Iémon—"Plain it is that wife, child, and kerai, though deserving compassion, have found death. 'Twas determined by fate in a previous existence. But to obviate fear of future disaster, though not the original purpose, the dead bodies of these two are to be nailed to a door panel, with the inscription—'unchaste and jealous.' Let them float away on the current of the Nenashigawa. The entrance of the house is close to the inner room. Make ready: it will be best to leave by the rear. Quick! Quick! But...."

Suian—"It happens that the neighbor Dansuké comes." He bent and peeped through the entrance. "Dansuké! Dansuké!" Dansuké Mizuo in presence, mouth to ear he was informed. "Namu! Namu! Namu! Namu!" He nodded consent. The two men talked in whispers. The dead bodies of the two (O'Iwa and Kosuké) were carried into the inner room. For some time Naosuké Gombei had been watching what went on, peeping out and listening. He appeared from the shadow.

Gombei—"Yai! Unjustly have the blameless wife and kerai been punished by Hamiya Iémon. Complaint is to be made at the Daikwan's court."

When he would rush forth he was pulled back by the girdle (obi). "Ya! Ya! Whither would you go? There is matter of importance to hear."—"The intent is plain. You would kill me." One had the long sword of the soldier. Two or three passes and he was nearly cut down by the skill of Hamiya. When he tried to flee, from behind he received a cut through the shoulder. It finished him. Then he (Iémon) would hide the dead body of his child from the eyes and reproach of men. Close at hand was a heavy stone trough. For funeral rites—"Namu Amida Butsu!" Into the well crib he threw it. Aré! Marvellous! Suddenly the house creaked and trembled. From somewhere came swarms of rats. Heigh! Incomprehensible! Iémon wavered. Singling him out they flew and seized him. Sha! Confused he slashed in attempt to drive them off. Lightning blazed around the sword; many phosphorescent lights—in wreaths, double, triple. To the end of the worlds his retribution.

Thus the causes, origins, are made known of what remains as the Yotsuya Kwaidan.

End of the Gidayu

[It can be noted that Japanese thought and expression are not very different from that of the West. An idea perhaps can be obtained from this gidayu as to why the native waxes enthusiastic over the pose and vivid gestures of the geisha, who is the one to interpret these dramatic recitations. To her falls the "kotoba." The descriptive lines are recited by a chorus to the harsh and effective twang of the samisen. The samisen may not afford music, but it can give expression to the emotional in feeling. The gidayu recitation is a favourite art with the Go Inkyō Sama. Symposia are held, before which the old gentleman recites, often enough without chorus; for he, and the geisha, at times have to fill the rôle both of "kotoba" and chorus, modulating the voice according to the theme. Symposia is not an unbefitting term. Meetings are held for public competition in gidayu recitation; but in the privacy of one's circle and hobby the banquet is an important feature—at least to the guests. In his history of "Japanese Literature" (Dai Nihon Bungaku Shi, pp. 591-596) Suzuki Chōkō gives a long extract from the play, as sample of Tsuruya's powers as a dramatist. Adopted into the House of the actor Tsuruya Namboku, and marrying his daughter, Katsu Byōzō in turn assumed the name Tsuruya Namboku.]

B

[In the original the story by Momogawa Jakuen is found in the Kwaidan Hyaku Monogatari, vol. ii, p. 83 (Kokkwadō-Tōkyō). This collection has already been referred to, as sketching a number of the best known Japanese kwaidan. The present example furnishes a specimen of kōdan style, and has application to the present subject. It also instances how the Japanese stage boldly faces situations, the exigencies of which call for the greatest adaptation and facility on the part of actor and stage manager. The "Yotsuya Kwaidan" in the stage representation presents a number of critical scenes in which both qualities are severely strained. Rapid metamorphosis is a sine qua non. And it is effected—somehow.]

The kōdan: