Basho's Haiku in English  (3~4/300)

   　　　　

山路来て何やらゆかしすみれ草　（芭蕉）

  yamajikite naniyarayukashi sumiregusa  (Basho)

    

  (Translation by L.P. Lovee)

  coming through a mountain path,

  somehow graceful_

  violets

    

    

永き日を囀りたらぬ雲雀かな　（芭蕉）

　nagakihio saezuritaranu hibarikana　（Basho)

   　

(A) Translation by L.P. Lovee 

　the so-called long-day

　insufficient to fully sing_

  skylarks

    

(B) Translation by John White & Kemmyo Taira Sato

　throughout a long day

　with never a pause at all

　a skylark in song

 

（A）の英訳では、「永き日」が春の季語（「日永」）のであることを明瞭にするために「so-called」を補足しています。（B）の英訳は誤訳(mistranslation)です。原句の句意と違うばかりでなく、雲雀は上空で一しきり鳴くと鳴き止み地上に降りますから「never a pause」は実態的にも誤り(wrong)です。

　　　　

最新の俳句や英語俳句の記事は、青色文字の「俳句」や「HAIKU」をタップしてご覧下さい。

この「俳句HAIKU」をタップすると最新の全ての記事を一覧できます。

  

Challenging Basho's haiku in English

   

・霧しぐれ富士を見ぬ日ぞ面白き

kirishigure fujiominuhizo omoshiroki

  

 (A)

showery mists

hiding Mt. Fuji today_

amusing!

　

(B)

mist and gentle rain,

fuji can’t be seen today;

how fascinating!

 

（A）は、「霧が時雨のように富士山を隠す様子が面白い」と芭蕉が詠んだものと解釈して英訳したものです。（B）はJohn White と Kemmyo Taira Sato両氏の共訳ですが、5-7-5音節に拘る弊害か、原句の句意・ニュアンスを表現しきれていないように思います。

貴方はどう思いますか？

　　

  

 　　

（P.S. 2022.12.2）

HIA 「国際俳句交流協会」の名称が「国際俳句協会」に変更されました。

　　　

   

（2019.1.13の記事）

   

芭蕉の高弟である服部嵐雪の辞世句とされる下記俳句のドイツ語訳について不審に思ったドイツの「俳句メル友」から、新年早々に、この俳句の解釈について問い合わせのメールを受信しました。

　　　　　　

 　

・一葉散る咄ひとはちる風の上

　　 　

この俳句のドイツ語訳は次のとおり英訳してありました。

　　

A single leaf falling
sheer lunacy!

A single leaf drifting away with the wind

　　

　

そして、句友の英訳は次のとおりドイツ人らしい合理的な翻訳です。

　　　　　

Loosen from the tree
the helpless leaf
is drifting away on snowflakes

　　　

　

「sheer lunacy」は「愚行」とか「まったく馬鹿げたこと」と言うような意味です。（研究社大英和辞典）

　

「咄」は「叱る声」や「事の意外さに驚き怪しむ声」です。（広辞苑参照）

　　

そこで、「咄」は座禅に使われる「喝」と同じような一種の擬音であること、この俳句の「葉」は「人間」の比喩と捉えるのが良いと思う旨説明し、次のとおり筆者独自の大胆な意訳を連絡したところ、「amazing!」と感嘆した旨の返信が来ました。

　　　

　

man dies as a leaf falls_

Basho has passed away,

now, me too.

　　　

 　

因みに、R. H. Blyth 氏は A History of Haiku (Volume One) において、「この辞世句は美しいが、何か nerveless である」と付記して、次のように文字どおり英訳しています。

　　

A leaf falls,

Totsu! Another leaf falls,

Carried by the wind.

 　

「nerveless」は研究社大英和辞典によると「弱弱しい」とか「冷静な」という意味ですが、Blyth はどちらの意味を指しているのでしょうか？

　　　

　　

Stephen Addiss 氏は The Art of Haiku において、「『咄』は禅の叫び声である」と付記して、次のとおり英訳しています。

　　

a leaf falls

Totsu! a leaf falls_

riding the wind

 　

上記２氏の英訳は「風に運ばれる」とか「風に乗る」と英訳していますが、嵐雪は「風の上」と表現して「昇天」を暗示したのではないでしょうか？

さらに、「咄」と擬音で注意を喚起して、「ひとはちる」と「ひらがな」を用いて「人は散る」と読ませることを意図していたのではないでしょうか？

　　

穿ちすぎでしょうが、高浜虚子は嵐雪の辞世句が潜在意識にあって「春の山屍を埋めて空しかり」に同じように「ひらがな」を用いる手法を使ったのかもしれません。

　　

英語は論理的な言葉ですから日本語ほど連想を伴いません。比喩的な俳句は文字通りの英訳と意図された比喩の意訳を併用すると日本語の原句にある暗喩のニュアンスが理解されやすいと思っています。

　　　

国際俳句交流協会ＨＰ掲載の「高浜虚子の俳句をバイリンガルで楽しもう！」をご覧下さい。

　　

俳句の翻訳に興味があれば、「俳聖の偉蹟を尋ね秋の伊賀（俳句と写真）」や「俳句の国際化 ＜言葉の壁を破るチャレンジ＞」をご覧下さい。

　　

  　

（青色の文字をタップするとリンクされた記事をご覧になれます。）

　　

青色文字をタップすると、最新の「俳句（和文）」や「英語俳句」の記事をご覧頂けます。

トップ欄か、この「俳句HAIKU」をタップすると、最新の全ての記事が掲示されます。　　　

　　

   

Tap the following titles to see haiku and pictures on the respective trips.

  

・Trip to Poland (Haiku and pictures; lecture on haiku)

  

 

      

  

 

      

・HAIKU & pictures (Trip to Italy）

     

    

   

  

・HAIKU & Pictures (Trip to E. Europe)

  

  

   

     

   

   

  

   

  

      

・HAIKU & Pictures (Trip to Turkey)

    

  

    

     

     

   

・HAIKU & pictures (Trip to Russia)

     

    

  

   

   

   

  

praying for peace_

around the summer fields of

Auschwitz

   

This is a haiku composed at Auschwitz by Satoshi Kinoshita for the lecture on HAIKU.

The title of the lecture is "Let's enjoy haiku", with the subtitle "World peace through haiku".

(Click here to see the text of the lecture.)

    

The lecture was given taking the opportunity of a music festival held at a spa town in Lublin, Poland.

  

   

  

  

  

The first slide of the lecture showed the above haiku and a picture of Dr. Herman Van Rompuy and Satoshi Kinoshita snapped together.

Dr. Van Rompuy is the former EU President: now acting, among other things, as the Japan-EU haiku friendship ambassador.

       

Auschwitz_

clear sky;

breeze of green-leaves

   

  

   

   

   

  

a freight car of railroad ruin;

summer grass fields:

Auschwitz

   

    

   

   

   

  

the ash pond;

moaning sound of wind:

the Holocaust

  

   

   

  

It was fine weather when I visited Auschwitz. The fine weather symbolized peaceful Poland of Today. However, strong winds blew from time to time, sounding like groans of victims of Nazis.

  

    

   

   

    

    

Krakow_

bird view of the acient city;

cool, from the tower

   

   

   

  

     

   

summer sky_

the sound of the trumpet:

a time signal of the church

   

   

   

   

  

the birth house of Chopin_

refurbished and bright,

breezes of green-leaves

      

 

   

   

    

   

piano music from

the Chopin birth home_

the cool garden

    

   

   

   

   

the summer evening

in a Polish church;

the ancient organ reverberates

     

 

     

It was very lucky that I had an opportunity to listen to the 400 years old pipe organ at a concert held in the church of Kazimierz Dolny.

 

   

     

stepping out from the concert hall,

the park:  

in a white night

    

  

   

   

   

In the birth house of Chopin, a prize winner of Chopin Piano Competition performed Chopin's polonaise, etc.

  

At the music festival, besides pianists from Italy, etc., from Japan, Mr. Shu Katayama（片山 柊）played "Etudes For Piano - III. Calligraphy, Haiku, 1 Line" (Toshio Hosoawa) etc., which was an amusing piano music. 

  

Mr. Katayama won the 41st PTNA piano competition Grand Prix, as well as a Minister of Education, Culture, Sports, Science and Technology prize, etc.)

   

I hope that international exchange of haiku will be promoted more in the future like music. Somehow, I felt it wondrous to have encountered with people and music through haiku.

  

   

Click here to see the top page of ”HAIKU俳句”.

    

       　

「芭蕉の俳句『古池や』の英訳を考える」において、長谷川櫂著「俳句的生活」（中公新書）の解釈を参考にして「古池や蛙飛び込む水の音」を次の通り英訳しました。

A sound of a frog

jumping into water_

the old pond

この英訳は、芭蕉が蛙の水に飛び込む音を聞いて、「鶯の初音」に感興をもよおすように「古池の蛙だな」と季節の廻りに感慨を新たにして詠んだものである、と解釈して翻訳したものです。

上記のブログを書いた当時には「Frog Poems」というサイトに４１人の英訳が載っていましたが、現在はその記事は無くなっています。しかし、「Matsuo Bash�: Frog Haiku (Thirty-two Translations and One Commentary)」というサイトに32人による32個の翻訳が掲載されています。

一例を挙げると、R.H. Blythは次のように原句を文字通りに翻訳しています。

The old pond;
A frog jumps in —
The sound of the water.

　　　

この俳句についてウイキペディアに興味ある解説があります。

要するに、この俳句の意義は、「蛙の鳴き声」ではなく「蛙の飛び込む水音」に焦点をあて、取り合わせには従来の談林風の「山吹」などにせず「古池」を取り合わせにして、「わび」「さび」の句風（「蕉風」）を確立したことにあるということです。

この俳句について、芭蕉が実際に蛙の飛び込む水音を聞いたのか、水音は聞かないで創作したものなのか、議論があるようです。上記のチュヌの主人の英訳は日本の昔の田舎を知っている者にとっては極く自然な解釈として理解されると思いますが、外国人や都会人には理解しがたいかもしれません。

　　　　　

    

History of “Haiku” （「俳句」の歴史）

  

The origin of Haiku is Hokku (発句). Hokku is the opening stanza of renga （連歌）.  “Renga” means collaborative linked poetry

By the time of Matsuo Bashō (松尾芭蕉 1644–1694), the hokku appeared as an independent poem.  In the late 19th century, the standalone hokku was renamed “haiku” by Masaoka Shiki (正岡子規 1867–1902).

The term ”haiku” is now generally applied retrospectively to all hokku, irrespective of when they were written.

     

Three distinguished haiku-poets of Edo Period

  

(A) Matsuo Bashō (松尾芭蕉 1644–1694)

Basho was the most famous renga poet of the Edo period; today, after centuries of commentary, he is recognized as the greatest master of haiku.   

Matsuo Bashō's poetry is internationally renowned; and, in Japan, many of his poems are reproduced on monuments and traditional sites.  

   

(B) Yosa Buson (与謝蕪村 1716–1783)

Buson is recognized as one of the greatest masters of haiga (an art form where painting is combined with haiku). His affection for painting can be seen in the painterly style of his haiku. 

   

(C) Kobayashi Issa (小林一茶 1763–1827)

Issa composed very individualistic and humanistic haiku. His miserable childhood, poverty, sad life, and devotion to the Pure Land sect of Buddhism (浄土真宗) are evident in his haiku.  

        

Dishtinguised Haiku-poets after Edo Period 

   

Masaoka Shiki  (正岡子規 1867–1902)

Shiki was strongly influenced by Western culture, as generally in the case of the Japanese intellectual world at that time.  He was rather critical of Basho, and he favored the painterly style of Buson and particularly the European concept of plein-air painting, which he adapted to create a style of haiku as a kind of nature sketch in words, an approach called shasei (写生, "sketching from life").

Shiki discarded the term "hokku" and proposed the term “haiku”.  Since then, "haiku" has been the term usually applied in both Japanese and English, irrespective of the date of haiku composition.  

    

Takahama Kyoshi  (高浜虚子1874 –1959)

In 1898, Kyoshi came to manage the haiku magazine Hototogisu, which had been previously edited by Shiki.  In Hototogisu, he kept on with the traditional style of haiku, as opposed to the new trend developed by Kawahigashi Hekigodo.

Kyoshi attached importance to the traditional pattern of 17 syllables and the function of kigo (season word), and he tried to exclude the more modern trend towards season-less haiku. 

      

Haiku of distinguished haiku-poets of Edo Period

   

Matsuo Bashō  (松尾芭蕉 1644–1694)

  

・閑さや 岩にしみ入る 蝉の声

(shizukesa-ya iwani-shimiiru semi-no-koe)

 

(Tnslation by Stephen Addiss, The Art of Haiku)

silence_
penetrating the rocks,
cicada voices

(Translated by Satoshi Kinoshita)  
what a stillness!
cicada voices,
seeping into the crag  

  

(Note)

 “しみいる” is equivalent to “seeping”, rather than “penetrating”. 

   

・やがて死ぬ けしきは見えず 蝉の声

(yagate-shinu keshiki-wa-miezu semi-no-koe)  

Depending on the Chinese characters which you apply to “けしき”, you may interpret this haiku into two different meanings as translated by Satoshi:

  

(景色)

the voice of a cicada_

I cannot see the scenary,

soon I will die

  

(気色)

the voices of a cicada_

the cicada does not sound

to die soon

   

Yosa Buson  (与謝蕪村 1716–1783)

  

・しら梅に 明る夜ばかりと なりにけり

(shiraumeni akuruyobakarito narinikeri)

 

 (Translated by Stephen Addiss)

among white plum blossoms

what remain is the night

about to break into dawn

  　

 (Translated by S. Kinoshita)

all that remain to me_

the night about to break into dawn

among white plum blossoms

  

(Note) The translation of S. Addiss is a mistranslation.

   

Kobayashi Issa  (小林一茶 1763–1827)

   

・時鳥 なけなけ一茶 是に有
(hototogisu nake-nake-issa kore-ni-ari)

   

little cuckoo
sing! sing!
Issa is here  

(David G. Lanoue. Click here to see the site.)

 　 

Haiku of Masaoka Shiki

 It is said that Shiki Masaoka composed about 24,000 haikus during his short life (1867~1902). 　(See the home page of Matsuyama-city 「子規の俳句検索」

  　　

・柿くへば 鐘が鳴るなり 法隆寺

(kaki-kueba kane-ga narunari Hōryūji)

  

I bite into a persimmon

a bell resounds—

Hōryū-ji    

(Shiki Musium ・ sikihaiku)

 

(Note) 

The actual sound that Shiki heard was not the bell of Hohryuhji Temple, but that of Tohdaiji Temple. Persimmons were his favorite fruits.

        

・しぐるゝや 蒟蒻冷えて 臍の上

(shigururu-ya konnyaku-hiete heso-no-ue)

  

it's drizzling...

devil's tongue, cold on

my belly button    

   (“Selected Poems of Masaoka Shiki, Translated by Janine Beichman”)

   

・絲瓜咲て 痰のつまりし 佛かな

(hechima-saite tan-no-tsumarishi hotoke-kana)

   

sponge gourds in bloom
this hotoke
choked by phlegm  

(Shiki Musium ・ sikihaiku)

　　 

the gourd flowers bloom,

but look—here lies

a phlegm-stuffed Buddha!     

   (“Selected Poems of Masaoka Shiki, Translated by Janine Beichman”)

   

 (Note)

The Japanese word “hotoke” has broader meaning than “Buddha”.  That is, “hotoke” means not only Buddha, but also a dead person or a Buddha-like gentle person.

      

・奈良の町の　昔くさしや　朧月

(Nara-no machi-no Mukashi-kusashi-ya Oboro-zuki)

  

The town of Nara is

Really old-fashioned.

The hazy moon.     

(“Masaoka Shiki’s haiku poems”, Masterpieces of Japanese Culture.)

    

Haiku of Takahama Kyoshi 

 (Translated by S. Kinoshita)

  

・吾も亦 紅なりと ついと出で

(waremo-mata kohnari-to tsuito-ide) 　(Age 66、S15. 1940)

  

me too, crimson_

as if so saying,

a burnet abruptly appeared

  

(Note)

’waremokoh’ (吾亦紅) is a burnet. Literally, the word 'waremokoh’ means: ’I also am crimson’. Thus, this haiku is a pun. The words “me too” of this haiku might have implied that young people  boasted of having a good body qualified as the first grade “Koh” (甲) in those days before and during the world war II. At present, it may remind you of recent news about sexual harassments.   

     

・大寒の 埃の如く 人死ぬる

(daikan-no hokori-no-gotoku hito-shinuru) 　(Age 67、S16. 1941)

  

people die

like

dust of midwinter

(Note) This haiku is a metaphor. You may think of death due to wars, atomic bombs, etc.

　 

・爛々と 昼の星見え 菌生え

(ranran-to hirunohoshi-mie kinoko-hae)　(Age 73、S22. 1947)

  

the daylight star

looks glaring_

mushrooms grow  

  　

(Note)

This haiku was made as a farewell tribute to people in Koromo City. They gave mushrooms (=茸）to Kyoshi Takahama for a farewell present. He lived in Koromo for about three years after moving there for refuge from air raid during the war. The word ’daylight star’ means the sun, because the word ’爛爛’ (=glaring) is used for describing it. In the case of this haiku, it is possible to express 'kinoko' by a chinese character of '茸' or '菌'. However, the latter was adopted. When the letter '菌' is read to be 'kin', it means 'germ'. Thus, it seems that with the cited haiku, Kyoshi Takahama intended to express the whole great nature by referring to the greatest thing ’daylight star (=太陽)’ and the smallest thing 'mushroom (=菌)'.　　

   

・春の山 屍をうめて 空しかり

（harunoyama kabaneoumete munashikari）-- (A)

（harunoyama kabaneoumete kuu-shikari）-- (B)

（Age 85、S34. 1959）

   

(Translation A)

the spring mountain

stands vain

with corpses buried 

   

(Translation B)

the spring mountain

with corpses buried_

all are vanity

  

(Note)

In Translation A, the letters ”空しかり” are read to mean ”munashikari” according to the conventional way. The word means ”empty” or ”vain”. In Translation B, the letters ”空しかり” are read to mean ”kuushikari”, which means ”empty” or ”vanity”, as described in Hannyashingyoh (Sutra). The original haiku contains both of such meanings.

To fully appreciate this haiku, please read the Japanese version of the corresponding article in the HIA home page (「高浜虚子の俳句をバイリンガルで楽しもう！」).

   

Enjoy composing haiku as you like

 As you may know, Haiku has a shortest form as a poem. Each of Japanese letters (katakana and hiragana) constituting the pronunciation of a word has a vowel, and in principle, haiku is composed of 5-7-5 syllables. However, English words do not always have vowels like Japanese. Therefore, it is not required for English haiku to be composed of 5-7-5 syllables, and it is generally written in three lines.

As for composing haiku in 5-7-5 syllables, I think that Polish language is more suitable than English, because it seems to me Polish words have more vowels than English.

Haiku is such a short poem, you can compose haiku easily. Even if you are a beginner, you can compose a good haiku when you properly use a “kigo”, that is, a word to express the season at the time.

In haiku, you can express whatever you see or feel in your daily life or sightseeing, or on a special event such as music festival like this.  

Now, as examples of a way of enjoying haiku, I would like to show some haikus that I published in my blogs.

  

Haiku of an open garden concert

  

・マリンバの 音色豊かや バラの庭

(marinba-no neiro-yutaka-ya bara-no-niwa)

rich sound of marimba_

the garden

full of colorful roses

    

・シャンソンの 調べ誘ふ バラの庭

(shanson-no shirabe-izanau bara-no-niwa)

the timbre of shanson

lures me to

the rose garden

  

Haiku of Chunu ・ Four Seasons

  

New Year

・年用意 犬のシャンプー 先づ済ませ

(toshiyoh-i inu-no-shanpuu mazu-sumase)

shampooing of my dog,

first in the preparation

for New Year

  

Spring

・初蝶来 犬寝そべりて 目で追ひぬ

(hatsuchoh-ku inu-nesoberite mede-oinu)

the first butterfly of the year_

the sprawling dog

chases with eyes only

  

Summer

・遠雷や 眠りし犬は 耳ピクリ

(enrai-ya nemurishi-inuwa mimipikuri)

a distant thunder

the sleeping dog

twitches his ears

  

Autumn

・満面に 草の実つけし サモエド犬

(manmenni kusanomitsukeshi samoedoken) 

how cute my Samoyed!

the whole face

with weed-seeds clinging

  

Winter

・風花や 犬はソナタに すやすやと

(kazabana-ya inuwasonatani suyasuyato)

in the sunshine, snow-flakes fall_

my dog in sound slumber,

listening to a sonata

   

Haiku of dolphin show 

   

・涼しさや イルカの飛ばす 水しぶき

(suzushisa-ya irukano-tobasu mizushibuki)

the cool_

water splashed

by dolphins 

 

・水族館 涼しい筈と 思ひしに

(suizokukan suzusiihazuto omoishini)

An aquarium

not as cool as

I expected  

  

・スマスイや 昼寝の魚 スイと浮き

(sumasui-ya hirunenosakana suito-uki)  

A napping fish

awoke and swiftly floated

at Suma aquarium  

  

・欠氷 手に手に親子 イルカショー

(kakigoori tenitenioyako irukashoh)

A parent and sons

with a shaved ice in their hand_

a dolphin show  

  

・満席の 団扇はためく イルカショー

(mansekino uchiwahatameku irukashoh)   

Fans flapping

at full seats_

a dolphin show   

 

・炎天下 イルカ巧みに フラフープ

(entenka iruka-takumini furafuupu)  

Under the flaming sun

dolphins skillful

in hura hoop   

  

・ドルフィンや 客にあいさつ 立ち泳ぎ

(dorufinya kyakuni-aisatsu tachioyogi)  

Dolphins greeting

their spectators

by treading water 

    

In conclusion, please share the following promotion with your friends. 

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　                                                                                              木下　聰

 

（はじめに）

http://www.haiku-hia.com/about_haiku/takahama_kyoshi/

（あとがき）

http://www.haiku-hia.com/about_haiku/takahama_kyoshi/afterword.html

　　

写真は花鳥同人俳句会における坊城俊樹花鳥主宰（高浜虚子の曾孫）とチュヌの主人です。

　

       

HAIKU is AI: not Artificial Intelligence, but Art of Intelligence, leading to "LOVE".  

Haiku Aids Increasing Knowledge Universally.

This issue includes all of the previously published numbers (100 to 1)  of "100 HAIKUs of TAKAHAMA Kyoshi".

         

(100) 独り句の推敲をして遅き日を (age 85. S34. 1959)

　　(hitori kunosuikoh-o-shite osokihio)

　　alone,

　　elaborating haikus_

　　lengthening days of spring

       

(99) 明易や花鳥諷詠南無阿弥陀 (age 80. S29. 1954)

　　(akeyasuya kachohfuuei namuamida)

　　daybreak getting earlier_

　　composing haiku of nature

　　namuamida

(Note)

’kachoh-fuuei’（花鳥諷詠）, which was advocated by Kyoshi Takahama, means a typical way of composing haiku based on appriciation of nature including human affairs.

’namuamida’ （南無阿弥陀）is Buddhist chanting words of sutra, which mean ’I believe in Amitabha'.   

    

(98) 悪なれば色悪よけれ老の春 (age 79. S28. 1953)

　　(akunareba iroakuyokere oinoharu)

　　if any vice,

　　sensual vice would be better_

　　spring of old age

 

(97) 我のみの菊日和とはゆめ思はじ (age 80. S29. 1954)

　　(warenomino kikubiyoritowa yumeomowaji)

　　chrysanthimum-bright-day_

　　never

　　only for me

(Note)

Kyoshi Takahama made this haiku when he received a Cultural Medal (=文化勲章).

  

(96) 虚子一人銀河と共に西へ行く　(age 75. S24. 1949)

　　(kyoshihitori gingatotomoni nishieyuku)

　　Kyoshi alone

　　goes toward west

　　with the galaxy

 

(95) 蠅叩手に持ち我に大志なし (age 82. S31. 1956)

　　(haitataki tenimochiwareni taishinashi)

　　having a flyswatter

　　in my hand

　　I have no great ambitions

      

(94) 大桜これにかしづき大椿 (age 81. S30. 1955)

　　(Ohzakura korenikasizuki ohtsubaki)

　　a large cherry tree_

　　beside it

　　a large camellia

  

(93) 去年今年貫く棒の如きもの  (age 76. S25. 1950)

　　(kozokotoshi tsuranuku bohnogotokimono)

This haiku was highly appreciated by Yasunari Kawabata (a Nobel winner for Literature).

In this haiku, metaphor as well as inversion is applied.

　(Translation A)

　　kozokotoshi

　　piercing

　　a stick-like thing    

　(Translation B)

　　my belief in HAIKU

　　pierces kozokotoshi

　　like a stick 

　(Translation C)

　　time pierces

　　kozokotoshi

　　like a stick

(Note)

“kozokotoshi” is a kigo (= seasonal word) established by Kyoshi Takahama, referring to New Year, on which yesterday is the last year, and today is this year. Thus, the literal meaning of  kozokotoshi is “last-year-this-year”.

Translation A is a word-for-word translation and can be interpreted in various ways. However, “stick-like thing” should be considered as the real subject and a metaphor. In Translations B and C, “my belief” and “time” are added, respectively replacing the word “stick-like thing”. Thus, the kigo “kozokotoshi” should grammatically be taken as the object of “pierce”. Otherwise, this haiku makes nonsense.

