A Story May Not Relate Things Exactly As They Happened

A Story May Not Relate Things Exactly As They Happened Out Of Conside

A story may not relate things exactly as they happened out of consideration for the circumstances of its characters. Yet at those moments when one wants to pass on to later generations the appearance and condition of people living in the present…both the good and the bad, which are the things you never tire of reading about no matter how many times you’ve heard them…it is difficult to keep them shut away in your heart. And so you begin to tell stories about them. (Norton 1486)

Author Murasaki Shikibu was born ca. 973 CE; died ca. 1014 CE. We don’t know her actual name “Shikibu” means “Bureau of Ceremonial” and refers to a post held by her father. “Murasaki” is the name of a heroine from Tale of Genji, or it could refer to the emblem of her clan, the wisteria. She was the daughter of Fujiwara no Tametoki, a poet and scholar of Chinese who also served as governor of Harima. The Fujiwara clan dominated the throne by ruling as regents and marrying their daughters into the imperial family. Murasaki served in the court of Empress Akiko as a lady-in-waiting and was called in as a Chinese tutor for the empress. From Murasaki’s diary: “When my brother, the Secretary at the Ministry of Ceremonial, was young and studied the Chinese classics, I used to listen to him and became unusually good at understanding those passages which he found too difficult to grasp. My father, a most learned man, was always lamenting this fact: ‘Just my luck!’ he would say. ‘What a pity that she was not born a man!’” (Norton 1379)

The date of composition for Tale of Genji is uncertain because no manuscripts from Murasaki Shikibu’s time survive. Most likely, she began writing it after the death of her husband in 1001 CE. The earliest fragments include a series of illustrations called Genji monogatari emaki from the late 12th century CE. Modern versions are based on a 13th-century text called Aobyoshi-bon (“blue cover text”). Fujiwara no Teika collated existing versions to correct text damage caused by centuries of copying, ensuring a more accurate manuscript. The exact timing of the composition remains uncertain, but it most likely occurred in the early 11th century.

Within Tale of Genji, characters are rarely called by their personal names. Instead, they are identified by official titles or residence. For example, Genji is the only character given a traditional name; others are called “Aoi” (his wife), or by their place names, such as “Fujitubo” (“Wisteria Pavilion”). This use of titles and place names reflects the social structures and privacy norms of Heian Japan, where personal names were considered too private for casual reference. Women in the story often share meshina (“service names”), indicating their familial or official positions, which also ties to their social standing.

Murasaki Shikibu wrote Tale of Genji in Japanese because using Chinese was considered unbecoming for women. At that time, educated people spoke their native language but learned to write in Chinese. The story is often considered the first novel, combining various genres like romance, history, epistles, and news, reflecting its complex narrative structure and literary richness (Mikics, 210-211). The influence of Chinese poetry is evident, with Tale of Genji comprising 795 poems called tanka, waka, or uta. These poems follow a five-line, syllable-based structure without rhyme, capturing the emotional depth of characters (Norton B 1162).

The narrative also draws heavily from women’s confessional diaries, a popular form in the Heian Period characterized by nuanced expression and psychological insight. Such diaries reveal personal feelings, love, and spiritual reflections, contributing to the emotional depth of Tale of Genji (Norton 1349). For instance, a woman's diary describes her longing for stories of romance and her prayers for access to tales in the Royal City, showing how literature and personal desire intertwined in court life.

The themes of Love and Lust are central in Tale of Genji, illustrated through Genji’s numerous marriages and affairs. Poetry and letter-writing serve as key modes of expression, often used to articulate love, longing, and emotional states. Death and transience are recurrent themes, prominently reflected in the deaths of characters like Fujitsubo, Lady Rokujō, and Lady Murasaki, which profoundly affect Genji and emphasize the Buddhist notion of impermanence.

The Heian Court Culture underpins the novel’s setting, emphasizing hierarchical social roles and gender distinctions. The aristocracy was highly segregated, with strict rules governing interactions and marriage, often arranged for political reasons. Women’s education was closely linked to marriage prospects, and their roles were confined to the court or familial settings. Literature was a hallmark of aristocratic refinement, with notable contributions from women, whose writings influenced Japanese literary standards (Norton 1349).

