So is told the story of the Wrapping of the Bell. Many damsels dwell by the seashore of Japan;—but who among them, like the daughter of the Chōja, will become a dragon?—
Become a dragon?
This is all the Song of the Wrapping of the Bell!—this is all the Song,—
All the song![112]
[112] ] This legend forms the subject of several Japanese dramas, both ancient and modern. The original story is that a Buddhist priest, called Anchin, having rashly excited the affection of a maiden named Kiyohimé, and being, by reason of his vows, unable to wed her, sought safety from her advances in flight. Kiyohimé, by the violence of her frustrated passion, therewith became transformed into a fiery dragon; and in that shape she pursued the priest to the temple called Dōjōji, in Kumano (modern Kishū), where he tried to hide himself under the great temple-bell. But the dragon coiled herself round the bell, which at once became red-hot, so that the body of the priest was totally consumed.
In this rude ballad Kiyohimé figures only as the daughter of an inn-keeper,—the Chōja, or rich man of his village; while the priest Anchin is changed into a Yamabushi. The Yamabushi are, or at least were, wandering priests of the strange sect called Shugendo,—itinerant exorcists and diviners, professing both Shinto and Buddhism. Of late years their practices have been prohibited by law; and a real Yamabushi is now seldom to be met with.
The temple Dōjōji is still a famous place of pilgrimage. It is situated not far from Gobō, on the western coast of Kishū. The incident of Anchin and the dragon is said to have occurred in the early part of the tenth century.
I shall give only one specimen of the true street-ballad, —the kind of ballad commonly sung by wandering samisen-players. It is written in an irregular measure, varying from twelve to sixteen syllables in length; the greater number of lines having thirteen syllables. I do not know the date of its composition; but I am told by aged persons who remember hearing it sung when they were children, that it was popular in the period of Tenpō (1830-1843). It is not divided into stanzas; but there are pauses at irregular intervals,—marked by the refrain, Yanrei!
O-KICHI-SEIZA KUDOKI
("The Ditty of O-Kichi and Seiza")