Chapter XII: Appreciations and Epitomes (4)

(With hand resting on the ground, reverentially you repeat your poem, O frog!)

And another:--

_Tamagawa no
Hito wo mo yogizu
Naku kawazu,
Kono yu kikeba
Oshiku ya wa aranu?_

(Hearing to-night the frogs of the Jewel River--or Tamagawa, that sing without fear of man, how can I help loving the passing moment?)

A vivid chapter is Hearn's description of his ascent of Fuji-no-Yama. Here he may once again use his palette of many colours, but certainly not with the old _abandon_.

Brighter and brighter glows the gold. Shadows come from the
west,--shadows flung by cloud-pile over cloud-pile; and these,
like evening shadows upon snow, are violaceous blue.... Then
orange-tones appear in the horizon; then smouldering crimson.
And now the greater part of the Fleece of Gold has changed to
cotton again,--white cotton mixed with pink.... Stars thrill
out. The cloud-waste uniformly whitens;--thickening and packing
to the horizon. The west glooms. Night rises; and all things
darken except that wondrous unbroken world-round of white,--the
Sea of Cotton.

A lurking of the gruesome flashes out when the snow-patches against the miles of black soot and ashes on the mountain make him think "of a gleam of white teeth I once saw in a skull,--a woman's skull,--otherwise burnt to a sooty crisp."

"Retrospectives" is a group of gentle reveries, where we may muse with Hearn on such elusive themes as the "Sadness in Beauty," for beauty has no real existence, it is the emotion of the dead within us. Or there is the analysis of that favourite word _frisson_, "the touch that makes a thrill within you is a touch that you have felt before,--sense-echo of forgotten intimacies in many unremembered lives." "Azure Psychology" and "A Red Sunset" recall Hearn's earlier criticisms on colour.

IN GHOSTLY JAPAN[35] (12) followed. The title is revelatory of the Japan that is to people this book and those which are to come. In the opening chapter Hearn crystallizes in a powerful sketch the sum of Buddhist lore. Of this the _Academy_ writes:--

[35] Copyright, 1899, by Little, Brown and Company.

"Of Nirvana one carries away this one picture, painted in words curiously colourless and intangible--the picture of a mountain up whose steep side toil two creatures--the soul and his guide--toiling, stumbling upwards over a brittle and friable chaos of skulls. Skulls crumbled into powder and skulls crumbling mark out the road; 'and every skull,' says the guide, 'is yours, and has been yours in some past incarnation; and the dust that rises round your present body is the dust of your past and deserted bodies that have served you well or ill as may be in your past lives.' In the fine and bewildering haze of this thought we lose our poet, and henceforward he is not a face nor a voice, but an echo of a living man's voice. We hear the echo, but the voice we do not hear. And we grudge the voice, even to Nirvana where all silences are merged in one." (286.)

In a beautiful chapter Hearn outlines all that might be written about the important subject of incense. He tells a good deal about its religious, luxurious, and ghostly uses. There is also a charming custom of giving parties where dainty games are played with it.

Sometimes there can be love between the living and the dead, or so it appears in the ghostly story of "A Passional Karma," or O-Tsuyu, who died of love of Shinzaburo and returns to be his bride. Every night, by the light of their Peony Lanterns, she, accompanied by her maid, comes to keep the ghostly tryst. Shinzaburo does not know that O-Tsuyu is dead, but his servant Tomozo, overhearing voices, gazes through a chink, and sees--

the face of a woman long dead,--and the fingers caressing were
fingers of naked bone,--and of the body below the waist there
was not anything: it melted off into thinnest trailing shadow.
Where the eyes of the lover deluded saw youth and grace and
beauty, there appeared to the eyes of the watcher horror only,
and the emptiness of death.

Now he whose bride is a ghost cannot live. No matter what force flows in his blood he must certainly perish. Shinzaburo is warned and an amulet to protect him from the dead is given to him, but treachery is played, and the amulet is stolen; so one morning Tomozo finds his master

hideously dead;--and the face was the face of a man who had died
in the uttermost agony of fear;--and lying beside him in the bed
were the bones of a woman! And the bones of the arms, and the
bones of the hands, clung fast about his neck.

The gentle heart of the Japanese shines in the chapter on "Bits of Poetry." You might find yourself, Hearn says, in a community so poor that you could not even buy a cup of real tea, but no place could you discover "where there is nobody capable of making a poem." Poems are written on all occasions and for all occasions.

Poems can be found upon almost any kind of domestic
utensil;--for example, upon braziers, iron-kettles, vases,
wooden-trays, lacquer-ware, porcelains, chopsticks of the finer
sort,--even toothpicks! Poems are painted upon shop-signs,
panels, screens, and fans. Poems are printed upon towels,
draperies, curtains, kerchiefs, silk-linings, and women's
crepe-silk underwear. Poems are stamped or worked upon
letter-paper, envelopes, purses, mirror-cases, travelling-bags.
Poems are inlaid upon enamelled ware, cut upon bronzes, graven
upon metal pipes, embroidered upon tobacco-pouches.

A Japanese artist would not think of elaborating a sketch, and a poem to be perfect must also only stir one's fancy. _Ittakkiri_, meaning "entirely vanished" in the sense of "all told," is a term applied contemptuously to him who expresses all his thought.

Japan is rich in proverbs. Hearn has translated one hundred examples of Buddhist proverbs.

_Karu-toki no Jizo-gao; nasu-toki no Emma-gao._

(Borrowing-time, the face of Jizo; repaying-time, the face of
Emma.)

_Sode no furi-awase mo tasho no en._

(Even the touching of sleeves in passing is caused by some
relation in a former life.)

A powerful relic of the old clinging love of the gruesome is the story of _Ingwa-banashi_. The _daimyo's_ wife knew that she was dying; and she thought of many things, especially of her husband's favourite, the Lady Yukiko, who was nineteen years old. She begged her husband to send for the Lady Yukiko, whom, she said, she loved as a sister. After the dying wife had told Lady Yukiko it was her wish that she should become the wife of their dear lord, she begged that Yukiko would carry her on her back to see the cherry-bloom.

As a nurse turns her back to a child, that the child may cling
to it, Yukiko offered her shoulders to the wife, and said:--

"Lady, I am ready: please tell me how I best can help you."

"Why, this way!" responded the dying woman, lifting herself with
an almost superhuman effort by clinging to Yukiko's shoulders.
But as she stood erect, she quickly slipped her thin hands down
over the shoulders, under the robe, and clutched the breasts of
the girl, and burst into a wicked laugh.

