he ward, inflicting pains and
penalties on the inhabitants thereof. Triumphant reference was made to
recent public disasters--of plague, pestilence, famine, and tax levies.
The shrine was invitation for her presence. People had grown indifferent
as the new paint grew old, then shabby on the once famous _miya_.
Success lay with the opposition, and abolition of shrine and grave was
easily enforced. It was but for a time. The ward was either equally, or
more, unfortunate without the protection of its tutelary Inari shrine.
Just when it was re-established cannot be stated, but in the late
eighteenth century it was most flourishing. It was a favourite resort of
_samurai_ women, seeking consolation for unfaithful or brutal conduct of
their husbands, and strength in the reputation for chastity of the
famous Lady of Tamiya. In 1825 the third Kikugoro[u] made Yotsuya famous
by his presentation of the "Yotsuya Kwaidan" as written for the stage by
Tsuruya Namboku (Katsu Byo[u]zo[u]). In the first years of the Meiji
restoration period Shunkintei Ryuo[u], the famous story-teller, heralded
its renown in the Shin Yoshiwara. O'Iwa San became a feature of the
Konharuko[u] fete of that quarter. A grave was again erected to her at
the Myo[u]gyo[u]ji. As she had no _kaimyo[u]_, or posthumous name, the
rector of the temple gave her that of "Tokusho[u]-In Myo[u]nen Hisho[u]
Daishi," which can be interpreted--"She, pleasing of disposition and
earnest in prayer; a woman of greatest brilliance." Let the reader not
judge this composition harshly; or its truth.

The editor to the reproduction[40] of Ryuo[u]'s story speaks of his
difficulties. Placed in his hand for judgment he saw at once the power
of the tale. But--how avoid incurring the divine anger of the Yotsuya
Inari; how avoid being charged with the divine punishment? This question
was solved by the publisher assuming the burden of both inflictions;
under the spur of what _he_ regarded as publication in inferior and
untrue form. He answered these questions with a laugh--"Afraid? Not so:
I, too, am human. Though the unusual is an object, yet I would not
rejoice at incurring the divine anger by publishing what should not be
published. Though the divine anger be incurred by publishing the Yotsuya
Kwaidan, and the divine punishment be inflicted, yet who would not
gladden the eyes and ears of the land? Hence in haste the true record is
to be printed; owing to emission of unfounded stories. The t