The Usurper

CHAPTER XXVI.

THE GREAT THEATRE OF OSAKA

On one of the largest of the canals which intersect Osaka in every direction stands the theatre, with its broad façade, capped by two roofs. You can go to the play in a boat; you can also go on foot, or in a norimono; for a quay paved with blue flag-stones runs in front of the building, and divides it from the canal.

Two huge blue-silk banners, covered with Chinese characters, hang from flag-staffs at either corner of the house, rising high above the roof. Upon large tablets, on a gold ground, are painted the principal scenes in the plays to be performed. They are painted with marvellous wealth of color, and depict warriors, princesses, gods, and demons in the most exaggerated attitudes. Sometimes, instead of a picture, we find a combination of stuffs arranged in broad relief, velvet, crape, or satin, representing the dresses of the various characters, and producing the most brilliant effects. From the red cross-beams beneath the roof hang enormous lanterns, round in shape on the lower floor, square upstairs. On the ridge-pole, a fabulous animal, something like a dog or lion, juts forward, opening wide his jaws, with bristling mane and tail.

By eight o'clock in the morning – the dragon's hour – the crowd collected before the doors of the Grand Theatre. Those who had no hope of admittance meant at least to enjoy the dazzling spectacle of the arrival of wealthy citizens and elegantly dressed ladies.

On each side of the principal entrance, reached by a broad staircase, were reared lofty platforms, upon which various delegates from the company of actors stood forth, in street dress, fan in hand. In pompous style, with merry gestures and grimaces, they loudly commended the pieces which they were to give to the public, praising the splendor of the costumes and stage setting, and the incomparable merit of the players; and when that subject was exhausted, they amused the mob by all sorts of jokes, puns, and anecdotes, delivered with comic gravity, and accompanied by the perpetual motion of the fan, handled in skilful, graceful style.

Soon the favored portion of the public, who were able to engage their seats in advance, arrived from all sides. Across the two bridges arching the canal to right and left of the theatre came norimonos and cangos, their bearers advancing with measured pace, and following one after the other in infinite succession; from every street appeared countless palanquins. The black lacquer glittered in the sun, the dresses of the women, in haste to enter, had the fresh tints of newly opened flowers. Some young men arrived on horseback; they threw the bridle to the groom, who ran before them, and mounted the stairs to the theatre hurriedly. Under the shade of broad parasols came various families on foot. Upon the canal a throng of boats besieged the landing-stage; the rowers exchanged hard words; the women stepped on shore with little shrieks of alarm. They were followed by maid-servants carrying magnificent boxes of carved ivory, mother-of-pearl, or sandal-wood. The hall was soon filled, and the doors were closed.

The interior of the theatre was rectangular in shape, the parquet divided into square spaces separated by partitions about ten inches high. Two aisles led from the back of the house to the stage, which latter was not divided by any practical boundary from the body of the house, both being upon the same level. These aisles seemed intended rather for occasional exits and entrances of the actors, than for the accommodation of visitors, the partitions between the boxes being sufficiently broad to allow the spectators to reach the places reserved for them. The journey, however, was not without peril, and was accomplished amid screams and bursts of laughter. The women, hampered by their handsome dresses, advanced cautiously, stumbling occasionally. The men offered their arms, to help them into the boxes; but some preferred to sit upon the edge and slide gracefully down. Each compartment held eight persons, who squatted upon the matted floor; and as soon as they were seated, a servant, attached to the theatre, brought them tea and saki on a lacquer tray, with pipes and a brazier.

Raised above the parquet on three sides of the hall was a double row of boxes, the fourth side being occupied by the stage. These boxes, very richly decorated on a background of red or black lacquer, were the most select part of the play-house, especially those in the upper stage. There the most elegant coquettes displayed their magnificent toilets. The aspect of the theatre was delightful; most of the women were beautiful, with their dead-white skins, their glossy hair and dusky eyes. The rustle of silk, the shimmer of satin, the bright colors and the embroideries, formed a splendid spectacle. The married women were easily recognized by their teeth blackened with a mixture of iron filings and saki, by their plucked eyebrows, and by their sash tied in an enormous knot directly in front. The young girls made the knot at the back, and left their teeth to their natural whiteness. They also dressed their hair differently. Instead of letting it hang in a long twist, or gathered in a heavy mass on the top of the head, they combed it over the forehead, arranged it in wings on either side of the face, and fashioned it into an elaborate and voluminous chignon. Some might substitute, for the tortoise-shell pins generally used, others of similar length, but made of filagree gold; their neighbors might prefer to adorn their hair with nothing but flowers and silk cords.

