The Dragon Painter/Chapter 3
III
For a long interval the two men sat in silence. Kano leaned forward from time to time, filling the small cup which Tatsu—half in revery it seemed—had once more drained. The old servant now and again crept in on soundless feet to replace with a freshly heated bottle of sakè the one grown cold. So still was the place that the caged cricket hanging from the eaves of Umè's distant room beat time like an elfin metronome.
Two of the four walls of the guest-room were of shoji, a lattice covered with translucent rice-paper. These opened directly upon the garden. The third wall, a solid one of smoke-blue plaster, held the niche called "tokonoma," where pictures are hung and flower vases set. The remaining wall, opening toward the suite of chambers, was fashioned of four great sliding doors called fusuma, dull silver of background, with paintings of shadowy mountain landscape done centuries before by one of the greatest of the Kanos. It was in front of these doors that Mata now placed two lighted candles in tall bronze holders.
Outside, the garden became a blur of soft darkness. Within, the flickering yellow light of the candles danced through the room, touching now the old face, now the young, each set hard in its own lines of concentrated thought. Weird shadows played about the mountains on the silver doors, and hid in far corners of the matted floor.
All at once the two central fusuma were apart. No slightest sound had been made, yet there, in the narrow rectangle, stood a figure,—surely not of earth,—a slim form in misty gray robes, wearing a crown of intertwisted dragons, with long filigree chains that fell straight to the shoulders. In one hand was held an opened fan of silver.
Tatsu gave a convulsive start, then checked himself. He could not believe the vision real. Not even in his despairing dreams had the Dragon Maid appeared so exquisite. As he gazed, one white-clad foot slid a few inches toward him on the shining floor. Another step, and she was in the room. The fusuma behind her closed as noiselessly as they had opened. Tatsu shivered a little, and stared on. With equal intensity the old man watched the face of Tatsu.
The figure had begun to sway, slightly, at full length, like long bands of perpendicular rain across the face of a mountain. A singing voice began, rich, passionate, and low, matching with varying intonation the marvellous postures of fan and throat and body. At first low in sound, almost husky, it flowered to a note long held and gradually deepening in power. It gathered up shadows from the heart and turned them into light.
Umè-ko danced (or so she would have told you) only to fulfil her father's command; yet, before she had reached the room, she knew that it would be such a dance as neither she nor the old artist had dreamed of. That first glimpse of Tatsu's face at the gate had registered for her a notch upon the Revolving Wheel of Life. His first spoken word had aroused in her strange mystic memories from stranger hiding places. Karma entered with her into the little guest-room where she was to dance and charged the very air with revelation. The words of the old classic poem she had in her ignorance believed familiar, she knew that she was now for the first time really to sing.
"Not for one life but for the blossoming of a thousand lives, shall I seek my lover, shall I regain his love," she sang. No longer was it Umè-ko at all, but in actual truth the Dragon Maid, held from her lover by a jealous god, seeking him through fire and storm and sea, peering for him into the courts of emperors, the shrines of the astonished gods, the very portals of the under-world.
And Tatsu listened without sound or motion; only his eyes burned like beacons in a windless night. Kano wriggled himself backward on the matting that the triumph of his face might not be seen. Now and again he leaned forward stealthily and filled Tatsu's cup.
The unaccustomed fluid was already pouring in a fiery torrent through the boy's vivid brain. His hands, slipped within the tattered blue sleeves, grasped tightly each the elbow of the other arm. His ecstacy was a drug, enveloping his senses; again it was a fire that threatened the very altar of his soul. Through it all he, as Umè-ko, realized fulfilment. Here in this desert of men's huts he had gained what all the towering mountains had not been able to bestow. Here was his bride, made manifest, his mate, the Dragon Maid, found at last through centuries of barren searching! Surely, if he should spring now to his feet, catch her to him and call upon his mountain gods for aid, they would be hurled together to some paradise of love where only he and she and love would be alive! He trembled and caught in his breath with a sob. Kano glided a few feet nearer, and struck the matting sharply with his hand.
