Out of the East

  OUT OF THE EAST

  Front cover: The photograph, taken sometime around 1890,

  is from Terry Bennett's Early Japanese Images.

  Published by the Charles E. Tattle Company, Inc.

  of Rutland, Vermont Tokyo, Japan

  with editorial offices at

  Osaki Shinagawa-ku, Tokyo 141-0032.

  © 1972 by Charles E. Tuttle Publishing Co., Inc.

  All rights reserved

  LCC No. 76-184816

  ISBN 978-1-4629-0142-5

  First edition published 1897

  by Houghton Mifflin Company, Boston

  First Tuttle edition, 1972

  Fourth printing, 1996

  Printed in Japan

  TO

  NISHIDA SENTARŌ

  IN DEAR REMEMBRANCE OF

  IZUMO DAYS

  "As far as the east is from the west—"

  TABLE OF CONTENTS

  Publisher's Foreword

  ix

  I.

  The Dream of a Summer Day

  1

  II.

  With Kyūshū Students

  28

  III.

  At Hakata

  71

  IV.

  Of the Eternal Feminine

  85

  V.

  Bits of life and Death

  126

  VI.

  The Stone Buddha

  157

  VII.

  Jiujutsu

  183

  VIII.

  The Red Bridal

  243

  IX.

  A Wish fulfilled

  280

  X.

  In Yokohama

  304

  XI.

  Yuko: A Reminiscence

  331

  PUBLISHER'S FOREWORD

  LAFCADIO HEARN is almost as Japanese as haiku. Both are an art form, an institution in Japan. Haiku is indigenous to the nation; Hearn became a Japanese citizen and married a Japanese, taking the name Yakumo Koizumi. His flight from Western materialism took him to Japan in 1890. His search for beauty and tranquility, for pleasing customs and lasting values, kept him there the rest of his life, a confirmed Japanophile. He became the great interpreter of things Japanese to the West. His keen intellect, poetic imagination, and wonderfully clear style permitted him to penetrate to the very essence of things Japanese.

  In Out of the East, Hearn's writing is true, not only on the surface, but also in depth of Feeling. And it was these submerged Feelings that gave rhythm to his prose. He liked the old things: devotion, ancestor worship, courtesy, and kindness. He had a native's knowledge of Japanese life, a scholar's knowledge of religious customs, and a sympathetic and intimate grasp of Japanese legends, as these tales show.

  This collection of "reveries and studies," as Hearn calls them, contains such unforgettable stories as "The Red Bridal," in which the conflict between duty and human Feelings leads to tragedy in classically Japanese style, and such marvelous evocations of atmosphere as "The Dream of a Summer Day." It is small wonder that Hearn's writing continues to live, for his very soul is in it—and the soul of Japan no less.

  Surprisingly enough, Out of the East has long been out of print and almost impossible to obtain. But it is as fresh and revealing today as it was when it first appeared in 1895, and the publisher is most gratified to be able to present it in new form to a new generation of readers who, like Hearn, are making their own discovery of Japan.

  OUT OF THE EAST

  I

  THE DREAM OF A SUMMER DAY

  I

  THE hotel seemed to me a paradise, and the maids thereof celestial beings. This was because I had just fled away from one of the Open Ports, where I had ventured to seek comfort in a European hotel, supplied with all "modern improvements." To find myself at ease once more in a yukata, seated upon cool, soft matting, waited upon by sweet-voiced girls, and surrounded by things of beauty, was therefore like a redemption from all the sorrows of the nineteenth century. Bamboo-shoots and lotus-bulbs were given me for breakfast, and a fan from heaven for a keepsake. The design upon that fan represented only the white rushing burst of one great wave on a beach, and sea-birds shooting in exultation through the blue overhead. But to behold it was worth all the trouble of the journey. It was a glory of light, a thunder of motion, a triumph of sea-wind,—all in one. It made me want to shout when I looked at it.

