Murasaki Shikibu - Knowledge (XXG)

875:, causing outrage because written Chinese was considered the language of men, far removed from the women's quarters. The study of Chinese was thought to be unladylike and went against the notion that only men should have access to the literature. Women were supposed to read and write only in Japanese, which separated them through language from government and the power structure. Murasaki, with her unconventional classical Chinese education, was one of the few women available to teach Shōshi classical Chinese. Bowring writes it was "almost subversive" that Murasaki knew Chinese and taught the language to Shōshi. Murasaki, who was reticent about her Chinese education, held the lessons between the two women in secret, writing in her diary, "Since last summer ... very secretly, in odd moments when there happened to be no one about, I have been reading with Her Majesty ... There has of course been no question of formal lessons ... I have thought it best to say nothing about the matter to anybody." 1821: 1368:"transcends both its genre and age. Its basic subject matter and setting—love at the Heian court—are those of the romance, and its cultural assumptions are those of the mid-Heian period, but Murasaki Shikibu's unique genius has made the work for many a powerful statement of human relationships, the impossibility of permanent happiness in love ... and the vital importance, in a world of sorrows, of sensitivity to the feelings of others." Prince Genji recognizes in each of his lovers the inner beauty of the woman and the fragility of life, which according to Keene, makes him heroic. The story was popular: Emperor Ichijō had it read to him, even though it was written in Japanese. By 1021 all the chapters were known to be complete and the work was sought after in the provinces where it was scarce. 1639: 462:, a much older second cousin. Descended from the same branch of the Fujiwara clan, he was a court functionary and bureaucrat at the Ministry of Ceremonials, with a reputation for dressing extravagantly and as a talented dancer. In his late forties at the time of their marriage, he had multiple households with an unknown number of wives and offspring. Gregarious and well-known at court, he was involved in numerous romantic relationships that may have continued after his marriage to Murasaki. As was customary, she would have remained in her father's household where her husband would have visited her. Nobutaka had been granted more than one governorship, and by the time of his marriage to Murasaki he was probably quite wealthy. Interpretations of their marital relationship differ among scholars: 40: 1759: 945:

a period when Chinese began to be rejected in favor of Japanese—even though Shōshi herself was a student of the language. The hostility may have affected Murasaki and her opinion of the court, and forced her to hide her knowledge of Chinese. Unlike Shōnagon, who was both ostentatious and flirtatious, as well as outspoken about her knowledge of Chinese, Murasaki seems to have been humble, an attitude which possibly impressed Michinaga. Although Murasaki used Chinese and incorporated it in her writing, she publicly rejected the language, a commendable attitude during a period of burgeoning Japanese culture.

1179: 1805: 3475: 1261:, a three-part novel spanning 1100 pages and 54 chapters, which is thought to have taken a decade to complete. The earliest chapters were possibly written for a private patron either during her marriage or shortly after her husband's death. She continued writing while at court and probably finished while still in service to Shōshi. She would have needed patronage to produce a work of such length. Michinaga provided her with costly paper and ink, and with calligraphers. The first handwritten volumes were probably assembled and bound by ladies-in-waiting. 957: 778: 648:

poetry, and layering of clothing in pleasing color combinations—according to mood and season. Those who showed an inability to follow conventional aesthetics quickly lost popularity, particularly at court. Popular pastimes for Heian noblewomen—who adhered to rigid fashions of floor-length hair, whitened skin and blackened teeth—included having love affairs, writing poetry and keeping diaries. The literature that Heian court women wrote is recognized as some of the earliest and among the best literature written in Japanese

1781: 1398: 884: 3373: 503: 1085: 904: 479: 1265: 830:. The rivalry that existed among the women is evident in Murasaki's diary, where she wrote disparagingly of Izumi: "Izumi Shikibu is an amusing letter-writer; but there is something not very satisfactory about her. She has a gift for dashing off informal compositions in a careless running-hand; but in poetry she needs either an interesting subject or some classic model to imitate. Indeed it does not seem to me that in herself she is really a poet at all." 204: 228: 1682: 1432: 608: 718: 745: 3325: 842:, had been in service as lady-in-waiting to Teishi when Shōshi came to court; it is possible that Murasaki was invited to Shōshi's court as a rival to Shōnagon. Teishi died in 1001, before Murasaki entered service with Shōshi, so the two writers were not there concurrently, but Murasaki, who wrote about Shōnagon in her diary, certainly knew of her, and to an extent was influenced by her. Shōnagon's 3340: 414:. In her diary she wrote, "When my brother ... was a young boy learning the Chinese classics, I was in the habit of listening to him and I became unusually proficient at understanding those passages that he found too difficult to understand and memorize. Father, a most learned man, was always regretting the fact: 'Just my luck,' he would say, 'What a pity she was not born a man! 3388: 1316:—telling a tale—particularly evident in its use of a narrator, but Keene claims Murasaki developed the genre far beyond its bounds, and by doing so created a form that is utterly modern. The story of the "shining prince" Genji is set in the late 9th to early 10th centuries, and Murasaki eliminated from it the elements of fairy tales and fantasy frequently found in earlier 1011: 3313: 1053:, Shirane mentions that 1014 is generally accepted as the date of Murasaki Shikibu's death and 973 as the date of her birth, making her 41 when she died. Bowring considers 1014 to be speculative, and believes she may have lived with Shōshi until as late as 1025. Waley agrees given that Murasaki may have attended ceremonies with Shōshi held for Shōshi's son, 990:

seldom troubled me, and I was in those days far indeed from the painful consciousness of inferiority which makes life at Court a continual torment to me." A court position would have increased her social standing, but more importantly she gained a greater experience to write about. Court life, as she experienced it, is well reflected in the chapters of

684:, causing her to lose power. Four years later Michinaga sent Shōshi, his eldest daughter, to Emperor Ichijō's harem when she was about 12. A year after placing Shōshi in the imperial harem, in an effort to undermine Teishi's influence and increase Shōshi's standing, Michinaga had her named Empress although Teishi already held the title. As historian 362:(an element of her clan name), may have been bestowed on her at court in reference to the name she herself had given to the main female character in "Genji". Michinaga mentions the names of several ladies-in-waiting in a 1007 diary entry; one, Fujiwara no Takako (Kyōshi), may be Murasaki's personal name. 851:

littered her writing with Chinese characters, left a great deal to be desired." Keene thinks that Murasaki's impression of Shōnagon could have been influenced by Shōshi and the women at her court, as Shōnagon served Shōshi's rival empress. Furthermore, he believes Murasaki was brought to court to write

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It is likely that Murasaki enjoyed writing in solitude. She believed she did not fit well with the general atmosphere of the court, writing of herself: "I am wrapped up in the study of ancient stories ... living all the time in a poetical world of my own scarcely realizing the existence of other

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on an August night while looking at the Moon. Although scholars dismiss the factual basis of the story of her retreat, Japanese artists often depicted her at Ishiyama Temple staring at the Moon for inspiration. She may have been commissioned to write the story and may have known an exiled courtier in

