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deeply moved". Kaoru's immense concern for his reputation and public image causes him to conduct his love affairs in a socially acceptable manner. Scholars have perceived this strict propriety and self-control as Kaoru's attempt to atone for the affair of his mother and true father, Kashiwagi: "...he did not single out any ladies for special attentions and he kept his affairs quiet". Kaoru converts his secret affairs into less risky, more stable ones, he does not marry any of the women he is involved with, offering them positions as attendants in his mother's house, where they would be likely to see him frequently. In contrast, Niou is so fond of women, that he has little care for established customs. His wife, Naka no kimi thinks: "Whenever it occurs to him to have a brief affair with one of the women in service, he will even go visiting her in her home, where he ought not to be". Niou would improperly treat a woman of the attendant level as a true love, instead of as a
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162:. When he learns that his real father is Kashiwagi, he continues to venerate the memory of Hachinomiya (the 8th Prince) as a self-chosen father figure. The learning of this secret drives his obsessiveness with the past, seeking to comprehend it and atone for the sins of his parents, rather than devote himself to the promiscuity and procreation expected of him by society: "longing to know the facts of his birth, Kaoru prayed that he might one day have a clear explanation".
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his natural fragrance enhances other perfumes of nature â scented wood, plum blossoms, and purple trousers â his scent becomes a source of embarrassment for him as his distinct smell disables him from conducting love affairs in secrecy: "He could not hide. Let him step behind something in hopes of going unobserved... that scent would announce his presence." In chapter 51,
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Ukifune, who later attempts suicide, but survives and becomes a nun. At the end of the third act, Kaoru is distraught and desperate for
Ukifune to return to his side once more after discovering her survival, however she turns him down. Thus, Kaoru's journey is sombre and tragically inclined and his love is not a source of joy, but rather, of anxiety and suffering.
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as a pathetic caught between renunciation and desire, kindness and cruel circumstance marked him as an anti-hero. At the end of the novel, Kaoru gains the image of a depressed hero, after having two failed relationships with Oigimi and
Ukifune. His character construction later influences the subsequent dynasty women's writings such as the
139:. Unlike acts one and two where the women of the story gravitated to the charismatic and assertive Hikaru Genji, Kaoru is portrayed with hesitancy and compunction towards his love interests. Through a series of unfortunate events, as well as his own flaws, Kaoru ends up hurting the people he loves including Oigimi and Ukifune.
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identical physical presence, without consideration for her feelings. He does not know how damaging this becomes to
Ukifune, who bears the brunt of his affections for Oigimi to cope with his mourning, failing to recognise his own shortcomings and inability to self-reflect. In Kaoruâs perspective, Ukifune is described three times as a
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inclinations due to a hysterical desire to avoid the sins of both his biological and imagined fathers, particularly, the passionate affairs of his parents being the cause of his confused sense of identity. It is argued that the whole of The Tale of Genji hints at a subtle homoerotic writing, spanning
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during the Heian period of Japan. Because it was written to entertain
Japanese court women of the eleventh century, the language, court Japanese of the Heian period, was inflected and had complex grammar. The use of proper names was considered rude in Heian court society, so none of the characters in
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Kaoru's faithfulness does not imply his loyalty to one woman or uninterest in secret affairs, rather that he takes the duties of love seriously: "...in his own mind there were things he perceived about himself that caused him maturely to avoid carefree and self-indulgent love affairs even when he was
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diary), seeing him as her ideal. Another example of female Heian authors' favouritism towards Kaoru is the
Mumyozoshi's (c.a. 1200) author, writing, "There are many things about him that one might wish otherwise" contrasting her statement about Kaoru, "There is nothing about him that one would wish
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recounts poetry she and others wrote to each other. One example of poetry used in conversation was with the Lord Prime
Minister. He urges her to write a poem about a prior situation, which she does, and he replies by writing a poem as well. Poetry is also used abundantly in The Tale of Genji. In the
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culture in Heian period have also influenced the depictions of
Romance in The Tale of Genji. A man's options in the Heian period included marriage to several wives, a number of secret affairs, and both occasional and live-in lovers. The status of a particular attachment corresponded approximately to
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in likeness⊠and pursue my devotions before ". Kaoruâs infatuation with Naka no kimi is short-lived, however, as she tells him about
Ukifune, the illegitimate daughter of Hachinomiya and her younger, half-sister, who likewise bears a striking resemblance to the late Oigimi. Kaoru falls in love with
