「枕草子の現代語訳日本語が放つ美意識」現代訳、翻訳、推敲、校正版

The Pillow Book," authored by the esteemed Heian-period writer Sei Shonagon, is a collection of essays that beautifully captures life at the imperial court, where she served, as well as the beauty of the natural world throughout the seasons.

The original text conveys her observations and feelings in a delightful rhythm that is both accessible and engaging.

However, when read in modern Japanese, her unique perspectives and candid expressions become even more pronounced, allowing readers to feel an even greater sense of familiarity with her work.

As Sei Shonagon will also appear in the 2024 NHK Taiga drama, Hikaru Kimi e, I would like to introduce selected passages from The Pillow Book alongside their modern translations, highlighting her keen aesthetic sensibilities and vibrant personality.

"The Pillow Book and Its Author, Sei Shonagon" "Daughter of the Poet, Kiyohara no Motosuke"

Her father, Kiyohara no Motosuke, was renowned as a poet and was selected as one of the Thirty-Six Immortal Poets, a prestigious group of master waka poets from the Heian period.

From her father, Sei Shonagon inherited her literary talents and received an education in classical Chinese literature, maturing into a well-cultured woman. In her late twenties, she commenced her service at the court of Empress Teishi, consort of Emperor Ichijō, where she worked for seven years as a court attendant and teacher.

"Blossoming Talents at the Imperial Court"

Empress Teishi, about ten years younger than Sei Shonagon, was a refined and intelligent woman who enjoyed the company of the brilliant Sei Shonagon.

One day, the empress, having received a gift of high-quality paper from her brother, gave some to Sei Shonagon, encouraging her to “write something on this.” It was then that Sei Shonagon began composing The Pillow Book.

"Reading the Famous Opening Passage, 'In Spring, the Dawn'"

The Pillow Book consists of over 300 essays, the most famous of which begins with the line, "In spring, the dawn is beautiful." In this opening passage, Sei Shonagon describes her favorite time of day for each season, expressing her affection for scenes, weather patterns, sounds, and the warmth of fire that can only be experienced in those fleeting moments. Instead of focusing on iconic symbols such as cherry blossoms or autumn leaves, she highlights everyday objects like crows and hearths, revealing her remarkable ability to find beauty in the smallest details of daily life.

Now, let us compare the original text of this celebrated passage with its modern translation.

"Modern Translation of the Opening Lines of The Pillow Book"

Spring: Dawn is the most beautiful. The sky gradually lightens, and the edges of the mountains become faintly visible. Thin, purple-tinged clouds stretch across the sky, creating a breathtaking sight.

Summer: Night is best. When the moon is bright, it goes without saying that it is enchanting, but even in the dark of a moonless night, the sight of fireflies darting about is captivating.

Even a single firefly flickering faintly is delightful. There is also a special charm in the sound of falling rain.

Autumn: Evening is the most pleasing. As the sun begins to set near the mountain’s edge, the sight of crows flying in groups of three, four, or even two or three as they hurry back to their nests is captivating.

And, of course, seeing the long lines of geese soaring across the sky, appearing so small in the distance, is a sight full of grace. After sunset, the sound of wind and insects is beyond words.

Winter: Early morning is best. Snow, of course, makes for a perfect scene, but even when frost whitens the ground or on mornings of severe cold, watching the fire being kindled and the charcoal being carried to the rooms feels perfectly suited to winter.

As the day warms, and the fire in the brazier turns to white ash, it is no longer as pleasant.

"Sei Shonagon’s Aesthetic in The Pillow Book"

Throughout The Pillow Book, Sei Shonagon celebrates the objects and behaviors she finds elegant or refined, using terms such as "okashi" (charming) and "utsukushi" (lovely).

On the other hand, she is quick to dismiss anything she considers to lack elegance, referring to such things as "waroshi" (bad) or "susamajiki" (dreary).

This candid declaration of what she finds appealing or distasteful is one of the many charms of her work. Now, I would like to introduce you to a few selected passages from The Pillow Book that vividly convey Sei Shonagon’s unwavering aesthetic sensibilities, along with their modern translations.

清少納言【絵本百人一首 62番歌】「刀剣ワールド財団」所蔵

"Essay 146: Things That Are Lovely"

In the Heian period, the word "utsukushi" (lovely) conveyed feelings of tenderness and affection toward small or delicate things, evoking a desire to protect them. In this essay, Sei Shonagon lists various small gestures of children, animals, and even inanimate objects that she finds irresistibly adorable. Among these, her descriptions of children are particularly detailed, capturing their innocence and charm from infancy to early childhood.

Modern Translation "A child of about two or three years old, crawling hurriedly toward something, suddenly spots a tiny piece of dust, picks it up with their small fingers, and proudly shows it to the adults. This is incredibly endearing."

"A child with a bobbed haircut, gazing intently at something without bothering to brush aside the hair falling into their eyes, is truly adorable."

"Watching a boy of about eight or nine, perhaps ten years old, reading a book in his still childlike voice is utterly charming."

Sei Shonagon’s affectionate gaze also extends to baby chicks.

Modern Translation "A chick, pale in color and charming, looks as though its legs are too long for its small body, as it chirps and follows a person around. This is delightful. Watching them run along with their mother is just as adorable."

Sei Shonagon was also fond of miniature objects, expressing her admiration for small toys and potted plants.

Modern Translation "Playthings for dollhouses. Small lotus leaves taken from the pond. Tiny aoi leaves. Anything that is small is simply adorable."

During the time she was writing The Pillow Book, Sei Shonagon had already experienced marriage and motherhood, and her observations of children reflect the tender gaze of a mother. Yet, her enthusiasm for all things tiny suggests the fresh, youthful delight of a girl fascinated by miniatures.

"Essay 183: Maintaining Elegance Even in Illness"

In this essay, Sei Shonagon describes a scene where a woman has fallen ill, and her friends come to visit her.

Despite her suffering, the woman is described as "lovely" in her fragile state. Though this might seem improper by modern standards, at the time, illness was often attributed to spirits or supernatural forces, and people believed that prayers could expel these malevolent influences.

What emerges from this essay is Sei Shonagon’s appreciation for women who, even in their weakened state, manage to maintain an air of elegance, as well as her keen perception of the emotions between the patient and her visitors.

Modern Translation "In August, a woman, dressed in a soft, white summer robe, over which she wore a refined, violet-hued outer garment, lay ill with chest pain.

One by one, her friends from the palace came to visit, while outside, young noblemen also gathered, expressing their concern with words such as, 'How unfortunate this is, and to suffer like this regularly must be unbearable.' Among them, there was one who truly seemed to pity her, clearly having feelings for her.

The sight of the woman, her long, beautiful hair tied back as she struggled to sit up, was both pitiable and enchanting.　　