In Translation A, if you take “kozokotoshi” as the subject for “pierce”, and “stick-like thing” as the object for “pierce”, then what do you think the “stick-like thing” indicates? Does it make any sense? 

     

(92) 爛々と昼の星見え菌生え (age 73. S22. 1947)

　　(ranranto hirunohoshimie kinokohae)

　　the daylight star

　　looks glaring_

　　mushrooms grow   　

(Note)

This haiku was made as a farewell tribute to people in Koromo City. They gave mushrooms (=茸）to Kyoshi Takahama for a farewell present. He lived in Koromo for about three years after moving there for refuge from air raid during the war.

The word ’daylight star’ means the sun, because the word ’爛爛’ (=glaring) is used for describing it. In the case of this haiku, it is possible to express 'kinoko' by either letter of '茸' or '菌'. However, the latter was adopted. The letter '菌' can also mean 'germ' when it is read as 'kin'. 

Thus, it seems  that with the cited haiku, Kyoshi Takahama intended to express the whole great nature by referring to the greatest thing ’daylight star (=太陽)’ and the smallest thing 'mushroom (=菌)'. 

  

(91) 春潮にたとひ櫓櫂は重くとも (age 73. S22. 1947)

　　(shunchohni tatoirokaiwa omokutomo)

　　Even if the oar is heavy

　　against the spring tide_    

(Note)

This haiku was made as a tribute to encourage Kyoshi's grand-daughter  (Nakako Bohjoh: 坊城中子) when she entered a nursing school.

The Kyoshi's haikus translated herein are cited from the writings of Toshiki Bohjoh (坊城俊樹：the son of Nakako Bohjoh, that is, a great-grandson of Kyoshi Takahama).

   

(90) 天地の間にほろと時雨かな (age 68. S17. 1942)

　　(ametsuchino aidanihoroto shigurekana)

　　a slight drop

　　between heaven and earth_

    wintry rain

       

(Note)　

This　haiku　is a monody, which is a tribute to one of Kyoshi's disciple haiku poets, Hanamino Suzuki（鈴木花蓑）.

   

(89) 映画出て火事のポスター見て立てり (age 67. S16. 1941)

　　(eigadete kajinoposutah mitetateri)

　　walking out of a cinema,

　　I stopped, seeing

　　a poster of fire

  

(88) 吾も亦紅なりとついと出で (age 66. S15. 1920)

　　(waremomata kohnarito tsuitoide)

(Translation A)

　　I also am crimson_

　　as if so saying,

　　a burnet abruptly appeared

(Translation B)

　　abruptly stepping out,

     saying "me too, crimson"_

     a burnet   

(Note)

’waremokoh’ （吾亦紅） is a burnet. Literally,'waremokoh’ means: ’I also am crimson’. Thus, this haiku is a pun as can be understood from translations A and B. However, how to interpret the omitted subject is entrusted to readers.

  

(87) 天の川の下に天智天皇と臣虚子と (age 43. T6. 1917)

　　(amanogawanoshitani tenjitennohto shinkyoshito)

　　under the Milky Way

　　Emperor Tenji

　　and his subject Kyoshi

  

(86) 龍の玉深く蔵すといふことを　（age 65. S14. 1939)

　　(ryuhnotama fukakuzohsuto yuukoto-o)

(Translation A)

　　fruitlets of dwarf mongo grass_

　　suggesting

　　containing deep inside　　　

(Translation B)

　　fruitlets of dwarf mongo grass_

　　what is held

　　deep inside them    　　

(Translation C)

　　fruitlets of dwarf mongo grass,

　　holding all nature

　　deep inside them　　  　

(Note)

In the original haiku, the object of the word "containing" is omitted, allowing reader's choice.

　　　　

(85)　何某に扮して月に歩きをり (age 64. S13. 1938)

　　(nanigashini funshitetsukini arukiori)

　　under the moon,

　　walking in a disguising costume

　　as a certain person.

(Note)

In this haiku, the subject, which is omitted, seems to be "I".

  

(84) 山川にひとり髪洗ふ神ぞ知る (age 67. S16. 1941)

　　(yamagawani hitorikamiarau kamizoshiru)

　　god knows_

　　in a mountain stream

　　a woman alone washing her hair

  

(83) 蔓もどき情はもつれ易きかな (age 73. S22. 1947)

　　(tsurumodoki nasakewamotsure yasukikana)

　　compassion

　　easily tangles_

　　staff-tree

 

(82) 稲妻を踏みて跣足の女かな (age 63. S12. 1937)

　　(inazumao fumitehadashino onnakana)

　　treadding on

　　lightning_

　　a barefoot woman

  

(81) たとふれば独楽のはぢける如くなり (age 63. S12. 1937)

　　(tatoureba komanohajikeru gotokunari)　　　　

(Literal translation)

     as it were,

     repelling of

     two spinning tops  

(Translation A)

　　you and me,

　　as it were,

　　repelling spinning tops  

(Translation B)

　　our relations

　　so to speak,

　　repelling of spinning tops 　　　

(Note)

This haiku is a monody in memory of Hekigotoh Kawahigashi. In this haiku, the subject is omitted by adding preliminary words to that effect.

  　　　

(80) 雀等も人を恐れぬ国の春   (age 62. S11. 1936)

　　(suzumeramo hito-o osorenu kuninoharu)

　　spring

　　of the country where

　　sparrows also fear no people

       

(79) 古綿子著のみ著のまま鹿島立   (age 62. S11. 1936)

　　(furuwatako kinomikinomama kashimadachi)

　　my departure for abroad

　　in the everyday wear_

  　old ’watako’ clothes

       

(78) 鴨の中の一つの鴨を見てゐたり  (age 62. S11. 1936)

　　(kamononakano hitotsunokamo-o miteitari)

　　I gazed at

　　only one of

　　the wild ducks

  

(77) 新涼の驚き貌に来りけり  (age 34. M41. 1908年)

　　(shinryohno odorokigaoni kitarikeri) or

　　(shinryohno odoroki-kaoni kitarikeri)　　

　(Translation A)

　　the cool of early autumn

　　appeared on the look of

　　a surprised person   　

　(Translation B)

　　a look of surprise

　　in the cool of

　　early autumn   　

　(Translation C)

　　a person having

　　a look of surprise

　　agaist the early autumnal cool

(Note)

Depending on how you take the conbination of words and the meaning of ‘の (=no)’, the original haiku can be translated in various ways as described above. ’の’ is a postpositional word, functioning as an auxiliary to the main word '新涼'.

   

(76) 白牡丹といふといへども紅ほのか (age 51. T14. 1925年)

　　(shirobotan toiutoiedomo benihonoka)

　　white rose,

　　so called, but

　　slightely tinged with red

 

(75) 道のべに阿波の遍路の墓あはれ  (age 61. S10. 1935)

　　(michinobeni awanohenrono hakaaware)

　　pathetic!

　　on the wayside,

　　a tomb of ’awa’ pilgrim

  

(74) 魚鼈居る水を踏まえて水馬   (age 61. S10. 1935)

　　(gyobetsuiru mizuofumaete mizusumashi)

　　a whirligig beetle treads

　　on the water where

　　fish and turtles live

  

(73) 椿まづ揺れて見せたる春の風  (age 61. S10. 1935)

　　(tsubakimazu yuretemisetaru harunokaze)

　　a camellia

　　first shakes to show

　　spring breezes

   

(72) 一を知つて二を知らぬなり卒業す  (age 61. S10. 1935)

　　(ichioshitte nioshiranunari sotsugyohsu)　　

　(Literal translation)

　　graduated,

　　knowing one

　　but not two  　

　(Translation A)

　　students are graduated,

　　knowing one

　　but not two  　

　(Translation B)

　　knowing one

　　but not two_

　　he graduates from a school　　　

(Note) In this original haiku, the subject is omitted and unknown. This haiku seems to be made in assosiation with a proverb which means the following: A sage knows 10 upon hearing one.

   

(71)　川を見るバナナの皮は手より落ち  (age 60. S9. 1934)

　　(kawaomiru banananokawawa teyoriochi)

　(Trnslation A)    

     a banana peel

　　fell from a hand,

　　I watch the river    

  (Translation B)

　　the banana peel

　　fell from my hand,

　　I watch the river      　

(Note) The original haiku does not tell who holds the banana.

