Ichinen
TEMPLE
That morning,
contrary to his usual practice, the Reverend had joined us in a drink to speed my
friend Banto on his way. For some time after Banto's departure, he sat with his
feet in the sunken fire place, his chin resting on the quilt-covered frame that
concealed it. After a while, he said, "I shall have a little nap,"
and without ceremony stretched himself out on the floor.
For the past
four or five days, I had been staying at the priests' quarters of the Central Hall
of Yokawa, one of the three groups of buildings that make up the monastery on
Mt. Hiei. Banto, who happened to visit Kyoto at just the same time, had come up
from the city to see me the previous evening. He and I had shared the same room
with the Reverend, and that morning Banto, after a rapid inspection of the
monastery's two other precincts, had left for Kyoto again. I myself had
promised him to leave the following day and join him for a day or two's relaxation
in Kyoto.
Yokawa, the
remotest of the temple's three precincts, is also the loneliest of them all. Founder's
Hall, two or three hundred yards away, attracts a sprinkling of worshipers on some
days, but Central Hall has scarcely a single visitor the whole year round. A
massive structure, it seems almost to dwarf the cryptomerias about it. The
doors on all sides are shut fast, and the inside is pitch dark, save for solitary
lamp which burns day and night in the blackness before the altar, and which is
visible if one peers through a hole, about one foot square, in the door at the
front. The priests' quarters form a separate building standing about twenty
yards from the Central Hall. Here the Reverend dwells alone, without even a
manservant to help him prepare his meals. I myself had helped him with the cooking
during the days I had spent there.
The Reverend
was lying hunched up like a prawn, with only his round pate protruding from the
quilt. He seemed to have gone fast asleep. His priestly duties consisted solely
of reading the sutras to himself for one hour and a half every day in the Central
Hall; apart from that, there was nothing for him to do. The time for reading
the sutras was not even fixed; morning, afternoon, or evening would do equally
well. If he felt sleepy, there was nothing to stop him from sleeping, even in
the morning. A lonely lot, but an easy one, too. . . .
I left the
Reverend's room and went back to my own, near the entrance hall. Seating myself
on my cushion, I propped myself up against the low table and listened. Silence.
No gale roaring in the trees, no birds singing even. It was terrifying almost,
as though the silence were building up to a climax. Suddenly, I heard a sound
hke rain going drip, drip. . . . Startled, I opened the sliding doors and looked
out. It was raining, and I had not realized. The drops hanging from the eaves glistened
and fell, glistened and fell. I felt cold, and shut the doors again.
For some two
hours I worked, oblivious of all else. "When I came to, the Reverend was
still asleep, the rain still falling gently. Something seemed to be astir in
the kitchen. Puzzled, I went and looked. A young novice, his robe white in the
dark kitchen, was standing before the sink, washing something which proved to
be the breakfast dishes, which had left dirty. He looked at me and smiled
cheerily, but omitted to bow.
"What
temple are you from?" I asked.
"Founder's
Hall," he replied in a loud voice. "Why didn't you come for your bath
last night?" he continued, as though addressing someone of his own age.
"I had a
cold."
"After I'd
heated it upspecially for you, too. . . ."
"You?
Sorry. I'll have one next time."
"I'm going
home tomorrow."
"Where's
that?"
"My real
home's in Tokyo, butI've got an aunt in Kyoto. Tomorrow, I'm going to her
place."
"Whereabouts
in Kyoto does she live?"
"Gion."
I was somewhat
taken aback. Gion was the celebrated geisha quarter.
"Where's
Gion?" I asked, to test him.
"What,
don't you know Gion? Gripes!" His tone implied infinite scorn. "How
long are you here for?"
"Me? I'm
going to Kyoto tomorrow too. . . .Don't bother, there's a cloth here, I'll do
the wiping."
"No, give
it here and let me do it. . . . Going to Kyoto tomorrow, eh? Just when d'you think
you'll have a bath ‘next time,' then? Silly ass, the bath's only heated once
every five days." I was no match for his nimble wits.
