nntsuzu/KFTT huggingface dataset:
English: During the Nara period, it was called 'tanka' with respect to the 'choka,' and was called 'waka' with respect to 'kanshi' (poetry written in Chinese by Japanese poets) during and after the Heian period.
Japanese: 奈良時代には長歌に対して短歌、平安時代以降は漢詩に対して和歌と呼ばれた。
English: Since the later Meiji period, the name has been reverted to 'tanka' as a new style of poetry called 'shintaishi' emerged.
Japanese: 明治時代後半からは新体詩にたいして再び短歌と呼ばれて現在に至っている。
English: Tanka has a style that expresses the author's identity so strongly that it is often called the first-person poetry or the self poetry.
Japanese: 一人称の詩形、私性の詩、と呼ばれるほど、作者の主体性が強い表現形式である。
English: Jodai Kayo (songs of the Jodai period) refers to the songs that were sung at festivals and at work, which evolved from shouts of joy and yells used to time or encourage activity.
Japanese: 感情の高まりから発せられた叫び・掛け声が次第に成長して、祭りや労働の際に集団でうたわれるうたとなったものを上代歌謡という。
English: As Japan was in the process of establishing a unified country, the composing of poems expressing individual feelings became popular, part in due to the influx of the Chinese poems into Japan about that time.
Japanese: その後、統一国家が確立してゆく中で、大陸から漢詩が入ってきた影響もあり、個人の気持ちを個々に表現する歌が盛んに作られるようになった。
English: In ballads sung in groups, for example, katauta (poem fragment), with its 5-7-7 syllable structure, were sung to and from members of the group in the form a question and answer, which formed sedoka (whirling head poem) with its 5-7-7, 5-7-7 syllable structure.
Japanese: 集団でうたわれる歌謡においては、例えば旋頭歌（五七七、五七七）は、片歌（五七七）が集団の掛け合いで問答の形になったものだ。
English: When sung by an individual, the redundant part was dropped to become '5-7?' and '5-7-7,' which gave rise to the tanka's structure of '5-7-5-7-7.'
Japanese: 一人でうたうようになると、重複はさけられ「五七？」「五七七。」→「五七五七七」の短歌形式となった。
English: However, during the mid-Heian period, people's interest in Kokufu Bunka (indigenous Japanese culture), combined with the development of the kana characters, brought waka poetry back to official use.
Japanese: が、平安時代中期には国風文化への自覚が高まり、仮名文字の発達とあいまって和歌が次第に公的な場に復活した。
English: In 905, due to an imperial order from the Emperor Daigo, the "Kokin wakashu" (Collection of Ancient and Modern Poems), which was the first of the Chokusen wakashu (anthologies of Japanese poetry compiled by Imperial command), was compiled and presented to the emperor by four people: KI no Tsurayuki, KI no Tomonori, OSHIKOCHI no Mitsune and MIBU no Tadamine.
Japanese: 延喜5年（905年）醍醐天皇の勅命で、紀貫之・紀友則・凡河内躬恒・壬生忠岑の4人により、最初の勅撰和歌集『古今和歌集』が撰進された。
English: A half century later, the "Gosen Wakashu" (Later selected collection of Japanese Poetry) was compiled during the reign of the Emperor Murakami, and another half century after that, the "Shui Wakashu" (Collection of Gleanings of Japanese Poetry) was also compiled during the reign of the Emperor Ichijo.
Japanese: それから半世紀のちの村上天皇のころに『後撰和歌集』が、さらに半世紀後の一条天皇のころに、『拾遺和歌集』が撰進された。
English: In comparison, the latter succeeds the tradition of the "Kokin wakashu," which was more elegant and refined.
Japanese: それに対し、後者は典雅で格調正しい『古今和歌集』の伝統を受け継ぐものになっている。
English: In the late Heian period, the "Goshui Wakashu" (Later Collection of Gleanings of Japanese Poetry), the "Kinyo wakashu" and the "Shika wakashu" (The Waka Collection of Verbal Flowers) were compiled and presented to the emperor.
Japanese: 平安時代後期には『後拾遺和歌集』『金葉和歌集』『詞花和歌集』が撰進された。
English: With changes in the aristocracy rapidly taking place, it was a long half century before a collection surpassing the Sandaishu could be created.
Japanese: 貴族社会が変化する中で、三代集の伝統を乗り越えるための苦悶の半世紀であった。
English: After the Genpei War, with an order from Goshirakawain, FUJIWARA no Toshinari compiled the "Senzai Wakashu" (Collection of Japanese Poems of a Thousand Years) and presented it to the retired emperor, and this brought waka poetry of the late Heian period to a culminate.
Japanese: 源平の争乱の後、後白河院の命で藤原俊成が『千載和歌集』を撰進し、平安時代末期の和歌を一つの高みに導いた。
English: From the "Kokin wakashu" to the "Shin Chokusen wakashu" (New Imperial Anthology of Japanese Poetry), these eight Chokusen wakashu are collectively called the Hachidaishu (The Eight Waka Collections compiled by Imperial Command).
Japanese: 『古今和歌集』から次代の『新古今和歌集』までの8つの勅撰集を八代集という。
English: During the early Kamakura period, waka poems were ardently composed by nobles who were deprived of their political power and who turned to traditional culture as a source for their emotional support.
Japanese: 鎌倉時代に入ると、政権を奪われた貴族たちは伝統文化を心のより所にしたため和歌は盛んに詠まれた。
English: The "Shin Chokusen wakashu" was compiled by an order from Gotobain, who apparently was an avid waka enthusiast, as a display of contempt towards the Kamakura Government.
Japanese: 鎌倉への対抗意識もあって和歌に非常な熱意を示した後鳥羽院の命で撰進されたのが『新古今和歌集』である。
English: Poems became more refined, and many were composed not out of actual experiences but out of the vivid imagination of the authors.
Japanese: 技巧化は更に進み、現実の体験ではなく、頭の中で作り上げた世界を詠んだものがほとんどを占めた。
English: After FUJIWARA no Sadaie, who was the chief composer of the "Shin Chokusen wakashu," and his son FUJIWARA no Tameie died, the Fujiwara lineage and the poetry circles became divided into three schools: the Nijo, the Kyogoku, and the Reizei schools.
Japanese: 『新古今和歌集』編纂の中心人物だった藤原定家とその子の藤原為家が亡くなると、家系も歌壇も二条派・京極派・冷泉派の三派に分かれた。
English: Since around the period of the Northern and Southern Courts, waka poetry came to be composed mainly by Buddhist monks and warriors.
Japanese: 南北朝時代(日本)ごろから、和歌は僧侶や武士を中心に詠まれるようになる。
English: During the Genroku era, criticisms of conventions and traditions led to the appearance of kokugaku (the study of Japanese literature and culture) in order to interpret the essence of ancient literature.
Japanese: 元禄期には因襲性の批判から伝統への反省が生まれ、日本の古代精神を明らかにする国学が発生した。
English: Tanka circles in the beginning of the Meiji period were led by traditional men of culture from the aristocracy, with the Outadokoro school (the Palace School), especially the Keien school, at their center.
Japanese: 明治時代初期の歌壇は、桂園派を主とする御歌所派が中心となって貴族的・伝統的な文化人たちが担っていた。
English: Criticized their overly pompous styles, a new breed of poets seeking to improve on the waka poetry opened up a new age for tanka that embodied freedom and individuality.
Japanese: 和歌改良を志す人々はその題詠による作歌・風雅な趣向を批判し、自由と個性を求める近代短歌を開いた。
English: The Asaka sha (the Asaka Society) was formed to create romantic tanka poetry that emphasized subjectivity, and boasted such new talented poets as Tekkan YOSANO.
Japanese: 浅香社が結成され、主観を重視する浪漫的な短歌を目指し、与謝野鉄幹らを輩出した。
English: Tekkan launched the publication called "Myojo" in 1900, and with Akiko YOSANO at his side, he was able to create the golden age of romantic tanka.
Japanese: 明治33年（1900年）、鉄幹は『明星』を創刊し、与謝野晶子を擁して浪漫主義短歌の全盛時代を築いた。
English: Between 1908 and 1912, a new concept of individualism was represented by such poets as the poet who gained popularity through "Myojo," Hakushu KITAHARA with his pursuit for beauty, the naturalist, Bokusui WAKAYAMA, and Takuboku ISHIKAWA, who had a tendency of showing flavors of socialism.
Japanese: 明治40年代には『明星』から出た耽美派の北原白秋、自然主義的な若山牧水、社会主義的傾向を示した石川啄木らの個性が開花した。
English: In 1898, Shiki MASAOKA published 'Utayomi ni atauru sho' (Letters to The Tanka Poets).