The men were no less fond of dress; crape, brocade, and velvet not being forbidden for their wear. Some had an embroidered scarf on one shoulder, one end hanging forward; the longer the scarf was, the higher the social rank of the wearer. When he saluted a superior he must bend until the scarf touched the ground. Therefore the longer it was, the less he had to bend. A party of nobles appearing incognito, their faces hidden by black crape hoods, showing nothing but their eyes, filled the lower row of boxes. But one of these, very near the stage, remained empty; it was suddenly thrown open, and a woman appeared.

The spectators could not repress a cry of amazement upon recognizing Yodogimi. Was it possible? – the Shogun's mother entering a theatre openly! Had she lost all respect for custom and decorum, and for herself! The veil of light gauze, fastened to the big pins in her headdress, and covering her face, although it might show her desire to preserve her incognito, in no way masked the Princess; she was recognized at the first glance. Still, surprise soon gave way to admiration. Every one was glad she had not hidden her charming face, which the transparent veil did but embellish. Besides, the extraordinary dress worn by Yodogimi took the audience by storm. Her robe was woven of pale gold, covered with fine pearls and grains of crystal; she seemed to radiate light, as if the stars were imprisoned in the folds of the stuff. The Princess smiled as she saw how promptly the first sensation of displeasure was overcome by admiration. She took her seat slowly; and when she was settled in her place, a masked warrior was seen standing behind her.

Then the faint clamor of a gong, the trill of a couple of flutes, and a few muffled blows on a tambourine were heard. The musicians took up their instruments; the play was about to begin.

The audience turned to the stage; it was closed by a curtain covered with huge lozenges, and in the centre of which appeared, upon a scarlet disk, an immense Chinese character, standing for the name of "Humming-Top," the famous and unrivalled actor. A rich silk merchant had presented this curtain in his honor; it was not to be changed until Humming-Top should be surpassed or equalled by one of his colleagues.

The curtain moved; and a man, drawing it slightly aside, came forward. The instant he appeared, the hubbub which filled the hall ceased abruptly. The man saluted the audience with all sorts of grimaces. He was dressed like a wealthy lord, and held in his hands a paper cylinder, which he began to unroll.

The people hung upon his words in profound silence; and yet they all knew that no one could unravel the sense of them. For such is the mission of this individual: he is to speak without being understood. If any one discover the true meaning of what he reads from his roll, he has missed his object. Still, he is to read the text literally, without skipping a word, or adding a syllable. The paper contains an outline of the piece to be played, the names of the characters, the actors, and the scene of action. The herald, by clipping his words and phrases, by uniting things that should be divided; by pausing where there is no pause, managed to mar his test completely, to make absurd mistakes and ridiculous jokes, at which the public laughed till the tears ran down their cheeks. Still they listened; they tried to guess the true meaning. But the speaker was clever: he withdrew, leaving no one a whit the wiser.

When he had disappeared, noisy strains of music sounded behind the scenes, and the curtain rose.

The scene represented an elegant apartment with a large window opening upon a country landscape; rich screens, a bed, – that is, a velvet mattress, – and a number of cushions, furnished the chamber.

The audience at once recognized the scenery of one of the most popular plays in the repertory of the theatre.

"It's the third act of the Vampire!" was whispered on every hand.

Only this one act of the Vampire, which is the best and most dramatic, was given. The public expressed their satisfaction by a prolonged murmur, and the curtain fell.

