cated instrument than its rivals, it is by no means so easy to play as most people imagine. At the present time there is no better performer than your father, Tō no Chūjō. You would be astonished at the variety of tone he can get out of a mere succession of open strings; it is as though by some magic he were able in an instant to change his zithern into whatever instrument he pleases. And the volume of sound which he obtains from those few slender strings is unbelievable!’
Tamakatsura had reached a certain point of proficiency herself. But she knew that she had much to learn, and longed to meet with a first-rate performer. ‘Do you think I might one day be allowed to hear him?’ she asked, not very hopefully. ‘I suppose he sometimes plays when he comes here to entertainments. Even among those outlandish people on the Island there were several teachers, and I always supposed that they knew all about it. But from what you have just said I see that such playing as my father’s must be something quite different….’
‘It is indeed,’ he said, ‘and you shall certainly hear him play. You know, I expect, that though it is called the Eastern zithern and is said to have come from the other side of the country, it is always played at the beginning of every Imperial concert, being solemnly carried in by the Mistress of the Rolls. As far as our country is concerned (about the history of music in other lands I know very little) it is certainly the parent of all other instruments, and that perhaps the best performer upon it who has ever lived should be your own father is certainly a great stroke of luck for you. He does, as you suggested, play here and at other people’s houses from time to time, when there is music afoot; but chiefly on other instruments. It is really very difficult to make him play on the Japanese zithern. Often he begins a tune and then, for some reason, will not
