SANZUGAWA BRIDGELESS: THE FLOWERLESS ROAD TRAVERSED BY THE DEAD
It was the hour of the pig (9 P.M.) before Iémon reached the house in
Yotsuya. To his surprise he found the _amado_ still open on the garden.
Some one was lying face downward on the _ro[u]ka_. It was O'Hana. To his
alarmed inquiry as to what was wrong she answered in the voice of one
trying to suppress great pain. "This Hana knows not. Opening a closet to
get the spices used in preparing the meal, a rat sprang out. It
scratched the face of Hana. Truly the pain is very great." She groaned,
Iémon gently raised her. At the look on his face O'Hana said--"There is
a mirror in the toilet set (_kyo[u]dai_). Deign to get it for Hana." He
did not get it--this dower gift once of O'Iwa--but tried to soothe
her--"Let be: the wounds soon will heal. The pain will pass away." She
shoved him aside and ran to the toilet stand. She took the hand-mirror
to the solitary lamp lighting the room. Aghast she contemplated her
features. One side of the face was completely discoloured. It was a dark
red, almost black, with the mark of five fingers plainly visible, as if
a hand had struck her. No rat had made this wound. O'Hana leaned over,
her head resting almost on her knees. Iémon touched her shoulder--"Don't
mind it. Truly the pain will pass with dawn. Hana...." He drew back from
the scowling madness in the face raised to him--"Sa! Sa! Iémon! Iémon!
Easily did you get hold of all my property, to waste it on O'Hana. 'Twas
like grasping wet millet. Then, barbarous as you were, you sold me to
the vile life of a street harlot. Ah! Vengeance!" In fright Iémon
retreated. O'Hana, taking herself to be O'Iwa, all her madness had
returned. She sprang up. Screens were beaten and torn to pieces. With
the heavy mirror she turned on him, seeking vengeance for her imagined
wrongs. Iémon narrowly escaped injury as he dashed in to grapple with
her. He succeeded in dragging her away from the lamp. Thus did this wild
battle rage in the half dark room. The fictitious strength of the ill
woman gave out. He held her on the floor, as one subdued. As she
relapsed into a sleep, almost of unconsciousness, he ventured to release
her. Going to a closet he placed the mirror beside the bamboo stick;
both hidden away.
All night he watched over her. Wearied out, with day he sought an aid
readily given. The nurse, however, in alarm soon roused him. O'Hana was
raving madly in a high fever. The woman could not restrain her. Her
cries were terrible, but not more so than the speech from her
lips--"O'Iwa, pardon! With the drugs of Suian this Hana would palsy
O'Iwa's mind and body; poison the very springs of life, cut off all hope
of issue. Ah! Vain the love of a man. All is granted him; body and
goods. Iémon sells Hana for a street harlot. Out with him! Help!... Ah!
Kwaiba aids--in all his rottenness. How horrible he is--huge vacant eye
holes, the purple whitish flesh gnawed and eaten.... Ugh! He stinks!...
Nay! 'Tis not Kwaiba. 'Tis Cho[u]bei: Cho[u]bei the leper, who would
embrace this Hana. Iémon comes. There is murder in his eye--for Hana to
see, not Cho[u]bei. Away! Away!... Again, there she comes!" She grasped
the nurse's arm, and pointed to the just lighted _andon_ which barely
relieved the shadows of the darkening night; was it the woman's
imagination? By the light, dimly outlined; sat O'Iwa San. Her hair hung
down around face and body half turned aside. The bulging forehead, the
puffed eyelids, were not to be mistaken. The woman shook off the sick
girl's hand and fled the house. Iémon did not try to prevent her. He was
as one paralyzed. He, too, had seen, and was convinced.
To watch through the night was the task of the anxious and wearied man.
In the day a _yakunin_ had come, with formal notice to attend next day
the office of Katada Tatéwaki Dono. His lordship had an inquiry to make.
The summons was not to be disregarded, no matter what his own
exigencies. O'Hana had dropped into a cataleptic state. As the eighth
hour (1 A.M.) approached he thought to clear brain and body by the rest
of a few moments. His head had barely touched the pillow when sleep
followed. The bell of Gwansho[u]ji struck the hour. It roared and
reverberated through Tamiya. Iémon awoke; an oppression like suffocation
pervaded his whole body. Opening his eyes they stared into the wide
white flat face of O'Iwa. Her eyes were now alive, darting gleams of
fire deep from within the puffed and swollen lids. He felt her wild
disordered hair sweeping his face as she swayed a little, still
retaining her post and clutch on his bosom--"Iémon knows Iwa now! Hana
knows Iwa now! Sworn to seize and kill both for seven births--come! Now
it is that Iwa completes her vengeance." As she shook and pressed on him
he came gradually out of his sleep. With a shout he cast her backwards.
Springing up he grasped the sword at his pillow. Madly he dealt blow
after blow on the body before him. To the groans he replied by fresh
blows.
An uproar without called him to himself. Don--don--don, don, don, don.
There was knocking at the gate. Iémon hastily trimmed up the wick of the
lamp. He leaned over the body. O'Hana! The young man stooped over her,
leaning on the gory sword. Great drops of cold sweat stood out on his
forehead. A shout came from without. "In his lordship's name! Open, or
force will be used." Why had the summons for the day been anticipated?
The unhappy ravings of O'Hana flashed to his mind. Iémon no longer
reasoned. A cunning insane light was in his eyes. Softly he made his way
to the _amado_ fronting on the garden. No one was without. In the rain
and storm he might escape. Traversing the darkness he noted, however,
the man posted at the gate in the rear. Springing on the roof of the
shed he looked over into Teramachi. It was deserted. With the bloody
sword he hacked off the sharp points of the bamboo stakes. They now
aided his flight over the wall. He cast the weapon aside. In a few
minutes he disappeared in rapid flight down the street. When Katada
Tatéwaki, accompanied by his men, at last broke down the stout
resistance offered by the outer door of Tamiya he found the house empty,
except for the dead body of O'Hana, lying in its pool of blood. She was
still warm. He took it for mere murder, giving more urgent directions
for immediate pursuit. Methodically he searched the house, down to the
very rubbish pile. The seal of Tamiya was secured. This meant much. With
sceptical smile he handled the broken bamboo stick found in a closet. He
did not show the discovery to his men.
Where did Iémon go? The unhappy man himself could not have told what
happened in the intervening days. He came to consciousness in the
darkness of a spring night, just before the dawn. The stars were
beginning to pale in the East. The landscape had the livid eerie light
in which it is uncertain whether day or night is to be the issue. With
surprise Iémon looked around him; then shuddered. The stagnant waters of
Warigesui's filthy stream lay beneath him. He had found rest on the
bank, at the very place where Cho[u]bei had died under his hand.
"The Sanzugawa--without hills or bridges;
On highway traversed by the dead, flowers there are none."[38]
The _yama_ ([yama]) refers to Yamada Cho[u]bei; the _hashi_ ([hashi]) to
Takahashi Iémon; the _hana_ ([hana]) to O'Hana, the wife of Iémon. Such
was the then interpretation of the old poem.
Iémon could go no further. His course was run. He knew it; but how end
life? At heart he was an arrant coward. Determined to cut belly he drew
the dagger he had kept with him. A shudder went through him at sight of
the steel. Ah! Better the green slime of the waters below. He thrust the
blade back into its scabbard. Moodily standing and gazing down, he gave
an idle kick to a stone near by. Dislodged, it swayed, then rolled
heavily down the bank, to plunge noisily into the stream, disturb its
noisome depths. The effect was surprising. Following its course with his
eye Iémon suddenly gave a yell of horror. Eyes starting from his head,
arms raised high, he bent toward the stream. Hair standing on end he
watched the hideous object rise to the surface. The face of Cho[u]bei,
purple and bloated, the lips half gnawed and open in a fiendish grin,
looked up at him. Down came the arms, and Iémon put hands over eyes to
shut out the fearful vision. A horrid curiosity drove him again to view
it. Was he mad? This time the barrel in its slow revolution brought to
view the wide flat face, the bulging brow and heavy lids, the tangled,
disordered hair of the drowned O'Iwa. Scream after scream of the now
frantic wretch rang in the air. These waters! Seek death there! No! No!
A thousand times--No! He turned to flee the place, but his legs refused
the service. With fell purpose he ripped the blade from its scabbard,
tore open his clothes to give the deadly thrust. As he raised the dagger
invisible hands seized his arm. When he would release it, the other arm
was seized. Everywhere these hands held him fast. He raged, tore,
struggled madly to elude their grasp. Then, overcome, he fainted.
Katada Tatéwaki from the top of the bank had been watching the
struggle of his men. He came forward and looked down at the bound and
helpless creature. "'Tis he: in very fact." On order a bamboo pole was
fetched, and run between the bound hands and feet. Thus like some beast
was Iémon conveyed to the nearest ward office. The formalities were few
and soon over. To avoid chance of repetition of the scene they conveyed
him as he was. Thus began the brutal progress across Edo in full
daylight. People turned and stared after this escort of the man-beast.
At a distance they took the burden as some savage bear, or perhaps one
of those reputed "_tanuki_" so noxious in their pranks on humankind.
Come closer it was seen to be a man. Any mad struggle to get free was
treated to spear pricks applied with no great nicety beyond the
avoidance of serious injury. Violent as were his struggles at times, it
is doubtful if they could have walked him the long distance. For the
days of his flight he had never rested; nor had these men in his
pursuit. Yet he was unexpected game. The Yotsuya affair was taking a
widening sweep. Tamiya Yoémon and Kondo[u] Rokuro[u]bei were under
examination. The death of a girl O'Haru at the brothel of Toémon of
Honjo[u] had unexpected effects. In the investigation which followed one
of the women, O'Také, had made full confession. The pedlar Mobei had
never left the house of Toémon; never escaped from the hospitality of
O'Matsu. His goods had aroused her cupidity. The man died by poison, and
was buried in the garden of Toémon's house. O'Haru knew of the deed.
This knowledge was the girl's destruction. The wife and her substitute
O'Kin hated O'Haru. Some remains of a first good looks, her youth, gave
her power with the master of the house. The two women worked on his
fears to gain consent for her destruction. A charge easily was trumped
up, and she was dragged off to the cell of punishment. Under the hands
of the wife and O'Kin she suffered so that she died in three days, not
without letting her mate O'Také into the secret. Promptly the Honjo[u]
police were at work; not more prompt than was the woman O'Kin to
disappear from Edo, almost a confession in itself. The rosary, found in
the hands of the rector of the Reiganji, was easily traced through
different mediators straight to O'Matsu herself. The man Toémon held
out, and died under the torture. The woman confessed; and in her
confession was comprehended the full story of O'Iwa's connection with
Toémon's house. Of her no more need be said. She rotted and died in the
jail. The girls were scattered to kindred houses. Two of the women,
hunting their pray on Warigesui toward the _yashiki_ quarter, had
witnessed the murder of Cho[u]bei three nights before. The police had
gone to secure the body. Tatéwaki Dono was notified and had accompanied
them. To the surprise of all Iémon, then the object of earnest search,
was found on the spot.
The affair kept on spreading--to the very source of all these troubles.
Katada Tatéwaki in the course of procedure had transmitted the Tamiya
case to the jurisdiction of the _machibugyo[u]_ of the North district of
Edo town, Homma Iga no Kami. With greatest interest the two men in
company poured over the innumerable documents now piling up in the case.
Old Tamiya Yoémon proved easy game. He readily confessed all he knew.
This brought in many witnesses from the wardsmen. It was not exactly
what was wanted. The evidence was mostly mere hearsay and conjecture. In
those days such testimony had a value not far below that of direct
statement. All pointed the way to the real criminal, who after all was
the star witness. Against Yoémon at first there was but little. However,
in his rage against Iémon and Kondo[u] Rokuro[u]bei--Akiyama was out of
his reach--his tongue was too long. The faces of the magistrates grew
serious as his connection with the money lender Suzuki was made plain. A
_samurai_ loaning money on interest! and pressing men to ruin for
payment!! The stingy avaricious Yoémon appeared behind the usurer--until
in time his own heavy losses had made him a borrower, and placed him in
the hands of his once partner. Yoémon, together with the conspirators,
was not allowed to participate in the forced restitution made by Suzuki.
Nevertheless, at the time no great severity was shown the old man. He
was remanded to the custody of his bail, to be kept confined to one room
in the house.
The same leniency was shown toward Rokuro[u]bei. When he showed a
disposition to be recalcitrant, to equivocate, Homma gave sign to the
_do[u]shin_. Quickly the scourgers came forward with their fearful
instrument, the _madaké_. Made of bamboo split into long narrow strips,
these tightly wrapped in twisted hempen cord to the thickness of a _sun_
(inch), with the convenient leverage of a couple of _shaku_ (feet), the
mere sight brought Kondo[u] to terms. As he entered he had seen them
lead away a _heimin_ (commoner) who had undergone the punishment. The
man's back, a mass of bruised and bleeding flesh, was vivid to mind. At
once he prostrated himself; made full confession. At last they were at
the source. Kondo[u] was a witness of the fact. He could and did tell of
the inception and progress of the whole plot against O'Iwa San, the
source of untold woe to Yotsuya. His story covered the period from the
entrance of Iémon into the ward up to the discovery of the body of
Kamimura Goémon. The rôle played by Kazaguruma Cho[u]bei was in part
dark to him. Of the disposition of O'Iwa to the Honjo[u] master of the
_Yo[u]taka_ he pleaded ignorance. Tatéwaki Dono smiled as he counselled
indulgence on this point. He knew.
