OFF FOR CHINA
When I entered the town, at the turn of the principal street, I had the
good luck to meet Number 415, my poor relative. I was just at that
moment in want of a speedy djin, and I at once got into his vehicle;
besides, it was an alleviation to my feelings, in this hour of departure,
to take my last drive in company with a member of my family.
Unaccustomed as I was to be out of doors during the hours of siesta,
I had never yet seen the streets of the town thus overwhelmed by the
sunshine, thus deserted in the silence and solitary brilliancy peculiar
to all hot countries.
In front of all the shops hang white shades, adorned here and there with
slight designs in black, in the quaintness of which lurks I know not
what--something mysterious: dragons, emblems, symbolical figures.
The sky is too glaring; the light crude, implacable; never has this
old town of Nagasaki appeared to me so old, so worm-eaten, so bald,
notwithstanding all its veneer of new papers and gaudy paintings.
These little wooden houses, of such marvellous cleanly whiteness
inside, are black outside, timeworn, disjointed and grimacing. When one
looks closely, this grimace is to be found everywhere: in the hideous
masks laughing in the shop-fronts of the innumerable curio-shops; in the
grotesque figures, the playthings, the idols, cruel, suspicious, mad;
it is even found in the buildings: in the friezes of the religious
porticoes, in the roofs of the thousand pagodas, of which the angles and
cable-ends writhe and twist like the yet dangerous remains of ancient and
malignant beasts.
And the disturbing intensity of expression reigning over inanimate
nature, contrasts with the almost absolute blank of the human
countenance, with the smiling foolishness of the simple little folk who
meet one's gaze, as they patiently carry on their minute trades in the
gloom of their tiny open-fronted houses. Workmen squatted on their
heels, carving with their imperceptible tools the droll or odiously
obscene ivory ornaments, marvellous cabinet curiosities which have made
Japan so famous with the European amateurs who have never seen it.
Unconscious artists tracing with steady hand on a background of lacquer
or of porcelain traditional designs learned by heart, or transmitted to
their brains by a process of heredity through thousands of years;
automatic painters, whose storks are similar to those of M. Sucre, with
the inevitable little rocks, or little butterflies eternally the same.
The least of these illuminators, with his insignificant, eyeless face,
possesses at his fingers' ends the maximum of dexterity in this art of
decoration, light and wittily incongruous, which threatens to invade us
in France, in this epoch of imitative decadence, and which has become the
great resource of our manufacturers of cheap "objects of art."
Is it because I am about to leave this country, because I have no longer
any link to bind me to it, any resting-place on its soil, that my spirit
is ready on the wing? I know not, but it seems to me I have never as
clearly seen and comprehended it as to-day. And more even than ever do
I find it little, aged, with worn-out blood and worn-out sap; I feel more
fully its antediluvian antiquity, its centuries of mummification, which
will soon degenerate into hopeless and grotesque buffoonery, as it comes
into contact with Western novelties.
It is getting late; little by little, the siestas are everywhere coming
to an end; the queer little streets brighten up and begin to swarm in the
sunshine with many-colored parasols. Now begins the procession of
ugliness of the most impossible description--a procession of long-robed,
grotesque figures capped with pot-hats or sailors' headgear. Business
transactions begin again, and the struggle for existence, close and
bitter here as in one of our own artisan quarters, but meaner and
smaller.
At the moment of my departure, I find within myself only a smile of
careless mockery for the swarming crowd of this Lilliputian curtseying
people--laborious, industrious, greedy of gain, tainted with a
constitutional affectation, hereditary insignificance, and incurable
monkeyishness.
Poor cousin Number 415! how right I was to have held him in good esteem!
He was by far the best and most disinterested of my Japanese family.
When all my commissions are finished, he puts up his little vehicle under
a tree, and, much touched by my departure, insists upon escorting me on
board the 'Triomphante', to watch over my final purchases in the sampan
which conveys me to the ship, and to see them himself safely into my
cabin.
His, indeed, is the only hand I clasp with a really friendly feeling,
without a suppressed smile, on quitting Japan.
No doubt in this country, as in many others, there is more honest
friendship and less ugliness among the simple beings devoted to purely
physical work.
At five o'clock in the afternoon we set sail.
Along the line of the shore are two or three sampans; in them the
mousmes, shut up in the narrow cabins, peep at us through the tiny
windows, half hiding their faces on account of the sailors; these are
our wives, who have wished, out of politeness, to look upon us once more.
There are other sampans as well, in which other Japanese women are also
watching our departure. These stand upright, under great parasols
decorated with big black letters and daubed over with clouds of varied
and startling colors.