Disclaimer: I do not own Inuyasha, Sesshomaru, Shippo, Kikyo or any of the other fabulous original characters of this amazing Anime/Manga series. They are the property of Rumiko Takahashi and her subsidiaries and remain exclusively her wonderful creations.
I do own my chosen name for Sesshomaru's mother, though not her character, Oushiyokama, Koshiku, Shanhi, Lady Urua Yakiayoko, Niechibaku, and any of the my own characters (yes I know there are a lot, sorry), and ideas that appear in this story. If you want to borrow or use any of them in your own work, please give me credit, and I would appreciate if you asked permission as well, though I know we are all borrowing Rumiko Takahashi's characters and world without her permission.
This story is for entertainment purposes only and will not be used for profit or financial gain in any way. I don't own this series and I make no money from it, nor do I ever want to.
Summary/Warning: Hello, my faithful readers. Okay this chapter is long and a lot of it is description. I researched Buddhist and Shinto formal garments very carefully, so I am pretty sure that all the information is accurate. I also researched formal Japanese wedding dress and popular Japanese flowers. The roses are the only ones I added of my own accord, though I do believe hedge roses, what we know as wild roses, are quite popular, since I have often seen them in Japanese and Chinese paintings. The ceremony is totally made up, but the tea ceremony the couples perform is based on one I actually saw in a movie once, though I cannot remember what that movie was.
I do hope that you will still enjoy this chapter. It is very waffy (warm and fluffy) and has some intense emotion in it. This is it, my friends, the mating ceremony for our stars, so it is pretty important. I apologize for the long delay in updating. I have been insanely busy and barely get any time at all on the computer except for a few quick checks of my e-mail. Thank you for your patience and your faithful following and thank you for all your alerts and favs. Every time one appears in my e-mail, I am delighted and moved by the rapidly increasing readership. I hope all of you continue to enjoy my efforts. A small glossary will likely follow for the Japanese words, though I'm pretty sure, I've already given definitions for most of the vocabulary that will appear in this chapter. Thank you all again, and here's your new chapter.
Chapter Twenty Four: A Celebration Interrupted
The two young couples were allowed to share a long luxurious bath together, but then Sango and Kagome were whisked away to another room to be prepared with Kirara and their female attendants. They would of course be Kikyo and Enju, but Kagome and Sango had both also invited Kaede, who had arrived while they slept.
Koshiku would also stand with them and help them get ready once she had finished preparing Shippo and Rin; and Saishoukora, Sesshomaru's mother, who Inuyasha had yet to be reunited with, and was quite nervous about. The last member of the bridal party was a last minute request, another precursor to the sealing of the soon to exist peace treaty between the East and the West. Shanhi would also participate.
Miroku and Inuyasha were taken to another room to be prepared with Sesshomaru, Oushiyokama and Shishimaru. Niechibaku had also been invited, but he had deferred, saying his sons would make a much better showing than him, so both Issasegare and Nissotsu would also be participating in the ceremony.
Master Moushin had been invited by Miroku and had arrived yesterday in fine form, beaming and as excited as a young boy, at the thought of participating in an exotic Youkai ceremony. He had made a surprising amount of Youkai friends through his incredible show of endurance when it came to sake-drinking during the vigil celebration, and spent most of the morning, since she arrived, both charming and annoying Kaede by turns. He would also be the one performing the Human wedding ceremony for Sango and Miroku, if he was still able, once Naraku's final defeat had been assured.
While Shishimaru wore the same garments that he had worn at Oushiyokama and Kikyo's ceremony, and Oushiyokama wore the robes that he and Kikyo changed into with their full joining as mates, Sesshomaru, Inuyasha and Miroku were dressed in much more elaborate garments, with several more layers.
It began with the fundoshi. Sesshomaru wore blue silk, Inuyasha red and Miroku sacred black. Then they received silk tabi and elegantly embroidered and ornamented zori. Their hair, even Miroku's, was brushed and conditioned and prepared for the elaborate styles that would follow, well at least for Inuyasha and Sesshomaru. Miroku's hair was far too short for such things. Besides as an itinerant Priest, he was expected to retain a certain amount of modesty in his ornamentation.
The layers of clothing, in their rich bright colors and designs went on one by one. It was still mostly red and white, with accents of orange and black for Inuyasha and trimmings of olive green. Sesshomaru's accents remained blue and yellow, but there were also trimmings of violet. Their colors were all deeper in hue to increase the air of formality: wine-red, deep vermilion orange; rich azure-blue and deep amber gold. It made the white shine more brightly and the black seem even deeper.
The final haories and Tanzens were the most elaborate Inuyasha had ever seen. His own designs were in swathes of white inus; green river-like streams, like the blue images his father's robes used to bear, and the large round shakuyaku that his mother's beautiful kimonos would always feature. The ones on Inuyasha's robes were orange. Blowing through all the decorations in thick poetic streams, were black shadows of his own momiji leaves.
Sesshomaru had the same swathes of watery stripes in blue, just like Tosan, while the white dogs were shadowed in gold and amber to help distinguish them from the white background. His other decorations were swirls of his red sakura blossoms and streams of violet dust framing silhouettes of graceful swallow-tail butterflies, which Inuyasha vaguely remembered were favored by Saishoukora.
For Miroku, things were slightly different, as a Priest's formal garments were in a distinct style. Miroku was a Buddhist Monk, but he did borrow some elements from the Shinto garb. Over his fundoshi he wore a light pair of zubon and the first layer of his tricivara, which was the undergarment; the anteravasaka. It was plain but trimmed with embroidery at the edges.
The next layer was a pair of stiff, lightly embellished umanori hakama, and then the upper robe of the tricivara, the uttarasanga, which had some simple decoration on it. It was worn loose, only secured with inner himos; no obi or sash.
The next layer was the outer robe of the tricivara, the sengati, worn draped around his neck and over his arms, so it looked somewhat like a full, two-sided cloak, and came to a point at the bottom. It was plain as well but decorated with even more elaborate trim and secured at his right shoulder with a small jade brooch.