"I see.
That means I can't have a bath at the Founder's Hall again. What a pity."
"No pity
about it! There are plenty of decent baths in Kyoto, aren't there, without
using messy ones like that. Kyoto beats Tokyo for baths, don't you know,
There's a first-rate one in Kyogoku—steam-heated!"
"When did
you become a novice?"
"February."
"This
year?"
"Mm."
"When did
you leave Tokyo?"
"Last
year. I came here after I left elementary school. You heard of Sakurada
Elementary School? That's where I was. Old Yamazaki and Kaida are putting on
airs just because they'll be in second grade at junior high school this year.
They wrote to me about it. Bad writing, as I expected. Now, I ask you—isn't it
disgraceful for people who put on airs like that not to write decently?"
He put the dishes
and bowls away in the cupboard, cleaned out the kitchen, and followed me into
my room without so much as aby-your-leave.
"Studying? Whatever d'you come to this place for? For a
holiday?" He sat down on the other side of the charcoal brazier and,
taking up the notebook I had left open on my desk, began to abuse efforts in no
uncertain tones. "Cripes! Look what
he draws! Awful, aren't they?
I'm much better."
Seen in the light of my room instead of the dark kitchen, he was
quite a good-looking boy. Twelve or thirteen, he had a fair complexion, large eyes
and firmly-drawn lips.
"I say,
what's this you've drawn? 'Buddhist altar'?
Whoever saw a Buddhist altar like that! Cripes! Look here, now—you've got the
altar far too big and the side-tables far too small. I had no artistic talent to
begin with, and the pictures which I had drawn to save long written explanations
were attacked without mercy.
"What's
this—‘Think on Kwannon in the morning; think on Kwannon at eventide; thoughts arise
from the mind; thoughts are not separate from the mind.' Silly ass! Is this the kind of thing you write? You
really are a fool!"
He looked into
my face, his big eyes full of amused scorn.
"What
d'you think you are.'' What d'you do for
a living? Copying down all kinds of funny things. . . . " He went on as if
talking to himself; at the same time, he took out a pencil from between the
pages and began to sketch my face. He glanced up and drew, glanced up and drew
again.
"No
good—you move. Perhaps I'll try the Reverend here instead. Got a big head,
hasn't he?' See here, like this. Then his ears . . . just like a bat's. When
I'm talking to him it's always his head and ears I look at, you know."
Gradually his voice rose in pitch.
"And his
ears move too, you know! It's funny-when something sets them off they waggle
like a cat's. Awfully funny, I thought!"
The Reverend
groaned and, thrusting a pale arm out over the quilt, rubbed it with his other hand.
"That's
enough, now," I said. "You musn't say unpleasant things about people.
You're an ill-mannered brat, that's what you are".
I gave him
three cakes.
"Thanks,"
he said, cramming one into his mouth without delay.
The Reverend
yawned. "My word, I slept well," he said, sitting up. "So you're
here are you, Ichinen. Now you musn't get in the visitor's away."
"Me get in
the way?" He was drawing in my notebook a picture of the Reverend yawning,
his face all mouth. A balloon proceeding from the mouth contained the words
"Here are you Ichinen now don’t get in the visitors way." Another
balloon proceeding from one of his ears said "these ears
Waggle.” I burst out laughing despite myself
"The
Reverend at the Hojuin told me to tell you he was going down to town
today," said Ichinen innocently. He glanced at the Reverend and started
another likeness, this time in spectacles, The Reverend had, in fact, assumed a
large pair of tortoise-shell framed spectacles and was examining something
written on a piece of paper.
"Let me
see, the twelfth, isn't it?" he said absentmindedly.
"No, it's
the fourteenth," I said.
"The
fourteenth, is it? Well, now. Let's see, was it the day before yesterday that
you came?"