"I have my wish!" she cried--"I have my wish for the
cherry-bloom, but not the cherry-bloom of the garden!... I could
not die before I got my wish. Now I have it!--oh, what a
delight!"

And with these words she fell forward upon the crouching girl,
and died.

When the attendants tried to lift the body from Yukiko's shoulders, they found that the hands of the dead had grown into the quick flesh of the breasts of the girl. And they could not be removed. A skilful physician was called, and he decided that the hands could be amputated only at the wrists, and so this was done. But the hands still clung to the breasts;

and there they soon darkened and dried up like the hands of a
person long dead.

Yet this was only the beginning of the horror.

Withered and bloodless though they seemed, those hands were not
dead. At intervals they would stir--stealthily, like great grey
spiders. And nightly thereafter,--beginning always at the Hour
of the Ox,--they would clutch and compress and torture. Only at
the Hour of the Tiger the pain would cease.

Yukiko cut off her hair, and became a mendicant-nun.

Every day she prayed to the dead for pardon, and every night the torture was renewed. This continued for more than seventeen years until Yukiko was heard of no more.

SHADOWINGS[36] (13) appeared the next year, 1900. Of this volume the _Bookman_ says:--

[36] Copyright, 1900, by Little, Brown and Company.

"He gives us several essays upon matters Japanesque, which obviously involve no small amount of erudition and patient research. Such are his papers upon the various species of _Semi_, or Japanese singing-locusts, and on the complicated etiquette of Japanese female names. But the distinctive feature of this volume is the first half, which is given up to a collection of curious tales by native writers, weird, uncanny, little stories, most of them, of ghouls and wraiths, and vampires, or at least the nearest Japanese equivalents for such Occidental spectres." (316.)

The _Athenaeum_ does not find "Shadowings" equal to the volume "Exotics." It thinks that Hearn is "perilously near exhausting his repertory of _Kokin_ [one-stringed fiddle] themes."

"The stories with which the present volume opens have no particular merit: they have lost their chief and real advantage--their local colour--in Hearnesque translation, and seem to be little more than suggestions or drafts of 'nouvelles,' out of which skilful hands might perhaps have made something much better. A good example is the story of the Screen Maiden, which is a most lame presentment of a charming motif. The chapters on female names, on _semi_, couplets and 'Old Japanese Songs' are more interesting, but only to those who possess a considerable knowledge of old Japanese life and literature.... Of the 'Old Japanese Songs'--where is the proof of their antiquity?--much the best is the dance-ballad of the dragon-maid, who bewitched a _yamabushi_, and chased him over moor and hill and river, until the temple of Dojo was reached, under the great bell of which the trembling hill-warrior or outlaw (_yamabushi_ were such originally in all probability) hid himself, whereupon the dragon-maid wrapped her body round the bell once and again and the third time the bell melted and flowed away like boiling water. And with it, according to the legend, flowed away the ashes of the unwilling object of the dragon-maid's affections, consumed not through love, but through disdain." (300.)

Strange things happen in the group of tales, and not the least is the tale of the maiden in the screen whose loveliness so bewitches a youth that he becomes sick unto death. Then an old scholar tells him that the person whom the picture represents is dead, but since the painter painted her mind as well as her form, her spirit lives in the picture and he may yet win her.

So every day, Tokkei, following out the old scholar's injunctions, sits before the portrait calling softly the maiden's name. And finally after many days the maiden answered, "_Hai!_" And stepping down from out the screen, she kneels to take the cup of wine (which was to be so), whispering charmingly, "How could you love me so much?"

Also there is the tale of the Corpse Rider, in which the husband had to ride for one whole night, so far that he could not know the distance, the dead body of his divorced wife; and this was to save him from her vengeance.

The gruesome gleams here, and again in the tale of "The Reconciliation," when the repentant husband found that the wife he was holding in his arms is "a corpse so wasted that little remained save the bones, and the long black tangled hair."

There is no small amount of etiquette in the prefixes and suffixes of the Japanese female names. The majority of the _Yobina_, or personal names, are not aesthetic. Some are called after the flowers, and there are also place names, as for instance _Mine_ (Peak) _Hama_ (Shore); but the large proportion express moral or mental attributes.

Tenderness, kindness, deftness, cleverness, are frequently
represented by _yobina;_ but appellations implying physical
charm, or suggesting aesthetic ideas only, are comparatively
uncommon. One reason for the fact may be that very aesthetic
names are given to _geisha_ and to _joro_, and consequently
vulgarized. But the chief reason certainly is that the domestic
virtues still occupy in the Japanese moral estimate a place not
less important than that accorded to religious faith in the life
of our own Middle Ages. Not in theory only, but in every-day
practice, moral beauty is placed far above physical beauty; and
girls are usually selected as wives, not for their good looks,
but for their domestic qualities.

I give a few names gleaned from Hearn's lists:--_O-Jun_--"Faithful-to-death"; _O-Tame_--"For-the-sake-of,"--a name suggesting unselfishness; _O-Chika_--"Closely Dear"; _O-Suki_--"The Beloved"--_Aimee_; _O-Tae_--"The Exquisite"; _Tokiwa_--"Eternally Constant."

From the "Fantasies," we read of the Mystery of Crowds, and the horrors of Gothic Architecture, the joys of levitation while one is asleep--with a moral attached; of Noctilucae. Also, as we gaze with the adolescent youth into a pair of eyes we come to know that

The splendour of the eyes that we worship belongs to them only
as brightness to the morning-star. It is a reflex from beyond
the shadow of the Now,--a ghost-light of vanished suns.
Unknowingly within that maiden-gaze we meet the gaze of eyes
more countless than the hosts of heaven,--eyes otherwhere passed
into darkness and dust.

Thus, and only thus, the depth of that gaze is the depth of the
Sea of Death and Birth, and its mystery is the World-Soul's
vision, watching us out of the silent vast of the Abyss of
Being.

Thus, and only thus, do truth and illusion mingle in the magic
of eyes,--the spectral past suffusing with charm ineffable the
apparition of the present;--and the sudden splendour in the soul
of the Seer is but a flash, one soundless sheet-lightning of the
Infinite Memory.

A JAPANESE MISCELLANY[37] (14) was the next book. What does the memory hold of these stories and sketches? Surely that picture of Old Japan with its charming sentiment for Dragon-flies, to which such delicate poems were written.

