【簡譯】《枕草子》（Makura no Sōshi）
The Pillow Book (Makura no Soshi) is a personalised account of life at the Japanese court by Sei Shonagon which she completed c. 1002 CE during the Heian Period. The book is full of humorous observations (okashi) written in the style of a diary, an approach known as zuihitsu-style ('rambling') of which The Pillow Book was the first and greatest example.
? ? ? ? ? 《枕草子》（Makura no Soshi）是清少納言對日本宮廷生活的個性化描述，她約在公元1002年（平安時代）完成這本書。書中充滿了以日記形式寫的幽默觀察（okashi），這種方法被稱為“隨筆”（'漫談'），《枕邊書》是其中最突出的典范之一。
清少納言
Sei Shonagon was a lady of the Japanese imperial court. Her surname is not her actual name but refers to her role, or more likely the role of her husband, as a 'lesser counsellor' or shonagon. Her family name was Kiyohara, her father being Kiyohara no Motosuke (908-990 CE) who was himself a waka poet of some repute and co-author of Gosenshu, an imperial anthology. Her grandfather, Kiyohara no Fukayabu, was an even more renowned poet. Sei Shonagon was born c. 966 CE, was married at least twice and was known to have visited certain Buddhist and Shinto sacred sites and temples.
? ? ? ? ? 清少納言是日本宮廷中的一位女官。她的姓氏不是她的真實姓名，而是指她的官銜，或者更有可能是她丈夫的官銜，即“小參贊”或“少納言”。她的姓氏是清原，她的父親是清原元輔（公元908-990年），他本人是一位有一定名望的和歌詩人，是《御制文集》的共同作者。她的祖父，清原深養(yǎng)父，是一個更著名的詩人。清少納言生于公元966年，至少結(jié)過兩次婚，據(jù)說曾訪問過某些佛教和神道教的圣地和寺廟。
Sei Shonagon was part of a wider group of literary ladies employed to educate Teishi (976-1001 CE), one of the wives of Emperor Ichijo. Sei Shonagon joined the court in 993 CE, and she describes her early experience there as follows:
? ? ? ? ? When I first went into waiting at Her Majesty's Court, so many different things embarrassed me that I could not even reckon them up and I was always on the verge of tears. As a result I tried to avoid appearing before the Empress except at night, and even then I stayed hidden behind a three-foot curtain of state. (Keene, 413)
? ? ? ? ? 清少納言是受雇教育藤原定子（公元976-1001年）的一大批文人女子中的其中一位，藤原定子是一條天皇的皇后。清少納言于公元993年出仕于中宮藤原定子，她描述了其在那里的早期經(jīng)歷，內(nèi)容如下：
? ? ? ? ? 當(dāng)我第一次在皇后宮廷中等待時，許多不同的事情讓我感到尷尬，我甚至無法思考，我總是處于流淚的邊緣。因此，我盡量避免出現(xiàn)在皇后面前，除非是在晚上，即便如此，我還是躲在三尺長的帷幕后面。(Keene, 413)
One of Shonagon's literary rivals and lady at the second imperial court, that of Shoshi (Akiko), was Murasaki Shikibu, authoress of the classic Tale of Genji. Shikibu was scathing of Shonagon's literary skills in her own diary: "She thought herself so clever, and littered her writings with Chinese characters, but if you examined them closely, they left a great deal to be desired" (Ebrey, 199). Still, Shikibu was not above borrowing images and scenes from The Pillow Book for her own work. It is conceivable that Genji was a response to Shonagon's work given the rivalry between the two royal courts when, unusually, there were two reigning empresses.
