I AM CALLED “BUTTERFLY”
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I saw the mob and khe Erzurumis had begun slaying us witty miniaturists.Black was also in the crowd watg the attack. I saw him holding a dagger apanied by a group of odd-lookihe well-knowher the clothier and other women carrying cloth sacks. I had an urge to flee after seeing the establishment cruelly wrecked and the coffeehouse-goers beaten mercilessly as they tried to leave. Later, another mob, perhaps the Janissaries, arrived. The Erzurumis snuffed out their torches and fled.
There was nobody at the dark entrance of the coffeehouse, and no one was looking. I walked inside. Everything was in shambles. I stepped on the shattered cups, plates, glasses and bowls. An oil lamp hanging from a nail high on the wall hadn’t died out during the turmoil but only illumihe soot marks on the ceiling, leaving in darkhe floor strewn with the boards of wrecked wood benches, broken low tables and other debris.
Stag long cushions atop one another, I reached up and grabbed hold of the oil lamp. Within its circle of light, I noticed bodies lying on the floor. When I saw that one face was covered in blood, I turned away, ao the . The sed body was moaning, and upon seeing my lamp, made a childlike noise.
Someone else entered. At first I was alarmed, though I could se was Black. The both of us leaned over the third body sprawled on the floor. As I lowered the lamp to his head, we saw what we’d suspected: They’d killed the storyteller.
There was no trace of blood on his face, which was made up like a woman’s, but his , brow and rouge-covered mouth were battered, and judging by his neck, covered in bruises, he’d been throttled. His hands were cast backward over his head oher side. It wasn’t difficult to figure out that one of them held the old man’s arms behind his back while the others beat him in the face before strangling him. I wonder, had they said, “Cut out his tongue so he never again slanders his Excellency the Preacher Hoja Effendi,” and the about doing so?
“Bring the lamp here,” said Blaear the stove, the light of the lamp struck broken coffee grinders, sieves, scales and pieces of broken coffee cups lying in the mud of spilled coffee. In the er where the storyteller hung his pictures eaight, Black was searg for the performer’s props, sash, magi’s handkerchief and popping stick. Black said he was after the pictures ahe lamp he’d taken from me to my face: Yes, of course I’d drawn two of them out of a sense of fraternity. We could find nothing but the Persian skullcap that the deceased wore over his perfectly shaved head.
Seeing no one else, we exited into the blaess of night through a narrow passageway that led away from the back door. During the raid much of the crowd and the artists within probably escaped through this door, but the knocked-over planters and bags of coffee strewn everywhere indicated that there was a struggle here as well.
The fact that the coffeehouse was raided and the master storyteller murdered, coupled with the terrifying blaess of night, brought Blad I clether. This was also what caused the sileween us. We passed two more streets. Black hahe lamp bae, then he drew his dagger and pressed it to my throat.
“We’re going to your house,” he said. “I want to search it so I put my mind at ease.”
“It’s already been searched.”
Rather than be offended by him, I had the urge to tease him. Didn’t Black’s belief in the disgraceful rumors about me simply prove he was also jealous of me? He held the dagger without much fidence.
My house posite the dire we were heading along the road leading away from the coffeehouse. We tacked right a down neighborhood streets and passed through empty gardens that bore the depressing st of damp and lorees as we traced a wide arc back toward my house. We’d covered more than half the route, when Black stopped and said:“For two days, Master Osman and I examihe masterpieces of the legendary masters ireasury.”
Much later, nearly screaming, I said, “After a certain age, even if a painter shares a worktable with Bihzad, what he sees may please his eyes and bring te aement to his soul, but it won’t
enhance his talent, because one paints with the hand, not the eyes, and the hand at my age, let alo Master Osman’s, does not easily learhings.”
Assured my beautiful wife was waiting for me, I spoke at the top of my voice to let her know I wasn’t alone so she might hide herself from Blaot that I took this pathetic dagger-wielding fool seriously.