[37] Copyright, 1901, by Little, Brown and Company.

_Tombo no
Ha-ura ni sabishi,--
Aki-shigure._

(Lonesomely clings the dragon-fly to the under-side of the
leaf--Ah! the autumn-rains!)

And that verse by the mother poet, who seeing many children playing their favourite pastime of chasing butterflies, thinks of her little one who is dead:--

_Tombo-tsuri!--
Kyo wa doko made
Itta yara!_

(Catching dragon-flies!... I wonder where _he_ has gone to-day!)

Then there are the children's songs about Nature and her tiny creatures, and all their little songs for their plays; the songs which tell a story, and the sweet mother songs that lull the babies to sleep.

How we pity poor misguided O-Dai, who forgot loyalty to her ancestors to follow the teachings of the Western faith. At its bidding even the sacred tablets and the scroll were cast away. And when she had forsaken everything, and had become as an outcast with her own people, the good missionaries found they needed a more capable assistant. Poor little weak O-Dai, without the courage to fill her sleeves with stones and then slip into the river, longing for the sunlight, and so "flung into the furnace of a city's lust."

We hear the gruesome tinkle of the dead wife's warning bell, and we certainly shudder before the vision of her robed in her grave-shroud:--

"Eyeless she came--because she had long been dead;--and her
loosened hair streamed down about her face;--and she looked
without eyes through the tangle of it; and spake without a
tongue."

Then the hideous horror of the evil crime, as this dead wife in her jealousy tore off the head of the sleeping young wife. The terrified husband following the trail of blood found

a nightmare-thing that chippered like a bat: the figure of the
long-buried woman erect before her tomb,--in one hand clutching
a bell, in the other the dripping head.... For a minute the
three stood numbed. Then one of the men-at-arms, uttering a
Buddhist invocation, drew, and struck at the shape. Instantly it
crumbled down upon the soil,--an empty scattering of grave-rags,
bones, and hair;--and the bell rolled clanking out of the ruin.
But the fleshless right hand, though parted from the wrist,
still writhed; and its fingers still gripped at the bleeding
head--and tore, and mangled,--as the claws of the yellow crab
fast to a fallen fruit.

Who but Hearn would have chosen this ghastly scene, and described it with such terrible reality?

With the parents we have unravelled the mystery of Kinume, whose spirit belonged to one family, and whose body was the child of the other.

Perhaps we still see the famous picture of Kwashin Koji, which had a soul, for "it is well known that some sparrows, painted upon a sliding screen (_fusuma_) by Hogen Yenshin, once flew away, leaving blank the spaces which they had occupied upon the surface. Also it is well known that a horse painted upon a certain Kakemono, used to go out at night to eat grass." So the water in the picture on the screen of Kwashin overflowed into the room, and the boat thereon glided forth, but not a ripple from the oar was heard. Then Kwashin Koji climbed into the boat, and it receded into the picture, and the water dried in the room. Over the painted water slipped the painted vessel until all disappeared, and Kwashin was heard of no more.

And we remember too the strange brave way that Umetsu Chubei won the gift of great strength for his children, and their children's children.

The _Athenaeum_ finds the story of Kwashin the best of this collection. Speaking of the study, "On a Bridge," it says:--

"The author narrates a personal experience of a _riksha_ man who drew him across an old bridge near Kumamoto. It was in the time of the Satsuma _muhon_ (rebellion), some twenty-two years earlier, that the _Kurumaya_ (_riksha_ man) was stopped on the bridge by three men, who were dressed as peasants, but had very long swords under their raincoats. After a time a cavalry officer came along from the city.

The moment the horse got on the bridge the three men turned and
leaped:--and one caught the horse's bridle; and another gripped
the officer's arm; and the third cut off his head--all in a
moment.... I never saw anything done so quickly.

"The seeming peasants then waited, and presently another cavalry officer came and was murdered in like manner. Then came a third, who met a similar fate. Lastly, the peasants went away, having thrown the bodies into the river, but taking the heads with them. The man had never mentioned the matter till long after the war--why? 'Because it would have been ungrateful.'

"No doubt this is a true story." (301.)

It was probably during the ensuing year that Hearn contributed to the Japanese Fairy Tale Series (15), published in Tokyo, his renditions of four of these stories.

KOTTO[38] (16) followed. Says the _Athenaeum_:--

"The gem of this volume is 'A Woman's Diary,' purporting to be 'the history of a woman's married life recorded by herself, found in a small _haribako_ (work-box) which had belonged to her.' It is an ordinary story, not in the least sensational, yet pitiful and even touching in its record of poverty and suffering, showing the hardships and small enjoyment--according to our notions, at least--of the colourless existence led by the bulk of the Japanese poorer classes upon a total family wage of twelve pounds a year or less." (302.)

[38] Copyright, 1902, by the Macmillan Company.

Except for "A Woman's Diary" and "Fireflies" the tales in "Kotto" are fragmentary. Some are gruesome as the history of the Gaki; or as the story of O-Katsu-San, who was so bold as to go by night to Yurei-Daki, and who to win her bet brought back the little money-box of the gods. But when she came to give her baby his milk,--

Out of the wrappings unfastened there fell to the floor a
blood-soaked bundle of baby clothes that left exposed two very
small brown feet, and two very small brown hands--nothing more.

The child's head had been torn off!

There is also the story of O-Kame, who returned each night to haunt her husband; of Chugoro, who was bewitched by a beautiful woman whom he married beneath the waters. But he sickened and died, for his blood had been drained by his Circe, who was "simply a Frog,--a great and ugly Frog!"

The literature and the significance of the fire-flies holds an important place with the Japanese, and for more than a thousand years the poets have been making verses about these little creatures.

A sketch in which Hearn is most fortunate is "Pathological," where Tama, the mother-cat, dreams of her dead kittens--

coos to them, and catches for them small shadowy things,--perhaps
even brings to them, through some dim window ofmemory, a sandal
of ghostly straw....

Beautiful is the "Revery of Mother-Love":--

Yet those countless solar fires, with their viewless millions of
living planets, must somehow reappear: again the wondrous
Cosmos, self-born as self-consumed, must resume its sidereal
whirl over the deeps of the eternities. And the love that
strives for ever with death shall rise again, through fresh
infinitudes of pain, to renew the everlasting battle.

