From the heart of a peony
A bee slowly crawls out...
Oh, with what reluctance!
Japanese lyric poem haiku (haiku) is distinguished by its extreme brevity and unique poetics.
People love and willingly create short songs - compressed poetic formulas, where there is not a single extra words. From folk poetry, these songs move into literary poetry, continue to develop in it and give rise to new poetic forms.
This is how national poetic forms were born in Japan: the five-line tanka and the three-line haiku.
Tanka (literally " short song") was originally folk song and already in the seventh and eighth centuries, at the dawn Japanese history, becomes a legislator literary poetry, pushing into the background, and then completely displacing the so-called long poems... Haiku separated from tanki many centuries later, during the heyday of the urban culture of the “third estate”. Historically, it is the first stanza of the thangka and received from it a rich legacy of poetic images.
Ancient tanka and younger haiku have a centuries-old history, in which periods of prosperity alternated with periods of decline. More than once these forms were on the verge of extinction, but stood the test of time and continue to live and develop even today. This example of longevity is not the only one of its kind. The Greek epigram did not disappear even after the death of Hellenic culture, but was adopted by Roman poets and is still preserved in world poetry. The Tajik-Persian poet Omar Khayyam created wonderful quatrains (rubai) back in the eleventh - twelfth centuries, but also in our era folk singers in Tajikistan they compose rubai, putting new ideas and images into them.
Obviously, short poetic forms - urgent need poetry. Such poems can be composed quickly, under the influence of immediate feelings. You can aphoristically, concisely express your thought in them so that it is remembered and passed from mouth to mouth. They are easy to use for praise or, conversely, sarcastic ridicule.
It is interesting to note in passing that the desire for laconicism and love for small forms are generally inherent in Japanese national art, although it is excellent at creating monumental images.
Only haiku, an even shorter and more laconic poem that originated among ordinary townspeople who were alien to the traditions of old poetry, could supplant the tank and temporarily wrest its primacy from it. It was haiku that became the bearer of new ideological content and was best able to respond to the demands of the growing “third estate”.
Haiku is a lyric poem. It depicts the life of nature and the life of man in their fused, indissoluble unity against the backdrop of the cycle of the seasons.
Japanese poetry is syllabic, its rhythm is based on the alternation of a certain number of syllables. There is no rhyme, but the sound and rhythmic organization of the tercet is a subject of great concern to Japanese poets.
Haiku has steady meter. Each verse has a certain number of syllables: five in the first, seven in the second and five in the third - a total of seventeen syllables. This does not exclude poetic license, especially among such bold and innovative poets as Matsuo Basho 1 (1644-1694). He sometimes did not take into account the meter, striving to achieve the greatest poetic expressiveness.
Leaving homeland
cloud bank
She lay down between friends... They said goodbye
Migrating geese forever.
Grove on the mountainside.
It's like the mountain has been intercepted
Sword belt.
It's time for the May rains.
It's like the sea is glowing with lights
Night watchmen's lanterns.
Frost covered him,
The wind makes his bed.
An abandoned child.
Today "the grass of oblivion"
I want to season my rice
Saying goodbye to the old year.
There's such a moon in the sky,
Like a tree cut down to the roots:
The fresh cut turns white.
A yellow leaf floats.
Which shore, cicada,
What if you wake up?
Everything was whitened by the morning snow.
One sign to look at -
Bow arrows in the garden.
How the river overflowed!
A heron wanders on short legs
Knee-deep in water.
Quiet moonlit night...
You can hear it like in the depths of a chestnut tree
The nucleolus is eaten by a worm.
On a bare branch
Raven sits alone.
Autumn evening.
In the darkness of a moonless night
The fox crawls along the ground,
Sneaking towards a ripe melon.
Swarming in the sea grass
Transparent fry... You'll catch them -
They will melt without a trace.
Tea leaves are harvested in spring
All the leaves were picked by the pickers...
How do they know what is for the tea bushes?
