a little horrible. What could be more naïve than the love-making of Izanagi and Izanami, who conceived the idea of marrying each other after seeing the mating of two wagtails? In this ancient myth we trace the ascendency of the male over the female, an ascendency maintained in Japan until recent times, fostered, no doubt, by Kaibara's Onna Daigaku, "The Greater Learning for Women." But in the protracted quarrel between the Sun Goddess and her brother, the Impetuous Male, the old chroniclers lay emphasis upon the villainy of Susa-no-o; and Ama-terasu, a curious mingling of the divine and the feminine, is portrayed as an ideal type of Goddess. She is revealed preparing for warfare, making fortifications by stamping upon the ground, and she is also depicted peeping out of her rock-cavern and gazing in the Sacred Mirror. Ama-terasu is the central figure in Japanese mythology, for it is from the Sun Goddess that the Mikados are descended. In the cycle of legends known as the Period of the Gods, we are introduced to the Sacred Treasures, we discover the origin of the Japanese dance, and in imagination wander through the High Plain of Heaven, set foot upon the Floating Bridge, enter the Central Land of Reed-Plains, peep into the Land of Yomi, and follow Prince Fire-Fade into the Palace of the Sea King.
Early heroes and warriors are always regarded as minor divinities, and the very nature of Shintōism, associated with ancestor worship, has enriched those of Japan with many a fascinating legend. For strength, skill, endurance, and a happy knack of overcoming all manner of difficulties by a subtle form of quick-witted enterprise, the Japanese hero must necessarily take a high position among the famous warriors of other countries. There is something eminently chivalrous about the heroes of Japan that calls for special notice. The most valiant men are those who champion the cause of the weak or redress evil and tyranny of every kind, and we trace in the Japanese hero, who is very far from being a crude swashbuckler, these most excellent qualities. He is not always above criticism, and sometimes we find in him a touch of cunning, but such a characteristic is extremely rare, and very far from being a national trait. An innate love of poetry and the beautiful has had its refining influence upon the Japanese hero, with the result that his strength is combined with gentleness.
Benkei is one of the most lovable of Japanese heroes. He possessed the strength of many men, his tact amounted to genius, his sense of humour was strongly developed, and the most loving of Japanese mothers could not have shown more gentleness when his master's wife gave birth to a child. When Yoshitsune and Benkei, at the head of the Minamoto host, had finally vanquished the Taira at the sea-fight of Dan-no-ura, their success awakened the jealousy of the Shōgun, and the two great warriors were forced to fly the country. We follow them across the sea, over mountains, outwitting again and again their numerous enemies. At Matsue a great army was sent out against these unfortunate warriors. Camp-fires stretched in a glittering line about the last resting-place of Yoshitsune and Benkei. In an apartment were Yoshitsune with his wife and little child. Death stood in the room, too, and it was better that Death should come at the order of Yoshitsune than at the command of the enemy without the gate. His child was killed by an attendant, and, holding his beloved wife's head under his left arm, he plunged his sword deep into her throat. Having accomplished these things, Yoshitsune committed hara-kiri. Benkei, however, faced the enemy. He stood with his great legs apart, his back pressed against a rock. When the dawn came he was still standing with his legs apart, a thousand arrows in that brave body of his. Benkei was dead, but his was a death too strong to fall. The sun shone on a man who was a true hero, who had ever made good his words: "Where my lord goes, to victory or to death, I shall follow him."
Japan is a mountainous country, and in such countries we expect to find a race of hardy, brave men, and certainly the Land of the Rising Sun has given us many a warrior worthy to rank with the Knights of King Arthur. More than one legend deals with the destruction of devils and goblins, and of the rescue of maidens who had the misfortune to be their captives. One hero slays a great monster that crouched upon the roof of the Emperor's palace, another despatches the Goblin of Oyeyama, another thrusts his sword through a gigantic spider, and another slays a serpent. All the Japanese heroes, whatever enterprise they may be engaged in, reveal the spirit of high adventure, and that loyalty of purpose, that cool disregard for danger and death which are still characteristic of the Japanese people to-day.
