The Lotus Sutra in Japanese literature: A spring rainThis is a translation of a Spanish lecture presented on 12 April 2013at the SGI-Spain Culture Center in Rivas-Vaciamadrid, near Madrid

Carlos Rubio

W

ill I be able, in little over an hour, to enumerate the properties ofwater to you? And its benefits for the soil and the land? It would
be better to sum it all up in one sentence which we have probably heard
more than once: “Water is the key to life on earth”.
To me, in this day of spring here in Madrid, lavish in fresh andunexpected downpours, beautifully referred to as “harusame” byJapanese people, the water is a metaphor for the Lotus Sutra. I am notgoing to explain this metaphor in terms of what this text stands for to the
Buddhist believer. I do not have the authority to it simply because,
unlike most, if not all of you, I am not gifted with faith. However, I
would venture to talk about the Lotus Sutra—and I ask you to pardon
me for being daring—due to its intrinsic values, as I perceive them,through what I learnt during the two years of supervision of the text,
when I had the honour of collaborating in the Spanish edition of thework which Soka Gakkai is preparing, as well as its connection withsome aspects of the Japanese culture, especially poetry.

Message of Hope: “You will be Buddhas”
In the first scene of the Lotus Sutra (abbreviated from now on as LS)1,
great sages, deities and kings gather in large numbers to hear the
Buddha speaking. After they have presented an endless number ofofferings, the Buddha greets them and enters a state of profoundconcentration. Flowers rain from the sky and the Earth shakes as themultitude awaits the Buddha’s sermon. But then a glow comes from alock of white hair between his eyebrows and illuminates the thousandsof worlds in every direction of the universe. The bodhisattva Maitreya,eager to know the meaning of this wonder, asks Manjushri, who starts
recalling and says that he had witnessed something similar in the distant
past. What is happening now, he remembers, happened long time ago,120

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when the Buddha preached the Sutra of Innumerable Meanings andentered samadhi while the universe was shaking and flowers wereraining from the sky. These wonders were followed by the preaching of
the LS. Therefore, now the Buddha must be ready to preach this sutra
again. So, before the expectation of the multitude, the first chapter of the
LS comes to an end.
In chapter 2, the Buddha rises from his chair and explains how
difficult it is to make his wisdom understandable to those who are not
Buddhas. Neither bodhisattvas will be able to understand it.
Nevertheless, the multitude, with Shariputra as its leader, begs the
Buddha to reveal it. The Buddha finally agrees and explains it by using avariety of “expedient means”. Some monks, having heard about thedifficulty of this supreme wisdom, stand up and leave the place. The
Buddha praises those who stay, by saying: “You, who stay, will be
Buddhas”. That is why at the beginning of chapter 3 of the LS, we see
Shariputra dancing with joy. Then the story enters the first of the many
parables for which this writing is known. Later, it concentrates on its
marvellous merits and the responsibility of those who embrace it: how it
should be copied, recited, spread and explained. The status of the LS is
upgraded to the one of an object of worship. As the praises of this sutra
increase with ever more details, it is easy to line up with the main
characters of the sutra and not realise, like them, that the sermon of the
LS never happens. The text, brimming with merits, dazzling images anda sublime poetic language refers to a speech that is never given: as
George Tanabe says, it is like an extensive preface without a book2. The
intense exaltation of the sutra is the Lotus Sutra itself. Nevertheless,there is actually a fundamental idea in this writing, a message of hopeand joy: all living beings have got the Buddha’s nature and therefore thepotential to attain Buddhahood.

Life-giving Water of the Lotus Sutra into Japanese Culture
Its most extraordinary quality, from the point of view of a non-believer
scholar, lies within the text itself, whose main characters are constantly
praising a sermon that never takes place. As such, it can be read, listened
to, processed and applied in many different ways. Nevertheless, while
this empty text can be deprived of ideas, painted for devotional or ritualreasons, recited as poetry, engraved in stone, or used to obtain politicalpower, to heal sick people, to win the honours or to inspire an artist, it isalso a book, a joyful hymn that has had a tremendous influence over thecultural life of Japan over the centuries.

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the lotus sutra in japanese literature: a spring rainThis Buddhist scripture can be compared with water, amorphous by
nature as liquids are, with the mysterious quality of adapting to and be
moulded by its container. When it does not have a container and it falls,
for example, to the earth, water loses its substance but transfers its
qualities: it gives life and meaning to the earth that it pervades. This iswhat the LS has done with Japanese culture.
Therefore, the LS is exceptional because not only is it subject tomany different interpretations, as it happens with many texts, but it isalso empty at its very heart. It is a circumambulatory text, pure context,
which invites not only to interpret what is said in it, but to fill it withthings that are not said. This invitation implies the liberty to transformthe text into multiple aspects of Japanese culture, to impregnate, as
incense does in a room, every corner and furniture in it, giving them adistinctive character. The object of this speech is to let you take part ofthis aroma or, to stick to the metaphor, to identify the earth impregnatedby the life-giving liquid of the LS. But Japanese culture is an extensive
territory, as the Earth is, and so are its multiples areas—painting,history, philosophy, politics, religion, sculpture, calligraphy, gastrono­
my, architecture—so numerous that we could not discuss them in one
hour, nor am I prepared for it. However, I could speak about a little partof this territory, of this soil into which the life-giving water of the LS
has wonderfully soaked and, as we will see, has grown plants of excep­
tional interest and beauty. This part of the territory is Japanese literature
and a smaller one inside of it is Japanese poetry.
I am going to focus on the latter. Japanese literature, which hasdeveloped in written form for 1500 years, covers an extremely long
period. Thus, I am going to focus only on the centuries from the 7th
through the 13th. It was the time when, on the one end, the aesthetic andliterary canon of the Japanese was developing and, on the other end,
when the influence of Buddhism had started to permeate the courtly
classes and the high clergy, the only ones who picked up the brush towrite. The samples I have chosen will be different—both in genre andthe time when they appeared—because I want this diversity to be thesymbol of the many different influences of the LS over the Japaneseculture. These samples are:1) The mythological prose or pseudo-history of the Kojiki2) The narrative work The Tale of Genji, for many one of the finest
work of classical Japanese literature.
I will borrow the ideas about those two works outlined by the SGI
President Daisaku Ikeda in Koten o Kataru, a book of the 1970’s which
has not been translated into Spanish yet, but it has in English, written inthe lotus sutra in japanese literature: a spring rain