   

(70) 道のべに阿波の遍路の墓あはれ　(age 61. S10 1935年)

     (michinobeni awanohenrono hakaaware)

     on the wayside,

     pathetic

     a tomb of ’awa’ pilgrim

 

(69) 朝顔の映り熱帯魚は沈む　(age 59. S8 1933年)

     (asagaono utsuri nettaigyowashizumu)

     a morning glory

     reflected,

     a tropical fish submerging

 

(68) 蓮池に髪洗ひをる女かな　(age 59. S8 1933年)

     (hasuikeni kamiaraioru onnakana)

     a woman,

     washing her hair

     at the lotus pond

    

(67) 燈台は低く霧笛は峙てり　(age 59. S8 1933年)

     (tohdaiwahikuku mutekiwa sobadateri)

     the lighthouse is low,

     a prominent sound

     the foghorn

  

(66) 神にませばまこと美はし那智の滝　(age 59. S8 1933年)

      (kaminimaseba makotouruwashi nachinotaki)

　　 incarnation of god_

      what a sublimity!

      Nachi waterfall

  

(65) くはれもす八雲旧居の秋の蚊に (age 58. S7 1932年)

      (kuwaremosu yakumokyuukyono akinokani)

      bitten by autumn mosquitoes

      in the old house of

      Yakumo

   

(64) 帚木に影といふものありにけり (age 56. S5.　1930年)

      (hahakigini kagetoiumono arinikeri)

       the broom trees

       had

       so-called shadows

(Note) This haiku seems to be a kind of pun made in association with a folklore or ’Hahakigi’ in Genjimonogatari (The Tale of Genji).

  

(63) 鴨の嘴よりたらたらと春の泥　(age 59. S8 1933年)

      (kamonokuchibashiyori taratarato harunodoro)

       spring mud,

       dribbling from

       the bill of a wild duck

  

(62）凍蝶の己が魂追うて飛ぶ　(age 59. S8 1933年)

     (itechohno onogatamashii outetobu)

        a frozen butterfly

     flies, chasing

     her own spirit

    

(61）風が吹く仏来給ふけはひあり（age 21. M28　1895年）

      (kazegafuku hotokekitamau kehaiari)

　    a wind blows_

      I feel the soul of the deceased

      coming

  

（60）襟巻の狐の顔は別に在り　（age 59. S8. 1933年）

       (erimakino kitsunenokaowa betsuniari)

        the face of the fox stole

        lies

        at another position  

(Note)

This haiku implies that the person wearing the fox stole has a face resembling that of a fox.

    

（59）筋塀に添うて下向の桜かな (age 58. S7. 1932年）

       (sujibeini soutegekohno sakurakana)

        cherry blossoms

        blooming downward

        along ’sujibei’ wall

(Note) ’sujibei’ is a roofed wall sorrounding a temple or a samurai residence.

　　　　

（58）ダンサーの裸の上の裘 （age 57. S6 1931年）

       (dansahno hadakanoueno kawagoromo)

       a fur dress

       put on

       a naked dancer

  

（57）たてかけてあたりものなき破魔矢かな （age 57. S6. 1931年）

       (tatekakete atarimononaki hamayakana)

　      a ’hamaya’ arrow

        rests against the wall_

        nothing around it

           

（56）石ころも露けきものの一つかな （age 55. S4. 1929年）

       (ishikoromo tsuyukekimonono hitotsukana)

        a stone_

        one of

        those dewy things

       

（55）草萌の大地にゆるき地震かな　（詳細不詳）

       (kusamoyuno daichiniyuruki jishinkana)

        a gentle earthquake_

        the grass sprouting

        on the earth

   

（54）われの星燃えてをるなり星月夜 （age 57. S6 1931年）

       (warenohoshi moeteorunari hoshizukiyo)

        bright starry night_

        glowing is

        my star

       

（53）風が吹く仏来給ふけはひあり　（age 21. M28. 1895)

       (kazegafuku hotokekitamau kehaiari)

       a wind blows_

       as if the soul of the deceased

       coming

  

（52）祇王寺の留守の扉や推せば開く　（age 51. T14　1925年）

       (giohjino rusunotobiraya osebahiraku)

        The door of Gioji temple

        opens when pushed

        at the nun’s absence

(Note)

The nun was once the geisha who had been called Nine-Fingered Geisha.

   

（51）啓蟄の土をうるほす雨ならむ (age 56. S5. 1930年）

       (keichitsuno tsuchiouruosu amenaramu)     

　(Translation　A)

　　　the rain will soak

　　　the soil of

　　　keichitsu 　　

　(Translation B)

　　　it will rain,

　　　soaking

　　　the soil of keichitsu 　　

(Note)

'keichitsu' is a kigo of spring, meaning the day when insects emerge from hibernation underground; around March 6 in the solar calendar.

     

(50) 春潮といへば必ず門司を思ふ　(age 56. S5. 1930）

     (shunchoto iebakanarazu mojio-omou)

      speaking of spring tide

      reminds me

      of Moji port

    

(49) 藪の穂の動く秋風見て居るか (age 55. S4. 1929）

　　(yabunohono ugokuakikaze miteiruka)

　　 you might stay

     watching the autumn wind,

     thicket ears moving

  

(48) 止りたる蠅追ふことも只ねむし (age 55. S4. 1929）

     (tomaritaru haeoukotomo tadanemushi)

      simply too sleepy

      to slap off

      an alighting fly

  

(47) ツェツペリン飛び来し国の盆の月 (age 55. S4. 1929）

     (tsuepperin tobikishikunino bonnotsuki）

      the Zeppelin

      flew to my country_

      the Bon-festival moon

 

(46）避暑宿の壁に貼りたる子供の絵 （age 55. S4. 1929）

      (hishoyadono kabeniharitaru kodomonoe)

       kids-written pictures

       put up on the wall of

       a summer cottage

   

(45) 雛よりも御仏よりも可愛らし　(age 55. S4. 1929）

     (hinayorimo mihotokeyorimo kawairashi)

      the baby cute,

      more than

      a hina doll or buddha

   

(44）七盛の墓を包みて椎の露　（age 55. S4. 1929）

　　 (shichimorino hakaotsutsumite shiinotsuyu)

      from a Japanese chinquapin

      dews fall, covering

      the shichimori-grave of Taira clan

      

(41)(42)(43）流れゆく大根の葉の早さかな　（age 54. S3. 1928） 

    (nagareyuku daikonnohano hayasakana)

 (Translation A)

  a leaf of Japanese radish

  flowing away:

  what a rapidity!

 (Transation B)  　

  how fast!

  the leaf of Japanese radish

  flows away

 (Tranlation C)  　

  flowing away,

  how fast!

  Japanese radish leaves

     

(40) 舟岸につけば柳に星一つ (age 39. T2. 1913)

     (funekishini tsukebayangini hoshihitotsu)

      the boat reached the shore,

      I found a willow,  

      above it, a star 

  

(39) 咲き満ちてこぼるる花もなかりけり (age 54. S3. 1928）

　　(sakimichite koboruruhanamo nakarikeri)

     cherry blossoms

     in full bloom_

     no petals falling

   

(38) 何となくあたり淋しき爐を開く (age 17. M24. 1891)

     (nantonaku atarisabishiki rowo hiraku)

      I open the hearth_

      unaccountably lonely

      around it

  

(37) えりもとをなぐるやうなり秋の暮 (age 17. M24. 1891)

     (erimotowo naguruyounari akinokure)

      I feel it as if

      my neck were beaten_

      the autumn evening

    

(36) やり羽子や油のやうな京言葉 (age 53. S2. 1927）

    (yarihagoya aburanoyouna kyoukotoba)

    “yarihago” shuttlecock_

     the oily sound of

     Kyoto accents

(Note)     

The following translation published in Terebess Asia Online (TAO) is wrong, because "yarihago" is different from Battledore and shuttlecock.  Also,(：) is inappropriate.

　　Battledore and shuttlecock:

　　The Kyoto accent sounds

　　As if the words were oiled

　　　 　

(35) この庭の遅日の石のいつまでも　(age 53. S2. 1927)

    (kononiwano chijitsunoishino itsumademo)

     the stones of this garden

     in a lengthening day

     will lie forever 　　　

(Note)

The following translation published in Terebess Asia Online (TAO) is in appropriate in terms of word order.

  　The rocks in this garden 

　　Remain forever 

　　In the lengthening days of spring

　   

(34) 一片の落花見送る静かな　(age 53. S2. 1927）

    (ippenno rakkamiokuru sizukakana)

     watching a petal of cherry-blossoms

     falling down,

     what a silence!

