w h i p h a n d l e s o
t h a t he c o u l d no t d r o p i t a n d r o d e off. By t h e t i m e he r e a c h e d the b r i d g e
his h e a r t w a s p o u n d i n g a n d h e w a s f r i gh t ened half t o d e a t h , bu t t h e r e
w a s n o t u r n i n g b a c k .
T h e s u n w a s s i n k i n g t o w a r d t h e m o u n t a i n s a n d t h e d e s e r t e d l a n d s c a p e
l o o k e d i n d e f i n a b l y b l e a k . W i s p s of s m o k e ro se from the h o u s e s of a
d i s t a n t v i l l age . H e g r i t t e d his t e e th a n d p r e s s e d on . H a l f w a y ac ro s s t he
b r i d g e a w o m a n w a s l e a n i n g a g a i n s t t h e ra i l ing , t h o u g h from fur the r off
s h e h a d no t s e e m e d t o b e t h e r e .
T h i s n o d o u b t w a s t h e d e m o n . H e l o o k e d h e r o v e r w i t h d e e p misgiv-
ing . U n d e r h e r p a l e c loak s h e h a d on a d a r k g o w n a n d a long red t r o u s e r -
sk i r t , a n d s h e w a s h o l d i n g h e r s leeve o v e r h e r m o u t h . S h e looked s o
p a t h e t i c t h a t a t first g l a n c e i t w a s h a r d no t to feel s o r r y for he r . S h e
m i g h t h a v e j u s t b e e n a b a n d o n e d t h e r e .
T h e d e m o n w a t c h e d h im c o m i n g w i t h s igns o f m i n g l e d e m b a r r a s s m e n t
a n d p l e a s u r e , a n d for a m o m e n t he cou ld t h i n k o f n o t h i n g bu t t he des i re
t o lift h e r u p o n his h o r s e a n d t a k e h e r a w a y ; b u t t h e t h o u g h t t h a t s h e
h a d no b u s i n e s s b e i n g t h e r e let h im steel h imsel f to r ide on by . S h e c lea r ly
e x p e c t e d h im t o s t o p , a n d w h e n in s t ead h e ga l l oped pas t w i t h his eyes
t igh t ly s h u t s h e s h o u t e d , " S a y , a r e y o u jus t g o i n g to leave me h e r e ? I
d i d n ' t ask to be d r o p p e d h e r e in t h e m i d d l e o f th i s b r i d g e ! Y o u co u l d a t
least t a k e me on to t he nex t v i l l a g e ! "
H e r h a i r s e e m e d t o swel l a n d t h i c k e n a s s h e s p o k e . H e o n l y w h i p p e d
his h o r s e o n h a r d e r . " Y o u b r u t e ! " s h e s c r e a m e d , a n d the e a r t h s h o o k .
N o w s h e w a s a l t e r h im . " S u r e e n o u g h ! " h e t h o u g h t , a n d p r a y e d t o
K a n n o n t o s a v e h i m . D e s p i t e t h e h o r s e ' s t r e m e n d o u s s p e e d the d e m o n
c a u g h t u p , b u t t h e h o r s e ' s r u m p w a s t o o t h o r o u g h l y g r e a s e d for i ts
c l u t c h i n g h a n d s to find a ho ld .
G l a n c i n g b a c k , he s a w a r ed l ace w i t h o n e a m b e r - y e l l o w eye a s h u g e
a n d r o u n d a s a c u s h i o n . T h e t h i n g w a s g r e e n i s h a n d n ine feet tal l . T h e
t h r e e f ingers o n e a c h h a n d h a d f ive- inch, knife l ike nai ls , a n d the h a i r w a s
l ike a s n a r l o f w e e d s . M a d d e n e d n o w w i t h fear he g a l l o p e d on , ca l l ing on
K a n n o n w i t h m i g h t a n d ma in , till a t last he r e a c h e d t h e vi l lage .
"All r i gh t , I'll ge t y o u n e x t t i m e ! " sa id t h e d e m o n , a n d s u d d e n l y v a n -
i shed .
P a n t i n g a n d e x h a u s t e d , t h e m a n d r a g g e d h imsel f b a c k a s fast a s h e
c o u l d t o his l o r d ' s m a n s i o n a n d a r r i v e d a t twi l igh t . H e w a s t o o w e a k t o
a n s w e r t h e b a r r a g e o f q u e s t i o n s t h a t g r e e t e d h im. All t h e h o u s e h o l d co u l d
d o w a s t r y t o b r i n g h im r o u n d . Bu t w h e n the g o v e r n o r , w h o h a d b e e n
c o n c e r n e d all a l o n g , finally a s k e d h im to tell his s t o r y he d id so . T h e
g o v e r n o r s c o l d e d h im for h a v i n g r i sked his life o v e r a t r i f l ing w a g e r , t h e n
g a v e h im t h e h o r s e . T h e m a n w e n t h o m e well satisfied a n d told t h e ta le
aga in t o his hor r i f i ed family a n d s e r v a n t s .
A spi r i t b e g a n to h a u n t t h e h o u s e af ter t ha t , a n d the m a n cal led in a
y i n - y a n g d i v i n e r t o find o u t w h a t t h e t r o u b l e w a s . T h e d i v i n e r told h im
t o b e v e r y carefu l t h e n e x t t i m e t h e d a y w h e n h e h a d t h w a r t e d t h e d e m o n
c a m e r o u n d . W h e n t h e d a y d id c o m e , t h e m a n shu t h is ga t e t o all c o m e r s .
N o w , h e h a p p e n e d t o h a v e a y o u n g e r b r o t h e r w h o h a d g o n e off w i t h
t he i r m o t h e r t o M u t s u , i n t h e p r o v i n c i a l g o v e r n o r ' s e n t o u r a g e . T h i s w a s
t he d a y w h e n t h e y o u n g e r b r o t h e r c a m e b a c k a n d k n o c k e d a t t h e g a t e .
H i s o l d e r b r o t h e r r e fused t o t a lk w i t h h im e x c e p t t h r o u g h a s e r v a n t , a n d
t h e o n l y r ep ly he go t w a s , " I ' m in s t r i c t s ec lus ion . I'll see y o u t o m o r r o w .
T r y s o m e w h e r e else i n t h e m e a n t i m e . "
" W h a t d o y o u m e a n ? " t h e y o u n g e r b r o t h e r p r o t e s t e d . " T h e sun h a s
a l r eady set! / c a n go s o m e w h e r e else, I s u p p o s e , s ince I 'm a l o n e . B u t
w h a t am I g o i n g to do w i t h my b a g g a g e ? I on ly jus t m a n a g e d to c o m e a t
all, a n d t o d a y w a s t h e o n l y d a y I cou ld find. O u r m o t h e r h a s p a s s e d
a w a y , y o u see , a n d I w a n t e d to tell y o u myself ."
2 2
T h e o l d e r b r o t h e r h a d b e e n w o r r y i n g a b o u t his m o t h e r for y e a r s , b o t h
b e c a u s e s h e w a s old a n d b e c a u s e h e loved h e r d e a r l y . W h e n th is n e w s
w a s r e l a y e d t o h i m , h e b r o k e d o w n a n d i n t e a r s h a d his b r o t h e r let in.
T h e y o u n g e r b r o t h e r e n t e r e d , all i n b l ack , a n d first h a d s o m e t h i n g t o
ea t o n t h e v e r a n d a . T h e n t h e o l d e r b r o t h e r c a m e ou t t o ta lk t o h im . B o t h
w e p t . T h e o l d e r b r o t h e r ' s wife s t a y e d b e h i n d t h e b l i nds t h a t c u r t a i n e d
t h e v e r a n d a off f rom t h e h o u s e p r o p e r a n d l i s tened t o t h e t w o m e n ' s
c o n v e r s a t i o n .
S u d d e n l y , for no r e a s o n she c o u l d see , t h e b r o t h e r s fell t o g r a p p l i n g
f iercely a n d c r a s h e d o v e r a n d over , l o c k e d t o g e t h e r , o n t he floor. S h e
s h o u t e d a t t h e m t o s t o p . W h e n h e r h u s b a n d go t his y o u n g e r b r o t h e r
u n d e r h i m , h e d e m a n d e d t h e s w o r d h e k e p t b y his p i l low. S h e a n s w e r e d
t h a t h e m u s t h a v e g o n e m a d a n d re fused t o b u d g e .
" G i v e i t t o m e ! " h e b a r k e d . " D o y o u w a n t t o ge t m e k i l l e d ? "
J u s t t h e n t h e y o u n g e r b r o t h e r t u r n e d t h e t ab les , go t o n t op , a n d w i t h
o n e c r u n c h b i t off h is o l d e r b r o t h e r ' s h e a d . As he fled he t u r n e d b a c k t o
g l a n c e a t t h e wi fe . "That's b e t t e r n o w ! " he e x u l t e d . H i s face w a s t h e
d e m o n ' s . T h e n h e v a n i s h e d .
T h e r e w a s n o t h i n g t h e d i s t r a u g h t h o u s e h o l d co u l d d o . A s for t he awful
i n t r u d e r ' s b a g g a g e , i t t u r n e d ou t t o c o n t a i n on ly a n i m a l b o n e s a n d skul l s .
S o t h e m a n d i e d for a p e t t y w a g e r a n d e v e r y o n e w h o h e a r d t he s to ry
ca l l ed h i m a fool.
A f t e r p l a y i n g a few m o r e t r i ck s , t h e d e m o n d i s a p p e a r e d .
i 5 .
THE ROOTED CORPSE
T h e e l d e r o f t w o s i s t e r s w a s m a r r i e d a n d l ived i n t h e mis t r e s s ' s a p a r t m e n t
t o w a r d t h e b a c k o f h e r l a te f a the r ' s m a n s i o n . T h e y o u n g e r h a d se rved for
a t i m e in a n o b l e h o u s e h o l d b u t n o w l ived a t h o m e . S h e h a d no h u s b a n d
o r a c c e p t e d lover , o n l y occas iona l , casua l v i s i to rs w h o m she s a w in h e r
r o o m a t t h e f ron t o f t h e h o u s e , b y t h e d o u b l e d o o r s i n t he w e s t w i n g . T h e
h o u s e w a s n e a r t h e c r o s s i n g o f Taka t su j i a n d M u r o m a c h i s t r ee t s i n
K y o t o .
A t t h e a g e o f t w e n t y - s e v e n t h e y o u n g e r s i s te r fell ill a n d d ied . H e r
b o d y w a s left i n h e r r o o m , s ince t h e r e s e e m e d t o b e n o w h e r e else for h e r
i n t h e h o u s e , till h e r o l d e r s i s te r a n d t h e res t o f t h e h o u s e h o l d t ook h e r
off t o t h e b u r n i n g g r o u n d a t T o r i b e n o .
T h e y w e r e a b o u t t o u n l o a d t h e coffin from t h e c a r r i a g e , i n p r e p a r a t i o n
for t he u sua l funera l r i tes , w h e n t h e y no t i ced t h a t i t w a s o d d l y l ight a n d
t h a t t h e lid w a s a jar . W h y , t h e b o d y w a s g o n e ! T h i s w a s a s h o c k i n g
d i s c o v e r y . T h e b o d y c o u l d no t poss ib ly h a v e fallen o u t o n t h e w a y , b u t
t h e y r e t r a c e d t he i r s t e p s t o m a k e s u r e . O f c o u r s e , t h e y f o u n d n o t h i n g .
B u t o n r e a c h i n g t h e h o u s e t h e y t h o u g h t t h e y m i g h t a s wel l c h e c k t h e
r o o m b y t h e d o u b l e d o o r s . T h e r e s h e w a s , ly ing t h e r e a s t h o u g h s h e h a d
n e v e r b e e n m o v e d !
T h e n igh t w o r e o n w h i l e t h e m o u r n e r s d i s c u s s e d a n x i o u s l y w h a t t o d o .
A t d a w n t h e y p u t t h e b o d y b a c k i n t h e coffin a n d carefu l ly sea led t h e lid,
t he n w a i t e d for n i g h t a n d a n o t h e r c h a n c e t o p r o c e e d w i t h t h e c r e m a t i o n .
B u t a t nightfal l t h e y a g a i n found t h e coffin o p e n a n d w e r e rea l ly ter r i f ied
th i s t i m e . T h e b o d y w a s ly ing a s be fo re b y the d o u b l e d o o r s , a n d i t
d e f e a t e d e v e r y a t t e m p t t o ge t i t b a c k w h e r e i t b e l o n g e d . T h e y s imp ly
c o u l d no t b u d g e it. T h e y m i g h t a s we l l h a v e t r i ed to m o v e a r o o t e d t r e e .
T h e r e s h e w a s , a n d a p p a r e n t l y t h a t w a s w h e r e s h e m e a n t t o s t ay .
" T h a t ' s w h a t y o u w a n t , i s i t ? " o n e l e v e l - h e a d e d m o u r n e r finally sa id t o
t h e c o r p s e . " Y o u like i t h e r e ? All r igh t , th i s i s w h e r e we ' l l leave y o u . B u t
we are g o i n g to h a v e to ge t y o u ou t o f s ight , y o u k n o w ! "
T h e y t o o k u p t h e floor, a n d s h e w a s a s l ight a s a f ea the r w h e n t h e y
l o w e r e d h e r t h r o u g h t h e ho le . S o t h e y b u r i e d h e r u n d e r t h e f l o o r a n d
bui l t a g o o d - s i z e d m o u n d o v e r he r . T h e n the family a n d s e r v a n t s all
m o v e d a w a y , s i nce no o n e w a n t e d t o s t ay on i n t h e s a m e h o u s e w i t h a
c o r p s e . O v e r t h e y e a r s t h e h o u s e fell t o ru in a n d e v e n t u a l l y d i s a p p e a r e d .
F o r s o m e r e a s o n , no t e v e n t h e c o m m o n p e o p l e s e e m e d t o b e ab l e t o
live n e a r t h e m o u n d . P e o p l e c l a i m e d t h a t awful t h i n g s h a p p e n e d t h e r e .
As a r e su l t , t h e m o u n d s t o o d all a l o n e , w i t h o u t a s ingle h u t for for ty or
fifty feet a r o u n d it. In t i m e a s h r i n e w a s bu i l t on t o p of it, for o n e r e a s o n
o r a n o t h e r , a n d t h e y say t h e s h r i n e i s still t h e r e .
AN OLD, OLD GHOST
D e m o n Ha l l i s i n t h e C a p i t a l , n o r t h o f T h i r d A v e n u e a n d eas t o f t h e E a s t
T o i n P a l a c e . T h e p l ace i s h a u n t e d .
L o n g a g o , be fo re t h e C a p i t a l e v e r g r e w u p , t h e r e w a s a g r e a t p ine t r e e
a t t h e s i te . An a r m e d r i d e r p a s s i n g by go t c a u g h t in a v io len t t h u n d e r -
s t o r m , s o h e d i s m o u n t e d a n d led his h o r s e u n d e r t he t r ee t o seek s h e l t e r
2 4
f rom t h e d o w n p o u r . A l i g h t n i n g bo l t spli t h im a n d his m o u n t in t w o a n d
ki l led t h e m . T h a t r i d e r i s t h e g h o s t .
L a t e r o n , t h e C a p i t a l c a m e a n d p e o p l e bui l t h o u s e s all o v e r t he a rea ,
b u t t h e g h o s t r e fused t o l eave . T h e y say it 's still a r o u n d a n d tha t t h a t ' s
w h y awfu l t h i n g s h a v e often h a p p e n e d t h e r e . I t c e r t a in ly i s an old g h o s t !
T h e s t i n g y s e n i o r m o n k of a m o u n t a i n t e m p l e m a d e a b a t c h o f s w e e t
s y r u p , g u z z l e d s o m e all a l o n e , t h e n carefu l ly p u t t h e j u g up on a shelf.
H i s litt le a c o l y t e g o t n o n e . In fact, he w a r n e d t h e aco ly te tha t t he stuff
w o u l d kill y o u i f y o u a t e it .
T h e b o y b a d l y w a n t e d s o m e too , a n d o n e d a y w h e n his m a s t e r w a s ou t
h e g o t t h e j u g d o w n . U n f o r t u n a t e l y , h e spi l led s o m e s y r u p i n t h e p r o c e s s
a n d g o t i t all o v e r h i s r o b e a n d ha i r , b u t th i s d id no t d i s c o u r a g e him from
g u l p i n g s e v e r a l m o u t h f u l s . W h e n h e w a s d o n e , h e s m a s h e d his m a s t e r ' s
p r e c i o u s j u g to b i t s on a r o c k o u t s i d e .
T h e m o n k c a m e b a c k t o find t h e b o y c r y i n g a s t h o u g h his h e a r t w o u l d
b r e a k . " W h a t ' s t h e m a t t e r ? " h e a s k e d .
" Y o u r j u g ! " s o b b e d t h e b o y . " I b r o k e y o u r g o o d j u g b y m i s t a k e a n d I
j u s t d i d n ' t k n o w what y o u ' d do to me , so I d e c i d e d I 'd be b e t t e r off d e a d
a n d I a t e a b i g m o u t h f u l o f t h a t stuff y o u to ld me w a s po i son , b u t i t d i d n ' t
w o r k . I a t e m o r e a n d w h e n that d i d n ' t w o r k I t r i ed s m e a r i n g i t all ove r
m y r o b e a n d h a i r b u t I 'm still no t d e a d ! "
T h e m o n k go t n o m o r e o f h i s s y r u p , a n d h e lost h i s n ice j u g , t oo . W h a t
a c l e v e r b o y ! H e ' d no d o u b t h a v e m a d e a f ine s c h o l a r .
i 8 .
i 9 .
THE NOSE
T h e m o n k Z e n c h i n w a s s o l e a r n e d a n d ho ly t h a t p e o p l e often c o m m i s -
s ioned p r a y e r s f rom h i m , w h i c h m a d e h i m q u i t e c o m f o r t a b l y w e a l t h y a n d
well ab l e t o k e e p his c h a p e l a n d his o w n lodg ing i n v e r y g o o d r e p a i r .
NOT QUITE THE RIGHT ROBE
O n c e a v e r y g r e a t m o n k w a s m a k i n g c l a n d e s t i n e vis i ts t o a n e x a l t e d
g e n t l e m a n ' s r e s i d e n c e . T h e g e n t l e m a n k n e w n o t h i n g o f t h e affair unt i l
o n e d a y , la te i n t h e t h i r d m o o n , w h e n h e w e n t t o t h e p a l a c e .
W h i l e h e w a s g o n e , t h e m o n k go t i n a n d m a d e h imsel f a t h o m e w i t h
t h e g e n t l e m a n ' s wi fe . A l a d y - i n - w a i t i n g h u n g his n ice , soft r o b e r igh t on
h e r m a s t e r ' s c l o t h e s r a c k . M e a n w h i l e t h e g e n t l e m a n sen t a s e r v a n t b a c k
from t h e p a l a c e to fetch h i m a less fo rmal outf i t t h a n t h e o n e he h a d on ,
s ince he w a s n o w off to h a v e a g o o d t i m e w i t h a b a n d o f c o u r t i e r s . " B r i n g
m e m y h a t a n d m y h u n t i n g c l o a k , " h e o r d e r e d .
T h e l a d y - i n - w a i t i n g t o o k t h e h a n g i n g c loak from the r ack , p u t i t in a
b a g w i t h t h e ha t , a n d sen t i t off. B y t h e t i m e the s e r v a n t c a u g h t u p w i t h
t h e g e n t l e m a n , h e a n d his f r iends h a d a l r e a d y g o t t e n w h e r e t h e y w e r e
g o i n g . T h e g e n t l e m a n o p e n e d t h e b a g . T h e r e w a s t h e h a t . B u t w h e r e w a s
t h e c l o a k ? H e t o o k o u t i n s t e a d a r u m p l e d , b r o w n i s h r o b e .
H e u n d e r s t o o d i m m e d i a t e l y . O f c o u r s e , all h is c o m p a n i o n s s a w t h e
r o b e t o o , a n d h e w a s a s e m b a r r a s s e d a s h e w a s a n g r y . T h e r e w a s n o t h i n g
h e c o u l d d o , t h o u g h . H e s imp ly folded t h e r o b e u p , p u t i t b a c k i n t h e
b a g , a n d r e t u r n e d i t w i t h a c u r t v e r s e t h a t let h is wife k n o w he n o w
k n e w . H e n e v e r w e n t b a c k t o his h o u s e a g a i n .
T h e l a d y - i n - w a i t i n g w a s a silly w o m a n , a n d t h e r o o m h a d b e e n d a r k .
I n h e r h a s t e s h e h a d t a k e n t h e m o n k ' s r o b e in s t ead o f t h e l o rd ' s h u n t i n g
c loak , s i nce b o t h w e r e on t h e s a m e r a c k a n d felt equa l ly soft.
W h e n t h e wife s a w h e r h u s b a n d ' s l e t te r s h e w a s d i s t r a u g h t , b u t t h e r e
w a s n o t h i n g she c o u l d do e i t h e r .
2 6
T h e r e w e r e a l w a y s of fer ings o n his a l t a r , t h e a l t a r l a m p s w e r e a l w a y s
b u r n i n g , a n d t h e smal l c r o w d o f m o n k s w h o l ived a r o u n d him kep t t he
p l a c e l ively. T h e b a t h w a s h e a t e d e v e r y d a y , a n d the b a t h h o u s e re -
s o u n d e d w i t h chee r fu l vo i ce s . W h e n l a y m e n a d d e d t he i r h o u s e s t o t h e
c o m m u n i t y , a b u s t l i n g vi l lage g r e w u p .
Z e n c h i n h a d a l o n g n o s e . Its five or six i nches , r e d d i s h - p u r p l e w i t h a
p i m p l y s u r f a c e l ike a m a n d a r i n o r a n g e , d a n g l e d b e l o w his ch in a n d i t ched
t e r r i b l y . Z e n c h i n h a d a hole m a d e in a s q u a r e t r ay , jus t big e n o u g h to
p u t t h e n o s e t h r o u g h , t o p r o t e c t h is face f rom t h e fire w h i l e he boi led t he
n o s e in a p o t o f w a t e r . W h e n d o n e t h e n o s e w o u l d be a d a r k p u r p l e .
N e x t , Z e n c h i n w o u l d lay i t ou t flat on a p a d a n d h a v e s o m e o n e t r a m p l e
it. A v a p o r i s h s o r t o f s tuff w o u l d puff ou t f rom e a c h p imp le , a n d wi th
d i l i gen t p r e s s i n g a w h i t e w o r m w o u l d ooze from e a c h p o r e . E a c h p o r e
w o u l d y i e l d t o t h e t w e e z e r s half an inch o f w o r m . T h e n Z e n c h i n w o u l d
p u t h is n o s e b a c k in t h e po t a n d b r i n g t h e w a t e r b a c k up to a g o o d boil .
S o o n his n o s e w o u l d s h r i n k to a b o u t t he size o f a n y o n e else 's , bu t i n t w o
o r t h r e e d a y s i t w o u l d b e a s b a d a s ever .
So m o s t d a y s Z e n c h i n s nose w a s big , a n d t o ea t he w o u l d h a v e t o
h a v e an a c o l y t e sit o p p o s i t e h im w i t h a sor t of p a d d l e , a foot l ong a n d an
inch w i d e , t o lift h is n o s e up a n d o u t o f t he w a y till he w a s f in ished. S o m e
w h o d id th i s for h im lifted w i t h a bi t t o o m u c h e n t h u s i a s m , a n d t h e n he
w o u l d ge t a n g r y a n d no t ea t . T h a t i s w h y h e m a d e s u r e t h a t t he o n e
a c o l y t e w h o d id i t r i gh t w a s a l w a y s t h e r e t o h e l p h im .
O n e d a y th i s a c o l y t e w a s ill a n d failed t o a p p e a r for his usua l d u t y .
Z e n c h i n w a n t e d his b r e a k f a s t b u t t h e r e w a s n o o n e t o hold u p his nose .
