In the Palace, the Empress-mother was with her Royal son on this day. He was still a mere boy, and scarcely understood what was going on; but he was now fully informed on the subject by his mother, and was told that a very interesting lady was going to reside in the Palace to attend on him, and that he must be good and kind to her. The presentation took place late in the evening, and henceforth she was called the Niogo of the Ume-Tsubo (plum-chamber), from the name of her apartment.
She was a charming lady, and the Emperor was not without a certain liking for her; yet Lady Kokiden, the daughter of Gon-Chiûnagon (Tô-no-Chiûjiô), who had been introduced some time previously, and consequently was an acquaintance of an older date, was much more frequently preferred by him to the other for society in daily amusement. When Gon-Chiûnagon introduced his daughter, he did not of course do so without hope of her further elevation; but now Lady Plum came to assume a position through Genji's influence, as if to compete with his daughter for the royal favor; and it was by no means glad tidings for him. It may be here mentioned that Prince Hiob-Kio had also, as we have already seen, an intention of introducing one of his daughters at Court; but this hope was doomed to disappointment by the establishing of the two ladies already introduced, and he was induced to defer his intention, at least for the present.
The Emperor was very fond of pictures, and painted with considerable ability. Lady Plum, too, as it happened, possessed the same taste as the Emperor, and used often to amuse herself by painting. If, therefore, he liked ordinary courtiers who exhibited a taste for painting, it was no matter of surprise that he liked to see the delicate hands of the lady occupied in carefully laying on colors. This similarity of taste gradually drew his attention to her, and led to frequent visits to the "plum-chamber." When Gon-Chiûnagon was informed of these circumstances, he took the matter into his own hands. He himself determined to excite a spirit of rivalry. He contrived means to counteract the influence of painting, and commissioned several famous artists of the times to execute some elaborate pictures. Most of these were subjects taken from old romances, as he conceived that these were always more attractive than mere fanciful pictures. He had also caused to be painted a representation of every month of the year, which would also be likely, he thought, to interest the Emperor. When these pictures were finished he took them to Court, and submitted them to his inspection; but he would not agree that he should take any of them to the plum-chamber; and they were all deposited in the chamber of his daughter.
Genji, when he heard of this, said of his brother-in-law, "He is young; he never could be behind others." He was, however, unable to pass the matter over unnoticed. He told the Emperor that he would present him with some old pictures, and returning to his mansion at Nijio he opened his picture cabinet, where numbers of old and new pictures were kept. From these, with the assistance of Violet, he made a selection of the best. But such pictures as illustrations of the "Long Regrets," or representations of "O-shio-kun," were reserved, because the terminations of these stories were not happy ones. He also took out of his cabinet the sketches which he had made while in Suma and Akashi, and showed them for the first time to Violet, who was a little angry at his not having shown them to her sooner.
It was about the tenth of February, and the face of Nature began to smile with the approach of spring, making the hearts and tempers of people more calm and cheerful; besides, it was just the time when the Court was unoccupied with the keeping of any festival. There could be no better chance than this for such an exhibition of pictures to attract the attention of people enjoying leisure. Genji, therefore, sent his collection of pictures to the Palace in behalf of the lady of the plum-chamber.
This soon created a sensation in the Palace. Most of the pictures that were in the possession of the lady of the plum-chamber were from old romances, and the pictures themselves were of ancient date, being rare, while those of Kokiden were more modern subjects and by living artists. Thus each of them had their special merits, so that it became difficult to say which were more excellent. Talking of these pictures became quite a fashionable subject of conversation of the courtiers of the day. The Imperial-mother happened to be at Court, and when she saw these pictures and heard different persons at Court discussing their relative merits, she suggested that they should divide themselves into two parties, right and left, and regularly to give their judgment. This was accordingly done: Hei-Naishi-no-Ske, Jijiû-no-Naishi, and Shiôshiô-no-Miôbu took the left, on the side of the lady of the plum-chamber; while Daini-no-Naishi-no-Ske, Chiûjiô-no-Miôbu, and Hiôye-no-Miôbu took the right, on the side of the Kokiden.
The first picture selected was the illustration of the "Bamboo Cutter,"[125] by the left, as it was the most appropriate to come first for the discussion of its merits, as being the parent of romance. To compete with this, that of "Toshikagè,"[126] from "The Empty Wood," was selected by the right. The left now stated their case, saying, "The bamboo—indeed, its story too—may be an old and commonly known thing, but the maiden Kakya, in keeping her purity unsullied in this world, is highly admirable; besides, it was an occurrence that belongs to a pre-historical period. No ordinary woman would ever be equal to her, and so this picture has an excellence." Thereupon the right argued in opposition to this, saying, "The sky, where the maiden Kakya has gone away, may indeed be high, but it is beyond human reach, so we may put it aside. When she made her appearance in this world she was, after all, a creature of bamboo; and, indeed, we may consider her even lower than ourselves. It may also be true that she threw a bright radiance over the inside of a cottage, but she never shone in the august society of a palace. Abe-no-oshi's[127] spending millions of money in order to get the so-called fire-proof rat, which, when obtained, was consumed in the flames in a moment, is simply ridiculous. Prince Kuramochi's[128] pretended jewel branch was simply a delusion. Besides, this picture is by Kose-no-Omi, with notes[129] by Tsurayuki. These are not very uncommon. The paper is Kamiya, only covered with Chinese satin. The outer cover is reddish purple, and the centre stick is purple Azedarach. These are very common ornaments. Now Toshikagè, though he had undergone a severe trial from the raging storm, and had been carried to a strange country, arrived at length at the country to which he was originally despatched, and from there returned to his native land, having achieved his object, and having made his ability recognized both at home and abroad. This picture is the life of this man, and it represents many scenes, not only of his country but of foreign ones, which cannot fail to be interesting. We therefore dare to place this one above the other in merit."
The ground of this picture was thick white tinted paper, the outer cover was green, and the centre stick jade. The picture was by Tsunenori, and the writing by Michikage. It was in the highest taste of the period.
The left made no more protestation against the right.
Next the romance of Ise by the left, and that of Shiô-Sammi by the right, were brought into competition. Here again the relative merit was very difficult to be decided at once. That of the right had apparently more charms than that of the other, since it beautifully represented the society of a more recent period.