Dear Krehbiel,—I am sorry to be in such a hurry that I have to write a short letter; but I must signal my pleasure at seeing you coming out in public, and I have a vision of future greatness for you. As for myself, I trust I shall in a few years more obtain influence enough to be able to return some of your many kindnesses in a literary way. Eventually we may be able to pull together to a very bright goal, if I can keep my health.
I think that Osgood will announce the book about the 1st of April, but I am not sure. It would hardly do to anticipate. I send you his letter. The terms are not grand; but a big improvement on Worthington’s. Next time I hope I will be able to work to order. You can return letter when you are done with it, as it forms a part of my enormous collection of letters from publishers—(199 rejections to 1 acceptation).
I expect I shall have to postpone my visit until the book is out, as I must wait here to receive and correct proofs. I have dedicated the book to Page Baker, as it was entirely through his efforts that I got a hearing from Osgood. The reader had already rejected the MS. when Baker’s letter came.
From the Atlantic I have not yet heard. If I have good luck (which is extremely improbable) I would make the Muezzin No. 1 in a brief series of Arabesque studies, which would cost about two years’ labour—at intervals. I have several subjects in mind: for example, the lives of certain outrageous Moslem Saints, and a sketch of the mulatto and quadroon slave-poets of Arabia before Mahomet; “The Ravens,” as they were called from their color;—also the story of the Ye monnat, or those who died of love.... But these are beautiful dreams in embryo! Yours affectionately,
... It is related by Philostratus in his life of Apollonius of Tyana, that when Apollonius visited India, and asked the Brahmins to give him an example of (musical) magic, the Brahmins did strip themselves naked and dance in a ring, each tapping the earth with a staff, and singing a strange hymn. Then the earth within the ring rose up, quivering, even as fermenting dough,—and rose higher,—and undulated and was lost in great waves,—and elevated the singers unto the height of two cubits....
Dear Krehbiel,—I read your leader with no small interest; and “the gruesome memories” were revived. The killing of the man in the Vine Street saloon, however, interested me most as a memory-reviving interest. That murderer was the most magnificent specimen of athletic manhood that I ever saw,—I suspect he was a gipsy; for he had all the characteristics of that race, and was not a regular circus-employee,—only a professional rider, now with one company, now with another. Did you see him when you were there? He was perhaps 6 feet 4; for his head nearly touched the top of the cell. He had a very regular handsome face, with immense black eyes; and an Oriental sort of profile:—then he seemed slender, in spite of his immense force,—such was the proportion of his figure. A cynical devil, too. I went to see him with the coroner, who showed him the piece of the dead man’s skull. He took it between his fingers, held it up to the light, handed it back to the coroner and observed; “Christ!—he must have had a d—d rotten skull.” He was ordered to leave town within twenty-four hours as a dangerous character. It is a pity such men should be vulgar murderers and ruffians;—what superb troopers they would make! I shall never forget that splendid stature and strength as long as I live....
I don’t know whether I shall ever be living in that terrible metropolis of yours. It will be impossible for me ever again to write or read by night; and hard work has become impossible. If I could ever acquire reputation enough to secure a literary position on some monthly or weekly periodical where I could take it easy, perhaps I might feel like enduring the hideous winters. But I am just now greatly troubled by the question, What shall I work for?—to what special purpose? Perhaps some good fortune may come when least expected.
Now I want to talk about our trip. I think it better not to go now. Page wants me to take a good big vacation this summer,—a long one. If I wait till it gets warm, I will be able to escape the feverish month; and if you should be in Cincinnati at the Festival, or elsewhere, I would meet you anyhow or anywhere you say. Were I to leave now I could not do so later; and I am waiting for some curious books and things which I want to bring you so that we can analyze them together. A month or so won’t make much difference.
