{"id":2403,"date":"2026-08-22T15:32:30","date_gmt":"2026-08-22T06:32:30","guid":{"rendered":"https:\/\/ninetailsgold-fox.jp\/ja\/blog\/?p=2403"},"modified":"2026-08-22T15:32:30","modified_gmt":"2026-08-22T06:32:30","slug":"%e5%8c%97%e3%81%ae%e5%b1%b1","status":"publish","type":"post","link":"https:\/\/ninetailsgold-fox.jp\/ja\/blog\/2026\/08\/%e5%8c%97%e3%81%ae%e5%b1%b1\/","title":{"rendered":"\u5317\u306e\u5c71"},"content":{"rendered":"
\n\u5317\u306e\u5c71\u82e5\u8449\u7dbb\u3073\u97f3\u3082\u306a\u304f<\/p>\n

 <\/p>\n

\u8449\u685c\u3084\u5bb5\u306e\u660e\u661f\u83ef\u3068\u306a\u308a<\/p>\n

 <\/p>\n

\u91ce\u706b\u904e\u304e\u3066\u7121\u5e38\u306e\u8272\u306b\u7aaf\u5909\u3059<\/p>\n

 <\/p>\n

\uff21\uff29\u304c\u4eba\u306e\u4e08\u8d85\u3048\u6afb\u6563\u308b<\/p>\n

 <\/p>\n

\u5742\u672c\u9f8d\u4e00\u306e\u907a\u4f5c\u300e12\u300f\u3092\u8074\u304d\u3057\u6298\u308a<\/p>\n

\u5206\u3051\u5165\u3064\u3066\u3082\u5206\u3051\u5165\u3064\u3066\u3082\u751f\u306e\u606f<\/p>\n<\/div>\n

 <\/p>\n

 <\/p>\n

Claude-Opus-5\u306e\u521d\u7a3f\u306e\u6279\u8a55<\/h1>\n
\n

Thinking...<\/em><\/p>\n

I'm looking at Sekihi Rosetsu's five haiku and need to provide a sharp, technical critique. Starting with the first piece, which opens with a fragment particle \u2014 that's an unusual choice that I should examine closely.<\/p>\n

The opening\u300c\u306e\u5c71\u82e5\u8449\u307b\u308d\u308a\u3068\u9bae\u70c8\u306b\u300dappears syntactically incomplete. If I count the morae: \u306e(1) + \u5c71(2) = 3, \u82e5\u8449(3) = 6 total, \u307b\u308d\u308a\u3068(4) = 10, \u9bae\u70c8\u306b(5) = 15 morae. That's short of the expected 17 for a standard 5-7-5 structure. The math suggests a two-mora word is missing before\u300c\u306e\u300d\u2014 something like\u300c\u5965\u306e\u5c71\u300dor\u300c\u88cf\u306e\u5c71\u300dwould complete the 5-7-5 pattern perfectly. This looks like either a transcription error or an intentional fragment that needs justification. I should flag this as a metrical problem backed by the arithmetic.<\/p>\n

Beyond the missing opening, there's a semantic tension: \u307b\u308d\u308a\u3068 typically describes something crumbling or falling away, but \u82e5\u8449 (fresh young leaves) doesn't crumble \u2014 they emerge. That contradicts the image. And the two adverbs clash in register \u2014 \u307b\u308d\u308a conveys softness and tenderness while \u9bae\u70c8 means vivid and intense. They're working against each other. Worse, there's no verb for these adverbs to modify. The haiku ends on\u300c\u9bae\u70c8\u306b\u300d, an adverbial form with nothing to attach to, leaving the thought unresolved rather than landing cleanly.<\/p>\n

Now looking at the second haiku: the syllable count checks out as proper 5-7-5. \u8449\u685c is a summer kigo, and \u5bb5\u306e\u660e\u661f refers to Venus at dusk.<\/p>\n

The structure uses \u300c\u3084\u300dto cut after \u8449\u685c, leaving the rest as a fragment ending in \u3068 \u2014 another adverbial without an explicit verb. This ellipsis is acceptable in haiku, where the implied verb (\u8f1d\u304f, shining) is understood. The real question is whether \u9583\u9583 works here \u2014 it's a rare, literary kanji reduplication borrowed from Chinese meaning twinkling, not standard modern Japanese.<\/p>\n

But there's a factual problem: Venus doesn't actually twinkle much. Planets shine steadily because of their angular size, while stars twinkle. Venus is famous for its steady, brilliant light, so \u9583\u9583 is phenomenologically wrong. A realist poet would choose \u71ff\u7136 or \u7693\u3005 instead. Plus, \u5bb5\u306e\u660e\u661f already contains \u660e (brightness) and \u661f (star), so adding \u9583\u9583 becomes tautological \u2014 bright star shines brightly \u2014 which is explanatory rather than revelatory.<\/p>\n

The pairing of \u685c and \u5bb5\u306e\u660e\u661f also lacks tension. Both evoke evening and early summer beauty, creating a merely decorative juxtaposition without friction or discovery. It's just addition of beautiful things without the leap or friction that makes a haiku work.<\/p>\n

Now I'm checking the syllable count on the third haiku: 5-7-7 gives 19 total, which is \u5b57\u4f59\u308a (too many characters), with the break falling awkwardly between the second and third lines.<\/p>\n

