근세 하이쿠에 나타난 ‘나비’의 정서 - 바쇼, 부송, 잇사에 이르기까지 -

Abstract

Butterflies, both the East and the West, appear as literary terms. In Japan, however, it rarely appears in waka, and it is actively dealt with in Edo haikus. There are two reasons why butterfly does not appear in waka. First, because butterfly comes out like a resurrection from the pupa, it has a mysterious image of death and soul, which does not match with the aesthetics of ‘elegance’. Second, the sound of the Chinese word ‘chō’ does not match with the rhyme of waka. In rare cases, butterflies appear in waka, used as a metaphor of Chuang-tzu’s ‘the dream of butterfly’ to express ‘vanity’. In Edo haikus, butterfly is actively recited as a seasonal word of spring and autumn. As a whole, ‘dream’ is the most related word of butterfly due to the influence of ‘the dream of butterfly’ in Chuang-tzu, but butterflies get more and more related to life sense. In Basho haikus, the image of ‘the dream of butterfly’ strongly appears at the beginning due to the influence of Chinese poetry, but ‘Basho’s wandering’ is projected on the ‘worn-out butterfly’ in his later years. In the case of Buson, almost all the works not only utilize the image of ‘the butterfly dream’, but they also use the nature of butterfly to sensuously describe the intersection of dream and reality. Issa wrote approximately 400 haikus. However, unlike Basho or Buson’s verse, butterflies are regarded as ‘familiar life forms’, breaking away from ‘the butterfly dream’ image. Therefore, butterfly is sometimes expressed as a companion of life, sometimes as an object of compassion, and sometimes as an object of envy.