The last layer was the woven and richly embroidered rakusa, a light, two-sided, square placard on his chest which secured at each shoulder and the upper rib-cage, adding graceful form and shape to the otherwise loose sengati.
Then finally his attendants placed the familiar kesa drape, passed beneath the right arm and secured at the left shoulder in a precise, squared knot. The drape was the most elaborately decorated garment, but still relatively simple and discreet.
His wind tunnel-cursed hand remained covered, though an embroidered yugake-glove was fitted over it and a second set of japa-mala in jade and pearl, strung on silk, were wrapped about the wrist and palm as added ornamentation, protection and luck. Once his hair was done he would also receive a ceremonial kasa appropriate to the occasion; a flat conical hat that covered the head as a sign of humility.
Miroku's colors were the standard itinerant priest's black, his family's indigo and deep blue, and a modest trimming of brown. His crests were his chosen ofudo's of happiness and prosperity, his family Kamon, and the Holy symbol of Master Moushin's temple and devotion. Now that the men were all dressed, it was time for the styling of their hair.
Sesshomaru's hair was the most elaborate, as he was the realm's First Lord. His attendants pulled most of it in a topknot once again, leaving two bound tails on each side of his face. In the back they framed a center roll and braid with two tightly looped twists. His kanzushe were rings of gold, set with white jade on each of his front pieces, the center braid and the top of each twist. Strings of phoenix jade bound his front pieces, and strings of white coral dog figurines were woven into the braid in back.
Golden pins with enamelled heads and pure white birchwood hair-sticks secured and decorated the center roll, while short strings of red and white beads ornamented the top-knot. The topknot was additionally secured with a long, flexible comb made out of red amber, the same that had bound their father's hair at certain times.
A white jade ornament of a leaping dog with a turquoise crescent moon set into it's brow, added another touch of grace, and two Kogai ornaments in gold steel with white onyx sheaths. Both the sheaths and the blades were decorated with family Kamon and sakura crests out of inset white jade, red amber, lapis and topaz.
The final piece was a head-piece of finely worked gold that fit beneath the base of the skull, around the cheek and jawline, accentuating the slender purple stripes on his cheeks, and ended up gracefully flanking the distinct moon symbol on his brow. He looked almost too beautiful to be real.
Inuyasha was next. His hair was drawn up in a single, high pony-tail, just as Tosan had always worn. He wore three braids on either side of his face in the front secured with silver, and red jade rings and woven with strings of white jade and scarlet silk. Several braids had been created in the long fall of his ponytail as well, with strings of white inu figurines in ivory, woven into the twisting strands.
The tail was bound with several falls of red and white beads and ornamented in steel clasps, polished bamboo sticks, and an ivory and silver comb in the form of a rampant dog with topaz eyes. He also had a kogai ornament in his hair. It was silver with a carnelian sheath, decorated in formal Kamon and momiji crests of inset moonstone, red jade, carnelian and black pearl.
The final ornamentation was a wide silver circlet about his brow, with a round opening in the very center of his forehead. When the watery moon-crest appeared, as it undoubtedly would, everyone present would be able to witness it and admire the effect.
Miroku's hair was done last, but not much was required for him. Instead of his usual, neat tail in the back it was secured in a small top-knot, held in place by a stiff brocade band. It had a background of the sacred ofudus that marked the rest of his robes and graceful willow leaves in black and white, and then featured the brown Inukasshoku and the brown and white Nekokoudo entwined, as the foreground decoration.
There were a pair of Shinto spirit rattles in red and white worked through the top-knot as well and a single jade pin. The kasa was woven bamboo lined in his deep purple and trimmed in blue. His formal Kamon and temple sign were embroidered on round medallions sewn into the straw in the proper, ceremonial placement. It was secured under his chin with a blue and violet tasseled string and tied in the proper ceremonial knot low on his right jaw.
He looked both devout and magnificent as he bowed his head humbly beneath Master Moushin's blessing, while his deep violet eyes shone with happiness.
"You look very much like your father, this way." Moushin told him gently. "But you have your mother's eyes." Those eyes teared up at the mention of his parents and Miroku gently kissed the older monk's hands once more in reverence.
At last their attendants handed them their round ceremonial fans, and framed by their loyal friends and retainers, the three grooms headed slowly towards the ceremonial hall.
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Kagome stared at her image in the mirror. Part of her could hardly believe that this was really happening; another part of her was terrified of taking this major step; but most of her was overwhelmingly happy.
It had started out a little nerve-wracking. Kagome got to meet Sesshomaru's mother; the cool, beautiful and impressive Lady Saishoukora of the Jade Palace. Meeting her, it seemed very clear where Sesshomaru's cool personality came from, but like Sesshomaru, the White Lady had a hidden warmth and passion beneath her icy exterior.
The first thing she did upon meeting Kagome was look her up and down in a critical manner that made her feel somewhat like a dirty dish-rag that had been left on the kitchen floor. Then just before she was ready to drop through the floorboards in self-conscious misery, the Lady placed one slender, clawed hand gently beneath her chin and lifted Kagome's face to meet her implacable, golden eyes.
"Enchanting." She spoke. "Many would not realize it, but I considered Lady Izayoi a true sister and friend. She was as my own flesh and blood. You remind me very much of her, both in gentleness and beauty. I am not surprised that my second son recognized you as his true mate."
"Thank you, Lady Saishoukora. You do me a great honour." Kagome replied softly, but the woman only released her gentle hold on Kagome's chin and turned away.
"I have no say in the matter." She spoke. "What is meant to be will come, and the two of you were clearly meant to be together."
Then she turned to Kirara, and there was even greater warmth evident in her eyes and manner. "Dearest Daughter." She spoke softly."I cannot begin to express my joy that you and my Sesshomaru were true mates after all. In those golden days of youth and happiness, you truly were like the daughter we never had. No maiden could be more worthy." Then she kissed Kirara softly on the cheek. "Your days will be blessed with much happiness now that you have found each other again."
Kirara embraced the graceful Lady gently. "You honour me, Shuutome-sama." She spoke softly.
