[133]
WORSHIP AND PURIFICATION
We have seen that, in Old Japan, the world of the living was everywhere ruled by the world of the dead,—that the individual, at every moment of his existence, was under ghostly supervision. In his home he was watched by the spirits of his fathers; without it, he was ruled by the god of his district. All about him, and above him, and beneath him were invisible powers of life and death. In his conception of nature all things were ordered by the dead,—light and darkness, weather and season, winds and tides, mist and rain, growth and decay, sickness and health. The viewless atmosphere was a phantom-sea, an ocean of ghost; the soil that he tilled was pervaded by spirit-essence; the trees were haunted and holy; even the rocks and the stones were infused with conscious life …. How might he discharge his duty to the infinite concourse of the invisible?
Few scholars could remember the names of all the greater gods, not to speak of the lesser; and no mortal could have found time to address those greater gods by their respective names in his daily [134] prayer. The later Shinto teachers proposed to simplify the duties of the faith by prescribing one brief daily prayer to the gods in general, and special prayers to a few gods in particular; and in thus doing they were most likely confirming a custom already established by necessity. Hirata wrote: "As the number of the gods who possess different functions is very great, it will be convenient to worship by name the most important only, and to include the rest in a general petition." He prescribed ten prayers for persons having time to repeat them, but lightened the duty for busy folk,—observing: "Persons whose daily affairs are so multitudinous that they have not time to go through all the prayers, may content themselves with adoring (1) the residence of the Emperor, (2) the domestic god-shelf,—kamidana, (3) the spirits of their ancestors, (4) their local patron-god, Ujigami, (5) the deity of their particular calling." He advised that the following prayer should be daily repeated before the "god-shelf":—
"Reverently adoring the great god of the two palaces of Ise in the first, place,—the eight hundred myriads of celestial gods,—the eight hundred myriads of terrestrial gods,—the fifteen hundred myriads of gods to whom are consecrated the great and small temples in all provinces, all islands, and all places of the Great Land of Eight Islands,—the fifteen hundred myriads of gods whom they cause to serve them, and the gods of branch-palaces and branch-temples, [135]—and Sohodo-no-Kami* whom I have invited to the shrine set up on this divine shelf, and to whom I offer praises day by day,—I pray with awe that they will deign to correct the unwilling faults which, heard and seen by them, I have committed; and that, blessing and favouring me according to the powers which they severally wield, they will cause me to follow the divine example, and to perform good works in the Way."**
[*Sohodo-no-Kami is the god of scarecrows,—protector of the fields.]
[**Translated by Satow.]
This text is interesting as an example of what Shinto's greatest expounder thought a Shinto prayer should be; and, excepting the reference to So-ho-do-no-Kami, the substance of it is that of the morning prayer still repeated in Japanese households. But the modern prayer is very much shorter…. In Izumo, the oldest Shinto province, the customary morning worship offers perhaps the best example of the ancient rules of devotion. Immediately upon rising, the worshipper performs his ablutions; and after having washed his face and rinsed his mouth, he turns to the sun, claps his hands, and with bowed head reverently utters the simple greeting: "Hail to thee this day, August One!" In thus adoring the sun he is also fulfilling his duty as a subject, paying obeisance to the Imperial Ancestor …. The act is performed out of doors, not kneeling, but standing; and the spectacle of this simple worship is impressive. I can now see in memory,— [136] just as plainly as I saw with my eyes many years ago, off the wild Oki coast,—the naked figure of a young fisherman erect at the prow of his boat, clapping his hands in salutation to the rising sun, whose ruddy glow transformed him into a statue of bronze. Also I retain a vivid memory of pilgrim-figures poised upon the topmost crags of the summit of Fuji, clapping their hands in prayer, with faces to the East …. Perhaps ten thousand—twenty thousand-years ago all humanity so worshipped the Lord of Day ….
