On Cutting a Spider’s Leg During a Game of Hyakumonogatari Kaidankai

Tonoigusa_Hyakumonogatari_Spider

Translated from Tonoigusa

The brave young men had gathered together for a single purpose. “Tonight, we will exchange 100 stories and see if the legends are true; see if something terrifying awaits us at the end.”

They were ardent tellers of tales. As the night passed, they soon arrived at the closing of the ninety-ninth weird story. The room was thick with anticipation.

“Let us not be impatient.” said one of the men. “A drink and some food together before the final tale is told.” All in agreement, they produced lacquered boxes packed tight with delicacies. These were shared between the intimate gathering. They sat in a circle, enjoying the brief respite.

Without warning, a great hand appeared on the ceiling. It appeared to stretch wide, reaching its fingers out in a colossal grasp.

The frightened men were bowled over at the sight, except for a single stalwart who sprang to action. With a flick of his wrist, his sword flew from its sheath and struck at the hand. However, much to everyone’s surprise instead of a giant finger the sword sliced off a spider’s leg, about three inches in length. One of the men chuckled, “I guess this was a true Test of Courage after all.”

As to the spider, it appeared to be of the variety known as the orb-spinning spider. It would flatter it too much to call it a Joro spider (joroguma). Its color was not right to call it an earth spider (tsuchigumo). But it was no common pit spider either (anagumo). After all, in its web it had killed a giant weevil, so it must have a dreadful poison.

But its color was blue/green, like the kind of insect that could disappear between blades of grass. Perhaps it was a sea spider, blown here by an ocean breeze that carried it far from its home, floating in the air as if on the waves. It is pitiable; this spider carried so far from its home, trying to make do in its new environment, spinning a web on unknown surfaces. We should admire its perseverance. It was only sitting there, sleeping in the summer heat, never asking for the intrusion of these storytellers. And here was its fine works undone.

Our own fine works are made of individual threads that can be pulled apart. We can be killed on the street walking home, joining Yorimitsu in the spirit realms. Or maybe tomorrow will come. It is not for us to decide.

Tonoigusa Hyakumonogatari Spider

Translator’s Note:

This story comes from the 1660 kaidan-shu Tonoigusa by Ogita Ansei. It is one of the earliest known accounts of the game Hyakumonogatari Kaidankai.

I’ve read numerous accounts of this story, but had never read it myself until recently. I was surprised to find the epilog about the spider, as it is not included in most translations.

Further Reading:

For more spider tales and tales of Hyakumonogatari Kaidankai, check out:

The Web of the Water Spider

Aoandon – The Blue Lantern Ghost

What is Hyakumonogatari?

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Suppon on Onryo – The Vengeful Ghosts of the Turtles

Mizuki_Shigeru_Suppon_no_Onryo

Translated and Sourced from Mizuki Shigeru’s Mujyara and Japanese Wikipedia

You can still see turtle restaurants in Japan today offering a full-course suppon meal, including a glass of blood served with sake. But they are much rarer today than they were during the Edo period. A few strange stories come down to us from those times about ghostly goings-on in the turtle shops. This is one of them.

A man named Kiroku had a successful suppon shop in Nigata city. Every day he butchered and served up hundreds of turtles. One day at work, his body suddenly felt heavy. At the same time, everything became cold and dark, and it felt like he was being submerged under water. He tried to shout, but no voice came out. He felt around with his hands, and felt something even colder. It was a turtle shell. All around him were hundreds of turtles, crawling over his body and dragging him down.

Finally, Kiroku managed to let out a cry of horror, which brought his wife running into the room. When she opened the door, all of the turtles vanished.

This happened night after night, until finally Kiroku had enough. He had learned his lesson, and swore an oath against the taking of life. The wrathful turtle ghosts never came again.

Translator’s Note:

The second story of the dangers of overindulgence of suppon and ghostly revenge for Thanksgiving. This tale comes from the Edo period kaidan-shu Hokuetsu Kidan (北越奇談; Strange Stories from Hokuetsu), where it was illustrated by the famous artist Katsushika Hokusai.

Hokusai_Suppon_no_Kaii

The original story was called Suppon no Kaii, which used the term怪異 (Kaii; strangeness). Mizuki changed it to the term onryo (怨霊), which refers specifically to a grudge-bearing spirit. The word is used almost exclusively for the yurei of human beings, so it is a bit odd seeing it used in the context of these turtles who are angry at being eaten. But it just goes to show the flexibility of folklore.

