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:
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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.
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1805:
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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.
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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
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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."
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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
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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!
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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:
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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,
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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.
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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
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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
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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.
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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
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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.
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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.
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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
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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.
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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.
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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
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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,
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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.
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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
282:. The lower ranks of the nobility were typically posted away from court to undesirable positions in the provinces, exiled from the centralized power and court in
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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
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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 (
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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
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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,
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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
144:, but it was probably while she was married or shortly after she was widowed. In about 1005, she was invited to serve as a lady-in-waiting to
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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
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132:, the written language of government, but Murasaki, raised in her erudite father's household, showed a precocious aptitude for the
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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
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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."
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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
543:
448:
370:
332:
290:
237:
133:
3049:
Goes West: The 1510 Genji Album and the Visualization of Court and Capital". (March 2003).
2177:
1681:
1635:
has Murasaki involved in a romance during her travels with her father to Echizen Province.
1268:
Late 17th century or early 18th century silk scroll painting of a scene from chapter 34 of
1264:
1131:
2866:
2184:
2063:
1831:
1675:
1477:
was copied and illustrated in various forms as early as a century after Murasaki's death.
1382:
1046:
1002:—which would have been considered a compliment from a male court poet to a female author.
838:
826:
649:
581:
493:
463:
316:
88:
84:
3501:
2964:
Seeds in the Heart: Japanese Literature from Earliest times to the Late Sixteenth Century
1045:
Murasaki may have died in 1014. Her father made a hasty return to Kyoto from his post at
833:
808:
Shōshi was 16 to 19 when Murasaki joined her court, either in 1005 or 1006. According to
783:
590:) at court, most likely because of her reputation as an author. Chieko Mulhern writes in
422:, and she probably also received instruction in more traditional subjects such as music,
140:. Her husband died after two years of marriage. It is uncertain when she began to write
3674:
3669:
3649:
3202:
1731:
1568:
1537:
1397:
1073:
685:
347:
328:
320:
137:
31:
3372:
478:
3822:
3562:
3552:
3491:
3444:
1667:
1548:
1333:
1151:
1097:
1089:
1064:
temple where he died in 1029. Murasaki's daughter entered court service in 1025 as a
890:
813:
723:
681:
628:
557:
509:
485:
467:
427:
259:
44:
3654:
3557:
3496:
3368:
3240:
2959:
1730:. The album is considered the earliest of its kind and consists of 54 paintings by
1674:. Mulhern says of Murasaki that she is similar to Shakespeare, who represented his
1489:
1431:
998:
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.
894:
817:
809:
750:
644:
570:
340:
267:
125:
96:
766:
729:
634:
255:
227:
3296:
3272:
3659:
3355:
1771:
1663:
1528:
1343:
1216:
926:
612:
596:
423:
366:
203:
17:
607:
3547:
3333:
1741:
1698:
1632:
1576:
923:
Murasaki probably earned an ambiguous nickname, "The Lady of the Chronicles" (
821:
789:
530:
513:
218:
1274:
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
3644:
3364:
3339:
1786:
1564:
1485:
1404:
1378:
1185:
1160:
writes that genres such as the monogatari were distinctly Japanese and that
1065:
561:
390:
153:
3075:
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
1680:
1637:
1624:
1604:
1510:
1263:
1177:
1083:
1039:
1009:
955:
606:
466:
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
1789:
1735:
1702:
1618:
1610:
1602:
1580:
1556:
1532:
1518:
1504:
1458:
1450:
1442:
1418:
1412:
1351:
1331:
1317:
1311:
1289:
1283:
1199:
1183:
1165:
1149:
1143:
1137:
1129:
1018:, a temple in Kyoto associated with her former mansion
924:
787:
764:
738:
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
2633:
2631:
1051:
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
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3174:Shirane, Haruo.
3160:Shirane, Haruo.
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3115:Perez, Louis G.
