“All right, then,” Yoshihide said, still looking worried, “come inside right away.” He hesitated. “And when the other apprentices arrive,” he added, “don’t let any of them in where I am sleeping.”
“Inside” meant the room where the master actually did his painting, and as usual on this day, the apprentice told me, its doors and windows were shut as tightly as at night. In the dull glow of an oil lamp stood the large folding screen, its panels arranged in a semi-circle and still only sketched out in charcoal. Yoshihide lay down with his head pillowed on his forearm and slipped into the deep sleep of an utterly exhausted man. Hardly any time had gone by, however, when the apprentice began to hear a sound that he had no way of describing. It was a voice, he told me, but a strange and eerie one.
8
At first, it was just a sound, but soon, in snatches, the voice began to form words that came to him as if from under water, like the muffled cries of a drowning man. “Wha-a-a-t?” the voice said, “You want me to come with you?… Where? Where are you taking me? To hell, you say. To the Hell of Searing Heat, you say. Who…who are you, damn you? Who can you be but —”
The apprentice, dissolving pigments, felt his hands stop of their own accord. He peered fearfully through the gloom at his master’s face. Not only had the furrowed skin gone stark white, but fat beads of sweat oozed from it, and the dry-lipped, snaggle-toothed mouth strained wide open as if gasping for breath. The youth saw something moving in his master’s mouth with dizzying speed, like an object being yanked by a cord, but then—imagine!—he realized the thing was Yoshihide’s tongue. The fragmented speech had been coming from that tongue of his.
“Who could it be but—you, damn you. It is you! I thought so! What’s that? You’ve come to show me the way there? You want me to follow you. To hell! My daughter is waiting for me in hell!”
The apprentice told me that an uncanny feeling overcame him at that point—his eyes seemed to make out vague, misshapen shadows that slid over the surface of the screen and flooded down upon the two of them. Naturally, he immediately reached over and shook Yoshihide as hard as he could; but rather than waking, the master, in a dreamlike state, went on talking to himself and showed no sign of regaining consciousness. Desperate now, the apprentice grabbed the jar for washing brushes and splashed all the water into Yoshihide’s face.
“I’m waiting for you,” Yoshihide was saying, “so hurry and get into the cart. Come along to hell!” but the moment the water hit him his words turned to a strangled moan. At last he opened his eyes, and he sprang up more wildly than if he had been jabbed with a needle. But the misshapen creatures must have been with him still, for he stared into space, with mouth agape and with terrified eyes. At length he returned to himself and, without a hint of gratitude, barked at the poor apprentice, “I’m all right now. Get out of here.”
The apprentice knew he would be scolded if he resisted his master at a time like this, so he hurried out of the room, but he told me that when he saw the sunlight again he felt as relieved as if he were waking from his own nightmare.
This was by no means Yoshihide at his worst, however. A month later he called yet another apprentice into the inner room. The young man found Yoshihide standing in the gloom of the oil lamps biting the end of his paintbrush. Without a moment’s hesitation, Yoshihide turned to him and said, “Sorry, but I need you naked again.” The master had ordered such things in the past, so the apprentice quickly stripped off his clothes, but now Yoshihide said with a strange scowl, “I want to see a person in chains, so do what I tell you. Sorry about this, but it will just take a little while.” Yoshihide could mouth apologetic phrases, but he issued his cold commands without the least show of sympathy. This particular apprentice was a well-built lad who looked more suited to wielding a sword than a paintbrush, but even he must have been shocked by what happened. “I figured the Master had gone crazy and was going to kill me,” he told people again and again long afterward. Yoshihide was apparently annoyed by the young man’s slow preparations. Instead of waiting, he dragged out a narrow iron chain from heaven knows where and all but pounced on the apprentice’s back, wrenching the man’s arms behind him and winding him in the chain. Then he gave the end of the chain a cruel yank and sent the young man crashing down on the floor.