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the form of conversations with the historian Makoto Nemoto3.
3) Poetry: the poems scattered both throughout imperial anthologies
and the individual anthologies of some poets, especially three ofthem: princess Senshi, SaigyØ and Jien.
I have gleaned some of them from the anthology El pájaro y la flor(“The Bird and the Flower”) and some others from the article by
Yamada ShØzen, « Poetry and Meaning: Medieval Poets and the Lotus
Sutra », which belongs to the work The Lotus Sutra in Japanese
Culture.
1) Kojiki, a seedbed of Japanese Literary
Kojiki, meaning “Record of Ancient Matters in Japan”, is a work firmly
placed in the misty bridge that separates history from myth. It is theoldest extant literary work of Japan. It is full of gods and heroes who
liven up through their acts the immense, dynamic and multicolour
tableau that announces the beginning of the Japanese civilization.
This book, a mixture of half-legendary stories, myths about thecreation, songs, poems and genealogies, recognised nowadays more forits literary and anthropological value than for its historical one, waspresented at the Japanese court in March 712; however, it had probably
been written long before, in the 7th century, and many of the songs andlegends might have been created at a much earlier stage, when theJapanese society was illiterate. The compilation of the Kojiki in the reignof emperor Temmu in the last quarter of the 7th century coincides with aperiod of intense absorption of Buddhism in the courtly circles of Japan.
Let us remember that Buddhism officially gets to the Japanese court in
the middle of the 6th century from the west—Korea and China—eventhough it is thought to be known a few decades before, maybe not only
from China but from India or the southern routes. It seems likely that thesources of the Kojiki existed in the Japanese court of the 7th century,
when Buddhist texts started to be known and appreciated. It is known,for example, that prince ShØtoku (574–622), revered in the next
generations as the incarnation of Bodhisattva Kannon, was a Buddhist
devotee of the Lotus Sutra. This famous statesperson—even though
today there are doubts that he actually wrote it—made public its“Commentaries on the Three Sutras” in which he chose the LS together
with two others. It seems that prince ShØtoku appreciated that scripture
because it was very popular in the China of his time and in particular
because it was easy to understand for many people as it used parables
and simple literary expressions.
However, who did more to elevate Buddhism to the category of “State124

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religion” was emperor ShØmu (724–749), who founded Buddhist
temples in every province of Japan. He issued an edict that the LS
would be read and recited in every women’s monastery. These
monasteries would be called “Temples for the removal of the sins by thegrace of the LS”, even though the removal of the sins is not mentioned
in any of the chapters of the LS. The LS, together with the Sovereign
Kings of the Golden Light Sutra and the Benevolent Kings Wisdom Sutra
were considered as “the three sutras that protected the country”.
I am referring to these historical facts in order to show that the LS
was well known in the Japanese court of the end of the 7th century when
the Kojiki was compiled and in the 8th century when it was published.
The Japanese scholar Hideo Kanda has proved that Buddhist texts,
especially the LS and the Sutra Vimalakírti, had a deep impact on thecompiler Ō no Yasumaro from a literary perspective4. I will mention
three or four of his findings:a) One of the most distinctive features of the Kojiki is how cleverly
old songs blend into the narrative of the prose text. This is an
imitation of the ge (gåthå)—part in verse—poems used in
Buddhist texts to praise the Buddha, to summarize the main
points of the doctrine or as a mnemonic device that madememorization easy.
b) In the myths and legends of the Kojiki, when someone addresses
a deity or sovereign, he/she uses the honorary verb po or haku.
This use was probably taken from Chinese translations of
Buddhist texts. For example, in chapter 16 of the LS we findthese lines: « The bodhisattva Maitreya and others said to the
Buddha ». In the original Chinese text, the word « said » is given
with the term po or haku. The use of this word as an honoraryverb and with this meaning is rarely found in the Confucianclassics that were known in Japan since the 5th century.
c) In the Kojiki, the songs and the names of places and of people orgods are written in sinograms used for their phonetic value andnot for their semantic value. This system had already been usedby the Chinese people or Chinese translators to transcribe namesthat were not Chinese in sinograms. It was used by Kumarajiva(344–413) in his translations of the LS and other scriptures. For
example, chapter 26 of the LS includes transcriptions of thedharani or Hindu mantras according to this system.
They also used the practice of the sinograms to express words from
Sanskrit or Pali, the languages of India, such as arhat, ashura, påramitå,upåsaka or sahå, unknown in non-Buddhist Chinese texts, likethe lotus sutra in japanese literature: a spring rain

