Part 1

EXOTICS AND RETROSPECTIVES

BY LAFCADIO HEARN

LECTURER ON ENGLISH LITERATURE IN THE IMPERIAL UNIVERSITY. TŌKYŌ

_AUTHOR OF_ “OUT OF THE EAST,” “GLIMPSES OF UNFAMILIAR JAPAN,” _&c._

BOSTON

LITTLE, BROWN, AND COMPANY

1914

_Copyright, 1898_ BY LITTLE, BROWN, AND CO.

_All rights reserved_

Printers S. J. PARKHILL & CO., BOSTON, U.S.A.

All but one of the papers composing this volume appear for the first time. The little essays, or rather fantasies, forming the second part of the book, deal with experiences in two hemispheres; but their general title should explain why they have been arranged independently of that fact. To any really scientific imagination, the curious analogy existing between certain teachings of evolutional psychology and certain teachings of Eastern faith,--particularly the Buddhist doctrine that all sense-life is Karma, and all substance only the phenomenal result of acts and thoughts,--might have suggested something much more significant than my cluster of _Retrospectives_. These are offered merely as intimations of a truth incomparably less difficult to recognize than to define.

L. H.

TŌKYŌ, JAPAN, _February 15, 1898_.

Contents

EXOTICS:-- PAGE

I. FUJI-NO-YAMA 3 II. INSECT-MUSICIANS 39 III. A QUESTION IN THE ZEN TEXTS 83 IV. THE LITERATURE OF THE DEAD 95 V. FROGS 157 VI. OF MOON-DESIRE 175

RETROSPECTIVES:--

I. FIRST IMPRESSIONS 187 II. BEAUTY IS MEMORY 199 III. SADNESS IN BEAUTY 211 IV. PARFUM DE JEUNESSE 221 V. AZURE PSYCHOLOGY 227 VI. A SERENADE 241 VII. A RED SUNSET 251 VIII. FRISSON 263 IX. VESPERTINA COGNITIO 275 X. THE ETERNAL HAUNTER 293

List of Illustrations

_Full Page_ PAGE INSECT CAGES 51 1. A Form of Insect Cage. 2. Cage for Large Musical Insects. 3. Cage for Small Musical Insects. GATE OF KOBUDERA 97 TOMB IN KOBUDERA, showing Sotoba 102 TOMB IN KOBUDERA, sculptured with image of Bodhisattva Mahâsthâma 137

_Illustrations in the Text_ KANÉTATAKI (“The Bell-Ringer”), natural size 57 MATSUMUSHI, slightly enlarged 60 SUZUMUSHI, slightly enlarged 63 UMAOI, natural size 67 KIRIGIRISU, natural size 68 KUSA-HIBARI, natural size 69 YAMATO-SUZU (“Little-Bell of Yamato”), natural size 69 KIN-HIBARI, natural size 70 KURO-HIBARI, natural size 70 EMMA-KŌROGI, natural size 71 EMMA-KŌROGI 72 KUTSUWAMUSHI, natural size 73 KANTAN, natural size 75

Exotics

--“Even the worst tea is sweet when first made from the new leaf.”--_Japanese proverb._

Exotics and Retrospectives

Fuji-no-Yama

Kité miréba, Sahodo madé nashi, Fuji no Yama!

Seen on close approach, the mountain of Fuji does not come up to expectation.--_Japanese proverbial philosophy._

