pillow which giveth me nightly rest, all the hope of my
days I find in the beauties of Nature that ever please my
eyes."
"Hō-jō-ki" (Trans. by F. V. Dickins).
Japanese and English Gardens
There is nothing particularly æsthetic about the average English garden. When the bedding-out time comes a slow old gardener puts in his plants. Later on we see a crude blaze of colour—scarlet1 geraniums, yellow calceolarias, blue lobelias, the green grass and the ochre-coloured paths. And this is the colour effect of the average English garden, a colour effect that makes the eyes ache and shames the very flowers so unwisely set in this fashion. The truth of the matter is that we do not understand the art of flower arrangement. We buy flowers just to make the garden look bright, under the impression that brightness is an abstract quality with which we should like to spend our summer days. An Englishman once attempted to make a landscape garden after the Japanese manner. He was extremely proud of the result, and on one occasion he took a Japanese gentleman round to see it. The Japanese gentleman exclaimed, with extreme courtesy: "It is very beautiful; we have nothing at all like it in Japan!" The Englishman failed in his attempt to imitate because he considered gardening a hobby, while in Japan the garden is something indelibly associated with Japanese life itself. In Japan it is an ancient cult3 to which poets and artists have given years of thought, a cult[Pg 155] in which emotion, memory, and religion play their part.
The Love of Flowers, its Growth and Symbolism
One of the most striking, and certainly one of the most pleasing, characteristics of the Japanese is their intense love of flowers and trees. Merry parties set out to see the azaleas bloom, or the splendour of the pink-white cherry-blossom, or the scarlet glory of the maple-trees. This "flower-viewing" is an integral part of their existence. The very kimono of the laughing children look like little gardens of flowers themselves. Take away their landscape, and you take away at once their sense of poetry, and, we may almost add, the floral side of their religion too, for the Japanese worship flowers and trees in a way utterly4 impossible to the more prosaic5 Westerner.
During a recent spring the magnolia-trees in Kew Gardens afforded a wonderfully beautiful spectacle. But there were few to see these leafless trees with their profusion7 of lotus-like blossom. The most appreciative8 spectator was a child, who sat under the sweet-scented9 branches, gathered the fallen petals10 in her little brown hands, and made up a quaint11 story as she did so. But in Japan, where magnolia-trees bloom too, a hundred little poems would be threaded to the branches, and little cakes made in imitation of the petals. Perhaps, too, a branch of magnolia would be set in a vase, the object of silent admiration12 of the members of some tea ceremony. And afterwards the spray of blossom would be gently placed on a river or buried with joy and reverence13 for the beauty it had exhibited in its brief hour of life.
The love of flowers is only a small part of the Japanese love of Nature. There was an evolutionary14 growth in this worship as in every other, and we are[Pg 156] inclined to think that the Japanese go very far back in this matter, and learnt first of all to love rocks and stones. To us rocks and stones are of interest only to the geologist15 and metallurgist, merely from a scientific point of view, and it seems almost incredible that rocks and stones have a poetical16 meaning. But it is otherwise to the Japanese. The Japanese garden is essentially17 a landscape garden. The owner of a garden falls in love with a certain view. It haunts him, and awakens18 in him some primitive19 feelings of delight that cannot be analysed. He brings that view perpetually before him in his garden, in miniature, perhaps, but a miniature of wonderful exactness. His garden thus becomes a place of happy memory, and not a plot laid out with gaudy20 flowers and terraces that can have no meaning, no poetry to his mind. Without a doubt Japanese gardens, with their gorgeous flowers, merry sunshine, and the sweet tinkle21 of dainty fairy-bells suspended from the branches of the trees, are the most delightful22 in the world.
Japanese Gardens
One thing that strikes us about Japanese gardens that we do not find in England is the wonderful economy displayed in their schemes. Suburbia often makes the excuse that their pocket-handkerchief of a garden is much too small to be made beautiful. Too small to be made beautiful? Why, the Japanese can make a wonderful little garden in a space no bigger than a soup-plate! Necessity is the mother of invention, and if we only loved Nature more we should soon find the means to make our smallest gardens attractive. The great Japanese designer of gardens, Kobori-Enshiu, said that an ideal garden should be like "the sweet solitude23 of a landscape clouded by moonlight, with a half-gloom between the trees."
[Pg 157]
Miss Florence Du Cane24 has much to say concerning Japanese rocks and stones. What poetry is suggested in the names of some of these garden stones—for example, "The Stone of Easy Rest." Then, among the lake stones we have one called "Wild Wave Stone," that at once suggests Matsushima, with its waves breaking against innumerable rocks.
The stone or wooden lamps are very important ornaments25 in a Japanese garden. The idea was borrowed from Korea, and they are still sometimes known as "Korean towers." They are seldom lit, except in temple gardens, but they need no jewel of light to make them beautiful. They are rich in amber26 and green moss27, and in the winter they catch the snow and make ghost lanterns of exquisite28 beauty. Another feature of a Japanese garden is the Torii, a simple arch of wood shaped like a huge Chinese character. Shintō in origin, no one has as yet discovered what they were originally intended to represent, though there have been many diverse opinions on the subject. These gates to nowhere are extremely fascinating, and to look at them with the sea about their feet is to dream of a far-away fairy tale of childhood.
