[87]It is possible that this name was made simply by taking one character of the father's name. The girl's name otherwise conveys no intelligible meaning.
[87]It is possible that this name was made simply by taking one character of the father's name. The girl's name otherwise conveys no intelligible meaning.
[87]It is possible that this name was made simply by taking one character of the father's name. The girl's name otherwise conveys no intelligible meaning.
[88]The suffix "ko" is sometimes dropped for reasons of euphony, and sometimes for reasons of good taste—difficult to explain to readers unfamiliar with the Japanese language—even when the name consists of only one syllable or of two syllables.
[88]The suffix "ko" is sometimes dropped for reasons of euphony, and sometimes for reasons of good taste—difficult to explain to readers unfamiliar with the Japanese language—even when the name consists of only one syllable or of two syllables.
[88]The suffix "ko" is sometimes dropped for reasons of euphony, and sometimes for reasons of good taste—difficult to explain to readers unfamiliar with the Japanese language—even when the name consists of only one syllable or of two syllables.
[89]This name is borrowed from the name of the sacred gemNyoihōju, which figures both in Shintō and in Buddhist legend. The divinity Jizō is usually represented holding in one hand this gem, which is said to have the power of gratifying any desire that its owner can entertain. Perhaps theNyoihōjumay be identified with the Gem-TreasureVeluriya, mentioned in the Sûtra of The Great King of Glory, chapter i. (SeeSacred Books of the East, vol. xi.)
[89]This name is borrowed from the name of the sacred gemNyoihōju, which figures both in Shintō and in Buddhist legend. The divinity Jizō is usually represented holding in one hand this gem, which is said to have the power of gratifying any desire that its owner can entertain. Perhaps theNyoihōjumay be identified with the Gem-TreasureVeluriya, mentioned in the Sûtra of The Great King of Glory, chapter i. (SeeSacred Books of the East, vol. xi.)
[89]This name is borrowed from the name of the sacred gemNyoihōju, which figures both in Shintō and in Buddhist legend. The divinity Jizō is usually represented holding in one hand this gem, which is said to have the power of gratifying any desire that its owner can entertain. Perhaps theNyoihōjumay be identified with the Gem-TreasureVeluriya, mentioned in the Sûtra of The Great King of Glory, chapter i. (SeeSacred Books of the East, vol. xi.)
[90]A naval officer named Oki told me that his family had originally been settled in the Oki Islands ("Islands of the Offing"). This interesting coincidence suggested to me that the aboveyobinamight have had the same origin.
[90]A naval officer named Oki told me that his family had originally been settled in the Oki Islands ("Islands of the Offing"). This interesting coincidence suggested to me that the aboveyobinamight have had the same origin.
[90]A naval officer named Oki told me that his family had originally been settled in the Oki Islands ("Islands of the Offing"). This interesting coincidence suggested to me that the aboveyobinamight have had the same origin.
[91]So written, but probably pronounced as two syllables only.
[91]So written, but probably pronounced as two syllables only.
[91]So written, but probably pronounced as two syllables only.
Inthe first part of this paper I suggested that the custom of giving very poetical names togeishaand tojorōmight partly account for the unpopularity of purely æstheticyobina. And in the hope of correcting certain foreign misapprehensions, I shall now venture a few remarks about the names ofgeisha.
Geisha-names,—like other classes of names,—although full of curious interest, and often in themselves really beautiful, have become hopelessly vulgarized by association with a calling the reverse of respectable. Strictly speaking, they have nothing to do with the subject of the present study,—inasmuch as they are not real personal names, but professional appellations only,—notyobina, butgeimyō.
A large proportion of such names can be distinguished by certain prefixes or suffixes attached to them. They can be known, for example,—
(1) By the prefixWaka, signifying "Young";—as in the namesWakagusa, "Young Grass";Wakazuru, "Young Stork";Wakamurasaki, "Young Purple";Wakakoma, "Young Filly".
(2) By the prefixKo, signifying "Little";—as in the names,Ko-en, "Little Charm";Ko-hana, "Little Flower";Kozakura, "Little Cherry-Tree".
(3) By the suffixRyō, signifying "Dragon" (the Ascending Dragon being especially a symbol of success);—asTama-Ryō, "Jewel-Dragon";Hana-Ryō, "Flower-Dragon";Kin-Ryō, "Golden-Dragon".
(4) By the suffixji, signifying "to serve", "to administer";—as in the namesUta-ji,Shinné-ji,Katsu-ji.
(5) By the suffixsuké, signifying "help";—as in the namesTama-suké,Koma-suké.
(6) By the suffixkichi, signifying "luck", "fortune";—asUta-kichi, "Song-Luck";Tama-kichi, "Jewel-Fortune".
(7) By the suffixgiku(i. e.,kiku) signifying "chrysanthemum";—asMitsu-giku, "Three Chrysanthemums";Hina-giku, "Doll-Chrysanthemum";Ko-giku, "Little Chrysanthemum".
(8) By the suffix tsuru, signifying "stork" (emblem of longevity);—asKoma-tsuru, "Filly-Stork";Ko-tsuru, "Little Stork";Ito-zuru, "Thread-Stork".
These forms will serve for illustration; but there are others.Geimyōare written, as a general rule, with only two Chinese characters, and are pronounced as three or as four syllables.Geimyōof five syllables are occasionally to be met with;geimyōof only two syllables are rare—at least among names of dancing girls. And these professional appellations have seldom any moral meaning: they signify things relating to longevity, wealth, pleasure, youth, or luck,—perhaps especially to luck.
Of late years it became a fashion among certain classes ofgeishain the capital to assume real names with the genteel suffixKo, and even aristocraticyobina. In 1889 some of the Tōkyō newspapers demanded legislative measures to check the practice. This incident would seem to afford proof of public feeling upon the subject.
decloration3
THIS New Year's morning I find upon my table two most welcome gifts from a young poet of my literary class. One is a roll of cloth for a new kimono,—cloth such as my Western reader never saw. The brown warp is cotton thread; but the woof is soft white paper string, irregularly speckled with black. When closely examined, the black specklings prove to be Chinese and Japanese characters;—for the paper woof is made out of manuscript,—manuscript of poems,—which has been deftly twisted into fine cord, with the written surface outwards. The general effect of the white, black, and brown in the texture is a warm mouse-grey. In many Izumo homes a similar kind of cloth is manufactured for family use; but this piece was woven especially for me by the mother of my pupil. It will make a most comfortable winter-robe;and when wearing it, I shall be literally clothed with poetry,—even as a divinity might be clothed with the sun.
The other gift is poetry also, but poetry in the original state: a wonderful manuscript collection of Japanese songs gathered from unfamiliar sources, and particularly interesting from the fact that nearly all of them are furnished with refrains. There are hundreds of compositions, old and new,—including several extraordinary ballads, many dancing-songs, and a surprising variety of love-songs. Neither in sentiment nor in construction do any of these resemble the Japanese poetry of which I have already, in previous books, offered specimens in translation. The forms are, in most cases, curiously irregular; but their irregularity is not without a strange charm of its own.
I am going to offer examples of these compositions,—partly because of their unfamiliar emotional quality, and partly because I think that something can be learned from their strange art of construction. The older songs—selected from the antique drama—seem to me particularly worthy of notice. The thought or feeling andits utterance are supremely simple; yet by primitive devices of reiteration and of pause, very remarkable results have been obtained. What strikes me especially noteworthy in the following specimen is the way that the phrase, begun with the third line of the first stanza, and interrupted by a kind of burthen, is repeated and finished in the next stanza. Perhaps the suspension will recall to Western readers the effect of some English ballads with double refrains, or of such quaint forms of French song as the famous—
Au jardin de mon père—Vole, mon cœur, vole!Il y a un pommier doux,Tout doux!
But in the Japanese song the reiteration of the broken phrase produces a slow dreamy effect as unlike the effect of the French composition as the movements of a Japanese dance are unlike those of any Western round:—
(Probably from the eleventh century)
Kano yuku wa,Kari ka?—kugui ka?Kari naraba,—(Ref.)Haréya tōtō!Haréya tōtō!Kari naraNanori zo sémashi;—Nao kugui nari-ya!—(Ref.)Tōtō!
That which yonder flies,—Wild goose is it?—swan is it?Wild goose if it be,—Haréya tōtō!Haréya tōtō!Wild goose if it be,Its name I soon shall say:Wild swan if it be,—better still!Tōtō!
There are many old lyrics in the above form. Here is another song, of different construction, also from the old drama: there is no refrain, butthere is the same peculiar suspension of phrase; and the effect of the quadruple repetition is emotionally impressive:—
Isora ga saki niTai tsuru ama mo,Tai tsuru ama mo,—Wagimoko ga tamé to,Tai tsuru ama mo,Tai tsuru ama mo!
Off the Cape of Isora,Even the fisherman catchingtai,[92]Even the fisherman catchingtai,—[Works] for the sake of the woman beloved,—Even the fisherman catchingtai,Even the fisherman catchingtai!
[92]Chrysopbris cardinalis, a kind of sea-bream,—generally esteemed the best of Japanese fishes.
[92]Chrysopbris cardinalis, a kind of sea-bream,—generally esteemed the best of Japanese fishes.
[92]Chrysopbris cardinalis, a kind of sea-bream,—generally esteemed the best of Japanese fishes.
But a still more remarkable effect is obtained in the following ancient song by the extraordinary reiteration of an uncompleted phrase, and by a double suspension. I can imagine nothing more purely natural: indeed the realism of these simple utterances has almost the quality of pathos:—
(Old lyrical drama—date uncertain)
Agémaki[93]woWaséda ni yarité ya!So omou to,So omou to,So omou to,So omou to,So omou to,—So omou to,Nani-mo sezushité,—Harubi sura,Harubi sura,Harubi sura,Harubi sura,Harubi sura!
My darling boy!—Oh! they have sent him to the ricefields!When I think about him,—When I think,When I think,When I think,When I think,—When I think about him!I—doing nothing at all,—Even on this spring-day,Even this spring-day,Even this spring-day,Even this spring-day,Even on this spring-day!—
[93]It was formerly the custom to shave the heads of boys, leaving only a tuft or lock of hair on either temple. Such a lock was calledagémaki, a word also meaning "tassel"; and eventually the term came to signify a boy or lad. In these songs it is used as a term of endearment,—much as an English girl might speak of her sweetheart as "my dear lad," or "my darling boy."
[93]It was formerly the custom to shave the heads of boys, leaving only a tuft or lock of hair on either temple. Such a lock was calledagémaki, a word also meaning "tassel"; and eventually the term came to signify a boy or lad. In these songs it is used as a term of endearment,—much as an English girl might speak of her sweetheart as "my dear lad," or "my darling boy."
[93]It was formerly the custom to shave the heads of boys, leaving only a tuft or lock of hair on either temple. Such a lock was calledagémaki, a word also meaning "tassel"; and eventually the term came to signify a boy or lad. In these songs it is used as a term of endearment,—much as an English girl might speak of her sweetheart as "my dear lad," or "my darling boy."
Other forms of repetition and of refrain are furnished in the two following lyrics:—
(Supposed to have been composed as early as the twelfth century)
Bindatara woAyugaséba koso,Ayugaséba koso,Aikyō zuitaré!Yaréko tōtō,Yaréko tōtō!
With loosened hair,—Only because of having tossed it,Only because of having shaken it,—Oh, sweet she is!Yaréko tōtō!Yaréko tōtō!
(Probably from the sixteenth century)
Sama wa tennin!Soré-soré,Tontorori!Otomé no sugataKumo no kayoijiChirato mita!Tontorori!Otomé no sugataKumo no kayoijiChirato mita!Tontorori!
My beloved an angel is![94]Soré-soré!Tontorori!The maiden's form,In the passing of clouds,In a glimpse I saw!Tontorori!The maiden's form,In the passage of clouds,In a glimpse I saw!Tontorori!
[94]Lit., "a Tennin";—that is to say, an inhabitant of the Buddhist heaven. The Tennin are usually represented as beautiful maidens.
[94]Lit., "a Tennin";—that is to say, an inhabitant of the Buddhist heaven. The Tennin are usually represented as beautiful maidens.
[94]Lit., "a Tennin";—that is to say, an inhabitant of the Buddhist heaven. The Tennin are usually represented as beautiful maidens.
My next selection is from a love-song of uncertain date, belonging to the Kamakura period (1186-1332). This fragment is chiefly remarkable for its Buddhist allusions, and for its very regular form of stanza:—
Makoto yara,Kashima no minato niMiroku no mifuné gaTsuité gozarimōsu.Yono!Sā iyoë, iyoë!Sā iyoë, iyoë!Hobashira wa,Kogané no hobashira;Ho niwa Hokkékyō noGo no man-makimono.Sā iyoë, iyoë!Sā iyoë, iyoë!