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Confucian ones. In order to recreate the sounds of the Japanese
language of the 7th century, the Kojiki uses the same group of sinograms
than the ones used in the LS.
d) In chapter 24 of the First Part, the Age of the Gods, of the Kojiki,
when the god Okuninushi is forced to surrender his land, thedeities sent by Amaterasu descend to Izasa beach, in Izumo,
where they « drew his ten-fists-length-sword, and stood it
sticking upside-down on a wave, and sat cross-legged on the tipof the sword »5. The sinogram used to express the position of“seated cross-legged” is fuza. In the LS, the exact same wordwith the same sinogram is used to express the position used by
Buddha when he is meditating, precisely kekka fuza.
e) In the Kojiki the word jØshin (to become a Shinto deity) seems tohave been patterned after the word jØbutsu (to become a Buddha)of the LS. This is also true of others like: kangi (grace, blessing),
hinkyË (poverty), shitto (jealousy), yØgyØ (to wander).
Now, if we consider the Kojiki a seedbed of literary and aesthetic
values of Japanese culture, would the influence of the LS in its pages
have spread also to the next cultural expressions, with the overwhelming
porosity of water pervading the Earth?
2) Genji monogatari, a classic Novel of Shining Prince
I would like to focus on the influence of the LS on the work that is
considered by many to be the key work of the classic literature of Japan.
The Tale of Genji by the noblewoman Murasaki Shikibu. It is believedthat this 1200-pages masterpiece, divided into 54 chapters, was written
between 1001 and 1006; it is one of the most important works of theuniversal fiction. The main character is Prince Genji, a model of virtue
and artistic skills. In the novel he is presented under three different
aspects: as a lover or the Japanese version of a Don Juan; as a politician(he ends up being the emperor’s father-in-law, an enviable position atthat time, despite the low social status of his mother); and as a religiousman. The two main subjects of the novel are the impermanence of life
and the inevitability of death.
To which extent can we discern the influence of the LS on thismasterpiece? Well, at the time it was written, Heian Buddhism wasdominated by two main schools: Tendai and Shingon or “True Word”.
The Genji mentions evil spirits and descriptions of prayers andexorcisms used to save people about to die, a practice strongly
associated to the Shingon school; moreover, there are many evidences ofthe belief in Amida Buddha’s Paradise. In the book already mentioned,

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written in the forms of dialogues with Japanese historian Makoto
Nemoto, SGI President Daisaku Ikeda quotes the scholar Kikan Ikeda,
in particular his work Genji monogatari jiten (“Encyclopedia of the Taleof Genji”) to comment on revealing aspects of the influence of the LS onthis work.
Let us see some of them:a) In this work, Prince Genji is normally referred to as Hikaru Genjior Shining Prince. The idea of the light that sparkles andemanates from the body of someone of great beauty or holinessseems to have entered Japan through Buddhist scriptures inwhich it is associated to the Buddha. Something similar happens
with one of the other heroes of the work, prince Kaoru, whosename means « perfume ». In this case, it is not light but fragrance
that emanates from his body and it is compared to the « perfumeof the sandalwood of the Ox Head Mountain »6, a perfume given
off by the real believer, according to chapter 23 of the LS.
b) In chapter 19 of the Genji, called « A Wreath of Cloud »,Fujitsubo’s death is described with these words: « While she was
speaking, she expired like a candle burning out ». It is a
description based on the following lines of the first chapter of the
LS: « That night the Buddha entered extinction, as a fire dies out
when the firewood is exhausted ».
c) In chapter 47, called « Trefoil Knots », there is a reference to thebodhisattva Never Disparaging described in chapter 20 of the LS.
d) In chapter 53 of the Genji, « Writing Practice », a monk called
Yokawa no SØzu speaks about Lady Ukifune whose origin is still
unknown to him: « if this lady is what she seems to be, a young
woman of a well-to-do family, then the secret will not be kept for­ever. By this I do not mean that there are not beautiful young
women in the lower classes. Our world is such that even a
dragon’s daughter can be saved... » This might refer to thefamous history of the Dragon King’s daughter in chapter 12 of
the LS, who attains Buddhahood even though she is low-born.
e) The commentaries on the Genji of the 14th century such asKachØ yojØ by IchijØ Kanera and in KogetsushØ by Kitamura
Kigin of the 17th century, offered detailed considerations about
the influence of Buddhist scriptures over Genji monogatari. The
similarity, which had already been detected at that time, between
the famous scene called “Critical evaluation of a rainy night” inthe second chapter, in which prince Genji and his friends value
the qualities of women, and the “three stages of preaching”