I had been
there for five days, but it felt like a month. How lax of the Reverend, I
reflected.
"How do you like butterburs? Or fermented soybeans,
perhaps?"
"I can't take the beans, but butterburs would be nice, thank
you."
"Well, then, I’ll make you some baked butterburs before you go
tomorrow. It's raining today, but there are lots of them over by Tosotsu
Valley. Ichinen, get some tomorrow morning if it's fine, will you?"
Ichinen,
affecting not to hear, was writing in the notebook, in square characters,
"Ichinen born Oct. 2nd 1895."
"Baked butterburs?" I queried.
"One
skewers the butterburs, covers them with bean-paste, and bakes them," the
Reverend explained. "Most tasty, I assure you. I'm sure we'll have you
singing their praises—so long as you don't dislike butterburs, of course."
"They
sound excellent. Tosotsu Valley—that's the other side of the Eshin Mausoleum,
isn't it? Let me go and get them, then."
I had had
nothing but vegetarian food—and that consisting mostly of boiled beans, broiled
bean curds, and bean paste—ever since my arrival. Soup with fresh bean curd, or
spinach, was unobtainable without a lucky delivery of bean curd and spinach from
Sakamoto, at the foot of the mountain. In such circumstances, the mere mention
of baked butterburs set my mouth watering. Already their fragrance seemed to
fill the room.
Ichinen was
ferreting about on my desk. My safety razor caught his attention.
"I say, what's
this!"
"A
razor."
"A razor? Cripes!"
You shave with a razor like this? Does it cut well?" He was twisting it
busily in his fingers.
"Now Ichinen,
why don't you help in the kitchen or something instead of getting in the visitor's
way?"
"He's
already done a great deal," I said. "He's washed up every single dish
and bowl."
"Has he, now. That was good of him. Then I wonder if I could
bother him to boil up a kettle of water?"
Ichinen was
silent, playing with the razor still.
"How d'you
sharpen it?"
"Like
this." I showed him.
"Cripes!"
He took it back. "When did you shave? Here, show me. No? Cripes!"
"Gripes" served him to express both admiration and dissatisfaction.
"Ichinen,
boil the kettle, wont you," repeated the Reverend unhurriedly.
"Don't you
hear? the Reverend's talking to you," I said.
"So you
won't shave? Silly ass!" said Ichinen, casting a glance of unutterable
regret at the razor as he went off to the kitchen. In no time the sound of pine
needles crackling suggested that he had lit the fire under the kettle.
"Quite a
sharp lad you’ve got there," I said.
"Full of
mischief, I'm afraid. But then, he's good at memorizing the sutras. Useful.
Properly brought up, he'd turn out well, I don't doubt. . . ." He paused.
"It seems to be raining badly. Poor Mr. Banto. . . . Dear me, eleven
o'clock." He took his feet out of the sunken fireplace and stretched. His
huge head tickled my fancy. The pine needles were still crackling, but there
was no other clue as to what Ichinen was up to.
The Reverend
took the wooden frame off the top of the fireplace, which was disclosed
directly beneath, then put the kettle on, and brushed up the dust round about,
throwing it on the fire.
"I think
I'll have a cup of tea. Won't you join me if you're having a break?"
"Thank
you," I said, seating myself on the other side of the fireplace.
"I always
use a rattan pillow,evenin winter, you know. ... I don't know what happened
today, my head'squite numb." He rubbed it with the palm of his hand, on
the right side, which had been underneath. The red mark left by the edge of the
pillow was, in fact, visible on his cheek.
"It must
be because you slept on one side without turning over."
"I never
turn over very much at any time. The scriptures insist that one sleep on one's
right side, with one's head pointing north and one's face to the west. It's
often difficult to keep to the northwest rule strictly, for reasons of space,
but most priests observe the part about sleeping on the right side. The thing
they object to most is sleeping on their backs. If you sleep on your back, they
say, you have lewd thoughts. Then again, it's said: 'the man who peddles
lewdness sleeps on his back.' So with one thing and another, we're supposed to avoid
it like the plague Reasons apart, though, it would be rather shocking for someone in orders to sleep sprawled
out on his back, wouldn't it?"
