What I wanted to know was whether or not the death influence was aimed at us, but I managed to keep my mouth shut. We fanned out and began to search for the landmarks we had been given, mindful of the fact that the grand warden’s widow hadn’t been here for ten years and floods and rockslides could have altered things dramatically. She had been sure about a stretch of cliff marked with a white scar, however, and when I hacked through huge thistles I found myself staring right at it. The livid streak where shale had fallen from reddish rock was supposed to point almost straight to the entrance, and I yelled to the others and got a bigger stick and began beating a path through reeds. Inside ten minutes we found the small round opening in the side of the ravine, just as it had been described, and Yen Shih and I prepared to light the torches we’d brought. Then we discovered we didn’t need them.
About fifteen feet inside the little cave was a natural chimney leading up to sunlight. The place was illuminated like a corridor in a gallery, with wall carvings on both sides. Perhaps a third of the carvings were pictures, but the other two thirds were pictographs, and Master Li was enchanted.
“It’s an early form of the Book of Odes!” he said delightedly. “Very close to the shamanistic sections called Nine Songs, but it tells a tale with a far different emphasis than anything found in later versions.”
As the sage translated the old script a tale began to unfold that was very real in parts. This was the voice of a girl seduced by a god:
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 mortaclass="underline"
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.