Genji and Akiko

Yosano Akiko's Poems: In Praise of "The Tale of Genji" Author(s): Yosano Akiko and G. G.
Rowley Source: Monumenta Nipponica, Vol. 56, No. 4 (Winter, 2001), pp. 439-486 Published by: Sophia University Stable URL: http://www.jstor.org/stable/3096670 . Accessed: 24/04/2013 13:32
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Yosano Akiko's Poems "In Praise of The Tale of Genji"

G. G. ROWLEY
moreshadow thanhumanin form, An indistinct appeared figure, in thedreamof a certainperson."Who is it?" thedreamerasked. "I am Murasaki Shikibu.Because I assembled such a pack of lies I have been cast intohell and led theheartsof myreadersastray, and thepain is morethanI can bear. So as to relievemyanguish, prayhave people compose poems on each and everychapterof The Tale of Genji, includingin them the name and the chant 'Namo Amida Butsu.'" Whereupon the dreamer asked, "Just how should one go about composingsuch poems?" She replied: Kiritsuboni / mayowanyami mo / haru bakari namo Amida Butsu to / tsuneni iwanan To dispel thisdarknessin whichI wanderin thePaulownia Court "Praise to Amida Buddha." praychantperpetually Ima monogatari,c. 1239 / Genji no makino / na ni arishi hashikeyashi mono nomiharu wa / katawara ni suru thenames of itschapters Beloved Genji: thatwhichlay within in thespring of thisNew Year I make my sole companions. 1920 Yosano Akiko, January OMETIMEbefore 1919, Yosano Akiko 4-SM? (1878-1942) paid a visit and to the Kansai railway, real estate,entertainment, departmentstoremagnate Kobayashi Ichizo /\4t,- (1873-1957). On this occasion, he showed her a pair of folding screens fromhis collection, on which were mounted fiftyShe wishes to thank at Waseda University. teachesEnglishand Japaneseliterature THE AUTHOR of and JoshuaS. Mostow of theUniversity of HarvardUniversity Edwin A. Cranston Professors of thepresent to an earlierdraft and generouscorrections British Columbia fortheir painstaking formuch-needed Goto Shoko &g:fW of JapanWomen's University help in essay, Professor Haruki Professor Tale Ii The and Akiko's between the ofGenji, poems understanding relationships
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Monumenta Nipponica 56:4
in thehandof Ueda Akinari?:EB3c1'(1734-1809).1 On every fourtanzaku Hfff was a of Genji monogatari. tanzaku poem,one foreach chapter Akikolaterwrote to Kobayashiconcerning some Genjipoemsofherownthat she was sendingto him.This letter, dated25 January sur1920, is theprincipal of of the of the evidence her screens and effect Akinari's Genji viving viewing in part: poems had on her.She writes I was envious I was fortunate that oftheAkinari tosee oncewhen Genjiscreens I calleduponyou, andthe desire onedaytoattempt the samemyself hasremained withme eversince.TowardtheendoflastyearI was urgently requested by a certain to make the into the morn[of person chapters Genji] poems; by fifty-four I hadatlastfinished I haverevised thirtieth them. Sincethen composing ingofthe toperfect oftimes, insofar as possible andsince them them, anynumber striving I am nowreasonably itwouldnotbe an embarrassment to show confident that in offer own to the that them to you,I humbly Genjipoems you, my hope you willbe so goodas to acceptthem... I shallnot be regarded anantiquarian them. Sincethese canonly whim, publish I humbly them manaskyoutobe so goodas topoint outwhen myunpublished are collected ...2 posthumously uscripts It is notcertain whenAkikoactuallysaw theAkinariGenji screens-her refto Kobayashicitedabove reads simplysennenukagai sor6 erencein theletter h setsu Ytq 5 7 {i-t'fi', "in a previousyearwhenI called upon you"-but the behindthe letter does allow us to pinpoint preciselythe source of inspiration of her own "Envious" 5 (urayamashiku 6 t Lb < ) Genji poems. composition Akiko decided to of Akinari'sfifty-four compose a set of herown. She poems, of 1919. Inscribed on squaresofheavypaper setin thesummer herfirst produced and (later?) mountedto forman album, they were given to (shikishif) with MasumuneAtsuo iEA (1881-1958), thescholarof Japaneseliterature
forkindly a visitto theItsuoArtMuseum ~ ?jkfifin {Vt#1t of Osaka University arranging Professor Okada Akiko IFfl] March2001, themuseum'sdirector, Vff, forgraciously allowingus inthemuseum'scollection, andProfessor toviewtheUeda Akinari screens I? MBJM Genjifolding forsharing her scholarship so unstintMiyakawa Yoko gJl[ft of ShukutokuAd University ingly. 1 Kobayashipioneeredthenow widespread of private in whicha railwaydevelopment pattern an urbancenter from intothenearby to encourageuse of that rail line is constructed countryside; and at theterminus a department suburbs, line,ruralland alongsideit is developedas residential theTakarazukaShojo storeis built.In 1914, withthesame aim in mind,Kobayashialso founded theTakarazukaAll Girls' Revue, at theend of one spurof his burKagekidan T.>I~ tJlk], see Gendai Nihonasahi jingeoningsystem.For briefaccountsof Kobayashi's achievements, butsujiten, p. 674; and Takechi 1981. of stiff Tanzakuare long,narrow strips paperon whichpoems are inscribed. Kobayashi's collection,includingthe AkinariGenji screens,is housed in theItsuo ArtMuseum in the townof Ikeda on thewestern edge of Osaka-fu.The screensare describedin Asano 1969,p. 398; and the exhibition catalogue Kobayashi Ichizo no me, pp. 51, 83. For thepoems, see Asano 1969, pp. 261-69; and Tsuzurabumi, pp. 377-87. 2 Letterin the collection of the Hankya Gakuen Ikeda Bunko Iilfl] cited in IEB5Z*J, Ichikawa 1992, p. 50 (also includedin Ichikawa 1998). The fulltextof theletter may now be foundin Yosano HiroshiAkikoshokanshusei,vol. 2, pp. 57-58 (no. 87).
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Yosano Akiko's Poems
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HiroshiA (1873-1935), wereto collaboratedurwhomAkikoand herhusband, seriesof worksof koten the Nihon in the 1920s zensha El*WN5 editing ing theendofDecember defined.3 classicalJapanese Then,toward literature, broadly The immeof thatsame year,1919, Akikorevisedthepoems fora commission. Akiko's second ofthissetis described diateoccasion ofthecomposition son, by En naki tokei in his memoir Yosano Shigeru A (1904-1971), Rtcfs i\t(A Doomed Timepiece),wherehe recallshow TakitaChoin Aifflit (1882-1925), house and editorof Chuo koron+9;'R magazine,came to theYosano family thepoems. commissioned TakitaChoinof theendoftheyear, 1918or 1919 ... [T]owards Itwas perhaps visited before hehadoften house.Ofcourse cametothe Chaokoron then, always with a but in a he arrived this time a chatwith for rickshaw, folding myparents; to write hisknees.... He had cometo ask mymother screen wedgedbetween and he would of the for each of screen a this chapters Genji, fifty-four poem upon on the As ever, mother took twodayslater. itin theevening cometo fetch my demur. without job thedaybecauseitwas New Year's Eve. As usual,TakitaWell,I shan't forget to thesecondfloor ... and whenhe had beenshown in a rickshaw san arrived them "I'll mother ofourcramped now,so I hope said, house,my beginwriting she me and with that mind for a won't bit," apology got tomakethe waiting you disa little Takita-san written them ink."You haven't murmured, looking yet?" I've finished until but at last me "It's taken them," now, composing appointed. herwords caretheairofhaving chosen andwith saidapologetically, mymother new book. a exercise she fully, opened was shocked. Takita-san "Madam,youmeanto sayyou'vecomposed poems that rude ofme! I had assumed Dear,how youof all peoplewould especially? havesomeGenjipoems."4 already in part 1920 letterto Kobayashi Ichizo, translated From Akiko's January thissecondversionofthesequence by the above, we knowthatshe had finished Akiko describesherGenji poems In her 1919.5 of December 30 letter, morning konomiA)J, whim"(hitonofurukigoto a as no morethanan "antiquarian Later she them. of LfY-) and statesclearlythatshe has no intention publishing Her butforthetimebeingthepoems wereusefulgifts. would changehermind, her the of increase value would to of the of a set poems Kobayashi presentation workas objetsd'artby placingitin thepossessionof a notedcollector.She also gave sets to Kobayashi Yfko /\JttF, wifeof KobayashiTenmin)UN (1877oftheYosanos, as well wholesalerand life-long 1956), an Osaka blanket patron
3 Ichikawa 1998, pp. 254-59. On theNihonkotenzenshuproject,see Yosano et al. 1925, pp. 130-31; Shinma 1976, pp. 2-3; and Rowley 2000, pp. 144-46. 4 Yosano 1948, pp. 210-13. 5 The second 7Qkf a poem first to thisarticle, publishedin Osaka mainichishinbun epigraph thisperiod.The withthepoems during to herinvolvement HB iTU on 6 January 1920, also testifies Osaka mainichipoem is collectedin TYAZ 4, p. 455.
442
screens with attached tanofa pairofsix-fold 1. Section Figure of The Tale of Genjiby Ueda zaku of poemson thechapters "Hana no en" poem,disin his own hand.Akinari's Akinari, Ink on theright. cussedbelow (pp. 453-56), is secondfrom x nine330.4 with decorated tM (135.6 mm), early yaki-e paper Art of the In the collection Itsuo teenth Museum, Ikeda, century. oftheItsuoArtMuseum. Osaka. Photograph courtesy to Yuko datedMarch 1920, as to Kujo Takeko AflM-r (1887-1928).6 In a letter Akiko writes:
6 For detailsof the betweenTenminand theYosanos, see Fujita 1964 and Miyarelationship who foundedand workedin a nummoto 1993. Kuj6 Takeko was a tankapoet and social activist I have yetto discoverthe and educationalinstitutions. ber of Buddhistcharitable organizations nature of therelationship betweenherand Akiko.
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7 Nakazawa HiromitsuIPR)ajL (1874-1964) designedthecoversforseveralofAkiko's poetry he made woodblockprint illustrations collections.Here Akikopresumably refers to thefull-color to accompanyherfirst modern of Genji,theShin'yakuGenji monogatari Ji Japanesetranslation 8 Shokansha, 298. p.
444
inNovember ofthe which hadbeenrelaunched 1921 MyojoHsA, journal literary a hiatus ofthirteen And it was here the after that the years. poemsacquired title are now raisan which MjUfFit L "InPraise known-Genji monogatari they by inprint, ofTheTaleofGenji."9 their first Akiko was able appearance Following therunning of the ofyet toraise350 yenfor the sale journal expenses through in ofthe own she another album her hand. Later added poems twenty-one poems
on topics fromEiga monogatari $Lfi and fivemoreon topicsfrom Heike setshe included, under thetitle "Emakino monogatari 4T1j^; thisaugmented ?) / collectionRyuseino tameni" 7taC_(For a PictureScroll), in herpoetry In later theRaisan poems michijtaIa_ (Pathofa Shooting Star,1924).10 years, were also sold as scrollsand tanzaku.11
Predecessors In creating theRaisan sequence,Akikoadded hernameto a centuries-long proto compose what scholarsnow call cession of readerswho had been inspired of Genji.12 The practiceof Genji kanmeikaMiW~t-, poems on thechapters one for each of The of Tale chapter of Genji,has composingsequences poems, a historyalmost as long as thatof the tale itself-originating, indeed, with Murasaki Shikibu,if we creditthedreamrecordedin Ima monogatari citedas to this The earliest known set of Ei thefirst Genji waka, Genji essay.13 epigraph f from no na waka dates thelatethirmakimaki tfi~ll ntKt, monogatari and is thought to have been composed by eitherFujiwara no teenthcentury Tameie 1qi3,,M(1198-1275) or his grandsonKyogoku Tamekane ,?2~, (1254-1332).14 Nextis a sequenceof poems in Chineseof unknown authorship is also a manualforthecomposition of linkedverse(rengano yoriaigaki ilO) in form of a set the of c. 1365.16 At least comsix waka, Genji *T-) compiled of such waka survive from sets the Muromachi the earliest of these plete period; is theKoun-bonbakka AtS^$Ak (c. 1423) by Kazan'in Nagachika ElllKWi:
10 TYAZ 4:323-36. For a detaileddiscussionof the Eiga poems,see Sat6 1982. To thebestof
dating from 1290, the Fu Hikaru Genji monogatari shi ,,7UiEPoJ,.15
There
9 Myojo (2nd series) 1:3 (January 1922), pp. 3-8.
