Lafcadio Hearn's Japan (15 page)

“S
AMÉ
!”

Sharks! I have no longer any desire whatever to swim through the many-sounding halls of Shin-Kukedo-San. I have lived in the tropics!

And we start forthwith for Ky
Å«
-Kukedo-San, the Ancient Cavern.

V

For the ghastly fancies about the Kami-no-umi, the word “samé” afforded a satisfactory explanation. But why that long, loud, weird rapping on the bow with a stone evidently kept on board for no other purpose? There was an exaggerated earnestness about the action which gave me an uncanny sensation, something like that which moves a man while walking at night upon a lonesome road, full of queer shadows, to sing at the top of his voice. The boatwoman at first declares that the rapping was made only for the sake of the singular echo. But after some cautious further questioning, I discover a much more sinister reason for the performance. Moreover, I learn that all the seamen and seawomen of this coast do the same thing when passing through perilous places, or places believed to be haunted by the Ma. What are the Ma?

Goblins!

VI

From the caves of the Kami we retrace our course for about a quarter of a mile; then make directly for an immense perpendicular wrinkle in the long line of black cliffs. Immediately before it a huge dark rock towers from the sea, whipped by the foam of breaking swells. Rounding it, we glide behind it into still water and shadow, the shadow of a monstrous cleft in the precipice of the coast. And suddenly, at an unsuspected angle, the mouth of another cavern yawns before us; and in another moment our boat touches its threshold of stone with a little shock that sends a long sonorous echo, like the sound of a temple drum, booming through all the abysmal place. A single glance tells me whither we have come. Far within the dusk I see the face of Jiz
ō
, smiling in pale stone, and before him, and all about him, a weird congregation of gray shapes without shape,—a host of fantasticalities that strangely suggest the wreck of a cemetery. From the sea the ribbed floor of the cavern slopes high through deepening shadows back to the black mouth of a farther grotto; and all that slope is covered with hundreds and thousands of forms like shattered haka. But as the eyes grow accustomed to the gloaming it becomes manifest that these were never haka; they are only little towers of stone and pebbles deftly piled up by long and patient labor.

“Shinda kodomo no shigoto,”
my kurumaya murmurs with a compassionate smile; “all this is the work of the dead children.”

And we disembark. By counsel I take off my shoes and put on a pair of zori, or straw sandals provided for me, as the rock is extremely slippery. The others land barefoot. But how to proceed soon becomes a puzzle: the countless stone-piles stand so close together that no space for the foot seems to be left between them.

“Mada michi ga arimasu!”
the boatwoman announces, leading the way. There is a path.

Following after her, we squeeze ourselves between the wall of the cavern on the right and some large rocks, and discover a very, very narrow passage left open between the stone-towers. But we are warned to be careful for the sake of the little ghosts: if any of their work be overturned, they will cry. So we move very cautiously and slowly across the cave to a space bare of stone-heaps, where the rocky floor is covered with a thin layer of sand, detritus of a crumbling ledge above it. And in that sand I see light prints of little feet, children's feet, tiny naked feet, only three or four inches long,—
the footprints of the infant ghosts
.

Had we come earlier, the boatwoman says, we should have seen many more. For it is at night, when the soil of the cavern is moist with dews and drippings from the roof, that They leave Their footprints upon it; but when the heat of the day comes, and the sand and the rocks dry up, the prints of the little feet vanish away.

There are only three footprints visible, but these are singularly distinct. One points toward the wall of the cavern; the others toward the sea. Here and there, upon ledges or projections of the rock, all about the cavern, tiny straw sandals—children's zori—are lying: offerings of pilgrims to the little ones, that their feet may not be wounded by the stones. But all the ghostly footprints are prints of naked feet.

