Glimpses of Unfamiliar Japan Volume I Part 17

'Mada michiga arimasu!' the boatwoman announces, leading the way. There is a path.

Following after her, we squeeze ourselves between the wall of the cavern on the right and some large rocks, and discover a very, very narrow pa.s.sage left open between the stone-towers. But we are warned to be careful for the sake of the little ghosts: if any of their work be overturned, they will cry. So we move very cautiously and slowly across the cave to a s.p.a.ce bare of stone-heaps, where the rocky floor is covered with a thin layer of sand, detritus of a crumbling ledge above it. And in that sand I see light prints of little feet, children's feet, tiny naked feet, only three or four inches long--the footprints of the infant ghosts.

Had we come earlier, the boatwoman says, we should have seen many more.

For 'tis at night, when the soil of the cavern is moist with dews and drippings from the roof, that They leave Their footprints upon it; but when the heat of the day comes, and the sand and the rocks dry up, the prints of the little feet vanish away.

There are only three footprints visible, but these are singularly distinct. One points toward the wall of the cavern; the others toward the sea. Here and there, upon ledges or projections of the rock, all about the cavern, tiny straw sandals--children's zori--are lying: offerings of pilgrims to the little ones, that their feet may not be wounded by the stones. But all the ghostly footprints are prints of naked feet.

Then we advance, picking our way very, very carefully between the stone- towers, toward the mouth of the inner grotto, and reach the statue of Jizo before it. A seated Jizo carven in granite, holding in one hand the mystic jewel by virtue of which all wishes may be fulfilled; in the other his shakujo, or pilgrim's staff. Before him (strange condescension of s.h.i.+nto faith!) a little torii has been erected, and a pair of gohei!

Evidently this gentle divinity has no enemies; at the feet of the lover of children's ghosts, both creeds unite in tender homage.

I said feet. But this subterranean Jizo has only one foot. The carven lotus on which he reposes has been fractured and broken: two great petals are missing; and the right foot, which must have rested upon one of them, has been knocked off at the ankle. This, I learn upon inquiry, has been done by the waves. In times of great storm the billows rush into the cavern like raging Oni, and sweep all the little stone towers into s.h.i.+ngle as they come, and dash the statues against the rocks. But always during the first still night after the tempest the work is reconstructed as before!

Hotoke ga s.h.i.+mpai s.h.i.+te: naki-naki tsumi naos.h.i.+-masu.' They make mourning, the hotoke; weeping, they pile up the stones again, they rebuild their towers of prayer.

All about the black mouth of the inner grotto the bone-coloured rock bears some resemblance to a vast pair of yawning jaws. Downward from this sinister portal the cavern-floor slopes into a deeper and darker aperture. And within it, as one's eyes become accustomed to the gloom, a still larger vision of stone towers is disclosed; and beyond them, in a nook of the grotto, three other statues of Jizo smile, each one with a torii before it. Here I have the misfortune to upset first one stone- pile and then another, while trying to proceed. My kurumaya, almost simultaneously, ruins a third. To atone therefore, we must build six new towers, or double the number of those which we have cast down. And while we are thus busied, the boatwoman tells of two fishermen who remained in the cavern through all one night, and heard the humming of the viewless gathering, and sounds of speech, like the speech of children murmuring in mult.i.tude.

Only at night do the shadowy children come to build their little stone- heaps at the feet of Jizo; and it is said that every night the stones are changed. When I ask why they do not work by day, when there is none to see them, I am answered: 'O-Hi-San [2] might see them; the dead exceedingly fear the Lady-Sun.'