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is a collection of 128 poems Mulhern describes as "arranged in a biographical sequence". The original set has been lost. According to custom, the verses would have been passed from person to person and often copied. Some appear written for a lover—possibly her husband before he died—but she may have

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The attitude toward the Chinese language was contradictory. In Teishi's court, the Chinese language had been flaunted and considered a symbol of imperial rule and superiority. Yet, in Shōshi's salon there was a great deal of hostility towards the language—perhaps owing to political expedience during

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in government posts and court service. Courtiers became overly refined with little to do, insulated from reality, preoccupied with the minutiae of court life, turning to artistic endeavors. Emotions were commonly expressed through the artistic use of textiles, fragrances, calligraphy, colored paper,

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Murasaki disliked the men at court, whom she thought were drunken and stupid. However, some scholars, such as Waley, are certain she was involved romantically with Michinaga. At the least, Michinaga pursued her and pressured her strongly, and her flirtation with him is recorded in her diary as late

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Murasaki seems to have been unhappy with court life and was withdrawn and somber. No surviving records show that she entered poetry competitions; she appears to have exchanged few poems or letters with other women during her service. In general, unlike Shōnagon, Murasaki gives the impression in her

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were read aloud to the Emperor and his courtiers, one of whom remarked that the author showed a high level of education. Murasaki wrote in her diary, "How utterly ridiculous! Would I, who hesitate to reveal my learning to my women at home, ever think of doing so at court?" Although the nickname was

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The two writers had different temperaments: Shōnagon was witty, clever, and outspoken; Murasaki was withdrawn and sensitive. Entries in Murasaki's diary show that the two may not have been on good terms. Murasaki wrote, "Sei Shōnagon ... was dreadfully conceited. She thought herself so clever,

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before her husband's death; it is known she was writing after she was widowed, perhaps in a state of grief. In her diary she describes her feelings after her husband's death: "I felt depressed and confused. For some years I had existed from day to day in listless fashion ... doing little more

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and poetry; his own verse was anthologized. He entered public service around 968 as a minor official and was given a governorship in 996, staying in service until about 1018. Murasaki's mother was descended from the same branch of northern Fujiwara as Tametoki. The couple had three children, a son

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Rank was important in Heian court society and Murasaki would not have felt herself to have much, if anything, in common with the higher ranked and more powerful Fujiwaras. In her diary, she wrote of her life at court: "I realized that my branch of the family was a very humble one; but the thought

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may have been commissioned as a type of propaganda to highlight Teishi's court, known for its educated ladies-in-waiting. Japanese literature scholar Joshua Mostow believes Michinaga provided Murasaki to Shōshi as an equally or better educated woman, so as to showcase Shōshi's court in a similar

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Women of high status lived in seclusion at court and, through strategic marriages, were used to gain political power for their families. In the case of Shōshi and other such marriages to members of the imperial clan, it enabled the woman's clan to exercise influence over the emperor—this was how

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that scholars have wondered why Murasaki made such a move at a comparatively late period in her life. Her diary evidences that she exchanged poetry with Michinaga after her husband's death, leading to speculation that the two may have been lovers. Bowring sees no evidence that she was brought to

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According to Waley, Murasaki may not have been unhappy with court life in general but bored in Shōshi's court. He speculates she would have preferred to serve with the Lady Senshi, whose household seems to have been less strict and more light-hearted. In her diary, Murasaki wrote about Shōshi's

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Murasaki's reputation and influence have not diminished since her lifetime when she, with other Heian women writers, was instrumental in developing Japanese into a written language. Her writing was required reading for court poets as early as the 12th century as her work began to be studied by

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that "Women ... were thought to be incapable of real intelligence and therefore were not educated in Chinese." Murasaki was aware that others saw her as "pretentious, awkward, difficult to approach, prickly, too fond of her tales, haughty, prone to versifying, disdainful, cantankerous and

1488:, consisting of four scrolls, 19 paintings, and 20 sheets of calligraphy. The illustrations, definitively dated to between 1110 and 1120, have been tentatively attributed to Fujiwara no Takachika and the calligraphy to various well-known contemporary calligraphers. The scroll is housed at the 443:

Aristocratic Heian women lived restricted and secluded lives, allowed to speak to men only when they were close relatives or household members. Murasaki's autobiographical poetry shows that she socialized with women but had limited contact with men other than her father and brother; she often

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Murasaki began her diary after she entered service at Shōshi's court. Much of what is known about her and her experiences at court comes from the diary, which covers the period from about 1008 to 1010. The long descriptive passages, some of which may have originated as letters, cover her

1124:, a collection of 128 poems. Her work is considered important for its reflection of the creation and development of Japanese writing, during a period when Japanese shifted from an unwritten vernacular to a written language. Until the 9th century, Japanese language texts were written in 1219:

for transcriptions. Typical of contemporary court diaries written to honor patrons, Murasaki devotes half to the birth of Shōshi's son Emperor Go-Ichijō, an event of enormous importance to Michinaga: he had planned for it with his daughter's marriage which made him grandfather and

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Seven women were named in the entry, with the actual names of four women known. Of the remaining three women, one was not a Fujiwara, one held a high rank and therefore had to be older, leaving the possibility that the third, Fujiwara no Takako, was Murasaki. See Tsunoda (1963),

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However, Michinaga's patronage was essential if she was to continue writing. Murasaki described her daughter's court activities: the lavish ceremonies, the complicated courtships, the "complexities of the marriage system", and in elaborate detail, the birth of Shōshi's two sons.

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the use of names, insofar as they were recorded, did not follow a modern pattern. A court lady, as well as being known by the title of her own position, if any, took a name referring to the rank or title of a male relative. Thus "Shikibu" is not a modern surname, but refers to

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court, " has gathered round her a number of very worthy young ladies ... Her Majesty is beginning to acquire more experience of life, and no longer judges others by the same rigid standards as before; but meanwhile her Court has gained a reputation for extreme dullness".

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is recognized as an enduring classic. McCullough writes that Murasaki "is both the quintessential representative of a unique society and a writer who speaks to universal human concerns with a timeless voice. Japan has not seen another such genius." Keene writes that

1306:. She drew on and blended styles from Chinese histories, narrative poetry and contemporary Japanese prose. Adolphson writes that the juxtaposition of formal Chinese style with mundane subjects resulted in a sense of parody or satire, giving her a distinctive voice. 1758: 982:

people .... But when they get to know me, they find to their extreme surprise that I am kind and gentle". Inge says that she was too outspoken to make friends at court, and Mulhern thinks Murasaki's court life was comparatively quiet compared to other

1342:. Keene speculates that in her tale of the "shining prince", Murasaki may have created for herself an idealistic escape from court life, which she found less than savory. In Prince Genji she formed a gifted, comely, refined, yet human and sympathetic 1231:

merely followed tradition and written simple love poems. They contain biographical details: she mentions a sister who died, the visit to Echizen province with her father and that she wrote poetry for Shōshi. Murasaki's poems were published in 1206 by

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diary that she disliked court life, the other ladies-in-waiting, and the drunken revelry. She did, however, become close friends with a lady-in-waiting named Lady Saishō, and she wrote of the winters that she enjoyed, "I love to see the snow here".

