What is the translation of " BASHŌ " in Serbian?

• bašo
• bashō
• башо
• bašoove

Examples of using Bashō in English and their translations into Serbian

One is that it was not Bashō but James W.
Jedna je da nije Bašo već Džejms V.

Bashō composed this on his way from Kanazawa to Komatsu.
Bašo je ovo napisao na putu iz Kanazave u Komacu.

Despite his success, Bashō grew dissatisfied and lonely.
Упркос његовог успеха, Башо је био незадовољан и усамљен.

Bashō and Sora headed north to Hiraizumi, which they reached on June 29.
Башо и Сора ишли су на север до Хирајдзумија, који су досегли 29. јуна.

Karumi occupies a very important position in the development of what is known as Shofu, or the style of the Bashō School.
Karumi zauzima veoma važno mesto u razvoju onoga što je poznato kao Shofu, ili stil Bašoove škole.

Bashō met many friends and grew to enjoy the changing scenery and the seasons.
Башо је упознао многе пријатеље и почео је да ужива у променљивим пејзажима и годишњим добима.

None of the senses given to the word amashi in Kojien, for example, seem to apply to what Bashō was supposed to be saying.
Ni jedno značenje koje se pripisuje reči amashi u Kojien-u, na primer, izgleda da se ne odnosi na ono što Bašo misli.

But Bashō was not to be restricted to the serious and genteel style adhered to by the conservatives.
Ali Bašo nije bio ograničen na ozbiljan i otmen stil koji su prihvatili konzervativci.

When Nishiyama Sōin, founder and leader of the Danrin school of haikai, came to Edo from Osaka in 1675, Bashō was among the poets invited to compose with him.
Кад је Нишијама Сојн, оснивач и вођа Данринске школе хајкаја, дошао у Едо из Осаке 1675. године, Башо је био међу песницима који су позвани да компонују са њим.

During his lifetime, Bashō was recognized for his works in the collaborative haikai no renga form;
Током свог живота, Башо је био познат по својим радовима на колаборативној хајкај но ренга форми;

His disciples built him a rustic hut and planted a Japanese banana tree(芭蕉, bashō) in the yard, giving Bashō a new haigō and his first permanent home.
Његове дисциплине су му помогле да изгради сеоску колибу и да засади стабла банана( 芭蕉, bashō) у дворишту, чиме је Башо створио нови хајго и свој први перманентни дом.

When young, Bashō was under the direct influence of this type of haikai, from which he subsequently disassociated himself.
Kao mladić Bašo je bio pod direktnim uticajem ove vrste haikai-ja, od koga se kasnije ogradio.

And as we know, this degenerated into excessive jest and facetious word-play until at last Bashō took over the leadership to bring haikai back on the track of traditional waka values.
A kao što znamo, ovo se pretvorilo u preterane dosetke i šaljive igre rečima dok na kraju Bašo nije preuzeo vođstvo da bi vratio haikai na put tradicionalnih vrednosti wake.

Bashō returned to Edo in the summer of 1685, taking time along the way to write more hokku and comment on his own life.
Башо се вратио у Едо у лето 1685, дозвољавајући себи времена на путу да напишете више хоку радова и да коментарише свој сопствени живот.

Nozarashi-Kiko(The Journal of a Weather-beaten Skeleton) is perhaps the most serious of all the journals he wrote and Sarumino(The Monkey's Cloak) is regarded as the apex of the Bashō School.
Nozarashi-Kiko( The Journal of a Weather-beaten Skeleton) je verovatno najozbiljniji od svih dnevnika koje je napisao a Sarumino( The Monkey' s Cloak) se smatra vrhuncem Bašoove škole.

It was only natural that Bashō should have become more and more serious in his rendering of poetry, as well as his teaching.
Bilo je sasvim prirodno da Bašo postane sve ozbiljniji u pisanju poezije, kao i u podučavanju istoj.

In order to see how much clearer the image of karumi has so far become to us, let me try here to say in one of the 20th century Western languages, English, what Bashō tried to teach by karumi.
Da bih video koliko nam je do sada postala jasnija slika karumi-ja, dopustite mi da pokušam da ovde kažem na jednom od zapadnih jezika 20. veka, engleskom, čemu je Bašo pokušavao da nas poduči putem karumi-ja.

I am not suggesting that Bashō worked every minute of the day with this task clearly in mind but the result of his passion is something we know only too well.
Ne kažem da je Bašo po ceo dan mislio samo na ovo, ali su nam rezultati njegove strasti veoma dobro poznati.

