The Poison Tree Part 2

"Why so?"

"There is a staircase to heaven. By ascending millions of steps heaven is reached. My poem has also a staircase; these tasteless verses are the steps. If you can't climb these few steps, how will you ascend the heavenly ladder?"

The _Malini_ then, in fear of losing heaven through the Brahmin's curse, listened to the _Megha Duta_ from beginning to end. She admired the poem; and next day, binding a wreath of flowers in the name of Cupid, she crowned the poet's temples therewith.

This ordinary poem of mine is not heaven; neither has it a staircase of a million steps. Its flavour is faint and the steps are few. These few tasteless chapters are the staircase. If among my readers there is one of the _Malini's_ disposition, I warn him that without climbing these steps he will not arrive at the pith of the story.

Surja Mukhi's father's house was in Konnagar. Her father was a _Kaystha_ of good position. He was cas.h.i.+er in some house at Calcutta.

Surja Mukhi was his only child. In her infancy a _Kaystha_ widow named Srimati lived in her father's house as a servant, and looked after Surja Mukhi. Srimati had one child named Tara Charan, of the same age as Surja Mukhi. With him Surja Mukhi had played, and on account of this childish a.s.sociation she felt towards him the affection of a sister.

Srimati was a beautiful woman, and therefore soon fell into trouble. A wealthy man of the village, of evil character, having cast his eyes upon her, she forsook the house of Surja Mukhi's father. Whither she went no one exactly knew, but she did not return. Tara Charan, forsaken by his mother, remained in the house of Surja Mukhi's father, who was a very kind-hearted man, and brought up this deserted boy as his own child; not keeping him in slavery as an unpaid servant, but having him taught to read and write. Tara Charan learned English at a free mission-school. Afterwards Surja Mukhi was married, and some years later her father died. By this time Tara Charan had learned English after a clumsy fas.h.i.+on, but he was not qualified for any business. Rendered homeless by the death of Surja Mukhi's father, he went to her house. At her instigation Nagendra opened a school in the village, and Tara Charan was appointed master. Nowadays, by means of the grant-in-aid system in many villages, sleek-haired, song-singing, harmless Master Babus appear; but at that time such a being as a Master Babu was scarcely to be seen. Consequently, Tara Charan appeared as one of the village G.o.ds; especially as it was known in the bazaar that he had read the _Citizen of the World_, the _Spectator_, and three books of _Euclid_. On account of these gifts he was received into the _Brahmo Samaj_ of Debendra Babu, the zemindar of Debipur, and reckoned as one of that Babu's retinue.

Tara Charan wrote many essays on widow-marriage, on the education of women, and against idol-wors.h.i.+p; read them weekly in the _Samaj_, and delivered many discourses beginning with "Oh, most merciful G.o.d!"

Some of these he took from the _Tattwa Bodhini_,[3] and some he caused to be written for him by the school _pandit_. He was forever preaching: "Abandon idol-wors.h.i.+p, give choice in marriage, give women education; why do you keep them shut up in a cage? let women come out." There was a special cause for this liberality on the subject of women, inasmuch as in his own house there was no woman. Up to this time he had not married. Surja Mukhi had made great efforts to get him married, but as his mother's story was known in Govindpur, no respectable _Kaystha_ consented to give him his daughter. Many a common, disreputable _Kaystha_ girl he might have had; but Surja Mukhi, regarding Tara Charan as a brother, would not give her consent, since she did not choose to call such a girl sister-in-law. While she was seeking for a respectable _Kaystha_ girl, Nagendra's letter came, describing Kunda Nandini's gifts and beauty. She resolved to give her to Tara Charan in marriage.

[Footnote 3: A religious periodical published in Calcutta.]

CHAPTER V.

OH! LOTUS-EYED, WHO ART THOU?

