An Analysis of Femininity, Taste, and Buddhism in The Pillow Book

This essay provides an analysis of Sei Shonagon's 'The Pillow Book,' examining the interplay of feminine and masculine factors within the context of 11th-century Japan. The essay explores the significance of the slow reading pace and elegance associated with female writers of the time, contrasting it with the masculine association of Chinese letters. It delves into the concept of courtly taste, using examples from the text to illustrate the cultural nuances of the era. Furthermore, the essay considers the influence of Buddhism on Shonagon's writings, particularly her appreciation for nature and her later life as a Buddhist nun. The author argues that Shonagon's work offers insights into gender dynamics and the evolving role of women in Japanese society, highlighting the author's intelligence and ability to use language to convey her thoughts. Finally, the essay references specific lines from the text to demonstrate the author's descriptive abilities and the influence of Buddhist themes on her writing.

Running head: THE PILLOW BOOK
The Pillow Book
Name of the Student
Name of the University
Author Note

1THE PILLOW BOOK
1. In the writings of Sei Shonagon, feminine and masculine factors have been considered as
integral factors. During those times when writings of Sei Shonagon were published, Chinese
letters were considered as masculine ones. Her writings The Pillow Book (Makura no soshi) had
been complied in the early years of 11th century (Shōnagon: 12). These writings had survived for
centuries. The Pillow Book by Sei Shonagon had been written at a time when another piece of
literature named The Tale of Genji was written by Murasaki Shikibu. These two female writers
from Japan wrote down these pieces of literature in same circumstances of court life. Sei
Shonagon was a divorcee as historical records suggest. After that she entered the court life and
wrote beautiful poems as a piece of literature. This writing named The Pillow Book had to be
read very slowly (Shōnagon: 12). It is quite understandable slowness was a feature of feminism.
Thus it is apparent that Sei Shonogan’s writings had an essence of feminism.
2. There are many surprising things that could be connected with the women of the 11th century
of China and Japan. The quality of literature or poetry is the most crucial things written down by
Chinese and Japanese women. The poetry or other pieces of literature had to be read very slowly
to be understood (Ivanova: 34). It took at least three times to read and comprehend these writings
completely. Thus these writings had been very much elegant and graceful just like women used
to be. Sei Shonogan was of the opinion that she liked the free flow of literature based on the
psyche of females (Lawall and Maynard). Thus the aspect of femininity has been associated with
writings of these female writers. The lines written down by these female writers were very much
modern and classical as well. The slowness of tempo or rhythm used in these writings was most
important segments of their writings. These were classical, real and funny as well. The specific
example from the text regarding courtly ‘taste’ of Japan is “I remember one occasion when I
visited the Palace to see the procession of blue horses. Several senior courtiers were standing

2THE PILLOW BOOK
outside the guard-house of the Left Division; they had borrowed bows from the escorts, and, with
much laughter, were twanging them to make the blue horses prance”. (Shonagon and Morris).
3. The courtly ‘taste’ of the 11th century Japan could be felt through the writings of these female
writers like Sei Shonagon and Murasaki Shikibu (Lawall and Maynard). The Tale of Genji by the
later mentioned female poet is also a good example how this 11th century Japan had been
presented. In the Pillow Book, readers are invited for the excursion that has given opportunities
to explore the world through amazing expressions revealed through poetic brilliance (Ivanova:
34). As the writings of these people began to be published and compiled, a new sense of gender
equality began to come to existence (Shonagon and Morris). The audio recording of these
manuscripts were best examples how society could be presented properly. The freedom of
women could be understood by this new equality between men and women. The Chinese letters
were considered as masculine but Japanese letters were treated as feminine because of its
elegance and slow rhythm. Therefore, the position of women in Japan came to be revitalized
(Lawall and Maynard).
4. a) In the selections, the authors have given a vivid descriptions about many important things
like physical grace and genuine appreciation of shape, color and many other things. Therefore, it
is quite clear the author has meant to say that Sei Shonagon was a very intelligent lady who used
to utilize her words for making people understand her intentions and what she would like to
include in her poetry (Ivanova: 34). She even told the empress that she would use the excess
paper for her pillow. She used the word pillow in an ironical tone. Thus she meant that she would
write down all her thoughts in the paper and keep them beside her pillow. Thus the tone she used
was quite prolific (Shonagon and Morris). He readers had to assume these thoughts with much
difficulty indeed. Many pleasant and depressing things have been displayed in the writings of Sei

3THE PILLOW BOOK
Shonagon. So, it is quite clear that Sei Shonagon was an exceptional female poet of her
generation (Henitiuk: 34). An example can be given from the selections with the line “The face
of a child drawn on a melon”. This line depicts the subtlety in shape, proportion and brilliance of
the author.
5. There are certain cases where some influences of Buddhism have been seen in the writings of
Sei Shonagon. She was the court lady of Empress Teishi. Readers have found the influence of
tama of nature in her writings when she evidently said ‘When the sun has set, one’s heart is
moved by the sound of wind and the hum of insects’. The love for nature is a very intrinsic part of
Buddhism (Snyder). She also became a Buddhist nun at the later stages of her life. This is why
many influences can be found when she wrote down her poems and other pieces of literature.
The books were written in the Heian period when spread of Buddhism was going on. In the
beginning years of her writing, there are hardly any influences of Buddhism as she became a
Buddhist nun at the last stage of her life (Snyder).

4THE PILLOW BOOK
References and Bibliography
Ivanova, Gergana Entcheva. Knowing women: Sei Shōnagon's Makura no sōshi in early-modern
Japan. Diss. University of British Columbia, 2012.
SHŌNAGON, SEI, and Ivan Ira Esmé MORRIS. The Pillow Book of Sei Shōnagon. Translated
and Edited by Ivan Morris. Penguin Books, 1970.
Shōnagon, Sei. "Makura no sōshi (The pillow book)." Edited by Matsuo Satoshi and Nagai
Kazuko. KNK (1974): 12-13.
Snyder, Gary. Cold Mountain Poems. Counterpoint Press, 2013.
Lawall, Sarah N., and Maynard Mack. The Norton anthology of world literature. Norton, 2001.