Genji heard of this and was amused to see that Tō no Chūjō could still throw himself into these absurd conspiracies with the same childish excitement as in their young days. 'I am very sorry,' he said to the Emperor, 'to hear that Princess Chūjō hides her pictures from you and will not let you take them away and study them at your ease. It seems, too, that she was quite cross and quarrelsome about it, which was most reprehensible. But I have some very nice pictures, painted a long while ago. I will send them to you.'
At the Nijō-in there were whole cupboards full of pictures both old and new. Taking Murasaki with him he now inspected their contents and together they went through the whole collection, putting on one side those which were most likely to appeal to modern taste. There were naturally many illustrations of the Everlasting Wrong[1] and the story of Wang Chao-chün,[2] both of them very interesting and moving subjects, but unfortunately quite inappropriate to the present occasion. These therefore had to be excluded. But it occurred to Genji that his own sketches made during his sojourn at Suma and Akashi might be of interest, and sending for the box in which they were kept he took advantage of this occasion to go through them with Murasaki. Even some one seeing them without any knowledge of the circumstances under which they were painted would, if possessed of the slightest understanding of such matters, have at once been profoundly moved by these drawings. It may be imagined then with what emotion they were examined by one to whom each scene came as an answer to the questionings and anxieties of some evil dream from which it seemed there could be no awakening.
