tag:blogger.com,1999:blog-39345024904285969112024-03-05T08:15:09.209+02:00脳内無霊Translations from Japanese. (<a href="http://goutetsu.mbnet.fi">Main page</a>)goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.comBlogger52125tag:blogger.com,1999:blog-3934502490428596911.post-28646645777957117492016-01-28T11:16:00.000+02:002017-01-21T15:41:39.581+02:00Change of URLMy main page can currently be found at the address <span class="inline-block" data-pilvi-component-collectioneditor="cpanelaccounts"><span class="data-field-value"><a href="http://goutetsu.mbnet.fi/">goutetsu.mbnet.fi</a>.</span></span>goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-76482762895321223182016-01-02T13:40:00.000+02:002018-03-17T18:51:28.222+02:00Faxanadu<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6FJC05EQE8c49O7QAEIMiCt7lOPg2rpY2UjBvxjKAkb8jYWk_0nmyUh2afMvIUQgKrci_cPF_Nf0a_BIFjXQEqvhYzKB81YeiEH1hTobP2yQEA6HCjbma3ux2vbSgP9RMgGHppQdYrgw/s1600/Faxanadu+%2528Europe%2529_002.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6FJC05EQE8c49O7QAEIMiCt7lOPg2rpY2UjBvxjKAkb8jYWk_0nmyUh2afMvIUQgKrci_cPF_Nf0a_BIFjXQEqvhYzKB81YeiEH1hTobP2yQEA6HCjbma3ux2vbSgP9RMgGHppQdYrgw/s1600/Faxanadu+%2528Europe%2529_002.png" /></a></div>
<br />
Here are some comments on the translation of the NES/Famicom game Faxanadu.<br />
<br />
<h2>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">1. Localization Changes</span></h2>
<br />
<b>—Religious references:</b><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVXt6Gzi6D4AmMkfee3d-gb-qbK0_D-no_KNJT1s7QR1IW_4l1zm57_KJsieL-9oSDdzam3sM__w226TLrP5K8-x9piNk5CbD9x_nqpSd7M4sjqRa42GZFNBM40ZgzGQQthkb50aWilo0/s1600/Faxanadu+%2528Japan%2529_001.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVXt6Gzi6D4AmMkfee3d-gb-qbK0_D-no_KNJT1s7QR1IW_4l1zm57_KJsieL-9oSDdzam3sM__w226TLrP5K8-x9piNk5CbD9x_nqpSd7M4sjqRa42GZFNBM40ZgzGQQthkb50aWilo0/s1600/Faxanadu+%2528Japan%2529_001.png" /></a></div>
<blockquote class="tr_bq">
神父様<br />
priest → Guru<br />
<br />
教会<br />
church → Guru (Guru's House in the manual)<br />
<br />
お祈り<br />
prayer → mantra<br />
<br />
泉の神様<br />
god/spirit of the spring → old man of the spring</blockquote>
<blockquote class="tr_bq">
ドワーフの法王<br />
Pope of Dwarves → The Evil One<br />
<br />
魔界丘 (makaikyū: "world of evil spirits" i.e. hell + hill)<br />
"Infernal Knoll"<br />
→<br />
the underworld / evil place</blockquote>
This word appears two times in the game. In the beginning of the game it is translated as "the underworld", near the end as "the evil place". In the English manual it is called "The Evil Place" and depicted as a huge cliff. Why would anyone call that a hill? Don't ask me. Also, had the elves always called that an evil/infernal place, even before the dwarves went crazy? Sounds kind of racist.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitzCzBKPSnCmgJE7-80KdCba6ATfGcKOnIr2n5CNxcM_RrtV4WHefRcL9nKvXWzQ8PIJ6vXs5c4nrDEuqOm8CNieuISOFyV38p73Bjn_7Bly2V2NF4igWxCHSQwebMQMmggXRB-Dp9fdY/s1600/Faxanadu+%2528Europe%2529_006.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitzCzBKPSnCmgJE7-80KdCba6ATfGcKOnIr2n5CNxcM_RrtV4WHefRcL9nKvXWzQ8PIJ6vXs5c4nrDEuqOm8CNieuISOFyV38p73Bjn_7Bly2V2NF4igWxCHSQwebMQMmggXRB-Dp9fdY/s1600/Faxanadu+%2528Europe%2529_006.png" /></a></div>
<blockquote class="tr_bq">
隕石はサファーの塔にまつられているらしいです<br />
教会のうえにサファーの塔がありますよ<br />
Apparently the meteorite is enshrined in the Tower of Suffer.<br />
You will find the tower above the church.<br />
→<br />
The meteorite is meditated on at the tower of Suffer.<br />
You'll find the Tower above a Guru.</blockquote>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeQ2HxeUEduKlihKvvdWKBq2GGzDof-HfJ2y3ToGGXW0STXShuNdFQkmLRf95uPIEgT6pFdXwYw6d48fUfPLnmmV1QM8m4HVPNXPIy9q7_x1Y08xuAeE1jZQ6SBJmovxFOm2ztsblWcKM/s1600/Faxanadu+%2528Europe%2529_005.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeQ2HxeUEduKlihKvvdWKBq2GGzDof-HfJ2y3ToGGXW0STXShuNdFQkmLRf95uPIEgT6pFdXwYw6d48fUfPLnmmV1QM8m4HVPNXPIy9q7_x1Y08xuAeE1jZQ6SBJmovxFOm2ztsblWcKM/s1600/Faxanadu+%2528Europe%2529_005.png" /></a></div>
<blockquote class="tr_bq">
ドワーフたちは隕石のかけらを神のようにあがめています<br />
The dwarves worship a piece of the meteorite as if it were a god<br />
→<br />
The Dwarfs are chanting their mantras to a segment of the meteorite</blockquote>
<br />
<blockquote class="tr_bq">
ドワーフ族はあの隕石を神のつかいだとうけいれた<br />
The dwarves hailed the meteorite as a messenger of God<br />
→<br />
The Dwarfs regard the meteorite as a cosmic messenger</blockquote>
<br />
<b>—Place names:</b><br />
<br />
<blockquote class="tr_bq">
フォートリス<br />
Fortriss → Fortress<br />
<br />
フォアホー<br />
Forehaw → Forepaw<br />
<br />
デェイドレイク<br />
Daydrake → Daybreak</blockquote>
<br />
Also:<br />
<br />
<blockquote class="tr_bq">
エオリス → Eolis / Eolith<br />
<br />
ゼニス → Zenis / Zenith</blockquote>
<br />
ス (su) is the closest thing phonetically Japanese has to th (the voiceless θ) which is still pretty far away and is a good source of confusion. Players of Final Fantasy 7 should be familiar with this fact.<br />
<br />
<b>—Miscellaneous changes:</b><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<blockquote class="tr_bq">
ダカット<br />
ducats → Golds<br />
<br />
オイル<br />
oil → ointment<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8xFDVtmnO5xI5yABLgP3p7GE-tRpDl8HruYr8nTaMJamD3x3hcP3ZJJfC2U57TWoCDVKiV8ixBsLDZpp8Z8uBTYTyhhVUx9ty4MoMJNxGfYRDEIvrriVvj2XTXOhcniWD2oBkT5R7Ek8/s1600/Faxanadu+%2528Europe%2529_003.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8xFDVtmnO5xI5yABLgP3p7GE-tRpDl8HruYr8nTaMJamD3x3hcP3ZJJfC2U57TWoCDVKiV8ixBsLDZpp8Z8uBTYTyhhVUx9ty4MoMJNxGfYRDEIvrriVvj2XTXOhcniWD2oBkT5R7Ek8/s1600/Faxanadu+%2528Europe%2529_003.png" /></a></div>
<br />
スリのぎんじ<br />
Ginji the pickpocket → the pickpocket Gingi (changed to sound less like a Japanese name?). </blockquote>
<blockquote class="tr_bq">
A reference to the actual person Shitateya Ginji, a ringleader of pickpockets in the Meiji era. Also, スリの銀次 (suri no ginji) is a character that appears in the game <a href="https://en.wikipedia.org/wiki/Momotaro_Dentetsu">Momotarō Dentetsu</a> (released after Faxanadu).</blockquote>
<br />
<h2>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> 2. Omissions</span></h2>
<br />
<b>—Intro:</b><br />
<br />
<blockquote class="tr_bq">
城壁のそとをグルッとまわりやっといりぐちを みつけた..<br />
Following the town wall I finally found a way in...</blockquote>
<br />
A complete line has been left out.<br />
<br />
<b>—Eolis:</b><br />
<br />
<blockquote class="tr_bq">
ここはエルフの都 エオリス<br />
This is the <b>capital</b> of the elves, Eolis<br />
→<br />
This is the Elf town of Eolis</blockquote>
<br />
Later in the game there is a character who refers to the town as the capital.<br />
<br />
<b>—Apolune:</b><br />
<br />
<blockquote class="tr_bq">
盾はドワーフのたまをふせぎます<br />
A shield will protect you from dwarven <b>projectiles</b><br />
→<br />
[The shield]'ll protect you from Dwarf attacks</blockquote>
<br />
<b>—Forehaw:</b><br />
<br />
<blockquote class="tr_bq">
この鍵でしたにあるこやのとびらをあけなさい<br />
Open the door to the <b>shack</b> below with this key<br />
→<br />
Use this key to open the door below</blockquote>
<br />
<b>—Victim:</b><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNXSJDjGy6_MBmKX-fIlAtmxmriUnHTOVYvWmE_fzkOR2XJ3IYuPrWGW_eh7f3gSyxkq4EMaG_bOplx3p5_TecG5jegupdSvSESrH_NA8KFywG3KzaP1uQkq18BEtAjMHZxD2v8FRR7SM/s1600/Faxanadu+%2528Europe%2529_001.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNXSJDjGy6_MBmKX-fIlAtmxmriUnHTOVYvWmE_fzkOR2XJ3IYuPrWGW_eh7f3gSyxkq4EMaG_bOplx3p5_TecG5jegupdSvSESrH_NA8KFywG3KzaP1uQkq18BEtAjMHZxD2v8FRR7SM/s1600/Faxanadu+%2528Europe%2529_001.png" /></a></div>
<blockquote class="tr_bq">
どうやらみちにまよったみたいだ<br />
ぼくのひえんのじゅつもまんきんたんのじゅつもきかない<br />
It looks like I am lost.<br />
My spells Hien and Mankintan have no effect.<br />
→<br />
I'm lost.<br />
My magic does not work.</blockquote>
<br />
This is a reference to the Famicom game Momotarō Densetsu. Hien (flying swallow) let's you teleport into a town you have visited. Mankintan (name of a medicine) is a healing spell. It's pretty obvious that this should be omitted as no one would have gotten the reference.<br />
<br />
<blockquote class="tr_bq">
こうげきの魔法はこうかてきだがずいぶん魔力をつかいますよ<br />
Offensive magic is effective, but it consumes <b>a lot of</b> energy.<br />
→<br />
Magic of offence is effective, but it consumes power.</blockquote>
<br />
<b>—Castle of Fraternal:</b><br />
<br />
<blockquote class="tr_bq">
ドラゴン スレイヤーをキンググリーブよりてにいれた<br />
I obtained the Dragon Slayer from King Grieve.<br />
→<br />
I've got the Dragon Slayer. </blockquote>
<br />
<h2>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">3. Errors</span></h2>
<blockquote class="tr_bq">
毒のビン<br />
bottle of poison → jar of poison</blockquote>
<br />
Although ビン (bin) could be translated either way, the graphics look more like a bottle than a jar.<br />
<br />
<b>—Forehaw:</b><br />
<br />
<blockquote class="tr_bq">
あおい空にとびだしなさい<br />
空の泉がみつかるでしょう<br />
Fly into the blue sky.<br />
You should find the Sky Spring.<br />
→<br />
Go below the blue sky.<br />
You'll find a fountain in the sky.</blockquote>
<br />
For some reason the translator has missed the word fly. Also, the spring is called a fountain. Graphically they do all look like fountains though.<br />
<br />
<blockquote class="tr_bq">
だいちの泉<br />
Earth Spring<br />
→<br />
the first spring / the first fountain</blockquote>
<br />
The translator has confused the word だいち (daichi, earth) with the word だいいち (dai'ichi, first). In a second line he again calls the spring a fountain. <br />
<br />
<blockquote class="tr_bq">
樹の泉<br />
Tree Spring (or Spring of Wood)<br />
→<br />
spring of Trunk </blockquote>
A strange change, considering that there is a Tower of Trunk in the game and it is not the tower in which this spring is located.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhULwJMGOl45p_kdiTvlRG1t3EMeY5id-HO63lqBgsfVrJqaicflAzea-qe7j2c-sIUqwMKPSEnItGtdJxnvaLB39OFfiTLLQVPFSkeX9KMta-vR-JW4L5N308fRFQpa3_xlB1hzYO1IEw/s1600/Faxanadu+%2528Europe%2529_004.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhULwJMGOl45p_kdiTvlRG1t3EMeY5id-HO63lqBgsfVrJqaicflAzea-qe7j2c-sIUqwMKPSEnItGtdJxnvaLB39OFfiTLLQVPFSkeX9KMta-vR-JW4L5N308fRFQpa3_xlB1hzYO1IEw/s1600/Faxanadu+%2528Europe%2529_004.png" /></a></div>
<blockquote class="tr_bq">
毒もほとんどきえたようじゃな<br />
もとにもどしてもいいころじゃろう<br />
It looks like the poison is almost gone.<br />
This should be a good time to restore the spring back to normal. (Literally: "should be a good time to restore")<br />
→<br />
The posion is almost gone so it's all right to wake him up.</blockquote>
<br />
The translator has mistaken the god of the spring talking about restoring the spring as the player character talking about waking him up.<br />
<br />
<b>—Mascon:</b><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKQxX1HweTcXijOnbq_wnLHcKVGXMh00Ba5TBQ9eiVsFEC5u00Lx5uSGud6i1WQCoi8KSPoH8xb96R4QrPEru91jAagtUVegWjtHXsPcSOe-CcJtR3K5b66lyOOll0IKMCTnxCgA2ne1k/s1600/Faxanadu+%2528Europe%2529_007.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKQxX1HweTcXijOnbq_wnLHcKVGXMh00Ba5TBQ9eiVsFEC5u00Lx5uSGud6i1WQCoi8KSPoH8xb96R4QrPEru91jAagtUVegWjtHXsPcSOe-CcJtR3K5b66lyOOll0IKMCTnxCgA2ne1k/s1600/Faxanadu+%2528Europe%2529_007.png" /></a></div>
<blockquote class="tr_bq">
町のそとにもおみせがあるわ<br />
ふべんなところだけどべんりなものをうっているわ<br />
あなたにはみつけられるかな <br />
There is also a shop outside the town.<br />
It is in an inconvenient place but sells useful things.<br />
I wonder if you can find it. <br />
→<br />
There are stores outside town.<br />
They sell useful items, though it's inconvenient to get there.<br />
I wonder if you could find them. </blockquote>
<br />
Japanese does not have a universal plural form so this kind of mistake is entirely understandable. The NPC is talking about a unique hidden shop though.<br />
Which leads us to...<br />
<br />
<blockquote class="tr_bq">
あきやになった町のそとのいえにドワーフがすみついているわ<br />
どんなときでもちゅういしてね<br />
Dwarves have occupied abandoned houses outside towns.<br />
Never let your guard down.<br />
→<br />
The house outside town was abandoned and the Dwarfs are living there.<br />
Watch out for them.</blockquote>
<br />
Using plural here makes a lot more sense, since there are more than one of such houses.<br />
<br />
<b>—Conflate:</b><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK9c6kH7x_3T9iyIhQdkN-gykDx_fOD5XtPkJv6O9Hl3AQ_IZDN_mMekcI2nMubQlom_sTRFmyH-CypB3gtAiORl9HHcpMamHh-7c6SWZDvZqVajahltxFVBr0V9w2tVmKcGXBcMNgXyk/s1600/Faxanadu+%2528Europe%2529_008.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK9c6kH7x_3T9iyIhQdkN-gykDx_fOD5XtPkJv6O9Hl3AQ_IZDN_mMekcI2nMubQlom_sTRFmyH-CypB3gtAiORl9HHcpMamHh-7c6SWZDvZqVajahltxFVBr0V9w2tVmKcGXBcMNgXyk/s1600/Faxanadu+%2528Europe%2529_008.png" /></a></div>
<blockquote class="tr_bq">
鎧とヘルメットを てにいれたなら神父様のところへ おいきなさい <br />
When you have the armor and the helmet, go see the priest.<br />
→<br />
When you get the shield and helmet, go to see the Guru. </blockquote>
<br />
This is an interesting one. The translator has simply been careless, because in the text of the game, a few lines above this one you will find:<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaSW8sM-f7AuTnZS5tRXQMjRMdkRMh1dQvB8tfFb1Fvyw-t5HmIkiwVuKdsKELdeNFbB0YkgY3l5C6Hbs6rtX1rfsXc48xT2I5wB85wRIxFnR23IjKyjwV4SvYzC4IAwNNcuaatBLjqAw/s1600/Faxanadu+%2528Europe%2529_009.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaSW8sM-f7AuTnZS5tRXQMjRMdkRMh1dQvB8tfFb1Fvyw-t5HmIkiwVuKdsKELdeNFbB0YkgY3l5C6Hbs6rtX1rfsXc48xT2I5wB85wRIxFnR23IjKyjwV4SvYzC4IAwNNcuaatBLjqAw/s1600/Faxanadu+%2528Europe%2529_009.png" /></a></div>
<blockquote class="tr_bq">
でんせつの盾とヘルメットはえだの世界のどこかにあります<br />
The legendary shield and helmet are somewhere in the world of branches.<br />
→<br />
You'll find the legendary shield and helmet in the World of Branch.</blockquote>
<br />
Here the Japanese script itself contains an error since the helmet works as the best shield in the game.<br />
<br />
<b>—?Location?</b><br />
<br />
<blockquote class="tr_bq">
魔界丘とよばれているダートムアにもなかまはいるのよ<br />
You will find friends even in Dartmoor, the place they call the Infernal Knoll.<br />
→<br />
I have friends in Dartmoor which is known as an evil place.</blockquote>
<br />
Not such a huge mistake, since in Japanese a subject is not required to make a grammatical sentence and therefore it is often omitted.<br />
<br />
<h2>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">4. Conclusion</span></h2>
<br />
Even with its typos and errors and occasional awkwardness, I do not think that the translation overall is that bad. In any case, it could be a lot worse.<br />
<br />goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-79392561037419429202015-03-11T10:46:00.000+02:002015-08-04T11:06:15.169+03:00Matatabi's Liner Notes for Raijin Sōsei<h2>
12th Album "Raijin Sōsei"</h2>
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<a href="http://koti.mbnet.fi/goutetsu/img/ozalbum17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://koti.mbnet.fi/goutetsu/img/ozalbum17.jpg" /></a></div>
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Onmyōza's 12th album created with "thunder" as the key concept. Naturally it includes fierce pieces conforming with the image that the word <i>thunder</i> brings to mind, but this is Onmyōza after all. The elements of light and dark have been carefully incorporated; if anything, there are pieces that I believe will make you discover that there are different ways of perceiving the word and the phenomenon that is thunder, and above all, in this album all those elements are fired off as a bolt of lightning from the cloud that is Onmyōza. I am convinced that you will feel the heat of Onmyōza's soul that is still being distilled even though this is our 12th album. I proudly believe that this is an album unequaled in power which ties together even more securely the new musical elements displayed in <i>Fūjin Kaikō</i> with our unchanging nucleus.<br />
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<a href="http://mttb.jugem.jp/?eid=968">http://mttb.jugem.jp/?eid=968</a> <br />
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<h3>
"Raijin"</h3>
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Since "Fūjin" on <i>Fūjin Kaikō</i> was an instrumental, it is natural to expect that to be the case here also, but here we have a piece with vocals. The first time mankind witnesses lightning after appearing in this world and the last time mankind witnesses lightning in this world. Imagining that the view would be the same became the idea that led to this song. "People stand still on a wasteland that stretches as far as the eye can see. The expressions on their faces as they look up at the thunderclouds that shroud the sky can be interpreted either as resignation or awe. Soon a bolt of lightning that makes everything shake cleaves the clouds." ....Putting it like that gives you the feeling that it is a both a "primitive scene" and an "apocalyptic scene".<br />
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<i>Kaminari</i> comes from <i>kami</i> and <i>naru</i>.<sup><b>[1]</b></sup> That way of thinking and the beauty of the way it sounds, in addition to the overwhelming power and the awe it unconditionally arouses. Setting "Raijin" as its personification, this piece is the prelude of <i>Raijin Sōsei</i> and in a way also its symbol.<br />
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The piece has a unique atmosphere and mood with the vocals and other instruments on top of the looping rhythm intensifying the tension before the moment the thunder rumbles. I think that it is filled with power that evinces "creation".<br />
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<b>[1]</b> 雷 (kaminari) "thunder", 神 (kami) "god", 鳴る (naru) "ring, rumble".<br />
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<a href="http://mttb.jugem.jp/?eid=967">http://mttb.jugem.jp/?eid=967</a><br />
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<h3>
"Tengoku no ikazuchi"</h3>
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In Western thought there exists a place between heaven and hell called purgatory which is said to purify souls before they rise to heaven. The "tengoku" sung about in this song is an institution(?) that I have created myself, and it has an exactly opposite role. Seizing beforehand the souls definitely destined for hell that are trying to rise to heaven, it makes them atone for their crimes using appropriate methods; that is <i>tengoku</i>.<br />
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To explain what I am talking about concretely would require explaining things for which there is not enough space here, so I will refrain from doing so. Instead, if reading the lyrics happens to make you arrive at the true meaning I had in mind then that is great, and should our thinking differ, if the "tengoku" inside your mind works out for you then that is meaningful in its own way. (I believe that this should be the stance for musicians on all their pieces in the first place)<br />
