INTRODUCTION. 59 



Of the merits of the Japanese hooks it is impossible for us to si)eak with much confidence. 

 Very few Europeans or Americans know anything of the language ; it is not the easiest of acqui-. 

 sition; and yet, all we have of the Japanese hooks is in translation. We doubt if any western 

 scholar has ever yet mastered it thoroughly, for opportunity has been wanting ; and very sure 

 we are that Klaproth accuses Titsingh of ignorance, and Siebold and Hoffman similarly accuse 

 Klaproth, while a Japanese at our side informs us that all are mistaken. Now, without a 

 thorough understanding of the language, no translation can convey a correct idea of the 

 sentiments expressed, much less of tlie spirit embodied in the original. An ex cathedra critical 

 opinion on the Japanese literature is, therefore, premature. Let us hope that, ere long, both 

 Europeans and Americans will master the language completely ; and then let them speak. 



J§(.s/c. — The Japanese music, of which, by the way, the natives are passionately fond, has 

 nothing in it to recommend it to the ears of Europeans or Americans. The principal instrument 

 is the samsic or guitar, and every young female of the upper classes is taught to play upon it. 

 It is the invariable accompaniment of ladies when they go to parties ; and on these occasions the 

 female guests sing and play by turns. They have, besides, various other instruments, but little 

 can be said in commendation of their music. 



Arts of design, paintings, prints, &c.- — In this department they have made some progress, 

 and in certain branches have attained to no small skill. Of anatomy, as we have already said, 

 they know nothing, and consequently are no sculptors ; neither are they portrait painters. 

 They are ignorant of perspective, and, therefore, cannot paint a landscape ; but in the repre- 

 sentation of a single object, their accuracy of detail and truthful adherence to nature cannot be 

 surpassed. Their deficiency is in composition. Nothing is more beautiful than their delineations 

 of a flower, or a fruit,^nd especially of birds. The drawing is accurate and the coloring perfect. 

 They make, too, colors which European artists pronounce to be unrivalled ; and some of which 

 excel any we can produce. The Japanese are very fond of painting, and are eager collectors of 

 pictures. They sketch boldly with charcoal or ink ; and of an isolated object the drawing, as 

 we have said, is apt to be good. They do not paint in oil at all ; all their specimens are in 

 water colors, the management of which they certainly understand very well. 



They have prints in great abundance ; all, however, are made from wood cuts, and very often 

 are printed in colors. Engraving on copper has but recently been introduced among them, and 

 as it has been adopted with great eagerness, it will probably be prosecuted with success. 



We have already said that they make castings in metal of vases and images, and the sides of 

 their bells are adorned with bas-reliefs. 



They cannot be said to understand architecture as an art, though they cut stone and lay it 

 skilfully enough ; nor have they any skill in the work of the lapidary. The country produces 

 precious stones, but they do not know how to cut or polish them. Hence there is very little 

 jewelry worn by either sex. But they have a substitute for jewels, such as we cannot make. 

 This is called syaJcfdo, in which various metals are so blended and combined that they produce 

 an efiect resembling, very much, fine enamel. This is used, instead of precious stones, for 

 girdle clasps, sword hilts, boxes, and other ornamental work. 



