Kiritsubo 1.5

It's great to finally get back to the text!  I haven't done a new sentence since January.

This 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.)

My translation:

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:
父の大なごんはなくなりて
評　更衣の父按察（あぜち）の大納言の事を、何となき物語りの中に挿（さしはさ）みて、説出だされたり。かくてその委（くは）しきことは更衣の失せ給へる後に著（あらは）されたり。この文法、巻々に多し。心得おくべし。ここよりは、更衣の心づかひの苦（くる）しき有様を委はしく説きはじむるなり。

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.

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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.

はゝ北の方なん云々よしあるにて
釈　「なん」はもてなし給ひけれど、とある「けれ」にて結びて、「ど」と受けたる格なり。「いにしへの人のよしあるにて」は「いにしへのよしある人にて」といふ意なり。小櫛に「にて」は下の「もてなし給ひけれど」といふへつづく詞なり、とあり。標（しるし）の点にて心得べし。

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.

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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:

よしある
釈　「よし」は「ゆゑよし」などいふ「よし」にて、「由緒ある」といふに同じく、種姓（スジャウ）のいやしからぬをいふ。

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.

はなやか
釈　花のごとくめてたきよしを譬えていふ詞にて、「やか」はそのたとへたる形容の辞なり。

This is a word that metaphorically relates something to the excellence of a flower. The yaka is a suffix that indicates this comparison.

はかばかしき
釈　「はか」は或る説に「極処（ハテカ）」の意なり、といへるやよろしからん。極処のなきは、ただ弱はしく確かならぬもの故に、確かならぬことを「はかなき」といふ。「はかばかし」はその反（うら）にて、確かなることをいへり。「しき」は例の「しげき」意の形容辞なり。

訳　シツカリトシタ

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

うしろみ
釈　後（うしろ）の方は見えぬものなる故に、いとおぼつかなきを傍より見て助くる意なり。今俗字音（もじごゑ）に「こうけん」といふことなり。雅言には「うしろむ」と働かしてもいへり。

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.

こととある時は
余　帚木に「こととあかくなれば」。野分の巻に「こととなれなれしきにこそはあめれ」。家持集に「秋風はこととふききぬ白たへのわがときごろもぬふ人もなし」。椎本に「ことといへばかぎりなき御心のふかきになん」。著問集に「ことといへばあるじながらもえてしがなねはしらねどもひきこころみん」。すべて「ことと」といふ詞はとりたててそのことをするにいふ詞なり。

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 [233] 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."

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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:

北の方 
河　男は南、女は北に住むべきいふなり。陰陽につかさどる故なり。よりて貴賎ともに妻室を「北の方」と号するなり。后妃を椒房と号するも北向に住み給ふ故なり、云々

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.

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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.

Kiritsubo 1.4c

I checked a 古典 dictionary for あぢきなし; their etymology said it's from あづきなし, which is あ (sound variation of the わ in 分ける or 分かれる) + 付き + 無し, meaning unable to tell the difference or not distinguishing, which led to the other meanings by association.

This post has the 余釈 for the sentence.  I put in links to Wikipedia articles for the Chinese history figures mentioned.

もろこしにもかかる事の起りに
細　殷の紂が妲己を愛し、周の幽王褒姒を寵せしより世の乱れたる事などを引きていふなり。

Sairyusho (1510): This is drawing from examples of the government falling into chaos from the love of King Zhou of Shang for Daji, or King You of Zhou for Bao Si.

楊貴妃のためし
湖師　玄宗の寵愛ゆゑに安禄山が乱出来たるためしなるべし。

Kogetsusho shisho (1673): This is the example of Xuanzong's love allowing for the An Lushan rebellion to occur.

花　桐壺の帝の更衣をおくれ給へることを、唐の玄宗の楊貴妃に離れ給ひて嘆き給へるにたとへて、長恨歌の言葉を借りて一巻の始終を書き侍れば、そのことをいはんとて「楊貴妃のためしも引き出でつべく」とまづ言出だせり。作者の意趣すぐれて聞こえ侍り。

Kacho yosei (1472): The Kiritsubo Emperor survives the Kiritsubo Intimate; this is similar to Xuanzong being separated from Yang Guifei. This whole chapter is written based on the Song of Neverending Sorrow, and so first the text says that the "example of Yang Guifei should be brought out." The author's craft is excellent.

