The Golden Country

by Shusaku Endo

  YUKI: And will he also give his blessing if the man is not a Christian, but, what's more, a member of the bureau persecuting the Christians?

  FERREIRA: A member of the Bureau of Investigation? Yuki, that man wouldn't be the young samurai who works for the bureau, would it? That couldn't be, could it? Why don't you speak? Can't you hear me? Speak out.

  YUKI: Yes, it's Gennosuke.

  FERREIRA: I was right....Since when have you known him?

  YUKI: Since I was a child. We used to play together. At times when the older children wouldn't let me enter their games and I stood crying, he would take me by the hand and sing songs to me. Since then I've always looked upon him as a brother.

  FERREIRA: You needn't go into detail about the past. Did you meet him occasionally after that?

  YUKI: No, I never met him again until I heard about him from my father the other day. But...

  FERREIRA: But? ... Continue.

  YUKI: I've been all flustered since father told me about the proposal.

  FERREIRA: Are you in love with him? . .. Remember, he's an official. No, official would be bad enough, but young as he is, he is an official of the bureau in charge of the Christian persecution.

  YUKI: That's the very reason why I am suffering.

  FERREIRA (silent for a moment): I know how much you are suffering, Yuki. My heart goes out to you. But as a priest, I must tell you clearly: you must stop thinking about him. You must get over this infatuation. From this day on you must look upon the suffering you experience in erasing him from your heart as the cross which Our Lord himself places on your shoulder. And you must cany it just as Christ carried his heavy cross, that was laid on his shoulders that day in Jerusalem. You must bear patiently the pain of giving him up. It won't be easy, Yuki. It will be torture. But Our Lord knows you are experiencing this pain.

  YUKI: Yes.

  FERREIRA: You must pray to him with all your heart.

  The priest gives her absolution in Latin. Yuki leaves. Ferreira stands up. The sound of a door opening.

  FERREIRA: Who is it?

  KASUKE: It's me, Father-Kasuke.

  FERREIRA: And the others?

  KASUKE: We've put our heads together and have tried to come up with a plan, but no good one comes to mind. Sooner or later the officials will surely come to our village too. There's no way to escape. Father, when that time comes, will Jesus and Santa Maria help us? If Jesus knows everything, why won't he save us? ... No, that's not what I wanted to say. The bonze at the infidels' temple has been running around the streets telling everyone that the Christians' God cannot save his people from torture by fire and water. Why does he disturb people with his stupid chatter? If I catch him, I'll beat him over the head. That's what I've told myself.

  FERREIRA: You promised to beat him up?

  KASUKE: Yes, that's what I promised myself.... Listen, Father. When we farmers plant our crops, we have good seedlings and we have bad. With the good ones, all we have to do is plant them and they thrive. But the bad ones—no matter how much fertilizer we heap over them, they refuse to grow or to bear fruit.

  FERREIRA: What does this have to do with what we were talking about?

  KASUKE: Father, among the Christians too-no, even among the farmers in this village, there are the good seeds and the bad, the strong and the weak. This has nothing to do with their piety. Those born with a strong heart are able to bear up under torture; they are able to persevere in their piety. But those born weak and cowards—no matter how set they are to suffer torture, their shaking bodies won't listen to their hearts.

  Growing more excited.

  KASUKE: Soon our village will also have to meet the test of the fumi-e. Father, you won't be able to help us then; each of us will be on his own. The strong among us will be able to put up with any pain the officials may inflict. They will never step on the face of Christ. But those of us who have been born weak cowards—what about us?

  FERREIRA: God will certainly help you in that moment. Why do you doubt it?

  KASUKE: Father, I've heard these words so often. But will Jesus really help the weak as well as the strong? Then why did he himself throw the weak shoots into the river? Those without strength? I'm talking about the really weak—those that won't grow no matter how much fertilizer is used, or how tenderly they are cared for.

  FERREIRA: What weak shoots did Christ throw into the river? What are you referring to?

  KASUKE: You yourself told us about that. I'm speaking of the coward that betrayed him.

  FERREIRA: You mean Judas?

