In Ghostly Japan. Lafcadio Hearn

of the history of mixed incenses made in Japan,—with notes on the classifications devised by the luxurious Takauji, and on the nomenclature established later by Ashikaga Yoshimasa, who collected one hundred and thirty varieties of incense, and invented for the more precious of them names recognized even to this day,—such as "Blossom-Showering," "Smoke-of-Fuji," and "Flower-of-the-Pure- Law." Examples ought to be given likewise of traditions attaching to historical incenses preserved in several princely families, together with specimens of those hereditary recipes for incense- making which have been transmitted from generation to generation through hundreds of years, and are still called after their august inventors,—as "the Method of Hina-Dainagon," "the Method of Sento-In," etc. Recipes also should be given of those strange incenses made "to imitate the perfume of the lotos, the smell of the summer breeze, and the odor of the autumn wind." Some legends of the great period of incense-luxury should be cited,—such as the story of Sue Owari-no-Kami, who built for himself a palace of incense-woods, and set fire to it on the night of his revolt, when the smoke of its burning perfumed the land to a distance of twelve miles…. Of course the mere compilation of materials for a history of mixed-incenses would entail the study of a host of documents, treatises, and books,—particularly of such strange works as the Kun-Shu-Rui-Sho, or "Incense-Collector's Classifying-Manual";—containing the teachings of the Ten Schools of the Art of Mixing Incense; directions as to the best seasons for incense-making; and instructions about the "different kinds of fire" to be used for burning incense—(one kind is called "literary fire," and another "military fire"); together with rules for pressing the ashes of a censer into various artistic designs corresponding to season and occasion…. A special chapter should certainly be given to the incense-bags (kusadama) hung up in houses to drive away goblins,—and to the smaller incense-bags formerly carried about the person as a protection against evil spirits. Then a very large part of the work would have to be devoted to the religious uses and legends of incense, —a huge subject in itself. There would also have to be considered the curious history of the old "incense-assemblies," whose elaborate ceremonial could be explained only by help of numerous diagrams. One chapter at least would be required for the subject of the ancient importation of incense-materials from India, China, Annam, Siam, Cambodia, Ceylon, Sumatra, Java, Borneo, and various islands of the Malay archipelago,—places all named in rare books about incense. And a final chapter should treat of the romantic literature of incense,—the poems, stories, and dramas in which incense-rites are mentioned; and especially those love-songs comparing the body to incense, and passion to the eating flame:—

      Even as burns the perfume lending thy robe its fragance, Smoulders my life away, consumed by the pain of longing!

      ….The merest outline of the subject is terrifying! I shall attempt nothing more than a few notes about the religious, the luxurious, and the ghostly uses of incense.

      III

      The common incense everywhere burned by poor people before Buddhist icons is called an-soku-ko. This is very cheap. Great quantities of it are burned by pilgrims in the bronze censers set before the entrances of famous temples; and in front of roadside images you may often see bundles of it. These are for the use of pious wayfarers, who pause before every Buddhist image on their path to repeat a brief prayer and, when possible, to set a few rods smouldering at the feet of the statue. But in rich temples, and during great religious ceremonies, much more expensive incense is used. Altogether three classes of perfumes are employed in Buddhist rites: ko, or incense-proper, in many varieties—(the word literally means only "fragrant substance"); —dzuko, an odorous ointment; and makko, a fragrant powder. Ko is burned; dzuko is rubbed upon the hands of the priest as an ointment of purification; and makko is sprinkled about the sanctuary. This makko is said to be identical with the sandalwood-powder so frequently mentioned in Buddhist texts. But it is only the true incense which can be said to bear an important relation to the religious service.

"Incense," declares the Soshi-Ryaku,1 "is the Messenger of Earnest Desire. When the rich Sudatta wished to invite the Buddha to a repast, he made use of incense. He was wont to ascend to the roof of his house on the eve of the day of the entertainment, and to remain standing there all night, holding a censer of precious incense. And as often as he did thus, the Buddha never failed to come on the following day at the exact time desired."

This text plainly implies that incense, as a burnt-offering, symbolizes the pious desires of the faithful. But it symbolizes other things also; and it has furnished many remarkable similes to Buddhist literature. Some of these, and not the least interesting, occur in prayers, of which the following, from the book called Hoji-san2 is a striking example:—

—"Let my body remain pure like a censer!—let my thought be ever as a fire of wisdom, purely consuming the incense of sila and of dhyana,3 that so may I do homage to all the Buddhas in the Ten Directions of the Past, the Present, and the Future!"

      Sometimes in Buddhist sermons the destruction of Karma by virtuous effort is likened to the burning of incense by a pure flame,—sometimes, again, the life of man is compared to the smoke of incense. In his "Hundred Writings "(Hyaku-tsu-kiri- kami), the Shinshu priest Myoden says, quoting from the Buddhist work Kujikkajo, or "Ninety Articles ":—

      "In the burning of incense we see that so long as any incense remains, so long does the burning continue, and the smoke mount skyward. Now the breath of this body of ours,—this impermanent combination of Earth, Water, Air, and Fire,—is like that smoke. And the changing of the incense into cold ashes when the flame expires is an emblem of the changing of our bodies into ashes when our funeral pyres have burnt themselves out."

      He also tells us about that Incense-Paradise of which every believer ought to be reminded by the perfume of earthly incense: —"In the Thirty- Second Vow for the Attainment of the Paradise of Wondrous Incense," he says, "it is written: 'That Paradise is formed of hundreds of thousands of different kinds of incense, and of substances incalculably precious;—the beauty of it incomparably exceeds anything in the heavens or in the sphere of man;—the fragrance of it perfumes all the worlds of the Ten Directions of Space; and all who perceive that odor practise Buddha-deeds.' In ancient times there were men of superior wisdom and virtue who, by reason of their vow, obtained perception of the odor; but we, who are born with inferior wisdom and virtue in these later days, cannot obtain such perception. Nevertheless it will be well for us, when we smell the incense kindled before the image of Amida, to imagine that its odor is the wonderful fragrance of Paradise, and to repeat the Nembutsu in gratitude for the mercy of the Buddha."

      IV

But the use of incense in Japan is not confined to religious rites and ceremonies: indeed the costlier kinds of incense are manufactured chiefly for social entertainments. Incense-burning has been an amusement of the aristocracy ever since the thirteenth century. Probably you have heard of the Japanese tea- ceremonies, and their curious Buddhist history; and I suppose that every foreign collector of Japanese bric-a'-brac knows something about the luxury to which these ceremonies at one period attained,—a luxury well attested by the quality of the beautiful utensils formerly employed in them. But there were, and still are, incense-ceremonies much more elaborate and costly than the tea-ceremonies,—and also much more interesting. Besides music, embroidery, poetical composition and other branches of the old-fashioned female education, the young lady of pre-Meiji days was expected to acquire three especially polite accomplishments, —the art of arranging flowers, (ikebana), the art of ceremonial tea-making (cha-no-yu or cha-no-e),4 and the etiquette of incense-parties (ko-kwai or ko-e). Incense-parties were invented before the time of the Ashikaga shoguns, and were most in vogue during the peaceful period of the Tokugawa rule. With the fall of the shogunate they went out of fashion; but recently they have been to some extent revived. It is not likely, however, that they will again become really fashionable in the old sense,—partly because they represented rare forms of social refinement that never can be revived, and partly because of their