Lafcadio Hearn

“ Without exact information, no stranger unfamiliar with the laws and the purpose of Japanese garden-construction could imagine that all this had a human designer some thousand years ago: the effect is that of a section of primeval forest, preserved untouched from the beginning, and walled away from the rest of the world in the heart of the old capital. The rock-faces, the great fantastic roots, the shadowed by-paths, the few ancient graven monoliths, are all cushioned with the moss of ages; and climbing things have developed stems a foot thick, that hang across spaces like monstrous serpents. ”

“ The feelings and the thoughts and the acts of men,—whether deemed high or low, noble or ignoble,—all things imagined or done for any save the eternal purpose, are but dreams born of dreams and begetting hollowness. To the clear of sight, all feelings of self,—all love and hate, joy and pain, hope and regret, are alike shadows;—youth and age, beauty and horror, sweetness and foulness, are not different;—death and life are one and the same; and Space and Time exist but as the stage and the order of the perpetual Shadow-play. ”

“ It is not true that Old Japan is rapidly disappearing. It cannot disappear within at least another hundred years; perhaps it will never entirely disappear. Many curious and beautiful things have vanished; but Old Japan survives in art, in faith, in customs and habits, in the hearts and the homes of the people: it may be found everywhere by those who know how to look for it,—and nowhere more easily than in this great city of ship-building, watch-making, beer-brewing, and cotton-spinning. I confess that I went to Ōsaka chiefly to see the temples, especially the famous Tennōji. ”

“ We are, each and all, infinite compounds of fragments of anterior lives. And the universal process that continually dissolves and continually constructs personality has always been going on, and is even at this moment going on, in every one of us. What being ever had a totally new feeling, an absolutely new idea? All our emotions and thoughts and wishes, however changing and growing through the varying seasons of life, are only compositions and recompositions of the sensations and ideas and desires of other folk, mostly of dead people,—millions of billions of dead people. ”

“ What is impossible? If seas can pass from world to sun, from sun to world again, what of the dust of dead selves,—dust of memory and thought? Resurrection there is,—but a resurrection more stupendous than any dreamed of by Western creeds. Dead emotions will revive as surely as dead suns and moons. Only, so far as we can just now discern, there will be no return of identical individualities. The reapparition will always be a recombination of the preexisting, a readjustment of affinities, a reintegration of being informed with the experience of anterior being. The Cosmos is a Karma. ”

“ To the Japanese, who recognize that the truth of beauty belongs to the inner being, commonplace details are precious: they help to accentuate and verify the conception of a heroism. Those poor blood-stained trifles—the coarse honest robes and girdle, the little cheap purse, the memoranda of a visit to the pawnbroker, the glimpses of plain, humble, every-day humanity shown by the letters and the photographs and the infinitesimal precision of police records—all serve, like so much ocular evidence, to perfect the generous comprehension of the feeling that made the fact. ”

“ Such are purely unselfish love, larger than individual being,—supreme compassion,—perfect benevolence: they are not of man, but of the Buddha within the man. And as these expand, all the feelings of self begin to thin and weaken. The condition of the phantom-Ego simultaneously purifies: all those opacities which darkened the reality of Mind within the mirage of mind begin to illumine; and the sense of the infinite, like a thrilling of light, passes through the dream of personality into the awakening divine. ”

“ For all beings there is but one law,—immutable and divine: the law by which the lowest must rise to the place of the highest,—the law by which the worst must become the best,—the law by which the vilest must become a Buddha. In such a system there is no room for prejudice and for hatred. Ignorance alone is the source of wrong and pain; and all ignorance must finally be dissipated in infinite light through the decomposition of Self. ”

“ Greek art expressed the aspiration of a race toward the divinely beautiful and the divinely wise. Japanese art reflects the simple joy of existence, the perception of natural law in form and color, the perception of natural law in change, and the sense of life made harmonious by social order and by self-suppression, Modern Western art reflects the thirst of pleasure, the idea of life as a battle for the right to enjoy, and the unamiable qualities which are indispensable to success in the competitive struggle. ”

“ Is our universe so composed?—an endless phantasmagory made only by combinations of combinations of combinations of combinations of units finding quality and form through unimaginable affinities;—now thickly massed in solid glooms; now palpitating in tremulosities of light and color; always and everywhere grouped by some stupendous art into one vast mosaic of polarities;—yet each unit in itself a complexity inconceivable, and each in itself also a symbol only, a character, a single ideograph of the undecipherable text of the Infinite Riddle?... ”

