THE MYTHICAL NARRATIVE.
No really adequate idea of the old Japanese myths can be gained without
a direct study of the _Kojiki_, _Nihongi_, and _Kiujiki_, with all
their repetitions, inconsistencies, and obscurities. In the following
outline, taken mainly from the two first-named works, a selection has
been made of such incidents as have an interest and significance for
European students of mythology.
Both the _Nihongi_ and the _Kiujiki_ begin with a passage which is
justly repudiated by the modern school of Shinto theologians as in
reality belonging to the materialistic philosophy of China.[51] It runs
as follows:--
_"Of old, Heaven and Earth were not yet separated, and the In and
Yo[52] not yet divided. They formed a chaotic mass like an egg, which
was of obscurely defined limits, and contained germs. The purer and
clearer part was thinly diffused and formed Heaven, while the heavier
and grosser element settled down and became Earth. The finer element
easily became a united body, but the consolidation of the heavy and
gross element was accomplished with difficulty. Heaven was therefore
formed first, and Earth established subsequently. Thereafter divine
beings were produced between them."_
Pfleiderer says:[53] "There is not unfrequently found in the mythology
of the nature-religions a combination of Theogony and a Divine
formation of matter in such a way that the Gods--whether one or all of
them--are the first products of chaos, but then they form the rest of
the world out of it. In the Indian mythology Prajapati proceeded out of
the golden world-egg and then became the creative former of the world.
Likewise in the Chaldæan mythology the great Gods arose at first out of
chaos, and they then created the other Gods and the living beings of
heaven and earth."
But are not such speculations later accretions on the original myth?
In Japan, at any rate, formation out of chaos is undoubtedly an
afterthought.
=First Gods=.--We have next what is called "the seven generations
of Gods," ending with the creator-deities, Izanagi and Izanami.
Of the first six of these generations the most confused and
contradictory accounts are given in the various authorities. There
is no agreement as to the name of the first God on the list. The
_Nihongi_ tells us that the first deity produced between Heaven and
Earth while still in a state of chaos sprang up like a reed-shoot,
which then changed into a God,[54] and was called Kuni-toko-tachi
no Mikoto,[55] or "Earth-eternal-stand augustness." The _Kojiki_
calls the first God Ame no mi-naka nushi no Kami, that is to say,
"Heaven-august-centre-master-deity," identified by some with the
Polar Star, a hypothesis for which there is no other ground than the
name itself. The same authority gives Kuni-toko-tachi a place lower
down in the genealogical table. The _Kiujiki_ has a first God called
Ame yudzuru hi ame no sagiri kuni yudzuru tsuki kuni no sagiri, and
describes him (or her, for there is no indication of sex) as the
"Heavenly Parent." It is impossible to translate this rigmarole; but as
it contains the words "earth," "sun," "moon," and "mist," a nature-deity is evidently
intended. Both the _Kojiki_ and _Kiujiki_ first Gods disappear at once
from the mythical record. There is little trace of their worship in
later times, and they must be pronounced mere abortive attempts at
deity-making. Two other first deities are mentioned in the various
myths quoted in the _Nihongi_, namely, Umashi-ashi-kabi-hiko-ji
(sweet-reed-shoot-prince-father) and Ama-toko-tachi
(Heaven-eternal-stand). The latter forms, along with Kuni-toko-tachi,
one of those pairs of deities, not necessarily male and female, which
are common in Japanese mythology. An enumeration of the Gods of the
five generations which follow would be tedious and unprofitable.
Some of them had probably no existence outside of the imagination of
individual writers. They were doubtless invented or collected in order
to provide a genealogy for Izanagi and Izanami. With one exception,
they have left no trace in myth or in ceremonial. There are no
shrines in their honour. Little is to be learnt from their names, the
derivation of which is often doubtful. Several of them, however, show
that the divinely mysterious process of growth, so all-important to an
agricultural nation, had attracted attention.[56]
Musubi no Kami (the God of Growth), who forms the sixth generation
of deities, is a genuine divinity, of whom more remains to be said
hereafter.
=Izanagi and Izanami=.--The seventh generation consisted of two
deities, Izanagi and Izanami. It is with them that Japanese myth really
begins, all that precedes being merely introductory and for the most
part of comparatively recent origin.
The _Nihongi_ tells us that--
_"Izanagi and Izanami stood on the floating bridge of Heaven, and held
counsel together, saying 'Is there not a country beneath?' Thereupon
they thrust down the 'Jewel-Spear of Heaven' (Ame no tama-boko) and
groping about with it, found the ocean. The brine which dripped from
the point of the spear coagulated and formed an island which received
the name of Onogoro-jima or the 'Self-Coagulating Island.' The two
deities thereupon descended and dwelt there. Accordingly they wished to
be united as husband and wife, and to produce countries. So they made
Onogoro-jima the pillar of the centre of the land."_
The _Kojiki_ says that Izanagi and Izanami were commanded by all the
heavenly deities "to regulate and fully consolidate" the floating
land beneath. But all the accounts, the _Kojiki_ included, proceed
to represent the islands of Japan as having been generated by them
in the ordinary manner. We have therefore three distinct conceptions
of creation in Japanese myth--first as generation in the most
literal sense, second, as reducing to order, and third, as growth
(_Musubi_).[57]
The "floating bridge of Heaven" is no doubt the rainbow. It is
represented on earth by the _Sori-bashi_ or _Taiko-bashi_ (drum-bridge)
a semi-circular bridge over a pond before some Shinto shrines. It has
too steep a slope for ordinary use, and is reserved for the Deity and
for the priest on solemn occasions, the custom having been in this
instance probably suggested by the myth.
The _Ame no tama-boko_ or Jewel-Spear of Heaven has been the subject of
much dissertation. Hirata, whose view is endorsed by several eminent
scholars, native and foreign, thinks that it is a phallus. Its use in
creating, which in Japanese myth is the same thing as begetting, the
first island, countenances this idea. The derivation of _tama-boko_
also lends itself to it. _Tama_ may be rendered ball or knob as well
as jewel, and the _tama-boko_ might therefore be a shaft surmounted
by a knob representing the glans, reminding us of the spears tipped
with pine cones which were carried by the Bacchantes in the Dionysia.
We have another Japanese case of a conventionalized phallus in the
_wo-bashira_.[58] Moreover, on the theory that the _tama-boko_ is a
phallus, we have a satisfactory explanation of the circumstance that
_tama-boko no_ is used as a standing epithet of _michi_, road, which
has puzzled Japanese scholars. The _tama-boko no michi_ would then mean
"the road where phallic symbols are set up." There is abundant evidence
that objects of this kind were a familiar sight by the roadsides near
the capital in ancient times. The poet Tsura-yuki (tenth century) has
left a short poem in which he expresses his intention of praying to the
Tamaboko no chiburi no kami when starting on a journey. The Chiburi
no kami were the phallic road deities, protectors of travellers.
Notwithstanding the Japanese poets' habit of using stock epithets
without much regard to their proper meaning, this juxtaposition is
highly suggestive. Another name for the phallic Sahe no kami[59] was
Chimata no kami, or road-fork-gods, because they had no temples and
were worshipped by the road-sides and at cross-ways. The road between
Utsu-nomiya and Nikkô, when I travelled along it in 1870, was still a
_tama-boko no michi_--in the phallic sense.[60] Another link between
the _hoko_ and the phallus is suggested by a statement in the _Shiki
Monogatari_ that the weapon which formed, and still forms, the central
object in the great _Goriōye_ festival procession at Kioto is known
as the _Sai no hoko_. Now the _Goriōye_ is a survival of the old
festival in honour of the phallic Sahe no kami.