Mizuki Shigeru adds a footnote to this story, saying that living things must consume other living things in order to stay alive—that is the very nature of life. Even the turtles in this story needed to kill in order to live, so logically they object to the gluttony of so many of them being eaten, not the very fact they were eaten at all. Go ahead and eat turtles, Mizuki says, just appreciate their sacrifice and don’t eat too many!

Further Reading:

For more tales of magical turtles and over-eating yokai, check out:

Suppon no Yurei – The Turtle Ghost

The Appearance of the Spirit Turtle

Shio no Choji – Salty Choji

Oseichu – The Mimicking Roundworm

Suppon no Yurei – The Turtle Ghost

Mizuki_Shigeru_Suppon_no_Yurei

Translated and Sourced from Mizuki Shigeru’s Mujyara and Japanese Wikipedia

The big cities in the Edo period were full of shops that specialized in the soft shell turtle dishes called suppon. If the truth be told, this was because people at the time believed that suppon was an effective remedy for hemorrhoids. But this isn’t that kind of story.

There were three guys in Nagoya city who loved suppon. Every chance they got, they would go out drinking and wind up at a suppon restaurant. It wasn’t that they had hemorrhoids or anything—they just loved the taste— true gourmets for all things turtle. Or more than that. These guys just couldn’t get enough; they had a kind of suppon mania.

One day they decided to try a new suppon restaurant, but when they went in they felt like something was wrong. They couldn’t help but notice that the proprietor of the restaurant’s face looked very much like the turtles he was serving. The rest of his body had a greenish tint, and his flesh was scaly. But it wasn’t until he rose up on his impossibly long legs that they realized they were dealing with a suppon yurei, a turtle ghost.

The three men ran from the shop as fast as their legs could carry them. When they got back to their house, they hid under their blankets and shivered with fright for two, then three days until they were brave enough to show their faces to the world. None of the men ever ate suppon again.

Translator’ s Note:

Another yokai tale of overeating for Thanksgiving. The original to this story comes from the Edo period kaidan-shu Kaidan Tabi-no-Akebono (怪談旅之曙; Weird Tales of Voyages by Daybreak), where it was titled Suppon no Bakemono. Mizuki Shigeru changed the title to Suppon no Yurei, which is an interesting choice seeing as yurei is a word generally reserved for the spirits of humans. But it is not always so, as you can see.

Suppon_no_Bakemono

Suppon no Yurei s is one of the rare tales of yokai turtles. Turtles play an odd place in Japanese folklore. On the one hand they were treated as serene gods and spiritual animals, on the other hand they were considered quite capable of bloody revenge. Their ability to bite and hang on indefinitely gives them their reputation. Tales of yokai turtles always call out the turtle’s nature as ”shunenbukai” (執念深い) , meaning tenacious , spiteful, or vindictive.

The particular tale is considered to be a variation of Takenyudo (Tall Priest) legends. These legends are similar to the Nopperabo legends (see Shirime – Eyeball Butt) where an ordinary encounter suddenly turns extraordinary when someone you thought to be human exhibits supernatural characteristics. In the case of the Nopperabo, this is a lack of face. In the case of Takenyudo—and the Suppon no Yurei—it is suddenly stretching to an inhuman size.

Suppon no Yurei is ambiguous on how the turtles managed to manifest a semi-human appearance for their yokai. Are these the ghosts of the dead turtles? Or is this a classic henge shape-shifting turtle out to protect his brethren from winding up in the pot? No one really knows, and the guys in the story don’t stick around to find out. Mizuki tries to clear up this ambiguity by re-naming the story “Suppon no Yurei,” implying a spirit of a dead turtle. Based on my knowledge of Japanese folklore, I would vote for a long-lived turtle who transformed into a yokai and gained supernatural powers. But then, turtles are already long-lived so this one would have had to have been around for a long, long time.

Mizuki Shigeru does make a note that it is perfectly OK to enjoy a meal of suppon—he personally loves suppon—just don’t eat too much of it. Moderation is key if you want to enjoy your food without invoking the wrathful spirits of animals.

Further Reading:

For more Thanksgiving yokai of overeating and other turtle tales, check out:

Oseichu – The Mimicking Roundworm

The Sprit Turtle

Shio no Choji – Salty Choji

Shio no Choji – Salty Choji

Mizuki_Shigeru_Salty_Choji

Translated and Sourced from Mizuki Shigeru’s Mujyara, Ehon Hyakumonogatari, and Japanese Wikipedia

In Kaga province (modern day Ishikawa prefecture), there lived a wealthy man known as “Salty Choji” who kept 300 head of horses. Now, these horses weren’t for riding. This man had a taste for horse flesh, and would slaughter his horses like cattle then pickle them in salt or preserve them in miso paste to get them tasting just right. Every night he tucked into a pile of salty horse meat with gusto.