He divided the
lastfew drops in the teapot evenly between my cup and his own. The steam from
the iron kettle rose in a straight line which vanished somewhere in the
vicinity of his face.
"How old
are you. Reverend?"
"Well,
now, a nice round figure."
"Fifty?"
"That's
right. Around next year or so I shall begin feeling things are a bother without
a novice or a man to help with the meals."
"I should
think so, too! Is Icliinen the Hojuin's exclusive property?"
"He's a bit
too much for them to manage. They've been asking me to look after him, but I
suspect he'd be a bit too much for me, too." He chuckled and crumbled a
cake on the palm of one hand, eating it carefully with the other. He pressed a
finger on the crumbs that fell on the edge of the fireplace, and conveyed them
to his mouth.
"Reverend,"
came Icliinen's voice, "The kettle's boiling. Goodbye!"
"Is it,
now. Thank you. It's midday, so why don't you have a bowl of something simple
before you go? Do, now. Ichinen, Ichinen.
. . .!"
He stretched up
from his seat and called out in a loud voice. His ears did, indeed, move a
little. I recalled Ichinen's drawing in my notebook and wanted to laugh. But
Ichinen himself must have left by the back entrance, for there was no reply.'
TEA HOUSE
"Is that
the famous 'red apron'?" I said to Oen, a maid at the tea house
"Ichiriki."
"That's
right," she said, trimming the wick of a candle with a slightly affected
gesture
"We’re not the only place that has it, but the way it's
tucked up under the sash is different from other places."
"Won't you
stand up and show me?" said Banto. "Is it long?"
She stood up
without replying and unfastened the apron from under her sash. A broad apron, made
by joining two wide strips of crimson crepe, spilled down on to the tatami like a ceremonial curtain, hiding
her neatly aligned feet. It seemed to gather to itself all the light from the
forest of candles on tall stands that thronged the large room. At that moment,
a young apprentice geisha, exactly like one of the dolls I had seen in the
shops on Shijo Street that day, appeared from behind a screen cover with silver
foil. Simultaneously, a voice from behind the screen announced;
"Miss Michitose."
The young
geisha knelt before us and, bowing with fingers pressed on the tatami before
her, greeted Oen.
"Good
evening. Miss Oen." Dimples appeared in the thick makeup, and the lips
shone like the irridescent wings of beetles. Now the red of Oen's apron was
folded back in its proper place, and a brilliantly colored Kyoto doll sat on
the tatami in its place.
"How old
are you?"
"Thirteen."
"Such a
sweet little thing, isn't she?" said Oen, filling a miniature silver pipe
with tobacco. "We see her every day, but each time it strikes us all over again."
"That's an
odd way of tying a sash," I said to the young geisha.
"This? You
do it like this, then you take it up and fold it this way, then you let it hang
like this,"
She said,
demonstrating with a red handkerchief on her lap. Her white fingers entwined
attractively with the red.
"What do
you call it?"
“Darari.”
"And your
hair?"
"Kyoto
style."
"The
combs?"
"Combs?"
She put a white hand up behind the front part of her hair. "Flower comb.
And this one holds the front hair in place. What are you drawing?" She
peered over at my notebook.
"Michitose,
did you pay your respects at the kokuzo shrine today?" asked Oen. Kokuzo
was the god of wisdom.
"Mm."
"What did
you pray to him for?"
"To make
me brighter, as I'm so stupid."
Another doll
emerged from behind the screen.
"Miss
Matsuyu," said the voice.
She seated
herself beside Michitose.
"Did you
go to the Kokuzo shrine today?" she asked, taking Michitose's hand on her
lap.
"Mm."
"You
didn't look back on your way home?"