is no extended there treatment oftheRaisan Genjipoems in Japanese;brief menmyknowledge, tionof a fewpoems maybe foundin Seki 1964,Yamamoto 1977,Takenishi1979,and Takenishi 1980. 11 See, for example,theexhibition catalogueYosanoAkiko:Sono shogai to sakuhin, p. 52. Item 179 is an albumof theRaisan poems and item180 a scrollversion. These are reproduced hereas 3 and 4 respectively. figures 12 The subjectis exploredin depthin Teramoto1970 and Miyakawa 1995. 13 Ima monogatari attributed to FujiwaraNobuzane Wl/,,t{ (1177?-1266), p. 252. ~'J, 14 Sato 1996 providesan editionof thepoems and persuasively arguesthecase forTameie's authorship. 15 Fu Hikaru Genji monogatari shi,pp. 958-71. See also Gunshokaidai, vol. 5, p. 16. The title is sometimes rendered in Japanesesyntax as Hikaru Genji monogatari ofu surushi. 16 Hikaru Genji makino na no uta tiRr9~Rt, in Teramoto1970, pp. 444-49. The workis attributed to Fujiwarano Teika 1JRT (1162-1241), butas Teramotoshows (pp. traditionally is unlikely.See his discussionof the sequence as an aide-memoire for 433-36), thisattribution thecomposition of renga,pp. 419-44.
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d. 1429), so namedbecause the authorappendedone poem to the (Koun *Am, of his copy of The Tale of Genji.17 end of each chapter Threeothersets,dating from1486, 1533, and 1560, are describedby Ii Haruki {t#i1f in his monumentalstudyof Muromachicommentaries on Genji.18Ii has also preparedan editionof a set dated 1589 by Kaoku GyokueiIiEMII (1525?-after1602), the only completesequence by a woman thatpredatesAkiko's own.19The sixth set is the Ukigibakka i2*EIk (after1520), by Hashimoto Muromachi-period Kinnatsu *tltJ (Yua tIJ, 1454-1537), so namedbecause Kinnatsu appended one poem to theend of each chapter of Ukigi,his commentary on Genji.20 In the Edo period,Akinari's is but one of seven extantsequences of Genji of Kofu FEp, poems. Yanagisawa Yoshisato VW1_R (1687-1745), daimyofirst thenof Koriyama MDlin theprovinceof Yamato, composed a set entitled Ei And in a makimaki waka 1814 2f.21 { Genji ~iJ~it& sequencecomprising fiftyfivewaka and one poem in Chinese was compiledby bakufuwakadoshiyori 4 Ei 2hHotta Masaatsu ItfflIEI (1758-1832). Each poem in this set, entitled was composed by a different author, Genji monogatariwaka p$igt-pMlI, most of whom were membersof the culturalcircle aroundretiredrojai t4
Matsudaira Sadanobu VLFt{^ (1758-1829). The group included daimyo, such as Date Narimune {i_;Ilr (1796?-1819); severalwomen,amongthemMurata Taseko T fl $*-F(1777-1847); andtheKokugakuscholars Hanawa Hokinoichi
Yashiro HirokataM~fL{1/ tfE~ - (1746-1821), his student (1758-1841), and ShimizuHamaomi iT7kE. (1776-1824).22MiyakawaYoko ')IJlf also notes theexistenceof fourfurther of scrolls(kansequences,all of themin theform L subon i:Fz) giveninoffering toIshiyama theEdo period.23 templeEI during Like thelistsof superlatives, of character, and other"gossipy" comparisons sorts ofcomment,24 thesesequencesofpoemson thechapters of Genji represent individual to the most with littlethought of tale, responses highly composed
18 Ii 1980. See his discussionsof Genji monogatarimokurokuka iJ!?ffil H -lk (1486), pp. makimaki waka pgjci[ il ki n (1533), pp. 1012-29, textpp. 1030-36; Ei Genji monogatari i~5 (1560), pp. 1048-59, textpp. 1059-66; and Genji monogatarikyoenwaka jiNU~"EN' entitled 1067-83, textpp. 1084-90. In a different , manuscript, Genji makinawaka [iFU.zt theEi Genji monogatarimakimaki waka appear,withminorvariations, to Hosokawa attributed Yusai ,lJ11W4l(1534-1610). For thepoems, see Tsuchida 1976, pp. 477-82; fora discussionof thecorrect see Miyakawa 1995, pp. 586, 616. attribution,
19 Ii 1989. 20 In Nakano 1982. On Kinnatsu's life,see Inoue 1972. 21 Teramoto 1980. Miyakawa 1995, pp. 598-620. Yoshisato was the son of Yanagisawa
17 The textis printed in Ikeda 1956, vol. 7, pp. 216-18.
to the fifthshogun, Yoshiyasu Bf{ (1658-1714), grand chamberlain(sobayonin {MIJJfA) Tokugawa TsunayoshiM)liM (1646-1709; r. 1680-1709). 22 kanmeiwaka ti~iJ ld This workis also knownas Genji monogatari t. 23 (1624-1705), donated Kigin ;lt~4 Miyakawa 1995,pp. 584-85. Theyare: 1) byKitamura 1704; 2) a second set by Yanagisawa Yoshisato, donated 1728; 3) by Kigin's sixth-generation Kibun By (1778-1850), donated1823; 4) a second setby HottaMasaatsu, Kitamura descendant to allow scholarsto photograph or even trandonated 1823. Alas, thetemplehas so farrefused and thustheycannotbe consideredhere. scribethesemanuscripts, 24 See Harper1993, pp. 29-44; and Harper1994.
446
Ii's study, wider distribution. Professor cited reminds usthat arealso above, they a form ofcommentary, chushaku A detailed of this of SEtR. study genre poems is beyond thescopeofthis toexamine however, essay.It maybe illuminating, an example ofwakainorder from eachavailable tocompare Akiko's sequence thoseof herpredecessors. To facilitate sucha twentieth-century poemswith no the ten on the "Hana en" Festival of Aidf (The comparison, following poems in theCherry of are order.25 Blossoms) chapter Genji arranged chronological a brief of theevents of thechapter. In thesecondmonth of First, summary twentieth the holds a to celebrate the father, Genji's Genji's year, emperor, party in bloomat thefoot ofthesteps halloftheinner tree to theceremonial cherry arecomposed anddances Chinese poems performed. palacecompound. Among is hisfather's andtalent thosemovedbyGenji'sbeauty i Fujitsubo empress, desire forherexposesherto great 1. Genji'spassionate nonetheless, danger; for him toapproach shecannot her Unable after deny entirely. Fujitsubo feelings theparty is over,Genjihappens woman in theKokiden L~4A upona young love her At and makes to there. butshe fans, pavilion daybreak they exchange that sheis thesixth refuses totellhimwhosheis. Later, he discovers daughter andthus oftheKokiden oftheminister oftheright, theyounger sister consort, ofGenji'solder brother thecrown Theyoung woman is known mother prince. as Oborozukiyo ofthe toreaders moon." of i A, "night misty Genjihasbeenher and now her her to the crown first father's to leave lover, plans present prince of theright herfeeling A month theminister holdsa later, deeply depressed. at his mansion and makes an to celebrate the wisteria blossoms Genji party in an in which of Here, appearance. exchange poems Oborozukiyo recognizes hervoice,thelovers andhe recognizes find oneanother Genji'sallusion again. 1. Ei Genjimonogatari makimaki no na waka(c. 1271) arashi ni /niwanohananoen/muramura fuku tsumoreru haru no/yuki katozo mishi26 inthe A wind of"TheFestival ofCherry Blossoms": gusting garden inbillows looked almost likedrifts ofspring snow. petals piled Theearliest ofpoems, that attributed toFujiwara noTameie, is quite sequence incharacter different from thelater setsconsidered is far below.Theauthor less inimaging interested theaction andfeelings in than a in depicted Genji display oftechnical in rule-bound theactualtitle ofa chapter is prowess composition: worked intoeach poem;thefirst of the to form the syllables poemscombine
25 The textof Genji monogataricited below is the six-volumeNKBZ editioneditedby Abe Akio iJ1kIAt,AkiyamaKen 'L1kJlJ, and Imai Gen'e f'J#w/ (Shogakukan,1970-1976). Each followedby thecorresponding quotationis identified by volumeand page number, page number of theEnglish translation Withtheexceptionof chapter titlesand by Edward G. Seidensticker. characters' all translations are myown. names,forwhichI use Seidensticker's versions, 26 Sato 1996, p. 41.
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incantation "Namo AmidaButsuAmidaButsu ... AmidaHotoke"; and thefinal of theChinese text, read consecutively syllables thepoems form (boyomi Ad of the vow of the Amida to save all who pracBuddha, 4), eighteenth humanity tice thenenbutsu, whichis thetruecause of rebirth in the Pure Land.27These almostto the syllabletheplea of theghostof Murasaki Shikibu poems satisfy as relatedin thefirst to thisessay. But, as thispoem on the"Hana no epigraph en" chapter have withtheconindicates, they onlythemosttenuous relationship tents ofGenji.Thereis no gusting wind(arashi), no resort totheconceitofspring snow (haru no yuki)in MurasakiShikibu's "Hana no en" chapter. 2. Koun-bonbakka (c. 1423) The secondset,byKazan'in Nagachika,a courtier who servedtheSouthern court and became a priestat Nanzenji Ai1, after the reunification of the courtsin As responses to The Tale ofGenji,how1392,is also theworkofa singleauthor. be moredifferent from thoseof thepreever,Nagachika's poems could hardly vious sequence. Gone is poeticvirtuosity in theserviceof piety, and in itsplace is a focuson theeventsofthechapters. For Nagachika,theessence ofthe"Hana no en" chapter lies notin theromantic encounter thatit describes, butin itsdisastrouspoliticalconsequences. hatewa mata/Sumano wakareni/nageku kana no/hana no nagorio28 oborozukiyo In theend,departing forSuma,howhe must havelamented them: memories oftheblossoms on that moonlit misty night. The price of Genji's misappropriation of Oborozukiyois high. As noted intends herforthecrownprince(1:433; S 155); and after the above, herfather death of the emperor, in the "Sakaki" t* chapter(2:90; S 192), she is duly naishino kami 4lf, "wardress of theladies' apartments," and enters appointed thepalace (2:93; S 193). While she is at homeon leave from herduties,she and and he visitsherfrequently (2:135; S Genji make themostof theopportunity, Discovered the minister of the in his bedchamber one 210). by right daughter's after a fall from is S storm, morning Genji's grace complete(2:136-41; 210-14), forSuma" in self-imposed exile. endingin his "departing 3. Genji monogatari mokurokuka (1486) The third set is a groupproduction. On the nineteenth of the second monthof
27 The first two characteristics of thissequence are also seen in Genji rokujasanshu no uta i,=,: date and authorship , a sequence of unknown 7~t-_'~ givenin Imai 1970, pp. 382-85. So little is knownaboutthislatter and themanuscript is so corrupt, thatI have chosen notto distext, vows of theBuddha Amida are set out in Muryojukyo,f,-,, . See cuss it here.The forty-eight Nakamura,Hayashima,and Kino 1990, pp. 155-64. 28 Ikeda of themanuscript. 1956, p. 216. I have added dakuteniL to Ikeda's transcription
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Bunmei Zl 18 (1486), courtier -UiTW, (1424-1500) KanrojiChikanaga a at which seventeen and organized poetry party fifty-five poemsby imperials one court were for each of courtiers, including lady, presented-one chapter to HH, an apocryphal Genji,plus one for"Kumogakure" chapter presumed in factnever lost,thechapter depictGenji's death(although long thought Between1461 and 1463,Chikanaga had madea copyof theKoun existed). of and above,butbothoriginal (Kazan'in Nagachika) manucript Genjinoted thedecade-long ofdestruction andslaughter known copywerelostduring orgy as theOninno ranjZfcO)L(1467-1477).In 1479,Chikanaga a beganmaking a of of the that Koun had survived the a copy copy manuscript conflagrations, taskhe completed in 1485.His poetry thefollowing this party yearcelebrated buttooktheform ofa kuyo topropitiate both the achievement, {il, a service sinscommitted Murasaki Shikibu in and in by Genji, Chikanaga's composing it out.29 The "Hana no en" is a court poem identified her title copying by lady by as Kotono Naishino Tsubone ,J ^pJU,. shiru made /kokonoe no fukaki yono/aware hanatotsuki too /sazonanagamemu30
Untilwe fully theprofound ofthis world, comprehend pathos andmooninthepalace. yes,letus gaze upontheblossoms
As thesenior naishi theauthor ofthis have nojo -{r ofher day, poemwould lived in thepalace as one of theemperor's in theNaishino ladies,serving TsukasarhP{I,thesamebureau with which herself is identified.31 Oborozukiyo in a goodposition She is thus to compare lifein thepalaceofyesteryear with that ofherowntime; which is precisely what shedoesin this poem.The focal ofthat is the point comparison following poemin"Hananoen,"spoken byGenji in response to Oborozukiyo's terror-stricken call forhelpwhenhe grasps her sleeve."What'sthere tobe upset about?" he askslightheartedly, IN tj -V 7-t a 7)q )tS35 (7tf1 fA) IA t 6 QaM 0 L - ,H S, Mi o shiru mo /irutsuki no yono/aware fukaki oboroke naranu tozo omou (1:426;S 152). /chigiri
One whounderstands thebeauty ofa latenight should appreciate thismisted far from bond. moon;andthis setting misty
Withthedeft Koto no Naishi exchangeofone homophonous kanjiforanother,