Such was the man’s appetite that Choji ate his way through 299 of his own horses, until all that was left was an ancient animal that wasn’t good for labor or food. One night Choji just couldn’t stand it any longer, and he shot the old beast anyways, then slathered it in salt and ate it down in a gluttonous frenzy. That night, however, the tables turned against Choji—the spirit of the old horse came to him in a dream and bit him on his neck.

From that night on, whenever the clock stuck the hour of the time when Choji had killed the old horse, its spirit appeared and entered Choji’s body. But this wasn’t your normal possession; the horse forced his way through Choji’s mouth, and crawled straight through to his stomach. The pain was intense, and Choji felt every inch of the massive horse stretching his innards and intestinal tract. As he lay in agony night after night, Choji bitterly regretted all of his evil deeds and his ravenous appetites that lead him to this fate. But his regrets did him no good. For it was too late.

Choji summoned every manner of doctor and exorcist to aid him in his suffering. They tried everything they could but without effect. No amount of medicine or prayers for reprieve could lessen his agony. Choji’s torment continued for 100 days until at last he died. It was said his corpse was broken and shattered, like an overburdened packhorse.

Translator’s Note:

Another tale of overeating for November, and the American Thanksgiving holiday. There are a few more to come in their series! This story comes from the Edo period kaidan-shu Ehon Hyakumonogatari (絵本百物語; Picture Book of 100 Stories).

ShunsenShionoChoji

The tale of Salty Choji isn’t as strange as it seems. Although rare nowadays, horse is a standard part of Japanese cuisine, mostly eaten raw and sliced as the sashimi called basashi. I have eaten it many times. It’s delicious! So the shock of the story isn’t really what Choji was eating, but how much of it. All things in moderation is the moral of the story. That and Choji forgetting an important fact of Japanese folklore—the older an animal is, the more likely it is to have developed supernatural powers. Salty Choji should have left that old horse alone, and just gone shopping for some new ones.

The story of Shio no Choji (Salty Choji) inspired a story for the anime series Kyogoku Natsuhiko Kosetsu Hyaku Monogatari (京極夏彦 巷説百物語; Natsuhiko Kyogohe ku’s Hundred Stories), most commonly known in English as Requiem From the Darkness. I say “inspired by” instead of “adapted from” because the version of Salty Choji found in the series is VERY different from the original folktale. There is cannibalism involved, and fratricide, and all sorts of things that never appear in the simple story of Shio no Choji who could couldn’t control his appetite.

Requiem_From_The_Darkness_cover

Further Reading:

For more tales of hungry yokai and yokai food, check out:

Oseichu – The Mimicking Roundworm

Jinmenju – The Human Face Tree

Tajima no Sorei – The Poltergeist of Tajima

Mizuki_Shigeru_Tajima_no_Sorei

Translated and Sourced from Mizuki Shigeru’s Mujyara, Taihei Hyakumonogatari, Japanese Wikipedia, and Other Sources

This is a tale of the Edo period, from Tajima province (modern day Hyogo prefecture).

A down-on-his luck ronin named Kido Gyobu wandered into Tajima one day. He had heard rumors that there was an obakeyashiki—a haunted house—in town that had lay abandoned and unoccupied for years. Kido was very proud of his courage, and vowed to stay at the house as a Test of Courage.

From outside the house was dilapidated and the garden was overgrown, but it was livable. Kido took his small belongings, which were just his traveling clothes, bedding, and the two swords that it was his right to wear, and went into the house where he would live. He wandered through, kicking up dust and disturbing cobwebs. The tatami-mat floors were old and bug-ridden. The paper in the windows torn and yellow. The cooking utensils rusting. But he found nothing to evoke the terror that was the reputation of the house. Kido put it down to rural superstition, and made a bed for himself in the main room. He spent his day without incident—cooked his food. Took his bath. Drank his sake and smoked his pipe. All which lead him to think that there was nothing to fear.

That night, when Kido had put out the candle and climbed into his futon, the house suddenly lurched and began to shake violently. All of Kido’s belongings were scattered about the room, and the entire house shook like it was in the grips of some monster. Kido assumed it must be a massive earthquake, but when he steadied himself enough to look out the window, he saw the rest of the village was as calm as a pool of still water. It was only inside the house that the world was being shaken to pieces.

