# Shinto: The Way of the Gods/Chapter 6

CHAPTER VI.
THE MYTHICAL NARRATIVE.
No really adequate idea of the old Japanese myths can be gained without a direct study of the Kojiki, Nihongi, and Kiujiki, with all their repetitions, inconsistencies, and obscurities. In the following outline, taken mainly from the two first-named works, a selection has been made of such incidents as have an interest and significance for European students of mythology.
Both the Nihongi and the Kiujiki begin with a passage which is justly repudiated by the modern school of Shinto theologians as in reality belonging to the materialistic philosophy of China. It runs as follows:—
"Of old, Heaven and Earth were not yet separated, and the In and Yo not yet divided. They formed a chaotic mass like an egg, which was of obscurely defined limits, and contained germs. The purer and clearer part was thinly diffused and formed Heaven, while the heavier and grosser element settled down and became Earth. The finer element easily became a united body, but the consolidation of the heavy and gross element was accomplished with difficulty. Heaven was therefore formed first, and Earth established subsequently. Thereafter divine beings were produced between them."
Pfleiderer says: "There is not unfrequently found in ​the mythology of the nature-religions a combination of Theogony and a Divine formation of matter in such a way that the Gods—whether one or all of them—are the first products of chaos, but then they form the rest of the world out of it. In the Indian mythology Prajapati proceeded out of the golden world-egg and then became the creative former of the world. Likewise in the Chaldæan mythology the great Gods arose at first out of chaos, and they then created the other Gods and the living beings of heaven and earth."
But are not such speculations later accretions on the original myth? In Japan, at any rate, formation out of chaos is undoubtedly an afterthought.
First Gods.—We have next what is called "the seven generations of Gods," ending with the creator-deities, Izanagi and Izanami. Of the first six of these generations the most confused and contradictory accounts are given in the various authorities. There is no agreement as to the name of the first God on the list. The Nihongi tells us that the first deity produced between Heaven and Earth while still in a state of chaos sprang up like a reed-shoot, which then changed into a God, and was called Kuni-toko-tachi no Mikoto, or "Earth-eternal-stand augustness." The Kojiki calls the first God Ame no mi-naka nushi no Kami, that is to say, "Heaven-august-centre-master-deity," identified by some with the Polar Star, a hypothesis for which there is no other ground than the name itself. The same authority gives Kuni-toko-tachi a place lower down in the genealogical table. The Kiujiki has a first God called Ame yudzuru hi ame no sagiri kuni yudzuru tsuki kuni no sagiri, and describes him (or her, for there is no indication of sex) as the "Heavenly Parent." It is impossible to translate this rigmarole; but as it contains the words ​"earth," "sun," "moon," and "mist," a nature-deity is evidently intended. Both the Kojiki and Kiujiki first Gods disappear at once from the mythical record. There is little trace of their worship in later times, and they must be pronounced mere abortive attempts at deity-making. Two other first deities are mentioned in the various myths quoted in the Nihongi, namely, Umashi-ashi-kabi-hiko-ji (sweet-reed-shoot-prince-father) and Ama-toko-tachi (Heaven-eternal-stand). The latter forms, along with Kuni-toko-tachi, one of those pairs of deities, not necessarily male and female, which are common in Japanese mythology. An enumeration of the Gods of the five generations which follow would be tedious and unprofitable. Some of them had probably no existence outside of the imagination of individual writers. They were doubtless invented or collected in order to provide a genealogy for Izanagi and Izanami. With one exception, they have left no trace in myth or in ceremonial. There are no shrines in their honour. Little is to be learnt from their names, the derivation of which is often doubtful. Several of them, however, show that the divinely mysterious process of growth, so all-important to an agricultural nation, had attracted attention.
Musubi no Kami (the God of Growth), who forms the sixth generation of deities, is a genuine divinity, of whom more remains to be said hereafter.
Izanagi and Izanami.—The seventh generation consisted of two deities, Izanagi and Izanami. It is with them that Japanese myth really begins, all that precedes being merely introductory and for the most part of comparatively recent origin. ​The Nihongi tells us that—
"Izanagi and Izanami stood on the floating bridge of Heaven, and held counsel together, saying 'Is there not a country beneath?' Thereupon they thrust down the Jewel-Spear of Heaven' (Ame no tama-boko) and groping about with it, found the ocean. The brine which dripped from the point of the spear coagulated and formed an island which received the name of Onogoro-jima or the 'Self-Coagulating Island.' The two deities thereupon descended and dwelt there. Accordingly they wished to be united as husband and wife, and to produce countries. So they made Onogoro-jima the pillar of the centre of the land."
The Kojiki says that Izanagi and Izanami were commanded by all the heavenly deities "to regulate and fully consolidate" the floating land beneath. But all the accounts, the Kojiki included, proceed to represent the islands of Japan as having been generated by them in the ordinary manner. We have therefore three distinct conceptions of creation in Japanese myth—first as generation in the most literal sense, second, as reducing to order, and third, as growth (Musubi).
The "floating bridge of Heaven" is no doubt the rainbow. It is represented on earth by the Sori-bashi or Taiko-bashi (drum-bridge) a semi-circular bridge over a pond before some Shinto shrines. It has too steep a slope for ordinary use, and is reserved for the Deity and for the priest on solemn occasions, the custom having been in this instance probably suggested by the myth.
The Ame no tama-boko or Jewel-Spear of Heaven has been the subject of much dissertation. Hirata, whose view is endorsed by several eminent scholars, native and foreign, thinks that it is a phallus. Its use in creating, which in Japanese myth is the same thing as begetting, the first ​island, countenances this idea. The derivation of tama-boko also lends itself to it. Tama may be rendered ball or knob as well as jewel, and the tama-boko might therefore be a shaft surmounted by a knob representing the glans, reminding us of the spears tipped with pine cones which were carried by the Bacchantes in the Dionysia. We have another Japanese case of a conventionalized phallus in the wo-bashira. Moreover, on the theory that the tama-boko is a phallus, we have a satisfactory explanation of the circumstance that tama-boko no is used as a standing epithet of michi, road, which has puzzled Japanese scholars. The tama-boko no michi would then mean "the road where phallic symbols are set up." There is abundant evidence that objects of this kind were a familiar sight by the roadsides near the capital in ancient times. The poet Tsurayuki (tenth century) has left a short poem in which he expresses his intention of praying to the Tamaboko no chiburi no kami when starting on a journey. The Chiburi no kami were the phallic road deities, protectors of travellers. Notwithstanding the Japanese poets' habit of using stock epithets without much regard to their proper meaning, this juxtaposition is highly suggestive. Another name for the phallic Sahe no kami was Chimata no kami, or road-fork-gods, because they had no temples and were worshipped by the road-sides and at cross-ways. The road between Utsunomiya and Nikkô, when I travelled along it in 1870, was still a tama-boko no michi—in the phallic sense. Another link between the hoko and the phallus is suggested by a statement in the Shiki Monogatari that the weapon which formed, and still forms, the central object in the great Goriōye festival procession at Kioto is known as the Sai no ​hoko. Now the Goriōye is a survival of the old festival in honour of the phallic Sahe no kami.
