Japan History and Culture

The Tale of Genji (Genji monogatari)

Author

Murasaki Shikibu is said to be the author of The Tale of Genji. Although the same can be said for all women of Murasaki’s time, her real name and the date of birth and death cannot be confirmed even for her, the leading author of her day. The name of Murasaki Shikibu was that used for a court lady with “Murasaki” being used as a given name while “Shikibu” refers to her father’s position at the court. Beside writing The Tale of Genji, Murasaki also showed her genius in her other famous book called The Diary of Murasaki Shikibu.

Murasaki Shikibu was born in a middle-level family of nobility during the middle of the Heian Period. Her father, Fujiwara Tametoki, was known as a scholar and man of literacy although he accomplished little of note as an official in the government. Perhaps in compensation for this, he took pains to see that his daughter was well learned. Murasaki Shikibu was remarkable when yet a child learning to read books that even educated boys found difficult.

Murasaki’s childhood was not a happy one as her mother passing away soon after she was born followed by her elder sister on whom she depended. Murasaki married rather late into a family of similar social class. Within a few years, her husband died leaving Murasaki with a daughter and much grief and pain. It was against this background that Murasaki began writing The Tale of Genji in which she looks closely at the relationships of men and women and the unfortunate circumstances in which women find themselves placed in.

Prime Minister Fujiwara no Michinaga appears to have found Murasaki a position working for the Empress Akiko based on the Murasaki’s fame that resulted from the popularity of The Tale of Genji. Various theories exist as to when the writing of The Tale of Genji was finished but it seems likely that she continued writing it while serving the Empress. Although it is not certain as to the date of Murasaki’s death, she likely passed away shortly after she finished the famous novel, perhaps when she was forty or so.

Date of creation

The Tale of Genji (Genji Monogatari) was written around 1000-1025during the Heian Period.

Summary of the Tale of Genji

In early 11th-century Japan, Kiritsubo, a woman of the lower ranks of the court, gave birth to a son whom she named Genji. The emperor showed such a liking for Genji that he brought him into the court so he could be raised in his company. Genji flourished and became a master of speech, manners, poetry, and music. He grew into an attractive young man as well. Both men and women were quick to notice his strikingly handsome looks.
While not the entirety of the book, nor the ultimate focus of Murasaki’s writing, a strong theme of Genji is the notion of love, lust, and the interaction of members of the opposite sex. It is upon this aspect that I wish to dwell for just a moment.

After Genji had reached physical and emotional maturity, he spent most of his time showing his affections by writing poems to women that had little interest in him. Most of the women knew that nothing would ever result in an affair with him and resisted as much as possible.

Although these women admitted that they had similar feelings toward Genji, they knew that the relationship with him would never grow. Genji’s affairs often involved women from outside the court. Such behavior was scandalous for a person of his position, so he needed to carry out his affairs in complete secrecy. Genji went through great troubles to hide his illicit affairs and to please his peers at the court. He conscripted secret messengers from both inside and outside the palace, went out of his way to Utsusemi’s house because the stars were not in the right alignment, visited Yugao’s house only at night, and adopted a child under the guise that he wanted to be her father.

Each affair is significantly different from all others. In one of the first chapters, Genji tries to win the affections of Utsuemi by sending her messages and visiting her at odd hours during the night. The relationship between Yugao and Genji was never stable. Genji had a man named Koremitsu visit and tell him about the house in which Yugao lived before Genji talked to anyone there. This relationship ended with the nexpected death of Yugao after she and Genji first made love. Shortly after, Genji keeps a young girl named Murasaki. When the nun who raised her died, Genji immediately brings the girl to the palace and provided a room and friends for her—no matter how many people protested it.

While Genji did not have a physical relationship with Murasaki at this point, he definitely said that this was his intention in the future. In the mean time, Genji lusts after a princess because he cannot resist the beauty of the music she plays on the zither. Almost instantly he declares his love for her and pursues her with a flurry of letters. She never answers. The more he finds out about the princess, however, the less he likes of her. Genji cannot help but feel guilty after admitting this love, though, and maintains the relationship long after his feelings die down. In one of the last affairs, Genji is on the receiving side of lust. An elderly lady, who Genji calls an outrageous flirt, starts fawning on him and Genji has to think of creative ways to dodge the situation without losing face.

