"The saint Yakushi Niurai of the Cuttlefish, whose image thou carriest, desires to have his place in this village, and he will heal this plague. Thou shalt, therefore, raise a temple to him here that not only this small-pox, but other diseases for future generations, may be cured by his power."
Hearing this, the priest shed tears of gratitude, and having chosen a piece of fine wood, carved a large figure of his patron saint of the cuttlefish, and placed the smaller image inside of the larger, and laid it up in this temple, to which people still flock that they may be healed of their diseases.
Such is the story of the miracle, translated from a small ill-printed pamphlet sold by the priests of the temple, all the decorations of which, even to a bronze lantern in the middle of the yard, are in the form of a cuttlefish, the sacred emblem of the place.
What pleasanter lounge in which to while away a hot day could a man wish for than the shade of the trees borne by the hill on which stands the Temple of Fudô Sama? Two jets of pure water springing from the rock are voided by spouts carved in the shape of dragons into a stone basin enclosed by rails, within which it is written that "no woman may enter." If you are in luck, you may cool yourself by watching some devotee, naked save his loin-cloth, performing the ceremony called Suigiyô; that is to say, praying under the waterfall that his soul may be purified through his body. In winter it requires no small pluck to go through this penance, yet I have seen a penitent submit to it for more than a quarter of an hour on a bitterly cold day in January. In summer, on the other hand, the religious exercise called Hiyakudo, or "the hundred times," which may also be seen here to advantage, is no small trial of patience. It consists in walking backwards and forwards a hundred times between two points within the sacred precincts, repeating a prayer each time. The count is kept either upon the fingers or by depositing a length of twisted straw each time that the goal is reached; at this temple the place allotted for the ceremony is between a grotesque bronze figure of Tengu Sama ("the Dog of Heaven"), the terror of children, a most hideous monster with a gigantic nose, which it is beneficial to rub with a finger afterwards to be applied to one's own nose, and a large brown box inscribed with the characters Hiyaku Do in high relief, which may generally be seen full of straw tallies. It is no sinecure to be a good Buddhist, for the gods are not lightly to be propitiated. Prayer and fasting, mortification of the flesh, abstinence from wine, from women, and from favourite dishes, are the only passports to rising in office, prosperity in trade, recovery from sickness, or a happy marriage with a beloved maiden. Nor will mere faith without works be efficient. A votive tablet of proportionate value to the favour prayed for, or a sum of money for the repairs of the shrine or temple, is necessary to win the favour of the gods. Poorer persons will cut off the queue of their hair and offer that up; and at Horinouchi, a temple in great renown some eight or nine miles from Yedo, there is a rope about two inches and a half in diameter and about six fathoms long, entirely made of human hair so given to the gods; it lies coiled up, dirty, moth-eaten, and uncared for, at one end of a long shed full of tablets and pictures, by the side of a rude native fire-engine. The taking of life being displeasing to Buddha, outside many of the temples old women and children earn a livelihood by selling sparrows, small eels, carp, and tortoises, which the worshipper sets free in honour of the deity, within whose territory cocks and hens and doves, tame and unharmed, perch on every jutty, frieze, buttress, and coigne of vantage.
But of all the marvellous customs that I wot of in connection with Japanese religious exercises, none appears to me so strange as that of spitting at the images of the gods, more especially at the statues of the Ni-ô, the two huge red or red and green statues which, like Gog and Magog, emblems of strength, stand as guardians of the chief Buddhist temples. The figures are protected by a network of iron wire, through which the votaries, praying the while, spit pieces of paper, which they had chewed up into a pulp. If the pellet sticks to the statue, the omen is favourable; if it falls, the prayer is not accepted. The inside of the great bell at the Tycoon's burial-ground, and almost every holy statue throughout the country, are all covered with these outspittings from pious mouths.11
THE TOMB OF THE SHIYOKU.
Through all this discourse about temples and tea-houses, I am coming by degrees to the goal of our pilgrimage—two old stones, mouldering away in a rank, overgrown graveyard hard by, an old old burying-ground, forgotten by all save those who love to dig out the tales of the past. The key is kept by a ghoulish old dame, almost as time-worn and mildewed as the tomb over which she watches. Obedient to our call, and looking forward to a fee ten times greater than any native would give her, she hobbles out, and, opening the gate, points out the stone bearing the inscription, the "Tomb of the Shiyoku" (fabulous birds, which, living one within the other—a mysterious duality contained in one body—are the emblem of connubial love and fidelity). By this stone stands another, graven with a longer legend, which runs as follows:—
"In the old days of Genroku, she pined for the beauty of her lover, who was as fair to look upon as the flowers; and now beneath the moss of this old tombstone all has perished of her save her name. Amid the changes of a fitful world, this tomb is decaying under the dew and rain; gradually crumbling beneath its own dust, its outline alone remains. Stranger! bestow an alms to preserve this stone; and we, sparing neither pain nor labour, will second you with all our hearts. Erecting it again, let us preserve it from decay for future generations, and let us write the following verse upon it:—'These two birds, beautiful as the cherry-blossoms, perished before their time, like flowers broken down by the wind before they have borne seed.'"
Under the first stone is the dust of Gompachi, robber and murderer, mixed with that of his true love Komurasaki, who lies buried with him. Her sorrows and constancy have hallowed the place, and pious people still come to burn incense and lay flowers before the grave. How she loved him even in death may be seen from the following old-world story.
About two hundred and thirty years ago there lived in the service of a daimio of the province of Inaba a young man, called Shirai Gompachi, who, when he was but sixteen years of age, had already won a name for his personal beauty and valour, and for his skill in the use of arms. Now it happened that one day a dog belonging to him fought with another dog belonging to a fellow-clansman, and the two masters, being both passionate youths, disputing as to whose dog had had the best of the fight, quarrelled and came to blows, and Gompachi slew his adversary; and in consequence of this he was obliged to flee from his country, and make his escape to Yedo.
And so Gompachi set out on his travels.
One night, weary and footsore, he entered what appeared to him to be a roadside inn, ordered some refreshment, and went to bed, little thinking of the danger that menaced him: for as luck would have it, this inn turned out to be the trysting-place of a gang of robbers, into whose clutches he had thus unwittingly fallen. To be sure, Gompachi's purse was but scantily furnished, but his sword and dirk were worth some three hundred ounces of silver, and upon these the robbers (of whom there were ten) had cast envious eyes, and had determined to kill the owner for their sake; but he, all unsuspicious, slept on in fancied security.