Volume I Part 16 (2/2)
If you could pay a visit this winter I think you would have a pleasant tiet some of the Creole music I vainly promised you I found it impossible so far to obtain any; yet had I the ability to write music down I could have obtained you some If you were here I could introduce you to the President of the Athenee Louisianaise, ould certainly put you in the way of doing so yourself
What I do hope to obtain for you--if you care about it--is Mexican music Mexicans are co and play souitar accouardiente”? It is a very queer air,--boisterous, merry with ainto a laugh--yet withal half-savage like so it here, it ith a chorus accolasses held upside down and tapped with spoons
Did you ever hear negroes play the piano by ear? There are several curiosities here, Creole negroes Sometimes we pay them a bottle of wine to come here and play for us They use the piano exactly like a banjo
It is good banjo-playing, but no piano-playing
One difficulty in the way of obtaining Creole music or ditties is the fact that the French coloured population are ashamed to speak their patois before whites They will address you in French and sing French songs; but thereor talk in Creole I have done it, but it is no easy work
Nearly all the Creoles here--white--know English, French, and Spanish, more or less well, in addition to the patois e to children or servants When a child becomes about ten years old, it is usually forbidden to speak Creole under any other circumstances
But I do not suppose this will much interest you I shall endeavour--this time I'm afraid to promise--to secure you some Mexican or Havanese music; and will postpone further remarks to a future occasion
I am sorry Feldwisch is ill; and I doubt if the Colorado air will do hiue suspicion I should never see hiain
Remember me to those whom you know I like, and don't think me dilatory if I don't write immediately on receipt of a letter I have explained the condition of affairs as well as I could
I remain, dear fellow, yours, L HEARN
TO H E KREHBIEL
NEW ORLEANS, 1882
How are you on Russianoperatic tragedy on Sacher-Masoch's ”Mother of God” Get it, if you can, and read it I send you specimen translation It ritten, I believe, in German
Have you read in the ”Kalewala” of the ”Bride of Gold,”--of the ”Betrothed of Silver”?
Have you read how the mother of Kullevo arose from her tomb, and cried unto him from the deeps of the dust?
TO H E KREHBIEL
NEW ORLEANS, 1882
DEAR K,--It got dark yesterday before I could finish some extracts froestion I must also tell you I have only a very confused idea of the ”Kalewala” h si had tis In fact ed in any case: notes are piled in a heap at the end of each volu references See if you can get Castren
I want also to tell you that the Pre-Islaed for inal narrator breaks into verse here and there, as into song: Rabiah, for instance, recites his own death-song, his mother answers hied in the sareat biographical dictionary, almost every incident is emphasized by a poetical citation
Your idea about your style being heavy is really incorrect Your art has trained you so thoroughly in choosing words that hit the exact th of technical or picturesque expression, that the continual use of certain beauties has dulled your perception of their native force, perhaps You do not feel, I th of what you write--in a style of immense compressed force I would not wish you to think you had done your best, though; better to feel dissatisfied, but not good to _underestie of criticizing what I could not begin to do myself; but I believe I can see beauty where it exists in style, and I don't want you to be underesti your oorth
Are your letters of a character suitable for book-forland,” a Yale professor, whovolumes in such a way Think it over
Affectionately, LAFCADIO
Please never even suspect that estions to you are made in any spirit of false conceit: a friend of the s to a real artist, and even give him confidence