Haibun - Haibun

These are pieces of writing with a haiku-like flavor, written mainly by haiku poets. They are concise in expression and include omissions and leaps, but are poetic and full of meaning, and often express an elegant mood that transcends the mundane. They are mostly short sentences, and haiku may be inserted into the text. They value feeling over logic, but they also quote historical events from Japan and China, make frequent use of witty metaphors, and can have a strong humorous flavor. Yamaoka Genrin's Takaragura (1671) is considered to be the first collection of haiku poems, but it is also thought that the seeds of haiku can be found in the explanations of seasonal themes in Kitamura Kigin's Yama no I (1648), an earlier seasonal collection. The word "haibun" first appeared in a letter by Basho estimated to date from 1690 (Genroku 3), and was referred to by Basho and his disciples as "haikai literature" or "haikai writings." Basho's travel writings can also be considered haikubun in the broad sense, but haikubun in the narrower sense is thought to have been established in "Honcho Monzen" (published in 1706, later renamed "Fuzoku Monzen"), a collection of haiku by Basho and his disciples, edited by Kyoriku.

Throughout the Edo period, many excellent haiku poets left behind excellent haiku poems, as can be seen in works such as Buson's Shinhanatsumi (New Flower Picking) (1797) and Issa's Oraga Haru (Our Spring) (1820). Yayu's Quail's Clothes (Quail's Clothes) (1787) were highly influential due to their thoroughgoing attitude of hobby-like nonchalance and the large volume of the works, including the sequel and the collection. Looking broadly at haiku poems in the Edo period, there were two trends: Basho's style, which focused on an elegant atmosphere, and Yayu's style, which focused on a nonchalance and humorous atmosphere. In modern times, the descriptive writing of the Masaoka Shiki school was included in the scope of haiku, and his disciple Takahama Kyoshi wrote Shinhaibun (New Haiku Poetry) (1933).

[Yamashita Kazumi]

"Japanese Classical Literature Series 92: Early Modern Haiku and Haiku Poems, annotated by Aso Isoji et al. (1964, Iwanami Shoten) " "Japanese Classical Literature Collection 42: Early Modern Haiku and Haiku Poems, annotated and translated by Matsuo Yasuaki, Maruyama Kazuhiko et al. (1972, Shogakukan)" "Matsuo Katsuro's Early Modern Haiku Poems Commentary" (1983, Ohfusha)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

主として俳人によって書かれた俳諧(はいかい)的な味わいのある文章。簡潔な表現で、省略や飛躍を伴うが、詩的で含蓄に富み、世俗を超越した風流な気分を表すものが多い。多くは短文で、文章に俳句が挿入されることもある。論理より感覚を重んじるが、和漢の故事を引用し、機知的な比喩(ひゆ)を多用し、また滑稽(こっけい)味を強く出すこともある。山岡元隣(げんりん)著『宝蔵(たからぐら)』（1671）が俳文集の最初のものとされているが、それより早い北村季吟著の季寄(きよせ)書『山の井』（1648）の季題解説の部分に俳文の芽生えがあるとも考えられている。「俳文」の語は芭蕉(ばしょう)の元禄(げんろく)3年（1690）と推定される書簡中にみられるのが最初で、芭蕉やその門下の人々によって、「俳諧の文」「俳諧の文章」などともよばれた。芭蕉の紀行文も広い意味での俳文と考えてよいが、狭い意味での俳文は、芭蕉とその門下の俳文を集めた許六(きょりく)編『本朝文選(もんぜん)』（1706刊、のち『風俗文選』と改題）において確立したと考えられる。

　江戸時代を通じて、優れた俳人は優れた俳文を残していることが多く、蕪村(ぶそん)著『新花摘(しんはなつみ)』（1797）、一茶(いっさ)著『おらが春』（1820）などにそれをうかがうことができる。也有(やゆう)著『鶉衣(うずらごろも)』（1787）は、趣味的な飄逸(ひょういつ)の態度が徹底していることと、「続編」「拾遺」をあわせて大部であることによって影響を与えるところが大であった。江戸時代の俳文を大きくみると、風雅の趣(おもむき)を主とする芭蕉の行き方と、飄逸滑稽の趣を主とする也有の行き方の二つの流れがあった。近代においては正岡子規(しき)一派の写生文が俳文の範囲にあり、その門下の高浜虚子(きょし)に『新俳文』（1933）の著がある。

［山下一海］

『麻生磯次他校注『日本古典文学大系92　近世俳句俳文集』（1964・岩波書店）』▽『松尾靖秋・丸山一彦他校注・訳『日本古典文学全集42　近世俳句俳文集』（1972・小学館）』▽『松尾勝郎著『近世俳文評釈』（1983・桜楓社）』

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