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Chapter Three FROM MORAL CONTENTION TO LITERARY PERSUASION 49 Noguchi Takehiko (1937– ) has argued that within Hiromichi’s Appraisal of Genji we find the workings of what a modern scholar would call “literary interpretation” (bungaku hihyō): The “shaku” of the title stands for commentary while the “hyō” stands for what we would now call “literary interpretation.” This work contains a deliberate attempt to use commentary and criticism as a means of “performing” Genji in a fascinating way as if it were a musical score.This is done by combining the text with an intelligent selection of commentary and criticism that encompasses the history of previous commentary from an astute interpretive perspective.1 Noguchi goes on to explain that he sees the Hyōshaku as a work of literary interpretation, because Hiromichi does not approach Genji from the outlook of a Confucianist, nor from the perspective of a nativist. Instead, he approaches the text as if it were nothing other than a work of literature.2 Hiromichi’s experience working with a variety of literary genres and critical traditions made it possible for him to approach criticism and commentary from this perspective. The eclectic taste in literature and criticism characteristic not only of Hiromichi but of the vibrant and diverse culture of Osaka provided him with the breadth of experience necessary to appreciate the significance of these interpretive methods. Understanding their significance made it possible for him to deliberately emphasize elements that define Genji as a work of narrative fiction rather than a work of didactic literature or lyric prose. His predecessors touched upon the crucial elements behind this approach, but Hiromichi was the first to successfully integrate them into an interpretive theory that could be consistently applied to the text. In doing so he directs the reader’s eye to passages of fiction that create the appearance of reality and the reader’s attention to compositional techniques that indicate artistic accomplishment on the part of the author. In his interpretive remarks on specific passages, he frequently concludes his notes on literary style and structure with “such is the author’s 50 APPRAISING GENJI remarkable use of the brush” (sakusha no ito medetashi fudezukai nari), or her “skillful use of language” (bun no takumi nari). In the commentaries that preceeded his the standard expression used to conclude a remark on literary style was “the previous passage is wonderous” or “extraordinary” (myō nari). The expression myō nari is simply meant to draw the reader’s attention to a specific passage, but it also subtly builds on the tradition of “secret” commentaries by implying that the author’s use of language somehow defies explication. In aggregate, this expression leaves the reader with the impression that the construction of the text is in some way beyond ordinary comprehension, as if it is miraculous or sacred. In contrast, the language Hiromichi employs is more descriptive. He draws the reader’s attention to the specific elements of literary style and structure to be found in the text as something remarkable, yet also open to interpretation, analysis, and appreciation. Hiromichi intended to cover all fifty-four chapters of Genji. Illness prevented him from seeing such an ambitious project to completion, but, fortunately , the first installment of his Appraisal, published in 1854, contains his treatise on the work as a whole. By 1861, he had managed to publish the second installment of the Hyōshaku, with detailed commentary covering the text up to the eighth chapter of the tale. At age forty-nine, only two years after the second installment’s publication, Hiromichi succumbed to health problems that had plagued him for many years. He died in 1863, leaving his greatest efforts unrealized beyond the eighth chapter of the Genji, “Hana no En” (“Festival of the Cherry Blossoms”). The published volumes of Hiromichi’s final work can be divided as follows:3 “General Remarks” [sōron]: volumes 1–2: Both volumes first published in 1854. Hiromichi surveys major issues related to the commentary and criticism of Genji. He reviews prominent theories developed prior to the Hyōshaku, evaluates their relative merits, and supplies his own analysis.The second volume also contains an exposition of his own interpretive strategy for reading Genji.4 “Main Text” [honbun]: volumes 3–10: Volumes 3–6, published in 1854, reproduce the text of chapters 1–4 inGenji. Volumes 7–10, published in 1861, reproduce chapters 5–8 inGenji. Hiromichi corrects numerous transcription errors and includes various...

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