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 Iemon, 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 Iemon 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 Iemon 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 Iemon. 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 Iemon 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 Iemon 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. Iemon unwilling to recognize past services, Cho[u]bei was sure to find it useful. Truly Iemon was young and impatient, and Cho[u]bei was double his age. With bitterness the survivor recognized this primal fact.

Iemon'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. Iemon 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. Iemon knew the quickness of response. He almost screamed his appeal for further respite. The Law had triumphed. As Iemon 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. Yoemon and Rokuro[u]bei glared hate at Iemon 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 Yoemon 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 Yoemon, 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 Yoemon. 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'Nabe (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 Iemon 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 Iemon'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 Iemon 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 Iemon 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 Iemon. 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. Iemon 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 Matazaemon, 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 Samegabashi 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] fete 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. Kobe? 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 Inosuke, 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."

IEMON SUMIKA NO DAN

(Scene in the house of Iemon)

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 Iemon Dono the honoured dismissal was requested, that I should become a bride. Without fortune is that Inosuke, 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 Iemon'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 Iemon, she would be the chaste wife. But the affections of Iemon 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—'Iemon 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 Koume. 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 Iemon could go no further. The proof spoken of is here. This letter—the sealed envelope: it fell from the sleeve of Iemon. 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 Koume 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 Iemon 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 Iemon, 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 Kosuke. 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, Kosuke had returned and was at the entrance.

Kosuke—"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:

Kosuke—"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:

Kosuke—"Yo! Yo! Yo! Yo! This face of the Okusama: Ma! What can be the matter?"

He staggered in bewilderment.

Kosuke—"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.

Kosuke—"Okusama! Your ladyship!"

Gently he stroked her back. Thus nursed, the breath of the heartbroken O'Iwa faintly returned.

O'Iwa—"Hei! Has Kosuke 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 Iemon 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 Naosuke no Gombei, to make illicit courtship. Various were his pleas. Thus—Iemon Dono was deeply in love with the daughter of Okumura. The worship (kami-mairi) was all a lie. He was contracted to Koume. 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 Kosuke put his arms around and stopped her.

Kosuke—"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 Koume, by parent and child. She would fetch away with her Iemon 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 Kosuke 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—"Are! Are! Are! 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 Iemon 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. Kosuke, 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 Iemon. 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." Kosuke remained where he was, uneasily twisting. O'Iwa clasped tight the breast of her husband's coat. "Heigh! Iemon Dono."

O'Iwa—"Complete has been the silence toward me. Every night, every night, polluted. With Koume have pillows been exchanged." Speech and voice vibrated with jealousy. She glared at him. Without showing alarm:

Iemon—"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 Koume, 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."

Iemon—"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 Kosuke with tears held tight his knees.

Kosuke—"Heigh! Danna Sama. Iya! I say, Iemon Dono! This Kosuke 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."

Kosuke—"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."

Iemon refused to listen:

Iemon—"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 Koume 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:

Iemon—"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 Kosuke 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 Kosuke. The wound was fatal. Seven revolutions and a fall: alas! he was dying. Close under his feet the blow of Iemon 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—Koume, 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:

Iemon—"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 Kosuke, drawing painful breath:

Kosuke—"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."

Iemon—"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! Inosuke! Inosuke! 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 Kosuke 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."

Iemon—"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! Iemon 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 sake cups with Koume 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.

Iemon—"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 Dansuke comes." He bent and peeped through the entrance. "Dansuke! Dansuke!" Dansuke 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 Kosuke) were carried into the inner room. For some time Naosuke 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 Iemon. 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 (Iemon) 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. Are! Marvellous! Suddenly the house creaked and trembled. From somewhere came swarms of rats. Heigh! Incomprehensible! Iemon 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 role 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:

ONOE 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 Naosuke Gombei. Iemon 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, Iemon ill in the dark room at Hebiyama; 4th scene, the yashiki of Naosuke 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. Iemon 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. Iemon receives them as would a stone Jizo[u]. O'Iwa, at sight of the fright of Iemon, 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, Iemon 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 Kuramaedo[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. Habitue 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 sake. 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 Komegata, 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'Bake?"

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 semeba—(punishment room) and treated her most cruelly. No one called the place 'the Yamashiroya.' It was known as the Onimise (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 Wakatake. 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 role 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 nukamisozuke. 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]metsuke (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). Nukamisozuke is a way station in its production by pickling in salt and bran. Nukamisozuke 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 Yoshitsune, hero of the Gempei wars, served arduously for a glimpse of it. Cf.: Life of Benkei, vol. i, pp. 311 reg. Densuke 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 (Hakone, 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 momme = 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 Date 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 Date 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 oide: 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 Samegabashi. 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 Hatsuemon. 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]sokabe 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.

THE END