俳句: 201 Terms and Phrases

• 俳句
• haiku
• 17-mora poem, usu. in 3 lines of 5, 7 and 5 morae
• Haiku (Japanese seventeen-syllable poem)
• Haiku (a Japanese poem in seventeen syllables having a 5-7-5 syllabic form and traditionally containing a reference to the seasons)

• 俳句寺
• Haikudera

• 俳句会
• haiku gathering

• 俳句らぶ
• Haikurabu

• 下駄の俳句
• Haiku including the term 'Geta'

• 和歌・俳句
• In waka and haiku

• 俳句とは何か
• What is haiku?

• 奥武蔵俳句寺
• Okumusashihaikudera

• 俳句も詠んだ。
• He also composed haiku (a Japanese poem in seventeen syllables having a 5-7-5 syllabic form and traditionally containing a reference to the seasons).

• 国際俳句交流協会
• Haiku international association

• 俳句を作り始める
• He began writing haiku (a Japanese poem in seventeen syllables having a 5-7-5 syllabic form and traditionally containing a reference to the seasons).

• 多く俳句がある。
• There are many Haiku about it.

• 松尾芭蕉の二俳句：
• Two haiku poems of Basho MATSUO

• 俳句とは「人間だよ」。
• Haiku is to be 'human.'

• 俳句では夏の季語である。
• In haiku, or Japanese seventeen-syllable poetry, the Bon festival dance is used as kigo (a seasonal word) of summer.
• 'Umeboshi' is a summer kigo (a seasonal term) in haiku (a Japanese poem of seventeen syllables in the sequential form of five, seven and five syllables).

• 俳句は季節と関連が深い。
• Haiku are closely related to the seasons of the year.

• 俳句には次の特徴がある。
• Haiku has the following characteristics.

• 俳句の季語では冬にあたる。
• It is used as kigo (a season word) of haiku (Japanese seventeen syllable poems) to represent the winter season.

• 俳句 - 定型 - 自由律
• Haiku: A fixed form and free-verse haiku

• 「俳句は東洋の眞珠である」。
• Haiku is a pearl of the East.'

• 和歌、俳句、短歌、川柳、狂歌
• Waka, Haiku, Tanka, Senryu (comic haiku), and Kyoka (comic (satirical) tanka)

• 「俳句は諸人旦暮の詩である」。
• Haiku is a poem that expresses 'morobito akekure' (the everyday life of people).

• この事が後世の俳句の源流となる。
• This later became the origin of haiku poetry.

• 和歌、短歌、俳句、川柳、連歌、詩
• Waka, Tanka, Haiku, Senryu, Renga (linked verse), and poem

• 俳句の季語・季題をまとめたもの。
• They collect kigo (season words) and kidai (seasonal topics) for haiku (Japanese seventeen-syllable poem).

• 俳句を詠むとき、意を注ぐべき六条
• Six things to consider when composing a haiku

• 俳句を詠む（作る）人を俳人と呼ぶ。
• A person who composes haiku poems is called a 'haijin' (a haiku poet).

• 「新興俳句運動」の指導者的な存在。
• He was a leader of 'Shinko Haiku Undo' (Movement of Emerging Haiku Poem).

• いまでも否定できない俳句観である。
• It is an undeniable view on Haiku to this day.

• これは芭蕉の非常に有名な俳句です。
• This is a very famous Haiku poem by Basho.

• 俳句は「寄物陳思」の詩とも言われる。
• Haiku is also called the poetry of 'kibutsu chinshi.'

• 俳句においては夏の季語のひとつである。
• 'Tokoroten' is one of the kigo (season words) for summer in haiku.

• 俳句にとって、季語は大きな役割がある。
• Kigo plays a major role in haiku.

• 作品中には多数の俳句が読み込まれている。
• Numerous haiku poems are included in this book.

• 俳句の季語としても用いられることもある。
• It is used as kigo (season words) for haiku (Japanese seventeen-syllable poem).

• 漱石俳句集（1917年11月、岩波書店）
• Soseki haikushu (November 1917, Iwanami Shoten)

• 大学時代に正岡子規と出会い、俳句を学ぶ。
• When he was a university student, he was acquainted with Shiki MASAOKA and learned haiku under Shiki.

• 俳句にとって「季語」は大きな役割を果たす。
• Season words play a major role in haiku.

• 俳句とは「客観写生」、「花鳥諷詠」である。
• Haiku is a 'kyakkan shasei' (an objective portrayal) and 'kacho fuei' (beauties of nature and the harmony between nature and man).

• 漢詩が多いが、和歌、俳句を書くこともある。
• Many gasan are Chinese poems but Japanese tanka poetry or haiku (.a Japanese lyric verse form having three unrhymed lines of five, seven, and five syllables) are also sometimes written.

• 俳句や短歌などでは、夏の季語に用いられる。
• It is used as a season word for summer in haiku (seventeen-mora poetry) and tanka (thirty-one syllables' poem).

• 彼女の命日は季語一覧として俳句の季語にもある。
• The anniversary of her death has been used as kigo (a season word) for haiku (Japanese seventeen-syllable poem).

• 廃れかかっていた伝統俳句の戦後勃興に寄与した。
• He contributed to the revival of traditional haiku which was becoming obsolete in the post war period.

• 「10円カレー」は俳句の秋の季語にもなっている。
• The term 'ten-yen curry' has been used as a season word for autumn in haiku.

• 「柿くへば鐘が鳴るなり法隆寺」（正岡子規の俳句）
• If you eat a persimmon, the bell rings in Horyu-ji Temple' (Haiku by Shiki MASAOKA)

• 夏に冷やして食べる事が多く俳句の季語も夏である。
• Mizu-yokan is often eaten chilled in summer, and it is also a kigo (a season word) of summer for haiku (Japanese seventeen-syllable poem).

• 俳句を学ぶための実践的な本であると賞賛を浴びる。
• The book was praised as a practical book for learning haiku.

• しまいに話をかえて君俳句をやりますかと来たから、
• Finally he changed the topic and asked me if I take an interest in 'haiku'[8]

• 現在では外国人が日本語で俳句を作ることも始まった。
• Recently, the non-Japanese have even begun to create haiku poems in Japanese.

• 俳句雑誌『キララ』（後の『雲母』）に度々投句する。
• He repeatedly submitted his poems to a haiku magazine 'Kirara' (later called 'Unbo').

• 江戸時代には狂歌や俳句の賛がある絵画や浮世絵も多い。
• Many paintings and ukiyoe woodblock prints from the Edo period have a san of kyoka (comic [satirical] tanka) or haiku.

• 亡くなった日は「季語一覧」として俳句の季語にもある。
• The date of her death was stated in 'a list of season words' as season words for Haiku poems.

• 『句仏上人俳句頂戴鈔』安部自得編（法蔵館・1910年）
• 'Kubutsu-shonin Haiku Chodai-sho' edited by Jitoku ABE (Hozokan, 1910)

• 社会詠（しゃかいえい）は和歌や俳句の種別の一つである。
• Shakaiei is a type of tanka as well as a haiku.