To the question, 'Why do they come from the sea?' I can get no satisfactory answer. But doubtless in the quaint imagination of this people, as also in that of many another, there lingers still the primitive idea of some communication, mysterious and awful, between the world of waters and the world of the dead. It is always over the sea, after the Feast of Souls, that the spirits pa.s.s murmuring back to their dim realm, in those elfish little s.h.i.+ps of straw which are launched for them upon the sixteenth day of the seventh moon. Even when these are launched upon rivers, or when floating lanterns are set adrift upon lakes or ca.n.a.ls to light the ghosts upon their way, or when a mother bereaved drops into some running stream one hundred little prints of Jizo for the sake of her lost darling, the vague idea behind the pious act is that all waters flow to the sea and the sea itself unto the 'Nether-distant Land.'

Some time, somewhere, this day will come back to me at night, with its visions and sounds: the dusky cavern, and its grey hosts of stone climbing back into darkness, and the faint prints of little naked feet, and the weirdly smiling images, and the broken syllables of the waters inward-borne, multiplied by husky echoings, blending into one vast ghostly whispering, like the humming of the Sai-no-Kawara.

And over the black-blue bay we glide to the rocky beach of Kaka-ura.

Sec. 8

As at Mitsu-ura, the water's edge is occupied by a serried line of fis.h.i.+ng-boats, each with its nose to the sea; and behind these are ranks of others; and it is only just barely possible to squeeze one's way between them over the beach to the drowsy, pretty, quaint little streets behind them. Everybody seems to be asleep when we first land: the only living creature visible is a cat, sitting on the stern of a boat; and even that cat, according to j.a.panese beliefs, might not be a real cat, but an o-bake or a nekomata--in short, a goblin-cat, for it has a long tail. It is hard work to discover the solitary hotel: there are no signs; and every house seems a private house, either a fisherman's or a farmer's. But the little place is worth wandering about in. A kind of yellow stucco is here employed to cover the exterior of walls; and this light warm tint under the bright blue day gives to the miniature streets a more than cheerful aspect.

When we do finally discover the hotel, we have to wait quite a good while before going in; for nothing is ready; everybody is asleep or away, though all the screens and sliding-doors are open. Evidently there are no thieves in Kaka-ura. The hotel is on a little hillock, and is approached from the main street (the rest are only miniature alleys) by two little flights of stone steps. Immediately across the way I see a Zen temple and a s.h.i.+nto temple, almost side by side.

At last a pretty young woman, naked to the waist, with a bosom like a Naiad, comes running down the street to the hotel at a surprising speed, bowing low with a smile as she hurries by us into the house. This little person is the waiting-maid of the inn, O-Kayo-San--name signifying 'Years of Bliss.' Presently she reappears at the threshold, fully robed in a nice kimono, and gracefully invites us to enter, which we are only too glad to do. The room is neat and s.p.a.cious; s.h.i.+nto kakemono from Kitzuki are suspended in the toko and upon the walls; and in one corner I see a very handsome Zen-but-sudan, or household shrine. (The form of the shrine, as well as the objects of wors.h.i.+p therein, vary according to the sect of the wors.h.i.+ppers.) Suddenly I become aware that it is growing strangely dark; and looking about me, perceive that all the doors and windows and other apertures of the inn are densely blocked up by a silent, smiling crowd which has gathered to look at me. I could not have believed there were so many people in Kaka-ura.

In a j.a.panese house, during the hot season, everything is thrown open to the breeze. All the shoji or sliding paper-screens, which serve for windows; and all the opaque paper-screens (fusuma) used in other seasons to separate apartments, are removed. There is nothing left between floor and roof save the frame or skeleton of the building; the dwelling is literally unwalled, and may be seen through in any direction. The landlord, finding the crowd embarra.s.sing, closes up the building in front. The silent, smiling crowd goes to the rear. The rear is also closed. Then the crowd ma.s.ses to right and left of the house; and both sides have to be closed, which makes it insufferably hot. And the crowd make gentle protest.

Wherefore our host, being displeased, rebukes the mult.i.tude with argument and reason, yet without lifting his voice. (Never do these people lift up their voices in anger.) And what he says I strive to translate, with emphasis, as follows:

'You-as-for! outrageousness doing--what marvellous is?

'Theatre is not!

'Juggler is not!