I know not if 't is trueThat to the port of KashimaThe august ship of Miroku[95]has come!Yono!Sā iyoë, iyoë!Sā iyoë, iyoë!
[95]Miroku Bosatsu (Maitrêya Bodhisattva) is the next great Buddha to come.
[95]Miroku Bosatsu (Maitrêya Bodhisattva) is the next great Buddha to come.
[95]Miroku Bosatsu (Maitrêya Bodhisattva) is the next great Buddha to come.
As for the mast,It is a mast of gold;—The sail is the fifth august rollOf the Hokkékyō[96]Sā iyoë, iyoë!Sā iyoë, iyoë
[96]Japanese popular name for the Chinese version of the Saddhârma Pundarîka Sûtra.—Many of the old Buddhist scriptures were written upon long scrolls, calledmakimono,—a name also given to pictures printed upon long rolls of silk or paper.
[96]Japanese popular name for the Chinese version of the Saddhârma Pundarîka Sûtra.—Many of the old Buddhist scriptures were written upon long scrolls, calledmakimono,—a name also given to pictures printed upon long rolls of silk or paper.
[96]Japanese popular name for the Chinese version of the Saddhârma Pundarîka Sûtra.—Many of the old Buddhist scriptures were written upon long scrolls, calledmakimono,—a name also given to pictures printed upon long rolls of silk or paper.
Otherwise interesting, with its queer refrain, is another song called "Agémaki,"—belonging to one of the curious class of lyrical dramas known asSaibara. This may be found fault with as somewhat "free"; but I cannot think it more open to objection than some of our much-admired Elizabethan songs which were probably produced at about the same time:—
(Probably from the sixteenth century)
Agémaki ya!Tonton!Hiro bakari ya—Tonton!Sakarité netarédomo,Marobi-ainikéri,—Tonton!Kayori-ainikéri,Tonton!
Oh! my darling boy!Tonton!Though a fathom[97]apart,Tonton!Sleeping separated,By rolling we came together!Tonton!By slow approaches we came together,Tonton!
[97]Lit., "hiro." Thehirois a measure of about five feet English, and is used to measure breadth as well as depth.
[97]Lit., "hiro." Thehirois a measure of about five feet English, and is used to measure breadth as well as depth.
[97]Lit., "hiro." Thehirois a measure of about five feet English, and is used to measure breadth as well as depth.
My next group of selections consists of "local songs"—by which term the collector means songs peculiar to particular districts or provinces. They are old—though less old than the compositions previously cited;—and their interest is chiefly emotional. But several, it will be observed, have curious refrains. Songs of this sort are sung especially at the village-dances—Bon-odoriandHōnen-odori:—
(Province of Echigo)
Hana ka?—chōchō ka?Chōchō ka?—hana ka?Don-don!Kité wa chira-chira mayowaséru,Kité wa chira-chira mayowaséru!Taichokané!Sōkané don-don!
Flower is it?—butterfly is it?Butterfly or flower?Don-don!When you come thus flickering, I am deluded!—When you come thus twinkling, I am bewitched!Taichokané!Sōkané don-don!
(Province of Kii,—village of Ogawa)
Koë wa surédomoSugata wa miénu—Fuka-no no kirigirisu!
Though I hear the voice [of the beloved], the form I cannot see—akirigirisu[98]in the high grass.
[98]The kirigirisuis a kind of grasshopper with a very musical note. It is very difficult to see it, even when it is singing close by, for its color is exactly the color of the grass. The song alludes to the happy peasant custom of singing while at work in the fields.
[98]The kirigirisuis a kind of grasshopper with a very musical note. It is very difficult to see it, even when it is singing close by, for its color is exactly the color of the grass. The song alludes to the happy peasant custom of singing while at work in the fields.
[98]The kirigirisuis a kind of grasshopper with a very musical note. It is very difficult to see it, even when it is singing close by, for its color is exactly the color of the grass. The song alludes to the happy peasant custom of singing while at work in the fields.
(Province of Mutsu,—district of Sugaru)
Washi no kokoro toOki kuru funé wa,Raku ni misétémo,Ku ga taënu.
My heart and a ship in the offing—either seems to move with ease; yet in both there is trouble enough.