We passed through the courtyard gate, and I thought I saw the light of a lamp moving in the house, but thank God all was in darkness now. It was such a merciless rape of my privacy for this knife-wieldi to force his way into my heavenly home, where I spent my days, indeed all my time, seeking out and painting Allah’s memories until my eyes tired—whereupon I’d make love to my beloved, the most beautiful woman in the world—that I swore to take revenge upon him.
L the lamp, he examined my papers, a page I was in the midst of pleting—ned prisoners pleading to the Sultan to be relieved of their s of debt and receiving His benevolence—my paints, my worktables, my knives, my reed-cutting boards, my brushes, everything around my writing table, my papers again, my burnishing stones, my penknives and the spaces between my pen and paper boxes; he looked in ets, chests, beh cushions, at one of my paper scissors, ah a soft red cushion and a carpet befoing back, bringing the lamp closer and closer to each objed examining the same places once again. As he said when he first drew his on, he wouldn’t search my en<q>藏书网</q>tire house, only my atelier. Indeed, couldn’t I ceal my wife—the only thing I wao hide—in the room from which she was now spying on us?
“There’s a final picture that beloo the book my Enishte was having made,” he said. “Whoever killed him also stole that picture.”
“It was different from the others,” I said immediately. “Your Enishte, may he rest in peace, made me draw a tree in one er of the page. In the background somewhere…and in the middle of the page, in the fround, was to be someone’s picture, probably a portrait of Our Sultan. That space, quite large if I might add, was awaiting its picture. Because the objects in the backgrouo be smaller, as in the European style, he wanted me to make the tree smaller. As the picture developed, it gave the impression of being a view of this world from a window, nothing like an illustration at all. It was then I prehehat in a picture made with the perspectival methods of the Franks, the borders and gilding took the place of a window frame.”
“Elegant Effendi was responsible for the borders and the gilding.”
“If that’s what you’re asking, I already told you I didn’t murder him.”
“A murderer never admits to his crime,” he said quickly, then asked me what I was doing at the coffeehouse during the raid.
He placed the oil lamp just beside the cushion upon which I was seated, in a way that would illuminate
my face along with my papers and the pages I was illuminating. He himself was scurrying about the room like a shadow in the dark.
Besides telling him what I’ve told you, that I actually was an infrequent visitor to th<dfn></dfn>e coffeehouse and just happeo be passing by, I also repeated that I made two of the pictures which were hung on the wall there—although I actually disapproved of the goings-on at the coffeehouse. “Because,” I added, “the art of painting only ends up ning and punishing itself when it derives its strength from the desire to n and punish the evils of life rather than from the painter’s own skill, love of his art and desire to embrace Allah…regardless of whether it’s the preacher from Erzurum or Satan himself that’s denounced. More importantly, if that coffeehouse crowd hadn’t targeted the Erzurumis, it might not have been raided tonight.”
“Even so, you would go there,” said the wretch.
“Yes, because I enjoyed myself there.” Had he an inkling of how ho I was being? I added, “Despite knowing how ugly and wrong something is, we desdants of Adam might still derive siderable pleasure from it. And I’m embarrassed to say I was also eained by those cheap illustrations, the mimicry and those stories about Satan, the gold and the dog, which the storyteller told crudely without meter or rhyme.”
“Even so, why would you even step foot in that den of unbelievers?”
“Fihen,” I said resigning myself to an inner voice, “at times there’s also a worm of doubt that gnaws at me: Ever since I enly reized as the most talented and most profit among the masters of the workshop, not only by Master Osman, but by Our Sultan as well, I began to be so terrified of the envy of the others that I tried, if only at times, to go where they went, to befriend them and to resemble them so they wouldn’t turn on me in a sudden fit of vengeance. Do you uand? And sihey’ve begun labeling me an ”Erzurumi,“ I’ve been going to that den of vile unbelievers so others might dist this rumor.”
“Master Osman said you often acted as if apologizing for your talent and proficy.”
“What else did he say about me?”
