Weeks 2a-2b, 3a

Bowring, trans. Murasaki Shikibu: Her Diary and Poetic Memoirs (click here)

Royall Tyler, trans., The Tale of Genji (Introduction, Chapters 1-17)

OPTIONAL: Richard Bowring, Murasaki Shikibu: The Tale of Genji, "The Cultural Background" pp. 1-21 (click here)

The text I've assigned for Tale of Genji is the most recent translation by one of the best contemporary translators (see resources for other translations of the text). We will be skipping some minor chapters that are not important to the main story; you can read them or skip as you like.

Murasaki Shikibu's Tale of Genji is not an easy book to read without help (and from about the 12th century onward, people nearly always read it with a handbook -- a kind of Cliff or Spark Notes to the text). Characters appear and disappear from the story without warning; in the original Japanese the characters have no personal names but are referred to by their court position, which changes from chapter to chapter; often two events are simply given one after another and one has to guess at cause and effect, etc. The poems are not that easy for us to understand, particularly in translation.

Both Richard Bowring's essay (optional) and Royall Tyler's introduction provide background material that will help you understand the more subtle points of gender and politics in Tale of Genji. If you have not had any background in Japanese history and literature I strongly suggest that you do the optional reading by Bowring. Murasaki Shikibu's diary entry is an interesting "real life" counterpart to the discussion of women in Chapter 2 (The Broom Tree) of Genji.

I've also assigned excerpts from Murasaki Shikibu's "diary" that comment on good and bad qualities in women, and whether women should know Chinese or not.

STUDY QUESTIONS:

Bowring, trans. Murasaki Shikibu: Her Diary and Poetic Memoirs

1. What qualities does Murasaki Shikibu prefer in a woman? What qualities does she deplore? Is she unambivalent?

2. What is her attitude towards education in Chinese for women? Again, is she unambivalent?

3. As you read Tale of Genji compare Murasaki Shikibu's opinions in her diary to those of her characters.

Tyler introduction to Tale of Genji

1. ( pp. xvii-xviii, see also Bowring Murasaki Shikibu pp. 3-5) These sections discuss what little we know of the author Murasaki Shikibu's life. How does Shikibu's employment at the court, and the fact that her mentor Michinaga provided her with all the resources she needed to write Genji, reflect the marriage politics at the time? 

2. (pp. xix-xxiii) "The World of the Tale" gives a good sense of how different the world of Genji really was to our own; "The Pattern of Hierarchy" explains the complex ranking system that dominated all relationships and that the original readers would have known very well. "Narration, Courtesy and Names" explains the narrative point of view and the absence of names in the original text.

3. (pp. xxiii--xvii) "Poetry" explains the role of poetry in the tale, which as we've seen in Kagero diary plays a crucial role in establishing relationships; "Readers and Reading" situates the relationship of Heian period readers to the text, including how such works were actually consumed (almost always read outloud while looking at illustrations); "Reading The Tale of Genji Today" includes suggestions for how a modern reader might approach the text.

4. (p. xxvii-xxix)"The Tale as Fiction and History": Tale of Genji has often been treated by cultural historians (such as William McCoullough) almost as though it were non-fiction documentary evidence of court life; Tyler points out ways that the text is clearly fictional but that it does seem remarkably "true-to-life." (Note that many later Japanese readers thought that it was non-fiction.) "The Language of Genji" attempts to give you a sense of the original language, especially with regard to its almost "stream of conciousness" feeling and the use of humble and polite language levels. "Calculating Time" explains the lunar calendar being used, and how the ages of the characters at each stage of the book work in that system (basically, the months are off by about about six weeks and the ages are younger by about a year). "The Illustrations" explains how the pictures used to illustrate the book were created.

Optional Bowring introduction to Murasaki Shikibu: The Tale of Genji

1) (pp. 6-8) Intros the basic principles of Buddhism.

2) (pp. 9-12) How did the use of Chinese language by only men exclude women from power? How did it end up benefiting women? Why do you think the idea developed that learning Chinese was "unfeminine"?

3) (pp. 13-15 ) How does the 'rule' that men and women live apart affect the literary persona of women? The persona of men?

4) (pp. 15) Why is the exchange of poetry so important in this society? Why does handwriting become so important? What role did poetry play in the development of the marriage between Kaneie and Michitsuna's mother in The Kagero Diary?

5) (pp. 17-21) Why did Murasaki Shikibu set Tale of Genji a hundred years earlier than her own time? What elements did she introduce to give the story historical plausibility?

GENERAL QUESTIONS FOR ALL OF GENJI:

1) "The Broom Tree" chapter 2's Rainy Night Discussion sets up the various kinds of women that Genji will be involved with. As he meets women in the following chapters try to fit them into the categories given here. What counts as "normative" (positively valued) femininity for these young men? (see also, discussion questions 10/10 and 10/17)

2) Look for incidences of jealousy between women. Who is jealous and why? How does social status seem to play into this? You should pay particular attention to:

a) the Kokiden/ Kiritsubo/ Fujitsubo problem

b) the Rokujô/ Aoi conflict (Aoi or Aoi no Ue is Genji's main wife, Rokujo is Genji's lover)

3) Look for ways that women show their anguish, jealousy etc. to men without saying anything directly. In particular you might pay attention to the ways women die (Kiritsubo, Yûgao, Aoi). When are women most vulnerable to illness and possession? How might illness be a way for women to express their feelings?

4) Look for examples of what masculinity means in Heian culture. How is Genji an ideal man according to Heian ideals? How is he less than ideal? How is that ideal masculinity different from what is normative today? Why do you think it is different?

Tale of Genji (Chapters 1-3): The first two chapters basically set up the rest of the story.

1) Considering the marriage politics of the time, why is Kiritsubo at such a disadvantage to Kokiden (i.e. why can't the Emperor protect her)? Why does Kokiden hate Kiritsubo (and Genji) so much?

3) Why is Genji made a commoner and married off at 12? What are his living arrangements with the daughter of the Minister of the Left (Aoi)? Why do you think they might have trouble in their marriage? (Pay attention to later descriptions of their relationship as well.)

4) (Chapter 3, optional): After the rainy night discussion in "The Broom Tree" we see the first of Genji's amorous escapades, with a young woman (known as Utsusemi) married to the much older Iyo Deputy, who is off in the provinces. While he is away, she is staying at the house of her stepson, the Governor of Kii, who is a retainer of the Minister of the Left. How does Genji get access to her? And note that on p. 52, there is a strong implication that Genji sleeps with Utsusemi's younger brother, as a substitute for her since he can't get to her a second time.

Tale of Genji (Chapters 4, 5, [6] [7], 8, 9, 10, [11], 35)

For class week 2b we'll be concentrating on chapters 4, a bit of 5, 9, and 10, the chapters that focus on the spirit possession by the Rokujô Haven of Yûgao and Aoi. We'll consider chapters 5, 7, and 8 in the context of general issues of ideal femininity and how aesthetics were used to mask court politics for class week 3a and 3b.

1) Chap. 4 (The Twilight Beauty= Yugao): At the start of the chapter, we meet Koremitsu, Genji's foster brother and most intimate retainer. Koremitsu is the son of Genji's wetnurse, and so would have been raised with Genji. Genji has come to visit Koremitsu's mother, who is dying and has become a nun. Yûgao just happens to be staying next door. What category of woman, as discussed in "The Broom Tree" chapter, would Yûgao fit into? Note that Tô no Chûjô actually discusses Yûgao on pp. 31-33 (although she is not named), but she also corresponds to a specific "type." According to Ukon, why did Yûgao flee from Tô no Chûjô's protection? Yûgao appears to be killed by a "beautiful woman." What hints are there in this chapter that it is the Rokujô Haven who kills Yûgao? What reasons does she give for attacking her? What hints do we have that Genji's subsequent illness has a supernatural source?

2) Chap 5 (Young Murasaki): Note the description of Akashi and the former governor's daughter (pp. 84-85); she will appear again later on. Why is Genji attracted to the young Murasaki (i.e. who does she remind him of)? (Look at the genealogical chart to see the connection.) What is his plan for her? Why do you think Genji suddenly recovers from his illness after meeting Murasaki? Given the marriage politics of the day, why is Genji's abduction of Murasaki so unusual and "romantic"?

3) Chap 6 Optional (The Safflower): this is a short "anti-romance";4 Genji keeps searching for a "hidden jewel" but this time ends up with someone not quite his type. It also makes it clear that even quite high-ranking women who have lost male support, cannot keep up their property.

4) Chap 7 Optional (Beneath the Autum Leaves): The chapter makes clear how dangerous Genji's relationship with Fujitsubo really is; it also furthers our understanding of his relationship with Murasaki. It also includes another "anti-romance": a humorous incident in which Genji and To no Chujo both sleep with an older woman.

5) Chap 8 (Under the Cherry Blossoms): The chapter opens with an event which shows how artistic talent is used politically. Starting on p. 156, we find Genji sleeping with someone very dangerous indeed -- Kokiden's younger sister, known as Oborozukiyo (Lady of the Misty Moon). This is one of many incidents where it is not at all clear that the woman has given "consent." What do you make of this?

6) Chap 9 (Heart-to-Heart): What incident precipitates Rokujô's attack on Aoi (Genji's pregnant wife)? How does Rokujô feel about the attack? What about Genji?  This chapter is used as the basis for the Noh play Aoi no Ue, which we will read in a couple of weeks.

In the second half of the chapter, Genji finally consumates his "marriage" to Murasaki (around 15). Towards the end of the chapter, Genji has the opportunity to sleep with Oborozukiyo again and her older sister (Kokiden) and father find out. Genji decides not to formalize his relationship with her, and she is presented to the new Emperor Suzaku (Kokiden's son) as an "attendant" (Mistress of Staff). [Note that this is an aunt in a relationship with her nephew, though possibly she is only a step-sister of Kokiden.]

