Henry Krehbiel, recognised in England and America as an eminent music lecturer and critic, was one of his most intimate friends. Joseph Tunison was another; he afterwards became editor of the _Dayton Journal_, and, as well as Krehbiel, wrote sympathetically of the little Irishman after his death, expressing indignation at the scurrilous attacks made upon his reputation by several papers in the United States.

"He was a wonderfully attractive personality, full of quaint learning, and a certain unworldly wisdom. He had a fashion of dropping his friends one by one; or of letting them drop him, which comes to the same thing; whether indifference or suspicion was at the bottom of this habit it would be hard to say. But he never spoke ill of them afterwards. It was not his way to tell much about himself; and what he did say was let out as if by accident in the course of conversation on other topics.... It was impossible to be long in his company without learning that his early years had been years of bitterness. His reminiscences of childhood included not only his dark-haired, dark-eyed mother, but also a beautiful blonde lady, who had somehow turned his happiness to misery."

CHAPTER VII VAGABONDAGE

"Now for jet black, the smooth, velvety, black skin that remains cold as a lizard under the tropical sun. It seems to me extremely beautiful! If it is beautiful in art, why should it not be beautiful in nature? As a matter of fact, it is, and has been so acknowledged, even by the most prejudiced slave-owning races. Either Stanley, or Livingstone perhaps, told the world that after long living in Africa, the sight of white faces produced something like fear (and the evil spirits of Africa are white).... You remember the Romans lost their first battles with the North through sheer fear ... the fairer, the weirder ... the more terrible. Beauty there is in the North, of its kind. But it is not, surely, comparable with the wonderful beauty of colour in other races."[10]

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

As to Hearn's more intimate life at this time there are many contradictory accounts. Published facts and the notoriety of legal proceedings, however, are stubborn things, and generally manage to work their way through any deposit of inaccurate scandal or imaginative rumour. At all hazards the truth must be set forth; otherwise how emphasise the redemption of this hapless genius by discipline and self-control out of the depths into which at this time he fell?

The episode in Hearn's life in Cincinnati, with the coloured woman, "Althea Foley," remains one of those obscure psychological mysteries, which, however distasteful, has to be accepted as a component part of his unbalanced mental equipment.

On sifting all available evidence, there is no doubt that while doing reporter's work for the _Enquirer_ he fell under the "Shadow of the Ethiopian."

In treating of Hearn's vagaries it is well to remember that his brain was abnormal by inheritance, and at this time was still further thrown off its balance by privation, injustice, and unhappiness. All through the course of his life there was failure of straight vision and mental vigour when he was going through a period of difficulty and struggle.

"He may have been a genius in his line," his brother writes to Mrs.

Atkinson, referring to Lafcadio, "but genius is akin to madness, and I do really think that dark, pa.s.sionate Greek mother's blood had a taint in it. For me, instead of n.o.bler aspirations and thoughts, it begat extremes of hate and love--a shrinking and sensitive morbid nature.

Whatever of the man I have in me comes from our common father. If I had been as you were, a child of father's second wife, I could have told a different story of my life.... It was the Eastern taint in the blood that took Lafcadio to j.a.pan and kept him there. His low vitality and lack of nerve force hampered him in the battle of life, as it has me. If we had the good old Celtic and Saxon blood in us, it would have been better for those dependent on us."

The girl was servant in the cheap boarding-house where he lodged. Hearn, then a struggling almost dest.i.tute newspaper writer, used to return from work in the dead of winter in the small hours of the morning. She was a handsome, kind-hearted mulatto girl, who kept his meals warm and allowed him to sit by her fire when wet and chilled. There was much in the circ.u.mstances surrounding her to set alight that spark of pity and compa.s.sion, one of Hearn's notable qualities. Born a slave near Maysville, Kentucky, about sixty miles from Cincinnati, in 1863 President Lincoln's Proclamation gave her her freedom, and she drifted into the city, a waif, like Hearn himself.

In consequence of hard work and exposure he fell seriously ill. She saved him almost from death, and while nursing him back to health they talked much of her early days and years of slavery.

His quixotic idea of legalising his connection with her surprised no one so much as the girl herself. It completely turned her head; she gave herself airs, became overbearing and quarrelsome, and Hearn found himself obliged to leave Cincinnati to escape from an impossible position.

