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A String of Flowers, Untied... Love Poems from The Tale of Genji
Expressions of passion and heartbreak, written by the court lady Murasaki Shikibu a thousand years ago, transcend time and culture in this new translation of poetry from the first 33 chapters of The Tale of Genji . Over 400 tanka poems describe the intricate loveplay and wordplay between men and women of noble breeding, consumed by sexual desire and aesthetic longing. With plot synopses and annotations. Jane Reichhold , one of American's leading tanka poets, has translated Fumi Saito and Akiko Baba. Hatsue Kawamura is editor of The Tanka Journal of Tokyo .
224 pages, Paperback
First published December 1, 2001
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About the author
Murasaki Shikibu
297 books527 followersMurasaki Shikibu (Japanese: 紫式部), born around 978 in Heian-kyō (modern-day Kyoto), is widely celebrated as one of the most important and pioneering figures in Japanese literature. Though her real name is not definitively known, she is remembered by the sobriquet “Murasaki Shikibu,” a name derived from a combination of her most famous literary character, Murasaki, and her father’s official court position in the Bureau of Ceremonial (Shikibu-shō). This alias reflects both her literary contribution and her aristocratic lineage.
She was born into the prestigious Fujiwara family, though to a lesser branch that did not hold the most powerful positions in court. Her father, Fujiwara no Tametoki, was a scholar, poet, and provincial governor. Recognizing his daughter’s remarkable intellect, he allowed her to study Chinese classics, a field generally restricted to men in the Heian period. This early education proved foundational, setting her apart from many of her contemporaries and deeply influencing her literary style.
Murasaki married in her twenties, but her husband died shortly after their daughter was born. Following his death, she may have spent a period of seclusion before being summoned to court around 1005, where she entered the service of Empress Shōshi (also known as Fujiwara no Shōshi), the consort of Emperor Ichijō. In this environment of cultural refinement and political sophistication, Murasaki thrived, participating in the literary and poetic salons that were central to courtly life.
Her greatest and most enduring achievement is The Tale of Genji (Genji Monogatari), a monumental narrative often hailed as the world’s first novel. Written in the early 11th century during her time at court, the work consists of fifty-four chapters and follows the life, loves, and descendants of the nobleman Hikaru Genji. With rich psychological insight, a deep understanding of human emotion, and elegant prose interwoven with more than 800 waka poems, The Tale of Genji offers a vivid depiction of Heian court culture, aesthetics, and the complex interplay of personal ambition, desire, and fate. It remains one of the central pillars of classical Japanese literature.
In addition to The Tale of Genji, Murasaki also wrote The Diary of Lady Murasaki (Murasaki Shikibu Nikki), a work of non-fiction that offers unique glimpses into the daily life of the court and her own thoughts and experiences. Unlike her fiction, her diary is often introspective and frank, providing invaluable context for understanding Heian society, the role of women, and the tensions she faced as both a court insider and a perceptive, occasionally critical observer of her surroundings.
Despite the limitations placed upon women during her time, Murasaki Shikibu’s writings reflect a striking depth of knowledge, not only in poetry and prose but also in Chinese classics and Buddhist philosophy. Her work was deeply shaped by the refined aesthetics of the Heian period, especially the concept of mono no aware—the awareness of the impermanence of things—which permeates The Tale of Genji and gives it a profound emotional resonance.
Murasaki Shikibu’s influence transcended her own time. Her works continued to be read, studied, and copied in the centuries that followed. She has been commemorated in literature, art, and even in religious tradition, and is still celebrated today as a cultural icon. Statues and memorials honor her across Japan, and The Tale of Genji has inspired countless translations, adaptations, and scholarly studies worldwide.
Her legacy endures not only because of the historical significance of her writing but also because of the timeless insight she offered into the human condition. Murasaki Shikibu remains a symbol of literary brilliance, intellectual resilience, and artistic sensitivity—a voice from a millennium ago that continues to speak across the ages.
She was born into the prestigious Fujiwara family, though to a lesser branch that did not hold the most powerful positions in court. Her father, Fujiwara no Tametoki, was a scholar, poet, and provincial governor. Recognizing his daughter’s remarkable intellect, he allowed her to study Chinese classics, a field generally restricted to men in the Heian period. This early education proved foundational, setting her apart from many of her contemporaries and deeply influencing her literary style.
Murasaki married in her twenties, but her husband died shortly after their daughter was born. Following his death, she may have spent a period of seclusion before being summoned to court around 1005, where she entered the service of Empress Shōshi (also known as Fujiwara no Shōshi), the consort of Emperor Ichijō. In this environment of cultural refinement and political sophistication, Murasaki thrived, participating in the literary and poetic salons that were central to courtly life.
Her greatest and most enduring achievement is The Tale of Genji (Genji Monogatari), a monumental narrative often hailed as the world’s first novel. Written in the early 11th century during her time at court, the work consists of fifty-four chapters and follows the life, loves, and descendants of the nobleman Hikaru Genji. With rich psychological insight, a deep understanding of human emotion, and elegant prose interwoven with more than 800 waka poems, The Tale of Genji offers a vivid depiction of Heian court culture, aesthetics, and the complex interplay of personal ambition, desire, and fate. It remains one of the central pillars of classical Japanese literature.
In addition to The Tale of Genji, Murasaki also wrote The Diary of Lady Murasaki (Murasaki Shikibu Nikki), a work of non-fiction that offers unique glimpses into the daily life of the court and her own thoughts and experiences. Unlike her fiction, her diary is often introspective and frank, providing invaluable context for understanding Heian society, the role of women, and the tensions she faced as both a court insider and a perceptive, occasionally critical observer of her surroundings.