29 30
31 According to theTaih6 Code, theNaishi no Tsukasa was to be staffed by twonaishino kami Koto no naishi is yjf, fournaishi no suke MI, fournaishi no jo, and one hundred nyojui. thename givento theseniornaishi nojo. Naishi no kamiceased to be appointed after thereign of EmperorHorikawa PiJ-i (1079-1107; r. 1086-1107) and the key duties of thatoffice devolved upon thekotono naishi.For fulldetails,see Asai 1985, pp. 149-68.
Ii 1980, p. 1031.
Ii 1980, pp. 1012-28; Miyakawa 1995, pp. 577-78.
449
transforms intoyo no Genji's yo no aware IiO tl, "thebeautyof thenight," aware tWa&[3ti, "thepathosof thisworld."In 1486, nine yearsafter theend of the Onin no ran,the palace thatKoto no Naishi inhabitsis a verydifferent thatof Murasaki's creation. Yes, let us admiretheblossoms and the place from to them moon,Naishi says,butnotas accessoriesto romance;letus insteadturn forsolace as we try to understand whathas become of us and whythings have so much since his changed Genji whispered poem.
4. Ukigi bakka (after 1520)
In contrast to Koto no Naishi's sadlyironiccomment on thebeautyof theflowers and the moon; the followingthreeMuromachi"Hana no en" poems offer moreconventional is by HashimotoKinnatsu, a courtnoble responses.The first who in additionto composinga commentary on Genji,was activein rengacircles.
hana o nomi/ matsukotoni shite/ sakura yori fuji saku nami ni / kakaruharu kana32
Determined to waitsolelyfor theflower; rather than blossoms cherry howwisteria in waves this blooming overhangs spring. Kinnatsutakesas thetopicof his poem a second "flower festival"described in "Hana no en": thewisteria no en held at themansionof 3g1) banquet(fuji theminister oftheright neartheend ofthechapter (1: 433-36; S 155-57). Genji has been invited, butwhenhe shows no signof arriving, theimpatient minister sends him a poem pressing himto grace thebanquetwithhis presence(1:434;
S 155):
waga yado no / hana shi nabete no / iro naraba nani ka wa sara ni / kimio matamashi
Iftheflowers at myhomewereofso ordinary a color forwhat reasonshouldI onceagainwaituponyour call? In his poem Kinnatsu thissentiment: forced to waitforGenji/the flower reprises o nomi Kinnatsu with the minister of the that it is the (hana matsu), agrees right rather has thegreater thanthecherry claim to his affecblossoms,that wisteria, tions.
1 (1533) 5. Ei Genji monogatari makimaki waka eil^KJA 4nKinnatsu's contemporary,the major court literatus and renga poet Sanjonishi Sanetaka - AMlM (1455-1537), had attendedthe poetrypartyheld by Kanroji Nakano 1982, p. 128. I am indebtedto ProfessorNakano Koichi 4POfforhis help in makingsense of thispoem. University
32
of Waseda
450
above. A yearlater,Sanetakacomposedhis Chikanagain 1486 and mentioned own set of Genji poems,no longerextant;33 towards theend of his life,at then, theage of seventy-nine, he composedanother set to commemorate completing a cycleoflectures on Genji.He dedicated thissettoIshiyama atthebegintemple monthof Tenbun X9 2 (1533), inaugurating a practicethat ningof the tenth continuedthrough to the end of the Edo period.34 In his "Hana no en" poem, Sanetakafocuses on the troubledfeelingsof Fujitsuboas she watches Genji dance. okatani/mizarishi hana no/yubaeya kokoro ni amaru no koto /tsuyu no ha35 Nevercouldsheviewthem as others blossoms in thedusk; did,these glowing andmorethan herheart couldcontain, thosefewwords ofhers. The blossoms glowingbeautifully in thegathering duskare bothGenji himself and thesprigofcherry that thecrownprince himforhis cap. The Genji presents narrator entranced her determination to keep herdisportrays Fujitsubo, despite tancefrom as Genji, asking: okatani/hana no sugatao /mimashikaba mokokoro no/okaremashi ya wa tsuyu If I couldbutviewtheflower ofhisbeauty do justas others then should be eventheslightest bitdistressed? myheart The narrator recordsthepoem and thenadds, "How could theseinner thoughts of hershave escaped?" (Mikokoro no uchinariken koto,ikademorinikemu lPL'i s 0 t_ &,& TitCr0t UTt, 1:425; S 151). As if in answerto thenarraP17.) tor's question,Sanetakareplies:"Because theyweremorethanherheart could contain." 6. Genji monogatari waka (1560) kyoen In thefirst yearof Koji 3L/ (1555) Kujo TanemichiAjtiffi (1507-1594), sonin-lawof SanjonishiSanetaka,began a seriesof lectures on Genji. Interrupted civil the lectures were in war, on by finally completed 1560, Eiroku7-ki3.11.5. Six days later, on Eiroku3.11.11, a celebratory banquetwas heldat whichsome different of Genji. The author fifty-five poets presented poems on thechapters of the"Hana no en" versewas Ninjo Hosshino{ftfiA3R (1525-1584), princeabbotof NinnajiITrn.36
33 See Miyakawa 1995, pp. 591-98. Miyakawa 1995, pp. 580-81, 620. For a listof thesetsdedicatedto Ishiyamatempleduring theEdo period,see note23 above. 35 Ii 1980, p. 1060. 36 Ii 1980, pp. 1067-83. A brief accountof Ninjo's lifemaybe foundin Jinmei daijiten,vol. 5, p. 58.
34

fl -_I(_ 4"E 3o
451
o At -C Is, tI 0 L n t C3EJ P IU Ssl XIs3
As
ni ari to kisaragi ya /hana no en cho/toki niouran37 no sakura/kyo mihashi

"The second month!Time fortheBlossom Festival it is,"
with today. pride aglowno doubt bythepalace steps, saysthecherry
pointthe openinglines of the chapter:Kisaragi no Ninjo takes as his starting hatsuka amari, naden no sakura no en sesasetamau -H O--it Ef t 0, A i) of the second month,[the ("Sometime afterthe twentieth )?-It.-?t~/t blossom viewingpartyat the Naden hall," emperor]deignedto give a cherry thesewords, of Ninjo's poem paraphrases 1:423; S 150). The upperhemistich limitations meet the to the rest and month, to the condensing addingemphasis thus to, of syllablecount.To thishe thenadds thequotative openingthe particle tree conceitin whichthecherry of readingthepoem as a charming possibility theday oftheblositself speaks,"aglow withpride"(niouran)as itrejoicesthat has come. som festival 7. Genji kanmeiwaka (1589) courtnoble of thehigh-ranking This sequenceby Kaoku Gyokuei,thedaughter Konoe Taneie jiffih (1503-1566), is, as notedabove, the only extantset of by a womanto predateAkiko's Raisan poems. Gyokuei's surGenji kanmeika withGenji, but,alas, all thatwe vivingoeuvre reveals a lifelongengagement of herGenji poems comes from of thecomposition know of thecircumstances a noteat theend of themanuscript: I copy heart, ofanundisciplined themusings worthless be mere trifles, Though they them out. KaokuGyokuei 17.9.19 Tensho ZIE aged6438 exploresGenji's feelingsafter Gyokuei's poem on the"Hana no en" chapter withOborozukiyo. his encounter
k) /UAt rL OA, _3. t3 ;f5- 05
V IfSN ), H@)
no /oboroyo hana no en/enishiyafukaki no/ariakeno tsuki39 san no toguchi