Japanese: 一方、正岡子規は明治31年（1898年）に「歌よみに与ふる書」を発表。
English: He advocated returning to the styles of the Manyoshu and composing tanka through portrayal, and started the Negishi Tanka Society, where new poets such as Sachio ITO and Takashi NAGATSUKA emerged from.
Japanese: 万葉への回帰と写生による短歌を提唱して根岸短歌会を起こし、伊藤左千夫・長塚節らを育てた。
English: The journal from the Negishi Tanka Society, "Araragi," was first published in 1908, and made famous Akahiko SHIMAGI, who established his own unique style of prose and led the Araragi school, and Mokichi SAITO, who looked within himself and composed poems reflecting the power of life.
Japanese: 根岸短歌会の機関紙として明治41年（1908年）に創刊された『アララギ』からは、独自の歌風を確立してアララギ派を主導した島木赤彦や、自我を見つめて生命感ほとばしる歌を詠んだ斎藤茂吉が出た。
English: Under the command of Akahiko during the Taisho period, Araragi's reputation had made it very influential among tanka circles.
Japanese: アララギは赤彦が編集を担当した大正期に歌壇主流と言っていい発展を遂げる。
English: However, opposing views existed to its rigid styles of composition and its closed-society tendencies.
Japanese: が、よりストイックな歌風を特色とするその美学と結社的束縛は一部で反発を招いた。
English: In 1924, Chikashi KOIZUMI, Shinobu ORIKUCHI, and Jun ISHIHARA left 'Araragi' to start up a new magazine called 'Nikko' (sunlight), thereby forming a rift within Araragi.
Japanese: 大正13年（1924年）に古泉千樫、折口信夫、石原純が新雑誌「日光」の創刊に参加して「アララギ」を離脱するなど、アララギの分裂を生み出す。
English: After the death of Akahiko SHIMAGI in 1926, Mokichi took over the helm as editor and led the Araragi until the early Showa period.
Japanese: そして太正15年（1926年）島木赤彦の没後はアララギの編集を担い、中心人物として昭和初期にかけて活躍する。
English: As if a prelude to the Showa period, the tanka magazine 'Nikko' made its first appearance in 1923 by Chikashi KOIZUMI, Shinobu ORIKUCHI, Jun ISHIHARA, Hakushu KITAHARA, Yugure MAEDA and Shoryo YOSHIUE, all who had left Araragi.
Japanese: 昭和短歌の前奏曲として、大正12年、歌誌「日光」が、アララギを脱退した古泉千樫、折口信夫、石原純や、北原白秋、前田夕暮、吉植庄亮らによって創刊された。
English: Nikko was not a tanka society but can be likened to a lounge with a relaxed atmosphere, although it naturally had an anti-Araragi color to it.
Japanese: 短歌結社ではなくゆるやかなサロン的結合による雑誌であったが、おのずから反アララギ的色彩を帯びた。
English: This was probably the beginning of the definitive split of the pro-Araragi and anti-Araragi sides.
Japanese: アララギ系―反アララギ系という座標軸はここからはじまったといってよい。
English: Utsubo KUBOTA and Eiichi MATSUMURA were critical of Araragi though their views were bordering realism.
Japanese: リアリズムに近い立場に立ちながら、窪田空穂、松村英一らは、アララギには批判的であった。
English: Eiichi and his pupil, Tomoichi YAMAMOTO, criticized the awkward literary style of Araragi, and frequently argued with 渋谷嘉次, the pupil of Bunmei TSUCHIYA, who represented Araragi.
Japanese: 英一やその門人である山本友一は土屋文明系の渋谷嘉次と論争を行い、文明に代表されるアララギの作風のぎごちなさを批判する。
English: It was during the Showa period where movements for the colloquial style, free verse from the Meiji period and for the proletarian tanka styles attributable to Takuboku ISHIKAWA started to gain headway.
Japanese: 明治から試みられていた口語・自由律や、石川啄木にまでさかのぼれるプロレタリア短歌の運動が起こったのも昭和に入ってからである。
English: The colloquial, free verse movement greatly influenced Yugure MAEDA's 'Shiika' (Poetry), while the latter movement placed their tanka among proletarian literature.
Japanese: 前者は前田夕暮の「詩歌」を中心に一大勢力となり、後者はプロレタリア文学の一環としての存在を主張するようになる。
English: After the fixed forms returned to favor among the Yugure school, poets such as Susumu KAGAWA and Toru MAEDA also changed their stances and began to include fixed forms in their prose, which ultimately led to the diminishing influence of the colloquial school.
Japanese: 口語派は夕暮の一門あげての定型復帰により、香川進、前田透といった歌人が文語定型を排除しない方向に転じたことで、力を減じていった。
English: As such, differing views existed such as letting tanka take the form of short verselets or having tanka go far beyond 31 syllables.
Japanese: そのため、短歌を短詩に解消するべきだという意見が有力になったり、あるいは三十一音を大幅にはみ出す作品が出たりした。
English: The colloquial school, the surrealistic school, the proletarian school, and the seikatsu school worked together to make drastic changes to tanka circles.
Japanese: 口語派、シュールレアリスム派、プロレタリア派、生活派が連合して歌壇の革新につとめる。
English: They gained influence with the appearance of the New Ten Poets, including Samio MAEKAWA, Tetsukyu TSUBONO and Kaichi IKADAI.
Japanese: 前川佐美雄、坪野哲久、筏井嘉一らにより、後に新風十人でその美学を示した。
English: It popularized poets who became associated with postwar societies, such as Shuji MIYA's 'Cosmos' and Osamu KIMATA's 'Keisei' (Formation).
Japanese: 宮柊二（「コスモス」）、木俣修（「形成」）といった戦後結社につながる歌人がここから輩出する。
English: Araragi, which had gathered much influence within the tanka circles, produced poets, such as Sataro SATO (Founder of 'Hodo' (The Pavement)) and Mokichi YAMAGUCHI, who were pupils of Mokichi SAITO, and Yasuyoshi GOMI, Yoshimi KONDO (Founder of 'Mirai' (The Future)), Kuniyo TAKAYASU (Founder of 'To' (The Tower; magazine and tanka society)), Tadashi AIZAWA, Kenji HIGUCHI, Kyotaro OCHIAI, Masatoshi YOSHIDA and Minoru SHIBOTA, who were pupils of Bunmei TSUCHIYA.
Japanese: 歌壇の一大勢力に成長したアララギでは、斎藤茂吉の指導を受けた佐藤佐太郎（「歩道」創刊）・山口茂吉、土屋文明の指導を受けた五味保義、近藤芳美(「未來」創刊)、高安国世(「塔(短歌結社)」創刊)、相澤正、樋口賢治、落合京太郎、吉田正俊、柴生田稔らが育つ。
English: After Japan lost WWII, opinions that condemned tanaka, such as the "Daini Geijutsu" (Second-Class Art) by Takeo KUWABARA became extremely popular.
Japanese: 日本の敗戦から、桑原武夫『第二芸術論』など短歌否定論が大反響を呼んだ。
English: However, to counter such opinions, a new movemental organization called Shin Kajin Shudan (The New Poets Group), with the aim of establishing a postwar tanka circle, was formed in 1947.
Japanese: が、短歌否定論に対抗し、戦後歌壇を樹立する目的の下に、昭和22年（1947年）新歌人集団という運動体が結成された。
English: Poets such as Yoshimi KONDO and Shuji MIYA became significant figures among the postwar tanka circles, and created the basis for the modern tanka.
Japanese: 近藤芳美や宮柊二などは戦後歌壇の大きな存在となるとともに、現代短歌の基盤を作っていった。
English: In 1948, Nihon Kajin Kurabu (The Japan Tanka Poets' Society) was formed by the 183 founding members, including Mokichi SAITO, Bunmei TSUCHIYA, Shaku Choku, Saishu ONOE, Nobutsuna SASAKI, Utsubo KUBOTA, Zenmaro TOKI, Yugure MAEDA, and influential, contemporary poets, such as Seikyu OTA, Junzo WATANABE, Yoshimi KONDO, Sataro SATO, Osamu KIMATA, Shuji MIYA, and Susumu KAGAWA.
Japanese: 昭和23年（1948年）には、日本歌人クラブが、斎藤茂吉・土屋文明・釈迢空・尾上柴舟・佐佐木信綱・窪田空穂・土岐善麿・前田夕暮をはじめとする183名の発起人、太田靑丘・渡辺順三・近藤芳美・佐藤佐太郎・木俣修・宮柊二・香川進ら当時の中堅歌人らによって結成された。
English: The Nihon Kajin Kurabu has been the largest tanka society in Japan thus far, and has remained an active group through to this present day.
