The Baron seemed to have accomplished what he'd set out to do; or at least, he went no further for the moment. I felt his hands at my waist, caressing the fabric of my underrobe. When at last I opened my eyes again, he stood behind me still, taking in the scent of my hair and my neck. His eyes were fixed on the mirror-fixed, it seemed to me, on the waistband that held my underrobe shut. Every time his fingers moved, I tried with the power of my mind to keep them away, but all too soon they began creeping like spiders across my belly, and in another moment had tangled themselves in my waistband and begun to pull. I tried to stop him several times, but the Baron pushed my hands away as he'd done earlier. Finally the waistband came undone; the Baron let it slip from his fingers and fall to the floor. My legs were trembling, and the room was nothing more than a blur to me as he took the seams of my underrobe in his hands and started to draw them open. I couldn't stop myself from grabbing at his hands once again.
"Don't be so worried, Sayuri!" the Baron whispered to me. "For heaven's sake, I'm not going to do anything to you I shouldn't do. I only want to have a look, don't you understand? There's nothing wrong in that. Any man would do the same."
A shiny bristle from his face tickled against my ear as he said this, so that I had to turn my head to one side. I think he must have interpreted this as a kind of consent, because now his hands began to move with more urgency. He pulled my robe open. I felt his fingers on my ribs, almost tickling me as he struggled to untie the strings holding my kimono undershirt closed. A moment later he'd succeeded. I couldn't bear the thought of what the Baron might see; so even while I kept my face turned away, I strained my eyes to look in the mirror. My kimono undershirt hung open, exposing a long strip of skin down the center of my chest.
By now the Baron's hands had moved to my hips, where they were busy with my koshimaki. Earlier that day, when I had wrapped the koshimaki several times around me, I'd tucked it more tightly at the waist than I probably needed to. The Baron was having trouble finding the seam, but after several tugs he loosened the fabric, so that with one long pull he was able to draw the entire length of it out from beneath my underrobe. As the silk slid against my skin, I heard a noise coming out of my throat, something like a sob. My hands grabbed for the koshimaki, but the Baron pulled it from my reach and dropped it to the floor. Then as slowly as a man might peel the cover from a sleeping child, he drew open my underrobe in a long breathless gesture, as though he were unveiling something magnificent. I felt a burning in my throat that told me I was on the point of crying; but I couldn't bear the thought that the Baron would see my nakedness and also see me cry. I held my tears back somehow, at the very edge of my vision, and watched the mirror so intently that for a long moment I felt as though time had stopped. I'd certainly never seen myself so utterly naked before. It was true that I still wore buttoned socks on my feet; but I felt more exposed now with the seams of my robe held wide apart than I'd ever felt even in a bathhouse while completely unclothed. I watched the Baron's eyes linger here and there on my reflection in the mirror. First he drew the robe still farther open to take in the outline of my waist. Then he lowered his eyes to the darkness that had bloomed on me in the years since I'd come to Kyoto. His eyes remained there a long while; but at length they rose up slowly, passing over my stomach, along my ribs, to the two plum-colored circles-first on one side, and then on the other. Now the Baron took away one of his hands, so that my underrobe settled against me on that side. What he did with his hand I can't say, but I never saw it again. At one point I felt a moment of panic when I saw a naked shoulder protruding from his bathrobe. I don't know what he was doing-and even though I could probably make an accurate guess about it now, I much prefer not to think about it. All I know is that I became very aware of his breath warming my neck. After that, I saw nothing more. The mirror became a blur of silver; I was no longer able to hold back my tears.
At a certain point the Baron's breathing slowed again. My skin was hot and quite damp from fear, so that when he released my robe at last and let it fall, I felt the puff of air against my side almost as a breeze. Soon I was alone in the room; the Baron had walked out without my even realizing it. Now that he was gone, I rushed to dress myself with such desperation that while I knelt on the floor to gather up my undergarments, I kept seeing in my mind an image of a starving child grabbing at scraps of food.
