The Dragon Painter/Chapter 5
V
ANDO UCHIDA, from his green seclusion among the bamboo groves of Meguro, sent, from time to time, a scout into the city. First an ordinary hotel kotsukai or man-servant was employed. This experiment proved costly as well as futile. The kotsukai demanded large payment; and then the creature's questions to Mata were of a nature so crude and undiplomatic that they aroused instant suspicion, causing, indeed, the threat of a dipper of scalding water.
The next messenger was an insect peddler, Katsuo Takanaka by name. It was the part of this youth to search daily among the bamboo stems and hillside grasses of Meguro for the musical suzu-mushi, the hataori, and the kirigirisu. These he incarcerated in fairy cages of plaited straw, threaded the cages into great hornets' nests that dangled from the two ends of his creaking shoulder-pole, and started toward the city in a perfect storm of insect music. The noise moved with him like a cloud. It formed, as it were, a penumbra of fine shrilling, and could be heard for many streets in advance. This itinerant merchant was commissioned to haunt the Kano gate until impatience or curiosity should fling it wide for him. Then, after having coaxed old Mata into making a purchase, he was to engage her in conversation, and extract all the domestic information he could. Unfortunately for the acquisition of paltry news, it was Umè-ko, not Mata, who came out to purchase. The seller, watching those slim, white fingers as they fluttered among his cages, the delicate ear bent to mark some special chime, forgot the words of Ando Uchida, otherwise, Mr. S. Yetan, of Chikuzen, forgot everything, indeed, but the beauty of the girlish face near him.
He left the house in a dream more dense than the multitudinous clamor of his burden. "Alas!" thought Katsuo, as he stumbled along, unheeding the beckoning hands of mothers, or the arresting cries of children in many gateways, "Had I been born a samurai of old, and she an humble maiden! Even as an Eta, an outcast, would I have loved and sought her. Now in this life I am doomed to catch insects and to sell them. Perhaps in my coming rebirth, if I am honest and do not tell to the ignorant that a common mimi is a silver-voiced hataorimushi,—perhaps"
Ando's third envoy was chosen with more thoughtful care. This time it was none other than a young priest from the temple of Fudo-Bosatsu in Meguro. He was an acolyte sent forth with bowl and staff to beg for aid in certain temple repairs. Ando promised a generous donation in return for information concerning the Kano family. Being assured that the motive for this curiosity was benevolent rather than mischievous, the priest consented to make the attempt. He reached the Kano gate at noon, within a few days after Tatsu's arrival. Mata opened to his call. Being herself a Protestant, opposed to the ancient orders and their methods, she gave him but a chilly welcome. Her interest was aroused, however, in spite of herself, by the fact that he neither chanted his refrain of supplication nor extended the round wooden bowl.
"I shall not entreat alms of money in this place," he said, as if in answer to her look of surprise, "I am weary, and ask but to rest for a while in the pleasant shade of your roof."
Without waiting for Mata's rejoinder, Umè-ko, who had heard the words of the priest, now came swiftly to the veranda. "Our home is honored, holy youth, by your coming," she said to him. "Enter now, I pray, into the main guest-room, where I and my father may serve you."
The priest refused this homage (much to Mata's inward satisfaction), saying that he desired only the stone ledge of the kitchen entrance and a cup of cold water.
After his first swift upward look he dared not raise his eyes again. The sweetness of her young voice thrilled and troubled him. But for his promise to Uchida he would have fled at once, as from temptation. Umè-ko, seeing his embarrassment, withdrew, but not until she had made an imperious gesture to old Mata, commanding her to serve him with rice and tea.
After a short struggle with himself the priest decided to accept the offer of food. Old Mata, he knew, was to be his source of information. The old dame served him in conscious silence. Her lips were compressed to wrinkled metal. The visitor, more accustomed to old women than to young, smiled at the rigid countenance, knowing that a loquacity requiring so obvious a latch is the more easily freed. He planned his first question with some care.
"Is this not the home of an artist, Kano by name?"
Mata tossed her gray hair. "Of the only Kano," she replied, and shut her lips with a snap.
"The only Kano, the only Kano," mused the acolyte over his tea.
"So I said, young sir. Is it that your hearing is honorably non-existent?"
"Then I presume he is without a son," said the priest as if to himself, and stirred the surmise into his rice with the two long wooden chopsticks Mata had provided.
The old dame's muscles worked, but she kept silence.
Umè-ko, now in her little chamber across the narrow passage, with a bit of bright-colored sewing on her knees, could hear each word of the dialogue. Mata's shrill voice and the priest's deep tones each carried well. The girl smiled to herself, realizing as she did the conflict between love of gossip and disapproval of Shingon priests that now made a paltry battlefield of the old dame's mind. The former was almost sure to win. The priest must have thought this, too, for he finished his rice in maddening tranquillity, and then stirred slightly as if to go. Mata's speech flowed forth in a torrent.
"My poor master has no son indeed, no true son of his house; but lately,—within this very week" She caught herself back as with a rein, snatched up the empty tea-pot, hurried to the kitchen and returned partly self-conquered, if not content. She told herself that she must not gossip about the master's affairs with a beggarly priest. Determination hardened the wrinkles of her face.
If the priest perceived these new signs of taciturnity, he ignored them. "Your master being verily the great artist that you say, it is a thing doubly to be regretted that he is without an heir," persisted the visitor, with kind, boyish eyes upon old Mata's face. The old woman blinked nervously and began to examine her fingernails. "Alas!" sighed he, "I fear it is because this Mr. Kano is no true believer, that he has not prayed or made offerings to the gods."
Mata had a momentary convulsion upon the kitchen floor, and was still.
The priest kept gravity upon his mouth, but needed lowered lids to hide the twinkles in his eyes. "True religion is the greatest boon," he droned sententiously. "Would that your poor master had reached enlightenment!"
Umè-ko in her room forgot her sewing, and leaned a delicate ear closer to the shoji.
Old Mata's wall of reserve went down with a crash. "He believes as you believe!" she cried out shrilly. "All your Shingon chants and invocations and miracles he has faith in. Is that not what you call enlightenment? He and Miss Umè worship together almost daily at the great temple above us on the hill. The two finest stone lanterns there are given in the name of my master's dead young wife. Her ihai is in this house, and an altar, and they are well tended, I assure you! My master is a true believer, poor man, and what has his belief brought him? Ma-a-a! all this mummery and service and what has come of it?"
"I perceive with regret that you are not of the Shingon sect," remarked the priest.
"Me? I should say not!" snorted Mata. "I am a Protestant, a good Shinshu woman,—that's what I am, and I tell you so to your face! When I pray, I know what I am praying for. I trust to my own good deeds and the intercession of Amida Butsu. No muttering and mummery for me!"
"Ah!" said the priest, a most alluring note of interest now audible in his voice, "your master has so zealously importuned the gods, and, you say, with no result?"
"Ay, a result has come," answered the old dame, sullenly. "Within this week the gods—or the demons—have heard my master, for a wild thing from the hills is with us!"
"Wild thing? Do you mean a man?"
"A semblance of a man, though none such will you see in the streets of a respectable town."
"But does your master" began the priest, in some perplexity.
Mata cut him short. "Because he can smear ink on paper with a brush, my master dotes on him and says he will adopt him!"
The woman's fierce sincerity transmitted vague alarm. Slipping his hands within his gray sleeves, the acolyte began fingering his short rosary as he asked, "Is the—wild man now under this very roof?"
"Not under a roof when he can escape it, you may be sure! He comes to us only when driven by hunger of the stomach or the eyes. Doubtless at this moment he wallows among the ferns and sa-sa grass of the mountain side, or lies face down in the cemetery near my mistress' grave. He is mad, my master is mad, and Miss Umè, if she really gives herself in marriage to the mountain lion, madder than all the rest!"
"That beautiful maiden whom I saw will be given to such a one?" asked the priest, in a startled way.
"Such are the present plans," said the other in deep despair, and huddled herself together on the floor.
Umè-ko, in her room across the hallway, had half risen. It really was time to check the old servant's vulgar garrulity. But the silence that followed the last remark checked her impulse. After all, what did it matter? No one could understand or needed to understand.
Meanwhile Mata, at first unconscious of anything but her own dark thoughts, became gradually aware of a strange look in the face of the priest. He, on his part, was wondering whether, indeed, the beauty of Umè-ko were not the sole cause of his patron's interest in the Kano family. After watching him intently for a few moments the old woman wriggled nearer and whispered in a tone so low that Umè could not catch the words, "Perhaps, after all, Sir Priest, you, being of their belief, perceive this to be a case where charms and spells are advisable. I am convinced that this house is bewitched, that the Dragon Painter has a train of elementals in attendance. Now, if we could only drive him forever from the place. Have you, by any chance, a powder, or an amulet, or a magic invocation you could give me?"
"No, no! I dare not!" said the other, in an agitated voice. He reached out for his bowl and, with a single leap, was down upon the earth. Mata caught him by his flying skirts. "See here," she entreated, "I will make it worth your while, young sir, I will give donations to your temple"
"I dare not. I have no instructions to meddle with such things. Let me now give the house a blessing, and withdraw. But I can tell you for your comfort," he added, seeing the disappointment in her wrinkled face, "if, as you assure me, this is a house of faith, no presence entirely evil could dwell within it."
He got away before she could repeat her importunities; and the old dame returned to the kitchen, muttering anathemas against the mystic powers she had just attempted to invoke.
On the priest's return, Ando questioned him eagerly. He gained, almost with the first words, certainty of his own freedom. With Tatsu safely arrived, and the betrothal to Kano Umè-ko an outspoken affair, then had the time come for him—Ando Uchida—to reassume the pleasant rôle of friend and benefactor.
He moved into Yeddo before nightfall. His first visit was, of course, to Kano. Elaborately he explained to the sympathetic old man how he had been summoned by telegram into a distant province to attend the supposed death-bed of a relative, how that relative had, by a miracle, recovered. "So now," he remarked in conclusion, "I am again at your service, and shall take the part not only of nakodo in the coming marriage, but of temporary father and social sponsor to our unsophisticated bridegroom."
Certainly nothing could have been more opportune than Uchida's reappearance, or more welcome than his proposed assistance. Mata, indeed, hastened to give a whole koku of rice to the poor in thank-offering that one sensible person besides herself was now implicated in the wedding preparations.
Uchida justified, many times over, her belief in him. In the district near the Kano home he rented, in Tatsu's name, a small cottage, paying for it by the month, in advance. With Mata's assistance, not to mention a small colony of hirelings, the floors were fitted with new mats, the woodwork of the walls, the posts, and veranda floors polished to a mirror-like brightness, and even the tiny garden set with new turf and flowering plants. Tatsu was lured down from the mountain side and persuaded to remain at night and part, at least, of each day, in this little haven of coming joy.
A secluded room was fitted up as a studio, for his sole use. Here were great rectangles of paper, rolls of thin silk, stretching frames, water holders, multitudinous brushes, and all the exquisite pigment that Japanese love of beauty has drawn from water, earth, and air; delicate infusions of sea-moss, roots, and leaves, saucers of warm earth ground to a paste, precious vessels of powdered malachite, porphyry, and lapis lazuli. But the boy looked askance upon the expensive outlay. His wild nature resented so obvious a lure. It seemed unworthy of a Dragon Painter to accept this multitude of material devices. He had painted on flakes of inner bark, still quivering with the life from which he had rudely torn them. Visions limned on rock and sand had been the more precious for their impermanence. Here, every stroke was to be recorded, each passing whim and mood registered, as in a book of fate.
For days the little workroom remained immaculate. Kano began to fret. Ando Uchida, the wise, said, "Wait." It was Mata who finally precipitated the crisis. One rainy morning, being already in an ill humor over some trifling household affair, she was startled and annoyed by the sudden vision of Tatsu's head thrust noiselessly into her kitchen. Rudely she had slammed the shoji together, calling out to him that he had better be off doing the one thing he was fit to do, rather than to be skulking around her special domain. Tatsu had, as rudely, reopened the shoji panels, tearing a large hole in the translucent paper. "He had come merely for a glimpse of the Dragon Maid," he told the angry dame. "In a few days more she was to be his wife, and this maddening convention of keeping him always from her was eating out his vitals with red fire," so declared Tatsu, and let the consuming passion blaze in his sunken eyes.
But Mata, undismayed, stood up in scornful silence. She was gathering herself together like a storm, and in an instant more had hurled upon him the full terror of her vocabulary. She called him a barbarian, a mountain goat,—a Tengu,—better mated to a fox spirit or a she-demon than to a decent girl like her young mistress. She denounced her erstwhile beloved master as a blind old dotard, and the idolized Umè, she declared a weak and yielding idiot. Tatsu's attempts at retort were swept away with a hiss. For a while he raged like a flame upon the doorstep, but he was no match for his vigorous opponent. It was something to realize his own defeat. Gasping, he turned to the friendly rain and would have darted from the gate when, with a swoop like a falcon, Mata was bodily upon him. He threw his right arm upward as if to escape a blow, but the old dame did not belabor him. She was trying to thrust something hard and strange into his other hand. He glanced toward it. The last indignity of an umbrella! "Open it, madman!" she cried shrilly after him, "and hold your robe up; it is one of your new silk ones!"
Tatsu had never used an umbrella in his life. Now he opened it eagerly. Anything to escape that frightful voice! In the windy street he clutched at his fluttering skirts as he had seen other men do, and, with a last terrified backward glance, ran breathlessly toward the haven of his temporary home.
The little house was empty. Tatsu was thankful for so much. The rooms were already pre-haunted by dreams of Umè-ko. Tatsu felt the peace of it sink deep into his soul. Instinctively his wandering feet led him into the little painting room. As usual, the elaborate display of artist materials chilled him. After his recent exasperation he longed to ease his heart of a sketch, but obstinacy held him back. He sat down in the centre of the space. A bevy of small, squeaking sounds seemed to enclose him. It took him some moments to recognize them as the irritating rustling of his silken dress. He sprang to his feet, tore off the new and expensive girdle of brocade, flung it into one corner and the offending robe into another, and remained standing in the centre of the small space clad only in his short white linen under-robe.