Japanese: これは歌壇最大の超結社団体として、現在に至るまで活発な活動をつづけて居る。
English: In 1949, Hideo NAKAI founded the publication called the "Tanka Kenkyu" (The Study of Tanka), and brought forth to the public eye, new poets such as Taeko KUZUHARA, Fumiko NAKAJO, Kunio TSUKAMOTO, and Shuji TERAYAMA.
Japanese: 昭和24年（1949年）には中井英夫が『短歌研究』を創刊し、葛原妙子・中城ふみ子・塚本邦雄・寺山修司ら多くの新人を見いだした。
English: In 1956, Gendai Kajin Kyokai (The Association of Contemporary Tanka Poets) was formed as something similar to a professional association by 62 founding members, including Tatsue UBUKATA, Tadao OOGIHATA, 尾上紫舟, Susumu KAGAWA, Juzo KAGOSHIMA, Osamu KIMATA, Utsubo KUBOTA, Yoshimi KONDO, Nobutsuna SASAKI, Sataro SATO, 紫生田稔, Bunmei TSUCHIYA, Tetsukyu TSUBONO, Zenmaro TOKI, Eiichi MATSUMURA, Yaichi AIZU, Shuji MIYA, Mokichi YAMAGUCHI and Tomoichi YAMAMOTO.
Japanese: 昭和31年（1956年）には歌人の職能的性格を持つ団体として「現代歌人協会」が、生方たつゑ・扇畑忠雄・尾上紫舟・香川進・鹿児島壽蔵・木俣修・窪田空穂・近藤芳美・佐々木信綱・佐藤佐太郎・紫生田稔・土屋文明・坪野哲久・土岐善麿・松村英一・会津八一・宮柊二・山口茂吉・山本友一など62名の発起人により結成された。
English: Starting with Kunio TSUKAMOTO's poignant expressions, the avant-garde tanka poetry won the approval of Hideo NAKAI, gathered comrades such as Takashi OKAI and Shuji TERAYAMA, and affected all tanka circles.
Japanese: 前衛短歌運動は、塚本邦雄の衝撃的な表現から始まり、中井英夫の賛同を得、岡井隆・寺山修司といった同志を獲得し、歌壇全体に影響を及ぼした。
English: Avant-garde tanka poetry has many technical features such as the use of metaphors, ku-matagari (verse straddling), and the employing of symbols.
Japanese: 前衛短歌は、比喩の導入、句またがり、記号の利用といった技法上の特徴が数多くある.
English: These methods of expression have been often seen in classical literature, though it was lost due to the Westernization influence during the Meiji period.
Japanese: この表現方法は明治期の西洋化で失われたが、古典ではよく見られた形式である。
English: Around 1960, the avant-garde tanka poetry started to lose its impetus, due to the fact that many publishers, fearing the over-reaching influence of the avant-garde tanka poetry into societal matters, distanced themselves from this type of poetry, and also due to the loss of direction.
Japanese: 昭和30年代半ばには、前衛短歌は社会的影響力を持ち始めたため敬遠する出版会の動きがあったことと、方法意識が出尽くしたことから停滞した。
English: Then came along Hideo KIYOHARA of the West and Daisaku KISHIGAMI of the East-two young men who had participated in the conflict over the Japan-US Security Treaty.
Japanese: そこで登場したのが安保闘争に参加した若者、西の清原日出夫、東の岸上大作であった。
English: Tanka poetry lost its direction and ideals, partly due to the fact that poets could not find new methods of expression.
Japanese: 新たな表現方法への移行も出来なかったこともあり、短歌は目標や思想を喪失していった。
English: Tanka circles soon became isolated and divided into the "insiders" (professional poets) and the "outsiders" (tanka appearing in newspapers and in seminars by amateurs).
Japanese: 歌壇は孤立化し、内部（歌人）と外部（新聞短歌・セミナー短歌）の棲み分けが始まった。
English: About that time, Ken KASUGAI, who was called the second-coming of Teika by Yukio MISHIMA, made his debut and pursued a pure form of expression, which included neither a sense of time (as in, era) nor any society's woes.
