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But none of these faults disfigures the story as told in the pages of the Kojiki, which was written before the Nihongi. It has always to be remembered that the compilers of the latter essayed the impossible task of adjusting a new chronology to events extending over many centuries, and that the resulting discrepancies of dates does not necessarily discredit the events themselves.
In the first place it is scarcely necessary to explain that its origin belongs to that most ancient legend of the Sun-Goddess being tempted to issue from the cavern into which she had retired, and being prevented from returning thereunto by a deity who stretched a rope of straw across the entrance all of which is written in the Kojiki.
A literal English translation of the Kojiki, however, requires an abundant use of Latin in order to protect it from the grasp of the law in English-speaking Christendom. In Chamberlain's version, the numerous cesspools are thus filled up with a dead language, and the road is constructed for the reader, who likes the language of Edmund Spencer, of William Tyndale and of John Ruskin kept unsoiled.
Pretty much all early Japanese "history" is ooze; yet there are grave and learned men, even in the Constitutional Japan of the Méiji era masters in their arts and professions, graduates of technical and philosophical courses who solemnly talk about their "first emperor ascending the throne, B.C. 660," and to whom the dragon-born, early Mikados, and their fellow-tribesmen, seen through the exaggerated mists of the Kojiki, are divine personages.
We passed the Cape the Miho of the Kojiki and the harbour of Mionoseki opened before us, showing its islanded shrine of Benten in the midst, and the crescent of quaint houses with their feet in the water, and the great torii and granite lions of the far-famed temple.
There are even legends of stones having manifested sensibility, like the tradition of the Nodding Stones which bowed down before the monk Daita when he preached unto them the word of Buddha; or the ancient story from the Kojiki, that the Emperor O-Jin, being augustly intoxicated, 'smote with his august staff a great stone in the middle of the Ohosaka road, whereupon the stone ran away!
The Kojiki shows that whatever the men may have been or done, the gods were abominably obscene, and both in word and deed were foul and revolting, utterly opposed in act to those reserves of modesty or standards of shame that exist even among the cultivated Japanese to-day.
But to have seen Kitzuki as I saw it is also to have seen something much more than a single wonderful temple. To see Kitzuki is to see the living centre of Shinto, and to feel the life-pulse of the ancient faith, throbbing as mightily in this nineteenth century as ever in that unknown past whereof the Kojiki itself, though written in a tongue no longer spoken, is but a modern record.
Of the two books, however, the "Kojiki" is much more valuable as a true record, because, though rude in style and exceedingly naïve in expression, and by no means free from Chinese thoughts and phrases, it is marked by a genuinely Japanese cast of thought and method of composition.
Probably in no portion of the earth are the people and the land more like each other or apparently better acquainted with each other. Nowhere are thought and speech more reflective of the features of the landscape. Even after ten centuries, the Japanese are, in temperament, what the Kojiki reveals them to have been in their early simplicity.
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