Holy Trinity Church in Gosport, Hampshire, 3rd March 2019
Holy Trinity Church in Gosport, Hampshire, 3rd March 2019
The nature, culture and living in a small village in Japan just after the last world war, reflected through the boy’s eyes.
Chapter 10 An ephemeral friendship and thoughts on beauty
Yoshiharu Otsuki (Sendai, Japan) and Yasufumi Otsuki (London)
1. Doing something for others does not always benefit the recipients
Recently I was listening to an NHK (Japanese Broadcasting Corporation) program called ‘High school lecture’. In it, Mr. Kazufumi Suzuki was reading an essay by the famous Japanese tanka poet Machi Tawara, called ‘Word spectacles’. She heard the following story being told by some people sitting next to her in a coffee shop.
“Could you explain to me the meaning of the saying ‘Doing something for others does not always benefit the recipients’?”
“I’ve heard it means ‘Compassion is not for other people’s benefit’. But somehow that doesn’t seem right. I’m sorry but I can’t give you a better explanation.”
Based on this conversation, Tawara wrote an essay concerning the correct interpretation of this proverb, an explanation of why it is misunderstood, her disposition to sympathize with anybody exercising care over the usage of words (I.e., richness of vocabulary, correct understanding, appropriate selection of words to ensure the flow of the conversation, richness of topics connected with the words), and also examples of conversations demonstrating misunderstandings of certain proverbs.
The proverb ‘Doing something for others does not always benefit the recipient” has two other interpretations besides the one mentioned above.
I would like to compare the two:
(1) Doing something for others does not result in any benefit for the recipients so you should not do it.
(2) The good you do for others will cause a chain of good fortune, finally resulting in a benefit for you.
The correct explanation is (2). Tawara said that the justness of (2) is easily discernible when the Buddhist precept of ‘retribution’ is seen as being the origin of this proverb, but she felt this to be a somewhat egocentric explanation. That is to say, forgetting oneself while in the act of helping others suited her sensibilities.
Listening to this radio program, I recalled that I learned this proverb at primary (or secondary?) school. The teacher quizzed us about the meaning of this proverb, and (1) was chosen by all of the pupils except me. The teacher saying that (2) was the right answer made me happy. The reason why I answered correctly was my mother was a Japanese language teacher and my family often used such proverbs and sayings in our daily life. I’m not writing about this in order to boast that I was the only child smart enough to know the answer. Indeed, even while I was nodding in assent to Tawara’s opinion, I muttered, ‘but it’s not true.’
After I became an adult, I came to the conclusion that this proverb does not mean that you get some personal benefit through doing things for others but rather that helping others makes you aware of the significance of your own existence, and this is most important for human-beings.
Then I found another interpretation of the proverb in a Japanese- English dictionary – ‘Doing good for others is a device of God.’ This seems reasonable to me as well, as does the Bible’s ‘It’s better to be a giver than a receiver’. It reminds me of the difference in attitude towards donation between Japan and countries that have a Christian culture. That is, the tradition of donation has long been established in western societies, while we in Japan are kind and considerate on a personal level, but do not have such a strong sense of the need for donation to others outside our group. This difference can perhaps be attributed to the difference between agricultural and hunting races. In an agricultural society, due to the necessity of having to work together to fulfill the same duty, people lead a similar life, and are therefore inclined to treat outsiders coldly. On the other hand, the hunting groups of ancient western societies needed people to fill various roles, which led to a society more accepting of differences.
2. Japanese traditional card games
There are basically three traditional card games in Japan. One of them is usually used for gambling, so is omitted here.
(1) Poem cards
Since ancient times (around or before the time of Christ.), we have had long poems constructed by words or combinations of words consisting of five or seven moras. Groups of five or seven moras are well suited to singing and voicing Japanese smoothly and rhythmically. Five followed by seven can give the listener a natural and vibrant impression, while groupings of seven followed by five creates a more elegant image. So in love poems, the former is used to express a more direct feeling of love, and the latter for a more restrained approach. The ‘Man-you-shu’, (Japan’s oldest anthology, thought to have been compiled in the seventh century) has short fixed forms of verse set to the pattern of 5/7/5/7/7moras, as well as longer poems. After this age, the short fixed form of verse became the standard and was used in the making of many court-appointed anthologies until the 12th century. In the 12th century, a famous poet, Teika Fujiwara, took poems from a hundred of the best poets, who were emperors, nobles, samurais, priests and some court ladies, and compiled them into one book, Ogura’s One Poem each from 100 poets).
A set of 100 ‘Poem cards’ (Each card 2.91×2.09 inches) actually consists of two sets of 100 cards, with one set showing the full poem and a picture of the author, and the other only the second part ( consisting of 7/7moras) of the poem.
The game is usually played by 2 people, who sit opposite each other. The 50 cards selected from the set of the incomplete version of the poems are placed face up between the 2 players. Another person, a referee, reads aloud a poem from the other set of cards. The player who recognizes and then snatches the corresponding card from incomplete poem cards gets to keep the card, and the player who eventually secures the most cards is the winner. When space allows it and more than 2 people play, they played respectively under the call of one referee. The players, of course, should know all of the poems. As soon as the beginning of the poem is read, they must recall the poem and locate and snatch it up before his or her competitor. It requires a good memory as well as quick reflexes. There are many poems with similar words, and this can catch players out. Though they play sitting down on tatami mats, they sometimes collide with each other when attempting to snatch the same card. I have heard that in fast draw scenes in cowboy movies, the winner is the gunman who draws and shoots within 0.3 seconds, and this card game requires similarly fast reflexes. If Japanese became a more familiar language around the world, who knows, this game might become an Olympic event in the future!
In olden times, as well as the noble classes, this card game was played among the samurai classes and rich well-cultured families. Now, local and national competitions are held in winter. However, most people nowadays can’t be bothered to learn the 100 poems and it is no longer so popular. These cards were a little expensive for a family as poor as the boy’s but they had a set nevertheless.
(2) E-Ro-Ha cards
The Japanese language has a system of ‘Fifty sounds’ that are equivalent to the alphabet in English – ‘A-E-U-Ei-O-Ka-Ki-Ku-Ke-Ko-Sa-Shi-Su-Se-So ･・・’.
This syllabic system is said to be derived from ancient Sanskrit.
And we have another sequence of these sounds, ‘E-Ro-Ha-Ni-Ho-He-To • • •’, which sounds more like actual words rather than just a table of sounds, thus enabling us to memorize them more easily.
There is an easier version of the game that uses this system. The cards have a sentence from the poem with the first syllable of the sentence highlighted, along with a picture connected to it. These cards are similar in size to the original ‘poem cards’ and are called ‘E-Ro-Ha cards’. The game is played by laying the cards face up, and the players (any number of people will do) sit around the cards. The referee chooses a card at random and reads the sentence. For example, (E) ‘Enu mo arukeba bonito ataru’, which means ‘As the dog goes out, it bumps the bar.’ (There is a picture of a dog on the card.) (Ro) ‘Ron yori shouko’ means ‘Evidence is more trustworthy than theory or discussion’ (Picture of a straw doll). (Ha) ‘Hana yori dango’ means ‘Cake is preferred to flowers’(Picture of cakes and flowers), and so on. When a player finds the corresponding card in the group of cards, he picks it up as fast as he can. The referee continues to read out sentences from the cards until they have all been taken. The player who has the most cards is the winner. This card game is much easier than the poem card game, so was commonly played by families in the past but now, except for some parts of Japan, it has unfortunately been replaced by smartphone games.
3. Admiring beauty
I was staying in London in the first week of October 2012. The primary purpose of my visit was to attend my son’s concert, which I did soon after arriving there. If I were his mother, I would have asked my son to take me to various sightseeing spots. However, he left me to my own devices during the daytime and we met up in the evenings in a pub, where we had serious discussions over a pint of beer. Although I walked alone for miles around many interesting places during the daytime, I also found time to visit the National Gallery almost every day I was there.
As I have described in an earlier essay, my childhood was spent in a world almost without any pictures or paintings. My parents did not give me any books of paintings and, of course, there was no art gallery in my village. When I was in secondary school and the book store in my town set up a corner for paintings and art books, I went there several times to look at them but could not form any impression about them. My own earnestly painted efforts all depicted pathetically deformed shapes, which people probably imagined were intentionally abstract. However hard I tried, I could not render three-dimensional objects on paper. As a result, I always got the worst grade in art class, and my sister often made fun of me saying that I must have talent because whatever I painted, my pictures always seemed like Picasso’s. After I became an adult, I often looked at books of paintings and went to art exhibitions to try to understand the pictures. To tell the truth, I can’t claim that any of them made much impression on me. I went to Tokyo to see the Mona Lisa and spent a lot of time viewing the painting, most of the time over the shoulders and heads of other people, but I have to say that I was disappointed because it was smaller than I’d expected and the light conditions in the gallery meant the colors were not as vivid as they appeared in the books I’d seen.
Claude Monet is one of the most well-known painters in Japan, so I spent half a day gazing upon ‘Water lily and pond’ in a Chicago gallery during a business trip to the US. It was pity that the only thing I could find to say after all that effort was that the painting was beautiful. I could get some sense of its beauty but still could not understand how the outside scene had been transformed into a two-dimensional picture.
Feeling a lack of something in my character, I walked through the ancient to contemporary sections of the National Gallery and sincerely tried to obtain some understanding of the pictures. After doing this several times, I felt that the people in the old paintings, usually depicting religious subjects, all seemed to have expressionless faces, and began to become more expressive from about the time of Rembrandt in the17th century. In old Japanese pictures, however, even before the 10th century people have faces full of expression.
‘Why do all of the people in religious pictures have expressionless faces?’ I asked one of the staff in the National Gallery.
‘In religious pictures, people are painted as expressionlessly as possible in order to let you focus on God. You don’t really think that depicting facial expressions in art only started from the time of Rembrandt, do you?’ She explained to me, looking intimidatingly intelligent.
I could understand it superficially as Christianity rejecting the idolatrous, while Buddhism, on the other hand, has embraced and adapted it. Walking from the Rembrandt section up to the modern corner, I was interested to see that people’s looks became more varied. I also became aware that portraits had been painted from medieval ages in large numbers, and then suddenly became much less common from the late 19th century. This is no doubt an indication of how much business painters lost to cameramen with the advent of photography. Since that time, a reduced number of painters have struggled to establish individual styles in order to compete with photographers. As a businessman, this made sense but another question occurred to me – Why did painters continue to choose to ply their trade even though their market was shrinking? What motivates them to paint? For about a week, I was pondering this question while walking around in the National gallery. Unfortunately, I’ve never been able to come up with an answer.
One day while I was walking around in the Gallery, I noticed a bright light shining some distance away through a group of visitors. I tried to keep sight of the light through the flowing crowd as I drew closer to its source. It turned out to be Monet’s ‘Water Lilies, Setting Sun’. In this picture, the sunset light is shining on the surface of a pond against a dark background of trees. The water seems transparent but it’s too dark to see the bottom of the pond. This light penetrated my mind as if a sword had been thrust there, and it created an image of the pond in the evening light which would have been beyond the capabilities of a camera to render. An involuntary shiver ran down my spine as I realized I had finally ‘got’ a painting. With my engineer’s nature, I stepped forward a couple of paces and stared at the painting to try and find out the origin of this effect and as I did so, it lost its brilliance and became just a two-dimensional surface of paint. I went back to my original position and found again the three-dimensional brilliance. I was fascinated by this and repeated the process several times. While of course I could not properly understand Monet’s painting technique, my brief insight made me feel that a change in my brain circuitry would be necessary in order to appreciate paintings. I sat on a bench outside the gallery thinking this over, gazing blankly at a sky similar to one I had seen in a painting by Turner. I thought that if you can transform a two-dimensional painting to a three-dimensional image by switching the circuitry in the brain, it must be possible to create a three-dimensional image on a canvas or piece of paper from a two-dimensional image held in the brain. That is to say, a stereoscopic (three-dimensional) image can result from the physical occurrence of binocular convergence in the brain, and conversely a two-dimensional image can be achieved by blocking this effect. You could, for example, look at something with just one eye and copy that image on to a canvas. If I had known such a simple technique sixty years ago, I would have got much better grades in my art classes.
Even though I don’t have the artistic skills of a painter, I do of course appreciate beauty in nature and the things around me. I’d briefly like to describe some of those things.
There are more than a thousand places famous for cherry blossom in Japan, which is an archipelago stretching three thousand kilometers from north to south. In Okinawa, the most southern islands, the cherry trees come into blossom in January, followed by Kyushu, the most southern of the four main lands, in March. Then the cherry blossom front, as this advancing efflorescence is called, moves gradually northwards as spring unfolds in its full glory. At last it reaches the north end of Hokkaido (the most northern island) around the end of May. We have a tradition going back more than a thousand years of holding parties under the cherry blossom. Even now, many people enjoy its beauty at spots with many cherry trees such as parks, old castles, temples, mountains etc. Nationally famous spots are visited by people from all over the country, which is said to have a bigger economic effect than the Olympic games do. Accordingly, after flowering starts in the southern islands, the advance of the cherry blossom front is widely reported and weather reports contain forecasts for its arrival date in each area.