Then we advance, picking our way very, very carefully between the stone-towers, toward the mouth of the inner grotto, and reach the statue of Jiz
ō
before it. A seated Jiz
ō
, carven in granite, holding in one hand the mystic jewel by virtue of which all wishes may be fulfilled; in the other his shakuj
ō
, or pilgrim's staff. Before him (strange condescension of Shint
ō
faith!) a little torii has been erected, and a pair of gohei! Evidently this gentle divinity has no enemies; at the feet of the lover of children's ghosts, both creeds unite in tender homage.

I said feet. But this subterranean Jiz
ō
has only one foot. The carven lotus on which he reposes has been fractured and broken: two great petals are missing; and the right foot, which must have rested upon one of them, has been knocked off at the ankle. This, I learn upon inquiry, has been done by the waves. In times of great storm the billows rush into the cavern like raging Oni, and sweep all the little stone towers into shingle as they come, and dash the statues against the rocks. But always during the first still night after the tempest the work is reconstructed as before!

“Hotoke ga shimpai shite; naki-naki tsumi naoshimasu.”

They make mourning, the hotoke; weeping they pile up the stones again, they rebuild their tower of prayer.

All about the black mouth of the inner grotto the bone-colored rock bears some resemblance to a vast pair of yawning jaws. Downward from this sinister portal the cavern-floor slopes into a deeper and darker aperture. And within it, as one's eyes become accustomed to the gloom, a still larger vision of stone towers is disclosed; and beyond them, in a nook of the grotto, three other statues of Jiz
ō
smile, each one with a torii before it. Here I have the misfortune to upset first one stone-pile and then another, while trying to proceed. My kurumaya, almost simultaneously, ruins a third. To atone therefor, we must build six new towers, or double the number of those which we have cast down. And while we are thus busied, the boatwoman tells of two fishermen who remained in the cavern through all one night, and heard the humming of the viewless gathering, and sounds of speech, like the speech of children murmuring in multitude.

VII

Only at night do the shadowy children come to build their little stone-heaps at the feet of Jiz
ō
; and it is said that every night the stones are changed. When I ask why they do not work by day, when there is none to see them, I am answered: “O-Hi-San
²
might see them;
the dead exceedingly fear the Lady-Sun
.”

To the question, “Why do they come from the sea?” I can get no satisfactory answer. But doubtless in the quaint imagination of this people, as also in that of many another, there lingers still the primitive idea of some communication, mysterious and awful, between the world of waters and the world of the dead. It is always over the sea, after the Feast of Souls, that the spirits pass murmuring back to their dim realm, in those elfish little ships of straw which are launched for them upon the sixteenth day of the seventh moon. Even when these are launched upon rivers, or when floating lanterns are set adrift upon lakes or canals to light the ghosts upon their way, or when a mother bereaved drops into some running stream one hundred little prints of Jiz
ō
for the sake of her lost darling, the vague idea behind the pious act is that all waters flow to the sea and the sea itself unto the “Nether-distant Land.”

Some time, somewhere, this day will come back to me at night, with its visions and sounds: the dusky cavern, and its gray hosts of stone climbing back into darkness, and the faint prints of little naked feet, and the weirdly smiling images, and the broken syllables of the waters, inward-borne, multiplied by husky echoings, blending into one vast ghostly whispering, like the humming of the Sai-no-Kawara.

And over the black-blue bay we glide to the rocky beach of Kaka-ura.

VIII

As at Mitsu-ura, the water's edge is occupied by a serried line of fishing-boats, each with its nose to the sea; and behind these are ranks of others; and it is only just barely possible to squeeze one's way between them over the beach to the drowsy, pretty, quaint little streets behind them. Everybody seems to be asleep when we first land: the only living creature visible is a cat, sitting on the stern of a boat; and even that cat, according to Japanese beliefs, might not be a real cat, but an o-baké or a nekomata—in short, a goblin-cat,
for it has a long tail
. It is hard work to discover the solitary hotel: there are no signs; and every house seems a private house, either a fisherman's or a farmer's. But the little place is worth wandering about in. A kind of yellow stucco is here employed to cover the exterior of walls; and this light warm tint under the bright blue day gives to the miniature streets a more than cheerful aspect.

