Glimpses of Unfamiliar Japan Volume I Part 23

The miya or s.h.i.+nto temple itself is quite small--smaller than most of the temples in the neighbourhood, and dingy, and begrimed with age. Yet, next to Kitzuki, this is the most famous of Izumo shrines. The main shrine, dedicated to Susano-o and Inada-hime and their son, whose name is the name of the hamlet of Sakusa, is flanked by various lesser shrines to left and right. In one of these smaller miya the spirit of As.h.i.+-nadzu-chi, father of Inada-hime, is supposed to dwell; and in another that of Te-nadzu-chi, the mother of Inada-hime. There is also a small shrine of the G.o.ddess of the Sun. But these shrines have no curious features. The main temple offers, on the other hand, some displays of rarest interest.

To the grey weather-worn gratings of the doors of the shrine hundreds and hundreds of strips of soft white paper have been tied in knots: there is nothing written upon them, although each represents a heart's wish and a fervent prayer. No prayers, indeed, are so fervent as those of love. Also there are suspended many little sections of bamboo, cut just below joints so as to form water receptacles: these are tied together in pairs with a small straw cord which also serves to hang them up. They contain offerings of sea-water carried here from no small distance. And mingling with the white confusion of knotted papers there dangle from the gratings many tresses of girls' hair--love-sacrifices [5]--and numerous offerings of seaweed, so filamentary and so sun- blackened that at some little distance it would not be easy to distinguish them from long shorn tresses. And all the woodwork of the doors and the gratings, both beneath and between the offerings, is covered with a speckling of characters graven or written, which are names of pilgrims.

And my companion reads aloud the well-remembered name of--AKIRA!

If one dare judge the efficacy of prayer to these kind G.o.ds of s.h.i.+nto from the testimony of their wors.h.i.+ppers, I should certainly say that Akira has good reason to hope. Planted in the soil, all round the edge of the foundations of the shrine, are mult.i.tudes of tiny paper flags of curious shape (n.o.bori), pasted upon splinters of bamboo. Each of these little white things is a banner of victory, and a lover's witness of grat.i.tude. [6] You will find such little flags stuck into the ground about nearly all the great s.h.i.+nto temples of Izumo. At Kitzuki they cannot even be counted--any more than the flakes of a snowstorm.

And here is something else that you will find at most of the famous miya in Izumo--a box of little bamboo sticks, fastened to a post before the doors. If you were to count the sticks, you would find their number to be exactly one thousand. They are counters for pilgrims who make a vow to the G.o.ds to perform a sendo-mairi. To perform a sendo-mairi means to visit the temple one thousand times. This, however, is so hard to do that busy pious men make a sort of compromise with the G.o.ds, thus: they walk from the shrine one foot beyond the gate, and back again to the shrine, one thousand times--all in one day, keeping count with the little splints of bamboo.

There is one more famous thing to be seen before visiting the holy grove behind the temple, and that is the Sacred Tama-tsubaki, or Precious- Camellia of Yaegaki. It stands upon a little knoll, fortified by a projection-wall, in a rice-field near the house of the priest; a fence has been built around it, and votive lamps of stone placed before it. It is of vast age, and has two heads and two feet; but the twin trunks grow together at the middle. Its unique shape, and the good quality of Iongevity it is believed to possess in common with all of its species, cause itto be revered as a symbol of undying wedded love, and as tenanted by the Kami who hearken to lovers' prayers--enmusubi-no-kami.

There is, however, a strange superst.i.tion, about tsubaki-trees; and this sacred tree of Yaegaki, in the opinion of some folk, is a rare exception to the general ghastliness of its species. For tsubaki-trees are goblin trees, they say, and walk about at night; and there was one in the garden of a Matsue samurai which did this so much that it had to be cut down. Then it writhed its arms and groaned, and blood spurted at every stroke of the axe.