After his death the woman made a claim upon his estate, and tried to a.s.sert her right in the American courts to the royalties on his books.

The _Enquirer_ had articles running through several issues in 1906 on the claim of Althea Foley, "who sued to secure Hearn's estate after his death." The courts decided against her on the ground that the laws of Ohio, in which state they both resided, did not recognise marriage between races. But, the court added, "there was no doubt he had gone through the ceremony of marriage with the woman Althea Foley, a mulatto, or, as she preferred to call herself, a Creole."

It made Hearn very indignant, later, when some one criticising his work called him a "decadent." Certainly at this time in Cincinnati it would have been impossible to defend him from the charge. The school of French writers who have been dubbed "decadents" and who exercised so great an influence on him were infected with a strange partiality for alien races and coloured women. Exotic oddness and strangeness, primitive impulses, as displayed in the quest of strange tongues and admiration of strange people, were a vital part of the impressionist creed, const.i.tuted, indeed, one of the most displeasing manifestations of their unwholesome opinions and fancies. Baudelaire boldly declared his preference for the women of black races. Most of Pierre Loti's earlier novels were but the histories of love affairs with women of "dusky races," either Eastern or Polynesian.

Hearn, as we have said before, was an exemplification of the theory of heredity. The fancy for mulattos, Creoles and orientals, which he displayed all his life, is most likely to be accounted for as an inheritance from his Arabian and oriental ancestors on his mother's side. He but took up the dropped threads of his barbaric ancestry.

All his life he preferred to mix in the outer confines of society; the "levee" at Cincinnati; the lower Creoles and mixed races at New Orleans; fishermen, gardeners, peasants, were chosen by preference as companions in j.a.pan. He railed against civilisation. "The so-called improvements in civilisation have apparently resulted in making it impossible to see, hear, or find anything out. You are improving yourself out of the natural world. I want to get back amongst the monkeys and the parrots, under a violet sky, among green peaks, and an eternally lilac and luke-warm sea--where clothing is superfluous and reading too much of an exertion.... Civilisation is a hideous thing. Blessed is savagery!

Surely a palm two hundred feet high is a finer thing in the natural order than seventy times seven New Yorks."[11]

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

Hearn was a born rebel, and every incident of his life hitherto had goaded him into further rebellion against all const.i.tuted authority.

That a race should be trampled upon by one regarding itself as superior was a state of things that he could not contemplate without a protest, and by his action he protested in the most emphatic manner possible. He never took into consideration whether it was wise to do so or not.

Later, when the turbulent spirit of youth had settled down to accept the discipline of social laws and conventions, he took a very different view of the racial question in the United States and confessed the want of comprehension he had displayed on the subject. Writing years afterwards to a pupil in j.a.pan, he alludes to the unfortunate incident in Cincinnati. He resolved to take the part of some people who were looked down upon in the place where he lived. He thought that those who looked down upon them were morally wrong, so he went over to their side. Then the rest of the people stopped speaking to him, and he hated them. But he was then too young to understand. The trouble was really caused by moral questions far larger than those he had been arguing about.

Hearn was certainly correct in thinking that, from the point of view of the people amongst whom he was living, an attempt to legalise a union with a coloured woman was an unpardonable lapse from social law. Not only then, but for years afterwards, public opinion was strongly influenced against him in consequence of this lamentable incident. Even at the time of his death, in 1904, a perfect host of statements and distorted legends exaggerating all his lapses from conventional standards were raked up. Amongst other accusations, they declared that when in New Orleans he was the favoured admirer of Marie Levaux, known as "The Voodoo Queen."

Page Baker, the editor of the _Times Democrat_ immediately came forward to defend Hearn from the charge. Referring to the Voodoo Queen, the article says: "All this wonderful tale is based upon the fact that Hearn, like every other newspaper man in New Orleans who thought there might be a story in it, entered into communication with a negro woman, who called herself 'Marie Levaux,' and pretended, falsely as was afterward shown, to know something of the mysteries of Voodooism.

