I am wearing the sable garb,—and yet, through illusion of longing,
Ever I lose my way,—knowing not whither or where!
[30] In the original much more pretty and much more simple:—
Sumi no koromo ni
Mi wa yatsusanedo,
Kokoro hitotsu wa
Ama-hōshi.
"Ink-black-koromo [priest's or nun's outer robe] in, body not clad, but heart-one nun." Hitotsu, "one," also means "solitary," "forlorn," "bereaved." Ama hōshi, lit.: "nun-priest."
So far, my examples have been principally chosen from the more serious class of dodoitsu. But in dodoitsu of a lighter class the Buddhist allusions are perhaps even more frequent. The following group of five will serve for specimens of hundreds:—
Never can be recalled the word too quickly spoken:
Therefore with Emma's face the lover receives the prayer.[31]
Thrice did I hear that prayer with Buddha's face; but hereafter
My face shall be Emma's face because of too many prayers.
Now they are merry together; but under their boat is Jigoku.[32]
Blow quickly, thou river-wind,—blow a typhoon for my
sake!
Vainly, to make him stay, I said that the crows were night
crows;[33]—
The bell of the dawn peals doom,—the bell that cannot lie.
[31] The implication is that he has hastily promised more than he wishes to perform. Emma, or Yemma (Sansc. Yama), is the Lord of Hell and Judge of Souls; and, as depicted in Buddhist sculpture and painting, is more than fearful to look upon. There is an evident reference in this song to the Buddhist proverb: Karu-toki no Jizō-gao; nasu-toki no Emma-gao ("Borrowing-time, the face of Jizō; repaying-time, the face of Emma").