I ignored that, too. “And, as I promised, I will arrange for your safe journey back to your homeland.”
“You are eager to be rid of me. My genteel chastity is a reproach to your goatishness.”
“I was thinking of you, ungrateful woman. I have nothing to do now but wait here until the proper Buddha’s tooth is found and delivered. In the meantime, if I need anything translated, both the Raja and the Musicmaster are fluent in Farsi.”
She sniffled noisily, and wiped her nose on her bare arm. “I am in no hurry to go back to Bangala, Marco-wallah. I would be only a widow there, too. In the meantime, the Raja and the Master Khusru have occupations of their own. They will not take time to lead you about and show you the splendid sights of Kumbakonam, as I can do. I have already inquired and sought them out, just for your benefit.”
So I did not compel her to leave. Instead, on that day and during the days thereafter, I let her take me about and show me the splendid sights of the city.
“Yonder, Marco-wallah, you see the holy man Kyavana. He is the holiest inhabitant of Kumbakonam. It was many years ago that he determined to stand still, like a tree stump, to the greater glory of Brahma, and he is doing it yet. That is he.”
“I see three aged women, Tofaa, but no man. Where is he?”
“There.”
“There? That is only an enormous white-ant hill, with a dog wetting on it.”
“No, that is the holy man Kyavana. So still did he stand that the white ants used him as framework for their clay hill. It gets bigger every year. But that is he.”
“Well … if he is in there, he is dead, surely?”
“Who knows? What does it matter? He stood just as immobile when he was alive. A most holy man. Pilgrims come from everywhere to admire him, and parents show their sons that example of high piety.”
“This man did nothing but stand still. So very still that no one could tell if he was alive—or if now he may be dead. And that is called holy? That is an example to be admired? Emulated?”
“Do lower your voice, Marco-wallah, or Kyavana may manifest his great holy power at you, as he did at the three girls.”
“What three girls? What did he do?”
“You see that shrine a little way beyond the anthill?”
“I see a mud shack, with those three old hags slumped in the doorway, scratching themselves.”
“That is the shrine. Those are the girls. One is sixteen years old, the others seventeen, and—”
“Tofaa, the sun is very hot here. Perhaps we should go back to the palace so you can lie down.”
“I am showing you the sights, Marco-wallah. When those girls were about eleven and twelve years old, they were as irreverent as you. They decided, for a frolic, to come here and open their garments and reveal their pubescent charms to the holy man Kyavana, and tempt at least one part of him out of immobility. You see what happened. They were instantly struck old and wrinkled and white-haired and haggard, as you see them now. The city built the shrine for them to live out their few remaining years in. The miracle has become famous all over India.”
I laughed. “Is there any proof of this absurd story?”
“Indeed, yes. For a copper apiece, the girls will show you the very kaksha parts, once fresh and young, that were so suddenly made old and sour and stinking. See, they are already spreading their rags for you to—”
“Dio me varda!” I stopped laughing. “Here, throw them these coins and let us depart. I will take the miracle on faith.”
“Now,” said Tofaa, on another day, “here is a special sort of temple. A storytelling temple. You see the marvelously detailed carvings all over its exterior? They illustrate the many ways a man and a woman can do surata. Or a man and several women.”
“Yes,” I said. “Are you suggesting thisis holy?”
“Very holy. When a girl is about to marry, it is assumed—because she is still a child—that she does not yet know how a marriage is consummated. So her parents bring her here, and leave her with the wise and kindly sadhu. He walks the girl about the outside of the temple, pointing to this sculpture and that, and gently explaining to her, so that, whatever her husband may do on the wedding night, she will not be terrified. Here is the good sadhu now. Give him some coppers, Marco-wallah, and he will take us about, and I will repeat in Farsi what he tells us.”
To my eye, the priest was just another black, dirty, scrawny Hindu, in the usual dingy dhoti and tulband and nothing else. I would hardly have asked road directions of such a one. I would certainly never have entrusted a small and apprehensive child bride to his attentions. She was bound to be more repelled by him than by anything that could happen on her wedding night.
But perhaps not. According to the temple sculptures, some astonishing things could happen on her wedding night. As the sadhu pointed out this and that, and snickered and leered and rubbed his hands together, I saw depictions of acts that I had not known were possible until I myself was well along in years and experience. The stone men and women were conjoining in every conceivable position and combination and contortion, and in several ways that—even at my present age—I would not have thought of trying. Almost any one of those sculptured acts, if performed in a Christian land, even by a legitimately wedded man and wife, would have required their going immediately afterward to a confessor. And if the performance could be accurately described and related to that priest, hewould doubtless stagger away to seek shrift from a superior confessor.
I said, “I will accept, Tofaa, that a girl barely out of childhood might be required to submit to the natural act of surata with her new husband. But are you telling me that she is required to be versed in all these wild variations?”
“Well, she makes a better wife, if she is. But in any case, she should be prepared for whatever tastes her husband might manifest. She is a child, yes, but he may be a mature and lusty and experienced man. Or even a very old man, who has long been surfeited by the natural act, and now requires novelty.”
Having myself been all my life led about by my insatiable curiosity, and led into some curious situations, I was hardly one to point an accusing or ridiculing finger at the private practices of any other person or people. So I merely followed the smirking sadhu around the temple as he gesticulated and jabbered, and I made no surprised or scandalized outcries as Tofaa explained, “This is the adharottara, the upside-down act … this is the viparita surata, the perverse act … .” I was, in fact, regarding the sculptures from a different point of view, and pondering on a different aspect of them.
The carvings might well horrify a prudish spectator, but even the most censorious could not deny that they were fine art, beautifully and intricately done. The acts so explicitly portrayed were bawdy, God knows, even obscene, but the men and women involved were all smiling happily, and they were spirited and vivacious in their attitudes. They were enjoying themselves. So the sculptures expressed both a superb craftsmanship and a wonderful verve for life. They did not at all accord with the Hindus as I knew them: inept in everything they did, and doing everything with joyless sniveling, and doing very little.
As an example of their backwardness: in contrast to the Han, whose historians had been minutely recording every least event in their dominions for thousands of years, the Hindus possessed not one written book recounting any of their history. They had only some “sacred” collections of unbelievable legends—unbelievable because, in them, all the Hindu men were tiger-brave and resourceful, and all the Hindu women angel-sweet and lovable. For another example: the Hindu garments called sari and dhoti were only swathings of fabric. That was because, although the most primitive people elsewhere had long ago invented the needle and the craft of sewing, the Hindus had not yet learned to use a needle and had not any word for “tailor” in any of their multitude of languages.