The light of the mother's smile will survive our sun;--the
thrill of her kiss will last beyond the thrilling of stars;--the
sweetness of her lullaby will endure in the cradle-songs of
worlds yet unevolved;--the tenderness of her faith will quicken
the fervour of prayers to be made to the hosts of another
heaven,--to the gods of a time beyond Time. And the nectar of
her breasts can never fail: that snowy stream will still flow
on, to nourish the life of some humanity more perfect than our
own, when the Milky Way that spans our night shall have vanished
for ever out of Space.

Like unto the Soul is a Drop of Dew for

Your personality signifies, in the eternal order, just as much
as the especial motion of molecules in the shivering of any
single drop. Perhaps in no other drop will the thrilling and the
picturing be ever exactly the same; but the dews will continue
to gather and to fall, and there will always be quivering
pictures.... The very delusion of delusions is the idea of death
as loss.

KWAIDAN[39] (17) was the book before "Japan," which was published after Hearn's death. It is a collection of old stories, many of them of the gruesome, and of careful studies of ants, mosquitoes, and butterflies. Striking is the tale of Yuki-Onna, the snow-woman, as is also the incident of Riki-Baka. One bewitched by the dead is Mimi-Nashi-Hoichi, whose ears were torn off because the holy texts which were written everywhere else upon his body were there forgotten. Sonjo, the hunter, killed the mate of a female _oshidori_, who after appearing to him in a dream as a beautiful woman, who rebukes him the following day as a bird, tears open her body, and dies before his eyes. O-Tei is reborn in the shape of a woman that she may wed years later her promised husband--Nagao Chosei of Echigo. So loyal is the love of O-Sode, the milk-nurse, that the cherry-tree which is planted in commemoration of her, on the anniversary of her death, blossoms in a wonderful way. Because of his selfish wickedness in thinking only of the gains in his profession, a priest was made to be reborn into the state of a _jikininki_, who had to devour the corpses of people who died in his district. Other devourers of human flesh are the Rokuro-Kubi. The head of a Rokuro-Kubi separates itself from its body.

[39] Copyright, 1904, by Houghton, Mifflin and Company.

JAPAN[40] (18): AN ATTEMPT AT INTERPRETATION is the last book that Hearn published. He was reading its proofs at the time of his death. Although a posthumous volume appeared, this may rightly be termed his final word. It is the crystallization and the summary of all that has been said before. It contains a group of twenty-one lectures, which Hearn had expected at first to deliver at Cornell University. His own words will best reveal their import:--

[40] Copyright, 1904, by the Macmillan Company.

They will form a book explaining Japan from the standpoint of
ancestor-worship. They are suited only to a cultivated audience.

The substantial idea of the lectures is that Japanese society
represents the condition of ancient Greek society a thousand
years before Christ. I am treating of religious Japan,--not of
artistic or economical Japan except by way of illustration.

"The history of Japan is really the history of her religion," is the key to the book.

The _Academy_ remarks:--

"No one who wishes to understand the possibilities of the future of Japan can afford to neglect the past, and no one who would grasp the meaning of the past can afford to neglect Mr. Hearn's fine and thoughtful work." (288.)

In a review Mr. Griffis says:--

"They felt that he had done his best and was degenerating. Yet here is a work which is a classic in science, a wonder of interpretation. It is the product of long years of thought, of keenest perception, or marvellous comprehension.

"One cannot quote, one must read this work. It shows the Japanese under his armour, modern science. The Japanese, outwardly, are ruled by treaties, diplomacy, governments, codes, Imperial Diet, armies and battleships--all modern and external. Inwardly they--that is, forty-nine millions of them--are governed by ghosts. The graveyard is the true dictator. It is ever their 'illustrious ancestors' who achieve victories. They, as a nation, are superbly organized for war. There is no originality, no personality, no individuality worth speaking of in the island empire. It is all done by the government, the community. In social evolution the Japanese are even yet far behind the Romans, and much as the pre-Homeric Greeks.

"In a word, Lafcadio Hearn outdoes the missionaries in dogmatism, exceeds even the hostile propagandist in telling the naked truth. Devoted friend of Japan, he excels the sworn enemies of her religions in laying bare, though with admiration, the realities.... Lafcadio Hearn turns the white and searching beams on the ship and man.... His book is a re-reading of all Japanese history, a sociological appraisement of the value of Japanese civilization, and a warning against intolerant propaganda of any sort whatever. This book is destined to live, and to cause searchings of heart among those who imagine that the Japanese soul has been changed in fifty years." (326.)

From the _Spectator_ I quote:--

"Both the prose and poetry of Japanese life are infused into Mr. Hearn's charming pages. Nobody, so far as we know, has given a better description of the fascination which Japanese life has at first for such as enter into its true spirit, and of its gradual disappearance.... Of course it must be remembered that this charm of Japan was something more than a beautiful mirage. 'Old Japan,' in the opinion of Mr. Hearn, 'came nearer to the achievement of the highest moral ideal than our far more evolved societies can hope to do for many a hundred years. Curiously enough, it was under the shadow of the sword that the fascinating life of Japan matured; universal politeness was nurtured by the knowledge that any act of rudeness might, and probably would, cause a painful and immediate death. This supremacy of the sword, governed by the noble rule of _bushi-do_, hardened the Japanese temper into the wonderful spirit of self-sacrifice and patriotism which is now making itself apparent in the stress of war. All this is admirably portrayed in Mr. Hearn's pages,--the swan-song of a very striking writer." (383.)

In _The American Journal of Sociology_ there is a review of this book, by Edmund Buckley of the University of Chicago, which is so admirable and inclusive that I have obtained Professor Buckley's kind permission to quote it in its entirety. This review leaves small margin for further comment. But it is to be regretted that space will not permit citations of Hearn's tributes to the Japanese home, woman and character.

"On p. 160 of W. E. Griffis' 'The Mikado's Empire,' is textual evidence that, so late as 1876, intelligent men, and theologians at that--rather, in sooth, because they are theologians--could harbour such atrocious notions about Shintoism, the ethnic faith of the Japanese, as the following: 'Shinto is in no proper sense of the term a religion.... In its lower forms it is blind obedience to governmental and priestly dictates.' The present reviewer bears these Christian apologists and heathen defamers 'witness that they have a zeal for God, but not according to knowledge.' They wrote in the days when hierology (comparative religion) was still inchoate, for C. P. Ticle's 'Elements' did not appear in its English dress until 1877; and when Japan's abasement before the 'Christian' powers was complete, and therefore everything Japanese assumed to be worthless. But the reaction came, of course, and is now pretty well completed. Japan's novel yet glorious art conquered the world; Japan's new yet ever-victorious army has conquered Russia's imposing array; and now Mr. Hearn completely routs the contemners of a people's sincere faith. The consensus of hierologists that no people was ever found without a religion had already been given; and the creed, cult, and ethics of Shintoism had been correctly described; but it remained for Mr. Hearn to give a more complete and intimate account than had previously been done of the ancestorism in Shinto and of its profound influence upon politics and morality.

