Chapter 22
The Waters
Those who first come to this place feel perplexed; the old visitors say to them:
- According to legend, in days of yore, the Dao folk here lead herds of kine across the Buddha-finger meadows. Yet, none foresee that many kine, with foam at their mouths and eyes rolled white, fall to the earth and perish.
The folk know not the cause thereof and seek the reason day and night. At last, the Dao folk discern a wondrous sight hidden amidst the mists of the Mau Son: a herd of celestial steeds ride the wind and pierce the clouds, leisurely hastening toward the Phat Chi peak to graze upon the green herbage.
A tall man clad in the celestial raiment of the Heavenly Court, with a cloth sack upon his back and a whip in his hand, followeth close behind. For the convenience of pasturing the celestial steeds, he seateth himself upon a high knoll.
At eventide, he silently driveth the steeds back to the Heavenly Court. At this time, the folk finally realize their mistake, whereupon they build a sacrificial altar and hold a ritual to beg for mercy from the Jade Emperor.
The deities take pity on the ignorance of mortals and help them choose their words to plead with the Jade Emperor, in order to beg for mercy for the mortal realm.
The Jade Emperor deemeth it just and reasonable, thus he remitteth their oversight and decreeth a covenant: whenever mortals pass through the pasture of the celestial steeds, they must place a stone upon the high knoll to pray that the deity of the meadows grant them passage, so that the livestock may pass in peace. Gradually, the Phat Chi peak turneth into a knoll covered in strange stones.
Grateful for the mercy of Heaven, the Dao folk go to the knoll every year to burn incense and offer sacrifice, showing their respect for the Jade Emperor and praying that the spirits protect the health and smooth increase of their livestock.
Heaven faileth not those with a resolute heart. The Jade Emperor joyfully granteth a reward: all lands grazed by the celestial steeds and moistened by their spittle are transformed into fields of medicinal herbs that can heal a hundred maladies.
This fair tidings then spreadeth to the four reaches; countless physicians dread not the ten thousand miles, wholeheartedly toiling over mountain ranges and crossing rivers, with great hardship passing through the dense forests to seek the miraculous herbs.
After telling such a deeply moving tale, the new guest and the regular guest both excitedly enter the shrine. Suddenly, a figure rusheth out from within the sacred temple, swiftly passing through the crowd. The guests look back, only to see white hair fluttering in the thin mist.
Viet Thanh carrieth Thien upon his back down the mountain. The teacher's countenance is exceeding urgent. The disciple repeatedly asketh the reason, but he answereth not, instead marking in his heart all that is within the sacred temple.
The altar in the main hall was fashioned from giant stones, whereupon an incense burner carved in the shape of a Lac bird was offered. Behind the burner stood the statues of the nomadic man and Hoa Dung, both statues being cast from black bronze.
The teacher hurriedly checked the stones, then lifted the incense burner, observing it minutely and repeatedly. Thereafter, he searched everywhere, pressing upon the statues, but found nothing amiss throughout. This strange behavior left Thien perplexed:
"What were you seeking?"
The teacher said that he was seeking a thing of great import. When the teacher concentrated his spirit, he most loathed disturbance.
Therefore, Thien feared being rebuked again, so he could only turn to the section of "Ancient Heritage" to record the mural behind the statues regarding the myth of the flower celestial maidens.
Akin to the rock reliefs in the legend of the Mother Mountain, moss and dim dust clung fast, yet the water imagery upon the rock reliefs remained difficult to erase.
Observing the use of color and the method of restoration, the artisan employed the harmony of "water" and black paired with sea-blue, which was the most manifest symbol of the water element in both rock reliefs.
The carved patterns were lifelike, depicting a scene where two Lac birds were struck by arrows and heavily wounded. At the same time, the nomadic man entered the deep abyss to capture prey.
The accompanying hunters, seeing the situation, remained in that place to await the conclusion. However, the rain poured down and the gale raged, and they soon departed.
The nomadic man gazed about the four reaches and saw the ground everywhere stained with blood. Not far away, a Lac bird toiled with all its might, attempting to drag a fledgling bird from the mire. Discovering a figure approaching, the Lac bird beat its wings and uttered cries of woe.
He was dazed for a moment, then hastened thither, yet failed to save the fledgling from the mire. The Lac bird wailed in agony; that wretched sound was as if ten thousand arrows pierced the nomadic man's heart.
This tragedy deeply engraved the shame born of the hunters' ruthless slaughter. Now, he must bow his head before the creature that mortals behold as ignorant.
Fearing the bird would bleed to excess and perish, the nomad pondered the method of healing with care, then extracted the arrow deep-embedded within its body. Though wind and rain lashed down, he remained without sleep or rest, so as to protect this wounded creature. The Lac bird's wound gradually healed, yet he himself fell ill.
