Lafcadio Hearn Part 5

"All roads lead to Rome," but it is well for the artist if he find the right one early in his career. Hearn set forth on his pilgrimage within hearing of the tolling of the bell of St. Paul's, ending it within hearing of the "bronze beat" of the temple bell of Yokohama, carrying through all his romantic journeyings that most wonderful romance of all, his own genius.

"Well, you too have had your revelations,--which means deep pains. One must pay a price to see and to know," he writes to Mrs. Atkinson, recalling these days. "Still, the purchase is worth making."

Great as the deprivation must have been, not to return to the meadows and flowery lanes of Tramore, to the windswept bay, and the sound of the undulating tide, what a chance was now offered him! A free charter of the streets of London. If, as he says, he had received no education at Ushaw, he received it here, the best of all, in these grimy, sordid surroundings, noting the pathos of everyday things, fascinated by the sight of the human stream pouring through the streets of the great metropolis, its currents and counter-currents and eddyings, strengthening or weakening, as the tide rose or ebbed, of the city sea of toil. This was what gave his genius that breadth of vision and range of emotion which, half a century later, enabled him to interpret the ceremony and discipline, the sympathy or repulsion, the "race ghost" of the most mysterious people on the face of the globe. We can see in imagination the odd-looking lad creeping, in his gentle, near-sighted fas.h.i.+on, through the vast necropolis of dead G.o.ds in the British Museum, where later, in an eloquent pa.s.sage at the end of one of his essays, he pictures a j.a.panese Buddha, "chambered with forgotten divinities of Egypt or Babylon under the gloom of a pea soup fog," trembling faintly at the roar of London. "All to what end?" he asks indignantly. "To aid another Alma Tadema to paint the beauty of another vanished civilisation or to ill.u.s.trate an English dictionary of Buddhism; perhaps to inspire some future Laureate with a metaphor startling as Tennyson's figure of the 'Oiled and curled a.s.syrian Bull'? Will they be preserved in vain?

Each idol shaped by human faith remains the sh.e.l.l of truth eternally divine, and even the sh.e.l.l itself may hold a ghostly power. The soft serenity, the pa.s.sionless tenderness of those Buddha faces might yet give peace of soul to a West weary of creeds, transformed into conventions, eager for the coming of another teacher to proclaim, 'I have the same feeling for the High as the Low, for the moral as the immoral, for the depraved as for the virtuous, for those holding sectarian views and false opinions as for those whose beliefs are good and true.'"

We can see him sitting on the parapet of the dock wall, watching the white-winged s.h.i.+ps, "swift Hermae of traffic--ghosts of the infinite ocean," put out to sea, some of them bound for those tropical lands of which he dreamed; others coming in, landing sphinx-like, oblique-eyed little men from that country in the Far East of which he was one day destined to become the interpreter.

We know of nothing that he wrote at this time, but no doubt many were the sheets--destroyed then and there as dangerous and heretical stuff--that fell into Catherine Delaney's hands. What she could not destroy, were the indelible visions and impressions, bitten deep by the aqua-fortis of memory on the surface of his sensitive brain.

"One summer evening, twenty-five years ago, in a London park, I heard a girl say 'good-night' to somebody pa.s.sing by. Nothing but those two little words--'good-night.' Who she was I do not know. I never even saw her face, and I never heard that voice again. But still, after the pa.s.sing of one hundred seasons, the memory of her 'Good-night' brings a double thrill incomprehensible of pleasure and pain--pain and pleasure, doubtless, not of me, not of my own existence, but of pre-existence and dead suns.

