Oscar Wilde once declared that life and nature constantly plagiarized from art, and would have been pleased with the confirmation of his suggestion afforded by the fact that nearly twenty years after the publication of “Chita” a storm, similar to the one described in the book, swept away in its turn Grande Isle, and Les Chenières, and a girl child was rescued by Manila fishermen as Hearn had imagined. After living with one of their families for some time she was finally recovered by her father (who had believed her lost in the general catastrophe), under circumstances astoundingly like those invented by the author so many years before.
The book was dedicated to Dr. Rodolfo Matas, a Spanish physician in New Orleans, and an intimate friend,—frequently mentioned in the letters to Dr. George M. Gould of Philadelphia, with whom a correspondence was begun at about this time.
It was because of the success of “Chita” that Hearn was enabled to realize his long-nourished dream of penetrating farther into the tropics, and with a vague commission from the Harpers he left New Orleans, in 1887, and sailed for the Windward Islands. The journey took him as far south as British Guiana, the fruit of which was a series of travel-sketches printed in Harper’s Magazine. So infatuated with the Southern world of colour, light, and warmth had he become that—trusting to the possible profits of his books and the further material he hoped to gather—two months after his return from this journey, and without any definite resources, he cast himself back into the arms of the tropics, for which he suffered a life-long and unappeasable nostalgia.
It was to St. Pierre in the island of Martinique—the place that had most attracted him on his travels—that he returned. That island of “gigantic undulations,” that town of bright long narrow streets rising toward a far mass of glowing green ... which looks as if it had slid down the hill behind it, so strangely do the streets come tumbling to the port in a cascade of masonry,—with a red billowing of tiled roofs over all, and enormous palms poking up through it. That town with “a population fantastic, astonishing,—a population of the Arabian Nights ... many coloured, with a general dominant tint of yellow, like that of the town itself ... always relieved by the costume colours of Martinique—brilliant yellow stripings or chequerings which have an indescribable luminosity, a wonderful power of bringing out the fine warm tints of tropical flesh ... the hues of those rich costumes Nature gives to her nearest of kin and her dearest,—her honey-lovers,—her insects: wasp-colours.” Here, under the shadow of Mt. Pelée “coiffed with purple and lilac cloud ... a magnificent Madras, yellow-banded by the sun,” he remained for two years, and from his experiences there created his next book. “Two Years in the French West Indies” made a minute and astonishing record of the town and the population, now as deeply buried and as utterly obliterated as was Pompeii by the lava and ashes of Vesuvius. Eighteen centuries hence, could some archæologist, disinterring the almost forgotten town, find this book, what passionate value would he give to this record of a community of as unique a character as that of the little Græco-Roman city! What price would be set to-day upon parchments which reproduced with such vivid fidelity the world, so long hid in darkness, of that civilization over whose calcined fragments we now yearningly ponder!
One English commentator upon the work of Lafcadio Hearn speaks of “Chita” and “Two Years in the French West Indies” with negligent contempt as of “the orchid and cockatoo type of literature,” and passes on to his Japanese work as the first of considerable importance. Other critics have been led into the same error, welcoming the cooler tones of his later pictures as a growth in power and a development of taste. It is safe to say that the makers of such criticisms have not seen the lands and peoples of whom these books attempt to reproduce the charm. Those who have known tropic countries will realize how difficult is the task of reproducing their multi-coloured glories, and that to bring even a faint shadow of their splendours back to eyes accustomed to the pale greys and half tints of Northern lands is a labour not only arduous in itself, but more than apt to be ungratefully received by those for whom it is undertaken. A mole would find a butterfly’s description of an August landscape exaggerated to the point of vulgarity, and the average critic is more likely to find satisfaction in “A Grey Day at Annisquam” than in the most subtly handled picture of the blaze of noon at Luxor.
“Chita” is marred occasionally by a phrase that suggests the journalism in which the hand of the writer had been so long submerged, but in “Two Years in the French West Indies” the artist has at last emancipated his talent and finished his long apprenticeship. Though the author himself in later years finds some fault with it, giving as excuse that much of it was done when he was physically exhausted by fever and anxiety, and “with but a half-filled stomach,” it remains one of his most admirable achievements.
The risks he had assumed in returning to the tropics proved greater than he had imagined. Publishers’ delays and rigid exactions of all their part of the writer’s pound of flesh left him at times entirely without means, and had it not been for the generosity and kindliness of the people of the now vanished city he would not have lived to return. It was some memory of humble friends there that is recorded in the sixth part of the autobiographical fragments, written after the disaster at St. Pierre.
IN VANISHED LIGHT
... A bright long narrow street rising toward a far mass of glowing green—burning green of lianas: the front of a tropic wood. Not a street of this age, but of the seventeenth century: a street of yellow façades, with yellow garden-walls between the façades. In sharp bursts of blue light the sea appears at intervals,—blue light blazing up old, old nights of mossy steps descending to the bay. And through these openings ships are visible, far below, riding in azure.