# The Dragon Painter/Chapter 6
### VI

Through all these busy days Umè-ko moved as one but little interested. Kano and Uchida noticed nothing unusual. To them she was merely the conventional nonenity of maidenhood that Japanese etiquette demanded. It never entered their heads that she would not have agreed with equal readiness to any other husband of their choosing.
Mata knew her idol and nursling better. Hints of character and of deep-sea passion had risen now and again to the surface of the girl's placid life. There were currents underneath that the father did not suspect. Once, during her childhood, a pet bird had been injured in a fit of anger by old Kano. Umè-ko, with her ashen face under perfect control, had killed the suffering creature and carried ​it, wrapped in white paper, to her own room. The father, ashamed now, and filled with genuine remorse, had stormed up and down the garden paths, reviling himself for an impatient ogre, and promising more restraint in future. Mata, silent for once, had crept to her child-mistress' close-shut walls, heard the last sobbing words of a Buddhist prayer for the dead, and burst through the shoji in scant time to catch back the stroke of a dagger from the girl's slim, upraised throat. Her terrified screams summoned Kano and the neighbors as well. A priest hurried down from the temple on the hill. In time the culprit was reduced to a condition of tearful penitence, and gave her promise never again to attempt so cowardly and wicked a thing as self-destruction, unless it were for some noble and impersonal end.
The good old priest, to comfort her, chanted a sutra over the bier of her lost playmate, and bestowed upon it a high-sounding Buddhist kaimyo which Kano carved, in his ​finest manner, upon a wooden grave post. In time, the artist forgot the episode. Mata never forgot. Often in the long hours she thought of it now as she watched the girl's face bent always so silently above the bridal sewing. No impatience or regret were visible in her. Yet, thought Mata, surely no maiden in her senses could really wish to become the wife of an ill-mannered, untamed mountain sprite! Could Death be the secret of this pale tranquillity? Was Umè-ko to cheat them all, at the last, by self-destruction?
In such wise did the old servant fret and ponder, but no assurance came. A true insight into art might have opened many doors to her. Yet, through a life devoted to the externals of it, Mata had been tolerant of beauty, rather than at one with it. The impractical view of life which art seemed to demand of its devotees was enough to arouse suspicion, if not her actual dislike. Uchida was a hero because he had been bold enough to shake himself free from lethargic ​influences, and achieve a shining and substantial success.
But even had the key of art been thrust into the old dame's groping hand, and even had her master guided her, there was an inner chamber of Umè's heart which they could not have found. Umè herself had not known of it until that first instant when, now three weeks ago, a strange young face, hung about with shadows, had peered into her father's gate. With the first sound of his voice, she had entered in, had knelt before a shrine whereon, wrapped in fire, a Secret lay. Ever since she had needed to guard that shrine, not, indeed, for fear that the light would falter, but rather that it might not leap up, and lay waste her being. As one guards a flame, so Umè-ko, with silence and prayer and self-enforced tranquillity, guarded the sacred spark from winds of passion. Each day at dawn, and again at twilight of each day, it flamed high and was hard to conquer, for with dawn a letter was hers—held in the night-wet ​branches of her dragon-plum, and each night when Mata and her father thought her sleeping, an answer was written, and committed to the keeping of the tree.
When Tatsu did not paint, or rest from sheer exhaustion, he was writing. Umè, bending above his words, shivering at times, or weeping, marvelled that the tissue had not charred beneath the thoughts burned into it. Tatsu's phrases were like his paintings, unusual, vital, almost demoniac in force, shot through and through at times with the bolt of an almost unbearable beauty. Her own words answered his, as the tree-tops answer storm, with music. Verse alone could ease the girl of her ecstacy, and each recorded and triumphed in the demolition of yet another day. "Another stone, beloved, thrust down from the dungeon wall that severs us!"
Swiftly the heap of wedding garments grew. There were delicate kimonos, as thin and gray as mist, with sunset-colored inner robes of silk; gowns of linen and cotton ​for indoor wear; bath and sleeping robes with great designs of flowers, birds, or landscapes; silken bed-quilts and bright floor cushions; great sashes crusted like bark with patternings of gold; dainty toilet accessories of hairpins, girdles, collarettes, shopping-bags, purses, jewel-cases,—and new sandals of various sorts, each with velvet thongs of some delicate hue.
The sewing was, of course, done at home. Mata would have trusted this sacred rite to no domination but her own. She worked incessantly, planning, cutting, scolding,—hurrying off to the shopping district for some forgotten item, conferring with Ando Uchida about the details of Tatsu's outfit, then returning, flushed with success and importance, to new home triumphs.
Umè sewed steadily all day. Her painting materials had been put meekly aside, and, as a further precaution at old Mata's hands, hidden under the kitchen flooring. Toward the last it was found necessary to employ an ​assistant, a seamstress, known of old to Mata. Her companionship, as well as her sewing, proved a boon. Seated upon the springy matting, with waves of shimmering silk tumultuous about them, the old dames chatted incessantly of other brides and other wedding outfits they had known. Marvellous were their tales of married life, some of them designed to cheer, others to warn the silent little third figure, that of the bride-to-be. As a matter of fact, Umè never listened. The noise and buzz of incessant conversation affected her pleasantly, but remotely, as the chatter of distant sparrows. The girl had too much within herself to think of.
"May Kwannon have mercy upon my young mistress," sighed the nurse, one day, as Umè left the room.
"Does she require mercy? I thought—she appears to me honorably—er—undisturbed," ventured the seamstress, with one swift upward look of interest.
"Yes, she appears,—many of us ​appear,—but can she be happy? That is what I wish to know. The creature she is being forced to marry is more like a mountain-lion than a man!"
"Ma-a-a! Is he dangerous? Will he bite her?" questioned the other, hopefully.
