how best they may astonish the beholder’s eye. And though nothing in their pictures is real, all is probable. But ordinary hills and rivers, just as they are, houses such as you may see anywhere, with all their real beauty and harmony of form—quietly to draw such scenes as this, or to show what lies behind some intimate hedge that is folded away far from the world, and thick trees upon some unheroic hill, and all this with befitting care for composition, proportion, and the like,—such works demand the highest master’s utmost skill and must needs draw the common craftsman into a thousand blunders. So too in handwriting, we see some who aimlessly prolong their cursive strokes this way or that, and hope their flourishes will be mistaken for genius. But true penmanship preserves in every letter its balance and form, and though at first some letters may seem but half-formed, yet when we compare them with the copy-books we find that there is nothing at all amiss.
‘So it is in these trifling matters. And how much the more in judging of the human heart should we distrust all fashionable airs and graces, all tricks and smartness, learnt only to please the outward gaze! This I first understood some while ago, and if you will have patience with me I will tell you the story.’
So saying, he came and sat a little closer to them, and Genji woke up. Tō no Chūjō, in wrapt attention, was sitting with his cheek propped upon his hand. Uma no Kami’s whole speech that night was indeed very much like a chaplain’s sermon about the ways of the world, and was rather absurd. But upon such occasions as this we are easily led on into discussing our own ideas and most private secrets without the least reserve.
‘It happened when I was young, and in an even more humble position than I am to-day’ Uma no Kami continued. ‘I was in love with a girl who (like the drudging, faithful
