
The Project Gutenberg EBook of Japanese Prints, by John Gould Fletcher

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net


Title: Japanese Prints

Author: John Gould Fletcher

Illustrator: Dorothy Pulis Lathrop

Release Date: November 8, 2008 [EBook #27199]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK JAPANESE PRINTS ***




Produced by The Online Distributed Proofreading Team at
http://www.pgdp.net (This file was produced from images
generously made available by The Internet Archive/American
Libraries.)

Japanese Prints

By John Gould Fletcher

Japanese Prints

Goblins and Pagodas

Irradiations: Sand and Spray

"Of what is she dreaming?
Of long nights lit with orange lanterns,
Of wine-cups and compliments and kisses of the two-sword men."

Japanese Prints

By

John Gould Fletcher

With Illustrations By
Dorothy Pulis Lathrop

Boston
The Four Seas Company
1918

The Four Seas Press
Boston, Mass., U.S.A.

To My Wife

Granted this dew-drop world be but a dew-drop world,
This granted, yet—

Preface		11
Part I.
	Lovers Embracing	21
	A Picnic Under the Cherry Trees	22
	Court Lady Standing Under Cherry Tree	23
	Court Lady Standing Under a Plum Tree	24
	A Beautiful Woman	25
	A Reading	26
	An Actor as a Dancing Girl	27
	Josan No Miya	28
	An Oiran and Her Kamuso	29
	Two Ways Of Love	30
	Kurenai-ye or "Red Picture"	31
	A Woman Standing by a Gate with an Umbrella	32
	Scene from a Drama	33
	A Woman in Winter Costume	34
	A Pedlar	35
	Kiyonobu and Kiyomasu Contrasted	36
	An Actor	37
Part II.
	Memory and Forgetting	41
	Pillar-Print, Masonobu	42
	The Young Daimyo	43
	Masonubu—Early	44
	The Beautiful Geisha	45
	A Young Girl	46
	The Heavenly Poetesses	47
	The Old Love and The New	48
	Fugitive Thoughts	49
	Disappointment	50
	The Traitor	51
	The Fop	52
	Changing Love	53
	In Exile	54
	The True Conqueror	55
	Spring Love	56
	The Endless Lament	57
	Toyonobu. Exile's Return	58
	Wind and Chrysanthemum	59
	The Endless Pilgrimage	60
Part III.
	The Clouds	63
	Two Ladies Contrasted	64
	A Night Festival	65
	Distant Coasts	66
	On the Banks of the Sumida	67
	Yoshiwara Festival	68
	Sharaku Dreams	69
	A Life	70
	Dead Thoughts	71
	A Comparison	72
	Mutability	73
	Despair	74
	The Lonely Grave	75
Part IV.
	Evening Sky	79
	City Lights	80
	Fugitive Beauty	81
	Silver Jars	82
	Evening Rain	83
	Toy-Boxes	84
	Moods	85
	Grass	86
	A Landscape	87
	Terror	88
	Mid-Summer Dusk	89
	Evening Bell from a Distant Temple	90
	A Thought	91
	The Stars	92
	Japan	93
	Leaves	94

List of Illustrations

"Of what is she dreaming? Of long nights lit with orange lanterns, Of wine-cups and compliments and kisses of the two-sword men."	Frontispiece
Headpiece—Part I	19
Tailpiece—Part I	37
Headpiece—Part II	39
"Out of the rings and the bubbles, The curls and the swirls of the water, Out of the crystalline shower of drops shattered in play, Her body and her thoughts arose."	46
"The cranes have come back to the temple, The winds are flapping the flags about, Through a flute of reeds I will blow a song."	58
Tailpiece—Part II	60
Headpiece—Part III	61
"Then in her heart they grew, The snows of changeless winter, Stirred by the bitter winds of unsatisfied desire."	70
Tailpiece—Part III	75
Headpiece—Part IV	77
Headpiece—Part IV	94
"The green and violet peacocks Through the golden dusk Stately, nostalgically, Parade."	Endleaf

[11]

Preface

At the earliest period concerning which we have any accurate information, about the sixth century A. D., Japanese poetry already contained the germ of its later development. The poems of this early date were composed of a first line of five syllables, followed by a second of seven, followed by a third of five, and so on, always ending with a line of seven syllables followed by another of equal number. Thus the whole poem, of whatever length (a poem of as many as forty-nine lines was scarce, even at that day) always was composed of an odd number of lines, alternating in length of syllables from five to seven, until the close, which was an extra seven syllable line. Other rules there were none. Rhyme, quantity, accent, stress were disregarded. Two vowels together must never be sounded as a diphthong, and a long vowel counts for two syllables, likewise a final "n", and the consonant "m" in some cases.

