The Tale of Genji- A Visual Companion
Page 19
Tamakazura residing in his summer quarter. The
dance. The narrative describes the girls dressed in
chapter ends with an episode of sexual aggression by
their feathered capes, headdresses, and multicolored
Genji toward Tamakazura, heightened in its inten-
wings disembarking and moving through a spring
sity and perversity by their pretend father-daughter
haze toward the main hall of the residence before
relationship. Tamakazura’s precarious existence at
the priests and the noble spectators who line the
the Rokujō Estate will continue as the story pro-
verandas and walkways. The tableau is again other-
gresses into the summer months.
Chapter 24 | Butterfl ies | 119
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That well-known pony
Will not forage on such grass —
So poor its fame —
But today it draws your favor,
The sweet fl ag by the waterside.
cranston, p. 824
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25
Firefl ies
Hotaru
Sono koma mo
Susamenu kusa to
Na ni tateru
Migiwa no ayame
Kyō ya hikitsuru
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It is easy to imagine the patron of the Genji Album,
wings on their caps seen in the painting for Chapter
a warrior f rom Suo province who had just followed
Eighteen, Matsukaze, but the rest of their costumes
the powerful military leader Ōuchi Yoshioki into
are unique to this painting. Most striking are the
Kyoto, appreciating the particular scene selected chaps made of white-spotted deer pelts, which to represent Chapter Twenty-Five. The painting anachronistically cover their entire legs, a detail that focuses on the skills of court military offi
cials in a
may suggest the patron’s interest in depictions of a
mounted archery competition that takes place on
more contemporary warrior culture. A dark stripe
the grounds of the Rokujōin. At the center of the
runs down the center of the garment, which orig-
composition a single archer is depicted with his inally marked the spine of the deer, while a tuft of horse in mid-stride, galloping between the guard-white and black fur marks its tail, which now cov-
rails of a causeway while drawing his whistling bulb
ers the riders’ feet. One can see that each man is
arrow ( kaburaya) across his chest and aiming for
wearing the equivalent of two slain animals. The
a target that is not shown, though a typical one is
rider on the black steed moves at such a clip that the
included in the painting, just above this fi gure and
right leg of his fur chaps is blown upward, fl ipping
to the right. A marksman was required to hit three
over slightly to reveal its tanned leather underside
such targets in rapid succession. The disc of the tar-
as well as a zigzag patterned pant leg. The archers’
get with its three concentric circles hangs f rom a
upper garments consist of short, sleeveless tunics
black bar supported by two posts and is held still by
with a red interlocking pattern bordered in white
a white cord at three points. A blue-gray, fi ve-panel
with green and red stripes and cinched with a cord
fabric curtain hangs behind the target, attached to
at the waist. Blue-gray garments underneath with
a sturdy wooden wall, which is intended to defl ect
billowed sleeves allow for a range of arm motion.
any stray arrows. The archers wear the fan-shaped
Three other archers depicted in the painting illus-
122 | The Tale of Genji
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withered for the horse’s liking ( susamenu kusa). It is
a humble poem spoken by Hanachirusato to Genji
in which she likens herself to the withered plant. It
explicitly alludes to a verse f rom the Kokinshū (Book
XVII, no. 892) that laments the absence of foraging
horses f rom a fi eld of aging grass. Hanachirusato’s
poem then goes on to suggest that on this day of
the Sweet Flag, the plant by the waterside might be
plucked after all. Genji replies by comparing himself
to the faithful grebe, who mates for life and who
would never desert the water plant. Unexpectedly,
Genji spends the night in her quarters. She off ers
her bed to him, and he takes it, but cordons himself
off with a curtain without inviting her inside.
trate the various stages of the competition: two
Hanachirusato and her attendants are suggested
riders in the lower right corner focus on the action
in the painting by the multicolored robes that peek
in the center, while a third waits on the causeway
out f rom beneath the bamboo blinds of the resi-
readying his bow and arrow as his white horse rears
dence, a formal mode of decoration called uchide.
slightly, as if ready to charge forth.
