Art of Ninja 3

> ***The 1st: Awareness of swordsmanship***
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> 月はくまなくてらせとも、一重の雲にへたてられ、千草の露に宿る光も、しやう灯をけすかことし。心は明らかに正と云へとも、悪気をまよわし、出心をあらわさす。
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> *The moon cast a light anywhere without shadow. Nevertheless, when a cloud screens it out, the light stays in a drop on thousand weeds dissappers. Mind is clearly proper. Nevertheless, when it confuse an ill ghost, it doesn't show its nature.*
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> 夫兵法第一の心持と云は、まつうたかわしき心をやめ、あしきことを仕出しても、一図に其心指をたつる事第一の心得也。
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> *The primary conduct for swordsmanship is to stop a suspicious mind. When it starts ill deeds, we should decide our will simply. That is awareness of swordsmanship.*
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> 身のつくろいはなれす、或ハ見物の人の思わくを察、はつかわしき心根少にても有内は、せうれうたゝしからす。人をたすけ遣わすにあらす。進たいこゝにきわまり一生一度のやうに可立ためなれは、さのミ世間に能見られ度事にあらす。
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> *Our quality and quantity are not proper while we mind our appearance, or we are out of concern for estimation of our audience, and we have any disgraceful disposition. It is not for help someone. It is for our decision on course of action when we will be left with nowhere to turn once in life. It is not for grandstanding for the people.*
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> たとへは、仕なしをやわらかに上手と人に見らるゝとも、毛頭も心の奥にたたしからさる所あらは、こゝろのとわはいかにこたへん。たとへ仕なしハ見くるしく初心のやうにみゆるとも、火ゑんのうちに飛入、はんしゃくの下にしかれてもめつせぬこゝろこそ心と頼むあるしなれ。
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> *For instance, when we are estimated that our movements are lithe and good, but we have any wrong place deep in our mind, how will we answer the question from our mind? Even though our movements are not disgraceful and we look like a beginner, we should be a master who trust our indestructible mind when we will jump into the fire and we will be crushed under a huge rock.*
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> しなしなのならひしりて、せうふの是非をわくるといふも、心のたゝしからさるうちハ至極のてうほう伝えても一つの用にもたつへからす。されハ、右習は一心の正しき所に有としるへし。。
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> *Even though we know variety of learning and the issue can be decided, the final important treasure transmitted is useless unless our mind is proper. If so, we should know that such learning is at the proper place in our mind.*
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...Still beautiful.

That's my favorite phrase I've learned from the film "Good Morning, Babylon" which refers to the old film "Intolerance". It was a good chance to be interested in immune system, such as B-cell, T-cell, NK-cell.

##### **Good Morning, Babylon**

https://en.wikipedia.org/wiki/Good\_Morning,\_Babylon

##### **Intolerance**

https://en.wikipedia.org/wiki/Intolerance\_(film)

##### **Thymus**

https://en.wikipedia.org/wiki/Thymus

His opening is still beautiful in a poetic and clear manner. What a beautiful language we used to speak and write, in those days. Why did we lose such a manner today?

> へいほうは　きようによらず　其人の　すける心の　たしなむにあり - 石舟斎
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> *Swordsmanship doesn't depend on skill.*
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> *It depends on his delicacy shown through his mind.*
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The Stone Boat was likely to feel so when he met the founder of the New Shadow School, 上泉秀綱: Kamiizumi Hedetsuna.

##### **上泉秀綱(信綱) : Kamiizumi Hidetsuna (Nobutsuna)**

https://en.wikipedia.org/wiki/Kamiizumi\_Nobutsuna

He has some variation of his name in both writing and reading and his official title. So, we call him 秀綱:Hidetsuna by taking the first name of the credit, 上泉武蔵守 藤原 秀綱, which Munenori wrote on his book.

The opening quotation is the first chapter of 悒貫書[YufuKwanSho/YuKanSho](the note of going through in anger) transmitted to 鍋島:Nabeshima family who was one of the best partners of Munenori. The author of the note is referred to as Hidetsuna, though actually unknown.

I feel that the note came from the early root of swordsmanship. It includes basic instruction for the absolute beginners and the word "第一(the primary, the first)" frequently appears. The author mentions checking strangers in some chapters and he seems to be often attacked by the strangers in swordsmanship before sword confiscation by the government.

The sentence style using daily words is plane, clear, simple and soft like a spring wind as if it is a note taken down at somebody's dictation. The note doesn't have the conditional clause "口伝すべし(to instruct orally in detail at the practice)" which often appears in the guide book for instructors written by Munenori.

The note has few quotation to authorize author's idea. His favorite word is "惣別 (generally speaking, in general, broadly speaking, on the whole)". I like it very much while talking with someone. He is lazy to analyze and verify in detail...

> Wait, wait, wait!
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> - ? ... ... ?
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> Wait for a few minutes to write down what you say!
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> - Well, do you have any question?
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> No, no, no, not yet! I have no question at this moment! Let it wait! I wanna write down for the present before I forget!
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> - Well, let me see, umm.., generally speaking, blah blah blah......
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> So just I say wait!!!
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I can't help laughing to imagine such a scene between Hidetsuna and the Stone Boat.

Whether the auther is known or unknown, there are both important thought and tasteful poems, and they are integrated into the note. So, I decide to show some chapters of the note here as his oral dictation.

Hidetsuna was living in the peak of the war age almost as a wayfarer to tell his swordsmanship widely. The official documents of him, by him, for him, are not found so much, though he has many legends and episodes where he went to.

The most well-known episode is adapted to the Rōnin Kambei in the film "Seven Samurai".

##### **Seven Samurai**

https://en.wikipedia.org/wiki/Seven\_Samurai

> *After little success, the group watch Kambei, an aging but experienced rōnin, rescue a young boy who had been taken hostage by a thief.*
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The Stone Boat should show this film to his young son with a proud look, if they are living today.

> Son! Look at him!! He is my master!!!
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> てうぶくの　二字のこころを　兵法の　ごくいとつねに　くふうしてよし - 石舟斎
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> *The two letters of EX,*
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> *such as extraditing, exorcising, expelling, existence.*
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> *That's an extremity of swordsmanship.*
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> *I expect you always mind it to reform well.*
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てうぶく(調伏[ChoPuku]) is a Buddhist term. It means defeating evil inside/outside.

