Part 5

So Bushido, as you will now see, was itself but a manifestation of those same forces already at work in the formation of Japanese thought, like Buddhism, Confucianism, etc. But as it has played a most important part in the development of modern Japan, I thought it more proper to consider it as an independent factor in the history of our civilisation. Had it not been for this all-daring spirit of Bushido, Japan would never have been able to make the gigantic progress which she has been achieving in these last forty years. As soon as our ports were flung open to the reception of Western culture, Samurai, now deeply conscious of their new mission, took leave of those stern but faithful friends, their beloved swords, not without much reluctance, even as did Sir Bedivere, in order to take up the more peaceful pen, which they were determined to wield with the same knightly spirit. It is, in short, Bushido that has urged our Japan on for the last three centuries, and will continue to urge her on, on forever, onward to her ideals of the true, the good, and the beautiful. Look to the spot where every Japanese sabre and every Japanese bayonet is at present pointing with its icy edge of determined patriotism in the dreary fields of Manchuria, or think of the intrepid heroes on our men-of-war and our torpedo-boats amid blinding snowstorms and the glare of hostile searchlights, and your eyes will invariably end at the magic Path of the Samurai.

Having thus far followed my enumeration of the various factors in the formation of the present thought in Japan, some of you might perhaps be curious to know what Christianity has contributed towards the general stock of modern Japanese mentality.

It must surely have exercised a very healthy influence on our mind since its re-introduction at the beginning of the present Meiji period. Some have indeed gone so far as to say that we owe the whole success we have up to now achieved in this remarkable war to the holy inspiration we drew from the teaching of Jesus Christ.

I indorse this opinion to its full extent, but only if we are to understand by His teaching that whole body of truth and love which are of the essence of Christianity, and which we used in former days to call by other names, such as Bushido, Confucianism, etc. But if you insist on having it understood in a narrow sectarian sense, with a personal God and rigid formalities as its main features, then I should say that I cannot agree with you, for this Christianity occupies rather an awkward place in our Japanese mind, finding itself somewhere between the national worship of the living dead, and modern agnosticism, or scientific monism. In our earlier fishery for new knowledge in the Western seas, fish other than those fit for our table were caught and dressed along with some really nourishing; the result was disastrous, and we gradually came to learn more caution than at first. The Roman Catholics, more enthusiastic than discreet, committed wholesale outrages on our harmless ways of faith in the early days of the seventeenth century, which did much to leave in bad repute the creed of Jesus Christ. And since the prohibition against Christianity was removed, many a missionary has been so particular about the plate in which the truth is served as to make us doubt, with reason, if that be the spirit of the immortal Teacher. The truth and poetry that breathe in your Gospels have been too often paraphrased in the senseless prose of mere formalism. Otherwise Christianity would have rendered us better help in our eternal march towards the ideal emancipation.

There remains still one highly important thing to be considered as a formative element of the Japanese spirit. I mean the landscape and the physical aspects of Japan in general.

It is well known that an intimate connection exists between the mind and the nature which surrounds it. A moment's consideration of the development of Hellenic sculpture and of the Greek climate, or of the Teutonic mythology and the physical condition of Northern Europe, will bring conviction on that point. Is not the effect of the blue sky on Italian painting, and the influence of the dusky heaven on the, pictorial art of the Netherlands, clearly traceable in the productions of the old masters? A study of London psychology at the present moment will never be complete without special chapters on your open spaces and your fogs.

In order to convey anything like an adequate idea of the physical aspects of Japan from the geographical and meteorological points of view, it would be necessary to furnish a detailed account of the country, with a long list of statistical tables and the ample help of lantern slides. But on this occasion I must be content with naming some of the typical features of our surroundings.

Japan, as you know, is a long and narrow series of islands, stretching from frigid Kamchatka in the north to half-tropical Formosa in the south. The whole country is mountainous, with comparatively little flat land, and is perforated with a great number of volcanoes, the active ones alone numbering above fifty at present. With this is connected the annoying frequency of earthquakes, and the agreeable abundance of thermal springs--two phenomena that cannot remain without effect on the people's character.

There are two other natural agencies to be mentioned in this connection. One is the Kuro-shio, or Black Stream, so called on account of the deep black colour which the ocean current displays in cloudy weather. This warm ocean river, having a temperature of 27° centigrade in summer, begins its course in the tropical regions near the Philippine Islands, and on reaching the southern isles is divided by them into two unequal parts. The greater portion of it skirts the Japanese islands on their eastern coast, imparting to them that warm and moist atmosphere which is one source of the fertility of the soil and the beauty of the vegetation. The effect of the Kuro-shio upon the climate and productions of the lands along which it flows may be fairly compared with that of the Gulf Stream in the Atlantic Ocean, which in situation, direction, and volume it resembles. To this most noticeable cause of the climatic condition of the Japanese islands must be added another agency closely related to it in its effect. Our archipelago lies in the region of the northeast monsoon, which affects in a marked degree the climate of all those parts over which the winds blow. Although the same monsoon blows over the eastern countries of the Asiatic continent, the insular character of Japan, and the proximity of the above-mentioned warm current on both sides of the islands, give to the winds which prevail a character they do not possess on the continent.