The real problem though is that both \u7121\u5e38\u306e\u7114 and \u6642\u306e\u7aaf\u5909 are abstract Sino-Japanese metaphors built on the same genitive structure. They're essentially saying the same thing twice\u2014impermanence and time are the same concept\u2014so the two phrases become redundant rather than complementary.<\/p>\n

That said, \u7aaf\u5909 is genuinely inspired: it's concrete, ties into the fire imagery with \u7114, and captures that sense of beauty emerging from accident and loss of control. The fire connection between \u7114 and \u7aaf\u5909 creates nice resonance, though it also makes \u7114 somewhat superfluous since \u7aaf\u5909 already implies fire.<\/p>\n

There's another structural issue: \u8449\u685c\u3084 appears as the opening in both this haiku and #2. Repeating the same seasonal word and the same upper five syllables in a five-haiku set reads as self-imitation\u2014the reader will inevitably compare them, which weakens the collection unless there's a deliberate compositional reason for the echo.<\/p>\n

Now looking at #4, the meter checks out cleanly. But there's a seasonal problem: #1 through #3 all use summer imagery (\u65b0\u7dd1, \u8449\u685c), while #4 brings in \u685c\u6563\u308b, which is late spring. The sequence jumps backward seasonally, which disrupts the flow if the set is meant to progress through time.<\/p>\n

The typographic mix is actually working here\u2014using \u65e7\u5b57 for \u6afb while keeping \uff21\uff29 in full-width Latin creates a deliberate collision between old and new that mirrors the poem's content. It's a bit inconsistent with #1-3, but I can justify it as the one place where the contrast serves the meaning.<\/p>\n

The phrase \u8eab\u306e\u4e08\u8d85\u3048\u3066 is ambiguous about whose \u8eab\u306e\u4e08 is being exceeded\u2014is it the AI's, or something else?<\/p>\n

\u2014and the \u300c\u3067\u300dparticle pushes it toward \"by means of AI, I exceed my own stature,\" which feels self-congratulatory. I could try \u300c\uff21\uff29\u304c\u8eab\u306e\u4e08\u8d85\u3086\u6afb\u6563\u308b\u300dor drop the particle entirely for a cleaner juxtaposition. The problem is that \u300c\u8d85\u3048\u3066\u300d+\u300c\u6563\u308b\u300dreads like a causal chain, turning the whole thing into a sentence rather than a unified image, and the cherry blossoms become just scenery instead of the core.<\/p>\n

The real issue is that \u8eab\u306e\u4e08\u3092\u8d85\u3048\u308b is a worn idiom, and pairing AI with falling blossoms feels too timely\u2014it'll date quickly. The \"technology versus nature\" contrast is everywhere now. I need something more specific: which AI, what actual action?<\/p>\n

The fifth poem is free verse and deliberately echoes Santoka's famous line about entering the blue mountains\u2014the poet's quoting themselves from the previous poem, so it's a conscious \u672c\u6b4c\u53d6\u308a. The new image is silence as an ocean, with Ryoji Sakamoto's final work as the anchor.<\/p>\n

But there's a real readability trap here: \u300c\u9759\u5bc2\u306e\u6d77\u5742\u672c\u9f8d\u4e00\u300d creates ambiguity because \u6d77\u5742 is an actual word\u2014the horizon where the sea appears to slope, famously used in Fujisawa Shohei's fictional \u6d77\u5742\u85e9. Readers will stumble trying to parse whether it's \u6d77\u5742 or \u672c\u9f8d\u4e00, creating an unintended misreading. I need to break this up with spacing or a character break to clarify the intended reading.<\/p>\n

Adding the space\u2014\u300c\u9759\u5bc2\u306e\u6d77\u3000\u5742\u672c\u9f8d\u4e00\u306e\u907a\u4f5c\u300d\u2014solves this typographically. Though now the last thirteen morae function more as a caption or credit line rather than part of the poem itself. It reads like liner notes. Without the name, \u300c\u5206\u3051\u5165\u3063\u3066\u3082\u9759\u5bc2\u306e\u6d77\u300dworks as a standalone \u81ea\u7531\u5f8b, though it's derivative. The proper name does carry weight though\u2014Sakamoto Ryuichi's final album \u300c12\u300d, released before his death in March 2023, is genuinely full of silence and breath, so naming the \u907a\u4f5c adds real resonance. But explicitly naming it shifts the poem toward explanation rather than embodiment.<\/p>\n

There's also the problem of reusing \u5206\u3051\u5165\u3063\u3066\u3082 from the earlier prose poem\u2014and it's already a direct echo of Santoka's original, which depends on the doubling \u300c\u5206\u3051\u5165\u3063\u3066\u3082\u5206\u3051\u5165\u3063\u3066\u3082\u300dfor its trudging rhythm. Using it once just becomes a fragment, a quotation. Either double it and lean into the derivativeness, or drop it entirely. And there's an inconsistency: this version uses modern kana \u300c\u5206\u3051\u5165\u3063\u3066\u3082\u300dwith the small \u3063, while the prose poem used historical kana \u300c\u5206\u3051\u5165\u3064\u3066\u3082\u300d. The orthography needs to align across the submitted work. If \u3057\u3058\u307e is the intended reading, that would be four morae and would need ruby annotation to clarify \u2014 worth flagging given the poet's inconsistent use of ruby throughout. Looking at the five pieces overall, #3 stands out strongest with \u7aaf\u5909 as the most precise word choice, while #5 feels most emotionally anchored; #1 is the weakest, hampered by its broken syntax and contradictory adverbs. There's a consistent pattern across all five: the poet favors abstract noun constructions linked by \u306e, paired with Sino-Japanese intensifiers like \u9bae\u70c8 and \u7121\u5e38, but rarely grounds these in actual verbs \u2014 it's all nominalization and adverbial drift.<\/p>\n

