We knew Benevolence was a tender virtue and mother-like. If upright Rectitude and stern Justice were peculiarly masculine, Mercy had the gentleness and the persuasiveness of a feminine nature. We were warned against indulging in indiscriminate charity, without seasoning it with justice and rectitude. Masamuné expressed it well in his oft-quoted aphorism—“Rectitude carried to excess hardens into stiffness; Benevolence indulged beyond measure sinks into weakness.” Fortunately Mercy was not so rare as it was beautiful, for it is universally true that “The bravest are the tenderest, the loving are the daring.” “_Bushi no nasaké_”—the tenderness of a warrior—had a sound which appealed at once to whatever was noble in us; not that the mercy of a samurai was generically different from the mercy of any other being, but because it implied mercy where mercy was not a blind impulse, but where it recognized due regard to justice, and where mercy did not remain merely a certain state of mind, but where it was backed with power to save or kill. As economists speak of demand as being effectual or ineffectual, similarly we may call the mercy of bushi effectual, since it implied the power of acting for the good or detriment of the recipient. Priding themselves as they did in their brute strength and privileges to turn it into account, the samurai gave full consent to what Mencius taught concerning the power of Love. “Benevolence,” he says, “brings under its sway whatever hinders its power, just as water subdues fire: they only doubt the power of water to quench flames who try to extinguish with a cupful a whole burning wagon-load of fagots.” He also says that “the feeling of distress is the root of benevolence, therefore a benevolent man is ever mindful of those who are suffering and in distress.” Thus did Mencius long anticipate Adam Smith who founds his ethical philosophy on Sympathy. It is indeed striking how closely the code of knightly honor of one country coincides with that of others; in other words, how the much abused oriental ideas of morals find their counterparts in the noblest maxims of European literature. If the well-known lines, Hae tibi erunt artes—pacisque imponere morem, Parcere subjectis, et debellare superbos, were shown a Japanese gentleman, he might readily accuse the Mantuan bard of plagiarizing from the literature of his own country.