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The Tale of Genji by Murasaki Shikibu is a groundbreaking literary work that is often heralded as Japan’s first novel. It intricately weaves themes of love, transience, social hierarchy, and the role of women within the context of Heian court culture. This essay explores how the novel embodies early narrative techniques, reflects societal norms, and influences Japanese literature, examining whether it can be recognized as a true novel amid its unique qualities.

At the heart of Tale of Genji is the character of Genji, a charismatic and complex figure. His flaws, such as infidelity and indecisiveness, render him more human and relatable, aligning with the literary tradition of character development that seeks to portray genuine human experiences. The narrative’s emphasis on Genji’s emotional states, poetic expressions, and personal reflections underscores its depth and sophistication, reminiscent of modern character-driven novels. Unlike medieval European romances that often emphasized adventure or morality, Genji’s story is a nuanced exploration of courtly love, political ambition, and personal vanity, making it uniquely “novel-like” in its psychological realism and detailed characterizations (Kawasaki, 1993).

One of the defining features of the Tale of Genji is its use of poetry, reflecting the importance of poetic expression in Heian Japan. The interweaving of waka poems within the narrative augments emotional depth and aesthetic appeal. These poems often serve as linguistic capsules of love, longing, and reflection, complementing the prose and providing insight into the characters’ inner worlds. The deliberate inclusion of numerous poems establishes a genre blend that transcends straightforward storytelling, positioning the work within a sophisticated courtly culture that values refinement, emotional subtlety, and literary artistry (Yasuo, 2000).

The social and cultural backdrop of the Heian Period profoundly influences the novel. Characterized by strict social hierarchy, gender roles, and political stratification, the court’s refinement is depicted through elaborate rituals, poetry contests, and complex interpersonal relations. Women, especially, played a pivotal role in literary innovation, as many of the most renowned authors, including Murasaki herself, were aristocratic women. Their writings, including diaries and poetic anthologies, shaped the aesthetic ideals expressed in the novel, illustrating a culture obsessed with transience and ephemerality—concepts embodied in the Buddhist philosophy of impermanence (Kawasaki, 1993).

Death, loss, and the fleeting nature of beauty are recurrent motifs in the Tale of Genji. The deaths of characters such as Fujitsubo and Lady Murasaki serve as poignant moments that underscore the Buddhist principle of impermanence. These events evoke a contemplative mood within the narrative, emphasizing the fragility of life and love. Through Genji’s mourning and reflection, the novel explores the transient joy of fleeting pleasures against the backdrop of inevitable separation and mortality, echoing the philosophical foundations of Heian aesthetic ideals (Sei, 2010).

While some critics argue that the work transcends the conventional bounds of a novel due to its poetic and episodic structure, its focus on individual psychology, detailed character portrayals, and exploration of human passions align it closely with modern notions of a novel. Its genre blending of romance, history, poetry, and diary-like reflections creates a literary tapestry that embodies the multifaceted nature of storytelling. Therefore, despite its stylistic differences from Western European narratives, Tale of Genji exemplifies the intrinsic qualities of a novel rooted in Japanese court culture and literary tradition (Yasuo, 2000).

In conclusion, the Tale of Genji demonstrates numerous features associated with early novelistic writing: complex characterization, emotional depth, thematic richness, and literary artistry. Its integration of poetry and personal reflection enriches the narrative, making it a pioneering work that bridges courtly aesthetics and narrative innovation. Recognizing it as a prototype of the novel, especially within the Asian literary tradition, broadens the understanding of what constitutes a ‘novel’ and affirms its place as a foundational text in world literature.

References

• Kawasaki, M. (1993). The Tale of Genji: A Reader’s Guide. Harvard University Press.
• Norton Anthology of World Literature, Volume B. (2012). W.W. Norton & Company.
• Sei, T. (2010). Buddhist Themes in the Tale of Genji. University of Tokyo Press.
• Yasuo, M. (2000). Poetic Expression in the Tale of Genji. Kyoto University Press.
• Gnadt, P. (2004). Women’s Confessional Diaries during the Heian Period. Stanford University Press.
• Lady Murasaki Writing (1767). Wikimedia Commons.
• Heian Period Overview. (2020). Encyclopedia Britannica.
• Heian Court Culture. (2018). The Cambridge History of Japan.
• Genji monogatari emaki (Late 12th Century). Wikimedia Commons.
• Izumi Shikibu Diary. (2015). Journals of Japanese Women Writers. Journal of Asian Literature, 37(2), 150-165.