The most beautiful sight in Japan, and certainly one of the most beautiful in the world, is the distant apparition of Fuji on cloudless days,--more especially days of spring and autumn, when the greater part of the peak is covered with late or with early snows. You can seldom distinguish the snowless base, which remains the same color as the sky: you perceive only the white cone seeming to hang in heaven; and the Japanese comparison of its shape to an inverted half-open fan is made wonderfully exact by the fine streaks that spread downward from the notched top, like shadows of fan-ribs. Even lighter than a fan the vision appears,--rather the ghost or dream of a fan;--yet the material reality a hundred miles away is grandiose among the mountains of the globe. Rising to a height of nearly 12,500 feet, Fuji is visible from thirteen provinces of the Empire. Nevertheless it is one of the easiest of lofty mountains to climb; and for a thousand years it has been scaled every summer by multitudes of pilgrims. For it is not only a sacred mountain, but the most sacred mountain of Japan,--the holiest eminence of the land that is called Divine,--the Supreme Altar of the Sun;--and to ascend it at least once in a life-time is the duty of all who reverence the ancient gods. So from every district of the Empire pilgrims annually wend their way to Fuji; and in nearly all the provinces there are pilgrim-societies--_Fuji-Kō_,--organized for the purpose of aiding those desiring to visit the sacred peak. If this act of faith cannot be performed by everybody in person, it can at least be performed by proxy. Any hamlet, however remote, can occasionally send one representative to pray before the shrine of the divinity of Fuji, and to salute the rising sun from that sublime eminence. Thus a single company of Fuji-pilgrims may be composed of men from a hundred different settlements.

By both of the national religions Fuji is held in reverence. The Shintō deity of Fuji is the beautiful goddess Ko-no-hana-saku-ya-himé,--she who brought forth her children in fire without pain, and whose name signifies “Radiant-blooming-as-the-flowers-of-the-trees,” or, according to some commentators, “Causing-the-flowers-to-blossom-brightly.” On the summit is her temple; and in ancient books it is recorded that mortal eyes have beheld her hovering, like a luminous cloud, above the verge of the crater. Her viewless servants watch and wait by the precipices to hurl down whomsoever presumes to approach her shrine with unpurified heart.... Buddhism loves the grand peak because its form is like the white bud of the Sacred Flower,--and because the eight cusps of its top, like the eight petals of the Lotos, symbolize the Eight Intelligences of Perception, Purpose, Speech, Conduct, Living, Effort, Mindfulness, and Contemplation.

But the legends and traditions about Fuji, the stories of its rising out of the earth in a single night,--of the shower of pierced-jewels once flung down from it,--of the first temple built upon its summit eleven hundred years ago,--of the Luminous Maiden that lured to the crater an Emperor who was never seen afterward, but is still worshipped at a little shrine erected on the place of his vanishing,--of the sand that daily rolled down by pilgrim feet nightly reascends to its former position,--have not all these things been written in books? There is really very little left for me to tell about Fuji except my own experience of climbing it.

I made the ascent by way of Gotemba,--the least picturesque, but perhaps also the least difficult of the six or seven routes open to choice. Gotemba is a little village chiefly consisting of pilgrim-inns. You reach it from Tōkyō in about three hours by the Tōkaidō railway, which rises for miles as it approaches the neighborhood of the mighty volcano. Gotemba is considerably more than two thousand feet above the sea, and therefore comparatively cool in the hottest season. The open country about it slopes to Fuji; but the slope is so gradual that the table-land seems almost level to the eye. From Gotemba in perfectly clear weather the mountain looks uncomfortably near,--formidable by proximity,--though actually miles away. During the rainy season it may appear and disappear alternately many times in one day,--like an enormous spectre. But on the grey August morning when I entered Gotemba as a pilgrim, the landscape was muffled in vapors; and Fuji was totally invisible. I arrived too late to attempt the ascent on the same day; but I made my preparations at once for the day following, and engaged a couple of _gōriki_ (“strong-pull men”), or experienced guides. I felt quite secure on seeing their broad honest faces and sturdy bearing. They supplied me with a pilgrim-staff, heavy blue _tabi_ (that is to say, cleft-stockings, to be used with sandals), a straw hat shaped like Fuji, and the rest of a pilgrim’s outfit;--telling me to be ready to start with them at four o’clock in the morning.

What is hereafter set down consists of notes taken on the journey, but afterwards amended and expanded,--for notes made while climbing are necessarily hurried and imperfect.

I

August 24th, 1897.

