Eight Skilled Gentlemen

16

As duly appointed investigator of anything concerning the death of Ma Tuan Lin, Master Li had every right to be at the cemetery where the monster had lived. He sauntered down the hill quite openly and as he did so he reached into his robe and took out a stack of papers. They were rubbings he had taken from the late mandarin’s desk in the cave, and they were so superb that Master Li was willing to bet Ma had destroyed the frieze on the tunnel wall so no one else could share his treasure. Not even Ma was so stupid he couldn’t figure out how the cages were used in communication.

Even I could see it. To begin with, we were once again looking at the same hooded figures that had been carved on the walls of the Yu, the Eight Skilled Gentlemen. These were the sharpest impressions yet, and one detail was visible that hadn’t been before. Each cage they carried contained an object like a writing brush, with the handle sticking up through a hole in the center of the junction of bars at the top, and one sequence was practically a lesson for the slow-witted. (1) One of the gentlemen lifted the brush from his cage. (2) He was shown touching the brush to symbols of the five elements depicted upon the bars. (3) His image appeared inside the cage. (4) Wavy lines symbolized crossing water and distance. (5) A second gentleman was depicted looking at a duplicate image of the first one in his own cage.

“Even Pea-head Chou in my village could understand this!” I exclaimed.

“Pay attention,” Master Li said sharply. “Ma’s discovery of cage communication led him to conclude he’d found what really mattered, and perhaps he had, but that’s as far as he went, and any scholar worthy of the name would realize he had in his hands the only known record of an event still honored in bastard form today, the Dragon Boat Race of the fifth day of the fifth moon.” He grimaced violently and shook his head as though trying to rattle meanings from molasses. “Meaning the day after tomorrow,” he said. “Supposedly the race honors the great statesman and poet Ch’u Yuan, who drowned himself as a protest against corrupt government, but in fact the race was being run a thousand years before Ch’u was born—if not two thousand. The frieze Ma found and destroyed was clearly a pictorial account of the original event that inspired the race of the dragon boats, although it would take the Celestial Master in his best days to wring the full truth from it.”

Seldom have I seen the old man so frustrated. As his right forefinger danced over the rubbings he quickly and surely interpreted ancient symbols and placed them in the context of a story, yet his hand chops and roars of profanity testified to lessons he might have learned at the Celestial Master’s knee uncounted years ago; lessons that the saint might not now be able to repeat. He started with something other than pictographs, however. One rubbing was of ancient writing at the very beginning of the frieze, and the old man pointed to the brief inscription.

“The story is clearly a solstice myth, based to some extent upon historical events, and this written title was added by a scholar or priest perhaps a thousand years after the actual carving.” He turned and winked at Yen Shih. “A bit gaudy, but rather prettily descriptive, don’t you think?”

The puppeteer glanced up sharply. Knowledge of ancient scripts was the province of the privileged, and never before had Master Li directly alluded to Yen Shih’s upper-class origins. Then the puppeteer shrugged, and translated the symbols for my benefit.

“ ‘Sky-flame Death Birds Ghost Boat Rain Race,’ and the only language other than Chinese given to fashioning poetic lines from strings of unmodified nouns,” Yen Shin continued in a marvelous imitation of a pompous scholar’s lecture voice, “is barbaric Latin.”

Master Li took over, and this is the sketchy outline of the solstice story he was able to decipher from ancient symbols and images.

Long ago, before writing had evolved to record events, invading barbarians who were to become the Chinese battled aboriginal settlers of the Central Kingdom for earthly supremacy, and at the same time a battle was waged in Heaven between gods of the old people and those of the new. Somehow the earthly combatants managed to infuriate both celestial sides. As a result the gods who normally controlled the physical operation of earth rode off to Heavenly battlefields and left men to manage as best they could, and in no time the world was in chaos. It was clear that men must establish harmonious accord with the powers of nature if they were to survive, and to this end the warring kings finally united and humbly petitioned the greatest of wizards and shamans, Pa Neng Chih Shih, to come from the corners of civilization and take charge.

“The Eight Skilled Gentlemen began by ordering the kings to build something,” Master Li said. “See the large square? That means ‘earth’ or ‘of the earth.’ It has a squiggle carved inside to indicate it’s hollow—a cave, for example—and these little lines sticking through the top—”

“Pipes!” I exclaimed. “They had the kings build them the musical instrument of the Yu!”

“I sincerely hope so, since it’s a lovely idea,” Master Li said in a gentle voice. “They also commissioned two marvelous boats, one yang and one ying, and to seal a pact—this isn’t clear to me, but it seems to have been a covenant to bind men and nature in harmonious accord—the Eight Skilled Gentlemen ran the most spectacular boat race in history.”

