DOCSLIB.ORG

The Way of the Gods in Japan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Way of the Gods in Japan KAMI- NO - M IC H I TH E WAY O F THE GO DS IN jA PAN H O P E H UN T LY LO N D O N R E B M A N LI M I T E D SH A FT ESBURY A EN E w c U . V , . 1 9 1 0 [A H RQML&W W M] KAM I- NO - M IC H I TH E WAY O F T H E GO DS IN JA PA N H O P E H U N T LY LO N D O N R E B M A N LI M I T E D SH A FT ESBU RY A VEN U E w c , . 1 9 1 0 [A 11 Rights Reserv ed ] D E D I C A T E D T O ALLASP IRING SOULS E R RAT A . Pa 2 1 l e 1 f a e n o r En l sh ead Pers i n e . g 4 , i , g i poet r po t “ ” “ Pa e 6 lin f m b m for H am - K i read H a - K i g 7 , e 9 ro otto , ir ri ir Pa e 2 l ne 8 f m to d o d g 7 4 , i ro p , itt itto Pa e 2 l nes — f m to d d g 7 7 , i 4 5 ro p , itto itto Pa e 2 8 l n f m bo m d o d o g 7 , i e 5 ro tto , itt itt Pa e 2 8 6 l ne 6 f m b m d t d g , i ro otto , it o itto P UBLISH ER’S P REFAC E THE desire of the author is to guide her readers - faithfully along this time honoured , half ” obliterated Way of the Gods , clearing the path with reverent , not iconoclastic hands , because recognising it as the Way by which the J apanese were divinely led to their present Th e is mental altitude . path traced in threefold — a . aspect Ethical , Philosophic l , and Romantic The story trends towards a sensational crisis in order to emphasise life- portraits known to the author While resident in the country . To do this more effectually she presents the characters in the setting of their own harmoni ous she has environment , every scene of which personally explored . C O N T EN T S C H A P . T I N P N I . HE WAY OF LOVERS J A A T D II . HE WAY OF LOVERS IN ENGLAN III . HER FIRST J APANESE CONVE RT IV . A MEMBER OF THE HOUSE OF REPRESENTA TIVES ENTERTAINS “ E D T F H E M D N L . TH A GH ER O T D YO E Y V U AI , IVI FAIR ” N E v1 . B Y TH E SIDE O F A S OTO B A I TH HAKABA “ ! I I TH E O F TH E V . PARTING WAY I N TH E P TZ R VIII . J A ANESE SWI E LAND TH E O F Ix . COST AMBITION TH E M O F TH x . QUAL S OR ODOXY I OF TH E YUZURI - H A ! . A VENERABLE LEAF 1 1 TH E O F Tw o x . WHEEL IGWA CRUSHES HEARTS XIII . WHERE AMIDA DAIBUTSU REIGNS SERENE C R XIV . THE CLASH OF EEDS x CONTENTS C H A P . P A GE “ O XV . THE H A TA MOT SAMURAI FACES THE MUSI C TH M XVI . E WIFE OF KOJ I A SAN ARRANGES AN EXHIBIT OF BON - SEKI T T N D XVII . THE REVEREND ERNES HOMPSO BEN S THE KNEE TO BAAL I 4 I T T G OF XVIII . IN HE DEPTHS OF HE FOR E VULCAN 1 54 H ATA M O TO XIX . THE SAMURAI RECEIVE THEIR INVISIBLE GUESTS A BRAVE SEND OFF TO A PASSING SOUL . Z R SETS F RTH N A L NELY LGR MAGE XXI U I O O O PI I , AN D ENCOUNTERS A DYNAMIC FORCE UN KNOWN TO O UR THEOLOGY A GL M S ’NEA H THE E L F HE HR E XXII . I P E T V I O T T IC H L EST SUN - G DDESS AMA -TERA SU O I O , THE AT- NE - MENT F THE MANY N THE XXIII . O O I HEART OF THE WHOLE THE MYST RD F THE G DS FU LF LS H S XXIV . IC BI O O I I MISSION THE ENERA LE SAM RA C LEANSES THE XXV . V B U I HONO U R OF HIS HOUSE HE I NTER ENT N F THE NEW W RLD N XXVI . T V IO O O I THE PERSON OF EXC ELSIOR LIST O F ILLU ST RATIONS O F cin IKA a g p . 