The Tales of Ise (Penguin Classics)

by Donald Keene

  72

  The Pine of Oyodo

  Episode 72 continues to develop the theme introduced in Episode 69 of lovers meeting only once. Commentators usually identify the ‘neighbouring province’ as Owari and the ‘lady in the province of Ise’ as the Priestess of Ise, although she is not mentioned explicitly. Episode 72 can be seen as a kind of appendix to Episodes 69, 70 and 71, all of which focus on the hero’s affair with the priestess.

  In comparing herself to a pine tree (‘Oyodo pine’), the lady is referring to a beautiful grove of pines that even today grow along the Oyodo coast. The word uramite in the original Japanese is a pun (kakekotoba) meaning both ‘seeing the beach’ and ‘resentment’. (Oyodo (see Map 2) also features in Episode 70.)

  73

  Within the Moon

  The poem in Episode 73 is based on an ancient Chinese legend that a laurel tree grows on the moon. It was employed in poetry as a metaphor for something out of reach. The hero’s poem is to a lady to whom he cannot convey his feelings because it is forbidden. Though the identity of the person is not revealed, as this tale comes in a sequence of episodes concerning the Priestess of Ise, it is natural to assume that she is the object of the hero’s affections.

  The poem is very similar to one found in the Man’yōshū (no. 632) and in the late tenth-century Kokin waka rokujō (Six Volumes of Waka Old and New; no. 4288), of which it is thought to be a reworking.

  74

  Piling up like Rocks

  Episode 74 is another instance of the hero’s disappointed love for the Priestess of Ise (in the sequence beginning with Episode 69). His poem expresses the resentment he feels towards her in the face of her indifference. Even though there is no physical barrier actually separating them, the fact that they have been unable to meet for some time is like an unassailable mountain separating them. Once again, similar poems appear in the Man’yōshū (no. 2422) and in the Shūishū (no. 969), and the present poem is probably a reworking of the older Man’yōshū one.

  75

  ‘See-Weed, See-Shells’

  Episode 75 features an exchange of poems based on the trope of mirume, a kind of seaweed (see also Episodes 25 and 70 and miru in Episode 104). The reference to the province of Ise (see Map 2) at the beginning, and ‘This woman was indeed difficult to court’ in the final sentence, suggests that this episode is part of the sequence about the hero’s affair with the Priestess of Ise. Unlike the previous episodes, however, this one takes place in the capital, and the tenor is completely different. Indeed, the rejection of the hero by the lady has always been considered an appropriate way to complete the sequence set in Ise, as Katagiri points out.

  The first poem is sent by a lady who refuses the hero’s invitation to follow him to Ise. In the original Japanese, the phrase Oyodo no / hama ni ou chō (‘(that) grows on Oyodo shore’) prefaces the familiar pivot word (see kakekotoba) miru. Here, however, it does not imply a tryst between a man and a woman. Naginu is a pun, meaning both ‘(the sea) is calm’ and ‘to have peace of mind’. Here the lady rejects the hero’s pursuit: meeting each other occasionally without becoming lovers (making ‘vows’ to each other) will be sufficient for her.

  The poem is interesting in its use of the word katarau in the negative form (katarawanedomo), which here seems to mean not ‘small talk’ but rather – according to Fukui – ‘sleeping together’, suggesting that the verb can mean both ‘talking’ and ‘sleeping together’. This suggests that other uses of the verb, such as in Episode 69, are also open to interpretation.

  In the second poem, the hero entreats the cold-hearted lady, asking whether their relationship is going to end without their actually meeting. The first three lines serve as a preface for miru (seeing), in the fourth line.

  The third poem constitutes a clever attempt by the lady to console the hero. The phrase Iwama yori / ouru (springing up from between the rocks) is a preface (jokotoba) for mirume (see/seaweed). The word kai is a pun meaning both ‘shell’ and ‘effect/result’. The words Iwama (between the rocks), mirume (seaweed), shio hi shio michi (tides flow in and out) and kai (shell) are all associative words (engo). The poem suggests that, just as tides flow in and out as time passes, so continuously ‘seeing’ one another may one day lead to their exchanging of vows.