Although the effect of the chill and frost of the northern part of Japan, with its heavy snowfall and covered sky, cannot be without its depressing influence on human nature in that part of the island, this has not played any serious role in the formation of the Japanese character as a whole. It is only at a rather recent date that the northern provinces began to contribute their share to the general progress of the country. This can very easily be explained by the gradual advance of Japanese civilisation from the southwest to the northeast. Until comparatively lately the colder region of Japan north of the 37th degree of latitude has remained very nearly inactive in our history. It is almost exclusively in the more sunny south, extending down to the 31st degree, that the main activity of the Japanese mind and hand has been shown. And the effect is the sunniness of character and rather hot temperament which we, as a whole, share in a marked degree with the southern Europeans, as contrasted with the somewhat gloomy calm and deliberation noticed both among oriental and occidental northerners.

Notwithstanding the comparatively high amount of rainfall, the fact remains that as a nation we have spent most of our life under the serene canopy of blue sky characteristic of a volcanic country. Mountains, graceful rather than sublime, and fertile plains with rich verdure, its beauties changing slowly from the white blossoms of spring to the crimson leaves of autumn, have afforded us many welcome sights to rest our eyes upon; while the azure stretch of water, broken agreeably by scattered isles, washes to-day as it did in the days of the gods the white shore, rendered conspicuous by the everlasting green of the pine trees, which skirts the Land of the Rising Sun.

The winter, though it begins its dreary course with a short period of warm days known as the Little Spring, is of course not without its bleak mornings with cutting winds and icy wreaths. But the fact that even as far north as Tôkyô no elaborate system of warming rooms is at all developed, and that the occasional falling of snow is hailed even by aged men of letters, and still more by the numerous poetasters, as a fit occasion for a pedestrian excursion to some neighboring localities for a better appreciation of the silvery world, serves to show how mild the cold is in south Japan.

A people on whom the surrounding nature always smiles so indulgently can be little expected to be driven to turn their thoughts in the direction of their own self, and thus to develop such a strong sense of individuality as characterises the rigid northerners; nor are the nations panting under a scorching sun likely to share our friendly feelings towards nature, for with them Father Sun is too rigorous to allow a peaceful enjoyment of his works.

All through the four seasons, which are almost too varied even for a Thomson's pen, eventful with the constant calls of one after another of our flowery visitors--beginning with the noble plum that peeps with its tiny yellowish-white eyes from under the spotless repose of fleecy snow, and ending in the gay variety of the chrysanthemum--we have too many allurements from outside not to leap into the widespread arms of Mother Nature and dream away our simple, our contented life in her lap. True, there also are in Japan many instances of broken hearts seeking their final rest under the green turf of an untimely grave, or else in the grey mantle of the Buddhist monkhood. But in them, again, we see the characteristic determination and action of a Japanese at work. To indulge in Hamlet-like musing, deep in the grand doubt and sublime melancholy of the never-slumbering question 'To be, or not to be?' is something, so to say, too damp to occur in the sunny thought of our open-air life.

If asked to name the most conspicuous of those physical phenomena which have exercised so great an influence on our mind, no Japanese will hesitate to mention our most beloved Fuji-no-yama. This is the highest and the most beautiful of all the great mountains in the main group of the Japanese islands. Gracefully conical in shape, lifting its snowclad head against a serene background 12,365 feet above the sea, it has from the earliest time been the object of unceasing admiration for the surrounding thirteen provinces, and where it stands out of the reach of the naked eye, winged words from the poet's lyre, and flying leaves from the artist's brush, have carried its never-tiring praise to all the nooks and corners of the Land of the Gods.

Here is one of the earliest odes to Fujiyama, contained in a collection of lyrical poems called Man-yô-shû, or 'Myriad Leaves,' by Prince Moroe (died A.D. 757), somewhere in the first half of the eighth century:--

There on the border, where the land of Kahi Doth touch the frontier of Suruga's land, A beauteous province stretched on either hand, See Fujiyama rear his head on high!

The clouds of heav'n in rev'rent wonder pause, Nor may the birds those giddy heights essay, Where melt thy snows amid thy fires away, Or thy fierce fires lie quench'd beneath thy snows.