  Between the cedarn balcony pillars I could see the course of the pretty gray town following the shore-sweep,—and yellow lazy junks asleep at anchor,—and the opening of the bay between enormous green cliffs,—and beyond it the blaze of summer to the horizon. In that horizon there were mountain shapes faint as old memories. And all things but the gray town, and the yellow junks, and the green cliffs, were blue.

  Then a voice softly toned as a wind-bell began to tinkle words of courtesy into my reverie, and broke it; and I perceived that the mistress of the palace had come to thank me for the chadai,1 and I prostrated myself before her. She was very young, and more than pleasant to look upon,—like the moth-maidens, like the butterfly-women, of Kunisada. And I thought at once of death;—for the beautiful is sometimes a sorrow of anticipation.

  She asked whither I honorably intended to go, that she might order a kuruma for me. And I made answer:—

  "To Kumamoto. But the name of your house I much wish to know, that I may always remember it."

  "My guest-rooms," she said, "are augustly insignificant, and my maidens honorably rude. But the house is called the House of Urashima. And now I go to order a kuruma."

  The music of her voice passed; and I Felt enchantment falling all about me,—like the thrilling of a ghostly web. For the name was the name of the story of a song that bewitches men.

  II

  Once you hear the story, you will never be able to forget it. Every summer when I find myself on the coast,—especially of very soft, still days,—it haunts me most persistently. There are many native versions of it which have been the inspiration for countless works of art But the most impressive and the most ancient is found in the "Manyefushifu," a collection of poems dating from the fifth to the ninth century. From this ancient version the great scholar Aston translated it into prose, and the great scholar Chamberlain into both prose and verse. But for English readers I think the most charming form of it is Chamberlain's version written for children, in the "Japanese Fairy-Tale Series,"—because of the delicious colored pictures by native artists. With that little book before me, I shall try to tell the legend over again in my own words.

  Fourteen hundred and sixteen years ago, the fisher-boy Urashima Tarō left the shore of Suminoye in his boat.

  Summer days were then as now,—all drowsy and tender blue, with only some light, pure white clouds hanging over the mirror of the sea. Then, too, were the hills the same,—far blue soft shapes melting into the blue sky. And the winds were lazy.

  And presently the boy, also lazy, let his boat drift as he fished. It was a queer boat, unpainted and rudderless, of a shape you probably never saw. But still, after fourteen hundred years, there are such boats to be seen in front of the ancient fishing-hamlets of the coast of the Sea of Japan.

  After long waiting, Urashima caught something, and drew it up to him. But he found it was only a tortoise.

  Now a tortoise is sacred to the Dragon God of the Sea, and the period of its natural life is a thousand—some say ten thousand—years. So that to kill it is very wrong. The boy gently unfastened the creature from his line, and set it free, with a prayer to the gods.

  But he caught nothing more. And the day was very warm; and sea and air and all things were very, very silent. And a great drowsiness grew upon him,—and he slept in his drifting boat.

&
nbsp; Then out of the dreaming of the sea rose up a beautiful girl,—just as you can see her in the picture to Professor Chamberlain's "Urashima,"—robed in crimson and blue, with long black hair flowing down her back even to her Feet, after the fashion of a prince's daughter fourteen hundred years ago.

  Gliding over the waters she came, softly as air; and she stood above the sleeping boy in the boat, and woke him with a light touch, and said:—

  "Do not be surprised. My father, the Dragon King of the Sea, sent me to you, because of your kind heart. For to-day you set free a tortoise. And now we will go to my father's palace in the island where summer never dies; and I will be your flower-wife if you wish; and we shall live there happily forever."

  And Urashima wondered more and more as he looked upon her; for she was more beautiful than any human being, and he could not but love her. Then she took one oar, and he took another, and they rowed away together,—just as you may still see, off the far western coast, wife and husband rowing together, when the fishing-boats flit into the evening gold.

  They rowed away softly and swiftly over the silent blue water down into the south,—till they came to the island where summer never dies,—and to the palace of the Dragon King of the Sea.