But in mythology one explanation does not necessarily exclude another and apparently contradictory one. Whether the myth-makers had in their minds the phallus conception of the tama-boko—and I am persuaded that they had—it is impossible in this connexion to ignore the function of the hoko, or spear, as a symbol of authority. Herbert Spencer has shown how universally the spear has this meaning. Britannia's trident is a familiar example. Theseus, in the 'Hippolytus' of Euripides, speaks of "the land ruled by my spear." Lances or arrows are emblems of authority in Korea. In Japan itself there is an abundance of similar evidence. In the Nihongi we hear of local governors being granted shields and spears in token of authority. When Ohonamochi abdicates in favour of Ninigi he delivers over the Kuni-muke no hiro-boko, or land-subduing-broad-spear. The epithet Ya-chi-boko no kami, or God of eight thousand spears, applied to the same deity, has a similar symbolical meaning. The Empress Jingō set up her spear at the palace gate of the King of Silla, in Korea, as a token of conquest. A holly spear, eight fathoms long, was given to Prince Yamatodake when he was despatched on his expedition to subdue Eastern Japan.
It will be observed that the tama-boko as a phallus belongs to the generative conception of creation, and as a spear to the idea of it as a cosmic or regulating process:—
"The two deities having descended on Onogoro-jima erected there an eight fathom house with an august central pillar. Then Izanagi addressed Izanami, saying: 'How is thy body formed?' Izanami replied, 'My body is completely formed except one part which is incomplete.' Then Izanagi said, 'My body is completely formed and there is one part which is superfluous. Suppose that we supplement that which is ​incomplete in thee with that which is superfluous in me, and thereby procreate lands.' Izanami replied, 'It is well.' Then Izanagi said, 'Let me and thee go round the heavenly august pillar, and having met at the other side, let us become united in wedlock' This being agreed to, he said, 'Do thou go round from the left, and I will go round from the right.' When they had gone round, Izanami spoke first and exclaimed, 'How delightful! I have met a lovely youth.' Izanagi then said, 'How delightful! I have met a lovely maiden.' Afterwards he said, 'It was unlucky for the woman to speak first.' The child which was the first offspring of their union was the Hiruko (leech-child), which at the age of three was still unable to stand upright, and was therefore placed in a reed-boat and sent adrift."
The "eight fathom house" built by Izanagi and Izanami as a preliminary to their marriage is the fuseya, or nuptial hut, several times referred to in the old records. It was erected less for practical purposes than to avoid the ceremonial contamination of the ordinary dwelling-house by the consummation of a marriage within it.
The number eight is often met with in Japanese myth. It would be a mistake, however, to regard it as in any way sacred. The primary meaning of yatsu is "many," and it might be better to translate it so in this passage.
The central pillar of a house (corresponding to our king-post) is at the present day an object of honour in Japan as in many other countries. In the case of Shinto shrines, it is called the Nakago no mibashira (central august pillar), and in ordinary houses the Daikoku-bashira. The circumambulation of the central post by Izanagi and Izanami reminds us of the Hindu pradakchina. Hirata's conjecture that we have here an ancient marriage rite is very plausible. ​The circumambulation of the dwelling, the fire, a tree, or an altar by the bride and bridegroom is a familiar feature of marriage ritual. It does not follow that the Japanese rite had a religious character. Nothing in the mythical record suggests that this is the case, and at no time in Japanese history has the marriage ceremony had the sanction of religion. Shinto neither consecrates wedlock nor condemns adultery.
It must not be inferred from this narrative that unions between brothers and sisters of the full blood were permitted by ancient Japanese custom. Cain and Abel must have married their own sisters, but this proves nothing against the morality of the Jews. The necessity of the story is the compelling motive in both cases. It is true that marriages were allowed between a man and his sister by the father's side only, but we learn from the Nihongi that in the case of full brothers and sisters such connexions were considered criminal. The fact that imo, younger sister, is also used in addressing a wife proves no more than the "How fair is thy love, my sister, my bride!" of the Song of Solomon. The author of the myth of the Sun-Goddess endeavours to smooth over the difficulty of her conjugal relations with her brother Susa no wo by giving them a miraculous character.
The story of the abandonment of Hiruko by his parents, like the similar legends of Sargon and Moses, is evidence that the custom of casting away weakly or deformed infants was known to the authors. The real significance of the Hiruko myth will be shown hereafter.
The two deities next gave birth to the islands of Japan. Of the birth of Tsukushi, now called Kiushiu, the Kojiki says:—
"Next they gave birth to the island of Tsukushi. This island likewise has four faces, and each face has a name. ​So the land of Tsukushi is called Shira-bi-wake (white-sun-youth); the land of Toyo is called Toyo-bi-wake (rich-sun-youth); the land of Hi is called Take-hi-mukahi-toyo-kuji-hine-wake (brave-sun-confronting-rich-wondrous-lord-youth); the land of Kumaso is called Take-bi-wake (brave-sun-youth)."
At this point the Nihongi inserts the rationalistic observation that the islands of Tsushima and Iki with the small islands in various parts were produced by the coagulation of the salt water.
Izanagi and Izanami then procreated a number of deities, among whom were Iha-tsuchi-biko (rock-earth-prince), Oho-ya-biko (great-house-prince), the Wind-Gods, a variety of marine deities, Ame no Mikumari (the heavenly water distributor), the God of Moors (who is also the God of Herbs and Grasses), the God of Trees, the Gods of Mountains and Valleys, and the Goddess of Food. The last deity to be produced was the God of Fire, Kagu-tsuchi, also called Ho-musubi (fire-growth). In giving birth to him Izanami was burnt so that she sickened and lay down. From her vomit, fæces, and urine were born deities which personify the elements of metal, water, and clay, while from the tears which Izanagi shed when she died there was produced a deity called Naki-saha-me, or the Weeping Female. In his rage and grief, Izanagi drew his sword and cut Kagu-tsuchi to pieces, generating thereby a number of deities. Of these two were widely worshipped in later times. One, named Take-mika-tsuchi (brave-awful-father), is the God of the famous shrine of Kashima in the east of Japan. The other, named Futsunushi, is worshipped under the form of a sword at Kadori in the same neighbourhood. Izanami, by one account, was buried at the village of Arima at Kumano, in the province of Kiï.
"In the time of flowers the inhabitants worship her ​mitama by offerings of flowers. They also worship her with drums, flutes, flags, singing and dancing."
When she died Izanami went to the land of Yomi, or darkness.
