We get an important clue to Basho's literary intention in writing this diary. He identifies the year of his trip with the phrase "Genroku nitose niya" which is translated as "in the second year of Genroku," but the "ya" on the phrase adds a note ambiguity, it is as though he is not quite certain which year it was he set out on this trip. This ambiguity creates a literary rather than a documentary effect. It is reminiscent of the opening lines of The Tale of Genji, "Izure no ontoki ni ka," or the opening of Kagero Nikki there the author says she is not sure she accurately remembers the facts she is about to record. Again this signals his intention to present something other than a strictly factual account of the trip.

Another clue to Basho's intention can be found in his use of the term "Angya" to characterize his "long journey." Angya is a term introduced to Japan by Zen priests from Sung China and refers to the travels of a priest as he goes from place to place performing religious austerities. This emphasizes the religious aspect of Basho's journey. I speaking of the trip, Basho uses a number of contrasting figures of speech. He is almost flippant when he says "Tada karisome no omoitachite," he decided on the spur of the moment to set out. We know that, in fact, he prepared for some time before setting out, but the casual air of this statement contrasts with his once again raising the question of whether or not he will return from the trip, "moshi ikite kaeraba," if I return alive. And yet paradoxically, having resigned himself to the idea that he will not return alive, he feels set free of concern and can say, "sadame naki tanomi no sue wo kake," he has no plans, he will do only what he feels like doing.

Soka is the second post stop on the Oushu Highway. According to Sora they actually went on to Kusakabe where they spent the night. There are several explanations as to why Basho says they stopped at Soka. One is that since he goes on to tell how weary he felt from carrying a heavy load, he wants to emphasize this idea by saying they only made it a short way before they had to stop. Another explanation is that Basho simply made a mistake and forgot where they actually spent the night. We should also keep in mind that when Basho says how weary he is, it is not the walking or the journey that tires him, but the load of his worldly possessions. In the previous lines he has explained how he had freed himself emotionally from the worry of travel, but he is still burdened by the load of physical things he carries.

The paper coat he mentions is one lacquered with persimmon juice and was commonly worn by itinerant priests, although later it became fashionable for ordinary townsmen to wear them as well. Traditionally such coats were worn by poor people to ward off the cold. Evidently Basho stayed at places that were too cheap to provide nightwear for their guests and he had to bundle up in his coat to keep warm.

In this passage Basho is saying that at last they have really begun their journey. We notice how long this has taken; first he left his home in Fukagawa, then he left Edo, then he parted from his friends. It is a difficult leave taking and made more somber by his realization that he will age much on this trip and may not return at all. His hair will turn white, his load is heavy, his progress is slow, but his spirits are light. Like so many of the heros of the Gempei War whom he celebrates, he knows the ultimate futility of what he undertakes to do, but he does it anyway.

We have already seen Basho's familiarity with The Tale of Genji, both in the direct allusions he makes and in the vague, lyrical tone he adopts. He has a very elliptical style, but he keeps it poetic.