『설국』에 나타난 나방의 이미지와 고마코

Abstract

This paper explores an authorial intent by focusing on, especially, moths among the insects that are important subject matters in Snow Country. Shimamura, the male protagonist, views Komako, the female protagonist, as intertwined with the image of moths. Set in Yuzawa, Niigata, a region known for its silkworm farming, the novel frequently shows the term such as silkworms, moths (especially silkworm moths), and cocoon warehouse, etc. And it is assumed that the story is based on the author Kawabata’s experience of moths’ ecology during his visit to the area. At the start of the novel, Komako is described as having transparent skin, like that of a silkworm, due to her living in the room where silkworms are cultivated. As the story proceeds to the middle part, her image gradually evolves to include reflections of moths. Moths are known for their plump bodies and small wings, which limit their ability to fly and cause them to struggle in pursuit of light. This is juxtaposed with Komako’s vibrant life and full figure. We can discover a sensual element through the usage of moths, which contrasts with the aesthetic of auditory insects such as ‘Suzumushi’ of The Tale of Genji. In contrast, Yoko, a character with a beautiful voice, is associated with the image of a classical ‘singing insect,’ and she dies in a cocoon warehouse. As demonstrated above, Snow Country showcases a variation in the aesthetic of life and death, contrasting two women by employing insects.