Suddenly the dance was over. Umè-ko, quivering now in every limb, sank to the floor. She bowed first to the guest of honor, then to her father. Touching her wet eyes with a silken sleeve she moved backward to the rear of the room where she seated herself upright, motionless as the wall itself, between the two tall candles. Tatsu's eyes never left her face. Old Kano, in the background, rocked to and fro, and, after a short pause of waiting, clapped his hands for Mata.
"Hai-ie-ie-ie-ie!" came the thin voice, long drawn out, from the kitchen. She entered with a tray of steaming food, placing it before Tatsu. A second tray was brought for the master, and a fresh bottle of wine. Umè-ko sat motionless against the silver fusuma, an ivory image, crowned and robed in shimmering gray.
The odor of good food attracted Tatsu's senses if not his eyes. He ate greedily, hastily, not seeing what he ate. His manners were those of an untutored mountain peasant.
"Dragon Maid," purred Kano, "weariness has come upon you. Retire, I pray, and deign to rest."
"No!" said Tatsu, loudly. "She shall not leave this room."
"My concern is for the august maiden who has found favor in your sight," replied Kano, with a deprecating gesture. "Here, Tatsu, let me fill your cup."
Tatsu threw his cup face down to the floor, and put his lean, brown hand upon it. "I drink no more until my cup of troth with the maiden yonder."
Umè-ko's startled eyes flew to his. She trembled, and the blood slowly ebbed from her face, leaving it pale and luminous with a sort of wonder.
"Go!" said Kano again, and, in a daze, the girl rose and vanished from the room.
Tatsu had hurled himself toward her, but it was too late. He turned angrily to his host. "She is mine! Why did you send her away?"
"Gently, gently," cooed the other. "In this incarnation she is called my daughter."
"I believe it not!" cried Tatsu. "How came she under bondage to you? Have I not sought her through a thousand lives? She is mine!"
"Even so, in this life I am her father, and it is my command that she will obey."
Tatsu rocked and writhed in his place.
"She is a good daughter," pursued the other, amiably. "She has never yet failed in docility and respect. Without my consent you shall not touch her,—not even her sleeve."
"I have sought her through a thousand lives. I will slay him who tries to keep her from me!" raved the boy.
"To kill her father would scarcely be a fortunate beginning," said Kano, tranquilly. "Your hope lies in safer paths, dear youth. There are certain social conventions attached even to a Dragon Maid. Now if you will calm yourself and listen to reason"
Tatsu sprang to his feet and struck himself violently upon the brow. The hot wine was making a whirlpool of his brain. "Reason! convention! safety! I hate them all! Oh, you little men of cities! Farmyard fowls and swine, running always to one sty, following always one lead,—doing things in the one way that other base creatures have marked out"
Kano laughed aloud. His whole life had been a protest against conventionality, and this impassioned denunciation came from a new world. The sound maddened Tatsu. He leaped to the veranda, now a mere ledge thrust out over darkness, threw an arm about the slender corner-post, and strained far out, gasping, into the night. Kano filled his pipe with leisurely deliberation. The time was past for fear.
In a few moments the boy returned, his face ugly, black, and sullen. "I will be your son if you give me the maiden," he muttered.
"Come now, this is much better," said Kano, with a genial smile. "We shall discuss the matter like rational men."
Tatsu ground his teeth so that the other heard him.
"Have a pipe," said Kano.
"I want no pipe."
"At least make yourself at ease upon the cushion while I speak."
"I am more at ease without it," said the boy, flinging the velvet square angrily across the room. "Ugh! It is like sitting on a dead cat. Kindly speak without further care for me. I am at ease!"
Kano glanced at the burning eyes, the quivering face and twitching muscles with a smile. The intensity of ardor touched him. He drew a short sigh, the look of complacency left his for an instant, and he began, deliberately, "As you may have gathered from my letter, I am without a son."
Tatsu nodded shortly.