“That you’d paint absurd, minute pictures on grains of rid fingernails so that others would be vinced you’d forsaken life for art. He said you were always trying to please others because you were embarrassed by the great gifts Allah had bestowed upon you.”
“Master Osman is on Bihzad’s level,” I said with siy. “What else?”
“He listed your faults without the slightest hesitation,” said the wretch.
“Let’s hear my faults then.”
“He said that despite your prodigious talent, you painted not for the love of art but to ingratiate yourself. Supposedly, what most motivated you while painting was imagining the pleasure an observer would feel; whereas, you should’ve painted for the pleasure of painting itself.”
It singed my heart that Master Osman so brazenly revealed what he thought about me to a man of such diminished spirit, one who devoted his life, not to art, but to being a clerk, writiers and hollow flattery. Black tihe great masters of old, Master Osman claimed, would never renouhe styles ahods they cultivated through self-sacrifice to art just for the sake of a new shah’s authority, the whims of a new prince or the tastes of a new age; thus, to avoid being forced to alter their styles ahods, they’d heroically blind themselves. Meanwhile, you’ve enthusiastically and dishonorably imitated the European masters for the pages of my Enishte’s book, with the excuse that it’s the will of Our Sultan.”
“The great Head Illuminator Master Osman most certainly meant no evil by this,” I said. “Allow me to put some liea on the boil for you, my dear guest.”
I passed into the adjoining room. My beloved tossed over my head the nightgown of ese silk she was wearing, which she’d purchased from Esther the clothier, then mogly parroted me, “Allow me to put some liea on the boil for you, my dear guest,” and placed her hand on my cock.
I took out the agate-handled sword hidden among rose-sted sheets at the bottom of the chest on the floor our roll-up mattress, which she’d hopefully spread out, and drew the on from its sheath. Its edge was so sharp that if you tossed a silk handkerchief over it, the sword would easily cut through it; if you placed a sheet of gold leaf upon it, the edges of the resulting pieces would be as straight as any cut with a ruler.
cealing the sword as best I could, I returo my atelier. Black Effendi was so pleased with his interrogation of me that he was still cirg the red cushion, dagger in hand. I placed a half-finished illustration upon the cushion. “Take a look at this,” I said. He k out of curiosity, trying to uand the picture.
I stepped behind him, drew my sword and iion lowered him to the ground, pinning him with my weight. His dagger fell away. Grabbing him by the hair, I pushed his head against the ground and pressed my sword to his neck from below. I flattened out Black’s delicate body and pressed him facedowh my heavy body, using my and one free hand to push his head so it nearly touched the sharp point of the sword. My one hand was full of his dirty hair, the other held the sword to the delicate skin of his throat. Wisely, he didn’t move at all, because I could have finished him then and there. Being this close to his curly hair, to the nape of his neck—which might’ve invited an insulting slap at aime—and to his ugly ears enraged me all the more. “I’m using all my restraint to keep
from doing away with you this instant,” I whispered into his ear as if divulging a secret.
That he listeo me like an obedient child without making a peep pleased me: “You’ll reize this legend from the Book of Kings,” I whispered. “Feridun Shah, in error, bequeaths the worst of his lands to his two older sons and the best, Persia, to Iraj, the you. Tur, bent on revenge, dupes his younger brother, Iraj, of whom he is jealous; before he cuts Iraj’s throat, he grabs his hair just as I am doing now and lies on top of him with all his weight. Do you feel the weight of my body?”
He gave no answer, but from his eyes, which stared blankly like those of a sacrificial lamb, I could tell that he was listening, and I was struck with inspiration: “I’m not only faithful to Persian styles ahods in painting, but also in beheadings. I’ve also seen another version of this much loved se that describes Shah Siyavush’s death.”