859:. Murasaki contrasted herself to Shōnagon in a variety of ways. She denigrated the pillow book genre and, unlike Shōnagon, who flaunted her knowledge of Chinese, Murasaki pretended to not know the language, regarding it as pretentious and affected. 1600:

has become many things to many different audiences through many different media over a thousand years ... unmatched by any other Japanese text or artifact." The work and its author were popularized through its illustrations in various media:

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in Kyoto, with her younger brother Nobunori. Their mother died, perhaps in childbirth, when they were quite young. Murasaki had at least three half-siblings raised with their mothers; she was very close to one sister who died in her twenties.

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exchanged poetry with women but never with men. Unlike most noblewomen of her status, however, she did not marry on reaching puberty; instead she stayed in her father's household until her mid-twenties or perhaps even to her early thirties.

709:, dependent on the quality of those attending. Ichijō's mother and Michinaga's sister, Senshi, had an influential salon, and Michinaga probably wanted Shōshi to surround herself with skilled women such as Murasaki to build a rival salon. 973:

as 1010. Yet, she wrote to him in a poem, "You have neither read my book, nor won my love." In her diary she records having to avoid advances from Michinaga—one night he sneaked into her room, stealing a newly written chapter of

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explains, "Michinaga shocked even his admirers by arranging for the unprecedented appointment of Teishi (or Sadako) and Shōshi as concurrent empresses of the same emperor, Teishi holding the usual title of "Lustrous Heir-bearer"

270:. The Fujiwara clan dominated court politics until the end of the 11th century through strategically marrying their daughters into the imperial family and the use of regencies. In the late 10th century and early 11th century, 185:

was published in English. Scholars continue to recognize the importance of her work, which reflects Heian court society at its peak. Since the 13th century her works have been illustrated by Japanese artists and well-known

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are common to the period, and are defined by Shively as encapsulating "the tyranny of time and the inescapable sorrow of romantic love". The main theme is that of the fragility of life, "the sorrow of human existence"

451:, Murasaki went with him, although it was uncommon for a noblewoman of the period to travel such a distance that could take as long as five days. She returned to Kyoto, probably in 998, to marry her father's friend 680:'s wife), and, aided by his sister Senshi, he assumed power. Teishi had supported her brother Korechika, who was discredited and banished from court in 996 following a scandal involving his shooting at the retired 1678:, in that she captured the essence of the Heian court and as a novelist "succeeded perhaps even beyond her own expectations." Like Shakespeare, her work has been the subject of reams of criticism and many books. 932:), for teaching Shōshi Chinese literature. A lady-in-waiting who disliked Murasaki accused her of flaunting her knowledge of Chinese and began calling her "The Lady of the Chronicles"—an allusion to the classic 152:, probably because of her reputation as a writer. She continued to write during her service, adding scenes from court life to her work. After five or six years, she left court and retired with Shōshi to the 1854:

Bowring believes her date of birth most likely to have been 973; Mulhern places it somewhere between 970 and 978, and Waley states it was 978. See Bowring (2004), 4; Mulhern (1994), 257; Waley (1960), vii.

812:, Shōshi was a serious-minded young lady, whose living arrangements were divided between her father's household and her court at the Imperial Palace. She gathered around her talented women writers such as 278:, had been in the top tier of the aristocracy, but her branch of the family gradually lost power and by the time of Murasaki's birth was at the middle to lower ranks of the Heian aristocracy—the level of 1022:

When Emperor Ichijō died in 1011, Shōshi retired from the Imperial Palace to live in a Fujiwara mansion in Biwa, most likely accompanied by Murasaki, who is recorded as being there with Shōshi in 1013.

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Murasaki became a popular subject of paintings and illustrations highlighting her as a virtuous woman and poet. She is often shown at her desk in Ishiyama Temple, staring at the Moon for inspiration.

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scholars who generated authoritative versions and criticism. Within a century of her death she was highly regarded as a classical writer. In the 17th century, Murasaki's work became emblematic of

701:), a toponymically derived equivalent coined for the occasion". About five years later, Michinaga brought Murasaki to Shōshi's court, in a position that Bowring describes as a companion-tutor. 527:

epidemic. As a married woman Murasaki would have had servants to run the household and care for her daughter, giving her ample leisure time. She enjoyed reading and had access to romances (

986:. Mulhern speculates that her remarks about Izumi were not so much directed at Izumi's poetry but at her behavior, lack of morality and her court liaisons, of which Murasaki disapproved. 1211:

relationships with the other ladies-in-waiting, Michinaga's temperament, the birth of Shōshi's sons—at Michinaga's mansion rather than at the Imperial Palace—and the process of writing

1780: 1235:, in what Mulhern believes to be the collection that is closest to the original form; at around the same time Teika included a selection of Murasaki's works in an imperial anthology, 410:

Chinese was taught to Murasaki's brother as preparation for a career in government, and during her childhood, living in her father's household, she learned and became proficient in

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through Murasaki's paternal great-grandfather and grandfather, both of whom were well-known poets. Her great-grandfather, Fujiwara no Kanesuke, had 56 poems included in 13 of the

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written after she joined Shōshi. The name Murasaki was most probably given to her at a court dinner in an incident she recorded in her diary: in 1008 the well-known court poet

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Mostow, Joshua. "Mother Tongue and Father Script: The relationship of Sei Shonagon and Murasaki Shikibu". in Copeland, Rebecca L. and Ramirez-Christensen Esperanza (eds).

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being one, who refuse to believe this story, pointing out ... that it is irreconcilable with known facts. On the other hand, the very chamber in the temple where the

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Heian culture and court life reached a peak early in the 11th century. The population of Kyoto grew to around 100,000 as the nobility became increasingly isolated at the

1744:, with a silk frontispiece painted by Tosa Mitsuoki, dated to around 1690. The album contains Mitsuoki's authentication slips for his ancestor's 16th century paintings. 3918: 1638: 1464: 705:

Michinaga, and other Fujiwara Regents, achieved their power. Despite their seclusion, some women wielded considerable influence, often achieved through competitive

599:, although he did bring her to court without following official channels. Mulhern thinks Michinaga wanted to have Murasaki at court to educate his daughter Shōshi. 1060:

Murasaki's brother Nobunori died in around 1011, which, combined with the death of his daughter, may have prompted her father to resign his post and take vows at

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had ended and a stronger national culture was emerging. In the 9th and 10th centuries, Japanese gradually became a written language through the development of

352:, the Ministry of Ceremonials where Murasaki's father was a functionary. "Murasaki", an additional name possibly derived from the color violet associated with 3853: 3613: 1142:, a true Japanese script, in the mid-to late 9th century. Japanese authors began to write prose in their own language, which led to genres such as tales ( 3421: 2059: 1042:

in her handwriting, which, if they do not satisfy the critic, still are sufficient to carry conviction to the minds of ordinary visitors to the temple."

871:. Murasaki taught Chinese to Shōshi who was interested in Chinese art and Juyi's ballads. Upon becoming Empress, Shōshi installed screens decorated with 577:

to friends who in turn would have re-copied them and passed them on. By this practice the story became known and she gained a reputation as an author.

