Presentation: sections of The Tale of Genji.

Because The Tale of Genji is so long, it is unrealistic to expect that we will be able to read it in its entirety. Therefore, each student is responsible for reading a part of the book and explaining it very briefly—no longer than ten minutes, less if possible—to the class.

We will focus on those chapters that help us to understand some of the narrative arcs evident in the Heian period illustrations of the story. Here is the list of chapters:

• 1. “The Paulownia Pavilion” (Kiritsubo), pp. 1-18, and 42. “The Perfumed Prince” (Niou Miya), pp. 783-91
• 5. “Young Murasaki” (Wakamurasaki), pp. 81-109
• 6. “The Safflower” (Suetsumuhana), pp. 111-31, and 15. “A Waste of Weeds” (Yomogiu), pp. 299-312
• 34. “Spring Shoots I” (Wakana I), pp.575-623
• 35. “Spring Shoots II” (Wakana II), pp.625-71
• 36. “The Oak Tree” (Kashiwagi), pp. 673-93, 37. “The Flute” (Yokobue), pp. 695-705, and 38. “The Bell Cricket” (Suzumushi), pp. 707-16
• 39. “Evening Mist” (Yugiri), pp. 717-52
• 40. “The Law” (Minori), pp. 753-63; and 41. “The Seer” (Maboroshi), pp. 765-79
• 44 “Bamboo River” (Takekawa), pp. 803-25, and 45. “The Maiden of the Bridge” (Hashihime), pp. 827-46
• 46. “Beneath the Oak” (Shiigamoto), pp. 847-67, and 48. “Bracken Shoots” (Sawarabi), pp. 915-26
• 47. “Trefoil Knots” (Agemaki), pp. 869-913
• 49. “The Ivy” (Yadorigi), pp. 927-71
• 50. “The Eastern Cottage” (Azumaya), pp. 973-1005
• 51. “A Drifting Boat” (Ukifune), pp. 1007-44
• 52. “The Mayfly” (Kagerō), pp. 1045-73
• 53. “Writing Practice” (Tenarai), pp. 1075-1110, and 54. “The Floating Bridge of Dreams” (Yume no Ukihashi), pp. 1111-20

To understand these chapters, you will need to read very carefully. Everyone should start with the Introduction to Royall Tyler’s translation (pp. xi-xxix). Before moving on to read an individual chapter, pay close attention to Tyler’s list of persons at the beginning of it. Tyler’s translation, like the original Japanese text, tends to refer to characters by their titles rather than their names, but because titles change as people advance in rank or marry it can be confusing, and different characters can be referred to by the same titles in different chapters. You may need to read earlier or later chapters as well just to get a sense of what is happening and how any given event might fit into the larger narrative. I recommend consulting some of the material at the back of the book, especially the “Chronology” (pp. 1125-33) and “Characters in The Tale of Genji” (1173-79). Other helpful resources include an online chapter summary at Liza Dalby’s The Tale of Murasaki Website, and a Genji genealogical chart on our Blackboard site, under Course Documents.

Tips for Oral Presentation

To make a chapter intelligible to those who haven’t read it, it will be necessary to explain as clearly as possible who the most pivotal characters are, how they interact with each other, what they are doing, and/or what is happening to them, as well as what the main themes of the chapter are. Don’t try to introduce every single character; it will be too overwhelming for the audience. You may need to write on the board or pass out a guide to your chapter.

Preparation:

• Think about how to make the chapter accessible to everyone else. By the time of your presentation, you may know more about this material than anyone else in the room.
• Write a draft of your talk. This draft should state clearly what you see as the pivotal characters and the main themes of the chapter. Make your draft as engaging as possible—remember that what is appropriate for formal written work often does not work for more informal oral presentations.

The presentation itself:

• Decide whether you will read your draft or work from a bulleted list or index cards. Both methods have advantages and disadvantages. If you are reading a draft, you are better able to control the length of your presentation (5 double-spaced pages equal 10 minutes if you are reading at an appropriately leisurely pace), but your presentation may be less lively, and you will need to take steps to prevent that in the draft itself. With a bulleted list or index cards, you may not be able to judge the length of your presentation so precisely and you may need to practice more, but your presentation will probably seem more spontaneous and engaging.
• Practice your presentation more than once. Use a tape recorder or get a friend to serve as your audience.
• Speak slowly and don’t be afraid to repeat important points.
• Try to ask questions to make sure your audience understands what you are saying. Even “can you hear me?” is a good question.
• Breathe and try to relax. Remember everyone else has been or will be in your shoes. (If you are shy, like your professor, you might think of yourself as developing a “performance persona.” The earlier you can do this the better.)

Audience: your job is to listen carefully and ask intelligent questions, or at least make encouraging nods. Don’t talk amongst yourselves when someone is giving a presentation—it is very unnerving for the speaker.