18 THE POPULAR SCIENCE MONTHLY. 



telligible, to our untutored ears; but we soon become familiar 

 with the plaintive notes of the koto or the sonorous vibrations of 

 the samisen, and learn to both recognize and appreciate the quaint 

 minor harmonies and softly worded melody of some love song, or 

 so-fu-ren. 



As I have already had occasion to mention, the dramatic or 

 operatic poems are sung with the accompaniment of the samisen, 

 while the historical poems, or utai, find a musical accompaniment 

 only when recited on the no stage, and then flute and drums are 

 the instruments used. The dramatization of the utai upon the 

 no stages is a very ancient custom, and can only be appreciated 

 by the better educated classes. Correctly speaking, no is a his- 





FACSIMILE OF A POEM BT ARITSUNE. 



torical dance, full of weird mysticisms almost unintelligible to 

 those not conversant with its meaning, but its proper performance 

 is a classic art. It has remained unchanged in the slightest detail 

 for centuries, and through its medium the classic historical poetry 

 of the nation is retained and placed before the appreciative public 

 of the higher class. 



Thus the drama and history of the country, so full of heroism 

 and romance, shape themselves into poetry and song. The blend- 

 ing of art with poetry is another feature typical of the Japanese 

 people. There are two purely Japanese schools of art : the one 

 dealing with the minutest details, and the other with the bold and 

 forcible portrayal of impressions and suggestions, rather than 

 details ; graceful sketches, rather than detailed drawings. " We 