Then the preparation had begun, and Kagome was completely enraptured by the wealth of fabric and color, and beautiful embroidery that surrounded them. Kikyo, of course wore the garments that she and Oushiyokama had changed into during their own ceremony, without the Tsunokakushi, but her hair was still adorned with fresh flowers mixed in with more standard kanzashi.
Enju wore the same outfit that she had worn at that ceremony too. She also had real flowers mixed in among her other kanzashi. The lovely Princess Shanhi shone like a rare and perfect jewel among her beautiful sisters, but the brides would be much grander.
Kaede donned a much finer version of her Priestess' outfit. The white Hakui was of silk trimmed in blue and gold edging and had blue cross-hatched, decorative stitching on the shoulder seams, through which her softer colored hitoe showed through. The lacing at the edge of her Hakui sleeves was in gold, to add even more formality.
The Hitoe was pale blue silk with a nagajuban in pale lavender beneath that. Under the red split-hakama skirt, which was also of silk, she had a pair of loose ballooned trousers, the nubakama, and they showed an edging of gold and blue from beneath the hakama skirt's hem. She also had a silk obi, over a stiff obi-ita, around the top of her hakama. It was sapphire blue with a himo-datejime in gold, tied over the top.
Her soft, graying hair was twisted in an elegant roll above her forehead with silk ribbons of light blue wound around as decoration, and a loose back bun gracing the top of her standard, miko tail. It was secured with two simple pins topped in white jade, a pair of plain, polished bamboo hair-sticks and a decorative bira-bira kanzashi ornament of red and white that did double duty as a spirit rattle, the Harai-gushi. Even in her relatively plain garments, she stood up well to the magnificent Lady Saishoukora, simply by virtue of her powerful presence.
Though Lady Saishoukora did her best to remain less elaborate in her clothing and ornamentation, she still threatened to give the brides a run for their money, simply because of her natural poise, presence and stunning beauty. Single streaks of pale purple graced each of her cheeks, the same shape as her son's markings, but a little bit wider. The crescent moon on her brow was actually black. Her long-lashed, golden eyes were accented with deep purple giving the moon on her brow an indigo cast and enhancing the lovely color of her cheek markings even more.
Her colors were purple, yellow, white and blue with some accents in black, and trim in red. Her decorations were blowing streams of blue dust, black silhouettes of swallow-tail butterflies, yellow chrysanthemums and white magnolia blossoms on a background of rich violet. Her soft, white mokomoko draped over her right shoulder and then trailed down and around her body to swirl around her feet like a Hikizuri skirt.
Her hair was done in two tails leaving bangs, pulled back in the center with a lapis comb in the form of a butterfly, to reveal the moon symbol in the middle of her brow, and two front pieces that were wrapped in slender gold strings of moonstone and amethyst.
Each of her two tails was then twisted into a shining silver rope of silk and secured against the back of her head in a crown of large, loose loops, which made for a truly elegant and beautifully sculpted effect. They were secured with delicate combs set with lapis and amethyst, several slender gold clasps, and pins with crystal heads in pale colors.
The central decoration was a beautiful Konoke Dome ornament in gold set with pearls, sapphires, purple garnets and yellow jade, a silk fan ornament framed with filigreed gold and featuring a picture of soaring birds of paradise and magnolia blossom; a few silk-winged swallow-tail butterflies in black and blue; and several real flower kanzashi: purple wisteria, white lotus blossoms, tiny yellow orchids and two large red poppies.
The final piece was a gold headband over the front of her hair set with more moonstone and amathyste and holding a delicate tiara made of a rope of tiny seed pearls and another of a few dainty beads of cut azurite, over her forehead. It was also painfully clear why Sesshomaru was so incredibly beautiful himself. This gorgeous woman had been the one who had given birth to him.
But it was the brides that really shone, and even Sango could not deny that they looked magnificent. Even their lowest layers were exquisite. They wore silk, embroidered tabi and beautifully ornamented and decorated zori. Their Shin-ai were in colored silk rather than the normal white linen or thin cotton. Kirara's was blue, Kagome's was red, and Sango's was black. Then came the beautiful, many-layered robes and kimonos.
Kirara shone the brightest, in their opinion, but that may have been because she was so beautiful naturally. Her decoration and ornamentation was the most elaborate, as she was First Lady of the Western Lands. Her colors were white, pale jewel-blue, accents of orange and azure and trimming of deep lacquer-brown and black.
Her trailing Hikizuri kimono and sweeping mantle were gorgeous and her decorations were clouds, swathes of flame, graceful lionesses and beautiful hydrangea clusters. On the kimono, the clouds were pale blue, the flames orange, the cats cream and brown, and the hydrangea deepest blue, all on a background of white on white brocade. Her mantle was in a white on jewel-blue brocade. The clouds were white, the flames remained orange and the hydrangea deep blue, but the cats were lacquer-brown and black. Streams of red sakura blossoms and loose hydrangea flowers blew through the decorations in star-like dust.
Her elaborately coiffed hair was absolutely stunning and was decorated in a gold Konoke Dome ornament set with white jade, pale blue opals, azurite, fire opals and brown alexandrite. She also had a silk fan ornament trimmed in filigreed gold with a picture of white lions, golden birds, and swirling clouds on it. A mother-of-pearl comb depicting an entwining pair of foo-creatures, dog and lion; and several beautiful strings of red and white beads, finished the non-living part of the ornamentation.
Then came the incredible flowers. Deep blue irises and orange poppies accented shimmering white orchids and firework-like bursts of pale pink and blue hydrangea. Deep red myrtle and a few tiny red tea-roses added the final glorious flourish of fragrant color. The entire confection of silver silk, gorgeous jewels and beautiful flowers was wrapped in a cloth of gold Tsunokakushi embroidered in thread-of-gold that depicted leaping and entwining lions and dogs. She was stunning.
Kagome was next. She wore the same styles as Kirara, but her colors were mainly white and green with accents of pink and yellow, and trimming of red. Her graceful, trailing kimono was decorated with pink roses, green tree-crickets, bright yellow dandelion flowers, and tiny red momiji leaves in swirling streams, on a white and silver background.
