Sick, unhappy, and unpopular, flight to other scenes naturally suggested itself. Mr. Tunison thus describes the influences determining the move to New Orleans, which occurred in 1877:--
"As Hearn advanced in his power to write, the sense of the discomforts of his situation in Cincinnati grew upon him. His body and mind longed for Southern air and scenes. One morning, after the usual hard work of an unusually nasty winter night in Cincinnati, in a leisure hour of conversation he heard an a.s.sociate on the paper describe a scene in the Gulf State. It was something about an old mansion of an ante-bellum cotton prince, with its white columns, its beautiful avenue of trees; the whitewashed negro quarters stretching away in the background; the cypress and live-oaks hung with moss, the odours from the blossoming magnolias, the songs of the mocking-birds in the early sunlight."
Hearn took in every word of this with great keenness of interest, as was shown by the usual dilation of his nostrils when excited, though he had little to say at the time. It was as though he could see, and hear, and smell the delights of the scene. Not long after on leaving for New Orleans he remarked:--
"I had to go, sooner or later, but it was your description of the sunlight, and melodies, and fragrance, and all the delights with which the South appeals to the senses that determined me. I shall feel better in the South, and I believe I shall do better."
Though nostalgia for Southern warmth had given a purpose to his wanderings, the immediate cause of his leaving the paper on which he was employed in Cincinnati was his a.s.signment to deal with a story of hydrophobia, in which he suspected he had been given some misleading information by his superiors; and though his suspicions were possibly unjust, he announced that he had lost his loyalty to the paper and abruptly quitted it.
It is said that he went first to Memphis on leaving Cincinnati, but no proof of this remains save an anecdote he once related, placing the scene of it in Tennessee.
The question of essential wrong and right being under discussion, his companion advanced the theory that morals varied so much with localities and conditions that it was impossible to decide that there was any act of which one might say that it was essentially wrong or essentially right. After thinking this over in his brooding manner, he said:--
"Yes, there is one thing that is always wrong, profoundly wrong under any conditions."
"And that?" he was asked.
"To cause pain to a helpless creature for one"s own pleasure," was his answer; and then, in ill.u.s.tration, continued: "Once I was walking along a road in Tennessee, and I saw a man who seemed intoxicated with rage--for what cause I don"t know. A kitten was crossing the road at the moment. It got under the man"s feet and tripped him. He caught it up and blinded it and flung it from him with a laugh. The act seemed to soothe his rage. I was not near enough to stop him, but I had a pistol in my pocket--I always carried one then--and I fired four times at him; but, you know my sight is so bad, I missed him." After a few moments he added, "It has always been one of the regrets of my life that I missed."
Sometime in 1877--the time of the year is uncertain--Hearn arrived in New Orleans, and from this date the work of a biographer becomes almost superfluous, for then was begun the admirable series of letters to H. E.
Krehbiel, which record the occupations and interests of his life for the next twelve years, setting forth, as no one less gifted than himself could, the impressions he received, the development of his mind, the trend of his studies, the infinite labour by which he slowly built up his mastery of the English tongue and the methods of work which made him eventually one of the great stylists of the Nineteenth Century. These letters make clear, as no comment could adequately do, how unflinchingly he pursued his purpose to become an artist, through long discouragement, through poverty and self-sacrifice; make clear how the Dream never failed to lead him, and how broad a foundation of study and discipline he laid during his apprenticeship for the structure he was later to rear for his own monument. They also disclose, as again no comment could do, the modesty of his self-appreciation, and the essentially enthusiastic and affectionate nature of his character.
The first work he secured in New Orleans was on the staff of the _Daily Item_, one of the minor journals, where he read proof, clipped exchanges, wrote editorials, and occasionally contributed a translation, or some bit of original work in the shape of what came to be known as his "Fantastics." Meanwhile he was rejoicing in the change of residence, for the old, dusty, unpaved squalid New Orleans of the "70"s--the city crushed into inanition by war, poverty, pestilence, and the frenzy of carpet-bagger misrule--was far more sympathetic to his tastes than the prosperous growing town he had abandoned.