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explained in the LS, is well known.
Which are these stages? In the second chapter of the LS called« Expedient Means », Shakyamuni preaches the doctrine of the shohØjisso according to which the variety of the phenomena of the worldshows the real aspect of the eternal truth. But none of his disciples, withthe exception of Shåriputra, was able to understand it and attainenlightenment. This way of explaining the doctrine is known as thehossetsu-shË or preaching by theory. After realising this, Shåkyamuni
used parables like the one of the three carts and the burning house—theycan be read in the third chapter. The result was that a few disciples(SubhËti, Kåtåyana, Kåshyapa and Maudgalyåyana) understood andattained enlightenment. This method is called yusetsu-shË or preaching
through examples. Thirdly, thinking about the disciples with lesscapacity like Purna, who still failed to understand, he preached thedoctrine of the causes of previous lives, telling stories of past Buddhas’
lifes. This method is called innen-shË or preaching through causes, as it
is shown in the chapter of the LS.
Now, in the mentioned chapter of the Genji the discussion starts withthe observation of women in general. Later it goes on with thedescription of hypothetical types of women, which corresponds to theparables of the sutra. Finally, every friend tells his personal experienceswith women, which corresponds to the stories of previous lives of thesutra.
f) Regarding the contents, we must draw attention to anotherinteresting and maybe deeper similarity. Buddhism starts withfacing the most fundamental facts of life: birth, aging, illness anddeath. It deals with them from different points of view, it tries to
explain them and it offers some ways to overcome them andrescue the individual from his/her inevitable reality. In short, it
offers an understanding of the true aspect of life itself. The
doctrine of ichinen sanzen or “three thousand realms containedin a single moment of life” of Tendai school represents the
crystallisation of Buddhist thought as it is shown in the LS.
For its part, literature, as we can define it, is an attempt to discover thereality of life facing the phenomena and daily life situations of people.
In terms of the Ten Worlds of the existence, it is an attempt to improvefrom the ninth world of the existence to the comprehension of thehighest world—the world of Buddhahood. In terms of the nine layers ofconsciousness, it is an attempt to move from the sixth or the seventh
layer of consciousness to the ninth. The philosophy of Genji and of theauthor’s idea of literature is shown in « Drake Fly » chapter. The author

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writes: « if the author wishes to write well, then he/she chooses goodthings; if the author wishes to grab the readers’ attention he/she chooses
bad or really bad things. But the good and bad things are all things andsituations of this world we live in and not of any other. Condemningthem as lies because they are fictitious would mean to go away from thetruth of life. Even in the writings that Buddha drew from his noble heart
there were parables and means to point out the truth indirectly. To theignorant, they don’t seem to have a clear goal. The Great Vehicle is fullof them, but the general load is always the same. The difference between
enlightenment and confusion is of the same order as the difference
between the good and the bad in the novel. If one adopts a generous
point of view, there is nothing empty or useless ».
There is another work written, of course, by a woman around thesame time as the Tale of Genji, in which there is a clear reference to the
LS. It is the The Pillow Book, by Sei ShØnagon. There is a passage thatstands out in the book: the author—the book, a collection of sparkling
episodes, is written in the first person—must leave the room where she
is listening to a sermon and asks for a cart pulled by oxen to pick her up.
At that moment one courtier who is sitting next to her tells her not to do
the same as the “five thousand who walked out”7. This line shows thatthe content of the LS—in this case the incident of the five thousand
arrogant monks who stood up and walked out because they did not wantto listen to the Buddha’s preach previously mentioned—must have been
known in the Japanese imperial court in the 9th and 10th century. This isalso confirmed by illustrations in folding screens of that time. We knowthat “Devadatta” chapter was a favourite subject during the talk of the“Eight conferences about the LS”, when the courtiers take part inprocessions and play kings carrying wood and water as servants of thesage Asita.
3) Garden of Poetry, imbued with Sacred Powers
Our third journey about the influence of the LS on the vast territory ofJapanese literature will be through a garden, a garden of lights andshadows, made out either of stones or sand, moss or flowers, but always
exquisite. This garden is Japanese poetry.
What is poetry within the Japanese cultural tradition, so different
from the Western one? Few cultures have cherished poetry with so muchcare as the Japanese one. The reasons might be different: the sacredvalue (kotodama) given to the poetic word since the dawn of Japanese
civilization, the close association of the imperial court with the poetic
exercise, the important social function of poetry among the courtly

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classes during the centuries of the so-called Heian period (794–1185).
The ability to compose and appreciate poems in those centuries was an
essential requirement in order to progress in the world. Such omni­
presence of poetry as a prestigious social gesture can hardly be found ina Western society. Emulating the social function of Chinese poetry in
the Tang dynasty, Japanese poetry of that time and of the previous
centuries occupies a similar place, differences aside and with a different
content, to the one of the press and television in our time. It createdpublic opinion and was its strongest expression together with imperial
edicts. Its advantages were multiple. Because it had dignity, it was avehicle for communications within the court and for official
appointments. Because it was a work of art, it gave the right to express
ideas that were considered outrageous if expressed through any othermeans. Because it was allusive, it could escape the rigours of censor­
ship. Because it could express the deepest emotions of a human being, it
could be an instrument of the expression of affections and religious
feelings. And this is where the poetry imbued with the spirit, ideas andimages of the queen of Buddhist scriptures—the LS—comes into play.
In one temple of the present Japanese province of Shimane, theformer region of Izumo, there is a monument which proclaims to be theplace where Japanese poetry made its first whimpers heard. According
to tradition, its author was a god, Susanoo no Mikoto. The divine poem
might have been adapted from materials of the 5th or the 6th century inorder to adjust it to the form that was put in writing in the 7th century
and compiled in the Kojiki, a work that we have already considered. The
belief in divine authorship of the first poem would have important
cultural consequences in Japan. For example, it would legitimize thetireless sponsorship of the poetic exercise provided by emperors, whowere thought to have divine lineage in traditional Japan. It was acommon idea before, during and after the compiling of that first poem
that Japanese poetry was imbued with supernatural powers forrepresenting a deity. From the 6th century, when Buddhist ideas began
to slowly enter Japan, it was natural that the prayer to the god adopted
the form of a poem according to the old belief of the centuries before
the 6th century, or that, as we will see, the Buddhist devotee to the LS
honoured this scripture with a poem or used it to increase his/her
religious faith. In many texts, the devotee writes the poem and offers it
at the pillar of the Shinto sanctuary or includes it in an anthology of
Buddhist poetry. In his famous preface to the KokinshË of the early 10th
century, Ki no Tsurayuki, the first Japanese author of poetic precepts,
reminds us that Japanese poetry « moves without effort heaven and130