  In the fourth poem, the hero expresses his grief at failing to win the lady’s heart. The words yo no hito usually mean ‘people’ in general, but here they refer to the lady in particular. The poem asserts that her coldness is the cause of the tears that are drenching his sleeves. The poem appears in Ki no Tsurayuki’s anthology, Tsurayuki-shū, and it is possible that Tsurayuki (see here) was the author of this episode.

  76

  The Age of the Gods

  This is one of many episodes that feature a ‘venerable old man’ (okina) as the central character. Here it is generally assumed to be the ageing Narihira, not only because he is identified as the author of the poem in this episode in the Kokinshū (no. 871) but because of the reference to his position in the Imperial Guard. Katagiri suggests that okina here might refer to one who is appointed to compose poems of celebration on occasions such as a birth in the imperial family (see Episode 79) or, as here, a pilgrimage to a sacred site. In that sense, the position of okina is one of great honour.

  The episode also offers insight into the relationship between Takaiko, the Empress of the Second Avenue, and Narihira. Even though the poem sent by the hero never actually mentions a love affair, its last section can be read as asking: ‘Do you remember when we loved each other in the past?’ This is partly conveyed by the narrator’s ironic final comment, especially the word kanashi (sad): ‘Was it some deep sorrow that was troubling him? What were his feelings? No one knows.’ These words hint at a past love affair between the two main characters and imply that this is exactly what the hero had in mind. Since the hero cannot be feeling sadness because of the ancient past (‘the Age of the Gods’ he mentions in his poem), it must be connected with his own past. The author displays consummate skill in subtly implying that, in fact, the poem has a totally different meaning from what appears on its surface. The hidden meaning is more obscure in the original Japanese, which seems to be talking only about the Age of the Gods. The translation of the poem makes the suggestion that they were involved with each other in the past clearer, and that the hero is indeed recalling both their past and the ancient past.

  In the Kokinshū version of this poem, there is no narrator’s comment, and no indication is given of a past love affair between the two main characters. In the longer version of the tale that appears in the Yamato monogatari (no. 161), there is a clear link to the affair between Takaiko and Narihira. The version in the Tales lies somewhere in between, and the content is deliberately left ambiguous, as in other episodes in the Tales (see, for example, Episode 69). This episode was probably based on the poem in the Kokinshū, with the references by the narrator to the affair between Narihira and Takaiko added later.

  consort mother of the crown prince: Takaiko was consort of Emperor Seiwa; her son would become Emperor Yozei.

  the august shrine of her ancestral deities: A reference to Oharano Shrine in Ohara in the south-west part of Kyoto (then Yamashiro Province – see Map 3). Four ‘ancestral deities’ were venerated in the shrine, including that of Takaiko and the Fujiwara ancestral deity, Ame no koyane no mikoto. Fujiwara-born imperial consorts (‘empresses’) would often visit this shrine to pay their respects. Takaiko was probably making the visit referred to here to report to the deities that her son had been confirmed as crown prince, eventually to ascend the throne as emperor, thus perpetuating the Fujiwara line.

  in service in the Imperial Guard: The Bureau of the Imperial Guard was the office that provided the personnel responsible for protecting the palace. Ariwara no Narihira served as a captain. (See also commentary to Episode 87.)

  received his gift … from her carriage: Gifts or stipends were bestowed in appreciation of services rendered; here, Narihira receives o
ne for his role as an accompanying guard. It would probably have been a piece of cloth or articles of clothing. The carriage was the ox-drawn vehicle in which Takaiko was riding; the hero receives his gift directly from her.

  Mount Oshio: A hill (see Map 3) behind the Ohara Shrine, where the shrine’s deity was thought to reside.

  Age of the Gods: Referring to the time when the legendary Ninigi descended from the Divine Plain of Heaven to pacify Japan. At that time, Amaterasu, the ruler of the heavenly realm, ordered the Fujiwara ancestral deity Ame no koyane no mikoto to guard the future imperial line for eternity. The poem states how the god of Oharano must be overjoyed to be informed that the son of a Fujiwara woman had been designated crown prince, reminding him of the command he received from Amaterasu during the Age of the Gods.

