V.—LEGEND OF OKIKURUMI IN LOVE.

   Verses one to three are a mere introductory statement as to how it was that Okikurumi first caught sight of this beautiful woman with whom he fell in love. She had been sitting in the hut and now felt a little lonesome, restless or tired. Her eyes had been wandering about from one object to another with weary solitude. She gets up, goes outside in an aimless kind of way and scans the horizon, which she sees is very beautiful in its grandeur, the clouds being piled one upon another in terrace-like masses. She feels revived and returns into her hut.

   The fourth verse tells us that this lady returned into the house backwards (hetoro-horoka). This is a sign of great respect. A woman, when going out of a hut or from the presence of a man, must always, according to Ainu etiquette, walk slowly out backwards. She must never turn her back on a man! She must always honour her betters, i.e. the opposite sex. She must also smooth back her hair, draw her finger acress her upper lip and cover her mouth with her hand. This is the woman's mode of salutation and showing honour to her superiors. In the present case, however, this comely woman was paying respcct to the brilliant beauties of nature which she saw depicted upon the heavens, hence she came into her hut reverently walking backwards.

   Here I may perhaps note in passing, that, when men are talking together in a house, the women present must endeavour to become nonentities. They must sit apart and either keep silent or speak in whispers. They generally sit in a ring and go on with what work they have in hand, such as needle-work, p. 135 making string or cloth, or cleaning fish. They are supposed to be neither seen nor heard, though they must of course be at the beck and call of the men and attend to the fire.

   Also in passing a man in the forest, she must always make way for the stronger sex, must cover her mouth with her hand and not speak unless spoken to.

   The fifth verse merely describes how intent the lady was upon her sewing. She looked at "the point of her needle, and fixed her gaze upon the eye end thereof," says the legend.

   Verse six. The water-wagtail is much esteemed by the Ainu, for they consider it to be a bird of good omen. It is supposed to be the first bird that was created, and is thought to be a special favourite and companion of the gods. Hence verse seven tells us that this bird was chosen and sent to convey the intelligence of Okikurumi's love-stricken heart and critical condition to this beautiful and industrious damsel. The burden of the bird's speech is contained in verses eight to eleven.

   Verse nine. The words "two bad fish and two good fish" form an expression indicating that whatever food was placed before Okikurumi, whether good or bad, he could not touch it. He was so very love-sick. "Dear, dear," says the thirteenth verse, "how badly he felt!"

   Verse ten expresses what a sad calamity it would be if Okikurumi were to die. He was the very life and hope of the Ainu.

   Let every one take warning from verses twelve and thirteen. It is not good to look upon a woman and become love-stricken and love-sick on her account. See what Okikurumi suffered.

   The remainder of these verses merely tell us how easily the great Okikurumi himself was deceived by a shadow.

   The moral the Ainu draw is:—Do not be too easily deceived by woman's love, for it soon passes away like a mere unsubstanial phantom or shadow; or as the words are:—"it is not." i.e. it ceases to be. Therefore beware.