Shuten doji soshi
Shuten doji soshi
Shuten doji soshi
As one of the most famous, influential, and widely reproduced works of medieval
Japanese fiction, The Demon Shuten D̿ji (Shuten D̿ji) tells how the great Heian-
period warrior Minamoto no Yorimitsu (948–1021), better known as Raik˷, and his
small band of samurai took on the rapacious demon Shuten D˷ji in his remote
mountain fortress. Like Minamoto no Yoshitsune (1159–1189), a hero of the Genpei
War (1180–1185), both Raik˷ and Shuten D˷ji are staple characters in medieval and
early modern Japanese fiction and drama; for example, Raik˷ and his retainer Wata-
nabe no Tsuna figure in The Tale of the Dirt Spider, and Shuten D˷ji’s human youth
and demonic transformation are the subject of The Demon of Ibuki.
Although the earliest recorded version of The Demon Shuten D̿ji is preserved
in ˔eyama ekotoba (Mount ˔e in Pictures and Words, late fourteenth century), the
early-Edo-period base text of this translation closely follows the medieval painter
Kan˷ Motonobu’s Shuten D̿ji hand scrolls (ca. 1522), which, unlike the earlier
.PVOU˔FJO1JDUVSFTBOE8PSET and other manuscripts in the Mount ʈe textual line,
locates Shuten D˷ji’s cavern-palace on Mount Ibuki rather than Mount ʈe. Shuten
D˷ji’s mountain home is a magical, otherworldly domain that stands in direct contra-
position to the human emperor’s palace in the city; and like Raik˷, who commands
a small cohort of principal retainers known as the Four Heavenly Kings, Shuten D˷ji
oversees his own Four Heavenly Kings: a handful of devoted demon lieutenants
whom he dispatches to the human capital to kidnap beautiful young noblewomen
for his sensual and gustatory delight.
Like Tawara T˷da Hidesato in the final part of The Tale of Tawara T̿da, Raik˷
and his men employ strategy and deception, rather than relying on their own brute
The translation and illustrations are from the five-scroll Shuten D̿ji e picture scrolls (ca. Kan’ei period [1624–
1644]) in the Mount Ibuki textual line, in the collection of the T˷y˷ University Library, typeset and annotated
in ʈshima Tatehiko and Watari K˷ichi, eds., Muromachi monogatari s̿shi sh͓, Shinpen Nihon koten bungaku
zensh̎ 63 (Tokyo: Sh˷gakukan, 2002), 268–325.
31
force of arms. They disguise themselves as mountain ascetics in the Shugend˷ Bud-
dhist cult, whose legendary founder is reported in early Japanese sources to have
subjugated demons, and they show that, ultimately, religious devotion may be
the greatest weapon of all. Raik˷ and his retainers are the putative heroes, but they
behave in some seemingly less-than-heroic ways, complicating readers’ sympathies
for Shuten D˷ji and the men who defeat him. They may win in the end, but as
characters they lack Shuten D˷ji’s power and charisma—his ability to capture the
medieval imagination—and it is surely no accident that their story, like the older
Tale of the Dirt Spider, came to be named after the monster they slay rather than
themselves.
Japan, the Islands of Autumn Harbors, is a divine land. In the age of human sover-
eigns following seven and five generations of heavenly and earthly deities, Prince
Sh˷toku bestowed his mercy by becoming a mother of the country, nurturing
the people so that he might introduce Buddhism to our land.1 From that time until
32 the age of Emperor Sh˷mu and the Engi lord,2 Japan thrived with the Buddhist and
Kingly Law. The righteous rule of the emperors as they conferred their merciful
compassion excelled even the ancient reigns of Tang Yao and Yu Shun.3 Thus the
winds blew gently without making the branches creak, and the rains fell softly, leaving
the clodded earth unbroken. The land was at peace, and pleasant prosperity extended
to the population at large.
