Read it through once

To Utsusemi, now turned nun, he sent a grey cloak, and, in addition, a coat of his own which he knew she would remember—jasmine-sprinkled, faced with Courtier’s crimson and lined with russet. In each box was a note in which the recipient was begged to favour him by wearing these garments during the Festival of the New Year. He had taken a great deal of trouble over the business and could not imagine that any of the presents was likely to meet with a very bad reception. And indeed the satisfaction which he had given was soon evidenced not only by the delighted letters which came pouring in, but also by the handsome gratuities given to the bearers of these gifts. Suyetsumu was still living at the old Nijō-in palace, and the messenger who brought her present, having a quite considerable distance to travel, expected something rather out of the ordinary in the way of a reward. But to Suyetsumu these things were matters not of commerce, but of etiquette. A present such as this was, she had been taught long ago, a species of formal address which must be answered in the same language, and fetching an orange-coloured gown, very much frayed at the cuffs, she hung it over the messenger’s shoulders, attaching to it a letter written on heavily scented Michinoku paper, which age had not only considerably yellowed, but also bloated to twice its proper thickness. ‘Alas,’ she wrote, ‘your present serves but to remind me of your absence. What pleasure can I take in a dress that you will never see me wear?’ With this was the poem: ‘Was ever gift more heartless? Behold, I send it back to you, your Chinese dress,—worn but an instant, yet discoloured with the brine of tears.’ The handwriting, with its antique flourishes, was admirably suited to the stilted sentiment of the poem. Genji laughed afresh each time he read it and finally, seeing that Murasaki was regarding him with astonishment, he handed her the missive. Meanwhile he examined the bedraggled old frock with which the discomfited messenger had been entrusted, with so rueful an expression that the fellow edged behind the bystanders and finally slipped out of the room, fearing that he had committed a grave breach of etiquette in introducing so pitiful an object into the presence of the Exalted Ones. His plight was the occasion of much whispering and laughter among his fellow servants. But laugh as one might at the absurd scenes which the princess’s archaic behaviour invariably provoked, the very fact that adherence to bygone fashions could produce so ludicrous a result suggested the most disquieting reflexions. ‘It is no laughing matter,’ said Genji. ‘Her “Chinese dress” and “discoloured with the brine of tears” made me feel thoroughly uncomfortable. With the writers of a generation or two ago every dress was “Chinese,” and, no matter what the occasion of the poem, its sleeves were invariably soaked with tears. But what about your poems and mine? Are they not every bit as bad? Our tags may be different from those of the princess; but we use them just as hard and when we come to write a poem are as impervious as she is to the speech of our own day. And this is true not only of amateurs such as ourselves, but of those whose whole reputation depends on their supposed poetical gifts. Think of them at Court festivals, with their eternal _madoi, madoi_.[112] It is a wonder they do not grow tired of the word. A little while ago _adabito_ “Faithless one” was used by well-bred lovers in every poem which they exchanged. They declined it (“of the faithless one,” “from the faithless one” and so on) in the third line, thus gaining time to think out their final couplet. And so we all go on, poring over nicely stitched _Aids to Song_, and when we have committed a sufficient number of phrases to memory, producing them on the next occasion when they are required. It is not a method which leads to very much variety.