This method of writing poetry may seem to the reader to suffer from serious disadvantages. In reality this was not the case. Contrast it for a moment with the undignified welter of undigested and ex parte[12] theories which academic prosodists have tried for three hundred years to foist upon English verse, and it will be seen that the simple Japanese rule has the merit of dignity. The only part of it that we Occidentals could not accept perhaps, with advantage to ourselves, is the peculiarly Oriental insistence on an odd number of syllables for every line and an odd number of lines to every poem. To the Western mind, odd numbers sound incomplete. But to the Chinese (and Japanese art is mainly a highly-specialized expression of Chinese thought), the odd numbers are masculine and hence heavenly; the even numbers feminine and hence earthy. This idea in itself, the antiquity of which no man can tell, deserves no less than a treatise be written on it. But the place for that treatise is not here.

To return to our earliest Japanese form. Sooner or later this crystallized into what is called a tanka or short ode. This was always five lines in length, constructed syllabically 5, 7, 5, 7, 7, or thirty-one syllables in all. Innumerable numbers of these tanka were written. Gradually, during the feudal period, improvising verses became a pastime in court circles. Some one would utter the first three lines of a tanka and some one else would cap the composition by adding the last two. This division persisted. The first hemistich which was composed of 17 syllables grew to be called the hokku, the second or finishing hemistich [13]of 14 syllables was called ageku. Thus was born the form which is more peculiarly Japanese than any other, and which only they have been able to carry to perfection.

Composing hokku might, however, have remained a mere game of elaborate literary conceits and double meanings, but for the genius of one man. This was the great Bashō (1644-1694) who may be called certainly the greatest epigrammatist of any time. During a life of extreme and voluntary self-denial and wandering, Bashō contrived to obtain over a thousand disciples, and to found a school of hokku writing which has persisted down to the present day. He reformed the hokku, by introducing into everything he wrote a deep spiritual significance underlying the words. He even went so far as to disregard upon occasion the syllabic rule, and to add extraneous syllables, if thereby he might perfect his statement. He set his face sternly against impromptus, poemes d'occasion, and the like. The number of his works were not large, and even these he perpetually sharpened and polished. His influence persisted for long after his death. A disciple and priest of Zen Buddhism himself, his work is permeated with the feeling of that doctrine.

Zen Buddhism, as Bashō practised it, may be called religion under the forms of nature. Everything on earth, from the clouds in the sky to the[14] pebble by the roadside, has some spiritual or ethical significance for us. Blake's words describe the aim of the Zen Buddhist as well as any one's:

"To see a World in a grain of sand,
And a Heaven in a wild flower;
Hold infinity in the palm of your hand,
And Eternity in an hour."

Bashō would have subscribed to this as the sole rule of poetry and imagination. The only difference between the Western and the Eastern mystic is that where one sees the world in the grain of sand and tells you all about it, the other sees and lets his silence imply that he knows its meaning. Or to quote Lao-tzu: "Those who speak do not know, those who know do not speak." It must always be understood that there is an implied continuation to every Japanese hokku. The concluding hemistich, whereby the hokku becomes the tanka, is existent in the writer's mind, but never uttered.

Let us take an example. The most famous hokku that Bashō wrote, might be literally translated thus:

"An old pond
And the sound of a frog leaping
Into the water."

This means nothing to the Western mind. But to the Japanese it means all the beauty of such a life of retirement and contemplation as Bashō practised. If we permit our minds to supply the detail Bashō deliberately [15]omitted, we see the mouldering temple enclosure, the sage himself in meditation, the ancient piece of water, and the sound of a frog's leap—passing vanity—slipping into the silence of eternity. The poem has three meanings. First it is a statement of fact. Second, it is an emotion deduced from that. Third, it is a sort of spiritual allegory. And all this Bashō has given us in his seventeen syllables.

