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(photo) summer boys
Sun is glinting on
A washerwoman's black arms
In cold creek water.
太陽がキラッと光る
洗濯女の黒い腕で
冷たい小川の中
（放哉）
血がにじむ手で泳ぎ出た草原
Swimming out of the grass
― My bloody arms.
■Wright's haiku cannot get out of a common-sense world. I have examined his 60 haiku, and I found out he didn't have so many fine haiku. From now on, after I preselect his good haiku, I'll examine it. In the case of Hohsai, I have preselected his interesting haiku. It's natural I tend to appreciate his haiku.
（photo)summer festival
Gusty autumn rain
Swinging a yellow lantern
Over wet catttle.
突然の激しい秋雨が
黄色いランタンを揺らしている
濡れた牛の上
（放哉）
いつ迄も忘れられた儘で黒い蝙蝠傘
A black umbrella-
Having been abandoned
For a long time.
■Wright's haiku has a beautiful scene, but it is common as a haiku work. On the other hand, Hohsai's haiku can make us feel the shadow of rain by showing an abandoned black umbrella.
(photo)three girls
Heaps of black cherries
Glittering with drops of rain
in the evening sun.
一山のブラックチェリーが
雨に濡れて輝く
夕陽の中
（放哉）
友の夏帽が新らしい海に行かうか
My friend's summer hat
is new-
Shall we go to the sea?
■Right's haiku is too beautiful for me to find amusement in it. If the haiku was written as a part of a longer poem, such as that of Trakl, I could take it more natural. From the pont of view, though Wright's haiku seems to be completed, I think there is something missing. On the other hand, Hohsai's haiku has completed poesy. His haiku doesn't need any more words.
(Photo)Untitled
Slightly
I imagine time for no one
That vanishes in rain,
And that appears when wisteria flowers swing slightly.
It doesn’t have any history,
Any result, any function, and any space.
It is outside meanings.
I think I know
Time for no one is
One for Creator’s laughing.
We could hear it for just a moment.
And we could see it,
If a frog found out himself.
But no one has had that time yet
Without those who have lived against history.
I have been no one for time
For a long, long time.
(photo) Even a cat in Japan looks Japanese.
Sleety rain at night
Seasoning swelling turnips
With a tangy taste.
夜の霙雨
畑の蕪を
辛くする
（放哉）
夜の木の肌に手を添へて待つ
I'm waiting,
Holding my hand to the surface
Of the night tree.
■Wright's haiku has some kind of sense of living, because his motive is swelling turnips. I feel HAIMI in his work which is the sense of human living and one of important factors in haiku. On the other hand, Hohsai's haiku has some kind of poetry. I feel he is not waiting for someone or something, but for himself.