In particular, despite their being in this latter age, the years leading up to the era
of Emperor Ichij˷ were ones in which the Kingly Law was all the more distinguished
and the Buddhist Law flourished again, as it had before.4 Since the realm was spared
the ravages of wind and rain, the five grains ripened in abundance, and the entire
country knew well-being. And since the realm was spared the calamity of fires, the
capital filled with houses with little space between them. It was thus that some re-
markable people, including the loyal retainers of warrior houses, nobles, and even
1. Prince Sh˷toku (Sh˷toku Taishi; 574–622) was the founder of H˷ry̎ji Temple in Nara and an early cham-
pion of Buddhism in Japan.
2. Emperor Sh˷mu (701–756) reigned from 724 to 749. The emperor of the Engi era (901–923) was Daigo
(885–930, r. 897–930).
3. Yao (traditionally ca. 2356–2255 b.c.e., r. 2333–2234 b.c.e.) and Shun (traditionally ca. 2294–2184 b.c.e.,
r. 2233–2184 b.c.e.) are two fabled emperors of ancient China renowned for their benevolent rule.
4. Emperor Ichij˷ (980–1011, r. 986–1011) is best known today for presiding over the court in which the
authors and poets Murasaki Shikibu, Sei Sh˷nagon, Izumi Shikibu, and Akazome Emon served.
5. The woodblock-printed Shuten D̿ji (ca. 1716–1729) published by Shibukawa Seiemon identifies him as
Kunitaka, rather than Kunikata. See ʈshima Tatehiko, ed., Otogiz̿shi sh͓, Nihon koten bungaku zensh̎
36 (Tokyo: Sh˷gakukan, 1974), 444; and, for a translation of Shibukawa’s edition, R. Keller Kimbrough,
trans., The Demon Shuten D̿ji, in Traditional Japanese Literature: An Anthology, Beginnings to 1600, ed. Haruo
Shirane (New York: Columbia University Press, 2007), 1123–38.
6. Abe no Seimei (921–1005) was a yin-yang master who became legendary for his feats of wizardry. He
appears as a character in numerous tales and is cited, in this volume, in The Tale of the Mouse and Lady
Tamamo.
7. Mount Ibuki, the central peak of the Ibuki Mountains, stands at the border of present-day Shiga and Gifu
prefectures. According to Shibukawa’s Shuten D̿ji and other sources, Shuten D˷ji’s palace was on Mount
ʈe in Tanba Province rather than on Mount Ibuki in ʈmi.
8. Emperor Saga (786–842) reigned from 809 to 823.
9. K̎kai (K˷b˷ Daishi; 774–835) was the founder of the Shingon school of Japanese esoteric Buddhism.
10. Raik˷ is the sinified reading of the personal name of Minamoto no Yorimitsu (948–1021).
11. Fan Kuai ( J. Hankai) was a celebrated Chinese warrior of the third and second centuries b.c.e.
12. The Southern Hall is another name for the Shishinden Ceremonial Hall in the Imperial Palace in Kyoto.
The Four Heavenly Kings were Raik˷’s four most trusted retainers: Watanabe no Tsuna, Sakata Kintoki,
Usui Sadamitsu, and Urabe Suetake.
13. Yawata Shrine is another name for Iwashimizu Hachiman Shrine on Mount Otoko near Kyoto.
and Suetake traveled to the mountains of Kumano,14 where they pressed their heads
to the ground in reverent supplication and sponsored prayer rites.
Later, Raik˷ addressed his men, saying, “I have an idea. It won’t do for us to enter
in large numbers, so I should take you four alone. We ought to have H˷sh˷ join us,
too.”15 Each of the six warriors prepared for the journey and donned a wooden
pack. In his own pannier, Raik˷ had placed a scarlet-laced corselet along with a hel-
met known as the Lion Lord. He also carried a pair of swords called the Cloud Cut-
ters, as well as a two-foot, one-inch sword named Blood Sucker. H˷sh˷ had packed a
purple-laced corselet and a short halberd called Stone Cutter. The halberd was a lit-
tle more than two feet long, with a shaft finely wrapped in horsetail hair and cut off at
a length of three fists. Tsuna had packed a corselet with yellow-green lacings, and a
two-foot-plus striking sword named Demon Slasher. Each of the others packed their
own accoutrements as they saw fit. In addition, the men cut lengths of bamboo into
14. Sumiyoshi Shrine is in present-day Osaka. The Kumano mountains are the site of the Kumano triple shrine
complex on the Kii Peninsula.