"Thereafter Izanagi went after Izanami, and entered the land of Yomi. When he rejoined her, they conversed together. Izanami said: 'My lord and husband, why is thy coming so late? I have already eaten of the cooking-furnace of Yomi. But I am about to lie down to rest. Do not thou look on me.' Izanagi did not give ear to her, but secretly took his many-toothed comb, and breaking off its end-tooth made of it a torch and looked at her. Her body was already putrid, maggots swarmed over it, and the eight thunder-gods had been generated in her various members. Izanagi, greatly shocked, exclaimed, 'What a hideous and polluted land I have come to unawares!' So he speedily ran away. Izanami was angry, and said, 'Why didst thou not observe that which I charged thee? Now am I put to shame.' So she sent the Ugly Females of Yomi to pursue and slay him. Izanagi, in his flight, threw down his many-toothed comb, which forthwith became changed into bamboo-shoots. The Ugly Females pulled them up and ate them. When they had done eating them they again gave chase. He then threw down his headdress, which became changed into grapes, and so once more delayed his pursuers. On reaching the foot of the 'Even Pass of Yomi' he gathered three peaches that were growing there, and smote his pursuers with them, so that they all fled back. Moreover, he said to the peaches, 'As ye have helped me, so must ye help all living people in the Central Land of Reed-plains when they are in trouble.' And he gave them the title Oho-kamu-dzu-mi no mikoto (their augustness great-divine fruit). This was the origin of the custom of exorcising evil spirits by means of peaches. ​"At the Even Pass of Yomi, Izanagi was overtaken by Izanami herself. He took a great rock and blocked up the pass with it, pronouncing at the same time the formula of divorce—namely, 'Our relationship is severed.' He also said, 'Come no further,' and threw down his staff, which was called Funado no Kami (pass-not-place-deity), or Kunado no Kami (come-not-place-deity). Moreover, he threw down his girdle, which was called Nagachiha no Kami. Moreover, he threw down his upper garment, which was called Wadzurahi no Kami (God of disease). Moreover, he threw down his trowsers, which were called Aki-guhi no Kami. Moreover, he threw down his shoes, which were called Chi-shiki no Kami."
The Kojiki represents Izanami as assuming the position of the "Great Deity of Yomi," a personification of death. In this character she says to Izanagi, "If thou dost so (divorce me), I will in one day strangle to death a thousand of the people of thy land." To which he replied "If thou dost so, I will in one day build a thousand and five hundred parturition houses."
The fatal consequences of tasting the food of the lower regions are well known to mythologists. Proserpine's return to the upper world became impossible when once
The same principle is recognized in Indian myth:
The natural aversion of human beings from touching or even looking on the dead is made a characteristic of the Gods in Greek mythology as well as in Japanese myth. Artemis, in the 'Hippolytus' of Euripides, says, "It is not themis for me to look upon the dead."
​The "Even Pass of Yomi" takes the place of the water to be crossed of other mythologies. Grimm, in his 'Teutonic Mythology,' says that "to Death is ascribed a highway levelled, smooth, and kept in repair, on which the dead travel."
On returning from Yomi, Izanagi's first care was to bathe in the sea in order to purify himself from the pollutions which he had contracted by his visit to the Land of Yomi. A number of deities were generated by this process, among whom were the Gods of Good and Ill Luck, and certain ocean deities held to be the ancestors of some families of local chieftains and worshipped by them. The Sun-Goddess was born from the washing of his left eye, and the Moon-God from that of his right, while a third deity, named Susa no wo, was generated from the washing of his nose. To the Sun-Goddess Izanagi gave charge of the "Plain of High Heaven," and to the Moon-God was allotted the realm of night. Susa no wo was at first appointed to rule the sea, but he cried and wept till his beard grew down to the pit of his stomach. He wept the green mountains bare and the seas and rivers dry. Izanagi inquired of him, "Why dost thou continually weep?" He answered, "I wish to follow my mother to the Nether Land." Izanagi said, "Go, as thy heart bids thee," and drove him away.
Another account of the birth of these three deities says that they were born to Izanagi and Izanami on earth before the descent to Yomi. The Sun-Goddess was sent up to Heaven by the "Pillar of Heaven," which then served as a means of communication. Heaven and earth were still "not far separated." Ame no mi-hashira (Heaven-august-pillar) is one of the names of the Wind-God. An island is described as "Heaven's single pillar." Other myths speak of the Ama no iha-bune, or Rock-boat of Heaven, as used for communication by the deities. There is also mention of an Ama no hashidate (Heaven-bridge-erection) which is distinguished by Hirata from the "Pillar of Heaven." He thinks ​the former was a sort of pier used by the Rock-boat of Heaven. A spit of land two miles long and 190 feet broad near Miyadzu in Tango is now called by this name.
Ame, or the firmament, where the Gods live, is to be distinguished from Oho-sora, the Great Void, which is the space between heaven and earth.
Izanagi's ablutions (harahi) represent a wide-spread rite. They remind us of Juno's lustration by Iris after a visit to Hades, and of Dante's immersion in Lethe when he had completed his ascent through Purgatory and was preparing for admission to the circles of Paradise. Alcestis, after her rescue by Herakles from Thanatos, had to be purified, and was not allowed to speak for three days. We have in the Japanese myth the counterpart of a custom described by Chinese travellers to Japan centuries before the Kojiki and Nihongi were written. It was then, we are informed, the practice, when the funeral was over, for the whole family of the deceased to go into the water and wash. Lustration is a wide-world practice, and the myth was clearly suggested by it, not vice versâ.
Izanagi's career having come to an end, he built himself an abode of gloom in the island of Ahaji, where he dwelt in silence and concealment. Another account says that he ascended to Heaven, where he dwelt in the smaller Palace of the Sun.
It will be observed that Izanagi was not immortal, and that he did not go to Yomi when he died.
Susa no wo.—The mythical narrative now turns to the doings of the Sun-Goddess and her brother Susa no wo (the rainstorm personified).
Susa no wo, before proceeding to take up his charge as Ruler of the Nether Region, ascended to Heaven to take leave of his elder sister, the Sun-Goddess. By reason of ​the fierceness of his divine nature there was a commotion in the sea, and the hills and mountains groaned aloud as he passed upwards. The Sun-Goddess, in alarm, arrayed herself in manly garb, and confronted her brother wearing her royal necklace of jewels, and armed with sword and bow and arrows. The pair stood face to face on opposite sides of the River of Heaven. Susa no wo then assured his sister of the purity of his intentions, and proposed to her that they should each produce children by biting off and crunching parts of the jewels and swords which they wore and blowing away the fragments. Eight children born in this way were worshipped in after times as the Hachôji, or eight princely children. They figure largely in the Shôjiroku genealogies of Japanese noble families. Through one of them, named Masa-ya-a-katsu-kachi-haya-hi-ama-no-oshi-ho-mi-mi, the Mikados trace their descent from the Sun-Goddess. A-Katsu means I conquer. The allusion is to Susa no wo's having triumphantly proved the purity of his intentions by producing male children.
The piebald colt of Heaven may be compared to Prisni, the speckled cow of Indian myth, which is explained as a personification of the variegated appearance of the starry heavens.
The retirement of the Sun-Goddess to the Rock-cave of Heaven produced great consternation among the heavenly deities. They met on the dry bed of the River of Heaven and took counsel how they should entice her from her seclusion. By the advice of Omohi-kane no Mikoto (the Thought-combiner or Counsellor deity) the long-singing birds of the Eternal Land (cocks) were made to utter their prolonged cry before the door of the cave. Ame no Koyane no Mikoto, ancestor of the Nakatomi and Futo-dama no Mikoto, ancestor of the Imbe, dug up by the roots a five-hundred branched true Sakaki tree of Heaven and hung on its higher branches strings of jewels, on its middle branches a mirror, and on its lower branches pieces of cloth. Then they recited their liturgy in her honour. Moreover, Ame no Uzume (the Dread Female of Heaven) arrayed herself in a fantastic manner, kindled a fire and standing on a tub which resounded when she stamped upon it, performed a (not very decent) mimic dance and gave forth an inspired utterance. The Plain of High Heaven shook, and the eight hundred myriad deities laughed together. The Sun-Goddess wondered how Ame no Uzume and the other gods could be so jolly while the world was wrapped in complete darkness, and peeped out from the half-opened door of the cave. She was at once seized by Ta-jikara no wo (Hand-strength-male) and prevented by main force from re-entering, to the great joy of all the deities.