I dressed again as best I could, with my hands trembling. But until I had help, I could go no further than to close my underrobe and secure it with the waistband. I waited in front of the mirror, looking with some concern at the smeared makeup on my face. I was prepared to wait there a full hour if I had to. But only a few minutes passed before the Baron came back with the sash of his bathrobe tight around his plump belly. He helped me into my kimono without a word, and secured it with my datejime just as Mr. Itchoda would have done. While he was holding my great, long obi in his arms, measuring it out in loops as he prepared to tie it around me, I began to feel a terrible feeling. I couldn't make sense of it at first; but it seeped its way through me just as a stain seeps across cloth, and soon I understood. It was the feeling that I'd done something terribly wrong. I didn't want to cry in front of the Baron, but I couldn't help it-and anyway, he hadn't looked me in the eye since coming back into the room. I tried to imagine I was simply a house standing in the rain with the water washing down the front of me. But the Baron must have seen, for he left the room and came back a moment later with a handkerchief bearing his monogram. He instructed me to keep it, but after I used it, I left it there on a table.
Soon he led me to the front of the house and went away without speaking a word. In time a servant came, holding the antique kimono wrapped once again in linen paper. He presented it to me with a bow and then escorted me to the Baron's motorcar. I cried quietly in the backseat on the way to the inn, but the driver pretended to take no notice. I was no longer crying about what had happened to me. Something much more frightful was on my mind-namely, what would happen when Mr. Itchoda saw my smeared makeup, and then helped me undress and saw the poorly tied knot in my obi, and then opened the package and saw the expensive gift I'd received. Before leaving the car I wiped my face with the Chairman's handkerchief, but it did me little good. Mr. Itchoda took one look at me and then scratched his chin as though he understood everything that had happened. While he was untying my obi in the room upstairs, he said:
"Did the Baron undress you?"
"I'm sorry," I said.
"He undressed you and looked at you in the mirror. But he didn't enjoy himself with you. He didn't touch you, or lie on top of you, did he?"
"No, sir."
"That's fine, then," Mr. Itchoda said, staring straight ahead. Not another word was spoken between us.
chapter twenty-three
I won't say my emotions had settled themselves by the time the train pulled into Kyoto Station early the following morning. After all, when a stone is dropped into a pond, the water continues quivering even after the stone has sunk to the bottom. But when I descended the wooden stairs carrying us from the platform, with Mr. Itchoda one step behind me, I came upon such a shock that for a time I forgot everything else.
There in a glass case was the new poster for that season's Dances of the Old Capital, and I stopped to have a look at it. Two weeks remained before the event. The poster had been distributed just the previous day, probably while I was strolling around the Baron's estate hoping to meet up with the Chairman. The dance every year has a theme, such as "Colors of the Four Seasons in Kyoto," or "Famous Places." This year the theme was "The Gleaming Light of the Morning Sun." The poster, which of course was drawn by Uchida Kosaburo-who'd created nearly every poster since 1919-showed an apprentice geisha in a lovely green and orange kimono standing on an arched wooden bridge. I was exhausted after my long trip and had slept badly on the train; so I stood for a while before the poster in a sort of daze, taking in the lovely greens and golds of the background, before I turned my attention to the girl in the
kimono. She was gazing directly into the bright light of the sunrise, and her eyes were a startling blue-gray. I had to put a hand on the railing to steady myself. I was the girl Uchida had drawn there on that bridge!
On the way back from the train station, Mr. Itchoda pointed out every poster we passed, and even asked the rickshaw driver to go out of his way so we could see an entire wall of them on the old Daimaru Department Store building. Seeing myself all over the city this way wasn't quite as thrilling as I would have imagined; I kept thinking of the poor girl in the poster standing before a mirror as her obi was untied by an older man. In any case, I expected to hear all sorts of congratulations over the course of the following few days, but I soon learned that an honor like this one never comes without costs. Ever since Mameha had arranged for me to take a role in the seasonal dances, I'd heard any number of unpleasant comments about myself. After the poster, things only grew worse. The next morning, for example, a young apprentice who'd been friendly the week before now looked away when I gave a bow to greet her.