Kunda arrived safely with Nagendra at Govindpur. At the sight of Nagendra's dwelling she became speechless with wonder, for she had never seen one so grand. There were three divisions without and three within. Each division was a large city. The outer _mahal_ (division) was entered by an iron gate, and was surrounded on all sides by a handsome lofty iron railing. From the gate a broad, red, well-metalled path extended, on each side of which were beds of fresh gra.s.s that would have formed a paradise for cows. In the midst of each plat was a circle of shrubs, all blooming with variously coloured flowers. In front rose the lofty demi-upper-roomed _boita khana_ (reception-hall), approached by a broad flight of steps, the verandah of which was supported by ma.s.sive fluted pillars. The floor of the lower part of this house was of marble. Above the parapet, in its centre, an enormous clay lion, with dependent mane, hung out its red tongue. This was Nagendra's _boita khana_. To left and right of the gra.s.s plats stood a row of one-storied buildings, containing on one side the _daftar khana_ (accountant's office) and _kacheri_ (court-house); on the other the storehouse, treasury, and servants' dwellings. On both sides of the gate were the doorkeepers' lodges. This first _mahal_ was named the _kacheri bari_ (house of business); the next to it was the _puja mahal_ (division for wors.h.i.+p). The large hall of wors.h.i.+p formed one side of the _puja mahal_; on the other three sides were two-storied houses. No one lived in this _mahal_. At the festival of Durga it was thronged; but now gra.s.s sprouted between the tiles of the court, pigeons frequented the halls, the houses were full of furniture, and the doors were kept locked. Beside this was the _thakur bari_ (room a.s.signed to the family deity): in it on one side was the temple of the G.o.ds, the handsome stone-built dancing-hall; on the remaining sides, the kitchen for the G.o.ds, the dwelling-rooms of the priests, and a guest-house. In this _mahal_ there was no lack of people. The tribe of priests, with garlands on their necks and sandal-wood marks on their foreheads; a troop of cooks; people bearing baskets of flowers for the altars; some bathing the G.o.ds, some ringing bells, chattering, pounding sandal-wood, cooking; men and women servants bearing water, cleaning floors, was.h.i.+ng rice, quarrelling with the cooks. In the guest-house an ascetic, with ash-smeared, loose hair, is lying sleeping; one with upraised arm (stiffened thus through years) is distributing drugs and charms to the servants of the house; a white-bearded, red-robed _Brahmachari_, swinging his chaplet of beads, is reading from a ma.n.u.script copy of the _Bhagavat-gita_ in the _Nagari_ character; holy mendicants are quarrelling for their share of _ghi_ and flour. Here a company of emaciated _Boiragis_, with wreaths of _tulsi_ (a sacred plant) round their necks and the marks of their religion painted on their foreheads, the bead fastened into the knot of hair on their heads shaking with each movement, are beating the drums as they sing:

"I could not get the opportunity to speak, The elder brother Dolai was with me."

The wives of the _Boiragis_, their hair braided in a manner pleasing to their husbands, are singing the tune of _Govinda Adhi Kari_ to the accompaniment of the tambourine. Young _Boisnavis_ singing with elder women of the same cla.s.s, the middle-aged trying to bring their voices into unison with those of the old. In the midst of the court-yard idle boys fighting, and abusing each other's parents.

These three were the outer _mahals_. Behind these came the three inner ones. The inner _mahal_ behind the _kacheri bari_ was for Nagendra's private use. In that only himself, his wife, and their personal attendants were allowed; also the furniture for their use. This place was new, built by Nagendra himself, and very well arranged. Next to it, and behind the _puja bari_, came another _mahal_; this was old, ill-built, the rooms low, small, and dirty. Here was a whole city-full of female relations, mother's sister and mother's cousin, father's sister and cousin; mother's widowed sister, mother's married sister; father's sister's son's wife, mother's sister's son's daughter. All these female relatives cawing day and night like a set of crows in a banian tree; at every moment screams, laughter, quarrelling, bad reasoning, gossip, reproach, the scuffling of boys, the crying of girls. "Bring water!" "Give the clothes!" "Cook the rice!" "The child does not eat!" "Where is the milk?" etc., is heard as an ocean of confused sounds. Next to it, behind the _Thakur bari_, was the cook-house. Here a woman, having placed the rice-pot on the fire, gathering up her feet, sits gossiping with her neighbour on the details of her son's marriage. Another, endeavouring to light a fire with green wood, her eyes smarting with the smoke, is abusing the _gomashta_ (factor), and producing abundant proof that he has supplied this wet wood to pocket part of the price. Another beauty, throwing fish into the hot oil, closes her eyes and twists her ten fingers, making a grimace, for oil leaping forth has burnt her skin.

One having bathed her long hair, plentifully besmeared with oil, braiding it in a curve on the temples and fastening it in a knot on the top of her head, stirs the pulse cooking in an earthen pot, like Krishna prodding the cows with a stick. Here Bami, Kaymi, Gopal's mother, Nipal's mother, are shredding with a big knife vegetable pumpkins, brinjals, the sound of the cutting steel mingling with abuse of the neighbours, of the masters, of everybody: that Golapi has become a widow very young; that Chandi's husband is a great drunkard; that Koylash's husband has secured a fine appointment as writer to the _Darogah_; that there could not be in the world such a flying journey as that of Gopal, nor such a wicked child as Parvati's; how the English must be of the race of _Ravan_ (the ten-headed king of Ceylon); how _Bhagirati_ had brought _Ganga_; how Sham Biswas was the lover of the daughter of the Bhattacharjyas; with many other subjects. A dark, stout-bodied woman, placing a large _bonti_ (a fish-cutter) on a heap of ashes in the court, is cutting fish; the kites, frightened at her gigantic size and her quick-handedness, keeping away, yet now and again darting forward to peck at the fish.

Here a white-haired woman is bringing water; there one with powerful hand is grinding spices. Here, in the storehouse, a servant, a cook, and the store-keeper are quarrelling together; the store-keeper maintaining, "The _ghi_ (clarified b.u.t.ter) I have given is the right quant.i.ty;" the cook disputing it; the servant saying, "We could manage with the quant.i.ty you give if you left the storehouse unlocked." In the hope of receiving doles of rice, many children and beggars with their dogs are sitting waiting. The cats do not flatter any one; they watch their opportunity, steal in, and help themselves. Here a cow without an owner is feasting with closed eyes upon the husks of pumpkins, other vegetables, and fruit.

Behind these three inner _mahals_ is the flower-garden; and further yet a broad tank, blue as the sky. This tank is walled in. The inner house (the women's) has three divisions, and in the flower-garden is a private path, and at each end of the path two doors; these doors are private, they give entrance to the three _mahals_ of the inner house.

Outside the house are the stables, the elephant-house, the kennels, the cow-house, the aviaries, etc.

Kunda Nandini, full of astonishment at Nagendra's unbounded wealth, was borne in a palanquin to the inner apartments, where she saluted Surja Mukhi, who received her with a blessing.

Having recognized in Nagendra the likeness of the man she had seen in her dream, Kunda Nandini doubted whether his wife would not resemble the female figure she had seen later; but the sight of Surja Mukhi removed this doubt. Surja Mukhi was of a warm, golden colour, like the full moon; the figure in the dream was dark. Surja Mukhi's eyes were beautiful, but not like those in the dream. They were long deer-eyes, extending to the side hair; the eye-brows joined in a beautiful curve over the dilated, densely black pupils, full but steady. The eyes of the dark woman in the dream were not so enchanting. Then Surja Mukhi's features were not similar. The dream figure was dwarfish; Surja Mukhi rather tall, her figure swaying with the beauty of the honeysuckle creeper. The dream figure was beautiful, but Surja Mukhi was a hundredfold more so. The dream figure was not more than twenty years of age; Surja Mukhi was nearly twenty-six. Kunda saw clearly that there was no resemblance between the two. Surja Mukhi conversed pleasantly with Kunda, and summoned the attendants, to the chief among whom she said, "This is Kunda with whom I shall give Tara Charan in marriage; therefore see that you treat her as my brother's wife."

