Volume I Part 17 (1/2)

TO H E KREHBIEL

NEW ORLEANS, 1882

KALEWALA

DEAR K,--The Society of Finnish Literature celebrated, in 1885, I think, the first centennial of the publication of the ”Kalewala”

There are two epics of Finland--just as most peoples have two epics--in; and the existence of such tremendous poems as the ”Kalewala” and ”Kanteletar” affords, in the opinion of M Quatrefages, a strong proof that the Finns are of Aryan origin

Loennrot was the Homer of Finland, the one who collected and edited the oral epic poetry now published under the head of the ”Kalewala”

But Leouzon Le Duc in 1845 published the first translation (This I have) Loennrot followed him three years later Le Duc's version contained only 12,100 verses Loennrot's contained 22,800 A second French version was subsequently nificent work on Finnish h comprehension of the ”Kalewala” is allad to know that the _definitive_ edition of the ”Kalewala,” as well as the work of Castren, have both been translated into German by Herr Schiefner (1852-54, I believe is the date) Since then a whole ocean of Finnish poetry and folk-lore and legends has been collected, edited, published, and translated (I get some of these facts froist Quatrefages)

In order to get a correct idea of what you et it and read it_ Try to get it in the Gerive you its movement, and plot, or to show you precisely how much operatic value it possesses, would be a task beyondto make one faested it, I can then be of real service, perhaps You would need the work of Castren also--which I cannot read To deterical value, rank, power, aspect, etc, of Gods and demons, and their relation to natural forces, one must read up a little on the Finns I have Le Duc, but he is deficient

I don't think that any epic surpasses that weirdest and strangest of runes It is not so well known as it deserves It gives you the impression of a ritten by wizards, who spoke little to men, and much to nature--but the sinister and misty nature of the eternally frozen North

You have in the ”Kalewala” all the elenificent operatic episode,--weirdness, the passion of love, and the eternal struggle between evil and good, between darkness and light You have any possible a and totally novel ht be ined even by the Talner

An opera founded on the ”Kalewala” randest ested by the picture of Nature's htiest forces in contention,--wind and sea, frost and sun, darkness and luest, because it has been worn so threadbare that only a ive it a fresh surface Better search the ”Katha-sarit-Sagara,” or soh and rugged poetry of Pre-Islaret an acquaintance with these books--even at soht, passion, and poetry of a nation and of a period

I prefer the ”Kalewala” to any other theestin the Tal Jewish rises to the grandeur of Arabic poetry, which expresses the supreme possibilities of the Seht by some to have had an Arabian creator

What you say about the disinclination to work for years upon a theme for pure love's sake, without hope of reward, touchesand so often And yet I believe that all the world's art-work--all that which is eternal--was thus wrought And I also believe that no work made perfect for the pure love of art, can perish, save by strange and rare accident Despite the rage of religion and of tied their courses and dried up,--seas becayptian romanticist wrote the story of Latin-Khamois Do you suppose he ever received 00 for it?

Yet the hardest of all sacrifices for the artist is this sacrifice to art,--this tra of self under foot! It is the supreme test for admittance into the ranks of the eternal priests It is the bitter and fruitless sacrifice which the artist's soul is bound to make,--as in certain antique cities inity to a God of stone! But without the sacrifice can we hope for the grace of heaven?

What is the reward? The consciousness of inspiration only! I think art gives a new faith I think--all jesting aside--that could I create so I felt to be sublime, I should feel also that the Unknowable had selected me for aof its eternal purpose; and I should know the pride of the prophet that had seen God face to face

All this ht seem absurd, perhaps, to a purely practical mind (yours is not _too_ practical); but there is a practical side also In this age of lightning, thought and recognition have becoels of Isaiah Do your very best,--your very, very best: the century nized, it is because he is not great Have you faith in yourself? I know you are a great natural artist; I have absolute faith in you You _ for art's sake alone

Co yourself to s a botch! You say you envy et how those qualities are at variance with an art whose beauty is geometrical and whose perfection is mathematical You also say you envy me my power of application!--If you only knew the pain and labour I have to create a little good work And there are months when I cannot write It is not hard to write when the thought is there; but the thought will not always come--there are weeks when I cannot even think

The only application I have is that of persistence in a sh sketch and labour it over and over again for half a year, at intervals of ten et a day or two The work done each ti of the seasons the mass becomes noticeable--perhaps creditable This is h at this letter if you please,--this friendly protest to one whonized as my superior,--but there is truth in it Think over the ”Kalewala,” and write to

Your friend and admirer, LAFCADIO HEARN

TO H E KREHBIEL

NEW ORLEANS, 1882

MY DEAR KREHBIEL,--When I got your letter I felt as if a great load was lifted off hter and the world seemed a little sweeter than usual As for her compliment Glad you did not disapprove of the article