8
DaKar was in fighting stance, his body tense as he squinted and aimed the new rifle at an archer's target from five hundred paces. The sound of the shots cracked against the foundry courtyard walls, and straw from the target exploded into the hot late afternoon air. Five quick shots, all within the bull's eye, and only two holes. The foundry workers shouted and applauded. The Shogunate no longer needed the Dutch traders. DaKar and his artisans did not merely copy the weapons but improved them by making reloading unnecessary.
DaKar handed the gun to a young samurai and, bowing formally, congratulated everyone. On a black horse he made his way, at his leisure, back to the city. His mind was not on weaponry. Something was afoot at the Castle. Sayoko was more often seen there than at the Tora, and she did not even come to his quarters in the evenings. For the past two days and nights she was ensconced in the Map Room with the Shogun and the Master of Intelligence. Yesterday afternoon DaKar was invited to report to the Shogun on the progress of the work at the foundry and the training of the samurai. As the door to the Map Room slid open, hard voices fell silent. The Shogun nodded to DaKar, the other general bowed deeply, and Sayoko put her fingertips and forehead to the tatami. The tableau recalled the contrived beauty of a flower arrangement.
In the past few weeks, with Sayoko either at the Castle or at home in her study, DaKar's evenings were filled with the beauties of the Tora. Now, as he passed peasants tending the green rice fields, he smiled at the thought of the more debauched nights. All who passed through his hands emerged in the morning with smooth mounds, and shaving had become the height of courtesan chic. The fashion spread to the other brothels of the Yoshiwara, then of Osaka and Kyoto. The latest novels and poems referred to "naked orchids," and wood-block prints for sale showed giant, hairless oysters peeping out of luxurious silk. Chikamatsu's latest double-suicide play, starring the snowy Yukiko, had her fall artfully to the stage floor to reveal her smooth thighs and the glossy, blushing petals between them. The orgy that followed in the theater was violent, as was the coupling after her private command performance for DaKar in the Room of Bamboo.
Less successful as a trend was the short, diagonally striped tunic that left one shoulder bare. DaKar had requested the Tora's Master to provide the courtesans with such garments as a playful reminder of the slaves of his land, but only the most long-limbed dared wear them. All, however, had the best Edo jewelers fashion silver collars and anklets, which the women kept on after the last under-kimono had slipped to the tatami. The barbaric ornaments made the women appear more lewd, more naked than naked, and they crazed the patrons. Also thanks to DaKar, the women had further refined their sense of pain and now begged their other patrons to use the whip more often. The women's newfound passion for floggings aroused the patrons, who returned to the Tora again and again.
DaKar felt his sex harden as he recalled the mouths and tongues that set his skin on fire, the soft breasts crushed beneath his chest, the cries of women in sweet pain. The horse broke into a trot as DaKar's legs tightened around it, and he recalled the soft, moist parting of flesh, the moans of resistance, and the gasps of women unable to stop his invasion or the pleasure he forced on them. Many of the courtesans now preferred to be bound with chains rather than silk. The chicest referred to "slave rape" and "slave orgasm" in their banter. The Tora's Master noted the courtesans' sudden interest in DaKar. They dropped broad hints about wishing to be assigned to him and asked every evening if he would be dropping in.