Will write you soon. Had to quit work for a few days on account of eye-trouble
Dear Krehbiel,—I have been so busy that I have not been able to answer your last. They are sending me proofs at the rate of twenty pages a day; and you can imagine this keeps me occupied in addition to my other work. Alas! I find that nothing written for a newspaper—at least for an American newspaper—can be perfect. My poor little book will show some journalistic weaknesses—will contain some hasty phrases or redundancies or something else which will mar it. I try my best to get it straight; but the consequences of hasty labour are perpetually before me, notwithstanding the fact that the collocation of the material occupied nearly two years. I am thinking of Bayard Taylor’s terrible observation about American newspaper-work. It seems to be generally true. Still there are some who write with extraordinary precision and correctness. I think you are one of them.
What troubles my style especially is ornamentation. An ornamental style must be perfect or full of atrocious discords and incongruities; and perfect ornamentation requires slow artistic work—except in the case of men like Gautier, who never re-read a page, or worried himself about a proof. But I think I’ll improve as I grow older.
I won’t be away till June. Then I’ll have some queer books in my satchel, and we’ll talk the book over. I fear it is no use to discuss it beforehand, as I shall be overwhelmed with work. Another volume of the Talmud has come, and some books about music containing Chinese hymns. By the way, in Spencer’s last volume there is an essay on musical origination. I have had only time to glance at it. Your Creole music lecture cannot fail to be extremely curious; wish I could hear and see it. The melodies will certainly make a sensation if you have a good assortment. Did you borrow anything from Gottschalk?—I hope you did: the Bamboula used to drive the Parisians wild.
Thanks for the musical transcription. I’m afraid the project won’t pan out, however. Trübner & Co. of London made an offer, but wanted me to guarantee the American sale of 100 copies—that means pay in advance. I would not perhaps have objected, if they had mentioned a low price; but when I tried to get them to come down to about 5s. per copy they did not write me any more.
Then I abandoned the pursuit of the Ignis Fatuus of Success, and withdrew into the Immensities and the Eternities, even as the rhinoceros withdraweth into the recesses of the jungle. And I gave myself up to the meditation of the Vedas and of the Puranas and of the Upanishads, and of the Egyptian Ritual of the Dead,—until the memory of magazines and of publishers faded out of my mind, even as the vision of demons
My dear O’Connor,—I did not get time until to-day to drop you a line; and just at present I am enthusiastically appreciating your observations regarding The Foul Fiend Routine. I wish I could escape from his brazen grip; and nevertheless he has done me service. He has stifled my younger and more foolish aspirations, and clipped the foolish wings of my earlier ambition with the sharp scissors of revision. It is true that I now regret my inability to achieve literary independence; but had I obtained a market for my wares in other years, I should certainly have been so ashamed of them by this time, that I should fly to some desert island. These meditations follow upon the incineration of several hundred pages of absurdities written some years back, and just committed to the holy purification of fire....
I am not, however, sorry for writing the fantastic ideas about love which you so thoroughly exploded in your letter; they “drew you out,” and I wanted to hear your views. I suppose, however, that the mad excess is indulged in by every nation at a certain period of existence—perhaps the Senescent Epoch, as Draper calls it. What a curious article might be written upon “The Amorous Epochs of National Literatures,”—or something of that sort; dwelling especially upon the extravagant passionateness of Indian, Persian, and Arabic belles-lettres,—and their offshoots! Not to bore you further with theories, however, I herewith submit another specimen of excess from the posthumous poetry of Gautier. It has been compared to those Florentine statuettes, which are kept in shagreen cases, and only exhibited, whisperingly, by antiquaries to each other....
There is real marmorean beauty in the lines,—their sculpturesqueness saves them from lewdness. I think them more beautiful than Solomon’s simile, or the extravagances of the Gita-Govinda.
