An Artist's Letters from Japan

by John La Farge

All these words—miscalled ideas—poured out by my German friend and his congeners are merely records of merchants' ways of looking at the use of a thing, not at the thing itself. Such people are persuaded that they must surely know about the thing they sell or furnish. If not they, then who? For none can be so impartial, as none are so disinterested, in the use of the thing sold.

It is too far back for you to remember the charming Blanco, the great slave-dealer, but you may have heard of his saying, which covers the side of the dealer. He had been asked why he felt so secure in his judgment of his fellow-creatures, and especially of women. "Because," said he, "I have traded in so many"—J'en ai tant vendu. I have sometimes quoted this saying to dealers in works of art, to dealers in knowledge about art, without, however, any success in pleasing them. In fact, one has no judgment of one's own in regard to anything sold that is not a matter of utility until one feels quite thoroughly, as if it were one's own, the sense of Talleyrand's treatment of the persuasive dealer. I am sure that you do not know the story. Two friends of his, ladies of rank, had chosen his study as a place of meeting. They wished to select some ring, some bracelet, for a gift, and the great jeweler of Paris was to send one of his salesmen with sufficient to choose from. Of course the choice was soon limited to two, and there paused, until Talleyrand, sitting at the farther end of the long library, called out, "Let me undertake to help you to make your decision. Young man, of these two trinkets tell me which you prefer." "This one, certainly, your Excellency." "Then," ended the experienced cynic, "please accept it for your sweetheart; and I think, ladies, that you had better take the other." I tell you anecdotes; are they not as good as reasons?

Listen to what my Chinese writer says: "Of language put into other people's mouths, nine-tenths will succeed. Of language based upon weighty authority, seven-tenths. But language which flows constantly over, as from a full goblet, is in accord with God. When language is put into other people's mouths, outside support is sought. Just as a father does not negotiate his son's marriage, for any praise he could bestow would not have the same value as praise by an outsider. Thus the fault is not mine, but that of others, who would not believe me as the original speaker." Again, a story of China comes back to me, told by the same writer, who lived before our purer era, and who was, as a Japanese friend remarks, a strategist in thought, fond of side attacks, of presenting some point apparently anecdotic and unimportant, which, once listened to, turns the truthful mind into channels of fresh inquiry. The anecdote is old, told by the old writer many centuries before Christ, and before any reflections about art troubled our barbarian minds.

It is about a court architect who flourished in celebrity some twenty-seven centuries ago, and who answered admiring queries as to how he did such wonderful things. "There is nothing supernatural about it," he said. "I first free my mind and preserve my vitality—my dependence upon God. Then, after a few days, the question of how much money I shall make disappears; a few more days, and I forget fame and the court whose architect I am; another day or so, and I think only of THE THING ITSELF. Then I am ready to go into the forest"—the architect and the carpenter were one then—"whose wood must contain the form I shall seek. As you see, there is nothing supernatural about it."

Twenty-seven centuries ago the formula of all good work was the same as it has been since. This looking for "the thing itself," not for the formula to control it, enabled men who were great and men who were little, far down toward us, far down into the times of the Renaissance (until pedantry and night covered human freedom and integrity), to be painters or poets, sculptors or architects, as the occasion required, to the astonishment of our narrowed, specialized vision of the last two hundred years.

Again, if I have not put it clearly enough in this story of the far East, let me add another, which includes the meaning of the first. You will forgive it in honor of the genius loci, for these writings of the Chinese philosophers form a staple of conversation and discussion in social gatherings of cultivated people here. The story is of the greatest of Chinese rulers, the "Yellow Emperor" of some forty-seven centuries ago. He was in pursuit of that law of things, that sufficient ideal which is called "Tao" ("the Way"), and he sought it in the wilds beyond the world known of China, in the fabulous mountains of Chu-tzu. He was accompanied by Ch'ang Yu and Chang Jo, and others of whom I know nothing; and Fang Ming, of whom I know nothing also, was their charioteer. When they had reached the outside wilderness these seven sages lost their way. By and by they fell in with a boy who was tending horses, and they asked him if he knew the Chu-tzu Mountains. "I do," said the boy. "And can you tell us," said the sages, "where Tao, the law, abides?" "I can," replied the boy. "This is strange," said the Yellow Emperor. "Pray tell me how would you govern the empire?"

"I should govern the empire," replied the boy, "in the same way that I tend my horses. What else should I do? When I was a little boy and lived within the points of the compass my eyes grew dim. An old man advised me to visit the wilderness outside of the world. My sight is now better, and I continue to dwell outside of the points of the compass. I should govern the empire in the same way. What else should I do?"

Said the Yellow Emperor, "Government is not your trade, but I should be glad to learn what you would do." The boy refused to answer, but being urged again, said: "What difference is there between governing the empire and looking after horses? See that no harm comes to the horses; that is all."

Thereupon the emperor prostrated himself before the boy; and calling him divine teacher, took his leave.

I am writing these vagaries by the sound of the waterfall in our garden; half of the amados are closed; the paper screens near me I have left open, and the moths and insects of the night flutter around my lamp in orbits as uncertain as the direction of my thoughts. I have given up my drawing; it is too hot to work. And I have already tired myself with looking over prints and designs. Among them there is a sketch by Hokusai which reminds me of the way in which my mind bestrides stray fancies that float past. The picture is that of Tekkai (the beggar), the Sennin exhaling his spiritual essence in a shadowy form, which shadow itself often rides away upon the spirit horse that Chokwaro or Tsuga evokes occasionally from his traveling-gourd.