The Tale of Genji is at least in part a story about the interactions between Genji and the people (mostly women) that he encounters. The tale mostly explores the different themes of love, affection, friendship, filial loyalty, and family. Genji wanders through the landscape of life, death, and love while maintaining a teflon-like dignity. The story does not have a true, unifying conflict; it is composed of mini-sagas that overlap each other and complicate each other the further the story progresses.

Structure of Story

The Tale of Genji has 54 chapters and over 1,000 pages of text in its English translation. The Tale of Genji is broadly divided into three sections. The first part of thirty-three chapters concerns itself with the first half of Genji’s life starting with Chapter Kiritsubo and ending with Chapter Fuji-no-uraba (Arthur Waley’s translation of The Tale of Genji, Part 1 Chapter 1 to Part 4 Chapter 5). The second portion begins with the marriage of Onna-Sannomiya to a commoner in Chapter Wakana Part I (Ibid., Part 4 Chapter 6) and ends with Chapter Mirage (Ibid., Part 4 Chapter 12). There is a chapter following this that is entitled “Hidden Behind the Clouds” which has no text. This chapter is not found in The Tale of Genji. The third section starts with Chapter Niou (Ibid., Part 5 Chapter 1) in which Kaoru plays the major role. It ends with Chapter The Bridge of Dreams (Ibid., Part 6 Chapter 13). From Chapter The Bridge Maiden (Ibid., Part 5 Chapter 4) to the end shifts the stage to Uji city and is thus often called the Uji Appendix.

Doll festival or Girls’ Festival (Hina matsuri or Hina no Sekku)

Hinamatsuri takes place on March 3 when the ornamental peach trees are in bloom. This day is also called “Momo no sekku” (Peach blossom’s Festival), the first flowering trees to bloom as winter turns to spring. The peach blossoms symbolize for happy marriage and that families pray for the happiness, prosperity and healthy growth of girls.

Several days before March 3, the precious dolls are removed from their wooden boxes where they have been stored and then arranged on a seven tiered stand that has been draped with a red cloth. The dolls are representations of the Imperial court and are made of kiri wood and straw.

The Hina dolls are arranged precisely the same way every year. A set of Hina dolls usually consists of at least 15 dolls which wear costumes of the imperial court during the Heian period (794-1192). The display also includes miniature household articles which are often exquisite artistic productions. The dolls most highly valued are the Dairi-sama, which represent the Emperor and Empress in resplendent court costumes of silk. They are attended by their two Ministers, three kanjo (Court Ladies), and five Court Musicians. All are displayed on one of usually five steps, each from 3 to 6 feet-long and covered with bright red cloth, making the figures look like they are sitting on a red carpet The Imperial couple occupy the top step, the Emperor at the left of the Empress. Court ladies and banquet trays and dishes occupy the second tier; the other dolls are arranged on the lower tiers.

• Sitting at the top center are Emperor and Empress. They are wearing the twelve-layered ceremonial robe

called (juhni-hitoe).
• On the second tier displays three Court Ladies (three kanjo or three ladies-in-waiting to the Emperor and Empress.)
• On the third tier play five male court Musicians.
• On the fourth tier has the Lords sit on either side of small dishes of food and furniture.
• On the next tier has three drunken servants with a cherry tree on the right and a wild orange tree on the left.
• On the final step has furniture and coaches.

The practice of displaying these dolls on the third day of the third month on the traditional Japanese calendar began during the Edo period (1603-1868). It started as a way of warding off evil spirits, with the dolls acting as a charm. Even today, people in some parts of the country made paper dolls, and in making them they transferred their ill fortunes or sickness to the dolls. Gathering the dolls, and release paper dolls into a nearby brook or rivers after the festival, praying that the dolls take people’s place in carrying away sickness and bad fortune. It was thus an occasion for a family outing, just when the pleasant spring season started. Also the date which this festival is held marks the onset of spring.

