日本語とジェンダー第11号(2011)【 2 0 1 0 年 度 日 本 語 ジ ェ ン ダ ー 学 会 研 究 例 会 （ エ ジ ン バ ラ 大 学 ） 	  基 調 講 演 要 旨 】 	 Women from The Tale of Genji（ Excerpt of Speech	 講 演 抜 粋 ）Mizue Sasaki
2010 年 10 月 13 日、エジンバラ大学（英国）
Hello, everyone.

My name is Mizue Sasaki from Musashino University.

Have you ever read

Genji Monogatari, ‘The Tale of Genji’? Many Japanese people have probably studied a small partof ‘The Tale of Genji’ in their Japanese language classes when they were in junior or senior highschool. However, with a length comprising fifty-four chapters and with well over four hundred
characters appearing in the work, ‘The Tale of Genji’ has probably presented quite a challenge toa great number of people.
‘Is it a woman’s lot in life merely to wait?’
Herein lies a depiction of the lives of female members of the aristocracy from the Heian Period ofa thousand years ago.
Chapters one to thirty-three, the first part of Genji Monogatari, are an account of the glorious age
from the time of Hikaru Genji’s birth to his ascendancy to the position of Emperor. The second
part of the work, from the thirty-third to the forty-first chapter, covers a difficult period for Hikaru
Genji, from middle to old age, when he is beset with problems. And finally, the third part treats
the forty-second to fifty-fourth chapters, which relates the events after Hikaru Genji’s death. Thestory which unfolds in the ten chapters after Chapter forty-five is set in Uji and this section isreferred to as Uji Jūjō or the ‘Ten Uji Chapters’.
In this presentation, I would like to take up the first twelve chapters of the first part of the work,
covering a time which is recognized as the period of Hikaru Genji’s greatest splendor. I would liketo introduce you to the female characters who appear in ‘The Tale of Genji’ up until theheart-broken Hikaru Genji travels to Suma at the age of twenty-six.
The fifty-four chapters of ‘The Tale of Genji’ begin with Kiritsubo. Within the Genji Monogatari,
there are some chapters which have been lost over the centuries and others which have been added
later, and consequently, opinion in academic circles, relating to the work, is divided.
Now then, let us begin our treatment of Kiritsubo. I will present the original text to you byinterpreting it through a modern Japanese rendering.

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日本語とジェンダー第11号(2011)

いづれの御時にか、女御、更衣あまたさぶらひたまひけるなかに、いとやむごとなき際にはあらぬが、すぐれて時めきたまふありけり。
In marriages of the time, it was common for husband and wife to live apart after marrying, withthe husband returning to be with his wife at night, this style of relationship being referred to as
kayoikon or ‘night-visitation marriage’. The woman would simply wait passively for the husband
and when the visitations ceased, the marriage would be naturally annulled.
There are numerous instances of women ‘renouncing the world’ in ‘The Tale of Genji’. At thattime, it was considered that a woman must have deeply sinned, merely for having been born awoman. Through ‘becoming a nun’, it was thought that devotion to Buddhist training, might work
towards expiating one’s sins, in a desire to attain salvation in the afterlife. Many women of thetime apparently chose to ‘renounce the world’ because their husbands had died before them.
Here you find the writer, Murasaki Shikibu, writing about women of middle birth! When she
began to write ‘The Tale of Genji’, it was thought that readers of the work were also women of themiddle classes, not unlike Murasaki Shikibu herself. For these women, ‘The Tale of Genji’ was
not simply an imaginary fairy tale, but could be said to be a mixture of fact and fiction—a tale towhich they felt they could relate.
Weddings of the day were generally regarded as being a way of ‘adopting a husband for one’sdaughter’.
Firstly, the man would visit the woman for three days and then, the wedding celebrations would beheld on the third night at the woman’s parents’ home. After the marriage had taken place, thewoman would remain in the parents’ home, with the man visiting her there.
Women of nobility in the Heian Period were unable to choose a prospective marriage partner.
Hikaru Genji, despite having a long history of love affairs, one after the other, found in Murasaki
no Ue a wife for life. Always waiting at his side, Murasaki no Ue became a trusted confidante andis depicted as an ideal woman, able to express her own opinion. However, we should rememberthat she bemoaned her bitter lot, in that ‘a woman is unable to freely express what she really wants
to say.’ Furthermore, Murasaki no Ue later desired to become a nun but Genji refused to allow thiswish to be fulfilled.
The only female character in ‘The Tale of Genji’, with its succession of beautiful women,
described as ‘an ugly woman’ is Suetsumuhana (‘The Safflower’). Princess Suetsumuhana, left
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Copyright © 2011 The Society for Gender Studies in Japanese All rights reserved.