The lakes, cascades29, tiny bridges, the stepping-stones over the winding30 ways of silver sand, form a place of retreat indeed. And then the colour of the Japanese garden! Every month has some fresh colour scene as the plum and cherry and peach-trees come into bloom. Trailing over the ground among the pine-needles or looking into the clear blue lake, one may see the azaleas. If there were ever a flower that personified colour then it is surely the azalea. It is the rainbow of flowers, and there seems scarcely a shade of colour not to be found in its blossoms. To look at the azaleas is to look into the very paint-box of Nature herself. Then[Pg 158] at another season of the year we get the iris31 in purple and lavender, yellow and white, or the beautiful rose-coloured lotus that opens with a little explosion on the placid32 waters, as if to herald33 its coming to perfection. The last colour glory of the year is the splendour of the maple-trees. We have a fine crimson34 effect in our English blackberry leaves, but they lie hidden in the wet autumn hedges. In Japan the maples35 do not hide. They seem everywhere alive in a splendid flame. In the autumn it appears as if the maple-trees had conjured36 with the sunset, for at that time Japan is not the Land of the Rising Sun, but the land of the sun going down in a great pageant37 of red leaves. And is that the end of Nature's work for the year? No, indeed. Last of all comes the snow, and the beauty of its effect lies not so much in the soft flakes38 themselves, but in the way they are caught and held upon the beautiful little houses and temples and lanterns. See a Japanese garden then, and you see the white seal of Nature's approval upon it all. The snow scene is perhaps Nature's supreme39 touch in Japan, after all; and it is a scene dear to the hearts of the Japanese. In midsummer a Japanese emperor once had the miniature mountains in his gardens covered with white silk to suggest snow, and, no doubt, to give an imaginary coolness to the scene. A slight acquaintance with Japanese art will reveal the fact that snow affords a favourite theme for the artist's brush.
Nature in Miniature
The Japanese, for the most part, are little in stature40, and have a love of things in miniature. Lafcadio Hearn tells a charming story of a Japanese nun41 who used to play with children and give them rice-cakes no bigger than peas and tea in very minute cups. Her love of[Pg 159] very small things came as the result of a great sorrow, but we see in this Japanese love of little objects something pathetic in the nation as a whole. Their love of dwarf42 trees, hundreds of years old, seems to say: "Be honourably43 pleased never to grow big. We are a little people, and so we love little things." The ancient pine, often less than a foot in height, does not render its age oppressive, and is not a thing to fear just because it is so very small. Westerners have been inclined to describe the dwarf Japanese tree as unnatural44. It is no more unnatural than the Japanese smile, and reveals that the nation, like the Greeks of old, is still closely in touch with Nature.
The Pine-tree
The pine-tree is the emblem45 of good fortune and longevity46. That is why we see this tree at almost every garden gate; and it must be admitted that a pine-tree is a more graceful47 talisman48 than a rusty49 old horse-shoe. In a certain Japanese play we find the following: "The emblem of unchangeableness—exalted is their fame to the end of time—the fame of the two pine-trees that have grown old together." This refers to the famous pines of Takasago. Mr. Conder tells us that at wedding feasts "a branch of the male pine is placed in one vessel50 and a branch of the female pine in the other. The general form of each design would be similar, but the branch of the female pine facing the opposite vase should stretch a little beneath the corresponding branch of the male pine." In other words, it shows that Woman's Suffrage51 exists not in Japan, and that the Japanese wife is subject to her lord and master, which is a very pretty way of suggesting, what is in England a very dangerous subject. The design referred to above typifies "eternal union." The pine-tree really[Pg 160] symbolises the comradeship of love, the Darby and Joan stage of old married people in Japan.
A Great Nature-lover
Kamo No Chōmei was a Buddhist52 recluse53 of the twelfth century, and he wrote a little book called Hō-jō-ki ("Notes from a Ten-feet-square Hut"). In this volume he describes how he left the ways of the world and took up his abode54 in a hut on the mountain-side. Chōmei used to sing and play and read his beloved books in the very heart of the country. He writes: "When the sixtieth year of my life, now vanishing as a dewdrop, approached, anew I made me an abode, a sort of last leap, as it were, just as a traveller might run himself up a shelter for a single night, or a decrepit55 silkworm weave its last cocoon56." We see him, a happy old man, slowly trudging57 along the hills, gathering58 blossom as he went, ever watching with delighted eyes the ways and secrets of Nature. With all his musings, so full of poetry, his religious character plays a part. He writes with dry humour: "I do not need to trouble myself about the strict observance of the commandments, for, living as I do in complete solitude, how should I be tempted2 to break them?" A very different experience to that of some of the Indian anchorites, who find in solitude a veritable thunder-cloud of temptation! But Chōmei was a happy soul, and we mention him here to show that the mainstay of his life were not the things of the world, but the workings of Nature on the hills and in the valleys, in the flowers and in the trees, in the running water and in the rising moon. To quote his own words: "You have fled from the world to live the life of a recluse amid the wild woods and hills, thus to bring peace to your soul and walk in the way of the Buddha59."
