The Heike Monogatari

INTRODUCTION.
Subject and Structure .—The Heike Monogatari, one of the masterpieces of Japanese literature,
and also one of the main sources of the history of the Gempei period, is a poetic narrative of the
fall of the Heike from the position of supremacy it had gained under Taira Kiyomori to almost
complete destruction. The Heike, like the Genji, was a warrior clan, but had quickly lost its hardy
simplicity under the influence of life in the Capital, and identified itself almost entirely with the
effeminate Fujiwara Courtiers whose power it had usurped, so that the struggle between it and
the Genji was really more one between courtiers and soldiers, between literary officials and
military leaders. Historically this period stands between the Heian era of soft elegance and the
Kamakura age of undiluted militarism. The Heike were largely a clan of emasculated Bushi, and
their leader Kiyomori, though he obtained his supremacy by force of arms, assumed the role of
Court Noble and strove to rule the country by the same device of making himself grandfather to
the Emperor as the Fujiwara family had previously done. Hence his rule bears more affinity to
theirs than to that of Yoritomo, of the Genji, who made his headquarters in the Kwanto, well
removed from Kyoto influence and enervation, and relied entirely on a purely military form of
government by and for samurai.
In its construction the book may be divided roughly into two parts according to Mr. Utsumi, the
first half in which the greatness of the Heike is depicted and in which Kiyomori is the chief figure,
and the second which describes their overthrow, in which Yoshitsune holds the centre of the
stage. Mr. Yamada, however, thinks it falls naturally into three sections; the first, Bks. 1-5 ; the
prosperity of the Heike with Kiyomori as the central figure. The second, Bks. 6-8 ; the wandering
of the Heike, Kiso Yoshinaka being the principal character. The third
for period and nationality, while Shigemori mightily suggests Aeneas. The whole drama is
represented from a Buddhist standpoint as an example of cause and effect working itself out in
action, the evanescence of all prosperity and dominion being strongly insisted on.
Authorship and Date. —The authorship and date of the Heike Monogatari, as well as its
relation to the other literature of the Kamakura period, have been the subject of much discussion
among Japanese scholars of the present time, and no exact pronouncement can be made. Mr.
Utsumi says in the 'Heike Monogatari Hyoshaku : ' " As to the various statements that it was the
work of Shinano-no-Zenji Yukinaga, or Hamuro Tokinaga, or Minamoto Mitsuyuki, one cannot
adopt any one of them with certainty, but the following conclusions have been reached by the
Society for the Investigation of the National Literature, in their monograph on this work: (a), that
the Heike Monogatari was originally composed in three volumes which were afterwards
increased to six, and that these were again altered to twelve; (b), that it was composed sometime
before the period Shokyu (1219) and enlarged during the time of the Fujiwara Shoguns (1219-
1252) ; (c) that the Kancho volume was not originally separate from the rest of the work ; (d) that
there was one original source of the work, but that as it circulated it became altered and added to,
and that these additions and alterations are the work of different hands at different periods."
The most explicit statement about the authorship is contained in the Tsurezure Gusa of Yoshida
Kenko, (1281-1350) Section 226, which is considered by most scholars likely to be correct. It runs
as follows : " In the time of the Retired Emperor Go-Toba, Shinano-no-Zenji Yukinaga was
renowned for his knowledge of musical matters, so that he was once summoned to take part in a
discussion about them, but forgetting two of the Shichi Toku no Mai, Dances of the Seven
Virtues, lie was nicknamed ' Go Toku no Kwanja' or 'The Young Master of Five Virtues,' and
this he took so much to heart that
he forsook his studies and became a recluse ; but the priest Jichin, who would take in anyone,
however low his rank, if he had any artistic gift, felt sympathy for him and provided him with
what he needed. It was this lay priest Yukinaga who wrote the Heike Monogatari and taught a
certain blind man named Jobutsu to recite it. He wrote especially well about the affairs of
Hieizan, and his detailed knowledge of Kuro Hangwan (Yoshitsune) enabled him to describe him
graphically. Of Kaba-no-Kwanja (Noriyori) he does not seem to have had so much information,
for he omits much concerning him. For matters pertaining to the Bushi and their horses and arms,
Jobutsu, who was a native of the East Country, was able to tell him what he had learned from
asking the warriors themselves. And the Biwa-hoshi of the present time learn to imitate the
natural voice of this Jobutsu."
This Yukinaga appears to have been the son of the Yukitaka mentioned in this work (vol. 3.
Yukitaka no Sata no Koto) who was steward to the Sessho Kanezane, whose younger brother the
priest Jichin may have been. In this case he is to be identified with the Yukinaga, former
Governor of Shimozuke, who is mentioned in the Gyokuyo Meigetsuki as having ability in
literary affairs. The priest Jichin was the Tendai Zasshu Jien Dai-Sojo, afterwards known as Jichin
Daishi Zasshu of Hieizan, which would account for the writer's accurate knowledge of that
monastery. With regard to Jobutsu iEW , of whom nothing is otherwise known, the name is
conjectured to be a mistaken reading for Shobutsu IE W , the religious name of Minamoto
Suketoki. This Suketoki was born in the family of Ayakoji, which was noted for its musical
traditions, and himself became the best musician of his tune, eventually retiring from the world
and taking up his abode with the priest Jichin. This attribution of the authorship to Yukinaga
certainly gains much force when we note that the chapter concerning Yukitaka is quite
unconnected with the main story and would be very well explained as an incident related by the
author about his father
which he thought worth preserving as an example of the fickleness of fortune.
Another statement is found in the Daigo Zassho to the effect that Mimbu-no-Shosho Tokinaga
wrote the Heike Monogatari in twenty four volumes, and yet another that Suketsune wrote it in
twelve volumes. The first may refer to a later redaction of the work of Yukinaga or be merely a
mistaken reading of his name, whereas concerning the latter, it is not improbable that he may
have been one of the redactors, for there is a chapter in the 12th vol., entitled Yoshida Dainagon
no Sata, relating to his grandfather Tsunefusa, which also seems to be inserted without any special
reason. Thus it is quite certain that the work as originally composed not long after the events of
which it treats took place was not the same as that which is now current. The oldest known
manuscript of it is one of the period Enkei, (1308-11), and while its contents are rather less than
