He knows that the Great Mother has other cares more absorbing than the love-sick suspense of a whining suitor, that the myriad marriages of bird and beast and blossom are perhaps as much or as little to her as the predilections of Maud. He would enjoy Professor Huxley’s rap at the singers who “mistake their sensual caterwauling for the music of the spheres,” and his pedestrian fancy would shudder at the unchartered imagination of Tennyson.
Buddhist doctrines have so profoundly influenced thought and feeling, that thousands of little songs rise daily like prayers of intercession or gratitude to the Lord Buddha. But these would demand a volume of explanation, which I am not competent to write. I select one playful and one serious poem, having reference to religious ideas. The first might be called
Joy drew the rickshaw, Heaven takes vengeance, Empty the larder, Rickshaw of fire.
This may be expanded into: “We drove about in a rickshaw, enjoying ourselves; we spent all our money; we are punished by Heaven, for we suffer remorse, like the sinners, who are pulled in fiery rickshaws by avenging devils in hell.” Such engaging pictures of a future state are often exhibited at temple _fêtes_, and serve to stimulate liberality on the part of worshippers. Quite philosophic is the pessimism of
For the moon, cloud-wrack; For the flower, tempest; For the truth, _this_ world; Wanting the hour.
I translate _ukiyo_ by “_this_ world”: the more scrupulous dictionary renders it by “this fleeting or miserable world, so full of vicissitudes and unsettled.” For the “vale of tears” is not a Christian concept only: Mrs. Gummidge was also a Buddhist without knowing it. It is curious that this theological term, with its disparaging connotation, was affixed to the modern popular school of painters, among whom Hokusai is the best known, because they descended from lofty, conventional subjects to the life of workaday folk. The central thought of the poem, however, narrowed to a romantic application, recalls a line by Browning:
“Never the time and place, and the loved one altogether.”
Writers of Dodoitsu have this advantage over versifiers who employ more classical metres, that they are not forced by convention to repeat stereotyped fancies, but are at liberty to invent new ones. The balloon, the camera, the locomotive, may take the place of dragon, stork, and phœnix. This pouring of foreign wine into native bottles produces a quaint blend. A girl thus reproaches her lover with