The Japanese are commonly criticised as being imitative rather than initiative or inventive; and it must be acknowledged that a study of their history bears out this criticism. The old civilization was very largely borrowed from the Chinese, perhaps through the Koreans; and in modern times we have witnessed a similar adoption and imitation of Occidental civilization. But it must also be borne in mind that in few cases was there servile imitation; for, in almost every instance, there was an adaptation to the peculiar needs of Japan. And yet even this assimilation might show that the Japanese have “great talent, but little genius” (Munzinger), or “little creative power” (Rein). However, there have been indications of late years that the Japanese mind is developing inventive power. Originality is making itself known in many really remarkable inventions, especially along mechanical lines. Rifles, repeating pistols, smokeless gunpowder, guncotton, and bicycle boats are a few illustrations of Japanese inventions. Moreover, many of the Japanese inventors have secured letters patent in England, Germany, France, Austria, and the United States. In scientific discoveries, too, the Japanese are coming forward. The Japanese have also been frequently accused of fickleness, and during the past fifty years have certainly furnished numerous reasons for such a charge. They have seemed to shift about with “every wind of doctrine,” and, like the Athenians in Paul’s day, have been often attracted by new things. But Dening’s defence against this accusation is worthy of notice, and seems quite reasonable. He claims that “this peculiarity is accidental, not inherent”; that there was “no lack of permanence in their laws, institutions, and pursuits in the days of their isolation”; that in recent times “their attention has been attracted by such a multitude of [new] things ... that they have found great difficulty in making a judicious selection”; and the rapid changes “have not been usually dictated by mere fickleness, but have resulted from the wish to _prove all things_.” Chamberlain, likewise, refers to so-called “characteristic traits” that are “characteristic merely of the stage through which the nation is now passing.” And certainly a growing steadfastness of purpose and action is perceptible in many phases of Japanese life. The Japanese are pre-eminently an æsthetic people. In all sections, among all classes, art reigns supreme. It permeates everything, great or small. “Whatever these people fashion, from the toy of an hour to the triumphs of all time, is touched by a taste unknown elsewhere.”[72]