바쇼 홋쿠에 나타난 새의 本意와 作句法에 관한 소고 2 – 가을과 겨울 새를 중심으로 – (A Study on the Traditional Meaning of ‘Bird’ and the Method of Creation in Basho’s Works 2 - Focusing on ‘bird’ in the works of autumn and winter -)

서지정보

· 발행기관 : 한국외국어대학교 일본연구소
· 수록지 정보 : 일본연구 / 76호 / 153 ~ 176페이지
· 저자명 : 이현영

초록

本稿は、芭蕉の発句に表れている鳥の本意と作句法に関する考察である。先稿では 春と夏の鳥に関して検討し、ここでは続く秋と冬の鳥を対象として検討することにす る。特に歌語の伝統的な本意が芭蕉の発句でどのように受け継がれ、どのように変化 を見せるか、そしてどのように作句に活用されるかを和歌、連歌、初期俳諧の歌論書 および作品を通してその流れを把握し、芭蕉ならではの特徴を探ろうとする。この作 業は芭蕉の求めていた鳥という季語の世界と芭蕉の発句の世界を理解するに大いに役 に立つと思う。 現存する芭蕉の発句は作句年代未詳の作品を含めて総976句であり、そのなかで鳥 を詠んだ作品は総88句である。春25句、夏38句、秋11句、そして冬14句である。秋と 冬の作品は春と夏に比べて少ないが、秋の発句には鴈と鶉、冬は千鳥、鴨、そして鷹 などがある。鳥の種類が最も多い季節は冬で、総10種類登場する。 まず、秋の鳥としては‘雁’と‘鶉’について、次に冬の鳥としては‘千鳥’と‘鴨’について 調べ、和歌での本意と季語の本意を詮索する。また、このような検討を通して芭蕉は 伝統的素材の持っていた本意をどのように受け継ぎ、どうのように変化して行くかを 検討する。そして、その本意に基づいた新しい素材と表現を俳諧にどのように活用し ていくか、その上、俳諧だけの独自の世界をどのように築いていくかを、‘鳥’を季語と した発句を通して明らかにしようとする。

영어초록

Above, I examined the autumn birds and winter birds used in seasonal language in Basho’s works. Autumn’s representative birds examined the traditional pattern and the process of change from geese, quail, winter’s representative birds and ducks to Basho’s works. The results are summarized as followed.
First, it is important to note that the ‘goose’ version of the ‘goose’ is a general view of the scenery, but it also contains lyrical aspects. Basho is not only a traditional expression of western expression when used as a ‘geese’, but also a new contribution called ‘sick geese’ or ‘colored flower’ instead of a traditional article. This can be a new way of writing for Basho, which combines the characteristics of traditional Waka and Haikai.
Second, the pattern of ‘quail’ is to recite a crying cry from a desolate field, as the winds of the late fall sweep the body. In this way, the quail that Basho focuses on is constructing a new perspective based on an attempt to grasp the characteristics of the material, based on the tradition, and the connection with daily life.
Third, the pattern of shorebirds swarms in the winter waters, but the cries are very pitiful and expressive. However, the shorebirds in Basho’s works are not muted, but they are changing to a light and cheerful atmosphere. In addition, there is no cry for the traditional bones, and only the emerging plovers from the creek in the deepening cold winds of the evening. This is also a new way of expressing Basho.
Fourth, the duck’s bona fide frost is a cold winter night. In Waka, the emphasis was on the harmony of the two vocabularies like “frosted duck wing”, and in the early Haikai, humor was demonstrated using the homonym of “reed and duck bridge”.
On the other hand, Basho not only visually expresses the auditory sensation of the duck’s cry, “dimly white,” but also focuses on the wintery duck bridge covered with warm hair. In this way, it was confirmed through the above examination that Basho’s method of writing was based on tradition but did not spare effort to look at the material with Basho’s unique perspective and focus on it to create a new work.

참고자료

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