> @TV #TV He shouts now. Again? Again. @TV #TV He cries now. Again? Always.
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His son looks back wide TV monitor, and looks down smart phone again.

> Hey! Son!! Listen!!!
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> 兵法は　かなはぬ折の　身のためと　こころにかけて　稽古能せよ - 石舟斎
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> *Swordsmanship.*
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> *That's for yourself when it comes to the pinch.*
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> *Keep it in mind to practice hard and carefully.*
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Hidetsuna had a great influence on modern swordsmanship. He is considered not only the founder of the New Shadow School but also the progenitor of other various schools. Sometimes, the New Shadow School is called Yagyu New Shadow School after the Stone Boat and it is called Edo Yagyu New Shadow School after Munenori.

Generally, he is drown with graceful and elegant appearance among the popular culture with the highest title 剣聖:Saint Sword.

### **Awareness for listening to lessons**

> **第二　指南うくる心得の事**
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> ***The 2nd: Awareness for listening to lessons***
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> 習を用るには、一心たゝしくとも誠のなき内は用得る事不可成。一にても、しんしつ寔をあらハし、よくそれに成たらハ、勝つと云事なし。唯大かたのかてんにてハ中々可成事にあらす。
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> *Using what we learn can not work while we have no honesty even if our whole mind is proper. We have no victory unless we will show our true honesty and will be truth on the whole. It can not work well while we understand it only mostly.*
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> 何事を聞ても当座はかてんしたるやうなれとも、誠のなきゆへに又重てハ其ところぬける也。惣別指南を請る道ハ、合点はたとへしても心にとくと落ぬ内は、幾度も聞返す事第一也。はやく請ては面白き理の有所をも聞残す事おほき物也。
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> *We are likely to want to understand anything we listen soon after, but when we do it again after that, it will slip off because of lack of honesty. Generally, the primary policy of listening to lessons is asking again and again while it will not come home to our mind seriously even if we understand it. If we soon listen to it, we often miss listening to where the interesting principle comes from.*
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> 扨又少にても、心つきては、不断は其おもわくを遣わぬか第一也。心のそのくふうにのりたる時、我より前かた成打太刀にて、或ハ三五程遣て能心をやしなひ、またつよくするときハ、くふうの外にて遣心持ちかんやう也。
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> *Besides, it is the primary not to do the idea unexpectedly even if our mind will attach on it a little. When our mind swim on the plan, we do it about five times of three sets at the simulation of matching with a junior trainee to develop our mind. Furthermore, when we try to improve it hard, we do it out of the plan. Such conduct is the point.*
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> 心つきたる所いつものらぬ物也。それをむりにつよくするに依て、やうやう心つきたる所も皆々跡なく消る也。工夫は其心をやしなウ稽古根本也。。
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> *Our mind doesn't necessarily swim where it attaches on. As we adhere to improve it hard, the place where our mind has adhered by degrees will disappear without leaving any trace. The plan is the root of the practice to develop such mind.*
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The 2nd chapter reminds me Billy Joel.

> *Honesty is such a lonely word*
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> *Everyone is so untrue*
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> *Honesty is hardly ever heard*
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> *And mostly what I need from you*
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##### **Honesty**

https://www.billyjoel.com/video/honesty-video/

The poems composed by the Stone Boat seem to show his fresh honest impression of his master.

> 世にふしぎ　奇妙おほきぞ　能ならへ　ならふてはちに　ならぬへいほう - 石舟斎
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> *There are many wonderful and strange things in the world!*
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> *Better to ask the way than go astray.*
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> *Listen and learn carefully.*
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> *That's swordsmanship.*
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The Stone Boat was defeated easily when he met Hidetsuna and played some matches with his student who went with him. Then the Stone Boat asked Hidetsuna to instruct in his swordsmanship of the New Shadow School.

> しあひして　うたれて恥の　兵法と　心にたへず　くふうしてよし - 石舟斎
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> *You should always think on the plan in your mind.*
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> *Swordmanship requires the simulation to get ungraceful hits.*
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I feel that the Stone Boat is simple and honest. Hidetsuna was likely to feel so and enjoyed training him in honesty.

> **第三　おりさかりて稽古すへき事**
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> ***The 3rd: Practice we should step down***
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> けいこは下段より、次第しだいにくミあけたる兵法ならてハ、正しき事不可有。初より上段へとひこゑて遣兵法はあし。
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> *We have to practice on the bottom and integrate them into swordsmanship step by step. Otherwise, we cannot do proper thing. It is bad that we use swordsmanship to jump to the top from the beginning.*
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> しろのなきところへほをり上ケたる様成物也、下段にしよさ、とゝのふらぬゆへに、しなしうすくかるく見ゆる物也。左様の兵法ハ、又下段へおりさかりてけいこするへし。是は第一の心得也。
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> *That's like tossing something somewhere but no castle. Because we are not ready on the bottom, our move looks thin and light. We have to practice to step down on the bottom once again while we use such swordsmanship. That is the primary conduct.*
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> **第四　下つくりの事付り不断心掛之事**
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> ***The 4th: Preparing on the bottom and constant care***
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> 兵法は、ねてもさめても、物をミても、つまつきても、我かするわさに、何に付ても兵法に引かけ工夫をこたらぬハしせんに能位にゆき立物也。
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> *Swordsmanship develops well naturally if we are not lazy to think about the plan to apply it to anything we do, when we sleep, wake up, see something, stumble on something, anyway, we do anything.*
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> 思ひよらぬ時なとは、出心正しき者も、ふとおとろく事も有もの也、さやうの事を心にて、ふかくいましめ、我一心のよわき事をつよくはぢしめて、しはしも忘れぬほとなれは、次第に心のきやうどうはなき物也、物におとろく心ハ気の上へのほる故也。
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> *When something unexpected happens, even a man with proper mind sometimes will be surprised. We have to warn ourselves against such a thing seriously in our mind. We have to be ashamed of our weak mind strongly. As we never forget that for an instant, our mental agitation turns to be calmed in progression. For our mind surprising something comes from our Qi curling up.*
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> 左様の時ハ心を取かへす様に、毎事に覚悟すへし。此心を取納めたる所、根本の神妙剣をのつからそなわる位也。
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> *Under such situations, we have to aware of that carefully to get back our mind at every turn. In the place where we put back such a mind, the root of (\*)神妙剣:Shin-Myou-Ken grows naturally.*
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> 又あらためてする下つくりハ、寔の下作に不有。思ひよらぬ時にても、物々にしたかつて心を納帰す所下作の根本也。是不断の心掛に可有事也。毛頭不可有油断。
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> *In addition, such a foundation making up again is not true preparing on the bottom. Even if something happens, the root of preparing on the bottom is on the place where we put back our mind according to each case. It can be in such constant care. We must not be careless. No. Not a bit.*
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He speaks 神妙剣:Shin-Myou-Ken as if it is something like a rice plant. And the listener listens to it without any doubt.
Or filled with wonder and admiration for his wholeness.

> Really? We must not? Not a bit?
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> - No. Not a bit.
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> Don't you have any lack of care?
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> - ? Who knows? I don't know. Do you know?
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> ... ...
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Hidetsuna's requirements are simple, but hard.

His swordsmanship requires wholeness. He speaks on it as it is natural.

I'm not sure the difference of effect between "as" and "as if", but he doesn't speak on wholeness "as if it is natural", but "as it is natural". I feel that he is a native speaker of "神妙剣:Shin-Myo-Ken".

In the "The Shoe-Presenting Bridge" of the book written by Munenori, "神妙剣:Shin-Myo-Ken" is itemized as the last one after "活人剣:Live-Giving Sword" of his category. "神妙剣:Shin-Myo-Ken" is one of the top secrets "五観:Five Imaginations" in Edo Yagyu New Shadow School. He explains it on the chapter "是極一刀の事:The Ultimate One Slash" of the last volume "活人剣:Live-Giving Sword" in his book.

But, Hidetsuna speaks on "神妙剣:Shin-Myo-Ken" at the 4th lessens of the 39 lessens in total. He says on it simply again at the 32nd lessens;

> **第卅二　習用様の事**
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> ***The 32nd: How to use learning***
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> 万の習は、神妙剣にて用ふハ心持吉。しなかわりたるとて、かくへつにおもふハ悪、神妙剣にて用ふと思へは、心入ふかき故に、能其理にそなわる也。
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> *It is good that we have mind to use every learning with "神妙剣:Shin-Myo-Ken". It is bad that we think each items we learned is particular. If we think that we use them with "神妙剣:Shin-Myo-Ken", they realize their principle because it is deep in mind.*
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... ... That's simple. That's natural...I suppose. ... ... Do you have any question?

As for Hidetsuna, "神妙剣:Shin-Myo-Ken" is álpha and oméga of his swordsmanship, or his whole life.

## Program of the lessen

### **Index**

> 第一　兵法心得之事
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> *The 1st: Awareness of swordsmanship*
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> 第二　指南うくる心得の事
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> *The 2nd: Awareness for listening to lessons*
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> 第三　おりさかりて稽古すへき事
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> *The 3rd: Practice we should step down*
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> 第四　下つくりの事付り不断心掛之事
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> *The 4th: Preparing on the bottom and constant care*
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> 第五　真の道と云事
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> *The 5th: True means*
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> 第六　心つき無之以前の稽古事
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> *The 6th: Practice before mental attachment*
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> 第七　おしゑの分別の事
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> *The 7th: Sence of teaching*
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> 第八　兵法秘すへき事
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> *The 8th: Keeping swordsmanship*
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> 第九　初心の稽古の事
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> *The 9th: Practice for naive mind*
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> 第十　初心の時はせんきにてまよう心持
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> *The 10th: Puzzled minding when we have naive mind*
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> 第十一　一ツに究まる指南の事
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> *The 11th: lessons coming to an end*
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> 第十二　初心の内悪しよさ并身くせの事
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> *The 12th: Bad moves and weakness in naive mind*
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> 第十三　同能しよさの事
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> *The 13th: Good moves in naive mind*
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> 第十四　しよさを移心持の事
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> *The 14th: Minding to copy moves*
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> 第十五　心指を移心持の事
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> *The 15th: Minding to copy intent*
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> 第十六　心指をかくす心持の事
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> *The 16th: Minding to hide intent*
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> 第十七　吟味は細成吉。しよさ勝口ハ大きなるかよし。
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> *The 17th: Testing is good in detail. Moving and chance are good in a broad way.*
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> 第十八　遣所五ツの心持の事
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> *The 18th: Minding for five uses*
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> 第十九　面太刀遣心持の事　但教留也
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> *The 19th: Minding for facing use, but keep teaching*
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> 第二十　付と云と、置と云との替りめの事
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> *The 20th: Turning point from opening to reserving*
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> 第二十一　やむると云と、捨と云替りの事
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> *The 21st: Turning of stop or quit*
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> 第二十二　我心のすゝまぬ時の稽古の事
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> *The 22nd: Practice when our mind isn't in the mood*
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> 第二十三　足つかひの事
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> *The 23rd: Footwork*
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> 第二十四　仕掛の心持の事
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> *The 24th: Minding for setup*
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> 第廿五　思ひ付たる本を立る指南事
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> *The 25th: Lesson to try our motive to hit upon*
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> 第廿六　すたりたる諸作の事
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> *The 26th: Moves toning down*
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> 第廿七　仕掛の徳の事
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> *The 27th: Merit of setup*
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> 第廿八　勝口の心持の事
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> *The 28th: Minding for chance*
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> 第廿九　しろふとに勝心得事
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> *The 29th: Awareness to defeat a stranger*
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> 第卅　しろふとにハ、諸作勝を用事
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> *The 30th: Using active moves to a stranger*
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> *The 31st: -*
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> 第卅二　習用様の事
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> *The 32nd: How to use learning*
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> 第卅三　しろふと打の事
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> *The 33rd: Hitting a stranger*
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> 第卅四　水月取身位の事
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> *The 34th: Positioning at the Water Moon (水月)*
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> 第卅五　志をしる習の事
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> *The 35th: Learning to know the will*
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> 第卅六　心そむる習ならふ道の事
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> *The 36th: Means of Learning to dye mind*
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> 第卅七　小太刀の事
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> *The 37th: Small moves*
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> 第卅八　内小太刀の事
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> *The 38th: Small moves in setup*
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> 第卅九　仕掛の事
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> *The 39th: Setup*
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The above is the subject of each lesson.