W h a t a p i c k l e ! F ina l ly o n e o f t h e s e r v a n t b o y s p i p ed u p , " / ' / / hold up his
n o s e ! I c a n do i t j u s t as wel l as t h a t o t h e r fe l low!" An o lde r s e r v a n t
r e p o r t e d th i s t o Z e n c h i n , w h o d e c i d e d h e l iked the b o y well e n o u g h a n d
w o u l d g ive h i m a t r y . He ca l led t h e b o y in. T h e b o y p i c k e d up t h e nose
p a d d l e , sat v e r y n ice ly o p p o s i t e Z e n c h i n , a n d he ld up his nose jus t r ight ,
n e i t h e r t o o h i g h n o r t o o l ow . " H e ' s w o n d e r f u l ! " t h o u g h t Z e n c h i n a s h e
s i p p e d his g r u e l . " E v e n b e t t e r t h a n t h e o t h e r o n e ! "
A l a s , t h e b o y felt a s n e e z e c o m i n g on , t u r n e d as ide , a n d let ou t
a g o o d a - c h o o . H i s h a n d s h o o k , t he p a d d l e q u i v e r e d , a n d the nose
s l i p p e d off a n d p l o p p e d in to t h e g r u e l . G r u e l s p l a s h e d all o v e r Z e n -
c h i n ' s face a n d t h e b o y ' s . Z e n c h i n w a s fu r ious . " Y o u r a s c a l ! " h e
b e l l o w e d a s he w i p e d g r u e l off h is face a n d p a t e . "A n as t y little b e g g a r
i s j u s t w h a t y o u a r e ! Y o u w o u l d n ' t h a v e d o n e t h a t i f y o u ' d g o n e t o
h o l d u p t h e n o s e o f s o m e fine g e n t l e m a n ! D i s g u s t i n g little id iot! G e t ou t !
G e t o u t ! "
T h e b o y go t ou t , b u t on his w a y he loosed a p a r t i n g sho t . " I ce r t a in ly
woti/t) go ho ld up s o m e fine g e n t l e m a n ' s n o s e , ' ' he r e t o r t e d , "if a n y g en t l e -
m a n in all t h e w o r l d e v e r h a d a n o s e l ike y o u r s ! "
Z e n c h i n ' s s t u d e n t s h a d t o d ive for c o v e r be fo re t h e y e x p l o d e d
l a u g h i n g .
2 O .
TWO BUCKETS
OF MARITAL BLISS
At a t e m p l e in I z u m i p r o v i n c e , e a c h t r i p to t h e bell t o w e r t o o k t h e bel l-
r i n g e r m o n k p a s t a s t a t u e o f K ich i jo t en . E v e r y o n e k n o w s h o w beaut i fu l
th i s g o d d e s s is. S e e i n g h e r d a y af ter d a y w a s q u i t e e n o u g h t o d r i v e e v e r y
o t h e r t h o u g h t f rom the m o n k ' s m i n d . H e t ook t o h u g g i n g t h e s t a t u e ,
p i n c h i n g it, o r e v e n g o i n g t h r o u g h t h e m o t i o n s o f k i s s ing it.
I n t i m e h e d r e a m e d h e w a s fond l ing Kichi jo ten a s usua l , o n his w a y t o
r i n g t h e bel l , w h e n s h e s u d d e n l y m o v e d .
" M y d e a r , " sa id s h e , " I ' m t o u c h e d b y y o u r lov ing a t t e n t i o n s . I 'm g o i n g
t o b e y o u r wife . G o t o I n a m i n o i n H a r i m a o n s u c h - a n d - s u c h a d a t e a n d
I'll mee t y o u t h e r e . "
T h e bell r i n g e r a w o k e blissfully h a p p y . H e cou ld still see h e r lovely
face be fo re h i m . T h e d a y s h e h a d m e n t i o n e d s e e m e d s o far a w a y !
F e v e r i s h w i t h a n t i c i p a t i o n , h e c o u l d h a r d l y be l ieve t h e d a y w o u l d e v e r
a r r i v e ; b u t w h e n i t d id , t h e r e h e w a s a t I n a m i n o , p a c i n g i m p a t i e n t l y u p
a n d d o w n . A t last h e s a w a r a d i a n t l y beaut i fu l w o m a n c o m i n g t o w a r d
h im, d r e s s e d i n b r i l l i an t c o l o r s . C o u l d s h e b e t h e o n e ? H e w a s t r e m b l i n g
a n d c o u l d no t b r i n g h imse l f t o hai l h e r .
" H o w n ice t o see y o u h e r e ! " s h e sa id w h e n s h e got t o h im . " N o w ,
m a k e us a h o u s e ! "
" H o w a m I s u p p o s e d t o d o t h a t ? "
" W h y , t h e r e ' s n o t h i n g t o it. Y o u jus t ge t t o w o r k ! "
A m a n c a m e u p t o t h e m . " W h o a r e y o u ? " h e a s k e d , " W h a t a r e y o u
d o i n g o u t h e r e i n t h e f i e ld s?"
" W e ' r e p l a n n i n g t o live h e r e , " a n s w e r e d t h e m o n k , " b u t w e h a v e n o
h o u s e a n d I d o n ' t q u i t e k n o w w h e r e w e ' r e g o i n g t o get o n e from, e i t he r .
I 'm w o n d e r i n g w h a t t o d o . "
2 8
" S a y n o m o r e ! Y o u ' v e n o t h i n g t o w o r r y a b o u t a s long a s I'm h e r e . / ' / /
ge t y o u y o u r h o u s e bui l t . W a i t a n d I'll b r i n g s o m e m e n . "
T h e m a n w a s s o o n b a c k w i t h a g o o d c r e w o l w o r k e r s . E a c h b r o u g h t a
jois t o r a b e a m , a n d e v e r y t h i n g else t h e y n e e d e d jus t kep t c o m i n g whi l e
t h e y w o r k e d . S o m e o l t h e m a t e r i a l s a p p a r e n t l y b e l o n g e d t o t he w o r k m e n
t h e m s e l v e s , w h i l e s o m e s e e m e d t o h a v e b e e n p u r c h a s e d b y the lady. A t
all e v e n t s , a beau t i fu l h o u s e q u i c k l y ro se on t h e spo t . Bes ide h imsel f w i th
joy , t h e m o n k led his l a d y i n a n d lay d o w n w i t h he r .
" I ' m y o u r w i l e n o w , " t h e g o d d e s s r e m i n d e d h im . " I f y o u love me, y o u
m u s t n ' t ge t i nvo lved w i t h a n y o n e else . F o r y o u , I 'm the on ly o n e . Re-
m e m b e r t h a t . "
E v e n i f s h e h a d b e e n a pe r fec t ly o r d i n a r y w o m a n he h a p p e n e d to be
fond of, he w o u l d h a r d l y h a v e ob j ec t ed ; b u t u n d e r t he c i r c u m s t a n c e s he
a g r e e d w i t h all h is h e a r t . " O f c o u r s e ! " h e p r o m i s e d . " I w o u l d n ' t d r e a m
o f w a n d e r i n g a w a y from y o u ! "
" T h a n k y o u , m y d e a r , " sa id t h e g o d d e s s .
H e b e g a n g r o w i n g r ice a n d f o u n d t h a t t he least p lo t h e w o r k e d g a v e
m o r e t h a n a n y o n e e lse ' s w h o l e fa rm. E v e r y co mfo r t w a s his n o w , a n d i n
fact he w a s t h e r i che s t m a n in t h e w h o l e c o u n t y . P e o p l e c a m e from far
a w a y j u s t t o a s k for his h e l p , a n d h e a l w a y s g a v e t h e m w h a t t h e y w a n t e d .
H i s h e r d s o f h o r s e s a n d ca t t l e w e r e vas t . F ina l ly even the g o v e r n o r o f t he
p r o v i n c e b e g a n to de fe r t o h im a n d l is ten t o his a d v i c e .
Af t e r s e v e r a l y e a r s of t h i s p l e a s a n t life, he h a d to go off for a few d a y s
on b u s i n e s s to a n o t h e r c o u n t y . W h i l e he w a s t h e r e , a r e t a i n e r of his jus t
h a p p e n e d to m e n t i o n a v e r y n ice girl he k n e w of. " Y o u could have he r
c o m e a n d m a s s a g e y o u r feet o r s o m e t h i n g , s i r , " t h e r e t a i n e r s u g g e s t e d .
" W e l l , " t h o u g h t t h e g o d d e s s ' s h u s b a n d , " e v e n i f I s t a r t g e t t i n g ideas , I
s u p p o s e i t d o e s n ' t rea l ly m a t t e r as long as I d o n ' t ac tua l ly do a n y t h i n g
w i t h h e r . "
" F i n e ! " h e sa id . "I ' l l t r y h e r . "
T h e girl a r r i v e d , d r e s s e d t o kill. He h a d h e r beg in w o r k i n g on his feet,
b u t o n e t h i n g led t o a n o t h e r a n d soon t h e y w e r e a lot m o r e in t ima te t h a n
t h a t . N o t t h a t he h a d fallen i n love w i t h he r , b u t he d id k e e p h e r by h im
a s l o n g a s h i s t r i p l a s t ed .
H i s b u s i n e s s ove r , he go t b a c k h o m e to find his wife l ook ing v e r y p u t
o u t .
" Y o u s w o r e y o u w o u l d n ' t , " s h e said, " a n d n o w y o u ' v e g o n e a n d d o n e
it! O h , h o w could y o u ? I 'm l eav ing . I c an ' t s t ay h e r e a n y m o r e . "
H e s t a r t e d jus t i fy ing h imse l f a n d m a k i n g e x c u s e s , a s s u r i n g h e r tha t
s h e w a s still h is o n l y love . S h e , m e a n w h i l e , w e n t t o fetch t w o big b u c k e t s
o f w h i t i s h l iqu id .
" H e r e , " s h e sa id , " I ' v e s a v e d i t all s ince w e ' v e b e e n t o g e t h e r . Y o u c a n
k e e p i t ! " T h e n s h e v a n i s h e d .
I t w a s , of c o u r s e , all t h e s e m e n he h a d e jacu la ted in to his h e a v e n l y
wife .
Life w a s n e v e r q u i t e t h e s a m e for h im af ter tha t , b u t he w a s still far
f rom p o o r . So he g a v e up b e i n g a m o n k for g o o d a n d l ived on s imp ly a s
a p r o s p e r o u s f a rmer .
2 1 .
HOME IN A CHEST
At o n e t ime K a i s h u , t h e a b b o t o f G i o n t emp le , w a s p a y i n g sec re t vis i ts t o
a m a n s i o n w h i c h b e l o n g e d to o n e o f t h e Cap i t a l ' s mos t p r o m i n e n t p r o v i n -
cial g o v e r n o r s . T h e g o v e r n o r c a u g h t w i n d o f t he affair b u t for s o m e t i m e
p r e t e n d e d no t t o n o t i c e .
O n c e w h i l e t h e g o v e r n o r w a s out , Ka i shu s l ipped in to t he h o u s e a n d
m a d e himself r i gh t a t h o m e . W h e n the g o v e r n o r c a m e b a c k , h e no t i ced
t h a t h is wife a n d t h e o t h e r w o m e n s e e m e d a bit f lus te red , a n d he u n d e r -
s t o o d r igh t a w a y w h a t t h e t r o u b l e m u s t be . I n t he w o m e n ' s p a r t o f t h e
h o u s e he n o t e d t h a t a l o n g s t o r a g e ches t w h i c h n o r m a l l y s t ood o p e n w a s
n o w c losed a n d l o c k e d . O b v i o u s l y t h a t w a s w h e r e t h e y h a d t h e fel low
h i d d e n . T h e g o v e r n o r ca l led a s e n i o r r e t a i n e r a n d h a d h im s u m m o n t w o
w o r k m e n . T h e n h e o r d e r e d t h e ches t c a r r i e d i m m e d i a t e l y t o G i o n a s a
fee for h a v i n g s o m e s u t r a s c h a n t e d t h e r e . Off t h e ches t w e n t on t h e
w o r k m e n ' s s h o u l d e r s , a c c o m p a n i e d by t h e r e t a ine r b e a r i n g a formal n o t e .
T h o u g h hor r i f ied , t h e wife a n d h e r w o m e n k e p t qu ie t .
T h e G i o n m o n k s c a m e o u t t o r ece ive t he ches t a n d w e r e m u c h im-
p r e s s e d w i t h t h e d o n o r ' s g e n e r o s i t y . " G o ge t t he a b b o t ! " t h e y sa id t o
e a c h o t h e r . " W e c a n ' t v e r y wel l o p e n i t w i t h o u t h i m . " Bu t t he o n e w h o
w e n t c a m e b a c k , a f te r a l o n g de l ay , t o r e p o r t t h a t t he a b b o t w a s n o w h e r e
to be f o u n d . T h e r e t a i n e r c o m p l a i n e d t h a t he h a d no t ime to wa i t . "I'm
h e r e , " h e ins i s ted . " N o b o d y ' s g o i n g t o a c c u s e y o u o f a n y t h i n g . J u s t g o
a h e a d a n d o p e n it. I 'm in a h u r r y . "
T h e m o n k s w e r e still w o n d e r i n g w h a t t o do w h e n a doleful little vo ice
from ins ide t h e c h e s t p i p e d u p , "Any m o n k will d o , y o u k n o w ! " T h e
m o n k s cou ld h a r d l y be l i eve t h e i r e a r s , b u t v e r y g inge r ly t h e y o p e n e d t h e
3 0
c h e s t . O u t p o p p e d t h e h e a d o f t h e i r a b b o t . T h e sight s o a l a r m e d t h e m
t h a t t h e y all fled, a n d s o d id t h e r e t a i n e r . M e a n w h i l e t h e a b b o t e x t r a c t e d
h imse l f f rom t h e c h e s t a n d r a n t o h i d e .
O f c o u r s e t h e g o v e r n o r cou ld h a v e h a u l e d Ka i shu s t ra igh t out o f t he
c h e s t a n d g i v e n h im a few g o o d , swift k i cks , b u t th is w o u l d no t h a v e
l o o k e d v e r y g o o d . I t w a s w i s e o f h im t o s h a m e the m a n ins tead . Ka i shu
w a s a l w a y s a fast t a lke r , a n d even in t h e ches t he h a d s o m e t h i n g to say.
W h i l e v i s i t i ng a c e r t a i n s h r i n e a t A w a z u in S h i g a c o u n t y o f t he p r o v i n c e
o f O m i , E m p e r o r Tenj i d e c i d e d t o bu i ld a t e m p l e . T h i s w a s a b o u t t he
y e a r 6 6 5 . B u t w h e r e s h o u l d t h e t e m p l e s t a n d ? T h e e m p e r o r p r a y e d for
h e l p . T h a t n i g h t h e d r e a m e d a m o n k c a m e t o h im a n d a n n o u n c e d tha t
t h e r e w a s a n e x c e l l e n t s p o t t o t h e n o r t h w e s t . T h e m o n k sa id h e s h o u l d
look t h a t w a y r i g h t n o w .
W a k i n g u p , t h e e m p e r o r s a w a l ight i n t h a t d i r e c t i o n . T h e nex t m o r n -
ing he s e n t s o m e o n e to i nves t iga t e , a n d the m e s s e n g e r , still fo l lowing the
g l o w , c a m e to t h e foot o f M o u n t S a s a n a m i . F a r up a r av ine he c a m e to a
d e e p c a v e u n d e r a r o c k face a n d p e e r e d ins ide . He w a s lace t o face w i t h
a n e x t r a o r d i n a r y old m a n w h o s e e m e d infinitely ho ly a n d wi se . T h e
m e s s e n g e r a n n o u n c e d t h a t t h e e m p e r o r h a d sen t h im t o find out w h y
t h e m o u n t a i n w a s s h i n i n g , a n d a s k e d the old m a n pol i te ly w h o h e w a s .
T h e o ld m a n i g n o r e d h i m . T h e m e s s e n g e r w a s upse t , bu t w e n t b a c k t o
H i s M a j e s t y t o r e p o r t .
"I ' l l h a v e t o g o t h e r e a n d q u e s t i o n him myself ," said t h e e m p e r o r a n d
set o u t . H i s b e a r e r s b r o u g h t his p a l a n q u i n a s c lose t o t he cave a s t h e y
c o u l d , a n d he w a l k e d t h e res t o f t h e w a y . T h e old m a n w a s still t h e r e .
He h a d on a b r o c a d e h a t a n d a pa le violet r o b e a n d looked m o r e like a
g o d t h a n a m a n . A p p a r e n t l y t h e e m p e r o r d id no t i m p r e s s h im a bi t .
" W h o a r e y o u , a n d w h a t a r e y o u d o i n g h e r e ? " t he e m p e r o r a s k e d .
T h e old m a n b r o u g h t his s l eeves t o g e t h e r a litt le, m a d e a s l ight g e s t u r e
o f d e f e r e n c e , a n d sa id , " I m m o r t a l s h a v e a l w a y s l ived in th i s c a v e . " T h e n ,
af ter a few m o r e c r y p t i c w o r d s , he v a n i s h e d .
T h e e m p e r o r d e c i d e d th i s w a s a v e r y ho ly spo t i n d e e d , a n d ce r t a in ly a
g o o d p l ace for t h e t e m p l e .
T h e t e m p l e , S h i g a d e r a , w a s bui l t t h e nex t y e a r , w i t h a s ix teen- foo t -
h igh s t a t u e o f M i r o k u . W h i l e t h e c o n s t r u c t i o n w a s u n d e r w a y , t h e w o r k -
m e n d u g u p a m i n i a t u r e p a g o d a t h a t o b v i o u s l y w a s no t J a p a n e s e . I t
c o u l d o n l y h a v e b e e n o n e o f t h e 8 4 , 0 0 0 p a g o d a s d i s t r i b u t e d t h r o u g h o u t
t h e w o r l d , e a c h w i t h a rel ic o f t h e B u d d h a ins ide it, by t h e g r e a t I n d i a n
k i n g A s o k a s o m e n ine h u n d r e d y e a r s be fo re .
In f ront of t h e t e m p l e s t o o d a g r e a t l a n t e r n . F o r t he c o n s e c r a t i o n of
t h e t e m p l e t h e e m p e r o r k i n d l e d a f lame on t h e t ip of his o w n r igh t r i n g
f inger a n d lit t h e l a n t e r n w i t h it. T h e n he cu t off t h e f inger a n d b u r i e d i t
u n d e r t h e l a n t e r n , in a s t o n e b o x , a s an of fer ing to M i r o k u .
H a v i n g c o n s i d e r a b l e p o w e r , t h e e m p e r o r ' s f inger w o u l d s e n d a n y visi-
t o r w h o w a s t h e least u n c l e a n t u m b l i n g d o w n in to t h e n e i g h b o r i n g r a v i n e .
T h i s d i s c o u r a g e d p i l g r i m s comple t e ly , a n d a p r i e s t w h o took o v e r t h e
t e m p l e m u c h l a t e r go t b o r e d w i t h h a v i n g n o v i s i to r s . T h e p r o b l e m w a s
t h a t f inger . T h e p r i e s t d e c i d e d to d i g i t up a n d ge t r id o f it.
As soon a s t h e w o r k m e n b e g a n , a frightful s t o r m b r o k e , w i t h t h u n d e r ,
l i gh tn ing , r a in , a n d v io len t w i n d . T h i s ju s t m a d e the p r i e s t a n g r i e r t h a n
eve r , a n d h e k e p t h is m e n d i g g i n g till t h e y go t t o t h e b o x . T h e f inger
l o o k e d pe r fec t ly fresh a n d g a v e off a pa l e g l o w , b u t i t soon t u r n e d to
l iquid a n d d i s a p p e a r e d .
S o o n t h e p r i e s t w e n t m a d a n d d i e d .
2 3 .
JAPAN'S FIRST GOLD
Todaiji in Nara u a mii.it for every touri.il,
and it.i Great Buddha Li famous. The original Great
Buddha wa.i dedicated in 752, in a magnificent ceremony
attended by monk.t from all over A)ia.
W h e n E m p e r o r S h o m u bui l t Todai j i , l ong a g o , h e h a d his w o r k m e n cas t
a h u g e , s e a t e d b r o n z e i m a g e o f t h e C o s m i c B u d d h a , a n d he e n s h r i n e d i t
in a c o r r e s p o n d i n g l y v a s t hal l . T h i s s t a t u e w a s t h e o r ig ina l o f t he G r e a t
Todai j i B u d d h a w e k n o w t o d a y .
http://mii.it
http://touri.il
3 2
F o r t h e e m p e r o r , th i s G r e a t B u d d h a w a s t h e pr ice less jewel t h a t w a s
t o d r a w o u r l a n d t o g e t h e r i n t h e B u d d h i s t faith, a n d h e g a v e himsel f t o
t h e p r o j e c t h e a r t a n d sou l . W h e n t h e t i m e c a m e t o bui ld t he da is for t h e
B u d d h a to r e s t on ( t h e da i s w o u l d look like a l o tu s f lower ) , t h e e m p e r o r
d u g t h e first s p a d e f u l s o f e a r t h himself, a n d his e m p r e s s c a r r i e d t he e a r t h
a w a y i n t h e l o n g s leeves o f h e r r o b e .
T h e t e m p l e w a s q u i c k l y bui l t , w i t h wi l l ing s u p p o r t from all, a n d the
G r e a t B u d d h a w a s cas t . T h e n e x t t h i n g w a s t o ge t t h o u s a n d s o f shee t s o f
go ld foil t o gi ld t h e B u d d h a w i t h . B u t w h e r e w e r e t h e y t o c o m e f rom?
J a p a n h a d n e v e r h a d a n y go ld . T h e e m p e r o r s en t a n e n v o y t o C h i n a ,
l a d e n w i t h t r e a s u r e , t o b u y t h e go ld r e q u i r e d , a n d t h e nex t s p r i n g the
e n v o y r e t u r n e d . C r a f t s m e n w e r e a s s e m b l e d a n d s t a r t e d w o r k , b u t t he
c o l o r o f t h e go ld w a s w r o n g , a n d bes ides , t h e r e still w a s no t e n o u g h o f i t
e v e n for t h e G r e a t B u d d h a , let a l one t h e m a n y sma l l e r images i n t he
o t h e r , l e s se r ha l l s o f t h e t e m p l e .
In th i s d e s p e r a t e s i t ua t i on t h e e m p e r o r cal led in t he g r ea t e s t m o n k s o f
t h e t i m e t o a s k t h e i r a d v i c e . T h e y to ld h im a b o u t G o l d e n P e a k , a m o u n -
t a in i n Y o s h i n o c o u n t y o f Y a m a t o p r o v i n c e , a n d said th i s m o u n t a i n w a s
b o u n d t o h a v e g o l d . B u t t h e y r e m i n d e d H i s M a j e s t y t h a t a power fu l g o d
w a t c h e d o v e r G o l d e n P e a k , a n d r e c o m m e n d e d t h a t before t a k i n g a n y
g o l d H i s M a j e s t y s h o u l d f i r s t s p e a k t o th i s g o d .
T h e e m p e r o r o r d e r e d R o b e n , t h e m o n k i n c h a r g e o f t h e w h o l e pro jec t ,
t o b e g t h e g o d re spec t fu l ly for s o m e o f his go ld . Af te r p r a y i n g for seven
d a y s a n d n i g h t s , R o b e n h a d a d r e a m . T h e g o d a p p e a r e d a s a m o n k a n d
sa id t o h i m , " T h e go ld o f m y m o u n t a i n w a s p l a c e d h e r e b y M i r o k u , t h e
F u t u r e B u d d h a . I t wil l b e g iven o u t w h e n M i r o k u c o m e s in to t h e w o r l d ,
a n d m u s t be k e p t till t h e n . My role i s on ly to g u a r d it. Bu t I will tell y o u
w h a t t o d o . I n S h i g a c o u n t y o f O m i p r o v i n c e , a l o n g the r iver t h a t r u n s
i n to L a k e B i w a , t h e r e is a spo t ca l led T a g a m i . N e a r b y is a low, i so la ted
hill w h o s e e a s t e r n s p u r f o r m s T s u b a k i P o i n t . Y o u will f i nd t h e r e a g r o u p
o f s t a n d i n g r o c k s . T h e r e a l w a y s u s e d t o b e a n old m a n fishing from o n e
o f t h e m . Bu i ld a c h a p e l on t h a t r o c k a n d e n s h r i n e N y o i r i n K a n n o n , t h e n
p r a y t h e r e for y o u r go ld . Y o u wil l ge t it, I p r o m i s e . "
R o b e n r e p o r t e d his d r e a m a n d t h e e m p e r o r s en t h im s t r a igh t off t o
O m i . T h e hill w a s t h e r e a n d T s u b a k i P o i n t h a d t h e s t r a n g e r o c k s t he g o d
h a d m e n t i o n e d . A m o n g t h e m w a s t h e o n e t h e old m a n h a d fished from.
R o b e n h a d s o o n m a d e a N y o i r i n K a n n o n a n d bui l t t he chape l , a n d h e
p r a y e d t h e r e for g o l d .