those of the Gempei Seisuiki, it is about twice as long as the ordinary current editions. By a
critical comparison of this with other known MSS, the six books it contains may be divided fairly
easily so as to give twelve volumes.
As the Heike Monogatari was intended for recitation to the accompaniment of the biwa, it is not
surprising that there should be in existence a large number of variant editions as used by the
different schools of Biwahoshi, each of which had its own traditions and version, and therefore
the work has been peculiarly liable to change and corruption of the text as well as addition to it
at various periods. Among these variant versions there are two main sources, one known as the
school of Ichikata from its originator Akashi Kenko Kyoichi, and the other as the Yasaka school
from its founder Yasaka Kenko Kigen. The characteristic difference between them is that the
former combines the incidents of the entry of Kenrei-mon-in into Ohara and the visit of the
Emperor to the same place into a separate volume called the Kanjin Maki, whereas the other
does not.
One of the best MSS of the Heike Monogatari belongs to
the school of Kyoichi and is a National Treasure kept at Koryo Jinja, a shrine in the province of
Chikugo. It is dated O-an (1368) and is the oldest MS of the Ichihata school : it is taken as the
basis of the edition of Yamada and Takagi. It does not contain the story of Giyo and Ginyo or the
Saisho Minage.
Buddhist Tendency of the Heike. —One of the most noticeable characteristics of the Heike
Monogatari is its strong religious atmosphere, the continual moralizing on the events described
from the standpoint of Buddhist philosophy, with its insistence on the vanity and impermanence
of the things of this Shaba world, and the desirability of retiring from its turmoils to prepare for
the blessed rebirth in the world to come. So much is the work pervaded by this tendency that
many have maintained that it was written for the purposes of propaganda, and that the religious
element in it is the main motive.
This view, however, seems to be much too extreme, as there is no reason to suppose that the
inclination to quote Buddhist sentiments is any greater than might be expected in an age when
Buddhism was so potent an influence everywhere. The Gempei period was essentially the time
when the emotional aspect of Buddhism was most marked, and when, under the pressure of
affliction and wretchedness, of which a very vivid picture is given in the 'Hojoki' of Kamo
Chomei, the former ritual and esoteric cults of Tendai and Shingon gave place to the simple and
evangelical sects of Jodo and Shinshu, developed respectively by Honen and his disciple Shinran.
Consequently we find the expressions 'raisei ojo,' 'saiho jodo,' and others used by these sects, of
very frequent occurrence in this work and this fact has led some critics to describe it as a Jodo
sermon, taking the Heike as its text. When we consider, however, that the writer does not by any
means confine himself to such phrases, nor to the adoration of Amida Buddha, the special object
of Jodo worship, but shows respect and reverence for many other Buddhas, beside the national
Kami, and the deities of the great shrines, there seems no sufficient reason for such a view. It is
quite natural that the tragic story of the sudden rise and fall of the Heike house should call forth
reflections on the impermanence of worldly affairs, seeing that these ideas formed the
background of the thought of the age, and that the author was a recluse in a Buddhist monastery,
as were almost all the men of letters of the time. Moreover, no doubt Buddhist phrases were
considered to lend dignity and sonority to the narrative, as well as being a mark of the author's
learning and taste, just as the continual citation of instances from Chinese history with which the
book abounds served to edify those acquainted with it.
These details correspond to the religious phraseology and classical references to be found in an
English medieval writer like Chaucer, whose age was not, perhaps, very dissimilar. Thus not the
least interesting part of the Heike Monogatari for European readers is the detailed description of
Japanese Buddhism at this, its most flourishing period, and not only of Buddhism but of the many
other cults that the excessively superstitious Courtiers and Buke feared to leave unobserved. The
Heike chiefs seem to have left nothing to chance in these matters, as may be especially noted in
the elaborate consultations and ceremonies connected with the birth of the son of Ken-rei-mon-
in. So far as can be noted all these things were merely ritual and ceremonial and did not
necessarily produce any more effect on ordinary conduct than Christianity did on that of
Benvenuto Cellini, but like it they gave occupation to many artists and craftsmen and afforded a
solace in times of adversity, which might, in such a period, suddenly befall even those apparently
most secure, and were not unknown to the Mikado himself. So the stately opening words of the
first chapter seem most appropriate:
" Gion Shoja no kane no koe,
Shogyo mujo no hibiki ari ;
Sharasoju no hana no iro,
Shosha hissui no kotowari wo arawasu.
Ogoreru mono hisashikarazu,
Tada haru no yo no yume no gotoshi ;
Takeki hito mo tsui ni wa horobinu,
Hitoe ni kaze no mae no chiri ni onaji."
The mighty are indeed put down from their seats, but those who are exalted are neither humble
nor meek.
The Heike Monogatari and Other Works of the Period.— There has been much discussion
among scholars as to the connexion between the Heike Monogatari and the Gempei Seisuiki,
some considering that the former work was composed first and the latter adapted from it, while
others adopt the converse view, supposing that the Heike consists of such passages selected from
the Seisuiki as are most suitable for recitation. Yamada Toshio in his edition of the Heike thinks
however that the two books are simply different recensions of the same original and cannot be
said to be really two different works. " The Gempei Seisuiki seems," he says, " to be a work to be
contrasted, not with the Heike Monogatari, but with the version of the Yasaka school." Mr.
Utsumi in his notes considers this is not quite in accordance with the facts, for the material,
construction, and treatment of the subject is quite different in the two works, but agrees that the
Gempei Seisuiki was probably taken from the other book and not vice-versa, thus assigning the
priority to the Heike, and this view seems the prevalent one among the best modern critics. The
late Dr. Fujioka however, in his 'Literature of the Kamakura and Muromachi periods', takes the
opposite view and considers that as the Gempei Seisuiki is arranged according to chronological
order and is principally concerned with the collection of facts, whereas the Heike represents
rather an arrangement according to subject matter, having literary elegance as its main object, it
follows that the former cannot be derived from the latter, but that the Heike must be the result
