TocallaJapanesecook，forinstance，anartistwouldbebutthebarestacknowledgmentoffact，forJapanesefoodisfarmorebeautifultolookatthanagreeabletoeat;whileTokiotailorsarecertainlymastersofdrapery，iftheyaresublimelyoblivioustothenaturalmodelingsofthemaleorfemaleform。
　　Ontheotherhand，artissown，liketheuseoftobacco，broadcastamongthepeople。ItisthebirthrightoftheFarEast，thetalentitneverhides。Throughoutthelengthandbreadthoftheland，andfromthehighestprincetothehumblestpeasant，artreignssupreme。
　　Nowsuchaprevalenceofartisticfeelingimpliesofitselfimpersonalityinthepeople。Atfirstsightitmightseemasifsciencedidthesame，andthatinthisrespecttheonehemisphereoffsettheother，andthatconsequentlybothshouldbeequallyimpersonal。Butinthefirstplace，ourmassesarenotimbuedwiththescientificspirit，astheirsarewithartisticsensibility。
　　Whowouldexpectofamasonanimpersonalinterestintheprinciplesofthearch，orofaplumberanon—financialdevotiontohydraulics？
　　CertainlyonewouldbewrongincreditingthemassesingeneralorEuropeanwaitersinparticularwithmuchabstractloveofmathematics，forexample。Inthesecondplace，thereisanessentialdifferenceintheattitudeofthetwosubjectsuponpersonality。Emotionally，scienceappealstonobody，arttoeverybody。Nowtheemotionsconstitutethelargerpartofthatcomplexbundleofideaswhichweknowasself。Athoughtwhichisnottingedtosomeextentwithfeelingisnotonlynotpersonal;properlyspeaking，itisnotevendistinctivelyhuman，butcosmical。Initsloftysuperioritytoman，scienceisunpersonalratherthanimpersonal。Art，ontheotherhand，isafamiliarspirit。Throughthewindowsofthesensesshefindsherwayintotheverysoulofman，andmakesforherselfahomethere。
　　Butitistohishumanity，nottohisindividuality，thatshewhispers，forshespeaksinthatuniversaltonguewhichallcanunderstand。
　　Examplesarenotwantingtosubstantiatetheory。ItisnomerecoincidencethatthetwomostimpersonalnationsofEuropeandAsiarespectively，theFrenchandtheJapanese，areatthesametimethemostartistic。Evenpoliteness，which，aswehaveseen，distinguishesboth，isitselfbutaformofart，——thesocialartoflivingagreeablywithone’sfellows。
　　Thisimpersonalitycomesoutwithallthemoreprominencewhenwepassfromtheconsiderationofartinitselftothespiritwhichactuatesthatart，andespeciallywhenwecomparetheirspiritwithourown。ThemainspringsofFarEasternartmaybesaidtobethree：Nature，Religion，andHumor。Incongruouscollectionthattheyare，allthreewitnesstothesametrait。Forthefirsttypifiesconcreteimpersonality，thesecondabstractimpersonality，whiletheprovinceofthelastistoridiculepersonalitygenerally。
　　Ofthetriothefirstisaltogetherthemostimportant。Indeed，toaFarOriental，sofundamentalapartofhimselfishisloveofNaturethatbeforeweviewitsmirroredimageitwillbewelltolooktheemotionitselfintheface。TheFarOrientallivesinalongday—dreamofbeauty。Hemusesratherthanreasons，andallmusing，sotheworditselfconfesses，springsfromtheinspirationofaMuse。ButthisMuseappearsnottohim，astotheGreeks，afterthefashionofawoman，norevenmoreprosaicallyafterthelikenessofaman。Unnaturalthoughitseemtous，hisinspirationseeksnohumansymbol。HisMuseisnotkintomankind。Sheistooimpersonalforanypersonification，forsheisNature。
　　Thatpoetwhosenamecarrieswithitacertainpresumptionofinfallibilityhastoldusthat"theproperstudyofmankindisman;"
　　andifmaterialadvancementinconsequencebeanycriterionofthefitnessofaparticularmentalpursuit，eventshaveassuredlyjustifiedthesaying。Indeed，theLevanthashelpedantitheticallytopreachthesamelesson，inshowingusbyitsownfatalexamplethattheimproperstudyofmankindiswoman，andthattheywhobutfollowthefairwillinevitablydegenerate。
　　TheFarOrientalknowsnothingofeitherstudy，andcaresless。
　　Thedelightofself—exploration，orthepossiblyevengreaterdelightoflosingone’sselfintryingtofathomfemininity，isasensationequallyforeigntohistemperament。Neithertheremarkablepersistenceofone’sowncharacteristics，notinfrequentlymatterofdeepregrettotheirpossessor，northecharminglyunaccountablevariabilityofthefairersex，attimesquiteasannoying，isaphenomenonsufficienttostirhiscuriosity。Accepting，ashedoes，theexistingstateofthingsmoreasamaterialfactthanasaphaseinagradualprocessofdevelopment，heregardshumanityasbutasmallpartofthegreatnaturalworld，insteadofconsideringitthecrowninggloryofthewhole。Herecognizesmanmerelyasafractionoftheuniverse，——onemightalmostsayasavulgarfractionofit，consideringthelowregardinwhichheisheld，——andaccordshimhisproportionateshareofattention，andnomore。
　　Inhisthought，natureisnotaccessorytoman。WorthyM。Perichon，ofprosaic，nottosayphilistinicfame，had，asweremember，histravelsimmortalizedinapaintingwhereacolossalPerichoninfrontalmostcompletelyeclipsedatinyMontBlancbehind。AFarOrientalthinkspoetry，whichmaypossiblyaccountforthefactthatinhismind—picturestherelativeimportanceofmanandmountainstandsreversed。"ThematchlessFuji，"firstofmotifsinhisart，admitsnopilgrimasitspeer。
　　Norisittowomanthatturnhisthoughts。MotherEarthisfairer，inhiseyes，thanareanyofherdaughters。Toherisgiventheheartthatshouldbetheirs。TheFarEasternloveofNatureamountsalmosttoapassion。TothestudyofherevervaryingmoodsherJapaneseadmirerbringsanimpersonaladorationthatcombinesoddlytheaestheticismofapoetwiththeasceticismofarecluse。Notthatheworshipsinsecret，however。Hispassionistoogenuineeithertofinddisguiseorseekdisplay。Withus，unfortunately，theloveofNatureisapttobeconsideredamentalextravagancepeculiartopoets，excusableinexactratiototheabilitytogiveitexpression。ForanordinarymortaltofeelafondnessforMotherEarthisakindoffolly，tobecarefullyconcealedfromhisfellows。Asortofshamefacednesspreventshimfromavowingit，asaboyatboarding—schoolhideshishomesickness，oraladhislove。
　　Heshrinksfromappearinglesspachydermatousthantherest。
　　Orelsehefliestotheotherextreme，andaffectstheodd;pretends，poses，parades，andatlastsucceedshalfindupinghimself，halfindeceivingotherpeople。ButwithFarOrientalsthecaseisdifferent。Theirlovehasalltheunostentatiousassuranceofwhathasreceivedthesanctionofpublicopinion。Norisitstillatthatdoubtful，hesitatingstagewhen，bytheinstrumentalityofathird，itssoul—harmonycansuddenlybechangedfromthejubilantmajorkeyintothedespairingminor。Notraceofsadnesstingeshisdelight。Hehaslongsincepassedthismelancholyphaseoferoticmisery，ifsobethatthecourseofhistruelovedidnotalwaysrunsmooth，andisnowwelloninmatrimonialbliss。Theverylookofthelandisenoughtobetraythefact。InJapanthelandscapehasanairofdomesticityaboutit，patenteventothemostcasualobserver。WherevertheJapanesehascomeincontactwiththecountryhehasmadeherunmistakablyhisown。Hehastouchedhertocaress，notinjure，anditseemsasifNatureacceptedhisfondnessasamatterofcourse，andyieldedhimawifelysubmissioninreturn。