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A tune both symphonic and metallic, Karukan's screaming guitar solo and Kuroneko's solemn vocals filled with extreme sadness. I believe that this piece has prestige that will make you believe in the existence of <i>tengoku</i> if just a little, although it is merely fantasy. I think the piece has achieved a perfect balance where it can be said that it is new for Onmyōza while at the same time it is also typical of us.<br />
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<a href="http://mttb.jugem.jp/?eid=966">http://mttb.jugem.jp/?eid=966</a><br />
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<h3>
"Chihayaburu" </h3>
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As "Kamikaze" on <i>Fūjin Kaikō</i> was about "creating a divine wind within yourself", this piece is about "making yourself brim with power akin to thunder". "Chihayaburu" is a pillow word that precedes words like "gods", and as it also signifies great force and ferociousness, I believe it is a fitting pillow word for "thunder" too.<sup><b>[1]</b></sup> With the thunder brimming within yourself you peal out a battle cry and wave the flag of conviction.<br />
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The guitar riff, that can only be described as a strong style<sup><b>[2]</b></sup> wrestler in black trunks, manifests Onmyōza's spirit of "Both nostalgia and innovation can hit the road! Be open-minded! Go for it!" Personally, when I came up with this riff, I felt that it had quite an effect, and without using it merely as the intro riff, I had the hunch that it had the potential to become the man(?) that shoulders the chorus too. So that is how I tried constructing it, and the handsomeness of Kuroneko's singing as she gallantly sing with that riff backing her is mesmerizing. When sung by a man, things like these are often most effective when sung powerfully and roughly, but when sung by a woman, my pet theory and personal preference is that it is an absolute must to maintain a perfect balance. Since it depends mostly on the power of the voice you were born with rather than the way you sing, we can only be grateful for the fact that Kuroneko was born with a voice like this.<br />
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<b>[1]</b> 枕詞 (makurakotoba / "pillow word") Fixed expressions that are used in Japanese poetry. For example, the "kaze no to no" that "Kurotsuka" begins with is also a pillow word (that precedes "tooki"). (<a href="http://en.wikipedia.org/wiki/Makurakotoba">Wikipedia</a>)<br />
<b>[2] </b><a href="http://en.wikipedia.org/wiki/Shoot_wrestling">Shoot wrestling</a> <br />
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<a href="http://mttb.jugem.jp/?eid=965">http://mttb.jugem.jp/?eid=965</a><br />
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<h3>
<b>"Hitokabemaru"</b></h3>
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The subject matter of this piece is one of the people who refused to submit to the emperor, the handsome young man Hitokabemaru, who met a violent end under the banner of "expel the barbarians". If I were to seriously delve into the story of Hitokabemaru, there is so much material there that I would end up writing a large suite, but for this piece I have decided to select only his determination and the way he boldly fights for the honor of his kindred. Directly transforming those aspects into tones resulted into this simple piece. It seems that the predominant theory is that Hitokabemaru's father was "Akuroō" and this piece will make you slap your knees and go "That explains it!" It just so goes that a son grows up by looking up to his father!<br />
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In this piece the highlights are the attacking riffs and the powerful drums that are their driving force, but the guitar solos by Maneki and Karukan are just really wicked. Both bringing to the fore their distinctive characteristics, the resolution and the unity of the clan that is fighting until there is only one left standing is clearly conveyed.<br />
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Additionally, since the vocal parts are mostly growling, you might suspect that Kuroneko is absent, but among the shouts that are not part of the lead vocals there are three cats hiding. Go ahead and try to find their locations. If you are one of those who knows that during concerts Kuroneko sometimes lets out unbelievably brutal screams, I believe you will find them if you listen closely.<br />
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<a href="http://mttb.jugem.jp/?eid=964">http://mttb.jugem.jp/?eid=964</a><br />
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<h3>
"Yoaruki kawara botan" </h3>
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It is said that the famous painting "<a href="http://en.wikipedia.org/wiki/Hone-onna">Honeonna</a>" by Toriyama Sekien depicts Iyoko from <i><a href="http://en.wikipedia.org/wiki/Botan_D%C5%8Dr%C5%8D">Botan Dōrō</a></i>, but the subject of this song is a different <i>honeonna</i>. The story goes that a woman who was despised as ugly while alive notices the pleasing appearance of her skeleton after she dies and then strolls around the town in order to show it to people. This song was born after sensing in this <i>yōkai</i> the indescribable nature of women and, in a good sense, comicalness with gruesome sex appeal.<br />
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The heavy metal riffs standing for women's obsession with beauty that can inspire even terror, the lively rhythms and melodies for the irresistible comicalness you feel when you look at it objectively, and the vocals for the radiantly ghastly eroticism; I was able to put into shape each of them exactly as planned.<br />
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Singing which makes the best use of Kuroneko's unique tremolo you can hear here and there combined with phrases that brazenly utilize Japanese scales create an extremely effective hook. This piece turned out into a conspicuous one in Onmyōza's repertoire since we do not buy into the idea that you can sound Japanese just by using Japanese scales. Despite that, I am confident that the exquisite result is still stiflingly Onmyōza-like.<br />
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I think it is also quite an effect that you can listen to the finished piece with the feeling that the music and the singing are simply unfolding expressively; that despite the song structure with its repeating rhythm changes, there is not the slightest sense of abstruseness or complexity.<br />
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<a href="http://mttb.jugem.jp/?eid=963">http://mttb.jugem.jp/?eid=963</a><br />
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<h3>
"Kannari-ninpōchō"</h3>
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Our song "Manji" (B-side of the single "Kōga-ninpōchō") is about the sufferings of an invincible female ninja who was created to be a war machine. This piece describes her feelings shortly before the scene where a worthless enemy says to her: "There's no need to state your name, it'll be over in two seconds". In "Manji" you catch a glimpse of her painfully trying to dispel her anguish by throwing herself into battle, and here in "Kannari-ninpōchō" the unbearable emotions she struggles with before she reaches that state are touchingly related.<br />
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While the catchy riff creates the hook, the piece is ruled by the developments that follow the varying expressions of Kuroneko's singing. You can almost hear the heartrending inner cry of the female ninja who deplores and curses her fate of having to fight against her will. What "kannari" (thunder) has to do with that story will be made clear in the lyrics.<br />
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I believe that a piece like this where pop-like rock fuses with heavy metal riffs without any feeling of wrongness is the result of the creed that Onmyōza has followed since the day we banded together: "expanding" heavy metal instead of "enclosing" it.<br />
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<a href="http://mttb.jugem.jp/?eid=962">http://mttb.jugem.jp/?eid=962</a><br />
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<h3>
"Tenguwarai"</h3>
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This groovy piece that is both stout and nimble is a very important hook among the pieces on <i>Raijin Sōsei</i>. As his older brother, Maneki's distinctive ability to fuse rusticity with poppiness like this makes me think: "Hm... I must thank our mother... For presenting me with such a younger brother!" (from <i>Seikimatsu Kyūseishu Densetsu</i>)<br />
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Since it is a piece by Maneki, naturally it has to do with tengu. The subject this time is the tengu called "guhin" that has the lowest rank among tengu, and is therefore very busy. I think that I have been able to portray with ample humor the sadness of an underling who still does not lose heart. The part where I have incorporated into the lyrics the irritation of explaining orally the left-hand and right-hand radicals of homophonous kanji characters will doubtlessly be completely ignored by the historians of rock music, but I consider it quite ground-breaking and delightful. By the way, the reason our guhin needs to explain such a thing is that he feels dissatisfied with being called a dog just because his appearance resembles a dog (a wolf)... Such is the setting. <br />
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The entanglement of the bouncy rhythm with the cheeky lead guitar and the distorted organ by Abe (Masahiro) that is there to agitate them create quite a beautiful tune. Also, the guitar solo by the composer Maneki that includes wah-wah in several places is quite a highlight. Not having it on all the time, but utilizing it only here and there is the point. I cannot be the only one who senses in this solo the aroma of British hard rock of yesteryear.<br />
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<a href="http://mttb.jugem.jp/?eid=961">http://mttb.jugem.jp/?eid=961</a><br />
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<h3>
"Seiten no mikazuki"</h3>
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I think this piece requires no explanation since it has already been released as a single. In any case, it depicts yet another "Sekigahara" between Date Masamune and Tokugawa Ieyasu, based on a hypothetical interpretation of history. Following "Aoki dokugan" and "Konpeki no sōjin", it forms the concluding part of the "Masamune trilogy", and having created three pieces of the same Sengoku general, I believe that through them I have been able to properly portray the spirit and way of life of the military general Date Masamune.<br />
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On the occasion of putting it on the album <i>Raijin sōsei</i> the piece has been drastically remixed in order to unify the aural image with the other pieces on the album. When compared to the single version, I think you can enjoy it with the thought that "It has a slightly different expression", and simply as a song on the album <i>Raijin sōsei</i>, you should be able to listen to it together with the other pieces without any kind of feeling of strangeness.<br />
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This is something that also concerns other pieces besides this; when we collaborate with someone, in most cases, instead of just offers to simply supply a piece of music, the offers we receive ask us enthusiastically to bring the music of Onmyōza into the stories just as it is. Whether it is an anime, a pachinko machine or a video game, they are not collaborations where we merely lend our name, but we take them to mean that we are to respond by writing a hot new piece following our conviction, so in no case whatsoever will we parcel out leftover pieces. In other words, they are all pieces that would not have come into being without those offers, therefore I have nothing but gratitude for being given the chance to create all of the collaborative pieces including "Seiten no mikazuki".<br />
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<a href="http://mttb.jugem.jp/?eid=960">http://mttb.jugem.jp/?eid=960</a><br />
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<h3>
"Kasane"</h3>
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Here we have a large piece that is nearly 13 minutes long, the subject matter of which is of course the tale called <i>Kasanegafuchi</i> which was hugely popular in the Edo period. More specifically, the theme of this piece is the supposedly real incident that the story is based on and the sentiments of the people involved. Naturally, instead of just telling a simple ghost story, I have spun the tale from the viewpoint of the characters Rui and Suke.<br />
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You should familiarize yourself with the plot of <i>Kasanegafuchi</i> with books or the Internet, but to summarize it without fear of being misunderstood, it goes like this: "A girl (Suke) is shunned just because of her ugliness and is killed either by her real mother or her stepfather. A woman (Rui) who is the younger sister of the girl (Suke) is killed by her husband because of exactly the same reason and later possesses girls that are her blood relatives. However, eventually the prayers and preaching of a great priest allow her to rest in peace." Although the details differ to some extent, this is the general outline of <i>Kasanegafuchi</i>. While I have been waiting for a long time to use <i>Kasanegafuchi</i> as the subject matter of a song, I embroidered the story while being thoroughly particular about the point that even filicide, which is something that we who live in the modern times cannot really criticize unconditionally, has examples that are absolutely unpardonable.<br />
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Apparently, in those days it was by no means rare to have to reluctantly part with one's child (whether they survived being a different matter) due to not being able to feed them. At the root of it there has to be the compassion and pity of the thought of "If they are going to helplessly suffer in hunger, it would just be better to..." In the reference material for <i>Kasanegafuchi</i> (at least in all of the materials I checked) it is said about the circumstances of Suke's death that "her stepfather (real mother) found her ugliness 'unpleasant' and took her life..." In other words, it means that instead of being an act out of pity, it was simply selfish, which is backed by the fact that her life was destroyed because of something as silly as the superiority or inferiority of one's appearance. What is this about being "unpleasant"? I cannot be the only one who senses an unutterable amount of brutality and baseness in an act like that. Suke's younger sister Rui also ends up being killed because of the same reason by the man who became her husband because she saved his life.<br />
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What I wanted to accomplish with the piece "Kasane" was the retaliation of the two women Suke and Rui. I am absolutely dissatisfied with the story where in the end she is exorcised with the priest's invocations and then everyone lived happily ever after. What's up with the murderer who should have atoned for his deed being protected and the murder victim being deemed an evil spirit and driven away? I wanted to correct that injustice even if it is only within my own piece and to give Rui and Suke the freedom to realize their desires; out of that wish was born this piece "Kasane".<br />
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Whether it is the vocals of Kuroneko with their overwhelming persuasiveness that is as if the two (Rui and Suke) had possessed her, or the solos of Maneki and Karukan who express it with their guitars, or the drums of Makoto that beat the pulse of the story, or the piano of Abe that produces indispensable atmospheres for each of the scenes, I am confident that in every aspect this piece has an outstanding degree of perfection among Onmyōza's large scale pieces that are based on actual legends and folklore. I will declare that exactly this is the type of music that only Onmyōza is able to create. <br />
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<a href="http://mttb.jugem.jp/?eid=959">http://mttb.jugem.jp/?eid=959</a><br />
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<h3>
"Higurashi" </h3>
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"Higurashi" refers to cicadas and is used as a season word for autumn since they call to mind the ending of summer, and indeed, no matter when you hear it, that chirp has a quality that evokes melancholy and loneliness. With that quality, and like summer is a metaphor for a period of activity, it calls to mind autumn in the same metaphorical sense. Furthermore, by being conscious of autumn your thoughts turn to the winter (the ending) that will arrive eventually. I tried making a song out of that sense of transience just as it is. Although people like me who will soon need to welcome autumn will relate to the contents of the lyrics more than those who are still in the spring of life or those in the middle of summer, no matter what stage you are in, it would be great it if it made you think about the fact that "seasons will pass by."<br />
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With the backing of the delicate and graceful piano by Abe that sounds as if it were weaving the air, Kuroneko's vocals touchingly express the very essence of that sense of transience, beautifully sublimating into song the piece's theme that has lyrical and universal charm. According to Kuroneko herself, she staked everything on the way she pronounced the first word, and it certainly worked out. I believe that the mood of the first line completes the "cicadaness" of this piece.<br />
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<a href="http://mttb.jugem.jp/?eid=958">http://mttb.jugem.jp/?eid=958</a><br />
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<h3>
"Shikōshite ugoku koto raitei no gotoshi"</h3>
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The title sounds like the pair of "Yue ni sono toki koto kaze no gotoku" on <i>Fūjin kaikō</i>, and that is for a reason. This title also incorporates a concept from the "Military Maneuvers" chapter from <i>The Art of War</i>. (The "move like a thunderbolt" part, together with "as impenetrable as the shadows", was omitted from the famous "Fūrinkazan" flag.<sup><b>[1]</b></sup> "而して" is something I have added to the title; it can be pronounced "shikōshite", "shikashite" or "soshite" and it means the same as "soshite" [and then]) After understanding (agreeing to) the quick speed of life in "Yue ni sono toki koto kaze no gotoku", this piece was born out of the feeling of wanting to reaffirm the way one is to walk that swift life. These are the only two pieces on the two albums that have an interrelationship. My interpretation is that when doing something (moving somewhere) in this life where you cannot afford to waste a single moment, your resolution and vigor should have the power of a thunderbolt. "With that power that is like a thunderbolt, take each step steadily and walk on facing not upwards but forwards;" in the end it also has a direct connection with the conviction of Onmyōza.<br />
