"Kiyohime becomes serpent-bodied at Hidaka River" (1890) Print byTsukioka Yoshitoshi,Shingata sanjūrokkaisen (『新形三十六怪撰』) "New Forms of Thirty-Six Ghosts"[1][2]
Kiyohime (清姫) (or justKiyo) inJapanese folklore is a character in the story of Anchin and Kiyohime, which dates back to the 11th century. In this story, she fell in love with a Buddhist monk named Anchin, but after her interest in the monk was rejected, she chased after him and transformed into a serpent in a rage, before killing him in a bell where he had hidden in theDōjō-ji temple.[3]
The "Anchin-Kiyohime" legend can be summarized as follows:[4][11]
The legend, connected with the founding of theDōjō-ji temple inKii Province (modern-dayWakayama Prefecture), relates how a priest named Anchin from Shirakawa inŌshū province (present-dayShirakawa, Fukushima) makingpilgrimage to theKumano Shrine in southern Kii, lodged at the home of ashōji [ja] (庄司) (steward of ashōen manor) of Manago/Masago (真那古/真砂), where the manor official's daughter Kiyohime fell in love with the young monk.
In order to avoid her, he deceives her (with a false promise to return[9][5]) and continues his journey. Kiyohime became furious by his rejection and pursued him in rage. At the edge of theHidaka River [ja], Anchin asked aferryman to help him to cross the river, but told him not to let her cross with his boat.[12][6] When Kiyohime saw that Anchin was escaping her, she jumped into the river and started to swim after him. While swimming in the torrent of the Hidaka river, she transformed into aserpent ordragon because of her rage. When Anchin saw her coming after him in her monstrous new form, he ran into the temple called Dōjō-ji. He asked the priests of Dōjō-ji for help and they hid him under thebonshō bell of the temple. However, the serpent smelled him hiding inside the bell and started to coil around it. She banged the bell loudly several times with her tail, then gave a great belch of fire so powerful that it melted the bell and killed Anchin.[4]
In some versions, he fell in love with the beautiful Kiyohime, but after a time he overcame his passions and refrained from further meetings[citation needed], while in other versions Anchin resisted her attention from the start, and avoided her house on his return journey.
Although Hidaka River is perhaps more famed in connection with the legend, and sometimes just the scene of this river has been performed (rather than the entire play),[6] some versions employ the Kirime River (切目川) (which is further east and nearer the beginning of the journey) as the scene of the crossing.[4]
The text in the former work is written down inkanbun (Chinese text),[15][16] while the text in theKonjaku Monogatarishū entitled "How a Monk of the Dōjōji in theProvince of Kii copied theLotus Sutra and Brought Salvation to Serpents" is of virtually identical content,[17][18] only expanded into Japanese.[19]
This old version[20][21] tells the story of an unnamed young widow (or young unmarried house mistress[22][a]) who desired the attention of an unnamed handsome monk travelling on apilgrimage route to aShugendō shrine inKumano on theKii Peninsula. The monk, in an attempt to avoid meeting her, chose a different route on the return journey, and the woman died in grief when she found out that he was deliberately avoiding her. After her death, a great serpent emerged from her bedchamber and it pursued the monk before killing him in a bell in theDōjō-ji temple where he had hidden.[21]
The old version also ends with an epilogue: Years later the monk appeared in a dream of a senior priest at this temple (Dōjō-ji), begging him to copy a chapter of theLotus Sutra to release him and the serpent from their suffering in theirrebirths, which was duly done and they were both reborn in separate heavens.[21][23]
The name Kiyohime did not appear in early versions of the tale, but was probably later derived from the name of the father or father-in-law, Seiji, which can also be read as Kiyotsugu.[27] The name Kiyohime did not appear until the 18th century, in the narrative of ajoruri (ballad drama) titledDojo-ji genzai uroko (道成寺現在蛇鱗,The Snake Scales of Dojoji, A Modern Version) that was first performed in 1742.[28]
Some later versions also used different names for Anchin and Kiyohime.
Amonogatari version of the story is told in anemaki (picture scroll) from theMuromachi period titledDōjōji engi emaki ("Illustrated legend of Dōjōji",c. 15th century).[29] In this version, the woman in the tale was the daughter-in-law of the owner of a home in Manago in the Muro district named Steward of Seiji[30] or Shōji Kiyotsugu.[31] Seiji (清次) or Kiyotsugu are variant readings of the same characters,[27] and while "Shōji" is construable as a surname, it is also the title/position of a steward of theshōen manor, as already discussed.
Section of the scrollDōjōji EngiEmaki illustrating the part where the woman transforms into a serpent chasing after the monk
Section of the scrollDōjōji EngiEmaki illustrating the story where the serpent burns the bell killing the monk
The tale of Anchin and Kiyohime forms the basis of a collection of plays termedDōjōji mono (Dōjō-ji Temple plays), depicting an event some years after the temple bell was destroyed. These plays include theNoh playDōjōji and theKabuki dance dramaMusume Dōjōji.[8]
^Susan Blakeley Klein (1991). "When the Moon Strikes the Bell: Desire and Enlightenment in the Noh Play Dojoji".The Journal of Japanese Studies.17 (2):291–322.doi:10.2307/132744.JSTOR132744.
Ury, Marian (1994),"Book 19:17Shaku [Annotation on] Anchin",Genkō Shakusho, Japan's First Comprehensive History of Buddhism: A Partial Translation, with Introduction and Notes, University of California, Berkeley, p. 336
Waters, Virginia Skord (Spring 1997). "Sex, Lies, and the Illustrated Scroll: The Dōjōji Engi Emaki".Monumenta Nipponica.52 (1):59–84.doi:10.2307/2385487.JSTOR2385487.
Yashiro, Hirokata[in Japanese] (1908),"Dōjōjikō"道成寺考, in Iwamoto, Sashichi (ed.),Enseki jisshu燕石十種 (in Japanese), vol. 3, Kokusho kankōkai, pp. 450–461
