Haikai poet and painter Yosa Buson was a leader of the Revival haikai movement (ca. 1765--1785). Buson was not given to elaborate theorizing about haikai, and wrote few sustained expositions of his poetics, but one document, the preface to the 1777 verse collection Shundei kushu (Shundei verse anthology) contains a lengthy statement about his poetic theory. Here he writes that the principle of rizoku (transcending the ordinary), was the key to excellence in haikai, kanshi (Chinese poetry), and painting. Buson's rizoku theory was at the core of the most characteristic aspects of his poetic practice. It was a fundamental principle informing the Back to Basho movement, that is, the efforts of poets like Takai Kito, Kato Kyotai, Miura Chora, and others to resist the trend towards vulgarity and commercialism that characterized contemporary haikai and recapture the brilliance of the early Basho school style.; Chapter One begins with a discussion of the significance of the relationship between ga (elegance) and zoku (the commonplace) in eighteenth century Japan, the history of haikai in the Kyoho period (1716--1736), and the basics of haikai poetics. Chapters Two through Five analyze Buson's hokku and linked verse in a roughly chronological order, showing how political and social developments during Buson's lifetime shaped his hokku and linked verse. Buson's verse is examined within the context of the anthologies in which they were published, in order to show how key figures of the Back to Basho movement promoted Buson as emblematic of the ideals of otherworldiness and transcendence which were integral to the movement. Chapter Six traces the reception of Buson in the modern period. The study concludes with translations of Boson's haishi (haikai free verse), including Hokuju rosen wo itamu (Mourning the sage Hokuju), Shunpu batei no kyoku (Verses on the Topic 'Spring Wind on the Kema Embankment'); important prose works, including Rakuto Basho-an saiko-ki (Account of the rebuilding of the Basho Hermitage in eastern Kyoto), Shin hanatsumi (New 'Flower Gathering'), Mukashi o ima (Make the past present), Shundei kushu and Momo sumomo, and the linked verse sequence Botan chirite (Peonies scatter).
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机译：海开诗人和画家尤萨·布森（Yosa Buson）是复兴海开运动（ca. 1765--1785）的负责人。 Buson并未详细阐述关于海开的理论，只写了很少的关于海凯的诗论，但其中一份文件，即1777年诗集《顺德诗集》的序言中，对他的诗歌理论作了冗长的陈述。他在这里写道，超越传统（rizoku）的原则，是在海开，kanshi（中国诗歌）和绘画方面追求卓越的关键。 Buson的rizoku理论是他诗歌实践中最具特色的方面的核心。这是告知“返巴祖”运动的一项基本原则，即，Takai Kito，Kato Kyotai，Miura Chora等诗人为抵制当代海地所特有的庸俗化和商业化趋势而努力，并重新夺回了早期的光辉。 Basho学校风格。第一章首先讨论了18世纪日本ga（优雅）与zoku（平凡）之间的关系的重要性，巨峰时期（1716--1736）的海开历史以及海开诗学的基础。第二章至第五章以大致的时间顺序分析了布森的经书和关联经文，显示了布森一生期间的政治和社会发展如何塑造了他的经文和经文。为了研究布森的诗歌，在其选集的语境中对其进行了研究，以显示“回到巴修”运动的关键人物如何促进布森成为该运动不可或缺的超凡脱俗和超越理想的象征。第六章追溯了现代对布森的接受。研究以Boson的haishi（海凯自由经）的翻译结尾，其中包括Hokuju rosen wo itamu（哀悼圣人Hokuju），Shunpu batei no kyoku（主题为“ Kema路堤上的春风”）；重要的散文作品，包括Rakuto Basho-an saiko-ki（京都东部Basho Hermitage的重建帐户），Shin hanatsumi（新的“花卉聚会”），Mukashi o ima（使过去成为现在），Shunei kushu和Momo sumomo，以及链接的经文序列Botan chirite（牡丹散布）。
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