Japan has four distinct seasons and its nature is seasonally colored by flowers such as the cherry, Japanese plum, iris, chrysanthemum etc., as well as the early spring and autumn leaves. Not surprisingly, many poems inspired by them have been written since the earliest times. This shows an interest in nature itself and/or the writer’s sentiment through explaining his interest in it. Then combinations of words of flowers, birds, the wind and the moon etc. become phrases that are understood to represent nature and the love of nature. Other natural phenomena like the movement of waves, the flow of waterfalls, rain etc. are also the subjects of many poems. Birds, the wind, the moon and the flowers prevalent in each month crop up frequently, but the cherry blossom is certainly the most common, perhaps because it is taken to express the transience of life because of the brevity of its flowering.
The autumnal leaves are thought of in a similar way. The fresh green leaves tremble in the spring breeze and under the strong summer sunshine, then turn yellow and red, wither in the autumn winds, and finally fall in the winter winds.
The full moon party described on Youtube is the same. At that time, the villagers were not rich enough to have a cherry blossom party and certainly, being busy farmers, could not have had the time to celebrate it anyway. And yet somehow they found time for full moon parties. Maybe, these parties held a special significance for a farming community, perhaps to celebrate the harvest, for example. At any rate, the change of the moon’s shape from the new moon to the full moon is easily likened to the vicissitudes of life. Also. As the moon can be seen from anywhere, it is often used as a symbol of constancy in poems lamenting the fickleness of man. This fondness for the moon has given rise to specific names for its various phases. I would briefly like to describe some of them.
13rd night: It is said to be next in beauty to the full moon. Moon viewing parties used to be held on this night,
14th night (Komochi-tsuki small full moon): It is also called ‘ Matsuyoi tsuki’. Matsuyoi means waiting for the next day’s full moon.
15th night ( Mochi-tsuki, full moon): Full moon parties were widely held,
16th night ( izayoi-no-tuski, moon of hesitation): As the moon rises later than full-moon, we feel it is hesitating to come out. It is also called Ariake-no-tsuki – the moon at sunrise, as it is still up even at dawn.
17th night ( Tachimachi-tuski, wait standing moon): The moon rises even later so you stand and eagerly wait for it to rise.
18th night (Imachi-tsuki, wait sitting moon): The moon comes even later – you have to sit and wait.
19th night (Nemachi-tsuki, wait lying moon): And even later – you have to lie down waiting.
There are similar names and explanations for the 20th night and after. There are even names for the nights before the 13th but these are not well known. This might be a result of the lack of the word ‘waiting’ in the names. Japanese culture is sometimes said to be a ‘culture of waiting’. During the middle ages, ‘commuter marriage’ was common in Japan. After marriage, the wife remained living with her parents and the husband visited her there according to his whim, and she would wait for her husband to come to her house every night, without ever being sure that he would come.
This might be one example of a link to the sentiment of waiting for the moon.
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Chapter 10 An ephemeral friendship and thoughts on beauty (1956)
Yoshiharu Otsuki (Sendai, Japan) and Yasufumi Otsuki (London)
1. The house on the hill
The boy’s house was in a small village located at the foot of a mountain, where a river went down from the mountain range and spread its width into the rice fields. At that time a dam had been built upstream, at a place that the current was not so strong, in order to supply tap water for a city. The river, running from west to east, had a highway on its north bank, along which many houses were located. From the south bank, fields spread gradually up to the house-dotted hill. A small primary school was in the center of the village and its main gate faced the highway.
In the evening of one early spring day, he went on an errand to a general store next to the primary school. It was the only store in the village. It was dusk and he happened to look over to the fields on the south side when he passed in front of the school-gate on the way back to his house. On the top of a hill, he could see a residence consisting of several buildings. One of these buildings had a pyramidal shaped roof that was emitting a light that seemed to make its windows float in the air, and he stood looking at it for a while. While almost all the people in the village spent their evenings under the light of an incandescent lamp hanging down from the ceiling, that house was lit up by a fluorescent light, and the implied affluence greatly impressed him. At that time, he was alone in the evenings and had to wait in hunger for his family to return. He imagined how different it must be for people living in that house, relaxing happily together and enjoying all the amenities of an urban life. Since then, it had become his custom to go there often in the evening and gaze dreamily at the house.
One early summer day, he was playing a game called ‘Kugisashi’ (please refer to ‘Japanese Rustic Life in the 1950s. 9 Sciencing-2’ on Youtube. In brief, it involves throwing and then sticking a nail into the ground, with the aim being to gain territory from opponents.) with friends under the big willow tree near the main gate of the primary school. Just as he was throwing a nail, he caught sight of a car kicking up dust as it came from the rice fields. Along with the other children, he watched the car approach and then ran onto the bridge after it passed and saw it enter the yard of the house with the triangular roof. As the car turned left to cross the bridge, he got a glimpse through the rear window of a girl sitting on the back seat. After that, he often thought about the girl while he was doing his chores in the evening, and this further enhanced his interest in the house with the pyramidal shaped roof.
2. Kindness does not go unrewarded
After school one day in May, the boy was idling his time away leaning on the approximately 4 meter high rock located near to the entrance of the primary schoolhouse. Before the last world war, all the primary and middle schools had a statue of Sontoku Ninomiya (Please refer to Internet information). This rock was the pedestal of the bronze statue. However, due to a shortage of materials for weapons, the statue was called upon to do its bit for the war effort, and Ninomiya then went to the front as rifles on the shoulders of soldiers. At the time this essay covers, (1955), only the pedestal remained, often being used by children who incorporated it into their games. Recently the statue has been rebuilt and replaced in about a 1000 of the 20601 schools in Japan. The statues depict Ninomiya as a boy walking while reading a book and carrying firewood on his shoulders. It was meant to teach children the importance of diligence in all areas of life by showing how Ninomiya studied hard while continuing to help his poor family with farm work.
In modern society, however, traffic conditions have entirely changed, so that reading while walking has become very dangerous. And it has also come to light that Ninomiya in fact never used to read while walking – a fiction made up by some novelist at a later date – so statues of him sitting in a chair reading have also been made. The original style, even if not completely accurate, does at least have the virtue of suggesting the very modern image of young people fiddling with their smartphone while walking.
But I digress. Let’s get back to the subject.
Leaning on a big stone that was part of a wall, the boy had been thinking back on what he had happened in school the preceding day. The teacher had announced, ‘Tomorrow we will have a commemorative photo taken. Please don’t forget it.’ After lessons that day, he was playing in the mountains and caught his pants on a branch of a tree, making a big hole under the knee. He often dirtied or tore his clothes, and because his mother was busy working as a teacher and doing housework, he usually mended or cleaned them himself. However, this time the hole was too big to repair himself, so he had to ask his mother to do it. He was waiting for a chance to ask her and then completely forgot about it. The next day, the teacher said, ‘Let’s go out now and we’ll take the photo on top of the rock.’ He suddenly remembered the gaping hole in his pants.
After climbing to the top of the rock, he tried to find a good position that would enable him to cover his embarrassment. While the cameraman was setting up his camera and other gadgets, he was still trying to think how he might camouflage the tear, but the best he came up with was just to fold up the edges of the tear and hold it together with his fingers. He waited like that anxiously and hoped that the photograph would be over quickly, because her knew his mother would give him a good telling off for shaming her if she ever noticed it. Actually, when the photo was finally developed, you could see that the knee part of the pants was swelling unnaturally, and that one leg was longer than the other. He clearly saw on his face the worry he had felt at the time but fortunately nobody, including his mother, ever commented on it.
Absent-mindedly chewing over various trivial matters in his mind, he turned his body to avoid the sunshine and found himself looking directly at the rock. Focusing on its surface, he could make out the microstructure of black bright granules in a white ceramic matrix. He was interested in the structure of the stone and how the pattern appeared to be different when he tilted his head and the angle of view was changed. This observation reminded him of a fairy tale he had read when he was a child. (For this ten -year – old boy, a mere three years ago!) In the story, it was evening and a traveler asked for a night’s lodging at a house where two brothers and a sister lived. The next morning, the oldest brother told him.’ My younger sister and I have to go out now. If you are willing to take care of our brother, you can stay here as long as you want. All you have to do is put this ointment on his eyes every morning but be sure not to get it in your own eyes.’ The man agreed and the brother and sister left. Nothing happened that day, nor the next, nor the day after that. The traveler was content to stay there and continued to discharge the light duty that was demanded of him. He did, however, begin to get curious about where the brother and sister went every day, and wondered what the mysterious ointment could be. But how could he find out what it was without experimenting a little by putting some on his own eyes? After several more days, he couldn’t stand it anymore and he succumbed to the temptation. He cautiously applied a little of the ointment to his eyes but couldn’t discern any effect. He told the younger brother that the ointment hadn’t done anything, whereupon the boy told him to look at the pond in front of the house. He did so and found that the water of the pond was so clear that he could easily see to the bottom. He was amazed when he noticed this and leaned forward to look more closely. To his surprise, he saw the brothers playing cheerfully with other children right at the bottom of the pond. They came back in the evening as usual but he didn’t mention what he’d seen to them. After that, he applied the ointment and watched the children play at the bottom of the pond every day.
Then he gradually became overtaken with the desire to join them, and finally he asked the elder brother one day when they came back home if he could go there with them. The older brother answered immediately, ‘ The only thing you were required to do to stay here was not to use the ointment on your own eyes. You have disobeyed me and now must leave.’ The next day he left the house and continued his travels. – (Since I read this fairy tale more than a half century ago, I have forgotten exactly which tale it comes from. If anybody recognizes it, please let me know)
The boy could not understand what this fairy tale meant but never forgot the image of them playing under the water. (Anyhow, if the moral of this tale is that you shouldn’t break a promise, there are many similar tales in Japan and of course, it’s the same as the story about Adam and Eve in the Bible.)
Now, he felt that the world under the water described in the fairy tale was similar to what he was experiencing with the rock. He became more and more absorbed in the microscopic world he was imagining as he gazed at it. Suddenly, a voice above his head brought him out of his hypnotic state and the stone lost its glitter.
‘Hey. What are you up to now?’ He did not notice who the person was and involuntarily braced himself by putting his hands on the stone because he feared that his face would be pushed hard against the stone, something he had seen older boys do to other unfortunate boys in his position. Fortunately this did not happen and it began to dawn on him who the boy was. It was Kaoru, a boy in the year above him. ’Ah, Kaoru-chan,’ he said.
‘Yesterday I played in the mountains all day and tired myself out, so I’ve just been sitting and lazing in the sun today,’ he replied unconvincingly. He was the youngest in his class in primary school, and inferior physically as well as academically. That made it difficult for him to find boys to play with, much less to make any real friends. Kaoru-chan was well known at that school because he always got prizes at the closing ceremony at the end of each term for his unfailingly excellent results. The boy, on the other hand, was never mentioned. As a result, there was usually nothing for them to talk about so they just looked at each other. Then the boy was surprised as Kaoru-chan started to chat to him.
‘You were alone all day at the last athletic meeting. Are you alone at home too?’
‘No. I have a mom and a sister,’ he replied becoming serious.
‘Why didn’t they come?’
‘They never come to athletic meetings, or any other school activities, for that matter.’ He reluctantly revealed the embarrassing truth – ‘My mom and sister go to the same middle school every day.’
‘Your mom goes to a middle school with your sister. What? How old is your mom?’
‘Don’t be stupid, My mom is a teacher at the school.’
‘Oh.’ Kaoru-chan looked disappointed. ‘What were you looking at until just a few minutes ago?’ Getting back to the original topic, Kaoru bent down and leaned toward the stone to try to see what the boy had been staring at. When they came nearer to each other, the boy got a whiff of Kaoru-chan’s body odor, which being different to the other loutish boys in the village didn’t induce a feeling of fear, and actually caused him to spontaneously relax. The boy was so intrigued it that he could not follow Kaoru-chan’s conversation. Of course, he could hardly tell the truth – that he had been looking for midgets and other worlds in the stone.
‘Uhh, I’ve been counting the number of black grains in this stone,’ he lied.
‘Uh-huh, they are mica grains in granite,’ Kaoru-chan said studying the rock surface steadily. Now there is a prize pupil for you! He pursued the topic. ‘What are you doing it for?’
The boy was at a loss for an answer and tried to change the subject. ‘ Kaoru-chan, did you take a bath? You smell of soap.’ Kaoru-chan was taken aback by this unexpected question and averted his eyes from the boy’s face. ‘I often see you fishing at the river in front of this school. Is it fun?’
‘Yes, of course, it’s fun. Much better than school.’ Actually, he usually caught fish for his afternoon snack, not really just for fun, but he was too ashamed to tell the truth. ‘Fishing in this river is not so much fun because you can only catch small fish. You have to go to other places for the best fishing. The big ponds in the rice fields have bigger fish and the tarns in the mountains have more beautiful fish.’
‘I’ve never been fishing. Could you teach me?’ Kaoru-chan asked him cheerfully without noticing the awkwardness the boy was feeling. No one had ever asked him that before so the boy gave an unusually direct reply. ‘OK. You can use my gear. My home is near here so I’ll go and get it. Just wait here for a moment.’
They slid down the grass-covered bank and stood at the edge of the big pond. The bait was earthworms, which they got by digging them up from the ground under the stack of rice straw used for manure in a farm yard. While most boys in the village usually used single fishing rods taken from bamboo forests, the boy had several fishing rods assembled from short rods which were bought at a stall of a seasonal festival held in the next town. He decided to let Kaoru-chan use the newest one. He made up tackle by putting together rod, fishing line, and hook.
