To form one's impression of the Kami no Michi wholly from the poetic liturgies, the austere simplicity of the miyas or shrines, or the worship at the palace or capital, would be as misleading as to gather our ideas of the status of popular education from knowing only of the scholars at court. Among the common people the real basis of the god-way was ancestor-worship. From the very first this trait and habit of the Japanese can be discerned. Their tenacity in holding to it made the Confucian ethics more welcome when they came. Furthermore, this reverence for the dead profoundly influenced and modified Buddhism, so that today the altars of both religions exist in the same house, the dead ancestors becoming both kami and buddhas. Modern taste has removed from sight what were once the common people's symbols of the god-way, that is of ancestor worship. The extent of the phallus cult and its close and even vital connection with the god-way, and the general and innocent use of the now prohibited emblems, tax severely the credulity of the Occidental reader. The processes of the ancient mind can hardly be understood except by vigorous power of the imagination and by sympathy with the primeval man. To the critical student, however, who has lived among the people and the temples devoted to this worship, who knows how innocent and how truly sincere and even reverent and devout in the use of these symbols the worshippers are, the matter is measurably clear. He can understand the soil, root and flower even while the most strange specimen is abhorrent to his taste, and while he is most active in destroying that mental climate in which such worship, whether native or exotic, can exist and flourish. In none of the instances in which I have been eyewitness of the cult, of the person officiating or of the emblem, have I had any reason to doubt the sincerity of the worshipper. I have never had reason to look upon the implements or the system as anything else than the endeavor of man to solve the mystery of Being and Power. In making use of these emblems, the Japanese worshipper simply professes his faith in such solution as has seemed to him attainable. That this cultus was quite general in pre-Buddhistic Japan, as in many other ancient countries, is certain from the proofs of language, literature, external monuments and relics which are sufficiently numerous. Its organic connection with the god-way may be clearly shown. To go farther back in point of time than the "Kojiki," we find that even before the development of art in very ancient Japan, the male gods were represented by a symbol which thus became an image of the deity himself. This token was usually made of stone, though often of wood, and in later times of terra-cotta, of cast and wrought iron and even of gold.[12]