Project Gutenberg's An Artist's Letters From Japan, by John La Farge This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: An Artist's Letters From Japan Author: John La Farge Release Date: July 8, 2013 [EBook #43160] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK AN ARTIST'S LETTERS FROM JAPAN *** Produced by Meredith Bach, Hope Paulson and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.) AN ARTIST'S LETTERS FROM JAPAN The Great Statue of Buddha at Kamakura AN ARTIST'S LETTERS FROM JAPAN BY JOHN LA FARGE [Pg iv] [Pg v] NEW YORK THE CENTURY CO. 1897 Copyright, 1890, 1891, 1893, 1897, By THE CENTURY CO. THE DE VINNE PRESS. To Henry Adams, Esq. My Dear Adams: Without you I should not have seen the place, without you I should not have seen the things of which these notes are impressions. If anything worth repeating has been said by me in these letters, it has probably come from you, or has been suggested by being with you—perhaps even in the way of contradiction. And you may be amused by the lighter talk of the artist that merely describes appearances, or covers them with a tissue of dreams. And you alone will know how much has been withheld that might have been indiscreetly said. If only we had found Nirvana—but he was right who warned us that we were late in this season of the world. J. L. F. WHICH IN ENGLISH MEANS: And you too, Okakura San: I wish to put your name before these notes, written at the time when I first met you, because the memories of your talks are connected with my liking of your country and of its story, and because for a time you were Japan to me. I hope, too, that some thoughts of yours will be detected in what I write, as a stream runs through grass—hidden, perhaps, but always there. We are separated by many things besides distance, but you know that the blossoms scattered by the waters of the torrent shall meet at its end. CONTENTS PAGE [Pg vi] [Pg vii] [Pg ix] [Pg xi] An Artist's Letters from Japan 1 From Tokio to Nikko 29 The Shrines of Iyéyasŭ and Iyémitsŭ in the Holy Mountain of Nikko 52 Iyémitsŭ 85 Tao: The Way 99 Japanese Architecture 119 Bric-à-Brac 128 Sketching 159 Nirvana 175 Sketching.—The Flutes of Iyéyasŭ 185 Sketching.—The Pagoda in Rain 193 From Nikko to Kamakura 195 Nikko to Yokohama 202 Yokohama—Kamakura 216 Kioto 230 A Japanese Day.—From Kioto to Gifu 253 From Kambara to Miyanoshita—A Letter from a Kago 265 Postscript 280 Appendix 281 ILLUSTRATIONS PAGE The Great Statue of Buddha at Kamakura. Frontispiece. The Kuruma 5 Castle, and Moat with Lotus 9 At the Well 11 Ancient 15 Nō Dancer with Mask, representing the Saké Imp 19 Modern 23 [Pg xiii] The Lake in Uyèno Park 28 A Torii 32 Our Runner 36 In the Great Avenue of Cryptomeria 39 Nikko-san 43 The Waterfall in our Garden 47 Portrait-statue of Iyéyasŭ in ceremonial Dress 53 Avenue to Temple of Iyéyasŭ 55 Sketch of Statue of Iyéyasŭ Tokugawa 57 Stable of Sacred Horses 61 Sacred Font 65 Young Priest 68 Details of Bases of Cloister Walls, Inner Court 71 Detail of Cloister Walls, Inner Court 75 Lintel, Bracket Capital 77 Inside the "Cat Gate"—Gate to the Tomb 79 Tomb of Iyéyasŭ, Tokugawa 83 Looking Down on the Water-tank, Or sacred Font, from the second Gate 87 A Priest at Iyémitsŭ 88 In the third Gate of the Temple of Iyémitsŭ, looking toward the Fourth 91 A Priest at Iyémitsŭ 93 Kuwanon, by Okio 94 Entrance to the Tomb of Iyémitsŭ 96 Painting by Chin-nan-pin 135 Signature of Hokusai 149 Inscription on Old Lacquer 152 Inscription from Ho-riu-ji 155 Bed of the Dayagawa, Nikko 161 Mountains in Fog before our House 165 Portrait of a Priest 169 Old Pagoda near the Priests' Houses 171 Statue of Oya Jizo 177 [Pg xiv] Peasant Girls and Mountain Horses of Nikko 181 Our Landlord the Buddhist Priest 187 Kioto in Fog—Morning 231 Peasant Woman—Thresher 239 A Pilgrim 247 Fusi-yama from Kambara Beach 257 Fishing with Cormorants 261 Peasant carrying Fodder, and Bull carrying Load 267 A Runner in the Rain 275 AN ARTIST'S LETTERS FROM JAPAN Yokohama, July 3, 1886. Arrived yesterday. On the cover of the letter which I mailed from our steamer I had but time to write: "We are coming in; it is like the picture books. Anything that I can add will only be a filling in of detail." We were in the great bay when I came up on deck in the early morning. The sea was smooth like the brilliant blank paper of the prints; a vast surface of water reflecting the light of the sky as if it were thicker air. Far-off streaks of blue light, like finest washes of the brush, determined distances. Beyond, in a white haze, the square white sails spotted the white horizon and floated above it. The slackened beat of the engine made a great noise in the quiet waters. Distant high hills of foggy green marked the new land; nearer us, junks of the shapes you know, in violet transparency of shadow, and five or six war-ships and steamers, red and black, or white, looking barbarous and out of place, but still as if they were part of us; and spread all around us a fleet of small boats, manned by rowers standing in robes flapping about them, or tucked in above their waists. There were so many that the crowd looked blue and white—the color of their dresses repeating the sky in prose. Still, the larger part were mostly naked, and their legs and arms and backs made a great novelty to our eyes, accustomed to nothing but our ship, and the enormous space, empty of life, which had surrounded us for