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An intro that seems to push on with dignified determination, the flow of the singing that resembles the moment when an overflowing power is released, and a striking, rousing chorus are all something that can be said to be characteristic of a heavy metal band, but the piece is also endowed with catchiness that can be said to be unique to Onmyōza. You are also going to be enchanted by Karukan's guitar solo that strikes like a bolt of lightning.<br />
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<b>[1]</b> 風林火山 (fūrinkazan / "wind forest fire mountain"): "As fast as the wind, as quiet as the forest, as daring as fire, and immovable as the mountain." The word was inscribed on the battle flag of Takeda Shingen.<br />
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<a href="http://mttb.jugem.jp/?eid=957">http://mttb.jugem.jp/?eid=957</a><br />
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<h3>
"Raibu"</h3>
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In Onmyōza's way of saying things,"live" is sometimes written 雷舞, and the piece is indeed about the sights and feelings during concerts.<sup><b>[1]</b></sup> I believe that the tune, the sound and the lyrics are all filled with vitality that calls to mind the atmosphere of live shows. Anyhow, the drumming by Makoto is simply enchanting; this of course can be said for all the other pieces too. In any case, you can directly picture the image of him beating the drums, and in that sense the drums make you instinctively want to shout: "Makoto, you're great!" The other instruments and the singing are also full of bouncy energy that makes you see nothing but the scenery of concerts. Especially from the singing you can sense the smiling faces that fill the concert venues, which include not only the members but the fans too.<br />
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I think that the lyrics in which the dialect of my birthplace, the city of Yawatahama in Ehime prefecture, is utilized to the max are also a perfect match for the atmosphere and rhythm of the piece. It is delightful/thrilling how the unique nuances of the Yawatahama dialect create a sound that is far more rock-like than regular Japanese.<br />
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Setting aside theorizing, pieces like these you want to play live as soon as possible. Likewise, I hope that all of you will feel that you cannot wait to hear it, see it and sing it live!<br />
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[1] ライブ (raibu): "Live" is used in Japanese as a noun in the meaning of concert/gig. <br />
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<a href="http://mttb.jugem.jp/?eid=956">http://mttb.jugem.jp/?eid=956</a>goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com1tag:blogger.com,1999:blog-3934502490428596911.post-65077711501499174982015-02-03T15:00:00.000+02:002016-07-22T10:51:19.605+03:00Matatabi's Liner Notes for Fūjin Kaikō<h2>
11th Album "Fūjin Kaikō"</h2>
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Created with "wind" as the key concept, this is Onmyōza's 11th album. As the word wind can bring to mind everything from gentle zephyrs to violent storms, the range the pieces on this album cover is extremely wide. Still, as we have been known for expanding our musicality by incorporating various new elements into our music, it might be a little late to be discussing about the width of our range. Rather, I think that you can feel the pride of Onmyōza in the fact that no matter how much we may broaden our horizons, we possess a nucleus that will never be lost. Besides that, you get the sense that this is the opening of a new musical world for Onmyōza. I can assert that <i>Fūjin Kaikō</i> has indeed turned out to be such an album.<br />
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This is something that can be said for both <i>Fūjin Kaikō</i> and <i>Raijin Sōsei</i>; it is not the case that they each contain only songs that have to do with either wind or thunder. Those were merely the keywords while creating the albums, and the keywords were to broaden my mental images instead of limiting them, so there is no need to fear that the albums contain only songs that are fixed on a single image. Just relax and enjoy them.<br />
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<a href="http://mttb.jugem.jp/?eid=981">http://mttb.jugem.jp/?eid=981</a><br />
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<a name='more'></a><br />
<h3>
"Fūjin"</h3>
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This is an overture for the whole album <i>Fūjin Kaikō</i>. The image is that of a lull that turns into a zephyr, and then into a gust that gives you the feeling that something is about to begin. Additionally, assuming that most of the people who bought both albums at the same time will begin by listening to <i>Fūjin Kaikō</i>, I have also intended it to be an overture that maximizes the sense of anticipation that you feel at the moment when the curtains open for the two new albums.<br />
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While the first half with the focus on the gentle timbre of the mellotron is suggestive of good old progressive rock, the second half focuses on orchestration that is like wind blowing and it gives you an elevating feeling as if you were listening to theatrical music.<br />
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This piece was completed relatively early into the production of Fūjin Kaikō, and while I was composing, I would listen to the demo of this piece every day to get myself pumped up as I began to work.<br />
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<a href="http://mttb.jugem.jp/?eid=980">http://mttb.jugem.jp/?eid=980</a><br />
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<h3>
"Kamikaze"</h3>
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Tearing through the echoes of "Fūjin" comes this piece that is straight Onmyōza with its intro, chorus and guitar solo. "Kamikaze" refers to the supernatural wind that gods raise with their powers, but here we are singing about the idea that when you place the existence of gods within yourself, then it is up to your own will and conviction to raise it (the divine wind).</div>
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Naturally, I am sure that there are doctrines where the thought that god is found within yourself would be considered blasphemous, and if you ask which religion's which teaching this theory is based on, I can only answer you that it is my own idea that is not based on any religion. (I myself have no need for such a thing, so I am not at all religious. However, I think that phenomena and powers that are beyond human understanding certainly do exist. Therefore, I take the stance that the existence of the word "god" can also be justified.) Why then have I placed god there you may ask. Whether the god in question resides in the heavens, in the sea, or in the mountains, such a being first comes into existence when you yourself believe in it. In other words, if you do not believe in it, it will be found nowhere at all. Through such reasoning I came to the thought that the only place where one can say they exist is within your own mind.<br />
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According to the books, it seems that Buddha also preached that "gods exist inside your mind". Although we are saying the same thing, Buddha's thoughts are true enlightenment, mine can be filed under sophistry.<br />
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<a href="http://mttb.jugem.jp/?eid=979">http://mttb.jugem.jp/?eid=979</a><br />
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<h3>
"Saredo itsuwari no okuribi"</h3>
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With a catchy tune riding a riff filled with melancholy and a speeding, simple beat, this can be called quite British...... no, "UKish" would probably be closer. I really like pieces like this and have always wanted to try making one sometime.<br />
<br />
As for the contents of the lyrics, to put it in plain words in order to indicate that I have no intention of complaining about religion itself, it goes like this: "Improper priests should behave properly". Respectable priests should not need to get into trouble because of priests that behave improperly.<br />
<br />
Whether they are Buddhist or not, most Japanese cannot enter the next world without the help of a priest in the end, or at least it feels like they cannot. That is not something that should be rejected, I think, as long as it does not have a special place in the organization of society. However, since you need to place absolute trust in the priest into whose care you trust your last moments, the priest also needs to behave absolutely respectably. That is the story in a nutshell. It is the same thing as when you take a taxi, you have no choice but to leave the driving to the driver, and if they are not driving properly, you could be in trouble.<br />
<br />
Please do not take me wrong. I have no intention whatsoever of criticizing or demeaning priesthood itself. Actually, it is quite the opposite. Since I basically respect priests, I would like those priests who are the cause of that trust wavering to behave properly.<br />
<br />
<a href="http://mttb.jugem.jp/?eid=978">http://mttb.jugem.jp/?eid=978</a><br />
<br />
<h3>
"Ichimokuren"</h3>
<br />
"Ichimokuren" refers to a yōkai that is said to be a god of storms. Among Onmyōza's songs, there is one really listless, slow-paced piece called "Mokumokuren" (In fact, all of the members really like that one), and although the titles sound similar, the pieces themselves are polar opposites. With the riffs and guitar solo raging like storm winds, this turned out as one of the heaviest pieces on <i>Fūjin Kaikō</i>. Another highlight is the contrasting nuances brought about by the entanglement of the male and female voices that adds an Onmyōza-flavor into the song. If I may blow my own trumpet, I cannot help but feeling proud at the excellence of the intro riff, and when I came up with it, I was quite literally snorting up a storm. It is not that I named a riff that turned out good "Ichimokuren"; I was working on it while waiting for the riff of "Ichimokuren" to materialize, so it was quite exciting for me when it hit me.<br />
<br />
In the lyrics I have juxtaposed Onmyōza's position on the music scene with Ichimokuren, who as a ruler of storms is not always a welcome guest. I began writing the lyrics with the thought, "I should write about us from a negative viewpoint for a change. That would be true shade and light." That is because we already have many lyrics that generally perceive Onmyōza's conviction and the path we should take and whatnot from an extremely positive viewpoint. Despite that fact, what I ended up with was the following message: "Like a raging storm, we'll blow away even those negative circumstances with the power of our conviction and head on onward!"...... In short, this demonstrates the fact that one cannot act against one's convictions.<br />
<br />
<a href="http://mttb.jugem.jp/?eid=977">http://mttb.jugem.jp/?eid=977</a><br />
<br />
<h3>
"Hebimiko" </h3>
<br />
"Hebimiko" is what they call the snake in the "tsukimonosuji"<sup><b>[1]</b></sup> of a certain region. This snake eats into the internal organs of its victim whom a person of the hebimiko lineage considers hateful, and it is so powerful that it can even lead to death.... Well, sometimes it just so happens that you end up feeling hatred toward a person you fell in love with when you find out that your love is unrequited.... Such a simple explanation is all you will need in order to imagine the tragedy that is depicted in this song. You could say that it is the same theme of killing someone you love as in "Dōjōji kuchinawa no goku", but what is fundamentally different is the fact that whereas Kiyohime in "Dōjōji kuchinawa no goku" ended up doing what she did because of clear intent to kill, the heroine of this song becomes part of a tragedy just by thinking that she hates someone and due to her special circumstances. It is the difference between homicide and involuntary manslaughter; though they may appear the same, they are totally different stories. Hebimiko itself is actual folklore that exists, but what comes after "sometimes it just so happens..." is of course my own invention.<br />
<br />
In the finished song we have lively rhythms with limpid guitars, plus the exquisitely emotional vocals by Kuroneko. All that put together makes the piece mellow enough to drive you mad. I think you will agree that the functionality of the rhyming parts of the lyrics and the way they come together are also quite good craftsmanship.<br />
<br />
<b>[1]</b> "Possessed lineage": It was believed that once you called the help of a spirit and let it possess your target (or yourself), that spirit would then stay with your family and the descendants of the family would have to keep presenting it with the proper offerings and whatnot, otherwise that spirit could curse members of that family too. Such families, where an animal spirit was worshiped, would be discriminated against, and "normal" families would be reluctant to marry their children off to a descendant from such a family.<br />
<br />
<a href="http://mttb.jugem.jp/?eid=976">http://mttb.jugem.jp/?eid=976</a><br />
<br />
<h3>
"Tsumujikaze" </h3>
<br />
This piece has as its theme whirlwind (tsumujikaze), which can also be written "旋風" and pronounced "senpū" or "tsujikaze".<sup><b>[1]</b></sup> Like "Kamikaze", here we are also singing about the fact that instead of just waiting for the wind to blow, it is your own will that transforms the conviction within yourself into a whirl that flings up and blows away everything. Naturally, I am not referring to external things, but internal things such as hesitation and sorrow.<br />
<br />
For us humans, in most cases, whirlwinds themselves are simply natural disasters and nothing to be thankful about, and there should never be any need to produce them artificially. However, in the case of this piece, I have taken up a positive view of the swell of power nature produces in order to make those whirlwinds and I have likened it with the swell of power one musters within oneself.<br />
<br />
With its punchy riffs and the lead guitars going berserk at a high tempo, this is a piece that headbangers will find most welcome. Kuroneko's voice, which while on the stage floats like a butterfly and stings like a bee, has taken the leap from awesome to fearsome.<sup><b>[2]</b></sup> I am convinced that this is a masterpiece in which the essence of Onmyōza is in full bloom by demonstrating that this is what happens when you accompany heavy metal with a bona fide singing voice without relying on brute force or cheap tricks.<br />
<br />
<b>[1]</b> Even more ways to write it: 飇, 飄, 飃, 颶, 猋. The character 飆 is made up of three dogs 犬 + wind 風. The three dogs signify the meaning of quickly whizzing past.<br />
<b>[2]</b> Literally: from vivid (鮮烈 senretsu) to shivers (戦慄 senritsu).<br />
<br />
<a href="http://mttb.jugem.jp/?eid=975">http://mttb.jugem.jp/?eid=975</a><br />
<br />
<h3>
"Mufū-ninpōchō" </h3>
<br />
In addition to describing a situation where there is no wind, the word <i>calm</i> also signifies the absence of that which causes disturbances or exerts an influence. "No influence" means both not exerting an influencing and not being influenced. Active or not, we exert no influence of any kind on the music scene and cause no amusing disturbances. I always think that it is fitting to describe Onmyōza as "a windless band". Additionally, I have incorporated in this piece my opinion that it is preferable to be in a state of calm when facing external influences and disturbances. Although the theme of the lyrics might feel slightly self-deprecating, from the zippy mood that the composition itself radiates I think you can gather that I consider it decisively agreeable. As a matter of fact, I would even go as far as to say that instead of being merely agreeable, without calm nothing is possible. A calm situation is the best!<br />
<br />
A chipper rhythm that sways from left to right but makes you want to jump up and down is accompanied by chipper guitar riffs. At any rate, both playing this piece and listening to it feels great. Chipper is also the only word that can describe the bounce in Kuroneko's singing.<br />
<br />
<i>Chipper</i> might be a word that has fallen into disuse, but as it is a word I like, and as I cannot find a more fitting word, I have been hiding the fact of its death for three years. Therefore the <i>chipper</i> used here is the body double of <i>chipper</i>.<sup><b>[1]</b></sup><br />
<br />
<b>[1]</b> The word used by Matatabi, which I have translated as <i>chipper</i>, is ゴキゲン (gokigen). An obsolete word in Japanese is called 死語 (shigo), literally "dead word". The "body double for three years" is a reference to Kurosawa Akira's <a href="http://en.wikipedia.org/wiki/Kagemusha">Kagemusha</a>.<br />
<br />
<a href="http://mttb.jugem.jp/?eid=974">http://mttb.jugem.jp/?eid=974</a><br />
<br />
<h3>
"Yaobikuni" </h3>
<br />
The Yaobikuni in the title of this piece does not refer to the girl that ate the meat of a mermaid, became a bhikkhuni and lived for 800 years, but to the middle part "Strange Beings" that stands out prominently even among the other excellent volumes in the immortal masterpiece <i>Phoenix</i> by the god of manga, Tezuka Osamu (Oh, I guess gods do exist after all). Please get your hands on a copy of <i>Phoenix: Strange Beings</i> by all possible means. By listening to this after reading that, the enjoyment you experience will skyrocket by 800%. Of course I will guarantee 100% enjoyment even if you have not read it so rest assured.<br />
<br />
Incidentally, it is not like <i>Phoenix: Strange Beings</i> is a story that has nothing to do with Yaobikuni; in it two stories that share a common theme, "what eternal life does and shows to humans", have been ingeniously intertwined, then sublimated with sci-fi flavoring. It is a tour de force by a god that looks into the abyss of life and death.<br />
<br />
You might get mad at me for only commenting on the manga, but "Yaobikuni" is (or tries to be) the true musical form of <i>Phoenix: Strange Beings</i>, which is why explaining the manga is equivalent to explaining this piece. Putting aside the objective evaluation of whether I have been able to sublimate the tour de force of a god into music, in my own subjective opinion I flatter myself that I have succeeded in the attempt of turning the story and theme of <i>Phoenix: Strange Beings</i> into musical tones, and I believe that as an indispensable part to the realization of that story as music, Kuroneko's singing does an excellent job in expressing the emotions of the characters. I was able to witness, at least inside my head, a phoenix that materialized together with Kuroneko's singing.<br />
