j.a.panese Literature.

by Various.

GENJI MONOGATARI

BY

MURASAKI SHIKIB

[_Translated into English by Suyematz Kenchio_]

INTRODUCTION

BY THE TRANSLATOR

Genji Monogatari,[1] the original of this translation, is one of the standard works of j.a.panese literature. It has been regarded for centuries as a national treasure. The t.i.tle of the work is by no means unknown to those Europeans who take an interest in j.a.panese matters, for it is mentioned or alluded to in almost every European work relating to our country. It was written by a lady, who, from her writings, is considered one of the most talented women that j.a.pan has ever produced.

She was the daughter of Fujiwara Tametoki, a petty Court n.o.ble, remotely connected with the great family of Fujiwara, in the tenth century after Christ, and was generally called Murasaki Shikib. About these names a few remarks are necessary. The word "Shikib" means "ceremonies," and is more properly a name adopted, with the addition of certain suffixes, to designate special Court offices. Thus the term "Shikib-Kio" is synonymous with "master of the ceremonies," and "Shikib-no-Jio" with "secretary to the master of the ceremonies."

Hence it might at first sight appear rather peculiar if such an appellation should happen to be used as the name of a woman. It was, however, a custom of the period for n.o.ble ladies and their attendants to be often called after such offices, generally with the suffix "No-Kata," indicating the female s.e.x, and somewhat corresponding to the word "madam." This probably originated in the same way as the practice in America of calling ladies by their husbands' official t.i.tles, such as Mrs. Captain, Mrs. Judge, etc., only that in the case of the j.a.panese custom the official t.i.tle came in time to be used without any immediate a.s.sociation with the offices themselves, and often even as a maiden name. From this custom our auth.o.r.ess came to be called "Shikib," a name which did not originally apply to a person.

To this another name, Murasaki, was added, in order to distinguish her from other ladies who may also have been called Shikib. "Murasaki"

means "violet," whether the flower or the color. Concerning the origin of this appellation there exist two different opinions. Those holding one, derive it from her family name, Fujiwara; for "Fujiwara"

literally means "the field of Wistaria," and the color of the Wistaria blossom is violet. Those holding the other, trace it to the fact that out of several persons introduced into the story, Violet (Murasaki in the text) is a most modest and gentle woman, whence it is thought that the admirers of the work transferred the name to the auth.o.r.ess herself. In her youth she was maid of honor to a daughter of the then prime minister, who became eventually the wife of the Emperor Ichijio, better known by her surname, Jioto-Monin, and who is especially famous as having been the patroness of our auth.o.r.ess. Murasaki Shikib married a n.o.ble, named n.o.btaka, to whom she bore a daughter, who, herself, wrote a work of fiction, called "Sagoromo" (narrow sleeves). She survived her husband, n.o.btaka, some years, and spent her latter days in quiet retirement, dying in the year 992 after Christ. The diary which she wrote during her retirement is still in existence, and her tomb may yet be seen in a Buddhist temple in Kioto, the old capital where the princ.i.p.al scenes of her story are laid.

The exact date when her story was written is not given in the work, but her diary proves that it was evidently composed before she arrived at old age.

The traditional account given of the circ.u.mstances which preceded the writing of the story is this: when the above-mentioned Empress was asked by the Saigu (the sacred virgin of the temple of Ise) if her Majesty could not procure an interesting romance for her, because the older fictions had become too familiar, she requested Shikib to write a new one, and the result of this request was this story.

The tradition goes on to say that when this request was made Shikib retired to the Buddhist temple in Ishiyama, situated on hilly ground at the head of the picturesque river Wooji, looking down on Lake Biwa.

There she betook herself to undergo the "Tooya" (confinement in a temple throughout the night), a solemn religious observance for the purpose of obtaining divine help and good success in her undertaking.

It was the evening of the fifteenth of August. Before her eyes the view extended for miles. In the silver lake below, the pale face of the full moon was reflected in the calm, mirror-like waters, displaying itself in indescribable beauty. Her mind became more and more serene as she gazed on the prospect before her, while her imagination became more and more lively as she grew calmer and calmer.

The ideas and incidents of the story, which she was about to write, stole into her mind as if by divine influence. The first topic which struck her most strongly was that given in the chapters on exile.

These she wrote down immediately, in order not to allow the inspiration of the moment to be lost, on the back of a roll of Daihannia (the Chinese translation of Mahaprajnaparamita, one of the Buddhist Sutras), and formed subsequently two chapters in the text, the Suma and Akashi, all the remaining parts of the work having been added one by one. It is said that this idea of exile came naturally to her mind, because a prince who had been known to her from her childhood had been an exile at Kiusiu, a little before this period.