Sec. 4

At the s.p.a.cious residence of the kannus.h.i.+ some very curious ofuda and o- mamori--the holy talismans and charms of Yaegaki--are sold, together with pictures representing Take-haya-susa-no-wo-no-mikoto and his bride Inada-hime surrounded by the 'manifold fence' of clouds. On the pictures is also printed the august song whence the temple derives its name of Yaegaki-jinja,--'Ya k.u.mo tatsu Idzumo ya-he-gaki.' Of the o-mamori there is quite a variety; but by far the most interesting is that labelled: 'Izumo-Yaegaki-jinja-en-musubi-on-hina' (August wedlock-- producing 'hina' of the temple of Yaegaki of Izumo). This oblong, folded paper, with Chinese characters and the temple seal upon it, is purchased only by those in love, and is believed to a.s.sure nothing more than the desired union. Within the paper are two of the smallest conceivable doll-figures (hina), representing a married couple in antique costume-- the tiny wife folded to the breast of the tiny husband by one long- sleeved arm. It is the duty of whoever purchases this mamori to return it to the temple if he or she succeed in marrying the person beloved. As already stated, the charm is not supposed to a.s.sure anything more than the union: it cannot be accounted responsible for any consequences thereof. He who desires perpetual love must purchase another mamori labelled: 'Renri-tama-tsubaki-aikyo-goki-to-on-mamori' (August amulet of august prayer-for-kindling-love of the jewel-precious tsubaki-tree-of- Union). This charm should maintain at constant temperature the warmth of affection; it contains only a leaf of the singular double-bodied camelliatree beforementioned. There are also small amulets for exciting love, and amulets for the expelling of diseases, but these have no special characteristics worth dwelling upon.

Then we take our way to the sacred grove--the Okuno-in, or Mystic Shades of Yaegaki.

Sec. 5

This ancient grove--so dense that when you first pa.s.s into its shadows out of the sun all seems black--is composed of colossal cedars and pines, mingled with bamboo, tsubaki (Camellia j.a.ponica), and sakaki, the sacred and mystic tree of s.h.i.+nto. The dimness is chiefly made by the huge bamboos. In nearly all sacred groves bamboos are thickly set between the trees, and their feathery foliage, filling every lofty opening between the heavier crests, entirely cuts off the sun. Even in a bamboo grove where no other trees are, there is always a deep twilight.

As the eyes become accustomed to this green gloaming, a pathway outlines itself between the trees--a pathway wholly covered with moss, velvety, soft, and beautifully verdant. In former years, when all pilgrims were required to remove their footgear before entering the sacred grove, this natural carpet was a boon to the weary. The next detail one observes is that the trunks of many of the great trees have been covered with thick rush matting to a height of seven or eight feet, and that holes have been torn through some of the mats. All the giants of the grove are sacred; and the matting was bound about them to prevent pilgrims from stripping off their bark, which is believed to possess miraculous virtues. But many, more zealous than honest, do not hesitate to tear away the matting in order to get at the bark. And the third curious fact which you notice is that the trunks of the great bamboos are covered with ideographs--with the wishes of lovers and the names of girls.

There is nothing in the world of vegetation so nice to write a sweetheart's name upon as the polished bark of a bamboo: each letter, however lightly traced at first, enlarges and blackens with the growth of the bark, and never fades away.

The deeply mossed path slopes down to a little pond in the very heart of the grove--a pond famous in the land of Izumo. Here there are many imori, or water-newts, about five inches long, which have red bellies.

Here the shade is deepest, and the stems of the bamboos most thickly tattooed with the names of girls. It is believed that the flesh of the newts in the sacred pond of Yaegaki possesses aphrodisiac qualities; and the body of the creature, reduced to ashes, by burning, was formerly converted into love-powders. And there is a little j.a.panese song referring to the practice:

'h.o.r.e-gusuri koka niwa naika to imori ni toeba, yubi-wo marumete kore bakari.' [7]

The water is very clear; and there are many of these newts to be seen.

And it is the custom for lovers to make a little boat of paper, and put into it one rin, and set it afloat and watch it. So soon as the paper becomes wet through, and allows the water to enter it, the weight of the copper coin soon sends it to the bottom, where, owing to the purity of the water, it can be still seen distinctly as before. If the newts then approach and touch it, the lovers believe their happiness a.s.sured by the will of the G.o.ds; but if the newts do not come near it, the omen is evil. One poor little paper boat, I observe, could not sink at all; it simply floated to the inaccessible side of the pond, where the trees rise like a solid wall of trunks from the water's edge, and there became caught in some drooping branches. The lover who launched it must have departed sorrowing at heart.