You see how busy I have been. And my brain seems so full of dust and hot sun and feverish vapours that it is hard to write at all.... I am thinking of what you said about Arnold’s translating the Koran. There are two English translations besides Sale’s—one in Trübner’s Oriental Series, and one in Max Müller’s “Sacred Books of the East” (Macmillan’s beautiful edition). Sale’s is chiefly objectionable because the suras are not versified: the chapters not having been so divided in early times by figures. But it is horribly hard to find anything in it. The French have two superb versions: Kazimirski and La Beaume. Kazimirski is popular and cheap; the other is an analytical Koran of 800 4to pp. with concordance, and designed for the use of the Government bureaux in Algeria. I have it. It is unrivalled.
My book is out; and you will receive a copy soon. If you ever have time, please tell me if there is anything in it you like. It is not a gorgeous production,—only an experiment. I have a great plan in view: to popularize the legends of Islam and other strange faiths in a series of books. My next effort will be altogether Arabesque—treating of Moslem saints, singers, and poets, and hagiographical curiosities—eschewing such subjects as the pilgrimage to the ribath (monastery) of Deir-el-Tiu in the Hedjaz, where fragments of the broken aidana of Mahomet are kissed by the faithful....
I’m sorry to say I know little of Bacon except his Essays. Those surprised and pleased me. I started to read them only as a study of Old English; but soon found the ideas far beyond the century in which they were penned. You will be shocked, I fear, to know that I am terribly ignorant of classic English literature,—of the sixteenth, seventeenth, and eighteenth centuries. Not having studied it much when at college, I now find life too short to study it,—except for style. When I want to clear mine,—as coffee is cleared by the white of an egg,—I pour a little quaint English into my brain-cup, and the Oriental extravagances are gradually precipitated. But I think a man must devote himself to one thing in order to succeed: so I have pledged me to the worship of the Odd, the Queer, the Strange, the Exotic, the Monstrous. It quite suits my temperament. For example, my memories of early Roman history have become cloudy, because the Republic did not greatly interest me; but very vivid are my conceptions of the Augustan era, and great my delight with those writers who tell us how Hadrian almost realized that impossible dream of modern æsthetes, the resurrection of Greek art. The history of modern Germany and Scandinavia I know nothing about; but I know the Eddas and the Sagas, and the chronicles of the Heimskringla, and the age of Vikings and Berserks,—because these were mighty and awesomely grand. The history of Russia pleaseth me not at all, with the exception of such extraordinary episodes as the Dimitris; but I could never forget the story of Genghis Khan, and the nomad chiefs who led 1,500,000 horsemen to battle. Enormous and lurid facts are certainly worthy of more artistic study than they generally receive. What De Quincey told us in his “Flight of a Tartar Tribe” previous writers thought fit to make mere mention of.... But I’m rambling again.
I don’t know whether I shall be able to go North as I hoped—I have so much private study before me. But I do really hope to see you some day. Couldn’t you get down to our Exposition?...
Did you ever read Symonds’s “Greek Poets”? The final chapters on the genius of Greek art are simply divine. I mention them because of your observation about our being or not being ephemeral. I feel fearful we are. But Symonds says what I would have liked to say, so much better, that I would like to let him speak for me with voice of gold.
Dear Krehbiel,—I’m expecting every day to get some Griot music and some queer things, and have discovered an essay upon just the subject of subjects that interests Us:—the effect of physiological influences upon the history of nations, and “the physiological character of races in their relation to historical events.” Wouldn’t it be fine if we could write a scientific essay on Polynesian music in its manifestations of the physiological peculiarities of the island-races? Nothing would give me so much pleasure as to be able some day to write a most startling and stupefying preface to some treatise of yours upon exotic music—a preface nevertheless strictly scientific and correct. By the way, have you any information about Eskimo music? If you have, tell me when I see you. I have some singular songs with a double-refrain,—but no music,—which I found in Rink. Why the devil didn’t Rink give us some melodies?
I am especially interested just now in Arabic subjects; but as I am following the Arabs into India, I find myself studying the songs of the bayaderes. They are very strange, and sometimes very pretty—sweetly pretty. Maisonneuve promised to publish some of this Indian music; but that was in ’81, and we haven’t got it yet. I have found curious titles in Trübner’s collection; but I’m afraid the music isn’t published—“Folk-Songs of Southern India,” etc.
