Unlikely Stories Mostly

DISCRIBING ETIQUETTE GOVERNMENT IRRIGATION EDUCATION CLOGS KITES RUMOUR POETRY JUSTUCE MASSAGE TOWN-PLANNING SEX AND VENTRILOQUISM IN AN OBSOLETE NATION

FIRST LETTER

DEAR MOTHER, DEAR FATHER, I like the new palace. It is all squares like a chessboard. The red squares are buildings, the white squares are gardens. In the middle of each building is a courtyard, in the middle of each garden is a pavilion. Soldiers, nurses, postmen, janitors and others of the servant-class live and work in the buildings. Members of the honoured-guest-class have a pavilion. My pavilion is small but beautiful, in the garden of evergreens. I don’t know how many squares make up the palace but certainly more than a chessboard has. You heard the rumour that some villages and a small famous city were demolished to clear space for the foundation. The rumour was authorized by the immortal emperor yet I thought it exaggerated. I now think it too timid. We were ten days sailing upstream from the old capital, where I hope you are still happy. The days were clear and cool, no dust, no mist. Sitting on deck we could see the watchtowers of villages five or six miles away and when we stood up at nightfall we saw, in the sunset, the sparkle of the heliograph above cities, on the far side of the horizon. But after six days there was no sign of any buildings at all, just ricefields with here and there the tent of a waterworks inspector. If all this empty land feeds the new palace then several cities have been cleared from it. Maybe the inhabitants are inside the walls with me, going out a few days each year to plant and harvest, and working between times as gardeners of the servant-class.

You would have admired the company I kept aboard the barge. We were all members of the honoured-guest-class: accountants, poets and headmasters, many many headmasters. We were very jolly together and said many things we would not be able to say in the new palace under the new etiquette. I asked the headmaster of literature, “Why are there so many headmasters and so few poets? Is it easier for you to train your own kind than ours?” He said, “No. The emperor needs all the headmasters he can get. If a quarter of his people were headmasters he would be perfectly happy. But more than two poets would tear his kingdom apart.”

I led the loud laughter which rewarded this deeply witty remark and my poor, glum little enemy and colleague Tohu had to go away and sulk. His sullen glances amuse me all the time. Tohu has been educated to envy and fear everyone, especially me, while I have been educated to feel serenely superior to everyone, especially him. Nobody knows this better than the headmaster of literature who taught us both. This does not mean he wants me to write better than Tohu, it shows he wants me to write with high feelings and Tohu with low ones. Neither of us have written yet but I expect I will be the best. I hope the emperor soon orders me to celebrate something grand and that I provide exactly what is needed. Then you will both be able to love me as much as you would like to do.

This morning as we breakfasted in the hold of the barge Tohu came down into it with so white a face that we all stared. He screamed, “The emperor has tricked us! We have gone downstream instead of up! We are coming to the great wall round the edge of the kingdom, not to a palace in the middle! We are being sent into exile among the barbarians!” We went on deck. He was wrong of course. The great wall has towers with loopholes every half mile, and it bends in places. The wall which lay along the horizon before us was perfectly flat and windowless and on neither side could we see an end of it. Nor could we see anything behind it but the high tapering tops of two post-office towers, one to the east, one to the west, with the white flecks of messenger pigeons whirling toward them and away from them at every point of the compass. The sight made us all very silent. I raised a finger, summoned my entourage and went downstairs to dress for disembarking. They took a long time lacing me into the ceremonial cape and clogs and afterwards they found it hard lifting me back up to the deck again. Since I was now the tallest man aboard I had to disembark first. I advanced to the prow and stood there, arms rigid by my sides, hands gripping the topknot of the doctor, who supported my left thigh, and the thick hair of Adoda, my masseuse, who warmly clasped my right. Behind me the secretary and chef each held back a corner of the cape so that everyone could see, higher than a common man’s head, the dark green kneebands of the emperor’s tragic poet. Without turning I knew that behind my entourage the headmasters were ranged, the first of them a whole head shorter than me, then the accountants, then, last and least, the emperor’s comic poet, poor Tohu. The soles of his ceremonial clogs are only ten inches thick and he has nearly no entourage at all. His doctor, masseuse, secretary and chef are all the same little nurse.

I had often pictured myself like this, tall upon the prow, the sublime tragedian arriving at the new palace. But I had imagined a huge wide-open gate or door, with policemen holding back crowds on each side, and maybe a balcony above with the emperor on it surrounded by the college of headmasters. But though the smooth wall was twice as high as most cliffs I could see no opening in it. Along the foot was a landing stage crowded with shipping. The river spread left and right along this in a wide moat, but the current of the stream seemed to come from under the stage. Among yelling dockers and heaped bales and barrels I saw a calm group of men with official gongs on their wrists, and the black clothes and scarlet kneebands of the janitors. They waited near an empty notch. The prow of our barge slid into this notch. Dockers bolted it there. I led the company ashore.

I recognized my janitor by the green shoes these people wear when guiding poets. He reminded us that the new etiquette was enforced within the palace walls and led us to a gate. The other passengers were led to other gates. I could now see hundreds of gates, all waist high and wide enough to roll a barrel through. My entourage helped me to my knees and I crawled in after the janitor. This was the worst part of the journey. We had to crawl a great distance, mostly uphill. Adoda and the doctor tried to help by alternately butting their heads against the soles of my clogs. The floor was carpeted with bristly stuff which pierced my kneebands and scratched the palms of my hands. After twenty minutes it was hard not to sob with pain and exhaustion, and when at last they helped me to my feet I sympathized with Tohu who swore aloud that he would never go through that wall again.

The new etiquette stops honoured guests from filling their heads with useless knowledge. We go nowhere without a janitor to lead us and look at nothing above the level of his kneebands. As I was ten feet tall I could only glimpse these slips of scarlet by leaning forward and pressing my chin into my chest. Sometimes in sunlight, sometimes in lamplight, we crossed wooden floors, brick pavements, patterned rugs and hard-packed gravel. But I mainly noticed the pain in my neck and calves, and the continual whine of Tohu complaining to his nurse. At last I fell asleep. My legs moved onward because Adoda and the doctor lifted them. The chef and secretary stopped me bending forward in the middle by pulling backward on the cape. I was wakened by the janitor striking his gong and saying, “Sir. This is your home.” I lifted my eyes and saw I was inside the sunlit, afternoon, evergreen garden. It was noisy with birdsongs.

We stood near the thick hedge of cypress, holly and yew trees which hide all but some tiled roofs of the surrounding buildings. Triangular pools, square lawns and the grassy paths of a zig-zag maze are symmetrically placed round the pavilion in the middle. In each corner is a small pinewood with cages of linnets, larks and nightingales in the branches. From one stout branch hangs a trapeze where a servant dressed like a cuckoo sits imitating the call of that bird, which does not sing well in captivity. Many gardeners were discreetly trimming things or mounting ladders to feed the birds. They wore black clothes without kneebands, so they were socially invisible, and this gave the garden a wonderful air of privacy. The janitor struck his gong softly and whispered, “The leaves which grow here never fade or die.” I rewarded this delicate compliment with a slight smile then gestured to a patch of moss. They laid me flat there and I was tenderly undressed. The doctor cleaned me. Adoda caressed my aching body till it breathed all over in the sun-warmed air. Meanwhile Tohu had flopped down in his nurse’s arms and was snoring horribly. I had the couple removed and placed behind a hollybush out of earshot. Then I asked for the birds to be silenced, starting with the linnets and ending with the cuckoo. As the gardeners covered the cages the silence grew louder, and when the notes of the cuckoo faded there was nothing at all to hear and I slept once more.

Adoda caressed me awake before sunset and dressed me in something comfortable. The chef prepared a snack with the stove and the food from his satchel. The janitor fidgeted impatiently. We ate and drank and the doctor put something in the tea which made me quick and happy. “Come!” I said, jumping up, “Let us go straight to the pavilion!” and instead of following the path through the maze I stepped over the privet hedge bordering it which was newly planted and a few inches high. “Sir!” called the janitor, much upset, “Please do not offend the gardeners! It is not their fault that the hedge is still too small.”

I said, “The gardeners are socially invisible to me.” He said, “But you are officially visible to them, and honoured guests do not offend the emperor’s servants. That is not the etiquette!”

I said, “It is not a rule of the etiquette, it is convention of the etiquette, and the etiquette allows poets to be unconventional in their own home. Follow me Tohu.”

But because he is trained to write popular comedy Tohu dreads offending members of the servant class, so I walked straight to the pavilion all by myself.

It stands on a low platform with steps all round and is five sided, with a blue wooden pillar supporting the broad eaves at each corner. An observatory rises from the centre of the sloping green porcelain roof and each wall has a door in the middle with a circular window above. The doors were locked but I did not mind that. The air was still warm. A gardener spread cushions on the platform edge and I lay and thought about the poem I would be ordered to write. This was against all rules of education and etiquette. A poet cannot know his theme until the emperor orders it. Until then he should think of nothing but the sublime classics of the past. But I knew I would be commanded to celebrate a great act and the greatest act of our age is the building of the new palace. How many millions lost their homes to clear the ground? How many orphans were prostituted to keep the surveyors cheerful? How many captives died miserably quarrying its stone? How many small sons and daughters were trampled to death in the act of wiping sweat from the eyes of desperate, bricklaying parents who had fallen behind schedule? Yet this building which barbarians think a long act of intricately planned cruelty has given the empire this calm and solemn heart where honoured guests and servants can command peace and prosperity till the end of time. There can be no greater theme for a work of tragic art. It is rumoured that the palace encloses the place where the rivers watering the empire divide. If a province looks like rebelling, the headmasters of waterworks can divert the flow elsewhere and reduce it to drought, quickly or slowly, just as he pleases. This rumour is authorized by the emperor and I believe it absolutely.

While I was pondering the janitor led the little party through the maze, which seemed designed to tantalize them. Sometimes they were a few yards from me, then they would disappear behind the pavilion and after a long time reappear far away in the distance. The stars came out. The cuckoo climbed down from his trapeze and was replaced by a nightwatchman dressed like an owl. A gardener went round hanging frail paper boxes of glow-worms under the eaves. When the party reached the platform by the conventional entrance all but Adoda were tired, cross and extremely envious of my unconventional character. I welcomed them with a good-humoured chuckle.

The janitor unlocked the rooms. Someone had lit lamps in them. We saw the kitchen where the chef sleeps, the stationery office where the secretary sleeps, the lavatory where the doctor sleeps, and Adoda’s room, where I sleep. Tohu and his nurse also have a room. Each room has a door into the garden and another into the big central hall where I and Tohu will make poetry when the order-to-write comes. The walls here are very white and bare. There is a thick blue carpet and a couple of punt-shaped thrones lined with cushions and divided from each other by a screen. The only other furniture is the ladder to the observatory above. The janitor assembled us here, struck the gong and made this speech in the squeaky voice the emperor uses in public.

“The emperor is glad to see you safe inside his walls. The servants will now cover their ears.

“The emperor greets Bohu, his tragic poet, like a long-lost brother. Be patient, Bohu. Stay at home. Recite the classics. Use the observatory. It was built to satisfy your craving for grand scenery. Fill your eyes and mind with the slow, sublime, eternally returning architecture of the stars. Ignore trivial flashes which stupid peasants call falling stars. It has been proved that these are not heavenly bodies but white-hot cinders fired out of volcanoes. When you cannot stay serene without talking to someone, dictate a letter to your parents in the old capital. Say anything you like. Do not be afraid to utter unconventional thoughts, however peculiar. Your secretary will not be punished for writing these down, your parents not punished for reading them. Be serene at all times. Keep a calm empty mind and you will see me soon.

“And now, a word for Tohu. Don’t grovel so much. Be less glum. You lack Bohu’s courage and dignity and don’t understand people well enough to love them, as he does, but you might still be my best poet. My new palace contains many markets. Visit them with your chef when she goes shopping. Mix with the crowds of low, bustling people you must one day amuse. Learn their quips and catch-phrases. Try not to notice they stink. Take a bath when you get home and you too will see me soon.”

The janitor struck his gong then asked in his own voice if we had any polite requests. I looked round the hall. I stood alone, for at the sound of the emperor’s voice all but the janitor and I had lain face down on the carpet and even the janitor had sunk to his knees. Tohu and the entourage sat up now and watched me expectantly. Adoda arose with her little spoon and bottle and carefully collected from my cheeks the sacred tears of joy which spring in the eyes of everyone the emperor addresses. Tohu’s nurse was licking his tears off the carpet. I envied him, for he would see more of the palace than I would, and be more ready to write a poem about it when the order came. I did not want to visit the market but I ached to see the treasuries and reservoirs and grain-silos, the pantechnicons and pantheons and gardens of justice. I wondered how to learn about these and still stay at home. The new dictionary of etiquette says All requests for knowledge will be expressed as requests for things. So I said, “May the bare walls of this splendid hall be decorated with a map of the new palace? It will help my colleague’s chef to lead him about.”

Tohu shouted, “Do not speak for me, Bohu! The emperor will send janitors to lead the chef who leads me. I need nothing more and nothing less than the emperor has already decided to give.”

The janitor ignored him and told me, “I hear and respect your request.”

According to the new dictionary of etiquette this answer means No or Maybe or Yes, after a very long time.

The janitor left. I felt restless. The chef’s best tea, the doctor’s drugs, Adoda’s caresses had no effect so I climbed into the observatory and tried to quieten myself by watching the stars as the emperor had commanded. But that did not work, as he foresaw, so I summoned my secretary and dictated this letter, as he advised. Don’t be afraid to read it. You know what the emperor said. And the postman who rewrites letters before fixing them to the pigeons always leaves out dangerous bits. Perhaps he will improve my prose-style, for most of these sentences are too short and jerky. This is the first piece of prose I ever composed, and as you know, I am a poet.

Goodbye. I will write to you again,

From the evergreen garden,

Your son, Bohu.

DICTATED ON THE 27th LAST DAY OF THE OLD CALENDAR.

SECOND LETTER

DEAR MOTHER, DEAR FATHER, I discover that I still love you more than anything in the world. I like my entourage, but they are servants and cannot speak to me. I like the headmaster of literature, but he only speaks about poetry. I like poetry, but have written none. I like the emperor, but have never seen him. I dictated the last letter because he said talking to you would cure my loneliness. It did, for a while, but it also brought back memories of the time we lived together before I was five, wild days full of happiness and dread, horrid fights and ecstatic picnics. Each of you loved and hated a different bit of me.

You loved talking to me, mother, we were full of playful conversation while you embroidered shirts for the police and I toyed with the coloured silks and buttons. You were small and pretty yet told such daring stories that your sister, the courtesan, screamed and covered her ears, while we laughed till the tears came. Yet you hated me going outside and locked me for an hour in the sewing box because I wore my good clogs in the lane. These were the clogs father had carved with toads on the tips. You had given them many coats of yellow lacquer, polishing each one till a member of the honoured-guest-class thought my clogs were made of amber and denounced us to the police for extravagance. But the magistrate was just and all came right in the end.

Mother always wanted me to look pretty. You, father, didn’t care how I looked and you hated talking, especially to me, but you taught me to swim before I was two and took me in the punt to the sewage ditch. I helped you sift out many dead dogs and cats to sell to the gardeners for dung. You wanted me to find a dead man, because corpse-handlers (you said) don’t often die of infectious diseases. The corpse I found was not a man but a boy of my own age, and instead of selling him to the gardeners we buried him where nobody would notice. I wondered why, at the time, for we needed money for rent. One day we found the corpse of a woman with a belt and bracelet of coins. The old capital must have been a slightly mad place that year. Several corpses of the honoured-guest-class bobbed along the canals and the emperor set fire to the south-eastern slums. I had never seen you act so strangely. You dragged me to the nearest market (the smell of burning was everywhere) and rented the biggest possible kite and harness. You who hate talking carried that kite down the long avenue to the eastern gate, shouting all the time to the priest, your brother, who was helping us. You said all children should be allowed to fly before they were too heavy, not just children of the honoured-guest-class. On top of the hill I grew afraid and struggled as you tightened the straps, then uncle perched me on his shoulders under that huge sail, and you took the end of the rope, and you both ran downhill into the wind. I remember a tremendous jerk, but nothing else.

I woke on the sleeping-rug on the hearth of the firelit room. My body was sore all over but you knelt beside me caressing it, mother, and when you saw my eyes were open you sprang up, screamed and attacked father with your needles. He did not fight back. Then you loved each other in the firelight beside me. It comforted me to see that. And I liked watching the babies come, especially my favourite sister with the pale hair. But during the bad winter two years later she had to be sold to the merchants for money to buy firewood.

Perhaps you did not know you had given me exactly the education a poet needs, for when you led me to the civil service academy on my fifth birthday I carried the abacus and squared slate of an accountant under my arm and I thought I would be allowed to sleep at home. But the examiner knew his job and after answering his questions I was sent to the classics dormitory of the closed literature wing and you never saw me again. I saw you again, a week or perhaps a year later. The undergraduates were crossing the garden between the halls of the drum-master who taught us rhythms and the chess-master who taught us consequential logic. I lagged behind them then slipped into the space between the laurel bushes and the outside fence and looked through. On the far side of the freshwater canal I saw a tiny distant man and woman standing staring. Even at that distance I recognized the pink roses on the scarlet sleeves of mother’s best petticoat. You could not see me, yet for a minute or perhaps a whole hour you stood staring at the tall academy fence as steadily as I stared at you. Then the monitors found me. But I knew I was not forgotten, and my face never acquired the haunted, accusing look which stamped the face of the other scholars and most of the teachers too. My face displays the pained but perfectly real smile of the eternally hopeful. That glimpse through the fence enabled me to believe in love while living without it, so the imagination lessons, which made some of my schoolmates go mad or kill themselves, did not frighten me.

The imagination lessons started on my eleventh birthday after I had memorized all the classical literature and could recite it perfectly. Before that day only my smile showed how remarkable I was. The teachers put me in a windowless room with a ceiling a few inches above my head when I sat on the floor. The furniture was a couple of big shallow earthenware pans, one empty and one full of water. I was told to stay there until I had passed the water through my body and filled the empty pan with it. I was told that when the door was shut I would be a long time in darkness and silence, but before the water was drunk I would hear voices and imagine the bodies of strange companions, some of them friendly and others not. I was told that if I welcomed everyone politely even the horrible visitors would teach me useful things. The door was shut and the darkness which drowned me was surprisingly warm and familiar. It was exactly the darkness inside my mother’s sewing-box. For the first time since entering the academy I felt at home.

After a while I heard your voices talking quietly together and thought you had been allowed to visit me at last, but when I joined the conversation I found we were talking of things I must have heard discussed when I was a few months old. It was very interesting. I learned later that other students imagined the voices and company of ghouls and madmen and gulped down the water so fast that they became ill. I sipped mine as slowly as possible. The worst person I met was the corpse of the dead boy I had helped father take from the canal. I knew him by the smell. He lay a long time in the corner of the room before I thought of welcoming him and asking his name. He told me he was not an ill-treated orphan, as father had thought, but the son of a rich waterworks inspector who had seen a servant stealing food and been murdered to stop him telling people. He told me many things about life among the highest kinds of honoured-guest-class, things I could never have learned from my teachers at the academy who belonged to the lower kind. The imagination lessons became, for me, a way of escaping from the drum, chess and recitation masters and of meeting in darkness everyone I had lost with infancy. The characters of classical literature started visiting me too, from the celestial monkey who is our ancestor to emperor Hyun who burned all the unnecessary books and built the great wall to keep out unnecessary people. They taught me things about themselves which classical literature does not mention. Emperor Hyun, for instance, was in some ways a petty, garrulous old man much troubled with arthritis. The best part of him was exactly like my father patiently dredging for good things in the sewage mud of the north-west slums. And the imperious seductive white demon in the comic creation myth turned out to be very like my aunt, the courtesan, who also transformed herself into different characters to interest strangers, yet all the time was determinedly herself. My aunt visited me more than was proper and eventually I imagined something impossible with her and my academic gown was badly stained. This was noted by the school laundry. The next day the medical inspector made small wounds at the top of my thighs which never quite healed and are still treated twice a month. I have never since soiled cloth in that way. My fifth limb sometimes stiffens under Adoda’s caresses but nothing comes from it.

Soon after the operation the headmaster of literature visited the academy. He was a heavy man, as heavy as I am now. He said, “You spend more days imagining than the other scholars, yet your health is good. What guests come to your dark room?”

I told him. He asked detailed questions. I took several days to describe everyone. When I stopped he was silent a while then said, “Do you understand why you have been trained like this?”

I said I did not.

He said, “A poet needs an adventurous, sensuous infancy to enlarge his appetites. But large appetites must be given a single direction or they will produce a mere healthy human being. So the rich infancy must be followed by a childhood of instruction which starves the senses, especially of love. The child is thus forced to struggle for love in the only place he can experience it, which is memory, and the only place he can practise it, which is imagination. This education, which I devised, destroys the minds it does not enlarge. You are my first success. Stand up.”

I did, and he stooped, with difficulty, and tied the dark green ribbons round my knees. I said, “Am I a poet now?”

He said, “Yes. You are now the emperor’s honoured guest and tragic poet, the only modern author whose work will be added to the classics of world literature.” I asked when I could start writing. He said, “Not for a long time. Only the emperor can supply a theme equal to your talent and he is not ready to do so. But the waiting will be made easy. The days of the coarse robe, dull teachers and dark room are over. You will live in the palace.”

I asked him if I could see my parents first. He said, “No. Honoured guests only speak to inferior classes when asking for useful knowledge and your parents are no use to you now. They have changed. Perhaps your small pretty mother has become a brazen harlot like her sister, your strong silent father an arthritic old bore like the emperor Hyun. After meeting them you would feel sad and wise and want to write ordinary poems about the passage of time and fallen petals drifting down the stream. Your talent must be preserved for a greater theme than that.”

I asked if I would have friends at the palace. He said, “You will have two. My system has produced one other poet, not very good, who may perhaps be capable of some second-rate doggerel when the order-to-write comes. He will share your apartment. But your best friend knows you already. Here is his face.”

He gave me a button as broad as my thumb with a small round hairless head enamelled on it. The eyes were black slits between complicated wrinkles; the sunk mouth seemed to have no teeth but was curved in a surprisingly sweet sly smile. I knew this must be the immortal emperor. I asked if he was blind.

“Necessarily so. This is the hundred-and-second year of his reign and all sights are useless knowledge to him now. But his hearing is remarkably acute.”

So I and Tohu moved to the palace of the old capital and a highly trained entourage distracted my enlarged mind from the work it was waiting to do. We were happy but cramped. The palace staff kept increasing until many honoured guests had to be housed in the city outside, which took away homes from the citizens. No new houses could be built because all the skill and materials in the empire were employed on the new palace upriver, so all gardens and graveyards and even several streets were covered with tents, barrels and packing-cases where thousands of families were living. I never used the streets myself because honoured guests there were often looked at very rudely, with glances of concealed dislike. The emperor arranged for the soles of our ceremonial clogs to be thickened until even the lowest of his honoured guests could pass through a crowd of common citizens without meeting them face-to-face. But after that some from the palace were jostled by criminals too far beneath them to identify, so it was ordered that honoured guests should be led everywhere by a janitor and surrounded by their entourage. This made us perfectly safe, but movement through the densely packed streets became very difficult. At last the emperor barred common citizens from the streets during the main business hours and things improved.

Yet these same citizens who glared and jostled and grumbled at us were terrified of us going away! Their trades and professions depended on the court; without it most of them would become unnecessary people. The emperor received anonymous letters saying that if he tried to leave, his wharves and barges would catch fire and the sewage ditches would be diverted into the palace reservoir. You may wonder how your son, a secluded poet, came to know these things. Well, the headmaster of civil peace sometimes asked me to improve the wording of rumours authorized by the emperor, while Tohu improved the unauthorized ones that were broadcast by the beggars’ association. We both put out a story that citizens who worked hard and did not grumble would be employed as servants in the new palace. This was true, but not as true as people hoped. The anonymous letters stopped and instead the emperor received signed petitions from the workingmen’s clubs explaining how long and well they had served him and asking to go on doing it. Each signatory was sent a written reply with the emperor’s seal saying that his request had been heard and respected. In the end the court departed upriver quietly, in small groups, accompanied by the workingmen’s leaders. But the mass of new palace servants come from more docile cities than the old capital. It is nice to be in a safe home with nobody to frighten us.

I am stupid to mention these things. You know the old capital better than I do. Has it recovered the bright uncrowded streets and gardens I remember when we lived there together so many years ago?

This afternoon is very sunny and hot, so I am dictating my letter on the observatory tower. There is a fresh breeze at this height. When I climbed up here two hours ago I found a map of the palace on the table beside my map of the stars. It seems my requests are heard with unusual respect. Not much of the palace is marked on the map but enough to identify the tops of some big pavilions to the north. A shining black pagoda rises from the garden of irrevocable justice where disobedient people have things removed which cannot be returned, like eardrums, eyes, limbs and heads. Half-a-mile away a similar but milkwhite pagoda marks the garden of revocable justice where good people receive gifts which can afterwards be taken back, like homes, wives, salaries and pensions. Between these pagodas but further off, is the court of summons, a vast round tower with a forest of bannerpoles on the roof. On the highest pole the emperor’s scarlet flag floats above the rainbow flag of the headmasters, so he is in there today conferring with the whole college.

Shortly before lunch Tohu came in with a woodcut scroll which he said was being pinned up and sold all over the market, perhaps all over the empire. At the top is the peculiar withered-apple-face of the immortal emperor which fascinates me more each time I see it. I feel his blind eyes could eat me up and a few days later the sweet sly mouth would spit me out in a new, perhaps improved form. Below the portrait are these words:

Forgive me for ruling you but someone must. I am a small weak old man but have the strength of all my good people put together. I am blind, but your ears are my ears so I hear everything. As I grow older I try to be kinder. My guests in the new palace help me. Their names and pictures are underneath.

Then come the two tallest men in the empire. One of them is:

Fieldmarshal Ko who commands all imperial armies and police and defeats all imperial enemies. He has degrees in strategy from twenty-eight academies but leaves thinking to the emperor. He hates unnecessary people but says “Most of them are outside the great wall.”

The other is:

Bohu, the great poet. His mind is the largest in the land. He knows the feelings of everyone from the poor peasant in the ditch to the old emperor on the throne. Soon his great poem will be painted above the door of every townhouse, school, barracks, post- office, law-court, theatre and prison in the land. Will it be about war? Peace? Love? Justice? Agriculture? Architecture? Time? Fallen apple-blossom in the stream? Bet about this with your friends.

I was pleased to learn there were only two tallest men in the empire. I had thought there were three of us. Tohu’s face was at the end of the scroll in a row of twenty others. He looked very small and cross between a toe-surgeon and an inspector of chicken-feed. His footnote said:

Tohu hopes to write funny poems. Will he succeed? I rolled up the scroll and returned it with a friendly nod but Tohu was uneasy and wanted conversation. He said, “The order-to-write is bound to come soon now.”

“Yes.”

“Are you frightened?”

“No.”

“Your work may not please.”

“That is unlikely.”

“What will you do when your great poem is complete?”

“I shall ask the emperor for death.”

Tohu leaned forward and whispered eagerly, “Why? There is a rumour that when our poem is written the wounds at the top of our thighs will heal up and we will be able to love our masseuse as if we were common men!”

I smiled and said, “That would be anticlimax.”

I enjoy astonishing Tohu.

Dear parents, this is my last letter to you. I will write no more prose. But laugh aloud when you see my words painted above the doors of the public buildings. Perhaps you are poor, sick or dying. I hope not. But nothing can deprive you of the greatest happiness possible for a common man and woman. You have created an immortal,

Who lives in the evergreen garden,

Your son, Bohu.

DICTATED ON THE 19th LAST DAY OF THE OLD CALENDAR.

THIRD LETTER

DEAR MOTHER, DEAR FATHER, I am full of confused feelings. I saw the emperor two days ago. He is not what I thought. If I describe everything very carefully, especially to you, perhaps I won’t go mad.

I wakened that morning as usual and lay peacefully in Adoda’s arms. I did not know this was my last peaceful day. Our room faces north. Through the round window above the door I could see the banners above the court of summons. The scarlet and the rainbow flags still floated on the highest pole but beneath them flapped the dark green flag of poetry. There was a noise of hammering and when I looked outside some joiners were building a low wooden bridge which went straight across the maze from the platform edge. I called in the whole household. I said, “Today we visit the emperor.” They looked alarmed. I felt very gracious and friendly. I said, “Only I and Tohu will be allowed to look at him but everyone will hear his voice. The clothes I and Tohu wear are chosen by the etiquette, but I want the rest of you to dress as if you are visiting a rich famous friend you love very much.” Adoda smiled but the others still looked alarmed. Tohu muttered, “The emperor is blind.”

I had forgotten that. I nodded and said, “His headmasters are not.”

When the janitor arrived I was standing ten feet tall at the end of the bridge. Adoda on my right wore a dress of dark green silk and her thick hair was mingled with sprigs of yew. Even Tohu’s nurse wore something special. The janitor bowed, turned, and paused to let me fix my eyes on his kneebands; then he struck his gong and we moved toward the court.

The journey lasted an hour but I would not have wearied had it lasted a day. I was as incapable of tiredness as a falling stone on its way to the ground. I felt excited, strong, yet peacefully determined at the same time. The surfaces we crossed became richer and larger: pavements of marquetry and mosaic, thresholds of bronze and copper, carpets of fine tapestry and exotic fur. We crossed more than one bridge for I heard the lip-lapping of a great river or lake. The janitor eventually struck the gong for delay and I sensed the wings of a door expanding before us. We moved through a shadow into greater light. The janitor struck the end-of-journey note and his legs left my field of vision. The immortal emperor’s squeaky voice said, “Welcome, my poets. Consider yourselves at home.”

I raised my eyes and first of all saw the college of headmasters. They sat on felt stools at the edge of a platform which curved round us like the shore of a bay. The platform was so high that their faces were level with my own, although I was standing erect. Though I had met only a few of them I knew all twenty-three by their regalia. The headmaster of waterworks wore a silver drainpipe round his leg, the headmaster of civil peace held a ceremonial bludgeon, the headmaster of history carried a stuffed parrot on his wrist. The headmaster of etiquette sat in the very centre holding the emperor, who was two feet high. The emperor’s head and the hands dangling out of his sleeves were normal size, but the body in the scarlet silk robe seemed to be a short wooden staff. His skin was papier mache with lacquer varnish, yet in conversation he was quick and sprightly. He ran from hand to hand along the row and did not speak again until he reached the headmaster of vaudeville on the extreme left. Then he said, “I shock you. Before we talk I must put you at ease, especially Tohu whose neck is sore craning up at me. Shall I tell a joke, Tohu?”

“Oh yes sir, hahaha! Oh yes sir, hahaha!” shouted Tohu, guffawing hysterically.

The emperor said, “You don’t need a joke. You are laughing happily already!”

I realized that this was the emperor’s joke and gave a brief appreciative chuckle. I had known the emperor was not human, but was so surprised to see he was not alive that my conventional tears did not flow at the sound of his voice. This was perhaps lucky as Adoda was too far below me to collect them.

The emperor moved to the headmaster of history and spoke on a personal note: “Ask me intimate questions, Bohu.”

I said, “Sir, have you always been a puppet?”

He said, “I am not, even now, completely a puppet. My skull and the bones of my hands are perfectly real. The rest was boiled off by doctors fifteen years ago in the operation which made me immortal.” I said, “Was it sore becoming immortal?”

He said, “I did not notice. I had senile dementia at the time and for many years before that I was, in private life, vicious and insensitive. But the wisdom of an emperor has nothing to do with his character. It is the combined intelligence of everyone who obeys him.”

The sublime truth of this entered me with such force that I gasped for breath. Yes. The wisdom of a government is the combined intelligence of those who obey it. I gazed at the simpering dummy with pity and awe. Tears poured thickly down my cheeks but I did not heed them.

“Sir!” I cried, “Order us to write for you. We love you. We are ready.”

The emperor moved to the headmaster of civil peace and shook the tiny imperial frock into dignified folds before speaking. He said, “I order you to write a poem celebrating my irrevocable justice.”

I said, “Will this poem commemorate a special act of justice?”

He said, “Yes. I have just destroyed the old capital, and everyone living there, for the crime of disobedience.”

I smiled and nodded enthusiastically, thinking I had not heard properly. I said, “Very good sir, yes, that will do very well. But could you suggest a particular event, a historically important action, which might, in my case, form the basis of a meditative ode, or a popular ballad, in my colleague’s case? The action or event should be one which demonstrates the emperor’s justice. Irrevocably.”

He said, “Certainly. The old capital was full of unnecessary people. They planned a rebellion. Fieldmarshal Ko besieged it, burned it flat and killed everyone who lived there. The empire is peaceful again. That is your theme. Your pavilion is now decorated with information on the subject. Return there and write.”

“Sir!” I said, “I hear and respect your order, I hear and respect your order!”

I went on saying this, unable to stop. Tohu was screaming with laughter and shouting, “Oh my colleague is extremely unconventional, all great poets are, I will write for him, I will write for all of us hahahaha!”

The headmasters were uneasy. The emperor ran from end to end of them and back, never resting till the headmaster of moral philosophy forced him violently onto the headmaster of etiquette. Then the emperor raised his head and squeaked, “This is not etiquette, I adjourn the college!”

He then flopped upside down on a stool while the headmasters hurried out.

I could not move. Janitors swarmed confusedly round my entourage. My feet left the floor, I was jerked one way, then another, then carried quickly backward till my shoulder struck something, maybe a doorpost. And then I was falling, and I think I heard Adoda scream before I became unconscious.

I woke under a rug on my writing-throne in the hall of the pavilion. Paper screens had been placed round it painted with views of the old capital at different stages of the rebellion, siege and massacre. Behind one screen I heard Tohu dictating to his secretary. Instead of taking nine days to assimilate his material the fool was composing already.

Postal pigeons whirl like snow from the new palace, he chanted.

Trained hawks of the rebels strike them dead.

The emperor summons his troops by heliograph:

“Fieldmarshal Ko, besiege the ancient city.”

Can hawks catch the sunbeam flashed from silver mirror?

