『源氏物語』의 四季 - 마보로시 권을 중심으로 -

Abstract

This paper looks into the four seasons of Genjimonogatari by focusing on the Maboroshi chapter. Genjimonogatari expanded its domain as a prose literature by inheriting the Waka tradition, which was established by Gonkinshu. The Maboroshi chapter deals with the four seasons in one year, and this indicates that the chapter manifests the concept of four seasons in Genjimonogatari. Firstly, by examining previous studies which put emphasis on the images of closure in Maboroshi chapter, this paper posits the need to reexamine the significance of the chapter. A further analysis of the four seasons waka, one of the distinct characteristic of the Maboroshi chapter, revealed the difference compared to the four seasons in Gokinshu. The Maboroshi chapter includes the winter season unlike Gokinshu. The comparison of the correspondence between waka and prose led to the result different from the images of closure based on the correspondence within waka. The overlap of winter snow and flower implies the coming of spring and this is a clear indication that the four seasons in a year was perceived as a continuous progression of time. The significance of the unexpected appearance of Genji was identified in accordance with this finding. The contrast of the appearances between Genji and Niou, as well as the contrast between the old Genji and young Niou, shed light on the logic of the monogatari. The same logic could be found in the contrast between Genji and Onna-san. Finally, the paper confirms that the four seasons in the Maboroshi chapter carries out the logic of monogatari through the correspondence of waka and prose. Unlike its predecessors, Genjimonogatari has given a new role to the four seasons by the innovative use of waka and prose.