The sweeping mantle was green on green brocade lined in red and was decorated with white dandelion pods, yellow crickets and the same pink roses. On the mantle the red momiji leaves entwined with swirls of white dandelion seedlings in graceful, milkyway-like streams, among accents of silver and all the other gorgeous embroidery.
Her hair was done in an elaborate style that she could not even begin to follow, full of knots and loops and twists that made for an absolutely breathtaking effect. Her ornaments were a silk fan ornament framed with silver filigree and depicting cherry blossoms, crickets and soft dandelion pods, a silver Konoke Dome set with pink coral, pale green and white jade and golden pearls; and a mother-of-pearl and sea-shell comb depicting a gracefully entwining black fox and white dog. Crystal tipped pins and dangling silk blossoms of red and white completed the foundation, which only provided an even more beautiful stage for the flowers.
Beautiful pink roses shone in a field of tiny white chrysanthemums, yellow orchids and nanohana. These were complimented by green hydrangea set against deep red and gold irises. Her bridal headdress was in cloth of silver and embroidered in thread-of-silver depicting more swirls of dandelion seedlings and momiji leaves.
She could hardly recognize herself in the mirror, and felt the emotions swelling in her and bringing tears to her eyes. Though this was not marriage as her own family would see it, it was the sealing of a bond that she had been waiting all her life for, many lifetimes for. She knew it was meant to be, but that didn't make it any less frightening, or wonderful or significant.
Her life would never be the same again.
Last, but far from least, there was Sango. The young Tajiya looked far from the slayer and much closer to the princess in her beautiful wedding robes. Her colors were black, rose, turquoise and gold with white trimming. The Hikizuri-style kimono was in rose, with autumn-gold willow leaves, blue-green coral and soaring black, golden yellow and white Foo-lions; decorating it in a glorious embroidered design. The long flowing mantle was black featuring yellow willow-blossoms, rose colored coral and the Foo-Lions were turquoise, white and yellow.
Like the other girls, her beautiful brown hair defied description in it's loveliness, and her exquisite ornaments were unique. A silk fan framed in ivory filigree depicted beautiful willow blossoms and more soaring Foo-Lions against a background of ocean waves. There was also a beautiful, miniature lantern of more exquisitely filigreed ivory, black and white tassels and misted gold rice-paper; and a coral and tortoise-shell comb depicting the entwined Inukasshoku and Nekokoudo.
Jewels in pretty ivory pins tipped with lapis, amber and coral were also featured and part of her style was wrapped in japa-mala beads of yellow jade and black-pearls. She also had a string of prayer beads wrapped around the slender wrist and palm of her right arm, these in rose coral and turquoise. Her bira-bira ornaments were red and white Harai-gushi; small spirit-rattles.
The flowers in her hair were blue hydrangea and blue and white morning-glories, deep pink peonies and tiny yellow chrysanthemums. She also had black and pink tiger lilies and white orchids, and some wild red roses to finish off her fey and beautiful style. Her bridal headdress was a black and white brocade of Miroku's ofudus of happiness and prosperity and her own graceful willow leaves. The Brown Dogs and Forest Cats entwined and soared all along the length as well, rendered in more flawless embroidery.
"Oh Sango!" Kagome breathed, nearly running her careful make-up with tears. "You look so beautiful!" Sango blushed as the girls embraced.
"Admittedly, a lovely Human maiden." Saishoukora commented. "I would be proud to take you as a mate, for you are also strong and loyal. The Nekokoudo do not chose to bless anyone lightly. That person must be truly worthy."
Sango's enchanting blushes deepened, but she bowed her pretty head and deferred gracefully. "You honour me, Lady Saishoukora."
"That is what I keep trying to tell her." Kirara spoke, embracing Sango tenderly as well. "The Neko No Yonshi do not choose their companions lightly either."
"This strange ceremony be rather like a Spirit Dance." Kaede commented. "But all of ye look the part perfectly. Ye might as well be the Tenshi and I am honoured and blessed to be included."
"We could never have left you out." Kagome spoke. "You're such an important person in our lives."
"You have blessed us ten-times over, Mother Kaede." Sango agreed. "It is the least that we could do." And both girls kissed the kind wise-woman gently on her soft, craggy cheeks.
At this point Koshiku arrived with their ceremonial fans and wearing her elegant tomesode-style kimono and mantle again, but these were normal length and the kimono's background was deep green. Only the mother of the bride wore the Kurotomesode kimono.
She embraced them all warmly, with tears in her eyes. "You all look beautiful. So many lovely brides. This palace will surely be blessed beyond all others."
Then she deferred low and gracefully before Lady Saishoukora. "Welcome back to your son's palace, My Lady. We welcome you back joyfully to its halls and are honoured by your return."
"I could never miss my son's mating ceremony." The Lady spoke, taking Koshiku's hands to bring her back to her feet. "It has been far too long Koshiku-San. You have cared for my son well, and kept up his palace beautifully."
"He was a delight to care for." Koshiku replied. "And he has grown into a fine man."
"I know that, Koshiku-San." Lady Saishoukora spoke. "And I am filled with pride, and a joy that I have not felt in a very long time."
Now she turned to the three waiting brides and their companions. "Come, Ladies. We have a ceremony to complete and a palace full of guests to dazzle."
Then she and Koshiku led the way through the corridors and down to the Ceremonial Hall.
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The hall where the ceremony was to be held was quite a bit larger than the one Kikyo and Oushiyokama had their ceremony in, but it was even more full, and as Inuyasha made his way down the center pathway, Oushiyokama and Shishimaru in the front; Issasegare and Nissotsu guarding his back, and Master Moushin bringing up the rear; he could not help but feel grateful for the firm support of his family. Sesshomaru led the way, and Miroku offered his silent support from behind.
Inuyasha was used to attention, that was true. As a Hanyo he got attention everywhere that he went, and it was usually of the negative kind. Perhaps that was why he always felt so self-conscious when lots of people were looking at him. He expected hisses of contempt, disparaging comments hurled at him like stones, people whispering cruel things, driving him onward and out of their lives.
