everywhere it is practised, in conversation, in music, even in painting;
a landscape painter, for instance, when he has finished a picture of
mountains and crags, will not hesitate to draw, in the very middle of the
sky, a circle, or a lozenge, or some kind of framework, within which he
will represent anything incoherent and inappropriate: a bonze fanning
himself, or a lady taking a cup of tea. Nothing is more thoroughly
Japanese than such digressions, made without the slightest apropos.

Moreover, if I roused my past memories, it was the better to force myself
to notice the difference between that day of July last year, so
peacefully spent amid surroundings familiar to me from my earliest
infancy, and my present animated life passed in the midst of such a novel
world.

To-day, therefore, under the scorching midday sun, at two o'clock, three
swift-footed djins dragged us at full speed--Yves, Chrysantheme, and
myself--in Indian file, each in a little jolting cart, to the farther end
of Nagasaki, and there deposited us at the foot of some gigantic steps
that run straight up the mountain.

These are the granite steps leading to the great temple of Osueva, wide
enough to give access to a whole regiment; they are as grand and imposing
as any work of Babylon or Nineveh, and in complete contrast with all the
finical surroundings.

We climb up and up--Chrysantheme listlessly, affecting fatigue, under her
paper parasol painted with pink butterflies on a black ground. As we
ascended, we passed under enormous monastic porticoes, also in granite of
rude and primitive style. In truth, these steps and these temple
porticoes are the only imposing works that this people has created, and