Typical special foods that are eaten on Hina matsuri day.

A sweet snack only for Hinamatsuri is called Hina arare (colored rice cakes), Hishimochi (diamond shaped rice cakes with pink, green and white layers) are placed on the stand with hina dolls as an offering. Hishimochi are colored in red (or pink) cakes (implies chasing evil spirits away or peach flowers), white cakes (implies purity or snow), and green cakes (implies health or new growth), Hama-guri (Clam),sakura mochi (bean paste-filled rice cakes with cherry leaves),shiro zake (sweet white sake) is made from fermented rice. It is kind of sake, but it doesn’t have alcohol.

The Hina Matsuri song.

Happy Hinamatsuri (Ureshii Hinamatsuri)

Akari o tsukemashou bonbori ni
Ohana o agemashou momo no hana
Go-nin bayashi no fue taiko
Kyoo wa tanoshii hinamatsuri

Translation:

Let’s light the lanterns
Let’s set peach flowers
Five court musicians are playing flutes and drums
Today is a joyful Dolls’ Festival

Japanese rain doll (Teru teru bozu)

Teru teru bozu is traditional handmade doll that is made of tissue paper or clothes and a string and hang them from the eaves or in front of a window to wish for sunny weather. Japanese believed to have magical powers to bring good weather and to stop or prevent a rainy day.
Teru in Japanese means “sun shine” or “(weather) be fine” and a “bōzu” is Buddhist monk. literal translation of Teru teru bozu is the shining shining Buddhist monk. therefore, is a monk sending your message to heaven.

Materials

2 sheets of tissue papers or clothes

How to Make a Teru Teru Bozu

1.Get two pieces of tissue paper and a piece of string. Crumble a sheet of tissue paper.

2. Crumple one tissue into a ball, Put the crumbled tissue paper at the center of the other tissue.

3.Wrap the ball with the tissue.

4. Tighten the flat tissue around the ball, tie it up.

5. Hang your teru-teru bozu outside a window a few days before the day you want the sun to shine.

The teru teru bozu’s song.

Teru-teru-bozu, teru bozu
Ashita tenki ni shite o-kure
Itsuka no yume no sora no yo ni
Haretara kin no suzu ageyo
–
Teru-teru-bozu, teru bozu
Ashita tenki ni shite o-kure
Watashi no negai wo kiita nara
Amai o-sake wo tanto nomasho
–
Teru-teru-bozu, teru bozu
Ashita tenki ni shite o-kure
Sore de mo kumotte naitetara
Sonata no kubi wo chon to kiru zo

Translation:

Teru-teru-bozu, teru bozu
Do make tomorrow a sunny day
Like the sky in a dream sometime
If it’s sunny I’ll give you a golden bell
–
Teru-teru-bozu, teru bozu
Do make tomorrow a sunny day
If you make my wish come true
We’ll drink lots of sweet booze
–
Teru-teru-bozu, teru bozu
Do make tomorrow a sunny day
but if it’s cloudy and I find you crying
Then I shall chop your head off

Japanese card game (Karuta game)

Karuta is a game traditionally played by the Japanese during the New Year holidays. There are two variations of the game, Irohagaruta and Hyakunin-ishu. Both of these are played with two decks of cards.

One of the decks has pictures on it; the other has sayings and phrases or poems. Irohagaruta, Japanese alphabet cards, number ninety-two. Irohagaruta is most frequently played by children while Hyakunin-ishu is an adult version of Karuta. Hyakunin means “one hundred people” and ishu means “one poem”. These words refer to the one hundred poems penned by Japanese poets during the seventh and eighth centuries.

Each year master Hyakunin-ishu players gather to test their memory skills in a national competition held on New Year’s Day. This eventhas helped make Hyakunin-ishu a type of national game among the Japanese.

The directions that follow are for making and playing an American adaptation of Irohagaruta, the children’s version of Karuta.

Making a Karuta Game

Using Japanese and/or American proverbs, make two decks of cards with 15 cards in each deck. There will be 15 pictures to illustrate the 15 proverbs (kotowaza). Cards can be the size of regular American cards or bigger. On one set of cards copy the proverbs. This will be the deck the reader uses. The picture cards will have to be drawn to illustrate each of the proverbs
(kotowaza).

