The Story of Hōichi the Earless

“Hōichi, my poor friend, you are now in great danger! How unfortunate that you did not tell me all this before! Your wonderful skill in music has indeed brought you into strange trouble. By this time you must be aware that you have not been visiting any house whatever, but have been passing your nights in the cemetery, among the tombs of the Heiké—and it was before the memorial-tomb of Antoku Tennō that our people tonight found you, sitting in the rain. All that you have been imagining was illusion—except the calling of the dead. By once obeying them, you have put yourself in their power. If you obey them again, after what has already occurred, they will tear you in pieces. But they would have destroyed you, sooner or later, in any event. Now I shall not be able to remain with you tonight: I am called away to perform another service. But, before I go, it will be necessary to protect your body by writing holy texts upon it.”

This is from Lafcadio Hearn’s excellent adaption of the traditional Japanese ghost story Mimi-Nashi Hōichi, or Hōichi the Earless. I have reproduced his version along with some of my own annotations. If you look at the menu above, you will see I added a page called “The Library”. Follow that link to find Hōichi. (Or just click here).

The Biwa and Blind Monk Players

The biwa is a very beautiful and very interesting instrument that isn’t so familiar to the West. This is a great introduction to it.

I am putting the finishing touches on my annotation of the Japanese ghost story Mimi-Nashi Hōichi which I will post within the next day or two. The biwa and the blind biwa-playing monks (biwa hōshi) play a part in the story.

Star Wars Anime

The animation is taken from all the official shorts Disney has been posting. They have been rearranged to put into the order of the movie and combined. As near as I can tell, the Japanese dialogue is taken from the official Japanese movie dub. The result isn’t perfect, but it is a lot of fun.

Edit: Sony Japan had the previous video removed. LucasArts (and now Disney) is usually ok with fanedits, but evidently Sony Japan isn’t so ok with their music being used in fanedits. Oh well. I’ve updated the link to a different fanedit that does the same thing.

No Photos, Please

Shooting at the station really isn’t something I do often. Not that I don’t want to, but usually I am on the run somewhere or I want to get home to be with my kids. But when I do take the time to shoot some station photos, I always enjoy it. Most folks are indifferent to being photoed—they are too much in a hurry to care. But occasionally you get a great reaction like that woman there gave me.

Shiki’s Lonely Pear Tree

梨さくや戦のあとの崩れ家
nashi saku ya ikusa no ato no kuzure ie1

a pear tree in bloom
by the ruins of a house
from the battle
—Shiki2


(Red Robin and Pear Blossoms – Imao Keinen)

A lonely scene. The people who lived in the house are gone, escaped to a safer area, or worse, the area marred by battle. Yet even in the horror of the landscape, the pear tree blooms: beauty survives. We are reminded of the Persian saying often ascribed to Rumi:

این نیز بگذرد
This too shall pass.

After the terrible war has passed and faded, nature will remain and will triumph in the end.

Shiki wrote this verse in April 1895, during his time in China as a war correspondent for the first Sino-Japanese War. Beyond the obvious suggestion of the cruelty of war, this haiku is doing something else. Shiki is poking at Bashō.

Bashō, if you haven’t heard the name, is most famous haiku poet in Japanese history. Buson, who I posted about the other day, idolized him. As do most serious haiku poets today. But Shiki wasn’t a fan and he often critized Bashō’s haiku. In this case he was calling back to one of Bashō’s most popular verses.

Two centuries before, Bashō visited the ruins of Takadate Castle and wrote:

夏草や兵どもが夢の跡
Natsukusa ya tsuwamono-domo ga yume no ato

summer grass…
the only remains
of the soldiers’ dreams

Bashō was referring to a tragic event which took place seven centuries prior, when the great warrior Yoshitsune3 and his men were betrayed and slaughtered by the treacherous Yasuhira.

Shiki takes the setting Bashō gives and changes the focus. Whereas Basho’s poem referenced a long forgotten conflict, Shiki refers to a recent battle, and where Basho’s verse expressed a kind of veneration for the long dead warriors, Shiki does the opposite and instead puts our attention on the innocent victims of the conflict.

In addition to the poke at Bashō, this haiku is also very much in Shiki’s “visual painting” style4. You can almost picture the haiku like a movie, first the camera tight on the beautiful pear tree, then pulling back to show us the ruined house, then back still to show us the scars of the battleground.

It doesn’t entirely fit, but this haiku always recalls to my mind a scene near the end of The Good, the Bad, and the Ugly, when Clint Eastwood’s character wanders into an American Civil War battlefield and stumbles across a collapsed church, goes in and comforts a dying Confederate soldier. I can hear that haunting soundtrack in my head as I read the haiku. Maybe now you can too.5


  1. See: Pronunciation of Japanese  ↩

  2. See: a note on translations  ↩

  3. Who features in The Tale of the Heike, the Japanese epic which I mentioned the other day in this post  ↩

  4. 写生 Shasei  ↩

  5. Here’s the scene  ↩

There is more in the archives