S h o r t l y M u t s u a n d S h i m o t s u k e p r o v i n c e s in t h e n o r t h sen t a gift t o t h e
e m p e r o r i n t h e fo rm o f s o m e g o l d - c o l o r e d s a n d . M e t a l w o r k e r s s u m m o n e d
to m e l t i t f o u n d t h a t i t r ea l ly w a s t h e m o s t beaut i fu l ly y e l l o w go ld . T h e
d e l i g h t e d e m p e r o r s e n t for m o r e , a n d i t q u i c k l y a r r i v e d . S o m u c h w a s
left o v e r f rom g i l d i n g t h e G r e a t B u d d h a t h a t t h e r e w a s p l e n t y for all t he
o t h e r B u d d h a s t o o .
T h a t w a s h o w go ld w a s first f o u n d i n J a p a n .
a 4 .
GYOGI AND BARAMON
Baramon '•< name is simply a japanization of
"brahman, " meaning an Indian of high caste.
L o n g a g o E m p e r o r S h o m u inv i t ed G y o g i t o p r e s i d e a t t h e c o n s e c r a t i o n
c e r e m o n y for t h e G r e a t B u d d h a o f Toda i j i . T h i s w a s n a t u r a l b e c a u s e
G y o g i w a s a b e l o v e d sa in t : a g r e a t t e a c h e r , p r e a c h e r , a n d b u i l d e r w h o s e
w o r k h e l p e d e v e r y o n e t h r o u g h o u t t h e l a n d .
B u t G y o g i d e c l i n e d . " N o , Y o u r M a j e s t y , " h e sa id , " I ' m no t w o r t h y .
T h e m a n y o u n e e d i s o n his w a y h e r e f rom a c r o s s t h e s e a . " H i s M a j e s t y
let G y o g i lead a h u n d r e d m o n k s a n d a b a n d o f c o u r t m u s i c i a n s to N a n i w a
i n S e t t s u p r o v i n c e , w h e r e t h e y w a i t e d o n t h e s h o r e t o w e l c o m e t h e for-
e ign m o n k .
T h e m o n k G y o g i m e a n t w a s B a r a m o n , a n I n d i a n f rom K a b i r a e w h e r e
t h e B u d d h a h imse l f w a s b o r n . B a r a m o n , w h o l o n g e d t o m e e t t h e B o d h i -
s a t t v a M o n j u in p e r s o n , h a d l e a r n e d in a d r e a m t h a t M o n j u l ived on a
C h i n e s e m o u n t a i n n a m e d G o d a i s a n . H e left for G o d a i s a n immed ia t e ly ,
b u t a n o ld m a n h e m e t o n t h e w a y to ld h im t h a t for t h e benef i t o f all
s en t i en t b e i n g s t h e r e , M o n j u h a d n o w b e e n b o r n a g a i n i n J a p a n . S o
B a r a m o n w e n t o n t o J a p a n . T h a n k s t o d iv ine i n sp i r a t i on , G y o g i k n e w
h e w a s c o m i n g .
W h e n B a r a m o n failed to a r r i v e a t N a n i w a , G y o g i set a b o w l o f ho ly
w a t e r af loat i n t h e sea . T h e b o w l sa i led off w e s t w a r d , u n d i s t u r b e d b y t h e
w a v e s , till i t v a n i s h e d f rom s igh t . T h e n i t r e a p p e a r e d , sa i l ing l a n d w a r d
th i s t i m e i n f ront o f B a r a m o n ' s s h i p . B a r a m o n k n e w a b o u t t h e c o n s e c r a -
t ion a n d h o p e d h e w o u l d b e i n t i m e .
B a r a m o n a n d G y o g i joyful ly t o o k e a c h o t h e r ' s h a n d s . I t w a s a w o n d e r
h o w t h e J a p a n e s e a n d t h e I n d i a n s e e m e d t o h a v e k n o w n e a c h o t h e r all
t he i r l ives a n d t a l k e d t o g e t h e r l ike t h e b e s t o f f r i ends . G y o g i sa id in ve r se ,
3 4
" T h e love w e p l e d g e d e a c h o t h e r a s b r o t h e r s i n t r u t h , be fore S h a k a o n
V u l t u r e P e a k , i s still a l ive ; a n d s o w e m e e t a g a i n ! " A n d B a r a m o n , w h o
r e c o g n i z e d i n G y o g i t h e b o d h i s a t t v a h e s o u g h t , a n s w e r e d , " H o w r igh t ly
we p l e d g e d e a c h o t h e r love in K a b i r a e , for n o w a t last I see M o n j u ' s
f a c e ! "
T h a t w a s h o w w e i n J a p a n f o u n d o u t t h a t G y o g i w a s ac tua l ly a n
i n c a r n a t i o n o f M o n j u .
G y o g i b r o u g h t B a r a m o n t o t h e e m p e r o r , w h o w a s v e r y h a p p y t o mee t
h i m a n d i m m e d i a t e l y a p p o i n t e d h im t o p r e s i d e o v e r t he c o n s e c r a t i o n . I t
w e n t off beau t i fu l ly .
2 5 .
THE OLD MACKEREL PEDDLER
W h e n Toda i j i h a d b e e n bui l t a n d t h e G r e a t B u d d h a w a s r e a d y t o b e
c o n s e c r a t e d , E m p e r o r S h o m u a p p o i n t e d t h e In d i an m o n k B a r a m o n , re -
c e n t l y a r r i v e d i n J a p a n , t o p r e s i d e o v e r t h e c e r e m o n y . Bu t w h o s h o u l d
B a r a m o n ' s a s s i s t a n t b e ? T h e e m p e r o r cou ld no t dec ide , a n d h e w o r r i e d
till he h a d a d r e a m in w h i c h a ho ly b e i n g c a m e to h im a n d said, " Y o u
m u s t a p p o i n t a s a s s i s t a n t t h e first m a n t o p a s s t h e t e m p l e o n t h e d a y o f
t h e c o n s e c r a t i o n . N e v e r m i n d w h e t h e r he i s a m o n k , or a l ayman , or a
n o b l e , o r a n o b o d y . "
T h e c o n s e c r a t i o n w a s set for t h e f o u r t e e n t h d a y o f t h e th i rd m o o n o f
7 5 2 . T h e e m p e r o r m a d e u p his m i n d t o d o exac t l y a s h e h a d been told
a n d p o s t e d g u a r d s a t t h e a p p r o p r i a t e t i m e t o k e e p w a t c h . A l o n g c a m e a n
old m a n c a r r y i n g a b a s k e t of m a c k e r e l o v e r his s h o u l d e r on a po le . T h e
g u a r d s w h i s k e d h i m s t r a i g h t off t o t h e e m p e r o r , w h o d r e s s e d h im i n
p r i e s t l y r o b e s a n d h a d a l m o s t a p p o i n t e d h im w h e n the old m a n finally
p r o t e s t e d , " D e a r m e , Y o u r M a j e s t y , I 'm no t a t all t he m a n y o u ' r e look ing
for! I 'm j u s t a n old m a c k e r e l p e d d l e r ! " B u t t h e e m p e r o r i gno red h im.
S o o n i t w a s t i m e for t h e c e r e m o n y , a n d t h e old m a n w a s ins ta l led on a
t h r o n e r i g h t n e x t t o B a r a m o n w i t h his b a s k e t o f m a c k e r e l bes ide h im.
H i s po l e w a s s t u c k i n t h e g r o u n d eas t o f t h e e n t r a n c e t o t h e hal l . W h e n
t h e r i t e w a s ove r , B a r a m o n c a m e d o w n from his t h r o n e a n d the old m a n
j u s t v a n i s h e d .
" I t h o u g h t s o ! " sa id t h e e m p e r o r t o himself. " H e uvw m a g i c ! " T h e n h e
h a d a look a t t h e b a s k e t . T h o s e h a d def in i te ly b e e n m a c k e r e l in t h e r e ,
b u t n o w t h e y w e r e t h e e i g h t y sc ro l l s o f t h e K e g o n S u t r a . T h e e m p e r o r
w e p t a n d p r o s t r a t e d h imse l f i n a w e . H i s v o w t o bu i ld t h e t e m p l e h a d
b e e n wel l c o n c e i v e d a n d a b u d d h a h a d c o m e t o h e l p h i m !
T h e m a c k e r e l p e d d l e r ' s po l e i s still by t h e e n t r a n c e to t h e ha l l . I t h a s n ' t
g r o w n , o r b u r s t i n to b l o o m , o r d o n e a n y t h i n g i n p a r t i c u l a r . I t ' s j u s t t h e r e .
a 6 .
KOBO DALSHI
Kobo Dauhi (Daishi meaiu<"Grcat Teacher")
is credited with many extraordinary
accompluihments including the invention of the Japanese
phonetic script, and his temple on Mount Koya L>
still an important pdgrunagc center. Women have been
allowed there only since the late nineteenth century.
A vajra i< a key ritual implement in Esoteric Buddhism.
The term means "diamond"or "thunderbolt"in Sanskrit.
L o n g a g o K o b o D a i s h i b r a v e d t h e v o y a g e t o C h i n a t o s t u d y t h e T e a c h i n g
a n d b r o u g h t b a c k t h e E s o t e r i c B u d d h i s m w h i c h h e t h e n s p r e a d far a n d
w i d e . W h e n h e w a s g e t t i n g o ld , h e g a t h e r e d his d isc ip les t o g e t h e r a n d
d i s t r i b u t e d a m o n g t h e m t h e m a n y t e m p l e s h e h a d f o u n d e d . B u t t h e r e w a s
o n e t e m p l e , t h e g r e a t e s t o f all, w h i c h h e h a d y e t t o found b e c a u s e h e still
d id no t k n o w w h e r e t o bu i ld it. T h i s w a s t h e o n e o n M o u n t K o y a .
K o b o D a i s h i h a d p l a n n e d th i s t e m p l e e v e n i n C h i n a . T h e d a y be fo re
he left C h i n a , he s t o o d on a cliff o v e r l o o k i n g t h e sea a n d h u r l e d a t h r e e -
p r o n g e d va j ra t o w a r d J a p a n . A s h e d i d so , h e p r a y e d t h a t t h e va j r a
s h o u l d l a n d at t h e r i g h t p l a c e for a t e m p l e — a t e m p l e t h a t w o u l d last till
M i r o k u c o m e s in to t h e w o r l d . T h e va j r a s o a r e d h igh u p a n d d i s a p p e a r e d
in to t h e c l o u d s .
N o w t h a t h is d i sc ip les w e r e p r o v i d e d for, K o b o D a i s h i d e c i d e d t o g o
l o o k i n g for t h e va j ra . He set o u t f rom t h e C a p i t a l i n t h e s ix th m o o n o f
8 1 6 . F ina l ly , in U c h i c o u n t y o f Y a m a t o p r o v i n c e , he m e t a h u n t e r , an
i m m e n s e l y p o w e r f u l , r e d - f a c e d m a n e igh t feet tal l , w e a r i n g a g r e e n i s h
coa t a n d a r m e d w i t h a b o w a n d a r r o w s . T h e h u n t e r h a d t w o b l ack d o g s ,
3 6
o n e b i g a n d o n e l i t t le. H e a s k e d K o b o D a i s h i w h e r e h e w a s g o i n g a n d
K o b o D a i s h i e x p l a i n e d a b o u t his va j ra . " I p r a y e d for i t to l and on a
m o u n t a i n g o o d for m e d i t a t i o n , " h e w e n t on , " a n d n o w I 'm look ing for i t . "
" I ' m a h u n t e r f rom M o u n t K o y a , " t h e h u n t e r r ep l i ed . " I k n o w w h e r e
y o u r v a j r a is. Le t m e tell y o u t h e w a y . " H e loosed his d o g s a n d t h e y
q u i c k l y d i s a p p e a r e d .
K o b o D a i s h i fo l lowed t h e h u n t e r ' s d i r e c t i o n s till he r e a c h e d a la rge
r i v e r o n t h e b o r d e r b e t w e e n Y a m a t o a n d t h e p r o v i n c e o f Kii. T h e r e h e
m e t a m o u n t a i n m a n , w h o to ld h im t h a t t h e p l ace he w a n t e d w a s a bas in
i n t h e m o u n t a i n s s o m e w a y t o t h e s o u t h . T h e m a n w e n t w i t h K o b o
D a i s h i . " I ' m t h e M o u n t a i n K i n g , " h e to ld K o b o D a i s h i a s t h e y w a l k e d
a l o n g . "All t h i s l a n d i s my gift t o y o u . "
T h e y g o t to a p l ace t h a t w a s jus t l ike a b o w l , w i t h e ight p e a k s all
a r o u n d it. H u g e c y p r e s s e s t o w e r e d t h e r e , a s d e n s e a n d s t r a igh t a s b a m -
b o o s . O n e o f t h e t r e e s w a s fo rked , a n d i n t h e fork w a s t he vaj ra . K o b o
D a i s h i w a s o v e r j o y e d . H e a s k e d t h e g o d his n a m e a n d l e a r n e d i t w a s
Nifu n o M y o j i n . " A n d t h e h u n t e r y o u m e t , " t h e g o d w e n t on , "is K o y a
n o M y o j i n . " T h e n h e v a n i s h e d .
K o b o D a i s h i w e n t b a c k t o t h e Cap i t a l , r e s igned all his o f f ices , a n d
se t t l ed h i s affairs . T h e n h e r e t u r n e d t o M o u n t Koya , w h e r e h e bui l t t he
t e m p l e a n d n a m e d it, b y imper i a l w i s h , Kongobu j i , T e m p l e o f t h e Vajra
P e a k . F ina l l y h e p r e p a r e d the p l a c e for h is o w n p a s s i n g .
On t h e twen ty - f i r s t d a y of t h e t h i r d m o o n of 8 3 5 , he sat in a cave , in
l o t u s p o s t u r e , a n d p a s s e d in to e t e rna l m e d i t a t i o n a s his d isc ip les a r o u n d
h im c h a n t e d t h e n a m e o f t h e B u d d h a M i r o k u .
L o n g a f t e r w a r d s his d i sc ip le s o p e n e d t h e cave , s h a v e d his h e a d (for
h i s h a i r h a d c o n t i n u e d t o g r o w ) , a n d c h a n g e d his c lo thes . Bu t t h e y neve r
c a m e b a c k , a n d i t w a s o n l y m u c h l a t e r t h a t s o m e o n e o p e n e d the c a v e
a g a i n . T h i s w a s K a n k e n , a s t u d e n t o f o n e o f K o b o Da i sh i ' s d isc ip les a n d
a h i g h - r a n k i n g m o n k on t h e m o u n t a i n .
W h e n K a n k e n o p e n e d t h e cave , h e w a s m e t b y a th ick c l o u d o f dus t .
W h e n t h e d u s t c l e a r e d , h e s a w t h a t i t h a d b e e n from K o b o Da i sh i ' s r o b e ,
w h i c h h a d d i s i n t e g r a t e d a n d b e e n s w e p t u p b y the w i n d a s h e o p e n e d the
c a v e . K o b o D a i s h i ' s h a i r w a s a foot long . K a n k e n , w h o h a d w a s h e d a n d
p u t on a fresh r o b e b e f o r e h a n d , s h a v e d the sa in t ' s h e a d o n c e m o r e w i t h
a n e w r a z o r . T h e c o r d o f t h e s a in t ' s c rys ta l r o s a r y h a d r o t t e d a w a y , a n d
t h e b e a d s l ay s c a t t e r e d be fo re h i m . K a n k e n g a t h e r e d t h e m u p , s t r u n g
t h e m o n a n e w c o r d , a n d p u t t he r o s a r y b a c k i n K o b o Da i sh i ' s h a n d .
F i n a l l y he d r e s s e d t h e sa in t in a n e w r o b e . As he left t h e cave he w e p t ,
o v e r c o m e by a feel ing of d e e p p e r s o n a l loss.
N o o n e h a s e v e r o p e n e d t h e c a v e aga in , b u t w h e n a p i lgr im c o m e s
t h e r e t h e d o o r s o f t h e c h a p e l bui l t aga ins t i t o p e n o f t hemse lve s , a n d the
m o u n t a i n i s h e a r d to r u m b l e . S o m e t i m e s p e o p l e h e a r t h e s o u n d o f a smal l
g o n g . I t i s a l so r e m a r k a b l e t h a t h e r e , so d e e p in t h e m o u n t a i n s t h a t e v e n
b i r d s o n g i s r a r e , no o n e e v e r feels a f ra id .
T h e t w o g o d s , Nifu a n d K o y a , h a v e t he i r s h r i n e s s ide b y s ide b e l o w
the m o u n t a i n a n d still p r o t e c t i t a s t h e y v o w e d t o do so l o n g a g o . C o u n t -
less p i l g r i m s still vis i t M o u n t K o y a , all m e n . W o m e n h a v e n e v e r b e e n
a l l o w e d o n t h e m o u n t a i n .
2 7 •
THE KANNON IN THE PINE
O n e hall a t Kofukuj i , t h e g r e a t t e m p l e in N a r a , e n s h r i n e s a m i r a c u l o u s
s t a t u e o f E l e v e n - H e a d e d K a n n o n . T h i s i s h o w t h e s t a t u e c a m e t o b e
t h e r e .
O n t h e v e r y first d a y o f 1007, a m o n k n a m e d C h o k o n w a s o n his w a y
b a c k to t h e p l a c e ca l led D e e r P a r k , a little w a y s o u t h o f t h e t e m p l e , w h e n
a smal l b o y c a m e up t o h im, a s k i n g t o go h o m e w i t h h im a n d se rve h i m .
C h o k o n r ead i ly a g r e e d .
S ix y e a r s la te r , i n 1013 , t h e b o y lay d y i n g . " I w o n ' t last m u c h l o n g e r , "
h e to ld C h o k o n . " W h e n m y b r e a t h i n g s tops , d o n ' t d i s t u r b m y b o d y i n
a n y w a y . P u t me e x a c t l y as I am in a coffin, t h e n h a n g the coffin in t h e
p i n e t r e e a t D e e r P a r k w h e r e w e first me t . Af ter seven d a y s , b u t no t
ear l ie r , y o u m a y o p e n t h e coffin a n d look a t m e . " T h e n h e d ied a s t h o u g h
falling a s l e e p .
W e e p i n g , C h o k o n fo l lowed t h e b o y ' s i n s t r u c t i o n s a n d h u n g h im i n t h e
p i n e . H e w a l k e d o n from t h e r e s eve ra l h o u r s t o H a s e d e r a a n d w e n t i n to
r e t r e a t be fo re t h a t t e m p l e ' s o w n m o s t ho ly E l e v e n - H e a d e d K a n n o n . N o w
a n d a g a i n h e c o u l d no t h e l p b e w a i l i n g his a d v a n c i n g age a n d c h a r g i n g
K a n n o n w i t h h a v i n g n e g l e c t e d h i m .
S e v e n d a y s la te r he h e a d e d b a c k to N a r a . A de l ic ious f r a g r a n c e filled
t he a i r a r o u n d t h e p ine a t D e e r P a r k , a n d w h e n he o p e n e d t h e coffin a
b laze of l ight b u r s t fo r th . Ins ide w a s a l ife-sized s t a t u e of E l e v e n - H e a d e d
K a n n o n . A s t o n i s h e d a n d ove r joyed , C h o k o n r e g r e t t e d all h is c o m p l a i n t s .
He c a r r i e d t h e s t a t u e on his b a c k to Kofukuj i a n d e n s h r i n e d i t in its
p r e s e n t hal l .
Af te r h e d i ed a n o r a c l e r evea l ed t h a t h e h a d passed o n t o F u d a r a k u ,
K a n n o n ' s p a r a d i s e .
3 8
A n e p i d e m i c s i c k n e s s t h a t c a u s e d a t e r r i b l e c o u g h w a s o n c e g o i n g r o u n d ,
a n d e v e r y o n e from p e a s a n t t o e m p e r o r c a u g h t it.
A c o o k h a d f in ished w o r k i n g in his e m p l o y e r ' s k i t c h e n a n d left for
h o m e la te i n t h e e v e n i n g af ter t h e h o u s e h o l d h a d r e t i r ed . A t t h e g a t e he
m e t a h a u g h t y , f r i g h t e n i n g g e n t l e m a n in a red c loak a n d formal h e a d -
d r e s s . T h e c o o k h a d n o idea w h o t h e g e n t l e m a n w a s , b u t s ince t h e r e w a s
n o d o u b t i n g his q u a l i t y h e kne l t a n d b o w e d .
" D o y o u k n o w w h o I a m ? " t h e g e n t l e m a n a s k e d .
" N o , s i r . "
" I u s e d to be a m a j o r c o u n s e l o r n a m e d Ban no Y o s h i o , a n d I d ied in
ex i le in Iyo p r o v i n c e . T h e n I b e c a m e a g o d of pes t i l ence a n d d i sease . I 'd
c o m m i t t e d a s e r i o u s offense a g a i n s t H i s M a j e s t y , y o u see, a n d I w a s qu i t e
j u s t l y p u n i s h e d . B u t I o w e my c o u n t r y a g r e a t deal for t he favor I en joyed
w h i l e I still s e r v e d a t c o u r t , a n d w h e n i t t u r n e d ou t t h a t th i s y e a r t h e r e
w a s to be a w a v e of s i c k e n s s w h i c h w o u l d kill e v e r y o n e , I pe t i t i oned to
h a v e t h e e p i d e m i c c o m m u t e d i n s t e a d t o c o u g h i n g . T h a t ' s w h y e v e r y o n e
is d o w n w i t h a c o u g h . I w a s w a i t i n g h e r e b e c a u s e I w a n t e d to let peop le
k n o w . D o n ' t b e a f r a i d . " W h e n h e h a d s p o k e n , h e v a n i s h e d .
T h e c o o k fearful ly c o n t i n u e d o n his w a y a n d to ld o t h e r s w h a t h e h a d
s e e n a n d h e a r d . T h a t w a s h o w p e o p l e f o u n d ou t t h a t Ban n o Y o s h i o w a s
n o w a g o d of p e s t i l e n c e .
B u t w h y d id B a n c h o o s e t h a t c o o k t o ta lk t o ? H e cou ld have c h o s e n
a n y o n e e lse . W e l l , n o d o u b t h e h a d his r e a s o n s .
2 9 •
THE DOG AND HIS WIFE
A y o u n g m a n of t h e C a p i t a l o n c e w e n t for a w a l k in t he m o u n t a i n s t h a t
r ise so a t t r a c t i v e l y n o r t h o f t h e c i ty . As t h e s u n s a n k in t h e sky , he
b e c a m e m o r e a n d m o r e lost a n d e n d e d u p w i t h n o idea h o w t o ge t b a c k .
T h e r e s e e m e d t o b e n o s h e l t e r a n y w h e r e , a p r o b l e m w h i c h w o r r i e d h im
g r e a t l y till a t last he g l i m p s e d a h u t l a r d o w n in a ho l low. I t w a s a h u m a n
d w e l l i n g , a t least , a n d he g ra t e fu l ly m a d e his w a y to it.
A p r e t t y girl o f t w e n t y c a m e o u t w h e n she h e a r d h im, a n d the s ight o f
h e r g l a d d e n e d his h e a r t still m o r e . S h e , o n t h e o t h e r h a n d , s e e m e d t r o u -
bled a n d a s k e d w h a t h e w a s d o i n g t h e r e . H e e x p l a i n e d . " I c o u l d n ' t find
a n y s h e l t e r for t h e n i g h t , " he sa id , " a n d I w a s v e r y g lad t o see y o u r
p l a c e ! "
" N o o n e e v e r c o m e s h e r e , " s h e a n s w e r e d . " T h e m a s t e r will b e b a c k
soon , a n d w h e n h e f inds y o u he'l l b e s u r e y o u ' r e s o m e boyf r i end o f m i n e .
What'11 y o u d o t h e n ? "
"I ' l l t h i n k o l s o m e t h i n g . T h e t h i n g i s t h a t I c an ' t poss ib ly get h o m e
t o n i g h t . I jus t h a v e to s t a y . "
"All r igh t , i f y o u m u s t . I'll tell h im y o u ' r e an o l d e r b r o t h e r I h a v e n ' t
s een for y e a r s . Y o u w e r e w a l k i n g i n t he m o u n t a i n s w h e n y o u go t lost
a n d c a m e h e r e b y c h a n c e . R e m e m b e r t h a t . A n d w h e n y o u ge t b a c k t o
t o w n , d o n ' t tell a n y o n e a b o u t u s . "
" I u n d e r s t a n d , " sa id t h e y o u n g m a n . " T h a n k y o u v e r y m u c h . I w o n ' t
tell a soul , i f t h a t ' s t h e w a y y o u w a n t i t . "
S h e led h im ins ide a n d s p r e a d h im a m a t to sit on . T h e n s h e c a m e v e r y
c lose . " A c t u a l l y , " s h e w h i s p e r e d , " I ' m a g e n t l e m a n ' s d a u g h t e r f rom t h e
C a p i t a l . T h i s c r e a t u r e s to le m e , a n d for y e a r s n o w he ' s d o n e w i t h m e a s
he p l ea ses . He ' l l be b a c k a n y m i n u t e . You ' l l see w h a t I m e a n . N o t t h a t
he d o e s n ' t g ive me e v e r y t h i n g I n e e d . " S h e s o b b e d pa the t i ca l ly .