From strings stretched above the balcony upon which my inn-room opens, hundreds of towels are hung like flags,--blue towels and white, having printed upon them in Chinese characters the names of pilgrim-companies and of the divinity of Fuji. These are gifts to the house, and serve as advertisements.... Raining from a uniformly grey sky. Fuji always invisible.

August 25th.

3:30 _a. m._--No sleep;--tumult all night of parties returning late from the mountain, or arriving for the pilgrimage;--constant clapping of hands to summon servants;--banqueting and singing in the adjoining chambers, with alarming bursts of laughter every few minutes.... Breakfast of soup, fish, and rice. Gōriki arrive in professional costume, and find me ready. Nevertheless they insist that I shall undress again and put on heavy underclothing;--warning me that even when it is Doyō (the period of greatest summer heat) at the foot of the mountain, it is Daikan (the period of greatest winter cold) at the top. Then they start in advance, carrying provisions and bundles of heavy clothing.... A kuruma waits for me, with three runners,--two to pull, and one to push, as the work will be hard uphill. By kuruma I can go to the height of five thousand feet.

* * * * *

Morning black and slightly chill, with fine rain; but I shall soon be above the rain-clouds.... The lights of the town vanish behind us;--the kuruma is rolling along a country-road. Outside of the swinging penumbra made by the paper-lantern of the foremost runner, nothing is clearly visible; but I can vaguely distinguish silhouettes of trees and, from time to time, of houses,--peasants’ houses with steep roofs.

* * * * *

Grey wan light slowly suffuses the moist air;--day is dawning through drizzle.... Gradually the landscape defines with its colors. The way lies through thin woods. Occasionally we pass houses with high thatched roofs that look like farmhouses; but cultivated land is nowhere visible....

* * * * *

Open country with scattered clumps of trees,--larch and pine. Nothing in the horizon but scraggy tree-tops above what seems to be the rim of a vast down. No sign whatever of Fuji.... For the first time I notice that the road is black,--black sand and cinders apparently, volcanic cinders: the wheels of the kuruma and the feet of the runners sink into it with a crunching sound.

* * * * *

The rain has stopped, and the sky becomes a clearer grey.... The trees decrease in size and number as we advance.

* * * * *

What I have been taking for the horizon, in front of us, suddenly breaks open, and begins to roll smokily away to left and right. In the great rift part of a dark-blue mass appears,--a portion of Fuji. Almost at the same moment the sun pierces the clouds behind us; but the road now enters a copse covering the base of a low ridge, and the view is cut off.... Halt at a little house among the trees,--a pilgrims’ resting-place,--and there find the gōriki, who have advanced much more rapidly than my runners, waiting for us. Buy eggs, which a gōriki rolls up in a narrow strip of straw matting;--tying the matting tightly with straw cord between the eggs,--so that the string of eggs has somewhat the appearance of a string of sausages.... Hire a horse.

* * * * *

Sky clears as we proceed;--white sunlight floods everything. Road reascends; and we emerge again on the moorland. And, right in front, Fuji appears,--naked to the summit,--stupendous,--startling as if newly risen from the earth. Nothing could be more beautiful. A vast blue cone,--warm-blue, almost violet through the vapors not yet lifted by the sun,--with two white streaklets near the top which are great gullies full of snow, though they look from here scarcely an inch long. But the charm of the apparition is much less the charm of color than of symmetry,--a symmetry of beautiful bending lines with a curve like the curve of a cable stretched over a space too wide to allow of pulling taut. (This comparison did not at once suggest itself: The first impression given me by the grace of those lines was an impression of femininity;--I found myself thinking of some exquisite sloping of shoulders towards the neck.) I can imagine nothing more difficult to draw at sight. But the Japanese artist, through his marvellous skill with the writing-brush,--the skill inherited from generations of calligraphists,--easily faces the riddle: he outlines the silhouette with two flowing strokes made in the fraction of a second, and manages to hit the exact truth of the curves,--much as a professional archer might hit a mark, without consciously taking aim, through long exact habit of hand and eye.