During the intermission most of the audience left the hall, and stormed the adjoining tea-house. There the morning meal was served, or merely warm drinks and a few dainties, amidst an indescribable tumult and confusion. Every one expressed his opinion of the merits of the play just witnessed, and of the actors' skill. Their gestures, their cries and contortions, were imitated. Some attempted to repeat their capers, to the great amusement of the spectators; others played chess, morra, or dice.

The wait was a long one. The lads who took the part of women in the first piece were to appear in the second as well; they must have time to rest, take a bath, and change their dresses. But the time passed pleasantly; people ate, smoked, and laughed, and then flocked merrily back to the theatre.

The appearance of the hall was entirely different; all the ladies in the boxes had changed their dresses, the new ones being still more gorgeous than the first.

All eyes were bent on Yodogimi, eager to see how she could contrive a second toilet worthy of that which had so recently dazzled all beholders. Again they were mute with surprise. She seemed clothed in jewels and woven flames; her robe was one mass of humming-bird feathers, which flashed like sapphires, rubies, emeralds, and burning coals. Those living gems had been slaughtered whole-sale to form an ample garment, which cost the price of a castle.

The herald reappeared, delivered a speech no less mysterious than the first, and the curtain rose.

A scene from the Onono-Komat-Ki was now given.

Onono-Komat was a lovely maiden attached to the Court of Kioto. Having a passion for poetry, she devoted herself to study, and composed verses; but in her love of perfection, the poem once written, she washed it out and began again. Young men fell in love with her beauty, and persecuted her with their attentions. She repulsed them, and continued her favorite studies. But the persistent suitors could not pardon her disdain; by base calumny they brought her into disgrace. The inspired maiden left the palace, and wandered at random. By degrees she became poorer and poorer; but her love of poetry never failed. She contemplated the beauties of nature, and sang of them with rare perfection of style. Age came; her hair turned white; she was completely destitute, roaming from village to village, leaning on a staff, a basket on her arm, and living on alms. Children gathered round her when she sat at the gates of a temple; she smiled sweetly on them, and taught them pretty verses. Sometimes a bonze would respectfully ask leave to copy one of the poems stowed away in her basket. The inspired singer died; then only was hatred silenced, and her glory shone forth. She was deified, and her memory is reverenced by all men.

After representing various portions of the play descriptive of the life of Onono-Komat, a burlesque interlude was played, and then the Taiko-Ki at last began.

The curtain went up on a vast scene representing an encampment of soldiers. The General's tent, rising high above the rest, was pitched in the centre. Envoys came running in dismay, gesticulating wildly with arms and legs.

"The General! the General! we must see the General at once!" they cry.

Then the curtains of the tent are parted, and Taiko appears. The Humming-Top had succeeded in reproducing exactly the attitude and dress of the hero he represented. The audience showed their satisfaction. Those who, in their youth, had seen the illustrious Shogun, fancied they beheld him once more.

"What do you want?" says Taiko.

The emissaries dare not open their lips.

"Well!" says Taiko, frowning, and clapping his hand to his sword.

"Sire, while you fight your country's foes, Mitsou-Fide, to whom you intrusted the care of the kingdom, has seized the power."

At this news, Taiko's face passes successively from surprise to anxiety and fury.

Meanwhile a man carrying a light on the end of a long bamboo pole, held it close to the actor's face, that the public might not lose any of his facial expression.

"Let us be off!" cries Taiko;' "my presence alone can restore order in the palace."

He gives the command of his troops to one of his officers, and leaves the stage by a raised passage through the parquet, and disappears through a heavy curtain.

The stage revolved, and revealed the interior of a pagoda.

Taiko enters. He asks for a night's rest in the pagoda, and is told that Mitsou-Fide has just arrived with his wife and mother. They are travelling, and have stopped here. Taiko starts violently.

"My enemy so near!" he exclaims. "Shall I fly? No; I must disguise myself."

He calls for a razor, shaves his head, and slips on the dress of a bonze. He has scarcely fastened it, when Mitsou-Fide enters, and casts a suspicious glance at Taiko; the latter, to appear at his ease and quite calm, begins to sing a simple air, popular throughout the kingdom: —

"From the mountain top I gaze down into the valley.

