have found that there is a
varyingof images, that the varying is not random or arbitrary.Ethnographic research on pre-Buddhist Japan is unfortunatelyrather limited, so certain questions have to remain unansweredfor the present. Ltvi-Strauss has devoted considerable atten-tion to the Bororo understanding of the jaguar in connection withhis analysis of the role of the jaguar in Bororo myths (1969, pp.81-84, 97-98, passim).
however, will have to leave open thequestion why a mouse is used in a particular sequence rather thansome other animal. All
can hope to do is to show that certainimages are used recurrently, that these images are related to otherimages throughout the myths, and that these images co-vary insystematic fashion.
In order to get at the systematic relations of images, itis important, as indicated above, to begin by looking at severalmyths.This procedure enables one to see how the same imageis used in different contexts and with what other images it is as-sociated.
propose to do this by constructing a series of com-parative charts that will: (1) point up overall structural similari-ties between myths, and
bring to light the recurrent imagesexisting throughout the series of myths selected for analysis.What
have done is to single out six separate action sequencesfrom the myths found in Book
These six se-quences are not exhaustive of Book
but the limitation followsfrom the assumption that intensive analysis of a few sequences islikely to be more productive than a superficial treatment of all."Action sequence" is here defined as a myth sequence with adefinite beginning and end and in which there is a break in theaction before the next sequence.Material from the
plays an important but secondaryrole in this study. It is relegated to a secondary position becausethe method employed calls for comparing
mythic sequences,not the separate sentences of which they are composed. Thefragmentary nature of the
sequences requires, given
Japanese Journal of Religious Studzes