Together we spent the night gazing out, finally going inside only when dawn arrived. Wrapping up a long root, she gave it to me with the following:
Sweet flags afloat
In the sad and muddy waters of this mundane world –
What of this root and what of my tearful voice today?
My reply was:
What it is I cannot fathom.
Today too this sleeve of mine
Can neither hold this root or stem my tears.
The above fragment constitutes very strong evidence that the compiler of the Eiga monogatari had more than the present diary at her disposal. The reason why more of it does not actually appear in the Eiga monogatari is that the compiler made a conscious attempt to cut out all the more personal aspects of Murasaki’s account, and much of this fragment consists of precisely that. It would also seem highly likely that the compiler of the ‘Nikkiuta’ appendix, probably Teika himself, had this larger diary in his possession. Extra evidence for this is supplied by a passage in Teika’s diary, the Meigetsuki, for Tenpuku 1 (1233).3.20. This entry records that a picture scroll consisting of paintings and poems illustrating the twelve months of the year (tsukinami-e), originally a gift to Teika’s daughter from Princess Shikishi, is now to be given to the reigning Empress. The poem for the fifth month was recorded as ‘Diary of Murasaki Shikibu: a dawn scene’. As no such poem appears in the diary that we have today, this must be one of the poems above, probably ‘Now I see my face floating there’.
DATE OF COMPOSITION
What if we accept the above hypothesis that the diary as we have it is incomplete? As the extra fragments identified above predate the present beginning of the diary, it follows that the beginning must be considered lost. The only reason that a large number of scholars continue to argue against this idea is the fact that the present beginning constitutes such a superb introductory passage, so fitting indeed that it is hard to believe that anything could have preceded it. In this case, the only way we can explain away the existence of the Kankō 5.5.5 passage is to posit either an Ur-diary, out of which the present one was presumably extracted and rewritten, or to posit another separate diary. But this is all entirely supposition, based on a certain ‘feeling’ about the inviolability of the beginning as we have it now. One sympathizes, but as yet no one has come up with a satisfactory argument for denying the theory that the beginning of the diary has been lost. It may, of course, be that much more has in fact been lost, but there is no way of knowing.
What of Section B? In contrast to Section A, which is usually known as the ‘record’ part, Section B has traditionally been given the name ‘letter’ part (shōsokubumi). Why this is so should be clear from the last passages of this section, where it is obvious that there is a specific addressee in mind. Obvious, that is, unless you consider that this may actually be a narrative technique, a fictional letter. There is also the ubiquitous presence of the polite auxiliary verb haberi, which has the effect of stressing the existence of a receiver. Indeed for some time Section B was considered to be a real intruder, a letter that had been interpolated into the diary by mistake. This is an attractive idea at first sight but cannot be accepted as a feasible explanation, for one main reason: the smoothness with which A runs into B. The transition from record to personal comment takes place gradually over a number of paragraphs. If we insist on seeing B as an interpolation, then we are driven to the somewhat unsatisfactory conclusion that a second hand deliberately rewrote the beginning of the letter so that the join would be invisible.
While the smoothness of the join is undeniable, there still remain a number of elements that suggest that Sections A and B are by no means an organic unit. In the first place, the contrast in content and style is striking, and the presence of the occasional personal comment and passage of self-analysis in Section A does nothing to dispel such an impression. In the second place, there is a marked imbalance in the frequency of the auxiliary verb haberi. In Section B haberi appears 136 times, acting in its normal role as an auxiliary expressing politeness to the person being addressed, quite in character for a letter being written to someone specific. It also appears, however, in Section A, where one would not normally expect it to be present at all. Admittedly, it only occurs here twenty-five times and then subject to special constraints, but its very presence is an anomaly and demands an explanation. Haberi does not, it will be noted, appear in the extra fragment nor in Section C. The fact that it reappears six times in Section D, which is also ‘record’, suggests that A and D may have something in common. An analysis of its usage in Section A shows that it probably marks passages that were added later: these are highlighted in the translation by the addition of a phrase such as ‘I remember that…’ This raises the possibility that A was to some extent rewritten to fit B. But when did this occur? And why was the revision felt to be necessary?
