Part 2

Like David’s harping to Saul distraught, the stillness of the garden, the dim greyness of the temple, washed pure the heart. The sin-freed soul floated out unfettered, and thought was not.

Alone the garden lay, an earthly Nirvana in the stillness.

Rinzaki’s true altar stood here.

VI

TWO CREEDS

Above the white cloud of the plum-blossoms, through the dark wood of the cryptomerias, on the top of the hill lies the temple of Ikkégami. The broad spaces of its courtyards and its gardens are sunny and still, and the blue sky above is a bed of celestial forget-me-nots. Down each side the big, dark trunks of the giant fir-trees stand straight and tall--two rows of sombre pillars, shutting in a sunny aisle.

In front, at the end of the wandering white path of rounded stones sunk into the bare earth, is the _Hondō_ or main building with the tent curves of its roof, and the polished floor of its veranda shining like a sword in the sun. Behind is the big wooden gateway, and the hundred stone steps which lead from the hilltop to the village beneath. And scattered down the wide earth courtyard, and half hidden under the dark arches of the trees, are the innumerable little buildings which form the complete whole of a Buddhist temple; the belfry, with its bronze bell hung from the big wooden beam of the ceiling to within three feet of the ground, and the polished wooden spar with which it is beaten; the quaint revolving library--like a dwarf windmill without sails--where the hundred volumes of the Buddhist Scripture can be dimly seen through the thick wooden lattice; the wide granite tank under its tiled roof, all hung with lengths of brown temple towels, where the faithful pour water over their hands from bamboo dippers as a symbol of purification; the side chapels with their drums and offerings. All are quiet to-day and deserted, only by the side of the tank, in front of a worn-out stone statue, a peasant mother is standing, her baby tucked in the back of her _kimono_--fast asleep. She claps her hands three times to call the attention of the gods, and then she prays, and the baby’s shaven head nods heavily over her shoulder. Then she takes the bamboo dipper and pours water over the head of the stone statue, carefully, that not a dry spot may remain, and prays again.

Between the dark pillars of the tree-trunks and the stamped earth of the courtyard, a line of narrow, pointed laths runs like a wooden fencing round the temple precincts. I wonder what they are and leave the stepping-stones of the pathway to see.

Tombstones? Yes. Set close together, and sometimes three or four deep, the long line of thin pointed laths closes in the temple and its courtyard with a fence of graves. Not a rich man’s graveyard this, but the last home of the peasants from the rice-fields and the fishermen from the sea. I look at the rows of Chinese characters running lengthwise down the narrow tombstones, and stop in wonder, for on one the Roman letters with their familiar outlines stand out plainly.

“To the Men of the Warship _Onega_.”

That is all.

To the men of the Warship _Onega_! It was true then the story. The story of the loss of the _Onega_ in the bay below, and the sale of the sunken wreck with all its contents to fishermen along the coast. The story of the finding of the corpses of the drowned sailors, all entangled among the wreckage, and of how the Japanese fishermen collected them reverently, saying, with the faith of the ancient Greeks, that their souls would wander restless and distressed unless they were laid in their graves and the funeral prayers sung over them. So they sent a petition to the great _Ijin San_ in Tokyo praying him to come to the temple of Ikkégami, that his dead brothers might have some one of their own race, if not of their own family, to perform the last solemn rites. And the Ambassador came to Ikkégami, and the long line of weather-beaten Japanese fishermen bore the western sailors up the hill to the temple, and buried them in the courtyard, under the silent trees, with all the rites of the Buddhist church. And they set up the wooden lath as over the grave of a brother, among the long lines of the tombstones of their fathers; but they wrote on it in the tongue of the stranger so that God and their countrymen might know their own again.

And all this they did out of their own hearts, and with the money of their own earning.

So the men of _Onega_ lie buried with Buddhist rites in a Buddhist churchyard, and the wooden lath above their graves is but another rail in the holy fence of the Japanese dead which encloses the temple.

* * * * *

The long arches of the sombre trees are dark and still. The blue sky above is without fleck or stain, and the peace of God which passeth all understanding is spread as a hand above the tree-tops.

The men of the _Onega_ sleep well.

VII

THE LEGEND OF THE NOSELESS JIZŌ

It was a great many years ago, but the stone Jizō stands there yet, just on the edge of the woods beyond the rice-fields. The blue cotton bib around his neck is new, the odd little piles of stones that balance on his shoulders, cuddle in his arms, or lie around his feet are larger, for kindly hearts have passed by since then, to pick up a stone and carry it to Jizō, who helps the souls of the little dead children crying naked on the banks of the Sai-no-Kawara, because the old hag Shozuka-no-Baba has taken their clothes away, and will not let them pass over into the happy land beyond, but keeps them piling stones on the banks of the Buddhist Styx, and crying bitterly.