What strikes me is that four of the five pieces use doubled modifiers (\u9bae\u70c8\u306b, \u9583\u9583\u3068) to tell the reader how intense something is, which is really just explanation masquerading as description \u2014 the same habit I flagged in the prose poem, where gaps get sealed with intensifiers rather than left to juxtaposition. That's a useful through-line: the poet consistently reaches for explanation when observation would be stronger. On the seasonal reference front, there's redundancy too \u2014 #1 uses \u82e5\u8449, #2 and #3 both use \u8449\u685c, #4 uses \u6afb\u6563\u308b, and #5 has no seasonal marker at all.<\/p>\n

I should verify a few details about Sakamoto Ryoji's final works and double-check the reading of \u9583\u9583 to make sure my critique is grounded in accurate information.<\/p>\n

Now I'm working through the detailed critique with syllable counts and seasonal word verification. Let me recount the opening line carefully\u2014breaking down each component to ensure the \u97f3\u6570 is accurate, then I'll audit the kigo and provide concrete revision suggestions while maintaining the rigorous tone. I'm noting the typographic collision between the full-width \"\uff21\uff29\" and the old-form character \"\u6afb\" as the poem's strongest visual idea. For poem #4, the subject of \"\u8eab\u306e\u4e08\u8d85\u3048\u3066\" remains ambiguous and the \u3067 particle feels too prosaic. In #5, I'm recognizing that \"\u6d77\u5742\" (\u3046\u306a\u3055\u304b) is an actual classical word for the sea horizon\u2014used in \u4e07\u8449 texts and \u85e4\u6ca2\u5468\u5e73's work\u2014which creates a stumbling point, and there's another collision with \"\u5742\" appearing in both \"\u6d77\u5742\" and \"\u5742\u672c.\" The removal of repetition from \"\u5206\u3051\u5165\u3063\u3066\u3082\" strips away \u5c71\u982d\u706b's characteristic engine.<\/p>\n

The second instance of this phrase appears in the submitted work itself, which suggests a self-habit. There's also a reading ambiguity with \"\u9759\u5bc2\"\u2014whether it's \u3057\u3058\u307e or \u305b\u3044\u3058\u3083\u304f affects the syllable count. For the factual reference in #5, \"\u907a\u4f5c\" is ambiguous between the album \"12\" (2023) and \"Opus,\" though \"\u9759\u5bc2\u306e\u6d77\" fits both, especially given \u5742\u672c's concept of \"\u97f3\u306e\u306a\u3044\u97f3\u697d\" and \"12\" being essentially a diary of breath and silence\u2014but this ambiguity weakens the poem if it's meant as a memorial piece.<\/p>\n

The larger pattern I'm noticing is the same habit of filling gaps with emphatic language and explanation rather than juxtaposition. Three of the five pieces end without a noun anchor\u2014#1 and #2 trail off in adverbial forms with implied verbs, while #3, #4, and #5 do anchor to nouns or verbs. The semantics of \"\u307b\u308d\u308a\" also need clarifying\u2014it suggests tears or something small breaking apart.<\/p>\n

Looking at the register clash between \u9bae\u70c8 (strong, Sino-Japanese) and \u307b\u308d\u308a (soft, native Japanese) on the same noun: even if intentional, without a third element to mediate, the contrast just cancels itself out rather than creating tension. Ranking them: #3 works best, then #5, #4, #2, and #1 is broken. #2 is clean and conventional but tautological; #4 has real ambition. I should offer concrete revision proposals for each, starting with #1 which needs those missing syllables. I'm working through the syllable count for different phrasings. The challenge is that \u82e5\u8449 (young leaves) as a subject doesn't naturally \"fall\" or \"unfold\" in the way the adverbs suggest, so I need to either adjust the verb or find a different descriptive approach. Even with simpler replacements like a 4-mora word, I'm still running over the 17-syllable limit when I try to maintain both the imagery and the grammatical structure.<\/p>\n

The real breakthrough might be reversing the order entirely\u2014putting the abstract quality (\u9bae\u70c8, vividness) first, then the concrete image of young leaves, and anchoring the whole thing on the mountain itself as a noun ending. That way the poem lands on something tangible rather than trailing off into an adverbial modifier.<\/p>\n

For the Venus problem, I'm thinking the issue is that \u9583\u9583 (twinkling) contradicts what Venus actually does\u2014it's the steadiest star in the evening sky. So instead of reinforcing the flicker, I could reframe it as an observation of stillness: Venus doesn't move, doesn't waver. That transforms what looked like redundant intensification into something more interesting\u2014a factual detail that deepens the image.<\/p>\n