• 『案内記』は俳句や狂歌、挿絵を交えた案内記となっている。
• 'Annaiki' was a guidebook containing haiku, kyoka (comic or satirical tanka) and illustrations.

• 俳句においては下述の日蓮宗のお会式から秋の季語とされる。
• It is kigo (seasonal words) for autumn in haiku (Japanese seventeen-syllable poet) since Oeshiki of Nichiren Sect is held in autumn as explained below.

• この頃、子規とともに俳句に精進し、数々の佳作を残している。
• During this period, Soseki devoted himself to compose haiku with Shiki and left a lot of masterpieces.

• 「時雨蛤」は江戸時代中期の俳句、各務支考が名付けたとされる。
• It is believed that 'Shigure Hamaguri' was named by Shiko KAGAMI, a Haiku poet in the middle of the Edo period.

• 同年、東京大学法学部に入学した誓子は、”東大俳句会”に参加。
• In the same year, Seishi entered the University of Tokyo Faculty of Law and became a member of 'Todai Haikukai' (haiku society of the University of Tokyo).

• 俳句では17文字という限られた音で表現をしなければならない。
• In a haiku, you need to express yourself within the limit of seventeen syllables.

• 川柳も俳句と同じく俳諧に起源を持つ五・七・五の定形詩である。
• Just as in the haiku, the senryu also is poetry with the fixed form of 5-7-5 syllables whose origin is in the haikai.

• その時、新幹線の車窓から詠んだ俳句が「窓際俳句」と呼ばれる。
• The haiku what he composed beside the window in Shinkansen at that time is called 'Madogiwa Haiku' (Haiku Written Next to the Window).

• 「俳句とは何か」という、本質的問いに対する答えは多数存在する。
• There are many answers to the fundamental question of 'What is a haiku?'

• 俳句は定型詩であり、五・七・五の韻律が重要な要素となっている。
• Haiku employs a rhythmic pattern used in conjunction with the 5-7-5 syllable structure.

• 同じ音数律を持つ俳句とともに、俳諧すなわち俳諧連歌を源とする。
• Like haiku in the same syllabic meter, it originated in haikai, in other words, haikai-renga.

• 昔から俳句に関心を持っていた誓子は、”京大三高俳句会”へ入会。
• Seishi, who had been interested in haiku, became a member of 'Kyodai Sanko Haiku-kai' (haiku society of Kyoto University Third High School).

• 和歌の西行、俳句の松尾芭蕉とともに連歌を代表する漂泊の人である。
• He is another wandering poet, representative of renga poetry like Saigyo for waka and Basho MATSUO for haiku.

• 松浦鎮信 (天祥)は其角に俳句を師事してもらうほどの風流な大名。
• Shigenobu MATSUURA (Tensho) is daimyo (Japanese feudal lord) elegant enough to have lessons of Haiku from Kikaku.

• 「渋柿のごときもの」、これはたしかに俳句の本質の一面といえよう。
• Like an astringent persimmon,' definitely expresses one of the key essence of haiku poetry.

• 俳句（はいく）とは五・七・五の音節から成る日本語の定型詩である。
• Haiku is Japanese poetry structured in the set form of 5-7-5 syllables.

• また、松尾芭蕉や小林一茶は河豚料理を季語にした俳句も残している。
• Also, Basho MATSUO and Issa KOBAYASHI composed haiku using pufferfish cuisine as a seasonal word.

• また俳句の秋の季語としても、「砧」「砧打つ」などがもちいられる。
• In addition, the terms 'kinuta' and 'kinuta utsu' (to beat the cloth) have been used as kigo (season words) in haiku (Japanese seventeen-syllable poems).

• 加藤国安　『漢詩人子規 俳句開眼の土壌』（研文出版　2006年）
• 'Composer of Chinese-style poems; Environment for Haiku kaigan (eye-opening)' by Kuniyasu KATO (Kembun Shuppan, 2006)

• また、これらの神事から、俳句や短歌では夏や冬の季語に用いられる。
• Based on these Shinto rituals, it has been used as a season word symbolizing summer and winter in haiku and tanka.

• なお野点と平行して俳句や和歌を作ったり聞かせたりすることを楽しむ。
• Along with Nodate, people can enjoy writing or presenting Haiku or Waka poems.

• 井上井月に影響を受けた一人に、自由律俳句の種田山頭火が挙げられる。
• One of haiku poets who came under the influence of Seigetsu was Santoka TANEDA who made haiku without fixed pattern.

• 現代の俳句でも使われている切れ字には「かな」「や」「けり」がある。
• Some of the kireji used in the modern-day haiku are 'kana,' 'ya,' and 'keri.'

• 本来は俳句の起源である連歌・俳諧の季・季詞（きのことば）に由来する。
• Season words derived from kinokotoba (season phrase) in renga (linked verse) and haikai (seventeen-syllable verse) that are the origin of haiku.

• 小林一茶の俳句に、「新しき蚊屋に寝るなり江戸の馬」というものがある。
• A haiku poem by Issa KOBAYASHI reads, 'Atarashiki, Kaya ni nerunari, Edo no uma' and translates as 'A horse in Edo sleeps under a new mosquito net.'

• 信州南信地方を中心に活動し、放浪と漂泊を主題とした俳句を詠み続けた。
• He was active mainly in the southern part of the Shinshu region and continued to make haiku whose subjects were wandering and roaming.

• 自然詠（しぜんえい）は、短歌用語である(俳句についても用いられる。）
• Shizen-ei (poems about nature) is a term for a type of tanka (thirty-one syllable poem) (also used in reference to haiku).

• 無季俳句、自由律俳句も含まれるがそれを俳句と認めない立場も存在する。
• Haiku includes muki haiku (haiku without seasonal reference) and haiku without any fixed patterns; however, there are arguments against having these included in haiku poetry.

• そのため、本来連歌としての俳諧は、近代以降の俳句と評価の視点が異なる。
• Therefore, the original haikai as a part of renga was appreciated from a different perspective than haiku, which appeared after the modern times.

• 句碑が3基建立された他、関係図書の復刊や、記念俳句大会などが行われた。
• The festival was celebrated by several events such as erecting three stone tablets inscribed with a haiku, republishing related books and holding a commemorative haiku convention.

• これが有名な「俳句は滑稽なり。俳句は挨拶なり。俳句は即興なり」である。
• These are the well-known 'Haiku is humor. Haiku is a compliment. Haiku is improvised.'

• 近代化した文芸たらしめるための文学運動を行い、発句が俳句として自立した。
• In order to elevate haikai poetry to a more modernized form of literature, he began a literary movement and successfully created a new form of poetry known as haiku.

• しかし、その起源は芭蕉の句までたどることのできる俳句の特徴の1つである。
• However, it is one of the characteristics of the haiku whose origin can be traced back to Basho's verses.

