another writer, famed greatly for his skill, named Onomo Toku, who laughed at some characters on the tablet of the Gate Shukaku-mon, written by Kobodaishi; and he said, pointing to the character Shu: 'Verily shu looks like the character "rice".' And that night he dreamed that the character he had mocked at became a man; and that the man fell upon him and beat him, and jumped up and down upon his face many times—even as a kometsuki, a rice-cleaner, leaps up and down to move the hammers that beat the rice—saying the while: 'Lo! I am the messenger of Kobodaishi!' And, waking, he found himself bruised and bleeding as one that had been grievously trampled.
And long after Kobodaishi's death it was found that the names written by him on the two gates of the Emperor's palace Bi-fuku-mon, the Gate of Beautiful Fortune; and Ko-ka-mon, the Gate of Excellent Greatness—were well-nigh effaced by time. And the Emperor ordered a Dainagon [1], whose name was Yukinari, to restore the tablets. But Yukinari was afraid to perform the command of the Emperor, by reason of what had befallen other men; and, fearing the divine anger of Kobodaishi, he made offerings, and prayed for some token of permission. And the same night, in a dream, Kobodaishi appeared to him, smiling gently, and said: 'Do the work even as the Emperor desires, and have no fear.' So he restored the tablets in the first month of the fourth year of Kwanko, as is recorded in the book, Hon-cho-bun-sui.
And all these things have been related to me by my friend Akira.
Chapter Three Jizo
Sec. 1
I HAVE passed another day in wandering among the temples, both Shinto and Buddhist. I have seen many curious things; but I have not yet seen the face of the Buddha.
Repeatedly, after long wearisome climbing of stone steps, and passing under gates full of gargoyles—heads of elephants and heads of lions—and entering shoeless into scented twilight, into enchanted gardens of golden lotus-flowers of paper, and there waiting for my eyes to become habituated to the dimness, I have looked in vain for images. Only an opulent glimmering confusion of things half-seen—vague altar-splendours created by gilded bronzes twisted into riddles, by vessels of indescribable shape, by enigmatic texts of gold, by mysterious glittering pendent things—all framing in only a shrine with doors fast closed.
What has most impressed me is the seeming joyousness of popular faith. I have seen nothing grim, austere, or self-repressive. I have not even noted anything approaching the solemn. The bright temple courts and even the temple steps are thronged with laughing children, playing curious games; and mothers, entering the sanctuary to pray, suffer their little ones to creep about the matting and crow. The people take their religion lightly and cheerfully: they drop their cash in the great alms-box, clap their hands, murmur a very brief prayer, then turn to laugh and talk and smoke their little pipes before the temple entrance. Into some shrines, I have noticed the worshippers do not enter at all; they merely stand before the doors and pray for a few seconds, and make their small offerings. Blessed are they who do not too much fear the gods which they have made!
Sec. 2
Akira is bowing and smiling at the door. He slips off his sandals, enters in his white digitated stockings, and, with another smile and bow, sinks gently into the proffered chair. Akira is an interesting boy. With his smooth beardless face and clear bronze skin and blue-black hair trimmed into a shock that shadows his forehead to the eyes, he has almost the appearance, in his long wide-sleeved robe and snowy stockings, of a young Japanese girl.
I clap my hands for tea, hotel tea, which he calls 'Chinese tea.' I offer him a cigar, which he declines; but with my permission, he will smoke his pipe. Thereupon he draws from his girdle a Japanese pipe-case and tobacco-pouch combined; pulls out of the pipe-case a little brass pipe with a bowl scarcely large enough to hold a pea; pulls out of the pouch some tobacco so finely cut that it looks like hair, stuffs a tiny pellet of this preparation in the pipe, and begins to smoke. He draws the smoke into his lungs, and blows it out again through his nostrils. Three little whiffs, at intervals of about half a minute, and the pipe, emptied, is replaced in its case.
Meanwhile I have related to Akira the story of my disappointments.
'Oh, you can see him to-day,' responds Akira, 'if you will take a walk with me to the Temple of Zotokuin. For this is the Busshoe, the festival of the Birthday of Buddha. But he is very small, only a few inches high. If you want to see a great Buddha, you must go to Kamakura. There is a Buddha in that place, sitting upon a lotus; and he is fifty feet high.'
So I go forth under the guidance of Akira. He says he may be able to show me 'some curious things.'
Sec. 3
There is a sound of happy voices from the temple, and the steps are crowded with smiling mothers and laughing children. Entering, I find women and babies pressing about a lacquered table in front of the doorway. Upon it is a little tub-shaped vessel of sweet tea—amacha; and standing in the tea is a tiny figure of Buddha, one hand pointing upward and one downward. The women, having made the customary offering, take up some of the tea with a wooden ladle of curious shape, and pour it over the statue, and then, filling the ladle a second time, drink a little, and give a sip to their babies. This is the ceremony of washing the statue of Buddha.
Near the lacquered stand on which the vessel of sweet tea rests is another and lower stand supporting a temple bell shaped like a great bowl. A priest approaches with a padded mallet in his hand and strikes the bell. But the bell does not sound properly: he starts, looks into it, and stoops to lift out of it a smiling Japanese baby. The mother, laughing, runs to relieve him of his burden; and priest, mother, and baby all look at us with a frankness of mirth in which we join.
Akira leaves me a moment to speak with one of the temple attendants, and presently returns with a curious lacquered box, about a foot in length, and four inches wide on each of its four sides. There is only a small hole in one end of it; no appearance of a lid of any sort.
'Now,' says Akira, 'if you wish to pay two sen, we shall learn our future lot according to the will of the gods.'
I pay the two sen, and Akira shakes the box. Out comes a narrow slip of bamboo, with Chinese characters written thereon.
'Kitsu!' cries Akira. 'Good-fortune. The number is fifty-and-one.'
Again he shakes the box; a second bamboo slip issues from the slit.
'Dai kitsu! great good-fortune. The number is ninety-and-nine.
Once more the box is shaken; once more the oracular bamboo protrudes.
'Kyo!' laughs Akira. 'Evil will befall us. The number is sixty-and-four.'
He returns the box to a priest, and receives three mysterious papers, numbered with numbers corresponding to the numbers of the bamboo slips. These little bamboo slips, or divining-sticks, are called mikuji.
This, as translated by Akira, is the substance of the text of the paper numbered fifty-and-one:
'He who draweth forth this mikuji, let him live according to the heavenly law and worship Kwannon. If his trouble be a sickness, it shall pass from him. If he have lost aught, it shall be found. If he have a suit at law, he shall gain. If he love a woman, he shall surely win her, though he should have to wait. And many happinesses will come to him.'
The dai-kitsu paper reads almost similarly, with the sole differences that, instead of Kwannon, the deities of wealth and prosperity—Daikoku, Bishamon, and Benten—are to be worshipped, and that the fortunate man will not have to wait at all for the woman loved. But the kyo paper reads thus:
'He
