Part 10

Besides art exhibitions, Japanese workmen go to the theatre, but this is a taste they share with many other nations; what is all their own is their love of pilgrimages, not only to temples of religious repute, but to places of celebrated beauty. Fujiyama is yearly ascended by hundreds of thousands of pilgrims. Here religion and beauty are mingled. For the great mountain is sacred. So is almost every spot in Japan that is particularly beautiful. As one journeys through the country, the traveller will always find that the most beautiful point of view, the grandest scene, the loveliest nook, has a temple, or at least a wayside shrine, set up by the common people and tended by them. There never was a nation since the days of Ancient Greece who so entirely believed that beauty is sacred, or who so entirely disbelieved that art can be divorced from ethics. They have the love of beauty innate and inalienable. A man I knew was once crossing Tokyo in a _’ricksha_; he was a prosperous, commercial being with a vast contempt for the “heathen.” It was late afternoon. His _kurumaya_, after looking round at him several times, suddenly stopped short, and waving his hand to the west said respectfully but firmly:

“Honourably please to observe the unusual glory of the sunset.”

“And I told him to jolly well get on,” was the end of the story as I heard it.

A favourite pastime of the _’ricksha_ men on the cab-stands as they wait for a fare is to draw in the dust of the roadway one against the other. If sand has been spilled from a cart anywhere within reach the whole _’ricksha_ stand migrates and has the happiest time. I have seen really good outlines of Fujiyama and of flying birds, or blossoming flowers, all on the roadways by the _’ricksha_ stands. And whatever their faults, they at least had life, for the _’ricksha_ man has knowledge, knowledge based on intelligent observation and on the inherited training of his race.

In the Japanese language there is a word, _edaburi_, which means “the formation or the arrangement of the branches of a tree.” Merely to possess such a word shows the long training in art and observation which the nation must have undergone. But this word is not a technical term used only by artists and the cultured classes; it is a living, breathing expression, part of the vocabulary of every Japanese, even the Board School educated. _Kurumaya_ discuss _edaburi_ in the streets of Tokyo. Railway porters at wayside stations argue the matter with the stationmaster. Every peasant knows, understands, and talks of the matter as though he had brought himself up on long courses of Ruskin. It has often been a subject of great regret to me that Ruskin did not know the Japanese, for in them he would have found the living proof of so much of his teaching.

But the people of Japan not only discuss _edaburi_, they write poetry. There is an exceedingly simple form of poetry called _hokku_. It consists of only three lines of five, seven, and five syllables, and is written in the language of daily life. The _hokku_ was invented by a man called Bashō, for the definite ethical purpose of cultivating the taste and improving the morals of the people. He believed in the composition of poetry as an ethical force, and he wished to bring it from the home of the educated into the lives of the poor. He succeeded. Not because the _hokku_ is a so much easier form of poetry than the English couplet, but because the people have taste, and art, and civilisation in the very cells of their brains. Every one writes poetry, even the typical _jinricksha_ man, who is to the Japanese what the _charbonnier_ is to the French or the coster to us. When the _kurumaya_ and his wife go to visit their relations the whole party amuses itself by composing these tiny poems. On all occasions of joy and grief, on birth, death and marriage, at the time of each flower festival, or of any other happening, the people compose poetry. Literary composition has always been inculcated as the best medicine for sorrow, and as such is practised daily.

This is a little poem taken from the diary of a woman who died in Tokyo a year or two ago. She lived with her husband, a doorkeeper, on an income of £1 a month, and she was very delicate. She bore him three children, who all died shortly after birth; then the poor mother died herself. Her diary came into the possession of Lafcadio Hearn, who translated it under the title of “A Woman’s Tragedy.” This poem was composed on the death of the third baby and runs:

“Tanoshimi mo Samété haka nashi. Haru no yumé.”

“All my delight has perished, and hopeless I remain. It was a dream, a dream of spring.”

