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The Tale of Genji
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ii |The Tale of Genji
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The Tale of Genji
A Visual Companion
Melissa McCormick
Princeton University Press
Princeton and Oxford
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Copyright © 2018 by Princeton University Press
Published by Princeton University Press, 41 William Street, Princeton,
New Jersey 08540
In the United Kingdom: Princeton University Press, 6 Oxford Street,
Woodstock, Oxfordshire OX20 1TR
press.princeton.edu
Front matter illustrations: p. ii, detail of image on p. 88; p. vi, detail of
image on p. 232; p. viii, detail of image on p. 68; p. x, detail of image on
p. 160
Jacket illustration: (front) Tosa Mitsunobu, The Lady at Akashi (Chapter 13)
from The Tale of Genji Album, 1510. Imaging Department
© President and Fellows of Harvard College.
Tale of Genji, translated by Dennis Washburn. Copyright © 2015 by
Dennis Washburn. Used by permission of W.W. Norton & Company, Inc.
Poems from A Waka Anthology, Volume Two: Grasses of Remembrance, Part
B, by Edwin A. Cranston. Copyright © 2006 by the Board of Trustees of
the Leland Stanford Jr. University. All rights reserved. Used by permission
of the publisher, Stanford University Press, sup.org.
All Rights Reserved
Library of Congress Cataloging-in-Publication Data
Names: McCormick, Melissa, 1967–
Title: The Tale of Genji : a visual companion / Melissa McCormick.
Description: Princeton : Princeton University Press, 2018. |
Includes bibliographical references and index.
Identifi ers: lccn 2017061368 | isbn 9780691172682 (hardback : alk. paper)
Subjects: lcsh: Murasaki Shikibu, 978?– Genji monogatari — Illustrations. |
Genji album — Illustrations. | Painting, Japanese — Themes, motives. |
Tosa, Mitsunobu, 1434?–1525. | Arts and society — Japan — History. |
Japanese literature — Heian period, 794–1185 — History and criticism.
Classifi cation: lcc nd1059.t6585 t35 2018 | ddc 895.63/14 —
dc23 lc record available at https://lccn.loc.gov/2017061368
British Library Cataloging-in-Publication Data is available
Designed by Yve Ludwig
This book has been composed in Dante Pro and Kozuka Mincho Pro
Printed on acid-free paper. ∞
Printed in China
10 9 8 7 6 5 4 3 2 1
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SS180121-Genji_061518.indd iv 23/6/2018 1:02 PM
Contents
vii Acknowledgments
ix Note to Reader
1 Introduction
The Tale of Genji Album of 1510
23
Chapters 1–54
240 Appendix: Album Calligraphy Key
242 Glossary
244 The Album: Works Cited and Consulted
246 Bibliography
247 Index
254 Image Credits
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SS180121-Genji_061518.indd vi 23/6/2018 1:02 PM
Acknowledgments
Over the years, the students in my seminars and lec- Meech, Mitamura Masako, Sano Midori, Edith
tures onThe Tale of Genji, through their questions, Sarra, Haruo Shirane, Royal Tyler, J. Keith Vincent,
insights, skepticism, and wonder over the tale, have Dennis Washburn, Watanabe Masako, and espe-
been a constant source of inspiration, and this book cially the late H. Richard Okada and the late Chino
was written with them always in mind. The ability Kaori. For their direct engagement with the man-
to teach with the Genji Album and to examine it up uscript I am grateful to Fumiko Cranston, Gustav
close on multiple occasions has enriched this project Heldt, Itō Tetsuya, Kimura Atsuko, Andrew Watsky,
beyond measure. For that, I am indebted to the late and to Christopher Jury, for his meticulous editing.
Philip Hofer, who bequeathed his collection to the The collections at the Harvard-Yenching Library
Harvard Art Museums, and to the institution today and the Fine Arts Library at Harvard University, and
for making it so accessible. I express my sincere their respective librarians, Kuniko Yamada McVey
thanks to Rachel Saunders, Abby Aldrich Rockefeller and Nanni Deng, were indispensable to this book’s
Associate Curator of Asian Art, and to Mary Lister, completion. At Princeton University Press, Michelle
Manager of the Art Study Center at the Harvard Art Komie shared my vision for the volume from the
Museums, for accommodating numerous requests beginning and worked tirelessly and with endless
and for their dedication to the pedagogical mission patience to see it to fruition. For the production,
of the museum. Likewise, the ability to view the design, and editing of the book, I wish to thank
album alongside visiting colleagues, in particular, Mark Bellis, Steve Sears, Dawn Hall, and Yve Ludwig
Takagishi Akira, Ido Misato, Kamei Wakana, and for the professionalism and artistry that they bring
Ikeda Shinobu, deepened my understanding of to their work. Emily Shelton’s careful proofreading
the work, and I thank them for their insights and during the fi nal stages of the book’s production was
intellectual generosity. Conversations with Genji invaluable, as was Blythe Woolston’s thoughtful and
scholars also helped shaped this book, with special expert indexing. Finally, I extend my most heartfelt
thanks going to Estelle Bauer, Edwin Cranston, Ii thanks to my family for their patience and support
Haruki, Edward Kamens, Kasashima Tadayuki, and their belief in this project. To Kio and Azusa, I
Kawazoe Fusae, Kojima Naoko, Yukio Lippit, Julia am forever grateful.
vii
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viii |The Tale of Genji
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SS180121-Genji_061518.indd viii 23/6/2018 1:02 PM
Note to Reader
The pages that follow reproduce for the fi rst time in script beneath each calligraphy leaf to make them as
color all 108 painting and calligraphy leaves of The accessible as possible, following the transliteration in
Tale of Genji Album (1510) by Tosa Mitsunobu (act. Fumiko E. Cranston, “Hābādō Daigaku Bijutsukan
ca. 1462–1525) in the collection of the Harvard Art zō ‘Genji monogatari gajō’ kotobagaki shakumon,”
Museums, along with English translations of the Kokka no. 1222 (1997): 54–57. The romanization of
album’s texts. Foundational to the writing of The the calligraphy follows modern reading conventions
Tale of Genji and integral to its later reception are rather than historical orthography, and punctuation
the 795 waka (poems in 5-7-5-7-7 syllabic meter), marks are based on the annotated edition of The Tale
interspersed throughout the prose, which the of Genji in Shinpen Nihon koten bungaku zenshū
album emphasizes by allotting thirty-four of the (Tokyo: Shōgakkan, 1994–98). Corresponding page
fi fty-four calligraphy leaves to verse rather than numbers in this edition to all of the album’s texts
prose excerpts. Unless otherwise noted, translations are provided in the bibliography. Except for a few
of poems in the book are taken from Edwin A. modifi cations and translations of my own to match
Cranston, A Waka Anthology, vol. 2: Grasses of the album excerpts, all English translations of prose
Remembrance (Stanford, CA: Stanford University passages and Genji chapter titles are taken from
Press, 2006). All of the album’s texts have been Dennis Washburn’s translation of The Tale of Genji
rendered into the modern, standardized Japanese (New York: Norton, 2015).
ix
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SS180121-Genji_061518.indd ix 23/6/2018 1:02 PM
