Peony in Love Page 2

  For weeks, my father—as director of the performance—had been tucked away in a side hall with the cast. He had hired a traveling all-male theatrical troupe of eight members, which had upset my mother terribly, because these were people of the lowest and basest class. He’d also coerced others from our household staff—including Willow and several other servants—into taking various roles.

  “Your opera has fifty-five scenes and four hundred and three arias!” Willow had said to me in awe one day, as if I didn’t already know that. It would have taken more than twenty hours to perform the whole opera, but no matter how many times I asked, she wouldn’t tell me which scenes Baba had cut. “Your father wants it to be a surprise,” Willow said, enjoying the opportunity to disobey me. As the rehearsals became more demanding, consternation had rippled throughout the household when an uncle had called for a pipe and found no one to fill it, or an aunt had asked for hot water for her bath and no one had brought it. Even I had been inconvenienced, since Willow was busy now, having been given the important role of Spring Fragrance, the main character’s servant.

  The music began. The narrator stepped out and gave a quick synopsis of the play, emphasizing how longing had lasted through three incarnations before Liu Mengmei and Du Liniang realized their love. Then we met the young hero, an impoverished scholar who had to leave his ancestral home to take the imperial exams. His family name was Liu, which means willow. He recalled how he dreamed of a beautiful maiden standing under a plum tree. When he woke up, he took the given name Mengmei, Dream of Plum. The plum tree, with its lush foliage and ripening fruit, brought to mind the forces of nature, so this name was suggestive even to me of Mengmei’s passionate nature. I listened attentively, but my heart had always been with Liniang and I could hardly wait to see her.

  She arrived onstage for the scene called Admonishing the Daughter. She wore a robe of golden silk with red embroidery. From her headdress rose fluffy balls of spun silk, beaded butterflies, and flowers that quivered when she moved.

  “We treasure our daughter like a pearl,” Madame Du sang to her husband, but she chastised her daughter. “You don’t want to be ignorant, do you?”

  And Prefect Du, Liniang’s father, added, “No virtuous and eligible young lady should fail to be educated. Take time from your embroidery and read the books on the shelves.”

  But admonitions alone couldn’t change Liniang’s behavior, so soon enough she and Spring Fragrance were being tutored by a strict teacher. The lessons were tedious, full of the kind of memorization of rules that I knew only too well. “It is proper for a daughter at first cockcrow to wash her hands, to rinse her mouth, to dress her hair, to pin the same, and to pay respects to her mother and father.”

  I heard things like this every day, along with Don’t show your teeth when you smile, Walk steadily and slowly, Look pure and pretty, Be respectful to your aunties, and Use scissors to trim any frayed or loose threads on your gowns.

  Poor Spring Fragrance couldn’t stand the lessons and begged to be dismissed so she could pee. The men on the other side of the screen chortled when Willow bent over at the waist, squirmed, and held in her pee with both hands. It embarrassed me to see her behaving so, but she was only doing what my father had instructed (which shocked me, because how could he know about such things?).

  In my discomfort, I let my eyes drift from the stage, and I saw men. Most of them had their backs to me, but some were angled so I could see their profiles. I was a maiden, but I looked. It was naughty, but I had lived fifteen years without having committed a single act that anyone in my family could call unfilial.

  My eyes caught sight of a man as he turned his head to look at the gentleman sitting in the chair next to him. His cheekbones were high, his eyes wide and kind, and his hair black as a cave. He wore a long dark-blue gown of simple design. His forehead was shaved in deference to the Manchu emperor, and his long queue draped languidly over a shoulder. He brought his hand up to his mouth to make an aside, and I imagined in that simple gesture so much: gentleness, refinement, and a love of poetry. He smiled, revealing perfect white teeth and eyes that shone with merriment. His elegance and somnolence reminded me of a cat: long, slim, perfectly groomed, knowledgeable, and very contained. He was man-beautiful. When he turned his face back to the stage to watch the opera, I realized I’d been holding my breath. I let it out slowly and tried to concentrate as Spring Fragrance returned—relieved—with news of a garden she’d found.

  When I read this part of the story, I felt great sympathy for Liniang, who was so cloistered she didn’t even know her family owned a garden. She had spent her entire life indoors. Now Spring Fragrance tempted her mistress to go outside to see the flowers, willows, and pavilions. Liniang was curious, but she artfully hid her interest from her maid.

  The quiet and subtlety was broken by a great fanfare announcing the Speed the Plough scene. Prefect Du arrived in the countryside to exhort the farmers, herders, mulberry girls, and tea pickers to work hard in the coming season. Acrobats tumbled, clowns drank from flasks of wine, men in gaily decorated costumes tottered about the garden on stilts, and our maids and other servants performed country harvest songs and dances. It was such a li scene, filled with what I imagined the outside world of men to be: wild gestures, exaggerated facial expressions, and the dissonance of gongs, clackers, and drums. I closed my eyes against the cacophony and tried to draw more deeply into myself to find my interior reading quiet. My heart calmed. When I opened my eyes, I again saw through the slit in the screen the man I’d spotted earlier. His eyes were closed. Could he be feeling what I was feeling?

  Someone pulled my sleeve. I glanced to my right and saw Tan Ze’s pinched little face looking up at me intently. “Are you staring at that boy out there?” she whispered.

  I blinked a few times and tried to regain my composure by taking several shallow breaths.

  “I was looking at him too,” she confided, acting much too bold for her years. “You must be betrothed already. But my father”—she brought her chin down while looking up at me with clever eyes—“has not yet arranged my marriage. He says that with so much turmoil still in the land, no one should agree to these things too early. You don’t know which family will go up and which will go down. My father says it’s terrible to marry a daughter to a mediocre man.”

  Was there a way to make this girl close her mouth? I wondered, and not in a nice way.

  Ze turned back to face the screen and squinted through the crack. “I will ask my father to make inquiries about that boy’s family.”

  As though she would actually have a choice in her marriage! I don’t know how it could have happened so quickly, but I was jealous and angry that she would try to steal him for herself. Of course, there was no hope for the young man and me. As Ze said, I was already betrothed. But for these three nights of the opera I wanted to dream romantic thoughts and imagine that my life too might have a happy love-filled ending like Liniang’s.

  I blocked Ze from my mind and let myself be transported back to the opera for The Interrupted Dream. At last Liniang ventured out into her—our—garden. Such a lovely moment when she sees it all for the first time. Liniang lamented that the beauty of the flowers was hidden in a place no one visited, but she also saw the garden as a version of herself: in full bloom but neglected. I understood how she felt. The emotions that stirred in her were stirred in me every time I read the lines.

  Liniang returned to her room, changed into a robe embroidered with peony blossoms, and sat before a mirror, wondering at the fleeting nature of her beauty much as I had this morning. “Pity one whose beauty is a bright flower, when life endures no longer than a leaf on a tree,” she sang, expressing how disturbing spring’s splendor can be, and how temporary. “I finally understand what the poets have written. In spring, moved to passion; in autumn, only regret. Oh, will I ever see a man? How will love find me? Where can I reveal my true desires?”

  Overcome by all she’d experienced, she fell asleep. In her
dreams, she traveled to the Peony Pavilion, where the spirit of Liu Mengmei appeared, wearing a robe with a willow pattern and carrying a willow sprig. He touched Liniang gently with the leaves. They exchanged soft words, and he asked her to compose a poem about the willow. Then they danced together. Liniang was so delicate and touching in her movements that it was like watching a silkworm’s death—tender and subtle.

  Mengmei led her into our garden’s rocky grotto. With the two of them gone from view, all I heard was Mengmei’s seductive voice. “Open the fastening at your neck, untie the sash around your waist, and cover your eyes with your sleeve. You may need to bite the fabric….”

  Alone in my bed I had tried in vain to imagine what might be going on in the rockery of the Peony Pavilion. I still couldn’t see what was happening and had to rely on the appearance of the Flower Spirit to explain their actions. “Ah, how the male force surges and leaps….” But this didn’t help me either. As an unmarried girl, I’d been told about clouds and rain, but no one had yet explained what it really was.

  At consummation, a shower of peony petals came floating over the top of the rockery. Liniang sang of the joys she and her scholar had found.

  When Liniang woke from her dream, she realized she’d found true love. Spring Fragrance, on orders from Madame Du, instructed Liniang to eat. But how could she? Three meals a day held no promise, no love. Liniang sneaked away from her servant and went back to the garden to pursue her dream. She saw the ground carpeted in petals. Hawthorn branches caught her skirt, pulling at her, keeping her in the garden. Memories of her dream came back to her: “Against the withered rock he leaned my wilting body.” She remembered how he laid her down and how she spread the folds of her skirt as “a covering for earth for the fear of the eyes of Heaven,” until eventually she’d experienced her sweet melting.

  She lingered under a plum tree thick with clusters of fruit. But this was no ordinary plum tree. It represented Liniang’s mysterious dream lover, vital and procreative. “I should count it a great good fortune to be buried here beside it when I die,” Liniang sang.

  My mother had trained me never to show my feelings, but when I read The Peony Pavilion, I felt certain things: love, sadness, happiness. Now, watching the story played out before me, imagining what happened in our rockery between the scholar and Liniang, and seeing a young man not of my own family for the first time brought out too many emotions in me. I had to get away for a few moments; Liniang’s restlessness was my own.

  I slowly rose and gingerly stepped between the cushions. I walked along one of our garden paths, Liniang’s words filling my heart with longing. I tried to rest my mind by letting my eyes find quiet in the greenery. There were no flowers in our main garden. Everything was green to create a feeling of tranquility like a cup of tea—the taste light but remaining a long time. I crossed the zigzag bridge that spanned one of our lesser lily ponds and stepped into the Riding-the-Wind Pavilion, which had been designed so that gentle breezes on a sultry summer evening would cool a hot face or burning heart. I sat down and tried to calm myself in the way the pavilion intended. I had so wanted to experience every second of the opera, but I’d been unprepared for how overwhelmed I would feel.

  Arias and music wafted to me through the night, carrying with them Madame Du’s concern over her daughter’s listlessness. Madame Du didn’t recognize it yet, but her daughter was lovesick. I closed my eyes, took a deep breath, and let that knowledge seep into me.

  Then I heard a disquieting echo of my breath near me. I opened my eyes and saw standing before me the young man I’d seen through the slit in the screen.

  A tiny yip of surprise escaped from my lips before I could even begin to compose myself. I was alone with a man who was not a relative. Worse, he was a total stranger.

  “I’m sorry.” He folded his hands together and bowed several times in apology.

  My heart pounded—from fear, from excitement, from the sheer extraordinariness of the situation. This man had to be one of my father’s friends. I had to be gracious, yet maintain decorum. “I shouldn’t have left the performance,” I said hesitantly. “It’s my fault.”

  “I shouldn’t have left either.” He took a step forward, and my body leaned away in automatic response. “But the love of those two…” He shook his head. “Imagine finding true love.”

  “I’ve imagined it many times.”

  I was sorry as soon as the words left my mouth. This was not the way to speak to a man, whether a stranger or a husband. I knew that, and yet the words had flown from my tongue. I put three fingers to my lips, hoping they would keep more thoughts from escaping.

  “So have I,” he said. He took another step forward. “But Liniang and Mengmei find each other in the dream, and then they fall in love.”

  “Perhaps you don’t know the opera,” I said. “They meet, true, but Liniang pursues Mengmei only after she becomes a ghost.”

  “I know the story, but I disagree. The scholar must overcome his fear of her ghost—”

  “A fear that arises only after she seduces him.”

  How could that sentence have come out of my mouth?

  “You must forgive me,” I said. “I’m just an ignorant girl, and I should get back to the performance.”

  “No, wait. Please don’t go.”