"Worse than this, among all my disciples here in Yeddo there has appeared none worthy to inherit the name and traditions of my race. Now, dear youth, when I first saw these paintings of yours, the hope stirred in me that you might be that one."
"Do you mean that I should paint things as paltry as your own?"
"No, not exactly, though even from my poor work you might gain some valuable lessons of technique."
"I know not that word," said Tatsu. "When I must paint, I paint. What has all this to do with the Dragon Maiden?"
"Softly, softly; we are coming to that now," said Kano. "If, after trial, I should find you really worthy of adoption, nothing could be more appropriate than for you to become the husband of my daughter."
Tatsu dug his nails into the matting of the floor. "Suitable—appropriate—husband!" he groaned aloud. "Farmyard cackle,—all of it. Oh, to be joined in the manner of such earthlings to a Dragon Maid like this! Old man, cannot even you feel the horror of it? No, your eyes blink like a pig that has eaten. You cannot see. She should be made mine among storm and wind and mist on some high mountain peak, where the gods would lean to us, and great straining forests roar out our marriage hymn!"
"There is indeed something about it that appeals to me. It would make a fine subject for a painting."
"Oh, oh," gasped Tatsu, and clutched at his throat. "When will you give her to me, Kano Indara? Shall it be to-night?"
"To-night? Are you raving!" cried the astonished Kano. "It would be at the very least a month."
Tatsu rose and staggered to the veranda. "A month!" he whispered to the stars. "Shall I live at all? Good-night, old man of clay," he called suddenly, and with a light step was down upon the garden path.
Kano hurried to him. "Stop, stop, young sir," he called half clicked, now, with laughter. "Do not go in this rude way. You are my guest. The women are even now preparing your bed."
"I lie not on beds," jeered Tatsu through the darkness. "Vile things they are, like the ooze that smears the bottom of a lake. I climb this hillside for my couch. To-morrow, with the sun, I shall return!"
The voice, trailing away through silence and the night, had a tone of supernatural sweetness. When it had quite faded Kano stared on, for a long time, into the fragrant solitude. Stars were out now by thousands, a gold mosaic set into a high purple dome. Off to the south a wide blur of artificial light hung above the city, the visible expression, as it were, of the low, human roar of life, audible even in this sheltered nook. To the north, almost it seemed within touch of his hands, the temple cliff rose black, formidable, and impressive, a gigantic wall of silence. The camphor tree overhead was thrown out darkly against the stars, like its own shadow. The velvety boom of the temple bell, striking nine, held in its echoes the color and the softness of the hour.
Kano, turning at last from the veranda, slowly re-entered the guest-room, and seated himself upon one of the cushions that had aroused Tatsu's scorn. A dead cat,—forsooth! Well to old bones a dead cat might be better than no cushion! Mata had come in very softly. "I prayed the gods for him," Kano was muttering aloud, "and I thank them that he is here. To-morrow I shall make offering at the temple. Yet I have thanks, too, that there is but one of him. Ah, Mata,—you? My hot bath, is it ready? And, friend Mata, do you recall a soothing draught you once prepared for me at a time of great mental strain,—there was, I think, something I wished to do with a picture, and the picture would not allow it. I should like a draught like that to-night."
"Kashikomarimashita. I recall it," said old Mata, grimly, "and I shall make it strong, for you have something worse than pictures to deal with now."
"Thanks. I was sure you would remember," smiled the old man, and Mata, disarmed of her cynicism, could say no more.