Close to the pond, near the pathway, there are many camellia-bushes, of which the tips of the branches have been tied together, by pairs, with strips of white paper. These are shrubs of presage. The true lover must be able to bend two branches together, and to keep them united by tying a paper tightly about them--all with the fingers of one hand. To do this well is good luck. Nothing is written upon the strips of paper.

But there is enough writing upon the bamboos to occupy curiosity for many an hour, in spite of the mosquitoes. Most of the names are yobi-na, -that is to say, pretty names of women; but there are likewise names of men--jitsumyo; [8] and, oddly enough, a girl's name and a man's are in no instance written together. To judge by all this ideographic testimony, lovers in j.a.pan--or at least in Izumo--are even more secretive than in our Occident. The enamoured youth never writes his own jitsumyo and his sweetheart's yobi-na together; and the family name, or myoji, he seldom ventures to inscribe. If he writes his jitsumyo, then he contents himself with whispering the yobi-na of his sweetheart to the G.o.ds and to the bamboos. If he cuts her yobi-na into the bark, then he subst.i.tutes for his own name a mention of his existence and his age only, as in this touching instance:

Takata-Toki-to-en-musubi-negaimas. Jiu-ha.s.sai-no-otoko [9]

This lover presumes to write his girl's whole name; but the example, so far as I am able to discover, is unique. Other enamoured ones write only the yobi-na of their bewitchers; and the honourable prefix, 'O,' and the honourable suffix, 'San,' find no place in the familiarity of love.

There is no 'O-Haru-San,' 'O-Kin-San,' 'O-Take-San,' 'O-Kiku-San'; but there are hosts of Haru, and Kin, and Take, and Kiku. Girls, of course, never dream of writing their lovers' names. But there are many geimyo here, 'artistic names,'--names of mischievous geisha who wors.h.i.+p the Golden Kitten, written by their saucy selves: Rakue and Asa and Wakai, Aikichi and Kotabuki and Kohachi, Kohana and Tamakichi and Katsuko, and Asakichi and Hanakichi and Katsukichi, and Chiyoe and Chiyotsuru.

'Fortunate-Pleasure,' 'Happy-Dawn,' and 'Youth' (such are their appellations), 'Blest-Love' and 'Length-of-Days,' and 'Blossom-Child'

and 'Jewel-of-Fortune' and 'Child-of-Luck,' and 'Joyous-Sunrise' and 'Flower-of-Bliss' and 'Glorious Victory,' and 'Life-as-the-Stork's-for- a-thousand-years.' Often shall he curse the day he was born who falls in love with Happy-Dawn; thrice unlucky the wight bewitched by the Child- of-Luck; woe unto him who hopes to cherish the Flower-of-Bliss; and more than once shall he wish himself dead whose heart is snared by Life-as- the-Stork's-for-a-thou sand-years. And I see that somebody who inscribes his age as twenty and three has become enamoured of young Wakagusa, whose name signifies the tender Gra.s.s of Spring. Now there is but one possible misfortune for you, dear boy, worse than falling in love with Wakagusa--and that is that she should happen to fall in love with you.

Because then you would, both of you, write some beautiful letters to your friends, and drink death, and pa.s.s away in each other's arms, murmuring your trust to rest together upon the same lotus-flower in Paradise: 'Hasu no ha no ue ni oite matsu.' Nay! pray the Deities rather to dissipate the bewitchment that is upon you:

Te ni toru na, Yahari no ni oke Gengebana. [10]

And here is a lover's inscription--in Englis.h.!.+ Who presumes to suppose that the G.o.ds know English? Some student, no doubt, who for pure shyness engraved his soul's secret in this foreign tongue of mine--never dreaming that a foreign eye would look upon it. 'I wish You, Harul' Not once, but four--no, five times!--each time omitting the preposition.