‘ Kaoru-chan, do you know how to put bait on a hook?’
‘ No, I don’t. Show me.’
‘It’s better to choose a wriggling red earthworm. The hook looks like a question mark, and you should stick one end of the earthworm on it like this,’ he taught Kaoru-chan in a rather patronizing manner.
Kaoru-chan frowned at his first touch of the earthworm. ‘It looks like a piece of string that’s hard in places and soft in others. It kind of gives me the creeps touching it – I don’t think I can do it.’
The boy showed what was for him an unusual kindness. ‘You can’t? Give it me. I’ll do it.’
His fishing techniques, of course, were not taught by any experts but just picked up from other boys in the village. Therefore his fishing style, gear, way of looking for and choosing the best fishing place, etc. were just based on his experience.
‘ This pond is large and has big fish like carp, castle fish, crucians as well as many small kinds of fish. Big fish are out in the middle so we use long fishing rods to catch them. The short rod is for the small fish living near the shore. Of course, there are more small fish than bigger ones so you’d better go for small fish at first. Kaoru-chan, you should cast your line near to that tussock of reeds.’ He gave his instructions almost feeling like a professional. ‘At first, you don’t know the depth so you have to cast your line, and then make the appropriate adjustments between hook and float. If the float is lying down on the surface of the water, the hook must be touching the bottom. By varying the length, you can find the depth. Then you will be able to adjust the hook to the position where the fish are. ‘
If you are a fisherman yourself, you will see that the theory is sound. He set up Kaoru-chan’s rod, line, hook and float and passed it to him. Then he set about preparing his own gear.
“You know, if you speak loudly or walk around clumsily, the fish are frightened by it and swim away, so you should just keep watching your float quietly. The float moving tells you when a fish has taken the bait. At that moment, you give a slight yank to your fishing rod, so that the fish’s mouth is caught on the hook. The most difficult thing is choosing the time to yank the rod after you realize you have a bite. If you’re too quick, the fish is only nibbling at the bait and hasn’t taken the hook. And if you are too late, the fish will eat round the hook, eat all the bait and swim off” He explained clearly and quietly while Kaoru-chan watched his float, nodding to show he understood.
“ The smell of the water plants is good. What’s this one? Is it water flag?” Kaoru-chan asked.
“ It’s not water flag but I don’t know it’s name.” the boy replied. He felt a kind of fulfillment that he had never had playing by himself, and also spoke with an unfamiliar fluency. A refreshing light breeze blew over the water and enveloped them on the bank, and then it stopped abruptly.
“Ahggh-,” screamed Kaoru-chan as he lifted his rod. The end of the rod bent deeply and was shaking violently.
“Kaoru-chan, you’ve got one. Now be careful. Don’t lift your rod too quickly or the line will break. That’s right. Raise it steadily and bring the fish in. Wow, it’s a whopper. Looks like a big crucian carp.” He felt as happy as if he had landed the fish himself, even though Kaoru-chan had caught it near to the bank in an area where the boy had said there were only small fish. Kaoru-chan, of course, was delighted and exclaimed, “This is the most fun I’ve ever had in my life!”
‘If you can’t pull the fish to your hand, land it onto the grass along the bank.’ He directed, as they did not have a net. Kaoru-chan successfully landed it on the grass but he was scared to touch it. Then the boy took it off the hook and put it into a basket immersed in the water.
“Here, I put some more bait on the hook. Cast it into the water.” He showed uncharacteristic kindness when he said, “Oh, no. You shouldn’t cast into the water grass, otherwise the line gets completely tangled. Pass me the rod and I’ll untangle it.” He devoted all his energy to helping Kaoru-chan and didn’t even touch his own rod. Meanwhile, Kaoru-chan didn’t say a word as he endeavored to faithfully follow and absorb the boy’s instructions.
After that problem was solved, he cast Kaoru-chan’s line into the water, and then he lifted his own rods. (A couple of rods were leaning against the support stand so as to be handled easily if fish took the bait.). The bait had gone. Though he was a little disappointed to realize he had been so busy looking after Kaoru-chan to notice, he continued positively, “The bait being eaten means that the fish are there.” After a while, Kaoru-chan got a bite again. This time he caught another big crucian carp, and then another, and then another. He even caught a catfish.
Reminded of what a keen fisherman had been telling him the other day, the boy spoke like a professional.
“The fish are swimming about in a shoal and now they are gathered just around the spot you are casting your line.”
Although feeling excited for Kaoru-chan, losing out to him like that had harmed his pride slightly. Usually when he felt frustrated like that after fishing, he assuaged his anger by throwing all his bait into the water and stirring it furiously with his stand, and then went home. But today such petulant behavior was inappropriate – after all, he was Kaoru-chan’s teacher. He managed to get over it after a while and continued fishing, and his persistence was rewarded when he at last caught a couple of smaller fish using his long rod.
While they were fishing, the weather deteriorated and black cloud spread in the western part of the sky. Small drops of rain started to fall making a “kiin, kiin” sound as they hit the surface of the water. The boy had always disliked this sound because somehow it penetrated to his heart.
“Ouch! Ouch!” he grimaced.
Kaoru-chan looked concerned and asked, “What’s up? Are you in pain?”
“It’s that “kiin, kiin” sound,” he said.
“What “kiin kiin” sound? Kaoru-chan asked.
“ Can’t you hear it? It’s the raindrops falling on the water. I’ve always hated it – it goes right through me.”
Kaou-chan didn’t really understand and just shook his head. Suddenly, Kaoru-chan cupped his hands over his ears and said, “If you think of it as the sound of small waves lapping on a beach, you’ll hear it differently.” The boy tried it and it worked – the sound stopped being unpleasant, but then he caught the smell of Kaoru-chan’s soap again and it momentarily froze him.
After that time, they became close friends and spent the whole summer holidays together or in the company of other boys, fishing and playing in the mountains and fields. However, Kaoru-chan never swam in the river, remaining adamantly opposed despite repeated invitations to join the other boys. “ I can’t. If my dad found out that I’d been swimming in the river he’d be mad with me,” he protested.
One day while the boys were playing together in the boy’s house, they felt hungry and ate the rice left over from breakfast that morning, pouring ‘Miso soup’ over it. This gruel was usually fed to hungry cats and was called ‘Nekomannma (cat food) but they found it was surprisingly delicious.
Another day, Kaoru-chan came to the boy’s house carrying something long and thin in a cloth bag.
“This is for you,” he said and passed it to the boy.
“What is it?” said the boy as he took it out of the bag. It was a fine-looking fishing rod. “ Wow! This is a professional’s rod – I’ve never seen another boy with such a good one. Why are you giving it to me?”
“Dad came across it in his warehouse the other day. He used to use it when he was a child and he told me I could have it. I’m happy using yours so you can have it. Besides, one good turn deserves another!” said Kaoru-chan, sounding very grown up.
Whenever they went fishing together after that, they always caught twice as many fish as he had when he fished alone. There was always enough fish for his daily snack, and some times for Kaoru-chan’s, too.
3. Bouzu – mekuri ( A kind of card game)
When the boy first started to play with Kaoru-chan, he did not know Kaoru-chan’s family. For a long time while they played together, he never asked about them as he was afraid that asking about his family might affect their friendship.
One day, Kaoru-chan said to him after school, “Today, let’s play at my house.” The place where he lived turned out to be the house he’d spent so much time gazing at and thinking about – the residence on the hill that included the building with the triangular roof. The boy was surprised to find that there weren’t any toys of games for boys in the house. The boy, like Kaoru-chan, was the only male in his family (his father lived alone working in another city.), but he had as many toys as any of the other boys in his village. This made him feel that Kaoru-chan was somewhat different to the other boys he knew – more like a girl in some ways.
They tried to play some games but nothing they tried was fun and they soon lost interest. Then they found a card game called ‘ Bouzu-mekuri ’ and started laying it out on the veranda. It’s a simple game that has a hundred cards with Japanese traditional poems and pictures of their authors, which include emperors, queens, princes, princesses, nobles, priests, serving men and ladies and samurai – all wearing 8th-12 century clothes. For more details about the cards and how the game is usually played, please check out the home page version.
4 or 5 players sit in a circle and the cards are placed in a pile in the middle with the picture facing downwards. Each player takes it in turns to pick up a card and show the picture to the other players. If you get a card with a male character, you have to immediately discard it. If you take a card with a female character, you can pick up all the discarded cards. However, if you pick up a priest card, you have to discard all of your cards. When all the cards from the pile have been turned over, the person with the most cards is the winner. Children can easily play this version of the game because it doesn’t require any special skill or ability to memorize cards that have already been played. (In the original version of the game, however, these abilities are essential.) This simple card game was usually only played in the New Year ‘s holidays. but with nothing else to play in the house on the hill they were forced to play it. Kaoru-chan’s elder sister, who the boy had seen in the car the other day, often joined them. Thereafter, the boy played there many times, but he never entered the other buildings of the residence, including the building with the triangular roof.
4. Full-moon night festival
There was a public square in the center of the village – its south side facing the river and with a fire watchtower at the northern end. Annual events were held in this square as well as in the primary school ground. This year the long rainy season that followed the summer finished earlier than in an average year, and it was clear on that day. Just as the sun was approaching the top of the mountain to the west of the village, several villagers gathered in the square and started to prepare for an event. They set up a long table next to the river and placed two big vases containing Japanese pampas grass on it. Fruit, vegetables and dishes filled another long table, which was set in front of the first. Then, starting with children and the oldest people, the villagers began to gather. The center of the square was covered with straw mats, and the villagers sat there eating and talking while the children ran about yelling in excitement. While they were chatting, the sun began to sink behind the mountain and it gradually got dark. The moon appeared in the sky above the eastern mountain range far away in the distance. The yellow rice fields spreading along the eastern side of the village were lit up by the moonlight, looking like a golden sea. The villagers celebrated the full moon on the 15th day of the 8th month in the traditional Japanese calendar (the lunar calendar) with moon viewing parties. This is when the distance between the earth and moon is at its shortest, and so it looks about 10 percent bigger and brighter than usual. Moreover, when it is seen near to mountains, it looks even more wonderful. As the moon is full on the 15th every month in the lunar calendar, it is called the 15th night.
As the moon rose high in the night sky, the party livened up and the villagers started singing folksongs. While different areas and classes celebrated the occasion with different styles and with ceremonies of varying formality, this was a farming village and they gathered to simply enjoy drinking, eating, chatting, singing and dancing. It was as bright as daylight in open areas but really dark in the shade. This strong contrast between shadow and light created a special atmosphere and stimulated the children to play various games, running in and out of the dark and light and amongst the crowd of villagers. Finally, they started to play hide-and-seek. At first, Kaoru-chan was the one searching for and chasing the other children, and next it was the turn of the child he had caught first. After they’d played the game a few times, a boy said, “ Where’s Kaoru-chan? ” The children started looking for him but couldn’t find him. As their concern grew, the adults noticed and they also joined the search.
The boy was just going off to look for Kaoru-chan when an adult said, “Some child should stay here. Hey, boy – you stay here while we look for him.” He didn’t understand why but he did what he had been told and took a seat by a group of adults, who then fell into conversation about Kaoru-chan’s family.
“In that family, only girls are ever born. The present family head is a son-in-law,” said one man.
“I have heard he tried all sorts of things to have a son,” said another.
“ Well, he wasn’t very good at it, was he? If he’d asked me, I could have told him how to do it,’ boasted the first man.
“ Oh, you mean practical training,” said one man, winking lewdly. Everybody laughed.
“ But he certainly tried, didn’t he? – seven children and six of them girls! He must have been so pleased when he finally managed it,” somebody said and everybody laughed again.
Their conversation continued.
“ Actually, I heard something about the midwife who delivered that child.”
“What do you mean by that?”
“Well, there is a rumor that she was given quite a bit of money by the family after the child was born. What do you make of that?”
The boy had been absentmindedly watching the thin clouds drift across the sky and partially veiling the moon but gradually tuned into the conversation as it continued.
“ What are you suggesting? Are you saying that Kaoru-chan is a girl? That’s silly.”
“As they failed to have a boy after six attempts, it stands to reason that the next one would also be a girl.”
“Why on earth would they have to hide the fact that the child was actually a girl? I can’t believe they’d be that desperate to make everybody think that they’d finally had a boy, and anyway, people would find out sooner or later.”
“I cannot understand it either but that’s what I heard.”
“Ah, between men and women, there are so many things about them that are hard to understand.”
They all burst out laughing again.
The conversation continued in this way and the boy lost interest. However, he retained an impression of Kaoru-chan being gentle, graceful and neat – quite different to the other boys he knew.
The search for Kaoru-chan had been unsuccessful and they were about to wind up the party when an employee of the family on the hill appeared. He told them that Kaoru-chan had already returned home and offered them some sake, food and sweets in apology for all the trouble Kaoru-chan had caused. Everybody was greatly relieved to hear Kaoru-chan was safe and they started chatting again.
“Kidnapping used to be quite common in this area a long time ago. Of course, it hasn’t happened recently but I was really afraid that somebody had taken Kaoru-chan.
