The God of Scarecrows is Sukuna-biko-na-no-Kami.
Sec. 3
The path to Sakusa, for the last mile of the journey, at least, is extremely narrow, and has been paved by piety with large flat rocks laid upon the soil at intervals of about a foot, like an interminable line of stepping-stones. You cannot walk between them nor beside them, and you soon tire of walking upon them; but they have the merit of indicating the way, a matter of no small importance where fifty rice-field paths branch off from your own at all bewildering angles. After having been safely guided by these stepping-stones through all kinds of labyrinths in rice valleys and bamboo groves, one feels grateful to the peasantry for that clue-line of rocks. There are some quaint little shrines in the groves along this path—shrines with curious carvings of dragons and of lion-heads and flowing water—all wrought ages ago in good keyaki-wood, [3] which has become the colour of stone. But the eyes of the dragons and the lions have been stolen because they were made of fine crystal quartz, and there was none to guard them, and because neither the laws nor the gods are quite so much feared now as they were before the period of Meiji.
Sakusa is a very small cluster of farmers' cottages before a temple at the verge of a wood—the temple of Yaegaki. The stepping-stones of the path vanish into the pavement of the court, just before its lofty unpainted wooden torii between the torii and the inner court, entered by a Chinese gate, some grand old trees are growing, and there are queer monuments to see. On either side of the great gateway is a shrine compartment, inclosed by heavy wooden gratings on two sides; and in these compartments are two grim figures in complete armour, with bows in their hands and quivers of arrows upon their backs—the Zuijin, or ghostly retainers of the gods, and guardians of the gate. Before nearly all the Shinto temples of Izumo, except Kitzuki, these Zuijin keep grim watch. They are probably of Buddhist origin; but they have acquired a Shinto history and Shinto names. [4] Originally, I am told, there was but one Zuijin-Kami, whose name was Toyo-kushi-iwa-mato-no-mikoto. But at a certain period both the god and his name were cut in two—perhaps for decorative purposes. And now he who sits upon the left is called Toyo-iwa-ma-to-no-mikoto; and his companion on the right, Kushi-iwa-ma-to-no-mikoto.
Before the gate, on the left side, there is a stone monument upon which is graven, in Chinese characters, a poem in Hokku, or verse of seventeen syllables, composed by Cho-un:
Ko-ka-ra-shi-ya Ka-mi-no-mi-yu-ki-no Ya-ma-no-a-to.
My companion translates the characters thus:—'Where high heap the dead leaves, there is the holy place upon the hills, where dwell the gods.' Near by are stone lanterns and stone lions, and another monument—a great five-cornered slab set up and chiselled—bearing the names in Chinese characters of the Ji-jin, or Earth-Gods—the Deities who protect the soil: Uga-no-mitama-no-mikoto (whose name signifies the August Spirit-of-Food), Ama-terasu-oho-mi-Kami, Ona-muji-no-Kami, Kaki-yasu-hime-no-Kami, Sukuna-hiko-na-no-Kami (who is the Scarecrow God). And the figure of a fox in stone sits before the Name of the August Spirit-of-Food.
The miya or Shinto temple itself is quite small—smaller than most of the temples in the neighbourhood, and dingy, and begrimed with age. Yet, next to Kitzuki, this is the most famous of Izumo shrines. The main shrine, dedicated to Susano-o and Inada-hime and their son, whose name is the name of the hamlet of Sakusa, is flanked by various lesser shrines to left and right. In one of these smaller miya the spirit of Ashi-nadzu-chi, father of Inada-hime, is supposed to dwell; and in another that of Te-nadzu-chi, the mother of Inada-hime. There is also a small shrine of the Goddess of the Sun. But these shrines have no curious features. The main temple offers, on the other hand, some displays of rarest interest.
To the grey weather-worn gratings of the doors of the shrine hundreds and hundreds of strips of soft white paper have been tied in knots: there is nothing written upon them, although each represents a heart's wish and a fervent prayer. No prayers, indeed, are so fervent as those of love. Also there are suspended many little sections of bamboo, cut just below joints so as to form water receptacles: these are tied together in pairs with a small straw cord which also serves to hang them up. They contain offerings of sea-water carried here from no small distance. And mingling with the white confusion of knotted papers there dangle from the gratings many tresses of girls' hair—love-sacrifices [5]—and numerous offerings of seaweed, so filamentary and so sun-blackened that at some little distance it would not be easy to distinguish them from long shorn tresses. And all the woodwork of the doors and the gratings, both beneath and between the offerings, is covered with a speckling of characters graven or written, which are names of pilgrims.
And my companion reads aloud the well-remembered name of—AKIRA!