I asked about Hosen Hara's wife at the general store in front of the station and got an immediate answer. I was told that until two or three years ago Asa had run a little store selling cheap sweets in front of the station, but as the intensity of the war increased and the things she sold became so scarce, she had to close the store. They didn't know what she was doing now, but she was being supported by her elder brother who had a lumber yard or something. I met Asa at the porch of this house, which, while it could not be considered luxurious, was a well-built and excellent house.
I was unable to tell, of course, whether she was happy or unhappy living with her elder brother. She had a trim figure, and as the late afternoon sun fell on her there on the narrow porch, she was peeling persimmons with a kitchen knife getting them ready to dry. The young proprietor of the saké distillery in Wake had told us that she was of small stature and beautiful. And indeed she must have been beautiful when she was young. Even as a woman of sixty, there was still left in her that chicness in both appearance and expression that is usually met in entertainment people. But when she showed her profile, her earlobes were shallow, and here and there, there were traces of tragedy and an air of extreme poverty. I had thought that she would have an aversion to talking about Hosen because he had spent his life dishonestly as a painter, but she showed no such tendency whatsoever.
"It might look as if he had some close association with Keigaku-sensei when he was young, and after I married him he may have gone up to Kyoto on occasion and visited the sensei's home at Hyakumamben. But he did not have any connection that could really be called a close association. Anyhow, the fact is that he counterfeited the sensei's works inordinately, and so he couldn't show himself in front of Keigaku-sensei."
It was surprising, the degree to which this woman had disassociated herself from Hosen. She gave me the impression that as far as she was concerned all the bad acts of this man to whom she had been married for so long were already past, gone, and forgotten, and she had no connection with them.
"I separated from that man in 1935. From then until the time he died, he only came to visit me once. That was on the day the newspapers announced Keigaku-sensei's death."
Asa told me that on that day when Hosen came to visit her he had said something like, "Why won't you substitute for me and go and burn some incense at Keigaku's altar instead of me, because I can't hold my head up even at his funeral." Asa told me that she had wondered at the time why, instead of feeling the need to go and apologize for the great trouble he had caused Keigaku, he had acted as though a sadness over the death of an old friend was gripping him.
"No matter what anyone else says, I believe that his spirit was broken after coming to these mountains. Even though he had no reason for it, he held a grudge against Keigaku until then. When he used to drink, he would say that if he wanted to paint, he could paint pictures as well as the other fellow; when he was young, he was the more skillful of the two; he also had talent. But, after coming to these mountains, when mentioning Keigaku, he would sometimes say, 'It's such a great thing that he's so famous.' "
That was Asa's story. And the image that then drifted into my mind of Hosen who after reading the news of Keigaku's death had come up to this hamlet to visit the wife who had deserted him, the image of him moving along the winding, hilly road which I myself had just that very day walked, that image curiously crystallized as one of a little person together with the late autumn winds crossing the marvelous bamboo thickets that filled the slopes of the mountain range. However, thinking about it later, I recalled that the anniversary date of Keigaku's death was March third. So, it would have been a time when one side of these mountains was still covered with snow, and Hosen might have been wearing straw snowshoes and trudging stolidly across the snow packed mountain road to get to Shoyama. And even then, apparently, Asa had not gone to Keigaku's funeral in Kyoto, and that's the way the matter stood.
In any event, the fact that there was a day such as that in Hosen's declining years suddenly struck me like a ray of sunlight amidst the generally dark and dismal colorless monotone of this person called Hosen who was inexplicably commanding my attention.
Asa's talk about Keigaku ended, I asked her obliquely, though I myself thought it was rude, why she had decided to separate from Hosen. Soon after Hosen came to the mountains and started to manufacture fireworks, she began to want to leave him for doing that kind of work. She herself sometimes had to assist him—"Oh, well, it was making a living, if you can call it a living, so what could I do?"—but apparently she hated Hosen for engaging in that work even more she hated the job itself.
"Even when that man began to counterfeit Keigaku-sensei's work, he sneakingly kept it a secret from me. It finally came out in the open, but at first, as you might expect, just my knowing it seemed an embarrassment to him. He carried on these activities as secretly as he could so that I wouldn't know about them. And when he started making fireworks, it was just the same. This time it was not that he was doing anything particularly bad, although there are laws about amateurs handling explosives. It was just that he hid things from me, no matter what he did. If he had only been open about it, everything might have been all right. But when I wasn't there or after I'd gone to bed, he used to sneak over to the edge of the porch and stealthily grind things in his mortar. It was because he did that sort of thing that I got to dislike fireworks."
What apparently first motivated Hosen to tinker with explosives was that there was someone he liked, the owner of a curio store, who made fireworks, and during the time he was associated with that person, he himself developed an interest in making fireworks. When Asa first became aware of it, Hosen was furtively wrapping all sorts of chemicals in paper in roughly equal quantities of about an ounce-and-a-half each and igniting them to see what color their flames would be.
"Why in the world did he find fireworks so interesting?"