With the most deadly stakes, it seemed. Somehow the Yu was used to form a path of magical water to race on, and the air above the boats was filled with flames, indicating the sky was so hot it was catching fire, as in the days before Archer Yi shot down nine of the ten suns. Obviously the yang influence was grotesquely strong, and when nature is unbalanced disease moves in, and the terrible Ravens of Pestilence wheeled above the boats. Water boiled beneath the Eight Skilled Gentlemen, waves threatened to capsize them, hideous monsters reached out from the banks and sea serpents threatened from below. The yang boat was shown moving ahead, and the death birds of disease swooped down—

“And just when it gets really exciting we lose the thread,” Master Li said disgustedly.

The stone hadn’t escaped time’s ravages where the last panels were. It had worn so that ink from the rubbing gathered in little puddles, smearing and distorting, and in some sections there was nothing but a ridge here and a gouge there to suggest what might have been carved. Then, at the very end, the soft worn area gave way to firmer stone and the frieze became visible again.

“Yin has won after all,” Master Li said. “See the slanting lines? Rain is falling, the generating force and symbol of renewal, and the boat has reached some sort of dock crowded with kuei, ghosts. What’s happening isn’t clear. The flames of the sky have been extinguished and the death birds of disease are fleeing, so one must assume that ghosts have joined forces with the Eight Skilled Gentlemen and tilted the balance. After all, the unknown commentator called the crafts ‘ghost boats.’ If only the Celestial Master can regain his wits for a few hours!” the old man cried passionately. “He’s capable of tying this to the demon-deities connected with the cages, and maybe even to their brother Envy, and above all he might be able to tell us why portions of a solstice tale three thousand years old are popping up today, and why certain monsters aren’t myths, and, in short, what in hell is going on.”

“Good luck,” said the puppeteer.

Yen Shih was delighted with the “interesting morning,” as he phrased it, and placed himself at Master Li’s service day or night, but for the moment he excused himself to attend to some work at home. He was being tactful. Master Li’s next stop would be to give a full report to the Celestial Master, and there might be details he wouldn’t want the puppeteer to know about, so Yen Shih simply bowed out before anyone got embarrassed. Master Li insisted upon hiring a palanquin for the puppeteer, and we took another one, and not long afterward we entered the Forbidden City and went straight to the Celestial Master’s office. He wasn’t in, but he had left a note for Master Li in a sealed pouch, and Master Li took it back to the palanquin and opened it as we started back toward the Meridian Gate.

Kao,

I’m tired and stupid and senile. I confronted a mandarin who had to know about that cave in Coal Hill. I got him to produce his cage and explain they’re for communication. Then I used it to do some shouting, but then my mind stopped functioning. All I could think of was to hit the bastard over the head with the thing. I’ll have to leave more constructive approaches to you. I’ve tracked a cage to Yang Ch’i. He keeps it in a case in that damned greenhouse of his, and you can handle the guards if anyone can. I’ll send word when my brains are up to something tougher than pre-chewed baby food.

Chang

“How do I look?”

“Sir… Sir…”

“Ox, not over my robe!”

“Sorry,” I managed to say between retches.

Civilized readers will be familiar with Ink Wang’s famous portrait of Master Li, and I was there when Wang painted it. After examining the sage’s face from all angles the artist pitched his brushes into a corner, unbound his long lank hair, dipped it into the inkpots, and jumped around swinging his head in front of the silk as he sprayed ink all over the place. The end result was a pattern of incredibly complex interwoven lines. Ink Wang then sketched a head-shaped outline, blacked out everything outside the perimeter, painted in a pair of bright eyes, and there was Master Li, so lifelike I almost expected him to walk from the surface and call for wine. Ink Wang said it was the only way he could reproduce the landscape of wrinkles that constitutes the sage’s face, and the reason I mention it is to suggest something of the effect when the wrinkles were filled with green phosphorescent Cantonese clay. (Neo-Confucians who have been left behind are invited to think: incredibly old man, bony, labyrinthian wrinkles packed with clay that glows in the dark.)

I was driving a blue-hooded upper-class donkey cart beneath a bright moon that was occasionally obscured by sand clouds. The Yellow Wind hissed against the canvas, and the metal torch brackets lining the elegant lane on Coal Hill seemed to be passing sand-scrape sounds from one to another like one long vibrating lute string. We came to a halt and the guards at the gate of mandarin Yang Ch’i’s mansion crowded around demanding passwords or engraved invitations, and the silken curtains parted and the head of a six-month-old corpse slid out, inch by inch.