The gaunt, melancholy great houses where he lodged in abandoned, crumbling apartments,--still decorated with the tattered splendours of a prosperous past,--where he was served by timid unhappy gentlewomen, or their ex-servants; the dim flower-hung courts behind the blank, mouldering walls; the street-cries; the night-songs of wanderers--all the colourful, polyglot, half-tropical life of the town was a constant appeal to the romantic side of the young man"s nature. Of disease and danger--arising out of the conditions of the unhappy city--he took no thought till after the great epidemic of yellow fever which desolated New Orleans the following summer, during which he suffered severely from _dengue_, a lighter form of the disease. But even the cruelties of his new home were of value to him. In the grim closing chapter of "Chita"
the anguish of a death by yellow fever is set forth with a quivering reality which only a personal knowledge of some phases of the disease could have made possible.
Always pursued by a desire to free himself of the harness of daily journalism, he plunged into experiments in economy, reducing at one time his expenses for food to but two dollars a week; trusting his hardly gathered savings to a sharper who owned a restaurant, and who ran away when the enterprise proved a failure. On another occasion he put by everything beyond his bare necessities in one of the mushroom building-loan societies which sprang up all over the country at that time, and with the collapse of this investment he finally and forever abandoned further financial enterprises, regarding them with an absolutely comic distrust, though for some years he continued to dwell now and then on the possibility of starting second-hand bookshops in hopelessly impossible places--such as the then moribund town of St.
Augustine, Florida--and would suggest, with lovably absurd navete, that a _shrewd_ man could do well there.
Meanwhile his gluttony for rare books on recondite matters kept him constantly poor, but proved a far better investment, as tools of trade, than his other and more speculative expenditures. Eventually he gathered a library of several hundred volumes and of considerable value, together with an interesting series of sc.r.a.pbooks containing his earlier essays in literary journalism, and other clippings showing his characteristic _flair_ for the exotic and the strange.
In 1881 he, by great good fortune, was brought into contact with the newly consolidated _Times-Democrat_, a journal whose birth marked one of the earliest impulses towards the regeneration of the long depressed community, and whose staff included men, such as Charles Whitney, Honore Burthe, and John Augustin, who represented the best impulses toward new growth among both the American and Creole members of the city"s population. Of Page M. Baker, the editor-in-chief, he drew in after years this faithful pen-picture:--
"You say my friend writes nicely. He is about the most lovable man I ever met,--an old-time Southerner, very tall and slight, with a singular face. He is so exactly the ideal Mephistopheles that he would never get his photograph taken. The face does not altogether belie the character,--but the mockery is very tender play, and queerly original.
It never offends. The real Mephistopheles appears only when there are ugly obstacles to overcome. Then the diabolic keenness with which motives are read and disclosed, and the lightning moves by which a plot is checkmated, or a net made for the plotter himself, usually startle people. He is a man of immense force,--it takes such a one to rule in that community,--but as a gentleman I never saw his superior in grace or consideration. I always loved him--but like all whom I like could never get quite enough of his company for myself."
It was an unusual and delightful coterie of men with whom chance had a.s.sociated him. Men peculiarly fitted to value his special gifts. Honore Burthe was the ideal of the "beau sabreur" of romantic French tradition, personally beautiful, brave to absurdity; a soldier of fortune under many flags; withal the pink of gentle courtesy, and a scholar. John Augustin--with less of the "panache"--inherited also the beauty, courage, and breeding of those picturesque ancestors, who had made the French gentleman-adventurers the most ornamental colonists of North America. Charles Whitney, by contrast, had fallen heir to all the shrewd, humorous, amiable vigour of the rival race which had struggled successfully for possession of the great inheritance of America, and which finally met and fused with the Latins in Louisiana.