"Whether as reporter, editor, or author, Hearn insisted on investigating for himself what he wrote about; but what the _Sun_ states is not only untrue, but would have been impossible in a Southern city like New Orleans, where the colour line is so strictly drawn. If Hearn had been the man the _Sun_ says he was, he could not have held the position he did a week, much less the long years he remained in this city.... He certainly was not conventional in the order of his life any more than he was in the product of his brain. For this, the man being now dead and silent, the conventional takes the familiar revenge upon him."

In 1875, as far as we can make out, Hearn left the _Enquirer_, and in the latter part of 1876 was on the staff of the _Commercial_, but he had too seriously wounded the susceptibilities of society in Cincinnati to make existence any longer comfortable, or, indeed, possible. The uncongenial climate, also, of Ohio did not suit his delicate const.i.tution. He longed to get away.

Dreams had come to him of the strange Franco-Spanish city, the Great South Gate, lying at the mouth of the Mississippi. These dreams were evoked by reading one of Cable's stories. When he first viewed New Orleans from the deck of the steamboat that had carried him from grey north-western mists into the tepid and orange-scented air of the South, his impression of the city, drowsing under the violet and gold of a November morning, were oddly connected with _Jean ah-Poquelin_. Even before he had left the steamboat his imagination had flown beyond the wilderness of cotton bales, the sierra-shaped roofs of the sugar sheds, to wander in search of the old slave-trader's mansion.

A letter to his half-sister, Mrs. Atkinson, effectually disposes of the statement that he left Cincinnati in consequence of any difference of opinion with the editor of the _Commercial_. In fact, money for the journey was given to him as well as a roving commission for letters from Louisiana to be contributed to the columns of the newspaper.

CHAPTER VIII MEMPHIS

"So I wait for the poet's Pentecost--the inspiration of Nature--the descent of the Tongues of Fire. And I think they will come when the wild skies brighten, and the sun of the Mexican Gulf reappears for his worshippers--with hymns of wind and sea, and the prayers of birds. When one becomes bathed in this azure and gold air--saturated with the perfume of the sea, he can't help writing something. And he cannot help feeling a new sense of being. The Soul of the Sea mingles with his own, is breathed into him: the Spirit that moveth over the deep is the Creator indeed--vivifying, illuminating, strengthening. I really feel his Religion--the sense of awe that comes to one in some great silent temple.

You would feel it too under this eternal vault of blue, when the weird old Sea is touching the keys of his mighty organ ..."[12]

[12] Letter to Dr. Matas in Dr. Gould's book, "Concerning Lafcadio Hearn," Messrs. Fisher Unwin.

It was in the autumn of 1877 that Lafcadio Hearn, with forty dollars in his pocket and a head full of dreams, started for Memphis on his way to New Orleans. Mr. Halstead and Mr. Edward Henderson, editors of the _Commercial_, and his old friend, Mr. Watkin, were at the little Miami depot to bid him G.o.d speed.

Memphis is situated at the confluence of the Mississippi and Ohio rivers. Hearn had to await the steamboat there on its return journey from New Orleans. In those days punctuality was not rigidly enforced, and very often the arrival of the steamer necessitated a wait of several days at Memphis. The only person with whom Hearn kept up communication in the northern city he had left was Henry Watkin. Hieroglyphs of ravens, tombstones, and crescent moons ill.u.s.trate the text. It is in moments of loneliness and depression, such as these days at Memphis, that the real Hearn shows himself. He becomes now and then almost defiantly frank in his self-revelations and confessions.

On October 28 he dispatched a card bearing two drawings of a raven; "In a dilemma at Memphis" was the inscription under a raven scratching its head with a claw. The other is merely labelled "Remorseful." His finances had, apparently, run out, and in spite of paying two dollars a day for his accommodations, he, according to his own account, had to lodge in a tumble-down, dirty, poverty-stricken hotel.

I have already referred to Hearn's choice of the name of "Ozias Midwinter," as signature to his series of letters contributed at this time to the _Commercial_. These letters, his first professional work, except "The Tan-yard Murder" and "The Ascent of the Spire of St.

Peters," rescued from destruction, show how long hours of unflagging industry spent on achieving a finished style were at last to bear fruit, giving them that extraordinary variety, ease, and picturesqueness which, combined with originality of thought and keenness of judgment, placed him ultimately in the forefront of the writers of the day.

A postcard, written to Mr. Watkin on November 15, 1877, enabled the identification in the files of the _Commercial_ of these "Midwinter"

letters.

