The Diary of Lady Murasaki (7 page)

Figure 2

Section D deals with events from Kankō 7 (1010).1.1 to 1.15. One can assume that they were written soon after the events themselves, although the use of
haberi
also suggests some degree of rewriting.
Section A was written some four or five months after the event it describes, possibly based on notes taken at the time. This would have been a woman’s court diary that combined detailed description with the occasional passage of personal reflection – very much the kind of record that Akazome Emon must have relied on heavily for much of the
Eiga monogatari
. It may have been a formal diary produced at the behest of Michinaga,but the personal material makes this a little doubtful. Sections C and D were written on or soon after the events they refer to. Then, sometime after 1010.3.30, Murasaki herself picked up Section A and carried on writing where she had left off. The continuation was in a far more personal vein and was designed to be sent to someone specific. Deciding to send A with B, she not only ensured they flowed on smoothly but also cast her eye back over A, adding in the process a number of personal and explanatory remarks. The use of
haberi
betrays, as it were, the presence of these later additions. The same applies to D, but C reveals no sign of rewriting and so may indeed be an errant fragment.

We do not know why Section A stops where it does. There are various theories, but none are conclusive. And to whom was Murasaki writing when she finished Section B? It is sometimes argued that we are dealing with a fictional letter here, or even with an ‘open letter’, but we have no proof either way. If it were addressed to another ladyin-waiting, then she must have been absent from court for some time. Numerous other possibilities have been suggested, but none is more likely than Murasaki’s own daughter Kenshi. One might object that Kenshi would have been too young to have been interested in such information, but then Shōshi herself became Imperial Consort at the age of eleven. Certainly this would explain the proprietary tone of much of Section B where Murasaki does seem to be trying to teach by example.

Lastly, did Murasaki intend the diary to be exactly as we have it today? From the evidence adduced above this would appear highly unlikely. It is probable that the reconstructed fragment has become detached from the beginning, but anything else must remain mere speculation. Whether Sections A, C and D were originally parts of a much longer record that Murasaki kept is impossible to say.

THE NATURE OF THE WORK

Given that we are dealing with such a fragmented text, part public part private record, how are we to approach it? Is it in fact anything more than a collection of jottings, notes and observations that would hardly merit attention were it not for the fame of its author?

Of course the fact that it was written by the author of the
Genji monogatari
is of major importance, but the work is also significant in that it helps us to explain the emergence of such a magnificent fiction. Up to this point Japanese prose had consisted largely of stories of the ‘fairy tale’ type and women’s autobiographical writing. The most important example of the latter was the
Gossamer Years
, a claustrophobic chronicle of frustrated passion and listless days. Murasaki’s diary exhibits a further stage in the rapid development of Japanese. We have already suggested that the record we see in the diary may have been done almost as a kind of exercise.

In the context of record-taking, the recitation of detail and fact becomes its own justification. The problem with detail, however, is that it often hides rather than reveals the significance of what is being described. What, for example, is Murasaki’s attitude to this display of Fujiwara power? Knowing her acute awareness of the realities and psychological ramifications of power as demonstrated in the
Genji monogatari
, it is extremely difficult to believe that she simply acquiesced in what she saw. There is the occasional moment in the diary when one feels a hesitation, but usually the moment is personalized and the vision returns to her own predicament; there is little overt sign that she saw the status quo as anything but immutable. It is tempting to deduce that she simply was not in a position to do anything but praise Fujiwara power and elegance. The cavalier way that the Emperor is treated, for example, is seen to be simply how things are.

But can one look a little further? Was she not aware of the tendency of such records to become opaque and is this why the text has a tendency to slip into personal anecdote and self-analysis given half the chance? The very opaqueness might then be seen as betraying an underlying sense of resistance.

The other interesting element here is the confessionalism that emerges here and there in the ‘record’ section and then fully near the end of the ‘letter’. It is this willingness to subject the self to analysis that gives Heian women’s writing much of its psychological maturity and penetration. It may not have been a modern self that was discovered and opened up to the world, but it was a self. It is often assumed that because Buddhism brands the self as a pernicious illusion a sense of self could never really develop, but the opposite might well be argued: namely that such emphasis had to be placed on this denial precisely because the concept was very much alive. And, although the ties between confession and salvation cannot be said to be as strong as in the case of Christianity, the connection was nevertheless made. Priests and nuns made vows; attachment to this world was certainly a sin that should be atoned for. There was also the possibility of personal salvation through belief in Amitābha Buddha. The specific nature of Buddhist beliefs among the women courtiers at this time had a very strong influence on the development of writing in the confessional mode.

