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In the haiku by Hekigodo, 'this', seems to be a contemporary fly swatter.. You buy something with a name that alludes to its intended us It's still a fly-swatter by design in my opinion. Daruma san and many others are using a. When a fly lands on food, the fly vomits on it in order to soften the food. The fly grinds the vomit into the food until the food becomes a liquid. Germs can be introduced during this process.

When the food becomes a liquid, the fly drinks the liquid. When the fly has finished eating, it is now your turn to eat. Not only do you contend with flies, there's also the mosquitoes, moths, and spiders that enter your house as uninvited guests. Just press the button to activate and the grid quickly zaps mosquitoes, flies, and other pesky bugs. She answered: " Best go shortly before lunchtime.

Then the flies are all here with me in the kitchen! There is a corresponding transitive verb, and a further noun, flyflapper , one who kills flys. The term swat first appeared in as a verb. Fly-swatter may be more used in American English than British English, but I see no reason why the instrument and the person should not have the same name. Samuel J. It was teh bottom of the eighth inning , the score was tied, and Topeka had a man on third. Fans were screaming "Sacrifice fly! Sacrifice fly! A schoolteacher named Frank Rose read the article and made the first fly swatter out of a yardstick and some wire screen.

Rose called his invention a " fly bat. Crumbine renamed it "fly swatter. The above text reads: The King Fly Killer - Kills Without Crushing - Soils Nothing The wire being almost invisible the flies and mosquitos are quickly killed, thus clearing your house of them in only a few minutes. A prominent lady has said, "It is the most prized article in my home. For him to give up the stage….. Suketaka: …. No, the young master has been a child of the stage since he was a baby. Otaka: smiles Yes.

Only, the appointment with master Iriya of the Enouza is tomorrow- no, today. Suketaka: That would be difficult. To make someone wait, perhaps for a long time—. Otaka: But then when my brother returns, the stage that is so crucial to him will be gone. Why have we come so far….? Suketaka: ….. Come now, miss. He turns and begins to leave. She suddenly adopts a lower tone and barks out:. Suketaka: Miss, to play tricks at a time like this…. Otaka: Oh, Suketaka. To Tokyo , to the Enouza. Suketaka: The Enouza? You mean to meet with the master there and convince him somehow to wait? Otaka: No, not that.

And even now—. Suketaka: B-but what about the vital acting? So long as they are the ordinary sorts of accomplishments—. The one on stage will be Takagorou. Okami: I understand. Watching and pretending not to see is the job of an inn-keeper…. Miss, Okami of Masagoya Inn has heard nothing. Suketaka: But, to truly do this…. I expect that much. The cold wind from the seashore. Gently strokes my cheek and cheers me. I wake up. As if the dawn has called out to me. This hope came in a flash. Now it catches hold. But I am not afraid.

Because the night has brightened. Someone whispers. When I am born anew. Surely a new future is waiting for me. Scene 3 - Prologue. Otaka is joined by dancing actors and changes into her male disguise. I believe that. I will make it if I struggle on. A ceaseless heart.

Has taken root. Only my hope in my breast. Certainly I am struggling on. To a new future. Scene 4 — Backstage at the Enouza. Backstage of the small theater, the Enouza. The proprietor of the theater, Iriya Shigeyoshi, is standing among a clutter of props, near a tree. He is holding a love letter with a pained look on his face. The sounds of a performance on stage can be heard. Iriya: The sound of the shamisen pains my heart terribly…. Patrons: Mimasuya! Both of you! Iriya gazes at the actors as the audience calls out. Iriya: It looks good.

But to watch an impossible love right now is too painful for me. He sings the story of how he became estranged from his teacher, Mouri, while the events are acted out behind him. I inherited this playhouse. From my parents. And on that night,. I became anathema. Mouri: Kabuki and its ilk are, after all, no more than relics from ancient times.

Mouri: I see. And because of that, there are things which you have to go and throw away. Mouri: Enough. You should leave, now! Leaving everything behind. Mari: Father, what happened? Going on the glorious path of man.

