Shadowings Part 22

Yaku-nan muryo no wazawai mo Kokoro zen nara nogaru-beshi.

_Kokonotsu to ya:_--

Kokoro kotoba no sugu-naraba, Kami ya Hotoke mo mamoru-beshi.

_To to ya_:--

Totoi hito to naru naraba, Koko mono to iwaru-beshi.

_This is the first_:--

[Only] a person having filial piety is [worthy to be] called a person:[109]

If one does not know the goodness of parents, one has not filial piety.

[109] Lit., "A person having filial piety is called a person." The word _hito_ (person), usually indicating either a man or a woman, is often used in the signification of "people" or "Mankind." The full meaning of the sentence is that no unfilial person deserves to be called a human being.

_The second_:--

Higher than the [mountain] Fuji is the favor of a father: Think of it always;--never forget it.

_The third_:--

[Compared with a mother's love] the great lake is shallow indeed!

[By this saying] the goodness of a mother should be estimated.

_The fourth_:--

Even though in poverty we have to pa.s.s our days, Let us never turn aside from the one straight path.

_The fifth:_--

The person whose heart never changes with time, A true man or woman that person must be deemed.

_The sixth_:--

If the time [of the present] be spent in vain, In the time of the future must sorrow be borne.

_The seventh_:--

That a kindness done is not for the sake of others only, But also for one's own sake, should well be kept in mind.

_The eighth_:--

Even the sorrow of numberless misfortunes We shall easily escape if the heart be pure.

_The ninth_:--

If the heart and the speech be kept straight and true, The G.o.ds and the Buddhas will surely guard us well.

_The tenth_:--

In order to become a person held in honor, As a filial person one must [first] be known.

The reader may think to himself, "How terribly exigent the training that could require the repet.i.tion of moral lessons even in a 'ball-play song'!" True,--but it produced perhaps the very sweetest type of woman that this world has ever known.

In some dance-songs the burthen is made by the mere repet.i.tion of the last line, or of part of the last line, of each stanza. The following queer ballad exemplifies the practice, and is furthermore remarkable by reason of the curious onomatopoetic choruses introduced at certain pa.s.sages of the recitative:--

KANe-MAKI-ODORI UTA

("_Bell-wrapping-dance song_."--_Province of Iga--Naga district_)

A Yamabushi of Kyoto went to k.u.mano. There resting in the inn Chojaya, by the beach of Shirotaka, he saw a little girl three years old; and he petted and hugged her, playfully promising to make her his wife,--

(Chorus) _Playfully promising._

Thereafter that Yamabushi travelled in various provinces; returning only when that girl was thirteen years old. "O my princess, my princess!" he cried to her,--"my little princess, pledged to me by promise!"--"O Sir Yamabushi," made she answer,--"good Sir Yamabushi, take me with you now!--

"_Take me with you now!_"

"O soon," he said, "I shall come again; soon I shall come again: then, when I come again, I shall take you with me,--

"_Take you with me._"

Therewith the Yamabushi, escaping from her, quickly, quickly fled away;--with all haste he fled away. Having pa.s.sed through Tanabe and pa.s.sed through Minabe, he fled on over the Komatsu moor,--

_Over the Komatsu moor._

KAKKARA, KAKKARA, KAKKARA, KAKKA![110]

[110] These syllables, forming a sort of special chorus, are simply onomatopes; intended to represent the sound of sandalled feet running at utmost speed.

Therewith the damsel, pursuing, quickly, quickly followed after him;--with all speed she followed after him. Having pa.s.sed through Tanabe and pa.s.sed through Minabe, she pursued him over the Komatsu moor,--

_Over the Komatsu moor._

Then the Yamabushi, fleeing, came as he fled to the river of Amoda, and cried to the boatman of the river of Amoda,--"O good boatman, good sir boatman, behind me comes a maid pursuing!--pray do not take her across, good boatman,--

"_Good sir boatman!_"

_DEBOKU, DEBOKU, DEBOKU, DENDEN!_[111]

[111] These onomatopes, chanted by all the dancers together in chorus, with appropriate gesture, represent the sound of the ferryman's single oar, or scull, working upon its wooden peg. The syllables have no meaning in themselves.

Then the damsel, pursuing, came to the river of Amoda and called to the boatman, "Bring hither the boat!--take me over in the boat!"--"No, I will not bring the boat; I will not take you over: my boat is forbidden to carry women!--

"_Forbidden to carry women!_"