It is also said that the auth.o.r.ess afterwards copied the roll of Daihannia with her own hand, in expiation of her having profanely used it as a notebook, and that she dedicated it to the Temple, in which there is still a room where she is alleged to have written down the story. A roll of Daihannia is there also, which is a.s.serted to be the very same one copied by her.

How far these traditions are in accordance with fact may be a matter of question, but thus they have come down to us, and are popularly believed.

Many Europeans, I daresay, have noticed on our lacquer work and other art objects, the representation of a lady seated at a writing-desk, with a pen held in her tiny fingers, gazing at the moon reflected in a lake. This lady is no other than our auth.o.r.ess.

The number of chapters in the modern text of the story is fifty-four, one of these having the t.i.tle only and nothing else. There is some reason to believe that there might have existed a few additional chapters.

Of these fifty-four chapters, the first forty-one relate to the life and adventures of Prince Genji; and those which come after refer princ.i.p.ally to one of his sons. The last ten are supposed to have been added by another hand, generally presumed to have been that of her daughter. This is conjectured because the style of these final chapters is somewhat dissimilar to that of those which precede. The period of time covered by the entire story is some sixty years, and this volume of translation comprises the first seventeen chapters.

The aims which the auth.o.r.ess seems always to have kept in view are revealed to us at some length by the mouth of her hero: "ordinary histories," he is made to say, "are the mere records of events, and are generally treated in a one-sided manner. They give no insight into the true state of society. This, however, is the very sphere on which romances princ.i.p.ally dwell. Romances," he continues, "are indeed fictions, but they are by no means always pure inventions; their only peculiarities being these, that in them the writers often trace out, among numerous real characters, the best, when they wish to represent the good, and the oddest, when they wish to amuse."

From these remarks we can plainly see that our auth.o.r.ess fully understood the true vocation of a romance writer, and has successfully realized the conception in her writings.

The period to which her story relates is supposed to be the earlier part of the tenth century after Christ, a time contemporary with her own life. For some centuries before this period, our country had made a signal progress in civilization by its own internal development, and by the external influence of the enlightenment of China, with whom we had had for some time considerable intercourse. No country could have been happier than was ours at this epoch. It enjoyed perfect tranquillity, being alike free from all fears of foreign invasion and domestic commotions. Such a state of things, however, could not continue long without producing some evils; and we can hardly be surprised to find that the Imperial capital became a sort of centre of comparative luxury and idleness. Society lost sight, to a great extent, of true morality, and the effeminacy of the people const.i.tuted the chief feature of the age. Men were ever ready to carry on sentimental adventures whenever they found opportunities, and the ladies of the time were not disposed to disencourage them altogether.

The Court was the focus of society, and the utmost ambition of ladies of some birth was to be introduced there. As to the state of politics, the Emperor, it is true, reigned; but all the real power was monopolized by members of the Fujiwara families. These, again, vied among themselves for the possession of this power, and their daughters were generally used as political instruments, since almost all the Royal consorts were taken from some of these families. The abdication of an emperor was a common event, and arose chiefly from the intrigues of these same families, although partly from the prevailing influence of Buddhism over the public mind.

Such, then, was the condition of society at the time when the auth.o.r.ess, Murasaki Shikib, lived; and such was the sphere of her labors, a description of which she was destined to hand down to posterity by her writings. In fact, there is no better history than her story, which so vividly ill.u.s.trates the society of her time. True it is that she openly declares in one pa.s.sage of her story that politics are not matters which women are supposed to understand; yet, when we carefully study her writings, we can scarcely fail to recognize her work as a partly political one. This fact becomes more vividly interesting when we consider that the unsatisfactory conditions of both the state and society soon brought about a grievous weakening of the Imperial authority, and opened wide the gate for the ascendency of the military cla.s.s. This was followed by the systematic formation of feudalism, which, for some seven centuries, totally changed the face of j.a.pan. For from the first ascendency of this military system down to our own days everything in society--ambitions, honors, the very temperament and daily pursuits of men, and political inst.i.tutes themselves--became thoroughly unlike those of which our auth.o.r.ess was an eye-witness. I may almost say that for several centuries j.a.pan never recovered the ancient civilization which she had once attained and lost.

Another merit of the work consists in its having been written in pure cla.s.sical j.a.panese; and here it may be mentioned that we had once made a remarkable progress in our own language quite independently of any foreign influence, and that when the native literature was at first founded, its language was identical with that spoken. Though the predominance of Chinese studies had arrested the progress of the native literature, it was still extant at the time, and even for some time after the date of our auth.o.r.ess. But with the ascendency of the military cla.s.s, the neglect of all literature became for centuries universal. The little that has been preserved is an almost unreadable chaos of mixed Chinese and j.a.panese. Thus a gulf gradually opened between the spoken and the written language. It has been only during the last two hundred and fifty years that our country has once more enjoyed a long continuance of peace, and has once more renewed its interest in literature. Still Chinese has occupied the front rank, and almost monopolized attention. It is true that within the last sixty or seventy years numerous works of fiction of different schools have been produced, mostly in the native language, and that these, when judged as stories, generally excel in their plots those of the cla.s.sical period. The status, however, of these writers has never been recognized by the public, nor have they enjoyed the same degree of honor as scholars of a different description. Their style of composition, moreover, has never reached the same degree of refinement which distinguished the ancient works. This last is a strong reason for our appreciation of true cla.s.sical works such as that of our auth.o.r.ess.

Again, the concise description of scenery, the elegance of which it is almost impossible to render with due force in another language, and the true and delicate touches of human nature which everywhere abound in the work, especially in the long dialogue in Chapter II, are almost marvellous when we consider the s.e.x of the writer, and the early period when she wrote.

Yet this work affords fair ground for criticism. The thread of her story is often diffuse and somewhat disjointed, a fault probably due to the fact that she had more flights of imagination than power of equal and systematic condensation: she having been often carried away by that imagination from points where she ought to have rested. But, on the other hand, in most parts the dialogue is scanty, which might have been prolonged to considerable advantage, if it had been framed on models of modern composition. The work, also, is too voluminous.

In translating I have cut out several pa.s.sages which appeared superfluous, though nothing has been added to the original.

The auth.o.r.ess has been by no means exact in following the order of dates, though this appears to have proceeded from her endeavor to complete each distinctive group of ideas in each particular chapter.

In fact she had even left the chapters unnumbered, simply contenting herself with a brief heading, after which each is now called, such as "Chapter Kiri-Tsubo," etc., so that the numbering has been undertaken by the translator for the convenience of the reader. It has no extraordinarily intricate plot like those which excite the readers of the sensational romances of the modern western style. It has many heroines, but only one hero, and this comes no doubt from the peculiar purpose of the writer to portray different varieties and shades of female characters at once, as is shadowed in Chapter II, and also to display the intense fickleness and selfishness of man.

I notice these points beforehand in order to prepare the reader for the more salient faults of the work. On the whole my princ.i.p.al object is not so much to amuse my readers as to present them with a study of human nature, and to give them information on the history of the social and political condition of my native country nearly a thousand years ago. They will be able to compare it with the condition of mediaeval and modern Europe.

Another peculiarity of the work to which I would draw attention is that, with few exceptions, it does not give proper names to the personages introduced; for the male characters official t.i.tles are generally employed, and to the princ.i.p.al female ones some appellation taken from an incident belonging to the history of each; for instance, a girl is named Violet because the hero once compared her to that flower, while another is called Yugao because she was found in a humble dwelling where the flowers of the Yugao covered the hedges with a mantle of blossom.

I have now only to add that the translation is, perhaps, not always idiomatic, though in this matter I have availed myself of some valuable a.s.sistance, for which I feel most thankful.

SUYEMATZ KENCHIO.

_Tokyo, j.a.pan._

FOOTNOTES:

[Footnote 1: Which means, "The Romance of Genji."]

GENJI MONOGATARI

CHAPTER I

THE CHAMBER OF KIRI[2]

In the reign of a certain Emperor, whose name is unknown to us, there was, among the Niogo[76] and Koyi[3] of the Imperial Court, one who, though she was not of high birth, enjoyed the full tide of Royal favor. Hence her superiors, each one of whom had always been thinking--"I shall be the _one_," gazed upon her disdainfully with malignant eyes, and her equals and inferiors were more indignant still.

Such being the state of affairs, the anxiety which she had to endure was great and constant, and this was probably the reason why her health was at last so much affected, that she was often compelled to absent herself from Court, and to retire to the residence of her mother.

Her father, who was a Dainagon,[4] was dead; but her mother, being a woman of good sense, gave her every possible guidance in the due performance of Court ceremony, so that in this respect she seemed but little different from those whose fathers and mothers were still alive to bring them before public notice, yet, nevertheless, her friendliness made her oftentimes feel very diffident from the want of any patron of influence.

These circ.u.mstances, however, only tended to make the favor shown to her by the Emperor wax warmer and warmer, and it was even shown to such an extent as to become a warning to after-generations. There had been instances in China in which favoritism such as this had caused national disturbance and disaster; and thus the matter became a subject of public animadversion, and it seemed not improbable that people would begin to allude even to the example of Yo-ki-hi.[5]