As far a s t h e y o u n g m a n c o u l d tell, th i s " c r e a t u r e " o f h e r s m u s t be
s o m e sor t o f d e m o n . H e w a s te r r i f ied . N i g h t fell. O u t s i d e , s o m e t h i n g
h o w l e d .
W h i l e t h e y o u n g m a n ' s in s ides c h u r n e d w i t h fear, t h e girl w e n t t o o p e n
t h e d o o r . I n c a m e a n e n o r m o u s w h i t e d o g . W h y , t h e girl w a s his wi fe !
A t t h e s ight o f t h e v i s i to r t h e d o g s t o p p e d s h o r t a n d h o w l e d a g a i n . T h e
girl h a s t e n e d t o tell h e r s t o r y a b o u t t h e y o u n g m a n b e i n g h e r b r o t h e r .
" I ' m s o h a p p y t o see h i m ! " s h e c r i ed a n d b u r s t in to t e a r s . T h e d o g s e e m e d
to l i s ten. T h e n he c a m e in a n d lay d o w n by t h e fire wh i l e t he girl sat
4 0
b e s i d e h i m s p i n n i n g h e m p . S h o r t l y s h e s e r v e d a v e r y nice mea l . W h e n i t
w a s o v e r , t h e y o u n g m a n lay d o w n t o s leep w h i l e t h e d o g r e t i r ed t o a n
i n n e r r o o m a n d w e n t t o b e d w i t h t h e g i r l .
T h e n e x t m o r n i n g t h e girl b r o u g h t t h e y o u n g m a n b r e a k f a s t a n d w h i s -
p e r e d t o h i m a g a i n t h a t h e m u s t n e v e r tell a n y o n e . " C o m e b a c k s o m e t i m e ,
t h o u g h , " s h e sa id , " n o w h e be l i eves y o u ' r e m y b r o t h e r . I'll g lad ly d o
a n y t h i n g I c a n for y o u . " T h e y o u n g m a n p r o m i s e d s i lence a n d said h e
w o u l d r e t u r n . T h e n h e f in ished his b r e a k f a s t a n d set off t o t o w n .
H e h a d n o s o o n e r a r r i v e d t h a n h e b e g a n b l a b b i n g t h e s to ry t o eve ry -
o n e . T h e w o r d s p r e a d , a n d s o m e sp i r i t ed b r a v e s w a n t e d r igh t off t o g o
a n d s h o o t t h e d o g a n d b r i n g his w o m a n b a c k . T h e y go t t he y o u n g m a n
t o g u i d e t h e m .
A c o u p l e o f h u n d r e d set off, e a c h wel l a r m e d w i t h b o w , a r r o w s , a n d
c l u b . T h e y r e a c h e d t h e p l ace s o o n e n o u g h a n d s p o t t e d t he h u t d o w n i n
t h e h o l l o w .
" T h e r e i t i s ! " t h e y s h o u t e d . T h e d o g h e a r d t h e m , c a m e ou t t o see, a n d
r e c o g n i z e d t h e y o u n g m a n . D a r t i n g b a c k ins ide , h e r e e m e r g e d i n a m o -
m e n t , d r i v i n g t h e gir l be fo re h i m . B o t h fled d e e p e r i n to t he m o u n t a i n s .
T h e i n t r u d e r s s h o t m a n y a r r o w s a t t h e m b u t s c o r e d n o hi ts . N e x t t h e y
t r i e d p u r s u i t , b u t t h e d o g a n d t h e girl fairly flew, unt i l t h e y o u t h s d e c i d e d
t h e y m u s t b e s u p e r n a t u r a l a n d g a v e u p .
O n c e b a c k i n t o w n , t h e m a n w h o h a d s t a r t e d all t h e t r o u b l e felt ill a n d
l ay d o w n . I n t w o o r t h r e e d a y s h e w a s d e a d .
T h e d o g w a s s u r e l y a g o d , a n d t h e m a n w h o to ld a b o u t h im w a s v e r y
fool ish i n d e e d . N o o n e e v e r s a w t h e d o g a g a i n .
3 o .
AN OLD GOD RENEWED
A s s o o n a s T a i r a n o K o r e n o b u r e a c h e d M u t s u a s t he p r o v i n c e ' s n e w
g o v e r n o r , h e w e n t a r o u n d g r e e t i n g all t h e local g o d s . B y t h e r o a d s i d e o n e
d a y he c a m e a c r o s s a s p a r s e litt le g r o v e w i t h a smal l s h r i n e ins ide it.
T h e r e w a s n o s ign t h a t a n y o n e e v e r c a m e t h e r e .
K o r e n o b u a s k e d t h e local officials w i t h h im w h e t h e r a n y g o d w a s
p r e s e n t h e r e , a n d a n o ld m a n w h o l o o k e d a s t h o u g h h e migh t k n o w m a n y
a ta le r e p l i e d , " Y e s , sir , t h e r e u s e d t o b e . He w a s power fu l , t o o . Bu t
w h e n G e n e r a l T a m u r a w a s g o v e r n o r , a v io len t q u a r r e l b r o k e ou t a m o n g
t he s h r i n e p r i e s t s . I t go t so b a d t h a t e v e n t h e c o u r t h e a r d a b o u t it. As a
r e su l t t h e g o v e r n o r s t o p p e d s e n d i n g his m o n t h l y offer ings , a n d n e w g o v -
e r n o r s n e v e r c a m e t o g r e e t t h e g o d a g a i n . T h e s h r i n e fell t o p ieces , a n d
p i l g r ims p r ac t i c a l l y d i s a p p e a r e d . T h a t ' s w h a t m y g r a n d f a t h e r to ld m e h e
h a d h e a r d , a n d h e w a s e i g h t y a t t h e t i m e . I t m u s t h a v e h a p p e n e d a g o o d
t w o h u n d r e d y e a r s a g o . ' '
T h i s w a s s ad n e w s . T h e q u a r r e l h a d no t b e e n t h e g o d ' s fault , a f ter all .
K o r e n o b u d e c l a r e d t h a t f rom n o w o n h e w o u l d h o n o r t h e g o d j u s t a s
p e o p l e h a d d o n e l o n g a g o . H e l i n g e r e d till t h e w e e d s co u l d b e c l e a r e d
a n d t h e p l ace t i d i ed u p , t h e n left o r d e r s w i t h t h e c o u n t y a d m i n i s t r a t i o n
t h a t t h e s h r i n e s h o u l d b e r ebu i l t o n a g e n e r o u s sca le . H e h a d t h e s h r i n e ' s
n a m e i n s c r i b e d on t h e official r eg i s t e r o f t h e s a n c t u a r i e s o f t h e p r o v i n c e ,
a n d h e s en t fo rmal of fer ings e v e r y m o n t h . H e w a s s u r e t h e g o d w o u l d b e
p l e a s e d by all t h i s a t t e n t i o n , b u t d u r i n g his t e r m o f office he n o t i c e d no
specia l s ign a n d h a d n o specia l d r e a m s .
W h e n his t e r m w a s ove r , h e s t a r t e d b a c k t o K y o t o . A few d a y s l a t e r
t h e official w h o h a d to ld h i m a b o u t t h e g o d in t h e first p l a c e d id h a v e a
d r e a m . S o m e o n e u n k n o w n t o h im e n t e r e d h i s h o u s e a n d a n n o u n c e d , " H e
i s o u t s i d e t h e g a t e a n d s u m m o n s y o u t o a t t e n d h im . G o n o w . " T h e o ld
m a n w o n d e r e d w h o o n e a r t h c o u l d b e " s u m m o n i n g " h im n o w t h a t t h e
g o v e r n o r w a s g o n e , s ince n o o n e else i n t h e p r o v i n c e c o u l d poss ib ly
" s u m m o n " s o m e o n e l ike himself . T h e w h o l e t h i n g s e e m e d s o o d d t h a t a t
first he d id no t m o v e , b u t t h e v i s i to r ins i s ted till t h e d r e a m e r d e c i d e d t h a t
he would j u s t h a v e a l ook .
A big , beau t i fu l c e r e m o n i a l c a r r i a g e , fit for an e m p e r o r , s t ood at his
g a t e , a n d t h e g e n t l e m a n ins ide i t l o o k e d e x t r e m e l y d i s t i n g u i s h e d . R o w s
o f a t t e n d a n t s s t o o d n e a r b y .
" P e r h a p s t h e r e ' s s o m e t h i n g to all t h i s ! " t h o u g h t t h e old official a s he
kne l t i n a w e d g r e e t i n g .
" Y o u , m y m a n , c o m e h e r e ! " ca l led t h e g e n t l e m a n i n t h e c a r r i a g e . T h e
f r i g h t e n e d d r e a m e r f roze for a m o m e n t , b u t w h e n t h e g e n t l e m a n ca l led
aga in he forced h imse l f t o o b e y .
T h e g e n t l e m a n m o v e d t h e c a r r i a g e b l i n d s s l igh t ly a s ide . " D o y o u k n o w
w h o I a m ? " h e a s k e d .
" H o w c o u l d I k n o w Y o u r W o r s h i p ? "
" I ' m t h e g o d w h o w a s a b a n d o n e d all t h o s e y e a r s . T h e g o v e r n o r g a v e
m e s u c h j o y t h a t I 'm s e e i n g h im b a c k t o t h e C a p i t a l . W h e n he ' s safely
t h e r e I'll r e t u r n , o f c o u r s e , b u t no t be fo re I 've m a d e s u r e he ge t s a n o t h e r
g o o d pos t . I n t h e m e a n t i m e I'll be a w a y . I 'm l e t t ing y o u k n o w b e c a u s e i t
o c c u r s t o m e t h a t y o u ' r e t h e o n e w h o or ig ina l ly to ld h im a b o u t m e . "
T h e old official s a w t h e c a r r i a g e m o v e off t o w a r d K y o t o a n d a w o k e i n
a s w e a t . W h e n he r ea l i zed i t h a d b e e n a d r e a m , he w a s filled w i t h g ra t i -
A 2
t u d e t o w a r d t h e g o d , a n d all t h o s e w h o h e a r d h im tell t h e d r e a m w e r e
s imi l a r ly m o v e d .
I n t i m e t h e n e w g o v e r n o r a r r i v e d , a n d i n t h e c o m m o t i o n the old official
fo rgo t all a b o u t his d r e a m . Y e a r s l a t e r h e d r e a m e d aga in t h a t " h e " w a s a t
t h e g a t e a n d s u m m o n i n g h i m . H e h u r r i e d ou t , w o n d e r i n g w h e t h e r i t w a s
t h e s a m e g o d a s b e f o r e . S u r e e n o u g h , h e s a w t h e s a m e c e r e m o n i a l ca r -
r i a g e . T h i s t i m e i t s e e m e d s o m e h o w less a l a r m i n g l y a w e s o m e a n d s o d id
t h e g o d . T h e official k n e l t a s h e h a d y e a r s a g o a n d r ece ived t h e s a m e
s u m m o n s t o a p p r o a c h .
" D o y o u r e m e m b e r m e ? " t h e g o d a s k e d .
" I h a v e n ' t f o r g o t t e n y o u , Y o u r W o r s h i p . "
" V e r y we l l . F o r t h e las t few y e a r s I 've b e e n w i t h t h e fo rmer g o v e r n o r
i n t h e C a p i t a l , a n d I 've b e e n a b l e t o h a v e h im a p p o i n t e d g o v e r n o r o f
H i t a c h i . N o w I 'm b a c k a g a i n . I j u s t t h o u g h t I s h o u l d let y o u k n o w . "
T h e o ld official t o ld t h e s a m e co l l eagues a s be fo re a b o u t his d r e a m ,
a n d t h e y w e r e i m p r e s s e d w i t h t h e g o d ' s k i n d n e s s a n d p o w e r . M e a n w h i l e
t h e list o f t h a t y e a r ' s official a p p o i n t m e n t s r e a c h e d t h e p r o v i n c e from
K y o t o , a n d t h e f o r m e r g o v e r n o r h a d i n d e e d b e e n p o s t e d t o H i t a c h i .
Af t e r t h a t t h e p e o p l e o f t h e p r o v i n c e s e r v e d the g o d w i t h i nc reas ing
d e v o t i o n , a n d t h e g o d , w h o w a s t h e soul o f g r a t i t u d e , r e w a r d e d t h e m
r i ch ly . T h e w o n d e r s h e w o r k e d w e r e m a n y , a n d t h e old official p r o s p e r e d
t o o .
3 i .
COME TO MY KASUGA MOUNTAIN!
The god in tb'is story u definitely male,
but the intensely feminine quality of the medium
makes thu< hard to remember.
T h e V e n e r a b l e M y o e h a d a g e n i u s for c o m m u n i c a t i o n w i t h t h e d iv ine ,
a n d his l ink w i t h t h e K a s u g a G o d w a s t r u l y e x c e p t i o n a l . H e w a s s t a y i n g
w i t h r e l a t i ve s i n t h e p r o v i n c e o f Kii w h e n h e d e c i d e d tha t th is w a s t he
t i m e t o ac t a t las t on his l i fe long w i s h t o visit Ind ia , w h e r e t h e B u d d h a
l ived a n d t a u g h t .
T h i s w a s a b r a v e idea . T r a v e l t o C h i n a i s d a n g e r o u s e n o u g h , b u t I nd i a
i s so far f rom J a p a n , a n d t h e diff icult ies o f t h e j o u r n e y a r e so i m m e n s e ,
t h a t f ew J a p a n e s e c a n h a v e r e a c h e d i t a n d f ewer still, i f a n y , h a v e e v e r
r e t u r n e d . M y o e k n e w th i s , a n d h e m u s t h a v e k n o w n t o o t h a t t h e B u d -
d h a ' s T e a c h i n g i s a l m o s t d e a d , a las , in t h e l and of its b i r t h . Bu t his on ly
t h o u g h t w a s t o seek ou t a n d h o n o r t h e s o u r c e o f t he T e a c h i n g , a t w h a t -
e v e r r i sk to himself .
In t h e first m o o n o ( 1202, on t h e n i n e t e e n t h d a y , his u n c l e s w i l e b e g a n
a to ta l fast . S h e e v e n s t o p p e d d r i n k i n g . A l t h o u g h t h e family feared she
w a s ill, s h e l o o k e d i f a n y t h i n g m o r e r a d i a n t l y h e a l t h y t h a n be fo re . E v e r y
d a y s h e b a t h e d , r e a d t h e s u t r a s , a n d ca l led t h e B u d d h a ' s ho ly N a m e . S h e
cou ld g ive n o spec ia l r e a s o n w h y s h e w a s d o i n g th i s . " I t ' s jus t t h a t I 'm s o
lull o l t h e pe r fec t ion of t h e T e a c h i n g ! " s h e sa id . " T h e t h i n g s of th i s w o r l d
n o l o n g e r t o u c h m e a t a l l . "
A t n o o n o n t h e t w e n t y - s i x t h , s h e t h r e w a n e w m a t o v e r t he b e a m
u n d e r t h e ce i l ing o f h e r r o o m , t h e n ro se a n d sat o n t he b e a m .
" I a m t h e K a s u g a G o d , " s h e said, a d d r e s s i n g M y o e . " G o o d m o n k , I 'm
s o s o r r y a b o u t t h e t r i p y o u ' r e p l a n n i n g t h a t I 've c o m e t o ask y o u no t t o
g o . Y o u ' r e so m u c h w i s e r t h a n all t h e o t h e r s , y o u see , t h a t I p r o t e c t
e v e r y o n e w h o h a s faith i n y o u . P l ea se visit m e s o m e t i m e s ! M y h o m e i s i n
N a r a . "
"I ' l l g ive u p m y p i l g r i m a g e , t h e n , " a n s w e r e d the a w e d M y o e .
A l t h o u g h p r e g n a n t t h e l a d y d e s c e n d e d , a s s h e h a d r i sen , w i t h t h e
g r e a t e s t o l e a se , l ike a m o t h f lu t t e r ing its w i n g s .
T h r e e d a y s l a t e r s h e b e g a n fas t ing a n d pur i fy ing herself a s be fo re , t h e n
s h u t hersel f in h e r r o o m , from w h e r e a m a r v e l o u s f r a g r a n c e s p r e a d to fill
t h e w h o l e g a r d e n . M y o e slid o p e n h e r d o o r a n d found h e r ly ing d o w n
w i t h t h e c o v e r s o v e r h e r face. S h e lifted h e r h e a d a n d smi led a t h i m . H e
a s k e d a b o u t t h e f r a g r a n c e .
" I d o n ' t k n o w w h a t i t i s e i t h e r , " s h e rep l ied , " b u t w h e n I no t i ced i t
w a s c o m i n g from me I g o t r e a d y to rece ive y o u . N o w I w a n t to sit up
h igh a g a i n . P lease leave a m o m e n t a n d close t h e d o o r . "
M y o e d id so . W h e n h e o p e n e d t h e d o o r aga in , t h e r e s h e w a s u p n e a r
t h e ce i l ing . A ce i l ing p l a n k h a d b e e n r e m o v e d so t h a t she co u l d sit c o m -
for tab ly . T h e f r a g r a n c e w a s s t r o n g e r t h a n ever . H e a n d his a t t e n d a n t s
p r o s t r a t e d t h e m s e l v e s , s a y i n g , " H a i l t o t h e K a s u g a G o d ! "
T h e l a d y b e g a n in a k i n d a n d g e n t l e vo ice . " I t ' s r u d e of me , I k n o w , to
set myself a b o v e y o u b y s p e a k i n g from h e r e , " s h e apo log ized , " b u t I 'm
afra id I 'm so u s e d to b e i n g h igh up t h a t I 've t a k e n the l iber ty o f r a i s i ng
t h e w o m a n I 'm a d d r e s s i n g y o u t h r o u g h . Af te r y o u ' v e h e a r d w h a t I h a v e
t o say , I'll b e h a p p y t o c o m e d o w n . I 'm h e r e , y o u see, b e c a u s e y o u d o n ' t
s eem t o b e q u i t e s u r e y o u be l i eve w h a t h a p p e n e d a t o u r last m e e t i n g . "
" Y o u mudt s t o p p r o s t r a t i n g y o u r s e l v e s t o m e ! " s h e i n t e r r u p t e d he rse l f
t o p r o t e s t , b u t M y o e a n d t h e o t h e r s c o n t i n u e d n o n e t h e l e s s . S h e ins is ted
t h a t t h e i r m a n n e r s left m u c h t o b e d e s i r e d .
A A
"All t h e g o d s p r o t e c t y o u , g o o d m o n k , " s h e t h e n w e n t on , "especia l ly
t h e S u m i y o s h i G o d a n d I . I 'm a l w a y s w i t h y o u , y o u k n o w , d e e p ins ide
y o u , s o e v e n i f y o u d o g o t o I n d i a w e w o n ' t b e p a r t e d a n d I w o n ' t
p e r s o n a l l y m i n d . B u t I c a n ' t t h i n k o f y o u r t r i p w i t h o u t feeling s o r r y for
all t h e p e o p l e h e r e i n J a p a n w h o m y o u m i g h t h a v e insp i red to faith! I
love all t h o s e w h o h o n o r t h e B u d d h a ' s T e a c h i n g , o f c o u r s e , bu t t h e r e ' s
no o n e I love q u i t e as I do y o u ! "
W h e n s h e w a s f in ished, s h e c a m e d o w n a s s i lent ly a s a s w a n ' s fea ther
fal l ing. T h e f r a g r a n c e w a s m o r e p r o n o u n c e d t h a n ever . I t w a s not m u s k
o r a n y o t h e r s u c h p e r f u m e o f t h e h u m a n w o r l d , h o w e v e r r a r e , bu t i t w a s
v e r y fine a n d r i ch .
T h e p e o p l e p r e s e n t w e r e i n ecs t a sy . T h e y p r e s s e d in t o lick h e r h a n d s
a n d feet, w h i c h w e r e de l i c ious ly s w e e t . ( O n e w o m a n ' s m o u t h h a d been
h u r t i n g for d a y s , b u t w h e n s h e l icked h e r t h e p a i n w a s g o n e . ) S h e d id
no t res i s t . O n t h e c o n t r a r y , s h e s t a y e d per fec t ly still w i t h a n exp re s s ion
o f p u r e love on h e r face. T h o u g h h e r eyes w e r e w i d e o p e n , rol led up t o
s h o w far less p u p i l t h a n w h i t e , s h e n e v e r even b l i n k e d . In fact, n o t h i n g
a b o u t h e r w a s o r d i n a r y i n a n y w a y . S h e w a s a s c lea r a n d b r igh t a s
c r y s t a l .
" I ' v e n e v e r c o m e d o w n in to h u m a n p r e s e n c e th i s w a y before , i n m y
t r u e f o r m , " s h e n o w c o n t i n u e d , " a n d I n e v e r will a g a i n . O n l y my love for
y o u , g o o d m o n k , c o u l d h a v e m a d e me do it! I t ' s a w o n d e r f u l t h ing , o f
c o u r s e , for y o u r o w n sp i r i tua l d e v e l o p m e n t , t h a t y o u shou ld h a v e y o u r
h e a r t set o n th i s g r e a t p i l g r i m a g e o f y o u r s . Bu t w h e n y o u ' r e g o n e , y o u
see , t h o s e y o u ' d o t h e r w i s e h a v e a c h a n c e to t o u c h will lose t he i r o p p o r -
t u n i t y t o c o n c e i v e , t h r o u g h y o u , t h e i r o w n faith i n e n l i g h t e n m e n t . T h a t ' s
w h a t I find so s a d ! " S h e c o n t i n u e d in th is vein for s o m e t i m e .
" T h i s h a s b e e n a l o n g m e e t i n g ! " she finally sa id . " I ' d m e a n t to leave
ea r l i e r , b u t I w a s so h a p p y to be w i t h y o u t h a t I c o u l d n ' t b r i n g myself to
g o . " S h e p r e s s e d h e r p a l m s t o g e t h e r a n d b o w e d t o M y o e . M y o e t r i ed t o
a v o i d a c c e p t i n g th i s h o m a g e , b u t s h e b o w e d t o h im aga in a n y w a y . T h e n
s h e s p o k e br ief ly o f a n o t h e r m o n k t h e g o d loved , an o lde r friend o f
M y o e ' s . " I t ' s e x t r a o r d i n a r y h o w m u c h I c a r e for h im t o o , " she said, " b u t
I c a n ' t a c c e p t h i s l iv ing as a h e r m i t . P l ea se tell h im so from m e ! "
" A h , b u t youl" s h e w e n t on a g a i n . " Y o u r a r d o r t o a d o r e t he B u d d h a i n
t h e l a n d w h e r e h e a c t u a l l y l ived m a k e s y o u u n i q u e i n all t he w o r l d , a n d
g ive s me s u c h joy ! I love y o u m o r e t h a n a n y p a r e n t loves an on ly son .
B u t I must go n o w . C o m e to my K a s u g a m o u n t a i n ! Y o u w o n ' t see me,
b u t y o u c a n b e s u r e I'll b e t h e r e a n d will c o m e t o g ree t y o u . O h , it 's s o
l a t e ! G o o d - b y e , g o o d - b y e ! "
S h e d r e w M y o e ' s h a n d s t o he r , a n d h e r f r ag rance g r e w still m o r e
i n t e n s e . E v e r y o n e , i n c l u d i n g M y o e , w a s c r y i n g .
