바쇼 홋쿠에 나타난 새의 本意와 作句法에 관한 소고 2 – 가을과 겨울 새를 중심으로 –

Abstract

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.