It is useful to remind ourselves of when the various sections were written. Section A covers events from autumn Kankō 5 (1008) to Kankō 6 (1009).1.3. There are also some internal clues. Fujiwara no Kintō is described as a Major Counsellor (p. 19) and Fujiwara no Yukinari is given the title Middle Counsellor (p. 37). Both of these men were appointed to these positions (elect) in Kankō 6 (1009).3.4, so this must have been written, or rewritten, after that date. We know too that Prince Nakatsukasa died in Kankō 6 (1009).7.28, and as Murasaki talks about him as if he were still alive, it is reasonable to assume that Section A was written in the late spring or early summer of 1009.
Section B contains no dateable material as such, of course, but Fujiwara no Tadanobu is called Major Counsellor, which places it again as post-Kankō 6 (1009).3.4, and Akazome Emon’s husband is called the Governor of Tanba, which places it even later, post-Kankō 7 (1010).3.30. Unless this itself is a later amendment, B must have been written after this date, which means that a considerable distance separates the writing of A and B, evidence which tends to conflict with the smoothness with which they are joined.
Section C cannot be dated with any certainty, but it is thought these vignettes may refer to events in Kankō 6 (1009).9.11.
Section D deals with events from Kankō 7 (1010).1.1 to 1.15. One can assume that they were written soon after the events themselves, although the use of haberi also suggests some degree of rewriting.
Based on the above, the following picture emerges:
Figure 2
Section D deals with events from Kankō 7 (1010).1.1 to 1.15. One can assume that they were written soon after the events themselves, although the use of haberi also suggests some degree of rewriting. Section A was written some four or five months after the event it describes, possibly based on notes taken at the time. This would have been a woman’s court diary that combined detailed description with the occasional passage of personal reflection – very much the kind of record that Akazome Emon must have relied on heavily for much of the Eiga monogatari. It may have been a formal diary produced at the behest of Michinaga,but the personal material makes this a little doubtful. Sections C and D were written on or soon after the events they refer to. Then, sometime after 1010.3.30, Murasaki herself picked up Section A and carried on writing where she had left off. The continuation was in a far more personal vein and was designed to be sent to someone specific. Deciding to send A with B, she not only ensured they flowed on smoothly but also cast her eye back over A, adding in the process a number of personal and explanatory remarks. The use of haberi betrays, as it were, the presence of these later additions. The same applies to D, but C reveals no sign of rewriting and so may indeed be an errant fragment.
We do not know why Section A stops where it does. There are various theories, but none are conclusive. And to whom was Murasaki writing when she finished Section B? It is sometimes argued that we are dealing with a fictional letter here, or even with an ‘open letter’, but we have no proof either way. If it were addressed to another ladyin-waiting, then she must have been absent from court for some time. Numerous other possibilities have been
suggested, but none is more likely than Murasaki’s own daughter Kenshi. One might object that Kenshi would have been too young to have been interested in such information, but then Shōshi herself became Imperial Consort at the age of eleven. Certainly this would explain the proprietary tone of much of Section B where Murasaki does seem to be trying to teach by example.
Lastly, did Murasaki intend the diary to be exactly as we have it today? From the evidence adduced above this would appear highly unlikely. It is probable that the reconstructed fragment has become detached from the beginning, but anything else must remain mere speculation. Whether Sections A, C and D were originally parts of a much longer record that Murasaki kept is impossible to say.
THE NATURE OF THE WORK
Given that we are dealing with such a fragmented text, part public part private record, how are we to approach it? Is it in fact anything more than a collection of jottings, notes and observations that would hardly merit attention were it not for the fame of its author?