All of Bashō's poems have these three meanings. Again and again we get a sublime suggestion out of some quite commonplace natural fact. For instance:

"On the mountain-road
There is no flower more beautiful
Than the wild violet."

The wild violet, scentless, growing hidden and neglected among the rocks of the mountain-road, suggested to Bashō the life of the Buddhist hermit, and thus this poem becomes an exhortation to "shun the world, if you would be sublime."

I need not give further examples. The reader can now see for himself what the main object of the hokku poetry is, and what it achieved. Its object was some universalized emotion derived from a natural fact. Its achievement was the expression of that emotion in the fewest possible terms. It is therefore necessary, if poetry in the English tongue is ever to attain again to the vitality and strength of its beginnings, that we sit once more at the feet of the[16] Orient and learn from it how little words can express, how sparingly they should be used, and how much is contained in the meanest natural object. Shakespeare, who could close a scene of brooding terror with the words: "But see, the morn in russet mantle clad, Walks o'er the dew of yon high eastern hill" was nearer to the oriental spirit than we are. We have lost Shakespeare's instinct for nature and for fresh individual vision, and we are unwilling to acquire it through self-discipline. If we do not want art to disappear under the froth of shallow egotism, we must learn the lesson Bashō can teach us.

That is not to say, that, by taking the letter for the spirit, we should in any way strive to imitate the hokku form. Good hokkus cannot be written in English. The thing we have to follow is not a form, but a spirit. Let us universalize our emotions as much as possible, let us become impersonal as Shakespeare or Bashō was. Let us not gush about our fine feelings. Let us admit that the highest and noblest feelings are things that cannot be put into words. Therefore let us conceal them behind the words we have chosen. Our definition of poetry would then become that of Edwin Arlington Robinson, that poetry is a language which tells through a reaction upon our emotional natures something which cannot be put into words. Unless we set ourselves seriously to the task of understanding that language is only a means and never an[17] end, poetic art will be dead in fifty years, from a surfeit of superficial cleverness and devitalized realism.

In the poems that follow I have taken as my subjects certain designs of the so-called Uki-oye (or Passing World) school. These prints, made and produced for purely popular consumption by artists who, whatever their genius, were despised by the literati of their time, share at least one characteristic with Japanese poetry, which is, that they exalt the most trivial and commonplace subjects into the universal significance of works of art. And therefore I have chosen them to illustrate my doctrine, which is this: that one must learn to do well small things before doing things great; that the universe is just as much in the shape of a hand as it is in armies, politics, astronomy, or the exhortations of gospel-mongers; that style and technique rest on the thing conveyed and not the means of conveyance; and that though sentiment is a good thing, understanding is a better. As for the poems themselves they are in some cases not Japanese at all, but all illustrate something of the charm I have found in Japanese poetry and art. And if they induce others to seek that charm for themselves, my purpose will have been attained.

John Gould Fletcher.[18]

[19]

[20]

Part I

[21]

Lovers Embracing

Force and yielding meet together:
An attack is half repulsed.
Shafts of broken sunlight dissolving
Convolutions of torpid cloud.

[22]

A Picnic Under the Cherry Trees

The boat drifts to rest
Under the outward spraying branches.

There is faint sound of quavering strings,
The reedy murmurs of a flute,
The soft sigh of the wind through silken garments;

All these are mingled
With the breeze that drifts away,
Filled with thin petals of cherry blossom,
Like tinkling laughter dancing away in sunlight.

[23]

Court Lady Standing Under Cherry Tree

She is an iris,
Dark purple, pale rose,
Under the gnarled boughs
That shatter their stars of bloom.
She waves delicately
With the movement of the tree.

Of what is she dreaming?

Of long nights lit with orange lanterns,
Of wine cups and compliments and kisses of the two-sword men.
And of dawn when weary sleepers
Lie outstretched on the mats of the palace,
And of the iris stalk that is broken in the fountain.

[24]

Court Lady Standing Under a Plum Tree

Autumn winds roll through the dry leaves
On her garments;
Autumn birds shiver
Athwart star-hung skies.
Under the blossoming plum-tree,
She expresses the pilgrimage
Of grey souls passing,
Athwart love's scarlet maples
To the ash-strewn summit of death.

[25]

A Beautiful Woman

Iris-amid-clouds
Must be her name.