7) Chap 10 (The Green Branch): Why does Rokujô decide to accompany her daughter to Ise? This is Genji and Rokujo's last romantic meeting (they meet again on her deathbed) and it continues to showcase her ambivalence. This chapter is used as the basis for the Noh play Nonomiya, which we will read in a couple of weeks.

The second half of the chapter shows how Fujitsubo tries to deal with Genji after his father has died. And Genji gets caught sleeping with Oborozukiyo (now the Mistress of the Staff for the Emperor Suzaku), an incident that enables Kokiden to get Emperor Suzaku to exile him.

8) Chap 11 Optional (Falling Flowers): A very brief chapter occuring at the same time as chapter 10. Genji visits three different women: a woman in a house near Nakagawa who turns him away; a former consort of his father's, Reikeiden, now fallen on hard times; and the consort's younger sister, who he sleeps with. One point of this chapter is how Genji keeps track of all the women he has had relationships with (regardless of whether he slept with them or not) and if needed will support them financially.

9) Chap 35 (Spring Shoots II): pp. 646-48, 654-655 The dead spirit of Rokujo attacks Murasaki.Why might Murasaki be vulnerable now? Who has Genji married? Who does Genji talk about right before Murasaki becomes ill? How does Rokujo communicate with Genji?

Tale of Genji (Chapters 12, 13, 14, [15], [16], 17, 18, 25)

General Questions

1) Chap 12 (Suma): Genji is exiled (or exiles himself) to Suma (see map p. 1121), leaving behind Murasaki to take care of his household at Nijo. What precipates this move? Does Genji appear to feel that his exile to Suma is justified? Why or why not? (Note that he says different things at different times.) Over in Akashi, the Novice we first heard about in chapter 5 (84-85) is scheming to get Genji and his daughter together. Genji's best friend To no Chujo comes to visit, which is a big deal, given his marital connection to the Kokiden faction, and Genji will remember it later. At the end of the chapter a savage storm (typhoon) suddenly sweeps down. What does Genji say right before the storm hits? Why might this have brought on the storm?

2) Chap 13 (Akashi): The storm continues, and Genji prays to the deity Sumiyoshi (a sea deity who was also the deity of poetry). When he falls asleep after the storm, his father appears in his dream and tells him to go to Akashi. The Novice of Akashi has also had a dream, and comes to get Genji to bring him to his home. Why is Genji interested in the Akashi Lady? Why does she resist him? And why do you suppose Genji makes their relationship relatively official and brings her back to the outskirts of the capital? How is she politically useful to him?

Why does Genji's exile come to an end? What specific political events allow him to return? What "supernatural" events are involved?

3) Chap 14 (The Pilgrimage to Sumiyoshi): The Akashi Lady gives birth to a girl, which is great news for Genji; he sends a wet nurse down to take care of her. Genji visits the Sumiyoshi Shrine to give thanks for his return to power. The Akashi Lady has also gone there to thank the deity, but is unable to approach the shrine because of the size of Genji's entourage. Genji sends her a note and starts thinking about building her a wing in his mansion.

The Rokujo Haven has returned from Ise with her daughter. She becomes gravely ill and decides to take the tonsure. Genji rushes to her side, and promises to take care of her daughter the former Ise priestess (Akikonomu); he also promises not to sleep with her. In return, Rokujo gives Genji control of her estate. Genji refuses to marry Akikonomu to Emperor Suzaku (now retired) and instead practices marriage politics by presenting her to the Emperor Reizei (his own son from the secret affair with Fujitsubo).

4) Chap 15 OPTIONAL (A Waste of Weeds): We get a clear picture of what happens to even high-born women when they lose male support. Here Suetsumuhana is living in complete destitution when Genji happens upon her again. He subsequently moves her into the eastern wing of his mansion.

5) Chap 16 OPTIONAL (At the Pass): Genji finds Utsusemi again; another example of what can happen to women with no male support. Her husband (who was much older than her) dies, and her stepsons (about her age) lose all interest in her after she becomes a nun.

6) Chap 17 (The Picture Contest): This chapter illustrates how an aesthetic contest is actually masking politics. To no Chujuo and his daughter are ranged on one side, Genji and Akikonomu are on the other. The two daughters (and their fathers) are vying for the interest of the Emperor.

7) Chap 18 (Wind in the Pines): Genji has finished expanding his mansion (using money from Rokujo and Akashi) and moves all his various loves who need finanicial support into the North wing and East Pavillion. He has built the Akashi Lady an east wing and tries to get her to move there, but she refuses, moving insted to Oi, just outside the city.

8) Chap 19 (Whisps of Cloud): Genji convinces the Akashi Lady to send her daughter (3) to be adopted by Murasaki; she agrees. Murasaki's jealousy of the Akashi Lady is greatly lessened by this sacrifice.

EXTRA: The defence of fiction (pp. 460-62) From chapter 25 (Fireflies), when Yugao's daughter, Tamakazura has come to live with Genji. The discussion between them on the merits of fiction is generally taken as the author's own thoughts on the subject. Within a Buddhist framework of understanding, fiction could be perceived as "lies" that distract one from the eight-fold path that leads to detachment and enlightenment. How does Genji argue for fiction?