No. 291. _Si coulev oule viv, li pas p.r.o.nminee grand-chemin. (Si la couleuvre veut vivre, elle ne se promene pas dans le grand chemin.)_ "If the snake cares to live, it doesn't journey upon the high-road." (_Guyana._)

No. 292. _Si couleve pas te fonte, femmes se pouend li fair ribans jipes. (Si la couleuvre n'etait pas effrontee les femmes la prendraient pour en faire des rubans de jupes.)_ "If the snake wasn't s.p.u.n.ky, women would use it for petticoat strings."

(_Trinidad._)

No. 100. _Complot plis fort pa.s.se ouanga.[23] (Le complot est plus fort que l'ouanga.)_ "Conspiracy is stronger than witchcraft." (_Hayti._)

[23] _Di moin si to gagnin homme!

Mo va fe ouanga pouli; Mo fe li tourne fantome Si to vle mo to mari...._

"Tell me if thou hast a man (a lover) I will make a _ouanga_ for him--I will change him into a ghost if thou wilt have me for thy husband."

This word, of African origin, is applied to all things connected with the Voudooism of the negroes.

In the song, "_Dipi mo voue, toue Adele_," from which the above lines are taken, the wooer threatens to get rid of a rival by _ouanga_--to "turn him into a ghost." The victims of Voudooism are said to have gradually withered away, probably through the influence of secret poison. The word _grigri_, also of African origin, simply refers to a charm, which may be used for an innocent or innocuous purpose. Thus, in a Louisiana Creole song, we find a quadroon mother promising her daughter a charm to prevent the white lover from forsaking her:

"_Pou tchombe li na fe grigri._" "We shall make a _grigri_ to keep him."

Simultaneously with the publication of "Gombo Zhebes," Hearn contributed a series of articles[24] to _Harper's Weekly._ (221-227, 230, 232.) These papers, which are commonplace newspaper work, tell of New Orleans, its Expositions, its Superst.i.tions, Voudooism, and the Creole Patois. He feels that the Creole tongue must go, but while there is still time, he hopes that some one will rescue its dying legends and curious lyrics.

[24] Copyright, 1884, 1885, 1886, by Harper and Brothers.

The unedited Creole literature comprises songs, satires in rhymes, proverbs, fairy-tales--almost everything commonly included under the term folk-lore. The lyrical portion of it is opulent in oddities, in melancholy beauties.

There are few of the younger generation of Creoles who do not converse in the French and English languages. Creole is the speech of motherhood, and "there is a strange nave sorrow in their burdens as of children sobbing for lonesomeness in the night."

There is an interesting account of Jean Montanet, "Voudoo John"--The Last of the Voudoos. He was said to be a son of a prince of Senegal.

From a ship's cook he rose to own large estates. While he was a cotton-roller, it was noticed that he seemed to have some peculiar occult influence over the negroes under him. Voudoo John had the mysterious _obi_ power. Soon realizing his power, he commenced to tell fortunes, and thousands and thousands of people, white and black, flocked to him. Then he bought a house and began as well to practise Creole medicine. He could give receipts for everything and anything, and many a veiled lady stopped at his door.

Once Jean received a fee of $50 for a potion. "It was water," he said to a Creole confidant, "with some common herbs boiled in it. I hurt n.o.body, but if folks want to give me fifty dollars, I take the fifty dollars every time!"

It is said that Jean became worth at least $50,000. He had his horses and carriages, his fifteen wives, whom he considered, one and all, legitimate spouses. He was charitable too. But he did not know what to do with his money. Gradually, in one way or another, it was stolen from him, until at the last, with nothing left but his African sh.e.l.ls, his elephant's tusk, and the sewing-machine upon which he used to tell fortunes even in his days of riches, he had to seek hospitality of his children.

Hearn devotes several columns to Voudooism, telling of its witchcrafts and charms and fetiches which work for evil, and also of the superst.i.tions regarding the common occurrences of daily life.

