The Narrow Road To The Deep North By Matsuo Basho: The Use Of Aspects In The Natural World As A Significant Motif
Matsuo Barsho was a Japanese travel writer who lived at the end of the 17th century. His novel, “The Narrowroad To The Deep North”, is included in this category. The novel follows Basho’s journey as he moves from Edo, which is today’s Tokyo to the northern regions of Japan. The author’s journal documents his daily activities and those he meets, describes the world and writes poetry. Basho composed Haiku poems during his pilgrimage. Haiku is a 17-syllable form of poetry divided into 3 sections, each of which has 5-7-5 syllables.
Haiku poetry is usually descriptive and focuses on nature. Nature is an important theme throughout the book. Basho uses natural elements and even nature itself to illustrate his worldview. Basho uses natural elements to illustrate the difference between humans and nature. Humans are impermanent and mortal creatures, which contrast with the eternal and permanent nature of nature. Basho explores the idea by using pines, rivers and stones as motifs.
In comparing human and their creations, to immortal nature, it is possible to show the immortality and mortality of humanity. For instance, on page 120, the author writes that he visited Hiraizumi in the village where the Fujiwaras had their estate. . . When a country has been defeated, only rivers and mountains remain, and only grasses grow on a castle that is ruined”. This passage draws a comparison between the impermanent and fleeting lives of humans and their creations, which ultimately crumble regardless of how grand they may have been, and nature’s permanent and always thriving existence. The simile of “like the snatch of a dreamless sliver” highlights humanity’s fragile nature and insignificance by comparing its existence to that of a small sliver.
The mountain is used as a symbol to show that nature, while being immortal, is also superior to humankind. The following are other examples of “The Narrow road” that work in a similar way. Basho mentions Buccho’s hermitage at page 104. . . Even the Woodpeckers Leave it Untouched, This Tiny Cottage In a Summer Groove”. This is a similar extract to that of page 118. It implies that the priest has died, but that nature lives on, as in the mountain, trees and other elements repeated throughout the book.
Basho, on page 122, uses the words “the whole mountain” to describe how nature is eternal. The rock and pines are used as a way of expressing this. The stony surface itself was colored by eternity. In this case, the author is essentially stating that the nature is eternal, massive, and “covered” in eternity. This quotation is a commentary on mortality. It was an incredibly depressing site for both young and old, lovers or not, as we will all eventually end up there. “The tombstones represent death and the mortality of people. They are smaller and less significant than trees, and are therefore symbolic of a lesser importance and power. The trees represent the vastness, permanence and power of nature. Basho believes that nature is a dominant force, and that humans are a temporary creature who submit to it. Though humans are not as important as nature in terms of their glory, they are still very important. Basho writes on page 125: “Its glory will not perish so long as the human race continues to exist on Earth”. It is implied that nature is beautiful, because there is humanity to enjoy and admire it.
Basho himself is implied in this poem. It’s possible that he is trying to immortalise him through his own creations. His poems. Like the monks hut, which “lived on” even after their death. He may also be questioning his own life’s importance. Basho uses rivers and mountains to illustrate the power and vastness of the natural world.
In “The Narrow road To The Deep North”, the nature is portrayed as an overwhelming force. Humans are not only afraid or intimidated, but they also respect it. The mountains and rivers are repeatedly used as a source of power that causes fear. On page 121, Basho is trying cross a “huge mountain body” to get to Dewa. However, the path is extremely dangerous. Basho’s guide tells him that he is lucky to have made it across the mountains safely, as accidents had happened in the past on all of his trips. Fear lingered for some time afterward. Basho’s fear and his overwhelming image of the mountains, which dwarfs the human beings, are linked to nature and mountains.
Page 123 contains a second illustration that demonstrates the author’s point of view about the power of nature. Basho tries to cross a river called Mogami which is said to have “many hazardous spots”. This scene is among the most painful in the entire book. . . The river was at its brim with water and the boat’s safety was always in doubt”. Basho has used hyperbole in the description of the incident and visual imagery to show the power of nature. This time, the mountains, which are a motif throughout this book, express the immense power of nature by comparing them to a person and showing them in a violent manner. The river, too, stirs the boat. It is a creation and extension of humans, with its violent flow.
Basho is using the mountains and rivers as a constant motif to show the extreme power of the nature and humans’ position against it. Basho, however, does not view nature as hostile to humans. Basho’s view is that nature’s power simply outweighs humans, but this is seen as a natural phenomenon and not malicious or aggressive. And as we have already mentioned, the beauty and power of nature are not its only attributes. Humans also appreciate them.
