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The Tale of Genji

Murasaki Shikubu

The Women of the Radiant Prince
ryin@middlebury.edu
Widely renowned as the world’s first novel and a cornerstone of Japanese literature, Murasaki Shikubu’s (c. 973 or 978 – c. 1014 or 1031) The Tale of Genji delivers a unique portrayal of the rigid yet complex lifestyle of Japanese nobility during the Heian Period (c. 794 – 1185) The tale centers around the Radiant ... read more

Widely renowned as the world’s first novel and a cornerstone of Japanese literature, Murasaki Shikubu’s (c. 973 or 978 – c. 1014 or 1031) The Tale of Genji delivers a unique portrayal of the rigid yet complex lifestyle of Japanese nobility during the Heian Period (c. 794 – 1185) The tale centers around the Radiant Prince––Genji––and all the amorous escapades throughout his lifetime. In Japanese history, The Tale of Genji was praised by scholars as an exemplary collection of waka––a Japanese poem containing 31 syllables, finding value in what it offered didactically for literary composition and the role of women. Modern reexaminations of the tale, however, acknowledge that another aspect that sets The Tale of Genji apart from other literature in this time period is the psychological nuance of the characters within the story.

The capacity of the characters to adapt to events and situations allowed a narrative in the form of a novel to take shape. For instance, while Genji’s inclination towards lustful romance remains a constant throughout the story, we see the all the subtle ways in which his various experiences with death, longing, jealousy, and unrequited love influence him and his decisions. Not just Genji, but all the characters in the tale are dynamic. This is why Genji’s principal counterpart in the tale, Murasaki, takes the spot as the story’s most fascinating character for me. Forcibly taken in by Genji at a young age, we are able to see all the compelling and tragic ways in which Murasaki changes throughout her life as she transitions from daughter to lover to wife. Ultimately, The Tale of Genji combines prose and poetry to present a credible representation of the human condition in Heian Japan.

What I appreciated most in The Tale of Genji was the mastery of language and beautiful imagery within its poetry. When thinking back to the tale, I always find myself visualizing images: a molted cicada shell, wet sleeves, evening dew, radiant moonlight. What drew me into the story was the profound and poignant connection to nature. However, though I could admire The Tale of Genji’s aesthetic descriptions, I constantly felt a sense of disconnection from story and the characters. Feelings of grief, regret, and longing were relatable to me, but for the most part I felt like I was watching the story unfold, as opposed to being swept up in it. This isn’t necessarily a criticism, but more so an acknowledgement of the necessity of separation with the story, given the various differences between Heian Japan and modern day. There were many times where a particular event in the story––instances of sexual harassment and assault, or adherence to strict social conventions––shattered any sense of personal immersion in the tale. More often than not, I found myself rooting against Genji and would feel disappointed time and time again whenever women yielded to his amorous proclivities.

The Tale of Genji became far more interesting to me when I stopped viewing it as a story of the Radiant Prince, and instead as the story of his women instead. Adopting a wider view, I realized that the people changing most were the women in the tale. Genji goes through a lot––the death of his spouses, suffering from vengeful spirits, being exiled––but his actions show he mostly stays the same playboy the whole time. On the other hand, women like Murasaki, Fujitsubo, the Rokujo Lady, Aoi, and the Akashi Lady are forced to adapt to their circumstances after yielding to Genji. They experience Genji’s fleeting affection, relocation from their homes, jealousy and anger towards other women, and overall change in ways that Genji doesn’t. My favorite parts of the tale are the moments in which I can clearly see how and when characters have changed, for the better or worse, after interacting with Genji. To me, the protagonists of the story are the ensemble of women in the tale.

While The Tale of Genji has a lot to offer, I wouldn’t recommend it to the average reader. First off, the tale is not necessarily an enjoyable read per say, but a more mind-provoking one. In other words, there are issues and events in the story that will make the reader think, but not necessarily engage or excite them. Given the length of the piece, this could present an issue to many readers. Additionally, The Tale of Genji also touches on a number of uncomfortable topics––by modern standards––in potentially insensitive ways. Thus, it is important for any reader of the tale to have an idea of the context and social conventions of the Heian period to fully grasp the story. It would be beneficial if readers have something to pay attention to while reading the story to stay engaged, whether it be the lifestyle of the nobility, the descriptive language in waka, major themes that continue to exist in modern times, or the women in the tale.

If I were to rate The Tale of Genji, I would evaluate it by two standards: enjoyability and didacticism. For the former, I would give the tale a two or a three out of five. Personally, I didn’t really feel satisfied when reading story. Most times, I would find myself criticizing the characters and customs of the time period, unable to disregard the problematic qualities present. For the latter, I would give the tale a five. There is an abundance of aspects of the story to analyze and learn from as a piece of literature, a glimpse into history, and an exploration of the human condition. It may be a bit of a dense read, but if you are truly interested in learning about the Heian period and the origin of various themes prevalent in modern Japan, I would definitely recommend The Tale of Genji.

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Longing for Love: A Review of The Tale of Genji’s “Kírítsubo” and “Yugao”
pchase@middlebury.edu
At first sight of The Tale of Genji (c. 1009), readers may shy away from its daunting fifty-four chapters, doubting the true value of reading a text written thousands of years ago in a foreign country. Adhering to its reputation as a Japanese literature classic, Murasaki Shikibu (c. 973 or 978 – c. 1014 or ... read more

At first sight of The Tale of Genji (c. 1009), readers may shy away from its daunting fifty-four chapters, doubting the true value of reading a text written thousands of years ago in a foreign country. Adhering to its reputation as a Japanese literature classic, Murasaki Shikibu (c. 973 or 978 – c. 1014 or 1031) combination of narrative and waka poetry – the traditional Japanese style consisting of 31 syllables distributed into 5/7/5/7/7 arrangements -- blends to reflect the entanglement of passion and human emotion within the aristocratic structure of early Japanese culture. The Tale of Genji, while seemingly unconnected to our modern world, provides a beautiful insight into the complexities of love and social hierarchy during the Japanese Heian period (c. 794-1185).

Written by Murasaki Shikibu around the beginning of the 11th century, the Tale of Genji is the most prominent representative of the Heian monogatari classics, reflecting the trend of increasing narration with occasional poetry throughout the text. The historical context of Murasaki’s work requires an additional understanding of major characters and social and hierarchal customs during the Heian period. Once overcoming this contextual barrier, The Tale of Genji is an enjoyable read of romance and psychology in early Japanese history. Saturated with beautiful language and natural imagery, even just two chapters of the entire book establish its presence as a literary classic. Murasaki opened my eyes to a rigid social hierarchy ingrained with complex psychological desires and aristocratic beliefs.

Chapter one, “The Lady of the Paulownia-Courtyard,” introduces the readers to the Emperor and his relationship with Kírítsubo. The Emperor favors her above the rest of his consorts for her captivating beauty, a feature reflected in their son, Genji. However, as a woman of common lineage, Kírítsubo falls victim to hostility and jealousy from the Emperor’s other wives and dies shortly after the chapter begins. Overcome with misery and loneliness, “his days passed in a meaningless blur… it was truly an autumn drenched by a dew of tears” (7). The debilitating effect of Kírítsubo’s death on the Emperor illustrates the depiction of love as an overwhelming force connected with a sense of longing throughout the Tale of Genji.

“Yugao,” the fourth chapter of the text, describes Genji’s growing desire and curiosity for “The Lady of Evening Faces.” After disguising himself as a member of the lower class to meet her, they establish a secretive relationship in which Genji hides his face and the woman conceals her identity. Similar to the Emperor, his love for the lady consumes Genji. He writes to her, “I wonder…did lovers in olden days / Lose their way in such torments of passion?” (75). His expression of passion as “tormenting” demonstrates Murasaki’s portrayal of love as obsessive and dominating.

Throughout both “Kírítsubo” and “Yugao”, love is presented as a consuming force, toying with the characters’ emotions. Instead of illustrating a story of romance in a positive light, love is associated with longing, sadness, and grief. Both the Emperor and Genji experience intense despair in longing for their loved ones, even breaching hierarchal customs after death or in search of their lovers. To emphasize the power of love, Murasaki also incorporates such devotion as an everlasting force through references to past and future lives. This dark, almost uncontrollable nature of love can be expanded to include all emotions, from hatred to jealousy to joy.

Although customs and technologies have evolved since the Heian period, emotions and their influence within families, partnerships, and communities remain a fundamental feature of human nature.  Combining elements of Heian court culture, passion, secrecy, and pain, Murasaki gracefully constructs a classic piece of Japanese literature. Despite the book’s intimidating length, the delegate fusion of narration and poetry creates an enjoyable read that I would highly recommend.

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The World's First Novel?
nzambranoromero@middlebury.edu
The allure of being labeled as the first or existing within that broad umbrella term is one that most, if not all, want to claim. When it comes to literary works, falling under this term places you in a unique position, it labels you as a classic, as a piece of literary history, and as ... read more

The allure of being labeled as the first or existing within that broad umbrella term is one that most, if not all, want to claim. When it comes to literary works, falling under this term places you in a unique position, it labels you as a classic, as a piece of literary history, and as a point of reference for the countless discourses ahead. This is the exact position that Murasaki Shikibu’s Tale of Genji falls under as one of the first recorded novels in history. For this reason, I recommend to anyone to delve into the concoction of poems and stories that make up the Tale of Genji.

 

Written by the lady-in-waiting, Murasaki Shikibu(1008AD) , the Tale of Genji  is a work of concocted poems and narratives written during the early 11th century of the Heian period (794-1185). The tale centers on our main character, Genji, who is the son of both Emperor Kiritsubo and a lower ranking aristocrat, Lady Kiritsubo. The tale focuses on Genji’s journey. It recounts his early life, along with the political challenges he experiences being someone born to a lower ranking imperial consort, but still as a figure in the line of succession. Upon his turn into adulthood, as the tale delves into Genji's romantic life and customs of contemporary aristocratic society, we beging to see how poetry was used during this period. We are given a glimpse into what Heian society would entail,  specifically in terms of Genji’s political ambitions, where his aim, and dare I say destiny, is to reach the highest echelons of political power, short of becoming an emperor.  

 

The story as a whole is an excellent depiction of what aristocratic Heian society would have looked like, and its various translations over the years have helped to polish and adapt the emotions and literal words used by Murasaki Shikibu. Most of all, the current translation helped to break down the barriers that were most prevalent for a work of that time period. It presented us with an insight into the true emotions revolving around death, a taboo topic, even now, in Japan, and, most critically, death within a royal setting. The modernity of the translation, by Dennis Washburn, provided a proper way to understand these emotions, though, admittedly, at the cost of contemporary authenticity. Regardless of this, having the poems in full provided me with the experience that many contemporary readers would not have had. The opportunity to read it in one sitting, and for leisure, rather than for its style, and to learn from it. From my own experience, I found the narrative of the tale to be not only entertaining but informative, as it helped me understand what would have been customary during Genji’s time. Genji, to me, serves as an example of what may be expected during that time, his actions, thoughts, and decisions are a culmination of what the Heian aristocracy was like. 


Murasaki Shikibu’s court tale is a must-read for anyone interested in understanding the history and culture of 11th century Japan, and for those who want a glimpse into one of the earliest novels in history. The Tale of Genji earns its title as a classic, and as a framework to what the novel is embodied around. It helped shape later Heian literature, and I hope it can help guide your future readings, the way it did for me. The Tale of Genji earns 5 stars out of 5 in my literary rankings.

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Love and Limitations in The Tale of Genji
rpessah@middlebury.edu
The pain of loss is tied to admiration. Murasaki Shikibu’s The Tale of Genji, written in the early 11th century, is a story that follows a man endowed with extraordinary beauty and charm who engages in various love affairs yet struggles to find lasting happiness. Genji, the son of an emperor and a woman of ... read more

The pain of loss is tied to admiration. Murasaki Shikibu’s The Tale of Genji, written in the early 11th century, is a story that follows a man endowed with extraordinary beauty and charm who engages in various love affairs yet struggles to find lasting happiness. Genji, the son of an emperor and a woman of low status, navigates the trials and tribulations of relationships within an aristocracy during the Heian period (794–1185). Losing his mother at a young age, Genji's heart ached with wistful longing when he heard the imperial household staff remark that his young stepmother, Fujitsubo, resembled her closely. He had been drawn to her, and the anguish caused by his feelings for her was excruciating. 

Though this is a summary of chapter 1, it is evident from this synopsis that this story has a lot to unpack. This was not the first time Genji found admiration for a woman, as this tale is marked by a series of complex relationships that show how Genji faces both the beauty and pain of love. Genji’s admiration for a woman, intertwined with limitations, reveal the challenges of maintaining a relationship in Heian aristocracy–societal expectations and secrecy complicate genuine connections and the role of intermediaries further emphasizes this dynamic by facilitating communication while reinforcing the constraints imposed by social norms. 

These aspects of love and its limitations make Genji relatable to readers. I think that his emotional depth is what truly endears him; his affairs are often uncontrollable and lead to heartbreak. The Heian period's social norms, as seen in The Tale of Ise (late 10th century) and The Diary of Izumi Shikibu (1003 CE), emphasize the separation of men and women, adding complexity to Genji’s romantic pursuits, particularly with Yūgao in chapter 4. “An affair between a woman her age and a young man was not proper, and she was terrified that their relationship would be discovered and she would become an object of common gossip” (Shikibu 68). Genji’s and Yūgao’s need to keep their relationship secret due to societal pressures intensifies their struggles and highlights the power imbalances within society in their interactions.

Additionally, I find that the role of intermediaries in the story adds a fascinating dimension to the tale. In Chapter 4, "The Lady of the Evening Faces," Ukon and Koremitsu are key in helping Genji and the mysterious woman, Yūgao, start their romance. They discreetly pass messages, set up meetings, and help the two lovers, who are initially shy about revealing their identities, maintain the secrecy and intrigue of their relationship. By using messengers, Genji can pursue his interest in Yūgao without risking his social status or revealing his identity to potential rivals or jealous parties. I find this almost relatable in friend groups today, where intermediaries often help facilitate connections and navigate relationships. Just as Ukon and Koremitsu help Genji and Yūgao maintain secrecy, I often find myself in a similar role, passing messages and arranging meet-ups for my friends. This allows them to explore their feelings for others without directly facing potential judgment or conflict.

 

Readers will likely find that this tale resonates with their own experiences of love and longing, making it a valuable exploration of the intricacies of emotion and desire. Personally, I appreciated its intricacy in highlighting how difficult it is to maintain relationships within the aristocracy during the Heian period. The gender roles, secrecy of identities, and the role of intermediaries all contribute to the power imbalances of the time. While I understand that its themes and storytelling style might not appeal to everyone, I recommend this tale for readers interested in historical literature, especially those who enjoy examining how society influences personal relationships. It particularly speaks to an audience that values character-driven stories and the challenges people face in navigating love and status.

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Genji: The Truth
tjwang@middlebury.edu
Shikibu, Murasaki. The Tale of Genji. Translated by Royall Tyler. New York: Penguin Classics, 2006 Genji Monogatari, also known as “The Tale of Genji,” is a piece of Japanese literature written during the Heian period by the poet Murasaki Shikibu at around the start of the 11th century. Having only read a few chapters of ... read more

Shikibu, Murasaki. The Tale of Genji. Translated by Royall Tyler. New York: Penguin Classics, 2006

Genji Monogatari, also known as “The Tale of Genji,” is a piece of Japanese literature written during the Heian period by the poet Murasaki Shikibu at around the start of the 11th century. Having only read a few chapters of the book, I found it quite interesting so far and was surprised by how much has gone by between the two chapters. We are introduced to the protagonist Genji and are able to witness some of the court politics during the time. The first chapter delves mainly into the life of Genji’s mom, and how she was loved, one can too abundant, where it was no longer healthy, by the emperor–so much that other noblewomen were becoming increasingly jealous and doing everything to make her life more miserable. This leads to some unfortunate events that will not be disclosed in this essay, but that clearly take a toll on Genji’s early life and establish the foundation for his complex relationship with those he loves, and his quest for both political and romantic fulfillment. 