“In ancient times, there were Tengu*, mountain gods and wolves, which were all thought to take children sometimes.” The more the adults spoke, the more they warmed to the topic. The atmosphere of the full moon party was entirely spoiled and the children set out for home with their parents or other family members. The boy, of course, went home alone.
From the following day, Kaoru-chan was absent from school and the boy didn’t see him outside school, either. The light still shone from the window of the house with the triangular roof. Whenever he looked at it, he missed Kaoru-chan and remembered the pleasant times they had spent together, and he wondered why he had suddenly disappeared that night. The boy never had the chance to find out because Kaoru-chan left the village in the spring of the following year. In later years, looking at the light of the far away house at night, he often recalled the events of that summer, and eventually began to doubt that those things had actually happened.
*: Tengu is an imaginary monster living deep in the mountains. It has a manlike body, a red face, long nose and wings. It is able to fly by waving a fan and has the strength to easily defeat samuri. (This is according to Kojien – a Japanese dictionary published by Iwanami Shoten, Japan.)
Fumi Otsuki (Vn) and Alessandro Viale (Pf)
Ralph Vaughan Williams: The Lark Ascending
Gerald Finzi: Introit Op.6
Lili Boulanger: Nocturne
Claude Debussy: La plus que lente L 121
Ralph Vaughan Williams: Romance and Pastorale
at the St.John’s Church in Chester, Cheshire on 4th July, 2018
R. Vaughan Williams; The Lark Ascending
Fumi Otsuki (Vn) and Alessandro Viale (Pf)
at the St.John’s Church in Chester, Cheshire on 4th July, 2018
2017 6th Dec. St.Alphege’ church in Solihull, West Midlands.
2017 14th Sept.
Guildford Cathedral in Guildford, Surrey. Fr 11:15.
January 11th 2017
St. Nicholas church in Brighton, East Sussex
The nature, culture and living in a small village in Japan just after the last world war, reflected through the boy’s eyes.
Chapter 9 Science-2 Coping with the boredom of everyday life
Yoshiharu Otsuki (Sendai, Japan) and Yasufumi Otsuki (London)
At the end of August, after the long summer holidays, the second term of his first year in high school started. (The school had a three-term system.)
‘Hello everybody. I’m sure you all studied hard, and it looks like some of you also played a lot during the long summer holidays,’ the class teacher said from the stage, looking directly at the boy. He understood the teacher’s sarcasm immediately – he was the only person with a sun-tanned face who didn’t belong to a sports club.
In order to be a nuclear power scientist, he reasoned that he would need to study in one of the seven universities that had been imperial universities before the war. One of them is located in the main city of the region he lived. His prefecture had a school district system, and students had to go to the high school that was in the same district as the middle school. Naturally, there was a big difference in academic ability between students in the main city and students in the rural districts. In the high school in his district, only a few students went to university after graduation, and only one student in several years went to the imperial university in the area. Since he already knew himself to be lazy and likely to be come even lazier in his unstimulating environment, he thought he would never be able to pass the entrance exam for that university if he stayed in his present school.
This was not a conclusion he’d reached by himself – more than five students of his age had already left the local school to move to a middle school in the city. As there had to be a legitimate reason for changing schools, and seeing as his father was already living in the city, he pleaded with his mother to let him move there and live with his father. Fortunately, she agreed to let him, and in the spring of his third year, he transferred to the city school. Schools in each district used different textbooks, so it was said that transferring schools in the third year was too late for students aiming to go to high school. Happily, he succeeded in passing the entrance exam for a school with one of the best academic records in the prefecture. It was the first step towards becoming a nuclear scientist. He realized that his score hadn’t been high and he’d in fact only just scraped through, but he was quietly satisfied that his marks in the first prefectural proficiency test, held before the summer holidays, ranked him in the middle position among four hundred students. Even so, his mother scolded him, saying that she had almost fainted with shame when she saw his results. He thought she was too demanding but she was right – he would have to be in the top 10% of students if he wanted to study nuclear power at the faculty of engineering of the university he was aiming for.
He was used to her constant scolding and was able to ignore it completely, and had a fantastic time in the summer holidays. Every day in the holiday, he had breakfast with his father and then went to school, spending the whole day reading books under a tree and swimming in the school pool. (There were no lessons but the school was open during the holidays.) In the evenings, he made an effort to stay up late and study but more often than not, he fell into a deep sleep.
Of course, as the teacher had noticed, he became as brown as students in the swimming club, who swam outside every day. Only one thing spoiled the happiness of that time. Studying nuclear power in school gave him a better understanding of the subject. He had thought that electricity was generated directly from nuclear fission, so he was disappointed to discover that steam generated by heat rotated a turbine, and the rotors generated the power – not so different to the process in conventional thermal power generation. Being influenced by the spreading prejudice in his village at that time towards charcoal makers, who were treated as a class lower than farmers, it was disappointing to think that nuclear power was only a substitute for coal and charcoal.
Furthermore, after he came to know that the biggest problem with nuclear power was disposing of the spent nuclear fuel, he lost his passion for it. Consequently, even before the end of that golden time in the summer, he had let go of the dream that he’d had since the exhibition. Having lost something to aim for in life, his marks dropped to leave him bottom but one in his class by the end of the third semester of the first year. As I’m sure you can imagine, his family were far from pleased.
It was a lesson about mathematical induction in the second year of high school. The students were taking it in turns to write answers for the questions in their textbook on the blackboard. The students were taking their turn based on the order of the position of their desk, and the boy had worked out that he would be called upon to answer a question about how to obtain the number of diagonal lines in polygons by using induction. Then suddenly he felt himself in a quandary. He had, of course, prepared for the lesson, and he already knew the answer. However, he really wanted his teacher to look at a different answer – the solution that he had found himself, even if that alternative answer had originally been discovered two thousand years ago.- Even now, it is still usual in Japanese education that solutions to problems in textbooks other than those used by the teacher are not accepted to be correct. On the way to the blackboard from his desk, he still couldn’t make up his mind whether to write his own solution or the one in his textbook. At the last moment, he decided to write his own answer, but was already regretting it by the time he got back to his desk. He even thought about going back to the blackboard and rewriting the answer, but the thought of the other students’ eyes on him as he did so seemed worse than getting a bad mark from the teacher. The teacher started to check the answers written on the board. The boy’s heart was beating strongly, and nearly burst out of his chest when the teacher started to examine his solution.
‘Well, I understand this answer. It’s different to the one in the textbook but this one is also right,’ the teacher commented in his usual calm and assured voice. The boy couldn’t prevent a smile appearing on his face, and that teacher became the only person he ever trusted or respected.
<Proving the number of diagonal lines in polygon by induction method>
The number of diagonal lines in polygon is expressed by S=n(n-3)/2 eq.1
This equation shows that eq.1 is true for n=k+1.
Then from 1)~3), it is proved that eq.1 is true for all natural numbers.
The Japanese Rustic Life in 1950s . ９
The nature, culture and living in a small village in Japan just after the last world war, reflected through the boy’s eyes.
Chapter 9 SCIENCE-2
Coping with the boredom of everyday life
Yoshiharu Otsuki (Sendai, Japan) and Yasufumi Otsuki (London)
１．Button toy (‘Boon Boon top’ ) (1953)
It was a chilly night in early winter. The boy’s family – the boy, his mother and elder sister – were in the habit of listening to radio programs every Wednesday night while warming themselves sitting around a ‘Kotatsu’(1) heater positioned in the center of the living room. Tonight, however, he was busily doing something in front of the ladder hanging from the attic into the living room. The family sat beside him listening to the radio program, sometimes casting disapproving looks in the boy’s direction.
-(1) A Kotatsu is a traditional heater that has been used in Japan since the 14th century. It consists of a square or rectangular table top, a wooden frame containing a heating source, and a thick quilt. It’s 3~4ft by 3~6ft, depending on the family size, and about 1.5ft in height. The thick quilt is draped over the frame in order to trap the heat, and the tabletop is placed on top of it. Sitting around the Kotatsu placed on the floor with the quilt over their legs, family members dine, chat, read and engage in all the other usual family activities. Burning charcoal in a ceramic container was used as the heat source down to the late 1950’s. Since then, an electric heater has come to be widely used. This new type of heater is healthier and safer than the old one, not only because of the high fire risk but also because burning charcoal produces carbon monoxide, which can lead to suffocation. A Kotatsu doesn’t warm the room itself, so a separate ceramic pot, ‘Hibachi’, containing burning charcoal was used for that purpose. (Nowadays, air conditioners and oil heaters are used instead.) –
His mother muttered to herself, ‘Once that boy starts to do something, nothing distracts him.’ The elder sister responded to her disinterestedly, ’What is obsessing him today?’
After a while, a strange sound coming from where he was sitting made them give one another a look. His mother asked him, ’ Last time, you made that awful stink, and then before that there was that big hole you dug in the ground, and we’ll never forget that night you spent in a persimmon tree – What on earth are you up to this time?’ Without replying to her question he continued to concentrate on swinging his upper body rhythmically back and forth. The sound, ‘Boon, Boon’, like an amplified buzzing of an insect’s wings, was heard while he synchronized the swinging of his body. A naked lightbulb projected his shadow onto a wall, growing bigger or shrinking, as if it was the silhouette of a monster. Usually, at least one of his family was amused at his actions, but this time they seemed not to have any interest at all. Maybe they were very tired after working all day or perhaps they were absorbed in the radio program. The first radio program was finishing, and his mother seemed to be about to stand up to take a look at what he was doing, but then sat down to listen to the radio again. ‘Boom, Boom’, the sound echoed around the room for a while and then ceased. He was obviously completely absorbed in something, but everybody else had already lost interest in him. After a while, the sound, ‘Boon, Boon’ began echoing around the room again, and this time even louder than before. A troubled look came over their faces as they tried to ignore the sound and concentrate on the program. But they were used to the disturbances he caused, and they continued to listen to the radio without saying anything to him. The ‘Boon, boon’ sound continued for a short time, and then ceased again.
The radio program on the air that night featured ‘Manzai’ (a kind of stand-up comedy that usually involves two, sometimes three people.), ‘Shamisen Mandan’ (comic chat and shamisen playing performed by one person – shamisen is a traditional Japanese stringed instrument, a bit like a banjo.), ‘Rokyoku’ (narrative singing by one person, generally accompanied by shamisen), ‘Kodan’(historical stories told by one person) and ‘Rakugo’(a talk by one person for the purpose of causing amusement, involving parody of famous stories or short comedy sketches etc.).
The mother casually looked over at her son during an interval between the Kodan and Rakugo. He appeared to be making something with a piece of thread about 0.4 inches in diameter. As soon as the next program started, however, she forgot all about him and went back to listening to the program, now a Rakugo performance, with his sister. Suddenly, an even louder ‘Boon, Boon’ sound echoed through the room, surprising his mother and sister. The mother cried out twice, as is the usual Japanese habit when someone wants to express admiration or surprise etc., ‘ What’s that? What’s that?’
‘Boon, Boon, Boon.’
As he got his upper body to swing faster, the sound got louder and it became impossible to listen to the radio.
‘For heaven’s sake! Stop it!’ his mother shouted over the Boon, Boon sound. He wanted to continue but he was now aware that if he didn’t obey his mother, she might get really angry and not make him a lunch box to take to school the next day. He reluctantly stopped and joined them listening to the radio. It was a Rakugo performance. Rakugo can be divided into two kinds. One is classical Rakugo, which are well-known stories that have been performed for many years. The audience enjoys minor changes made to the story by the performer, or just the way that a particular performer tells the story. The other type is contemporary Rakugo, which usually consists of several short stories which are just vehicles for jokes. They are often slapstick comedies based on the performer’s experiences. Influenced by their mother’s taste, the family preferred classical Rakugo.
This program being contemporary Rakugo, the boy soon lost interest and started looking back on the events of the day.
After school he had gone to the house of a boy whose family were farmers. Early winter was the time when, harvesting being completed, a farmer could rest after the non-stop work of the year. In the mild sunshine, children were playing a game with a nail – ‘kugisashi’. A housewife watched them playing while she ate pickles with her baby on her knee. ‘Kugisashi’ is a game of territory acquisition played by several people with a nail of 5 or 6 inches in length. Each player decides his starting point, and then they take it in turns to throw the nail. When someone succeeds in getting the nail to stick in the ground, they can draw a line between the nail and their starting point. After several turns and when you can enclose an area with lines, you get this space as your territory. This continues until the space has run out, and then the one with the most space is the winner. This game used to be played all over Japan but has completely superseded by computer games.
After playing the game several times, they got tired of it and sat eating cookies around the mother and her baby. She took out a button and a length of thread from a sewing box, and then threaded the thread through the holes of the button to make a loop. The middle fingers of both hands were put inside the loop, with the button set in the center. Both hands were held in front of the chest and expanded to pull the loop taut as shown in following figure.
Then she expanded and shrank the space between her hands repeatedly, thus stretching and loosening the loop. At first the button just jumped slightly but as this action was repeated, the button began to spin.
The thead made a soft ‘Boon, Boon’ sound. The children gazed at the movement of the loop and the spinning of the button. This game was called ‘Boon, Boon Top’. Decreasing the space between the hands seemed to make the loop and button dance, but if the space became too small, the circular movement broke up and the button stopped spinning. Using another technique, she rotated the loop around the button, this time instantly creating the ‘Boon, Boon’ sound. She took the baby’s hand and they did it together. The baby cooed with delight.
