《Kasari Nato》 - No decoration

After Basho's death, in order to overcome the vulgarity of haiku caused by the popularity of humorous haiku and metaphorical haiku, "Return to Basho" became the catchphrase (Tenmei haiku). Famous works include Bakusui's "Shomon One Night Kuju" (1773), which advocates returning to the old ways of the Jōkyō period (1684-88), Hakuō's "Kazarinashi" (1771), which emphasizes the importance of natural forms and the rejection of personal opinions, and Buson's "Shundoro Kushu" (1777), which advocates breaking away from the vulgarity of the world by using colloquial language, advocating the lofty ideals of "Fuyu no Hi" and "Spring no Hi." After the Meiji period, Shiki Masaoka, who aimed to modernize haiku literature, criticized the idolization of Basho in works such as Dassai Shoya Haiwa (1893) and rejected the traditional linked verse form and ordinary haiku.

*Some of the terminology explanations that mention "Kasarina Toshi" are listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…　芭蕉の没後，洒落俳諧，譬喩俳諧の流行が招いた俳風の低俗さを克服するため，〈芭蕉に帰れ〉が合言葉となった(天明俳諧)。貞享期(1684‐88)の古風に帰ることを主張した麦水の《蕉門一夜口授（くじゆ）》(1773)，自然の姿を重んじ私意を排すべしとする白雄の《加佐里那止（かざりなし）》(1771)，《冬の日》《春の日》の高邁を慕い，俗語を用いて俗を離れることを説いた蕪村の《春泥句集》序(1777)などが名高い。　明治以降，俳文学の近代化をめざした正岡子規は，《獺祭書屋（だつさいしよおく）俳話》(1893)などで芭蕉の偶像化を批判し，伝統的な連句形式や月並俳諧を否定した。…

※「《加佐里那止》」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典 第２版について | 情報