15. H˷sh˷ is the sinified reading of the personal name of Fujiwara no Yasumasa (958–1036).
what are known as “decanter tubes,” filled them with saké, and strapped them to
their packs.
Setting out from the capital, Raik˷ and his companions traveled through ʈmi
Province. When they came to Ibuki, they sought out the great mountain, asking every-
one they met how to get to Hundred Mile Peak. However, the people only answered
that they did not know. Crossing an endless succession of ridges and plains, the men
fell into a daze, unsure of what to do. With their eyes and hearts wavering, suffering in
body and mind and broken to the marrow, and with vast distances spreading out
before and behind them, they greeted the night in mountains and fields as they made
their way forward. They came to a broad moat, and when they approached it for a
look, they saw a country dwelling. There were three men standing there, two of whom
were over the age of fifty and one of whom was a yamabushi mountain ascetic.
“Those fellows look like the demon’s retainers,” Tsuna said. “Let’s grab them and
make them talk.”
“No, we mustn’t do that,” Raik˷ replied. “It won’t help us if we set them on
their guard. First, we should draw them to us, make their acquaintance, put them
16. A cap-helmet (b̿shi kabuto) is a simple round helmet without a visor or a decorative crest.
17. According to The Tale of the Heike (thirteenth century), Yixing was an eighth-century Chinese monk who
was made to walk to the land of Kara on the Anketsu (Dark Tunnel) Road. See Helen Craig McCullough,
trans., The Tale of the Heike (Stanford, Calif.: Stanford University Press, 1988), 61–62.
40
Raik˷ and his men took heart, and with their newfound strength, their fighting
spirits soared. They proceeded upstream until they found an eighteen- or nineteen-
year-old girl. She was exceptionally beautiful, and she was washing something at
the side of the creek. “Who are you?” the men asked as they approached. The young
lady did not say a word; she only cried. After a while, she stifled her tears and said,
“Oh, how dreadful! What kind of people are you to visit this place? No one normal
ever comes here.”
The young lady seemed to be so frightened that the men imagined her to be one
of the demon’s retainers, changed into human form in order to deceive them. All of
them were agitated at the thought. Tsuna stepped forward and spoke: “Who are
you? And what is this place called? Tell us the truth. If you don’t, we’ll kill you on
the spot.”
“I am from the capital,” the young lady explained through her tears. “I was taken
in the spring of last year. The demon should have devoured me already, but for some
strange reason my life lingers on. There have been more than thirty other women
kidnapped from the capital. My dear friend, the daughter of Lord Kunikata, has
been here, too, since the first of this month. The demon keeps us captive like this;
loves us as he will; and then, when he grows tired of us, puts us in a place called the
18. The Great Middle Gate (Naka no Mikado, also Taikenmon) was a central gate on the eastern side of the
greater palace compound.
19. Meng Zong was one of the so-called Twenty-Four Exemplars of Filial Piety. He is known for having dug
up bamboo shoots, which sprouted in the winter snow as a result of his tears, for his old and ailing
mother.
20. “Youth” (d̿ji) is a term for a child or a sacred being with cropped and unbound hair in the manner
of that of a boy before his coming-of-age ceremony, but it was also frequently used in the medieval period
to signify demons (oni) with similar hairstyles.
from deep inside the fortress, and a strong, warm wind begin to blow. It made their
hair stand on end and their blood run cold.
