earticle

영어

This study is a perspective on the lyricism expressed in the haiku of Kobayashi Issa who is a representative in the late haiku period of Edo based on the Haiku reciting about “butterfly”.In fact, poetic words are expanded in the meanings or implications on the basis of the traditionalism of Japanese poetry. Accordingly Issa’s haiku is also beeing studied the same way. However, in this paper, the lyric elements those are noticeably expressed in Issa’s haiku, “butterfly” has been examined over the symbolism on “butterfly” from the existing classic poetry based on the conventional elements. As a result, ‘humour’ and ‘compassion for the weak’ which are already well-known characteristics of Issa Haiku were expressed very well in the ‘butterfly’ haiku too. In addition, his several works were discovered on which “distinctive expression on colors” reflecting the lifestyle well in those days and “the image of living together” were drawn very well. It is revealed that these characteristics are very unique because they are very difficult to be found from the previous period of haikus and even contemporary haikus and therefore they are the elements shown solely and distinctively on Issa’s haikus. Furthermore, these kinds of expression are key elements that help understand lyricism of Issa’s haikus and characterize them. And, through the “butterfly” the modern-people-friendly lyricism revealing the element of “Humanism” via haiku was well implemented. Moreover, this kind of lyric expression is a powerful expression of sensitivity that may not be discovered from the works of the masters of Haiku like Matsuo Basho, Yosa Buson in Edo period. And, even if it is appreciated or translated with the sensitivity of modern lyric poetry, it is never awkward. So, he is a lyricist who foresaw modern sensitivity and put it in practice.

일본어

本稿では、主観性の強い小林一茶の俳句における詩的な叙情性を｢蝶｣を詩語(季語)とする俳句(発句)の作品を検討し、その意味をより明確に追究しようとしたものである。特に伝統的な詩語の一つである｢蝶｣の象徴性は一茶文學の強い主観性と交わって17音節のリズムの中で、様々な叙情性を表出していることに注目した。つまり、詩語(季語)の象徴性による伝統性を失わないながらも詩的な自我と現実的な自我の一致をもって感動的な叙情詩に引き上げているからである。 なお、中国から始まった｢莊周の斎物論｣と関連して一茶の場合、春を中心語(季語)とする‘蝶’俳句からはほとんど見つけることができなかったという点である。 特に、本研究で論じた｢蝶｣に注目した理由は、一茶俳句の普遍的な特徴を巧く生かしながらも、江戸時代の状況をよく読み取ることができる要素を｢蝶｣俳句をとおして効果的に表現できたからである。