JAPAN
of Kasuga at Nara, and is, indeed, constantly performed at Shintô festivals elsewhere. Towards the close of the tenth century, the chants that accompanied the kagura as then danced, were committed to writing, and found to number thirty-eight. They are almost wholly devoid of poetic inspiration and depend entirely on rhythm and cadence of syllabic pulsations, five beats followed by seven, five again by seven, and then seven by seven. Here are some examples:—
SPECIMEN OF THE MAYEBARI (OR CHANT OF THE FÊTE DANCE)
Deeply dipping deep
In the rain-fed river's tide,
Robe and stole we dye.
Rain it raineth, yet.
Rain it raineth, yet,
Rain it raineth, yet,
Dies the colour never-more;
Never fades the deep-dyed hue.
SPECIMEN OF TORIMONO-UTA (OR CHANT OF THE WORSHIP-DANCE)
Sacred offerings pure,
Not for mortal beings spread.
But for her, sky-throned.
Majestic Toyöoka.
Offerings for the Gods divine.
Offerings for the Gods.
These verses, it will be seen, have no pretence to be called poetry: they merely supply the mo-
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