Ancient Tales and Folk-Lore of Japan | Page 6

the neighbourhood--the ex-Emperor Toba decided to build in Kyoto an immense temple to Kwannon. He would contribute 1001 images of the Goddess of Mercy. (Now, in 1907, as we said at the beginning, this temple is known as 'San-j??-san-gen Do,' and contains 33,333 images.)
The ex-Emperor Toba's wish having become known, orders were given by the authorities to collect timber for the building of the vast temple; and so it came to pass that the days of the big willow tree were numbered, for it would be wanted, with many others, to form the roof.
Heitaro tried to save the tree again by offering every other he had on his land for nothing; but that was in vain. Even the villagers became anxious to see their willow tree built into the temple. It would bring them good luck, they thought, and in any case be a handsome gift of theirs towards the great temple.
The fatal time arrived. One night, when Heitaro and his wife and child had retired to rest and were sleeping, Heitaro was awakened by the sound of axes chopping. To his astonishment, he found his beloved wife sitting up in her bed, gazing earnestly at him, while tears rolled down her cheeks and she was sobbing bitterly.
'My dearest husband,' she said with choking voice, pray listen to what I tell you now, and do not doubt me. This is, unhappily, not a dream. When we married I begged you not to ask me my history, and you have never done so; but I said I would tell you some day if there should be a real occasion to do so. Unhappily, that occasion has now arrived, my dear husband. I am no less a thing than the spirit of the willow tree you loved, and so generously saved six years ago. It was to repay you for this great kindness that I appeared to you in human form under the tree, hoping that I could live with you and make you happy for your whole life. Alas, it cannot be! They are cutting down the willow. How I feel every stroke of their axes! I must return to die, for I am part of it. My heart breaks to think also of leaving my darling child Chiyod? and of his great sorrow when he knows that his mother is no longer in the world. Comfort him, dearest husband! He is old enough and strong enough to be with you now without a mother and yet not suffer. I wish you both long lives of prosperity. Farewell, my dearest! I must be off to the willow, for I hear them striking with their axes harder and harder, and it weakens me each blow they give.'
Heitaro awoke his child just as Higo disappeared, wondering to himself if it were not a dream. No: it was no dream. Chiyod?, awaking, stretched his arms in the direction his mother had gone, crying bitterly and imploring her to come back.
My darling child,' said Heitaro, 'she has gone. She cannot come back. Come: let us dress, and go and see her funeral. Your mother was the spirit of the Great Willow.'
A little later, at the break of day, Heitaro took Chiyod? by the hand and led him to the tree. On reaching it they found it down, and already lopped of its branches. The feelings of Heitaro may be well imagined.
Strange! In spite of united efforts, the men were unable to move the stem a single inch towards the river, in which it was to be floated to Kyoto.
On seeing this, Heitaro addressed the men.
'My friends,' said he, 'the dead trunk of the tree which you are trying to move contains the spirit of my wife. Perhaps, if you will allow my little son Chiyod? to help you, it will be more easy for you; and he would like to help in showing his last respects to his mother.'
The woodcutters were fully agreeable, and, much to their astonishment, as Chiyod? came to the back end of the log and pushed it with his little hand, the timber glided easily towards the river, his father singing the while an 'Uta.'??1 There is a well-known song or ballad in the 'Uta' style said to have sprung from this event; it is sung to the present day by men drawing heavy weights or doing hard labour:--
Muzan naru kana Motowa kumanono yanagino tsuyu de Sodate-agetaru kono midorigo wa ��2oi, ��2oi, ��2oito na!??2
In Wakanoura the labourers sing a working or hauling song, which also is said to have sprung from this story of the 'Yanagi no S??':--
Wakano urani wa meishoga gozaru Ichini Gongen Nini Tamatsushima p. 18 Sanni Sagari Matsu Shini Shiogama ��2oi, ��2oi, ��3oi to na.??1
A third 'Uta' sprang from this story, and is often applied to small children