《源氏物语》中《末摘花》之章与平安时期的宫廷生活（下篇）(5)
People rarely saw each other. Even members of the same sex, in not on close terms, met with a curtain between them. To make matters worse, in the case of romantic conversations, the man might not hear the voice of the woman whom he was courting until […] the later stages. […] Thus, one of the few means of forming an opinion of one’s companion was the scent emanating from his or her quarters. (Gatten, “A Wisp of Smoke”)
Typically, as Gatten shows, the incense is used to reveal characterization; a pleasant smell would be indicative of a good person and one in a respectable position in society. Again, although mentioned in a work of fiction, it is likely this was a practice common in the era. From the reclusive social arrangements to the need for subtle clues, it is likely this was a good indicator of a person’s character; those that followed the cultural trends and kept to the accepted aesthetics were considered refined and respected.
In a similar way, the princess’ robes tell a lot about her character. They are old and traditional; once they would have been considered acceptable and very respectable; however, they neglect the current trends. Therefore, she is considered outmoded and seen as falling behind. Murasaki describes the robes as follows: “over a sadly faded singlet she wore a robe discolored with age to a murky drab and a rather splendid sable jacket, richly perfumed, such as a stylish lady might have worn a generation or two before. It was entirely wrong for a young princess.” The princess is not holding herself to a respectable standard by remaining in the past fashions; her father’s power and traditions give her some respect from the very refined and noble background she grew up with. However, without the change to the current times, she remains a young woman that acts as a relic to the past. This is not a respectable position for her to be in. Further, the unclean and decrepit state of her own robes, those of her attendants, and the house itself also reflect poorly on her character. The house having a decaying nature, however, may touch upon the Heian value of impermanence. Had she been a very refined, clever, and graceful woman, attributes Murasaki describes the best women possessing, she may be considered a beauty to contrast the scene of decay; this juxtaposition itself seems to be beautiful in the Heian period, as Genji even thinks the following: “how charming to have a pretty lady in residence and to think compassionate thoughts and to long each day to see her! He might even be able to forget his impossible, forbidden love. But the princess was completely wrong for such a romantic house” (Murasaki, The Tales of Genji). However, this is not the case. Therefore, her image is only shown to be much worse by the state of the house and her wardrobe.
Typically, as Gatten shows, the incense is used to reveal characterization; a pleasant smell would be indicative of a good person and one in a respectable position in society. Again, although mentioned in a work of fiction, it is likely this was a practice common in the era. From the reclusive social arrangements to the need for subtle clues, it is likely this was a good indicator of a person’s character; those that followed the cultural trends and kept to the accepted aesthetics were considered refined and respected.
In a similar way, the princess’ robes tell a lot about her character. They are old and traditional; once they would have been considered acceptable and very respectable; however, they neglect the current trends. Therefore, she is considered outmoded and seen as falling behind. Murasaki describes the robes as follows: “over a sadly faded singlet she wore a robe discolored with age to a murky drab and a rather splendid sable jacket, richly perfumed, such as a stylish lady might have worn a generation or two before. It was entirely wrong for a young princess.” The princess is not holding herself to a respectable standard by remaining in the past fashions; her father’s power and traditions give her some respect from the very refined and noble background she grew up with. However, without the change to the current times, she remains a young woman that acts as a relic to the past. This is not a respectable position for her to be in. Further, the unclean and decrepit state of her own robes, those of her attendants, and the house itself also reflect poorly on her character. The house having a decaying nature, however, may touch upon the Heian value of impermanence. Had she been a very refined, clever, and graceful woman, attributes Murasaki describes the best women possessing, she may be considered a beauty to contrast the scene of decay; this juxtaposition itself seems to be beautiful in the Heian period, as Genji even thinks the following: “how charming to have a pretty lady in residence and to think compassionate thoughts and to long each day to see her! He might even be able to forget his impossible, forbidden love. But the princess was completely wrong for such a romantic house” (Murasaki, The Tales of Genji). However, this is not the case. Therefore, her image is only shown to be much worse by the state of the house and her wardrobe.
舰长与琪亚娜的婚后生活