9
The apprentice lay there like—what?—like a keg of saké that someone had knocked over. Legs and arms mercilessly contorted, he could move only his head. And with the chain cutting off the circulation of his blood, you know, his skin swelled red—face, torso, everywhere. Yoshihide, though, was apparently not the least bit concerned to see him like this; he circled this saké-keg of a body, observing it from every angle and drawing sketch after sketch. I am certain that, without my spelling it out, you can imagine what torture this must have been for the poor apprentice.
If nothing had interrupted it, the young man’s ordeal would almost surely have lasted even longer, but fortunately (or perhaps unfortunately) a narrow, winding streak like black oil began to flow from behind a large jar in the corner of the room. At first it moved slowly, like a thick liquid, but then it began to slide along the floor more smoothly, glinting in the darkness until it was almost touching the apprentice’s nose. He took a good look at it, gasped and screamed, “A snake! A snake!” The way he described the moment to me, he felt as if every drop of blood in his body would freeze, which I can well understand, for in fact the snake’s cold tongue was just about to touch the flesh of his neck where the chain was biting. Even Yoshihide, for all his perversity, must have felt a rush of horror at this unforeseeable occurrence. Flinging his brush down, he bent and gripped the snake by the tail, dangling it upside-down. The snake raised its head and began to coil upward around its own body, but it could not reach Yoshihide’s hand.
“You cost me a good brush stroke, damn you,” he growled at the snake, flinging it into the jar in the corner. Then, with obvious reluctance, he loosened the chains that bound the apprentice’s body. In fact, loosening the chains was as far as he was willing to go: for the youth himself he spared not a word of sympathy. I suspect he was more enraged at having botched a single brush stroke than concerned that his apprentice might have been bitten by a snake. I heard afterward that he had been keeping the snake to sketch from.
I imagine that what little you have heard is enough for you to grasp the fanatic intensity with which Yoshihide approached his work. But let me give you one last terrible example concerning a young apprentice—no more than thirteen or fourteen—who could have lost his life for the hell screen. It happened one night when the boy, whose skin was fair as a girl’s, was called into the master’s studio. There he found Yoshihide by the tripod lamp balancing a piece of raw meat on his palm and feeding it to a bird the likes of which he had never seen before. The bird was the size of a cat, and in fact, with its two feather tufts sticking out from its head like ears and its big, round amber-colored eyes, it did look very much like a cat.
10
Yoshihide was a man who simply hated to have anyone pry into his business, and—the snake I told you about was one such case—he would never let his apprentices know what kinds of things he had in his studio. Depending on the subject he happened to be painting at the time, he might have a human skull perched on his table, or rows of silver bowls and gold-lacquered stands—you never knew. And his helpers told me they had no idea where he kept such things when he was not using them. This was surely one reason for the rumor that Yoshihide was the beneficiary of miraculous aid from a god of fortune.
Well then, the young apprentice, assuming for himself that the strange bird on the table was a model Yoshihide needed for the hell screen, knelt before the painter and asked in all humility, “How can I help you, Master?”
Almost as if he had not heard the boy speak, Yoshihide licked his red lips and jerked his chin toward the bird. “Not bad, eh? Look how tame it is.”
“Please tell me, Master, what is it? I have never seen anything like it
before,” the boy said, keeping his wary gaze fixed on the cat-like bird with ears.
“What? Never seen anything like it?” Yoshihide responded with his familiar scornful laugh. “That’s what you get for growing up in the Capital! It’s a bird. A horned owl. A hunter brought it to me a few days ago from Mount Kurama. Only, you don’t usually find them so tame.”
As he spoke, Yoshihide slowly raised his hand and gave a soft upward stroke to the feathers of the owl’s back just as the bird finished swallowing the chunk of meat. Instantly the bird emitted a shriek and leaped from the table top, aiming its outstretched talons at the apprentice’s face. Had the boy not shot his arm out to protect himself, I have no doubt that he would have ended up with more than a gash or two on his face. He cried out and shook his sleeve in an attempt to sweep the bird away, which only added to the fury of the attack. Beak clattering, the owl lunged at him again. Disregarding Yoshihide’s presence, the apprentice ran wildly around the cramped room, now standing to defend himself, now crouching to drive the bird away. The monster, of course, stuck with him, flying up when he stood up and down when he crouched down, and using any opening to go straight for his eyes. With each lunge came a tremendous flapping of wings that filled the boy with dread. He felt so lost, he said later, that the familiar studio felt like a haunted valley deep in the mountains, with the smell of rotting leaves, the spray of a waterfall, the sour fumes of fruit stashed away by a monkey; even the dim glow of the master’s oil lamp on its tripod looked to him like misty moonlight in the hills.