"No, I
didn't look back." Michitose pressed her both hands to her mouth, one over
each dimple, to hide a giggle.
"Sounds
interesting," I said, "Tell me."
"They say
if you look back on your way home from the Kokuzo shrine you lose your wisdom again,"
said Oen. "They say that Somegiku at ‘Kanaya' forgot and looked back, and
she went stupid after she got home. Oh dear!"
"Nasty!"
exclaimed Michitose and Matsuyu simultaneously, each frowning and putting a
hand behind her back to pat her sash in identical fashion. It was as though two
puppets had moved together on the same string. Of the two sashes hanging from the
middle of their backs, Matsuyu's was the longer, and trailed on the tatami.
"What do
you call the way your sash's tied?" I asked her.
"Sash? Darari"
"Your
hair?"
"Kyoto
style." The same as Michitose.
Two more dolls
appeared together from behind the silver screen.
"Miss
Kichifuku."
"Miss
Tamagiku."
"Good
evening, Miss Oen."
"Good
evening. Miss Oen."
They sat down
side by side on the other side of the tall candlesticks. The two on this side
might have been their reflection in a glass, they were so alike.
"What
style are your sashes done in?" I asked again,
"Sashes? Darari.'' said Kichifuku, looking at Tamagiku.
"Your hair?"
"Kyoto
style," said Tamagiku, looking at Kichifuku.
"You
always ask the same things," said Michitose, laughing and peering at my
notebook again.
"Kichifuku,
he's drawing your face. He's done it awfully strange."
They all
laughed and looked at Kichifuku, who covered her face with the middle part of
her long sleeve.
"Oh
dear!" she exclaimed bashfully. "Miss Oen, what about the shamisen player?"
"I sent
for Ohana. She'll be here any moment. Tell me, do you take part in the Miyako
Odori?" The "Miyako Odori" was the annual program of dancing and
music put on for the public by the apprentice geisha of Gion.
"Yes."
"Just
dancing?"
"Dancing
and hand-drum."
"And you,
Michitose?"
"Just
dancing."
Next there
appeared from behind the screen a woman in her fifties, carrying a shamisen.
"Miss
Ohana."
"Good
evening, Miss Oen."
"Good
evening."
"Good
evening."
"Good
evening."
"Good
evening."
The four dolls
vied with each other in bowing to the elderly geisha.
A child brought
more candles. Ohana took her shamisen
and sang "The Four Seasons in the Capital." The four girls danced
side by side. They were all pretty, Michitose the prettiest of them all. When
the others finished, she stayed on and danced by herself.
The song of the lion playing among the
peonies . . .
Ohana's voice
swelled out over the accompaniment; it was a little husky, but it came over
well.
At How wondrous is His swift-given grace . . . they clapped
their hands and Michitose spun round with her fan drooped down from her hand.
At Have him wait a little, she said. . . the
excitement mounted, and at When they
dance the Lion Dance, ... she stamped spiritedly with her foot.
I left the room
to go to the toilet, and went down the stairs. I must have been drunker than I
realized, for I staggered slightly.
"Be
careful," said Oen, who was following after me.
I could still
hear the voice faintly behind me: And sat
in the lion s own place ...
Parties were in
progress in three of the downstairs rooms too. I was washing my hands when someone
spoke behind me.
"You here?"
I turned round
and saw Ichinen.
"What do you
mean, saying you don't know Gion!" he said, coming up as if he was glad to
see me again. "Did you come down today?"
"I came
down the day after you. This your aunt's place?"
"No, it
isn't."
"Come and
join the party!"
"No!"
"Why? I'll
apologize for you if you get into trouble, so come on!"
I took him by
the hand and led him back to the room with me.
Swore to be true for ever . . . On the pilgrimage of the forty-eight
temples, chanting the Buddha's praises . . .
Matsuyu was
dancing to Ohana's accompaniment. Seeing me come back with Ichinen, Ohana
smirked as she sang. Both Kichifuku and Tamagiku broke into smiles. Oen chuckled.
