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To speed them across the lake, their guide had arranged for an illumination, produced by lighting candles in many of the tall stone lanterns; this we also enjoyed, our guide taking us out on the lake in a sampan; and as we rode toward the great torii it seemed to assume immense proportions, while the effect of the lanterns was magical. It was indeed a fairylike scene.
A little within this gateway, which is opened to visitors only once a year, there is a torii facing the sepulchre; and before the highest terrace there are a pair of stone lamps. All this is severely simple, but effective in a certain touching way.
As we wend our way back along the great avenue, under the torii and the giant trees, Akira interprets for me what our landlord tells him about the sacred serpent. 'The little serpent, he says, 'is called by the people the august Dragon-Serpent; for it is sent by the Dragon-King to announce the coming of the gods. The sea darkens and rises and roars before the coming of Ryu-ja-Sama. Ryu-ja.
The ample compensation Merrit insisted upon making for the hospitality extended to him more than met the modest needs of the little household, and once again, as in the earlier days, they went on jolly excursions, visited ancient temples, and picnicked under the shadow of the torii.
On the right more steps, another torii, another terrace; and more mossed green lions and stone lamps; and a monument inscribed with the record of the change whereby Enoshima passed away from Buddhism to become Shino. Beyond, in the centre of another plateau, the second shrine of Benten. But there is no Benten! Benten has been hidden away by Shinto hands. The second shrine is void as the first.
At one little village I see, just beyond, the torii leading to a great Shinto temple, a particularly odd small shrine, and feel impelled by curiosity to examine it. Leaning against its closed doors are many short gnarled sticks in a row, miniature clubs. Irreverently removing these, and opening the little doors, Akira bids me look within.
On the torii, the birds, generally barn-yard fowls which were sacred to the gods, roosted. These creatures were not offered up as sacrifices, but were chanticleers to give notice of day-break and the rising of the sun. The cock holds a prominent place in Japanese myth, legend, art and symbolism. Pollution was calamity, defilement was sin, and physical purity at least, was holiness.
But the Shinto household shrine must be hidden from view with white paper; and the Shinto ofuda fastened upon the house door must be covered up during all the period of mourning. And in all that time no member of the family may approach a Shinto temple, or pray to the Kami, or even pass beneath a torii.
Its first exploit was to capture and burn the Momo-yama castle, which was splendidly defended by the veteran Torii Mototada, then in his sixty-second year. With a garrison of only two thousand men he held at bay during eleven days an investing force of forty thousand. The torch was set to the castle on the 8th of September by traitors in the garrison, and Mototada committed suicide.
Before such objects there is usually to be seen the model of a Shinto gateway, torii.... With the development of animism, under Chinese and Korean influence, the man of Old Japan found himself truly in a world of spirits and demons.
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