days. The muscles of the boatmen stood out sharply on their small frames. They had almost all—at least those who were young— fine wrists and delicate hands, and a handsome setting of the neck. The foot looked broad, with toes very square. They were excitedly waiting to help in the coaling and unloading, and soon we saw them begin to work, carrying great loads with much good-humored chattering. Around us played the smallest boats with rowers standing up and sculling. Then the market-boat came rushing to us, its standing rowers bending and rising, their thighs rounding and insteps sharpening, what small garments they had fluttering like scarfs, so that our fair missionaries turned their backs to the sight. [Pg 1] [Pg 2] Two boys struggling at the great sculls in one of the small boats were called by us out of the crowd, and carried us off to look at the outgoing steamer, which takes our mail, and which added its own confusion and its attendant crowd of boats to all the animation on the water. Delicious and curious moment, this first sense of being free from the big prison of the ship; of the pleasure of directing one's own course; of not understanding a word of what one hears, and yet of getting at a meaning through every sense; of being close to the top of the waves on which we dance, instead of looking down upon them from the tall ship's sides; of seeing the small limbs of the boys burning yellow in the sun, and noticing how they recall the dolls of their own country in the expression of their eyes; how every little detail of the boat is different, and yet so curiously the same; and return to the first sensation of feeling while lying flat on the bottom of the boat, at the level of our faces the tossing sky-blue water dotted with innumerable orange copies of the sun. Then subtle influences of odor, the sense of something very foreign, of the presence of another race, came up with the smell of the boat. We climbed up the side of the big steamer and found the Doctor there, who told us that he had been expecting us for a whole month; so that he soon took possession of us, and we found ourselves in the hotel launch, and at the wharf, and passing the custom house and its officers, who let everything go through quickly except my suspicious water-color blocks. Outside of the gate, in the street, we found the long-expected jinrikisha, an arrangement that you know probably as well as I do—a two-wheeled perambulator or gig, very small, with a hood that is usually lowered, and with a man in the shafts. Our fellows were in blue-black clothes, a big inscription on their backs; and they wore apron-like vests, close-fitting trousers, and broad straw hats poised on their heads. But you know all about these; and I have only to add that we were trundled off to our hotel, along the pretty quay which edges that part of the town, past European houses, unlike ours, and having a certain character which will probably appear very commonplace later, because it is not beautiful, but which is novel yet to us. Our hotel is also on the quay, just at a corner where a canal breaks in, and where we can see big walls and trees on the other side. Our rooms open on the water—that same blue water spangled with sunshine and fading into sky. There men-of-war and steamers far out; picturesque junks sailing past rapidly, flattened out into mere edges of shadow and light against the sea and the sky, their great hollow sterns with the rudder far inboard, and sails which are open at the seams. Not far from us was a little sharp-pointed boat with a man fishing, his big round hat as important as any part of the boat. It was already late in the day. European children were out with their Japanese nurses; from time to time a phaeton or a curricle passed with European occupants, and even in this tremendous heat ladies rode out on horseback. But the human beings are not the novelty, not even the Japanese; what is absorbingly new is the light, its whiteness, its silvery milkiness. We have come into it as through an open door after fourteen gray days of the Pacific which ended only at sunrise this very morning. And we looked again at all the light outside, from the dining-room, where we lunched, where the waiters slipped about in black clothes like those of the runners, and where we were joined at table by a foreign gentleman with high cheek-bones, yellow face, and slanting eyes, and dressed in the latest European fashion with high collar, four-in-hand scarf, and pointed shoes. He was very courteous, and managed what little English he used as skilfully as he dresses. And he gave me a touch of the far East in the story of his being here; for he is under a cloud, an amiable exile whose return to his native land might involve his being boiled in oil, or other ingenious form of death. For well as he figured at luncheon with us, I hear that he has been obliged to leave because of his having poisoned too many of his guests one day at table,—former enemies of his,—and because of his having despatched with the sword those whose digestion had resisted his efforts at conciliation. However this may be, his extradition is demanded; to which he objects, invoking Western ideas of civilization, and protesting that his excesses have been merely political. Then, late in the afternoon, we sauntered out into the Japanese quarter— walking, so that we might mingle with the gray, black, and blue crowd, and respectfully