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1 I | untranslatable; - I mean that the Japanese ideas attaching to them
2 I | Anywhere, as a general rule, Japanese fight only to kill; and
3 I | the sea are called by the Japanese tsunami. The last one occurred
4 I | on another part of the Japanese coast.~{p. 17}~ He was
5 I | to the experience of the Japanese peasant, at certain seasons
6 I | p. 28}~ I asked a Japanese philosopher and friend to
7 I | all mind, the idea of the Japanese peasant would appear to
8 II | roll of wonderfully written Japanese manuscript, "are Vulgar
9 II | one must be a very good Japanese scholar to meddle with the
10 II | the superior varieties of Japanese poetry. If you care to know
11 II | in Aston's Grammar of the Japanese Written Language, or the
12 II | Classical Poetry of the Japanese. Her poetry is the one original
13 II | syllables in length. Nearly all Japanese poetical metre consists
14 II | masculine lips would sound in Japanese ears much as would sound
15 II | the vast majority of the Japanese chansons des rues et des
16 II(1) | the half-dry beds of the Japanese rivers.~
17 III | special cheap fares on all the Japanese railroad and steamship lines,
18 III | others every lantern had a Japanese paper umbrella spread and
19 III | eighteen inches wide, - a Japanese poem. It was a wonder of
20 III | stamp or seal with which the Japanese calligrapher marks his masterpieces,
21 III | therefore Ito Medzui.~ Even Japanese observers could scarcely
22 III | forests or caverns, being Japanese, or rather Chinese mythological
23 III | laws and the purpose of Japanese garden-construction could
24 III | satisfactory; the only things Japanese were the mattings and a
25 III | doubtless been fitted up for Japanese visitors.~ I noticed that
26 III | much noise to the average Japanese ear; and I felt quite sure
27 III | asked the price; and the Japanese shopkeeper said fifty sen,
28 III | distinct, the Chinese and Japanese . . . were for a long time
29 III | become more definite." Any Japanese of this self-assertive twenty-eighth
30 III | where mermaids swam and sang Japanese~{p. 57}~songs. I saw maidens "
31 III | glamour out of flowers" by a Japanese cultivator of chrysanthemums.
32 III | astounding ingenuity by which Japanese inventors are able to reach,
33 III | vanishing of all that composes a Japanese festival-night really lends
34 III | about the fugitive charm of Japanese amusements, the question
35 III | briefest. At all events, Japanese popular pleasures have the
36 III | excited by the spectacle of Japanese enjoyment, can only be described
37 III | pleasures. The charm of Japanese life presents us with the
38 III | of the past.~ Perhaps Japanese cheap pleasures might be
39 III | happiness, belonging to Japanese common life is to be found
40 III | street, any~{p. 65}~truly Japanese interior, can give real
41 III | freely, is a riddle to which Japanese character alone can furnish
42 III | once rudely jostled. But Japanese crowds are not all alike:
43 III | women; and the most charming Japanese woman I ever saw was in
44 III | we usually call grace in Japanese women is daintiness of form
45 III | why, and was answered, "We Japanese think we can better express
46 III | sinister silence of the Japanese armies before some of the
47 III | weight of armor. But to the Japanese all~{p. 71}~this only made
48 III | clouds, for any educated Japanese, the sense of the humanity
49 III | of the unique pleasure of Japanese travel. In almost any town
50 III | of the tragedy: a small Japanese razor, blood-crusted, with
51 III | revealed that strange state of Japanese exaltation in which the
52 III | feeling shallow. To the Japanese, who recognize that the
53 III | Nothing is more lovely than a Japanese village among the hills
54 IV | little boys and girls, being Japanese and Buddhists, will never,
55 V | V~ABOUT FACES IN JAPANESE ART~I~ A VERY interesting
56 V | interesting essay upon the Japanese art collections in the National
57 V | proved his appreciation of Japanese art by an exposition of
58 V | the decorative element in Japanese art, and of the Ukiyo-yé
59 V | immense industrial value of Japanese stencil designs. He tried
60 V | from the careful study of Japanese methods; and he indicated
61 V | harmony between certain Japanese principles and the doctrines
62 V | enthusiastic admiration of Japanese art could pass without challenge
63 V | important from the study of Japanese methods was practically
64 V | he could not imagine "why Japanese art should be utterly wanting
65 V | lady like the ladies of the Japanese prints; and he described
66 V | criticisms by his excellency the Japanese Minister, with the apologetic
67 V | reflected faithfully the Japanese Zeitgeist, which can scarcely
68 V | endure the foreign praise of Japanese art. Unfortunately, those