I want you to tell me how long you will stay in New York, as I would like to go there soon. The vacations are beginning. Don’t fail to keep me posted as to your movements. How did you like the sonorous cry of the bel-balancier man?
Am writing in haste; excuse everything excusable
A man ignorant of music is likely to say silly things without knowing it when writing to a professor; so you must excuse my faults on the ground of good will to you. I have just destroyed two pages which I thought might be waste of time to read.
Dear K.,—I want you to let me hear about old Bìlâl for the following reasons:—
1. I have discovered that a biography of him—the only one in existence probably—-may be found in Wüstenfeld’s “Nawawi,” for which I have written. If the text is German I can utilize it with the aid of a bouquiniste here.
2. I have been lucky enough to engage a copy of Ibn Khallikan in 24 volumes—the great Arabic biographer. It containeth legends. The book is dear but invaluable to an Oriental student,—especially to me in the creation of my new volume, which will be all Arabesques.
And here is another bit of news for you. My Senegal books have thrown a torrent of light on the whole history of American slave-songs and superstitions and folk-lore. I was utterly astounded at the revelation. All that had previously seemed obscure is now lucid as day. Of course, you know the slaves were chiefly drawn from the West Coast; and the study of ethnography and ethnology of the West Coast races is absolutely essential to a knowledge of Africanism in America. As yet, however, I have but partly digested my new meal.
Siempre á V.,
Dear K.,—Your letter has given me unspeakable pleasure. In making the acquaintance of Howells, you have met the subtlest and noblest literary mind in this country,—scarcely excepting that prince of critics, Stedman; and you have found a friend who will aid you in climbing Parnassus, not for selfish motives, but for pure art’s sake. Cultivate him all you can....
I got a nice letter from Ticknor. He actually promises to open the magazine-gates for me. And a curious coincidence is that the book is published on my birthday, next Friday.
I will write you before I start for New York in a few weeks more....
I will bring my African books with me, and other things.
Dear Krehbiel,—I sit down to write you the first time I have had leisure to do justice to the subject for a month.
Now I must tell you what I am doing. I have been away a good deal, in the Creole archipelagoes of the Gulf, and will soon be off again, to make more studies for my little book of sketches. I sent you the No. 2, as a sample. These I take as much pains with as with magazine work, and the plan is philosophical and pantheistic. Did you see “Torn Letters,”—(No. 1) about the Biscayena. The facts are not wholly true; I was very nearly in love—not quite sure whether I am not a little in love still,—but I never told her so. It is so strange to find one’s self face to face with a beauty that existed in the Tertiary epoch,—300,000 years ago,—the beauty of the most ancient branch of humanity,—the oldest of the world’s races! But the coasts here are just as I described them, without exaggeration,—and I am so enamoured of those islands and tepid seas that I would like to live there forever, and realize Tennyson’s wish:—
“I will wed some savage woman; she shall rear my dusky race: Iron-jointed, supple-sinewed, they shall dive and they shall run,— Catch the wild goat by the hair, and hurl their lances in the sun, Whistle back the parrot’s call,—leap the rainbows of the brooks,— Not with blinded eyesight poring over miserable books.”
The islanders found I had one claim to physical superiority anyhow,—I could outswim the best of them with the greatest ease. And I have disciplined myself physically so well of late years, that I am no longer the puny little fellow you used to know.
All this is sufficiently egotistical. I just wanted, however, to tell you of my wanderings and their purpose. It was largely inspired by the new style of Pierre Loti—that young marine officer who is certainly the most original of living French novelists.
All this summer Page could not get away; so you will not have the pleasure of seeing my very noble and lovable friend,—a tall, fine, eagle-faced fellow, primitive Aryan type. I only got away on the pledge to give the results to the T.-D., which is giving me all possible assistance in my literary undertakings.