With the coming of dawn, the house settled down and the shaking ended. Kido was not to be beaten so easily, and resolved to continue his stay in the house. The second night was identical to the first. The day passed without incident, but at night the house came to live and rattled Kido around like dice in a gambling cup.

Kido had enough of the house, and went to ask advice from a distant relation, a monk named Chisen, who lived in a temple in a nearby village. Chisen listened calmly to his story, and thought for a short while, and told Kido he would accompany him back to the house and stay the night with him.

The third night was a repeat of the first and second—a boring day and a lively night. With the house doing its best to dislodge Kido and Chisen or at least to smash them into something, Chisen sat calmly in the center of the main room as if meditating. He stared intently at the floor for hours as if searching for something, oblivious to the chaos around him. Suddenly, in one swift move Chisen drew Kido’s short sword—which he had tucked into his obi sash—and plunged it into a particular spot in the tatami-mat floor.

The instant Chisen plunged the stabbed into the floor, the house stopped shaking. Blood welled up from the spot Chinsen had stabbed, staining the tatami mats. But that was all. The house was silent. Leaving the sword standing upright in the floor, the exhausted Kido and Chisen settled down for some much needed sleep.

The next morning, they pulled out the knife and lifted up the tatami mat to see what Chisen had wounded. The found an odd memorial plague, reading “Eye-stabbing Sword Bear Memorial Tablet” (刃熊青眼霊位 ). Chisen’s had stabbed the sword directly into the kanji for “eye,” and that was where the blood was welling up from.

Leaving the house, the revealed this to the villagers who told them of an odd legend. Years ago, the man who lived in that house had killed a bear who wandered in from the forest one night. Fearing the wrath of the bear’s spirit, he had a memorial tablet created and a proper funeral given for the bear. But it was apparently in vain, for the bear’s spirit possessed the man and killed him, and had haunted the house ever since. Many strange things were seen in the house every night, and none had dared to stay there until Kido and Chisen.

Translator’s Note:

A definite twist to this Halloween yurei story, eh? I bet you didn’t see that ending coming! I certainly didn’t expect that when I started translating it.

This story originally comes from the Taihei Hyakumonogatari (太平百物語; 100 Stories of Peace and Tranquility). The Taihei Hyakumonogatari uses the title Tajimekuni no Yanari no Densho (但馬国の家鳴の伝承; Legend of the Crying House of Tajime), which Mizuki Shigeru changes to Tajime no Sorei (但馬の騒霊; The Poltergeist of Tajime).

Yanari is a term for a particular type of haunted house that shakes and groans without any visible cause. The kanji translates to家(house) + 鳴(cry), and Harry Potter fans would recognize the Shrieking Shack as a classic Yanari. There are Yanari legends from almost everywhere in Japan. They were popular during the Edo period, with newspapers reporting on local Yanari and particularly popular ones becoming flash tourist attractions as the curious tried desperately to glimpse actual supernatural phenomenon.

Most Edo period portrayals of Yanari show small oni and other yokai on the outside shaking the house. However, these yokai are completely invisible and only their effects can be seen.

Toriyama Sekien Yanari

Mizuki uses the term sorei, which uses the kanji 騒 (disruptive) +霊 (spirit). This is a rarely used term for poltergeist-style ghosts that rattle the doors and shake walls just like Western poltergeists. Thanks to the movie series, the term sorei has almost disappeared and most people just use the term “poltergeist” (ポルターガイスト) in modern Japanese.

And yes, to the unanswered question–the story ends there. It never goes on to say if Kido and Chisen were successful in banishing the spirit, or if stabbing the memorial tablet did the trick.  That part of the story is the most bizarre, as it runs counter to all other Japanese ghost stories.  Most ghosts WANT memorials and funerals and to be worshiped. This is the only one I know of where destroying the tablet ends the haunting.

All I can think of is this–that the bear spirit was not Buddhist, and resented the Buddhist memorial tablet and funeral. This makes sense in a way if you think of animal spirits as being more of the Shinto tradition than the Buddhist.  And after all, the haunting and hubbub didn’t happen until AFTER the funeral, soooo ….

Further Reading:

For more Japanese ghost and spirit animal stories, check out:

Onikuma – Demon Bear

Kimodameshi – The Test of Courage

The Cursed Mansion of Yoshioka Gondayu

The Long-tongued Old Woman

Yokai of the House

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