Guns of the Gods | Page 2

two, and the second ended in disaster to herself. This tale is of the first one that succeeded, although fraught with discontent for certain others.
The second affair came close to whelming thrones, and I wrote of that in another book with an understanding due, as I have said, to opportunity, and with a measure of respect that pleased her.
She is habitually prompt and generous with her rewards, if far-seeing in bestowal of them. So, during the days of her short political eclipse that followed in a palace that had housed a hundred kings, I saw her almost daily in a room--her holy of holies--where the gods of ancient India were depicted in three primal colors working miracles all over the walls and where, if governments had only known it, she was already again devising plans to set the world on fire.
There, amid an atmosphere of Indian scents and cigarette smoke, she talked and I made endless notes, while now and then, when she was meditative, her maids sang to an accompaniment of rather melancholy wooden flutes. But whenever I showed a tendency to muse she grew indignant.
"Of what mud are you building castles now? Set down my thoughts not yours," she insisted, "if your tale is to be worth the pesa."
By that she referred to the custom of all Eastern story-tellers to stop at the exciting moment and take up a collection of the country's smallest copper coins before finishing the tale. But the reference was double-edged. A penny for my thoughts, a penny for the West's interpretation of the East was what she had in mind.
Nevertheless, as it is to the West that the story must appeal it has seemed wiser to remove it from her lips and so transpose that, though it loses in lore unfortunately, it does gain something of directness and simplicity. Her satire, and most of her metaphor if always set down as she phrased it, would scandalize as well as puzzle Western ears.
This tale is of her youth, but Yasmini's years have not yet done more than ripen her. In a land where most women shrivel into early age she continues, somewhere perhaps a little after thirty, in the bloom of health and loveliness, younger in looks and energy than many a Western girl of twenty-five. For she is of the East and West, very terribly endowed with all the charms of either and the brains of both.
Her quick wit can detect or invent mercurial Asian subterfuge as swiftly as appraise the rather glacial drift of Western thought; and the wisdom of both East and West combines in her to teach a very nearly total incredulity in human virtue. Western morals she regards as humbug, neither more nor less.
In virtue itself she believes, as astronomers for example believe in the precession of the equinox; but that the rank and file of human beings, and especially learned human beings, have attained to the very vaguest understanding of it she scornfully disbelieves. And with a frankness simply Gallic in its freedom from those thought-conventions with which so many people like to deceive themselves she deals with human nature on what she considers are its merits. The result is sometimes very disconcerting to the pompous and all the rest of the host of self-deceived, but usually amusing to herself and often profitable to her friends.
Her ancestry is worth considering, since to that she doubtless owes a good proportion of her beauty and ability. On her father's side she is Rajput, tracing her lineage so far back that it becomes lost at last in fabulous legends of the Moon (who is masculine, by the way, in Indian mythology). All of the great families of Rajputana are her kin, and all the chivalry and derring-do of that royal land of heroines and heroes is part of her conscious heritage.
Her mother was Russian. On that side, too, she can claim blood royal, not devoid of at least a trace of Scandinavian, betrayed by glittering golden hair and eyes that are sometimes the color of sky seen over Himalayan peaks, sometimes of the deep lake water in the valleys. But very often her eyes seem so full of fire and their color is so baffling that a legend has gained currency to the effect that she can change their hue at will.
How a Russian princess came to marry a Rajput king is easier to understand if one recalls the sinister designs of Russian statecraft in the days when India and "warm sea-water" was the great objective. The oldest, and surely the easiest, means of a perplexed diplomacy has been to send a woman to undermine the policy of courts or steal the very consciences of kings. Delilah is a case in point. And in India, where the veil and the rustling