EYELIDS
The art of illuminating the eyelid is old and honorable, and no Court lady is without her miniaturist. These delicate and precise paintings, in black, white, red, green, and blue ink, are highly prized by our courtiers, and especially by lovers, who read in them profound and ambiguous messages. One can never be certain, when one sees a handsome courtier gazing passionately into the eyes of a beautiful lady, whether he is searching for the soul behind her eyes or whether he is striving to attain a glimpse of her elegant and dangerous eyelids. These paintings are never the same, and indeed are different for each eyelid, and one cannot know, gazing across the room at a beautiful lady with whom one has not yet become intimate, whether her lowered eyelids will reveal a tall willow with dripping branches; an arched bridge in snow; a pear blossom and hummingbird; a crane among cocks; rice leaves bending in the wind; a wall with open gate, through which can be seen a distant village on a hillside. When speaking, a Court lady will lower her eyelids many times, offering tantalizing glimpses of little scenes that seem to express the elusive mystery of her soul. The lover well knows that these eyelid miniatures, at once public and intimate, half-exposed and always hiding, allude to the secret miniatures of the hidden eyes, or the eyes of the breast. These miniature masterpieces are inked upon the rosy areola surrounding the nipple and sometimes upon the sides and tip of the nipple itself. A lover disrobing his mistress in the first ecstasy of her consent is so eager for his sight of those secret miniatures that sometimes he lingers too long in rapturous contemplation and thereby incurs severe displeasure. Some Court ladies delight in erotic miniatures of the most startling kind, and it is impossible to express the troubled excitement with which a lover, stirred to exaltation by the elegant turn of a cheekbone and the shy purity of a glance, discovers upon the breast of his beloved an exquisitely inked scene of riot and debauchery.
DRAGONS
The dragons of Cathay dwell in caves in the mountains of the North and in the depths of the Eastern sea. The dragons rarely show themselves, but we are always aware of them, for their motions are responsible for storms at sea, great waves, hurricanes, tornadoes, and earthquakes. A sea dragon rising from the waves can sink an entire fleet with one lash of its terrible tail. Sometimes a northern dragon will leave its cave and fly through the air, covering whole cities with its immense shadow. Those who have stood in the shadow of the dragon say it is accompanied by an icy wind. The tail of a dragon, glittering in the light of the sun, is said to be covered with blue and yellow scales. The head of a dragon is emerald and gold, its tongue scarlet, its eyes pits of fire. It is said that the venom which drips from its terrible jaws is hotter than boiling pitch. It is said that to see a dragon is to be changed forever. Some do not believe in dragons, because they have not seen them; it is like not believing in one’s own death, because one has not yet died.
MINIATURES
Our passion for the miniature is by no means exhausted by the painting of eyelids; the art of carving in miniature is one of the oldest and most esteemed of our arts. Well known is the Emperor’s miniature palace, which sits upon a jade cabinet beside the tree with the twelve singing birds, and which is said to reproduce with absolute fidelity the vast Imperial Palace, with its thousands of chambers and corridors, as well as its innumerable courtyards, parks, and gardens. Within the miniature palace, which is no larger than a small table, one can see, by means of a magnifying lens, myriad pieces of precise furniture, as well as entire sets of cups, bowls, and dishes, and even a pair of scissors so tiny that when fully opened they can be concealed behind the leg of a fly. In the miniature throne room one can see a minute jade table with a miniature palace, and it is said that within this second palace, which can scarcely be seen by the naked eye, the artist has again reproduced the entire Imperial Palace.
SUMMER NIGHTS
On a summer night, when the moon is a white blossom in a blue garden, it is good to go out of the palace and walk in the Garden of Islands. The arched wooden bridges over their perfect reflections, the hanging willows, the white swans over the swans in the dark water, the yellow and blue lights in the palace, the smell of plum blossoms, all these speak of peace and harmony, and quell the rebellious restlessness of the soul. If, on such a night, one happens to see a dark green frog leap into the water, sending out a rainbow of ripples that make the moon waver, one’s happiness is complete.
UGLY WOMEN
It is well known that the Court ladies are the loveliest in the empire, but among them one always sees several who can only be called ugly. We are not speaking of ladies who are grotesque, monstrous, or unclean, but merely of ladies who are strikingly unpleasing to our eyes. Instead of thin, arched eyebrows they have thick, straight eyebrows, which sometimes grow together; one or more of their teeth may be noticeably crooked; their noses and mouths are too large, their eyes too wide apart or close together. Since no one can remain at the palace without the consent of the Emperor, it is clear that he considers their presence inoffensive, and perhaps even desirable. Indeed, to the embarrassment of the court, he has sometimes chosen an ugly lady for his mistress. It is a mystery that teases the understanding, for to say that the Emperor is an admirer of beauty is to speak with misleading coolness. Our Emperor reveres beauty, lives and breathes in a world of beautiful objects, lavishes wealth and honor on the creators of beauty, is, despite his terrible omnipotence, entirely submissive to the beauty of a teacup, a plum blossom, a white cheek. The Empress is renowned for her delicate loveliness. How is it, then, that our Emperor can bear to have ugly women in his court, and appears even to encourage their presence? It is easy of course to imagine that he sometimes grows weary of the exquisitely beautiful women who meet his gaze wherever he turns. In the same way our court poets are advised to introduce occasional small dullnesses and imperfections into their verses, in order to relieve the hearer from the monotony of perfection. One can even go further, and grant that the beauty of our ladies has about it a high, noble, and spiritual quality that lifts it above the realm of the merely physical. But ugliness, by its very nature, draws attention to the physical. One might imagine, then, that the Emperor longs to escape from the spiritual beauty of our Court ladies and to abandon himself to the physical pleasures which seem to be promised by the ugly ladies — as if the coarseness and impropriety of their faces were an intimation or revelation of dark, coarse, improper pleasures hidden beneath their elegant silks. Yet it is difficult to see how this can be the true explanation, since the Emperor’s longing for sensual pleasure may always be satisfied by his incomparable concubines. Another explanation remains. It is known that the Emperor is an admirer of beauty; there is no reason to assume that in this instance he has changed. Is it not possible that the Emperor sees in these ugly women a beauty to which we, with our smaller understanding, are hopelessly blind? Our poets have said that there can be no beauty without strangeness. One imagines our Emperor returning to his chamber from the stimulation of his concubines. From those unimaginably desirable women, those masterpieces of the art of appearance, who express in every feature of face and body the physical loveliness he has craved, he is returning to a world of Court ladies, themselves flowers of beauty who in some turn of the lip, some glance, some look of sweet pensiveness may even surpass the wholly sensual beauty of his concubines. As he passes through the corridors leading to the East Wing, he comes upon a lady and her maids. The lady has thick, straight eyebrows that nearly grow together; her nose is broad; she gives a clumsy curtsey. The ugly eyebrows, the broad nose, the clumsy gestures irritate his dulled senses into attention, and many days later, when he has passed long hours among his concubines and lovely ladies, he will suddenly recall, with a burst of excitement, those thick eyebrows, that broad nose, that clumsy curtsey, for like a beautiful woman suddenly glimpsed behind a lattice-window she will lead his soul away from the torpor of the familiar into a dark realm of strangeness and wonder.