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1.

The crisp rustling of the fallen pine-needles sounded a comfortable rhythm over the sand of the pine-grove at the back of the house and echoed across the sky that arched high overhead. Because some time had passed since I had been able to escape the noisy strife of the city and enjoy the gentle peace and quiet of the country where not a single harsh jangled the nerves, I stretched out close to the veranda with a sense of fulfillment not recently felt and, revelling in the sweet fragrance of the European style paper that was rough to the touch, immersed myself in a new book.”

 

In the break to my senses as I paused briefly to turn a page, I occasionally heard the brisk cadence of a bamboo broom that scraped across the firm sand of the grove and swept the pine-needles with a compellingly familiar tone that brought tears to my eyes as had happened long, long ago when I heard the nursery songs I knew so well as a child.  Losing myself in the sound, I momentarily forgot to turn the page and gazed out absentmindedly at the garden before me while the sun that had blazed for some time across the top of the book threw down its shimmering rays, a little too strong for autumn, over the white sand of the garden. The glare of the sand’s fine, pure whiteness glistened almost voluptuously, contrasting against the clear heights of the balmy sky. I gazed distractedly for a very long time, listening to the far-off sound of pine-needles being swept.

 

Wrapped in a languor slightly more pleasant than the feeling of waking each morning, I became aware of the voices of my grandmother and younger brother.

 

“I didn’t do anything.”

 

“Are you sure?”

 

“I told you I didn’t. I just watched.”

 

“Alright then, but from now on listen to what I say and don’t be so mean to Yoshi-ko. He’s a person, so don’t tease him by poking him with a bamboo stick. No matter what others do, just stand by quietly and don’t take part in anything you shouldn’t.”

 

“Well, there’s no need to worry because I don’t join in, I only ever watch,” said my brother sounding bored and irritated before running up to the veranda and spinning his top close to where I lay.

 

“Oh dear, not there again,” scolded Grandma coming directly after the boy. “Haven’t I told you not to spin that thing on the veranda?”

 

My little brother grinned and, after abruptly grabbing the top with his hand to stop it spinning, began winding the string with a resigned look on his face.

 

“Has someone been making fun of Yoshi-ko again?” I asked my little brother teasingly.

 

“Not me,” he said looking up at me with a deeply annoyed face. “It’s no fun teasing someone like that.”

 

“Why not?” I asked, amused by my brother’s sullen little face.

 

“Well. Even if someone does something, he just goes quiet and leaves.”

 

“Does he sometimes chase after you?”

 

“No, he doesn’t.”

 

“He’s never, ever chased you?”

 

“Well.”

 

Since my childhood, Yoshi-ko, a man with the mental age of a child, has lived with his old mother in a hut that stood in the corner of the grounds of a neighbouring mansion separated from our house by a low, single hedge. Unable to hold his neck upright, Yoshi-ko always looked down at the ground and, with his big rounded back, only ever lifted his head to look with a smirking expression at someone else’s face. He rarely spoke, although, even when he did, his thin, reedy voice made it impossible to pick up anything other than the first few words. When I was five or six years old, Yoshi-ko was still being cared for by his mother who was then said to be close to seventy years of age, but, even so, his amazing physical strength meant that he was often used to do tasks such as hulling rice or carrying fire-wood from the mountains. From a young age, I, too, had often teased Yoshi-ko, and my grandmother had scolded me just as she now had my little brother. When we noisily beleaguered him in those days, he would angrily chase after us, randomly throwing stones. While today the children did the teasing, when I was young it was the nursemaids watching over us who gathered about to torment Yoshi-ko who, when they asked how old he was, would squirm with embarrassment and eventually reply in his reedy voice, “I’m nineteen.” The adults, however, calculated that even then Yoshi-ko must have been more than forty. That was seventeen or eighteen years ago. They might say that simpletons never grow old, but Yoshi-ko certainly seems to have now lost much of the energy and vitality he had shown over a decade and a half before.

 

“About how old,” I asked, “do you think Yoshi-ko is now? He must be more than fifty, surely.”

 

“He must surely be.” At some point, Grandmother had changed into something neat and tidy and, head bowed, spoke without seeming to give her answer much thought.

 

“He’s nineteen, that’s how old Yoshi-ko is…” my little brother commented from the side, looking as if talking about himself.

 

            “That’s what Yoshi-ko says, isn’t it?”

 

            “Um.”

 

“That’s what he said even when I was much younger than you are now. But he must in fact be older than Father.”

 

“That’s a lie! It’s a lie, isn’t it, Granny?”

 

“It’s true, Grandmother, isn’t it? It’s just that, because he’s backward, Yoshi-ko doesn’t seem to age.”

 

“Mmm.” My little brother stared at me with a sceptical air. Having lost interest in our conversation, I again picked up my paper-cutting knife. But just as my brother, seemingly bored, was about to go out to play, he suddenly turned and said with quiet agitation,

 

“Big sister, Yoshi-ko is being beaten again, look over there…”

 

The well close to the fence that bordered the neighbouring house was in my diagonal line of sight and beside it I could see Yoshi-ko standing as he always did, back rounded and head hanging down. Before him, his unclean-looking old mother was saying something as she slapped the back of her son’s hand that was limply hanging down. Apparently feeling nothing no matter how many times he was hit, Yoshi-ko stood motionless without ever trying to pull back the hand his mother was beating. With a curious feeling of calm detachment, I silently watched the disturbing sight of the mother and child standing in the sunlight that was too bright for the mild autumn.

 

“You can see better from here.”

 

Grandma stood up and scolded my little brother who had run nimbly across to the fence.

 

“There she goes getting cross at her son again, but since he’ll never understand no matter how she chastises or beats him, she should stop wasting her time like that.”

 

Seemingly talking to herself, Grandmother slowly stood up, stepped down from the veranda, and left.

 

2.

In the pine grove two or three days before that incident, early the morning after I had arrived back home, I ran into Yoshi-ko’s unclean-looking mother who seemed strangely insubstantial, like some sort of ghost.