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Mari: Where are you going, Iriya-san? But I do it with painful reluctance. Nonetheless, this love letter…. He pulls off a bit of a fake tree in frustration. The actors appear, coming from the stage, including the lead actor Mimasuya Kirizou and the onnagata Kisaragi Juushirou. He hides the letter in the tree. Kirizou: Hey, were you watching? Juushirou: ……How was it? I wanted to seem like I was scheming with Kirizou. Iriya: Yes. It delighted everyone who was watching! Juushirou: ….. Good grief. All these petty government officials, who know nothing about theater, acting self-important.

He grabs the poor tree in two fistfuls. Otaka appears, now passing herself off as Takagorou. Iriya: I have no intention of running a fragmented show on the stage of this Enouza. For more than three hundred years these dreams have been spun for Japanese people by Japanese people. Okata: Yes. Kirizou: I see. When you first came to the Enouza I wondered what kind of amateur had come. Okata: Truly, back then…. Kirizou: What? Perhaps that was for the best. Kirizou: And then when I see how your rehearsals are now—.

Juushirou: Kirizou-niisan! Juushirou: …. Iriya: smiling How like you, Juushirou. Otaka: Yes. Thank you very much, Juushirou-san. Juushirou: moved …. Iriya: Yes, the young ladies are all at the stage entrance making a huge racket. Otaka: Eh? And you say you grew up in a theater environment….

I know! Kirizou: I get it. An actor dressed as Tsubaki-hime appears. Actor Tsubaki-hime : Oh? Well then, Iriya-san…. He heads off at a fast pace. Laughing, Juushirou leaves as well. And how was I, today? Iriya: Hm. Iriya: As I told you the day before yesterday—. Otaka: Embracing with only the heart, something like that? Otaka: happily Thank you. Iriya: Of course, as the Daimyo Koganosuke your performance still has a way to go. Otaka: Yes, sir. I consulted my feelings again and again — To not be able to even take the hand of the one you love because of the enmity of your own parents.

The stage hands suddenly appear. One of them moves to pick up the tree. Stage Hand 1: Iriya-san, excuse me a moment. Otaka: ….. The second stage hand discovers the love letter and begins reading it. Stage Hand 1: to Stage Hand 2 What is it? They take the tree and leave. Iriya turns to Okata, who is leaving. Iriya: Takagorou-san, wait a moment. Otaka: turns back What is it? Iriya: Actually, I have a favor to ask you. Otaka: bewildered Yes , sir.

Otaka: To his daughter…. Iriya-san, what is this? Mari and her two friends, Koganei Kimiko and Arai Tama, are sitting at a table set for tea in the inner garden of her house in Hongou Sendaki. Gentle sunbeams streaming through the leaves,. And the voices of the birds. I have a premonition. That something is going to happen. An encounter is waiting. Someone will find me. And take my hand. The wind that slips through my fingertips. Is still cold. But in the sunlight. The flower buds unfurl. The fragrance builds up. Spring is coming. We made together. We dreamed the same dreams.

Since long ago. The time to part. April passes. Marui Yae arrives. Yae: Ladies, the tea has arrived. Mouri Shintarou and his old friend Aizawa Kenichi arrive, along with the student Kobori. Mari: Father, Uncle Aizawa. Shintarou: to her two friends Welcome. Kimiko: It has been quite a while. How is Yuuzou-kun these days? Kimiko: Full of plans for the hotel in Nara …. Busy as ever.

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Kimiko: Yes. Shintarou: My study abroad is a story from more than twenty years ago. Mari: Everyone knows your tale when you go so far as to write it into a short story. After all, Uncle, you have a previous conviction. Tama: to Aizawa Ah, and even the villain who tore him from the dancing girl…. Shintarou: ….. Kimiko: Yes, sir. Shintarou: laughs I see. Aizawa: …. Ah, O-Yae-chan. Mari: as an aside Fukunaga-san……. She hands him a bag he looked like he was about to forget. Shintarou and Aizawa go to leave. Mari: without thinking Father.