"It will surprise no one to learn that Mr. Hearn overdid his contention, just because such excess is the well-nigh inevitable reaction from the underestimate that he found current and sought to correct. As he states the case on p. 4: 'Hitherto the subject of Japanese religion has been written of chiefly by the sworn enemies of that religion; by others it has been almost entirely ignored.' But now that 'see-saw' has followed 'see,' we may hope to win a final equilibrium of correct appreciation. To this end several corrections are called for; but, before they are made, clearness will be secured by a concise analysis of the treatise; for in its course religion, politics, and morality are interwoven on a historic warp. The entire fabric runs about as follows: (Chap. 3.) The real religion of the Japanese is ancestorism, which showed in three cults--the domestic, the communal, and the state. The domestic arose first, but the primitive family might include hundreds of households. Ancestorism in Japan confirms Spencer's exposition of religious origins. The greater gods were all evolved from ghost-cults. Good men made good gods; bad men, bad ones. (Chap. 4.) The domestic cult began in offerings of food and drink made at the grave; then, under Chinese influence, was transferred to the home before tablets; where it was maintained until this present by Buddhism. Thin tablets of white wood, inscribed with the names of the dead, are placed in a miniature wooden shrine, which is kept upon a shelf in some inner chamber. Tiny offerings of food, accompanied with brief prayer, must be made each day by some member of the household in behalf of all; for the blessed dead still need sustenance, and in return can guard the house. The Buddhist rite, however, made prayer, not _to_, but _for_ these dead. The Japanese scholar Hirata is correct when he declares the worship of ancestors to be the mainspring of all virtues. (Chap. 5.) The family was united only by religion. The father--not the mother--was supposed to be the life-giver, and was therefore responsible for the cult. Hence the inferior position of woman. The ancestral ghost of an _uji_, or family of several households, became later the _ujigami_, or local tutelar god. Subordination of young to old, of females to males, and of the whole family to its chief, who was at once ruler and priest, shows that the family organization was religious and not marital. Both monogamy and the practice of parents selecting their child's spouse arose because best accordant with religion. Later custom makes the decision, not of the father alone, but of the household and kindred, determinative of any important step.

"(Chap. 6.) The communal cult of the district ruled the family in all its relations to the outer world. The _ujigami_, or clan-god, was the spirit rather of a former ruler than of a common ancestor. Hochiman was a ruler, but Kasuga an ancestor. Beside the _uji_ temple of a district, there may be a more important one dedicated to some higher deity. Every _ujiko_ or parishioner is taken to the _ujigami_ when one month old and dedicated to him. Thereafter he attends the temple festivals, which combine fun with piety; and he makes the temple groves his playground. Grown up, he brings his children here; and, if he leaves home, pays his respects to the god on leaving and returning. Thus the social bond of each community was identical with the religious bond, and the cult of the _ujigami_ embodied the moral experience of the community. The individual of such a community enjoyed only a narrowly restricted liberty. Shintoism had no moral code, because at this stage of ancestor-cult religion and ethics coincide.

"(Chap. 7.) The great gods of nature were developed from ancestor-worship, though their real history has been long forgotten. (Chap. 8.) Rites of worship and of purification were many. (Chap. 9.) The rule of the dead extended to moral conduct and even to sumptuary matters, language, and amusements. (Chap. 10.) Buddhism absorbed the native ancestor-cult, but prescribed that prayers be said for them, not to them. In accordance with its principle, 'First observe the person, then preach the law'--that is, accommodate instruction to the hearer's capacity--Buddhism taught the masses metempsychosis instead of palingenesis, and the paradise of Amida instead of the nirvana of Buddha. Buddhism rendered its greatest service to Japan by education in the learning and arts of China. (Chap. 11.) The higher Buddhism is a kind of monism.

"(Chap. 12.) Japanese society was simply an amplification of the patriarchal family, and its clan-groups never united into a coherent body until 1871. At first the bulk of the people were slaves or serfs, but from the seventh century a large class of freedmen--farmers and artisans--came into existence. The first period of Japanese social evolution was based on a national head, the Mikado, and a national cult, Shintoism; it began in this seventh century, but developed to the limit of its type only under the Tokugawa shoguns, in the seventeenth century.

"Next to the priest-emperor at the head came the _kuge_, or ancient nobility, from whose ranks most of the latter regents and shoguns were drawn. Next ranked the _buke_ or _samurai_, which was the professional military class, and was ruled by nearly three hundred _daimyo_, or feudal lords of varying importance. Next came the commonalty, _heimin_, with three classes--farmers, artisans, and tradesmen, the last being despised by the _samurai_, who also could cut down any disrespectful _heimin_ with impunity. Lowest of all came the _chori_--pariahs, who were not counted Japanese at all, but _mono_-'things.' But even among them distinctions arose according to occupation. The close care taken of the native religion by the government precluded rise of a church. Nor was Buddhism, divided into hostile sects and opposed by the _samurai_, ever able to establish a hierarchy independent of the government. Personal freedom was suppressed, as it would be now under Socialism, which is simply a reversion to an overcome type.

"(Chap. 13.) The second period of Japanese social evolution lasted from the eleventh to the nineteenth century, and was marked by dominance over the mikadoate of successive dynasties of shoguns. The permanence of this mikadoate amid all perturbations of the shogunate was owing to its religious nature. (Chap. 14.) Following the lord in death, suicide, and vendetta were customs based on loyalty, and they involved the noblest self-sacrifice. (Chap. 15.) Catholic missions were suppressed lest they should lead to the political conquest of Japan. (Chap. 16.) The Tokugawa shoguns exercised iron discipline, and now were brought to perfection those exquisite arts and manners of the Japanese. (Chap. 17.) A revival of learning, begun in the eighteenth century, slowly led to a new nationalist support of the Mikado; and when by 1891 the shogun had resigned and the daimiates been abolished, the third period in Japan's social evolution began. (Chap. 18.) In spite of outward seeming, the ancient social conditions and ancestor-cult still control every action. (Chap. 19.) The individual is still restrained by the conventions of the masses, by communistic guilds of craftsmen, and by the government's practice of taking loyal service in all its departments without giving adequate pecuniary reward. (Chap. 20.) The educational system still maintains the old communism by training, not for individual ability, but for co-operative action. This is favoured, too, by the universal practice of rich men meeting the personal expenses of promising students. (Chap. 21.) Japanese loyalty and courage will support her army and navy, but industrial competition with other peoples calls for individual freedom. (Chap. 22.) The Japanese are not indifferent to religion, and can be understood only by a study of their religious and social evolution. Future changes will be social, but ancestor-cult will persist, and offers an insuperable obstacle to the spread of Christianity.