It reminds me a Spaghetti Western film "I giorni dell'ira (Day of Anger)"

##### **I giorni dell'ira (Day of Anger)**

https://en.wikipedia.org/wiki/Day\_of\_Anger

Scott, a young man working as a street sweeper, dreamed to be a gunfighter. He meets a senior gunfighter Talby and follows him. Talby reluctantly lets him tag along and agrees to teach him ten essential rules about gun-fighting.

Ten essential rules! I like them. They are famous among the Japanese fans.

> *1st lesson. Never beg another man.*
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> *2nd lesson. Never trust anyone.*
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> *3rd lesson. Never get between a gun and its target.*
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> *4th lesson. A punch is like a bullet. If You don't make the first one count good.*
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> *5th lesson. You wound a man, You'd better kill him. Because sooner or later, he's gonna kill You.*
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> *6th lesson. Right put it, right time, well aimed.*
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> *7th lesson. Gonna untie a man, take his gun before then.*
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> *8th lesson. Don't give a man any more bullet, You know he's gun use for.*
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> *9th lesson. Every time You have exact challenge, You lose everything in life, anyway.*
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> *Last lesson. Do not quit until you exterminate.*
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Young Jubei was likely to say so... I won't quit until I exterminate with my favorite sword, or I'll be killed by them manfully. That's all. No regret.

Well, do you like snow?

- ?

How about looking around snow slowly at the another castle?

- !!!

### **Bad manners and good manners**

He is fair that he indicates both bad manners and good manners of the beginners at the 12th and 13th lessons. He says at the next 14th lesson;

> 初心の者にても其人によりて、少つゝは能所有もの也。
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> *Each beginner has some good points as his character.*
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> **第十二　初心の内悪しよさ并身くせの事**
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> ***The 12th: Bad moves and weakness in naive mind***
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> 打のなまる事 (to dull hits)
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> 足をひきつる事 (to drag feet)
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> 我と敵と見合事 (to face each other)
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> しよさいそく事 (to move in a hurry)
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> 手の内くつろく事 (to loose plans)
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> 敵の心をうたかふ事 (to doubt opponent's mind)
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> 切拍子の事 (to cut tone)
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> あやぶむ事 (to be afraid)
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> こしかゝむ事 (to stoop down)
>
>

> かたをさす事 (to square shoulders)
>
>

> 身にちからを入事 (to get too tense on body)
>
>

> 内つくろふ事 (to patch up inside)
>
>

> **第十三　同能しよさの事**
>
>

> ***The 13th: Good moves in naive mind***
>
>

> 打のはなるゝ事 (to leave a hit)
>
>

> 足遣かるき事 (footwork is light)
>
>

> しよさのゆふ成事 (moves are easy)
>
>

> 内大き成事 (inside is broad)
>
>

> 心指一筋成事 (intense is straight)
>
>

> 内うたかひ無事 (no doubt inside)
>
>

> 身にりきミ無事 (no tense on body)
>
>

> つ立たる身位事 (standing posture)
>
>

> かたを落す事 (to relax shoulders)
>
>

> 打拍子・切拍子の無事 (no tone of hit/cut)
>
>

> 身能遣事 (good use of body)
>
>

> 心のかたまらぬ事 (mind doesn't harden)
>
>

The subject of the 17th lesson is a content itself. So it has no body part. I feel like I got a E-mail which had only a subject...and I'd like to reply him;
Would you please send me the body again if you would have a time?

> **第十七　吟味は細成吉。しよさ勝口ハ大きなるかよし。**
>
>

> ***The 17th: Testing is good in detail. Moving and chance are good in a broad way.***
>
>

- ? That's all.

I like the 22nd lesson "Practice when our mind isn't in the mood" the best. His advice is self-learning.

... ... I'm not in the mood to speak to you or... You are not in the mood to listen to me. ... ... Do as you like.

He is a moody guy... He walks without a sound...

(Hit!) Hey! (Hit!) Hey!! (Hit!) Hey!!! What do you mean!? I'm training by myself now as you say!!!

> **第二十二　我心のすゝまぬ時の稽古の事**
>
>

> ***The 22nd: Practice when our mind isn't in the mood***
>
>

> 心のすゝまぬ時は、我独の稽古よし。何程打ても、うしろ手にてかゝり、うたれて敵の心根を可見知。ミたる時は、光一ツにする心持吉。すゝまぬ時にても、敵にか、我にか、一すしかたつきて稽古する分別也。
>
>

> *It is good that we train by ourselves when our mind isn't in the mood. If you get some hits in the first, you have to see to know the root of mind of your enemy on stand-by at the second move. When you see, it is good to have mind to put the light into one. Even when it isn't in the mood, at the enemies, or at myself, we are sure to be at somewhere in a straight line. That's the sense of training.*
>
>

... I can't understand what you say or... what you mean... ... ? Why...? Now, I train by myself, right? That's right. And you train by yourself or play with someone something like a ball, right? That's right. It reminds me of something important. Footwork.

> **第二十三　足つかひの事**
>
>

> ***The 23rd: Footwork***
>
>

> あしつかひハ、まりにたとへたる物也。少も居つかす、かるき位吉。乍去、うわつりて、かるきハあしゝ、すくみてかる味わひ吉。
>
>

> *Footwork is referred to a ball. It is good that we don't stay at all to be airy. But, it is bad that we are flippant and flighty high to be restless. It is good taste that we are light to be round.*
>
>

I'm not sure that he is in bad manner or good manner during the lessons...

Unfortunately, the 31st lesson is missing from the note I refer to. It is interesting. "31" is the denominate number in Japanese.

"31" is the uniform number of Kakefu the Mr. Tigers of the baseball team. It is sometimes said that it means the uniform number of Nagashima the Mr. Giants "3" and Ou the Home-Run King "1", or his father told him to practice as hard as 3 times than other players to be No.1 player.

Besides, "31" means the sum total of 5+7+5+7+7 moras in the most major style of short Waka poetry.

## Waka poems in the lessons

There are some orthodox short Waka poems in some lessons.

