DOCSLIB.ORG

Presentation by Professor Shirane

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Presentation by Professor Shirane Women zin Classical Japanese Literature ▪ “Why Did a Woman Write The Tale of Genji in the 11th Century?” ▪ Haruo Shirane (Columbia University) ▪ 3-31-2021 ▪ Daiwa Anglo-Japanese Foundation Webseminar “Easternz Cottage (Azumaya 東屋), The Tale of Genji Painting Scrolls z Most Famous Heian Women Writers Today ▪ Michitsuna’s Mother 道綱母 (c. 936-995), Kagerō Nikki (Gossamer Diary, c. 974) ▪ Sei Shōnagon 清少納言(c. 966-1025), Pillow Book (Makura no sōshi, ca. 995-1004) ▪ Izumi Shikibu 和泉式部 (b. 976?), Izumi shikibu Diary ( 1002-1003) ▪ Murasaki Shikibu 紫式部 (c. 978--c.1014), Murasaki Shikibu Diary (ca. 1008-1010) and The Tale of Genji (Genji monogatari, ca. 1010?) z Other Known Female Writers Today ▪ Sugawara no Takasue’s daughter (b. 1008), Sarashina Diary (1059) ▪ Akazome’emon, poet, possible author of book 1 of Eiga monogatari (Tale of Flowering Fortunes, vol. 1, 1039) Murasakiz Shikibu composing The Tale of Genji at Ishiyama Temple, by Tosa Mitsuoki (1617-1691) z GENRE HIERARCHY (according to Genji ippon kyo, late 12th c.) ▪ Buddhist Scriptures ▪ Confucian Classics ▪ Historical Chronicles ▪ Chinese poetry and literary prose ▪ Japanese poetry (Kokinshū, ca. 905) ▪ Vernacular (kana) prose Fujiwaraz Kintō (966―1041)’s Thirty-Six Immortal Waka Poets (三十六歌仙) Ono no Komachi (early 9th c.) Lady Ise 伊勢 (ca. 875-c. 938), 176 poems in imperial collections Nakatsuka 中務 (912-991), daughter of Lady Ise and prince Princess Kishi (Yoshiko) 徽子女王 (929-985), imperial consort Koōkimi (Kodai no kimi) 小大君 (940-1005?), lady-in-waiting Lady Ise z(Satake Thirty-Six Immortal Poets, 13th c.?) z Koōkimi (Kodai no kimi) (Satake 36 Immortal Poets, 13th c.) z Heian Period Twelve Layered Robes (Jūni-hitoe) Later Thirtyz -Six Poetic Immortals (Gorokurokusen 後六六撰) (compiled by Fujiwara Norikane in 12th c.) ▪ Murasaki Shikibu 紫式部 ▪ Izumi Shikibu 和泉式部 ▪ Sei Shōnagon 清少納言 ▪ Akazome’emon 赤染衛門 ▪ Ise no taifu 伊勢大輔 ▪ Uma no naishi 馬内侍 z Daughters of Provincial Governors Lady Ise Murasaki Shikibu Sei Shōnagon Izumi Shikibu Sugawara no Takasue’s daughter Known by their “lady-in-waiting names” (e.g. Lady Ise’s “name” taken from her father, who was a governor of Ise Province, Sei Shōnagon’s “name” taken from her father, Kiyohara 清原) Matrilocal marriage system, where property was inherited through the mother; Genji visits his wives, who have their own residences and property z Daughters of scholars/poets ▪ Murasaki Shikibu, daughter of Fujiwara Tametoki (d. 1029), graduate of the university in Chinese literature ▪ Sei Shōnagon, daughter of Kiyohara Motosuke 清原元輔, noted waka poet z Proximity to Power and Court Culture ▪ Establishment of the Fujiwara Regency in mid-Heian period (10th-11th c.) ▪ Leaders of the Northern Fujiwara clan vied to marry their daughters to the emperor as high- level consorts who could produce a royal grandson, allowing the grandfather to rule as regent (while emperor was child) ▪ Fujiwara ministers recruited the best and most educated women to serve and educate their daughters who were in competition to become the mother of a crown prince ▪ Competing court salons z Ladies in Waiting (nyōbō 女房) at Court ▪ Lady Ise served Onshi 温子, empress to Emperor Uda (867-931), great patron of the arts ▪ Koōkimi (Kodai no kimi) served Teruko, consort of Emperor Enyū (959-991) ▪ Murasaki Shikibu served Shōshi 彰子, empress to Emperor Ichijō ▪ Sei Shōnagon served Teishi 定子, empress to Emperor Ichijō ▪ Ise no taifu 伊勢大輔 served Shōshi, empress to Emperor Ichijō ▪ Uma no naishi 馬内侍, served Empress Teishi, empress to