  I looked through the darkness back toward the stage. I’d waited my entire life to see this opera. I could hear Liniang sing, “In my thin gown I tremble, wrapped against the morning chill only by regrets to see red tears of petals shake from the bough.” In her lovesickness, she’d become so thin and frail—haggard, really—that she decided to paint her self-portrait on silk. If she left the world, she would be remembered as she’d been in her dream, ripe with beauty and unfulfilled desire. This act—as it was, even for a living girl—was a tangible symptom of Liniang’s lovesickness, since it acknowledged and anticipated her death. With the fine lines of her brush, she painted a plum sprig in the figure’s hand to recall her dream lover, hoping that if he ever chanced upon the portrait he would recognize her. Finally, she added a poem expressing her wish to marry someone named Liu.

  How could I be tempted to stay away from the opera so easily? And by a man? If I had been thinking at all, I would have realized right then why some people believed The Peony Pavilion lured young women into behaving improperly.

  He must have sensed my indecision—how could he not?—for he said, “I won’t speak of this to anyone so please stay. I’ve never had a chance to hear what a woman thinks of the opera.”

  A woman? The situation was getting worse. I stepped around him, making sure that no part of my clothes brushed against him. As I walked past, he spoke again.

  “The author meant to stir female feelings of qing—of love and emotion—in us. I feel this story, but I don’t know if what I experience is true.”

  We were just inches apart. I turned and looked up into his face. His features were even more refined than I’d thought. In the dim light of the soon-to-be quarter moon, I saw the high planes of his cheekbones, the gentleness in his eyes, and the fullness of his mouth.

  “I…” My voice closed in on itself as he gazed down at me. I cleared my throat and began again. “How could a girl—cloistered and from an elite family—”

  “A girl like you.”

  “—choose her own husband? This is not possible for me, and it would have been impossible for her too.”

  “Do you think you understand Liniang better than her creator?”

  “I’m a girl. I’m the same age. I believe in filial duty,” I said, “and I will follow the course my father has set for me, but all girls have dreams, even if our destinies are set.”

  “So you have the same kinds of dreams as Liniang?” he asked.

  “I’m not a pleasure girl on one of the painted boats on the lake, if that’s what you’re asking!”

  Suddenly I burned with embarrassment. I had said too much. I stared at the ground. My bound-foot shoes looked tiny and delicate next
to his embroidered slippers. I felt his eyes on me and longed to look up, but I couldn’t. I wouldn’t. I tipped my head and, without another word, left the pavilion.

  He called softly after me. “Meet me tomorrow?” A question, followed a heartbeat later by a stronger statement: “Meet me tomorrow night. Meet me here.”

  I didn’t answer. I didn’t look back. Instead I walked straight to our main garden and once again threaded my way through the seated women to the pillow positioned in front of the screen’s fold. I glanced around, hoping no one had noticed my absence. I sat down and forced myself to look through the crack out to the performance, but I found it hard to pay attention. When I saw the young man return to his seat, I closed my eyes. I would not allow myself to look at him. Sitting there, my eyes shut tight, the music and the words penetrated me.

  Liniang was dying from her lovesickness. A diviner was brought in to prescribe charms, to no avail. By the Autumn Moon Festival, Liniang was very weak, feeling a floating numbness. Her bones dreaded the autumn chill. Cold rain battered the windows and melancholy geese crossed the sky. When her mother came to see her, Liniang apologized that she would not serve her parents until the end of their days. She tried to kowtow in respect and then collapsed. Knowing she was going to die, she begged her family to bury her in the garden under the plum tree. Secretly she asked Spring Fragrance to hide her portrait in the garden’s grotto where she and her dream lover had consummated their love.

  I thought of the young man I’d met. He hadn’t touched me, but sitting there on the women’s side of the screen I could admit that I’d wanted him to. Out onstage, Liniang died. Mourners gathered to sing of their grief, while her parents keened with unhappiness. And then, in a sudden twist, a messenger arrived with a letter from the emperor. I didn’t like this part of the story very much. Prefect Du was promoted. A huge celebration began, which now, as I saw it, was a great spectacle and a wonderful way to end the evening. But how could the Dus forget their grief so easily if they loved their daughter as much as they said they did? Her father even forgot to dot her ancestor tablet, which would cause her much trouble in the afterworld.