He had never been the subject of reverent whispers or kind words; not until he found his friends, his family, and now his people and his lands. But even as he felt his people's welcome, knew that the words that they were speaking were kind, he still felt that somehow this dream would end, and the angry hisses and cruel words would be back. He glanced at the faces flushed with excitement, admiration, even some desire; and expected the glares of anger and contempt.
Then a soft and at this point very familiar thought-song entered his mind, quickly forming into gentle words.
(You are a true Lord of the West , Otouto. You will find more admiration than contempt in the words and faces of other people now. And even those who may still harbor some dark feelings will not dare say a word. You have shown them that you are worthy of their respect and that you are powerful and honourable. You are a son of the Great Dog General; hold your head high!)
Strangely, his brother's encouraging words worked and Inuyasha felt strength and confidence flow into him to drive out his uncertainties and embarrassment. He felt a pulse at his side, and lay his hand on the polished hilt of Tetsusaiga always bound at his side, feeling the powerful energy hum against his grip. He felt it; the power of his father's fang moving through him, bracing him even more. As it did, he felt his marks glow back into existence: The deep purple jagged streaks on each cheek, like Tosan's but for the color; and the ragged edged blue moon on his forehead, which signified his bond to his brother.
He could understand the color of the moon, but not necessarily the color of the marks on his cheeks. The purple of Sesshomaru's stripes came from his mother, as did the moon on his brow. The color of his moon was blue, like the streaks that always marked Tosan's face. Why Inuyasha's marks were not blue like his father's he could not say. They were darker purple than Sesshomaru's marks, but that made them even more different. He sighed inwardly, giving up that train of thought. Every Youkai's marks were unique, and Inuyasha was unique too, but he had to admit that he was proud that his marks looked so much like his father's. Even when he was despised and rejected, no-one could deny his lineage.
Inuyasha came out of his thoughts slightly surprised to find that he and the other men had come to the end of their walk to the front of the hall and were able to array themselves before the same Raven Youkai Priest that had performed the ritual for Shippo and Rin. He found that he was rather glad of this. With all the strangers that had been in and out and around the palace these past few days, it was good to see a face that he recognized.
Both the Lords' Council and the High Council sat among the congregation today. Only the three other Lords of the Realms and their Ladies, or in Lady Yakiayoko's case, her son; had places near the platform today. Off to the side were only the Wolf Tribes, who were acting as their witnesses. The drums were beating and the men's chant was being joined by the women. Inuyasha turned to see the young girls with the fans taking their places on either side of the aisle and the beautifully decorated screen being put into place in front of the shojii.
A pulse of emotion raced through Inuyasha and he felt tears pressing against the backs of his eyes, threatening to spill out again. Then he noticed that next to each fan-wielding girl, sat one of Kirara's Royal Pride arraying themselves male /female, male/female on each side. They sat tall and proud and elegant, like they were planned, adding even more magnificance to the elaborate decoration around the hall.
Then he looked down to see that his protector, a young male by the name of Bakuya had come in to sit at his side, as Miroku's protector, also male by the name of Tenkuya, had taken up similar position next to the Houshi as well. Even more surprising, Issokuryoka had evidently left his customary place at Kirara's side, and now sat next to Sesshomaru.
Seeing the faithful DemiYoukai somehow helped ease Inuyasha's emotions. He found that now he was struggling to hold back laughter, joyous laughter. Instead, he reached down to scratch his vigilant protector affectionately behind his nearest ear. The large, magnificent Neko tipped his head appreciatively towards the attention, closing his fiery red eyes with pleasure.
The woman had the chant, and Inuyasha saw Koshiku, Shanhi and Enju come around the screen and walk slowly down the aisle to join the men. They looked beautiful and joyous, and all eyes turned appreciatively towards them, particularly the exotic and lovely Nekohanyo. They smiled at the men, though Shanhi's cheeks colored prettily, especially when her eyes met Nissotsu's admiring glance, and took their places, just as the women's chant rose up into true song. Again Inuyasha felt his stomach flutter. It was time for the "brides" to enter.
Two of the servants pushed aside the beautiful screen and Inuyasha saw movement at the entrance to the hall. The audience rose to their feet as the fans began to move, letting through the three beautiful brides one at a time. This time, however; the girls manipulated their fans in a more complex sequence insuring that each bride remained completely concealed until the very moment before she began her walk down the central path and to her breathless "groom's" side. When the last bride entered the hall, Inuyasha felt his heart start to pound even more powerfully in his chest and his throat went tight.
Sesshomaru stood straighter, if that was possible, as the last set of fans parted and Kirara was revealed. Tears rushed to Inuyasha's eyes. Not because of Kirara, gorgeous as she was, but because of the beautiful woman that led her into the hall by the hand.
At one time, this magnificent Youkai woman had been like a second mother to him. Saishoukora had always loved him, it seemed. Even though she had a generally cool personality, he had always felt warmth from her. It did not seem to matter that he signified that her Lord and mate was no longer hers alone; that she shared his affections with not only another woman, but a Human woman.
Seeing her brought memories of his happy childhood rushing back; memories of innocence and joy, long before Tosan's murder and Sesshomaru's rejection; long before his mother died and the citizens of his grandfather's village and palace had driven him from their midst with curses and beatings and thrown sticks and rocks. The warmth and familiarity of her scent drifted down the aisle wrapping around him like her own soft mokomoko, bringing the memories rushing back even faster. It was almost too much. Then he saw Issokurinku pacing elegantly down the aisle at Kirara's side, and as the beautiful cat fixed him with her large, azure-blue eyes, the pressure faded again, bringing only deep, strong happiness.
Saishoukora and Kirara came closer and as she drew near enough, his second mother leaned close to Inuyasha. She reached out her free hand, stroked him gently along the side of his face. Then she kissed him tenderly on the cheek. "My blessed boy." She spoke softly. "I thank the Kami that you have found a true mate. It is the least you deserve, Seijun."
