Li look forty years younger, but something of his intensity was being transmitted to me.
“Ox, here on Hortensia Island and in a few other scattered places the last of the great artists of an expiring race took up their chisels one more time. One assumes they were starving, since famine was the principal weapon our ancestors used,” Master Li said sadly. “One assumes they were half mad, and they honored their gods by carving deities in death agonies. You’re looking at an unparalleled psychological self-portrait of an exhausted race, teetering upon the edge of extinction, but don’t you see the wonder of our recent experiences? Some of the old gods were sure to survive. They’re stirring, my boy! They’re awakening from their long sleep, yawning and stretching, and you and I are right in the middle of it! Damn it, Ox, I feel like a boy whose been bemoaning the fact that he was born too late for the age of giants, and then one day he hears a snore that rocks the sky, and it’s accompanied by an earthquake that knocks down his house, and he discovers that the valley his village is sitting in bears a very strong resemblance to an immense navel.”
There was power mixed with the twisted pain of these stone idols, I had to admit it—still, my conservative peasant taste has definite limits. I pointed ahead through a gap in the bushes.
“Venerable Sir, look at that,” I said.
A hideous head was just visible, rising above leaves. It was as though a sculptor had molded a man’s face in soft clay, and then reached out and cruelly dug his fingers into the surface, poking and twisting.
“Isn’t it possible that the artists carved at least a few evil creatures along with the gods?” I asked. “I can’t for the life of me see how anyone could find beauty in that.”
The hideous head gazed back at me. Then the mouth opened, and a resonant baritone voice said, “Be it known, boy, that legions of lovely ladies have praised these features.”
“Yik!” I said, or something like that as I leaped backward into a tangle of rose thorns.
“Ha!” said Master Li, who seemed to be enjoying this.
Unless I was going crazy there was a twinkle of amusement in the eyes of the grotesque face, and bushes parted and a middle-aged strongly built man stepped to the path. He made a superbly graceful gesture that was like an exaggerated shrug, and added, “Of course, that was before the God of Beauty went quite mad with jealousy, so I shall forgive your impertinence.”
For the first time I saw a smile I was to see often, as warm and brilliant as the sun rising, and it was accompanied by a bow so superb that no opera star could have matched it.
“This humble one is called Yen Shih, and his insignificant occupation is to manipulate mannequins upon a stage, and he is honored to recognize and greet the legendary Master Li, foremost among truth-seekers of China.”
He turned to me.
“You would be Number Ten Ox, and you really shouldn’t feel as uncomfortable as you look at the moment.” The extraordinary man offered a wink that absolved me of guilt once and for all. “I told my daughter just the other day that when I die she can spare the expense of a funeral by propping my corpse beside these statues, since nobody will notice the difference.”
The God of Beauty had been jealous indeed. What I had taken to be an artist’s depiction of torment was in reality the ravages of smallpox, and rarely have I seen such destruction to a human face. It was a miracle that his eyesight remained, and as for his craft—who hadn’t heard of Yen Shih, greatest of puppeteers?
Master Li’s bow wasn’t quite so graceful, but it was very good.
“The honor is mine, for Yen Shih is said to be puppeteer to the gods on temporary vacation from Heaven, and Yen Shih’s daughter has also earned the jealousy of mere mortals.” Master Li dropped the artificial air and accent of formal speech and switched to the people’s vernacular. “I’ve seen you perform three or four times. If you got any better you’d be accused of witchcraft, speaking of which I’ve heard your daughter is absolutely the best.”
Master Li turned to me. “No, she isn’t a witch,” he said with a laugh. “She’s a female shaman, a shamanka, who specializes in the old rituals, and nothing but good is said about her.” He turned back to the puppeteer. “Ox has never seen the Yu, so I’m taking him inside for a look,” he added casually.
That was a subtle way of inviting information without demanding it. Yen Shih might be famous and respected, but as a puppeteer his social rank was precisely at the bottom. He had absolutely no right to set foot upon aristocratic premises like Hortensia Island—even less right than I would have if I hadn’t been with Master Li —but on the other hand he wasn’t being pressed to explain his presence. He decided to do so voluntarily.
“I come here often just before the seasonal sacrifices. The purpose is to steal something,” he said matter- of-factly. “I’ve offered to buy the stuff time and time again but I always get turned down, and I would be honored to have witnesses to my crime.”
“The honor shall be ours,” Master Li said graciously.
So there were three of us as we continued up the path. Master Li was perfectly content to let Yen Shih take the lead, and the puppeteer pulled weeds aside and ducked low and stepped into the opening of a natural rock tunnel. Inside the entrance was a barrel holding a stack of torches and Yen Shih and I each lit one, and then we followed the tunnel on and up into the heart of the famous Yu.
I really don’t know what I was expecting. I do know that I was disappointed. There was practically nothing to see. It was only a cavern of stone worn smooth by water, with a small round hole in the center of the floor and a maze of little tunnels leading up and out through the roof. Even the ancient altar was no more than a large stone blackened by fires of thousands of years ago, and I have to admit that I found the modern touches more interesting than the ancient ones. The modern part was simply the stack of crates holding ceremonial material for the rites of the next moon, since the Yu cavern was traditionally used for such purposes, and Yen Shih walked over to one of the crates and lifted the lid and smiled down at the contents.
“What thief could resist it?” he asked.
I stared at the stuff. “Clay?” I said.
“Very special clay,” said the puppeteer. “It comes from the bank of a river near Canton, and it’s used to blend with incense and form fragrant figures of sacrificial animals. I’ve been trying without success to buy it, because it’s perfect for modeling puppets I’ll eventually carve in permanent form.”
I watched with awe as his fingers swiftly kneaded a ball of the clay. A marvelously funny laughing face appeared, a merry woman, and then with a flick of fingers it became the sorrowful image of a weeping old man.
“I don’t need much, but it’s fragile stuff and several times a year I have to steal a bit more of it,” Yen Shih said with a shrug, and then he neatly wrapped some clay inside a piece of oilskin and tied it around his waist beneath his tunic.
“I’ll see if I can get you a permit,” was Master Li’s only comment. Then he changed the subject. “Let’s show Ox the wall carvings. A friend of ours has an interesting theory concerning who they’re meant to represent, although he hasn’t the slightest idea what they’re supposed to be doing.”
Again Yen Shih led the way with his torch, and I must honestly report that again I was disappointed. The famous frieze was in a long side tunnel that tapered to a tiny hole looking out over the lake, and at first I didn’t see anything at all. It was only when Master Li had me hold my torch close to the wall that the figures appeared, and even then I could barely make them out.
Eight hooded men were seen over and over, apparently performing different stages of some sort of ritual. The stone was worn almost smooth, and no details were visible. Each of the shamans—if that’s what they were— seemed to be carrying something, but no trace of the objects remained. So far as I could see they could have been doing anything from sowing a field to celebrating a marriage, and the few surviving symbols above them that Master Li identified as birds of some sort didn’t mean anything either.
“It’s a real pity there isn’t a clearer record,” Master Li said regretfully. “One would expect to find more carvings of the eight figures, but so far as I know none have come to light.”
I realized that Yen Shih was standing very still with his eyes fixed on Master Li’s face. I could see he was weighing various factors, and then he came to a decision.
“I haven’t been totally truthful. I come to the island to steal something else as well, and I think you may be interested in looking at it,” he said.
We followed the puppeteer back into the sunlight. He turned left and began to climb a small winding trail to the top of the crag and the row of astronomical instruments that were used to confirm predictions of eclipses in the annual imperial calendar.
