At first sight there would not appear to be any possibility of reconciling the religion of the Zen Buddhists with that of the Amidists. Yet many Zen masters strove to combine the two faiths, teaching that Amida and his Western Paradise exist, not in time or space, but mystically enshrined in men’s hearts.
Zen denied the existence of Good and Evil, and was sometimes regarded as a dangerous sophistry by pious Buddhists of other sects, as, for example, in the story of Shunkwan (see p. [229]) and in The Hōka Priests (see p. [165]), where the murderer’s interest in Zen doctrines is, I think, definitely regarded as a discreditable weakness and is represented as the cause of his undoing.
The only other play, among those I have here translated, which deals much with Zen tenets, is Sotoba Komachi. Here the priests represent the Shingon Shū or Mystic Sect, while Komachi, as becomes a poetess, defends the doctrines of Zen. For Zen was the religion of artists; it had inspired the painters and poets of the Sung dynasty in China; it was the religion of the great art-patrons who ruled Japan in the fifteenth century.[10]
It was in the language of Zen that poetry and painting were discussed; and it was in a style tinged with Zen that Seami wrote of his own art. But the religion of the Nō plays is predominantly Amidist; it is the common, average Buddhism of medieval Japan.
(3) I have said that the priests in Sotoba Komachi represent the Mystic Sect. The followers of this sect sought salvation by means of charms and spells, corruptions of Sanskrit formulae. Their principal Buddha was Dainichi, “The Great Sun.” To this sect belonged the Yamabushi, mountain ascetics referred to in Tanikō and other plays.
(4) Mention must be made of the fusion between Buddhism and Shintō. The Tendai Sect which had its headquarters on Mount Hiyei preached an eclectic doctrine which aimed at becoming the universal religion of Japan. It combined the cults of native gods with a Buddhism tolerant in dogma, but magnificent in outward pomp, with a leaning towards the magical practices of Shingon.
The Little Saint of Yokawa in the play Aoi no Uye is an example of the Tendai ascetic, with his use of magical incantations.
Hatsuyuki appeared in “Poetry,” Chicago, and is here reprinted with the editor’s kind permission.