　　Hisgardenismorehuman，even，thanhishouse。Notonlyiseverythingexquisitelyinkeepingwithman，butnaturalfeaturesareactuallychanged，plastictotheimprintoftheirlordandmaster’smind。Bushes，shrubs，trees，forgettofollowtheiroriginalintent，andgrowashewillsthemto;nowexpandinginwantonluxuriance，nowcontractingintodwarfdesignsoftheirformerselves，alltoobeyhiscapriceandpleasehiseye。Evenstubbornrockslosetheirwildness，andcometoseemapartofthealmostsentientlifearoundthem。Ifthedescriptionofsuchdutifulnessseemsfanciful，thethingitselfsurpassesallsupposition。Hedgesandshrubbery，clippedintothemostfantasticshapes，acceptthesuggestionofthepruning—knifeasifman’swishesweretheirownwhims。Manikinmaples，TomThumbtrees，afoothighandthirtyyearsold，withallthegnarlsandknotsandknucklesoftheirfellowsoftheforest，growinhisparterres，theirnativevitalitynotawhitdiminished。
　　Andtheyarenotregardedasmonstrositiesbutonlyasthemostnaturalofartificialities;fortheyareapartofahorticulturalwhole。TowalkintoaJapanesegardenislikewanderingofasuddenintooneofthosestrangeworldsweseereflectedinthepolishedsurfaceofaconcavemirror，whereallbuttheobserverhimselfistransformedintoafantasticminiatureofthereality。Inthatquaintfairylanddiminutiveriversflowgracefullyundertinytrees，pastmole—hillmountains，tilltheyfallatlastintolilliputianlakes，almostsmotheredfortheflowersthatgrowupontheirbanks;
　　whileintheextremedistanceofacoupleofrodstheconeofaFujitenfeethighlooksapprovinglydownuponascenewhichwouldbenationallyincompletewithoutit。
　　ButbesidesthedelightsofdomesticitywhichtheJapaneseenjoysdailyinNature’scompany，hehashisaccesdetendresse，too。
　　Whenhefeelsthusspeciallystirred，heinvitesachosenfewofhisfriends，equallyinfatuated，andtogethertheyrepairtosomespotnotedforitsscenery。Itmaybeawaterfall，orsomedreamypondoverhungbytrees，orthedistantglimpseofamountainpeakframedinpicture—wisebetweenthenearerhills;or，attheirappropriateseasons，theblossomingofthemanytreeflowers，whichineasternAsiaarebeautifulbeyonddescription。Forheappreciatesnotonlyplaces，buttimes。Onespotistobeseenatsunrise，anotherbymoonlight;onetobevisitedinthespring—time，anotherinthefall。Butwhereverorwheneveritbe，atea—house，placedtocommandthebestviewofthesight，standsreadytoreceivehim。Fornature’sbeautiesaretoowellrecognizedtoremaintheexclusivepropertyofthefirstchancelover。Peopleflocktoviewnatureaswedotoseeaplay，andprivacyisasimpossibleasitisunsought。Indeed，theaversiontopublicityissimplyaresultofthesenseofself，andthereforenecessarilynotafeatureofsoimpersonalacivilization。Aestheticguidebooksarewrittenforthenature—enamoured，descriptiveoftheseviewswhichtheJapanesetranslatorquaintlycalls"Sceneries，"andwhichvisitorscomenotonlyfromnearbutfromfartogazeupon。Infrontofthetea—houseproperarerowsofsummerpavilions，inoneofwhichthepartymakethemselvesathome，whilegentlelittletea—housegirlstoddleforthtoservethemtheinvariablepreliminaryteaandconfections。Eachmanthenproducesfromuphissleeve，orfromouthisgirdle，paper，ink，andbrush，andproceedstocomposeapoemonthebeautyofthespotandthefeelingsitcallsup，whichhesubsequentlyreadstohisadmiringcompanions。
　　Hotsakeisnextserved，whichistothemwhatbeeristoaGermanorabsinthetoablouse;andtheretheysit，sip，andpoetize，passingtheircouplets，astheydotheircups，inhonortooneanother。Atlast，afterdrinkinginanhourortwoofsceneryandsakecombined，thesymposiumofpoetsbreaksup。
　　Sometimes，insteadofacompanyoffriends，amanwilltakehisfamily，wife，babies，andall，onsuchanouting，butthedetailsofhisholidayaremuchthesameasbefore。Forthesceneryisstillthecentreofattraction，andintheattendantcreaturecomfortsFarEasternetiquettepermitsanequalenjoymenttoman，woman，andchild。
　　Thisloveofnatureisquiteirrespectiveofsocialcondition。
　　Allclassesfeelitsforce，andfreelyindulgethefeeling。Pooraswellasrich，lowaswellashigh，contrivetogratifytheirpoeticinstinctsfornaturalscenery。Asforflowers，especiallytreeflowers，orthoseofthelargerplants，likethelotusortheiris，theJapaneseappreciationoftheirbeautyisasphenomenalasisthatbeautyitself。Thosewhocanaffordtheluxurypossesstheshrubsinprivate;thosewhocannot，feasttheireyesonthepublicspecimens。Fromaspriginavasetoaparkplantedonpurpose，thereisnopartofthemtoosmallortoogreattobeexcludedfromFarOrientalaffection。Andofthetwo"drawing—rooms"oftheMikadoheldeveryyear，inAprilandNovember，botharegarden—parties：
　　theonegivenatthetimeandwiththetitleof"thecherryblossoms，"
　　andtheotherof"thechrysanthemum。"
　　Thesesametreeflowersdeservemorethanapassingnotice，notsimplybecauseoftheiramazingbeauty，whichwouldarrestattentionanywhere，butforthenationalattitudetowardthem。FornobetterexampleoftheJapanesepassionfornaturecouldwellbecited。
　　Iftheanniversariesofpeopleareslightinglytreatedinthelandofthesunrise，thesamecannotbesaidofplants。Theyearlybirthdaysofthevegetableworldareobservedwithmorethanbotanicenthusiasm。Theregardinwhichtheyareheldistrulyemotional，anditnotactuallyindividualinitsobject，atleastpersonaltothespecies。Eachkindoftreeasitsseasonbringsitintoflowerismadetheoccasionofafestival。Forthebeautyoftheblossomingreceivesthetributeofanationaladmiration。
　　Frompeerstopopulacemankindturnsouttowitnessit。Noraretheseoccasionsfew。SpringintheFarEastisonelongchainofflowerfetes，andasspringbeginsbytheendofJanuaryandlaststillthemiddleofJune，opportunitiesforappreciatingeachinturnarenothalfspoiledbyacommoncontemporaneousness。Peoplehavenotonlyoccasionbuttimetoadmire。Indeed，springitselfissuitablyrespectedbybeingdatedconformablytofact。FarOrientalsbegintheiryearwhenNaturebeginshers，insteadofstartinganachronouslyaswedointheverymiddleofthedeadseason，muchasourcollegesholdtheircommencements，onthelastinplaceatonthefirstdayoftheacademicterm。SoprevioushasthehasteofWesterncivilizationbecome。Theresultisthatourrejoicingpartakesoftheincongruityofhumor。Thenewyearexistsonlyinname。IntheFarEast，ontheotherband，thecalendarismadetofitthetime。MenbegintoreckontheiryearsomethreeweekslaterthantheWesternworld，justastheplum—treeopensitspinkwhitepetals，asitwere，inrosyreflectionofthesnowthatliesyetupontheground。Butthecoldnessoftheweatherdoesnotintheleastdeterpeoplefromthrongingthespotinwhichthetreesgrow，wheretheyspendhoursinadmiration，andendbypinningappropriatepoemsonthetwigsforlatercomerstoperuse。Fleetingastheflowersareinfact，theyliveforeverinfancy。Fortheyconstituteoneofthecommonestmotifsofbothpaintingandpoetry。
　　Abranchjustbreakingintobloomseenagainstthesunrisesky，oraboughbendingitsblossomstothebosomofastream，issubjectenoughfortheirgreatestmasters，whothuswed，asitwere，twoartsinone，——thespiritofpoesywithpictorialform。
　　Thisplum—treeisbutablossom。Precociousharbingerofahostofflowers，itsgayheraldingover，itvanishesnottoberecalled，foritbearsnoediblefruit。
　　Thenexteventintheseriesmightfairlybecalledphenomenal。
　　EarlyinApriltakesplacewhatisperhapsassuperbasightasanythinginthisworld，theblossomingofthecherry—trees。Indeed，itisnoteasytodothethingjusticeindescription。Ifthepluminvitedadmiration，thecherrycommandsit;fortoseethesakurainflowerforthefirsttimeistoexperienceanewsensation。
