Daughter of the Empire (23 page)

The hall had grown warm. Great ladies fluttered fans of painted feathers, and the musicians who had entertained them wiped sweaty fingerprints from their instruments, as attendants helped bride and groom into their litters, then raised them to the level where the High Priest and his acolytes presided. Garbed now in an overrobe sewn with precious sequins of silver, gold and copper, the High Priest invoked the ever-present eye of Chochocan, the Good God. The gong chimed as he crossed his arms over his chest, and a boy and girl mounted the dais, each carrying a cage woven of reeds. Within perched a male and a female kiri bird, their white-and-black-barred wingtips dyed the green of the Acoma.

The priest blessed the birds, and acolytes accepted the cages. Then, lifting the ivory ceremonial wand from the pocket in his sleeve, the priest invoked his god for a blessing upon the marriage of Buntokapi and Mara. The hall grew hushed and fans stilled in the hands of the ladies. From the lowliest of landed nobles, to the gem-crusted presence of the Warlord, all craned their necks to see as the priest tapped the cages with his wand.

Reeds parted under his ministrations, leaving the birds free to fly, together in joy as in well-omened unions, or separately, to the woe of the couple on the litters, for much stock was placed in Chochocan’s favour.

Nacoya closed her eyes, her old hands clenched around an amulet she held under her chin. Bunto looked on with his expression hidden behind the luridly painted marriage mask; but his bride stared off, unseeing, into the distance, as if the ritual in the grove had drained her of interest.

The gong chimed, and servants slid wide the paper screens enclosing the hall. ‘Let this marriage be blessed in the sight of heaven,’ intoned the priest.

The acolytes tipped the cages, jostling the birds from their perches. The female chirped angrily and flapped her wings, while the male leaped to the air and circled above the assembly, then swooped down towards his mate. He attempted to land on the perch next to the female, but she puffed up and flapped her wings in fury, pecking him unmercifully. The male retreated, then approached, but the female shot into flight, her dyed wingtips a green blur across shadow. With a loud cry she sped for freedom, and vanished, a flash of pale feathers in sunlight. The male bird gripped tightly to the vacated perch. His feathers fluffed and he shook his head in annoyance. As the chamber stilled with waiting silence, he preened his tail and hopped to the top of the cage, where he relieved himself. After a strained minute passed, the High Priest motioned with his finger, a small but noticeably irritated gesture. An embarrassed acolyte shooed the male bird off. All eyes watched as he circled lazily, then landed in the flower bed just beyond the open screen door and began to peck for grubs.

Brocades and feathers shifted like a wave across the assembly. The High Priest cleared his throat, his wand dropping in one wrinkled hand. At length, with a glance at the stiff-backed Bunto, he said, ‘Praise the goodness of Chochocan, and heed his lesson. Under his guidance, may this couple find mercy, understanding, and forgiveness.’ Again he cleared his throat. ‘The omen shows us that marriage requires diplomacy, for as man and wife this Lord and Lady must ever strive for unity. Such is the Will of the gods.’

A stiff interval followed as acolytes and guests waited for the priest to continue. Eventually it became evident that he would not say more, and the gong chimed. An attendant removed Buntokapi’s marriage mask. He faced Mara, who seemed dazed, except that her eyes were
narrowed slightly and the faintest of frowns marred the line of her brows.

‘Exchange the wreaths,’ prompted the priest, as if he seemed worried the couple might forget.

Bunto bent his head, and Mara pressed the somewhat wilted ceremonial circlet over his dark hair. It slipped somewhat as he straightened, and she smelled wine on his breath as he leaned close to crown her in turn.

Mara’s frown deepened; during her hour of contemplation, custom demanded that the groom share a ritual sip of wine with his bachelor friends, to bring them fortune, and wives of their own. Yet it seemed that Bunto and his companions had emptied the ceremonial flagon, and possibly one or two more. Annoyed at his indiscretion, Mara barely heard the priest pronounce them man and wife for the duration of their mortal lives. She did not even realize the formal portion of the ceremony had ended until the guests began loudly to cheer and throw luck charms of elaborately folded paper into a colourful blizzard over bride and groom.