> **第十　初心の時はせんきにてまよう心持**
>
>

> ***The 10th: Puzzled minding when we have naive mind***
>
>

> われと我か　心の月を　くもらして　よその光を　もとめぬる哉
>
>

> *I myself and the moon in my mind get cloudy,*
>
>

> *and seek the light somewhere else?*
>
>

> **第十六　心指をかくす心持の事**
>
>

> ***The 16th: Minding to hide intent***
>
>

> よきも友　あしきも友と　鏡なる　見るに心の　月をみかけは
>
>

> *Goodness is my friend. Badness is my friend.*
>
>

> *Both are my mirror when I polish to see the moon in my mind.*
>
>

> **第二十一　やむると云と、捨と云替りの事**
>
>

> ***The 21st: Turning of stop or quit***
>
>

> ありのミと　なしといふ字ハ　かわれとも　くふに二つの　あちわひハなし
>
>

> *We say whether god or goodness,*
>
>

> *the two words don't differ in daily greeting.*
>
>

literally;

> *We say whether fruits of being(あり) or not-being(なし:pear in Japanese),*
>
>

> *the two words don't differ in tasty eating.*
>
>

It comes from rewording some jinx, taboo, unlucky words, such as number 13. For example, する-め[Suru-me](= dried cuttlefish, has the same mora of bad luck eyes of dice) -> あたり-め[Atari-me](good luck eyes of dice).

> **第廿六　すたりたる諸作の事**
>
>

> ***The 26th: Moves toning down***
>
>

> よしあしと　おもふ心を　打すてゝ　何事となき　身と成てみよ
>
>

> *Throw away your mind thinking something good or bad,*
>
>

> *to be a simple body where nothing happens.*
>
>

> **第廿七　仕掛の徳の事**
>
>

> ***The 27th: Merit of setup***
>
>

> ときもせす　云も得さりし　所をハ　しらぬ物そと　しるそしるなる
>
>

> *The place where we cannot explain nor say is what we don't know.*
>
>

> *When we know that, it is the time we know it.*
>
>

> **第廿八　勝口の心持の事**
>
>

> ***The 28th: Minding for chance***
>
>

> 引上た　みねに庵を　むすへかし　たにゝは月の　おそく出るなり
>
>

> *It is good living in a hermitage at the high ridge.*
>
>

> *The moon comes up later at the valley.*
>
>

\*ridge of the mountain means the back of the sword.

> 空の身に　思ふ心も　空なれハ　空といふこそ　もとの空なれ
>
>

> *At void body, mind thinking something is also void.*
>
>

> *What we say it is void is the Void itself.*
>
>

> **第卅五　志をしる習の事**
>
>

> ***The 35th: Learning to know the will***
>
>

> 里ハまた　ふらさりけりと　旅人の　いふに山路の　雪をしらる々
>
>

> *"It has NOT snowed YET in the village."*
>
>

> *When we listen to the stranger carefully,*
>
>

> *we can learn he saw the snow at the mountain path.*
>
>

> **第卅六　心そむる習ならふ道の事**
>
>

> ***The 36th: Means of Learning to dye mind***
>
>

> そめはやな　心の色を　黒そめに　衣のいろは　とにもかくにも
>
>

> *Shall we dye our mind black as a monk?*
>
>

> *before saying our stole's color should be black or white.*
>
>

He doesn't mention reference or original verse poems as Munenori and Takuan kindly refer to the source of reference about their poems or quotations.

I think that he had no heavy book with him because of on his road. And I feel that these poems were almost composed by himself to refer to 西行:Saigyo or some other poets in Heian or Kamakura period.

##### **西行 : Saigyo**

https://en.wikipedia.org/wiki/Saigy%C5%8D

> 闇晴れて　心の空に　すむ月は　西の山辺や　近くなるらん - 西行
>
>

> *The dark cleared, the shining moon in the sky of my mind,*
>
>

> *will be get close to the peak of the west, the pure land.*
>
>

> いかでわれ　清く曇らぬ　身になりて　心の月の　影を磨かん - 西行
>
>

> *How can I polish the shadow on the moon in my mind,*
>
>

> *to be pure without cloud?*
>
>

> さてもこは　いかかはすへき　世の中に　有るにもあらす　なきにしもなし - 西行
>
>

> *By the way, how shall I do here?*
>
>

> *I can't say I am among the people,*
>
>

> *and yet, I can't say I am not among the people...*
>
>

> 惜しむとて　惜しまれぬべき　この世かは　身を捨ててこそ　身をも助けめ - 西行
>
>

> *I will miss or I cannot miss this world?*
>
>

> *When I throw away my body, that can help myself with my body.*
>
>

> まどひ来て　悟り得べくも　なかりつる　心を知るは　心なりけり - 西行
>
>

> *I went to be at a loss. I'm not likely to be awaken.*
>
>

> *Only mind knows mind.*
>
>

> 柴の庵と　聞くはくやしき　名なれども　世に好もしき　住居なりけり - 西行
>
>

> *I hear that they say my hermitage is firewood.*
>
>

> *It is disappointing name but, my favorite in the world.*
>
>

The poem at the 36th lesson is transmitted as the poem composed by 法然:Honen in their school.

##### **CHION-IN ENGLISH SITE**

http://www.chion-in.or.jp/e/honen/index.html

> かくばかり、
>
>

> 染めばやな　こころのうちを　黒染に、衣の色は　とにもかくにも - 法然
>
>

## Concept design of the lesson

The opening of the note is also similar to another Honen's poem.

> 月影の　いたらぬ里は　なけれども　ながむる人の　心にぞすむ - 法然
>
>

> *There is no village where the moon shadow doesn't reach.*
>
>

> *But, it stays clealy in mind when someone looks up.*
>
>

His poem is adaptation of a phrase of "観無量寿経: Amitayurdhyana Sutra (Commentary on the Meditation Sutra)"

> 光明遍照　十方世界　念仏衆生　摂取不捨
>
>

> *The Light Shines Everywhere.*
>
>

> *Worlds of the Ten Directions.*
>
>

> *The People Imagining Buddha.*
>
>

> *Takes All Without Abandonment.*
>
>

##### **観無量寿経: Amitayurdhyana Sutra (Commentary on the Meditation)**

https://en.wikipedia.org/wiki/Amitayurdhyana\_Sutra

> *a Mahayana sutra in Pure Land Buddhism, a branch of Mahāyāna Buddhism.*
>
>

Generally, the light is the dazzling sunshine in Buddhism. But, it is interesting that the opening of the note and the poem by Honen regard the light as the moon. The poems by Saigyo also. They are gazing the blue moon at night as if it is themselves.