Being attacked by the owl, however, was not what most frightened the lad. What really made his flesh crawl was the way the master Yoshihide followed the commotion with his cold stare, taking his time to spread out a piece of paper, lick his brush, and then set about capturing the terrible image of a delicate boy being tormented by a hideous bird. At the sight, the apprentice was overcome by an inexpressible terror. For a time, he says, he even thought his master might kill him.
11
And you actually couldn’t say that such a thing was out of the question. For it did seem that Yoshihide’s sole purpose in calling the apprentice to his studio that night had been to set the owl on him and draw him trying to escape. Thus, when the apprentice caught that glimpse of his master at work, he felt his arms come up to protect his head and heard an incoherent scream escape his throat as he slumped down against the sliding door in the corner of the room. In that same instant Yoshihide himself cried out and jumped to his feet, whereupon the beating of the owl’s wings grew faster and louder and there came the clatter of something falling over and a tearing sound. Having covered his head in terror, the apprentice now raised it again to find that the room had gone pitch dark, and he heard Yoshihide’s angry voice calling to the other apprentices.
Eventually there was a far-off cry in response, and soon an apprentice rushed in with a lantern held high. In its sooty-smelling glow, the boy saw the tripod collapsed on the floor and the mats and planking soaked in the oil of the overturned lamp. He saw the owl, too, beating one wing in apparent pain as it flopped around the room. On the far side of the table, looking stunned, Yoshihide was raising himself from the floor and muttering something incomprehensible. And no wonder! That black snake was tightly coiled around the owl from neck to tail and over one wing. The apprentice had probably knocked the jar over as he slumped to the floor, and when the snake crawled out, the owl must have made the mistake of trying to grab it in its talons, only to give rise to this struggle. The two apprentices gaped at the bizarre scene and at each other until, with a silent bow to the master, they slipped out of the room. What happened to the owl and snake after that, no one knows.
This was by no means the only such incident. I forgot to mention that it was the beginning of autumn when His Lordship commanded Yoshihide to paint the hell screen; from then until the end of winter the apprentices were continually subjected to their master’s frightening behavior. At that point, however, something seemed to interfere with Yoshihide’s work on the screen. An even deeper layer of gloom came to settle over him, and he spoke to his assistants in markedly harsher tones. The screen was perhaps eight-tenths finished, but it showed no further signs of progress. Indeed, Yoshihide occasionally seemed to be on the verge of painting over those parts that he had already completed.
No one knew what he was finding so difficult about the screen, and what’s more, no one tried to find out. Stung by those earlier incidents, his apprentices felt as if they were locked in a cage with a tiger or a wolf, and they found ways to keep their distance from the master.
12
For that reason, I have little to tell you about that period. The only unusual thing I can think of is that the hardheaded old codger suddenly turned weepy; people would often see him shedding tears when he was alone. An apprentice told me that one day he walked into the garden and saw the master standing on the veranda, gazing blankly at the sky with its promise of spring, his eyes full of tears. Embarrassed for the old man, the apprentice says, he silently withdrew. Don’t you find it odd that this arrogant man, who went so far as to sketch a corpse on the roadside for his Five Levels of Rebirth, would cry like an infant just because the painting of the screen wasn’t going as well as he wanted it to?
In any case, while Yoshihide was madly absorbed in his work on the screen, his daughter began to show increasing signs of melancholy, until the rest of us could see that she was often fighting back her tears. A pale, reserved, sad-faced girl to begin with, she took on a genuinely mournful aspect as her lashes grew heavy and shadows began to form around her eyes. This gave rise to all sorts of speculation—that she was worried about her father, or that she was suffering the pangs of love—but soon people were saying that it was all because His Lordship was trying to bend her to his will. Then the gossiping ground to a halt, as though everyone had suddenly forgotten about her.