"Well," replied Asa a bit pensively, "he was a funny man. I don't know where he ever got the idea, but once he was trying to produce a certain deep blue-violet color and he acted as though he was obsessed. He generally could get that color by mixing Paris green with chlorate of potash and pine resin, but he seemed to be trying to find some means for producing a chrysanthemum of this deep bluish violet—it was supposed to be the color of bell-flowers—but it always ended up a little pale and different from the original bell-flower color."
Hosen lost three of his fingers when he was making shooting stars. He had incorrectly inserted a fuse in the side of an explosive he had been devising, and it accidentally ignited, the explosives nearby catching fire in the process. It was quite a serious thing. Although Asa was quite upset by the incident itself, it additionally provided her with an excuse for leaving him—and she made up her mind to do so. Ever since he had begun working secretly with explosives, she said, she had developed a strong dislike for Hosen, and her dislike had continued. When the explosion accident occurred, it was the last straw, and she really wanted to leave him for good.
"Did he ever achieve that blue-violet?" I asked.
"Mm-m, I wonder. He apparently was not very satisfied with it while I was still with him," she replied but acted as though she really had little interest in that subject. While she was relating stories about Hosen, some of the earlier love and affection she had felt toward him, even though he was such a strange person, had more or less been revived, and even though she now displayed an attitude of cold indifference and detachment, she certainly did not say anything bad about him intentionally.
"In the final analysis, he was an unfortunate man, that man, don't you think? I really think so. It may look as though I wasted my whole life on account of him, but I sometimes wonder if he wasn't even more unhappy than I was. It was his curse to care more about painting pictures than about his three meals a day; in the long run, he got started on the wrong track and ended up without painting a single worthwhile picture; when he made fireworks, he lost three fingers; he was almost driven to distraction ove
r 'deep purple, deep purple'— but he couldn't even produce that! He wasn't a particularly bad man, but I guess he was just born unlucky."
For over an hour I listened to Asa's tales. While listening to her stories, I was captivated by the way she talked about this person Hosen as she stared fixedly into the distance and by the way she was in certain respects still bound up with him.
It was my observation that during the course of almost thirty years that she had lived with him during their marriage, she had been an individual unto herself and had developed a special kind of mentality not generally found in women.
"Do you know the proprietor of the big saké distillery in Wake?" I asked, recalling the owner's statement that Hosen and she had frequently visted his home.
"No, I don't," she answered promptly, as if the distillery was something completely unknown to her. Perhaps my reference to something in her younger days had displeased her. The thought also suddenly occurred to me that the person who used to frequent that house with him might have been some other woman, so I dropped the subject.
At that point, without even having a cup of tea, I cut short my curious visit with this stranger from whom I had heard things that really infringed on her privacy, and I left so as not to be late for my five-o'clock truck.
Of all the things I had heard from Hosen's widow that day, the story about Hosen trying to shoot off the blue-violet chrysanthemum interested me most. At the time that I heard it, it didn't even seem particularly important, but it curiously remained in my mind, cropping up unexpectedly from time to time.
After we moved out of our evacuation site and were living in an Osaka suburb, I casually disclosed to my wife the desire—or, to overstate the case, the dream— that Hosen had cherished in his declining years. As soon as she heard it, she winced and spontaneously exclaimed, "Awful!"
"Why 'awful!'?"
"Because. I can't really explain it, but for some reason it gave me an unpleasant feeling—ghastly! A deep-violet flare opening against the black sky! That was probably what made me feel so queasy."
Then, I too was struck by the thought that I was dabbling in something I should not touch. With that, I hurriedly dropped the story of Hosen I had intended to tell. That is all there was to it and it had no particular significance, but my wife's attitude of that moment has remained fixedly in my mind as a totally unexpected and revealing discovery. I believe I generally understand my wife's feelings, but even when I probed this thing in depth, there was something incomprehensible, or at least I couldn't understand it. I could believe that there was something discernible in Hosen that could have caused my wife to feel something intolerably unpleasant just as it caused his wife to leave him. Although she had managed to go tagging along after him through a life of several decades of counterfeiting, there must have been something—something incomprehensible to people like me—something deep-rooted in the physical revulsion she felt, so that she as a woman could not trail after the Hosen who produced explosives.
Hosen's production of fireworks, the gunpowder, and the chemicals he used, these cold and dismal things somehow engendered the same feelings even in me. I could not, however, feel this in the same way my wife and Hosen's widow might have felt it. I could catch at least a fleeting glimpse of the piteous beauty which a multi-petaled bell-flower color bursting open for an instant in the night sky might have meant to this one counterfeiter whose life had been wrecked and who possessed nothing. However, I still wondered if this dream of Hosen Hara had really ever opened up in the sky at night. There was no way of asking the deceased man and confirming that it had. But certainly, had it on the other hand not been the color of petals opening, wouldn't the two women have winced anyhow and wouldn't they have reacted just as tempestuously?
That was the line of my thought.