I was glad to receive Creole books, as I am working on Creole subjects. Several new volumes have appeared. I have some Oriental things to send you—music, if you will agree to return in one month from reception. But you need not have expressed those other things—made me feel sorry. I expressed them to you for other reasons entirely.
I have a delightful Mexican friend living with me, and teaching me to speak Spanish with that long, soft, languid South American Creole accent that is so much more pleasant than the harsher accent of Spain. His name is José de Jesus y Preciado, and he sends you his best wishes, because he says all my friends must be his friends too.
Now, I hope you’ll write me a pretty, kind, forgiving letter,—not condescendingly, but really nice,—you know what I mean.
Your supersensitive and highly suspicious friend,
Dear Friend Krehbiel,—Many, many happy New Years. Your letter came luckily during an interval of rest,—so that I can answer it right away. I have not been at all worried by your silence,—as your former kind lines showed me you had fully forgiven my involuntary injustice and my voluntary, but only momentary malice. (Please give this last the French accent, which takes off the edge of the word.)
In a few days my Creole Dictionary will be published in New York; and I will not forget to send you a copy, just as soon as I can get some myself. I do not expect to make anything on the publication. It is a give-away to a friend, who will not forget me if he makes money, but who does not expect to make a fortune on it. This kind of thing is never lucrative; and the publication of the book is justified only by Exposition projects. As for the “Stray Leaves” I have never written to the publishers yet about them,—so afraid of bad news I have been. But I have dared to try and get a good word said for it in high places. I succeeded in obtaining a personal letter from Protap Chunder Roy, of Calcutta, and hope to get one from Edwin Arnold. This is cheeky; but publishers think so much about a commendation from some acknowledged authority in Oriental studies.
The prices are high; the markets are all “bulled;” and for the first time I find my room rent here (twenty dollars per month) and my salary scarcely enough for my extravagant way of life. Money is a subject I am beginning to think of in connection with everything except—art. I still think nobody should follow an art purpose with money in view; but if no money comes in time, it is discouraging in this way,—that the lack of public notice is generally somewhat of a bad sign. Happily, however, I have joined a building association, which compels me to pay out $20 per month. Outside of this way of saving, I save nothing,—except queer books imported from all parts of the world.
My dear Krehbiel,—I fear I know nothing about Creole music or Creole negroes. Yes, I have seen them dance; but they danced the Congo, and sang a purely African song to the accompaniment of a dry-goods box beaten with sticks or bones and a drum made by stretching a skin over a flour-barrel. That sort of accompaniment and that sort of music, you know all about: it is precisely similar to what a score of travellers have described. There are no harmonies—only a furious contretemps. As for the dance,—in which the women do not take their feet off the ground,—it is as lascivious as is possible. The men dance very differently, like savages, leaping in the air. I spoke of this spectacle in my short article in the Century.
One must visit the Creole parishes to discover the characteristics of the real Creole music, I suspect. I would refer the Century to Harris’s book: he says the Southern darkies don’t use the banjo. I have never seen any play it here but Virginians or “upper country” darkies. The slave-songs you refer to are infinitely more interesting than anything Cable’s got; but still, I fancy his material could be worked over into something really pretty. Gottschalk found the theme for his Bamboula in Louisiana—Quand patate est chinte, etc., and made a miracle out of it.
Now if you want any further detailed account of the Congo dance, I can send it; but I doubt whether you need it. The Creole songs, which I have heard sung in the city, are Frenchy in construction, but possess a few African characteristics of method. The darker the singer the more marked the oddities of intonation. Unfortunately most of those I have heard were quadroons or mulattoes. One black woman sang me a Voudoo song, which I got Cable to write—but I could not sing it as she sang it, so that the music is faulty. I suppose you have seen it already, as it forms part of the collection. If the Century people have any sense they would send you down here for some months next spring to study up the old ballads; and I believe that if you manage to show Cable the importance of the result, he can easily arrange it....
