Lady Asagao," said Ichijo. "Shall I take you to them?"
"Not yet," Sano said, preferring to wait until he'd heard what Reiko had learned from the women. "I'd like to see the study hall and speak with His Majesty's personal attendants." Perhaps he would find witnesses to prove that Emperor Tomohito and Prince Momozono hadn't been in the study hall. If so, he must then challenge their alibi, whatever the consequences. "Yoriki Hoshina can take me."
Ichijo hesitated, then said, "Is there anyone else with whom you would like to speak?"
"Perhaps later. Many thanks for your assistance," Sano said, politely releasing Ichijo.
An opaque expression veiled the right minister's features; he bowed in farewell. As Sano walked away with Hoshina, he had a vague, inexplicable sense of hidden dimensions to the case. In his mind floated the disturbing thought that he'd overlooked something important.
8
A garden of pines, willows, red maple, and flowering shrubs decorated the walled compound where the emperor's consorts lived. As the old courtier walked Reiko through the compound, music and laughter floated in the warm, still air.
"Her Highness the Chief Imperial Consort is amusing herself with her attendants," the courtier said. "She has invited you to join them."
In a courtyard shaded by the wings of buildings, wisteria vines, bright with purple blossoms, climbed lattice frames. A painted mural depicting moonlit woods formed a backdrop for a canopied wooden platform. On this stood a young woman and man. She wore a lavish kimono of crimson silk; floral ornaments adorned her elaborate upswept hairstyle. He was dressed as a peasant in cotton robe and straw sandals. Nearby, three musicians played flute, samisen, and the wooden clappers used in Kabuki theater. Gentlemen and ladies in traditional court garb knelt on cushions in front of the makeshift stage, watching the drama unfolding there.
"The time has come for us to die!" the actor proclaimed with exaggerated passion, seizing his partner's hands.
Sobbing, the woman lamented, "Though in this life we could not be together, in the next world we shall be husband and wife."
The pair stumbled through the imaginary dark forest, clinging together toward a ceramic urn that contained an immense, leafy bamboo plant.
Reiko recognized the play as Love Suicides at Kamakura, popular in Edo's theater district some time ago, based on the true story of a prostitute and a potter, forbidden lovers. Standing behind the audience, Reiko watched with amazement while the amateurish attempt at Kabuki-cheap, low-class entertainment-compromised the decorum of the Imperial Court.
"That is the Honorable Lady Asagao," the courtier murmured to Reiko, indicating the woman acting the role of the prostitute.
Reiko's amazement increased as she beheld the emperor's consort. In her early twenties, Lady Asagao had a round face with rouged cheeks, a snub nose, and round eyes accentuated by painted lids. A generous bosom and curvy hips filled out her kimono. That a woman of her exalted status would stoop to such vulgarity!
The actor playing her lover was handsome, with delicate features and a slender build. He led Lady Asagao to the bamboo plant and cried, "Let us make our end, in the shadow of this bamboo thicket!"
He knelt by the urn. Lady Asagao began to sing:
"Never have we known
A single day of peace-
Instead, the torment of an ill-starred romance."
She minced about the stage, fluttering her eyelids at the actor. Her voice was sweet, but she couldn't carry the tune.
"You must kill me with your hands,
Release me from this torture,
Then follow me into death!"
Falling to her knees beside her lover, she wept, begging, "Please, hold me one last time before I die."
They embraced; a sigh rose from the audience. The actor's hands fondled Lady Asagao, who eagerly returned the caresses. They seemed to be enjoying themselves a little too much, and their ardor embarrassed Reiko.
The actor pulled a wooden dagger out of
"Not yet," Sano said, preferring to wait until he'd heard what Reiko had learned from the women. "I'd like to see the study hall and speak with His Majesty's personal attendants." Perhaps he would find witnesses to prove that Emperor Tomohito and Prince Momozono hadn't been in the study hall. If so, he must then challenge their alibi, whatever the consequences. "Yoriki Hoshina can take me."
Ichijo hesitated, then said, "Is there anyone else with whom you would like to speak?"
"Perhaps later. Many thanks for your assistance," Sano said, politely releasing Ichijo.
An opaque expression veiled the right minister's features; he bowed in farewell. As Sano walked away with Hoshina, he had a vague, inexplicable sense of hidden dimensions to the case. In his mind floated the disturbing thought that he'd overlooked something important.
8
A garden of pines, willows, red maple, and flowering shrubs decorated the walled compound where the emperor's consorts lived. As the old courtier walked Reiko through the compound, music and laughter floated in the warm, still air.
"Her Highness the Chief Imperial Consort is amusing herself with her attendants," the courtier said. "She has invited you to join them."
In a courtyard shaded by the wings of buildings, wisteria vines, bright with purple blossoms, climbed lattice frames. A painted mural depicting moonlit woods formed a backdrop for a canopied wooden platform. On this stood a young woman and man. She wore a lavish kimono of crimson silk; floral ornaments adorned her elaborate upswept hairstyle. He was dressed as a peasant in cotton robe and straw sandals. Nearby, three musicians played flute, samisen, and the wooden clappers used in Kabuki theater. Gentlemen and ladies in traditional court garb knelt on cushions in front of the makeshift stage, watching the drama unfolding there.
"The time has come for us to die!" the actor proclaimed with exaggerated passion, seizing his partner's hands.
Sobbing, the woman lamented, "Though in this life we could not be together, in the next world we shall be husband and wife."
The pair stumbled through the imaginary dark forest, clinging together toward a ceramic urn that contained an immense, leafy bamboo plant.
Reiko recognized the play as Love Suicides at Kamakura, popular in Edo's theater district some time ago, based on the true story of a prostitute and a potter, forbidden lovers. Standing behind the audience, Reiko watched with amazement while the amateurish attempt at Kabuki-cheap, low-class entertainment-compromised the decorum of the Imperial Court.
"That is the Honorable Lady Asagao," the courtier murmured to Reiko, indicating the woman acting the role of the prostitute.
Reiko's amazement increased as she beheld the emperor's consort. In her early twenties, Lady Asagao had a round face with rouged cheeks, a snub nose, and round eyes accentuated by painted lids. A generous bosom and curvy hips filled out her kimono. That a woman of her exalted status would stoop to such vulgarity!
The actor playing her lover was handsome, with delicate features and a slender build. He led Lady Asagao to the bamboo plant and cried, "Let us make our end, in the shadow of this bamboo thicket!"
He knelt by the urn. Lady Asagao began to sing:
"Never have we known
A single day of peace-
Instead, the torment of an ill-starred romance."
She minced about the stage, fluttering her eyelids at the actor. Her voice was sweet, but she couldn't carry the tune.
"You must kill me with your hands,
Release me from this torture,
Then follow me into death!"
Falling to her knees beside her lover, she wept, begging, "Please, hold me one last time before I die."
They embraced; a sigh rose from the audience. The actor's hands fondled Lady Asagao, who eagerly returned the caresses. They seemed to be enjoying themselves a little too much, and their ardor embarrassed Reiko.
The actor pulled a wooden dagger out of
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