It's great to finally get back to the text! I haven't done a new sentence since January.
sentence has a few new symbols that I will explain. Incidentally, the
"1.5" in the title is section 1 sentence 5; Hiromichi uses squares to
mark off what he considers significant divisions in the text, and
L-shaped figures for even larger divisions. His text of Kiritsubo
contains three large divisions (although the last is just the final
sentence), and 12 shorter divisions.
Looking at the picture here, there are three things of interest:
- The open rectangle to the right of なん indicates a 係り結び; the open rectangle pointing the other way on けれ is the 結び part.
The lines to the right of two phrases show that these phrases connect
to each other and what is in between them is a parenthetical remark. In
other words, Hiromichi feels that you should read this as
いにしへの人のよしあるにて、何事の儀式をももてなし給ひけれど with the おやうちぐし part as a parenthetical.
The 乙 and 甲 symbols are also supposed to help with this although the 乙
seems misplaced here. The woodblock print has them in the same place
though, and Hiromichi wrote the 版下 for the woodblock print himself so I
may just not fully understand how they're used.
- Finally, the black circle to the left of the し in 後見しなければ indicates that it's a 助辞 (which Hiromichi glosses as yasume no kotoba)
-- in other words, a particle that adds emphasis without contributing
any other meaning. He says in the intro that he only uses these circles
where it might be confusing; I guess here there's the risk of trying to
read し as a verb (the conjugation would be wrong in classical but I
believe that even in mid-19th century Japanese, しない was the colloquial
negative of する.)
Her father, a
Grand Counselor, had passed away, and her mother, his principal wife,
with the refinement of an ancient family, so that [her daughter] would
not lag greatly behind even those who had both parents and a brilliant
reputation now, prepared [her daughter] for every kind of ceremony, but
since [her daughter] had no especially firm backing, in the end she had
no one to rely on at important times and appeared lonely.
Now the headnotes:
Hyou: The fact that the Intimate's father is the Azechi Grand Counselor is brought out in middle of the story in an unrelated section. Thus this specific information is not given until after the Intimate's death. This sort of technique appears frequently throughout the story. You should pay attention to it. Starting here, a detailed explanation is given of the Intimate's suffering.
I think Hiromichi is reaching a bit here, although he may have just been eager to introduce this general principle. The information here appears in the Suma chapter, when the Akashi monk is talking about Genji: 故母御息所は、おのが叔父にものしたまひし按察使大納言の娘なり。("His deceased mother, the Haven, was the daughter of my uncle the Azechi Grand Counselor.") However, the fact that her father is specifically the Grand Counsler of Azechi has no relevance to anything in the story so it's hard to see this as an explicit principle of composition. Hiromichi seems to be writing under the assumption that Murasaki Shikibu composed the entire story in order from chapter 1 to 54 and had the entire story and characters planned out in advance, which is no longer a widely accepted theory of the Genji's composition.
The nan used here connects to the kere below [as kakari-musubi], which is conjugated [in the izenkei form] because of the do. "inishie no hito no yoshi aru ni te" means "inishie no yoshi aru hito ni te." The Tama no ogushi says that the ni te here connects to the "motenashi tamahi keredo" below. I have shown this with my symbols in the text.
I'm not entirely certain of Hiromichi's analysis of the inishie phrase here, but the modern editions are rather vague on what it means also. A number of manuscripts read いにしへ人 instead, which may reflect some confusion over this sentence going back some ways.
Now the vocab notes:
yoshi is the same as in the word yueyoshi. This is similar to the meaning "venerable [family]", and indicates a family lineage that is high-class.
This is a word that metaphorically relates something to the excellence of a flower. The yaka is a suffix that indicates this comparison.
A certain theory says that haka is like 極処（hateka） [endpoint], this is perhaps a good theory. So because something without (naki) an endpoint (haka) is weak and uncertain, something that is uncertain is called hakanaki. Hakabakashi is the opposite of this and means something certain. shiki is the usual suffix meaning "profusely" derived from shigeki.
Translation: shikkari shita
Because behind you is something you can't see, it helps you out if someone is beside you watching that indistinct area. In current vernacular this is also read with on-yomi as kouken. The Yugen shuran says that this also sometimes occurs in verb form asushiromu.
Genchu yoteki (1830): In the "Hahakigi" chapter it says "It became particularly light." In the "Nowaki" chapter it says "They became particularly friendly." A poem in the Yakamochi-shu  says "The autumn wind is blowing particularly strong. There is no one here to mend my tattered clothes." The "Shiigamoto" chapter says "[Kaoru]: 'Based on what you said, there is no limit to the depth of your heart." The Kokoncho monju says "???". In all of these examples, koto to means "especially."
The text most often used in modern editions reads ことある instead, although many manuscripts have ことと. Typically when modern editions deal with this issue they come down on the side of ことある being the correct reading -- that is, this should mean "When there was an event" rather than ことと somehow modifying ある adverbially.
I apologize for leaving out the Kokoncho-monju quote but I was never able to find the passage in the work (since I don't think there's a good search tool for it) and I don't feel confident enough to try to translate that long string of hiragana.
The inclusion of the "Shiigamoto" quote appears to be an error since こと there means 言 rather than "especially."
And finally a short supplemental note:
Kakaisho (1360's): It is said that men should live in the south and women in the north.
This has to do with a balance between the Yin and Yang. Because of this
everyone, high and low ranking, calls the dwelling of the wife the kita no kata.
This is the same reason why an Empress is called 椒房, because they live
facing the north.
According to the Koujien, the term 椒房 comes from the Empress' section of the palace being painted with fruit from the 山椒 tree in the Han dynasty.