One of the central concerns of the diary, by its very form, is the nature of time. In most works by women prior to this diary, time was organized on a personal basis, a process that refers not to the outer world of society with its dates and ceremonies, and not even to the way one year follows the next, but rather inward to inner rhythms and perceptions. Murasaki’s diary contains both types of time. As a figure in the public arena recording a series of ceremonies, she is subject to external time not only physically but also in the sense that the diary is organized according to such principles. As a person, she is governed by internal time and, above all, by memory. Given these two conflicting kinds of time and the two conflicting worlds of self and society, Murasaki proves remarkably successful in combining them, and the result is an unrivalled presentation of Heian court life from outside and from within by someone who is at once participant and observer. In another sense the diary can be understood to be ‘about’ the workings of memory, about the effect that time and mind have on events. As description slides into reminiscence, we are made aware of how reconstruction of an event must rely on an ever so fallible memory.
‘How is it that a little incident like this suddenly comes back to one, whereas something that moved one deeply at the time can simply be forgotten with the passage of the years?’ she remarks at the end of one passage near the beginning. This is perhaps the key: the process of remembering and forgetting is itself an eternal fascination, and the diary is to be an illustration of that process. This best explains those sections where she goes out of her way to tell us that she was not actually present, or did not have a very good vantage point, or where she employs verb forms that suggest varying degrees of uncertainty. Sheer detail is a major device for re-creating a past event, but here it goes hand-in-hand with constant little reminders of how very difficult such a task can be.

THE DIARY OF LADY MURASAKI

As autumn advances, the Tsuchimikado mansion looks unutterably beautiful. Every branch on every tree by the lake and each tuft of grass on the banks of the stream takes on its own particular colour, which is then intensified by the evening light. The voices in ceaseless recitation of sūtras are all the more impressive as they continue throughout the night; in the slowly cooling breeze it is difficult to distinguish them from the endless murmur of the stream.

Her Majesty listens to her ladies-in-waiting engaged in idle gossip. She must be in some distress, but manages to hide her feelings as if nothing were amiss; perhaps this calls for no comment, and yet it is quite extraordinary how she can cause a change of heart in someone so disenchanted with life as myself and make me quite forget my troubles – if only I had sought solace for my unhappiness by taking service with her much earlier.

It is still the depth of night. The moon has clouded over, darkening the shadows under the trees. There come voices: ‘Can we open the shutters?’ ‘But the servants will not be ready yet!’ ‘Attendant! Open up!’ Then the bell for the dawn watch suddenly wakes everyone up and the Ritual of the Five Great Mystic Kings begins.
¹
The voice of
each priest as he tries to best his neighbour can be heard near and far, solemn and awe-inspiring. Then, the ritual over, the Archbishop of the Kannon’in leads twenty acolytes in procession from the east wing over to the main building to cast magic spells; as they cross the bridge, their thundering feet sound strange and unfamiliar. When the Abbot of the Hosshōji and the Bishop of the Jōdoji return to their lodgings in the stable lodge and the library, both accompanied by retinues dressed in priestly robes, I follow them in my mind’s eye as they pass over the magnificent Chinese bridges and disappear into the trees. Preceptor Saigi remains prostrate before the statue of Daiitoku deep in prayer.

As the maids and servants all assemble, dawn breaks.

I look out from my room at the head of the corridor into the light morning mist.
²
Dew is still on the ground, but His Excellency is already out in the garden ordering his attendants to clear the stream of some obstruction. Plucking a sprig from a large cluster of maiden-flowers that blooms there on the south side of the bridge, he peers in over the top of the curtain frame. The sight of him, so magnificent, makes me conscious of my own dishevelled appearance, and so when he presses me for a poem, I use it as an excuse to move to where my inkstone is kept:

Now I see the colour of this maiden-flower in bloom,

I know how much the dew discriminates against me.

‘Quick, aren’t we!’ says he with a smile and asks for my brush:

It is not the dew that chooses where to fall:

Does not the flower choose the colour that it desires?
³

One quiet evening as Lady Saishō and I are talking together, His Excellency’s eldest son pulls up the bottom of the blind and seats himself down. He is very grown-up for his age and looks most elegant. The earnestness with which he talks of love – ‘Ah women! Such difficult creatures at times!’ – it gives the lie to those who dismiss him as a callow youth; I find him rather unsettling. We are still talking in generalities when suddenly he is off, murmuring something about there being ‘too many maiden-flowers in the field’; I remember thinking how like the hero of a romance he seemed.
⁴

How is it that a little incident like this suddenly comes back to one, whereas something that moved one deeply at the time can simply be forgotten with the passage of the years?

I was absent from the mansion the day the Governor of Harima gave a banquet as a forfeit for losing a game of
go
, and it was only later that I was given the opportunity to see the tray made for the occasion. The Chinese stand was exquisitely fashioned, and at the edge of the water was written:

Picked up from the Shirara sands of Ki, they say,

May these pebbles grow to mighty rocks!

The women had the most beautiful fans on that occasion.
⁵

Sometime after the twentieth of the eighth month, those nobles and senior courtiers whose presence was required at the mansion started to stay the night. They would take naps on the bridge and the veranda of the east wing, and play music in desultory fashion until dawn. The younger members, who were as yet unskilled in either
koto
or flute, held competitions to see who was best at chanting sūtras and they practised the latest songs together; it was a perfect match for both place and occasion.

There were also evenings when Tadanobu, Master of Her Majesty’s Household, Tsunefusa, Adviser of the Left, Norisada, Commander of the Military Guards, and Junior Captain Narimasa, Governor of Mino, sat and played music together. A formal concert was not held, however, presumably because His Excellency had decided it would have been inappropriate. Those who had left Her Majesty’s service some years ago were suddenly reminded of their long absence and crowded back, so with all the bustle and activity we could find not a moment to ourselves.