206
Moving Mirrors
tion of another’s wife.
22
In these specifics of the institution, one thus sees
something quite
diff erent from the earlier
Mirrors
,
where administrative
or ritual concerns featured rarely, if at all—and even then, only in ser-
vice of a larger narrative. Nevertheless, despite the increased focus on ad-
ministrative concerns, and the shift in the nature and amplitude of ac-
tivities recorded,
The Mirror of the East
is at heart the history of an office
or set of offices and thus reminiscent of
The China Mirror
, with the lat-
ter’s ultimate commitment to tracing the mandate of heaven across gene-
alogies to give a thorough history of China.
It is true that
The Mirror of the East
is the first
Mirror
to be written
entirely in something close to the traditional prestige language of
kan-
bun
, but earlier
Mirrors
played with language mixing.
The Water Mirror
,
with its regular insertion of miniature text in
kanbun
, was the first such
instance. The scriptive variation in the earliest manuscript of
The China
Mirror
likewise suggested movement between two distinct registers, one
of which was visually close to
kanbun
. Much like the use of linguistic
hybrids in earlier
Mirrors
,
The Mirror of the East
’s new exclusive deploy-
ment of
kanbun
, traditionally the purview of the court and clerical elite,
has performative significance.
23
Its use speaks to an ongoing appreciation
on the part of writers of the ability of language or register selection to
impart an authority beyond that conveyed by a text’s content. In this light,
and given
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