The children scrambled for thread and buttons in the sewing box, and got to work on making a ‘Boon, Boon Top’. The boy also set to work but was clumsy by nature and so was unable to thread the thread through the buttonholes. He grew impatient as the other children managed to do it more quickly than him. Eventually he made a loop and started to try and play the game. He experimented moving his hands at various speeds but without success. He suddenly remembered the other technique that the mother had used and tried to imitate it. After several tries, he was able to expand and contract the thread and the button started spinning smoothly. A smile appeared on his face as he felt the pleasant sensation of the vibration transmitting through the thread in his hand. Each child was engrossed in making the sound. Altering the space between his hands and changing the speed, he stared at the trajectory of the button and thread. Then abruptly the thread snapped. He set things up again with a new piece of thread and started again. Two things fascinated him: One was that the loop of thread seemed to be behaving like rubber, even though the thread itself only stretched slightly when it was pulled. The other was that even fine thread can make a big sound. After playing for a while, he noticed that the skin on his middle fingers had peeled so much that there was bleeding. He’d been so absorbed in the game that he hadn’t felt any pain.
Even after he got back home from his friend’s house, he was still fascinated by the ‘Boon, Boon Top’. In the beginning, he was interested in the reason why the thread of the loop appeared to be like rubber, even though the thread itself didn’t have an elastic quality. So he set about trying to find the reason for it. He found that only using one piece of thread with the button in the center (figure 2) did not produce the same movement. Using the thread loop without a button didn’t seem to work either. Then he examined the end of the broken thread using a magnifying glass, and found that the fibers inside seemed to be untied. Then it dawned on him that the twisting of the thread was a key part in producing the movement of the toy. He wondered what would happen if he tried a thread without that twisting, like a piece of fishing line. Sure enough, it didn’t work, so he had found one important requirement for making the ‘Boon, Boon Top’.
The next point of study was the button. He tested different buttons of various sizes but they didn’t seem to make a difference to the movement of the loop. The heavier the button, the stronger the power needed to produce the movement, but the thread broke in a shorter time. If he had known the classic theories of dynamics, he would have realized that his experimental results indicated that the toy was exhibiting the following physical phenomena:
Of course, he did not know anything about physics, so he did not understand the physical processes of the toy. Then another thought came to him: If the twisting of the thread was really the root cause of the Boon, Boon sound, did the difference of thickness of the thread pair consisting the roop affect to the movement? He made scuh toys and tried to move. It was a little difficult to start and also keep moving.
While playing around with these experiments, another question occurred to him: Was using the button an indispensable condition? That is, from the physics point of view, was it necessary for the object (causing inertia?) to be round? He tried it with buttons of different shapes and was successful each time. The boy was nothing if not persistent, and he even went so far as to see whether it was possible to make a Boon, Boon top using a propeller made for a paper plane. He found a piece of bamboo in the barn and cut it into small strips of different sizes with a knife and saw. He’d just finished making two holes in the center and shaving it into a propeller shape when his sister saw him.
‘What are you up to?’
He was startled by the sudden sound of her voice – ‘Ah, Chikochan,’ (The nickname of his sister) he replied in a slightly husky voice, being thirsty after his exertions.
‘What are you doing in such a dim light? You’ll hurt your eyes,’ she said in an unusually concerned way.
‘She must have had a good day at school – maybe she got full marks in a test,” he thought to himself.
He ignored her and carried on making the toy, first trying with a short propeller.
He made a loop by threading the thread through the holes and tried to get the toy going, but it was more difficult to rotate the propeller than the button. He tried again and again and gradually got the knack of it and the propeller started to spin.
‘Ahh!’ he cried out, the thread snapping suddenly. He changed the thread for a heavier one and got the propeller moving again. This time the propeller produced a softer vibrating sound than the button had. He started wondering what would happen if he positioned the holes in the propeller off center. Most children could probably guess what would happen but he wasn’t satisfied until he’d actually tried it. He found that both the rotation of the propeller and the vibration of the thread became unstable, making it difficult to keep the movement steady.
When he got to that point in his recollections of the day’s events, the radio program finished and he got back to making the toy. He tried propellers of different specifications in subsequent tests. Unfortunately, he wasn’t smart enough to come up with anything other than the most basic of variations to such things as length and the inclination angle of the cross section of propellar.
He started again right away, this time using a new version with a big propeller. The propeller rotated vigorously with a louder sound. With one end fixed to the rung of the ladder going up to the attic, he manipulated the other end of the loop using both hands, now while wearing gloves to protect his fingers. It was easy to see that increasing the angle of inclination changed the sound. Already covered in sweat, he made another attempt with the biggest propeller of the day. ‘Boon, Boon, Boon’ – it made a terrific noise, causing the ladder to shake and dust to fall from the ceiling.
‘Hey, what on earth are you doing? Everywhere is getting covered with dust – Stop it!’ his mother shouted, putting an end to his exciting experiment for that day. His mother’s angry utterances always brought things to an end, like the punch line in a Rakugo story.
If he were to have gotten any further with his experiments, he would have needed to know about the theories of elasticity on torsion and air dynamics on propeller rotation. However, he had no such knowledge so he just enjoyed playing with the toy. Tired after his eventful day, the sweat-soaked boy got under his cold cotton futon (traditional Japanese bedding) and fell into a deep sleep, satisfied with the day’s experiments.
2. Set Square (1955)
One of his treasures was a set square made from a thick sheet of plastic. He forgot who gave it to him. Did he use it to study mathematics? Of course not! He just sucked it because he liked the taste of the plastic. That day, his primary school was closed, though both the middle school his mother worked at and the high school his sister went to were open as usual. All his friends were busy helping out with farm-work, and it was too cold to go fishing. He just sat idly at the kotatsu, lonely and bored. He couldn’t be bothered to read a book – he’d already looked through all his sister’s textbooks that had pictures. He just sat there sucking the set square, a small pool of dribble forming on the back of the calendar covering the top of the kotatsu.
While stirring the saliva island with the set square, another idea started to come to him. After wiping the corner he’d been sucking, he used the set square to draw a straight line on a piece of paper with a pencil. Then he added two other lines and made a triangle. After staring at it for a while, he drew a square as well. Then he made the lines thicker by drawing over them repeatedly, and then aimlessly drew diagonal lines with a red pencil. His interest now piqued, he drew a pentagon and added diagonal lines connecting the angles with the red pencil. There were four red lines. Next he drew a hexagon and added nine red diagonal lines, followed by a heptagon and an octagon, with fourteen and twenty diagonal lines, respectively. The first figures he drew were small and it was difficult to count the lines, so he drew them bigger and connected them again. He didn’t get beyond the octagon. He wondered if there was some correlation between the number of angles and the diagonal lines of the polygons, and wrote down the numbers.
Triangle – 0, square – 2, pentagon – 4, hexagon – 9, heptagon – 14,
octagon – 20.
He started to think about a mathematical formula. Since a triangle did not have any diagonal lines, he reasoned that any equation of diagonal lines and the number of angles should contain “-3”. Now, he became completely absorbed in trying to find some common element between them. Finally, he was able to come up with the equation as number of diagonal lines = n (n-3)/2 (n: number of angles). Playing around with the paper and pencil had been more fun than finding the mathematical formula, but he felt satisfied.
3. Nuclear Power Generation (1956)
In mid-October, an exhibition about the peaceful use of nuclear energy was held in the main city of the region where the boy lived. This city, where his father lived apart from his family, was about two and a half hours away by bus and train, so the boy only visited the city about once a year.
Unexpectedly, his mother declared that she would take him to the exhibition. Her reason for doing so was probably somewhat selfish. Maybe she felt a bit guilty because, although she was a teacher, she often left him alone to care for himself, no doubt because she was tired after teaching other children all day at school. Or, more likely, it was for the following reason.
At that time, children of primary and middle schools were given reports 3 times a year, and the highest achievers were commended. Of course, being a teacher, children who got this award were his mother’s favorites. Accordingly, she told her son to study hard every day, but never had the time to make sure he did so. The boy always intended to obey his mother but somehow was always too busy playing to open his textbooks at home. Consequently, whenever he showed his report card to his mother, she complained, “ Why is it that all my colleagues’ children get good marks but your grades are always so poor?” Well, there were not uniformly poor. For example, for PE, drawing, craft and mathematics, he usually got a grade 2 or 3. (5 being the highest) In other subjects, he usually achieved a 3 or 4 grade, and, for some reason, he regularly got full marks in social studies and Japanese. However, his teachers’ comments always lamented his disobedience and inability to apply himself to anything for very long. I’m sure many mothers have similar stories of feeling shame upon reading their children’s reports and, of course, the boy never got an award.
Despite not taking a more active approach in trying to get her son to study, his mother still must have worried about him. She often said things like, ‘ Your sister got full marks again – Why can’t you be more like her?’ His sense of shame prevented him from being able to look his mother in the eye when she scolded him, and he started to develop an inferiority complex. (If she had been a true “educator”, she would have encouraged him by telling him that his sister’s achievements evidenced his own ability, and she would have tried to find out the real cause of his lower marks!)
And so, she might have reasoned that if he found something new and stimulating in the exhibition, it might provide an impetus to study harder. Anyway, she might well have come across such an explanation in her teaching manual, and then it had occurred to her to try it on her son.
He wasn’t keen to go to the exhibition, thinking that nuclear power was the same thing as the nuclear bomb. (Pika-don in Japanese – pika; flashing and don; the sound of a bomb exploding). He had seen many times the movie about the ‘Pika-don’ that exploded at Hiroshima. After seeing the movie, he felt that if you could escape the initial heat and radioactivity at the time of the explosion, it might be possible to survive. He often tried to think how he could avoid the immediate effects of a nuclear explosion. For example, what should he do if he were out in the open in the rice fields? He decided that the best thing to do in that case would be to shelter under the nearest bridge. What about if he were in the school playground? Well, then he imagined that he should make sure he was the first child to hide in the hollow of the trunk of the big willow that stood in the playground, as the children that were last to seek refuge there, and consequently were exposed to the outside, would surely perish.
This kind of speculation in his daily life developed his thinking powers, and greatly helped him later in life when he needed to do efficient scenario analysis in his work. Anyway, the thought of nuclear power and the bomb only conjured up miserable images, and he couldn’t understand why his mother wanted to go to the exhibition. Also, he felt it was strange to think that it was possible to use the power that had created the bomb for peaceful purposes. On top of that, his older and wiser sister, for whom the exhibition would have surely been more suitable, was not going. So he thought there was something suspicious about his mother’s proposal and refused to go.
‘After the exhibition, we’ll go and see your father at his shop, and then you’ll be able to eat his delicious ramen,’ his mother explained.
The two times a year that his father came home, he drunk sake all day and never played with his children. In fact, in the 11 years of his life, he’d only ever had two experiences of his father spending leisure time with him – once when they played records together, and the other time when they went fishing. Using his developing analyzing skills to weigh up the situation, he could see that there was very little chance that his father would spend any time with him, but he was still eager to see his father. Even after he became an adult, he still couldn’t understand why. However, he did like his father’s ramen very much, and he was fed up eating the same meals that his mother and sister prepared for him every day. So finally, he agreed to go to the exhibition – his mother’s tactics had worked.
They arrived at the exhibition, held in a sports center in the downtown area of the city. His mother said coldly to him, ‘I’m going to your father’s shop. We have many things to talk about so have a look round here and I’ll be back for you at 2pm.’ She pressed the ticket into his hand and pushed him towards the entrance. He actually didn’t mind being treated like this – without his mother he would be able to look around the exhibition freely.
For the eleven years since the war had ended, the city had been undergoing rebuilding on a grand scale, and there was still an atmosphere of instability. Entering the hall from the dusty street, he was overwhelmed by the striking primary colors and brilliant illumination of the displays. He had never seen anything like it before. It reminded him of a bright scene in the one American movie he had seen. It all seemed very far from the misery caused by the atomic bomb in Hiroshima and Nagasaki, and this bewildered him.
‘Look! This amount of charcoal will only keep you warm for a short while, or heat one saucepan,’ one of the exhibition staff cheerfully explained to him, holding out his hand to show how much charcoal he meant. ‘The amount we could hold in both hands would be enough to melt even iron,’ he continued. This reminded the boy of the blacksmith’s hearth in the outskirts of his town. ‘And if we used an amount ten times greater still, it would make a huge fire. Well, it’s the same thing with nuclear power. A large amount could be used to make an atomic bomb, but smaller amounts can be used for peaceful purposes – fuel, for example.’ The boy partly understood but also felt he was being misled. This must have shown on his face because the man’s smile disappeared and he continued his explanation in a rather stern manner.
‘The carbon atoms contained in charcoal react with oxygen in the air during burning and become carbon dioxide, while generating heat. It’s called a chemical reaction, but nuclear power is different. An atom is composed of an atomic nucleus and the electrons moving around it. The atomic nucleus itself is a mass of very small particles called protons and neutrons. There are two types of atom for the element uranium – uranium 225 and uranium 238. This number represents the number of protons in the nucleus. When neutrons collide with the nucleus of uranium 235, the nucleus breaks into pieces. This is called nuclear fission. Moreover, the neutrons emitted from the nucleus during nuclear fission collide with other nucleuses and break them into pieces again. This reaction, arising one after another, is called a chain reaction. The fission of the nucleus generates a gigantic amount of heat. The efficiency of electrical power generated in this way is much greater than hydroelectric or thermal power generation – an enormous amount of electricity being produced with just a tiny amount of uranium.’