Susa no wo was then tried by a council of Gods, who mulcted him in a fine of a thousand tables of purification ​offerings. They also pulled out the nails of his fingers and toes, and banished him to the land of Yomi. Finally Ame no Koyane, the ancestor of the Nakatomi, recited his Oho-harahi or "Great purification" liturgy.
The above episode is the kernel of the mythical lore of Japan. Belonging to the class of light and darkness myths, it professes to give the origin of some of the principal ceremonies of the Shinto religion as they were practised at the Mikado's Court at the time when they became current. In addition to the Nakatomi and Imbe, some versions of the story show the Sun-Goddess surrounded by other officials, such as jewel-makers, mirror-makers, &c., obviously borrowed from the actual functionaries of the Court, and introduced with an eye to genealogical requirements. By a curious coincidence, the Smith-God attached to her train, like the Cyclops of Greek myth, has but one eye.
Ame no Uzume, the Dread Female of Heaven, who danced and gave forth an inspired utterance before the Rock-cave where the Sun Goddess was hidden, is the supposed ancestor of the Sarume (monkey-women) or female mimes attached to the Mikado's Court, whose performances were the origin of the pantomimic religious dances still kept up in Japan and known as Kagura, while her divinely inspired utterance is the prototype of the revelations of the Miko, or Shinto priestesses. One version of the story gives us the actual words used by Uzume on this occasion—namely, Hi, fu, mi, yo, itsu, mu, nana, ya, kokono, towo. A Japanese baby knows that these are simply the numerals from one to ten. But they have given much trouble to later Shintoists, who have endeavoured to read into them a deep mythical signification.
The fire kindled by her is the prototype of the nihabi, or "courtyard fire," of Shinto ceremonial. It is plainly one of those numerous imitative magic devices for making sunshine, of which Mr. Frazer has given several examples.
​Modern Shinto explains the darkness produced by the Sun-Goddess's retirement as emblematic of the darkness of sin. The renewal of light typifies repentance. Of course, this was far from the thoughts of the original myth-makers.
Susa no wo did not at once proceed to the land of Yomi. He went and begged food of the Food-Goddess, who produced dainty things of all kinds from various parts of her body, and offered them to him. But Susa no wo took offence at her proceedings, which he considered filthy, and at once slew her. Whereupon there were produced in her head silkworms, in her eyes rice, in her ears millet, in her nose small beans, in her genitals barley, and in her fundament large beans. These Musubi, the God of Growth, took and caused to be used as seeds.
The above is the Kojiki version of the story. The Nihongi makes the Moon-God the culprit, and gives it as the reason of his alienation from the Sun-Goddess, who had sent him to visit the Food-Goddess. This is not the only attempt of myth-makers to account for the aloofness maintained by these two deities. The same variant of this episode makes the Sun-Goddess the recipient of the various seeds produced in the body of the Food-Goddess:—
"She was rejoiced, and said, 'These are the things which the race of visible men will eat and live.' So she made the millet, the panic, the wheat and the beans the seed for the dry fields, and the rice she made the seed for the water-fields. Therefore she appointed a Mura-gimi (village-lord) of Heaven, and forthwith sowed for the first time the rice-seed in the narrow fields and in the long fields of Heaven."
Probably in the slaying of the Food-Goddess we have an echo of some of those practices so fully examined by Mr. Frazer, in which the Corn-maiden, or other representative of the corn, is slain—a tragedy of perennial interest to mankind. Witness the rape of Persephone and the death ​of John Barleycorn. Susa no wo then visited Corea, but not finding that country to his liking, returned to Japan, and went to the province of Idzumo.
"Here he observed a chopstick floating down the river Hi, so thinking that there must be people living further up the stream, he went in quest of them, and found an old man and an old woman weeping, with a young maiden set between them. He asked of them, 'Who are ye?' The old man replied, 'Thy servant is a deity of earth, and his name is Ashinadzuchi, son of the great God of the Mountain. My wife's name is Tenadzuchi, and my daughter is called Kushinada hime.' He further inquired, 'Why weep ye?' He answered, saying, 'I have had eight children, girls; but the eight-forked serpent of Koshi came year after year and devoured them. It is now the time of its coming, and therefore do we weep.' 'Describe to me this serpent,' said Susa no wo. 'Its eyes are as red as the winter cherry. It has one body with eight heads and eight tails. Moreover, its body is overgrown with moss, pines and cedars. Its length extends over eight valleys and eight hills. Its belly is always all bloody and inflamed to look upon.' Then Susa no wo said to the old man, 'If this be thy daughter, wilt thou give her unto me?' 'With reverence be it said,' replied the old man, 'I know not thy honourable name.' 'I am the elder brother of the Sun-Goddess, and have now come down from heaven,' replied Susa no wo. Then the deities Ashinadzuchi and Tenadzuchi said, In that case, with reverence we offer her to thee.' Susa no wo straightway took that young maiden and changed her into a many-toothed comb, which he stuck into his hair, and said to the deities Ashinadzuchi and Tenadzuchi, 'Do ye brew some saké of eight-fold strength. Also make a fence round about, and in that fence let there be eight doors, at each door let there be eight stands, on each stand let there be a saké-tub, and let each saké-tub be filled with the saké of eight-fold strength. Then wait.' So having prepared everything in ​accordance with his august bidding, they waited. Then the eight-forked serpent came, indeed, as had been said, and bending down one head into each of the tubs, lapped up the saké. Hereupon it became drunken, and all the heads lay down to sleep, when straightway Susa no wo drew his ten-span sword from his girdle and slew the serpent, so that the river had its current changed to blood. Now, when he cut the middle part of the tail the edge of his august sword was broken. Wondering at this, he pierced it and split it open, when he found that within there was a great sharp sword. He took this sword, and thinking it a wonderful thing, reported his discovery to the Sun Goddess. This is the great sword Kusanagi (Herb-queller)."
On the occasion of his marriage to Kushinada hime, Susa no wo composed the following verses:—
Eventually he entered the Nether Land.
Few of my readers will require to have pointed out to them the striking resemblance of this story to that of Perseus and Andromeda, or will need to be referred to Mr. Sidney Hartland's 'Legend of Perseus,' in which everything relating to its numerous variants has been so thoroughly examined. I would direct special attention to chapter xviii. of this work, where the hypothesis is offered, "that we have in this incident a reminiscence of the abolition of human sacrifices to deities in the shape of the lower animals...... In certain stages of civilization, sacrifices of the kind are practised, and are frequently offered to water-spirits conceived in animal form...... It may, of course, be that the monster sent to devour Andromeda is to be regarded simply as the personification of water, or of specific rivers in their sinister aspect."
​The circumstance that the scene of this episode in Susa no wo's career is the bank of a river is therefore by no means immaterial. Indeed, we may plausibly conjecture that the description of the serpent with its eight (or many) heads and eight tails, its length extending over eight valleys and eight hills, its body overgrown with moss, pines, and cedars, and its propensity for devouring human beings is nothing more than a fanciful representation of the river, with its serpentine course, its numerous tributaries and branches, its wooded banks, and the danger by drowning in its pools or at its fords.