After a while, Shuten D˷ji emerged like the sun. Staring at his shining, sparkling
figure, the men took him to be around ten feet tall. He was pale, portly, and hand-
some, and he wore his hair loose and bobbed in the manner of a child. He seemed to
be about forty years old, and he sported a woven small-sleeved robe with a red
hakama trouser-skirt, the trailing ends of which he tread on as he stepped. Leaning
on the shoulders of his two youths, he surveyed his surroundings like a stag on a
stroll, occasionally shading his eyes with an open hand at his brow. His power, pres-
ence, and sweeping magnificence as he swaggered out before the men exceeded ev-
erything they had heard. He was terrifying beyond description. Nevertheless, the
six men did not appear agitated in the least.
Raikō and his men join Shuten Dōji for a bite to eat. (From Shuten Dōji e, courtesy of the Tōyō University
Library)
Shuten D˷ji sat down on his knees, facing sideways, about six feet from his
guests. He smiled. He and the men caught one another’s eyes as they sat, wonder-
ing what to do. “Well,” Shuten D˷ji said, “what business brings you here? These
mountains are deep and craggy, and I don’t see how you could have lost your way
on the road when there isn’t even a road.” He glanced all around, periodically shad-
ing his eyes with a hand, frightening beyond words. After a while, he turned to his
attendants and said, “Anyhow, these are some rare itinerant priests, so bring them
a drink!”
Having received their charge, Shuten D˷ji’s retainers put some saké in a large ves-
sel and brought it into the room. Looking at the so-called drink, the men saw that it
was human blood and that it had stained the vessel black. Shuten D˷ji took a sip
first and then set the bowl before Raik˷. This is the origin of what is known as
21. Demon-sipping (oni-nomi) is the practice of taste-testing saké and other beverages for poison.
22. Mount ʈmine and Mount Katsuragi in Nara Prefecture are important sites in the Shugend˷ cult
of Buddhist mountain asceticism.
23. Mount K˷ya is the site of Kong˷buji Temple, headquarters of K̎kai’s Shingon school of esoteric Bud-
dhism. In 835, K̎kai is said to have entered a state of prolonged meditation on Mount K˷ya that will con-
tinue until the advent of Miroku (Skt. Maitreya), the Future Buddha.
He danced to this verse two or three times. With the word “chow,” he meant that he
would turn the men into tidbits and wine. Listening to Gog˷’s song, the men were
amused.
“That’s just what a nasty lout would say,” Tsuna thought. “Shuten D˷ji’s raving
drunk, and now he seems to be out of his mind. If that’s how it’s going to be, I’ll stab
him through the middle, and when he shrinks and cowers, I’ll chase him down and
cut off his head. If I do, none of the other brutes will give us any trouble. I’ll settle
this here in the reception hall.” Tsuna ground his teeth in fury; his cheeks tightened,
and his eyes filled with blood. When Raik˷ saw Tsuna’s veins bulge, and when he
saw him place his hand on his two-foot, one-inch striking sword, he understood. He
shot him a calming glare, and Tsuna relaxed.
Kintoki was famous in the capital for his dancing, and grasping the situation, he
pushed himself forward and said, “Why shouldn’t we provide you with a bit of en-
tertainment, too?” He jumped up beside where Shuten D˷ji sat and began to dance:
He danced to this verse two or three times, moving in ways that were beyond the mind
to conceive or words to express. Shuten D˷ji listened intently, but perhaps because he
was so inebriated, he did not pay any mind to the song. He simply watched with plea-
sure, entranced by Kintoki’s steps and the lovely sound of his voice.
Shuten D˷ji’s Four Heavenly Kings on the wide veranda, and even his retainers
sitting in the courtyard below, all got the gist of Kintoki’s verse. They even muttered
among themselves about the look of determination in Tsuna’s eyes. However, not
wishing to oppose their master, they pretended not to notice. “Take good care of our
guests,” Shuten D˷ji instructed. “I am extremely drunk from your saké. In return, I’ll
leave these two women with you. Ladies, pour the men some wine and treat them
well.” He withdrew inside.
