(81) 龍の玉深く蔵すといふことを

(ryuhnotama fukakuzohsuto yuukoto-o)

(Age 65, S14. 1939)

(Translation A)
fruitlets of dwarf mongo grass_
containing
deep inside

(Translation B)
dwarf mongo grasses
hold the fruitlets
deep inside

(Note)
In the original haiku, it is expected for you to decide whether ”fruitlets of dwarf mongo grass” is the subject or the object.
Translation A is a literal translation. If you consider that the word ”fruitlets” is the subject and that the object of the word "containing" is omitted, you can supplement the object as you like. For example, you might consider that the object is the beutiful color of the fruitlets, or the beuty of the nature.
In Translation B, the word the ”fruitlets” is taken as the object, and the word ”dwarf mongo grasses” is considered to be the subject.

(82) 吾も亦紅なりとついと出で

(waremomata kohnarito tsuitoide)

(Age 66、S15. 1940)

me too, crimson_
as if so saying,
a burnet abruptly appeared

(Note)
’waremokoh’ is a burnet.
Literally, the word 'waremokoh’ means: ’I also am crimson’. Thus, this haiku is a pun. (See the Japanese version of this haiku.)

(83) 大寒の埃の如く人死ぬる

(daikanno hokorinogotoku hitoshinuru)

(Age 67、S16. 1941)

people die
like dust of
midwinter

(Note)
This haiku is a metaphor. (See the Japanese version of this haiku.)

(84) 山川にひとり髪洗ふ神ぞ知る

(yamagawani hitorikamiarau kamizoshiru)

(Age 67、S16. 1941)

god knows_
in a mountain stream
a woman alone washing her hair

(85) 映画出て火事のポスター見て立てり

(eigadete kajinoposutah mitetateri)

(Age 67、S16. 1941)

walking out of a cinema,
I stopped, seeing
a poster of fire

(86) 天地の間にほろと時雨かな

(ametsuchino aidanihoroto shigurekana)

(Age 68、S17. 1942)

a slight drop
between heaven and earth_
wintry rain

(Note)
This haiku is a monody, which is a tribute to one of Kyoshi's disciple haiku poets, Hanamino Suzuki.

(87) 爛々と昼の星見え菌生え

(ranranto hirunohoshimie kinokohae)

(Age 73、S22. 1947)

the daylight star
looks glaring_
mushrooms grow

(Note)
This haiku was made as a farewell tribute to people in Koromo City. They gave mushrooms (=茸）to Kyoshi Takahama for a farewell present.
He lived in Koromo for about three years after moving there for refuge from air raid during the war.
The word ’daylight star’ means the sun, because the word ’爛爛’ (=glaring) is used for describing it. In the case of this haiku, it is possible to express 'kinoko' by a chinese character of '茸' or '菌'. However, the latter was adopted. When the letter '菌' is read to be 'kin', it means 'germ'.
Thus, it seems that with the cited haiku, Kyoshi Takahama intended to express the whole great nature by referring to the greatest thing ’daylight star (=太陽)’ and the smallest thing 'mushroom (=菌)'.

(88) 蔓もどき情はもつれ易きかな

(tsurumodoki nasakewamotsure yasukikana)

(Age 73、S22. 1947)

compassion
easily tangles_
staff-tree

(89) 春潮にたとひ櫓櫂は重くとも

(shunchohni tatoirokaiwa omokutomo)

(Age 73、S22. 1947)

Even if the oar is heavy
against
the spring tide_

(Note)
This haiku was composed as a tribute to encourage Kyoshi's grand-daughter (Nakako Bohjoh) when she entered a nursing school.
The Kyoshi's haikus translated herein are cited from the writings of Toshiki Bohjoh (the son of Nakako Bohjoh, that is, a great-grandson of Kyoshi Takahama).