  77

  The Parting of Spring

  Episode 77 features a poem by the hero as a ‘venerable old man’ (okina). There is a specific genre of tales told by this figure that are called okinagatari (literally, ‘a venerable old man’s stories’). Recalling fondly the time when a family flourished in the past, praising the elegant tradition that they represent and longing for their return were regarded as highly suitable topics for a venerable man’s poem. Praising the past glories of a house in decline is itself an important theme of the Tales, and Episode 77 is based on this theme.

  In the old man’s poem, ‘the parting of spring’ (haru no wakare) refers to an important theme in the Tales – spring as a symbol of the fleeting nature of life. (See sangatsujin (the last day of spring).) There are several episodes (nos. 80 and 83, among others) on the same theme. Here the expression refers not just to the changing of the seasons but to the poignant parting of Takakiko at the same time that the spring itself departs. (The historical Takakiko passed away in the eleventh month of 858, midwinter in the lunisolar calendar.)

  Alhough the narrator appears to speak unfavourably of the old man’s poem at the end, the tone is very playful and tongue-in-cheek, suggesting fondness for the old man and implicit admiration of the poem.

  Tamura Emperor: A reference to Emperor Montoku based on the location of his mausoleum.

  memorial services: These were held at prescribed intervals after the person’s death, such as on the forty-ninth day (see the commentary to the next episode), the hundredth day and the first anniversary. Which particular memorial service the episode describes is not stated, though the context of the poem suggests that it was held in late spring.

  Anshoji Temple: Anshoji, a temple in the eastern part of Kyoto, was built by Montoku’s mother, Junshi, the Empress of the Fifth Avenue.

  ceremony: This is a translation of kō, part of a memorial service and a word that has its origins in lectures on the Buddhist scriptures.

  Fujiwara Tsuneyuki … the elderly Chief Equerry of the Right: For Fujiwara Tsuneyuki, see Appendix 2 (here). The Chief Equerry of the Right was the highest-ranking officer in the bureau, responsible for managing horses both at the palace and around the country. Ariwara no Narihira held this position but only after 865. Here, though, the central character is said to be an elderly man, who, because of his poor eyesight, mistakes the mountain of offerings for a real one – a moment probably intended to be humorous.

  78

  The Heart Has No Colours

  The Tales is particularly concerned with families of declining fortunes, such as the Ariwara and the Ki (see the commentary to Episode 16). The hidden focus of this particular tale is an episode from the life of Fujiwara no Yoshimi, a once-powerful member of the Fujiwara who was on the verge of being completely forgotten. The account of Tsuneyuki and Narihira showing their heartfelt devotion to the ‘cloistered prince’ (Prince Saneyasu) after he has left the secular world behind reminds one of Narihira’s visit to Prince Koretaka in Episode 83. In an ever-changing world, the heart that is always true is an important theme of the Tales. Love between men and women is often fickle and fleeting but fealty, devotion or friendship among men is one of the most lasting things in the Heian universe.

  As in Episode 77, events take place at the time of Takakiko’s memorial service. Here, Fujiwara Tsuneyuki is returning home with some others when he decides to visit Prince Saneyasu, who had taken Buddhist vows and is living in Yamashina. It is unclear how the poem composed by the hero – the ‘Chief Equerry of the Right’ (see the commentary to the previous episode) – was placed on the stone and several theories have been put forward to explain it. One is that it was etched into the moss on the stone like makie lacquer (see below) by carving out the growing moss in the shapes of the letters; another is that pieces of moss were cut in the shapes of the letters and placed on the bare stone.

