Shiki's Realism

Shiki's realism and shaysei are meant not only in
what poems depict but also in their poetry, which is
destined to get lost unless one reads them in their original
brushwork texts and their exact copies.  The best example
coule be the first haiku in the Narrow Road into the
Deep North:行く春や鳥蹄き魚の目は泪.
If you dismiss the haiku picture with the character 泪,
this ku sounds absurd, as some peoplle say,
"Did the poet look into the eyes of fish and
tears running from them?"

This type of poetry had been
in tradition, which one reads in the 100 poems by 100 poets
i.e. the 21st waka by Bunya no Yasuhide 吹くからに　
秋の草木（くさき）の　しをるれば　
むべ山風を　嵐といふらむ/fu-ku-ka-ra-ni/a-ki-no-ku-sa-ki-no
/shi-o-ru-re-ba/mu-be-ya-ma-ka-ze-wo/a-ra-shi-to-i-u-ra-n

blows the mountain wind
for the plants and trees
to wither, truly
the character storm 嵐
comes from mountain山 and wind風
This waka does not seem to please Shiki, though, for it is
rather intellectual, while Bashyo's 泪 is explicit and one can
pictue the scene all at once when one reads the ku.

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I can be wrong, for I've just started to study Shiki.
There are interesting themes around him, which are
peripheral to Shiki study but very, very exciting. 
Why are Shiki, Soseki and others so creative?
As for Shiki, he is so radical. 
I wonder if the creativity and radicalness could
be sprung from the upheavals of the time and age. 
This intrigues me.
The other interesting subject is homo social things,
which should be differentiated from homosexuality.  T
his is clearly put by Minakata Kumagusu the anthropologist
and naturalist, when he says that there are two typed of
homo social things; one is pure homo social things and
the other shady ones.  Kawahigashi Hekigodo says
that around Shiki and those people around him there has
been an ambience of homo social things.  The first issue
is linked with the second issue; those days
they were elites and lived in a circle that had to be
least spacious.