Shintarou stops and turns. Mari: ……. So why did you come back to Japan? Shintarou: Where did that come out of the blue? Why did I? The two men leave, along with Kobori. And at last he has come to the reigning beauty, Mari-sama—. Mari: ….. Kimiko: Hey, then what about that other one? You know, the one who was a student here, who inherited the theater….? Tama: He was thrown out, by Uncle.

But he was a student here for more than five years. Tama: What are you saying? Kimiko: laughter How extreme. If you could only have an arranged meeting—. The student Kobori returns. Kobori: ….. Yae: What is it, Kobori-san? Kobori: Just now someone arrived who said he must see the young lady. Mari: I wonder who it could be? Kobori: Well….. Mari: Did he say what about? Tama: teasingly Could it be Fukunaga-san?

On Shape-Shifter Mountain

And after that, please. She begins to leave, but Tama calls her back. Tama: Wait a moment. Kobori: Well, he was a very good-looking man, like a young man from a picture book. Tama: gleefully Oh my. Hey, Mari. Tama: What, no good again? Ah, I see. Mari: I just….. Right, Kimiko-? Kimiko: Think of it as practice for the arranged meeting. Mari: … All right, I see how it is. If we do this, you two will enjoy it. Kobori-san, bring the guest to the addition.

O-Yae, please prepare some tea. Scene 6 — The Addition of the Mouri Mansion. The addition is a billiards room. The ladies settle at a table to wait for the guest. Yae: Please, right this way. Yae leads Otaka into the room. All three girls look at her expectantly, and no one gives her a clue as to who is Mari. Otaka: Um…. Which of you might be the young lady of the house? First, what is your business? I understand, well then.

Begins to recite Ah, lovely Mari-sama. Thy art more beautiful than beauty. Thy face like the color of milk is reflecting a flame and the faint crimson tide flows over it; your thin, graceful limbs—. She is interrupted by a peal of laughter from the girls, but doggedly continues. Who on earth are you? Otaka: Ah….. I am Raikouya Takagorou.

Are you a kabuki actor? May I continue? Mari: decisively …. Otaka: misunderstanding All right. A pale, pure-. Otaka stops.

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Mari: O-Yae, please inform the guest. Yae: The master has already spoken about Iriya-san. Tama: Hey, this would be a good chance to practice as if you were at an arranged meeting. What are you hobbies, your friends, etc….. Otaka: But, really, after this we get to the good parts of the love letter. If he likes such beautiful women, if beauty is all that matters to him, then a doll or a geisha will do just fine.

Please, leave. You certainly are as beautiful as the love letter paints you to be. However, miss. Miss, I think you misunderstand. Mari: I do? But, yes, surely…. Please, read them again. Hidden between those lines you must be able to read what he thinks of you, his honest attachment. To be rejected from the beginning…. Above all, for a woman to—. Otaka: But, for some, they are never accepted—. Tama: What are you talking about? Otaka: Ah, uhm…. A voice is heard from offstage.

I see , it was modeled on a country house. Fukunaga appears, along with his man Okada and the student Kobori. Fukunaga: Ahh, this must be….. I know your father has spoken of me….. Mari: she reclaims her hand ….. Father has gone out. Yae: Yes. The master and Aizawa-sama have gone to Miyakezaka on business. Fukunaga: Hm. He pulls out a notepad and begins writing. Fukunaga: But, truly, this is the house you would expect of Professor Mouri.

When I sojourned in England I often—. However, so long as your heart remains closed, all you will do is scorn this love letter and the honest love of the proprietor…. And when you feel that way, a time will come when you are also treated coldly. Excuse me. Fukunaga: Hey, you, wait! He pulls out his notebook once more. An actor. I work at the Enouza. Fukunaga: What, a kabuki actor? This is it. Okada flips through his notebook, then shrugs.