And Jizō sits there by the roadside still, the same benevolent smile on his shaven face, still holding the pilgrim’s staff with its metal rings in one hand, and the jewel which brings all wisdom in the other. Only he has no nose. He lost it thirty years ago, the day little Dicky James came running up the road, his new hatchet clutched in his hand.

Now Dicky was the son of a missionary, and he had been brought up on good books and Sunday schools, and the night before he had been taken to hear the wonderful experiences of a “brother” from China, who had filled his little head full of “glorious martyrdom,” “sinful heathen,” “the overthrowing of idols,” and “the abomination of desolation,” which Dicky didn’t understand but thought meant the long stretch of muddy rice-fields down beyond Negishi. And that put Jizō into his head. And besides, there was the new hatchet.

All the morning he had played Red Indians, until, in an access of realism, he had almost brained the baby. The threatened loss of his hatchet and the great idea that was working in his head made him quiet and subdued all through dinner.

He was sorry about baby, “poor little martyr,” as his mother called her; and the idea grew and grew. Why shouldn’t he be a martyr too, and return to his family covered with glory? Then the thought of Jizō jumped into his head. He would go out, like the “brother” from China, into the “abomination of desolation,” and “overturn the idol” of the “sinful heathen.” Or, at least, if he couldn’t overturn it, the new hatchet would cut off its head, and Dicky’s fingers itched to try. He had no idea martyrdom was so interesting.

So, dinner over, Dicky seized his hatchet, and started off, away from the settlement, across the canal, up by the racecourse, and down the hill towards Negishi. Here he took to the shore, to avoid complications in the village; for Dicky was used to showing his Christian superiority by cuffing the heads of the heathen, and the boys of Negishi were his particular enemies. So the tide being out he kept to the shore until he was past the village, and the long stretch of rice-fields, nothing but solid ponds of black mud, each surrounded by a little, low, mud bank, came into sight.

“The abomination of desolation,” said Dicky.

And it did look like it. He went on along the narrow path towards the hills, with the wide stretch of muddy ponds on each side of him. They dwindled away gradually as Dicky went up the valley, dwindled away until they only looked like a kind of mud river running between the green hills. And there beyond the last one, on the edge of the hill, was Jizō. Jizō, with his broad smile and his funny little bib.

Dicky looked about him nervously; the great moment had come. No, there was no one in the rice-fields, and no one coming after him from the village; and Jizō’s smile was tempting. Up went the little hatchet and smash down with all Dicky’s strength. But Jizō’s head did not roll in the dust, as it ought to have done, so Dicky tried again. He was getting excited now. It was so beautiful to feel his dear hatchet coming down smash, smash, smash, and to know he was doing the “good work” at the same time.

Smash, smash! This time something had smashed, and Jizō’s stone nose lay at his feet. Dicky stooped to pick it up, exultant, and in the momentary pause heard angry voices among the fields, and feet coming swiftly up the road behind him. Then Dicky forgot all about “martyrdom” and ran as fast as he could go, across the bank of the rice-field in front of him, up the hill beyond, his hatchet clutched in one hand, and Jizō’s stone nose in the other.

It was the rice-field that saved him, because the men had to go round, but their shouts brought out the village, and the sight of Jizō, noseless, sent all the angry “heathen” up the hill in chase. I do not think they would have hurt him if they had caught him, for the Japanese are not fanatical, and they are very kind to children.

It was just this feeling that made them so angry now. To think that any one could injure Jizō; Jizō the friend of those in trouble, the comforter of women in travail, and the keeper of the baby souls crying naked on the dark banks of the Sai-no-Kawara. I do not think they would have hurt Dicky, but the whole village came out to see, and the men and boys ran up the hills around shouting:

“_Nan des ka? Nan des ka?_ What is it? What is it?”

And Dicky in his terror ran until his little legs gave way under him, and panting he threw himself on the ground under the trees.

The shouts had died away a long while, and it was growing dark in the wood before Dicky stirred. It was darker still when at last he crept cautiously down the hill and over the rice-fields towards the stone statue of Jizō. He was very tired now, and very hungry, but the memory of the angry voices calling after him in the hills made him afraid to go back through the village, and by this time the tide was up. So Dicky sat down by the side of Jizō in the growing darkness and waited. And all his nurse’s stories of Jizō and the little children came into his mind. He looked up at Jizō, smiling still his large benevolent smile, and crept nearer.

* * * * *

It was quite dark that evening when they found Dicky, his head peacefully laid to sleep on Jizō’s feet, utterly worn out with the pangs and the excitement of his martyrdom, his little hatchet fallen on the ground, but one grubby fist fast clutching something that even in his sleep he held tight.

