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But since then the language, institu- tions, and manners and customs of Japan have changed so much as greatly to obscure the meaning, not only to European students, but to the Japanese themselves. Piles of commentary by native editors have been accumu- lated over it, and their interpretations are often so blun- dering and inadequate that Motoori found it necessary to devote to its elucidation a critical work? in nine volumes, mostly taken up with correcting the errors of his prede- cessors. | The enormous bulk of the Genz will always remain another obstacle to its just appreciation by European readers. It is in fifty-four books, which in the standard (but not very satisfactory) Kogetsusho edition run to no less than 4234 pages. The genealogical tree alone of the personages which figure in it, comprising several Mikados, a crowd of Princes, Princesses, and Imperial consorts, with a host of courtiers, occupies eighty pages. Japanese critics claim for the Genjz that it surpasses anything of the kind in Chinese literature, and even deserves to be ranked with the masterpieces of European fiction. None, however, but an extreme Japanophile 1 The Tama no Ogushi. It was left unfinished at his death, GENJI MONOGATARI 97 (the species is not altogether unknown) will go so far as to place Murasaki no Shikibu on a level with Fielding, Thackeray, Victor Hugo, Dumas, and Cervantes. On the other hand, it is unjust to dismiss her summarily with the late M. George Bousquet as “cette ennuyeuse Scudéry japonaise,” a verdict endorsed by Mr. Chamber- lain. There are in the Genjz pathos, humour, an abundant flow of pleasing sentiment, keen observation of men and Manners, an appreciation of the charms of nature, and . a supreme command of the resources of the Japanese language, which in her hands reached its highest point of-excellence. Though never melodramatic, she gives us plenty of incident, and is seldom dull. A scholar, she abhorred pedantry and fine writing, the bane of so many of the modern novelists of Japan. It is unnecessary to discuss here the opinion of some Japanese writers, that the Gezjz was written to inculcate Buddhist doctrine, or the notion of others, that the teach- ing of Confucian morality was its aim. Nor need we trouble ourselves with the suggestion that it is a novel a clef, and that the personages are to be identified with real persons who were alive at the time when it was written. As Motoori very justly observes, all these ideas show an ignorance of the true object of novel-writing, which is to excite our sympathies, and to interest and amuse by the presentation of a picture of real life. Another subject much dwelt on by native critics is the morality of the Gezjz, some denouncing it, as it deserves, while others strive to defend what even from the Japanese point of view is indefensible. Truth to say, the laxity of morals which it depicts is deplorable. It is a satisfaction to add that it belongs to the age and country in which the author lived, and that her own private life is admit- 98 JAPANESE LITERATURE tedly free from any stain of this kind. Of coarseness and pruriency, moreover, there is none in the Genz, or indeed in the literature of this period generally. The language is almost invariably decent, and even refined, and we hardly ever meet with a phrase calculated to bring a blush to the cheek of a young person. It is difficult to give much idea of the Genjz by quota- tion. The following passages may serve as well as any others for this purpose ; but the writer is conscious that here, more perhaps than anywhere else in Japanese literature, the chasm which divides us in thought, senti- ment, and language from the Far East forms an insuper- able obstacle to communicating to a translation the undoubted charm of the original. Genji, aged sixteen, discusses feminine character with a young friend :— “Tt was an evening in the wet season. Without, the rain was falling drearily, and even in the Palace hardly any one was to be seen. In Genji’s quarters there was an unusual sense of stillness. He was engaged in reading by the light of a lamp when it occurred to him to take out from a cupboard which was close by some letters written on paper of various tints. The Chiujo [his friend] was inordinately eager to have a look at them. ‘There are a few of a kind that I can let you see,’ said Genji, ‘but there are others that are imperfect ;’ and these he refused to show him. ‘Oh! but it is just those written without reserve and couched in moving language that I like. Commonplace ones don’t count. What I wish to see are letters which reveal the various circumstances of the writers. When they are inspired by petulant jealousy or written at the hour of eve—a prey to passionate longings and the like—it is then that they are worth GENJI MONOGATARI 09 reading.’ It was unlikely that any which demanded the strictest secrecy should be left lying about in an ordinary cupboard. Such were no doubt carefully concealed, and these were of the second order of intimacy. Genji there- fore, being thus pressed, allowed his friend to read passages from them here and there. ‘What a variety !’ said the Chiujo, and began to guess at the authors. ‘This is from so-and-so, is it not ?—that from such another ?’ he inquired. Sometimes he guessed right, and even when he missed the mark Genji was much amused by his infer- ences and suspicions. But he said little and maintained his reserve, putting his friend off with dubious answers. ‘You must have a collection of your own,’ said Genji. ‘Will you not let me see a few of them? _ In that case, my cupboard would open its doors more cheerfully.’ ‘1 am sure none of mine would be worth your while to read,’ replied the Chiujo. ‘I have at last [he was aged sixteen | discovered,’ continued he, ‘how hard it is to find a woman of whom it may be said, “ Here at any rate is the one. Here no fault can be found.” There are plenty who may be considered fairly tolerable, girls of super- ficial sensibilities, ready with their pens, and competent to give intelligent responses? upon occasion. But how hard it is to pitch upon any of whom you can say that here is one who compels your choice. Often they have no thought for any accomplishments but such as they themselves possess, and depreciate those of others in a most provoking way. Some, again, there are, made much of by their parents and not allowed to leave their side, who, while they remain within the lattice which bounds their future, may no doubt make an impression on the hearts of men who have had little opportunity of 1 Probably poetical responses of thirty-one syllables are meant. 100 JAPANESE LITERATURE really knowing them. They may be young, attractive ‘and of sedate manners; and so long as they are Gathout external distractions, they will naturally, by the assiduous imitation of others, gain some skill in frivolous pastimes. But their friends will screen their defects and represent their good qualities in the best light. How is anybody to condemn them in his own mind without a proof, and say to himself, ‘That is not so”? Whereas if we believe all that is said of them, we are sure to find on further acquaintance that they fall in our estimation.’ Here the Chiujo paused, ashamed of his own precipitancy. Genji smiled, thinking of something of the same kind, though not absolutely so, in his own experience, and said, ‘ But surely they have all some good points?’ ‘Just so,’ replied the Chiujo. ‘If they had none, who would be taken in? Of those utterly sorry creatures who are beneath notice, and of the superior women for whose accomplishments we feel an unqualified admiration, the numbers are alike few. Those born in a high station are made much of by their friends, and their faults are con- cealed, so that in outward appearance they are naturally second to none. In the middle class, there is greater freedom of expression of individual feeling, and thus the means are atforded of distinguishing among them. As for those of the lowest station of all, they are quite un- worthy of our attention,” Here Genji and the Chiujd are joined by two other friends. The conversation is continued at considerable length, and various types of womanhood are discussed with illustrative anecdotes drawn from the speakers’ experience. .This passage, known as the Shina-sadame, or Critique (of women), is much admired by the Japanese, and is considered by critics to be the kernel of the whole GENJI MONOGATARI 10! work, the chief idea of which is to present to the reader a picture of various types of womanhood. Genji, having retired to a monastery in order to be exorcised for ague, espies in a neighbouring temple a young girl who 1s living with her grandmother, a nun, and who is destined to fix his vagrant fancy at a later period. “At this season the days were very long, and time passed slowly ; so under cover of the deep evening mist he approached the low hedge of which he had been told. Here he sent back all his attendants, retaining with him only Koremitsu. Peeping through the hedge, he could see straight before him the western front of the house, where there was a nun performing her devotions before a private image of Buddha. She raised up the hanging screen and made an offering of flowers. Then taking her place by the middle pillar, she placed a Sutra on an arm- rest, aiid proceeded to read it in a voice which betrayed much suffering. This nun seemed no ordinary person. She was something over forty years of age. Her com- plexion was fair, and she had an air of distinction. She was thin, but her face had a puffy appearance from ill health. Whilst looking at her, Genji was struck with the beauty of her hair, which seemed rather to have gained in elegance by having been cut.