After having saluted the sun, the worshipper returns to his house, to pray before the Kamidana and before the tablets of the ancestors. Kneeling, he invokes the great gods of Ise or of Izumo, the gods of the chief temples of his province, the god of his parish-temple also (Ujigami), and finally all the myriads of the deities of Shinto. These prayers are not said aloud. The ancestors are thanked for the foundation of the home; the higher deities are invoked for aid and protection …. As for the custom of bowing in the direction of the Emperor's palace, I am not able to say to what extent it survives in the remoter districts; but I have often seen the reverence performed. Once, too, I saw reverence done immediately in front of the gates of the palace in Tokyo by country-folk on a visit to the capital. They knew me, because I had often sojourned in their village; and on reaching Tokyo [137] they sought me out, and found me, I took them to the palace; and before the main entrance they removed their hats, and bowed, and clapped their hands, just as they would have done when saluting the gods or the rising sun,—and this with a simple and dignified reverence that touched me not a little.
The duties of morning worship, which include the placing of offerings before the tablets, are not the only duties of the domestic cult. In a Shinto household, where the ancestors and the higher gods are separately worshipped, the ancestral shrine may be said to correspond with the Roman lararium; while the "god-shelf," with its taima or o-nusa (symbols of those higher gods especially revered by the family), may be compared with the place accorded by Latin custom to the worship of the Penates. Both Shinto cults have their particular feast-days; and, in the case of the ancestor-cult, the feast-days are occasions of religious assembly,—when the relatives of the family should gather to celebrate the domestic rite …. The Shintoist must also take part in the celebration of the festivals of the Ujigami, and must at least aid in the celebration of the nine great national holidays related to the national cult; these nine, out of a total eleven, being occasions of imperial ancestor-worship.
The nature of the public rites varied according to [138] the rank of the gods. Offerings and prayers were made to all; but the greater deities were worshipped with exceeding ceremony. To-day the offerings usually consist of food and rice-wine, together with symbolic articles representing the costlier gifts of woven stuffs presented by ancient custom. The ceremonies include processions, music, singing, and dancing. At the very small shrines there are few ceremonies,—only offerings of food are presented. But at the great temples there are hierarchies of priests and priestesses (miko)—usually daughters of priests; and the ceremonies are elaborate and solemn. It is particularly at the temples of Ise (where, down to the fourteenth century the high-priestess was a daughter of emperors), or at the great temple of Izumo, that the archaic character of the ceremonial can be studied to most advantage. There, in spite of the passage of that huge wave of Buddhism, which for a period almost submerged the more ancient faith, all things remain as they were a score of centuries ago;—Time, in those haunted precincts, would seem to have slept, as in the enchanted palaces of fairy-tale. The mere shapes of the buildings, weird and tall, startle by their unfamiliarity. Within, all is severely plain and pure: there are no images, no ornaments, no symbols visible—except those strange paper-cuttings (gohei), suspended to upright rods, which are symbols of offerings and also tokens of the [139] viewless. By the number of them in the sanctuary, you know the number of the deities to whom the place is consecrate. There is nothing imposing but the space, the silence, and the suggestion of the past. The innermost shrine is veiled: it contains, perhaps, a mirror of bronze, an ancient sword, or other object enclosed in multiple wrappings: that is all. For this faith, older than icons, needs no images: its gods are ghosts; and the void stillness of its shrines compels more awe than tangible representation could inspire. Very strange, to Western eyes at least, are the rites, the forms of the worship, the shapes of sacred objects. Not by any modern method must the sacred fire be lighted,—the fire that cooks the food of the gods: it can be kindled only in the most ancient of ways, with a wooden fire-drill. The chief priests are robed in the sacred colour,—white,—and wear headdresses of a shape no longer seen elsewhere: high caps of the kind formerly worn by lords and princes. Their assistants wear various colours, according to grade; and the faces of none are completely shaven;—some wear full beards, others the mustache only. The actions and attitudes of these hierophants are dignified, yet archaic, in a degree difficult to describe. Each movement is regulated by tradition; and to perform well the functions of a Kannushi, a long disciplinary preparation is necessary. The office is hereditary; the training begins in boyhood; and [140] the impassive deportment eventually acquired is really a wonderful thing. Officiating, the Kannushi seems rather a statue than a man,—an image moved by invisible strings;—and, like the gods, he never winks. Not at least observably…. Once, during a great Shinto procession, several Japanese friends, and I myself, undertook to watch a young priest on horseback, in order to see how long he could keep from winking; and none of us were able to detect the slightest movement of eyes or eyelids, notwithstanding that the priest's horse became restive during the time that we were watching.