The original manuscript is gone. This brings up the issue of translation. Heian Japanese is so different from modern Japanese. Translating Heian Japanese into English is a daunting task unto itself. However, a literal translation of Genji is impossible. Not only that but each English translation of Genji is so remarkably different. Consider these renderings of the same sentence by different English translators.
In Chapter 4, titled “Yugao,” Genji comes across a run-down house, the abode of a young woman he is about to seduce. Waley describes the entrance like this: “There was a wattled fence over which some ivy-like creeper spread its cool green leaves, and among the leaves were white flowers with petals half-unfolded like the lips of people smiling at their own thoughts.” Seidensticker: “A pleasantly green vine was climbing a board wall. The white flowers, he thought, had a rather self-satisfied look about them.” Tyler: “A bright green vine, its white flowers smiling to themselves, was clambering merrily over what looked like a board fence.” Washburn: “A pleasant-looking green vine was creeping luxuriantly up a horizontal trellis, which resembled a board fence. White flowers were blooming on the vine, looking extremely self-satisfied and apparently without a care in the world.” [newyorker]
Each version is so different, yet say the same thing in their own inimitable way. It's remarkable. The act of translating itself is a science. One could write an entire treatise on the art of translating. It would be worth the read. Genji made me realize how important a good translation of a book is. Before that, I was in the dark about it.
What is The Tale of Genji about? A noble and his concubines. It's about the art of seduction. But even simpler I would say it's about relationships. A man and his relationships with women. In this society, the way to a woman's heart was through poems, delivered by a go-between, who was elegantly dressed, and of appropriate social standing.
Courtly lovers didn't see each other face to face often, certainly not naked. Women of the upper class sat behind screens, and sliding doors. Women were protected by screens even when they spoke with males in their own family. A guy could be driven wild if he saw a woman's sleeve spill out or the sound of silk rustling behind the screen.
But people still got it on. Nobles and their ladies were promiscuous. Affairs with court ladies and ladies in waiting were perks of an aristocrat's life. So was adultery sometimes. Genji, when he's still young, has an affair with his father's [the Emperor] mistress. And both father and son lust after a young girl, that Genji adopted as his daughter.
The requirement of a gentleman was style. You could be forgiven for seducing a man's wife. But you had to know how to write good poetry, have good handwriting, and wear the right perfume. Despite the influence of Buddhism, Heian society was governed by style rather than virtue. Good looks meant everything, virtue be damned.
The ideal man wasn't too much different from the ideal woman in Heian society: highly perfumed, smooth-skinned, moon-faced, extravagantly dressed. The decadence of the times led to what Genji called a time “where everything seems to be in a state of decline." A state of decadence.
All of this had a strong sense of hierarchy of course. Also, Heian politics was marriage politics.
Three important takeaways from reading Tyler's translation of Genji.
First, this book gave me my first real look at Japanese culture that wasn't from anime or movies. I understand Japanese culture and society a lot better than I did in the past, and am grateful for the experience of reading world literature. It opened up my mind to the literature of other cultures [non-western canon], and that is an amazing gift to oneself, and for anyone who cares to discuss the book with me or listen to me explain it.
Second, the idea of translation. Lost in translation is a big possibility here. But the fact that the first novel can be somewhat preserved and rendered into modern readable English from Heian Japanese is fascinating to me. How do they do it? It's like nuclear physics. The translations in English are all vastly different. The book is 1300 pages, and the version I read and bought is only 300 pages. Obviously, Tyler's version is heavily edited, abridged, and he took out many passages, but I still found the book to be thrilling.
Third, the sense of style. The elegance of this book is vast. You don't need action and fast-paced fiction writing to create a sense of depth. As a writer, this is very liberating to see, read, and experience. In fact, I had to read this book very slowly because each page is annotated, there's more than one poem on every page, and if you don't read the footnotes at the bottom of the page, you don't quite understand the poems. However, when you realize that the poems aren't literal translations, and don't quite mean much to you, the reader, you realize that you should focus on the story itself, rather than trying to find meanings in the poems. Going through that was a tedious yet rewarding experience.
I plan on going back through Tyler's version again. Because I was so impressed with it, I bought my own used copy. Definitely worth it. Although the book took me almost a week to read, it was a very fruitful experience. At the very least, now I know where Overwatch's Genji got his inspiration. Of course, the real, yet fictional Genji is so much cooler.