" D o n ' t b e s a d ! " s h e sa id . " T h e w o r l d h a s c o m e in to a d e g e n e r a t e a g e
w h e n n o o n e fol lows t h e B u d d h a ' s p a t h h e a r t a n d sou l . N o w t h a t p e o p l e
love e v e r y t h i n g b u t t h e T e a c h i n g , t h e r e ' s little h o p e t h a t t r u t h c a n p r e -
vai l . P l ea se d o n ' t let t i m e sl ip was te fu l ly b y ! S t u d y t h e s a c r e d w r i t i n g s
till y o u g r a s p t h e i r d e e p e s t m e a n i n g . G o o d m o n k , y o u r w i s d o m i s o f t h e
h ighes t , b u t y o u r l e a r n i n g is still no t q u i t e m a t u r e . I f y o u 11 s t o p a l l o w i n g
y o u r e n e r g y t o b e s c a t t e r e d h i t h e r a n d y o n in to th i s w o r t h y t a sk a n d tha t ,
a n d k e e p y o u r e y e s o n t h e T e a c h i n g a lone , t h e n y o u ' l l c o m e t o k n o w
w h a t t h e B u d d h a k n e w . B e wi l l ing t o t a k e o n m a n y s t u d e n t s , a h u n d r e d
or a t h o u s a n d of t h e m , e v e n i f all t h e y m e a n to ga in from the i r s t u d y is
f o r t u n e a n d f ame! A n d for yourse l f , s imp ly w e e p t h a t h e a r t s c a n ' t h e l p
b e i n g b a s e i n th i s p r e s e n t a g e ! " T h e g o d ' s g r ie f a n d pa in s h o w e d p la in ly
i n t h e t e a r s t h a t r a n d o w n h e r c h e e k s . S h e w a s p u r e c o m p a s s i o n i n vis ible
form.
Af te r a m o m e n t of s i l ence s h e lifted h e r h e a d aga in . " N o w I am g o i n g , "
s h e sa id , " b u t I'll l eave my f r a g r a n c e b e h i n d to r e m i n d y o u o f m e . Y o u
m u s t all t a k e c o m f o r t f rom it. G o o d m o n k , c o m e soon t o my K a s u g a
m o u n t a i n ! A n d I p r o m i s e y o u th i s . I f y o u ' l l g a t h e r p e o p l e t o g e t h e r each
y e a r o n th i s s a m e n igh t , a n d p a s s o n t o t h e m t h e B u d d h a ' s m e s s a g e , I'll
c o m e d o w n t o b e w i t h y o u , w h e r e v e r t h e p lace m a y b e . "
Of c o u r s e M y o e n e v e r set off for Ind ia . In s t ead , he w e n t to t h e K a s u g a
S h r i n e , w h i c h i s b e l o w t h e g o d ' s m o u n t a i n . W h e n h e r o d e u p , seve ra l
d o z e n o f t h e t a m e d e e r t h a t r o a m t h e r e b e n t the i r forelegs t o knee l be fo re
h im a n d b o w e d t h e i r h e a d s ; a n d o n c e aga in t h a t m a r v e l o u s f r a g r a n c e
f loated on t h e a i r .
W h e n h e r e t u r n e d t o Kii , h e l e a r n e d t h r o u g h the s a m e m e d i u m a s
before w h a t h a d a c t u a l l y h a p p e n e d . " Y o u k n o w , " r e m a r k e d the g o d i n
t he c o u r s e o f a c o n v e r s a t i o n , " t h e d e e r d i d n ' t real ly b o w to y o u , b u t to
me. I w a s in t h e a i r o v e r y o u r h e a d , y o u see . Y o u d i d n ' t k n o w it, b u t t h e y
d i d . "
" I h a d n o i d e a ! " a n s w e r e d M y o e . "If I'd rea l ized w h a t w a s h a p p e n i n g
I'd h a v e d i s m o u n t e d . I t w a s v e r y r u d e of me no t to . I 'm so s o r r y ! "
4 6
3 2 .
PRINCESS GLORY
In t h e r e ign o f E m p e r o r Y u r y a k u an old c o u p l e l ived a t t he foot o f M o u n t
Fuj i . H a v i n g n o ch i ld m a d e t h e m s a d . T h e n o n e d a y t h e old m a n found a
beau t i fu l l i t t le gir l i n t h e b a m b o o g r o v e b e h i n d t he i r h o u s e . S h e s e e m e d
t o h a v e c o m e f rom n o w h e r e . H e a n d his wife w e r e v e r y h a p p y , a n d s ince
s h e s h o n e w i t h a love ly l ight t h e y cal led h e r K a g u y a - h i m e , P r ince s s
G l o r y .
P r i n c e s s G l o r y g r e w u p t o b e s o beaut i fu l t h a t even the g o v e r n o r o f
t h a t p r o v i n c e c o u r t e d he r , a n d t h e t w o w e r e m a r r i e d . W h e n the old
c o u p l e finally p a s s e d a w a y , s h e confessed t o h e r h u s b a n d t h a t s h e w a s
no t r ea l ly f rom th i s e a r t h a t al l . " I ' m ac tua l ly t he I m m o r t a l L a d y o f
M o u n t F u j i , " s h e e x p l a i n e d , " a n d I on ly c a m e d o w n in a n s w e r t o t he
d e a r o ld p e o p l e ' s p r a y e r s . N o w I 'm no l o n g e r t ied t o t h e m , a n d I m u s t go
h o m e t o m y p a l a c e . "
T h e g o v e r n o r w a s d i s t r a u g h t , b u t she d id h e r bes t t o comfor t h im .
" Y o u ' l l f ind m e o n t h e t o p o f M o u n t Fu j i , " s h e sa id . " C o m e t h e r e w h e n
y o u m i s s m e , o r look in to th i s b o x . " A n d s h e g a v e h im a b o x o f t he mag ic
i n c e n s e ca l l ed I n c e n s e t o Reca l l t h e S o u l . T h e n s h e v a n i s h e d .
H e a r t b r o k e n n o w , h e mi s sed h e r s o b a d l y t h a t h e soon o p e n e d the
b o x , b u t all h e c o u l d see t h r o u g h t h e s m o k e w a s a s h a d o w y w r a i t h tha t
s o m e t i m e s f aded a l t o g e t h e r . I n d e s p a i r he c l i m b e d M o u n t Fuji a s she h a d
inv i t ed h im to d o . At t h e t o p he found a l a rge p o n d w i t h an is land in t he
m i d d l e . T h e i s l and s e e m e d to h a v e a pa l ace on it, b u t t h r o u g h the v a p o r
t h a t r o s e from t h e w a t e r h e c o u l d on ly ba r e ly m a k e ou t P r i n c e s s G l o r y ' s
fo rm. B i t t e r ly d i s a p p o i n t e d , he p r e s s e d t h e b o x o f i ncense to his hea r t ,
j u m p e d f rom a p r e c i p i c e , a n d d i e d .
" N e v e r m i n d , " t he g o d c o n s o l e d h im . " T h e y say a be loved chi ld can
do no w r o n g . I c e r t a i n l y n e v e r t h o u g h t o f s c o l d i n g y o u for it. A n y w a y ,
t h e r e w a s n o h a r m d o n e s ince I w a s a l r e a d y h i g h e r t h a n y o u ! "
M y o e d i d ho ld t h e m e e t i n g s t h e g o d h a d a s k e d for. M u c h g iven t o
d r e a m s a n d v i s ions , a n d t o i n t e n s e sp i r i tua l s t r ugg l e , h e led a n e x e m p l a r y
life a n d b e c a m e o n e of t h e g r e a t f igures of his t i m e .
T h e h e a t o f h is b u r n i n g love set t h e b o x a f lame, a n d t h e s m o k e f rom
th i s fire i s t h e s m o k e o f Fuji t h a t so m a n y p e o p l e h a v e p u t i n t he i r p o e m s
a b o u t love a n d l o n g i n g . L a t e r o n h e a n d P r i n c e s s G l o r y b o t h a p p e a r e d
as t h e g o d o f t h e m o u n t a i n . T h e g o d i s o n e , b u t m a y be seen as e i t h e r a
m a n or a w o m a n .
O n c e a n I n d i a n t e n g u set off t o visi t C h i n a , a n d o n t h e w a y h e a r d t h e s e
l ines i n t h e m u r m u r i n g o f t h e sea :
All things pass:
this is the law
of birth and death.
Once birth and death
likewise have passed,
that peace is bliss.
T h e a s t o n i s h e d t e n g u w o n d e r e d h o w i n t h e w o r l d t he sea co u l d b e m u r -
m u r i n g th i s d e e p e s t e x p r e s s i o n o f t h e B u d d h a ' s T e a c h i n g , a n d h e d e t e r -
m i n e d t o find o u t w h a t set t h e sea t a l k i n g t h a t w a y . " A n d w h e n I d o , " h e
p r o m i s e d himself, "I ' l l g ive i t a g o o d d o s e of t r o u b l e ! "
H e fo l lowed t h e m u r m u r i n g all t h e w a y t o C h i n a , b u t s ince t h e sea
t h e r e w a s still m u r m u r i n g h e w e n t r i g h t b y a n d o n t o t h e sea off J a p a n .
T h e sea w a s still m u r m u r i n g . H e f lew o v e r t h e p o r t o f H a k a t a i n K y u s h u ,
a n d a t t h e s t r a i t b e t w e e n K y u s h u a n d H o n s h u h e l i s t ened a g a i n . T h e
m u r m u r i n g w a s a l i t t le l o u d e r . M o r e a s t o n i s h e d t h a n eve r , h e flew o n
o v e r p r o v i n c e a f te r p r o v i n c e un t i l h e r e a c h e d t h e m o u t h o f t h e Y o d o
4 8
R i v e r , t h e r i v e r t h a t f l o w s f rom n e a r t h e Cap i t a l in to t h e I n l a n d Sea . U p
t h e r i v e r h e f l e w , a n d t h e m u r m u r g r e w l o u d e r still. T h e Y o d o n a r r o w e d
t o t h e Uji R ive r , a n d t h e t e n g u s o a r e d o n u p t o w h e r e t h e Uji e m p t i e s
o u t o f L a k e B i w a . H e r e t h e r u m o r o f t h e w a t e r s w a s d i s t inc t ly loud . H e
p r e s s e d o n o v e r t h e l ake t o w h e r e a b r o o k c a m e t u m b l i n g d o w n from
Y o k a w a o n M o u n t H i e i . H e r e t h e vo i ce o f t h e w a t e r s c h a n t i n g t he s a c r e d
v e r s e r o s e t o a r o a r , a n d h e s a w u p s t r e a m t h e F o u r H e a v e n l y Kings a n d
c o u n t l e s s o t h e r g l o r i o u s G u a r d i a n s o f t h e T e a c h i n g w a t c h i n g ove r t he
b r o o k . A w e d a n d a m a z e d , h e d a r e d no t g o fu r the r , b u t h e cou ld no t resis t
h i d i n g a w h i l e t o see w h e t h e r h e c o u l d find o u t w h a t th i s p l ace w a s .
W h e n a l e s se r ce les t ia l sp i r i t h a p p e n e d pas t , t he t e n g u p l u c k e d up
e n o u g h c o u r a g e t o a sk , " W h y i s t h e w a t e r c h a n t i n g th i s d e e p e s t e x p r e s -
s ion o f t h e n o b l e T e a c h i n g ? "
" T h e r e a r e a lot o f l e a r n e d m o n k s up on t h e m o u n t a i n , " t he spir i t
r ep l i ed , " a n d t h i s b r o o k r u n s t h r o u g h t he i r p r i v y . T h a t ' s w h y its w a t e r s
p r o c l a i m t h e n o b l e t r u t h , a n d w h y w e sp i r i t s g u a r d i t . "
T h e t e n g u fo rgo t all t h o u g h t o f mischief . " I f e v e n t h e s t r e a m t h a t
f lushes t h e i r p r i v y p r o c l a i m s t h e d e e p e s t t r u t h , " h e ref lec ted , " t h e n t h e
m o n k s o f t h i s m o u n t a i n m u s t be m o r e h o l y t h a n I c o u l d eve r i m a g i n e ! I'll
b e c o m e a m o n k o n M o u n t H i e i ! " A n d a s h e m a d e th i s v o w h e p a s s e d
a w a y .
N e x t he l o d g e d in t h e w o m b o f a v e r y g r e a t lady , t he wife o f P r i n c e
A r i a k e w h o w a s a s o n o f E m p e r o r U d a , a n d h e w a s b o r n a s t h e p r ince ' s
s o n . In t i m e he d id b e c o m e a m o n k on M o u n t Hie i a n d a c q u i r e d a g r e a t
r e p u t a t i o n for l e a r n i n g a n d s a n c t i t y .
JAPAN MEANS TROUBLE!
A p o w e r f u l C h i n e s e t e n g u n a m e d C h i r a y o j u o n c e c a m e t o J a p a n a n d met
o n e o f o u r local t e n g u . " I n my c o u n t r y , " he b o a s t e d , " t h e r e a r e lots o f
r o u g h , t o u g h w a r r i o r - m o n k s , b u t n o w t h a t I 've go t t h e m all e a t i n g ou t o f
m y h a n d I t h o u g h t I 'd c o m e a n d h a v e a look a r o u n d J a p a n . T h e y say
t h e r e a r e s o m e p r e t t y p o t e n t a sce t i c s h e r e . P e r h a p s I migh t see w h a t I
c a n d o w i t h t h e m . W h a t d o y o u t h i n k ? "
T h e J a p a n e s e t e n g u t h o r o u g h l y a p p r o v e d . " I ' v e go t all t he good , b r a v e
m o n k s of tbii c o u n t r y e a t i n g o u t of my h a n d , " he a n s w e r e d , " b u t i f y o u
w a n t to g ive t h e m a b a d t i m e , go a h e a d . O n e ' s ju s t a s k i n g for it, in fact.
I'll s h o w y o u . C o m e o n . "
Of f h e w e n t w i t h t h e C h i n e s e t e n g u i n t o w . T h e y f lew u p t o t h e s t o n e
t o w e r o n t h e m a i n p e a k o f M o u n t Hie i a n d s t o o d t o g e t h e r be s ide t h e
t ra i l .
" P e o p l e h e r e k n o w m e , " sa id t h e J a p a n e s e t e n g u . " I ' d b e t t e r no t s h o w
myself. I'll j u s t h ide d o w n t h e hill a l i t t le. T u r n y o u r s e l f in to an old m o n k
a n d w a i t . M a k e s u r e y o u t a k e c a r e o f a n y o n e w h o c o m e s b y ! "
T h e J a p a n e s e t e n g u h id in a t h i c k e t a n d f rom t h e r e k e p t an eye on his
C h i n e s e co l l eague , w h o t u r n e d in to a pe r fec t , b e n t old m o n k . T h e w e i r d
g l e a m i n his e y e s h o w e d h e w a s p l a n n i n g s o m e t h i n g g o o d , a n d t h e J a p -
a n e s e t e n g u l o o k e d f o r w a r d w i t h p l e a s u r e t o w h a t w o u l d c o m e nex t .
A l o n g c a m e a p a l a n q u i n from h i g h e r up t h e m o u n t a i n . I n s ide i t r o d e
Y o k y o , a m o n k o f r a n k a n d r e p u t a t i o n w h o w a s o n his w a y d o w n t o t h e
C a p i t a l . W h e n h e r e a c h e d t h e t o w e r , t h e J a p a n e s e t e n g u g l a n c e d o v e r t o
c h e c k o n t h e old m o n k . H e w a s g o n e . Y o k y o a n d a c r o w d o f d i sc ip les
p a s s e d by in p e a c e .
T h o r o u g h l y p u z z l e d , t h e J a p a n e s e t e n g u w e n t l ook ing for his C h i n e s e
c o l l e a g u e a n d f o u n d h im c o w e r i n g d o w n in t h e r a v i n e w i t h his b e h i n d i n
t h e a i r .
" W h y a r e y o u h i d i n g ? " a s k e d t h e J a p a n e s e t e n g u .
" W h o w a s t h a t m o n k w h o w e n t b y ? "
" T h a t w a s Y o k y o , a f a m o u s w o n d e r - w o r k e r . H e ' s o n his w a y d o w n t o
t h e p a l a c e for a spec ia l r i t e . H e ' s so ho ly I t h o u g h t y o u ' d s h o w h im up a
bit , b u t y o u jus t let h i m g o . T o o b a d . "
" R i g h t , r igh t , I c o u l d see he w a s v e r y ho ly a n d I k n e w he m u s t be t h e
o n e y o u w e r e t a l k i n g a b o u t . W e l l , t h a t w a s fine, a n d I w a s jus t g o i n g t o
h a v e a t h im w h e n he d i s a p p e a r e d . I n s t e a d t h e r e w a s a c o l u m n o f f lame
r i s ing from his p a l a n q u i n . I c o u l d see I 'd ge t b u r n e d i f I go t t o o c lose , so
I t h o u g h t , we l l , I'll j u s t p a s s on th i s o n e . T h e n I sor t of go t myse l f ou t of
s i g h t . "
T h e J a p a n e s e t e n g u l a u g h e d m o c k i n g l y . " H e r e y o u fly i n all t h e w a y
from C h i n a , " he sa id , " a n d y o u c a n ' t e v e n roll a fellow like t h a t o v e r a
few t i m e s ? Y o u jus t let h im b y ? I 'd s a y y o u ' r e p a t h e t i c . N e x t t ime , s t o p
y o u r m a n a n d d o s o m e t h i n g t o h i m ! "
" A b s o l u t e l y ! " sa id t h e C h i n e s e t e n g u . " J u s t y o u w a t c h ! " H e set h im-
self t o w a i t a s be fo re b y t h e s t o n e t o w e r w h i l e t h e J a p a n e s e t e n g u
c r o u c h e d in a t h i c k e t .
A no isy b a n d c a m e d o w n t h e p a t h . I t w a s t h e g r e a t p r e l a t e J i n z e n
h e a d i n g off t o t o w n w i t h a c o l y t e s r u n n i n g a h e a d o f his p a l a n q u i n t o c l ea r
5 0
t h e w a y . W h e n t h e a c o l y t e s g o t t o t h e old t e n g u m o n k , t h e y jus t h e r d e d
h i m o n a h e a d w i t h m e r r y w h a c k s o f t he i r s t i cks . T h e old m o n k p u t his
a r m s u p t o p r o t e c t h i s h e a d a n d c l e a r e d o u t . H e obv ious ly w a s go ing t o
ge t n o w h e r e n e a r t h e p a l a n q u i n . T h o s e aco ly t e s h a d g o t t e n rid o f h im i n
n o t i m e .
T h e J a p a n e s e t e n g u w e n t a f te r h im a n d h e a p e d r id icu le o n him aga in .
T h e C h i n e s e t e n g u p r o t e s t e d . " W i t h all d u e r e s p e c t , " h e c o m p l a i n e d ,
" y o u d o n ' t k n o w w h a t y o u ' r e s a y i n g ! I w a s n ' t g o i n g t o ge t c lose t o t hose
a c o l y t e s , no t t h e w a y they l o o k e d , a n d I t h o u g h t I 'd b e t t e r get ou t be fo re
t h e y c a u g h t me a n d c r a c k e d my sku l l . So y e s , I let t h a t m o n k by . I can
fly h e r e f rom C h i n a in a f lash, b u t t h o s e aco ly t e s w e r e t o o fast for me. No
sir , I h id i n s t e a d ! "
" W e l l , for p i t y ' s s a k e do s o m e t h i n g to t he next o n e a t leas t ! Y o u can ' t
c o m e all t h e w a y h e r e a n d d o n o t h i n g ! W h y , y o u ' l l b e a n e m b a r r a s s m e n t
t o y o u r c o u n t r y ! " H a v i n g t r i ed a g a i n t o s h a m e his co l l eague in to ac t ion ,
t h e J a p a n e s e t e n g u w e n t off t o h i d e .
S o o n a b a b b l e o f vo i ce s ro se t o w a r d t h e m from a p a r t y on its w a y u p .
A m o n k w i t h a r e d s to le a p p e a r e d first, c l e a r i ng t h e p a t h , a n d b e h i n d
h i m y o u n g m o n k s b o r e a c e r e m o n i a l c h e s t c o n t a i n i n g t h e i l lus t r ious t r a v -
e le r ' s m o n a s t i c r o b e s . T h e p a l a n q u i n b e h i n d t h e m c a r r i e d J i e o f Y o k a w a ,
t h e a b b o t o f t h e e n t i r e t e m p l e c o m p l e x o n t h e m o u n t a i n . "Wi l l t h e y ge t
h i m ? " w o n d e r e d t h e J a p a n e s e t e n g u , a s t w o d o z e n b o y aco ly te s p a s s e d
b y o n e i t h e r s ide o f t h e p a l a n q u i n . B u t t h e old m o n k w a s g o n e . H e h a d
h i d d e n a g a i n .
" I n o t i c e d a s u s p i c i o u s c h a r a c t e r a r o u n d h e r e , " sa id o n e o f t he b o y s .
" L e t ' s s p r e a d o u t a n d l o o k ! " T h e f i erce b o y s d i s p e r s e d o n e i t he r s ide o f
t h e p a t h , b r a n d i s h i n g s t i cks , a n d t h e J a p a n e s e t e n g u p r u d e n t l y s tole
f u r t h e r d o w n t h e s l ope in to a d e e p e r t h i c k e t .
" H e r e h e is! G e t h i m ! " s h o u t e d a b o y ' s vo ice .
" W h a t ? " y e l l e d a n a n s w e r i n g c h o r u s .
" T h e r e ' s t h i s o ld m o n k h i d i n g h e r e ! H e d o e s n ' t look r i g h t ! "
" H o l d h i m ! D o n ' t let h im ge t a w a y ! " T h e o t h e r s d a s h e d off t o p r o v i d e
r e i n f o r c e m e n t s .
" H o w a w f u l ! " t h e J a p a n e s e t e n g u g r o a n e d , b u t h e w a s far t o o
f r i g h t e n e d t o d o a n y t h i n g b u t b u r r o w d e e p e r i n to his t h i c k e t a n d f lat ten
h i m s e l f t o t h e g r o u n d . P e e r i n g fearfully ou t , he s a w a d o z e n b o y s d r a g
t h e o ld m o n k t o t h e s t o n e t o w e r , b e a t a n d k i ck h i m , a n d g ive h im a v e r y
b a d t i m e i n d e e d . T h e o ld m o n k b e l l o w e d a n d r o a r e d , b u t i t d id h im little
g o o d .
" W h o a r e y o u , y o u o ld m o n k ? " t h e b o y s s h o u t e d , w h a c k i n g h im a s
t h e y s p o k e . "Te l l u s ! Tel l u s ! "
" I ' m jus t a p o o r t e n g u from C h i n a , y o u n g m a s t e r s ! I t h o u g h t I 'd h a v e
a look a t t h e m o n k s p a s s i n g by . B u t t h e f i r s t w a s Y o k y o , a n d h e w a s
r ec i t ing t h e M a n t r a o f F i r e so t h e r e w a s a h u g e f lame in his p a l a n q u i n ;
t he n e x t w a s J i n z e n , w h o w a s d o i n g t h e M a n t r a o f F u d o s o t h a t F u d o ' s
o w n m i n i o n s w e r e g u a r d i n g h im w i t h t he i r i ron staffs; a n d t h e t h i r d , t h e
a b b o t , w a s p o n d e r i n g Per fec t M e d i t a t i o n . T h e f i r s t t w o f r igh tened m e s o
I h id , b u t t h e a b b o t d i d n ' t s e e m f r igh ten ing a t all a n d I w a s ca r e l e s s .
T h a t ' s h o w I go t c a u g h t ! "
T h e b o y s cou ld no t see t h a t he w a s m u c h o f a t h r e a t , so t h e y d e c i d e d
jus t to let h im g o , b u t no t be fo re e a c h h a d f i l ed pas t a n d g iven h im a
swift k ick in t h e b e h i n d .
O n c e t h e a b b o t w a s by , t h e J a p a n e s e t e n g u c r a w l e d u p from t h e
b o t t o m o f t h e r a v i n e a n d w e n t t o f i nd t h e old m o n k w h e r e he lay all b a t -
t e r e d a n d b r u i s e d . " H o w ' d i t g o thit t i m e ? " h e a s k e d . " D i d y o u ge t h i m ? "
" S h u t u p . J u s t lay off m e , " t h e C h i n e s e t e n g u g r o w l e d . " I c a m e h e r e
all t h e w a y f rom C h i n a , i n n o c e n t l y be l i ev ing I 'd ge t a little c o o p e r a t i o n
from t h e l ikes o f y o u , b u t y o u w o u l d n ' t g ive me a n y s t r a igh t he lp , n o ,
y o u h a d t o p u t m e u p a g a i n s t m e n l ike l iving B u d d h a s , a n d all I 've go t
for my t r o u b l e i s a b r u i s e d b a c k s i d e a n d a g o o d b e a t i n g ! " A n d he b u r s t
i n to t e a r s .
" I d o n ' t b l a m e y o u , " t h e J a p a n e s e t e n g u rep l ied conso l ing ly , " b u t y o u
see , y o u ' r e a t e n g u f rom a g r e a t b ig c o u n t r y , a n d I t h o u g h t y o u ' d be ab l e
to t a k e c a r e of a n y o n e f rom a smal l c o u n t r y like m i n e . I 'm s o r r y y o u go t
y o u r b e h i n d k i c k e d ! " H e t o o k t h e C h i n e s e t e n g u t o a nice p lace i n t h e
m o u n t a i n s w h e r e t h e p o o r fel low c o u l d s o a k t h e so re p a r t i n a ho t b a t h
a n d m a k e i t feel b e t t e r , a n d t h e n he p a c k e d t h e v is i tor b a c k off t o C h i n a .