<br />
As an aside, if you have the chance of verifying the playing time of this piece, please do so. Is it this length just because it's "Yao"bikuni...?<sup><b>[1]</b></sup> I believe you will agree that this reconfirms the fact I am a weirdo. (The way it will be displayed on your CD player is machine-dependent, so if there happens to be a difference between what is written in the booklet, then that's "according to specifications", but I think most machines will be all right)<br />
<br />
<b>[1]</b> The "Yao" in Yaobikuni stands for 800.<br />
<br />
<a href="http://mttb.jugem.jp/?eid=973">http://mttb.jugem.jp/?eid=973</a><br />
<br />
<h3>
"Manazashi"</h3>
<br />
This one is a piece by Karukan in a long while. In fact, the demo of this piece was handed to me by Karukan nearly ten years ago, and after waiting for the album which it should be appear on, it has finally been recorded for <i>Fūjin Kaikō</i>. From the first moment I heard the demo, I thought to myself: "This is a good tune!", and since I was listening to it repeatedly night after night, I count myself as the number one fan of this piece.<br />
<br />
The demo Karukan had made was a simple thing almost like a jotted down memo, but it had within it the hidden potential that predicted the final product you find here. I am probably the one who is happiest of the fact that this tune sees the light of day of being released.<br />
<br />
The lyrics are about the power and importance of gazes. They do say that "eyes are as eloquent as the tongue", but here the basis is the idea that oftentimes eyes can be even more eloquent than the tongue. "The situation where they fixedly look your way but do not say anything" or "the situation where you are engaged in a conversation, but they do not look your way even for a moment". Though it depends on the person, one of these is more unbearable than the other and gives you the feeling that the way your partner thinks about you is peeking through.... In some cases, it can be the latter, and that is what the lyrics are about. Though the calm melody and Kuroneko's voice do make you feel quite comfortable, the song itself is about quite a cheerless scene.<br />
<br />
<a href="http://mttb.jugem.jp/?eid=972">http://mttb.jugem.jp/?eid=972</a><br />
<br />
<h3>
"Kumo wa ryū ni mai, kaze wa tori ni utau"</h3>
<br />
In this title, which is based on the proverb "kumo wa ryū ni shitagai kaze wa tora ni shitagau"<sup><b>[1]</b></sup> and which was given to the song by Kuroneko, manifests the conviction and unity that Onmyōza's coat of arms represents. Accordingly, the contents of the lyrics are also about that same theme.<br />
<br />
In any case, I believe that the outlook on the world and the atmosphere of this majestic yet delicate, heroic yet gorgeous piece are proof of the bottomless sensibility of its originator, Kuroneko. Although the demo first handed to me contained only the song melody with a piano accompaniment, the idea was enlarged quite a bit as Kuroneko explained to me her vision for the rhythm and orchestration. Expanding that inside my brain, it was not that difficult to imagine an ensemble close to the finished piece. After receiving the demo, the task ahead of me was programming each of the instruments, layering them with the band parts, and completing the orchestration by adding the intro, interlude and other sections. The piece was then completed by having Kuroneko sing the vocals according to her renewed image of the song after hearing that orchestration. As might be expected of her thorough determination, the exquisiteness of both the expressiveness and the vibrancy of Kuroneko's singing in this piece is ineffable.<br />
<br />
While you cannot quite label this piece as a ballad, I would hesitate to call it rock either... Although it cannot be grasped from the viewpoint of genres and categories, no matter what kind of ears you have, it sounds like Onmyōza, and I believe that this song unmistakably illuminates the very conviction of Onmyōza and expands Onmyōza's musicality. Additionally, it rings out as if it were an indication of our potentiality.<br />
<br />
<b>[1]</b> 雲は竜に従い、風は虎に従う (The clouds obey the dragon, the winds obey the tiger): As long as the emperor is virtuous he will inevitably get talented retainers. The proverb comes from the I Ching.<br />
<br />
<a href="http://mttb.jugem.jp/?eid=971">http://mttb.jugem.jp/?eid=971</a><br />
<br />
<h3>
"Yue ni sono toki koto kaze no gotoku" </h3>
<br />
If before going to bed you start thinking about why human life goes by so quickly, in no time at all the sun will have passed the meridian (When exactly did you go to bed?) While getting a definite answer is impossible, you can still work out some sophistry that satisfies yourself. The result of such an effort is this song.<br />
<br />
I gave the piece this title, which incorporates a concept from the "Military Maneuvers" chapter of <i>The Art of War</i>, before I began composing it. I started working on it with the intention of creating a piece with such a name, and the first thing I focused on was the part "sono" (its). And right after asking myself: "What is as fast as the wind?", I hit upon the topic of the last paragraph, the topic I had been thinking about night after night. Although I had made the connection between "quickness" and "human life", it left something to be desired. With the word "therefore", I would at least have to find out the reason for why life goes by so quickly within the song.<br />
<br />
This is what I came up with—— as an advance notice, you will need to keep in mind that this is nothing more than an idea that was formed for this single song; I have absolutely no intention of asserting that life should be lived in a particular way, neither am I pretending to have found the answer — If there is a satisfying answer for the question why does human life go by as quickly as the wind, it has to be an answer that we can be thankful for and one that makes you cherish that speed. If life for everyone were a long (slow) thing that never ended, and if everyone only thought at the verge of death: "Finally this interminable life is over. What a relief", then I would have no choice but to say that that is miserable. Of course, I am sure there actually are such lives that make you feel like that. But that is precisely why the opposite, i.e. the fact that you can think that "life went by before I knew it" is the proof that you have led a sufficient life, and that indeed is a fortunate thing. Therefore, life is fast so that you can feel like that... Could that not be the case? That is my pet theory in this piece.<br />
<br />
For humans it is hard to appreciate something abundant, whereas being thankful for something rare goes without saying. I have simply compared that with human life and its absolute time; it is a very simple idea. Now that I have explained it, you might think that it's an obvious story that doesn't amount to much, but the more obvious something is, the more we need to be conscious of it. I believe it is a good thing to sometimes investigate why something is obvious.<br />
<br />
The faster it is, the greater its preciousness and the appreciation for it become. "That is why human life passes away as quickly as the wind." This is the theme of this song. I believe that this piece, which has sublimated that theme into sorrowful, melodic heavy metal, is one of the highlights of <i>Fūjin Kaikō</i>.<br />
<br />
<a href="http://mttb.jugem.jp/?eid=970">http://mttb.jugem.jp/?eid=970</a><br />
<br />
<h3>
"Haru ranman ni shiki no mau nari"</h3>
<br />
Every now and then we use the titles of past tours as the titles for our songs, but this one is the title of the one tour that was canceled after being announced. Explaining how it came to be canceled would itself become "the gimmick" so I will refrain from doing so. This piece is about the feelings that the members of Onmyōza felt about the generous affection and consideration that our fans showed us at the time when the tour was canceled, and not related to that, it is also about the daily feelings of gratitude and affection that I feel, unashamedly made into a song.<br />
<br />
We regularly hear from concert staff and others how they have never seen such wonderful fans as the fans Onmyōza has. If the ones being praised were ourselves, it could not have made us feel any gladder or prouder, and there really is no way to be grateful enough for that. After all, fans can choose their bands, but bands cannot choose their fans. And yet we are supported by more wonderful fans than we could ever have hoped for. If we did not appreciate this, what would there be to appreciate? With such feelings I wrote these lyrics. The reason I refrained from even sprinkling the usual archaic words and dialect to hide my embarrassment is because I thought to myself that I should sometimes write straightforwardly about the feeling of gratitude. And after completing the piece, I am confident that carrying out that plan was worth the effort.<br />
<br />
I hope that these feelings of ours will reach all of our fans.<br />
<br />
<a href="http://mttb.jugem.jp/?eid=969">http://mttb.jugem.jp/?eid=969</a>goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com3tag:blogger.com,1999:blog-3934502490428596911.post-47307165625500494882015-02-02T11:29:00.000+02:002015-02-02T13:16:06.236+02:00Back on TrackSometime last year I made some kind of translations for the lyrics of Fūjin. I guess it's about time I finished them and started posting them. What can I say? Matatabi's lyrics are as impalpable as ever, so don't ask me what any of them are supposed to mean.<br />
<br />
I am also going to post translations for Matatabi's liner notes from his blog.<br />
<br />
As an unrelated note, it seems that I've been getting a few hits from the search "onmyouza lyrics" and at least for me Google gives my site as the second result.goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-50670742433437403622014-05-01T15:30:00.000+03:002015-02-16T13:04:59.524+02:00Similar Words in Japanese and FinnishA long while ago I used to have a list of similar-sounding words in Japanese and Finnish on my web page. I happened to be looking at it and thought that I'd post it here with some additions.<br />
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Even if the romanized forms are the same as the Finnish words, the pronunciation (and intonation) often differs to some extent. I have included such words despite the fact.<br />
<i>R</i>, <i>u</i>, and <i>ei</i> in particular are pronounced differently. The Japanese /u/ [ɯᵝ] is somewhere between Finnish /u/ and /y/ and the Japanese /r/ between the Finnish /r/ and /l/. <i>Ei</i> in Japanese is pronounced /ee/.<br />
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I've used romanized Japanese as the headword. When needed, I've put the correct Finnish spelling inside curly brackets.<br />
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Some may be a bit forced. :)<br />
I've marked with (?) questionable expressions and words that make little sense.<br />
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<a name='more'></a><br />
<br />
<b>aho</b><br />
JP: 阿呆 idiot <br />
FI: glade (also used as a surname)<br />
<br />
<b>ai</b><br />
JP: 愛 love / 藍 indigo<br />
FI: ouch!<br />
<br />
<b>aino </b><br />
JP: 愛の love's / 愛野 Aino (place name) / アイノ Ainu<br />
FI: a forename (female)<br />
<br />
<b>aika</b><br />
JP: 哀歌 elegy<br />
FI: time<br />
<br />
<b>aina</b> <br />
JP: あいな unworthiness, inconvenience (obscure)<br />
FI: always<br />
<br />
<b>ainame</b> <br />
JP: 鮎魚女 greenling (a type of fish)<br />
FI: {aina me} "it's always us"<br />
<br />
<b>aisa</b><br />
JP: 秋沙 merganser (a type of duck)<br />
FI: shaft; pole<br />
<br />
<b>aita</b><br />
JP: 開いた opened / 愛他(主義) altruism<br />
FI: fence, hurdle<br />
<br />
<b>aki </b><br />
JP: 秋 autumn / 空き gap, vacancy<br />
FI: a forename (male)<br />
<br />
<b>akka</b><br />
JP: 悪化 a change for the worse, deterioration<br />
FI: hag, crone<br />
<br />
<b>akku</b><br />
JP: 悪口 speaking ill of sb (obscure, Buddhist term)<br />
FI: accumulator, battery<br />
<br />
<b>aku</b><br />
JP: 悪 evil / 灰汁 lye<br />
FI: a forename (male) (Donald Duck = Aku Ankka)<br />
<br />
<b>anna</b><br />
JP: あんな such<br />
FI: a forename (female) / give (imperative)<br />
<br />
<b>ane</b><br />
JP: 姉 big sister<br />
FI: indulgence (as in "a promise of freedom from punishment by God")<br />
<br />
<b>ano</b><br />
JP: あの that<br />
FI: beg (imperative)<br />
<br />
<b>ano yana</b><br />
JP: あの簗 that weir<br />
FI: {anojana} as a petitioner<br />
<br />
<b>arasu</b><br />
JP: 荒らす to devastate<br />
FI: {alas} down<br />
<br />
<b>are</b><br />
JP: あれ that<br />
FI: {ale} sale<br />
<br />
<b>ari</b><br />
JP: 蟻 ant<br />
FI: a forename (male)<br />
<br />
<b>ase</b><br />
JP: 汗 sweat<br />
FI: weapon<br />
<br />
<b>aseta</b><br />
JP: 褪せた faded <br />
FI: place (imperative)<br />
<br />
<b>asu</b><br />
JP: 明日 tomorrow<br />
FI: appearance; dress<br />
<br />
<b>au</b><br />
JP: 会う to meet<br />
FI: ouch!<br />
<br />
<b>awata</b><br />
JP: 粟田 Awata (place name)<br />
FI: {avata} to open<br />
<br />
<b>ayaya</b><br />
JP: あやや nickname of Matsuura Aya<br />
FI: {ajaja} driver<br />
<br />
<b>basara</b><br />
JP: 婆娑羅 self-indulgence; coxcombry <br />
FI: {vasara} hammer<br />
<br />
<b>enoki</b> <br />
JP: 榎 hackberry<br />
FI: even an uncle (colloquial contraction of "enokin")<br />
<br />
<b>futari</b><br />
JP: 二人 two people<br />
FI: footballer (coll.)<br />
<br />
<b>hai</b><br />
JP: はい yes / 杯 cup / 肺 lungs<br />
FI: shark<br />
<br />
<b>haisen</b><br />
JP: 敗戦 defeat / 配線 wiring <br />
FI: I smell<br />
<br />
<b>hake</b> <br />
JP: 刷毛 paint brush / 捌け drainage; sale<br />
FI: wood chips<br />
<br />
<b>hakku</b><br />
JP: 八苦 the eight pains (of Buddhism) / ハック hack (i.e. hacking) <br />
FI: pickaxe<br />
<br />
<b>hame</b><br />
JP: 羽目 wainscoting; plight, predicament<br />
FI: skirt<br />
<br />
<b>hana</b><br />
JP: 花 flower / 鼻 nose<br />
FI: faucet<br />
<br />
<b>hanki</b><br />
JP: 半期 half term / 反旗 standard of revolt<br />
FI: snowdrift<br />
<br />
<b>heihei</b><br />
JP: 平々 level, ordinary<br />
FI: {hei hei} bye bye<br />
<br />
<b>hiki</b><br />
JP: 匹 counter for small animals / 悲喜 joy and sorrow / 引き patronage; pull<br />
FI: sweat<br />
<br />
<b>hikka</b><br />
JP: 筆禍 troubles brought on by what one has written<br />
FI: hiccup<br />
<br />
<b>hire</b><br />
JP: 鰭 fin<br />
FI: {hile} glitter<br />
<br />
<b>himo</b><br />
JP: 紐 string, cord; pimp<br />
FI: lust, craving<br />
<br />
<b>hisshi</b><br />
JP: 必死 frantic<br />
FI: {hissi} elevator<br />
<br />
<b>iida</b><br />
JP: 飯田 place name, surname<br />
FI: a forename (female)<br />
<br />
<b>imi</b> <br />
JP: 意味 meaning<br />
FI: (he/she) sucked<br />
<br />
<b>imin</b> <br />
JP: 移民 emigration<br />
FI: I sucked<br />
<br />
<b>imu</b><br />
JP: 医務 medical affairs<br />
FI: suction<br />
<br />
<b>iro</b><br />
JP: 色 color; sensuality<br />
FI: {ilo} joy<br />
<br />
<b>iso</b><br />
JP: 磯 seashore<br />
FI: big<br />
<br />
<b>isona</b><br />
JP: 磯菜 edible herbs that grow by the sea (rare)<br />
FI: when big; as a grownup<br />
<br />
<b>iwata</b><br />
JP: 岩田 a surname / 磐田 a place name<br />
FI: {ivata} to ridicule<br />
<br />
<b>kai</b><br />
JP: 貝 shellfish<br />
FI: maybe<br />
<br />
<b>kaita</b> <br />
JP: 書いた wrote / 描いた drew / 海田, 頴田 place names<br />
FI: narrow<br />
<br />
<b>kakka</b><br />
JP: 閣下 Your Excellency / 核果 drupe<br />
FI: shit<br />
<br />
<b>kama</b><br />
JP: 釜 kettle<br />
FI: one's stuff / drugs<br />
<br />
<b>kamu</b><br />
JP: 咬む to bite<br />
FI: pal<br />
<br />
<b>kana</b><br />
JP: 仮名 Japanese syllabary<br />
FI: chicken<br />
<br />
<b>kanan</b><br />
JP: 火難 fire calamity<br />
FI: chicken's<br />
<br />
<b>kanoya</b><br />
JP: 鹿屋 a place name<br />
FI: {kanoja} chickens (partitive case)<br />
<br />
<b>kani</b><br />
JP: 蟹 crab<br />
FI: rabbit<br />
<br />
<b>kannu</b><br />
JP: 官奴 government-owned slave (obscure)<br />
FI: jug, ewer<br />
<br />
<b>kappa</b><br />
JP: 合羽 raincoat / 河童 kappa, river sprite<br />
FI: cloak / valance<br />
<br />
<b>kara</b><br />
JP: から from / 空 emptiness / 殻 shell, husk<br />
FI: {kala} fish / {kara} spindle<br />
<br />
<b>kasa</b><br />
JP: 傘 umbrella<br />
FI: pile, stack<br />
<br />
<b>katto</b> <br />
JP: かっと flaring up; flying into a rage / カット cut<br />
FI: roof, ceiling<br />
<br />
<b>koi</b><br />
JP: 恋 love / 鯉 carp / 故意 intention<br />
FI: moth<br />
<br />
<b>kokki</b><br />
JP: 国旗 national flag / 克己 self-restrain <br />
FI: cook, chef<br />
<br />
<b>konna</b><br />
JP: こんな such, like this<br />
FI: crook, villain<br />
<br />
<b>kimi</b><br />
JP: 君 you / 気味 feeling; a tinge<br />
FI: a forename (male)<br />
<br />
<b>kinma</b> <br />
JP: 蒟醤 betel / 木馬 wood sledge (rare)<br />
FI: {kimma} gal (coll.)<br />
<br />
<b>kippari</b><br />
JP: きっぱり clearly; flatly<br />
FI: skipper (Popeye the Sailorman = Kippari Kalle)<br />
<br />
<b>kiri</b><br />
JP: 霧 fog<br />
FI: {kili} goatling, kid / {kiri} spurt<br />
<br />
<b>kissa</b><br />
JP: 喫茶 tea drinking<br />
FI: cat<br />
<br />
<b>kisu</b><br />
JP: キス kiss / 鱚 sillago (a fish)<br />
FI: kitty<br />
<br />
<b>kishikaisei</b><br />
JP: 起死回生 revival, recovering from a hopeless situation<br />
FI: {kiskaisee} wrenches <br />
<br />
<b>kiwa</b><br />
JP: 際 edge, brink<br />
FI: {kiva} nice<br />
<br />
<b>konna</b><br />
JP: こんな such, like this<br />
FI: crook, scoundrel / toad<br />
<br />
<b>kori</b><br />
JP: 凝り stiffness / 梱 bale, package / 狐狸 foxes and badgers<br />
FI: basket<br />
<br />
<b>kumi</b><br />
JP: 組 class, group<br />
FI: rubber; gum<br />
<br />
<b>kuppa</b><br />
JP: クッパ Bowser (SMB character)<br />
FI: syphilis<br />
<br />
<b>kura</b><br />
JP: 蔵 warehouse / 鞍 saddle<br />
FI: mud<br />
<br />
<b>kuri</b><br />
JP: 栗 chestnut<br />
FI: {kuri} discipline / {kuli} coolie<br />
<br />
<b>kuuri</b><br />
JP: 空理 impractical theory<br />
FI: {kuuri} regimen / {kuuli} cool (coll.)<br />
<br />
<b>maa</b><br />
JP: まあ Dear me! <br />
FI: land, country<br />
<br />
<b>manma</b> <br />
JP: 飯 cooked rice<br />
FI: {mamma} mama; older woman<br />
<br />
<b>mami</b><br />
JP: 目見 look / 魔魅 deceiving spirit / 眉 eyebrow (rare)<br />
FI: mom (coll.)<br />
<br />
<b>mato</b><br />
JP: 的 target<br />
FI: worm<br />
<br />
<b>matoya</b><br />
JP: 的矢 arrow and target<br />
FI: {matoja} worms (partitive case)<br />
<br />
<b>matto</b><br />
JP: マット (gym) mat<br />
FI: carpet<br />
<br />
<b>me</b><br />
JP: 目 eye<br />
FI: we<br />
<br />
<b>meno</b> <br />
JP: 目野 a surname / 目の of eyes<br />
FI: course; expense<br />
<br />
<b>meri</b><br />
JP: めり lowering the pitch (rare)<br />
FI: sea, ocean<br />