Emperor Ichijō z Close interaction with Royalty or Powerful Fujiwara ▪ Lady Ise bore Emperor Uda a son while serving empress Onshi. ▪ Izumi Shikibu had affairs with Prince Tametaka, Prince Atsumichi ▪ Michitsuna’s Mother married to Fujiwara Kaneie (d. 990), future regent ▪ Murasaki Shikibu in direct contact with Fujiwara Michinaga Socialz Hierarchy in Heian Aristocratic Society ▪ Upper rank: Royalty or powerful Fujiwara (high ministers/regents) ▪ Middle rank: provincial governors ▪ Lower rank: aristocracy but did not receive appointments ▪ Asymmetrical power dynamic ▪ Women writers from the middle rank, worked as ladies–in-waiting for upper rank z The Tale of Geniji and Social Status Shining Genji (upper rank) discovers interesting women in the middle and lower rank, but usually leads to suffering for those women (Lady Murasaki, Lady Akashi, Utsusemi, Evening Faces, etc.) Genji also has illicit relationships with upper rank (Fujitsubo) and has unhappy marriages with upper rank women (Lady Aoi, Third Princess) The Tale of Genji glorifies the imperial court in the first part, but in the last part, at Uji, outside the capital, the women leave or reject court life z Ladies in Waiting and the Arts ▪ Ladies-in-waiting highly educated ▪ Skilled in poetry, music, calligraphy, painting, dance, court tales, incense contests ▪ Acted as tutors to female royalty ▪ Murasaki Shikibu probably wrote part of The Tale of Genji for her mistress and her entourage z Role of Classical Poetry (Waka 和歌) Classical Poetry (waka) was the ultimate genre for women Private poetry: exchanges with friends and lovers Public poetry: screen painting poems, poetry contests, poetry for court events Private poetry exchanges became the heart of women’s literature (private poetry collections, literary diaries, prose fiction) z Major Literary Genres and Gender ▪ 1. Waka (31-syllable poetry)---poetic dialogue and interiority, both men and women ▪ 2. Kana diary (nikki)—written by women ▪ 3. Poem-tale (uta-monogatari)—amorous man as protagonist, mainly composed by men ▪ 4. Court tale (monogatari)—Tale of Bamboo Cutter (supernatural), written by men ▪ 5. Sinitic poetry and Chronicles (Nihon shoki), written primarily by men ▪ Women pioneered the kana diaries, which men did not write (except for Ki no Tsurayuki, who pretended to be a woman to write Tosa Diary) ▪ Tosa Diary (ca. 935) by Ki no Tsurayuki (d. 945?): “I intend to see whether a woman z can produce one of those diaries men are said to write.” ▪ Kagerō Diary (971?) by Michitsuna’s Mother (936-95?): “…when she (the author) looks at the odds and ends of the old tales—of which there are so many, they are just so much fantasy—that she thinks perhaps if she were to make a record of a life like her own, being really nobody, it might be novel, and could even serve to answer, should anyone ask, what is it like, the life of a woman married to a highly placed man..” (Sonja Arntzen trans.) ▪ From “Defense of Fiction” in The Tale of Genji. “The histories of Japan are really very one-sided.. Tales don’t describe the events of some person’s life exactly as they happened. But rather that some things one sees and hears about people as they go through life, whether good or evil, whether so intriguing or overwhelming that one cannot shut them all away in one’s heart but wants to pass them on to future generations—and so sets out to tell the story.” (Thomas Harper trans.) z The Tale of Genji as Monogatari by a Woman ▪ Murasaki Shikibu took the interiority and perspective of the women’s diary and applied it to prose fiction which had been written by men and had involved the supernatural. Murasaki Shikibu