the lotus sutra in japanese literature: a spring rainearth, stirs the feelings of the spirits and of unseen gods »8. Many worksof the liturgical theatre named Noh which flourishes in the 15th century
and keeps being performed in modern Japan are imbued with the sameidea. Also, in the long list of imperial poetic anthologies—a table isgiven below—there is no shortage of Buddhist religious poems, with theones related to the LS standing out.
Generally speaking, Buddhist poetry written in Japan consisted ofthree different classes:a) poems based on sutras (shakkyØka)b) poems about rituals and religious servicesc) miscellaneous poems which are not included in the above classes
The three classes were also present in China, with which Japan had
shared devotion to poetry as a vehicle for religious expression since thefirst centuries when Buddhism was known there.
In the first group, poems based on sutras, the poet extracts a line froma sutra and uses it as the main theme or title. The second ones were usedin ceremonies like the Eight Lectures on the LS (Hokke hakkØ), aboutnirvana (nehan kØ), the consecration of temples, funeral services, etc.
The third ones were related to Buddhist beliefs or activities, like thepoems in glorification of Bodhisattva Kannon, pilgrimages to MountKØya, etc.
In numerical terms, the first group—the sutra poetry—is the core of
Buddhist poetry; and the heart of this core is made up by the poems
about LS. After all, the heart of Buddhism is the sutra and Buddhist
poetry evolves from this heart.
Our journey through the presence of the LS in Japanese poetry isgoing to be divided into three stages:
A)		8th century, in Nara periodB)		Late 8th–late 12th century, in Heian periodC)		Late 12th–14th century, in Kamakura period
In general terms, the three stages correspond to the so-called Nara,
Heian and Kamakura periods in Japanese cultural history.
A) Nara period (710–794)
The collection of the Man’yØshË anthology, one of the most interestingcollections of Japanese literature as it includes poems still relatively freefrom the influence of Chinese thinking and Buddhist ideas, dates fromthe 8th century. However, the 3rd volume of this anthology includes thefirst poem about the LS. It was written by prince Ishihara:
Inadaki ni

Peerless is the gemthe lotus sutra in japanese literature: a spring rain

kisumeru tama wa
futatsu nashi
ka ni mo kaku ni mokimi ga ma ni ma ni

131

That I wear on my locks;
Such are you to me
That my hearts moves at your will.9

This undoubtedly love poem is based on chapter “Peaceful Practices”
which speaks about the wheel-turning King who gives his best soldiersdifferent rewards except the most valuable one: a jewel hidden in its
bun.
From a religious point of view, it is impossible to say that there arepoems based on the LS in the Man’yØshË.
However, there are two poems of volume 16 which seem to be basedon the LS that were inscribed on the surface of a musical instrument, asort of harp or koto, found in the Salon of Buddha of the Kawaharamonastery. Yet they are not based on the LS but on other sutras. One
poem of GyØgi monk (668–749) collected much later in a poetic
anthology called ShuishË (1005–1011) is actually based on the LS. It
clearly refers to “Devadatta” chapter. It reads:
Hoke kyØ owaga eshi koto wa
takigi korina tsumi mizu kumi
tsukaete zo eshi

For collecting firewood,
Gathering herbs,
And carrying water,
My reward is
The Lotus Sutra.

The poem is based on a legend about the Buddha who, in a previous life
as a king, renounced his kingdom and became the servant of a sage,
performing humble occupations like the ones described in the first threeverses in order to receive the teaching of the LS from the sage.
B) Heian period (794–1185)
During these three centuries, the figure of a woman shines as the moonon a clear night: a poet, princess Senshi (964–1035), who compiles acollection of poems called Hosshin wakashË (“A Collection of Poemson the Aspiration for Enlightenment”, compiled in 1012) which can be
accurately considered the first poetic anthology about sutras. Although
she was a shrine maiden at Kamo Shrine, the princess was also a pious
Buddhist—no contradiction! According to what she writes in the prefaceof her work, she knew that poetry was effective in the praise of Buddhist
scriptures. Neverthless, because she herself was a woman who having
been born in Japan, did not know Chinese or Sanskrit, she decided to132the lotus sutra in japanese literature: a spring rainpraise the Buddhas and Bodhisattvas through the 31-syllable waka.
Were women illiterate at that time, including members of the imperialfamily? Allow me to speak about the literary Japanese society of that
period. It will help us to appreciate more this woman’s extraordinary
contribution to Japanese Buddhist poetry.
The words waka and kanshi open the doors to the social reality of thetime in which this remarkable woman, princess Senshi, lived. Wakameans poetry written in hiragana letters, which are letters with phonetic
value—that is each letter represents a sound. Kanshi refers to the poetry
written exclusively in Chinese—that is in sinograms. Both are Japanese
poetry. They only differ in their writing—that is their graphic support.
There are also some other differences. For example, waka poetry can be
about feelings and emotions, while in general terms kanshi poetrycelebrates landscapes, historical facts or matters of China. Well, kanshi
and waka were socially antagonistic realities. The first one was an allmale preserve, as only men were allowed to study Chinese and its
writing. The second one, with a predominantly lyric and emotional
content, rather belonged to women: heirs of an ancient tradition of oral
literature, they were those who took it over. But in which writing could
they give expression to such an emotional poetry if they were excluded,
because of their sex, from studying sinograms? In a writing system thatthey developed themselves, probably a thousand years before princess
Senshi was born, which was so typical of them that it was known as“woman's hand” (onna de): a limited number of simple phonograms(kana) derived from the complex sinograms or kanji. It is the syllabarythat today we call hiragana, used by Japanese children to learn to read
and write. The graceful curves of its strokes compose an elegant andfree writing, maybe more personal and appropriate to suggest court
ladies’ emotions both in prose and in verse. Separation between bothpreserves was strict. In fact, well into the 10th century, when our
distinguished Buddhist princess Senshi was born, a Japanese literate
person or poet could not lose his dignity by writing neither in feminine
kana nor in the emotional waka. So when the courtier and poet Ki no
Tsurayuki, who flourishes at the beginning of that century inserts poems
waka in a prose work also written in waka called the « Tosa Diary »(Tosa nikki) of year 935, he pretends to be a woman in order not to lose
his social status. The vehicle of Japanese poetry (waka), of the poems
written by princess Senshi in praise of the LS was therefore discovered
thanks to the illiteracy of Japanese court women who could not read the
difficult Chinese sinograms. It will also be the vehicle for the splendid
literature in prose of the two next centuries, like The Tale of Genji, inthe lotus sutra in japanese literature: a spring rain