followed by our jinrikisha men, who slowly dragged our carriages behind them, like grooms following their masters. We stopped at little curio shops and bargained over miserable odds and ends, calling up, I feel sure, the unexpressed contempt of the Doctor, the great collector of precious lacquers; but it is so amusing to see things as they are, and not as they should be. We went into a show which had an enormous draped sign outside, and where, in uncertain darkness, an old, miserable, distorted dwarf played the part of a spider in a web, to the accompaniment of fiendish music and the declamation of the showman. Then we lingered outside of a booth in which a wrestling match was going on, but did not enter, and we saw the big wrestlers go in or come out, their shoulders far above the heads of a smaller race of men, and we turned at every moment to look at the children, many of whom are so pretty, and who seem to have an easy time of it. Men carry them in their arms as [Pg 3] [Pg 4] [Pg 7] [Pg 8] women do with us, and many a little elder sister walks about with the infant of the family slung behind her maternal shoulders. And then there are curious combinations of Western and Eastern dress—rarely successful. Our hats and shoes and umbrellas—all made here, are used, and our ugly shirts stiffen out the folds of the soft Japanese robes; but the multitude wear their usual dress and make no abuse of hats. THE KURUMA. Wearied by the novelty, every detail of which, however, was known to us before, we walked back in the white, milky sunset, which was like a brilliant twilight. July 5. We made our first visit to town yesterday; that is to say, we went to Tokio, which is about twenty miles off. Of course we took our jinrikishas at the door of the hotel, and passing through the wide Yokohama streets, saw the semi- European houses, some with high garden walls in which are small doors: there are sidewalks, too, and European shops, and Colonial buildings, post-office, and telegraph office; and the Japanese kura, or storehouses—heavy tile-roofed buildings with black and white earthen surfaces, the black polished to a glaze, as was done with Greek and Etruscan vases. They have deep windows or doors, recessed like our safes, with a great air of solidity, which contrasts with that temporary wooden structure, the usual Japanese house. I came near saying that the little railway station is like ours; but it is better than most of ours, with neat arrangements. We entered the little cars; I noticed, in the third class, Japanese curled up on the seats. The grade is as level as a table, the landscape is lovely, and we saw the shapes we know so well in the prints—the curious shapes of the Japanese pines; little temples on the hillside; and rice-fields with their network of causeways, occasionally a horse or a peasant threading them. The land is cultivated like a garden, the lotus leaves fill the ditches, and one or two pink flowers are just out. From time to time we saw stretches of blue sea. And once, for an instant, as I looked up into the hazy, clouded sky, far beyond the hills, that were lost in the mist into which the rice-field stretched, I saw a pale, clear blue opening in which was an outline more distinct, something very pure, the edge of a mountain, looking as if it belonged to another world than the dewy moist one in which we are—the cone of Fusi-yama. CASTLE, AND MOAT WITH LOTUS. [Pg 9] On passing through the station, very much like the other with its various arrangements for comfort and order,—first-, second-, and third-class rooms and so forth,—we met a crowd of jinrikishas with their runners, or, as my friends tell me to call them, kuruma and kurumaya, every man clamoring for patronage in the usual way of the hackman. We selected as a leader Chojiro, who speaks English—a little; is a traveled man, having gone as far as Constantinople; wears the old-fashioned queue, flattened forward over the top of his shaven head; and whose naked feet were to run through the day over newly-macadamized roads, for which a horse would need to be well shod. A little way from us, on the square, stood the car of the tramway, which runs as far as Asakusa, to the great popular temples of protecting divinities, Kuwanon and Jizo,—and Benten, from whose shrine flowed one day copper coins as if from a fountain,— where Buddhist sermons are preached daily; which are full of innumerable images, pictures, and ex-votos; and where prayer-wheels, duly turned, helped the worshiper to be free from annoying sins, or to obtain his desires. How shall I describe our ride through the enormous city? We were going far across it to call on Professor F——, the great authority on Japanese art, and to be delighted and instructed by him through some fragments of his collection. AT THE WELL. In the first street where the tramway runs there are semi-European façades to houses, and in their pilasters the Ionic capital has at length made the circle of the world. Then we took more Oriental and narrower streets, through the quarter of the gei-sha, the dancers and singers who go out perpetually to put a finishing touch on entertainments. At such early hours they are of course unseen. Where houses seemed more closed than usual servants were attending to household duties, and we heard the occasional strum of a guitar. Then great streets again, with innumerable low houses, the usual shops, like open sheds, with swinging