<br />
<b>mika</b><br />
JP: a forename (female)<br />
FI: a forename (male)<br />
<br />
<b>minna</b><br />
JP: 皆 everyone<br />
FI: a forename (female)<br />
<br />
<b>mono</b><br />
JP: 者 person / 物 thing<br />
FI: ski boot<br />
<br />
<b>motto</b><br />
JP: もっと more <br />
FI: motto<br />
<br />
<b>muki</b> <br />
JP: 向き direction <br />
FI: mug, cup<br />
<br />
<b>muna</b><br />
JP: 胸 chest (used in compounds)<br />
FI: egg<br />
<br />
<b>muni</b><br />
JP: 無二 peerless <br />
FI: laid an egg<br />
<br />
<b>muroya</b><br />
JP: 室屋 a surname, place name<br />
FI: {muroja} breakfast cerials (partitive case)<br />
<br />
<b>muri na</b><br />
JP: 無理な impossible<br />
FI: {murina} growl<br />
<br />
<b>musa</b> <br />
JP: 武者 warrior (rare)<br />
FI: music (coll.)<br />
<br />
<b>naida</b><br />
JP: 凪いだ becalmed<br />
FI: to marry / to fuck<br />
<br />
<b>nai</b><br />
JP: 無い not being / 内 inside<br />
FI: marries / fucks<br />
<br />
<b>naku</b><br />
JP: 泣く to cry<br />
FI: naked<br />
<br />
<b>nami</b><br />
JP: 波 wave / 並み common<br />
FI: candy<br />
<br />
<b>naminami</b><br />
JP: 並並 ordinary<br />
FI: {nami nami} yum yum<br />
<br />
<b>nainen</b><br />
JP: 内燃 internal combustion / ないねん! it's not here!; there is none! (Kansai dialect)<br />
FI: woman<br />
<br />
<b>naru</b> <br />
JP: 成る become<br />
FI: cord, line<br />
<br />
<b>nasu</b><br />
JP: 茄子 eggplant<br />
FI: pig, piglet<br />
<br />
<b>ne</b> <br />
JP: 根 root / 値 price / 音 sound<br />
FI: they; those<br />
<br />
<b>neito</b> <br />
JP: 寝糸 an old, dull-sounding string on a koto or shamisen (obscure)<br />
FI: maiden<br />
<br />
<b>niihama</b><br />
JP: 新居浜 a place name<br />
FI: a place name (an area of the city of Tampere)<br />
<br />
<b>noki</b><br />
JP: 軒 eaves<br />
FI: soot<br />
<br />
<b>oma</b> <br />
JP: 牡馬 male horse (rare)<br />
FI: own (adj.)<br />
<br />
<b>omana</b><br />
JP: 御真魚 fish (obscure)<br />
FI: as one's own<br />
<br />
<b>onko</b><br />
JP: 恩顧 favor<br />
FI: is it...?<br />
<br />
<b>oota</b> <br />
JP: 大田, 太田 place name, surname<br />
FI: wait (imperative, coll.)<br />
<br />
<b>ori</b><br />
JP: 檻 cage / 折 occasion<br />
FI: {ori} stallion / {oli} was<br />
<br />
<b>oriko</b><br />
JP: 織り子 weaver<br />
FI: {oliko} was it...?<br />
<br />
<b>osa</b><br />
JP: 長 chief, elder<br />
FI: part<br />
<br />
<b>osara</b><br />
JP: お皿 plate (polite)<br />
FI: a place name<br />
<br />
<b>ota</b> <br />
JP: ヲタ nerd / 織田 a place name<br />
FI: take (imperative)<br />
<br />
<b>otosu</b> <br />
JP: 落とす to drop<br />
FI: {otos} sample<br />
<br />
<b>pantsu</b><br />
JP: パンツ underpants, panties<br />
FI: a surname (rare)<br />
<br />
<b>rakki</b><br />
JP: 落暉 setting sun (obscure)<br />
FI: {lakki} cap / {rakki} mongrel, cur<br />
<br />
<b>rakko</b><br />
JP: 猟虎 sea otter<br />
FI: {rakko} bladder / {lakko} strike<br />
<br />
<b>ranka</b><br />
JP: 爛柯 (absorbed in playing) go (obscure) / ラン科 Orchidaceae<br />
FI: {ranka} spine / {lanka} yarn, thread; wire<br />
<br />
<b>rika</b><br />
JP: 理科 science<br />
FI: {lika} dirt<br />
<br />
<b>rinne</b><br />
JP: 輪廻 transmigration of the soul<br />
FI: slope, hillside<br />
<br />
<b>risa</b><br />
JP: a forename (female)<br />
FI: broken / tonsil<br />
<br />
<b>risu</b><br />
JP: 栗鼠 squirrel<br />
FI: twig<br />
<br />
<b>rokka</b><br />
JP: 六花 snow (rare) / 漉過 filtering<br />
FI: (pea) soup<br />
<br />
<b>roppu</b><br />
JP: 六腑 "the six internal organs"<br />
FI: {loppu} end<br />
<br />
<b>saa</b><br />
JP: さあ come on; well<br />
FI: gets<br />
<br />
<b>saari</b><br />
JP: 然有り it is as such (archaic)<br />
FI: island<br />
<br />
<b>saatto</b> <br />
JP: さあっと quite suddenly<br />
FI: escort<br />
<br />
<b>saita</b> <br />
JP: 最多 most / 咲いた bloomed<br />
FI: stingy<br />
<br />
<b>sakka</b><br />
JP: 作家 writer<br />
FI: dregs; lees<br />
<br />
<b>sakki</b><br />
JP: さっき a little while ago / 殺気 thirst for blood<br />
FI: crowd, gang<br />
<br />
<b>sara ni mi</b><br />
JP: 皿に実 fruit on a plate / 更に箕 furthermore a winnowing basket / etc. (?)<br />
FI: {salanimi} pseudonym<br />
<br />
<b>sana</b><br />
JP: a forename (female)<br />
FI: word<br />
<br />
<b>sama </b><br />
JP: 様 polite mr/mrs; appearance<br />
FI: same, identical<br />
<br />
<b>sano</b> <br />
JP: 佐野 a place name, surname<br />
FI: say (imperative)<br />
<br />
<b>sata </b><br />
JP: 沙汰 instructions; news; affair<br />
FI: hundred<br />
<br />
<b>shokki </b><br />
JP: 織機 loom / 食器 tableware<br />
FI: shock<br />
<br />
<b>son ni naru</b><br />
JP: 損になる to prove a loss<br />
FI: {sonninaru} bull-cord (?)<br />
<br />
<b>sori </b><br />
JP: 轌 sleigh, sled<br />
FI: sorry (coll.)<br />
<br />
<b>suru </b><br />
JP: する to do<br />
FI: sadness<br />
<br />
<b>tai</b> <br />
JP: 鯛 sea bream / 他意 ulterior motive / 対 versus<br />
FI: or<br />
<br />
<b>taika </b><br />
JP: 対価 value, compensation / 大家 great expert / 大火 conflagration<br />
FI: magic<br />
<br />
<b>taito</b><br />
JP: 泰斗 leading authority<br />
FI: skill<br />
<br />
<b>tasan </b><br />
JP: 多産 fertility<br />
FI: equal; evenly<br />
<br />
<b>taso </b><br />
JP: 誰そ who (archaic)<br />
FI: level, plane<br />
<br />
<b>tawara </b><br />
JP: 俵 sack<br />
FI: {tavara} goods, ware<br />
<br />
<b>te </b><br />
JP: 手 hand<br />
FI: you (plural)<br />
<br />
<b>tenpu</b><br />
JP: 添付 attachment / 天賦 natural talent / 天父 Heavenly Father<br />
FI: {temppu} trick<br />
<br />
<b>tero</b> <br />
JP: テロ terrorism<br />
FI: a forename (male)<br />
<br />
<b>toi</b> <br />
JP: 問い inquiry / 樋 gutter, trough<br />
FI: that over there (coll.)<br />
<br />
<b>toka </b><br />
JP: とか such things as<br />
FI: second (coll.)<br />
<br />
<b>toki</b> <br />
JP: 時 time<br />
FI: sure, certainly<br />
<br />
<b>tomi</b><br />
JP: 富 riches, wealth<br />
FI: a forename (male)<br />
<br />
<b>ton ni </b><br />
JP: 頓に suddenly (rare)<br />
FI: {tonni} a metric ton<br />
<br />
<b>tora </b><br />
JP: 虎 tiger<br />
FI: {tora} quarrel / {tola} state of affairs<br />
<br />
<b>tori</b> <br />
JP: 鳥 bird<br />
FI: marketplace<br />
<br />
<b>tossa </b><br />
JP: 咄嗟 moment, instant<br />
FI: there (coll.)<br />
<br />
<b>totta</b><br />
JP: 取った took<br />
FI: true<br />
<br />
<b>totta hantoki </b><br />
JP: 取った半時 "a short time that (I) took" (?)<br />
FI: {tottahan toki} "sure, of course"<br />
<br />
<b>ui</b> <br />
JP: 憂い sad / 有為 vicissitudes of life<br />
FI: swim (imperative)<br />
<br />
<b>uimakura</b><br />
JP: 初枕 a man and a woman sharing the bed for the first time (obscure)<br />
FI: swimming-mud (?)<br />
<br />
<b>ukki </b><br />
JP: 鬱気 melancholy<br />
FI: grandpa<br />
<br />
<b>uni </b><br />
JP: 雲丹 sea urchin<br />
FI: dream<br />
<br />
<b>ura </b><br />
JP: 浦 inlet; beach / 裏 back; behind; opposite<br />
FI: {ura} track, rut / {ula} VHF radio waves<br />
<br />
<b>ya </b><br />
JP: や and / 矢 arrow<br />
FI: {ja} and<br />
<br />
<b>yako</b> <br />
JP: 野狐 wild fox; fox spirit (archaic)<br />
FI: {jako} dividing, sharing<br />
<br />
<b>yama</b> <br />
JP: 山 mountain<br />
FI: {jama} situation<br />
<br />
<b>yano </b><br />
JP: 矢野 a surname<br />
FI: {jano} thirst<br />
<br />
<b>yō </b><br />
JP: 用 business; use / 要 main point<br />
FI: {joo} yes, yeah<br />
<br />
<b>yō</b><b>yō</b><br />
JP: 揚揚 triumphant / 洋洋 vast<br />
FI: {joo joo} "yeah, yeah"<br />
<br />
<b>yōkai </b><br />
JP: 妖怪 monstrous creature / 溶解 melting; solution<br />
FI: {joo, kai} "yes, probably"<br />
<br />
<b>yoki</b> <br />
JP: 予期 expectation<br />
FI: {joki} river<br />
<br />
<b>yoko</b> <br />
JP: 横 side<br />
FI: {joko} already? / either<br />
<br />
<b>yokohiki</b><br />
JP: 夜興引 hunting with a dog late at night in the winter (obscure)<br />
FI: {joko hiki} "sweat already?"<br />
<br />
<b>yota </b><br />
JP: 与太 idle gossip<br />
FI: {jota} who, which<br />
<br />
<b>yuna </b><br />
JP: 湯女 women who assist bathers at hot-springs resorts<br />
FI: {juna} traingoutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com7tag:blogger.com,1999:blog-3934502490428596911.post-28095372680628663852013-12-15T20:19:00.001+02:002014-05-06T11:51:51.890+03:00Kishibojin Preface<h3>
It is said that a demon accompanied by a child appears on that mountain. </h3>
<br />
<br />
<br />
Mountains spread as far as the eye can see.<br />
<br />
Near the summit of one of the mountains, there stands (Demon) and a girl.<br />
<br />
Around them the wind blows through the trees, making them rustle.<br />
<br />
(Demon) is one-eyed. Her disheveled hair streams in the wind and from her missing left eye come rolling down tears of blood.<br />
<br />
Her stark naked body is covered by something blackish, perhaps blood.<br />
<br />
<br />
<br />
From the top of the mountain, the pair peers down at something below.<br />
<br />
<br />
<br />
The girl is wearing what looks like a kimono rag.<br />
<br />
(Demon) says something to the girl, but the girl does not react at all.<br />
<br />
(Demon) silently calls the girl's attention by gently drawing her closer by the shoulders.<br />
<br />
In response, the girl looks up at (Demon), and after giving her an innocent smile, she follows obediently after (Demon) without uttering a word.<br />
<br />
<br />
<br />
The pair disappears into the mountains.<br />
<br />
The wind grows stronger and its sough sounds like someone sobbing.<br />
<br />
<br />
<br />
——Fadeout.<br />
<br />
(From Zekkai no Kishibojin, Preface: "Kikoku")<br />
<br />
<br />
<b>Note:</b> I have not read Zekkai no Kishibojin, but I think that (Demon) is in parentheses because her identity is not yet to be revealed, and she's not actually an ogre. In the original, double brackets are used: 《鬼》. As far as I know, they don't have a fixed meaning in Japanese.goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-49866565358769112612013-03-19T20:26:00.000+02:002014-04-08T19:03:10.802+03:00Onmyōza Hyakumonogatari Story XXVII "Walk Over My Dead Body"<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/XlScnP6iRR8" width="560"></iframe>
(Waga Shikabane wo Koeteyuke begins at 16:05)
<br />
<br />
"Hey grandma, am I really a useless, unwelcome child?"<br />
"Hmm? That's not true at all. Why would you even ask such a thing?"<br />
"It's that Kansuke. He was saying that I'm a birdbrained, ugly, useless nobody."<br />
"Useless of all things! Dear Tōkichi, you're good at singing, aren't you?"<br />
"Nobody listens to my singing. Everyone just wants to look at the funny picture book that Kansuke bought at the capital or the pretty pinwheel that O-hana has. No one pays me any attention."<br />
"It's just a matter of taste. Those who want to look at a picture book can do so, and those who want to play with a pinwheel can ask their parents to buy them one. Neither one is superior to the other. Everyone can play with the one they prefer. There must be someone who likes your songs and wants to hear them."<br />
"No way! Nobody likes me!"<br />
"Hey! Tōkichi! Mother! I just got back! Phew, I sure am tired. Oh! Tōkichi, let me hear a song of yours again. When your daddy hears you sing, it gives him strength to give his all again tomorrow!"<br />
"O-Okay! I will! But which one? Which do you prefer?"<br />
"All of them! I like it no matter what you sing!"<br />
"Yeah! Hyahahahaha!"<br />
"Hahahaha!"<br />
<br />
<br />
<br />
<h3>
陰陽座百物語 第廿漆話「我が屍を超えてゆけ」</h3>
<br />
「なあ、ばあちゃん、オラ役立たずのいらん子なん?」<br />
「んー?そんな事ある訳無かろうが。何でそんな事聞くだ?」<br />
「勘助の奴だ、オラの事、おつむの出来も悪いし、顔も不細工じゃし、何の取り柄も無い役立たずやというだ」<br />
「取り得がないっちゅうて。藤吉や、お前歌歌うの上手でねえか」<br />
「オラの歌は皆聴いてくれん。勘助が都で買ってきた絵双紙や、御花がもっとる風車の方が綺麗じゃし、面白いっちゅうて、誰もオラの事相手にしてくれん」<br />
「そら人の好き好きじゃ。絵双紙が見たいもんは絵双紙を見りゃええし、風車で遊びたいもんは風車を買うてもらえばええ。どれが偉いも偉くないも無いんじゃ。自分が好きな様にすりゃええんじゃ。<br />
お前の歌を好きじゃゆうて、聴いてくれる人もおるじゃろう」<br />
「そんな奴おらん!皆オラが好きじゃないんじゃ」<br />
「おー!藤吉!おっかあ!今けえったぞ!嗚呼、疲れた疲れた。おっ!藤吉、今日もお前の歌、聴かせてくれや。とうちゃんなー、お前の歌聴くと、明日も頑張らにゃっていう力が湧いてくるんじゃ!」<br />
「うっ うん!歌う!どれがいい?どの歌がいい?」 <br />
「全部じゃ、全部!お前の歌は全部ええ」<br />
「うん!ひゃっははははは!」<br />
「ははははは!」goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com1tag:blogger.com,1999:blog-3934502490428596911.post-4179978933486315572013-03-19T20:16:00.000+02:002014-04-08T19:07:01.956+03:00Onmyōza Hyakumonogatari Story XXVI "Shrine Maiden of the Mizuchi"<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/XlScnP6iRR8" width="560"></iframe>
(Mizuchi no Miko begins at 07:26)
<br />
<br />
When the world is shrouded in jet-black darkness, there are two beings whose mission is to sacrifice their lives to save it. One is the dragon who soars to the sky when the time is right. The other is the shrine maiden who has looked after the dragon since it was a nestling. Her task is to offer a prayer that releases the dragon to the sky. They both waited quietly for that moment while aware of the fact that after they had accomplished their mission, they would meet their end.<br />
<br />
And now, having heard the prayer of the shrine maiden and having climbed to the sky, the dragon was looking down on the various sufferings of the world below.<br />
<br />
As the girl gazed at the dragon that had soared out of sight, the image of the dragon when it was still small enough to be carried in her arms crossed her mind and tears started to roll down her cheeks before she knew it.<br />
<br />
The terrestrial world ruled by humans, filled with insolent desires and petty falsehoods, was now full of more suffering than there had ever been and everyone was longing for the dragon of redemption to appear. The girl had offered the dragon a prayer in order to fulfill her mission as the shrine maiden, but now that the moment was at hand, at the same time as her love for the dragon suddenly awakened, she also started to feel intense hatred for the humans who had shifted the task of redeeming their crimes on the dragon. Her anger grew uncontrollable and in spite of herself the girl shouted inside her mind: "There is no need to listen to the hopes of the selfish humans. Give me back my dragon!"<br />
However, at the same time she heard the voice of the dragon's consciousness echoing inside her mind.<br />
<br />
"Girl. There is no need to worry. We shall never lose the memories of the peaceful days we spent together, not even if our bodies perish. I will now release the light that will save the world. With that light, the two of us will ascend to heaven. And the humans too——"<br />
"Huh?"<br />
<br />
Unable to grasp the meaning of the dragon's final words, the girl gazed at the sky even more intensely. Shortly afterwards, light so dazzling that one could not look straight at it came falling down from the heavens, surrounding the earth. The dragon, the girl, humans, and all other living things were enveloped by the light, and they all vanished from the face of the earth.<br />
<br />
Thus the earth was saved from the threat of mankind.<br />
<br />
<br />
<h3>
陰陽座百物語 第廿陸話「蛟龍の巫女」</h3>
<br />
この世が漆黒の闇に閉ざされる時、それを救う為に命を抛つ使命を負った二つの者が在った。一つは時が来たら空に舞い上がり、この世を救う役目を持った龍。一つはその龍を幼体の頃から見守り、育て、時が来たらその龍を空へと放つ祈りを捧げる役目を持った巫女。どちらも役目を果たした後にその命が果てる事を自ら理解した上で静かにその時を待っていた。<br />
<br />
そうして、今正に巫女である少女の祈りを受け、空高く舞い上がった龍は様々な苦難に喘ぐ地上の世界を見下ろしていた。<br />
<br />
見えない程高く昇った龍の姿をじっと見詰める少女は、まだ両手に抱き抱える事が出来るぐらいに幼かった龍の面影を脳裏に浮かべていたが、気が付かぬうちに涙が頬を伝っていた。<br />
<br />
傲慢な欲望と矮小な欺瞞に満ちた人間の支配する地上の世界はかつて無い程の苦難に満ち、誰もが世界を救う龍の登場を渇望した。少女は巫女としての使命を果たすべく、龍に祈りを捧げたが、すわと言う段になり、急速に龍への親愛が呼び覚まされると同時に、逆に自らの罪を贖う役目を龍に押し付けようと言う人々への激しい怒りを感じ始めていた。その憤りは最早抑え難いものになり、我知らず少女は胸の中で「勝手な人間共の願いなど聞く事は無い。私の龍を返して!」と叫んでいた。しかし同時に龍の心の声が少女の中に聞こえてきた。<br />
<br />
「少女よ。憂う事は無い。我々が過ごした穏やかな日々の記憶は、例え二人の肉体が滅びても、決して失われる事は無い。私は今から、この世を救う光を放つ。我々二人は、その光と共に天に召されよう。そして、人間達も」<br />
「えっ?」<br />
<br />
龍の最後の言葉の意味が飲み込めない儘、少女は一層力を込めて空を見詰めた。その直後、正視出来ない程の目映い光が空から降り注ぎ地上を包んだ。龍も、少女も、人間も、その他生きとし生ける全ての物を包んだ光は、その全ての存在をこの世から消去した。<br />
<br />
こうして世界は人間と言う脅威から救われたのである。goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-7992811043658801622013-03-19T19:44:00.001+02:002014-04-08T20:19:48.584+03:00Onmyōza Hyakumonogatari Story XXV "Like a Dragon Obtaining a Cloud"<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/XlScnP6iRR8" width="560"></iframe>
(Ryū no Kumo wo Eru Gotoshi begins at 01:10)
<br />
<br />
Piercing the pitch black rain clouds that had suddenly covered the sky, a single thunderbolt struck the center of the basin of a waterfall. Immediately, the pierced water surface swelled as if lifted from below, and a huge dragon suddenly appeared in an enormous splash.<br />
<br />
After glancing at the girl dressed as a shrine maiden, who stood near the waterfall, the dragon soared straight towards the sky. As the girl watched it go, she had a complex expression on her face that was quite neither compassion nor resignation, nor did it resemble a prayer or a curse.<br />
<br />
"Dear dragon. Hear me, dragon that has since ancient times been gathering the strength to save the world inside this waterfall. Now is the time for you to save my brethren from their numerous hardships!"<br />
<br />
Directing her words rather at herself instead of the dragon, the girl whispered, but at the same time shouted so, and with the same expression still on her face, she gazed at the sky where the dragon had soared.<br />
<br />
As if answering the girl, the dragon that had flown so high that one could no longer discern it gave out a cry in a wonderful timbre.<br />
<br />
<br />
<h3>
陰陽座百物語 第廿伍話「龍の雲を得る如し」</h3>
<br />
突如として空を覆った真っ黒な雨雲を切り裂いて一筋の稲妻が滝壺の中心を撃った。その直後、穿たれた水面が逆に下から持ち上げられる様に膨らみ、中から一匹の巨大な龍が途轍も無い水飛沫と共に躍り出た。<br />
<br />
滝の辺に佇んでいた巫女姿の少女をちらりと窺ってから龍は真っ直ぐに空へ向かって舞い上がって行った。それを見送る少女の顔には、哀れみとも諦めとも、祈りとも呪いともつかない、複雑な表情が浮かんでいた。<br />
<br />
「龍よ。古よりこの滝で、この世を救う為に力を育んで来た龍よ。今こそ、我が同胞達を幾多の苦難から救っておくれ!」<br />
<br />
少女は龍に向かってと言うよりは、寧ろ自らに言い聞かせる様に、呟く様にそれでいて叫ぶ様にそう言うと、龍の舞い上がった空を先程と同じ表情を浮かべた儘見詰めていた。<br />
<br />
もう姿が見えない程高くまで舞い上がった龍はそれに答える様に不思議な音色で一声鳴いた。goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-74580045219059757382013-03-12T12:04:00.001+02:002016-03-09T12:30:21.048+02:00Onmyōza Hyakumonogatari Story XXIV "Wedge of Ice"<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/mi49zPoYgts" width="560"></iframe>(Kōri no Kusabi begins at 16:27)
<br />
<br />
In a raging blizzard a man laid still<sup>[1]</sup>, sure that he was a going to die. While on the way back to the village from the charcoal burning hut located in the mountains, he had seen the first snowfall of that year. In no time at all the snow had piled up and covered the whole area with white. The extraordinary amount of snow made the man realize that it had to be the doing of a snow woman. Around the region there were frightening legends of a snow woman that would lead astray passing men and then freeze them to death. The man had heard those legends when he was a child.<br />
<br />
The roaring wind blew up the snow, and when the man was unable to keep his eyes open any longer, it became all quiet around him. Strangely, the snow had suddenly stopped falling, and he could no longer feel the piercing cold. The man nervously opened his eyes. He saw a woman with long black hair who was dressed in a snow-white kimono looking down at him.<br />
<br />
"Are you the snow woman?"<br />
<br />
Thinking that his life was over, with complete resignation, the man blurted out: "Why do you kill men? Do you hold some grudge against them? You are just going to kill me now, right? In that case, wouldn't you at least let me know before I die?"<br />
