The Tale of Genji by Murasaki Shikibu
"The Tale of Genji" is a seminal work of Japanese literature, written by Murasaki Shikibu in the early 11th century during the Heian period. Often considered the world's first novel, it chronicles the life and loves of Hikaru Genji, the son of an emperor, who faces complex interpersonal dynamics influenced by court politics and familial relationships. The narrative begins with Genji's birth to Kiritsubo, a concubine whose status leads to her tragic downfall, and it explores themes such as love, jealousy, and the ephemeral nature of beauty and life.
As Genji matures, he navigates a series of romantic entanglements, including relationships with Utsusemi and Yugao, which ultimately reveal the emotional depth and societal constraints of the women involved. His eventual marriage to Murasaki, the girl he raises from childhood, signifies a turning point in his life, pulling him into a more stable yet complex domestic existence. The novel intricately examines the roles of women in Heian society, as well as the interplay between personal desire and social obligation.
With its rich character development and poetic language, "The Tale of Genji" not only serves as a reflection of its era but also continues to resonate in contemporary discussions of gender, power, and the intricacies of human relationships. The story invites readers to explore the cultural and historical contexts of the time, making it a significant work for anyone interested in literature and Japan's cultural heritage.
On this Page
The Tale of Genji by Murasaki Shikibu
First published:Genji monogatari, c. 1004 (English translation, 1925-1933)
Type of work: Novel
Type of plot: Romance
Time of plot: Early medieval period
Locale: Japan
Principal characters
Prince Genji , the talented illegitimate son of the emperorThe Emperor , Genji’s fatherKiritsubo , Genji’s mother and the emperor’s concubineLady Kokiden , the emperor’s consortPrincess Aoi , Genji’s first wifeUtsusemi andYugao , noblewomen in love with GenjiMurasaki , a young girl reared by Genji
The Story:
When the emperor of Japan takes a beautiful gentlewoman of the bedchamber as his concubine, he greatly displeases his consort, the Lady Kokiden. The lot of the concubine, whose name is Kiritsubo, is not easy, despite the emperor’s protection and love, for Kokiden’s influence is very great. Kiritsubo therefore has little happiness in the birth of a son, although the child is beautiful and sturdy. The existence of Kiritsubo’s son makes Kokiden even more antagonistic, for she fears that her own son might lose favor in the emperor’s eyes and not be made heir apparent. Because of the hardships of her life among the other women of the court, Kiritsubo languishes, her health fading away until she dies.
After his mother’s death, Kiritsubo’s young child is placed by the emperor under the protection of the clan of Gen; the emperor also gives the child the title of Prince Genji. The boy, spirited and handsome, becomes a popular figure at the court. Even Kokiden cannot feel a great deal of ill will toward him. Genji wins a secure place for himself in the emperor’s eyes, and at the age of twelve he is not only elevated to a man’s estate but also given in marriage to Princess Aoi, the daughter of the minister of the left, a powerful figure at court. Genji is not impressed with his bride, nor is she entirely happy with her bridegroom, for she is four years older than he.
Genji is appointed a captain of the guard, and in this capacity he spends much of his time at the emperor’s palace. Indeed, he is rarely together with his bride in their apartment in her father’s home, for with his good looks, accomplishments, and position, Genji can have any woman he wants. His wife becomes very cool toward him, but Genji cares little about what Princess Aoi says or does.
One of Genji’s first love affairs is with a young gentlewoman named Fujitsubo, who, like his bride, is a few years older than he. His second romantic adventure takes place at the home of a young courtier, Ki no Kami, who is honored to have Prince Genji at his home. Genji goes into the room of a pretty young matron, Utsusemi, and takes her to his own quarters. Because of Genji’s rank and pleasing self, the woman does not resent this. To keep in touch with her afterward, Genji asks that her brother be appointed a member of his train, a request that is readily granted. When Utsusemi realizes that the affair cannot long continue, she breaks it off; Genji calls her his broom tree, comparing her to a Japanese shrub that at a distance promises shade but is really only a scrawny bush.
A short time later, Genji enters Utsusemi’s room in an effort to try to renew his affair with her, but she is not asleep when he enters, and when she sees him she runs out of the room. Another very charming young woman is in the room, however, and she fails to awaken when Utsusemi leaves. Genji, refusing to be irritated by Utsusemi, gently wakes the other young woman, and very soon he is on the most intimate of terms with her.
One day, while visiting his foster mother, Genji makes the acquaintance of a young woman named Yugao, to whom he later makes several masked visits. She is living a rather poor existence, despite the fact that she comes from a good family. Genji becomes tired of their clandestine meetings and arranges for them to stay for a time in a deserted palace within the imperial domains. The affair ends in tragedy when, during their stay, Yugao is strangely afflicted and dies. Only with the help of his retainers and friends is Genji able to avoid a disastrous scandal.