signs carved, painted, and gilded, or with draperies of black cloth marked with white characters. Merchants sat on their mats among the crowded goods, girls at corners drew water from the wells; in a narrower street the black streak of a file of bulls peacefully dragging merchandise; where the crowd was thickest a black-lacquered palanquin, all closed, in which was shut some obstinate adherent to ancient fashions. Then bridges and canals, and great empty spaces, long white walls with black copings, and buildings that continued the walls, with gratings like those of barracks. These were the yashikis—inclosed residences of princes who were formerly obliged to spend part of the year at the seat of government with small armies of retainers. Then the walls of the castle, great sloping ramparts of irregular blocks of masonry, about which stand strangely twisted pine-trees, while the great moats of clouded water are almost filled with the big leaves of the lotus. Now and then great gates of gray wood and enormous doors. On some of the wide avenues we met cavalry officers in European costume, correct in style, most of the younger with straggling mustaches, long and thin, whence their nickname of "horn-pouts," naturally connected with that of the "cats," devourers of fish, as the gei-sha are called. Near official buildings we saw a great deal of black frock-coats, and trousers, and spectacles. Everything was seen at a full run, our runners dragging us at horse's pace. Still it was long before we reached our destination. Streets succeeded streets, empty or full, in desolate Oriental wearisomeness. At length we stopped at a little gate in a plank fence, and entered a vast high space, formerly a prince's park, at one end of which we saw trees and hills, and we came to the Professor's house, a little European structure. My mind is yet too confused with many impressions to tell you of what we saw that afternoon and evening, and what was said; all the more that the few beautiful paintings we looked at out of the great collection lifted me away from to-day into an indefinite [Pg 10] [Pg 13] [Pg 14] great past. I dislike to use analogies, but before these ancient religious paintings of Buddhist divinities, symbolical of the elements or of protective powers, whose worn surfaces contained marvels of passionate delicacy and care framed in noble lines, I could not help the recall of what I had once felt at the first sight of old Italian art. We passed from this sense of exalted peace to plunge again into the crowded streets at night. It was late; we had many miles to go to catch the last train; two additional runners had been engaged for each kuruma—one to push, one to be harnessed in front. Then began a furious ride. Mine was the last carriage. We were whirled along with warning cries of "Hai-hai!" now into the dark, then into some opening lighted by starlight, in which I could see the flitting shapes of the other runners and of my companions. I remember the creaking of their carriages, the jerking of them with each pull of the men; then our crossing suddenly other parties lighted by lanterns like ourselves, the lights flaring upon yellow faces and dark dresses and black hair; then our turning some narrow corner and plunging at full speed into lighted streets crowded with people, through whom we seemed to cut our way. Much shouting of our men, and dodging of wayfarers with lanterns and of bystanders who merely turn enough to let us glide by. Then one of my runners at full gallop struck a post and was left behind; another was gathered in somehow without a stop, and we tore through the city, still more crowded as we came nearer to our end—the railway station. We were in time, and we slept in the now familiar train. We reached the deserted station and were jogged peacefully to our hotel; our men, in Japanese fashion, sleepily turning out of the way of the ownerless dogs that lay in the middle of the streets. And when I awoke in the morning I found that the day's impressions had faded in sleep to what I tell you. ANCIENT. July 6. I have been asking myself whether it would be possible to have sensations as novel, to feel as perfectly fresh, things I knew almost all about beforehand, had we come in any other way, or arrived from any other quarter. As it is, all this Japan is sudden. We have last been living at home, are shut up in a ship, as if boxed in with our own civilization, and then suddenly, with no transition, we are landed in another. And under what splendor of light, in what contrasting atmosphere! It is as if the sky, in its variations, were the great subject of the drama we are looking at, or at least its great chorus. The beauty of the light and of the air is what I should like to describe, but it is almost like trying to account for one's own mood—like describing the key in which one plays. And yet I have not begun to paint, and I dread the moment of beginning to work again. Rather have I felt like yielding entirely to the spirit in which I came, the intention of a rest, of a bath for the brain in some water absolutely alien. A—— and I had undertaken that we should bring no books, read no books, but come as innocently as we could; the only compromise my keeping a scientific Japanese grammar, which, being ancient and unpractical, might be allowed, for it would leave me as unready as on the day I left. The Doctor took us on Sunday afternoon to his