"For that which makes the charm of a voice thus heard but once cannot be of this life. It is of lives innumerable and forgotten. Certainly there never have been two voices having precisely the same quality. But in the utterance of affection there is a tenderness of timbre common to the myriad million voices of all humanity. Inherited memory makes familiar even to the newly-born the meaning of this tone of caress. Inherited, no doubt, likewise our knowledge of the tones of sympathy, of grief, of pity. And so the chant of a blind woman in this city of the Far East may revive in even a Western mind emotion deeper than individual being--vague dumb pathos of forgotten sorrows, dim loving impulses of generations unremembered. The dead die never utterly. They sleep in the darkest cells of tired hearts and busy brains, to be startled at rarest moments only by the echo of some voices that recalls their past."[7]

[7] From "A Street Singer," "Kokoro," Messrs. Gay & Hanc.o.c.k.

It is interesting to feel the throb of the intellectual pulse of England in the late sixties when Lafcadio Hearn was wandering about the wilderness of London, absorbing thoughts and storing ideas for the future.

Tennyson had done his best work. "Maud" and "Locksley Hall" were in every one's heart and on every one's lips, ill.u.s.trating the trend and the expression of men's thoughts. Walter Pater and Matthew Arnold, at Oxford, were forming the modern school of English prose; Ruskin in his fourth-floor room at Maida Vale, with "the lights of heaven for his candles," was opening the mind of middle-cla.s.s England to a new set of art theories. The Brownings were in Bryanston Square, she occupied in writing "Aurora Leigh," he in completing "Sordello." William Morris, "in dismal Queen's Square, in black, filthy old London, in dull end of October, was making a wondrous happy poem, with four sets of lovers, called 'Love is Enough.'" The Pre-Raphaelite brotherhood were trying to lead Englishmen out of the "sloshy" bread-and-b.u.t.ter school of sentimentalism to what they called "truth" in subject and execution. The _Germ_ was running its short and erratic career; Rossetti had published in its pages the "Blessed Damozel," had finished "The Burden of Nineveh," and had begun the "House of Life." Jimmy Whistler, during the intervals of painting "Nocturnes" at Cherry Tree Inn, was flying over to Paris, returning laden with "j.a.paneseries," exhibiting for the first time to the public, at his house in Chelsea, a flutter of purple fans, and _kakemonos_ embroidered at the foot of Fuji-no-yama, which, in his whimsical way, he declared to be "as beautiful as the Parthenon marbles."

Darwin had fulminated his scientific principles of natural selection and evolution, fanning into a flame the conflict between religious orthodoxy and natural science. Theologians were up in arms. To doubt a single theological tenet, or the literal accuracy of an ancient Hebraic text, seemed to them to place the whole reality of religious life and nature in question. Ten years before, Herbert Spencer had been introduced by Huxley to Tyndall as "Ein Kerl der speculirt," and well had he maintained the character; "Principles of Ethics" had already been written and he was at work at the "Synthetic Philosophy."

Science, however, in those days seems to have been a closed book to Lafcadio. The wrangles and discussions over eastern legend and the creation of the world as set forth in Genesis never seem to have reached his mind, until years afterwards in New Orleans. He appears to have wandered rather in the byways of fiction, devouring any rubbish that came his way in the free libraries he frequented. It is surprising to think of the writer of "j.a.pan, an Interpretation," having been fascinated by Wilkie Collins's "Armadale." The name "Ozias Midwinter,"

indeed, he used afterwards as a pseudonym for the series of letters contributed to the _Commercial_ from New Orleans. There is a certain pathos in the appeal that the description of the personality and character of _Midwinter_ made to his imagination. "What had I known of strangers' hands all through my childhood? I had only known them as hands raised to threaten. What had I known of other men's voices? I had known them as voices that jeered, voices that whispered against me in corners.... I beg your pardon, sir, I have been used to be hunted and cheated and starved."

Lafcadio's stay in London lasted a year; an imagination such as his lives an eternity in a year. A veil of mystery overhangs the period intervening between this and his arrival in America which I have in vain endeavoured to penetrate.

Mr. Milton Bronner, in his preface to the "Letters from the Raven,"

alludes to the "travel-stained, poverty-burdened lad of nineteen, who had 'run away from a Monastery _in Wales_,' and who still had part of his monk's garb for clothing."