Game Rules

1. A minimum of three people is necessary to play the game.
2. Players must remain quiet throughout the game so that everyone can hear the reader.
3. Players must keep their hands folded in their laps unless they are touching or reaching for a picture.
4. If a player touches the wrong picture card after the reader has read the card, then that player automatically loses any further chances for that round.

Playing the Game

1. Select the reader for the game.
2. The reader spreads out the picture cards face up.
3. The reader mixes the word cards and then reads one card.
4. The player who first finds and touches the corresponding picture card gets to keep both cards.
5. The game continues until all the picture cards have been retrieved.
6. The player with the most cards at the end of the game is the winner.

The history of Nagasaki Kunchi Festival

The Kunchi festival of Nagasaki was first celebrated in 1634. As this date indicates, the festival was originally part of the bakufu policy to forge a Yamato spirit for Nagasaki, which up to 1614 had been Japan’s only Christian town. In other words, the Kunchi festival started out as an anti-Christian festival, in which the anti-Christian forces in Nagasaki: the bakufu, Shinto, Buddhism and the brothel wards all joined hands to provide an alternative to the famous Easter processions, which had been performed throughout the city during the Christian period (1570-1614).

From entries in the Daghregister of a fifty-year period between 1641 and 1692, I will trace the development of the relationship of the Dutch with the Kunchi festival as it grew under bakufu tutelage during the seventeenth century. By the time Kaempfer arrived in Japan in 1690, it had become an “established tradition” for the Dutch to attend the festival. On most representations of the festival we see, therefore, a place in the viewing stands reserved for the Dutch.

Today

It’s amazing to see how similar today’s festival is to the pictures and stories from centuries ago. I witnessed the 2000 edition of this festival (October 7-9).

A few days before the start of the festival I already noticed all the preparations being made in the city. At the Suwa shrine, the main location, a big viewing stand was being build, and camera teams were installing their equipment. In the hotel and at the visitors desk at the train station I was told that it was impossible to get tickets for the performances at the Suwa shrine.

Despite that, I decided to go to the Suwa shrine on the first morning of the festival. The performances already had started, and I tried to get closer to the action, along the stairs leading to the shrine. My Dutch length in comparison to the height of the average Japanese was big advantage that day.

Finally reaching the top of the stairs, I could see the presentations very well. The music during the performances makes it even more incredible. The whole event was broadcasted live by several television stations.

After each presentation the participants leave the area via the stairs, leading down to the city. A great opportunity to see everything from a very close distance.

In the afternoon the various groups can be found throughout the central part of Nagasaki, holding informal performances (called niwasaki mawari).

The train station proved to be the best place to get a good view on all the performances I had missed at the Suwa Shrine. These presentations were dedicated to the chief of the station, who you can see sitting on the right of the picture. He seemed very excited!

Hakata dolls

Hakata dolls are clay dolls manufactured in Fukuoka Prefecture,which lies in the north of the island of Kyushu.The dolls are made from clay found near Fukuoka City. Clay is carved and sculptured to make an original doll. The original doll is molded in plaster and clay is put into the plaster cast to make the same ones as the original doll.

The dolls are removed, dried, fired unglazed and then painted for final finishing. One striking characteristic of the dolls is the uniquely smooth transparent feeling of the white skin. Since a single artisan carries out the whole process from carving and sculpturing to final finishing, each doll reflects the individual creativity of its maker, thus producing such a high level of artistry and a diverse range of works.

In a way that mass production could never match, each carefully hand-crafted doll is endowed with its own life. Also, this process allows friendly, personal service whereby a customer can request a doll with a kimono pattern that represents their own wearing, for example. This is one of the reasons for the enduring popularity of Hakata dolls.

Kokeshi dolls

Kokeshi is manufactured and sold in most tourist area in Japan. They have come to symbolize Japan to people around the world. Kokeshi doll was first made in the Tohoku region of northern provinces of Japan about 150 years ago and Traditional Kokeshi dolls are now made only in the Tohoku area. There are many places in the Tohoku area where Kokeshi dolls are made as a special product of the region, and Tsuchiyu is one of such place. it was orginally made as a toy for children of country farmers.

