Spring is the season for love, as they say. It’s also considered the time when cats get their groove on. Issa had some thoughts on that when he observed it two hundred years ago.
山寺や祖師のゆるしの猫の恋 yamadera ya soshi no yurushi no neko no koi[1]
mountain temple—
with the blessing of the founder
cat’s love
—Issa[2]
Sleeping Cat — Inagaki Tomō
Issa may have been making an observational haiku here. He was at the temple and spied some cats having a bit of fun, perhaps. There is a bit of a double-meaning, however.
Issa followed True Pure Land Buddhism (Jōdo Shinshū, 浄土真宗). The priest who created this sect, Shinran, got rid of the requirement for priests to remain celibate. His argument was that humans no longer had the ability to achieve enlightenment through their own efforts alone and could only do so by the grace of Amida, the cosmic Buddha. In other words, he made his flavor of Buddhism into a faith-based religion. Because salvation was solely granted by faith in Amida, remaining celibate was no longer necessary. He also criticized the established monastic system, calling it corrupt and out-of-touch.
So, then, back to the haiku: you can see how in his sect of Buddhism, cats are free to make love with the founder’s blessing. No wonder Pure Land Buddhism became the most popular sect of Buddhism in Japan![3]
Pure Land Buddhism (Jōdoshū) and True Pure Land Buddhism (Jōdo Shinshū) are a little different. Jōdo Shinshū promotes the idea that faith in Amida alone is sufficient for salvation, while Jōdoshū emphases practice and the nembutsu chant a little more. The pure faith-based approach makes Jōdo Shinshū a little more popular in Japan. That said, they are both similar enough that people often group them together. ↩
Spring is here and with spring comes spring mist. Bashō gave us a lovely image of this some time ago during one of his walking trips.
春なれや名もなき山の薄霞 Haru nare ya na mo naki yama no usugasumi[1]
spring is here—
the nameless mountains
covered with mist
—Bashō[2]
Okamoto Ryusei – The Daily Renewal
This is from his travel journal Nozarashi Kiko; Bashō was around Nara when he wrote it, in the year 1685. I know the woodblock up there shows Mount Fuji and not a mountain near Nara, but finding a woodblock print that features any mountain other than Mt Fuji is a challenge.
Now, here’s where it gets interesting. The mountains around Nara — including Mount Kaguyama (香具山), Mount Miminashi (耳成山), and Mount Unebi (畝傍山)[3] — are in fact some of the most famous mountains in all of Japanese myth and classical poetry. They are collectively known as the Yamato Sanzan (大和三山, “The Three Mountains of Yamato”), and they show up frequently in the Man’yōshū and other early collections.
Take this waka by Empress Jitō, poem #2 in the Hyakunin Isshu:
春過ぎて夏来にけらし白妙の
衣ほすてふ天の香具山 haru sugite natsu ki ni kerashi shirotae no
koromo hosu chō ama-no-kaguyama
spring seems gone
and summer is come again—
this is when, they say,
the pure white robes are dried
on heavenly mMunt Kagu
—Empress Jitō
And yet Bashō, walking through these very lands, calls them “nameless.”
He may have been having a bit of fun. His sense of humor was subtle but ever-present, and calling these hyper-famous peaks “nameless” is a classic wink.
Then again, he might have been pointing out that they are so famous that they don’t even need to be named.
Or perhaps it was a deeper commentary on the transient nature of fame and the timeless beauty of nature itself.
You decide!
A final layer: Mount Kaguyama, in particular, holds sacred significance. According to the Kojiki, it’s from this mountain that Ame no Uzume took a bamboo branch when she danced to lure Amaterasu out of hiding and restore sunlight to the world.
Ame no Uzume dancing to draw Amaterasu out of the cave
For those unfamiliar with that myth: Amaterasu, the sun goddess, withdrew into a cave after being harassed by her brother. With her gone, the world plunged into darkness. The other gods devised a plan — Uzume’s dance was part of it — and successfully coaxed her back into the world.
So yes, nameless? Hardly. But that’s Bashō for you.
At any rate, mist is a common enough feature of spring and we can easily picture a scene in our heads similar to the one he is describing. Similar to the scene that first woodblock print shows.
There’s an old saying about how spring makes us feel young. Might it also make us feel like fools? Let’s see what Issa has to say about that…
春立や愚の上に又愚にかへるharu tatsu ya gu no ue ni mata gu ni kaeru[1]
spring arrives—
more foolishness to come
from this fool
—Issa[2]
Old Man and Dog by Shibata Zeshin
Issa wrote this at the beginning of his 60th year, his kanreki year, which is a special year in Japan due to being the year that return to the same zodiac symbol of your birth. Everyone knows of the twelve animals of the Asian zodiac, but the five elements that go with it are less well-known. Every year’s animal also has one of five elements; altogether this makes a cycle of 60 years.
Although today making it to one’s kanreki year isn’t anything special, back in the day it would have been a little more rare and exceptional. In his diary before this haiku, Issa was musing about why he was able to live so long despite his difficult childhood. He concluded that it was because of his lack of talent. This was followed by the haiku above.