He appreciated the plant very much, but was not happy to see Fukagawa's native miscanthus grass growing alongside it: ばしょう植ゑてまづ憎む荻の二葉哉 bashō uete/ mazu nikumu ogi no/ futaba kana by my new banana plant/ the first sign of something I loathe-/ a miscanthus bud!
Он је веома је ценио своју плантажу банана, и није му било по вољи да види мискантус траву Фукагавских мештана поред ње: ばしょう植ゑてまづ憎む荻の二葉哉 bashō uete/ mazu nikumu ogi no/ futaba kana поред моје нове плантаже банана/ први знак нечега што ја мрхим/ мискантусни пупољци!

Bashō traveled alone, off the beaten path, that is, on the Edo Five Routes, which in medieval Japan were regarded as immensely dangerous;
Башо је путовао сам, дуж утабаних стаза, другим речима, на Едошким рутама пет, које су у средњовековном Јапану сматране изузетно опасним;

Although we must refrain from speculating, as some do, that it was the point of departure for Bashō's quest for karumi, it is significant that Bashō who was meticulous about terminology should have actually used the word.
Mada se moramo uzdržati od nagađanja, čemu su neki skloni, da je to bilo polazište Bašoove potrage za karumi-jem, važno je da je Bašo, koji je bio pedantan u korišćenju terminologije, zapravo upotrebio tu reč.

Although Bashō is justifiably famous in the West for his hokku, he himself believed his best work lay in leading and participating in renku.
Мада је Башо оправдано славан на Западу због свог хокуа, по његовом мишљењу његов најбољи рад је био у предвођењу и учествовању у ренкуа.

Immediately after this sentence, Toho also records the fact that, jokingly, Bashō had often compared his haikai to tawara, a straw rice-bag, saying he had not yet even opened it, which is to say that there was a long way to go before he could come to any attainment in his haikai.↩.
Odmah posle ove rečenice Toho takođe beleži činjenicu da je, u šali, Bašo često poredio svoje haikai-je sa tawara-om, slamnatim džakom za pirinač, rekavši da ga još nije ni otvorio, što će reći da je dug put do postizanja cilja sa njegovim haikai-jima.

Bashō had studied painting in the style of the Kano School before he met Kyoriku, a talented artist as well as a poet, who now gave lessons to Bashō..
Bašo je izučavao slikarstvo stila škole Kano pre nego što je sreo Kjorikua, talentovanog slikara i pesnika, koji je Bašou davao časove.

From these it is quite clear that in his last days, Bashō was proceeding in earnest with forming a new poetical ideal which he called karumi, or“lightness” and that he was not at all complacent about the progress he was making.
Iz njih je sasvim jasno da je u svojim poslednjim danima Bašo ozbiljno nastavio sa uobličavanjem novog poetskog ideala koji je nazvao karumi ili„ lakoća“ i da nije bio nimalo zadovoljan napretkom.

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.

The second assumption is that the urgency and enthusiasm with which Bashō was trying to develop karumi in his last years can be explained partly by the fact that some of his important disciples were falling away or even challenging the introduction of his new style and that he therefore had to try even harder to establish it.
Druga pretpostavka je da se urgentnost i entuzijazam sa kojima je Bašo pokušavao da razvije karumi u svojim poslednjim godinama delimično mogu objasniti činjenicom da su neki od njegovih važnih učenika napuštali ili čak osporavali uvođenje njegovog novog stila i da je stoga morao još više da se potrudi da ga zasnuje.

Bashō was introduced to poetry at a young age, and after integrating himself into the intellectual scene of Edo he quickly became well-known throughout Japan.
Башо се почео бавити пезијом у младости, и након што се интегрисао у интелектуалну сцену Еда( модерног Токија) он је брзо постао добро широм Јапана.

However, it has to be said that Bashō is a poet with whose unparalleled significance it is easier to agree than it is to understand those values which make him so significant.
Međutim, mora se reći da je Bašo pesnik sa čijim se neuporedivim značajem možemo lakše složiti nego razumeti te vrednosti koje ga čine tako značajnim.

When Bashō returned to Edo he happily resumed his job as a teacher of poetry at his Bashō Hut, although privately he was already making plans for another journey.
Кад се Башо вратио у Едо он је драговољно наставио са својим послом као учитељ поезије у својој bashō колиби, мада је приватно већ правио планове за још једно путовање.