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ero and heroine。 Chikamatsu； our Japanese Shakespeare； has laid down as one of the first principles of dramatic composition the importance of taking the audience into the confidence of the author。 Several of his pupils submitted plays for his approval； but only one of the pieces appealed to him。 It was a play somewhat resembling the Comedy of Errors； in which twin brethren suffer through mistaken identity。 〃This；〃 said Chikamatsu； 〃has the proper spirit of the drama； for it takes the audience into consideration。 The public is permitted to know more than the actors。 It knows where the mistake lies； and pities the poor figures on the board who innocently rush to their fate。〃
The great masters both of the East and the West never forgot the value of suggestion as a means for taking the spectator into their confidence。 Who can contemplate a masterpiece without being awed by the immense vista of thought presented to our consideration？ How familiar and sympathetic are they all； how cold in contrast the modern commonplaces！ In the former we feel the warm outpouring of a man's heart； in the latter only a formal salute。 Engrossed in his technique； the modern rarely rises above himself。 Like the musicians who vainly invoked the Lungmen harp； he sings only of himself。 His works may be nearer science； but are further from humanity。 We have an old saying in Japan that a woman cannot love a man who is truly vain； for their is no crevice in his heart for love to enter and fill up。 In art vanity is equally fatal to sympathetic feeling； whether on the part of the artist or the public。
Nothing is more hallowing than the union of kindred spirits in art。 At the moment of meeting； the art lover transcends himself。 At once he is and is not。 He catches a glimpse of Infinity； but words cannot voice his delight； for the eye has no tongue。 Freed from the fetters of matter； his spirit moves in the rhythm of things。 It is thus that art becomes akin to religion and ennobles mankind。 It is this which makes a masterpiece something sacred。 In the old days the veneration in which the Japanese held the work of the great artist was intense。 The tea…masters guarded their treasures with religious secrecy； and it was often necessary to open a whole series of boxes； one within another； before reaching the shrine itselfthe silken wrapping within whose soft folds lay the holy of holies。 Rarely was the object exposed to view； and then only to the initiated。
At the time when Teaism was in the ascendency the Taiko's generals would be better satisfied with the present of a rare work of art than a large grant of territory as a reward of victory。 Many of our favourite dramas are based on the loss and recovery of a noted masterpiece。 For instance； in one play the palace of Lord Hosokawa； in which was preserved the celebrated painting of Dharuma by Sesson； suddenly takes fire through the negligence of the samurai in charge。 Resolved at all hazards to rescue the precious painting； he rushes into the burning building and seizes the kakemono； only to find all means of exit cut off by the flames。 Thinking only of the picture； he slashes open his body with his sword； wraps his torn sleeve about the Sesson and plunges it into the gaping wound。 The fire is at last extinguished。 Among the smoking embers is found a half… consumed corps； within which reposes the treasure uninjured by the fire。 Horrible as such tales are； they illustrate the great value that we set upon a masterpiece； as well as the devotion of a trusted samurai。
We must remember； however； that art is of value only to the extent that it speaks to us。 It might be a universal language if we ourselves were universal in our sympathies。 Our finite nature； the power of tradition and conventionality； as well as our hereditary instincts； restrict the scope of our capacity for artistic enjoyment。 Our very individuality establishes in one sense a limit to our understanding； and our aesthetic personality seeks its own affinities in the creations of the past。 It is true that with cultivation our sense of art appreciation broadens； and we become able to enjoy many hitherto unrecognised expressions of beauty。 But； after all； we see only our own image in the universe；our particular idiosyncracies dictate the mode of our perceptions。 The tea… masters collected only objects which fell strictly within the measure of their individual appreciation。
One is reminded in this connection of a story concerning Kobori…Enshiu。 Enshiu was complimented by his disciples on the admirable taste he had displayed in the choice of his collection。 Said they； 〃Each piece is such that no one could help admiring。 It shows that you had better taste than had Rikiu； for his collection could only be appreciated by one beholder in a thousand。〃 Sorrowfully Enshiu replied： 〃This only proves how commonplace I am。 The great Rikiu dared to love only those objects which personally appealed to him； whereas I unconsciously cater to the taste of the majority。 Verily； Rikiu was one in a thousand among tea…masters。〃
It is much to be regretted that so much of the apparent enthusiasm for art at the present day has no foundation in real feeling。 In this democratic age of ours men clamour for what is popularly considered the best； regardless of their feelings。 They want the costly； not the refined； the fashionable； not the beautiful。 To the masses； contemplation of illustrated periodicals； the worthy product of their own industrialism； would give more digestible food for artistic enjoyment than the early Italians or the Ashikaga masters； whom they pretend to admire。 The name of the artist is more important to them than the quality of the work。 As a Chinese critic complained many centuries ago； 〃People criticise a picture by their ear。〃 It is this lack of genuine appreciation that is responsible for the pseudo…classic horrors that to…day greet us wherever we turn。
Another common mistake is that of confusing art with archaeology。 The veneration born of antiquity is one of the best traits in the human character； and fain would we have it cultivated to a greater extent。 The old masters are rightly to be honoured for opening the path to future enlightenment。 The mere fact that they have passed unscathed through centuries of criticism and come down to us still covered with glory commands our respect。 But we should be foolish indeed if we valued their achievement simply on the score of age。 Yet we allow our historical sympathy to override our aesthetic discrimination。 We offer flowers of approbation when the artist is safely laid in his grave。 The nineteenth century； pregnant with the theory of evolution； has moreover created in us the habit of losing sight of the individual in the species。 A collector is anxious to acquire specimens to illustrate a period or a school； and forgets that a single masterpiece can teach us more than any number of the mediocre products of a given period or school。 We classify too much and enjoy too little。 The sacrifice of the aesthetic to the so…called scientific method of exhibition has been the bane of many museums。
The claims of contemporary art cannot be ignored in