"She is more beautiful than day."
My students could understand the use of the adjective "beautiful" to qualify "day," and the use of the same adjective, separately, to qualify the word "maid." But that there could exist in any mortal mind the least idea of analogy between the beauty of day and the beauty of a young woman was quite beyond their understanding. In order to convey to them the poet's thought, it was necessary to analyze it psychologically,—to prove a possible nervous analogy between two modes of pleasurable Feeling excited by two different impressions.
Thus, the very nature of the language tells us how ancient and how deeply rooted in racial character are those tendencies by which we must endeavor to account—if there be any need of accounting at all—for the absence in this Far East of a dominant ideal corresponding to our own. They are causes incomparably older than the existing social structure, older than the idea of the family, older than ancestor worship, enormously older than that Confucian code which is the reflection rather than the explanation of many singular facts in Oriental life. But since beliefs and practices react upon character, and character again must react upon practices and beliefs, it has not been altogether irrational to seek in Confucianism for causes as well as for explanations. Far more irrational have been the charges of hasty critics against Shintō and against Buddhism as religious influences opposed to the natural rights of woman. The ancient faith of Shintō has been at least as gentle to woman as the ancient faith of the Hebrews. Its Female divinities are not less numerous than its masculine divinities, nor are they presented to the imagination of worshipers in a form much less attractive than the dreams of Greek mythology. Of some, like So-tohori-no-Iratsume, it is said that the light of their beautiful bodies passes through their garments; and the source of all life and light, the eternal Sun, is a goddess, fair Ama-terasu-oho-mi-kami. Virgins serve the ancient gods, and figure in all the pageants of the faith; and in a thousand shrines throughout the land the memory of woman as wife and mother is worshiped equally with the memory of man as hero and father. Neither can the later and alien faith of Buddhism be justly accused of relegating woman to a lower place in the spiritual world than monkish Christianity accorded her in the West. The Buddha, like the Christ, was born of a virgin; the most lovable divinities of Buddhism, Jizō excepted, are Feminine, both in Japanese art and in Japanese popular fancy; and in the Buddhist as in the Roman Catholic hagiography, the lives of holy women hold honored place. It is true that Buddhism, like early Christianity, used its utmost eloquence in preaching against the temptation of Female loveliness; and it is true that in the teaching of its founder, as in the teaching of Paul, social and spiritual supremacy is accorded to the man. Yet, in our search for texts on this topic, we must not overlook the host of instances of favor shown by the Buddha to women of all classes, nor that remarkable legend of a later text, in which a dogma denying to woman the highest spiritual opportunities is sublimely rebuked.
In the eleventh chapter of the Sutra of the Lotus of the Good Law, it is written that mention was made before the Lord Buddha of a young girl who had in one instant arrived at supreme knowledge; who had in one moment acquired the merits of a thousand meditations, and the proofs of the essence of all laws. And the girl came and stood in the presence of the Lord.
But the Bodhissattva Pragnakuta doubted, saying, "I have seen the Lord Sakyamuni in the time when he was striving for supreme enlightenment, and I know that he performed good works innumerable through countless aeons. In all the world there is not one spot so large as a grain of mustard-seed where he has not surrendered his body for the sake of living creatures. Only after all this did he arrive at enlightenment. Who then may believe this girl could in one moment have arrived at supreme knowledge?"
And the venerable priest Sariputra likewise doubted, saying, "It may indeed happen, O Sister, that a woman fulfill the six perfect virtues; but as yet there is no example of her having attained to Buddhaship, because a woman cannot attain to the rank of a Bodhissattva."
But the maiden called upon the Lord Buddha to be her witness. And instantly in the sight of the assembly her sex disappeared; and she manifested herself as a Bodhissattva, filling all directions of space with the radiance of the thirty-two signs. And the world shook in six different ways. And the priest Sariputra was silent.1
V
But to Feel the real nature of what is surely one of the greatest obstacles to intellectual sympathy between the West and the Far East, we must fully appreciate the immense effect upon Occidental life of this ideal which has no existence in the Orient. We must remember what that ideal has been to Western civilization,—to all its pleasures and refinements and luxuries; to its sculpture, painting, decoration, architecture, literature, drama, music; to the development of countless industries. We must think of its effect upon manners, customs, and the language of taste, upon conduct and ethics, upon endeavor, upon philosophy and religion, upon almost every phase of public and private life,—in short, upon national character. Nor should we forget that the many influences interfused in the shaping of it—Teutonic, Celtic, Scandinavian, classic, or mediaeval, the Greek apotheosis of human beauty, the Christian worship of the mother of God, the exaltations of chivalry, the spirit of the Renascence steeping and coloring all the preexisting idealism in a new sensuousness—must have had their nourishment, if not their birth, in a race Feeling ancient as Aryan speech, and as alien to the most eastern East.
Of all these various influences combined to form our ideal, the classic element remains perceptibly dominant. It is true that the Hellenic conception of human beauty, so surviving, has been wondrously informed with a conception of soul beauty never of the antique world nor of the Renascence. Also it is true that the new philosophy of evolution, forcing recognition of the incalculable and awful cost of the Present to the Past, creating a totally new comprehension of duty to the Future, enormously enhancing our conception of character values, has aided more than all preceding influences together toward the highest possible spiritualization of the ideal of woman. Yet, however further spiritualized it may become through future intellectual expansion, this ideal must in its very nature remain fundamentally artistic and sensuous.