Kondo[u], however, was sent back to the jail. He was unquestionably a
principal. At last it was the turn of Iémon. The weeks had passed. The
body had been carefully nursed back to vigour. The mind was in
lamentable state. The ill-meant efforts of the jail authorities, the
strengthening of the criminal in order better to endure the torture to
the confession point, were somewhat baffled by the nightly visions of
the wretched man. The two hags, O'Iwa and O'Mino; Cho[u]bei in his final
stage of purple bloatedness; these were his nightly companions, to
torment and harass him. Sleep! If he could but close his eyes to shut
out these horrors! Instead they became more vivid. The jailors put him
at the farthest corner of their ample premises. His fellow prisoners,
such as were allowed daily exit to the yard, visited him with blows and
foul insults for the disturbance he created in the night. But he was
cunning withal. Trapped as he was, in his lucid moments he realized that
there could be but little against him. O'Iwa? Not even in Tokugawa times
was the supernatural cause of prosecution except at the hands of the
vulgar. Nor in those days, any more than in these of Taisho[u] _nengo_,
was a wife legally protected against abuse of husband or parents-in-law.
As for Cho[u]bei--he was dead. His own presence on the scene was no
evidence against him as murderer. His only misgivings on that point lay
in the confusion of mind as to the few days then covered. But who would
blame a _samurai_ for testing his blade on a beggar? What were beggars
for? He knew nothing of the evidence given by Yoémon and Kondo[u]; of
the vile proof in the hands of Katada Dono. He had wholly forgotten the
nurse who had listened to the wild ravings of O'Hana in her illness,
broken sentences bearing so heavily and dove-tailing so nicely into the
completed case. Owing to this woman Tatéwaki Dono had not waited the
appearance of Iémon at morning. Iémon also left out of account the
characters of the two men before whom he appeared. Iga no Kami sat as
judge in the case. Close beside him, a little in the rear, sat Katada
Tatéwaki, in whose jurisdiction the case had originated, and who was
familiar with every stage. The four _do[u]shin_ sat to one side and the
other of these two men.
Homma and Katada were typical of their caste. Cold, callous, cruel,
devoted rigidly to the formulæ; of the _samurai_ code, with strange
exceptions granted to the virtues required of the common people--filial
conduct and unswerving obedience to a superior--they were not men likely
to regard with favour this intruder into their class. The name of
_samurai_ had been brought into contempt. Hence the serious character of
the offence, the necessity of severest scrutiny. To the valued
suggestion of Tatéwaki, Iga no Kami nodded assent. Iémon thought of
nothing but the murder of Cho[u]bei, the abuse of his wife O'Iwa, the
conspiracy against her life and honour. The first question paralyzed his
defence. Was he not the son of Takahashi Daihachiro[u]? The whole
terrible vista of the consequences of avowal appeared before him, once
himself a _do[u]shin_ and familiar with legal procedure. The family had
suffered _kaieki_ (deprivation of rights). It had been degraded from the
caste. Properly speaking Iémon was an intruder into the _samurai_ class.
He was an impostor. His offence was against the suzerain lord, the
Sho[u]gun. All the terrible penalties of treason hung over him. Tatéwaki
had been quick to note the opportunity to take this case out of the
category of offence by a _samurai_. Iémon was a plebeian and a
charlatan. He had insulted Government. At the stumbling denial quick
order was given. A _yakunin_ seized the rope and dragged down the head
of Iémon. Others held him at the sides, to maintain the body rigid.
Stout fellows, the pick of the jailors, came forward. With ferocious
regularity the blows fell. Welts at once appeared. Soon the blood was
trickling from the torn skin. There was no sign to mitigate the severity
of the infliction. When at the seventieth blow the body collapsed in a
faint the wretched man was a terrible sight. The attendants of the jail,
witnesses of the full punishment of double the number of stripes, had
rarely seen such severity exercised. The jailors hated this smooth
fellow, this disturber of their peace. They kept a jail, not a madhouse.
Their superiors showed no sign of the mercy of renewed questioning.
Hence they would change the mad nightly ravings to the subdued groans of
the punished.
The days passed and his body had healed, though movement caused pain
and distress. Brought again before the judges at the very sight of the
scourges he screamed out confession. Questioned as to the conspiracy
against the caste, his fraudulent attempt to consummate marriage with a
_samurai_ woman--the actual fact or legality of it was ignored--his
ill-treatment and sale of her; all these in terror he denied. Once he
had looked upon banishment from Edo as the limit of his punishment. Now
decapitation would be a merciful end. He strove to secure the favour of
a quick and painless death. Again he was beaten almost to a jelly. He
clung to his denial, so important was the issue. At the next appearance
he was seized and dragged to a post fixed in the ground not far from the
judge's seat. His knees were pressed down on the edges of the triangular
bars. These formed a sort of grid, the edges of the bars being just
enough blunted to avoid cutting the skin. None of the pain was spared,
yet the prisoner remained fit for early future torture. The granite
slabs were then piled on his knees. Each one weighed thirteen _kwan_
(107 lbs.). As the fifth slab was placed on the body of Iémon, the flesh
assumed a reddish tint from the impeded circulation. Froth stained his
mouth, mucus ran from his nose. A sixth, a seventh stone, were placed.
"How now! How now!" The men pressed heavily on the stones. A _do[u]shin_
bent over him, listening and waiting for sign of the important
confession. The criminal was the one important witness of Tokugawa penal
law. Without confession he was innocent beyond all other proof. As the
eighth stone was placed Iémon began to vomit blood. The doctor raised
his hand. The feet were showing signs of blackness, which rapidly spread
upward. The man was in a dead faint. No confession had been secured.
Perhaps the examination was thus conducted out of some severity. Days
passed. Whether or not the report of the physician was unfavourable,
influenced by some means Homma had fear the man might die before a
public retribution was secured. When Iémon again was dragged before his
judges he had a terrible object lesson before him. A man was undergoing
the torture of the lobster. Hands drawn up behind to the shoulders, the
feet tightly bound across the chest, he was propped up on a mat.
Properly conducted this "effort to persuade" took place in the jail.
Homma wished to try the effect of anticipation on Iémon. The prisoner
looked quickly at the man under torture, then hung down his head. His
lips were twitching with uncertainty. Homma struck hard--"Why deny the
plain fact? Is justice so ignorant of the doings and whereabouts of a
scamp. Kichitaro[u], or Kazuma the diviner, as he called himself,
murders Cho[u]bei the pimp; a deed carried out before witnesses." A
_do[u]shin_ placed the document of the confession of the whores so that
Iémon had no difficulty in ascertaining its title. "And why? Because of
the agreement with Cho[u]bei to sell the woman he dared to call his
wife. The proof? The seal of Tamiya, the document itself." At last Iémon
looked up. The _do[u]shin_ placed under his eyes the fatal contract with
Cho[u]bei--agreement of exchange of the body of the woman in return for
five _ryo[u]_ duly received. It had been recovered from the dead pimp's
corpse. Carefully wrapped in oiled paper, Cho[u]bei had carried it--sewn
in what he called his dress. Iémon unwilling to recognize past services,
Cho[u]bei was sure to find it useful. Truly Iémon was young and
impatient, and Cho[u]bei was double his age. With bitterness the
survivor recognized this primal fact.
Iémon's eyes wandered from the paper to the thief under torture. The
dark green of the body was rapidly changing. The doctor present gave a
quick frightened sign. Skilful hands at once cast loose the bonds. Over
toppled the body. Iémon noted the white, almost livid, colour of death.
Restoratives were applied. All were busied with bringing the man back to
life. Then he was carried off, expression so unlike that of a human
being that the less hardened shuddered. Said Homma--"No confession yet?"
He raised his hand to make a sign. Iémon knew the quickness of response.
He almost screamed his appeal for further respite. The Law had
triumphed. As Iémon put his thumb seal to the confession of guilt to
insolence (_futodoki_) the magistrates rose and disappeared.
"Futodoki"--they and he knew that it meant the death sentence.[39]
Judgment was not delayed. The next day Homma, with Katada and an officer
of the Sho[u]gun's household present, gave sentence. Yoémon and
Rokuro[u]bei glared hate at Iémon who squatted with head bent to the
ground. The sword--that now was his only hope. The first words of Homma
showed that no mercy was to be dealt out in this case. Suzuki the
plebeian merely suffered stripes and banishment from Edo. He had to make
restitution to the amount of his property--such as was left after paying
the huge fine to Government. Tamiya Yoémon and Kondo[u] Rokuro[u]bei
underwent degradation from the caste. There was no disposition to
overlook the offence of usury. Beggary was to be the portion of Yoémon,
the destitution of the outcast. For some years the senile old man, the
virago of a woman once the wife of Kondo[u] Rokuro[u]bei, were stationed
at the Nio[u]mon, to attract and amuse the worshippers passing up to the
great temple of the Asakusa Kwannon. Not for long could the woman hold
her tongue. Abuse passed with the sun's height to blows, and the
by-standers had to interfere and rescue the old man from the severe
beating. It was to the profit, rather than disadvantage, of the temple.
The pair were an added attraction. The priests left interference to
those at hand. Then the old man disappeared; to ornament the highway
with his corpse, or be cast on the moor, food for dogs and crows. Such
probably was the end of Tamiya Yoémon. The woman had not been seen for
some months. Her abilities as scold had attracted those qualified to
judge; her transfer to the position of bawd in a low-class house of the
neighbouring Yoshiwara soon followed.
Kondo[u] Rokuro[u]bei fared tolerably well, considering his deserts.
His confession had been a great aid in unravelling the case. He was not
sentenced to cut belly. Degraded he heard with dismay the sentence of
deportation and exile to the far distant island of Sado. At this savage
place, subject to the hell of a Siberian winter and the intense heats of
the summer, the once pampered man lived out his last days, few and evil.
He who had passed the time idling with tea-cup, or _go_, or flower
arrangement, and taking enjoyment in the freshness and coolness of his
garden at the Yotsuyazaka, at fifty years now tried to lead the hard and
dangerous life of the wild fishing population among whom he was
unceremoniously cast. Such life was soon forbidden him. He was but in
the road. Then he did such clerical duties as the village at times
needed. A wife even was provided for him. The final blow was a palsy,
cutting off all effort at making a livelihood. Beatings now took the
place of food. The villagers laughed when they heard of the old man's
fall from a cliff. They, too, would have acted as had the brothers of
O'Nabé (stew pan). They took the word for the deed; and at the cliff
foot near Negai they erected a wooden shrine to propitiate the spirit of
"Jiya Rokuro[u]."
The day of execution had come. When sentenced, bound as he was Iémon
struggled forward to plead for mercy, respite from the barbarous
punishment to be inflicted on the traitor. His reward was the cangue and
bamboo saw--_nokogirihiki_; failing death by this, he was to be
crucified. The attendants fell on him. Kicks and blows had little effect
on the man frantic with terror. He almost reached the _ro[u]ka_ at which
sat Homma. Then madly struggling he was carried off to the jail. Said a
_do[u]shin_--"His antics in the cangue will find small scope." The last
clause of the sentence was due to the notorious unwillingness of any
passer-by to give a cut. The punishment had lapsed since the days of the
third Sho[u]gun, and was no more successful in Iémon's case. Placed in
the cangue at the execution ground of Shinagawa a cut was made in each
side of his neck. Smeared with blood the bamboo saw was placed on the
cangue in inviting proximity to the head. For five hours people passed,
with curious glances, but no movement to release the criminal. An Eta
(outcast) butcher sidled up. The guards watched him with curiosity.
Picking up the saw he made one pass. At the yell given by Iémon he
dropped the implement and fled in terror, amid the laughter of guards
and by-standers. Toward the hour of the sheep (1 P.M.) a _yoriki_ with
his _do[u]shin_ appeared. On signal the cangue was removed. Inert limbs
feebly twitching Iémon was bound tight to the double cross, his legs and
arms stretched wide apart. This was raised, and again the hours passed
in miserable waiting for a death which seemed to recede. If
unconsciousness threatened he was given vinegar to drink as restorative.
His fevered lips eagerly sought the fluid and prolonged his torture. In
the spring light the days were long. As the sun was about to set the
officer gave command. A _do[u]shin_ came forward to the cross and made a
sign. A guard thrust his spear upward into the belly of Iémon. The limbs
made a movement, as in attempt to be drawn up. A guard on the other side
in turn made a thrust. Others followed. For some moments they continued
their sport, the reward of long waiting. The man was not yet dead.
Impatient the _do[u]shin_ gave the shaft of a spear a violent upward
thrust. Its point appeared through the left shoulder. The head fell
forward on the breast and hung limp. Iémon was dead.
* * * * *
These events could not be let pass without notice from either the pious
or the timorous. Kyo[u]ho[u] 2nd year 2nd month 22nd day (3rd April,
1717) the Inari shrine built to propitiate the fearful Lady of Tamiya
was opened to worship with due ceremonies. It had been erected on the
ground of the house once occupied by Matazaémon, facing on Teramachi and
on the narrow street paralleling Samoncho[u] to the East. It was almost
opposite the entrance to the Sho[u]gwanji. At the family temple, the
Myo[u]gyo[u]ji, on the Samégabashi side, a grave and stela was set up.
With time, however, the opposition made itself felt. It was asserted
that the Lady O'Iwa still walked the ward, inflicting pains and
penalties on the inhabitants thereof. Triumphant reference was made to
recent public disasters--of plague, pestilence, famine, and tax levies.
The shrine was invitation for her presence. People had grown indifferent
as the new paint grew old, then shabby on the once famous _miya_.
Success lay with the opposition, and abolition of shrine and grave was
easily enforced. It was but for a time. The ward was either equally, or
more, unfortunate without the protection of its tutelary Inari shrine.
Just when it was re-established cannot be stated, but in the late
eighteenth century it was most flourishing. It was a favourite resort of
_samurai_ women, seeking consolation for unfaithful or brutal conduct of
their husbands, and strength in the reputation for chastity of the
famous Lady of Tamiya. In 1825 the third Kikugoro[u] made Yotsuya famous
by his presentation of the "Yotsuya Kwaidan" as written for the stage by
Tsuruya Namboku (Katsu Byo[u]zo[u]). In the first years of the Meiji
restoration period Shunkintei Ryuo[u], the famous story-teller, heralded
its renown in the Shin Yoshiwara. O'Iwa San became a feature of the
Konharuko[u] fête of that quarter. A grave was again erected to her at
the Myo[u]gyo[u]ji. As she had no _kaimyo[u]_, or posthumous name, the
rector of the temple gave her that of "Tokusho[u]-In Myo[u]nen Hisho[u]
Daishi," which can be interpreted--"She, pleasing of disposition and
earnest in prayer; a woman of greatest brilliance." Let the reader not
judge this composition harshly; or its truth.