Praying--in this ancient grove--in this ancient Land of Izumo--unto the most ancient G.o.ds in Englis.h.!.+ Verily, the shyest love presumes much upon the forbearance of the G.o.ds. And great indeed must be, either the patience of Take-haya-susano-wo-no-mikoto, or the rustiness of the ten- grasp sabre that was augustly girded upon him.

Chapter Fifteen Kitsune

Sec. 1

By every shady wayside and in every ancient grove, on almost every hilltop and in the outskirts of every village, you may see, while travelling through the Hondo country, some little s.h.i.+nto shrine, before which, or at either side of which, are images of seated foxes in stone.

Usually there is a pair of these, facing each other. But there may be a dozen, or a score, or several hundred, in which case most of the images are very small. And in more than one of the larger towns you may see in the court of some great miya a countless host of stone foxes, of all dimensions, from toy-figures but a few inches high to the colossi whose pedestals tower above your head, all squatting around the temple in tiered ranks of thousands. Such shrines and temples, everybody knows, are dedicated to Inari the G.o.d of Rice. After having travelled much in j.a.pan, you will find that whenever you try to recall any country-place you have visited, there will appear in some nook or corner of that remembrance a pair of green-and-grey foxes of stone, with broken noses.

In my own memories of j.a.panese travel, these shapes have become de rigueur, as picturesque detail.

In the neighbourhood of the capital and in Tokyo itself-sometimes in the cemeteries--very beautiful idealised figures of foxes may be seen, elegant as greyhounds. They have long green or grey eyes of crystal quartz or some other diaphanous substance; and they create a strong impression as mythological conceptions. But throughout the interior, fox-images are much less artistically fas.h.i.+oned. In Izumo, particularly, such stone-carving has a decidedly primitive appearance. There is an astonis.h.i.+ng multiplicity and variety of fox-images in the Province of the G.o.ds--images comical, quaint, grotesque, or monstrous, but, for the most part, very rudely chiselled. I cannot, however, declare them less interesting on that account. The work of the Tokkaido sculptor copies the conventional artistic notion of light grace and ghostliness. The rustic foxes of Izumo have no grace: they are uncouth; but they betray in countless queer ways the personal fancies of their makers. They are of many moods--whimsical, apathetic, inquisitive, saturnine, jocose, ironical; they watch and snooze and squint and wink and sneer; they wait with lurking smiles; they listen with c.o.c.ked ears most stealthily, keeping their mouths open or closed. There is an amusing individuality about them all, and an air of knowing mockery about most of them, even those whose noses have been broken off. Moreover, these ancient country foxes have certain natural beauties which their modern Tokyo kindred cannot show. Time has bestowed upon them divers speckled coats of beautiful soft colours while they have been sitting on their pedestals, listening to the ebbing and flowing of the centuries and snickering weirdly at mankind. Their backs are clad with finest green velvet of old mosses; their limbs are spotted and their tails are tipped with the dead gold or the dead silver of delicate fungi. And the places they most haunt are the loveliest--high shadowy groves where the uguisu sings in green twilight, above some voiceless shrine with its lamps and its lions of stone so mossed as to seem things born of the soil--like mushrooms.

I found it difficult to understand why, out of every thousand foxes, nine hundred should have broken noses. The main street of the city of Matsue might be paved from end to end with the tips of the noses of mutilated Izumo foxes. A friend answered my expression of wonder in this regard by the simple but suggestive word, 'Kodomo', which means, 'The children'

Sec. 2.

Inari the name by which the Fox-G.o.d is generally known, signifies 'Load- of-Rice.' But the antique name of the Deity is the August-Spirit-of- Food: he is the Uka-no-mi-tama-no-mikoto of the Kojiki. [1] In much more recent times only has he borne the name that indicates his connection with the fox-cult, Miketsu-no-Kami, or the Three-Fox-G.o.d. Indeed, the conception of the fox as a supernatural being does not seem to have been introduced into j.a.pan before the tenth or eleventh century; and although a shrine of the deity, with statues of foxes, may be found in the court of most of the large s.h.i.+nto temples, it is worthy of note that in all the vast domains of the oldest s.h.i.+nto shrine in j.a.pan--Kitzuki--you cannot find the image of a fox. And it is only in modern art--the art of Toyokuni and others--that Inari is represented as a bearded man riding a white fox. [2]