Here is another poem which is more typically Japanese. It was composed by the same woman after the death of her second baby, and runs:

“Sami daré ya Shimerigachi naru Sodé no tamoto wo.”

“Oh, the month of rain; all things have become damp; the ends of my sleeve are wet.”

Which being interpreted is: “Oh! the time of grief. All things now seem sad. The sleeves of my robe are moist with tears.”[1]

[1] The long sleeve of a Japanese _kimono_ is always held before the face to hide emotion.

It is this very allusiveness, this saying of something simple and commonplace, and hiding behind it a whole meaning of intense emotion, which makes this poem so typically Japanese, for Japanese art is always suggestive, it always needs the observer to bring his share of thought and mind to its interpretation.

It is interesting to speculate how much the two most universally recognised characteristics of the Japanese, politeness and cleanliness, owe to their sense of art. If one looks into the psychology of the race, one sees, of course, that this national trait of exquisite politeness was built up, or at least assisted, in many ways. There was that stern training of the _samurai_ which taught eternal, never-ending self-control. There is the whole Buddhistic teaching, which is one long gospel of unselfishness and kindness. But other nations have had training in self-control, we ourselves among the number--think for a moment of the Puritans and our public schools. And other religions preach kindness and unselfishness, our own again, and yet there is no other nation so widely recognised, even by the snappiest of tourists who ever wrote his “memoirs,” as universally polite from the Emperor to the coolie in the streets. It is a hypothesis which I put forward with some hesitation, because the origins of national psychology are not for the amateur, but I do think that a certain stress is to be laid upon this innate and instinctive, but much cultivated sense of art. Has not the politeness something to do with that love of a beautiful outline, that desire for a perfect curve in the relations between man and man as well as between man’s eye and his drawing? Is not, in fact, a rude action a something inartistic in the social whole, a blot of crude colour that jars?

The whole of the _cha-no-yu_, or tea ceremony, one of the few Japanese things of which Europeans have heard more or less vaguely, is an illustration in point. The tea ceremony, divested of its subsidiary and attendant growths, is in essence nothing more than the proper making and the proper drinking of a simple cup of tea. This, in the course of centuries, has been elaborated into an imposing and very complicated ceremonial. Nowadays the _cha-no-yu_ is regarded mainly as a useful reservoir of etiquette and politeness, and is taught as such. But the whole idea on which it rests is that for every given action there is always one, and only one, right and proper attitude, that is to say, the most graceful. So that the curve of every finger in the mere passing of a tea-cup is the result of careful thought and long experience. Everything has to be considered, the room, the person, the relation of the body to the arm, of the arm to the hand, of the hand to the tea-cup, the position of the person serving, and of the person served, the place of the tea-cups, of the teapot, and the tea-kettle; all have been taken into consideration by the tea ceremonialists, and the proper, the most graceful attitude carefully evolved.

That you may not think politeness a matter of social caste in Japan, I may say that the _kurumaya_ when they run into one another at the corners, the coolies hauling carts when they collide, bow profoundly and beg one another’s pardon.

And the exquisite cleanliness? Some one once defined dirt as “matter out of place.” Is not much of art just the putting of things in their right places, in their best and most appropriate and consequently their most beautiful place; in the putting of a thing in such a place that you feel it never could have been otherwise. As the child said when lost in admiration of his birthday cake, “It’s so beautiful I think God must have made it.” It is this cleanliness, this neatness, which the Japanese possess, a neatness which has passed beyond mere precision, passed on into its essence--grace.

All this may perhaps sound far-fetched to English ears. If we are clean and polite it is on sanitary or on ethical grounds, not for æsthetic reasons, because “it is healthy or right,” not “because it is more beautiful,” and we make a broad distinction between ethics and æsthetics. In Japan, on the contrary, there is the most intimate of relations between them. The whole modern controversy of “art for art’s sake,” all the dearly cherished views of French critics that art has nothing to do with morals, is simply unmeaning to them. You might as well say that the sun had no relation to light.