The servant expressed her a.s.sent, and took Kunda aside with her to another place. At sight of her Kunda's flesh crept; a cold moisture came over her from head to foot. The female figure which Kunda in her dream had seen her mother's fingers trace upon the heavens, this servant was that lotus-eyed, dark-complexioned woman.

Kunda, agitated with fear, breathing with difficulty, asked, "Who are you?"

The servant answered, "My name is Hira."

CHAPTER VI.

THE READER HAS CAUSE FOR GREAT DISPLEASURE.

At this point the reader will be much annoyed. It is a custom with novelists to conclude with a wedding, but we are about to begin with the marriage of Kunda Nandini. By another custom that has existed from ancient times, whoever shall marry the heroine must be extremely handsome, adorned with all virtues, himself a hero, and devoted to his mistress. Poor Tara Charan possessed no such advantages; his beauty consisted in a copper-tinted complexion and a snub nose; his heroism found exercise only in the schoolroom; and as for his love, I cannot say how much he had for Kunda Nandini, but he had some for a pet monkey.

However that may be, soon after Kunda Nandini's arrival at the house of Nagendra she was married to Tara Charan. Tara Charan took home his beautiful wife; but in marrying a beautiful wife he brought himself into a difficulty.

The reader will remember that Tara Charan had delivered some essays in the house of Debendra Babu on the subjects of women's education and the opening of the zenana. In the discussions that ensued, the Master Babu had said vauntingly: "Should the opportunity ever be given me, I will be the first to set an example of reform in these matters. Should I marry, I will bring my wife out into society."

Now he was married, and the fame of Kunda's beauty had spread through the district. All the neighbours now, quoting an old song, said, "Where now is his pledge?" Debendra said, "What, are you now also in the troop of old fools? Why do you not introduce us to your wife?"

Tara Charan was covered with shame; he could not escape from Debendra's banter and taunts. He consented to allow Debendra to make the acquaintance of his wife. Then fear arose lest Surja Mukhi should be displeased. A year pa.s.sed in evasion and procrastination; when, seeing that this could be carried on no longer, he made an excuse that his house was in need of repair, and sent Kunda Nandini to Nagendra's house. When the repairs of the house were completed, Kunda Nandini returned home. A few days after, Debendra, with some of his friends, called upon Tara Charan, and jeered him for his false boasting. Driven thus, as it were, into a corner, Tara Charan persuaded Kunda Nandini to dress in suitable style, and brought her forth to converse with Debendra Babu. How could she do so? She remained standing veiled before him for a few seconds, then fled weeping. But Debendra was enchanted with her youthful grace and beauty. He never forgot it.

Soon after that, some kind of festival was held in Debendra's house, and a little girl was sent thence to Kunda to invite her attendance.

But Surja Mukhi hearing of this, forbade her to accept the invitation, and she did not go. Later, Debendra again going to Tara Charan's house, had an interview with Kunda. Surja Mukhi hearing of this through others, gave to Tara Charan such a scolding, that from that time Debendra's visits were stopped.

In this manner three years pa.s.sed after the marriage; then Kunda Nandini became a widow. Tara Charan died of fever. Surja Mukhi took Kunda to live with her, and selling the house she had given to Tara Charan, gave the proceeds in Government paper to Kunda.

The reader is no doubt much displeased, but in fact the tale is only begun. Of the poison tree the seed only has thus far been sown.

CHAPTER VII.

HARIDASI BOISNAVI.