[Pg 161]
The Festival of the Dead
We find the Festival of the Dead the greatest argument of all in support of Japan's love of Nature. It was a woman's thought, this Festival of the Dead, and there is something about it so tender, so plaintive60, that it could only have come from a woman. In July the spirits of the dead return from their dark abode. Little meals are prepared for this great company of ghosts, and the lanterns hang in the cemeteries61 and on the pine-trees of good fortune at the garden gates. The Japanese used to commit hara-kiri,[1] but let us not forget that their souls come back again to wander in a country that seems to be one great garden. And why do they come back? They come back with their soft footsteps over the hills and far away from over the sea to look at the flowers once more, to wander in the gardens where they spent so many happy hours. They come, that invisible host, when the sun shines brightly, when it seems that blossoms floating in the breeze suddenly turn into butterflies, when life is at its full, when Death and the dark place where Emma-Ō reigns62 cannot be endured. What a time to come back again! What a silent compliment to Nature that that great company of souls should wander back to her arms in the summer-time!
The Japanese Flag and the Chrysanthemum63
Most of us are familiar with the Japanese flag depicting64 a red sun on a white ground, and we should naturally suppose that such an emblem was originally connected with the Sun Goddess. In this supposition, however, we should be entirely66 wrong. Astrological designs in[Pg 162] ancient days figured upon the Chinese banners, and Professor B. H. Chamberlain describes them thus: "The Sun with the Three-legged Crow that inhabits it, the Moon with its Hare[2] and Cassia-tree, the Red Bird representing the seven constellations67 of the southern quarter of the zodiac, the Dark Warrior68 (a Tortoise) embracing the seven northern constellations, the Azure69 Dragon embracing the seven eastern, the White Tiger embracing the seven western, and a seventh banner representing the Northern Bushel (Great Bear)." The Chinese banners depicting the sun and moon were particularly noteworthy, because the sun represented the Emperor's elder brother and the moon his sister. In the seventh century the Japanese adopted these banners; but as time went on they dropped many of the quaint astrological designs so dear to the heart of the Chinese. When in 1859 a national flag became necessary the sun banner pure and simple was adopted; but a plain orb70 without rays was not sufficient, and a more elaborate design was executed—the sixteen-petalled chrysanthemum. We can only conjecture71 the connection between the sun and the chrysanthemum. Both were venerated72 in ancient China, and we may assume that the Japanese artist, in wishing to depict65 the sun's rays, found excellent material in copying the flower of a wild chrysanthemum.
The chrysanthemum is Japan's national flower, and we owe to Nippon its culture in our own country. Mythological73 scenes, particularly that of the Treasure Ship with the Gods of Luck on board is a favourite[Pg 163] device, fashioned entirely with innumerable chrysanthemums74. Boats, castles, bridges, and various other objects are designed from the same flower with wonderful dexterity75. Japan has always been happy in her use of names, and to no greater advantage than in the naming of her chrysanthemums. There is poetry in such names as "Sleepy Head," "Golden Dew," "White Dragon," and "Starlit Night."
The chrysanthemum is certainly a fitting symbolism for the Imperial standard. Once, like our English rose, it figured as a badge in the War of the Chrysanthemums, a protracted76 civil war that divided the nation into two hostile factions77. Now the chrysanthemum stands for a united Empire.
Lady White and Lady Yellow
Long ago there grew in a meadow a white and a yellow chrysanthemum side by side. One day an old gardener chanced to come across them, and took a great fancy to Lady Yellow. He told her that if she would come along with him he would make her far more attractive, that he would give her delicate food and fine clothes to wear.
Lady Yellow was so charmed with what the old man said that she forgot all about her white sister and consented to be lifted up, carried in the arms of the old gardener, and to be placed in his garden.
When Lady Yellow and her master had departed Lady White wept bitterly. Her own simple beauty had been despised; but, what was far worse, she was forced to remain in the meadow alone, without the converse78 of her sister, to whom she had been devoted79.
Day by day Lady Yellow grew more fair, in her master's garden. No one would have recognised the common flower of the field now; but though her petals[Pg 164] were long and curled and her leaves so clean and well cared for, she sometimes thought of Lady White alone in the field, and wondered how she managed to make the long and lonely hours pass by.
One day a village chief came to the old man's garden in quest of a perfect chrysanthemum that he might take to his lord for a crest80 design.[3] He informed the old man that he did not want a fine chrysanthemum with many long petals. What he wanted was a simple white chrysanthemum with sixteen petals. The old man took the village chief to see Lady Yellow; but this flower did not please him, and, thanking the gardener, he took his departure.