They are like the wind of autumn!
In a thatched hut
How a banana moans in the wind,
How the drops fall into the tub,
I hear it all night long.
On a high tide day
The sleeves are soiled with earth.
"Snail catchers" all day in the fields
They wander and wander without rest.
Answer to student
And I am a simple person!
Only the bindweed blooms,
I eat my morning rice.
Willow is bent over and sleeping.
And it seems to me that there is a nightingale on a branch
This is her soul.
Top-top is my horse.
I see myself in the picture -
In the expanse of summer meadows.
The distant call of the cuckoo
It sounded wrong. After all, these days
The poets have disappeared.
Poems in memory of the poet Sempu
Brought to your grave
Not the proud leaves of the lotus -
A bunch of field grass.
In the Kavanaugh house, Shoha stood in a cracked vase
stalks of blooming melon, a zither lay nearby without
strings, drops of water oozed and, falling on the zither,
made it sound
Blooming melon stems.
Drops are falling and falling with a ringing sound...
Or are these “flowers of oblivion”?
In my cramped shack
Illuminated all four corners
Moon looking out the window.
A short rest in a hospitable home
Here I will finally throw myself into the sea
A storm-worn hat,
My torn sandals.
Suddenly you will hear “shorkh-shorkh”.
Longing stirs in my soul...
Bamboo on a frosty night.
In a foreign land
A thin tongue of fire, -
The oil in the lamp has frozen.
You wake up... What sadness!
Wandering Raven, look!
Where is your old nest?
Plum trees are in bloom everywhere.
Counter mountain dweller
He didn’t open his mouth. Chin length
He gets the grass.
We looked at the moon.
Finally we can breathe! -
A fleeting cloud.
How the autumn wind whistles!
Then only you will understand my poems,
When you spend the night in the field.
And I want to live in autumn
To this butterfly: drinks hastily
There is dew from the chrysanthemum.
The flowers have faded.
The seeds are scattering and falling,
It's like tears...
Gusty leaf
Hid in a bamboo grove
And little by little it calmed down.
For the New Year
How much snow have you already seen?
But they did not change their hearts -
The pine branches are green!
Take a close look!
Shepherd's purse flowers
You will see under the fence.
Oh, wake up, wake up!
Become my comrade.
Sleeping moth!
In memory of a friend
They fly to the ground
Returning to old roots...
Separation of flowers!
Old pond.
A frog jumped into the water.
A splash in silence.
To a friend who left for the western provinces
West, East -
Everywhere the same trouble
The wind is still cold.
I walk around the pond
Autumn Moon Festival.
Around the pond, and around again,
All night long all around!
Grain storage jug
That's all I'm rich with!
Easy, like my life,
Gourd pumpkin.
This overgrown grass
Only you remained faithful to the hut,
Winter colza peddler.
First snow in the morning.
He barely bent down
Narcissus leaves.
The water is so cold!
The seagull can't sleep
Rocking on the wave.
The jug burst with a crash:
At night the water in it froze.
I woke up suddenly.
Japan was one of the leading forces during World War II. Scale strategic plans her leadership had to be confirmed high quality technology. Therefore, in the 30s, the Japanese created many models of tanks, which fought without interruption for several years on the Pacific front of World War II.
Purchasing Western models
The idea of creating their own tanks appeared in Japan after the First World War. This conflict showed the prospects of this modern look weapons. Since the Japanese did not have their own industry necessary for the production of tanks, they began to get acquainted with the developments of the Europeans.
This was a familiar method of modernization for Tokyo. Country rising sun spent several centuries in total isolation and only began to develop intensively in the second half of the 19th century. New sectors of the economy and industry emerged from scratch. Therefore, the task of conducting a similar experiment with tanks was not so fantastic.
The first to be purchased in 1925 were the French Renault FT-18, which at that time were considered the best cars of their kind. These models were adopted by the Japanese. Very soon, the engineers and designers of this country, having gained Western experience, prepared several of their own pilot projects.
