(harusame-ni nure-tsutsu yane-no temari-kana)
（蕪村 Buson）
the roof plays a handball,
getting wet
in the spring rain
(Lovee)
（Note)
In this haiku, Buson adopted a personification expression and the word "handball" means a Japanese traditional game "temari".
(harusame-ya koiso-no-kogai-no nururu-hodo)
（蕪村 Buson）
spring rain_
wetting tiny shells
on the small beach
(Lovee)
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春雨や暮なんとしてけふも有り
(harusame-ya kurenantosite kyo-mo-ari)
（蕪村 Buson）
spring rain_
night is coming,
I’m still alive today.
(Lovee)
(Note)
In the above translation, I have complemeted the words "I'm still alive", assuming that Buson omitted the subject of “けふも有り” (kyo-mo-ari) in this haiku.
Buson probably adopted the hiragana "けふ”, instead of the Chinese character "今日", so that readers would not misunderstand the meaning of this haiku.
It is not unusual that the subject or object of a verb is omitted in a Japanese haiku as shown in the following sites:
“俳句 365 haiku (60) 《Buson「白梅」》”
http://knt73.blog.enjoy.jp/blog/2025/03/365-haiku-60-bu-705f.html
and
"俳句 365 haiku (1)《去年今年》"
http://knt73.blog.enjoy.jp/blog/2024/12/365-haiku-daaf.html.
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(harusame-ya hachinosu-tsutau yane-no-mori)
（芭蕉 Bashō）
spring rain_
leaks from the roof
flow down on the beehive
(Lovee)
(Note)
Bashō composed this haiku at his age of 51 in 1688.
By coincidence, this article of "365 まんぽ haiku" is issued on “March 8”, which is the day of “beehive” according to a Japanese pun, because of the similarity in the pronunciation of the two words.
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(harusame-no koshita-ni tsutau shimizu-kana)
（芭蕉 Bashō）
a spring rain_
flowing under the trees,
spring water
(Lovee)
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不精さや掻き起こされし春の雨
(bushō-sa-ya kakiokosare-shi haru-no-ame)
（芭蕉Bashō）
laziness_
awoken by scratching_
spring rain
(Lovee)
(Note)
Basho composed this haiku at his age of 48 in 1691.
(harusame-no ikō-ni-omoshi koigoromo)
(虚子 Kyoshi)
an amatory garment
too heavy for a clothes rack_
the rainy spring
(Lovee)
(motare-aite taorezu-ni-aru hiinakana)
（虚子 Kyoshi）
leaning against each other
without falling over_
hina dolls
(Lovee)
(Note)
According to the late Ms. Teiko Inahata (a granddaughter of Kyoshi Takahama), Kyoshi composed this haiku at his age of 24 in 1897.
It seems that this haiku implies the status of Kyoshi's married life with Ito, who was once affianced to Hekigotō Kawahigashi by their parents.
Kyoshi and Hekigotō were long-time friends and in rivalry with each other.
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雛よりも御仏よりも可愛らし
(hina-yorimo mihotoke-yorimo kawairashi)
（虚子 Kyoshi）
lovely!
more than hina dolls,
more than Buddha
(Lovee)
(Note)
This haiku was composed by Kyoshi as a haiku of condolence when his granddaughter died on March 5, in 1929, only 80 days after her birth.
Please note that this is a literal translation of the original haiku, in which the subject (granddaughter) is omitted.
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(kusa-no-to-mo sumi-kawaru-yo-zo hina-no-ie)
（芭蕉 Bashō）
the house with a grass-door,
now a dwelling for
a family with hina-dolls
（Lovee）
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しら梅に明くる夜ばかりとなりにけり
(shiraume-ni akuru-yo-bakari-to nari-nikeri)
(蕪村 Buson)
(Translation A)
the night dawning for
white plum-blossoms_
that's all what remain to me
(Translation B)
the night dawning for
white plum-blossoms_
that's all around me
(Lovee)
This haiku is a farewell poem by Buson, and various translation is possible, depending on what you supplement for the subject that Buson omitted in this original haiku.
(Note)
The following translation by the world-famous late Stephen L. Addiss in “The Art of Haiku” is a translation based on his interpretation:
among white plum blossoms
what remain is the night
about to break into dawn
It seems that he did not understand the Japanese syntax of this haiku well.
See "俳句の新解釈・鑑賞 《しら梅に明る夜ばかりとなりにけり（与謝蕪村）》" (http://knt73.blog.enjoy.jp/blog/2017/02/post-2329.html)
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