The first two mirrors produced by the blacksmith, as stated above, were unsatisfactory, but the third was large and beautiful, and is now the deity of the inner shrine of Isé. The gods also planted hemp and paper mulberry, and with their fibre and bark wove clothing for the goddess. They also cut down trees and built a palace. Magatama jewels (carved and polished pieces of stone, such as were worn in those days as ornaments) were also produced, and wands were made from sakaki branches and bamboo. One of the gods then pulled up a sakaki-tree by the roots, and on its upper branches hung the necklace of jewels; at the middle he hung the sacred mirror, and to the lower branches he attached both coarse and fine cloth. This formed a large _gohei_, which was held by Ama-no-futo-dama-no-mikoto, while he pronounced an address in honor of the goddess. And _goheis_ like this, with jewels, mirrors and strips of cloth cut zigzag, we still see in the hands of the young priestesses at the shrine of the goddess herself, and the simpler _gohei_ or wands, with strips of cloth or paper attached, are now to be seen, as they have for ages been, all over Japan, at every Shinto temple or shrine and in thousands of other places. A number of young cocks were next collected, and set to crow in concert; a strong god was concealed by the door of the cavern, to wrest it open at the favorable moment; and a very renowned goddess, Uzumé, was set to dance, blowing music out of a bamboo tube pierced with holes, while the gods kept time to her performance by striking two pieces of wood together. A sort of harp was made, by placing six bows together, with the strings upward. This was played by the drawing of grass and rushes across it. Uzumé, who appears to have entered upon her task with great spirit, bound her sleeves close up to the arm-pits, and grasped in her hand a bundle of twigs and a spear wound round with grass and having small bells attached to it. Bon-fires were lighted and a circular box or drum was placed for her to dance upon. Then this young goddess commenced to tread with measure upon the hollow box and cause it to resound. She sang a six-syllable song or charm of numbers, and, gradually quickening her dance wrought herself up to such a pitch of excitement, or rather “such a spirit descended on the goddess,” that she loosened her dress, revealing more and more of her loveliness, and at last, to the intense amazement and delight of the gods, appears to have discarded her dress altogether. With the laughter of the gods the heavens shook. The address in her honor, the stirring sounds of the music and dancing, and the loud and joyous laughter of the gods was too much for Amaterasu, and slightly opening the door, she softly said from inside, “I fancied that because of my retirement both Heaven and Japan were in darkness! Why has Uzumé danced and why do the gods laugh?” Uzumé replied, “I dance and they laugh, because there is an