 

The morning was particularly chilly, and in spite of wearing a serge-lined haori, I felt unpleasantly cold. Unusually for me, I had left my bed before sunrise to go down to the beach. The sea was calm with not the slightest hint of movement. As always, the island and cape that lay directly before me appeared vaguely in the distance through the rising mist while, with the surface of the sea and the pine-grove still completely cloaked in the morning air, both were moistened with damp. Only vaguely aware of the faint sound of my feet on the sand, I left the grove and made my way down to the beach. A small boat floated softly on the water. The lapping at the shoreline was barely audible, almost as if there was no water at all. Walking with the least possible effort, I made my way along the water’s edge to the mouth of the river where the eastern edges of the sandhills spread broadly away. As I turned to walk back, I could see a dark figure in the distance on that long, long shore. Truly pampering myself for the first time in a long while in the refreshing feeling of the seaside morning, I made my way back home up and down over the sand hills.

 

Just as I went to leave the beach directly beneath my house and ascend to the grove, I spied the old woman standing alone and seemingly leaning against a pine-tree trunk. I remember being repulsed and frowning the instant I caught sight of her face – the dishevelled white hair all over her head, the deeply wrinkled and yellowed face lacking any lustre of life, the blankly gazing eyes that had lost all light, and the tightly closed mouth drooping down at each side.

 

“My, you’re still alive,” I thought to myself. 

 

I was shocked by the piteous nature of the woman’s long life. She was now nothing more than mere skin covering hard, angular bones. Over the dead tree of her body, she wore a soiled unlined kimono covered by what, at a glance, looked like some heavy garment made of patched rags. The old woman just gazed vacantly out at the beach. The moment I saw her, I remembered how five or six years ago she had still been upright and sure of herself, and I wondered how old she might be now. She must have been over eighty years old. And although she seemed like some eerie old phantom, I recalled a lovely old lady who had been kind and friendly towards me. The affection I felt for the old woman soon dispelled any sense of unpleasantness. For the first time in a long while, I gave her a smile. But perhaps she had lost the will to remember my features because her dull eyes and expressionless face just continued looking vacantly in my direction. I again felt distaste and quickly went into the house.

 

This old woman, whose signs of vitality seemed to have completely dried up, was still physically disciplining her huge son. I had been quite surprised to see that.

 

Eventually, Grandmother walked with heavy steps up to the old woman and said something as she led her back to her hut.

 

“What was the problem?” I asked as soon as I saw my grandmother who had returned to the house.

 

“Well, the old woman lost her temper again because Yoshi-ko had been teased by the children. She was also angry because, rather than standing up to them, he came home and took it out on her.”

 

“Mmm, it’s odd that he’d come home and take things out on the old woman. You’d think he’d at least know the difference between his mother and other people.”

 

“Well, my dear, no matter how feeble-minded he might be… The old woman is far too strong-willed to be the mother of a child with that sort of problem.”

 

As if again talking to herself, grandma spread out her pieces of cloth once more.

 

“In the past,” I reflected, “the old woman seemed to have tremendous spirit, so it’s a shame to see her as she is now. I ran into her just two or three days ago, but she looked like she was no longer alive. She didn’t even recognise me.” As I spoke, I recalled the old woman’s shadowy presence.

 

“What are you saying? Just because her body’s worn out doesn’t mean that the old woman’s spirit has gone. You’d still never know that she was already over eighty-years-old.”

 

“I suppose …”

 

It couldn’t help but think how strange it was that the old woman’s past life-force might still be somewhere in the color of those dull leaden eyes. Grandma put on her glasses and, trying to thread a needle, said as to herself, “I can’t match the old woman’s strong will, but because she’s so single-minded she suffers much more. No matter how long she lives she’ll always face trials and tribulations.”

 

I suddenly remembered the old woman’s firm stride as she stepped out, looking nothing like someone close to seventy, when she was still fit and healthy. Although my grandmother was ten years or so younger and people said how much stamina she had, she was quite conventional and when I saw her doing the usual things around the house, it was clear that the old woman outmatched my grandmother, that is, outmatched someone ten years younger, in terms of hard work. She had once been a clever, humble woman who was friendly to all. Yet, I first saw her terrifying tenacity in the way that she treated her daughter.

 

The old woman’s daughter was the wife of the stonemason who lived three or four houses from us. The rumor spread that this wife was possessed by a fox. Frightened, we children went nowhere near the house of the wife for some time. And although I only twice saw that pale hysterical face with its upturned eyes and long, spindly body, I was so terrified both times that I hoped never to see it again.

 

As time went on, the wife became more and more deranged and would create such a tumult that she was beyond restraint.

 

Once, when I heard what I thought was agonized, hideous moan, more terrible than words can express, as if someone was being crushed, suddenly there was a shrill, gasping cry. “Ah,” I thought, at which point came a broken maniacal laugh that seemed chillingly to have no end. Gripped with a strangely terrifying curiosity to see what was going on, we children drew close to the house. But no one at first had the courage to peek inside. Before long, however, it was clear that we would never be satisfied with merely hearing that uncanny voice, and we secretly took a look through knotholes of wood and rips in the sliding door. There lay the wife, her hands and feet tightly bound with rope. With her white hair wildly dishevelled, the old woman stood beside her daughter brandishing a long smoking pipe, harshly raining down blows all over the invalid’s frail body. The sight I saw when I first stole a glimpse inscribed itself deep in my mind. Over and over, that image and those wailing cries menaced even my dreams.

 

Once, on another occasion when a cold north wind was blowing, the wife was bound, hands tied behind her, to a tree at the side of the well. After drawing water that she poured in torrents over the wife’s head as well as her own, the old woman tormented the younger by crying, “Won’t this make it leave you,” or “Hasn’t it left yet?” The screams the old woman’s daughter made with each dousing upset the neighbours for a very long time. When my mother ran out, shocked at the sound, she said, “She’ll catch a chill,” and then took herself home to her bed.

 

The old woman thought she had not done enough and so deprived her daughter of food. That persecution continued day and night. The old woman felt it was right to torture the body of the daughter she loved in order to drive out the fox.  She insisted that, even if her child’s life was lost, there was nothing else for it. She never doubted that death was better than being possessed by a beast. More than surprise, everyone felt terror at the old woman’s strength of will. After a year or so of this kind of treatment, the wife eventually died. Right up to the death of her daughter, the old woman never once relaxed her harsh torment of the fox. People in the neighborhood chorused strong sympathy for the victim whom they believed had been harried to death. The old woman, however, was unmoved. Without shedding a single tear, she worked busily to tidy things up. And, in tandem with Yoshi-ko, she displayed a work ethic that far outmatched that of the young when helping with farm chores or peddling sundries like sewing goods.

