‘Basho’s style of haiku was formulated by others over the years. His fundamentals include: sabi (detached loneliness), wabi (poverty of spirit), hosomi (slenderness, sparseness), shiori (tenderness), sokkyo (spontaneity), makoto (sincerity), fuga (elegance), karumi (simplicity), kyakkan byosha (objectivity), and shiZen to hitotsu ni naru (oneness with nature).
The female poet Chiyo-ni wrote in Basho’s style.
a single spider’s thread
ties the duckweed
to the shore
Oneness with nature resonates in Chiyo-ni’s haiku. Basho’s theory of oneness with nature was that the poet should make a faithful or honest sketch of nature. In the Sanzohi (1702), Basho’s disciple, Doho, explains his teacher’s theory: “Learn about the pine from the pine and the bamboo from the bamboo–the poet should detach his mind from self . . . and enter into the object . . . so the poem forms itself when poet and object become one.” This experience is analogous to the Buddhist idea of satori, or enlightenment, what Kenneth Yasuda called the “haiku moment.”
My attempt –