Chapter 2 Qing Shao Na Yan and Pillow Grass─── Preface to the edition of "Chinese and Foreign Literature"

Qing Shao Na Yan and Pillow Grass─── Preface to "Chinese and Foreign Literature" Edition -- 1 -- The author of "Pillow Grass" is Qing Shao Nayan, a female writer from the Heian Dynasty.There is almost no doubt about this statement in the common sense of Japanese academic circles or ordinary people. However, there are few materials to refer to Qing Shao Nayan's life story and family background. The book "Pillow of Grass" written by her has become an important source of information for later generations to shape her recovery character. This article will synthesize the research results of Japanese academic circles in recent years, briefly introduce Qing Shao Nayan and his family background, and briefly explain the content and attributes of the book "Pillow Grass".

Qing Shao Nayan's father, Kiyohara Motosuke, once served as the governor of Higo.Although his official position is not high, he is quite talented in literature. There are 106 waka works included in the "Houzhuan Waka Collection". And he personally served as the training point of "Manyoshu".His personality is brisk, free and easy, advocating freedom.His character seems to have been passed down to his daughter Qing Shao Na Yan. Qing Shao Nayan's grandfather Chun Guang and his great-grandfather Shen Yang Zeng are also known for their proficiency in waka. There is nothing to test about Qing Shao Nayan's matrilineal relatives.

Qing Shaonayan has several brothers: Yale Tou Weicheng, Dazai Shaojian Zhixin, Huashanyuan Dharma Master Jiexiu, etc., and another sister, who married Teng Yuanneng as his wife. The title "Qing Shao Na Yan" is the official title the author received when he was a female official in the palace. "Qing" comes from her maiden surname "Qingyuan".In the book "Pillow Grass", the queen called it "Shao Na Yan"; as for why it was called "Shao Na Yan"?There is no conclusion yet at this stage. It was customary at that time that female officials were often called by the official titles of their close relatives such as their father, husband, or brother, but among the close relatives of Shao Nayan in the Qing Dynasty, there was no official title of Shao Nayan.

Or it can be said that Qing Shao Nayan had a husband with the official title of Zhongnayan before he became an official in the palace, so he got this title; As for the so-called Shao Nayan's background, among the female official ranks, it belongs to the lower to middle ranks. Qing Shao Nayan's birth time has also not been determined. Calculating from the interpersonal relationship in "Pillow Grass", it may be around the third year of Kangbao (966), ten years older than Empress Dingzi, and about the same year as Taoist Chief and Gongren. In the relationship between men and women in the Heian period, it was extremely difficult to distinguish whether they were husbands or lovers.

Judging from the article in the book "Pillow Grass", Tachibana Norimitsu and Fujiwara Toyo may have had a husband and wife relationship with Kiyosona Yan. In addition, it seems that Shifang, Xingcheng, Jingfang, and Chengxin have also had close relationships. Qing Shaona said that there may be one or two daughters.One of them was born with Dong Shi. About when she entered the palace as the Queen of Stingzi?The academic world has also been inconclusive.Perhaps around the age of twenty-five, the failure of her marriage with Ju Zeguang contributed to her determination to enter the palace.

From the text of "Pillow Grass", we can imagine that in the eyes of Qingshao Nayan, Empress Stingzi is almost a supreme and perfect existence, and the queen also appreciates and relies heavily on Qingshao Nayan. Until the death of Empress Dingzi in the second year of Changbao (1000), Qing Shao Nayan was always in the palace.As for leaving the palace, it may be in the year of the queen's death, or a year after. Qing Shao Nayan, who retired from court life, lived in Settsu Kingdom for a while.He spent his later years alone in the outskirts of Kyoto.As for the year of her death, there is no way of knowing.

The above introduction actually does not allow people to fully understand the author of "Pillow Grass" is Qingshaonayan, everything is vague and ambiguous. This phenomenon also easily reminds us that "The Tale of Genji" is now well-known in the global literary world, but the author who everyone knows is always hidden. It always seems that through layers of veils, it is impossible to see through her true face. Coincidentally, there is a passage in "Murashi Shikibu's Diary" that mentions Qing Shao Nayan: Qing Shao Nayan is holding a big airs.She writes Chinese characters so self-righteously. In fact, if you look closely, there are many places that may not be proper.

People like her who deliberately want to surpass others are often not very good in reality, and will inevitably end up in a sad end; Even if the occasion is boring, I want to forcefully cultivate my emotions. As for the really interesting things, I refuse to let them go, so it is naturally unexpected, or It's floating in the air.How can the result of such a superficial person have a good reason? This passage comes from Murasaki Shikibu, the author of "The Tale of Genji". It can be said to be the earliest comment on Qing Shao Nayan, and it is also a female writer. The focus of the comment is rather on her writing.

From these words between the theory of characters and the theory of works, Murasaki Shikibu's words, on the one hand, put forward a criticism of another talented woman of the same period, On the other hand, it also shows her own qualifications and feelings.Since then, Japanese literary critics have always liked to compare "The Tale of Genji" with "Pillow Grass", consciously or unconsciously. Commentators often think that although the two are sometimes in a state of opposition, they are actually very similar.As for Murasaki Shikibu's apparently severe criticism,

In fact, it might not be that in the hostile consciousness (rival consciousness), we keenly observe the common points between the opponent and ourselves.