"Chi-I"
The first Japanese tank was assembled in Osaka in 1927. The machine was named "Chi-I". It was an experimental model that never saw production. However, it was she who became the “first lump”, which turned out to be the starting point for further technical research for Japanese specialists.
The model had a cannon, two machine guns, and its mass was 18 tons. Its design feature consisted of several towers on which guns were mounted. It was a bold and controversial experiment. The first Japanese tank was also equipped with a machine gun, designed to protect the vehicle from the rear. Because of this feature, it was installed behind the engine compartment. Tests showed that the multi-turret design was unsuccessful in terms of combat effectiveness. Subsequently, Osaka decided to abandon the implementation of such a system. The Japanese tank "Chi-I" remains historical model who has never been to real war. But some of its features were inherited by machines later used on the fields of World War II.
"Type 94"
Mostly Japanese ones were developed in the 30s. The first model in this series is the Tokushu Keninsha (abbreviated TK, or "Type 94"). This tank was distinguished by its small dimensions and weight (only 3.5 tons). It was used not only for combat, but also for auxiliary purposes. Therefore, in Europe, the Type 94 was considered a wedge.
As an auxiliary vehicle The transport vehicle was used to transport goods and assist convoys. This was the original purpose of the machine as intended by the designers. However, over time, the project evolved into a full-fledged combat model. Almost all subsequent Japanese ones inherited from the Type 94 not only the design, but also the layout. In total, more than 800 units of this generation were produced. The Type 94 was primarily used during the invasion of China, which began in 1937.
The post-war fate of Tokushu Keninsha is curious. Part of the fleet of these models was captured by the Allies, who defeated the Japanese after the atomic Tanks were transferred to the Chinese Communists and Kuomintang troops. These parties were hostile to each other. Therefore, the Type 94 was tested for several more years in the fields of the Chinese civil war, after which the People's Republic of China was formed.
"Type 97"
In 1937, the Type 94 was declared obsolete. Further research by engineers led to the appearance of a new machine - direct descendant Tokushu Keninsha. The model was called "Type 97" or "Te-Ke" for short. This Japanese tank was used during battles in China, Malaya and Burma until the very end. In fact, it was a deep modification of the Type 94.
The crew of the new car consisted of two people. The engine was located at the rear and the transmission at the front. An important innovation compared to its predecessor was the unification of the combat and management departments. The vehicle received a 37-mm cannon, inherited from the TK.
New Japanese tanks were first tested in the field in battles on the Khalkhin Gol River. Since they did not participate in the first strikes on Soviet positions, most of the Te-Ke managed to survive. Almost all active combat units of this type were transferred to the Pacific theater of World War II. These small tanks were especially effective for reconnaissance of enemy positions. They were also used as machines that organized communication between in different parts front. Its small size and weight made the Type 97 an indispensable weapon for infantry support.
"Chi-Ha"
Interestingly, almost all Japanese tanks of World War II were developed by Mitsubishi employees. Today this brand is known primarily in the automotive industry. However, in the 30-40s, the company's factories regularly produced reliable vehicles for the army. In 1938, Mitsubishi began production of the Chi-Ha, one of the main Japanese medium tanks. Compared to its predecessors, the model received more powerful guns (including 47 mm cannons). In addition, it featured improved aiming.
"Chi-Ha" were used in combat from the very first days after their appearance on the assembly line. At the initial stage of the war with China, they remained an effective weapon in the hands of Japanese tank crews. However, after the United States was drawn into the conflict, Chi-Ha had a serious combat competitor. These were M3 Lee tanks. They coped with everyone without much difficulty Japanese cars light and medium segment. Largely because of this, out of more than two thousand Chi-Ha units as museum exhibits Today there are only a dozen representatives of this model left.