V
AFTER that, the case of Hosen Hara gradually disappeared from my mind without my realizing it. As time went by, the not-too-cheerful story of this dead counterfeiter whom I had learned about accidentally and through hearsay from people at our evacuation site would, in the course of events, rather naturally become dim in my memory. Two years after the war, however, Hosen was once again brought before my mind's eye as though it were a finale to the stories I had heard about him.
It was summer. At that time, I was all involved and wrapped up in problems of provincial culture. For the first time in a year and several months, I took a train on the Harima-Bizen Line which crosses over to Yonago from Okay ama Prefecture. I was on my way to cover a general art exhibition at one of the San-In Prefectures around the Japan Sea in order to do an article for the Sunday supplements.
As the train pulled up to the platforms at the small mountain-top stations where I had gotten on and off so often loaded down with supplies on my back, I gazed out at the stalks of the tall growing weeds swaying in the highland winds and at the red-soil banks on the west side of the station; and always there was the sound of pebbles rolling down the banks to the road below. Suddenly it occurred to me that it would be no great loss if I arrived at my destination one train later. I vacillated for a while over whether to get off or not, but just as the train was on the verge of departing, I grabbed my valise from the string-net shelf and hopped off the train.
This place was filled with a thousand and one bittersweet memories of things not experienced elsewhere due to the times. Even though I did not go to the hamlet which had been my family's refuge, I still thought it would not be a bad idea to spend up to two hours in the station square looking up at the familiar landscape and the rows of houses in the hamlet. If I did not seize this opportunity to get off and wander around this station, I might not get a second chance. Possibly I might meet some of the villagers I knew, even if I only knew them by sight. Thinking these thoughts, I went through the gate and headed for the only restaurant there was in the square, intending to relax there. As I proceeded to walk toward the restaurant, I was brought to a halt on hearing from somewhere behind me in the characteristic local dialect: "Aren't you the fellow from the Assembly Hall?"
I turned around. It was the second son of the farmer who lived next door to the elementary school, a family affectionately and jokingly called the "People-Out-Back." He was the young man who always helped us with the firewood.
I stood there and chatted with him. The boy talked about the difficult times the farmers were having, in terms that indicated a rather pinkish political attitude. He didn't ask for news about my family, nor did he even mention any of the residents of the hamlet. Anger over our difficult times, for reasons he didn't understand, was building a fire in the head of this young highlander.
"You going into the village?" he asked.
I explained that I did not have the time so I couldn't go today, but I asked him to take my best wishes and greetings to everyone. The youth then informed me that starting at sundown, for the first time since the war, there was to be a fireworks display in which five towns were jointly participating; that in just two hours crowds of people would be assembling for this spectacle; that among them would be people from our hamlet; that it would not take long—so why didn't I wait around for it? I had intended to be one train late anyhow, so I decided to make it two. I reasoned that if I met some of the villagers here, I could fulfill some of my obligations by thanking all these people for their many courtesies during the time of our evacuation.
It was now three o'clock. I spent the next two hours in the station waiting room and at the restaurant. On the telephone poles in the station square exceedingly crude and clumsy handbills had been posted. They were written with smudged red ink, probably by the young people of this area, and announced a "Gala Fireworks Display." Although it was still a little early, at about five o'clock I set out toward one edge of the unnecessarily extensive area a half mile or so northeast of the station where the young man had told me the fireworks would be shot off. A small river about twelve feet wide flowed there, and it had been decided that the embankment of this river would be the most suitable are
a for setting off the fireworks. Indeed, it was considered the place where there would be no danger at all.
The area was covered with summer grass. Some fifteen or twenty tubes, which looked like three-foot clay pipes, had been arranged for the fireworks. The nature of the place and the effect created by the heads of those many tubes jutting up in the grass aroused in me hallucinations of standing in a graveyard. Five or six youths were seated nearby, surrounding the boisterous children. There I encountered a man from the hamlet of our refuge whom I only knew by sight. He told me that a pyrotechnic device which was to be the main attraction tonight was being set up about one hundred yards from where we were standing but still on the embankment; that in order to see this the spectators would be assembling under a steel bridge still another one hundred yards away; and that the people from our hamlet would soon be arriving there.
But possibly because it was still too early, not a single person had yet appeared in the area under the steel bridge which was scheduled as the place for the spectators to assemble. And the sun was still poised over the steel bridge.
"We call this a five-village cooperative project, but only my hamlet shoots the fireworks. That's because we had an old man named Hara who made fireworks, and so our young people learned how to do it," the man said. That was the first I knew of it, but all the young people who were here were from our hamlet.
"You mean Hosen Hara, don't you?" I asked.
"I'm surprised that you know him!" The fellow had a look of amazement as he said this.
"Do you suppose there's anyone who knows him well?"
"Well, I don't know. I guess I knew him, but over there's a man called Tassan who seems to have been Uncle Hosen's disciple in fireworks."
The Izu Dancer and Other Stories: The Counterfeiter, Obasute, The Full Moon Page 7