kept the amorous male protagonist, but developed the perspective of the woman. ▪ Over 700 poems in The Tale of Genji ▪ Every key scene is centered on a poetry exchange or poetic image ▪ Many of the female characters have poetic names (etc. Oborozukiyo, Misty moon evening) z Central Elements of the Basic Scene 1. Residence 2. Human figures on veranda and/or behind hedge 3. External nature 4. Poem or exchange of poems that combines the above three elements Tale of Genji Scrolls, 12th c. “Thez Law” (Minori), Genji and the dying Murasaki Lady Murasaki:z Alas, not for long will you see what you do now: any breath of wind may spill from a hagi frond the last trembling drop of dew. おくと見るほどぞはかなき ともすれば風にみだるる萩のうは露 Genji: When all life is dew and at any touch may go, one drop then the next, how I pray that you and I may leave nearly together! ややもせば消えをあらそふ 露の世におくれ先だつほど経ずもがな (Translation by Royall Tyler, The Tale of Genji), p. 759 z Calligraphic Text Followed by Painting Why Did a Woman Write The Tale of Genji in the early 11th z century? ▪ 1. Emergence of kana syllabary in the 10th century ▪ 2. Growth of vernacular genres, especially waka (poetry), literary diary, monogatari /tale ▪ 3. Women writers play major role waka (poetry) and literary diary ▪ 4. Murasaki Shikibu first woman writer of monogatari, revolutionalized the genre, retooling the tale to create first psychological novel ▪ 5. early 11th c. the Fujiwara regency at its peak, sponsoring multiple cultural salons at the imperial court, with highly educated women knowledgeable in both Japanese and Chinese learning ▪ 6. Court supported scribes, paper, ink (manuscript culture). Enabled extended tale (54 chapters), with highly responsive audience (of royalty and ladies-in-waiting) z Tale of Genji and Its Aftermath z THE END .
Load more

Recommended publications
  • The Hyakunin Isshu Translated Into Danish
    The Hyakunin Isshu translated into Danish Inherent difficulties in translation and differences from English & Swedish versions By Anna G Bouchikas [email protected] Bachelor Thesis Lund University Japanese Centre for Languages and Literature, Japanese Studies Spring Term 2017 Supervisor: Shinichiro Ishihara ABSTRACT In this thesis, translation of classic Japanese poetry into Danish will be examined in the form of analysing translations of the Ogura Hyakunin Isshu. Difficulties will be surveyed, and ways of handling them will be suggested. Furthermore, differences between the Danish translations and those of English and Swedish translations will be noted. Relevant translation methods will be presented, as well as an introduction to translation, to further the understanding of the reader in the discussion. The hypothesis for this study was that when translating the Hyakunin Isshu into Danish, the translator would be forced to make certain compromises. The results supported this hypothesis. When translating from Japanese to Danish, the translator faces difficulties such as following the metre, including double meaning, cultural differences and special features of Japanese poetry. To adequately deal with these difficulties, the translator must be willing to compromise in the final translation. Which compromises the translator must make depends on the purpose of the translation. Keywords: translation; classical Japanese; poetry; Ogura Hyakunin Isshu; Japanese; Danish; English; Swedish ii ACKNOWLEDGEMENTS First of all, I would like to thank both of my informants for being willing to spend as much time helping me as they have. Had they not taken the time they did to answer all of my never- ending questions, surely I would still be doing my study even now.
