confident that so long as resentment is groundless one need only suffer it in silence and all will soon be well. I have observed however that this is by no means the case.
‘But when all is said and done, there can be no greater virtue in woman than this: that she should with gentleness and forbearance meet every wrong whatsoever that falls to her share.’ He thought as he said this of his own sister, Princess Aoi; but was disappointed and piqued to discover that Genji, whose comments he awaited, was fast asleep.
Uma no Kami was an expert in such discussions and now stood preening his feathers. Tōū no Chūjō was disposed to hear what more he had to say and was now at pains to humour and encourage him.
‘It is with women’ said Uma no Kami ‘as it is with the works of craftsmen. The wood-carver can fashion whatever he will. Yet his products are but toys of the moment, to be glanced at in jest, not fashioned according to any precept or law. When times change, the carver too will change his style and make new trifles to hit the fancy of the passing day. But there is another kind of artist, who sets more soberly about his work, striving to give real beauty to the things which men actually use and to give to them the shapes which tradition has ordained. This maker of real things must not for a moment be confused with the carver of idle toys.
‘In the Painters’ Workshop too there are many excellent artists chosen for their proficiency in ink-drawing; and indeed they are all so clever it is hard to set one above the other. But all of them are at work on subjects intended to impress and surprise. One paints the Mountain of Hōrai; another a raging sea-monster riding a storm; another, ferocious animals from the Land beyond the sea, or faces of imaginary demons. Letting their fancy run wildly riot they have no thought of beauty, but only of
