VII. FUNA-Y[=U]RÉÏ

The spirits of the drowned are said to follow after ships, calling for

a bucket or a water-dipper (_hishaku_). To refuse the bucket or the

dipper is dangerous; but the bottom of the utensil should be knocked

out before the request is complied with, and the spectres must not

be allowed to see this operation performed. If an undamaged bucket

or dipper be thrown to the ghosts, it will be used to fill and to

sink the ship. These phantoms are commonly called _Funa-Y[=u]réï_

("Ship-Ghosts").

The spirits of those warriors of the Héïké clan who perished in the

great sea-fight at Dan-no-ura, in the year 1185, are famous among

Funa-Y[=u]réï. Taïra no Tomomori, one of the chiefs of the clan, is

celebrated in this weird rôle: old pictures represent him, followed by

the ghosts of his warriors, running over the waves to attack passing

ships. Once he menaced a vessel in which Benkéï, the celebrated

retainer of Yoshitsuné, was voyaging; and Benkéï was able to save

the ship only by means of his Buddhist rosary, which frightened the

spectres away....

Tomomori is frequently pictured as walking upon the sea, carrying

a ship's anchor on his back. He and his fellow-ghosts are said to

have been in the habit of uprooting and making off with the anchors

of vessels imprudently moored in their particular domain,--the

neighborhood of Shimonoséki.

Erimoto yé

Mizu kakéraruru

Kokochi seri,

"Hishaku kasé" ch[=o]

Funé no kowané ni.

[_As if the nape of our necks had been sprinkled with cold

water,--so we felt while listening_ _to the voice of the

ship-ghost, saying:--"Lend me a dipper!"_[39]]

[Footnote 39: _Hishaku_, a wooden dipper with a long handle, used to

transfer water from a bucket to smaller vessels.]

Y[=u]rei ni

Kasu-hishaku yori

Ichi-hayaku

Onoré ga koshi mo

Nukéru sench[=o].

[_The loins of the captain himself were knocked out very much

more quickly than the bottom of the dipper that was to be

given to the ghost._[40]]

[Footnote 40: The common expression _Koshi ga nukéru_ (to have one's

loins taken out) means to be unable to stand up by reason of fear.

The suggestion is that while the captain was trying to knock out the

bottom of a dipper, before giving it to the ghost, he fell senseless

from fright.]

Benkéï no

Zuzu no kuriki ni

Tomomori no

Sugata mo ukamu--

Funé no y[=u]réï.

[_By the virtue of Benkéï's rosary, even_ _the ship-following

ghost--even the apparition of Tomomori--is saved._]

Y[=u]réï wa

Ki naru Izumi no

Hito nagara,

Aö-umibara ni

Nadoté itsuran?

[_Since any ghost must be an inhabitant of the Yellow Springs,

how should a ghost appear on the Blue Sea-Plain?_[41]]

[Footnote 41: The Underworld of the Dead--_Yomi_ or K[=o]sen--is

called "The Yellow Springs;" these names being written with two

Chinese characters respectively signifying "yellow" and "fountain." A

very ancient term for the ocean, frequently used in the old Shint[=o]

rituals, is "The Blue Sea-Plain."]

Sono sugata,

Ikari wo [=o]té,

Tsuki-matoü

Funé no hésaki ya

Tomomori no réï!

[_That Shape, carrying the anchor on its back, and following

after the ship--now at the bow and now at the stern--ah, the

ghost of Tomomori._[42]]

[Footnote 42: There is an untranslatable play upon words in the last

two lines. The above rendering includes two possible readings.]

Tsumi fukaki

Umi ni shidzumishi,

Y[=u]réï no

"Ukaman" toté ya!

Funé ni sugaréru.

[_Crying, "Now perchance I shall be saved!" The ghost

that sank into the deep Sea of Sin clings to the passing

ship!_[43]]

[Footnote 43: There is more weirdness in this poem than the above

rendering suggests. The word _ukaman_ in the fourth line can be

rendered as "shall perhaps float," or as "shall perhaps be saved" (in

the Buddhist sense of salvation),--as there are two verbs _ukami_.

According to an old superstition, the spirits of the drowned must

continue to dwell in the waters _until such time as they can lure the

living to destruction_. When the ghost of any drowned person succeeds

in drowning somebody, it may be able to obtain rebirth, and to leave

the sea forever. The exclamation of the ghost in this poem really

means, "Now perhaps I shall be able to drown somebody." (A very

similar superstition is said to exist on the Breton coast.) A common

Japanese saying about a child or any person who follows another

too closely and persistently is: _Kawa de shinda-y[=u]réï no yona

tsuré-hoshigaru!_--"Wants to follow you everywhere like the ghost of

a drowned person."]

Ukaman to

Funé we shitaëru

Yuréï wa,

Shidzumishi híto no

Omoï naruran.

[_The ghosts following after our ship in their efforts to rise

again (or, "to be saved") might perhaps be the (last vengeful)

thoughts of drowned men.[44]]

[Footnote 44: Here I cannot attempt to render the various plays upon

words; but the term "_omoï_" needs explanation. It means "thought"

or "thoughts;" but in colloquial phraseology it is often used as a

euphemism for a dying person's last desire of vengeance. In various

dramas it has been used in the signification of "avenging ghost." Thus

the exclamation, "His _thought_ has come back!"--in reference to a

dead man--really means: "His angry ghost appears!"]

Uraméshiki

Sugata wa sugoki

Yuréï no,

Kaji we jama suru

Funé no Tomomori.

[_With vengeful aspect, the grisly ghost of Tomomori

(rises) at the stern of the ship to hinder the play of her

rudder._[45]]

[Footnote 45: There is a double meaning given by the use of the name

_Tomomori_ in the last line. _Tomo_ means "the stern" of a ship;

_mori_ means "to leak." So the poem suggests that the ghost of

Tomomori not only interferes with the ship's rudder, but causes her

to leak.]

Ochi-irité,

Uwo no éjiki to

Nari ni ken;--

Funa-y[=u]réï mo

Nama-kusaki kazé.

[_Having perished in the sea, (those Héïké) would probably

have become food for fishes. (Anyhow, whenever) the

ship-following ghosts (appear), the wind has a smell of raw

fish!_[46]]

[Footnote 46: _Namakusaki-kaze_ really means a wind having a "raw

stench;" but the smell of bait is suggested by the second line of the

poem. A literal rendering is not possible in this case; the art of the

composition being altogether suggestive.]

The Romance of the Milky Way, and Other Studies & Stories · 第 25 / 43 题