7 1 RENEGADE ! A 8 1 AMIDA DAIBUTSU BEFORE TH E SHRINE Z URI SETS FO RTH I AN IMPERIAL WELCOME FUJ I AT REST ASAMA I N AC TION ASAMA -YAMA APPROACHING TH E SUMMIT ! TH E BRINK OF TH E CRATER O WA KI DA ME TH E ALLEY OF TH E GREAT , V BOILING KA MI- NO - MIC HI TH E WA Y O F T H E GODS IN JA P A N C H A P TE R I THE WAY OF LOVERS IN JAPAN - FAR away in sunny Japan , out distancing the - beaten track of globe trotters , flourishes an isolated grove of camphor trees . SO They are magnificent specimens , closely S grown that the smooth trunks , towering kyward , f interlace the higher branches , a fording mosaic glimpses of persistent blue . Here may be discovered , though totally a o ' eclipsed from view , primitive Shint shrine NO one would surmise the fact of the hidden temple , for even the Torii , or open gateway , ‘ 2 THE WAY DE THE GODS IN JAPAN that leads to it , is completely enveloped with foliage . On the outskirts , the feathery branches of some bamboo trees , fan the bronze water S of a heltered pool , and here , on stated festivals , a few weary pilgrims may be found , Cleansing the of soil travel from lips and hands , before venturing to penetrate the sacred precincts . The sunny afternoon had been preluded by a days of persistent rain , rain that c me down like can wire , as Japanese rain consequently the odour of the camphor trees rose through the air , an ascending stream of incense that ceased not night and day . The only Sign of human life that emerged occasionally fromwithin the grove was - the form of a white robed priest . - in Carryn the food offering , he would cross the tervening glade to place it reverently Within the Shins en jo , a compartment set aside for that purpose . In the foreground the figures of a young man dr and maiden were prominent . They were essed - kim ono in the time honoured costume called , and had finished lavm g their mouths and hands in the Clear water of the pool . THE WAY OF LOVERS IN JAPAN 3 The sunshine illumined two happy faces , the faces of those who were recently betrothed . t The girl was beau iful physically , with the beauty which is accentuated by harmony of voice and expression . I always knew this day would come , She said , in the resonant tones of her native tongue . As she spoke She dashed some sparkling drops of water from her hair , replacing the kerchief , with which she dried her supple fingers , in the S leeve of her kimono , which also served the purposes of a pocket . There was a ring of unalloyed happiness in l the laugh that fol owed her action . Her eyes , - u tantalisingly secreted , were pent p j ewels , that glittered with j oy , while her dainty lips parted expectantly , like the petals of a crimson Lotus no bud . She roused echo of merriment in response . Her companion gazed on her complacently with eyes full of assured love , but his demeanour was more serious than seemed warranted by the happy occasion . know ? How could you always , Zuri 4 THE WAY OF THE GODS IN JAPAN was u he questioned , and his voice un sually subdued . How did I always know ? she repeated chidingly . You have surely not forgotten our Childish vow that we made SO solemnly to the Roku Jizo The Roku were Six baby images of the God izO u J , to whose g ardianship the souls of dead Children are consigned . Do you not remember , she went on , how we implored JizO to protect the soul of my little Sister , and Shelter it in his Sleeve , vowing , if he did so , we would wed when we were grown , and serve him the rest of our lives Ah I see now the little bag full of pebbles that we hung round his neck , and then how hard we toiled to build up SO the pyramids of penance , that the soul of my Sister Asaka Should have less to do in the Sai - no 1 Hawara . Did we not know that every pebble given to Jiz O with a prayer from the heart is a blessing to an infant soul IS it possible you P have forgotten all this , Ito 1 Th rt on f H des h er h e h ldren at p o i o a w e t C i go . THE WAY OF LOVERS IN JAPAN 5 Ito smiled , and there were symptoms of patronising forbearance in his expression .