    [Show full text]
  • “Hyakunin Isshu” – the Most Famous Anthology of Poems 2018.11.1(Thu) – 2019.５.12(Sun)
    “Hyakunin Isshu” – the most famous anthology of poems 2018.11.1(Thu) – 2019.５.12(Sun) “Hyakunin Isshu” (One Hundred Poets, One Poem Each) – is a famous anthology of Japanese Waka poems. It is a collection of one hundred original poems spanning one hundred poets. However, the one edited by Fujiwara no Teika (1162 – 1241) in the 13th century Kamakura period became so popular that Teika’s edition has been simply called “Hyakunin Isshu” since then. Teika’s edition is also called “Ogura Hyakunin Isshu”, as it is said that Teika chose them in his cottage at the foot of Mt. Ogura, which is located near this museum. Saga Arashiyama is the home of “Hyakunin Isshu” which gave a great influence on Japanese culture, even on the modern culture such as manga or anime. In this exhibition, you can learn its history and 100 poems with pretty dolls representing all poets. All the exhibits have English translation. We hope you enjoy the world of “Hyakunin Isshu.” Admission Fee: Individual Group (over 20) Adults (> 19) 900 800 High School Students (16 to 18) 500 400 Elementary & Junior High School Students 300 250 (7 to 15) A person with disability and an attendant 500 400 Children under the age of 7 are free Including admission fee for the special exhibition Membership: Annual Fee 3,000 yen One annual passport per member(free entrance for SAMAC) Discount for paid events at SAMAC Free English Guide Tour for a group (about 30min) Reservation required in advance Access: Nice 3 minutes walk from Togetsu bridge, next to the Luxury Collection Suiran hotel Close to Chou En Lai Monument and Hogoin Temple 5 minutes walk from Randen Arashiyama Station 15 minutes walk from JR Saga Arashiyama Station / Hankyu Arashiyama Station 11 Sagatenryuji-Susukinobabacho 11, Ukyo-ku, Kyoto 616-8385 SAMAC Contact: [email protected] +81-75-882-1111 (English speaker available) .
    [Show full text]
  • Japanese Aesthetics and the Tale of Genji Liya Li Department of English SUNY/Rockland Community College [email protected] T
    Japanese Aesthetics and The Tale of Genji Liya Li Department of English SUNY/Rockland Community College [email protected] Table of Contents 1. Themes and Uses 2. Instructor’s Introduction 3. Student Readings 4. Discussion Questions 5. Sample Writing Assignments 6. Further Reading and Resources 1. Themes and Uses Using an excerpt from the chapter “The Sacred Tree,” this unit offers a guide to a close examination of Japanese aesthetics in The Tale of Genji (ca.1010). This two-session lesson plan can be used in World Literature courses or any course that teaches components of Zen Buddhism or Japanese aesthetics (e.g. Introduction to Buddhism, the History of Buddhism, Philosophy, Japanese History, Asian Literature, or World Religion). Specifically, the lesson plan aims at helping students develop a deeper appreciation for both the novel and important concepts of Japanese aesthetics. Over the centuries since its composition, Genji has been read through the lenses of some of the following terms, which are explored in this unit: • miyabi (“courtly elegance”; refers to the aristocracy’s privileging of a refined aesthetic sensibility and an indirectness of expression) • mono no aware (the “poignant beauty of things;” describes a cultivated sensitivity to the ineluctable transience of the world) • wabi-sabi (wabi can be translated as “rustic beauty” and sabi as “desolate beauty;” the qualities usually associated with wabi and sabi are austerity, imperfection, and a palpable sense of the passage of time. • yûgen (an emotion, a sentiment, or a mood so subtle and profoundly elegant that it is beyond what words can describe) For further explanation of these concepts, see the unit “Buddhism and Japanese Aesthetics” (forthcoming on the ExEAS website.) 2.
