Barry Hughart - Eight Skilled Gentlemen

The pictorial carvings had not fared so well as the crisply incised old script. Time had done its work, but enough remained to show the children born to the sad singer. If children they could be called, because they were the demon-deities described by the Celestial Master.

I caught my breath and instinctively stepped backward as I saw a little old man hurling fire, a murderous dancing master, and a disembodied dog head. But the subject of the verses wasn’t eight monstrous children but the ninth one, the boy born human, whose only godlike attribute was his beauty. Master Li’s eyes were sparkling as the verses followed the boy’s growth and triumphs until as a young man he had become companion to a king. No hero could stand against the brave cavalier, no woman could resist him. He rode one day upon K’un-lun Mountain, where a great goddess was said to dwell, and this is his voice:

The cavalier has never been refused and he isn’t now. Idle, bored, looking for amusement, a being who might send wise men racing for holes to hide in answers the presumptuous mortal:

The cavalier becomes a favorite, as he has always been a favorite wherever he’s been, and finally the goddess allows him to use her chariot to bring the Peaches of Immortality for a banquet. Driving the team of plunging dragons on the homeward journey, he passes Jupiter, around which spins the never-ceasing belt of skulls that measure Time.

The cavalier has been blinded by his envy of immortality, and when nature shudders in horror he sees a dance of delight. He has been deafened, and when the chiao-ming bird screeches its warning he hears paeans of joy. He has been maddened, and would take his whip to any mere star that might stand in his path as he calls to the dragons to race faster.

The cavalier lands unhurt in a bog and makes his way down a path that takes him to one of the Lady’s shrines. There he finds the fruits of his life with a goddess. In two boxes he finds two babies and two amulets with names on them. The boy is a twisted, shrunken, miserable little thing, and his amulet reads Huai-I, “Malice.” The girl is beautiful but her eyes are frightening, and her amulet reads Feng-lo, “Madness.” In a third box the cavalier finds a mirror and a third amulet, which reads Chi-tu, “Envy.” When he looks in the mirror he sees that the goddess has indeed given a handsome cavalier the face of Envy. He snatches up Malice and Madness and runs wildly into the woods, and his story abruptly ends with a very peculiar verse.

We stepped back from the last inscription and looked at each other.

“Great Buddha, that sounded like a demented nursery rhyme,” Yen Shih said.

“Either that or Li Ho with a horrible hangover,” said Master Li.

He had insisted upon translating every word of text before continuing to the artifact the bandit chief’s daughter had told us about. Now we squeezed through a narrow gap and turned sharply left to another chamber lit by a shaft of sunlight, and the usually imperturbable Yu Lan gasped, and I yelped.

We were looking at our burglar, painted upon a wall uncounted centuries ago, and still clear in most details. Around the ape man’s neck was the amulet “Envy,” and in his arms were the terrible children Malice and Madness. The head was bowed, and in a moment I learned why this place was sacred to yin and not yang. Master Li took my torch and lit it and swung it around to the black shadowed area opposite the transformed cavalier, and my liver turned to ice. Nobody moved or spoke. We were looking at a painting twice as large as that of Envy, and I have seen few things more frightening in my life.

“Envy had to be the most daring cavalier in history,” Master Li said in an awed tone of voice. “This is Hsi Wang Mu, the great and terrible Lady-Queen of the West, as she was in her glory before we Chinese tried to domesticate her and ease her safely into the pantheon. No wonder the death totems stand outside. The lady is Patron of Pestilence, and her servants are the Ravens of Destruction.”

Yu Lan was already on her knees performing the obeisances and kowtows, and Master Li joined her, and Yen Shih and I weren’t far behind. We arose in silence, chilled by the image that looked back at us from the wall. The goddess was beautiful except for the fact that tiger teeth protruded from her mouth, and her hands ended in tiger claws, and her lower body reflected the water origin of all goddesses by ending in something like a dragon’s tail, huge and scaly and shining and coiling. Her eyes had no knowledge of time, and no knowledge of weakness, and no knowledge of pity, and I thought I might almost be close to understanding the famous line by the great poet Master Li had mentioned, Li Ho: “If Heaven had feelings, Heaven too would grow old.”