Japanese: そんな中、三島由紀夫に定家の再来と言われてデビューした春日井建が、時代性や社会性の意識は見られない絶対なる美的表現を追求した。
English: From about the late 1960's, finally a new movement since the disappearance of the avant-garde movement started to take hold to deal with the transformation to the modern tanka poetry.
Japanese: 昭和40年代始め、前衛短歌の停滞後はじめて本格的に近代短歌に向き合う動きが出てきた。
English: Examples include Yukitsuna SASAKI, who is known for his 'Otoko uta' (masculine poems), Kosaku OKUMURA, who is known for his 'Tadagoto uta' (light-hearted tanka), Kazushi TAKASE, who had an empirical style, and Shigeki ONO, a poet who died young but created a portrayal of the postwar young people.
Japanese: 「男歌」の佐佐木幸綱、「ただごと歌」の奥村晃作、実験的な歌風の高瀬一誌、戦後の青年像を示した夭折歌人の小野茂樹などである。
English: From the mid-70's to the mid-80's, there appeared poets such as Michihiko MURAKI, Hikaru KOIKE, and Ei AKITSU, with their delicate expressions of everyday realities.
Japanese: 昭和50年代には、村木道彦・小池光・阿木津英など、風俗・実生活を繊細に描写する歌人が現れた。
English: During the late 80's, vivid expressions based on urban culture became popular.
Japanese: 昭和60年代には、都市文化を基調としたヴィジュアルな表現が登場する。
English: Poets such as Megumi KINO and Shion MIZUHARA, who were called the neoclassical school, and Shuichi SAKAI became pioneers of the new wave in the Heisei period.
Japanese: 坂井修一や、新古典派と呼ばれる紀野恵・水原紫苑などが平成のニューウェーブの先駆けとなる。
English: After Machi TAWARA's "Salad Anniversary" sold a record million copies, tanka became free from its traditional grave image and came to be read more casually.
Japanese: 俵万智『サラダ記念日』がミリオンセラーを記録、短歌はそれまでの硬いイメージから解放され、コピー言語のように読まれるようになった。
English: The biggest surprises thus far in the Heisei period were most likely the end of 'Araragi,' which had been continuing the concept of shasei (portrayal) since the days of Shiki MASAOKA (on December 1997), and the break-up of the Araragi school.
Japanese: 平成に入って最大の衝撃は、正岡子規以来の写生を受け継ぐ「アララギ」の終刊（1997年12月）とアララギ派の分裂であろう。
English: Around the same time, there appeared poets known as the New Wave that included Jiro KATO, Hiroyuki OGIHARA, and Hiroshi HOMURA.
Japanese: 時を同じくして加藤治郎(歌人)・荻原裕幸・穂村弘らニューウェーブと呼ばれる歌人が登場した。
English: While the traditional tanka poets were perplexed by the "Salad Anniversary"(Machi TAWARA) and the way in which it popularized tanka poetry, the New Wave poets brought about another revolution in poetry expression by their grand imagination and sensitivities.
Japanese: 『サラダ記念日』（俵万智）で決定的に大衆化した短歌の状況に困惑する旧来の歌人をよそに、イメージと感性で歌い上げる彼等の表現は斬新だった。
English: Tanka poems until then bore some questions about universality or about life, even when the works appeared to be of a personal level.
Japanese: それまでの短歌は個人的内容であっても、普遍性や生への問いかけがあった。
English: The New Wave poets, however, were able to break free from the modern tanka poetry due to the colloquial, urban, and anti-ego culture they experienced through the bubble economy.
Japanese: しかしバブル経済の表層的文化で育った口語性と都会性、脱私性により、前衛短歌以来の近代短歌からの脱出が図られたのである。
English: With the advent of the internet, there are increasing number of poets who do not associate themselves to any tanka circles with Koichi MASUNO being a famous example.
Japanese: 現在はインターネットの普及も影響して、枡野浩一など歌壇に全く属さない歌人も登場している。
English: Since the late Showa period, a tanka contest called the Gendai Gakusei Hyakunin Isshu (One Hundred Poems by One Hundred Students) has been held periodically.
Japanese: 昭和末期から現代学生百人一首という短歌を使用したコンテストが開催されている。
English: Currently, schools nation-wide have been participating in this event, and it is a form of education taught through tanka and it attempts to have students get in touch with the sensitivities of the modern-day people through tanka compositions.