The cucumbers and the hawthorn, hope of the harvest, are in bloom."

"Come here, bonze," says Mitsou-Fide. "My mother is tired after her journey; you may prepare a bath for her."

"Who would have thought that I came here to play the part of servant?" cries Taiko, turning towards the audience with most wonderful facial expression. "I obey," he adds aloud.

The bath-room was only divided from the apartment which occupied the stage by a screen covered with oiled paper. Taiko prepares the bath; amusing the audience meantime by a thousand comical remarks, accompanied by appropriate grimaces.

Mitsou-Fide's mother, enters, and asks if the bath is ready. On the affirmative reply of the false bonze, she disappears behind the screen. But Mitsou-Fide learns that Taiko is in the pagoda, and now rushes up in a rage, shouting loudly for his enemy.

"He is in the bath," says a priest.

"He shall not escape me."

Taiko, during this scene, creeps off.

Mitsou-Fide cuts a long stock of bamboo in the garden, sharpens one end of it, and hardens it over the coals in a bronze chafing-dish. Then marching up to the dividing-screen, he pierces the paper with this impromptu spear, and thinking to slay his enemy, kills his mother.

"What have I done?" he exclaims in alarm, on hearing a woman's shriek.

"You have killed your mother!" says his young wife, entering, pale with horror, and trembling like a leaf.

"Repent! repent while she expires!" she cries, in a monotonous chant. "This cruel murder, committed by your hand, is the vengeance of Heaven! Did I not bid you beware of betraying your master? You usurped the power. See to what ambition leads you; you have killed your mother! At least repent while she expires."

"Alas! alas!" howls the murderer; "let us leave this accursed spot, let us fly! Remorse rends my heart! For three days I possessed the power: my punishment is terrible. My mother slain by my own hand! I cannot believe it!"

He bursts into the bath-room; then comes out, with all the signs of despair bordering on madness.

The stage again revolves, and represents a field. Taiko in battle array, surrounded by soldiers, waits to intercept his enemy, who is about to escape. Mitsou-Fide crosses the stage with a scanty train of attendants; he is hemmed in by Taiko's men. The latter, after a long speech, in which he overwhelms his unworthy servant with reproaches, takes him prisoner and loads him with chains.

The curtain falls; the play is over.

It interested the audience deeply; in certain situations they discovered analogies to the events which had so recently troubled the country. Hieyas was often mentally substituted for Mitsou-Fide.

Everybody went home highly delighted.

Everybody? No. Fide-Yori had death in his soul. Omiti was not at the performance. Nagato tried in vain to comfort his friend.

"I shall never see her again!" he cried. "I hoped that I might yet be happy in this life; but misfortune clings to me persistently. Look you, friend," he continued, "I long to die; I am overwhelmed with sorrow. My mother's conduct, her mad and ruinous extravagance, displayed in public, fill my heart with bitterness. Several times, when I heard the rough voice of that soldier whom she is weak enough to love, I was on the point of leaping into their box, slapping him in the face, and driving her out, with the righteous wrath evoked by such a disregard of all propriety and decency. And then my anger died at a gentle thought which took possession of me. I hoped that she would come, – that maiden in whom my every hope is centred; I searched the hall with an eager glance. She did not come! All is ended; all is desolate within me; and the life which she preserved I would fain lay down forever!"

CHAPTER XXVII.

OMITI

Winter had come; days of burning heat had given place to days of frost and ice. The leaden sky seemed to have changed places with the earth, now dazzlingly bright in its white robes of snow.

In the outskirts of Osaka the deserted shore had preserved intact the thick coat of wadding dropped from the clouds. The waves, reflecting the dull gray heavens, looked like ink. Scattered rocks jutted from the ground at intervals; the snow clung to their sharp angles. Gulls, disturbed in their flight by the wind, flapped their wings; they seemed dark and dirty against this whiteness.

The last house of the suburb extended its high garden fence along the beach; it was covered with snow, and the swinging sign, which hung from two posts flanking the door, was quite illegible. The big lanterns swelling forward at either side of the entrance had been drawn in and fastened by hooks; a small penthouse sheltered them. The triple roof of the house seemed thatched with silver.

