Page:TASJ-1-3.djvu/122

 knows now that in order to understand the ancient texts, such as the Kojiki and Nihonshoki, it is necessary to avoid being misled by Chinese notions, to study antiquity and to be guided by ancient ideas, but the knowledge of these truths is the very spirit of Mabuchi’s teaching of the Manyô. The service which he performed in founding a branch of learning which has such high claims to veneration as the study of antiquity, is one of incalculable value to mankind..” [sic]

Katô Chikagé, who for many years was a pupil of Mabuchi, is the best authority for biographical and literary details. He says: “From a very early age I lived in Mabuchi’s service, and I was both a constant spectator of his mode of life and an auditor of his words. He was very different in appearance from ordinary men. From his looks he might be taken to be a person of small acuteness and slow in thinking, but sometimes the true heart of a Japanese burst forth in his language, which was then distinguished by the most perfect eloquence. That his hand-writing resembled that of ancient manuscripts, was no doubt the effect of his unwearied and long coutinued diligence in the study of antiquity. His house and furniture were both formed upon ancient models, and he neither lent ear to nor bestowed attention on anything modern. In this way his mind naturally acquired an old-fashioned mould, and all its productions, whether written or verbal, were pervaded by the same tint.

“In composing poetry he worked most conscientiously. Every stanza was the subject of much consideration and frequent correction. Three separate styles are to be distinguished in his compositions. The first was imitated from Kada no Adzumamaro, and is elegant and feminine in form. The second is entirely his own; polished, musical and yet manly. In his later years his range of thought was higher, and his language was natural and simple to a degree not to be attained a by ordinary