  [Here the text of the little book suddenly shrinks away as you read, and faint blue ripplings flood the page; and beyond them in a fairy horizon you can see the long low soft shore of the island, and peaked roofs rising through evergreen foliage—the roofs of the Sea God's palace—like the palace of the Mikado Yuriaku, fourteen hundred and sixteen years ago.]

  There strange servitors came to receive them in robes of ceremony—creatures of the Sea, who paid greeting to Urashima as the son-in-law of the Dragon King.

  So the Sea God's daughter became the bride of Urashima; and it was a bridal of wondrous splendor; and in the Dragon Palace there was great rejoicing.

  And each day for Urashima there were new wonders and new pleasures:—wonders of the deepest deep brought up by the servants of the Ocean God;—pleasures of that enchanted land where summer never dies. And so three years passed.

  But in spite of all these things, the fisher-boy Felt always a heaviness at his heart when he thought of his parents waiting alone. So that at last he prayed his bride to let him go home for a little while only, just to say one word to his father and mother,—after which he would hasten back to her.

  At these words she began to weep; and for a long time she continued to weep silently. Then she said to him: "Since you wish to go, of course you must go. I Fear your going very much; I Fear we shall never see each other again. But I will give you a little box to take with you. It will help you to come back to me if you will do what I tell you. Do not open it. Above all things, do not open it,—no matter what may happen! Because, if you open it, you will never be able to come back, and you will never see me again."

  Then she gave him a little lacquered box tied about with a silken cord. [And that box can be seen unto this day in the temple of Kanagawa, by the seashore; and the priests there also keep Urashima Tarō's fishing line, and some strange jewels which he brought back with him from the realm of the Dragon King."

  But Urashima comforted his bride, and promised her never, never to open the box—never even to loosen the silken string. Then he passed away through the summer light over the ever-sleeping sea;—and the shape of the island where summer never dies faded behind him like a dream;—and he saw again before him the blue mountains of Japan, sharpening in the white glow of the northern horizon.

  Again at last he glided into his native bay;—again he stood upon its beach. But as he looked, there came upon him a great bewilderment,—a weird doubt.

  For the place was at once the same, and yet not the same. The cottage of his fathers had disappeared. There was a village; but the shapes of the houses were all strange, and the trees were strange, and the fields, and even the faces of the people. Nearly all remembered landmarks were gone;—the Shintō temple appeared to have been rebuilt in a new place; the woods had vanished from the neighboring slopes. Only the voice of the little stream flowing through the settlement, and the forms of the mountains, were still the same. All else was unfamiliar and new. In vain he tried to find the dwelling of his parents; and the fisherfolk stared wonderingly at him; and he could not remember having ever seen any of those faces before.

  There came along a very old man, leaning on a stick, and Urashima asked him the way to the house of the Urashima family. But the old man looked quite astonished, and made him repeat the question many times, and then cried out:—

  "Urashima Tarō! Where do you come from that you do not know the story? Urashima Tarō! Why, it is more than four hundred years since he was drowned, and a monument is erected to his memory in the graveyard. The graves of all his people are in that graveyard,—the old graveyard which is not now used any more. Urashima Tarō! How can you be so foolish as to ask where his house is?" And the old man hobbled on, laughing at the simplicity of his questioner.

  But Urashima went to the village graveyard,—the old graveyard that was not used any more,—and there he found his own tombstone, and the tombstones of his father and his mother and his kindred, and the tombstones of many others he had known. So old they were, so moss-eaten, that it was very hard to read the names upon them.

  Then he knew himself the victim of some strange illusion, and he took his way back to the beach,—always carrying in his hand the box, the gift of the Sea God's daughter. But what was this illusion? And what could be in that box? Or might not that which was in the box be the cause of the illusion? Doubt mastered faith. Recklessly he broke the promise made to his beloved;—he loosened the silken cord;—he opened the box!

  Instantly, without any sound, there burst from it a white cold spectral vapor that rose in air like a summer cloud, and began to drift away swiftly into the south, over the silent sea. There was nothing else in the box.