This was the Day-Break Inn. It was here that Omiti had for many long days endured the cruel fate imposed upon her. She suffered in silence, with a proud resignation which accepts neither pity nor consolation. She sacrificed herself to save the lord of the kingdom. She yielded without a murmur to the consequences of her sacrifice; but she sometimes thought that it would have been more merciful to kill her. She had no wish to see the King again, although she had not ceased to love him. Her love was born of a maiden's dream. Before she over saw Fide-Yori, that young prince, said to be handsome and amiable, filled her thoughts; and as she embroidered, she mused and wove a web of fancy about his image. When she discovered the horrid plot which threatened the life of him who filled her soul, she felt as if she should die of terror; but her longing to save him gave her the strength and courage of a hero. In her single interview with the King, in the lemon grove, she saw that her heart had not erred, and that she should never love any other man. But the idea that he might love her never even occurred to her; her modesty forbade it; and since, sold for the general pleasure, she had sunk to the lowest grade in the social scale, the mere thought of again standing in Fide-Yori's presence made her blush with shame.

Often rich merchants from the town would bring their wives to the tea-house, to spend a few hours in the company of the gaizha girls, who instructed them in the art of acquiring elegant manners, taught them to play the samsin, and to compose verses. Sometimes the fine lady, crouching opposite Omiti, listening, with half-open lips, to the girl's plaintive tones, was surprised to see sudden tears flood the singer's eyes. But she supposed it was a seductive wile; and going home, would strive to weep as she struck the strings of her instrument.

Beneath its snowy mantle, behind its closed windows, and although it appeared quite silent from without, the tea-house was full of people and of noise.

For several weeks it had been thronged daily by a crowd of people of all classes, who seemed to assemble there for some secret purpose. The master of the establishment was undoubtedly in league with these men; he always mingled in their conversation, – indeed he often seemed to direct and inflame it. They talked of the affairs of the nation. The general misery was frightful. This civil war, coming just at the time when the fields most needed the master's eye, had injured the harvests; several crops were utterly destroyed by the armies, others were poor; famine threatened all that part of the kingdom which still belonged to Fide-Yori. In the north, on the contrary, everything throve and flourished. While rice was scarce in the neighborhood of Osaka, it was sold at half price in the northern provinces; but Hieyas absolutely forbade it to be exported to the south, and the Shogun took no pains to have a supply brought from elsewhere. While the people died of starvation, the Court displayed an unexampled luxury: every day were given receptions, feasts, and banquets. Yodogimi excited the popular wrath; she exhausted the treasury. The taxes were raised, and salaries lowered. The Government had plainly gone mad. The Court danced on the verge of an abyss, dragging their trains of gold and satin after them, to the sound of bewildering music. All were blind; no one thought of the possible resumption of the war. Men got drunk, they laughed and sang within the fallen walls of the fortress; they took no steps to restore the army to its former footing, or to increase it if possible. Yoke-Moura had vainly striven to act; money was wanting: the caprices and ruinous extravagance of the Princess Yodogimi absorbed it all. And the Shogun, what was he about? Plunged in a mysterious melancholy, he wandered in his gardens solitary and alone, doing nothing, apparently laying down the power. It was evident that Hieyas only waited for an opportunity to give the last blow to that crumbling structure. But why should he wait? The old man's wisdom was in strange contrast with the young man's improvidence and the folly of his Court. Hieyas must be summoned; his accession would save the nation from misery and want. Why should they be reduced to the last extremity? An effort must be made to bring about the inevitable issue as soon as might be.

Omiti, with growing fear, daily heard similar discourses. The guests of the inn changed; the same men did not always return. They went elsewhere, to stir up rebellion and wrath. It was plain that emissaries from Hieyas were mixed with these artisans. The Usurper felt the value of a movement in his favor at Osaka; he was anxious to provoke it. Moreover the careless indifference of the Court was of wonderful help to him. Omiti saw all this; she wrung her hands, and wept with despair. "Then there is no one who dares to warn him of his danger!" she cried, in her sleepless nights.