No, hahahaha. No, hahahaha. Rebels are ridiculous. I held my head. My main thought was that you, mother, you, father, do not exist now and all my childhood is flat cinders. This thought is such pain that I got up and stumbled round the screens to make sure of it.

I first beheld a beautiful view of the old capital, shown from above like a map, but with every building clear and distinct. Pink and green buds on the trees showed this was springtime. I looked down into a local garden of justice where a fat magistrate fanned by a singing-girl sat on a doorstep. A man, woman, and child lay flat on the ground before him and nearby a policeman held a dish with two yellow dots on it. I knew these were clogs with toads on the tips, and that the family was being accused of extravagance and would be released with a small fine. I looked again and saw a little house by the effluent of a sewage canal. Two little women sat sewing on the doorstep, it was you, mother, and your sister, my aunt. Outside the fence a man in a punt, helped by a child, dragged a body from the mud. The bodies of many members of the honoured-guest-class were bobbing along the sewage canals. The emperor’s cavalry were setting fire to the south-eastern slums and sabering families who tried to escape. The strangest happening of all was on a hill outside the eastern gate. A man held the rope of a kite which floated out over the city, a kite shaped like an eagle with parrot-coloured feathers. A child hung from it. This part of the picture was on a larger scale than the rest. The father’s face wore a look of great pride, but the child was staring down on the city below, not with terror or delight, but with a cool, stern, assessing stare. In the margin of this screen was written The rebellion begins.

I only glanced at the other screens. Houses flamed, whole crowds were falling from bridges into canals to avoid the hooves and sabres of the cavalry. If I had looked closely I would have recognized your figures in the crowds again and again. The last screen showed a cindery plain scored by canals so clogged with ruin that neither clear nor foul water appeared in them. The only life was a host of crows and ravens as thick on the ground as flies on raw and rotten meat.

I heard an apologetic cough and found the headmaster of literature beside me. He held a dish with a flask and two cups on it. He said, “Your doctor thinks wine will do you good.”

I returned to the throne and lay down. He sat beside me and said, “The emperor has been greatly impressed by the gravity of your response to his order-to-write. He is sure your poem will be very great.” I said nothing. He filled the cups with wine and tasted one. I did not. He said, “You once wanted to write about the building of the new palace. Was that a good theme for a poem?”

“Yes.”

“But the building of the new palace and the destruction of the old capital are the same thing. All big new things must begin by destroying the old. Otherwise they are a mere continuation.”

I said, “Do you mean that the emperor would have destroyed the old capital even without a rebellion?” “Yes. The old capital was linked by roads and canals to every corner of the empire. For more than nine dynasties other towns looked to it for guidance. Now they must look to us.”

I said, “Was there a rebellion?”

“We are so sure there was one that we did not enquire about the matter. The old capital was a market for the empire. When the court came here we brought the market with us. The citizens left behind had three choices. They could starve to death, or beg in the streets of other towns, or rebel. The brave and intelligent among them must have dreamed of rebellion. They probably talked about it. Which is conspiracy.”

“Was it justice to kill them for that?”

“Yes. The justice which rules a nation must be more dreadful than the justice which rules a family. The emperor himself respects and pities his defeated rebels. Your poem might mention that.”

I said, “You once said my parents were useless to me because time had changed them. You were wrong. As long as they lived I knew that though they might look old and different, though I might never see them again, I was still loved, still alive in ways you and your emperor can never know. And though I never saw the city after going to school I thought of it growing like an onion; each year there was a new skin of leaves and dung on the gardens, new traffic on the streets, new whitewash on old walls. While the old city and my old parents lived my childhood lived too. But the emperor’s justice has destroyed my past, irrevocably. I am like a land without culture or history. I am now too shallow to write a poem.”

The headmaster said, “It is true that the world is so packed with the present moment that the past, a far greater quantity, can only gain entrance through the narrow gate of a mind. But your mind is unusually big. I enlarged it myself, artificially. You are able to bring your father, mother and city to life and death again in a tragedy, a tragedy the whole nation will read. Remember that the world is one vast graveyard of defunct cities, all destroyed by the shifting of markets they could not control, and all compressed by literature into a handful of poems. The emperor only does what ordinary time does. He simply speeds things up. He wants your help.”

I said, “A poet has to look at his theme steadily. A lot of people have no work because an emperor moves a market, so to avoid looking like a bad government he accuses them of rebelling and kills them. My stomach rejects that theme. The emperor is not very wise. If he had saved the lives of my parents perhaps I could have worked for him.”

The headmaster said, “The emperor did consider saving your parents before sending in the troops, but I advised him not to. If they were still alive your poem would be an ordinary piece of political excuse-making. Anyone can see the good in disasters which leave their family and property intact. But a poet must feel the cracks in the nation splitting his individual heart. How else can he mend them?”

I said, “I refuse to mend this cracked nation. Please tell the emperor that I am useless to him, and that I ask his permission to die.”

The headmaster put his cup down and said, after a while, “That is an important request. The emperor will not answer it quickly.”

I said, “If he does not answer me in three days I will act without him.”

The headmaster of literature stood up and said, “I think I can promise an answer at the end of three days.”

He went away. I closed my eyes, covered my ears and stayed where I was. My entourage came in and wanted to wash, feed and soothe me but I let nobody within touching distance. I asked for water, sipped a little, freshened my face with the rest then commanded them to leave. They were unhappy, especially Adoda who wept silently all the time. This comforted me a little. I almost wished the etiquette would let me speak to Adoda. I was sure Tohu talked all the time to his nurse when nobody else could hear. But what good does talking do? Everything I could say would be as horrible to Adoda as it is to me. So I lay still and said nothing and tried not to hear the drone of Tohu dictating all through that night and the following morning. Toward the end, half his lines seemed to be stylized exclamations of laughter and even between them he giggled a lot. I thought perhaps he was drunk, but when he came to me in the evening he was unusually dignified. He knelt down carefully by my throne and whispered, “I finished my poem today. I sent it to the emperor but I don’t think he likes it.”

I shrugged. He whispered, “I have just received an invitation from him. He wants my company tomorrow in the garden of irrevocable justice.”

I shrugged. He whispered, “Bohu, you know my entourage is very small. My nurse may need help. Please let your doctor accompany us.”

I nodded. He whispered, “You are my only friend,” and went away.

I did not see him next day till late evening. His nurse came and knelt at the steps of my throne. She looked smaller, older and uglier than usual and she handed me a scroll of the sort used for public announcements. At the top were portraits of myself and Tohu. Underneath it said:

The emperor asked his famous poets Bohu and Tohu to celebrate the destruction of the old capital. Bohu said no. He is still an honoured guest in the evergreen garden, happy and respected by all who know him. Tohu said yes and wrote a very bad poem. You may read the worst bits below. Tohu’s tongue, right shoulder, arm and hand have now been replaced by wooden ones. The emperor prefers a frank confession of inability to the useless words of the flattering toad-eater

I stood up and said drearily, “I will visit your master.”