 

Then, two or three years ago, the old woman began to weaken. Refusing all help, it seems she made do with the tiny amount saved from money earned through her disabled son Yoshi-ko’s work. Given that she accepted no help, she must have saved quite a lot in spite of being impoverished.  Even so, through the good offices of the many people who sympathized with the half-invalid old woman and her piteous lifestyle, her only grandson was able to leave his life as a soldier to return and assist her. As soon as her grandson arrived, however, she drove him away and said, “I’m grateful. But until I need nursing you can go out to work.” Seeing this, her neighbors said to each other, “If she ever really needs help, the old woman will probably take her own life.”

 

3.

One evening about a week later, I heard the loud crying sound of a woman’s voice and, going outside to investigate, saw one of the village wives, surrounded by a crowd of children, standing outside the old woman’s hut saying something in a tearful voice and covering her face with her apron. Gazing directly ahead, the old woman also was speaking, her jaundiced face expressionless. The distance between us meant that while I could see the scene unfold, I could not be sure what was happening.  Meanwhile, people like the man who was the head of the neighboring family and my grandmother ran up to the scene. I followed my grandmother. Piecing things together from the wife’s words and the comments of the children, it seemed that, Yoshi-ko had become angry about something and chased the youngsters across the pine-grove, eventually following them into the sanctuary of the god of the local shrine, and the children leading the fleeing group had run in noisy confusion down a set of stone stairs. The last child had been pushed by Yoshi-ko with all his might and as a result had taken fall. To the child’s misfortune, he had sprained his foot and grazed off a great deal of skin.

 

The old woman stood in surprisingly dignified fashion. There was no longer anything leaden about the look in her eyes.

 

“What he did was terrible, inexcusable. That’s the sort of fellow he is. There’s nothing that can be done. I don’t mind what happens to him so please go ahead, master, and do whatever makes this wife happy.”

 

With the details of the incident largely explained, the old woman spoke exceptionally clearly, although in quite a cold tone, half to the wife and half to the neighbour. If the wife expected or wished to hear some polite words or humble apology, the old woman showed no such intention. Rather, she stood with a look that was surprisingly cool and composed.

 

“Something that makes me happy?” the wife cried in distress. “What could make me happy when my precious son has been injured by such a simpleton. What a beast, what a beast.”

 

“Ah, Mistress,” the master mediated by reasoning calmly spoke with the woman, “there’s no use in being upset. Yoshi-ko did a terrible thing, but I’m not sure you should berate the old woman. And by the way, how is your son?”

 

“His father has taken him home.”

 

“I wouldn’t have taken him home first. He should see a doctor right away. Let’s see, I can go with you. And, Grannie, there’s no need for you to worry.”

 

The master then left with the wife and went off.

 

My grandmother did her best to console the old woman. “There, now, it’s best not to worry. People will sort things out. While it was a terrible thing for the mother of the boy, it’s been a good lesson for the children. Hopefully, they won’t do silly things in the future.” Making no response, the old woman merely hung her head and returned to the gloom of her hut.

 

That evening, Yoshi-ko disappeared but, after a child found him the following day standing absent-mindedly beside the hut where oyster shells were burnt, he was taken away by the police. Nothing was done, however, because he was feeble-minded, and by evening the neighboring household head had brought him home from the office of the local police.

 

Yoshi-ko returned just as I arrived at the old woman’s house to deliver some things that my Grandmother had asked me to take over for supper. As soon as she saw Yoshi-ko coming, his mother stepped down to the dirt-floored entrance to the hut and waited at the door for his arrival.

 

“Granny, there’s nothing to worry about. I brought him home. Nothing happened because he’s disabled.” As the head of the neighboring family spoke, Yoshi-ko stood as he always did with his head hanging down and smirking.

 

“Please accept my apologies for the trouble he’s caused and for taking your busy time.”

 

Politely, the old woman bowed low before the head.

 

She then turned to her son. “You idiot!” she cried. It was hard to believe that the old woman’s weakened body could produce words so forceful that Yoshi-ko took several steps backwards. Before those nearby could restrain her, the old woman beat her son three or four times with something she had at some point picked up that looked like a piece of bamboo.

 

“Hey, Granny, what are you doing?” cried the neighbor as he restrained the old woman who, through gritted teeth, replied in a trembling voice.

 

“Sir, please let me go. It was unforgivable of me to create this feeble excuse for a human. Even if the police pardoned his behaviour because he’s defective, I’m not able to accept that as a reason for him to go about injuring other people’s children. It’s precisely because he’s defective that I can’t look the mother of the injured child in the face. You! Yoshi! Instead of getting so angry when you’re teased the slightest bit that you need to damage someone else’s child, you should show a bit of mettle and go hang yourself. You don’t understand? Don’t understand? You don’t understand anything? I’ll get you! Come on over here, come here. I’m going to give you a thrashing, I’m going to thrash you to death.”

 

“Granny, what are you thinking? How can you say such a terrible thing? Yoshi-ko, you go over there and, ah, Granny, you go into the house.” The head of the neighboring household spoke while holding the old woman’s grubby body in a firm grip. After watching with eyes full of tears as Yoshi-ko sloped away to the front of the yard, the old woman suddenly slid out of the neighbour’s hold down onto bended knee. There in the falling light she crouched blackly on the ground. Unable to watch any longer, I forgot everything, including the bowl I had placed at the entrance to the hut, and quickly made my way home.

 

It was three or four days later that the old woman died. On the third morning, Yoshi-ko was taken from his mother and sent off somewhere else. The old woman had been completely immobilized since the evening of that strange commotion so, with the neighbour, our family had helped by doing things for her such as cooking o-kayu rice porridge morning and night. My mother had already said, “This time there’s definitely no hope,” when, just on daybreak that morning, we heard the sound of beating as if someone was breaking down the neighbor’s door. The old woman had hung her desiccated, wraith-like body from a pine-tree at the back of the house. Everyone in the neighborhood was shocked. People could barely believe that in her enfeebled state she had been able to make her way to the pine-grove, tie a rope to a branch high-up in a tree, and hang herself. Everyone raised their eyes as one to stare up at the branch.


