Source: Osman Edwards, ‘Some Unpublished Letters of Lafcadio Hearn’, Transactions and Proceedings of the Japan Society, vol. 16 (1918), pp. 16-32
Text: We know how he loved to mingle unobtrusively with the joys and sorrows of his unsophisticated neighbours. He gives the following account of a visit to a Tokyo cinema:
“Here I, too, have been looking at scenes of the Boer War – shadowed by the cinematograph. The representation was managed so as to create only sympathy for the Boers: and I acknowledge that it made my heart jump several times. The Boer girls and wives were displayed as shooting and being shot. What you would have enjoyed were the little discourses in Japanese, uttered between each exhibition. They were simple and appealed to Japanese sympathy, – to the sense of patriotism, and the duty of dying to the last man, woman, and child for one’s country.
Also I saw the Paris Exhibition (1900) in the Kinematograph – and – a can-can! Before the shadows began to dance, their dancing was properly apologised for to the Japanese audience. ‘It is rather queer dancing,’ said the man, ‘but the French think that it is very fine!’ The dancers kept white veils or something before them when they kicked, – police injunction, perhaps! You can imagine how the audience felt – and how I felt with them! And I was glad when it was over.”
Comments: Patrick Lafcadio Hearn (1850-1904) was an Irish-Greek journalist and travel writer best known for books on Japan, where he lived from 1890, taking on Japanese nationality with the name Koizumi Yakumo. The films of the Anglo-Boer War (1899-1902) may have been the fictions produced by the Edison company. My thanks to Dawid Glownia for bringing this reference to my attention.