of a digestion of the material of the Gempei Seisuiki. This argument is not however acquiesced in
by most scholars, seeing that the Gempei Seisuiki is the most ornate and profuse of the two, and
seems by no means likely to have been anterior in time.
Moreover there appear to be many instances of mistakes in the Seisuiki which could only have
arisen from a misunderstanding of words or expressions in the Heike.
Another work of the same period having some relation to the Heike is the Hojoki of Kamo
Chomei. In this little book of reflections are related the incidents of the Great Fire, (Heike, Vol. I.
Nairi Yakiage no koto. Seisuiki Vol. 4.) ; The Great Typhoon, (Heike Vol. 3.) ; The Migration of
the Court to Fukuhara ; The Great Earthquake, (Heike Vol. 12.) ; the description being very
similar, while that of the cell of Kenreimon-in on Oharayama in the Kancho Maki or appendix to
the Heike, and also in the Seisuiki, bears a strong resemblance to Chomei's hut on Hinosan. In
this case also opinions differ as to which has borrowed from the other, but the Heike Monogatari
Ko, published by the Kokugo Chushakai, states that the plagiarism is on the side of the Heike,
and the Hojoki is the prior source. Now the Hojoki is dated the second year of Kenryaku, 1212
A.D., so this, if correct, would give a terminus a quo for these parts at least. Dr. Fujioka, however,
considers the Hojoki a compilation of later date and not the work of Kamo Chomei at all.
Style of the Heike Monogatari.— A critic has said of the three works that have always been
regarded as the finest representatives of the War Chronicle (Senki-bun) literature, namely, the
Heike Monogatari, the Gempei Seisuiki, and the Taiheiki, that 'the style of the Heike is elegant
and that of the Seisuiki is grand, but as that of the Taiheiki combines both qualities, it must be
regarded as the perfect War Chronicle.' Mr. Utsumi, however, does not agree with this
pronouncement, and considers that though it may be conceded that the Taiheiki is perhaps the
most perfect type of this kind of literature, it certainly does not contain the characteristics of the
other two. It may be true to some extent that elegance is a feature of the Heike, but this aspect
has been rather over-emphasized by the critics, and he considers that it is more to be admired for
the
soberness and restraint of the writing combined with the skilful construction of the narrative.
He would consider the Heike as surpassing the other two works, first in its general construction
and dramatic plan, secondly in the handling of the material, and again in the skill in word-painting,
but especially so in its narrative style, in which the Taiheiki is its closest rival. This difference
between them is rather to be explained as follows. The Gempei Seisuiki has many shortcomings
in its narrative, but at the same time it occasionally rises to heights of eloquence that are
unequalled by the other two. It may be compared to a .landscape composed of a dreary plain
through which one plods on till one is suddenly confronted with a lofty mountain soaring up to
the heavens or a vast extent of sea stretching out to the horizon, whereas the impression made by
the Taiheiki and the Heike is rather that of a well watered and wooded series of hills and valleys,
relieved by flowers and foliage of varied hues, from any point of which a pleasing outlook may be
obtained, and which diverts the mind by its retrospect as well as by its promise of what is to
come. Such fine writing as, for instance, the description of the advance at the Ujigawa or the
Hiyodorigoe, is not to be found in the Heike, but on the whole this kind of description in the
Seisuiki is of a somewhat theatrical nature, and the writer is apt to make mistakes owing to an
inclination to appear learned and knowing in all things. The narrative of the Heike is written
lightly and easily and depicts the condition of things both internally and externally with a few
touches. Though lively and vivid, it avoids harshness. The Taiheiki, though using much detail and
taking great pains to describe a scene with care and the proper sentiments, is a little heavy and
lacking in taste by comparison. The special accomplishment of the latter work is its coining and
use of Chinese expressions which are worked into the Japanese language with much skill and
sonorous effect, though this is at times perhaps slightly overdone. Thus the excellencies of the
Taiheiki rather lie open for anyone to see, whereas those of the
Heike are not so obvious and require some literary taste for their appreciation.
Again, though the material of these works consists mostly of details of war and strife, yet in the
handling of this material the Heike Monogatari differs widely from the other two, in that, though
not so pre-eminent in describing the actual clash of arms, 'the thunder of the captains and the
shouting:,' it emphasises the underlying motives and incidental circumstances, pathetic or
humorous or otherwise, in a manner that the others do not attempt. Beside being an age of strife
it was, as for that matter all ages are, a period of transition, and thus we see portrayed the clash of
ideas accompanying it, and the struggle between the views of the age that was passing away and
of that which was taking its place. The writer seizes on the collision of the elegant and effeminate
ideals and way of life of the Heian period with the comparatively rough and rude manners of the
sterner Bushi who were henceforth to predominate in the administration of the country, as a
means of touching the feelings of the reader by a recital of the pathetic stories of its victims.
These victims were always young people, and especially young women, and the narrator
evidently has much sympathy with their sad fate. Examples of this kind are the narratives
entitled : Gio ; Twice an Empress; Aoi-no-Mae ; Kogo ; The Wife of Koremori; Kosaisho ; Dairi-
Nyobo ; Senju ; Yokobue, etc., and especially delicately drawn is the scene entitled Moon-viewing,
in the fifth volume. The same contrast is emphasized in the case of Kiyomori, the founder of the
new era, and the younger nobles of his house who rather favour the elegant style of the former
age.
The texts used for this translation are those of Utsumi, Heike Monogatari Hyoshaku, and
Umezawa, Heike Monogatari Hyoshaku. I wish to express my gratitude to Profs. Hara Sakae,
Okano Gisaburo, and Shida Masahide for their kind assistance in archeological and Buddhist
matters.
A. L. SADLER.
Okayama.
GKNKALOGY OF THE JIKIKK.
Kvammu Tcruio
i
Katsorabaia Shinito
Takami-noO
Takamoehi
Kun-ka.
Sadamori
Kcrehira
Masanori
wL
Masamori
fKjyojnori,
{Tadamori
Tadamaaa
1
.
Shi gL:m o ri
Munemori
Tuiuotriari
S nke m ori
Kiyotswae
Arinipii
. Tadafusa
Moromoti
Munczane
Yukiaatie
{Kiyoniuiiti
Yoshimurte
Tomoakira
Toruotada
Tornotnuue
Shieenuo
Shigehira
Tomonori
Ki vofusa
Koretoshi
Kiyosada
Kiyokuni
Yoshibifa
Toku-ko (KcnrcinjQn-in)
Taunemasa
Tsuneiuori .., Tsunetosfai
AtftumQTi
{Micbitnori
Noritsuno
Narimori
fNaomori
Yori mo ri ....,, i Tamemori
^Milsumori
TacUnori