 裏の松原でサラツサラツと砂の上の落松葉を掻きよせる音が高く晴れ渡つた大空に、如何にも気持のよいリズムをもつて響き渡つてゐます。私は久しぶりで騒々しい都会の轢音から逃れて神経にふれるやうな何の物音もない穏やかな田舎の静寂を歓びながら長々と椽側近くに体をのばして、甘つたるい洋紙の匂や、粗いその手ざはりさへ久しぶりな染々した心持で新刊書によみ耽つてゐました。


 ふと頁を切るひまの僅かな心のすきに、如何にも爽快なリズムをもつたサラツサラツと松原の硬い砂地をかすめる松葉掻きの竹の箒の音が、遠い/\子供の時分に聞きなれた子守歌を歌はれる時のやうな、何となく涙ぐまれるやうなフアミリアルな調子で迫つて来ました。私は何時か頁を切る事も忘れて其のまゝボンヤリ庭のおもてに目をやりながら其の音に聞き惚れてゐました。先刻から書物の上を強く照らして、何んとなく目まひを覚えさせた日の光りは、秋にしては少し強すぎる位の同じ日ざしを、庭の白い砂の上にもまぶしく投げてゐました。おつとりと高くすんだ空には少しふつり合ひな位に、その細かに真白な砂はギラ/\とまぶしく輝いてゐました。私は何時までも何時までもぼんやり其処に眼をすえて遠くの方から聞えて来る其の松葉掻きの音に聞き入ってゐました。


 丁度寝おきの時の気持に似たそれよりは少し快い物倦さを覚えるボーツとした其の時の私の頭の中に、ふと祖母と弟の話声がはいつて来ました。


「あたいはどうもしやしないよ」


「本当にかまはなかつたかい?」


「かまやしないつたら! あたいは見てゐた丈けだつてば」


「そんならいゝけれど、これからだつてお祖母さんが何時も云つて聞かすやうに、芳公に悪い事をするんぢやありませんよ。芳公だつて人間だからね、決して竹の先でついたりいたづらをするんぢやないよ。他の人がどんな事をしてもだまつて見てゐるんだよ、決して仲間になつて、悪い事をするんぢやないよ」


「あゝ、大丈夫だよ、しやしないよ、何時だつて見てゐるきりだよ」


 弟は面倒臭そうに話をすると駈け出して来て椽側で独楽をまはし始めました。


「これ! またそんな処で。椽側でこまをまはすんぢやないと云つとくぢやないか」


 祖母は直ぐ後から歩みよつて叱りつけました。弟はニヤリと笑つて、そのはづんでゐるのを掌にとつたが忽ちまはり止んだので仕方がなささうにまたその長い緒を巻きはじめました。


「また誰か芳公をいぢめたの?」


 私はからかふやうに弟に聞きました。


「いぢめやしないよウ、あんな奴いぢめたつてつまらないや」


 弟は口を尖らして、さも不服らしく私の顔を見上げました。


「どうしてつまらないのさ」


 私はその小さなふくれつ面を面白がつてまた聞きました。


「だつて、何したつて黙つて行つちやうんだもの、つまらないよ」


「偶には追つかけて位来るでせう?」


「来ないよ」


「一度もかい?」


「あゝ」


 芳公と云ふ白痴の男は、私の家とは低い垣根を一重隔てた隣の屋敷の隅にある小屋の中にその母親の老婆と二人で、私がまだ幼い時分から住んでゐました。芳公は首をまつ直にした事のない男でした。何時でも下を向いて大きな背を丸くして人の顔を上目で見てはニヤ/\笑つてゐる男でした。彼は滅多に口をきいた事はありませんし、偶にきいても細い/\声で一と言二た言云ふとそれから先きは何んと云つても聞きとれるやうな声では云ひませんでした。彼は私がまだ五つか六つ位の時にもう七十に手が届くと云はれたその母親に養はれてゐたのですが、力だけは驚く程持つてゐますので、よく米搗や山から薪を運ぶ仕事などに使はれてゐました。私もまた幼い時から弟が今祖母に云はれたのと同じ事を云はれながらよくからかつたものでした。けれど其の頃は少し私共がうるさくつきまとふと、彼は怒つて追つかけて来たり、手あたり次第に石を投げつけたりしました。彼は其の時分私達が――と云ふよりは私達を率ゐる子守共がよつてたかつてからかひながら年を聞きますと、きまつて「十九」と細い声でさも恥かしさうな身振りでやつと答へました。けれど其時分既に大人達はもうどうしても彼の年を四十以上だと勘定してゐました。それからもう十七八年の年月が移つてゐます。いくら年を取らない馬鹿だと云つても、矢張りもう十五六年前の気力を失つたのだらうと私は思ひました。


「芳公は一体もういくつ位なのでせうね。どうしても五十以上にはなつてゐますね」


「もうそんなもんだらうねえ」


 何時の間にか私の前の方で小ぎれいななりをしてゐた祖母は私の問ひに格別考へる様子もなく顔をうつむけたまゝどうでもいゝやうな返事をしました。


「十九だよ、芳公の年なら――」


 自分の年でも云ふような顔をして弟が傍から口を出しました。


「それや芳公が云ふんでせう?」


「ああ」


「そんなら姉さんがお前よりももつと幼い時から十九だつて云つてるよ。本当はうちのお父さんよりまだ年よりだよ」


「嘘! 嘘だい、ねえお祖母さん!」


「本当ですよ、ねえお祖母さん? 芳公はお馬鹿さんだから年をとらないだけなんですよ」


「ふうん」


 弟は腑におちないやうな顔をしてぢつと私の顔を見てゐました。私は弟とそんな話をしてゐるのもつまらなくなつたので再び紙切ナイフを取り上げました。弟もつまらない顔をして遊びに出かけさうにしましたが忽ち頓狂な声をひそめて振り返りました。