club—whose name I think means the perfume of the maple—to see [Pg 17] [Pg 18] and to listen to some Japanese plays which are given in the club theater built for the purpose. We went there in the afternoon, passing by the Shiba temples, and our kurumas were drawn up at one end of the buildings. There everything was Japanese, though I hear stories of the other club and its ultra-European ways—brandies-and-sodas, single eyeglasses, etc. However that may be, on this side we were in Japan without mistake. We sat on the steps and had our shoes taken off, according to the Japanese fashion, so as not to injure mats, and we could hear during the operation long wailings, high notes, and the piercing sound of flutes and stringed instruments; the curiously sad rhythm mingled with a background of high, distinct declamation. We walked in with careful attention to make no noise, forgetting that in our stocking-feet we could have made none had we wished, and we found the Doctor's place reserved for him and us, and marked with his name, written large. Other low boxes, with sides no higher than our elbows as we sat on the mats, divided the sloping floor down to the stage. The stage was a pretty little building projecting into the great hall from its long side. It had its own roof, and connected with a long gallery or bridge, along which the actors moved, as they came on or disappeared, in a manner new to us, but which gave a certain natural sequence and made a beginning and an end, —a dramatic introduction and conclusion,—and added greatly to the picture when the magnificent dresses of stiff brocade dragged slowly along to the cadence of the music. The boxes were mostly occupied, and by a distinguished- looking audience; the Nō, as this operatic acting is called, being a refined, classical drama, and looked upon differently from the more or less disreputable theater. Hence the large proportion of ladies, to whom the theater is forbidden. Hence, also, owing to its antiquity and the character of its style, a difficulty of comprehension for the general public that explained the repeated rustle of the books of the opera which most of the women held, whose leaves turned over at the same moment, just as ours used to do at home when we were favored by French tragedy. NŌ DANCER WITH MASK, REPRESENTING THE SAKÉ IMP. A quiet, sleepy appreciation hovered over the scene; even the devotees near us, many of them older people and belonging to the old régime, showing their approval or disapproval with restrained criticism. I could see without turning my head the expression of the face of my neighbor, a former daimio, a man of position; his face a Japanese translation of the universal well-known aristocratic type—immovable, fatigued, with the drooping under lip. Behind him sat former retainers, I suppose—deferential, insinuating remarks and judgments, to which he assented with inimitable brevity. Still, I thought that I could distinguish, when he showed that the youthful amateurs—for most of the actors were non- professional—did not come up to a proper standard, that his memory went back to a long experience of good acting. And so catching are the impressions of a crowd that I myself after a time believed that I recognized, more or less distinctly, the tyro and the master, even though I only vaguely understood what it was all about. For I need not tell you that the libretto would have been still more difficult for me than the pantomime before me; and very often it was but pantomime, the actor making gestures to the accompaniment of music, or of the declaration of the choragus, who told the poetic story. Occasionally these movements amounted to a dance, that is to say, to rhythmic movements—hence called the Nō dance—to which emphasis was given by rising and falling on either foot, and bringing down the sole with a sudden blow. There were many short plays, mostly based on legendary subjects, distinguished by gorgeous dresses, and occasionally some comic scenes of domestic life. The monotony of impression was too novel to me to become wearisome, and I sat for several hours through this succession of separate stories, patient, except for the new difficulty of sitting cross-legged on the mats. Moreover, we had tobacco to cheer us. On our arrival the noiseless servants had brought to us the [Pg 18] [Pg 21] [Pg 22] inevitable little tray containing the fire-box with hot charcoal and the little cylinder for ashes, and tea and little sugary balls; and then, besides, notwithstanding the high-toned repose of the audience, there was enough to watch. There were the envoys from Loo Choo, seated far off in the dim light of the room, dressed in ancient costumes, their hair skewered up on the top of the head with a double pin—grave and dignified personages; and a European prince, a Napoleonic pretender, seated alongside, with his suite, and ourselves, the only foreigners. The types of the older people were full of interest, as one felt them formed under other ideas than those of to-day. And though there were no beauties, there were much refinement and sweetness in the faces of the women, set off by the simplicity of their dresses, of blacks, and browns, and grays, and dull violets, in exquisite fabrics, for we were in an atmosphere of good breeding. And I watched one of the young ladies in front of me, the elder of two sisters, as she attended to every little want of her father, and even to his