"Ha-Go"
If we compare all the Japanese tanks of World War II, we can identify two of the most basic and widespread models. This is the already described “Chi-Ha” and “Ha-Go”. This tank was mass-produced in 1936-1943. In total, more than 2,300 units of this model were produced. Although it is difficult to single out the best Japanese tank, it is the Ha-Go that has the most rights to this title.
His first sketches appeared in the early 30s. Then the Japanese command wanted to get a car that could become effective auxiliary for cavalry attacks. That is why "Ha-Go" was so different important qualities, both high cross-country ability and mobility.
"Ka-Mi"
An important feature of the Ha-Go was that this tank became the basis for numerous modifications. All of them were experimental and therefore not widely used. However, this does not mean that there were no competitive models among them.
High-quality, for example, was "Ka-Mi". It was unique in that it remained the only mass-produced Japanese amphibious tank of World War II. The development of this modification of "Ha-Go" began in 1941. Then the Japanese command began to prepare a campaign to attack the south, where there were many small islands and archipelagos. In this regard, the need arose for an amphibious landing. Japanese heavy tanks could not help in this task. Therefore, Mitsubishi started developing a fundamentally new model, based on the most common tank in the Land of the Rising Sun, the Ha-Go. As a result, 182 Ka-Mi units were produced.
Use of amphibious tanks
The chassis of the previous tank was improved so that the vehicle could be used effectively on water. For this purpose, in particular, the body was significantly modified. Because of its originality, each “Ka-Mi” was assembled slowly and for a long time. For this reason the first major operation with the use of amphibious tanks occurred only in 1944. The Japanese landed on Saipan - the largest of the Towards the end of the war, when imperial army did not advance, but, on the contrary, only retreated, and its landing operations. Therefore, the Ka-Mi began to be used as a regular ground tank. This was facilitated by the fact that it was universal in its design and driving characteristics.
In 1944, photographs of Japanese tanks sailing along the coast of the Marshall Islands spread around the world. By that time, the empire was already close to defeat, and even the appearance of new technology there was no way to help her. Nevertheless, the Ka-Mi themselves made a great impression on their opponents. The tank's hull was spacious. It could accommodate five people - driver, mechanic, gunner, loader and commander. Externally, "Ka-Mi" immediately caught the eye because of its two-man turret.
"Chi-He"
"Chi-He" appeared as a result of work on the errors associated with the characteristics of Chi-Ha. In 1940, Japanese designers and engineers decided to catch up with Western competitors in the simplest way by copying foreign technologies and developments. Thus, all the initiative and originality of Eastern specialists was put aside.
The result of this maneuver was not long in coming - “Chi-He”, more than all its Japanese “relatives”, both externally and internally began to resemble European analogues of that time. But the project was implemented too late. In 1943-1944. Only 170 Chi-He were produced.
"Chi-Nu"
The continuation of the ideas embodied in “Chi-He” became “Chi-Nu”. It differed from its predecessor only in improved weapons. The design and layout of the body remains the same.
The series turned out to be few in number. At the final stage of the Second World War in 1943-1945. Only about a hundred "Chi-Nu" were produced. According to the idea of the Japanese command, these tanks were to become an important force in the country's defense during the landing American troops. Because of atomic bombings and the quick capitulation of the state leadership to this foreign attack never happened.
"O-I"
How were Japanese tanks different? The review shows that among them there were no models of the heavy class according to the Western classification. The Japanese command preferred light and medium vehicles, which were easier and more efficient to use in conjunction with infantry. However, this did not mean that there were no projects of a fundamentally different type in this country.
One of these was the idea of a super-heavy tank, which received the draft name "O-I". This multi-turret monster was supposed to accommodate a crew of 11 people. The model was designed as an important weapon for impending attacks on the USSR and China. Work on O-I began in 1936 and continued one way or another until the defeat in World War II. The project was either closed or resumed. Today there is no reliable data that at least one prototype of this model was produced. "O-I" remained on paper, like Japan's idea of its regional dominance, which led it to a disastrous alliance with Hitler's Germany.