Inuyasha almost lost it again. She had just called him by the pet name she had used for years, bringing up even more gentle memories. Then she let her hand stroke one more time along his face before continuing on to Sesshomaru. She embraced her son tenderly, and Inuyasha saw how his brother's eyes too, shimmered with un-shed tears. He felt the powerful emotion that Sesshomaru was struggling with through their bond, and automatically extended his own youki towards him in comfort and empathy. What was it about mothers that made strong men weep?
"This day is blessed." Saishoukora spoke. "And I rejoice for you, Sai, that you have found your true mate at last. Love is our greatest treasure and joy. " She gently placed Kirara's hand into her son's. "Your father would be proud of you, Kunmigoto." She kissed him softly, as Issokurinku entwined affectionately with her mate before taking a seat at Kirara's side once more. Saishoukora embraced Kirara as well and closing her hands tenderly over both their joined ones, withdrew to her place, a tear shining like a diamond on one perfect cheek.
Then everything vanished, because the last set of fans parted again and this time it was Kagome who emerged. She was being led by Kikyo, Kikyo's own request, and Bakuya's mate Nekala, paced softly and gracefully at her other side. But the only one Inuyasha saw was Kagome, and this time he did not fight the tears that filled his eyes and spilled down his cheeks.
She was so beautiful, shining with her pure and loving light, filling him up with her comforting scent, which mingled with the soft, warm energy of her love; her love for him. He saw the beautiful shine of her deep brown eyes, and the silver shimmer of the joyful tears on her cheeks. Though her eyes remained brown, the marks on her face glowed back into view, causing him to catch his breath. He couldn't imagine anything more incredible and wonderful than the sight of her walking towards him, and the sweet promise that shone between them, like the sacred jewel itself.
He accepted Kikyo's gentle embrace and treasured the soft words that she spoke to him. "I bless you, Inuyasha, Beloved. I bless you with all my heart." But what he was most aware of was the electric contact of Kagome's hand in his own, and the almost painful beauty of her nearness; his Mate, his Mate forever. Kikyo embraced Kagome as well. "Be happy as you deserve, Sweet Little Sister." She spoke softly.
"Okayoni." Kagome breathed, and then Kikyo was gone and only Kagome remained; Kagome and her beauty, Kagome and her love; Kagome and her light, which surrounded and filled him with a glory that elevated his soul beyond all others.
With this covenant he was complete; they were both complete. There was nothing he could not do. He could do anything, go anywhere, endure everything, as long as he could return to the warm embrace of her tender arms and the sweet scent of her around him. It comforted and empowered him; it showed him that he belonged. Everything he had done or ever would do, everything he had gone through; the joy, the pain , the loss, the glory, the beauty and the hardship; had been for her, to find her; his Mate, hisKagome.
From that point on, things were rather a blur to Inuyasha. He sensed Sango approach, led by Kaede and he saw the emotion that shone on his new brother's face as her japa-mala adorned hand was placed gently in his. He saw the answering joy and emotion in her eyes, the marks, their Bonded marks, shining on their faces, and he basked in their love and tender energy.
He sensed that Tenkuya's mate Kulora had joined them and that the Priest was starting to speak the opening blessing. He heard the whisper of chimes and the rustle of cloth. He heard Lord Issaitouraku, Lady Yakiayoko and Lord Kuroneko give their own blessings, the acknowledgement of their witnesses, and the blessings of the congregation.
He was even somewhat aware when Rin and Shippo were called foreward, each proudly bearing parts of the sacred tea-ceremony for three couples, but his eyes were only on Kagome and his entire being was filled with her and the joy of their long-awaited acknowledgement.
It was probably a good thing that they had rehearsed the day before, even though they had seen the process once before, because all he really had to go on was rote memory. He was completely focused on Kagome's beautiful hands as they unfolded the linen towel in the proper ceremonial way and wiped down the bamboo scoop, then laid it gracefully before him, letting it slide properly off the back of her hand. He took the scoop of tea out without taking his eyes off her face and placed it in the cup, knocking the handle once against the rim as was proper. Then he let it slide off his own hand and picked up his linen towel with hardly a thought.
He unfolded it in the proper way as well, using it to wipe down the small brush that would stir up the tea, before laying both down in the standard ceremonial way. She stirred, placed the brush down properly on her towel and dropped two Jasmine blossoms into the cup before turning it three times in his direction. He picked up the cup with only half a thought and drank once lightly, for love and then once deeply, for passion, then set the cup down before dropping two more blossoms in and turning it three times in her direction.
Kagome drank as he had, blushing slightly, for the shared drink from the cup signified the kiss that they were not yet allowed to share, then set the cup down as well. Inuyasha was absolutely enchanted, and hardly noticed when the tray was taken away to the next couple. He reached for her hands and drew her closer to him, just gazing down at her beautiful upturned face.
The priest spoke another brief prayer followed by blessings this time from Lady Izzaitenjin, Lady Nekokinhara and Young Lord Genyumaro, a second acknowledgement from the witnesses, and further blessings from the congregation. A faint part of Inuyasha wondered wickedly how well Koga was taking all this formality, but it was only fleeting; a brief acknowledgement in the greater reality that was Kagome. He heard the words ".... shed the trappings of their lives of solitude for the sacred silks of their new lives of companionship and glory, as True and Eternal mates."
He realized that an important part of the ceremony had arrived and his hands had little trouble beginning the motions of the ritual that had bothered him the most. He had feared that this part would be embarrassing, but at this moment, all he knew was that it would reveal more of his glorious mate to his eyes and to his touch, and nothing else mattered.
He felt her soft, slender hands on his own body, as she eagerly complied with her side of the ritual and felt his breath catch with each glorious inch of her beautiful body that was revealed. Her skin, softer than the finest silk, shining like an Angel's; mesmerized him, and all the other people in the room vanished. There was only Kagome, and him and the thrill of her touch, her beauty, her scent, her radiant face.
There was a brief moment of beautiful distraction when it was revealed that as soon as Sango and Miroku had completed the removal of their garments, mating marks had glowed brilliently into existance on their bodies, even though they were fully human. They were the marks of the Daiyoukai that had blessed them.