Reading Chapters 1 and 4, we see a lot of similarities between Genji’s exploration of love that resonates deeply with themes in other popular books such as "The Pillow Book" by Sei Shonagon which was written in 1002. Genji’s quests for love are depicted with a focus on power while emphasizing his emotions. This is particularly shown in Chapter 4 which showcases one of Genji's early romantic adventures. In this chapter, Genji attempts to court a beautiful and mysterious woman. His efforts result in a series of denials from her but this highlights Genji's dedicated pursuit.

Although Genji Monogatari has been a really interesting read so far, we aren’t able to comprehend a lot about what is going on with Genji, how he grew up, and his pursuit of love. I wish it delved deeper into the complexity of the Heian court during its time of 794 AD – 1185 AD, and other characters in the book. This makes it a little difficult to follow the main narrative thread without paying deep attention. That being said, the richness of the text, with its descriptions of court life in the period and layered characterizations, more than compensates for these minor mishaps. An example of this can be seen in the introduction of Genji’s mother. The first chapter opens up about how “In whose reign was it that a woman of rather undistinguished lineage captured the heart of the Emperor and enjoyed his favor above all the other imperial wives and concubines? Certain consorts, whose high noble status gave them a sense of vain entitlement, despised and reviled her as an unworthy upstart from the very moment she began her service,” (Shikibu 3). This delves into the state of Genji's birth and the challenges that he had to face due to his mother's lower rank compared to the other wives of the Emperor. The novel not only gives an understanding into the past but also invites reflections on the enduring nature of human desires. We find out about the unfortunate death about Genji’s mom as a messenger returns to the Emperor and informs him how “‘She passed away after midnight,’” and “The Emperor, stunned and shaken by the news, was so upset that he shut himself away from the rest of the court,” (Shikibu Before 1021, 6).

Genji Monogatari portrays a profound understanding of human nature and aesthetic expression. An example of where we the audience see this is in Chapter 4 and how “From the moment he left her in the morning he would fret throughout the day, waiting impatiently for evening to arrive. He berated himself for acting like a lunatic and tried to convince himself this was not the kind of affair over which he should lose his head,” (Shikibu Before 1021, 71). Although Genji doesn’t want to admit it, he has become deeply addicted to seeing the lady and craves for the next visit, no matter what he has to do to see her. We see similar themes in not just novels but life as well, people falling in love with another person and craving for the next encounter with them. Although it may not have the exact same details, such as emperors or questionable love choices seen in books written during the Heian period, we do see time and time again love playing a drastic part of a human's decision, and leading to some poor choices that are either later regretted or that lead to a happy ending.

 

I would highly recommend this book to readers interested in learning not just about classic literature, but also those interested in  Japanese history and how society was back then. In my opinion this book would be great for those who really enjoy psychology and philosophy, offering not just a story, but a rich life covered with many layers of emotions and insights that continue to be relevant. Although the reading can be a bit hard to grasp at times, the reward of doing so is gaining not just a deeper understanding of a pivotal period of Japanese history, but also deeper insight into Heian’s literary history.

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The Tale of Genji: Love, Loss, and the Complexity of Human Emotion in Heian Court Life
mgamez@middlebury.edu
The Tale of Genji is a Japanese work of literature by Murasaki Shikibu in the 11th century. It provides a depiction of court life during the Heian period through the story of Hikaru Genji, a nobleman of the Heian court who navigates the story by going through complex relationships, and romantic affairs. This story tackles ... read more

The Tale of Genji is a Japanese work of literature by Murasaki Shikibu in the 11th century. It provides a depiction of court life during the Heian period through the story of Hikaru Genji, a nobleman of the Heian court who navigates the story by going through complex relationships, and romantic affairs. This story tackles ideas like love, loss, and impermanence and how all of these themes work in relation to each other. Genji finds many love interests throughout the story and has many affairs that often lead to emotional turmoil and personal consequences. The story marks a tension between his personal desires and the societal expectations of the Heian court, causing complications, secrecy, and jealousy within his relationships, and harsh reflections on his life. The novel incorporates elements of poetry, playing a role in how characters communicate with each other, express emotions, and navigate relationships. Characters exchange short poems, waka, in expression of emotions such as longing, love, or regret. These poems are full of imagery of nature which aids in mirroring emotions. 

One reason why The Tale of Genji is a good read is because of its ability of showing in-depth, complex human emotion. The novel gets into the intricacies of love, desire, loss, and more showing how these emotions shape the character’s. Through poetry, we are able to get a sense of feeling that is deeply personal and reflective, as characters use verse to communicate their innermost thoughts and longings. For example, after the death of one of Genji’s lovers, Yugao, Genji looks up to the sky and says

“Are those evening clouds I gaze upon

The smoke that arose from my lover’s pyre… 

How close and intimate the sky seems now”

This poem expresses a deep sense of Genji’s mourning and longing, illustrating how the natural world becomes intertwined with his grief, thus highlighting the Heian aesthetic of impermanence.

 Despite being deeply flawed, Genji’s character still remains relatable in some ways. Because of these flaws and lustful desires, we can draw a bit of ourselves from reading about his story. His emotional turmoil and desire for connection mirror universal human experiences. This being said however, some readers may find the moral ambiguity of Genji’s relationships, such as his affair with Yugao, difficult to digest. Although these relationships are framed through the historical context of the Heian period, from a modern ethical lens, these relationships can be extremely troubling. 

Much like Pride and Prejudice by Jane Austen, The Tale of Genji explores the tension between personal desires and societal constraints, though they come from vastly different cultural and historical contexts. In Pride and Prejudice, the characters (especially Elizabeth Bennet and Mr. Darcy) navigate the rigid social hierarchy of 19th-century England, where status, marriage, and family expectations play critical roles in shaping their choices. Similarly, in The Tale of Genji, Genji's relationships are deeply influenced by the strict societal norms of the Heian court, where status, propriety, and reputation govern much of his life. Both novels reveal how characters’ personal feelings are often suppressed or complicated by the expectations placed upon them by society. However, while Pride and Prejudice offers a relatively clear moral resolution where love triumphs over social class, The Tale of Genji leaves readers with a more ambiguous, reflective conclusion. In a way, this ambiguity makes the novel especially enticing as it is not forcing a perspective on how to feel. Instead, it simply tells a story of flawed people, and lets you come to your own conclusion. This open-endedness in The Tale of Genji allows readers to grapple with the complexities of human nature and the consequences of unchecked desires in a way that feels deeply authentic, mirroring the prominent buddhist ideologies at the time. While it may challenge modern common sense with its moral ambiguity, it is this complexity that makes it a captivating and valuable read.

 

Overall, The Tale of Genji is a thought-provoking text that offers a rare glimpse into the emotional and societal intricacies of Heian court life. Despite the moral ambiguities of Genji being potentially challenging for some readers, the novel’s exploration into the universal human emotions such as love, lust, and longing makes it an enduring work. I recommend this book to readers interested in character studies and the psychological and complex makings of someone's emotions. Despite its challenges, The Tale of Genji rewards patient readers with its poetic beauty and timeless reflections on the human condition.

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The Tension between Love, Jealousy and Duty
as5@middlebury.edu
The Tale of Genji, written during the early 11th century of the Heian period (794-1185) by Murasaki Shikibu, primarily revolves around the young prince Genji, his mother, Yūgao, and the emperor during Chapters 1 and 4. As per Chapters 1 & 4, we get an introduction to the Heian (794-1185) Court as we navigate the ... read more

The Tale of Genji, written during the early 11th century of the Heian period (794-1185) by Murasaki Shikibu, primarily revolves around the young prince Genji, his mother, Yūgao, and the emperor during Chapters 1 and 4. As per Chapters 1 & 4, we get an introduction to the Heian (794-1185) Court as we navigate the Emperor’s relationship with a lower-ranked concubine, Lady Kiritsubo, who gives birth to Genji. Throughout this chapter we get a glimpse of all the jealousy and hate within court life, specifically towards Genji’s mother. She becomes the target of jealousy and scorn for being of lower status in a period where rank and status determine a family’s lifestyle. Although Genji becomes beloved and praised for his beauty and intelligence, he ends up having to navigate a new life as he gets demoted to “commoner” status, which is why he is given the surname Minamoto. As we follow Genji over the years, we observe his relationship with Yūgao, a modest and beautiful woman. Unfortunately, their relationship only further fuels and displays this common theme of the tension between love and jealousy, and one’s duty as nobility.