    [Show full text]
  • Reading the Miraculous Powers of Japanese Poetry Spells, Truth Acts, and a Medieval Buddhist Poetics of the Supernatural
    Japanese Journal of Religious Studies 32/: –33 © 2005 Nanzan Institute for Religion and Culture R. Keller Kimbrough Reading the Miraculous Powers of Japanese Poetry Spells, Truth Acts, and a Medieval Buddhist Poetics of the Supernatural The supernatural powers of Japanese poetry are widely documented in the lit- erature of Heian and medieval Japan. Twentieth-century scholars have tended to follow Orikuchi Shinobu in interpreting and discussing miraculous verses in terms of ancient (arguably pre-Buddhist and pre-historical) beliefs in koto- dama 言霊, “the magic spirit power of special words.” In this paper, I argue for the application of a more contemporaneous hermeneutical approach to the miraculous poem-stories of late-Heian and medieval Japan: thirteenth- century Japanese “dharani theory,” according to which Japanese poetry is capable of supernatural effects because, as the dharani of Japan, it contains “reason” or “truth” (kotowari) in a semantic superabundance. In the first sec- tion of this article I discuss “dharani theory” as it is articulated in a number of Kamakura- and Muromachi-period sources; in the second, I apply that the- ory to several Heian and medieval rainmaking poem-tales; and in the third, I argue for a possible connection between the magico-religious technology of Indian “Truth Acts” (saccakiriyā, satyakriyā), imported to Japan in various sutras and sutra commentaries, and some of the miraculous poems of the late- Heian and medieval periods. keywords: waka – dharani – kotodama – katoku setsuwa – rainmaking – Truth Act – saccakiriyā, satyakriyā R. Keller Kimbrough is an Assistant Professor of Japanese at Colby College. In the 2005– 2006 academic year, he will be a Visiting Research Fellow at the Nanzan Institute for Religion and Culture.
    [Show full text]
  • The Case of Sugawara No Michizane in the ''Nihongiryaku, Fuso Ryakki'' and the ''Gukansho''
    Ideology and Historiography : The Case of Sugawara no Michizane in the ''Nihongiryaku, Fuso Ryakki'' and the ''Gukansho'' 著者 PLUTSCHOW Herbert 会議概要（会議名, Historiography and Japanese Consciousness of 開催地, 会期, 主催 Values and Norms, カリフォルニア大学 サンタ・ 者等） バーバラ校, カリフォルニア大学 ロサンゼルス校, 2001年1月 page range 133-145 year 2003-01-31 シリーズ 北米シンポジウム 2000 International Symposium in North America 2014 URL http://doi.org/10.15055/00001515 Ideology and Historiography: The Case of Sugawara no Michizane in the Nihongiryaku, Fusi Ryakki and the Gukanshd Herbert PLUTSCHOW University of California at Los Angeles To make victims into heroes is a Japanese cultural phenomenon intimately relat- ed to religion and society. It is as old as written history and survives into modem times. Victims appear as heroes in Buddhist, Shinto, and Shinto-Buddhist cults and in numer- ous works of Japanese literature, theater and the arts. In a number of articles I have pub- lished on this subject,' I tried to offer a religious interpretation, emphasizing the need to placate political victims in order to safeguard the state from their wrath. Unappeased political victims were believed to seek revenge by harming the living, causing natural calamities, provoking social discord, jeopardizing the national welfare. Beginning in the tenth century, such placation took on a national importance. Elsewhere I have tried to demonstrate that the cult of political victims forced political leaders to worship their for- mer enemies in a cult providing the religious legitimization, that is, the mainstay of their power.' The reason for this was, as I demonstrated, the attempt leaders made to control natural forces through the worship of spirits believed to influence them.