<br />
The snow woman gazed sadly at the man and soon started talking sotto voce.<br />
"In that case I shall tell you. Indeed I am the snow woman. As you can see, not even blood flows in my cold body, and I have spent hundreds of years hiding here. However, once there was a time when I fell in love with one of the men who come to this charcoal burning hut. Although I did fall in love, neither could we become man and wife nor even embrace each other, as my breath freezes everything and my body chills everyone who touches it. We could only gaze at each other from a distance, but nevertheless we understood each other."<br />
<br />
"However, one day he said to me: 'I can no longer live without you. If we cannot be wedded, my heart's only desire is to be killed by you.' He then tightly embraced my body. That was his end. My loved one froze all the way to his heart and never opened his eyes again."<br />
<br />
As the snow woman paused, the snowstorm started raging again. An even worse coldness attacked the man.<br />
<br />
"You have been buried in the snow for quite some time. At this rate you will be done for. However, there is a way to save yourself."<br />
The snow woman's words were drowned out by the howling blizzard and the man soon lost consciousness.<br />
<br />
When he opened his eyes, he found himself inside his charcoal burning hut. He was lying in a properly laid futon and a mouth-watering pot of miso soup hung over the hearth. Under the pot the charcoal burned in crimson, warming the whole hut. The man sprung to his feet and rubbed his eyes in disbelief when he noticed a large puddle nestled close to the futon.<br />
<br />
Could this be what had become of that snow woman? The man's family were the only ones who had been burning charcoal in that region, and they had been doing it for generations.<br />
<br />
Had the snow woman saved a descendant of the man he loved and thus set herself free from her karma? The man had no way of knowing.<br />
<hr />
[1] Literally the word means: "without a wink of sleep".<br />
<br />
<br />
<h3>
陰陽座百物語 第廿肆話「氷の楔」</h3>
<br />
吹き荒ぶ吹雪の中、男はまんじりとも動けず、最早死を覚悟した。山間に在る炭焼き小屋から村へ帰る途中、男は今年初めての雪が舞うのを見た。すると雪は見る見るうちに降り積もり、辺り一面を真っ白に覆い隠したのだ。尋常ならざる雪の様子に男は、これは雪女の仕業だ、と悟った。この辺りには古くから雪女が道行く男を迷わせ、凍らせて殺してしまうという恐ろしい言い伝えがあり、自分も子供のときからよく聞かされていたのだった。<br />
<br />
轟々と鳴る風が雪をより一層強く巻き上げ、いよいよ目も開けていられない状態になった時、ふと辺りから音が消えた。不思議な事に雪はぱったりと止み、身を切る様な寒さすら感じなくなっている。男は恐る恐るその目を開けた。するとそこには真っ白な着物を着た長い黒髪の女がこちらを見下ろして立っていた。<br />
<br />
「お前が雪女か?」<br />
<br />
最早我が命これまでと思うとすっかり覚悟が出来て、言葉は口を衝いて出た。<br />
「お前は何故人を殺めるのだ?人間の男に何か怨みでもあるのか?どうせわしは、ここでお前に殺されるのだろう?ならば、冥土の土産に聞かせてはくれぬか?」<br />
<br />
男はそう言うと雪女は悲しげに男を見詰め、やがて静かに話し始めた。<br />
「それならば聞かせてやろう。いかにも妾は雪女。この通り、血も通わぬ冷たい体で、もう何百年もここに身を潜めておった。しかし、この近くの炭焼き小屋かに通うてくる男と、一度だけ恋仲になったのじゃ。とゆうても、夫婦になる事も、抱き合う事も叶わぬ。妾の息は全てを凍り付かせ、この体は触れる者を凍えさせる。遠くから見詰めるだけではあったが、それでも心は通うておったのじゃ。」<br />
<br />
「しかし、或る時男はゆうた。わしはもう御前無しでは生きては行けぬ、夫婦になれぬのなら、御前に殺されるのが本望じゃ。そして男は、妾の体をしっかりと抱き締めた。しかしそれが最期。愛しい人は、心の臓まで凍り付き、その儘目を開ける事は無かった」<br />
<br />
雪女が言葉を切ると再び辺りは吹雪。先程より一層強い寒さが男を襲った。<br />
<br />
「お前はもう随分長い事雪に埋まっておる。この儘では命が助かるまい。しかし、一つ手立てが有る」<br />
雪女の言葉は唸りを上げる吹雪に掻き消され 男の意識はやがた遠退ていった。<br />
<br />
男が目を覚ますとそこは自分の炭焼き小屋の中であった。しかもきちんと敷かれた布団に寝かされており、囲炉裏には美味そうな味噌汁が掛けてあった。鍋の下では炭が真っ赤に燃え、小屋をしっかりと暖めていた。男は跳ね起き、先程の光景は夢だったのかと目を擦ると、布団の側に寄り添う様に出来た大きな水溜りがあるのを見付けた。<br />
<br />
果たしてこれは雪女の変わり果てた姿なのであろうか?この辺りで代々炭焼きをやっているのは 男の家計只一つである。<br />
<br />
雪女は愛した男の子孫を助け、また自らもその業を断ち切ったのか、今や男にそれを知る術も無かった。goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com2tag:blogger.com,1999:blog-3934502490428596911.post-21985288118144511572013-03-12T11:30:00.000+02:002014-04-08T20:32:31.503+03:00Onmyōza Hyakumonogatari Story XXIII "Kappa Dance"<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/mi49zPoYgts" width="560"></iframe>(Kappa Odori begins at 08:50)
<br />
<br />
In a river located deep in the mountains there lived two kappa brothers who were very close.<br />
<br />
"Listen Kawakichi, you turn eight this year. You are old enough for a kappa to start scaring the humans and you're also old enough to be able to pull out a <i>shirikodama</i><sup>[1]</sup> or two. When I was your age, I played sumo with the children of the nearby village and threw them around one after another. But you on the other hand... You're really weak at sumo and can't even come up with a single artful trick. I'm worried about your future."<br />
<br />
"But brother, the human children gave me a <i>manjū</i><sup>[2]</sup> when I was hungry, and made a ring out of beautiful flowers that they placed on my <i>sara</i><sup>[3]</sup>. They're all good kids. Why do I have to scare them?"<br />
<br />
"They're all like that when they're children. But things get different when they grow up. They all become sly and selfish. You understand, Kawakichi? Surely there must be at least one thing you're good at? You'll have to use that to play a trick on the adult humans."<br />
<br />
"You're right, I don't like adult humans. They yell at me when I play with the children. Oh, I know! I'm good at dancing. When I dance, even tanuki and foxes forget to transform and dance with me. I'll make the stuck-up adults dance a silly dance with me."<br />
<br />
"Well said! That I'd like to see. And it just so happens that tonight's our chance. I hear that the humans are going to hold a festival. Let's go there right away so you can make them dance that silly dance!"<br />
<br />
The kappa brothers swam down the river and headed for the human village.<br />
<br />
"Brother! It sure is lively here! Since everyone's cheerful thanks to the sake, it should be a piece of cake to make them dance. Oh, I'll go talk to that girl over there."<br />
"OK little brother. That sounds good. Let's see, I guess I'll just grab some sake and watch the show."<br />
<br />
"Oh how rare! It's a little kappa. What a cute little thing you are with your beak still yellow and all! Come over here little boy and have a treat."<br />
<br />
"Really? Yummy! Oh no! That's right, I was going to make them dance. Hey! Look at my dance and join in!"<br />
<br />
"Ahahaha! Really, what an adorable kappa. If you like dancing that much, just wait a bit. Something fun is about to happen."<br />
<br />
While the younger kappa was at his wits' end as for why the girl did not start dancing at all, a large drum boomed and lively festival music started playing.<br />
<br />
"Today is the day of the Bon Festival dance in our village. Come on! You too join the circle and dance with us."<br />
<br />
With the signal of the drum, people started getting up one by one and dancing merrily around the drum. Seeing that, the younger kappa could not contain himself and had to join the circle.<br />
<br />
"What a fun festival! I'm having a really good time! It doesn't matter whether you're a human or a kappa, having fun is the best!<br />
<br />
Meanwhile, the older kappa, who was feeling tipsy with the sake he had stolen, watched the humans dancing in a circle and said:<br />
"Now that's my little brother. He's managed to get all of the humans to dance with him.<br />
I guess I should give him a tasty cucumber as a reward when we get back."<br />
<hr />
[1] "Mythical ball inside the anus that is sought after by kappa"<br />
[2] A bun with a bean-jam filling.<br />
[3] The indentation on the top of the head of a kappa.<br />
<br />
<br />
<h3>
陰陽座百物語 第廿参話「河童をどり」</h3>
<br />
或る山奥を流れる川に仲の良い河童の兄弟が住んでいました。<br />
<br />
「のう川吉、お前も今年で八つになる。八つと言いや、わしら河童はぽちぽち人間共を脅かしたり、尻子玉の一つも抜いたり出来る様にならにゃいかん。斯く言うわしも、お前の年の自分には、この先の村の子供皆と相撲を取って、片っ端から投げ飛ばしたもんじゃ。それがお前ときたら… 相撲はてんで弱い上に気の利いた悪戯の一つもよう仕掛けんとする。このままでお前の行く末が心配じゃ」<br />
<br />
「でも兄者、人間の子供は、オラが腹を空かせてたら饅頭をくれたし、綺麗な花で輪っかを拵えて皿の上に乗せてくれたりもした。皆ええ奴じゃ。なんで脅かさんとならん?」<br />
<br />
「誰でも子供ん時はそうじゃ。それが大人になってみ。皆ずる賢うて自分勝手になりよる。ええか、川吉?お前にも何か一つ位は特技もあろう?それで人間の大人に悪戯を仕掛けてみ」<br />
<br />
「確かに、人間の大人は苦手じゃ。オラが子供と遊ぶのを叱ったりする。あっ、兄者!オラ、踊りが得意じゃ。オラが踊れば、狸も狐も化かすのを忘れて踊り回りよる。オラ、澄ました人間の大人にも、馬鹿な踊りを躍らせて見せよう」<br />
<br />
「よう言うた!そりゃ見物じゃい。そんなら今夜が狙い目じゃ。何やら人間が集まって祭りをしよるらしい。早速行って、馬鹿な踊りを躍らせてみ!」<br />
<br />
河童の兄弟は川を下り、人間達の村へと出掛けて行きました。<br />
<br />
「兄者!えろう賑やかじゃのー!皆酒を飲んで陽気になっとるし、こりゃ躍らせるのは他愛も無いかもしれん。おっ、オラ一つ、あそこの女子に声をかけてみるか」<br />
「おお、弟よ、頼もしいのー。どれ、兄は酒でもくすねて見物といこう」<br />
<br />
「あら珍しい、河童の子やないの。いやー、まだくちばしも黄色うてかわいいわ!坊や、こっちへ来てご馳走でもお食べ」<br />
<br />
「ほんとか!美味そうだな!はっ!いかんいかん、今日は人間を躍らせるのじゃ。やい!オラの踊りを見て、一緒に踊りやがれ!」<br />
<br />
「あははは!本にかわいい河童だこと。あんた、そんなに踊りが好きなら、ちょっと待っといで。これから面白い事が始まるよ」<br />
<br />
一向に踊り出さない女子に弟が困り果てていると、大きな太鼓の音が一つどんっと鳴り、賑やかな御囃子が聞こえて来ました。<br />
<br />
「今日は村のお盆踊りなのよ。さあさっ!あんたも輪に入って踊ってお行き」<br />
<br />
太鼓を合図に人々は次々立ち上がり、太鼓をぐるりと取り囲んで陽気に踊り始めました。それを見て楽しくなった弟河童は居ても立っても居られず自分も輪に飛び込みました。<br />
<br />
「なんと楽しい祭りじゃ!こりゃとにかく愉快じゃ。人間も河童も関係なく、愉快に過ごすのが一番ええわい!」<br />
<br />
その頃、くすねた酒でよい気分酔っ払った兄河童は人々が輪になって踊るのを見ながらこう呟きました:<br />
「流石わしの弟じゃ。人間を皆躍らせよった。川に帰ったらご褒美に美味いキュウリでも食わしてやるかのー」goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-39306799467606379572013-03-12T10:52:00.001+02:002014-04-08T19:18:40.705+03:00Onmyōza Hyakumonogatari Story XXII "The Moon and the Flower"<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/mi49zPoYgts" width="560"></iframe>(Gekka begins at 02:10)
<br />
<br />
A long long time ago there lived a pack-horse driver. He was famous for his excellent singing voice and many people bought a ride on his horse just to hear him sing as he led the horse.<br />
<br />
One evening, someone knocked on the door of the shack where he lived. Wondering who could want a ride so late, he opened the door and saw a most beautiful girl standing there drenched by the rain.<br />
<br />
"Is something the matter?"<br />
"I was on my way to the village when I got lost. Before I knew it it grew dark, and it even started raining. I am too exhausted to walk any more. Could it be possible for me to stay the night here?"<br />
<br />
The girl's tired face made the pack-horse driver feel pity and he said:<br />
"That must be awful. But as you can see, I live here alone. I cannot even offer you much of a supper.<br />
"In that case I shall cook you supper as a token of my gratitude. If you will just let me stay, I don't mind if I have to sleep in the stable. Please, I ask you."<br />
<br />
Unable to turn down the sincerely troubled girl, he accepted her offer, which made the girl look absolutely delighted and she then briskly began to get the supper ready. The supper she made was incredibly delicious, and that night was the most fun the lonely pack-horse driver had experienced in a long time.<br />
<br />
When the morning came, while the pack-horse driver was readying his horse to take the girl to her village, he felt indescribable sadness at their parting. The girl then said:<br />
"I was touched by your gentle heart. I do not have any relatives. If you only accept, I would like to live here as your wife." The surprised pack-horse driver gladly accepted her hand, and the two lived frugally but happily.<br />
<br />
One morning, when the pack-horse driver was out gathering fodder for his horse as usual, he noticed a beautiful evening primrose blooming in the grass. He plucked the lovely flower to show it to his wife, but when he returned to his shack, his wife was nowhere to be found. Hastily he looked for her, finding her lying on the earth floor. The pack-horse driver quickly ran to her.<br />
<br />
"What's the matter!? Do you not feel well?"<br />
"When I heard your singing voice, I prayed that I could become your wife. Then came that evening when I shamelessly changed my shape and dared to visit you. But now I can no longer remain at your side. For I am the spirit of that flower you plucked."<br />
<br />
After she had finished her sentence, she faded away and all that was left was the single evening primrose in the pack-horse driver's hand. Since then, the pack-horse driver has stopped singing. Only on moonlit nights he softly hums a song while thinking of his dead wife.<br />
<br />
<br />
<h3>
陰陽座百物語 第廿弐話「月花」</h3>
<br />
昔昔、或る所に一人の若い馬子が住んでおりました。この馬子は馬を引きながらとても好い声で歌を歌うと評判で、その歌声を聴きたいが為だけにわざわざ馬に乗る客も多い程でした。<br />
<br />
或る晩の事です。馬子の住む小屋の戸をトントンと叩く者がおりました。はて、こんな夜更けに客か?と思い、戸を開けてみるとそこにはそれはそれは美しい娘が雨に濡れて立っているではありませんか。<br />
<br />
「こんな晩くにどうかしましたか?」<br />
「里へ行く途中、道に迷ってしまいました。気が付けば日も暮れて、雨まで降り出す始末で、もう歩く事が出来ません。どうか今夜一晩、泊めては頂けないでしょうか?」<br />
<br />
娘の疲れた顔に同情しつつ馬子は言いました。<br />
「それは御困りでしょう。しかし、私は見ての通りの独り者です。男一人では大した夕餉を御出しする事も出来ません」<br />
「それなら私が御礼に夕餉の支度を致しましょう。泊めて頂けるなら、馬小屋でも構いません。どうか御願い致します」<br />
<br />
心底困り果てた様子にこれ以上断る事も出来ず、頼みを聞き入れると、娘は大層喜んで、てきぱきと支度を始めました。娘の作った夕餉は大層な美味で、長らく独りで暮らしてきた馬子にとってはその夜は思い掛けず久しぶりの楽しいひと時となったのでした。<br />
<br />
やがて朝になり、娘を里まで送り届けようと馬を引いて来た馬子は、この別れに言い知れぬ寂しさを感じておりました。すると娘は「貴方様の優しい心に、私は心打たれました。<br />
私には身寄りも御座いません。もしよろしけれ、このまま夫婦になってはくれませんか?」と言うではありませんか。馬子は驚きながらもそれならば是非にと向かい入れ、めでたく夫婦となった二人は慎ましく幸せに暮らしていました。<br />
<br />
或る朝、馬子がいつもの様に秣を刈りに出掛けると、草の陰に美しい月見草が咲いているのを見付けました。嫁に見せてやろうとその可憐な花を摘んで小屋に帰ると、どこにも嫁の姿が見当たりません。慌てて探すと、土間で倒れてるのを見付け、馬子は慌てて駆け寄りました。<br />
<br />
「一体どうしたのだ!どこか具合でも悪いのか?」<br />
「私は、以前から貴方様の歌声を聴き、この方の嫁になりたいと願っておりました。そしてあの晩、身も弁えず姿を変え、思い切って訪ねて参ったのです。しかしもう、御傍にはいられません。私は、貴方様が手折った、花の精で御座います」<br />
<br />
そう言い終えると嫁の姿は消え失せ、代わりに馬子の手には一輪の月見草が残されていました。それからと言うもの、馬子が歌を歌う事は無くなりました。唯、月夜の晩にだけ亡き妻を想う歌をひっそりと口ずさむのです。goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com1tag:blogger.com,1999:blog-3934502490428596911.post-73475725394199952972013-03-11T18:40:00.000+02:002014-04-08T19:21:04.915+03:00Onmyōza Hyakumonogatari Story XXI "One Hundred Monsters Wander in the Night"<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/T3tcLC6rDJs" width="560"></iframe>
(Hyaku no oni ga yoru wo yuku begins at 14:17)<br />
<br />
The creak of an ox carriage broke the silence of the night. As it trundled along the road, suddenly what looked like white mist appeared in front it. The mist gradually started to take the form of humans who then came in a stream towards the carriage.<br />
<br />
Among them were bizarre shapes that one could hardly call human, proving that they were not living human beings. Still, only one man inside the ox carriage noticed their presence while none of his companions seemed to notice anything strange.<br />
<br />
The man in the ox carriage quietly called the carriage to be stopped and started to chant a sutra. Perhaps protected by his sutra, the grotesque group was lumbering past the carriage without turning their attention to it. At the tail end of the procession there was a richly dressed man who looked strikingly fearsome. He appeared to be groaning.<br />
<br />
While chanting his sutra, the man could hear his voice saying: "Tokihira... Tokihira! You will pay Tokihira! Even in death you cannot escape!"<br />
His voice was full of malevolence. The owner of that voice was none other than the vengeful spirit of Sugawara no Michizane whose grudge for Fujiwara no Tokihira had not waned at all, although he had died of illness at a young age last year. As a matter of fact, even this year many of the Fujiwara clan had died unnatural deaths under mysterious circumstances.<br />
<br />
"What a fearsome thing the grudge of men is."<br />
While chanting his sutra, the man in the ox carriage could not help but think aloud. Hearing that, the vengeful spirit of Michizane scowled fiercely at the ox carriage. However, the expression on his face appeared to say that he did not have time to waste on someone like this, and as he withdrew his gaze, he finally went past the ox carriage.<br />
<br />
"Tonight, someone of the Fujiwara clan will once again die."<br />
This time the man started to chant a sutra for whoever that miserable victim would be.<br />
<br />
<br />
<br />
<h3>
陰陽座百物語 第廿壱話「百の鬼が夜を行く」</h3>
<br />
ぎしぎしと夜を行く牛車の行く手に俄に白い靄の様な物が立ち込めた。その靄は次第に人の形を取り、こちらに向かってぞろぞろと歩いてきた。<br />
<br />
中には人とは思えぬ奇怪な形をした物もあり、それらが生きた人間では無い事を証明していた。しかしその存在に気付いていたのは牛車の中の男一人で、お供の者は誰一人その異変には気付かない様子であった。<br />
<br />
牛車の中の男は静かに車を止めるように言い、経文を唱え始めた。その経文に守られてか、異形の集団は牛車に気を留める事無くぞろぞろと過ぎ去って行く。その最後尾には見るからに立派な身形をした一際壮絶な形相の男の形のものが陣取り、何やら呻いていた。<br />
<br />
経文を唱えながら男が聞いたその声は「時平… 時平!許さんぞ時平!死んでもまだ許さんぞ!」と言う。大層恨みのこもったものであった。間違い無くその声の主は怨霊と化した菅原道真であり、昨年、若くして病死した藤原時平への恨みは以前衰えず、実際、今年に入ってからも幾人もの藤原一族が謎の変死を遂げていた。<br />
<br />
「人の恨みとは恐ろしい物よ」<br />
牛車の男は経文を唱えながら、ついそんな声を漏らした。するとそれを聞き咎めた道真の怨霊は一瞬牛車の方を睨み付けた。しかし、こんな者を相手にしている暇は無いと言った表情で直ぐに視線を移すと、遂に牛車を通り過ぎて行ってしまった。<br />
<br />
「また今夜も、藤原一族が一人、命を落とす」<br />
牛車の男は今度はその哀れな誰かの為に経文を唱え始めた。goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-69548069712306839362013-03-11T18:19:00.000+02:002016-03-09T12:34:11.768+02:00Onmyōza Hyakumonogatari Story XX "Oni"<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/T3tcLC6rDJs" width="560"></iframe>
(Oni begins at 07:25)<br />
<br />
From a dense forest on the mountainside, a shadow kept staring at the village near the foot of the mountain. Barely hiding his body with what looked like old rags, his body was covered with wounds that beggar all description.<br />
<br />
Gazing at the village with his only eye, with tottering steps the shadow started to follow the path leading to the village at the foot of the mountain, while using a branch as a walking stick to support his only leg.<br />
<br />
The people of that village followed a ritual of offering a sacrifice to the mountains in order to avoid disasters. This pitiful shadow had been this years sacrifice, and whereas it would normally have been impossible to come down from the mountain alive, after a desperate struggle he had barely managed to return here.<br />
<br />
The man had turned into a demon of hatred who swore revenge on the villagers who did nothing but think of their own security while causing him to go through an ordeal like this. As he slowly walked towards the foot of the mountain, the dark flames of hatred were almost tangible from each of the steps he took while relying on his stick.<br />
<br />
The villagers had thought that they had averted a disaster with the sacrifice, but now they were about to learn the true meaning of calamity.<br />
<br />
<br />
<br />
<h3>
陰陽座百物語 第廿話「鬼」</h3>
<br />
鬱蒼と木々が生い茂る山の中腹からその麓にある村をじっと見詰める一つの影があった。 ぼろ布の様な物を辛うじて纏っているその体は筆舌に尽くし難い傷を負っていた。<br />
<br />
一つしか無い目で村を凝視するその影は、一本しか残っていない足の代わりに木の枝を杖にし、よろよろと麓の村へと続く道を辿り始めた。<br />
<br />
この村には古くから災厄を避ける為の祀りと称して生け贄を山に捧げると言う儀式があった。この無残な姿の影は今年の生け贄となった男であったが、通常は生きて山を下りる事は出来ない筈が、死に物狂いにもがきあがいた末に命からがらここまで戻って来たのであった。<br />
<br />
男は自分をこんな目に遭わせながら自分達の安泰のみを望む村人達に深い憎悪と復讐の念を抱く鬼と化していた。杖を頼ってゆっくりと麓へと歩む足取り一つとっても、そのどす黒い炎が感じられるほどであった。<br />
<br />
生け贄を捧げる事で災厄を逃れた筈のこの村に真の災厄が訪れようとした。goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-89689708942724648522013-03-11T17:58:00.000+02:002014-04-08T19:24:55.809+03:00Onmyōza Hyakumonogatari Story XIX "Akuro-ō"<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/T3tcLC6rDJs" width="560"></iframe>
(Akuro-ō begins at 01:48)<br />
<br />
"Boss! Our pursuers are <span style="color: #cc0000;">[unclear]</span>!"<br />
<br />
Receiving the report of his out of breath servant, Akuro-ō, the arch-villain known as the Demon of Hiraizumi sat with a sharp look in his eyes and his long sword in hand.<br />
<br />
"I see. Again the same bastard? Today I'm going to settle the score for good."<br />
<br />
Having jumped to his feet, Akuro-ō was stopped by the woman next to him.<br />
<br />
"Dear, this is the right time<sup>[1]</sup>. If we quietly yield to the emperor now, they might just spare the life of this child."<br />