  KASUKE: Yes, Judas. Won't you tell me about him once more? Then I can make clear to you what I mean.

  FERREIRA: The night before he died on the cross, Jesus ate a last supper with his twelve apostles. It was evening and all were seated in their places, taking their meal. Then Jesus spoke: "One of you will betray me," and dipping a piece of bread into a dish, he handed it to Judas, saying "Be quick on your errand."

  KASUKE: That's it. When you told us that story, I couldn't understand it. Christ is full of love for men, isn't he? Then why didn't he show love to a coward like Judas too? Christ knows everything. So he must have been able to look into the coward Judas' deepest heart." And he was willing to see him fall into hell without helping him or trying to stop him. In other words, he will let us put our feet on the fumi-e; he will let us deny our faith. He will desert us before everyone's eyes. Isn't that true, Father? He pulled out the weak shoots and threw them into the river. That's what it looks like to me.

  FERREIRA (strongly): Kasuke, do you think that Our Lord rejected Judas in anger and in hatred?

  KASUKE: Forgive me, Father, but that's what it looks like to me.

  FERREIRA: Listen carefully. There was once a farmer whose wife had deserted him, wasn't there? I forget his name. Do you suppose that when he threw her out it was for sheer hate? Not at all. He was still in love with her, and just because he was in love with her, it was very painful for him to look upon his traitorous wife. He must have been torn in two directions—on the one hand, by his still-burning love for his wife, and, on the other, by his hatred for her act of betrayal. And so he told the woman: get out of my sight. Consider what was in that man's heart, Kasuke. Our Lord's feeling toward Judas must have been similar.

  KASUKE: Father, please don't get angry. I was just concerned about the fate of the weak seedling.

  FERREIRA: But, Kasuke, Christ can transform that weak seedling into a strong one.

  KASUKE: How, Father?

  FERREIRA: Through the power of prayer. That's what you are forgetting. Just believe. When your heart is clouded with doubt, pray—with all your strength. Please think over what I've said.

  Kasuke exits.

  FERREIRA (facing the painting of Christ): Lord, if Lord Tomonaga's plea and Kasuke's words have reached you, please make an answer. I can no longer encourage them with my own words. Even though my lips frame a reply to their doubts, my heart no longer assents. I am suffering from the same anguish and doubt as those farmers. Why do you remain silent? You are always still. I know that one word from you would change everything. If you would only respond to our suffering, we would be strengthened. Why must we face pain and torture by fire and water? Is it impossible for us to believe in you while we are in a condition of happiness? Why is it bad to be happy? Why do you permit your people to fall and then continue to afflict them? Please tell me. Please speak to me. Why do you remain silent?

  Staggering

  FERREIRA: The silence of the night—only the stars are alive. The earth is cold. Is my faith also weak? Am I tempting you with my cries? I'm gradually falling into the sin of hypocrisy.

  CURTAIN

  * * *

  ACT TWO SCENE ONE

  * * *

  It is the following afternoon, the same scene as Act one, Scene two. Hatsu and Yuki are mending Mass vestments, a red and a black.

  YUKI: Hatsu, this is the vestment used in the Mass for the Dead. Black stands for the sorrow of those left behin
d. The red vestment is worn in the Mass of the Saints who gave up their lives for Christ. Father told me that the red is for the precious blood of the martyrs.

  HATSU: Yes?

  YUKI: Hatsu, did Father bring these vestments across the far seas with him?

  HATSU: No, they were given to him by a great Father who died in Japan. Now only these two are left. With sun, wind, and rain, the colors have faded.... Yuki, Father told me that even when he was running from place to place like a dog, trying to keep ahead of the officials-even then he kept these two vestments with him always, along with his breviary.

  YUKI: Father came to this country the year I was born, didn't he?

  HATSU: He was here in Nagasaki and made many trips to Yamaguchi and Kyoto. But even this distance, he used to say, was nothing compared to the dangerous journey to Japan from his native land.

  YUKI: Hatsu, won't you put that vestment on for a second?

  HATSU: This vestment? But it's the vestment Father uses to say Mass.

  YUKI: Only for a second. No one will ever know.