The editor to the reproduction[40] of Ryuo[u]'s story speaks of his
difficulties. Placed in his hand for judgment he saw at once the power
of the tale. But--how avoid incurring the divine anger of the Yotsuya
Inari; how avoid being charged with the divine punishment? This question
was solved by the publisher assuming the burden of both inflictions;
under the spur of what _he_ regarded as publication in inferior and
untrue form. He answered these questions with a laugh--"Afraid? Not so:
I, too, am human. Though the unusual is an object, yet I would not
rejoice at incurring the divine anger by publishing what should not be
published. Though the divine anger be incurred by publishing the Yotsuya
Kwaidan, and the divine punishment be inflicted, yet who would not
gladden the eyes and ears of the land? Hence in haste the true record is
to be printed; owing to emission of unfounded stories. The true record
being put forth, the people profit by it. How then is the divine wrath
incurred by publication? Certainly not: the protection of the divine one
is secured." The editor trusted in his argument; as does the present
scribe.
More than once the remark has been heard as to these shrines of
Nippon--"Their temples? Those dirty, shabby places, without architecture
or interest, the haunts of snotty, ragged children?" The sun-helmeted
gentleman and lady, or collection of their kind, rush them by in haughty
contempt, and with some ridicule and ridiculous comment. Good Sir and
Madame, you are passing history on the road. At this Kwo[u]gwanji, in
its rather shabby guest hall, Kusonoki Masashige and his devoted
followers spoke their last defiance and then cut belly. Kobé? It is
noted as a place to take ship, and not be too long in doing so. This
other, barely a mile from the To[u]kyo[u]-Yokohama railway, is
contemporary record of Nitta Yoshioka, who carved his bloody protest on
the Ashikaga before he killed himself in the trap set by their treachery
at this spot. Here behind the Ko[u]raiji near Oiso is a very shabby and
tiny shrine nestled at the foot of the cliff. This had better be
avoided. It is dedicated to the smallpox god. But more than history is
neglected in the indifference and contempt shown these minor _miya_. A
vein of thought inwoven into the minds of this strange people is
instanced by this modest shrine of the Tamiya Inari. Wandering along the
amusement quarter of some great city, a theatre is seen with a _torii_
gorgeous in its red paint standing before the entrance. Within this
entrance is a small shrine and a box for the practical offerings of cash
or commodities. The theatre is decorated inside and outside with flags
as for a festival (_matsuri_). Such is actually in progress. The
representation is that of the Yotsuya Kwaidan. From manager and actor
(even in the presentation of the figured screen of the moving picture)
the malevolence of the O'Iwa Inari--the Fox-witched O'Iwa--is to be
averted. Hence all the signs of worship as at her very shrine; hence the
unwillingness of author or publisher to handle the story, at least in
its full form. This is but a remnant of the fear of "black magic" still
found and practised in Nippon. On the beach at Kamakura at times can be
found straw chaplets with gaudy cloth attached to the centre; a copper
coin, and rice offering are accompaniments. Or such will be found at the
crossroads of town or village, or on the Yokohama Bluff. Or in times of
epidemic in numbers they are laid on the wayside shrine of the god of
measles or other disease. The latter disposition conveys its own
warning; the others are _majinai_ or charms by which it is hoped to
transfer the disease to some other child, thus insuring the cure of the
first sufferer. The coin has been rubbed on the body of the little
patient. Dogs usually dispose of the food offering; and passing children
are only too likely to pick up the nefarious coin. The road cleaner
comes along at his rare intervals and sweeps the chaplet into the hole
for refuse. It is to be regretted that the ignorance and malevolence
indicated by these charms cannot as easily be gathered in and disposed
of. With these remarks the Yotsuya Kwaidan and its tale of ill-fortune
is brought to an end.
YOKOHAMA,
5th June-4th July,
1916.
FINIS
APPENDICES
A
[In printed copies of the _gidayu_ the characters are to be
distinguished by their theme, only the term _kotoba_ is used to mark a
speaker. The shading into descriptive writing is at times vague. In the
present translation the characters are indicated. The original figures
in most _gidayu_ collections. Cf., "Gidayu Hyakuban," p. 271.]
The Gidayu:
Tsuruya Namboku was a writer of drama. Many are the persons called
Namboku. The three preceding generations were actors who played in
buffoon parts. In the fourth generation for the first time was taken up
the literary work of play-writing. The Namboku in the fourth generation,
Yo[u]myo[u] Genzo[u], later known as Inosuké, was born at
Motohamacho[u]. The father carried on the business of _katatsuki_ dyer,
(handling the cloth to be more or less gaily patterned). Anei 4th year
(1775), entering at the Kanai Sansho[u] no Mon he (_Yo[u]myo[u]_) took
the name of Katsu Byo[u]zo[u]. Later he received the name of Nan Tsuruya
Boku. When he became a playwright he was about fifty years old. His
plays are most ingenious, and are very numerous. Among them are the
"Osome Hisomatsu," "Iro-yomi-uri," "Sumidagawa Hana Gosho[u]," "Yotsuya
Kwaidan." In the playhouse they are known (collectively) as the "Namboku
Mono."
IÉMON SUMIKA NO DAN
(Scene in the house of Iémon)
Now to present it:--Already on that day--ko[u], ko[u]--the bell of
sunset had issued its call. In the hedges were heard sounds of the
swarms of insects. Still more lonely was the deserted mansion. O'Iwa,
disturbed, anxious, when was her countenance to be open, her breast
cleared of its darkness? She brought forth the _andon_; took out the
sulphured slivers of wood from the box holding steel, flint, and tinder.
In the depths of her husband's mind no flowers bloomed. She thought it
was her woman's temperament that made her brood. In her anxiety she gave
expression to her gloom:
_O'Iwa_--"Truly as 'tis said, it is a fleeting world; the flowing of
water the future of men. Before this I performed the service of the
inner apartments of the Hosokawa House. The marriage! Connected in
thought with Iémon Dono the honoured dismissal was requested, that I
should become a bride. Without fortune is that Inosuké, heir of the
master, such object of delight to bring him to maturity. In the end all
affection is absent. Nerve-racked from birth, with the pains of
child-birth, the blood clot, such sickness has seized upon me. Then
suddenly--one without a home, shorn of all ornament. Overcome completely
by the struggle, effort and end have culminated. Parent and child,
husband and wife, these (relations) master this self. Detested is the
fleeting world, gloomy one's existence."
As she pondered, unbidden the tears mingled with her depression. Without
restraint, gradually rising-rising-rising, mounted the flow of blood:
_O'Iwa_--"Ah! Ah! Again the ever-present disease shows itself. Deign--a
remedy! Oh! Oh! That! That! That same remedy of aforetime, stirred and
mingled with pure water. Two sips, three sips; if one drinks poison--one
becomes divine; life comes to an end, but pity is aroused."
The curtain before the dressing room was gently raised. Without speaking
Gombei seated himself close to O'Iwa.
"Eh! Who is that? Iya! No one is announced. Hana, I say! Hana, I say!
Oh! 'Tis he--of all men! Gombei San, has he come again? Vengeance is
satisfied, no longer exists."
As she would depart he held her sleeve to stop her.
_Gombei_--"Ah! Ah! I say--please wait. A little while ago, at Iémon's
coughing and clearing his throat, I was frightened away. Trembling, at
that time I went round to the rear. Thinking him really absent, with
stealth I have entered. The motive of a man lies at the bottom of the
heart. Just think to grant me a little affection. Alas! Ma! Submitting
it is deigned to hear what I have to say. Heigh! A woman like this, her
whole mind on Iémon, she would be the chaste wife. But the affections of
Iémon are elsewhere, far distant. Ya! Hoi! Hoi! Hoi! To fly! Ho! Ho! Ho!
Ho! Ho! Oh! Moreover the disposition of Gombei is not wicked. He seeks
to be the husband. Other purpose there is none. Condescend to be easy in
mind."
But his words carry no weight. The face of O'Iwa in the light has a
glare.
_Gombei_--"As usual: Ma! One deeply distrustful. Iya! These matters,
though in thought, are not to be put in words. The state of affairs is
too urgent to be put into words. Sa! But I hear you say--'Iémon probably
goes to Hachiman. Groundless all these censures.' Do you really believe
this? The intrigue is with the only daughter of Okumura Kinai, by name
Koúmé. She is indeed a beauty; whether one regard the shape of her face,
her manners, or the carriage of her loins as if the willow of spring.
The intimacy with Iémon could go no further. The proof spoken of is
here. This letter--the sealed envelope: it fell from the sleeve of
Iémon. Stealthily I picked it up, by accident. Now then! Whereabouts is
it? A lengthy thing--Sa! Let's see what's in it. The coquettishness of
the sentences! But let's see what she does say. Eh! What's that? 'The
night is source of pleasure. Great the pleasure at sight of you. With
compliments.' Assuredly there can be no mistake, when she talks this
way--'The day comes. Soon we will be husband and wife; morning and night
to be at your service. With compliments.'[41]--'Thus are the gods
invoked. With compliments.' Eh! What's this? 'When distant from your
side but for a moment, painful Time's course. Place this signature next
your very person (_hadaka_).'--'To-night--come quickly; your advent is
awaited. With compliments.' What a miserable creature is this! Is she
not? But there's still more. 'O'Iwa Sama and matters with her, this is a
punishment due to offence in a previous existence. Condescend to be
relieved in mind. Be sure thus to view it. The spiteful brush (pen)
stops. With compliments.'--'It is hard (my lot); very hard. With
compliments.'--'The honoured master comes; the ever-present desire.' How
now, O'Iwa Sama? Sa! Is there no outbreak as to this? The occasion is no
pleasing one. Is there no harsh remark forthcoming as to one who holds
illicit intercourse with the husband of another? Eh! You are a woman of
marvellous patience! Oh! Oh! Oh! Oh! At all events say what you think.
'As yet in this matter, as yet in this affair, you are certain of
nothing.' Is that it? That Koúmé and her mother plot together. Eh; but
she has a beautiful face! And you--you are bloated, eyes wide distended,
one side of the face caved in, the hair of the head all fallen out.
That--and that--how describe the ugliness of your face! The affection of
Iémon has worn out. Ah! What is the name of that poisonous drug, begged
of Suian until secured? That, too, has been learned. Oh! Fearful,
fearful, fearful! This is to act as one without care. Life is not
something which lasts forever. Send from this house dismissal to Iémon,
the act of separation. This the finality! Surely the intrigue is proved.
Mere thought, easily exhausted, is to no purpose. Make up your mind;
express your feelings. At all events your reputation is preserved. Act
and decide as one indifferent. More and more have in mind the _susuki_
of Masuo. Deign to yield. Do this--just this--O'Iwa Dono!"
_O'Iwa_--"No! and always, No! Firm the stand taken. In no way is this
to be endured--to be endured. To hate a person is unreasonable; 'tis
unjust. But--the embracing arms, the closely clinging, this is to act
the lover."
With fingertips she thrust him off. Angry the tears; her voice trembled.
_O'Iwa_--"Ya! 'A woman, and the object of contempt; one treated by her
lord with rudeness beyond measure. The husband has become wearied.
Here's the proof. Are you a woman lacking sense?' One so unmeasurably
rude--out with you! One's whole frame vibrates with passion. At one's
very feet, the fact is made plain. Quick--away with you! Delay--and this
shall be the guerdon."
With violence she drew the dagger of Kosuké. Gombei, wicked as he was,
weakened forthwith.
_Gombei_--"Eh! Treated thus one's purpose is brought to naught. Listen
now to reason, self-willed as you are. A little while, and it will not
be the time for a snarling face. Very well: notice is given that soon
your spirit will be broken. The petition is lodged at the Daikwan's
office. There will be difficulty in gathering principal and interest.
Just wait." He said these words on leaving, ready to make a bolt of it.
With _zo[u]ri_ (sandal) on one foot and a wooden clog (_geta_) on the
other rapidly he ran away. Left alone O'Iwa rose in haste. To the
conflagration burning in her bosom, was added the fuel of a woman's
temperament. If it were true! How learn? Pondering over the details
filled her with anxiety.
_O'Iwa_--"Ah! Ah! Ill feeling seeks to destroy--already it turns to
wickedness. Gombei's face betrayed him. His talk was specious. At sight
of the letter he read the doubting heart learns the truth. Burdensome
the knowledge for one's heart. The mind tastes the bitterness of
adversity. The hair of the head, behind the temples, is affected by the
feelings. To draw out the dressing stand to hand: the little combs of
willow, where are they? Sorrow effects change; as does entanglements of
the heart. The fine-toothed comb which holds the thousand strands of
hair--how now! It has been forgotten."
Again she took up the hair. To get it out of the way she took the front
hair in both hands, making space to see.
_O'Iwa_--"Alas! I fail to understand. To-day the vertigo is more
pronounced than usual; especially with the hair like this. Did sickness
cause the loss?"
As she spoke, she drew the cover from the mirror. Reflected in it was a
face to inspire fear. Ha! Frightened, she rose and drew back. Though she
looked around her--there was no one. Alas! How strange! Thus she stood.
Then leaning forward carefully she scanned the mirror. "Ya! Ya! Since
when has my face been like this? It is completely altered." As if she
could repair the ravages to self and features squint-eyed she stood and
gazed. To sight she seemed a woman of evil. "Hai! Ha!" She fell
prostrate. "How now! How pitiful!" Like one crazed she arose. Her body
writhed in pain, at the pit of the stomach. These stomach pains, of
frequent occurrence, now seized her. Thus long she lay writhing where
she was.
