truthfully: 'No.' 'Are you a Buddhist?' 'Not exactly.' 'Why do you make offerings if you do not believe in Buddha?' 'I revere the beauty of his teaching, and the faith of those who follow it.' 'Are there Buddhists in England and America?' 'There are, at least, a great many interested in Buddhist philosophy.'
And he takes from an alcove a little book, and gives it to me to examine. It is an English copy of Olcott's Buddhist Catechism.
'Why is there no image of Buddha in your temple?' I ask. 'There is a small one in the shrine upon the altar,' the student answers; 'but the shrine is closed. And we have several large ones. But the image of Buddha is not exposed here every day—only upon festal days. And some images are exposed only once or twice a year.
From my place, I can see, between the open paper screens, men and women ascending the steps, to kneel and pray before the entrance of the temple. They kneel with such naive reverence, so gracefully and so naturally, that the kneeling of our Occidental devotees seems a clumsy stumbling by comparison. Some only join their hands; others clap them three times loudly and slowly; then they bow their heads, pray silently for a moment, and rise and depart. The shortness of the prayers impresses me as something novel and interesting. From time to time I hear the clink and rattle of brazen coin cast into the great wooden money-box at the entrance.
I turn to the young student, and ask him: 'Why do they clap their hands three times before they pray?'
He answers: 'Three times for the Sansai, the Three Powers: Heaven,
Earth, Man.'
'But do they clap their hands to call the Gods, as Japanese clap their hands to summon their attendants?'
'Oh, no!' he replied. 'The clapping of hands represents only the awakening from the Dream of the Long Night.' [1]
'What night? what dream?'
He hesitates some moments before making answer: 'The Buddha said: All beings are only dreaming in this fleeting world of unhappiness.'
'Then the clapping of hands signifies that in prayer the soul awakens from such dreaming?'
'Yes.'
'You understand what I mean by the word "soul"?'
'Oh, yes! Buddhists believe the soul always was—always will be.'
'Even in Nirvana?'
'Yes.'
While we are thus chatting the Chief Priest of the temple enters—a very aged man-accompanied by two young priests, and I am presented to them; and the three bow very low, showing me the glossy crowns of their smoothly-shaven heads, before seating themselves in the fashion of gods upon the floor. I observe they do not smile; these are the first Japanese I have seen who do not smile: their faces are impassive as the faces of images. But their long eyes observe me very closely, while the student interprets their questions, and while I attempt to tell them something about the translations of the Sutras in our Sacred Books of the East, and about the labours of Beal and Burnouf and Feer and Davids and Kern, and others. They listen without change of countenance, and utter no word in response to the young student's translation of my remarks. Tea, however, is brought in and set before me in a tiny cup, placed in a little brazen saucer, shaped like a lotus-leaf; and I am invited to partake of some little sugar-cakes (kwashi), stamped with a figure which I recognise as the Swastika, the ancient Indian symbol of the Wheel of the Law.
As I rise to go, all rise with me; and at the steps the student asks for my name and address. 'For,' he adds, 'you will not see me here again, as I am going to leave the temple. But I will visit you.'
'And your name?' I ask.
'Call me Akira,' he answers.
At the threshold I bow my good-bye; and they all bow very, very low, one blue-black head, three glossy heads like balls of ivory. And as I go, only Akira smiles.
Sec. 8
'Tera?' queries Cha, with his immense white hat in his hand, as I resume my seat in the jinricksha at the foot of the steps. Which no doubt means, do I want to see any more temples? Most certainly I do: I have not yet seen Buddha.
'Yes, tera, Cha.'
And again begins the long panorama of mysterious shops and tilted eaves, and fantastic riddles written over everything. I have no idea in what direction Cha is running. I only know that the streets seem to become always narrower as we go, and that some of the houses look like great wickerwork pigeon-cages only, and that we pass over several bridges before we halt again at the foot of another hill. There is a lofty flight of steps here also, and before them a structure which I know is both a gate and a symbol, imposing, yet in no manner resembling the great Buddhist gateway seen before. Astonishingly simple all the lines of it are: it has no carving, no colouring, no lettering upon it; yet it has a weird solemnity, an enigmatic beauty. It is a torii.
'Miya,' observes Cha. Not a tera this time, but a shrine of the gods of the more ancient faith of the land—a miya.
I am standing before a Shinto symbol; I see for the first time, out of a picture at least, a torii. How describe a torii to those who have never looked at one even in a photograph or engraving? Two lofty columns, like gate-pillars, supporting horizontally two cross-beams, the lower and lighter beam having its ends fitted into the columns a little distance below their summits; the uppermost and larger beam supported upon the tops of the columns, and projecting well beyond them to right and left. That is a torii: the construction varying little in design, whether made of stone, wood, or metal. But this description can give no correct idea of the appearance of a torii, of its majestic aspect, of its mystical suggestiveness as a gateway. The first time you see a noble one, you will imagine, perhaps, that you see the colossal model of some beautiful Chinese letter towering against the sky; for all the lines of the thing have the grace of an animated ideograph—have the bold angles and curves of characters made with four sweeps of a master-brush. [2]
Passing the torii I ascend a flight of perhaps one hundred stone steps, and find at their summit a second torii, from whose lower cross-beam hangs festooned the mystic shimenawa. It is in this case a hempen rope of perhaps two inches in diameter through its greater length, but tapering off at either end like a snake. Sometimes the shimenawa is made of bronze, when the torii itself is of bronze; but according to tradition it should be made of straw, and most commonly is. For it represents the straw rope which the deity Futo-tama-no-mikoto stretched behind the Sun-goddess, Ama-terasu-oho-mi-Kami, after Ame-no-ta-jikara-wo-no-Kami, the Heavenly-hand-strength-god, had pulled her out, as is told in that ancient myth of Shinto which Professor Chamberlain has translated. [3] And the shimenawa, in its commoner and simpler form, has pendent tufts of straw along its entire length, at regular intervals, because originally made, tradition declares, of grass pulled up by the roots which protruded from the twist of it.
Advancing beyond this torii, I find myself in a sort of park or pleasure-ground on the summit of the hill. There is a small temple on the right; it is all closed up; and I have read so much about the disappointing vacuity of Shinto temples that I do not regret the absence of its guardian. And I see before me what is infinitely more interesting—a grove of cherry-trees covered with something unutterably beautiful—a dazzling mist of snowy blossoms clinging like summer cloud-fleece about every branch and twig; and the ground beneath them, and the path before me, is white with the soft, thick, odorous snow of fallen petals.
Beyond this loveliness are flower-plots surrounding tiny shrines; and marvellous grotto-work, full of monsters—dragons and mythologic beings chiselled in the rock; and miniature