While the benefactor was nursing his illness, the Lac bird fiercely drove away the prowling beasts that sought to assail it and the nomadic man. By the time he recovered, the combat was ended, and the Lac bird begged him to heal its wound.
The mortal saved the spirit bird, and the bird repaid him. At the brink of life and death, the human and the bird aided each other. The spirit bird, filled with gratitude, knelt at its benefactor's feet. The bird held no stray thoughts, while the human bore guilt, and thus stood still.
Thereafter, the Lac bird beat its wings and flew to the northeast; the bird acted according to the nomadic man's will without mercy. The one who carried guilt began to seek the way back.
When he left the valley, the Lac bird carried its ash-gray claws and descended from the sky. The claws were the spirit bird's strongest weapon. No matter where it was, it valued them above its life.
The spirit bird offered its pride to the nomadic man, thereby honoring the benefactor with whom it shared life and death. When the benefactor sat firmly upon its back, it then spread its wings and soared toward the mountain peak.
The scene of the figure and the spirit bird upon the tower-shaped mountain welcoming the dawn appears before the old man. This sight urges him to lift the disciple and rush out of the sacred temple.
The disciple cries out, saying that the writing is not yet finished, but the old man no longer has his former patience. On the road, the disciple complains:
- You are completely unlike your usual self. I already said the writing is not yet finished—why do you run as if a ghost chases you? Fortunately I have just finished observing, otherwise tonight I would surely not sleep in peace.
The disciple thinks that the teacher is focused on studying ancient objects within the sacred temple. Yet after leaving, the teacher is still absent-minded. The angry disciple lightly strikes the teacher's face and shouts by his ear:
- Do you actually hear what I am saying? I am about to be furious!
Coming back to his senses, the teacher says that he will explain when they reach the summit of the tower-shaped mountain, will explain. When the teacher and disciple arrive, the teacher does not answer immediately, but instead asks:
- Have you noticed anything unusual in the two rock reliefs at Mau Son and Phat Chi?
As soon as he hears of ancient objects, the disciple forgets that he is waiting for the teacher's reply. He narrows his eyes, furrows his brows, and tries to remember every detail:
- These two rock reliefs seem both related to water, are they not?
The old man nods and confirms:
- Yes. Within these two rock reliefs, all is tied to water—this is the artisan's intent.
Astonished, he asks. While searching around, the teacher speaks of the two rock reliefs. The boy scratches his head and asks in confusion:
- The phoenix-patterned eaves, and the rivers and streams flowing toward the temple that bear the Lac bird's pattern—what do these mean? How are the two connected?
The teacher replies:
- The shapes of the rivers and streams resemble a Lac bird, its beak facing the sacred temple at Phat Chi Mountain. The artisan's intent is to lead us there, to seek the sacred temple wrought in the form of the Waters character among the Five Elements.
Thien asks:
- What do they truly intend to say? I understand nothing—I cannot discern it.
The teacher widens his eyes, examining everything, searching for traces upon the mountain peak:
- The artisan wishes us to pay heed to the phoenix eaves. The image of the phoenix is tied to the legend of one of the Divine Weapons of the Four Holy Beasts—the Waters Phoenix Sword.
- Oh! I understand. The Water Phoenix Sword and the water-formed temple both symbolize the element of Water among the Five Elements. This is a clue leading us to the sword, is it not? - The boy hesitates—if so, should we go to the temple at Phat Chi Mountain? Why do you come here?
The teacher smiles and explains:
- I have searched everywhere, yet found nothing, save the pattern—its form is a mountain shaped like a tower, and that tower resembles the temple at Phat Chi Mountain. This mountain is the memory of the Lac bird and the nomadic man. Perhaps within it lies the secret of the Water Phoenix Sword.
Thien frowns:
- If so, why do you not tell me earlier?
The teacher knits his brows and says:
- I cannot reveal this in places where others are present. If they are evil men, they will arrive here before us and seize the artifact—then the calamity cannot be measured.
Thien nods and aids the teacher in the excavation. They dig for a long time yet find nothing. The teacher searches every corner, striving to hold fast to his wavering resolve.
Every blade of grass and layer of earth is upturned. At last, they find only a bronze vessel. With anxious heart, the teacher opens the lid and finds a dense layer of rice husks within. He cautiously removes the husks from the bronze vessel.
The disciple focuses on the ancient relic, consulting his tome while inscribing his findings. He crouches low, writing within his tome and cleansing the grime from the bronze surface.