Among these four rather uncommon types of journalists Lafcadio Hearn found ready sympathy and appreciation, and a chance to develop in the direction of his talents and desires. He was treated by them with courtesy and an indulgent consideration of his idiosyncrasies new in his experience, and was allowed to expand along the natural line of his tastes and capacities, with the result that he soon began to attract attention, and was finally able to find his outlet in the direction to which his preparatory labours and inherent genius were urging him.
He was astonishingly fortunate to have found such companions and such an opportunity. At that period the new journalism was dominant almost everywhere, and perhaps nowhere in the United States, except in New Orleans,--with its large French population and its residuum of the ante-bellum leisurely cultivation of taste, and love of lordly beauties of style,--could he have found an audience and a daily newspaper which eagerly sought, and rewarded to the best of its ability, a type of belles-lettres which was caviare to the general. His first work consisted of a weekly translation from some French writer--Theophile Gautier, Guy de Maupa.s.sant, or Pierre Loti, whose books he was one of the first to introduce to English readers, and for whose beautiful literary manner he always retained the most enthusiastic admiration.
Long years afterward in j.a.pan he spoke of one of the worst afflictions of a recent illness as having been the fear that he should die without having finished Loti"s "L"Inde sans les Anglais," which he was reading when seized by the malady. These translations were usually accompanied--in another part of the paper--by an editorial, elucidatory of either the character and method of the author, or the subject of the paper itself, and these editorials were often vehicles of much curious research on a mult.i.tude of odd subjects, such as the famous swordsmen of history, Oriental dances and songs, muezzin calls, African music, historic lovers, Talmudic legends, monstrous literary exploits, and the like; echoes of which studies appear frequently in the Krehbiel and O"Connor letters in this volume.
From time to time he added transferences, and adaptations, or original papers, unsigned, which found a small but appreciative audience, some of whom were sufficiently interested to enquire the ident.i.ty of the author, and who grew into a local clientele which always thereafter followed the growth of his fame with warm interest. Among these "Fantastics" and translations was published the whole contents of his three early books--"One of Cleopatra"s Nights," "Stray Leaves from Strange Literature," and "Some Chinese Ghosts"--but these books were made only of such selections as an ever increasing severity of taste considered worthy of reproduction. Much delightful matter which failed quite to reach this standard lapsed into extinction in the files of the journal.
Among these was one which has been recovered by chance from his later correspondence. Replying to a criticism by a friend of the use of the phrase "lentor inexpressible" in a ma.n.u.script submitted for judgement, he promises to delete it, speaks of it as a "trick phrase" of his, and encloses the old clipping to show where he had first used it, and adds "please burn or tear up after reading ... this essay belongs to the Period of Gush."
Fortunately his correspondent--as did most of those to whom he wrote--treasured everything in his handwriting, and the fragment which bore--my impression is--the t.i.tle of "A Dead Love" (the clipping lacks its caption) remains to give an example of some of the work that bears the flaws of his "prentice hand, before he used his tools with the a.s.sured skill of a master:--
... No rest he knew because of her. Even in the night his heart was ever startled from slumber as by the echo of her footfall; and dreams mocked him with tepid fancies of her lips; and when he sought forgetfulness in strange kisses her memory ever came shadowing between.... So that, weary of his life, he yielded it up at last in the fevered summer of a tropical city,--dying with her name upon his lips. And his face was no more seen in the palm-shadowed streets, ...
but the sun rose and sank even as before.
And that vague Something which lingers a little while within the tomb where the body moulders, lingered and dreamed within the long dark resting-place where they had laid him with the pious hope--_Que en paz descanse_!...
Yet so weary of his life had the Wanderer been, that the repose of the dead was not for him. And while the body shrank and sank into dust, the phantom man found no rest in the darkness, and thought dimly to himself: "I am even too weary to find peace!"
There was a thin crevice in the ancient wall of the tomb. And through it, and through the meshes of the web that a spider had woven athwart it, the dead looked and beheld the amethystine blaze of the summer sky,--and pliant palms bending in the warm wind,--and the opaline glow of the horizon,--and fair pools bearing images of cypresses inverted,--and the birds that flitted from tomb to tomb and sang,--and flowers in the shadow of the sepulchres.... And the vast bright world seemed to him not so hateful as before.