What name might fitly tell, what accents sing, Thy awful, godlike grandeur? 'Tis thy breast That holdeth Narusaha's flood at rest, Thy side whence Fujikaha's waters spring.

Great Fujiyama, tow'ring to the sky! A treasure art thou giv'n to mortal man, A god-protector, watching o'er Japan: On thee for ever let me feast mine eye!

This now extinct volcano, besides inspiring poetical efforts, has been an inexhaustible subject for our pictorial art; it is enough to mention the famous sets of colour prints, representing the thirty-six or the hundred aspects of the favourite mountain, by Hiroshige, Hokusai, etc. The groups of rural pilgrims that annually swarm from all parts of Japan during the two hottest months of the year to pay their pious visit to the Holy Mount Fuji, return to their respective villages deeply inspired with a feeling of reverence and of love for the wonders and beauty of the remarkable dawn they witnessed from its summit.

There is many another towering mountain with its set of pilgrims, but none can vie with Fujiyama for majestic grace. More beautiful than sublime, more serene than imposing, it has been from time immemorial a silent influence on the Japanese character. Who would deny that it has reflected in its serenity and grace as seen on a bright day all the ideals of the Japanese mind?

Another favourite emblem of our spirit is the cherry blossom. The cherry tree, which we cultivate, not for its fruit, but for the annual tribute of a branchful of its flowers, has done much, especially in the development of the gay side of our character. Its blossoms are void of that sweet depth of scent your rose possesses, or the calm repose that characterizes China's emblematic peony. A sunny gaiety and a readiness to scatter their heart-shaped petals with a Samurai's indifference to death are what make them so dear to our simple and determined view of life. There is an ode known to every Japanese by the great Motoori Norinaga (1730-1801 A.D.) which runs as follows:--

_Shikishima no_ _Yamata-gokoro wo_ _Hito toha ba,_ _Asahi ni nihofu_ _Jamazakura-bana._

(Should any one ask me what the spirit of Japan is like, I would point to the blossoms of the wild cherry tree bathing in the beams of the morning sun.)

These words, laconic as they are, represent, in my opinion, the fundamental truth about the Japanese mentality--its weak places as well as its strength. They give an incomparable key to the proper understanding of the whole people, whose ideal it has ever been to live and to die like the cherry blossoms, beneath which they have these tens of centuries spent their happiest hours every spring.

The mention of a Japanese poem gives me an opportunity to say something about Japanese poetry. Like other early people, our forefathers in archaic time liked to express their thoughts in a measured form of language. The whole structure of the tongue being naturally melodious, on account of its consisting of open syllables with clear and sonorous vowels and little of the harsh consonantal elements in them, the number of syllables in a line has been almost the only feature that distinguished our poetry from ordinary prose composition. The taste for a lengthened form of poems had lost ground early, and already at the end of the ninth century after Christ the epigrammatic form exemplified above, consisting of thirty-one syllables, established itself as the ordinary type of the Japanese odes.

This form subdivides itself into two parts, viz., the upper half containing three lines of five, seven, and again five syllables, and the lower half consisting of two lines of seven syllables each. This simplicity has made it impossible to express in it anything more than a pithy appeal to our lyrical nature; epic poetry in the strict sense of the word has never been developed by us.

But it must be noticed that it is this simplicity of form of our poetical expression that has put it within the reach of almost everybody. To all of us without distinction of class and sex has been accorded the sacred pleasure of satisfying and thus developing our poetical nature, so long as we had a subject to sing and could count syllables up to thirty-one. The language resorted to in such a composition was at first the same as that in use in everyday life. But afterwards as succeeding forms of the vernacular gradually deviated from the classical type, a special grammar along with a special vocabulary had to be studied by the would-be poet. This was avoided, however, by the development in the sixteenth century of a popular and still shorter form of ode called _Hokku_, with much less strict regulations about syntax and phraseology. This ultra-short variety of Japanese poetry, consisting only of seventeen syllables, is in form the upper half of the regular poem. Here is an example:--

_Asagaho ni_ _Tsurube torarete_ _Morai-midzu._

Sketchy as it is, this tells us that the composer Chiyo, 'having gone to her well one morning to draw water, found that some tendrils of the convolvulus had twined themselves around the rope. As a poetess and a woman of taste, she could not bring herself to disturb the dainty blossoms. So, leaving her own well to the convolvuli, she went and begged water of a neighbor'--a pretty little vignette, surely, and expressed in five words.