(Province of Suwō,—village of Iséki)
Namida koboshitéShinku wo kataru,Kawairashi-sa gaMashimasuru!
As she tells me all the pain of her toil, shedding tears,—ever her sweetness seems to increase.
(Province of Suruga, village of Gotemba)
Hana ya, yoku kiké!Shō aru naraba,Hito ga fusagu niNazé hiraku?
O flower, hear me well if thou hast a soul! When any one sorrows as I am sorrowing, why dost thou bloom?
Iya-na o-kata noShinsetsu yori kaSuita o-kata noMuri ga yoi.
Better than the kindness of the disliked is the violence of the beloved.
(Province of Iwami)
Kawairashi-sa ya!Hotaru no mushi waShinobu nawaté niHi wo tomosu.
Ah, the darling!... Ever as I steal along the ricefield-path [to meet my lover], the firefly kindles a light to show me the way.
(Province of Shinano)
Ano yama kagé déHikaru wa nanja?—Tsuki ka, hoshi ka, hotaru no mushi ka?Tsuki démo naiga;Hoshi démo naiga;—Shūto no o-uba no mé ga hikaru,—(Chorus)Mé ga hikaru!
In the shadow of the mountainWhat is it that shines so?Moon is it, or star?—or is it the firefly-insect?Neither is it moon,Nor yet star;—It is the old woman's Eye;—it is the Eye of mymother-in-law that shines,—(Chorus)It is her Eye that shines!
(Province of Sanuki)
[99]I am not sure of the real meaning of the nameKaëri-Odori(lit. "turn-dance" or "return-dance").
[99]I am not sure of the real meaning of the nameKaëri-Odori(lit. "turn-dance" or "return-dance").
[99]I am not sure of the real meaning of the nameKaëri-Odori(lit. "turn-dance" or "return-dance").
Oh! the cruelty, the cruelty of my mother-in-law!—(Chorus)Oh! the cruelty!Even tells me to paint a picture on running water!If ever I paint a picture on running water,You will count the stars in the night-sky!Count the stars in the night-sky!—Come! let us dance the Dance of the Honorable Garden!—Chan-chan!Cha-cha!Yoitomosé,Yoitomosé!
Who cuts the bamboo at the back of the house?—(Chorus)Who cuts the bamboo?—My sweet lord's own bamboo, the first he planted,—The first be planted?—Come! let us dance the Dance of the Honorable Garden!—Chan-chan!Cha-cha!Yoitomosé,Yoitomosé!Oh! the cruelty, the cruelty of my mother-in-law!—Oh! the cruelty!Tells me to cut and make a hakama[100]out of rock!If ever I cut and sew a hakama of rock,Then you will learn to twist the fine sand into thread,—Twist it into thread.—Come! let us dance the Dance of the Honorable Garden!—Chan-chan!Cha-cha!Yoitomosé,Yoitomosé!Chan-chan-chan!
[100]A divided skirt of a peculiar form, worn formerly by men chiefly, to-day worn by female students also.
[100]A divided skirt of a peculiar form, worn formerly by men chiefly, to-day worn by female students also.
[100]A divided skirt of a peculiar form, worn formerly by men chiefly, to-day worn by female students also.
(Province of Iga, village called Uenomachi)
Visiting the honorable temple, when I see the august gate,The august gate I find to be of silver, the panels of gold.Noble indeed is the gate of the honorable temple,—The honorable temple!Visiting the honorable temple, when I see the garden,I see young pinetrees flourishing in the four directions:On the first little branch of one theshijūgara[101]has made her nest,—Has made her nest.
Visiting the honorable temple, when I see the water-tank,I see little flowers of many colors set all about it,Each one having a different color of its own,—A different color.Visiting the honorable temple, when I see the parlor-room,I find many kinds of little birds gathered all together,Each one singing a different song of its own,—A different song.Visiting the honorable temple, when I see the guest-room,There I see the priest, with a lamp beside him,Reading behind a folding-screen—oh, how admirable it is!—How admirable it is!
[101]The Manchurian great tit. It is said to bring good fortune to the owners of the garden in which it builds a nest,—providing that the nest be not disturbed and that the brood be protected.
[101]The Manchurian great tit. It is said to bring good fortune to the owners of the garden in which it builds a nest,—providing that the nest be not disturbed and that the brood be protected.