But in mythology one explanation does not necessarily exclude another
and apparently contradictory one. Whether the myth-makers had in their
minds the phallus conception of the _tama-boko_--and I am persuaded
that they had--it is impossible in this connexion to ignore the
function of the _hoko_, or spear, as a symbol of authority. Herbert
Spencer[61] has shown how universally the spear has this meaning.
Britannia's trident is a familiar example. Theseus, in the 'Hippolytus'
of Euripides, speaks of "the land ruled by my spear." Lances or
arrows are emblems of authority in Korea. In Japan itself there is
an abundance of similar evidence. In the _Nihongi_ we hear of local
governors being granted shields and spears in token of authority. When
Ohonamochi abdicates in favour of Ninigi he delivers over the Kuni-muke
no hiro-boko, or land-subduing-broad-spear. The epithet Ya-chi-boko no
kami, or God of eight thousand spears, applied to the same deity, has a
similar symbolical meaning. The Empress Jingō set up her spear at the
palace gate of the King of Silla, in Korea, as a token of conquest. A
holly spear, eight fathoms long, was given to Prince Yamatodake when he
was despatched on his expedition to subdue Eastern Japan.
It will be observed that the _tama-boko_ as a phallus belongs to the
generative conception of creation, and as a spear to the idea of it as
a cosmic or regulating process:--
_"The two deities having descended on Onogoro-jima erected there
an eight fathom house with an august central pillar. Then Izanagi
addressed Izanami, saying: 'How is thy body formed?' Izanami replied,
'My body is completely formed except one part which is incomplete.'
Then Izanagi said, 'My body is completely formed and there is one
part which is superfluous. Suppose that we supplement that which is_
_incomplete in thee with that which is superfluous in me, and thereby
procreate lands.' Izanami replied, 'It is well.' Then Izanagi said,
'Let me and thee go round the heavenly august pillar, and having met at
the other side, let us become united in wedlock.' This being agreed to,
he said, 'Do thou go round from the left, and I will go round from the
right.' When they had gone round, Izanami spoke first and exclaimed,
'How delightful! I have met a lovely youth.' Izanagi then said, 'How
delightful! I have met a lovely maiden.' Afterwards he said, 'It was
unlucky for the woman to speak first.' The child which was the first
offspring of their union was the Hiruko (leech-child), which at the age
of three was still unable to stand upright, and was therefore placed in
a reed-boat and sent adrift."_
The "eight fathom house" built by Izanagi and Izanami as a preliminary
to their marriage is the _fuseya_, or nuptial hut, several times
referred to in the old records. It was erected less for practical
purposes than to avoid the ceremonial contamination of the ordinary
dwelling-house by the consummation of a marriage within it.
The number eight is often met with in Japanese myth. It would be a
mistake, however, to regard it as in any way sacred. The primary
meaning of _yatsu_ is "many," and it might be better to translate it so
in this passage.
The central pillar of a house (corresponding to our king-post) is
at the present day an object of honour in Japan as in many other
countries. In the case of Shinto shrines, it is called the _Nakago
no mibashira_ (central august pillar), and in ordinary houses the
_Daikoku-bashira_. The circumambulation of the central post by
Izanagi and Izanami reminds us of the Hindu _pradakchina_.[62]
Hirata's conjecture that we have here an ancient marriage rite is very
plausible. The circumambulation of the dwelling, the fire, a tree, or
an altar by the bride and bridegroom is a familiar feature of marriage
ritual. It does not follow that the Japanese rite had a religious
character. Nothing in the mythical record suggests that this is the
case, and at no time in Japanese history has the marriage ceremony
had the sanction of religion. Shinto neither consecrates wedlock nor
condemns adultery.
It must not be inferred from this narrative that unions between
brothers and sisters of the full blood were permitted by ancient
Japanese custom. Cain and Abel must have married their own sisters, but
this proves nothing against the morality of the Jews. The necessity
of the story is the compelling motive in both cases. It is true that
marriages were allowed between a man and his sister by the father's
side only, but we learn from the _Nihongi_[63] that in the case of full
brothers and sisters such connexions were considered criminal. The fact
that _imo_, younger sister, is also used in addressing a wife proves no
more than the "How fair is thy love, my sister, my bride!" of the Song
of Solomon. The author of the myth of the Sun-Goddess endeavours to
smooth over the difficulty of her conjugal relations with her brother
Susa no wo by giving them a miraculous character.
The story of the abandonment of Hiruko by his parents, like the similar
legends of Sargon and Moses, is evidence that the custom of casting
away weakly or deformed infants was known to the authors. The real
significance of the Hiruko myth will be shown hereafter.
The two deities next gave birth to the islands of Japan. Of the birth
of Tsukushi, now called Kiushiu, the _Kojiki_ says:--
_"Next they gave birth to the island of Tsukushi. This island
likewise has four faces, and each face has a name. So the
land of Tsukushi is called Shira-bi-wake (white-sun-youth);
the land of Toyo is called Toyo-bi-wake (rich-sun-youth);
the land of Hi is called Take-hi-mukahi-toyo-kuji-hine-wake
(brave-sun-confronting-rich-wondrous-lord-youth); the land of Kumaso is
called Take-bi-wake (brave-sun-youth)."_
At this point the _Nihongi_ inserts the rationalistic observation that
the islands of Tsushima and Iki with the small islands in various parts
were produced by the coagulation of the salt water.
Izanagi and Izanami then procreated a number of deities, among
whom were Iha-tsuchi-biko (rock-earth-prince), Oho-ya-biko
(great-house-prince), the Wind-Gods, a variety of marine deities,
Ame no Mikumari (the heavenly water distributor), the God of Moors
(who is also the God of Herbs and Grasses), the God of Trees, the
Gods of Mountains and Valleys, and the Goddess of Food. The last
deity to be produced was the God of Fire, Kagu-tsuchi, also called
Ho-musubi (fire-growth). In giving birth to him Izanami was burnt
so that she sickened and lay down. From her vomit, fæces, and urine
were born deities which personify the elements[64] of metal, water,
and clay, while from the tears which Izanagi shed when she died there
was produced a deity called Naki-saha-me, or the Weeping Female.
In his rage and grief, Izanagi drew his sword and cut Kagu-tsuchi
to pieces, generating thereby a number of deities. Of these two
were widely worshipped in later times. One, named Take-mika-tsuchi
(brave-awful-father), is the God of the famous shrine of Kashima in the
east of Japan. The other, named Futsunushi, is worshipped under the
form of a sword at Kadori in the same neighbourhood. Izanami, by one
account, was buried at the village of Arima at Kumano, in the province
of Kiï.
_"In the time of flowers the inhabitants worship her mitama by
offerings of flowers. They also worship her with drums, flutes, flags,
singing and dancing."_
When she died Izanami went to the land of Yomi, or darkness.
_"Thereafter Izanagi went after Izanami, and entered the land of Yomi.
When he rejoined her, they conversed together. Izanami said: 'My lord
and husband, why is thy coming so late? I have already eaten of the
cooking-furnace of Yomi. But I am about to lie down to rest. Do not
thou look on me.' Izanagi did not give ear to her, but secretly took
his many-toothed comb, and breaking off its end-tooth[65] made of
it a torch and looked at her. Her body was already putrid, maggots
swarmed over it, and the eight thunder-gods had been generated in her
various members. Izanagi, greatly shocked, exclaimed, 'What a hideous
and polluted land I have come to unawares!' So he speedily ran away.
Izanami was angry, and said, 'Why didst thou not observe that which I
charged thee? Now am I put to shame.' So she sent the Ugly Females of
Yomi to pursue and slay him. Izanagi, in his flight, threw down his
many-toothed comb, which forthwith became changed into bamboo-shoots.
The Ugly Females pulled them up and ate them. When they had done eating
them they again gave chase. He then threw down his headdress, which
became changed into grapes, and so once more delayed his pursuers.