This new movement, which owes its real development to a remarkable man called Bashô (1644-1649), a mystic of the Zen sect to the tip of his fingers, had an aim that was strictly practical. 'He wished to turn men's lives and thoughts in a better and a higher direction, and he employed one branch of art, namely poetry, as the vehicle for the ethical influence to whose exercise he devoted his life. The very word poetry (or _haikai_) came in his mouth to stand for morality. Did any of his followers transgress the code of poverty, simplicity, humility, long-suffering, he would rebuke the offender with a "This is not poetry," meaning "This is not right." His knowledge of nature and his sympathy with nature were at least as intimate as Wordsworth's, and his sympathy with all sorts and conditions of men was far more intimate; for he never isolated himself from his kind, but lived cheerfully in the world.'[17]

Now, this form of popular literature by virtue of its accessibility even to the poorest amateurs from the lowest ranks of the people, was markedly instrumental, as the now classical form of poetry had been during the Middle Ages, in the cultivation of taste and good manners among all classes of the Japanese nation. Even among the ricksha men of to-day you find many such humble poets, taking snapshots as they run along the stony path of their miserable life. I wonder if your hansom drivers are equally aspiring in this respect.

[17] B.H. Chamberlain's _Bashô and the Japanese Epigram, T.A.S.J._, vol. xxx. pt. ii.

In all these phases of the development of our poetry, we notice, as one of its peculiarities, a strong inclination to the exercise of the witty side of our nature. Even if we leave out of consideration the so-called 'pillow word' (_makura-kotoba_), so profusely resorted to in our ancient poems, part of which were nothing but a naïve sort of _jeu de mots_, and the abundant use of other plays on words of later development, known as _kakekotoba_, _jo_, _shûku_, etc. (_haikai-no-uta_), it is noteworthy that poems of a comic nature found a special place in the earliest imperial collection of Japanese odes named Kokinshifu,' which was compiled in the year A.D. 908. This species has flourished ever since under the name of Kyôka, and also gave rise to a shortened form in seventeen syllables, called _haikai-no-hokku_. When in the hand of Bashô this latter form developed itself into something higher and more serious, the witty and satirical Senryû, also in seventeen syllables, came to take its place.

One thing to be specially noted in this connection is the introduction from China of the idea of poetic tournaments, the beauty of which consisted in the offhand and quick composition of one long series of odes by several persons sitting together, each supplying in turn either the upper half or the lower half as the case might be, the two in combination giving a poetical sense. This usage of capping verses known as _renga_ came to be very popular, from the Court downward, as early as the thirteenth century. After a while the same practice was applied to comic poetry, thus producing the so-called _haikai-no-renga_, or comic linked verses. This coupling of verses gave plenty of occasion for sharpening one's wit as well as one's skill in extemporising. It is to a later attempt to express all these subtleties in the upper half of the poem composed by one person that the present _kokku_ owed its origin. You can easily imagine the effect such an exercise produced on the popular mind. Besides the moral good which this literary pursuit has brought to the populace, it has given a fresh opportunity for the cultivation of our habit of attaching sense to apparently meaningless groups of phenomena, and our fondness of laconic utterance and symbolic representation, not to say anything about our love of nature and simplicity.

All this tends in my view to show that we Japanese have a strong liking for wit in the wider sense of the word. We try to solve a question, not by that slower but surer way of calm deliberation and untiring labour like the cool-headed Germans, but by an incandescent flash of inspiration like the hot-blooded Frenchmen. This fact is singularly preserved in the earlier sense of the now sacred word _Yamato-damashî_, which had not its present meaning, viz., 'the spirit of Japan' in the most elevated sense of that term, but signified 'the wit of the Japanese' as contrasted with the 'learning of the Chinese' (_wakon_ as opposed to _kansai_). The word _tamashî_, which now expresses the idea of 'spirit,' corresponds in the compound in question to the French _esprit_ in such combinations as _homme d'esprit_ or _jeu d'esprit_.

Turning now to the consideration of other sets of phenomena, as an illustration of the Japanese character, let me tell you something about the tea-ceremony and kindred rites.

To begin with the _Cha-no-e_ (or _Cha-no-yu_), or tea-meeting, this much-spoken-of art originated among the Buddhist priests, who learned to appreciate the beverage from the Chinese. Indeed, the tea-plant itself was first introduced into Japan along with the name _Cha_ (Chinese _Ch'a_) from the Celestial Empire, in the tenth century after Christ. During the following centuries its cultivation and the preparation of the drink was monopolised by the priesthood, if we except the cases of a few well-to-do men of letters. This fact is gathered from the frequent mention of tea-cups offered to the emperor on the occasion of an imperial visit to a Buddhist monastery. During all this time a sense of something precious and aristocratic was attached to this aromatic beverage, which had been regarded as a kind of rare drug of strange virtue in raising depressed spirits, and even of curing certain diseases.