[101]The Manchurian great tit. It is said to bring good fortune to the owners of the garden in which it builds a nest,—providing that the nest be not disturbed and that the brood be protected.
Many kinds of popular songs—and especially the class of songs sung at country-dances—are composed after a mnemonic plan. The stanzas are usually ten in number; and the first syllable of each should correspond in sound to the first syllable of the numeral placed before the verse.Sometimes Chinese numerals are used; sometimes Japanese. But the rule is not always perfectly observed. In the following example it will be observed that the correspondence of the first two syllables in the first verse with the first two syllables of the Japanese word for one (hitotsu) is a correspondence of meaning only;—ichibeing the Chinese numeral:—
(Province of Shimosa,—town of Chōshi)[102]
[102]Chōshi, a town of some importance, is situated at the mouth of the Tonégawa. It is celebrated for itsiwashi-fishery. Theiwashiis a fish about the size of the sardine, and is sought chiefly for the sake of its oil. Immense quantities ofiwashiare taken off the coast. They are boiled to extract the oil; and the dried residue is sent inland to serve as manure.
[102]Chōshi, a town of some importance, is situated at the mouth of the Tonégawa. It is celebrated for itsiwashi-fishery. Theiwashiis a fish about the size of the sardine, and is sought chiefly for the sake of its oil. Immense quantities ofiwashiare taken off the coast. They are boiled to extract the oil; and the dried residue is sent inland to serve as manure.
[102]Chōshi, a town of some importance, is situated at the mouth of the Tonégawa. It is celebrated for itsiwashi-fishery. Theiwashiis a fish about the size of the sardine, and is sought chiefly for the sake of its oil. Immense quantities ofiwashiare taken off the coast. They are boiled to extract the oil; and the dried residue is sent inland to serve as manure.
Hitotsutosé,—Ichiban buné é tsumi-kondé,Kawaguchi oshikomu ō-yagoë.Kono tai-ryō-buné!Futatsutosé,—Futaba no oki kara Togawa madéTsuzuité oshikomu ō-yagoë.Kono tai-ryō-bunéMitsutosé,—Mina ichidō-ni manéki wo agé,Kayowasé-buné no nigiyakasaKono tai-ryō-buné!Yotsutosé,—Yoru-hiru taitémo taki-amaru,San-bai itchō no ō-iwashi!Kono tai-ryō-buné!Itsutsutosé,—Itsu kité mitémo hoshika-ba niAkima sukima wa sarani nai.Kono tai-ryō-buné!Mutsutoyé,—Mutsu kara mutsu madé kasu-wari gaŌ-wari ko-wari dé té ni owaré.Kono tai-ryō-buné!Nanatsutosé,—Natakaki Tonégawa ichi-men niKasu-ya abura wo tsumi-okuruKono tai-ryō-buné!Yatsutosé,—Yatébuné no okiai wakashu ga,Ban-shuku soroété miya-mairi.Kono tai-ryō-buné!Kokonotsutosé,—Kono ura mamoru kawa-guchi noMyōjin riyaku wo arawasuru.Kono tai-ryō-buné!
Hitotsutosé,—Ichiban buné é tsumi-kondé,Kawaguchi oshikomu ō-yagoë.Kono tai-ryō-buné!Futatsutosé,—Futaba no oki kara Togawa madéTsuzuité oshikomu ō-yagoë.Kono tai-ryō-bunéMitsutosé,—Mina ichidō-ni manéki wo agé,Kayowasé-buné no nigiyakasaKono tai-ryō-buné!Yotsutosé,—Yoru-hiru taitémo taki-amaru,San-bai itchō no ō-iwashi!Kono tai-ryō-buné!Itsutsutosé,—Itsu kité mitémo hoshika-ba niAkima sukima wa sarani nai.Kono tai-ryō-buné!Mutsutoyé,—Mutsu kara mutsu madé kasu-wari gaŌ-wari ko-wari dé té ni owaré.Kono tai-ryō-buné!Nanatsutosé,—Natakaki Tonégawa ichi-men niKasu-ya abura wo tsumi-okuruKono tai-ryō-buné!Yatsutosé,—Yatébuné no okiai wakashu ga,Ban-shuku soroété miya-mairi.Kono tai-ryō-buné!Kokonotsutosé,—Kono ura mamoru kawa-guchi noMyōjin riyaku wo arawasuru.Kono tai-ryō-buné!