You answered some of my questions charmingly. Don’t be too sarcastic about my capacity for study. My study is of an humble sort; and I never knew anything, and never shall, about acoustics. But I have had to study awful hard in order to get a vague general idea of those sciences which can be studied without mathematics, or actual experimentation with mechanical apparatus. I have half a mind to study medicine in practical earnest some day. Wouldn’t I make an imposing Doctor in the Country of Cowboys? A doctor might also do well in Japan. I’m thinking seriously about it.
This is the best letter I can write for the present, and I know it’s not a good one. I send a curiosity by Xp to you.
The Creole slaves sang usually with clapping of hands. But it would take an old planter to give reliable information regarding the accompaniment.
Dear Krehbiel,—I regret having been so pressed for time that I was obliged to return your MS. without a letter expressing the thanks which you know I feel. I scribbled in pencil—which you can erase with a bit of bread—some notes on the Cajan song, that may interest you.
The Harpers are giving me warm encouragement; but advise me to remain a fixture where I am. They say they are looking now to the South for literary work of a certain sort,—that immense fields for observation remain here wholly untilled, and that they want active, living, opportune work of a fresh kind. I shall try soon my hand at fiction;—my great difficulty is my introspective disposition, which leaves me in revery at moments when I ought to be using eyes, ears, and tongue in studying others rather than my own thoughts.
I find the word Banja given as African in Bryan Edwards’s “West Indies.” My studies of African survivals have tempted me to the purchase of a great many queer books which will come in useful some day. Most are unfortunately devoted to Senegal; for our English travellers are generally poor ethnographers and anthropologists, so far as the Gold Coast and Ivory Coast are concerned. You remember our correspondence about the comparative anatomy of the vocal organs of negroes and whites. A warm friend of several years’ standing—a young Spanish physician and professor here—is greatly interested in this new science: indeed we study comparative human anatomy and ethnology in common, with goniometers and Broca’s instruments. He states that only microscopic work can reveal the full details of differentiation in the vocal organs of races; but calls my attention to several differences already noticed. Gibb has proved, for instance, that the cartilages of Wrisberg are larger in the negro;—this would not affect the voice especially; but the fact promises revelations of a more important kind. We think of your projects in connection with these studies.
I copied only your Acadian boat-song. What is the price of the slave-song book? If you have time to send me during the next month the music of “Michié Preval,” and of the boat-song, I can use them admirably in xml:lang="fr">Mélusine....
Big P. S. No. 1.
I forgot in my hurried letter yesterday, to tell you that if you ever want a copy of “Stray Leaves,” don’t go and buy it, as you have been naughty enough to do, but tell me, and I’ll send you what you wish. I hope to dedicate a book to you some day, when I am sure it is worth dedicating to you.
I am quite curious about you. Seems to me you must be like your handwriting,—firmly knit, large, strong, and keen;—with delicate perceptions, (of course I know that, anyhow!) well-developed ideas of order and system, and great continuity of purpose and a disposition as level and even as the hand you write. If my little scraggy hand tells you anything, you ought to recognize in it a very small, erratic, eccentric, irregular, impulsive, variable, nervous disposition,—almost exactly your antitype in everything—except the love of the beautiful.
Big P. S. No. 2.
I did not depend on Le Figaro for statements about Hugo; but picked them up in all directions. What think you of his refusal to aid poor blind Xavier Aubryet by writing a few lines of preface for his book? What about his ignoring the services of his greatest champion, Théophile Gautier? What about his studied silence in regard to the works of the struggling poets and novelists of the movement which he himself inaugurated? I really believe that the man has been a colossus of selfishness. One who prejudiced me very strongly against him, however, was that eccentric little Jew, Alexander Weill, whose reminiscences of Heine made such a sensation. Perhaps after all literary generosity is rare. Flaubert and Gautier possessed it; but twenty cases of the opposite kind, quite as illustrious, may be cited. In any event I am glad of your rebuke. Whether my ideas are right or wrong, I believe we ought not to speak of the weaknesses of truly great men when it can be avoided;—therefore I cry peccavi, and promise to do so no more.