As per these two chapters, despite Genji being the main character, the Emperor’s character has really piqued my interest. I’ve enjoyed the vast emotions the Emperor feels. Considering the fact he is an emperor I would’ve assumed he wouldn’t show any inch of emotion that can be seen or regarded as having a negative connotation, most notably his mourning of Genji’s late mother, Kiritsubo. Similarly, he is shown having conflicting emotions, ones that he has to hide sometimes because of his status, but that can be difficult to overlook. A quote that comes to mind that perfectly demonstrates these emotions is that “he could not speak clearly. At the same time, he did not want the courtiers to think he was weak-willed and fragile” (Shikibu 9). I really believe the Emperor’s character is constructed spectacularly, as he doesn’t simply play the role of a ruler, but also that of a mourning husband and nurturing father. It is such a contrasting label, since a ruler is typically seen as fierce and upholding the law, but I feel like the Emperor’s fatherly side tends to overpower his “ruler” side, as he is so often seen taking in so much pride in Genji while mourning his loss, a dynamic I’ve enjoyed seeing through my read along.

Although I won’t go into specifics, Genji’s relationship with Yūgao also shares in the theme of love and jealousy, similarly to the Emperor’s relationship. Despite Genji and Yūgao’s romance going arguably well in the beginning, what can be coined as a “supernatural event” occurs, with jealousy as the catalyst of this horrific tragedy. By reading these two chapters, we’re able to get a sense of how one’s social status, regardless of being high (or now low), can haunt you and provide nothing but misfortunes.

However, I can’t say this story is perfect, as some aspects of the story made it difficult for me to keep track of the narrative. A big contributor to this was the inclusion of short poems dispersed throughout the story every once in a while which can be difficult to interpret at times because they aren’t meant to be taken literally the majority of the time. Alongside this, the amount of characters that have titles attached to their names also made it difficult for me to follow the narrative. Especially considering how one’s title also grants them a certain amount of status which is a huge part of this story, it may get difficult to piece together who is of higher or lower rank compared to another character. I feel like this is important to factor in, too, since Genji himself was moved down to commoner status, so rank/status seems to be something a reader must be able to understand because of their sheer prevalence in the story.

Overall, I would recommend The Tale of Genji to those that are interested in learning more about the Heian Court, the differences between genders and the nuances within the hierarchy in terms of one’s status. Additionally, if you’re someone that enjoys reading about tragic, emotional narratives, this might be a good choice as it contains plenty of moments that are “emotionally charged.”

 

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“The Tale of Genji”: Reflections on Love, Loss, and Power
dennisl@middlebury.edu
The Tale of Genji, by Murasaki Shikibu, was written in the 11th century and is widely considered the world’s first novel. The story takes place during the Heian period in Japan, which lasted from 794 to 1185, also when Murasaki Shikibu lived. The Tale of Genji follows the life of Genji, the son of the ... read more

The Tale of Genji, by Murasaki Shikibu, was written in the 11th century and is widely considered the world’s first novel. The story takes place during the Heian period in Japan, which lasted from 794 to 1185, also when Murasaki Shikibu lived. The Tale of Genji follows the life of Genji, the son of the Emperor and his favorite concubine, Kiritsubo. The story details his relationships and misfortunes and offers insight into the workings of the Heian court. The story explores the themes of love, grief, jealousy, and struggle for power.

The protagonist is Genji, described as a handsome and brilliant boy who could potentially threaten the crown prince in the future. In addition, a Korean fortune teller predicted that he would have a great future. However, misfortune and death appear to follow Genji in his young life as he deals with the death of many loved ones. After his mother’s death, Genji is raised in Court, where he is beloved for his talent, intellect, and looks. He was also demoted to a commoner by the Emperor due to his lack of powerful female relatives. 

Though not fully present throughout the story, several women played central roles in the narrative. Kiritsubo, Genji’s mother, is described as the Emperor’s favorite concubine who faces jealousy and bullying from other women in the court which is associated with her early death. Lady Kokiden serves as one of Genji’s main adversaries. She is described as jealous and manipulative, particularly concerning the power of her son, the crown prince. Fujitsubo is considered to be the more beautiful and perfect version of Kiritsubo and takes her place as the Emperor’s favorite consort after her death. Fujitsubo’s resemblance to Kiritsubo leads Genji to develop an infatuation for her and she becomes one of his main love interests.

My favorite character is Koremitsu. He is a classic likable “sidekick”, and I find it amusing how Genji uses him as a “wingman” by making him gather information about his love interests. While the two don’t always agree, it is heartwarming how loyal and reliable Koremitsu is to Genji by supporting him in his grief and forbidding him from going to the temple (until Genji convinces him to give in) with Yugao’s corpse (one of Genji’s lovers).

One of my favorite and least favorite parts of the story is Genji’s pursuit of Fujitsubo. On one hand, it is fascinating how Genji’s twisted way of dealing with his trauma is through his lovers, especially lovers who resemble his mother. This is interesting because Genji doesn’t remember what his mother looked like, which means he essentially becomes attached to women based on other people’s accounts of what his mother looked like. I also interpreted Fujitsubo “reciprocating” her feelings through their musical duets as a way of showing how Genji is so perfect he can “get away” with these strange love affairs. However, I dislike how the Emperor is not only content with Genji pursuing his consort, he understands that it is because she looks like his mother yet still encourages this behavior by saying things such as, “‘His face and expressions are so like his mother’s…and since you resemble her so closely, you can hardly blame him for thinking of you the way he does’”. This is very disturbing to think about and is honestly a “face palm” moment from the audience because Genji’s obsession with women who resemble his mother takes him down a dark path that can be traced back to this moment.

Overall, I enjoyed the book as I found the story engaging and thought-provoking. I think the story does not require a specialist audience to enjoy or understand. The book does a good job explaining the basics of Heian politics and courtship such as Genji needing high-ranking female support to gain power despite his talents. However, I am hesitant to recommend this book to all audiences because topics such as death and incest are central themes to the story, which many people might find uncomfortable. I believe that this book is best suited for an audience that is interested in learning more about Heian politics and culture or an audience that simply enjoys a dramatic story and doesn’t mind some darker moments. I rate this book a 7/10 because I found it entertaining but it was difficult to follow at times and it might not be appropriate for all audiences.

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pchase@middlebury.edu
The Tale of Genji portrays beauty as both immensely powerful and divine, yet also an omen of dying at a young age. Genji's mother, praised by the Emperor and envied by other women for her beauty, dies fairly young. Although the Emperor repeatedly expresses his fear that Genji will also die young because of his beauty, Genji survives a near-death illness. How can one's appearance hold such contrasting meanings, and why does Genji survive?
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fgruson@middlebury.edu

How does the Princess' letter in The Tale of Genji inform the reader on how death was seen culturally in Heian Japan?

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kngai@middlebury.edu
Death is one of the largest themes surrounding The Tale of Genji. Left in grief and sorrow, the Emperor provided Genji's mother a lavish, extravagant funeral. Though Genji's mother was not of highest class or rank, she was important to the Emperor and was given a grand funeral ceremony. I was wondering about the different death rituals that partake in Japan and the comparison in funerals with higher class people in court and lower class; were there big differences?
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aplanting@middlebury.edu

It was really interesting to me to see the crossover between tradition and emotion when it came to death. For example, some viewed the emperor's mourning in chapter 1 as disgraceful as it was the result from a forbidden affair. Others viewed his mourning as honorable because he showed compassion for his lover; they were moved to tears by his tears. Although in Genji never made his affair public, he too would have received criticism for having such a relationship. We do, however, see that those close to Genji feel sorry for him after seeing his grief. Even the priest notes that his grief is sorrowful. I was curious as to what mourning practices were considered respectful when it came to the death of a loved one? Was it more respected to follow protocol or emotions/display compassion

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xz2@middlebury.edu

Lady Rōkujo’s possessive spirit killed Yūgao and Aoi out of jealousy. In what ways is Murasaki Shikibu’s portrayal of Lady Rōkujo humanizing or demonizing?

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xz2@middlebury.edu

There is a recurring pattern of male characters transferring their love to women who are alive for their striking resemblances to the already deceased, such as Kiritsubo and Fujitsubo, Oigimi and Ukifune. What's the literary significance of this pattern?

