accidental glamour, which constitutes style and makes of one word a queen, of another a beggar-maid, through vicissitudes of usage, does not emanate from one of them. They are marred for a native ear by domestic and colloquial idiom, "soiled by all ignoble use"; they treat too often of sexual sentiment, which our literary verse parades to satiety, and which theirs rather shrouds in dignified silence. No doubt you will find among Tanka and Haikai more ingenuity of thought, more dexterity of pen. But, putting that aside, the Dodoitsu has more interest for a humanist, since its range of feeling is wider. Just as the street-scenes of Hokusai and the love-scenes of Utamaro afford more humane pleasure than the purely artistic studies of their academic precursors, so we are less allured by "A Fan in my Lady's Chamber," by "A Distant View of a Fishing Boat," by "Hoar-frost on the Bamboos," than by the artless outcries of else inarticulate nature. The blue-stocking at court, who finds it so easy to turn a polished compliment, is more remote from our hearts than her humble sister, doing rough work in the rice-field. The sorrows of wife and maid, the joy of flowers and laughter—these inspire in us deeper sympathy than the experimental literature of dilettante dames. There is often a crude spontaneity in the non-literary poem which is more pleasing than a recondite conceit. But, however crude the expression may be, it yet owes something to form. The poet is obliged to satisfy the easy metrical conditions which regulate the structure of a Dodoitsu, thus ensuring a neat circlet for a single gem, whether it be paste or diamond. How clumsy a Japanese song can become, when the Muse has forgotten her corset, may be seen by the following effusion:
