Books: Madame Chrysantheme, v1
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Pierre Loti >> Madame Chrysantheme, v1
An old lady enters--two old ladies--three old ladies, emerging from the
doorway one after another with jerking and mechanical salutations, which
we return as best we can, fully conscious of our inferiority in this
particular style. Then come persons of intermediate age--then quite
young ones, a dozen at least, friends, neighbors, the whole quarter, in
fact. And the entire company, on arriving, becomes confusedly engaged in
reciprocal salutations: I salute you--you salute me--I salute you again,
and you return it--and I re-salute you again, and I express that I shall
never, never be able to return it according to your high merit--and I
bang my forehead against the ground, and you stick your nose between the
planks of the flooring, and there they are, on all fours one before
another; it is a polite dispute, all eager to yield precedence as to
sitting down, or passing first, and compliments without end are murmured
in low tones, with faces against the floor.
They seat themselves at last, smiling, in a ceremonious circle; we two
remaining standing, our eyes fixed on the staircase. And at length
emerges the little aigrette of silver flowers, the ebony coiffure, the
gray silk robe and mauve sash of Mademoiselle Jasmin, my fiancee!
Heavens! why, I know her already! Long before setting foot in Japan,
I had met her, on every fan, on every teacup with her silly air, her
puffy little face, her tiny eyes, mere gimlet-holes above those expanses
of impossible pink and white cheeks.
She is young, that is all I can say in her favor; she is even so young
that I should almost scruple to accept her. The wish to laugh leaves me
suddenly, and instead, a profound chill seizes my heart. What! share
even an hour of my life with that little doll? Never!
The next question is, how to get rid of her.
She advances smiling, with an air of repressed triumph, and behind her
looms M. Kangourou, in his suit of gray tweed. Fresh salutes, and behold
her on all fours, she too, before my landlady and before my neighbors.
Yves, the big Yves, who is not about to be married, stands behind me,
with a comical grimace, hardly repressing his laughter--while to give
myself time to collect my ideas, I offer tea in little cups, little
spittoons, and embers to the company.
Nevertheless, my discomfited air does not escape my visitors.
M. Kangourou anxiously inquires:
"How do you like her?" And I reply in a low voice, but with great
resolution:
"Not at all! I won't have that one. Never!"
I believe that this remark was almost understood in the circle around me.
Consternation was depicted on every face, jaws dropped, and pipes went
out. And now I address my reproaches to Kangourou: "Why have you brought
her to me in such pomp, before friends and neighbors of both sexes,
instead of showing her to me discreetly, as if by chance, as I had
wished? What an affront you will compel me now to put upon all these
polite persons!"
The old ladies (the mamma, no doubt, and aunts), prick up their ears, and
M. Kangourou translates to them, softening as much as possible, my
heartrending decision. I feel really almost sorry for them; the fact is,
that for women who, not to put too fine a point upon it, have come to
sell a child, they have an air I was not prepared for: I can hardly say
an air of respectability (a word in use with us which is absolutely
without meaning in Japan), but an air of unconscious and good-natured
simplicity. They are only doing a thing that is perfectly admissible in
their world, and really it all resembles, more than I could have thought
possible, a bona fide marriage.
"But what fault do you find with the little girl?" asks M. Kangourou, in
consternation.
I endeavor to present the matter in the most flattering light:
"She is very young," I say; "and then she is too white, too much like our
own women. I wished for one with an ivory skin, just as a change."
"But that is only the paint they have put on her, Monsieur! Beneath it,
I assure you, she is of an ivory hue."
Yves leans toward me and whispers:
"Look over there, brother, in that corner by the last panel; have you
noticed the one who is sitting down?"
Not I. In my annoyance I had not observed her; she had her back to the
light, was dressed in dark colors, and sat in the careless attitude of
one who keeps in the background. The fact is, this one pleased me much
better. Eyes with long lashes, rather narrow, but which would have been
called good in any country in the world; with almost an expression,
almost a thought. A coppery tint on her rounded cheeks; a straight nose;
slightly thick lips, but well modelled and with pretty corners. A little
older than Mademoiselle Jasmin, about eighteen years of age perhaps,
already more of a woman. She wore an expression of ennui, also of a
little contempt, as if she regretted her attendance at a spectacle which
dragged so much, and was so little amusing.
"Monsieur Kangourou, who is that young lady over there, in dark blue?"
"Over there, Monsieur? She is called Mademoiselle Chrysantheme. She
came with the others you see here; she is only here as a spectator. She
pleases you?" said he, with eager suddenness, espying a way out of his
difficulty. Then, forgetting all his politeness, all his
ceremoniousness, all his Japanesery, he takes her by the hand, forces her
to rise, to stand in the dying daylight, to let herself be seen. And
she, who has followed our eyes and begins to guess what is on foot,
lowers her head in confusion, with a more decided but more charming pout,
and tries to step back, half-sulky, half-smiling.
"It makes no difference," continues M. Kangourou, "it can be arranged
just as well with this one; she is not married either, Monsieur!"
She is not married! Then why didn't the idiot propose her to me at once
instead of the other, for whom I have a feeling of the greatest pity,
poor little soul, with her pearl-gray dress, her sprig of flowers, her
now sad and mortified expression, and her eyes which twinkle like those
of a child about to cry.
"It can be arranged, Monsieur!" repeats Kangourou again, who at this
moment appears to me a go-between of the lowest type, a rascal of the
meanest kind.
Only, he adds, we, Yves and I, are in the way during the negotiations.
And, while Mademoiselle Chrysantheme remains with her eyelids lowered,
as befits the occasion, while the various families, on whose countenances
may be read every degree of astonishment, every phase of expectation,
remain seated in a circle on my white mats, he sends us two into the
veranda, and we gaze down into the depths below us, upon a misty and
vague Nagasaki, a Nagasaki melting into a blue haze of darkness.
Then ensue long discourses in Japanese, arguments without end.
M. Kangourou, who is laundryman and low scamp in French only, has
returned for these discussions to the long formulas of his country.
From time to time I express impatience, I ask this worthy creature,
whom I am less and less able to consider in a serious light:
"Come now, tell us frankly, Kangourou, are we any nearer coming to some
arrangement? Is all this ever going to end?"
"In a moment, Monsieur, in a moment;" and he resumes his air of political
economist seriously debating social problems.
Well, one must submit to the slowness of this people. And, while the
darkness falls like a veil over the Japanese town, I have leisure to
reflect, with as much melancholy as I please, upon the bargain that is
being concluded behind me.
Night has closed in; it has been necessary to light the lamps.
It is ten o'clock when all is finally settled, and M. Kangourou comes to
tell me:
"All is arranged, Monsieur: her parents will give her up for twenty
dollars a month--the same price as Mademoiselle Jasmin."
On hearing this, I am possessed suddenly with extreme vexation that I
should have made up my mind so quickly to link myself in ever so fleeting
and transient a manner with this little creature, and dwell with her in
this isolated house.
We return to the room; she is the centre of the circle and seated; and
they have placed the aigrette of flowers in her hair. There is actually
some expression in her glance, and I am almost persuaded that she--this
one--thinks.
Yves is astonished at her modest attitude, at her little timid airs of a
young girl on the verge of matrimony; he had imagined nothing like it in
such a connection as this, nor I either, I must confess.
"She is really very pretty, brother," said he; "very pretty, take my word
for it!"
These good folks, their customs, this scene, strike him dumb with
astonishment; he can not get over it, and remains in a maze. "Oh! this
is too much," he says, and the idea of writing a long letter to his wife
at Toulven, describing it all, diverts him greatly.
Chrysantheme and I join hands. Yves, too, advances and touches the
dainty little paw. After all, if I wed her, it is chiefly his fault;
I never should have remarked her without his observation that she was
pretty. Who can tell how this strange arrangement will turn out? Is it
a woman or a doll? Well, time will show.
The families, having lighted their many-colored lanterns swinging at the
ends of slight sticks, prepare to retire with many compliments, bows, and
curtseys. When it is a question of descending the stairs, no one is
willing to go first, and at a given moment, the whole party are again on
all fours, motionless and murmuring polite phrases in undertones.
"Haul back there!" said Yves, laughing, and employing a nautical term
used when there is a stoppage of any kind.
At length they all melt away, descending the stairs with a last buzzing
accompaniment of civilities and polite phrases finished from one step to
another in voices which gradually die away. He and I remain alone in the
unfriendly, empty apartment, where the mats are still littered with the
little cups of tea, the absurd little pipes, and the miniature trays.
"Let us watch them go away!" said Yves, leaning out. At the door of the
garden is a renewal of the same salutations and curtseys, and then the
two groups of women separate, their bedaubed paper lanterns fade away
trembling in the distance, balanced at the extremity of flexible canes
which they hold in their fingertips as one would hold a fishing-rod in
the dark to catch night-birds. The procession of the unfortunate
Mademoiselle Jasmin mounts upward toward the mountain, while that of
Mademoiselle Chrysantheme winds downward by a narrow old street, half-
stairway, half-goat-path, which leads to the town.
Then we also depart. The night is fresh, silent, exquisite, the eternal
song of the cicalas fills the air. We can still see the red lanterns of
my new family, dwindling away in the distance, as they descend and
gradually become lost in that yawning abyss, at the bottom of which lies
Nagasaki.
Our way, too, lies downward, but on an opposite slope by steep paths
leading to the sea.
And when I find myself once more on board, when the scene enacted on the
hill above recurs to my mind, it seems to me that my betrothal is a joke,
and my new family a set of puppets.
CHAPTER V
A FANTASTIC MARRIAGE
July 10, 1885.
Three days have passed since my marriage was an accomplished fact.
In the lower part of the town, in one of the new cosmopolitan districts,
in an ugly, pretentious building, which is a sort of registry office, the
deed was signed and countersigned, with marvellous hieroglyphics, in a
large book, in the presence of those absurd little creatures, formerly
silken-robed Samurai, but now called policemen, dressed up in tight
jackets and Russian caps.
The ceremony took place in the full heat of midday; Chrysantheme and her
mother arrived together, and I alone. We seemed to have met for the
purpose of ratifying some discreditable contract, and the two women
trembled in the presence of these ugly little men, who, in their eyes,
were the personification of the law.
In the middle of their official scrawl, they made me write in French my
name, Christian name, and profession. Then they gave me an extraordinary
document on a sheet of rice-paper, which set forth the permission granted
me by the civilian authorities of the island of Kiu-Siu, to inhabit a
house situated in the suburb of Diou-djen-dji, with a person called
Chrysantheme, the said permission being under the protection of the
police during the whole of my stay in Japan.
In the evening, however, in our own quarter, our little marriage became a
very pretty affair--a procession carrying lanterns, a festive tea and
some music. All this seemed quite necessary.
Now we are almost an old married couple, and we are gently settling down
into everyday habits.
Chrysantheme tends the flowers in our bronze vases, dresses herself with
studied care, proud of her socks with the divided big toe, and strums all
day on a kind of long-necked guitar, producing sweet and plaintive
sounds.
CHAPTER VI
MY NEW MENAGE
In our home, everything looks like a Japanese picture: we have folding-
screens, little odd-shaped stools bearing vases full of flowers, and at
the farther end of the apartment, in a nook forming a kind of altar, a
large gilded Buddha sits enthroned in a lotus.
The house is just as I had fancied it should be in the many dreams of
Japan I had had before my arrival, during the long night watches: perched
on high, in a peaceful suburb, in the midst of green gardens; made up of
paper panels, and taken to pieces according to one's fancy, like a
child's toy. Whole families of cicalas chirp day and night under our old
resounding roof. From our veranda we have a bewildering bird's-eye view
of Nagasaki, of its streets, its junks, and its great pagodas, which, at
certain hours, is illuminated at our feet like some scene in fairyland.
CHAPTER VII
THE LADIES OF THE FANS
Regarded as a mere outline, little Chrysantheme has been seen everywhere
and by everybody. Whoever has looked at one of those paintings on china
or silk that are sold in our bazaars, knows perfectly the pretty, stiff
head-dress, the leaning figure, ever ready to try some new gracious
salutation, the sash fastened behind in an enormous bow, the large,
flowing sleeves, the drapery slightly clinging about the ankles with a
little crooked train like a lizard's tail.
But her face--no, not every one has seen that; there is something special
about it.
Moreover, the type of women the Japanese paint mostly on their vases is
an exceptional one in their country. It is almost exclusively among the
nobility that these personages are found, with their long, pale faces,
painted in tender rose-tints, and silly, long necks which give them the
appearance of storks. This distinguished type (which I am obliged to
admit was also Mademoiselle Jasmin's) is rare, particularly at Nagasaki.
Among the middle classes and the common people, the ugliness is more
pleasant and sometimes becomes a kind of prettiness. The eyes are still
too small and hardly able to open, but the faces are rounder, browner,
more vivacious; and in the women remains a certain vagueness of feature,
something childlike which prevails to the very end of their lives.
They are so laughing, and so merry, all these little Nipponese dolls!
Rather a forced mirth, it is true, studied, and at times with a false
ring; nevertheless one is attracted by it.
Chrysantheme is an exception, for she is melancholy. What thoughts are
running through that little brain? My knowledge of her language is still
too limited to enable me to find out. Moreover, it is a hundred to one
that she has no thoughts whatever. And even if she had, what do I care?
I have chosen her to amuse me, and I should really prefer that she should
have one of those insignificant little thoughtless faces like all the
others.
CHAPTER VIII
THE NECESSARY VEIL
When night comes on, we light two hanging lamps of religious symbolism,
which burn till daylight, before our gilded idol.
We sleep on the floor, on a thin cotton mattress, which is unfolded and
laid out over our white matting. Chrysantheme's pillow is a little
wooden block, cut so as to fit exactly the nape of her neck, without
disturbing the elaborate head-dress, which must never be taken down; the
pretty black hair I shall probably never see undone. My pillow, a
Chinese model, is a kind of little square drum covered over with serpent-
skin.
We sleep under a gauze mosquito-net of sombre greenish-blue, dark as the
shades of night, stretched out on an orange-colored ribbon. (These are
the traditional colors, and all respectable families of Nagasaki possess
a similar net.) It envelops us like a tent; the mosquitoes and the night-
moths whirl around it.
This sounds very pretty, and written down looks very well. In reality,
however, it is not so; something, I know not what, is lacking, and
everything is very paltry. In other lands, in the delightful isles of
Oceania, in the old, lifeless quarters of Stamboul, it seemed as if mere
words could never express all I felt, and I struggled vainly against my
own inability to render, in human language, the penetrating charm
surrounding me.
Here, on the contrary, words exact and truthful in themselves seem always
too thrilling, too great for the subject; seem to embellish it unduly.
I feel as if I were acting, for my own benefit, some wretchedly trivial
and third-rate comedy; and whenever I try to consider my home in a
serious spirit, the scoffing figure of M. Kangourou rises before me--
the matrimonial agent, to whom I am indebted for my happiness.
CHAPTER IX
MY PLAYTHING
July 12th
Yves visits us whenever he is free, in the evening at five o'clock, after
his duties on board are fulfilled.
He is our only European visitor, and, with the exception of a few
civilities and cups of tea, exchanged with our neighbors, we lead a very
retired life. Only in the evenings, winding our way through the steep,
narrow streets and carrying our lanterns at the end of short sticks, we
go down to Nagasaki in search of amusement at the theatres, at the tea-
houses, or in the bazaars.
Yves treats my wife as if she were a plaything, and continually assures
me that she is charming.
I find her as exasperating as the cicalas on my roof; and when I am alone
at home, side by side with this little creature twanging the strings of
her long-necked guitar, facing this marvellous panorama of pagodas and
mountains, I am overcome by sadness almost to tears.
CHAPTER X
NOCTURNAL TERRORS
July 13th.
Last night, as we reposed under the Japanese roof of Diou-djen-dji--the
thin old wooden roof scorched by a hundred years of sunshine, vibrating
at the least sound, like the stretched-out parchment of a tomtom--in the
silence which prevails at two o'clock in the morning, we heard overhead a
sound like a regular wild huntsman's chase passing at full gallop.
"Nidzoumi!" ("The mice!") said Chrysantheme.
Suddenly the word brings back to my mind yet another phrase, spoken in a
very different language, in a country far away from here: "Setchan!" a
word heard elsewhere, a word that has likewise been whispered in my ear
by a woman's voice, under similar circumstances, in a moment of nocturnal
terror--"Setchan!" It was during one of our first nights at Stamboul
spent under the mysterious roof of Eyoub, when danger surrounded us on
all sides; a noise on the steps of the black staircase had made us
tremble, and she also, my dear little Turkish companion, had said to
me in her beloved language, "Setchan!" ("the mice!").
At that fond recollection, a thrill of sweet memories coursed through my
veins; it was as if I had been startled out of a long ten years' sleep;
I looked down upon the doll beside me with a sort of hatred, wondering
why I was there, and I arose, with almost a feeling of remorse, to escape
from that blue gauze net.
I stepped out upon the veranda, and there I paused, gazing into the
depths of the starlit night. Beneath me Nagasaki lay asleep, wrapped in
a soft, light slumber, hushed by the murmuring sound of a thousand
insects in the moonlight, and fairy-like with its roseate hues. Then,
turning my head, I saw behind me the gilded idol with our lamps burning
in front of it; the idol smiling the impassive smile of Buddha; and its
presence seemed to cast around it something, I know not what, strange and
incomprehensible. Never until now had I slept under the eye of such a
god.
In the midst of the calm and silence of the night, I strove to recall my
poignant impressions of Stamboul; but, alas, I strove in vain, they would
not return to me in this strange, far-off world. Through the transparent
blue gauze appeared my little Japanese, as she lay in her sombre night-
robe with all the fantastic grace of her country, the nape of her neck
resting on its wooden block, and her hair arranged in large, shiny bows.
Her amber-tinted arms, pretty and delicate, emerged, bare up to the
shoulders, from her wide sleeves.
"What can those mice on the roof have done to him?" thought
Chrysantheme. Of course she could not understand. In a coaxing manner,
like a playful kitten, she glanced at me with her half-closed eyes,
inquiring why I did not come back to sleep--and I returned to my place
by her side.
CHAPTER XI
A GAME OF ARCHERY
July 14th.
This is the National Fete day of France. In Nagasaki Harbor, all the
ships are adorned with flags, and salutes are fired in our honor.
Alas! All day long, I can not help thinking of that last fourteenth of
July, spent in the deep calm and quiet of my old home, the door shut
against all intruders, while the gay crowd roared outside; there I had
remained till evening, seated on a bench, shaded by an arbor covered with
honeysuckle, where, in the bygone days of my childhood's summers, I used
to settle myself with my copybooks and pretend to learn my lessons. Oh,
those days when I was supposed to learn my lessons! How my thoughts used
to rove--what voyages, what distant lands, what tropical forests did I
not behold in my dreams! At that time, near the garden-bench, in some of
the crevices in the stone wall, dwelt many a big, ugly, black spider
always on the alert, peeping out of his nook ready to pounce upon any
giddy fly or wandering centipede. One of my amusements consisted in
tickling the spiders gently, very gently, with a blade of grass or a
cherry-stalk in their webs. Mystified, they would rush out, fancying
they had to deal with some sort of prey, while I would rapidly draw back
my hand in disgust. Well, last year, on that fourteenth of July, as I
recalled my days of Latin themes and translations, now forever flown,
and this game of boyish days, I actually recognized the very same spiders
(or at least their daughters), lying in wait in the very same places.
Gazing at them, and at the tufts of grass and moss around me, a thousand
memories of those summers of my early life welled up within me, memories
which for years past had lain slumbering under this old wall, sheltered
by the ivy boughs. While all that is ourselves perpetually changes and
passes away, the constancy with which Nature repeats, always in the same
manner, her most infinitesimal details, seems a wonderful mystery; the
same peculiar species of moss grows afresh for centuries on precisely the
same spot, and the same little insects each summer do the same thing in
the same place.
I must admit that this episode of my childhood, and the spiders, have
little to do with the story of Chrysantheme. But an incongruous
interruption is quite in keeping with the taste of this country;
everywhere it is practised, in conversation, in music, even in painting;
a landscape painter, for instance, when he has finished a picture of
mountains and crags, will not hesitate to draw, in the very middle of the
sky, a circle, or a lozenge, or some kind of framework, within which he
will represent anything incoherent and inappropriate: a bonze fanning
himself, or a lady taking a cup of tea. Nothing is more thoroughly
Japanese than such digressions, made without the slightest apropos.
Moreover, if I roused my past memories, it was the better to force myself
to notice the difference between that day of July last year, so
peacefully spent amid surroundings familiar to me from my earliest
infancy, and my present animated life passed in the midst of such a novel
world.
To-day, therefore, under the scorching midday sun, at two o'clock, three
swift-footed djins dragged us at full speed--Yves, Chrysantheme, and
myself--in Indian file, each in a little jolting cart, to the farther end
of Nagasaki, and there deposited us at the foot of some gigantic steps
that run straight up the mountain.
These are the granite steps leading to the great temple of Osueva, wide
enough to give access to a whole regiment; they are as grand and imposing
as any work of Babylon or Nineveh, and in complete contrast with all the
finical surroundings.
We climb up and up--Chrysantheme listlessly, affecting fatigue, under her
paper parasol painted with pink butterflies on a black ground. As we
ascended, we passed under enormous monastic porticoes, also in granite of
rude and primitive style. In truth, these steps and these temple
porticoes are the only imposing works that this people has created, and
they astonish, for they do not seem Japanese.