On reaching the foot of the 'Even Pass of Yomi' he gathered three
peaches[66] that were growing there, and smote his pursuers with them,
so that they all fled back. Moreover, he said to the peaches, 'As ye
have helped me, so must ye help all living people in the Central Land
of Reed-plains when they are in trouble.' And he gave them the title
Oho-kamu-dzu-mi no mikoto (their augustness great-divine fruit). This
was the origin of the custom of exorcising evil spirits by means of
peaches._
_"At the Even Pass of Yomi, Izanagi was overtaken by Izanami herself.
He took a great rock[67] and blocked up the pass with it, pronouncing
at the same time the formula of divorce--namely, 'Our relationship is
severed.' He also said, 'Come no further,' and threw down his staff,
which was called Funado no Kami (pass-not-place-deity), or Kunado
no Kami (come-not-place-deity). Moreover, he threw down his girdle,
which was called Nagachiha no Kami. Moreover, he threw down his
upper garment, which was called Wadzurahi no Kami (God of disease).
Moreover, he threw down his trowsers, which were called Aki-guhi no
Kami. Moreover, he threw down his shoes, which were called Chi-shiki no
Kami."_
The _Kojiki_ represents Izanami as assuming the position of the "Great
Deity of Yomi," a personification of death. In this character she says
to Izanagi, "If thou dost so (divorce me), I will in one day strangle
to death a thousand of the people of thy land." To which he replied
"If thou dost so, I will in one day build a thousand and five hundred
parturition houses."
The fatal consequences of tasting the food of the lower regions are
well known to mythologists. Proserpine's return to the upper world
became impossible when once
Puniceum curvâ decerpserat arbore pomum
Sumpta que pallenti septem de cortice grana
Presserat ore suo.
The same principle is recognized in Indian myth:
Three nights within his (Yama's) mansion stay,
But taste not, though a guest, his food.[68]
The natural aversion of human beings from touching or even looking on
the dead is made a characteristic of the Gods in Greek mythology as
well as in Japanese myth. Artemis, in the 'Hippolytus' of Euripides,
says, "It is not _themis_ for me to look upon the dead."
The "Even Pass of Yomi" takes the place of the water to be crossed of
other mythologies. Grimm, in his 'Teutonic Mythology,' says that "to
Death is ascribed a highway levelled, smooth, and kept in repair, on
which the dead travel."
On returning from Yomi, Izanagi's first care was to bathe in the sea
in order to purify himself from the pollutions which he had contracted
by his visit to the Land of Yomi. A number of deities were generated
by this process, among whom were the Gods of Good and Ill Luck, and
certain ocean deities held to be the ancestors of some families of
local chieftains and worshipped by them. The Sun-Goddess was born from
the washing of his left eye, and the Moon-God from that of his right,
while a third deity, named Susa no wo, was generated from the washing
of his nose. To the Sun-Goddess Izanagi gave charge of the "Plain of
High Heaven," and to the Moon-God was allotted the realm of night. Susa
no wo was at first appointed to rule the sea, but he cried and wept
till his beard grew down to the pit of his stomach. He wept the green
mountains bare and the seas and rivers dry. Izanagi inquired of him,
"Why dost thou continually weep?" He answered, "I wish to follow my
mother to the Nether Land." Izanagi said, "Go, as thy heart bids thee,"
and drove him away.
Another account of the birth of these three deities says that they were
born to Izanagi and Izanami on earth before the descent to Yomi. The
Sun-Goddess was sent up to Heaven by the "Pillar of Heaven," which then
served as a means of communication. Heaven and earth were still "not
far separated." _Ame no mi-hashira_ (Heaven-august-pillar) is one of
the names of the Wind-God. An island is described as "Heaven's single
pillar." Other myths speak of the _Ama no iha-bune_, or Rock-boat
of Heaven, as used for communication by the deities. There is also
mention of an _Ama no hashidate_ (Heaven-bridge-erection) which is
distinguished by Hirata from the "Pillar of Heaven." He thinks the
former was a sort of pier used by the Rock-boat of Heaven. A spit of
land two miles long and 190 feet broad near Miyadzu in Tango is now
called by this name.[69]
_Ame_, or the firmament, where the Gods live, is to be distinguished
from _Oho-sora_, the Great Void, which is the space between heaven and
earth.
Izanagi's ablutions (_harahi_)[70] represent a wide-spread rite.
They remind us of Juno's lustration by Iris after a visit to Hades,
and of Dante's immersion in Lethe when he had completed his ascent
through Purgatory and was preparing for admission to the circles of
Paradise. Alcestis, after her rescue by Herakles from Thanatos, had
to be purified, and was not allowed to speak for three days. We have
in the Japanese myth the counterpart of a custom described by Chinese
travellers to Japan centuries before the _Kojiki_ and _Nihongi_ were
written. It was then, we are informed, the practice, when the funeral
was over, for the whole family of the deceased to go into the water and
wash. Lustration is a wide-world practice,[71] and the myth was clearly
suggested by it, not _vice versâ_.
Izanagi's career having come to an end, he built himself an abode
of gloom in the island of Ahaji, where he dwelt in silence and
concealment. Another account says that he ascended to Heaven, where he
dwelt in the smaller Palace of the Sun.
It will be observed that Izanagi was not immortal, and that he did not
go to Yomi when he died.
=Susa no wo=.--The mythical narrative now turns to the doings of the
Sun-Goddess and her brother Susa no wo (the rainstorm personified).
Susa no wo, before proceeding to take up his charge as Ruler of
the Nether Region, ascended to Heaven to take leave of his elder
sister, the Sun-Goddess. By reason of the fierceness of his divine
nature there was a commotion in the sea, and the hills and mountains
groaned aloud as he passed upwards. The Sun-Goddess, in alarm,
arrayed herself in manly garb, and confronted her brother[72] wearing
her royal necklace of jewels, and armed with sword and bow and
arrows. The pair stood face to face on opposite sides of the River
of Heaven.[73] Susa no wo then assured his sister of the purity of
his intentions, and proposed to her that they should each produce
children by biting off and crunching parts of the jewels and swords
which they wore and blowing away the fragments.[74] Eight children
born in this way were worshipped in after times as the _Hachôji_,
or eight princely children. They figure largely in the Shôjiroku
genealogies of Japanese noble families. Through one of them, named
Masa-ya-a-katsu-kachi-haya-hi-ama-no-oshi-ho-mi-mi, the Mikados trace
their descent from the Sun-Goddess. _A-Katsu_ means I conquer. The
allusion is to Susa no wo's having triumphantly proved the purity of
his intentions by producing male children.[75]
Susa no wo's subsequent proceedings were very rude and unseemly. He
broke down the divisions between the rice-fields belonging to his
sister, sowed them over again, let loose in them the piebald colt of
Heaven, and committed nuisances in the hall where she was celebrating
the solemn festival of first-fruits. The climax to his misdeeds was
to flay a piebald colt of Heaven with a backward flaying and to fling
it into the sacred weaving-hall where the Sun-Goddess was engaged in
weaving the garments of the deities. She was so deeply indignant at
this last insult that she entered the Rock-cave of Heaven and left the
world to darkness.
[Illustration]
[Illustration]
The piebald colt of Heaven may be compared to Prisni, the speckled
cow of Indian myth, which is explained as a personification of the
variegated appearance of the starry heavens.