    [Show full text]
  • © in This Web Service Cambridge University
    Cambridge University Press 978-1-107-02903-3 - The Cambridge History of Japanese Literature Edited by Haruo Shirane and Tomi Suzuki Index More information Index Abbot Rikunyo (1734–1801), 465 Ukiyo monogatari (Tales of the Floating Abe Akira (1934–89), 736 World, 1661), 392 Abe Kazushige (b. 1968), 765, 767 Atsumori, 8, 336, 343 Abe Ko¯bo¯(1924–93), 701, 708, 709, 760 aware (pathos), 80, 138, 239, 299, 474, 486 Adachigahara, 339 Ayukawa Nobuo (1920–86), 717 akahon (red books), 510–22 Azuma nikki (Eastern Diary, 1681), 409 Akazome Emon, 135, 161, 170, 193–7 Azumakagami, 201 Akimoto Matsuyo (1911–2001), 708 azuma-uta (eastland songs), 77, 79, 82, 111 Akizato Rito¯(?–1830), 524 To¯kaido¯ meisho zue (Illustrated Sights of Backpack Notes. See Matsuo Basho¯ the To¯kaido¯, 1797), 524–5 Bai Juyi (or Bo Juyi, J. Haku Kyoi or Haku Akutagawa Ryu¯nosuke (1892–1927), 286, 630, Rakuten, 772–846), 124 639, 669, 684, 694–5, 700 Baishi wenji (Collected Works of Bai Juyi, ancient songs, 25, 26, 28–9, 37, 40–4, 52, 57–8, J. Hakushi monju¯ or Hakushi bunshu¯, 60; see also kiki kayo¯ 839), 184–6, 283 Ando¯ Tameakira (1659–1716), 138, 480 Changhen-ge (Song of Never-Ending Shika shichiron (Seven Essays of Sorrow, J. Cho¯gonka, 806), 152 Murasaki, 1703), 138 Baitei Kinga (1821–93), 530 anime, 729, 764 bakufu (military government), 95, 201, 211–12, Anzai Fuyue (1898–1965), 684, 714–15 215, 216, 295, 297, 309, 312, 314, 348–9, aohon (green books), 510–22 374–6, 377–8, 388, 389, 393–5, 419, 432–3, Aono Suekichi (1890–1961), 658–9 505–7, 520–2, 532–3 Arai Hakuseki (1657–1725), 4, 461, 546 banka (elegy), 54, 63–4, 76, 77, 83 Arakida Moritake (1473–1549), 326 banzuke (theater programs), 391, 425, 452 Arakida Reijo (1732–1806), 377 Battles of Coxinga.
    [Show full text]
  • 6489 a Paper Panel Painted in Ink and Colour on a Gold Ground with Scenes from Ise Monogatari (The
    6489 A paper panel painted in ink and colour on a gold ground with scenes from Ise Monogatari (the Tales of Ise) Japan Edo period 18th century Dimensions: H.17¾” x W.14½” (44.75 cm x 36.5 cm) This painting depicts two connected scenes from the 10th century literary classic, the Tales of Ise, the lower half illustrating Episode 23 and the upper half Episode 24. The ‘Tale of Ise' (Ise monogatari), 10th century is one of the most important texts of Japanese literature. It is a loose collection of medieval Japanese poems with brief prose introductions. This anonymous work is the oldest in the uta monogatari, or “poem tale,” genre. Although composed mostly of waka, a Japanese poetic form, the prose prefaces to these poems give the work a unique flavour, anticipating later developments in Japanese literature. Most of the poems deal with the amorous exploits of an unnamed lover, who is traditionally, identified as Ariwara no Narihira (825-80), one of the six “saints” of Japanese poetry. Ever since the 11th century, when the ‘Tales of Ise' came to be seen as a kind of cultural icon, generations of scholars and writers have been puzzling over the numerous problems the text poses. While some may read the episodes as semi-biographical account of the romantic pursuits of Ariwara no Nahira; others have hailed the text as expressions of ‘true Japanese spirit'. There are 209 poems comprising the 125 sections of the work, and each section is a clever and elegant meditation on love outside of marriage.
