es of small sketches is typical of the clarity of language and
purity of thought that invariably distinguish Hearn's work; but it lacks
the realism, the keenness of _choses vues_, so characteristic of his
Japanese sketches. There is none of the haunting, moving tragedy and
ghostliness, the spiritual imagination and introspection of "Kokoro" or
the "Exotics." Though polished and scholarly, showing refinement in the
use of words, the interest is remote and visionary, permeated here and
there also with a certain amount of Celtic sentimentality, a "Tommy
Moore" flavour, somewhat too saccharine in quality. The one, for
instance, called "Boutimar" treats of a very hackneyed subject, the
offering of the water of youth, and life without end, to Solomon, and
the sage's refusal, because of the remembrance suggested by Boutimar
that he would outlive children, friends and all whom he loved; therefore
"Solomon, without reply, silently put out his arm and gave back the
cup.... But upon the prophet-king's rich beard, besprinkled with powder
of gold, there appeared another glitter as of clear dew,--the diamond
dew of the heart, which is tears."

"Chinese Ghosts," though distinguished also by that _soigneux_ flavour
that gives a slightly artificial impression, holds far more the
distinctive flavour of Hearn's genius. His own soul is written into the
legend of "Pu the potter." "Convinced that a soul cannot be divided, Pu
entered the flame, and yielded up his ghost in the embrace of the Spirit
of the Furnace, giving his life for the life of his work,--his soul for
the soul of his Vase."

By the publication of the "Letters from the Raven" we are enabled to
push those to Krehbiel, published by Miss Bisland, into place, and
assign fairly accurate dates to each of them. He tells Mr. Watkin that
he was six months before finding a fixed residence. In August, 1878, he
writes inviting him to come in the autumn to pay him a visit, and
telling him of delightful rooms with five large windows opening on
piazzas, shaded by banana-trees. This apparently is the house in St.
Louis Street, which he describes to Krehbiel. Miss Bisland places it
almost at the beginning of the series, but it must have been written at
a considerably later period. How picturesque and vivid is his
description! With the magic of his pen he conjures up the huge archway,
with its rolling echoes, the courtyard surrounded by palm-trees, their
dry leaves rustling in the wind, the br