岷　云々　前の「もろこしにもかかる事」といへるとは別段と見るべし。花鳥には一つの心に注せらるるか云々

Mingo nisso (1598): (first part omitted) The "In China too, these things" sentence is talking about other examples, although the Kacho yosei seems to say they are the same.

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The (somewhat trivial) issue is whether the "In China too" included Yang Guifei or not, something that divided the early commentaries.

釈　「かかる事の起こり」とある中に楊貴妃の例もこもるべし。さて、この巻は長恨歌によりて書かれたることは論なきを、かの歌の全文を知らざればこの文のいみじきことどもの知られがたき故に、わづらはしけれど白氏文集のままをここに挙げつ。引き合はせて見るべし。

You should view the "In China too" line as including the Yang Guifei example. Now then, it doesn't even need to be said that this chapter is based on the Song of Neverending Sorrow. Therefore if you don't know the entire text of that poem, it's hard to understand the excellence of this chapter. So even though it's troublesome, I will give the entire text from Bai Juyi's works here.

この次に陳鴻が選べる長恨歌の伝といふ物一篇あり。玄宗と楊貴妃との始終を記したれど、長ければここには省きて、ただその要とある所のみをいささか抜き出でて、注しつけぬ。詳しくは本書を見るべし。

Next, there is a Legend of the Song of Neverending Sorrow by Chin Ko. This records the story of Xuanzhong and Yang Guifei from start to finish. It is long, so I will include only an excerpt showing the main point here, and without annotations. You should see the main text for details.

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Hagiwara does indeed include the entire Song as well as excerpts making up about a fourth of the Legend (a prose version included in the complete works of Bai Juyi).  Initially I thought I would skip over this but I have to read these for my dissertation anyway, and it better represents Hagiwara's intentions to include it.  There's already a good annotated translation on Wikisource, although the Legend doesn't seem to be translated anywhere.  So it might be useless duplication to do it here too, but I suppose that's OK.

Also, I'm leaving Japan at the end of March and I'm presenting at a conference in a month so my free time will be a bit more limited until April.  I'll still try to get a post out every 7-10 days or so but things could be a bit slower during that period.  Thanks for reading!

Kiritsubo 1.4b

A very full word section today, with 6 entries.  First I feel like I have to defend Hagiwara; on the last word post there were some very harsh comments about the philological efforts of the Edo-period scholars (one commenter called them "junk etymologies" and another compared them to jokes).  The etymologies aren't that bad, though -- a decent number of them are accurate or at least one possibility for an unknown word.  Of course there are some missteps, though.

Also, I want to say hi to a Chinese person living in France who is providing the second-most hits to the blog (next to Matt).  Here's an interesting post where he(?) compares three Chinese translations of the first few sentences of "Kiritsubo". 我的中文不太好。欢迎、欢迎_。

あいなく
玉　この詞、数もなく多く有るぞをことごとく見渡し合はせて考ふるに、何といふ弁へもなしに、うちつけに物することなり。ここもその意にて、おのが身にかからぬ人までも何といふことなしに目を側むる也。注に「愛無シ也」「あぢきなく也」などいへる皆かなはず。

Tama no ogushi (1796): This word occurs many times in the Tale. When you examine them all, it means to do unreasonable things with no thought put into it. The meaning here is the same; it means that even people not directly related to the circumstances are averting their eyes without any reason. The notes that say it means 無愛 or ajikinashi are wrong.

訳　ナニトナウ　ムサト　ナンノハリ合モナク

nani to nau (何となう), musa to, nan no hariai mo naku

釈　新釈に「愛敬なきを略して愛なきといふ也」とある。「略して」といはれたるはいかがなれど、なほ愛なきの意にはあるべし。何といふことなしに打ちつけにものするも、やがて愛のなき意なればいたく違（たが）へるにはあらず。

In the Shinshaku it says "This is shortened from aigyou nasi and means 愛なき."  The "shortened" part is doubtful, but this should be seen as 愛なき.  "Doing something unreasonable with no thought put into it" is, in the end, not that different from "with no care/love".

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This word is still of unknown etymology (愛なし is listed as a possible etymology in modern dictionaries), and the exact meaning of the word in this sentence is still not certain.