"Hoku (haiku) and tanka - Japanese poetry"
Haiku (haiku) and tanka - Japanese poetry.
Haiku (haiku) and tanka.
Japanese poetry is based on the alternation of a certain number of syllables. There's no rhyme, but great attention is given to sound and rhythmic organization poems.
Haiku, or haiku (initial verses), is a genre of Japanese poetry: an unrhymed tercet of 17 syllables (5+7+5). The art of writing haiku is, first of all, the ability to say a lot in a few words. Genetically, this genre is related to tanka.
Tanka (short song) is the oldest genre of Japanese poetry (first recorded in the 8th century). Unrhymed five-line verses of 31 syllables (5+7+5+7+7). Expresses a fleeting mood, full of understatement, distinguished by poetic grace, often complex associativity, and verbal play.
Over time, the tanka (pentamental verse) began to be clearly divided into two stanzas: a tercet and a couplet. It happened that one poet composed the first stanza, the second - the subsequent one. In the twelfth century, chain verses appeared, consisting of alternating tercets and couplets. This form was called "renga" ("strung stanzas"); The first tercet was called the "initial stanza", or haiku in Japanese. The renga poem did not have a thematic unity, but its motifs and images were most often associated with a description of nature, with an obligatory indication of the season. The opening stanza (haiku) was often the best stanza in the rengi. This is how separate collections of exemplary haiku began to appear. The tercet became firmly established in Japanese poetry in the second half of the seventeenth century.
Haiku has a stable meter. This does not exclude poetic license, for example, in Matsuo Basho (1644-1694). He sometimes did not take into account the meter, striving to achieve the greatest poetic expressiveness.
Matsuo Basho is the creator of not only haiku poetry, but also the whole aesthetic school Japanese poetics. His real name- Matsuo Munefusa. Born in the castle town of Ueno, Iga Province (in the center of the island of Honshu), in the family of a poor samurai, Matsuo Yozaemon. Basho's relatives were educated people, which primarily presupposed knowledge of the Chinese classics. Basho's father and older brother taught calligraphy. Since childhood, Basho himself was a friend of the prince's son, a great lover of poetry; Soon Basho himself began to write poetry. After early death his young master Basho went to the city and took monastic vows, thereby freeing himself from serving his feudal lord, but did not become a real monk.
He studied with the then famous haiku poetry masters Katamura Kigin and Nishiyama Soin. In 1680 he published the first anthology of his own poems and those of his students. Then he settled in a hut on the outskirts of Edo (Tokyo). In 1684 he began to travel like his favorite poet Saigyo. As Basho's fame grew, students of all ranks began to flock to him. By the end of his life he had many students all over Japan, but Basho’s school was not the usual school of a master and students listening to him at that time: Basho encouraged those who came to him to search for own path, each had his own handwriting, sometimes very different from the handwriting of the teacher. Basho's students were Korai, Ransetsu, Issho, Kikaku; Chiyo belongs to the Basho school, a talented poetess who, having become a widow at an early age and having lost a child, became a nun and devoted herself to poetry...
Basho (1644-1694)
Silence all around.
Penetrate into the heart of the rocks
Voices of cicadas.
Old pond.
A frog jumped into the water.
A splash in silence.
The water is so cold!
The seagull can't sleep
Rocking on the wave.
I wrapped my life around
Around suspension bridge
This wild ivy.
Oh, how many of them there are in the fields!
But everyone blooms in their own way -
This is the highest feat of a flower.
Issho (1653-1688)
Seen everything in the world
My eyes are back
To you, white chrysanthemums.
Ransetsu (1654-1707)
autumn moon
Painting a pine tree with ink
On blue skies.
Chiyo (1703-1775)
To the death of a little son
O my dragonfly catcher!
Far into the unknown distance
Did you run in today?
Dew on saffron flowers!
It will spill onto the ground
And it will become simple water...
Plum spring color
Gives its aroma to a person...
The one who broke the branch.