Tall and lonely as the mountain-iris,
Cold and distant.

She has never known longing:
Many have died for love of her.

[26]

A Reading

"And the prince came to the craggy rock
But saw only hissing waves
So he rested all day amid them."

He listens idly,
He is content with her voice.

He dreams it is the murmur
Of distant wave-caps breaking
Upon the painted screen.

[27]

An Actor as a Dancing Girl

The peony dancer
Swirls orange folds of dusty robes
Through the summer.

They are spotted with thunder showers,
Falling upon the crimson petals.

Heavy blooms
Breaking and spilling fiery cups
Drowsily.

[28]

Josan No Miya

She is a fierce kitten leaping in sunlight
Towards the swaying boughs.

She is a gust of wind,
Bending in parallel curves the boughs of the willow-tree.

[29]

An Oiran and her Kamuso

Gilded hummingbirds are whizzing
Through the palace garden,
Deceived by the jade petals
Of the Emperor's jewel-trees.

[30]

Two Ways of Love

The wind half blows her robes,
That subside
Listlessly
As swaying pines.

The wind tosses hers
In circles
That recoil upon themselves:
How should I love—as the swaying or tossing wind?

[31]

Kurenai-ye or "Red Picture"

She glances expectantly
Through the pine avenue,
To the cherry-tree summit
Where her lover will appear.

Faint rose anticipation colours her,
And sunset;
She is a cherry-tree that has taken long to bloom.

[32]

A Woman Standing by a Gate with an Umbrella

Late summer changes to autumn:
Chrysanthemums are scattered
Behind the palings.

Gold and vermilion
The afternoon.

I wait here dreaming of vermilion sunsets:
In my heart is a half fear of the chill autumn rain.

[33]

Scene from a Drama

The daimyo and the courtesan
Compliment each other.

He invites her to walk out through the maples,
She half refuses, hiding fear in her heart.

Far in the shadow
The daimyo's attendant waits,
Nervously fingering his sword.

[34]

A Woman in Winter Costume

She is like the great rains
That fall over the earth in winter-time.

Wave on wave her heavy robes collapse
In green torrents
Lashed with slaty foam.

Downward the sun strikes amid them
And enkindles a lone flower;
A violet iris standing yet in seething pools of grey.

[35]

A Pedlar

Gaily he offers
Packets of merchandise.

He is a harlequin of illusions,
His nimble features
Skip into smiles, like rainbows,
Cheating the villagers.

But in his heart all the while is another knowledge,
The sorrow of the bleakness of the long wet winter night.

[36]

Kiyonobu and Kiyomasu Contrasted

One life is a long summer;
Tall hollyhocks stand proud upon its paths;
Little yellow waves of sunlight,
Bring scarlet butterflies.

Another life is a brief autumn,
Fierce storm-rack scrawled with lightning
Passed over it
Leaving the naked bleeding earth,
Stabbed with the swords of the rain.

[37]

An Actor

He plots for he is angry,
He sneers for he is bold.

He clinches his fist
Like a twisted snake;
Coiling itself, preparing to raise its head,
Above the long grasses of the plain.

[38]

[39]

Part II

[40]

[41]

Memory and Forgetting

I have forgotten how many times he kissed me,
But I cannot forget
A swaying branch—a leaf that fell
To earth.

[42]

Pillar-Print, Masonobu

He stands irresolute
Cloaking the light of his lantern.

Tonight he will either find new love or a sword-thrust,
But his soul is troubled with ghosts of old regret.

Like vines with crimson flowers
They climb
Upwards
Into his heart.

[43]

The Young Daimyo

When he first came out to meet me,
He had just been girt with the two swords;
And I found he was far more interested in the glitter of their hilts,
And did not even compare my kiss to a cherry-blossom.

[44]

Masonubu—Early

She was a dream of moons, of fluttering handkerchiefs,
Of flying leaves, of parasols,
A riddle made to break my heart;
The lightest impulse
To her was more dear than the deep-toned temple bell.
She fluttered to my sword-hilt an instant,
And then flew away;
But who will spend all day chasing a butterfly?

[45]

The Beautiful Geisha

Swift waves hissing
Under the moonlight;
Tarnished silver.

Swaying boats
Under the moonlight,
Gold lacquered prows.

