THE HEIAN EPOCH
Men profoundly versed in the Chinese philosophical writings were not wanting, but, as a general rule, refined accomplishments were the test of high education. From princes, ministers of State, and military magnates down to office-clerks and house-stewards, everybody studied singing, dancing, and the art of composing stanzas. Songs and dances of comparatively simple character had been in vogue from ancient times, as has been already seen. Now, however, not only were large drafts made upon the repertories of Korea and China, but extensive modifications and elaborations were devised by the Japanese themselves. Imperial progresses, public feasts, religious ceremonies, private entertainments,—every conspicuous incident of existence was treated as an occasion for playing instruments, treading measures, or extemporising verses. From perusing the literature of the epoch the student rises with a bewildered impression that society's perpetual occupation was to dance among forests of blossom or in the glow of the moonlight; to float over the water in boats with sculptured dragons or phoenixes at the prow, fair girls exquisitely costumed at the poles, and for passengers noblemen and high officials playing flutes and guitars and beating drums; to marshal gorgeous pageants in worship of the gods; to write verses for hanging on blossomy trees and plants or for reading at competitive fetes, and to issue or accept invitations to feasts or sports. There were twenty varieties
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