　　Familiarasamanmaybewithcherryblossomsathome，thesightthereburstsuponhimwiththedazzlingeffectofarevelation。
　　Suchistheprofusionofflowersthatthetreeseemstohaveturnedintoalivingmassofrosylight。Noleavesbreakthebrilliance。
　　Thesnowy—pinkpetalsdrapethebranchesentirely，yetsodelicately，onedeemsitallaveildonnedforthetree’snuptialswiththespring。Fornothingcouldmorecompletelypersonifythespiritofthespring—time。Youcanalmostfancyitsomedryaddeckedforherbridal，inmaidenlyday—dreamingtoolovelytolast。
　　Forliketheplumthecherryfailsinitsfruittofulfilthepromiseofitsflower。
　　Itwouldbestrangeindeedifsomuchbeautyreceivednorecognition，butitisevenmorestrangethatrecognitionshouldbesocompleteandsouniversalasitis。Appreciationisnotconfinedtothecultivatedfew;itisshownquiteasenthusiasticallybythemasses。
　　Thepopularityoftheplantsisall—embracing。Thecommonpeopleareassensitivetotheirbeautyasaretheupperclasses。Privategratification，roseateasitis，palesbesidethepublicdelight。
　　Indeed，notcontentwithwhatrevelationNaturemakesofherselfofherownaccord，manhasmultipliedhermanifestations。Spotssuitabletotheirgrowthhavebeenpeopledbyhimwithtrees。
　　Sometimestheystandingroupslikestar—clusters，asinOji，crowningahill;sometimes，asatMukojima，theylineanavenueformiles，dividingtheblueriverontheonehandfromtheblue—greenrice—fieldsontheother，——afloralmilkywayoflight。Butwhereverthetreesmaybe，thereattheirfloweringseasonaretobefoundthrongsofadmirers。Forincrowdspeoplegoouttoseethesight，multitudesstreamingincessantlytoandfrobeneaththeirblossomsasthetimeofdaydeterminestheturnofthehumantide。
　　TotheOccidentalstrangersuchagatheringsuggestssomesocialloadstone;butnoneexists。Inthecherry—treesaloneliestheattraction。
　　Foroneweekoutofthefifty—twothecherry—treestandsthusglorified，avisionofbeautyprolongedsomewhatbythewantofsynchronousnessofthedifferentkinds。Thenthepetalsfall。
　　Whatwasanuptialveilbecomesawinding—sheet，coveringthesodaswithwinter’swinding—sheetofsnow，destineditselftodisappear，andthetreeisnothingbutacommoncherry—treeoncemore。
　　Butflowersarebynomeansoverbecausethecherryblossomsarepast。Abriefspace，andthesamecrowdsthatflockedtothecherryturntothewistaria。Gardensaredevotedtotheplants，andthepopulacegreatlygiventothegardens。Theretheygotositandgazeatthegrape—likeclustersofpalepurpleflowersthathangmorethanacubitlongoverthewoodentrellis，andgrowdailydowntowardtheirownreflectionsinthepondbeneath，vyingwithoneanotherinNarcissus—likeendeavor。Andthepeople，astheysiptheirteaontheverandaopposite，beholdadoubleddelight，thefloweritselfanditsmirroredimagestretchingtokiss。
　　Afterthewistariacomesthetree—peony，andthentheiris，withitstrefoilflowersbroaderthanamanmayspan，andatallcolorsunderthesky。ToonewhohasseenthegreatJapanesefleur—de—lis，Francelooksludicrouslyinfelicitousinherchoiceofemblem。
　　Butthelistgrowstoolong，limitedasitisonlybyitsownannualrepetition。WehaveasyetreachedbutthefirstweekinJune;thesummerandautumnarestilltocome，thefirstbringingthelotusforitscrown，andthesecondthechrysanthemum。Andlazilygrandthelotusis，itselftheembodimentofthespiritofthedrowsyAugustair，theveryessenceofBuddha—likerepose。Thecastlemoatsareitsspecialdomain，whichinthisitsfloweringseasonitwrestswhollyfromtheirmoreproperoccupant——thewater。Adensegrowthofleather—likeleaves，abovewhichriseinmajesticisolationthesolitaryflowers，encirclestheouterrampart，shuttingthecastleinasitmightbethepalaceoftheSleepingBeauty。Inthedelightfuldreaminessthatcreepsoveroneashestandsthusbeforesomeolddaimyo’sformerabodeintheheartofJapan，heforgetsallhismetaphysicaldifficultiesaboutNirvana，forhefancieshehasfoundit，onelongLotusafternoon。
　　Andthenlast，butinsomesortfirst，sinceithasbeentakenfortheimperialinsignia，comesthechrysanthemum。ThesymmetryofitsshapewellfitsittosymbolizethecompletenessofperfectionwhichtheMikado，thesonofheaven，mundanelyrepresents。Ittypifies，too，thefullnessoftheyear;foritmarks，asitwere，thegoldenweddingofthespring，thereminiscenceinNovemberofthenuptialsoftheMay。Itsowncolor，however，isnotconfinedtogold。
　　Itmaybeofalmostanyhueandwithinthegenerallimitsofacircleofanyform。Nowitisachariotwheelwithpetalsforspokes;nowaballoffirewithlambenttonguesofflame;whileanotherkindseemsthebuttonofsomenaturallegionofhonor，andstillanotherapin—wheelinNature’sownday—fireworks。
　　Admiredasathingofbeautyforitsownsake，itisalsousedmerelyasamaterialforartisticeffects;foramongthequaintestofsuchconceitsaretheJapaneseJarleychrysanthemumworks。EveryNovemberintheflorists’gardensthatsharethetemplegroundsatAsakusamaybeseengroupsofhistoricalandmythologicalfigurescomposedentirelyofchrysanthemumflowers。TheseeffigiesarequiteworthyofcomparisonwiththeirLondoncousins，beingsufficientlylife—liketoterrifychildrenandstartleanybody。Tocomesuddenly，onturningacorner，uponacolossalwarrior，deterrentlyuncouthandfrightfullybattle—clad，intheactofdispatchingafallenfoe，isasensationnotinstantlydispelledbythefactthatheismadeofflowers。Thepractice，atleast，bearswitnesstoanartisticingenuityofnomeanmerit，andtoahorticultureablycarriedon，ifsomewhateccentricallyapplied。
　　Fromthepassingofthechrysanthemumdatesthedeadseason。
　　Butitissuitablyshort—lived。SometimesasearlyasNovember，theplum—treeisalreadyblossomingagain。
　　EvenfromsoimperfectlygatheredagarlanditwillbeseenthattheJapanesedonotlackforopportunitiestoadmire，nordotheyturncoldlyawayfromwhattheyaregiven。Indeed，theymaybesaidtoliveinachronicstateofflower—fever;butinspiteofthevastamountofadmirationwhichtheybestowonplants，itisnotsomuchthequantityofthatadmirationasthequalityofitwhichisremarkable。TheintenseappreciationshownthesubjectbytheFarOrientalissomethingwhoseverycharacterseemsstrangetous，andwheninadditionweconsiderthatitpermeatestheentirepeoplefromthecommonestcoolietothemostaestheticcourtier，itbecomestoourcomprehensionastateofthingslittleshortofinexplicable。
　　Tocallitartisticsensibilityistousetoolimitedaterm，foritpervadestheentirepeople;ratherisitasixthsenseofanatural，becausenationaldescription;forthetraitdiffersfromourcorrespondingfeelingindegree，andespeciallyinuniversalityenoughtomeritthedistinction。Theircarefortreeflowersisnotconfinedtoacultivation，itisacult。Itapproachestoasortofnaturalnature—worship，anadorationinwhichnothingispersonified。
　　FortheemotionarousedintheFarOrientalisjustastrulyanemotionasitwastotheGreek;butwhereastheGreekpersonifieditsobject，theJapaneseadmiresthatobjectforwhatitis。
　　Tothinkofthecherry—tree，forinstance，asawoman，wouldbetohismindaconceptiontranscendingeventhelimitsoftheludicrous。
　　Chapter6。Art。
