in the mystical literature of the East, nature has always transcended mere description, appearing as a mirror of the human inner state and a manifestation of cosmic truth. Rumi’s Neynameh, at the opening of the Masnavi, symbolizes the reed’s lament of separation and its longing to return to its divine-natural origin, while Basho’s famous haiku (“old pond / a frog jumps in / the sound of water”) captures a pure moment of stillness, motion, unity, and impermanence. This article comparatively examines the representation of nature and its ecological dimensions





The method is comparative-analytical and qualitative, grounded in literary ecocriticism and spiritual ecology. Through analysis of primary texts (the Masnavi, the Divan-e Shams, and Basho’s haiku) and concepts such as unity of being (wahdat al-wujud) in Islamic mysticism and impermanence and mindfulness in Zen Buddhism, key elements of nature (water, the reed, the seasons, animals, and the four elements) are compared across both poets’ works



Findings show both poets regard nature as a living, aware, and sacred entity; Rumi, with a theocentric outlook, views it as a divine manifestation and vehicle for spiritual journeying, whereas Basho emphasizes sensory presence, momentariness, and organic connection between humans and nature. Despite formal and cultural differences, both arrive at a “spiritual ecology” calling humanity to humility, empathy, and environmental responsibility

The study concludes that the link between Neynameh and the sound of water bridges two Eastern literary-mystical traditions, offering a framework for confronting environmental crises and rethinking the human relationship with nature