THE

KIAI-JUTSU SAKKATSU JIZAI

The Art of Kiai That Takes and Spares Life
( by Kumashiro Hikotarō 1911)

Published Privately By
Logan (JT) Weymouth Shihan (6D)
As An Amateur Translation
For The Interests Of
THE AMERICAN FEDERATION OF JUJUTSU
TRANSLATOR'S PREFACE:

One ought to take note that this text, the Kiai-jutsu Sakkatsu Jizai, was popularized in the writings of E.
J. Harrison, namely The Fighting Spirit Of Japan: The Esoteric Study of the Martial Arts and Way of
Life in Japan (1912). The Kiai-jutsu Sakkatsu Jizai is rather well known, but until now there was no
ready translation ever made available, to my knowledge. Apparently there is some confusion about the
citations in the writings of E. J. Harrison and one finds references to that text containing a translation,
or parts of a translation. It does not. As told in the text of Mr. E.J. Harrison's book, the main gist of the
Kiai-jutsu Sakkatsu Jizai was paraphrased in summation (Chapter XIII, The Fighting Spirit Of Japan)
by a Japanese confident named Mr. Umezawa. From this, the paraphrased citations occurred in parts of
his own text when it was made. Avid mention of these paraphrased citations had led to some wide
spread recognition of the Kiai-jutsu Sakkatsu Jizai, and the citations were common to hear repeated as
being rather the esoterica of the secrets of the martial arts. If one compares the paraphrased citation of
Chapter One in the Sakkatsu Jizai, namely the simple definition of what Aiki is, one finds a profound
discrepancy between what the Sakkatsu Jizai says and what the citation in the writings of E. J. Harrison
said. The notes I made in the text help explain in simple terms, one can see a good example of what got
left out in the citations. But I have no idea why this material omission occurred?

The subjects of Kiai-jutsu and Aiki-jutsu are inexorably interlinked, in some ways fully integrated to
one another as practically one artifice, in other ways held to be quite separate from each other. It is a
grave error to think that (ultimately) Kiai-jutsu is in reference to the making of spirited shouts (the idea
is quite erroneous and at times rather preposterous.) Both arts, Kiai-jutsu and Aiki-jutsu, involve
manipulation of the environment and persons in it. Kiai-jutsu is best understood as manipulation by
direct and less subtle means whereas Aiki-jutsu is, to the contrary, said to be manipulation by subtle
and various of the less than obvious means. Hopefully this note will help the reader comprehend the
translation better?
Special Note: All instances of the term 'Kiai' and also 'Aiki' extant in this text were render in romaji
and not subjected to translation directly themselves (oftentimes the definition was instead provided in
bracketed quotation marks). This is because both of these idioms have multiple definitions (meaning is
derived by context of the term as it occurs in any given phrase construct.) Also, one ought to remember
that the Sakkatsu Jizai is sort of like a cross section in time and history, it contains references to the old
days when European colonisation was occurring, and some of the battles that happened as the Japanese
were forced to repel European attempts at colonisation of Japan's shores. Due to long standing
interaction with Christian Europeans, there are some number of references to Christianity and the
Christian God in it's pages. Due to the instance of the American Naval Commodore Perry having
forced open the bay at Tokyo and regular interaction with the Americans thereafter, there are several
American references. Stories of Abraham Lincoln, including references the how the sheaves of wheat
got on the back of the so-called 'wheat' pennies, which most modern so-called Americans seem to know
nothing of. The text of the Sakkatsu Jizai goes like this, showing strong evidence of the common
interactions East to West.

Logan (JT) Weymouth

Rokudan Shihan, AFJ
March 23rd, 2018
自 序
英雄と呼ば偉人と稱せらるゝものは、畢意是れ氣合術の妙を得たるに在り。苟も氣合術を修
めて其の妙を得んか、何人も英雄たり偉人たることを得るなり。但氣合術は難きに似て是れ
易く、易くして而も難し要は其の心身を鍛錬して、其の功を積むと積まざるとにあるのみ。
余は未だ氣合術の妙域に達したるものに非ずといへども、氣合術の修行に志すことや多年、
赤以て聊か心身の鍛錬を講究せり。且つ氣合術に精しき武骨庵に就いて裨益する所尠しと爲
さず、是れ即ち本書の著ある所以なり、若し夫れ幸に、身心鍛錬の好指南たるを得て、多く
の英雄律人の輩

Regarding what would be called heroes and great men, the summation is that it means to be
accomplished at the Art of Kiai. Usually, regarding the Art of Kiai, what is easy is mistaken for being
difficult. And furthermore, [despite] being easy, there is difficulty in the accomplishment of the
training of mind and body, in the corpus of what one cannot accumulate [by way of
knowledge/technique.] Moreover, it is not mistaken to think that one achieve the limits of excellence
that constitute the Art of Kiai. One must aspire to the many years of the training practices of the Art of
Kiai. It is that the specialization of the training of mind and body is somewhat by means of the staining
of crimson [i.e.; one's own blood]. And yet, in the Art of Aiki, one becomes well acquainted with the
haven of boorish behavior [i.e.; in the sense of being able to make use of it ] and makes a profit from one's
apprenticeship, otherwise there would be no small advantage to it.