GENEALOGY

OF THE
SI-IWA GEKJI.
Seiwa Tenno
Yoshlhira
1
TotnOhdga
i Ichiman Maty.
Sadazumi
(Yoviie.,. iKugyo
1
Ycuritomo ,
.| ^Senju Maru
Tsunemoto
^■Sanetgmo
| ^Yoshitomo ...,
Yoshikado
Mitsunaka
Mareyoshi
|
Noriyori
Hanen Tameyori
Yovinobn
Zeiijo
GJen
Yoriyoshi
Yo^hitsuFie
1
Yoshiie
Yoshikata ..,,
[Jvakaie ....
IMakamitsu
i r
[Yoshinitka
Yoshitaka
.YosSiichika
[
Yoshihiro
Yorikati.
Tameyoshi
Yorinaka
Tameniunc
Tametomo
Tamenaka
Yukiie
THE COURT AND GOVERNMENT.
The Emperor (Tenno).
The CJoiitcred Emperor
tHo-o).
The Retired Emperor
(In or Shin-in}.
Sessho Regent.
Kwampaku ... Chief Me tiistcr.
THE DAJO-KWAN.
Dajo-dEujin ... Prime Minister.
UdiijEn. Naidaijiit. Sadaijin.
Minister of the Right. Minister of the Left.
Udaiben,
UchiAlen.
UshobtJi,
ADMINISTRATIVE.
Secretaries
Of the
Rkglit
I Sbonagon J
Secretaries
of the
Left.
Sadaiben.
Szchubtsn.
Sashoben.
OFFICIALS OF THE EIGHT DEPARTMFrsTS,
Hyobu, Ns-katsuknSH.
Gyobu. Shitibu.
Okura, Jibu.
Kunaj. Minion,
In each department were
Kyu flip. Sukc $£. Jo f&. Safewaa &.
MILITARY OFFICIALS.
(Udaisho). (Sadaisho).
Konoe-fu. Ukon-e-rio-Ta^ho. Generals Safcon-e-no-Taisho, Generals
The Imperial Chiisho. ' of th$ Chustio, of the
Bodigtt;.r.:. Shostio, Right. Shosho. Left.
Esuo.!, Uemon-nO-Taisho, Sacmon-no-Taisho-
The liri^-efittj C -us^o. CKusho.
Gategga i ■ ■.. S Kosho. Shpihc
■-•. ' : i>w whom were Enion or Efii-no-Kami ^.
-Sukc -fc