Umè remained in her chamber. She had not been seen since the dance. All her fusuma and shoji were closed. Mata, in leaving her master, looked tentatively toward this room, but after an imperceptible pause kept on down the central passageway of the house to the bathroom, at the far end. The place smelled of steam, of charcoal fumes, and cedar wood. With two long, thin iron "fire-sticks," Mata poked, from the top, the heap of darkening coals in the cylindrical furnace that was built into one end of the tub. For the protection of the bather this was surrounded with a wooden lattice which, being always wet when the furnace was in use, never charred. The tub itself was of sugi-wood. After years of service it still gave out unfailingly its aromatic breath, and felt soft to the touch, like young leaves. Sighing heavily, the old servant bared her arm and leaned over to stir the water, to draw down by long, elliptical swirls of motion the heated upper layers into cold strata at the bottom. She then wiped her arm on her apron and went to the threshold of the guest-room to inform the waiting occupant. "In ten minutes more, without fail, the water will be at right heat for your augustness."
Now, in the kitchen, a great searching among jars and boxes on high shelves told of preparation for the occasional brew. Again she thought of calling Umè. Umè could reach the highest shelf without standing on an inverted rice-pot, or the even more precarious fish-cleaning bench. And again, for a reason not quite plain to herself, Mata decided not to call. She threw a fresh handful of twigs and dried ferns to the sleeping ashes of the brazier, set a copper skillet deep into the answering flame, and began dropping dried bits of herbs into the simmering water. Instantly the air was changed,—was tinged and interpenetrated with hurrying, spicy fumes, with hints of a bitter bark, of jellied gums, of resin, and a compelling odor which should have been sweet, but was only nauseating. The steam assumed new colors as it rose. Each sprite of aromatic perfume when released plunged into noiseless tumult with opposing fumes. The kitchen was a crucible, and the old dame a mediæval alchemist. The flames and smoke striving upward, as if to reach her bending face, made it glow with the hue of the copper kettle, a wrinkled copper, etched deep with lines of life, of merriment, perplexity, of shrewd and practical experience.
As she stirred, testing by nose and eye the rapid completion of her work, she was determining to put aside for her own use a goodly share of the beneficent fluid. The coming of the wild man had unnerved her terribly. In the threatening family change she could perceive nothing but menace. Apprehension even now weighed down upon her, a foreshadowing of evil that had, somehow, a present hostage in the deep silence of Umè's room. Of what was her nursling thinking? How had it seemed to her, so guarded, and so delicately reared, this being summoned like a hired geisha to dance before a stranger,—a ragged, unkempt, hungry stranger! Even her father's well-known madness for things of art could scarcely atone to his child for this indignity.
Kano had gone promptly to his bath. He was now emerging. His bare feet grazed the wooden corridor. Mata ran to him. "Good! Ah, that was good!" he said heartily. "Five years of aches have I left in the tub!" Within his chamber the andon was already lighted, and the long, silken bed-cushions spread. Mata assisted him to slip down carefully between the mattress and the thin coverlid. She patted and arranged him as she would a child, and then went to fetch the draught. "Mata, thou art a treasure," he said, as she knelt beside him, the bowl outstretched. He drained the last drop, and the old friends exchanged smiles of answering satisfaction. Before leaving him she trimmed and lowered the andon so that its yellow light would be a mere glimmer in the darkness.
She moved now deliberately to Umè's fusuma, tapping lightly on the lacquered frame. "Miss Umè! O Jo San!" she called. Nothing answered.
Mata parted the fusuma an inch. The Japanese matted floor, even in darkness, gives out a sort of ghostly, phosphorescent glow. Thus, in the unlit space Mata could perceive that the girl lay at full length, her Dragon Robe changed to an ordinary house dress, her long hair unbound, her face turned downward and hidden on an outstretched arm. It was not a pose of grief, neither did it hint of slumber.
"Honorable Young Lady of the House," said Mata, now more severely, "I came to announce your bath. The august father having already entered and withdrawn, it is your turn."
This time Umè answered her, not, however, changing her position. "I do not care to take the bath to-night. You enter, I pray, without further waiting. I—I—should like to be left alone, nurse. I myself will unroll the bed and light the andon."
Mata leaned nearer. Her voice was a theatrical whisper. "Is it that you are outraged, my Umè-ko, at your father's strange demand upon you? I was myself angered. He would scarcely have done so much for a Prince of the Blood,—and to make you appear before so crude and ignorant a thing as that—"
Umè sat upright. "No, I am angered at nothing. I only wish to be alone. Ah, nurse, you have always spoiled me,—give me my way."
