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pdf, “Zhinang (Chinou)” is a book of contriving schemes of the ancient compiled by Feng Menglong in late Chinese Ming dynasty. Although some things have been pointed out about acceptance of this book in early modern Japan, no systematic arrangement and general analysis have been made. In literature, kana-zoushi “CHIE-KAGAMI” (1660) by Tsujihara Genpo is based on this book. It is pointed out that “CHIE-KAGAMI” exerted more than a little influence on Ihara Saikaku and Ejima Kiseki’s ukiyo-zoushi, which, however, I must say was an indirect influence from “Zhinang”. In fact, this book and early modern Japanese literature have an intimate relation. For instance, excerpts from this book are confirmed in similar books published in Japan such as “Kunmou-koji-yougen” and “Yugu-zuihitsu”. Also, as to yomihon “Aoto-Fujitsuna-moryouan” by Kyokutei Bakin, several ideas in his works are considered to be based on this book and his works are deeply related to this book in terms of composition as well. On the other hand, until now, acceptance of “Zhinang” has been little mentioned in other areas except in literature. Now, I want to look at how this book has been accepted in the fields of education and academia in early modern Japan. National Diet Library houses a manuscript called “Chinou-kikigaki” copied by Confucian scholar Nakai Riken which is believed to be an explanatory booklet for this book. One fifth of “Choushou-ian” compiled by other Confucian scholar Tsusaka Touyou in the late Edo period was written based on this book. It shows the Confusion scholars’ high level of interest in this book. The reasons are not only the contents of the book, but also it seems to be affected by the fact that Feng Menglong was a Yangming Xue scholar. The publication of this book in Japan compiled by a Confucian scholar Ikai Keisho was a milestone in the history of its acceptance (1821). Then, the book became widely read and known than before. People began to acknowledge the value of the book gradually and the feudal government's school Shouhei-kou published the book as the government publication, and the Hiroshima Domain and the Yoshimi Domain followed suit. That shows the usefulness of this book as a textbook. Therefore, when we think about the history of acceptance, we must recognize the two sides of the book; one is the literary side providing materials and ideas to similar books in Japan, ukiyo-zoushi and yomihon, and the other is the educational side teaching knowledge and tenets to Confucian scholars.

pdf, The first Chinese person to translate Ihara Saikaku’s ukiyozōshi into Chinese was Qian Daosun (1887-1966). “Selected works of Chikamatsu Monzaemon and Ihara Saikaku” was published by Jinmin shuppansha in 1987. The book contains a complete Chinese t ranslat ion of Chikamat su’s four jōrur i ( “Sonezaki shinjū”, “Shinjūtennoamijima”, “Kagekiyo” and “Shunkan”) and Saikaku’s two chōninmono “Nippon eitaigura” and “Sekenmunesanyō”. Qian Daosun is the well-known leading person who translated “Manyōshū” and “Genji monogatari” into Chinese. He is a t ranslator of Japanese literature who translated “ Isemonogatari” and “Nihonyōkyokusen” as well. The study on Qian Daosun’s personal antecedents, his associates and his translations has been done in recent years. Especially, his translation of “Kanyaku manyōshūsen” has been focused on as a subject of study. However, there is no study on his translation of Saikaku’s “Nippon eitaigura” and “Sekenmunesanyō”. Shen Fei, who is a well-known translator of “Heike monogatari” comments on Qian Daosun’s translations of Saikaku’s work as follows: “Mr Qian tries to keep the original’s style of a distinctive quality alive. He uses poetic diction and slang together. His style of translations is sometimes solemn and sometimes humorous and it matches Saikaku’s work. (the original text 「力図符合原作的文章風格、雅語与俗語 兼用、時庄時諧、很是得体」) Considering Saikaku’s style, Qian does not use contemporary Chinese for his translations. He adopts the style which is akin to hakuwa tai (spoken language and slang in China) of popular novels in the Min and Shin era. Therefore, without spoiling, an atmosphere of the Edo era, which somehow resembles the Min and Shin era, is expressed. We can find such a device not only in the text but also in the subtitles of each story. In this presentation, I am going to mention the relationship between a translator of Japanese literature Zhou Zuoren, who was equal to Qian Daosun at that time and Saikaku’s work while examining the historical background of Qian’s translations of both Saikaku’s literary works and his style of translation.