Abstract
Abstract in English Pressing past the frameworks of the wa-kan (Japanese-Chinese) and sangoku (“the Three Kingdoms”), this essay explores a border-crossing “geopoetics” in order to espy distant “Persia” in the literary culture of classical Japan. In the “Picture Contest” midway through The Tale of Genji, an illustration supposedly set in far-off Persia is praised not for its exoticism but rather for its adroit synthesis of Japanese and Chinese pictorial elements. It turns out that the Persia made by Japanese persons around the beginning of the eleventh century is connected to the intermixing of all things Chinese and Japanese, especially when it comes to poetry. In other words, the stuff of this artificial Occident is laced through with these twin poetries from Asia’s easternmost extremities. We can see this interlacing in vernacular fictions, such as The Tale of the Tree Hollow (Utsubo monogatari), in which one of the protagonists is a Persian mage reincarnated in Japan obliged to recite passages in bilingual alternation, night by night, before the monarch. Elsewhere, academicians of Chinese “letters” exhibit their boundless knowledge of this “Far West” in such bilingual works as The New Man’yōshū (Shinsen man’yōshū) and The New Collection of Resonant Verse (Shinsen rōeishū). The latter presents itself as a learned sequel to The Collection of Japanese and Chinese Resonant Verse (Wakan rōeishū)—an emblem of the Heian period’s bilingual poetics which, in its turn, attracted the attention of monk-commentators who used the anthology to develop their Indo-Buddhist cosmo-cartography, including Persia. Persia, therefore, gets woven out of this mix of poetry in Chinese and Japanese—a mixed arrangement that enjoys an unparalleled display in the scrolls of the Collection of Resonant Verse. In its turn, The Collection itself begins to appear like an altogether “Persian” kind of terrain : a virtual terrain which belongs neither to China nor to Japan, but which is nonetheless made out of both.
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