those who have brought about the union have been honest, and their motives pure. The Bible pages bear witness, that Israelites too often tried to make the same fountain give forth sweet waters and bitter, and to grow thistles and grapes on the same stem, by uniting the cults of Jehovah and the Baalim. King Solomon's enterprises in the same direction are more creditable to him as a politician than as a worshipper.[3] In the history of Christianity one cannot commend the efforts either of the Gnostics or the neo-Platonists, nor always justify the medieval missionaries in their methods. Nor can we accurately describe as successful the ingenuity of Vossius, the Dutch theologian, who, following the scheme of Euhemerus, discovered the Old Testament patriarchs in the disguise of the gods of Paganism. Nor, even though Germany be the land of learning, can the clear-headed scholar agree with some of her rationalists, who are often busy in the same field of industry, setting forth wild criticism as "science."

The Kami and the Buddhas.

In Japan, to solve the problem of reconciliation between the ancient traditions of the divine ancestors and the dogmas of the Indian cult, it was necessary that some master spirit, profoundly learned in the two Ways, of the Kami and of the Buddhas, should be bold, and also as it seems, crafty and unscrupulous. To convert a line of theocratic emperors, whose authority was derived from their alleged divine origin and sacerdotal character, into patrons and propagandists of Buddhism, and to transform indigenous Shint[=o] gods into Buddhas elect, or Buddhas to come, or Buddhas in a former state of existence, were tasks that might appall the most prodigious intellect, and even strain the capacities of what one might imagine to be the universal religion for all mankind.

Yet from such a task continental Buddhism had not shrunk before and did not shrink then, nor indeed from it do the insular Japanese sects shrink now. Indeed, Buddhism is quite ready to adopt, absorb and swallow up Japanese Christianity. With all encompassing tentacles, and with colossal powers of digestion and assimilation, Northern Buddhism had drawn into itself a large part of the Brahmanism out of which it originally sprang,[4] reversing the old myth of Chronos by swallowing its parents. It had gathered in, pretty much all that was in the heavens above and the earth beneath and the waters that were under the earth, in Nepal, Tibet, China, and Korea. Thoroughly exercised and disciplined, it was ready to devour and digest all that the imagination of Japan had conceived.

We must remember that, at the opening of the ninth century, the Buddhism rampant in China and indeed throughout Chinese Asia was the Tantra system of Yoga-chara.[5] This compound of polytheism and pantheism, with its sensuous paradise, its goddess of mercy and its pantheon of every sort of worshipable beings, was also equipped with a system of philosophy by which Buddhism could be adapted to almost every yearning of human nature in its lowest or its highest form, and by which things apparently contradictory could be reconciled. Furthermore--and this is not the least important thing to consider when the work to be done is for the ordinary man as an individual and for the common people in the mass--it had also a tremendous apparatus for touching the imagination and captivating the fancy of the unthinking and the uneducated.

For example, consider the equipment of the Buddhist priests of the ninth century in the matter of art alone. Shint[=o] knows next to nothing of art,[6] and indeed one might almost say that it knows little of civilization. It is like ultra-Puritanic Protestantism and Iconoclasm. Buddhism, on the contrary, is the mother of art, and art is her ever-busy child and handmaid. The temples of the Kami were bald and bare. The Kojiki told nothing of life hereafter, and kept silence on a hundred points at which human curiosity is sure to be active, and at which the Yoga system was voluble. Buddhism came with a set of visible symbols which should attract the eye and fire the imagination, and within ethical limits, the passions also. It was a mixed and variegated system,--a resultant of many forces.[7] It came with the thought of India, the art-influence of Greece, the philosophy of Persia, the speculations of the Gnostics and, in all probability, with ideas borrowed indirectly from Nestorian or other forms of Christianity; and thus furnished, it entered Japan.

The Mission of Art.

Thus far the insular kingdom had known only the monochrome sketches of the Chinese painters, which could have a meaning for the educated few alone. The composite Tantra dogmas fed the fancy and stimulated the imagination, filling them with pictures of life, past, present and future. "The sketch was replaced by the illumination." Whole schools of artists, imported from China and Korea, multiplied their works and attracted the untrained senses of the people, by filling the temples with a blaze of glory. "This result was sought by a gorgeous but studied play of gold and color, and a lavish richness of mounting and accessories, that appear strangely at variance with the begging bowl and patched garments of primitive Buddhism."[8] The change in the Japanese temple was as though the gray clouds had been kissed by the sun and made to laugh rainbows. The country of the Fertile Plain of Sweet Flags was transformed. It suddenly became the land wherein gods grew not singly but in whole forests. Like the Shulamite, when introduced among the jewelled ladies of Solomon's harem, so stood the boor amid the sheen and gold of the new temples.