[ Trans Note: Page bears a seal signature block, late seal script, bearing the word(s):
Mitsuika (三井家) meaning “House of Mitsui” ]

—— ( 1 ) ——
出するあらば、獨り著者の光榮に止まらずして、是直に我が國家の幸なり。唯其の功を積む
と積まざるとは讀者に在り、讀者夫れ著者の微意を諒せよ。
明治辛亥初春 著者 識す

There would be the appearance of many ranks of heroic people, the author [of this text] would not seek
to prevent their brilliance. This in all honesty would be the good fortune of the household of our
country. Usually causing an accumulation of such merit, but the reader is not accumulating this. The
author hopes that the reader accepts the truth as a small token of gratitude.
Meiji era (1868-1912), 48th of the sexagenary cycle at the beginning of spring. A note by the author.

—— ( 2 ) ——

TABLE OF CONTENTS PAGE ONE FOLLOWS

殺自
活在

氣合術目次
Kiai-jutsu Sakkatsu Jizai Mokuji
Table of Contents for the Kiai-jutsu Sakkatsu Jizai

第一章 氣合術の妙用••••••••••••••••••••••••••••••••••••••••••••••••••• 一
Daijjō Kiai-Jutsu No Myōyō Chapter One The Mysterious Effects Of Kiai-jutsu Page 1
第一節 氣合術とは何ぞや••••••••••••••••••••••••••••••••••••••••••••••••• 三
Dai'issetsu Kiai-Jutsu Toha Nanizoya Section One The Art of Kiai and What It Is Page 3
一、合氣と氣合••••••••••••••••••••••••••••••••••••••••••••••••••••• 五
Ichi, Aiki To Kiai One, The Aiki and the Kiai Page 5
二、氣合の動的方而及靜的方而••••••••••••••••••••••••••••••••••••••• 五
Ni, Kiai No Dōteki-pō Jikyū Seiteki-hō Ji Page 5
Two, The Ways of Dynamics in Kiai and the Consequential Unexpected Suspension
第二節 氣合術と成功••••••••••••••••••••••••••••••••••••••••••••• 五
Daini-setsu Kiai-Jutsu To Seiko Section Two The Art of Kiai and Success Page 5
一、奮鬪の氣合••••••••••••••••••••••••••••••••••••••••••••••••••••• 六
Ichi, Funtō No Kiai One, The Strenuous Efforts of Kiai Page 5
二、事を爲すの氣合••••••••••••••••••••••••••••••••••••••••••••••••• 七
Ni, Koto Wo Nasu No Kiai Two, The Kiai of Accomplishing Things Page 7
三、歌川豐國の畵••••••••••••••••••••••••••••••••••••••••••••••••••• 七
San, Utagawa Toyukuni No Kaku Three, The Paintings of Utagawa Toyukuni Page 7
四、熱誠の氣合••••••••••••••••••••••••••••••••••••••••••••••••••• 一○
Yon, Nessei No Kiai Four, The Kiai of Earnestness Page 10
五、鍛工助弘の熱誠••••••••••••••••••••••••••••••••••••••••••••••• 一○
Go, Tankō Sukehiro Nessei
Five, The Earnestness of the General Assistance of Forge Training Page 10
第三節 氣合術と處世法•••••••••••••••••••••••••••••••••••••••••••••••• 一四
Daisan-setsu Kiai-Jutsu To Shoseihō Page 14
Section Three The Art of Kiai and Methods of Conduct