The poem ascribed to Susa no wo cannot be older than the sixth or seventh century. The word translated "on all sides," is idzumo. There is therefore a punning allusion to the province of that name. The "manifold fence," is the "nuptial hut," already referred to.
Ohonamochi.—Susa no wo had numerous children, among whom were Oho-toshi (great harvest), and Uka no mitama (food-spirit). The most famous of his progeny was a God called Ohonamochi. This is the Great Deity of Idzumo, a place second only to Ise for sanctity.
Ohonamochi's eighty brothers went to pay court to a female deity named Yakami-hime, taking him with them as porter "to carry the bag." On arriving at Cape Keta, they found a naked hare lying on the ground. The brothers maliciously advised the hare to bathe in the sea, and then expose himself to the wind on the slope of a high mountain. The hare did so, with the result that when the sea-water dried, his skin split, and he was weeping with pain, when Ohonamochi came up in the rear of the party. He had pity on it, and taught it remedies which gave relief. The grateful hare promised that he should have the lady Yakami-hime in marriage, and not his brothers. When ​their suit was accordingly rejected, they devised several plans for the destruction of Ohonamochi, which were all unsuccessful. He was then advised to go to the "Nether-distant land," the abode of Susa no wo.
"In accordance with this counsel, he went to the dwelling of Susa no wo. On arriving there he was met by his daughter Suseri-hime, who married him, and then returning within told her father that a very beautiful deity had arrived. The Great Deity came out, and looking at him said, 'This is the deity called the Ugly-male-deity of the Reed-Plain. Thereupon he invited him in, and made him sleep in the snake-chamber. Now his wife Suseri-hime gave her husband a snake-scarf, saying, 'When the snakes are about to bite thee, drive them away by waving this scarf thrice.' He did as she had instructed him, and the snakes were quieted, so that he came forth again after a peaceful sleep. Again, on the night of the next day, he was put into the centipede and wasp chamber; but as his wife again gave him a centipede-and-wasp scarf, and instructed him as before, he came forth unharmed. Again Susa no wo shot a whizzing arrow into the middle of a great moor, and bid him fetch it. When Ohonamochi went out to the moor, Susa no wo set fire to it all round. Ohonamochi could find no way of escape until a rat appeared, and said, 'Within 'tis hollow-hollow, without 'tis narrow-narrow.' Hearing this, Ohonamochi stamped upon the place, and fell in, and hid himself until the fire had burnt past. Then the rat came with the whizzing arrow in its mouth and presented it to him. The feathers of the arrow had all been gnawed by the rat's children. Hereupon his wife Suseri-hime came weeping and bringing the funeral things. Her father, the Great Deity, thinking that Ohonamochi was already dead, went out and stood on the moor. Ohonamochi brought him the arrow and presented it to him. Susa no wo took him into the house, and calling him into a large chamber of many mats, bid him catch the lice on his ​head. Ohonamochi looked at his head, and saw that it was swarming with centipedes. Then his wife gave him berries of the muku tree and red earth. He chewed up the berries and took the red earth into his mouth. Then he spat them out, and the Great Deity thought that he had chewed up and spat out the centipedes, and feeling fond of him in his heart, fell asleep. Ohonamochi then took hold of the hair of the Great Deity and tied it to the rafters of the chamber. Blocking up the door with a five-hundred-pull rock, he took his wife Suseri-hime on his back and made his escape, carrying with him the Great Deity's live-sword, live bow and arrows, and speaking lute of Heaven. The speaking lute of Heaven brushed against a tree and the earth resounded. The Great Deity was startled out of his sleep by the sound and pulled down the chamber. But while he was unloosing his hair from the rafters Ohonamochi fled a long way off. The Great Deity pursued him to the Even Pass of Yomi, and looking at him from afar, called to him and said, 'With the live sword and live bow and arrows which thou bearest, pursue thy half-brethren till they lie down on the lower slopes of the passes, pursue them till they are swept into the river rapids. Be thou the deity Oho-kuni-nushi (great-land-master) and the deity Utsushi-kuni-dama (real-land-spirit). Make my daughter Suseri-hime thy consort, and basing thy stout palace-pillars on the bottom rock at the foot of Mount Uka, and exalting thy crossbeams to the Plain of High Heaven, dwell there, thou rogue.' When Ohonamochi had driven away and dispersed the eighty deities, he pursued them till they lay down on the lower slopes of every pass, and pursued them till they were swept into the rapids of every river. Then did he begin to make the land."
He was assisted in doing so by a dwarf deity called Sukuna-bikona, who wore garments of bird skins and came over the sea in a tiny boat. There is probably some echo of real history in the myths of Susa no wo, Ohonamochi, ​and Sukuna-bikona. Idzumo, the scene of their doings, was one of the earliest centres of civilization and religion in Japan, and its position over against Korea is significant in view of the legends which connect Susa no wo with that country. The incident of Sukuna-bikona's arrival by sea, clothed in bird skins, seems to indicate an acquaintance with some northern tribes, who, like the Kurile islanders at this day, wore garments of this material.
This Ohonamochi myth belongs to a class of stories the main features of which have been thus outlined by Mr. A. Lang: "A young man is brought to the home of a hostile animal, a giant, cannibal, wizard, or malevolent king. He is put by his unfriendly host to various severe trials, in which it is hoped that he will perish. In each trial he is assisted by the daughter of his host. After achieving the adventures, he elopes with the girl and is pursued by the father." Mr. Lang goes on to speak of the articles thrown down by the runaways in their flight. This part of the story belongs in Japanese myth to the history of Izanagi and Izanami.
Ninigi.—The dynasty of Susa no wo was not recognized by the Gods of Heaven. They sent down several other deities to prepare the world for the advent of Ninigi, a grandchild of the Sun-Goddess, as its ruler. Some versions of the story make Taka-musubi the chief actor in these proceedings, in others the Sun-Goddess is more prominent. One of the deities sent down for this purpose was Ame-waka-hiko (heaven-young-prince). The Nihongi says:—
"As soon as he arrived he took to wife Shita-teru-hime, the daughter of Utsushi-kuni-dama. Accordingly he remained, and said: 'I, too, wish to govern the Central Land of Reed-Plains.' He never reported the result of his mission. At this time Taka-musubi, wondering why he was so long in coming and making his report, sent the pheasant Na-naki to ​observe. The pheasant flew down and perched on the top of a many-branched cassia-tree which grew before Ame-waka-hiko's gate. Now Ama-no Sagu-me (heaven-spying-woman) saw this, and told Ame-waka-hiko, saying: 'A strange bird has come and is perched on the top of the cassia-tree.' Then Ame-waka-hiko took the heavenly deer-bow and the heavenly feathered arrows which had been given him by Taka-mi-musubi no Mikoto, and shot the pheasant, so that it died. The arrow having passed through the pheasant's breast, came before where Taka-mi-musubi no Kami was sitting. Then Taka-mi-musubi no Kami, seeing this arrow, said: 'This arrow I formerly gave to Ame-waka-hiko. It is stained with blood, it may be because he has been fighting with the Earthly Deities.' Thereupon Taka-mi-musubi no Mikoto took up the arrow and flung it back down (to earth). This arrow, when it fell, hit Ame-waka-hiko on the top of his breast. At this time Ame-waka-hiko was lying down after the feast of first-fruits, and when hit by the arrow died immediately.
