In the End
The Japanese are the enigma of this century; the most inscrutable, the most paradoxical of races. They and their outward surroundings are so picturesque, theatrical, and artistic that at moments they appear a nation of poseurs—all their world a stage, and all their men and women merely players; a trifling, superficial, fantastic people, bent on nothing but pleasing effects. Again, the Occidental is as a babe before the deep mysteries, the innate wisdom, the philosophies, the art, the thought, the subtle refinements of this finest branch of the yellow race. To generalize, to epitomize is impossible; for they are so opposite and contradictory, so unlike all other Asiatic peoples, that analogy fails. They are at once the most sensitive, artistic, and mercurial of human beings, and the most impassible, conventional, and stolid; at once the most logical, profound, and conscientious, and the most irrational, superficial, and indifferent; at once the most stately, solemn, and taciturn, and the most playful, whimsical, and loquacious. While history declares them aggressive, cruel, and revengeful, experience proves them yielding, merciful, and gentle. The same centuries in which was devised the elaborate refinement of cha no yu saw tortures, persecutions, and battle-field butcheries unparalleled. The same men who spent half their lives in lofty meditation, in indicting poems, and fostering art, devoted the other half to gross pleasures, to hacking their enemies in pieces, and watching a hara kiri with delight. Dreaming, procrastinating, and referring all things to that mythical mionichi (to-morrow), they can yet amaze one with a wizard-like rapidity of action and accomplishment. The same spirit which built the Shinagawa forts during the three months of Commodore Perry’s absence at times animates the most dilatory tradesmen and coolies.
There is no end to the surprises of Japanese character, and the longer the foreigner lives among them the less
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