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     There is probably nothing as profound, subtle, and expressive as the word “discernment.” This concept (in Japanese, the phrase mono o shiru or “perceiving the pith”) deserves respect throughout the entire world. It appears simple but it is difficult to comprehend, so I would like to try to explain it as clearly as possible.
     This is how I would analyze the word “discernment.” Discernment means experiencing all sorts in the world, taking them in, grasping the reality of those phenomena, and expressing what has been absorbed in some kind of form. For example, in relation to one problem, discovering that if you did something in a certain way, you could discover its unique vital point. Opposite to this are the people who without a thought flaunt juvenile arguments, perform rash acts, and do not recognize that they are criticized and insulted by others, that is, people who do not see, do not discern. These are people who lack discernment. These are the kinds of people that we often hear described as immature, inexperienced, stupid, and such. There is the word “intelligentsia,” and this is a word that describes people who perceive the pith in a cultural sense.
     In line with the preceding, there are just too many politicians these days who do not perceive the pith. They make something insignificant into a large problem, create a big fuss about it, and do not realize that they disgust the intelligentsia around them. They do nothing more than confess their own vulgarity. These very individuals are dead people with shojo viewpoints. It is the activities of such low character persons that obstruct the workings of and injure the trust the people have in the National Diet. Constant and diligent are they in self-aggrandizement. Not only do these types lack discernment, they are know-nothings.
     Political discussions these days take too long nor are conclusions reached due to there being too many of these know-nothings. Coming to an agreement should be simple and easy if there are many participants who have understanding. Troubling, however, is that those who truly understand dislike standing out and try to evade clashing with know-nothings. They are gentle in temperament and become shy and retiring. Know-nothings exploit the withdrawn manner of those who do understand and insist more strongly on their views. Society is fascinating because the more know-nothings assert themselves, the more famous they become. To have fame means that at election time, they have higher rates of success, and as a result, those who understand, who perceive the pith, always become a minority, and the know-nothings become the majority. That deliberations over problems these days go on all night and never come to a conclusion illustrates this trend very well.
     That being said, however, it is a fact that the opinions of those who do understand are sometimes adopted. This phenomenon can be seen in the trend that individuals who move more to the fore in the political world assert themselves less, are respected by others, and obtain appointment to important posts. It can probably be said that those such as the current prime minister, Shigeru Yoshida, are among those who do understand most profoundly.
     Most likely it is the normal course of events that people who are said to be capable and competent in all aspects of society, not just the political world, are people who understand things. In the preceding I have written about the mental or social aspects of discernment, but next I would like to write about the other aspect, the physical or material aspects of the issue.
     To describe discernment’s physical aspects, it is best to approach the issue from the artistic side because there are many of the type of great figures who perceive the pith who are also superior in their aesthetic sense.
     The first historical figure I will mention is Prince Shotoku. There is no room for discussion that in the aspects of Buddhist culture, and particularly Buddhist art, he is superior. Even today, it is obvious that Horyuji temple and the other examples that remain are all brilliant, still shine forth. His Seventeen-Article Constitution can be said to be the basis for Japan’s legal system. The next figure I would like to take up is Ashikaga Yorimasa. Although there are various opinions about him as far as other directions are concerned, in the realm of art, he left behind magnificent accomplishments. These accomplishments start with buildings such as the Silver Pavilion but extend to his extensive collecting of Chinese art, particular superior pieces from the Sung and Mongol dynasties. He encouraged the arts in Japan and ordered the creation of precious articles. The Higashiyama Treasure even now is highly regarded for its achievement of satisfying the appreciative eye.
     At this point, one figure who deserves our highest level of praise is probably Toyotomi Hideyoshi. Particularly worthy of mention is the brilliant Momoyama artistic culture to which he gave birth. The concept of wabi put energy into the art of the tea ceremony, so that the shining achievement left behind by the great success of tea ceremony, which at the time had been hardly known, was largely spurred by the genius Sen no Rikyu. The culture of the tea ceremony greatly stimulated the artistic culture of the times and produced many artistic masters and giants, such as Kobori Enshu and the master potter Chojiro. Instructed by Yoshimasa, Chojiro collected Japanese and Chinese art as well as famous pieces from Korea. One of his achievements was to give new life to Japanese ceramics.
     What cannot be ignored at this point is the birth of Hon’ami Koetsu. Koetsu painted pictures, produced fine calligraphies, created ceramics, provided a new axis for maki-e lacquerware, and so forth. His unique creativity in so many fields was not undone by anyone of the times. Even Koetsu with all his achievements could not have expected one hundred years later the great work of Ogata Korin, the pinnacle of Japan. Korin adored the deceased Koetsu and became a master who excelled his idol. Others of renown who must not be ignored are the kings of ceramics Nonomura Ninsei and Ogata Kenzan. Their triumphs led to Sakai Hoitsu who was of no mean ability.
     Another point for which Toyotomi Hideyoshi stands out is that even at a young age, in spite of his peasant origins he showed an interest in art, and it is to be admired that he started collecting art pieces very early in life. The common wisdom has it that coming to understanding the heart of things, perceiving the pith, only takes place after a repetition of long struggles that occurs to persons in intermediate or higher positions of favorability. But, Hideyoshi is that rare individual who should be called great because in spite of the fact that he came from lower class origins and continued to wander amongst the cinders of battle, some how and in some time, to a certain extent he came to be able to perceive the pith.
     When a brief look is taken at the literary side, the figures that stand out are the waka poet Saigyo and the haiku poet Basho. These two masters stand out as poets who perceived the pith. Representative works that keep coming back to me are, for Saigyo,
Even the unfeeling person / Feels sorrow / As a snipe rises / Over the pond / On an autumn night.
And for Basho,
Oh the silence / Pierces rock / The song of the cicadas.
     Another person who perceived the pith that cannot be overlooked is Matsudaira Harusato who is known under the art name of Fumai. He bought and organized into a collection many unusual utensils and ceramics for the tea ceremony and left a legacy of preventing the dispersal of good pieces and of halting the decline of the tea ceremony for which he deserves much admiration.
     As for persons in modern times who perceived the pith, I would like to mention the actor, the late Ichikawa Danjuro IX. I have written about him extensively in Assorted Reflections so I omit that contents here. In general terms I have written about several representative persons who have perceived the pith. These are all individuals of the highest levels of culture, whose achievements have provided nourishment for the souls of succeeding generations. They have enriched our interests and raised our sentiments. There is certainly a need to explore anew how much the achievements of those who perceived the pith, who possessed discernment, have, as I have described above, contributed to culture.

“Mono o Shiru” first appeared in Chijōtengoku, Issue 16, August 15, 1950, and later while Meishu-sama was still alive, reprinted in two anthologies. It was first reprinted in Goshinsho: Shūkyō Hen (Divine Writings: Volume on Religion), page 104, March 25, 1954, and a few months later in the essays anthology for ordinary believers and members of the general public Tengoku no Fukuinsho (Gospels of Heaven), page 108, August 25, 1954. “Mono o Shiru” has appeared previously in translation. Citation is given below for reference.

“Men of Awareness,” Foundation of Paradise, 1984, page 383.

“People of Perception,” Teachings of Meishu-sama, Volume Four, 2007, page 20.

“Knowledge and Discernment,” A Hundred Teachings of Meishusama, no date, page 187.