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Little Sister Snow

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<h3> CHAPTER II </h3> In the springtime a Japanese house is a fairy-like thing, with only top and bottom of straw and a few upholding posts to give it a look of substance. Yuki Chan's house was typical. The paper screens were carefully put away during the day, that the breezes might play unobstructed through the house. At night the heavy wooden doors were fitted into grooves and served not only to keep out the night air, but also the evil spirits that come abroad when the great sun ceases watching. Binding the whole was a narrow porch, showing a floor polished like a mirror from the slipping and sliding of generations of feet. Yuki Chan first learned to know her face in its reflections and, alas! by the same method had learned the saucy fascination of sticking out her small pink tongue. On the side of the porch toward the plum-tree the child found her father and mother waiting. The two old people sat on gay cushions with hands folded and feet crossed. Their festal attire bore the marks of a once careless luxury, but now shabbiness tried to hide itself under the bravery of tinsel, where once had been pure gold. Each year the struggle of obsolete methods of business and the intricacies of progress plowed the furrows a little deeper in the man's face, and when his eyes, that in youth had blazed with ambition, grew wistful and troubled, he dropped them that his wife might not see. But what silence could hide from this frail woman any mood of the man she had served with mind and body and soul these many years? When she came to him as a shy bride on trial, she knew no such word as love. Duty was her entire vocabulary, and she asked nothing and gave all. <div class="fig"> <ANTIMG alt="003.jpg (74K)" src="images/003.jpg" width-obs="100%" /></div> Many little souls had come to her, with hands all crimped and pink, like new-blown cherry-leaves, only to close their eyes and pass out to the good god Jizo, who is always waiting to help little children across the river of death. In years gone by, night after night sleep had flown before the terror that another woman would be brought into the house that the family name might not die out. Silently she would slip out to the little shrine and pour out passionate words of prayer that just one little soul might be permitted to live. No matter how long the night, nor how bitter the struggle, morning always found her bright and cheerful, bending every effort to invent new diversions for her husband. She labored to anticipate every wish, and even though she did without, she provided him the best of comfort. Working far into the night, secretly disposing of her small personal treasures, acquiescing in his most trivial statements, she planned that no slightest gap in the domestic arrangement should suggest itself to him. The woman worked and prayed and waited. Then she triumphed. In the wake of a great snow-storm came the longed-for child, and they called her Yuki, after the snow that had brought them their wish. Hand in hand with Yuki Chan came love, and bound the hearts of the man and woman with ties of a desire fulfilled. From that time to this love had prevailed, and as Yuki Chan climbed on the porch, besmirching its shining surface with her muddy little feet, that had been guiltless of sandals all day, the faces of the two old people lighted up with sudden joy. Yuki Chan looked ruefully at the muddy prints she had made and realized that she had been a most impolite little girl. Remembering her recent resolve, she sought the eyes in which she had never seen any light for her save that of love. She drew close, and reaching down took her mother's hand, hard and cracked by labor, and laying her cheek against it said, with a voice sure of forgiveness and sweet desire for atonement: "Go men nasai." The mother, with a courtly but playful air, granted her pardon with a low salutation. Then with a rush of affection that no convention could stem, she folded the child to her heart and lived another moment of supreme joy. The father sat by, making no comment, his eyes bright and twinkling. Then he suggested that their Majesties, the dolls, had been waiting long on the shelf. Was it not time they were receiving a visit? The years of toil were telling on both father and mother, but they daily refreshed themselves at the overbrimming fountain of Yuki Chan's youth, and now, as they each took one of her hands to go in to see the dolls, they were so gay that the child suggested that instead of walking they should do the new one-two-three-hop she had learned at the kindergarten. It was unheard-of conduct, but it was for Yuki Chan, and father and mother stumped along, cheered on by the small girl who was trying to keep time, but was breathless through sheer excess of happiness. There was nothing in the room