In writing Hearn's biography, it is always well to remember his tendency to embroider upon the drab background of fact. Mrs. Koizumi, his widow, told us in j.a.pan that when applying for an appointment, as professor at the Waseda University, her husband informed the officials that he had been educated in England and Ireland, "also some time in France." His brother, Daniel James, at present a farmer at St. Louis, Michigan, says that he knows Lafcadio to have been for some time at college in France, and Mr. Joseph Tunison, his intimate friend at Cincinnati, states that Lafcadio, when talking of his later childhood and youth, referred to Ireland, England, and "some time at school in France." Hitherto it has been a task of no difficulty to trace the inmates of Roman Catholic colleges abroad, it having been customary to keep records of the name of every inmate and student of each college, but since the breaking up of the religious houses in France, many of these records have been lost or destroyed.

Strong internal evidence, which it is unnecessary to quote here, leads to the conclusion that he was delivered, as a scapegrace and good-for-nothing, into the charge of the ecclesiastics at the Roman Catholic inst.i.tution of the _Pet.i.ts Precepteurs_ at Yvetot, near Rouen.

Finding their methods of calling sinners to repentance unendurable, he took the key of the fields, and made a bolt of it. If, as we imagine, he went to Paris, he most certainly did not reveal himself to his Uncle Richard, who was living there at the time.

Though henceforward the ecclesiastical element, as an active factor, disappeared out of Hearn's life, he seems to have been pursued by a sort of half-insane fear of the possibility of Jesuitical revenge. The church, he declared, was inexorable and cruel; he preferred, therefore, not to place himself within the domain of her sway, holding aloof, as far as possible, from Roman Catholic circles in New Orleans, and renouncing the idea of a visit to the Spanish island of Manila.

It is easy to imagine the intellectual eagerness and curiosity--appanage of his artistic nature--with which Hearn must have entered Paris. Paris, where, as he says, "talent is mediocrity; art, a frenzied endeavour to express the Inexpressible; human endeavour, a spasmodic straining to clutch the Unattainable."

A few weeks would have sufficed to enable him to collect vital memories--memories to be used so often afterwards in his literary work.

It was the period just before the outbreak of the Franco-Prussian war, when Paris, under the Empire, had reached her zenith of talent and luxury. A strange mixture of frivolity and earnestness characterised the world of art. Theophile Gautier was writing his "Mdlle. de Maupin,"

while Victor Hugo was thundering forth his arraignment of Napoleon Buonaparte, and writing epics to Liberty. Hearn tells of French artists who made what they called "coffee pictures" by emptying the dregs of their coffee upon a sheet of soft paper after dinner at the _Chat Noir_, and by the suggestions of the shapes of the stains pictures were inspired and developed, according to the artistic capacity of the painter. Meanwhile, in his humble home in Brittany, Francois Millet, in poverty and solitude, was living face to face with Nature and producing "The Sowers" and "The Angelus."

Yet, even amongst the most dissipated members of this Parisian world of Bohemia, one principle was established and followed, and this principle it was that made it so invaluable a school for a nature such as Hearn's.

Never was the artistic vocation to be abandoned for any other, however lucrative, not even when art remained blind and deaf to her wors.h.i.+ppers.

However forlorn the hope of ultimate success, it was the artist's duty to offer up burnt sacrifices on the altar of the divinity.

It is not to be wondered at that the boy was infected by the theory that ruled supreme of "art for art's sake." Art, not for the sake of the moral it might preach or the call on higher spiritual sentiments but for itself. This axiom it was that permeated the sinister perfection of Baudelaire, the verbal beauty of Flaubert, and the picturesqueness of Gautier. For a young craftsman still struggling with the manipulation of his material the "Impressionist school," as it was called, presented exceptional fascinations; and no doubt in that very slender outfit, which he tells us he carried in the emigrant train between New York and Cincinnati, some volumes of these French romantics were packed away. He could hardly have obtained them in the America of that day. The shelves of the Cincinnati Free Library might hold Henry James's "Essays" in praise of the modern French literary school, but the circulation of the originals would certainly not have been countenanced by the directors.