On his way home he happened to enter a field, where he saw Lady White weeping. She told him the sad story of her loneliness, and when she had finished her tale of woe81 the village chief informed her that he had seen Lady Yellow and did not consider her half as beautiful as her own white self. At these cheering words Lady White dried her eyes, and she nearly jumped off her little feet when this kind man told her that he wanted her for his lord's crest!
In another moment the happy Lady White was being carried in a palanquin. When she reached the Daimyō's palace all warmly praised her remarkable82 perfection of form. Great artists came from far and near, sat about her, and sketched83 the flower with wonderful skill. She soon needed no mirror, for ere long she saw her pretty[Pg 165] white face on all the Daimyō's most precious belongings84. She saw it on his armour85 and lacquer boxes, on his quilts and cushions and robes. When she looked upward she could see her face in great carved panels. She was painted floating down a stream, and in all manner of quaint and beautiful ways. Every one acknowledged that the white chrysanthemum, with her sixteen petals, made the most wonderful crest in all Japan.
While Lady White's happy face lived for ever designed upon the Daimyō's possessions, Lady Yellow met with a sad fate. She had bloomed for herself alone and drunk in the visitors' praise as eagerly as she did the dew upon her finely curled petals. One day, however, she felt a stiffness in her limbs and a cessation of the exuberance86 of life. Her once proud head fell forward, and when the old man found her he lifted her up and threw her upon a rubbish heap.
"Chrysanthemum-Old-Man"[4]
Kikuo ("Chrysanthemum-Old-Man") was the faithful retainer of Tsugaru. One day his lord's force was overthrown87, and the castle and fine estates were taken away by the enemy; but fortunately Tsugaru and Kikuo were able to escape to the mountains.
Kikuo, knowing his master's love of flowers, especially that of the chrysanthemum, resolved to cultivate this flower to the best of his ability, and in so doing to lessen88 a little of his master's remorse89 and humiliation90 in exile.
His efforts pleased Tsugaru, but unfortunately that lord soon fell sick and died, and the faithful Kikuo wept over his master's grave. Then once more he[Pg 166] returned to his work, and planted chrysanthemums about his master's tomb till he had made a border thirty yards broad, so that red, white, pink, yellow, and bronze blossoms scented the air, to the wonder of all who chanced to come that way.
Metsue rescues Teoyo.
When Kikuo was about eighty-two he caught cold and was confined to his humble91 dwelling92, where he suffered considerable pain.
One autumn night, when he knew those beloved flowers dedicated93 to his master were at their best, he saw in the verandah a number of young children. As he gazed upon them he realised that they were not the children of this world.
Two of these little ones drew near to Kikuo, and said: "We are the spirits of your chrysanthemums, and have come to tell you how sorry we are to find you ill. You have guarded and loved us with such care. There was a man in China, Hozo by name, who lived eight hundred years by drinking the dew from chrysanthemum blossoms. Gladly would we lengthen94 out your days, but, alas95! the Gods ordain96 otherwise. Within thirty days you will die."
The old man expressed the wish that he might die in peace, and the regret that he must needs leave behind him all his chrysanthemums.
"Listen," said one of the ghostly children: "we have all loved you, Kikuo, for what you have done for us. When you die we shall die too." As soon as these words were spoken a puff97 of wind blew against the dwelling, and the spirits departed.
Kikuo grew worse instead of better, and on the thirtieth day he passed away. When visitors came to see the chrysanthemums he had planted, all had vanished. The villagers buried the old man near his master, and, thinking to please Kikuo, they planted chrysanthemums near his[Pg 167] grave; but all died immediately they were put into the ground. Only grasses grow over the tombs now. The child-souls of the chrysanthemums chatter98 and sing and play with the spirit of Kikuo.
Shingé and Yoshisawa by the Violet Well.
The Violet Well
Shingé and her waiting-maids were picnicking in the Valley of Shimizutani, that lies between the mountains of Yoshino and Tsubosaka. Shingé, full of the joy of spring, ran towards the Violet Well, where she discovered great clumps99 of purple, sweet-scented violets. She was about to pick the fragrant100 blossoms when a great snake darted101 forth102, and she immediately fainted.
When the maidens103 found her they saw that her lips were purple, as purple as the violets that surrounded her, and when they saw the snake, still lurking105 in the vicinity, they feared that their mistress would die. Matsu, however, had sufficient presence of mind to throw her basket of flowers at the snake, which at once crawled away.
Just at that moment a handsome youth appeared, and, explaining to the maidens that he was a doctor, he gave Matsu some medicine, in order that she might give it to her mistress.
While Matsu forced the powder into Shingé's mouth the doctor took up a stick, disappeared for a few moments, and then returned with the dead snake in his hands.
By this time Shingé had regained106 consciousness, and asked the name of the physician to whom she was indebted for saving her life. But he politely bowed, evaded107 her question, and then took his departure. Only Matsu knew that the name of her mistress's rescuer was Yoshisawa.
When Shingé had been taken to her home she grew worse instead of better. All the cleverest doctors came to her bedside, but could do nothing to restore her to health.
