had to be used for every syllable of the polysyllabic Japanese words, a prolixity intolerable to a mind formed by Chinese study would be the result. In this dilemma Yasumaro resorted to a compromise, and mixed up the two systems in a way which is fatal to style. Even in the same sentence we often find a purely Japanese construction interrupted by a phrase which it is impossible to consider as anything but clumsy Chinese; while, vice versâ, his Chinese contains expressions not to be understood without a knowledge of Japanese.
At the time of the compilation of the Kojiki there existed at the court of Nara a hereditary corporation of Kataribe or "reciters," whose function it was to recite "ancient words" before the Mikado on certain solemn State occasions, such as the beginning of a new reign. Even if Yasumaro's informant was not himself a member of this order, he must have been well acquainted with the matter of their recitals, and there can be little doubt that the myths, legends, and quasi-history of the Kojiki were drawn from this source. There is no reason whatever to believe that the recitations of the Kataribe were anything but prose. We are in possession of a considerable body of poetry belonging to this period, but none of it takes the form of narrative. It consists of lyrics, not ballads, and yields no material for history, whether true or otherwise. The annals of Japanese literature therefore give no countenance to Macaulay's theory that in the natural course of things history is preceded by ballad poetry. So far from its being true of Japan, a directly opposite process is observable. At a later period, history showed some tendency to develop into poetry. It began to be treated in an ornate, romantic fashion, and with some imperfect endeavour after metrical form.