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Although the popularity of the Chinese language diminished in the late Heian era, Chinese ballads continued to be popular, including those written by

274:, the so-called Mido Kampaku, arranged his four daughters into marriages with emperors, giving him unprecedented power. Murasaki's great-grandfather, 1027:

explains that when Murasaki retired from court she was again associated with Ishiyama-dera: "To this beautiful spot, it is said, Murasaki no Shikibu

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symbolically imbued a bride with an increased level of cultural status; by the 18th century they had come to symbolize marital success. In 1628,

3858: 109:, written in Japanese between about 1000 and 1012. Murasaki Shikibu is a descriptive name; her personal name is unknown, but she may have been 1701:

and Ishiyama-dera (where a life size rendition of Murasaki at her desk was displayed), and women dressing in traditional 12-layer Heian court

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gives a view into the Heian period; for example love affairs flourished, although women typically remained unseen behind screens, curtains or

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and ankle-length wigs. The author and her work inspired museum exhibits and Genji manga spin-offs. The design on the reverse of the first

378: 2180: 3908: 132:, the written language of government, but Murasaki, raised in her erudite father's household, showed a precocious aptitude for the 3953: 3747: 1575:

illustrating various editions of the novel. While early Genji art was considered symbolic of court culture, by the middle of the

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According to Mulhern Shōshi was 19 when Murasaki arrived; Waley states she was 16. See Mulhern (1994), 259 and Waley (1960), vii

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region. Scholars differ on the year of her death; although most agree on 1014, others have suggested she was alive in 1025.

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continues to captivate, because, in the story, her characters and their concerns are universal. When Waley's translation (

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scornful". Asian literature scholar Thomas Inge believes she had "a forceful personality that seldom won her friends."

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In Heian-era Japan, husbands and wives kept separate households; children were raised with their mothers, although the

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retired from court life to devote the remainder of her days to literature and religion. There are sceptics, however,

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system was still followed. Murasaki was unconventional because she lived in her father's household, most likely on

161: 39: 3948: 3828: 3807: 3712: 3696: 3407: 1770:, Murasaki described court life, as depicted in this exterior scene titled "Royal Outing", late 16th century by 3903: 3802: 3780: 3704: 1694: 1101: 2056: 553:

than registering the passage of time ... The thought of my continuing loneliness was quite unbearable".

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based on abbreviations of Chinese characters. In Murasaki's lifetime, men continued to write formally in

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Female virtue was tied to literary knowledge in the 17th century, leading to a demand for Murasaki or

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became the written language of intimacy and of noblewomen, setting the foundation for unique forms of

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and managed to acquire fluency. She married in her mid-to-late twenties and gave birth to a daughter,

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paper in five colors, written by master calligraphers. The leaves are housed in a case dated to the

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argued that her writing was valuable for its sensitivity and depiction of emotions. He wrote in his

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that when "human feelings are not understood the harmony of the Five Human Relationships is lost."

1157: 404: 279: 178: 174: 3291: 1727: 1282:, Keene claims Murasaki wrote the "supreme work of Japanese fiction" by drawing on traditions of 1125: 983: 872: 760: 673: 523:

The couple's daughter, Kenshi (Kataiko), was born in 999. Two years later Nobutaka died during a

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or illustrations of Murasaki became particularly popular for noblewomen: in the 17th century

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was distributed throughout the provinces; within a century it was recognized as a classic of

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died, leaving the regency vacant, Michinaga quickly won a power struggle against his nephew

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Goes West: The 1510 Genji Album and the Visualization of Court and Capital". (March 2003).

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has Murasaki involved in a romance during her travels with her father to Echizen Province.

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Late 17th century or early 18th century silk scroll painting of a scene from chapter 34 of

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was copied and illustrated in various forms as early as a century after Murasaki's death.

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Seeds in the Heart: Japanese Literature from Earliest times to the Late Sixteenth Century

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Murasaki may have died in 1014. Her father made a hasty return to Kyoto from his post at

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Shōshi was 16 to 19 when Murasaki joined her court, either in 1005 or 1006. According to

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temple where he died in 1029. Murasaki's daughter entered court service in 1025 as a

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inquired after the "Young Murasaki"—an allusion to the character named Murasaki in

941:

apparently meant to be disparaging, Mulhern believes Murasaki was flattered by it.

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Murasaki probably earned an ambiguous nickname, "The Lady of the Chronicles" (

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showing men playing in the garden watched by a woman sitting behind a screen.

1038:

was written is shown—with the ink-slab which the author used, and a Buddhist

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writes that genres such as the monogatari were distinctly Japanese and that

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The Father-Daughter Plot: Japanese Literary Women and the Law of the Father

1689:

Kyoto held a year-long celebration commemorating the 1000th anniversary of

717: 377:

Murasaki was born at a period when Japan was becoming more isolated, after

3350: 3312: 1010: 744: 122:, who was mentioned in a 1007 court diary as an imperial lady-in-waiting. 3382: 3019:

Societies, Networks, and Transitions, Volume I: To 1500: A Global History

1612: 1452: 1420: 1201: 1061: 1015: 965: 868: 624: 618: 353: 2178:"Murasaki Shikibu: Brief Life of a Legendary Novelist: c. 973 – c. 1014" 3679: 1811: 1586: 1572: 1558: 524: 489: 187: 470:

finds evidence of resentment towards her husband in Murasaki’s poems.

3176:

Envisioning the Tale of Genji: Media, Gender, and Cultural Production

1531:

boxes made for her wedding; Prince Toshitada received a pair of silk

1444: 1353: 214: 1411:, showing lovers separated from ladies-in-waiting by two screens, a 1294:—written in a mixture of Chinese script and Japanese script—such as 3399: 2925:

Inge, Thomas. "Lady Murasaki and the Craft of Fiction". (May 1990)

1136:

writing system. A revolutionary achievement was the development of

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suggests a harmonious marriage, while Japanese literature scholar

289:

Despite the loss of status, the family had a reputation among the

283: 106: 38: 3190:

Traditional Japanese Literature: An Anthology, Beginnings to 1600

3005:

Critical Perspectives on Classicism in Japanese Painting, 1600–17

1685:

The design of the 2000-yen note was created in Murasaki's honour.

1381:

philosophy and women were encouraged to read her books. In 1673,

1364:

describes Murasaki's writing as of universal appeal and believes

447:

In 996 when her father was posted to a four-year governorship in

315:). Her great-grandfather and grandfather were both friendly with 384: 3595: 3403: 3247:. translated by Arthur Waley. (1960). New York: Modern Library. 430:. Murasaki's education was unorthodox. Louis Perez explains in 2809:. (February 11, 2009). CBSNews.com. Retrieved August 11, 2011. 1642:

17th century ink and gold paper fan showing Murasaki's writing

1215:, including descriptions of passing newly written chapters to 3394:

Exhibition: The Tale of Genji, A Japanese Classic Illuminated

1814:, Murasaki is shown in discussion with five male court poets. 1623:(woodblock prints); films, comics, and in the modern period, 1551:

made her the subject of hanging scrolls in the 17th century.

