And there was no discussing the matter. As things were, Ah Kim knew his mother was right. Not for nothing had Li Faa been born forty years before of a Chinese father, renegade to all tradition, and of a kanaka mother whose immediate forebears had broken the taboos, cast down their own Polynesian gods, and weak-heartedly listened to the preaching about the remote and unimageable god of the Christian missionaries. Li Faa, educated, who could read and write English and Hawaiian and a fair measure of Chinese, claimed to believe in nothing, although in her secret heart she feared the kahunas (Hawaiian witch-doctors), who she was certain could charm away ill luck or pray one to death. Li Faa would never come into Ah Kim's house, as he thoroughly knew, and kow-tow to his mother and be slave to her in the immemorial Chinese way. Li Faa, from the Chinese angle, was a new woman, a feminist, who rode horseback astride, disported immodestly garbed at Waikiki on the surf-boards, and at more than one luau (feast) had been known to dance the hula with the worst and in excess of the worst, to the scandalous delight of all.
Ah Kim himself, a generation younger than his mother, had been bitten by the acid of modernity. The old order held, in so far as he still felt in his subtlest crypts of being the dusty hand of the past resting on him, residing in him; yet he subscribed to heavy policies of fire and life insurance, acted as treasurer for the local Chinese revolutionises that were for turning the Celestial Empire into a republic, contributed to the funds of the Hawaii-born Chinese baseball nine that excelled the Yankee nines at their own game, talked theosophy with Katso Suguri, the Japanese Buddhist and silk importer, fell for police graft, played and paid his insidious share in the democratic politics of annexed Hawaii, and was thinking of buying an automobile. Ah Kim never dared bare himself to himself and thrash out and winnow out how much of the old he had ceased to believe in. His mother was of the old, yet he revered her and was happy under her bamboo stick. Li Faa, the Silvery Moon Blossom, was of the new, yet he could never be quite completely happy without her.
For he loved Li Faa. Moon-faced, rotund as a water-melon seed, canny business man, wise with half a century of living--nevertheless Ah Kim became an artist when he thought of her. He thought of her in poems of names, as woman transmuted into flower-terms of beauty and philosophic abstractions of achievement and easement. She was, to him, and alone to him of all men in the world, his Plum Blossom, his Tranquillity of Woman, his Flower of Serenity, his Moon Lily, and his Perfect Rest. And as he murmured these love endearments of namings, it seemed to him that in them were the ripplings of running waters, the tinklings of silver wind-bells, and the scents of the oleander and the jasmine. She was his poem of woman, a lyric delight, a three-dimensions of flesh and spirit delicious, a fate and a good fortune written, ere the first man and woman were, by the gods whose whim had been to make all men and women for sorrow and for joy.
But his mother put into his hand the ink-brush and placed under it, on the table, the writing tablet.
"Paint," said she, "the ideograph of TO MARRY."
He obeyed, scarcely wondering, with the deft artistry of his race and training painting the symbolic hieroglyphic.
"Resolve it," commanded his mother.
Ah Kim looked at her, curious, willing to please, unaware of the drift of her intent.
"Of what is it composed?" she persisted. "What are the three originals, the sum of which is it: to marry, marriage, the coming together and wedding of a man and a woman? Paint them, paint them apart, the three originals, unrelated, so that we may know how the wise men of old wisely built up the ideograph of to marry."
And Ah Kim, obeying and painting, saw that what he had painted were three picture-signs--the picture-signs of a hand, an ear, and a woman.
"Name them," said his mother; and he named them.
"It is true," said she. "It is a great tale. It is the stuff of the painted pictures of marriage. Such marriage was in the beginning; such shall it always be in my house. The hand of the man takes the woman's ear, and by it leads her away to his house, where she is to be obedient to him and to his mother. I was taken by the ear, so, by your long honourably dead father. I have looked at your hand. It is not like his hand. Also have I looked at the ear of Li Faa. Never will you lead her by the ear. She has not that kind of an ear. I shall live a long time yet, and I will be mistress in my son's house, after our ancient way, until I die."
"But she is my revered ancestress," Ah Kim explained to Li Faa.
He was timidly unhappy; for Li Faa, having ascertained that Mrs.
Tai Fu was at the temple of the Chinese AEsculapius ****** a food offering of dried duck and prayers for her declining health, had taken advantage of the opportunity to call upon him in his store.
Li Faa pursed her insolent, unpainted lips into the form of a half-opened rosebud, and replied:
"That will do for China. I do not know China. This is Hawaii, and in Hawaii the customs of all foreigners change."
"She is nevertheless my ancestress," Ah Kim protested, "the mother who gave me birth, whether I am in China or Hawaii, O Silvery Moon Blossom that I want for wife."
"I have had two husbands," Li Faa stated placidly. "One was a pake, one was a Portuguese. I learned much from both. Also am I educated. I have been to High School, and I have played the piano in public. And I learned from my two husbands much. The pake makes the best husband. Never again will I marry anything but a pake. But he must not take me by the ear--"
"How do you know of that?" he broke in suspiciously.
"Mrs. Chang Lucy," was the reply. "Mrs. Chang Lucy tells me everything that your mother tells her, and your mother tells her much. So let me tell you that mine is not that kind of an ear."
"Which is what my honoured mother has told me," Ah Kim groaned.