The retirement of the Sun-Goddess to the Rock-cave of Heaven produced
great consternation among the heavenly deities. They met on the dry
bed of the River of Heaven and took counsel how they should entice
her from her seclusion. By the advice of Omohi-kane no Mikoto (the
Thought-combiner or Counsellor deity) the long-singing birds of the
Eternal Land (cocks)[76] were made to utter their prolonged cry before
the door of the cave. Ame no Koyane no Mikoto, ancestor of the Nakatomi
and Futodama no Mikoto, ancestor of the Imbe, dug up by the roots a
five-hundred branched true _Sakaki_ tree of Heaven and hung on its
higher branches strings of jewels, on its middle branches a mirror, and
on its lower branches pieces of cloth. Then they recited their liturgy
in her honour. Moreover, Ame no Uzume (the Dread Female of Heaven)
arrayed herself in a fantastic manner, kindled a fire and standing on
a tub which resounded when she stamped upon it, performed a (not very
decent) mimic dance and gave forth an inspired utterance. The Plain
of High Heaven shook, and the eight hundred myriad deities laughed
together. The Sun-Goddess wondered how Ame no Uzume and the other gods
could be so jolly while the world was wrapped in complete darkness,
and peeped out from the half-opened door of the cave. She was at once
seized by Ta-jikara no wo (Hand-strength-male) and prevented by main
force from re-entering, to the great joy of all the deities.
Susa no wo was then tried by a council of Gods, who mulcted him in a
fine of a thousand tables of purification offerings. They also pulled
out the nails of his fingers and toes, and banished him to the land of
Yomi. Finally Ame no Koyane, the ancestor of the Nakatomi, recited his
Oho-harahi or "Great purification" liturgy.
The above episode is the kernel of the mythical lore of Japan.
Belonging to the class of light and darkness myths, it professes to
give the origin of some of the principal ceremonies of the Shinto
religion as they were practised at the Mikado's Court at the time
when they became current. In addition to the Nakatomi and Imbe,
some versions of the story show the Sun-Goddess surrounded by other
officials, such as jewel-makers, mirror-makers, &c., obviously borrowed
from the actual functionaries of the Court, and introduced with an eye
to genealogical requirements. By a curious coincidence, the Smith-God
attached to her train, like the Cyclops of Greek myth, has but one eye.
Ame no Uzume, the Dread Female of Heaven, who danced and gave forth
an inspired utterance before the Rock-cave where the Sun Goddess was
hidden, is the supposed ancestor of the Sarume (monkey-women) or
female mimes attached to the Mikado's Court, whose performances were
the origin of the pantomimic religious dances still kept up in Japan
and known as _Kagura_, while her divinely inspired utterance is the
prototype of the revelations of the Miko, or Shinto priestesses. One
version of the story gives us the actual words used by Uzume on this
occasion--namely, _Hi_, _fu_, _mi_, _yo_, _itsu_, _mu_, _nana_, _ya_,
_kokono_, _towo_. A Japanese baby knows that these are simply the
numerals from one to ten. But they have given much trouble to later
Shintoists, who have endeavoured to read into them a deep mythical
signification.
The fire kindled by her is the prototype of the _nihabi_, or "courtyard
fire," of Shinto ceremonial. It is plainly one of those numerous
imitative magic devices for making sunshine, of which Mr. Frazer has
given several examples.[77]
Modern Shinto explains the darkness produced by the Sun-Goddess's
retirement as emblematic of the darkness of sin. The renewal of light
typifies repentance. Of course, this was far from the thoughts of the
original myth-makers.
Susa no wo did not at once proceed to the land of Yomi. He went and
begged food of the Food-Goddess, who produced dainty things of all
kinds from various parts of her body, and offered them to him. But Susa
no wo took offence at her proceedings, which he considered filthy, and
at once slew her. Whereupon there were produced in her head silkworms,
in her eyes rice, in her ears millet, in her nose small beans, in her
genitals barley, and in her fundament large beans. These Musubi, the
God of Growth, took and caused to be used as seeds.
The above is the _Kojiki_ version of the story. The _Nihongi_ makes
the Moon-God the culprit, and gives it as the reason of his alienation
from the Sun-Goddess, who had sent him to visit the Food-Goddess. This
is not the only attempt of myth-makers to account for the aloofness
maintained by these two deities. The same variant of this episode makes
the Sun-Goddess the recipient of the various seeds produced in the body
of the Food-Goddess:--
_"She was rejoiced, and said, 'These are the things which the race of
visible men will eat and live.' So she made the millet, the panic, the
wheat and the beans the seed for the dry fields, and the rice she made
the seed for the water-fields. Therefore she appointed a Mura-gimi
(village-lord) of Heaven, and forthwith sowed for the first time the
rice-seed in the narrow fields and in the long fields of Heaven."_
Probably in the slaying of the Food-Goddess we have an echo of some
of those practices so fully examined by Mr. Frazer, in which the
Corn-maiden, or other representative of the corn, is slain--a tragedy
of perennial interest to mankind. Witness the rape of Persephone and
the death of John Barleycorn. Susa no wo then visited Corea, but not
finding that country to his liking, returned to Japan, and went to the
province of Idzumo.
_"Here he observed a chopstick floating down the river Hi, so thinking
that there must be people living further up the stream, he went in
quest of them, and found an old man and an old woman weeping, with a
young maiden set between them. He asked of them, 'Who are ye?' The
old man replied, 'Thy servant is a deity of earth, and his name is
Ashinadzuchi, son of the great God of the Mountain. My wife's name
is Tenadzuchi, and my daughter is called Kushinada hime.' He further
inquired, 'Why weep ye?' He answered, saying, 'I have had eight
children, girls; but the eight-forked serpent of Koshi came year after
year and devoured them. It is now the time of its coming, and therefore
do we weep.' 'Describe to me this serpent,' said Susa no wo. 'Its eyes
are as red as the winter cherry. It has one body with eight heads and
eight tails. Moreover, its body is overgrown with moss, pines and
cedars. Its length extends over eight valleys and eight hills. Its
belly is always all bloody and inflamed to look upon.' Then Susa no
wo said to the old man, 'If this be thy daughter, wilt thou give her
unto me?' 'With reverence be it said,' replied the old man, 'I know not
thy honourable name.' 'I am the elder brother of the Sun-Goddess, and
have now come down from heaven,' replied Susa no wo. Then the deities
Ashinadzuchi and Tenadzuchi said, 'In that case, with reverence we
offer her to thee.' Susa no wo straightway took that young maiden and
changed her into a many-toothed comb, which he stuck into his hair,
and said to the deities Ashinadzuchi and Tenadzuchi, 'Do ye brew some
saké of eight-fold strength. Also make a fence round about, and in
that fence let there be eight doors, at each door let there be eight
stands, on each stand let there be a saké-tub, and let each saké-tub
be filled with the saké of eight-fold strength. Then wait.' So having
prepared everything in accordance with his august bidding, they
waited. Then the eight-forked serpent came, indeed, as had been said,
and bending down one head into each of the tubs, lapped up the saké.
Hereupon it became drunken, and all the heads lay down to sleep, when
straightway Susa no wo drew his ten-span sword from his girdle and slew
the serpent, so that the river had its current changed to blood. Now,
when he cut the middle part of the tail the edge of his august sword
was broken. Wondering at this, he pierced it and split it open, when he
found that within there was a great sharp sword. He took this sword,
and thinking it a wonderful thing, reported his discovery to the Sun
Goddess. This is the great sword Kusanagi (Herb-queller)."_
On the occasion of his marriage to Kushinada hime, Susa no wo composed
the following verses:--
_Many clouds arise,_
_On all sides a manifold fence:_
_To receive within it the spouses,_
_They form a manifold fence,_
_Ah! that manifold fence!_
Eventually he entered the Nether Land.