The tale’s elaborate description of the robes of
The Rokujōin was built to host such displays of
Hanachirusato’s page girls is striking and suggests
martial skill, as is clear f rom the inclusion of rid-
her prowess in creating and arranging textiles, but
ing grounds along the eastern side of the property,
their appearance is also meant to attract the men
technically in the summer quarter overseen by in the Left Guard. Genji’s own amatory interests Hanachirusato. The occasion for the archery event is
lie elsewhere in the summer residence, in the wing
the Sweet Flag Festival ( tango no sechie), which takes
occupied by Tamakazura, and this chapter continues
place on the fi fth day of the fi fth month, the second
to depict his desire as well as his eff orts to arrange
month of summer in the lunar calendar. On this day,
liaisons between her and other men. In particular he
tall green water plants ( ayamegusa), which because
lures in his half brother Sochinomiya, better known
of their length, deep roots, and medicinal properties
as Prince Hotaru (literally “fi refl y”), nicknamed
symbolized longevity, were off ered to the emperor
after the scene in this chapter in which he espies
along with prayers for longevity and the avoidance
Tamakazura illuminated suddenly by a fl ash of
of calamity. The festivities included an imperial fi refl y light. The encounter is entire
ly orchestrated appearance at the martial facilities within the palace
by Genji, who waits until his brother is nearby and
compound, along with horse racing, archery, music,
then pulls away Tamakazura’s curtain while releas-
and dance. The event at the Rokujōin occurs after
ing the fi refl ies. The scene is one of many in which
the one at the palace concludes, but as usual, Genji’s
Genji torments Tamakazura, but the young woman
event is hailed as superior and innovative, especially
maintains her composure and holds out hope for
in its spontaneity and lack of excessive formality.
escaping f rom her predicament. By the end of the
The sweet fl ag plants that fi gure prominently in
chapter the long summer rains have begun, during
the chapter’s poetry appear in the painting, grow-
which Tamakazura immerses herself in illustrated
ing in the shallow waters around Hanachirusato’s
tales ( monogatari), leading to a discussion between
residence. In an instance of complete cohesion Genji and Tamakazura concerning the merits of between picture and poem, the calligraphic excerpt
fi ction. It is a metafi ctional set piece within the nar-
in the album begins with the word for “horse” ( sono
rative, that among other things, defends the value
koma), then describes the grass, disdained as too
of tales.
Chapter 25 | Firefl ies | 123
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A ref reshing breeze was blowing
Excuse me if I’m being discourteous,
through the pavilion, and as the
but . . .” Genji apologized as he
sun slowly followed its westerly
stretched out on his side.
course through a cloudless sky, the
washburn p. 524
raucous cries of cicadas screeched
unpleasantly.
“It’s so hot today, it doesn’t do
much good even to be on the water.
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26
Wild Pinks
Tokonatsu
Kaze wa ito yoku fukedo, hi nodoka
ni kumori naki sora no nishibi
ni naru hodo, semi no koe nado
mo ito kurushige ni kikoyureba,
“Mizu no ue mutoku naru kyō no
atsukawashisa kana. Murai no
tsumi wa yurusarenan ya,” tote,
yorifushitamaeri.
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The album painting for Chapter Twenty-Six depicts
that the pavilion is located at a slight remove f rom
Genji and several young men in the fi shing pavil-
the residence, while enabling the viewer to imagine
ion ( tsuridono) at the Rokujō Estate attempting to
how the fi gures arrived at the site.
escape the oppressive summer heat. The residences
Genji is once again the center of attention, on
at Rokujō equipped with large ponds all include
a raised tatami mat, in the middle of the build-
fi shing pavilions, which extend out over the water
ing — his placement and his relaxed pose and dress
f rom the southern walkways of one or both of the
clearly convey his elevated status. He is depicted in
fl anking wings of the main buildings. In Chapter
a semireclined pose, with his outer robe untied and
Twenty-Four, the pavilion in the spring quarter of
worn loosely on his shoulders, opening slightly to
Rokujō was used as a boat launch as well as the
reveal an inner garment, and the white of his neck
point of arrival for the ladies sent by boat f rom the
and chest. The text in the album’s calligraphy has
Umetsubo Consort’s quarters. With a roof sup-
him stretching out his legs in f ront of his guests,
ported only by columns and removable walls, the
feeling too listless f rom the heat to maintain a for-
southeastern residence’s fi shing pavilion is com-
mal posture. Only someone in a superior position
pletely open to the exterior, as in the illustration.