I soon realized that they were not laughing at me, but were staring first from
Michitose to Ichinen, then back again.
"Here's Ichinen. Do you know him?" Micliitose asked me,
beckoning Ichinen to sit beside her. He sat next to her obediently.
"And where
did you meet the happy pair, Mr.— ?" asked Oen.
"Happy
pair?" I asked, astonished.
"You see,
I'm in love with Ichinen," said Michitose. "They all make fun of me.
But I don't care. Do I, Ichinen?" She looked round at the assembled
company, her pretty little mouth pursed defiantly.
"Hark at
the little spoony!" said Ohana, flapping at the air with her plectrum.
Ichinen picked
up my notebook.
"At it
again!" he said.
Michitose
peered over at the book, brushing her pretty face against Ichinen as she did
so.
"He was
drawing all kinds of things a while ago," she said. Look, don't you think this
picture's queer?"
"Awful, I
think. Who's it supposed to be? You?"
"Actually,
it's Kichifuku. I expect he drew her because he's fond of her. What's that
picture there? What a big-headed old priest! Did he draw it? Oh, you? So that's
the Reverend at Yokawa, is it? Is his head really as big as that? And his ears,
too?
Ugh!
'These ears waggle.' Do they really? How queer! Matsuyu, he says the priest's
ears at Yokawa waggle. Isn't it queer?
"Awfully
queer. Ichinen, do they really Yes? What
funny ears!"
"Ichinen,
did you go to elementary school?" asked Michitose.
"Of
course. What about you?"
"Yes, I
left last year. And you?"
"Last
year."
"We're the
same, then. Were you good at school?"
"I was
first. Nothing but 'A's."
"Really?
Wonderful."
"And
you?"
"In first
grade I was third from the bottom, but in second grade I went up to
fourth—really—and I was still fourth when I left. I had one 'B,' too!"
"What was
it?"
"Physical
training."
He wrote an
ideograph in my notebook and showed her.
"Michitose,
do you know this character?"
"No, I
don't know such difficult characters. Do you?"
"It's the
'ro' in the name of the Shurogon Hall up at Yokawa."
"How
should I know stuffy religious things like that? Then do you know this
one?"
"You know such queer characters?"
"We geisha
use it at the end of letters."
"How should I know silly geisha words? Then
do you know this one?"
"That's a difficult one. No, I don't know it."
"It's the name of one of the 'Three Sutras.'"
"Well, then, do you know this one? You mustn't look till I've
written it." She wrote something, covering the notebook up with her long
sleeve. Her 'flower comb' shone charmingly in the light of the candles.
"You can
look now. How do you read this?"
"Cripes!
What a lot of silly scrawling!"
"You two
are just playing with my notebook, I interposed." I know what I'll do:
I'll send it to the Reverend at Yokawa and tell him that Ichinen’s got a wife
and that this is the kind of mischief the two of them get up to. How would that
be?”
"I don't
care! Silly ass!"
"If you
tell tales on Ichinen, I'll do something dreadful to you. I'll kill you next
time you come!"
"Oh, I'm
scared," said Matsuyu. "Aren't you scared, Mr. —? I'm sure it would hurt
if Michitose killed you."
"I might
bleed a whole drop of blood."
"Go on,
tease me—I don't care! I say, Ichinen, let's both pay him back, shall we?"
"Shall I draw
his stupid face? Like this—square, isn't it?"
"That's
right!"
"His eyes
turn down at the corners like this, don't they?"
"That's
right!"
"And his
nose bent?"
"That's
right!"
"And his
head pointed?"
"That's
right!"
''And his neck
long?"
"That's right.
It's really awfully like him. Look, Matsuyu. It's awfully like Mr. —, isn't it?
Isn't Ichinen good at drawing?"
"Perhaps
it would be better if you did something for your living instead of hanging
round the men all the time," said Oen. "If you keep flirting like that,
I’ll tell your mother."
