The Narrow Road to Oku by Matsuo Bassho, translated by Donald Keene, illustrations by Masayuki Miyata (Kodansha International)

Matsuo Basho is probably the most famous Japanese poet from the Edo era. He is recognized as a master of haiku, a short form of poetry. Traditional Japanese haiku consist of three phrases composed of seventeen morae, known as on in Japanese and are very similar to syllables, in a five-seven-five pattern. 

The Narrow Road to Oku is a book written as a haibun, a poetic diary that combines prose with haiku. It has also been translated as The Narrow Road to the Deep North and The Narrow Road to the Interior. The original title of the book in Japanese is 奥の細道 (Oku no Hosomichi). It was written by Basho over three hundred years ago. He wrote it while traveling from Edo (modern day Tokyo) to the northern interior of Japan, known as Oku. He traveled over one hundred fifty days and covered about 1,500 miles or almost 2.400 kilometers, mostly on foot.

He was joined by his friend Sora Kawaii. to visit places that were mentioned by ancient poets whom Basho admired and who he references quite often in his diaries. Their journey took them to the Toshogu Shrine in Nikko in present day Tochigi Prefecture, the Shirakawa Barrier in present day Fukushima Prefecture, the islands of Matsushima, Hiraizumi in present day Miyagi Prefecture, Sakata in present day Yamagata Prefecture, Kisakata in present Akita Prefecture, and present day Toyama Prefecture which was known in Basho’s time as Etchu.

This modern English edition was translated by Donald Keene, an American who was well known for being a Japanese scholar, historian, teacher, and writer. He has also translated many works of Japanese literature. The book also includes illustrations by papercutting artist Masayuki Miyata, who took on the task of creating images related to Basho’s haiku. Miyata said, “If you misread that one point, the work will instantly become something that has nothing to do with Basho’s spirituality and will end up being just an illustration to accompany a haiku poem”. He further expounds, “I couldn’t let a single word of the seventeen characters go unmentioned”. 

The book begins with Basho’s prose before he even starts his journey. He writes, “the months and days are the travellers of eternity. The years that come and go are also voyagers. Those who float away their lives on ships or who grow old leading horses are forever journeying, and their homes are wherever their travels take them”. 

Before leaving he composed the following poem: 

Kusa no to mo Even a thatched hut

sumikawaru yo zo May change with a new owner

hina no ie Into a doll’s house

Before leaving on his journey, it is believed that Basho sold his house to a man with small daughters. At the time of the Momo no Sekku (Peach Festiva)l, currently known as the Hina Matsuri known in English as “Girl’s Day” or “Dolls Festival”, the dolls would be displayed in the house. As Basho was a life-long bachelor, dolls had never been displayed in the house. 

Keene’s translation of Basho’s travel diary and haiku make it easier for the modern reader to understand the deeper meaning of each haiku poem as it relates to Basho’s travels. It also helps the reader to have the footnotes explaining in more detail about many of the poets and poems that Basho makes references to. He often cites Confucius, Saigyo, Du Fu, ancient Chinese poetry, and The Tale of the Heike. 

This book has inspired many people to follow in Basho’s footsteps and perhaps it will inspire you to as well, although I don’t recommend going on foot as the journey would take you approximately four and half months. ~Ernie Hoyt