「姉さん、芳公がまた打たれてるよ、ほら彼処で――」


 私の座つてゐる処から斜めに見える隣りの境目の垣根に近い井戸端に、例のやうに背中をまるくして下を向いて立つてゐる芳公の姿が見えます。其の前に見るも汚らしい老婆が立つて、何か云つては芳公がだらりと下げた大きな手の甲をピシヤ/\なぐつてゐます。芳公はいくらなぐられても何んの感もないやうに打たれる手をひつこめもせずにぬつと突つ立つてゐるのです。私は穏やかな明るすぎる程の秋の日ざしの中での奇怪な姿をした親子の立ち姿を、不思議な程平らな無関心な気持でだまつて眺めてゐました。


「彼方の方がよく見えるよ」


 垣根の方にすばやく走つて行く弟を叱つておいて祖母は立ち上りました。


「また婆さんはあんなものを叱るのだね、叱つたつて打つたつて解るものかね、いゝ加減にやめておけばいゝものを――」


 独り言のやうにさう云ひながらそろ/\体を起して椽側を降りると庭の囲ひの外に出て行きました。

 


 二三日前――此処に帰りついた次の朝早く――松原の中で、私は其のお化けのやうに影のうすい異様な姿をした、汚らしい芳公の母親に遇つたのでした。


 其の朝は、特にうすら寒くて、セルに袷羽織を重ねてもまだ膚寒い程でした。私はまだ日の上らない前に珍らしく床をぬけ出して、海辺に出ました。海は些の微動もない位によく和いでゐました。何時もは直ぐ目の前に見える島も岬も立ちこめたもやの中に、ぼんやりと遠く見えて、海も松原も一面にしつとりとした水気を含んだ朝の空気につゝまれて静まり返つてゐました。私は足の下でかすかに音をたててゐる砂の音を聞くともなく聞きながら松原を出て渚に降りて行きました。小舟は静かに浮いて居ました。そして汀の水は申訳ばかりにピチヤ/\とあるかないか分らない程の音をたてゝゐます。私は出来るだけゆつくりその汀を歩いて東の方のはづれの砂浜がずつと広くなつた河尻まで行きました。私が引き返し初めた頃には長い/\その渚の彼方此方に黒い小さく見える人影がありました。私は本当に久しぶりで朝の海辺のすが/\しい気持を貪りながら高い砂浜を上つたり降りたりして家の方に帰つて来ました。


 私が丁度家の直ぐ下の渚から松原へ上らうとした時に、ふと其処の松の木に背をもたせるやうにして立つた一人の老婆を見出しました。もぢや/\と頭を覆ふた白髪、生きた色つやを失つた黄色く濁つた其の皺深い顔の皮膚、放心したやうな光りを失つた眼、両端が深く垂れた大きく結んだ口、私はその老婆の顔を見た瞬間にゾツとして眉をよせた事を覚えてゐます。


「まア、まだ生きてゐるのだ!」


 私は浅ましい彼女の長生きに呆れました。彼女は今はもうゴツ/\の硬い骨の上をたゞ一枚の皮が覆ふてゐるにすぎないのでありました。枯木のやうな体にはうすよごれた単衣とぼろを綴ぢ合はせた見るからに重さうなものを着てゐました。そして彼女はぼんやりと沖の方を眺めてゐました。私は其の老婆を見た瞬間に、五六年も前に見たまだ確かりしてゐた彼女の姿と、それから現在の年齢を同時と云つてもいゝ早さで思い出しました。彼女は確かにもう八十は過ぎてゐました。此のお化けのやうな気味悪い老婆も、彼女がまだ確つかりしてゐた時分には、私には親しみのあるいゝ婆さんだつたのです。その、私の老婆に対して持つてゐる親しみは直ぐに私の気味悪さを押し退けました。私は老婆に久しぶりな微笑を送りました。しかし老婆はもう私の顔を思ひ出す気力も失くしたのかそのにぶい眼をぼんやり私の方に向けたまゝで、何んの表情も見せませんでした。私は再び気味が悪くなつて急いで家にはいりました。


 そのすべての精力が枯れつくしたやうに見えた老婆が今其の大きな息子を折檻してゐる。私は軽い驚きをもつてそれを見てゐました。


 やがて鈍い足どりで私の祖母が其処に近づいて何か云ひながら老婆を小屋の中に送り込みました。


「何うしたんです?」


 私は帰つて来た祖母の顔を見ると直ぐ聞きました。


「何あに、芳公が子供達にからかはれたもんだから婆さんがまたかんしやくを起したんだよ。あの又芳公が子供達には手向ひが出来ないで帰つて来ちやあ婆さんに当るもんだからつい婆さんも怒るんだよ」
「へえ、うちに帰つて来て婆さんに当るのはおかしいわね。親と他人の区別位は矢張り分るんですねえ」
「それやあお前いくら馬鹿だつて――。あんな片輪者の親にしちや婆さんがちつと勝気すぎる。」


 祖母は独り言のやうにさう云つてまた小切れを拡げました。


「もとはあのお婆さん随分勝気らしかつたけど、もうあゝなつちや駄目でせう。私つい二三日前あの婆さんに遇つたんですけども、もうまるで生きてる人のやうぢやないぢやありませんか。私の顔だつてもう分らなかつたやうですよ」


 私はあの影のうすい婆さんの姿を思ひ出しながら祖母に云ひました。


「何あにお前、体はあゝでも、まだ気はなか/\確かだから。八十からになる婆さんとはとても思へないね」


「へえ」


 私はどんよりしたにぶい眼の色の何処に昔の婆さんらしい意地が残つてゐるのだらうと不思議に思はずにはゐられませんでした。祖母は眼鏡をかけながら


「婆さんの気丈なのも真似が出来ないけれど、あんまりきつい気だから倍も苦労しなきやならない。あんなに長生きをしても何時までも業を見るのでは何んにもならない」


 ひとり言のやうにさう云ひながら針のめどをすかして見るのでした。


 私の頭の中には、まだとても七十近いなどとは思へない程肉付きのいゝ確つかりした足どりで歩く婆さんの姿がうつりました。私の祖母が十も若くて、丈夫だ/\と云はれながら歯もろくに役立たず、家の中で因循な動作をしてゐるのから見ると、婆さんは祖母よりは却つて十も若い者よりはもつと確つかりした働きをしてゐたかもしれません。彼女は誰にも腰の低い愛想のいゝ悧巧な女でした。しかし、私が最初にその婆さんの恐ろしい意地つ張りを見たのはその婆さんの娘に対してでした。