"Don't be
nasty, Miss Oen. You've only got to say. Music, is it? Shall I take the drum?
Gome on Matsuyu, let's do it together."
The music
started. Michitose and Matsuyu's big drum was joined by Kichifuku and Tamagiku's
hand-drums. Yo, ho, went their reedy little voices at full blast, and thump,
bang went the drums. Ohana and Kosue, a young shamisen player who had just joined her, accompanied them. Banto
beat time drunkenly, swaying backwards and forwards to the rhythm.
"Won't you
do 'The Maiden from Ohara'?" he said, opening his eyes blearily.
Ohana took up
her shamisen. This time Kosue danced.
I dwell in a country spot outside the
capital, and I lead my ox to Yase and Ohara . . .
Ichinen and
Michitose sat side by side, listening seriously. Kosue was a girl of seventeen
or eighteen, with her hair done up in the Shimada
style typical of old Edo. She wore a kimono with dark blue and white stripes,
stylishly tied with a heavy brocade sash. The cotton towel tied round her face
to indicate that she was the maid of Ohara brought a refreshing touch of simplicity
to the hitherto unrelieved color of the scene.
"Aren't you
having any?" I asked Ichinen, passing him the raw fish.
“No, I'm a
priest."
"Then what
do you mean by letting Michitose fall for you and making sheep's eyes at Kosue?"
"Get away
with you!" But even as he said it, he took a slice of apple from
Michitose's plate and ate it.
"Well,
aren't we cosy!" said Matsuyu, affecting a tactful withdrawal.
"There's
nothing wrong with that, is there?" said Michitose primly.
He takes her hand and says goodbye, He walks
a step or two, still loth to part. . .
It was modern
song that Ohana was singing this time, and Tamagiku and Matsuyu were dancing. Soon
Kosue and Kichifuku were dancing with them, Ohana correcting their faults all
the while.
He takes her hand and says goodbye . . .
The same song
was repeated time and again; they might have been having a private dancing lesson.
In the end, Banto got up and started dancing himself. His movements were comically
clumsy, and Oen laughed.
"Ichinen,"
a maid called from below. "Your aunt's come to fetch you. You'd better
come quickly."
Ichinen made no
reply.
At They gazed into each other's eyes,
Banto's look was so comical that everyone burst out laughing, Ichinen with the
rest.
"Ichinen!"
I called. "Didn't you hear? Your aunt's come to fetch you. Go quickly now,
before you get told off! Here—here's something for you to take home." I
gave him some of the cakes which had just come, wrapped up in a piece of paper.
"Let them
tell me off, I don't care!" he said, snatching up the cakes. "Aren't
you going up to Yokawa any more? I'm going tomorrow."
He started to
leave, still holding the cakes in both hands.
"Ichinen,
shall I lend you a handkerchief?" called Michitose, getting up and waving
hers. He glanced back briefly, then pretended not to have heard and, weaving his
way rapidly through the dancers, disappeared.
Mushizushi, a Kyoto
delicacy, was brought, and the players, the apprentice geisha, and the maids gathered
round it and fell to.
"Micliitose,"
said Oen, "I expect you're feeling miserable now Ichinen's gone; be
careful you don't choke on the food."
"Thank
you, Miss Oen."
"That's a
bright lad," I said. "I don't wonder Michitose's sweet on him."
"They say
he's no father or mother, poor boy," said Michitose. "I wonder why
his aunt put him in a lonely place like Yokawa?" She looked depressed.
The nights in
Gion are short—short as the Yokawa nights are long.
