"My body, and the bodies of others, being born in the Empire of the Gods, to accept unreservedly the teachings of other countries,—such as Confucian, Buddhist, or Taoist doctrines,—and to apply one's whole and undivided attention to them, would be, in short, to desert one's own master, and transfer one's loyalty to another. Is not this to forget the origin of one's being?"
[351] Of course the Shogun, professing to derive his authority from the descendant of the elder gods, could not with consistency have proclaimed the right of freedom to doubt those gods: his official religious duty permitted of no compromise. But the interest attaching to his opinions, as expressed in the Legacy, rests upon the fact that the Legacy was not a public, but a strictly private document, intended for the perusal and guidance of his successors only. Altogether his religious position was much like that of the liberal Japanese statesman of to-day,—respect for whatever is good in Buddhism, qualified by the patriotic conviction that the first religious duty is to the cult of the ancestors, the ancient creed of the race…. Iyeyasu had preferences regarding Buddhism; but even in this he showed no narrowness. Though he wrote in his Legacy, "Let my posterity ever be of the honoured sect of Jodo," he greatly reverenced the high-priest of the Tendai temple, Yeizan, who had been one of his instructors, and obtained for him the highest court-office possible for a Buddhist priest to obtain, as well as the headship of the Tendai sect. Moreover the Shogun visited Yeizan to make there official prayer for the prosperity of the country.
There is every reason to believe that within the territories of the Shogunate proper, comprising the greater part of the Empire, the administration of [352] ordinary criminal law was humane, and that the infliction of punishment was made, in the case of the common people, to depend largely upon circumstances. Needless severity was a crime before the higher military law, which, in such cases, made no distinctions of rank. Although the ring-leaders of a peasant-revolt, for example, would be sentenced to death, the lord through whose oppression the uprising was provoked, would be deprived of a part or the whole of his estates, or degraded in rank, or perhaps even sentenced to perform harakiri. Professor Wigmore, whose studies of Japanese law first shed light upon the subject, has given us an excellent review of the spirit of the ancient legal methods. He points out that the administration of law was never made impersonal in the modern sense; that unbending law did not, for the people at least, exist in relation to minor offences. The Anglo-Saxon idea of inflexible law is the idea of a justice impartial and pitiless as fire: whoever breaks the law must suffer the consequence, just as surely as the person who puts his hand into fire must experience pain. But in the administration of the old Japanese law, everything was taken into consideration: the condition of the offender, his intelligence, his degree of education, his previous conduct, his motives, suffering endured, provocation received, and so forth; and final judgment was decided by moral common sense rather than by legal enactment [353] or precedent. Friends and relatives were allowed to make plea for the offender, and to help him in whatever honest way they could. If a man were falsely accused, and proved innocent upon trial, he would not only be consoled by kind words, but, would probably receive substantial compensation; and it appears that judges were accustomed, at the end of important trials, to reward good conduct as well as to punish crime.* … On the other hand, litigation was officially discouraged. Everything possible was done to prevent any cases from being taken into court, which could be settled or compromised by communal arbitration; and the people were taught to consider the court only as the last possible resort.
[*The following extracts from a sentence said to have been passed by the famous judge, Ooka Tadasuke, at the close of a celebrated criminal trial, are illustrative: "Musashiya Chobei and Goto Hanshiro, these actions of yours are worthy of the highest praise: as a remuneration I award ten silver ryo to each of you…. Tami, you, for maintaining your brother, are to be commended: for this you are to receive the amount of five kwammon. Ko, daughter of Chohachi, you are obedient to your parents: in consideration of this, the sum of five silver ryo is awarded to you."—(See Dening's Japan in Days of Yore.) The good old custom of rewarding notable cases of filial piety, courage, generosity, etc., though not now practised in the courts, is still maintained by the local governments. The rewards are small; but the public honour which they confer upon the recipient is very great.]