"The sound of the weeping and mourning of Ame-waka-hiko's wife Shita-teru-hime reached Heaven. At this time Ame no Kuni-dama, hearing the voice of her crying, straightway knew that her son, Ame-waka-hiko, was dead, and sent down a swift wind to bring the body up to Heaven. Forthwith a mortuary house was made, in which it was temporarily deposited. The river-geese were made head-hanging bearers and also broom-bearers, the kingfisher was made the representative of the deceased, the sparrows were made the pounding-women, and the wrens the mourners. Altogether the assembled birds were entrusted with the matter.
"For eight days and eight nights they wept and sang dirges."
Futsunushi and Take-mika-tsuchi.—Finally, the deities Futsunushi and Take-mika-tsuchi were sent down to prepare Japan for Ninigi's reception.
​"The two deities descended and arrived at the Little Shore of Itasa in Idzumo, and asked Ohonamochi, saying: 'Wilt thou deliver up this country to the Heavenly Deity, or not?' He answered and said: 'I will not allow it.' Thereupon Futsunushi returned upwards, and made his report. Now Taka-mi-musubi sent the two Gods back again, and commanded Ohonamochi, saying: 'Having now heard what thou hast said, I find that there is profound reason in thy words. Therefore again I issue my commands to thee more circumstantially, that is to say: Let the public matters which thou hast charge of be conducted by my grandchild, and do thou rule divine affairs. Moreover, if thou wilt dwell in the palace of Ama no Hi-sumi, I will now build it for thee. I will take a thousand fathom rope of the (bark of the) paper mulberry, and tie it in 180 knots. As to the dimensions of the building of the palace, its pillars shall be high and massy, and its planks broad and thick. I will also cultivate thy rice-fields for thee, and, for thy provision when thou goest to take pleasure on the sea, I will make for thee a high bridge, a floating bridge, and also a Heavenly bird-boat. Moreover, on the Tranquil River of Heaven I will make a flying bridge. I will also make for thee white shields of 180 seams, and Ame no Ho-hi no Mikoto shall be the president of the festivals in thy honour.' Hereupon Ohonamochi answered and said: 'The instructions of the Heavenly Deity are so courteous that I may not presume to disobey his commands. Let the August Grandchild direct the public affairs of which I have charge. I will retire and direct secret matters.' So he introduced Kunado no Kami to the two Gods, saying: 'He will take my place and will yield respectful obedience. I will withdraw and depart hence.' He forthwith invested him with the pure Yasaka jewels, and then became concealed for ever. Therefore Futsunushi no Kami appointed Kunado no Kami as guide, and went on a circuit of pacification. Any who were rebellious to his authority he put to death, while those who rendered obedience were rewarded. The chiefs of those who at this ​time rendered obedience were Oho-mono-nushi and Koto-shiro-nushi."
Another version adds that—
"He took the broad spear which he had used as a staff when he was pacifying the land, and gave it to the two Gods saying: 'By means of this spear I was at last successful. If the Heavenly Grandchild will use this spear to rule the land, he will undoubtedly subdue it to tranquillity. I am now about to withdraw to the concealment of the eighty road-windings.' Having said these words, he at length became concealed. Thereupon the two Gods put to death all the rebellious spirits and Deities."
When Ninigi was about to descend to earth, the Sun-Goddess addressed him, saying:
"'This Reed-plain-1500-autumns-fair-ears Land is the region which my descendants shall be lords of. Do thou, my August Grandchild, proceed thither and govern it. Go! and may prosperity attend thy dynasty, and may it, like Heaven and Earth, endure for ever.' When he was about to descend, one who had been sent in advance to clear the way, returned and said: 'There is one God who dwells at the eight-crossroads of Heaven, the length of whose nose is seven hands, and whose stature is more than seven fathoms. Moreover, a light shines from his mouth and from his posteriors. His eye-balls are like an eight-hand mirror, and have a ruddy glow like the physalis.' Thereupon he sent one of his attendant Deities to go and make inquiry. Now among all the eighty myriads of Deities, there was not one who could confront him and make inquiry. Therefore he specially commanded Ame no Uzume, saying: 'Thou art superior to others in the power of thy looks. Thou hadst better go and question him.' So Ame no Uzume forthwith bared her breasts, and, pushing down the band of her garment below her navel, confronted him with a ​mocking laugh. Then the God of the crossways asked her saying: 'Ame no Uzume! What meanest thou by this behaviour?' She answered and said: 'I make bold to ask who art thou, that dost thus remain in the road by which the child of Ama-terasu no Oho-kami is to make his progress?' The God of the crossways answered and said: 'I have heard that the child of Ama-terasu no Oho-kami is now about to descend, and therefore I have come respectfully to meet and attend upon him. My name is Saruta-hiko no Oho-kami.' Then Ame no Uzume again inquired of him, saying: 'Wilt thou go before me, or shall I go before thee?' He answered and said: 'I will go before and be his harbinger.' Ame no Uzume returned and reported these circumstances. Thereupon the August Grandchild, leaving the heavenly rock-seat, and thrusting apart the eight-piled clouds of Heaven, clove his way with an awful way-cleaving, and descended to earth."
He alighted on a mountain in the western island of Kiushiu. He was attended by the ancestors of the five be, or hereditary government corporations, viz.: the Nakatomi, the Imbe, the Sarume, the mirror-makers be, and the jewellers be, to which some accounts add several others.
Ninigi took to wife Konohana-sakuyahime (the lady blooming like the flowers of the trees). Her father Oho-yamatsu mi (great-mountain person) had offered him both his daughters, but the elder was rejected by Ninigi as being too ugly. Her name was Iha-naga-hime (rock-long-lady). The consequences of this choice were disastrous to his descendants. Iha-naga-hime, in her shame and resentment, uttered a curse and said: "The race of visible men shall change swiftly like the flowers of the trees and shall decay and pass away." This is the reason why the life of man is so short.
When the time came for the younger sister's delivery, she shut herself up in a doorless shed, which, on the birth of her three children, she set fire to, with the object of clear​ing herself from certain suspicions which her husband had entertained of her fidelity. "If," said she, "the children are really the offspring of the Heavenly Grandchild, the fire cannot harm them." The children and their mother came forth unhurt, and were thereupon recognized by Ninigi as his true offspring and wife.
The "doorless shed" here mentioned, is a "parturition house." It was the custom in ancient Japan for women, when the time drew near for their delivery, to retire to a shed specially constructed to receive them, so that contamination to the dwelling-house might be avoided. This was still the practice in the island of Hachijō in 1878, and even in Japan no longer than a century ago.
The burning of the parturition house represents the ordeal by fire, which, with the ordeal by boiling water or mud, is well known in Japan.
Ho no Susori and Hohodemi.—The story concerns itself no further with the youngest of these three children. Of the others, the elder, named Ho no Susori, became a fisherman, and the younger, Hohodemi, a hunter.
Ho no Susori once proposed to his brother to exchange their respective callings. Hohodemi accordingly gave over to his elder brother his bow and arrows and received a fish-hook in return. But neither of them profited by the exchange, so Ho no Susori gave back to his brother the bow and arrows and demanded from him the fish-hook.