  

(33) 春惜む輪廻の月日窓に在り (T3. 1914）

    (haruoshimu rinnenotsukihi madoniari)

     the sun and the moon,

     transmigrating in the window_

     I treasure the rest of the spring

      

(32) 群雀鳴子にとまる朝ぼらけ　(age 17. M24. 1891)

     (muresuzume narukonitomaru asaborake) 

      a group of sparrows

      perch on a rattle-scarer_

      daybreak sunlight

   

(31) この路を我等が行くや探梅行 (age 53. S2. 1927)

     (konomichiwo wareragayukuya tanbaiko)

      this road

      we’ll take, to find

      plum blossoms

   

(30) 或墓のくすぶり見えぬ彼岸かな　(age 52. T15. 1926）

　　(aruhakano kusuburimienu higankana)

　　 a certain tomb

　　 seen in smoldering,

　　 vernal equinox day

   

(29) 紅さして寝冷の顔をつくろひぬ　(age 51. T14. 1925）

　　(benisashite nebienokao-o tsukuroinu)

　　 putting rouge on,

　　 she adjusted

　　 her face chilled in the sleep  　

     　

(28) どかと解く夏帯に句を書けとこそ　(age 46. T9. 1920）

　　(dokatotoku natsuobini kuokaketokoso)

　　 she untied her summer obi,

　　 dumped it, demanding me

　　 to write a haiku on it

   

(27) 鞦韆に抱きのせて沓に接吻す (age 44. T7. 1918）

　　(shuusenni dakinosete kutsuniseppunsu)

　　 putting my baby

　　 on a swing,

　　 I kissed her socks

   

(26) 年を以て巨人としたり歩み去る (age 39. T2. 1913）

　　 (toshi-o-motte kyojintoshitari ayumisaru)

　　 Having made

　　 a giant of year,

　　 the time walks away

   

(25) 草摘みし今日の野いたみ夜雨来る (age 39. T2. 1913）

     (kusatsumishi kyounonoitami yosamekuru)

     a night rain comes,

     mourning the today’s fields

     where I picked up herbs     

   

(24) 石の上の埃に降るや秋の雨　（age 39. T2. 1913年）

     (ishinoueno hokorinifuruya akinoame)

     onto the dust covering the stone

     falls

     the autumn rain

   

(23) 君と我うそにほればや秋の暮 (age 32. M39. 1906年)

     (kimitoware usonihorebaya akinokure)

     you and me,

     how about faking love_

     evening in the autumn　　　

(Note)

The following haiku, whichi is published in Terebess Asia Online (TAO) is wrong: a mistranslation of the Japanese original haiku. 

　   You and I wish

     We loved each other’s lies

     Late in the autumn　　　　

       

(22) 行春の墓も御像も小さけれ （age 39. T2. 1913）

      (gyoushunno hakamomizoumo chiisakere)

      both small,

      the tomb and the statute of the founder_

      the departing spring        

    

(21) 京女花に狂はぬ罪深し　（age 19. M26. 1893）

     (kyouonna hananikuruwanu tsumifukashi)

      a Kyoto woman_

      sinful,

      not getting crazy about cherry blossoms

   

(20) 秋来ればいつもあはれにきぬたかな　(age 17. M24. 1894年）

       (akikureba itsumoawareni kinutakana)

       autumn has come,

       always pathetic

       'kinuta' fulling

       

(19) 舟岸につけば柳に星一つ　(age 39. T2. 1913年)

      (funekishini tsukebayangini hoshihitotsu)

       the boat reached a shore_

       a willow there,

       a star above it

    

(18) 一つ根に離れ浮く葉や春の水　(age 39. T2. 1913年)

      (hitotsuneni hanareukuhaya harunomizu)

      the spring water_

      the leaves float aloof,

      grown from single roots               　　

           

(17) 歌人祭らず俚人ただ祭る社あり　(age 39. T2. 1913年)

       (kajinmatsurazu satobitotada matsuru yashiroari) 

       (on Hitomaro death-anniversary)

       the shrine,

       no poets worship it,

       villiagers only worship it    

   

(16）この後の古墳の月日椿かな  (age 39. T2. 1913年)　　　

       (kononochino kofunnotsukihi tubakikana)

       after this,

       lasting time of the ancient mounds_

       the camellias

             

(15）囀や山かけて売る土地広し　(age 39. T2. 1913年)

       (saezuriya yamakaketeuru tochihiroshi)

       chirps of birds_

       the broad lot to be sold

       with a hill behind

(Note)

In this haiku,  "山かけて" (yamakakete) is a pun, meaning "run",  "take a chance", or "hang".

     

(14) 春風や闘志抱きて丘に佇つ　（age 39. T2. 1913年）

      (harukazeya tohshi-idakite okanitatsu)

        a spring wind_

        I stand on the hill,

        my heart full of fight    

     

(12）(13) 霜降れば霜を楯とす法の城　（age 39. T2. 1913年）

         (shimofureba shimowotatetosu norinoshiro)

         if there is a frost,

         the frost be a shield_

         the temple of laws      

    

（11） 凡そ天下に去来程の小さき墓に参りけり  (age 34. M41. 1908）

         (oyosotenkani kyoraihodono chisakihakani mairikeri)

         under heaven,

         I visited such a tomb 

         as small as I heard of Kyorai

 　    

（10）曝書風強し赤本飛んで金平怒る　（age 34. M41.1908年）

      (bakushokaze tsuyoshi akahontonde kinpiraikaru)

      strong a wind at book-exposing,

      a red-covered storybook blown down,

      exposing the hero Kinpira angry　　

　　　

（９） 桐一葉日当りながら落ちにけり　（age 32. M39. 1906年）

　　　(kirihitoha hiatarinagara ochinikeri)

　　　a leaf of paulownia

　　　fell,

　　　with the sunlight on it

     

（８）垣間見る好色者に草芳しき　（age 32. M39. 1906年）　　　

      (kaimamiru kohshokumononi kusa-kanbashiki)

      the grasses fragrant     

      to a lecherous man

      peeping in through the hedge   

      

（７）刑罰の石を背負うて夏野かな　（age 31. M38. 1905年）

       (keibatsuno ishioseoute natsunokana)

　　　 carrying a stone of punishment

        on one's back_

        the summer field

        

（６） 或時は谷深く折る夏花かな　（age 30. M37. 1904年）

       (arutokiwa tanifukakuoru gebanakana)

        'gebana' flowers,

        taken deep in a valley

        at a cetain time

   

（５） 秋風や眼中のもの皆俳句　（age 29. M36. 1903年）

        (akikazeya ganchuunomono minahaiku)

         autumn wind_

         anything you see

         could be a haiku

         

（４） 子規逝くや十七日の月明に　（age 28. M35. 1902年）

　      (Shikiyukuya juushichinichino getsumeini)

         Shiki passed away

         in the moonlight

         of the 17th day 

   

（３） 蓑虫の父よと鳴きて母もなし　（age 25. M32. 1899年）

        (minomushino chichiyotonakite hahamonashi)

         a bagworm chirps

         papa papa,

         without mamma, either

     

（２） 怒濤岩を噛む我を神かと朧の夜　（age 22. M29. 1896年）

        (dotoh iwaokamu wareokamikato oboronoyo）

         as if thinking me a god,

         surging waves bite the rock_

         hazy moon night   

      

（１） 春雨の衣桁に重し恋衣　（age 20. M27. 1894年）

        (harusameno ikohniomoshi koigoromo)

         heavy on a dress-rack

         clothes of love_

         spring rain

           

(Note)

L. P. Lovee (pen name of Satoshi Kinoshita) is coined from the title of his blog “Let’s Practice Love Everyone”.

(HAIKU of Kyoshi Takahama, translated by Satoshi Kinoshita)

The pictures show a part of Pages 8 and 9 of "自選自筆 虚子百句" published by 岩波書店.       

     

                       

（１）春雨の衣桁に重し恋衣　（M27. 1894年）

        (harusameno ikohniomoshi koigoromo)

         heavy on a dress-rack

         clothes of love_

         spring rain

　　　 

（２）怒濤岩を噛む我を神かと朧の夜　（M29. 1896年）

         (dotoh iwaokamu wareokamikato oboronoyo）

          as if thinking me a god,

          surging waves bite the rock_

          hazy moon night 

        

（３）蓑虫の父よと鳴きて母もなし　（M32. 1899年）

         (minomushino chichiyotonakite hahamonashi)

          a bagworm chirps

          papa papa,

          without mamma, either

    　 

（４）子規逝くや十七日の月明に　（M35. 1902年）

　       (Shikiyukuya juushichinichino getsumeini)

           Shiki passed away

           in the moonlight

           of the 17th day   

         

（５）秋風や眼中のもの皆俳句　（M36. 1903年）

         (akikazeya ganchuunomono minahaiku)

          autumn wind_

          anything you see

          could be a HAIKU

      

 （６）或時は谷深く折る夏花かな　（M37. 1904年）

        (arutokiwa tanifukakuoru gebanakana)

        'gebana' flowers,

        taken deep in a valley

        at a cetain time

      

（７）刑罰の石を背負うて夏野かな　（M38. 1905年）

       (keibatsuno ishioseoute natsunokana)

         carrying a stone of punishment

         on one's back_

         the summer field

          

 （８）垣間見る好色者に草芳しき　（M39. 1906年）　　　

       (kaimamiru koushokumononi kusakanbashiki)

         the grasses fragrant     

         to a lecherous man

         peeping in through the hedge 

               　   

（９）桐一葉日当りながら落ちにけり　（M39. 1906年）

　　　(kirihitoha hiatarinagara ochinikeri)

　　　 a leaf of paulownia

　　　 fell,

　　　 with the sunlight on it

         

 （10）曝書風強し赤本飛んで金平怒る　（M41.1908年）

      (bakushokaze tsuyoshi akahontonde kinpiraikaru)

      strong a wind at book-exposing,

      a red-covered storybook blown down,

      exposing the hero Kinpira angry　　

      

（11）凡そ天下に去来程の小さき墓に参りけり（M41. 1908年）

  (oyosotenkani kyoraihodono chisakihakani mairikeri)

      Under heaven,

      I visited such a tomb 

      as small as I heard of Kyorai.　　

