tune on his flute as he walked. He peeped in at the door. She looked as she lay there for all the world like the fresh dewy flower that he had so recently plucked. She was growing a little bit spoilt and having heard some while ago that he had returned from Court she was rather cross with him for not coming to see her at once. She did not run to meet him as she usually did, but lay with her head turned away. He called to her from the far side of the room to get up and come to him, but she did not stir. Suddenly he heard that she was murmuring to herself the lines ‘Like a sea-flower that the waters have covered when a great tide mounts the shore.’ They were from an old poem[1] that he had taught her, in which a lady complains that she is neglected by her lover. She looked bewitching as she lay with her face half-sullenly, half-coquettishly buried in her sleeve. ‘How naughty,’ he cried. ‘Really you are becoming too witty. But if you saw me more often perhaps you would grow tired of me.’ Then he sent for his zithern and asked her to play to him. But it was a big Chinese instrument[2] with thirteen strings; the five slender strings in the middle embarrassed her and she could not get the full sound out of them. Taking it from her he shifted the bridge, and tuning it to a lower pitch played a few chords upon it and bade her try again. Her sullen mood was over. She began to play very prettily; sometimes, when there was a gap too long for one small hand to stretch, helping herself out so adroitly with the other hand that Genji was completely captivated and taking up his flute taught her a number of new tunes. She was very quick and grasped the most complicated rhythms at a single hearing. She had indeed in music as in all else just those talents with which it most delighted him that she should be endowed. When he played the Hosoroguseri (which in spite of its
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THE TALE OF GENJI