133

which we already find the influence of the LS, a literature of women(nyobo bungaku). Some modern Japanese critics have found in thisliterature a formidable feminine mockery of the withered and boring
erudition of the men of that period. At the time of princess Senshi, in
their poetry they described subjects, landscapes and people of the distantChina that almost nobody had seen or known. Those Japanese of the10th century studied the poetry of Li Bo and the volumes of Chinese
poetic anthologies. They boasted of their literary diction and theirloyalty to distant models. The greatest compliment for them would bebeing compared with a Chinese master. They adopted Chinese names
and felt happy when in dreams they entered into communion with theiradmired masters of the distant China. Furthermore, there was interest:
through their erudition about Chinese matters they could aim at holding
a high position in government, as in the fateful case of Sugawara no
Michizane, or being honoured with the imperial commission of a poetic
anthology, like the abovementioned Tsurayuki. Nothing can be more
contrary to the poetic motivation of women than this. To begin with,promotion or social climbing by means of erudition was impossible towomen simply because of their sex; for the same reason they did nothave access to official education. In addition, they had the advantage ofwriting in their mothertongue, the language of emotions through which
they felt and spoke.
Princess Senshi composed the first complete corpus of sutra poetry inJapan in this language. Within her collection there are no less than 55
poems, the titles of which are lines from different sutras. 31 of them areabout LS. These 31 poems include one poem on each of the 28 chaptersof the LS, one poem each on the opening and closing sutras and one
additional poem based on the lines “we beg to take this merit” from the“Parable of the Phantom City” chapter. That the poems related to the LSamount to over half of the total of the collection reveals the deep
influence of the Tendai sect, which regarded the LS as its fundamental
scripture above the rest of Buddhist scriptures.
Despite the importance of the collection of princess Senshi for thedevelopment of sutra poetry, there is an interesting precedent of theinfluence of the LS on courtly circles. A passage in volume 11 of thework HonchØ monzui (“Elegant literature of Japan”) refers to the“preface to poems composed in praise of the 28 chapters of the LS”.
According to this passage, when the empress Fujiwara Senshi died in
1001, the all-powerful minister Michinaga—who was her brother—invited poets such as Fujiwara Yukinari, Minamoto Toshikata andFujiwara KintØ to compose poems using the chapters of the LS as titles.

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Although other poets such as the mentioned GyØgi or monk HenshØ hadcomposed poems on the LS, as far as we know they had never used
before the names or lines of the chapters of the LS as titles. The poets
under Michinaga must have been conscious that they were doing it for
the first time.
Moreover, in light of princess Senshi’s assertion—ten years after thisassignment—saying that because she was a woman she resolved topraise the LS by composing waka, it can be inferred that Michinaga andhis poets decided to use waka and not kanshi, which would have beennatural given that they were men and knew kanji, because the deceased
to whom the poems were dedicated was a woman: the empress HigashiSanjØ-in or Fujiwara Senshi (wife of emperor EnyØ). This fact demon­
strates two things:
The popularity of the waka poetic form in the Japanese court of thelate 10th century even among men, and secondly the knowledge anddiffusion of the LS among the courtly circles of that period.
Other factors that allow us to measure the popularity of sutra poetry
in the Japanese court of those centuries are poetic anthologies, that
almost always enjoyed prestige due to the sponsorship of the emperor.
They are the famous imperial anthologies which regularly mark the
poetic history of Japan between the 10th and the 16th century.
GoshuishË, compiled in 1088, was the first imperial anthology to con­tain poems under the heading “Buddhist poetry” (shakkyØka). However,in that anthology they still did not merit a separate chapter of their own.
This happened in 1183 with the anthology SenzaishË, with 44 poems inchapter 19, also called shakkyØka, more than the 33 of chapter 20 called“Shinto poetry” (jingika), suggesting Buddhist poetry was alreadyhighly esteemed at that time. All the anthologies compiled after this one
would contain one chapter dedicated exclusively to Buddhist poetry.
Therefore, the connections between literature and Buddhism weredeveloped specially through the 31-syllable poetic form called waka.
The conclusion that can be drawn is that over the centuries sutra
poetry became a tradition in imperial anthologies. What about private
anthologies?
Furthermore, the most famous poets of the centuries of Heian andKamakura period used to include poems about sutras. For instance,
Fujiwara Tadamichi (1097–1164), regent and prime minister before
Genpei wars, included poems on each of the 28 chapters of the LS in its
TadamichishË for instruction at the Japanese court, or better, at the very
centre of the Japanese court given that his daughter Teishi (KujØ-in) was
married to emperor Konoe.

