Leaves from the Diary of an Impressionist: Early WritingsHearn, Lafcadio
General
Leaves from the Diary of an Impressionist: Early Writings
Hearn, Lafcadio
Literature
Why these longings for lands in which we shall never be?--why this
desire for that azure into which we cannot soar?--whence our mysterious
love for that tumultuous deep into whose emerald secrets we may never
peer?--Can it be that through countless epochs of the immemorial
phylogenesis of man,--through all those myriad changes suggested by the
prenatal evolution of the human heart,--through all the slow marvelous
transition from fish to mammal,--there have actually persisted
impulses, desires, sensations, whereof the enigma may be fully
interpreted by some new science only,--a future science of psychical
dysteleology?...
So musing, I found my way to the Plaza.
Has it not often seemed to you that the more antiquated and the more
unfamiliar an object or a place is, the more it appears at first sight
to live,--to possess a sort of inner being, a fetish-spirit, a soul?
I thought that morning the ancient Plaza had such a soul, and that it
spoke to me in its mysterious dumb way, as if saying: 'Come look at me,
because I am very, very old;--but do not look at the sulphur fountain
which the Americans have made, nor at the monument they have built; for
those are not of the centuries to which I belong.'
So I entered, and idled awhile among the palms that threw spidery
shadows under the noon-light; and I deciphered the old inscription upon
the coquina pillar:--'PLAZA DE LA CONSTITUCION...;'--paying little
heed to the song of the artesian spring, and scarcely vouchsafing a
furtive glance to the newer monument, which I saw was not artistic, not
imposing, but naïve and almost cumbrous. Suddenly my indifferent eye
noted a graven word which revealed that the newer structure had been
erected by Love, and for Love's sake only. And then, all unexpectedly,
the very artlessness of the monument touched me as with a voiceless
reproach,--touched me like the artlessness of a face in tears: so much
of tender pain revealed itself through the simplicity of the chiseled
words, OUR DEAD,--through the commonplaceness of the inscription,
'_Erected by the Ladies' Memorial Association_.' Then I walked around
the monument, perusing on each of its white faces the roll-call of the
dead,--sons, brothers, lovers,--the names of your darlings, gentle
women of Saint Augustine! I read them every one; carefully spelling out
many a Spanish name of Andalusian origin: sonorous appellations holding
in their syllables etymological suggestions of Arabian ancestry--names
swarthy and beautiful as an Oriental face might be. And all the while,
--dominating the perfume of blossoms, and the keen sweet scent of
aromatic grasses,--the sulphureous smell of the Volcanic spring came
to me grimly through the warm aureate air,--like an odor of battles!
There was a name upon that white stone which affected me in a singular
way,--a name that by contrast with those dark Spanish ones seemed fair,
blonde as gold! In someplace--at some time, I had known that name.--But
where?--but when?
Public-domain text, read in full here on John Shaqi.
Leaves from the Diary of an Impressionist: Early Writings — John Shaqi
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