   　　 　　

(12）(13) 霜降れば霜を楯とす法の城　（T2. 1913年）

         (shimofureba shimowotatetosu norinoshiro)

         if there is a frost,

         the frost be a shield_

         the temple of laws    

         

(14) 春風や闘志抱きて丘に佇つ　（T2. 1913年）

        (harukazeya tohshiidakite okanitatsu)

        spring wind_

        I stand on the hill,

        my heart full of fight     　　

        　　

(15）囀や山かけて売る土地広し　(T2. 1913年)

       (saezuriya yamakaketeuru tochihiroshi)

(Translation A)

       running around the hill,

       broad the lot sold_

       chirps of birds

(Translation B)

       broad the lot 

       sold by taking a chance_

       chirps of birds

(Translation C)

       broad the lot

       sold with a hill behind_

       chirps of birds

 (Note)

In this haiku,  "山かけて" (yamakakete) is a pun, meaning "run",  "take a chance", or "hang".

     

(16）この後の古墳の月日椿かな  (T2. 1913年)　　　

      (kononochino kofunnotsukihi tubakikana)

       after this,      

       lasting time of the ancient mounds_

       the camellias   

        

(17) 歌人祭らず俚人ただ祭る社あり　(T2. 1913年)

       (kajinmatsurazu satobitotada matsuru yashiroari) 

       (on Hitomaro death-anniversary)

        a shrine,

       no poets worship it,

       villiagers only worship it      

        　

(18) 一つ根に離れ浮く葉や春の水　(T2. 1913年)

     (hitotsuneni hanareukuhaya harunomizu)

     the spring water_

     the leaves float aloof,

     grown from single roots  

                   　　

(19) 舟岸につけば柳に星一つ　(T2. 1913年)

     (funekishini tsukebayangini hoshihitotsu)

     the boat reached a shore,

     there a willow,

     thereabove a star　     

    

(20) 秋来ればいつもあはれにきぬたかな　(M24. 1894年）

      (akikureba itsumoawareni kinutakana)

      autumn has come,

      always pathetic

      'kinuta' fulling

      　 　

(Note)

Click here to see all of the 100 haikus of Kyoshi Takahama.

 

(10 HAIKUs of Kyoshi Takahama, translated by Satoshi Kinoshita)

HAIKU is AI: not Artificial Intelligence, but Art of Intelligence, leading to "LOVE". 

Haiku Aids Increasing Knowledge Univerally.

 　　　

(91) 春潮にたとひ櫓櫂は重くとも (S22. 1947)

　　(shunchohni tatoirokaiwa omokutomo)

　　Even if the oar is heavy

　　against the spring tide_    

(Note)

This haiku was made as a tribute to encourage Kyoshi's grand-daughter  (Nakako Bohjoh: 坊城中子) when she entered a nursing school.

The Kyoshi's haikus translated herein are cited from the writings of Toshiki Bohjoh (坊城俊樹：the son of Nakako Bohjoh, that is, a great-grandson of Kyoshi Takahama).

   　　　　

(92) 爛々と昼の星見え菌生え (S22. 1947)

　　(ranranto hirunohoshimie kinokohae)

　　the daylight star

　　looks glaring_

　　mushrooms grow   　

(Note)

This haiku was made as a farewell tribute to people in Koromo City. They gave mushrooms (=茸）to Kyoshi Takahama for a farewell present. He lived in Koromo for about three years after moving there for refuge from air raid during the war.

The word ’daylight star’ means the sun, because the word ’爛爛’ (=glaring) is used for describing it. In the case of this haiku, it is possible to express 'kinoko' by either letter of '茸' or '菌'. However, the latter was adopted. The letter '菌' can also mean 'germ' when it is read as 'kin'. 

Thus, it seems  that with the cited haiku, Kyoshi Takahama intended to express the whole great nature by referring to the greatest thing ’daylight star (=太陽)’ and the smallest thing 'mushroom (=菌)'. 

    

(93) 去年今年貫く棒の如きもの  (S25. 1950)

　　(kozokotoshi tsuranuku bohnogotokimono)

This haiku was highly appreciated by Yasunari Kawabata (a Nobel winner for Literature).

In this haiku, metaphor as well as inversion is applied.

　(Translation A)

　　kozokotoshi

　　piercing

　　a stick-like thing    

　(Translation B)

　　my belief in HAIKU

　　piercing kozokotoshi

　　like a stick 

　(Translation C)

　　time pierces

　　kozokotoshi

　　like a stick

(Note)

“kozokotoshi” is a kigo (= seasonal word) established by Kyoshi Takahama, referring to New Year, on which yesterday is the last year, and today is this year. Thus, the literal meaning of kozokotoshi is “last-year-this-year”.

Translation A is a word-for-word translation and can be interpreted in various ways. However, “stick-like thing” should be considered as the real subject and a metaphor. In Translations B and C, “my belief” and “time” are added, respectively replacing the word “stick-like thing”. Thus, the kigo “kozokotoshi” should grammatically be taken as the object of “pierce”. Otherwise, this haiku makes nonsense.

In Translation A, if you take “kozokotoshi” as the subject for “pierce”, and “stick-like thing” as the object for “pierce”, then what do you think the “stick-like thing” indicates? Does it make any sense? 

        

(94) 大桜これにかしづき大椿 (S30. 1955)

　　(Ohzakura korenikasizuki ohtsubaki)

　　a large cherry tree_

　　beside it

　　a large camellia

 　

(95) 蠅叩手に持ち我に大志なし (S31. 1956)

　　(haitataki tenimochiwareni taishinashi)

　　having a flyswatter

　　in my hand

　　I have no great ambition

　　　

(96) 虚子一人銀河と共に西へ行く　(S24. 1949)

　　(kyoshihitori gingatotomoni nishieyuku)

　　Kyoshi alone

　　goes toward west

　　with the galaxy

　　

(97) 我のみの菊日和とはゆめ思はじ (S29. 1954)

　　(warenomino kikubiyoritowa yumeomowaji)

　　chrysanthimum-bright-day_

　　never

　　only for me

(Note)

Kyoshi Takahama made this haiku when he received a Cultural Medal (=文化勲章).

　　　　

(98) 悪なれば色悪よけれ老の春 (S28. 1953)

　　(akunareba iroakuyokere oinoharu)

　　if any vice,

　　sensual vice would be better_

　　spring of old age

　　　

(99) 明易や花鳥諷詠南無阿弥陀 (S29. 1954)

　　(akeyasuya kachohfuuei namuamida)

　　daybreak getting earlier_

　　making haiku of nature

　　namuamida

(Note)

’kachoh-fuuei’（花鳥諷詠）, which was advocated by Kyoshi Takahama, means a typical way of composing haiku based on appriciation of nature including human affairs.

’namuamida’ （南無阿弥陀）is Buddhist chanting words of sutra, which mean ’I believe in Amitabha'.

   

(100) 独り句の推敲をして遅き日を (S34. 1959)

　　(hitori kunosuikoh-o-shite osokihio)

　　alone,

　　elaborating haikus_

　　lengthening days of spring

   　　　

Click here to see back numbers (81~90).

  

(10 haikus of Kyoshi Takahama, translated by Satoshi Kinoshita)

   　　       

(61）風が吹く仏来給ふけはひあり（M28　1895年）

      (kazegafuku hotokekitamau kehaiari)

　    a wind blows_

      I feel the soul of the deceased

      coming

　　   

(62）凍蝶の己が魂追うて飛ぶ　(S8 1933年)

     (itechohno onogatamashii outetobu)

        a frozen butterfly

     flies, chasing

     her own spirit

          

(63) 鴨の嘴よりたらたらと春の泥　(S8 1933年)

      (kamonokuchibashiyori taratarato harunodoro)

       spring mud,

       dribbling from

       the bill of a wild duck

　　　  

(64) 帚木に影といふものありにけり (S5　1930年)

      (hahakigini kagetoiumono arinikeri)

       the broom trees

       had

       so-called shadows

(Note) This haiku seems to be a kind of pun made in association with a folklore or ’Hahakigi’ in Genjimonogatari (The Tale of Genji).