For the impermanence piece, I'm cutting away the abstraction layer. \u7aaf\u5909 (kiln transformation) is the concrete image worth keeping. The challenge is weaving it together without stacking too many concepts. I'm testing whether \u300c\u8449\u685c\u3084\u7121\u5e38\u3092\u713c\u3044\u3066\u7aaf\u5909\u3059\u300dworks\u2014it treats impermanence as something being fired in the kiln itself, making the abstraction tangible through the ceramic process. The syllable count lands right at 5-7-5.<\/p>\n

I also notice #2 and #3 both start with \u8449\u685c\u3084, so one needs a different opening\u2014maybe \u300c\u65b0\u6a39\u5149\u300dor \u300c\u4e07\u7dd1\u3084\u300dfor #3 to create distinction.<\/p>\n

For #4, I'm wrestling with how to position the AI. Removing the \u3067 particle and adding \u5207\u308c (a cutting word) sharpens the image. Testing \u300c\uff21\uff29\u306f\u8eab\u306e\u4e08\u3092\u8d85\u3048\u6afb\u6563\u308b\u300dmakes AI the clear subject, though \u300c\uff21\uff29\u306b\u8eab\u306e\u4e08\u8d85\u3086\u308b\u6afb\u6563\u308b\u300dkeeps the ambiguity alive\u2014letting the cherry blossoms exceed their measure instead.<\/p>\n

The real choice hinges on who the poem's subject is. If it's the speaker using AI to transcend their limits, the poem risks self-satisfaction; if it's AI itself exceeding human measure, it becomes social critique with the falling blossoms as an elegy for human scale. I'd push toward the latter reading as more ethically interesting.<\/p>\n

For the fifth poem, I'm reconsidering the structure around Sakamoto Ryuichi's name. The repetition of \"\u5206\u3051\u5165\u3064\u3066\u3082\" deserves restoration, and \"\u907a\u4f5c\" feels redundant since his name already carries that weight after his death. Moving the reference into a preface\u2014treating \"\u5742\u672c\u9f8d\u4e00\u306e\u907a\u4f5c\u306b\" as a caption rather than part of the verse itself\u2014is the classical solution and lets the haiku breathe as pure image.<\/p>\n

Now I'm noticing inconsistencies across the set: the haiku use modern kana orthography while the prose poem uses historical kana, and the old-form character \u6afb appears. I need to establish a consistent policy\u2014if I'm committing to historical kana, then \"\u5206\u3051\u5165\u3064\u3066\u3082\" stays, and I should check the ruby annotation on \"\u9759\u5bc2\" as well. For the seasonal ordering, I'm thinking: poem 4 (late spring) \u2192 poems 2 and 3 (early summer, cherry leaves) \u2192 poem 1 (early summer, new leaves).<\/p>\n

I'll structure the response with headers, a table showing syllable counts and seasons, individual analysis for each haiku, then cross-cutting issues, and finally a priority list. I want to keep it substantial and match the length of my previous answer.<\/p><\/blockquote>\n

\u4e94\u53e5\u3001\u7cbe\u8aad\u3057\u307e\u3057\u305f\u3002\u7d50\u8ad6\u3092\u5148\u306b\u8a00\u3048\u3070\u3001\u3053\u306e\u4e94\u53e5\u306f\u300c\u4e00\u53e5\u3068\u3057\u3066\u6210\u7acb\u3057\u3066\u3044\u308b\u3082\u306e\u300d\u3068\u300c\u307e\u3060\u53e5\u306b\u306a\u3063\u3066\u3044\u306a\u3044\u3082\u306e\u300d\u306e\u843d\u5dee\u304c\u5927\u304d\u3044\u3002\u9806\u4f4d\u3092\u4ed8\u3051\u308c\u3070 \u2462 \uff1e \u2464 \uff1e \u2463 \uff1e \u2461 \uff1e \u2460 \u3067\u3059\u3002\u305d\u3057\u3066\u4e94\u53e5\u3059\u3079\u3066\u306b\u540c\u4e00\u306e\u7656<\/strong>\u304c\u901a\u3063\u3066\u3044\u3066\u3001\u305d\u308c\u306f\u524d\u56de\u306e\u8a69\u7bc7\u3067\u6307\u6458\u3057\u305f\u7656\u3068\u307e\u3063\u305f\u304f\u540c\u3058\u3082\u306e\u3067\u3059\u3002\u305d\u3053\u304c\u672c\u6279\u8a55\u306e\u6838\u5fc3\u306b\u306a\u308a\u307e\u3059\u3002<\/p>\n