In a paper on Mexican feather-work at the New Orleans Exposition, there is this paragraph which presages his later descriptions:--

As I write, the memory of a Mexican landscape scene in feather-work is especially vivid--a vast expanse of opulent wheat-fields, whereof the blonde immensity brightens or deepens its tint with the tremor of summer winds; distance makes violet the hills; a steel-bright river serpentines through the plain, reflecting the feminine grace of palms tossing their plumes against an azure sky. I remember also a vision of marshes--infinite stretches of reed-grown ooze, shuddering in gusts of sea-wind, and paling away into bluish vagueness as through a miasmatic haze.

In conjunction with these articles, Hearn published in _Harper's Bazaar_ (228-229) two papers on the Curiosities to be found at the New Orleans Exposition.

SOME CHINESE GHOSTS[25] (3) was the next book of the New Orleans period.

The first publisher to whom it was submitted did not accept it, but Roberts Brothers finally brought it out. "There are only six little stories," writes Hearn, "but each of them cost months of hard work and study, and represents a much higher attempt than anything in the 'Stray Leaves.'" The book is dedicated to his friend Mr. Krehbiel, and the Dedication, which is given in the Bibliography, is as unique as the tales themselves.

[25] Copyright, 1887, by Roberts Brothers.

In the Preface Hearn says that while preparing these legends he sought for "weird beauty." The era of fierce pa.s.sions and horror is waning, and in these six perfect tales there is a new-found restraint, a firmer handling of the brush in more normal colours.

One of the earliest reviews of his work remarks:--

"In his treatment of the legend lore of the Celestial Empire, Mr. Hearn has, if possible, been even more delicate and charming than in the stories which go to make the previous volume, so much so, indeed, that one is persuaded to full belief in the beauty and witchery of the almond-eyed heroines of his pages." (322.)

The opening story is of the beautiful Ko-Ngai, daughter of Kouan-Yu, whose divine loyalty to her father never faltered even at a hideous death. He was a great bellmaker, and the Mandarin ordered that he should make a bell of such size that it would be heard for one hundred _li_, and further that the bell "should be strengthened with bra.s.s, and deepened with gold, and sweetened with silver." But the metals refused to mingle. Again the bell was cast, but the result was even worse, and the Son of Heaven was very angry; and this word was sent to Kouan-Yu:--

"If thou fail a third time in fulfilling our command, thy head shall be severed from thy neck."

When the lovely Ko-Ngai heard this, she sold her jewels, and paid a great price to an astrologer, and it was told to her:--

Gold and bra.s.s will never meet in wedlock, silver and iron never will embrace, until the flesh of a maiden be melted in the crucible; until the blood of a virgin be mingled with the metals in their fusion.

Ko-Ngai told no one what she had heard. The awful hour for the heroic effort of the final casting arrived.

All the workmen wrought their tasks in silence; there was no sound heard but the muttering of the fires. And the muttering deepened into a roar of typhoons approaching, and the blood-red lake of metal slowly brightened like the vermilion of a sunrise, and the vermilion was trans.m.u.ted into a radiant glow of gold, and the gold whitened blindingly, like the silver face of a full moon. Then the workers ceased to feed the raving flame, and all fixed their eyes upon the eyes of Kouan-Yu; and Kouan-Yu prepared to give the signal to cast.

But ere ever he lifted his finger, a cry caused him to turn his head; and all heard the voice of Ko-Ngai sounding sharply sweet as a bird's song above the great thunder of the fires,--"For thy sake, O my Father!" And even as she cried, she leaped into the white flood of metal; and the lava of the furnace roared to receive her, and spattered monstrous flakes of flame to the roof, and burst over the verge of the earthen crater, and cast up a whirling fountain of many-coloured fires, and subsided quakingly, with lightnings and with thunders and with mutterings.

Of the lovely Ko-Ngai no trace remained save a little shoe, which was left in the hand of the faithful serving-woman who had striven to catch her as she leaped into the flame.