But Dicky’s taste for martyrdom had gone, and once, to his father’s horror, he was heard to declare that he “wished he was a heathen because he would like to say his prayers to Jizō.”

In the deepest depths of his pocket, next to his clasp-knife and his favourite ally taw, there lived for many years a small stone object that he sometimes took out and looked at when he was quite alone. And Dicky had serious doubts at times about the goodness of the martyrs, and the sinfulness of the heathen, while his ideas on idols underwent a radical change.

It is thirty years ago now. But the legend of the noseless Jizō and his fight with the _Onigo_ (the devil in the shape of a child) is still told in the villages around Negishi.

The other day Richard heard it himself.

VIII

THE TEMPLES OF SHIBA

A matchless blue sky overarches the world, pale, clear, intense, and the twisted green boughs of the Japanese pine throw their gaunt, black arms up into the blue, in the vain endeavour of a hundred years to reach it. The hush of cloistered calm in which the trees grew up is still here, although the Tokyo citizen walks and rides where once none but Buddhist priests might linger. The Red Gateway, with the tent curves of its roof petrified into grey tiles, still claims for all within Buddha as its master.

And the hush of cloistered calm grows stiller.

Through a wide space open to the sky, a space paved with rounded pebbles, water-washed for many years ere they floored the courtyard of the House of God, believing and unbelieving feet have beaten smooth a wide, brown pathway. All around, and arranged in serried rows, stand a myriad grey-stone lanterns, the pious gifts of dead _daimyō_. Between these tall stone emblems of the five elements the pathway runs; cupola, crescent, pyramid, sphere, cube--ether, air, fire, water, earth--and the crude shapes of the primitive elements, touched and altered by generations of artists, are turned to curves of quaintest beauty. Diagonally across the space goes the black pathway, the standing rows of tall lanterns thickly set on either side, until beneath another gate it makes a pause. A gate of red lacquer this, with carvings of gilded wood on ceiling and wall. Carvings full of that oriental luxuriance of colour and line which half shocks our sober northern senses; so shocks them sometimes that we call it scornfully “barbaric,” until we grow wiser with much looking and learn to see the truth and beauty of this exuberant splendour.

Beyond the gateway, the black path leads out under the blue sky, a pebbled square on either hand, set round with stately rows of bronze lanterns, the pious gifts of yet greater _daimyō_. Another gate stands waiting at the end of the pebbled square, a gateway with rounded wooden columns of red lacquer, like its fellow, and carvings of gold. But the beams of its ceiling have been smoothed away, and in the centre a much twisted and curled dragon, which, like Joseph’s coat, is of many colours, writhes across the ceiling. A carved and gilded gallery stretches away on either side past the gateway. Another yet more beautiful, with its slender square pillars of red lacquer bound at base and crown with beaten brass, leads a rainbow shadow through the sunny court to the cool dark door of the temple itself. In the shade of the gilded galleries, suspended from the red-lacquered cross-beams, hangs a row of still bronze lanterns. Dimly in their exquisite shapes can one trace the symbolised elements.

Behind a wooden barrier five steps lead straight to the temple’s front, closed now with dark blinds of split bamboo bound together with a silken thread. The tiled eaves of the curving roof overhang the steps, and between door and lacquered pillar writhes in many wriggles of green and golden carving two royal dragons, the Ascending and the Descending--the going-up and the coming-down.

Leaning on the barrier, the glory of those golden dragons, of those red columns, of the carved beams and inlaid porch rushed riotously into the soul. And now one understood the preparation of those successive gateways, set each between a sunny space of pebbled court; for the first had shown but red and gold, up in the ceiling of the second lingered lines of azure blue, the third added green to the other three, the gallery gave glances of mauve and violet, while here, under the eaves of the temple roof, the rainbow itself is glorious in carved wood.

A culminating point of colour and splendour, what can the temple hold within?

Cool spaces of matted floor set round with black boxes on black stools, each box holding its portion of Buddhist Scripture; sombre pennants of dark blue and green brocade upon the walls; a sober light clear but colourless; and which is more beautiful, the rainbow porch of many colours riotous in carving and scrolls, or the sober quiet of the temple, a beauty of spaces and restraint?

The colourless matted room is wide and low. In front between the sombre pennants is the inner sanctuary. Gods on either side on lacquered tables set against the walls; at the end, beyond more lacquered tables, two brocaded masses rise like square coffins on a raised daïs; between stand figures of the gods, white-faced Benten and Kannon, Lady of Mercy. The red tables bear many-coloured sweets and biscuits heaped high on metal plates, in metal cups; offerings to the spirits of the dead _Shōgun_ whose tablets lie enshrined behind those masses of brocade. A bronze bowl on the floor filled with grey ash sends forth filmy clouds of incense. There is no sound.