　　Thatnature，notman，istheirbeauideal，thesourceofinspirationtothem，isevidentagainonlookingattheirart。Thesamespiritthatmakesofthemsuchwonderfullandscapegardenersandsuchwonder—fulllandscapegazersshowsitselfunmistakablyintheirpaintings。
　　ThecurrentimpressionthatJapanesepictorialambition，andconsequentskill，isconfinedtotherepresentationofbirdsandflowers，thoughentirelyerroneousasitstands，hasagrainoftruthbehindit。Thisideaisduetotheattitudeoftheforeignobservers，andwasinfactatributetoJapanesetechniqueratherthananappreciationofFarEasternartisticfeeling。Thetruthis，theforeignersbroughttothesubjecttheirownWesterncriteriaofmerit，andjudgedeverythingbythesestandards。Suchworksnaturallycommendedthemselvesmostashadleastoccasiontodeviatefromtheircanons。Thesimplestpictures，therefore，werepronouncedthebest。Paintingsofbirdsandflowerswerethusadmittedtobefine，becausetheirrealismspokeforitself。Oftheexquisitepoeticfeelingoftheirlandscapepaintingstheforeigncriticswerenotatfirstconscious，becauseitwasnotexpressedintermswithwhichtheywerefamiliar。
　　Butfirstimpressions，hereaselsewhere，arevaluable。Oneisveryapttoturntothemagainfromthereasoningofhissecondthoughts。
　　FloraandfaunaareaconspicuousfeatureofFarAsiaticart，becausetheyenterasdetailsofthesubject—matteroftheartist’sthoughtsandday—dreams。Thesebirdsandflowersarehissujetsdegenre。Whereweshouldselectaphaseofhumanlifeforeffectiveisolation，theychooseinsteadabitofnature。Asprayofgrassoratwigofcherry—blossomsismotifenoughforthem。Totheirthoughtitsbeautyisamplysuggestive。FortotheFarOrientalallnatureissympatheticallysentient。Hisadmiration，insteadofbeingcentredonman，embracestheuniverse。Hisartreflectsit。
　　Leavingoutofconsideration，forthemoment，minorthoughstillimportantdistinctionsintone，treatment，andtechnique，thegreatfundamentaldifferencebetweenWesternandFarEasternartliesinitsattitudetowardhumanity。
　　Withus，fromthetimeoftheGreekstothepresentday，manhasbeenthecynosureofartisticeyes;withthemhehasneverbeenvouchsafedmorethanacasual，nottosayacursoryglance，evenwomanfailingtorivethisattention。Oneofourownwritershassaidthat，withoutpassingtheboundsofduerespect，amanispermittedtwolooksatanywomanhemaymeet，onetorecognize，onetoadmire。AJapaneseordinarilyneverdreamsoftakingbutone，——ifindeedhegoessofarasthat，——thefirst。Itistheomittingtotakethatsecondlookthathaslefthimwhatheis。NotthatFortunehasbeenunpropitious;onlyblind。Fatehasofferedhimopportunityenough;toomuch，perhaps。ForinJapantheexposureofthefemaleformiswithoutaparallelinlatitude。Nevernude，itisfrequentlynaked。Theresultartisticallyismuchthesame，thoughthecausebedifferent。ForitisafatalmistaketosupposetheJapaneseanimmodestpeople。Accordingtotheirownstandards，theyareexceedinglymodest。NorespectableJapanesewomanwould，forinstance，everforamomentturnouthertoesinwalking。
　　Itisconsideredimmodesttodoso。Theircodeis，however，notsowhimsicalasthisbitofetiquettemightsuggest。Theintentiswiththemthetouchstoneofpropriety。Intheireyesastateofnatureisnotastateofindecency。Whateverexposureisrequiredforconvenienceisright;whateverunnecessary，wrong。SuchanEden—likeconditionofsocietywouldseemtobetheveryspotforasomethinglikethemodernFrenchschoolofarttohavedevelopedin。
　　AndyetitisjustthatstudyofthenudewhichhasfromimmemorialantiquitybeenentirelyneglectedintheFarEast。AnancientGreek，tosaynothingofamodernParisian，wouldhaveshockedaJapanese。Yetweareshockedbythem。Weareastoundedatthesightsweseeintheircountryvillages，whiletheyintheirturnmarvelattheexhibitionstheywitnessinourcitytheatres。Attheirwatering—placesthetwosexesbathepromiscuouslytogetherinallthesimplicityofnature;butforaJapanesewomantoappearonthestageinanycharacter，howeverproper，wouldbedeemedindecent。
　　Thedifferencebetweenthetwohemispheresmaybesaidtoconsistinanartlesslibertyontheonehand，andartisticlicenseontheother。Theirunwrittencodeofproprietyonthesubjectseemstobe，"Youmustsee，butyoumaynotobserve。"
　　Thesepeoplelivemoreinaccordancewiththeircodeofproprietythanwedowithours。Allclassesalikeconformtoit。Theadjective"respectable，"usedaboveasadistinctioninspeakingofwoman，wasinrealitysuperfluous，forallwomenthere，asfarasappearancegoes，arerespectable。Eventhemostabandonedcreaturedoesnotbetrayherstatusbyherbehavior。ThereasonofthisuniformityanditspsychologicalimportanceIshalldiscusslater。
　　Thisformofmodesty，asortofwantofmodestyofform，hasnoconnectionwhateverwithsex。Itapplieswithequalforcetothemalefigure，whichisevenmoreexposedthanthefemale，andoffersanatomicalsuggestionsinvaluablealiketotheartisticandmedicalprofessions，——suggestionsthatareequallyignoredbyboth。
　　ThecooliesarefrequentlypossessedofphysiqueswhichwouldhavedelightedMichaelAngelo;andasforthephenomenalcorpulencyofthewrestlers，itwouldhavemadeoftheplaceaveryparadiseforRubens。Inregardtothedoctors，——fortocallthemsurgeonswouldbetogiveanametowhatdoesnotexist，——alackofscientificzealhasbeenthecauseoftheirnotinvestigatingwhattemptstooseductively，weshouldimagine，tobeignored。Acupuncture，orthepracticeofstickinglongpinsintoanypartofthepatient’sbodythatmayhappentobepaininghim，prettymuchirrespectiveofanatomicalposition，isthenearestapproachtosurgeryofwhichtheyareguilty，andproclaimsofitselftheincorporevilicharacterofthethingoperatedupon。
　　Nordoesthepainteroweanythingtoscience。Herepresentshumanitysimplyasheseesitinitsevery—daycostume;anditbetokensthehighestpowersofgeneralizedobservationthatheproducestheresultshedoes。Inhisdrawings，manisshown，notashemightlookintheprimitive，orprivitive，simplicityofhisancestralGardenofEden，butashedoeslookintheordinarywearandtearofhispresentgarments。Civilizationhasfurnishedhimwithclothes，andheprefers，whenhehashispicturetaken，tokeepthemon。
　　Indealingwithman，theFarOrientalartistisemphaticallyarealist;itiswhenheturnstonaturethathebecomesideal。
　　Butbyidealisnotmeanthereconventional。Thattermofreproachisamisnomer，foundeduponamistake。Hisidealismissimplytheoutcomeofhislove，which，likeallhumanlove，transfiguresitsobject。TheFarOrientalhasplentyofthis，which，ifsometimesadelusion，seemsalsosecondsight，butitispeculiarlyimpersonal。
　　Hiscolor—blindnesstothewarm，blood—redendofthespectrumoflifeinnowiseaffectshisperceptionofthecolderbeautyofthegreatbluesandgreensofnature。Totheirpoetryheiseversensitive。Hisappreciationofthemissomethingphenomenal，andhispowerofpresentationworthyhisappreciation。
　　AJapanesepaintingisapoemratherthanapicture。Itportraysanemotioncalledupbyascene，andnotthesceneitselfinallitselaboratecomplexity。Itundertakestogiveonlysomuchofitasisvitaltothatparticularfeeling，andintentionallyomitsallirrelevantdetails。Itistheexpressioncaughtfromaglimpseofthesoulofnaturebythesoulofman;themirrorofamood，passing，perhaps，infact，butperpetuatedthustofancy。Beinganemotion，itsintensityisdirectlyproportionaltothesinglenesswithwhichitpossessesthethoughts。TheFarOrientalfullyrealizesthepowerofsimplicity。Thisprincipleishisfundamentalcanonofpictorialart。Tounderstandhispaintings，itisfromthisstandpointtheymustberegarded;notassoullessphotographsofscenery，butaspoeticpresentationsofthespiritofthescenes。