38 mairase nitekokoroni makase mairase soraitesoraedomo,kakiutsushite Sujinakikotodomo 6 6 1 \E t , A tDf-C : .I_ j tk -7t) , Ii 1989, p. 30. soro T -' fS n . t~f'~ to be done on Gyokuei's oeuvre,whichalso includesa Genji monogatari remains Much research on in six scrolls dated Tenbun R5 23/1554; a four-volume commentary emaki nnblEfl to Genji, Genji, Kaokusho tWEtJ,completed in 1594; and a single-volumeintroduction Gyokueisha itA, completedin 1602. On Gyokuei's Genji emaki, see Sorimachi 1978, pp. 18-19; Chairusu[Childs] 1981; Thompson1984; and Murase 1986, pp. 91-97; foran editionof Kaokusho, see Yoshizawa 1936, pp. 383-448; for an edition of Gyokueishu,see Ii 1969. of the textto Gyokuei; attribution Yoshizawa's editionof Kaokusho shysaway fromconfident in Nihonkoten thisis provided daijiten,vol. 1,p. 565c. bungaku byIi's articleon thecommentary 39 Ii 1989, p. 31. I have added dakuten of themanuscript. to Ii's transcription
37 Ii 1980, p. 1085.
452
The Festival oftheCherry Blossoms:howdeepmust be hisbond behind thethird doorwith thedawnmoon. on that night misty theflower feastat thepalace, Genji takesoutthefanOborozukiyo The day after has givenhimin exchangeforhis as they decorated witha paintedscene parted; in water, itis "nothing outoftheordinary moonreflected and yet, well ofa misty koto moterecalled her taste natsukashu naredo,yue (menaretaru used, fondly" narashitari H]llLt7a5 &1&, , 6 L t 0 , 1:430; S 154). t;7f on thefan: Unable to forget her,he writes
^ SW) * < ^ t Ql itfI -;n^ 4 Iqx H 0,q L1 fft \;t o^ yo ni shiranu/kokochikoso sure/ariake no tsukino yukueo /sora ni magaete
I feelsuchas I havenever known before: andpainful longing Strange ofthetraces ofthedawnmoonin thesky. losingsight of bewildered to explainGenji's expression Gyokuei's poem attempts longing the "dawn moon" he has lost sightof in the sky.It is surely forOborozukiyo, karmic because of thedepthof their bond (eni shiyafukaki),she suggests, that he feelsas he does. Our first Tokugawa-periodexample comes fromthe sequence composed by Yanagisawa Yoshisato. In his "Hana no en" poem,Yoshisato acclaims Genji's himto his friend and rivalTo no Chujo aO P beautyas a dancerby comparing
8. Ei Genji makimaki waka (1708)
aoyagi no /hana no na ni ou /mai no sode mo tachinarabitewa / miyamagino kage40
Even theadmired danceofhissleevesin "Garden ofWillowsandFlowers" was as ifin theshadeofa tree deepinthemountains. To no Chujo's dancingof "Gardenof Willows and Flowers"(RytkaeniFPta) at theFestivalof Cherry Blossoms is described as "a little by theGenji narrator overdone" (sukoshi sugushite T _ Lij <L CT)yet "trulyaffecting"(ito omoshirokerebat, t ft LU 6 tdJt$,1:424; S 151). His performance has alreadybeen from "Waves of theBlue Ocean" (Seigaiha i eclipsed by Genji's brief excerpt on theoccasion of Mi), a piece thathe and To no Chujo had danced together theautumn excursion theprevious from theaccount year.Borrowing vocabulary ofthat earlier To no Chujo's performance describes occasion,wherethenarrator as "by comparison, as a treedeep in themountains nextto a cherry in standing
full bloom" (tachinarabite wa, nao hana no katawara no miyamagi nari
40
Xt
Teramoto1980, [p. 8]. I have added dakuten to Teramoto'stranscription of themanuscript. The set is datedin Miyakawa 1995, p. 608.
453
rTU lt Ot, 1:383; S 132), Yoshisato's poem amplit;1i?E?t7/Wt[i fiesthepurviewof thephrasethatit quotes: as To no Chluj danced thedance forwhichhe was so rightly sleeves were,by comacclaimed,even his fluttering parisonwithGenji's, as ifhiddenin theshade of a treedeep in themountains. 9. Tsuzurabumi Hf (lff (1805) The sequence composed by Ueda Akinari-the immediateinspirationfor Akiko's Raisan poems-provides a ninthexample. In a briefprefaceto the of his Genji poems as follows: sequence,Akinaridescribestheprovenance ofthelongwinMy helpmate, taking pity uponmeinmyold age as I grumbled ternights, itimpossible to consoleme in anyother yetfinding way,readto me with careTheTale oftheShining shewouldfinish a chapgreat Genji.Whenever ter-which shedidattherate ofoneortwopernight, orwith thelongest ofthem, a chapter intwoorthree wouldclaimtherecompense ofa poemfor nights-she herefforts. I haveno idea towhat extent these strange productions misrepresent thespirit nonsensical itseemed tome.41 Z ~ 5) [ofGenji].Utterly (kokoro stuff, aside, Akinarisaw fit to includehis Genji sequence at theend Preface-etiquette of themiscellaneouspoetry a collectionof (zoka H1k) sectionof Tsuzurabumi, hispoetry andprosehe compiledin 1802 andthat was first published1805-1806. Akinari' s Genjipoemswerereprinted ina movable-type edition ofhisworkpublishedin 1914;42theyweretheonlysequence ofpoems on thechapters of Genji available in any kindof printed editionbeforeAkiko composed herown set in 1919. Akinari's"Hana no en" poem is themosttechnically complex performance in thisseriesof examples,using a successionof "pivotwords" (kakekotoba [ valence. i) to increasethepoem's semantic kasumu yo mo/shizue yasugeni/taoraruru /ironi nioite43 usuhanazakura The pale blossom he plucksas themisty as easily, still, night grows itseems,as from a lowerbranch, with the tint of allure. glows ofyo mo shizu[maru]"thenight Shizuis bothan element growsstill"and shizue "lowerbranch";taoraruru meansboth"breakoff"or "pluck" and "have" sexforOborozukiyoand thedescription ually; usuhanazakurais botha metaphor of a color; and iro indicatesboththecolor ("tint")of thepalest cherry blossom
41 Asano of katawara ni aru 1969, p. 260; Tsuzurabumi, p. 377. "Helpmate"is mytranslation 7 3A, hito7t/t 6 1-_5 (1740-1797); or possiblyTeikopossiblyAkinari'swifeKoren-nifWfAjg
ni A Jt, the woman who looked afterAkinarifollowinghis wife's death; or, as Nakamura oftheSNKT edition ofthepoems suggests, possiblyhis adopteddaughHiroyasu4PR1$;'t,editor terKeiyu-ni,YiSJE. 42 Ueda 1914, pp. 513-21. 43 Asano 1969, p. 262; Tsuzurabumi, p. 379.
454
his skillful and sensuality, allure.Through use of thesepivotwords, Akinari to condense the erotic of the into both manages point chapter thirty-one high syllablesandtosuggest ofhisownplayful attitude tothescene. something 10. Ei Genjimonogatari waka(1814) in 1814,is The final from the Masaatsu compiled byHotta example, sequence a who invarious served (1793-1844), daimyo Nobuyori ?-I{Mf|Ji byMatsudaira andwas a student Confucianism andKokugaku. bakufu offices ofboth
bbL
Jt C:
tht/
fSt
L;-44
&C 07e t
hana no/tsuyu no koto no ha44 mizarishi totheworld? Thosefewdew-like words How didthey escapeandbecomeknown ofone whodidnotsee theflower did. quiteas others
ni ikanishite /okata /yoniwamoreken
ofquotations from the"Hanano en" almost poemconsists entirely Nobuyori's He highlights the same passage chosenby Sanjonishi chapter, rearranged. on Fujitsubo's above: thenarrator's comment Sanetaka and examined poem But that is all hedoes; her for the S young Genji(1:425; 151). lamenting longing he doesnotrespond tothenarrator's unlike Sanetaka, creatively question. 's Approach Akiko with those ofherpredeHow then does Akiko's"Hanano en" poemcompare is that difference Akiko'sis theonlypoem An immediately cessors? striking of view: written from Oborozukiyo's point niyoitaru haru noyono/moya /tsuki naran kashinu tamakura ni /wagakaribushi Itmust be the intoxicated itsarm lent moon, mist, byspring night as a pillow tobecome lover. my momentary Akiko'spoemimagines themorning after herunexOborozukiyo's feelings encounter with The narrator tells us that "reGenji pected Genji. Oborozukiyo callsthat dream sad and is in lost and, wretched, ephemeral feeling quite thought" o oboshiidete, itomono Ut7 (. .. hakanakarishi yume nagekasha nagametamau recalls inparticular the moment when her for the lent Oborozukiyo partner night herhisarm, shepillowed herhead.Butthen sheshrinks from the uponwhich
S7 0UL -:,UiSL-CT., 5tr &ot~P7)P||L, 7wb c6 , 1:433; S 155). Akiko's
realization:theencounter is notwithan actual man,"a littledrunker, perhaps, thanusual" (eigokochiya rei narazarikemu 0 6 htkL'iti {IJ b 9tt, 1:427; S but with the intoxicated mist. moon, 153), onlyby
44 Ei from thatsuggested waka, p. 446. My interpretation Genji monogatari departs by theeditor,MatsunoYoichi *f}PAI-, and followsShimauchi1997, pp. 55-56.
ROWLEY:
455
In thisconceitlies thekeyto themostimportant difference betweenAkiko's of her forebears here. and those considered Her Genji poems poem is cast in the herself is first the Earlier scrutinize thenovel speaker. person;Oborozukiyo poets in greatdetail,revisiting its settings, itslanguage,and analyzingthe reworking emotionsof its characters; but theydo so froman imaginativepositionthat remains"outside"thetext.Oftentheyproducefine, nuancedobservations; for some of themhave spenttheirentirelives reading,copying,and lecturing on thetotalimmerGenji. Yet, in their poems at least,theyseem to holdback from sion seen in Akiko's recreation of Oborozukiyofrom"inside." Akiko neither nor reminisces (like Koto no Naishi); she does not (like Nagachika), reinterprets merely recyclethedictionof thenovel (like Ninjo, Yoshisato, and Nobuyori); she is Oborozukiyo. Akiko invented thepracticeof adoptOf courseI do notmeanto suggestthat is this and Akiko' s use ofithas obvious inga fictional persona; technique ancient, affinities withthe practiceof composingbyobu-uta MJi)K, "screen-poems."45 Nonetheless, herRaisan poems stand,I think, as yetanother demonstration of thetotalabsorption in and identification withher subjectthatcharacterizes all of herworkwithGenji. In thetranslation that follows,at leasthalfof herpoems can be read as spokenin thepersonaof a character in thenovel. Most of therest take the pointof view of someone-such as the Genji narrator/s-within the worldof thenovel who is intimately familiar withitscharacters' emotionsand actions.Akikothepoet is notsimplya readerof Genji,she inhabits thenovel in a way none of herpredecessors seem to. Akiko's Raisan poems also standin contrast to certain aspectsofherown earlierworkon Genji. ElsewhereI have arguedthatin Akiko's first translation of withthe (1912-1913), heridentification Genji,theShin'yakuGenji monogatari is such thatshe distorts novel's characters the text,sometimesto make Genji ofherown life,butmoreoften to makeitmirror conform to therealities thefana sortof ShiningGenji. husband,Hiroshi,is himself tasythatherphilandering is softened,sometimes his to have with women determination way Genji's his Murasakiis seen as omitted and the that he causes consort entirely; anguish readersof herfirst translation from undueagitation on herpart.By "protecting" herself from Akikoapparently knowing Genji's worst, "protected" acknowledgin herown mind.46 hisheroicstature s true nature and preserved ingherhusband' in second translation of Akiko's later, Genji, the Shinyears Twenty-five (1938-1939), no traceof thesedisshin'yakuGenji monogatari JfifJiR~KJB The Raisan poems,composedinbetweenhertwotranslations, tortions remains. hermindaboutGenji. No longeris she revealAkiko in theprocessof changing
45 The assumetheperas "wherepoetswouldtypically is helpfully defined byobu-uta technique and compose a poem fromtheviewpointof that in a landscape painting sona of a humanfigure tothescreens." on decorated be inscribed These poemswouldthen paperand affixed poetry figure. Mostow 1996, p. 17. 46 Rowley 1998; Rowley 2000, pp. 98-109, 112-31.
456
Figure3. A setof Akiko's"In Praiseof The Tale of inan andmounted onshikishi Genji"poemsinscribed 21.5 c. 1920. x Inkonpaper album. cm), (18.6 Courtesy oftheSakai CityMuseum. to overlookhis lapses and accepthis view of events.In severalof the prepared a character Raisan poems,thespeakerseemsto defend Genji slights-forexamPrincess in and the Hanachirusato twhS poem 11, Asagao gBQi)6 inpoem ple in his dealnumber 20. In another, Genji forhypocrisy 36, thespeakercastigates ings withOnna SannomiyatCE-- , "the ThirdPrincess."The Raisan poems of Genji characthusprovideevidenceof evolutionin Akiko's interpretations more AkikoGenji."47 "one Hiroko Takenishi as tTBiE-Fsuggests, ters;theyare, As we have seen, Akiko produceda considerablenumberof versionsof the Raisan poems. In order of composition,these are: the set composed for Masamune Atsuo and dated summer1919, now in the collectionof the Tenri Library7 '~mES; theset composed forTakita Choin at theveryend of 1919, which,as faras I know,is now lost; thesetsentto KobayashiIchizo, now in the in Akiko's letter to collectionof theItsuo ArtMuseum; and the set mentioned now Tenmin Bunko in the cited above, preserved Kobayashi KobayashiYuko, A,, in the collectionof the Kyoto FuritsuSogo Shiryokan fis. In ATOM; in existence, as catalogues others are numerous to thesefoursets,there addition of herworkattest. of exhibitions translation The present comparesonly thepublishedversionsof the poems. thetextfirst There are two versionsof theRaisan poems in print: publishedin unchangedin theRyasei no michicollecMyojo in 1922, whichwas reprinted
47
Takenishi1979, p. 16.
457
of Akiko's these, but I have chosen to translate
Bun'end
in 1938-1939.48
A case could
first version, which I like better,
emd
rfrigete
"Tenarai" ..a , and "Yume no ukihashi" -; second poem !. "Azumaya" tww, that for of by the division one "Yugiri" ', necessitated parts, chapter into two chapter ep
six-volume Shin-shin'yaku Genji,the Genjimonogatari by Kanao published
i second n modern Japanese translation of The Tale of igraphs her
ch There total of are. , threora apter. sixty poems in the "Kumogakure" indicating significantrevisions in the notes. The fifty-four poems of the Myojo version are here supplemented by six others, all of which formpart of the later r . tw o poems are given for anslated Whereve s aingle isequence here tr chapterus
and theAkiko translation; Shin-shin'yaku poem
fortheapocryphal composed
the the firstisthe Myojo versionand second is the versionsubstituted for(or in added to) it Shin-shin'yaku Genji monogatari.
48 Akiko's second translation of Genji,completewithRaisan chapter has remained epigraphs, in print since it was first after theend of WorldWar Two. Easily available editions republished includethethree-volume bunko ZJgeditionpublishedas Zen'yaku Genji monogatariiRENF; volumeof whichis now in itssixty-seventh and the ItJ? by Kadokawa Shoten,thefirst printing; one-volumereprint publishedas Genji monogatari by Kawade Shobo Shinsha,1988.
"In Praiseof The Tale ofGenji"

/The Paulownia Court 1. "Kiritsubo"
murasakino / kagayakuhana to / hi no hikari omoiawade wa / araji to zo omou
The flower ofthesun: andthebrilliance radiantly purple, that should notlove each other seemsimpossible to me.49 they "The flower as radiantly purple"is Fujitsubo,describedby the Genji narrator hino miyat77/ < E 0'g, "princess oftheradiant sun.""The brilliance kakayaku of thesun" is theshining Genji, hikarukimi X8 (1:120; S 16). 2. "Hahakigi"/The BroomTree
Nakagawa no / satsukino mizuni / hitonitari katareba musebi/yoreba wananaku
Like therushing oftheNakagawabrook summer waters is she: shetrembles.50 tellmyfeelings to her, shesobs; approach her, The speakerof thispoem is Genji, and thewomanhe describesis Utsusemit herat a house where 0t,thewifeof a deputy governor. provincial Encountering he is spending thenight, her This and thefollowing Genji pursues impetuously. thefirst of severalofpairsofpoems in theRaisan sequence in which poem form a relationship is seen fromtwo sides: the man's pointof view in one and the woman's in theother. 3. "Utsusemi"/The Shell of theLocust
utsusemino / waga usugoromo/ miyabioni narete nuruya to / ajikinakikoro
Has that robeofmine, frail as an abandoned cicada shell, yielded nobleman? A desolate time this.51 that andnowsleepswith
49 In the Shin-shin'yaku version,Akiko changes omoiawade wa / araji to zo omou to omoiLb t9 0 mo nashi ?,/'MDid: ? awazaru / kotowari U, "thereis no reason whytheyshould 5_ notlove each other." 50 In the Shin-shin'yaku version,katareba musebibecomes katareba nageki Itt1 T[t"-, "tell myfeelings to her,she sighs." fornurua 4, "to sleep,"whichallows 51 In theShin-shin nuruM Q is substituted 'yakuversion, as Aii, "to be wet,""to have sexual intercourse." thewordto be read additionally
460
In this Utsusemi reveals heranguish that poem,thepairtotheprevious poem, her robe can be allowed to submit to With desire. mixed only Genji's feelings, shehas narrowly this andhe hastomakedo with a time, escapedhisadvances robesheleavesbehind (1:204; S 55). 4. "Yugao"/Evening Faces
ukiyoruno/akumu totomo ni/natsukashiki mo ato naku / kienikeru kana yume theapparition in that dreadnight's dream, Alongwith fond have without a trace. too, dreams, disappeared
The speaker is Genji,recalling thewoman whovisited hisdream andthen apthe dead in this time spectral before vanform, peared againby Yugao'spillow, is hisnewlove,whowillnot (1:241; S 72). Also vanished ishing completely in even his dreams S (1:267; 83). reappear 5. "Wakamurasaki" /Lavender
b0))-b 0@f@ 7At t g - Tl
f t Z'^^ 0 z75zt1 t Adf
haruno no no/urawakakusa ni/shitashimite itoOdokani/koimonarinuru familiar this with tender fields I find, Growing slipofthespring young that love toohas bloomed andborne fruit.52 quitespontaneously, The "tender youngslip" is thechildMurasaki,whomGenji discoversand is enchanted instantly by in thischapter. 6. "Suetsumuhana" /The Safflower /ue nikitareba /wagimoko wa kawagoromo kiku kotono mina /mini shimanurashi Because overherrobesshewearsan ancient fur cloakofblacksable, that love seems to hears toherheart. nothing my penetrate Genji complains about the obtusenessof Suetsumuhana 1t0t,"the Hitachi of a princewho had held thetitleof Governor of princess,"orphaned daughter Hitachi.Now livingin straitened she to ward off both circumstances, attempts him and thewinter cold withan ancientkawaginuF-, Akiko's kawagoromo 15 below. (1:367; S 124). The pairto thispoem is number
form of theperfective as Nuru,theattributive nu,is open to thesame interpretations particle theverbnuruin the"Utsusemi"poem above: "to sleep,""tobe wet,""tohave sexualintercourse."
52
ROWLEY: Yosano Akiko's Poems Excursion 7. "Momiji no ga" /An Autumn

aoumi no / nami shizuka naru/ sama o mau wakaki kokorowa / shita ni nakaredomo
461
ofwaveson placidblueseas Dancinga picture butcryout;andyet... beneath itall cannot heart theyoung -domowithwhichAkiko ends her poem, In the unresolvedadversativesuffix unnoticed in that she suggests theturmoil by all but rages Genji's "youngheart," withhis childand thus one ofthosewho watchhimdance. Fujitsubois pregnant in boththisworldand thenext.Genji aches to see heragain, terrified forherself, butshe steadfastly theyare too close; for keeps himat a distance.For Fujitsubo, himdance. Genji she must watch On this occasion, however, too far Genji, apart.
and yet ... performs"Waves of the Blue Ocean" magnificently,
132-33).
(1:383-85; S
Blossoms 8. "Hana no en" /The Festivalof theCherry