I explaio Black, who listened silently, how Siyavush made preparations for avenging his brothers, how he burned down his entire palace, all his belongings and property, how he fivingly parted from his wife, mounted his steed ao war, how he lost the battle and was dragged by his hair along the ground before being laid out facedown “just as you are now,” and how a knife ressed against his throat, how there erupted an argumeween his friends and enemies over whether they should kill him or let him free and how the defeated king, his fa the dirt, listeo his captors. Then I asked him, “Are you fond of that illustration? Geruy es up behind Siyavush, as I have to you, gets on top of him, rests his swainst his neck, grabs a fistful of hair and cuts his throat. Your red blood, soon to flow, makes black dust rise from the dry earth, where later still, a flower will bloom.”
I fell quiet and from distant streets we could hear the Erzurumis screaming as they ran. The terror outside at once brought the two of us, lying one on top of the other, closer.
“But in all those pictures,” I added, pulling harder on Black’s hair, “one sehe difficulty of elegantly drawing two men who despise each other yet whose bodies, like ours, have bee as o’s as if the chaos of treachery, envy and battle that es just before the magical and magnifit moment of beheading has too fully permeated those pictures. Even the greatest masters of Kazvin would have difficulty drawing two men on top of each other; they’d fuse everything. Whereas you and I, see for yourself, we’re much more tidy and elegant.”
“The blade is cutting,” he whimpered.
“I’m much obliged for your polite words, my dear man, but it’s doing no such thing. I’m being quite careful. I wouldn’t do anything to ruin the beauty of our pose. In the ses of love, death and war, wherein the great masters of old rendered iwined bodies as if they were ohey were able to elicit only our te<q></q>ars. See for yourself: My head rests upon the nape of your neck as if it were a part of your body. I smell your hair and the st of your neck. My legs, oher side of yours, are stretched out in such harmony with yours, that an onlht mistake us for a fged beast. Do you feel the balany weight on your bad buttocks?” Another silence, but I didn’t press the sword
upward, because it would indeed have cut his throat. “If you’re not going to speak, I might be provoked to bite your ear,” I said, whispering into that very ear.
When I noticed in his eyes that he repared to speak, I asked the same question again: “Do you feel the balany weight upon your body?”
“Aye.”
“Do you like it?” I said. “Are we beautiful?” I asked. “Are we as beautiful as the legendary heroes who slay each other with such elegan the masterpieces of the old masters?”
“I don’t know,” said Black, “I ’t see us in the mirror.”
When I imagined how my wife saw us from the other room in the light cast by the coffeehouse’s oil lamp resting on the floor only a short distance away, I thought I might actually bite Black’s ear out of excitement.
“Black Effendi, you, who have forced your way into my home and have disturbed my privacy, dagger in hand, in order to interrogate me,” I said, “do you now feel my strength?”
“Yes, I also sehat you’re truly in the right.”
“Then proceed, once again, to ask me what you want to know.”
“Describe how Master Osman would caress you.”
“As an apprentice, I was much more lithe, delicate aiful than I am now, and he would mouhen the way I have mounted you. He would caress my arms, at times he would even hurt me, but because I was in awe of his knowledge, his talent and strength, what he did pleased me, and I never harbored any ill will toward him, because I loved him. Loving Master Osman enabled me to love art, colors, paper, the beauty of painting and illumination and everything that ainted, and thereby to love the world itself and God. Master Osman is more than a father to me.”
“Would he beat you often?” he asked.
“In the role of a father, he beat me with an appropriate sense of justice; as a master, he beat me painfully so that I might learn from the punishment. Thanks to the pain and the fear of a ruler whag my fingernails I learned many things better and faster than I would’ve alone. So he wouldn’t grab me by my hair and bang my head against the wall when I prentice, I’d never spill paint, never waste his gold wash, would quickly memorize, for example, the curve of a horse’s f, cover up the mistakes of the master limner, my brushes regularly and focus my attention and spirit on the page before me. Since I owe my talent and mastery to the beatings I received, I, in tur my orentices
without a guilty sce. What’s more, I know that even a beating given without just cause, if it doesn’t break the spirit of the apprentice, will ultimately be him.”
