rue record
being put forth, the people profit by it. How then is the divine wrath
incurred by publication? Certainly not: the protection of the divine one
is secured." The editor trusted in his argument; as does the present
scribe.

More than once the remark has been heard as to these shrines of
Nippon--"Their temples? Those dirty, shabby places, without architecture
or interest, the haunts of snotty, ragged children?" The sun-helmeted
gentleman and lady, or collection of their kind, rush them by in haughty
contempt, and with some ridicule and ridiculous comment. Good Sir and
Madame, you are passing history on the road. At this Kwo[u]gwanji, in
its rather shabby guest hall, Kusonoki Masashige and his devoted
followers spoke their last defiance and then cut belly. Kobe? It is
noted as a place to take ship, and not be too long in doing so. This
other, barely a mile from the To[u]kyo[u]-Yokohama railway, is
contemporary record of Nitta Yoshioka, who carved his bloody protest on
the Ashikaga before he killed himself in the trap set by their treachery
at this spot. Here behind the Ko[u]raiji near Oiso is a very shabby and
tiny shrine nestled at the foot of the cliff. This had better be
avoided. It is dedicated to the smallpox god. But more than history is
neglected in the indifference and contempt shown these minor _miya_. A
vein of thought inwoven into the minds of this strange people is
instanced by this modest shrine of the Tamiya Inari. Wandering along the
amusement quarter of some great city, a theatre is seen with a _torii_
gorgeous in its red paint standing before the entrance. Within this
entrance is a small shrine and a box for the practical offerings of cash
or commodities. The theatre is decorated inside and outside with flags
as for a festival (_matsuri_). Such is actually in progress. The
representation is that of the Yotsuya Kwaidan. From manager and actor
(even in the presentation of the figured screen of the moving picture)
the malevolence of the O'Iwa Inari--the Fox-witched O'Iwa--is to be
averted. Hence all the signs of worship as at her very shrine; hence the
unwillingness of author or publisher to handle the story, at least in
its full form. This is but a remnant of the fear of "black magic" still
found and practised in Nippon. On the beach at Kamakura at times can be
found straw chaplets with gaudy cloth attached to the centre; a copper
coin, and rice offering are accompaniments. Or such will be found at