Kokeshi dolls are simply shaped, wooden dolls from Northern Honshu. Kokeshi dolls have neither arms nor legs, but a large sphere head and a cylindrical body. Kokeshi dolls are usually painted in bright floral kimono designs, or in other simple traditional patterns. From a simple toy for children, Kokeshi doll is now recognized as one of the tradtional folk arts in Japan. Our Kokeshi dolls are handmade entirely by modern skilled artists in Japan.

Daruma dolls (Bodhidharma)
Daruma dolls are symbols of good luck, hope and optimism.

Daruma is short for Bodai Daruma, the Japanese rendering of the name. These are spherical dolls with a red painted body and a white face. Paint in one eye with a black pen, make a wish and when that wish comes true, paint in the other other eye. Daruma are often used by people wishing to pass exams, win an election or conceive a child.

Daruma dolls usually made of paper mache, weighted on the bottom so they always stand up, even when pushed- symbolic of Bodhidharma’s persistence in meditation. There are many versions of Daruma in the various localities of Japan, some of them designated as female-”ehime daruma,” or “princess daruma.” One type is made with a gofun face and rich fabrics like a kimekomi ningyo, but shaped like a Daruma; these often come in boy-girl pairs.

They represent the Zen monk Bodhidharma. Takasaki’s Shorinzan Daruma Temple is the birthplace of daruma dolls as good luck charms.

A three-stringed (Shamisen or samisen)

The shamisen is still a very popular musical instrument in Japan and now even outside the country. It’s a three-stringed traditional Japanese musical instrument. It is similar in length to a guitar, but its neck is much slimmer and without frets. It has a very long neck and is about 30 inches (one meter) long. It played with a plectrum called a bachi.

Its body is made out of wood and covered with cat or dog skin. The three strings are traditionally made of silk, but nowadays are generally nylon. The lowest string passes over a small hump at the top end, producing a buzzing sound which is characteristic of the instrument. Today it can be heard accompanying Kabuki, Bunraku and Joruri performances as well as traditional dances and folk songs.

Though many people believe that the Shamisen is originally Japanese, in fact the instrument came to Japan from China by way of the Ryukyu Islands (Okinawa) in the mid 16th century. The instrument gradually spread northward through the Japanese archipelago. Along the way it became important to the BiwaHoshi, a type of monk. The instrument evolved as it came into wider use, with various animal skins replacing the original materials used for the body of the instrument. Through the course of this evolution the instrument was adapted to traditional Japanese music, eventually becoming the instrument that we know today.

Japanese Croquettes (Korokke)

Korokke is Japanese croquette with vegetables and meat.

INGREDIENTS

• 2 potatoes (medium)
• 100g ground beef or pork
• medium yellow onion, minced
• nutmeg
• bay leaf
• flour, beaten egg, panko (Japanese bread crumbs)
• vegetable oil for deep-frying
• salt and peppers
• *For toppings:
• Korokke sauce
• Japanese mayonnaise
• tonkatsu sauce, ketchup, steak sauce
• Cabbage

PREPARATION

1. boil the unpeeled potatoes
2. saute the onion. when it turns transparent, add the ground beef or pork, nutmeg and bay leaf.
3. when the potatoes are done, strain the hot water and mash them in a bowl. set aside.
4. when the beef mixture is ready, damp it onto paper towel to soak up the extra grease.
5. add the ground beef or pork mixture to the mashed potato.
6. move the mixture onto a plate.
7. heat the vegetable oil in a pan. arrange the dipping station for flour, egg, and panko.
8. divide the potatoes mixture and shape into ball or thick ellipse.
9. when the oil is heated to 170c, dip the ball into flour, egg and panko.
10. fried them for about 3 minutes on each side until lightly browned. cook both sides.
11. when fried, put them onto paper towl to soak up the extra oil.
12. serve them with thinly sliced cabbage and tomato. and your favorite sauce