Few of my readers will require to have pointed out to them the striking
resemblance of this story to that of Perseus and Andromeda, or will
need to be referred to Mr. Sidney Hartland's 'Legend of Perseus,'
in which everything relating to its numerous variants has been so
thoroughly examined. I would direct special attention to chapter
xviii. of this work, where the hypothesis is offered, "that we have
in this incident a reminiscence of the abolition of human sacrifices
to deities in the shape of the lower animals.... In certain stages of
civilization, sacrifices of the kind are practised, and are frequently
offered to water-spirits conceived in animal form.... It may, of
course, be that the monster sent to devour Andromeda is to be regarded
simply as the personification of water, or of specific rivers in their
sinister aspect."[78]
The circumstance that the scene of this episode in Susa no wo's career
is the bank of a river is therefore by no means immaterial. Indeed,
we may plausibly conjecture that the description of the serpent with
its eight (or many) heads and eight tails, its length extending over
eight valleys and eight hills, its body overgrown with moss, pines,
and cedars, and its propensity for devouring human beings is nothing
more than a fanciful representation of the river, with its serpentine
course, its numerous tributaries and branches, its wooded banks, and
the danger by drowning in its pools or at its fords.
The poem ascribed to Susa no wo cannot be older than the sixth or
seventh century. The word translated "on all sides," is _idzumo_. There
is therefore a punning allusion to the province of that name. The
"manifold fence," is the "nuptial hut," already referred to.[79]
=Ohonamochi=.--Susa no wo had numerous children, among whom were
Oho-toshi (great harvest), and Uka no mitama[80] (food-spirit). The
most famous of his progeny was a God called Ohonamochi. This is the
Great Deity of Idzumo, a place second only to Ise for sanctity.
Ohonamochi's eighty brothers went to pay court to a female deity named
Yakami-hime, taking him with them as porter "to carry the bag." On
arriving at Cape Keta, they found a naked hare lying on the ground.
The brothers maliciously advised the hare to bathe in the sea, and
then expose himself to the wind on the slope of a high mountain. The
hare did so, with the result that when the sea-water dried, his skin
split, and he was weeping with pain, when Ohonamochi came up in the
rear of the party. He had pity on it, and taught it remedies which
gave relief. The grateful hare promised that he should have the lady
Yakami-hime in marriage, and not his brothers. When their suit was
accordingly rejected, they devised several plans for the destruction of
Ohonamochi, which were all unsuccessful. He was then advised to go to
the "Netherdistant land," the abode of Susa no wo.
"_In accordance with this counsel, he went to the dwelling of Susa
no wo. On arriving there he was met by his daughter Suseri-hime,
who married him, and then returning within told her father that a
very beautiful deity had arrived. The Great Deity came out, and
looking at him said, 'This is the deity called the Ugly-male-deity
of the Reed-Plain. Thereupon he invited him in, and made him sleep
in the snake-chamber. Now his wife Suseri-hime gave her husband a
snake-scarf, saying, 'When the snakes are about to bite thee, drive
them away by waving this scarf thrice.' He did as she had instructed
him, and the snakes were quieted, so that he came forth again after
a peaceful sleep. Again, on the night of the next day, he was put
into the centipede and wasp chamber; but as his wife again gave him a
centipede-and-wasp scarf, and instructed him as before, he came forth
unharmed. Again Susa no wo shot a whizzing arrow into the middle of
a great moor, and bid him fetch it. When Ohonamochi went out to the
moor, Susa no wo set fire to it all round. Ohonamochi could find no way
of escape until a rat appeared, and said, 'Within 'tis hollow-hollow,
without 'tis narrow-narrow.' Hearing this, Ohonamochi stamped upon the
place, and fell in, and hid himself until the fire had burnt past.
Then the rat came with the whizzing arrow in its mouth and presented
it to him. The feathers of the arrow had all been gnawed by the rat's
children. Hereupon his wife Suseri-hime came weeping and bringing the
funeral things. Her father, the Great Deity, thinking that Ohonamochi
was already dead, went out and stood on the moor. Ohonamochi brought
him the arrow and presented it to him. Susa no wo took him into the
house, and calling him into a large chamber of many mats, bid him
catch the lice on his head. Ohonamochi looked at his head, and saw
that it was swarming with centipedes. Then his wife gave him berries
of the muku tree and red earth. He chewed up the berries and took
the red earth into his mouth. Then he spat them out, and the Great
Deity thought that he had chewed up and spat out the centipedes, and
feeling fond of him in his heart, fell asleep. Ohonamochi then took
hold of the hair of the Great Deity and tied it to the rafters of the
chamber. Blocking up the door with a five-hundred-pull rock, he took
his wife Suseri-hime on his back and made his escape, carrying with
him the Great Deity's live-sword, live bow and arrows, and speaking
lute of Heaven. The speaking lute of Heaven brushed against a tree and
the earth resounded. The Great Deity was startled out of his sleep by
the sound and pulled down the chamber. But while he was unloosing his
hair from the rafters Ohonamochi fled a long way off. The Great Deity
pursued him to the Even Pass of Yomi, and looking at him from afar,
called to him and said, 'With the live sword and live bow and arrows
which thou bearest, pursue thy half-brethren till they lie down on the
lower slopes of the passes, pursue them till they are swept into the
river rapids. Be thou the deity Oho-kuni-nushi (great-land-master)
and the deity Utsushi-kuni-dama (real-land-spirit). Make my daughter
Suseri-hime thy consort, and basing thy stout palace-pillars on the
bottom rock at the foot of Mount Uka, and exalting thy crossbeams to
the Plain of High Heaven, dwell there, thou rogue.' When Ohonamochi had
driven away and dispersed the eighty deities, he pursued them till they
lay down on the lower slopes of every pass, and pursued them till they
were swept into the rapids of every river. Then did he begin to make
the land._"
He was assisted in doing so by a dwarf deity called Sukuna-bikona,
who wore garments of bird skins and came over the sea in a tiny boat.
There is probably some echo of real history in the myths of Susa no
wo, Ohonamochi, and Sukuna-bikona. Idzumo, the scene of their doings,
was one of the earliest centres of civilization and religion in
Japan, and its position over against Korea is significant in view of
the legends which connect Susa no wo with that country. The incident
of Sukuna-bikona's arrival by sea, clothed in bird skins, seems to
indicate an acquaintance with some northern tribes, who, like the
Kurile islanders at this day, wore garments of this material.
This Ohonamochi myth belongs to a class of stories the main features
of which have been thus outlined by Mr. A. Lang: "A young man is
brought to the home of a hostile animal, a giant, cannibal, wizard, or
malevolent king. He is put by his unfriendly host to various severe
trials, in which it is hoped that he will perish. In each trial he is
assisted by the daughter of his host. After achieving the adventures,
he elopes with the girl and is pursued by the father." Mr. Lang goes on
to speak of the articles thrown down by the runaways in their flight.
This part of the story belongs in Japanese myth to the history of
Izanagi and Izanami.[81]
=Ninigi=.--The dynasty of Susa no wo was not recognized by the Gods
of Heaven. They sent down several other deities to prepare the world
for the advent of Ninigi, a grandchild of the Sun-Goddess, as its
ruler. Some versions of the story make Taka-musubi the chief actor
in these proceedings, in others the Sun-Goddess is more prominent.
One of the deities sent down for this purpose was Ame-waka-hiko
(heaven-young-prince). The _Nihongi_ says:--
"_As soon as he arrived he took to wife Shita-teru-hime, the daughter
of Utsushi-kuni-dama. Accordingly he remained, and said: 'I, too,
wish to govern the Central Land of Reed-Plains.' He never reported
the result of his mission. At this time Taka-musubi, wondering why
he was so long in coming and making his report, sent the pheasant
Na-naki to observe. The pheasant flew down and perched on the top of a
many-branched cassia-tree which grew before Ame-waka-hiko's gate. Now
Ama-no Sagu-me (heaven-spying-woman) saw this, and told Ame-waka-hiko,
saying: 'A strange bird has come and is perched on the top of the
cassia-tree.' Then Ame-waka-hiko took the heavenly deer-bow and the
heavenly feathered arrows which had been given him by Taka-mi-musubi no
Mikoto, and shot the pheasant, so that it died. The arrow having passed
through the pheasant's breast, came before where Taka-mi-musubi no Kami
was sitting. Then Taka-mi-musubi no Kami, seeing this arrow, said:
'This arrow I formerly gave to Ame-waka-hiko. It is stained with blood,
it may be because he has been fighting with the Earthly Deities.'
