Akiko Takeuchi
University of Tokyo
& Columbia University
"Renga"를
쓰는 작가는 원래의 대사의 의미를 재해석하여 새로운 대사를
추가해야 한다. 다시 말해 원래의 대사가 지닐 수 있는
여러 가지 의미들에다 작가는 새로운 의미를 발견하여
이를 추가함으로써 의미를 바꾼다는 것이다.
In composing a renga, a poet is required to add a
new line to the previous one, by reinterpreting its meaning.
In other words, among the various possible meanings that
the previous line might have, the poet chooses a new one,
thereby often shifting its signified. In a sense, renga
is a form of wordplay that finds delight in revealing the
arbitrariness of the link between signified and signifier.
This arbitrariness inheres in language itself, but is unconsciously
neglected or concealed in daily usage.
이같은 관행은 Zeami가
낡은 메타포를 다루는 방식에서도 발견되어 진다.
A similar
skeptical attitude toward this link between signifier and
signified may also be observed in Zeami? handling of worn-out
metaphors.
In the terms of interactive theory, metaphor originally
creates a new awareness by seeing its tenor through the
"filter" of its vehicle. But once a metaphor becomes
clichéd, the vehicle (signifier) becomes nothing
more than a transparent vessel containing the tenor (signified),
and the link between them comes to be taken for granted,
without producing a new awareness.
Zeami, however, tries to bring this hidden link to the surface
and revive a "new" awareness in some of his works.
In these instances, the customary link between the signified
and signifier of worn-out metaphors cannot be left as a
matter of course, and must be newly guaranteed by an actual
basis (e.g. Funabashi). Moreover, Zeami sometimes
even creates plots for the express purpose of offering such
a guarantee (e.g. Koi
no omoni and
Hanjo). Both Zeami and the renga
poets begin by doubting the basis of the customarily fixed
link between signifier and signified. Through an examination
of these plays, we can shed new light on the profound influence
that renga exerted upon Zeami's dramaturgy.
E-mail the presenter:
AkikoCR@aol.com
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Created
February 4, 2000
Last revised
February 4, 2000