Is it a vision
Under the moonlight?
No, it is only
A beautiful geisha swaying down the street.

[46]

A Young Girl

Out of the rings and the bubbles,
The curls and the swirls of the water,
Out of the crystalline shower of drops shattered in play,
Her body and her thoughts arose.

She dreamed of some lover
To whom she might offer her body
Fresh and cool as a flower born in the rain.

[47]

The Heavenly Poetesses

In their bark of bamboo reeds
The heavenly poetesses
Float across the sky.

Poems are falling from them
Swift as the wind that shakes the lance-like bamboo leaves;
The stars close around like bubbles
Stirred by the silver oars of poems passing.

[48]

The Old Love and the New

Beware, for the dying vine can hold
The strongest oak.

Only by cutting at the root
Can love be altered.

Late in the night
A rosy glimmer yet defies the darkness.

But the evening is growing late,
The blinds are being lowered;
She who held your heart and charmed you
Is only a rosy glimmer of flame remembered.

[49]

Fugitive Thoughts

My thoughts are sparrows passing
Through one great wave that breaks
In bubbles of gold on a black motionless rock.

[50]

Disappointment

Rain rattles on the pavement,
Puddles stand in the bluish stones;
Afar in the Yoshiwara
Is she who holds my heart.

Alas, the torn lantern of my hope
Trembles and sputters in the rain.

[51]

The Traitor

I saw him pass at twilight;
He was a dark cloud travelling
Over palace roofs
With one claw drooping.

In his face were written ages
Of patient treachery
And the knowledge of his hour.

One dainty thrust, no more
Than this, he needs.

[52]

The Fop

His heart is like a wind
Torn between cloud and butterfly;
Whether he will roll passively to one,
Or chase endlessly the other.

[53]

Changing Love

My love for her at first was like the smoke that drifts
Across the marshes
From burning woods.

But, after she had gone,
It was like the lotus that lifts up
Its heart shaped buds from the dim waters.

[54]

In Exile

My heart is mournful as thunder moving
Through distant hills
Late on a long still night of autumn.

My heart is broken and mournful
As rain heard beating
Far off in the distance
While earth is parched more near.

On my heart is the black badge of exile;
I droop over it,
I accept its shame.

[55]

The True Conqueror

He only can bow to men
Lofty as a god
To those beneath him,
Who has taken sins and sorrows
And whose deathless spirit leaps
Beneath them like a golden carp in the torrent.

[56]

Spring Love

Through the weak spring rains
Two lovers walk together,
Holding together the parasol.

But the laughing rains of spring
Will break the weak green shoots of their love.

His will grow a towering stalk,
Hers, a cowering flower under it.

[57]

The Endless Lament

Spring rain falls through the cherry blossom,
In long blue shafts
On grasses strewn with delicate stars.

The summer rain sifts through the drooping willow,
Shatters the courtyard
Leaving grey pools.

The autumn rain drives through the maples
Scarlet threads of sorrow,
Towards the snowy earth.

Would that the rains of all the winters
Might wash away my grief!

[58]

Toyonobu. Exile's Return

The cranes have come back to the temple,
The winds are flapping the flags about,
Through a flute of reeds
I will blow a song.

Let my song sigh as the breeze through the cryptomerias,
And pause like long flags flapping,
And dart and flutter aloft, like a wind-bewildered crane.

[59]

Wind and Chrysanthemum

Chrysanthemums bending
Before the wind.

Chrysanthemums wavering
In the black choked grasses.

The wind frowns at them,
He tears off a green and orange stalk of broken chrysanthemum.

The chrysanthemums spread their flattered heads,
And scurry off before the wind.

[60]

The Endless Pilgrimage

Storm-birds of autumn
With draggled wings:

Sleet-beaten, wind-tattered, snow-frozen,
Stopping in sheer weariness
Between the gnarled red pine trees
Twisted in doubt and despair;

Whence do you come, pilgrims,
Over what snow fields?
To what southern province
Hidden behind dim peaks, would you go?

"Too long were the telling
Wherefore we set out;
And where we will find rest
Only the Gods may tell."

[61]

[62]

Part III

[63]

The Clouds

Although there was no sound in all the house,
I could not forbear listening for the cry of those long white rippling waves
Dragging up their strength to break on the sullen beach of the sky.

