120
Deviant by Design
In
Abbreviated Records
, each new entry opens with the subject’s name,
followed by a brief synopsis. This synopsis is written in a double row of
smaller characters and typically concludes with a list of his or her prog-
eny and an indication of how many of these ascended the throne
.
After
Emperor Jinmu’s name, for instance, the half-size text reads: “First [ruler]
of the Age of Men. Governed the earthly realm for 7
6
years. Born [?] in
a
kanoe-uma
year. [Begat] four princes. One ascended the throne.”
81
The
body of the entry follows these miniature biographies, with occasional
double rows of commentary inserted. All of this is, of course, in
kanbun
.
Superficially, the format of the biographies in
The Water Mirror
re-
sembles that in
Abbreviated Records
: emperor, half-size
kanbun
synopsis
in double rows, followed by a fuller biography, albeit in
wabun
. How-
ever, the similarities in the synopses end at the formal level. In
The Water
Mirror
, Emperor Jinmu’s reign is (representatively) distilled in the dou-
ble row of smaller
kanbun
text as follows: “On a
kinoe-tatsu
day in the
third month of the seventy-sixth year [of his reign], he passed away. His
age was one hundred twenty-seven. On a
hinoe-tora
day of the ninth
month, he was interred in a tumulus northeast of Mount Unebi, the Land
of Yamato.”
82
While the synopses in
Abbreviated Records
emphasize the
imperial institution and its continuity via the notation of accession and
progeny, Tadachika presents the essential moments of any given reign as
death and entombment. The recurring suggestion throughout
The Water
Mirror
is that any individual life amounts to little more than its moment
of extinction. To borrow the words of its immortal narrator, it reduces
rulers to fleeting figures “but seen in a lengthy dream.”
83
In both texts,
the miniature synopses can be said to encapsulate
a basic rule that
of Dōhan (1178–1252),
Fusō ryakki maki dai niju
. Agency for Cultural Affairs (“Kokushi
bunkazai nado dētabēsu”). Regrettably, only the first and last pages are on display.
However, the formal consistency across the late Heian or early Kamakura Kinshōinbon
manuscript fragment held by Tenri Library and the National Diet Library’s
partial
manuscript from the early Edo period suggests that this format is stable. For the former,
see
Fusō ryakki: Kinshōinbon
, 46 of an appended “kaisetsu” (for description and dating);
for
the NDL partial manuscript, see
Fusō ryakki
:
Scrolls 22, 24, 25, and 28.
81. Kuroita,
Fusō ryakki
, 1.
82. Kaneko e
t a
l.,
Mizukagami zen chūshaku
, 31.
83. Kaneko e
t a
l.,
Mizukagami zen chūshaku
, 449.
Multilingual Writing in Medieval Japan
121
underlies the work—which, for
The Water Mirror
, is that nothing lasts
forever.
LOCAL OUTLOOKS: EXTRICATING THE WATER MIRROR’S
CONTENT
FROM A POLITICAL ASIA
Tadachika’s intervention in the tradition of
kanbun
historiography is not
restricted to the structure of the individual anecdotes or the formal par-
allels he creates with that tradition via the use of
kanbun
synopses pre-
ceding
wabun
narratives. It also takes the form of reshaping its source
material.
Abbreviated Records
replicates the content of orthodox histories.
It is replete with information about the circulation of people and goods
in northeastern Asia, including accounts of military involvement on the
Korean peninsula, a record of the arrival of thousands of refugees from
Paekche in the fourth year of Emperor Tenji’s reign, and evidence of fre-
quent diplomatic and economic exchanges with both the peninsular
kingdoms and the Chinese mainland.
84
The “Land of the Rising Sun” in
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