"Amida alone knows what he will do with her," croaked Mata, in a sepulchral voice.
The subject was one not to be readily relinquished. "The facts being honorably as you relate," began the hired seamstress, her needle held carefully against the light for threading, "how is it that the august father of the illustrious young lady permits such a marriage?"
Mata's eyes gleamed sharp and bright as the needle. "Because he is as mad as the wild man, and all for pictures! They would strip their own skins off if that made better parchment. Miss Umè has been influenced by them, and now is to be sacrificed. Alas! the evil day!" and Mata wiped away some genuine tears on the hem of a night-robe she had finished.
​"O kinodoku Sama, my spirit is poisoned by your grief," murmured the other, sympathetically. "Yet, in your place, I should find great comfort in the outfit of your mistress. Never, even in the sewing halls of princes, could more beautiful silks be gathered." She looked about slowly, with the air of a professional who sees something really worthy of regard.
Mata's face cleared. "Since the gods allow it, I should not complain," she admitted. "Indeed, Mr. Uchida and I are doing well by the young couple in the matter of silks and house furnishings. And—whisper this not—no one but he and I dream from what source these splendid fabrics come!"
Mata had thrust a poisoned arrow of curiosity into her listener, and knew it. Some day, perhaps the very day before the wedding, she might reveal it. For the present, as she said, no one but herself and Uchida knew.
​More than once during sewing hours, Umè-ko herself had wondered how her father was able to give her silks of such beauty and variety. With the unthrift of the true artist, Kano was always poor. The old man would have been as surprised and far angrier than his daughter, had he known that Tatsu's pictures, stolen craftily by the confederates, Uchida and Mata, and sold in Yokohama for about a tenth of their true value, were the source of this sudden affluence. Tatsu remained ignorant, also. But, provided they took no image of Umè's face, he would not have cared at all. New garments, new mats, dainty household furnishings, were showered upon him, too; but they might have been autumn leaves, for all the interest he showed.
To gain his Dragon Maid,—to know that in this life she was irrevocably his,—that was Tatsu's one conscious thought.
The wedding day came at last. Umè-ko had written no letter on the eve of it, but all night long she felt that he was near her, ​leaning on the breast of the plum tree, scaling the steeps above her, wandering, a restless ghost of joy, about the moon-silvered cemetery, speaking perhaps, as equal, to his primeval gods. So close, already were these two, that even in absence, each felt always something of the other's mood. It was a sleepless night to the girl, also. She cowered close about the Secret, until its fierce light scorched her. She pressed down her lids with strong, white fingers, but the glory streamed through. So, tortured by intolerable bliss, she suffered, until the dawn came in.
Quite early in the day the bride's trousseau and gifts were sent to Tatsu's home. They made a train that filled the neighbors' eyes with wonder and Mata's swelling heart with pride. There were lacquered chests and cases of drawers, all filled with clothing. Each great square package was covered with a decorated cloth, and swung from a gilded staff borne on the shoulders of two stout ​coolies. There were boxes of cakes, fruit, and eggs; and jinrikishas piled with a medley of gifts. Even Kano was impressed. Uchida rubbed his two fat hands together and laughed at everything. Umè-ko, watching the moving shadows pass under her father's gate-roof, closed her eyes quickly and caught her breath. The next gift from the Kano home was to be herself.
By this time autumn was upon the year. A few early chrysanthemums opened small golden suns in the garden. Dodan bushes and maples hinted at a crimson splendor soon to follow. The icho trees stood like pyramids of gold; and suzuki grass upon the hillsides brushed a cloudless blue sky with silken fingers. In the garden, autumn insects sang. Umè-ko's kirigirisu which, some weeks before, she had released from its cage, had, as if in gratitude made a home among the lichens of the big plum tree. Umè believed that she always knew its voice from among the rest, no matter how full the chorus of silver chiming.
​She had gone back to her room, and sat now, in the centre of it, staring toward the garden. Noon had crept upon it, devouring all shadow. Her eyes saw little but the golden blur. A fusuma opened softly, and two women, Mata and the attendant seamstress, came mincing and smirking toward her, each with an armful of white silk. Umè rose like an automaton. They began her toilet, talking the while in low voices. They robed her in white with a thin lining-edge of crimson, and threw over her shining hair a veil of tissue. Some one outside called that the bride's kuruma was at the gate. Old Kano entered the room, smiling. His steps creaked and rustled with new silk. Umè turned for one fleeting glimpse of her plum tree. It seemed to stir and wave green leaves toward her. With head down-bent, the girl followed her father through the house.
Mata helped them into the two new, shining jinrikishas, a dragon-crest blazoned on the one for Umè's use. She scolded the ​kuruma men in her shrill voice, giving a dozen instructions in one sentence, and pretending anger at their answering jests. On the doorstep stood the little seamstress ready to cast a handful of dried peas. When Kano and Umè-ko were off, Mata scrambled excitedly into her own vehicle. Her human steed, turning round for an impudent and good-natured stare, drawled out an unprintable remark. The seamstress shrieked "sayonara" and pelted space with the peas. Afterward she ran on foot down the slope of the hill and joined the smiling crowd of lookers-on. Soon it was over. The peddler picked up his pack, and the children their toys. Gates opened or slid aside in panels to receive their owners. The jangling of small gate-bells made the hillside merry for an instant, then busy silence again took possession.
No one at all was left in the Kano home. The little cottage of Umè's birth, of her short, happy life and dawning fame, drew itself ​together in the unusual silence. Sunshine fell thick upon the garden, and warmed even the lazy gold-fish in their pigmy lake. In the plum-tree branch that touched Umè-ko's abandoned chamber, the cricket chirped softly to himself. He knew the Secret!