    [Show full text]
  • A COMPARISON of the MURASAKI SHIKIBU DIARY and the LETTER of ABUTSU Carolina Negri
    Rivista degli Studi Orientali 2017.qxp_Impaginato 26/02/18 08:37 Pagina 281 REFERENCE MANUALS FOR YOUNG LADIES-IN-WAITING: A COMPARISON OF THE MURASAKI SHIKIBU DIARY AND THE LETTER OF ABUTSU Carolina Negri The nature of the epistolary genre was revealed to me: a form of writing devoted to another person. Novels, poems, and so on, were texts into which others were free to enter, or not. Letters, on the other hand, did not exist without the other person, and their very mission, their signifcance, was the epiphany of the recipient. Amélie Nothomb, Une forme de vie The paper focuses on the comparison between two works written for women’s educa- tion in ancient Japan: The Murasaki Shikibu nikki (the Murasaki Shikibu Diary, early 11th century) and the Abutsu no fumi (the Letter of Abutsu, 1263). Like many literary docu- ments produced in the Heian (794-1185) and in the Kamakura (1185-1333) periods they describe the hard life in the service of aristocratic fgures and the difculty of managing relationships with other people. Both are intended to show women what positive ef- fects might arise from sharing certain examples of good conduct and at the same time, the inevitable negative consequences on those who rejected them. Keywords: Murasaki Shikibu nikki; Abutsu no fumi; ladies-in.waiting; letters; women’s education 1. “The epistolary part” of the Murasaki Shikibu Diary cholars are in agreement on the division of the contents of Murasaki Shikibu nikki (the Murasaki Shikibu Diary, early 11th century) into four dis- Stinct parts. The frst, in the style of a diary (or an ofcial record), presents events from autumn 1008 to the following New Year, focusing on the birth of the future heir to the throne, Prince Atsuhira (1008-1036).
    [Show full text]
  • Murasaki Shikibu: a Reign of One Thousand Years Christine Cousins
    Murasaki Shikibu: A Reign of One Thousand Years Christine Cousins Genji, the Shinning Prince, is a master of painting, music, calligraphy, and poetry, and as such would surely have recognized the mastery in Murasaki Shikibu's writing. The success of Murasaki's fictional Tale of Genji over the next thousand years, as demonstrated by the ten thousand books on the subject by the 1960s, cannot simply be the result of the peculiarity of a woman writer.1 Indeed, the evolution of literature during the Heian time period and its connections to Chinese influences contributed to a phenomenon in which woman were the predominant literary producers.2 A component of Genji's success can be attributed to Murasaki's innovative use of literary form through the previously unknown novel, but even one thousand years later, when the novel is not revolutionary, the work is still part of Japanese culture. Murasaki's execution in writing her work is another necessary component to Genji's success, since her skill in portraying the complex interconnections of the Heian period, as well as her plot and characters, underlie the tale’s merit. People have found value in this work for centuries, but Genji's legacy can be distinctly seen in the significance it has accrued in Murasaki's country during times of increasing modernization and Western influence. Translations of the tale into modern Japanese, including those by Yosano Akiko, preserve a national identity, particularly as it relates to literature and culture. Murasaki utilized the opportunities available to her as a woman in the Heian period to create a master work that would, over the course of a thousand years, influence the very form of culture in Japan.
    [Show full text]
  • Ordinary Women: Murasaki Shikibu
    ActivityORDINARY WOMEN: Sheet MURASAKI SHIKIBU SUMMARY STOPPING POINTS/VIDEO BREAKDOWN “In 10th century Japan, literary prodigy 0:25 Introduction to Murasaki Murasaki Shikibu wrote the first modern 0:45 A cloistered world novel at a time when women’s names 1:00 Literate background were rarely even written down.” 1:30 Tale of Genji “The Tale of Genji is often considered the 1:55 Multifaceted female characters first modern novel because Murasaki 2:30 Issues of fame offered readers not just a chronicle of 2:50 History of women writing events, but deep psychological insight into the characters and their inner lives. Her story made history because it was more than just a story: It was a complex literary portrait of what it means to be human.” DISCUSSION QUESTIONS & THEMES 1. Murasaki Shikibu was born to an aristocratic Japanese family around 970, when aristocratic women were kept hidden from society and “shielded from public view”. Although this practice is not commonplace today, how might we compare contemporary times and phenomena to that of Shikibu’s experience in an “intensely cloistered world”? For example, comparing the still-present and highly problematic societal expectation that women stay at home and give up careers in order to raise a family. 2. Consider her father’s response to Shikibu’s literary talents: “Just my luck. What a pity she was not born a man.” Why would he have reacted this way? How else can we identify a favouring of sons in contemporary cultures throughout the world? 3. Although about a male character, Shikibu’s novel offers valuable insight into what it was like to be a woman in her time through the presence of “multifaceted female characters.” How do novels and other works of art help us begin to understand the experiences of others? 4.