Commentary on the Meditation Sutra is one of the most important Sutras in Pure Land Buddhism both in Chinese and in Japanese. It has a well-known story of the prince 阿闍世: Ajatashatru of Magadha in North India and his bad friend 提婆達多:Devadatta.

##### **阿闍世 : Ajatashatru**

https://en.wikipedia.org/wiki/Ajatashatru

> *a king of the Haryanka dynasty of Magadha in North India.*
>
>

##### **提婆達多 : Devadatta.**

https://en.wikipedia.org/wiki/Devadatta

> *by tradition a Buddhist monk, cousin and brother-in-law of Gautama Siddhārtha.*
>
>

The Gatha poems in Chinese Sutras are usually composed with 4 or 5 words blocks, such as;

> 自我得仏来　所経諸劫数　無量百千万　億載阿僧祇　- 『法華経』如来寿量品
>
>

> 我仏を得てより来　経たる所の諸の劫数　無量百千万　億載阿僧祇なり
>
>

> *Since I got Buddhahood,*
>
>

> *I have been here for a long time.*
>
>

> *It is countless. 100 \* 1K \* 10K \**
>
>

> *100M... That's about 10^56 or 10^64.*
>
>

> 三界無安　猶如火宅　衆苦充満　甚可怖畏　- 『法華経』譬喩品
>
>

> 三界は安きこと無し。なお火宅の如し。衆苦充満して、甚だ怖畏すべし。
>
>

> *Trailokya, the three realms (of desire, form, formless), are not peaceful.*
>
>

> *They are still like a burning house.*
>
>

> *They are full of suffering on everything.*
>
>

> *We should be afraid of them seriously.*
>
>

##### **法華経(妙法蓮華経) : Saddharma Puṇḍarīka Sūtra (Lotus Sutra)**

https://en.wikipedia.org/wiki/Lotus\_Sutra

> *literally "Sūtra on the White Lotus of the Sublime Dharma"*
>
>

##### **三界 : Trailokya (Three realms)**

https://en.wikipedia.org/wiki/Trailokya

> *These three worlds are identified in Hinduism and appear in early Buddhist texts.*
>
>

> 三界虚妄　但是心作　十二縁分　是皆依心　- 『華厳経』十地品
>
>

> 三界は虚妄にして、但だ是れ心の作なり。十二縁分も是れ皆な心に依る。
>
>

> *The three realms are delusion.*
>
>

> *That is just working of mind.*
>
>

> *The twelve-linked chain of causation.*
>
>

> *All that depends on mind.*
>
>

##### **十地經 :  Daśabhūmika Sūtra (Ten Stages Sutra)**

https://en.wikipedia.org/wiki/Ten\_Stages\_Sutra

> *an early, influential Mahayana Buddhist scripture. The sutra also appears as the 26th chapter of the Avatamsaka Sutra.*
>
>

"十地經: Ten Stages Sutra" is named "十地品: Ten Stages Chapter" in the Flower Garland Sutra (Avatamsaka Sutra). It is a drama of the meeting at 他化自在天: the land of Mara.

##### **十地 : Bhūmi (Ten Stages/Grounds/Levels of Bodhisattva)**

https://en.wikipedia.org/wiki/Bh%C5%ABmi\_(Buddhism)

> *are the ten stages on the Mahayana bodhisattva's path of awakening.*
>
>

They are training grounds where Bodhisattva train themselves to be Buddha or stay as Bodhisattva to live among the people.

##### **菩薩 : Bodhisattva**

https://en.wikipedia.org/wiki/Bodhisattva

> *is the Sanskrit term for anyone who, motivated by great compassion, has generated Bodhicitta, which is a spontaneous wish and a compassionate mind to attain Buddhahood for the benefit of all sentient beings.*
>
>

The title of the book written by the Zen master Takuan "不動地: the Immovable bhūmi" is the 8th from the bottom in the Ten grounds, in which one dwells firmly in the truth of the Middle Way and cannot be perturbed by anything.

There are 52 levels in total on the path of Bodhisattva to get Buddhahood. The Immovable is level 45, the 5th level from the last level, 妙覚. It is 1 origin level-up style and level 52 is count-stop. The practice and status on each level are reveled in the Flower Garland Sutra.

##### **華厳経 : Avatamsaka Sutra (Flower Garland Sutra)**

https://en.wikipedia.org/wiki/Avatamsaka\_Sutra

> *one of the most influential Mahayana sutras of East Asian Buddhism.*
>
>

The Flower Garland Sutra has two Chinese translations, 60 scrolls version and 80 scrolls version.

The 80 scrolls version has 39 chapters. That's the number of the lessons of 悒貫書.

## Motive of the lesson for 悒貫

### **A Bamboo Sword**

悒[yì] is an old word for writing.

It means "not clear, not open, not through, get cloudy or depressed in mind or spirit".

邑[yì] means an administrative subdivision such as village, town, city, (old) prefecture.

忄 is a part of Chinese character which concern about mind, heart, spirit, mental matter and so on.

Today, 悒[yì][Yui/Yu (in Japanese reading)] is usually written with 忧/憂[yōu], such as "内忧外患[nèi yōu wài huàn]: anguish inside ailing outside, troubles both at home and abroad, domestic troubles and external threats"．忧/憂[yōu] means "anxiety, anguish, worry, concern".

In native Japanese reading, it is usually 悒(うれ)-える[Ure-eru].

But, the author of the note read it "悒(いきとお)-り[Ikito(h)o-ri]" in the annotation.

"いきとお-り[Ikito(h)o-ri]" is usually written with 憤[fèn][Fun (in Japanese reading)]. In old Japanese during Nara Period, it had the same meaning of 悒. Besides, "憤(いきとお)-り[Ikito(h)o-ri]" has another meaning, "get angry, anger, irritation, frustration, indignation".

贯/貫[guàn] means "go/run/pass/shoot/thrust through, perforate, pierce, carry through/out", "range, lie / stand / run / stretch in a row line", "birthplace", "(old) monetary unit".

Some of coins made in China and Japan had a hole to be threaded on a string. The coins threaded tight can be a sort of arms at some happening on the road...