[Pg 168]
Matsu knew that her mistress was gradually fading away for love of the handsome man who had saved her life, and she therefore talked the matter over with her master, Zembei. Matsu told him the story, and said that although Yoshisawa was of a low birth, belonging to the Eta, the lowest caste in Japan, who live by killing108 and skinning animals, yet nevertheless he was extremely courteous109 and had the manner and bearing of a samurai. "Nothing," said Matsu, "will restore your daughter to health unless she marries this handsome physician."
Both Zembei and his wife were dismayed at these words, for Zembei was a great daimyō, and could not for one moment tolerate the idea of his daughter marrying one of the Eta class. However, he agreed to make inquiries110 concerning Yoshisawa, and Matsu returned to her mistress with something like good news. When Matsu had told Shingé what her father was doing on her behalf she rallied considerably111, and was able to take food.
When Shingé was nearly well again Zembei called her to him and said that he had made careful inquiries concerning Yoshisawa, and could on no account agree to her marrying him.
Shingé wept bitterly, and brooded long over her sorrow with a weary heart. The next morning she was not to be found in the house or in the garden. Search was made in every direction; even Yoshisawa himself sought her everywhere; but those who sought her found her not. She had mysteriously disappeared, burdened with a sorrow that now made her father realise the effect of his harsh decree.
After three days she was found lying at the bottom of the Violet Well, and shortly after Yoshisawa, overcome with grief, sought a similar end to his troubles. It is[Pg 169] said that on stormy nights the ghost of Shingé is to be seen floating over the well, while near by comes the sound of the weeping of Yoshisawa.
The Ghost of the Lotus Lily
"O Resurrection, Resurrection of World and Life!
Lo, Sun ascend112! The lotus buds flash with hearts parted,
With one chant 'Namu, Amida!'"
Yone Noguchi.
The lotus is the sacred flower of Buddhism113. Because it grows out of mud, rears its stalk through water, and from such dark and slimy beginnings yields a lovely flower, it has been compared with a virtuous114 man dwelling in this wicked world. Sir Monier Williams writes: "Its constant use as an emblem seems to result from the wheel-like form of the flower, the petals taking the place of spokes115, and thus typifying the doctrine116 of perpetual cycles of existence." Buddha is frequently portrayed117 as either standing118 or sitting upon a golden lotus, and the flower reminds us of the Buddhist sutra, known as the "Lotus of the Good Law."
Thus Lafcadio Hearn describes the lotus of Paradise: "They are gardening, these charming beings!—they are caressing119 the lotus buds, sprinkling their petals with something celestial120, helping121 them to blossom. And what lotus-buds! with colours not of this world. Some have burst open; and in their luminous122 hearts, in a radiance like that of dawn, tiny naked infants are seated, each with a tiny halo. These are Souls, new Buddhas123, hotoke born into bliss124! Some are very, very small; others larger; all seem to be growing visibly, for their lovely nurses are feeding them with something ambrosial125. I see one which has left its lotus-cradle, being conducted by a celestial Jizō toward the higher splendours far away."
[Pg 170]
So much, then, for the celestial lotus and for its intimate connection with Buddhism. In the following legend we find this flower possessed126 with the magical power of keeping away evil spirits.
A certain disease broke out in Kyōto from which many thousands of people died. It spread to Idzumi, where the Lord of Koriyama lived, and Koriyama, his wife and child, were stricken down with the malady127.
One day Tada Samon, a high official in Koriyama's castle, received a visit from a yamabushi, or mountain recluse. This man was full of concern for the illness of the Lord Koriyama, and, addressing Samon, he said: "All this trouble has come about through the entrance of evil spirits in the castle. They have come because the moats about the abode are dry and contain no lotus. If these moats were at once planted with this sacred flower the evil spirits would depart, and your lord, his wife and child, grow well again."
Samon was much impressed by these wise words, and permission was given for this recluse to plant lotus about the castle. When he had accomplished128 his task he mysteriously disappeared.
Within a week the Lord Koriyama, his wife and son, were able to get up and resume their respective duties, for by this time the walls had been repaired, the moats filled with pure water, which reflected the nodding heads of countless129 lotus.
Many years later, and after the Lord Koriyama had died, a young samurai chanced to pass by the castle moats. He was gazing admiringly at these flowers when he suddenly saw two extremely handsome boys playing on the edge of the water. He was about to lead them to a safer place when they sprang into the air and, falling, disappeared beneath the water.
The astonished samurai, believing that he had seen a[Pg 171] couple of kappas,[5] or river goblins, made a hasty retreat to the castle, and there reported his strange adventure. When he had told his story the moats were dragged and cleaned, but nothing could be found of the supposed kappas.
A little later on another samurai, Murata Ippai, saw near the same lotus a number of beautiful little boys. He drew his sword and cut them down, breathing in as he did so the heavy perfume of this sacred flower with every stroke of his weapon. When Ippai looked about him to see how many of these strange beings he had killed, there arose before him a cloud of many colours, a cloud that fell upon his face with a fine spray.
