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Gormlaki Audacia Directory 02
Page 09
A third feature of former times is the condition of women during those ages. Eulogizers of Old Japan not only seem to forget that working classes existed then, but also that women, constituting half the population, were essential to the existence of the nation. Though allowing more freedom than was given to women in other Oriental nations, Japan did not grant such liberty as is essential to the full development of her powers. "Woman is a man's plaything" expresses a view still held in Japan. "Woman's sole duty is the bearing and rearing of children for her husband" is the dominant idea that has determined her place in the family and in the state for hundreds of years. That she has any independent interest or value as a human being has not entered into national conception. "The way in which they are treated by the men has hitherto been such as might cause a pang to any generous European heart.... A woman's lot is summed up in what is termed 'the three obediences,' obedience, while yet unmarried, to a father; obedience, when married, to a husband; obedience, when widowed, to a son. At the present moment the greatest duchess or marchioness in the land is still her husband's drudge. She fetches and carries for him, bows down humbly in the hall when my lord sallies forth on his good pleasure."[C] "The Greater Learning for Women," by Ekken Kaibara (1630-1714), an eminent Japanese moralist, is the name of a treatise on woman's duties which sums up the ideas common in Japan upon this subject. For two hundred years or more it has been used as a text-book in the training of girls. It enjoins such abject submission of the wife to her husband, to her parents-in-law, and to her other kindred by marriage, as no self-respecting woman of Western lands could for a moment endure. Let me prove this through a few quotations.
By 8.30 in the morning of December 5th we entered the mouth of the Madeira River. I was surprised at the sudden change in the appearance of the two rivers. We saw in the Madeira high, gently sloping banks, covered with verdant grass and neat trees and palms along the top of them; whereas along the Amazon the trees stood almost in the water on the recently formed islands and banks. The left bank of the Madeira was of grey and reddish clay (grey below, red above), cut vertically, sometimes actually in steps. Blocks of a rectangular shape, in getting dried up, split and fell over, leaving the banks vertical. The right bank, on the contrary, was gently sloping, descending with a beautiful carpet of green grass into the stream. The islands were charming, with lovely lawns all round. Blackish and deep red rock, vertical and fluted, and with innumerable perforations, could be seen here and there, covered over with a padding of earth from ten to twenty feet deep.
From Brussels Barent van Orley (1491?-1542) left early for Italy, and became essentially Italian, though retaining some Flemish color. He painted in oil, tempera, and for glass, and is supposed to have gained his brilliant colors by using a gilt ground. His early works remind one of David. Cocxie (1499-1592), the Flemish Raphael, was but an indifferent imitator of the Italian Raphael. At Liege the Romanists, so called, began with Lambert Lombard (1505-1566), of whose work nothing authentic remains except drawings. At Bruges Peeter Pourbus (1510?-1584) was about the last one of the good portrait-painters of the time. Another excellent portrait-painter, a pupil of Scorel, was Antonio Moro (1512?-1578?). He had much dignity, force, and elaborateness of costume, and stood quite by himself. There were other painters of the time who were born or trained in Flanders, and yet became so naturalized in other countries that in their work they do not belong to Flanders. Neuchatel (1527?-1590?), Geldorp (1553-1616?), Calvaert (1540?-1619), Spranger (1546-1627?), and others, were of this group.
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