While she twisted in agony; knowing nothing of what has happened, and
hearing the wheedling voice of a crying child, Kosuké had returned and
was at the entrance.
_Kosuké_--"Honoured lady, long have you been kept waiting. The honoured
priest had matter to relate. In Yotsuya I went from this place to that,
in effort to coax supply. But just now.... Is she suckling the child?"
While speaking he drew close--"In the meantime the honoured illness has
developed beyond measure. After retiring for the night you walk in your
sleep. Eh! Deign to be a little prudent."
Softly the child came to her side. On seeing in what agony she was:
_Kosuké_--"Ya! Alas! Alas! Have you again one of those hysterical
attacks, now so frequent? Okusama! I say!"
To restore her from the fit to consciousness he raised her in his arms.
Regarding with attention her frightful appearance:
_Kosuké_--"Yo! Yo! Yo! Yo! This face of the Okusama: Ma! What can be the
matter?"
He staggered in bewilderment.
_Kosuké_--"How changed! The Danna is absent. Heigh-ho! Ma! How has this
occurred? What can be done? The cold water in the kettle here...."
Opening her mouth he made her swallow a mouthful. He placed his mouth to
her ear.
_Kosuké_--"Okusama! Your ladyship!"
Gently he stroked her back. Thus nursed, the breath of the heartbroken
O'Iwa faintly returned.
_O'Iwa_--"Hei! Has Kosuké returned? Why do you stroke me thus? I had but
gone to sleep, just now."
"Oh! Oh!" said he--"Ma! Ma! How joyful. Ah! Iya! I say, Okusama; how
long have you been in that state? Your face inspires fear."
At his question again she was the woman. The tears in her breast rose
high and overflowed. For a time she did not answer. When a little calm:
_O'Iwa_--"Deign then to listen. As usual Iémon Dono went forth to
worship at Hachimangu[u]. Subsequently my vertigo was too pronounced.
Two or three drinks were taken of the medicine prescribed by Suian Dono.
Secretly at the rear entered Naosuké no Gombei, to make illicit
courtship. Various were his pleas. Thus--Iémon Dono was deeply in love
with the daughter of Okumura. The worship (_kami-mairi_) was all a lie.
He was contracted to Koúmé. Hence his affection for me was at an end.
This change was due to the drug. Hear what is to be done. Love
unrequited is to be satisfied by revenge. Thus did Gombei put the
matter. But it is not likely that my husband is so cruel. Heart again
will turn to heart. The attack of vertigo was strong. The hair was
pulled out. Moreover, suddenly the face became altered.... My
appearance: Ma! Gombei then did not lie. By the plotting of the Okumura,
parent and child, I have drunk poison. They have an understanding with
Suian. Eh! At the thought--at the thought--anger rises. My husband, a
man of note, with him she commits adultery. Hence the hatred of these
people. Since the poison has been quaffed; as serpent, as demon, none
shall be my equal. The Okumura, parent and child, are you the kind thus
to act!"
Suddenly she sprang up, and would have dashed out at the front. At her
act the frightened Kosuké put his arms around and stopped her.
_Kosuké_--"Heigh! Heigh! I say, Okusama! The expression of your face has
changed. Heigh-ho! Whither away? Alas! It is plain that she would go to
the _yashiki_ of Okumura. Evil her purpose. She would confute the malice
spoken by Koúmé, by parent and child. She would fetch away with her
Iémon Dono. Iya! Ho, there! Your honoured judgment strays. She believes
in what Gombei has said; that he is with the Okumura. Does she not
remember times past, the reproof of the Danna? Sa! As before! As before!
As before! Put on outward seeming. Deign to be calm. No! No! No! Though
there be shame; display a smile. Do but this. The prudence of the lady
carries the day. The colour, the perfume, of the flower has no effect.
Sa! She won't stop! She will go! Thither she will take her way! The
conflagration of her wrath is in her glare. She goes, and Kosuké remains
behind!" At a sound she looked around. The little boy was weeping
bitterly at his mother's state. The tie of blood, her affection,
prevailed.
_O'Iwa_--"Oh! Bonka! Bonka! Bonka! The pretty fellow grieves."
She drew near to embrace him. Earnestly he looked in his mother's face.
_Child_--"Iya! Iya! My lady mother is not like this. I'm afraid! I'm
afraid!"
Weeping, the little boy dropped from her knee.
"Bei-yo! Please call my real lady mother."
_O'Iwa_--"Aré! Aré! Aré! Deign to hear that! In heart children are
without discernment. My appearance changed, he fears the presence of his
mother. To her side he will not approach. How, how comes this face!
Meeting with Iémon Dono one would think--one would think--my very self
meets with retribution for some deed done in a past existence. Husband
and beloved child--alas! they avoid my sight."
With lamentable cries she wept. Kosuké, too, was moved, and joined in
her tears. O'Iwa again inspected the appearance of her face.
_O'Iwa_--"To continue living thus in the world would be one unending
shame. Dying the grudge will be repaid. Holding thus the skirt prevents
my leaving. This must not be. To that place I go."
As the two struggled the girdle (_obi_) came loose. The contest was
brought to an end. At this juncture returned Hamiya Iémon. He had little
disposition to enter his home. Thus unexpectedly, without premeditation,
the two came face to face. Mutually they gazed at each other. "Ho! The
Danna: good day." Kosuké remained where he was, uneasily twisting. O'Iwa
clasped tight the breast of her husband's coat. "Heigh! Iémon Dono."
_O'Iwa_--"Complete has been the silence toward me. Every night, every
night, polluted. With Koúmé have pillows been exchanged." Speech and
voice vibrated with jealousy. She glared at him. Without showing alarm:
_Iémon_--"Ma! I don't understand. This way of acting is unusual. Why
look like that? In that manner painful the change in appearance."--"Why?
Why? Eh! You pretend ignorance. You pretend ignorance of the joyful
result. By the artifice of Koúmé, of parent and child, in unison with
Suian, a poisonous drug has been given me to drink. By this means I am
made unrecognizable. Would that never I had been born, to live so
deformed ... all due to the feeling aroused in these people. Sa! Sa! Sa!
Restore my former appearance! Bewitched, seized by anxious care, it
remains but to withdraw."
_Iémon_--"Ya! What mad talk! In my absence, loosening the cord of the
_obi_, secretly you indulge your lewdness. Detected by the master's eye,
disloyal as you are, death is the weighty punishment. Make ready!" At
hearing the unjust proposal the upright Kosuké with tears held tight his
knees.
_Kosuké_--"Heigh! Danna Sama. Iya! I say, Iémon Dono! This Kosuké an
adulterous fellow? Heigh-ho! It is unreasonable! Unreasonable!
Unreasonable! You speak for your own purpose. I, the mere servant, have
been to call the honoured priest to the Yotsuya. Returning home I found
the Okusama unconscious. When she learned the true state of affairs the
Okusama would have rushed forth. To stop her I seized the end of the
_obi_. And that is to be unchaste! Iya! A paramour--heigh-ho! That is
too much! Too much! Too much! It is to go to excess. Truly, truly, for
these years and months you have gone forth in the world. Such has been
your conduct. You have allowed a sight of you--at the Bon Matsuri, at
the New Year, in accidental meetings on the street when on some mission.
Why! The very dogs bark--the honoured constables of the night watch--eh!
they administer reproof."
_O'Iwa_--"Lamentable the distress. How many times! Sleepless the
nights--the time when one should slumber. But this does not move him.
Hence the unkindness of his speech."
_Kosuké_--"Eh! He don't listen. Danna Dono, beating the _tatami_ one
weeps with regret."
O'Iwa forthwith sprang up in haste--sprang up--sprang up.
"Superior is the concubine to the lady wife. Below the basely mean is
one placed. In the relation of husband and wife, the thought is to treat
the husband with respect. Such is the duty of woman. To you the poverty
and distress are not displayed. Obtaining her means to live by washing
and occasional tasks, yet the wife is discarded. The sum total of the
sunshine transforms the flowers; invisible their change. Regardless of
self-distrust of the past is put aside. But you act with cruel motive; a
grudge as lasting as a night without moonlight. From the clouds the
drizzle falls on bamboo and on village. And between the intervals of
rain there is naught but weeping."
Iémon refused to listen:
_Iémon_--"Ya! Mere excuses these; mere excuses these. In the master's
absence the cord of the _obi_ is loosed. Madly you go your rounds. The
lewdness is evident. Sa! Make honest confession." At the outrageous
words of the husband the voice of O'Iwa trembled still more:
_O'Iwa_--"Eh! 'Tis your own sin you would conceal. Regardless of self
you would impute evil reputation to me. Having driven me out, you would
make Koúmé your wife. But by that you shall gain nothing. Miserable one!
Unblushingly do you join in the hate of the Okumura, parent and child?"
With a rapid motion she snatched his dagger. She half turned:
_Iémon_--"Ya! Whither? Whither? Here one must pick one's words. This is
not the time to inquire into the facts. Iya! Iya! Iya! Where do you go?"
At their quarrel Kosuké was perplexed. Said the child in troubled voice:
_Child_--"Honoured mother--where go ye? Honoured father--forbearance,
patience."
He clung to their garments in kindness and affection. The eyes of the
two in Shurado[u] (Hell of fighting) were blinded. On this side and that
they pulled at the scabbard of the sword. In the wrestling, the
springing in and recoil, the sword slipped from the scabbard. Without
intention to five or six inches it pierced the shoulder. Atto! The wife
fell--"Namu Sambo[u]!"[42] Plucking out the sword O'Iwa cast it aside.
By the action of retributive fate the point of the weapon pierced the
chest of Kosuké. The wound was fatal. Seven revolutions and a fall:
alas! he was dying. Close under his feet the blow of Iémon had reached
the child. With but a single cry forthwith he died. At the accident the
husband was at a loss what to do. He stood stupified. With difficulty
O'Iwa rose from the ground.
_O'Iwa_--"Heigh-ho! Heigh-ho! Heigh-ho! You would kill me! Oh! Since you
would kill, put into deed the ardent wish. Wretch! An idea--Koúmé, the
parent and child: these are to be seized and put to death. Be it so!"
With eyes of hate, her hair fallen down, jealously glaring, in
appearance she was just like a female devil. Blood curdling, she
inspired fear. The husband gave vent to his inner thought:
_Iémon_--"Though one kill without intent, yet the brandishing of the
sword is one's own deed, one's very act. It is the punishment of Heaven
for unchastity and jealousy. Bear it in mind."
At the cruel words Kosuké, drawing painful breath:
_Kosuké_--"Eh! To us, to us, to us, such speech applies not. Unkind,
unrighteous, is this death punishment. There is naught to compare to it.
Very wicked and unprincipled, surely you are possessed of a devil!
Seldom is the life of a serving man grudged him; unconsidered as he is.
Forgetful, the evil reputation of lechery is attached, and death the
portion. Eh! How regrettable! The sight is unseemly. 'Twas you who
inflicted the wound! To the Okusama also, evil the name. Thus, without
intention, the end of your life is not witnessed by your child."
_Iémon_--"By the hand of another your wound, by one your parent! On my
part--on my part--had I aught to do with this? Heigh! Am I not grieved?
Eh! Cold? Unfeeling? A wound to myself could not pain more."
Vainly writhing he raised and embraced the body of the child. As sadly
he lamented, O'Iwa crawled up close. Tightly her arms clasped the dead
body of her child.
_O'Iwa_--"Alas! Alas! Inosuké! Inosuké! The selfishness of your father;
the temperament of the mother; foolish their thoughts. Thus have you
ended life.... How great is the grudge. Heigh! Exercise forbearance!
Exercise forbearance! Deign to show forbearance. Parent and child are
related for but one life, 'tis said. Now separated, again in what world
will there be meeting? Men are born into the wide world. There is such a
thing as sympathy, 'tis said. Before your eyes lie _kerai_ (retainer),
wife, and child. Now, on the very brink of time, not once do you recite
the Buddha's name. Abandon your inordinate desires. Is your heart that
of a demon? Eh! A snake? Cruel and cold to your wife, you reckon up your
various hates. With Kosuké I am the one to lament. Tears overflow.
Steady the fall of rain of Yo[u]suji, of _sumidare_ (the rainy season).
When dying the chief of birds vomits forth blood with his song: so I."
_Iémon_--"Ya! The song she sings inspires no regret. A prayer said and
the child enters Nirvana. Namu Amida Butsu! As for these two--I would
kill them by inches; as they twisted, and staggered, and fell grasping
at the air, and in every way showed their agony. In the next world may
they meet with a mountain set with sharp-edged swords, so cruel as to
inspire pity."
Just then came running to the front entrance Suian. He gasped for
breath:
"Heigh! Heigh! Iémon Dono!"
_Suian_--"O'Iwa Dono's appearance has changed. It was the drug, our own
secret nostrum, administered at request of the honoured mother of
Okumura. Though sorrow was felt, unexpected the good luck in killing the
honoured wife. Henceforth come out openly. Who would not drain the
_saké_ cups with Koúmé Dono! The three lands (China, India, Japan) are
the inheritance of one who was but an adopted son. All in good order!
All in good order! All in good order! Ha! Ha! Ha! Ha! Ha! Sa! To set
about it at once."
The husband concealed tears of regret for past conduct.
_Iémon_--"Plain it is that wife, child, and _kerai_, though deserving
compassion, have found death. 'Twas determined by fate in a previous
existence. But to obviate fear of future disaster, though not the
original purpose, the dead bodies of these two are to be nailed to a
door panel, with the inscription--'unchaste and jealous.' Let them float
away on the current of the Nenashigawa. The entrance of the house is
close to the inner room. Make ready: it will be best to leave by the
rear. Quick! Quick! But...."
