210
Moving Mirrors
celestial anomalies and as lowly as the meaning of dog feces on tatami.
29
As Martin Collcutt has demonstrated, the late twelfth century is revealed
in this work to have been an age replete with religious activity (broadly
defined), in which the shogun and his officials were active participants.
30
Nevertheless, by doing away with the prefatory framing device and
removing the cosmologically charged setting that characterizes the rest
of the
Mirrors
to date, the compilers of
The Mirror of the East
have re-
moved the most typical opportunity to foreground the rhetoric of cos-
mological principles or their implied trajectories. Taking into consider-
ation the foci of these earlier principles, this becomes less surprising. Over
time, there has been a gradual shift from a principle of karmic cause and
effect in
The Great Mirror
to a preoccupation with decline and the end of
the world, most obviously in
The Water Mirror
. While it is unclear whether
the decline that characterizes China in
The China Mirror
likewise threat-
ens Japan, the risk is there. In this light, I would suggest that a new “up-
start” regime such as that suggested by the
bakufu
had little to gain, re-
gardless of the scope of its ambitions, in situating its founding in a larger
discourse that emphasizes most change as negative. Mention of the final
age or the decline of Buddhist law appears infrequently throughout the
entire work, and nowhere does it exhibit the earnestness of, for instance,
Tadachika’s concern that the end of the world is imminent. In fact, nearly
all use of terms specifying the world as in the “final age” vanishes right
around the time of the H
ō
j
ō
-dominated
bakufu
’s successful defeat of its
strongest remaining rivals, the Miura family, in the H
ō
ji Disturbance
(1247).
31
Perhaps, thanks to the H
ō
j
ō
, the world was no longer heading to
its demise.
29. The celestial anomalies are too numerous to list, but see the entry for Kangi 1
(1229).5.21 for the discovery of the feces and the subsequent divination (Nagahara and
Kishi,
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