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Literary Evolution in the Country of Eight Islands

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Literary Evolution in the Country of Eight Islands The Rise of the Japanese Novel Towards a neo-Darwinian approach to literary history Michael J. Scanlon PMJS Version 1.0 The Rise of the Japanese Novel Towards a neo-Darwinian approach to literary history Michael J. Scanlon PMJS Version 1.0 For distribution free of charge via the Pre-Modern Japanese Studies website hosted by Meiji Gakuin University This text is for the private and academic use of individuals who download it from an authorized website. Commercial and non-commercial dissemination of this text, in whole or in part, in this or any other language, is strictly forbidden without the express written consent of its author, Michael J. Scanlon. The rise of the Japanese Novel: Towards a neo-Darwinian approach to literary history PMJS Version 1.0 © Michael J. Scanlon, 2005 All Rights Reserved To Mom and Dad; Kate, Andy, and Fritz; and Aeri. The Rise of the Japanese Novel: Towards a neo-Darwinian approach to literary history My work can be divided into six major parts. The introduction serves to lay out the theoretical issues that my text will engage as well as to introduce the dualist system of literary development outlined by Franco Moretti (literary history is the interweaving of two wholly independent paths: un-oriented variation as well as directed and directing selection) and appropriate the semiotic rectangle (used by Frederick Jameson as an engine of literary production) as the most basic mechanism of selection for long-form narrative. A prologue then uses these methodological insights to analyze an early version of a famous piece of late medieval fiction showing both that the central problematic within which texts of this type were written was one predicated on the divestment of energy from legitimate order in Muromachi times as well as that late medieval fiction typically resolves this problem by revitalizing the aristo-imperial order of the classical Heian period. The first chapter focuses on developments in narrative literature and the commercial print industry over the first fifty years of the seventeenth century. This chapter argues that, although development happens within structures, fortuitous events do occur and can lead to great structural change. It also shows how the texts engaged in the chapter evolve out of the late medieval paradigm but not necessarily into an early modern one, something important to a Darwinian theory of literary development because it emphasizes the facts that evolution is not a goal-oriented phenomenon as well as that structures have the ability to assume new functions as historical and ideological environments change. In addition, the chapter looks into the birth of the commercial i Michael J. Scanlon print industry at the turn of the seventeenth century and explains the chief factors that affected the outcome of the competition between xylography and typography which occurred over the second quarter of that century, but it steadfastly refuses to draw any connection between print and literature because the two phenomena were basically completely independent entities over this period. The second chapter is centered on the latter half of the seventeenth century, a period during which xylographic print reproduction first came to assert an important influence on literary evolution because it was only at this point that it became typical for texts of literary fiction to be written for the press. It shows that history and print are but negative pressures which can select against certain forms but not proactively produce them and posits that text and genre are the agents of evolution. Its most important function, however, is to show the limits of the selectionist rectangle as an analytic tool. The negative pressures mapped out by the selectionist rectangle do help shape long-form narrative but do not necessarily affect the development of micro-narratives, short stories, thread narratives or extended dialogues. The third chapter discusses the human feelings (ninjō)-correct principles (giri) dynamic that served as the basic mechanism of selection for long-form fiction during Japan’s early modern period and uses the selectionist rectangle to overcome (or, at least, relativize) the epistemological limits of modernity in order to make possible a more purely historicist understanding of Edo-period literature than has previously been feasible. The analytic tool is employed to orient several close readings of famous and typical texts of early modern long-form fiction and is used to account for the long period of relative stasis within Tokugawa fiction. It also argues that, because it was a conflict ii Michael J. Scanlon born of circumstantial factors as opposed to logical irreconcilability, the quality of compromise that marks the modern novel is not typically found within early modern Japanese long-form fiction and shows that, within the Tokugawa era, long-form fiction continued to evolve within the parameters of the ninjō-giri problematic and not towards a separate paradigm that presaged the modern Japanese novel. An extended epilogue closes the text by putting forward a theory linking the rise of the compromised and compromising hero typical of the novel form with the emergence of a categorical conflict between individuality and socialization that forms the most major fault line within bourgeois capitalist ideology. In other words, the rise of the Japanese novel was not the result of some long-term, incremental change towards a predetermined end. Rather, it is the product of a burst of formal development that occurred after a great change in the larger ideological environment was set off by the catastrophe that was the Meiji Restoration, and the formal elements typically seen as being characteristic of the modern novel in both Japan and the wider bourgeois world are most definitely not indications of intellectual or aesthetic superiority, but simply adaptations to a certain ideological situation shared by the modern world. This is not a text meant to be read only by experts in the field of Japanese studies. Like all histories, it is composed of three main elements: primary source materials, a narrative, and a theoretical apparatus. In my text, the primary source materials are completely orthodox. Each and every one of the texts analyzed in detail is known to the field, and most are pieces of fiction that have long been recognized as being absolutely central to Japanese literature. Likewise, the narrative is not innovative. To the contrary, it is quite similar to the standard one that has been produced and re-produced numerous iii Michael J. Scanlon times over the past fifty years in mainstream scholarship. It is theory that is the focus of my text, for this is an attempt to explain, in a new way, the already known facts and trends of Japanese literary history with equal attention paid to those texts and phenomena that fit neatly into the structures of the traditionally accepted understanding as well as to those that have long been seen as lying outside its explanatory framework. Thus, it is a scholarly text that may be read profitably by anyone with an interest in literary historiography. As for any specialists in the field of Japanese literature or history who might have interest in my work, I ask that you keep the following three-part question in mind when reading this piece: When it comes to commercially successful, plot-based long-form fiction, how many texts belonging to genres first evolved in the greater bourgeois world can you name that do not fit into the logical limits of a conflict between individuality and socialization? How many texts belonging to genres first evolved in early modern Japan can you name that do not fit into the logical limits of a conflict between human feelings (ninjō) and correct principles (giri)? How many texts belonging to genres first evolved in early modern Japan can you name that fit better into the logical limits of a conflict between individuality and socialization than into those of one between human feelings (ninjō) and correct principles (giri)? iv Michael J. Scanlon The Rise of the Japanese Novel: Towards a neo-Darwinian approach to literary history Synopsis …………………………………………………………………............ i Table of Contents …………………………………………………………........... v List of Charts, Graphs and Tables ………………………………………......... vi Introduction: Literary Darwinism …………………………………………......... 1 Prologue: The Medieval World and its Literature …………………………........ 27 Chapter I: The End of an Era ………………………………………………....... 44 The more things change… ……………………………………………... ........ 48 Revolution? ………………………………………………………………....... 63 A fish out of water ……….………………………………………………......... 86 Counterrevolution! ………………………………………………………......... 115 Chapter II: Groping for a Form …………………………………….................... 141 The matrix ………………………………………………………………........ 144 The man …………………………………………………………………........ 174 Sons of the man …………………………………………………………........ 200 The woman ………………………………………………………………....... 215 Chapter III: The Fruits of Feudalism ……………………………...………........ 233 An organizational conflict ………………………………………………....... 236 A tragic void .......………..………………………………………................... 274 Connecting the dots ……………………………………………………......... 301 Books from Edo; Books from Nanjing ………………………………….......... 321 Epilogue: The Modern World and its Literature ……………………………...... 346 Bibliography ………………………………………………………………........ 380 v Michael J. Scanlon List of Charts, Tables and Graphs 1. Semiotic Rectangle as Codified by A.J. Greimas …………………………...... 19 2. Selectionist Rectangle for Kani kōsen
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