Of course the fact that it was written by the author of the Genji monogatari is of major importance, but the work is also significant in that it helps us to explain the emergence of such a magnificent fiction. Up to this point Japanese prose had consisted largely of stories of the ‘fairy tale’ type and women’s autobiographical writing. The most important example of the latter was the Gossamer Years, a claustrophobic chronicle of frustrated passion and listless days. Murasaki’s diary exhibits a further stage in the rapid development of Japanese. We have already suggested that the record we see in the diary may have been done almost as a kind of exercise.
In the context of record-taking, the recitation of detail and fact becomes its own justification. The problem with detail, however, is that it often hides rather than reveals the significance of what is being described. What, for example, is Murasaki’s attitude to this display of Fujiwara power? Knowing her acute awareness of the realities and psychological ramifications of power as demonstrated in the Genji monogatari, it is extremely difficult to believe that she simply acquiesced in what she saw. There is the occasional moment in the diary when one feels a hesitation, but usually the moment is personalized and the vision returns to her own predicament; there is little overt sign that she saw the status quo as anything but immutable. It is tempting to deduce that she simply was not in a position to do anything but praise Fujiwara power and elegance. The cavalier way that the Emperor is treated, for example, is seen to be simply how things are.
But can one look a little further? Was she not aware of the tendency of such records to become opaque and is this why the text has a tendency to slip into personal anecdote and self-analysis given half the chance? The very opaqueness might then be seen as betraying an underlying sense of resistance.
The other interesting element here is the confessionalism that emerges here and there in the ‘record’ section and then fully near the end of the ‘letter’. It is this willingness to subject the self to analysis that gives Heian women’s writing much of its psychological maturity and penetration. It may not have been a modern self that was discovered and opened up to the world, but it was a self. It is often assumed that because Buddhism brands the self as a pernicious illusion a sense of self could never really develop, but the opposite might well be argued: namely that such emphasis had to be placed on this denial precisely because the concept was very much alive. And, although the ties between confession and salvation cannot be said to be as strong as in the case of Christianity, the connection was nevertheless made. Priests and nuns made vows; attachment to this world was certainly a sin that should be atoned for. There was also the possibility of personal salvation through belief in Amitābha Buddha. The specific nature of Buddhist beliefs among the women courtiers at this time had a very strong influence on the development of writing in the confessional mode.
One of the central concerns of the diary, by its very form, is the nature of time. In most works by women prior to this diary, time was organized on a personal basis, a process that refers not to the outer world of society with its dates and ceremonies, and not even to the way one year follows the next, but rather inward to inner rhythms and perceptions. Murasaki’s diary contains both types of time. As a figure in the public arena recording a series of ceremonies, she is subject to external time not only physically but also in the sense that the diary is organized according to such principles. As a person, she is governed by internal time and, above all, by memory. Given these two conflicting kinds of time and the two conflicting worlds of self and society, Murasaki proves remarkably successful in combining them, and the result is an unrivalled presentation of Heian court life from outside and from within by someone who is at once participant and observer. In another sense the diary can be understood to be ‘about’ the workings of memory, about the effect that time and mind have on events. As description slides into reminiscence, we are made aware of how reconstruction of an event must rely on an ever so fallible memory. ‘How is it that a little incident like this suddenly comes back to one, whereas something that moved one deeply at the time can simply be forgotten with the passage of the years?’ she remarks at the end of one passage near the beginning. This is perhaps the key: the process of remembering and forgetting is itself an eternal fascination, and the diary is to be an illustration of that process. This best explains those sections where she goes out of her way to tell us that she was not actually present, or did not have a very good vantage point, or where she employs verb forms that suggest varying degrees of uncertainty. Sheer detail is a major device for re-creating a past event, but here it goes hand-in-hand with constant little reminders of how very difficult such a task can be.