Load more

Recommended publications
  • Outline Lecture Sixteen—Early Japanese Mythology and Shinto Ethics
    Outline Lecture Sixteen—Early Japanese Mythology and Shinto Ethics General Chronology: Jomon: 11th to 3rd century B.C.E. Yayoi: 3rd B.C.E. to 3rd C.E. Tomb: 3rd to 6th C.E. Yamato: 6th to 7th C.E. I) Prehistoric Origins a) Early Japanese history shrouded in obscurity i) No writing system until 6th century C.E. at best ii) No remains of cities or other large scale settlements iii) Only small-scale archeological evidence b) Jomon (Roughly 11th to 3rd century B.C.E.) i) Name refers to the “rope-pattern” pottery ii) Hunter-gathering settlements c) Yayoi (3rd B.C.E. to 3rd C.E.) i) Named after marshy plains near modern day Tokyo (1) Foreign elements trickle in, then blend with indigenous elements ii) Increasing signs of specialization and social stratification d) Tomb or Kofun Period (3rd to 7th) i) Two strains in Japanese religious cosmology (1) Horizontal cosmology—“over the sea motif” (2) Vertical cosmology—earth and heaven ii) Emergence of a powerful mounted warrior class (1) Uji and Be e) Yamato State (6th to 8th C.E.) i) Loose confederation of the dominant aristocratic clans II) Constructions of Mythology and Religion a) Function of Mythologized history i) Political legitimacy required having a “history” ii) Kojiki (Record of Ancient Matters 712) and Nihongi (Chronicles of Japan 720) b) Yamato Clan’s Kami—Amaterasu i) Symbiosis between mythological and political authority ii) Myth of Yamato lineage (1) Symbolism of Izanagi and Izanami (2) Contest between Amaterasu and Susano-o (a) Transgressions of Susano-o (3) Mythical contest reflects
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Producing Place, Tradition and the Gods: Mt. Togakushi, Thirteenth through Mid-Nineteenth Centuries Permalink https://escholarship.org/uc/item/90w6w5wz Author Carter, Caleb Swift Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Producing Place, Tradition and the Gods: Mt. Togakushi, Thirteenth through Mid-Nineteenth Centuries A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Asian Languages and Cultures by Caleb Swift Carter 2014 ABSTRACT OF THE DISSERTATION Producing Place, Tradition and the Gods: Mt. Togakushi, Thirteenth through Mid-Nineteenth Centuries by Caleb Swift Carter Doctor of Philosophy in Asian Languages and Cultures University of California, Los Angeles, 2014 Professor William M. Bodiford, Chair This dissertation considers two intersecting aspects of premodern Japanese religions: the development of mountain-based religious systems and the formation of numinous sites. The first aspect focuses in particular on the historical emergence of a mountain religious school in Japan known as Shugendō. While previous scholarship often categorizes Shugendō as a form of folk religion, this designation tends to situate the school in overly broad terms that neglect its historical and regional stages of formation. In contrast, this project examines Shugendō through the investigation of a single site. Through a close reading of textual, epigraphical, and visual sources from Mt. Togakushi (in present-day Nagano Ken), I trace the development of Shugendō and other religious trends from roughly the thirteenth through mid-nineteenth centuries. This study further differs from previous research insofar as it analyzes Shugendō as a concrete system of practices, doctrines, members, institutions, and identities.
    [Show full text]
  • Through the Case of Izumo Taishakyo Mission of Hawaii
    The Japanese and Okinawan American Communities and Shintoism in Hawaii: Through the Case of Izumo Taishakyo Mission of Hawaii A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʽI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN AMERICAN STUDIES MAY 2012 By Sawako Kinjo Thesis Committee: Dennis M. Ogawa, Chairperson Katsunori Yamazato Akemi Kikumura Yano Keywords: Japanese American Community, Shintoism in Hawaii, Izumo Taishayo Mission of Hawaii To My Parents, Sonoe and Yoshihiro Kinjo, and My Family in Okinawa and in Hawaii Acknowledgement First and foremost, I would like to express my deep and sincere gratitude to my committee chair, Professor Dennis M. Ogawa, whose guidance, patience, motivation, enthusiasm, and immense knowledge have provided a good basis for the present thesis. I also attribute the completion of my master’s thesis to his encouragement and understanding and without his thoughtful support, this thesis would not have been accomplished or written. I also wish to express my warm and cordial thanks to my committee members, Professor Katsunori Yamazato, an affiliate faculty from the University of the Ryukyus, and Dr. Akemi Kikumura Yano, an affiliate faculty and President and Chief Executive Officer (CEO) of the Japanese American National Museum, for their encouragement, helpful reference, and insightful comments and questions. My sincere thanks also goes to the interviewees, Richard T. Miyao, Robert Nakasone, Vince A. Morikawa, Daniel Chinen, Joseph Peters, and Jikai Yamazato, for kindly offering me opportunities to interview with them. It is a pleasure to thank those who made this thesis possible.