As for Mameha, I went to visit her in her apartment, where she was recovering, and found that she was as proud as if she herself had been the one in the poster. She certainly wasn't pleased that I'd taken the trip to Hakone, but she seemed as devoted to my success as ever-strangely, perhaps even more so. For a while I worried she would view my horrible encounter with the Baron as a betrayal of her. I imagined Mr. Itchoda must have told her about it... but if he did, she never raised the subject between us. Neither did I.
*
Two weeks later the seasonal dances opened. On that first day in the dressing room at the Kaburenjo Theater, I felt myself almost overflowing with excitement, for Mameha had told me the Chairman and Nobu would be in the audience. While putting on my makeup, I tucked the Chairman's handkerchief beneath my dressing robe, against my bare skin. My hair was bound closely to my head with a silk strip, because of the wigs I would be wearing, and when I saw myself in the mirror without the familiar frame of hair surrounding my face, I found angles in my cheeks and around my eyes that I'd never before seen. It may seem odd, but when I realized that the shape of my own face was a surprise to me, I had the sudden insight that nothing in life is ever as simple as we imagine.
An hour later I was standing with the other apprentices in the wings of the theater, ready for the opening dance. We wore identical kimono of yellow and red, with obis of orange and gold-so that we looked, each of us, like shimmering images of sunlight. When the music began, with that first thump of the drums and the twang of all the shamisens, and we danced out together like a string of beads-our arms outstretched, our folding fans open in our hands-I had never before felt so much a part of something.
After the opening piece, I rushed upstairs to change my kimono. The dance in which I was to appear as a solo performer was called "The Morning Sun on the Waves," about a maiden who takes a morning swim in the ocean and falls in love with an enchanted dolphin. My costume was a magnificent pink kimono with a water design in gray, and I held blue silk strips to symbolize the rippling water behind me. The enchanted dolphin prince was played by a geisha named Umiyo; in addition, there were roles for geisha portraying wind, sunlight, and sprays of water-as well as a few apprentices in charcoal and blue kimono at the far reaches of the stage, playing dolphins calling their prince back to them.
My costume change went so quickly that I found myself with a few minutes to peek out at the audience. I followed the sound of occasional drumbeats to a narrow, darkened hallway running behind one of the two orchestra booths at the sides of the theater. A few other apprentices and geisha were already peering out through carved slits in the sliding doors. I joined them and managed to find the Chairman and Nobu sitting together-though it seemed to me the Chairman had given Nobu the better seat. Nobu was peering at the stage intently, but I was surprised to see that the Chairman seemed to be falling asleep. From the music I realized that it was the beginning of Mameha's dance, and went to the end of the hallway where the slits in the doors gave a view of the stage.
I watched Mameha no more than a few minutes; and yet the impression her dance made on me has never been erased. Most dances of the Inoue School tell a story of one kind or another, and the story of this dance-called "A Courtier Returns to His Wife"-was based on a Chinese poem about a courtier who carries on a long affair with a lady in the Imperial palace. One night the courtier's wife hides on the outskirts of the palace to find out where her husband has been spending his time. Finally, at dawn, she watches from the bushes as her husband takes leave of his mistress-but by this time she has fallen ill from the terrible cold and dies soon afterward.