Japanese: 現在では全国各地の学校がこのイベントへ参加しており、短歌を通じた教育ならびに現代の学生が短歌を詠むことで現代人の感性を知ろうというひとつの試みとなっている。
English: This exists other forms which attempts to broaden the capacity for expression by altering this fixed form.
Japanese: それを守る方法と変化を付けることによって表現の幅を広げようとする方法とがある。
English: It is a fundamental rule to use traditional kana orthography (old kana orthography) when composing tanka in the classical literary language.
Japanese: –文語による短歌は歴史的仮名遣い(旧仮名遣い)によって書かれることが原則である.
English: However, as colloquial language is used often in daily life, different types of orthographies have begun to coexist.
Japanese: が、日常生活で口語が用いられている現在は各種の表記法が混在している。
English: In tanka, techniques available in poetry are used selectively to obtain desired effects.
Japanese: -短歌においては、韻文全般に用いられる技法の中から効果のあるものが選択的に用いられている。
English: A word that is placed in front of a particular word to emphasize the latter.
Japanese: ‐歌の意味にかかわらず,ある特定の語を引き出すために,その語の前に置かれる。
English: Though rarely used in contemporary tanka, this is a technique that uses longer words than the Makura kotoba, and is able to depict specific images and to introduce themes in subsequent lines.
Japanese: -枕詞より長い音節により具体的なイメージを引き出し、下の句のテーマへと繋げていく技法であるが、現代ではほとんど使われていない。
English: A technique using homonyms, a word having the same spelling but different meanings, to achieve two distinct contexts within the same verse.
Japanese: –2つの意味を持つ同音異義語を用いて2つの文脈を繋ぐ、あるいは展開していく技法。
English: A technique wherein a word associated with a theme word in the verse is used to aide the expression of the latter.
Japanese: －歌の中のある語を中心に、それと関係のある語を用いて、表現を効果的にする技法。
English: Since the appearance of the Manyoshu, tanka has been used to express the inner feelings of the heart through nature, everyday lives, and social trends.
Japanese: 万葉以来短歌は自然に触れ、生活の場で、また社会の流れの中にあって、人間の心の在り様を表現したものである。
English: However, in the world of tanka poetry, people have divided poems into the following groups: scenic poetry (poems composed on natural scenery), descriptive poetry (poems describing a fact as is), and lyrical poetry (poems express people's feelings and emotions).
Japanese: しかし、短歌の世界では対象の捉え方を、叙景歌（自然の風景等を詠んだ歌）、叙事歌（事実をありのままに述べた歌）、抒情歌（感情、感動を述べ表した歌）という分け方をしてきた。
English: Descriptive names followed by the 詠 (ei) suffix are used to further categorize tanka based on the theme of the poem.
Japanese: 便宜上直接的に短歌の対象となった事柄を捉えて、何々詠という呼び方をしている。
English: New and various names for new categories will most likely appear as time goes on.
Japanese: また、今後、さまざまな呼び方がされる新たな分野が登場してくる可能性はある。
English: Poems composed on experiences of a long stay or settling down in a foreign country, and includes poems composed by those who have emigrated before World War II.
Japanese: ―海外での長期滞在、居住、永住等の体験を詠んだ歌、戦前からの移民等の歌も含む
English: Haiku poetry is a form of modern literature that evolved from haikai-renga, haikai for short, which developed in the early modern ages.
Japanese: 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。
English: In particular, he composed many jihokku, i.e. independent hokku (the opening verse of the haikai and the renga) that are praiseworthy in their own right.
Japanese: なかでも単独でも鑑賞に堪える自立性の高い発句、すなわち地発句を数多く詠んだ。
English: During the Meiji period, Shiki MASAOKA emphasized creativity within the individual and ultimately established haiku poetry as modern literature.
Japanese: 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。
English: 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.
Japanese: 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。
English: 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.
Japanese: 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。
English: 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.
Japanese: 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。
English: In these haiku poems, there is no 5-7-5 syllable constraint, and in many cases there are no kigo (seasonal references).
Japanese: 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。
English: Currently, such non-Japanese haiku poets include Seigan MABUSON (Laurent MABESOON), ドウ-グル and Arthur BINARD.
Japanese: そうした外国人の俳人には現在マブソン青眼、ドウーグル、アーサー・ビナードなどがいる。
English: 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).
Japanese: 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。