Hohodemi, however, had in the meantime lost it in the sea. He took his sword and forged from it a number of new fish-hooks which he piled up in a winnowing tray and offered to his brother by way of compensation. But the latter would have none but his own, and demanded it so vehemently of Hohodemi as to grieve him bitterly. Hohodemi went down to the sea-shore and stood there lamenting, when there appeared to him the Old Man of the Sea, by ​whose advice he descended into the sea depths to the abode of the God of the Sea, a stately palace with lofty towers and battlements. Before the gate there was a well, and over the well grew a thick-branching cassia tree, into which Hohodemi climbed. The Sea-God's daughter Toyo-tama-hime (rich jewel maiden) then came out from the palace to draw water. She saw Hohodemi's face reflected in the well, and returning within reported to her father that she had seen a beautiful youth in the tree which grew by the well. Hohodemi was courteously received by the Sea-God, Toyo-tama-hiko (rich jewel prince) who when he heard his errand, summoned before him all the fishes of the sea and made inquiry of them for the lost fish hook, which was eventually discovered in the mouth of the Tai. Toyo-tama-hiko delivered it to Hohodemi, telling him when he gave it back to his brother to say "a hook of poverty, a hook of ruin, a hook of downfall," to spit twice and to hand it over with averted face.
Hohodemi married the Sea-God's daughter Toyo-tama-hime and remained with her for three years. He then became home-sick and returned to the upper world. On the beach where he came to land, he built for his wife, who was soon to follow, a parturition house which he thatched with cormorant's feathers. The roofing was still unfinished when she arrived, riding on a great tortoise. She went straight into the hut, begging her husband not to look at her. But Hohodemi's curiosity was too strong for him. He peeped in, and behold! his wife had become changed into a wani (sea-monster or dragon), eight fathoms long. Deeply indignant at the disgrace put upon her, Toyo-tama-hime abandoned her new-born child to the care of her sister, and barring behind her the sea-path in such a way that from that day to this all communication between the realms of land and sea has been cut off, returned hastily to her father's palace.
​The child thus born was the father of Jimmu Tenno, the first human sovereign of Japan.
Hohodemi's troubles with his elder brother were renewed on his arrival home. He was obliged to use against him two talismans given him by his father-in-law. One of these had the virtue of making the tide flow and submerge Ho no Susori and thus compel him to sue for mercy (another account says that Hohodemi whistled and thereby raised the wind and the sea). Then by a second talisman the tide was made to recede and Ho no Susori's life was spared. He yielded complete submission to his younger brother, and promised that he and his descendants to all generations would serve Hohodemi and his successors as mimes and bondservants. The Nihongi adds that in that day it was still customary for the Hayato (or Imperial guards), who were descended from Ho no Susori, to perform a mimic dance before the Mikados, the descendants and successors of Hohodemi, in which the drowning struggles of their ancestor were represented.
The castle-gate and the tree before it, at the bottom of which is a well which serves as a mirror, form a combination not unknown to European folk-lore. We may also note the partiality evinced for the younger of two brothers, the virtue of spitting and of set forms of speech to bring good or ill luck, and of whistling to raise the wind.
There are several features in this story which betray a recent origin and foreign influences. A comparatively advanced civilization is indicated by the sword and fish-hooks forged of iron (the Homeric fish-hook was of horn). The institution of the Hayato as Imperial Guards belongs to a period not very long antecedent to the date of the Nihongi and Kojiki. The palace of the sea-depths and its Dragon-king are of Chinese, and therefore of recent, origin. The comparatively modern character of this important link in the genealogy which traces back the descent of the Mikados to the Sun-Goddess confirms the view that the ​so-called ancestor-worship of the ancient Japanese is a later accretion upon what was in its origin a worship of the powers of Nature.
Jimmu Tennô.—Though it is difficult to draw clearly a line which shall divide religious myth from legend with an historical kernel, we may conveniently assume that in Japan the latter begins with the story of Jimmu, as it has in all probability a foundation in actual fact, namely, the conquest of Central Japan by an invading army from the western island of Kiushiu some centuries before the Christian epoch.
Jimmu Tennô is said to have been the youngest of four brothers, who lived in the province of Hiuga.
When he reached the age of forty-five, he addressed his elder brothers and his children, saying: "Of old, our Heavenly Deities, Taka-mi-musubi, and Oho-hiru-me, gave this land of fair rice-ears of the fertile reed-plain to our Heavenly ancestor, Hiko-ho no ninigi. Now I have heard from the old sea-father that in the east there is a fair land encircled by blue mountains. Let us make our capital there." So on the fifth day of the tenth month of the year corresponding to b.c. 607 they sailed northwards, and passing through the Bungo Channel arrived at Usa, near the Strait of Shimonoseki.
At this time there appeared the ancestors of the local chieftains of Usa, named Usa-tsu-hiko and Usa-tsu-hime, who built a palace raised on one pillar on the bank of the River Usa, and offered them a banquet. Then, by imperial command, Usa-tsu-hime was given in marriage to the Emperor's attendant minister Ama no tane, the remote ancestor of the Nakatomi House.
​Proceeding on their voyage eastwards through the inland sea, Jimmu and his brothers arrived at the entrance of the river which falls into the sea near Ôsaka. Here they encountered a swift current, for which reason that place was called Nami-haya (wave-swift) or Nami-hana (wave-flower) of which Nani-ha (a later poetical name of Ôsaka) was thought a corruption.
The first encounter of Jimmu's forces with the inhabitants of this part of Japan was not to their advantage:—
"The Emperor was vexed, and said: 'I am the descendant of the Sun-Goddess, and if I proceed against the Sun to attack the enemy, I shall act contrary to the way of Heaven Better to retreat and make a show of weakness. Then sacrificing to the Gods of Heaven and Earth, and bringing on our backs the might of the Sun-Goddess, let us follow her rays and trample them down.'"
Subsequently he proceeded southwards to Kumano, in the province of Kiï, where he embarked with his army in the "Rock-boat of Heaven." In the midst of the sea they suddenly met with a violent wind, and Jimmu's ship was tossed about. Then Ina-ihi, one of Jimmu's elder brothers, exclaimed, "Alas! my ancestors were Heavenly Deities and my mother was a Goddess of the Sea. Why do they harass me by land, and why, moreover, do they harass me by sea." So he drew his sword and plunged into the sea, where he became changed into the God Sabi-mochi. Another brother of the Emperor, Mike Irino, also indignant at this, said: "My mother and my aunt are both Sea-Goddesses: why do they raise great billows to overwhelm us?" So treading upon the waves, he went to the Eternal Land.
​At this time the Gods belched up a poisonous vapour, which paralyzed the energies of Jimmu's troops.
"Then there was there a man by name Kumano no Takakuraji, who had a dream, in which Ama-terasu no Ohokami spoke to Take-mika-tsuchi no Kami, saying: 'I still hear a sound of disturbance from the Central Land of Reed-Plains. Do thou again go and chastise it.' Take-mika-tsuchi no Kami answered and said: 'Even if I go not, I can send down my sword, with which I subdued the land, upon which the country will of its own accord become peaceful.' To this Ama-terasu no Kami assented. Thereupon Take-mika-tsuchi no Kami addressed Takakuraji, saying: 'My sword, which is called Futsu no Mitama, I will now place in thy storehouse. Do thou take it and present it to the Heavenly Grandchild.' Takakuraji said: 'Yes,' and thereupon awoke. The next morning, as instructed in his dream, he opened the storehouse, and on looking in there was indeed there a sword which had fallen down (from Heaven), and was standing point upwards on the plank floor of the storehouse. So he took it and offered it to the Emperor. Then Ama-terasu no Oho-kami instructed the Emperor in a dream of the night, saying: 'I will now send thee the Yata-garasu make it thy guide through the land.' Upon which the Yata-garasu came flying down from the Void, and served as a guide to the army."
