In section 24-24 of Konjaku-Monogatarishu the plot is that Minamoto-no-Hiromasa, who is at Seiryoden of the imperial palace, moves to action when he hears an ogre playing biwa (an old Japanese instrument resembling a lute) at Rajomon. This fable appears to be essentially regalistic, because one might say that it metaphorically reinforces the royal order with its well-organized description of the spatial configuration of Heiankyo. This seemingly conservative text, however, harbors a subversive element in its narrative mode, in which the story of the ogre's biwa sound reaching everywhere in the capital is narrated from Hiromasa's viewpoint. In this essay, I would like to consider the relation between aristocratic ideology and "sound" in late ancient Japan, while arguing how this fable, the theme of which is strongly concerned with an instrumental sound, threatens the order of formal culture.
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