3473: 573:. Murasaki would have distributed newly written chapters of 2883:

Bowring, Richard John (ed). "The Cultural Background". in

2840:

Adolphson, Mikhael; Kamens, Edward and Matsumoto, Stacie.

1072:(1025–1068). She went on to become a well-known poet as 508:

Murasaki depicted gazing at the Moon for inspiration at

319:, who became notable for popularizing Japanese-language 1092:

in this late 17th century silk painting on the Harvard

240:) became extremely powerful during Murasaki's lifetime. 30:"Lady Murasaki" redirects here. For the character, see 3396:

at Metropolitan Museum of Art, March 5 – June 16, 2019

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from about 1765, was a poet at Empress Teishi's court.

727: 696: 690: 632: 616: 585: 528: 398: 382: 357: 345: 304: 3162:

The Bridge of Dreams: A Poetics of "The Tale of Genji

1049:

that year, possibly because of her death. Writing in

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A Bridge of Dreams: A Poetics of "The Tale of Genji"

3790: 3758: 3723: 3688: 3635: 3571: 3540: 3515: 3484: 3437: 3219:Tsunoda, Bunei. "Real name of Murasahiki Shikibu". 2915:. (2008). London: Oxford International Publishers. 2704: 2702: 1627:. In her fictionalized account of Murasaki's life, 105:, widely considered to be one of the world's first 3035:. (1997). North Clarendon, VT: Tuttle Publishing. 1932: 1930: 1928: 1926: 1924: 1922: 1920: 3133:. (1983). North Clarendon VT: Tuttle Publishing. 3103:Japanese Women Writers: a Bio-critical Sourcebook 2501: 2499: 2087: 2085: 1719:bearing purple berries has been named after her. 1693:in 2008, with poetry competitions, visits to the 1585:prints made the illustrations accessible for the 1437:Early 12th century painting showing a scene from 1794:print (1852) shows an interior court scene from 1726:, only in the 1970s dated to 1510, is housed at 968:are shown joking and flirting with court ladies. 592:Japanese Women Writers, a Biocritical Sourcebook 128:women were traditionally excluded from learning 2489: 2487: 2485: 2483: 2481: 2471: 2469: 2467: 2465: 2463: 2461: 2459: 2457: 2315: 2313: 2348: 2346: 2276: 2274: 2246: 2244: 2151: 2149: 2147: 1901: 1899: 1897: 1895: 1441:of women in a traditional room partitioned by 548:Scholars believe she may have started writing 217:, the color associated with her name, in this 115: 55: 3607: 3415: 3228:The Modern Family in Japan: Its Rise and Fall 2336: 2334: 2234: 2232: 2230: 2027: 2025: 2023: 2021: 2019: 2017: 2015: 2013: 1985: 1983: 1885: 1883: 1881: 1879: 27:Japanese novelist and poet (c. 973 – c. 1014) 8: 2993:. (2004). New York: Kodansha International. 2991:The Japan Book: A Comprehensive Pocket Guide 2108: 2106: 1658:) was published in 1933, reviewers compared 1170:, "was the outstanding work of the period". 897:court women in the winter, late 17th century 3207:The Cambridge History of Japan: Heian Japan 3089:Heroic with Grace: Legendary Women of Japan 2772: 2770: 2768: 1563:artists for centuries with artists such as 1238:New Collections of Ancient and Modern Times 964:, drunk, disarranged, and disordered Heian 580:In her early to mid-thirties, she became a 556:According to legend, Murasaki retreated to 3614: 3600: 3592: 3422: 3408: 3400: 3371: 2057:"Kyoto Celebrates a 1000-Year Love Affair" 936:—after an incident in which chapters from 3230:. (2009). Melbourne: Transpacific Press. 2211: 2209: 2207: 2205: 2203: 2201: 2199: 2197: 2172: 2170: 331:) and became a well-respected scholar of 236:(19th century monochrome illustration by 3243:. "Introduction". in Shikibu, Murasaki, 3119:. (1990). Westport CT: Greenwood Press. 3105:. (1994). Westport CT: Greenwood Press. 2665: 2663: 2661: 2129: 2127: 2039: 2037: 1957: 1955: 1953: 1951: 1338:), a term used over a thousand times in 1198:and ladies-in-waiting secluded behind a 1108:Three works are attributed to Murasaki: 786:, Murasaki's court rival, depicted in a 213:, Murasaki is shown dressed in a violet 3919:Ladies-in-waiting of Heian-period Japan 3245:The Tale of Genji: A Novel in Six Parts 3031:Mason, R.H.P. and Caiger, John Godwin. 2913:Art: Histories, Theories and Exceptions 2793: 2791: 2612: 2610: 2568:Kodansha International (2004), 475, 120 1973: 1971: 1969: 1967: 1875: 1847: 1754: 1656:The Tale of Genji: A Novel in Six Parts 1194:showing Empress Shōshi with the infant 960:In this 13th century painting from the 3061:Classical Japanese Prose: An Anthology 2224:Bowring (2004), 4; Mulhern (1994), 259 2051: 2049: 1555:became a favorite subject of Japanese 484:Murasaki shown writing at her desk at 3164:". (1987). Stanford CA: Stanford UP. 2901:. (2005). Cambridge, MA: Harvard UP. 695:and Shōshi that of "Inner Palatine" ( 660:When in 995 Michinaga's two brothers 169:. Within a decade of its completion, 99:. She is best known as the author of 7: 3063:. (1990). Stanford CA: Stanford UP. 2978:The Pleasures of Japanese Literature 2842:Heian Japan: Centers and Peripheries 2250:Shively and McCullough (1999), 67–69 1280:The Pleasures of Japanese Literature 913:) depiction of Murasaki Shikibu, by 753:, a rival court poet, depicted in a 3854:11th-century Japanese women writers 3131:The Tale of Genji: A Reader's Guide 2887:. (2004). Cambridge: Cambridge UP. 1484:, is a late Heian era 12th century 3192:. (2008b). New York: Columbia UP. 3178:. (2008a). New York: Columbia UP. 3091:. (1991). Armonk NY: M.E. Sharpe. 