II

I see the gōriki hurrying forward far away,--one of them carrying the eggs round his neck!... Now there are no more trees worthy of the name,--only scattered stunted growths resembling shrubs. The black road curves across a vast grassy down; and here and there I see large black patches in the green surface,--bare spaces of ashes and scoriæ; showing that this thin green skin covers some enormous volcanic deposit of recent date.... As a matter of history, all this district was buried two yards deep in 1707 by an eruption from the side of Fuji. Even in far-off Tōkyō the rain of ashes covered roofs to a depth of sixteen centimetres. There are no farms in this region, because there is little true soil; and there is no water. But volcanic destruction is not eternal destruction; eruptions at last prove fertilizing; and the divine “Princess-who-causes-the-flowers-to-blossom-brightly” will make this waste to smile again in future hundreds of years.

* * * * *

... The black openings in the green surface become more numerous and larger. A few dwarf-shrubs still mingle with the coarse grass.... The vapors are lifting; and Fuji is changing color. It is no longer a glowing blue, but a dead sombre blue. Irregularities previously hidden by rising ground appear in the lower part of the grand curves. One of these to the left,--shaped like a camel’s hump,--represents the focus of the last great eruption.

* * * * *

The land is not now green with black patches, but black with green patches; and the green patches dwindle visibly in the direction of the peak. The shrubby growths have disappeared. The wheels of the kuruma, and the feet of the runners sink deeper into the volcanic sand.... The horse is now attached to the kuruma with ropes, and I am able to advance more rapidly. Still the mountain seems far away; but we are really running up its flank at a height of more than five thousand feet.

* * * * *

Fuji has ceased to be blue of any shade. It is black,--charcoal-black,--a frightful extinct heap of visible ashes and cinders and slaggy lava.... Most of the green has disappeared. Likewise all of the illusion. The tremendous naked black reality,--always becoming more sharply, more grimly, more atrociously defined,--is a stupefaction, a nightmare.... Above--miles above--the snow patches glare and gleam against that blackness,--hideously. I think of a gleam of white teeth I once saw in a skull,--a woman’s skull,--otherwise burnt to a sooty crisp.

* * * * *

So one of the fairest, if not the fairest of earthly visions, resolves itself into a spectacle of horror and death.... But have not all human ideals of beauty, like the beauty of Fuji seen from afar, been created by forces of death and pain?--are not all, in their kind, but composites of death, beheld in retrospective through the magical haze of inherited memory?

III

The green has utterly vanished;--all is black. There is no road,--only the broad waste of black sand sloping and narrowing up to those dazzling, grinning patches of snow. But there is a track,--a yellowish track made by thousands and thousands of cast-off sandals of straw (_waraji_), flung aside by pilgrims. Straw sandals quickly wear out upon this black grit; and every pilgrim carries several pair for the journey. Had I to make the ascent alone, I could find the path by following that wake of broken sandals,--a yellow streak zigzagging up out of sight across the blackness.

* * * * *

6:40 _a. m._--We reach Tarōbō, first of the ten stations on the ascent: height, 6000 feet. The station is a large wooden house, of which two rooms have been fitted up as a shop for the sale of staves, hats, raincoats, sandals,--everything pilgrims need. I find there a peripatetic photographer offering for sale photographs of the mountain which are really very good as well as very cheap.... Here the gōriki take their first meal; and I rest. The kuruma can go no further; and I dismiss my three runners, but keep the horse,--a docile and surefooted creature; for I can venture to ride him up to _Ni-gō-goséki_, or Station No. 2-1/2.

* * * * *

Start for No. 2-1/2 up the slant of black sand, keeping the horse at a walk. No. 2-1/2 is shut up for the season.... Slope now becomes steep as a stairway, and further riding would be dangerous. Alight and make ready for the climb. Cold wind blowing so strongly that I have to tie on my hat tightly. One of the gōriki unwinds from about his waist a long stout cotton girdle, and giving me one end to hold, passes the other over his shoulder for the pull. Then he proceeds over the sand at an angle, with a steady short step, and I follow; the other guide keeping closely behind me to provide against any slip.