<br />
The woman stroked her plump belly as she said so.<br />
<br />
"Besides, rebelling against the emperor and playing bandits like this, doesn't that make us just as bad as them?"<br />
"I don't care. I'm just letting those guys who massacred our comrades taste their own medicine. I'll become a demon that torments them until their deaths."<br />
<br />
The woman was at a loss for words and drooped her head. Walking onward without looking back Akuro-ō said: "You just stay right here. Take care of the kid."<br />
<br />
Those were the last words of Akuro-ō the woman heard. Their clan was one-sidedly destroyed by the Imperial Court and the villain who had vengefully wreaked havoc in the region was slain like a demon.<br />
<hr />
[1] This is the dictionary meaning of the word, but people often mistake it to mean "the time to quit".<br />
<br />
<br />
<h3>
陰陽座百物語 第拾玖話「悪路王」</h3>
<br />
「お頭!追ってる奴らが<span style="color: #cc0000;">[unclear]</span>きやした!」<br />
<br />
手下の者が息急き切ってそう告げた時、平泉の鬼と呼ばれる大悪党、悪路王は既に抜き身の大刀を手に血走った目を光らせていた。<br />
<br />
「おお。またあの野郎か?今日と言う今日は白黒つけてやるぜ」<br />
<br />
すっくと立ち上がった悪路王に傍らの女が声をかけた。<br />
<br />
「あんた、もう潮時だよ!おとなしく御上に従えばもしかしたらこの子だけでも助けてくれるかも」<br />
<br />
女はそう言って、自らの膨らんだ腹をさすった。<br />
<br />
「大体、御上に反抗して、こんな山賊の真似事してたって、それじゃあいつらと同じじゃないか?」<br />
「同じで結構。わしらの仲間を皆殺しにしやがった奴らを、同じ目に遭わせてやるんだよ。わしは死ぬまで奴らを苦しめる鬼になってやる」<br />
<br />
女はかける言葉を失ってうなだれた。そのまま悪路王は振り返りもせず歩きながら言った。<br />
「おめえは下手に出るなよ。ガキを頼むぜ」<br />
<br />
それが女がこの世で聞く悪路王の最後の言葉となった。朝廷から一方的に一族を滅ぼされ、復讐の為に近隣を荒らし回っていた悪党は、鬼として退治されたのであった。goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-56974825786710261792013-03-06T19:09:00.000+02:002014-04-08T19:29:09.077+03:00Onmyōza Hyakumonogatari Story XVIII "Onmyōji"<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/K-S0RLqvd58" width="560"></iframe>
(Onmyōji begins at 15:50)<br />
<br />
It was late in the evening and the moon was out. A mother together with her sick daughter paid a visit to a soothsayer whose name was known throughout the capital. While the way they were dressed gave away the fact that they came from a respectable family, the pallid face of the daughter who was breathing heavily showed that something was horribly wrong.<br />
<br />
According to the mother, her daughter had married about three months ago and had been living healthily together with her husband when a bird had strayed into their garden, and as she had tried to feed it, it had pecked her hand causing her to collapse right there.<br />
<br />
The soothsayer who had been quietly listening to the mother's story opened his eyes and said: "That is most likely a <i>shikigami</i> someone has sent. Your daughter has been cursed. I do have the power to reverse that curse, but I am not sure whether it is a good idea for me to do so."<br />
<br />
Having heard that, the mother clung on to the soothsayer in tears, begging him to turn that curse on the one who had cast it on her daughter. Unable to look at the desperate mother who was rubbing her forehead against the floor at the feet of the silent soothsayer, softly taking her by the hand, the man renowned as the most powerful sorcerer in the capital opened his mouth.<br />
<br />
"Listen. A curse can become good or evil depending on what is in the heart of the one who uses it. It is exactly like light and shadow. Shadows will always be born when there is light. When light makes one shadow disappear, it will only create a new shadow. You must never forget that."<br />
<br />
Having told the mother so, with the girl in her arms, he started chanting a spell of protection. His chanting lasted all the way until the growing light of the dawn. When it was all bright and you could hear the singing of the birds, the girl's cheeks rapidly recovered their color, and as if her condition last night had only been a dream, with a steady step she and her mother left the soothsayer's mansion after thanking him profusely.<br />
<br />
Having returned home, the girl wanted to show her recovery to her husband right away and called his name. However, there was no reply at all. That's strange she thought, and as she stepped out into the garden, what she saw there made her scream out of horror.<br />
<br />
In the garden that was bathing in the morning light, there were two corpses lying in a dark-red pool of blood. One was that black bird that had pecked her finger. The other one was her husband whose eyes had been gouged out by that bird's beak and whose heart had apparently been impaled.<br />
<br />
For some time after that, there were various rumors about the tragedy that had happened in that good family, but the truth remains uncertain. The only thing certain is that no one has seen that girl since then. Could it really be that the soothsayer was the only one who had foreseen it all?<br />
<br />
<br />
<h3>
陰陽座百物語 第拾捌話「陰陽師」</h3>
<br />
それは或る月夜の晩の事であった。都でも名高い占い師の許を、病を患った若い娘とその母親が訪ねてきた。一目見て良家の者と分かる出で立ちながら、病に喘ぐ娘の青白い顔は徒ならぬ様子を呈していた。<br />
<br />
母親の話すところによると、娘は三月程前に祝言を挙げ、婿入りした夫共々健やかに暮らしていた矢先、庭先に迷い込んだ鳥に餌をやろうとして手を突かれ、そのまま倒れてしまったと言うのである。<br />
<br />
静かに母親の話を聞いていた占い師はそっと目を開け、こう言った。<br />
「それは恐らく何者かが放った式神であろう。その娘は呪われている。私ならその呪詛を返す事も出来るが、それをして良いものかどうか、思案しておるのじゃ」<br />
<br />
それを聞いた母親は泣きながら占い師に取り縋り、どうか娘を呪った相手にその呪いを返してくれと頼み込んだ。何も答えぬままの占い師の足元に額を擦り付け、尚も懇願する母親を見兼ねてか、そっとその手を取り、都一と謳われた妖力を誇るその男は言った。<br />
<br />
「良いか?呪いと言うのは、それを使う者の心一つで善にも悪にもなる。正に光と陰の様なものじゃ。陰は光ある所に必ず生まれる。例え一つの陰を光が消し去っても、それは新たな陰を生むに過ぎん。それを忘れるで無いぞ」<br />
<br />
占い師はそう告げると娘を抱き抱え、護身の呪文を唱え始めた。その呪文はやがて白々と夜が明け始めるまで止む事は無かった。辺りがすっかり明るくなり、小鳥の声が聞こえ出した頃、娘の顔は見る見る赤みを取り戻し、昨夜の様子が嘘だったかの様にしっかりとした足取りで母親と共に何度も礼を告げながら占い師の屋敷を後にした。<br />
<br />
そうして家へと戻った娘は元気になった姿を一刻も早く見せようと夫の名を呼んだ。が、一向に返事が無い。不審に思って庭へと出た娘は、そこで見た物の余りの恐ろしさに思わず悲鳴を上げた。<br />
<br />
朝の日差しに包まれた庭先にはいつか自分の指を突いたあの黒い鳥と、その鳥の嘴で目玉を抉られ、心臓を突き刺されたと思われる夫、二つの躯が赤黒い血溜まりの中で横たわっていたのだった。<br />
<br />
その後暫くは名家で起こった惨劇についての様々な噂が流れたが、事の真相は定かでは無い。ただその後あの娘の姿を見た者は誰一人として無いと言う。果たしてあの占い師だけは全てを見通していたのであろうか?goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-9460162902112084062013-03-06T18:34:00.000+02:002014-04-08T19:34:09.143+03:00Onmyōza Hyakumonogatari Story XVII "Nurikabe"<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/K-S0RLqvd58" width="560"></iframe>
(Nurikabe begins at 08:00)<br />
<br />
On the top of a precipitous cliff, a man seemingly on the verge of tears was peering down into the forest that spread before his eyes.<br />
<br />
"Sigh... What have I done? How could I drop it? I'm done for."<br />
<br />
The man was responsible for delivering to the elder of the neighboring village an important item which symbolized the peace between the two villages. He had carelessly dropped that crucial item down the cliff.<br />
<br />
"I can't go the neighboring village like this. On the other hand, I just can't go back like nothing has happened."<br />
<br />
As if surrounded by an invisible wall, for a while the man stood there with his head between his hands, unable to move. However, as he had accepted the mission on the condition that it may cost him his life, he decided to ignore his own safety and climb down the cliff to search for the item, and so he nervously started down the cliff.<br />
<br />
It seemed that climbing down would be easier than he had thought, but the moment he relaxed his guard, to his bad luck, or perhaps one should say as expected, he fell and rolled down the slope like a pebble. Only his sad death cry echoed through the mountains.<br />
<br />
A short while passed. It had looked like the man was done for, but miraculously, thanks to a branch that had stopped his fall, he had managed to escape death. Furthermore, he had even managed to collect the peace offering and was crawling up the cliff all in tatters. "Now I can complete my mission," he thought, but his relief lasted only a passing moment as a shadow fell over the crouching man.<br />
<br />
"That's a nice little thing you got there. Hand it over."<br />
<br />
Misfortunes always come in pairs. The fate of the man and the peace offering he had risked his life to collect were hanging by a thread as three highwaymen suddenly appeared in front of him. The man was so surprised that he could not even utter a word, but as he was already prepared to die, he started desperately swinging about a stick that had been lying next to him.<br />
<br />
For a moment the highwaymen seemed to be taken by surprise, but in no time at all they grinned and exchanged glances, and then began to sidle closer to the man. But at that moment! The stick he was swinging about sent flying a small stone that flew in a perfect angle into the grove at the opposite side of the cliff. Right away a swarm of bees flew out accompanied with a vicious buzz.<br />
<br />
As if by order, the bees attacked the highwaymen, who ran away in panic with the bees circling around their heads. Dumbfounded by what had happened, but still glad that he had managed to protect the peace offering, the man spurred his bruised body onward and hurried to the neighboring village right away.<br />
<br />
However... What happened when the man reverentially unsealed the peace offering in front of the village elder was nothing short of rubbing salt into a wound. The item he had suffered hell to deliver had been damaged inside its container when it fell down the cliff. By now at his wits end, the man frantically shouted: "It is all my fault! Boil me or burn me if that will settle it!"<br />
<br />
The village elder calmly replied: "Looking at the shape you are in, anyone could tell that you risked your life to deliver this item. We only wanted to test the trustworthiness of the people in your village. Therefore, please report back to your village that we gladly accept this peace offering."<br />
<br />
In no time at all, the man seemed to be on the verge of tears again.<br />
<br />
<br />
<h3>
陰陽座百物語 第拾漆話「塗り壁」</h3>
<br />
切り立った崖の上から今にも泣き出しそうな顔をした男が眼下に広がる森を見下ろしていた。<br />
<br />
「あー…大変な事をしちまった。あれを落としちまったらもう御破算だ」<br />
<br />
男が隣り合う村同士の和平を取り結ぶ為の重要な品を相手の村の長へ届ける役を担っていた。その肝心の品をうっかりと崖の下に取り落としてしまったのである。<br />
<br />
「このまま隣村には行けねぇ… かといってのこのこ帰る訳にもいかねぇ」<br />
<br />
丸で目に見えぬ壁に囲まれたかの様に男はその場でじっと頭を抱え、暫く動く事も出来なかった。しかし、元より命懸けで受けた役目、死んだ気になって崖下に降り、和平の品を探す事を決意した男は、恐る恐る斜面を降り始めた。<br />
<br />
当然と言おうか、不運にもと言おうか、意外に楽に降りられそうだと油断した次の瞬間、男は崖の斜面を石ころの様に転がり落ちていた。悲しげな断末魔だけが山々に響いた。<br />
<br />
暫し時間が経った。男の生存は絶望的に見えたが、何と奇跡的に木の枝に引っ掛かって一命を取り留めた男は目的の和平の品まで回収し、ぼろぼろになって崖から這い上がってきた。「これで役目が果たせる」と安堵したのも束の間、しゃがみ込んだ男の上にふらりと影が落ちた。<br />
<br />
「なかなか良さそうな物持ってるじゃねえか。そいつを寄越しな」<br />
<br />
弱り目に祟り目とはこの事か。命懸けで回収した和平の品と男の運命は突如現れた三人の追い剥ぎの前に風前の灯であった。余りの事に声も出ない男であったが、一度は捨てる覚悟をした命、こうなったら破れかぶれとばかりに、側に転がっていた棒切れを闇雲に振り回した。<br />
<br />
追い剥ぎは一瞬意外そうな顔をしたが直ぐにせせら笑う様に顔を見合わせながら、ゆっくりと男に躙り寄ってきた。すると何と!男が振り回した棒切れに弾き飛ばされた小さな石ころが絶妙な角度で崖とは反対側の林に突っ込んだかと思うと、凶悪な唸り声を上げて蜂の大群が躍り出た。<br />
<br />
蜂は丸で命令を受けたかのように追い剥ぎ三人に襲い掛かり、追い剥ぎは頭上を蜂に囲まれた儘 這這の体で逃げ出してしまった。呆気に取られたのは男の方だったが、兎に角大切な和平の品を死守出来た喜びでぼろぼろの体に鞭打ち、直ぐさま隣村へと急いだ。<br />
<br />
だがしかし… 隣村の長の前で恭しく和平の品を開封した男の状況こそ正に泣きっ面に蜂と言うべきか。死ぬ思いで届けたその品は崖からの転落の際、入れ物の中で既に破損していたのだった。もう為す術の無い男は「全て自分の責任だ!それで済む事なら煮るなり焼くなりしてくれ」と半狂乱になって叫んだが、隣村の長は静かに言った。<br />
<br />
「貴方の姿を見れば、命懸けでこの品を届けようとした事ぐらい分かります。我々は貴方方の村の誠意が見たかった。よって、此度の和平の儀、しかと承ったと御伝えくだされ」<br />
<br />
男の顔は見る見るうちにくしゃくしゃになった。goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-75714604463920799392013-03-05T23:08:00.000+02:002018-04-01T07:20:23.666+03:00Onmyōza Hyakumonogatari Story XVI "Crow Tengu"<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/K-S0RLqvd58" width="560"></iframe>
(Karasutengu begins at 02:08)<br />
<br />
Yokichi, who would turn seven that year, was leading the one-year-younger O-tama by her hand as they walked through the trackless dusky forest. They had lost their way in the mountains while out gathering mushrooms. They thought they were returning the way they came, but no matter how much they went on, there was no sign that they were approaching the foot of the mountain. They walked onward for some time, and when they were starting to grow faint with hunger and fatigue, behind some trees spread out a view that seemed somehow familiar.<br />
<br />
"Hey! Isn't this the other side of the village?" shouted the surprised Yokichi. They stood on the top of a gentle cliff<sup>[1]</sup> located exactly on the opposite side of the place where they had first entered the mountains. It seemed that they had traveled round their small village, crossing two or three of the mountains that surrounded it.<br />
"But we can't climb down a cliff like this."<br />
Having whispered so in her frail voice, O-tama crouched down on the spot. Hearing that, Yokichi suddenly grew hopeless and like her, sunk down to the ground.<br />
<br />
When O-tama eventually started sobbing quietly, once again following her lead, Yokichi too was on the point of tears. Their crying voices resonated and suddenly they were loud enough to drown out the chirping of the insects in the forest. So loud they cried that it took some time for them to realize that the voices of their parents searching for them were echoing in the forest.<br />
<br />
Shortly after that the two were rescued safe and sound. Being scolded by his father for making everyone worry by wandering about so late, the excuse Yokichi came up with was: "Old man Crow Tengu took us away, and when we came to, that's where we found ourselves."<br />
It goes without saying that he had his ear boxed before he could even finish his sentence.<br />
<hr />
[1] "gentle cliff" sounds like an oxymoron, but I'm pretty sure that that is what Kuroneko says.<br />
<br />
<br />
<h3>
陰陽座百物語 第拾陸話「烏天狗」</h3>
<br />
今年七つになる与吉は幼馴染で一つ下の御玉の手を引き、とっぷりと日が暮れた導も無い森の中をとぼとぼと歩いていた。茸を採りに山に入って迷ってしまったのである。来た道を戻っているつもりで歩き続いているのだが、行けども行けども一向に麓に辿り着く気配すら無かった。その儘いくらか歩き続け、空腹と疲労で意識が朦朧とし始めた頃、ふと抜けた木々の向こうに見慣れた様で見慣れない風景が広がった。<br />
<br />
「あっ!これ、村の裏側やねぇか?」<br />
与吉は思わず声を張り上げた。そこは最初に山に入った所と正反対に位置する緩やかな崖の上でどうやら二人は小さな村を囲む山を二つ三つ越えて回って来てしまったらしい。<br />
「でも、こんなとこ降りれんもん」<br />
御玉はしぼむ様にそう呟くと、その場にしゃがみ込んだ。与吉もそう言われると俄然心細くなり、釣られてへたり込んでしまった。<br />
<br />
やがて御玉が小さく啜り泣きを始めると、またまた釣られて与吉もべそをかいた。二人の泣き声は互いに共鳴し合い、たちまち森の虫達の歌声を掻き消す程になった。それはやがて自分達を呼ぶ両親達の声が響いてきても、しばらくそれに気が付かずにいた程であった。<br />
<br />
その後直ぐ二人は無事保護された。<br />
「こんな時間までほっつき歩いて心配かけやがって」と叱る父親に与吉がした言い訳は「烏天狗のおっちゃんに連れていかれて、気が付いたらあそこに居た」と言うものであったが、言い終わらない内に強かに拳骨を食らった事は言うまでもない。goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-71676632827828042652013-03-04T14:21:00.000+02:002014-03-28T18:47:10.509+02:00Onmyōza Hyakumonogatari Story XV "Hurrah Heavy Drinkers"<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/jdqyxHcfBAE?feature=player_embedded' frameborder='0'></iframe>(Uwabami banzai begins at 16:00)</div>
<br />
Sheesh! How sloppy of you to get all drunk and fall asleep in a place like this. Oh well. Today was your big day after all. Who could have guessed? The little brat that you were grew up to be a fine man. Well, since you've taken after me I guess that's no surprise. But you know, we sure had to put up with a lot of your silly tricks when you were a kid.<br />
<br />
Like when you pulled out all the radishes from your grandpa's field and tried to sell them at the market. Do you remember that? We found out about it right away and caught you. You were tied to the cherry tree in the backyard and sure got an earful. But right after that I think we made you some warm rice porridge. Even now I sometimes recall the face of your grandfather as he drinks cold sake with great relish and watches you gladly slurping your porridge with tears in your eyes. He laughed and said that the three of us should have a drink together when the sonny grows up. In the end, he passed away before we could keep that promise.<br />
<br />
The winter night you were born sure was cold and it had been snowing all day long. But you know what? Your grandfather walked through all that snow because he couldn't wait to see his grandson. He smiled joyfully when he saw the ruddy face of the bawling baby. The sake we drank together that day was absolutely delicious.<br />
<br />
Hey! How long are you going to sleep? This time it's your turn to become a father, right? You mustn't make your pregnant wife worry about you. Oh well, I guess you can't hear me. Anyway, when your child grows up, this time let's make sure we have that drink together!<br />
<br />
Hurrah heavy drinkers for generations to come!<br />
Ah, dammit! What a happy day!<br />
<br />
<br />
<h3>
陰陽座百物語 第拾伍話「蟒蛇万歳」</h3>
<br />
あーあ!全くだらしねえなあ、こんな所で酔っ払って寝ちまいやがって。ま、仕方ねえな。今夜はめでてえ祝いの席だったんだからよ。しかし何だ、悪ガキだったおめえが、なかなか立派になったもんだな。ま、オヤジの俺に似たんだからあたりめえか。でもよ、ガキの頃のおめえの悪さにゃほとほと手を焼いたぜ。<br />
<br />
いつだったか、じいさんの畑の大根を全部勝手に引っこ抜いて、町に売りに行った時の事、覚えてるか?直ぐにばれてとっつかまって、裏の桜の木に縛り付けられてよ。こってり叱られたよな。でもその後直ぐ、あったけえ雑炊作って食べさしてくれたっけな。嬉しそうに雑炊啜りながら泣いてるおめえを肴に、美味そうに冷や酒飲んでたじいさんの顔、今でもたまに思い出すよ。坊主が大人になったら儂とお前と三人で一緒に飲もうやって笑ってた。結局、約束果たせねえまま逝っちまったけどな。<br />
<br />
おめえが生まれた冬の夜は、一日中降り続いた雪が積もって、そりゃ寒かった。でもよ、早く孫の顔が見たいつって、じいさん、雪ん中歩いてやってきたんだ。<br />
真っ赤になって泣いてる赤ん坊のおめえ見て、嬉しそうに笑ってたっけ。あの日じいさんと飲んだ酒は、特別美味かったな…<br />
<br />
おいこら!いつまで寝てんだ?今度はおめえがオヤジになるんだろう?身重の嫁さんに心配かけんじゃねえぞ。って、へ、聞いちゃいねえ。まあいいさ、生まれてくる子が大人になったら、そん時は今度こそ三人で一緒に飲もうや!<br />
<br />
親子代々、蟒蛇万歳だ!<br />
あーちくしょう!めでてえ!めでてえなー!goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-73854647005722322052013-03-04T13:59:00.000+02:002016-03-09T13:08:39.856+02:00Onmyōza Hyakumonogatari Story XIV "Tanuki-belly Drumbeat"<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/jdqyxHcfBAE?feature=player_embedded' frameborder='0'></iframe>(Tanuki-bayashi begins at 09:14)</div>
<br />
Yesterday, my dad got really angry at me because I just can't transform properly no matter how many times I try. Even Konkichi the Fox<sup>[1]</sup> who's the same age as me can already turn into a Jizo and scare people out of their rice balls. Damn it! And we tanuki are the ones that are supposed to be the superior ones at transforming compared to some foxes. My dad can even transform into a feudal lord. Well, the best I can do is change into a rice-cake offering.<br />
<br />
When a tanuki transforms, they slap their belly and shout "popon!" But my "popon" seems be out of tune or something. That's why I have to keep practicing with my dad yelling at me to try it again. My mom says that there is no need to get impatient since I'm still a child, but I want to become as good as my dad as soon as possible. I want to transform into a princess and bring lots of pretty kimonos to my mom. And I guess I want my dad to praise me. Today will be the day when I transform into a Jizo!<br />
<br />
Oh! Just what the doctor ordered, an old woman is coming right this way. I'll scare her for sure.<br />
<br />
Slap my belly and popon!<br />
Aah! Why is my tail still visible!<br />
Once more. Popon! Popon!<br />
H- huh? I think I actually did it!<br />
No tail in sight, and my body's stone too!<br />
All right! I'll just wait still here...<br />
Oh! This is so exciting!<br />
Ah! The old woman is praying to me!<br />
She even left me an offering of rice-cakes and sake!<br />
I did it! I did it dad! Daddy!<br />
<br />
"Dear Jizo, I've grown so old that my eyesight is leaving me and as of late I cannot see things clearly. Even now, it looks to me as if you had whiskers on your face. I humbly ask for my eyesight to get better again."<br />
<hr />
[1] Konkichi means fox. English equivalent would be Reynard the Fox.