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serving Oigimi and Naka no kimi) to secretly lead Niou into the Uji house, consequently leading to Niouâs and Naka no kimiâs night together. Through Oigimiâs death, Kaoru reveals his willingness to compensate for a lost love through the substitute figure or memonto of
Ukifune, her sister who has an
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Kaoru's main characteristic is his natural fragrance and distinct scent. His name, Kaoru is short for Kaoru Chujo which means 'the
Fragrant Captain'. His fragrance is described as "unlike anything else in this world" and resembles the 'hundred-pace' incense often used for scenting clothes. Although
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After having experienced the death of Oigimi and the rejection of Ukifune, Kaoru ends as a pitiful character who hurt the people he loved. His complicated birth and flawed characteristics contrasted the heroics of the previous protagonist, Hikaru Genji, and Murasakiâs establishment of the character
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with each other, despite the relationship not necessarily being carnal. Kaoru's homoeroticism stems primarily from image fixation through family resemblance, particularly Oigimi's resemblance to her father, Hachinomiya who he venerated as a father figure. Despite his yearning for a father figure,
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Hachinomiya hopes that Kaoru will look after his daughters, Oigimi and Naka no kimi. Kaoru interpreted this as an approval to marry Oigimi (or both sisters), and the environment certainly implied the eventual marriage between the two. The whole household believes this because they often heard him
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Although Heian authors favoured Kaoru, modern scholars have expressed frustration towards the lack of communication between characters in the Uji chapters, particularly between Kaoru and his lovers, Oigimi and Ukifune. In the study of Ukifune, Amanda Stinchecum wrote: "the uniformity of diction
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Kaoru possessed qualities of an anti-hero, and has been recognised as the first in literature by scholar Seidensticker, who writes: "Murasaki Shikibu has a try, and many will say, succeeds, at a most extraordinary thing, the creation of the first anti-hero in the literature of the world." Other
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Kaoru and Niou are depicted as rivals with contrasting characteristics, depicted most notably in their attitudes to love. Kaoru is reliable, calm and rational, whilst Niou is passionate but fickle. Kaoru lives in the past and future, whilst Niou lives in the present. Niou is the only character
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In his grieving state, Kaoru copes unhealthily by means of substitution; finding another who can fill the hole that was left in his heart by Oigimiâs death. Naka no kimi, Oigimiâs younger sister is seemingly the perfect substitution, as he tells Naka no kimi that he longs to "make a doll
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which he finds in Oigimi, he engages in sexual relationship with her, thus scholars believing this to be hints of Kaoru's homoeroticism. Erotic surrogacy or substitution is also evident in Kaoru's infatuation with Ukifune after Oigimi dies, as she resembled her sister greatly.
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in literature and is known for always having a strange but pleasant smell around him. He is known to be comparatively calculated and calm, and somewhat of an overthinker, as opposed to his love rival and close friend, Niou, who happens to be more "passionate" than he is.
431:. The difference in styles between protagonists, Genji and Kaoru thus invite different interpretations and opinions regarding Kaoru's character, especially other female authors of the Heian era. Their heroes resembled Kaoru more than Genji, for example the author of the
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scholars acknowledge Kaoru as an anti-hero. His lack of human understanding towards others, and the inability to understand himself and has a tendency for ruining others. He is unaware that he indirectly caused Oigimiâs death, having ordered Ben (a
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the work are named. Instead, the narrator refers to men by their rank or station in life, and to women by the colour of their clothing, or by the words used at a meeting, or by the rank of a prominent male relative. Due to this, translators like
403:, due to his character construction. Kaoru is referred to as an anti-hero by scholars, replacing the heroic stature of the high nobility focused on in prior acts. This is due to Kaoru being one of the fallen princes, the other being Niou.
245:, Niou, Kaoru's friend and sexual rival, impersonates Kaoru to make love to Ukifune, to which he succeeds in doing so, although no one in the house, not even Ukifune notices Niou's lack of scent that always gave Kaoru's presence away.
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wife, "Third Princess" (known as "Onna san no miya" in the Seidensticker version, or "NyĆsan" in Waley's), and Genji's nephew Kashiwagi. Kaoru is known to the world as Genji's son even though he was in fact fathered by Genji's nephew.
229:. His sexual tact, discretion or diffidence contrasts Genji's daring, resourcefulness, and swiftness regarding romantic affairs. This characteristic of Kaoru's may have been favoured by other authors of the Heian period as in the
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for Oigimi, which can be translated to "doll" or "substitute", and regards her in a condescending manner: "A loveable sort of companion she might have been, someone not to be taken seriously or offered too excellent a place".