O O^;-c
-5 q tos tQb kft15 LbU
?E
haru no yo no / moya ni yoitaru/ tsukinaran tamakurakashinu/ waga karibushini
itsarmlent mist, intoxicated It must be themoon, byspring night lover.53 as a pillowtobecomemymomentary 9. "Aoi" /Heartvine
IE
Ab ,<h
t to bD tzd tt -to
ts
urameshito / hitoo me ni oku/ kotomo kore mi no otoroe ni / hoka naranu kana
thistoo resentment, I am-thatlooking How hateful uponherwith in his humiliation but own should eyes.54 naught my bring The speakerof thispoem is theRokujo lady 7~fi~,P, , thewidow of a former crownprince.Rokujo has succumbedto Genji's advances,onlyto findherself ill befits herrank.She is overcomewithself-disgust witha casualnessthat treated has had on Aoi herjealous wandering whenshe realizesthebalefuleffects spirit but thehumiliAoi's death are not the ai>L, Genji's wife; only consequences to Genji (2:29-36, 44-47; S 167-69, atingexposureof Rokujo's own suffering 173-74).
- -3c L3t :_, "accompanying the spring night mist." moya ni yoitaru becomes moya ni soitaru t 54 In theShin-shin'yaku L T, 6 kana becomes hoka narazu shite t: -T7 naranu hoka version,
53 See the discussionon pp. 454-55 above, and 1:433; S 155. In the Shin-shin'yaku version,
me in his eyes." buthumiliate "does naught
462
Monumenta Nipponica 56:4 10. "Sakaki" /The Sacred Tree
Isuzukawa / kami no sakai e / nogarekinu omoiagarishi/ hitono mi no hate
ofthegods,bytheriver Fled awaytotheprecincts Isuzu; thisis theendto which has fallen. she,onceso proud, This poem, the pair to the Rokujo lady's lament above, presentsGenji's ofevents:"theproudone," theRokujo lady,herrep(Akiko's) cruelsummation utationin ruins,abandonslife in thecapitalto accompanyherdaughter to the latter'sappointed place of dutyas Ise vestal(2:82-87; S 188-90). 11. "Hanachirusato" /The OrangeBlossoms
^M
f U)tA;:\
ts_-) LC L"R t
<
tachibana mo / koi no urei mo / chirikaeba naku ka o natsukashimi / hototogisu
andfall, andlove's discontents, Because theorange too,scatter flowers, drawn memories ofthefragrance, thecuckoosings. byfond In thisbriefest of chapters, Genji decides to pay a rarevisitto one of his late theReikeidenlady and heryounger father's less-favored consorts, I~ijR'tlI, himself has Just whom favored, sister, though Genji infrequently. as he arrives, witha poem to announcehimself a cuckoo sings,givingGenji theopportunity theladies and excuses his neglectof them(2:148-49; S 217): thatbothflatters
/ hototogisu tachibana no / ka o natsukashimi hanachiru sat o / tazunetezo tou
ofthescent Because he is drawn memories oforange blossoms, byfond thecuckoocalls uponthevillageoffalling flowers. His mention ofthescentoforangeblossomsis a deftallusionto a famouspoem from theKokinshiu author ~i , number saysthat 139,in whichtheanonymous thisscentcalls tomindthescentofthesleeve of someoneknownand loved long on a much however, ago.55In dictionand structure, Genji's poem is patterned earlier Otomo no Tabito 1473.56 kfdihA, Man'yOshi poem by Genji thusgreets
55
As givenin 2:149, note 15; and Kokinsha, p. 105:
satsukimatsu/ hana tachibanano /ka o kageba mukashi no hitono /sode no ka zo suru When I smell thescentof theorangeblossomsthatwait forthefifth month, thescentgivenoffis of thesleeves of myonce beloved. 56 As given in 2:149 note 16; and Man'yosha, vol. 2, p. 316.
O ^ tMS - O:ffil e c a T,t K -Hbed! RR a
463
the ladies saying,in effect, "althoughI have long been fondof you, I visitso love is unrequited." because insincerity, Despite his charming my rarelyonly does notholdhisinconstancy him.Whenhe goes round sister theyounger against heranguish"(tsurasa mo wasurenubeshiD tA t, she "forgets to herquarters Her of Akiko's lVosL, 2:150; S 217). And herelies the starting poem. point from Tabito, is drawnlargely from diction Genji's poem and Genji's borrowings in such a way as to alterthe thephraseka o natsukashimi but she reinterprets so to speak,as regards of thepoem and set therecordstraight, causal structure notsimply calls at the of The cuckoo intentions. village fallingflowers Genji's of thescentof theorangeblossoms,butbecause because he has fondmemories withis generous thewomanhe comes to spendthenight enoughto overlookhis scatters her like the and falls, blossoms, It is because resentment, orange lapses. of and them. thatthecuckoo/Genji has such fondmemories her, 12. "Suma" /Suma /namidato wasure hitokouru /oumie /mika toomoinu hikareyukubeki me,andto theocean To forget thetears oflonging they weepfor butwonder.57 be myfate? I cannot down:must this be drawn The speakerofthepoem is Genji as he departs forexile in Suma; there are many womenwho weep forhim,amongthemMurasakiand Oborozukiyo. 13. "Akashi" /Akashi
U 0to < st e279roL fl f6 11( , R T iiL a nA 0)
^ ts
to/shiratama warinaku mo/wakaregatashi no namidao nagasu/koto no itokana How harditis topart, andhowpainful, shethinks; andglistening pearl ofhiskoto. calledforth tears shesheds, bythestrings theAkashi lady BeiUlt, the Genji is recalledto thecapitaland mustpartfrom his periodof exile. As a keepsakehe gives womanhe has come to love during herhis koto and promisesthattheywill meetagain beforeit has fallenout of remarks: tune.The Genji narrator Saredo, tada wakaremuhodo no warinasa o - A> -at l / omoimusetaru mo, ito kotowari nari t a, t4I4 ED 0) t? Li, _tVS'J]2l
tachibanano / hana chirusato no / hototogisu kata koi shitsutsu / nakuhi shi zo oki thevillage whereorangeblossoms fall The yearning of thecuckoo from is unrequited; manyare thedays he criesin vain! and third ku Tabito's poem, thefirst Not only is Genji's poem made up largelyof phrasesfrom theemphatic zo is repeated. remainin identicalpositions;while in thelowerhemistich particle 57 In the namida to is replacedby namida o. theperplexing version, Shin-shin'yaku
464 /t e,
A a &bo natural tD Jo,"But it was entirely that, thinking onlyof the be of their she should In S Akiko's sobbing"(2:256; 266). pain parting, poem, it is thekoto thatseems to give riseto (nagasu) hertears.
14. "Miotsukushi" /ChannelBuoys

A-m < U 31 t fL r ,M t bti 0 $1^-K6 k
miotsukushi / awan to inoru/ miteguramo ware nomikamini / tatematsururan
I expect I am theonlyone,making tothegods, offerings we with all heart that meet again. my might praying herpilgrimage to the to discoverthat The speakeris theAkashi lady,mortified with visit. In the the shrine coincides fidl novel, conjuncture Genji's Sumiyoshi in comparison withGenji's grandeur herofherhumblestation reminds forcibly thanthetextwould allow, (2:292-94; S 281-82). Akiko,perhapsmorewryly thatGenji musthave come to prayforsomething has the Akashi lady reflect that she mustbe theonlyone come to prayforthat. otherthantheir reunion, 15. "Yomogiu" /The WormwoodPatch
michimo naki/yomogio wakete/ kimizo koshi tare ni mo masaru /mi no kokochisuru
wormwood thetrackless youcameto me; patch Parting else is the that ofanyone andbeyond joy I feel. The speakerof the poem fortheearlierchapterin whichthe Hitachiprincess (number 6), is Genji; thispoem, spokenby theprinappears,"Suetsumuhana" have been answered, her herprayers She is is its cess, glad that touchingly pair. foundher,and rescuedherfromabandonfaithrewarded:Genji has returned, mentand near-starvation. 16. "Sekiya" /The Gatehouse
Ausaka wa / seki no shimizumo / koibitono atsukinamida mo / nagaruru tokoro
bothflow: Meeting Slope-thereitis that ofa lover. thewarm tears thepurespring bythebarrier, When Genji greetsUtsusemiat the barrier fromHitachi,she upon herreturn replies(2:351; S 304):
/ namida o ya yukuto ku to / sekitomegataki taenu shimizuto / hitowa miruramu
ROWLEY: Yosano Akiko's Poems as whenI return: I shed,as hardto stopwhenI left that Thesetears must seemto youtheeternal spring bythebarrier. they 17. "E-awase" /A PictureContest
aigataki / itsukino mikoto / omoiniki mono o sara ni haruka ni / nariyuku
465
ofthegods; sheseemed, vestalvirgin-princess So inaccessible it is that shegoes.58 further from reach butnowso much my at Akikonomu (f, is presented from Ise, Rokujo's daughter, Upon herreturn much to the disapcourtand becomes a consortof the Reizei J-P emperor, Suzaku ki emperor of thespeakerof thispoem,theretired (2:359pointment 62; S 307-309). 18. "Matsukaze" /The Wind in thePines
^ ^^ t a t id id^t
FM IX X& aT Uf
Kd<
ajikinaki/ matsuno kaze kana / nakeba naki ogoto o toreba/ onaji ne o hiku
How desolate, thiswindin thepines.I weep,anditmoans; whenI takeup hiskoto, itplaysthesamestrain. The speakerof thispoem is theAkashilady,stillwaitingfora visitfrom Genji hermove to Oi ktF. "Whenshe letdownherguardand playeda fewnotes after herein thisplace so farremovedfromanyone[who might hearher],thewind
in the pines, unsettlingly,echoed her strain" (hito hanaretaru ho ni uchitokete sukoshi hiku ni, matsukaze hashitanaku hibikiaitari kAt_ t t*il b e9 1tTt/ L< L t< &aY O, 2:398; S 323). t, j PzU/J
19. "Usugumo"/A Rack of Cloud 0 t 7D 4 0 t

Cs t
4 jL'}t3 -D7 i
sakura chiru/ haru no yube no / usugumono namida to narite/ otsurukokochini
Of a spring whilewispsofcloud blossoms evening, cherry scattering, tofallwith them. turn to tears andfall,myspirits seeming thedeathof Fujitsubo.Akikotakes Genji is thespeakerof thispoem lamenting haruno kure ag)), thetimeof day (sunset, theseason (late spring, yahi a BH), withitsassociationsbothofpastjoy and thewisps of cloud,and thecherry tree, of Genji's grief(2:438; S fromthe Genji narrator's description presentgrief, is own. to tears her conceit of clouds but the 340), turning
58
no himeJiQ)I4. no mikobecomes itsuki In theShin-shin'yaku version,itsuki
466
k'EAt A 75 ta n 6 L-
Monumenta Nipponica 56:4 20. "Asagao"/TheMorning Glory