    [Show full text]
  • Noh Theater and Religion in Medieval Japan
    Copyright 2016 Dunja Jelesijevic RITUALS OF THE ENCHANTED WORLD: NOH THEATER AND RELIGION IN MEDIEVAL JAPAN BY DUNJA JELESIJEVIC DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in East Asian Languages and Cultures in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Elizabeth Oyler, Chair Associate Professor Brian Ruppert, Director of Research Associate Professor Alexander Mayer Professor Emeritus Ronald Toby Abstract This study explores of the religious underpinnings of medieval Noh theater and its operating as a form of ritual. As a multifaceted performance art and genre of literature, Noh is understood as having rich and diverse religious influences, but is often studied as a predominantly artistic and literary form that moved away from its religious/ritual origin. This study aims to recapture some of the Noh’s religious aura and reclaim its religious efficacy, by exploring the ways in which the art and performance of Noh contributed to broader religious contexts of medieval Japan. Chapter One, the Introduction, provides the background necessary to establish the context for analyzing a selection of Noh plays which serve as case studies of Noh’s religious and ritual functioning. Historical and cultural context of Noh for this study is set up as a medieval Japanese world view, which is an enchanted world with blurred boundaries between the visible and invisible world, human and non-human, sentient and non-sentient, enlightened and conditioned. The introduction traces the religious and ritual origins of Noh theater, and establishes the characteristics of the genre that make it possible for Noh to be offered up as an alternative to the mainstream ritual, and proposes an analysis of this ritual through dynamic and evolving schemes of ritualization and mythmaking, rather than ritual as a superimposed structure.
    [Show full text]
  • Supernatural Elements in No Drama Setsuico
    SUPERNATURAL ELEMENTS IN NO DRAMA \ SETSUICO ITO ProQuest Number: 10731611 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731611 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 Supernatural Elements in No Drama Abstract One of the most neglected areas of research in the field of NS drama is its use of supernatural elements, in particular the calling up of the spirit or ghost of a dead person which is found in a large number (more than half) of the No plays at present performed* In these 'spirit plays', the summoning of the spirit is typically done by a travelling priest (the waki)* He meets a local person (the mae-shite) who tells him the story for which the place is famous and then reappears in the second half of the.play.as the main person in the story( the nochi-shite ), now long since dead. This thesis sets out to show something of the circumstances from which this unique form of drama v/as developed.
    [Show full text]
  • The Story of IZUMO KAGURA What Is Kagura? Distinguishing Features of Izumo Kagura
    The Story of IZUMO KAGURA What is Kagura? Distinguishing Features of Izumo Kagura This ritual dance is performed to purify the kagura site, with the performer carrying a Since ancient times, people in Japan have believed torimono (prop) while remaining unmasked. Various props are carried while the dance is that gods inhabit everything in nature such as rocks and History of Izumo Kagura Shichiza performed without wearing any masks. The name shichiza is said to derive from the seven trees. Human beings embodied spirits that resonated The Shimane Prefecture is a region which boasts performance steps that comprise it, but these steps vary by region. and sympathized with nature, thus treasured its a flourishing, nationally renowned kagura scene, aesthetic beauty. with over 200 kagura groups currently active in the The word kagura is believed to refer to festive prefecture. Within Shimane Prefecture, the regions of rituals carried out at kamikura (the seats of gods), Izumo, Iwami, and Oki have their own unique style of and its meaning suggests a “place for calling out and kagura. calming of the gods.” The theory posits that the word Kagura of the Izumo region, known as Izumo kamikuragoto (activity for the seats of gods) was Kagura, is best characterized by three parts: shichiza, shortened to kankura, which subsequently became shikisanba, and shinno. kagura. Shihoken Salt—signifying cleanliness—is used In the first stage, four dancers hold bells and hei (staffs with Shiokiyome paper streamers), followed by swords in the second stage of Sada Shinno (a UNESCO Intangible Cultural (Salt Purification) to purify the site and the attendees.
    [Show full text]
  • University of Nevada, Reno American Shinto Community of Practice
    University of Nevada, Reno American Shinto Community of Practice: Community formation outside original context A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology By Craig E. Rodrigue Jr. Dr. Erin E. Stiles/Thesis Advisor May, 2017 THE GRADUATE SCHOOL We recommend that the thesis prepared under our supervision by CRAIG E. RODRIGUE JR. Entitled American Shinto Community Of Practice: Community Formation Outside Original Context be accepted in partial fulfillment of the requirements for the degree of MASTER OF ARTS Erin E. Stiles, Advisor Jenanne K. Ferguson, Committee Member Meredith Oda, Graduate School Representative David W. Zeh, Ph.D., Dean, Graduate School May, 2017 i Abstract Shinto is a native Japanese religion with a history that goes back thousands of years. Because of its close ties to Japanese culture, and Shinto’s strong emphasis on place in its practice, it does not seem to be the kind of religion that would migrate to other areas of the world and convert new practitioners. However, not only are there examples of Shinto being practiced outside of Japan, the people doing the practice are not always of Japanese heritage. The Tsubaki Grand Shrine of America is one of the only fully functional Shinto shrines in the United States and is run by the first non-Japanese Shinto priest. This thesis looks at the community of practice that surrounds this American shrine and examines how membership is negotiated through action. There are three main practices that form the larger community: language use, rituals, and Aikido. Through participation in these activities members engage with an American Shinto community of practice.