It is not impossible that, when in Paris, Lafcadio came across Robert Louis Stevenson. The year that he was born in the Ionian Islands, Stevenson was born amidst the fogs and mists of Edinburgh. He was the same age, therefore, as the little Irishman, and was in Paris at about the same time. Whistler, "the Laird" and Du Maurier were both also frequenting the Quartier, the latter collecting those impressions which he afterwards recounted in "Trilby"--"Trilby" of which Lafcadio writes later with the delight and appreciation of things experienced and felt.

In 1869 Lafcadio Hearn received a sum of money from those in Ireland who had taken the control of his life into their hands, and he was directed to leave Europe for Cincinnati in the United States of America. There he was consigned to the care of Mr. Cullinane, Henry Molyneux's brother-in-law.

It was characteristic that Hearn apparently did not attempt to propitiate or approach his grand-aunt, Mrs. Brenane, though he must have well known that by not doing so he forfeited all chance of any inheritance she might still have left to bestow upon him.

CHAPTER VI CINCINNATI

"... I think there was one mistake in the story of OEdipus and the Sphinx. It was the sweeping statement about the Sphinx's alternative. It isn't true that she devoured every one who couldn't answer her riddles. Everybody meets the Sphinx in life;--so I can speak from authority. She doesn't kill people like me,--she only bites and scratches them; and I've got the marks of her teeth in a number of places on my soul. She meets me every few years and asks the same tiresome question,--and I have latterly contented myself with simply telling her, 'I don't know.'"[8]

[8] "The Life and Letters of Lafcadio Hearn," Houghton, Mifflin & Co.

In a letter to his sister, written from k.u.mamoto, in j.a.pan, years later, Hearn tells her that he found his way to the office of an old English printer, named Watkin, some months after his arrival in Cincinnati. "I asked him to help me. He took a fancy to me, and said, 'You do not know anything; but I will teach you. You can sleep in my office. I cannot pay you, because you are of no use to me, except as a companion, but I can feed you.' He made me a paper-bed (paper-shavings from the book-tr.i.m.m.i.n.g department); it was nice and warm. I did errand boy in the intervals of tidying the papers, sweeping the floor of the shop, and sharing Mr.

Watkin's frugal meals."

In Henry Watkin's Reminiscences the purport is given of the conversation that pa.s.sed between the future author of "Kokoro" and himself at his shop in the city of Cincinnati, when Hearn first found his way there in the year 1859.

"Well, young man, what ambition do you nourish?"

"To write, sir."

"Mercy on us. Learn something that will put bread in your mouth first, try your hand at writing later on."

Henry Watkin was a person apparently of elastic views and varied reading; self-educated, but shrewd and gifted with a natural knowledge of mankind. He was nearly thirty years older than the boy he spoke to, but he remembered the days when his ideal of life had been far other than working a printing-press in a back street in Cincinnati. At one time he had steeped himself in the French school of philosophy, Fourierism and St. Simonism; then for a time followed Hegel and Kant, regaling himself in lighter moments with Edgar Allan Poe and Hoffmann's weird tales.

The lad who had come to solicit his aid was undersized, extremely near-sighted--one of his eyes, in consequence of the accident that had befallen him at Ushaw, was prominent and white--he was intensely shy, and had a certain caution and stealthiness of movement that in itself was apt to influence people against him. But the intellectual brow, a something dignified and reserved in voice and manner, an intangible air of breeding, arrested Mr. Watkin's attention. As Hearn somewhere says, hearts are the supreme mysteries in life, people meet, touch each other's inner being with a shock and a feeling as if they had seen a ghost. This strange waif, who had drifted to the door of his printing-office, touched Henry Watkin's sympathetic nature; he discerned at once, behind the unprepossessing exterior, a specific individuality, and conceived an immediate affection for the boy.

Many were the s.h.i.+fts that Lafcadio had been put to from the time he left France until he cast anchor in the haven of Mr. Watkin's printing-shop in a retired back street in the city of Cincinnati.

