succession of topographical records, joined together more or less fortuitously; and Murasaki's art obviously has a close analogy with that of the makimono. Then there is her feeling for shape and tempo. She knows that, not only in the work as a whole, but in each part of it there is a beginning, a middle and an end, and that each of these divisions has its own character, its appropriate pace and intensity. It is inconceivable, for example, that she should open a book or episode with a highly-coloured and elaborate passage of lyrical description, calculated to crush under its weight all that follows. Another point in which she excels is the actual putting of her characters on to the scene. First their existence is hinted at, our curiosity is aroused, we are given a glimpse; and only after much manoeuvring is the complete entry made. The modern novelist tends to fling his characters on to the canvas without tact or precaution of any kind. That credence, attention even, may be a hard thing to win does not occur to him, for he is corrupted by a race of readers who come to a novel seeking the pleasures of instruction rather than those of art; readers who will forgive every species of clumsiness provided they are shown some stratum of life with which they were not previously familiar.
How finally does Murasaki achieve the extraordinary reality, the almost 'historical' character with which she succeeds in investing her scenes? Many readers have agreed with me in feeling that such episodes as the death of Yugao, the clash of the coaches at the Kamo festival, the visit of Genji to the mountains, the death of Aoi, become, after one reading, a permanent accession to the world as one knows it, are things which have 'happened' as much as the most vivid piece of personal experience. This sense of reality with which she invests her narrative is not the result of realism in any ordinary sense. It is