As it was too dark to ascertain130 fully6 the extent and nature of his onslaught, Ippai remained all night by the spot. When he awoke in the morning he found to his disgust that he had only struck off the heads of a number of lotus. Knowing that this beneficent flower had saved the life of the Lord Koriyama, and now protected that of his son, Ippai was filled with shame and remorse. Saying a prayer by the water's edge, he committed hara-kiri.
The Spirit of the Peony
It had been arranged that the Princess Aya should marry the second son of Lord Ako. The arrangements, according to Japanese custom, had been made entirely without the consent or approval of the actual parties concerned.
One night Princess Aya walked through the great garden of her home, accompanied by her waiting-maids. The moon shone brightly upon her favourite peony bed near a pond, and covered the sweet-scented blooms in a[Pg 172] silver sheen. Here she lingered, and was stooping to breathe the fragrance131 of these flowers when her foot slipped, and she would have fallen had not a handsome young man, clad in a robe of embroidered132 peonies, rescued her just in time. He vanished as quickly and mysteriously as he had come, before, indeed, she had time to thank him.
It so happened that shortly after this event the Princess Aya became very ill, and in consequence the day for her marriage had to be postponed133. All the medical aid available was useless to restore the feverish134 maiden104 to health again.
The Princess Aya's father asked his favourite daughter's maid, Sadayo, if she could throw any light upon this lamentable135 affair.
Sadayo, although hitherto bound to secrecy136, felt that the time had come when it was wise, indeed essential, to communicate all she knew in the matter. She told her master that the Princess Aya was deeply in love with the young samurai wearing the robes embroidered with peonies, adding that if he could not be found she feared that her young mistress would die.
That night, while a celebrated137 player was performing upon the biwa in the hope of entertaining the sick Princess, there once more appeared behind the peonies the same young man in the same silk robe.
The next night, too, while Yae and Yakumo were playing on the flute138 and koto, the young man appeared again.
The Princess Aya's father now resolved to get at the root of the matter, and for this purpose he bade Maki Hiogo dress in black and lie concealed139 in the peony bed on the following night.
When the next night came Maki Hiogo lay hidden among the peonies, while Yae and Yakumo made sweet[Pg 173] music. Not long after the music had sounded the mysterious young samurai again appeared. Maki Hiogo rose from his hiding-place with his arms tightly bound round this strange visitor. A cloud seemed to emanate140 from his captive. It made him dizzy, and he fell to the ground still tightly holding the handsome samurai.
Just as a number of guards came hurrying to the spot Maki Hiogo regained consciousness. He looked down expecting to see his captive. But all that he held in his arms was a large peony!
By this time Princess Aya and her father joined the astonished group, and the Lord Naizen-no-jo at once grasped the situation. "I see now," said he, "that the spirit of the peony flower had a moment ago, and on former occasions, taken the form of a young and handsome samurai. My daughter, you must take this flower and treat it with all kindness."
The Princess Aya needed to be told no more. She returned to the house, placed the peony in a vase, and stood it by her bedside. Day by day she got better, while the flower flourished exceedingly.
When the Princess Aya was quite well the Lord of Ako arrived at the castle, bringing with him his second son, whom she was to marry. In due time the wedding took place, but at that hour the beautiful peony suddenly died.
[1] Hara-kiri, or seppuku, is the term applied141 to suicide among the samurai class. For detailed142 account see Tales of Old Japan, by A. B. Mitford (Lord Redesdale).
[2] To this day Japanese peasants still believe in the Hare in the Moon. This animal employs its time in pounding rice in a mortar143 and making it into cakes. The origin of this conception is probably to be found in a pun, for "rice-cake" and "full moon" are both described by the word mochi.
[3] The sixteen-petalled chrysanthemum is one of the crests144 of the Imperial family, while the other represents the flowers and leaves of the paulownia. Crests in Japan are not confined to the wealthy classes. The crest is still worn upon the upper part of the native garment, to be seen on each breast and sleeve, and upon the back of the neck. Favourite designs are derived145 from the bamboo, birds, fans, Chinese characters, &c.
[4] This story and those that follow in this chapter have been adapted from Ancient Tales and Folk-lore of Japan, by R. Gordon Smith.
[5] Referred to elsewhere in the chapter dealing146 with Supernatural Beings.
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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tempted
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| v.怂恿（某人）干不正当的事；冒…的险（tempt的过去分词） | |
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cult
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| n.异教，邪教；时尚，狂热的崇拜 | |
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4
utterly
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| adv.完全地，绝对地 | |
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5
prosaic
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| adj.单调的，无趣的 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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7
profusion
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| n.挥霍；丰富 | |
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8
appreciative
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| adj.有鉴赏力的，有眼力的；感激的 | |
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scented
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| adj.有香味的；洒香水的；有气味的v.嗅到(scent的过去分词) | |
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petals
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| n.花瓣( petal的名词复数 ) | |
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quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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reverence
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| n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬 | |
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evolutionary
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| adj.进化的；演化的，演变的；[生]进化论的 | |
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geologist
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| n.地质学家 | |
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16
poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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17
essentially
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| adv.本质上，实质上，基本上 | |
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18
awakens
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| v.（使）醒( awaken的第三人称单数 )；（使）觉醒；弄醒；（使）意识到 | |
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19
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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20
gaudy
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| adj.华而不实的；俗丽的 | |
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21
tinkle
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| vi.叮当作响；n.叮当声 | |
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22
delightful
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| adj.令人高兴的，使人快乐的 | |
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23
solitude
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| n. 孤独; 独居,荒僻之地,幽静的地方 | |
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24
cane
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| n.手杖，细长的茎，藤条；v.以杖击，以藤编制的 | |
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25
ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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26
amber
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| n.琥珀；琥珀色；adj.琥珀制的 | |
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27
moss
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| n.苔，藓，地衣 | |
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28
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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29
cascades
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| 倾泻( cascade的名词复数 )； 小瀑布（尤指一连串瀑布中的一支）； 瀑布状物； 倾泻（或涌出）的东西 | |
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30
winding
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| n.绕，缠，绕组，线圈 | |
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31
iris
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| n.虹膜，彩虹 | |
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32
placid
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| adj.安静的，平和的 | |
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33
herald
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| vt.预示...的来临，预告，宣布，欢迎 | |
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crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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maples
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| 槭树，枫树( maple的名词复数 )； 槭木 | |
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conjured
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| 用魔术变出( conjure的过去式和过去分词 )； 祈求，恳求； 变戏法； （变魔术般地） 使…出现 | |
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37
pageant
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| n.壮观的游行；露天历史剧 | |
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38
flakes
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| 小薄片( flake的名词复数 )； （尤指）碎片； 雪花； 古怪的人 | |
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39
supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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40
stature
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| n.（高度）水平，（高度）境界，身高，身材 | |
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41
nun
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| n.修女，尼姑 | |
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42
dwarf
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| n.矮子，侏儒，矮小的动植物；vt.使…矮小 | |
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43
honourably
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| adv.可尊敬地，光荣地，体面地 | |
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44
unnatural
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| adj.不自然的；反常的 | |
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45
emblem
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| n.象征，标志；徽章 | |
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46
longevity
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| n.长命；长寿 | |
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47
graceful
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| adj.优美的，优雅的；得体的 | |
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48
talisman
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| n.避邪物，护身符 | |
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49
rusty
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| adj.生锈的；锈色的；荒废了的 | |
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50
vessel
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| n.船舶；容器，器皿；管，导管，血管 | |
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51
suffrage
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| n.投票，选举权，参政权 | |
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52
Buddhist
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| adj./n.佛教的，佛教徒 | |
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53
recluse
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| n.隐居者 | |
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54
abode
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| n.住处，住所 | |
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55
decrepit
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| adj.衰老的，破旧的 | |
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56
cocoon
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| n.茧 | |
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57
trudging
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| vt.& vi.跋涉，吃力地走（trudge的现在分词形式） | |
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58
gathering
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| n.集会，聚会，聚集 | |
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59
Buddha
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| n.佛；佛像；佛陀 | |
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60
plaintive
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| adj.可怜的，伤心的 | |
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61
cemeteries
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| n.（非教堂的）墓地，公墓( cemetery的名词复数 ) | |
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62
reigns
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| n.君主的统治( reign的名词复数 )；君主统治时期；任期；当政期 | |
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63
chrysanthemum
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| n.菊，菊花 | |
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64
depicting
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| 描绘，描画( depict的现在分词 )； 描述 | |
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65
depict
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| vt.描画，描绘；描写，描述 | |
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66
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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67
constellations
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| n.星座( constellation的名词复数 )；一群杰出人物；一系列（相关的想法、事物）；一群（相关的人） | |
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68
warrior
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| n.勇士，武士，斗士 | |
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69
azure
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| adj.天蓝色的，蔚蓝色的 | |
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70
orb
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| n.太阳；星球；v.弄圆；成球形 | |
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71
conjecture
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| n./v.推测，猜测 | |
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72
venerated
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| 敬重（某人或某事物），崇敬( venerate的过去式和过去分词 ) | |
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73
mythological
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| adj.神话的 | |
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74
chrysanthemums
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| n.菊花( chrysanthemum的名词复数 ) | |
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75
dexterity
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| n.(手的)灵巧，灵活 | |