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jenglish@middlebury.edu
We see a "taboo against defiling the palace with death" mentioned in Chapter 1 of the Tale of Genji. How does this relate to other themes of death, contamination, and custom that we have seen? How do these themes present themselves in The Tale of Genji?
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mzhong@middlebury.edu
In Genji, people often refer to becoming a Buddhist monk as "taking the tonsure," tonsure meaning a fully shaved religious hairstyle. This style actually quite interesting to me -- I wrote a paper a while back about the cultural significance of hair in Eastern Asian cultures, focusing on China. I learnt that historically, many Chinese religions emphasized the importance of hair -- Taoists, for example, saw the acquisition of body hair as a step towards immortality, whereas Confucianists saw it as a gift from one's parents and the action of cutting hair akin to self-mutilation. By the time Genji was written, Chinese coming-of-age ceremonies also saw children exchange their childish hairstyles for a cap; adult men only let their hair down to publicly mourn the death of a close family member.
In light of all this importance placed on keeping hair long, why do Japanese Buddhists (or now that I think of it Chinese Buddhists also have this hairstyle) shave their heads? Though I understand that many of the faiths I previously mentioned are not Buddhist, wouldn't they have at least influenced Buddhist practice? Would it symbolize detachment from worldly desires, as Kaoru was so impressed by?
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aubriannaw@middlebury.edu
The intersections of sex & death in the Tale of Genji sometimes felt as though love was an overwhelming illness. We see this when a side effect of Kiritsubo’s affair with the Prince results in such burdensome jealousy from the other ladies that Kiritsubo’s health fails, leading to her death (Pg. 3). Also, after Genji sneaks off with Yugao, she inexplicably dies from their night of romance. This parallels a high ranking man having an affair with a woman, which ends in her losing her life, almost as if forbidden sex/love leads to death. There is also a pattern where sex brings life, a child, and after the mother's death, the man seeks out a connection with the child. We see this after both Kiritsubo’s death, where the Prince wishes to reunite with Genji, and when Genji wishes to care for Yugao’s daughter, after her mother’s death. This may suggest that women are too fragile to engage in scandalous love affairs so much so that death reaches into life to pull them to the other side. Are these tragic love stories meant to warn women from sleeping with taken men as it will be the women’s fate that will suffer most?
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aubriannaw@middlebury.edu
In the “Trefoil Knots,” we see Kaoru describe Oigimi as “fading away like a flower.” I was drawn to this imagery because it seemed to encapsulate both a message of female fragility and nature’s impermanence. It also may be romanticizing Oigimi’s death as we have seen in previous waka poetry the connection that nature/cherry blossoms are beautiful because they fall (do not last forever). Another interesting take to connect sex and death is that often female virginity is seen as a flower. Does the imagery that Oigimi’s flower is dying suggest that she has lost her virginity and thus, her purity/value?
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pruffolo@middlebury.edu
Reading this text along with some of the recent tales we have covered in this class, I find myself wondering why these male protagonists, who take actions/affairs deemed shameful in the culture at the time, are written in such a positive light. It almost reminds me of anti-heroes in modern media, such as how viewers of Breaking Bad root for Walter White, despite him being a murderer and drug dealer. Do you think that is a fair comparison to make, or were readers in classical Japan supposed to view the protagonists in a different regard? 
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nzambranoromero@middlebury.edu
Sex, longing, and love/nature are recurring themes in this text. From chapter 1 of the Genji, we began to see the themes surrounding death. With it comes great sorrow and funeral-like traditions after the passing of Genji's mother. We saw in the poem exchanges that the emperor was distraught and saddened over the loss of his lover. Despite this, he continues to conform to the tradition of not defiling the palace with the taboo topic of death. Why is it that this topic is omitted when characters talk about it? Moreover, why does the Emperor promote her after her passing?
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nzambranoromero@middlebury.edu
My biggest question is understanding what the dynamics are like between parent and child. In the reading, they have all circulated around a male figure on a journey and how they encounter affairs throughout the way. There is an instance where Kaoru sends a letter to Oigimi and the emperor goes on to encourage Oigimi to accept his advances. At first glance it is a recurring cycle, where a man sends a letter to a daughter and the father most often accepts, with the hope that the daughter will be taking care of. But, with women not getting as much voice in these stories, I was wondering what their perspective would be like.
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aarong@middlebury.edu
There seem to be a good number of references to well-known poems or tales within the text. How does this shape our experience of the work?
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jlegido@middlebury.edu

As I began reading, I immediately thought to myself, “again?”. What I was referring to was another woman who had fallen ill and died, leaving behind her children and spouse, where the spouse is unsure how to go on. This makes me wonder if women were prone to illness during these times, thus making it a common motif and connecting it to real life? Or was it simply a trend in literature for women to fall ill and die? 

 
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snaseer@middlebury.edu
I'm curious about the practice of physiognomy during this time period? When the emperor heard there was a person skilled in physiognomy in the Korean mission he arranged for that man to come to the Palace despite foreigners being forbidden from entering the royal space. He discreetly brought the man to meet the young Prince and even had the young boy meet with a Japanese diviner to have his facial features read again. Why was there significance in this practice and why was it used at that time in Japan?
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ryin@middlebury.edu

In the Tale of Genji I thought it was interesting to consider the role that Buddhism, specifically karmic bonds, plays in the relationship between sex, death, and rebirth. In the first chapter, we see how the Emperor finds a substitute for Kiritsubo in Fujitsubo, and similarly, Genji also seems to want to find a woman that resembles Fujitsubo as well since she fits his image of the ideal woman. Can certain women in the tale be seen as spiritual reincarnations of each other? Can this be seen with the children born in the tale as well?

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nnunez@middlebury.edu

Genji was attracted to women who were out of his reach like Fujitsubo, the Vice Governor’s daughter, and the Lady of the Evening Faces. He lost interest in women, such as the lady at Rokujo, when they finally yielded to his desires. His longing for her had diminished once she was within his reach. How is the theme of longing presented in the Tale of Genji?

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as5@middlebury.edu
I found the theme of agency to be recurring here in the Tale of Genji, similar to the Diary of Izumi Shikibu. In the Diary of Izumi Shikibu, the lady's autonomy seems to have been increasingly stripped away from her as she continues speaking and interacting with the Prince. In contrast, in the Tale of Genji, from the start, the lady is ridiculed and is told by the Emperor to "wait a little while," after she keeps telling him how she's feeling. Despite the two lady's being under different circumstances, there seems to be a continuity between the two in which there is this perpetual state of melancholy and loneliness for both lady's in both stories. Both lady's were in a position where, no matter what they said, their voice wouldn't necessarily change the outcome. It intrigues me how the aftermath of both of their situations ends up leaving the lady's in a state of distress. With that being said, why is this commonality so apparent in both stories? Do these stories accurately reflect how women are treated differently, especially based on their social status?
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axzou@middlebury.edu

I understand that Genji is demoted to a commoner by the Emperor to protect him from political enemies and to remove him from the line of succession, but I'm confused as to why he is allowed to attend court. Does Genji have special privileges because he is still of royal lineage or more generally commoners are allowed to serve/ attend court? Additionally, because the Emperor favors Genji and shows a lot of care and concern for him, I wonder if the Emperor has an inside source who follows Genji around to give him secret updates on Genji's life and how he would react to knowing about Genji's relationship with Yūgao and her death. 

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rpessah@middlebury.edu
The role of intermediaries in "The Tale of Genji" is interesting, particularly in Chapter 4, where Ukon and Koremitsu facilitate the romance between Genji and Yūgao by passing messages and arranging meetings. Their efforts help maintain secrecy, allowing Genji to pursue Yūgao without risking his social status. I feel like this is relatable today, as many people act as intermediaries in their own friendships to navigate relationships and avoid potential judgment. But how do you think the role of intermediaries/messengers impacts the dynamics of relationships between Genji and his love interests?
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jcruzmendez@middlebury.edu
While reading the two chapters from the Tale of Genji, I found it interesting how the story progressed from talking about the Emperor to then discussing the Young Prince. Both chapters touch the themes of love and death but I am curious if  there was a reason why a similar event happened to the Young Prince(was death passed down from Emperor to the Young Prince, did their actions lead to the deaths, etc)?
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tjwang@middlebury.edu
 

When reading the chapter "The Tale of Genji," something that came to mind was how it brings up love and death a lot, also can been seen as "Sex and Death." It talks about the women that Genji was in a relationship with but also what his son was doing after Genji's death and the relationships that he was getting into. A question I had was after reading today's reading and also reading something similar from class with the excerpt from today's reading being “A not very nice man who had had his eye on me took advantage of it all and led me off to the West Country, and I lost all touch with the city. ” Excerpt From Traditional Japanese Literature Haruo Shirane, is was this a very common thing to happen for men to take a girl with them, whether of love or lust?

