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These menus vary according to the inspiration that may have seized Madame Prune. But one thing never varies, either in our household or in any other, neither in the north nor in the south of the Empire, and that is the dessert and the manner of eating it: after all these little dishes, which are a mere make-believe, a wooden bowl is brought in, bound with copper — an enormous bowl, fit for Gargantua, and filled to the very brim with rice, plainly cooked in water. Chrysanthème fills another large bowl from it (sometimes twice, sometimes three times), darkens its snowy whiteness with a black sauce flavored with fish, which is contained in a delicately shaped blue cruet, mixes it all together, carries the bowl to her lips, and crams down all the rice, shovelling it with her two chop-sticks into her very throat. Next the little cups and covers are picked up, as well as the tiniest crumb that may have fallen upon the white mats, the irreproachable purity of which nothing is allowed to tarnish. And so ends the dinner.
Chapter 23 A Fantastic Funeral
Below, in the town, a street-singer had established herself in a little thoroughfare; people had gathered around her to listen to her singing, and we three — that is, Yves, Chrysanthème, and I— who happened to be passing, stopped also.
She was quite young, rather fat, and fairly pretty, and she strummed her guitar and sang, rolling her eyes fiercely, like a virtuoso executing feats of difficulty. She lowered her head, stuck her chin into her neck, in order to draw deeper notes from the furthermost recesses of her body; and succeeded in bringing forth a great, hoarse voice — a voice that might have belonged to an aged frog, a ventriloquist’s voice, coming whence it would be impossible to say (this is the best stage manner, the last touch of art, in the interpretation of tragic pieces).
Yves cast an indignant glance upon her.
“Good gracious,” said he, “she has the voice of a —— ” (words failed him, in his astonishment) “the voice of a — a monster!”
And he looked at me, almost frightened by this little being, and desirous to know what I thought of it.
Yves was out of temper on this occasion, because I had induced him to come out in a straw hat with a turned-up brim, which did not please him.
“That hat suits you remarkably well, Yves, I assure you,” I said.
“Oh, indeed! You say so, you. For my part, I think it looks like a magpie’s nest!”
As a fortunate diversion from the singer and the hat, here comes a cortege, advancing toward us from the end of the street, something remarkably like a funeral. Bonzes march in front, dressed in robes of black gauze, having much the appearance of Catholic priests; the principal object of interest of the procession, the corpse, comes last, laid in a sort of little closed palanquin, which is daintily pretty. This is followed by a band of mousmes, hiding their laughing faces beneath a kind of veil, and carrying in vases of the sacred shape the artificial lotus with silver petals indispensable at a funeral; then come fine ladies, on foot, smirking and stifling a wish to laugh, beneath parasols on which are painted, in the gayest colors, butterflies and storks.
Now they are quite close to us, we must stand back to give them room. Chrysanthème all at once assumes a suitable air of gravity, and Yves bares his head, taking off the magpie’s nest.
Yes, it is true, it is death that is passing!
I had almost lost sight of the fact, so little does this procession recall it.
The procession will climb high above Nagasaki, into the heart of the green mountain covered with tombs. There the poor fellow will be laid at rest, with his palanquin above him, and his vases and his flowers of silvered paper. Well, at least he will lie in a charming spot commanding a lovely view.
Then they will return half laughing, half snivelling, and tomorrow no one will think of it again.
Chapter 24 Sociability
August 4th.
Our ship, the ‘Triomphante’, which has been lying in the harbor almost at the foot of the hill on which stands my house, enters the dock to-day to undergo repairs rendered necessary by the long blockade of Formosa.
I am now a long way from my home, and am compelled to cross by boat the whole breadth of the bay when I wish to see Chrysanthème; for the dock is situated on the shore, opposite to Diou-djen-dji. It is sunk in a little valley, narrow and deep, midst all kinds of foliage — bamboos, camellias, trees of all sorts; our masts and spars, seen from the deck, look as if they were tangled among the branches.
The situation of the vessel — no longer afloat — gives the crew a greater facility for clandestine escapes from the ship at no matter what hour of the night, and our sailors have made friends with all the girls of the villages perched on the mountains above us.
These quarters, and this excessive liberty, give me some uneasiness about my poor Yves; for this country of frivolous pleasure has a little turned his head.
Moreover, I am more and more convinced that he is in love with Chrysanthème.
It is really a pity that the sentiment has not occurred to me instead, since it is I who have gone the length of marrying her.
Chapter 25 Unwelcome Guests
Despite the increased distance, I continue my regular visits to Diou-djen-dji. When night has fallen, and the four couples who compose our society have joined us, as well as Yves and the “amazingly tall friend”— we descend again into the town, stumbling by lantern-light down the steep stairways and slopes of the old suburb.
This nocturnal ramble is always the same, and is accompanied always by the same amusements: we pause before the same queer booths, we drink the same sugared drinks served to us in the same little gardens. But our troop is often more numerous: to begin with, we chaperon Oyouki, who is confided to our care by her parents; then we have two cousins of my wife’s — pretty little creatures; and lastly friends — guests of sometimes only ten or twelve years old, little girls of the neighborhood to whom our mousmes wish to show some politeness.
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