    [Show full text]
  • Japanese Studies Review, Vol. XX (2016), Pp
    ISSN: 1500-0713 ______________________________________________________________ Article Title: Performing Prayer, Saving Genji, and Idolizing Murasaki Shikibu: Genji Kuyō in Nō and Jōruri Author(s): Satoko Naito Source: Japanese Studies Review, Vol. XX (2016), pp. 3-28 Stable URL: https://asian.fiu.edu/projects-and-grants/japan-studies- review/journal-archive/volume-xx-2016/naito-satoko- gkuyojoruri_jsr.pdf ______________________________________________________________ PERFORMING PRAYER, SAVING GENJI, AND IDOLIZING MURASAKI SHIKIBU: GENJI KUYŌ IN NŌ AND JŌRURI1 Satoko Naito University of Maryland, College Park Introduction The Murasaki Shikibu daraku ron [lit. “Story of Murasaki Shikibu’s Fall] tells that after her death Murasaki Shikibu (d. ca. 1014) was cast to hell.2 The earliest reference is found in Genji ipponkyō [Sutra for Genji] (ca. 1166), which recounts a Buddhist kuyō (dedicatory rite) performed on her behalf, with the reasoning that the Heian author had been condemned to eternal suffering in hell for writing Genji monogatari [The Tale of Genji] (ca. 1008). Though Genji ipponkyō makes no explicit claim to the efficacy of the kuyō, its performance is presumably successful and saves the Genji author. In such a case the earliest extant utterance of the Murasaki-in-hell story is coupled with her subsequent salvation, and the Genji author, though damned, is also to be saved.3 It may be more accurate, then, to say that the Murasaki Shikibu daraku ron is about Murasaki Shikibu’s deliverance, rather than her fall (daraku). Through the medieval period and beyond, various sources recounted the execution of kuyō rites conducted for The Tale of Genji’s author, often initiated and sponsored by women.4 Such stories of Genji kuyō 1 Author’s Note: I thank those who commented on earlier versions of this paper, in particular D.
    [Show full text]
  • The Thirty-Six Immortals of Poetry
    The Thirty-Six Immortal Poets of Japan Source: http://en.wikipedia.org/wiki/Thirty-six_Immortals_of_Poetry The Thirty-six Immortals of Poetry (三十六歌 仙 Sanjrokkasen?) are a group of Japanese poets of the Nara, Asuka and Heian periods (7th – 12th centuries) selected by Fujiwara no Kint2 as exemplars of Japanese poetic ability. There are five female poets among them. Sets of portraits (essentially imaginary) of the group were popular in Japanese painting and later woodblock prints, and often hung in temples. The thirty-six poets were favorite subjects of artists into the 21st century. The above web site has links to each individual with at least one portrait of the poet. Many links, such as for Awariwara no Narihira and Ono no Komachi have extensive information and a number of artworks. Helen’s favorite poems: Is there no moon? And is this springtime not the spring Of times gone by? Myself alone remaining Still the self it was before? Ariwara no Narihira http://en.wikipedia.org/wiki/Ariwara_no_Narihira While I've been waiting For the moon to rise toward dawn And shed its light, The night wherein I pass my days Has reached an hour sorely late. Fujiwara no Nakafumi http://en.wikipedia.org/wiki/Fujiwara_no_Nakafumi Who now remains For me to claim as one I know? For the ancient pine Of Takasago was not, alas, Among my childhood friends. Fujiwara no Okikaze http://en.wikipedia.org/wiki/Fujiwara_no_Okikaze In the world below Where it seems a hard day's work To get through our lives, How one envies the cool moon Dwelling so pure in the sky! Fujiwara no Takamitsu http://en.wikipedia.org/wiki/Fujiwara_no_Takamitsu 36 Immortal Poets’ Poems 1 How shall I wait Long enough to see him come To Miwa Mountain? I know well the years will pass And there will be no visitor.
    [Show full text]