Likewise the sounds of life a.s.sailed the faint senses of the dead through the thin crevice in the wall of the tomb:--always the far-off drowsy murmur made by the toiling of the city"s heart; sometimes sounds of pa.s.sing converse and steps,--echoes of music and of laughter,--chanting and chattering of children at play,--and the liquid babble of the beautiful brown women.... So that the dead man dreamed of life and strength and joy, and the litheness of limbs to be loved: also of that which had been, and of that which might have been, and of that which now could never be. And he longed at last to live again--seeing that there was no rest in the tomb.
But the gold-born days died in golden fire; and blue nights unnumbered filled the land with indigo shadows; and the perfume of the summer pa.s.sed like a breath of incense ... and the dead within the sepulchre could not wholly die.
Stars in their courses peered down through the crevices of the tomb, and twinkled, and pa.s.sed on; winds of the sea shrieked to him through the widening crannies of the tomb; birds sang above him and flew to other lands; the bright lizards that ran noiselessly over his bed of stone, as noiselessly departed; the spider at last ceased to repair her web of silk; years came and went with lentor inexpressible; but for the dead there was no rest!
And after many tropical moons had waxed and waned, and the summer was deepening in the land, filling the golden air with tender drowsiness and pa.s.sional perfume, it strangely came to pa.s.s that _She_ whose name had been murmured by his lips when the Shadow of Death fell upon him, came to that city of palms, and even unto the ancient place of sepulture, and unto the tomb that bore his name.
And he knew the whisper of her raiment--knew the sweetness of her presence--and the pallid hearts of the blossoms of a plant whose blind roots had found food within the crevice of the tomb, changed and flushed, and flamed incarnadine....
But she--perceiving it not--pa.s.sed by; and the sound of her footstep died away forever.
To his own, and perhaps other middle-aged taste "A Dead Love" may seem negligible, but to those still young enough, as he himself then was, to credit pa.s.sion with a potency not only to survive "the gradual furnace of the world" but even to blossom in the dust of graves, this stigmatization as "Gush" will seem as unfeeling as always does to the young the dry and sapless wisdom of granddams. To them any version of the Orphic myth is tinglingly credible. Yearningly desirous that the brief flower of life may never fade, such a cry finds an echo in the very roots of their inexperienced hearts. The smouldering ardour of its style, which a chastened judgement rejected, was perhaps less faulty than its author believed it to be in later years.
It was to my juvenile admiration for this particular bit of work that I owed the privilege of meeting Lafcadio Hearn, in the winter of 1882, and of laying the foundation of a close friendship which lasted without a break until the day of his death.
He was at this time a most unusual and memorable person. About five feet three inches in height, with unusually broad and powerful shoulders for such a stature, there was an almost feminine grace and lightness in his step and movements. His feet were small and well shaped, but he wore invariably the most clumsy and neglected shoes, and his whole dress was peculiar. His favourite coat, both winter and summer, was a heavy double-breasted "reefer," while the size of his wide-brimmed, soft-crowned hat was a standing joke among his friends. The rest of his garments were apparently purchased for the sake of durability rather than beauty, with the exception of his linen, which, even in days of the direst poverty, was always fresh and good. Indeed a peculiar physical cleanliness was characteristic of him--that cleanliness of uncontaminated savages and wild animals, which has the air of being so essential and innate as to make the best-groomed men and domesticated beasts seem almost frowzy by contrast. His hands were very delicate and supple, with quick timid movements that were yet full of charm, and his voice was musical and very soft. He spoke always in short sentences, and the manner of his speech was very modest and deferential. His head was quite remarkably beautiful; the profile both bold and delicate, with admirable modelling of the nose, lips and chin. The brow was square, and full above the eyes, and the complexion a clear smooth olive. The enormous work which he demanded of his vision had enlarged beyond its natural size the eye upon which he depended for sight, but originally, before the accident,--whose disfiguring effect he magnified and was exaggeratedly sensitive about,--his eyes must have been handsome, for they were large, of a dark liquid brown, and heavily lashed. In conversation he frequently, almost instinctively, placed his hand over the injured eye to conceal it from his companion.