We do not see Nature as the Oriental sees it, and as his art proves that he sees it. We see it less realistically, we know it less intimately, because, save through the lenses of the specialist, we contemplate it anthropomorphically. In one direction, indeed, our aesthetic sense has been cultivated to a degree incomparably finer than that of the Oriental but that direction has been passional. We have learned something of the beauty of Nature through our ancient worship of the beauty of woman. Even from the beginning it is probable that the perception of human beauty has been the main source of all our aesthetic sensibility. Possibly we owe to it likewise our idea of proportion;1 our exaggerated appreciation of regularity; our fondness for parallels, curves, and all geometrical symmetries. And in the long process of our aesthetic evolution, the ideal of woman has at last become for us an aesthetic abstraction. Through the illusion of that abstraction only do we perceive the charms of our world, even as forms might be perceived through some tropic atmosphere whose vapors are iridescent.
Nor is this all. Whatsoever has once been likened to woman by art or thought has been strangely informed and transformed by that momentary symbolism: wherefore, through all the centuries Western fancy has been making Nature more and more Feminine. Whatsoever delights us imagination has Feminized,—the infinite tenderness of the sky,—the mobility of waters,—the rose of dawn,—the vast caress of Day,—Night, and the lights of heaven,—even the undulations of the eternal hills. And flowers, and the flush of fruit, and all things fragrant, fair, and gracious; the genial seasons with their voices ; the laughter of streams, and whisper of leaves, and ripplings of song within the shadows;—all sights, or sounds, or sensations that can touch our love of loveliness, of delicacy, of sweetness, of gentleness, make for us vague dreams of woman. Where our fancy lends masculinity to Natu
re, it is only in grimness and in force,—as if to enhance by rugged and mighty contrasts the witchcraft of the Eternal Feminine. Nay, even the terrible itself, if fraught with terrible beauty,—even Destruction, if only shaped with the grace of destroyers,—becomes for us Feminine. And not beauty alone, of sight or sound, but well-nigh all that is mystic, sublime, or holy, now makes appeal to us through some marvelously woven intricate plexus of passional sensibility. Even the subtlest forces of our universe speak to us of woman; new sciences have taught us new names for the thrill her presence wakens in the blood, for that ghostly shock which is first love, for the eternal riddle of her fascination. Thus, out of simple human passion, through influences and transformations innumerable, we have evolved a cosmic emotion, a Feminine pantheism.
VI
And now may not one venture to ask whether all the consequences of this passional influence in the aesthetic evolution of our Occident have been in the main beneficial? Underlying all those visible results of which we boast as art triumphs, may there not be lurking invisible results, some future revelation of which will cause more than a little shock to our self-esteem? Is it not quite possible that our aesthetic faculties have been developed even abnormally in one direction by the power of a single emotional idea which has left us nearly, if not totally blind to many wonderful aspects of Nature? Or rather, must not this be the inevitable effect of the extreme predominance of one particular emotion in the evolution of our aesthetic sensibility? And finally, one may surely be permitted to ask if the predominating influence itself has been the highest possible, and whether there is not a higher, known perhaps to the Oriental soul.
I may only suggest these questions, without hoping to answer them satisfactorily. But the longer I dwell in the East, the more I Feel growing upon me the belief that there are exquisite artistic faculties and perceptions, developed in the Oriental, of which we can know scarcely more than we know of those unimaginable colors, invisible to the human eye, yet proven to exist by the spectroscope. I think that such a possibility is indicated by certain phases of Japanese art.
Here it becomes as difficult as dangerous to particularize. I dare hazard only some general observations. I think this marvelous art asserts that, out of the infinitely varied aspects of Nature, those which for us hold no suggestion whatever of sex character, those which cannot be looked at anthropōmorphically, those which are neither masculine nor Feminine, but neuter or nameless, are those most profoundly loved and comprehended by the Japanese. Nay, he sees in Nature much that for thousands of years has remained invisible to us; and we are now learning from him aspects of life and beauties of form to which we were utterly blind before. We have finally made the startling discovery that his art—notwithstanding all the dogmatic assertions of Western prejudice to the contrary, and notwithstanding the strangely weird impression of unreality which at first it produced—is never a mere creation of fantasy, but a veritable reflection of what has been and of what is: wherefore we have recognized that it is nothing less than a higher education in art simply to look at his studies of bird life, insect life, plant life, tree life. Compare, for example, our very finest drawings of insects with Japanese drawings of similar subjects. Compare Giacomelli's illustrations to Michelet's "L'Insecte" with the commonest Japanese figures of the same creatures decorating the stamped leather of a cheap tobacco pouch or the metal work of a cheap pipe. The whole minute exquisiteness of the European engraving has accomplished only an indifferent realism, while the Japanese artist, with a Few dashes of his brush, has seized and reproduced, with an incomprehensible power of interpretation, not only every peculiarity of the creature's shape, but every special characteristic of its motion. Each figure flung from the Oriental painter's brush is a lesson, a revelation, to perceptions unbeclouded by prejudice, an opening of the eyes of those who can see, though it be only a spider in a wind-shaken web, a dragon-fly riding a sunbeam, a pair of crabs running through sedge, the trembling of a fish's fins in a clear current, the lilt of a flying wasp, the pitch of a flying duck, a mantis in fighting position, or a semi toddling up a cedar branch to sing. All this art is alive, intensely alive, and our corresponding art looks absolutely dead beside it.