? ? ? ? ? 清少納言的文學(xué)對手之一，也是藤原信孝的夫人，是經(jīng)典作品《源氏物語》的作者紫式部。紫式部在日記中對清少納言的文學(xué)能力進行了嘲諷。“她認為自己很聰明，在她的文章中到處都是漢字，但如果你仔細檢查，它們就會發(fā)現(xiàn)有很多不足之處”（Ebrey, 199）。盡管如此，紫式部還是從《枕草子》中借用圖像和場景來創(chuàng)作自己的作品。可以想象，《源氏》是對清少納言作品的回應(yīng)，因為當(dāng)時兩個皇室之間的競爭很不尋常，有兩個在位的皇后。
《枕草子》的標(biāo)題和起名緣由
Although The Pillow Book is a highly personalised series of observations and musings on court life, where the author often employs the aesthetic technique of okashi with its objective of providing witty and surprising revelations, it does give invaluable insight into the protocols, etiquette and behaviour of the Japanese aristocracy in the Heian Period (794-1185 CE). It is written in the style known as zuihitsu meaning 'following the calligrapher's brush' or 'rambling,' and so some of the 300 plus entries are only a single sentence while others can cover a few pages. They are not presented in any particular order, and it is quite possible that later scribes reshuffled the various entries. As the author herself writes:
As a matter of fact, I wrote down, in a spirit of fun and without help from anyone else, whatever happened to suggest itself to me. (Keene, 421)
? ? ? ? ? 雖然《枕草子》是一系列高度個人化的宮廷生活觀察和思考，作者經(jīng)常采用早期日本唯美主義，目的是提供詼諧和令人驚訝的啟示，但它確實對平安時代（公元794-1185年）日本貴族的禮節(jié)、禮儀和行為研究提供了寶貴來源。其寫作方式被稱為隨筆，意思是“跟隨書法家的筆觸”或“漫無邊際”，因此在300多個條目中，有些只有一句話，而另一些則可以涵蓋幾頁。它們沒有以任何特定的順序呈現(xiàn)，而且很可能是后來的抄寫員重新調(diào)整了各種條目。正如作者自己所寫的：
? ? ? ? ? 事實上，我本著好玩的目的，在沒有任何人幫助的情況下，寫下了我所想到的一切。(Keene, 421)
The title of the work is probably not the original one, and The Pillow Book was perhaps selected by a later scribe copying the manuscript inspired by the work's epilogue:
One day Lord Korechika, the Minister of the Centre, brought the Empress a bundle of notebooks. “What shall we do with them?” Her Majesty asked me. “The Emperor had already made arrangements for copying the Records of the Historian.”
“Let them make them into a pillow,” I said.
“Very well,” said Her Majesty. “You may have them.”
(Keene, 415)
? ? ? ? ? 作品的標(biāo)題可能不是原來的標(biāo)題，《枕草子》也許是后來抄寫手稿的抄寫員受作品的后記啟發(fā)而選擇的標(biāo)題：
? ? ? ? ? 有一天，中央大臣藤原伊周大人給皇后帶來了一捆筆記本?！拔覀儜?yīng)該如何處理它們？”皇后問我。“皇帝已經(jīng)安排好抄寫《史記》了?！?/strong>
? ? ? ? ? “讓他們把書放進枕頭”，我說。
? ? ? ? ? “很好”，皇后說，“你可以擁有它們?！?/strong>
Here the meaning of 'pillow' may be as a bedside book or private journal kept in the drawer of the wooden pillows refined ladies used. Another interpretation of 'pillow' is a poet's handbook (utamakura), and the work does often read like a list of topics meant to inspire writers and poets, presenting catalogues of plants, places, natural features, amusing human relations and so on.
? ? ? ? ? 在這里，“枕頭”的含義可能是指保存在文雅女士使用的木枕頭的抽屜里的床頭書或私人日記?！罢眍^”的另一種解釋是詩人手冊（utamakura），該作品確實經(jīng)常讀起來像一份旨在激發(fā)作家和詩人靈感的主題清單，提出了植物、地方、自然特征、有趣的人類關(guān)系等目錄。
開? ? ?篇
The opening section of the book describes what the author considers the best times to view the four seasons:
In spring it is the dawn that is most beautiful. As the light creeps over the hills, their outlines are dyed a faint red and wisps of purplish cloud trail over them.