A certain event occurred at that time. Well after the first watch of the night, I was walking down an outdoor corridor when the monkey Yoshihide came flying at me from out of nowhere and started tugging at my trouser skirts. As I recall it, this was one of those warm early spring nights when you expect at any time now to be catching the romantic fragrance of plum blossoms in the pale moonlight. But what did I see in the moon’s faint glow? It was the monkey baring its white fangs, wrinkling up its nose, and shrieking with almost manic intensity. An eerie chill was only three parts of what I felt: the other seven parts were anger at having my new trousers yanked at like that, and I considered kicking the beast aside and continuing on my way. I quickly changed my mind, however, recalling the case of the samurai who had earned the Young Master’s displeasure by tormenting the monkey. And besides, the way the monkey was behaving, there was obviously something wrong. I therefore gave up trying to resist and allowed myself to be pulled several paces farther.
Where the corridor turned a corner, the pale surface of His Lordship’s pond could be seen stretching off through the darkness beyond a gently drooping pine. When the animal led me to that point, my ears were assaulted by the frantic yet strangely muffled sounds of what I took to be a struggle in a nearby room. All else was hushed. I heard no voices, no sounds but the splash of a fish leaping in the mingled moonlight and fog. The sound of the struggle brought me up short. If this was an intruder, I resolved, I would teach him a lesson, and, holding my breath, I edged closer to the sliding door.
13
My approach, however, was obviously too slow and cautious for the monkey. Yoshihide scampered around me in circles—once, twice, three times—then bounded up to my shoulder with a strangled cry. Instinctively, I jerked my head aside to avoid being scratched. The monkey dug its claws into my sleeve to keep from slipping down. This sent me staggering, and I stumbled backward, slamming against the door. Now I could no longer hesitate. I shot the door open and crouched to spring in beyond the moonlight’s edge. At that very moment something rose up to block my view. With a start I realized it was a woman. She flew toward me as
if someone had flung her out of the room. She nearly hit me but instead she tumbled forward and—why, I could not tell—went down on one knee before me, trembling and breathless, and staring up at me as if at some terrifying sight.
I am sure I need not tell you it was Yoshihide’s daughter. That night, however, my eyes beheld her with a new vividness, as though she were an utterly different person. Her eyes were huge and shining. And her cheeks seemed to be burning red. Her disheveled clothes gave her an erotic allure that contrasted sharply with her usual childish innocence. Could this actually be the daughter of Yoshihide? I wondered—that frail-looking girl so modest and self-effacing in all things? Leaning against the sliding wooden door, I stared at this beautiful girl in the moonlight and then, as if they were capable of pointing, I flicked my eyes toward the hurried footsteps receding into the distance to ask her soundlessly, Who was that?
The girl bit her lip and shook her head in silence. I could see she felt deeply mortified.
I bent over her and, speaking softly next to her ear, now put my question into words: “Who was that?” But again she refused to answer and would only shake her head. Indeed, she bit her lip harder than ever as tears gathered on her long lashes.
Born stupid, I can never understand anything that isn’t perfectly obvious, and so I had no idea what to say to her. I could do nothing but stand there, feeling as if my only purpose was to listen to the wild beating of her heart. Of course, one thing that kept me silent was the conviction that it would be wrong of me to question her any further.
How long this went on, I do not know, but eventually I slid shut the door and gently told the girl, “Go to your room now.” Her agitation seemed to have subsided somewhat. Assailed by an uneasy feeling that I had seen something I was not meant to see, and a sense of shame toward anyone and no one in particular, I began to pad my way back up the corridor. I had hardly walked ten paces, however, when again I felt a tug—a timid one—at the skirt of my trousers. I whirled around, startled, but what do you think it was?
Rashōmon and Seventeen Other Stories Page 11