La AM
T-
4k U ts I- A 0)jG 61Q ts
o /aru ka nakika no/asagao to mizukara kana iinasuhitono/wasurarenu herself to a faded theone wholikened Norcan I forget as tobe all butfallen. so withered morning glory,
ofpoemsbetween HereAkikoalludesto theexchange GenjiandthePrincess to once first likens the S princess a morning glory, Asagao (2:466; 351). Genji to wonder whether the but then on he cannot so beautiful her/it; goes forget hisunflattering with is notnowpastitsprime. flower compariAsagaoagrees all withered as to be but fallen" so herself as "a morning son,describing glory and that not when shewasyoung oftheaging take the only saying princess, part so. is equally ofcharacter herpresent was sheunforgettable; beautiful strength 21. "Otome" /TheMaiden
KWA%<
IJ&X4
7 tPs (aru ka nakika ni utsuru asagao a K7b) :_
5 D MA). W Akikohereseemsto
-V
VG D~ftl-7
/tada hitotsu karinakuya /tsurao hanarete no goto hatsukoi o suru/shonen andall alone, from theflock How thewildgoosecries!Separated time. the first for loves who loves the like her, very boy just
hislove,To no The boyis Genji'ssonYigiri andthewildgooseis ofcourse to that birdin this who likens herself Kumoinokari Chujo's daughter mfWE,
%7x" kumoino karimo wagagotoya m/?g&F chapter:
S
(3:42; S 371).
/TheJeweled 22. "Tamakazura" Chaplet

7 L0 -At tD ti t U W L ti T- S,' RIU < no / iu koto hi no kuni ni/oiidetareba ware /ho no somaru minahazukashiku I say landoffire, ofHizen,that Rearedin theprovince everything shame.59 blushwith to makemycheeks an embarrassment
of Hizen term fortheprovinces Akiko's "land of fire" (hi no kuni)is an ancient Tamakazura E, , and Higo in Kyushu,whereTo no Chujo's long-lost daughter Tamakazurais, and the speakerof thispoem, was brought up.60Embarrassed her goes to look in on her following barelyable to respond,when Genji first move to his Rokujo mansion(3:124; S 404), butin thenovel itis Murasakiwho blusheswhenGenji teases her(3:126; S 405).
59 In the Shin-shin'yaku version,ho no somaru ware becomes ho no somaru kana, "how cheeksblush." [my/her] 60 Nihon kokugodaijiten,s.v.
467
23. "Hatsune"/The FirstWarbler

K ki e Kai -Jn 1;L wakayaka ni / uguisu zo naku/ hatsuharuno kinukubarareshi/ hitorino gotoku warblersings:just like one of those As withthejoy of youththefirst
tS 7) l=-X+" ( tUf
ofspring.61 to whomnewrobesweregivenatthebeginning
(3:128-30; Genji gives new robesto his ladies at theend of thepreviouschapter ofthischapS 406-407), thenmakesNew Year's visitsto each at thebeginning terto see how therobeslook on them(3:139-51; S 410-15). The youngdaughterof Genji and the Akashi lady likens herselfto the warbler(uguisu) in an the (3:140; S 410-11). Akikohereamplifies exchangeofpoemswithhermother
youthfulabandon of her song (osanaki mikokoro ni makasete 4 i
of therecipients of new robes. it to thejoyfulchirrups T), likening 24. "Kocho" /Butterflies

0 aS 7.-) fiA in;a> -
zL'1-t:
lo
I,q
f -C -D7
sakari naru / miyono kisakini / kinno cho shirogane no tori/ hana tatematsuru
To theimperial consort ofthisflourishing butterflies reign, golden of ofsilver flowers. andbirds proffer bouquets Murasakihas herattendants in dressas butterflies and birdsto present flowers and silver vases on the of occasion the of the gold Daihannya kyo~~fx reading 1i (Prajfiaparamita Sutra) sponsoredby the Akikonomuempress(3:163; S 422). 25. "Hotaru"/Fireflies
mi ni shimite / mono o omoe to / natsu no yo no hotaruhonoka ni/ aohikitetobu
suffuse andconsume seemto say May melancholy you,thesefireflies traces take as their on thissummer pale green flight. night This poem depictsTamakazura,the one personwho was not delighted by the of no fireflies that her to the the "Firefly expose gaze Hy6buky6 Miya ~,4T40?9, Prince"(3:192; S 431-32).
61 In the finalphraseno gotokuto themore Akikochangesthesinified version, Shin-shin'yaku no yo ni. purelyJapanese-sounding
468
Monumenta Nipponica 56:4 26. "Tokonatsu" /WildCarnations
okite /kurenai itodo tsuyu /fukakeredo /nadeshiko nohana omoinayameru Dew settles, anditscrimson huegrows andyet still, deeper beset ofanguish is this wild carnation flower. bytears The"wildcarnation" is ofcourse Tamakazura, deeply perturbed byGenji'spersistent attentions S (3:225; 445). 27. "Kagaribi" /Flares /mayumi nomoto okinaru ni/utsukushiku moete /suzukaze zofuku kagaribi so beautifully, baseofthe tree, Bythe spindle great flares iniron baskets blazewhile coolbreezes blow. as he liesnext toher, her In Genji'spoemtoTamakazura, hair, spoken stroking from theflares" ni he explicitly linksthe"smokeof desirerising (kagaribi ofherRokujoquarkoino keburi tachisou *kL-/tE-S3a>,O) in thegarden flames" honoho _ with the"inextinguishable ters (taesenu d-t~igttl0 ) ofhis more shedepicts for decorous her(3:249;S 455). InAkiko's ownpassion verse, of the in and leaves it the scene the to the only beauty garden (knowledgeable) in all that that reader to fill suggests. 28. "Nowaki" /TheTyphoon
hitozo /imashitaru ni/medetaki kezayaka no okuni nowaki /emaki ga akuru there tobe seen, Someonewondrously beautiful was,andclearly in thedepths ofthepicture scroll thetyphoon spreads open. The conception of Yugiri's stolenglimpseof his stepmother Murasaki(3:25758; S 458-59) as a scene in a picturescrollis nottheGenji narrator's conceit, is it Akiko's; the scene is standard but neither to therepertoire of painters of of the of illustrations iFR;, Genji-e chapters Genji.62
See, forexample,Kaoku Gyokuei'semakiversionofthisscene in Murase 1983,pp. 162-63; and Thompsonpp. 54-55. It is of coursemostunlikely that Akikohad everseen Gyokuei'sillusbut she certainly would have seen reproductions of theoldestextantGenji monogatari trations, from thefirst halfofthetwelfth sections ofwhichwerereproduced inKokka emaki, dating century, HI[Min 1891, 1905, and 1915. Also in 1915,just fouryearsbeforeAkiko composedtheRaisan edition of thesectionsof thisorigpoems,Kokkapublisheda completeblack and whitefacsimile setin thepossessionoftheOwari Wt Tokugawafamily. For details,see Genji inallymulti-scroll emaki. monogatari
62
ROWLEY: Yosano Akiko's Poems 29. "Miyuki"/The Royal Outing

/ medetasa mo yukichiruya / hi yorikashikoku ue naki kimino / tama no onkoshi
469
ofoursovereign, A flurry ofsnow!Andtheglorious palanquin the his than itself, compare. day beauty beyond grander When theemperor makes an imperialvisitto Oharano !SJ , the Genji narrathe eyes of Tamakazura tor describesthe passage of his processionthrough S Akiko seems to this stancestillfurhere narrative (3:281-83; 467-69). carry intothepersonaof Tamakazurato describeherrapturous ther, entirely stepping in the and good looks. delight emperor'ssplendor 30. "Fujibakama"/PurpleTrousers
murasakino /fujibakamao ba / miyoto iu / kokochioboete futarinakitaki
"Look atthisbouquet ofpurple 'wisteria he says; trousers,'" andboth ofthem feelas ifthey want tobreak downandweep. flowers underTamakazura's curtains and,in Yugirislips a bunchoffujibakama his accompanying herof theirsharedFujiwara blood by drawpoem, reminds and theblue-gray ing upon theassociationsbetweentheflower fujimourning, both wear for their deceased Princess f*t, goromo they recently grandmother he feels,permits him to press his suit.Though Omiya ~K'. This relationship, "bothofthem feelthey wantto weep," in Yagiri thisis buta showofgrief meant to elicitsympathy from Tamakazura;in Tamakazurait is despairat being pursued by yet another suitor (3:324-25; S 483-85).
31. "Makibashira"/The CypressPillar L Sht
1 (a LIt LL C e ABL f Q t0A * -4 ts a &aV
koishisa mo / kanashikikotomo / shiranunari makino hashira ni / naramahoshikere
Neither norsadnessdoes itknow; desire yearning wouldthat I might becomethat ofcypress. pillar MakibashiraA*tt, thedaughter ofHigekuro~M,'4, who ultimately succeeds in makingTamakazurahis wife,is thespeakerof thispoem; in it she expresses emotions from thosevoiced in herpoem in Genji. There,forced rather different to leave herchildhoodhome,she asks thecypress pillarshe likes to lean against not to forget her (3:365; S 500); in Akiko's poem she wishes thatshe herself become such a pillar. might
470
Monumenta Nipponica 56:4 32. "Umegae" /A Branchof Plum
fIt< X :ifiLI
< A 0 it 0 Ai?f
ni/haruatarashiku /kitarikeri ame tsuchi no tame hikaru Genjino/mimusume The newyearis come,to theheavens andtoearth; oftheShining thesakeofthenobledaughter all for Genji. to description of is devotedalmostentirely This chapter,set in early spring, the Akashi of his for the of daughter, coming age ceremony Genji's preparations to thepalace as one of the crownprince's princess,and her subsequententry theconcare he lavishesuponthechoice offabrics, The extraordinary consorts. ofherapartments, of music,theredecoration therehearsal coctionof perfumes, leaves the willbe furnished, withwhichthey ofbooks and pictures thereadying "all forthe has come indeed that this the with reader year's spring impression sake of Genji's daughter." 33. "Fuji no uraba"/WisteriaLeaves wa /shiranedomo no nezashi fujibanano/moto /shirotomurasaki omoikawaseru butlove eachother comeI knownot, their Whither roots do, they surely blooms.63 wisteria andthepurple thewhite unionof Yugiri and Kumoinokari, Akiko's poem celebratesthe long-awaited theunionof two greathouses,theMinamoto, and by extension by represented white,and theFujiwara,represented by purple. 34 and 35. "Wakanaj" /New Leaves: PartOne I t3L';t tC_ &A [1; S t~ 7D h Rit E t /koborekere namidakoso/hitoo tanomedo
kokoroni masari / hakanakaruran
wellup, where I trusted him-overflow, they yetin myheart My tears-though willonlyincrease. senseofemptiness thisbitter of despairat Genji's herfeelings The speakerof thepoem is Murasaki,venting to theThirdPrincess. marriage
tachimachini / shiranuhana saku / obotsukana ame yori koshio / utagawanedomo
63 In the version,omoikawaseru,"they love each other,"becomes eda o Shin-shin'yaku their branches." kawaseru t 7:~D-bett , "theyintertwine
ROWLEY: Yosano Akiko's Poems unknownto me yetso suddenlyin bloom, leaves me uneasy; This flower, therecan be no doubt. thoughthatit be heaven-sent
471
is new poem. The speakeris again Murasaki;theflower composeda completely inthesensethat shehas been urgeduponGenji "heaven-sent" theThirdPrincess, Suzaku emperor. by theretired 36. "Wakana ge" /New Leaves: PartTwo
9i tt?UKt, < t E L/11 J 0 k ut / tare mazu mochite / sabishikumo futagokoro kanashikiyo o ba / tsukurisomeken
For the epigraph to this chapter in the Shin-shin'yaku Genji monogatari, Akiko
A divided andduplicitous heart: whowas thefirst tohaveone?

and began to make theselives so forlorn and sorrowful?
In thischapter, withTo Genji discoversevidenceof theThirdPrincess's affair no Chujo's son Kashiwagi tiM*. He is stunned at whathe perceivesas herfaithlessness: "I would neverhave thought thatshe could shareher affections with harbored proachesGenji forthishypocrisy: just who was itwho first duplicitous And just whose "divided heart"led to such tragicconsequences in thoughts? laterchapters? Is itnotyou,Genji,thespeakerof Akiko's poem seems ask,who is responsible in trainthecatastrophic forsetting seriesof eventsthatincludes of theresultof their themelancholy liaison,Kaoru A? Akiko seems to borrow herdictionfrom an earlierpassage in thechapter. On nights when Genji is "as to wife,theThirdPrincess,Murasakihas her servingwomenread monogatari she finds, even "menwho have affairs, menwho love love, and men her;there,
who have divided and duplicitous hearts" (ada naru otoko, irogonomi, futagoiL, koro aru hito & h, 4fef , Ak) eventually settleupon one woman. ;1f'fs usual absent" (rei no owashimasanu {IfJt ):1 U A)), sleeping with his new Murasaki's agony, the anguish of the Third Princess, the death of Kashiwagi, such a creature" (sabakari no hito ni kokoro waketamaubeku wa oboenu mono o , k iL r) A d:t3 A at 0 _ t_ I, ^< , 4:245; S 625). Akiko's poem re&'. < J
withtheworldof stories, she concludes,real lifewithGenji is By comparison S uncertain (4:203; 609). pitifully
E{VXoL<K a 7Q
~LdHa HLt f.f FrQ shinuhi ni mo / tsumimukuinado / shirukiwa no namida ni nizaru/ hi no shizukuotsu
37. "Kashiwagi" /The Oak Tree <
forsuch as his sins: Unlike thetearsof themomenthe knows retribution even on theday he dies, dropletsof firefall.64
64
version The Shin-shin'yaku replacesshiruwithiu 3,
"themoment he speaksofretribution."
472