“Good evening,” said Master Li.

The guards were no longer present, although high-pitched notes remained for some time, rending the air, and we proceeded placidly up the drive. At the courtyard another row of guards stood ready for promotion, keen and alert.

“Excuse me. We have been summoned to collect a gentleman, and which one of you is…” I fumbled for a list.

Hands pushed the front handle of a coffin through the blue curtains, followed by the head and face of Master Li.

“Good evening.”

Since there seemed to be nobody in the courtyard we left the cart and proceeded to the mansion, where a butler automatically accepted Master Li’s cape, turned to receive the white wooden calling card, and toppled over backward like a board, bouncing up and down three times with a distinct whang-whang-whang sound. Servants, guards, and various flunkies appeared at every doorway and staircase.

“Hello, the house!” I cried desperately. “My beloved great-great-grandfather has contracted some silly little ailment that ignorant medicasters call vehemently virulent, and we merely seek—”

“Good evening,” said Master Li.

Since nobody seemed to be around to receive us we proceeded through the inner courtyards to a central tower, and entered a huge room beneath a great vaulted dome that consisted almost entirely of windows. The heat outside had been bad enough; here it was awful. What’s more, it was as humid as a southern rain forest, and Master Li explained that Yang Ch’i was an avid horticulturist who specialized in exotic tropical flowers. Beneath the floor was a great vat of water kept constantly bubbling by charcoal fires. Vents released steam through a thousand tiny apertures, and moisture coalesced into droplets that splashed down from the ceiling with tiny pit-pat sounds. The room smelled of manure and decay, but most of all it reeked of the gross pulpy stalks of immense orchids: stickily sweet, rotting inside.

“Yang also prides himself on his knowledge of primitive artifacts, and in that respect his pride is justified,” Master Li said. “He’s one of the few who truly respect the craftsmanship of aborigines, and that’s why the Celestial Master said he kept his cage in a case. Yang Ch’i couldn’t possibly keep such a thing hidden away; it would be the jewel of his collection.”

The avenues between plants were lined with display cases containing everything from a costly jeweled hair comb to a child’s doll carved from cheap teak, and I may have learned something when I noticed that moonlight made materials irrelevant, and if craftsmanship was the criterion the doll was the more valuable. The avenues converged at the center of the dome where a single case stood on a circular patch of floor. Here steam was taking the place of heat waves; outlines blurred, and everything seen from the corners of my eyes seemed to be floating up and down as on billows of the sea. The moon was directly above the dome. As I walked forward I watched it change color and shape seen through differing patches of glass: now round and golden as a fabled peach from Samarkand, now elongated and yellow as a squash—a crab must see the moon like that, I thought, peering up through water as it scuttled over sand and seaweed.

The glass alone must have cost a crown prince’s ransom. Never had I seen so much in one place, and never of such quality.

We reached the center display and gazed down at the case and there it was, an ancient cage like the ones we had seen before. Master Li frowned. “Damn. No brush,” he said, and indeed there wasn’t a brush like the one shown in the rubbing. It was like the one we’d picked up outside Ma Tuan Lin’s pavilion, but this time I noticed the hole at the top through which a brush handle could protrude. I reached forward, but Master Li stopped me.

“Careful.”

He examined everything about the floor, the stand, the display case, the ceiling, and only when he was sure there was no visible trap or alarm mechanism did he reach out and carefully lift the glass cover. Steam billowed around us, hissing, blocking my vision, and when it cleared I saw Master Li nod. I reached out and picked up the cage and pulled it back, and Master Li gently replaced the lid.

“Let’s take a look at it,” he said.

In a far corner was a workbench where a bright lantern glowed, giving clearer illumination than moonlight, and we started toward it. My throat tickled badly and I coughed, and then the old man coughed. The sound seemed to linger inside the dome, moving slowly through the moist air. At the lantern Master Li examined the top of the cage and took note of the symbols of the elements on the bars, symbols the Skilled Gentleman had touched with the brush in the rubbings, and then he turned the cage over and looked at the bottom. He became very still.

“Ox,” he said quietly after a long pause, “do you see this tiny little cross scratched on the rim?”

“Yes, sir,” I said.

“I put it there.”

“Sir?”

“I put it there, Ox, from force of habit, as an identifying mark on a piece of physical evidence. This is the same cage that we found on the island, and that the ape man stole from the shack,” Master Li said.