"Gold was the one thing essential to the Buddhist altar-piece, and sometimes, when applied on a black ground, was the only material used. In all cases it was employed with an unsparing hand. It appeared in uniform masses, as in the body of the Buddha or in the golden lakes of the Western Paradise; in minute diapers upon brocades and clothing, in circlets and undulating rays, to form the glory surrounding the head of Amitaba; in raised bosses and rings upon the armlets or necklets of the Bodhisattvas and Devas, and in a hundred other manners. The pigments chosen to harmonize with this display were necessarily body colors of the most pronounced lines, and were untoned by any trace of chiaroscuro. Such materials as these would surely try the average artist, but the Oriental painter knew how to dispose them without risk of crudity or gaudiness, and the precious metal, however lavishly applied, was distributed over the picture with a judgment that would make it difficult to alter or remove any part without detriment to the beauty of the work."[9]

In our day, Japanese art has won its own place in the world's temple of beauty. Even those familiar with the master-pieces of Europe do not hesitate to award to the artists of Nippon a meed of praise which, within certain limits, is justly applied to them equally with the masters of the Italian, the Dutch, the Flemish, or the French schools. It serves our purpose simply to point out that art was a powerful factor in the religious conquest of the Japanese for the new doctrines of the Yoga system, which in Japan is called Riy[=o]bu, or Mixed Buddhism.

We say Mixed Buddhism rather than Riy[=o]bu Shint[=o], for Shint[=o] was less corrupted than swallowed up, while Buddhism suffered one more degree of mixture and added one more chapter of decay. It increased in its visible body, while in its mind it became less and less the religion of Buddha and more and more a thing with the old Shint[=o] heart still in it, making a strange growth in the eyes of the continental believers. To the Northern and Southern was now added an Eastern or Japanese Buddhism.

Who was the wonder-worker that annexed the Land of the Gods to Buddhadom and re-read the Kojiki as a sutra, and all Japanese history and traditions as only a chapter of the incarnations of Buddha?

K[=o]b[=o] the Wonder Worker.

The Philo and Euhemerus of Japan was the priest Kukai, who was born in the province of Sanuki, in the year 774. He is better known by his posthumous title K[=o]b[=o] Daishi, or the Great Teacher who promulgates the Law. By this name we shall call him. About his birth, life and death, have multiplied the usual swaddling bands of Japanese legend and tradition,[10] and to his tomb at the temple on Mount K[=o]-ya, the Campo Santo of Japanese Buddhism, still gather innumerable pilgrims. The "hall of ten thousand lamps," each flame emblematic of the Wisdom that saves, is not, indeed, in these days lighted annually as of old; but the vulgar yet believe that the great master still lives in his mausoleum, in a state of profoundly silent meditation. Into the hall of bones near by, covering a deep pit, the teeth and "Adam's apple" of the cremated bodies of believers are thrown by their relatives, though the pit is cleared out every three years. The devotees believe that by thus disposing of the teeth and "Adam's apple," they obtain the same spiritual privileges as if they were actually entombed there, that is, of being born again into the heaven of the Bodhisattva or the Pure Land of Absolute Bliss, by virtue of the mystic formulas repeated by the great master in his lifetime.

Let us sketch the life of K[=o]b[=o],

First named Toto-mono, or Treasure, by his parents, who sent him to Ki[=o]t[=o] to be educated for the priesthood, the youth spent four years in the study of the Chinese classics. Dissatisfied with the teachings of Confucius, he became a disciple of a famous Buddhist priest, named Iwabuchi (Rock-edge or throne). Soon taking upon himself the vows of the monk, he was first named Kukai, meaning "space and sea," or heaven and earth.[11] He overcame the dragons that assaulted him, by prayers, by spitting at them the rays of the evening star which had flown from heaven into his mouth and by repeating the mystic formulas called Dharani.[12] Annoyed by hobgoblins with whom he was obliged to converse, he got rid of them by surrounding himself with a consecrated imaginary enclosure into which they were unable to enter against his will.

We mention these legends only to call the attention to the fact that they are but copies of those already accepted in China at that time, and are the logical and natural fruit of the Tantra school at which we have glanced. In 804, K[=o]b[=o] was appointed to visit the Middle Kingdom as a government student. By means of his clever pen and calligraphic skill he won his way into the Chinese capital. He became the favored disciple of a priest who taught him the mystic doctrines of the Yoga. Having acquired the whole of the system, and equipped himself with a large library of Buddhist doctrinal works and still more with every sort of ecclesiastical furniture and religious goods, he returned to Japan.

Multitudes of wonders are reported about K[=o]b[=o], all of which show the growth of the Tantra school. It is certain that his erudition was immense, and that he was probably the most learned man of Japan in that age, and possibly of any other age. Besides being a Japanese Ezra in multiplying writings, he is credited with the invention of the hira-gana, or running script, and if correctly so, he deserves on this account alone an immortal honor equal to that of Cadmus or Sequoia. The kana[13] is a syllabary of forty-seven letters, which by diacritical marks, may be increased to seventy. The kata-kana is the square or print form, the hira-kana is the round or "grass" character for writing.