"The essay, however, that betrays most strongly the bent of the author's mental metamorphosis, and one, we venture to say, that will be generally challenged is that on 'Faces in Japanese Art.' The contention it embodies, which he boldly fathers, is a flat denial of the truth and worth of our accepted schools of art,—of drawing especially." (376.)

Criticizing the chapters on Buddhism in the present book, the Athenæum says:—

"They are finely written, but the Buddhism is the Buddhism of Mr. Hearn, not of China or Japan, or of anywhere else. Nevertheless, we think them the most attractive of these gleanings. Laputa is placed not very far from Japan; to a quasi-Laputa Mr. Hearn has gone, and his Laputian experiences are more interesting than any ordinary terrestrial experiences could have been." (298.)

The Spectator says:—

"His chapter on Nirvâna, which he describes as 'a study in synthetic Buddhism,' will be read with very great interest by all who care for the problems involved. There have been plenty of studies of the doctrine of Nirvâna more elaborate and complete, but few more suggestive and more taking.... Mr. Hearn begins by combating the popular Western notion that the idea of Nirvâna signifies to Buddhist minds complete annihilation. The notion is, he declares, erroneous because it contains only half the truth, and a half of the truth which is of no value or interest or intelligibility except when joined to the other half. According to Mr. Hearn, and, indeed, according to 'the better opinion' generally, Nirvâna means not absolute nothingness or complete annihilation, but only the annihilation of what constitutes individualism and personality,—'the annihilation of everything that can be included under the term "I".'" (382.)

Hearn makes an elaborate study of the varying stages of births and heavens that one must generally pass through before one rises into the "infinite bliss" of Nirvâna. The chapter closes with this significant sentence:—

The only reality is One;—all that we have taken for Substance is only Shadow;—the physical is the unreal:—and the outer-man is the ghost.

There are two short chapters devoted to the Japanese Songs. The first songs, "Out of the Street," are, as Manyemon, who would not have the Western people deceived, tells us, the vulgar songs, or those sung by the washermen, carpenters, and bamboo-weavers, etc. The theme always holds some glint of love. Hearn has arranged certain ones in three groups forming a little shadow romance.

To Heaven with all my soul I prayed to prevent your going;
Already, to keep you with me, answers the blessed rain.

Things never changed since the Time of the Gods:
The flowing of water, the Way of Love.

The second chapter is devoted to Folk-Songs with Buddhist allusions. Nearly all the arts and the greater number of the industries show the influence of Buddhism. A typical song is:—