I forgot
Why are my lips painted...
Pure source!
Buson (1716-1783)
Heavy bell.
And at its very edge
A butterfly is dozing.
I walked up the hill
Full of sadness - so what:
There are wild roses in bloom!
The dew fell
And on all the thorns
The droplets are hanging.
The cold penetrated to the heart:
On the crest of the deceased wife
I stepped in the bedroom.
Issa (1768-1827)
This is how the pheasant screams
It's like he opened it
The first star.
There are no strangers between us!
We are all each other's brothers
Under the cherry blossoms.
Wood - for felling...
And the birds carefree
They're building a nest there!
Japanese poetry does not have rhyme, but it does have a special rhythm that rhymes the syllables. Here a lot of attention is paid to the organization of the poem in terms of sound and rhythm.
Haiku
Haiku, or also known as Haiku, is the most famous Japanese genre of poetry. There are only three lines in it, in which there are only 17 syllables, composed according to a special pattern: 7+5+7. Haiku is considered special Japanese genre poetry, since few people possess it. It is a gift to write about many things. A small number of words.The first stanza (Hoku) was most often outstanding and the best of the entire rank. Over time, entire collections of such works began to appear. But the tercet was firmly established, somewhere in the second half of the 17th century. Haiku has a stable meter. But this does not mean at all that the poet could not take liberties. For example, the author Matsuo Basho (1644-1694) sometimes left this rule aside in an attempt to achieve the greatest poetic grandeur and perfection.
Tanka
Tanka is an ancient genre that has long delighted fans of Japanese poetry. To be as precise as possible, this is a song. There are first mentions of Tanka back in the eighth century. These are pentaverses that usually consist of 31 syllables. Tanka is distinguished by some kind of understatement, subtle and fleeting mood of the author, poetically elegant, and evokes a storm of emotions.Tanka is a five-line poem, which, with the passage of time, began to be divided into three lines and an additional two lines. It happened that one poet composed the first 3 lines, and the other, the rest of the work. But four centuries later, a new direction of poetry appeared, which took the name “Renga”. It arose from the tank, only in it, the stanzas continue to repeat. Renga does not have a unified theme, but most often it talks about nature, indicating the seasons.
Japanese poet Matsuo Basho
Matsuo Basho is not just a poet and haiku master, but also a man who created an entire aesthetic school of Japanese poetics of that time. Matsuo Munefusa is the real name of the author, who was born in a beautiful and sonorous place called Ueno. It is a castle town in the small province of Iga. His father was a poor samurai. But the author's relatives were educated people, which made it possible to recognize classical Chinese writers. His older brother and father gave him calligraphy lessons. Well, the author himself was friends with the prince’s son, who could not imagine life without poetry. This is what served initial stage his creativity. Very soon Basho decided to try himself in this genre. After his comrade died, he left and took monastic vows, thereby freeing himself from service to the feudal lord. But he never became a monk.He was trained by the best masters of that time. Later, when fame came to him, he himself became a teacher for many aspiring poets.
Haiku (haiku) and tanka
Japanese poetry based on the alternation of a certain number of syllables. There is no rhyme, but much attention is paid to the sound and rhythmic organization of the poem.
Haiku, or haiku (initial verses), is a genre of Japanese poetry: an unrhymed tercet of 17 syllables (5+7+5). The art of writing haiku is, first of all, the ability to say a lot in a few words. Genetically, this genre is related to tanka.
Tanka (short song) is the oldest genre of Japanese poetry (first recorded in the 8th century). Unrhymed five-line verses of 31 syllables (5+7+5+7+7). Expresses a fleeting mood, full of understatement, distinguished by poetic grace, often complex associativity, and verbal play.