    [Show full text]
  • The Myth of the Goddess of the Undersea World and the Tale of Empress Jingu’S Subjugation of Silla
    Japanese Journal of Religious Studies 1993 20/2-3 The Myth of the Goddess of the Undersea World and the Tale of Empress Jingu’s Subjugation of Silla Akima Toshio In prewar Japan, the mythical tale of Empress Jingii’s 神功皇后 conquest of the Korean kingdoms comprised an important part of elementary school history education, and was utilized to justify Japan5s coloniza­ tion of Korea. After the war the same story came to be interpreted by some Japanese historians—most prominently Egami Namio— as proof or the exact opposite, namely, as evidence of a conquest of Japan by a people of nomadic origin who came from Korea. This theory, known as the horse-rider theory, has found more than a few enthusiastic sup­ porters amone Korean historians and the Japanese reading public, as well as some Western scholars. There are also several Japanese spe­ cialists in Japanese history and Japan-Korea relations who have been influenced by the theory, although most have not accepted the idea (Egami himself started as a specialist in the history of northeast Asia).1 * The first draft of this essay was written during my fellowship with the International Research Center for Japanese Studies, and was read in a seminar organized by the institu­ tion on 31 January 199丄. 1 am indebted to all researchers at the center who participated in the seminar for their many valuable suggestions. I would also like to express my gratitude to Umehara Takeshi, the director general of the center, and Nakanism Susumu, also of the center, who made my research there possible.
    [Show full text]
  • Momotaro (The Peach Boy) and the Spirit of Japan: Concerning the Function of a Fairy Tale in Japanese Nationalism of the Early Showa Age*
    Klaus Antoni Universitdt Hamburg Momotaro (The Peach Boy) and the Spirit of Japan: Concerning the Function of a Fairy Tale in Japanese Nationalism of the Early Showa Age* Abstract This article is concerned with a famous Japanese fairy tale, Momotaro, which was used during the war years in school readers as a primary part of nationalistic pro­ paganda. The tale and its central motif are analyzed and traced back through history to its earliest forms. Heroes from legend and history offered perfect identification patterns and images for the propagation of state ideals that were spread through education, the military, and war propaganda. Momotaro subtly- transmitted to young school pupils that which official Japan looked upon as the goal of its ideological education: through a fairy tale the gate to the “ Japanese spirit ” was opened. Key words: Momotaro — Japanese spirit — war propaganda Ryukyu Islands Asian Folklore Studies> Volume 50,1991:155-188. N a t io n a l is m a n d F o l k T r a d it io n in M o d e r n J a p a n F oundations of Japanese N ationalism APAN is a land rich in myths, legends, and fairy tales. It pos­ sesses a large store of traditional oral and literary folk literature, J which has not been accounted for or even recognized in the West. The very earliest traditional written historical documents contain narratives, themes, and motifs that express this rich tradition. Even though the Kojiki of the year 712, the oldest extant written source, was conceived of as a historical work at the time, it is a collection of pure myths, or at least the beginning portions are.
    [Show full text]
  • 'Camellia T'. Synonym for 'Donckelaeri'. (Masayoshi). TC Cole
    T. T. Fendig. 1951, American Camellia Yearbook, p.77 as ‘Camellia T’. Synonym for ‘Donckelaeri’. (Masayoshi). T.C. Cole. Trewidden Estate Nursery, 1995, Retail Camellia List, p.8. Abbreviation for Thomas Cornelius Cole. T.C. Patin. (C.japonica) SCCS., 1976, Camellia Nomenclature, p.147: Light red. Very large, full, semi- double with irregular, large petals and a spray of large stamens. Originated in USA by T.C. Patin, Hammond, Louisiana. Sport: T.C. Patin Variegated. T.C. Patin Variegated. (C.japonica), SCCS., 1976, Camellia Nomenclature, p.147 as ‘T.C. Patin Var.’: A virus variegated form of T.C. Patin - Light red blotched white. Originated in USA by T.C. Patin, Hammond, Louisiana. T.D. Wipper. Nagoya Camellia Society Bulletin, 1992, No.25. Synonym for Dave’s Weeper. T.G. Donkelari. Lindo Nurseries Price List, 1949, p.7. Synonym for ‘Donckelaeri’. (Masayoshi). T.K. Blush. (C.japonica) Wilmot, 1943, Camellia Variety Classification Report, 1943, p.14: A light pink sport of T.K. Variegated. Originated in USA. Synonym: ‘T.K. Pink’. T.K. Number 4. Florida Nursery and Landscaping Co. Catalogue, 1948 as ‘T.K. No.4’. Synonym for T.K. Variegated. T.K. Pink. Morris, 1954, RHS., The Rhododendron and Camellia Yearbook, p.113. Synonym for T.K. Blush. T.K. Red. Semmes Nursery Catalogue, 1942-1943, p.21. Synonym for T.K. Variegated Red. T.K. Variegata. Kiyono Nursery Catalogue, 1942-1943. Synonym for T.K. Variegated. T.K. Variegated. (C.japonica) Kiyono Overlook Nursery Catalogue, 1934, p.14: Semi-double. Light pink edged dark pink. Gerbing’s Azalea Gardens Catalogue, 1938-1939: Semi-double, white flowers striped pink, rose and lavender, some flowers solid colour, purple and pink.
    [Show full text]
  • Myths & Legends of Japan
    Myths & Legends Of Japan By F. Hadland Davis Myths & Legends of Japan CHAPTER I: THE PERIOD OF THE GODS In the Beginning We are told that in the very beginning "Heaven and Earth were not yet separated, and the In and Yo not yet divided." This reminds us of other cosmogony stories. The In and Yo, corresponding to the Chinese Yang and Yin, were the male and female principles. It was more convenient for the old Japanese writers to imagine the coming into being of creation in terms not very remote from their own manner of birth. In Polynesian mythology we find pretty much the same conception, where Rangi and Papa represented Heaven and Earth, and further parallels may be found in Egyptian and other cosmogony stories. In nearly all we find the male and female principles taking a prominent, and after all very rational, place. We are told in theNihongi that these male and female principles "formed a chaotic mass like an egg which was of obscurely defined limits and contained germs." Eventually this egg was quickened into life, and the purer and clearer part was drawn out and formed Heaven, while the heavier element settled down and became Earth, which was "compared to the floating of a fish sporting on the surface of the water." A mysterious form resembling a reed-shoot suddenly appeared between Heaven and Earth, and as suddenly became transformed into a God called Kuni-toko- tachi, ("Land-eternal-stand-of-august-thing"). We may pass over the other divine births until we come to the important deities known as Izanagi and Izanami ("Male-who-invites" and "Female-who-invites").
    [Show full text]
  • The Moon Bear As a Symbol of Yama Its Significance in the Folklore of Upland Hunting in Japan
    Catherine Knight Independent Scholar The Moon Bear as a Symbol of Yama Its Significance in the Folklore of Upland Hunting in Japan The Asiatic black bear, or “moon bear,” has inhabited Japan since pre- historic times, and is the largest animal to have roamed Honshū, Shikoku, and Kyūshū since mega-fauna became extinct on the Japanese archipelago after the last glacial period. Even so, it features only rarely in the folklore, literature, and arts of Japan’s mainstream culture. Its relative invisibility in the dominant lowland agrarian-based culture of Japan contrasts markedly with its cultural significance in many upland regions where subsistence lifestyles based on hunting, gathering, and beliefs centered on the mountain deity (yama no kami) have persisted until recently. This article explores the significance of the bear in the upland regions of Japan, particularly as it is manifested in the folklore of communities centered on hunting, such as those of the matagi, and attempts to explain why the bear, and folklore focused on the bear, is largely ignored in mainstream Japanese culture. keywords: Tsukinowaguma—moon bear—matagi hunters—yama no kami—upland communities—folklore Asian Ethnology Volume 67, Number 1 • 2008, 79–101 © Nanzan Institute for Religion and Culture nimals are common motifs in Japanese folklore and folk religion. Of the Amammals, there is a wealth of folklore concerning the fox, raccoon dog (tanuki), and wolf, for example. The fox is regarded as sacred, and is inextricably associated with inari, originally one of the deities of cereals and a central deity in Japanese folk religion. It has therefore become closely connected with rice agri- culture and thus is an animal symbol central to Japan’s agrarian culture.
    [Show full text]