Take, again, the subject of flowers. An English or German flower painting, the result of months of trained labor, and valued at several hundred pounds, would certainly not compare as a nature study, in the higher sense, with a Japanese flower painting executed in twenty brush strokes, and worth perhaps five sen. The former would represent at best but an ineffectual and painful effort to imitate a massing of colors. The latter would prove a perfect memory of certain flower shapes instantaneously flung upon paper, without any model to aid, and showing, not the recollection of any individual blossom, but the perfect realization of a general law of form expression, perfectly mastered, with all its moods, tenses, and inflections. The French alone, among Western art critics, seem fully to understand these Features of Japanese art; and among all Western artists it is the Parisian alone who approaches the Oriental in his methods. Without lifting his brush from the paper, the French artist may sometimes, with a single wavy line, create the almost speaking figure of a particular type of man or woman. But this high development of faculty is confined chiefly to humorous sketching; it is still either masculine or Feminine. To understand what I mean by the ability of the Japanese artist, my reader must imagine just such a power of almost instantaneous creation as that which characterizes certain French work, applied to almost every subject except individuality, to nearly all recognized general types, to all aspects of Japanese nature, to all forms of native landscape, to clouds and flowing water and mists, to all the life of woods and fields, to all the moods of seasons and the tones of horizons and the colors of the morning and the evening. Certainly, the deeper spirit of this magical art seldom reveals itself at first sight to unaccustomed eyes, since it appeals to so little in Western aesthetic experience. But by gentle degrees it will so enter into an appreciative and unprejudiced mind as to modify profoundly therein almost every preexisting sentiment in relation to the beautiful. All of its meaning will indeed require many years to master, but something of its reshaping power will be Felt in a much shorter time when the sight of an American illustrated magazine or of any illustrated European periodical has become almost unbearable.
Psychological differences of far deeper import are suggested by other facts, capable of exposition in words, but not capable of interpretation through Western standards of aesthetics or Western Feeling of any sort. For instance, I have been watching two old men planting young trees in the garden of a neighboring temple. They sometimes spend nearly an hour in planting a single sapling. Having fixed it in the ground, they retire to a distance to study the position of all its lines, and consult together about it. As a consequence, the sapling is taken up and replanted in a slightly different position. This is done no less than eight times before the little tree can be perfectly adjusted into the plan of the garden. Those two old men are composing a mysterious thought with their little trees, changing them, transferring them, removing or replacing them, even as a poet changes and shifts his words, to give to his verse the most delicate or the most forcible expression possible.
In every large Japanese cottage there are several alcoves, or tokonoma, one in each of the principal rooms. In these alcoves the art treasures of the family are exhibited.1 Within each toko a kakemono is hung; and upon its slightly elevated floor (usually of polished wood) are placed flower vases and one or two artistic objects. Flowers are arranged in the toko vases according to ancient rules which Mr. Conder's beautiful book will tell you a great deal about; and the kakemono and the art objects there displayed are changed at regular intervals, according to occasion and season. Now, in a certain alcove, I have at various times seen many different things of beauty: a Chinese statuette of ivory, an incense vase of bronze,—representing a cloud-riding pair of dragons,—the wood carving of a Buddhist pilgrim resting by the wayside and mopping his bald pate, master
pieces of lacquer ware and lovely Kyōto porcelains, and a large stone placed on a pedestal of heavy, costly wood, expressly made for it. I do not know whether you could see any beauty in that stone; it is neither hewn nor polished, nor does it possess the least imaginable intrinsic value. It is simply a gray water-worn stone from the bed of a stream. Yet it cost more than one of those Kyōto vases which sometimes replace it, and which you would be glad to pay a very high price for.
In the garden of the little house I now occupy in Kumamoto, there are about fifteen rocks, or large stones, of as many shapes and sizes. They also have no real intrinsic value, not even as possible building material. And yet the proprietor of the garden paid for them something more than seven hundred and fifty Japanese dollars, or considerably more than the pretty house itself could possibly have cost. And it would be quite wrong to suppose the cost of the stones due to the expense of their transportation from the bed of the Shirakawa. No; they are worth seven hundred and fifty dollars only because they are considered beautiful to a certain degree, and because there is a large local demand for beautiful stones. They are not even of the best class, or they would have cost a great deal more. Now, until you can perceive that a big rough stone may have more aesthetic suggestiveness than a costly steel engraving, that it is a thing of beauty and a joy forever, you cannot begin to understand how a Japanese sees Nature. "But what," you may ask, "an be beautiful in a common stone?" Many things; but I will mention only one,—irregularity.
Out of the East Page 7
