Shinonome Shrine ( Kyoshi,Shiki and Noh play)

"I'm longing for my father
Fallen leaves of pine trees were scattered
Just on the Noh stage"
(Kyoshi, in 1898)

The family of Takahama, Kyoshi inherited at the age of nine, was the parents' home of his grand mother on his father's side. Kyoshi's great grandfather, Takatoshi Takahama, was the master hand of hand drum (used in traditional Japanese music) and Noh song belonged to the style of "Shimohosho".
Kyoshi's father, Shoushiro Ikeuchi, was good at Noh song as well as the martial arts, and made efforts to the preservation of Noh play of Matsuyama feudal domain, after the abolition of feudal domain and held Noh play at Shinonome Shrine every spring and autumn.
Kyoshi's deep affections to Noh was based on these prides and longing for his father he lost at the age of eighteen.
Getting skillful in the basic type of the Noh play on the restricted stage and getting to the unrestricted stage could lead to the Kyoshi's view of Haiku that fulfill the engagements of the season words in the restriction of seventeen characters and reach the unrestricted stage of Kacho-Fuei from the objective sketch.

"In the fresh young leaves
The sound of drum in the Noh Hall
Just come to my ears"

(Shiki)

The theme of this Haiku is the Noh play handed down from the old age of feudal domain.
In the period of Edo, it became generally known to the other feudal domain that Matsuyama has two unsuited things, "Kawarapoito" and "Senshuji Temple". "Kawarapoito" was an actor performing on the Noh stage in the Shinonome Shrine and particularly well known.
Shiki said in his essay "Fudemakase" of 1890 (Meiji 23) "In my country home, Matsuyama, Noh play was held in the precincts of Shinonome Shrine on its festival day a couple of times per year and I often went to see the Noh play".