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THE HON. MR. OGASAWARA, TEACHER OF CEREMONIES IN THE PEERESSES' SCHOOL An old Tokugawa retainer, the best archer in Japan, and the most celebrated teacher of etiquette

nature. To the Western mind these poems, literally translated, seem only a few unrelated words, and the real point is frequently missed. A popular story among Europeans resident in Japan tells how the Empress wrote a farewell poem at the departure of Lady Parkes from Japan, using the approved complimentary symbolism. As freely translated to the guest of honor, the poem ran, Why does the old goose homeward fly?"

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Painting, too, on paper, silk, and porcelain stands high in the scale of studies, and creditable work is done in it, as well as in embroidery,. flower arrangement, and flower-making. The sewing-room is always in native style, the students being seated on the floor. The stitches

taught look like basting, but they are really patterned after an exact fashion, The playing of the koto, or harp-like musical instrument of Old Japan, is also taught. One of the striking characteristics of a Japanese girls' school is the number of baby organs to be seen. Until the missionaries came, Japan had nothing worthy of the name of music, and vocal music was long thought to be impossible to the Japanese. That idea has been dissipated by education, and now, go where one will in a girls' school, he is pursued by the groans and cries of tortured baby organs. Japanese girls do learn to become good musicians, both instrumental and vocal. Some of the girls' schools even boast brass bands.

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To physical culture Japanese schools give an amount of attention which no American institution can hope to ap proach. This department, which the Government itself rigidly insists upon, takes many forms. Sometimes it is with wooden imitations of the ancient long sword, which makes an excellent exercise wand. Dumb-bells, Indian clubs, and hand rings are commonly employed. Calisthenics, skipping, and dancing, as well as tennis, basket-ball, and many romping games, serve the same end. I shall not forget the first time I saw the Virginia reel danced in Japan. girls were in trig gymnasium costume, and they went through the movements to the music of "Suwanee River," played on the baby organ, with unsprightly exactness, but, oh! so dolorously! The occasion was not a frolic and not a gleeful relaxation; it could not have been more melancholy had it been a rite of ancestral worship.

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In outdoor games, however, and on the apparatus which nearly every school provides, the girls are merry enough. They have open-air exercises and frolics every day, and frequent picnics, and already the height of the Japanese woman is being perceptibly increased.

Nothing less than the adding of inches to the national stature is one cherished goal of Japanese education. The country is sensitive upon the subject of its

size. It has learned that the shortness is chiefly in the legs, owing to the custom of sitting on the feet; therefore the schools are all equipped with benches. Therefore, also, the oncoming generations are being put through a physical education which is accomplishing the seemingly impossible. The doorways and ceilings of the new Japanese houses are being built higher than of old, for the nation is surely growing taller.

An observer would never suspect from watching these young women students with their merry, guileless ways and gleeful abandonment in the smallest pleasures, that serious moral and social problems are bound up in their education. Yet the most momentous fact about this new educational movement is that it is working a social revolution and creating in the Japanese nation the moral standards of the Anglo-Saxon world.

One must know her intimately to understand that this innocent, childlike Oriental miss is capable of the most. serious womanly achievements possible to her Western sister. She has purpose, stamina, and ability to bring things to pass. In many respects the life of the student girls is self-governing, and their efficiency as teachers and administrators is marvelous, when compared with the helpless exclusiveness of the Japanese girl of a generation ago.

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BY JOHANN LUDWIG PAUL HEYSE

WITH INTRODUCTION BY HAMILTON W. MABIE

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OR many years the two men who attracted greatest attention in the streets of Munich were Lenbach, the painter, and Paul Heyse, the poet and novelist. It fell to the lot of Lenbach to portray a group of the most powerful personalities that modern Germany has produced. The collection of portraits in the Leipsic Gallery, for instance, need no descriptive phrases in a handbook to make one aware that he is seeing the makers of Imperial Germany drawn by the hand of a powerful and relentlessly truthful portrait-painter. Heyse, on the other hand, has made a series of sketches of romantic types of character, and given expression to a side of the German nature once dominant and now in eclipse, though probably only for the moment. In the studies of the painter one recognizes executive Germany, the Prussian type; in those of the novelist, romantic Germany, the Bavarian type.

White-haired now, but with a touch of distinction in his bearing which makes him a marked figure whenever he appears on the streets, it is easy to imagine Heyse's brilliant youth in the golden age of Maximilian, patron of Arts and Letters in a city which was then in a special sense the home of the arts before factories and business had made it a bustling modern town. The son and grandson of scholars of eminence, with Jewish blood in his veins, Heyse studied classical philology at Berlin under distinguished teachers; and, later, the Romance languages and literatures at Bonn. He was ardent, imaginative, ambitious; his inherited tastes and his studies inevitably developed cosmopolitan tastes and interests. At twenty he was writing poems and plays, and the first of a long series of volumes was given to the public. A story used to be told in Munich illustrative of the fact that a man may gain an international fame without securing local reputation. After a long residence on the same square, a neighbor said to the novelist: "Herr Heyse, I hear that you write stories. Is that true?" The writer confessed that there was ground for the charge. "Would you mind lending me one?" was the prompt response. Lyrics; epics, of which "Thekla " is the most widely known; poetic dramas, often seen on the German stage; and stories, long and short, came from his hand in an almost continuous outpouring of productive energy. The Schiller prize for excellence in dramatic composition was conferred on him by the Emperor twenty-three years ago.

It is as a writer of fiction, and especially of short stories, that Heyse is best known outside his own country. Two of his long novels, " In Paradise" and "The Children of the World," have appeared in many editions and translations; but he has written nothing more characteristic or popular than "L'Arrabiata," a translation of which The Outlook reprints this week in the series of twelve representative stories in languages other than English. This idyllic tale of Italian peasant life shows

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' Reprinted from "Little Masterpieces of Fiction," by permission of Doubleday, Page & Co., New York.

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