“ All the arts and most of the industries repeat Buddhist legends to the eye trained in symbolism; and there is scarcely an object of handiwork possessing any beauty or significance of form—from the plaything of a child to the heirloom of a prince—which does not in some way proclaim the ancient debt to Buddhism of the craft that made it. One may discern Buddhist thoughts in the cheap cotton prints from an Osaka mill not less than in the figured silks of Kyoto. ”

“ Gradually,—only gradually,—the immense charm, the weird Buddhist charm of the place, grows and grows upon you; and the sense of its vast antiquity defines to touch that chord of the aesthetic feeling which brings the vibration of awe.
Considered as a human work alone, the garden is a marvel: only the skilled labor of thousands could have joined together the mere bones of it, the prodigious rocky skeleton of its plan. This once shaped and earthed and planted, Nature was left alone to finish the wonder. ”

“ He is good; he is true; but poverty is with us, and the path of our love is dark. Aid us with thy great divine pity!—help us that we may become united, O Daimyōjin!" Then to the bars of my shrine she would hang a thick soft tress of hair,—her own hair, glossy and black as the wing of the crow, and bound with a cord of mulberry-paper. And in the fragrance of that offering,—the simple fragrance of her peasant youth,—I, the ghost and god, should find again the feelings of the years when I was man and lover. ”

“ We know nothing whatever of the ultimate nature of substance and motion: but we have scientific evidence that the known has been evolved from the unknown; that the atoms of our elements are combinations; and that what we call matter and force are but different manifestations of a single and infinite Unknown Reality.
There are wonderful Buddhist pictures which at first sight appear to have been made, like other Japanese pictures, with bold free sweeps of a skilled brush, but which, when closely examined, prove to have been executed in a much more marvelous manner. ”

“ While even the feelings which they have developed linger with us, there can be no true spirit of tolerance, no sense of human brotherhood, no wakening of universal love.
Buddhism, on the other hand, recognizing no permanency, no finite stabilities, no distinctions of character or class or race, except as passing phenomena,—nay, no difference even between gods and men,—has been essentially the religion of tolerance. Demon and angel are but varying manifestations of the same Karma;—hell and heaven mere temporary halting-places upon the journey to eternal peace. ”

“ The tones of decoration are never of chance, but of knowledge: even the lantern illuminations prove this fact, certain tints only being used in combination. But the whole exhibition is as evanescent as it is wonderful. It vanishes much too quickly to be found fault with. It is a mirage that leaves you marveling and dreaming for a month after having seen it.
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Perhaps one inexhaustible source of the contentment, the simple happiness, belonging to Japanese common life is to be found in this universal cheapness of pleasure. The delight of the eyes is for everybody. ”

“ His face is pleasing,—nose straight or slightly aquiline,—mouth veiled by a heavy black moustache: the eye-lids alone give you some right to suppose that you are conversing with an Oriental. Such is one type of the Ōsaka commercial traveler of 1896,—a being as far superior to the average Japanese petty official as a prince to a lackey. Should you meet the same man in his own city, you would probably find him in Japanese costume,—dressed as only a man of fine taste can learn how to dress, and looking rather like a Spaniard or Italian in disguise than a Japanese. ”

“ The striving for Nirvana is a struggle perpetual between false and true, light and darkness, the sensual and the supersensual; and the ultimate victory can be gained only by the total decomposition of the mental and the physical individuality. Not one conquest of self can suffice: millions of selves must be overcome. For the false Ego is a compound of countless ages,—possesses a vitality enduring beyond universes. ”

“ The sites of the most celebrated temples, or at least of the greater number of them, were thus selected,—always where the beauty of nature could inspire and aid the work of the religious architect, and where it still has power to make many a one wish that he could become a Buddhist or Shinto priest. Religion, indeed, is everywhere in Japan associated with famous scenery: with landscapes, cascades, peaks, rocks, islands; with the best places from which to view the blossoming of flowers, the reflection of the autumn moon on water, or the sparkling of fireflies on summer nights. ”

“ Here it is worth while to notice that the reserves of Japanese art in the matter of facial expression accord with the ethics of Oriental society. For ages the rule of conduct has been to mask all personal feeling as far as possible,—to hide pain and passion under an exterior semblance of smiling amiability or of impassive resignation. One key to the enigmas of Japanese art is Buddhism. ”

“ Paper, straw, or stone makes no real difference; the art sense is superbly independent of the material. What shapes that material is perfect comprehension of something natural, something real. Whether a blossom made of chicken feathers, a clay turtle or duck or sparrow, a pasteboard cricket or man-tis or frog, the idea is fully conceived and exactly realized. Spiders of mud seem to be spinning webs; butterflies of paper delude the eye. No models are needed to work from;—or rather, the model in every case is only the precise memory of the object or living fact. ”