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135

Poems about Buddhist sutras in Japanese classical poetry(period 1086–1439)
Imperial
anthology
GoshuishË
SenzaishË
ShinkokinshË
ShinchokusenshË
ShokugosenshË
ShokukokinshË
ShokushuishË
ShingosenshË
GyokuyoshË
ShokusenzaishË
ShokugoshuishË
FugashË
ShinsenzaishË
ShinshuishË
ShingoshuishË
ShinshokukokinshË
TOTAL

Compilation
Date
1086
1188
1206
Around 1234
1251
1265
Around 1278
1303
1313–1314
Around 1320
1325–1325
1344–1346
1359
1364
1383

Number of
Number of Ratio of sutra
Buddhist poems sutra poems
poems
19
8
42,1%
54
35
64,8%
63
38
60,3%
56
33
58,9%
52
28
53,8%
73
38
52,1%
66
43
65,2%
106
56
52,8%
110
51
46,4%
106
46
43,4%
42
21
50,0%
63
34
54,0%
118
41
34,7%
78
33
42,3%
35
19
54,3%

1439

66

29

43,9%

1107

553

50,0%

C) Kamakura period (1185–1333)
or the Shinkokinshū period
We know that emperor Go-Shirakawa at the end of the 12th century
composed a poetic anthology called RyØjin hishØ containing 22
Buddhist poems of which 114 are about the LS. The emperor, who loved
popular poetry, learned imayo songs from a shirabyoshi dancer andcourtesan called Otsumae. When she became ill, it is said that theemperor recited the LS and prayed for her recovery; he also copied athousand LS for the first anniversary of the dancer’s death.
The three poets who best represent the poetry of that time were
SaigyØ, Jien and Fujiwara Shunzei.
a) SaigyØ (1118–1190)
In his work KikigakishË, there are poems arranged in order on the 28
chapters of the LS and also one poem on “The Parable of the Phantom
City” chapter and one on “The Universal Gate of Bodhisattva
Avalokitesvara” chapter. It makes a total of 30 poems. One of thecharacteristics of his sutra poetry is the apparent darkness of the allusion

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to the sutra, which can only be understood if we consider previous
Buddhist works.
Examples:About  
“Preachers of the Dharma” chapter of the LS
If a man devotes to the Lotus Sutra a single moment of rejoicing, onhim, too, I confer the prophecy of the supreme and perfect enlighten­ment”.
Natsu kusa nohitoba ni sugaru
shiratsuyu mohana no ue ni watamarazarikeri

Even the white dew
Clinging to every blade
Of summer grass
Does not accumulate
On this flower.

But how are the title of the poem and the title of the sutra related to eachother? Why does not the dew accumulate on the flower? The author
wrote this poem from the point of view of the work Dainichi kyØ sho, acommentary on the work Dainichi kyØ, written by the Chinese monk I
Hsing and commented by Kukai, the founder of the True Word School,
about the concepts of conditional prophecies and unconditional
prophecies.
The word “flower” in the poem clearly refers to the LS and the dew is
the standard metaphor for conditioned things, that is, the transient natureof life. That the dew does not accumulate on the flower means that theprophecies of the LS are unconditional prophecies of perfectenlightenment. Unlike the summer leaves, the smooth perfection of thelotus flower does not allow the transient dew to cling with the vagaries
of conditional prophecies.
About “The Universal Gate of Bodhisattva Avalokitesvara” chapter:(The sun of wisdom) that can subdue winds the flames of misfortune /And everywhere give bright light to the World…
Fukaki ne nosoko ni komoreru
hana ari toii hirakazuba
shirade yamamashi

Had I not been told
Never would I have known
That hidden deepWithin the root
Lies a flower.

This poem is based on the work of Kukai Hoke kyØ kaidai, in which
he says that the exquisite lotus flower (MyØhØrenge) is the secret namethe lotus sutra in japanese literature: a spring rain

137of the bodhisattva Kanjizai or Avalokiteßvara, popularly referred to as
Kannon.
b) Jien (1155–1225)
Buddhist monk, historian and maybe one of the most representative
poets of his age, as is attested by the fact that he had 92 poems includedin the anthology that takes the pulse of the poetic climate of his century
ShinkokinshË, second only to SaigyØ.
Of course, he also wrote poems about the LS, maybe because his
school, the Tendai sect, reveres this scripture as their fundamental one.
His collection named ShËgyokushË (A gleaning of treasures) includes
poems on the 28 chapters of the LS. There is a section in it based on one
hundred lines of different chapters of the sutra. The first observation thatcan be made of his sutra poetry is that he viewed this sutra as theunsurpassed vehicle of enlightenment and salvation.
« Preachers of the Dharma » Chapter
The Dharma Blossom is foremost...
Haru no yama
aki no nohara onagame sutete
niwa ni hachisu nohana o miru kana

Abandoning distant views
Of spring mountains
And autumn fields,
I see only the lotus blossom
In my own garden.

