In the course of the preparation of these volumes there was gradually accumulated so great a number of the letters written by Lafcadio Hearn during twenty-five years of his life, and these letters proved of so interesting a nature, that eventually the plan of the whole work was altered. The original intention was that they should serve only to illuminate the general text of the biography, but as their number and value became more apparent it was evident that to reproduce them in full would make the book both more readable and more illustrative of the character of the man than anything that could possibly be related of him.

No biographer could have so vividly pictured the modesty and tender-heartedness, the humour and genius of the man as he has unconsciously revealed these qualities in unstudied communications to his friends. Happily—in these days when the preservation of letters is a rare thing—almost every one to whom he wrote appeared instinctively to treasure—even when he was still unknown—every one of his communications, though here and there regrettable gaps occur, owing to the accidents of changes of residence, three of which, as every one knows, are more destructive of such treasures than a fire. To all of his correspondents who have so generously contributed their treasured letters I wish to express my sincere thanks. Especially is gratitude due to Professor Masanubo Otani, of the Shinshu University of Tokyo, for the painstaking accuracy and fulness of the information he contributed as to the whole course of Hearn’s life in Japan.

The seven fragments of autobiographical reminiscence, discovered after Hearn’s death, added to the letters, narrowed my task to little more than the recording of dates and such brief comments and explanations as were required for the better comprehension of his own contributions to the book.

Naturally some editing of the letters has been necessary. Such parts as related purely to matters of business have been deleted as uninteresting to the general public; many personalities, usually both witty and trenchant, have been omitted, not only because such personalities are matters of confidence between the writer and his correspondent, a confidence which death does not render less inviolable, but also because the dignity and privacy of the living have every claim to respect. Robert Browning’s just resentment at the indiscreet editing of the FitzGerald Letters is a warning that should be heeded, and it is moreover certain that Lafcadio Hearn himself would have been profoundly unwilling to have any casual criticism of either the living or the dead given public record. Of those who had been his friends he always spoke with tenderness and respect, and I am but following what I know to be his wishes in omitting all references to his enemies.

That such a definite and eccentric person as he should make enemies was of course unavoidable. If any of these retain their enmity to one who has passed into the sacred helplessness of death, and are inclined to think that the mere outline sketch of the man contained in the following pages lacks the veracity of shadow, my answer is this: In the first place, I have taken heed of the opinion he himself has expressed in one of his letters: “I believe we ought not to speak of the weaknesses of very great men”—and the intention of such part of this book as is my own is to give a history of the circumstances under which a great man developed his genius. I have purposely ignored all such episodes as seemed impertinent to this end, as from my point of view there seems a sort of gross curiosity in raking among such details of a man’s life as he himself would wish ignored. These I gladly leave to those who enjoy such labours.

In the second place, there is no art more difficult than that of making a portrait satisfactory to every one, for the limner of a man, whether he use pen or pigments, can—if he be honest—only transfer to the canvas the lineaments as he himself sees them. How he sees them depends not only upon his own temperament, but also upon the aspect which the subject of the picture would naturally turn towards such a temperament. For every one of us is aware of a certain chameleon-like quality within ourselves which causes us to take on a protective colouring assimilative to our surroundings, and we all, like the husband in Browning’s verse,

“Boast two soul-sides,” ...

which is the explanation, no doubt, of the apparently irreconcilable impressions carried away by a man’s acquaintances.

Which soul-side was the real man must finally resolve itself into a matter of opinion. Henley, probably, honestly believed the real Stevenson to be as he represented him, but the greater number of those who knew and loved the artist will continue to form their estimate of the man from his letters and books, and to them Henley’s diatribe will continue to seem but the outbreak of a mean jealousy, which could not tolerate the lifting up of a companion for the world’s admiration.

Of the subject of this memoir there certainly exists more than one impression, but the writer can but depict the man as he revealed himself throughout twenty years of intimate acquaintance, and for confirmation of this opinion can only refer to the work he has left for all the world to judge him by, and to the intimate revelations of thoughts, opinions, and feelings contained in his letters.