XIV
THF COUHT AND <X)VI* R KME NT .
Urna-Tyo.
Uma-no-Kami pfii Right Master of the Horse. Sacna*Tii>&imi Left
do.
Dajaifu.
(' ivnjiEt'u.
-Suke flj,
-Jo A.
-Sakwaa Jgj.
Diiii-no-Sotsj (ft G
on~uo-Sut£ij.
-Ni ffi.
-J<* K-
-Sakwau |t.
Shogun,
Fuku-Shogun.
Gunkan.
Guiko,
Provincial Government.
Kokushi.
Kami =3=,
PI en
Suite -fr.
Jofr
Sakwan g.
Shicbo,
fit n
B«tta JJiJ-Jf,
Suite tfe.
Jo 8*.
Sakwan ;£.
ECCLESIASTICAL TITLES.
Dai-Sojo Ai^JE Archbishop
So jo 1§[iE Bjsbop.
Eisshi #gji
Zasshu J^^. Lord Abbot.
Ajai-i Wm®. (Sk^Ajariya).
Hoin *££p
Hogea $E&
Hokkyo M
Kwasto (Tendai) $jf§f
Washo (Hosso)
Osho [other sects j „
Hoshi i ;t j
Biku (S. Bikshu)
Eikuni (S. Bikshuai)
Ubasoku (S. UpasakEi) ...
Ubai (S. Upasika)
a iiks.
Instructor of Disciples.
►Tides of Honour.
■friest.
Monk.
Nun.
Lay Believer.
Female Lay Believer.
THE HEIKE MONOGATARI.
VOLUME i.
CHAPTER I.
GION SHOJA.
The sound of the bell of Gionshoja [1] echoes the impermanence of all things. The hue of the flowers
of the teak [2] tree declares that they who flourish must be brought low. Yea, the proud ones are but
for a moment, like an evening dream in springtime. The mighty are destroyed at the last, they are
but as the dust before the wind.
If thou ask concerning the rulers of other countries far off; Choko [3] of Shin, Ono [4] of Kan,
Shui [5] of Ryo, Rokuzan [6] of To, all these, not following in the paths of the government of all
the King and Emperors who went before them, sought pleasure only ; not entering into council
nor heeding the disorders of their Country, having no knowledge of the affliction of their people,
they did not endure, but perished utterly. So also if thou enquire concerning our own
M
country, Masakado [7] in the period Shohei, Sumitomo in Tenkyo, Gishin in Kowa, Shinrai in
Heiji, all were arrogant and bold of heart in divers manners, yet if we consider what is told of the
former Prime Minister Prince Taira no Ason Kiyomori, the Lay priest of Rokuhara, of a more
recent time, neither in their words nor their intentions were they his equal.
As to his ancestry he was the eldest son of Ason Tadamori chief of the department of justice ;
grandson of Masamori Sanuki no Kami, who was descended in the ninth generation from
Katsurabara Shinno, Prince of the first rank and chief of the department of Ceremonies, the fifth
son of the Emperor Kwammu. This prince's son Takami no O had died without either office or
rank and it was his son Takamimochi-no O who first received the surname of Taira, and before
receiving the office of Kazusa-no-suke he suddenly gave up his royal rank and became a subject.
His son Chinjufu Shogun Yoshimochi. afterwards changed his name to Kunika and from this
Kunika to Masamori : these six generations, though always receiving government stipends, yet
had not such rank as permitted them to appear at Court.
CHAPTER II.
THE ASSASINATION AT COURT.
Now Tadamori, while holding the office of Bizen no Kami, by the request of the retired Emperor
Toba, had built the temple Toku-cho-juin and the Sa-ju-san-gen-do, or hall 33 ken long, within
which were one thousand and one, Buddhas; its first festival being on the thirteenth day of the
third month of the first year of Tensho. As a reward he was honoured by receiving the territory
of the province of Tamba, which then happened to be unappropriated. Moreover the Emperor of
his bounty graciously permitted him to attend the Court ; which Tadamori did for the first time
at the age of thirty six. But
[p-3]
the higher Courtiers were furious with jealousy and plotted to assassinate him on the evening of
the festival of Go-Sechi [2] Toyo-no-akari-no-setchie, on the 23rd day of the eleventh month of
the same year. Tadamori, who was not a civil official, being born of a line of warriors, on hearing
of this was troubled in his heart for himself and his house at this unexpected shame that was
come upon him, but finally, as he was in duty bound to serve his August Master under all
conditions, he made his preparations beforehand. Before entering the Court he provided himself
with a long dirk [1] which he girt on under his long court dress, and turning aside to a dimly lit
place, slowly drew the blade, and passed it through the hair of his head so that it gleamed afar off
with an icy sheen, causing all to stare open-eyed. Moreover a retainer of Tadamori, by birth of the
same family, a grandson of Taira no Mokunosuke Sadamitsu and son of Shinno Saburodaiyu
Iefusa, Sahyoe-no-jo Iesada by name, wearing a body armour laced with bright green under a light
green "kariginu" [3] or loose overdress, and carrying under his arm a "tachi" [4] with a bowstring
bag attached, was waiting in the "koniwa," the small court by the Seiryoden.
Now the Kurando-no-to [5] or Chief of the Record Office and some underlings of his, thinking it
strange that one wearing
[p-4]
unsuitable costume should be within the balustrade of the steps of the Court near the bell-rope
of the library, and wondering if he was not some disorderly fellow, an official of the sixth rank
ordered him to depart quickly. But Iesada thus replied :
"Because I have heard that to-night they will try to kill my Lord Bizen-no-kami dono have I come
hither"; and he remained there and did not depart. And they saw that there was nothing more to
be done ; and thus the attempt did not take place.
But when Tadamori danced in the August presence of the Mikado at his Imperial wish, the
others mocked at him, changing the words of the music and singing " Ise heiji wa sugame nari,"
("the winepot of Ise has turned into a vinegar jar.") In thus mentioning the vessels of his province
they punned on his title of Ise-heishi; and since Tadamori had a squint in one eye (sugame) they
also alluded to this in the lampoon. Tadamori. not being able to do anything, left the Presence
before the entertainment had ended, and going behind the Shishinden, a place that could be seen
by everyone, deposited the sword that he was carrying at his side in the hands of the Tonomo-no-
tsukasa. Iesada, who was waiting for his lord, immediately asked him what had happened , but he,
though greatly wishing to tell him, seeing in his face the expression of one who would even do
violence in the Palace itself should he tell him the truth, merely answered that nothing out of the
common had taken place.
In the Go-setchie festival only such pleasing things as, for instance, white paper, Shuzenji paper,
wrapped up writing
[p-5]
brushes, or writing brushes having a " tomoe" on the stem, had been accustomed to be mentioned
in the songs that accompanied the dance, but there was a certain Dazai Gon-no-sotsu Suenaka no
Kyo who was of so dark a complexion that the people of his time called him "kuro-sotsu " (or "
black sotsu,") and while he was holding the office of Kurando-no-to, when he danced before the
August Presence, they changed the words to:
"Oh what a black, black head ; someone must have painted him with lacquer." Also the former
Prime Minister of Kwanzan-no-In, Prince Tadamasa, who was left an orphan when only ten years
old owing to the death of his father Chunagon Tadamune no Kyo, was received as son-in-law by
the To-Chunagon Kasei-no-Kyo in the time of Go Naka no Mikado, when he held the office of
Harima no kami, and it was an exceedingly gorgeous bridal, so that at the Go-sechie of this time
they japed at him with the refrain; "The rice of Harima, the scouring rush and the "muku" leaves,
they polish up people's fine raiment." Though long ago such things had happened, nothing had
been done, and now people said that what was to be done was doubtful. As he had expected
after the conclusion of the festival, all the courtiers [9] and officials together appealed against him ;
for coming to a Court entertainment wearing a sword and bringing military retainers within the
Court Precincts were things strictly regulated according to rank : for this there was Imperial
Order and ancient precedent, But Ason Tadamori had stationed a soldier wearing common dress,
said to be a retainer of his family, in the small court of the Palace, and had coe to the Go-Sechie
wearing a sword by his side, and both these counts were acts of disorder such as were seldom met
with heretofore. Indeed it was one crime piled on another, a charge he would find it difficult to
escape. All the Court Nobles together petitioned that his name should be erased front the list of
Courtiers and that he herewith be deprived of rank and
office. His Majesty the Mikado, greatly surprised, ordered Tadamori into his Presence to make
examination into the affair. In his reply he stated that as to the presence of his retainer in the
Palace, he certainly knew nothing about it : but if his retainers had heard of the designs that
people were plotting against him lately, and in order to help him against such dishonour had
come hither secretly without informing him, then he had no power to prevent it. "But if there be
any blame, do I not yield my body herewith as for the matter of the sword, I deposited it in the
Tonomotsukasa, and if it be brought out from thence, it may be seen if it be a real sword or not."
As this seemed quite plausible, they hastened to bring forth the sword and exhibit it. Its outside
was that of a dirk in a black lacquer sheath, but within was only a wooden blade covered with
silver. Although he had displayed the appearance of a sword to avoid dishonour, his substitution
of a wooden blade as a precaution against an after accusation was exceeding praiseworthy. A plan
like this is very commendable in a warrior. That his retainer should have been in attendance in
the court of the Palace this too is an example for retainers of the "bushi." So no fault was found in
Tadamori, but, on the contrary, his conduct was greatly admired, and he was pronounced guiltless.
CHAPTER III.
SUZUKI.
Tadamori's children all had the title, of "Ei-no-suke," and when they attended at Court they were
welcomed by everyone. On one occasion when Tadamori went up to the Capital from Bizen and
the Retired Emperor Toba augustly deigned to to enquire of him about the scenery of Akashi, he
answered thus:
"Ariake no tsukimo,
Akashi no urakaze ni;
Nami bakari koso,
Yoru to mieshi ka.
"When the morning breaks o'er the wind swept sand of Akashi,
Only the moon on high casts its faint beams on the waves.
The ex Mikado was pleased to admire this verse and ordered it to be preserved in the collection
entitled " Kinyo-shu/'M
There was a fair lady-in-waiting in the Sendo Palace of the ex-Midado much beloved by
Tadamori, whom he was wont to visit every evening. And it chanced that one night, after so
doing he left in her room a fan painted with the rising moon; the other ladies seeing it were much
amused, saying: " Oh how doubtful is the place where the moon has risen!" to which the lady
replied :
Kumoi yori tada mori JjQ
Kuru tsuki nareba,
Oboroge nite wa
Iwaji to zo omou.
If the moon indeed has drifted down from the heavens,
Surely then the sky must be a little obscure.
Thus showing that her wit was not at all shallow, This was the mother of Satsuma-no-kami
Tadanori ; as people are drawn to each other by similar dispositions, Tadamori's taste was
matched by her elegance. Then Tademori becoming Gyo-bu-kyo [3I afterwards died at the age of
fifty eight on the fifteenth day of the first month of the third year of Ninpei. His eldest son
Kiyomori followed in his footsteps. In the first year of Hogen, when the Sadaijin of Uji brought
the realm into disorder, he put himself at the head of the Imperial party and
was rewarded for his services. At first he had the office of Aki-no-kami, then he was promoted to
be Harima-no-kami, and in the third year of the same era he became Dazai-no-dai-ni. In the
twelfth month of the first year of Heiji, at the time of the rebellion of Nobuyori and Yoshitomo,
he beat down the rebels in the Imperial cause, and the rewards bestowed on him for many
meritorious deeds by the August kindness were very great. In the next year he received the
Senior Third Rank, and succeeded to the titles of Saisho Eifu-no-kami, and Kebi-ishi-no-Betto
one after the other, and passing over the ranks of Chunagon and Dainagon, took rank as a
Minister of State. He did not even become Minister of the Left or Right, but rose straight from
Naidaijin to be Dajodaijin of the Lower First Rank. Though not a commander of armies, he went,
armed and surrounded by retainers, and by special permission of the Retired Emperor, entered
and departed from the Court riding in state in ox-wagon or palanquin, acting as one who holds
alone the whole power of administration. Since it was the function of the Dajodaijin to be a
pattern and example of virtue to the whole country, to consider which was the right course in
ruling, and to tranquillize the universe by his government, if such an one could not be found, the
office was to be declared vacant, for except it were held by such an one, the office would surely
be polluted. Now that this lay-monk of a Governor should hold the Heaven and the Four Seas in
the hollow of his hand, verily there is no need for further speech.
Now the reason for this great prosperity of the Heike was said to be the favour of Kumano
Gongen. And this was the manner of it ; when Kiyomori was yet only styled Aki-no-kami, he
went to worship at Kumano by ship from Anonotsu in Ise,
and a large "Suzuki" fish sprang up into his vessel, as it is related in former times that a white fish
leaped into the ship of Bu, king of Shu, and however it may have been he attributed it to the
favour of the Gongen. As we have said, he was on religious pilgrimage, so that he was observing
the ten prohibitions, abstaining from animal food and making purifications, yet departing from
these, he cooked the fish himself and ate of it and gave also to his children who were with him.
And afterwards nought but good fortune attended him and he at last became Dajodaijin. His
posterity too attained high office more quickly than a dragon ascends the clouds, greatly excelling
in happiness the nine generations of their ancestors.
CHAPTER IV.
KAMURO ; OR BOY ATTENDANTS.
Now Prince Kiyomori, being overtaken by illness on the eleventh day of the eleventh month of
Ninan, at the age of fifty one, retired from the world and took monk's vows to save his life,
assuming the religious name of Jokai. As the result of this, his sickness departed and he was cured,
fulfilling the decree of destiny. Yet after his retirement from the world he did not put an end to
his luxurious living. People obeyed him as grass before the wind, and depended on him as the
earth does on the rain that moistens it. If one speaks of the Princes of the house of Rokuhara
dono, they were most noble and illustrious, and none might be considered equal to them.
Moreover as for the brother of the Nyudo's wife, Taira Dainagon Tokitada Kyo, —all those who
did not belong to his house were to be considered people of no position, so that everyone was
wishing to make alliance with him. From the manner of wearing the " eboshi " to the style of the
crest on clothes, everything must be in the fashion of Rokuhara ; so that everyone from one end
of the land to the other studied it.
Now however wisely a king or ruler may govern or in the
case of the political actions of Regent or Prime Minister, (Sessho Kwampaku) it is a usual thing
that certain worthless fellows will gather together to speak ill of him ; but against this lay-priest
in his prosperity there was not even a casual breath of reviling. And for what reason? Even
because, by the device of this monk-regent, about three hundred youths of from fourteen to
sixteen years old, having purified themselves and polled their heads, wearing red robes, were
everywhere patrolling the streets of the Capital. And if there was anyone who spoke evil against
the Taira house, and one of these chanced to hear it, straightway summoning to him his fellows,
they would violently enter that man's house, seize his treasures and household goods and bring
him bound to Rokuhara. So that none were found to open their mouth about the things they saw
or knew. At the very name of the Kamuro of Rokuhara everyone, both pedestrians and those
who rode in carriages, made wide room and passed by on the other side. Even when entering or
leaving the forbidden gate of the Palace, it was not necessary to declare their name, for the
officials of the city looked with averted eyes where they were concerned.
CHAPTER V.
THE SPLENDOUR OF KIYOMORI.
Not only did Kiyomori himself live in splendour and luxury, but all his house likewise shared his
prosperity. His eldest son Shigemori was Naidaijin and Sadaisho, his second son Munemori was
Chunagon and Udaisho, his third son Tomomori was Chujo of the third grade, his eldest grandson
Koremori Shosho of the fourth grade ; sixteen of his house in all held offices of the higher grade
(Kugyo), while thirty had right of entry to Court. The whole number of his family who drew
revenues from the provinces as military officials were about sixty persons. All others appeared as
of no account in the world. Since long ago in the era of Nara no Mikado the office
[ P . 11]