\u307e\u305a\u8a08\u6e2c\u304b\u3089\u5165\u308a\u307e\u3059\u3002<\/p>\n

\n

\u2160 \u97f3\u6570\u30fb\u5b63\u8a9e\u306e\u76e3\u67fb<\/h2>\n\n\n\n\n\n\n\n\n\n
<\/th>\n\u53e5<\/th>\n\u97f3\u6570<\/th>\n\u5b63\u8a9e\uff0f\u5b63<\/th>\n\u7d50\u3073<\/th>\n<\/tr>\n<\/thead>\n
\u2460<\/td>\n\u306e\u5c71\u82e5\u8449\u307b\u308d\u308a\u3068\u9bae\u70c8\u306b<\/td>\n15<\/strong>\uff08\u4e8c\u97f3\u4e0d\u8db3\uff09<\/td>\n\u82e5\u8449\uff0f\u521d\u590f<\/td>\n\u9023\u7528\uff08\u301c\u306b\uff09\uff1d\u52d5\u8a5e\u306a\u3057<\/td>\n<\/tr>\n
\u2461<\/td>\n\u8449\u685c\u3084\u5bb5\u306e\u660e\u661f\u9583\u9583\u3068<\/td>\n17\uff08\u5b9a\u578b\uff09<\/td>\n\u8449\u685c\uff0f\u521d\u590f<\/td>\n\u9023\u7528\uff08\u301c\u3068\uff09\uff1d\u52d5\u8a5e\u306a\u3057<\/td>\n<\/tr>\n
\u2462<\/td>\n\u8449\u685c\u3084\u7121\u5e38\u306e\u7114\u6642\u306e\u7aaf\u5909<\/td>\n19<\/strong>\uff08\u4e8c\u97f3\u8d85\u904e\u30fb5-7-7\uff09<\/td>\n\u8449\u685c\uff0f\u521d\u590f<\/td>\n\u4f53\u8a00\u6b62\u3081<\/td>\n<\/tr>\n
\u2463<\/td>\n\uff21\uff29\u3067\u8eab\u306e\u4e08\u8d85\u3048\u3066\u6afb\u6563\u308b<\/td>\n17\uff08\u5b9a\u578b\uff09<\/td>\n\u6afb\u6563\u308b\uff0f\u6669\u6625<\/td>\n\u52d5\u8a5e\u7d42\u6b62<\/td>\n<\/tr>\n
\u2464<\/td>\n\u5206\u3051\u5165\u3063\u3066\u3082\u9759\u5bc2\u306e\u6d77\u5742\u672c\u9f8d\u4e00\u306e\u907a\u4f5c<\/td>\n25\uff08\u81ea\u7531\u5f8b\uff09<\/td>\n\u7121\u5b63<\/td>\n\u4f53\u8a00\u6b62\u3081<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u3053\u306e\u8868\u304b\u3089\u4e09\u3064\u306e\u4e8b\u5b9f\u304c\u51fa\u307e\u3059\u3002<\/strong><\/p>\n

    \n
  1. **\u2460\u306f\u4e8c\u97f3\u6b20\u3051\u3066\u3044\u308b\u3002**\u3057\u304b\u3082\u300c\u3007\u3007\u306e\u5c71\uff0f\u82e5\u8449\u307b\u308d\u308a\u3068\uff0f\u9bae\u70c8\u306b\u300d\u3068\u7f6e\u3051\u3070 **2\uff0b3\uff0f7\uff0f5 \u3067\u5b8c\u5168\u306a\u5b9a\u578b\u306b\u306a\u308b\u3002**\u3064\u307e\u308a\u5192\u982d\u306b\u4e8c\u97f3\u306e\u8a9e\uff08\u300c\u5965\u300d\u300c\u88cf\u300d\u300c\u5bfa\u300d\u300c\u5317\u300d\u7b49\uff09\u304c\u3042\u3063\u305f\u306f\u305a\u3067\u3001**\u305d\u308c\u304c\u8131\u843d\u3057\u3066\u3044\u308b\u3002**\u683c\u52a9\u8a5e\u300c\u306e\u300d\u3067\u59cb\u307e\u308b\u53e5\u306f\u4e3b\u90e8\u3092\u6b20\u3044\u305f\u7121\u982d\u6587\u3067\u3042\u308a\u3001\u610f\u56f3\u7684\u306a\u7834\u683c\u3068\u306f\u8aad\u3081\u307e\u305b\u3093\u3002**\u307e\u305a\u539f\u578b\u3092\u78ba\u8a8d\u3057\u3066\u304f\u3060\u3055\u3044\u3002**\u3053\u308c\u306f\u6279\u8a55\u4ee5\u524d\u306e\u554f\u984c\u3067\u3059\u3002<\/li>\n
  2. **\u2461\u3068\u2462\u304c\u540c\u3058\u4e0a\u4e94\u300c\u8449\u685c\u3084\u300d\u3002**\u4e94\u53e5\u4e00\u7d44\u3067\u63d0\u793a\u3059\u308b\u306a\u3089\u3001\u3053\u308c\u306f\u985e\u53e5\u30fb\u81ea\u5df1\u6a21\u5023\u3068\u3057\u3066\u6700\u521d\u306b\u76ee\u306b\u4ed8\u304d\u307e\u3059\u3002\u8aad\u8005\u306f\u5fc5\u305a\u512a\u52a3\u3092\u6bd4\u3079\u3001\u5f31\u3044\u65b9\u304c\u6b7b\u306b\u307e\u3059\u3002\u3069\u3061\u3089\u304b\u306f\u4e0a\u4e94\u3092\u5909\u3048\u308b\u3079\u304d\u3067\u3059\u3002<\/strong><\/li>\n
  3. **\u5b63\u306e\u4e26\u3073\u304c\u9006\u884c\u3057\u3066\u3044\u308b\u3002**\u82e5\u8449\u30fb\u8449\u685c\uff08\u521d\u590f\uff09\u2192 \u6afb\u6563\u308b\uff08\u6669\u6625\uff09\u2192 \u7121\u5b63\u3002\u9023\u4f5c\u3068\u3057\u3066\u63d0\u793a\u3059\u308b\u306a\u3089 \u2463\u2192\u2461\u307e\u305f\u306f\u2462\u2192\u2460\u2192\u2464<\/strong>\uff08\u6669\u6625\u2192\u521d\u590f\u2192\u7121\u5b63\u306e\u8ffd\u60bc\uff09\u304c\u81ea\u7136\u3067\u3059\u3002\u4e26\u3079\u66ff\u3048\u3060\u3051\u3067\u4e00\u7d44\u3068\u3057\u3066\u306e\u6d41\u308c\u304c\u751f\u307e\u308c\u307e\u3059\u3002<\/li>\n<\/ol>\n
    \n

