PART III
JAPAN
I
FIRST IMPRESSIONS OF JAPAN
Japan, surely, must be a mirage created by enchantment. Nothing so beautiful could be real. Take the west coast of Scotland, bathe it in Mediterranean light and sun, and let its waves be those of the Pacific. Take the best of Devonshire, enlarge the hills, extend the plains, and dominate all with the only perfect mountain in the world—a mountain that catches at your breath like a masterpiece of art. Make the copses woods, and the woods forests. For our fields with their hedgerows substitute the vivid green of rice, shining across the gleam of flooded plains. Everywhere let water flow; and at every waterfall and cave erect a little shrine to hallow the spot. Over the whole pour a flood of pure white light, and you have a faint image of Japan. Perhaps it is not, naturally, more beautiful than the British Isles—few countries are. But it is unspoilt by man, or almost so. Osaka, indeed, is as ugly as Manchester, Yokohama as Liverpool. But these are small blots. For the rest, Japan is Japan of the Middle Ages, and lovely as England may have been, when England could still be called merry.
And the people are lovely, too. I do not speak of facial beauty. Some may think, in that respect, the English or the Americans handsomer. But these people have the beauty of life. Instead of the tombstone masques that pass for faces among Anglo-Saxons, they have human features, quick, responsive, mobile. Instead of the slow, long limbs creaking in stiff integuments, they have active members, for the most bare or moving freely in loose robes. Instead of a mumbled, monotonous, machine-like emission of sound they have real speech, vivacious, varied, musical. Their children are the loveliest in the world; so gay, so sturdy, so cheeky, yet never rude. It is a pure happiness merely to walk in the streets and look at them. It is a pure happiness, I might almost say, to look at anyone, so gay is their greeting, so radiant their smile, so full of vitality their gestures. I do not know what they think of the foreigner, but at least they betray no animosity. They let his stiff, ungainly presence move among them unchallenged. Perhaps they are sorry for him; but I think they are never rude. I am speaking, of course, of Old Japan, of the Japan that is all in evidence, if one lands, as I did, in the south, avoids Osaka, and postpones Yokohama and Tokio. It is still the Japan of feudalism; a system in which I, for my part, do not believe; which, in its essence, in Japan as in Europe, was harsh, unjust, and cruel; but which had the art of fostering, or at least of not destroying beauty.
And in this point feudalism in Japan was finer and more sensitive, if it was less grandiose, than feudalism in Europe. There is nothing in Japan to compare with the churches and cathedrals of the West, for there is no stone architecture at all. But there is nothing in the West to compare with the living-rooms of Japan. Suites of these dating from the sixteenth and seventeenth centuries are to be seen in Kyoto and elsewhere. And till I saw them I had no idea how exquisite human life might be made. The Japanese, as is well known, discovered the secret of emptiness. Their rooms consist of a floor of spotless matting, paper walls, and a wooden roof. But the paper walls, in these old palatial rooms, are masterpieces by great artists. From a background of gold-leaf emerge and fade away suggestions of river and coast and hill, of peonies, chrysanthemums, lotuses, of wild geese and swans, of reeds and pools, of all that is elusive and choice in nature; decorations that are also lyric poems, hints of landscape that yet never pretend to be a substitute for the real thing. The real thing is outside, and perhaps it will not intrude; for where we should have glass windows the Japanese have white paper screens. But draw back, if you choose, one of these screens, and you will see a little landscape garden, a little lake, a little bridge, a tiny rockery, a few goldfish, a cluster of irises, a bed of lotus, and, above and beyond, the great woods. These are royal apartments; but all the cost, it will be seen, is lavished on the work of art. The principle is the same in humbler homes.
People who could so devise life, we may be sure, are people with a fineness of perception unknown to the West, unless it were once in ancient Greece. The Japanese indeed, I suspect, are the Greeks of the East. In the theatre at Kyoto this was curiously borne in upon me. On the floor of the house reclined figures in loose robes, bare-necked and barefooted. On the narrow stage were one or two actors, chanting in measured speech, and moving slowly from pose to pose. From boxes on either side of the stage intoned a kind of chorus; and a flute and pizzicato strings accompanied the whole in the solemn strains of some ancient mode. I have seen nothing so like what a Greek play may have been, though doubtless even this was far enough away. And still more was I struck by the resemblance when a comedy succeeded to the tragedy, and I found the young and old Japan confronting one another exactly as the young and old Athens met in debate, two thousand years ago, in the Frogs of Aristophanes. The theme was an ascent of Mount Fuji; the actors two groups of young girls, one costumed as virgin priestesses of the Shinto cult, the other in modern European dress. The one set were climbing the mountain as a pilgrimage, the other as a lark; and they meet and exchange sharp dialectics (unintelligible to me, but not unguessable) on the lower slopes. The sympathies of the author, like those of Aristophanes, were with the old school. It is the pilgrims who reach the top and the modern young women who collapse. And the modern young man fares no better; he is beaten by a coolie and frightened by a ghost. The playwright had at least Aristophanes' gift of lampoon, though I doubt whether he had a touch of his genius. Perhaps, however, he had a better cause. For, I doubt, modern Japan may deserve lampooning more than the Athens of Aristophanes. For modern Japan is the modern West. And that—well, it seemed to be symbolised to me yesterday in the train. In my carriage were two Japanese. One was loosely wrapt in a kimono, bare throat and feet, fine features, fine gestures, everything aristocratic and distinguished. The other was clad in European dress, sprigged waistcoat, gold watch-chain, a coarse, thick-lipped face, a podgy figure. It was a hot July day, and we were passing through some of the loveliest scenery in the world. He first closed all doors and windows, and then extended himself at full length and went to sleep. There he lay, his great paunch sagging—prosperity exuding from every pore—an emblem and type of what in the West we call a "successful" man. And the other? The other, no doubt, was going downhill. Both, of course, were Japanese types; but the civilisation of the West chose the one and rejected the other. And if civilisation is to be judged, as it fairly may be, by the kind of men it brings to the top, there is much to be said for the point of view of my Tory playwright.