Murasaki Shikibu - The Tale of Genji

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The Tale of Genji: краткое содержание, описание и аннотация

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The Tale of Genji (源氏物語 Genji monogatari) is a classic work of Japanese literature written by the noblewoman and lady-in-waiting Murasaki Shikibu in the early years of the 11th century. The original manuscript no longer exists. It was made in «concertina» or «orihon» style: several sheets of paper pasted together and folded alternately in one direction then the other, around the peak of the Heian period. The work is a unique depiction of the lifestyles of high courtiers during the Heian period, written in archaic language and a poetic and confusing style that make it unreadable to the average Japanese without dedicated study. It was not until the early 20th century that Genji was translated into modern Japanese, by the poet Akiko Yosano. The first English translation was attempted in 1882, but was of poor quality and incomplete.
The work recounts the life of Hikaru Genji, or «Shining Genji», the son of an ancient Japanese emperor, known to readers as Emperor Kiritsubo, and a low-ranking concubine called Kiritsubo Consort. For political reasons, the emperor removes Genji from the line of succession, demoting him to a commoner by giving him the surname Minamoto, and he pursues a career as an imperial officer. The tale concentrates on Genji's romantic life and describes the customs of the aristocratic society of the time. It is sometimes called the world's first novel, the first modern novel, the first psychological novel or the first novel still to be considered a classic. While regarded as a masterpiece, its precise classification and influence in both the Western and Eastern canons has been a matter of debate.

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Tō no Chūjō nodded. “It may be difficult when someone you are especially fond of, someone beautiful and charming, has been guilty of an indiscretion, but magnanimity produces wonders. They may not always work, but generosity and reasonableness and patience do on the whole seem best.”

His own sister was a case in point, he was thinking, and he was somewhat annoyed to note that Genji was silent because he had fallen asleep. Meanwhile the young guards officer talked on, a dedicated student of his subject. Tō no Chūjō was determined to hear him out.

“Let us make some comparisons,” said the guardsman. “Let us think of the cabinetmaker. He shapes pieces as he feels like shaping them. They may be only playthings, with no real plan or pattern. They may all the same have a certain style for what they are — they may take on a certain novelty as times change and be very interesting. But when it comes to the genuine object, something of such undeniable value that a man wants to have it always with him — the perfection of the form announces that it is from the hand of a master.

“Or let us look at painting. There are any number of masters in the academy. It is not easy to separate the good from the bad among those who work on the basic sketches. But let color be added. The painter of things no one ever sees, of paradises, of fish in angry seas, raging beasts in foreign lands, devils and demons — the painter abandons himself to his fancies and paints to terrify and astonish. What does it matter if the results seem somewhat remote from real life? It is not so with the things we know, mountains, streams, houses near and like our own. The soft, unspoiled, wooded hills must be painted layer on layer, the details added gently, quietly, to give a sense of affectionate familiarity. And the foreground too, the garden inside the walls, the arrangement of the stones and grasses and waters. It is here that the master has his own power. There are details a lesser painter cannot imitate.

“Or let us look at calligraphy. A man without any great skill can stretch out this line and that in the cursive style and give an appearance of boldness and distinction. The man who has mastered the principles and writes with concentration may, on the other hand, have none of the eye-catching tricks; but when you take the trouble to compare the two the real thing is the real thing.

“So it is with trivialities like painting and calligraphy. How much more so with matters of the heart! I put no trust in the showy sort of affection that is quick to come forth when a suitable occasion presents itself. Let me tell you of something that happened to me a long time ago. You may find the story a touch wanton, but hear me through all the same.”

He drew close to Genji, who awoke from his slumber. Tō no Chūjō, chin in hand, sat opposite, listening with the greatest admiration and attention. There was in the young man’s manner something slightly comical, as if he were a sage expostulating upon the deepest truths of the universe, but at such times a young man is not inclined to conceal his most intimate secrets.

“It happened when I was very young, hardly more than a page. I was attracted to a woman. She was of a sort I have mentioned before, not the most beautiful in the world. In my youthful frivolity, I did not at first think of making her my wife. She was someone to visit, not someone who deserved my full attention. Other places interested me more. She was violently jealous. If only she could be a little more understanding, I thought, wanting to be away from the interminable quarreling. And on the other hand it sometimes struck me as a little sad that she should be so worried about a man of so little account as myself. In the course of time I began to mend my ways.

“For my sake, she would try to do things for which her talent and nature did not suit her, and she was determined not to seem inferior even in matters for which she had no great aptitude. She served me diligently in everything. She did not want to be guilty of the smallest thing that might go against my wishes. I had at first thought her rather strong-willed, but she proved to be docile and pliant. She thought constantly about hiding her less favorable qualities, afraid that they might put me off, and she did what she could to avoid displaying herself and causing me embarrassment. She was a model of devotion. In a word, there was nothing wrong with her — save the one thing I found so trying.

“I told myself that she was devoted to the point of fear, and that if I led her to think I might be giving her up she might be a little less suspicious and given to nagging. I had had almost all I could stand. If she really wanted to be with me and I suggested that a break was near, then she might reform. I behaved with studied coldness, and when, as always, her resentment exploded, I said to her:‘Not even the strongest bond between husband and wife can stand an unlimited amount of this sort of thing. It will eventually break, and he will not see her again. If you want to bring matters to such a pass, then go on doubting me as you have. If you would like to be with me for the years that lie ahead of us, then bear the trials as they come, difficult though they may be, and think them the way of the world. If you manage to overcome your jealousy, my affection is certain to grow. It seems likely that I will move ahead into an office of some distinction, and you will go with me and have no one you need think of as a rival.’ I was very pleased with myself. I had performed brilliantly as a preceptor.

“But she only smiled.‘Oh, it won’t be all that much trouble to put up with your want of consequence and wait till you are important. It will be much harder to pass the months and the years in the barely discernible hope that you will settle down and mend your fickle ways. Maybe you are right. Maybe this is the time to part.’

“I was furious, and I said so, and she answered in kind. Then, suddenly, she took my hand and bit my finger.

“I reproved her somewhat extravagantly.‘You insult me, and now you have wounded me. Do you think I can go to court like this? I am, as you say, a person of no consequence, and now, mutilated as I am, what is to help me get ahead in the world? There is nothing left for me but to become a monk.’ That meeting must be our last, I said, and departed, flexing my wounded finger.

“‘I count them over, the many things between us.

One finger does not, alas, count the sum of your failures.

“I left the verse behind, adding that now she had nothing to complain about.

“She had a verse of her own. There were tears in her eyes.

“‘I have counted them up myself, be assured, my failures.

For one bitten finger must all be bitten away?’

“I did not really mean to leave her, but my days were occupied in wanderings here and there, and I sent her no message. Then, late one evening toward the end of the year — it was an evening of rehearsals for the Kamo festival — a sleet was falling as we all started for home. Home. It came to me that I really had nowhere to go but her house. It would be no pleasure to sleep alone at the palace, and if I visited a woman of sensibility I would be kept freezing while she admired the snow. I would go look in upon her, and see what sort of mood she might be in. And so, brushing away the sleet, I made my way to her house. I felt just a little shy, but told myself that the sleet melting from my coat should melt her resentment. There was a dim light turned toward the wall, and a comfortable old robe of thick silk lay spread out to warm. The curtains were raised, everything suggested that she was waiting for me. I felt that I had done rather well.

“But she was nowhere in sight. She had gone that evening to stay with her parents, said the women who had been left behind. I had been feeling somewhat unhappy that she had maintained such a chilly silence, sending no amorous poems or queries. I wondered, though not very seriously, whether her shrillness and her jealousy might not have been intended for the precise purpose of disposing of me; but now I found clothes laid out with more attention to color and pattern than usual, exactly as she knew I liked them. She was seeing to my needs even now that I had apparently discarded her.

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