'Wrestler is not!

'What amusing is?

'Honourable-Guest this is!

'Now august-to-eat-time-is; to-look-at evil matter is.

Honourable-returning-time-in-to-look-at-as-for-is-good.'

But outside, soft laughing voices continue to plead; pleading, shrewdly enough, only with the feminine portion of the family: the landlord's heart is less easily touched. And these, too, have their arguments:

'Oba-San!

'O-Kayo-San!

'Shoji-to-open-condescend!--want to see! 'Though-we-look-at, Thing-that-by-looking-at-is-worn-out-it-is-not!

'So that not-to-hinder looking-at is good.

'Hasten therefore to open!'

As for myself, I would gladly protest against this sealing-up, for there is nothing offensive nor even embarra.s.sing in the gaze of these innocent, gentle people; but as the landlord seems to be personally annoyed, I do not like to interfere. The crowd, however, does not go away: it continues to increase, waiting for my exit. And there is one high window in the rear, of which the paper-panes contain some holes; and I see shadows of little people climbing up to get to the holes.

Presently there is an eye at every hole.

When I approach the window, the peepers drop noiselessly to the ground, with little timid bursts of laughter, and run away. But they soon come back again. A more charming crowd could hardly be imagined: nearly all boys and girls, half-naked because of the heat, but fresh and clean as flower-buds. Many of the faces are surprisingly pretty; there are but very few which are not extremely pleasing. But where are the men, and the old women? Truly, this population seems not of Kaka-ura, but rather of the Sai-no-Kawara. The boys look like little Jizo.

During dinner, I amuse myself by poking pears and little pieces of radish through the holes in the shoji. At first there is much hesitation and silvery laughter; but in a little while the silhouette of a tiny hand reaches up cautiously, and a pear vanishes away. Then a second pear is taken, without s.n.a.t.c.hing, as softly as if a ghost had appropriated it. Thereafter hesitation ceases, despite the effort of one elderly woman to create a panic by crying out the word Mahotsukai, 'wizard.' By the time the dinner is over and the shoji removed, we have all become good friends. Then the crowd resumes its silent observation from the four cardinal points.

I never saw a more striking difference in the appearance of two village populations than that between the youth of Mitsu-ura and of Kaka. Yet the villages are but two hours' sailing distance apart. In remoter j.a.pan, as in certain islands of the West Indies, particular physical types are developed apparently among communities but slightly isolated; on one side of a mountain a population may be remarkably attractive, while upon the other you may find a hamlet whose inhabitants are decidedly unprepossessing. But nowhere in this country have I seen a prettier jeunesse than that of Kaka-ura.

'Returning-time-in-to-look-at-as-for-is-good.' As we descend to the bay, the whole of Kaka-ura, including even the long-invisible ancients of the village, accompanies us; making no sound except the pattering of geta.

Thus we are escorted to our boat. Into all the other craft drawn up on the beach the younger folk clamber lightly, and seat themselves on the prows and the gunwales to gaze at the marvellous Thing-that-by-looking- at-worn-out-is-not. And all smile, but say nothing, even to each other: somehow the experience gives me the sensation of being asleep; it is so soft, so gentle, and so queer withal, just like things seen in dreams.

And as we glide away over the blue lucent water I look back to see the people all waiting and gazing still from the great semicircle of boats; all the slender brown child-limbs dangling from the prows; all the velvety-black heads motionless in the sun; all the boy-faces smiling Jizo-smiles; all the black soft eyes still watching, tirelessly watching, the Thing-that-by-looking-at-worn-out-is-not. And as the scene, too swiftly receding, diminishes to the width of a kakemono, I vainly wish that I could buy this last vision of it, to place it in my toko, and delight my soul betimes with gazing thereon. Yet another moment, and we round a rocky point; and Kaka-ura vanishes from my sight for ever. So all things pa.s.s away.

a.s.suredly those impressions which longest haunt recollection are the most transitory: we remember many more instants than minutes, more minutes than hours; and who remembers an entire day? The sum of the remembered happiness of a lifetime is the creation of seconds. 'What is more fugitive than a smile? yet when does the memory of a vanished smile expire? or the soft regret which that memory may evoke?