 婆さんの娘は、私の家の三四軒先きの石屋のかみさんでした。そのかみさんが狐につかれたと云ふ噂が拡がりました。私達は恐がつて一しきり其の家のまはりに寄りつきませんでした。色の蒼い眼の釣り上つたヒステリツクな顔や、ひよろ長い体を私は二度ばかり見ましたけれど、二度とも、もう決して見まいと思つた程凄い印象を受けたのでした。


 けれども、其の後だん/\内儀さんは狂ひ出して、手のつけやうのない程暴れ出すやうになりました。
 何んとも云ひやうのない苦しそうな圧されるやうな嫌やな呻き声がするかと思ふと突然甲走つた息も絶え/\な泣き声がします。さうかと思ふと、ぞつとするやうなマニアツクな引つゝれるやうな笑ひがとめどもなく続きます。私達子供は、不思議な恐いもの見たさの好奇心から石屋の家に近づきます。けれど初めのうちは皆んな進んでその中を見やうとする気はありませんでした。しかしだん/\その不思議な声だけでは満足が出来ずに何時か其処の戸のふし穴や障子の破れからそつと覗くことを覚えました。其処には、紐でギリ/\手も足も縛られた内儀さんがころがされてゐます。白髪頭をふり乱した婆さんがその細い病人の体を長煙管をふり上げて所きらはずピシ/\打ち据えてゐました。最初に覗いた時に眼にうつつた此の光景は私の頭に深くしみ込んでゐました。私は当座夢の中にさへ度々その光景や叫び泣きの声に脅やかされた程でした。


 或時はまた、寒い北風の吹く中で井戸端の立木に内儀さんは後ろ手にゆはへつけられてゐました。婆さんは井戸から水を汲み上げては自分もかゝりながら内儀さんの頭からザアザア浴びせかけては「これでも出ないか」「まだゆかないか」と責めてゐました。冷たい水を掛けられる度びに病人のあげる悲鳴が長いこと近所の人を悩ましました。私の母はその声に驚いて馳けつけて、その光景を見ると寒気がすると云つて寝込んだ程でした。


 婆さんはそれでも未だ足りないと見て此度は病人の口から一切の食物を奪ひました。さうして夜昼責め続けました。婆さんは狐を逐ひ出す為めには、可愛いゝ娘の肉体を責める位は当然の事と思つてゐました。若し其の為めに死んだ処で仕方がないとまで云ひ張つてゐました。人間がけだものに馬鹿にされてゐるよりは死んだ方がいゝと云ふ主張でした。誰も彼もが婆さんの「気丈」に驚くよりは怖れてゐました。一年ばかりさう云ふ事が続いた末、内儀さんは逐々死んでしまひました。婆さんは死ぬる際まで狐に対する苛責の手を少しもゆるめませんでした。近所の人達は、死人に同情のあまり婆さんに責め殺されたのだとさへ云ひ合つてゐました。しかし婆さんは平気でした。涙一滴こぼさずに甲斐々々しく後始末の為めに働きました。そして芳公と二人で百姓の手伝ひをしたり、小間物の行商をしたりして若い者の到底及びもつかない働きぶりを見せてゐました。


 婆さんが弱り始めたのは二三年前からでした。さうして誰の世話にもならず、馬鹿の芳公が働いて来る僅かな金に貯蓄した分をたしては此の二三年をしのいで来たのださうです。婆さんは、さうした貧しい暮らしの中からでも他人の世話にはなるまい為めの可なりな貯蓄を持つてゐたのださうです。しかしそれにしても、半病人の婆さんの惨めな生活に同情して、たつた一人の孫が兵隊に行つたのを皆んなで奔走して帰して貰つて、婆さんの面倒を見さす事にしました。しかしその孫が帰つて来ると直ぐ、


「ありがたい事だ。けれど、未だもつとどうしても介抱して貰はねばならないやうになる迄精出して働いて来い」


 と云つて追ひ出して了ったさうです。近所の人も、婆さんは終には何うしても他人の世話にならなくちやならないやうになつたら舌でも噛んで死ぬのだらうなどと云ひ合つてゐました。

 


 それから一週間ばかりもたつた或る日の夕方、裏手の方で高い女の泣き声がしますので出て見ますと、隣りの婆さんの小屋の前で大勢の子供達に囲まれた何処かの内儀さんが前垂で顔を覆ひながら泣き声を出して頻りに何か云つてゐます。婆さんはその黄色い顔を真直ぐに向けて何の表情も見せずに何か云つてゐます。隔りが遠いのでさう云ふ光景だけは見えますが何の事か私には分りません。そのうちに隣りの主人や私の祖母などが馳けつけました。私も祖母の後を追ひました。内儀さんの話や、子供等の話を総合しますと、今し方何かに怒つた芳公が松原で子供をおひまはして、遂々裏手から鎮守の天神様の中に追ひ込みましたので、表の方へ逃げて行く子供等はあはたゞしく石段を馳け降り始めました。其一番後から降りやうとする子供を芳公は力まかせに突き落したのです。子供は其の為めに足を挫き、彼方此方摩りむいてひどい目に遇つたと云ふのです。
 婆さんは黙つて、驚く程シヤンとした姿勢で立つてゐました。その眼は決してどんよりしたものではありませんでした。


「飛んでもない、申訳けのない事をしました。ああ云ふ奴の事ですから。何んとも仕様がありません。何うぞ旦那、彼奴の体なんかどうなつてもかまひませんから此のおかみさんの得心のいくやうに存分に一つお願ひいたします。」


 一とわたり事件の説明がすむと婆さんは非常にはつきりと、しかし冷淡な調子で半ばは内儀さんに、半ばは隣りの主人に向つて云ひました。婆さんは内儀さんが予期したやうに若しくはのぞんだやうに鄭重な、または嘆願的なお詫びの言葉は連ねませんでした。婆さんは驚く程冷淡に平気な顔で立つてゐました。


「得心がいくやうにつて、あんな馬鹿に大事な息子をかたわにされて何う得心がいくもんか、畜生! 畜生!」


 内儀さんは夢中になつて泣きさわいでゐます。


「まあ、おかみさん、さう逆上せてしまつてもしかたがない。芳公もとんだ事をしたもんだが、今おかみさんがこの婆さんを捕へて何を云つてもしかたがない。それで息子さんはどうしました。」