貫[K(w)an (in Japanese reading)] has additional meanings, such as "a bar, a crossbar used to secure a door close", "a unit of weight", "amount of rice allotted to samurai class as salary" and so on.

In native Japanese reading, it is 貫(つらぬ)-く[Tsuranu-ku], 貫(ぬ)-く[Nu-ku], 貫(ぬ-き)[Nu-ki], 貫(ひ)-く[Nu-ku].

> 白露に　風の吹きしく　秋の野は　つらぬきとめぬ　玉ぞ散りける - 文屋朝康
>
>

> *The wind blows through the field with dew in autumn.*
>
>

> *A lot of white pearls unfixed with thread are spilling.*
>
>

悒貫[YuiKwan] sounds nice. Too nice. If 憤貫[FunKwan]/[PunKwan], it sounds bad. Too bad...

Generally, consonant F/P/B/G/D sounds powerful and strong in Japanese. It is more suitable for anger than Y(j). The mimetic word of "Fun! Pung-Pung!" is sound symbol of anger in modern Japanese, and "Bang-Bang, Gang-Gang, Dong-Dong" is rough move with loud noisy agitation.

But his choice is mild vowel-like Y(j) even for anger. "Y(j)an" is sound symbol of shyness, bashfulness, innocence, pureness with coquetterie.

His meaning of 悒貫 is sharp and hard anger through something to finish, like a heavy long spear, but his style is mild, soft, and light with a bamboo sword, from start to finish.

A flexible bamboo sword he reformed to use at matches and lessons doesn't kill anyone. It is coordinated with some slender split bamboos and covered with soft leather. That's good enough for him to hit someone to wake up.

It was originally called "蟇肌竹刀: Hiki-hada Shinai (toad-skin bamboo sword)" because the face of the cover looked like toad skin. It is told that it was designed by the founder Hidetsuna in their school. Today, it is usually called "袋竹刀: Fukuro Shinai".

##### **袋竹刀 : Fukuro Shinai (in Deutsch)**

https://de.wikipedia.org/wiki/Fukuro\_Shinai

It is made by one bomboo. A bomboo is once divided in four or eight and sewed together with a cover in one. Someone cut a long slim bomboo verticality, equally and smoothly along to the fiber line. Of course, I can't.

That's a symbolic idea of his concept.

Generally, the tone of his note is very nice, fluent, refined, elegant, graceful, beautiful and comfortable to hear like an old poems, old songs, old essays and old stories in native language.

His formal licence is written by orthodox Chinese style with his formal signature, "上泉伊勢守藤原秀綱", as a formal document. He could use orthodox formal writing style in those day, though it is so square that not comfortable to hear.

His licence is like a sqauere garden with rocks and stones in Zen temples. But his note is like a spring and the river, the cool wind under the bamboos in summer, anyway, something natural and comfortable in the mountain.

Munenori's book is also comfortable to hear. He also uses native language in his book. He sometimes explain meaning of Chinese words from Chinese texts with similar native vocabulary. But his book was for the instrocteor's manual after he died. His fluent thought sometimes stop at reference with redandancy.

That increases his reliability to reduce the probability of errors in transmission, or increases our chance to recover from errors, but it is redundant. His book has some seams with someone's thought, such as the third Shogun Iemitsu or Zen master Takuan.

Hidetsuna's note is seamless. That's very 天衣無縫: a seamless cloth in heavenly sky, an airy one-piece dress made in heaven for a heavenly lady. His note doesn't have seam which may come apart.

That's not 天真爛漫:ingenuous artless nor 無邪気:free from evil nor 無垢:innocent without stain, like infants . His note is rather bloody, but seamless.

Both 天真爛漫 and 天衣無縫 are similar extremums, but álpha and oméga.

天真爛漫 is before art. That's naked. That's anti-aging. That's what he can pretend as if he is so.

天衣無縫 is an art of art. That's dressed. That's well-aging. That's the final of art.

That requires かろ-み such as たしな-み (delicacy, manner, etiquette, education, sophistication)、つつし-み (modesty, decency, cover), いつくし-み (care, tenderness), したし-み (ease, friendship), あわれ-み (mercy, tolerance), ふか-み (depth, profundity), たか-み (height, eminent honor) on the bottom of body, footwork.

They walk without sound. Not Tsuka-Tsuka nor Zuka-Zuka.

He speaks on "打拍子・切拍子の無事 (no tone of hit/cut)" in the good/bad manner chapters.

His speach has so fluent that he can speak on flowing tone in swordsmanship.

His paradigm shift in swordsmanship was from killing to keeping, from sleeping to awaken. Wake up! Do your best. Live seriously.

Life is too good to be killed carelessly. Take care. Take care seriously.

If so, we are still beautiful, even if our hands, our arms, our legs, our body were drifting and drowning in the muddy rivers of hot blood. We must live carefully. Still more must we who killed someone carelessly as if a drowning man will clutch to step on another head.

We have to learn swimming well in our hot cruel brutal blood. If we can use our arms freely, we can decide not to use them.

Life is too good to be killed by ourselves. Please, please, do not stick your sword into your body by yourself, dear young men.

### **A Spear**

Young Hidetsuna, but in 40's, was a brave hard-core Samurai warrior praised as "A Spear" when he served the load 長野: Nagano Family.

His image is so agile that I sometimes forget that he is so-so old man... He is scold by his old father for his restless...in 40's in his history or story...

He was born and grew up in the fiercest battle area around Mt. Fuji, the north-east of the captial, at the peak-time.

He himself was a minor lord of the minor castle of the minor land and lost them at the battle against the major load 北条: Hojo Family.

##### **北条 氏康 : Hojo Ujiyasu**

https://en.wikipedia.org/wiki/H%C5%8Dj%C5%8D\_Ujiyasu

Once he retired in the small village 上泉 with his sicked old father and his family. After his father died, he came back to the battle in spite of his bitter experience to serve Nagano Family against the alliance between Hojo Family and the major load 武田: Takeda Family.

##### **武田 信玄 : Takeda Shingen**

https://en.wikipedia.org/wiki/Takeda\_Shingen

Nagano Family was 在原: Ariwara clan, and they called themselves a descent of Narihira the Mukashi-Wotoko, one of the six poets in Japan. They served the major load 上杉: Uesugi Family and ruined at the battle against 信玄: Shingen.