Dear Krehbiel,—I have been away in Florida, in the track of old Ponce de Leon,—bathing in the Fount of Youth,—talking to the palm-trees,—swimming in the great Atlantic surf. Charley Johnson and I took the trip together,—or to be strictly fair, it was he that induced me to go along; and I am not sorry for the expense or the time spent, as I enjoyed my reveries unspeakably. For bathing—sea-bathing—I prefer our own Creole islands in the Gulf to any place in Florida; but for scenery and sunlight and air,—air that is a liquid jewel,—Florida seems to me the garden of Hesperus. I’ll send you what I have written about it....
Charles Dudley Warner, whose acquaintance made here, strikes me as the nicest literary personage I have yet met.... Gilder of the Century was here—a handsome, kindly man.... A book which I recently got would interest you—Symonds’s “Wine, Women, and Song.” I had no idea that the Twelfth Century had its literary renascence, or that in the time of the Crusades German students were writing worthy of Horace and Anacreon. The Middle Ages no longer seem so Doresquely black
My dear Ball,—I regret my long silence, now broken with the sincere pleasure of being able to congratulate you upon a grand success and still grander opportunities. The salary you are promised is nearly double that obtained by the best journalist in the country (excepting one or two men in highly responsible positions of managers); it far exceeds the average earnings of expert members of the higher professions; and there are not many authors in the United States who can rely upon such an income. So that you have a fine chance to accumulate a nice capital, as well as ample means to indulge scholarly tastes and large leisure to gratify them. I feared, sensitive as you are, to weigh too heavily upon one point before, but I think I shall not hesitate to do so now. I refer to the question of literary effort. Again I would say: Leave all profane writing alone for at least five years more; and devote all your talent, study, sense of beauty, force of utterance to your ministerial work. You will make an impression, and be able to rise higher and higher. In the meanwhile you will be able to mature your style, your thought, your scholarship; and when the proper time comes be able also to make a sterling, good, literary effort. What we imagine new when we are young is apt really to be very old; and that which appears to us very old suddenly grows youthful at a later day with the youth of Truth’s immortality. None, except one of those genii, who appear at intervals as broad as those elapsing in Indian myth between the apparition of the Buddhas, can sit down before the age of thirty-five or forty, and create anything really great. Again the maxim, “Money is power,”—commonplace and vulgar though it be,—has a depth you will scarcely appreciate until a later day. It is power for good, quite as much as for evil; and “nothing succeeds like success,” you know. Once you occupy a great place in the great religious world of wealth and elegance and beauty, you will find yourself possessed of an influence that will enable you to realize any ambition which inspires you. This is the best answer I can now give to your last request for a little friendly counsel, and it is uttered only because I feel that being older than you, and having been knocked considerably about the world, I can venture to offer the results of my little experience.
As you say, you are drawing nearer to me. I expect we shall meet, and be glad of the meeting. I shall have little to show you except books, but we will have a splendid time for all that. Meanwhile I regret having nothing good to send you. The story appeared in Harper’s Bazar.
My dear Ball,—Your welcome letter came to me just at a happy moment when I had time to reply. I would have written before, but for a protracted illness. I am passionately fond of swimming; and the clear waters of that Florida spring seduced me into a plunge while very hot. The water was cold as death; and when I got back to New Orleans, I had the novel experience of a Florida fever,—slow, torpid, and unconquerable by quinine. Now I am all right.
The language of “Stray Leaves” is all my own, with the exception of the Italic texts and a few pages translated from the “Kalewala.” The Florida sketch I sent you, although published in a newspaper, is one of a number I have prepared for the little volume of impressions I told you about. I sent it as an illustration of the literary theory discussed in our previous correspondence, which I am surprised you remember so well.