Miroku bore the beautiful fern shapes in deep purple, right beneath his collarbone and Sango, the crescent and half-moon symbol in rose above the left side of her collarbone and on her right shoulder blade in back.
Not only did the mating marks appear, but willowy curls of green ferns appeared around both of Sango's fore-arms and a larger depiction of the Fuji Cherry Blossom glowed in rose at the small of her back, softening the appearance of the scar left by the near fatal blow of her brother's crescent blade. Gold colored stripes appeared on Miroku's hands, and around his hips, theighs and ankles as well. They looked like swirled streamers of wind.
The pleasure of the two noble Humans' bonds to both each other and their new family being confirmed, added even more joy to the celebration and Inuyasha almost believed that nothing would ever go wrong again.
Then everything changed.
Inuyasha felt the cold, dark slice of imminent danger cut through his abdomen moments before one corner of the vast hall exploded! It took, but a moment for all to realize that it was where the gifts for the new couples were laid out, before a hole opened up, seemingly in the very air itself, and utter chaos ensued!
Please don't kill me! What fun would it be if I didn't sharpen this waffy chapter with a little bit of a cliffie, aye? I guess you'll just have to hope that I update soon. Seriously, though, I will not leave you hanging. This story may update slowly at times, but it will be finished. I will not stop until I have brought it to full closure.
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Glossary:
Tsunokakushi: This is the headdress worn by Japaneses brides around their hair and over their foreheads. It is usually made out of a stiff, brocade silk and helps support the beautiful and elaborate coiffure that brides usually wear.
Kamon: These are family crests embroidered on formal Japanese garments. They are usually circular in shape, the circle surrounding either a simple graphic design or characters (kanji) that spell out the family and/or personal name.
Momiji: This is the Japanese word for maple leaves, specifically the ornamental maple leaves, the carmine-leafed trees that we refer to as "Japanese Maples."
Shakuyaku: This is a Japanese word for Peony. I am not sure what specific type, Peonies are very popular in Japan, but I use it to refer to a stylized crest that is meant to represent a peony on both Inuyasha and his mother's formal garments.
Zori: I believe I have defined these before. Zori are flip-flop like sandals made of straw or bamboo or woven rope, even silk. They have wooden or thick woven soles of cord or leather. They are the type of shoe most often worn with formal garments and are often very elaborately decorated, ornamented and embroidered.
Himos: These are thin, strong cords used to secure kimonos and other Japanese garments for security and modesty. They are usually sewn onto the inside of the robes, but some more ornamental kinds are sewn onto the outside as part of the decoration, mostly on men's clothing.
Zuban: These are fitted trousers worn sometimes over the fundoshi, sometimes instead of it. They are usually of soft, thin cloth fitting fairly snugly around the legs, reaching to about mid-calf, but they can reach all the way to the ankles. They secure with drawstrings about the waist and sometimes about the cuffs too. A modified version of these trousers are worn in the modern age as part of the martial arts gee. These type of trousers were most often worn by monks beneath their robes, but they were also worn by the working class, since the more flowing hakamas were rather impractical for common labour. They were also worn as sleeping attire by all classes, with or without a short jacket or robe on top.
Tricivara: Translates as "Three-layered robe" and was worn by Buddhist monks for both formal and sometimes regular wear as well. It is worn without obi or sash, so that it drapes loosely about the monk's body, keeping him modest and respectful in his attire.
Anteravasaka: This is the lowest layer of the "Tricivara" (see above). It serves as undergarment, protecting the upper layers from the skin, very much like a nagajuban served the regular kimono or haori ensemble. It is also what is worn for exercise and labour, as a Buddhist monk is expected to not shirk from common labour and keep up his discipline and endurance through physical and ritual exercise.
Utterasanga: This is the second layer of the "Tricivara" and serves the same function as a kimono or haori. It is the outer garment of a monk's attire, so it can be as plain or as decorated as the situation demands. It fastens only with himo ties, no sash or obi. The black robe Miroku wears beneath his drape could be called an utterasanga.
Sengati: This is the final layer of the "Tricivara." It serves to mark the wearer as a man of faith, and can also serve as a cloak and blanket during his travels. It is also used to preserve an appearance of modesty and purity. While it serves to signify a simple and aesthetic existence, it also provides a more formal look for ceremony and formal occasions, so while it tends to remain plain, it can be trimmed with elaborate embroidery or ornamentation for important occasions.
Kesa: This is the purple drape that Miroku always wears over his robe. It was only worn by Japanese Buddhists as an echo of the faith's Indian origins, and a distinct mark of their faith and function. Not only does it look attractive, since it can be worn in a number of colors and decorative fabrics, but it can serve as blanket, carrier, bandage and cloak, and a large number of other practical and helpful functions. It also keeps up the image of modesty as effectively as the Sengati. A wealthy or important priest's Kesa drape is the garment that he would decorate the most elaborately, and it would act as the most ornamented garment in a formal situation. It was often also worn over the full Tricivara in particularly significant ceremonies, like a wedding.
Umanori Hakama: These are Hakama (loose trousers), often stiff and padded worn on formal occasions. They are split, like trousers. The un-split version, often worn by woman of nobility and female students in Seminaries are known as "Andon Bakama," but some noblemen will wear long kimonos and robes as well and then they often wear the andon bakama too.
Japa-Mala: These are prayer beads carried by Buddhist Monks, usually in long strings, like our modern-day rosary. They are usually blessed and thus supposedly imbued with strong, sacred magic. Miroku wears a string of these around the hand with the wind tunnel in it; supposedly they keep it somewhat contained and thus slow its growth. The commonly carried strings are made with beads of wood, clay or stone, even bone or glass, but for formal occasions these beads can be made out of precious stones. I assumed that a mating ceremony would warrant the gemstones.
Ofudus: These are sacred characters and sigils that Monks and Priestesses of both faiths use to bless, protect and purify communities, places and people. They are found on small slim scrolls usually fastened onto walls and woodwork, or carried on the person. Sometimes they are in the form of short prayers or poems or phrases, even the names of important deities and spirits. Supposedly they can also be used to fight creatures of evil, evil spirits or demons or to exorcise places and people believed to be possessed or plagued by evil spirits. As seen in both the Manga and the Anime, they can be very effective when imbued with holy power as strong as Miroku, Kikyo or Kaede's.
