It is a singular fact, that while the Japanese have in all ages given a great deal of attention to poetry the kindred art of music has been suffered to remain almost neglected. Their musical system has never been carefully formed or elucidated, and although they may vie with the Chinese in the beauty of their poetical effusions, in the field of music their research is nothing, when compared with the immense patience and study which the latter people have given to the subject. Although there are few treatises on the art, yet the practice of music is now deemed an essential part of the education of a Japanese young lady, for contrary to Chinese custom, we find that in Japan, the female sex are proficient in the art. Although at first glance there seems to be much affinity between Japanese and Chinese music, (so much so, that it seems natural to suppose that the former was an outgrowth of the latter) yet, upon closer analysis, these resemblances are found to be few, and the contradictions many and irreconcilable. The Japanese songs do not appear to have been founded on the Chinese pentatonic scale, but rather upon the _chromatic_. It is very possible, that the music of Japan had its rise long ago, within the limits of the island. Unfortunately, in this branch of history, we can as yet, come to no definite conclusion; the absence of all knowledge of the system (if there be one worthy of the name) on which their melodies are formed, and the very slight knowledge of the ancient history of the people, confine us altogether to conjecture and inference. That China exerted some influence upon the musical style of Japan, is undeniable. In the year (A. D.) 57, an embassy was sent from the island, to the Emperor of China, with presents. The return of this expedition, brought to the (at that time) totally rude and uncultivated people, the fruits of the older Chinese civilization, and it was probably at that epoch, that the Chinese instruments, which still exist in Japan, were introduced. The instruments of Japan, though resembling, are much cruder than their Chinese, prototypes. The _che_, of China, is found under the name of _koto_. It is larger than the _che_, but has fewer strings; the latter are of silk, lightly lacquered. The _sam-sin_ is a guitar, with a very long neck, and has three strings. These instruments are among the indispensable articles of the wedding outfit of every bride.[149]