to impede their progress. No chairs with treacherous legs to trip over, no beds, nor tables with sharp corners —nothing whatever but the matting, soft and thick, where Yuki Chan had practised all the gymnastics of childhood unbruised and unharmed. Half skipping, half hopping, and wholly undone with laughter and exertion, the three at last reached the place where, for six years, offerings had been made for the gift of the child who stood to these two for love. Arranged in the best room in the house, on five long red-covered shelves, were dolls. Big dolls and little dolls, thin ones and fat ones, each one to represent some royal man or woman of the long ago, and dressed in a fashion of a time almost forgotten. There was Jimmu Tenno, the first real emperor. His hair was done in a curious fashion and his dress was of a wonderful brocade, while his hands clasped two fierce-looking swords. There was Jingo, too, who had won fame and lasting honor by her wonderful fighting, and was so great she had to sit by the emperors and look down on the other empresses. Such a lot of them! Some worthy to be remembered every day in the year, others the more quickly forgotten the better. Yuki Chan knew them all by heart, and she lingered before those she liked and quickly passed those she did not care for. She could not be rude to an emperor, even though he had been dead hundreds of years. She was really not very afraid of the greatness of the old doll men and women who sat on the shelf, still it was well to be careful about handling them. She might be turned into a lizard or a snake, just as the old lodge-keeper had said. But her delight was in the miniature toilet articles of solid silver, costly gold lacquer, and porcelain, so tiny, so beautifully carved they must have meant the eyesight of some workman, only too glad to shut out the sunlight forever if he might produce just one perfect thing. The things, however, that made Yuki Chan clap her hands and the nesting birds perk up their heads at the sound of her clear, sweet laugh were the funny little lacquer carts in which the royalty was supposed to ride, drawn by impossible fat bullocks, so bow-legged that their curves formed a big round O. Yuki Chan made her red lips into the same shape, and called her mother to look. She pretended to feed the dolls with real food and wine, and actually played with the five court musicians, because they were partly servants and it did not matter. Her tongue ran in ceaseless chatter. Her father and mother hovered around her, repeating the history of all those wonderful people. Yuki Chan listened very little, so concerned was she with her own comments, until she happened to see an anxious look creep into her mother's eyes. It was something every little girl must know, and if Yuki Chan's honorable ears refused to open, how would she learn? Then Yuki Chan nestled close, and gave little pats of love and tried to listen. THE shadows of the bamboo grew long and slim as the sun kissed them good night. The sails skimmed homeward on a silver sea as the west covered its rosy pink in a veil of deepest blue. The young birds in the old plum-tree did not stir at the loving touch of the mother who, with a soft bill, searched and sought for the lost one. The plum-blossoms lingered yet for a night as the air had grown chill. Within the house Yuki Chan, still dressed, lay on the floor, weary with the wonders of the day. Her mother took from a small inclosure beneath a shelf many soft comforts with which she arranged the child's bed. Yuki Chan, talking all the time in a low monotone, tried to unravel a tangle in her mind of birds and cats and dolls. It was all getting unmanageable and very hazy, when her mother gathered her into her arms, and quickly casting aside her two garments laid her gently in a bath of caressing warmth. A moment more and the little maiden lay like a rose-leaf in her bed. The night-lamp made shadowy ghosts of all it touched, and one gleam of light, escaping the paper shade, hung like an aureole above the head of Yuki Chan's mother as she knelt with clasped hands before the Buddha on the shelf. Her moving lips had only one refrain: "The child, the child, the child." Yuki Chan watched the play of the light in the half-dark room. What funny things those shadows made, and, strangely enough, one more wonderful than all the rest grew into the shape of the boy, and his lips were saying, "Be good." Then Yuki Chan lost herself in a mist of drowsiness, and her mother sat by, and kept time with her hand as she chanted rather than sang: <table summary="" style="margin-right: auto; margin-left: auto"> <tr> <td> "Sleep, little one, sleep. The sparrows are nodding. Beneath the deep willow-trees The night-lamp is burning. Thy mother is watching, Sleep, little one, sleep." </td> </tr> </table> <div style="break-after:column;"></div>

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