Harai-gushi: These are spirit rattles carried by Shinto Priests and Mikos. They are used to create protective barriers, to bless and purify an area, to sense dangerous or sacred energies and to drive out evil spirits and demons, or to just bring good luck and good energy to an important function or special occasion. They are red and white created out of paper, grass, silk, leather or other thin, flexible materials. They look like skinny pom-poms made out of streamers cut in thin chains of square or diamond shapes, and they come in both large and small sizes.
Hitoe: This is part of a Shinto priest or Miko's outfit, particularily an outfit worn for important or formal occasions. It is worn beneath the outer Hakui (Miko) or Jo-e no sode-gukuri no o (A priest's formal kimono-like robe), but above a Shitaki or juban. It is usually made of fine cloth and can be plain or decorated.
Hakui: The outer robe worn by a Shinto Priestess, a Miko. It translates roughly as "White Coat" and is usually white, unless the Miko is an apprentice or a "Warrior Miko," a Betsushekima, who often wear different colors. A Kuromiko, a Miko who works evil magic will also not wear white. Her Hakui will usually be black. The robe can be made of finer cloth or trimmed and sometimes ornamented for formal occasions or particularly wealthy or influential individuals. Both Kikyo and Kaede wear the traditional Hakui in the series.
Himo-Datejime: The Datejime is a decorative sash worn around the obi for formal occasions, but if the woman in question is wearing more casual clothing, or if she is required to be more simply and modestly dressed, like a Miko, this sash can be replaced by a simple, but colorful string. This is a himo-datejime.
Hikizuri: This is a style of kimono worn by dancers and for more formal occasions. Usually the kimono length is adjusted to fall to the toes and then stop. The Hikizuri style keeps the toes clear in the front but trails the back for a ways along the floor.
Tomesode: This is another style of kimono, but it refers to the decoration. The decoration on a tomesode kimono is all beneath the waist and at the lower half of the sleeve, unless the kimono has Kamon on it, which are traditionally placed on the upper half of the sleeve, the chest and the back. This style of kimono is more often worn by married women or widows.
Bira-Bira Kanzashi: Kanzashi are ornaments Japanese women wear in their hair. Bira-Bira kanzashi are made in a dangling style. They can be metal chimes, small lanterns, strings of beads or silk and paper blossoms; or simple streamers.
Konoke Dome Kanzashi: These kanzashi are known as "princess" kanzashi. They are usually in gold, silver, ivory, tortoise-shell or mother-of-pearl and set with precious stones. They can be in the form of fans, clips, combs, elaborately ornamented hair-sticks, bands, berets or pins. They are often carved with family crests, Kamon, myth or nature images.
Nanohana: Small yellow wild-flowers popular for bira-bira and seasonal kanzashi. I believe the English translation is "rape-blossom."
Nekohanyo: Shanhi is a cat-demon Hanyo (half-demon) so Nekohanyo means exactly that: a hanyo that is a cat Youkai.
Tenshi: Angel or Angels.
Names:
Inukasshoku: "Brown Dog." The Youkai spirit that blessed Miroku in the Chapter "A New Lord Recognized."
Nekokoudo: "Earth Cat." The Youkai spirit that blessed Sango in the same chapter. (See above)
Tosan: A somewhat formal term for father, though not as formal as "Chichiue."
Master Moushin: The Monk that raised and trained Miroku after his father was swallowed up by his own wind tunnel curse. (Not sure if he appears in the Manga, or just in the Anime)
The Great Dog General: Sesshomaru and Inuyasha's father and former Lord of the Western Land. The name "Inu No Taishou" literally translates into "The Dog General."
Shuutome: A word for "Mother-in-law." The ending of "sama" only adds more respect, making it more a title than a name; rough translation would be "My Lady Mother-in-Law."
Sai: A word for "Son."
Seijun: The nickname Saishoukora had for Inuyasha. It means "innocence and purity."
Kunmigoto: The nickname Saishoukora had for Sesshomaru. It roughly translates to "Beautiful boy."
Saishoukora: The name I chose for Sesshomaru's mother. She is never given a name in the Manga. It has no meaning that I know of; I just like the way it sounds. Pronunciation is: /say-shu-kor-ah/ "shu" is pronounced like the word "shoe," "kor" is pronounced like the word "core;" and ah is pronounced "ahhh," like a sigh.
A small note about the coral featured as decoration on Sango's formal robes. "Sango" means "coral" in Japanese, just as "Kohaku" means "amber." Both the slayers are named after stones.
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Okay, my friends, that's it for now. Thank you all for your patience and support. Once again, as I always do, I want to thank my wonderful and dedicated reviewers: Nightstar28, KazunaPikachu, Murasahki-chan, Dare9179, FallenAngel699, xLittleBlackStarx. Your reviews really inspire me, and I greatly appreciate the time you take to give them to me.
I would also like to thank and welcome several new reviewers. ardy1: I hope you are still reading this story, however critical you felt your review was. Don't worry, I still enjoyed it. It's good to hear all opinions and I appreciate your candor.
KyriaHitomi: Your short, but sweet reviews made me smile. I hope that you continue to read this story and enjoy many more "pretty" battles.
Daetor: Wow, I was so flattered by your long and detailed review, and it was so complimentary, it made me blush. I am sorry that I have not been back in touch with you after your nice reply, but I promise to make it up to you soon. I just haven't been able to spare the time for keeping up all those conversations that I adore.
Nightstar28, my dearest friend, I am so sorry for the long pause in our communications. I cherish our contact and I love you dearly. You will hear from me soon, especially with the review for your latest wonderful chapter.
To the rest of you, thank you again for continuing to stick with this story. I am so pleased to know that you are enjoying my efforts. I love writing this story and I love it even more knowing that you guys are following along. Here's hoping I'll be able to update again soon. Until the next time; hugs to you all.
DoS