(90) 虚子一人銀河と共に西へ行く

(kyoshihitori gingatotomoni nishieyuku)

(Age 75、S24. 1949)

Kyoshi alone
goes toward west
with the galaxy

(91) 去年今年貫く棒の如きもの

(kozokotoshi tsuranuku bohnogotokimono)

(Age 76、S25. 1950)

(Translation A)
kozokotoshi
piercing
a stick-like thing

(Translation B)
my belief in HAIKU
pierces kozokotoshi
like a stick

(Translation C)
time pierces
kozokotoshi
like a stick

(Note)
This haiku was highly appreciated by Yasunari Kawabata (a Nobel winner for Literature). In this haiku, metaphor as well as inversion is applied.
The word “kozokotoshi” is a kigo (= season word) established by Kyoshi Takahama, referring to New Year, on which yesterday is the last year, and today is this year. Thus, the literal meaning of kozokotoshi is “last year-this year”.
Translation A is a word-for-word translation and can be interpreted in various ways. However, “stick-like thing” should be considered as the real subject and a metaphor. In Translations B and C, “my belief” and “time” are added, respectively replacing the word “stick-like thing”. Thus, the kigo “kozokotoshi” should grammatically be taken as the object of “pierce”. Otherwise, this haiku makes nonsense.
In Translation A, if you take “kozokotoshi” as the subject for “pierce”, and “stick-like thing” as the object for “pierce”, then what do you think the “stick-like thing” indicates? Does it make any sense?

(92) 悪なれば色悪よけれ老の春

(akunareba iroakuyokere oinoharu)

(Age 79、S28. 1953)

if any vice,
sensual vice would be better_
spring of old age

(93) 明易や花鳥諷詠南無阿弥陀

(akeyasuya kachohfuuei namuamida)

(Age 80、S29. 1954)

daybreak getting earlier_
composing haiku of nature
namuamida

(Note)
’kachoh-fuuei’ was advocated by Kyoshi Takahama. He taught that the haiku should be composed on appriciation of nature including human affairs.
The term ’namuamida’ （南無阿弥陀）is Buddhist chanting words of sutra, which mean ’I believe in Amitabha'.

(94) 我のみの菊日和とはゆめ思はじ

(warenomino kikubiyoritowa yumeomowaji)

(Age 80、S29. 1954)

chrysanthimum-bright-day_
never
only for me

(Note)
Kyoshi Takahama made this haiku when he received a Cultural Medal (=文化勲章).

(95) 大桜これにかしづき大椿

(Ohzakura korenikasizuki ohtsubaki)

(Age 81、S30. 1955)

a large cherry tree_
beside it
a large camellia

(96) 蠅叩手に持ち我に大志なし

(haitataki tenimochiwareni taishinashi)

(Age 82、S31. 1956)

with a flyswatter
in my hand
I have no great ambitions

(97) 蜘蛛に生れ網をかけねばならぬかな

(kumoniare amiokakeneba naranukana)

(Age 82、S31. 1956)

a spider
born to spin a thread
must weave a web

(98) 独り句の推敲をして遅き日を

(hitori kunosuikoh-o-shite osokihio)

(Age 85、S34. 1959)

alone,
elaborating haikus_
lengthening days of spring

(99) 白梅に住み古りたりといふのみぞ

(shiraumeni sumifuritarito iunomizo)

(Age 85、S34. 1959)

white ume blossoms_
simply I say
I lived to be venerably old

(Note)
The term ’ume’ means a kind of plum. It seems that Kyoshi Takahama composed this haiku in comparison with the following haiku of Buson:
(shiraumeni akuruyobakarito narinikeri)
what remains to me_
the night about to break into dawn
among white plum blossoms

(See the comments in “Chunu no tayori” by clicking here.)

(100) 春の山屍をうめて空しかり

（harunoyama kabaneoumete munashikari）(A)
（harunoyama kabaneoumete kuushikari）(B)

(Age 85、S34. 1959)

(Translation A)
the spring mountain
stands vain
with corpses buried

(Translation B)
the spring mountain
with corpses buried —
all are vanity

(Note)
In Translation A, the letters ”空しかり” are read to be ”munashikari” according to the conventional way. The word means ”empty” or ”vain”. In Translation B, the letters ”空しかり” are read to be ”kuushikari”, which means ”empty” or ”vanity”, as described in Hannyashingyoh (Sutra). The original haiku contains both of such meanings. To fully appreciate this haiku, it is advisable for you to read the Japanese version of this article if you understand the Japanese language.