I stared blankly at him. Nothing made sense to me, and I was about to ask stupid questions when a flute began to play. The sound was quite shocking in the thick dripping stillness of the greenhouse, and I jumped a foot. In an instant Master Li’s throwing knife was in his hand, and I turned toward the sound and began stalking it, bent low behind great pungent flowers. The music was strange and discordant, almost mindlessly rhythmic, like the monotonous sounds of shamanistic drummers putting an audience in a trance, and it was difficult to pin down: now to the left of me, now to the right. I seemed to be moving with unreal slowness, and as I wormed my way through pulpy orchids beneath the changing moon I began to get the profound impression that I was underwater, like that crab I’d imagined, pushing a path between algae and the limp dangling limbs of drowned men.

I stopped and stared, with my heart trying to get out past my tongue. I’d reached a gap in huge leaves and I was looking at a bright patch of moonlight shining on a stool upon which a small figure sat cross-legged. It was a child. A beautiful child playing a flute, but something was wrong with it, and I heard in my head the faint voice of the Celestial Master.

“The first demon-deity is Fang-liang,” the saint had said. “It resembles a three-year-old child with red eyes, long ears, and beautiful hair, and it kills by forcing its victims to strangle themselves.”

I realized that the tickling sensation inside my throat had been growing stronger, and I tried to cough but all I did was choke, and I whirled and looked back. Master Li had dropped his knife and was staggering in a little circle with his hands clasped around his throat, strangling himself.

I tried to go back to him, and then thought better of it and tried to charge the child with the flute, but all I did was trip and fall. I couldn’t breathe. The itching inside my throat was unbearable and I tried to reach it, clasping my neck tightly with my hands. My vision was dimming and I could barely see that Master Li had gone mad and was trying to climb what looked like a tiny tree rising above orchids, shinnying up like a young boy, and then I couldn’t see that far. I rolled over on my back, clawing helplessly at my throat.

The flute music had stopped. The moon was blocked out. The child was bending over me, looking down. A happy smile was on the innocent face, and the eyes were indeed red, and the earlobes nearly reached the shoulders. Beautiful hair glistened in moonlight, and a pretty little tongue slid out and licked pretty little lips. Then, suddenly, a dark form hit the child like a hurricane and sent it flying away, and hands grabbed my head and pried my mouth open, and burning acid began to scorch a hole through the obstruction in my throat. Air suddenly entered my lungs. I breathed and gasped and choked and sat up, and in a few more seconds I realized it wasn’t acid in my mouth but lime juice, and the dark shape was Master Li.

“Get him, Ox!”

The weird child had been entangled in plants, but now it was free and it had grabbed the cage and was scrambling toward the door. I couldn’t possibly catch it—my legs tried to move and gave up—but a small, heavy, earth-packed flowerpot lay close to my hand. I grabbed it and threw as hard as I could, and then regretted it.

“I wanted to hit the legs,” I panted.

“You did well to hit anything at all,” the old man said comfortingly.

He wasn’t going to need to perform an autopsy to determine what happened when that pot landed squarely in the back of the child’s small head. We could hear the bones crush from where we were, and before the body hit the floor we knew that Master Li wasn’t going to be able to question the creature. I got shakily to my feet and we walked up and looked down. The wig of beautiful hair had been knocked five feet, and one of the fake earlobes had come loose. Red eyes gazed blindly up at us.

“Some kind of ointment to give an effect like pinkeye,” Master Li said matter-of-factly. “I recognize him. One of the dwarfs who entertain eunuchs in the Forbidden City, and I rather think I’ve seen him in the company of Li the Cat.”

He picked up the fallen cage and bounced it up and down in his hand.

“Somebody’s gone to a hell of a lot of trouble,” he said. “When we lifted the cage from the case a concealed spring released a cloud of stuff that looked like the steam in the room. It wasn’t. It was a powder derived from yuan ha. Barbarians call it Lilac Daphne, and it’s related to laurel and the mezereon herbs. It contains an immensely powerful irritant that can inflame the larynx to the point where airflow is cut off, and since a victim instinctively tries to get at the constriction he appears to be strangling himself. One antidote is citric acid, and it was a lucky thing that a lime tree was growing among the orchids.”

The sage glared at the tiny corpse.

“But why such a ridiculously complicated murder plot?” he asked rhetorically. “There were a thousand surer ways to kill us, and all this did was tell us that Li the Cat has a spy in the Celestial Master’s household. Somebody managed to read that note and set a trap before we arrived, and we’d better make sure they haven’t harmed the Celestial Master himself.”

“Yes, sir,” I said, and I automatically bent over and he hopped up on my back, and I set out at a gallop.