• しかし、現代の俳句は「俳諧の発句」とは異なるものとして発展してきている。
• However, modern-day haiku poetry has developed into something that is different from 'the hokku of a haikai.'

• さらに、俳句は定型詩ではないとして一句一律を唱える自由律俳句も存在する。
• Furthermore, there exist 'jiyuritsu-haiku' (rule-free haiku) whose proponents argue that haiku does not have a set form and that each verse should have its own rule.

• 時に作者個人の創作たる発句を完全に独立させた近代文芸の俳句と同一視される。
• Hokku, as an individual art of creation, can be identified as haiku, which is a form of modern literature that became completely independent from hokku.

• よくまとめられているので、初心者が俳句を作るときに参考にすることができる。
• Since it is well organized, beginners to haiku can refer to them when composing haiku poems.

• 日本語以外の俳句では五・七・五のシラブルの制約がなく、季語もない場合が多い。
• In these haiku poems, there is no 5-7-5 syllable constraint, and in many cases there are no kigo (seasonal references).

• また、伊那谷の人士は、俳句作品ばかりでなく、井月の墨書、筆跡も珍重していた。
• Local people in the upper class of Inadani valued not only his haiku but also his ink writings and calligraphy.

• それで釣（つり）に行くとか、文学書を読むとか、または新体詩や俳句を作るとか、
• such as fishing, reading literary products, composing new style poems, or haiku (17-syllable poem).

• 有名な既存の俳句や短歌などから言葉を流用し、言外に本歌の内容を表現する技法。
• This is a technique in which words are taken from famous, existing haiku and tanka poems, and using them to implicitly bring forth the imagery of the original verse.

• したがって、発句の性格を継承しておらず、そこから俳句と対照的な特徴を有する。
• For this reason, the senryu did not inherit the characteristics of the hokku, and explains for the dramatic difference between the senryu and the haiku.

• こいつは大変だと思って、俳句はやりません、さようならと、そこそこに帰って来た。
• Here is where I beat it, I thought, and, saying 'No, I don't, good by,' hastily left the house.

• 俳句は近世に発展した文芸である俳諧連歌、略して俳諧から生まれた近代文芸である。
• Haiku poetry is a form of modern literature that evolved from haikai-renga, haikai for short, which developed in the early modern ages.

• 良寛は般若心経の大量の写経を残しており、種田は般若心経を俳句に読み込んでいる。
• Ryokan left numerous manuscripts of the Hannya Shingyo, and TANEDA made haiku from the Hannya Shingyo.

• 俳句では現在でも夏の季語となっているが、現在は冬に温めて飲むのが一般的である。
• Therefore, the term amazake remains one of the kigo (seasonal words) for summer used in haiku poetry even though amazake is now seldom drunk during summer.

• 日本のある有名な詩人は俳句におけるどのような固定化した考え方にも反対している。
• A famous Japanese poet does not approve of any fixed doctrine in haiku.

• そのため、それ以後の俳句は、必ずしも正風を継承しているとはいえなくなっている。
• Consequently haiku in the later ages cannot necessarily be said to have succeeded Shofu.

• 初代吉右衛門は高浜虚子の門人で、「秀山」という俳名を貰って俳句をよく嗜んでいた。
• Because the first generation, Kichiemon was a disciple of Kyoshi TAKAHAMA, who was granted the name for Haiku (Japanese poetry), `Shuzan,' and recited many Haiku.

• 討ち入りを待ち望む松浦侯と、俳句を通じて交流がある宝井其角・大高源吾などの絡み。
• It is about conversations between lord Matsuura, who is expecting a raid, and Kikaku TAKARAI and Gengo OTAKA, with whom Matsuura is acquainted through Haiku.

• 俳句の季語になっているほか、桜の開花予報、開花速報は春を告げる合図となっている。
• It is also a season word in haiku, and the blossom forecasts and prompt reports are signals of the coming of spring for Japanese people..

• 加藤楸邨、中村汀女、有馬朗人、富安風生なども黄砂や霾などを扱った俳句を残している。
• Shuson KATO, Teijo NAKAMURA, Akito ARIMA, and Fusei TOMIYASU also made haiku poems concerning kosa or tsuchifuru.

• 俳句の自立後の視点から、松尾などの詠んだ発句をさかのぼって俳句とみなす見方もある。
• Some believe that the hakku composed by Matsuo and others ought to be retroactively be called haiku as well, since those hakku were of the same essence.

• 「連句」の名称は明治37年に連歌や俳句と区別するため高浜虚子が提唱してから定着した。
• The name 'renku' became common in 1904, when Kyoshi TAKAHAMA advocated using the term in order to distinguish renku from renga and haiku.

• 短歌や俳句のような呼吸が一定の音数律詩歌の音数規定を外し音数を自由にすることができる。
• Writers of five line poems have a choice on the number of syllables, as they are free from syllabic meter rules that are essential factors in rhythm poetry such as Tanka (thirty one syllable poems) and Haiku (seventeen syllable poems).

• 芥川は「井月は時代に曳きずられながらも古俳句の大道は忘れなかつた」と井月を賞賛している。
• AKUTAGAWA praised Seigetsu for his policy that while he tried to catch up with the times, he never forgot the basics of haiku.

• 俳句を詠むときで避けるべき八ヶ条（水原秋桜子の見解、特に無季の句に関しては異論もあろう）
• The eight things that should be avoided upon composing haiku poems (according to Shuoshi MIZUHARA's opinion, although there may be disagreements, particularly regarding muki verses).

• さらに近代文芸として個人の創作性を重視して俳句を成立させたのが明治時代の正岡子規であった。
• During the Meiji period, Shiki MASAOKA emphasized creativity within the individual and ultimately established haiku poetry as modern literature.

• 俳句評論家の山本健吉はエッセイ「挨拶と滑稽」のなかで、俳句の本質として3ヶ条をあげている。
• Kenkichi YAMAMOTO, a haiku critic, cites three things that are essential to haiku poetry in his essay, 'Aisatsu to Kokkei' (Compliments and Humor).

• しかし、俳句を趣味とする富裕層の男性たちが井月を優遇し、中には弟子として師事するものもいた。
• However, wealthy men who liked to write haiku gave favorable treatment to him and some of them had Seigetsu as their teacher.

• 水原秋桜子が『俳句の作り方』で提唱した、俳句を作る時に意を注ぐべき六ヶ条と避けるべき八ヶ条。
• There are six things to consider and eight things to avoid when composing a haiku, according to Shuoshi MIZUHARA in 'Making Haiku.'

• 生涯に多くの俳句（約2万句）を残し、文化人としての才能を発揮、日本俳壇界に独自の境地を開いた。
• During his lifetime, he wrote many haiku poems (approximately 20,000) and used his poetic talent to forge his own reputation within the haiku world.

• その後、高浜虚子の愛弟子となり、俳句の実力が認められ、1934年に『ホトトギス』の同人となる。
• After that, he became a beloved pupil of Kyoshi TAKAHAMA, and, with his talent being recognized, he became a member of the' Hototogisu' group in 1934.