Inari is not wors.h.i.+pped as the G.o.d of Rice only; indeed, there are many Inari just as in antique Greece there were many deities called Hermes, Zeus, Athena, Poseidon--one in the knowledge of the learned, but essentially different in the imagination of the common people. Inari has been multiplied by reason of his different attributes. For instance, Matsue has a Kamiya-San-no-Inari-San, who is the G.o.d of Coughs and Bad Colds--afflictions extremely common and remarkably severe in the Land of Izumo. He has a temple in the Kamachi at which he is wors.h.i.+pped under the vulgar appellation of Kaze-no-Kami and the politer one of Kamiya- San-no-Inari. And those who are cured of their coughs and colds after having prayed to him, bring to his temple offerings of tofu.

At Oba, likewise, there is a particular Inari, of great fame. Fastened to the wall of his shrine is a large box full of small clay foxes. The pilgrim who has a prayer to make puts one of these little foxes in his sleeve and carries it home, He must keep it, and pay it all due honour, until such time as his pet.i.tion has been granted. Then he must take it back to the temple, and restore it to the box, and, if he be able, make some small gift to the shrine.

Inari is often wors.h.i.+pped as a healer; and still more frequently as a deity having power to give wealth. (Perhaps because all the wealth of Old j.a.pan was reckoned in koku of rice.) Therefore his foxes are sometimes represented holding keys in their mouths. And from being the deity who gives wealth, Inari has also become in some localities the special divinity of the joro cla.s.s. There is, for example, an Inari temple worth visiting in the neighbourhood of the Yos.h.i.+wara at Yokohama.

It stands in the same court with a temple of Benten, and is more than usually large for a shrine of Inari. You approach it through a succession of torii one behind the other: they are of different heights, diminis.h.i.+ng in size as they are placed nearer to the temple, and planted more and more closely in proportion to their smallness. Before each torii sit a pair of weird foxes--one to the right and one to the left.

The first pair are large as greyhounds; the second two are much smaller; and the sizes of the rest lessen as the dimensions of the torii lessen.

At the foot of the wooden steps of the temple there is a pair of very graceful foxes of dark grey stone, wearing pieces of red cloth about their necks. Upon the steps themselves are white wooden foxes--one at each end of each step--each successive pair being smaller than the pair below; and at the threshold of the doorway are two very little foxes, not more than three inches high, sitting on sky-blue pedestals. These have the tips of their tails gilded. Then, if you look into the temple you will see on the left something like a long low table on which are placed thousands of tiny fox-images, even smaller than those in the doorway, having only plain white tails. There is no image of Inari; indeed, I have never seen an image of Inari as yet in any Inari temple.

On the altar appear the usual emblems of s.h.i.+nto; and before it, just opposite the doorway, stands a sort of lantern, having gla.s.s sides and a wooden bottom studded with nail-points on which to fix votive candles.

[3]

And here, from time to time, if you will watch, you will probably see more than one handsome girl, with brightly painted lips and the beautiful antique attire that no maiden or wife may wear, come to the foot of the steps, toss a coin into the money-box at the door, and call out: 'O-rosoku!' which means 'an honourable candle.' Immediately, from an inner chamber, some old man will enter the shrine-room with a lighted candle, stick it upon a nail-point in the lantern, and then retire. Such candle-offerings are always accompanied by secret prayers for good- fortune. But this Inari is wors.h.i.+pped by many besides members of the joro cla.s.s.

The pieces of coloured cloth about the necks of the foxes are also votive offerings.

Sec. 3

Fox-images in Izumo seem to be more numerous than in other provinces, and they are symbols there, so far as the ma.s.s of the peasantry is concerned, of something else besides the wors.h.i.+p of the Rice-Deity.

