We all remember the shameful tale (told, not by Mr. Burdett-Coutts alone, but by eminent doctors, including Sir Frederick Treves, whose words were published in Blue-books) of the utter disorganization and incompetence of the medical and surgical departments attached to the British army in South Africa. Sir Frederick Treves has inspected the Japanese hospitals for the wounded, and pronounced them to be perfect. The Japanese, your wiseacre retorts, are a race of clever imitators. We invent; they borrow. They can copy but they cannot produce masterpieces in the arts and sciences. It is good rhetoric but bad reasoning. The Japanese have borrowed from us neither their art, nor their ethics. Never conquered in the past, they have developed a civilization peculiarly their own. The first Mikado was reigning six centuries before Julius Cæsar landed his legions at a point not five miles from the spot where I am writing. The Japanese are an ancient race with points of view diametrically opposed to our own; and like the Jews they have lived long and learned wisdom. “If I say anything about Shakespeare,” writes Baron Suyematsu, “I fear I should at once be considered to be overstepping propriety; but I must say that even Shakespeare’s plays, some of which I have read or seen performed, have never given me such impressions as do the plays of Japan. Whenever we go to the Western stages we appreciate the decorations, we admire the splendid movements and good figures of the actors and actresses, and, so far as we can understand it, the striking elegance and powerful delivery of their dialogue, and we enjoy ourselves as much as could be hoped; but on coming home we find nothing left on our minds which might serve as an incentive in our future career. No inspiration, no emulation! Such, then, seems to be the difference between our dramatic works and those of Western nations.” Observe that the argument of “art for art’s sake,” is treated by the talented Japanese diplomatist with the very sanest scorn.