The progress of the Imperial troops being again obstructed by the enemy, the Emperor prayed and then fell asleep. The Heavenly Deity appeared to him in a dream, and instructed him to take earth from within the shrine of the Heavenly Mount Kagu, and of it to make eighty heavenly platters. Moreover, he was to make sacred jars, and therewith sacrifice to the Gods of Heaven and Earth, ​pronouncing at the same time a solemn imprecation. This had the desired effect of dispersing the enemy. The Emperor proceeded to utter a vow, saying: "I will now make ame in the eighty platters, using no water. If the ame forms, then shall I assuredly, without effort and without recourse to arms, reduce the Empire to peace." The ame became formed of itself.
Again he made a vow, saying:—
"'I will now take the sacred jars and sink them in the River Nifu. If the fishes, great or small, become every one drunken and are carried down the stream like floating leaves, then shall I assuredly succeed in establishing the land.' So he sank the jars in the river, with their mouths turned downward, and after a while the fish all came to the surface, gaping and gasping as they floated down the stream."
The Emperor then commanded Michi no Omi, saying:
"'We are now in person about to celebrate a festival to Taka-mi-musubi. I appoint thee Ruler of the festival, and grant thee the title of Idzu-hime. The earthen jars which are set up shall be called the Idzube, or sacred jars; the fire shall be called Idzu no Kagu-tsuchi, or sacred-fire-father; the water shall be called Idzu no Midzu-ha no me, or sacred-water-female; the food shall be called Idzu-uka no me, or sacred-food-female; the firewood shall be called Idzu no Yama-tsuchi, or sacred-mountain-father; and the grass shall be called Idzu no No-tsuchi, or sacred-moor-father.'
"In Winter, the 10th month, on the 1st day, the Emperor ​tasted the food of the Idzube, and arraying his troops set forth upon his march."
Among those who made submission to Jimmu was Nigi-haya-hi, of whom it is told that he was a child of the Heavenly Deity, who had come down from Heaven riding in the "Rock-boat of Heaven," and married the sister of a local chieftain named Naga-sune-hiko (Prince Longshanks). His name and that of his son appear very frequently in the Shôjiroku genealogies.
Jimmu took to wife a daughter of the God Koto-shiro-nushi, or, according to the Kojiki, Oho-mono-nushi, by a mortal woman, and having established his capital at Kashihabara, in Yamato, b.c. 660, reigned there until his death, b.c. 585, at the age of 127.
* ↑ See 'Rig-veda,' x. 129, for a similar rationalistic dissertation on the origin of the universe. Here and below the italics indicate translations.
* ↑ In Chinese, Yin and Yang. The Yin is the dark, negative, passive, feminine, and terrene principle; the Yang is light, positive, active, male, and celestial.
* ↑ 'Philosophy of Religion,' i. 269.
* ↑ "Into human shape" is another version.
* ↑ I shall usually omit this purely honorific addition to the names of Japanese Gods and sovereigns.
* ↑ Hirata says that "the five generations of deities which in the Kojiki precede Izanagi and Izanami are only names descriptive of the successive stages of formation of these deities. Their functions are obscure, and they have no shrines or worship. They are unnecessary, as all that are required are two Gods for the creation of Heaven, two of Yomi and two of Earth."
* ↑ There is a close association in Hebrew between the ideas of creation and begetting. Bara, create, and jalad, beget, are often interchanged.
* ↑ See Index.
* ↑ See Index.
* ↑ It was deprived of this character soon after by order of the Mikado's Government, the only monument of the old cult left standing being Nantai (male form), a mountain which towers above Nikko to the height of 8,500 feet.
* ↑ 'Sociology,' ii. 177.
* ↑ See Index, 'Circumambulation.' Also Simpson's 'Praying Wheel,' p. 285, and Jevons's 'Introduction to Religion,' p. 210. The corresponding Highland ceremony, called Deasil, is described in Sir Walter Scott's 'Fair Maid of Perth.' See also Brand's 'British Antiquities.'
* ↑ I 324.
* ↑ A strong suspicion of Chinese origin attaches to these elemental gods.
* ↑ The significance of the wo-bashira, or end-tooth, is explained elsewhere. See Index.
* ↑ See Index—'Peach.'
* ↑ Deified as Chi-gakeshi no Oho-kami (road-send-back-great-deity).
* ↑ Muir's 'Sanskrit Texts,' v. 320.
* ↑ See Murray's 'Japan,' fifth edition, p. 408.
* ↑ See Index.
* ↑ See Dr. Tylor's 'Primitive Culture,' ii. 435.
* ↑ As Horus, in Egyptian myth, confronts the powers of darkness.
* ↑ The Milky Way: a Chinese expression.
* ↑ This is one of several miraculous births and pregnancies in Japanese myth. Mankind have a rooted propensity for imagining that it is possible to improve on the means ordained for this purpose by Divine Providence. See Mr. Hartland's 'Legend of Perseus' for numerous examples.
* ↑ The Kiujiki makes Masa-ya, &c., the son of the Sun-Goddess by Taka-musubi.
* ↑ Represented at Ise by dancers called tonako (bird-cry).
* ↑ 'The Golden Bough,' second edition, i. 115.
* ↑ See Index—'River-deities.'
* ↑ See above, p. 90.
* ↑ Another authority makes Uka no mitama a daughter of Izanagi and Izanami.
* ↑ See above, p. 93.
* ↑ See Index—Futsunushi.
* ↑ Like Odin, who lends his spear Gungmir to heroes to win victories with.
* ↑ I.e., died.
* ↑ It was an Arab custom in certain places to build a hut outside the camp, where the parturient woman had to stay for a time.—Welhausen.
* ↑ There was no official recognition of the art of writing in Japan until a.d. 405, and no mention of calendars until a.d. 553. So much for the authenticity of the above date.
* ↑ Usa is not on the direct route from Hiuga to Yamato. It was no doubt introduced because this place was anciently a famous centre of Shinto worship.
* ↑ This is a specimen of the numerous derivations of the Jimmu narrative. The Idzumo Fudoki is also full of infantile etymologies, which have usually a scrap of legend attached to them.
* ↑ Blade-holder.
* ↑ Yata-garasu means eight-hand-crow. The guidance of conquerors or colonists to their destination by a supernatural bird or beast is a familiar feature of old-world story.
* ↑ Ame is the name of a sweet substance made from millet, of the same nature as our malt extract.
* ↑ The Mikado deputed most of his priestly functions to the Nakatomi.
* ↑ Idzu-hime means dread or sacred princess. Michi no Omi (minister of the way) seems therefore to have been given a feminine title for the occasion, no doubt because the office was usually held by women.
* ↑ It was at this season of the year that the harvest festival, or rather the festival of tasting the new rice, was celebrated. See Index—Nihiname.
* ↑ Japanese history is said to begin from this date. In reality nothing deserving the name existed for nearly one thousand years more.