"The critical reader will not have failed to meet in this summary many positions that challenge his previous knowledge, and whether these be correct or not can be determined only by an examination of the full text, which it eminently deserves. The reviewer, however, will confine himself to certain matters that seem to him the dominating errors of the whole. Probably three greater errors were never compressed into a single sentence than in this from p. 27: 'The real religion of Japan, the religion still professed in one form or another by the entire nation, is that cult which has been the foundation of all civilized religion and of all civilized society--ancestor-worship.' That ancestor-worship is still professed by the entire nation is negatived by all we know from other sources as well as all we should expect. The ancestor-worship native to Japan had been appropriated by Buddhism; and, since the revolution of 1868 with its disestablishment of that church, the Butsudan, where the tablets were kept, has been largely sold as an art object or has been simply disused. The _mitamaya_ mentioned on p. 50, as if in extensive use for ancestor-worship, is found only in a few purist families, and is known to the mass of Japanese only as the rear apartment or structure of a Shintoist shrine.

"That ancestor-worship is 'the real religion of Japan' and 'has been the foundation of all civilized religion' are errors that Mr. Hearn owes to Herbert Spencer's influence, which is confessed here, and indeed is evident throughout the work. Perhaps nothing has brought Spencer into more discredit than the lengths he went to prove this basic nature of ancestorism in his 'Principles of Sociology,' and the reader of pp. 121-24 of Mr. Hearn's work will readily see how futile also is the attempt to show that the nature-deities of Shintoism were only 'transfigured ghosts.' No, indeed, God did not make man and leave ghosts to make him religious. The heaven and the earth were here before ghosts, and man could personify them just as soon as he knew himself as a person, which he must have done long before he analyzed himself into a ghost-soul and a body. Had Mr. Hearn not ignored Reville, Max Mueller, Pfleiderer, and Saussaye, while steeping himself in Spencer, he might have observed, what is plainly visible in Shintoism as elsewhere: that religion has _two_ tap roots, ancestorism indeed, but also naturism.

"Again, Mr. Hearn's sentence declares that ancestor-worship is 'the foundation of all civilized society.' This is the prevailing view throughout the work; for example, on pp. 23, 57, 86, 99, 175, and 320. But other passages imply the saner view that religion and morality are coordinate functions of one man. Thus at p. 511, Mr. Hearn attributes Japan's power to 'her old religious and social training.' The many and strong cases of influence of religion upon conduct that can really be shown in Japan amount only to influence, of course, and not to 'foundation' or 'origination,' A quite transparent case of Mr. Hearn's error is where (p. 152) he attributes the exceptional cleanliness of the Japanese to their religion, which here, as usual, he sums up as ancestor-worship. One wonders, however, why this world-wide phenomenon of religion should determine a Japanese cleanliness; why ancestor-worshippers are not always clean; as for example the Chinese, who bathe most rarely. It seems saner to seek a cause for the unique daily bath of the Japanese in their also uniquely numerous thermal springs, which occur in no less than 388 different localities. Symbolism did indeed in Japan, as elsewhere, lead to religious bathing in rivers; but bathing in rivers, as in ocean, was never popular in Japan until recently learned from the foreigner; whereas the thermal springs are crowded, and the daily baths at home are always taken exceedingly hot after the thermal pattern, for these have been found not only cleansing, but curing and warming, the last quality being a great merit where winters are cold and houses unheated.

"Finally, the reader need not expect to meet here any adequate reference to those vices that have been fostered by religion in Japan. The concubinage, confirmed by ancestorism, is once mentioned; and the harlotry, promoted by phallicism (the phallos was frequently found in a brothel, though not exclusively there, of course), is relegated to a simple footnote. But such matters can be learned elsewhere, whereas the close and frequent points of influence which religion exercised upon politics and morality in Japan can nowhere else be so well studied as here." (292.)

THE ROMANCE OF THE MILKY WAY[41] (19) is Hearn's posthumous book. The last memories are of the "Weaving Lady of the Milky Way"; of "Goblin Poetry"; of "Ultimate Questions," which are called forth by the essay of that name written by the author of the "Synthetic Philosophy"; of the "Mirror Maiden" whom Matsumura, the priest, saved from the well, and who repaid him by good-fortune. Moreover, of the alluring maiden in the dream of Ito Norisuke--if one is to choose a ghost for a bride, who would not seek Himegimi-Sama? As a finale there is the picture of Admiral Togo sending to Tokyo "for some flowering-trees in pots--inasmuch as his responsibilities allowed him no chance of seeing the cherry-flowers and the plum-blossoms in their season."

[41] Copyright, 1905, by Houghton, Mifflin and Company.

BIBLIOGRAPHY

I

AMERICAN AND ENGLISH EDITIONS[42]
ORIGINAL WORKS
(Nos. 1-19)

[42] For the English Editions, the English Catalogue of Books
has been followed.

No. 1.

1884. STRAY LEAVES FROM STRANGE LITERATURE.

Stories reconstructed from the Anvari-Soheili, Baital, Pachisi, Mahabharata, Pantchatantra, Gulistan, Talmud, Kalewala, etc. Boston: James R. Osgood and Company, 1884, 16mo.

New Edition. London: Gay and Bird's, 1902, Cr. 8vo.

New Edition. London: Kegan Paul, Trench and Company, 1903, Cr. 8vo.

No. 2.

1885. GOMBO ZHEBES. Little Dictionary of Creole Proverbs, selected from six Creole dialects. Translated into French and into English, with notes, complete index to subjects and some brief remarks upon the Creole idioms of Louisiana. New York: Will H. Coleman, 1885, 8vo.

No. 3.