inconveniences. And now it was time to leave, though the performance was still going on, for we wished to return in the early evening. Our shoes were put on again at the steps, our umbrellas handed to us—for sun and rain we must always have one—and we passed the Shiba temples and took the train back for Yokohama. MODERN. July 12. We are doing nothing in particular, hesitating very much as to what our course shall be. One thing is certain—the breaking out of the cholera will affect all our plans. Even the consequent closing of the theaters shows us how many things will be cut off from us. We spend much time in such idleness as bric-à-brac, letting ourselves go, and taking things as they come. The Doctor's kindness is with us all the time. One feels the citizen of the world that he is when he touches little details of manners here, now as familiar to him as those of Europe. I enjoy, myself, this drifting, though A—— is not so well pleased, and I try to feel as if the heat and the novelty of impressions justified me in idleness. Once only I was tempted to duty, however, when we went to the temples of Shiba and Uyèno, where are the tombs of the shoguns, rulers of Japan of the Tokugawa line. They are all there but the two greatest, Iyéyasŭ and Iyémitsŭ, who lie at Nikko, the sacred place, a hundred miles away. Here in Tokio are the tombs of the others, and the temples about them splendid with lacquer and carving and gold and bronze, and set among trees and gardens on these hills of the Shiba and Uyèno. My dreams of making an analysis and memoranda of these architectural treasures of Japan were started, as many resolutions of work are, by the talk of my companion, his analysis of the theme of their architecture, and my feeling a sort of desire to rival him on a ground for fair competition. But I do not think that I could grasp a subject in such a clear and dispassionate and masterly way, with such natural reference to the past and its implied comparisons, for A——'s historic sense amounts to poetry, and his deductions and remarks always set my mind sailing into new channels. But I must put this off—certainly for to-day—while we discuss whether we shall make our visit to ancient Kamakura and the great bronze statue and the island of Énoshima, or whether to put it off until our return from Nikko, and our seeing the other shrines of the shoguns there. The Doctor, who has just left Nikko, tells us of its beauty in the early summer, a few weeks ago, and I feel all the hotter as he talks of the cold mountain streams which run by his house and of banks of azaleas covering the high rocks. And then the Japanese proverb says, "Who has not seen Nikko cannot say beautiful." [Pg 25] [Pg 26] [Pg 28] THE LAKE IN UYÈNO PARK. FROM TOKIO TO NIKKO July 20, 1886. The cholera was upon us, and we decided to go to Nikko and spend a month there, near the F——s'. The Doctor, who was anxious to get back to its coolness and its other charms, was to pilot us and instruct us by the way, and much of the miscellaneous information that I shall give you has come more or less from him. Late in the morning we rode to Tokio, and lunched in Uyèno Park, looking down on the great pond and the little temple which stands in it, and which you know, having seen them on the fans and colored prints. They were veiled in the haze of the sunlight, as if in a spring or winter mist, and through this fog of light shone the multitudinous little sparkles of the ribs and swellings of the lotus- pads lapping one over another, and reaching to far streaks of clearer water. A denser lightness here and there marked the places of the flowers, and a faint odor came up in lazy whiffs. The roof of the temple seemed to be supported by the moisture below. Above there was no cloud. All things lay alike in the blaze, enveloped in a white glimmer of heat and wet, and between the branches of the trees around us the sky was veiled in blue. The locusts hissed with a crackling sound like that of heated wood. The ugly bronze Buddha at the corner of the tea-house shone as if melting in the sun. Then came the moment of leaving for the station, where, owing to delays of trains, we waited still longer in the heat. In the cleanly waiting-room we looked at the illustrations in the Japanese newspapers, and at the last report of the weather bureau, printed in English and fastened to the wall; or we read a little in that morning's edition of the excellent Yokohama English paper; all these comforts of civilization being supplied by the Road. At length the noise of hundreds of wooden clogs, worn by men, women, and children, clattered upon the stones outside and announced an end to waiting. The tightly-closed train had been baking in the sun all day, and we leaned out of the doors on the sides and gasped for breath. Our train skirted the great hill of Uyèno, and its dark shadow, which did not quite reach us. Monuments and gravestones, gray or mossy, blurred here and there the green wall of trees. The Doctor told us of the cooler spring-time, when the cherry-trees of Uyèno cover the ground with a snow of blossoms, and the whole world turns out to enjoy them, as we do the first snows of winter. But this is a lame comparison. The Japanese sensitiveness to the beauties of the outside world is something much more delicate and complex and contemplative, and at the same time more natural, than ours has ever been. Outside of Arcadia, I know of