Shortly afterward, Genji falls ill of an ague. He goes to a hermit in the mountains to seek a cure, and there he finds a beautiful little girl named Murasaki, an orphan of a good family. Seeing something of himself in little Murasaki, who is pretty and talented, Genji resolves to take her into his care. At first, Murasaki’s guardians refuse to listen to Genji’s plans, but he convinces them that he has only the girl’s best interests at heart and will not make her a concubine at too young an age. Finally, they agree to let him shape the little girl’s future, and he takes her to his own palace to live with him. Lest people misunderstand his motives, and for the sake of secrecy, Genji does not disclose to others the identity of the girl and her age, even though his various lovers and his wife become exceedingly jealous of the mysterious stranger known to dwell with Genji.
Soon after his return to the emperor’s court with Murasaki, Genji is asked to dance the “Waves of the Blue Sea” at the annual festival in the emperor’s court. So well does he impress the emperor with his dancing and with his poetry that he is raised to higher rank. It is clear that if the emperor only dared to do so, Genji would be named the heir apparent. Genji’s star is in the ascendant, but he is very worried, for he has made Fujitsubo, the emperor’s concubine, pregnant. After the baby’s birth, everyone notices how much like Genji the baby looks, but to Genji’s relief the likeness is credited to the fact that he and the child are both sons of the emperor. The emperor is so pleased that he makes Fujitsubo his official consort after the unexpected death of Lady Kokiden.
Genji’s marriage has proceeded very badly, and he and his wife have become increasingly distanced from each other. Finally, she becomes pregnant, but her condition only seems to make her sadder. During the pregnancy, Princess Aoi’s health declines, for she is consumed with hallucinations that Genji’s other lovers are stealing her life from her through hatred and jealousy. As a result of her deep affliction, Princess Aoi dies in childbirth; she is much mourned by Genji, who finally has come to appreciate and love her. A year after her death, however, when Murasaki, the girl he has reared, is of suitable age to marry, Genji takes her for his wife and resolves to settle down.
Bibliography
Bargen, Doris G. A Woman’s Weapon: Spirit Possession in “The Tale of Genji.” Honolulu: University of Hawaii Press, 1997. Provides a feminist interpretation of the “possessing spirits” in the novel, arguing that spirit possession was a female strategy to counter male empowerment and redress the imbalance of power between the sexes.
Bowring, Richard. Murasaki Shikibu: “The Tale of Genji.” 2d ed. New York: Cambridge University Press, 2004. Provides readable information on the cultural background of the novel, including Heian politics, Murasaki’s life and her fictionalization of history, and religions that influenced the novel. Discusses the work’s style, language, influence, and reception.
Caddeau, Patrick W. Appraising “Genji”: Literary Criticism and Cultural Anxiety in the Age of the Last Samurai. Albany: State University of New York Press, 2006. Assesses the novel’s impact on Japanese culture through diaries, critical treatises, newspaper accounts, film adaptations, and stage productions. Focuses on a treatise by Hagiwara Hiromichi, a nineteenth century samurai whose massive study of the novel challenged traditional interpretations of the book and conventional beliefs about the nation’s culture.
Field, Norma. The Splendor of Longing in “The Tale of Genji.” 1987. Reprint. Ann Arbor: Center for Japanese Studies, University of Michigan, 2001. Focuses on many of the women characters in the novel to show how they “make” and “unmake” the hero, Genji. Includes discussions of the social, psychological, political, and aesthetic aspects of the novel.
Kamens, Edward, ed. Approaches to Teaching Murasaki Shikibu’s “The Tale of Genji.” New York: Modern Language Association of America, 1993. Following a section on materials and recommended reading, six essays suggest ways of studying The Tale of Genji. Problems of reading the text are discussed, and the novel is also compared with other literary works.
Keene, Donald. Japanese Literature. 1955. Reprint. New York: Grove Press, 1979. The definitive commentator on Japanese literature discusses the Japanese novel’s indebtedness to The Tale of Genji and its sad obsession with mutability.
‗‗‗‗‗‗‗. Landscapes and Portraits: Appreciations of Japanese Culture. Palo Alto, Calif.: Kodansha International, 1971. Reprints Keene’s 1967 essay “Feminine Sensibility in the Heian Era,” which explores the emergence of women writers and the kana writing system and analyzes The Tale of Genji as part of this phenomenon. Includes illustrations.
Miner, Earl, ed. Principles of Classical Japanese Literature. Princeton, N.J.: Princeton University Press, 1985. Seven essays combine Japanese and North American viewpoints in discussing Japanese literature. Includes a discussion of whether The Tale of Genji is a collection rather than a single unified work and an examination of the work’s structure and narrative.
Morris, Ivan. The World of the Shining Prince: Court Life in Ancient Japan. 1964. Reprint. New York: Kodansha International, 1994. One of the best interpretive works available on the historical and cultural milieu of The Tale of Genji. Chapter 9 offers an excellent biographical account of Murasaki. Includes a complete glossary listing historical figures in Murasaki’s life.
Puette, William J.“The Tale of Genji” by Murasaki Shikibu: A Reader’s Guide. 1983. Reprint. Rutland, Vt.: Charles Tuttle, 1992. Includes an informative plot summary of The Tale of Genji, supplemented by background chapters on topics relevant to understanding the novel. Chapter 4 provides a brief biography of Murasaki.