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tjwang@middlebury.edu

Reading the first chapter of "The Tale of Genji," I was struck by how much envy that the women living within the palace had towards the woman who had "captured the heart of the Emperor". How they would do everything they can to make her life miserable when she was living in the palace and every time the Emperor would do something nice for her they would get even more mad even though they were the ones to cause the favorable change that the Emperor places on her. Something else that I was thinking of when I was reading this and how she eventually became very ill and passed away is how someone of her good nature didn't belong in a place like the palace and had the life of her good nature drained out of her and leaving her miserable. 

The question that I had after reading this line how when the Emperor promoted her one more rank that "there were many, however, who resented even this final show of affection," is what are the different types of ways that the people of Japan can be promoted.

 
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ipentony@middlebury.edu
While reading these two chapters from the Tale of Genji, I found it interesting to see how the use of poetry differs from that of the Diary of Izumi Shikibu and the other stories we have read so far this semester. In chapter one, poems are still used as a form of communication, but not as the only form of communication. Furthermore, they are not used solely in the setting of courtship, but as a more general way to express emotion. In chapter four, poems are initially used again as a means of communication in a courtship setting. However, Genji goes beyond this and also uses poems as a way to express the grief he feels over the loss of Yūgao. These observations make me wonder about how the other chapters of the Tale of Genji employ poetry - are there even more differences in the ways that poetry is used to enhance the story? Furthermore, do these differences from the Diary of Izumi Shikibu and the other stories we have read reflect a shift in the use of poetry in literature in general, or is the Tale of Genji unique for the time period in that regard?
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pauls@middlebury.edu
The Emperor's love and favoritism for Genji's mother, the Kiritsubo Consort, is clearly an influential plot point in the Tale of Genji, shaping Genji's position in the court as well as their relationship. However, being loved by the Emperor is not all that it is cut out to be, and neither is being his favorite son. How does the Emperor's deep affection for the Kiritsubo Consort reflect the complex social dynamics of the Tale of Genji court, and in what ways did the sexual politics of the court cause to her death, showcasing the tension between human desire and the fragility of life?
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lmcnamara@middlebury.edu
 

I was saddened to read about the deaths that affected Genji throughout his childhood, especially since he was such a gifted child. This tale is filled with misfortune, even when the ambassador from Korea predicts that Gengi will be skillful enough to rise to a significant role in the state, but also adds that his rule would be full of misfortune. Additionally, it was surprising when Genji was assigned membership to a nonroyal clan because of his talents and upbringing. In the fourth chapter, the death of his romantic partner added to the trail of dead bodies that followed him everywhere. This made me wonder: was there a sense of superstition surrounding people of great misfortune, and how would the court deal with someone like Gengi in the traditional sense?

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nleung@middlebury.edu

The Tale of Genji is very interesting. As people have said before, there seems to be much death surrounding the life of Genji, yet he seems to be living his life quite happily and freely. On another note, I'm very confused by how Genji is staying by the emperor's side yet technically being "a commoner". From the reading, I grasped that the name Genji was given to him because the emperor is anxious about the then boy without a family. Moreover, the emperor wanted to shelter Genji from the potential disdain and jealousy from people in the court. However, wouldn't keeping Genji by his side create drama and incite jealousy despite Genji's name?

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sgosnell@middlebury.edu

Many other students mentioned the recurring theme of death present in the Tale of Genji, particularly that of women. However, as exemplified in chapter 1, the memories and general attitudes toward Genji’s mother improved following (and perhaps as a result of) her death. Then Genji, whose status was demoted to that of a commoner by the Emperor, was then treated in chapter 4 “as befitt[ing] his status” (page 63). In this sense, I wonder, what is the relationship between death and status during this time period in Japan? Or is this seemingly subtle change in status more a reflection of how much physical beauty was valued (as expressed by Genji’s unparalleled looks)?

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dennisl@middlebury.edu
I noticed the recurring theme of death in Genji's loved ones despite the positive prediction for Genji's future from the Korean sage. I was wondering if fortune tellers/the idea of "luck" had a large role in Japanese culture during the Heian Period and how seriously these superstitions or predictions were taken?
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jfabre@middlebury.edu
 

Something I found interesting in the first chapter of the Tale of Genji is the differences between genders and how they display their strength in the court. While emotionality and poetry are shown to be important to the power of men and women in the courts, men specifically are also given power through their education and ability to rise in status. Genji is prophesied to gain rank in the state, which makes him a formidable figure (at least to Lady Kokiden). Women like Lady Kokiden, on the other hand, have more indirect methods of power. Particularly, I think they seem to be social power. Lady Kokiden is able to have Lady Kiritsubo essentially bullied to death because of her social sway and the higher status of her family; only for Lady Wistaria to subsequently exert more familial power over Lady Kokiden, protecting herself from the same bullying.

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ryin@middlebury.edu

Cranston, Edwin A. “Aspects of the Tale of Genji.” The Journal of the Association of Teachers of Japanese 11, no. 2/3 (1976): 183–99. https://doi.org/10.2307/489462.

            In his journal article, “Aspects of the Tale of Genji,” Edwin A. Cranston provides an in-depth textual analysis on the Tale of Genji, highlighting the thematic structures, writing strategies, and emotional prose employed by Murasaki Shikubu throughout the story. To start off, Cranston draws attention to the different ways that the tale can be read, the most prevalent one being viewing it as a collection of individual scenes, images, and vignettes. However, he points out that there are recurring patterns and trends throughout the novel that could warrant a far more holistic and thoughtful reading. He starts by focusing on the theme of “the search of love,” honing in on Genji’s reliance on substitutions throughout the tale. Cranston further expands on this by proposing what he calls the “Theme of the Hidden Flower,” which refers to the comparison of women to rare flowers that are often found in obscure locations––behind crumbling walls, on the shores Suma, and in the mountains. However, in considering the grim nature of The Tale of Genji, Cranston also notes the pattern of guilt and jealousy as a result of love. He concludes that the vision of love in the tale is highly nuanced with both highs and lows, yet ultimately cyclical and pessimistic in nature.

In the latter half of his article, Cranston praises Murasaki Shikubu’s over her mastery of writing the human psyche––her ability to see into the minds of her characters. Drawing on multiple examples from the text, he points out one of the main literary techniques she uses to accomplish this. In this technique, she starts with one character’s perspective, then immediately provides the perspective of the other’s, and then zooms back out to an omniscient view. Though subtle, Cranston argues that by constantly switching between character perspectives we are able to fully understand their thoughts and feelings, and how those might be contradicted by their own action or misconstrued by others. Overall, Cranston proposes that The Tale of Genji transcends the boundaries of time and culture and allows us to see ourselves fully, as flawed humans in a possibly meaningless world.  

Provided that this article covers the entire tale, it would probably be most useful for an academic audience who is already well acquainted with the Tale of Genji and have a deeper desire to understand and ponder its inner workings. The largest strength of this article as a source is the plethora of ideas it contains. While readers may not necessarily agree with everything written, it still provides a ton of patterns, concepts, and themes to think about. For those unable to grasp a clear picture of The Tale of Genji, or those who are simply looking for inspiration, reading this article will go a long way.

 

Lieberman, Fredric. “Music in ‘The Tale of Genji.’” Asian Music 2, no. 1 (1971): 39–42. https://doi.org/10.2307/833812.