W h i l e t h e t w o w e r e b a t h i n g , a c o u p l e o f s e r v a n t s from t h e ci ty c a m e
in to t h e m o u n t a i n s t o fetch f i r e w o o d . P a s s i n g t h e b a t h shed , t h e y n o t i c e d
s m o k e r i s ing f rom t h e c h i m n e y , a n d d e c i d e d t h a t a s long a s s o m e o n e w a s
a l r e a d y h e a t i n g w a t e r t h e y m i g h t a s wel l go in a n d h a v e a s o a k t h e m -
se lves . T h e y p u t d o w n t h e i r l o a d s a n d w e n t i n t o f i n d t w o old m o n k s i n
t he b ig t u b . O n e o f t h e m s e e m e d to h a v e some sor t o f p a i n i n his b u t t .
T h e m o n k s w a n t e d t o k n o w w h o t h e t w o m e n w e r e , b u t t h e m e n , for
t he i r p a r t , no t i ced t h a t t h e b a t h s h e d s t a n k to h igh h e a v e n — so h o r r i b l y ,
5 2
in fact, t h a t t h e y b o t h i n s t an t l y go t a sp l i t t ing h e a d a c h e . Terr i f ied , t h e y
e s c a p e d a s fast a s t h e y c o u l d .
L a t e r o n t h e J a p a n e s e t e n g u p o s s e s s e d s o m e o n e a n d told t he w h o l e
s t o r y .
3 5 .
THE INVINCIBLE PAIR
In S a n u k i p r o v i n c e t h e r e still i s a l a rge b o d y o f w a t e r n a m e d M a n o P o n d
t h a t K o b o D a i s h i m a d e ou t o f k i n d n e s s t o w a r d the p e o p l e w h o live
n e a r b y . I t i s so big , a n d t h e d i k e s a r o u n d i t a r e so h igh , t h a t i t looks m o r e
l ike a l ake t h a n a p o n d . Its d e e p w a t e r s h a r b o r c o u n t l e s s fish g rea t a n d
smal l , a n d a t t h e b o t t o m t h e r e o n c e l ived a d r a g o n .
O n e d a y th i s d r a g o n c a m e ou t o f t h e w a t e r t o s u n himself, a n d sli th-
e r e d a r o u n d on an i so la ted sec t ion of t h e d ike in t he s h a p e of a little
s n a k e . J u s t t h e n t h e t e n g u o f M o u n t H i r a , far off in O m i p r o v i n c e , f l ew
o v e r in t h e fo rm of a k i t e . He d o v e a t t h e little s n a k e , c a u g h t h im in his
t a l o n s , a n d s o a r e d u p a g a i n in to t h e sky .
A d r a g o n is, of c o u r s e , i m m e n s e l y s t r o n g , bu t th is o n e h a d been t a k e n
so s u d d e n l y t h a t all he c o u l d do w a s h a n g in t h e t e n g u s c l aws . T h e t e n g u
for h i s p a r t m e a n t t o c r u s h t h e s n a k e a n d eat h im, bu t t h a t t u r n e d ou t t o
be i m p o s s i b l e s ince , a f ter all, i t w a s a m i g h t y d r a g o n he h a d se ized a n d
n o w e a k l i n g s e r p e n t . N o t k n o w i n g q u i t e w h a t else t o d o , t h e t e n g u t ook
t h e d r a g o n b a c k to his lair on M o u n t H i r a a n d stuffed h im in to a hole in
t h e r o c k s s o smal l t h a t t h e d r a g o n cou ld h a r d l y m o v e . T h e p o o r d r a g o n
w a s m i s e r a b l e . N o t h a v i n g a d r o p o f w a t e r h e cou ld no t f l y a w a y , a n d
for s e v e r a l d a y s he lay t h e r e w a i t i n g to d ie .
M e a n w h i l e t h e t e n g u w a s p l a n n i n g a little fo ray to M o u n t Hiei t o
c a t c h h imse l f a n ice fat m o n k . T h a t n igh t he p e r c h e d in a tall t r ee a n d
k e p t h is e y e s on t h e d o r m i t o r y a c r o s s t he va l ley on t h e s ide of t he hill. A
m o n k c a m e o u t o n t h e v e r a n d a t o re l ieve himself. W h e n h e p i c k e d u p the
w a t e r j a r t o w a s h his h a n d s , t he t e n g u p o u n c e d , se ized h im, a n d ca r r i ed
h im off to M o u n t H i r a , w h e r e he s tuffed h im in to t he hole wi th the
d r a g o n . T h e te r r i f ied m o n k t h o u g h t h e w a s d o n e for, b u t t he t e n g u w e n t
off a g a i n .
F r o m o u t o f t h e d a r k n e s s a vo ice a s k e d , " W h o a r e y o u ? W h e r e did
y o u c o m e f r o m ? " T h e m o n k e x p l a i n e d w h a t h a d h a p p e n e d — s o s u d d e n l y
t ha t h e still h a d his w a t e r j a r — a n d a s k e d w h o h a d s p o k e n . T h e d r a g o n
i n t r o d u c e d h imse l f a n d to ld his o w n s to ry . " I t ' s v e r y t igh t i n th i s ho le ,
y o u k n o w , " he g r o a n e d , " b u t I c a n ' t f ly a w a y b e c a u s e I h a v e n ' t a d r o p of
w a t e r !
" M a y b e t h e r e ' s s o m e left i n th i s j a r , " s u g g e s t e d t he m o n k .
" O h , h o w w o n d e r f u l ! W h a t l uck y o u ' r e h e r e ! I f t h e r e is, I c a n save u s
b o t h . I'll t a k e y o u b a c k h o m e ! "
W i t h j o y o u s a n t i c i p a t i o n t h e m o n k t u r n e d t h e j a r u p s i d e d o w n o v e r
t h e d r a g o n a n d a d r o p o f w a t e r fell o u t . T h e d r a g o n w a s w e t .
"All r i g h t , " sa id t h e d r a g o n , " d o n ' t b e afra id . J u s t c lose y o u r eyes a n d
sit on my b a c k . I'll n e v e r forge t w h a t I o w e y o u . "
T h e d r a g o n t u r n e d in to a smal l boy , t o o k t h e m o n k on his b a c k ,
s m a s h e d t h e r o c k wa l l s o f t h e i r ho le , a n d b u r s t for th a m i d t h u n d e r c l a p s
a n d bo l t s o f l i g h t n i n g . H u g e c l o u d s g a t h e r e d i n t h e sky a n d h e a v y r a in
fell. T h e m o n k w a s f r i g h t e n e d b u t t r u s t e d t h e d r a g o n e n o u g h t o h a n g o n .
H e w a s d e p o s i t e d i n s t a n t l y r igh t w h e r e h e h a d s t a r t ed , o n t h e v e r a n d a o f
his d o r m i t o r y o n M o u n t H i e i . T h e d r a g o n f l e w off.
W i t h all t h e c r a s h i n g a n d r o a r i n g , t h e o t h e r r e s iden t s o f t h e d o r m i t o r y
w e r e s u r e t h a t a n y s e c o n d a bo l t w o u l d d e s t r o y t h e m . T h e n s u d d e n l y t h e
t h u n d e r s t o p p e d a n d b l a c k n e s s fell. W h e n the sky c lea red , t h e y d i scov-
e r e d t h e i r c o l l e a g u e w h o h a d v a n i s h e d t h e o t h e r n igh t , a n d h e a n s w e r e d
t he i r a s t o n i s h e d q u e s t i o n s b y te l l ing t h e m his s to ry .
T h e d r a g o n p u r s u e d t h e t e n g u e v e r y w h e r e i n s e a r c h o f r e v e n g e . A t
last w h e n t h e t e n g u w a s c r u i s i n g t h e s t r ee t s o f t h e Cap i t a l , d i sgu i sed a s a
w a r r i o r - m o n k so l ic i t ing d o n a t i o n s for his t emp le , t h e d r a g o n s w o o p e d
d o w n a n d kil led h im w i t h o n e b l o w . S u d d e n l y t he t e n g u w a s a kes t r e l
w i t h a b r o k e n w i n g , a n d h e w a s t r a m p l e d u n d e r f o o t b y t he p a s s e r s b y .
O n M o u n t H ie i t h e m o n k r e p a i d his d e b t b y r e a d i n g t h e s u t r a s fai th-
fully on behalf of h is f r iend t h e d r a g o n . E a c h h a d s a v e d the o t h e r ' s life —
su re ly t h e r e su l t o f a d e e p k a r m i c b o n d b e t w e e n t h e m in l ives g o n e by .
RAIN
In N a r a t h e r e u s e d to be a t e m p l e ca l led Ryuenj i , o r T e m p l e o f t h e
D r a g o n G a r d e n . T h e s ingle m o n k w h o l ived t h e r e s e r v e d the L o t u s
S u t r a , e x p o u n d i n g a c h a p t e r a d a y a n d c h a n t i n g its t e x t . A d r a g o n ,
5 A
m o v e d by t h e c h a n t i n g , w o u l d c o m e in h u m a n Form e v e r y d a y to listen,
a n d w h e n t h e m o n k found o u t w h o his v i s i tor w a s t he t w o b e c a m e fast
f r i ends .
T h e n a d r o u g h t s t r u c k . W i t h o u t ra in t h e c r o p s w i t h e r e d a n d d ied , till
n o b l e s a n d c o m m o n e r s a l ike faced t e r r i b l e suffer ing . T h e e m p e r o r got a
pe t i t i on r e m i n d i n g h im a b o u t t h e m o n k a n d the d r a g o n (for the i r fr iend-
s h i p h a d b e c o m e w i d e l y k n o w n ) a n d s u g g e s t i n g tha t t he m o n k b e c o m -
m a n d e d t o h a v e t h e d r a g o n m a k e r a in .
T h e e m p e r o r ca l led in t h e m o n k a n d m a d e h im a little s p e e c h a t t he
e n d o f w h i c h he g a v e his o r d e r . " W h e n t h e d r a g o n c o m e s for y o u r dai ly
s e r m o n , " he sa id , " y o u ' r e g o i n g to d i r ec t h im to m a k e ra in . I'll ban i sh
y o u f rom J a p a n fo reve r i f y o u d o n ' t . "
T h e m o n k w a s v e r y u p s e t . W h e n h e go t h o m e h e e x p l a i n e d the s i tua-
t ion to t h e d r a g o n , w h o sa id he w o u l d g l ad ly g ive his life for his friend in
t h a n k s for all t h e S u t r a h a d d o n e for h im o v e r t h e y e a r s . " B u t / d o n ' t
g o v e r n t h e r a i n , " he w e n t o n . " K i n g B o n d e n d e c i d e s t he se t h i n g s . I f I
o p e n t h e g a t e o f t h e ra ins my h e a d will f ly . I'll do it, t h o u g h . Ra in will
fall th ree d a y s f rom n o w , a n d I'll be ki l led. P lease , p ick up my b o d y ,
b u r y it, a n d bu i ld a t e m p l e o v e r it. You ' l l find i t in t he p o n d w h i c h i s up
in t h e hills in t h e w e s t e r n p a r t o f H e g u r i c o u n t y . A n d t h e r e a r e t h r e e
o t h e r p l a c e s I'll visi t on my w a y t h e r e . Bui ld a t e m p l e in each o n e . "
D e s p i t e his s o r r o w , t h e m o n k cou ld no t i gno re t he imper ia l o r d e r . H e
a g r e e d t o t h e d r a g o n ' s last r e q u e s t , a n d the t w o p a r t e d i n t e a r s .
O n l e a r n i n g w h a t t h e d r a g o n h a d sa id , H i s M a j e s t y looked f o r w a r d
w i t h relief t o r a in . S u r e e n o u g h , o n t he p r o m i s e d d a y the sky c l o u d e d
ove r , t h e r e w a s t h u n d e r a n d l i gh tn ing , a n d h e a v y rain fell for t h r e e d a y s
a n d n i g h t s . N o w t h a t t h e r e w a s p l e n t y o f w a t e r aga in t h e c r o p s r i pened
a n d all w a s we l l . T h e e m p e r o r a n d his p e o p l e w e r e v e r y h a p p y .
T h e m o n k f o u n d t h e p o n d in t h e hills w h e r e he h a d been told to look.
T h e f r a g m e n t s o f t h e d r a g o n ' s d i s m e m b e r e d b o d y f loa ted in its r e d d e n e d
w a t e r s . W e e p i n g , t h e m o n k b u r i e d t h e m a n d built o v e r t h e m a t e m p l e
ca l led Ryuka i j i , o r T e m p l e o f t he D r a g o n L a k e ; a n d he e x p o u n d e d the
L o t u s S u t r a t h e r e da i ly for h is f r iend. W i t h t he e m p e r o r ' s he lp he buil t
t h r e e o t h e r t e m p l e s too , a s h e h a d p r o m i s e d t o d o . T h e s e w e r e Ryushin j i ,
T e m p l e o f t h e D r a g o n M i n d ; Ryu ten j i , T e m p l e o f t he D r a g o n H e a v e n ;
a n d Ryuo j i , T e m p l e o f t h e D r a g o n K i n g . A n d all his life t he m o n k
c h a n t e d t h e S u t r a for t he d r a g o n ' s final e n l i g h t e n m e n t .
3 7 •
I t h a d no t b e e n T h e N o s e ' s d a y .
NO DRAGON
Ein , a m o n k in N a r a , h a d a b ig , r ed n o s e . At f i rs t p e o p l e cal led h im " E i n
t he R e d - N o s e d C l e r i c , " b u t s h o r t e n e d i t l a t e r t o " E i n R e d - N o s e " a n d
f i n a l l y t o jus t " T h e N o s e . "
L e g e n d h a s i t t h a t a d r a g o n l ives in S a r u s a w a P o n d , by Kofukuj i ' s
G r e a t S o u t h G a t e r igh t o n t h e e d g e o f N a r a . I n his y o u t h T h e N o s e
p o s t e d a no t i ce b e s i d e t h e p o n d , a n n o u n c i n g tha t on s u c h - a n d - s u c h a
d a t e t h e d r a g o n w o u l d r ise f rom t h e p o n d i n b r o a d day l igh t . T h e p a s -
s e r s b y w h o r e a d i t w e r e i n t r i g u e d , a n d t h e w o r d b e g a n t o ge t a r o u n d .
T h e r e s u l t i n g r u m o r g r e a t l y t i ck l ed T h e N o s e , w h o af ter all h a d s t a r t e d
i t himself, a n d he w a s a m u s e d a t p e o p l e ' s fool i shness . Reso lv ing to see
t h e j oke t h r o u g h , h e w e n t o n p r e t e n d i n g h e k n e w n o t h i n g a b o u t t h e
no t i ce .
A s t h e d a y d r e w n e a r , t h e r u m o r a b o u t t h e d r a g o n a t t r a c t e d c r o w d s
no t o n l y f rom n e a r b y b u t e v e n f rom t h e n e i g h b o r i n g p r o v i n c e s . T h e N o s e
w a s i m p r e s s e d . " W h a t are t h e y all h e r e f o r ? " h e w o n d e r e d . " H o w v e r y
s t r a n g e ! P e r h a p s s o m e t h i n g rea l ly will h a p p e n ! " B u t h e w e n t o n l o o k i n g
a s i n n o c e n t a s e v e r .
O n t h e d a y , t h e s t r e e t s w e r e s o j a m m e d tha t even T h e N o s e b e g a n t o
t a k e t h e s t o r y s e r i o u s l y . S i n c e a p p a r e n t l y t h e d r a g o n uw.i g o i n g to r ise ,
h e w a n t e d t o g o a n d w a t c h . O f c o u r s e i t w a s imposs ib le t o get a n y w h e r e
n e a r t h e p o n d , s o i n s t e a d h e c l i m b e d u p o n t h e f o u n d a t i o n s o f t h e G r e a t
S o u t h G a t e , w h i c h s t a n d s o n a h igh e m b a n k m e n t . G a z i n g ou t o v e r t h e
p o n d a n d t h e w h o l e e n o r m o u s t h r o n g , h e w a i t e d eage r ly for t h e d r a g o n
t o a p p e a r .
T h e v e r y idea! B y s u n s e t t h e r e w a s still n o d r a g o n . W h e n n igh t fell,
T h e N o s e h a d t o g ive u p . H e w a s c r o s s i n g a little b r i d g e o n the w a y
h o m e w h e n h e n e a r l y b u m p e d in to a b l ind m a n . " G o o d n e s s , " h e ex-
c l a imed , " y o u s h o u l d n ' t b e o u t i n t h e d a r k l ike th i s ! W h y , y o u can ' t see
t he h a n d in f ront o f y o u r f a c e ! "
" T h e n o s e , " t h e b l ind m a n c o r r e c t e d h im, " Y o u m e a n y o u can ' t see t h e
node."
T h e V e n e r a b l e S h o k u o f M o u n t S h o s h a h a d f o u n d e d a g r e a t t e m p l e a n d
i n s p i r e d c o u n t l e s s p e o p l e to fa i th . He w a s in fact a sa in t , a n d by c h a n t i n g
t h e L o t u s S u t r a h a d g a i n e d a w o n d e r f u l f r eedom from t h e t y r a n n y o f t he
s e n s e s . B u t t h e t h o u g h t o f t h e B o d h i s a t t v a F u g e n , w h o p l ays i n t h e S u t r a
so g r a n d a ro le , still f i l l ed his m i n d , a n d he k n e w he w o u l d h a v e no p e a c e
un t i l h i s o w n e y e s h a d seen F u g e n i n t h e f l e s h .
Af t e r s e v e n d a y s s p e n t p r a y i n g for t h i s b o o n , h e f i n a l l y saw, a t d a w n
on t h e las t d a y , a d i v i n e b o y w h o to ld h im, " L o o k a t t h e chief ha r lo t o f
M u r o . S h e i s t h e t r u e F u g e n . "
T h i s n e w s a s t o n i s h e d S h o k u , b u t h e h u r r i e d t o t h e little p o r t w h i c h , a s
he we l l k n e w , w a s f a m o u s for i ts w h o r e s . I t w o u l d be o d d , t h o u g h , for a
m o n k in h i s b l a c k r o b e to e n t e r a b r o t h e l , so he c h a n g e d in to a plain
w h i t e g a r m e n t . I n M u r o h e f o u n d t h e h o u s e , a n d the ha r lo t c a m e ou t t o
g r e e t h i m . T h e n s h e p o u r e d h im w i n e a n d d a n c e d t o a s ing ing-g i r l ' s s o n g :
Down in Suo
among the marshes
of Mitarashi
the swift winds blow
s h e s a n g , a n d h e r g i r l s t o o k u p t h e re f ra in ,
and waves are (lancing,
look!
the pretty waves!
" S o t h i s i s t h e l iv ing F u g e n ! " t h o u g h t S h o k u . C los ing his eyes t o
c o n t e m p l a t e q u i e t l y t h e p r e s e n c e o f his b e l o v e d b o d h i s a t t v a , h e n o w s a w
F u g e n p e r f e c t l y rea l b e f o r e h im, e x q u i s i t e l y a d o r n e d , r a d i a t i n g w i s d o m
3 8 .
THINGS AS THEY ARE
5 6
P U R E
H E A R T S
a n d k i n d n e s s , a n d m o u n t e d o n his c u s t o m a r y w h i t e e l e p h a n t . F u g e n w a s
s i ng ing :
On the great jea of truth unsullied,
how brightly the moon of pure insight shines!
W h e n h e o p e n e d his e y e s a g a i n , t h e r e w a s t h e h a r l o t s i n g i n g a b o u t
w a v e s d a n c i n g i n t h e w i n d ; w h e n h e c losed t h e m , t h e r e w a s F u g e n .
D e e p l y a w e d , h e finally t o o k his l eave .
H e h a d no t g o n e m o r e t h a n a h u n d r e d y a r d s w h e n t h e h a r l o t d i e d .
3 9 .
THE PORTRAIT
R e t i r e d E m p e r o r K a z a n t h o u g h t s o m u c h o f t h e V e n e r a b l e S h o k u t h a t
h e o n c e t o o k a p a i n t e r w i t h h im t o M o u n t S h o s h a . T h e p a i n t e r w a s
s u p p o s e d t o h i d e w h e r e h e c o u l d ge t a g o o d look a t t he ho ly m a n , t h e n
p a i n t h is p o r t r a i t w h i l e h e a n d K a z a n t a l k e d . A s t h e p a i n t e r w o r k e d , t h e
m o u n t a i n r u m b l e d a n d s h o o k — i n r e s p o n s e , a s t h e a s t o n i s h e d K a z a n
i m m e d i a t e l y r ea l i zed . K a z a n con fe s sed his p l a n t o S h o k u a n d r e v e r e d
h im e v e n m o r e af ter t h a t .
N o w , t h e p a i n t e r h a d n e g l e c t e d to p u t i n a few mole s on S h o k i i ' s face .
O n e t r e m o r , w h i c h a l m o s t m a d e h im d r o p his b r u s h , s h o o k severa l d r o p s
o f i nk off o n t o t h e p o r t r a i t . T o e v e r y o n e ' s a m a z e m e n t t h e y c o r r e s p o n d e d
p r e c i s e l y t o t h e m o l e s .
T h e p o r t r a i t i s still i n M o u n t S h o s h a ' s t r e a s u r e hal l .
A o •
WHAT THE BEANS WERE SAYING
S h o k u , t h e h o l y m a n o f M o u n t S h o s h a , h a d a c h i e v e d t h e h i g h e s t s a n c t i t y
b y c o n t i n u a l l y c h a n t i n g t h e L o t u s S u t r a , a n d h e t ook i n t h r o u g h all h is
s e n s e s t h i n g s t h a t o r d i n a r y p e o p l e n e v e r p e r c e i v e . O n c e i n his t r a v e l s h e
5 8
h e a r d a po t o f b e a n s b u b b l i n g o v e r a f i re o f b e a n h u s k s . " B r u t e s , b r u t e s , "
t h e b e a n s i n t h e p o t w e r e s a y i n g , " y o u ' r e b r u t e s t o boil us , for w e ' r e
b e a n s t o o ! " B u t t h e h u s k s w e r e c r a c k l i n g b a c k , " W e ha t e t o d o i t bu t w e
m u s t ! I t h u r t s u s so ! O h , d o n ' t b l a m e u s ! "
4 » •
MERCY
O n c e a q u i t e o r d i n a r y m o n k , t i red o f life in t he C a p i t a l , v o w e d to m a k e
a h u n d r e d p i l g r i m a g e s ( o n e e a c h d a y ) from K y o t o t o t h e H i e S h r i n e a n d
b a c k . O n his w a y h o m e o n t h e e igh t i e th d a y , h e p a s s e d a y o u n g w o m a n
s o b b i n g a s t h o u g h h e r h e a r t w o u l d b r e a k . H e r v io len t s o r r o w m o v e d him
t o a s k h e r w h a t w a s t h e m a t t e r .
" N o , n o , I c a n see y o u ' r e a p i l g r i m ! " s h e c r i ed . " I c an ' t tell y o u , I
r ea l ly c a n ' t ! "
H e ins i s t ed s o k i n d l y t h a t s h e s p o k e a t last . " M y m o t h e r w a s sick for
s o l o n g , " s h e sa id , " a n d th i s m o r n i n g s h e f i n a l l y d ied . T h a t ' s b a d e n o u g h ,
b u t t h e w o r s t i s t h a t I 've no i dea w h a t I 'm g o i n g t o do w i t h he r b o d y . I 'm
a w i d o w , y o u see , a n d I 've no o n e to ask for he lp . B e i n g a w o m a n , I 'm
n o t s t r o n g e n o u g h t o m a n a g e i t a l o n e . M y n e i g h b o r s ta lk a b o u t h o w
s o r r y t h e y a r e , b u t t h e y ' r e s o b u s y n o w w i t h fest ivals for t he g o d s t h a t
I 'm s u r e t h e y w o n ' t rea l ly d o a n y t h i n g . I jus t d o n ' t k n o w w h e r e t o t u r n ! "
S h e b u r s t i n to fresh w e e p i n g .
T h e m o n k u n d e r s t o o d , a n d felt s o m u c h for h e r t ha t h e t o o h a d t e a r s
i n his e y e s . H e k n e w t h e g o d s e n t e r th i s d i n g y w o r l d o f o u r s on ly b e c a u s e
t h e y t a k e p i t y o n u s , a n d h e d id no t see h o w h e co u l d s imply i gno re h e r
p l i gh t . " I ' v e n e v e r d o n e m u c h i n t h e w a y o f g o o d d e e d s , " h e ref lec ted .