　　　　

(65) くはれもす八雲旧居の秋の蚊に (S7 1932年)

      (kuwaremosu yakumokyuukyono akinokani)

      bitten by autumn mosquitoes

      in the old house of

      Yakumo

          

(66) 神にませばまこと美はし那智の滝　(S8 1933年)

      (kaminimaseba makotouruwashi nachinotaki)

　　 incarnation of god_

      what a sublimity!

      Nachi waterfall

        

(67) 燈台は低く霧笛は峙てり　(S8 1933年)

     (tohdaiwahikuku mutekiwa sobadateri)

     the lighthouse is low,

     a prominent sound

     the foghorn

　　 　　　　

(68) 蓮池に髪洗ひをる女かな　(S8 1933年)

     (hasuikeni kamiaraioru onnakana)

     a woman,

     washing her hair

     at the lotus pond

        

(69) 朝顔の映り熱帯魚は沈む　(S8 1933年)

     (asagaono utsuri nettaigyowashizumu)

     a morning glory

     reflected,

     a tropical fish submerging

         

(70) 道のべに阿波の遍路の墓あはれ　(S10 1935年)

     (michinobeni awanohenrono hakaaware)

     on the wayside,

     pathetic

     a tomb of ’awa’ pilgrim

          

Click here to see back numbers 51~60.

Haiku Aids Increasing Knowledge Univerally.

 

(10 haikus of Kyoshi Takahama, translated by Satoshi Kinoshita)

HAIKU is AI: not Artificial Intelligence, but Art of Intelligence, leading to "LOVE". Haiku Aids Increasing Knowledge Univerally.

    　

(81) たとふれば独楽のはぢける如くなり (S12. 1937)

　　(tatoureba komanohajikeru gotokunari)　　　　

(Literal translation)

     as it were,

     repelling of

     two spinning tops  

(Translation A)

　　you and me,

　　as it were,

　　repelling spinning tops  

(Translation B)

　　our relations

　　so to speak,

　　repelling of spinning tops 　　　

(Note)

This haiku is a monody in memory of Hekigotoh Kawahigashi. In this haiku, the subject is omitted by adding preliminary words to that effect.

　　　

(82) 稲妻を踏みて跣足の女かな (S12. 1937)

　　(inazumao fumitehadashino onnakana)

　　treadding on

　　lightning_

　　a barefoot woman

 　　　　

(83) 蔓もどき情はもつれ易きかな (S22. 1947)

　　(tsurumodoki nasakewamotsure yasukikana)

　　compassion

　　easily tangles_

　　staff-tree

　　　　

(84) 山川にひとり髪洗ふ神ぞ知る (S16. 1941)

　　(yamagawani hitorikamiarau kamizoshiru)

　　god knows_

　　in a mountain stream

　　a woman alone washing her hair

      　

(85)　何某に扮して月に歩きをり (S13. 1938)

　　(nanigashini funshitetsukini arukiori)

　　under the moon,

　　I am walking in a disguising costume

　　as a certain person.

(Note)

In this haiku, the subject, which is omitted, seems to be "I".　　　　

  

(86) 龍の玉深く蔵すといふことを　（S14. 1939)

　　(ryuhnotama fukakuzohsuto yuukoto-o)

(Translation A)

　　fruitlets of dwarf mongo grass_

　　suggesting

　　containing deep inside　　　

(Translation B)

　　fruitlets of dwarf mongo grass_

　　what is held

　　deep inside them    　　

(Translation C)

　　fruitlets of dwarf mongo grass,

　　holding all nature

　　deep inside them　　  　

(Note)

In this haiku, the object of the word "containing" is omitted, allowing reader's choice.

　　　　

(87) 天の川の下に天智天皇と臣虚子と (T6. 1917)

　　(amanogawanoshitani tenjitennohto shinkyoshito)

　　under the Milky Way

　　Emperor Tenji

　　and his subject Kyoshi

 　　　

(88) 吾も亦紅なりとついと出で (S15. 1920)

　　(waremomata kohnarito tsuitoide)

(Translation A)

　　I also am crimson_

　　as if so saying,

　　a burnet appeared abruptly

(Translation B)

　　crimson_

　　me too,

　　I abruptly step out　　　  　　 

(Note)

’waremokoh’ （吾亦紅） is a burnet. Literally,'waremokoh’ means: ’I also am crimson’. Thus, this haiku is a pun as can be understood from translations A and B. However, how to interpret the omitted subject is entrusted to readers.

    

(89) 映画出て火事のポスター見て立てり (S16. 1941)

　　(eigadete kajinoposutah mitetateri)

　　walking out of a cinema,

　　I stopped, seeing

　　a poster of fire

     　

(90) 天地の間にほろと時雨かな (S17. 1942)

　　(ametsuchino aidanihoroto shigurekana)

　　a slight drop

　　between heaven and earth_

    wintry rain

      

(Note)　

This　haiku　is a monody, which is a tribute to one of Kyoshi's disciple haiku poets, Hanamino Suzuki（鈴木花蓑）.

  

Click here to see back numbers (71~80).

   

(10 haikus of Kyoshi Takahama, translated by Satoshi Kinoshita)　

　　　　　　　　　     

(71)　川を見るバナナの皮は手より落ち  (S9. 1934)

　　(kawaomiru banananokawawa teyoriochi)

　(Trnslation A)    

     a banana peel

　　fell from a hand,

　　I watch the river    

  (Translation B)

　　the banana peel

　　fell from my hand,

　　I watch the river      　

(Note) This original haiku does not tell that the hand is whose one.

     

(72) 一を知つて二を知らぬなり卒業す  (S10. 1935)

　　(ichioshitte nioshiranunari sotsugyohsu)　　

　(Literal translation)

　　graduated,

　　knowing one

　　but not two  　

　(Translation A)

　　students are graduated,

　　knowing one

　　but not two  　

　(Translation B)

　　knowing one

　　but not two_

　　he graduates from a school　　　

(Note) In this original haiku, the subject is omitted and unknown. This haiku seems to be made in assosiation with a proverb which means the following: A sage knows 10 upon hearing one.

　　　

(73) 椿まづ揺れて見せたる春の風  (S10. 1935)

　　(tsubakimazu yuretemisetaru harunokaze)

　　a camellia

　　first shakes to show

　　spring breezes

  　

(74) 魚鼈居る水を踏まえて水馬   (S10. 1935)

　　(gyobetsuiru mizuofumaete mizusumashi)

　　a whirligig beetle treads

　　on the water where

　　fish and turtles live

   　　

(75) 道のべに阿波の遍路の墓あはれ  (S10. 1935)

　　(michinobeni awanohenrono hakaaware)

　　pathetic!

　　on the wayside,

　　a tomb of ’awa’ pilgrim

　　　　

(76) 白牡丹といふといへども紅ほのか (T14. 1925年)

　　(shirobotan toiutoiedomo benihonoka)

　　white rose,

　　so called, but

　　slightely tinged with red

　　　　

(77) 新涼の驚き貌に来りけり  (M41. 1908年)

　　(shinryohno odorokigaoni kitarikeri) or

　　(shinryohnoodoroki kaoni kitarikeri)　　

　(Translation A)

　　the cool of early autumn

　　appeared as the look of

　　a surprised person   　

　(Translation B)

　　a look of surprise

　　in the cool of

　　early autumn   　

　(Translation C)

　　a person having

　　a look of surprise

　　agaist the early autumnal cool

(Note)

Depending on how you take the conbination of words and the meaning of ‘の (=no)’, the original haiku can be translated in various ways as described above. ’の’ is a postpositional word, functioning as an auxiliary to the main word '新涼'.

  　

(78) 鴨の中の一つの鴨を見てゐたり  (S11. 1936)

　　(kamononakano hitotsunokamo-o miteitari)

　　I gazed at

　　only one of

　　the wild ducks

　　　　

(79) 古綿子著のみ著のまま鹿島立   (S11. 1936)

　　(furuwatako kinomikinomama kashimadachi)

　　my departure for an abroad

　　in an everyday wear_

  　old ’watako’ clothes

　　　  　

(80) 雀等も人を恐れぬ国の春   (S11. 1936)

　　(suzumeramo hito-o osorenu kuninoharu)

　　spring

　　in the country where

　　sparrows also fear no people

　　　　

Click here to see back numbers (61~70).