no other land whose people hang verses on the trees in honor of their beauty; where families travel far before the dawn to see the first light touch the new buds. Where else do the newspapers announce the spring openings of the blossoms? Where else would be possible the charming absurdity of the story that W—— was telling me of having seen in cherry-blossom time some old gentleman, with capacious sakè gourd in hand and big roll of paper in his girdle, seat himself below the blossom-showers, and look, and drink, and write verses, all by himself, with no gallery to help him? If there is convention in a tradition half obligatory; and if we, Western lovers of the tree, do not quite like the Japanese refinement of growing the cherry merely for its flowers, yet how deliciously upside-down from us, and how charming is the love of nature at the foundation of the custom! [Pg 28] [Pg 29] [Pg 30] [Pg 31] A TORII. From the rustling of leaves and reëchoing of trees we passed into the open country, and into free air and heat. In the blur of hot air, trembling beneath the sun, lay plantations and rice-fields; the latter, vast sheets of water dotted with innumerable spikes of green. Little paths raised above them made a network of irregular geometry. Occasionally a crane spread a shining wing and sank again. In the outside ditches stood up the pink heads of the lotus above the crowded pads. At long intervals small groups of peasants, men and women, dressed in blue and white, knee-deep in the water, bent their backs at the task of weeding. The skirts of their dresses were caught up in their girdles, and their arms were freed from their looped-back sleeves. The Doctor spoke to us of the supposed unhealthiness of rice-planting, which makes life in the rice-fields short, in a country where life is not long. We are told that the manuring of the rice-fields taints all the waters for great distances, and we are warned not to drink, without inquiring, even from the clearest streams. Not even high up in the mountains shall we be safe; for there may be flat spaces and table-lands of culture which drain into the picturesque wildness below. We learn that with all these hardships the rice-growers themselves cannot always afford this staple food of the country, for cheaper than rice are millet, and buckwheat, and the plants and fungi that grow without culture. Contrasting with the tillage we were passing, islands of close foliage stood up in the dry plain, or were reflected, with the clouds above, in the mirror of the wet rice-fields. Occasionally a shrine was visible within, and the obligatory Torii stood at the edge of the grove, or within its first limits. Looking through a Torii one is sure to be in the direction of something sacred, whether it be temple or shrine or holy mountain. Neither closeness nor distance interferes with this ideal intention, and the sacred Fusi-yama is often seen a hundred miles away in the sky, framed by these lines, built for the purpose. This assemblage of four lines of stone or wood or bronze is to me one of the creations of art, like the obelisk or the pyramid. Most impressive, most original of symbolic entrances, whether derived from sacred India or from the ancestral innocence of Polynesia, there is something of the beginning of man, something invented while he lived with the birds, in this elementary porch, whose upper line, repeating the slope of hill and wave, first embodied the curve that curls all upper edges in the buildings of the farther East. And if indeed, the Torii[1] be nothing but the first bird-perch, then I can imagine the father of all peacocks spreading his gigantic fan across its bars; or I may prefer to suppose it the rest for the disk of the sun-god, whose lower curve is repeated by the Torii's upper beam. Sometimes there were traces of inclosure about these woods; sometimes they had no edgings but their own beautifully- modeled contours. Long ages, respectful care, sometimes fortunate neglect, have made of these reserved spaces types of an ideal wildness, for these are sacred groves, and they are protected by the divine contained within them. This preservation of a recall of primeval nature, this exemption of the soil from labor, within anxious and careful tillage, is a note of Japan constantly recurring, and a source of perpetual charm. Notwithstanding the men and women working in the fields, there was a certain desolateness in the landscape, and A —— made out its reason more easily than I, and recalled that for miles and miles we had traveled without seeing any of the four-footed beasts which the Western mind always associates with pastoral life and labor. As the evening came on we crossed a large river and looked down from the height of the new bridges upon the discarded ferry-boats, and upon the shape of a more fantastic one that was never meant to sail—a pine-tree, shaped and trimmed, which spread its green mast and sails in a garden by the water. Far away were lines of mountains and the peaks of extinct volcanoes. At every station now the country people gathered to stare at the novelty of the train; we saw the lighting up of the farm- houses as we passed; in the dooryards, behind high hedges reminding me of Normandy, bonfires were being made to keep off mosquitoes: then temples and shrines with lights before them, and at eight o'clock on a festal night we came into Utsunomiya. The streets were full of people