1887. SOME CHINESE GHOSTS. Boston: Roberts Brothers, 1887, 16mo.

New Edition. Boston: Little, Brown and Company, 1906, 12mo.

No. 4.

1889. CHITA: A Memory of Last Island. New York: Harper and Brothers, 1889, 12mo.

No. 5.

1890. YOUMA, The Story of a West-Indian Slave. New York: Harper and Brothers, 1890, 12mo.

The Same. London: Sampson, Low and Company, 1890, 8vo.

No. 6.

1890. TWO YEARS IN THE FRENCH WEST INDIES. New York: Harper and Brothers, 1890, 8vo.

The Same. London: Harper and Brothers, 1890, 8vo.

New Edition. New York and London: Harper and Brothers, 1900, 8vo.

No. 7.

1894. GLIMPSES OF UNFAMILIAR JAPAN. Boston and New York: Houghton, Mifflin and Company, 1894, 2 vols., 8vo.

The Same. London: Osgood, McIlvaine and Company, 1894, 2 vols., 8vo.

New Edition. London: Gay and Bird's, 1902, 2 vols., Cr. 8vo.

New Edition. London: Kegan Paul, Trench and Company, 1903, 2 vols., Cr. 8vo.

No. 8.

1895. "OUT OF THE EAST." Reveries and Studies in New Japan. Boston and New York: Houghton, Mifflin and Company, 1895, 16mo.

The Same. London: Osgood, McIlvaine and Company, 1895, 16mo.

New Edition. London: Gay and Bird's, 1902, Cr. 8vo.

New Edition. London: Kegan Paul, Trench and Company, 1903, Cr. 8vo.

No. 9.

1896. KOKORO: Hints and Echoes of Japanese Inner Life. Boston and New York: Houghton, Mifflin and Company, 1896, 16mo.

The Same. London: Osgood, McIlvaine and Company, 1896, 8vo.

New Edition. London: Gay and Bird's, 1902, 8vo.

New Edition. London: Gay and Bird's, 1903, 8vo.

New Edition. London: Gay and Bird's, 1905, 8vo.

No. 10.

1897. GLEANINGS IN BUDDHA-FIELDS, Studies of Hand and Soul in the Far East. Boston and New York: Houghton, Mifflin and Company, 1897, 12mo.

The Same. London: Constable and Company, 1897, 8vo.

New Edition. London: Gay and Bird's, 1902, 8vo.

New Edition. London: Kegan Paul, Trench and Company, 1903, 8vo.

No. 11.

1898. EXOTICS AND RETROSPECTIVES. Boston: Little, Brown and Company, 1898, 16mo.

The Same. London: Sampson, Low and Company, 1898, 16mo.

New Edition. London: Sampson, Low and Company, 1899, 8vo.

New Popular Edition. Boston: Little, Brown and Company, 1904, 16mo.

New Edition. London: Kegan Paul, Trench and Company, 1905, 8vo.

No. 12.

1899. IN GHOSTLY JAPAN. Boston: Little, Brown and Company, 1899, 16mo.

The Same. London: Sampson, Low and Company, 1899, 8vo.

New Popular Edition. Boston: Little, Brown and Company, 1904, 16mo.

New Edition. London: Kegan Paul, Trench and Company, 1905, Cr. 8vo.

No. 13.

1900. SHADOWINGS. Boston: Little, Brown and Company, 1900, 12mo.

The Same. London: Sampson, Low and Company, 1900, 8vo.

New Popular Edition. Boston: Little, Brown and Company, 1904, 16mo.

New Edition. London: Kegan Paul, Trench and Company, 1905, Cr. 8vo.

No. 14.

1901. A JAPANESE MISCELLANY. Boston: Little, Brown and Company, 1901, 12mo.

The Same. London: Sampson, Low and Company, 1901, 8vo.

New Popular Edition. Boston: Little, Brown and Company, 1904, 16mo.

New Edition. London: Kegan Paul, Trench and Company, 1905, Cr. 8vo.

No. 15.

1902. JAPANESE FAIRY TALES. Tokyo, Japan: T. Hasegawa (4 vols.), 16mo.

No. 16.

1902. KOTTO. Being Japanese Curios, with Sundry Cobwebs. New York: The Macmillan Company (London: Macmillan and Company, Ltd.), 1902, 8vo. Reprinted, April, 1903.

No. 17.

1904. KWAIDAN: Stories and Studies of Strange Things. Boston and New York: Houghton, Mifflin and Company, 1904, 12mo.

The Same. London: Kegan Paul, Trench and Company, 1904, 12mo.

No. 18.

1904. JAPAN: An Attempt at Interpretation. New York: The Macmillan Company (London: Macmillan and Company, Ltd.), 1904, 8vo.

No. 19.

1905. THE ROMANCE OF THE MILKY WAY, and other Studies and Stories. Boston and New York: Houghton, Mifflin and Company, 1905, 12mo.

The Same. London: Constable and Company, 1905, Cr. 8vo.

TRANSLATIONS
(Nos. 20-21)

No. 20.

1882. ONE OF CLEOPATRA'S NIGHTS, and other Fantastic Romances. By Theophile Gautier. Faithfully translated by Lafcadio Hearn. New York: R. Worthington, 1882, 8vo.

New Edition. New York: Brentano's, 1899, 12mo.

New Edition. New York: Brentano's, 1906, 12mo.

CLARIMONDE. New York: Brentano's, 1899, 16mo.

No. 21.

1890. THE CRIME OF SYLVESTRE BONNARD (Member of the Institute). By Anatole France. The Translation and Introduction by Lafcadio Hearn. New York: Harper and Brothers, 1890, 8vo.

II

FOREIGN EDITIONS
(Nos. 22-30)

DANISH

No. 22.

1902. FRA SKYGGERNES VERDEN ("From the World of the Shadows"). Complete and translated by Johanne Muenther.

178 pages, one portrait. Gyldendalske book-trade, Copenhagen, 1902, 8vo.

FRENCH

No. 23.

1904. LE JAPON INCONNU. (esquisses psychologiques). Par Lafcadio Hearn. Traduit de l'anglais avec l'autorisation de l'auteur, par Mme. Leon Raynal. In 18 jesus, 111-354 p. Mayenne, impr. Colin, Paris, lib. Dujarric, 1904.

(Selections from "Glimpses of Unfamiliar Japan.")

GERMAN

No. 24.