　　Theverycharterofpaintingdependsuponitsnotgivinguscharts。
　　Andifwithusalongpoembeacontradictioninterms，afullpictureiswiththemasself—condemnatoryaproduction。Fromthecontemplationofsuchworksofartaswecallfinished，oneisapt，afterhehasonceappreciatedFarEasterntaste，torisewithanunpleasantfeelingofsatiety，asifhehaseatentoomuchatthefeast。
　　Theirpaintings，bycomparison，wecallsketches。Isnotourwould—beslightunwittinglythereverse？Isnotasketch，afterall，fullerofmeaning，toonewhoknowshowtoreadit，thanafinishedaffair，whichisveryapttoendwithitself，barrenoffruit？
　　Doesnotone’sownimaginationeludeone’spowertoportrayit？Isitnotforeverflittingwill—o’—the—wisp—likeaheadofusjustbeyondexactdefinition？Forthesoulofartliesinwhatartcansuggest，andnothingishalfsosuggestiveasthehalfexpressed，notevenadoubleentente。Tohintagreatdealbydisplayingalittleismorevitaltoeffectthanthecleverestrepresentationofthewhole。
　　Theartofpartiallyrevealingismoretelling，even，thanthearscelareartem。Whohasnotsuspectedthroughaveilafairerfacethanveileverhid？Whohasnotbeendelightedlydupedbythesemi—disclosuresofadress？Theprincipleisjustastrueinanyonebranchofartasitisoftheattempteddevelopmentsbyoneofthesuggestionsofanother。Yetwhobuthasthusfeltitsforce？
　　Whohasnothadashockofday—dreamdesecrationonchancinguponanillustratededitionofsomebookwhosestoryhehadlaintoheart？
　　Portraitsofpeople，picturesofplaces，hedoesnotknow，andyetwhichpurporttobehis！AndIventuretobelievethattomorethanoneofustheexquisitepathosoftheBrideofLammermoorisgonewhenLuciawarblesherwoes，beitneversoentrancingly，toanadmiringhouse。ItalmostseemsasifthegarishpublicityofusinghernameforoperatictitlewereaspecialinterventionoftheMuse，thatwemightthelessconnectsongwithstory，——twosensationsthat，liketwolights，destroyoneanotherbymutualinterference。
　　Againstthispreferenceshownthesketchitmaybeurgedthattoappreciatesuchsuggestionspresupposesasmuchartinthepublicasinthepainter。Buttheabilitytoappreciateathingwhenexpressedisbuthalfthatnecessarytoexpressit。Someunderstandingmustexistintheobserverforanyworktobeintelligible。Itisonlyaquestionofdegree。Thegreatertheart—senseinthepersonaddressed，themorehadbetterbelefttoit。
　　NowinJapanthepublicissingularlyartistic。Infact，theartisticappreciationofthemassesthereissomethingastonishingtous，accustomedtoourimmenseintellectualdifferencesbetweenmanandman。Sketchesarethuspeculiarlyfittingtosuchaland。
　　Besides，thereisaquietmodestyaboutthesketchwhichisitselftaking。Toattemptthecompleteeveninafractionalbitofthecosmos，likeapicture，hasinitadifficultyakintothelogicaloneofprovingauniversalnegative。Thepossibilitiesoffailureareenormouslyincreased，andfailureislessforgivenfortheassumption。Artmightperhapsnotunwiselyfollowtheexampleofscienceinsuchmatterswhereanexhaustivework，whichtakesthebetterpartofalifetimetoproduce，isinvariablyentitledbyitseruditeauthoranElementaryTreatiseonthesubjectinhand。
　　ToaidtheeffectduetosimplicityofconceptionstepsintheFarOriental’swonderfultechnique。Hisbrush—strokesareveryfewinnumber，buteachonetells。Theyarelaidonwithatouchwhichislittleshortofmarvelous，andrequireshereditytoexplainitsskill。Forinhismethodthereisnoemending，nosuper—position，nochangepossible。Whathedoesisdoneonceandforall。
　　Theforceofitgrowsonyouasyougaze。Eachstrokeexpressessurprisinglymuch，andsuggestsmore。Evenomissionsaremadesignificant。Inhispaintingitisvisiblytruethatobjectscanberenderedconspicuousbytheirveryabsence。Youarequitesureyouseewhatonscrutinyyoudiscovertobeonlytheillusionofinevitableinference。TheFarOrientalartistunderstandsthepowerofsuggestionwell;forimaginationalwaysfillsinthepicturebetterthanthebrush，howeverperfectbeitsskill。
　　Eventheneglectofcertaingeneralprincipleswhichweconsidervitaltoeffect，suchastheabsenceofshadowsandthelackofperspective，provesnottobeoftheimportanceweimagine。
　　Wediscoverinthesepaintingshowimmaterial，artistically，wasPeterSchlimmel’ssadloss，andhowperfectlypossibleitistomakebitsofdiscontinuousdistancetaketheplaceeffectivelyofcontinuousspace。
　　FarEasternpicturesareepigramsratherthandescriptions。
　　TheypresentabitofnaturewiththetersenessofamaximofLaRochefoucault，andtheydelightasaphorismsdobytheirinsightandthehappyconcisenessofitsexpression。Fewaphorismsareabsolutelytrue，butthenboldnessmorethanmakesupforwhattheylackinverity。Socomplexasubjectislifethattostateatruthwithallitsaccompanyinglimitationsistoweakenitatonce。
　　Exceptions，whiledemonstratingtherule，donottendtoemphasizeit。
　　Andthoughthewholetruthisessentialtoscience，suchexhaustivenessisbynomeansacanonofart。
　　Parallelsarenotwantingathome。Whattheydowithspaceintheirpaintingsdowenotwithtimeinthecaseofourcomedies，thoseactedpicturesoflife？Shouldwenotrefusetotolerateaplaythatinsistedonfurnishinguswithafullperspectiveofitscharacters’past？Andyetofthetwo，itisfarperferable，artistically，tobegiventoomuchinsequencethantoomuchatonce。
　　TheChinese，whoputmuchlessintoapaintingthanwhatwedeemindispensable，delightindramasthatlastsixweeks。
　　Togiveaconcludingtouchoflifetomynecessarilyskeleton—likegeneralities，memorypicturesmeacertainpaintingofOkio’swhichIfellinlovewithatfirstsight。ItisofasunriseonthecoastofJapan。Alonglineofsurfisseentumblingintoyoufromoutabankofmist，justpiercingwhichshowstheblood—reddiskoftherisingsun，whileoverthenarrowstripofbreakingrollersthreecranesareslowlysailingnorth。Andthatisallyousee。Youdonotseetheshore;youdonotseethemain;youarelookingbutattheborder—landofthatgreatunknown，theheavingoceanstillslumberingbeneathitschillycoverlidofmist，outofwhichcomethebreakers，andthesun，andthecranes。
　　SomuchforthemoreserioussideofJapanesefancy;alookatthelighterleadstothesameconclusion。
　　Handinhandwithhiskeenpoeticsensibilitygoesavividsenseofhumor，——twotraitsthatcommonly，indeed，arefoundMayingtogetheroverthemeadowsofimagination。For，asitmightbeput，"TheheartthatissoonestawaketotheflowersIsalsothefirsttobetouchedbythefun。"
　　TheFarOrientalwellexemplifiesthisfact。Hisart，whereverfunispossible，fairlybubblesoverwithlaughter。FromtheoldestmastersdowntoHokusai，itisconstantlywellingupinthedrollestconceits。Itisofalldescriptions，too。Nowitlurksinmerryambush，likethefaintsuggestionofasmileonanotherwiseseriousface，sosubtilethattheobserverisleftwonderingwhethertheartistcouldhavemeantwhatseemsmorelikeone’sowningeniousdiscovery;nowitbreaksoutintothebroadestofgrins，absurdjuxtapositionsofsingularlyhappyincongruities。ForHokusai’scaricaturesandHendschel’ssketchesmightbetwins。Ifthereisadifference，itliesnotsomuchintheartist’sworkasinthegreatergeneralityofitsappreciation。Humorflitseasilythereatthesea—levelofthemultitude。FortheJapanesetemperamentiseveronthevergeofasmilewhichbreaksoutwithcatchingnaiveteatthefirstprovocation。Thelanguageaboundsinpunswhicharenotsufferedtolieidle，andevenpoetryoftenhingesoncertainconsecratedplaysonwords。Fromtheveryconstitutionofthepeoplethereisofcoursenothingselfishinthenationalenjoyment。
