The Press., 1922-09-28
GOD OF WEALTH
Japanese Deity Whose Favor
 Naturally Is Sought.
Worshipers at His Shrine, However, Are Comparatively Few Consider
 Ing His Reputed Powers.

Japan's Seven Gods of Good Luck" are clan of deitfes from which phi lOsophy, religion and superstition have borrowed much of their origin.
 They are a queer set of deit1es, swept together from many incongruouS sources-Japanese ShintOism, Chinese TaOism, Indian Buddhism and Brah- manism. Orientals all, but cOsmOpolt- tan OrientalS!
 They comprise, to give them their full names, Ebisu, DalkOku, Benten, FaburOpuju, BashamOn, Jurijin and Hotel
 A full discussion of their origin and attributes would doubtless reveal how slender 8 basis the modern popularity of these divinities has been reared on. Their union in one group is the result of nothing more recOnd1te than popular ignorance and confusion Of ideas They themselves never chose to be thus united. They reign in an ideal state, for they have no king or even spokesman among them. Col lectively they command perennial, per petual and everlasting interest. Ind1- vidually they celebrate their own festi- vals and each can boast of an entirely different group in his train of dev- otees.
 On Dalkoku's birthday a few of his disciples will worship at his shrine at Azabu and in Osaka. It seems so strange to say "a few" for of all the gods in the cycle of Japanese mythol- fV,k al fhA god of wealth, should find greatest favor! But perhaps he has not proved himself to be gracious to supplfants Perhaps eff1cacious influences have not been felt in result of worship at his shrines-or is it that even he, the god of wealth, has failed to live up to the extravagant standard our present-day civilization has set as a basis to con- tentment?
 Daikoku is a Hindu and Buddhist. The word 'Dafkoku" means great blackness," and when he first came to Japan he was a god of physique and frightful aspect with a face as black as night. Since his naturalization Daikoku has thrown off some of his native characteristics and has adopted a new mode of living, the chief of his models being OkukikushinomokOto, a famous god in the mythology of Japan.
 In the old records this god was represented carrying a large bag on his shoulders. As there is a similarity Ogy, in this material age, Daikoku, the Japanese people somehow mixed up | the two characters and mOlded them into one perfect deity who combines | the good points of both. Makhala (Sanscrit) was the original name by which he was known in India, where he was feared as god of destruction. His immigration to Japan has changed his incarnation to that of wealth and plenty.
 He stands or sits on three bales of rice, having In one hand the usudeno- kozuchi or the lucky hammer from which he can produce anything in the world he chooses to, from a palace down to gold or silver, man or beast He carries on his back a bag full of treasures of all sorts, while rats are his earthly messengers and oftentimes he is represented with one on either side of him, waiting to do his bidding. Daikoku is generally coupled with Ebisu, the god of tradesmen. Though they are of totally different birth, race, religion, etc, they have been linked together and one seldom sees the one without the other in close propinquity. Although Diakoku is not c god to whose shrine worshipers flock, his popularity Is told by the number of metallic images of his divinity which are bought and carried as amulets by people seeking wealth.
 Shall we test this jovial little mans pOwers2 Go to his shrine and beseech him to command a shower of. gold, or carry his image in our pocket and see if we find it gold-lined by night? We are snobs-all of us-of one kind or another. We don't care for money" say some haughtily, having none "1 don't know how to spend my money" complains a millionaire. It's DaikOku's turn to speak and If he but could he would strip the world of its snobbism and no doubt reveal a race of human beings all alike in their allegiance to him, the god of wealth