2936:. (1999). New York: St. Martin's. 1310:follows the traditional format of 855:in response to Shōnagon's popular 564:, where she was inspired to write 25: 3150:. (1999). New York: McGraw-Hill. 2980:. (1988). New York: Columbia UP. 2966:. (1999). New York: Columbia UP. 2133:Knapp, Bettina. "Lady Murasaki's 165:, a volume of poetry, as well as 43:Depiction of Murasaki Shikibu by 3748:Genji Monogatari: Sennen no Nazo 3386: 3338: 3323: 3311: 2860:A History of Japanese Literature 2807:"Japanese Feminist to Adorn Yen" 1819: 1803: 1779: 1757: 1734:and 54 sheets of calligraphy on 1513:sets decorated with scenes from 1430: 1396: 1088:Murasaki is depicted writing at 902: 882: 776: 743: 716: 501: 477: 226: 202: 3485:11th century Heian court poets 3077:. (2001). Honolulu: Hawaii UP. 3007:. (2004). Honolulu: Hawaii UP. 2844:. (2007). Honolulu: Hawaii UP. 1594:Envisioning the "Tale of Genji" 1257:Murasaki is best known for her 569:a similar position to her hero 418:" With her brother she studied 300:Collections of Thirty-six Poets 295:Twenty-one Imperial Anthologies 2947:Kodansha Encyclopedia of Japan 1387:Discursive Commentary on Genji 827:The Tale of Flowering Fortunes 327:, attended the State Academy ( 1: 3859:11th-century Japanese writers 3221:Kodai Bunka (Cultura antiqua) 3021:. (2008). Boston: Wadsworth. 2949:. (1983) New York: Kōdansha. 1945:Chokusen Sakusha Burui 勅撰作者部類 1629:The Tale of Murasaki: A Novel 1503:inspired artifacts, known as 1297:The Tale of the Bamboo Cutter 795: 754: 538:The Tale of the Bamboo Cutter 248: 71: 3934:People of Heian-period Japan 3740:Sennen no Koi Story of Genji 3580:Murasaki Shikibu Nikki Emaki 3302:Resources in other libraries 3278:Resources in other libraries 3148:Japan: The Story of a Nation 2863:. (1899). London: Heinemann. 2191:. Retrieved August 21, 2011. 2100:qtd in Bowring (2004), 11–12 962:Murasaki Shikibu Diary Emaki 863:"The Lady of the Chronicles" 656:Rival courts and women poets 177:and had become a subject of 3849:11th-century Japanese poets 3385:(public domain audiobooks) 3205:and McCullough, William H. 2873:. (1996). London: Penguin. 2726:qtd in Lillehoj (2007), 110 2577:Shirane (2008b), 2, 113–114 1826:Murasaki Shikibu composing 1790: 1736: 1703: 1619: 1611: 1609:(illustrated handscrolls); 1603: 1581: 1557: 1544:as a wedding gift in 1649. 1533: 1519: 1505: 1459: 1451: 1443: 1419: 1413: 1352: 1332: 1318: 1312: 1290: 1288:court diaries, and earlier 1284: 1200: 1184: 1182:13th century illustration ( 1166: 1150: 1144: 1138: 1130: 925: 788: 765: 728: 697: 691: 639:and with floor-length hair. 633: 617: 586: 529: 399: 383: 358: 346: 305: 258:, Japan, into the northern 3975: 3531:The Diary of Lady Murasaki 2871:The Diary of Lady Murasaki 2646:Keene (1988), 75–79, 81–84 2370:Adolphson (2007), 110, 119 2070:. Retrieved August 9, 2011 1711:note commemorated her and 1465:National Treasure of Japan 1250: 1192:The Diary of Lady Murasaki 1115:The Diary of Lady Murasaki 615:mid- to late 17th century 356:, the meaning of the word 247:Murasaki Shikibu was born 162:The Diary of Lady Murasaki 29: 3808:Nise Murasaki Inaka Genji 3713:Genji Monogatari Sennenki 3471: 3379:Works by Murasaki Shikibu 3365:Works by Murasaki Shikibu 3356:Works by Murasaki Shikibu 3297:Resources in your library 3273:Resources in your library 2869:(ed). "Introduction". in 2655:Adolphson (2007), 121–122 2406:qtd in Mostow (2001), 133 2397:qtd in Waley (1960), ix–x 2164:qtd in Mulhern (1991), 84 1527:'s daughter had a set of 1463:. This work is listed as 631:, shows women dressed in 181:. Between 1925 and 1933, 148:at the Imperial court by 116: 83:was a Japanese novelist, 56: 3909:Japanese women novelists 3803:The Tale of Genji Museum 3209:. (1999). Cambridge UP. 2744:Lillehoj (2007), 110–113 2361:qtd in Keene (1999), 414 2183:August 24, 2020, at the 2091:Reischauer (1999), 29–29 820:—the author of an early 266:, the first 9th century 3954:Women of medieval Japan 2827:McCormick (2003), 54–56 2493:Shirane (1987), 221–222 2475:Mulhern (1994), 260–261 2415:Mostow (2001), 131, 137 2280:Bowring (1996), xv–xvii 2215:Mulhern (1994), 258–259 2066:. (December 31, 2008). 1961:Mulhern (1994), 257–258 1596:Shirane observes that " 1589:classes and commoners. 1148:) and poetic journals ( 3879:Heian period Buddhists 3844:11th-century novelists 3834:10th-century novelists 3798:Genji Monogatari Emaki 3478: 3351:Rozan-ji Temple, Kyoto 3343:Quotations related to 3101:Mulhern, Chieko Irie. 3087:Mulhern, Chieko Irie. 2259:McCullough (1990), 201 2062:April 7, 2012, at the 1905:Henshall (1999), 24–25 1686: 1643: 1481:Genji Monogatari Emaki 1275: 1224:regent to an emperor. 1207: 1105: 1019: 969: 911:Azuchi–Momoyama period 640: 488:inspired by the Moon, 209:Designated one of the 47: 3477: 3465:Fujiwara no Michinaga 3450:Fujiwara no Yoshifusa 3045:McCormick, Melissa. " 3003:Lillehoj, Elizabeth. 2932:Henshall, Kenneth G. 2867:Bowring, Richard John 2818:Kondansha (1983), 269 2595:McCullough (1990), 16 2379:Adolphson (2007), 110 2340:Keene (1999), 414–415 2155:Mulhern (1991), 83–85 2135:The Tale of the Genji 2121:qtd in Inge (1990), 9 1998:Adolphson (2007), 111 1684: 1647:The Tale of the Genji 1641: 1267: 1181: 1087: 1013: 959: 670:Fujiwara no Korechika 666:Fujiwara no Michikane 662:Fujiwara no Michitaka 610: 595:court as Michinaga's 272:Fujiwara no Michinaga 264:Fujiwara no Yoshifusa 234:Fujiwara no Michinaga 150:Fujiwara no Michinaga 42: 3914:Japanese women poets 3884:Hyakunin Isshu poets 3460:Fujiwara no Tametoki 3455:Fujiwara no Kanesuke 3320:at Wikimedia Commons 3223:. (1963) (55). 