" L o o k u p o n m e , O b u d d h a s ! O y o u g o d s , forgive me n o w ! " A n d t o t h e
gir l he c o n t i n u e d a l o u d , " D o n ' t be so sad . I'll h e l p y o u a s bes t I c a n . We
s h o u l d g o in s ide , p e o p l e m a y w o n d e r a b o u t u s . " T h r o u g h h e r t ea r s t he
y o u n g w o m a n smi l ed a s s e n t .
T h a t n igh t , i n t h e d a r k , t h e y t o o k t h e b o d y w h e r e i t h a d t o go . B u t
w h e n t h e d e e d w a s d o n e , t h e m o n k cou ld no t ge t t o s l eep . H e kep t
t h i n k i n g a b o u t t h e e i g h t y d a y s o f p i l g r i m a g e h e h a d t h r o w n a w a y , a n d
a b o u t w h a t a p i t y i t w a s t o h a v e t o s t o p n o w . W e l l , h e h a d n e v e r m e a n t
t o g a i n a n y t h i n g spec ia l b y his h u n d r e d d a y s a n y w a y , s o h e migh t a s wel l
go b a c k t o t h e s h r i n e a n d see h o w t h e g o d felt a b o u t it. T h e po l lu t i on o f
b i r t h o r d e a t h w a s superf ic ia l e n o u g h , af ter all, a n d no t m u c h c o n n e c t e d
w i t h o n e ' s real s t a t e o f m i n d . S o t h e n e x t m o r n i n g h e w a s h e d a n d set o u t
for t h e s h r i n e . All t h e w a y t h e r e his h e a r t bea t fast b e c a u s e ac tua l ly he
w a s a f ra id .
A l a rge c r o w d be fo re t h e s h r i n e w a s l i s ten ing to a m e d i u m de l ive r
o r ac l e s f rom t h e g o d . N o t d a r i n g t o g o nea r , t he p o l l u t e d m o n k h id
i n s t ead s o m e d i s t a n c e a w a y to pray on his o w n . He w a s g lad a t least t o
h a v e c o m e a n d no t mi s sed a d a y .
T h e m e d i u m s p o t t e d h im l eav ing . " Y o u m o n k t h e r e , c o m e h e r e ! " s h e
ca l led .
I t w a s a n awful s h o c k , b u t t h e r e w a s n o e s c a p e for h im n o w . S h i v e r i n g
w i t h d r e a d h e o b e y e d , u n d e r t h e s u s p i c i o u s g a z e o f t h e w h o l e c r o w d .
T h e m e d i u m b r o u g h t h im v e r y c lose . " I s a w w h a t y o u d id last n i g h t ! "
she w h i s p e r e d .
T h e ha i r s t o o d o n e n d all o v e r his b o d y a n d h e t h o u g h t h e w a s g o i n g
to faint .
" D o n ' t b e a f r a i d , " s h e w e n t o n . " I t h o u g h t i t w a s w o n d e r f u l ! I 'm no t
really o n l y a g o d , y o u k n o w . I t ' s c o m p a s s i o n t h a t b r o u g h t me h e r e . I w a n t
p e o p l e to be l i eve t h e T e a c h i n g . T a b o o s a r e jus t a w a y o f g o i n g a b o u t it,
a s a n y o n e e n l i g h t e n e d k n o w s . D o n ' t tell a n y o n e else, t h o u g h . P e o p l e a r e
s o fool ish. T h e y w o n ' t u n d e r s t a n d t h a t y o u rea l ly a c t e d from d e e p m e r c y ,
they ' l l t h i n k t h e y t o o c a n b r e a k t h e t a b o o w h e n e v e r t h e y w a n t , w h i c h
m e a n s t h a t they ' l l j u s t ge t all m i x e d up a n d ru in t h e t i ny bi t o f faith t h e y
h a v e . I t ' s n o t t h e r u l e s t h a t rea l ly c o u n t , i t 's t he p e r s o n . "
T h e m o n k w a s m o v e d t o t e a r s , a n d af ter t h a t w a s often i n sp i r ed t o a c t s
o f spec ia l k i n d n e s s .
4 * •
AMONG THE FLOWERS
Sa igyo , a m o n k a n d a w o n d e r f u l poe t , w a s r o a m i n g t h e E a s t w h e n o n e
n igh t i n br i l l i an t m o o n l i g h t he c r o s s e d M u s a s h i n o P la in . T h e c a r p e t o f
f l o w e r s h e t r o d w a s s p a r k l i n g w i t h d e w , a n d insect m u r m u r s m i n g l e d
w i t h t h e s i g h i n g o f t h e w i n d . F a r o u t o n t he m o o r h e h e a r d a c h a n t i n g
vo ice .
6 0
H e a d i n g t h a t w a y , he c a m e to a h u t h e d g e d w i t h p ink , n o d d i n g bagi
a n d y e l l o w v a l e r i a n , a n d c h a r m i n g l y t h a t c h e d wi th p a m p a s g ra s s , p l u m e
g r a s s , a n d r e e d s . I n s ide a h o a r s e - v o i c e d old m a n w a s c h a n t i n g the L o t u s
S u t r a .
S a i g y o a s k e d h im w h o h e w a s .
" I u s e d t o s e r v e E m p e r o r S h i r a k a w a ' s y o u n g e s t d a u g h t e r , " the old
m a n r ep l i ed . " S h e w a s on ly t w e n t y w h e n s h e d ied , a n d af ter t ha t I felt I
w a n t e d no m o r e of t h e w o r l d . I t o o k up a life of re l igion. L o n g i n g to live
w h e r e no o n e w o u l d f ind me , I w a n d e r e d off w i t h o u t a n y goal till I c a m e
h e r e , a n d t h e f lowers w e r e so beau t i fu l t h a t I s t ayed . T h a t w a s m a n y
y e a r s a g o . T h e f lowers o f fall, my favor i tes , l inger in my mind w h e n all
t h e f l ower s a r e g o n e . Y e s , I love t h e f lowers so m u c h tha t I 'd say I have
n o c a r e s !
T e a r s s p r a n g t o S a i g y o ' s eyes . " B u t h o w d o y o u l i v e ? " h e a s k e d .
" O h , I d o n ' t w a s t e m y t ime g o i n g r o u n d t h e vi l lages b e g g i n g . Peop le
b r i n g me food i f t h e y w a n t t o . S o m e t i m e s I go w i t h o u t for d a y s a t a t ime .
I w o u l d n ' t w a n t to m a k e a f i r e h e r e a m o n g t h e f lowers , so y o u c o u l d n ' t
call w h a t I e a t p r o p e r mea l s a t a l l . "
W a s e v e r a m a n ' s h e a r t m o r e w o n d e r f u l l y p u r e ?
M U S I C A N D D A N C E
4 3 .
FOR LOVE OF SONG
On a fest ival d a y a t T e n n o j i a r o u n d 1202, w h e n the t e m p l e ' s f amous
re l ics o f t h e B u d d h a w e r e t o b e b r o u g h t o u t a s u sua l for t he p i lg r ims , t he
d i v i n e p o w e r s r e fused to let t h e d o o r s o f t h e r e l i q u a r y o p e n . A p p a r e n t l y
s o m e o n e i n t h e c r o w d w a s u n c l e a n . T h e p r i e s t s h a d t h e p e o p l e s t ep b a c k
a l i t t le , b u t still t h e d o o r s c o u l d no t be b u d g e d .
" I s a n y o n e h e r e a g o o d s i n g e r o r d a n c e r ? " c r ied an old p r ies t . " I f so ,
n o w ' s t h e t i m e t o s h o w off y o u r a r t ! "
M i d d l e C a p t a i n M o r i m i c h i c a m e f o r w a r d a n d s a n g a kagura song , t h e
k ind s o of ten offered t o t h e g o d s . T h e r e l i q u a r y d o o r s o p e n e d i m m e d i -
a te ly . I t w a s s o l ike t h e t i m e w h e n the S u n G o d d e s s p u s h e d o p e n t h e
d o o r o f h e r H e a v e n l y R o c k C a v e , a n d l ight aga in b u r s t u p o n t h e w o r l d !
4 4 •
THREE ANGELS
T h e ve r sa t i l e M a k o t o , a s o n o f E m p e r o r S a g a a n d t h e M i n i s t e r o f t h e
Left, w a s a n espec ia l ly fine m u s i c i a n . O n t h e long, m e l l o w - s o u n d i n g
z i t he r ca l led t h e koto, no o n e cou ld c o m p a r e w i t h h im . O n e e v e n i n g he
b e c a m e so a b s o r b e d in his p l a y i n g t h a t he w e n t on all n ight , n e v e r even
c lo s ing t h e l a t t i c e w o r k s h u t t e r s t h a t s w u n g u p h o r i z o n t a l l y t o o p e n o n t o
t h e g a r d e n . F ina l ly , n e a r d a w n , he b e g a n a r a r e a n d difficult p i ece . H i s
o w n h e a r t swe l l ed w i t h t h e w o n d e r a n d b e a u t y o f t h e m u s i c . N o t i c i n g a
l ight o v e r o n e of t h e s h u t t e r s he s tole ou t , myst i f ied, for a look . T h r e e
ange l s , e a c h a foot tall , w e r e d a n c i n g on the s h u t t e r a n d the l ight w a s
t he i r s h i n i n g p r e s e n c e . T h e y h a d c o m e d o w n t o h e a r h i m ! H e w a s f i l l e d
w i t h a t e n d e r a w e .
W h a t a love ly t h i n g t o h a v e h a p p e n !
4 5 .
GIVE ME MUSIC!
T h e m o n k R i n ' e l ived i n N a r a i n E m p e r o r Ichi jo 's t ime . T h e g o d w h o
p r o t e c t e d his t e m p l e , Kofukuj i , w a s a t t h e K a s u g a S h r i n e n e a r b y .
O n e day , af ter p r e s i d i n g o v e r a n espec ia l ly so l emn r i te , R i n ' e c a m e t o
t h e s h r i n e a n d m e d i t a t e d a w h i l e . H e r e v i e w e d i n his m i n d a s h e d id s o
t h e full r a n g e of his s a c r e d l e a r n i n g a n d offered i t all to t h e g o d w h o , he
w a s s u r e , cou ld o n l y b e p l e a s e d .
6 2
S u d d e n l y t h e s h r i n e a t t e n d a n t s b e g a n m a k i n g m u s i c for t he g o d w i t h
d r u m s a n d be l l s . R i n ' e f r o w n e d . " T h i s i s all v e r y w e l l , " h e t h o u g h t , " b u t
I c a n ' t h a v e t h e m m a k i n g s u c h a r a c k e t w h i l e I 'm offer ing t he g o d t h e
B u d d h a ' s o w n w i s d o m . I f I e v e r ge t to be a b b o t , I'll see t h a t th is sor t o f
t h i n g d o e s n ' t h a p p e n a g a i n . "
W h e n R i n ' e d i d b e c o m e a b b o t h e s i lenced t h e m u s i c , a n d t h e sh r ine
b e c a m e s o co ld a n d lifeless t h a t p e o p l e w e r e afraid t o c o m e n e a r it. N o
o n e c o m p l a i n e d b e c a u s e R i n ' e w a s s o p o w e r f u l .
H a v i n g r e a c h e d t h e p i n n a c l e of g lo ry in thii life, R in ' e finally b e g a n a
s e v e n - d a y r e t r e a t a t t h e s h r i n e to p r a y , w i t h m a n y a hear t fe l t t ea r , for t he
g o d ' s p r o t e c t i o n o n t h e p a t h t o e n l i g h t e n m e n t i n t h e life t o c o m e . W h e n
t h e g o d g a v e n o a n s w e r i n g s ign , h e s t a y e d o n a n o t h e r seven d a y s .
A t d a w n on t h e last d a y he d o z e d off a m o m e n t a n d s a w a g e n t l e m a n
i n fo rma l c o u r t d r e s s e m e r g e f rom t h e s a n c t u a r y . T e a r s o f g r a t i t u d e
s p r a n g t o R i n ' e s eyes b e c a u s e th i s w a s s u r e l y t h e g o d c o m i n g t o g r a n t
h im h is p r a y e r . B u t w h e n t h e g e n t l e m a n h a d c o m e far e n o u g h d o w n the
s a n c t u a r y s t e p s for R i n ' e t o see his face, h is e x p r e s s i o n t u r n e d ou t t o be
a n a n g r y s c o w l . Af ra id n o w , R i n ' e h u r r i e d l y r e m i n d e d the g o d o f his
b l a m e l e s s life a n d his c o u n t l e s s m e r i t s , a n d he p r o t e s t e d b e w i l d e r m e n t a t
t h i s d i s p l a y o f d i v i n e w r a t h .
F o r s o m e t ime t h e g o d j u s t g l a r ed a t h i m . T h e n h e sa id :
The drums' lively beat resounds in the palace of truth.
In wisdom \i mirror may be seen the lightly shaken bells.
A n d h e v a n i s h e d .
T h e hor r i f i ed R i n ' e r u e d his folly. Before l eav ing , he careful ly o r d e r e d
t h a t t h e d r u m s a n d be l l s s h o u l d n e v e r a g a i n b e s i lenced for a n y r e a s o n
w h a t s o e v e r .
A 6 •
THE WEIGHT OF TRADITION
H a r u t o , a d a n c e r f rom N a r a , b e l o n g e d to a family t h a t h a d spec ia l ized
g e n e r a t i o n a f te r g e n e r a t i o n in p e r f o r m i n g t h e n o b l e d a n c e Genjoraku.
U n f o r t u n a t e l y , he fell ill a n d d i ed be fo re he co u l d t e a c h the d a n c e to his
s u c c e s s o r .
S i n c e i t w a s la te s u m m e r a n d still ho t , his coffin w a s h u n g in a t r e e in
H a h a s o W o o d . T w o o r t h r e e d a y s la te r , a w o o d c u t t e r p a s s i n g t h a t w a y
h e a r d g r o a n s f rom t h e t r e e a n d r e p o r t e d th i s d i s t u r b i n g i n c i d e n t t o t h e
p r i e s t s o f t h e n e a r b y t e m p l e .
F i n d i n g t h a t h e h a d c o m e b a c k t o life, H a r u t o ' s family t o o k h im h o m e
a n d l o o k e d a f te r h i m . T h i s i s w h a t h e to ld t h e m w h e n h e r e g a i n e d his
s e n s e s .
" I w e n t t o K i n g E m m a ' s p a l a c e i n hell , a n d w h i l e I w a s b e i n g j u d g e d
o n e o f t h e k i n g ' s officials o b s e r v e d , ' T h e d a n c e r H a r u t o , f rom J a p a n , h a s
b e e n ca l led h e r e be fo re he c o u l d p a s s on Genjdraku. T h a t m e a n s t h a t t h e
d a n c e will n o w d ie o u t i n h i s c o u n t r y . W e s h o u l d s e n d h im b a c k a n d call
h im in a g a i n w h e n h e ' s b e e n a b l e t o t e a c h i t t o his s u c c e s s o r . ' T h e o t h e r
officials a g r e e d , a n d I r ea l i zed I w a s to be s e n t h o m e . T h e n I c a m e t o . "
O n c e H a r u t o h a d t a u g h t t h e d a n c e t o his s u c c e s s o r , S u e t a k a , h e d i e d
a g a i n .
T h e f o u n d e r o f H a r u t o ' s l ine o r ig ina l ly go t t h e m a s k for Genjdraku
d i r ec t ly f rom h e a v e n . T h e m a s k ' s n a m e i s I b u r i , a n d t h e y say i t ' s n o w
o n e o f t h e t r e a s u r e s o f N a r a . I b u r i t oo , l ike t h e d a n c e itself, i s p a s s e d on
f rom g e n e r a t i o n t o g e n e r a t i o n . H o w w o n d e r f u l t h a t H a r u t o ' s t r a d i t i o n
s h o u l d a l so be p r i z e d a t K i n g E m m a ' s roya l p a l a c e i n hel l !
4 7 •
THE GOD OF GOOD FORTUNE
The b i w a u the East Asian coiuiin of the lute.
L o r d T a d a z a n e w a n t e d s o d e s p e r a t e l y t o b e a p p o i n t e d r e g e n t t h a t h e s en t
for a m o n k , a w o n d e r - w o r k e r , to do t h e D a k i n i r i te , h o p i n g its m a g i c
w o u l d ge t h i m t h e p r i z e . H e to ld t h e m o n k h e n e e d e d r e su l t s b y a c e r t a i n
d a t e .
" D o n ' t w o r r y , Y o u r E x c e l l e n c y , " r ep l i ed t h e m o n k , " t h e r i te h a s n e v e r
failed me y e t . I'll h a v e r e su l t s for y o u w i t h i n s even d a y s , a n d i f I d o n ' t
I'll go on a n o t h e r s e v e n . I f i t h a s n ' t w o r k e d by t h e n , Y o u r E x c e l l e n c y ,
y o u c a n s e n d m e s t r a i g h t i n to e x i l e . "
L o r d T a d a z a n e p r o v i d e d all t h e of fer ings a n d o t h e r necess i t i es , a n d
t h e m o n k b e g a n . Af te r s e v e n d a y s n o t h i n g h a d h a p p e n e d , a n d h e let t h e
m o n k k n o w h e w a s w o r r i e d .
6 4
" S e n d s o m e o n e t o o b s e r v e t h e r i te , Y o u r E x c e l l e n c y ! " t h e m o n k a n -
s w e r e d . " I t h i n k y o u r m a n will f ind t h e r e ' s g o o d r e a s o n t o b e op t imi s t i c . "
L o r d T a d a z a n e ' s r e p r e s e n t a t i v e s a w a fox, c o m p l e t e l y una f ra id o f t he
p e o p l e p r e s e n t , c o m e a n d ea t all t h e of fe r ings . S ince t h e D a k i n i r i te
i n v o l v e d fox m a g i c , t h i s w a s i n d e e d a hopefu l s ign .
T h e m o n k s t a r t e d a n o t h e r s e v e n - d a y p e r i o d , a s h e h a d p r o m i s e d t o d o .
On t h e c l o s i n g d a y T a d a z a n e d o z e d off for a m o m e n t a n d s a w a w o m a n
w a l k b y h i m w i t h t h r e e feet o f h e r magn i f i cen t ly l o n g ha i r t ra i l ing b e h i n d
h e r a l o n g t h e f l o o r . S h e w a s s o beau t i fu l t h a t w i t h o u t t h i n k i n g h e r e a c h e d
o u t a n d g r a b b e d h e r ha i r .
" D o n ' t d o t h a t ! " s h e c r ied , t u r n i n g b a c k t o look a t h im . " W h a t d o y o u
w a n t w i t h m e ? " H e r face a n d vo ice m i g h t j u s t a s wel l h a v e b e e n a n
a n g e l ' s , a n d t h e e n t h r a l l e d T a d a z a n e on ly he ld o n h a r d e r . W i t h a s h a r p
t o s s o f h e r h e a d s h e f reed he r se l f a n d p a s s e d o n . T a d a z a n e w a s horr i f ied
t o find t h a t h e still h a d h e r ha i r . T h e n h e w o k e u p . H i s h a n d w a s g r i p p i n g
a fox ' s ta i l .
A s t o n i s h e d , h e ca l led t h e m o n k a n d d e s c r i b e d w h a t h a d h a p p e n e d .
" I t o l d y o u , Y o u r E x c e l l e n c y , I t o ld y o u ! " t h e m o n k b u r b l e d . " O h , I
n e v e r d o u b t e d t h e r i t e w o u l d w o r k , b u t I m u s t say , i n all my y e a r s o f
e x p e r i e n c e i t ' s n e v e r w o r k e d q u i t e l ike t h i s ! You ' l l h a v e w h a t y o u w a n t
a t m i d d a y t o m o r r o w . P e r h a p s y o u w o n ' t h a v e t o exile m e af ter a l l ! "
T a d a z a n e lost no t i m e in m a k i n g h im t h e h a n d s o m e p r e s e n t o f a w o m a n ' s
r o b e .
T h e n e x t d a y a t n o o n L o r d T a d a z a n e ' s a p p o i n t m e n t w a s a n n o u n c e d .
He m a d e i t h i s f i r s t official ac t a s r e g e n t to n a m e the m o n k to a d is t in-
g u i s h e d ecc les ias t i ca l p o s t . As for t h e fox 's tail, he careful ly p u t i t a w a y .
T h e n h e se t a b o u t l e a r n i n g t h e D a k i n i r i te h imse l f a n d p e r f o r m e d i t
w h e n e v e r he h a d a spec ia l w i s h . T h e y s a y i t w o r k e d beaut i fu l ly for h im .
E v e n t u a l l y T a d a z a n e e n s h r i n e d t h e tail in a hall on M o u n t Hie i , o n e
a l r e a d y d e d i c a t e d to a h e a l i n g sp i r i t . B u t for o n e r e a s o n o r a n o t h e r
( p e r h a p s b e c a u s e th i s s h a r i n g of t h e hal l w a s no t a g o o d idea ) a special
s h r i n e w a s e v e n t u a l l y bu i l t for t h e tail d o w n i n t h e ci ty. T h e g o d w a s
g i v e n t h e n a m e F u k u t e n j i n , o r Celes t ia l G o d o f G o o d F o r t u n e . T h e
s h r i n e i s still t h e r e .
T h e m o s t c u r i o u s o f F u k u t e n j i n s m a n y w o n d e r s o c c u r r e d in 1229. I t
i n v o l v e d a m a n k n o w n as S a e m o n no J o , t h e son of a f o r m e r official in
E c h i z e n p r o v i n c e .
O n e e v e n i n g a t t w i l i g h t S a e m o n n o J o h a d jus t left his m a s t e r ' s res i -
d e n c e w h e n a t a n e a r b y c r o s s r o a d s h e s t o p p e d a n d exc l a imed , " O h , w h a t
beau t i fu l koto m u s i c ! " T h e n h e j u s t s t o o d t h e r e l i s t en ing . T h e m a n w i t h
h i m sa id h e h e a r d n o t h i n g . " W h a t a p i t y ! " sa id S a e m o n n o J o , r o o t e d t o
t h e s p o t i n f a sc ina t i on .
A s s o o n a s S a e m o n n o J o go t h o m e , s o m e t h i n g w e n t v e r y w r o n g i n his
ches t , a n d h e b e c a m e t e r r i b l y ill. H e a lso w e n t c o m p l e t e l y m a d a n d t r i ed
to r u s h off w e s t w a r d . I t t o o k s ix s t r o n g m e n to s t o p h im . T h e n he l eap t
h igh in t h e a i r , c a m e d o w n h e a d first, a n d hit t h e f loor so h a r d w i t h h i s
s h o u l d e r s t h a t i t l o o k e d a s t h o u g h h e w o u l d d a s h h imse l f t o p i eces .
A g e n t l e m a n n a m e d T a k a t o k i w a s t h e n r e n t i n g p a r t o f a m a n s i o n jus t
eas t o f t h e s ick m a n ' s h o u s e . W h e n S a e m o n n o J o n o w p o i n t e d i n t h a t
d i r e c t i o n a n d a g a i n s t r a i n e d t o r u s h off, his f a the r d e m a n d e d t o k n o w
w h e r e h e w a n t e d t o g o . " I s i t T a k a t o k i y o u w a n t t o s e e ? " h e a s k e d . T h e
s ick m a n n o d d e d y e s . " T h e n w h y no t ju s t let m e call h im o v e r ? " T h e s ick
m a n l o o k e d p l e a s e d a n d a g a i n n o d d e d y e s .
T h e f a the r w e n t o v e r t o T a k a t o k i ' s p l ace , e x p l a i n e d t h e s t r a n g e s i tua -
t ion t o h i m , a n d b r o u g h t h i m b a c k . A s s o o n a s t h e s ick m a n s a w T a k a -
tok i , he left off r a v i n g . V e r y q u i e t n o w , he p i c k e d up a formal ha t , p u t i t
o n ( h e w a n t e d t o b e p r o p e r l y d r e s s e d ) , a n d b o w e d d e e p l y t o T a k a t o k i .
N e x t , h e g l a r e d mean ing fu l ly a t t h e ha l f -dozen m e n w h o w e r e s t a t i o n e d
a r o u n d h i m . T h e y t o o k t h e h in t a n d w i t h d r e w . T h e f a the r m a d e h imse l f
a s i n c o n s p i c u o u s a s he c o u l d in a c o r n e r , b u t w h e n t h e s ick m a n g l a r e d
a t h i m i n t h e s a m e w a y , h e left t o o . T h e s ick m a n a n d T a k a t o k i w e r e
a l o n e t o g e t h e r .