I have already mentioned how the _hokku_ form of verse arose as a moral influence, how literary composition is always recommended as the best medicine for sorrow; but what of a nation whose gardens are arranged to express an ethical abstraction such as courage, resignation, obedience, or to suggest a saying of Buddha, the Blessed One; whose dwarf trees are not merely grown to make a design, but also to express an idea and suggest a reflection; where every single tree, and flower, and bird, and beast is a moral symbol and is commonly used as such; where a simple candlestick of a stork standing on a tortoise and holding the stem of a convolvulus in its mouth is a whole philosophy: the stork, representing Life, standing upon the tortoise, Eternity, and holding in its mouth the Morning Glory, a flower whose brief life, only blooming for the few hours after dawn, is typical of mortality, and the impermanence of all things. From Life based upon Eternity springs Mortality, whose joys are fleeting. Here is the kernel of the whole Buddhistic faith. The impermanence of phenomena and the eternity of law, that is, cause and effect.

Even such an ordinary art as that of arranging flowers is deeply ethical. The whole of Chinese philosophy is bound up with it. Each stem is known by the name of some tenet in this philosophy, and at the end of the lesson on flower arrangement the teacher sits down and talks to the class of the underlying ethical ideas.

I do not think there is any art in the world into which so much thought and meaning has been poured as into that of the Japanese. Every design, even the simplest, even the most stereotyped, has behind it a whole world of symbol, of suggestion which speaks to the mind of the beholder as the outlines to his eye. And this is the reason why no design is ever unmeaning, haphazard, as it so often is with us. It is there not only because it is beautiful, but because it is appropriate to the place and the occasion, because it has some connection with the object it decorates, with the person who gives or the person who receives it, with the time and the circumstances of the giving. Their art, in fact, regarded from the ethical point of view, is often a sort of moral shorthand, a very beautiful, finely wrought shorthand, which men can take away and think upon.

And this brings me to my last point. John Addington Symonds, in one of his wonderful essays on the Italian Renaissance, says that painting inevitably fell from its high estate among men because modern life is too complex to be expressed by it. That just in the same way as the Renaissance required something less simple than the sculpture of the Greeks to translate its thoughts and feelings into outward form, so we in this century cannot express our own more subtle and complex thought in terms of painting, and therefore never again can we hope to rival the perfection of that old Renaissance art. And he concludes by remarking that it is in music, more plastic and suggestive, that we must seek our best expression. Now Japanese art is not dead but intensely living, and it has always seemed to me that it lives, it holds its place in their life, thought and culture just because it has learnt to express those complex and subtle emotions which make up our world to-day. And it does it, not by imaging them forth defined and definite as our painting seeks to do, but just as our music would by suggestion.

To every Japanese painting a man must bring his own soul and his own thoughts, and where he has none or little, then he will turn away complacently, saying, “Here, there is nothing.” For his are not the eyes to see all the dim eternal problems, all the vistas of unwritten poetry which the artist has but shadowed forth; the artist whose part is not to portray, but infinitely to suggest.

SCENES IN RAIN AND SUNSHINE

“What it is That dwelleth here I know not; Yet my heart is full of gratitude, And the tears trickle down.” SAIGIO. “Japanese Literature,” by W. G. Aston.

I

THE MOAT

It is winter, and yet a summer sky of clearest blue, faint and pure. A white sun rides in the southern sky, winning me to believe it summer until the cold northern wind lifts the edge of my cloak, and I know it winter.

It is warm here in the corner of the bridge, full in the sunlight, and I linger. The dark, still waters of the moat creep stealthily along on either side of me; in the distance I can see the rounded arch of a bridge, so arched is the span and so white that I could believe the people had stolen the young crescent of the moon to span their waters.