Mata went off grumbling. She wished that Umè had shown a more natural indignation. The hot bath, however, notwithstanding Kano's five lost years of pain presumably in solution, brought her ease of body, as did the soothing potion, ease of mind.
All night long the old folks heavily slept; and all night long little Umè-ko drifted in a soft, slow rising flood of consciousness that was neither sleep nor waking, though wrought of the intertwining strands of each. Again she saw the dark face in the gateway. It was a mere picture in a frame, set for an artist's joy. Then it seemed a summons, calling her to unfamiliar paths,—a prophecy, a clew. Again she heard his voice,—an echo made of all these things, and more. She tried to force herself to think of him merely as an artist would think; how the lines of the shoulders and the throat flowed upward, like dark flame, to the altar of his face. How the hair grew in flame upon his brow, how the dark eyes, fearless and innocent with the look of primeval youth, indeed, held a strange human pain of searching. The mere remembered pictures of him rose and fell with her as sea-flowers, or long river grass; but when there came remembered shiver of his words, "I drink no more until my cup of troth with the maiden yonder!" then all drifting ceased; illusion was at an end. With a gasp she felt herself falling straight down through a swirling vortex of sensation, to the very sand-bed of the stream. Now she was sitting upright (the sand-bed had suddenly become the floor of her little room), her hands pressing a heart that was trying to escape, her young eyes straining through the darkness to see,—ah!—she could see nothing at all for the shining!
She listened now with bated breath, thinking that by some unconscious cry she might have aroused the others. No, Kano breathed on softly, regularly, in the next room; while from the kitchen wing came unfaltering the beat of Mata's nasal metronome.
In one such startled interval of waking her caged cricket had given out its plaintive cry. All at once it seemed to Umè-ko an unbearable thing for any spark of life to be so prisoned. She longed to set him free, but even though she opened wide her shoji, the outer night-doors, the amado stretched, a relentless opaque wall, along the four sides of the house.
She lay quiet now for a long time. "I will return with the sun," he had said. She wished that the cricket were indeed outside, and could tell her of the first dawn-stirring. It was very close and dark in the little room. She had not lighted the andon after all. It could not be so dark outside. With very cautious fingers she began now to separate the shoji that opened on the garden side. A breath of exquisite night air rushed in to her from the lattices above the amado. It would be a difficult matter to push even one of these aside without waking the house. Yet, there were two things in her favor; the unusually heavy sleep of her companions and the fact that the amado had a starting point in their long grooves from a shallow closet very near her room. So instead of having to remove the whole chain, each clasping by a metal hand, its neighbor, she had but to unbar the initial panel, coax it noiselessly apart just far enough to emit a not too bulky form, and then the night would be hers.
There had been in the girl's life so little need of cunning or of strategy that her innocent adventure now brought a disturbing sense of crime. She had unlatched the first amado in safety, and had her white arms braced to push it to one side, when, suddenly she thought, "I am acting like a thief! Perhaps I am feeling like a thief! This is a terrible thing and must displease the gods." Her hands dropped limply, she must not continue with this deed. Somewhere near her feet the cricket gave out an importunate chirp. She stooped to him, feeling about for the little residence with tender, groping hands. She must give him freedom, though she dared not take it for herself. Yet it would be sweet to breathe the world for its own sake once more before he—and the sun—returned.
The amado went back as if of itself. In an instant Umè's face was among the dew-wet leaves of the plum tree. Oh, it was sweet! The night smelled of silence and the stars. She threw back her head to drink it like a liquid. She lifted the insect in its cage. By holding it high, against a star of special brightness, she could see the tiny bit of life gazing at her through its bars. She opened the door of the cage, and set it among the twigs of the plum. Then barefooted, ungirdled, with hair unbound, she stepped down upon the stone beneath the tree, and then to the garden path.