Despite the limitations placed upon women during her time, Murasaki Shikibu’s writings reflect a striking depth of knowledge, not only in poetry and prose but also in Chinese classics and Buddhist philosophy. Her work was deeply shaped by the refined aesthetics of the Heian period, especially the concept of mono no aware—the awareness of the impermanence of things—which permeates The Tale of Genji and gives it a profound emotional resonance.
Murasaki Shikibu’s influence transcended her own time. Her works continued to be read, studied, and copied in the centuries that followed. She has been commemorated in literature, art, and even in religious tradition, and is still celebrated today as a cultural icon. Statues and memorials honor her across Japan, and The Tale of Genji has inspired countless translations, adaptations, and scholarly studies worldwide.
Her legacy endures not only because of the historical significance of her writing but also because of the timeless insight she offered into the human condition. Murasaki Shikibu remains a symbol of literary brilliance, intellectual resilience, and artistic sensitivity—a voice from a millennium ago that continues to speak across the ages.
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Displaying 1 - 3 of 3 reviews
September 21, 2020
Page 23
there is no end
to falling tears or the chirping of the bell cricket
both use up the long night
without growing weary
---
Page 30
in trees withered by cold wind seems to play along with the notes of the flute should you be detained by the language of leaves?
---
Page 43
the unsure heart
at the mountain's edge
the moon proceeds
lightly into the heavens vanishes without a shadow
---
Page 49
spring grass
grows up not knowing
how short life is
how can it be that
the dew would vanish?
---
Page 50
tossed about by
winds blowing from the mountain
I wake from dreams
my many tears are the cause
of the waterfall's loud sound
---
Page 73
generally
if one could see flowers
as just an image
there would be less dew or tears to cloud the heart
---
Page 82
ascending
crematory smoke
cannot be told
from the rest of clouds
yet there is mourning
---
Page 103
loving a lover
one forgets about the tears I fear which
are enough for an ocean left to tug on one's body
---
Page 122
I wish for someone
who will kindly share with me a heart-to-heart talk
to be awakened halfway through
to dreams of this bitter world
---
Page 148
how melancholy
seems the wind in the pines weeping and weeping
it's similar to the voice
of one playing a small harp
---
Page 158
the evening
shines over the mountain peaks thin clouds
as if lost deep in thoughts the color of mourning clothes
---
Page 191
you can never know
the depth of my feelings
the way the colors
in water are hidden when
it seethes over the rocks
---
Page 130
continuous rain
makes a dripping from the eaves
and my sleeves as well
why shouldn't I miss a friend
even one as fleeting as foam?
.
there is no end
to falling tears or the chirping of the bell cricket
both use up the long night
without growing weary
---
Page 30
in trees withered by cold wind seems to play along with the notes of the flute should you be detained by the language of leaves?
---
Page 43
the unsure heart
at the mountain's edge
the moon proceeds
lightly into the heavens vanishes without a shadow
---
Page 49
spring grass
grows up not knowing
how short life is
how can it be that
the dew would vanish?
---
Page 50
tossed about by
winds blowing from the mountain
I wake from dreams
my many tears are the cause
of the waterfall's loud sound
---
Page 73
generally
if one could see flowers
as just an image
there would be less dew or tears to cloud the heart
---
Page 82
ascending
crematory smoke
cannot be told
from the rest of clouds
yet there is mourning
---
Page 103
loving a lover
one forgets about the tears I fear which
are enough for an ocean left to tug on one's body
---
Page 122
I wish for someone
who will kindly share with me a heart-to-heart talk
to be awakened halfway through
to dreams of this bitter world
---
Page 148
how melancholy
seems the wind in the pines weeping and weeping
it's similar to the voice
of one playing a small harp
---
Page 158
the evening
shines over the mountain peaks thin clouds
as if lost deep in thoughts the color of mourning clothes
---
Page 191
you can never know
the depth of my feelings
the way the colors
in water are hidden when
it seethes over the rocks
---
Page 130
continuous rain
makes a dripping from the eaves
and my sleeves as well
why shouldn't I miss a friend
even one as fleeting as foam?
.
November 4, 2019
A marvellous poetical retelling of the poetry with a synopsis of the Tale of Genji information on each poem.
May 14, 2012
Jane Reichhold's detailed commentary on the Japanese poetry in the first 33 Chapters of Murasaki Shikibu's "The Tale of Genji" may have just possibly been a lovely and sweet read.
It was not for me; I purchased a digital edition (by Nook) for my Nook e-reader. My eBook was a virtual meadow of gorgeous flowers over-dressed in the litter of typos, spelling errors and horrible formatting. Even enlarged first letters that opened new sections / chapters of text ( eg. Lnce upon a time ... ) howled "fooled ya, haha!"
Japanese and English translations of Shikibu's tanka aligned side by side were justified such that two languages spilled over into one another. However, tanka formatting was not an issue in the digital version (sample) test downloaded through iBooks on my Apple device.
The copy also included what appeared to be one 'random' surprise! placement marker ( ? text editing tool ) filling an entire greyed out note box with a repetitive profane expession ( notes go here, *other*ucker! notes go ... etc etc etc ) - a blast of current vulgarity- right in the middle of the author's text commentary for Shikibu's classic.
Inspite of what Reichhold obviously soooo understands about classical Japanese poetry and the depth of her research on Shikibu's masterpiece, A String of Flowers... appears an amateur piece in desperate need of a good editor.
Displaying 1 - 3 of 3 reviews