Earth. Here he appears in a totally new character as the Perseus of a Japanese Andromeda, whom he rescues from a huge serpent, having first intoxicated the monster. Of course they are married and have numerous children. Her name, Inada-hime (rice-land-lady), is probably not without significance as that of the wife of a Rain-storm god. Another story represents him as the murderer of the Food-goddess, who had offended him by producing viands for his entertainment from various parts of her body. But a different version ascribes this crime to the Moon-god, and gives it as the reason why the Sun-goddess refused to have any further relations with him. This, of course, explains why the two luminaries are not seen together. Here it may be pointed out that, notwithstanding the anthropomorphic character of many of the above details it is evidently the sun itself which is concealed in the Rock-cave. Modern Euhemerists deny this. But the evidence is far too strong to be disregarded. Her names, Amaterasu (Heaven Shining-one) and Hirume (Sun-female), are conclusive on this point. The modern commentator Motoöri agrees, or rather maintains, that Amaterasu is the very sun which we see in heaven. Those Japanese who in the twentieth century talk of the imperial visit to Ise as ancestor-worship are sorely puzzled to justify their position. Imbued with the philosophy of China and the science of Europe, they naturally find it difficult to understand how the Mikado can be really descended from the sun. Some resort to the Euhemeristic theory that she was a mortal Empress who lived in a place on earth called Takanna no hara (plain-of-high-heaven), and speak of rice-culture and the art of weaving being known in her reign. The myth of the Sun-goddess and Susa no wo is the central pivot on which the old mythology turns. All that precedes may be regarded as a sort of genealogical introduction, and the subsequent narrative as an epilogue designed to complete the connexion between the living Mikados and their celestial ancestor.