  HATSU (putting it on): Like this?

  YUKI: Oh, it looks very nice on you.

  HATSU: Nice on me? Please don't tease me.

  YUKI: I would like to see that vestment, not as it is now, faded and worn, but as it once was, a flaming crimson, burning like the evening sun of Nagasaki that dyes the seas red. I would like to attend a Mass as in the old days, when all sang out in a loud voice, and the altar was buried in flowers, and among the flowers a shining gold crucifix.

  She falls silent.

  HATSU: Is something wrong, Yuki?

  YUKI: No, nothing. Nothing.

  She covers her face with her hands and sobs in a low voice.

  HATSU: How strange you are! A moment ago you were joking and had me put on the Mass vestment, and now you're weeping. I must say, I can't understand you young girls.

  She shakes her head.

  YUKI: But you're not so old yourself.

  HATSU: Why did you suddenly burst into tears?

  YUKI: You wouldn't understand.

  HATSU: Yuki, don't make fun of me. If I knew what was wrong, I wouldn't ask. Come on, tell me.

  YUKI: Do you promise not to tell anyone?

  HATSU: I promise. May I go to the inferno if I am lying.

  Hatsu and Yuki turn their backs to the audience and speak together in a low voice.

  HATSU: So you refused to marry Gennosuke, the young samurai. I know how you feel. But I'm sure he doesn't hold it against you. You're probably more upset about it than he is.

  YUKI: But what must he think of me?

  HATSU: He belongs to the bureau, a young samurai hunting for Christians. It doesn't matter much what he thinks, even if he is hurt or dies.... No, no, that's not a Christian way of talking. Even if he is one of our persecutors, we must be kind to him. Are you in love with him, Yuki? I can't know unless you tell me. Speak out.

  YUKI: Yes, I love him.

  HATSU: Ah, is that so? You're just at the right age. I see how you feel about him. Fine, then. I'll see to it that he finds out your true feelings.

  YUKI: But how?

  HATSU: I have a cousin named Tome who works at a candle shop in Nagasaki. She sometimes delivers candles to the bureau. I can have her tell Gennosuke secretly of your love.

  YUKI: No, no, you mustn't. Then all of my father's pains till now would be to no avail. Everyone at the bureau would find out that we're Christians.

  HATSU: Oh, I wouldn't have Tome tell Gennosuke that you're Christians! She'd only say that you love him but have a very good reason for refusing to many him.

  YUKI: I wonder if it would work. No I'm sure it wouldn't. In the first place, how do we know that we can trust Tome? Besides, to do such a thing without first consulting my father. ...Still, if we could do it in such a way that he wouldn't find out. ...No, no, I'm sure it wouldn't work.

  The door opens and Kasuke, Mokichi, and Norosaku enter.

  HATSU: What do you mean by bursting in here without giving the signal?

  KASUKE: There's no time for such things. Where's Father Ferreira?

  HATSU: In the shed in the back. He's writing something. But what's the matter? Why are you so excited?

  MOKICHI: They brought the fumi-e to the village of Miwa yesterday.

  HATSU: And what happened?

  KASUKE: Those who wouldn't step on it were led away to the bureau in Nagasaki.

  MOKICHI: All along the way the officials beat them with whips and sticks, as if they were horses or cows. The women and children who fell were kicked brutally.

  KASUKE: At their head stood the apostate, Moritaro. He's the one who told the bureau about the Christians of Miwa. But he'd had a change of heart, and was with the Christians in the procession, weeping and wailing.

  MOKICHI: The apostates become the tools of the bureau as it tries to get even one more Christian to give up his faith. Just as the devil will do everything in his power to swell his ranks by even one, so these fallen Christians work to drag others into their evil.

  HATSU: Stop that fearful talk in Yuki's presence.

  KASUKE (to Yuki): Forgive me. I thought it best to tell Father Ferreira about this.

  Kasuke and Mokichi quickly exit to the rear.

  NOROSAKU: Why is everybody making such a fuss?

  HATSU: It's nothing. In a short time many of the Fathers will come to Nagasaki from across the distant seas.