_Suian_--"It happens that the neighbor Dansuké comes." He bent and
peeped through the entrance. "Dansuké! Dansuké!" Dansuké Mizuo in
presence, mouth to ear he was informed. "Namu! Namu! Namu! Namu!" He
nodded consent. The two men talked in whispers. The dead bodies of the
two (O'Iwa and Kosuké) were carried into the inner room. For some time
Naosuké Gombei had been watching what went on, peeping out and
listening. He appeared from the shadow.
_Gombei_--"Yai! Unjustly have the blameless wife and _kerai_ been
punished by Hamiya Iémon. Complaint is to be made at the Daikwan's
court."
When he would rush forth he was pulled back by the girdle (_obi_). "Ya!
Ya! Whither would you go? There is matter of importance to hear."--"The
intent is plain. You would kill me." One had the long sword of the
soldier. Two or three passes and he was nearly cut down by the skill of
Hamiya. When he tried to flee, from behind he received a cut through the
shoulder. It finished him. Then he (Iémon) would hide the dead body of
his child from the eyes and reproach of men. Close at hand was a heavy
stone trough. For funeral rites--"Namu Amida Butsu!" Into the well crib
he threw it. Aré! Marvellous! Suddenly the house creaked and trembled.
From somewhere came swarms of rats. Heigh! Incomprehensible! Iémon
wavered. Singling him out they flew and seized him. Sha! Confused he
slashed in attempt to drive them off. Lightning blazed around the sword;
many phosphorescent lights--in wreaths, double, triple. To the end of
the worlds his retribution.
Thus the causes, origins, are made known of what remains as the Yotsuya
Kwaidan.
END OF THE GIDAYU
[It can be noted that Japanese thought and expression are not very
different from that of the West. An idea perhaps can be obtained from
this _gidayu_ as to why the native waxes enthusiastic over the pose and
vivid gestures of the _geisha_, who is the one to interpret these
dramatic recitations. To her falls the "_kotoba_." The descriptive lines
are recited by a chorus to the harsh and effective twang of the
_samisen_. The _samisen_ may not afford music, but it can give
expression to the emotional in feeling. The _gidayu_ recitation is a
favourite art with the Go Inkyo[u] Sama. Symposia are held, before which
the old gentleman recites, often enough without chorus; for he, and the
_geisha_, at times have to fill the rôle both of "_kotoba_" and chorus,
modulating the voice according to the theme. Symposia is not an
unbefitting term. Meetings are held for public competition in _gidayu_
recitation; but in the privacy of one's circle and hobby the banquet is
an important feature--at least to the guests. In his history of
"Japanese Literature" (Dai Nihon Bungaku Shi, pp. 591-596) Suzuki
Cho[u]ko[u] gives a long extract from the play, as sample of Tsuruya's
powers as a dramatist. Adopted into the House of the actor Tsuruya
Namboku, and marrying his daughter, Katsu Byo[u]zo[u] in turn assumed
the name Tsuruya Namboku.]
B
[In the original the story by Momogawa Jakuen is found in the Kwaidan
Hyaku Monogatari, vol. ii, p. 83 (Kokkwado[u]-To[u]kyo[u]). This
collection has already been referred to, as sketching a number of the
best known Japanese _kwaidan_. The present example furnishes a specimen
of _ko[u]dan_ style, and has application to the present subject. It also
instances how the Japanese stage boldly faces situations, the exigencies
of which call for the greatest adaptation and facility on the part of
actor and stage manager. The "Yotsuya Kwaidan" in the stage
representation presents a number of critical scenes in which both
qualities are severely strained. Rapid metamorphosis is a _sine qua
non_. And it is effected--somehow.]
The _ko[u]dan_:
ONOÉ KIKUGORO[U] NO YU[U]REI
From former times and generations the Otowa[43] House held a monopoly
in the representation of ghosts. Its representative in the fifth
generation was the most skilful of all at spectres. This man of the
third generation lived at Muko[u]jima no Terajima. He was commonly
called Terajima no Kikugoro[u]; his stage name was Baiko[u]. This man's
daughter was the mother of the fifth generation. Thus it can be seen
that he was the maternal grandfather of this fifth representative. This
third Kikugoro[u] was the first to act the Yotsuya Kwaidan, in Bunsei
8th year 7th month (14th August-13th September, 1825) at the Nakamura-za
(theatre). The author was the noted Tsuruya Namboku, who constructed the
very famous "To[u]kaido[u] Yotsuya Kwaidan." O'Iwa San, the attendant
(_wakato[u]_) Kohei, and Enya no Ro[u]nin Sato[u] Yo[u]mo Shichi, these
parts fell to Kikugoro[u]. Matsumoto Koshiro[u], he who strutted it at
the Ko[u]raiya, did the Naosuké Gombei. Iémon was the part of the
seventh Danjuro[u]; later Ebizo, who was the real father of the ninth of
the name. The staging of O'Iwa Sama includes--1st scene, the combing of
the hair; 2nd scene, the Sunamura Ombo[u]bori; 3rd scene, Iémon ill in
the dark room at Hebiyama; 4th scene, the _yashiki_ of Naosuké Gombei at
Fukagawa Sankaku. O'Iwa appears at the scene of the combing of the hair
as mentioned, in the incident where the guests are received, and in the
3rd scene at Hebiyama. Iémon is ill. Splitting apart the lantern set out
during the Festival of the Dead (Bon Matsuri) the ghost of O'Iwa appears
with the child in her embrace. Iémon receives them as would a stone
Jizo[u]. O'Iwa, at sight of the fright of Iémon, laughs--ki, ki, ki. At
once they fade away; and at once the ghost of Kohei the _wakato[u]_
takes her place, he who was charged with unchaste conduct with O'Iwa. It
was the part of the performer to please the uninitiated by some
strenuous effort. The first performance at this theatre was for three
months--from the seventh to the ninth month. On consideration the drama
is of interest. O'Iwa is killed at Yotsuya. With the dead body of the
_wakato[u]_ Kohei she is fastened to a door, and from the rear the
scoundrel sets them adrift. Fishing at Ombo[u]bori, Iémon sees them
float by. From Yotsuya to Sunamura is a very great distance. It would
occupy a woman's legs for the space of a day; or faint-hearted fellows,
water drinkers, such of the kind as would try it. Winding along what
rivers, by what intersecting canals had they floated here? In no way
does one conceive. All the more the reasons influencing the author's
design are not known. Very interesting is the story, to the cheerful
character, and those not to be chilled by apparitions. At all events
they get to Ombo[u]bori? The third Kikugoro[u], the first to take the
part of O'Iwa, was a superlative actor, skilled in capturing the people.
In the third scene, the dark room at Hebiyama, the ghost comes forth
from the _Bon_ lantern. Every day the _kozo[u]_ (man or boy as
apprentice) of the utility shop in Asakusa Umacho[u] slowly took down
the lantern covered with white paper. In a straight line, before the
eyes of all, he passed along Kuramaédo[u]ri, crossing Asakusa. From
Yokoyamacho[u] he crossed to Daimaru no Mae. Passing through
Norigyo[u]cho[u] he reached the Nakamura-za in Sakaicho[u]. As he passed
along these streets crowded with people, the eyes of men were attracted:
_No. 1_--"Every day, every day, the _kozo[u]_ goes by carrying that
_Bon_ lantern. Where does he go?"
_No. 2_--"He? Kikugoro[u] now is playing O'Iwa Sama at the Nakamura-za.
The ghost issues from that _Bon_ lantern. The lantern used is brought
every day by the _kozo[u]_."
_No. 1_--"Ha! A practical application. We must be sure and go see."
Through this advertisement the guests came readily. As fact, every day
but the one _Bon_ lantern was used. Split apart, it was repaired. From
the first day, up to the performances of a thousand autumns, one lantern
answered all purposes. Truly Kikugoro[u] was more than a clever actor.
He was wonderful in securing the good will of people. No actor was equal
to him. Tradesmen, Government officials, learned men, refined people--he
was skilful at gaining their support. Hence he did not lack money. His
_status_ did not affect him. When as usual the _Bon_ lantern one day was
to be carried out, Kikugoro[u] made his pupil Onozo[u] the bearer. Said
Kikugoro[u]:
_Kikugoro[u]_--"Onozo[u], don't I frighten you somewhat in this shape?"
_Onozo[u]_--"I'm not in the least frightened. Every day acting as your
assistant I'm not afraid."
_Kikugoro[u]_--"What? Not afraid? Say that you're afraid."
_Onozo[u]_--"Patron, that is unreasonable. One not afraid--is not
afraid. Hence it cannot be helped."
_Kikugoro[u]_--"Anyhow, say you are afraid."
_Onozo[u]_--"I'm not at all afraid."
_Kikugoro[u]_--"An obstinate rascal, this."
While speaking--_pokari_, he gave _Onozo[u]_ a whack on the head. As it
was he went through the performance. Coming to the green room, at once
he called Onozo[u].
_Kikugoro[u]_--"Fool and low fellow."
_Onozo[u]_--"Why is it then you would strike a fool and low fellow with
a stick?"
_Kikugoro[u]_--"You are just like a fool. A little while ago when told
to be afraid of me, you would not say you were afraid."
_Onozo[u]_--"Patron, that is to be unreasonable. I attend you. Every day
I see you."
_Kikugoro[u]_--"I know you are not afraid. But you are the very one who
acts as my attendant. In public you are to look at me as one frightened
beyond measure. If this be not widely published, will not the theatre be
deserted? An actor who is good only at acting, he is not to be called a
clever man. He must draw people. Fool and low fellow!"
_Onozo[u]_--"Naruhodo! Since you say it--I'm afraid."
_Kikugoro[u]_--"Your answer now is to the purpose."
Hence on considering the matter, was not Kikugoro[u] in every way a
talented man? For the space of eighty days this theatre turned away
guests. Later, in Tempo[u] 7th year 7th month (12th August to 11th
September, 1836) again this drama was produced. The actor was the same
as at the previous production. On this occasion Kikugoro[u] took
thought. As it was the second time, it must be changed in presentation
to an audience. _Do[u]mo!_ There was the coming on of the ghost. It is
clad in a grey robe. If O'Iwa wears a grey robe, and the _wakato[u]_
Kohei wears a grey robe, both being the same to view this would fail to
interest. He continually worried. Nevertheless it would not do to wear
armour; and a ghost in _kami-shimo_[44] raises no chill. Some
contrivance must be hit upon. Day and night the matter worried him.
Habitué of the gallery of this Morita-za was a man named Tsutaya no
Yoshi, commonly known as Tsutayoshi. An extraordinarily dissolute fellow
he borrowed to the four sides and eight directions. At this time in the
Yoshiwara Sumicho[u] was a tenement placed in the rear of the prostitute
houses. He removed thither, and soothed his troubles by living alone.
His face washed in the morning, at once he ran forth. He ate his meals
at a cheap eating house. A varied meal consumed he made his way to the
Morita-za. Lunch was eaten in the theatre. On the return he took a drink
and then went home. In truth he was a lively fellow. The Yotsuya Kwaidan
had just been determined on for the close of the sixth month (July). At
sundown he returned to his home in the Yoshiwara. On the way he
drank--the strongest of liquors. At once he hung up the mosquito net and
went inside. Not knowing front from rear he went to sleep. Pressed by a
necessity the sound of the wooden clappers (_hyoshigi_) made him open
his eyes. It was the harlot quarter, the 9th hour and more (after 3
A.M.), and the liveliness of the night was over. The quiet of the place
inspired fear. From evening he had not stirred from the mosquito net,
but had slept. The light had gone out, and it was pitch dark. Soundly
had he slept. In the jar was fresh water for drinking. Greedily he
drank.
_Yoshi_--"I have slept--in a way to cause fear. It is now past the 9th
hour. I still can sleep without stint."
Again he entered the net. He drew the tobacco box close to his pillow
head. He would smoke. Looking toward the _andon_, beneath it, faintly
outlined, he saw somebody.
_Yoshi_--"Who is there? This place used to be a brothel. Now it is a
tenement. I rent it. It don't do to have it taken for a brothel. Oi!
You--whence do you come?"
At the words--he! It disappeared.
_Yoshi_--"I say now! A marvellous thing--that over there. A kind of
dream--extraordinary: I don't remember having a grudge with anyone. Yai!
If the spirit which just came entertains a grudge I have never even
dreamed of such. I am a dissolute fellow, but remember no grudge with
anyone."
Thus loud and wrathfully he shouted out. As one without fear he went to
sleep. Waking up, the next day he left the house to go to the hot bath
in Umacho[u]. On the way he breakfasted. Then he went to the Morita-za.
Although the performance had not begun, as it was a first representation
the theatre was crowded with people. Said a friend:
_Friend_--"Yoshi San, the colour of your face is bad. Are you affected
by the heat?"
_Yoshi_--"Liking strong spirits, I feel badly. Moreover, last night a
strange thing was witnessed. I feel out of sorts."
_Friend_--"What was it?"
_Yoshi_--"In the middle of last night I opened my eyes. Dimly outlined
beside the lantern (_andon_) sat a rascal; some fellow who had been
amusing himself at a neighbouring brothel. I thought that being drunk
with wine he had come there by mistake. 'Who are you?' Thus I shouted.
It disappeared. _Do[u]mo!_ It was a strange occurrence. Was it a ghost,
thought I? I could remember no grudge with another person. Anyhow, in
all likelihood it is no ghost, thought I. However I look at it, I don't
understand."
_Friend_--"Hei! Yoshi San, it was your own imagination."
_Yoshi_--"Though I considered it a vision of my own, as strange I
mention it."
_Friend_--"If you feel bad it will be well to stay away for to-night."
_Yoshi_--"I don't think I feel badly in any other way. To-night--for the
whole night--I'll make the test."
That day he returned to the Yoshiwara house. That night no one was seen.
But when he did see it, was the thing a matter of his own imagination?
The next day he came to the theatre. The friend was waiting for him.
_Friend_--"Yoshi San, did it appear at night?"