Thereupon Taka-mi-musubi no Mikoto took up the arrow and flung it back
down (to earth). This arrow, when it fell, hit Ame-waka-hiko on the
top of his breast. At this time Ame-waka-hiko was lying down after the
feast of first-fruits, and when hit by the arrow died immediately._"
"_The sound of the weeping and mourning of Ame-waka-hiko's wife
Shita-teru-hime reached Heaven. At this time Ame no Kuni-dama, hearing
the voice of her crying, straightway knew that her son, Ame-waka-hiko,
was dead, and sent down a swift wind to bring the body up to Heaven.
Forthwith a mortuary house was made, in which it was temporarily
deposited. The river-geese were made head-hanging bearers and also
broom-bearers, the kingfisher was made the representative of the
deceased, the sparrows were made the pounding-women, and the wrens
the mourners. Altogether the assembled birds were entrusted with the
matter._"
"_For eight days and eight nights they wept and sang dirges._"
=Futsunushi and Take-mika-tsuchi=.--Finally, the deities Futsunushi
and Take-mika-tsuchi[82] were sent down to prepare Japan for Ninigi's
reception.
"_The two deities descended and arrived at the Little Shore of Itasa
in Idzumo, and asked Ohonamochi, saying: 'Wilt thou deliver up this
country to the Heavenly Deity, or not?' He answered and said: 'I will
not allow it.' Thereupon Futsunushi returned upwards, and made his
report. Now Taka-mi-musubi sent the two Gods back again, and commanded
Ohonamochi, saying: 'Having now heard what thou hast said, I find
that there is profound reason in thy words. Therefore again I issue
my commands to thee more circumstantially, that is to say: Let the
public matters which thou hast charge of be conducted by my grandchild,
and do thou rule divine affairs. Moreover, if thou wilt dwell in the
palace of Ama no Hi-sumi, I will now build it for thee. I will take a
thousand fathom rope of the (bark of the) paper mulberry, and tie it
in 180 knots. As to the dimensions of the building of the palace, its
pillars shall be high and massy, and its planks broad and thick. I will
also cultivate thy rice-fields for thee, and, for thy provision when
thou goest to take pleasure on the sea, I will make for thee a high
bridge, a floating bridge, and also a Heavenly bird-boat. Moreover,
on the Tranquil River of Heaven I will make a flying bridge. I will
also make for thee white shields of 180 seams, and Ame no Ho-hi no
Mikoto shall be the president of the festivals in thy honour.' Hereupon
Ohonamochi answered and said: 'The instructions of the Heavenly Deity
are so courteous that I may not presume to disobey his commands. Let
the August Grandchild direct the public affairs of which I have charge.
I will retire and direct secret matters.' So he introduced Kunado no
Kami to the two Gods, saying: 'He will take my place and will yield
respectful obedience. I will withdraw and depart hence.' He forthwith
invested him with the pure Yasaka jewels, and then became concealed for
ever. Therefore Futsunushi no Kami appointed Kunado no Kami as guide,
and went on a circuit of pacification. Any who were rebellious to his
authority he put to death, while those who rendered obedience were
rewarded. The chiefs of those who at this time rendered obedience were
Oho-mono-nushi and Koto-shiro-nushi._"
Another version adds that--
"_He took the broad spear[83] which he had used as a staff when he
was pacifying the land, and gave it to the two Gods saying: 'By means
of this spear I was at last successful. If the Heavenly Grandchild
will use this spear to rule the land, he will undoubtedly subdue it
to tranquillity. I am now about to withdraw to the concealment of the
eighty road-windings.' Having said these words, he at length became
concealed.[84] Thereupon the two Gods put to death all the rebellious
spirits and Deities._"
When Ninigi was about to descend to earth, the Sun-Goddess addressed
him, saying:
"_'This Reed-plain-1500-autumns-fair-ears Land is the region which my
descendants shall be lords of. Do thou, my August Grandchild, proceed
thither and govern it. Go! and may prosperity attend thy dynasty, and
may it, like Heaven and Earth, endure for ever.' When he was about to
descend, one who had been sent in advance to clear the way, returned
and said: 'There is one God who dwells at the eight-crossroads of
Heaven, the length of whose nose is seven hands, and whose stature is
more than seven fathoms. Moreover, a light shines from his mouth and
from his posteriors. His eye-balls are like an eight-hand mirror, and
have a ruddy glow like the physalis.' Thereupon he sent one of his
attendant Deities to go and make inquiry. Now among all the eighty
myriads of Deities, there was not one who could confront him and make
inquiry. Therefore he specially commanded Ame no Uzume, saying: 'Thou
art superior to others in the power of thy looks. Thou hadst better go
and question him.' So Ame no Uzume forthwith bared her breasts, and,
pushing down the band of her garment below her navel, confronted him
with a mocking laugh. Then the God of the crossways asked her saying:
'Ame no Uzume! What meanest thou by this behaviour?' She answered
and said: 'I make bold to ask who art thou, that dost thus remain in
the road by which the child of Ama-terasu no Oho-kami is to make his
progress?' The God of the crossways answered and said: 'I have heard
that the child of Ama-terasu no Oho-kami is now about to descend, and
therefore I have come respectfully to meet and attend upon him. My
name is Saruta-hiko no Oho-kami.' Then Ame no Uzume again inquired of
him, saying: 'Wilt thou go before me, or shall I go before thee?' He
answered and said: 'I will go before and be his harbinger.' Ame no
Uzume returned and reported these circumstances. Thereupon the August
Grandchild, leaving the heavenly rock-seat, and thrusting apart the
eight-piled clouds of Heaven, clove his way with an awful way-cleaving,
and descended to earth._"
He alighted on a mountain in the western island of Kiushiu. He was
attended by the ancestors of the five _be_, or hereditary government
corporations, viz.: the Nakatomi, the Imbe, the Sarume, the
mirror-makers _be_, and the jewellers _be_, to which some accounts add
several others.
Ninigi took to wife Konohana-sakuyahime (the lady blooming like the
flowers of the trees). Her father Oho-yamatsu mi (great-mountain
person) had offered him both his daughters, but the elder was
rejected by Ninigi as being too ugly. Her name was Iha-naga-hime
(rock-long-lady). The consequences of this choice were disastrous to
his descendants. Iha-naga-hime, in her shame and resentment, uttered a
curse and said: "The race of visible men shall change swiftly like the
flowers of the trees and shall decay and pass away." This is the reason
why the life of man is so short.
When the time came for the younger sister's delivery, she shut herself
up in a doorless shed, which, on the birth of her three children,
she set fire to, with the object of clearing herself from certain
suspicions which her husband had entertained of her fidelity. "If,"
said she, "the children are really the offspring of the Heavenly
Grandchild, the fire cannot harm them." The children and their mother
came forth unhurt, and were thereupon recognized by Ninigi as his true
offspring and wife.
The "doorless shed" here mentioned, is a "parturition house."[85] It
was the custom in ancient Japan for women, when the time drew near for
their delivery, to retire to a shed specially constructed to receive
them, so that contamination to the dwelling-house might be avoided.
This was still the practice in the island of Hachijō in 1878, and even
in Japan no longer than a century ago.
The burning of the parturition house represents the ordeal by fire,
which, with the ordeal by boiling water or mud, is well known in Japan.
=Ho no Susori and Hohodemi=.--The story concerns itself no further with
the youngest of these three children. Of the others, the elder, named
Ho no Susori, became a fisherman, and the younger, Hohodemi, a hunter.