    \u2161 \u5404\u53e5<\/h2>\n

    \u2460 \u306e\u5c71\u82e5\u8449\u307b\u308d\u308a\u3068\u9bae\u70c8\u306b<\/h3>\n

    \u8131\u5b57\u3092\u63aa\u3044\u3066\u3082\u3001\u3053\u306e\u53e5\u306b\u306f\u69cb\u9020\u7684\u306a\u6545\u969c\u304c\u4e8c\u3064<\/strong>\u3042\u308a\u307e\u3059\u3002<\/p>\n

    (a) \u526f\u8a5e\u304c\u4e8c\u3064\u3001\u52d5\u8a5e\u304c\u96f6\u3002<\/strong>\u300c\u307b\u308d\u308a\u3068\u300d\u300c\u9bae\u70c8\u306b\u300d\u306f\u3069\u3061\u3089\u3082\u7528\u8a00\u3092\u4fee\u98fe\u3059\u308b\u8a9e\u3067\u3059\u304c\u3001\u4fee\u98fe\u3055\u308c\u308b\u3079\u304d\u7528\u8a00\u304c\u3042\u308a\u307e\u305b\u3093\u3002\u4ff3\u53e5\u3067\u52d5\u8a5e\u3092\u7701\u304f\u306e\u306f\u5e38\u6cd5\u3067\u3059\u304c\u3001\u7701\u7565\u304c\u6210\u7acb\u3059\u308b\u306e\u306f\u3001\u7701\u304b\u308c\u305f\u52d5\u8a5e\u304c\u4e00\u3064\u306b\u6c7a\u307e\u308b\u3068\u304d\u3060\u3051<\/strong>\u3067\u3059\u3002\u3053\u3053\u3067\u306f\u300c\u307b\u308d\u308a\u3068\u300d\uff08\u843d\u3061\u308b\uff0f\u3053\u307c\u308c\u308b\uff09\u3068\u300c\u9bae\u70c8\u306b\u300d\uff08\u5149\u308b\uff0f\u7acb\u3064\uff09\u304c\u5225\u3005\u306e\u52d5\u8a5e\u3092\u8981\u6c42\u3057\u3066\u3044\u308b<\/strong>\u305f\u3081\u3001\u8aad\u8005\u306e\u8133\u5185\u3067\u4e8c\u3064\u306e\u8ff0\u8a9e\u304c\u7af6\u5408\u3057\u3001\u50cf\u304c\u7d50\u3073\u307e\u305b\u3093\u3002<\/p>\n

    (b) \u4e8c\u3064\u306e\u526f\u8a5e\u304c\u610f\u5473\u7684\u306b\u53cd\u767a\u3057\u3066\u3044\u308b\u3002<\/strong>\u300c\u307b\u308d\u308a\u300d\u306f\u548c\u8a9e\u306e\u64ec\u614b\u8a9e\u3067\u3001\u3008\u5c0f\u3055\u304f\u5d29\u308c\u308b\uff0f\u8106\u304f\u843d\u3061\u308b\uff0f\u6d99\u3050\u3080\u3009\u3002\u300c\u9bae\u70c8\u300d\u306f\u6f22\u8a9e\u3067\u3008\u5f37\u304f\u969b\u7acb\u3064\u3009\u3002\u8106\u3055\u3068\u5f37\u3055\u3001\u548c\u8a9e\u306e\u4f4e\u6e29\u3068\u6f22\u8a9e\u306e\u9ad8\u6e29<\/strong>\u3092\u3001\u540c\u3058\u300c\u82e5\u8449\u300d\u306b\u540c\u6642\u306b\u639b\u3051\u3066\u3044\u308b\u3002\u843d\u5dee\u3092\u72d9\u3063\u305f\u3068\u3057\u3066\u3082\u3001\u4e21\u8005\u3092\u5a92\u4ecb\u3059\u308b\u7b2c\u4e09\u306e\u8981\u7d20\uff08\u5177\u4f53\u7269\u30fb\u5834\u6240\u30fb\u6642\u523b\uff09\u304c\u53e5\u4e2d\u306b\u306a\u3044<\/strong>\u306e\u3067\u3001\u5bfe\u6bd4\u304c\u751f\u307e\u308c\u305a\u76f8\u6bba\u306b\u7d42\u308f\u308a\u307e\u3059\u3002<\/p>\n