carrying lanterns; children ran about together, with little toy shrines, and the whole town was drowned in noise. We got into a basha, a sort of omnibus, attached to two wild horses, and were hurled through the crowded streets, much as if carrying the mails, with apparent disregard of the lives and limbs of the inhabitants. The hotel, where we were expected and where the Doctor had represented us as distinguished visitors, opened its whole front, in a Japanese way, to receive us, for there was no outside wall to the lower floor. We were driven quite into the house, and beheld an entire household drawn up in line on the platform, which occupied a full half of this lower space. The Doctor did all that was right, while we remained in amused embarrassment before our prostrated host and the kneeling attendants. As we sat helpless on the steps of the platform our shoes were taken off, and in stockinged feet we were ushered through the crowd and the lower part of the house, through the preparations for passing travelers, the smell and heat of washing and cookery, and an inexpressibly outrageous odor, even for this land of frightful smells, evidently of the same nature as that of the rice-fields. [Pg 32] [Pg 33] [Pg 34] Notwithstanding this horror, we found, on clambering up the steep little staircase of dark, slippery wood, better fitted to stockings than to boots, a most charming, cleanly apartment ready for us: ready, I say, but its three big rooms, which took all one side of the court, contained nothing but a drawing hanging in each room and a vase filled with flowers; in justice, I ought to add a European table of the simplest make, and three European chairs. Under them was spread a piece of that red cloth which seems to have a fascination for the Japanese—perhaps as being European. Everything was of the cleanest—wall, floor, stairs, tables; everything was dusted, wiped, rubbed, polished. It was too hot and we were too tired to go out and see the town, noisy with the excitement of a festival. The Doctor directed the preparation of a meal on a Japanese basis of rice, mingled and enlivened with the contents of various cans; and meanwhile I went down another little staircase of cleanly white wood, at the farther end of our apartment, to our little private bath-room below. This was about six feet square, and its furniture consisted of a deep lacquer tray to lay clothes in. The bathtub was sunk in the floor, but so that its edge rose high above the level of the room. I had declined the "honorable hot water," which is the Japanese necessity, and obtained cold, against protest. I had yet to learn the luxury and real advantage of the Japanese hot bath. I closed my door, but my window was open, and through its wooden bars I could see our opposite neighbors across the garden of the courtyard—a whole family, father, mother, children, and young daughter—file down to the big bath-room at the corner, whose windows were open to mine. I heard them romp and splash, and saw heads and naked arms shining through the steam. Meditating upon the differences which make propriety in various places, I joined my friends at dinner and listened to what the Doctor had to say upon the Japanese indifference to nudity; how Japanese morals are not affected by the simplicity of their costumes, and that, of course, to the artist it seems a great pity that the new ideas should be changing these habits in a race so naturally law-abiding; for even the government is interfering, and enforcing dress within city limits. Then came the question whether this be a reminiscence of Polynesian ancestry and simplicity, or born of climate and cleanliness. And, indeed, all Japan spends most of its time washing, so that the very runners bathe more times a day than our fine ladies. Meanwhile the servant-girls were spreading for us the blue-green mosquito nettings, put together with bands of orange silk. They were slung by cords from the corners of the beams, which serve for a cornice, and they made a good-sized square tent in the middle of the room. Inside, our beds were made up on the floor, of well-wadded coverlets folded one upon another. One of these I took for a pillow. I have not yet dared to try the block of wood, hollowed out for the nape of the neck, which serves for a pillow in Japan, notwithstanding that it has a pad to relieve its severity—a pad of paper fastened on, and which you remove sheet by sheet as you want a clean pillow-slip. I can understand, however, how precious it must be in a country where the women keep, day and night, undisturbed, those coiffures of marvelous black hair, glistening with camellia oil, the name of which I like better than its perfume. From inside my netting I could see, as I was lying,—for the screens, which made our windows, remained wide open,—through the topmost branches of the trees of the garden, the Japanese family opposite, now ending their evening meal. OUR RUNNER. Laughter and chatter, clattering of cups, rap of pipes against boxes, a young man came in and bent over one of the women seated upon the floor; the girl repeated some prayer, with clapping hands outstretched; the lights were put out, all but the square "ando," or floor night-lantern, and they drew their screens. I fell asleep, to be waked with a start by the watchman, who, every hour, paced through the garden, striking a wooden clapper, and impertinently assured us of [Pg 35] [Pg 36] [Pg 37]