69 V | Strange's essay were unjust to Japanese art, they were natural,
70 V | those of the illustrated Japanese newspapers, do not seem
71 V | even if his excellency the Japanese Minister to England be willing
72 V | accept the statement that no Japanese women ever resembled the
73 V | resembled the women of the Japanese picture-books and cheap
74 V | I see the women of the Japanese picture - books in every
75 V | picture - books in every Japanese street. I have beheld in
76 V | of face to be found in a Japanese picture-book: the child
77 V(1) | That Japanese art is capable of great
78 V | understand even the commonest Japanese drawing.~ Before I came
79 V | facial expression in certain Japanese pictures. I confess that
80 V | intense charm of color in Japanese prints; but I had no perception
81 V | blinded me to the meaning of Japanese drawing. And now, having
82 V | with the ordinary class of Japanese prints.~ Perhaps somebody
83 V | the inferior character of Japanese work is proved by the admission
84 V | probably is; and some of Japanese art also is. But I can assure
85 V | just as incomprehensible to Japanese as Japanese drawings are
86 V | incomprehensible to Japanese as Japanese drawings are to Europeans
87 V | never seen Japan. For a Japanese to understand our common
88 V | beauty, or the humor of Japanese drawings, he must know the
89 V | of facial expression in Japanese drawing as conventional.
90 V | conventional. He compared Japanese art on this ground with
91 V | charge worth making against Japanese art. Somebody may respond
92 V | of beauty, while those of Japanese drawing have neither beauty
93 V | is possible only because Japanese art has not yet found its
94 V | a facial angle; but the Japanese conventional face can be
95 V | inexpressive face drawn by the Japanese artists represents the living,
96 V | physiognomical conventionalism in Japanese drawing is just that law
97 V | Society something about. The Japanese artist depicts an insect,
98 V | peculiarities. Therefore the Japanese artist paints the type alone.
99 V | speaks of a collection of Japanese sketches of plants as "the
100 V | cliffs, hills and plains, the Japanese artist gives us the general
101 V | law of the art applies to Japanese representations of the human
102 V | treatment of faces in ordinary Japanese drawing may help to the
103 V | almost everything. But the Japanese artist knows how, by means
104 V | hint is seldom lost upon a Japanese eye.1 Again, an almost imperceptible
105 V(1) | In modem Japanese newspaper illustrations (
106 V(1) | inability to distinguish one Japanese from another, and attributes
107 V(1) | very same effect upon the Japanese. Many and many a one has
108 V | representation of old age, the Japanese artist gives us all the
109 V | notice that the reserves of Japanese art in the matter of facial
110 V | One key to the enigmas of Japanese art is Buddhism.~V~ I
111 V | which it cost. A common Japanese drawing leaves much to the
112 V | individualized. Everything in a Japanese drawing is impersonal and
113 V | law.~ One may often hear Japanese say that Western art is
114 V | realism in it which offends Japanese taste, especially in the
115 V | detail. And in the higher Japanese art, as in the Greek, the
116 V | physiognomical detail in Japanese art is that this suppression
117 V | systematization of natural law, this Japanese~{p. 116}~art is by its method
118 V | aspirational art (whether Japanese or old Greek), is, on the
119 V | orbits."~ Both Greek and Japanese art recognized the physiognomical
120 V | dream of feature perfected. Japanese realism, so much larger
121 V | equally by Greek art and by Japanese~{p. 118}~art, namely, the
122 V | Greek art, but even below Japanese. Greek art expressed the
123 V | beautiful and the divinely wise. Japanese art reflects the simple
124 V | American illustrations to Japanese children, and hearing their
125 V | signifies a great deal in Japanese~{p. 123}~physiognomy, and
126 V | I set before her a Japanese picture-book, - a book of
127 VI(1) | The long sleeve of the Japanese robe is used to wipe the
128 VI(1) | a frequent expression in Japanese poetry.
129 VII | bankers and creditors of the Japanese princes: they exchanged
130 VII | foreigners~{p. 135}~and by Japanese, that Kobé will become the
131 VII | there are few comfortable Japanese homes in any part of the
132 VII | superior to the average Japanese petty official as a prince
133 VII | would probably find him in Japanese costume, - dressed as only
134 VII | Italian in disguise than a Japanese.~II~ From the reputation
135 VII | least characteristically Japanese, of all Japanese cities.
136 VII | characteristically Japanese, of all Japanese cities. But Ôsaka is the
137 VII | Ôsaka remains almost as Japanese as anybody could wish. Although