Of course, it’s not a very precise explanation, but the man must have chosen his words carefully so that even an ignorant child could understand. Indeed, the boy didn’t understand completely but he was starting to feel that this all represented the birth of a new world, even if he still couldn’t forget the sad impression that the movie “Pika-don” had created.
So he asked the man nervously, ‘ In the ‘Pika-don’ movie, radiation killed many people – What about with nuclear power generation?’
‘Good question, ’ the man praised the boy for what must have been a frequently asked question. ‘Of course,’ he continued, ‘nuclear fission produces radiation, but that part of the process is encapsulated in a sturdy metal container, and the radiation is contained by thick walls of lead lining the container. Once the use of nuclear power spreads, it will free us of dependence on charcoal and coal for ever.’ Now, at the end of his explanation, the man suddenly became more cheerful and started smiling again. The boy thought it was strange that his attitude changed so abruptly but he understood that nuclear power would somehow be the savior of a Japan still trying to recover from the disasters the war had wrought.
The words the man had used – atomic nucleus, uranium 235, nuclear fission, chain reaction, radioisotope etc. were flying around his brain, even while eating lunch or listening to explanations at other booths.
He was brought back to reality by his mother’s voice, ‘Are you OK? – You look lost in thought.’ All the way from the exhibition place to the station, he walked after his mother, too taken up with thoughts of nuclear power to think about his father’s ramen. She was worried by his appearance, so much so that she kept turning round to ask him again and again, ‘Are you alright?’ But his expression didn’t change. Ordinarily, she didn’t pay much attention to his feelings, so she must have been feeling guilty about leaving him by himself for half the day.
He remained absorbed in the day’s happenings until they passed through the ticket barrier and took their seats on the train. After the train pulled out of the station, the town came into view through the window. It might seem strange for a child to have such a feeling but he hated this moment the most – leaving the city and returning to the gloom of daily life in his own town. Moreover, it somehow made him sad to think that many people were struggling to eke out a living in the busy city.
That day, his melancholy mood looked like it would get worse, until the moment when his town came into view, and he cried out, ‘Yes!’ Surprised by his shout, his mother asked him in a similarly loud voice, ‘What’s the matter?’ He was so fascinated by the new idea he now had that he again ignored her question.
Before entering primary school, (There was no kindergarten in his village) he used to while away his free time reading fairy tales by Grimm, Anderson, Rabelais (Gargantuan and Pantagruel) etc., which aroused his interest in European countries. At that time, he had a dream about visiting Europe in the future as a diplomat. However, because he had been bullied at primary school, he had a morbid fear of meeting new people, and this took the edge of any happiness that the dream might have given him. On top of that, he really did not like himself very much and had been struggling to find a raison d’etre’ for about 5 years.
His cry signified the moment he was released from that agony. He saw that the purpose of his life would be to become a nuclear scientist and contribute to society through the peaceful use of nuclear power.
‘Mom, I’m hungry – Do you have anything to eat?’ he asked her all of a sudden.
‘What’s made you so hungry? Anyway, you can have some of these,” she said as she passed the box of macaroons (a sweet cookie) to him, still feeling guilty about leaving him alone, no doubt. He filled his mouth with the delicious cookies – delicious because the impact of science had taken away the gloom of five years!
Topics concerning this article – Nuclear power and the number of diagonal lines in polygons are described in http://www.fumi-otsuki.com
St.Bride’s church in Fleet Street, London.
(with Petra Hajduchova)
1．J. S. Bach: Sonata No1(1st and 4th M.v.t) in G-minor for Solo Violin, BWV1001 (0-7,07)
2. J. Sibelius: 5 pices for Violin and Piano Op.81 No.2-Mazuruka (7,30-10,02)
3. Rebecca Clerke: Midsommer Moon (10,33-16,55)
4. J. Sibelius: 5 pices for Violin and Piano Op.81 No.2-Rondino (17,05-18,40)
5. F. Delius: Sonata No3 for Violin and Piano-1st M.v.t (18,54-24,24)
6. G. Faure: Berceuse Op. 16 (24,34-27,55)
7. F. Kreisler: Rondino on a Theme by Beethoven (28,05-30,37)
8. E. Elgar: Salut d’Amour Op.12 (30,45-33,05)
Chapter 8 GHOST MOVIES （1955）
Yoshiharu Otsuki (Sendai, Japan) and Yasufumi Otsuki (London)
An English Japanese dictionary contains the following words that describe various kinds of spirits that cause harm to people: apparition, bogey-man, demon, devil, fiend, ghost, goblin, monster, ogre, phantom, Satan, spectre. By further checking in the Longman Dictionary of Contemporary English and Kenkyusha Shorter English-Japanese Dictionary, the following list of words was obtained. For reference, the Japanese is also cited.
Apparition; something that you imagine you can see, especially the spirit of a dead person. 幻影、幽霊
Bogey-man; an evil spirit, especially in children’s imagination or stories. Someone who people think is evil or unpleasant. 悪霊、悪鬼、おばけ
Demon; an evil spirit or force, something that makes you anxious and causes you problem, someone who is very good at you. 悪魔、鬼、邪神、悪の権化、鬼神のような人、精霊
Devil; the most powerful evil spirit in some religions, especially Christianity. An evil spirit. Speak or talk of the devil etc. 悪魔、魔神、魔王、怪異な偶像、邪神
Fiend; a very cruel, evil, violent person. (Longman might mean a person, instead of a kind of monsters) 魔神、悪霊、鬼、魔鬼、悪魔王、鬼のような人、
Ghost; the spirit of a dead person that some people think they can feel or see in a place. 幽霊、亡霊、怨霊、妖怪、変化、幻
Goblin; a small ugly creature in children’s stories that likes to trick people. 悪鬼、小鬼
Monster; an imaginary or ancient creature that is large, ugly, and frightening. 怪物、化け物、怪奇な形の動物(植物)、異常に巨大なもの
Ogre; a large imaginary person in children’s stories who eats people. Someone who seems cruel and frightening. 民話・童話の人食い鬼、鬼のような人
Phantom; the image of a dead person or strange thing that someone thinks they see. Something that exists only in your imagination. Seeming to appear to someone, not real, but seeming real to the person affected. まぼろし、幽霊、幻影、錯覚、妄想
Satan; the devil, considered to be the main evil power and God’s opponent. 魔王、大魔王
Spectre; something that people are afraid of because it may affect them badly. 幽霊、亡霊、怖いもの
Both languages have many words about spirits and the evil they visit upon human beings. There are some differences in the images of these words, which can be attributed to differences in culture. Therefore, multiple Japanese words are applied to each English word. Anyone who understands Japanese well will see that Japan has many more words related to evil spirits than the UK does. Furthermore, in English there are words describing monsters that only appear in children’s stories. However, there is no such limitation in Japanese, which might be taken to mean that the Japanese have a rather childlike attitude to evil spirits, or that they are much more deeply affected by them.
In this essay, in order to avoid confusion due to the discrepancies of meaning, the following terms are adopted. Demon is given as a generic name for evil things or spirits. Before classifying them in detail as a next step, I would like to give an historical outline of Japanese demons.
It has been believed among Japanese from time immemorial that spirits lodge in everything, and that the gods govern the systematic transitions of nature. For example, the climate is characterized by the four seasons, which are brought about by the shift of each season’s gods – the warm weather god comes from the eastern sea and kicks out the cold weather god into the western sea, resulting in the arrival of spring. Similarly, when the giant catfish moves violently under the ground, an earthquake occurs, or the thunder god beating a drum results in a thunderclap. In comparison with other countries, Japan has a lot of natural disasters caused by earthquakes, tsunamis, typhoons, volcano eruptions, thunderstorms, heavy rain, floods etc. Some of these were believed to be evil carried out by demons, or sometimes as divine punishment, as with stories in the Old Testament.
Exact dates are not known but from at least several centuries BCE, there was cultural exchange between Japan and the countries on the Korean peninsula. Historical records tell of a Japanese dependency on the Korean peninsula, which existed for several centuries into the Common Era. (Korea denies this, which is one source of conflict between the two countries.) The tributary system was the prime instrument of diplomacy, and along with Chinese culture, technologies and goods, Buddhism came into Japan between the 7th and 9th centuries. After Buddhism was authorized by the government in the early 7th century, some denominations were propagated using didactic novels. These said that if people believed in Buddhism and did good deeds, they could go to heaven after they died. The implied consequences of not doing so led to the emergence of various folklore connected with evil spirits and ghosts. These stories, created in China, tried to make readers believe in the existence of gods and monsters. Since these books were usually illustrated, the appearance of the imaginary demons took root in people’s mind. (These might be the prototype of modern Manga.)
The 15th and 16th centuries in Japan were an age of civil wars. Feudal lords scrambled for political power, notably in the Onin War of 1467, and the Meio coup d’ etat of 1493. People experienced many terrible things such as killing and various crimes, so the idea of a hell with many monsters must have been very easy to believe. At that time, Mitsunobu Tosa is said to have drawn a famous picture scroll depicting demons named ‘Night Parade of One Hundred Demons.’ From the latter half of the 16th century, the wars had ceased and after a new government was established at the beginning of 17th century, a peaceful society was maintained by stable politics until the Meiji restoration of 1868. Peace brought about a cultural efflorescence, which resulted in the regeneration of the arts and the birth of new entertainments. Novels and dramas naturally adopted the genre of terror, producing and systemizing many monsters. One of the most popular of these books is ‘Night Parade of One Hundred Demons,’ drawn by Sekien Toriyama in the 18th century.
After the opening of diplomatic relations, the new government established in 1868 was confronted with the risk of Japan becoming a mere dependency of European countries. It rushed to introduce western culture as one measure to combat this risk. Japan, as well as Asian countries, was particularly underdeveloped in science and technology, which led to the indiscriminate acceptance of anything connected with them. Since then, interest in demons has been regarded as unscientific, and their existence officially denied. Nevertheless, human beings are often attracted to matters that cannot be explained by science, and even now many people believe in the demons and spirits that were established in earlier times.
In his book “Introduction to Psychical Research” (Yuzankaku,Tokyo, 2004. In Japanese), Kazue Abe divides demons into three broad classes.
(1) Monster: Some body and/or action whose real figure is unidentified. It has mysterious power.
(2) Bogey-man: An animal or utensil becomes a kind of demon by obtaining magical power. It does harm or mischief to humans.
(3) Ghost: Dead person whose spirit can go to neither heaven nor hell and that consequently has to wander the earth.
I would like to explain each demon in detail according to this classification:
What is a monster? The explanation above is not clear, so here are some other definitions from other sources.
(1) Among public beliefs, a monster was thought to be an extraordinary phenomenon beyond man’s understanding, or a non-realistic and unscientific existence that could have a mysterious power. (Wikipedia ‘ demon’)
(2) Japan is said to have 8 million gods. In ethnology, monsters are gods that have gone to ruin, loosing their miraculous power. A monster does not appear in front of specific person, unlike an evil spirit that has the power to haunt, but appears at a fixed time and place. (Kobank.jp)
(3) Strange living things and phenomena. (Shigeru Mizuki, the famous comic writer who specialized in the stories of demons.)
Are you able to get some kind of image of what a monster is? Since each source has a different definition, you might be rather confused.
As mentioned at the beginning of the previous section, Japan has many natural disasters, which were thought to be divine punishments or the action of evil deities. For example, when a landslide occurred, people thought the anger of the mountain gods must have been aroused, and made offerings to appease them. And when a boat sunk at sea, people believed that a big evil sea monk dragged it down with him when he returned to the bottom of the sea. When someone was missing in the mountains, it was thought that they had been abducted by mountain gods or spirits. Similarly, when someone drowned in a lake, they were thought to have been taken by the lake’s guardian spirit.
In many countries around the world, the soul/ spirit is thought to live on forever after a body has died. The main Japanese religions, Buddhism and Shinto, have different images of life after death. Buddha dared not to explain about it clearly. Some Buddhist sects have been strictly obedient to his determination, while others have told their followers that they will go to a ‘land of peace and happiness’ – the image most Japanese have of heaven. Some other sects took in other religious stories and folk tales that had become attached to Buddhism in China and India. Some of these stories describe the passage from earth to heaven and hell. According to Japanese folk belief, the typical image of the route after death has been described as follows: When a person dies, they walk through a beautiful flower garden until they come to the bank of a river, named Sanzu-no-kawa. Several people are already waiting to board the boat bound for the opposite shore. Once they get across to the other side of the river, their death is settled. This means if a man does not get in the boat for some reason, he might return to life or come back to this world as a ghost or spirit. They get out of the boat to enter the other world and first go to hell. There, the kings of hell, led by Great King Enma, subject the deceased to intense questioning about their deeds before death. Successful candidates will go on to heaven, while the unsuccessful ones stay in hell. I think there are similar stories in Western culture. In hell, they undergo various tortures depending on their evaluation, which are not, however, related in as much detail as Alighieri Dante’s description in ‘the Divine Comedy.’