The soil flakes away in shards, revealing a phoenix pattern entwined upon the vessel. He stares at the phoenix without blinking, his eyes wide, his spirit dazed:
- Teacher, come quickly! - He says, tugging the teacher's sleeve - A phoenix is engraved upon this bronze vessel, teacher!
Emptying the husks takes much effort, yet yields no result. Naught but husks remain inside. Just as the teacher's heart sinks in despair, he hears the word "Phoenix," and his extinguished hope kindles anew.
He hastens to the spot and beholds the pattern of a phoenix soaring above the waves of the great sea. He pours out all the husks and finally discovers a goatskin pouch and a glass necklace hidden amongst them.
Before he can react, the lad eagerly demands the necklace. With eyes sharp as a hawk, the child gazes at the shimmering blue glass beads and lightly touches the pendant shaped like a Lac bird with outspread wings. He turns the pendant over and sees a symbol resembling the ancient Viet script, then asks:
- Teacher, does this word mean "Water"?
The teacher observes the pendant closely. Amidst the play of light and shadow, the script upon the pendant flickers like a blazing flame. That word flashes like fire, and the teacher knows what he sees is no illusion; his spirit is drawn into a strange vision.
- Give the tome to me!
Thien has never heard the teacher's voice so urgent; he swiftly hands the tome over, daring not to ask. The teacher flips to the section of ancient Viet script in the Hong Bang Chronicles. The words on the page catch the setting sun and instantly ignite like a torch. Strange images flash by, then slowly fade.
The teacher and disciple have smiled with joy, for they have seen this word in the ancient tome before. Once it hath flickered under candlelight; now, the word upon the pendant hath ignited in the very same manner. This confirmeth the conjecture that the one who buildeth the sacred temple and carveth these words intendeth for posterity to follow the trail.
They open the goatskin pouch and take out the painting. It depicted a humble nomadic man who once lived by fishing. Upon leaving the Mau Son, he steereth his boat through wind and waves toward the great sea, with Hoa Dung following close behind. During months of drifting upon rivers and seas, the Lac birds destroyed all water monsters that seek to harm the nomadic man and Hoa Dung.
Thien frowneth, puzzled by the painting, and looketh up at the teacher, whose joy is plain to see. Thien seeth such emotion in the teacher for the first time and asketh out of curiosity. The teacher smileth, pointing to the dawn in the painting:
- The prow faceth the rising sun. They want us to go East. The waves encircling the boat prove that all related to "Water" is no coincidence.
Thien furroweth his brow and scratcheth his head:
- But the exact location in the East must be shown for us to know the path we must take. Must we journey East forever? - Thien's face falleth as he lamenteth - We might not find it in this lifetime...
The teacher looketh at the disciple's uneasy face and cannot help but laugh:
- Read this poem!
The teacher turneth the painting over, letting him read the message:
"You are the one destined; we have waited thousands of years! We look forward to the day we meet you!"
Beneath the greeting is a poem:
White mists upon the cloudy sky
Haze shroudeth Mount Ngan Nua
Mountains and rivers like a painting
Green forests like a woven scene
Foreign kins invade the realm
Man and beast dwell together
From East to North they campaign
Man and beast perish together
Eternal and unextinguished.
Thien readeth it over and over, realizing that the poem telleth the tale of the Fair Lady King of the Sea, who led the ancient Viet folk in their struggle against the forces of Eastern Wu at Mount Nua. Thien asketh the teacher with a joyful smile:
- Teacher, are they waiting for us at Nua Mountain?
The teacher dareth not confirm:
- We can only be certain when we arrive there.
Thien is so restless he wisheth to depart for Nua Mountain at once. The teacher smileth and patteth his disciple's head:
- When the martial contest concludeth, we shall set forth!
Footnote
"The Fair Lady King of the Sea" is Trieu Trinh Nuong, also known as Ba Trieu.
When she went into battle, Ba Trieu wore golden armor, wooden clogs carved from ivory, and a golden hairpin, and rode a white elephant with a single tusk. She was honored as General Nhuy Kieu. Wherever her army went, the people supported them, striking fear into the enemy.
According to legend, in an attempt to win her over, Eastern Wu conferred upon Ba Trieu the title Le Hai Ba Vuong ("The Fair Lady King of the Sea"), and secretly sent trusted envoys to offer her vast wealth, but she refused. After many defeats, whenever the enemy was ordered to suppress Ba Trieu, they became anxious and would say:
"Swinging the hand to strike a tiger may still be easy;
Facing Lady King is truly difficult."
At the age of 19, when asked about marriage and family, Ba Trieu replied:
"I only wish to ride the fierce wind, tread the violent waves, slay the long whale of the Eastern Sea, reclaim our land, establish independence, break the yoke of slavery, and not bow down to be a concubine to others!"