138 VII | of building: indeed, no Japanese city shows less favor than
139 VII | Shimbun" is the greatest of Japanese newspapers, - perhaps the
140 VII | reflection of all phases of Japanese life, old or new, as Punch
141 VII(1) | In Japanese popular legend, Daruma (
142 VII(1) | quarters of the world. In Japanese their names are Jikoku,
143 VII | called the Constantine of Japanese Buddhism; for he decided
144 VII | indescribable. Even for a Japanese I imagine it must be like
145 VII | moustaches, is a typical Japanese face, - dignified, kindly,
146 VII | modern and the most purely Japanese form of Buddhist architecture, -
147 VII | dead; and the majority of Japanese Buddhists still disapprove
148 VII | beloved in memory of all Japanese emperors. He had a palace
149 VII | partly full, - so that in a Japanese song the wine-lover is made
150 VII | readers probably know that the Japanese tanuki1 is credited with
151 VII | in a former essay that a Japanese city is little more than
152 VII | wooden dwellings of any Japanese city are works of art; and
153 VII | houses only. Exteriorly a Japanese street may appear little
154 VII | Usually the outside of a Japanese house is not at all beautiful,
155 VII | this possibility; - for the Japanese excel all nations in obtaining
156 VII | maximum of cost! Much about Japanese interiors can be learned
157 VII | be learned from Morse's "Japanese Homes;" but even that admirable
158 VII | little acquaintance with the Japanese art of flower arrangement
159 VII | add that familiarity with Japanese interiors has equally disgusted
160 VII | learn from the study of Japanese pictorial art. But I am
161 VII | surfaces - from the study of Japanese interiors. Whether the countless
162 VII | that in a hundred thousand Japanese houses there are two interiors
163 VII | the vulgar! But taste is a Japanese birthright.~{p. 176}~It
164 VII | the West most admires in Japanese conventional taste is thought
165 VII | aristocratic severity of the best Japanese taste - the exquisite complexity
166 VII | understand the charm of a Japanese inn, or even think how much
167 VII | have been in hundreds of Japanese hotels, and I remember only
168 VII | of the silk merchants. A Japanese acquaintance, himself a
169 VII | floor-platform, which, in every Japanese shop, serves at once for
170 VII | no shelving of stock. The Japanese salesman never leaves his
171 VII | posted at the side-doors. (Japanese shop-thieves, by the way,
172 VII | taught from childhood."~ "A Japanese clerk in a foreign store
173 VII | as they are treated in a Japanese house. Clever men do not
174 VII | to be very cruel to their Japanese clerks and servants."~ "
175 VII | used to beat and kick them. Japanese think it shameful to even
176 VII | No foreigner could get Japanese to work. like that, even
177 VII | intelligent service rendered in Japanese trade and skilled industry
178 VIII | VIII~BUDDHIST ALLUSIONS IN JAPANESE FOLK-SONG~ PERHAPS only
179 VIII | FOLK-SONG~ PERHAPS only a Japanese representative of the older
180 VIII | A bewildering variety of Japanese songs - a variety of which
181 VIII | kind; but they swarm in Japanese poetry oven as commonplaces
182 VIII | years, - could interest a Japanese only as the exceptional
183 VIII | be able to find in these Japanese verses - or, rather, in
184 VIII | Dreams and the every-day Japanese utterances that spring directly
185 VIII | two lives, the vow - (as Japanese dramas testify, and as the
186 VIII(1)| name. The snow-men made by Japanese children have the same traditional
187 VIII(1)| traditional form. - The Japanese friend who helped me to
188 VIII(2)| thus interpreted by my Japanese friend: "The more kind he
189 VIII | Wasurété ka?~Shakamuni is the Japanese rendering of "Sakyamuni;" "
190 VIII | Buddha." But saka-sama is a Japanese word meaning "topsy-turvy," "
191 VIII(2)| attempted rendering of the Japanese word nushi, signifying "
192 VIII | power, the reconstruction of Japanese society, and the introduction
193 VIII | not the first example in Japanese history of the use of popular
194 IX | then preach the law) is a Japanese proverb signifying that
195 IX(1) | On the other hand, the Japanese scholar speaks of Nehan
196 IX | these intermediate stages. A Japanese friend has drawn for me
197 IX(1) | is a term used in some Japanese texts to describe such entity.
198 IX | attempt at a synthesis of the Japanese doctrines) as composed of
199 IX | have been made, like other Japanese pictures, with bold free
200 X | the translation of an old Japanese document - or rather series
201 X(1) | that the year in which a Japanese child is born is counted
202 X(2) | advice is a commonplace in Japanese Buddhist literature. By
203 X(1) | The cooking-place in a Japanese kitchen. Sometimes the word
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