The widow Kunda Nandini pa.s.sed some time in Nagendra's house. One afternoon the whole household of ladies were sitting together in the other division of the house, all occupied according to their tastes in the simple employment of village women. All ages were there, from the youngest girl to the grey-haired woman. One was binding another's hair, the other suffering it to be bound; one submitting to have her white hairs extracted, another extracting them by the aid of a grain of rice; one beauty sewing together shreds of cloth into a quilt for her boy, another suckling her child; one lovely being dressing the plaits of her hair; another beating her child, who now cried aloud, now quietly sobbed, by turns. Here one is sewing carpet-work, another leaning over it in admiring examination. There one of artistic taste, thinking of some one's marriage, is drawing a design on the wooden seats to be used by the bridal pair. One learned lady is reading Dasu Rai's poetry. An old woman is delighting the ears of her neighbours with complaints of her son; a humorous young one, in a voice half bursting with laughter, relates in the ears of her companions whose husbands are absent some jocose story of her husband's, to beguile the pain of separation. Some are reproaching the _Grihini_ (house-mistress), some the _Korta_ (master), some the neighbours; some reciting their own praises. She who may have received a gentle scolding in the morning from Surja Mukhi on account of her stupidity, is bringing forward many examples of her remarkable acuteness of understanding. She in whose cooking the flavours can never be depended upon, is dilating at great length upon her proficiency in the art. She whose husband is proverbial in the village for his ignorance, is astounding her companions by her praises of his superhuman learning. She whose children are dark and repulsive-looking, is pluming herself on having given birth to jewels of beauty. Surja Mukhi was not of the company. She was a little proud, and did not sit much with these people; if she came amongst them her presence was a restraint upon the enjoyment of the rest. All feared her somewhat, and were reserved towards her. Kunda Nandini a.s.sociated with them; she was amongst them now, teaching a little boy his letters at his mother's request. During the lesson the pupil's eyes were fixed upon the sweetmeat in another child's hand, consequently his progress was not great. At this moment there appeared amongst them a _Boisnavi_ (female mendicant), exclaiming, "_Jai Radhika!_"[4] (Victory to Radhika).

[Footnote 4: Wife of Krishna.]

A constant stream of guests was served in Nagendra's _Thakur bari_, and every Sunday quant.i.ties of rice were distributed in the same place, but neither _Boisnavis_ nor others were allowed to come to the women's apartments to beg; accordingly, on hearing the cry "_Jai Radha!_" in these forbidden precincts, one of the inmates exclaimed: "What, woman! do you venture to intrude here? go to the _Thakur bari_." But even as she spoke, turning to look at the _Boisnavi_, she could not finish her speech, but said instead: "Oh, ma, what _Boisnavi_ are you?"

Looking up, all saw with astonishment that the _Boisnavi_ was young and of exceeding beauty; in that group of beautiful women there was none, excepting Kunda Nandini, so beautiful as she. Her trembling lips, well-formed nose, large lotus-eyes, pencilled brows, smooth, well-shaped forehead, arms like the lotus-stalk, and complexion like the _champak_ flower, were rare among women. But had there been present any critic of loveliness, he would have said there was a want of sweetness in her beauty, while in her walk and in her movements there was a masculine character.

The _sandal_ mark[5] on the _Boisnavi's_ nose was long and fine, her hair was braided, she wore a _sari_ with a coloured border, and carried a small tambourine in her hand. She wore bra.s.s bracelets, and over them others made of black gla.s.s.

[Footnote 5: The caste mark, made with sandal-wood powder.]

One of the elder women addressed her saying, "Who are you?"

The _Boisnavi_ replied, "My name is Haridasi. Will the ladies like a song?"

The cry, "Yes, yes! sing!" sounded on all sides from old and young.

Raising her tambourine, the _Boisnavi_ seated herself near the ladies, where Kunda was teaching the little boy. Kunda was very fond of music; on hearing that the _Boisnavi_ would sing she came nearer. Her pupil seized the opportunity to s.n.a.t.c.h the sweetmeat from the other child's hand, and eat it himself.