In hell, ogres are used by Great King Enma to punish people. The outside appearance of ogres is roughly similar to humans, but they have fangs and a horn on their head. For some unknown reason, they wear shorts made of tiger fur. The actual gate of the hell is guarded by two kinds of ogre – one with the face of a cow and the other with the face of a horse. Since according to Buddhism an ogre is an incarnation of evil, statues of Buddha holding down the ogres are often displayed in temples. (There is idolatry in-Buddhism.) These ogres quickly skived off from their jobs in hell and came to Japanese towns, mainly at night, to cause harm to people. They appear in monster stories as red ogres and blue ogres. The ogres’ outside appearance, size, physical strength, spiritual strength, and intelligence, vary in many ways from story to story. There was even one ridiculous story about a weak ogre being easily defeated by a man. We have many stories about monsters but unfortunately we are limited for space here. If you are interested in this topic, I recommend you to learn Japanese and enjoy these monster stories for yourself!
As mentioned earlier, it has been believed by Japanese from ancient times that spirits lodge in every natural thing – mountains, rivers, trees, plants etc. – as well as humans and animals. Furthermore, the Chinese veneration of the old entered Japan along with Buddhism, and was transformed to the belief that even inorganic substances can have a spirit after they are used for more than a hundred years. Very often these spirits are malevolent. When tools, utensils, furniture etc. are thrown away after being used for a long time they can become possessed by spirits that harbor grudges against humans for their unjust treatment. Animals are also believed to be capable of becoming vessels of such spirits. They are, however, generally weaker than humans, so they are considered to be less malevolent than monsters. Indeed, there are many stories in which such spirits behave in a kindly way, as in the following story. One day, a man rescued an injured crane that had been possessed by a spirit. In order to repay the man’s kindness, it transformed into a woman and they married. As he was very poor, she wove her feathers into a fine fabric, which they then sold it at a high price and quickly became rich.
I will discuss the most interesting of the animal manifestations of such spirits.
CAT: Cats and dogs both live close to humans. However, unlike dogs, cats are thought to never completely lose their wild nature, and are basically selfish. Accordingly, it is no surprise that they are often the main character in bogey-man stories.
What is the character of the cat in such stories?
Compared to the fox (described later), it more often takes the shape of a woman.
It has a fondness for the bloody killing and eating of people.
Even though it sleeps during the daytime in full view of everybody, it has its own cat network, and uses it to gather information to aid its nocturnal activities against people.
Taking the form of a woman, it captivates men and causes them psychological and physical harm, before eventually returning to its original shape. Consequently, even today there are many people who prefer dogs to cats for this reason
DOG： In comparison to cats, there are few examples of evil spirits appearing in the form of a dog. There are, rather, many stories in which the spirit in a dog is good and tries to help people. One of the few examples of an evil dog spirit is ‘the chasing dog’. In these stories, someone is walking along a mountain path and then suddenly becomes aware that a dog is following them. Should the person fall, the dog will kill them. Looking at this story in a different way, the dog might actually be guarding the person. In an alternative example, a man treats a dog cruelly, causing it to harbor deep animosity. The man then uses this animosity for a curse. In stories like this, the man is clearly responsible for any evil done by the dog, and the dog’s obedience to its master is seen as a sign of its basically good character. (Different to the ill-natured cat.)
FOX: We have a lot of stories about fox spirits. (bogey-man). Foxes are very similar animals to dogs, but they inhabit the forest and are never tamed by humans. Nevertheless, there are many occasions when they encounter people, and they can appear in stories as both evil and good spirits.
I would like to explain the evil side first.
It has been said from ancient times that foxes are able to take the shape of anything (usually people and other animals but also inanimate objects like statues) to do evil to people. In particular, they often take the shape of a woman. This is attributed to the Chinese fortunetelling – ‘ Hakke’, in which everything is divided into positive or negative. As with electricity and magnetism, likes attract and opposites repel. The fox is characterized as negative and since man is positive, it often takes the shape of a woman to charm a man. Consequently, we have stories of love and even marriage between them. (In China, there are similar stories involving snake spirits and men.)
Over a thousand years ago in Japan, it used to be the duty of the government to offer prayers to the gods, and shaman had an important role in this. Seimei Abe, a famous shaman who lived in the 10th century, was said to have strong supernatural power. This power came from his mother, who was a fox spirit.
There are many stories of people being possessed by foxes. There are also many sayings and proverbs that involve foxes. For example, when it rains on a fine day, we say, ‘ there is going to be a fox wedding today,’ meaning that we have to be careful not to be fooled or tricked on that day.
The good side of fox spirits: We have 32,000 Shinto shrines where fox spirits are the principal image. The gods of these shrines, deities of agriculture, industry, commerce and the home, have been called ‘Miketsu gods’ since ancient times. An old name for foxes was ‘Ketsu’. There are many homonyms in Japanese and they are often used to make jokes, as well as sometimes causing confusion when talking about serious matters. This is probably why images of foxes came to be used as icons in shrines.
MAN: It is also thought that it is possible for a person to transform into an evil spirit or bogeyman. Some stories feature man-like creatures with a long elastic neck, or without eyes, nose or mouth. Sometimes they have 3 eyes, or a mouth in the top of the head. A hundred years ago, there used to be freak shows presenting people with deformities as bogeymen.
It is sometimes said that the deceased appear to grieving families. Some people say these apparitions are ghosts. A ghost is a spirit in the form of a person, and different to monsters and bogeymen, often behaves benevolently towards people.
As mentioned in the section about monsters, it sometimes happens that a person doesn’t go to heaven or hell after death. If the deceased still has an attachment to something in this world, he or she does not cross the Sanzunokawa (the river separating the two worlds), and stays on earth as a ghost in order to achieve some goal.
Examples of good ghosts:
A wife died at a very young age and couldn’t bear to be separated from her husband. She came back to this world as a ghost every night and continued to live with him.
In another story, a mother died just after childbirth. She came back to suckle her child, or bought sweets when she couldn’t give milk. There are many variations of such folk stories.
However, there are many cases of ghosts harboring grudges. Here are several examples.
In the oldest love novel in Japan, Genjimonogatari, written by Shikibu Murasaki, around A.D.1000, there is a sad episode of a lady who lost her lover to another woman, and then became a ghost (though she is alive) and haunted her rival to death.
Michizane Sugawara (A.D.845~1164) was defeated in a political battle and banished to a faraway place (Dazaifu in Kyushu). After he died there, the emperor and many of his former political rivals died, and many disasters such as fires and earthquakes happened in Kyoto, where the government offices were located. It was said that Sugawara was taking revenge against his former enemies. The government tried to appease him by worshipping him as a god, and even today there are many shrines all over Japan called Tenmangu, in which Sugawara is worshipped as the god of scholarship.
In another case, the seventy fifth emperor, Sutoku, (A.D.1119~1164), was taken to a remote province( Sanuki in Shikoku) and confined there after rivals plotted against him. He held such a strong grudge against them that it is said he sold his soul to the devil upon his death. His avenging spirit then caused big fires and rebellions in Kyoto. The government was finally able to escape his wrath by building a temple and worshipping him as a god. There are many similar stories. We feel the evil spirits in these stories are a little bit different to ghosts, but still categorize them as monsters.
The fact that almost all ghosts are female is explained as follows:
In the feudal Edo era (1603~1868), when the concept of the ghost was established, people lived in a society with a rigid hierarchy – samurai – farmer – craftsman – merchant. The commoners, people other than samurai, had no choice but to accept their position and suppress the frustration they felt at the inequality. Buddhism, as well as Confucianism, promulgated the feudal system and the predominance of men over women. Consequently, commoner women were in the weakest position in society, and lived under the tyranny of men. Thus, if a woman from the lowest class were able to take revenge against a samurai, it would entail overcoming a huge difference in their positions. To do this, she had to die and become a ghost. This kind of revenge drama, using the dramatic effect of the ghost, seized the hearts of people of all classes and became one of the most popular genres of theater. You might now feel that it is possible to roughly guess the story of ghost stories, but do you have a definite image of a ghost yet?
The following accounts might help.
I would like to introduce three of the most famous ghosts – ‘Iwa’, ‘Kasane’ and ‘Kiku’.
‘Iwa’ is the name of the heroine, that is, the ghost in the horror drama ‘ Yotsuya Kaidan’. Iwa’s husband fell in love with another woman and killed ‘Iwa’. Several months later, Iwa appeared in front of her husband and his new wife as a ghost, and then killed them both with a terrible curse.
‘Kiku’ is the heroine of ‘Banchosarayasiki’. This horror drama was written based on the rumor that Kiku, the female servant of a government official, Shuzen Aoyama, was killed by him after he suspected her of breaking a dish from a set that was a family treasure. There are many versions about the reason why Aoyama blamed Kiku for the breakage. One was that Aoyama had ordered Kiku to become his concubine, but she refused. He then hid one dish and claimed she had broken it. This kind of story, in which an innocent person is blamed for something, is quite common. In another case, the mistress of the house hid a dish to get at Kiku. In another, she is a female Ninja (spy), who is eventually exposed by Aoyama and killed by him. In every version, she is slashed with a sword and falls into a well and dies. Several days later, she appears in front of her master as a ghost and starts counting dishes in a chilling voice, “ One, two, three, four, five, six, seven, eight, nine. Ah, there should be one more! But one is missing! What shall I do?” Aoyama is tormented by the image and eventually becomes fatally sick.
There is a comic version of this drama as well. Kiku’s ghost comes out from the well on the second of January every year (the day the original story was supposed to have taken place) and starts counting dishes. People watching her will die if they don’t run away before she gets to the part where she says, ‘I am one dish short!’
The third story, ‘Kasane’, is similar to ‘Iwa’, so I won’t describe it here.
In the Edo era, various versions of the ghost dramas were taken up in picture books for adults and appeared in the popular performance art of Kabuki. The ghosts persecute the objects of their grudges using the psychological effect of voicing their reproaches, or by a combination of psychological and physical actions. Very often they are helped by animal spirits such as cats. In many cases, the ghosts’ victims were samurai, who occupied the highest rank in society. They were supposed to practice martial arts every day, so shouldn’t have had any problems dealing with a ghost’s attack. However, since the ghost is already dead, physical attacks with weapons are always ineffective. Even though the samurai had gone through hard training to strengthen his willpower, the ghost’s relentless psychological attacks eventually wear him down until he finally dies. The struggle between them is one of the attractions of ghost movies. At the moment when the ghost’s objective is fulfilled, the camera zooms in and she is seen to give a slight grin – the most frightening part of the movie for the audience. In the movies I watched, the story focused on the changes in the mind of the victim after the ghost’s purely psychological onslaught. Employing physical means was thought to be inelegant.
However, being a child, I was more frightened by the cat monster than the ghost.
Ghost dramas have been performed mainly in summer from long ago. During the Edo era (17th – 19th century), somebody realized that feeling chills of fear listening to ghost stories was a good way to momentarily escape the oppressive summer heat. (In Japan, the maximum temperature in summer is not so high but it’s very humid, so it always feels much hotter than it actually is.)
Thomas Edison invented a motion picture camera in 1981, and movies were first screened in Japan in 1896. The first ghost movie was produced in 1898, only two years later, so you can see the Japanese were very fond of ghost dramas. Since then, many ghost movies have been produced using both stories from picture books and Kabuki scripts. Since most of them had similar stories (as described on Youtube), movie directors tried to use different gimmicks to grab the attention of audiences. These ploys included things like casting a beautiful actress for the ghost and using various sets and dramatic affects, but the possibilities were soon exhausted. When TVs came into wide use, ghost stories were immediately adopted, but the smaller screen size limited their dramatic effect. It has been calculated that the screen image has to occupy more than 30% of the audience’s field of view in order to create an effective impression. However, an ordinary TV screen only takes up about 10%, so it’s more difficult for TV dramas to make a similar impact. (This is the concept behind the development of 4K-TV). Then the makers of TV ghost dramas tried to garner interest by making variations to the stories and increasing the horror scenes. However, the ideas soon dried up and TV companies looked abroad for inspiration, finally seizing upon American horror stories.
As described earlier, the ghosts in Japanese horror stories originally attacked their victims psychologically rather than physically, and audiences enjoyed the steady escalation of horror. American horror movies, on the other hand, often don’t make sense to Japanese audiences and leave us feeling unimpressed. However, after both TV shows and movies used American style horror continuously, people, particularly the young, became accustomed to them. As a result, they were initially able to maintain steady viewing figures, but the possibilities of this new source were also quickly used up. Even though filmmakers strived to make new types of horror movies, such as hybrids based on both countries’ concepts, they struggled to satisfy audiences. Finally, the custom of watching ghost movies as a natural feature of the Japanese summer seems to have disappeared.
Recently, TV stations have devised a new type of ghost character and have been broadcasting documentary style programs consisting of omnibus stories, airing them in the summer. This new type is based on the idea that (As mentioned in chapter 4) when somebody dies in unhappy circumstances, they cannot go to the afterworld and remain on earth, sometimes appearing to people. This new kind of evil spirit stays without human form in a specific place that had significance for them during life. When somebody enters this area, the spirit causes various phenomena to occur.