The general character of the Tokugawa rule can be to some degree inferred from the foregoing facts. It was in no sense a reign of terror that compelled peace and encouraged industry for two hundred and [354] fifty years. Though the national civilization was restrained, pruned, clipped in a thousand ways, it was at the same time cultivated, refined, and strengthened. The long peace established throughout the Empire what had never before existed,—a universal feeling of security. The individual was bound more than ever by law and custom; but he was also protected: he could move without anxiety to the length of his chains. Though coerced by his fellows, they helped him to bear the coercion cheerfully: everybody aided everybody else to fulfil the obligations and to support the burdens of communal life. Conditions tended, therefore, toward the general happiness as well as toward the general prosperity. There was not, in those years, any struggle for existence,—not at least in our modern meaning of the phrase. The requirements of life were easily satisfied; every man had a master to provide for him or to protect him; competition was repressed or discouraged; there was no need for supreme effort of any sort,—no need for the straining of any faculty. Moreover, there was little or nothing to strive after: for the vast majority of the people, there were no prizes to win. Ranks and incomes were fixed; occupations were hereditary; and the desire to accumulate wealth must have been checked or numbed by those regulations which limited the rich man's right to use his money as he might please. Even a great lord—even the Shogun himself [355] —could not do what he pleased. As for any common person,—farmer, craftsman, or shopkeeper,—he could not build a house as he liked, or furnish it as he liked, or procure for himself such articles of luxury as his taste might incline him to buy. The richest heimin, who attempted to indulge himself in any of these ways, would at once have been forcibly reminded that he must not attempt to imitate the habits, or to assume the privileges, of his betters. He could not even order certain kinds of things to be made for him. The artizans or artists who created objects of luxury, to gratify aesthetic taste, were little disposed to accept commissions from people of low rank: they worked for princes, or great lords, and could scarcely afford to take the risk of displeasing their patrons. Every man's pleasures were more or less regulated by his place in society, and to pass from a lower into a higher rank was no easy matter. Extraordinary men were sometimes able to do this, by attracting the favour of the great. But many perils attended upon such distinction; and the wisest policy for the heimin was to remain satisfied with his position, and try to find as much happiness in life as the law allowed.
Personal ambition being thus restrained, and the cost of existence reduced to a minimum much below our Western ideas of the necessary, there were really established conditions highly favourable to certain forms of culture, in despite of sumptuary [356] regulations. The national mind was obliged to seek solace for the monotony of existence, either in amusement or study. Tokugawa policy had left imagination partly free in the directions of literature and art—the cheaper art; and within those two directions repressed personality found means to utter itself, and fancy became creative. There was a certain amount of danger attendant upon even such intellectual indulgences; and much was dared. Aesthetic taste, however, mostly followed the line of least resistance. Observation concentrated itself upon the interest of everyday life,—upon incidents which might be watched from a window, or studied in a garden,—upon familiar aspects of nature in various seasons,—upon trees, flowers, birds, fishes, or reptiles,—upon insects and the ways of them, —upon all kinds of small details, delicate trifles, amusing curiosities. Then it was that the race-genius produced most of that queer bric-a-brac which still forms the delight of Western collectors. The painter, the ivory-carver, the decorator, were left almost untroubled in their production of fairy-pictures, exquisite grotesqueries, miracles of liliputian art in metal and enamel and lacquer-of-gold. In all such small matters they could feel free; and the results of that freedom are now treasured in the museums of Europe and America. It is true that most of the arts (nearly all of Chinese origin) were considerably developed before the Tokugawa era; but it was then that they [357] began to assume those inexpensive forms which placed aesthetic gratification within reach of the common people. Sumptuary legislation or rule might yet apply to the use and possession of costly production, but not to the enjoyment of form; and the beautiful, whether shaped in paper or in ivory, in clay or gold, is always a power for culture. It has been said that in a Greek city of the fourth century before Christ, every household utensil, even the most trifling object, was in respect of design an object of art; and the same fact is true, though in another and a stranger way, of all things in a Japanese home: even such articles of common use as a bronze candlestick, a brass lamp, an iron kettle, a paper lantern, a bamboo curtain, a wooden pillow, a wooden tray, will reveal to educated eyes a sense of beauty and fitness entirely unknown to Western cheap production. And it was especially during the Tokugawa period that this sense of beauty began to inform everything in common life. Then also was developed the art of illustration; then came into existence those wonderful colour-prints (the most beautiful made in any age or country) which are now so eagerly collected by wealthy dilettanti. Literature also ceased, like art, to be the enjoyment of the upper classes only: it developed a multitude of popular forms. This was the age of popular fiction, of cheap books, of popular drama, of storytelling for young and old…. We may certainly [358] call the Tokugawa period the happiest in the long life of the nation. The mere increase of population and of wealth would prove the fact, irrespective of the general interest awakened in matters literary and aesthetic. It was an age of popular enjoyment, also of general culture and social refinement.
Customs spread downward from the top of society. During the Tokugawa period, various diversions or accomplishments, formerly fashionable in upper circles only, became common property. Three of these were of a sort indicating a high degree of refinement: poetical contests, tea-ceremonies, and the complex art of flower-arrangement. All were introduced into Japanese society long before the Tokugawa regime;—the fashion of poetical competitions must be as old as Japanese authentic history. But it was under the Tokugawa Shogunate that such amusements and accomplishments became national. Then the tea-ceremonies were made a feature of female education throughout the country. Their elaborate character could be explained only by the help of many pictures; and it requires years of training and practice to graduate in the art of them. Yet the whole of this art, as to detail, signifies no more than the making and serving of a cup of tea. However, it is a real art—a most exquisite art. The actual making of the infusion is a matter of no consequence in itself: the supremely important matter is that the act be performed in the most perfect, [359] most polite, most graceful, most charming manner possible. Everything done—from the kindling of the charcoal fire to the presentation of the tea—must be done according to rules of supreme etiquette: rules requiring natural grace as well as great patience to fully master. Therefore a training in the tea-ceremonies is still held to be a training in politeness, in self-control, in delicacy,—a discipline in deportment…. Quite as elaborate is the art of arranging flowers. There are many different schools; but the object of each system is simply to display sprays of leaves and flowers in the most beautiful manner possible, and according to the irregular graces of Nature herself. This art also requires years to learn; and the teaching of it has a moral as well as an aesthetic value.
It was in this period also that etiquette was cultivated to its uttermost,—that politeness became diffused throughout all ranks, not merely as a fashion, but as an art. In all civilized societies of the militant type politeness becomes a national characteristic at an early period; and it must have been a common obligation among the Japanese, as their archaic tongue bears witness, before the historical epoch. Public enactments on the subject were made as early as the seventh century by the founder of Japanese Buddhism, the prince-regent, Shotoku Taishi. "Ministers and functionaries," he proclaimed, [360] "should make decorous behaviour* their leading principle; for their leading principle of the government of the people consists in decorous behaviour. If the superiors do not behave with decorum, the inferiors are disorderly: if inferiors are wanting in proper behaviour, there must necessarily be offences. Therefore it is that when lord and vassal behave with propriety, the distinctions of rank are not confused when the people behave with propriety, the government of the Commonwealth proceeds of itself." Something of the same old Chinese teaching we find reechoed, a thousand years later, in the Legacy of Iyeyasu: "The art of governing a country consists in the manifestation of due deference on the part of a suzerain to his vassals. Know that if you turn your back upon this, you will be assassinated; and the Empire will be lost." We have already seen that etiquette was rigidly enforced upon all classes by the military rule: for at least ten centuries before Iyeyasu, the nation had been disciplined in politeness, under the edge of the sword. But under the Tokugawa Shogunate politeness became particularly a popular characteristic,—a rule of conduct maintained by even the lowest classes in their daily relations. Among the higher classes it became the art of beauty in life. All the taste, the grace, the [361] nicety which then informed artistic production in precious material, equally informed every detail of speech and action. Courtesy was a moral and aesthetic study, carried to such incomparable perfection that every trace of the artificial disappeared. Grace and charm seemed to have become habit,—inherent qualities of the human fibre,—and doubtless, in the case of one sex at least, did so become.
[*Or, "ceremony": the Chinese term used signifying everything relating to gentlemanly and upright conduct. The translation is Mr. Aston's (see Vol. II, p, 130, of his translation of the Nihongi).]
For it has well been said that the most wonderful aesthetic products of Japan are not its ivories, nor its bronzes, nor its porcelains, nor its swords, nor any of its marvels in metal or lacquer—but its women. Accepting as partly true the statement that woman everywhere is what man has made her, we might say that this statement is more true of the Japanese woman than of any other. Of course it required thousands and thousands of years to make her; but the period of which I am speaking beheld the work completed and perfected. Before this ethical creation, criticism should hold its breath; for there is here no single fault save the fault of a moral charm unsuited to any world of selfishness and struggle. It is the moral artist that now commands our praise,—the realizer of an ideal beyond Occidental reach. How frequently has it been asserted that, as a moral being, the Japanese woman does not seem to belong to the same race as the Japanese man! Considering that heredity is limited by sex, there is reason in the assertion: the Japanese woman is an ethically different [362] being from the Japanese man. Perhaps no such type of woman will appear again in this world for a hundred thousand years: the conditions of industrial civilization will not admit of her existence. The type could not have been created in any society shaped on modern lines, nor in any society where the competitive struggle takes those unmoral forms with which we have become too familiar. Only a society under extraordinary regulation and regimentation,—a society in which all self-assertion was repressed, and self-sacrifice made a universal obligation,—a society in which personality was clipped like a hedge, permitted to bud and bloom from within, never from without,—in short, only a society founded upon ancestor-worship, could have produced it. It has no more in common with the humanity of this twentieth century of ours—perhaps very much less—than has the life depicted upon old Greek vases. Its charm is the charm of a vanished world—a charm strange, alluring, indescribable as the perfume of some flower of which the species became extinct in our Occident before the modern languages were born. Transplanted successfully it cannot be: under a foreign sun its forms revert to something altogether different, its colours fade, its perfume passes away. The Japanese woman can be known only in her own country,—the Japanese woman as prepared and perfected by the old-time education for that strange society in which the charm [363] of her moral being,—her delicacy, her supreme unselfishness, her child-like piety and trust, her exquisite tactful perception of all ways and means to make happiness about her,—can be comprehended and valued.