Haiku third lines end-rhymed. Yasuda considered that haiku translated into English should utilize all of the poetic resources of the language. Yasuda's theory also includes the concept of a "haiku moment" based in personal experience, and provides the motive for writing a haiku (' an aesthestic moment' of a timeless feeling of enlightened harmony as the poet's nature and the environment are unified'). This notion of the haiku moment has resonated with haiku writers in English, even though the notion is not widely promoted in Japanese haiku.(See however, 'Shiki's Haiku Moments for Us Today' In 1958, "An Introduction to Haiku: An
Japanese pitch accent that of Kōchi in Shikoku. Japanese pitch accent also varies in how it interacts with syllables and morae. Kagoshima is a purely syllabic dialect, while Osaka is moraic. For example, the low-tone unaccented noun "shimbun" 'newspaper' is in Kagoshima, with the high tone spread across the entire final syllable "bun," but in Osaka it is , with the high tone restricted to the final mora "n". In Tokyo, accent placement is constrained by the syllable, though the downstep occurs between the morae of that syllable. That is, a stressed syllable in Tokyo dialect, as in "kai" 'shell' or "san" 'divining