A history of the Japanese people

by F. Brinkley; Dairoku Kikuchi

The Fujiwara also had many provincial representatives, descended mainly from Hidesato, (called also Tawara Toda), who distinguished himself in the Masakado crisis. There were the Sano-uji of Shimotsuke, Mutsu, and Dewa; and there were the Kondo, the Muto, the Koyama, and the Yuki, all in different parts of the Kwanto. In fact, the empire outside the capital was practically divided between the Minamoto, the Taira, and the Fujiwara families, so that anything like a feud could scarcely fail to have wide ramifications.

The eleventh century may be said to have been the beginning of such tumults. Not long after the affair of Taira Tadatsune, there occurred the much larger campaign known as Zen-kunen no Sodo, or the "Prior Nine Years' Commotion." The scene of this struggle was the vast province of Mutsu in the extreme north of the main island. For several generations the Abe family had exercised sway there, and its representative in the middle of the eleventh century extended his rule over six districts and defied the authority of the provincial governors. The Court deputed Minamoto Yoriyoshi to restore order. The Abe magnate was killed by a stray arrow at an early stage of the campaign, but his son, Sadato, made a splendid resistance.

In December, 1057, Yoriyoshi, at the head of eighteen hundred men, led a desperate assault on the castle of Kawasaki, garrisoned by Sadato with four thousand picked soldiers. The attack was delivered during a heavy snow-storm, and in its sequel the Minamoto general found his force reduced to six men. Among these six, however, was his eldest son, Yoshiiye, one of the most skilful bowmen Japan ever produced. Yoshiiye's mother was a Taira. When she became enceinte her husband dreamed that the sacred sword of the war deity, Hachiman, had been given to him, and the boy came to be called Hachiman Taro. This name grew to be a terror to the enemy, and it was mainly through his prowess that his father and their scanty remnant of troops escaped over roads where the snow lay several feet deep.

On a subsequent occasion in the same campaign, Yoshiiye had Sadato at his mercy and, while fixing an arrow to shoot him, composed the first line of a couplet, "The surcoat's warp at last is torn." Sadato, without a moment's hesitation, capped the line, "The threads at last are frayed and worn,"* and Yoshiiye, charmed by such a display of ready wit, lowered his bow. Nine years were needed to finish the campaign, and, in its sequel, Yoriyoshi was appointed governor of Iyo, and Yoshiiye, governor of Mutsu, while Kiyowara Takenori, without whose timely aid Sadato could scarcely have been subdued, received the high post of chinju-fu shogun (commandant of the local Government office). Yoshiiye's magnanimity towards Sadato at the fortress of Koromo-gawa has always been held worthy of a true bushi.

*The point of this couplet is altogether lost in English. It turns upon the fact that the word tate used by Yoshiiye means either a fortress or the vertical threads in woven stuff, and that koromo was the name of the fortress where the encounter took place and had also the significance of "surcoat."

Sadato was ultimately killed, but his younger brother Muneto had the affection and full confidence of Yoshiiye. Muneto, however, remembered his brother's fate and cherished a desire to take vengeance on Yoshiiye, which mood also was recognized as becoming to a model bushi. One night, the two men went out together, and Muneto decided that the opportunity for vengeance had come. Drawing his sword, he looked into the ox-carriage containing Yoshiiye and found him sound asleep. The idea of behaving treacherously in the face of such trust was unendurable, and thereafter Muneto served Yoshiiye with faith and friendship. The confidence that the Minamoto hero reposed in the brother of his old enemy and the way it was requited—these, too, are claimed as traits of the bushi.

Yet another canon is furnished by Yoshiiye's career—the canon of humility. Oye no Masafusa was overheard remarking that Yoshiiye had some high qualities but was unfortunately ignorant of strategy. This being repeated to Yoshiiye, he showed no resentment but begged to become Masafusa's pupil. Yet he was already conqueror of the Abe and governor of Dewa.

THE GO-SANNEN CAMPAIGN

Thereafter the provinces of Mutsu and Dewa were again the scene of another fierce struggle which, since it began in the third year (1089) of the Kwanji era and ended in the fifth year (1091), was called the "After Three-years War." With regard to the nature of this commotion, no enumeration of names is necessary. It was a family quarrel between the scions of Kiyowara Takenori, a magnate of Mutsu who had rendered conclusive assistance to Yoshiiye in the Nine-years' War; and as a great landowner of Dewa, Kimiko Hidetake, took part, the whole north of Japan may be said to have been involved. It fell to Yoshiiye, as governor of Mutsu, to quell the disturbance, and very difficult the task proved, so difficult that the issue might have been different had not Fujiwara Kiyohira—who will be presently spoken of—espoused the Minamoto cause.

When news of the struggle reached Kyoto, Yoshiiye's younger brother, Yoshimitsu, who held the much coveted post of kebiishi, applied for permission to proceed at once to his brother's assistance. The Court refused his application, whereupon he resigned his office and, like a true bushi, hastened to the war. Yoshimitsu was a skilled performer upon a musical instrument called the sho. He had studied under a celebrated master, Toyohara Tokimoto, now no more, and, on setting out for the field of battle in the far north, he became apprehensive lest the secrets imparted to him by his teacher should die with him. He therefore invited Tokimoto's son, Tokiaki, to bear him company during the first part of his journey, and to him he conveyed all the knowledge he possessed. The spectacle of this renowned soldier giving instruction in the art of music to the son of his deceased teacher on moonlit nights as he travelled towards the battlefield, has always appealed strongly to Japanese conception of a perfect samurai, and has been the motive of many a picture.