　　Amanisquiteasreadytolaughathisownexpenseasathisneighbor’s，acourtesywhichhisneighborcordiallyreturns。
　　Nowtheludicrousisessentiallyhumaninitsapplication。
　　Theprincipleofthesynthesisofcontradictories，popularlyknownbythenameofhumor，isnecessarilylimitedinitsfieldtoman。
　　Forwhetherithavetodowhollywithactions，orpartlywiththewordsthatexpressthem，whetheritbepresentedintheshapeofapunorapleasantry，itisinincongruouscontraststhatitsvirtuelies。Itistheunexpectedthatprovokesthesmile。Nownosuchincongruityexistsinnature;manenjoysamonopolyofthepowerofmakinghimselfridiculous。Sopleasantispleasantrythatwedoindeedcultivateitbeyonditsproperpale。ButitisonlybypersonifyingNature，andgratuitouslyattributingtohererrorsofwhichsheisincapable，thatwecanmakefunofher;as，forinstance，whenweholdtheweatheruptoridiculebywayofimpotentrevenge。Butsatiresupontheclown—likecharacterofourclimate，which，afterthelamestsortofaspring，somehowmanagesacapitalfall，wouldintheFarEastbeasoutofkeepingwithfancyaswithfact。ToaJapanese，whoneverpersonifiesanything，suchinnocentironyisunmeaning。Besides，itwouldbealsountrue。ForhisMaycarriesnosuggestionofunfulfilmentinitsname。
　　ThoseFarEasternpaintingswhichhavetodowithmanfallforthemostpartunderoneoftwoheads，thefacetiousandthehistorical。
　　Thelatterimpliesnoparticularlyintimateconcernformaninhimself，forthepasthasverylittlepersonalityforthepresent。
　　Asfortheformer，itsattentionis，ifanything，derogatorytohim，forwearealwaysshyofmakingfunofwhatwefeeltobetoocloselyapartofourselves。ButimpersonalityhaspreventedtheFarOrientalfromhavingmuchamourpropre。Hehasnoparticularaversiontocaricaturinghimself。FewEuropeans，perhaps，wouldhavecaredtoperpetrateaself—portraitlikeonepaintedbythepotterKinsei，whichwassoldmeonedayasanamusingtourdeforcebyafacetiouspicture—dealer。Itisacompositepictureofanewkind，aJapanesevarietyoftypeface。Thegreatpotter，whowasalsoapparentlynomeanpainter，hascombinedthreeaspectsofhimselfinasinglerepresentation。Atfirstsighttheportraitappearstobesimplyafullfrontviewofasomewhatmoon—facedcitizen;butasyoucontinuetogaze，itsuddenlydawnsonyouthattherearetwootherindividuals，oneoneitherside，hob—nobbinginprofilewiththefirst，thelinesofthefeaturesbeingingeniouslymadetododoubleduty;andwhenthisaspectofthethinghasoncestruckyou，youcannotlookatthepicturewithoutseeingallthreecitizenssimultaneously。Theresultisdoubtlessmoreeffectiveasacompositionthanflatteringasalikeness。
　　FarEasternsculpture，byitssecondaryimportanceamongFarEasternarts，witnessesagaintothesecondaryimportanceassignedtomanatourmentalantipodes。Inthisart，owingtoitsnecessarylimitations，therepresentationofnatureinitsbroadersenseisimpossible。Forinthefirstplace，whateverthesubject，itmustbesuchasitispossibletopresentinonecontinuouspiece;
　　disconnectedadjuncts，as，forinstance，aflockofbirdsflying，whichmightbeintroducedwithgreateffectinpainting，beingherepracticallybeyondtheartist’sreach。Secondly，thematerialbeingofuniformappearance，asarule，color，orevenshading，vitalpointsinlandscapeportrayal，isoutofthequestion，unlessthepieceweresubsequentlypainted，asinGreciansculptures，acustomwhichisnotpractisedinChinaorJapan。Lastly，anotherfactfataltotherepresentationoflandscapeisthesize。Thereducedscaleofthereproductionsuggestsfalsityatonce，afalsitywhosebelittlementthemindcanneitherforgetnorforgive。Plainsculptureisthereforepracticallylimitedtostatuary，eitherofmenoranimals。Theresultisthatintheirart，wherelandscapecountsforsomuch，sculptureplaysaveryminorpart。Inwhatlittlethereis，Nature’splaceistakenbyBuddha。Fortherearetwoclassesofstatues，dividedtheonefromtheotherbythatstepwhichseparatesthesublimefromtheridiculous，namely，thecolossalandthediminutive。Thereisnohappyhumanmean。OfthefirstkindarethebeautifulbronzefiguresoftheBuddha，liketheKamakuraBuddha，fiftyfeethighandninety—sevenfeetround，inwhosefaceallthatisgrandandnobleliessleeping，thelivingrepresentationofNirvana;andofthesecond，thoseoddlittleornamentsknownasnetsuke，comicalcarvingsforthemostpart，grotesquefiguresofmenandmonkeys，saintsandsinners，godsanddevils。Appealingbitsofivory，bone，orwoodtheyare，inwhichthedumbanimalsareasspeakinglikenessesastheirhumanfellows。
　　Theotherartsshowthesamemotifintheirdecorations。PotteryandlacqueralikewitnesstherespectivepositionsassignedtotheseriousandthecomicinFarEasternfeeling。
　　TheFarOrientalmakesfunofmanandmakeslovetoNature;anditalmostseemsasifNatureheardhissilentprayer，andsmileduponhiminacceptance;asifthelove—lightlentherfacetheaddedbeautythatitlendsthemaid’s。Fornowhereinthisworld，probably，isshelovelierthaninJapan：aclimateoflong，happymeansandshortextremes，monthsofspringandmonthsofautumn，withbutafewweeksofwinterinbetween;alandofflowers，wherethelotusandthecherry，theplumandwistaria，growwantonlysidebyside;alandwherethebambooembosomsthemaple，wherethepineatlasthasfounditspalm—tree，andthetropicandthetemperatezonesforgettheirseparateidentityinonelongself—obliteratingkiss。
　　Chapter7。Religion。
　　Inregardtotheirreligion，nations，likeindividuals，seemsingularlyaversetopractisingwhattheyhavepreached。Whetheritbethathisself—constructedidolsprovetothemakertoosuggestiveofhisownintellectualchiseltodeceivehimforlong，orwhethersacredsoil，likelesshallowedground，becomesafteratimeincapableofrespondingtorepeatedsowingsofthesameseed，certainitisthatinspiritualmattersmostpeopleshavegrownoutofconceitwiththeirownconceptions。Anindividualmayclingwithacertainsentimenttothereligionofhismother，butnationshaveshownanythingbutafoolishfondnessforthesacredsuperstitionsoftheirgreat—grandfathers。Tothecharmofcreationsucceedsinvariablythebitter—sweetafter—tasteofcriticism，andmanwouldnotbetheprogressiveanimalheisifhelongremainedinlovewithhisownproductions。
　　Whathisfuturewillbeistooengrossingasubject，andonetoodeeplyshroudedinmystery，nottobeconstantlypicturedanew。
　　Nowonderthattheconsiderationatthatcountrytowardwhichmankindiseverbeinghastenedshouldproveasabsorbingtofancyascontemplatedearthlyjourneysproverbiallyare。Fewpeoplebuthavelaidoutskeletontoursthroughitsidealregions，andperhaps，asinthemappingbeforehandofmerelymundanetravels，oneelementofattractionhasalwaysconsistedinthepossiblerevisionofone’sroutes。
　　Besides，thereisafascinationabouttheforeignmerelybecauseitissuch。Distancelendsenchantmenttotheviewsofothers，andnevermoresothanwhenthoseviewsarereligiousvisions。