_Yoshi_--"Iya! At night it did not appear. In the middle of the night
opening my eyes I looked with especial care to the eight sides. Nothing
that could be considered suspicious was to be seen."
_Friend_--"Then it was as I said. It being at one time a brothel, would
not something appear in this house? Having this wholly in mind, the
thing presented itself to your eyes."
_Yoshi_--"Doubtless it is but that; a freak of the imagination."
That night returning to the Yoshiwara, nothing happened. A space of
five nights passed. His habit was to return early; and as his thin dress
was wet with sweat he would change it. Going upstairs he took out the
thin garment from the clothes-basket (_tsuzura_). With this in hand he
was about to descend. Now as at one time the place had been a brothel
the steps were broad and wide. Seated on the lower step, lying face
downward, was somebody.
_Yoshi_--"Ah! Has it come?"
Being a courageous fellow, while speaking he raised his leg.
_Yoshi_--"You're in the way."
Pon: he gave a kick. There was not the slightest resistance.
Forthwith--ha! it was gone.
_Yoshi_--"_Do[u]mo!_ Remarkable: it is a strange occurrence."
While speaking he changed his robe and lit the fire. Making the water
boil, with Echizen peat he heated some wine he had bought on the road
and brought home with him. With _tsukudani_,[45] or something of that
kind to eat, he drank and thought.
_Yoshi_--"To-day it is no product of my imagination. Who can that rascal
be?"
Talking to himself, he drank the _saké_. Attending to preliminaries he
would go to bed. He went to the necessary and opened the door. Some one
stood there, with his back to him.
_Yoshi_--"Here again?"
At the words it disappeared. No matter how brave he was, that night he
felt badly and did not sleep. Awaiting dawn he was quick to go forth. On
coming to the theatre--
_Friend_--"Good day: how goes it with Yoshi San? Are you not very much
out of tone?"
_Yoshi_--"At night it came. Moreover it appeared twice."
_Friend_--"Did it appear?"
_Yoshi_--"At first it was seated on the stair. The second time it was
inside the necessary."
_Friend_--"Hei! That is marvellous. Probably it is the work of fox or
badger (_tanuki_)."
This talk abruptly terminated. Tsutayoshi was a bold fine fellow.
Unmoved, he retired to his own home in the Yoshiwara. After that nothing
was seen for several days. Just as he was forcing a way into the
theatre--
_Man_--"Yoshi San! At the Bairin (Plum Tree) over the way is the master
of Otowaya. He is urgent to see you; so he says. It will be well to go
at once."
_Yoshi_--"Was he told I was here?"
_Man_--"Ah!"
_Yoshi_--"How annoying! The Otawaya San has lent me money. _Do[u]mo!_ A
meeting, 'tis bad news."
_Man_--"As nothing was said about it--go. Surely the return of the loan
is not involved."
_Yoshi_--"It's not to be avoided. I'll go and see."
Opposite to the theatre was the tea house called the "Bairin." He went
in.
_Yoshi_--"Good-day."
_Maid_--"Oya! Yoshi San. As the master of Otowaya is waiting upstairs
for you, just condescend to go up."
_Yoshi_--"Ah! Is that so? Condescend to pardon."
Don, don, he climbed the stairs. At the end of a six-mat room was a man
fanning himself. He was alone. It was Kikugoro[u], the third of the
name. He had been noted as a handsome man. However, at this time he was
an old man. The white summer garb of that very fine quality of
cloth-grass known as _jo[u]fu_ was girded in by a _chakenjo[u] obi_.[46]
Of his profession there was not a hint.
_Kikugoro[u]_--"Sa! Yoshi San, come here, please."
_Yoshi_--"The patron: _do[u]mo_! truly it has been rude not to come and
see you. I have not crossed the threshold."
_Kikugoro[u]_--"Iya! Why speak so? You now live in the Yoshiwara."
_Yoshi_--"That is so; for a long time I lived in Fukiyacho[u]. The
neighbourhood was a bad one. I had borrowed money. It was like running
away in the night. A one-time brothel now the rent is ridiculously
cheap. _Mikoshi_ (carriages) are kept in it now."
_Kikugoro[u]_--"The Yoshiwara is a gay place. For people who would amuse
themselves there is none superior. It is an excellent locality."
_Yoshi_--"One can find whatever is desired."
_Kikugoro[u]_--"So Yoshi San, now you live alone."
_Yoshi_--"Hai! I'm alone."
_Kikugoro[u]_--"I've just heard the talk of people. A ghost appears at
your place."
_Yoshi_--"Who said such a thing?"
_Kikugoro[u]_--"Iya! It was heard, by accident. Is it true?"
_Yoshi_--"Hai! First it was seen beside the _andon_; then on the
stairway, and in the necessary."
_Kikugoro[u]_--"A strange matter! Is it man or woman?"
_Yoshi_--"_Do[u]mo!_ That I don't know. It was seen as in a mist.
Whether man or woman, I don't know."
_Kikugoro[u]_--"Are there male and female ghosts?"
_Yoshi_--"Male or female--I know nothing about it."
_Kikugoro[u]_--"What its nature? When it appears this time, condescend
to take a good look at it." He continued (then)--"The present drama of
the Yotsuya Kwaidan--as to my part, as you well know, O'Iwa and Kohei
before the very eyes must change places in an instant. For both to wear
the grey _kimono_ lacks interest. Which of them is to change? It is on
my mind. _Do[u]mo!_ Thought fails to solve the question. Hence the
request to you. What kind of dress does that ghost wear? That is what I
want to learn."
_Yoshi_--"Hei!"
_Kikugoro[u]_--"But Yoshi San: It is no mere request. I loaned you ten
_ryo[u]_."
_Yoshi_--"Patron, do you condescend still to remember it?"
_Kikugoro[u]_--"Deign not to jest. Who would forget such a rascal? I'll
wipe out that ten _ryo[u]_--and give you five _ryo[u]_ in addition. How
now? Condescend to observe."
_Yoshi_--"Thanks are felt. When it appears I'll take a good look at it."
_Kikugoro[u]_--"With the month's change the first representation takes
place. It must be ascertained in the intervening time. Probably in four
or five days it will be seen."
_Yoshi_--"That is so. _Do[u]mo!_ The opponent being a ghost, will it
appear to-night? Or has is ended by going away? That I don't know.
Having found out its dwelling place, I'll send a postal-card."
_Kikugoro[u]_--"Don't jest. As just said, I'll give you five _ryo[u]_.
Be careful; and please take a good look."
_Yoshi_--"Respectfully heard and understood. This time I'll get a good
look at it."
Thus agreed Tsutayoshi returned that night to the Yoshiwara.
_Yoshi_--"A pleasing thing! Ten _ryo[u]_ wiped off, and five _ryo[u]_
received in addition. Thanks: a fine bit of work. It will be well if the
rascal of a ghost comes to-night. Anyhow, just before the _Bon_ it
suffers distress beyond measure. For several days nothing has been seen
of it. Its purpose may have changed: Yai! If the ghost is to appear,
please show up at once. Don't it yet appear? Oi! Ghost!"
The ghost was not to be drawn out by this display of energy. Several
days passed without the slightest sign of it. Every day Kikugoro[u] came
to the Bairin and sent for Tsutayoshi.
_Kikugoro[u]_--"Yoshi San, has it not yet appeared?"
_Yoshi_--"_Do[u]mo!_ The patron is vexed. Every day, every day, it is
awaited; and not a sign of it. Feeling out of sorts, has it not died?
That's my idea."
_Kikugoro[u]_--"Oi! Oi! Yoshi San. Being dead, is it not a ghost? Once
dead, does the rascal die again?"
_Yoshi_--"_Do[u]mo!_ Patron, nothing is known of one's spirit. For it
not to appear is annoying. Spirits (_ki_) suffer pain; and suffering
pain they don't show themselves. It seems that you want it to appear
before the first representation. If I see it, I get five _ryo[u]_. I
would like to have it show itself before the _Bon_. My purpose is to get
through this year's _Bon_[47] by means of the ghost."
_Kikugoro[u]_--"Anyhow--have a care."
_Yoshi_--"Agreed."
That night he went home and drank wine.
_Man_--"Yoshi San, is he at home?"
Thereupon without ceremony entered an intimate friend, from Sakaicho[u]
near Fukiyacho[u]. He had loaned money to Tsutayoshi, and now sought the
repayment.
_Man_--"Yoshi San, you say you will bring it, you will bring it; and you
make no sign of bringing it. That was my money, and the failure to
return it is vexing. Will matters change before the _Bon_?"
_Yoshi_--"Wait but a little. If to-night something materializes I get
five _ryo[u]_. The money in hand, at once I will pay you back."
_Man_--"What is going to materialize? The five _ryo[u]_ you spoke of?"
_Yoshi_--"In fact at my house a ghost appears. The Otowaya San heard of
it. As of immediate use to the theatre I am carefully to observe what
the ghost wears. He says he will give me five _ryo[u]_. The money
obtained, at once the two _ryo[u]_ will be repaid. Wait until that
happens."
_Man_--"Oi! Oi! Yoshi San. Does a ghost really appear?"
_Yoshi_--"It really does."
_Man_--"What kind of a ghost?"
_Yoshi_--"As to that--right before one; a most blood-curdling thing.
Anyhow, I shiver all over at sight of it. Just like this--"
_Man_--"Where does it show itself?"
_Yoshi_--"Just where you are seated."
_Man_--"Yoshi San, jokes don't go."
Without waiting for an answer he fled. Seeing this said Tsutayoshi:
_Yoshi_--"A ghost is a very profitable object. Do but speak of it, and
he who would collect borrowed money takes to flight. If it appears,
money is obtained. Hence a ghost is a remarkable thing. After this when
the dry goods man comes for repayment, I'll chase him out again with the
ghost. Anyhow this house brings good luck. The rent is cheap, and there
is a ghost which enables one to dodge paying loans. Thanks: henceforth
in renting a house I'll confine myself to haunted houses. So much for
that. Will it show itself to-night?"
Tsutayoshi hung up the mosquito net. He drank a glass. Thus reinforced,
tranquil and pleased he laid down on the pillow. After sleeping awhile
he opened his eyes. All around was quiet. The bustle of the night had
ceased. There was not a sound. Outside the mosquito net the wick of the
_andon_ had burned low and gave a faint light. Suddenly the bell of the
eighth watch (1 A.M.) was heard on Bentenyama. Thereupon--de!... the
sound was heard and the light of the _andon_ went out. Then as a mist an
object like to a human being (_hito_) was visible. Ha! Tsutayoshi was
frightened. Was this the ghost? He rolled up the mosquito net, the
pupils of the eyes intent. Thus he had it in plain view. The hair of the
head was in wild disorder. To sight it was certain it was a man. He wore
a grey cotton garment.
_Yoshi_--"That's it!"
At the sudden exclamation--Ha! It disappeared. The _andon_ having
previously gone out truly it was the very blackness of night. Coming out
from under the mosquito net he (Yoshi) lit the wick. Smoking his tobacco
he staid awake until dawn. In time the East became white. At once he
left the house. He entered the bath at Agecho[u], breakfasted as usual
at the cheap eating house in Komégata, and then went to the Morita-za in
Kibikicho[u].
_Friend_--"Good-day."
_Yoshi_--"Iya! It's hot to-day."
_Friend_--"How now, Yoshi San? The O'Baké?"
_Yoshi_--"As usual--it came in the night."
_Friend_--"Is that so? When Otowaya San hears that, he will rejoice."
While in talk a message came from Kikugoro[u]. At once Tsutayoshi went
to the Bairin. Otowaya was waiting for him.
_Kikugoro[u]_--"Yoshi San, how now--the ghost?"
_Yoshi_--"Patron, condescend to rejoice. It appeared in the night."
_Kikugoro[u]_--"Did it appear? The rascal is brave. Is it man or woman?"
_Yoshi_--"A man in all likelihood."
_Kikugoro[u]_--"The dress?"
_Yoshi_--"Was seen to be grey cotton--positively so."
_Kikugoro[u]_--"That's interesting. A _kimono_ of grey colour just suits
the ghost of the _wakato[u]_ Kohei. Sa! Yoshi San, in accordance with
the bargain I give you five _ryo[u]_."
_Yoshi_--"_Do[u]mo!_ Thanks are felt."
_Kikugoro[u]_--"There they are. Yoshi San, you are a brave fellow. Life
in a haunted house is unpleasant. It will be well to remove elsewhere."
_Yoshi_--"Iya! A haunted house is splendid. A friend just now came for
the return of borrowed money. When told of a ghost appearing, he fled.
Again, merely for noting what the ghost wears, you tell me I will get
five _ryo[u]_. All this is due to the honoured shadow of the ghost. Thus
regarding (my) Yurei Dai Myo[u]jin Sama,[48] to abandon such a splendid
ghost and remove to some other place would change my luck. My purpose is
to go on living with this ghost."
_Kikugoro[u]_--"In that case, Yoshi San, it would be well to have the
house cleaned. _Do[u]mo!_ Don't you think it is the work of fox or
_tanuki_?"
_Yoshi_--"Naruhodo! At all events I'll have the house cleaned." So
receiving the money from Kikugoro[u], rejoicing Yoshi returned to the
Yoshiwara. On the way he took a glass or so. Somewhat drunk, he entered
the Tanaka no Mikawaya, a _tabi_ (sock) shop. The house was the owner of
the place where Tsutayoshi lived.
_Yoshi_--"Good-day."
_Mikawaya_--"Oya! Yoshi San. Are you on your return? Ma! Condescend to
enter. _Do[u]mo!_ The theatre now pleases the people. The audiences are
large."
_Yoshi_--"Thanks are felt."
_Mikawaya_--"What your business, Yoshi San?"
_Yoshi_--"Danna, I would like to have the house cleaned."
_Mikawaya_--"Cleaned?"
_Yoshi_--"_Do[u]mo!_ At present a supernatural object appears. It is
vexing. As I will furnish the wages of the workman, I thought it would
be well to have it cleaned."