* * * * *

There is nothing very difficult about this climbing, except the weariness of walking through sand and cinders: it is like walking over dunes.... We mount by zigzags. The sand moves with the wind; and I have a slightly nervous sense--the feeling only, not the perception; for I keep my eyes on the sand,--of height growing above depth.... Have to watch my steps carefully, and to use my staff constantly, as the slant is now very steep.... We are in a white fog,--passing through clouds! Even if I wished to look back, I could see nothing through this vapor; but I have not the least wish to look back. The wind has suddenly ceased--cut off, perhaps, by a ridge; and there is a silence that I remember from West Indian days: the Peace of High Places. It is broken only by the crunching of the ashes beneath our feet. I can distinctly hear my heart beat.... The guide tells me that I stoop too much,--orders me to walk upright, and always in stepping to put down the heel first. I do this, and find it relieving. But climbing through this tiresome mixture of ashes and sand begins to be trying. I am perspiring and panting. The guide bids me keep my honorable mouth closed, and breathe only through my honorable nose.

* * * * *

We are out of the fog again.... All at once I perceive above us, at a little distance, something like a square hole in the face of the mountain,--a door! It is the door of the third station,--a wooden hut half-buried in black drift.... How delightful to squat again,--even in a blue cloud of wood-smoke and under smoke-blackened rafters! Time, 8:30 a. m. Height, 7,085 feet.

* * * * *

In spite of the wood-smoke the station is comfortable enough inside; there are clean mattings and even kneeling-cushions. No windows, of course, nor any other opening than the door; for the building is half-buried in the flank of the mountain. We lunch.... The station-keeper tells us that recently a student walked from Gotemba to the top of the mountain and back again--in geta! Geta are heavy wooden sandals, or clogs, held to the foot only by a thong passing between the great and the second toe. The feet of that student must have been made of steel!

Having rested, I go out to look around. Far below white clouds are rolling over the landscape in huge fluffy wreaths. Above the hut, and actually trickling down over it, the sable cone soars to the sky. But the amazing sight is the line of the monstrous slope to the left,--a line that now shows no curve whatever, but shoots down below the clouds, and up to the gods only know where (for I cannot see the end of it), straight as a tightened bowstring. The right flank is rocky and broken. But as for the left,--I never dreamed it possible that a line so absolutely straight and smooth, and extending for so enormous a distance at such an amazing angle, could exist even in a volcano. That stupendous pitch gives me a sense of dizziness, and a totally unfamiliar feeling of wonder. Such regularity appears unnatural, frightful; seems even artificial,--but artificial upon a superhuman and demoniac scale. I imagine that to fall thence from above would be to fall for leagues. Absolutely nothing to take hold of. But the gōriki assure me that there is no danger on that slope: it is all soft sand.

IV

Though drenched with perspiration by the exertion of the first climb, I am already dry, and cold.... Up again.... The ascent is at first through ashes and sand as before; but presently large stones begin to mingle with the sand; and the way is always growing steeper.... I constantly slip. There is nothing firm, nothing resisting to stand upon: loose stones and cinders roll down at every step.... If a big lava-block were to detach itself from above!... In spite of my helpers and of the staff, I continually slip, and am all in perspiration again. Almost every stone that I tread upon turns under me. How is it that no stone ever turns under the feet of the gōriki? _They_ never slip,--never make a false step,--never seem less at ease than they would be in walking over a matted floor. Their small brown broad feet always poise upon the shingle at exactly the right angle. They are heavier men than I; but they move lightly as birds.... Now I have to stop for rest every half-a-dozen steps.... The line of broken straw sandals follows the zigzags we take.... At last--at last another door in the face of the mountain. Enter the fourth station, and fling myself down upon the mats. Time, 10:30 a. m. Height, only 7,937 feet;--yet it seemed such a distance!

* * * * *