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1102:Sackler Museum
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1074:Daini no Sanmi
1068:to the future
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2235:
2233:
2231:
2227:
2221:
2218:
2212:
2210:
2208:
2206:
2204:
2202:
2200:
2198:
2194:
2190:
2187:. (May 2002)
2186:
2182:
2179:
2173:
2171:
2167:
2161:
2158:
2152:
2150:
2148:
2144:
2140:
2136:
2130:
2128:
2124:
2118:
2115:
2109:
2107:
2103:
2097:
2094:
2088:
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2082:
2076:
2073:
2069:
2065:
2061:
2058:
2052:
2050:
2046:
2040:
2038:
2034:
2028:
2026:
2024:
2022:
2020:
2018:
2016:
2014:
2010:
2004:
2001:
1995:
1992:
1986:
1984:
1980:
1974:
1972:
1970:
1968:
1964:
1958:
1956:
1954:
1952:
1948:
1942:
1939:
1933:
1931:
1929:
1927:
1925:
1923:
1921:
1917:
1911:
1908:
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1900:
1898:
1896:
1892:
1886:
1884:
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1880:
1876:
1870:
1860:
1857:
1851:
1848:
1842:
1833:
1829:
1822:
1817:
1813:
1810:In this 1795
1806:
1801:
1797:
1792:
1788:
1782:
1777:
1773:
1769:
1768:
1760:
1755:
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1590:
1588:
1583:
1578:
1574:
1570:
1566:
1561:
1560:
1554:
1550:
1549:Tosa Mitsuoki
1545:
1543:
1540:, painted by
1539:
1535:
1530:
1526:
1521:
1516:
1512:
1507:
1502:
1497:
1495:
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1487:
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1371:
1369:
1367:
1363:
1359:
1356:
1355:
1349:
1345:
1341:
1336:
1335:
1334:mono no aware
1328:
1323:
1320:
1314:
1309:
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1304:
1299:
1298:
1292:
1286:
1281:
1273:
1272:
1266:
1262:
1260:
1254:
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1244:
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1239:
1234:
1229:
1225:
1223:
1218:
1217:calligraphers
1214:
1204:
1203:
1197:
1193:
1188:
1187:
1180:
1173:
1171:
1168:
1164:, written in
1163:
1159:
1156:). 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:
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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:
491:
487:
486:Ishiyama-dera
480:
471:
469:
468:Haruo Shirane
465:
459:
454:
450:
445:
438:
436:
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429:
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318:
314:
309:
308:
302:
301:
296:
292:
287:
285:
281:
277:
273:
269:
265:
261:
260:Fujiwara clan
257:
239:
238:Kikuchi Yōsai
235:
229:
221:illustration.
220:
216:
212:
205:
193:
191:
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184:
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176:
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139:
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127:
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108:
104:
103:
98:
94:
90:
86:
65:Lady Murasaki
52:
46:
45:Tosa Mitsuoki
41:
37:
33:
19:
3779:
3772:
3765:
3746:
3738:
3730:
3711:
3703:
3695:
3655:Hikaru Genji
3626:
3622:
3578:
3529:
3522:
3502:Sei Shōnagon
3497:Akazome Emon
3430:
3369:Open Library
3347:at Wikiquote
3292:Online books
3285:
3263:
3244:
3227:
3220:
3206:
3189:
3175:
3161:
3147:
3130:
3116:
3102:
3088:
3074:
3060:
3051:Art Bulletin
3050:
3046:
3032:
3018:
3004:
2990:
2977:
2963:
2946:
2933:
2926:
2912:
2898:
2884:
2870:
2858:
2841:
2823:
2814:
2802:
2781:
2758:
2749:
2740:
2731:
2722:
2713:
2692:
2683:
2674:
2651:
2642:
2621:
2600:
2591:
2582:
2573:
2564:
2555:
2546:
2537:
2528:
2519:
2510:
2447:
2438:
2429:
2420:
2411:
2402:
2393:
2384:
2375:
2366:
2357:
2324:
2303:
2294:
2285:
2264:
2255:
2220:
2188:
2160:
2138:
2134:
2117:
2096:
2075:
2067:
2003:
1994:
1941:
1910:
1859:
1850:
1834:(1786–1868).
1827:
1795:
1765:
1723:
1721:
1712:
1690:
1688:
1659:
1655:
1651:
1646:
1645:
1628:
1597:
1593:
1591:
1552:
1546:
1514:
1500:
1498:
1490:Gotoh Museum
1478:
1474:
1473:
1438:
1408:
1386:
1375:
1365:
1360:
1347:
1339:
1326:
1324:
1307:
1301:
1295:
1279:
1277:
1269:
1258:
1256:
1245:
1236:
1227:
1226:
1221:
1212:
1209:
1191:
1161:
1119:
1113:
1109:
1107:
1093:
1059:
1050:
1044:
1035:
1028:
1025:George Aston
1021:
999:
991:
988:
980:
974:
971:
951:
947:
943:
937:
933:
922:
866:
856:
852:
849:
843:
837:
836:, author of
834:Sei Shōnagon
832:
825:
818:Akazome Emon
810:Arthur Waley
807:
799: 1760s
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
3079:ISBN
3065:ISBN
3037:ISBN
3023:ISBN
3009:ISBN
2995:ISBN
2982:ISBN
2968:ISBN
2951:ISBN
2938:ISBN
2917:ISBN
2903:ISBN
2889:ISBN
2875:ISBN
2846:ISBN
1715:. 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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