_Mikawaya_--"Hei! What appears?"
_Yoshi_--"At times a ghost shows itself."
_Mikawaya_--"A ghost?"
_Yoshi_--"Once it showed itself beside the _andon_. The second time it
was seen in the necessary. At evening it was seated at the entrance to
the stairs. There is nothing to fear, unless it be the work of fox or
badger. It would be bad for outsiders to get wind of it; so I would like
to have the place cleaned."
_Mikawaya_--"Is it man or woman?"
_Yoshi_--"There is no doubt of its being a man, of small stature. His
dress plainly is of grey cotton."
_Mikawaya_--"A dress of grey cotton--the man of small stature. Un!
Jo[u]! It is that low fellow."
_Yoshi_--"Oi! Oi! Danna, did you know him? Was he a wicked fellow?
Setting up in the ghost way--pray excuse me."
_Landlord_--"Ma! Yoshi San, please hear what I have to say. The house
that I rent to you originally was a brothel called the Yamashiroya. The
landlord was an unrighteous fellow. One night an _oiran_ lacked any
guest.[49] He took her with him to the _seméba_--(punishment room) and
treated her most cruelly. No one called the place 'the Yamashiroya.' It
was known as the Onimisé (devil-shop) of Fushimicho[u]. It was just this
time last year that a _wakashu[u]_ (attendant) named Tokuzo fell in love
with a woman named Kotsu no Wakataké. Pressed for money, to get it he
had an eye to the pillows of the guests. From the low brothel mentioned
perhaps he would get a _bu_--a couple of _shu[u]_. A restitution
privately effected would have been well. He was roped up and carried off
to the town hall. In every way a low scoundrel he was sent to
Temmacho[u]. Soon after he died in the jail. Subsequently there were
nothing but unpleasant happenings at the Yamashiroya. It was completely
ruined. Later I bought it. Undecided about setting it up, I divided it
into two houses and rented them out."
_Yoshi_--"Hei!"
_Mikawaya_--"That Tokuzo, as the _wakashu[u]_ was called, when sent to
the town hall was dressed in the thin grey cotton robe given as present
to him by an _oiran_. I knew Tokuzo. He was flighty and good natured; an
interesting fellow. Of low stature, he was a good worker. Probably he
failed to carry out his purpose."
_Yoshi_--"Is that the case? It is a wonderful affair. Anyhow condescend
to make everything clean."
_Mikawaya_--"Agreed."
After this workmen came from the Mikawaya, and the cleaning up was
performed. Tsutayoshi at a subsequent meeting with Kikugoro[u] told him
the story of Tokuzo. It would be well to have a funeral service held. So
the memorial service for Tokuzo was conducted at the family temple of
Tsutayoshi. The figure was never again seen. Kikugoro[u] in the rôle of
ghost of the _wakato[u]_ Kohei came out dressed in a grey robe marked
with _kokumochi_ (the badge of the white disk figured on coloured
ground). Before one's very eyes he changed to O'Iwa. As ghost and
arrayed in the family crest it was restricted to the Kohei of the
"Yotsuya Kwaidan." The theatre was packed. Such was the crowd that the
upper gallery of the theatre collapsed. Even though an actor, everywhere
he (Kikugoro[u]) was spoken of as a great man. To favoured guests of
Kikugoro[u] the matter was so related. Thus the tale is a true one.
TAKUAN
Three great priests of influence figure in the rule of the first three
Tokugawa Sho[u]gun. Tenhai Osho[u] of the Nankwo[u]bo[u], bishop of the
temple foundation at Ueno, was all powerful under Iyeyasu. His
successors, Nikkei So[u]zu of the San-en-Zo[u]jo[u]ji at Shiba, and
Takuan Zaisho[u] of the Daikokudo[u], the To[u]kaiji of Shinagawa, were
the priestly influences under the 2nd and 3rd Sho[u]gun. It is the
last-named cleric who is responsible for the hard and palatable yellow
preparation of the _daikon_ (radish) known under his name of _takuan_.
The _daikon_ is soused in brine and rice bran, kept weighted down under
heavy stones, and allowed "to ripen" for some weeks. A way station in
its preparation and edibility, and to be experienced in every Japanese
household, is the unspeakable and unbreathable soft _nukamisozuké_. Its
presence always arouses suspicion of the pressing defect in the house
drainage.
Takuan deserves esteem and appreciation for other than culinary
reasons. On a visit to the castle one day the old friar noted the
depression of his valued and intimate friend Yagyu Tajima no Kami. The
aging _o[u]metsuké_ (suzerain's eye) and fencing teacher to the third
Sho[u]gun opened out his woes. His second son was dead. His third son
was worthless. At least the father thought so at this time. His eldest
son, Jubei, as great at arms as himself and his legitimate successor,
was a madman--gone mad over his own excellence. Takuan heard the
particulars. At once he volunteered to act as physician. "Be of good
heart. This Takuan will prescribe." The grateful Munenori, in the course
of the next few days sent to the prelate's quarters to know when the
journey to the far-off Yamato fief would be made. He would make
provision for the prior's comfort and conveyance. Said a sleek scribe
and substitute--"The lord abbot has long since departed. It is useless
to attempt to overtake him. He travels fast." Such was the message to
the pleased but discomfited Munenori. Meanwhile at Yagyu Masakizaka in
Yamato there turned up a shabby travel-stained old fellow. The
gatekeepers were inclined flatly to refuse admission. However, the
_karo[u]_, or chief officer of the fief, had to be notified. He was
unwilling to let slip any chance of relief to the condition of Jubei
Dono. With some misgivings the old fellow was ordered around to the
garden. The _samurai_ code made little account of cutting down a
retainer, a beggar, or an outcast. In the first case compensation was
allowed; the last two were honoured by the experiment. Priests and women
were not covered by the code; matter of omission, rather than of
importance. The wanderer had taken his seat by the little pond in the
garden. Here to all appearance he remained in a meditation which was
roughly interrupted by the irruption of the lord of the mansion into a
room close by. Jubei kicked the _sho[u]ji_ out of the frames, and strode
to the edge of the verandah. His hair was in wild disorder. He wore
armour on his shoulders, and was stark naked below the waist. Face
twitching and eyes flashing he hailed his visitor, to demand on what
mission he had dared to intrude on the time and patience of the great
man. Let the excuse be a good one. Otherwise--But at abuse the cleric
was a good hand himself. He, too, had heard of Jubei Dono; he who posed
as the great man of Nippon. This was poaching on his own ground, for he
set himself up to be the match of any number in the land. At this Jubei
broke into angry jeers and invectives. The priest made answer with equal
roughness. "How face two opponents--to right and left?" Jubei snorted
with contempt. He was active enough to neglect the one and cut down the
other before aid could be brought. The Yagyu-ryu[u], or style of
fencing, made provision for such occasion. Aye! And for four--and
against eight.... "And against sixteen, and thirty-two, and sixty-four,
and a hundred and twenty-eight opponents ... against all the many
fighting men of Nippon? How would Jubei face all those?" To this Jubei
could but answer that he would die fighting. The priest in his turn
snorted with contempt. "Die fighting: by such words Jubei admits
defeat." But he did not allow Jubei to turn questioner in his turn.
Swiftly he shifted the argument. He, the cleric, considered Jubei of
small account. He would prove to him what a fool he was by the
interpretation of a mere thirty-one syllables of poetry. This should be
the test of intelligence. The Knight's Way (Budo[u]) had its inner and
cryptic meaning expressed in verse. So had the Way of the Buddha
(Butsudo[u]). Of this latter Jubei knew nothing; and he doubted if he
knew anything of the former. At least let him display some sample of his
wit. Jubei leaped at the test to prove his greatness. Now he scorned to
deal with a priest in arms. How was this:
"By night storm of Narutaki broken,
The scattered jewels, e'en the moon, it harbours."[50]
"Is there but that to prove wit?"--"How then with this one?"
"Tree leaves on Yamakawa's flood:
The self, abandoned, does but drift--lo!"[51]
The priest threw up his hands. "Such stuff will never do! And this
fellow considers himself educated!"
"Rain seen, impeded not to flow away;
The snow breaks not the stem of willow green."[52]
"Various and many though the ways of teaching be,
There is but one true stroke of sword."[53]
Jubei gleamed most homicidally at his questioner. The priest only
said--"A child has such by heart." And Jubei knew 'twas so, and was
rebuked. Now he was in less haste:
"The heart, how judge it?
An ink sketch of the breeze amid the pines."[54]
A shrug of the shoulders was the reward of this effort.
"Though barrier mount, the leafy mount, the inner mount, be dense
with leafage;
What e'er one wills, naught hinders."[55]
The priest shook his head as with grave indulgence to childhood's
thoughts. Jubei burst into a rage. He turned to his sword-bearer, and
laid hand on the weapon. The lad knelt with bowed head, uncertain
whether the sword was to fall on himself or the visitor. Without paying
the slightest attention to the hostile attitude the priest cut matters
short. "Jubei Dono would question the priest's right to judge. Come now!
The cleric's foolish head against the wits of Nippon's great man. O
warrior, interpret!" A sign; and ink stone and poem paper (_tanzaku_)
were put before him. Jubei in turn took the scroll in hand. He read:
"_Tatazumuna, yukuna, modoruna, isuwaruna;
Neruna, okiruna, shiru mo shiranu mo._"
"It neither stands still, nor goes forward, nor goes backward,
nor remains as it is;
It sleeps not, rises not: known or unknown."
Jubei started with a bellow; and ended in a whisper. The retainers
looked in each other's faces. Who was the maddest--their lord or the
shabby _bo[u]zu_? A long silence followed. Jubei no longer stood in
grandiloquent pose. He squatted down before the ideographs. At last he
said--"The poem contains much matter. Deign to allow time for the
solution." His voice was gentle and courteous to this future victim of
his intelligence. The priest nodded a genial assent. Before he withdrew
Jubei gave emphatic orders as to ward and entertainment. The pleasures
of anticipation, of solution of the poem and slicing of the cleric, must
have compensation. His tread was slow and stately as he left the room;
his looks were contained and thoughtful. The man of black robe was
carried off to a better reception than so far experienced. With scorn he
sent away the scanty meal of vegetable food; and ordered matters to his
taste with a manner that none cared to obey, or dared to disobey.
Meanwhile Jubei started in on the poem. With the progress of his
efforts ideas of his greatness disappeared. No matter what might be his
skill with the sword--and the priest already had shown its
limitations--his inexperience in literature was patent. Ah! If he could
but win the head of this scurvy cleric. His mind now was totally removed
from thoughts of himself. For two days and two nights he never closed
his eyes, which were fastened on the infernal ideographs--palpably so
full of a meaning he could not grasp. Then he was worn out. He went to
sleep, and slept for a full twenty-four hours. On awaking he was a
different being. The cobwebs of the mind were clean swept. Its vague
shiftings had been brought to concentration--to thought. Now it was the
household which was mad with joy. It was Jubei, lord of the manor, who
sought interview with his saviour. Prostrate he gave thanks, apology for
the poor entertainment; and expressed his hope and wish to keep always
by him the holy man. Who was he--this man who had given him back mind
and power of thought? Just then a messenger from his father, Tajima no
Kami, was announced. Those assembled leaned forward at sight of the man
in amazed prostration, first before his lord, then before the shabby old
priest. "Takuan Osho[u] Sama at Yagyu! And yet this Kyu[u]taro[u] has
made all speed to Yamato to make report of his lordship's coming." All
fell on their faces, including Jubei. Takuan smiled, a little grimly.
"The garb makes not the cleric. Jubei Dono will forgive the presence of
the humble priest who now must leave him, pressed by affairs, none of
which have been more important than the mission here." And leave he
did--but ample gifts to the temple followed after. Jubei never could
take his father's place close to the Sho[u]gun's side. His one-time
madness forbade assumption of such office. Indeed on rare occasions the
mad fit again would threaten; but the infallible remedy was at hand. To
Jubei's question Takuan had answered--"The meaning? The poem has none.
If there had been verily Takuan would have lost his head. But find one,
if you can." The joy of Tajima no Kami was completed by the return of
his third son Matajuro[u], restored to normal health. Later this
Matajuro[u] became the famous Hida no Kami and successor to his father
as the Sho[u]gun's fencing master. Of these three men--more anon.[56]
FOOTNOTES:
[1] _Kwaidan_ means "Wonder Tale." The word is of general meaning,
requiring limitation for the specific case.
[2] The _go-kenin_, for the most part; although some _hatamoto_, whose
incomes ran as low as 300 _koku_ could be classed with them. In
English--cf. T.H. Gubbins--Trans. Asiatic Soc. of Japan, xv.
[3] The hard palatable pickled yellow _daikon_ (radish). _Nukamisozuké_
is a way station in its production by pickling in salt and bran.
_Nukamisozuké_ is better described than smelt.
[4] Sanzu no Kawa--the river crossed by the dead; the Buddhist "Styx."
Shide no Yama--the mountain to be crossed on the way to Hell, or to the
judgment hall of its great king--Emma Dai-o[u] (Yama). All deserve, and
get, some punishment in this nether world.
[5] Near Meguro: scores of quaint figures, seated in tiers and
meditation.
[6] A famous Chinese book on military tactics. Prince Yoshitsuné, hero
of the Gempei wars, served arduously for a glimpse of it. Cf.: Life of
Benkei, vol. i, pp. 311 reg. Densuké refers to the three (_san_) stages
of rice cooking.
[7] Geishu[u]-Aki province. For six months the _daimyo[u]_ left Edo to
govern their fief in person. Their wives and families remained in Edo.
The penalties at the barriers (Hakoné, for instance) were severe if the
wife tried to get away (escape) from Edo.
[8] The Japanese personal pronoun is used--in the first person only to
obviate ambiguity in the sentence. Women use it more frequently than
men. In the second person it is used to express emphasis, great
familiarity, impertinence, or rebuke. The last two uses are frequent.