He lay on a rug in her room with his face to the wall. He was breathing loudly. I could see almost none of him for he still wore the ceremonial cape which was badly stained in places. My doctor knelt beside him and answered my glance by spreading the palms of his hands. The secretary, chef and two masseuses knelt near the door. I sighed and said, “Yesterday you told me I was your only friend, Tohu. I can say now that you are mine. I am sorry our training has stopped us showing it.”

I don’t think he heard me for shortly after he stopped breathing. I then told my entourage that I had asked to die and expected a positive answer from the emperor on the following day. They were all very pale but my news made them paler still. When someone more than seven feet tall dies of unnatural causes the etiquette requires his entourage to die in the same way. This is unlucky, but I did not make this etiquette, this palace, this empire which I shall leave as soon as possible, with or without the emperor’s assistance. The hand of my secretary trembles as he writes these words. I pity him.

To my dead parents in the ash of the old capital,

From the immortal emperor’s supreme nothing, Their son, Bohu.

DICTATED ON THE 10th LAST DAY OF THE OLD CALENDAR.

FOURTH LETTER

DEAR MOTHER, DEAR FATHER, I must always return to you, it seems. The love, the rage, the power which fills me now cannot rest until it has sent a stream of words in your direction. I have written my great poem but not the poem wanted. I will explain all this.

On the evening of the third day my entourage were sitting round me when a common janitor brought the emperor’s reply in the unusual form of a letter. He gave it to the secretary, bowed and withdrew. The secretary is a good ventriloquist and read the emperor’s words in the appropriate voice.

The emperor hears and respects his great poet’s request for death. The emperor grants Bohu permission to do anything he likes, write anything he likes, and die however, wherever, and whenever he chooses.

I said to my doctor, “Choose the death you want for yourself and give it to me first.”

He said, “Sir, may I tell you what that death is?”

“Yes.”

“It will take many words to do so. I cannot be brief on this matter.”

“Speak. I will not interrupt.”

He said, “Sir, my life has been a dreary and limited one, like your own. I speak for all your servants when I say this. We have all been, in a limited way, married to you, and our only happiness was being useful to a great poet. We understand why you cannot become one. Our own parents have died in the ancient capital, so death is the best thing for everyone, and I can make it painless. All I need is a closed room, the chef’s portable stove and a handful of prepared herbs which are always with me.

“But sir, need we go rapidly to this death? The emperor’s letter suggests not, and that letter has the force of a passport. We can use it to visit any part of the palace we like. Give us permission to escort you to death by a flowery, roundabout path which touches on some commonplace experiences all men wish to enjoy. I ask this selfishly, for our own sakes, but also unselfishly, for yours. We love you sir.”

Tears came to my eyes but I said firmly, “I cannot be seduced. My wish for death is an extension of my wish not to move, feel, think or see. I desire nothing with all my heart. But you are different. For a whole week you have my permission to glut yourself on anything the emperor’s letter permits.”

The doctor said, “But sir, that letter has no force without your company. Allow yourself to be carried with us. We shall not plunge you into riot and disorder. All will be calm and harmonious, you need not walk, or stand, or even think. We know your needs. We can read the subtlest flicker of your eyebrow. Do not even say yes to this proposal of mine. Simply close your eyes in the tolerant smile which is so typical of you.”

I was weary, and did so, and allowed them to wash, feed and prepare me for sleep as in the old days. And they did something new. The doctor wiped the wounds at the top of my thighs with something astringent and Adoda explored them, first with her tongue and then with her teeth. I felt a pain almost too fine to be noticed and looking down I saw her draw from each wound a quivering silver thread. Then the doctor bathed me again and Adoda embraced me and whispered, “May I share your throne?”

I nodded. Everyone else went away and I slept deeply for the first time in four days.

Next morning I dreamed my aunt was beside me, as young and lovely as in days when she looked like the white demon. I woke up clasping Adoda so insistently that we both cried aloud. The doors of the central hall were all wide open; so were the doors to the garden in the rooms beyond. Light flooded in on us from all sides. During breakfast I grew calm again but it was not my habitual calm. I felt adventurous under the waist. This feeling did not yet reach my head, which smiled cynically. But I was no longer exactly the same man.

The rest of the entourage came in wearing bright clothes and garlands. They stowed my punt-shaped throne with food, wine, drugs and instruments. It is a big throne and when they climbed in themselves there was no overcrowding even though Tohu’s nurse was there too. Then a horde of janitors arrived with long poles which they fixed to the sides of the throne, and I and my entourage were lifted into the air and carried out to the garden. The secretary sat in the prow playing a mouth-organ while the chef and doctor accompanied him with zither and drum. The janitors almost danced as they trampled across the maze, and this was so surprising that I laughed aloud, staring freely up at the pigeon-flecked azure sky, the porcelain gables with their coloured flags, the crowded tops of markets, temples and manufactories. Perhaps when I was small I had gazed as greedily for the mere useless fun of it, but for years I had only used my eyes professionally, to collect poetical knowledge, or shielded them, as required by the etiquette. “Oh, Adoda!” I cried, warming my face in her hair, “All this new knowledge is useless and I love it.”

She whispered, “The use of living is the taste it gives. The emperor has made you the only free man in the world. You can taste anything you like.”

We entered a hall full of looms where thousands of women in coarse gowns were weaving rich tapestry. I was fascinated. The air was stifling, but not to me. Adoda and the chef plied their fans and the doctor refreshed me with a fine mist of cool water. I also had the benefit of janitors without kneebands, so our party was socially invisible; I could stare at whom I liked and they could not see me at all. I noticed a girl with pale brown hair toiling on one side. Adoda halted the janitors and whispered, “That lovely girl is your sister who was sold to the merchants. She became a skilled weaver so they resold her here.”

I said, “That is untrue. My sister would be over forty now and that girl, though robust, is not yet sixteen.”

“Would you like her to join us?”

I closed my eyes in the tolerant smile and a janitor negotiated with an overseer. When we moved on, the girl was beside us. She was silent and frightened at first but we gave her garlands, food and wine and she soon became merry.

We came into a narrow street with a gallery along one side on the level of my throne. Tall elegant women in the robes of the court strolled and leaned there. A voice squeaked, “Hullo, Bohu” and looking up I saw the emperor smiling from the arms of the most slender and disdainful. I stared at him. He said, “Bohu hates me but I must suffer that. He is too great a man to be ordered by a poor old emperor. This lady, Bohu, is your aunt, a very wonderful courtesan. Say hullo!”

I laughed and said, “You are a liar, sir.”

He said, “Nonetheless you mean to take her from me. Join the famous poet, my dear, he goes down to the floating world. Goodbye, Bohu. I do not just give people death. That is only half my job.”

The emperor moved to a lady nearby, the slender one stepped among us and we all sailed on down the street.

We reached a wide river and the janitors waded in until the throne rested on the water. They withdrew the poles, laid them on the thwarts and we drifted out from shore. The doctor produced pipes and measured a careful dose into each bowl. We smoked and talked; the men played instruments, the women sang. The little weaver knew many popular songs, some sad, some funny. I suddenly wished Tohu was with us, and wept. They asked why. I told them and we all wept together. Twilight fell and a moon came out. The court lady stood up, lifted a pole and steered us expertly into a grove of willows growing in shallow water. Adoda hung lanterns in the branches. We ate, clasped each other, and slept.

