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MESHCHERYAKOV
INTRODUCTION
The problem of the interdependence between Shinto and
Buddhism is of great importance in the history of Japanese
c u l t u r e because it is closely connected w i t h many other
major issues, such as formation of a state religion, l i t e r a ture, philosophy, development of fine arts and the like.
Western scholars have paid considerable attention t o
the r o l e of early Japanese Buddhism as a state religion.
Though this is indeed a very significant problem I believe
nevertheless that the r e a l meaning of Buddhism can be
f u l l y grasped only i n a broader c u l t u r a l context. F o r this
purpose it is extremely important to consider how one and
the same "elementary" c u l t u r a l feature manifests i t s e l f in
life, h i s t o r y and man's creativeness.
F o r the analysis of such fundamental elements I have
chosen the notions of the "the beginning" and "the end,"
which are of major importance in the semiotics of culture.
Basing my research on early Buddhist prose on the one
hand and on Shinto-oriented t e x t s on the other, I w i l l t r y
t o show t h a t the notion of "the beginning" i n a Shinto
i n t e r p r e t a t i o n and that o f "the end" i n the Buddhist
comprehension b o t h work as universal structure-making
patterns.
This paper embraces three fields: t h e existential ( l i f e
o f man), the making of plots ( i n Buddhist prose) and the
h i s t o r i c a l (comprehension of history).
THE EXISTENTIAL
I n the existential f i e l d the problem of "the beginning" and
"the end" is none other than the problem of "birth" and
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J a p a n e s e J o u r n a l o f R e l i g i o u s S t u d i e s 11/1
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M e a n i n g o f B e g i n n i n g a n d End
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stories.2
The presence o f a f r o g i n the Nihon ryUi,iki stories also
indicates the pre-Buddhist origins o f t h e legend. I n Nihon
ryiliki t h e f r o g is depicted only as a goal f o r f u l f i l l i n g the
Buddhist v i r t u e o f saving a l i v i n g being. B u t in other
stories t o avoid giving b i r t h t o a snake's c h i l d a g i r l is
advised t o step over a t u b w i t h frogs (Suzuki 1951, pp.5152) or p u t a f r o g i n the t u b w h i c h is used during p a r t u r i t i o n (Seki 1963, p.270).
On the bronze d o t a k u f r o m
Sakura-ga-oka t h e r e is a p i c t u r e o f a frog, a snake and a
human being w h i c h also proves the a n t i q u i t y of this m o t i f
(Torigoe 1975, p. 29). I b e l i e v e t h a t in the Nihon ryijiki
s t o r y we f i n d a fragment o f an unknown myth.
The meaning o f the crabs in the Nihon ryaiki s t o r y is
n o t c l e a r enough. B u t it should be pointed out t h a t the p a i r
"girl-crab" is found i n a n c i e n t kagura songs.3
Various f o l k t a l e s have i n h e r i t e d this opposition between
snake and crab. Dorson c i t e s the f o l l o w i n g story. A man
named Hachiro was preparing meals for a wood-cutter.
He
caught a t r o u t b u t l i k e d i t so much t h a t he ate it himself.
He then became t h i r s t y and could not slake his thirst, so he
t u r n e d i n t o a snake and b u i l t a dam. The god o f Kogage, i n
whose t e r r i t o r y this happened, d i d n o t l i k e it, and thus
t u r n e d i n t o a crab, making a hole in the dam (Dorson 1962,
pp. 126-127).
I n Buddhist stories w h i c h appeared a f t e r Nihon rybiki
t h e m o t i f of g i r l and snake falls i n t o f u r t h e r decline
t h r o u g h t h e i n t r o d u c t i o n o f a Buddhist monk.
I n story
2.
3.
Stories 1.1, 1.3, 11.8 and 11-12. The motif of a snake penetrating through
the roof of a house is preserved i n folktales even today, but the details of his arrival on the roof are pictured very pragmatically. According to one story (Seki 1963, pp. 139-142) a g i r l became ill because
a snake was trapped i n the roof of her house when i t was thatched.
For these songs see Nihon koten bungaku zenshu, Vol. 25, pp.70-71.
According t o K o j i k i , Emperor b j i n sang a song to Ya-gapa-ye-pime in
which a crab is mentioned before their marriage. Philippi believes that
"perhaps, crab was served a t the feast" (p.277), but 1 believe that the
crab here is clearly a sexual symbol.
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M e a n i n g o f B e g i n n i n g a n d End
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M e a n i n g o f B e g i n n i n g a n d End
J a p a n e s e J o u r n a l o f R e l i g i o u s S t u d i e s 11/1 1 9 8 4
A.N.
MESHCHERYAKOV
References
ASION, W.G.,
1978
transl.
taikei E$&W*f
J a p a n e s e J o u r n a l o f R e l i g i o u s S t u d i e s 11/1
1984