He looked about, now, for a more congenial sheathing. If he could but find the tattered blue kimono worn during that upward journey from Kiu Shiu! Stained by berries and green leaves, torn by a thousand graceful vines,—for laundering only a few vigorous swirls in a running stream with a quick sun-drying on the river stones,—yet how comfortable, how companionable it was! There had been a blue something folded on the shelf of his closet. He found it, opened it wide in the air and would have uttered a cry of joy but for the changed look of it. Even this had not escaped Mata's desecrating hands! It was mended everywhere. The white darning threads grinned at him like teeth. Also it was washed and ironed, and smelled of foreign soap. For an instant he tore at it angrily, and was minded to destroy it, but the sense of familiarity held him. He wrapped it about him slowly and, with bent head, again seated himself upon the floor.
The rain now fell in quivering wires of dull light. The world was strung with them like a harp, and upon them the wind played a monotonous refrain. Against the wall near Tatsu stood a light framework of wood with the silk already stretched and dried for painting. At his other hand a brush slanted sidewise from a bowl of liquid ink. The boy's pulses leaped toward these things even while his lips curled in disdain at the shallow decoy. "So they expect to trap me, these geese and jailers who have temporary dominance over my life," thought he, in scorn. No, even though he now desired it of himself, he would not paint! Let him but gain his bride—then nothing should have power to sting or fret him. But, oh, these endless days and hours of waiting! They corroded his very thought as acid corrodes new metal. He felt the eating of it now.
A spasm of pain and anger distorted his face. He gave a cry, caught up suddenly the thick hakè brush, and hurled it across the room toward the upright frame of silk. It struck the surface midway, a little to the left; pressed and worked against it as though held by a ghost, and then, falling, dragged lessening echoes of stain.
Tatsu's mirthless laugh rang out against the sound of dripping rain. The childish outburst had been of some relief. He looked defiantly toward the white rectangle he had just defaced. Defaced? The boy caught in his breath. He thrust his head forward, leaning on one hand to stare. That bold and unpremeditated stroke had become a shadowed peak; the trailing marks of ink a splendid slope. Had he not seen just such a one in Kiu Shiu,—had he not scaled it, crying aloud upon its summit to the gods to yield him there his bride?
Trembling now, and weak, he crawled on hands and knees toward the frame. He had forgotten Kano, Uchida, Mata,—forgotten even Umè-ko. Fingers not his own lifted the fallen brush. The wonderful cold wind of a dawning frenzy swept clean his soul. He shivered; then a sirocco of fire followed the void of the wind. The spot where his random blow had struck still gleamed transparent jet. He dragged the blackened brush through a vessel of clear water, then brandished it like the madman Mata thought him. With the soft tuft of camel hair he blurred against the peak pale, luminous vapor of new cloud. Turning, twisting sidewise, this way, then that, the yielding implement, he seemed to carve upon the silk broad silver planes of rock, until there rose up a self-revealing vision, the granite cliff from which a thin, white waterfall leaps out.
But this one swift achievement only whetted the famished appetite to more creative ardor. Sketch after sketch he made, some to tear at once into strips, others to fling 
"With the soft tuft of camel hair he blurred against the peak pale luminous vapor of new cloud." Page 124.
Tatsu, unconscious that the house was not still empty, painted on. Sometimes he sobbed. Again an ague of beauty caught him, and he needed to hurl himself full length upon the mats until the ecstacy was past. Just as the daylight went he saw, upon the one great glimmering square of silk as yet immaculate, a dream of Umè-ko, the Dragon Maiden, who had danced before him. This was an apparition too holy to be limned in artificial light. When the sun came, next day, he knew well what there was for him to do. He placed the frame upright, where the first pink beam would find it. Brushes, water vessels, and paints were placed in readiness, with such neatness and precision that old Kano's heart would have laughed in pleasure. That night the shoji and amado were not closed. Tatsu did not sleep. It was a night of consecration. He walked up and down, sometimes in the narrow room, sometimes in the garden. Often he prayed. Again he sat in the soft darkness, before the ghostly glimmer of the silk, tracing upon it visions of ethereal light. When, at last, the dawn came in, Tatsu bowed to the east, with his usual prayer of thankful piety, then, with the exaltation still upon him, lifted the silver thread of a brush and drew his first conscious outline of the woman soon to be his wife.
“He walked up and down, sometimes in the narrow room, sometimes in the garden.” Page 126