THE DIARY OF LADY MURASAKI
As autumn advances, the Tsuchimikado mansion looks unutterably beautiful. Every branch on every tree by the lake and each tuft of grass on the banks of the stream takes on its own particular colour, which is then intensified by the evening light. The voices in ceaseless recitation of sūtras are all the more impressive as they continue throughout the night; in the slowly cooling breeze it is difficult to distinguish them from the endless murmur of the stream.
Her Majesty listens to her ladies-in-waiting engaged in idle gossip. She must be in some distress, but manages to hide her feelings as if nothing were amiss; perhaps this calls for no comment, and yet it is quite extraordinary how she can cause a change of heart in someone so disenchanted with life as myself and make me quite forget my troubles – if only I had sought solace for my unhappiness by taking service with her much earlier.
It is still the depth of night. The moon has clouded over, darkening the shadows under the trees. There come voices: ‘Can we open the shutters?’ ‘But the servants will not be ready yet!’ ‘Attendant! Open up!’ Then the bell for the dawn watch suddenly wakes everyone up and the Ritual of the Five Great Mystic Kings begins.1 The voice of each priest as he tries to best his neighbour can be heard near and far, solemn and awe-inspiring. Then, the ritual over, the Archbishop of the Kannon’in leads twenty acolytes in procession from the east wing over to the main building to cast magic spells; as they cross the bridge, their thundering feet sound strange and unfamiliar. When the Abbot of the Hosshōji and the Bishop of the Jōdoji return to their lodgings in the stable lodge and the library, both accompanied by retinues dressed in priestly robes, I follow them in my mind’s eye as they pass over the magnificent Chinese bridges and disappear into the trees. Preceptor Saigi remains prostrate before the statue of Daiitoku deep in prayer.
As the maids and servants all assemble, dawn breaks.
I look out from my room at the head of the corridor into the light morning mist.2 Dew is still on the ground, but His Excellency is already out in the garden ordering his attendants to clear the stream of some obstruction. Plucking a sprig from a large cluster of maiden-flowers that blooms there on the south side of the bridge, he peers in over the top of the curtain frame. The sight of him, so magnificent, makes me conscious of my own dishevelled appearance, and so
when he presses me for a poem, I use it as an excuse to move to where my inkstone is kept:
Now I see the colour of this maiden-flower in bloom,
I know how much the dew discriminates against me.
‘Quick, aren’t we!’ says he with a smile and asks for my brush:
It is not the dew that chooses where to fall:
Does not the flower choose the colour that it desires?3
One quiet evening as Lady Saishō and I are talking together, His Excellency’s eldest son pulls up the bottom of the blind and seats himself down. He is very grown-up for his age and looks most elegant. The earnestness with which he talks of love – ‘Ah women! Such difficult creatures at times!’ – it gives the lie to those who dismiss him as a callow youth; I find him rather unsettling. We are still talking in generalities when suddenly he is off, murmuring something about there being ‘too many maiden-flowers in the field’; I remember thinking how like the hero of a romance he seemed.4
How is it that a little incident like this suddenly comes back to one, whereas something that moved one deeply at the time can simply be forgotten with the passage of the years?
I was absent from the mansion the day the Governor of Harima gave a banquet as a forfeit for losing a game of go, and it was only later that I was given the opportunity to see the tray made for the occasion. The Chinese stand was exquisitely fashioned, and at the edge of the water was written:
Picked up from the Shirara sands of Ki, they say,
May these pebbles grow to mighty rocks!
The women had the most beautiful fans on that occasion.5
Sometime after the twentieth of the eighth month, those nobles and senior courtiers whose presence was required at the mansion started to stay the night. They would take naps on the bridge and the veranda of the east wing, and play music in desultory fashion until dawn. The younger members, who were as yet unskilled in either koto or flute, held competitions to see who was best at chanting sūtras and they practised the latest songs together; it was a perfect match for both place and occasion.
The Diary of Lady Murasaki Page 5