            In Fredric Lieberman’s article “Music in the Tale of Genji,” he provides a unique look into the various uses of music throughout the tale as both a tool for emotional prose and world building. Lieberman starts off by establishing the connection between music and nature in The Tale of Genji. He argues that while the sounds themselves are non-human, they nonetheless are able to inspire emotion, alluding to Murasaki Shikubu’s focus on mono no aware in her story. This points to a level of sophistication in the tale––a higher level of sophistication and connection to worldly affairs. Acknowledging this is pivotal in truly understanding the sensitivities of The Tale of Genji. Further building on this, Lieberman contends that played music is almost synonymous with emotion in the tale. That is, the music played often implicitly reflects the feelings of the characters and the scene who may not always outwardly express themselves. When characters hold themselves back, we might look at the music they play to understand their joy, anger, loneliness, jealousy, or frustration. Next, Lieberman goes into the implications of learning music and what it meant in Heian society to be able to play certain instruments. The number of instruments one plays, or the kind could be an indication of status, gender, and achievement during this time period. Finally, Lieberman elaborates a bit on the history of the instruments mentioned in The Tale of Genji, serving to contextualize the time period and Heian musical culture.

            Lieberman’s article is a useful reference for any reader of The Tale of Genji. Though music is a very important aspect of the story, its significance is never clearly stated in the prose. This article serves as a source that can fill in the gaps and put readers more in the mindset of paying close attention to when sounds or music might be contributing to something larger in the tale. While not a necessary article for understanding The Tale of Genji, it will surely make the overall reading experience far more fruitful.

 

Viglielmo, Valdo H. “The Aesthetic Interpretation of Life in The Tale of Genji.” In Phenomenology of Life in a Dialogue Between Chinese and Occidental Philosophy, (1984): 347–59. https://search.ebscohost.com/login.aspx?direct=true&db=reh&AN=ATLA0001138284&site=eds-live&scope=site.

            Valdo H. Viglielmo’s article textually analyzes The Tale of Genji through the concept of the cult of beauty observed in all types of literature across the world. He begins by contextualizing the tale, detailing the Heian period in which Murasaki Shikubu was born. Additionally, he clearly establishes the weight placed on the aesthetics of beauty during this time––of women and men, of nature, and other various sensitivities of the world. Drawing on the characterization and life events of the radiant prince, Genji, Viglielmo elaborates on how The Tale of Genji plays into the cult of beauty. While most would acknowledge the emphasis placed on the aesthetic of beauty in the tale, the crux of Viglielmo’s argument comes in when comparing the former part of the story, to the latter half which he contends focuses on the renunciation of beauty. Focusing on characters like Kaoru, Niou, and Ukifune, and comparing their lives to the ones that came before, Viglielmo argues that the world takes on a darker mood as the characters learn more about the transience of pleasure. Thus in a sense, The Tale of Genji could be seen as a progression from fully playing into the cult of beauty and eventually rejecting it at the end of the story. Beauty in the tale is no longer be regarded as something stagnant but acknowledged to be multi-faceted as it ultimately changes.

            Viglielmo writes for an academic audience with a decent understanding of The Tale of Genji. The way he covers the aesthetics of beauty in the tale assumes that the reader has already read the details of Genji’s life as the majority of his article focuses on the Uji chapters. While some still might find issues with the intensity of Viglielmo’s argument, it is still evident that there is a sense of disconnection between the former and latter parts of the tale––something that multiple scholars have picked up on in their reading of The Tale of Genji. Ultimately, Viglielmo puts forward a compelling argument on the concept of beauty in the tale and its progression throughout the story. For readers looking to actively engage in understanding the deeper meaning of the aesthetics of The Tale of Genji, this article would be an excellent source to examine.

Phillips, Brian. “The Tale of Genji As a Modern Novel.” The Hudson Review 63, no. 3 (2010): 373–90. http://www.jstor.org/stable/27920562.

            In his article, “The Tale of Genji As a Modern Novel,” Brian Phillips undertakes the task of exploring what makes The Tale of Genji a modern novel through textual analysis and reviewing its reception throughout history. To begin, Phillips provides an in-depth look into the Heian period and the historical circumstances that led to the creation of The Tale of Genji. Notable things were the adoption of Chinese culture and its subsequent shaping to fit Japan, the influence of Buddhism, and the ideal of beauty imbued in all of it. Phillips points out that many scholars might take this history and argue that the historical distance between the modern world and the Heian period means The Tale of Genji cannot be considered a modern novel. Here, Phillips delves into the text, fleshing out all of the psychological complexities of the novel and the way the world is built, to argue instead that the fact that Murasaki Shikubu is able to bring the reader into the tale and the Heian period is ultimately what makes The Tale of Genji modern. Next, Phillips goes into the historical reception of the tale from both Japanese and Western perspectives. In Japan, it was highly successful and viewed as one of the cornerstones of Heian literature. Though there were those who believed the tale to be sinful and immoral, none could deny the impact it had on subsequent Japanese poetry, drama, and even media today. Following its English translation, the Western scholars were also struck by the modern feeling of The Tale of Genji. Once again returning to the text, Phillips notes the way the tale changes after Genji’s death. He finally argues that perhaps what makes the tale most modern is Murasaki Shikubu’s acknowledgment of the impermanence of the aesthetics and beauty of her world.

            This article is written for an academic audience who has read The Tale of Genji and wishes to better understand the history and reception behind it. While the article doesn’t delve too deeply into history or any specific scholars, it is effective in painting a holistic picture of the general perception of the tale. Overall, this source is a good stepping stone towards widening the horizon of one’s research on the Tale of Genji.

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gito@middlebury.edu

 Annotated bibliography with the theme of “Heian violence by aristocrats ”

 

Ginto Ito (ID00832244)

Sex and Death in Classical Japan, JAPN0221A 2024 Fall

Professor Otilia Milutin December 6, 2024

 

a. Ogasawara, Aiko. “Egakareta yamai ~Makuranoshosi to Genji monogatari ni miru teikei.” “描かれた病 ─ 『枕草子』と『源氏物語』に見る典型 ─.” [The Descriptions of the Illness─ Archetype Found in the Pillow Book and the Tale of Genji─] Bulletin of Osaka Yuhigaoka Gakuen Junior College, Volume 63. 2020. 

 

This paper focuses on the description of illness in literature from two famous works of literature, Pillow Book and The Tale of Genji, written in the Heian period, around the year 1000. The author concludes that illnesses are rarely described in detail but are instead used symbolically to reflect the emotional depth or circumstances of major characters toward their loved ones. There is a connection between illness and violence, which is the theme for this paper, since not only literal illness but also emotional illness could be caused by violence, such as Mononoke, the possessing spirits. This article could be criticized for overgeneralizing by stating that in Pillow Book, illness is not considered horrific only because the author of Makura no soushi, Sei Shonagon, did not mention it. This is because the Sei Shonagon can intentionally omit such aspects. She actually omitted the sorrowful death of the father of the empress she was in the service of, Michitaka, meaning that the Pillow Book is intentionally organized. This fact that the Pillow book can be deliberately organized by the author indicate that it would be an overgeneralization to claim that Sei Shonagon or the people in the Heian period did not associate illness with horror simply because the author did not explicitly write about it.

 

b. “Heian jidai no DQN ha tachi ga warui ~naguriau kisokuyachi no rebyu~” 平安時代のDQNはタチが悪い～『殴り合う貴族たち 』のレビュー～. [Problematic Aristocrats of the Heian Era: A Review of 'The Brawling Nobles] Note. 2018. https://note.com/ada_bana/n/n3c121a14637e.

 

This book review blog, hosted by the famous Japanese blog website named Note, aims to state that Heian aristocrats were violently led by their emotions even though we imagine them as creating poems peacefully. The author is an anonymous poster named Adabana. He concludes the list of misdeeds by aristocrats who lived in the Heian period (794-1185), especially Fujiwara-no-Michinaga (dates) and Fujiwara-no-Michimasa (dates), indicates that the Heian aristocrats had a violent side to them. His book review is unique to understanding this violence, but it could be more precise. This blog is precisely organized to indicate the violent features of aristocrats; however, the author separates poetic talent from violent behavior, in particular in the case of Fujiwara-no-Michimasa’s example. Fujiwara-no-Michimasa’s famous poem of starting with “Imawatada” is inspired by his sad, unforgiving love with Toushi, the daughter of the emperor, and this love affair is connected to his violent behavior toward others, such as abducting and lynching the attendant of Prince Atsuaki, meaning that poetic talent and violent action stem from the same background.