T h e s ick m a n l o o k e d pe r f ec t ly h a p p y a n d w e n t o n b o w i n g t o T a k a t o k i .
" W e l l ? " sa id T a k a t o k i . " W h a t i s th i s all a b o u t ? "
T h e s ick m a n b o w e d e v e n m o r e d e e p l y t h a n be fore . " Y o u ' r e a ne igh -
b o r , y o u see , a n d I s o m u c h w a n t e d y o u r c o m p a n y ! "
" S o h e r e I a m . Tel l me f r ank ly w h a t I c a n do for y o u . "
" I intuit h e a r y o u s ing , a n d p l a y t h e koto a n d biwa."
" W h y , o f c o u r s e , I'll be h a p p y to m a k e mus i c for y o u a s l ong a s it'll
c h e e r y o u u p ! "
T a k a t o k i h a d a biwa b r o u g h t o v e r a n d b e g a n to p lay . T h e s ick m a n
n o d d e d o n a n d o n a s h e l i s t ened , a n d r o c k e d from s ide t o s ide . H e l o o k e d
a s blissful a s w h e n h e h a d s t o o d l i s t en ing t o t h e mus i c a t t h e c r o s s r o a d s .
T a k a t o k i w e n t o n t o s i n g all s o r t s o f s o n g s a s t h e s ick m a n r e q u e s t e d
t h e m , a n d t h e s ick m a n w a s i n e c s t a s y .
" W e l l , n o w I 've p l a y e d o r s u n g for y o u p rac t i ca l ly e v e r y t h i n g I k n o w , "
T a k a t o k i finally d e c l a r e d . " D o n ' t he s i t a t e t o tell m e w h e n y o u ' d l ike t o
h e a r m e a g a i n , b e c a u s e I'll h a p p i l y ob l ige . T h e r e ' s n o n e e d t o c a r r y o n
t h e w a y y o u d i d . N e x t t ime , ju s t a s k q u i e t l y ! "
T h e s ick m a n s t a r t e d b o w i n g a g a i n . " O h , I w o u l d n ' t p r e s u m e t o a s k
y o u o v e r a g a i n till I 'm b e t t e r ! " he p r o t e s t e d .
" F i n e . T h e n I'll be g o i n g . B u t first I 'd l ike to see y o u ea t s o m e t h i n g . "
W h e n t h e s ick m a n a g r e e d , T a k a t o k i h a d h im b r o u g h t s o m e r ice a n d
d r i e d a b a l o n e . T h e s ick m a n g o b b l e d up the r ice w i t h a g r e a t c l i ck ing o f
6 6
teeth, then scraped the abalone into a pile which he swallowed easily in
a couple of mouthfuls. His manners were not exactly normal. Next,
Takatoki offered him wine. Normally Saemon no Jo barely drank at all,
but now he downed two large cupfuls in quick succession, then disposed
willingly of a third.
"All right, I'll be going now!" Takatoki announced. "Good-bye!"
Near dawn the sick man's father came for Takatoki again. "He went
back to raving once you were gone," he explained. "Could you possibly
come?" Takatoki arrived to find the sick man in a terrifying frenzy.
"All right," he said firmly, "what's this act you're putting on? I did
everything you asked, and I played you all my music. You should have
been fine then. What do you mean by carrying on like this instead?"
"Well, you see," the sick man replied, "you didn't do everything I
wanted! There's that wonderful te style on the biwa, and I wanted to hear
that, too!"
"Fine! Why didn't you tell me in the first place?" Takatoki played a
couple of pieces like that and the sick man listened attentively, nodding
as usual.
"All right, you've played the biwa for me," he said. "How about some
koto now?"
"Certainly, if that's what you want." Takatoki played a couple of
pieces while the sick man listened again in rapture.
Finally day came and sunlight streamed in through a hole in the wall.
When a dog's nose suddenly appeared in the hole, sniffing vigorously,
the sick man straightened up, paled, and showed every sign of terror.
His father and Takatoki realized that the dog must have smelled a fox,
and it dawned on them that the cause of all the trouble was Fukutenjin.
They chased the dog away.
"Well, I'm sure you feel fine now," said Takatoki, speaking quite
consciously to the god. "I think I'll be going. Thank you very much for
having had me to play for you! I promise you music at your shrine, too."
Saemon no Jo lay unconscious till late afternoon while Takatoki, very
upset over what had happened, took his two sisters to the Fukutenjin
Shrine and went on playing the koto and biwa with them, for the pleasure
of the god.
E
4 8 •
M A G I C
4 9 •
BRING BACK THAT FERRY!
A little c r o w d of p e o p l e w a i t i n g for t h e fe r ry a t K o r a k i in E c h i z e n p r o v -
ince w e r e j o ined by a m o u n t a i n a sce t i c n a m e d K e i t o b o — a fellow w h o
h a d d o n e t h e p i l g r i m a g e s t o G o l d e n P e a k , t o K u m a n o , a n d t o e v e r y o t h e r
s a c r e d m o u n t a i n o f a n y i m p o r t a n c e in t h e l and .
W h e n the fe r ry a r r i v e d , t h e p e o p l e pa id t he i r fare a n d w e n t a b o a r d ,
bu t K e i t o b o d e m a n d e d t o b e t a k e n a c r o s s free. T h e f e r r y m a n re fused a n d
cas t off. " H o w c a n y o u d o th i s t o m e ? " K e i t o b o s h o u t e d , b u t t h e ferry-
m a n i g n o r e d h im a n d r o w e d a w a y .
DIVINE APPLAUSE
T h r e e m a s t e r d a n c e r s n a m e d N o r i t a k a , M a s a s u k e , a n d T o k i s u k e a c c o m -
p a n i e d t h e n e w g o v e r n o r o f B i t chu w h e n h e w e n t d o w n t o his p r o v i n c e t o
sa lu te its g o d s . T h e y d a n c e d t h e t r ad i t i ona l offer ing d a n c e s a t each s h r i n e .
W h e n N o r i t a k a p e r f o r m e d Rydd ( a l w a y s a favor i t e ) a t t h e Kib i t su
S h r i n e , t h e s a n c t u a r y c r e a k e d a n d s h o o k . T h e c r o w d w a s a m a z e d . M a -
s a s u k e a n d T o k i s u k e w e r e e q u a l l y s t a r t l ed , b u t g lad , too , t h a t t he g o d
w a s s o p l e a s e d . T h e n t h e g o d t h r e w o p e n t h e s a n c t u a r y d o o r s , t h o u g h o f
c o u r s e h e still cou ld no t b e seen , a n d t h e c r o w d w a s t r a n s p o r t e d w i t h j o y
a n d a w e .
S o o n i t w o u l d b e M a s a s u k e a n d T o k i s u k e ' s t u r n t o d a n c e . H o w e m -
b a r r a s s e d t h e y w o u l d be i f t h e g o d g a v e them no s u c h s ign! Bo th t u r n e d
t o w a r d t h e s a n c t u a r y a n d p r a y e d , i n t e a r s , t h a t t he i r a r t s h o u l d b e jus t a s
en joyab l e .
W h e n t h e t i m e c a m e , t h e y b e g a n Raktuon. In a m o m e n t t he s a n c t u a r y
w a s s h a k i n g s o v io len t ly t h a t i t w a s q u i t e a l a r m i n g !
6 8
K e i t o b o c l e n c h e d his t e e t h a n d b e g a n r u b b i n g the b e a d s o f his r o sa ry
i n t e n t l y t o g e t h e r , m a k i n g a b u z z i n g s o u n d . H e w a s cas t ing spells , a s
a n y o n e c o u l d tell . T h e f e r r y m a n g l a n c e d b a c k a t h im from a few h u n d r e d
y a r d s o f f shore , s h o w i n g p la in ly e n o u g h b y his look t h a t h e t h o u g h t Kei-
t o b o a p a t h e t i c fool.
K e i t o b o s t a r e d a f te r h im a n d s t a m p e d his feet in to t he s a n d ha l fway
u p his s h i n s . T h e n , g l a r i n g r e d - e y e d a t t h e fe r ry a n d a lmos t d e m o l i s h i n g
h i s r o s a r y w i t h t h e fury o f his r u b b i n g , he b e g a n to shou t , " B r i n g i t b a c k !
B r i n g i t b a c k ! "
T h e b o a t k e p t g o i n g . K e i t o b o s t r o d e t o t h e w a t e r ' s e d g e . " G u a r d i a n
s p i r i t , " h e t h u n d e r e d , " b r i n g t h a t fe r ry b a c k ! I 'm t h r o u g h w i t h t he B u d -
d h a f o r e v e r i f y o u d o n ' t ! " N e x t , h e t h r e a t e n e d t o t h r o w his pr ies t ly s tole
i n to t h e sea . T h e b y s t a n d e r s t u r n e d pa le w h e n t h e y s a w w h a t h e w a s
d o i n g .
T h e b o a t b e g a n g l i d ing b a c k t o w a r d t h e s h o r e even t h o u g h t h e r e w a s
n o w i n d . " T h a t ' s it, t h a t ' s i t ! " K e i t o b o r o a r e d . " H u r r y , h u r r y , b r i n g i t
i n ! " T h e o n l o o k e r s t u r n e d p a l e r still.
" F i n e ! " h e b e l l o w e d w h e n t h e ferry w a s less t h a n a h u n d r e d y a r d s
o f f sho re . " N o w , roll i t ove r , c a p s i z e i t ! "
T h i s t i m e t h e o n l o o k e r s c r i ed o u t in p r o t e s t . " W h a t a ho r r ib l e t h i n g to
w i s h ! Y o u b r u t e ! W h y c a n ' t y o u leave t h e m a l o n e ! "
K e i t o b o o n l y r o s e to a still h i g h e r p i tch of feroci ty. " T u r n tha t ferry
o v e r / M » ' ! " h e t h u n d e r e d . T h e r e w a s a h u g e sp la sh a s t he ferry caps ized
a n d t h e t w o d o z e n p a s s e n g e r s w e r e p i t c h e d in to t h e sea .
K e i t o b o w i p e d t h e s w e a t f rom his b r o w . " T h e i d i o t s ! " h e m u t t e r e d .
" W h e n will t h e y e v e r l e a r n ? " A n d h e s t a lked off.
5 o .
THE MAN-MADE FRIEND
S a i g y o , t h e p o e t a n d w a n d e r i n g m o n k , w a s l iving o n M o u n t K o y a w h e n
he r a n in to an a c q u a i n t a n c e o f his , a fellow re l ig ious w a n d e r e r w h o w a s
s t a y i n g on t h e m o u n t a i n t o o . T h e y me t on a b r i d g e a n d p a u s e d t h e r e t o
c h a t a n d a d m i r e t h e b r i l l i ance o f t h e m o o n . S a i g y o ' s fr iend r e m a r k e d tha t
he w a s off to t h e C a p i t a l .
S a i g y o w a s s a d t o lose th i s c o m p a n i o n a n d found himsel f l ong ing for
s o m e o n e else t o s h a r e his p l e a s u r e i n m o o n l i g h t a n d f lowers . T h e n he
h e a r d a m a n w h o s e k n o w l e d g e he r e s p e c t e d d e s c r i b e h o w a d e m o n can
col lect h u m a n b o n e s a n d m a k e t h e m in to a h u m a n be ing .
H e w e n t s t r a i g h t t o a w i ld m o o r w h e r e p e o p l e left t h e d e a d , p u t b o n e s
t o g e t h e r , a n d m a d e a m a n himself. At least , i t l o o k e d l ike a m a n , b u t i t
h a d p o o r co lo r a n d no h e a r t o r s p a r k o f life. I ts vo ice ( for i t h a d o n e )
s o u n d e d like a mus i ca l i n s t r u m e n t . I t is t h e h e a r t w h i c h is essent ia l in
m a n , h o w e v e r p l e a s i n g t h e vo ice m a y b e . H a v i n g n o t h i n g m o r e t h a n a
vo ice , t h e t h i n g he h a d m a d e w a s l ike a d a m a g e d f lute.
Still , i t w a s a s t o n i s h i n g t h a t h e h a d c o m e s o close, a n d h e h a r d l y k n e w
w h a t t o d o w i t h his c r e a t i o n . H e c o n s i d e r e d b r e a k i n g i t u p aga in , b u t
t h a t m i g h t b e m u r d e r . O f c o u r s e i t h a d n o c o n s c i o u s n e s s , a n d i n t h a t
s ense w a s jus t l ike a p l a n t . Y e t i t d id look h u m a n . He left i t in a d e s e r t e d
spo t . N o d o u b t a n y o n e w h o found i t w o u l d b e f r igh tened a n d t h i n k i t
s o m e so r t of a p p a r i t i o n .
P e r p l e x e d as he w a s , S a i g y o set off for t h e Cap i t a l too , to see L o r d
T o k u d a i j i , f rom w h o m h e h a d l e a r n e d m a n y t h i n g s i n t h e pas t . U n f o r t u -
na te ly , L o r d T o k u d a i j i w a s a w a y a t t h e p a l a c e . Sa igyo d e c i d e d t o visi t
L o r d M o r o n a k a i n s t e a d .
H e e x p l a i n e d h o w his e x p e r i m e n t h a d t u r n e d out , a n d L o r d M o r o n a k a
a s k e d h im e x a c t l y w h a t h e h a d d o n e .
" I w e n t i n to t h e w i l d s w h e r e n o o n e cou ld see m e , " S a i g y o e x p l a i n e d ,
" a n d p u t h u m a n b o n e s t o g e t h e r to m a k e a c o m p l e t e ske l e ton . T h e n I
p a i n t e d t h e b o n e s w i t h a r s e n i c , a n d c r u m b l e d s n a k e - s t r a w b e r r y a n d
c h i c k w e e d l eaves o v e r t h e m . N e x t I t ied t he b o n e s t o g e t h e r w i t h t h r e a d
a n d v ines , a n d w a s h e d t h e m i n m a n y w a t e r s . O n t h e skul l , w h e r e t he
ha i r w o u l d be g r o w i n g , I r u b b e d a s h e s from the leaves of saikai a n d rose
of S h a r o n . F ina l ly I s p r e a d a m a t on t h e g r o u n d , laid t he b o n e s on it, a n d
w r a p p e d t h e m s e c u r e l y s o t h e w i n d c o u l d n ' t ge t a t t h e m . F o u r t e e n d a y s
la te r I c a m e b a c k . I b u r n e d m u s k a n d r e g u l a r i ncense a n d d id t h e S e c r e t
Ri te of t h e S o u l ' s R e c a l l . "
" T h a t w a s a b o u t r i g h t , " sa id M o r o n a k a , " b u t y o u d id t he Ri te o f t h e
Sou l ' s Recal l a bi t s o o n . F o r myself, i t h a p p e n s tha t I 've m a d e p e o p l e by
t h e Shi jo ma jo r c o u n s e l o r ' s m e t h o d , b u t I 'm afraid I c an ' t tell y o u the
m e t h o d b e c a u s e i f I d id , t h e p e o p l e a n d o t h e r t h i n g s I 've m a d e w o u l d all
v a n i s h . Y o u do k n o w a g o o d dea l , t h o u g h , so I'll he lp y o u . F o r o n e t h i n g ,
d o n ' t b u r n i n c e n s e . I t ' s ange l i c b e i n g s , y o u see, no t devi l i sh o n e s w h o a r e
a t t r a c t e d to i n c e n s e . A n d s ince ange l i c b e i n g s h a v e a d e e p h o r r o r o f t h e
r o u n d o f b i r t h a n d d e a t h , y o u a r e n ' t g o i n g t o ge t a n y l i fe-spark in to y o u r
c r e a t u r e t h a t w a y . Y o u ' d d o b e t t e r t o b u r n m u s k a n d mi lk . A n d t h e n ,
a n y o n e w h o d o e s t h e S e c r e t R i te o f t h e S o u l ' s Recal l s h o u l d h a v e fasted
7 0
5 i .
THE LAUGHING FIT
W h e n T a k a s h i n a S h u m p e i w a s s en t d o w n o n a n official a s s i g n m e n t t o
K y u s h u , h i s y o u n g e r b r o t h e r , w h o h a d n o g o v e r n m e n t pos t , w e n t w i t h
h i m . S h u m p e i ' s b r o t h e r s o o n m e t a n e w l y a r r i v e d C h i n e s e m a s t e r o f dan
m a g i c . T h e m e t h o d i nvo lved m a n i p u l a t i n g t h e h e x a g r a m s of t h e Book o f
Changed by m e a n s o f s ix w o o d e n s t i cks a b o u t t h r e e i n ch es l ong a n d s q u a r e
in s ec t i on . T h e s e w e r e ca l led dan.
S h u m p e i ' s b r o t h e r w a n t e d to l e a rn dan m a g i c t o o . A t first t he C h i n e s e
r e fused to t e a c h h i m , b u t r ea l i zed w h e n he t r i ed h im ou t a little t ha t he
a c t u a l l y h a d a r e m a r k a b l e t a l en t . " T h e r e ' s no po in t i n y o u r s t ay ing he re ,
t h o u g h , " t h e C h i n e s e w a r n e d . " J a p a n i s h o p e l e s s for w o r k i n g the dan.
I'll t e a c h y o u i f y o u 11 c o m e b a c k w i t h me to C h i n a . "
S h u m p e i ' s b r o t h e r a g r e e d r igh t a w a y , p r o m i s i n g t h a t h e w o u l d happ i l y
d o a n y t h i n g t o m a s t e r t h e a r t . "I ' l l b e g lad t o g o t o C h i n a w i t h y o u a s
l o n g a s I c a n s e r v e y o u , " h e a s s u r e d t h e m a n . S o t h e C h i n e s e b e g a n
g i v i n g h i m l e s s o n s .
H e l e a r n e d w i t h a m a z i n g s p e e d , w h i c h p l eased his t e a c h e r g rea t ly .
" T h e r e a r e m a n y dan m a s t e r s i n my c o u n t r y , " he sa id , " b u t n o n e o f t h e m
u n d e r s t a n d t h e dan t h e w a y y o u d o . Y e s , y o u mudt c o m e b a c k w i t h m e t o
C h i n a ! "
" O f c o u r s e I w i l l , " h is s t u d e n t a n s w e r e d . " A n y t h i n g y o u s a y . "
" I n t h e a r t o f t h e dan, " t h e C h i n e s e c o n t i n u e d , " t h e r e a r e m e t h o d s for
h e a l i n g t h e s ick , a s t h e r e a r e a lso m e t h o d s for k i l l ing ins t an t ly a n y o n e
y o u m a y h a v e c a u s e to d i s l ike . I'll g ive y o u full k n o w l e d g e o f t h e m all.
O n l y jwear t h a t y o u ' l l c o m e b a c k t o m y c o u n t r y w i t h m e . "
S h u m p e i ' s b r o t h e r s w o r e , b u t no t q u i t e w h o l e h e a r t e d l y . T h i s d id not
e s c a p e t h e C h i n e s e , w h o t a u g h t h im m a n y t h i n g s b u t w i t h h e l d t he t ech-
n i q u e for k i l l ing . "I ' l l t e a c h y o u h o w t o kill p e o p l e w h e n w e ' r e o n t h e
b o a t , " h e sa id .
for s e v e n d a y s . I f y o u fol low t h o s e d i r ec t i ons , I g u a r a n t e e it'll w o r k .
Y o u ' l l s e e . "
B u t S a i g y o t h o u g h t b e t t e r o f t h e w h o l e t h i n g a n d d e c i d e d t o g o n o
f u r t h e r .
O n e d a y T a k a s h i n a S h u m p e i h a d t o l eave for t h e Cap i t a l o n u r g e n t
b u s i n e s s , a n d his b r o t h e r p r e p a r e d t o g o w i t h h im . T h e C h i n e s e p r o -
t e s t ed , b u t S h u m p e i ' s b r o t h e r r e fused t o s t ay b e h i n d . " T h e i d e a ! " h e
e x c l a i m e d . " I c an ' t j u s t let h im go by himself! B u t I'll k e e p my p r o m i s e ,
d o n ' t w o r r y ! "
"All r i g h t , " a g r e e d t h e C h i n e s e , " b u t c o m e b a c k ! I 've b e e n p l a n n i n g t o
leave for C h i n a a n y d a y n o w . W e ' l l g o t o g e t h e r w h e n y o u r e t u r n . "
W i t h th is u n d e r s t a n d i n g c o n c l u d e d , S h u m p e i ' s b r o t h e r left for K y o t o .
H e w a s t h i n k i n g h e m i g h t rea l ly g o t o C h i n a af ter all, b u t h is r e l a t i ons ,
a s o n e m i g h t wel l i m a g i n e , p e r s u a d e d h im to s t ay on in t h e C a p i t a l
i n s t e a d . T h e n S h u m p e i h imse l f go t w i n d o f his b r o t h e r ' s p l a n s a n d p u t a
s t o p t o t h e w h o l e idea . H i s b r o t h e r n e v e r w e n t b a c k t o K y u s h u .
T h e C h i n e s e w a i t e d , a n d w h e n h e h e a r d n o t h i n g from his s t u d e n t
b e g a n t o s e n d h i m a c c u s i n g m e s s a g e s . All h e go t b a c k w e r e e x c u s e s a b o u t
" m y a g e d p a r e n t s , " a n d a b o u t w a n t i n g t o see t h e m t h r o u g h t o t h e e n d o f
t he i r l ives be fo re u n d e r t a k i n g so l o n g a j o u r n e y . T h e C h i n e s e r ea l i zed
t h a t h is s t u d e n t h a d n e v e r m e a n t t o k e e p his p r o m i s e , a n d h e sa i led t o
C h i n a a l o n e .
Bu t be fo re he left he laid a t h o r o u g h c u r s e on t h e m i s c r e a n t . S h u m p e i ' s
b r o t h e r h a d a l w a y s b e e n h igh ly in te l l igent b u t n o w , u n d e r t h e in f luence
o f t h e c u r s e , h e g r e w v a g u e , forgetful , a n d s t u p i d . I n t h e e n d h e c o u l d
on ly m a k e h imse l f i n to a s o r t o f m o n k a t a m o u n t a i n t e m p l e , a n d he s p e n t
h is life t r u d g i n g b a c k a n d for th b e t w e e n th i s t e m p l e a n d S h u m p e i ' s res i -
d e n c e . He h a d b e c o m e a use le s s fool.
H e w a s o n c e a t S h u m p e i ' s h o u s e o n t h e n igh t o f t he m o n t h l y K o s h i n
vigil , w h e n e v e r y o n e h a s t o s t ay a w a k e till d a w n on p a i n o f suf fe r ing
s o m e c a l a m i t y . T h e y o u n g w o m e n o f t h e h o u s e h o l d h a d g a t h e r e d t o w h i l e
a w a y t h e n i g h t t o g e t h e r , a n d i n t h e smal l h o u r s , w h e n t h e y w e r e b e g i n -
n i n g to feel awfu l ly s l eepy , t h e y n o t i c e d t h e i r m a s t e r ' s b r o t h e r o v e r in a
c o r n e r , l o o k i n g as w i t l e s s as eve r . " H o w a b o u t hini\" c r i ed a p a r t i c u l a r l y
h i g h - s p i r i t e d l a d y . " M a y b e he k n o w s a g o o d s to ry o r t w o ! C o m e , s i r , "
s h e ca l led to h im, "tel l u s a s t o r y a n d m a k e us l a u g h ! L a u g h i n g will k e e p
u s a w a k e ! "
" I c a n ' t t a lk v e r y w e l l , " t h e p o o r fool a n s w e r e d , " a n d I d o n ' t k n o w a n y
funny s to r i e s . B u t i f y o u j u s t w a n t to l augh , y e s , I can m a k e y o u l a u g h , I
c e r t a i n l y c a n ! "
" Y o u w o n ' t tell u s a s t o r y b u t y o u ' l l m a k e u s l augh a n y w a y ? W h a t a r e
y o u g o i n g t o d o ? D a n c e , p e r h a p s ? O h , tha t ' l l b e even b e t t e r t h a n a
s t o r y ! " T h e l a d y l a u g h e d a t t h e v e r y t h o u g h t .
" N o , n o , I 'm jus t g o i n g t o m a k e y o u l a u g h . "
" W e l l , how? C o m e t h e n , s h o w u s ! "
7 2
T h e w o m e n w a t c h e d e a g e r l y a s S h u m p e i ' s b r o t h e r m o v e d u p t o t h e
l a m p , u n t i e d t h e b a g t h a t he ld his