  NOROSAKU: With the sign of Jesus on their sails.

  HATSU: That's right. You remember that song very well, don't you?

  NOROSAKU: I remember. Shall I sing it for you?

  He sings.

  NOROSAKU: The Pope's ship approaches these shores With the sign of Jesus on its sails. Now it can be seen approaching The Pope's ship with the sign of Jesus on its sails.

  HATSU: Well done. Someday, Norosaku, you'll be able to go out to meet the Pope's ship, coming straight from the country called Rome, on its sails the name of Mary. And there'll be many Fathers aboard.

  NOROSAKU: On that day I'll greet the Fathers. Then they'll ask me, "Norosaku, will you have something to eat?" and I'll answer, "I will." And they'll ask me again, "Norosaku, would you like to have some sake to drink?" and I'll answer, "I would."

  HATSU: That's right.

  Kasuke, Mokichi, and Ferreira enter.

  KASUKE, MOKICHI: Good-by Father.

  They exit.

  HATSU (looking steadily at Ferreira): What will happen to us? ... No, no, nothing will happen. I was just telling Norosaku that in a short time we'd all go out to welcome the Pope's ship bringing over many new Fathers.

  FERREIRA: Yes, yes. There's nothing to worry about. The Lord will see that everything works out for the best.

  NOROSAKU: And that ship will take us to the temple of Paradise.

  We're on our way, we're on our way,

  We're on our way to the temple of Paradise.

  The temple of Paradise is far away,

  The temple of Paradise is far away,

  But we're on our way, we're on our way,

  We're on our way to the temple of Paradise.

  Father, what kind of place is Paradise?

  FERREIRA (gently): Paradise, Norosaku? It's a place where all of the present sadness and pain will have completely disappeared, where we'll enjoy ourselves completely with God.

  NOROSAKU: Then I'll be able to eat as much as I like, won't I? All the millet and dried fish I can eat. And Santa Maria will serve me.

  FERREIRA: Yes, Santa Maria will gladly serve you. It's a place where gentleness of heart will overflow like golden light. Like spring in my native Portugal.

  YUKI: Father, tell us about your country.

  NOROSAKU (with emphasis): In your country, Father, can everybody eat until they're filled?

  FERREIRA: My country? My country is Japan. I came across the far seas to become a Japanese. I'll never return again to Portugal. It's now just the country where my past is buried. Still, when I close my eyes like this, I see
before me the white walls of the city. In spring the windows are all bright with red roses and the sun sparkles on the sea. When the noon Angelus drifts quietly between the rows of houses, the young girls come to a halt and make the sign of the cross.

  YUKI: Father, tell us how you left your country and came to Japan.

  FERREIRA: It took me four years to get here. I first passed along the southern coast of the hot continent called Africa. It was two years before I reached Goa in India. Many times the ship had to stop at neighboring ports because of storms or epidemics, or for lack of water. Many of the sailors died in the course of the journey. It took another year to get to Macao, and still another from Macao to Japan. Finally I reached the port of Hirado.

  YUKI: Father, why did you leave your native land? I've heard that you left behind a mother and sister.

  FERREIRA: I came because I had a dream of Japan as the golden country. I didn't dream of buried gold as did the Portuguese merchants. No, no, rather I think of Japan as the golden country where the teachings of Christ can really take root.

  YUKI: It seems to me, Father, that it is your country that is the golden country.

  FERREIRA: Distant objects always seem beautiful. What is beyond reach always attracts. That is why one's memories are always beautiful.

  NOROSAKU: That's true. That's true.

  YUKI (as if dreaming): What is beyond reach always attracts! Maybe that's why he seems so attractive.

  HATSU (trying to cover up for Yuki's slip): Are you speaking of Christ?

  YUKI: I wonder if he holds it against me.

  HATSU: Why should Christ hold anything against you?

  NOROSAKU: Yes, yes.

  FERREIRA: Now please leave me alone for a time. Yuki, Norosaku, there's nothing to worry about. Norosaku can dream about the meal that awaits him and Yuki can imagine the country I left behind. And so you will spend the day pleasantly.