<br />
<br />
<h3>
陰陽座百物語 第拾肆話「狸囃子」</h3>
<br />
昨日、父ちゃんに怒られた。オイラがいつまで経っても上手く化けられないからだ。狐のこん吉は、オイラと同い年なのにもうお地蔵様に化けて、旅人を脅かして御握りをくすねてるらしい。ちくしょう、何だよ!本当は狐なんかよりオイラ達狸の方がすごいんだぞ。オイラの父ちゃんは、殿様にだって化けられるんだ。そりゃ、オイラはまだ御供えの餅にしか化けらんねえけど。<br />
<br />
狸が化ける時は、お腹を叩いてポポーン!と一鳴きするんだ。けど、どうもオイラのポポーンは、拍子が合ってねえらしい。だから何度も父ちゃんに、もう一回!って怒られながら練習する。母ちゃんは、お前は子供なんだから焦らなくていいのよって言うけど、オイラは早く父ちゃんみたいになりたい。お姫様に化けて、母ちゃんのために綺麗な着物持って来てやりたいんだ。それからやっぱり、父ちゃんに褒められたいし。だから今日こそお地蔵様に化けてみせる。<br />
<br />
あ!お誂え向きに向こうからばあさんが歩いてきやがるじゃねえか。絶対脅かしてみせるぞ。<br />
<br />
お腹を叩いて ポポーン!<br />
あー!何で尻尾が隠れないんだよ!<br />
もう一回。ポポーン!ポポーン!<br />
あ・あれ?なんか上手くいった気がするぞ。<br />
尻尾も出てねえし、体もちゃんと硬くなってる!<br />
よーし!このままここでじっとして・・・<br />
あー!ドキドキするなー!<br />
は!ばあさんがオイラを拝んでる。<br />
お供えのお酒とお餅も置いたぞ!やった!やったよ父ちゃん!父ちゃーん!<br />
<br />
「御地蔵様、私もようよう年がいってしもうて、近頃目が悪ろうなって碌に物が見分けられませんのじゃ。 今も、御地蔵様の顔に、髭が生えてる様に見えておりましてなあ。 どうか、この目が良くなります様に」goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-55270467494174919002013-03-03T19:06:00.000+02:002014-04-08T19:42:24.522+03:00Onmyōza Hyakumonogatari Story XIII "Maikubi"<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/jdqyxHcfBAE?feature=player_embedded' frameborder='0'></iframe>(Maikubi begins at 01:37)</div>
<br />
In a small shop by the sea, three men were drinking sake. All three were on their way back from the festival and were complete strangers who just happened to share a table. But with the festivities still fresh in their minds, they seemed to be drinking quite merrily. However, in no time at all, whatever the cause may have been, the mood at their table changed from merry to murderous.<br />
<br />
"Hey you! What did you just say?"<br />
"I already told you. You know the saying that goes like "more brawn, less brain"? When one just looks at you it proves that the thing ain't necessarily so. That's what I said."<br />
"Cut the crap! I know you said that looking at me made you know exactly what they mean!"<br />
"No I didn't! You can't even remember what was said a moment ago, it would seem the more brawn..."<br />
"There! Now you said it! You're gonna get what's coming to you!"<br />
"Shut up. Your squabble makes the sake taste bad."<br />
"Wha? You too, I don't like your attitude! Acting all highfalutin'— a loafer who can't even find work has no place talking back to me!"<br />
"Just say that one more time."<br />
"Sure! I'll say it as many times as I like! Listen up. A layabout who can't even find work... no wait, an idler... what was it? Eh? What did I say just now?<br />
"Hahahaha! Just like they say: more brawn, less brain! If you even have one that is! Hahahaha!"<br />
"Humph. What a useless hulk."<br />
"You two... You want me to wrap you both in a bamboo mat and throw you in a river? Do you!?"<br />
"Hey, don't go grouping us together just like that. I'm not really a friend of this bum or anything."<br />
"Bum? You should not have said that."<br />
"No, wait! It's because this hulk here... Uh, I mean..."<br />
"You're all the same to me! Don't you two even think about leaving here alive!"<br />
"You took the words right out of my mouth."<br />
"Augh! Wa-wa-wa- wait a minute! Don't draw your swords!"<br />
"Hyaaah!"<br />
<br />
All three drew their swords at the same time. As if by a miracle, they all managed to sever each other's heads simultaneously. The severed heads then went rolling into the sea. However, even when their heads were all that remained of them, the three did not stop quarreling. Entwining their hair, biting each other, the three-way quarrel went on indefinitely. And that is why they call this place Tomoegafuchi [Three-way Deep].<br />
Although some people think that the story sounds a little too fanciful to be true.<br />
<br />
<br />
<h3>
陰陽座百物語 第拾参話「舞頸」</h3>
<br />
海の辺にある小さな店である三人の男達が酒を飲んでいた。皆、祭りを見物した帰りで、たまたま相席となっただけの間柄であったが、祭りの余韻も手伝い、そこそこ楽しげに飲んでいる様であった。しかし、ふと気が付くと、何があったか、その席にはとても楽しげとは言い難い、ぴりぴりとした雰囲気が漂っていた。<br />
<br />
「おいこら!てめえ!さっき何て言いやがった?」<br />
「いやだから、よく世間では大男総身に知恵が回りけりとか言いやすけど、だんなを見てるとあながちそう言えたもんでもねーなって、そう言ったんでやすよ。」<br />
「嘘を言え!だんなを見てるとよく分かるって言いやがったろ!」<br />
「言ってやせんって!ついさっきの話も覚えてないなんて、こりゃやっぱり総身に知恵が・・・」<br />
「あー!言った!今言った!もう許さねえ」<br />
「黙れ。酒が不味くなる」<br />
「あーん?てめえもなあ、さっきから気に入らねえんだよ!気障ったらしく構えやがって、仕官先も見付からずにぶらぶらしてるような奴につべこべ言われたかねえなー!」<br />
「もう一度言ってみろ」<br />
「おお!何度でも言ってやら!あのな、仕官先が見付からなくて、ふらふら・・・いやー、だらだら・・・だったか?え?俺さっき何つった?」<br />
「ひゃははは!やっぱり知恵が総身に回ってねえや!しかも、一番大事なおつむに回ってねえときた!ひゃははは!」<br />
「ふん。独活の大木が」<br />
「てめえら・・・まとめて簀巻にしてやっか?あーん!?」<br />
「ちょっと勝手にまとめねえでくださいよ。あっしは別にこの甲斐性無し野郎の味方って訳じゃありゃせんからね」<br />
「甲斐性無し?言ってはならんことを言ったな」<br />
「いやちょっと待った!そりゃこっちの独活の大木が・・・いや、うーん・・・」<br />
「どっちでもいい!てめえら生きてここを出られると思うな」<br />
「そらはこちらの台詞だ」<br />
「あ゛ー!ちょちょちょ、ちょっと待って!ちょっと抜くの待って!」<br />
「おりゃーーー!」<br />
<br />
刀を抜いたのは三人同時だった。奇跡的に三人は互いにそれぞれの頸を同時に切り落とし、頸は転がって海に落ちた。しかし、頸だけになっても尚、三人は争うのを止めなかった。髪を絡ませ、噛み付き合い、三つ巴の争いを果てしなく続けた。それでこの淵を 巴ヶ淵 と呼ぶ様になったと言うのは、しょうしょう出来過ぎた話だと人は言う。goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-62912055086046059992013-03-03T18:52:00.000+02:002013-03-06T21:21:25.849+02:00Onmyōza Hyakumonogatari Story XII "Your Shadow"<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/45YrdD6Gbpw?feature=player_embedded' frameborder='0'></iframe>(Omokage begins at 16:28)</div>
<br />
How long has it been since you passed away? I've grown all old, but you're still the same strapping young man smiling in the photograph. When you first met me, you just kept admiring the design of my kimono instead of me. Do you remember that? "Those are very pretty wisteria flowers," you said without once raising your blushing face. Out of disappointment, I haven't worn that kimono at all since then. But when the war was over, that was the only thing I never sold, even when I needed the money.<br />
<br />
When I received news of your passing, I cried until my tears ran dry. I actually intended to follow you right away. I wanted to burn myself in the flames of the war and be with you once again. Even though the air raid sirens were ringing and the sky turned deep red, I walked in the opposite direction of the people running for their lives. That was when you came to me, didn't you? "You just keep getting yourself in trouble. Come on, this way," you said and lead me by the hand, like back when we used to walk by the riverbank. I felt so happy.<br />
<br />
That was when I decided that I would keep on living even if I was alone. No, forgive me. I forget that I haven't been alone at all. Through hard times, through painful times, and through happy times too, I have always felt your presence. You must have come to check up on me since I always get myself in trouble. Still, together with your shadow, I've managed to live long enough to become a wrinkly old granny. My dear, I'm sure we are going to meet soon. When I meet you I'll be as proud as a peacock. I've worked hard enough, haven't I? I know! I think I'll wear that kimono with the wisteria flowers on it. That way you'll recognize me right away, right? But this time, say something nice about me instead of just admiring my kimono, okay?<br />
<br />
<br />
<h3>
陰陽座百物語 第拾弐話「面影」</h3>
<br />
貴方が逝ってしまって、もうどれ位になりますかしら?私はすっかり年老いてしまったのに、写真の貴方は清清しい青年の姿で、今でも微笑んでいますね。貴方は私に始めて会った時、私の事より着物の柄ばかりを褒めたのよ。覚えているかしら?とても美しい藤の花ですねって、始終うつむいて真っ赤になって。何だか悔しくて、あれきり一度も着なかったけれど、戦争が終わって物入りの時も、何故だかあれだけは売らなかったの。<br />
<br />
貴方が逝ってしまったと知らせを受けた時は、涙が枯れ果てるまで泣きました。急いで私も後を追おうと思ったわ。私も戦いの炎に焼かれて、貴方の許に行こうと思った。警報が鳴り響いて、空が真っ赤になっても 、げる人達と反対の方へ歩いていったの。でも貴方、あの時、私の所へ来てくださったでしょう?「まったくお前は危なっかしいな。ほら、こっちだよ」って、いつも二人で河原を散歩していた時の様に手を引いてくださったの。嬉しかったわ。<br />
<br />
あの時私、一人でもちゃんと生きてみようって決めたんですのよ。いいえ、一人じゃなかったわね。辛い時、苦しい時、幸せな時、いつも貴方の気配を感じたわ。きっと私があんまり危なっかしいから、様子を見に来てくださっていたのね。でも、貴方の面影と共に、こんな皺くちゃのおばあさんになるまで、生きてこられたのよ。ねえ貴方、きっともうそろそろお会い出来ますわね。私、大威張りで貴方に会うわ。頑張ったでしょうって。そうだ!あの藤の花の着物、あれを着ていこうかしら?そうすれば貴方、人目で私だと気付いてくださるでしょう?でも、お願いですから今度は着物じゃなくて私の事、褒めてくださいね。goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-5120093558847548992013-03-03T01:37:00.000+02:002014-04-08T19:45:16.968+03:00Onmyōza Hyakumonogatari Story XI "Ninja Scroll of Bewitching Flower"<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/45YrdD6Gbpw?feature=player_embedded' frameborder='0'></iframe>(Yōka ninpōchō begins at 08:56)</div>
<br />
I am the servant of a kunoichi and up until now I have put an end to the lives of numerous men. Sometimes they were samurai from an enemy nation, sometimes ninjas from an opposing style. There were some formidable opponents among them, but there has not been a man that my master and I could not defeat. The method my master specializes in involves her getting on intimate terms with her target and rendering them defenseless with her sexual charms. She then invites them to bed and when the time is right, she releases me from her body, killing them with a single blow. After the act is done, I return to where I came from, meaning I go back inside my master's body. Since I hide myself so speedily, even if there is a commotion after the man is found dead, nobody notices that it was the work of my master and I.<br />
<br />
Sometimes it can take a while before the target opens himself up. At times like that, my master properly accompanies them in bed so as not to seem suspicious. When she does so, her moans of ecstasy are sublimely lustrous, like a bewitching flower. Even I find it hard to believe that they are just an act. From time to time I even think that maybe my master does this work because she likes it, but whenever I see the tears my master sheds when she is dressing herself after finishing an opponent, I let go of such silly notions. I do not know why my master sheds tears, but when she does, I feel sad together with her. If but only once, I would like to gently hold my master round the shoulders, but unfortunately I am a snake, therefore my hands are tied, so to speak.<br />
<br />
<br />
<h3>
陰陽座百物語 第拾壱話「妖花忍法帖」</h3>
<br />
私はとあるくノ一に仕える身で、今までに何人もの男をあの世に送って参りました。ある時は敵国の侍、またある時は敵対流派の忍者等、中には手強い相手もおりましたが、私と御主人様の手にかかって倒せない男等おりませんでした。御主人様が得意とするのは相手の男の懐に飛び込み、色仕掛けで骨抜きにした後、床に誘い込んで、いざと言う瞬間にその体に潜ませた私を放ち、一撃の下に葬り去ると言う手段です。事が済めば私は元居た場所、つまり御主人様の体の中ですが、そこへ速やかに身を隠します故、男が死んだ事が分かって騒ぎになっても誰もそれが御主人様と私の仕業だとは気が付きません。<br />
<br />
時には相手が隙を見せるまでそれなりに時間の掛かる事も御座います。そんな時、御主人様は怪しまれぬ様、しっかりと床の御相手を御勤めになるので御座いますが、そんな時に見せる法悦の喘ぎは丸で妖しい花の様に壮絶な艶やかさで、私が見てもとても芝居だとは思えないもので御座います。それで時々、御主人様は好んでこの仕事を果たしているのだと思う事すらあるのですが、相手を葬り、身繕いをしている御主人様がふと零す泪を見る度に私はその浅はかな考えを改めるので御座います。私には、なぜ御主人様が泪を流すのか分かりません。でも、御主人様が泪を流すと私も一緒に悲しくなるのです。一度でいいから、そんな御主人様の肩をそっと抱いてみたいと思うのですが、残念ながら私は蛇で御座いますので、手も足も出ないので御座います。goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0tag:blogger.com,1999:blog-3934502490428596911.post-74216074487128917602013-03-03T01:17:00.000+02:002014-04-14T01:33:59.853+03:00Onmyōza Hyakumonogatari Story X "The Misshapen Moon"<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/45YrdD6Gbpw?feature=player_embedded' frameborder='0'></iframe>(Yugamu tsuki begins at 01:30)</div>
<br />
At the bottom of a cold, murky lake located deep in the heart of the forest there lived a hideous creature. A long time ago, there was a time when that creature had still been a human. Her nails whose beauty people compared to that of cherry tellin<sup>[1]</sup> turned dark and twisted like the roots of a tree, her teeth that were charming like mother-of-pearl became sharp like the fangs of a beast, and her skin that was as smooth as a white peach became completely covered with hard scales. The thing she changed into was something utterly gruesome. To hide her hideous body, the creature resided at the cold bottom of a lake, where it had lived for a length of time that defies belief. All the while being tormented by the weight of her sin and punishment.<br />
<br />
It happened on a night when the silvery light of the moon shined brightly all the way to the bottom of the lake. So bright was the light that it made the creature look up at the surface, and there, slowly dancing on the water, she saw the silhouette of someone peering down. How many years had it been since a human last visited the lake? Having once been a human herself, out of nostalgia and without giving it much thought, the creature strained her eyes to take a close look at the person's face. Oh, what a curious coincidence it was! The young man who had stopped to draw water from the lake was the spitting image of the man she had loved long ago when she was still a beautiful human girl.<br />
<br />
Could it be possible? Startled, the creature leaned forward, and at that very moment it just so happened that the refulgent moonbeams grew ever so brighter, and the bottom of the lake was illuminated with dazzling light. That was when the traveler noticed the monster illuminated by the moonlight and with his face distorted in fear he gave out a cry of horror. Having been seen, in the twinkling of an eye, the creature leaped to the surface and struck its sharp fangs at the base of the traveler's throat. Like the blood of the man she loved had once soaked her hands, the creature's throat was now dyed bright red with the blood that flowed from the traveler's neck. Once the man eventually stopped breathing, she quietly dived back to the bottom, carrying the traveler between her teeth.<br />
<hr />
[1] 桜貝 - A glossy pink type of clam.<br />
<br />
<br />
<h3>
陰陽座百物語 第拾話「歪む月」</h3>
<br />
深い深い森の奥、暗く冷たい湖の底に醜い物の怪が住んでおりました。遥か昔、まだその物の怪が人間であった頃には、丸で桜貝の様だと称えられた美しい爪は木の根の様に黒く捩じれ、螺鈿のような愛らしい歯も獣の如く鋭く尖り、白桃の様に美しかった肌には硬い鱗がびっしりと生え、それはそれは恐ろしい姿へと変わり果てていました。物の怪は醜い身体を隠す様に、気の遠くなる様な長い年月を冷たい水の底で唯、永らえていました。己の犯した罪とその罰の重さに苦しみながら。<br />
<br />
ある夜の事です。その夜は月が眩しく、物の怪の居る水底まで白い光が射し込んでいました。その光の眩しさに水面を見上げると、ゆらゆらと揺れる人影が一つ、こちらを覗き込んでいるではありませんか。この湖に人が訪れるのは幾年振りでしょうか?かつては人であった物の怪は懐かしさから思わずその人影の顔を良く見ようと、目を凝らしました。嗚呼、何と言う事でしょう!旅の途中、水を汲みに来たその青年は、遠い昔、物の怪がまだ美しい人間の娘だった頃に愛した人に瓜二つだったのです。<br />
<br />
もしや!と物の怪が驚き、思わず身を乗り出した刹那、月の光は無情にも燦然と輝きを増し、水底を煌煌と照らしました。すると旅人は月光に照らされた物の怪の姿に気付き、恐怖に歪んだ形相で大声を上げました。姿を見られた物の怪は瞬く間に水面まで躍り上がり、旅人の首元に鋭い牙を突き立てました。かつて愛しい人の血が自分の手を紅く濡らした様に、物の怪の喉元は旅人の首から流れ出る血で真っ赤に染まり、やがて息をしなくなった旅人を銜えたまま、唯静かに水底へと帰って行きました。goutetsu (aka tappajamursu)http://www.blogger.com/profile/17128853400071075327noreply@blogger.com0