Apropos of your previous letter, I must observe that I do not like James Freeman Clarke’s work,—immense labour whose results are nullified by a purely sectarian purpose. Mr. Clarke sat down to study with the preconceived purpose of belittling other beliefs by comparison with Christianity,—a process quite as irrational and narrow as would be an attempt in the opposite direction. My very humble studies in comparative mythology led me to a totally different conclusion,—revealing to me a universal aspiration of mankind toward the Infinite and Supreme, so mighty, so deeply sincere, so touching, that I have ceased to perceive the least absurdity in any general idea of worship, whether fetish or monotheistic, whether the thought of the child man or the dream of hoary Indian philosophy. Nor can I for the same reason necessarily feel more reverence for the crucified deity than for that image of the Hindoo god of light, holding in one of his many hands Phallus, and yet wearing a necklace of skulls,—symbolizing at once creation and destruction,—the Great Begetter and the Universal Putrifier.
A noble and excellently conceived address that of yours on Thos. Paine,—bolder than I thought your congregation was prepared for. Yes, I certainly think you are going to effect a great deal in a good cause, the cause of mental generosity and intellectual freedom. I almost envy you sometimes your opportunities as a great teacher, a social emancipator, and I feel sure what you have already done is nothing to be compared with what you will do, providing you retain health and strength.
I don’t know just what to say about your literary articles; but I can speak to the editor-in-chief, who is my warm personal friend. The only difficulty would be the bigotry here. Even my editorials upon Sanscrit literature called out abuse of the paper from various N. O. pulpits, as "A Buddhist Newspaper,” an “Infidel sheet,” etc. If published first in the Boston paper, I could get the lecture reproduced, I think, in ours. If you expect remuneration you would have to send the MS. first to us and take the chances. I think what you best do in the interim would be to write on the subject to Page M. Baker, Editor T.-D., mentioning my name, and await reply.
You asked me in a former letter a question I forgot to answer. I have no photograph at present, but will have some taken soon and will send you one.
Dear Ball,—I regret extremely my long delay in writing you—due partly to travel, partly to work, for I have considerable extra work to do for the Harpers, and for myself. You ask me about literary ventures. I suppose you have seen the little book Osgood published for me last summer—“Stray Leaves from Strange Literature,” a volume of Oriental stories. Since then I have had nothing printed except a dictionary of Creole proverbs which could scarcely interest you,—and some Oriental essays, which appeared in newspapers only, but which I hope to collect and edit in permanent form next year. Meantime I am working upon a little book of personal impressions, which I expect to finish this summer. Of course I will keep the story you want for you, and mail it; and if you have not seen my other book I will send it you.
Your project about a correspondence is pleasant enough; but I am now simply overwhelmed with work, which has been accumulating during a short absence in Florida. In any event, however, I do not quite see how this thing could prove profitable. I doubt very much if Christ is not a myth, just as Buddha is. There may have been a teacher called Jesus, and there may have been a teacher Siddartha; but the mythological and philosophical systems attached to these names have a far older origin, and represent only the evolution of human ideas from the simple and primitive to the complex form. As the legend of Buddha is now known to have been only the development of an ancient Aryan sun-myth, so probably the legend of Jesus might be traced to the beliefs of primitive and pastoral humanity. What matter creeds, myths, traditions, to you or me, who perceive in all faiths one vast truth,—one phase of the Universal Life? Why trouble ourselves about detailed comparisons while we know there is an Infinite which all thinkers are striving vainly to reach by different ways, and an Infinite invisible of which all things visible are but emanations? Worlds are but dreams of God, and evanescent; the galaxies of suns burn out, the heavens wither; even time and space are only relative; and the civilization of a planet but an incident of its growth. To those who feel these things religious questions are valueless and void of meaning, except in their relation to the development of ethical ideas in general. And their study in this light is too large for the compass of a busy life