Mara managed a mechanical smile. Now came the time when each guest presented the wedding tribute, in the form of a work of art, recitation, or musical composition. Some of these would be elaborate and expensive affairs patronized by the great Lords and politically powerful of the Empire. Rumour held that the Warlord had imported an entire theatrical company, complete with costumes and stage. But his presentation would not occur for days to come, since the lowest in rank would perform first.

Picking a paper charm out of his shirt-front, Buntokapi spared himself the tedium of the first acts, pleading the need to relieve himself and don more comfortable clothing. By tradition he could not bed his bride until the last of the guests had offered tribute; and the heavy marriage
robes hid enough of her that staring at slave girls offered better pastime.

Mara nodded courteously at her Lord. ‘I shall stay here, my husband, that the least of our guests may know of Acoma gratitude for their presentations.’

Buntokapi sniffed, believing she avoided him deliberately. He would see to her later; meantime a feast waited, with fine music and drink, and the chance to see his brothers bow to him for the first time, as he was now Lord of the Acoma. Smiling under his crooked marriage wreath, Buntokapi clapped his hands for his slaves to carry him from the hall.

Mara remained, despite the fact that most of her wedding guests followed her Lord’s example. The sun climbed towards noon, and already heat haze shimmered over the distant acres of the needra fields. The highest-ranking guests retired to their quarters and sent servants for cool drinks and a change of clothes. Then, like brightly coloured birds, they emerged to feast on flavoured ices, chilled jomach fruit, and sa wine, until the cooler comfort of evening.

But in the airless confines of the hall the lowest-ranking stayed stiffly in their seats, while hired performers or a talented family member acted, sang or recited a tribute to the married Acoma couple. At smaller weddings the bride and groom might watch the first few performances out of courtesy; but at the greatest houses truly spectacular events occurred later in the roster, and couples most often left the first day’s efforts for the amusement of their off-duty servants.

Yet Mara lingered through the first round of performers, a juggler more successful as a comedian, two singers, a stage conjurer – whose magic was all of the sleight-of-hand variety – and a poet whose own patron snored loudly
throughout his recitation. She applauded each act politely, and if she did not offer the accolade of tossing one of the flowers from her litter, she remained politely attentive until the intermission. The performers to follow waited stiffly, certain she would leave for the feasting. Yet, instead of litter bearers, she called for maids to bring her a tray of light food and drink. The guests murmured in surprise.

The fat Sulan-Qu merchant in the first row blushed and hid behind the fan of his wife. Even in dreams he had never dared to think the Lady of the Acoma would be present to watch his flute-playing son perform. The boy had a terrible ear, but his mother beamed with pride. Mara remained, sipping chilled jomach juice, upon the dais. She nodded graciously when the young flautist bowed and fled, nearly tripping in his haste to clear the way for the next act. Mara smiled at the embarrassed father and his wife, and realized that despite the tedium of enduring such music, should she ever need a favour from that merchant, it was hers for the asking.

Through mimes, a man with trained dogs, a singing liendi bird, and two more poets, the great lady showed no restlessness. She awarded the second of the poets a flower, deftly thrown into his hat. And the painter who followed made her laugh at his comical drawings of needra bulls charging a warrior. When in the second intermission she called maidservants to remove her outer robe, that she might be more comfortable in the noon heat, the lowliest guests murmured that this Lady was generously disposed beyond any they had known in the Empire. The performers sensed her interest and breathed new life into their offerings. And as servants dispatched by the Lady began to dispense refreshments, along with tokens of gratitude for those guests whose tribute had been heard, some of the stiffness melted from the gathering. As the
wine took effect, the bolder tongues whispered that the Lady was very fine and deserving of the honour of her ancestors.

Mara overheard such remarks and smiled gently. As the third intermission began, she bade her maids unbind the constricting coils of her headdress and comb her long hair freely down her back. While the marriage wreath wilted by her knee, she sat back to hear the next round of perfomances, and the next, to the joy of all who acted for her pleasure. As afternoon wore on, the hall grew hotter; and other guests drifted in to see what held the Lady of the Acoma enthralled.