##### **上杉 謙信 : Uesugi Kenshin**

https://en.wikipedia.org/wiki/Uesugi\_Kenshin

> 春風に 梅も桜も　散り果てて 名のみぞ残る 箕輪の山里 - 業盛
>
>

> *The blossom of plum and cherry has fallen down in the spring wind.*
>
>

> *Only the name will stay at the mountain village of Minowa.*
>
>

> 春風に 氷雨の梅を　散り果てて 名にぞ残れる 箕輪の里かな - 業盛
>
>

> *The village of Minowa will stay only in the name.*
>
>

> *The blossom of plum here has fallen down in the spring wind and cold rain.*
>
>

長野業盛: Nagano Narimori was around 22 when he composed his last poem at the 箕輪:Minowa castle.

When Shingen offered Hidetsuna to be his retainer, he declined it and asked him to allow a long trip. Shingen allowed Hidetsuna to leave under the condition that he must not be other's retainer, not to turn against him.

Hidetsuna vowed it and left the castle with his nephew and senior student.

His fame for excellent martial arts resounded around Mt. Fuji and no one would kill him even when he was held captive after the losing battles. He was drifting from the battle to the battle, from the castle to the castle, from the load to the load like a feather in his first half.

Spears, lances, arrows, bullets and hoofs failed to spoil his mobility.

His another famous name "信"綱:Nobutsuna was named by "信"玄:Shingen who was one of the greatest loads leading the huge troops resourcefully praised as the strongest.

信玄: Shingen was a Buddhist title, like 石舟斎: Sekisyu-sai (the Stone Boat). His name is 武田 晴信: Takeda Harunobu. He was also known as a poet both in Chinese and Japanese style and liked opening the live-session of poetry with some poets from Kyoto.

玄[xuán] means "black, deep, far, vague, unreliable, un-understandable, danger, wonder, wonderful" and so on.

玄[Gen (in Japanese reading)] has additional meaning "dark, dark red, so deep, so far, faint, the sky, color of the sky, gate, roots, source, north" and so on.

In native Japanese reading, it is 玄(くろ)-い[Kuro-i].

Generally, most of the native Japanese speaker don't show their motive and intense clearly, and expect to communicate each other with few words.

I think that Shingen allowed old Hidetsuna to leave because his long trip was a pilgrimage. They went to Ise Grand Shrine, Kofuku-ji temple and Yagyu Village in Nara, and then the capital Kyoto.

##### **伊勢神宮 : Ise Grand Shrine**

https://en.wikipedia.org/wiki/Ise\_Grand\_Shrine

> *located in the city of Ise, Mie Prefecture of Japan, is a Shinto shrine dedicated to the sun goddess Amaterasu.*
>
>

##### **興福寺 : Kofuku-ji**

https://en.wikipedia.org/wiki/K%C5%8Dfuku-ji

> *a Buddhist temple that was once one of the powerful Seven Great Temples, in the city of Nara, Japan.*
>
>

His concept was transmitted from a swordsman to a swordsman seamlessly. Not only to the Stone Boat, but also to the other excellent swordsmen, such as 北畠具教:Kitabatake Tomonori in Ise, 宝蔵院胤栄:Hozoin Innei at Kofuku-ji in Nara, 丸目長恵 in Kyoto.

##### **北畠 具教 : Kitabatake Tomonori**

https://en.wikipedia.org/wiki/Kitabatake\_Tomonori

##### **宝蔵院 胤栄 : Hozoin In'ei**

https://en.wikipedia.org/wiki/H%C5%8Dz%C5%8Din\_In%27ei

##### **丸目 長恵: Marume Nagayoshi**

https://en.wikipedia.org/wiki/Marume\_Nagayoshi

Nagayoshi was from Higo (Kumamoto) to Kyoto and met Hidetsuna when he visited Kyoto from Yagyu village to leave his homework of design for "No Sword" to the Stone Boat.

Nagayoshi was well-known as the best swordsman of the west area, as the Stone Boat was well-known as the best swordsman of the central area, before meeting Hidetsuna.

After meeting Hidetsuna, Nagayoshi was the same as the Stone Boat.

I want to learn it! Welcome. I like telling someone something. Bla Bla Bla. By the way, I want to visit an old friend in Kyoto whom I met in my home village before. I like talking with him. Can you show me the way to his house?

So seamless... borderless... homeless.

His old friend was Dr. 山科言継: Yamashina Tokitsugu. But medical care was one of his various hobbies.

##### **山科 言継: Yamashina Tokitsugu**

https://ja.wikipedia.org/wiki/%E5%B1%B1%E7%A7%91%E8%A8%80%E7%B6%99

He was an official negotiator and the top of finance in the Imperial court. One of his work was collecting contributions from the major loads, for telling someone something interesting, from the land to the land. Another was negotiation with the Shogun and Nobunaga in the capital Kyoto.

言 is say, tell, talk, speak, state, mention, explain, persuade and so on. 継 is relay, succeed, inherit, follow, continue, last, go on, come to, add and so on.

They are very like him...

One of his various hobbies was keeping a diary. Of course, he has his private collection of poetry, unfortunately, selected by himself.

Anyway, Dr. Tokitsugu welcomed old friend Hidetsuna and introduced him to the 13th Shogun 足利義輝: Ashikaga Yoshiteru.

##### **足利義輝 : Ashikaga Yoshiteru**

https://en.wikipedia.org/wiki/Ashikaga\_Yoshiteru

The fresh student Nagayoshi was the partner of the exhibition match for the 13th Shogun Yoshiteru and sent an thanxs letter of admiring his partnership by him.

It is said that Hidetsuna and the best senior students were invited by 正親町天皇:Emperor Ogimachi to show their exhibition match at the second visit Kyoto. At that time, the partner was the most senior student 神後伊豆守宗治: Jingo Izu-no-Kami Muneharu who was also a former retainer of ruined Nagano family and accompanied Hedetsuna on a long trip.

##### **正親町天皇 : Emperor Ogimachi**

https://en.wikipedia.org/wiki/Emperor\_%C5%8Cgimachi

At last, they carried their refine swordsmanship to the dying capital Kyoto, the battle field of 応仁の乱:Onin War.

##### **応仁の乱 : Onin War**

https://en.wikipedia.org/wiki/%C5%8Cnin\_War

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