“Even so, you uand that while drubbing a handsome-faced, sweet-eyed, angelic apprentiow and then, you get carried away by the sheer pleasure of it, and you know that Master Osman probably experiehe same sensation with you, don’t you?”
“Sometimes he’d take a marble burnishing sto<big></big>ne and strike me with such force behind the ear that my ear would ring for days, and I’d walk around half stunned. Sometimes he’d slap me so hard that for weeks my cheek would ache, enough t tinual tears to my eyes. I shall never fet, yet I still love my mentor.”
“Nay,” said Black, “you were furious with him. You took revenge for the ahat silently accumulated deep within you by making illustrations for my Enishte’s Frankish-imitation book.”
“The opposite is true. The beatings that a young miniaturist receives from his master bind him to his master with a profound respetil the day he dies.”
“The cruel and treacherous cutting of the throats of Iraj and Siyavush from behind, as you are doing to me, arose out of sibling rivalry, and sibling rivalry, as in the Book of Kings, is alrovoked by an unjust father.”
“True.”
“The unjust father of you master miniaturists, the one who set you at each other’s throats, is now preparing to betray you,” he said brazenly. “Ahh, I beg of you, it is cutting,” he whimpered. He cried in agony a bit lohen he went on, “True, cutting my throat and spilling my blood like a sacrificial lamb would be but the work of an instant, but if you do this without listening to what I’m about to explain—I don’t think you’ll do it anyway, ahh, please, enough—you’ll forever wonder what I was going to say. Please, move the blade away slightly.” I did so. “Master Osman, who followed your every step and your every breath since childhood, who happily watched yod-given talent bloom into artistry like a spring flower under his care, has now turned his ba you in order to save his workshop and its style, to which he has devoted his entire life.”
“I reted three parables to you the day we buried Elegant Effendi so you might know how disgusting this thing they call ”style“ truly is.”
“Those stories pertaio a miniaturist’s individual style,” said Black carefully, “whereas Master Osman is ed with preserving the style of the entire workshop.”
He explained how the Sultan attached great importao finding the murderer of Elegant Effendi and his Enishte, how He’d evehem ihe Royal Treasury to this end, and how Master Osman was
using this opportunity to sabotage his Enishte’s book and punish those who betrayed him by imitating the Europeans. Black added that based on style, Master Osman suspected Olive was responsible for the horse with the clipped nostrils, but as Head Illuminator, he was vinced of Stork’s guilt and would turn him over to the executioners. I could sense he was telling the truth uhe pressure of my sword, and I felt like kissing him because he gave himself over to what he was saying like a child. What I heard didn’t worry me, having Stork out of the way meant I’d bee Head Illuminator after Master Osman’s death—may God grant him long life.
I wasn’t disturbed that what he said might happen, but by the possibility that it might not. Readiween the lines of Black’s at, I was able to glean that Master Osman was willing not only to sacrifice Stork, but me as well. sidering this incredible possibility made my heart qui and drew me toward the horror of plete abando felt by a child who’s suddenly lost his father. Each time this came to mind, I had to restrain myself from cutting Black’s throat. I didn’t attempt tue the point with Blayself: Why should the fact that we made a few foolish illustrations inspired by European masters lower us to the level of traitors? Once again, I thought that behind Elegant’s death stood Stork and Olive and their schemes against me. I removed the sword from Black’s throat.
“Let’s go to Olive’s house together, and search it from top to bottom,” I said. “If the last picture is with him, at least we’ll know whom to fear. If not, we’ll take him with us as support and go on to raid Stork’s house.”
I told him to trust me and that his dagger was enough onry for the two of us. I apologized for not even having offered him a glass of liea. As I lifted the oil lamp from the floor, we both stared meaningfully at the cushion upon which I’d flattened him. I approached him with the lamp in my hand and told him how the ever-so-faint cut on<var>藏书网</var> his throat would be a mark of our friendship. He bled only slightly.