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Ukifune reads a letter from Kaoru reproaching her for being unfaithful to him with Prince Niou. Finding herself entangled in a love triangle, Ukifune nervously faces her inkstone and brush as she considers how to
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the position of the woman in society. A woman of influential family and very high rank like Oigimi, who is a princess, for example, would properly be the object of a formal marriage, in this case, to Kaoru.
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reveals disjunctions in thought, misunderstandings... even in dialogue, a lack of receptiveness..." this may have been due to Kaoru's hesitancy and unsure approach to his romantic relationships.
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through their competition over Ukifune. Ultimately, the rivalry becomes more important to them than the women they fight over, as each strives to bring the other bitterness and disappointment.
387:. As Murasaki was a court lady herself, the prominence of scent at court life may have influenced his character construction, as well as the role of incense in The Tale of Genji.
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first part of the Second Month, Niou, Kaoru, and other court officials gather at the Palace to compose poems in Chinese to be read to the emperor in the following morning.
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was commonly used in conversations. In Heian court life, poems were used to reflect a certain situation and served to communicate metaphors and allusions.
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person), someone who is thoroughly undependable in love that his unreliability is his chief feature. Meanwhile, Kaoru is frequently referred to as a
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however, Oigimi eventually dies from self-starvation after discovering that Naka no kimi, who she hoped would become Kaoruâs wife, slept with Niou.
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say, "often enough that, should be so inclined, he would very gladly see that well settled". Kaoru falls in love with Oigimi in chapter 47, â
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would include a 'translator's note' or character list at the start of every chapter to ensure the readers could differentiate between people.
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Kaoru is known to the world as the late Genji's and Onna san no miya's son, but biologically, his real father is Genji's nephew,
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107:). He only appears as the lead for the novel's third act, called the 'Uji Jujo' (Uji Chapters). Kaoru has been called the first
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Due to stark contrast in styles between the Uji chapters and the rest of the novel, there is a debate among scholars about the
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from Genji's to Kaoru's chapters. Scholar Tatsumi Kanda especially argues that Kaoru and Niou are in a homoerotic relationship
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Detail from Murasaki Shikibu Diary Emaki; 13th century painting showing Murasaki Shikibu being ordered to compose a waka poem.
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1040:. Translated by Tyler, Royall (Unabridged ed.). United States of America: Penguin Books. pp. 79â87.
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The contrast in character and rivalry between Kaoru and Niou become prominent between the chapters 49
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563:. Edward Seidensticker, Earl Tidwell (1st ed.). New York: Knopf. pp. I, xi.
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Kaoru's character is perceived as one of the first anti-heroes of literature, like
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Kaoru is kind, steadfast, thoughtful, tactful, deeply pious and leans towards
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genre), where objections to Genji's prolific sexual relationships were made.
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Free for non-commercial use and complete English translation by Arthur Waley
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Cranston, Edwin (1978). Shikibu, Murasaki; Seidensticker, Edward G. (eds.).
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Seidensticker, Edward (1982). "Rough Business in "Ukifune" and Elsewhere".
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The primary characteristic of Kaoru, his fragrant scent, was influenced by
959:. Haruo Shirane (Abridged ed.). New York: Columbia University Press.
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710:, Essays on The Tale of Genji, vol. 1, ANU Press, pp. 209â228,
519:, Essays on The Tale of Genji, vol. 1, ANU Press, pp. 157â184,
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Traditional Japanese literature : an anthology, beginnings to 1600
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Morris, Ivan; Pekarik, Andrew (1982). "Deception and Self-Deception".
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Shirane, Haruo (1982). "The Uji Chapters and the Denial of Romance".
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461:"Summary of the Tale of Genji / The Tale of Genji Museum, Uji City"
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Gatten, Aileen (1982). "Three Problems in the Text of "Ukifune"".
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Miner, Earl (1982). "The Heroine: Identity, Recurrence, Destiny".
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Kaoruâs story revolves around his love affairs with princesses
750:"A Wisp of Smoke. Scent and Character in The Tale of Genji"
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person), meaning sincere and serious, the exact antonym of
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abruptly end, with Kaoru wondering if the lady he loves,
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Pekarik, Andrew (1982). "Deception and Self-Deception".
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He is the son of the protagonist of the first two acts,
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639:"The Search for Things Past in The Genji monogatari"
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1063:"Names, Naming, and Nature in the Tale of Genji"
1130:English translation by Edward G. Seidensticker
180:(Trefoil Knots) Tale of Genji Chapter 47 â BMA
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72:Kashiwagi (father), Onna san no miya (mother)
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891:Bowring, Richard; Pekarik, Andrew (1983).
607:Pekarik, Andrew (1982). "Rivals in Love".