In this TV program, a group of celebrities is sent to some place that is rumored to be haunted – very often a derelict hospital or school, or the site of a fatal accident. If an evil spirit is there and confronts them, they get TV images that are supposed to be evidence of its existence – often something that looks like a white cotton ball (about one or two inches in diameter) floating in mid air. And they make much of every insignificant thing that happens, for example, water suddenly dripping on one of the celebrities, or the TV camera developing some kind of mechanical trouble. Very often, one of the celebrities will lose control of his or her body, and somebody shouts in an exaggeratedly frightened voice, ‘ They’ve been possessed.’ Sometimes a ‘spiritualist’ is invited along and exorcises the evil spirit. Of course, for people who are familiar with traditional ghost movies, the new documentary types have no real stories, and lack any depth, taste, or beauty. On the other hand, young people seem to enjoy them and the programs get reasonable ratings.
‘Monsters’ have also transformed into animals like Gozzila, aliens in SF movies, and characters like Doraemon in Japanese Manga. Additionally, almost all local governments in Japan nowadays have their own mascot dolls, which could also be seen as having evolved from monsters.
By the way, Readers might have a question for me. – ‘Do you believe in the existence of ghosts? – I am a scientist, without any psychic power, unfortunately, so I deny their existence. However, believing that seeing a ghost can be attributed to an overwhelming feeling of loss and desire to see the deceased again, I sometimes wish my deceased wife would come back to see me, even as a ghost. And my sister-in-law is always trying to persuade me to go to Osorezan (a famous sacred mountain that is thought to have mystical power.) to try and contact my wife through a medium. Not being able to completely laugh off her suggestion, I recognize the inconsistencies of my mind.
Chapter 8 GHOST MOVIES （1955）
Yoshiharu Otsuki (Sendai, Japan) and Yasufumi Otsuki (London)
“Let’s go. Mom, let’s go together.” “Let’s go. Chokochan(the nickname of the boy’s elder sister), let’s go together.” Since dinner, the boy had been asking them over and over to go together to see the movie that was going to be shown at the hall of the primary school.
At that time (1960’s), there were no amusement facilities like a movie theatre in the village they lived (indeed, there aren’t even now), and the villager scarcely had any entertainment. Every summer, the young farmers association used to borrow old movies from the movie theatre in the neighboring town, and they were greatly enjoyed by the villagers. At night, the village was pitch-dark because there were no street lamps, so it was unnecessary to hang blackout screens on the windows of the hall.
They put on mainly historical dramas (Samurai dramas), love stories and comedies, but also educational ones like documentary films about the nuclear bomb, earthquakes, tsunamis etc. Today’s program was a ghost movie.
His sister, a third grade student in junior high school, did not intend to go along with his proposal because she wanted to study in order to improve her already superior grades and, of course, she disliked horror films anyway. Their mother had not been able to decide after dinner whether to go or not. As a teacher in a junior high school, she always brought home work she hadn’t been able to finish at school such as marking and making of tests and preparing the next day’s lessons. This was the reality for almost all teachers at that time, and maybe today, too. Furthermore, for a teacher who had studied science, at least superficially, it didn’t seem becoming for her to be seen watching a movie about the occult, and so she really didn’t want to go. On the other hand, she felt guilty about always leaving the boy by himself, so it was hard to say no.’ He continued to plead with her, “Let’s go – please, let’s go.” But she still could not make up her mind.
Arriving there, someone showed them through the door and said, “Good evening.” The mother instantly replied in the dialect of the western part of Japan. “Ah, good evening. Mr. Sato.” She was always careful to use the dialect of this area (the northern part of Japan) when speaking, but when she was caught unawares or if something was bothering her, she made a mess of it, which always irritated the villagers.
“Mrs. teacher, there is something I would like to ask you.” said Mr. Sato. (In Japan, people usually address their superiors by the name of their position, such as Mr. president, Mr. manager etc. instead of their name.) He, a young farmer, had been influenced by the democratization brought by the US army after war, and had taken her class for adults on sociology.
“Yes, come over here. What is your question?” The boy saw through her strategy immediately, watching her response with a look of resignation and wiping away a tear.
“ My boy, I am very sorry, I have to speak with Sato san. We’ll go together the next time.”
It only took ten minutes for the child to walk on the road along a brook from the house to the school. Bamboo and big trees hung over the road so thick that the moonlight did not penetrate, but it was possible to get there without falling into the brook by carefully aiming at the school lights through the foliage.
Perhaps not everybody but most people have very active imaginations – the boy certainly did, and today’s program had become much more than just a horror movie. He had been stoking the horror by recalling images of horror scenes from previous movies. Although he often walked through the bamboo forest, even on dark nights, he had managed to thoroughly terrify himself, so he dropped his shoulders and ran along the dark road as fast as he could. The bamboo leaves rustled loudly in the strong wind blowing over his head, and convinced him monsters were at his heels. When he passed by a big tree, birds sleeping there took off all at once flapping their wings loudly, enhancing his fear even more, He felt as if the monsters were just about to pounce, and this spurred him along the puddle-covered road.
When he arrived at the gymnasium of the primary school, villagers had already filled more than half of it. They were sitting on the floor making loosely dispersed groups of relatives or good friends. The audience reached back two thirds of the length of the hall. At the front, in order to view the film comfortably, they left a gap in front of the screen hanging on the wall. That night, the gap was a little bigger than usual. Ghost movies use the sudden appearance of ghosts to shock audiences. This was well known, of course, so they kept a little distance between themselves and the screen.
Being short, he wouldn’t have been able to see the screen if he’d sat at the back. And owing to the strong body odors of the farmers after a hard day’s work, he wouldn’t have been able to concentrate on the movie if he’d sat in the middle of them. So he sat down at the front in a small gap between groups.
“OK – we’re rolling!” the organizer said, and the chatting adults and playing children settled down. From the back of the gym, the ‘kara,kara,kara’ sound of the film running on the projector could be heard. That night’s ghost movie was a ‘Magemono’. This is a historical drama set in the Edo era (1615~1867), when samurai were the governing class. The samurai’s typical hairstyle was called ‘Chonmage’, which was shortened to ‘Mage’, so we call historical dramas of that era ‘Magemono’ (‘mono’ means ‘concerned with’).
The basic story of the movie was that a samurai from the provinces had an affair, and his wife took her vengeance on her husband after becoming a ghost. At that time, Japan was divided into many provinces, from which their lords had to spend alternate years in Edo (the seat of the central government; present day Tokyo) and their own provinces. Thus, it was necessary for them to have a residence and office in both cities, and their retainers also had to move between both cities to conduct business.
The main character of that movie had a lover in Edo, and had left his family in his homeland. No matter how much his wife asked him to go back, he always refused on the pretext of having to attend to his business. While he was away, she was murdered, but couldn’t leave this world owing to her love for her husband and hatred for his lover, and so became a ghost. One night, she appeared in the room in Edo where her husband was sleeping with his lover. Looking as she had at the moment of her death, her hair disheveled and head bleeding, she was a pathetic figure. She didn’t try to harm them physically but just stood there repeating, ‘My husband, I miss you so much,’ and to his lover, ‘I curse you’. That unwelcome visit affected them deeply, and subsequent visits increased their torment, gradually pushing them to self-destruction. This is a very well worn story – almost all horror movies involving ghosts are based on it or variations of it. People engaged in movie production, especially directors and script writers, tend to try to show their originality by describing as gruesomely as possible the progression of the self-destruction. On the other hand, audiences are solely interested in forgetting the summer heat, with the terror they feel at the sudden appearance of the ghost. This is, of course, fully understood by the movie companies, which force their staff to concentrate on enhancing terror at the expense of the quality of the story. This is one of the reasons why there are no superior ghost films such as ‘Hamlet’.
After several scenes; Inside a dark hall, the eerie high- pitched sound of a flute could be heard, ‘HYUUU, HYUUU,’ and a drum was beating, ‘DORO, DORO, DORO.’ It gradually grew louder until it felt as if the whole building was shaking. The boy thought the ghost would come out at any minute and he braced himself for its appearance. Every member of the audience kept absolutely quiet in anticipation of that thrilling moment.
Usually, the ghost would be some woman with blood all over her white face. However, that night it was a little different. As the drumbeat slowly decreased, the sound of a wooden hammer beating against something could be heard, ‘KON, KON, KON.’
On the screen, the samurai was sleeping with his lover. She could hear the sound and shook him awake entreating him with a husky voice, ‘ My darling, there’s a strange sound coming from the next room. Please go and see what it is.’ ‘What? A strange sound?’ said the man sleepily. He got up and opened the Fusuma(paper sliding door) a little to see into the next room. It was usually dark in there but there was a lighted candle in the family Buddhist altar and he could make out the silhouette of somebody sitting there. He was about to say, ‘ What’s going on?’ but he just froze there with his mouth open and stared at the figure.
The figure was murmuring something while steadily beating an object on the table with a small wooden hammer. His attention was focused on the thing being beaten, which close-up camera work reveals to be a wooden doll. The voice could be heard more clearly now, ‘I curse you, Okiyo-san. I curse you, Okiyo-san. I miss you, Sukezaemon.’ Sukezaemon and Okiyo are the names of the samurai and his lover.
‘Who on earth are you!’ Sukezaemon said hoarsely. The figure turned towards him and replied mournfully, ‘My dear husband, you haven’t forgotten my voice already, have you?’
‘AAAAARGH! Here it is!’ In the dark, screams could be heard from all over the hall. The figure wore a white kimono, her untidy black hair partially hiding her blood – covered face. Her eyes were glued on the doll as she beat it with the hammer.
The screams continued, ‘AAAARGH! I can’t look! It’s awful!’ As the camera moved in, it revealed that the doll was modeled on Okiyo, and that the ghost was actually hitting a big nail placed against its throat.
‘I curse you, Okiyo-san. I curse you, Okiyo-san,’ repeated the ghost.
By now the audience was on the verge of hysteria.
The following night, Sukezaemon and Okiyo were sleeping in their room again. A clashing sound of wooden blocks could be heard from afar, ‘KARAN-KORON, KARAN-KORON.’ The sound gradually increased and the same pitiful figure appears, walking in ‘geta’ (wooden shoes) along the corridor towards their room. At the bottom of her white kimono, her feet were so indistinct that she seemed to floating above the floor, her arms extended in front of her with her hands hanging down limply at the wrists.
“KARAN – KORON, KARAN – KORON,”came the sound of the ghost’s geta on the floor. Nobody in the audience seemed to notice the discrepancy of the invisible feet making such a sound.
As on the previous night, Okiyo heard the sound and shook Sukezaemon, ‘My darling, wake up. There is a sound coming from the corridor. Go and see what it is’
‘Again? Is it a dream?’ said Sukezaemon.
“KARAN – KORON, KARAN – KORON.” The sound grew gradually louder and the shadow of the ghost appeared on the thin paper sliding door separating the corridor from their room.
Shouting loudly,‘You must be mad!’ he drew his sword and tried to stab the ghost through the door. Everything went quiet, but then a sound could be heard coming from one of the corners inside the room, “KON, KON, KON.” They turned to see the ghost sitting there on its heels, beating the doll steadily.
‘I curse you, Okiyo-san. I curse you, Okiyo-san. I curse you, Sukezaemon.’
Her low, weak voice echoed in the room.
‘ AAARGHHHH!’ The audience was thrown into hysteria again.
The next night, they were lying awake on their bed in the candlelit room. Sukezaemon said to Okiyo, ‘ Today, I sent a letter home. My wife must be there, but we saw her ghost two nights running. I cannot understand it. It’s not possible for somebody to be a ghost while they are still alive.’ (Although stories in recent ghost movies do sometimes have people becoming ghosts while they are still living, it was not thought possible at that time.)
Okiyo clung to him and asked, ‘So why is she appearing to us?’
‘Someone must be playing a trick on us. Tonight I am going to unmask the ghost in the light of this room,’ he answered Okiyo, showing his samurai courage.
“KON, KON, KON.” The sound was heard again.
‘I curse you, Okiyo-san. I curse you, Okiyo-san. I curse you, Sukezaemon.’ a faint voice could be heard.
Suddenly, all the candles were blown out by the wind. They were bewildered by the unexpected darkness and feverishly turned their heads backwards and forwards trying to see around them. Then a close up shot revealed the ghost touching Sukezaemon’s neck with its white fingers. ‘I miss you, Sukezaemon. I miss you, Sukezaemon.’ Some liquid dropped on Sukazaemon’s neck. Unfortunately, there were only black and white films at that time, but the audience understood instantly that it was blood. Everybody shuddered, feeling that cold blood dripping on their necks. A shiver went down the boy’s spine and then, feeling a cold wind on his neck, he looked behind him. ‘What! Where did everybody go?’ he exclaimed. There ought to have been many people behind him, but he found that somehow he was now right at the back. In that night’s film, the ghost had repeatedly appeared behind Sukezaemon and his lady, and then leaned on their backs. Everyone was imagining the ghost appearing behind them and had moved forward little by little, pushing the boy to the rear. He felt the ghost breathing down his neck, ’Help!’
The movie that night was of a very low artistic standard, full of continuing horror scenes. The director had complied completely with the requirements of the company’s business strategy, and consequently it was a huge hit with audiences. Unfortunately for the boy, he somehow had to stave off the attacks of ghosts and get home through the fearful bamboo forest.
Topics concerning this article – Japanese monsters, bogey-men, ghosts and their movies are described in http://www.fumi-otsuki.com