[64]

Two Ladies Contrasted

The harmonies of the robes of this gay lady
Are like chants within a temple sweeping outwards
To the morn.

But I prefer the song of the wind by a stream
Where a shy lily half hides itself in the grasses;
To the night of clouds and stars and wine and passion,
In a palace of tesselated restraint and splendor.

[65]

A Night Festival

Sparrows and tame magpies chatter
In the porticoes
Lit with many a lantern.

There is idle song,
Scandal over full wine cups,
Sorrow does not matter.

Only beyond the still grey shoji
For the breadth of innumerable countries,
Is the sea with ships asleep
In the blue-black starless night.

[66]

Distant Coasts

A squall has struck the sea afar off.
You can feel it quiver
Over the paper parasol
With which she shields her face;

In the drawn-together skirts of her robes,
As she turns to meet it.

[67]

On the Banks of the Sumida

Windy evening of autumn,
By the grey-green swirling river,
People are resting like still boats
Tugging uneasily at their cramped chains.

Some are moving slowly
Like the easy winds:

Brown-blue, dull-green, the villages in the distance
Sleep on the banks of the river:
The waters sullenly clash and murmur.
The chatter of the passersby,
Is dulled beneath the grey unquiet sky.

[68]

Yoshiwara Festival

The green and violet peacocks
With golden tails
Parade.

Beneath the fluttering jangling streamers
They walk
Violet and gold.

The green and violet peacocks
Through the golden dusk
Showered upon them from the vine-hung lanterns,
Stately, nostalgically,
Parade.

[69]

Sharaku Dreams

I will scrawl on the walls of the night
Faces.

Leering, sneering, scowling, threatening faces;
Weeping, twisting, yelling, howling faces;
Faces fixed in a contortion between a scream and a laugh,
Meaningless faces.

I will cover the walls of night
With faces,
Till you do not know
If these faces are but masks, or you the masks for them.

Faces too grotesque for laughter,
Faces too shattered by pain for tears,
Faces of such ugliness
That the ugliness grows beauty.

They will haunt you morning, evening,
Burning, burning, ever returning.
Their own infamy creating,
Till you strike at life and hate it,
Burn your soul up so in hating.

I will scrawl on the walls of the night
Faces,
Pitiless,
Flaring,
Staring.

[70]

A Life

Her life was like a swiftly rushing stream
Green and scarlet,
Falling into darkness.

The seasons passed for her,
Like pale iris wilting,
Or peonies flying to ribbons before the storm-gusts.
The sombre pine-tops waited until the seasons had passed.

Then in her heart they grew
The snows of changeless winter
Stirred by the bitter winds of unsatisfied desire.

[71]

Dead Thoughts

My thoughts are an autumn breeze
Lifting and hurrying
Dry rubbish about in a corner.

My thoughts are willow branches
Already broken
Motionless at twilight.

[72]

A Comparison

My beloved is like blue smoke that rises
In long slow planes,
And wavers
Over the dark paths of old gardens long neglected.

[73]

Mutability

The wind shakes the mists
Making them quiver
With faint drum-tones of thunder.

Out of the crane-haunted mists of autumn,
Blue and brown
Rolls the moon.

There was a city living here long ago,
Of all that city
There is only one stone left half-buried in the marsh,
With characters upon it which no one now can read.

[74]

Despair

Despair hangs in the broken folds of my garments;
It clogs my footsteps,
Like snow in the cherry bloom.

In my heart is the sorrow
Of years like red leaves buried in snow.

[75]

The Lonely Grave

Pilgrims will ascend the road in early summer,
Passing my tombstone
Mossy, long forgotten.

Girls will laugh and scatter cherry petals,
Sometimes they will rest in the twisted pine-trees' shade.

If one presses her warm lips to this tablet
The dust of my body will feel a thrill, deep down in the silent earth.

[76]

[77]

Part IV

[78]

[79]

Evening Sky

The sky spreads out its poor array
Of tattered flags,
Saffron and rose
Over the weary huddle of housetops
Smoking their evening pipes in silence.

[80]

City Lights

The city gleams with lights this evening
Like loud and yawning laughter from red lips.

[81]

Fugitive Beauty

As the fish that leaps from the river,
As the dropping of a November leaf at twilight,
As the faint flicker of lightning down the southern sky,
So I saw beauty, far away.