"Coming
..." came the call of a child-servant, its drawn-out, falling tone echoing
throughout the whole geisha house.
translated
by John Bester
Takahama
Kiyoshi (1874-1959), the haiku poet and novelist, was a member of the Japan
Art Academy. Along with Kawahigashi Hekigoto, he was one of the two most brilliant
pupils of Masaoka Shiki (1867-1902), the haiku
and waka poet who advocated a type of
prose writing known as shaseibun. In
Shiki's case this shaseibun—which
derives from shasei, the sketching
from reahty practiced by painters—is sometimes hard to distinguish from ordinary
realism, but with Kyoshi the emphasis is more on the depiction in close-up of
selected aspects or moments of reality which have captured the
writer’s imagination, and the style is close in spirit
to the haiku. Stimulated by
the example of Natsume Soseki (1867-1916), the novelist who wrote I am a Cat, Kyoshi tried his hand at
fiction also. He produced some excellent works, including Furyu Sempo (translated here
as Ichinen), Ikaruga Monogatari (The Ikaruga Story), and Haikai-shi (The Haiku Master), and for some years forsook the haiku. He returned to it in 1912,
however, and, accepting the limitations imposed by the form, worked to bring
new life to the old tradition. If Shiki is to be credited with effecting reform
of the haiku, to Kyoshi must go the
credit of creating the framework on which the achievements of the Taisho (1912-1926)
and Showa (1926- ) Eras have rested.
The issue contains a
complete translation of a short story, Furyu
Sempo, by the haiku poet Takahama
Kyoshi. In the author's own words, it is "a short story with elements of shaseibun"—shaseihun being a type of writing, sharing much in common with the haiku, which aimed at setting down on
paper individual moments or aspects of reality in the manner of an artist
sketching from Nature. Anyone interested in reprinting or retranslating this
short story is requested to contact the secretariat of the Japan P.E.N. Club.
The Committee
which selected the story and the other four works introduced here is composed
of members of the Japan P.E.N. Club and of the Japan Writers' Association.
They are:
Serisawa Kojiro, novelist •Nakajima Kenzo, critic •Nakamura Shinichiro,
novelist . Sugimori Hisahide, critic •(representing Writers’ Ass.)
•Kawabata Yasunari,
novelist・Ito Sei, novelist • Takami Jun, novelist
•Nakamura Mitsuo, critic • Senuma
Shigeki, critic. Fukuda Rikutato •translator (representing Japan
P.E.N.)
© The Japan
P.E.N. Club, 1963
**********************************************************************
Ichinen or Huuryuu Senbou in the Japanese original
title was published in Hototogisu magazine
in April 1907. It was written during the
several years when Kyoshi, inspired by Natsume Soseki, concentrated on writing
novels after the demise of his haiku mentor Masaoka Shiki. ‘Senbou’
is a Buddhist term meaning a ceremony to confess sins and faults by dictating
sermons. It is a story about a young
couple of thirteen years of age. They
are called Ichinen and Michitoshi, both named after a teaching of Tendai Sect
called Ichinen Sanzen, which describes
the principle that all men and women can attain Buddhahood. It is one of his early short novels depicting
in plain Shasei-bun style the secret solitude
and sorrows of Ichinen who was farmed out to Hieizan temple as a monk apprentice
and Michitoshi who became a Maiko or apprentice Geisha in Gion in Kyoto. Natsume Soseki commented that this work
depicted “a scene of an evening at an entertainment pavilion” and also wrote
that “Kyoshi’s novels tend to have ‘teikai
shumi’ (taste of rejecting mundane affairs and enjoying nature and art) arising
from having leeway.” Later Huuryuu Senbou became a trilogy. Ichinen
or Huuryuu Senbou was translated into
English and published by the Japan P.E.N. Club in August, 1963. (From The Japan
P.E.N.News No.11,1-8 1963)
**********************************************************************
The Japan P.E.N. Club, in order to preserve them in an archive of
modern Japanese culture, is digitizing the English translations of literary
works as they appeared in The Japan P.E.N. News (irregular publication dates,
July 1958-September 1971) and will publish them at irregular dates online in
the Digital Library - International Edition.
**********************************************************************
KYOSHI MEMORIAL MUSEUM
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