• 蕪村に影響された俳人は多いが特に正岡子規の俳句革新に大きな影響を与えたことは良く知られている。
• Buson has influenced many Haiku poets. It is well known that he had an especially big influence on the innovation of Haiku poems by Shiki MASAOKA.

• 松尾芭蕉の俳句「大津絵の筆のはじめは何佛」には、仏画が多かった初期の大津絵の特徴が表れている。
• The early characteristics of Otsue which contained many Buddhist paintings are well expressed in the haiku by Basho MATSUO, 'Various kinds of Buddha are drawn in Otsu-e, so which one will the painter draw in the New Year.'

• しかし、父が死去すると宮津に戻り、以後は宮司として働く一方で、俳句の世界をたしなんだといわれる。
• However, he returned to Miyazu once his father died, and while he worked as Guji (chief of those who serves shrine, controls festivals and general affairs) afterward, he was fond of Haiku world.

• 14歳のときに道楽が過ぎて実家から勘当され、その後貸本屋の手代となり狂歌、茶番、俳句などで活躍。
• When he was 14 years old, he was repudiated by his parents due to wild debauchery, thereafter becoming a tedai (clerk) at a kashihon-ya (book-lending shop) and flourishing in the fields of kyoka (comic and satirical tanka), chaban (a farcical form of drama) and haiku.

• そういえば、電車の中で隣に座ったほろ酔いのおっさんに、自分の俳句を見て欲しいと言われたことがある。
• Now that I think of it, I've been asked to look at a haiku he'd written by the tipsy bloke sitting next to me on the train.

• 現代の俳句でも「切れ」は重要なテクニックの一つであり、「切れ」のない句は俳句としては評価されない。
• Even in the modern-day haiku, 'kire' is thought to be one of the most important techniques used in the composition, and verses without the 'kire' are considered to be haiku.

• 連句として独立するのは、俳句が隆盛となって俳諧が俳句や連句を含めた総称的な用語になったことによる。
• The reason renku developed into an independent and distinct style is that haiku had begun to flourish, and so 'haikai' became a general term that encompassed both haiku and renku.

• しかしながら、俳句人口が100万人と言われるのに対して、連句人口は数千人と規模が小さいとされている。
• It is said, however, that about a million people write haiku today, while only a few thousand create renku, making them quite a small group comparatively speaking.

• 戦後は桑原武夫の『第二芸術論』に反発、俳句の復活を志し1948年、西東三鬼らとともに「天狼」を創刊。
• In the postwar period, he rebelled against 'Daini Geijutsu Theory' (Second-Class Art Theory), and he aspired to the revival of haiku and launched a magazine, 'Tenro' (Sirius), with Sanki SAITO in 1948.

• 俳句の季語と同じように、間接的な比喩として穢れ・邪気・魔・厄を、祓い清める事を表している言葉でもある。
• They also show the exorcism and purification of impurities, bad vibes that cause illness and other misfortune, devils and disasters as well as kigo (a season word) for haiku (Japanese seventeen-syllable poem).

• この点から、月並俳句が横行した幕末・明治初期にかけて、蕉門の再評価を目指した井月の姿勢がうかがわれる。
• Regarding these haiku Seigetsu wrote, it can be said that he tried to reevaluate Shomon (Basho's school) from the last days of the Tokugawa shogunate to the early Meiji period during which mediocre haiku were prevalent.

• 僧侶の女犯は罪であったため、不真面目な僧侶などは医者や俳句の師匠の振りをして吉原遊廓に出向きなどもした。
• As Nyobon (sexual indulgence) is a sin for Buddhist monks, some infidel monks went to play at Yoshihara yukaku (red-light district) pretending to be a doctor or a master of haiku (a Japanese poem in seventeen syllables having a 5-7-5 syllabic form and traditionally containing a reference to the seasons).

• 俳諧には発句（のち俳句に）とこの連句の形式があるが、江戸時代以前には「俳諧」とは連句形式のことであった。
• Haikai consists of hokku (later called haiku) and renku, but before the Edo period 'haikai' meant the form of renku.

• お虎さん、虎女（とらじょ）とも呼ばれる、また俳句などでは虎御前と書いて「とらごぜ」と読ませることもある。
• She is also called O-tora san or Torajo; in haiku she is sometimes referred to as 'Toragoze.'

• 季語（きご）あるいは季題（きだい）は、俳句に必ず1つ含まれることが望ましいとされる、季節を象徴的に示す語。
• Kigo, season word or kidai, seasonal topic (in haiku poetry) is a word symbolizing a given season and it is considered desirable that one of either kigo or kidai be contained in a haiku poetry.

• 正岡子規にはじまる近代俳句の隆盛のなかで、連句に注目した早い時期のものとして、寺田寅彦の随筆があげられる。
• During the great flourishing of the haiku poetic form, which began with Shiki MATSUOKA, Torahiko TERADA wrote an essay on renku, one of the first such writings to focus on renga.

• これらの俳句の比較から、一茶の浄土真宗的な思想と無常観に対して、井月の現世肯定性、楽天性が指摘されている。
• Given the comparison between Issa's and Seigetsu's haiku, it is pointed out that Issa was under influence of the thought of the Jodoshin Sect and viewed life as transitory, on the other hand, Seigetsu had an optimistic and realistic way of thinking.

• だが俳諧連歌の冒頭の発句が独立した俳句と違い、川柳は付け句（平句）を前句から独立的に鑑賞するようになった。
• However, unlike the haiku, which is the hokku at the beginning of a haikai-renga that became independent, the senryu is a form of poetry that appreciates the tsukeku (hiraku) independently from the previous verses.

• 交趾焼、安南焼、金襴手など陶器・磁器の双方を手掛けており、オリジナル、写し（コピー、俳句）ともに優品が多い。
• He worked on both earthenware and porcelain such as koshi-yaki (koshi pottery), annan-yaki, and kinrande (ceramics with gold patterns); both his original works and reproductions (copy, haiku (a Japanese poem in seventeen syllables having a 5-7-5 syllabic form and traditionally containing a reference to the seasons) include many grate pieces.

• 松根東洋城は俳句について大正天皇から問われた1914年、「渋柿のごときものにては候へど」の句を奉答したという。
• Toyojo MATSUNE, in response to Emperor Taisho's question regarding haiku poetry in 1914, answered 'just like an astringent persimmon.'

• 俳号（はいごう）あるいは俳名（はいめい、はいみょう）とは、俳諧あるいは後の俳句を作る際に用いる号のことである。
• Haigo or Haimei (or Haimyo) is the pen name used in making Haikai or later Haiku.

• いずれも習作の域を出ないが、従来の和歌・俳句と異なる新時代の詩の形式を模索し、近代文学に多大な影響を及ぼした。
• Although their poems were at the study level, they explored a new-age poetic style differing from the traditional waka and haiku styles, and greatly influenced modern literature.

