The Tale of Genji (Penguin Classics) [Rough Cut Version] [ペーパーバック]

I've read all three translations of The Tale of Genji. For those who don't know there are three translations so far, by Arthur Waley, Edward Seidensticker and this one by Taylor. All of them have their flaws. Waley's translation is known for being a beautifully written, but very freely translated, so free that he left out several chapters. Where Seidensticker's translation is known for being more accurate but the language is not as beautiful. Of all three I think I prefer Taylor's. In addition to the story, he gives an extensive description of the culture and a listing of the Japanese names of the characters which is very helpful for figuring out the intricate details of rank and social position. This may be a bit too much information for those who don't know very much about Heian culture.

For those who don't know much about the plot, the Tale of Genji is divided into two almost completely separate stories. The first part of the story is about Prince Genji, the son of the emperor and a low ranking consort who dies due to her rivals' jealousy. The emperor griefstricken marries another much younger and higher born woman who looks very much like Genji's mother, who Genji falls in love with. Their doomed love affair and its consequences is at the center of this novel. However Genji has many other love affairs some of them with very destructive consequences. Genji's story is both tragic and also light hearted at times as well. Although the story is about Genji, the memorable female characters far outnumber the male ones. Heian Japan was a mostly matrilocal society, where the court was controlled by the grandfather or the father-in-law of the emperor. Women had much more power than in later eras, however, their independence depends on their wealth and social status but the heroines are distinct and have their own thoughts, feelings and personalities.

The second part of the story are the grandchildren of Genji and it takes place after Genji has died. It is the story of the competition between Kaoru, Genji's "son" who is actually the son of Genji's principal wife and her lover, and Genji's grandchild, Niou, and their competition for the love of three sisters. It is very different from the first part of the story, much darker and obsessive. One reviewer described the two parts as Jane Austen and Wuthering Heights in the same novel.

Taylor's translation is well written, informative, and beautifully packaged. I highly recommend it.

This novel is, quite simply, my favorite of all books. It has sparked a love for Japanese culture that has persisted from my first reading of it in the mid-1970s.

I have read the entirety of all three of the complete English translations. To my mind, Royall Tyler's is clearly the best of the lot. Even though I can't compare it to the original, given what I know about Heian culture and the other reading I've done, this version somehow seems to capture the spirit of the age beyond what the others achieved. I vastly prefer the way Tyler has approached the matter of identifying the characters, for example. He uses their courtly titles, even though those change during the course of the story. He manages to keep the reader oriented by the straightforward listing of characters that appears at the beginning of each chapter.

Combined with Tyler's other strategies, I feel closer to experiencing the story the way I imagine it was experienced by Murasaki Shikubu's contemporaries. To me this suggests an approach to translation that strives to come to terms with what the text demands; it better conveys the inherent nature and complexity of the prevailing style. Yet Tyler's fluency as a writer nonetheless draws one deep into a character-based story.

I could go on and on, as this novel is one of my great loves. But I'll simply say it's an essential read and that this is the essential translation.

Having loved both the Arthur Waley and Edward Seidensticker versions of The Tale of Genji as well as the bits and pieces of Murasaki Shikibu's classical Japanese I had hammered through as a graduate student in East Asian studies, I was thrilled to hear that someone had done a "stunning" new translation of this work I and so many other Genji fans regard as one of the greatest "novels" ever written. Fortunately, a friend of mine, who is also a Genji fan, had the foresight to forward me some random passages of the Tyler version before I actually shelled out any money. In comparing these quotes to the Waley and Seidensticker versions I was much surprised to find that the Tyler translation comes up short in almost every regard, and that even Seidensticker's version, engaging as it is, is somewhat disappointing. Compare their respective translations of this short passage from a scene in Chapter Five ("Murasaki"), where Genji is visiting a Buddhist monastery in the mountains:

Waley's version:
Genji felt very disconsolate. It had begun to rain; a cold wind blew across the hill, carrying with it the sound of a waterfall--audible till then as a gentle intermittent plashing, but now a mighty roar; and with it, somnolently rising and falling, mingled the monotonous chanting of the scriptures. Even the most unimpressionable nature would have been plunged into melancholy by such surroundings. How much the more so Prince Genji, as he lay sleepless on his bed, continually planning and counter-planning.

Seidensticker's version:
Genji was not feeling well. A shower passed on a chilly mountain wind, and the sound of the waterfall was higher. Intermittently came a rather sleepy voice, solemn and somehow ominous, reading a sacred text. The most insensitive of men would have been aroused by the scene. Genji was unable to sleep.

Tyler's version:
Genji felt quite unwell, and besides, it was now raining a little, a cold mountain wind had set in to blow, and the pool beneath the waterfall had risen until the roar was louder than before. The eerie swelling and dying of somnolent voices chanting the scriptures could hardly fail in such a setting to move the most casual visitor. No wonder Genji, who had so much to ponder, could not sleep.

There is no doubt Waley embellished the text, but it was clearly in the interest of conveying a sense of the exquisite poetry of Murasaki's prose. His elevated diction lends just that touch of "class" we would expect to find in an author writing for an aristocratic audience for whom style was everything. Moreover, the sumptuous musicality of his phrasing continually underscores the melancholy atmosphere even as it seems to echo the sound of the waterfall and the chanting. Seidensticker's version has the virtue of concision, but his choice of words is often questionable: "reading," for example, suggests that Buddhist monks read the sutras in private meditation rather than chanted them as a group prayer. His "sacred texts," on the other hand, implies that Genji wasn't very familiar with Buddhism, which could hardly be further from the truth. It was as central to his life and worldview as Catholicism was to the Italian princes of the Middle Ages, as Waley's "scriptures" implies. The phrase "aroused by the scene" is even more ill-chosen, for it suggests that Genji found visits to mountain temples erotically stimulating, when in fact they tended to have the opposite effect, for they reminded him of the vanity of his secular pursuits, which were, by and large, erotic.

Tyler's version follows Waley's interpretation at this point and thus avoids these particular problems, but he has others that are even worse. His "a cold mountain wind had set in to blow," for example, is dreadfully clumsy and somewhat confusing, as is his "the pool beneath the waterfall had risen until the roar was louder than before". The latter illogically suggests that it was the increased height of the pool below the waterfall that made the roar louder rather than the increase in the volume of water flowing over the falls due to the rain that had passed. A good many phrases in the other passages I sampled from the Tyler volume had similar kinds of problems, which makes me wonder if Tyler's editors ever bothered to read the work they insist is so "stunning." If any version deserves that praise it is Waley's, which may be difficult to find, but it is well worth the effort.