Filling up the gaps in his own recital, we can see the sequence of events that invariably distinguished Hearn's progress through life. In his improvident manner he had apparently squandered the money that had been contributed by Mrs. Brenane for his journey, and thus found himself in considerable difficulties.

Amongst the papers found after his death was a sketch, inspired, he tells Professor Yrjo Hirn, writing from Tokyo in January, 1902, by the names of the Scandinavian publishers, Wahlstrom and Weilstrand. It is sufficiently reminiscent of Stevenson to make one think that the reading of "Across the Plains," rather than the names of Scandinavian publishers, was responsible for its inception. It relates very much the same experiences as Stevenson's on his journey from New York to Chicago in an American emigrant train. Absolutely dest.i.tute of money and food, he must have presented a forlorn appearance. Moved to pity, a Norwegian peasant girl, seated opposite him in the car, offered him a slice of brown bread and yellow cheese. Thirty-five years later he recalled the vision of this kind-hearted girl, no doubt endowing her memory with a beauty and charm that never were hers--and under the t.i.tle of "My First Romance" left it for publication amongst his papers.

After his arrival in Cincinnati the lad seems very nearly to have touched the confines of despair; and for some months lived a life of misery such as seems incredible for a person of intellect and refinement in a civilised city. Sometimes when quite at the end of his tether he had, it appears, to sleep in dry-goods boxes in grocers' sheds, even to seek shelter in a disused boiler in a vacant "lot."

"My dear little sister," he writes years afterwards to Mrs. Atkinson, when recounting his adventures at this period, "has been very, very lucky, she has not seen the wolf's side of life, the ravening side, the apish side; the ugly facets of the monkey puzzle.

"I found myself dropped into the enormous machinery of life I knew nothing about, friends tried to get me work after I had been turned out of my first boarding-house through inability to pay. I lost father's photograph at that time by seizure of all my earthly possessions. I had to sleep for nights in the street, for which the police scolded me; then I found refuge in a mews, where some English coachmen allowed me to sleep in a hay-loft at night, and fed me by stealth with victuals stolen from the house."

This incident Mrs. Wetmore, in her biography of Hearn, refers to as having taken place during his stay in London. His letter to his sister and his use of the word "dollars" in estimating the value of the horses, unmistakably connects the scene of it with the United States, where at that time it was the custom to employ English stablemen.

His sketch, written years after, recalling this night in a hay-loft, delightfully simple and suggestive, tells of the delights of his hay-bed, the first bed of any sort for many a long month! The pleasure of the sense of rest! whilst overhead the stars were s.h.i.+ning in the frosty air. Beneath, he could hear the horses stirring heavily, and he thought of the sense of force and life that issued from them. They were of use in the world, but of what use was he?... And the sharp s.h.i.+ning stars, they were suns, enormous suns, inhabited perhaps by creatures like horses, with small things like rats and mice hiding in the hay. The horses did not know that there were a hundred million of suns, yet they were superior beings worth a great deal of money, much more than he was, yet he knew that there were hundreds of millions of suns and they did not.

"I endeavoured later," he tells Mrs. Atkinson, "to go as accountant in a business office, but it was soon found that I was incapable of filling the situation, defective in mathematical capacity, and even in ordinary calculation power. I was entered into a Telegraph Office as Telegraph Messenger Boy, but I was nineteen and the other boys were young; I looked ridiculously out of place and was laughed at. I was touchy--went off without asking for my wages. Enraged friends refused to do anything further for me. Boarding-houses warned me out of doors. At last I became a Boarding-house servant, lighted fires, shovelled coals, etc., in exchange for food and privilege of sleeping on the floor of the smoking-room. I worked thus for about one and a half years, finding time to read and write stories. The stories were published in cheap Weekly Papers, long extinct; but I was never paid for them. I tried other occupations also--canva.s.sing, show-card writing, etc. These brought enough to buy smoking tobacco and second-hand clothes--nothing more."