Tatsu

“ The quiet, obedient Tatsu, regaining day by day the strength and beauty that his clean youth owed him, was to the inner Tatsu but a painted shell. The real self, clouded in eternal grief, knew clarity and purpose only before a certain flower-set shrine. He believed now, implicitly, that Umè's soul dwelt near him, was often with him in this room. ”

“ For the first time Tatsu noted how scanty and how white his hair had grown; how thin and wrinkled the fine old face. Something akin to compassion rose warm and human in the looker's throat. He had opened his lips to speak kindly (it would have been the first gentle word since Umè's loss) when the sight of his name, in handwriting, on the letter, froze the very air about him, and held him for an instant a prisoner of fear. The envelope dangled loosely from Kano's fingers. On it was traced, in Umè-ko's beautiful, unmistakable hand, "For my beloved husband, Kano Tatsu." ”

“ Tatsu knew well what the old man meant. He lifted his eyes and stared out, mute, into the narrowing band of light. The old man drew his thin form very straight, moved a few feet that he might look squarely into the other's face, and said deliberately. "So did I mourn the young wife whom I loved, and so, if I know men, will you mourn, Kano Tatsu. Of such enduring stuff will be your grief for Umè-ko." ”

“ One twilight hour, late in August, Tatsu came. After an eager day of watching, old Kano had just begun to tell himself that hope was over. Tatsu had certainly been killed. The ihai might as well be set up, and prayers offered for the dead man's soul. Umè-ko, wearied by the heat, and the incessant strain, lay prone upon her matted floor, listening to the chirp of a bell cricket that hung in a tiny bamboo cage near by. The clear notes of the refrain, struck regularly with the sound of a fairy bell, had begun to help and soothe her. Mata sat dozing on the kitchen step. ”

“ 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. ”

“ In extremes of desperation one clutches at the semblance of a straw. A last, wild hope had flashed to Kano's mind. "Come nearer, Tatsu San," he whispered, forcing his face into the distortion of a smile. "Lean nearer. The real motive of my summons has not been spoken."
Compelled by the strange look and manner of his host, Tatsu retraced a few steps. The old voice wheedled through the dusk. "In this very house, under my mortal control, the Dragon Maiden whom you seek is hidden." ”

“ Kano was fully aware of this aversion. He realized that, perhaps, it would be better for Tatsu if he did not come at all; yet in this one issue the selfishness of love prevailed. Age and despair were to be kept at bay. He had no weapons but the hours of comparative peace he spent at Tatsu's bedside. Full twenty years seemed added to the old man's burden of life. ”

“ Now in Japan nothing is more indelicate, more unpardonable, or more insulting to the listener than any reference to the personal love between man and wife. At Tatsu's terrible speech, Umè-ko, unconscious of further cause of offense, hid her face against his sleeve, and clung to him, that her trembling might not cast her to the floor. Kano, at first, was unable to speak. He grew slowly the hue of death. ”

“ Naturally Umè-ko did not succeed. Tatsu merely laughed at her flagrant efforts at duplicity. He felt no need of painting, no desire to paint. He had won the Dragon Maiden. Life could give him no more! There was no anger or resentment in his feeling toward Kano, or even the old scourge Mata. No, he was too happy! To lie dreaming on the fragrant, matted floor near Umè, where he could listen to her soft breathing and at times pull her closer by a silken sleeve,—this was enough for Tatsu. Nothing had power to arouse in him a sense of duty, of obligation to himself, or to his adopted father. ”

“ Life was all about him, and he hated life. Why should cherry blooms and sparrows dare to come again,—why should that old man near him wheeze and palpitate with life, why—why—should he, Tatsu, be held from his one friend, Death, when she, the essence of all life and beauty,—she who should have been immortal,—drifted alone, helpless, a broken white sea-flower, on some black, awful tide?
In the midst of such dreary imaginings, old Kano, late in the last month of the year, crept in upon his son. ”

“ 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. ”

“ Don't you remember me, Master Tatsu? I am Mata, the old servant, and your Umè's nurse. I—I—was not always kind to you, I fear. I opposed your marriage, fearing for her some such sorrow as that which came. But it is past. The gods allowed it. I will now, for her sake, love and serve you,—my true master you shall be from this day, because I can see that your heart is gnawed forever by that black moth, grief, as mine is. Old Kano does not grieve,—he is a man of stone, of mud!" she cried. "But I must not speak of his sins, yet; here is the good tea, Master, and the rice." ”

“ How beautiful was the poise, even at this distance, of the delicate throat, and the head, with its wide crown of inky hair! Each motion of the slow-strolling form in its clinging robes was a separate loveliness.
Kano drew a long sigh. He could not blind himself to Tatsu's savagery. This was not the sort of husband that Umè had a right to expect from her father's choice,—a youth not only penniless, and without family name, but in himself unusual, strange, with look, voice, gesture, coloring each a clear contrast to the men that Umè-ko had seen. ”

“ Even at the end he would say nothing but the words, "Strange, strange; there must be a reason that you have not guessed."
"But we will get the ihai, will we not, Master? Together, when you are strong, we will climb the long road to the temple?" she questioned tremulously.
"Indeed we shall," said Tatsu, with his heartrending smile; "for at best, the thoughts of Kano Indara cannot be our thoughts. He let her die." ”

“ 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. ”

“ The elder man had, himself in youth, fared along the valleys of art, and knew the signals on the peaks. 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. ”

