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proceeding to an examination of the Nara poetry, it seems desirable to give an account of those characteristics of Japanese poetry generally which distinguish it in a conspicuous manner from that of Europe. Narrow in its scope and resources, it is chiefly remarkable for its limitations—for what it has not, rather than for what it has. In the first place there are no long poems. There is nothing which even remotely resembles an epic—no Iliad or Divina Commedia—not even a Nibelungen Lied or Chevy Chase. Indeed, narrative poems of any kind are short and very few, the only ones which I have met with being two or three ballads of a sentimental cast. Didactic, philosophical, political, and satirical poems are also conspicuously absent. The Japanese muse does not meddle with such subjects, and it is doubtful whether, if it did, the native Pegasus possesses sufficient staying power for them to be dealt with adequately. For dramatic poetry we have to wait until the fourteenth century. Even then there are no complete dramatic poems, but only dramas containing a certain poetical element.

Japanese poetry is, in short, confined to lyrics, and what,