I cannot count the following days. They may have been two, or three, or many. Opium plays tricks with time but I did not smoke enough to stop me loving. I loved in many ways, some tender, some harsh, some utterly absent-minded. More than once I said to Adoda, “Shall we die now? Nothing can be sweeter than this” but she said, “Wait a little longer. You haven’t done all you want yet.”

When at last my mind grew clear about the order of time the weaver and court lady had left us and we drifted down a tunnel to a bright arch at the end. We came into a lagoon on a lane of clear water between beds of rushes and lily-leaves. It led to an island covered with spires of marble and copper shining in the sun. My secretary said, “That is the poets’ pantheon. Would you like to land, sir?”

I nodded.

We disembarked and I strolled barefoot on warm moss between the spires. Each had an open door in the base with steps down to the tomb where the body would lie. Above each door was a white tablet where the poet’s great work would be painted. All the tombs and tablets were vacant, of course, for I am the first poet in the new palace and was meant to be the greatest, for the tallest spire in the centre was sheathed in gold with my name on the door. I entered. The room downstairs had space for us all with cushions for the entourage and a silver throne for me.

“To deserve to lie here I must write a poem,” I thought, and looked into my mind. The poem was there, waiting to come out. I returned upstairs, went outside and told the secretary to fetch paint and brushes from his satchel and go to the tablet. I then dictated my poem in a slow firm voice.

THE EMPEROR’S INJUSTICE

Scattered buttons and silks, a broken kite in the mud,

A child’s yellow clogs cracked by the horses hooves.

A land weeps for the head city, lopped by sabre, cracked by hooves,

The houses ash, the people meat for crows.

A week ago wind rustled dust in the empty market.

“Starve” said the moving dust, “Beg. Rebel. Starve. Beg. Rebel.”

We do not do such things. We are peaceful people.

We have food for six more days, let us wait.

The emperor will accommodate us, underground.

It is sad to be unnecessary.

All the bright mothers, strong fathers, raffish aunts,

Lost sisters and brothers, all the rude servants

Are honoured guests of the emperor, underground.

We sit in the tomb now. The door is closed, the only light is the red glow from the chef’s charcoal stove. My entourage dreamily puff their pipes, the doctor’s fingers sift the dried herbs, the secretary is ending my last letter. We are tired and happy. The emperor said I could write what I liked. Will my poem be broadcast? No. If that happened the common people would rise and destroy that evil little puppet and all the cunning, straightfaced, pompous men who use him. Nobody will read my words but a passing gardener, perhaps, who will paint them out to stop them reaching the emperor’s ear. But I have at last made the poem I was made to make. I lie down to sleep in perfect satisfaction.

Goodbye. I still love you

Your son, Bohu.

DICTATED SOMETIME SHORTLY BEFORE THE LAST DAY OF THE OLD CALENDAR.

LAST LETTER

A CRITICAL APPRECIATION OF THE POEM BY THE LATE TRAGEDIAN BOHU ENTITLED

THE EMPEROR’S INJUSTICE

DELIVERED

TO THE IMPERIAL COLLEGE OF HEADMASTERS, NEW PALACE UNIVERSITY

My Dear Colleagues, This is exactly the poem we require. Our patience in waiting for it till the last possible moment has been rewarded. The work is shorter than we expected, but that makes distribution easier. It had a starkness unusual in government poetry, but this starkness satisfies the nation’s need much more than the work we hoped for. With a single tiny change the poem can be used at once. I know some of my colleagues will raise objections, but I will answer these in the course of my appreciation.

A noble spirit of pity blows through this poem like a warm wind. The destroyed people are not mocked and calumniated, we identify with them, and the third line:

A land cries for the head city, lopped by sabre, cracked by hooves, invites the whole empire to mourn. But does this wind of pity fan the flames of political protest? No. It presses the mind of the reader inexorably toward nothing, toward death. This is clearly shown in the poem’s treatment of rebellion:

“Starve,” said the moving dust, “Beg. Rebel.

Starve. Beg. Rebel.”

We do not do such things. We are peaceful people.

We have food for six more days, let us wait.

The poem assumes that a modern population will find the prospect of destruction by their own government less alarming than action against it. The truth of this is shown in today’s police report from the old capital. It describes crowds of people muttering at street corners and completely uncertain of what action to take. They have a little food left. They fear the worst, yet hope, if they stay docile, the emperor will not destroy them immediately. This state of things was described by Bohu yesterday in the belief that it had happened a fortnight ago! A poet’s intuitive grasp of reality was never more clearly demonstrated.

At this point the headmaster of civil peace will remind me that the job of the poem is not to describe reality but to encourage our friends, frighten our enemies, and reconcile the middling people to the destruction of the old capital. The headmaster of moral philosophy will also remind me of our decision that people will most readily accept the destruction of the old capital if we accuse it of rebellion. That was certainly the main idea in the original order-to-write, but I would remind the college of what we had to do to the poet who obeyed that order. Tohu knew exactly what we wanted and gave it to us. His poem described the emperor as wise, witty, venerable, patient, loving and omnipotent. He described the citizens of the old capital as stupid, childish, greedy, absurd, yet inspired by a vast communal lunacy which endangered the empire. He obediently wrote a popular melodrama which could not convince a single intelligent man and would only over-excite stupid ones, who are fascinated by criminal lunatics who attack the established order.

The problem is this. If we describe the people we kill as dangerous rebels they look glamorous; if we describe them as weak and silly we seem unjust. Tohu could not solve that problem. Bohu has done with startling simplicity.

He presents the destruction as a simple, stunning, inevitable fact. The child, mother and common people in the poem exist passively, doing nothing but weep, gossip, and wait. The active agents of hoof, sabre, and (by extension) crow, belong to the emperor, who is named at the end of the middle verse:

The emperor will accommodate us, underground. and at the end of the last:

Bright mothers, strong fathers … all the rude servants

Are honoured guests of the emperor, underground. Consider the weight this poem gives to our immortal emperor! He is not described or analysed, he is presented as a final, competent, all-embracing force, as unarguable as the weather, as inevitable as death. This is how all governments should appear to people who are not in them.

To sum up, THE EMPEROR’S INJUSTICE will delight our friends, depress our enemies, and fill middling people with nameless awe. The only change required is the elimination of the first syllable in the last word of the title. I advise that the poem be sent today to every village, town and city in the land. At the same time Fieldmarshal Ko should be ordered to destroy the old capital. When the poem appears over doors of public buildings the readers will read of an event which is occurring simultaneously. In this way the literary and military sides of the attack will reinforce each other with unusual thoroughness. Fieldmarshal Ko should take special care that the poet’s parents do not escape the general massacre, as a rumour to that effect will lessen the poignancy of the official biography, which I will complete in the coming year.

I remain your affectionate colleague, Gigadib,

Headmaster of modern and classical literature.