そばめ
釈　「そば」は側の字の意、「め」はめ、む、むるとはたらく辞なり。側（そば）へ向きて、まさしく向かはぬ意にて、物妬（ものねたみ）するさまなり。

soba is the character 側. me is the word conjugated as me, mu, muru.  The word means to turn aside and not face directly at something, indicating a grudge.

まばゆき
玉　拾遺に「日の輝く時まばゆくて見がたきやうの意なるべきにや」といへるごとくにて、なべて人に目をそばめらるる、これまばゆきなり。

Tama no ogushi (1796): The Genchu shui says This perhaps should mean that it is like the difficulty of looking at the bright sun." This is correct; generally people averting their eyes is referred to as mabayuki.

あぢきなう
新　人の情を五味に譬（たと）へて、うまし、からし、にがしなどいふ中の、にがにがしきといはんがごときことを、味気（あぢき）なしといふなり。

Shinshaku (1758): People's feelings are often compared to the five senses, for instance, umashi, karashi, nigashi, etc. In this case it is like niganigashiki; something that has no taste.

訳　フアンバイナ　ムヤクナコトヂヤ　ラチモナイ

fuanbai na (不安倍な), muyaku na koto ja (無役なことじゃ)、rachi mo nai (埒もない)

雅集　やくにもたたず、せんのないといふ心なり。真字伊勢物語「味気無（アヂキナク）」。契沖云、せんかたなし。史記伍子胥伝、無益を「アヂキナシ」とよめり。宣長云、俗言にいらざること、むやくのことといへる意なり。

Gagen shuran (1849):  This means "useless" or "nothing can be done." In the Ise monogatari manabon the characters 味気無 are read as ajikinau. Keichū says that in the Shi ji, in the biography of Wu Xizu, 無益 is read as ajikinashi. Norinaga says that in the vernacular it means irazaru koto or mueki na koto.

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The Ise monogatari manabon is a version of the Ise monogatari written entirely in Chinese characters, perhaps in the Kamakura era (the cite here is in poem 90).  The practice of using Chinese works to gloss the Genji words is a curious one that dates back to the oldest commentaries; it survived into the 19th century for unclear reasons.  I believe this etymology for the word is completely wrong and that 味気 is ateji, but I'm not 100% certain.

はしたなき
拾　枕草子に「はしたなき物」といふ下の一つに、「人をよぶに我かとてさし出たる、まして物くるるをり」など書けり。これにて心得べし。竹取物語に「宮は立つもはした居るもはしたにてゐ給へり」といふに同じ云々

Genchu shui (1698): In the Makura no sōshi there is a section called "hashitanaki things." One of the items is "When someone else is called, and you appear thinking you're the one being called. It's even worse when they give you something." There are other items; this should be consulted. Also in the Taketori Monogatari it says "The prince was uneasy(hashita) standing or sitting." This is the same meaning.

余　俗にどちらつかずといふ意なり。又めったに、又ひよんな事などいふ意なり。

Genchu yoteki (1830): In the vernacular this means things like dochira tsukazu, or metta ni, or hiyonna.

訳　フツガフナ　ツキモナイ　思ヒガケナイ　ツキホガナイ　フサウオウナ　フツツカナ

futsugafu na (不都合な), tsuki mo nai, omohigakenai, tsukiho ga nai, fusauouna (不相応な), futsutsuka na (不束な).

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I believe Keichu is correct about hashita and hashitanaki meaning the same thing -- the nashi is a suffix (not 無い) that is in other words like いときなし.

御心ばへ 
釈　心延（こころばへ）の意にて、心のひき延（はへ）て出でるおもふきをいふ語なり。心のさしゆくを志（こころざし）といひ、心を馳（はせ）出でるを意（こころばせ）といふ、皆同じおもふきなり。

This word is 心延, so it is extending (延) your spirit (心). This is similar to kokorozashi, which is pointing (指し) your spirit (心), or kokorobase, which is running (馳せ) your spirit (心). 

訳　ココロムケ　オモヒナシ

kokoromuke (心向け)、omohinashi (思ひなし).

Kiritsubo, 1.4a

This is another sentence that will have to be split up into multiple posts; there are only a few of these but unfortunately a lot of them are right at the beginning.

Also those such as the senior nobles and privy gentlemen turned their eyes away helplessly, saying “His love towards this person is embarrassing. In China, too, it was just for this reason that the world was thrown into chaos and became bad.” Gradually in the world at large, as well, this became a bitter seed of worry for people. It was becoming such that the example of Yang Guifei would have to be mentioned, and there were many disgraceful occurrences, but she served, relying on the peerlessness of [the Emperor's] gracious care.

めをそばめつつ
新　あしくきらはしき物を見る時の様なり。長恨歌の伝に「京師ノ長吏、是ガ為ニ目ヲ側ム」といふにもよりしならん。

Shinshaku (1758): This describes looking at something bad that you don't like. This also seems to be a reference to the Chōgonka-den: The officials of the palace averted their eyes because of this.

評　桐壺の帝の更衣を寵し給ふことを、そのかみ専ら行はれたる長恨歌に依りて巧みに書きなさん、との結構（したくみ）なる故に、ここに初めてかの伝の文を匂はし出でられたるなり。されども、彼には少しも拘（かかは）らずして、いと新しくめづらかにとりなされたる事、次に評ずるがごとし。

Hyou: The love between the Emperor and the Kiritsubo Intimate is mostly drawn from the Song of Neverending Sorrow, so for that reason, here the first small taste of that den appears. However, the story in the Tale contains new, very good, things that are not found at all in the original poem. I will say more about this later.

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Hagiwara has more to say about the Song and the den (a prose version of the legend) in the supplemental notes so I'll put that off until part C.

もろこしにも
評　これ即ち楊貴妃のことを初めて綻（ほころ）ばし出だされたるにて、はるかの下に「人の帝のためしまで引き出でつつ、ささめき歎きけり」とある首尾なり。心得おきて読むべし。

Hyou: Here already we see the first hints of the Yang Guifei story, and much later it says "they brought up the example of other Emperors, and lamented quietly." This should be kept in mind.

天のしたにもあぢきなう
玉　天の下の人もあぢきなき御しわざとするよしなり。或抄云わく、「はじめに女中の妬みを言ひ、次に上達目、上人といひ、ここに天の下にもといへり。

Tama no ogushi (1796): This means that the people of the world are also taking this to be an unfortunate thing. A certain commentary says, First the jealousy of the women is mentioned, then the noblemen, and now the wider world.

評　この或抄の説げにいと詳しく心得たりと云べし。作者の心ありしこと、末にて知られたり。そこにいふべし。

Hyou:  It is definitely true that this "certain commentary" has understood things well.  The things that the author has done become apparent later[??].  I will mention it there.

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This "certain commentary" is from a work called the 首書源氏物語, an early woodblock edition that was never as popular as the Kogetsusho.  The author of this work did not identify the "certain commentary" and it may be the author's own theories.  I'm not entirely sure of the meaning of Hagiwara's comment.

はしたなき事おほかれど
玉　ここは更衣の身に受かる方よりいへり。

Tama no ogushi (1796): These are things being suffered by the Kiritsubo Intimate.

Kiritsubo, 1.3

On to the third sentence!  Kiritsubo's troubles are further described.

Her palace service morning and night also caused nothing but shock in others' hearts, and perhaps she bore the weight of [people's] spite, for she became very ill, and tended to be at home with a vaguely lonely appearance, and [the Emperor] looked on her more and more with great pity – he did not heed the criticism of others, and his actions were sure to become an example for the world.

First, the headnotes:

うらみをおふつもりにや
釈　人の恨みの我が身にかかる事を、物を引き負ふになそらへて、負（おふ）といへるなり。さて、恨みを負ひて、とやかくや心を苦しめたるが積もりてついに病がちになり給へる意なり。

Kiritsubo taking the resentment of others is described metaphorically as bearing a weight, so the word ofu is used. What is meant here is that the weight of these grudges pile up and she becomes sickly.

さとがち
新　里に住みがちなり。

Shinshaku (1758): She tends to go home.

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The word sato here means her parents' house, as opposed to her residence in the palace.

いよいよあかず
評　人の妬むによりて、里に住みがちなれば、逢ひ給ふこと遠くして、いよいよ飽かずあはれにおぼえ給ひつつ、ついには人のそしりをもえ憚らせ給はぬなり。げに人の情はさるものになんありける。この脉（すぢ）、次々にますます甚だしくなりもてゆく様、よくよく心をつけて味わふべし。

hyo: The Intimate often goes home due to the spite of others, so the Emperor cannot meet her. He views her with great pity, and soon does not listen to any criticism of his behavior. This is indeed how peoples' feelings work. This story element grows as the tale moves on; the reader should pay close attention to it and savor it.

世のためしにもなりぬべき
新　末に楊貴妃にたとへんの本なり。

Shinshaku (1758): This is the basis for the comparison to Yang Guifei later.

Then in the 語釈 appendix we have four words:

みやづかへ
釈　宮は内裏のこと、「つかへ」は彼方より使はれ奉るをいふ。さて、転（うつ）りては大宮ならぬ所に仕（つか）ふるをもすべて「みやづかへ」といへり。

miya refers to the palace, and tsukae means being dispatched there and working.  Now then, this word changed to refer to palace service beyond just the Emperor's quarters.

あつしく
余　小町集に「人知れぬ我（われ）が思ひに逢はぬまは身さへ温（ぬる）みて思ほゆるかな」
夕顔の巻に「御頭（ぐし）も痛く、身も熱き心地して」
若菜下に「御身もぬるみて、御心地もいとあしけれど」
手習の巻に「うちはへぬるみなどし給へることはさめ給ひて、さわやかに見え給へば」
などあり、すべて病者は身に熱の有りて、あつきものなれば、「あつし」などいひならひたるが、末には病とだにいへば、「あつしう」などいへるやうになりたるならん。

Genchu yoteki (1830):　The poetry collection of Ono no Komachi says [poem 48]:"In my own thoughts that others do not know, when I do not meet him for a time, even my body grows warm." From the "Yugao" chapter: "His head hurt, and his body felt hot."  From the "Wakana ge" chapter: "[Lady Murasaki]'s body was warm, and she felt bad..." From the "Tenarai" chapter: "The fever that had been going on for a while has lessened, and she seems calmer..." Such examples all deal with the fact that a sick person's body has a fever, and is hot (atsuki), so the term atsushi is used.  Eventually the sickness itself was described as atsushiu.

玉　見弱く病あるをいへり。拾遺に病の重きを厚しといふにや、といへるは物語にてはかなはず。

Tama no ogushi (1796):　This means she is weakened from illness. The Genchu shui's claim that the weight of illness is thick (atsui) does not fit with the way the term is used in the Tale.

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Nevertheless modern sources seem to support Keichu's theory that the "thick" illness, rather than the heat, is the origin of the term.  (Incidentally, although many modern editions agree with Hagiwara's あつしく, Heian-period evidence suggests it was probably pronounced あづしく.)

訳　不快ナ　ワヅラフ

fukai na, wadurafu (患う)

もの心ぼごげ

釈　すべて「もの」云々と物といふことを添へていふ詞は、物事につけて云々といふ意にて、ただ何となく、おのづから然る意なり。ここもその意にて、何といふこともなくただ物事につけて心ぼそきなり。「げ」は「気（け）」にて、さる景色に見ゆるを他（ほか）より見ていへる意なり。「け」は「サウニ」と訳（うつ）すべし。

All the words that are mono plus something have the meaning of "dealing with things," and it simply means that somehow the state arises on its own.  Here too, this means that there's nothing specific, but simply towards one thing or another she is lonely.  The ge syllable is derived from 気, and means that the state is being viewed from someone else's point of view. It should be translated as sou ni.

さとがち

拾　和名に曰く、「周易説卦ニ云ハク、其ノ木ニ於ル也、堅多心ト為ス、師説多心ヲ奈賀古可遅（ナカゴカチ）ト読ム」。これによるに、何がちといふ類は、皆この「多」の字なり。

Genchu shui (1698): In the Wamyō Ruijushō, it says "The I ching says 'That tree is hard and has multiple trunks.'  The teacher says: 多心 is read as nakagokachi."  Looking at this, anything-gachi has to do with the character 多 ("many").

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The Wamyō Ruijushō is a 10th century dictionary/thesaurus.  It contains a lot of quotations from classical Chinese sources with Japanese equivalents given in Man'yo-gana.  Sometimes only kanji are given with no sources.  I need to look up the I Ching quote in a modern edition to get a better translation.  I'm also very doubtful of Keichu's theory here and I don't understand why Hagiwara thought it was worth quoting.