of Nakae-no-Taisho was first instituted in the fifth year of Shingi, and Nakae was changed to
Konoe in the fourth year of Daido, only on three or four occasions have brothers occupied the
offices of the Right and Left together. In the time of Montoku Tenno, on the Left was Yoshifusa
as Sadaijin-no-Sadaisho, on the Right, Yoshisuke as Dainagon no Udaisho; they were the sons of
Fuyutsugu, the retired Sadaijin. In the time of Shujo-in, Saneyori Ono no-miya dono was Minister
of the Left and Morosuke Kujo dono of the Right ; they were sons of Teijin Ko. [2] In the time of
Go-Rei-zei-in, Norimichi O-nijo dono was Minister of the Left and Yorimune Horikawa dono of
the Right ; they were the sons of the Kwampaku Mido. In the time of Nijo-in, Motofusa Matsu
dono was Minister of the Left, and Kanezane Tsuki-no-wa dono of the Right; they were the sons
of Hoseiji dono. [3] All these were the sons of Regents. Among the sons of ordinary people there
is no precedent. As for the grandson, of a man whose presence at Court was barely suffered,
wearing the forbidden colours J4I and costume, going clothed in silk gauze and brocade and
holding the offices of Daijin and Taisho, his sons being at the same tune Ministers of the Left and
Right, it is indeed an extraordinary thing for future generations to hear of. Beside this he had eight
daughters, all of whom severally achieved fortunes to be envied. One of them was to have
become the wife of Shigemori no Kyo, Chunagon of the Emperor Sakurarnachi, and was
betrothed to him at the age of eight, but after the revolt of Heiji the matter was altered and she
became the wife of the Sadaijin of Kwazan-in, to whom she bore many princes. Now this
Shigemori Kyo was called the Chunagon of Sakurarnachi for the following reason. Being a man of
very delicate taste, he exceedingly loved the scenery of Mount Yoshino ; and planting