I lean on my bamboo parapet and look. The dark still waters run between brown stone walls all overhung with the twisted limbs of the fir-trees, such big strong branches lying almost along the ground, and twisted as if in a vain endeavour to get back to the earth beneath. I watch the thick strong branches, soberly green, the masses of foliage riotously so, a green line and its shadow.

The stone banks of the moat are unhewn and uncemented, but their surface is one unbroken line of sober brown; and I look at the long wave of muddy finger-marks traced by the tide’s edge, and now high up the wall, and drop my eyes to the deep mud-brown of the waters below.

* * * * *

The bamboo parapet grows hot, hotter. I wonder who laid those stones, and who keeps them so free of grass and weeds. On the whole they are not more silent and solid than the big limbs of the trees above. Past the bridge in the distance is an unkempt space of yellow grass, then a tall red building shoots abruptly into the sky. The small brown policeman, hidden by his military cloak and sword, stands motionless as I. Am I dreaming that this is a city of a million souls?

Blue, green, brown, black; sky, trees, stones, water; a white sun, a white bridge--and suddenly the two seem to meet in a whirl of dust, my scale of colours vanishes and with it the dreamy quiet and the summer sun. A clatter of _gheta_ on the bridge, two _kuruma_ past the policeman, a boat on the moat, the voice of the _tōfu_ man following his bell along the road, the shadow of the tall house over the world--and I awake to winter and the town.

II

A RAINY DAY

Rain!

And the world lies like an impressionist picture washed in with white. Shut up in my miniature hansom, with the apron up to my eyes and the roof down to the brim of my hat, it passes before me in misty unreality. But for an occasional bob of the black mushroom hat of my _kurumaya_ as he pulls the _’ricksha_ out of a hole, I am drawn by an invisible force.

It has rained for a week, and the streets are bogs, the puddles--ponds. The wind drives the rain with a murmured “_ssssh_” against the tarpaulin sides of the _kuruma_, but in front there is no rain, only an intangible, shadowy whiteness between the world and me.

The green bank of the moat, the dark water, even the fir-trees whose green arms stretch down long fingers into the water, are uncertain and swollen as the world to sleepy eyes. Black _kuruma_ splash past me, with the large glass eye in their aprons shadowly suggestive. The coolie in his straw raincoat, just a walking sheaf finishing in two bare brown legs, plods on, a golden figure against the grey. A long string of carts pass by me, long narrow carts drawn by long thin horses; cart and horses hidden under a structure of yellow oil-paper, until they look like huge golden bats or mythical dragons. And with his back to the head of the horse, a halter in one hand, a yellow paper umbrella in the other, his bare brown legs lost in the mud, the walking sheaf moves on.

All the world to-day is four inches higher than its wont; and the stilt-like _gheta_ seem an uncertain footing for their owners. Bare to the thigh is the _kurumaya_, and his brown legs look like the statues of Greece sunned into life, so perfect are their outlines.

Down the vanishing road are two pale yellow umbrellas, gold on grey, and I marvel at the beauty of the colour. Suddenly round the bend of the street comes a third--foreign, _black_--and in a flash the beauty goes; a muddy road in the drenching rain alone is left, cold, prosaic. And I shiver in my _kuruma_.

III

MMÉ (PLUM-BLOSSOMS)

They lay in fleece-white purity down the hillside, and the brooding stillness of that garden was as a sheltering wing above the world.

Beneath one’s feet the six-sided tiles set in the brown earth were clean with a Dutch cleanliness, and the soil all around had been raked with the same quaint precision. Not a fallen leaf, nor the foot-mark of a bird, marred the soft brown surface--only the narrow line of glazed tiles ran on and on under the trees.

On every side the curve of the hill sloped upwards, outwards, drawing the white garden nearer as a mother draws her child close within her arms.

A hot sweet scent is in the air, delicate as honeysuckle, fragrant as the pine, half-soft, half-spiced--the scent of the blossoming plum, _mmé_, the emblem of chastity, of womanly purity and strength.