T X - 5 -5 IT, 4:308; S 647). Akikoprefers
to recallhisundying theThird andchoosesinstead a fire Princess, passionfor from inthechapter: metaphor, perhaps poemearlier Kashiwagi's ~ ~ -I b 0 (
-C I tM, Jktt;
t(tJ0 t Zk
yo nitei 0 away" (awa no kieiru
is described death as "likefoamdissolving Kashiwagi's bytheGenjinarrator
t t~ft T t~
ti -,fit
bt 4 , 'Ifl_,% f
(9,
4 t t
mo/musubore imawa tote /moemu keburi taenuomoino/nao ya nokoramu (4:281; S 637) likelingering smoke from nowI am to burn, myfuneral Though pyre, shallremain. fire ofunquenchable love surely thissmoldering
he is experiinthis whosenses that is nottheonly character chapter Kashiwagi Princess has given when that theThird retribution: karmic Genjilearns encing he realizes he is madeto that tobe Kashiwagi's birth to a boyhe knows child, forthesin of his adulterous withFujitsubo relationship pay,at leastin part, (4:288-89;S 640). /TheFlute 38. "Yokobue"
mokoshi nakihitono/tenare nofueni/yori kana no / samuki no yowa yume yukue with histouch; theflute he favored one camebackfor So thedeparted thedream has vanished. intowhich howchillthedead ofnight his dreamof Kashiwagi (4:347-48; S 663), is the Yugiri,just awakenedfrom of this poem. speaker 39. "Suzumushi"/The Bell Cricket _ * E A@ i ; ft7 t7 L JU o i t& ~ fA; no no/ondeshi Butsu wa /Shakamuni suzumushi kimi no tameni to/aki o kiyomuru ofSakyamuni theBuddha," "Foryour sake,honored disciple with itssong. autumn saysthebellcricket, purifying The honoreddisciple of the Buddha is theThirdPrincess,who became a nun thebirth of herson in the"Kashiwagi" chapter (4:298; S 643). And following visits. her with One autumn continues to trouble the evening, frequent yetGenji is as He first arrives. remarks on the her devotions Genji princess murmuring adds his voice to herinvocation chorusof insectsthatcan be heard,thensoftly to theBuddha Amida. "Of all thesevoices," theGenji narrator thebell remarks, L, 4:369; S 672). Akikotakes"all thesevoices" to includethoseofhumans :7/5 as well as insects, thusmakingpossible theconceitthatthebell cricket joins in the name on of the her Buddha's behalf to chanting princess, assisting lighten herburdenof accumulated sin.
cricket's ni okashiit~-ht7I andmost (hanayaka songis "clearest charming"
ROWLEY: Yosano Akiko's Poems 40 and 41. "Yugiri"/EveningMist

otokono / izurukoro tsumadoyori/ kiyoki goya no risshino / monoborukoro thehingeddoors, Justas thefairgentlemandepartsthrough devotions. man to conduct then arrives the earlymorning holy just
473
Kashiwagi's widow, the Second Princess, has moved to her mother's villa in Ono il\f, and Yugiri pays a visit to press his suit. The wording of Akiko's poem closely follows the holy man's (risshi )fl) own recollection of what he saw as he arrived at the villa to conduct early morningservices: goya ni monoboritsuru ni, kano nishi no tsumado yori, ito uruwashiki otoko no idetamaeru o 'i -tl -7U L~ S 684). E @ TP 7N) -O0 -)D t _t > ?/ U(4:404; / miyakono ie ni / Otonashi no kaerikoshi takiwa ochinedo/ namida nagaruru At my home in thecapital to whichI have returned, no Soundless Waterfall but tearsdo flow. pours forth; This, Akiko's second poem for the chapter, is Yugiri's response to a "poem" from the Second Princess. Actually it is only a pastiche he replies to, pieced together from fragmentsof the princess's hand sent to him by a sympathetic waiting lady when the princess refused to compose a poem of her own. The patchwork reads (4:440; S 699): S Q -t M3ts 1 U ) s " 1'fs1L t1s y < IF3 ;~aL/I " tf - EYQ asa yu ni / naku ne o tatsuru / Onoyama wa taenu namida ya / Otonashi no taki At Mount Ono, wheremy sobs sound day and night, are my ceaseless tearsbecome the Soundless Waterfall? 42. "Minori" / The Rites
0) ta 7t1s 0A 0 a) 0,
LE
i 1E' t=E
I3Tt
E)
nao haru no / mashirokihana to / miyuredomo tomoni shinumade / kanashikarikeri Still more like a pure-white springflowershe now appeared; yetso sad it made him thathe felthe mightdie withher. Murasaki is dead, and yetin death flawless, "her face so white it seemed to glow" e a < At -5 I-iT, 4:495; S 719). (on'iro wa ito shiroku hikaruyo nite itPU feltbefore,nor would ever know as he never in "such had is Genji engulfed grief the like of again" (subete koshi kata yuku saki tagui naki kokochi shitamau T-4 TCL U 5f< jLt c< < t Lt 4:496; S 719). L', ,i_
474
Monumenta Nipponica 56:4 43. "Maboroshi" /TheWizard
sae /tsukuru hino ozora no/hi no hikari chikaki /kokochi kososure yoyaku Andnow,so one feels, thedayat length drawsnigh when eventhebrilliance ofthesunintheboundless heavens willbe extinguished.65
The speaker ofthis toturn hisback poemobserves Genjimaking preparations andconcludes hisdeath, that be far too,cannot upontheworld, away.Akiko's is probably diction drawn from several ofGenji'spoemsinthis ozora chapter: from hisrequest ofthe wizard inthe heavens that hefind where Murasaki is gone an endtoday?" (4:536; S 734).
from his last words,toshimo waga yo mo/kyoya (4:531; S 733); and tsukuru tsukinuru tb~t': 7 t tSA , "theyearand mylifeas well, are theyat dt-f
44. "Kumogakure" /Hidden inClouds

kakikurasu / namida ka kumoka / shiranedomo hikarimiseneba/ kakanu issho
Whether darkened orbycloudsI knownot, buthisbrilliance bytears he didnotshowandthus this one chapter shedidnotwrite.
that Murasaki Shikibu found Akikobasesthis legend poemuponthemedieval inwords andthus herself unable todescribe Genji'sdeath provided onlya title for this andno text. "chapter" 45. "NiouMiya"/His Perfumed Highness
O H OYEI j ) O5
4f
-[M t-I tJ aA
3 t (9 *
haruno hi no/hikari no nagori /hanazono ni

