in Fate, a quiet submission to the inevitable, that stoic composure in
sight of danger or calamity, that disdain of life and friendliness with
death. A foremost teacher of swordsmanship, when he saw his pupil
master the utmost of his art, told him, "Beyond this my instruction must
give way to Zen teaching." "Zen" is the Japanese equivalent for the
Dhyâna, which "represents human effort to reach through meditation zones
of thought beyond the range of verbal expression."[4] Its method is
contemplation, and its purport, as far as I understand it, to be
convinced of a principle that underlies all phenomena, and, if it can,
of the Absolute itself, and thus to put oneself in harmony with this
Absolute. Thus defined, the teaching was more than the dogma of a sect,
and whoever attains to the perception of the Absolute raises himself
above mundane things and awakes, "to a new Heaven and a new Earth."
[Footnote 3: Ruskin was one of the most gentle-hearted and peace loving
men that ever lived. Yet he believed in war with all the fervor of a
worshiper of the strenuous life. "When I tell you," he says in the
_Crown of Wild Olive_, "that war is the foundation of all the arts, I
mean also that it is the foundation of all the high virtues and
faculties of men. It is very strange to me to discover this, and very
dreadful, but I saw it to be quite an undeniable fact. * * * I found in
brief, that all great nations learned their truth of word and strength
of thought in war; that they were nourished in war and wasted by peace,
taught by war and deceived by peace; trained by war and betrayed by
peace; in a word, that they were born in war and expired in peace."]
[Footnote 4: Lafcadio Hearn, _Exotics and Retrospectives_, p. 84.]
What Buddhism failed to give, Shintoism offered in abundance. Such
loyalty to the sovereign, such reverence for ancestral memory, and such
filial piety as are not taught by any other creed, were inculcated by
the Shinto doctrines, imparting passivity to the otherwise arrogant
character of the samurai. Shinto theology has no place for the dogma of
"original sin." On the contrary, it believes in the innate goodness and
God-like purity of the human soul, adoring it as the adytum from which
divine oracles are proclaimed. Everybody has observed that the Shinto
shrines are conspicuously devoid of objects and instruments of worship,
and that a plain mirror hung in the sanctuary forms the essential part
of its furnishing. The presence of this article, is easy to explain: it
typifies the human heart, which, when perfectly placid and clear,
reflects the very image of the Deity. When you stand, therefore, in
front of the shrine to worship, you see your own image reflected on its
shining surface, and the act of worship is tantamount to the old Delphic
injunction, "Know Thyself." But self-knowledge does not imply, either in
the Greek or Japanese teaching, knowledge of the physical part of man,
not his anatomy or his psycho-physics; knowledge was to be of a moral
kind, the introspection of our moral nature. Mommsen, comparing the
Greek and the Roman, says that when the former worshiped he raised his
eyes to heaven, for his prayer was contemplation, while the latter
veiled his head, for his was reflection. Essentially like the Roman
conception of religion, our reflection brought into prominence not so
much the moral as the national consciousness of the individual. Its
nature-worship endeared the country to our inmost souls, while its
ancestor-worship, tracing from lineage to lineage, made the Imperial
family the fountain-head of the whole nation. To us the country is more
than land and soil from which to mine gold or to reap grain--it is the
sacred abode of the gods, the spirits of our forefathers: to us the
Emperor is more than the Arch Constable of a _Rechtsstaat_, or even the
Patron of a _Culturstaat_--he is the bodily representative of Heaven on