When we do finally discover the hotel, we have to wait quite a good while before going in; for nothing is ready; everybody is asleep or away, though all the screens and sliding doors are open. Evidently there are no thieves in Kaka-ura. The hotel is on a little hillock, and is approached from the main street (the rest are only miniature alleys) by two little flights of stone steps. Immediately across the way I see a Zen temple and a Shint
ō
temple, almost side by side.

At last a pretty young woman, naked to the waist, with a bosom like a Naiad, comes running down the street to the hotel at a surprising speed, bowing low with a smile as she hurries by us into the house. This little person is the waiting-maid of the inn, O-Kayo-San,—a name signifying “Years of Bliss.” Presently she reappears at the threshold, fully robed in a nice kimono, and gracefully invites us to enter, which we are only too glad to do. The room is neat and spacious; Shint
ō
kakemono from Kitzuki are suspended in the toko and upon the walls; and in one corner I see a very handsome Zen-butsudan, or household shrine. (The form of the shrine, as well as the objects of worship therein, vary according to the sect of the worshipers.) Suddenly I become aware that it is growing strangely dark; and looking about me, perceive that all the doors and windows and other apertures of the inn are densely blocked up by a silent, smiling crowd which has gathered to look at me. I could not have believed there were so many people in Kaka-ura.

In a Japanese house, during the hot season, everything is thrown open to the breeze. All the sh
ō
ji or sliding paper-screens, which serve for windows; and all the opaque paper-screens
(fusuma)
used in other seasons to separate apartments, are removed. There is nothing left between floor and roof save the frame or skeleton of the building; the dwelling is literally
unwalled,
and may be seen through in any direction. The landlord, finding the crowd embarrassing, closes up the building in front. The silent, smiling crowd goes to the rear. The rear is also closed. Then the crowd masses to right and left of the house; and both sides have to be closed, which makes it insufferably hot. And the crowd make gentle protest.

Wherefore our host, being displeased, rebukes the multitude with argument and reason, yet without lifting his voice. (Never do these people lift up their voices in anger.) And what he says I strive to translate, with emphases, as follows:—

“You-as-for! outrageousness doing,
—what
marvel-ous is?
“Theater is not!
“Juggler is not!
“Wrestler is not!
“What amusing is?
“
Honorable
-Guest
this is!

“Now august-to-eat-time-is; to-look-at
evil
matter is
.

 Honorable returning-time-in-
to-look-at-as-for-is-good.”

But outside, soft laughing voices continue to plead; pleading, shrewdly enough, only with the feminine portion of the family: the landlord's heart is less easily touched. And these, too, have their arguments:—

“Oba-San!
“O-Kayo-San!
“Sh
ō
ji-to-open-condescend!—want to see!
“Though-we-look-at, Thing-that-by-looking-at-is-worn-out-it-is-not!
“So that not-to-hinder looking-at is good.
“Hasten therefore to open!”

As for myself, I would gladly protest against this sealing-up, for there is nothing offensive nor even embarrassing in the gaze of these innocent, gentle people; but as the landlord seems to be personally annoyed, I do not like to interfere. The crowd, however, does not go away: it continues to increase, waiting for my exit. And there is one high window in the rear, of which the paper-panes contain some holes; and I see shadows of little people climbing up to get to the holes. Presently there is an eye at every hole.

When I approach the window, the peepers drop noiselessly to the ground, with little timid bursts of laughter, and run away. But they soon come back again. A more charming crowd could hardly be imagined: nearly all boys and girls, half-naked because of the heat, but fresh and clean as flower-buds. Many of the faces are surprisingly pretty; there are but very few which are not extremely pleasing. But where are the men, and the old women? Truly, this population seems not of Kaka-ura, but rather of the Sai-no-Kawara. The boys look like little Jiz
ō
.