nioikaoruto/ om6yuru kana
One cannot butfeelthat thebrilliance ofthesunon a dayin spring in the and oftheflower lingers perfume fragrance grove. Genji-Akiko's hi no hikariin thispoem and also in poems 1 and 43-has died, and amonghis manydescendants is no one who shineswithquitehis brilthere liance. Only two standout: Niou, thethird son of thereigning and the emperor Akashiprincess, and Kaoru,nominally Genji's son by theThirdPrincess(5:11; S 735). Akiko'spoemintroduces thetwoyoung menandhints atthediminishment scent-related names.Niou, "his perfumed has a pasimpliedby their highness," sion forperfume-making and scenting himself(5:21; S 739); whereasKaoru,
65 In the Shin-shin'yaku hi no is replacedby tsukuru version,tsukuru yo no 3 < worldin which[thelight]will be extinguished."
t tD,
"the
475
scent(5:20withan otherworldly "thefragrant permeated captain,"is naturally the brilliance not add to do Yet the two S (hikari)ofGenji. 21; 739). up together 46. "Kobai" /The Rose Plum
h t A X3 A5stf C^tc
butask; andyet do! Kobai does nothing Come visitwarbler, to waitquietly.66 oftheroseplumis content themistress Kobai ,MIt(To no Chujo's eldestsurviving son) urgesNiou to pay him a visit, to his daughters and at thesame timeto pay some attention (5:43; S 747). But it the late PrinceHotaru) to is Kobai's stepdaughter (Makibashira'sdaughter by "the mistress of the rose whom Niou is most attracted. She, plum," does not (5:48-49; S 750). requitehis interest 47. "Takekawa" /Bamboo River
himetachiwa / tokootomenite/ haru goto ni hana arasoi o / kurikaesekashi
s Ej^^ ^^1 Af b l^O; its C 11 no bakari / kobai to uguisu mo / koyoya hana no aruji wa / nodoyaka ni matsu
;ItfI
Wouldthat ladiesmight remain eternal maidens; youyoung for this tree. contest to your cherry every spring repeat The youngladies areTamakazura's twodaughters byherlatehusbandHigekuro. is a tournament ofgo, theprizeat stakeone ofthecherry Theircompetition trees in their S Akiko's be in well poem may spoken the garden(5:71-73; 759-60). "thelieutenant," as he steals iA personaofYugiri's son Kurodono Shosho ~}J,4, a glimpse of the young women fromthe gallery-a scene conventionally of thischapter of Genji.67 depictedin illustrations 48. "Hashihime"/The Lady at theBridge
shimeyakani / kokorono nurenu/ kawagirino tachimauie wa /aware naru kana
mists forlorn is thehouseamidst theswirling river How movingly soakhisheart. that so softly he approachesthehouse on the late in autumn The heart is Kaoru's, as one night "the Hachi river at Uji $ where no Miya /kai, EighthPrince,"lives withhis
66 In the version, koyoya to bakari is replacedby towaba toekashi a lWl a A Shin-shin'yaku 7t L, "if you would come calling,thendo come." intheOwariTokugawa Genji emakimen67 The secondillustration for the"Takekawa" chapter 62 depictspreciselythisscene. tionedabove in footnote
476
E@rc (5:127-28; S 783-4). In theGenji daughters Oigimi5;k and Nakanokimi textKaoru is soakedto theskinby mistand dew on theroadtoUji. Akiko's mist is atmospheric as well as meteorological, and penetrates even his feelings.
49. "Shiigamoto" /BeneaththeOak ake no tsuki /namidano gotoku /mashirokere toki mitera no kaneno/mizuwataru liketears, The dawnmoon, white, glisteningly as echoesofthetemple bellsoundacrossthewater.68 from Justas the faintsound of thebell reachesthe Uji house, messengers the in tears,to tellOigimi and Nakanokimi thattheir father has died templearrive, thenight (5:180; S 808). during 50. "Agemaki"/TrefoilKnots o ba /hi no omoimote to kokoro /yakamashi mio ba /kemuri nizo suru omoiki these IfonlyI couldburn with I, fiery thoughts! thought awaymyheart that longed-for uponthepyre.69 committing bodyto smoke his wishthat he might be releasedfrom In thispoem Kaoru voices thedesperate abouthereven slightly ordinothing longingforthedead Oigimi. "'Was there If is to make me me to senses? this meant abanthat really might bring my nary don the world,praylet me findsome flawto assuage my sorrow,something was nothing thatwould and ugly,' he begged of theBuddha; butthere horrific monanomenarirelievehis intense longing"(Nanigotonitekonohitoo sukoshi shirube niyo no naka o omoisutehatsuru shi to omoisamasamu, makoto naraba, mo o dani ni ukikoto mitsukesasetakanashisa no, samenubekifushi osoroshige T ) itodoomoinodomemu kata naku fJil-' L _& mae, to hotokeo nenjitamaedo, L (: f 0) CP a rC I D 15 U Ut 15 U 2s ; tt ( I ts0) fS U LORV-1 A;tY 71t7_ tt tX thismov, : t _, E\ tL a E tl7L) <, 5:319; S 867). Akikodistills ',= ?c , as ingpassage intoa thirty-one syllableaccountof Kaoru's anguished thoughts he contemplates herto cremaOigimi's still-beautiful corpsebeforeconsigning tion-which he does withall possible haste (hitaburuni UP_,SoL-) in his desto at least visual his remove the source of peration suffering.
68 In the )C , "morning version,ake no tsukiis replaced by asa no tsuki lI Shin-shin'yaku moon." The textof Genji gives ariake no tsukit'0 f, "moon visiblein theskyat dawn." 69 In theShin-shin'yaku omoikimi o ba is replacedby negaikimi o ba IN -Ltb version, ', I wished, committing that wished-forbody ...."
giving "...
477
51. "Sawarabi" /EarlyFerns sawarabino/utao hoshisu /kimi no goto o ba /shiranu kotoba medetasa yoki The monk makesa poemon early andhowsplendid arethosewords ferns; ofone whoknowsnaught offine thelikesofyours.70 phrases "Kimi" is Niou, and thepoem is addressed tohimbyNakanokimi. She compares the "ill-written" U 5 CT)but "deeply moving" (ito (te wa ito ashute T-ta aware nite da: &t lt -_ T-)poem sentby theabbotofthetemplewhereherfather with the "frivolous and apparently notdeeplyfelt and died, words,so splendidly (naozari ni, sashi mo obosanu namerito miyuru seductively strung together" kotono ha o medetaku ) , L Ut ni kakitsukushitamaeru t tfs konomashige L . f :&t , 0& 6 03A ta _ CZ - < bU of Niou's love ~ TP :_< ~f U f fc ) L andfinds theformer moreattractive" metomarite letters, "incomparably (koyonaku I< a t0 C, 5:336; S 873). Jtf: < 52. "Yadorigi" /The Ivy okenaki /omimusume o /inishie no hitoni niyotomo/omoikeru kana Thishonored ofan emperor, so farabovehim, daughter yethow he wishesshemight resemble hisbelovedofthepast. Kaoru's longingforthe dead Oigimi is so unremitting thathe hopes even the Second Princess,with whom he is unitedin this chapter,will resembleher (5:372, 406; S 890, 904). 53 and 54. "Azumaya" /The EasternCottage
i4 &) aq-, 34 z'K t; tf 8it17> - Aft 0t f 0
/waga sode ni asagirino/nakao kitsureba kimi ga hanadano/iroutsurikeri As we makeourwaythrough themorning mist, mysleeveoverlain byyours has beenstained the color of through by your pale blue. As Kaoru and Ukifunei? --half-sister of Oigimi and Nakanokimi-travelto ox-drawn he notices that Ukifune'sred sleeve is overlainby Uji by carriage, the lightblue (hana t~ in Genji; Akiko's hanada no iro) of his own sleeve. thiscombination blueishpurple, mist, Dampenedin theriver producesa striking oftheblue-gray ofmourning that he woreforOigimi(6:88, possiblyreminiscent
70 In theShin-shin kimi no gotois replacedby kimi ni nizu L i. {f'tT, 'yakuversion, giving"how you,who knowsnaughtof finephrases." splendidthosewordsof one, unlike
478
who noticesthis, not esp. notes5, 6 and 8; S 968). In Akiko's poem itis Ukifune Kaoru. arishiyo no/kiri kite sode o /nurashikeri warinakeredomo / Uji chikazukeba Mistsofa lifethat was andoftimes nowpastcometo soakmysleeves, itis, as we drawnearto Uji. deeplypainful though For theepigraph to thischapter in theShin-shin'yaku Akiko Genji monogatari, a new The same scene from composed completely poem. Genji providesthe in but contrast to the the is Kaoru. As they here source, previouspoem, speaker fortimespastintensifies (koshikatano koishisamasaapproachUji, his longing U T ~ 0 T). Andwhentheir riteSAL J0Y? L intoview lurches, carriage bringing theirdampened,overlappingsleeves, he is overwhelmed this by unexpected reminder ofthemourning he woreforhisbelovedOigimi.Akiko's poemechoes boththisscene and thepoem Kaoru murmurs at itsclimax(6:88; S 968): katami ni tsukete wa /asatsuyu no zo to/miru tokoroseki made/nururu sode kana in themorning ofmybeloved, dew Seeingyouas a reminder aboutus,mysleevesaresoaked, chokes. deep andthick myspirit 55. "Ukifune" /A Boat upon theWaters
jJ t9 ft A C L /IN, t Ut'4QDE 4 ? (- n , fI
N<
monoto/kanete naniyorimo/ayauki mishi obuneno ue ni/mizukara o oku Moreperilous than else,I'd longseen: anything thislittle boatI boardandto which I entrust myself.71 The speakerof thispoem is Ukifune. In thepreviouschapter, herhalfvisiting sisterNakanokimiin the capital,she had inadvertently attracted Niou's attentions(6:54-59; S 953-56). In the"Ukifune" Niou travels to Uji, where chapter, he poses as Kaoru successfully enoughto be showntoUkifune'sside; he spends thenight andthefollowing her(6:115-28; S 980-85). Later, Niou makes daywith another visitto Uji, thistimeto carryUkifuneoffin a boat to a house on the otherside of theUji river(6:140-48; S 990-94). By thistime,in Akiko's view, Ukifune shouldhave "longknown"that Niou was "moreperilous thananything" whenshe "entrusted" herself to him.
version,obune no ue ni is replacedby obune no naka ni "I\f Shin-shin'yaku A r0 thislittleboat intowhichI boardand entrust myself."
71 In the
_,
ROWLEY: Yosano Akiko's Poems 56. "Kagero" /The Drake Fly z 1!~ a)J) t s * StU 6 4Q 6
479
0 I 1HA -sel:
LIt
wa / me ni mishimono o / kagero no hitotoki aru ka naki ka o / shiranuhakanasa
onceI saw herwith myowneyes,itpainsmenottoknow Though frail as thedrake thiscreature whether sheis oris no more, fly. whose whereabouts frailas thedrakefly"is of course Ukifune, "This creature are at thispointunknownto Kaoru, the speakerof thepoem. Akiko takes the its Kaoru's poem,whichgives thischapter languageof herpoem notonlyfrom thatfollowsit,aru ka naki ka no, "is remark his murmured but also from title, she or is she no more"(6:264; S 1042).72 Practice 57 and 58. "Tenarai"/At Writing
samegata ka /yumeno nakaba ka / ana kashiko nori no miyamani / hodo chikakuiru
Am I aboutto wake;orin themidst ofa dream? Awe-inspiring oftheDharma. tobe so nearto theholymountain overtherivalry betweenNiou and Kaoru forheraffections, Ukifune Distraught wishesshe could die,butis found by a bishopwho happensto be in thearea and who takesherback to Hieizan withhis entourage. The speakerof Akiko's poem is Ukifune as she returns to consciousnessin the"unknown land" (shiranukuni 4 4) of the at Ono on the western of M I/Jg nunnery slopes Mt. Hiei (6:283; S she stillwantsto die (nao ika de shinan tgttATEtg/); but, 1050). At first Akiko as "near to the she asks that she herself, it, mountain," finding puts holy be made a nunherself. That would be theonlyway, she says, she might somehow go on living (Ama ni nashitamaite yo. Sate nomi nan ikuyo mo arubeki FL I C < %-5 /u: ( fs L : TxTZTCA. ,~t o , 6:286; S 1051). hodo chikaki/ nori no miyamao / tanomitaru narikere ominaeshika to / miyuru
72 The editorsof the NKBZ Genji suggest(6:264, note 10) thatpossible sources of Kaoru's authors on 1191 and 1264, bothby unknown kagerono aru ka nakika includeGosenshu:(1 unknown occasions: aware to mo/ ushi to mo iwaji / kagerono aru ka naki ka ni / kenuru yo nareba norbleak,thisworld;forit vanishes Let us call it neither affecting like thedrakefly, beforewe knowifit is or is not. monowa / kagerono yo no naka to/ iitsuru aru ka naki ka no / hodo ni zo arikeru
b5utt L t* L, Le t C 1 U M ff' 5,SOS age fS tAlp 154 7b Wi qa S -teas
480
Almost likea maidenflower sheseems, shewhoplaceshertrust in theholymountain oftheDharma nowso near. The image of themaidenflower is drawnfrom an exchangeof poems between Imotoama Ji ("thebishop's Chujo -43 ("thecaptain")andhislatewife'smother the nunnery, the captaincatchesa glimpseof Ukifune sister").While visiting and his curiosity is piqued. In his poem he enjoinsher,the"maidenflower," not to bend to the wind/the will of othermen,because he wantsher forhis own. Ukifune refuses to respondand thebishop's sister repliesin herstead(6:301; S Akiko the maidenflower 1057-58). Although employs image,she emptiesit of itsusual suggestive thefocusof herpoem is rather Ukifune'sreligious content; awakening. 59 and 60. "Yume no ukihashi" /The FloatingBridgeof Dreams
t cv-J^ t hj z2t75i^ (-- -;tC ML
7
kC )0ff J
T<
hotarudani / sore to yosoete/ nagametsure kimiga kurumano / hi no sugiteyuku
Eventhefireflies I hadbeengazinguponI liken to them: theflaming torches ofyour out carriage passing ofview. The speakerof thispoem is Ukifunein thatmoment whenhergaze liftsfrom in above the stream the the to thedistant thefireflies of nunnery flitting garden inthevalleybelow. "Withonlythefireflies ofKaoru's outriders overthe torches stream to her as she recalled the she sat console gazing out, as garden past, when from beneath the eaves that looked over the distant always, valley... she saw therestlesslightsof manyflaming torches"(Yarimizuno hotarubakari o mukashi ni, rei no, harukani miyaraoboyuru nagusamenitenagameitamaeru hi no nodokanaranu rurutanino nokibayori... itoo tomoshitaru hikario miru ) ) Ya hSg, 6:368-69; S 1085). OFT bJO ... 0oLT0) t L 75 tdT5 7" Akiko's poem suggeststhesuddensinking as her feelingUkifuneexperiences shifts a scene from that arouses memories to one that back gaze pleasant brings she is to trying forget. everything
akekureni / mukashikoishiki / kokoromote ikuruyo mo hata /yumeno ukihashi
-I:,t i?4 t -4, ,z ,d , , - , , (Z' 04
stillburning with for times Day andnight possessedofa heart longing past, in theendthisworld, ofdreams. too,is buta floating bridge thetime,a moment as she watchesKaoru's later, Again thespeakeris Ukifune; entourageadvance up the valley. "'As the days and months slip by, and I am
This thatwe call theworldand our lives therein: buta space of time,gone, like thedrakefly, beforewe knowifit is or is not.
481
thepast,now whatam I to do?' she thinks, sick at heart"(Tsuki unableto forget mama ni, mukashino kotono kakuomoiwasurenu hi no sugiyuku mo, ima wa nani subekikotozo to kokoroukereba fl Oi) S < I I lz, < ,i, _ e7d > & _ 1 o Hf4JITt, EL-_' jL'Ui*,thcl', 6:369; S 1085). Accordingto the hersolution is to try to distract in devotions herself to theBuddha Genji narrator, Amida. Akiko,in herpoem, goes further, a Ukifune sense of resigaccording nationshe neverachieves in Genji.73
73
On thispoint,see Tylerand Tylerforthcoming.
482

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Yosano Akiko's Poems: In Praise of "The Tale of Genji" Author(s): Yosano Akiko and G. G.

Yosano Akiko's Poems "In Praise of The Tale of Genji"

Monumenta Nipponica 56:4

Yosano Akiko's Poems

Monumenta Nipponica 56:4

Yosano Akiko's Poems ....... ....I...., . ~ . , .. ''..

....... ~ ........."........I._ .......I. " % --_--. .... .. .......

%e-t :a:; , X.:a::: :e d t:h e X::. :d :p:em s .!

.. :: ... ...,. `1 I w a::.sn;:t te

s ;.. .Iga 1,I : ,it . .I...... , : wh : e : pr t

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pesntd ern .a,

prn thr sts ..

Monumenta Nipponica 56:4

dating from 1290, the Fu Hikaru Genji monogatari shi ,,7UiEPoJ,.15

9 Myojo (2nd series) 1:3 (January 1922), pp. 3-8.

ROWLEY: Yosano Akiko's Poems

17 The textis printed in Ikeda 1956, vol. 7, pp. 216-18.

Monumenta Nipponica 56:4

ROWLEY: Yosano Akiko's Poems

Monumenta Nipponica 56:4

Withthedeft Koto no Naishi exchangeofone homophonous kanjiforanother,

Ii 1980, pp. 1012-28; Miyakawa 1995, pp. 577-78.

ROWLEY: Yosano Akiko's Poems

Monumenta Nipponica 56:4

ROWLEY: Yosano Akiko's Poems

o At -C Is, tI 0 L n t C3EJ P IU Ssl XIs3

ni ari to kisaragi ya /hana no en cho/toki niouran37 no sakura/kyo mihashi

with today. pride aglowno doubt bythepalace steps, saysthecherry

no /oboroyo hana no en/enishiyafukaki no/ariakeno tsuki39 san no toguchi

Monumenta Nipponica 56:4

aoyagi no /hana no na ni ou /mai no sode mo tachinarabitewa / miyamagino kage40

ROWLEY: Yosano Akiko's Poems

Monumenta Nipponica 56:4

ni ikanishite /okata /yoniwamoreken

Yosano Akiko's Poems

Monumenta Nipponica 56:4

ROWLEY: Yosano Akiko's Poems

of Akiko's these, but I have chosen to translate

first version, which I like better,

six-volume Shin-shin'yaku Genji,the Genjimonogatari by Kanao published

i second n modern Japanese translation of The Tale of igraphs her

and theAkiko translation; Shin-shin'yaku poem

"In Praiseof The Tale ofGenji"

Monumenta Nipponica 56:4

f t Z'^^ 0 z75zt1 t Adf

ROWLEY: Yosano Akiko's Poems Excursion 7. "Momiji no ga" /An Autumn

Blossoms 8. "Hana no en" /The Festivalof theCherry

-5 q tos tQb kft15 LbU

haru no yo no / moya ni yoitaru/ tsukinaran tamakurakashinu/ waga karibushini

urameshito / hitoo me ni oku/ kotomo kore mi no otoroe ni / hoka naranu kana

me in his eyes." buthumiliate "does naught

Monumenta Nipponica 56:4 10. "Sakaki" /The Sacred Tree

Isuzukawa / kami no sakai e / nogarekinu omoiagarishi/ hitono mi no hate

tachibana mo / koi no urei mo / chirikaeba naku ka o natsukashimi / hototogisu

As givenin 2:149, note 15; and Kokinsha, p. 105:

ROWLEY: Yosano Akiko's Poems

Monumenta Nipponica 56:4

14. "Miotsukushi" /ChannelBuoys

miotsukushi / awan to inoru/ miteguramo ware nomikamini / tatematsururan