414:Among scholars, Kaoru is believed to have
16:Fictional character from The Tale of Genji
1381:Fictional characters who are illegitimate
992:. Stanford University Press. p. 155.
704:"Feminine Veils over Visions of the Male"
333:The Tale of Genji § Literary Context
1386:Fictional Japanese people in literature
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1008:Ukifune: Love in the Tale of Genji
940:Ukifune: Love in the Tale of Genji
800:Ukifune: Love in the Tale of Genji
708:The Disaster of the Third Princess
686:Ukifune: Love in the Tale of Genji
643:Harvard Journal of Asiatic Studies
609:Ukifune: Love in the Tale of Genji
517:The Disaster of the Third Princess
276:besides Genji's friend and rival,
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1010:. Columbia University Press: 133.
688:. Columbia University Press: 151.
337:The Tale of Genji was written by
1300:Genji Monogatari: Sennen no Nazo
942:. Columbia University Press: 67.
410:A page of the Sarashina Nikki.
135:, as well as his rivalry with
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1396:Male characters in literature
1138:National Library of Australia
429:authorship of Murasaki's work
1292:Sennen no Koi Story of Genji
211:Tsutsumi Chunagon Monogatari
97:is a fictional character in
1067:Literary Onomastics Studies
850:Journal of Japanese Studies
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1073:: 2 – via CiteSeerX.
1036:Shikibu, Murasaki (2003).
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142:The final chapters of the
1360:Nise Murasaki Inaka Genji
1265:Genji Monogatari Sennenki
1089:digital.library.upenn.edu
846:"The Seidensticker Genji"
813:Hoffman, Michael (1998).
637:Bargen, Doris G. (1991).
557:Murasaki Shikibu (1977).
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1355:The Tale of Genji Museum
385:, the 'Way of Fragrance'
988:Shirane, Haruo (1988).
953:Shirane, Haruo (2012).
815:"Heian's Modern Merits"
748:Gatten, Aileen (1977).
48:In-universe information
1350:Genji Monogatari Emaki
702:TYLER, ROYALL (2009),
511:TYLER, ROYALL (2009),
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1061:Kido, Elissa (1988).
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990:The Bridge of Dreams
897:Monumenta Nipponica
754:Monumenta Nipponica
467:on 20 November 2017
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560:The tale of Genji
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513:"Pity Poor Kaoru"
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1207:Hikaru Genji
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1092:. Retrieved
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469:. Retrieved
465:the original
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129:Naka no kimi
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1241:Anime/manga
1222:Lady RokujĆ
1212:Kaoru Genji
856:(1): 1â25.
401:The Odyssey
310:'meshiudo',
278:To no Chujo
251:gentlewoman
154:Development
85:Nationality
1375:Categories
1189:Characters
903:(2): 209.
447:References
436:(Sarashina
416:homoerotic
331:See also:
317:'Yadorigi'
286:'mamebito'
273:'Ukifune',
235:monogatari
231:Mumyozoshi
217:in Japan.
40:Created by
1326:The Diver
1319:Aoi no Ue
1260:(c. 1989)
1197:Aoi no Ue
975:823377029
917:0027-0741
870:0095-6848
831:234912456
825:: 70â78.
774:0027-0741
663:0073-0548
258:katashiro
243:âUkifuneâ
191:Agemakiâ,
160:Kashiwagi
109:anti-hero
35:character
827:ProQuest
397:Odysseus
391:Analysis
363:courting
344:A. Waley
321:'Kagero'
227:Buddhism
88:Japanese
80:Buddhism
77:Religion
1232:Ukifune
925:2384563
782:2384070
671:2719245
579:2541047
471:11 July
319:and 52
178:Agemaki
148:Ukifune
133:Ukifune
53:Species
1303:(2011)
1295:(2001)
1287:(1951)
1268:(2009)
1252:(1979)
1094:11 May
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370:Poetry
303:reply.
289:(mame-
131:, and
125:Oigimi
69:Family
61:Gender
1343:Other
1311:Stage
1276:Films
1113:: 95.
921:JSTOR
874:JSTOR
802:: 13.
778:JSTOR
722:JSTOR
667:JSTOR
531:JSTOR
399:from
348:Tyler
293:'ada'
95:Kaoru
56:Human
27:Kaoru
1096:2022
1042:ISBN
971:OCLC
961:ISBN
913:ISSN
866:ISSN
770:ISSN
733:2022
712:ISBN
659:ISSN
575:OCLC
565:ISBN
542:2022
521:ISBN
473:2022
383:Kodo
361:The
346:and
209:and
137:Niou
64:Male
1177:'s
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