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76
protracted
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| adj.拖延的；延长的v.拖延“protract”的过去式和过去分词 | |
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77
factions
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| 组织中的小派别，派系( faction的名词复数 ) | |
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78
converse
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| vi.谈话，谈天，闲聊；adv.相反的，相反 | |
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79
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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80
crest
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| n.顶点；饰章；羽冠；vt.达到顶点；vi.形成浪尖 | |
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81
woe
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| n.悲哀，苦痛，不幸，困难；int.用来表达悲伤或惊慌 | |
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82
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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83
sketched
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| v.草拟（sketch的过去式与过去分词形式） | |
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84
belongings
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| n.私人物品，私人财物 | |
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85
armour
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| （=armor）n.盔甲；装甲部队 | |
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86
exuberance
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| n.丰富；繁荣 | |
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87
overthrown
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| adj. 打翻的，推倒的，倾覆的 动词overthrow的过去分词 | |
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88
lessen
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| vt.减少，减轻；缩小 | |
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89
remorse
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| n.痛恨，悔恨，自责 | |
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90
humiliation
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| n.羞辱 | |
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91
humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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92
dwelling
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| n.住宅，住所，寓所 | |
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93
dedicated
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| adj.一心一意的；献身的；热诚的 | |
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94
lengthen
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| vt.使伸长，延长 | |
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95
alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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96
ordain
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| vi.颁发命令；vt.命令，授以圣职，注定，任命 | |
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97
puff
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| n.一口(气)；一阵(风)；v.喷气，喘气 | |
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98
chatter
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| vi.／n.喋喋不休；短促尖叫；(牙齿)打战 | |
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99
clumps
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| n.（树、灌木、植物等的）丛、簇( clump的名词复数 )；（土、泥等）团；块；笨重的脚步声v.（树、灌木、植物等的）丛、簇( clump的第三人称单数 )；（土、泥等）团；块；笨重的脚步声 | |
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100
fragrant
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| adj.芬香的，馥郁的，愉快的 | |
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101
darted
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| v.投掷，投射( dart的过去式和过去分词 )；向前冲，飞奔 | |
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102
forth
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| adv.向前；向外，往外 | |
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103
maidens
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| 处女( maiden的名词复数 )； 少女； 未婚女子； （板球运动）未得分的一轮投球 | |
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104
maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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105
lurking
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| 潜在 | |
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106
regained
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| 复得( regain的过去式和过去分词 )； 赢回； 重回； 复至某地 | |
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107
evaded
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| 逃避( evade的过去式和过去分词 )； 避开； 回避； 想不出 | |
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108
killing
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| n.巨额利润；突然赚大钱，发大财 | |
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109
courteous
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| adj.彬彬有礼的，客气的 | |
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110
inquiries
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| n.调查( inquiry的名词复数 )；疑问；探究；打听 | |
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111
considerably
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| adv.极大地；相当大地；在很大程度上 | |
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112
ascend
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| vi.渐渐上升，升高；vt.攀登，登上 | |
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113
Buddhism
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| n.佛教（教义） | |
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114
virtuous
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| adj.有品德的，善良的，贞洁的，有效力的 | |
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115
spokes
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| n.（车轮的）辐条( spoke的名词复数 )；轮辐；破坏某人的计划；阻挠某人的行动 | |
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116
doctrine
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| n.教义；主义；学说 | |
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117
portrayed
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| v.画像( portray的过去式和过去分词 )；描述；描绘；描画 | |
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118
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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119
caressing
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| 爱抚的，表现爱情的，亲切的 | |
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120
celestial
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| adj.天体的；天上的 | |
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121
helping
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| n.食物的一份&adj.帮助人的，辅助的 | |
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122
luminous
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| adj.发光的，发亮的；光明的；明白易懂的；有启发的 | |
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123
Buddhas
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| n.佛，佛陀，佛像( Buddha的名词复数 ) | |
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124
bliss
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| n.狂喜，福佑，天赐的福 | |
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125
ambrosial
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| adj.美味的 | |
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126
possessed
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| adj.疯狂的；拥有的，占有的 | |
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127
malady
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| n.病，疾病(通常做比喻) | |
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128
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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129
countless
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| adj.无数的，多得不计其数的 | |
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ascertain
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| vt.发现，确定，查明，弄清 | |
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131
fragrance
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| n.芬芳，香味，香气 | |
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132
embroidered
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| adj．绣花的 | |
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133
postponed
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| vt.& vi.延期，缓办，（使）延迟vt.把…放在次要地位；[语]把…放在后面（或句尾）vi.（疟疾等）延缓发作（或复发） | |
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134
feverish
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| adj.发烧的，狂热的，兴奋的 | |
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135
lamentable
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| adj.令人惋惜的，悔恨的 | |
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136
secrecy
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| n.秘密，保密，隐蔽 | |
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137
celebrated
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| adj.有名的，声誉卓著的 | |
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138
flute
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| n.长笛；v.吹笛 | |
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139
concealed
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| a.隐藏的，隐蔽的 | |
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140
emanate
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| v.发自，来自，出自 | |
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141
applied
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| adj.应用的；v.应用，适用 | |
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142
detailed
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| adj.详细的，详尽的，极注意细节的，完全的 | |
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143
mortar
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| n.灰浆，灰泥；迫击炮；v.把…用灰浆涂接合 | |
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144
crests
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| v.到达山顶（或浪峰）( crest的第三人称单数 )；到达洪峰，达到顶点 | |
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145
derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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146
dealing
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| n.经商方法，待人态度 | |
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