Ho no Susori once proposed to his brother to exchange their respective
callings. Hohodemi accordingly gave over to his elder brother his bow
and arrows and received a fishhook in return. But neither of them
profited by the exchange, so Ho no Susori gave back to his brother the
bow and arrows and demanded from him the fish-hook.
Hohodemi, however, had in the meantime lost it in the sea. He took
his sword and forged from it a number of new fish-hooks which he
piled up in a winnowing tray and offered to his brother by way of
compensation. But the latter would have none but his own, and demanded
it so vehemently of Hohodemi as to grieve him bitterly. Hohodemi went
down to the sea-shore and stood there lamenting, when there appeared to
him the Old Man of the Sea, by whose advice he descended into the sea
depths to the abode of the God of the Sea, a stately palace with lofty
towers and battlements. Before the gate there was a well, and over the
well grew a thick-branching cassia tree, into which Hohodemi climbed.
The Sea-God's daughter Toyo-tama-hime (rich jewel maiden) then came
out from the palace to draw water. She saw Hohodemi's face reflected
in the well, and returning within reported to her father that she had
seen a beautiful youth in the tree which grew by the well. Hohodemi was
courteously received by the Sea-God, Toyo-tama-hiko (rich jewel prince)
who when he heard his errand, summoned before him all the fishes of
the sea and made inquiry of them for the lost fish hook, which was
eventually discovered in the mouth of the Tai. Toyo-tama-hiko delivered
it to Hohodemi, telling him when he gave it back to his brother to say
"a hook of poverty, a hook of ruin, a hook of downfall," to spit twice
and to hand it over with averted face.
Hohodemi married the Sea-God's daughter Toyo-tama-hime and remained
with her for three years. He then became home-sick and returned to
the upper world. On the beach where he came to land, he built for his
wife, who was soon to follow, a parturition house which he thatched
with cormorant's feathers. The roofing was still unfinished when she
arrived, riding on a great tortoise. She went straight into the hut,
begging her husband not to look at her. But Hohodemi's curiosity was
too strong for him. He peeped in, and behold! his wife had become
changed into a _wani_ (sea-monster or dragon), eight fathoms long.
Deeply indignant at the disgrace put upon her, Toyo-tama-hime abandoned
her new-born child to the care of her sister, and barring behind her
the sea-path in such a way that from that day to this all communication
between the realms of land and sea has been cut off, returned hastily
to her father's palace.
The child thus born was the father of Jimmu Tenno, the first human
sovereign of Japan.
Hohodemi's troubles with his elder brother were renewed on his arrival
home. He was obliged to use against him two talismans given him by his
father-in-law. One of these had the virtue of making the tide flow and
submerge Ho no Susori and thus compel him to sue for mercy (another
account says that Hohodemi whistled and thereby raised the wind and the
sea). Then by a second talisman the tide was made to recede and Ho no
Susori's life was spared. He yielded complete submission to his younger
brother, and promised that he and his descendants to all generations
would serve Hohodemi and his successors as mimes and bondservants. The
_Nihongi_ adds that in that day it was still customary for the Hayato
(or Imperial guards), who were descended from Ho no Susori, to perform
a mimic dance before the Mikados, the descendants and successors of
Hohodemi, in which the drowning struggles of their ancestor were
represented.
The castle-gate and the tree before it, at the bottom of which is
a well which serves as a mirror, form a combination not unknown to
European folk-lore. We may also note the partiality evinced for the
younger of two brothers, the virtue of spitting and of set forms of
speech to bring good or ill luck, and of whistling to raise the wind.
There are several features in this story which betray a recent origin
and foreign influences. A comparatively advanced civilization is
indicated by the sword and fish-hooks forged of iron (the Homeric
fish-hook was of horn). The institution of the Hayato as Imperial
Guards belongs to a period not very long antecedent to the date of
the _Nihongi_ and _Kojiki_. The palace of the sea-depths and its
Dragon-king are of Chinese, and therefore of recent, origin. The
comparatively modern character of this important link in the genealogy
which traces back the descent of the Mikados to the Sun-Goddess
confirms the view that the so-called ancestor-worship of the ancient
Japanese is a later accretion upon what was in its origin a worship of
the powers of Nature.
=Jimmu Tennô=.--Though it is difficult to draw clearly a line which
shall divide religious myth from legend with an historical kernel, we
may conveniently assume that in Japan the latter begins with the story
of Jimmu, as it has in all probability a foundation in actual fact,
namely, the conquest of Central Japan by an invading army from the
western island of Kiushiu some centuries before the Christian epoch.
Jimmu Tennô is said to have been the youngest of four brothers, who
lived in the province of Hiuga.
When he reached the age of forty-five, he addressed his elder
brothers and his children, saying: "Of old, our Heavenly Deities,
Taka-mi-musubi, and Oho-hiru-me, gave this land of fair rice-ears of
the fertile reed-plain to our Heavenly ancestor, Hiko-ho no ninigi. Now
I have heard from the old sea-father that in the east there is a fair
land encircled by blue mountains. Let us make our capital there." So
on the fifth day of the tenth month of the year corresponding to B.C.
607[86] they sailed northwards, and passing through the Bungo Channel
arrived at Usa,[87] near the Strait of Shimonoseki.
At this time there appeared the ancestors of the local chieftains of
Usa, named Usa-tsu-hiko and Usa-tsu-hime, who built a palace raised on
one pillar on the bank of the River Usa, and offered them a banquet.
Then, by imperial command, Usa-tsu-hime was given in marriage to the
Emperor's attendant minister Ama no tane, the remote ancestor of the
Nakatomi House.
Proceeding on their voyage eastwards through the inland sea, Jimmu and
his brothers arrived at the entrance of the river which falls into
the sea near Ôsaka. Here they encountered a swift current, for which
reason that place was called _Nami-haya_ (wave-swift) or _Nami-hana_
(wave-flower) of which _Nani-ha_ (a later poetical name of Ôsaka) was
thought a corruption.[88]
The first encounter of Jimmu's forces with the inhabitants of this part
of Japan was not to their advantage:--
"_The Emperor was vexed, and said: 'I am the descendant of the
Sun-Goddess, and if I proceed against the Sun to attack the enemy, I
shall act contrary to the way of Heaven. Better to retreat and make a
show of weakness. Then sacrificing to the Gods of Heaven and Earth, and
bringing on our backs the might of the Sun-Goddess, let us follow her
rays and trample them down.'_"
Subsequently he proceeded southwards to Kumano, in the province of Kiï,
where he embarked with his army in the "Rock-boat of Heaven." In the
midst of the sea they suddenly met with a violent wind, and Jimmu's
ship was tossed about. Then Ina-ihi, one of Jimmu's elder brothers,
exclaimed, "Alas! my ancestors were Heavenly Deities and my mother was
a Goddess of the Sea. Why do they harass me by land, and why, moreover,
do they harass me by sea." So he drew his sword and plunged into the
sea, where he became changed into the God Sabimochi.[89] Another
brother of the Emperor, Mike Irino, also indignant at this, said: "My
mother and my aunt are both Sea-Goddesses: why do they raise great
billows to overwhelm us?" So treading upon the waves, he went to the
Eternal Land.
At this time the Gods belched up a poisonous vapour, which paralyzed
the energies of Jimmu's troops.
"_Then there was there a man by name Kumano no Takakuraji, who had
a dream, in which Ama-terasu no Ohokami spoke to Take-mika-tsuchi
no Kami, saying: 'I still hear a sound of disturbance from the
Central Land of Reed-Plains. Do thou again go and chastise it.'
