A Journal from Japan: A Daily Record of Life as Seen by a Scientist — Key Ideas to Explore
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ptember 24.=--A universal holiday, and the Institute is shut. The day was filled with sight-seeing, temples and gardens. Of the several I saw, two in the heart of the city were in such striking contrast as to be worth an attempt at description.
To the one, the approach was lined by rows of little open shops, whose trivial gaudy wares were pressed upon the throngs of passers-by. In the open court of the temple were many stalls and small tea-houses, and hundreds of pigeons fluttering about to be fed. One could buy one sen’s worth (about a farthing’s worth) of peas and rice from the numerous little stalls kept by ancient women. The birds did not appreciate my offering properly, as it was a festival, and they were already overfed, and so contented themselves with pruning their feathers perched on the great eaves of the temple, or on the nose or curly tail of some of the many great dragons. In the vestibule of the temple (this is hardly the right word, but I know no other to express it) hundreds of people clattered in their wooden clogs, and chattered loudly, gazing through the wire-netting into the inner portion, where the priests and readers in gorgeous array and pomp were carrying on a service. The whole effect was not unlike that of a good Roman Catholic Church, but more glittering and richer. As I was watching, a large part of the ceremony seemed to consist in turning over the folds of manuscript very rapidly, giving the effect of endless streams of writing. Into a money-box, as large as a small swimming bath, the devotees threw their small coins, often over the heads of the groups in front of them. Glitter, bustle, noise, and crowds characterise this temple. The other I found by chance in one of the dear little side roads I love. It stood grey and solemn in the midst of its green garden, its great bell in a little house beside it, and its old stone figures and great lotus of copper. Twisted pines and moss-grown paths around it, and behind a silent grove of pine and bamboo. Complete silence in the heart of the city, and though I remained in the garden some time no person came to disturb its peace. Greyness and greenness--and one brilliant golden butterfly dancing above the great green copper lotus, one shrub with scarlet flowers flung against a grey sky--and in the heart of it all the silence of Buddha, whose heart does not seem to beat as he contemplates the universe.
=September 25.=--A tiring day, but little to show for it. Tokio certainly makes one very sleepy, and also demands the expenditure of much time to get a small result.
=September 26.=--Official visit to the Director of the Survey--time spent getting there and back, three hours--length of visit, ten minutes. The rest of the day at the Institute.
=September 27.=--An amusing day spent at the sale by auction of all the household effects of the Spanish consul. It appears that these sales are recognised social functions, and all the good Society was represented, from the Embassy and some Baronesses downwards. I managed to get two feather pillows for twice what they cost in England, but half what they cost here in the shops; and so hope to rest more peacefully at night now. There is such a frightful duty on all foreign goods that every one here buys what they can at these sales; as they are all the goods of friends, which have sometimes been the round of several distinguished families, there is no feeling against obtaining them. It only wanted tea and a little music to be like an “At Home.”
=September 28.=--A quiet day at the Institute. The gardens surrounding it are largely situated on elevated ground, so that one looks down on tree tops and out over an expanse of clear blue sky and lovely light clouds. Now the temperature is like our best days in June, and the actual sunshine still hotter and brighter.
Marie Stopes's A Journal from Japan opens with a poem that sets a conflicted tone: admiration for Japan's traditional beauty mixed with regret over its modernization. The journal itself, written without thought of publication, captures immediate impressions with a scientist's eye for detail. Stopes notes the difficulty of finding butter in Tokyo, then pivots to describe a child in a scarlet kimono, her language shifting from practical complaint to lyrical appreciation. This alternation between the mundane and the beautiful defines the narrative voice throughout.
A Scientist's Eye and a Poet's Tongue
Stopes brings a botanist's precision to her descriptions, noting that double cherries are "rose pink and really as big as small rambler roses." Yet she also indulges in fanciful similes, imagining cherry blossoms as "the kisses of tiny children materialised." This blend of scientific observation and poetic metaphor is consistent: she records the grafting of goldfish with clinical detachment, then anthropomorphizes them as "rather proud of it." The voice is unpolished, as she admits in the preface, but this rawness lends authenticity. She does not hesitate to record discomfort—a leper sitting beside her on a tram prompts a visceral reaction, the prose breaking into dashes and ellipses. The journal's structure, daily entries, allows these shifts in tone to feel natural, not contrived.
The Rhythm of Daily Life
The entries follow a loose weekly rhythm, with Stopes noting the passage of time: "Friday again—how fast and furious fly the weeks." She observes the Japanese custom of ōmaki, a small gift with a purchase, and wishes Nature would grant her "a few years ōmaki." Her days mix fossil-cutting, lunch at the Faculty, and walks to find woods within Tokyo. The pace varies: some entries are brief, recording only a single event; others expand into detailed descriptions of her garden, which she measures at "20 yards square" but fills with two ponds, a river, and woodland glades. This variation mirrors the unpredictability of daily life, with moments of stillness—drying her hair in the garden—interrupted by jarring encounters.
Contrasts in the Landscape
Stopes repeatedly juxtaposes the idyllic and the unsettling. The cherry blossoms, which she calls "unimaginably beautiful," are followed by a tram ride with a leper. Her garden, a miniature paradise, coexists with the knowledge that she must leave it: "it will break my heart to leave this house and garden." She finds solace in a wood "within half an hour" of her house, where she lies alone with violets and wild wisteria, thanking God for quiet. Yet the city intrudes: shops sell goldfish in glass globes, and the single cherries give way to double ones. These contrasts are not resolved; they accumulate, giving the journal a texture of ambivalence. Stopes does not synthesize her experiences into a neat thesis, but lets the contradictions stand.
Readers should approach this journal as a record of moments, not a comprehensive study of Japan. Stopes's voice is that of a visitor who is both enchanted and unsettled, and her entries gain power from their immediacy. Pay attention to the shifts in sentence length and the way she moves from fact to feeling within a single paragraph. The poem at the start, with its lament for lost beauty, frames the entire work—but the journal itself resists such neat conclusions.
I remember setting down that scientist's journal, its cherry blossoms still clinging to my thoughts, and reaching for an older, wearier voice on my shelf. Paris and the Parisians in 1835 (Vol. 2) — Edition Insights holds the same quiet loneliness, that ache of watching a strange city with loving, careful eyes. Two strangers, a century apart, sharing tea with me.
Avery Rodriguez
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4 weeks agoAlexander Mitchell
1 month agoElla Rodriguez
1 week agoBefore you leave, reflect on the book
Use these questions to collect your thoughts before moving on.
Oliver Anderson
1 month ago