At sunset the groom put in an appearance, his step slightly unsteady and his voice too loud. Buntokapi mounted the dais, waving a flagon of sa wine, and demanded to know why his wife dallied so long in the hall; the Warlord and others of the Acoma guests were feasting, and wasn’t she avoiding him by sitting gaping at common minstrels and officials of low rank?

Mara bowed her head in submissive silence, then looked up into her husband’s eyes. He smelled of drink and sweat. She managed a smile anyway. ‘My Lord, Camichiro, the poet, will read next, and while his work is too new for fame, his patron the Lord of the Teshiro has a reputation for recognizing genius. Why not stay, and celebrate the introduction of a coming talent?’

Bunto straightened, arms crossed, unmindful of the dribble from the flagon that marred his left cuff. Faced by the serene innocence of a wife whose clothing prevented any view of what lay underneath, and outflanked by the beaming pride of Camichiro and Lord Teshiro, he grunted. To contradict his wife’s praise would be extremely bad form. Sober enough to disengage before compromising his obligations as host, Buntokapi bowed in return and snapped, ‘I shall have time for poetry later.
Others of your guests have begun a game of chiro, and I have placed bets on the winners.’

The Lord of the Acoma retired from the hall. His Lady called servants to bring another round of wine to the performers; and by remaining against the preference of the bridegroom, she earned the admiration of her least important guests. Loudest in her praise were the merchant and his awkward flautist son, followed closely by the gushy, painted wife of the poet Camichiro. Among the commons of Sulan-Qu, it was no secret that she was the lover of Lord Teshiro, and that her saucy charms alone had earned the family’s patronage.

Sunset came, and the shatra birds flew. The gathering of the marriage tribute adjourned until the next day, while the cooks produced exotic dishes decorated with paper symbols for luck. Lanterns were lit, and musicians played, and at nightfall acrobats juggled sticks of fire. Mara sat at her husband’s side until he clapped for slave girls to begin a veil dance. At that time, exhausted, the Lady of the Acoma retired to a special ceremonial hut of painted paper, where she undressed and bathed, and lay a long time without sleeping.

The morning dawned dusty and dry, with no hint of a breeze. Servants had laboured through the night to prepare for a fresh day’s festivities, and the akasi flowers sparkled, freshly watered by gardeners who now wore smocks and cut vegetables for the cooks. Mara rose and, hearing her husband’s groans through the thin screen that divided the wedding hut, presumed correctly that he had a hangover. She dispatched the prettiest of her slave girls to attend him; then she called for chocha for herself. While the cool of the morning still lingered, she took a walk about the grounds. Soon the cho-ja Queen and her hive mates would be arriving on Acoma lands. Defences
would no longer be critical. The thought eased her somewhat; with Jican competent to manage the family assets, and the estate itself secure, she could pitch all her resources into dealing with the Lord she had married. Memory visited, of a woman’s high-pitched laughter, and Bunto’s voice, querulously demanding, before he drifted into snores near to dawn. Frowning, a firmer set to her mouth, Mara prayed to Lashima for strength.

She looked up from meditation in time to see a retainer with a banner leading a small procession into the great hall. The second day of the marriage tribute was about to begin, and against all precedent Mara dispatched servants to attend to her litter. She would watch the performers to the very last; and though no guest of equal or superior rank was scheduled to present tribute until late afternoon, she would see that no earlier performance went unrewarded. With Buntokapi a Ruling Lord, the Acoma would need all the goodwill she could inspire.

Wind came the afternoon of the following day; cloud shadows raced over the needra meadows, and the sky to the east threatened rain. Yet despite the risk of dampened finery, the Acoma guests sat in the open, watching the closing act.

To the astonishment of all in attendance, the Warlord had paid from his personal treasury for a performance by the Imperial Jojan Theatre. Jojan was the formal theatre enjoyed by the nobility, as the commoners preferred to watch the more raucous and ribald Segumi theatre groups that toured the countryside. But the Imperial Jojan were the finest actors in the realm, being the training ground for the Imperial Shalo-tobaku troupe, who performed only for the Emperor and his immediate family. The performance was
Lord Tedero and the Sagunjan
, one of
the ten classic sobatu, literally ‘grand high style’, the ancient opera form.