308 
The Garden Magazine, July, 1923 
igaol 
THE LOTUS POOL 
A sequestered spot in which to 
meditate on the message of each 
shrub and tree—the nonchalant 
grace of the Willow, the sturdy 
fortitude of little Pines, the 
Sumach spreading its lovely 
leaves like strong lace in the sun 
—a fascinating contrast of form 
and foliage in many shades of 
green making a satisfying final 
harmony 
THE PATH OF DELIGHT 
The visitor to Mrs. Fabyan’s garden 
falls readily under its spell and might 
imagine himself conjured to that far 
eastward island country, Japan, 
were it not for the Poplars in the 
background which introduce a dis¬ 
tinctively American note 
O NE turns away from 
such a garden with 
somewhat of regret — not 
because one may not return, 
but because it is evident 
that the Oriental finds Na¬ 
ture eloquent when to the 
centre. He who ventures within such a sheltered area finds it 
strange and fantastic. He has a feeling of being out of place. 
Then it is remembered that for once, at least, one is in the midst 
of a picture and not merely looking at one. 
Wild life is not overlooked in a garden of this kind, for this, 
too, is part of Nature. Frogs sun themselves on lily-pads or 
jump unexpectedly from beneath one’s feet into friendly shel¬ 
ters. Many sorts of living things, of course, are not content with 
the limited confines of such a place. To meet this situation the 
Japanese is content with statued images. One almost stumbles 
over a stone rabbit beside a narrow path. A long-legged metal 
stork stands in expectant attitude beside the pool. When some¬ 
what of this is understood, statued figures are seen to have their 
place and serve a purpose. At night, the big stone lantern next 
the water’s edge brings moths and other insects to this quiet 
spot. Thus, reality is lent 
to that which, rightly con¬ 
sidered, is a picture of Na¬ 
ture done in miniature. 
Occidental she is apt, oftentimes, to be mute. In our commer¬ 
cialized and quite materialistic way we are less apt to think of a 
tree as the expression of a creative Power than we are to visualize 
it in terms of raw materials or a mere unit in a landscape setting. 
Stones may be but “ nigger heads” that blunt the plow. Clear 
waters suggest the possibility of sport rather than a medium 
through which mirrored images may reiterate some message for 
the soul. In other words, while Nature serves as an obedient 
mistress, Occidental peoples are in good part blind to her pic¬ 
tures and heed not her poems. To the Japanese, on the other 
hand, each tree and shrub has its message. Even the stones 
have voice. In his garden, the Japanese blends everything into 
a perfect harmony that to him is full of meaning and significance. 
The picture delights his eye; ministers to him in artistic values. 
But the poem has a message for his soul. 
