Page:Anthology of Japanese Literature.pdf/348

344 risk my life, ruin my reputation, and take Mōemon as my companion on a journey to death.”

She confided this resolution to Mōemon, and though it was contrary to his previous decision, nevertheless, being halfway in and feeling the call to love, Mōemon gave himself over to visiting her each night without a care for the reproofs of others, and spent himself in this new service as thoroughly as he had in his work. Thus, together the lovers played with life and death, the most dangerous game of all.

It is written in “The Tale of Genji,” “There is no logic in love.” When the image of Kwannon was put on display at Ishiyama Temple, the people of Kyoto left the cherry blossoms of Higashiyama and flocked to see it. Travelers, on their way to and from the capital, stopped for a visit when they crossed Ausaka Pass. Many among them were fashionably dressed ladies; not one of whom seemed to be making the pilgrimage with any thought of the Hereafter. Each showed off her clothes and took such pride in her appearance that even Kwannon must have been amused at the sight.

It happened that Osan and Mōemon also made the pilgrimage together. They and the flowers they saw seemed to share a common fate; no one could tell when they might fall. Nor could anyone tell whether the lovers again might see this bay and the hills around Lake Biwa, so Mōemon and Osan wanted to make it a day to remember. They rented a small boat in Seta, and wished their love would last as long as the Long Bridge of that town, though their pleasure might still be short-lived. Floating along, the lovers made waves serve them as pillow and bed, and the disorder of Osan’s hairdress testified to the nature of their delight. But there were