Підтекстова природа хайку

Abstract

(uk) У статті досліджуються особливості підтекстової природи хайку. Авторка детально розкриває механізм вираження та сугестування прихованих смислів та встановлює значення кодів дзен-буддизму для їхнього осягнення на прикладі творів МацуоБасьо.(en) Japanese haiku is characterized by a powerful subtext. The main artistic meaning of the work is unspoken, and by guesswork, throughhints, the recipients imagine, feel, and discover the real sense of th etext. The purpose of the paper is to consider the peculiarities of the subtextual nature o f haiku on the example of Matsuo Bashō’s works. The love of nature, th chanting of its beauty, to which the Japanese have always beenparticularl ysensitive, become the main theme of most haiku. Through the images of nature, the poet reveals inner experiences, and th ereader is charged with thes inne rexperiences. The appeal to nature represents special worldviews, the origins of which must be sought in religious specifics. The first manifestations of a special attitude to nature are noted in the original religion of the Japanese–Shintoism, where the apotheosis o fnature was vital and significant. Thisapproachisgreatlyreinforcedbythebasic principles of Zen Buddhism, according to which contemplation and empathy of nature help the recipients to know the truth. Landscape sketches of haiku generate different emotions and feelings that are fully revealed in the heart of the reader beyond the poetic text and after its perception. It is the hint that becomes the defining technique, which give srise to associative overtones. Despite the fact that the haiku are filled with signs tha tcarry primarily information related to Japanor Japanese culture, poetic works do not lose the irrelevance beyond their homeland. This can be explained by the extraordinary depth of the subtxt and the semantic richness of the haiku images that each reader can interpret in his/her own way. The author has proved that haikuis marked with a deep subtext, because the main and true meanings are implicit, and through subtlehints, symbolic images or precise impulses, the reader thinks or imagines what remains outside the text, inparticular beyond verbal vivid pictures, and at the same time receives an incredible emotiona land semantic charge, reaching the Satori.