Refuge in the Past during the Final Age
39
reasons for the Novice Chancellor’s [Michinaga’s] efflorescence, I first
talked about the aspects of the emperors and empresses. Do not the
planted tree’s branches grow luxuriant and the tree itself bear fruit because
we care for it that it might send out roots?”
13
A back-and-forth with
Shigeki ensues, complete with a poetry exchange on mirrors (to which I
will return), before Yotsugi makes the clearest pronouncement yet about
the importance of his work by drawing parallels both to the lectures to
follow and to orthodox historiography: “Rather than baseless matters, I
shall speak of true affairs. Take heed and listen, everyone. As you think
of today’s sermon in relation to enlightenment, so should you think of
what this old man says as listening to the official histories!”
14
Setting aside
for now the link to the
Lotus Sutra
lectures that this claim establishes, in
a move that will reverberate in
Mirrors
to come, Yotsugi has created a clear
equation between the truth value of court histories and that of the infor-
mation he recites.
15
His claim is that, unlike other unspecified writings,
what
The Great Mirror
shows readers will certainly be true. And with this,
Yotsugi moves on to his real interest, Michinaga.
16
Scrolls 2–4, which recount the lives of the generations of the Fuji-
wara clan before Michinaga, feature much more detail. Although not all
of the biographies are evenly developed, the longer ones often offer vivid
glimpses of the highs and lows of the public and private lives of Japan’s
elite. In terms of relevance to later
Mirrors
, however, the account of Sug-
awara no Michizane (845–903), which is embedded in the narrative of
13. Ishikawa,
Ōkagami
, 47; for an alternative translation, see Helen McCullough,
Ōkagami
, 85.
14. Ishikawa,
Ōkagami
, 49; translation modified from Helen McCullough,
Ōkagami
, 86. By juxtaposing “trivialities” and “serious matters” rather than matters
false and true in the translation of the first sentence, McCullough obscures the nature
of Yotsugi’s contrast.
15. Komine Kazuaki points to the parallel between the
Dostları ilə paylaş: