made him the terror of that neighbourhood. The warning is but too effectual. So full are the watchers' minds of the dread of fox-possession, that, when their master appears with a jug of saké in his hand as a reward and refreshment after labour, they believe him to be Kitsune, the tempter, and thrash him soundly out of his own rice-field!
Some have asserted that love, the romantic and chivalrous love of Western literature, is absent alike from the art and letters of Japan. Nevertheless, what could be more romantic than the title and plot of the play, attributed to the Emperor Gohanazono though signed by Motokiyo—"Koi no Omoni," "The Burden of Love"? The lover is Yamashina Shoji, an old man of high birth, but miserably poor, to whom out of charity has been entrusted the tending of the Emperor's chrysanthemums. A court-lady, seen by chance one day as he raised his head from the flowers, inspires a passion which he feels to be beyond hope or cure. He confides his unhappiness to one of the courtiers, who counsels him to carry a burden round and round the garden many times, until, haply, the lady "seeing, may relent." This he does. At first the burden seems light as air, being buoyantly borne, but gradually it grows heavier and heavier, until at last he staggers to the ground, crushed to death by unavailing love. Soon after his ghost appears, a melancholy spectre with long white hair and gown of silver-grey, with wattled staff and eyes of hollow gold. At this point all chivalry certainly vanishes, for the angry apparition stamps and glares, and, shaking locks and staff, stoutly chides the beauty for her callous cruelty. The lady does not once intervene, but throughout the piece sits motionless, a figure rather than a person, her eyes fixed on the burden