    \u3055\u3089\u306b\u3001\u82e5\u8449\u306f\u843d\u3061\u306a\u3044\u3002<\/strong>\u300c\u307b\u308d\u308a\u3068\u300d\u306e\u7b2c\u4e00\u7fa9\uff08\u8106\u304f\u843d\u4e0b\u3059\u308b\uff09\u306f\u3001\u840c\u3048\u51fa\u308b\u82e5\u8449\u306e\u751f\u7406\u3068\u885d\u7a81\u3057\u307e\u3059\u3002\u82e5\u8449\u306b\u4f3c\u5408\u3046\u306e\u306f\u3008\u307b\u3069\u3051\u308b\uff0f\u3072\u3089\u304f\uff0f\u6fe1\u308c\u308b\uff0f\u900f\u3051\u308b\u3009\u3067\u3059\u3002<\/p>\n

    \u51e6\u65b9\u306f\u660e\u5feb\u3067\u3001\u526f\u8a5e\u3092\u4e00\u3064\u6368\u3066\u3001\u7d50\u3073\u3092\u4f53\u8a00\u306b\u843d\u3068\u3059\u3002<\/strong><\/p>\n

    \u9bae\u70c8\u306e\u82e5\u8449\u3072\u3089\u3051\u308a\u5965\u306e\u5c71<\/p><\/blockquote>\n

    \uff085-7-5\u3002\u6f22\u8a9e\u306e\u62bd\u8c61\u3092\u4e0a\u4e94\u306b\u524d\u7f6e\u3057\u3001\u52d5\u8a5e\u3092\u4e00\u3064\u7acb\u3066\u3001\u6700\u5f8c\u3092\u5177\u4f53\u7269\u300c\u5c71\u300d\u3067\u7740\u5730\u3055\u305b\u308b\u3002\uff09\u3053\u308c\u306f\u51e6\u65b9\u306e\u539f\u7406\u306e\u5b9f\u6f14<\/strong>\u3067\u3042\u3063\u3066\u6210\u6848\u306e\u62bc\u3057\u4ed8\u3051\u3067\u306f\u3042\u308a\u307e\u305b\u3093\u3002\u539f\u7406\u306f\u2500\u2500**\u62bd\u8c61\u8a9e\u306f\u5148\u306b\u7f6e\u304d\u3001\u5177\u4f53\u7269\u3067\u7d42\u308f\u308b\u3002**\u73fe\u884c\u53e5\u306f\u9006\u3092\u3084\u3063\u3066\u3044\u307e\u3059\u3002<\/p>\n

    \u2461 \u8449\u685c\u3084\u5bb5\u306e\u660e\u661f\u9583\u9583\u3068<\/h3>\n

    \u4e94\u53e5\u4e2d\u3082\u3063\u3068\u3082\u6574\u3063\u3066\u3044\u3066\u3001\u3082\u3063\u3068\u3082\u767a\u898b\u304c\u306a\u3044\u53e5\u3002<\/strong><\/p>\n

    \u5b9a\u578b\u306f\u5b8c\u74a7\u3001\u300c\u3084\u300d\u306e\u5207\u308c\u3082\u6b63\u3057\u304f\u3001\u4e8c\u53e5\u4e00\u7ae0\u306e\u578b\u3068\u3057\u3066\u6559\u79d1\u66f8\u7684\u3067\u3059\u3002\u3057\u304b\u3057\u4e09\u70b9\u3002<\/p>\n

    (a)\u300c\u9583\u9583\u3068\u300d\u306f\u4e8b\u5b9f\u306b\u53cd\u3059\u308b\u3002<\/strong>\u300c\u9583\u9583\u300d\u306f\u6f22\u8a9e\u30aa\u30ce\u30de\u30c8\u30da\u3067\u3008\u3072\u3089\u3072\u3089\u9583\u304f\uff0f\u304d\u3089\u304d\u3089\u5149\u308b\u3009\u3002\u3068\u3053\u308d\u304c\u5bb5\u306e\u660e\u661f\uff1d\u91d1\u661f\u306f\u3001\u77ac\u304b\u306a\u3044\u3053\u3068\u3067\u77e5\u3089\u308c\u308b\u5929\u4f53<\/strong>\u3067\u3059\u3002\u8996\u76f4\u5f84\u3092\u6301\u3064\u60d1\u661f\u306f\u6052\u661f\u3068\u9055\u3063\u3066\u5927\u6c17\u306e\u63fa\u3089\u304e\u306b\u4e71\u3055\u308c\u306b\u304f\u304f\u3001**\u63fa\u308b\u304c\u305a\u3001\u636e\u308f\u3063\u305f\u307e\u307e\u3001\u767d\u304f\u5f37\u3044\u3002**\u3042\u306e\u5149\u3092\u898b\u305f\u8005\u304c\u300c\u9583\u9583\u300d\u3068\u306f\u66f8\u304d\u307e\u305b\u3093\u3002\u5199\u751f\u306e\u773c\u304c\u50cd\u3044\u3066\u3044\u306a\u3044\u3001\u8a9e\u5f59\u304c\u5148\u306b\u51fa\u305f\u7b87\u6240\u3067\u3059\u3002<\/p>\n

