hundred and ninety-nine. The thousandth patient was a miserable old man who asked her to suck pus from the ulcerated sores of his skin. As she cheerfully acceded to his wish, he was transfigured into a Buddha, and ascended into the air, blessing the imperial devotee whose faith he had come to test. Among the great subjects we also find instances such as those of Kamartari and Fuhito, of whom the former, though a minister of the court, built a temple and made his eldest son take orders, and the latter erected the temple of Kōfuku-ji and endowed it as the place of worship of the Fujiwara family. Among the priests of high rank, one whose name has been transmitted to posterity was Gyōgi.
He became famous in the reign of the Empress Genshō,[1] and having won the confidence and respect of the next sovereign, Shōmu, he attained the rank of Daisōjō (archbishop) and was subsequently worshiped as a saint under the title of "Bosatsu." It was by this prelate that the doctrine of successive incarnations of the Buddha was first enunciated, a doctrine whose skillful application greatly served the cause of Buddhism. For though the creed obtained such influence and success in the times now under consideration, its universal acceptance by the people encountered a strong obstacle in their traditional belief that the Shintō deities, not Buddha, had founded the state, bequeathed its scepter to their posterity, and prescribed a creed with which the very existence of the nation was bound up. This difficulty, however, the Buddhist priests adroitly met by the aid of the doctrine that Gyōgi taught. The goddess Amaterasu had been only an incarnation of Birushanabutsu, and all the deities of the land were but the Buddha himself in various human forms. By this skillful reasoning they dispelled the inherited prejudices of the people and gave a great impulse to the spread of their creed. Gyōgi, Dōshō, Ryōben, and others acquired notable influence with the masses, and, aided by their pupils, preached in such manner as to popularize Buddhism throughout the land. About this era, also, many priests came to Japan from China. It would appear, nevertheless, that side by side with the spread of Buddhist conviction the doctrine of fate and fortune was taught and the necessity of vows and penances inculcated, to the delusion and demoralization of ignorant folks. In every direction priestly sway made itself felt, even the imperial court being largely under the influence of Gembō, Dōkyō, and their following.
A notable factor in the development of material prosperity at that epoch was the extraordinary ability of the priests. Many of them made voyages to China to study the arts and sciences of that empire, and on their return traveled up and down the land, opening regions hitherto left barren, building temples, repairing and extending roads, bridging rivers, establishing ferries, digging ponds, canals, and wells, and encouraging navigation, thus contributing as much to the material civilization of the country as to the moral improvement of the people. It may be truly said that the spread of Buddhism was synchronous with the rise of art and science. Carpenters, from the practice acquired in building temples, learned how to construct large edifices; sculptors and metallurgists became skillful by casting and graving idols of gold and bronze; painting, decorative weaving, the ornamentation of utensils, and the illumination of missals, owe their expert pursuit to the patronage of Buddhism; the first real impetus given to the potter's art is associated with the name of a priest; in short, almost every branch of industrial and artistic development owes something to the influence of the creed. In a storehouse forming part of the Tōtai-ji, and in the temple of Hōriū, both at Nara, there are preserved a number of household utensils, objects of apparel, musical instruments, and so forth, handed down from the Nara epoch, every one of which bears witness to a refined and artistic civilization, not surpassed by succeeding generations. Among glyptic artists there have been handed down from these days the names of men famous for their skill in sculpturing images, two of whom were called "Kasuga" after the place where they lived, and were held in the highest honor. It is true that architecture, sculpture, dyeing, and weaving, introduced originally from China and Korea, had long been practiced with considerable success, but during the Nara epoch these arts were in the hands of men celebrated then and subsequently for their proficiency. The same may be said also of the arts of the lacquerer and the sword-smith, which at that time were carried far beyond ancient standards of achievement. It is further worthy of note that the methods of manufacturing glass and soap were known in the eighth century. Nara and its temples, remaining outside the range of battles and the reach of conflagrations, have escaped the destructions that periodically overtook other imperial capitals, so that those who visit the place to-day can see objects of fine and useful arts more than a thousand years old.
Simultaneously with the progress thus made in art and industry, learning received a great impetus. The Emperor Tenchi was the first to appoint officials charged with educational functions. A university was established in Kyōto, as well as public schools in the various localities throughout the provinces. The subjects chiefly taught in the university were history, the Chinese Classics, law, and mathematics. These were called the shidō, or four paths of learning. In the succeeding reign, education continued to receive powerful encouragement, but the principal object in view being the training of government officials, instruction for the masses still remained in an unsatisfactory state. Learning in that age virtually signified a knowledge of the Chinese Classics. Hence, in the Nara epoch, scholars versed in that kind of erudition were very numerous, conspicuous among them being Awada-no-Mahito, Ō-no-Yasumaro, Kibi-no-Makibi and others. Intercourse with China being then tolerably close, there were frequent instances of priests and students proceeding thither by order of the government, the former to investigate religious subjects, and the latter to study Chinese literature. Even in China some of these men obtained a high reputation for learning. The names of Kibi-no-Makibi and Abe-no-Nakamaro are best remembered. The former, on his return to Japan, was appointed a minister of state, but the latter never saw his native country again. Encountering a violent gale on his homeward voyage, he was driven back to China, where he received an important official position and remained until his death, constantly hoping to return to Japan but always unable to realize his hope.
Japan in those days possessed many scholars who could write Chinese fluently. The composition of Chinese poetry was commenced in the reign of Kōbun, the first book of verses ever published in Japan—the "Kwaifūso"—making its appearance at that time. It is on record that, at an earlier epoch—during the reign of the Empress Suiko—Prince Shōtoku, Soga-no-Umako, and others, jointly compiled some historical works, which were, however, almost totally destroyed at the time of the overthrow of the Soga family. Subsequently, the Emperor Temmu instructed Prince Kawashima and others to write a history, and further directed Hieda-no-Are to dictate for transcription the annals of the successive reigns. Again, in 712 A. D., Ō-no-Yasumaro, by command of the Empress Gemmyō, compiled a history of the empire from the earliest days to the reign of Suiko. This work was called the "Kojiki." A year later the various provinces received imperial instructions to prepare geographical accounts, each of itself, and these were collated into the "Fūdoki" a few of which still remain. During the next reign, the Empress Genshō continued this literary effort by causing Prince Toneri and others to compile the "Nihongi," comprising a historical narrative from the beginning of the empire to the reign of Jitō. In these works, the "Kojiki" and the "Nihongi," the most ancient traditions of the country are to be found. Shortly afterward five other chronicles, known with the "Nihongi" as the "Six National Histories," were successively undertaken, the compilation of which continued down to the reign of the Emperor Daigo.
To the Japanese poetry of the Nara epoch, however, must be assigned the first place among the literary efforts of the time. While Kōgen was on the throne, Tachibana Moroye collected all the poems then extant, and these, being afterward supplemented by Ōtomo-no-Yakamochi, constitute the "Manyōshu," a work containing stanzas full of verve and imagination, simple yet by no means deficient in taste. The longer compositions are especially admirable, and have ever since served as models for writers of Japanese verse. Later generations considered the work as a means of studying the ancient language of the country prior to the Nara epoch, and from it they also derived a knowledge of the customs and sentiments of early times. Consequently the "Manyōshu," together with the "Kojiki" and the "Nihongi," came to be regarded as most precious sources of historical information.
The lavish patronage bestowed upon Buddhism and the artificial wealth and refinement of the capital were not without an enervating effect upon the