one substance" of Christian theology. Hirata, his pupil, speaking of the three Sea-deities, Uha tsutsu no wo, Naka tsutsu no wo, and Soko tsutsu no wo, says: "This deity, although, strictly speaking, born as three deities, is described as though one deity were present. This is to be understood of the God dividing his person and again uniting it. The descent of the Adzumi no Muraji (a noble family) from him shows that in this respect he is to be regarded as one."
The circumstance that many of the Gods, like the Japanese themselves, have numerous aliases, adds to the uncertainty. The nomina and the numina do not invariably go together. There is sometimes reason to suspect that it is the same God who appears under different names, while, on the other hand, the same name may cover what are in reality two or more different deities.
There were no arts of sculpture or painting in Japan before their introduction from China in historical times, and the consequent want of images and pictures for which Shinto has been commended must have contributed materially to prevent the Gods from acquiring distinct personalities like those of ancient Greece.
The feeble grasp of personality indicated by the above facts is profoundly characteristic of the Japanese genius. It is illustrated by their unimaginative literature, which makes but sparing use of personification, allegory, and metaphor, by their drama, with its late and imperfect development, and by their art, which has produced little monumental sculpture or portrait painting of importance. It may also be traced in the grammar, which has practically no gender, thus showing that the Japanese mind is comparatively careless of marking the distinction between animate and inanimate and male and female. The law takes far less cognizance of the individual and more of the family than with us. Another fact of the same order is the neglect of distinctions of person shown by the