? ? ? ? ? 該書的開篇部分描述了作者認為觀賞四季的最佳時間：
? ? ? ? ? 在春天，最美麗的是黎明。當(dāng)光線翻過山丘時，山丘的輪廓被染成了淡淡的紅色，一縷縷紫色的云彩在山丘上飄蕩。
In summer the nights. Not only when the moon shines, but on dark nights too, as the fireflies flit to and fro, and even when it rains, how beautiful it is!
In autumn the evenings, when the glimmering sun sinks close to the edge of the hills and crows fly back to their nests in threes and fours and twos; more charming still is a file of wild geese, like specks in the distant sky. When the sun has set, one's heart is moved by the sound of the wind and the hum of the insects.
In winter the early mornings. It is beautiful indeed when snow has fallen during the night, but splendid too when the ground is white with frost; or even when there is no snow or frost, but it is simply very cold and the attendants hurry from room to room stirring up the fires and bringing charcoal, how well this fits the season's mood! But as noon approaches and the cold wears off, no one bothers to keep the braziers alight, and soon nothing remains but a pile of white ashes. (Keene, 416-417)
? ? ? ? ? 在夏天的夜晚，不僅是月光照耀的時候，而且在黑暗的夜晚，當(dāng)螢火蟲飛來飛去的時候，甚至在下雨的時候，也是多么的美麗啊!
? ? ? ? ? 秋天的夜晚，當(dāng)閃閃發(fā)光的太陽沉到山的邊緣，烏鴉三三兩兩地飛回它們的巢穴；更迷人的是一排排的野鵝，像遠處天空中的斑點。當(dāng)太陽落山后，人們的心被風(fēng)聲和昆蟲的嗡嗡聲所感動。
? ? ? ? ? 冬天的清晨，夜里下了雪的時候，確實很美，但當(dāng)?shù)孛嫔辖Y(jié)了白霜的時候，也很美；甚至當(dāng)沒有雪或霜，只是非常冷的時候，仆人們匆匆忙忙地從一個房間到另一個房間，攪動火堆，帶來木炭，這多么符合這個季節(jié)的心情??！但當(dāng)中午臨近的時候，寒氣逼人，人們被風(fēng)聲和昆蟲的嗡嗡聲所感動。但是，隨著中午的到來，寒氣漸漸消退，沒有人再去保持火爐的火勢，很快就只剩下一堆白灰了。(Keene, 416-417)
觀察示例
When I make myself imagine what it is like to be one of those women who live at home, faithfully serving their husbands - women who have not a single exciting prospect in life yet who believe they are perfectly happy - I am filled with scorn. (Keene, 426)
? ? ? ? ? 當(dāng)我讓自己想象成為那些生活在家里、忠實地服侍丈夫的婦女之一是什么樣子（這些婦女在生活中沒有一個令人興奮的前景，但她們卻認為自己非常幸福）我就充滿了蔑視。(Keene, 426)
A preacher ought to be good-looking. For, if we are properly to understand his worthy sentiments, we must keep our eyes on him while he speaks. (Ebrey, 199)
? ? ? ? ? 傳道人應(yīng)該是漂亮的。因為，如果我們要正確地理解他有價值的情感，我們必須在他說話的時候盯著他。(Ebrey, 199)
In the winter, when it is very cold and one lies buried under bedclothes listening to one's lover's endearments, it is delightful to hear the booming of a temple gong, which seems to come from the bottom of a deep well. The first cry of the birds, whose beaks are still tucked under their wings, is also strange and muffled. Then one bird after another takes up the call. How pleasant it is to lie there listening as the sound becomes clearer and clearer! (Keene, 419)