Now Gog˷, Kiri˷, and Shuten D˷ji’s other Four Heavenly Kings, as well as Shuten
D˷ji’s closer retainers, showed no signs of warming toward the men. But not wish-
ing to act against their master’s directions, some of them brought out saké and side
dishes, and they entertained the men in assorted ways. It was a moment that would 49
seal their fate. Taking all of Shuten D˷ji’s lackeys to be scoundrels, Raik˷ and his
men produced the poisoned wine from before and variously pressed them to drink.
And how could even a single drop fail to lay them low? Thus, although they intended
to drink only once, the demons never left their seats—they were soon rolling on the
floor in a drunken daze. Others cradled their heads in their arms and fled, until in
the end the only ones who remained behind resembled the dead. Whatever might
happen, they did not look like they would get up again.
By and by, the women spoke: “The Horie Minister of Central Affairs was awash
with riches; he didn’t want for anything at all. He had a beloved daughter, and he
took a son-in-law. Three years later, she was carried off to this rocky cavern. It’s
been another three years since then. She stopped breathing when the demons
squeezed her for her blood, but they used some medicine to bring her back to life.
That was two or three days ago, and they served her leg and arm for today’s nib-
bles. Among all the women here, it was her turn this time. How sad to become a
side dish!”
Raik˷ beckoned the two women and questioned them carefully about the series
of fortress doors and the layout of the lair. “The demon-retainers were saying that
Shuten D˷ji let down his guard,” the women explained, “and that he revealed things
he should have kept secret. They said, ‘He told you things he shouldn’t have, and it’s
24. Previously, Stone Cutter was described as a short halberd rather than a striking sword. Likewise,
Blood Sucker was said to be only two feet, one inch long.
25. The bodhisattva Jiz˷ (Ch. Dizang) is widely revered for rescuing sentient beings who have fallen into hell.
See, in this volume, The Tale of the Fuji Cave.
26. The type of talisman (mamori) that the young woman carried is unclear.
27. Suzaku is in the central part of Kyoto, south of Fifth Avenue and west of Nishi Honganji Temple.
28. The bodhisattva Miroku is prophesied to appear in this world as the next human buddha after Shaky-
amuni. The heavenly king Bishamon (also Bishamonten, Skt. Vai˿ravaa) is a Buddhist guardian deity.
martial feats were outstanding. Along with the diviner Seimei, they were the most
extraordinary heroes. For this reason, the state has prospered, city and country 59
flourishing without calamities of wind and rain and without fear of conflagration.
Because these men so clearly displayed the virtue and authority of mantra kings,29 it
stands to reason that the people would maintain among themselves that they were
manifestations of bodhisattvas.
Now in all the past, the life span of demon-gods has not been fixed. Yet in these
times in which the buddhas bestow their blessings, the reduction of the human life
span has occurred faster than the turn of a heel!30
T R A N S L AT I O N A N D I N T R O D U C T I O N B Y K E L L E R K I M B R O U G H
29. Mantra kings (my̿̿) are emanations of buddhas and bodhisattvas in particularly fearsome forms,
taken on in order to subdue and save sentient beings who are especially resistant to Buddhism.
30. According to traditional Buddhist calculations, the human life span fluctuates between ten and
eighty thousand years in an endless cycle repeated every twenty kalpas. First, in the course of ten “decreas-
ing kalpas” (geng̿), the human life span decreases by one year every hundred years until it has fallen from
eighty thousand to ten years. Then, over ten “increasing kalpas” (z̿g̿), it increases by one year every
hundred years until it has again reached eighty thousand. See Sawai Taiz˷’s explanation in Ibuki D̿ji, in
Muromachi monogatari sh͓ j̿, ed. Ichiko Teiji et al., Shin Nihon koten bungaku taikei 54 (Tokyo: Iwanami
Shoten, 1989), 203n.12. A kalpa is a measurement of time that Nʴgʴrjuna (ca. 150–250) described in Daichi-
doron (Commentary on the Great Wisdom Sutra) as being greater than the time that it takes for a heavenly
being to wear away a forty-ri (hundred-square-mile) rock by brushing it with a delicate sleeve once every
hundred years.