　　Anenthusiasthascertainlyagreaterchanceofbeingtakenforagodamongapeoplewhodonotknowhimintimatelyasaman。Sowithhisdoctrines。Theimportedisapttoseemmoreimportantthanthehome—made;asthefar—offbewitchesmoreeasilythanthenear。Butjustascastlesintheairdonotcommonlybecomethepropertyoftheirbuilders，somansionsintheskiesalmostasfrequentlyhavefailedofdirectinheritance。Ratherstrikinglyhasthisprovedthecasewithwhatareto—daythetwomostpowerfulreligionsoftheworld，——BuddhismandChristianity。Neitherisnowthebeliefofitsfounder’speople。WhatwasAryan—bornhasbecomeTuranian—bred，andwhatwasSemiticbyconceptionisatpresentAryanbyadoption。
　　Thepossibilitiesofanother’shereafterlooksomuchrosierthanthelimitationsofone’sownpresent！
　　Fewpastimesaremoredelightfulthantossingpebblesintosomestill，darkpool，andwatchingtheripplesthatriseresponsive，astheyrunineverwideningcirclestotheshore。Mostofushavefeltitsfascinationsecondonlytothatofthedottedspiraloftheskipping—stone，afascinationnotoutgrownwithyears。Thereissomethingsingularlyattractiveinthesubtleforcethatforamomentswayseachparticleonlytopassontothenext，amotionmysteriousinitsimmateriality。Somesuchpleasuremustbetheirswhohavethrowntheirthoughtsintotheheartsofmen，andseenthemspreadinwavesoffeeling，whosespheretimewidensthroughtheworld。Forlikethemobilewateristhemindofman，——quicktocatchemotions，quicktotransmitthem。Ofallwavesoffeeling，thisisnottheleasttrueofreligiousones，that，startingfromtheirbirthplace，passouttostirothers，whohavebuthumanityincommonwiththosewhoprofessedthemfirst。Liketheripplesinthepool，theyleavetheirinitialconvertstosinkbackagainintocomparativequiescence，astheyadvancetothrowintosuddentremorshordesofouterbarbarians。Inbothofthegreatreligionsinquestionthiswavepropagationhasbeenmostmarked，onlythedirectionittookdiffered。Christianitywentwestward;Buddhismtravelledeast。ProselytesinAsiaMinor，Greece，andItalyfindcounterpartsinEasternIndia，Burmah，andThibet。Eventuallythetaughtsurpassedtheirteachersbothinzealandnumbers。JerusalemandBenaresatlastgaveplacetoRomeandLassaassacerdotalcentres。Stillthemovementjourneyedon。PopesandLhamasremainedwheretheirpredecessorshadfoundedsees，butthetideofbeliefsurgedpasttheminitsirresistibleadvance。Fartheryetfromwhereeachfaithbeganaretobefoundto—daythegreaterpartofitsadherents。ThehomethattheWesternhemisphereseemstopromisetotheone，theextremeOrientaffordstheother。AsRomanCatholicismnowlookstoAmericaforitsstrength，soBuddhismto—dayfindsitsworshipperschieflyinChinaandJapan。
　　ButthoughtheJapanesemaybesaidtobeallBuddhists，Buddhistisbynomeansallthattheyare。AtthetimeoftheiradoptionofthegreatIndianfaith，theJapanesewerealreadyinpossessionofasystemofsuperstitionwhichhashelditsowntothisday。Infact，asthestatereligionoftheland，ithasjustexperiencedarevival，aregalvanizingofitsold—timeenergy，atthehandsofsomeofthenativearchaeologists。Itssacredmirror，helduptoNature，hasbeenburnishedanew。Formerlythisbodyofbeliefwasthenationalfaith，theMikado，thedirectdescendantoftheearlygods，beingitsheadonearth。Hisreinstatementtotemporalpowerformedaveryfittingfirststeptowardreinvestingthecultwithitsformerprestige;acuriousinstance，indeed，ofareligiousrevivalduetoarchaeological，nottoreligiouszeal。
　　ThiscultisthemythologicalinheritanceofthewholeeasternseaboardofAsia，fromSiamtoKamtchatka。InJapanitiscalledShintoism。Theword"Shinto"meansliterally"thewayofthegods，"
　　andtheletterofitsnameisatrueexponentofthespiritofthebelief。Foritsscripturesareratheranitineraryofthegods’
　　livesthanaguidetothatroadbywhichmanhimselfmayattaintoimmortality。Thuswithacertainfitnesspilgrimagesareitsmostnoticeablerites。OnecannotjourneyanywhereintheheartofJapanwithoutmeetingmultitudesofthesepilgrims，withtheirneatwhiteleggingsandtheirmushroom—likehats，norrestatnightatanyinnthatisnothungwithcountlesslittlebannersofthepilgrimassociations，ofwhichtheyallaremembers。Beingapilgrimthereisequivalenttobeingatouristhere，onlythattotheexcitementofdoingthecountryisaddedasustainingsenseofthemeritoriousnessofthedeed。Oftenerthannottheobjectivepointofthedevoutisthesummitofsomenotedmountain。ForpeaksarepeculiarlysacredspotsintheShintofaith。Thefactisperhapsanexpressionofman’sinstinctivedesiretorise，asifthebodilyactinsomewisebetokenedthementalaction。Theshrineinsoexaltedapositionisofthesimplest：arudehut，withorwithouttheonlydistinctiveemblemsofthecult，amirrortypicalofthegodandthependentgohei，orzigzagstripsofpaper，permanentvotiveofferingsofman。Asforthebeliefitself，itisbutthedeificationofthosenaturalelementswhichaboriginalmaninstinctivelywondersatorfears，thesun，themoon，thethunder，thelightning，andthewind;all，inshort，thathesees，hears，andfeels，yetcannotcomprehend。Heclotheshisterrorswithformswhichresemblethehuman，becausehecanconceiveofnothingelsethatcouldcausetheunexpected。Buttheawfulshapesheconjuresuphavenaughtincommonwithhimself。Theyarefartoofearfultobefollowed。
　　Theirwayisthe"highwayofthegods，"butnoJacob’sladderforwaywardman。
　　InthisexternalitytothehumanliesthereasonthatShintoismandBuddhismcanagreesowell，andcanbothjoinwithConfucianisminhelpingtoformthathappyfamilyoffaithwhichissosingularafeatureofFarEasternreligiouscapability。Itisnotsimplythatthetwocontrivetolivepeaceablytogether;theyareactuallybothofthemimplicitlybelievedbythesameindividual。MillionsofJapanesearegoodBuddhistsandgoodShintoistsatthesametime。
　　Thatsuchacombinationshouldbepossibleisduetotheessentialdifferenceinthecharacterofthetwobeliefs。Theoneisextrinsic，theotherintrinsic，initsrelationstothehumansoul。
　　Shintoismtellsmanbutlittleabouthimselfandhishereafter;
　　Buddhism，littlebutabouthimselfandwhathemaybecome。InexaminingFarEasternreligion，therefore，forpersonality，orthereverse，wemaydismissShintoismashavingnoparticularbearinguponthesubject。Theonlyeffectithasisindirectinfurtheringthenaturalpropensityofthesepeopletoanadorationofnature。
　　InKoreaandinChina，again，Confucianismisthegreatmorallaw，asbyreflectionitistoacertainextentinJapan。Butthatinitsturnmaybeomittedinthepresentargument;inasmuchasConfuciustaughtconfessedlyanddesignedlyonlyasystemofmorals，andreligiouslyabstainedfrompronouncinganyopinionwhateveruponthecharacterorthecareerofthehumansoul。
　　Taouism，thethirdgreatreligionofChina，resemblesShintoismtothisextent，thatitisabodyofsuperstition，andnotaformofphilosophy。Itundertakestoprovidenostrumsforspiritualills，butisdumbastotheconstitutionofthesoulforwhichitprofessestoprescribe。Itspillsaretobeswallowedunquestioninglybythepatient，andarewarrantedtocure;andowingtothetwogreathumanfrailties，fearandcredulity，itspracticeisverylarge。
　　Possessing，however，nophilosophicdiploma，itiswithoutthepaleofthepresentdiscussion。
　　Thedemon—worshipofKoreaisamildformofthesamethingwiththehierarchyleftout，everymantherebeinghisownspiritualadviser。