The otion made by the Erzurumis and those pursuing them could still be heard oreets, but no oiced us. We were quick to arrive at Olive’s house. We knocked on the courtyard door, the door of the house, and impatiently upon the shutters. Nobody was home; we made so muoise that we were certain he wasn’t sleeping. Black gave voice to what we both were thinking: “Shall we go inside?”
I twisted the metal loop of the door lock using the blunt edge of Black’s dagger, then iing it into the space between door and jamb and levering it with all our weight, we broke the lock. We were met by the stench of dampness, dirt and loneliness, which had accumulated over years. By the light of the lamp, we noticed an unmade bed, sashes tossed randomly upon cushions, vests, two turbans, undershirts, ullah Effendi the Nakshibendi’s Persian diary, a wooden turban stand, broadcloth, needle and thread, a small copper pan full of apple peels, quite a few cushions, a velvet bedspread, his paints, his brushes and all of his supplies. I was on the verge of rifling through the writing paper, the layer upon layer of carefully trimmed Hindustan paper, and the illuminated pages on his small desk, but I restrained myself both because Black was more enthusiastic than I, and because I knew full well how a master
miniaturist would inothing but bad luck if he went through the belongings of a less talented miniaturist. Olive is not as talented as is assumed, he’s merely eager. He tries to cover up for his lack of talent with adoration of the old masters. The old legends, however, only rouse an artist’s imagination; it’s the hand that does the painting.
As Black was searg meticulously through all the chests and boxes, going as far as to check the bottoms of laundry baskets, without toug anything I gla Olive’s Bursa towels, his ebony b, his dirty bath hand towel, his rosewater bottles, a ridiculous waist cloth with an Indian block-print pattern, quilted jackets, a heavy, dirty women’s robe with a slit, a dented copper tray, filthy carpets and other furnishings too cheap and slovenly for the money he earned. Olive was either very stingy and salting his money away or he was squandering it somehow…“The house of a murderer, precisely,” I said later. “There isn’t even a prayer rug.” But this wasn’t what I was thinking. I trated. “These are the belongings of a man who doesn’t know how to be happy…” I said. Yet, in a er of my mind, I thought sadly about how misery and proximity to the Devil nursed painting.
“Despite knowing what it takes to be tent, a man might still be unhappy,” said Black.
He placed before me a series of pictures drawn on coarse Samarkand paper, backed with heavy sheets, which he’d removed from the depths of a chest. We studied the pictures: a delightful Satan all the way from Khorasan that had emerged from beh the ground, a tree, a beautiful woman, a dog and the picture of Death I myself had drawn. These were the illustrations that the murdered storyteller hung up eaight he told one of his disgraceful stories. Prompted by Black’s question, I pointed out the picture of Death I had drawn.
“The same pictures are in my Enishte’s book,” he said.
“Both the storyteller and the proprietor of the coffeehouse realized the wisdom of having the miniaturists rehe illustrations eaight. The storyteller would have one of us quickly dash off an illustration on one of these coarse sheets, ask us a little about the story and about our in jokes and then, adding some of his own material, he’d start the evening’s performance.”
“Why did you make the same picture of Death for him that you made for my Enishte’s book?”
“Upon the request of the storyteller, it was a lone figure on the page. But I didn’t draw it with attention and effort the way I had for Enishte’s book; I drew it quickly, the way my ha like drawing it. The others too, perhaps trying to be witty, drew for the storyteller in a cruder and simpler manner what they had made for that secret book.”
“Who made the horse,” he asked, “with the slit nostrils?”
L the lamp we watched the horse in wonder. It resembled the horse made for Enishte’s book, but it was quicker, more careless and catered to a simpler taste, as if somebody had not only paid the illustrator less money and made him work faster, but also forced him to make a rougher and, I suppose precisely for this reason, more realistic horse.
“Stork would know best who made this horse,” I said. “He’s a ceited fool who ’t last a day without listening to the gossip of miniaturists, that’s why he visits the coffeehouse every night. Yes, most certainly, Stork drew this horse.”
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