• 当初俳句に大いなる情熱を注いだ子規は、短歌についてはごく大まかな概論的批評を残す時間しか与えられていなかった。
• In the beginning, Shiki devoted his great enthusiasm to Haiku and he was left with only enough time to leave a broad general outline of his criticisms.

• この韻律は開音節という日本語の特質から必然的に成立したリズムであって、俳句の制約とか、規則と考えるべきではない。
• This rhythmic pattern is something that inevitably formed from the characteristics of the Japanese language called 'kaionsetsu' (open syllable), and it should not be considered as a restriction or rule that exits solely for the haiku.

• Sierra社のゲーム、「Swat 2」には、「バショー」と名乗り英語のヘンな俳句を読むテロ組織の黒幕が登場する。
• In a game from Sierra, 'Swat 2,' a backroom manipulator of a terrorist organization who identify himself as 'Basho' and composes strange haiku (Japanese poems) in English.

• 江戸時代後期に入ると名題以上の役者は、屋号、芸名のほかに、俳句を作る作らないに関わりなく必ず俳名を持つようになる。
• In the late Edo period, actors other than the chief Kabuki actors certainly had Haimyo in addition to a family stage name and other stage names whether or not he wrote haiku.

• 一方、井原西鶴や『南総里見八犬伝』を評釈し、沼波瓊音、太田水穂ら芭蕉研究会の6人との共著『芭蕉俳句研究』を出した。
• He wrote commentaries on Saikaku IHARA and 'Nanso Satomi Hakken-den' (The Eight Dog Chronicle) as well as co-authoring 'Basho-haiku kenkyu' (Studies on Basho's Haiku) with six members of the Basho Society, including Keion Nunami and Mizuho OTA.

• ただし、このような復興の動きがある反面、連歌を行う人口や結社の数は、俳句に比べれば僅少といえる状態にとどまっている。
• Although there is a revival movement, the number of associations and people who make renga is still small by comparison to that of haiku.

• また、俳句の季語としては「霾（つちふる・ばい）」、「霾曇（よなぐもり）」、「霾風（ばいふう）」なども用いられている。
• As kigo (season-indicating words) for haiku poems, 'tsuchifuru' (also referred as 'bai,' dark sky due to dust), 'yonagumori' (dark sky due to dust) and 'baifu' (a strong wind flinging up sand) are used.

• 其角は源吾の妹、腰元のお縫が殿の勘気を被っていることを知り、「気に入らぬ風もあろうに柳かな」と俳句で松浦侯を諌める。
• Kikaku, who learned Shigenobu was peeved at Gengo's younger sister, Onui, and recited the haiku, `Kini iranu kazemo aroka yanagi kana' (treat the things calmly as if willows were blown by various winds) to caution him.

• 秋の、野の花が咲き乱れる野原を「花野」（はなの）といい、花野を散策して短歌や俳句を詠むことが、古来より行われていた。
• The autumn field, where wildflowers bloom, is called 'Hanano' (flower field), and since early times people would walk around the field and compose Tanka (poems of 31 syllables) or Haiku (poems of 17 syllables).

• さらに松尾芭蕉以降の俳句では中心的な美意識となるが、松尾本人が寂について直接語ったり記した記録は非常に少ないとされる。
• In haiku since Basho MATSUO, it became the central sense of beauty, however, seldom did Matsuo himself talk or write directly about the elegant simplicity of sabi.

• 風物詩の範囲は幅広く、俳句の季語として限定されたものと違って、日本の季節を現代人の我々の心に訴えかけているものを指す。
• Fubutsushi covers a wide range of things and differs from words restricted as kigo (a season word) for haiku (Japanese seventeen-syllable poem) in that Fubutsushi refers to things with which a season in Japan appeals to the mind of our modern people.

• 俳句・短歌の改革運動を成し遂げた子規は、近現代文学における短詩型文学の方向を位置づけた改革者として高く評価されている。
• Shiki succeeded in the reform movement of Haiku and Tanka and was highly praised as an innovative reformer who set the course for tanshi (a verselet) style literature in present day literature.

• また橋本直は2006年3月の現代俳句協会青年部勉強会で「季語の現在─本意の変遷と生成、その未来」の基調報告を行なった。
• Sunao HASHIMOTO made a keynote presentation called 'Kigo's Present - Transition and Generation of the Original Meaning, and Its Future' at the Youth Workshop of the Modern Haiku Society in March, 2006.

• 上記のように春の象徴・花の代名詞として和歌によく歌われるほか、俳句の世界でも、古くから春の季語として桜が用いられてきた。
• As mentioned above, it was often written in waka poems as a symbol of spring and pronoun for flower, and also in haiku world it has been used as a season word of spring from long ago.

• 『井月の句集』に掲載された虚子らの「井月賛」俳句と、芥川の序文はこの全集にも再掲され、井月の評価を高める役割を果たした。
• Seigetsu san' haiku made by Kyoshi and printed in 'the collection of Seigetsu's haiku' and the postscript written by AKUTAGAWA were reprinted in this collected complete haiku of Seigetsu, which played an important role in receiving good reviews.

• 江戸時代、歌舞伎役者には素養として俳句をはじめとする風流の道をたしなむ者が多く、もともとはそのための号として俳号が生れた。
• Many Kabuki actors enjoyed furyu including haiku as part of the education in the Edo period, and Haimyo originated as an item for the Kabuki actors.

• この天狼名古屋句会は、現在、「森」俳句会として生まれ変わったが、誓子の俳句精神を受け継ぎ、発展させようと毎月開かれている。
• Tenro Nagoya Kukai was now reborn as 'Mori' Haiku-kai, and it is held monthly to inherit and develop the haiku spirit of Seishi.

• 俳句の成立以降は、伝統的な座の文芸たる連歌の俳諧を近代文芸として行うとき、俳句とは区別するためこれを連句と呼ぶようになった。
• After the establishment of haiku, when the traditional group literature of renga was composed as modern literature, it came to be called renku (a linked verse) in order to distinguish it from haiku.

• もっとも季語を含まない俳句もあり、その場合には、江戸俳諧の発句では雑（ぞう）の句、子規以降の近代俳句では無季俳句と呼ばれる。
• It is true, however, that some haiku poems have no season word and, in such cases, those haiku poems were referred to as 'zo no ku' (miscellaneous poems) in hokku (the first line of waka or haiku) of haikai in the Edo period which became known as mukihaiki (haiku without season word) in the modern haiku after the generation of Shiki MASAOKA.

• なお、現代の俳句団体では、団体によって差はあるが、常連メンバー同士が句会の際に用いる俳号だけでお互いを認識している場合がある。
• In addition, in some haiku groups nowadays, Haigo in kukai (haiku gathering) is used to recognize regular members.

• 俳句の季語に「虎が雨（とらがあめ）」という言葉があるが、旧暦の5月28日に降る雨に後世の人びとが虎女の悲しみを重ねたものである。
• Toragaame (Tora's rain)' is a kigo (season word) for haiku that came from the sympathy of the people in the following generations with Torajo's sorrow that was reflected in the rain in May 28 of the old lunar calendar.