Regret for a single individual smile is something common to normal human nature; but regret for the smile of a population, for a smile considered as an abstract quality, is certainly a rare sensation, and one to be obtained, I fancy, only in this Orient land whose people smile for ever like their own G.o.ds of stone. And this precious experience is already mine; I am regretting the smile of Kaka.

Simultaneously there comes the recollection of a strangely grim Buddhist legend. Once the Buddha smiled; and by the wondrous radiance of that smile were countless worlds illuminated. But there came a Voice, saying: 'It is not real! It cannot last!' And the light pa.s.sed.

Chapter Ten

At Mionoseki

Seki wa yoi toko, Asahi wo ukete; O-Yama aras.h.i.+ga Soyo-soyoto!

(SONG OF MIONOSEKI.)

[Seki is a goodly place, facing the morning sun. There, from the holy mountains, the winds blow softly, softly--soyosoyoto.]

Sec. 1

THE G.o.d of Mionoseki hates eggs, hen's eggs. Likewise he hates hens and chickens, and abhors the c.o.c.k above all living creatures. And in Mionoseki there are no c.o.c.ks or hens or chickens or eggs. You could not buy a hen's egg in that place even for twenty times its weight in gold.

And no boat or junk or steamer could be hired to convey to Mionoseki so much as the feather of a chicken, much less an egg. Indeed, it is even held that if you have eaten eggs in the morning you must not dare to visit Mionoseki until the following day. For the great deity of Mionoseki is the patron of mariners and the ruler of storms; and woe unto the vessel which bears unto his shrine even the odour of an egg.

Once the tiny steamer which runs daily from Matsue to Mionoseki encountered some unexpectedly terrible weather on her outward journey, just after reaching the open sea. The crew insisted that something displeasing to Koto-s.h.i.+ro-nus.h.i.+-no-Kami must have been surrept.i.tiously brought on board. All the pa.s.sengers were questioned in vain. Suddenly the captain discerned upon the stem of a little bra.s.s pipe which one of the men was smoking, smoking in the face of death, like a true j.a.panese, the figure of a crowing c.o.c.k! Needless to say, that pipe was thrown overboard. Then the angry sea began to grow calm; and the little vessel safely steamed into the holy port, and cast anchor before the great torii of the shrine of the G.o.d!

Sec. 2

Concerning the reason why the c.o.c.k is thus detested by the Great Deity of Mionoseki, and banished from his domain, divers legends are told; but the substance of all of them is about as follows: As we read in the Kojiki, Koto-s.h.i.+ro-nus.h.i.+-no-Kami, Son of the Great Deity of Kitsuki, was wont to go to Cape Miho, [1] 'to pursue birds and catch fish.' And for other reasons also he used to absent himself from home at night, but had always to return before dawn. Now, in those days the c.o.c.k was his trusted servant, charged with the duty of crowing l.u.s.tily when it was time for the G.o.d to return. But one morning the bird failed in its duty; and the G.o.d, hurrying back in his boat, lost his oars, and had to paddle with his hands; and his hands were bitten by the wicked fishes.

Now the people of Yasugi, a pretty little town on the lagoon of Naka- umi, through which we pa.s.s upon our way to Mionoseki, most devoutly wors.h.i.+p the same Koto-s.h.i.+ro-nus.h.i.+-no-Kami; and nevertheless in Yasugi there are mult.i.tudes of c.o.c.ks and hens and chickens; and the eggs of Yasugi cannot be excelled for size and quality. And the people of Yasugi aver that one may better serve the deity by eating eggs than by doing as the people of Mionoseki do; for whenever one eats a chicken or devours an egg, one destroys an enemy of Koto-s.h.i.+ro-nus.h.i.+-no-Kami.