"The Bamboo-Cutter and the Moon-Maiden" (Chapter III) is adapted from a tenth-century story called Taketori Monogatari, and is the earliest example of the Japanese romance. The author is unknown, but he must have had an intimate knowledge of court life in Kyōto. All the characters in this very charming legend are Japanese, but most of the incidents have been borrowed from China, a country so rich in picturesque fairy-lore. Mr. F. V. Dickins writes concerning the Taketori Monogatari: "The art and grace of the story of the Lady Kaguya are native, its unstrained pathos, its natural sweetness, are its own, and in simple charm and purity of thought and language it has no rival in the fiction of either the Middle Kingdom or of the Dragon-fly Land."
In studying Japanese legend one is particularly struck by its universality and also by its very sharp contrasts. Most nations have deified the sun and moon, the stars and mountains, and all the greatest works of Nature; but the Japanese have described the red blossoms of azaleas as the fires of the Gods, and the white snow of Fuji as the garments of Divine Beings. Their legend, on the one hand at any rate, is essentially poetical, and those who worshipped Mount Fuji also had ghostly tales to tell about the smallest insect. Too much stress cannot be laid upon Japan's love of Nature. The early myths recorded in the Kojiki and Nihongi are of considerable interest, but they cannot be compared with the later legends that have given souls to trees and flowers and butterflies, or with those pious traditions that have revealed so tenderly and yet so forcibly the divine significance of Nature. The Festival of the Dead could only have originated among a people to whom the beautiful is the mainstay and joy of life, for that festival is nothing less than a call to the departed dead to return to their old earthly haunts in the summer-time, to cross green hills dotted with pine-trees, to wander down winding ways, by lake and seashore, to linger in old, well-loved gardens, and to pass into homes where, without being seen, they see so much. To the Japanese mind, to those who still preserve the spirit of Old Yamato, the most glowing account of a Buddhist Paradise is not so fair as Japan in the summer-time.
Perhaps it is as well that Japanese myth, legend, fairy tale, and folk-lore are not exclusively poetical, or we should be in danger of becoming satiated with too much sweetness. It may be that we admire the arches of a Gothic cathedral none the less for having gazed upon the hideous gargoyles on the outside of the sacred edifice, and in the legends of Japan we find many grotesques in sharp contrast with the traditions associated with the gentle and loving Jizō. There is plenty of crude realism in Japanese legend. We are repelled by the Thunder God's favourite repast, amazed by the magical power of foxes and cats; and the story of "Hōïchi-the-Earless" and of the corpse-eating priest afford striking examples of the combination of the weird and the horrible. In one story we laugh over the antics of a performing kettle, and in another we are almost moved to tears when we read about a little Japanese quilt that murmured: "Elder Brother probably is cold? Nay, thou probably art cold?"
We have had numerous volumes of Japanese fairy tales, but hitherto no book has appeared giving a comprehensive study of the myths and legends of a country so rich in quaint and beautiful traditions, and it is hoped that the present volume, the result of much pleasant labour, will be a real contribution to the subject. I have made no attempt to make a complete collection of Japanese myths and legends because their number is legion; but I have endeavoured to make a judicious selection that shall at any rate be representative, and many of the stories contained in this volume will be new to the general reader.
Lafcadio Hearn wrote in one of his letters: "The fairy world seized my soul again, very softly and sweetly—as a child might a butterfly," and if we too would adopt a similar spirit, we shall journey to the Land of the Gods, where the great Kōbō Daishi will write upon the sky and running water, upon our very hearts, something of the glamour and magic of Old Japan. With Kōbō Daishi for guide we shall witness the coming of Mount Fuji, wander in the Palace of the Sea King and in the Land of Perpetual Youth, watch the combats of mighty heroes, listen to the wisdom of saints, cross the Celestial River on a bridge of birds, and when we are weary nestle