Take-mika-tsuchi no Kami answered and said: 'Even if I go not, I can
send down my sword, with which I subdued the land, upon which the
country will of its own accord become peaceful.' To this Ama-terasu no
Kami assented. Thereupon Take-mika-tsuchi no Kami addressed Takakuraji,
saying: 'My sword, which is called Futsu no Mitama, I will now place
in thy storehouse. Do thou take it and present it to the Heavenly
Grandchild.' Takakuraji said: 'Yes,' and thereupon awoke. The next
morning, as instructed in his dream, he opened the storehouse, and
on looking in there was indeed there a sword which had fallen down
(from Heaven), and was standing point upwards on the plank floor of
the storehouse. So he took it and offered it to the Emperor. Then
Ama-terasu no Oho-kami instructed the Emperor in a dream of the night,
saying: 'I will now send thee the Yata-garasu,[90] make it thy guide
through the land.' Upon which the Yata-garasu came flying down from the
Void, and served as a guide to the army._"
The progress of the Imperial troops being again obstructed by the
enemy, the Emperor prayed and then fell asleep. The Heavenly Deity
appeared to him in a dream, and instructed him to take earth from
within the shrine of the Heavenly Mount Kagu, and of it to make eighty
heavenly platters. Moreover, he was to make sacred jars, and therewith
sacrifice to the Gods of Heaven and Earth, pronouncing at the same
time a solemn imprecation. This had the desired effect of dispersing
the enemy. The Emperor proceeded to utter a vow, saying: "I will now
make _ame_[91] in the eighty platters, using no water. If the _ame_
forms, then shall I assuredly, without effort and without recourse to
arms, reduce the Empire to peace." The _ame_ became formed of itself.
Again he made a vow, saying:--
"'_I will now take the sacred jars and sink them in the River Nifu. If
the fishes, great or small, become every one drunken and are carried
down the stream like floating leaves, then shall I assuredly succeed in
establishing the land.' So he sank the jars in the river, with their
mouths turned downward, and after a while the fish all came to the
surface, gaping and gasping as they floated down the stream._"
The Emperor then commanded Michi no Omi, saying:
"'_We are now in person[92] about to celebrate a festival to
Taka-mi-musubi. I appoint thee Ruler of the festival, and grant thee
the title of Idzu-hime.[93] The earthen jars which are set up shall
be called the Idzube, or sacred jars; the fire shall be called Idzu
no Kagu-tsuchi, or sacred-fire-father; the water shall be called Idzu
no Midzu-ha no me, or sacred-water-female; the food shall be called
Idzu-uka no me, or sacred-food-female; the firewood shall be called
Idzu no Yama-tsuchi, or sacred-mountain-father; and the grass shall be
called Idzu no No-tsuchi, or sacred-moor-father._'"
"_In Winter, the 10th month, on the 1st day,[94] the Emperor tasted
the food of the Idzube, and arraying his troops set forth upon his
march._"
Among those who made submission to Jimmu was Nigi-haya-hi, of whom it
is told that he was a child of the Heavenly Deity, who had come down
from Heaven riding in the "Rock-boat of Heaven," and married the sister
of a local chieftain named Naga-sune-hiko (Prince Long-shanks). His
name and that of his son appear very frequently in the _Shôjiroku_
genealogies.
Jimmu took to wife a daughter of the God Koto-shiro-nushi, or,
according to the _Kojiki_, Oho-mono-nushi, by a mortal woman, and
having established his capital at Kashi-habara, in Yamato, B.C.
660,[95] reigned there until his death, B.C. 585, at the age of 127.
FOOTNOTES:
[51] See 'Rig-veda,' x. 129, for a similar rationalistic dissertation
on the origin of the universe. Here and below the italics indicate
translations.
[52] In Chinese, _Yin_ and _Yang_. The _Yin_ is the dark, negative,
passive, feminine, and terrene principle; the _Yang_ is light,
positive, active, male, and celestial.
[53] 'Philosophy of Religion,' i. 269.
[54] "Into human shape" is another version.
[55] I shall usually omit this purely honorific addition to the names
of Japanese Gods and sovereigns.
[56] Hirata says that "the five generations of deities which in the
_Kojiki_ precede Izanagi and Izanami are only names descriptive of the
successive stages of formation of these deities. Their functions are
obscure, and they have no shrines or worship. They are unnecessary, as
all that are required are two Gods for the creation of Heaven, two of
Yomi and two of Earth."
[57] There is a close association in Hebrew between the ideas of
creation and begetting. _Bara_, create, and _jalad_, beget, are often
interchanged.
[58] See Index.
[59] See Index.
[60] It was deprived of this character soon after by order of the
Mikado's Government, the only monument of the old cult left standing
being Nantai (male form), a mountain which towers above Nikko to the
height of 8,500 feet.
[61] 'Sociology,' ii. 177.
[62] See Index, 'Circumambulation.' Also Simpson's 'Praying Wheel,' p.
285, and Jevons's 'Introduction to Religion,' p. 210. The corresponding
Highland ceremony, called Deasil, is described in Sir Walter Scott's
'Fair Maid of Perth.' See also Brand's 'British Antiquities.'
[63] I 324.
[64] A strong suspicion of Chinese origin attaches to these elemental
gods.
[65] The significance of the _wo-bashira_, or end-tooth, is explained
elsewhere. See Index.
[66] See Index--'Peach.'
[67] Deified as _Chi-gaheshi no Oho-kami_ (road-send-back-great-deity).
[68] Muir's 'Sanskrit Texts,' v. 320.
[69] See Murray's 'Japan,' fifth edition, p. 408.
[70] See Index.
[71] See Dr. Tylor's 'Primitive Culture,' ii. 435.
[72] As Horus, in Egyptian myth, confronts the powers of darkness.
[73] The Milky Way: a Chinese expression.
[74] This is one of several miraculous births and pregnancies in
Japanese myth. Mankind have a rooted propensity for imagining that
it is possible to improve on the means ordained for this purpose by
Divine Providence. See Mr. Hartland's 'Legend of Perseus' for numerous
examples.
[75] The _Kiujiki_ makes Masa-ya, &c., the son of the Sun-Goddess by
Takamusubi.
[76] Represented at Ise by dancers called _tonako_ (bird-cry).
[77] 'The Golden Bough,' second edition, i. 115.
[78] See index--'River-deities.'
[79] See above, p. 90.
[80] Another authority makes Uka no mitama a daughter of Izanagi and
Izanami.
[81] See above, p. 93.
[82] See Index--_Futsunushi_.
[83] Like Odin, who lends his spear Gungmir to heroes to win victories
with.
[84] _I.e._, died.
[85] It was an Arab custom in certain places to build a hut outside the
camp, where the parturient woman had to stay for a time.--Welhausen.
[86] There was no official recognition of the art of writing in Japan
until A.D. 405, and no mention of calendars until A.D. 553. So much for
the authenticity of the above date.
[87] Usa is not on the direct route from Hiuga to Yamato. It was no
doubt introduced because this place was anciently a famous centre of
Shinto worship.
[88] This is a specimen of the numerous derivations of the Jimmu
narrative. The Idzumo Fudoki is also full of infantile etymologies,
which have usually a scrap of legend attached to them.
[89] Blade-holder.
[90] _Yata-garasu_ means eight-hand-crow. The guidance of conquerors
or colonists to their destination by a supernatural bird or beast is a
familiar feature of old-world story.
[91] _Ame_ is the name of a sweet substance made from millet, of the
same nature as our malt extract.
[92] The Mikado deputed most of his priestly functions to the Nakatomi.
[93] _Idzu-hime_ means dread or sacred princess. _Michi no Omi_
(minister of the way) seems therefore to have been given a feminine
title for the occasion, no doubt because the office was usually held by
women.
[94] It was at this season of the year that the harvest festival,
or rather the festival of tasting the new rice, was celebrated. See
Index--_Nihiname_.
[95] Japanese history is said to begin from this date. In reality
nothing deserving the name existed for nearly one thousand years more.