Ordinarily the honorifics and the construction of the sentence take the
place of these pronouns. Such at least seems to be the usage of the
_ko[u]dan_ writers, and in the present book the example has been
followed, as far as possible. In a few instances the use of a pronoun
will relieve the strain of a lengthy sentence or involved circumlocution
in the western tongue. At times the closer style can be abandoned--as in
the direct narration of the Tale of the Baryufu Kwannon. So also with
the translations of the _gidayu_ and the _ko[u]dan_ attached. These are
for recitation. In the original the pronoun is rarely written in. But
the literal translation of the honorifics would appear stilted. To
westerners these are appellations; to the native they are indications.
[9] The old Shimbashi station and its yards cover this site. "Tide
limit"--a suggestive name.
[10] A _sakuji bugyo[u]_ was the official who had charge of the
maintenance and construction of public works within the _daimyo[u]'s_
fief.
[11] A deep cutting through the hill. They are common features in
Nippon. Many valleys are only accessible by a climb, unless mitigated by
a _kirido[u]shi_, or obviated by a tunnel. Kamakura, for instance, is
accessible by land in no other way. Asahina _kirido[u]shi_: there are
several others.
[12] The description is curious. Writing fifty years ago Ryuo[u] tells
us these men no longer practised. His book is not readily met with and
the passage in the original is worth preserving--"_Kono sunegiri yatsu
to iu wa tadaima de wa arimasen ga; makurajima no tabi ni asaura wo
haki, sankeigyo[u] no kyahan de, nagai no wo ippon sashi. Eh! To[u] de o
isogi de nai. Okata wa watakushi no mosu koyaku no ko[u]no[u] wo kiite o
motome nasai. Nukeba tamachiru nagai no yaiba da nure kami de mo kayo ni
kireru, tadaima yatsu ga wo kiri chi wo tomete goran ni ireru; to maru
de kiru yo[u] desu ga ha (yaiba) no aru tokoro wa madzu no kata bakari
de, moto no kata wa yaiba ga hiite aru yue, sono ha hiku no tokoro wo
ude he ataru to suji ga tsuku bakari de kire washimasen ga, tanka ga
kireru kara, chiwa taki-tsu se no gotoku nagareru. Chi ni wa sakarawazu
ikusa naka ko wo mochiireba, sokuza ni todomaru nani mae kara todotteru
no desu ga, hagyu[u] da kara maru de chi ga tomaru yo[u] ni micru kara,
kono ho he hitotsu gai, kono ho he futatsu gai, to uremasu._"--"Yotsuya
Kwaidan," pp. 31-32.
[13] One-fourth of a _ryo[u]_ = 15 silver mommé = 872 grains Troy. Money
had much greater purchasing value at that time as compared with the
present days; perhaps 20 times, but adulteration of the coinage caused
great variations.
[14] The Machibugyo[u] was judge and prosecutor (procurator or district
attorney); the two offices being held by the same man. A court trial
included both functions. _Tengu_, used below, is the long-nosed wood
bogey. There is a note in Benkei, i, 260.
[15] The _tawara_ equals two-fifths of a _koku_. At present-day figures
the stipend of Tamiya can be put at about 2000 yen; that of Ito[u]
Kwaiba, mentioned later, at 13,000 yen. The great _daimyo[u]_ with
incomes running into the hundreds of thousands of _koku_ were princes
administering part of the public domain, with armies and an elaborate
civil service to support. Even a _hatamoto_ (minor _daimyo[u]_,
immediate vassals of the sho[u]gun) of 10,000 _koku_, such as Yagyu[u]
Tajima no Kami had a large train at his Edo _yashiki_ and at his fief.
The Daté House of Sendai, or the Maeda of Kaga, Etchu[u], and Echizen,
are examples of the greater To[u]zama, or lords independent in the
administration of their fiefs. Labour, it is to be added, was cheap
compared to food values. Taxes were heavy--ranging from 30 to 70 per
cent. The middleman took his high fee. Yet sumptuary laws were necessary
to prevent extravagance among the farming class. Some of them were rich
men, especially in the better administered Tokugawa fiefs. The public
works required of the _daimyo[u]_--especially the To[u]zama--prevented a
dangerous accumulation of resources, and sometimes almost ruined his
subjects. Accurate measurements of income are not available. The _koku_
of _daimyo[u]_ income has been placed as high as ten bushels. The
present-day _koku_ equals 5.13 bushels. The price of rice ranges between
15-20 yen per _koku_.
[16] The title for all men of learning and professional attainments. The
great medical doctor is "Sensei," the doctor of literature is
"Sensei"--and the charlatan who peddles charms by the highway is
"Sensei"--teacher.
[17] A technical social expression--"I trouble you" or "with highest
respect and consideration." Satuma = Satsuma-Jo[u]fu, the grass cloth of
fine quality woven and dyed in Loo-choo; narrow swords; all this
(Momogawa) is an example of the earnest study the _ko[u]dan_ lecturers
make of their subject. These delightful little expositions of dress and
manner are frequent.
[18] _Rusu_ or _rusuban_ = caretaker in the owner's absence. As often as
not the wife is so regarded by the Japanese husband.
[19] Reiganji, the great temple giving the name to the Reigan district
of Fukagawa, is one of the many temples there found. The Jo[u]shinji is
close by.
[20] A complicated checkers-chess like game.
[21] There are nine of these stages of skill.
[22] 5.13 bushel. Income of the _samurai_ classes were so measured.
[23] _Kyara_ = nut gall, in Momogawa's _ko[u]dan_. From the marriage to
the expulsion of O'Iwa his treatment of the story is mainly followed.
Ryuo[u] slurs the marriage, but describes the persecution with great
effect. The lines of treatment only diverge subsequently. Ryuo[u] is to
be preferred.
[24] The monetary _bu_ was one-fourth the _ryo[u]_; the _shu[u]_ was
one-fourth the value of the _bu_. A hundred _mon_ = one _sen_. To-day
there are blind shampooers (and for massage) at 500 _mon_ = 5 _sen_.
[25] Of the Nichiren sect. The characters of the "Yotsuya Kwaidan" move
within the circle of this Presbyterian cult: _i.e._, Presbyterian in its
stiff attitude of hostility and superiority to all other sects. There is
another Myo[u]gyo[u]ji, neighbour to the Ten-o[u] shrine.
[26] High sounding titles given to the _great hetairae_. The difference
from the Greek world lay in their not being independent. They were
confined to the houses of their owners. But these noted women were
ransomed at times--even by great nobles. Thus Daté Tsunamune the 3rd
_daimyo[u]_ of Sendai bought the famous Oiran Takao, weighing in the
scales the woman against gold. In a fit of passion he killed her soon
after, and had her body cast into the Edogawa.
[27] "_Hagurete mo mata afu michi ya hana no yama._"
[28] The _aodaisho[u]_ is something of the nature of a black snake. Says
Brinkley's Dict. "_elaphis virgatus_."
[29] The term "Inkyo[u]," already several times used, applies to a man
who has retired from active life, leaving the management of the affairs
of the House to the duly appointed heir and successor. A specified
portion of the income is usually assigned for his maintenance, and forms
a first lien, so to speak, on such return. The modernized law of Nippon
does not permit assumption of this state before the age of fifty years,
unless there be incapacitation such as necessitates retirement. In
ancient days (pre-Meiji) there was no such limitation. Men often retired
very early in life--from caprice, family intrigue, or for the freer
management of their affairs. In the latter case they had more power and
less responsibility; the latter falling on the heir and successor,
perhaps still a mere child. _Go_ is merely honorific.
[30] "Awarase ya: Byo[u]bu wa koi no taki sagari." The living carp
strives to ascend the fall.
[31] The old hag who lurks in the River of Souls, waylaying little
children, robbing them of their clothes, and compelling them to
construct huge piles of stones. Her counterfeit presentment (by Unkei)
can be well seen at the Enno[u]ji of Kamakura.
[32] An ordinary disposition of these women; who often preferred their
Edo lover to such lot.
[33] _Ototoi oidé_: It is the salutation of the good Buddhist to the
captured insect, thrown without and requested to return "the day before
yesterday" = the Greek Kalends. As used above it is a gross insult to
the person addressed.
[34] Damask hill: the names taken by these great _hetairai_ were most
fanciful.
[35] Next to the Ten-o[u] Jinja; not that of Samégabashi. To-day
retired, neat and clean; without the dirty publicity of larger temples.
It is a bit of country in crowded Yotsuya.
[36] A young girl's method of fixing the hair; but Ryuo[u] uses the
term. Gohei are the paper strips used as offering. Usually attached to a
short stick.
[37] At the Gyo[u]ranji of Matsuzakacho[u] in the Mita district of
To[u]kyo[u].
[38] _Sanzugawa_: _Yama_ mo nakereba, _hashi mo nashi_; _shinde no
tabiji hana wa nao nashi_. Sanzugawa, the river crossed by the dead.
[39] A fourth form of torture was suspension--an exaggerated infliction
of "the lobster." These official forms are described by J. Carey Hall in
the transactions of the Asiatic Society of Japan, vol. XLI., Part V. The
native references are the "Tokugawa Seikei Shiryo[u]," "Keizai Dai
Hiroku," "Ko[u]jiki Ruihi Horitsu-bu." Cf. article on Go[u]mon in the
"Kokushi Dai Jiten." There were other forms. In the examination into the
famous conspiracy of Yui Sho[u]setsu (1651 A.D.) no confession could be
secured from Yoshida Hatsuémon. He was brought out, to find his
thirteen-year-old son Hachitaro[u] undergoing the torture of dropping
water. At the last extremities the boy pleaded for mercy. His father
drily told him to act the _samurai_, and not to imperil the lives of
others. It was different with Matsubayashi Chuya (really the last heir
of the famous Cho[u]sokabé House of Tosa). At sight of his old, white
haired, white faced, jail wearied mother threatened with the fire
torture, he did for her what he would not do for himself. The old woman
willingly would have undergone the torture. Chuya's confession cost the
lives of seventy-five men.
[40] Hifumikwan (To[u]kyo[u]), Meiji 29th year 2nd month 15th day (28th
March, 1896).
[41] _Mairase So[u]ro[u]_: "I take the liberty of...." Brinkley's Dict.
A purely formal expression used in the letters of women writers.
[42] The three holy things--Buddha, his Law, the priesthood.
[43] Another reading of the characters for Kikugoro[u]--to the
initiated.
[44] "Top-bottom": the beautiful lozenge shaped [=X] dress of the
_samurai_ when on court service, or for other ceremony: full dress.
[45] "Small fish boiled in soy in order to preserve it (named after
Tsukudajima-To[u]kyo[u]--famous for its preparation)."--Brinkley's Dict.
[46] Brown, with stripes--a favourite pattern with men and women.
[47] Feast of the Dead. This festival is held in July--in the country in
August, the old calendar seventh month.
[48] Apparitional divine lord.
[49] The expression is technical--"_hitoban de mo o cha wo hikeba_." All
night a mere tea-server.
[50]
[Narutaki no yoru no arashi ni kudakarete;
Chiru tama goto ni tsuki zo yadoreru.]
[51]
[Yamakawa no nagare ni ko no ha shizumu tomo;
Mi wo sutete koso ukabu se mo are.]
[52]
[Furu to miba tsumoranu saki ni haraekashi;
Yuki ni wa orenu aoyagi no ito.]^{[3]}
[53]
[Sama Sama to oshie no michi mo o[u]keredo
Uchikomu tokoro shin no itto[u].]^{[4]}
[54]
[Kokoro to wa ikanaru mono wo iu yaran;
Sumie ni kakitsu matsu kaze no oto.]^{[5]}
[55]
[Tsukubayama, Hayama, Nakayama, Shigeredomo;
Omoiru ni wa mono mo sawarazu.]^{[6]}
[56] Cf.--"Araki Mataémon--Ueno Adauchi," by Masui Nanzan. There is
little reason to believe that Jubei's madness was assumed, a rather
extravagant explanation of the more than probable fact that his
well-known travels were inspired by the Sho[u]gun's government. Actual
knowledge and inspection of the conditions and feelings in far-off
Satsuma, made by an expert, was much desired. Okubo Hikozaémon also
travelled as the Sho[u]gun's private eye. Jubei undoubtedly found his
reputation for one-time madness very useful, and played upon it.
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| Typographical errors corrected in text: |
| |
| Page 27: nukamisosuké amended to nukamisozuké |
| Page 54: aids amended to aides |
| Page 55, pages 58-61 inclusive: Sakarai amended to Sakurai |
| Page 61: T[=o]eman amended to Toémon |
| Page 104: Nakusuké amended to Kakusuké |
| Page 143: misintrepeted amended to misinterpreted |
| Page 144: aids amended to aides |
| Page 172: honorofic amended to honorific |
| Page 173: Kamikura amended to Kamimura |
| Page 175: trucculent amended to truculent |
| Page 187: Samegebashi amended to Samégabashi |
| Page 193: Akiyima amended to Akiyama |
| Page 194: Teremachi amended to Teramachi |
| Page 198: Fukotar[=o] amended to Fukutar[=o] |
| Page 223: Sh[=o]zaémon amended to Ch[=o]zaémon |
| Page 227: peel amended to peal |
| Page 240: Kamikura amended to Kamimura |
| Page 262: Okusuma amended to Okusama |
| Page 269: gray amended to grey (twice) |
| Page 273: threshhold amended to threshold |
| Page 277: Iye amended to Iya |
| Page 279: Mikowaya amended to Mikawaya |
| |
| Where there is an equal number of instances of a word |
| occurring as hyphenated and unhyphenated, the hyphens |
| have been retained: Blind-man/Blindman; |
| care-taker/caretaker; cross-roads/crossroads; |
| go-down/godown; house-keeping/housekeeping; |
| Mita-mura/Mitamura; near-by/nearby; woman-kind/womankind. |
| |
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