"

In dealing with Hearn's genius we have to accept frequent contradictions
and changes of statement. His deductions need classifying and
substantiating, he often generalises from insufficient premises, and
over-emphasises the impression of the moment at the expense of accuracy.

In his article on the "Eternal Feminine," he endeavours to prove that
the Japanese man is incapable of love, as we understand it in the West.
Having taken up an idea, he uses all his skill in the manipulation of
words to support his view, even though in his inner consciousness he
fostered a conviction that it was not exactly a correct one. The fact of
occidental fiction being revolting to the Japanese moral sense is
far-fetched. Many people amongst ourselves are of opinion that in much
of our fictional work the sexual question is given a great deal too much
prominence; what wonder, therefore, that the male Japanese, being bound
by social convention to keep all feeling under restraint, from the first
moment he can formulate a thought, should look upon it as indecorous,
and, above all, inartistic, to express his sentiments unreservedly on
the subject of the deeper emotions, but that does not for a moment prove
that he is incapable of feeling them.

All Japanese art, poetry as well as painting, is impressionistic and
suggestive instead of detailed. "_Ittakkiri_" (entirely vanished, in the
sense of "all told"), is a term applied contemptuously to the poet who,
instead of an indication, puts the emotion itself into words.

The art of writing poetry is universal in Japan; verses, seldom
consisting of more than two lines, are to be found upon shop-signs,
panels, screens and fans. They are printed upon towels, draperies,
curtains and women's crepe silk underwear, they are written by every one
and for all occasions. Is a woman sad and lonely at home, she writes
poems. Is a man unoccupied for an hour, he employs himself putting his
thoughts into poetry. Hearn was continually on the quest of these simple
poems: to Otani he writes, "Please this month collect for me, if you
can, some songs of the sound of the sea and the sound of the wind." The
translations given by him in his essay entitled "Out of the Street,"
contradict his statement that the Japanese are incapable of deep
feeling, and prove that love is as important an element in the Island
Empire as with us, though the expression is less outspoken. Some of them
are charming.

"To Heaven with