日本語とジェンダー第11号(2011)

behind after her father, the Hitachi Prince, had passed away, was leading a wretched life, bereft ofguardianship. The princesses of this period of history had no means of living independently if they
were without a father or husband to protect them.
Hikaru Genji secretly meets with Suetsumuhana, however, no matter what he says to her, he canhardly elicit a response and so, growing impatient with the princess, and thinking that he might atleast capture a glimpse of her beautiful looks, one snowy morning, he manages to set eyes on theprincess. However, the princess, with a long red drooping nose, is prodigiously ugly. The
princess’s name Suetsumuhana (Benibana) (‘The Safflower’) derives from her red nose.
Genji no Kimi is reluctant to look at the princess but he decides to act as guardian for this woman
with whom he has pledged commitment.
This scene reveals Hikaru Genji’s compassionate side and has struck a chord with countlessreaders for, in the end, Genji takes Suetsumuhana into his residence and looks after her.
・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・
For the times, Hikaru Genji’s fortune would have been quite considerable.
Firstly, if you were to convert his salary to a modern-day equivalent, it would be in the vicinity ofthat of a minister, approximately 400 million yen. At the time of his departure for Suma, no longer
receiving his salary, Genji entrusts his whole estate, pasturage, the title deeds of his property,
storehouses and riches entirely to Murasaki no Ue.
This is as much as I would like to cover in this presentation. I have examined the story of Hikaru
Genji—from his first appearance until the time of his exile in Suma after he has been divested of
his official rank at the age of 26. What do you think of the early part of Genji’s life? And what ofHikaru Genji and his various relationships with women?
What I have presented to you in this DVD presentation is but a part of the work ‘The Tale ofGenji’. Please, take the time some day to find a copy of the tale and read it for yourself.
It is my hope that this presentation will have been able to arouse within you some interest in ‘The
Tale of Genji’.
Thank you so much for your patience.
(Mizue Sasaki, Professor, Musashino University Graduate School)

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日本語とジェンダー第11号(2011)

付 録 1： 講 演 ポ ス タ ー29

Copyright © 2011 The Society for Gender Studies in Japanese All rights reserved.

日本語とジェンダー第11号(2011)

付 録 2： The Tale of Genji on DVD by Mizue Sasaki

源 氏 物 語 （ DVD） の 頒 布

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日本語とジェンダー第11号(2011)

初めて源氏物語に接する外国人学習者のために、分かりやすい日本語と英語字幕付、美しいイラスト・音楽と共にお届けする「源氏物語」はオリジナル作品です。
１「源氏物語の背景にあるもの」27 分．

解説	  山折哲雄（国際日本文化研究センター名誉教授）

２「源氏物語に登場する女性たち」75 分（英語字幕付）．

解説	  佐々木瑞枝（武蔵野大学・大学院教授）
監修	  佐藤勢紀子（東北大学教授）

チャプターごとにご覧になれます
プロローグ	  3 分桐壺	  5 分
藤壺	  3 分
葵	 5分

藤壺 Ⅱ	  5 分雨夜の品定め	  5 分空蝉	  6 分
夕顔	  7 分
若紫（紫上）4 分
末摘花	  3 分
朧月夜	  6 分
須磨	  6 分
ダイジェスト版	  16 分
３

紫式部日記を読み解く	  40 分	  （英語字幕付）．

解説	  佐々木瑞枝（武蔵野大学・大学院教授）
監修	  佐藤勢紀子（東北大学教授）
・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・
イラスト	  田中奈々緒
英文翻訳	  ＪＨＯＮ	  ＭＩＬＬＥＮ
音楽

ＷＯＬＦＲＡＭ	  ＡＬＢＥＲ

シナリオ制作・編集	  ＴＯＫＹＯ未来教育研究所
撮影

スタジオ玄企画・制作	  日本語ジェンダー学会
協賛・助成	  東芝国際交流財団

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Copyright © 2011 The Society for Gender Studies in Japanese All rights reserved.

日本語とジェンダー第11号(2011)

タイトル

個人で購入する場合の価格

源氏物語の背景にあるもの

２，８００円源氏物語に登場する女性たち

４，８００円紫式部日記を読み解く

３，８００円（価格はＤＶＤの時間に比例しています）

３本セット価格

１万円

館内外の個人・団体への貸し出しを伴う場合の価格
源氏物語の背景にあるもの

１万８千円

源氏物語に登場する女性たち

２万円

紫式部日記を読み解く

１万９千円

上映用として使用する場合の価格
源氏物語の背景にあるもの

２万３千円

源氏物語に登場する女性たち

２万５千円

紫式部日記を読み解く

２万４千円

・郵便振替番号	  ００１２０－１－１３７６０６	  日本語ジェンダー学会
wat@edu.gunma-u.ac.jp
群馬県前橋市荒牧町４－２	  群馬大学教育学部
渡部孝子研究室
電話	  ０２７－２２０－７３５５32

Copyright © 2011 The Society for Gender Studies in Japanese All rights reserved.