    (b) \u540c\u8a9e\u53cd\u5fa9\u3002<\/strong>\u300c\u660e\u661f\u300d\u306e\u4e8c\u5b57\u304c\u3059\u3067\u306b\u3008\u660e\u308b\u3044\u661f\u3009\u3068\u8a00\u3063\u3066\u3044\u308b\u3002\u305d\u3053\u3078\u300c\u9583\u9583\u300d\u3092\u8db3\u3059\u306e\u306f\u3001\u5149\u308b\u3082\u306e\u304c\u5149\u3063\u3066\u3044\u308b\u3068\u544a\u3052\u308b\u8aac\u660e<\/strong>\u3067\u3059\u3002\u4ff3\u53e5\u5341\u4e03\u97f3\u306e\u4e2d\u3067\u4e94\u97f3\u3092\u8aac\u660e\u306b\u4f7f\u3046\u306e\u306f\u9ad8\u3059\u304e\u308b\u4ee3\u4fa1\u3067\u3059\u3002<\/p>\n

    **(c) \u53d6\u308a\u5408\u308f\u305b\u304c\u52a0\u7b97\u306b\u3068\u3069\u307e\u308b\u3002**\u8449\u685c\uff08\u521d\u590f\u306e\u5915\uff09\u3068\u5bb5\u306e\u660e\u661f\uff08\u521d\u590f\u306e\u5915\uff09\u306f\u3001\u5b63\u7bc0\u3082\u6642\u523b\u3082\u60c5\u8da3\u3082\u540c\u65b9\u5411\u3002\u7f8e\u3057\u3044\u3082\u306e\uff0b\u7f8e\u3057\u3044\u3082\u306e\uff1d\u7f8e\u3057\u3044\u3001\u3068\u3044\u3046\u8db3\u3057\u7b97<\/strong>\u3067\u3001\u4e8c\u7269\u306e\u3042\u3044\u3060\u306b\u706b\u82b1\u304c\u98db\u3073\u307e\u305b\u3093\u3002<\/p>\n

    \u91d1\u661f\u306e\u52d5\u304b\u306a\u3055<\/strong>\u3053\u305d\u767a\u898b\u3067\u3059\u3002\u305d\u3053\u3078\u632f\u308c\u3070\u53e5\u304c\u7acb\u3061\u307e\u3059\u3002<\/p>\n

    \u8449\u685c\u3084\u5bb5\u306e\u660e\u661f\u3086\u308b\u304c\u3056\u308b<\/p><\/blockquote>\n

    \u4e00\u8a9e\u66ff\u3048\u305f\u3060\u3051\u3067\u3001\u300c\u5f37\u8abf\u300d\u304c\u300c\u89b3\u5bdf\u300d\u306b\u3001\u300c\u8aac\u660e\u300d\u304c\u300c\u767a\u898b\u300d\u306b\u5909\u308f\u308a\u3001\u3057\u304b\u3082\u8449\u685c\u306e\u8302\u308a\u306e\u3056\u308f\u3081\u304d\u3068\u661f\u306e\u4e0d\u52d5\u304c\u521d\u3081\u3066\u5bfe\u7acb<\/strong>\u3057\u307e\u3059\u3002<\/p>\n

    \u2462 \u8449\u685c\u3084\u7121\u5e38\u306e\u7114\u6642\u306e\u7aaf\u5909<\/h3>\n

    \u4e94\u53e5\u4e2d\u306e\u6700\u9ad8\u4f5c\u3002\u305f\u3060\u3057\u6c7a\u5b9a\u7684\u306a\u91cd\u8907\u3092\u62b1\u3048\u3066\u3044\u308b\u3002<\/strong><\/p>\n

    \u307e\u305a\u79f0\u8cdb\u304b\u3089\u3002\u300c\u7aaf\u5909\u300d\u306f\u672c\u5f53\u306b\u826f\u3044\u3002\u706b\u306e\u4e2d\u3067\u3001\u4f5c\u308a\u624b\u306e\u5236\u5fa1\u3092\u8d85\u3048\u3066\u3001\u601d\u308f\u306c\u8272\u304c\u751f\u3058\u308b\u2014\u2014\u3008\u5076\u7136\u304c\u7f8e\u3092\u7523\u3080\u3009\u3008\u4eba\u306e\u624b\u304c\u53ca\u3070\u306c\u5909\u5316\u3009\u3068\u3044\u3046\u542b\u610f\u304c\u3001\u7121\u5e38\u89b3\u3068\u6b63\u9762\u304b\u3089\u565b\u307f\u5408\u3046\u3002\u3057\u304b\u3082\u62bd\u8c61\u8a9e\u3067\u306f\u306a\u304f\u7aaf\u3068\u3044\u3046\u5177\u4f53\u7269\u306b\u6839\u3092\u6301\u3064\u8a9e<\/strong>\u3067\u3059\u3002\u3053\u306e\u4e00\u8a9e\u306e\u767a\u898b\u3060\u3051\u3067\u3001\u3053\u306e\u53e5\u306f\u4ed6\u306e\u56db\u53e5\u3088\u308a\u4e0a\u306b\u3042\u308a\u307e\u3059\u3002<\/p>\n

    \u554f\u984c\u306f**\u300c\u7121\u5e38\u306e\u7114\u300d\u3068\u300c\u6642\u306e\u7aaf\u5909\u300d\u304c\u540c\u3058\u3053\u3068\u3092\u4e8c\u5ea6\u8a00\u3063\u3066\u3044\u308b**\u70b9\u3002<\/p>\n