In the context of this chapter, it is clear that Jien speaks of giving up
views of the mountains even if covered with flowers in spring or bytinted leaves in autumn, that is to say, abandoning the various Earlier
Buddhism teachings, for there is nothing better than to look at the
beauty of the lotus flower which he grows in his own garden of theTendai School.
His view of the supremacy of the LS is reflected in these other poems:« Expedient Means » Chapter
The suchness of their nature...
Tsu no kuni no
Naniwa no koto mo
Makoto to wa
Tayori no kado no
Michi yori zo shiru

Even the truth of Naniwa
In the province of Tsu
Can be apprehended
From the path leading
To the steadfast gate.

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The landscape at Naniwa changes with the four seasons, but we canknow its true nature, just as we can know the true form of all things,
through the teachings of the « expedient means », which is, to him, thegate of entry into the LS. Jien is confident that this sutra provides the
key that will unlock the truth in all things.
The second characteristic of Jien as a sutra poet is his capability to use
images and words used by other poets who were famous in his time orin the past. In this regard, it should be recalled that at that time theimitation of formal elements was not considered plagiarism or ademonstration of lack of originality, but rather a matter of respect andsensitivity towards tradition, qualities that are not much appreciated in
traditionally individualistic cultures like ours, the Western ones.
The next two poems written by two poets of his time provide theimagery used in the above poem. Here is one by SaigyØ:Tsu no kuni no
Naniwa no haru
Yume nareya
Ashi no kareha ni
Kaze wataru nari.

Spring at Naniwa
In the province of Tsu
Is now but a dream:
The wind sweeps over
The withered reeds.

SaigyØ’s poem is itself patterned after the one below, which was writtenby the monk NØin in the anthology GoshuishË one hundred years before(mentioned in the list of anthologies displayed):
Kokoro aramu
Hito ni miseba ya
Tsu no kuni no
Naniwa watari no
Haru no keshiki o

How I wish to show
Someone of feeling
The sight of spring
Sweeping through Naniwa
In the province of Tsu.

By alluding to these two poems—in particular, the motifs of spring,Naniwa and Tsu—he places his sutra poem within the prestigious
current of waka, but he dedicated it to praise the LS. While SaigyØ andNØin dwell on the changing feelings that spring brings, Jien, the highpriest of Tendai, stresses that underlying those transformations is theconstant truth of the LS.
c) There is another poet, Fujiwara Shunzei or Toshinari (1114–1204),the compiler of the anthology SenzaishË and father of the renowned

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poet Fujiwara Teika. His personal collection named ChØshË eisØcontains a set of 28 poems on the LS arranged in order.
Here is a sample:« Medicinal Herbs » chapter
Since I have niether “that” nor “this”; Nor any thought of love or
hatred...
Harusame wa
Ki no mo ka no mo no
Kusa mo ki mo
Wakazu midori ni
Somuru narikeri

The spring rain,
Soaks this and that,
The grasses and trees.
Dyeing them all green,
Without distinction.

The spring rain falls indiscriminately here and there, on green grasses
and on trees, causing flowers and leaves to flourish. Similarly, theBuddha’s compassion falls generously and widely over all people andcauses them to flourish. The parable of the three kinds of herbs and two
kinds of trees, one of the seven great parables in the LS, appears in thischapter. It likens the Buddha’s compassion to the spring rain which falls
equally over all plants causing them to grow and flourish according totheir different nature; so too, the Buddha’s teaching spills equally overeveryone and can benefit everyone, but depending upon the differencesin the individual recipients, there will be distinctions in how they receiveit.
In this rainy spring in Madrid, with so much harusame, it was a joyful
and refreshing coincidence that we finished this lecture speaking aboutwater. Is there a better metaphor for the wonderful goodness of the
Lotus Sutra than water?
Here today, the water that has given life to many species chosen
among the splendid richness of the garden of Japanese literature, helped
us, I hope, at least to glimpse the wonderful effects of its qualities. As
water, it has adapted to each shape, has impregnated all and has given
life to whatever it touched. This crystalline current formed by 69.380
magic water drops—the number of the sinograms (kanji) of the LS—
keeps refreshing and purifying the men and women of our time, as
yesterday did.
Water and earth: the Lotus Sutra and Japanese culture.

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Notes
The Lotus Sutra and its Opening and Closing Sutras, translated by B. Watson(Tokyo: Soka Gakkai, 2009).
2
The Lotus Sutra in Japanese Culture, George J. Tanabe Jr. and Willa Jane Tanabe
edition (Honolulu: Hawaii U.P., 1989), p. 2.
3
On the Japanese Classics (New York and Tokyo: Weatherhill, 1979).
4
On the Japanese Classics, op. cit., p. 81.
5
Kojiki, translated from the Spanish edition by C. Rubio and R. Tani (Madrid: Trotta,
2008) , p. 130.
6
The Tale of Genji, translated from the Spanish edition by J. Fibla (Girona: Atalanta,
2005).
7
The Pillow Book, translated from the Spanish edition by I.A. Pinto, O. Gavidia andH. Izumi (Lima: Universidad Pontificia de Peru, 2002) .
8
KokinshË, translated from the Spanish edition by C. Rubio (Madrid: Hiperión,2005), p. 87.
9
The translations of the poems are all from The Lotus Sutra in Japanese Culture, op.
cit.
1