Oku no Hosomichi

Oku no Hosomichi is a seminal work of Japanese literature from the Edo period. It is often known by its English titles, "The Narrow Road to the Deep North" or "The Narrow Road to the Interior."

The text is written in a unique literary form called haibun. Haibun is a hybrid style that combines prose with haiku, which are short poems. This combination allows the writer to provide a detailed travel account while also capturing poetic essence. The work is considered a masterpiece because it balances these elements to create a powerful narrative. It serves as both a personal travel diary and a profound meditation on life and art.

The mechanism of the haibun style allows Bashō to move between different modes of expression. He uses prose to describe the physical details of his journey and the locations he visits. He then uses haiku to capture a specific moment or feeling inspired by his surroundings. This structure helps the reader experience the journey both logically and emotionally. Bashō spent five years after his travels working and reworking the poems and prose. This careful editing process helped refine the balance between the narrative and the verse. The final result was a polished work that many consider a monument against the flow of time.

Bashō’s journey followed a specific route through the northerly interior region known as Oku. He departed from Edo, which is modern-day Tokyo, in the late spring of 1689. He was accompanied by a traveling companion named Kawai Sora. The two travelers moved mostly on foot through difficult terrain.

Their journey included several notable stops that held deep poetic significance. They visited the Tokugawa shrine at Nikkō and crossed the Shirakawa barrier. Other important locations included the islands of Matsushima, Hiraizumi, Sakata, Kisakata, and Etchū. Bashō and Sora eventually parted ways at Yamanaka Onsen. Bashō later visited the Ise Shrine to conclude his account.

History shows that Bashō was driven by a specific artistic goal during this expedition. He wanted to visit the places described by ancient poets to "renew his own art." He specifically sought to emulate the great waka poet Saigyō. To do this, Bashō made a point of visiting every site mentioned in Saigyō's verse. The journey was also influenced by the works of the Chinese poet Du Fu, whom Bashō highly revered. This connection to classical Chinese poetry and Japanese tradition helped shape the depth of the text. The first edition of the work was published posthumously in 1702.

The scale of the journey was significant for the time period. Bashō and Sora traveled for approximately 156 days in total. Travel during the late 17th century was very dangerous, requiring great physical and mental preparation. Bashō prepared by patching his torn trousers and changing the cord on his bamboo hat. He even had moxa, a substance used in traditional medicine, burned on his shins to strengthen his legs.

These details highlight the physical reality of his commitment to his poetic ideal of wandering.

There are interesting details regarding the accuracy of the text compared to other records. While Sora kept his own diary, Bashō took certain artistic liberties in his writing. For example, Bashō includes a story about an exchange with prostitutes at an inn. However, Sora's own diary mentions nothing about this specific event. This suggests that Bashō used his prose to enhance the poetic atmosphere of his travels.

These variations show that the work was intended as a literary creation as much as a factual record.

Beyond simple travel, the text is deeply connected to Zen Buddhist philosophy. Bashō studied Zen meditation under the guidance of the Priest Buccho. Some scholars suggest his writing was a way to achieve a meditative state. In this state, the distinction between the subject and the object is meant to be annihilated. By casting away earthly attachments, Bashō sought to find his "everlasting self which is poetry." This philosophical depth is why some have suggested the book feels as if the soul of Japan itself wrote it. The work continues to influence literature, such as the 2013 novel by Richard Flanagan that shares its title.