Fukunaga: … Ah, never mind. Fukunaga: Your job here is finished. Now, go. The room is completely silent, and Otaka seems for a moment as if she will say something, but then she leaves. Fukunaga: How was that? Good grief, how shameless. More importantly, Mari-san he takes her hand , what do you think, shall we commemorate our meeting? There is going to be a concert at the Public Hall.

Mari: distractedly Yes …. Fukunaga: You can forget this ridiculous kabuki business. I have here two tickets he goes to pull them out from inside his jacket. Kobori-san, please prepare a seat. Fukunaga: No, if you need a seat, I have here…. And on top of that, he got to read that love letter! Now the town beauty has been disgraced. Fukunaga: Ah…. Mari passes by him and leaves. The other girls follow her out. Tama: Ah, Kobori-san, a seat for me too.

A theater box, and lunches too. He takes off running, and she turns to the female servants. Female Servants: Yes, miss! They begin cleaning up the room. Fukunaga: Uh, what about me…..? He tries to follow after Tama, but the cleaning women get in his way. They finish and leave the room. Fukunaga, Okada, and Yae remain. Fukunaga: …. Fukunaga: Never mind….. Okada-kun, Look into that actor who was here earlier. Somehow, the young lady seems to have become interested in him.

Yae: Hey! Before you do that, take away their license. Fukunaga: Who are you, anyway? Yae: What, you were lying? Fukunaga: Call it a bluff. Of course. Fukunaga: But I plan to smash it someday. After all, theater reform is very popular among dignitaries. However, everything has a sequence. The situation is different than the Restoration. He jots this down in his notebook. Fukunaga: Are you listening?

Yes, for example…. Use the name of a popular writer. Systematic application. Fukunaga: Well, the pressing objective is the Theater Reform Conference which will be held next month. A tailored figurehead.

Full text of "The playground of the Far East"

Could this mean that the young lady is also-. To shoot a general you shoot the horse. But should you be letting me hear such an important conversation? Yae: You are an idiot. Yae: A fee for keeping my mouth shut. They dress in luxurious robes and travel in enormous, ornate palanquins carried by lesser yokai — or sometimes human slaves — surrounded by a splendid precession fit for a corrupt abbot or a rich lord.

They are described as having the beak of a rooster, the jaw of a swallow, the head of a pheasant, the neck of a snake, the back of a tortoise, legs of a crane, and the tail of a peacock. They are brilliantly colored with the five colors of the Chinese elements — white, black, red, yellow, and blue — and have five distinctive tail feathers. Underneath those eyes is a fleshy body, roughly man-sized.

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They are cousins of kappa and garappa, but much more savage and belligerent. They are short, with bald scalps, sharp claws, and a mouth full of sharp teeth which are prominently visible due to the malicious smile they wear. They are covered with a pelt of thick, greasy hair which gathers dust, oil, and dirt, and constantly sheds wherever they go. When somebody calls out to them to get their attention, they turn around and reveal ugly, wrinkly faces like those of old men! Koromodako usually appear similar to ordinary small octopuses.

Males only reach a size of a few centimeters long, while females can grow up to five times that length. Being so tiny, they are subject to the tides and waves, and so they float wherever the currents take them. Females live inside of a paper-thin shell, while males have no shell similar to the family of octopuses called argonauts. The magic which summons this spirit, the person who casts the spell, and the family line of that person are all referred to as ichijama. Not only people, but cows, pigs, horses and other livestock, as well as crops can be cursed by an ichijama.

They appear in numerous stories from the Edo period, where they are described as enormous fish or monstrous serpents of some kind. Their bodies are covered in a slippery oil, which sheds as they swim the ocean. They haunt the forgotten, overgrown ruins where they lost their lives, attacking and harassing trespassers.