• 松尾芭蕉の登場により冒頭の発句の独立性が高まり、発句のみを鑑賞する事も多く行われるようになり、明治時代に成立した俳句の源流となる。
• It became common to appreciate the hokku only, which came to be the origin of haiku established during the Meiji period.

• そのため当たり振る舞いにつきものであった当たり狂言にちなんだ餅番、酒番（さかばん）、茶番、絵直し、投扇興、俳句などの余興は減じた。
• This resulted in the decrease of various party entertainments associagted with full-house kyogen commonly seen in a full-house feasting, such as mochiban, sakaban, chaban (improvised farces), a fan-throwing game and haiku.

• しかし明治時代になると、正岡子規によって、従来の座の文芸たる俳諧連歌から発句を独立させた個人の文芸として、近代の俳句が確立された。
• In the Meiji period, however, Shiki MASAOKA brought the traditional literature, haikai renga, to the status of the modern haiku composed by a single poet, making hokku independent from renga.

• 1902年～1903年（明治35年～36年）になると阪井久良伎が現れて正岡子規の短歌、俳句改革の影響を受け、川柳改革の意識が高まる。
• In the period from 1902 to 1903, Kuraki SAKAI appeared and under the influence of Shiki MASAOKA's revolution in tanka and haiku, the senryu reform movement gained a higher profile.

• 父は「寿山堂」という雅号を自分で持つほど、俳句や日本画や写経を好むような風流人であったと、ホトトギス (雑誌)の中で茅舎は述べている。
• Bosha had written in the Hototogisu magazine that his father was a man with such a refined taste in haiku poems, Japanese-style paintings, and hand-copying of Sutra script, who even had a pseudonym 'Jusando' himself.

• この53の宿場はそれぞれ風光明媚な場所や有名な名所旧跡に設けられている場合も多く、当時浮世絵や和歌・俳句の題材にしばしば取り上げられた。
• Many of the 53 stations are established in places where the scenery is beautiful, or in famous historic spots, and often served as the subjects of ukiyoe or waka/haiku.

• 俳諧連歌もまた江戸後期に至り月並流といわれる形式を重視したものに変化し、明治になり正岡子規の俳諧から俳句への革新によっていったんは廃れた。
• Haikairenga was also changed into the Tsukinami School, which took the form seriously, but during the Meiji period it became outdated in the reform of poetry by Shiki MASAOKA from haikai to haiku.

• 子規が手がけた漢詩や俳句などの文集『七草集』が学友らの間で回覧されたとき、漱石がその批評を巻末に漢文で書いたことから、本格的な友情が始まる。
• When 'Nanakusashu,' a collection of Shiki's works including Chinese-style poetry and haiku, was passed round the classmates, Soseki added his comment in Chinese at the end of the collection, which was the beginning of real friendship between Shiki and Soseki.

• 詩吟が、その吟詠（吟ずること）の対象とするのは、その歴史的経緯（下記参照）から主として漢詩であるが、和歌や俳句、新体詩を吟ずることも少なくない。
• Because of the historical reason (see below) the object on which shigin recites is chiefly Chinese poetry, but waka, haiku and new-style poetry are often recited.

• 俳句における子規の後継者である高浜虚子は、子規の「写生」（写実）の主張も受け継いだが、それを「客観写生」から「花鳥諷詠」へと方向転換していった。
• Shiki's successor in Haiku, Kyoshi TAKAHAMA, continued Shiki's 'Shasei'(sketch) theory as well; however, it shifted from depicting not only nature to depicting human elements as well.

• 俳句・短歌・新体詩・小説・評論・随筆など多方面に渡り創作活動を行い、日本の近代文学に多大な影響を及ぼした、明治時代を代表する文学者の一人である。
• Actively involved in many genres of creative activities, such as the writing of haiku, tanka, shintaishi (poems in the new style), novels, critiques, and essays, he had a considerable influence on modern Japanese literature and is considered to be one of the foremost writers of the Meiji Era.

• （出典：安東次男・飯田竜太編「俳句の本・俳諧と俳句」筑摩書房、村山古郷・山下一海編「俳句用語の基礎知識」角川選書、「証言・昭和の俳句」角川書店）
• (From: 'Book of Haiku: Haikai and Haiku,' edited by Tsuguo ANDO and Ryuta IDA, Chikuma Shobo Publishers; 'A Basic Knowledge of Haiku Terms,' edited by Kokyo MURAYAMA and Kazumi YAMASHITA, Kadokawa Sensho; and 'Evidence: Haiku in Showa Period,' edited by Kokyo MURAYAMA and Kazumi YAMASHITA, Kadokawa Group Publishing Co., Ltd.)

• またヨーロッパにおける十九世紀自然主義の影響を受けて写生・写実による現実密着型の生活詠を主張したことが、俳句における新たな詩情を開拓するに至った。
• He also developed a new poetic sentiment in Haiku based on his theoretical beliefs which were closely connected to reality via life drawing and realism due to being influenced by the naturalism of the 19th century in Europe.

• 連句（歌仙）にきわめて低い評価しか与えず、発句のみをもって俳句の概念をつくりあげたこと、などは近代俳句に大きな弊害を与えていると考える向きもある。
• His notion of making a Haiku concept only by stressing the first line of a waka poem, and giving only meager recognition to renku (a lined verse) kasen(a master poet of classical waka), was thought by some to be causing a great deal of adverse effects on the present day Haiku.

• 1935年に刊行した句集『黄旗』を契機に、「ホトトギス」を離れ「馬酔木（あしび）」に同人として参加、水原秋桜子とともに新興俳句運動の中心的存在となる。
• In the wake of publication of a haiku collection 'Koki' (Yellow Flag) in 1935, he fell away from 'Hototogisu' and took part in 'Ashibi' as Dojin, and he became a leader of Shinko Haiku Undo with Shuoshi MIZUHARA.

• 『歌よみに与ふる書』における歌論は俳句のそれと同様、写生・写実による現実密着型の生活詠の重視と『万葉集』の称揚・『古今集』の否定に重点が置かれている。
• The karon (an essay on waka poems) written in 'Utayomi ni ataeru sho' (Letters to Tanka Poets) placed an emphasis on the close observation in life of realism by sketches and graphics and included praise for 'Manyoshu' (Collection of Ten Thousand Leaves) while rejecting 'Kokinshu' (praise of 'Collection of Ancient and Modern Literatures).

• 現在では、「俳句」が口語を取り入れ、川柳の詩的表現を求める者が文語に近づくなど、表現の表面上では俳句と川柳の差がほとんどなくなってきたという部分もある。
• Nowadays, as 'haiku' has accepted colloquial language and people who pursue poetic expression in senryu have been approaching literary language, it can be said that there are hardly any differences in expression between haiku and senryu on the surface.

