theory of composition; and he gained it, I think, from the Chinese prosody. In the East, more than in the West, art is allied to verse-making.
When we consider the fact he was the artist of only fifty years ago, it is strange why we cannot know more of his own life story, and how he happened to leave the words that generally pass as a farewell verse as follows:—
"I leave my brush at Azuma, and go on the journey to the Holy West to view the famous scenery there."
I cannot accept it innocently, and I even doubt its origin, as it is more prosaic than poetical. It is only that he followed after a fashion of his day if he left it, as the verse is poor and at best humorous. But when it is taken by the English seriousness, the words have another effect. Indeed, Hiroshige has had quite an evolution since he was discovered in the West; he is, in truth, more an English or European artist than a Japanese in the present understanding.