“ Old men envied Kano his dutiful daughter, young men envied Tatsu his beautiful and loving wife. The print-makers, indeed, perpetrated a series of representations that put old Kano's artistic teeth on edge. First there was Umè at the willow; then Tatsu, in the same place, taking his mad plunge for death's oblivion; Umè, the hooded acolyte, kneeling in the sick chamber at the head of her husband's bed; Umè, the nun, standing each day at twilight on the edge of the temple cliff to catch a glimpse of him she loved; and, at the last, Tatsu and Umè rejoined beside the tomb of Kano Uta-ko. ”

“ I painted because I had you not."
"Because—you—had—me—not," mused little Umè-ko, her eyes fixed strangely upon the river.
"Come," said Tatsu, rudely, "did I not forbid you to speak of death? Too much has been said. Besides, the fate of ordinary mortals should have no potency for such as we. When our time comes for pause before rebirth we shall climb together some high mountain peak, lifting our arms and voices to our true parents, the gods of storm and wind. They will lean to us, beloved,—they will rush downward in a great passion of joy, catching us and straining us to immortality!" ”

“ Visions of Tatsu drowned; of Tatsu heaped under a wreck of burning cars; starved to death in a solitary forest; set upon, robbed, and slain by footpads, all spun—black silhouettes in a revolving lantern—through Kano's frenzied imagination. It was at this point that Uchida had hid himself, and assumed a false name.
In another week the gentle Umè began to grow pale and silent under the small tyrannies of her father. Mata openly declared her belief that it was a demon now on the way to them, since he had power to change the place into a cave of torment even before arrival. ”

“ Tatsu rose instantly, and drew her upward by the hands. A shudder of remembered horror caught him. He pressed her once more tightly to his heart. "Umè-ko, Umè-ko, my wife,—my Dragon Wife!" he cried aloud in a voice of love and anguish. "I have sought you through the torments of a thousand lives. Shall anything have power to separate us now?"
"Nothing can part us now, but—death," said Umè-ko, and glanced, for an instant, backward to the river.
Tatsu winced. "Use not the word! It attracts evil." ”

“ Tatsu moved impatiently upon his velvet cushion. "Of course I knew that. It was the name on the scrap of paper that guided me here."
"Is it possible that you do not yet know the meaning of the name of Kano?" asked the artist, incredulously. A thin red tingled to his cheek,—the hurt of childish vanity.
"There is one of that name in my village," said Tatsu. "He is a scavenger, and often gives me fine large sheets of paper."
Old Kano's lip trembled. "I am not of his sort. Men call me an artist."
"Oh, an artist! ”

“ For three days and nights Tatsu remained to himself. The anxious listeners heard at times the sound of restless pacing up and down,—the thin, sibilant noise of stockinged feet sliding on padded straw. Again there would be a thud, as of a body fallen, or sunken heavily to the floor. Kano, on the second day, pale with apprehension, went early to the hospital for a revocation, or at least a modification of the instructions. The doctor's mandate was the same, "Do not go near him. Life, as well as reason, may depend upon this battle with his own despair. ”

“ They believed the deepening lines of grief to be traced by the loss of an only daughter, rather than by this illness of a newly adopted son. In truth the old man seldom thought of Umè-ko. He was watching the life that flickered in Tatsu's prostrate body as a lost, starving traveller watches a lantern approaching over the moor. "The gods preserve him,—the gods grant his life to the Kano name, to art, and the glory of Nippon," so prayed the old man's shrivelled lips a hundred times each day. ”

“ Umè's outstretched arm fell heavily to her side. "Alas!" she said again. "From deepest happiness may come the deepest pain. You dream not of the hurt you give."
"I give no hurt at all that I cannot more than heal," cried Tatsu, in his masterful way. But Umè's lips still quivered, and she turned her face from him.
In the silence that followed, the water among the willow roots gave out a rush and gurgle, a sound of liquid merriment,—perhaps the laugh of a "Kappa" or river sprite, mocking the perplexities of men. Umè-ko leaned over instantly, staring down into the stream. ”

“ And Kano, helpless before his own misery and the old dame's acrid triumph, would keep silence, only muttering invocations to the gods for self-control.
Often the young wife pretended a sudden desire for her own artistic work. She would go hurriedly to the little painting chamber, gather complex paraphernalia, and assume the pose of eager effort. Tatsu always followed her but, once within the room, bent such laughing eyes of comprehension that she dared not look into his face. ”

“ Back, back,—do not touch me, or ere I kill myself I will find strength to slay you first. I will drag you with me to the underworld, as I journey in searching for my wife, and fling your craven soul to devils, as one would fling offal to a dog! Speak not to me of painting, nor of her!"
At the sight of extra attendants hurrying in, Tatsu waved them to leave him, threw himself back, stark, upon the pillow, and closed his eyes so tightly that the wrinkles radiated in black lines from the corners. He panted heavily, as from a long race. His forehead twitched and throbbed with purple veins. ”

“ Umè-ko went again to her father, saying that she again had failed. The strain was now, indeed, past all human endurance. The little home became a charged battery of tragic possibilities. Each moment was a separate menace, and the hours heaped up a structure already tottering.
At dawn of the next day, Tatsu, who after a restless and unhappy night had fallen into heavy slumber, awoke, with a start, alone. A pink light glowed upon his paper shoji; the plum tree, now entirely leafless, threw a splendid shadow-silhouette. At the eaves, sparrows chattered merrily. ”