• そうして人が攻撃（こうげき）すると、僕は知らないとか、露西亜（ロシア）文学だとか、俳句が新体詩の兄弟分だとか云って、人を烟（けむ）に捲（ま）くつもりなんだ。
• --I don't like his trying to deceive us, but if one were to point it out for him, he would deny it or say it was the Russian literature or that the haiku is a half-brother of the new poetry, and expect to hush it up by twaddling soft nonsense.

• しかし、現代では願い事を書く目的で七夕の行事の一環として用いることがほとんどであるが、実は短歌や俳句を詠むための分厚く装飾が施されたものも短冊の一種である。
• Although its main purpose today is to write wishes on as a part of the Tanabata festival (the star festival celebrated on the seventh of July), actually thick and decorated pieces of paper, on which tanka and haiku poems are written, are also a kind of tanzaku.

• 俳句においてはいわゆる月並俳諧の陳腐を否定し、芭蕉の詩情を高く評価する一方、江戸期の文献を漁って蕪村のように忘れられていた俳人を発掘するなどの功績が見られる。
• For Haiku, he rejected all common, hackneyed phrases and while he highly praised Basho's poetic sentiment, discovering forgotten poets like Buson after sifting through Edo era literature was seen as his achievement.

• 俳句の世界においては、桜が花吹雪の態で散る様子が、春の季節感（とくに春の終わりから初夏へ向かう時季）の特徴的なさまであるとして、花吹雪は春の季語とされている。
• In the field of haiku, cherry blossoms falling like a snowstorm is regarded as a scenery distinctive of spring (in particular the season between late spring to early summer), so 'hanafubuki' is designated as a kigo (a word depicting a season) for spring.

• 岩波文庫で、『おくのほそ道　付曾良旅日記』(奥の細道)　『芭蕉俳句集』の他、『芭蕉俳文集』上下、『芭蕉紀行文集』、『芭蕉書簡集』、『芭蕉連句集』、『芭蕉七部集』。
• Iwanami bunko contains 'the Narrow Road to the Deep North with Travel Diary of Sora' (the Narrow Road to the Deep North) and 'Basho Haiku Shu' (Basho's Haiku Collection) as well as 'Basho Haibun Shu' (The Collection of Basho's Haiku Prose) vol.1 and 2, 'Basho Kikobun Shu' (Collection of Basho's writings dealing with travel), 'Basho's Letters,' 'Basho Renku Shu' (Basho's Linked Verses), and 'Basho Shichibu Shu' (Basho's Seven Selected Works).

• 漱石との交遊は本人だけでなく親族とも付き合いがあり遠縁にあたるタレントの歌原奈緒が、TVのインタビューで「曾祖父が子規といとこで、本人も俳句を詠んでいたそうです。
• According to a TV interview with Nao Utahara, an entertainer and a distant relative, the interchanges with Soseki were not limited to himself but extended to other family members, and her great grandfather was a cousin of Shiki who wrote haiku himself as well.

• また、芥川は｢咲いたのは動いているや蓮の花｣を井月の最高傑作と称揚しているが、皮肉にもこの俳句は井月の俳友であった橋爪山洲の作品であることが、芥川の没後に判明した。
• He also praised him for his haiku, 'Saitanowa ugoiteiruya hasunohana' as his best haiku, but ironically, after AKUTAGAWA died, it turned out that this haiku was created by Sanshu HASHIZUME, who was a poet and a friend of Seigetsu.

• 日本では、古来「花」の一語が、特に俳句や和歌の世界においては「サクラ」を意味する例が見られ、とくに「花吹雪」といった場合には、満開の桜が吹雪のように散る様子を指す。
• In Japan, the word 'hana (flower)' traditionally refers to cherry blossom especially in haiku (seventeen-syllable poem) and waka (thirty-one-syllable poem), so 'hanafubuki' specifically refers to cherry blossoms in full bloom falling like a snowstorm.

• 江戸時代の浄瑠璃の一節や柳樽（やなぎだると読み、柳多留とも表記する）という雑俳（巷から集めた俳句）の書籍のなかに「祭り」を男女の性行為の例えとして用いている表現がある。
• There was expressions likening a sexual activity between a man and woman to 'matsuri' in a phrase of Joruri (dramatic narrative chanted to a shamisen accompaniment) and in a book of zappai (playful literature originating from haiku [a Japanese poem in seventeen syllables having a 5-7-5 syllabic form and traditionally containing a reference to the seasons]) (haiku collected in the streets) called yanagidaru (box-shaped, lacquered liquor cask) (written as 柳樽 and also as 柳多留 in Chinese characters) in the Edo period.

• 東大寺の修二会の声明のほかに、華厳経の一部や小林一茶、大島蓼太、松尾芭蕉の俳句をテクストに用いたシアターピース（合唱劇）で、委嘱した東京混声合唱団によって同年に初演された。
• It is a theater piece (chorus drama), where, in addition to Shomyo of Todai-ji Temple, a part of Kegon-kyo Sutra or the haiku of Issa KOBAYASHI, Ryota OSHIMA and Basho MATSUO are used as texts, and Tokyo Philharmonic Chorus, which is delegated to play, firstly performed it in the same year.

• 本来、毎月や月ごとなどを意味する「月並み」という言葉が、『人並み、平凡』という意味も含んだのは、正岡子規がありふれた俳句や短歌を「月並み調」と批判したことが始まりとされる。
• It is believed that the word 'tsukinami' (meaning of monthly or every month) including the meaning of somthing commonplace or ordinary is derived from the word 'tsukinamicho'(monthly style) used by Shiki MASAOKA to criticize trite haiku and tanka.

• 歌舞伎の人気狂言『雁金五人男』『新薄雪物語』『楼門五三桐』などの有名な場面を「俳句その他の技法」した場面も見られ、それをまったく新しい作品に作り変えた作者黙阿弥の機知に富む傑作。
• Having also had scenes made by providing 'haiku or other techniques' to famous scenes in popular kabuki kyogen plays such as 'Karigane Gonin Otoko' (Five gans of Karigane, the head), 'Shin Usuyuki Monogatari' (The Tale of Usuyuki), 'Sanmon Gosan No Kiri' (The Temple Gate and the Paulownia Crest) and so on, this play was a witty masterpiece by a writer, Mokuami, who changed those into whole new plays.

• 俳句以前の連歌・俳諧の時代には「もがな」「し」「ぞ」「か」「よ」「せ」「れ」「つ」「ぬ」「へ」「ず」「いかに」「じ」「け」「らん」など、先の3個と合わせ、計18種類の助詞、助動詞が使われていた。
• In the era of the renga and the haikai prior to the haiku, a total of 18 types of particles and auxiliary verbs were used such as 'mogana,' 'shi,' 'zo,' 'ka,' 'yo,' 'se,' 're,' 'tsu,' 'nu,' 'he,' 'zu,' 'ikani,' 'ji,' 'ke,' and 'ran,' including the three mentioned above.