1905. KOKORO. Von Lafcadio Hearn. Einzig autorisierte Uebersetzung aus dem Englischen von Berta Franzos. Mit vorwort von Hugo von Hofmannsthal. Buchschmuck von Emil Orlik. Frankfurt a Main: Ruetten und Loening, 1905, 8vo.

No. 25.

1906. LOTUS. Blicke in das unbekannte Japan. Einzig autorisierte Uebersetzung aus dem Englischen von Berta Franzos. Mit vorwort von Hugo von Hofmannsthal. Buchschmuck von Emil Orlik. Frankfurt a Main: Ruetten und Loening, 1905, 8vo.

(Selections from "Glimpses of Unfamiliar Japan.")

No. 26.

1907. Lafcadio Hearn's Werke ueber Japan in kuenstlerischer Buchausstattung von Emil Orlik. Band I. Kokoro. Band II. Lotus. Band III. Izumo. Frankfurt a Main: Ruetten und Loening, 1907.

SWEDISH

No. 27.

1903. EXOTICA. Noveller och studier fran Japan, af Lafcadio Hearn. Bemyndigad oefversaettning af Karin Hirn; med nagra notiser om foerfattaren af Yrjoe Hirn. Tredje Upplagen. Stockholm: Wahlstroem & Widstrand, 1903, 16mo., 2 end pages, pp. 227, decorated paper.

(Selections from "Glimpses of Unfamiliar Japan," "Out of the East," "Kokoro," "Exotics and Retrospectives," "In Ghostly Japan," "Shadowings.")

Reprint 1905.

No. 28.

1903. EXOTICA. Noveller och studier fran Japan, af Lafcadio Hearn. Ny samling. Bemyndigad oefversaettning af Karin Hirn. Stockholm: Wahlstroem & Widstrand, 1903, 16mo., 2 p. l., pp. 248, decorated paper.

(Selections from "Out of the East," "Kokoro," "Gleanings in Buddha-Fields," "Exotics and Retrospectives," "In Ghostly Japan," "Shadowings," "A Japanese Miscellany," "Kotto.")

No. 29.

1904. SPOeKEN OCH DROeMMAR FRAN JAPAN. (Exotica. Tredje Samlingen) af Lafcadio Hearn. Bemyndigad oefversaettning fran Engelskan af Karin Hirn. Wahlstroem & Widstrands, Foerlag, Stockholm, MCMIV., 16mo., 1 end page, pp. 218, decorated paper.

(Selections from "Shadowings," "A Japanese Miscellany," "Kotto," "Kwaidan.")

No. 30.

1905. NATALIKA. ("Stray Leaves from Strange Literature") af Lafcadio Hearn. Bemyndigad oefversaettning af Karin Hirn. Stockholm: Wahlstroem & Widstrand, 16mo., pp. 189, decorated paper.

("Runes from the Kalewala" omitted.)

III

LIST, WITH DESCRIPTION, OF SEPARATE
PUBLISHED WORKS IN CHRONOLOGICAL ORDER

(Nos. 1-21)

ORIGINAL WORKS

No. 1.

1884. STRAY LEAVES FROM STRANGE LITERATURE. Stories reconstructed from the Anvari-Soheili, Baital Pachisi, Mahabharata, Pantchatantra, Gulistan, Talmud, Kalewala, etc. By Lafcadio Hearn. (Publisher's Monogram.) Boston: James R. Osgood and Company, 1884.

16mo., pp. (16) 225, green cloth, black lettering, and decorations.

(5) Dedication:--

To my Friend
PAGE M. BAKER
Editor of the
New Orleans Times-Democrat

(7-11) Explanatory (_Extract_).

While engaged upon this little mosaic work of legend and fable, I felt much like one of those merchants told of in Sindbad's Second Voyage, who were obliged to content themselves with gathering the small jewels adhering to certain meat which eagles brought up from the Valley of Diamonds. I have had to depend altogether upon the labour of translators for my acquisitions; and these seemed too small to deserve separate literary setting. By cutting my little gems according to one pattern, I have doubtless reduced the beauty of some; yet it seemed to me their colours were so weird, their luminosity so elfish, that their intrinsic value could not be wholly destroyed even by so clumsy an artificer as I.

In short, these fables, legends, parables, etc., are simply reconstructions of what impressed me as most fantastically beautiful in the most exotic literature which I was able to obtain. With few exceptions, the plans of the original narratives have been preserved....

This little collection has no claim upon the consideration of scholars. It is simply an attempt to share with the public some of those novel delights I experienced while trying to familiarize myself with some very strange and beautiful literatures.

... My gems were few and small: the monstrous and splendid await the coming of Sindbad, or some mighty lapidary by whom they may be wrought into jewel bouquets exquisite as those bunches of topaz blossoms and ruby buds laid upon the tomb of Nourmahal.

New Orleans, 1884.

(13-14) Bibliography.

(15-16) Contents:--

Stray Leaves

The Book of Thoth. _From an Egyptian Papyrus._
The Fountain Maiden. _A Legend of the South Pacific._
The Bird Wife. _An Esquimaux Tradition._

Tales retold from Indian and Buddhist Literature

The Making of Tilottama
The Brahman and his Brahmani
Bakawali
Natalika
The Corpse-Demon
The Lion
The Legend of the Monster Misfortune
A Parable Buddhistic
Pundari
Yamaraja
The Lotos of Faith

Runes from the Kalewala

The Magical Words
The First Musician
The Healing of Wainamoinen

Stories of Moslem Lands

Boutimar, the Dove
The Son of a Robber
A Legend of Love
The King's Justice

Traditions retold from the Talmud

A Legend of Rabba
The Mockers
Esther's Choice
The Dispute in the Halacha
Rabbi Yochanan ben Zachai
A Tradition of Titus

New Edition. London: Gay and Bird's, 1902, Crown 8vo.

New Edition. London: Kegan Paul, Trench and Company, 1903, Cr. 8vo.

Articles and Reviews:--

Charles W. Coleman, Jr., _Harper's Monthly_, May, 1887, vol. 74,
p. 855.

No. 2.

1885. GOMBO ZHEBES. Little Dictionary of Creole Proverbs, selected from six Creole dialects. Translated into French and into English, with notes, complete index to subjects and some brief remarks upon the Creole idioms of Louisiana. By Lafcadio Hearn. New York: Will H. Coleman, Publisher, No. 70, Business Quarter, Astor House, 1885.

8vo., 6 p. l., pp. 42, brown cloth, design on cover.

(3-4) Introduction (_Extract_).