Ochikubo-4

Although she dedicates her loyalty to Princess Ochikubo, Akoki is driven into serving San’nokimi under pressure while Kitanokata throws anger to Princess Ochikubo. As Akoki tries to use her time for her Princess, the Princess is put in a painful position. Such plight causes Akoki to grummble when talking with her husband, Tachiwaki; how Kitanokata abuses and torments her Princess and how sweet and nice the Princess is to Akoki.

Culture and Society of Heian Period

Not only noblemen and noblewomen but also their (male and female) servants must have knowledge and skills to compose Japanese traditional poetry (waka) as common education. In their communication, the first priority is placed on composition of waka, based on which they estimate and judge the level and quality of such education. Good skills will give a favorable impression to others, which in turn leads to good relations and good marriage. Those skills may have determined the quality of life. Waka may not have been a part of mere culture but the lifeline they must secure. Waka seems to be convenient in conveying feelings, hopes, wishes and others indirectly. Waka’s style to avoid straight manner of speaking gives a good distance and allows the will of the recipient. Waka is an excellent tool of communication to express anything difficult to directly demand or insist on. Those who are good at communication using waka in Heian Period may be an expert or master in any ages.

Let’s look up the classical Japanese languages below from the text of this episode.

Classical Japanese takes a complicated style of writing, especially in showing respect and honor. In the case of たてまつりたまふ above, たてまつり shows the respect from Kitanokata to Princess Ochikubo (however, such respect is only the formal one as Kitanokata is far away from real respect for Princess Ochikubo as you see); and たまふ shows the respect from Akoki for Kitanokata (this is also the formal one). In classical Japanese, general rules are seemingly that the expressions to show respect and honor have to be used in certain cases. In the case of たまふ above, the position of Akoki requires the expressions to show respect and honor for Kitanokata whose position is higher than Akoki’s. In the case of たてまつり above, irrespective of the positions of Kitanokata and Princess Ochikubo, their relations seem to require the expressions to show respect and honor as courtesy. Traditionally the Japanese have always used the expressions to show respect and honor to anyone, even to those who he dislikes or hates or despises, as manners. Thus such use of expressions to show respect and honor is found frequently in classical Japanese writing.

Japanese “Hon’ne" and “Tatemae"

As explained above, the Japanese customarily uses the expressions to show respect and honor even when he has no respect or honor. Such attitude leads to a conflicting two-way communication; a courteous or polite way of communication and a direct and candid way of saying. The former is called “tatemae" in Japanese and the latter “hon’ne." Therefore the Japanese often says anything different from what he really thinks and he does not think that such act is lying. On the contrary, those who says anything honestly may be considered a fool who does not know the use of “tatemae" and “hon’ne." In communication with the Japanese, you may be required to notice or realize the real intention and even use “tatemae" as the Japanese does.

Apart from the Tale of Ochikubo-Hime, a variety of topics relating to the Heian Period are discussed in this series.

The famous temple called 平等院鳳凰堂 (Byoudou-In Houou-Dou) was built by 藤原頼通 (Fujiwarano Yorimichi) who is a son of 藤原道長 (Fujiwarano Michinaga) and a brother of 彰子 (Shoushi). Both Fujiwarano Yorimichi and Shoushi seems to have followed the path that their father made; however, their real feelings may have been different from the ambitious greed of their father. In fact, they may have a pure and virtuous mind in contrast to their father’s dirty and vicious one. Such state of mind may be reflected on Byoudou-In Houou-Dou as it may represent the wish of Yorimichi (and Shoushi) to beg for mercy of Gods and other sacred ones. Like Shoushi, Yorimichi may have also considered that any acts against ethics and morals must not be done and wanted to protect their children and offsprings from any ill fates which may fall from the cruel acts of his father aganist humanity. Or Yorimichi may have also shared the sympathy and compassion for Empress Teishi and her family with Shoushi and prayed for blessing for them. What touches the modern people about Byoudou-In Houou-Dou may arise from a heart of gold that Yorimichi may have dedicated to those who suffer unjust offense by his father, Michinaga. What Yorimichi and Shoushi may have really wanted to do is to sympathize with the victims of their father.

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