• フランス文学研究者・桑原武夫は「第二芸術」にて（雑誌「世界」1946年）「俳句というものは同好者だけが特殊世界を作りその中で楽しむ芸事。大家と素人の区別もつかぬ第二芸術に過ぎない」と糾弾している。
• In 'Daini Geijutsu' (Second-Class Art) ('Sekai' Magazine, 1946), Takeo KUWABARA, a scholar of French Literature, denounced haiku as being 'a hobby enjoyed by the members of a special world they create themselves. It is merely a second-class art that is incapable of distinguishing the experts from the amateurs.'

• スエヒロの当時の社長が、しゃぶしゃぶを始めたきっかけは『夏場に焼肉が売れないため』の対策であり、冬の料理と思われがちなしゃぶしゃぶだが、実際は夏の料理であり、俳句の季語として使うのであれば、『夏』が正しい。
• The president of Suehiro at the time introduced sukiyaki for the reason that 'it was not possible to sell yakiniku (grilled meat) during summertime,' and shabu-shabu, which is often considered to be a winter dish, is actually a typical summer dish.

• 慶長6年（1601年）10月15日 (旧暦)に京都を発ってから同年11月19日 (旧暦)に米沢へ着くまでを記した道中日記で、文中には本人が詠んだ俳句・和歌なども挿入しつつ、道中の風俗を詳しく書き残している。
• This is a diary that he wrote from October 15, 1601 (lunar calendar), the day that he left Kyoto, to November 19, 1601, the day that he arrived in Yonezawa, in which he made a detailed record of the customs that he encountered during his trip while introducing his own waka and haiku poems.

• 季語を必ず入れなければならないとする有季（季語絶対）派から季語よりも季感が大切とする「季感」派、無季でもよいとする無季容認、無季俳句が旧来の俳句的情趣を打破するという「無季」派まで、さまざまな考え方がある。
• Various views exist concerning seasonal references, such as the necessity of a kigo insisted by the uki (kigo zettai) (absolute inclusion of seasonal reference) school, the importance of a 'kikan' (sense of the seasons) backed by the kikan school, and the tolerance of muki (no seasonal reference) by the muki school who believe that the muki haiku can create a far stronger sentiment than the traditional haiku.

• 更に今日、世界的にもてはやされる日本文化のかなり多くの部分 （俳句、園芸、近世邦楽、文楽、歌舞伎、浮世絵、根付、日本料理、和菓子、陶磁器、漆芸、服飾など）がこの時期に生まれ、あるいは発展、確立したものである。
• In addition, a considerable amount of Japanese culture (the Haiku [a Japanese poem in 17 syllables], horticulture, modern Japanese music, Bunraku [Japanese puppet theater], Kabuki [traditional drama performed by male actors], Ukiyoe [Japanese woodblock prints], Netsuke (miniature carving attached to the end of a cord hanging from a pouch), Japanese cuisine, Japanese-style confectionary, ceramic ware, lacquer art, clothing, etc.), which are extolled world wide, started during this period, or developed for establishment.

• 日本の詩歌の伝統をひきついで成立した俳句は、五・七・五の音数による言葉の調べ（韻律 (韻文)）と「季語」と「切れ」によって短い詩でありながら心のなかの場景（心象）を大きくひろげることができる特徴を持っている。
• Established on the tradition of the Japanese shika, haiku poetry, though short in length, has the characteristic features of expressing images and emotions through the use of rhythm based on the 5-7-5 syllabic sounds, 'kigo' (seasonal references), and 'kire' (cut).

• この頃から子規は約3年間ほぼ寝たきりで、寝返りも打てないほどの苦痛を麻痺剤で和らげながら、俳句・短歌・随筆を書き続け（一部は口述）、また病床を訪れた高浜虚子、河東碧梧桐、伊藤左千夫、長塚節ら後進の指導をし続けた。
• For the next three years from this time, Shiki continued to compose haiku, tanka and essays from his sickbed, overcoming severe pain with the use of anesthetics that made him unable to turn from his side, and he also continued to advise his followers Kyoshi TAKAHAMA, Hekigodo KAWAHIGASHI, Sachio ITO, Takashi NAGATSUKA and others.

• 一度コツを掴めば、その即興性や緊張感から、連句の面白さの虜となり得るが、複数人が集まって座を形成しなければならないことや、俳句に比べてルールが複雑なこと等からくる敷居の高さが連句人口の増加を妨げていると推測される。
• Despite the fact that once people have gotten the knack of creating renku they often become fascinated with the improvisation and the pleasant creative stress it requires, several people have to gather together in order to create renku, and the compositional rules are more complicated than those for writing haiku; these and other factors seem to prevent very many people from joining the ranks of renku creators.

• この「森」俳句会では、定型（五七五）を守る、季語を詠み込むといった俳句の基本を踏まえた上で、「誓子の教え」として①二物衝撃の方法（「物」と「物」を詠み込んで、読者に喜怒哀楽を感じさせる）②モンタージュの技法（動きのある様子を詠む）③連続飛躍法（「物」から関連するものを連想させる）ということを学んでいる。
• This 'Mori' Haiku-kai, based on the fundamentals of haiku such as keeping 5-7-5 syllabic form including season words, learns followings as 'teaching of Seishi': 1. Two objects' impact technique (making readers feel emotions by writing of two objects), 2. Montage technique (writing active aspects) and 3. Continuous flight technique (associating an 'object' with a related thing).

• また俳人の中には『連句をやると俳句が下手になる』と考えている人も少なからずいるのも原因の一つとも考えられる（一句の中に小宇宙を込める俳句に対して、連句は複数の句のつらなりであるが故に、次の句へのつなぎの余地を作るために、あえて一句の中に全てをこめない作り方をする、という特性から、そのように言われるものと推測される）。
• Moreover, quite a few haiku poets believe that 'composing renku will make my haiku worse,' which is also thought to contribute to renku's relative unpopularity (in a haiku, the poet can express his or her own little complete world, whereas in renku--which are sequences of linked verses, after all--each poet must leave conceptual space for additional thoughts to be added on, and thus cannot express any notion of completeness in any one verse; this is thought to be why many haiku poets look down on renku).

• 松田ひろむは、「俳句に季語はあってもなくてもいいのでしょうか。そうではありません。はっきりいって季語はあったほうがいいのです。俳句にとって『季語』は大きな役割を果たします。季語は象徴となるイメージを与えてくれるのです。これを連想力といってもいいでしょう。また時間と空間を大きく広げる役割があるのです」（『入門詠んで楽しむ俳句16週間』新星出版社）という。
• Hiromu MATSUDA says in 'Introduction to Haiku: Pleasure of Writing for Sixteen Weeks' (Shinsei Publishing Company), 'Is is alright for a haiku to not include a kigo? No. I believe that it should have a kigo. In haiku, the 'kigo' plays an important role. The kigo creates a symbolic image. You can call this the power of evocation. It also has a role in greatly expanding time and space.'