When Shonagon writes, at the end of The Pillow Book, that “all moonlight is moving, wherever it may be,” she distills a major theme of her text (254). Whenever considering fabrics, scenes in nature, or scenes from her own life, Shonagon deliberately notes the quality of light (directly connected to the time of day) in order to convey a clear image of the special effect light can have on a place.

“Walking at dusk or dawn” is one of the most moving experiences for Shonagon (120). Perhaps it is the power of light that creates illusions; often, it is the proximity of light to the night that also creates intrigue. Much of The Pillow Book concerns spectacle, like grand festivals celebrating Buddhist milestones or elevating the Emperor and Empress. Light can contribute to spectacle.

The nighttime, too, is a greatly anticipated time. Dawn and dusk are times of great importance and mystery for lovers. While Shonagon often thinks of and describes scenes in nature before or after the night, she also frames the lovers she frequently describes as bathed in moonlight, or dawn light, to add texture and romance to the scene. Light, then, is the vehicle by which Shonagon can create a

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