convention to merit the serious study of races that have produced Cotman
and Corot. Japanese landscape-drawing reduces things seen to such
fewness as must have made the art insuperably tedious to any people less
fresh-spirited and more inclined to take themselves seriously than these
Orientals. A preoccupied people would never endure it. But a little
closer attention from the Occidental student might find for their evasive
attitude towards landscape--it is an attitude almost traitorously
evasive--a more significant reason. It is that the distances, the
greatness, the winds and the waves of the world, coloured plains, and the
flight of a sky, are all certainly alien to the perceptions of a people
intent upon little deformities. Does it seem harsh to define by that
phrase the curious Japanese search for accidents? Upon such search these
people are avowedly intent, even though they show themselves capable of
exquisite appreciation of the form of a normal bird and of the habit of
growth of a normal flower. They are not in search of the perpetual
slight novelty which was Aristotle's ideal of the language poetic ("a
little wildly, or with the flower of the mind," says Emerson of the way
of a poet's speech)--and such novelty it is, like the frequent pulse of
the pinion, that keeps verse upon the wing; no, what the Japanese are
intent upon is perpetual slight disorder. In Japan the man in the fields
has eyes less for the sky and the crescent moon than for some stone in
the path, of which the asymmetry strikes his curious sense of pleasure in
fortunate accident of form. For love of a little grotesque strangeness
he will load himself with the stone and carry it home to his garden. The
art of such a people is not liberal art, not the art of peace, and not
the art of humanity. Look at the curls and curves whereby this people
conventionally signify wave or cloud. All these curls have an attitude
which is like that of a figure slightly malformed, and not like that of a
human body that is perfect, dominant, and if bent, bent at no lowly or
niggling labour. Why these curves should be so charming it would be hard