The Critic in the Orient. Fitch George Hamlin

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СКАЧАТЬ of Nagasaki is the coaling of Japanese and foreign steamships. A very fair kind of steam coal is sold here at three dollars a ton, which is less by one dollar and one-half than a poorer grade of coal can be bought for in Seattle; hence the steamer Minnesota coaled here. The coaling of this huge ship proved to be one of the most picturesque sights of her voyage. Early on the morning of her arrival lighters containing about a railway carload of coal began to arrive. These were arranged in regular rows on both sides of the ship. Then came out in big sampans an army of Japanese numbering two thousand in all. The leaders arranged ladders against the sides of the ship, and up these swarmed this army of workers, three-quarters of whom were young girls between fourteen and eighteen years old. They were dressed in all colors, but most of them wore a native bonnet tied about the ears. They formed in line on the stairs and then the coal was passed along from hand to hand until it reached the bunkers. These baskets held a little over a peck of coal, and the rapidity with which they moved along this living line was startling.

      Every few minutes the line was given a breathing space, but the work went on with a deadly regularity that made the observer tired to watch it. Occasionally one of the young girls would flag in her work and, after she dropped a few basketfuls, she would be relieved and put at the lighter work of throwing the empty baskets back into the lighters. Most of these girls, however, remained ten hours at this laborious work, and a few worked through from seven o'clock in the morning until nearly midnight, when the last basket of coal was put on board. At work like this no such force of Europeans would have shown the same self-control and constant courtesy which these Japanese exhibited. Wranglings would have been inevitable, and the strong workers would have shown little regard for their weaker companions.

      Another feature of this Japanese work was the elimination of any strain or overexertion. If a girl failed to catch a basket as it whirled along the line she dropped it instantly. Never did I see anyone reach over or strain to do her work.

      The rest for lunch occupied only about fifteen minutes, the begrimed workers sitting down on the steps of the ladders and eating their simple food with keen relish. At night when strong electric lights cast their glare over these constantly moving lines of figures the effect was almost grotesque, reminding one of Gustave Doré's terrible pictures of the lost souls in torment, or of the scramble to escape when the deluge came. The skill that comes of long practice marked the movements of all these workers, and it was rare that any basket was dropped by an awkward or tired coal-passer.

      In seventeen hours four thousand five hundred tons of coal were loaded on the steamer. About fifteen hundred people were working on the various ladders, while another five hundred were employed in trimming the coal in the hold and in managing the various boats. The result was an exhibit of what can be done by primitive methods when perfect co-operation is secured.

      Nagasaki itself has little that will interest the tourist but a ride or walk to Mogi, on an arm of the ocean, five miles away, may be taken with profit. The road passes over a high divide and, as it runs through a farming country, one is able to see here (more perfectly than in any other part of Japan) how carefully every acre of tillable land is cultivated. On both sides of this road from Nagasaki to the fishing village of Mogi were fields enclosed by permanent walls of stone, such as would be built in America only to sustain a house. In many cases the ground protected by this wall was not over half an acre in extent, and in some cases the fields were of smaller size. Tier after tier of these walls extended up the sides of the steep hills. The effect at a little distance was startling, as the whole landscape seemed artificial. The result of this series of walls was to make a succession of little mesas or benches such as may be seen in southern California.

      Development of the Japanese Sense of Beauty

      After a trip through Japan the question that confronts the observant tourist is: What has preserved the fine artistic sense of the Japanese people of all classes, in the face of the materialist influences that have come into their life with the introduction of Western methods of thought and of business? The most careless traveler has it thrust upon him that here is a people artistic to the tips of their fingers, and with childlike power of idealization, although they have been forced to engage in the fierce warfare of modern business competition. What is it that has kept them unspotted from the world of business? What secret source of spiritual force have they been able to draw upon to keep fresh and dewy this eager, artistic sense that must be developed with so much labor among any Western people?

      The answer to these questions is found, by several shrewd observers, in the Japanese devotion to their gardens. Every Japanese, no matter how small and poor his house, has a garden to which he may retire and "invite his soul." These Japanese gardens are unique and are found in no other land. China has the nearest approach to them, but the poor Chinese never dreams of spending time and money in the development of a garden, such as the Japanese in similar circumstances regards as a necessity. And these Japanese gardens are always made to conform to the house and its architecture. The two never fail to fit and harmonize. A poor man may have only a square of ground no larger than a few feet, but he will so arrange it as to give it an appearance of spaciousness, while the more elaborate gardens are laid out so as to give the impression of unlimited extent. The end of the garden appears to melt into the horizon, and the owner has a background that extends for miles into the country. By the artistic use of stones and dwarf plants, a few square feet of ground are made to give the effect of liberal space and, with bridges, moss-covered stones, ponds, gold fish and other features, a perfect illusion of the country may be produced.

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