1–27. 3117:The History of Japan 2776:Shirane (2008a), 1–2 2735:Frédéric (2005), 238 2696:McCullough (1999), 9 2625:McCullough (1990), 9 2604:Shirane (2008b), 448 2586:Frédéric (2005), 594 2298:Bowring (1996), xxxv 2043:Puette (1983), 50–51 1889:Shirane (2008b), 293 1695:Tale of Genji Museum 1617:(screen paintings), 1346:. Keene writes that 1006:Later life and death 453:Fujiwara no Nobutaka 432:The History of Japan 325:Fujiwara no Tametoki 280:provincial governors 276:Fujiwara no Kanesuke 3944:Unidentified people 3929:Nobility from Kyoto 3894:Japanese literature 3839:11th-century deaths 3286:By Murasaki Shikibu 3129:Puette, William J. 2797:Mulhern (1994), 264 2687:Henshall (1999), 27 2678:Shively (1990), 444 2669:Keene (1988), 81–84 2637:Shively (1999), 445 2616:Mulhern (1994), 262 2550:Mulhern (1996), 259 2319:Mulhern (1994), 156 2268:Bowring (1996), xiv 2238:Lockard (2008), 292 2079:Bowring (1996), xii 2031:Shirane (1987), 218 1914:Shirane (1987), 215 1676:Elizabethan England 1494:Tokugawa Art Museum 1403:Early 12th century 934:Chronicles of Japan 909:Late 16th-century ( 405:Japanese literature 336:and two daughters. 190:woodblock masters. 179:scholarly criticism 175:Japanese literature 111:Fujiwara no Kaoruko 79: 1014 or 1025 3959:Writers from Kyoto 3924:Mythopoeic writers 3899:Japanese novelists 3479: 3328:Works by or about 3033:A History of Japan 2934:A History of Japan 2899:Japan Encyclopedia 2717:Bowring (2004), 12 2708:Bowring (2004), 79 2442:Waley (1960), viii 2424:Waley (1960), xiii 2388:Bowring (2004), 11 2352:Mostow (2001), 130 2068:The New York Times 1989:Mulhern (1991), 79 1728:Harvard University 1687: 1644: 1579:the mass-produced 1276: 1208: 1126:Chinese characters 1106: 1020: 970: 726:, shown here in a 641: 420:Chinese literature 48: 3939:The Tale of Genji 3889:Japanese diarists 3816: 3815: 3732:The Tale of Genji 3697:The Tale of Genji 3665:Kiritsubo Consort 3628:The Tale of Genji 3589: 3588: 3524:The Tale of Genji 3507:Fujiwara no Kintō 3360:Project Gutenberg 3316:Media related to 3259:Library resources 3236:978-1-876843-56-4 3215:978-0-521-22353-9 3198:978-0-231-13697-6 3184:978-0-231-14237-3 3170:978-0-8047-1719-9 3156:978-0-07-557074-5 3139:978-0-8048-3331-8 3125:978-0-313-30296-1 3111:978-0-313-25486-4 3097:978-0-87332-527-1 3083:978-0-8248-2438-9 3069:978-0-8047-1960-5 3057:McCullough, Helen 3041:978-0-8048-2097-4 3027:978-1-4390-8535-6 3013:978-0-8248-2699-4 2999:978-4-7700-2847-1 2986:978-0-231-06736-2 2972:978-0-231-11441-7 2955:978-0-87011-620-9 2942:978-0-312-21986-4 2921:978-1-84520-700-7 2907:978-0-674-01753-5 2897:Frédéric, Louis. 2893:978-0-521-83208-3 2885:The Tale of Genji 2879:978-0-14-043576-4 2850:978-0-8248-3013-7 2785:Keene (1999), 508 2753:Lillehoj, 108–109 2541:Bowring (2004), 5 2523:Waley (1960), xiv 2514:Bowring (2004), 3 2328:Waley (1960), xii 2307:Waley (1960), vii 2055:Green, Michelle. 1936:Bowring (2004), 4 1828:The Tale of Genji 1796:The Tale of Genji 1767:The Tale of Genji 1713:The Tale of Genji 1652:The Tale of Genji 1598:The Tale of Genji 1553:The Tale of Genji 1475:The Tale of Genji 1366:The Tale of Genji 1271:The Tale of Genji 1259:The Tale of Genji 1253:The Tale of Genji 1246:The Tale of Genji 1233:Fujiwara no Teika 1196:Emperor Go-Ichijō 1110:The Tale of Genji 1070:Emperor Go-Reizei 1055:Emperor Go-Ichijō 996:Fujiwara no Kintō 566:The Tale of Genji 550:The Tale of Genji 412:classical Chinese 379:missions to China 307:Yamato Monogatari 211:One Hundred Poets 183:The Tale of Genji 167:The Tale of Genji 142:The Tale of Genji 102:The Tale of Genji 16:(Redirected from 3966: 3949:Women memoirists 3829:Murasaki Shikibu 3781:Genji monogatari 3705:Genji Monogatari 3623:Murasaki Shikibu 3616: 3609: 3602: 3593: 3431:Murasaki Shikibu 3424: 3417: 3410: 3401: 3390: 3389: 3375: 3345:Murasaki Shikibu 3342: 3330:Murasaki Shikibu 3327: 3318:Murasaki Shikibu 3315: 3264:Murasaki Shikibu 3188:Shirane, Haruo. 3174:Shirane, Haruo. 3160:Shirane, Haruo. 3144:Reschauer, Edwin 3115:Perez, Louis G. 3017:Lockard, Craig. 2828: 2825: 2819: 2816: 2810: 2804: 2798: 2795: 2786: 2783: 2777: 2774: 2763: 2762:Geczy (2008), 13 2760: 2754: 2751: 2745: 2742: 2736: 2733: 2727: 2724: 2718: 2715: 2709: 2706: 2697: 2694: 2688: 2685: 2679: 2676: 2670: 2667: 2656: 2653: 2647: 2644: 2638: 2635: 2626: 2623: 2617: 2614: 2605: 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Iemitsu 1522: 1508: 1462: 1456: 1448: 1434: 1424: 1416: 1400: 1362:Helen McCullough 1357: 1337: 1321: 1315: 1303:The Tales of Ise 1293: 1287: 1205: 1189: 1174:Diary and poetry 1169: 1158:Edwin Reischauer 1155: 1147: 1141: 1135: 1100:, housed at the 1096:frontispiece by 1014:Genji-Garden at 931: 906: 893:illustration of 886: 800: 797: 793: 780: 770: 759: 756: 747: 733: 720: 700: 694: 638: 622: 589: 544:The Tales of Ise 534: 505: 481: 461: 449:Echizen Province 417: 402: 388: 371:Teramachi Street 361: 351: 333:Chinese classics 310: 262:descending from 253: 250: 230: 206: 134:Chinese classics 121: 119: 118: 82: 80: 76: 73: 69: 66: 63: 59: 58: 51:Murasaki Shikibu 21: 3974: 3973: 3969: 3968: 3967: 3965: 3964: 3963: 3904:Japanese poetry 3819: 3818: 3817: 3812: 3786: 3754: 3719: 3684: 3631: 3620: 3590: 3585: 3567: 3536: 3511: 3480: 3469: 3433: 3428: 3387: 3308: 3307: 3306: 3283: 3282: 3267: 3266: 3262: 3255: 3250: 3226:Ueno, Chizuko. 