Literary Echoes of the Biwa: Tsunemasa and the Heike monogatari

As I write this blog, I thought it would be interesting to explore from time to time references to biwa in literary sources. I think it would be fruitful to ponder what themes might be gleaned from them, and see how the biwa and its music were perceived through them.

In chapter seven of the Heike monogatari, there are a number of passages which feature the biwa. In this post, I thought to look at the first of these passages about Taira no Tsunemasa.

Taira no Tsunemasa

The exact time of Tsunemasa’s birth remains unclear, but his life was definitively shaped by the swirling and tumultuous events of the Gempei War between the Taira and Minamoto Clans culminating in his death in 1184.

Tsunemasa was a highly educated man. A student at Ninnaji Temple, he grew in favor with Imperial Priest-Prince Kakusho while there. Excelling in poetry and music, and a brilliant biwa player, he was granted the use of the famed instrument Seizan by Prince Kakusho.

Seizan was one of the three biwa brought over from China by Fujiwara Sadatoshi in 851. It was kept in the Ninnaji Temple.

Warlord

However, despite his refinement, Tsunemasa life was fated to be tragic as a nephew of Taira no Kiyomori, a notorious figure. He epitomized the Warlord, gradually seizing power to the point that he imprisoned even the Emperor himself in the end. According to the Heike Monogatari, all people outside the Taira Clan were considered non-human....

Understandably, rebellion arose.

The journey to Chikubushima

On the eighteenth day of the fourth month (about May 10th, 1183), Tsunemasa, weary from the war’s tension, sought solace in the serene beauty of Chikubushima. This island in Lake Biwa is a shrine said to be the abode of the goddess of speech, the arts, and learning, Benzai.

In the rough translation below, we join the Heike monogatari in chapter seven as Tsunemasa with a number of other Taira generals are preparing to meet Kiso Yoshinaka in battle.

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The Journey to Chikubushima

竹生島詣

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Koremori and Michimori, the leading generals in the army, pressed ahead. The others, including Tsunemasa, Tomomori, and Kiyofusa, tarried in the province of Ōmi, their forces waiting on the Northern shore of the Lake, today known as Lake Biwa.

Of the three who lingered, Tsunemasa had excelled from his youth as a musician and poet. His heart yearned for respite from this constant tension and alarm at the impending battles, and he sought refuge in the beauty and elegance of the natural world around him.

This day, stepping down to the shore of the lake, he looked out and spotted an island offshore. Calling to Tōbyōe Arinori, who was in attendance, he asked,

"What is that island there?"

"That is the renowned Chikubushima, Sire."

"Ah, I see. I know of it. We wish to go there!"

And so, in the company of several warriors, including Tōbyōe Arinori and An'enmon Morinori, Tsunemasa crossed over to Chikubushima in a small boat.

It was the eighteenth day of the fourth month, and the uguisu (bush warbler) sang its Spring song among the new leaves in the tops trees throughout the vale, while the hotogisu (Japanese cuckoo) answered, telling that Summer's nigh.

The Wisteria bloomed among pine branches, and the flowers seemed like waves as they swayed in the breeze.

Overcome by the beauty of this scene, Tsunemasa alighted from the boat, and climbed up into the island. The serenity around him left him with feelings impossible to capture in words.

Tsunemasa, in ecstasy, thought of the mystical lands praised in ancient texts—the realms where celestial beings reside and where immortality could be found.

The illusive Mount Penglai, where the elixir of immortality is said to be found, could not appear more beautiful than this, he thought. Ah! how those poor youths and maidens searched in vain for it on the orders of Emperor Shihuangdi, never to return. How also the alchemist failed to fulfil that mission set by Emperor Wudi not to be seen again.

His thoughts also turned to that sutra where it says that Jambudvīpa is the only one of four island-continents around Mount Sumeru where humans can reside. Within this place lies a lake, and from it rises a crystal mountain, whose roots extend to the lowest regions of the earth. Therein devi (female celestial beings) reside.

This island is that mountain embodied, it is said!

Tsunemasa reverently drew near the shrine. "O goddess Benzaiten, you who were called Nyorai in ancient times, and deign now to reveal yourself as a spiritual being who will save all. Though we may call upon you by two names Benzai and Myō'on, you are united in one body to save every living thing from suffering and difficulties, and lead them to salvation. It is known that people who pray even once before you have had their wishes granted in a perfect way. Grant our petitions, too, presented here before thee."

Thus, he recited the sutra until the day closed.

This was the eighteenth night, and as the imachi no tsuki moon rose, Tsunemasa marvelled at how the rays reflected on the lake changed it to silver. The Shrine steps were illuminated, bathed in moonlight in a scene of breathtaking beauty!

The monk who attended the shrine came to Tsunemasa. Knowing of his skill in music, he gave him a biwa, and Tsunemasa began to play.

Chikubushima tsuki (Chikubushima moon) from the collection 100 aspects of the moon by Tsukioka Yoshitoshi (1839-1892) [wikicommons]

As he began to play the secret pieces Jōgen and Sekijō, the tones of the biwa resounded throughout the shrine, and the goddess, unable to restrain herself, appeared as a white dragon over his sleeve.

Twofold screen painting of Tsunemasa by Suzuki Shuitsu (1823-1889) [wikicommons]

Tsunemasa, overcome, wept and wept with joy.

This poem burst from him:

Behold - a sign! Did the goddess hear my prayer?

Surely her appearance gives hope...

Tsunemasa thought "Doubtless now, the detestable enemy will be laid low! The attack must take place at the earliest opportunity."

As they departed Chikubushima by boat, Tsunemasa’s heart was renewed, believing that with the goddess's blessing, victory in battle was certain.

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Secret pieces

One aspect that stands out to me here is the "secret pieces" (Jōgen and Sekijō).

In my studies with Fumon, I recall learning many different sets of interludes, each graded in difficulty. When I thought I had completed them, Fumon presented me with another set titled Hiden (literally "for secret transmission"). These were just for a special few, and not to be transmitted outside the group.

This partially reflects the idea of the "secret pieces" in the Heike Monogatari. However, there is an additional layer to these pieces that becomes clearer in the following passages that we will deal with in later posts. There is an esoteric knowledge as well as a spiritual power associated with them, and when played correctly, they seem to possess a mystical quality.

I hope you will join me in the next post, where we explore the aftermath of the battle and what happens to Tsunemasa.