  Tsuneyuki explains how the stone had originally been presented to ‘His Majesty’ Emperor Seiwa when the latter visited the Third Avenue residence of Tsuneyuki’s father, Yoshimi. The actual imperial visit took place in 866, seven years after the memorial services for Takakiko (859) were held. Here, however, it is depicted as an event in the past. The year 866 was that of the famous Otenmon Incident, in which members of the powerful aristocratic families were accused of setting fire to one of the gates of the imperial palace and were either executed or removed from politics. The incident made Fujiwara no Yoshifusa the undisputed arbiter of court affairs, while the power of others, such as his younger brother and rival Yoshimi, declined. This story provides the underlying historical context of the tale.

  memorial service … on the forty-ninth day: A memorial service was held on this day according to the belief current at the time in Japanese Buddhism that the dead wandered for the first forty-nine days after their passing. Services were held every seven days so that the deceased person might reach paradise without losing his way, and the forty-ninth day was the last in this sequence.

  Anshoji Temple: See the commentary to the previous episode.

  beach of Chisato in the province of Ki: Ki (see Map 2) is the ancient name of present-day Wakayama Prefecture, and Chisato is famous for its beautiful coastline.

  guardsmen: These were the bodyguards of the nobility and were under the control of the Bureau of the Imperial Guard (see the commentary to Episodes 76 and 87). They performed various duties for the emperor and the aristocracy.

  gold lacquer: A reference to maki-e (literally, ‘sprinkled picture’), a Japanese type of lacquer consisting of an image in gold or silver on the surface or one sprinkled with gold or silver flakes or powder as a decoration. The technique was developed mainly in the Heian period and reached its peak in the Edo period (1603–1868).

  79

  The Shelter of Bamboo

  Episode 79 focuses on the declining influence at court of the Ariwara clan, the hero’s own family (see the commentary to Episode 16), and how the birth of a prince into the clan is thus the cause for great celebration. Narihira, the prince’s maternal grandfather, writes a poem commemorating the fact that a daughter of the clan has given birth to an emperor’s son. Celebrations would have taken place on the third, fifth, seventh and ninth evenings after the birth. The congratulatory poem asserts that the prince’s growth and prosperity will in turn bring prosperity to the whole family. Although the image has its origins in Chinese literature, using the proverbially sturdy bamboo as a metaphor for the imperial family was common.

  The final word, given as usual by the narrator, provides historical referents for the people mentioned in the episode. Prince Sadakazu (875–916) was the eighth son of Emperor Seiwa. His mother, Fumiko, was the daughter of Narihira’s elder brother, Yukihira, who also appears in Episode 87. This welcoming of a new member into the imperial family may be seen as an attempt to bolster the fading fortunes of the family, in reputation if not in fact.

  One of the key themes of the Tales is forbidden love, of which there are numerous accounts. But it is surprising that the narrator introduces in this episode the suggestion that the emperor’s consort and Narihira had engaged in an illicit affair. Though an obvious fictionalization, it is difficult to see what the rumou
r could contribute to this kind of celebratory tale, and it is thought that the narrator’s comment was appended later, as is the case in Episode 6. Other depictions of the illicit affair between the hero and the emperor’s consort or daughter occur in the opening episodes of the Tales, along with Episode 65 and the sequence from Episode 69 onwards. Forbidden love would also become a major theme in The Tale of Genji.

  As usual, Narihira is not referred to by name; in the opening section of the original Japanese, he is referred to only as an ‘elder member on the grandfather’s side of the family’, but I have made his relation clearer in the translation, adding his actual name. As in previous episodes, he is presented as an elderly man (okina). And as in Episodes 63 and 76, Narihira is referred to in the Japanese as the captain, so a more literal rendering of the first part of the last sentence might read: ‘People at the time spread a rumour that he was the son of that captain.’

  80

  Wisteria Blossoms

  Episode 80 depicts a celebration of the end of spring and the exemplary behaviour by the hero, despite the decline in his family’s fortunes. The hero plucks some wisteria flowers at the end of the third month (that is, on one of the last days of spring) and sends them, with a poem, to a person of higher rank, indicated by the use of an honorific form of the verb ‘to present’. In the lunisolar calendar, the third month was the last month of spring, and marking the passing of the last day of spring (sangatsujin) was a popular theme in both Japanese- and Chinese-language poetry in Japan. The passing of spring is also lamented in Episodes 83 and 91, among others.