[82]

Silver Jars

I dreamed I caught your loveliness
In little silver jars:
And when you died I opened them,
And there was only soot within.

[83]

Evening Rain

Rain fell so softly, in the evening,
I almost thought it was the trees that were talking.

[84]

Toy-Boxes

Cities are the toy-boxes
Time plays with:
And there are often many doll-houses
Of which the dolls are lost.

[85]

Moods

A poet's moods:
Fluttering butterflies in the rain.

[86]

Grass

Grass moves in the wind,
My soul is backwards blown.

[87]

A Landscape

Land, green-brown;
Sea, brown-grey;
Island, dull peacock blue;
Sky, stone-grey.

[88]

Terror

Because of the long pallid petals of white chrysanthemums
Waving to and fro,
I dare not go.

[89]

Mid-Summer Dusk

Swallows twittering at twilight:
Waves of heat
Churned to flames by the sun.

[90]

Evening Bell from a Distant Temple

A bell in the fog
Creeps out echoing faintly
The pale broad flashes
Of vibrating twilight,
Faded gold.

[91]

A Thought

A piece of paper ready to toss in the fire,
Blackened, scrawled with fragments of an incomplete song:
My soul.

[92]

The Stars

There is a goddess who walks shrouded by day:
At night she throws her blue veil over the earth.
Men only see her naked glory through the little holes in the veil.

[93]

Japan

An old courtyard
Hidden away
In the afternoon.
Grey walks,
Mossy stones,
Copper carp swimming lazily,
And beyond,
A faint toneless hissing echo of rain
That tears at my heart.

[94]

Leaves

The splaying silhouette of horse-chestnut leaves
Against the tall and delicate, patrician-tinged sky
Like a princess in blue robes behind a grille of bronze.

[95]

[96]

An edition of 1000 copies only, of which 975 copies have been printed on Olde Style paper, and 25 copies on Japanese Vellum.






End of the Project Gutenberg EBook of Japanese Prints, by John Gould Fletcher

*** END OF THIS PROJECT GUTENBERG EBOOK JAPANESE PRINTS ***

***** This file should be named 27199-h.htm or 27199-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/2/7/1/9/27199/

Produced by The Online Distributed Proofreading Team at
http://www.pgdp.net (This file was produced from images
generously made available by The Internet Archive/American
Libraries.)


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.net/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.net),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org


Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations.  To donate, please visit: http://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.


Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.


Most people start at our Web site which has the main PG search facility:

     http://www.gutenberg.net

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.

Japanese Prints

Japanese Prints

By

John Gould Fletcher

To My Wife

Table of Contents

List of Illustrations

Preface

Part I

Lovers Embracing

A Picnic Under the Cherry Trees

Court Lady Standing Under Cherry Tree

Court Lady Standing Under a Plum Tree

A Beautiful Woman

A Reading

An Actor as a Dancing Girl

Josan No Miya

An Oiran and her Kamuso

Two Ways of Love

Kurenai-ye or "Red Picture"

A Woman Standing by a Gate with an Umbrella

Scene from a Drama

A Woman in Winter Costume

A Pedlar

Kiyonobu and Kiyomasu Contrasted

An Actor

Part II

Memory and Forgetting

Pillar-Print, Masonobu

The Young Daimyo

Masonubu—Early

The Beautiful Geisha

A Young Girl

The Heavenly Poetesses

The Old Love and the New

Fugitive Thoughts

Disappointment

The Traitor

The Fop

Changing Love

In Exile

The True Conqueror

Spring Love

The Endless Lament

Toyonobu. Exile's Return

Wind and Chrysanthemum

The Endless Pilgrimage

Part III

The Clouds

Two Ladies Contrasted

A Night Festival

Distant Coasts

On the Banks of the Sumida

Yoshiwara Festival

Sharaku Dreams

A Life

Dead Thoughts

A Comparison

Mutability

Despair

The Lonely Grave

Part IV

Evening Sky

City Lights

Fugitive Beauty

Silver Jars

Evening Rain

Toy-Boxes

Moods

Grass

A Landscape

Terror

Mid-Summer Dusk

Evening Bell from a Distant Temple

A Thought

The Stars

Japan

Leaves