He approached the Memphis of the Mississippi, he said, dreaming of the Memphis of the Nile, and found but tenantless warehouses with shattered windows, poverty-stricken hotels vainly striving to keep up appearances.... The city's life, he said, seemed to have contracted about its heart, leaving the greater portion of its body paralysed. It gave him the impression of a place that had been stricken by some great misfortune beyond the hope of recovery. When rain and white fogs came, the melancholy of Memphis became absolutely Stygian; all things wooden uttered strange groans and crackling sounds; all things of stone or of stucco sweated as if in the agony of dissolution, and beyond the cloudy brow of the bluffs the Mississippi flowed a Styx flood, with pale mists lingering like shades upon its banks.

"Elagabalus, wishing to obtain some idea of the vastness of Imperial Rome, ordered all the cobwebs in the city to be collected together and heaped before him. Estimated by such a method, the size of Memphis would appear vast enough to astonish even Elagabalus."

Of Forrest, the great Confederate leader, whose funeral took place at Memphis while Hearn was there, he gives a vivid description. "Rough, rugged, desperate, uncultured. His character fitted him rather for the life of the border and the planter. He was by nature a typical pioneer--one of those fierce and terrible men who form in themselves a kind of protecting fringe to the borders of white civilisation."

Then comes a typical paragraph: "The night they buried him, there came a storm.... From the same room whence I had watched the funeral, I saw the Northern mists crossing the Mississippi into Arkansas like an invading army; then came grey rain, and at last a fierce wind, making wild charges through it all. Somehow or other the queer fancy came to me that the dead Confederate cavalrymen, rejoined by their desperate leader, were fighting ghostly battles with the men who died for the Union."

To Mr. Watkin he wrote describing his big, dreary hotel room overlooking the Mississippi whence he could hear the panting and puffing of the cotton boats and the deep calls of the river traffic, but of the _Thompson Dean_ there was not a sign to be seen or heard. In every corner between the banisters of the old stairway spiders were busy spinning their dusty tapestries, and when he walked over the floors at night they creaked and groaned as if something or somebody was following him in the dark.

It was, he declared, a lonely sensation, that of finding yourself alone in a strange city. He felt inclined to cry during the solitary hours of the night, as he used to do when a college boy returned from vacation.... "I suppose," he adds, "you are beginning to think I am writing quite often. I suppose I am, and you know the reason why; and perhaps you are thinking to yourself, 'He feels lonely, and is accordingly affectionate, but by and by he will forget.' Well, I suppose you are right." By and by, when he was less lonely, he said, he would write perhaps only by weeks, or perhaps by months, or perhaps, again, only by years--until the times and places of old friendships were forgotten and old faces had become dim as dreams.

At last the New Orleans steamer, the _Thompson Dean_, arrived, and Hearn floated off on board into the current of the mighty river, and also, inspired by the enchantment of his surroundings, into the flood-tide of his genius. A letter contributed to the _Commercial_, describing the "Fair Paradise of the South," the great sugar country, in which he now found himself, shows how he was gaining in the manipulation of his material, also gaining in the power of appreciating the splendour of the vision, the inmost ultimate secret Nature ever reveals to those who can comprehend and decipher it.

As the little half-blind genius sat on the cotton bales on the deck of the _Thompson Dean_ those autumn days, peering forth one moment, the next with nose close to the paper, his pen scratching rapidly, describing the marvellous pictures, setting down the impressions that slipped by on either hand, all the joy of an imprisoned tumultuous soul set free, mentally and morally free, must have come to him. It breathes in every line, in every paragraph of his work. And not only was this pa.s.sionate joy his, but also the exhilarating a.s.surance of knowing that by self-denial, industry and the determination to succeed he had achieved and perfected the power to describe and expound the marvellous pageant to others. From the horizon widening in front of him, through the "Great South Gate," from "The Gulf" and the Tropics, from Martinique and Florida came the health-giving breeze, carrying on its wings courage, regeneration, and the promise of future recognition and fame.

Many were his backslidings, even to the extent of meditating suicide during the first years of his sojourn in New Orleans, but never did he fall so morally low as at Cincinnati. That life of sordidness and ignominy was left behind, the unclean spirit exorcised and cast forth!