? ? ? ? ? 在冬天，當(dāng)天氣非常寒冷，一個人斜靠著床聆聽愛人的呢喃時，聽到寺廟里鑼鼓喧天的聲音，似乎是從深井底傳來的，讓人很高興。鳥兒們的第一聲啼叫也很奇怪，它們的嘴還被塞在翅膀下面，聲音很低沉。然而，一只又一只的鳥兒接上了這一叫聲。躺在那里聽著聲音越來越清晰，這是多么令人愉快的事情啊?。↘eene, 419）
A good lover will behave as elegantly at dawn as at any other time. (Ebrey, 199)
? ? ? ? ? 一個好的情人會在黎明時分表現(xiàn)得像其他任何時候一樣優(yōu)雅。(Ebrey, 199)
A lover who is leaving at dawn announces he has to find his fan and his paper. “I know I put them somewhere last night,” he says. Since it is pitch dark, he gropes about the room, bumping into the furniture and muttering, “Strange! Where on earth can they be?” finally he discovers the objects. He thrusts the paper into the breast of his robe with a great rustling sound; then he snaps open his fan and busily fans away with it. Only now is he ready to take his leave. What charmless behaviour! “Hateful” is an understatement. (Keene, 419)
? ? ? ? ? 一個即將在黎明離開的情人說，他必須找到他的扇子和畫紙。他說：“我知道我昨天晚上把它們放在某個地方了。”由于天色漆黑，他在房間里摸索著，撞到了家具，喃喃自語道：“奇怪！它們究竟在哪里？它們究竟會在哪里呢？”最后他發(fā)現(xiàn)了這些東西。他把紙塞進長袍的胸前，發(fā)出巨大的沙沙聲；然后他扣開扇子，忙不迭地扇了起來。直到現(xiàn)在，他才準備離開。多么可惡的行為??！ “可憎”是一種輕描淡寫的說法。(Keene, 419)
An admirer has come on a clandestine visit, but a dog catches sight of him and starts barking. One feels like killing the beast. (Keene, 423)
? ? ? ? ? 一位仰慕者前來秘密訪問，但一只狗看到了他并開始吠叫。人們感覺要殺死這只野獸。(Keene, 423)
One day, when the snow lay thick on the ground and it was so cold that the lattices had all been closed, I and the other ladies were sitting with Her Majesty, chatting and poking the embers in the brazier.
? ? ? ? ? 有一天，地上的雪很厚，天氣很冷，格子都關(guān)上了，我和其他女士們和皇后坐在一起，邊聊天邊撥弄爐子里的火苗。
“Tell me, Shonagon,” said the Empress, “how is the snow on Hsiang-lu Peak?”
? ? ? ? ? “告訴我，少納言，”皇后說，“香鹿峰（Hsiang-lu Peak直譯）的雪怎么樣了？”
I told the maid to raise one of the lattices and then rolled up the blind all the way. Her Majesty smiled. (Keene, 422)
? ? ? ? ? 我讓女仆把其中一個格子升起來，然后把窗簾全部卷起來?；屎笮α?。(Keene, 422)
A lean, hirsute man taking a nap in the daytime. Does it occur to him what a spectacle he is making of himself? Ugly men should sleep only at night, for they cannot be seen in the dark and, besides, most people are in bed themselves. But they should get up at the crack of dawn, so that no one has to see them lying down. (Whitney Hall, 445)
? ? ? ? ? 一個瘦削、多毛的男人在白天打盹。他有沒有想過，他正在使自己成為一個什么樣的景象？丑陋的人應(yīng)該只在晚上睡覺，因為他們處于黑暗中，別人也是看不到的，而且，大多數(shù)人自己也在床上。但他們應(yīng)該在黎明時分起床，這樣就不會有人看到他們躺著。(Whitney Hall, 445)
