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Rh the Taiheiki he makes an attempt to reconcile three essentially conflicting systems, viz., Chinese philosophy, Shinto mythology, and Buddhism, including with the latter the older Indian myths which found their way to Japan in its company. Thus in a passage near the end of Book XVI. he describes the Yin and Yang (the negative and positive principles of nature according to the Chinese) as the origin and source of all things. These two elements by their mutual interaction evolve Izanagi and Izanami, the creator deities of the Shinto Pantheon. Their child Tenshōdaijin (the Sun Goddess) proves to be a manifestation of Buddha, one of whose services to humanity was at some far remote period to subdue the "Evil Kings of the Six Heavens" of Indian myth, and compel them to withdraw their opposition to the spread of the true doctrine (that is, Buddhism) in Japan.

Kojima, however, does not always draw his inspiration from China or from theology. Like the Heike Monogatari, the Taiheiki contains a number of highly poetical passages which owe nothing to foreign models or ideas. In metre they resemble Naga-uta, except that the order of the alternation of five and seven syllable phrases is reversed. Words of Chinese origin are not wholly excluded. One of these passages describes the enforced journey of Toshimoto, an adherent of the Mikado Go Daigo, to Kamakura, where he was executed for treason to the Shōgunate; and another, that of the same Mikado, to an exile in the island of Oki. The names of places along the route are ingeniously woven into the narrative in such a way as to suggest reflections suitable to the circumstances. This feature of the Taiheiki has had an enormous influence on the work of the dramatists and