La vie des morts - Enquête sur les fantômes dhier et daujourdhui (French Edition)

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He stayed there for two summers. One day, he took his alms bowl and wanted to walk up to the hall. When he closed the gates, he saw something floating down in front of the eaves of the temple. At that time, it was twilight, and the monk approached [the thing] to have a closer look. It turned out to be a newly born baby whose swaddling clothes were very new. The monk was surprised and found it strange. He lifted up the child and wanted to ask the villagers about it. When the monk looked at it, it was a comet. Chaos is a dark leather bag in which nothing can be seen.

It becomes rude and considered dangerous when a child acts without the control of an adult. After finishing their famous argument, Confucius beheads the boy in an act of exorcism. Now I know that the young are indeed to be feared. Confucius finds the sorcery alarming and has shrines built across the county after he executed the youth. Teenage children, for example, were summoned to the underworld for stealing money from their parents, or beaten to death for stealing salt.

Yet exorcising child figures who are deemed out of place is acceptable. The impertinent character of Xiang Tuo in the Dunhuang version can also be found in children who are actually transformed objects or animals. A Mr Tian, for example, on his way back home encounters a little boy in deep red clothes and pursues him, despite feeling afraid:. And I am having a conversation with you, young laddy! How can you answer so frivolously? Next to the road was an enormously huge tree and the boy climbed straight into it. His shape was like that of a monkey. Tian found it strange and shot into the tree.

Then he saw something like a flag which appeared and vanished. When he arrived home, [Tian] became ill and almost died. The boy, however, turns out to be a nature spirit or a transformed animal. He is furthermore announcing disease with a flag — reminiscent of the children who appear before a sick or dying person. Such children are frightening and mischievous in their playfulness. Another person, for example, finds himself confronted with three or four boys playing further down on a sandbank while the adult man is in his boat.

They speak unceremoniously and improperly, and compared to real children, they are very much out of place. Lifeless matter changing into living beings is not uncommon in Chinese folklore. Their animation is that of overconfident children. His arrow was still stuck in the tip of one wheel. That might be because they are simply not seen or because they are treated as minor side figures and thus are not further analysed. This paper has certainly not exhausted the plethora of narratives that feature otherworldly children.

It has also not provided an analysis or a theory concerning those children, an undertaking for which many more narratives should be assembled. I hope, however, to have fulfilled the main purpose of this article, which was to point out the existence of these children. I believe that Chinese authors have used child figures for certain reasons that adults could not have achieved in those texts.

Studying such children, rather than focusing merely on adults, might not only add a different point of view on medieval religion, but possibly also on medieval ideas about children. The children come in different shades, and here I have mostly concentrated on the uncanny ones. This makes them suitable as mediating objects. When other objects, such as mirrors or wooden dolls, for example, are used in possession, they can retain some dangerous energies. Yet their existence might be based on several beliefs and practices. Children or youths in the underworld administration system, for example, might have been believed to be part of the ideal Han administration, which was the template for this system, as Seidel has shown.

Children could have also entered that world as assistants according to a comforting belief that such a post is bestowed on those innocent youngsters who die too early — up to the age of seven, as the boy Zengzeng explains. Their detailed description in texts — detailed in terms of the colour of their clothes, their behaviours and sometimes hairstyles — might point to a further link between visual representations of such imaginings and the mutual reaction to forms of narration.

Possibly linked to such child figures are the floating and glowing embryos that sometimes turn out to be bloody sacks. These might, moreover, be related to myths about chaos. I hope that this brief article will encourage more research into divine, supernaturally bureaucratic, and eerie children in order to broaden our insight into medieval life and death. Such representation of children in art, which is at the fringes between symbolic and real, is also applied in poetry, where children assume a symbolic function representing, for example, melancholy.

See Pissin Annika, , Elites and their Children. Both rely on the Taisho Tripitaka. Davis has further examples for the use of young boys in healing rituals, who are better described than in the narratives I found; see for example pp. Stein , vol. As divine responses, young lads can also appear in grander rituals as the assistant of the ritual master, but are visible to all participants see for example Li Fang, , Taiping guangji , p. Some divine responses come in the form or behaviour of sons in attendance. In addition, flag carrying might be delegated to the lowly part of society, such as servants or children.


This narrative belongs to the legitimating tales of medical specialists, and explains the special, supernatural origin of their healing powers to people who seek their medical or other physical advice. This ghost child slaughters a bride. That is quite unlike the supernatural children discussed in this article, as they would usually not kill. Quartett: Streichquartett. Christnacht: Ein deutsches Weihnachtsliederspiel nach oberbayerischen und tiroler Weisen.

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Fantômes dans l'Extrême-Orient d'hier et d'aujourd'hui - Tome 1

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