3203:Shively, Donald 2976:Keene, Donald. 2927:Atlantic 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(1992). 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Historian 1154: 1153: 1152:Nikki Bungaku 1146: 1140: 1134: 1133: 1127: 1123: 1122: 1117: 1116: 1111: 1103: 1099: 1098:Tosa Mitsuoki 1095: 1091: 1090:Ishiyama-dera 1086: 1079: 1077: 1075: 1071: 1067: 1063: 1058: 1057:around 1025. 1056: 1052: 1048: 1043: 1041: 1037: 1033: 1029: 1026: 1017: 1012: 1005: 1003: 1001: 997: 993: 987: 985: 979: 976: 967: 963: 958: 954: 950: 946: 942: 939: 935: 930: 928: 916: 915:Kanō Takanobu 912: 905: 896: 892: 891:Tosa Mitsuoki 885: 876: 874: 870: 862: 860: 858: 854: 848: 845: 841: 840: 835: 831: 829: 828: 823: 819: 815: 814:Izumi Shikibu 811: 792: 791: 785: 779: 771:by Komatsuken 769: 768: 762: 752: 746: 737: 732: 731: 725: 724:Izumi Shikibu 719: 710: 708: 702: 699: 693: 687: 683: 682:Emperor Kazan 679: 675: 671: 667: 663: 655: 653: 651: 646: 637: 636: 630: 629:Tosa Mitsuoki 626: 621: 620: 614: 609: 602: 600: 598: 593: 588: 583: 578: 576: 572: 567: 563: 559: 558:Ishiyama-dera 554: 551: 547: 545: 540: 539: 533: 532: 526: 515: 511: 510:Ishiyama-dera 504: 495: 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784:Sei Shōnagon 751:Akazome Emon 703: 672:(brother to 659: 645:Heian Palace 642: 591: 579: 574: 571:Prince Genji 565: 555: 549: 542: 536: 522: 446: 442: 431: 409: 376: 364: 338: 312: 298: 288: 246: 182: 170: 166: 160: 158: 141: 124: 110: 100: 97:Heian period 50: 49: 36: 3864:970s births 3689:Anime/manga 3670:Lady Rokujō 3660:Kaoru Genji 1724:Genji Album 1672:Shakespeare 1542:Kanō Tan'yū 1407:scene from 1344:protagonist 1094:Genji Album 984:court poets 857:Pillow Book 758: 1765 613:Tosa-school 456: [ 424:calligraphy 367:patrilineal 348:Shikibu-shō 329:Daigaku-ryō 3823:Categories 3637:Characters 3548:Monogatari 3334:Wikisource 1871:References 1742:Edo period 1633:Liza Dalby 1577:Edo period 1486:handscroll 1405:handscroll 1319:monogatari 1313:monogatari 1291:monogatari 1145:monogatari 1132:man'yōgana 1128:using the 929:no tsubone 822:vernacular 790:Benizuri-e 763:and color 736:Komatsuken 603:Court life 535:) such as 531:monogatari 514:Yoshitoshi 252: 973 219:Edo period 194:Early life 77: – c. 75: 973 3774:The Diver 3767:Aoi no Ue 3708:(c. 1989) 3645:Aoi no Ue 2139:Symposium 1787:Hiroshige 1704:jūnihitoe 1565:Hiroshige 1379:Confucian 1186:emakimono 1066:wet nurse 966:courtiers 824:history, 767:Kusazōshi 730:Kusazōshi 635:jūnihitoe 625:courtiers 623:of Heian 597:concubine 562:Lake Biwa 496:, c. 1767 391:syllabary 341:Heian era 256:Heian-kyō 154:Lake Biwa 3383:LibriVox 2181:Archived 2060:Archived 1737:shikishi 1709:2000 yen 1569:Kiyonaga 1492:and the 1222:de facto 1016:Rozan-ji 869:Bai Juyi 847:manner. 619:yamato-e 439:Marriage 354:wisteria 303:and the 291:literati 3680:Ukifune 2834:Sources 1812:woodcut 1791:ukiyo-e 1748:Gallery 1620:ukiyo-e 1613:byōbu-e 1587:samurai 1582:ukiyo-e 1573:Utamaro 1559:ukiyo-e 1538:screens 1534:genji-e 1529:lacquer 1520:genji-e 1506:genji-e 1278:In his 1062:Miidera 1032:Motoori 927:Nihongi 525:cholera 490:ukiyo-e 395:Chinese 339:In the 188:ukiyo-e 130:Chinese 95:in the 91:at the 3751:(2011) 3743:(2001) 3735:(1951) 3716:(2009) 3700:(1979) 3541:Styles 3438:Family 3261:about 3234: 3213: 3196: 3182: 3168: 3154: 3137: 3123: 3109: 3095: 3081: 3067: 3039: 3025: 3011: 2997: 2984: 2970: 2953: 2940: 2919: 2905: 2891: 2877: 2848: 1670:, and 1668:Proust 1664:Austen 1571:, and 1457:and a 1445:fusuma 1417:and a 1372:Legacy 1354:fusuma 975:Genji. 707:salons 674:Teishi 516:(1889) 397:, but 297:, the 215:kimono 107:novels 3791:Other 3759:Stage 3724:Films 3572:Other 3047:Genji 1864:1–27. 1843:Notes 1830:, by 1717:plant 1691:Genji 1660:Genji 1625:manga 1605:emaki 1515:Genji 1511:Dowry 1501:Genji 1460:kichō 1453:shōji 1439:Genji 1421:byōbu 1414:kichō 1409:Genji 1348:Genji 1340:Genji 1327:Genji 1308:Genji 1213:Genji 1202:kichō 1190:) of 1162:Genji 1080:Works 1040:Sutra 1036:Genji 1000:Genji 992:Genji 938:Genji 895:Heian 853:Genji 698:chūgū 650:canon 587:nyōbō 575:Genji 460:] 321:verse 284:Kyoto 171:Genji 126:Heian 3553:Waka 3516:Work 3232:ISBN 3211:ISBN 3194:ISBN 3180:ISBN 3166:ISBN 3152:ISBN 3135:ISBN 3121:ISBN 3107:ISBN 3093:ISBN 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A 1479:The 1285:waka 1167:kana 1139:kana 1118:and 816:and 692:kōgō 664:and 541:and 426:and 400:kana 389:, a 385:kana 359:fuji 117:藤原香子 87:and 85:poet 3625:'s 3381:at 3367:at 3358:at 3332:at 2137:". 1764:In 1699:Uji 1697:in 1662:to 1592:In 1300:or 761:ink 734:by 627:by 560:at 512:by 492:by 254:in 57:紫式部 3825:: 3146:. 3059:. 2962:. 2857:. 2790:^ 2767:^ 2701:^ 2660:^ 2630:^ 2609:^ 2498:^ 2480:^ 2456:^ 2345:^ 2333:^ 2312:^ 2273:^ 2243:^ 2229:^ 2196:^ 2169:^ 2146:^ 2126:^ 2105:^ 2084:^ 2048:^ 2036:^ 2012:^ 1982:^ 1966:^ 1950:^ 1919:^ 1894:^ 1878:^ 1722:A 1666:, 1631:, 1567:, 1509:. 1496:. 1449:, 1358:. 1322:. 1241:. 1112:, 1076:. 889:A 796:c. 755:c. 676:, 652:. 611:A 458:ja 407:. 286:. 249:c. 72:c. 70:; 60:, 3615:e 3608:t 3601:v 3423:e 3416:t 3409:v 1798:. 1774:. 1467:. 1425:. 1330:( 1206:. 1104:. 801:) 794:( 584:( 546:. 416:' 311:( 120:) 114:( 81:) 68:' 62:' 54:( 34:. 20:)

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