Behind the temple, through two open spaces of pebbled squares, each reached by a score of granite steps, is the tomb; a smooth, round mass of stone encircled with a breast-high parapet of bronze; all around a sweep of grey pebbles.

That is all.

And yet standing here I wonder whether the dead _Shōgun_ have not rightly chosen? Whether their resting-place is not more truly beautiful than the beauty of sombre ornament in the temple, than the riotous carving of the gateways.

The porch was Beauty’s body, arrayed, adorned; here lies Beauty’s soul, naked and eternal.

IX

AMIDA BUTSU

Buddhism is not one but many; the same faith and the same nation which produces the squalor, dirt and commercial profanity of Asak’sa can create the peace and purity of Rinzaki, while Shiba’s riot of impossible colouring is born of the same religion and the same people as the stern beauty of the _Hongwanji_; for the temples of the _Shin_ sect are severe as a Protestant cathedral, as a Presbyterian church, only they are built by a race of artists.

Kannon of Asak’sa is popular, but the beautiful _Hongwanji_ at Kyoto, finished a few years ago, at a cost of eight million yen, was built mainly by the peasants, who contributed not only in money but in kind, sending their most beautiful trees to be cut into beams, offering themselves to hew and to build, giving always of their best. And each beam was raised to its place by long hawsers made of women’s hair, the soft black hair of youth or womanhood, with here and there the shrivelled grey hairs of age. And the hawsers are suspended in the temple for men and missionaries to ponder on.

Buddhism is not dead but living. The old, the weary, and the poorest poor creep into the _Hongwanji_ in Japan, and the pale matting of these temples is covered with the square-holed copper coins worth a quarter of a farthing, which they roll over the matting towards the altar from the corners where they kneel and pray.

* * * * *

Nagoya’s _Hongwanji_ is the glory of the town. It stands in the thick of the city, in a great wide courtyard of stamped earth set round with trees. Its sculptured gates of bronze are always open, and once inside them the busy town with its factories and its workshops, its quarter of a million of inhabitants, is gone, for the wide courtyard sets a lavish space of stillness between the city and the shrine. A space so wide and ample that the temple’s curves stand out clear and sharp as a solitary tower on an empty plain.

Built all of wood, unpainted, unstained; and so faded by the sunshine, so worn with age, and weather beaten with the wind and rain, that in the glow of the summer’s sun the temple stands against the brilliant light faded and grey, a beauty of pathos, not of joy.

Under the eaves the saints and sacred animals are carved in tender lines of love. Age has touched and left them colourless, and the infinite pity of the Buddha which enwraps creation, enfolding man and his brother the beast, looks from their eyes.

Inside there is peace and sober quiet. A wide low space suggestively divided into three with slender square pillars of wood, and behind, along the whole width of the temple a blaze of gold, sombre and rich. No riot of impossible colouring here, no profusion of design and decoration; sober, almost stern in its beauty, the centre and the two side altars shine in the dim light.

A bronze figure of Buddha, dead black against the gold, stands on his lotus-leaf with uplifted hands. It is Buddha as the God of Mercy, the living, loving god, Amida Butsu--Eternal Buddha.

Dull gold and black, alive in the altar, shadowly repeated in the pale yellow matting and in the grey age-stained wood, are all the decoration of the temple, save perfect purity and peace, and an atmosphere of quiet, enduring charity. For the Shin sect teaches that the law cannot be altered, that the eternal chain of cause and effect goes always and for ever on, that the wages and more than the wages of sin is death, that an act and its consequences roll ever onward through the world, and neither man nor time can stay them; it teaches that a man’s sorrows are made by his sins, but that Buddha is merciful and just, that he who is love gives love; love knows no sin, nor sin’s child, sorrow; without sin and sorrow is the world at rest.

* * * * *

Outside, the city labours, toils. Within, the workers kneel on the pure pale matting, and praying, roll their square-holed coins towards the image of Eternal Buddha, whose hand is raised to bless.

X

SAINT NICHIREN

Up a hundred steep stone steps lies the temple of the Lord Buddha, for Nichiren, his servant, whose head the executioner’s sword refused to cut off, died here.

Now Nichiren was a man of faith. And his faith was the faith of the average man--he knew he was right. But Nichiren did more, for he had the courage of his opinions; and he said, “I alone am right; the rest are all wrong, unfaithful servants of the Lord--kill them.”

And the people believed Nichiren, for is not such faith in one’s own opinion a sign of divine inspiration? And did not the Lord Buddha send lightning from Heaven to turn the edge of the executioner’s sword and save his pious servant?

So they followed after Nichiren and despised the rest of the church, and built temples of the true faith throughout the length and breadth of the land. And the priests of Nichiren walked in the steps of their master, and are--for the tolerant Japanese--almost bigoted and fanatical.