Over time, the tanka (pentamental verse) began to be clearly divided into two stanzas: a tercet and a couplet. It happened that one poet composed the first stanza, the second - the subsequent one. In the twelfth century, chain verses appeared, consisting of alternating tercets and couplets. This form was called "renga" ("strung stanzas"); The first tercet was called the "initial stanza", or haiku in Japanese. The renga poem did not have a thematic unity, but its motifs and images were most often associated with a description of nature, with an obligatory indication of the season. The opening stanza (haiku) was often the best stanza in the rengi. This is how separate collections of exemplary haiku began to appear. The tercet became firmly established in Japanese poetry in the second half of the seventeenth century.
Haiku has a stable meter. This does not exclude poetic license, for example, in Matsuo Basho (1644-1694). He sometimes did not take into account the meter, striving to achieve the greatest poetic expressiveness.
Matsuo Basho is the creator not only of haiku poetry, but also of an entire aesthetic school of Japanese poetics. His real name is Matsuo Munefusa. Born in the castle town of Ueno, Iga Province (in the center of the island of Honshu), in the family of a poor samurai, Matsuo Yozaemon. Basho's relatives were educated people, which primarily presupposed knowledge of the Chinese classics. Basho's father and older brother taught calligraphy. Since childhood, Basho himself was a friend of the prince's son, a great lover of poetry; Soon Basho himself began to write poetry. After the early death of his young master, Basho went to the city and took monastic vows, thereby freeing himself from serving his feudal lord, but did not become a real monk.
He studied with the then famous haiku poetry masters Katamura Kigin and Nishiyama Soin. In 1680 he published the first anthology of his own poems and those of his students. Then he settled in a hut on the outskirts of Edo (Tokyo). In 1684 he began to travel like his favorite poet Saigyo. As Basho's fame grew, students of all ranks began to flock to him. By the end of his life, he had many students all over Japan, but Basho’s school was not the usual school of a master and students listening to him at that time: Basho encouraged those who came to him to find their own path, each had their own handwriting, sometimes very different from the handwriting of the teacher. Basho's students were Korai, Ransetsu, Issho, Kikaku; Chiyo belongs to the Basho school, a talented poetess who, having become a widow at an early age and having lost a child, became a nun and devoted herself to poetry...
Basho (1644-1694)
Silence all around.
Penetrate into the heart of the rocks
Voices of cicadas.
Old pond.
A frog jumped into the water.
A splash in silence.
The water is so cold!
The seagull can't sleep
Rocking on the wave.
I wrapped my life around
Around the suspension bridge
This wild ivy.
Oh, how many of them there are in the fields!
But everyone blooms in their own way -
This is the highest feat of a flower.
Issho (1653-1688)
Seen everything in the world
My eyes are back
To you, white chrysanthemums.
Ransetsu (1654-1707)
autumn moon
Painting a pine tree with ink
In blue skies.
Chiyo (1703-1775)
To the death of a little son
O my dragonfly catcher!
Far into the unknown distance
Did you run in today?
Dew on saffron flowers!
It will spill onto the ground
And it will become simple water...
Plum spring color
Gives its aroma to a person...
The one who broke the branch.
I forgot
Why are my lips painted...
Pure source!
Buson (1716-1783)
Heavy bell.
And at its very edge
A butterfly is dozing.
I walked up the hill
Full of sadness - so what:
There are wild roses in bloom!
The dew fell
And on all the thorns
The droplets are hanging.
The cold penetrated to the heart:
On the crest of the deceased wife
I stepped in the bedroom.
Issa (1768-1827)
This is how the pheasant screams
It's like he opened it
The first star.
There are no strangers between us!
We are all each other's brothers
Under the cherry blossoms.
Wood - for felling...
And the birds carefree
They're building a nest there!
Oh, with such longing
The bird looks out of the cage
Let the moth fly!
In thickets of weeds,
Look how beautiful they are
Butterflies are born!
Sad world!
Even when the cherry blossoms...
Even then...
On the death of a young son:
Our life is a dewdrop.
Let just a drop of dew
Our life - and yet...
From the book: Butterflies in flight. Japanese tercets/ Per. from Japanese V.N. Markova. - M., 2000.