would take such a liberty, and indeed he is not only
Cool waters fl owing directly below the structure
of such a status and older than the men encircling
make for an ideal place to seek a respite f rom the
him on the veranda, but he is also quite familiar
heat. The degree to which actual fi shing took place
with them. The group of young men consists of
in these buildings is unclear, but the design enabled
Tō no Chūjō’s many sons, including his second son
access to the water below through removable cen-
known as Kōbai, although the eldest, Kashiwagi,
tral fl oorboards, creating a hole into which lures
who will play a prominent role later in the narra-
could be dropped or vessels of ref reshments could
tive, is notably absent. The young courtiers have
be chilled on strategically placed rocks. In the album
come to call on Genji’s son, Yūgiri, who is diff er-
painting, Genji’s green tatami mat covers the spot
entiated in the painting by his light-colored robe,
where such an opening would be, but the distinctive
conspicuous amid the blue garments the others
concentric squares of the fl oorboards are clearly vis-
have donned. Like his father, Yūgiri assumes a more
ible. The bridge that arches over the water signals
relaxed pose, with one arm draped over the railing
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as he leans back into the corner of the veranda.
that the Ōmi daughter is embarrassingly uncouth,
Among the ref reshments that Genji off ers his guests
f rom looks to intellect and manners. Although
are bullhead fi sh ( ishibushi or kawa kajika) caught
both she and Tamakazura were raised in the prov-
f rom the Kamo River, and sweetfi sh ( ayu), best in
inces, only one of them was raised well, with the
the summer, and which is specifi cally described in
dignity befi tting their father’s noble pedigree.
the tale as having been caught f rom the “western
The second half of Chapter Twenty-Six becomes
river,” meaning the Katsura River. Because only a study in contrasts between the two women and fi shing intended for imperial off erings was allowed
their situations, redolent of behavioral primers for
in this river, the reference seems to be another nod
young ladies that often tempered their didacticism
&nbs
p; to Genji’s prestige and position and the ongoing
with comedy.
theme of kingship within his symbolic realm. The
At the same time, the story of the daughter
men also partake of sake, ice water, and dried rice in
f rom Ōmi is woven into the plotline and the devel-
chilled water, which represent the height of luxury
opment of Tamakazura’s relationship with Genji,
given that access to ice in midsummer was only for
whose infatuation with Tamakazura has only inten-
the most privileged in society and was often only
sifi ed. Summer is Tamakazura’s season, stationed
represented in literature in scenes taking place at
as she is in the summer quarters, and the sultry
the imperial palace.
days exacerbate Genji’s longing, as he is drawn f re-
The gathering of young courtiers off ers a pleas-
quently to her residence. Although still disturbed
ant distraction f rom the heat, and Genji asks to be
by the sexual tone of his overtures and the physical
regaled with news of the court, since he has largely
contact between them that he insists on, she begins
turned over his offi
cial duties to Tō no Chūjō, who
to warm to Genji, believing that he has saved her
has become Palace Minister. The scene recalls one
f rom becoming a laughingstock like her half sis-
f rom Genji’s youth, the famous “rainy night debate”
ter f rom Ōmi. Tamakazura and Genji exchange
f rom Chapter Two, when men sequestered at court
poems that reference Tamakazura’s mother the
because of an imperial taboo told tales of amorous
“wild pink” ( tokonatsu), Tō no Chūjō’s nickname for
adventures and off ered defi nitive statements on the
Yūgao, and the title of the chapter. The word is a
merits and demerits of various types of women. Tō
homophone for “endless summer” as well as for the
no Chūjō recounted one of the most consequen-
phrase “remembered bed” ( toko natsukashiki), as it
tial stories that night long ago, when he spoke of
is used in Genji’s poem. The allusions are to Genji’s
his lost love, the woman Yūgao whom he called his
past aff air with Yūgao and suggest how mother and
“wild pink” ( tokonatsu), after the summer fl ower.
daughter mingle in his mind, as he is reminded of