Saturday, April 9, 2011

Continuing with "The Tale of Genji"

Thanks for the responses to my blog. (I won't publish names, but you know who you are. :) I should note that I'll try to remember to post whether the books I blog about are from the library I work at, Moye Library, or Steele Memorial Library, the branch of Wayne County Public Library that's nearest where I live, or whether the book is my own copy. The new translation and abridgement of "The Tale of Genji" I blogged about is part of the circulating collection in Moye Library & may be checked out either in person or interlibrary loan from Moye Library. The translator's name is Edward G. Seidensticker & the edition came out in 1990 from Vintage Classics. The author's name is given in Japanese form, Murasaki Shikibu. The old Modern Library edition I mentioned in my blog is my own copy, which I acquired many years ago second-hand.   Moving on from these bibliographical details to the text itself, which is a much better translation than the old 19th century one I first read, the translator conveys the ambience (an overused word, but the best I think of at the moment) of Japanese court life a thousand years ago with descriptions of the physical setting of the novel, including the natural world & the built world of the court and the clothing & modes of transportation the characters use. The delightful 17th century woodcut illustrations are a great help for a modern Western reader in imagining what these long-ago & far-away, in time & place people looked like. As an instance, the the ladies' hair is frequently mentioned in the text as a mark of beauty, but without the illustrations, I wouldn't have realized that Heian court ladies wore their hair very long and straight and unconfined, sweeping down their backs to their waists or longer. One of the secondary meanings of the Japanese word "murasaki" which usually means purple, is curly-headed. I don't know if this is derived from purple chrysanthemums, which are a symbol of Japan (chrysanthemums is general, not just purple ones) or some other reference I'm not familiar enough with in Japanese to know. To extend the literary reference, chrysanthemum means golden flower, from the Greek chrysos, meaning gold & anthemos, meaning flower. It's one of my favorite words in English, as the whole word, not just the shortened version "mum" is so satisfyingly mouth-filling. I also like the flower itself, especially as a potted plant. I wish I could grow them in my yard, but chrysanthemums need a fair amount of care & cultivation, which I can't give them. Mais, retournons a nos moutons. ( Being translated, the previous sentence means "Let's return to our sheep, or the subject at hand.)   By the way, I understand from a Japanese exchange student, whom I asked about the book, that curly hair is not considered a mark of beauty in Japan. Long, thick, straight hair was considered a great beauty in Heian Japan. Of course, court ladies had the time & servants to care for all their hair. (On a personal note, I once grew my hair down to my waist, when I was much younger, & discovered that long thick hair, curly or not, takes a great deal of time & effort to look after, either by the possesor or servants, which I didn't have. By the way, I have short hair now.) The male characters in "The Tale of Genji" wore their hair in a kind of topknot, judging from the illustrations. Neither the woodcuts nor the text of the novel indicate when or where the men "took their hair down," or how long it was when taken down.
Another fascinating subject, which both the text of the novel & the illustrations deal with at length, is costume. Both men & women wore very elaborate clothing in silks & brocades & occasionally cotton. The translator uses the English word "singlet" for what appears to be both male & female undergarments. The hero Genji is officially put into men's trousers in a great court ceremony, tho' it's not clear at what age this was done. I would guess that the "singlet" was a kind of long shirt or chemise worn by both men & women, as in the European Middle Ages. I find it difficult to visualize 10th century Japanese in the garment which is presently known as a singlet, which I think is a tight-fitting undershirt, either with or without sleeves...i.e. a tank top. The singlet was just he first layer of clothing, which would be worn by men with trousers (don't know if the wrapped loin cloth worn by Japanese men in later history was part of Heian court costume.) There would be a long robe, with a train, whether attached to the robe or not I can't tell, worn over the singlet and/or trousers. The robe would be tied, pinned and draped. The illustrations appear to show kimono-style sleeves on the outer robe. The feet are almost always covered in the woodcuts, but there are some showing the feet & legs nearly to the knee, with the men's trousers pulled up. There seem to be some kind of socks or slippers for indoor wear. I suppose the custom of removing the shoes when coming indoors & wearing fitted socks was so taken for granted that Lady Murasaki never mentions it. The same probably applies to "answering the calls of Nature" as Victorian writers in the West used to write. I assume Japanese society made provisions for "the calls of Nature," even in the 10th century, but it's not mentioned or illustrated. Bathing is frequently mentioned, tho'. I gather the Japanese were as fond of bathing a thousand years ago as they are now. Going back to the foot coverings, the text of the novel does mention riding boots & sandals. I assume the former were worn with socks.
Since I observe this post is getting quite lengthy, I will defer any mention of scenery, court intrigues, etc. to a later date.
Sayonara,
Gwin Lee

1 comment:

  1. Gwin, The translator you mentioned, Edward Seidensticker, was (a) also one of Uncle Morris' classmates at the Oriental Language Institute in Bolder Colorado during WW2 and was one of Becky Copeland's mentors (along with Donald Keene) when she was doing her graduate work at Columbia during the early 1980's. Seidensticker, I believe, attributed any success his translation of "Tale of the Genji" had to his acquired ability to suppress his ingrained "ronri-teki" to translate the story as it was written rather than try to impose an Occidental narrative on it that would have made the story overly linear.

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