Self-mockery is not an uncommon thing for haiku poets. Issa especially was often very self-deprecating. This was in part because he was a very serious follower of Pure Land Buddhism, a faith that encouraged people to acknowledge our own follies. Moreover, Pure Land teaches that this world is corrupt and fallen; Issa was very devout and believed the teachings, but he also kept a twinkle in his eye and used it as a playful source of humor.
Some time ago, I wrote about the legend of the Tokugawa gold. That was a fun tale. Read about it here if you missed it the first time. Today, let’s turn to a more modern one, the legend of Yamashita’s gold.
The legend of Yamashita’s gold — sometimes called the Yamashita treasure — is a tantalizing narrative that blends history, mystery, and adventure. It’s a story that has given rise to countless treasure hunts, conspiracy theories, and even legal battles. But what is the truth behind this enigmatic tale? Let’s delve into the depths of history to uncover the secrets of Yamashita’s gold.
The legend of Yamashita’s gold, a supposed vast treasure hidden by Japanese forces during World War II, is a tantalizing narrative that blends history, mystery, and adventure. It’s a story that has given rise to countless treasure hunts, conspiracy theories, and even legal battles. But what is the truth behind this enigmatic tale? Let’s delve into the depths of history to uncover the secrets of Yamashita’s gold.
The Origin of the Yamashita Gold Treasure Legend
The legend began towards the end of World War II. As the tide of the war turned against Japan, it’s said that General Tomoyuki Yamashita, along with other high-ranking officials, amassed a huge amount of treasure plundered from across Southeast Asia. The loot comprised gold, artifacts, and other valuable items, allegedly hidden in various locations in the Philippines.
According to the legend, the treasure was concealed to prevent it from falling into the hands of the advancing Allied forces. The purported hiding places ranged from deep caves to underground complexes, with the most famous being the rumored tunnels in the mountainous region of Luzon.
Map of rumored Yamashita gold treasure locations in the Philippines
The Japanese occupation of Southeast Asia was marked by both strategic military operations and the systematic looting of wealth. It’s documented that the Japanese forces did indeed accumulate significant amounts of treasure from the territories they conquered. This fact lends a degree of plausibility to the legend of Yamashita’s gold. However, historical records providing concrete evidence of the treasure’s existence and subsequent concealment are scarce, leaving the story largely in the realm of speculation and folklore, much like the aforementioned Tokugawa gold. That in mind, does it really exist…?
Post-war, the allure of Yamashita’s gold has prompted numerous expeditions and treasure hunts. From amateur adventurers to professional treasure seekers, many have ventured into the jungles and mountains of the Philippines, driven by the hope of uncovering the lost riches. Despite these extensive efforts, the treasure remains elusive, with no verifiable findings to date.
Treasure hunters searching for Yamashita’s gold in Luzon mountains
Yamashita’s Gold and the Treasure Hunt Controversy
The tale of Yamashita’s gold is not without its controversies. Over the years, several individuals and groups have claimed to have found portions of the treasure, leading to legal battles over the rights to the findings. The most notable case involved a Filipino treasure hunter, Rogelio Roxas, who claimed to have discovered a part of the treasure but alleged that it was seized by the Philippine government. The case, which reached the courts in the United States, added a layer of modern intrigue to the legend.
Given how powerful China has become in recent years, you can bet they are paying attention to any mention of this treasure so they can claim it.
Conclusion: The Enduring Mystery of Yamashita’s Gold
While the existence of Yamashita’s gold remains unproven, its legend continues to thrive. It represents more than just a hidden treasure; it is a window into a tumultuous period of history and a testament to the enduring allure of mystery and the unknown. Whether fact or fiction, the legend of Yamashita’s gold will undoubtedly continue to fascinate and inspire for generations to come.
[Misc: All images generated from ChatGPT and edited by me in Photoshop]
Two nights ago was the second full moon of spring by the traditional reckoning. Looking at it put me in a reflective mood. Some years ago, Sumiko Ikeda may have been in a similar mood after watching one. She wrote:
初恋のあとの長生き春満月 hatsukoi no ato no nagaiki haru mangetsu[1]
after first love
a long life
the full moon of spring
—Sumiko Ikeda[2]
Spring Moon at Ninomiya Beach by Kawase Hasui
When we think of the full moon, we think of autumn. The autumn moon, noted for its clarity and brilliance, often overshadows the softer allure of the spring full moon. However, the spring moon, veiled in a gentle haze due to the increased moisture of the season, carries its own ephemeral beauty. This softer, more diffuse glow invites a contemplation akin to the transition from the fervent passions of youth to the deeper, more reflective appreciation of life’s complexity and beauty in maturity.
Sumiko Ikeda’s haiku beautifully captures this journey, using the spring moon as a poignant symbol for the serene and reflective qualities acquired through the experiences of a long life, following the initial intensity of first love.
Ikeda is not so well-known in the West. Her haiku have a somewhat surreal quality that gives them a freshness lacking in more traditional haiku. She is known for using colloquial and often direct language, adding to her freshness and helping her stand out from other Japanese haiku poets.