The pale grey stems of the trees are bent and old; some are covered with a grey-green moss, and between their silvered stems I walk as in the cloistered calm of ruined abbeys.

Up through the white fleece of blossom overhead bright stars of blue shine down. The sun-warmed presence of the living earth draws her children near. In all the world there is no sound....

“Like as a hen gathereth her chickens.” ...

Is not that the white wing of the eternal mother overhead? And the warm, sweet fragrance of herself is all around.

IV

WET LEAVES

It had rained all night and all day; big, solid drops of rain that fell as compactly through the air as battalions of small shot, but at twilight the raindrops dwindled, slackened, dwindled, ceased.

The clear, colourless sky, which the whole day long had shot down its drops of rain, drew together in grey clouds, growing momentarily greyer, thicker and more grey, and shining with a pale light as though far away behind those thick coverings a great white light was burning.

The stones on the pathway were all wet and shining and crunched down into little pools of water under one’s heels. The trees were dripping raindrops at each leaf, the trunks of all the pines were a dark brown with wet.

In the garden there was peace, a peace of plants weighed down with raindrops, and very tired. Up on the damp hillside the note of a solitary bird sounded forlornly. _Uguisu_, the Japanese nightingale was calling. One sweet short song, and then a greater silence.

Above the little grey shrine to Inari, the Fox God, two golden oranges swayed out against the dark green bush. The raindrops on their under sides trickled slowly over the little temple, and down the miniature steps, while those on the upper sides stood out in little clusters growing larger and larger until an imperceptible stir of the heavy fruit sent them chasing their fellows down the temple’s roof.

And the sky above grew greyer. The golden oranges, larger for the raindrops, swayed mysteriously out, bright yellow against dark green, in a damp, dark world.

At the path’s edge another pathway of clear water encircled the temple and the orange trees; a water so clear that it hardly seemed to exist, while the brown banks and the brown stones showed wet and dark as the pathway under foot. And round the temple and the orange trees in ever silent motion along the brown pathway swam strange fishes; bright blue carp with black sides and designs in creamy white, large orange carp with tracings in silver, golden carp with six or seven waving tails, and solitary in their midst one white patriarch whom age had turned to driven snow.

And the damp, dark world turned slowly darker. The wet hillside grew a black, blurred line; the light behind the cloud was going out; the trees had lost their colour.

All silently the blue carp moved along the dark pathway, and the golden orange globes dripped above the little temple. Bright blue, orange; the light behind the clouds was out.

V

ASAMAYAMA

We were to climb Asamayama. The plan seemed simple and delightful; to take horses in the cool of the evening and ride by moonlight to the last green frill of trees upon the mountain side: to climb the nine thousand feet to the very edge of the crater; and then in those blackest hours before the dawn to look into the volcano’s mysterious depths, all red and glowing, where flame and smoke strive ever for the mastery, where the long orange tongues leap up through rolling purple masses of the smoke; and all around and all below, as far as eye can pierce, is lurid glowing red. And still on the crater’s treacherous sides which hold smoke and flame unsteadily as a drunkard holds his cup, to look down fascinated until they crumble beneath one’s feet, and the thrill of terror bites in the memory of the mighty force indelible. Then to breakfast under the sheltering walls of the old crater; to watch the darkness melt before the coming day, to see the sun rise swiftly in his strength, and the long circle of the hills stand clear and blue and liquid on the upland plain; to see the giant ridges of the mountains stretching from sea to sea with the faint white cone of Fuji a dream upon the distant sky; to look in the freshness of the morning upon the beauty of the land, and standing on the cinder slopes of Asama to trace the tortured lava beds stretching like long grey snakes among the green till the trees grow over and the forest engulfs them. And still in the first hours of the dawn to ride back slowly with the memory of the crater and the sunrise making pictures in one’s mind, tired but contented.