Though he was abnormally shy, particularly with strangers and women, this was not obvious in any awkwardness of manner; he was composed and dignified, though extremely silent and reserved until his confidence was obtained. With those whom he loved and trusted his voice and mental att.i.tude were caressing, affectionate, and confiding, though with even these some chance look or tone or gesture would alarm him into sudden and silent flight, after which he might be invisible for days or weeks, appearing again as silently and suddenly, with no explanation of his having so abruptly taken wing. In spite of his limited sight he appeared to have the power to divine by some extra sense the slightest change of expression in the faces of those with whom he talked, and no object or tint escaped his observation. One of his habits while talking was to walk about, touching softly the furnishings of the room, or the flowers of the garden, picking up small objects for study with his pocket-gla.s.s, and meantime pouring out a stream of brilliant talk in a soft, half-apologetic tone, with constant deference to the opinions of his companions. Any idea advanced he received with respect, however much he might differ, and if a phrase or suggestion appealed to him his face lit with a most delightful irradiation of pleasure, and he never forgot it.
A more delightful or--at times--more fantastically witty companion it would be impossible to imagine, but it is equally impossible to attempt to convey his astounding sensitiveness. To remain on good terms with him it was necessary to be as patient and wary as one who stalks the hermit thrush to its nest. Any expression of anger or harshness to any one drove him to flight, any story of moral or physical pain sent him quivering away, and a look of ennui or resentment, even if but a pa.s.sing emotion, and indulged in while his back was turned, was immediately conveyed to his consciousness in some occult fashion and he was off in an instant. Any attempt to detain or explain only increased the length of his absence. A description of his eccentricities of manner would be misleading if the result were to convey an impression of neurotic debility, for with this extreme sensitiveness was combined vigour of mind and body to an unusual degree--the delicacy was only of the spirit.
Mrs. Lylie Harris of New Orleans, one of his intimate friends at this time, in an article written after his death, speaks of his friendship with the children of her family, with whom he was an affectionate playfellow, and with whom he was entirely confident and at his ease. An equally friendly and confident relation existed between himself and the old negro woman who cared for his rooms (as clean and plain as a soldier"s), and indeed all his life he was happiest with the young and the simple, who never perplexed or disturbed him by the complexities of modern civilization, which all his life he distrusted and feared.
Among those attracted by his work in the _Times-Democrat_ was W. D.
O"Connor, in the marine service of the government, who wrote to enquire the name of the author of an article on Gustave Dore. From this grew a correspondence extending over several years. Jerome A. Hart, of San Francisco, was another correspondent attracted by his work, to whom he wrote from time to time, even after his residence in j.a.pan had begun.
Mr. Hart in contributing his letters says that this correspondence began in 1882, through the following reference in the pages of the _Argonaut_ to "One of Cleopatra"s Nights":--
"Mr. Lafcadio Hearn, a talented writer on the staff of the New Orleans _Times-Democrat_, has just translated some of Gautier"s fantastic romances, under the name of "One of Cleopatra"s Nights." The book comprises six fascinating stories--the one which gives the t.i.tle, "Clarimonde," "Arria Marcella, a Souvenir of Pompeii," "The Mummy"s Foot," "Omphale, a Rococo Story," and "King Candaule." Mr. Hearn has few equals in this country as regards translation, and the stories lose nothing of their artistic unity in his hands. But his hobby is literalism. For instance, of the epitaph in "Clarimonde,"--
"Ici-git Clarimonde, Qui fut de son vivant La plus belle du monde,"
he remarks: "The broken beauty of the lines is but inadequately rendered thus:--
"Here lies Clarimonde, Who was famed in her lifetime As the fairest of women."
Very true--it is inadequate. But why not vary it? For example:--
Here lieth Clarimonde, Who was, what time she lived, The loveliest in the land.