For our spring dances, the story was changed to Japan instead of China; but otherwise, the tale was the same. Mameha played the wife who dies of cold and heartbreak, while the geisha Kanako played the role of her husband, the courtier. I watched the dance from the moment the courtier bids good-bye to his mistress. Already the setting was inspiringly beautiful, with the soft light of dawn and the slow rhythm of the shamisen music like a heartbeat in the background. The courtier performed a lovely dance of thanks to his mistress for their night together, and then moved toward the light of rising sun to capture its warmth for her. This was the moment when Mameha began to dance her lament of terrible sadness, hidden to one side of the stage out of view of the husband and mistress. Whether it was the beauty of Mameha's dance or of the story, I cannot say; but I found myself feeling such sorrow as I watched her, I felt as if I myself had been the victim of that terrible betrayal. At the end of the dance, sunlight filled the stage. Mameha crossed to a grove of trees to dance her simple death scene. I cannot tell you what happened after that. I was too overcome to watch any further; and in any case, I had to return backstage to prepare for my own entrance.
While I waited in the wings, I had the peculiar feeling that the weight of the entire building was pressing down on me-because of course, sadness has always seemed to me an oddly heavy thing. A good dancer often wears her white, buttoned socks a size too small, so she can sense the seams in the wooden stage with her feet. But as I stood there trying to find the strength within myself to perform, I had the impression of so much weight upon me that I felt not only the seams in the stage, but even the fibers in the socks themselves. At last I heard the music of the drums and shamisen, and the whisking noise of the clothing as the other dancers moved quickly past me onto the stage; but it's very hard for me to remember anything afterward. I'm sure I raised my arms with my folding fan closed and my knees bent-for this was the position in which I made my entrance. I heard no suggestion afterward that I'd missed my cue, but all I remember clearly is watching my own arms with amazement at the sureness and evenness with which they moved. I'd practiced this dance any number of times; I suppose that must have been enough. Because although my mind had shut down completely, I performed my role without any difficulty or nervousness.
At every performance for the rest of that month, I prepared for my entrance in the same way, by concentrating on "The Courtier Returns to His Wife," until I could feel the sadness laying itself over me. We human beings have a remarkable way of growing accustomed to things; but when I pictured Mameha dancing her slow lament, hidden from the eyes of her husband and his mistress, I could no more have stopped myself from feeling that sadness than you could stop yourself from smelling an apple that has been cut open on the table before you.
*
One day in the final week of performances, Mameha and I stayed late in the dressing room, talking with another geisha. When we left the theater we expected to find no one outside-and indeed the crowd had gone. But as we reached the street, a driver in uniform stepped out of a car and opened the rear door. Mameha and I were on the point of walking right past when Nobu emerged.
"Why, Nobu-san," Mameha said, "I was beginning to worry that you no longer cared for Sayuri's company! Every day this past month, we've hoped to hear something from you..."
"Who are you to complain about bei
ng kept waiting? I've been outside this theater nearly an hour."
"Have you just come from seeing the dances again?" Mameha said. "Sayuri is quite a star."
"I haven't just come from anything," Nobu said. "I've come from the dances a full hour ago. Enough time has passed for me to make a phone call and send my driver downtown to pick something up for me."
Nobu banged on the window of the car with his one hand, and startled the poor driver so badly his cap fell off. The driver rolled down the window and gave Nobu a tiny shopping bag in the Western style, made of what looked like silver foil. Nobu turned to me, and I gave him a deep bow and told him how happy I was to see him.
"You're a very talented dancer, Sayuri. I don't give gifts for no reason," he said, though I don't think this was in any way true. "Probably that's why Mameha and others in Gion don't like me as much as other men."
"Nobu-san!" said Mameha. "Who has ever suggested such a thing?"
"I know perfectly well what you geisha like. So long as a man gives you presents you'll put up with any sort of nonsense."
Nobu held out the small package in his hand for me to take.
"Why, Nobu-san," I said, "what nonsense is it that you are asking me to put up with?" I meant this as a joke, of course; but Nobu didn't see it that way.
"Haven't I just said I'm not like other men?" he growled. "Why don't you geisha ever believe anything told to you? If you want this package, you'd better take it before I change my mind."
Memoirs of a Geisha Page 33