 隣の主人は落ちついた口のきゝ方をして仲にはいりました。


「親父が家につれて行きましたよ」


「家へ連れて行つても仕方がない。直ぐ医者にでも見せなければ。どれ、私が一緒に行つて上げやう、婆さんも心配しない方がいゝよ。」


 主人はかみさんと一緒に裏の方から出て行きました。


「婆さん、心配しない方がいゝよ、皆んなで何んとか話をつけるだらうから。まああの人の処では飛んだ災難だつたけれど、いゝみせしめだ。子供たちもこれからは馬鹿な事はしなくなるだらうからね。」
 祖母はさう云つて婆さんを慰めました。婆さんは何にも云はずに、たゞ顔を下げて薄暗い小屋の中にはいつてゆきました。


 其の一晩中行方のしれなかつた芳公が翌日海辺の蠣小屋の傍にぼんやりと立つてゐたのを子供が見つけて、巡査が連れて行きました。然し馬鹿をどうする事も出来ませんのでその夕方になつて駐在所から隣の主人が芳公を連れて帰つて来ました。


 私は丁度その時祖母に頼まれて婆さんのところに少しばかりの夕食のお菜を持つて行つてゐました。芳公の顔を見ると婆さんは直ぐ立つて土間に降りて、まだ芳公が其処まで来ない内に小屋の入口に出て待受けました。


「婆さん、もう何んにも心配する事はない。連れて帰つて来たよ。不自由だつたらうな。」


 隣の主人がさう云つて近づいて来る後ろに芳公が相変らず下を向いてニヤ/\してゐました。


「どうも御厄介をかけました。おひま欠きばかりおさせして申訳けがございません。」


 婆さんは丁寧に主人の前に顔を下げました。


「この馬鹿!」


 婆さんの弱々しい体の何処から出たかと思ふやうな声と一緒に芳公は二三歩後に下りました。傍に立つてゐる誰彼が支へるひまもなく婆さんは何時手にしてゐたのか、竹切れらしいもので三つ四つ続けざまに芳公をなぐりつけました。


「おい婆さん、お前何をする?」


 さう云つて支へられると婆さんは喰ひしばつた歯ぐきの間から声をふるはせながら云ひました。


「旦那どうぞお放しなすつて下さいまし、私は此の野郎を片輪にしなければ申訳けが立ちません。警察ぢや馬鹿だと思つて許して下すつても、他所様のお子供衆を片輪にして私がこれは馬鹿ですからと済ましてはをられません。馬鹿だからこそなを私はあの親御さんに顔が上りません。これ! 芳! 貴様はな少しばかりからかはれたと云つて腹を立つて他所様の子供衆を片輪にする位の根性骨があるなら何故首でも縊つて死んでしまはない。解らないか! 解らないか! 解るまい、貴様には解るまい! 俺が片輪にしてやる! 此処へ来い、此処へ来い! 打つて打つて、打ち殺してやる!」


「これ婆さん、お前はまあ何んだ! そんな馬鹿な事を云ふ奴があるものか芳公、お前はあつちへ行つてろ、さあ婆さん、まあ家にはいろう。」


 隣の主人は婆さんの汚い体をしつかり抱き止めながら云ひました。芳公がノソ/\表の方にゆくのを婆さんは涙を一杯ためた眼で見てゐたが、急にガツクリ膝を折つて主人の手からズリ落ちました。もう薄暗くなつた外光の中に婆さんは土の上に黒くうづくまつてゐました。私はもうそれ以上には見てゐられなくなつて、小屋の上りがまちにおいた丼も何も忘れて足早に家に帰つて来ました。



 婆さんが死んだのはそれから三四日たつての事でした。芳公を暫く婆さんの傍からはなす事になつて、他へやつて三日目の朝です。あの異常な興奮の夜から婆さんは全く体の自由を失つてゐましたので、私の家や隣りで朝晩おかゆを煮たり、いろんな面倒を見てゐました。もう此度こそ駄目だと母も云つてゐましたが、その朝、まだ夜が明けかけたばかりに、隣りでは裏口の戸を破れる程叩かれました。婆さんはその枯れた幽霊のやうな体を裏の松の木に吊してゐたのです。それは誰れ一人として案外に思はないものはありませんでした。何うして其処まで這ひ出して行つたかさへ疑問にされる程の体で、彼女は高い枝に其の身体を吊した紐をかけてゐました。人々は驚異の眼を集めて一様にその高い枝を見上げました。

 

[『民衆の芸術』第一巻第四号・一九一八年一〇月号]

Translator's Note

The work translated here is a 1918 short story by Itō Noe (1895-1923) entitled “Hakuchi no haha” (literally “The Idiot’s Mother,” translated as “The Mother of Yoshi-ko”). The work first appeared in 1918 in the fourth edition of Minshū no geijutsu, a short-lived monthly journal that ran from May until November 1918 and which, according to the National Diet Library of Japan, had the English title, The Propounder of the Collective Spirit in Arts. The version provided here comes from the online open-access site, Aozora bunko (Blue Sky Library).

Itō Noe was a feminist anarchist who, along with her famous common-law partner Ōsugi Sakae (1885-1923) and her partner’s six-year-old nephew, was murdered by the Japanese state in the chaotic aftermath of the September 1, 1923 Great Kantō Earthquake. A key participant in Japan’s activist community in the decade before her death, Noe was familiar with the work of a range of radical thinkers outside Japan. There is no doubt that crossing the intellectual border into territory occupied by figures that included the anarchist icon, Emma Goldman (1869-1940), a translation of whose work appeared under Itō’s name, had a profound impact on the young Japanese woman.

“The Mother of Yoshi-ko” is a moving narrative that demonstrates the cross-border slippage that divided local Japanese belief systems and the western ideas newly introduced into late nineteenth and early twentieth century Japan. It is problematic to claim that the types of radical thought that influenced those such as Itō who opposed the Japanese state were ‘imported’ from the West. Even without such influence, Japanese radicalism would have undoubtedly thrived. Nevertheless, the strength of the flow of ideas that circulated between the often borderless global anarcho-socialist community ensured the entry and enthusiastic reception of Western thought in Japan. Yet, these outside notions inevitably collided with local practice. The constantly oscillating tension that marked the border-crossing environment of pre-war Japan is a feature of the work presented here.