 

c. O'Reilly, Sean. “Violation: Murasaki's Challenge to the Scholarly Consensus on Sexual Assault in The Tale of Genji.” Journal of Asian Humanities at Kyushu University. April 2024

 

The purpose of this paper is to state that the author of The Tale of Genji, Murasaki Shikibu, warned of the real consequences of being ever so culturally permissive by depicting the sexual violation happening in The Tale of Genji’s chapter 9, when the protagonist Genji has a sexual relationship with his adopted daughter, Murasaki no Ue. The author concludes that as Murasaki Shikibu seems to be more sympathetic of young Murasaki than Genji, as demonstrated by the depiction of her feelings  (“She could not help but feel revolted”), and states that sexual violence was not as culturally permitted as many scholars think. This paper could be relevant to the topic of Heian violence since it focuses on the most famous Heian literary work, The Tale of Genji, through the contextual analysis of sexual violence and its reaction. This article could be criticized for the lack of information compared with other sources. Even though the author states that Murasaki Shikibu is more sympathetic to Murasaki no Ue, the actual context-based comparison is missing in this article since the protagonist Genji has had a relationship with a large number of women at least 12.

 

d. Shanahan, Kate. 2024. “Cursing in the Heian Period.” https://kvshanahan.com/f/cursing-in-the-heian-period. July 2024

 

The purpose of this blog is to describe the cursing in the Heian period (794-1185). The author is Kate Shanahan, who wrote a book called Tangled Spirits, which received the 2023 Silver Award for Historical Fiction from the Florida Authors and Publishers Association. She states that cursing in the Heian period has four ways: by a deity (kami) or a vengeful spirit, by a living spirit (ikiryō) that leaves its living body, by utterance, and by a deliberate action to cause bad luck. Then she explains that the curse can be undone and its target protected by an official in the Bureau of Divination, a so-called yin-yang diviner (onmyōji), by giving the concrete example of the curse to Fujiwara-no-Michinaga, who was the most powerful statesman at that time. This article could be partially related to Heian violence since, in the Heian period, the way to attack one’s target was not limited to physical violence but also came in the form of a curse by a spirit, which is mentioned in the author's blog. This blog could be criticized for not explaining that the utterance for bad luck could turn out to be the positive side, the concept of which is called Kotodama, meaning that an utterance can become real regardless of its positive or negative intention. 

 

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pauls@middlebury.edu

Lianeri, Alexandra, and Vanda Zajko, editors. Translation and the Classic: Identity as Change in the History of Culture. Classical Presences, Oxford University Press, 2008, pp. 6–8.

This section explores how translation can breathe new life into classical texts, using the Tale of Genji as a prime example. I liked the personal take from Hakuchō Masamune’s comments on Arthur Waley’s English translation, translated by James Luke Hadley, which show just how much a good translation can change a reader’s experience. Masamune admits that, despite studying the original text and using commentaries in ancient Japanese, he always found the Tale of Genji dull and hard to connect with. But when he read Waley’s translation, the story suddenly came to life and he could follow the plot, understand the characters, and appreciate the vivid descriptions. He even suggested that re-translating Waley’s version into modern Japanese could turn it into a global hit. This example shows how translation isn’t just about language, it’s about making old works relevant and relatable again. Over time, even the most celebrated texts can lose their spark if they don’t adapt to new cultural contexts. A strong translation can revive that spark, transforming a “fossilized” classic into something fresh and exciting for modern readers. I agree with the author's claim that the Tale of Genji is a great case study in how translation keeps classics alive, making them meaningful and accessible across generations.

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ipentony@middlebury.edu

Bargen, Doris G. 1986. “Yūgao: A Case of Spirit Possession in The Tale of Genji.” Mosaic: An Interdisciplinary Critical Journal 19 (3): 15-24. https://www.jstor.org/stable/24777633. 

In “Yūgao: A Case of Spirit Possession in The Tale of Genji”, Doris Bargen provides an anthropological analysis of Yūgao’s death and the idea of her being possessed by a spirit immediately prior to her death. After a brief summary of the events in Chapter 4 of The Tale of Genji that lead up to Yūgao’s death, Bargen dives into her analysis. She argues that all of the major spirit possessions in The Tale of Genji are rooted in jealousy, and they act as a means of female protest against the polygyny normalized under Heian society. In the case of Yūgao, people commonly assume the spirit of Lady Rokujo is to blame for her death, but Bargen suspects that this is because we are reading about the events through Genji’s biased interpretation of the situation. Bargen also analyzes Genji’s reaction to Yūgao’s death, likening his behavior in the aftermath to a milder version of Yūgao’s possession. This article is interesting because it does not just provide a literary analysis of the spirit possession of Yūgao, but an anthropological one as well. It provides helpful insight into the events of Chapter 4 of The Tale of Genji for anyone wishing to better understand the meaning behind Yūgao’s death and Genji’s reaction to it. 

 

G., Nick. 2010. “The Tale of Genji: Yugao.” Youtube, 9 min., 23 sec. https://www.youtube.com/watch?v=qiwCVbsRp0o. 

This video was created by a student for an AP World History Project. First, the student briefly introduces Murasaki Shikibu, the author of The Tale of Genji. Then, he provides some background information on the Heian period, specifically on the culture of Heian court life. He then delves into a summary of Chapter 4 of the novel, arguing that this chapter in particular “reflects the lifestyle of most high ranking Japanese at that time.” After his summary of the chapter, the student talks about the significant influence of Chinese culture on Japanese society that was present at the time, and argues that The Tale of Genji was an important literary piece in part because it separated Japan from its Chinese influences. This video provides a good, basic overview of the events of Chapter 4 in a slightly more engaging format than a traditional written summary. However, it is not a very useful source beyond this, as it doesn’t really provide any new insight or perspective relating to the events of the chapter or their meanings. 

 

Takehiko, Noguchi. 2010. “Flowers with a Very Human Name: One Kokugaku Scholar Pursues the Truth about the Mysterious Death of Yūgao.” In The Linguistic Turn in Contemporary Japanese Literary Studies: Politics, Language, Textuality, Edited by Michael K. Bourdaghs. University of Michigan Press.

In “Flowers with a Very Human Name”, Noguchi Takehiko explores and reinterprets the death of Yūgao from Chapter 4 of The Tale of Genji through the lens of a Kokugaku (nativism) scholar. While most interpretations of this pivotal event in The Tale of Genji attribute the death of Yūgao to the spirit of Lady Rokujo, this scholar, Hagiwara Hiromichi (1815-1863), instead believed that the murder was the work of a spirit haunting the villa that the death occurred in. Takehiko’s article outlines Hiromichi’s arguments in favor of the innocence of the Rokujo lady, and also looks at some of the linguistic elements that build The Tale of Genji into a fictional narrative. Furthermore, the article examines an interesting example of symbolism between Yūgao as a character and the yūgao flower. Overall, this was a very relevant analysis that provided a new perspective under which to view the death of Yūgao, and it would be very helpful to anyone wanting to look at this event through a new lens. Furthermore, its linguistic focus makes it a great resource for better understanding the meaning of specific words found throughout the chapter and why they were used. 

 

Thorson, Maureen. 2010. “Tale of Genji Crime Blotter - Week One.” The Summer of Genji, June 22. https://summergenji.wordpress.com/page/3/. 

This blog was created by the staff of two online literary magazines, “The Quarterly Conversation” and “Open Letters Monthly”, in order to promote a group read of The Tale of Genji. Throughout the blog, contributors exchange thoughts, ideas, and opinions about the events of the novel as they read them. These blog posts are about a wide range of topics pertaining to the entirety of the 54-chapter book, so this is not a resource specific to Chapter 4 and the death of Yūgao. However, it is mentioned in a couple of the posts, and the authors provide some interesting insights and fresh perspective on her death and Genji’s role in it. One post in particular, titled “Tale of Genji Crime Blotter - Week One,” interprets Yūgao’s death as being Genji’s fault - saying it was a “negligent homicide” that resulted from him being irresponsible by kidnapping her and bringing her to an abandoned castle. This blog provides some unconventional but fascinating perspectives on Yūgao’s death and The Tale of Genji in general that are written in an accessible manner perfect for the casual reader. While it is not an academic analysis, it is a great way for new readers of The Tale of Genji to engage with the novel.

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