there tiny cherry trees, he built a house in the midst of them and dwelt in it ; so that people who
went there in the spring of every year to see them gave him the nickname of Sakurarnachi (cherry
town) . Being very grieved that these cherry blossoms should fall within seven days after flowering,
he prayed to Ten-sho-daijin and they remained on the tree for a period of three times seven days;
the goddess displaying her august kindness owing to the great virtue of the Emperor, and the
flowers also requiting his affection by living on for twenty days.

To resume, another of Kiyomori's daughters became Consort of the Emperor, and bore a Prince
at the age of twenty two. On this child attaining the rank of Crown Prince, she retired from the
world and was known by the name of Ken-rei-coon-in. Concerning this daughter of the Lay-
priest Chancellor, since she has risen to the rank of Mother of the Emperor, there is no need of
further description. Another daughter became the wife of the Regent Rokujo. [5] She it was who,
during the reign of the Retired Emperor Takakura, became Imperial Foster mother, and gained
the title of Jun-san-go by Imperial Edict. She went by the name of Shirakawa den, and was a
personage of exceeding importance. Yet another daughter had become the wife of Fugenji donom
[6] ; another of Reizei-no-Dainagon Ryubo-no-Kyo, and another of Shichijo Shuri-no-Taiyu
Nobutaka-no-Kyo. One daughter also he had by a lady-in-waiting of the shrine of Itsukushima in
Aki, and she had the honour of becoming attendant on the Retired Emperor Go-Shirakawa.
Beside her also a Palace-attendant at Kujo-no-in named Tokiwa bore him a daughter who became
lady-in-waiting to Kawazan-no-in dono, and was styled Ro-no-on-kata (Unofficial Empress). Now
Nippon Akitsushima has but sixty six provinces; and of these the domains of the Heike were
thirty ; almost half the land. Beside these the manors, rice fields and gardens that they possessed

[p- 13]

were without number. In the multiplicity of their gorgeous costumes they were resplendent as
the flowers of the field ; the noble and illustrious crowded before their, gates like a throng in the
marketplace : the gold of Yoshu, the jewels of Keishu, the damask of Gokun, the brocade of
Shiyyokko of the seven rarities and the myriad treasures not one was lacking. For poetry and
music, fishing and riding, perchance even the Mikado's Palaces were not more renowned.

CHAPTER VI.

GIO.

Now not only did this priestly statesman hold the whole country in the hollow of his hand, but,
neither ashamed at the censure of the world, nor regarding the derision of the people, he indulged
in the most surprising conduct. For example, in the Capital there were two famous " Shirabyoshi
" who were sisters, named Gio and Ginyo, both young girls and very skilled in their art. The elder,
Gio, was beloved by Kiyomori, and her younger sister also was in high favour with everyone. So
they were enabled to build a good house for their mother, who was granted a monthly income of
a hundred koku of rice; and a hundred kwan in money by Kiyomori. Their family was
consequently rich and honoured, fortunate beyond the lot of most people. Now the origin of
Shirabyoshi in our country was in the reign of Toba-in when Shima-no-chisai and Waka-no-mae
appeared as dancers. In the beginning the Shirabyoshi wore the " suikan " or silk court robe and "
tateboshi " or black court headdress, with a white dirk in their belt, when they danced, and it was
like the dancing of a man : but from the middle age the headdress and sword were disused, and
they danced only in the white " suikan," hence they were called Shirabyoshi.

[p- Ml

But among the Shirabyoshi [i]_of the capital, when they heard of the good fortune of Gio, there
were some who hated her and some who were envious. Those who envied her said: " Ah 1 how
fortunate is Gio Gozen, if we do even as she does we too may become prosperous in like manner ;
" so they added the syllable " Gi " to their names to see if they too might not obtain good luck.
Some called themselves Giichi, Giji, Gifuku, or Gitoku. Those who hated her said " Surely it is
not a matter of the name or character with which it is written, fortune is the result of disposition
inherited from a previous existence ;" and so few of them took such a name. Now it came to pass
that, three years afterwards, another skillful Shirabyoshi appeared ; and she was a maiden sixteen
years of age, born in the province of Kaga, and her name was Hotoke. And when the people of
the capital, both high and low, saw her, they said that although from of old times many
Shirabyoshi had been seen there, one so dexterous as she had not been beheld ; and she too was in
exceeding great favour with all. And in the course of time Hotoke Gozen said: " Though I have
made sport for the whole Empire, yet this great Taira minister who now is the source of all
fortune and prosperity has not yet deigned to summon me; after the manner of entertainers I will
e'en go uninvited." So she forthwith proceeded to the Palace in Nishi-hachijo. On her arrival, a
servant entered the presence of the minister and announced : " Hotoke Gozen, now

[p- 15]

so famous in this city is without." Then the lay-priest grew very angry and replied " How then! do
not these players attend only when they arc called ? Why is it that she has come unbidden ?
Whether she be called God or Buddha, (Hotoke) it is not suitable that she come here while Gio
is present. Bid her depart at once." Hotoke Gozen was already retiring at these unkind words,

when Gio said to the Minister " It is surely the usual custom that players should attend unbidden,
and moreover it is because she is still young and innocent that she has thus intruded on you~so it
will be most unkind to speak harshly and send her away—how greatly will she be shamed and
distressed by it ; as I myself have trodden the same path, I cannot but remember these things. If
you will not deign to allow her to dance or to sing, yield, I pray you, so far as to call her back and
receive her in audience: if you then dismiss her, it will be a favour indeed worthy of her deep
gratitude." To this the Priest Minister answered: " Since you wish it to be so, I will see her and
then dismiss her: " and he sent a servant to call her. Hotoke Gozen, having been thus harshly
treated, was even then entering her carriage to return when she was summoned and turned back
again. The Minister met her and granted her an audience. Thus Hotoke, though it seemed
unlikely that she would gain an audience, yet through the kindness of Gio, who thus importuned
for her, was not only able to enter the Minister's presence, but further it happened that he,
wishing to hear her voice, directed that she should sing a song of the kind called " Imayo: " [2I and
thus she sang:

" When I first enjoyed the sight of your bountiful presence,
T'was like the evergreen pine, flourishing age after age.
Like to the pond on whose rocks is basking the turtle thrice blessed,
Numberless storks beside it happily preening their wings. "

[ P . 16]