Sanuki no Suke’s Diary: Memories of the Imperial Palace (11)

 

     As the night of the sacred mikagura music arrives, the ritual unfolds much like the traditional ceremonies preserved by the Imperial Household Agency today. However, this particular occasion feels somewhat more modern. All the performers are dressed in ceremonial robes with red cords around their necks and hikage threads hanging down. Although they look elegant, the way they wear their hair ornaments gives the distinct impression of watching an impromptu festival.

     Everyone takes their seats to perform their respective roles. It is meticulous of the Regent, Fujiwara Tadazane (1078-1162), to personally oversee both the fore-court (Zentei) and rear-court (Gotei) sessions of the ritual. Dressed in formal court attire, the Regent sits on a raised platform above the others. Seeing him wearing the Imperial Messenger's hair ornament as a crown, his appearance is uniquely magnificent, setting him apart from the rest. The main melody is played on the hichiriki by Fujiwara Munemichi (1071-1120); the flute by his son, Fujiwara Nobumichi (1091-1120); the koto by his younger brother, Fujiwara Koremichi (1093-1165); and the time is kept by Fujiwara Tsunetada (1075-1138), who commands the rhythm as the conductor (hyoshi). There are many other musicians present, but I shall omit them here for the sake of brevity.

     As the sacred mikagura music begins, the resonant rhythms of the two sets echo high into the heavens. Even to my ears, unaccustomed to such grand melodies, the sound is truly magnificent. As the mikagura gradually draws to a close, the voices chanting "A thousand years, a thousand years, ten thousand years, ten thousand years" make it fully understandable why the sun goddess, Amaterasu Omikami, could not remain secluded in the Heavenly Rock Cave.

     I firmly believe that the great deities of Ise will protect and cherish our sovereign, who, despite his tender age, now rules the nation. Surely, the years of his reign will multiply indefinitely, stretching as far as the vast bay of Nagai—so numerous that even the sands on the beach would run out before his time ends. Like the eternal flow of the Mimosusogawa River, his reign will undoubtedly endure. Indeed, just as the auspicious song of the white camellia foretells, it seems that peace and tranquility will prevail for countless years to come.

     As the sacred ritual transitions into the final, festive banquet (asobi), the Regent takes up the koto, Minamoto Mototsuna (1050-1118) plays the biwa, and the rhythm is once again handled by Fujiwara Munetada (1062-1141). The flute is played by Minamoto Masasada (1094-1162), while the other flute and hichiriki parts are sustained by the same musicians from the first set. The Regent calls out, "Lead the singing of Manzairaku!"

     He then joins in with his own koto, plucking the strings a few times to set the pitch, gently backing the melodies of "Anamon" and "Ise no Umi." Munetada keeps the time and begins to sing along.

     When the ceremony concludes, everyone changes their attire. The Regent’s skill on the koto is exceptionally brilliant. While all the musicians stand with their robes slung loosely over their shoulders, the Regent’s garment is conspicuously more beautiful than the rest. Seeing him with his undergarments and outer robes draped over his shoulders, he resembles the full moon rising over Mount Mikasa, its timeless radiance shining through the ages. His age and splendid appearance represent the very peak of cherry blossoms in full bloom. His attire is so magnificent that one might imagine him as a Chakravartin—a universal monarch. As he is about to rise from his seat, he remarks: "These are gifts bestowed upon me. I must not simply leave them behind and stand; that would be disrespectful."

     With the robes still draped over his shoulders, he walks out. In front of the Imperial seat, he turns to his son, Fujiwara Tadamichi (1097-1164): "Come here, and accept these," he says, offering the robes to him.

     Witnessing this scene, I am filled with a profound sense of reassurance. I feel certain that the young heir's future will be as prosperous as a two-leaved pine tree destined to endure for a thousand years, and that he will rise to great eminence, parting the very clouds above.

     Once the ceremony was complete, I set up my car and left immediately.