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in economics and government, was another. These two, Mr. Nasu, and I used to meet from time to time in the evening, and among us we translated a considerable part of the Shagakuseisō i.e. Orthodox School of the Study of Shooting, an old Chinese text on archery written during the Ming dynasty. Mr. Hulsewé was with us only at the start of that work, but Dr. Fahs continued working with us for many months. It is a very interesting text and I feel sure that American archers would much appreciate it.

      This present book is not a treatise on Japanese archery in general, but a short statement of the aims and methods of archery as practiced in Japan, or at any rate as it has been taught to me. For there are many schools of archery in Japan with all sorts of different traditions. Some emphasize one thing, others another, but on the whole it would seem that they really differ only in nonessentials—small tricks of technique and matters of ceremonial form. When it is a question of holding at full draw and the release, for example, they are all in agreement and indeed could hardly differ.

      Accordingly the reader may be sure that he has here a fair presentation of a typical style of Japanese shooting, which, in its fundamental aspects, does not differ materially from other styles of Japanese, or indeed Oriental, archery.

      To the Westerner by far the most interesting thing about the archery of the Far East is the fact that in both China and Japan the string is still drawn to a point well behind, as was done in the old English archery of Roger Ascham's time. That this is an advantage in some ways will, I think, be plain from the diagrams which show the two positions, drawn as if seen from a point directly above the archer's head. The first diagram illustrates the American full draw, and shows how the elbow of the draw arm must form an obtuse angle with the line of the two shoulders as long as the string is not drawn well behind the ear.

      The second diagram shows the relative positions of the rear elbow and the shoulders in the Oriental full draw. Note that the entire pull of the string is shifted directly onto the shoulder of the draw arm, instead of continuing to pull on the elbow as in the American method.

      AMERICAN AND JAPANESE FULL DRAW

      Note that with the American full draw (upper sketch), in which the string is not drawn well behind the ear, the elbow is not in line with the shoulders, and that in the Japanese full draw (lower sketch) it is in line, thus shifting the entire pull of the string onto the shoulder of the draw arm instead of continuing it on the elbow as in the American method.

      No one can deny the superior neatness and schematic beauty of the Oriental full draw. For in it the chest can and should be extended and the shoulders thrust apart as far as possible. For this reason it would seem that Oriental archery is better exercise than ours though it can never equal ours for accuracy. In judging their system this point should be kept in mind, and it should also be remembered that the old English archers drew to the ear. They drew with the finger tips, whereas the Japanese have the string in a groove at the base of the crotch of the thumb. (See illustrations on page 27.) It will be seen that the string in Japanese shooting goes considerably further back behind the ear than was the case in the old English archery—the difference in fact being the distance from the crotch of the thumb to a point near the tip of the forefinger.

      I hope that the consideration of this point may lead some American archers to experiment with longer bows which would permit a fuller draw in the manner of the archers of old England. And I also hope that some may be stimulated to acquire Japanese equipment of their own and try their hand at it. This need not ruin their technique with the American bow as the two systems are so entirely unlike. Another great difference between Japanese archery and almost all others is that the shooting is done from a structure built especially for the purpose.

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