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All this is not Japanese, but from such accident is Japanese art inspired, with its good luck of perceptiveness. What symmetry is to form, that is repetition in the art of ornament. Greek art and Gothic alike have series, with repetition or counter-change for their ruling motive. It is hardly necessary to draw the distinction between this motive and that of the Japanese.
Every language imposes a quality, teaches a temper, proposes a way, bestows a tradition: this is the tone the voice of the instrument. Every language, by counter-change, replies to the writer's touch or breath his own intention, articulate: this is his note. Much has always been said, many things to the purpose have been thought, of the power and the responsibility of the note.
They remembered the long counter-change of life and death that had passed under the red roofs at their feet, they remembered innumerable births and marriages and funerals of old time; they sang together like the morning stars, they shouted together like the sons of God for joy, they shouted for joy.
The Japanese motives may be defined as uniqueness and position. And these were not known as motives of decoration before the study of Japanese decoration. Repetition and counter-change, of course, have their place in Japanese ornament, as in the diaper patterns for which these people have so singular an invention, but here, too, uniqueness and position are the principal inspiration.
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