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Gleanings in Buddha-Fields

Lafcadio Hearn

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Pages and passages

1. "GLEANINGS IN BUDDHA-FIELDS", para. 1. GLEANINGS IN BUDDHA-FIELDS
2. "STUDIES OF HAND AND SOUL IN THE FAR EAST", para. 1. STUDIES OF HAND AND SOUL IN THE FAR EAST
3. "BY", para. 1. BY
4. "LAFCADIO HEARN", para. 1. LAFCADIO HEARN
5. "LECTURER ON ENGLISH LITERATURE IN THE IMPERIAL UNIVERSITY OF", para. 1. LECTURER ON ENGLISH LITERATURE IN THE IMPERIAL UNIVERSITY OF JAPAN
6. "CONTENTS", para. 1. CONTENTS
7. "GLEANINGS IN BUDDHA-FIELDS", para. 1. GLEANINGS IN BUDDHA-FIELDS
8. "I", para. 1. I
9. "A LIVING GOD", para. 1. A LIVING GOD
10. "I", para. 1. I Of whatever dimension, the temples or shrines of pure Shintō are all built in the s
11. "I", para. 3. Why certain architectural forms produce in the beholder a feeling of weirdness is a q
12. "I", para. 3. you may think it expedient to say or not to say at a later time about the experience,
13. "I", para. 6. Power above life and power over death would be mine,—and the power of self-extension,
14. "I", para. 11. —"Harai-tamai kiyomê-tamaé!... For Tsukamoto Motokichi our son, a soldier of twenty-n
15. "I", para. 15. Festivals would be held to honor me. Priests, black-coiffed and linen-vestured, would
16. "I", para. 20. Also my Karashishi, my guardian lions, would be honored. I should see my pilgrims tyi
17. "I", para. 26. Anciently any man who did something extraordinarily great or good or wise or brave mi
18. "II", para. 1. II Before telling the story of Hamaguchi Gohei, I must say a few words about certain
19. "II", para. 3. The private conduct of the other sex was regulated by some remarkable obligations ent
20. "II", para. 5. A curious fact is that this obligation of mutual help extended to religious matters:
21. "III", para. 1. III Now concerning Hamaguchi. From immemorial time the shores of Japan have been swep
22. "III", para. 5. Hamaguchi's big thatched farmhouse stood at the verge of a small plateau overlooking
23. "III", para. 8. The day had been oppressive; and in spite of a rising breeze there was still in the a
24. "III", para. 11. Hamaguchi Gohei himself had never seen such a thing before; but he remembered things
25. "III", para. 14. "Ojiisan! why? Ojiisan! why?—why?" But Hamaguchi did not answer: he had no time to ex
26. "III", para. 19. "Grandfather is mad,—I am afraid of him!" sobbed Tada, in answer to a number of quest
27. "III", para. 25. On the plateau for a time there was no word spoken. All stared speechlessly at the de
28. "III", para. 31. * The period of distress was long, because in those days there were no means of quick
29. "III", para. 35. "The peasants," my friend answered, "think of the mind or spirit of a person as somet
30. "II", para. 1. II
31. "OUT OF THE STREET", para. 1. OUT OF THE STREET
32. "I", para. 1. I "These," said Manyemon, putting on the table a roll of wonderfully written Japanese
33. "I", para. 15. * By "vulgar" Manyemon meant written in the speech of the common people. He is himsel
34. "I", para. 18. * Manyemon had written down forty-seven songs; and with his help I made free renderin
35. "I", para. 25. Flowers in both my hands,—flowers of plum and cherry: Which will be, I wonder, the fl
36. "II", para. 1. II The songs really form three distinct groups, each corresponding to a particular pe
37. "II", para. 11. [3] Much simpler in the original:— Muné ni tsutsumenu Uréshii koto wa;— Kuchidomé shi
38. "II", para. 26. III Coming? or coming not? Far down the river gazing, —Only yomogi shadows[8] astir i
39. "III", para. 1. III Thus was it that these little songs, composed in different generations and in dif
40. "III", para. 1. III
41. "NOTES OF A TRIP TO KYŌTO", para. 1. NOTES OF A TRIP TO KYŌTO
42. "I", para. 1. I It had been intended to celebrate in spring the eleven hundredth anniversary of the
43. "I", para. 3. You can always tell by the voices of women conversing anywhere—in a hotel, for exampl
44. "II", para. 1. II The first surprise with which Kyoto greeted her visitors was the beauty of her fes
45. "II", para. 6. But I have no intention to try the reader's patience with a description of pictures.
46. "II", para. 9. Still, it was not the beauty of the thing in itself which impressed me, but the weird
47. "III", para. 1. III After looking at all the pictures I visited the great palace garden, only recentl
48. "III", para. 4. Considered as a human work alone, the garden is a marvel: only the skilled labor of t
49. "IV", para. 1. IV Feeling hungry, I told my runner to take me to a restaurant, because the hotel was
50. "IV", para. 3. I noticed that the plates, cups, and other utensils bore the monogram of a long-defun
51. "IV", para. 4. * An equally singular but more pleasant experience awaited me on the road back to the
52. "IV", para. 5. rcely find fault with The Atlantic's estimate of his country thirty-five years ago: "
53. "IV", para. 6. * I passed the evening wandering through the illuminated streets, and visited some of
54. "IV", para. 8. When I decided to return, the lanterns were out, the shops were closing; and the stre
55. "V", para. 1. V While I was thinking about the fugitive charm of Japanese amusements, the question
56. "V", para. 3. * A sociological fact of interest is suggested by the amazing cheapness of these plea
57. "V", para. 6. Perhaps Japanese cheap pleasures might be broadly divided into those of time and plac
58. "V", para. 7. Decorations, illuminations, street displays of every sort, but especially those of ho
59. "V", para. 7. eated: toys thrown into existence with a twist of the fingers, old rags turned into f
60. "VI", para. 1. VI When I went out, next morning, to view the great procession, the streets were pack
61. "VI", para. 3. Though announced for nine o'clock, the procession did not appear till nearly eleven;
62. "VI", para. 4. * To describe the procession in detail would needlessly tire the reader; and I shall
63. "VI", para. 6. While these visions of dead centuries were passing by, the people kept perfectly sile
64. "VI", para. 7. Some foreign spectators criticised the display as spiritless, and commented on the un
65. "VI", para. 10. Such small gifts and memories make up much of the unique pleasure of Japanese travel.
66. "VII", para. 1. VII I wanted, before leaving Kyōto, to visit the tomb of Yuko Hatakeyama. After havin
67. "VII", para. 4. RETSUJO HATAKEYAMA YUKO HAKA. The grave was well kept, and the grass had been recentl
68. "VII", para. 6. * In the temple, the priest showed me the relics and mementos of the tragedy: a small
69. "VII", para. 18. 14 sen in Kiyomidzu. 12 sen 5 rin for umbrella given to kurumaya. But in strange cont
70. "VII", para. 22. * The editor of the pamphlet betrayed rather too much of the Oriental manner of judgi
71. "VII", para. 24. The sacrifice had stirred the feelings of the nation much more than it had touched my
72. "VII", para. 25. "By one keeping the heart free from stain, virtue and right and wrong are seen clearl
73. "VIII", para. 1. VIII I returned by another way, through a quarter which I had never seen before,—all
74. "VIII", para. 4. But those who think of beauty only in connection with costliness, with stability, wit
75. "IV", para. 1. IV
76. "DUST", para. 1. DUST "Let the Bodhisattva look upon all things as having the nature of space,—as perm
77. "DUST", para. 5. Children in all countries play at death. Before the sense of personal identity comes,
78. "DUST", para. 7. * This sense of the voidness of things comes only when the temperature of the air is
79. "DUST", para. 12. Somewhat as Night devours all lesser shadow will this phantasmal earth swallow us at
80. "DUST", para. 15. * For this Cosmic Apparition is more than evolution alternating with dissolution: it
81. "DUST", para. 18. * Merely by reason of illusion and folly do we shrink from the notion of self-instabi
82. "DUST", para. 20. Whether you (by you I mean any other agglomeration of souls) really wish for immortal
83. "DUST", para. 21. * I an individual,—an individual soul! Nay, I am a population,—a population unthinkab
84. "DUST", para. 30. This explanation is not philologically exact; the two strokes evolutionally standing
85. "V", para. 1. V
86. "ABOUT FACES IN JAPANESE ART", para. 1. ABOUT FACES IN JAPANESE ART
87. "I", para. 1. I A very interesting essay upon the Japanese art collections in the National Library
88. "I", para. 3. Such an address could hardly fail to provoke adverse criticism in England, because it
89. "I", para. 4. Then came the most surprising incident of the evening,—the corroboration of these adv
90. "II", para. 1. II Although the criticisms provoked by Mr. Strange's essay were unjust to Japanese ar
91. "II", para. 3. Before I came to Japan I used to be puzzled by the absence of facial expression in ce
92. "II", para. 4. Perhaps somebody will say that, even granting my assertion, the meaning of any true a
93. "II", para. 5. One of the critics at the meeting of the Japan Society found fault with the absence o
94. "II", para. 6. [1] That Japanese art is capable of great things in ideal facial expression is suffic
95. "III", para. 1. III
96. "III", para. 2. A partial explanation of the apparent physiognomical conventionalism in Japanese draw
97. "III", para. 2. ches of plants as "the most masterly things" that he ever saw. "Every stem, twig, and
98. "III", para. 4. [1] Unless he carves it. In that case, his insect—cut in bone or horn or ivory, and a
99. "IV", para. 1. IV A few general remarks about the treatment of faces in ordinary Japanese drawing ma
100. "IV", para. 5. In the representation of old age, the Japanese artist gives us all the wrinkles, the