  And Urashima then knew that he bad destroyed his own happiness,—that he could never again return to his beloved, the daughter of the Ocean King. So that he wept and cried out bitterly in his despair.

  Yet for a moment only. In another, he himself was changed. An icy chill shot through all his blood;—his teeth Fell out; his face shriveled; his hair turned white as snow; his limbs withered; his strength ebbed; he sank down lifeless on the sand, crushed by the weight of four hundred winters.

  Now in the official annals of the Emperors it is written that "in the twenty-first year of the Mikado Yuriaku, the boy Urashima of Midzunoye in the district of Yosa, in the province of Tango, a descendant of the divinity Shimanemi, went to Elysium[Hōrai] in a fishing-boat." After this there is no more news of Urashima during the reigns of thirty-one emperors and empresses—that is, from the fifth until the ninth century. And then the annals announce that "in the second year of Tenchiyō, in the reign of the Mikado GoJunwa, the boy Urashima returned, and presently departed again, none knew whither." 1

  III

  The fairy mistress came back to tell me that everything was ready, and tried to lift my valise in her slender hands,—which I prevented her from doing, because it was heavy. Then she laughed, but would not suffer that I should carry it myself, and summoned a sea-creature with Chinese characters upon his back. I made obeisance to her; and she prayed me to remember the unworthy house despite the rudeness of the maidens. "And you will pay the kurumaya," she said, "only seventy-five sen."

  Then I slipped into the vehicle; and in a Few minutes the little gray town had vanished behind a curve. I was rolling along a white road overlooking the shore. To the right were pale brown cliffs; to the left only space and sea.

  Mile after mile I rolled along that shore, looking into the infinite light. All was steeped in blue,—a marvelous blue, like that which comes and goes in the heart of a great shell. Glowing blue sea met hollow blue sky in a brightness of electric fusion; and vast blue apparitions—the mountains of Higo—angled up through the blaze, like masses of amethyst. What a blue transparency! Th
e universal color was broken only by the dazzling white of a Few high summer clouds, motionlessly curled above one phantom peak in the offing. They threw down upon the water snowy tremulous lights. Midges of ships creeping far away seemed to pull long threads after them,—the only sharp lines in all that hazy glory. But what divine clouds! White purified spirits of clouds, resting on their way to the beatitude of Nirvana? Or perhaps the mists escaped from Urashima's box a thousand years ago?

  The gnat of the soul of me flitted out into that dream of blue, 'twixt sea and sun,—hummed back to the shore of Suminoye through the luminous ghosts of fourteen hundred summers. Vaguely I Felt beneath me the drifting of a keel. It was the time of the Mikado Yuriaku. And the Daughter of the Dragon King said tinklingly,—"Now we will go to my father's palace where it is always blue." "Why always blue?" I asked. "Because," she said, "I put all the clouds into the Box." "But I must go home," I answered resolutely. "Then," she said, "you will pay the kurumaya only seventy-five sen."

  Wherewith I woke into Doyō or the Period of Greatest Heat, in the twenty-sixth year of Meiji—and saw proof of the era in a line of telegraph poles reaching out of sight on the land side of the way. The kuruma was still fleeing by the shore, before the same blue vision of sky, peak, and sea; but the white clouds were gone!—and there were no more cliffs close to the road, but fields of rice and of barley stretching to far-off hills. The telegraph lines absorbed my attention for a moment, because on the top wire, and only on the top wire, hosts of little birds were perched, all with their heads to the road, and nowise disturbed by our coming. They remained quite still, looking down upon us as mere passing phenomena. There were hundreds and hundreds in rank, for miles and miles. And I could not see one having its tail turned to the road. Why they sat thus, and what they were watching or waiting for, I could not guess. At intervals I waved my hat and shouted, to startle the ranks. Whereupon a Few would rise up fluttering and chippering, and drop back again upon the wire in the same position as before. The vast majority refused to take me seriously.