Sta znaci na Srpskom BASHŌ'S - prevod na Српском

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Примери коришћења Bashō's на Енглеском и њихови преводи на Српски

Bashō's important contribution here is that.
Ovde je važan doprinos Bašoa to što je.

There is another set of concepts(nioi, hibiki, omokage, etc) in Bashō's haikai theory.
Postoji još jedan skup pojmova( nioi, hibiki, omokage itd) u Bašoovoj haikai teoriji.

Bashō's supposed birthplace in Iga Province.
Башово претпостављено место рођења у провинцији Ига.

It is therefore not surprising that such a concept as karumi should have emerged in Bashō's haikai.
Stoga nije čudno da se takav pojam kao što je karumi pojavio u Bašoovom haikai-ju.

Bashō's choice of the word karumi was rather unfortunate.
Bašoov izbor reči karumi bio je prilično nespretan.

According to Kyorai-sho Boncho fidgeted restlessly, apparently not very pleased with Bashō's idea.
Prema Kyorai-sho-u, Bončo se neprestano vrpoljio, očigledno ne baš zadovoljan Bašoovom idejom.

But let us listen to Bashō's own words so we may not make a culpable mistake.
Ali poslušajmo Bašoove vlastite reči da ne bismo pogrešili.

Haiseiden(俳聖殿, Poet's Memorial Hall) in Iga, Mie, which was built to commemorate the 300th anniversary of Bashō's birth.
Хајсејден( 俳聖殿, песникова меморијална сала) у Ига, Мие, која је саграђена у знак обележавања 300. годишњице Башојевог рођења.

But Bashō's haikai represents sabi in such a powerful way that it has almost become synonymous with him.
Ali Bašoov haikai oličava sabi na tako moćan način da je on postao skoro sinonim za njega.

In the fashionable literary circles of Nihonbashi, Bashō's poetry was recognized for its simple and natural style.
У модерним књижевним круговима Нихонбашија, Башова поезија је брзо прихваћена због њене једноставности и природног стила.

Bashō's early works, as seen in Kai-oi had taken plentifully, words and rhythm from kouta, popular songs of his time.
Rana Bašoova dela, kao što se videlo u Kai-oi, poseduju mnogo reči i ritam koji su preuzeti od kouta, popularnih pesama njegovog vremena.

This led to the rise of sated conservatism which in Bashō's view would be the quickest way to the decline of Shomon.
Ovo je dovelo do uspona prezasićenog konzervatizma koji bi, po mišljenju Bašoa, bio najbrži način da dođe do propasti Shomon-a.

Of course, Bashō's world is tinged with serious and melancholic tones, reflecting his personality as well as the temperament inherent in his samurai background.
Naravno, Bašoov svet je prožet ozbiljnim i melanholičnim tonovima, koji odražavaju njegovu ličnost kao i temperament svojstven samurajskom poreklu.

Kyorai records a similar episode in his Rekidai Kokkeiden(Successive Comic Tales), citing Bashō's poem in the anthology Fukagawa(1693).
Kjorai je zabeležio sličnu epizodu u svom Rekidai Kokkeiden-u( Komične priče u nastavcima), citirajući Bašoovu pesmu u antologiji Fukagawa( 1693).

As an example of this, he cites Bashō's hokku which talks about a lonely green cypress tree standing amid the cherry blossoms.
Kao primer on navodi Bašoov hokku koji govori o samotnom zelenom čempresu koji stoji međ cvetovima trešnje.

Bashō was very stringent about this and it may be noted that Natsume Soseki's last ideal of sokuten-kyoshi has a ring curiously resembling Bashō's view.
Bašo je bio veoma strog po tom pitanju a može se primetiti da poslednji ideal sokuten-kyoshi-ja Nacuma Sosekija neobično podseća na Bašoov stav.

Humour plays a very important role in Bashō's haikai generally and this was especially so when the concept karumi was being implemented.
Humor igra veoma važnu ulogu u Bašoovom haikai-ju uopšte a posebno kada je sprovođen pojam karumi-ja.

The question of karumi is not something that can be neatly explained away but has implications far more profound because it is not only a form of Bashō's haikai theory but an integral part of his way of life.
Pitanje karumi-ja nije nešto što se može uspešno objasniti već su njegove implikacije mnogo dublje jer on nije samo oblik Bašoove haikai teorije već sastavni deo njegovog načina života.

The rest of the poetical ideas used in Bashō's haikai will be dealt with only when necessary in relation to the concept karumi.22.
O ostalim poetskim idejama koje su korišćene u Bašoovom haikai-ju će se govoriti samo kada je neophodno u vezi sa pojmom karumi. 22.

There are Bashō's extant haiga(haikai paintings) which testify to a moderate degree of talent in this direction but more significantly, to the importance paintings generally had for Bashō's literary endeavour.
Ima nekih sačuvanih Bašoovih haiga( haikai slika) koje ukazuju na njegov prosečan talenat u ovoj oblasti, ali je ono što je važnije njihov značaj za njegovo književno stvaralaštvo.

Not surprisingly, this seems to have led to various misunderstandings, even in Bashō's time, in that it was taken to mean no more than the usual frivolity of comic poems.
Ne iznenađuje što se čini da je ovo dovelo do raznih nesporazuma, čak i u Bašoovo vreme, da se pod tim pojmom podrazumevalo ne više od uobičajene neozbiljnosti komičnih pesama.

It is that the greatest of all Bashō's achievements is to be found in the creation of a new kind of poetry, born out of the marriage of the already existing two poetic worlds represented by sabi and karumi.
Radi se o tome da je najveće od svih Bašoovih dostignuća stvaranje nove vrste poezije, rođene iz dva već postojeća poetska sveta predstavljena sabi-jem i karumi-jem.

That is to say, that the traditional custom of giving the former the sabi element, a predominant position in Bashō's poetical theory might be amended and that the understanding of his life and work will not be complete unless and until the latter, the karumi element, is given proper status.
Naime, tradicionalan običaj dodeljivanja ovom prvom elementu, sabi-ju, dominantne pozicije u Bašoovoj teoriji poetike, može da se izmeni i da shvatanje njegovog života i dela neće biti potpuno ako se i dok se i drugom elementu, karumi-ju, ne dodeli odgovarajuće mesto.

The third force at work was Bashō's desire to create an entirely new kind of haikai and to increase its literary merits to such an extent that it would be ranked not only as one of the highest forms of Japanese poetry but also as one of the most important branches of Japanese literature itself.
Treća sila na delu je bila Bašoova želja da stvori potpuno novu vrstu haikai-ja i da podigne njegove književne zasluge do te mere da bi on mogao da se svrsta ne samo među najviše oblike japanske poezije već i među najvažnije rodove same japanske književnosti.

By contrast, karumi represents the element characterised by Bashō's contemporary world of the common people whose plain speech and everyday activities provided an immensely rich source for humorous rendering and light-hearted diction of universal relevance.
Za razliku od toga, karumi predstavlja element koji odlikuje Bašoov savremeni svet običnih ljudi čiji su običan jezik i svakodnevne aktivnosti bili izuzetno bogat izvor duhovitog i vedrog načina izražavanja od univerzalnog značaja.

Ebara Taizo, one of the pioneers advocating the importance of karumi in Bashō's theory and practice, goes so far as to say that“the highest and deepest spirit in Bashō's haikai should be found not in sabi nor in shiori or hosomi but in karumi.”37 Yamamoto Kenkichi endorses Ebara's view quoted.
Ebara Taizo, jedan od pionira koji je zastupao značaj karumi-ja u Bašoovoj teoriji i praksi, ide tako daleko da izjavljuje da„ najviši i najdublji duh u Bašoovom haikai-ju treba da se pronađe ne u sabi-ju niti u shiori-ju ili hosomi-ju već u karumi-ju.“ 37 Jamamoto Kenkiči podržava Ebaru.