And ever does the bell, whose tones are deeper and mellower and mightier than the tones of any other bell, utter the name of Ko-Ngai; and ever between the mighty strokes there is a low moaning heard, a sobbing of "_Hiai!_" and that they say is Ko-Ngai crying for her little shoe.

The next tale tells of Ming-Y and how it was that he did not heed the counsel of the words of Lao-Tseu, and so it befell that he was loved by the beautiful Sie-Thao, whose tomb had many years ago crumbled to ruins.

The Legend of Tchi-Niu is the queen flower of the nosegay of six. Tong's father died, and as they were very poor, the only way that Tong could obtain money to pay for the funeral expenses was to sell himself as a slave. The years pa.s.sed, and he worked without rest or pay, but never a complaint did he utter. At length the fever of the ricefields seized him, and he was left alone in his sickness, for there was no one to wait on him. One noon he dreamed that a beautiful woman bent over him and touched his forehead with her hand. And Tong opened his eyes, and he saw the lovely person of whom he had dreamed. "I have come to restore thy strength and to be thy wife. Arise and worship with me." And reading his thoughts she said, "I will provide."

"And together they worshipped Heaven and Earth. Thus she became his wife."

But all that Tong knew of his wife was that her name was Tchi. And the fame of the weaving of Tchi spread far, and people came to see her beautiful work. One morning Tchi gave to her husband a doc.u.ment. It was his freedom that she had bought.

Later the silk-loom remained untouched, for Tchi gave birth to a son.

And the boy was not less wonderful than his mother.

Now it came to the Period of the Eleventh Moon. Suddenly one night, Tchi led Tong to the cradle where their son slumbered, and as she did so a great fear and awe came over Tong, and the sweet tender voice breathed to him:--

"Lo! my beloved, the moment has come in which I must forsake thee; for I was never of mortal born, and the Invisible may incarnate themselves for a time only. Yet I leave with thee the pledge of our love,--this fair son, who shall ever be to thee as faithful and as fond as thou thyself hast been. Know, my beloved, that I was sent to thee even by the Master of Heaven, in reward of thy filial piety, and that I must now return to the glory of His house: I AM THE G.o.dDESS TCHI-NIU."

Even as she ceased to speak, the great glow faded, and Tong, reopening his eyes, knew that she had pa.s.sed away for ever,--mysteriously as pa.s.s the winds of heaven, irrevocably as the light of a flame blown out. Yet all the doors were barred, all the windows unopened. Still the child slept, smiling in his sleep. Outside, the darkness was breaking; the sky was brightening swiftly; the night was past. With splendid majesty the East threw open high gates of gold for the coming of the sun; and, illuminated by the glory of his coming, the vapours of morning wrought themselves into marvellous shapes of shifting colour,--into forms weirdly beautiful as the silken dreams woven in the loom of Tchi-Niu.

Another tale is that of Mara, who tempted in vain, for the Indian pilgrim conquered.

And still, as a mist of incense, as a smoke of universal sacrifice, perpetually ascends to heaven from all the lands of earth the pleasant vapour TE, created for the refreshment of mankind by the power of a holy vow, the virtue of a pious atonement.

Like unto the Tale of the Great Bell, Pu, convinced that a soul cannot be divided,

entered the flame, and yielded up his ghost in the embrace of the Spirit of the Furnace, giving his life for the life of his work,--his soul for the soul of his Vase.

And when the workmen came upon the tenth morning to take forth the porcelain marvel, even the bones of Pu had ceased to be; but lo! the Vase lived as they looked upon it: seeming to be flesh moved by the utterance of a Word, creeping to the t.i.tillation of a Thought. And whenever tapped by the finger, it uttered a voice and a name,--the voice of its maker, the name of its creator: PU.

This same year, Hearn contributed to _Harpers Bazaar_ the valiant legend of "Rabyah's Last Ride"(234)--Rabyah upon whom no woman had ever called in vain, and who defended his women even after he was dead. This tale was copied in the _Times-Democrat_.