To see the previous installments, click on the following links: #1, #2, #3, #4, #5, #6, #7, #8, #9
Rodrigo watches helplessly as the artisan is brought into the courtroom. Her figure, thin and stooped, betrays the suffering of days in inhumane conditions. Her hands tremble slightly as a sign of exhaustion. The fabric of her kimono is worn and dirty, in contrast to the memory of her in the kiln, elegantly dressed and concentrating on her drawings.
The court is silent as she walks forward, escorted by two guards who push her roughly. When she reaches the centre of the courtroom, she kneels awkwardly in front of the judges. Her voice, though weak, maintains dignity and moves Rodrigo:
“I'm just a craftswoman,” she says. “I have worked at the Tsutsumi kiln all my life and I only make what I am commissioned to make. I know nothing about these accusations or the misuse of my porcelain.”
The administrator, watching from the side, feigns an expression of restrained surprise, while Rodrigo, holding back his anger, fixes his gaze on the judges, hoping that they will recognise the truth of the artisan's words.
Rodrigo feels that her statement will be insufficient to exonerate them. The court's decision seems predictable, but the artisan's bravery reminds him why he cannot give up: there is more at stake than his own life.
To be continued
Header Image:
God of heavenly punishment. Source: From the parchment “Extermination of Evil” (1127 - 1192 AD).
This is well written and has enough description so that I can see Rodrigo and the artisan. It flows well.
Before reading this, I thought she trapped him. However it sounds like both of them were trapped. I'm very curious about the next!
As always, thank you very much for your corrections and reading @SEQ77 , @T-Newfields and Yumi @yumiyumayume . I have just discovered something very interesting in Japanese History that I will use in the next episode - what fun!
I'm very curious what it is!
I like the use of the historical past — it makes the storyline more vivid and gripping, as if the reader is living it moment by moment. I also like how you've worked the artisan and her porcelains into the story. It reminds me of Yumi))) Bravo!
Thank you very much, Uly ( @CocoPop ). I was missing you in the corrections. I thought you had taken a holiday from proofreading.
I like the historical present too, it fills everything with eternal presence.
Actually, the story began with the Japanese embassy in Coria del Río and the surname Japón. It was a time of great maritime discoveries and, in particular, of the return voyage from the Philippines to New Spain and Peru. Japan, at that time, was in a transition from the feudal system to the Shogunate and also its foreign policy changed from seeking alliances with the Christian Spanish power to establishing protectionism against the colonial powers and persecuting Christianity. Our character finds himself at this crossroads, searching for his biological father and falling victim to the intrigues and human passions of the time.
I was missing a sentimental element and what better than a porcelain artisan (Yumi, who in all her publications presents us with her rich Japanese tradition) who also draws Christian crosses hidden in her ceramics. It all fitted together.
I think it's a beautiful segue and I caught it right away))) I've been so busy with the holidays that I haven't had much time for anything. I haven't made a YouTube video in about a month, which feels really weird. But I'll be back in the saddle by early January!))) Happy New Year!
I'm super honored! @druida