Indeed, the old conception of the Deity of Rice-fields has been overshadowed and almost effaced among the lowest cla.s.ses by a weird cult totally foreign to the spirit of pure s.h.i.+nto--the Fox-cult. The wors.h.i.+p of the retainer has almost replaced the wors.h.i.+p of the G.o.d. Originally the Fox was sacred to Inari only as the Tortoise is still sacred to Kompira; the Deer to the Great Deity of Kasuga; the Rat to Daikoku; the Tai-fish to Ebisu; the White Serpent to Benten; or the Centipede to Bishamon, G.o.d of Battles. But in the course of centuries the Fox usurped divinity. And the stone images of him are not the only outward evidences of his cult. At the rear of almost every Inari temple you will generally find in the wall of the shrine building, one or two feet above the ground, an aperture about eight inches in diameter and perfectly circular. It is often made so as to be closed at will by a sliding plank. This circular orifice is a Fox-hole, and if you find one open, and look within, you will probably see offerings of tofu or other food which foxes are supposed to be fond of. You will also, most likely, find grains of rice scattered on some little projection of woodwork below or near the hole, or placed on the edge of the hole itself; and you may see some peasant clap his hands before the hole, utter some little prayer, and swallow a grain or two of that rice in the belief that it will either cure or prevent sickness. Now the fox for whom such a hole is made is an invisible fox, a phantom fox--the fox respectfully referred to by the peasant as O-Kitsune-San. If he ever suffers himself to become visible, his colour is said to be snowy white.

According to some, there are various kinds of ghostly foxes. According to others, there are two sorts of foxes only, the Inari-fox (O-Kitsune- San) and the wild fox (kitsune). Some people again cla.s.s foxes into Superior and Inferior Foxes, and allege the existence of four Superior Sorts--Byakko, Kokko, Jenko, and Reiko--all of which possess supernatural powers. Others again count only three kinds of foxes--the Field-fox, the Man-fox, and the Inari-fox. But many confound the Field- fox or wild fox with the Man-fox, and others identify the Inari-fox with the Man-fox. One cannot possibly unravel the confusion of these beliefs, especially among the peasantry. The beliefs vary, moreover, in different districts. I have only been able, after a residence of fourteen months in Izumo, where the superst.i.tion is especially strong, and marked by certain unique features, to make the following very loose summary of them:

All foxes have supernatural power. There are good and bad foxes. The Inari-fox is good, and the bad foxes are afraid of the Inari-fox. The worst fox is the Ninko or Hito-kitsune (Man-fox): this is especially the fox of demoniacal possession. It is no larger than a weasel, and somewhat similar in shape, except for its tail, which is like the tail of any other fox. It is rarely seen, keeping itself invisible, except to those to whom it attaches itself. It likes to live in the houses of men, and to be nourished by them, and to the homes where it is well cared for it will bring prosperity. It will take care that the rice-fields shall never want for water, nor the cooking-pot for rice. But if offended, it will bring misfortune to the household, and ruin to the crops. The wild fox (Nogitsune) is also bad. It also sometimes takes possession of people; but it is especially a wizard, and prefers to deceive by enchantment. It has the power of a.s.suming any shape and of making itself invisible; but the dog can always see it, so that it is extremely afraid of the dog. Moreover, while a.s.suming another shape, if its shadow fall upon water, the water will only reflect the shadow of a fox. The peasantry kill it; but he who kills a fox incurs the risk of being bewitched by that fox's kindred, or even by the ki, or ghost of the fox.

Still if one eat the flesh of a fox, he cannot be enchanted afterwards.

The Nogitsune also enters houses. Most families having foxes in their houses have only the small kind, or Ninko; but occasionally both kinds will live together under the same roof. Some people say that if the Nogitsune lives a hundred years it becomes all white, and then takes rank as an Inari-fox.

There are curious contradictions involved in these beliefs, and other contradictions will be found in the following pages of this sketch. To define the fox-superst.i.tion at all is difficult, not only on account of the confusion of ideas on the subject among the believers themselves, but also on account of the variety of elements out of which it has been shapen. Its origin is Chinese [4]; but in j.a.pan it became oddly blended with the wors.h.i.+p of a s.h.i.+nto deity, and again modified and expanded by the Buddhist concepts of thaumaturgy and magic. So far as the common people are concerned, it is perhaps safe to say that they pay devotion to foxes chiefly because they fear them. The peasant still wors.h.i.+ps what he fears.