Itō’s narrative tells of the eighty-plus year-old mother of an adult hakuchi – idiot – seen through the eyes of a young woman who returns to her seaside hometown to alleviate the stresses of city life. The narrator discusses incidents that principally involve the mother and her cognitively and physically disabled ‘hakuchi’ son. Now regarded as politically incorrect, English translations for the word include ‘fool,’ ‘idiot’ or ‘retard’ in reference to a person, or ‘idiocy’ or ‘profound mental retardation’ with reference to a state of cognition. Although offensive in the current era, the word remains the title of the great novel by Fyodor Dostoyevsky (1821-1881), which is rendered as The Idiot in English and Hakuchi in Japanese. Since this work was first translated in Japan in 1914, it is likely that Itō was aware of Dostoyevsky’s novel and possibly made an intertextual reference to that narrative in her own choice of title. In deference to changing standards and given that the name of the disabled son is Yoshi-ko, that title is here translated as “The Mother of Yoshi-ko.”

“The Mother of Yoshi-ko” exposes the superficial nature of modernisation in Japan and how long-established practice remained resistant to outside influence. Having crossed the border from the premodern rural into the modern realm, the narrator of ‘The Mother of Yoshi-ko’ has a certain sense of detachment from her hometown community. Itō’s writing, both essays and fiction, generally involved investigation of the self. While this text, too, is written in first person, the narrator adopts an ’objective’ third person position in her account of the life of the eponymous mother.

The early twentieth century was a time of language standardization in Japan. This process assumed that the speech of those in the provinces, and indeed the provinces themselves, were in some way lesser vis-a-vis the city and city-life. In spite of her anarchist disdain for authority, Itō, too, may have been influenced by the discourses of regional inferiority inevitably implied by language standardization. While the beauty and calm of the Kyushu surroundings are tangibly foregrounded in the work, the narrator nevertheless creates the impression that the village of her childhood lacks the civilization and enlightenment of the urban space. Certainly, some characters, including the narrator’s grandmother and the head of the neighbouring family, are portrayed sympathetically, while even the police exercise compassion when dealing with the old woman’s cognitively impaired son. Nevertheless, the text confirms prevailing discourses of the residual primitivism of the premodern through the presentation of the figure of the mother profiled in the title of the work.

Yoshi-ko’s mother has experienced a life of trial. At the time of the narrative, minimal state support was provided for those, like the old woman and her son, on the margins of society in Japan. Only when depressed economic circumstances followed the end of the Great War in Europe did the Japanese state begin to replace family and friends as a source of support for the dispossessed. Situated in this context, the old woman lives in a hut on the property of a well-off village family. It is clear that this family has extended its patronage to Yoshi-ko and his mother.

The old woman’s treatment of her son speaks to premodern ways of dealing with the disabled. In addition to administering corporal punishment to her cognitively impaired offspring when he inadvertently injures a village child, she willingly hands him over to those in authority so that he receives what she regards as his just deserts. After police dismiss the matter on the grounds of Yoshi-ko’s disability, she declares her intention to punish her son herself. The narrator recollects a range of incidents from her childhood that include the old woman handing out even more brutal treatment to her married daughter after the latter is said to be possessed by a fox. When the mother finally takes her own life, readers might feel that this is as much to atone for shame at the ‘flaws’ of her children as for the practical fact that she can no longer care adequately for her son or herself.

Translating Itō’s Noe presents various challenges. In her relatively short life – she was 28 when she died – Itō gave birth to seven children, the youngest barely six weeks at the time of her death. During her time with Ōsugi Sakae, she assisted the anarchist leader with his literary activities and, given that he suffered ill health, was often the one with practical responsibility for resourcing the household. If middle-class Elizabeth Gaskell (1810-1865) famously wrote at her kitchen table, Itō wrote living in virtual poverty and under constant police surveillance while caring for children and ministering to her high-profile partner’s needs. As a result, her writing was not necessarily as polished as it might otherwise have been. Compounded by the lack of sentence subject that is a feature of literary Japanese, Itō’s language can sometimes be ambiguous and her sentence structure convoluted. Sentence length, however, has been largely retained in this translation in order to replicate the flow of the original. On a few occasions, connectives that do not appear in the original have been inserted in order to enhance the logical progression of ideas. The suffix ‘ko’ (or kō with a long ‘o’ sound in the original Japanese) attached to Yoshi, the name of the son, can have both a familiar and derogatory tone. Dialogue between the provincial Kyushu characters has been rendered in relatively standard English rather than attempting to replicate similar non-urban English speech modes which can sound unnatural and which have a tendency to date.

As noted above, while much of Itō’s writing – both essay form and fiction – articulated author subjectivity, the narrator’s stance in this work suggests distance from the events depicted. This is particularly apparent in terms of the attitude towards Yoshi-ko’s mother. In several instances the narrator makes a point of, if not condemning the old woman, then expressing distaste. Given that the mother is the apotheosis of the premodern, the girl’s disdain locates her indelibly on the rational side of the demarcation between putative premodern illogicality and modern logic.

Yet, borders are notoriously porous and, as the global rise of twenty-first century leaders skilled in the dissemination of misinformation and the attraction of groups such as Q-Anon suggests, the rational/irrational division noted in this 1918 text has clearly proved difficult to erase. With its city-based narrator who dissociates herself from her childhood village, “The Mother of Yoshi-ko” delineates a border between modern scientific knowledge and irrational belief. And yet a desire to be on the progressive side of this border perhaps never gained traction. The mother’s treatment of her daughter certainly appears heartless. Contemporary newsfeeds, however, intermittently feature stories that give shocking accounts of the treatment of patients with disabilities. In April 2020, many in Australia were rocked by news of a woman who died of septic shock from infections developed after, police believed, being left in the same chair for at least a year. And in an era in which poverty such as that experienced by the old woman is on the rise, and when public funds continue to be stripped away from the treatment of the disabled and those with mental health issues, perhaps Itō Noe’s narrative can be read as a story for our times.


Barbara Hartley

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