I remember that once I was overcome by a great desire to go on a pilgrimage. Having made my way up the log steps, deafened by the fearful roar of the river, I hurried into my enclosure, longing to gaze upon the sacred countenance of Buddha. To my dismay I found a throng of commoners had settled themselves directly in front of me, where they were incessantly standing up, prostrating themselves, and squatting down again. They looked like so many basket-worms as they crowded together in their hideous clothes, leaving hardly an inch of space between themselves and me. I really felt like pushing them all over sideways. (Keene, 423)
? ? ? ? ? 我記得有一次，我被一種想要去朝圣的巨大愿望所征服。我沿著原木臺階走上去，被可怕的河水咆哮聲震耳欲聾，我急忙走進圍墻，渴望瞻仰佛祖的神圣面容。我驚愕地發(fā)現(xiàn)一群平民在我面前安頓下來，他們不停地站起來，跪下，再蹲下。他們看起來就像許多籃子里的蟲子，他們穿著丑陋的衣服擠在一起，在他們和我之間幾乎不留一英寸的空間。我真想把他們都推到一邊去。(Keene, 423)。
流? ? ?傳
The Pillow Book was already in circulation at court before Sei Shonagon had even finished it, as revealed in this passage from the final part of the book:
When the middle general of the Left was still the governor of Ise [Minamoto no Tsunefusa], he came to visit me at my home. I put out for him the mat closest to hand, only to notice to my horror that this notebook was on top. In confusion, I pulled back the mat, but he kept his grip on the notebook and took it off with him. It did not come back until a considerable time later. That, I imagine, is when it first began to circulate. (Keene, 420)
? ? ? ? ? 正如書中最后一部分的這段話所揭示，《枕草子》在完成之前就已經(jīng)在宮廷中流通了：
? ? ? ? ? 當(dāng)內(nèi)宮侍衛(wèi)左師的中隊長還是伊勢國臨時知事[Minamoto no Tsunefusa，源経房（みなもとのつねふさ）]時，他來我家拜訪我。我把離手邊最近的墊子拿出來給他，但我驚恐地發(fā)現(xiàn)，這個筆記本在上面。混亂中，我把墊子拉了回來，但他一直抓著筆記本，并把它帶走了。直到相當(dāng)長一段時間后，筆記本才被還回來。我想，那是它第一次開始流傳的時候。(Keene, 420)
The Pillow Book was popular during the Heian Period and was much imitated, referred to in later works and quoted directly, but it was eclipsed in popularity by Tale of Genji and the 905 CE poem anthology Kokinshu over the centuries. A revival has occurred in more recent times, and the work is now widely regarded as a masterpiece of Japanese literature, the first and still finest example of the zuihitsu genre, and one of the most humorous works produced in the Japanese language.
? ? ? ? ? 《枕草子》在平安時代很受歡迎，被很多人模仿，在后來的作品中被提及，并被直接引用，但幾個世紀以來，它的受歡迎程度被《源氏物語》和公元905年的詩選《古今集》所取代。近代以來，《枕草子》得到了復(fù)興，這部作品現(xiàn)在被廣泛認為是日本文學(xué)的杰作，是隨筆體裁第一個也是最典型的例子，是日本文學(xué)中最幽默的作品之一。
參考書目：
Ebrey, P.B. Pre-Modern East Asia. Cengage Learning, 2013.
Henshall, K. Historical Dictionary of Japan to 1945. Scarecrow Press, 2013.
Keene, D. A History of Japanese Literature Vol. 1. Columbia, 1999
Mason, R.H.P. A History of Japan. Tuttle Publishing, 1997.
Whitney Hall, J. The Cambridge History of Japan, Vol. 2. Cambridge University Press, 2007.
原文作者：Mark Cartwright
????????? 駐意大利的歷史作家。他的主要興趣包括陶瓷、建筑、世界神話和發(fā)現(xiàn)所有文明的共同思想。他擁有政治哲學(xué)碩士學(xué)位，是《世界歷史百科全書》的出版總監(jiān)。
原文網(wǎng)址：https://www.worldhistory.org/The_Pillow_Book/