When written it implies that this is a gecko yokai, but when spoken it sounds like a newt yokai — and in actuality it refers to a gecko yokai. It lives deep in the mountains of Japan. It is especially well-known in the mountains bordering Wakayama and Nara Prefectures old Kii and Yamato Provinces , though sightings have been reported in other neighboring prefectures as well. Their bodies are enormous, and their fins are covered with countless tiny metallic barbs, like a grater. They use these to hook their prey, dragging it deep into the water to be eaten.

They are said to appear when the north winds blow and the sea currents change. Japanese weasels, known as itachi, are seen as disconcerting animals and bringers of ill omens for the particular brand of magic that yokai weasels perform. Like most animals-turned-yokai, they possess shape-shifting abilities in addition to a number of magical powers.

In the old days, weasels were believed to trasform into ten martens or mujina badgers or tanuki, depending on the region after reaching a very old age. Additionally, the names ten and itachi were often used interchangeably. As a result, there is often a lot of confusion over which animal is specifically being referred to in many stories. They have the face of a human with a pointed beak, and the body of a snake with wings, and terrible claws. Their wingspan is 4. They are a subset of of chimi, or mountain spirit, though they are much more renowned for their nastiness.

The term is not a clearly defined one, but in general they are manifestations of the ill will of the mountains and forests, awoken in order to do harm to humans. They appear as ordinary humans for the most part, except their features are more monstrous. They have sharp, pointed teeth which they use to peel the flesh off of the recently deceased. Their body size averages between two to three centimeters long, but they can grow much larger as they age; some are large enough to catch and eat small birds. These spiders are renowned for their large size, their vividly beautiful colors, the large and strong webs they weave, and for the cruel destruction they wreak on young men.

From afar, jubokko appear to be ordinary trees, indistinguishable from the various species that dot the landscape. Outwardly, they look just like ordinary trees. It takes an observant eye to notice the slightly more fearsome features of its branches, or the piles of human bones buried in the undergrowth beneath the tree. In fact, they were once normal trees, but the vast amounts of the human blood absorbed through their roots causes them to transform into yokai.

Thereafter the tree thirsts only for human blood. It takes the form of a small, doll-like boy in a kimono. They have claws that are as strong as steel and as sharp as razors. Their fur is spiny like a hedgehog, and they bark like a dog. They move so quickly that they are invisible to the naked eye, and they come and go with the wind. They are small, and capable of sneaking quietly through open windows and doors without alerting their victims. It has a roughly priest-like appearance, with robes and a tonsured haircut.

Its body is covered in thick hairs. They are large, bipedal felines as large as or larger than a human. They are often accompanied by hellish flames or lightning. They like to appear during rainy or stormy weather, and most often during the night. He appears on moonlit nights as gazes back down at those who gaze up at him. His beauty is said to be so enchanting that those who gaze at him find it difficult to turn away, even to their own peril.

They are under a meter in total length, and well-loved for their shy, playful nature and cute faces. They are small and ugly, resembling a monkey. Their hair is said to grow in backwards, and they have two tongues: one red and one white. They are sometimes born from pregnant mothers instead of human babies. She appears in red-light districts and brothels.

In most stories, it is only the hair on her head that is disturbingly thick and long, but in some stories, her whole body is covered in thick hair, like some kind of beast. They are the size of a small dog, and appear simply as a mass of long, dirty hair. They make their homes in cool, damp, dark places, and are particularly fond of living under floorboards and around run-down homes, where stuffiness, moisture, and lack of human activity create the perfect breeding place for sickness.

They wear skirts made of grass, and move about by hopping rather than walking. Males are noted for their large and prominent testicles. They resemble human women in most ways, although they are usually hideously ugly to behold. Most kijo were, in fact, once human women, but hatred, or jealously, a curse, or a wicked crime corrupted their souls their bodies into monstrous forms.

Some have red or yellow eyes, blue skin, sharp horns, long claws, or other supernatural features. Usually they dress in rags and wear their hair long and unkempt, living like savages far from civilization. It is a regal animal, holy and highly revered, and often considered a god in its own right.

Its body and mane are covered in brilliant holy fire. Its face is the picture of utter serenity.