　　AnordinaryKoreanisbornwithaninnatebeliefinmalevolentspirits，whomheaccordinglypropitiatesfromtimetotime。Oneofnoblerbirthpropitiatesonlythespiritsofhisownancestors。
　　Wecome，then，byaprocessofeliminationtoaconsiderationofBuddhism，thegreatphilosophicfaithofthewholeFarEast。
　　NotuncommonlyinthecourtyardofaJapanesetemple，inthesolemnhalf—lightofthesombrefirs，therestandsalargestonebasin，cutfromasingleblock，andfilledtothebrimwithwater。Thetrees，thebasin，andafewstonelanterns——socalledfromtheirform，andnottheirfunction，fortheyhavevotivepebbleswhereweshouldlookforwicks——arethesoleoccupantsoftheplace。Shelteredfromthewind，withdrawnfromsound，andonlypiouslyapproachedbyman，thisantechamberofthegodseemstheveryabodeofsilenceandrest。
　　ItmightbeNirvanaitself，humanentrancetoanimmortalitylikethegod’swithin，sopeaceful，sopervasiveisitscalm;andinitsmidstisthemoss—coveredmonolith，holdinginitsembracethelittleimprisonedpoolofwater。Sostillisthespotandsocleartheliquidthatyouknowtheoneonlyasthereflectionoftheother。
　　Mirroredinitsglassysurfaceappearseverythingaroundit。
　　Asyoupeerin，fardownyouseeatinybitofsky，asdeepastheblueishighabove，acrosswhichslowlysailthepassingclouds;
　　thennearerstandthetrees，archingoverhead，asifbendingtocatchglimpsesofthemselvesinthatotherworldbelow;andthen，neareryet——yourself。
　　EmblemofthespiritofmanisthislittlepooltoFarOrientaleyes。
　　Subtileasthesoulistheincomprehensiblewater;soresponsivetolightthatitremainsitselfinvisible;soclearthatitseemsillusion！Thoughportrayersoperfectofformsaboutit，allweknowofthethingitselfisthatitis。Throughnoneofthefivesensesdoweperceiveit。Neithersight，norhearing，nortaste，norsmell，nortouchcantellusitexists;wefeelittobebythemuscularsensealone，thatblindanddumbanalogueforthebodyofwhatconsciousnessisforthesoul。Onlywhendisturbed，troubled，doesthewateritselfbecomevisible，andthenitisbutthesurfacethatwesee。SototheFarOrientalthisstilllittlelaketypifiesthesoul，theeventualpurificationofhisown;asomethinglostinreflection，self—effaced，onlythealteregooftheouterworld。
　　Forcontemplation，notaction，istheFarOriental’sidealoflife。
　　Thereposeofself—adjustmentlikethattowhichourwholesolarsystemisslowlytendingasitsdeath，——thistohimappears，thoughfromnoscientificdeduction，theendofallexistence。Sohesitsandponders，abstractly，vaguely，uponeverythingingeneral，——synonym，alas，toman’sfinitemind，fornothinginparticular，——
　　tilleventhesenseofselfseemstovanish，andthroughthemist—likeportalofunconsciousnesshefloatsoutintothevastindistinguishablesamenessofNirvana’ssea。
　　AtfirstsightBuddhismismuchmorelikeChristianitythanthoseofuswhostayathomeandspeculateuponitcommonlyappreciate。Asasystemofphilosophyitsoundsexceedinglyforeign，butitlooksunexpectedlyfamiliarasafaith。Indeed，theonereligionmightwellpassforthecounterfeitpresentmentoftheother。TheresemblancesostrucktheearlyCatholicmissionariesthattheyfeltobligedtoexplaintheremarkablesimilaritybetweenthetwo。
　　Withthemingenuoussurpriseinstantlybegotingenioussophistry。
　　Externally，thelikenesswassoexactthatatfirsttheycouldnotbringthemselvestobelievethattheBuddhistceremonialshadnotbeenfilchedbodilyfromthepracticesofthetruefaith。Finding，however，thatnoknownhumanagencyhadactedinthematter，theybethoughtthemofintroducing，toaccountforthings，adeusexmachinaintheshapeofthedevil。Theyweresopleasedwiththissolutionofthedifficultythattheyimparteditatoncewithmuchpridetothenatives。Youhaveindeedgot，theygraciouslyifsomewhatgratuitouslyinformedthem，theoutwardsemblanceofthetruefaith，butyouareinfactthemiserablevictimsofanimpiousfraud。Satanhasstolentheinsigniaofdivinity，andisnowmasqueradingbeforeyouasthedeity;yourgodisreallyourdevil，——arecognitionofantipodalinversiontrulyworthytheJesuiticalmind！
　　Perhapsitisnotmatterforgreatsurprisethattheyconvertedbutfewoftheirhearers。Thesuggestionwashardlysodiplomaticasmighthavebeenexpectedfromsogenerallyastuteabody;foritcouldnotmakemuchdifferencewhattheall—presidingdeitywascalled，ifhisactionswerethesame，sincehismotiveswerebeyondhumanobservation。Besides，thebareideaofaforeignboguswasnotveryterrifying。TheChinesepossessedtoomanyfamiliardevilsoftheirown。Buttherewasanotherandamuchdeeperreason，whichweshallcometolater，whyChristianitymadebutlittleheadwayintheFarEast。
　　Butitisbynomeansinexternalsonlythatthetworeligionsarealike。Ifthefirstglanceatthemawakensthatpeculiarsensationwhichmostofushavefeltatsometimeorother，asenseofhavingseenallthisbefore，furtherscrutinyrevealsadeeperagreementthanmerelyinappearances。
　　Inpassingfromthesurfaceintothesubstance，itmaybementionedincidentallythatthecodesofmoralityofthetwoareaboutonalevel。Isayincidentally，forsofarasitspractice，certainly，isconcerned，itnotitspreaching，moralityhasnomoreintimateconnectionwithreligionthanithaswithartorpolitics。Ifwedoubtthis，wehavebuttoexaminethefacts。Arethemostreligiouspeoplesthemostmoral？Itneedsnoprolongedinvestigationtoconvinceusthattheyarenot。Ifproofofthewantofabondwererequired，thematteroftruth—tellingmightbeadducedinpoint。
　　Asthisisasubjectuponwhichaslightmisconceptionexistsinthemindsofsomeevangelicallypersuadedpersons，andbecause，whatismoregenerallyrelevant，thepresenceofthisquality，honestyinwordanddeed，hasmorethanalmostanyotheronecharacteristichelpedtoputusinthevanoftheworld’sadvanceto—day，itmaynotunfittinglybecitedhere。
　　Theargumentinthecasemaybeputthus。Havespeciallyreligionsracesbeenproportionallytruth—tellingones？Ifnot，hastherebeenanyothercauseatworkinthedevelopmentofmankindtendingtoincreaseveracity？Theanswertothefirstquestionhasallthesimplicityofaplainnegative。Nosuchpleasingconcomitanceofcharacteristicsisobservableto—day，orhasbeenpresentedinthepast。Permitting，however，thedeadpasttoburyitsshortcomingsinoblivion，letuslookattheworldaswefindit。Weobserve，then，thatthereligiousspiritisquiteasstronginAsiaasitisinEurope;ifanything，thatatthepresenttimeitisratherstronger。TheaverageBrahman，Mahometan，orBuddhistisquiteasdevoutastheordinaryRomanCatholicorPresbyterian。Ifheissomewhatlessgiventopropagandism，heisnotawhitlessregardfulofhisownsalvation。YetthroughouttheOrienttruthisathingunknown，liesofcourtesybeingderigueurandliesofconveniencederaison;whilewithus，fortunately，mendacityisgenerallydiscredited。Butweneednottravelsofarforproof。Thesameisevidentinlessantipodalrelations。HavetheleastreligiousnationsofEuropebeenanylesstruthfulthanthemostbigoted？WasfanaticSpainremarkableforveracity？WasLoyolaagentlemanwhoseassertionscarriedconvictionotherthantothestake？Weretheeminentlymundaneburgherswhomhepersecutednotedforapioussuperioritytofact？Or，tonarrowthefieldstillfurther，andscanthecircleofone’sownacquaintance，arethemostbelievingindividualsamongthemworthyofthemostbelief？Assuredlynot。