—— ( 1 ) ——
 一、機智の氣合••••••••••••••••••••••••••••••••••••••••••••••••••• 一四
Ichi, Kichi No Kiai One, The Kiai of Tactic Page 14
二、利 休と曾呂利新左衞門•••••••••••••••••••••••••••••••••••••••• 一五
Ni, Rikyū To Sorori Shinzaemon Rikyū and Sorori Shinzaemon Page 15
第四節 氣合術と武士道及武藝•••••••••••••••••••••••••••••••••••••••••• 一八
Daiyon-setsu Kiai-Jutsu To Bushidō Oyobi Bugei Page 18
Section Four The Art of Kiai and the Way of the Warrior, as well as the Warrior Arts
一、剣法の極意と氣合術••••••••••••••••••••••••••••••••••••••••••• 二一
Ichi, Kenpō No Gokui To Kiai-jutsu Page 21
One, The Secrets of Swordsmanship and the Art of Kiai
二、馬術の極意と氣合術••••••••••••••••••••••••••••••••••••••••••• 二一
Ni, Bajutsu No Gokui To Kiai-jutsu Page 21
Two, The Secrets of Horsemanship and the Art of Kiai
三、弓術の極意と氣合術••••••••••••••••••••••••••••••••••••••••••• 二二
San, Kyūjutsu No Gokui To Kiai-jutsu
Three, The Secrets of Archery and the Art of Kiai Page 22
四、槍術の極意と氣合術•••••••••••••••••••••••••••••••••••••••••• 二三
Yon, Yari-jutsu No Gokui To Kiai-jutsu Page 23
Four, The Secrets of the Spear and the Art of Kiai
五、柔道の極意と氣合術••••••••••••••••••••••••••••••••••••••••••• 二三
Go, Judō No Gokui To Kiai-jutsu Page 23
Five, The Secrets of the Art of Judo and the Art of Kiai
第五節 氣合術と相撲道••••••••••••••••••••••••••••••••••••••••••••••••• 二四
Daigo-setsu Kiai-jutsu To Sumōdō Page 24
Section Five The Art of Kiai and the Art of Sumo
第六節 氣合術と催眠術••••••••••••••••••••••••••••••••••••••••••••••••• 三○
Dairoku-setsu Kiai-jutsu To Saimin-jutsu Page 30
Section Six The Art of Kiai and the Art of Mesmerization
第七節 氣合術と宗敎••••••••••••••••••••••••••••••••••••••••••••••••••• 三○
Daishichi-setsu Kiai-jutsu To Shūkyō Page 30
Section Seven The Art of Kiai and Religious Matters
一、釋尊の放下着•••••••••••••••••••••••••••••••••••••••••••••••••• 三一
Ichi, Shakuson No Hōgejaku Page 31
One, The Casting Off and Bearing of Guilt by the Sages
二、基督の洗足•••••••••••••••••••••••••••••••••••••••••••••••••••• 三二
Ni, Kirisuto No Sensoku Page 32
Two, The Feet Washing of Jesus Christ
第八節 氣合術と敎育••••••••••••••••••••••••••••••••••••••••••••••••••• 三三
Daihachi-setsu Kiai-jutsu To Kyōiku Page 33
Section Eight The Art of Kiai and the Education

—— ( 2 ) ——
 一、氣合術と習字•••••••••••••••••••••••••••••••••••••••••••••••••• 三三
Ichi, Kiai-jutsu To Shūji One, The Art of Kiai and Penmanship Page 33
二、敎育家の氣合•••••••••••••••••••••••••••••••••••••••••••••••••• 三五
Ni, Kyōikuka No Kiai Two, The Kiai of Educators Page 35
第九節 氣合術と藝術••••••••••••••••••••••••••••••••••••••••••••••••••• 三七
Dainana-setsu Kiai-jutsu To Geijutsu Page 37
Section Nine The Art of Kiai and the Fine Arts
一、書畵の極意と氣合術•••••••••••••••••••••••••••••••••••••••••••• 四一
Ichi, Shokaku No Gokui To Kiai-jutsu Page 41
One, The Secrets of Writing and Painting and the Art of Kiai
二、華山の畵訣•••••••••••••••••••••••••••••••••••••••••••••••••••• 四二
Ni, Hanayama No Kakketsu Two, The Painting Secrets of Hanayama Page 42
三、名俳優の魔力•••••••••••••••••••••••••••••••••••••••••••••••••• 四二
San, Meihaiyū No Maryoku Three, The Bewitching Power of Actors Page 42
第十節 氣合術と實業••••••••••••••••••••••••••••••••••••••••••••••••••• 四三
Daijū-setsu, Kiai-jutsu To Jitsugyō Section 10, The Art of Kiai and Industry Page 43
河村瑞軒の致富氣合••••••••••••••••••••••••••••••••••••••••••••••• 四四
Kawamura Zuiken No Chifu Kiai Page 44
The Kiai of Becoming Wealthy Like Kawamura Zuiken
第十一節 氣合術と政治••••••••••••••••••••••••••••••••••••••••••••••••• 四五
Daijūichi-setsu, Kiai-jutsu To Seiji Section 11, The Art of Kiai and Politics Page 45
リンコンの諧 謔氣合•••••••••••••••••••••••••••••••••••••••••••••• 四六
Rinkon No Kaigyaku Kiai The Kiai of the Joke of Lincoln Page 46
第二章 氣合術と生理••••••••••••••••••••••••••••••••••••••••••••••••••• 五○
Dainijō Kiai-jutsu To Seiri The Art of Kiai and Physiology Page 50
第一節 氣合術と呼吸•••••••••••••••••••••••••••••••••••••••••••••••••••• 五○
Dai'issetsu Kiai-jutsu To Kokyū Section One The Art of Kiai and Breathing Page 50
一、調息術•••••••••••••••••••••••••••••••••••••••••••••••••••••••• 五二
Ichi, Chōsoku-jutsu One, The Art of Rythmic Breathing Page 52

—— ( 3 ) ——
 二、無念無心と呼吸•••••••••••••••••••••••••••••••••••••••••••••••• 五六
Ni, Munen Mushin To Kokyū Page 56
Two, Being Free From Thoughts of Regret or Innocence And One's Breathing
第二節 氣合術と姿勢••••••••••••••••••••••••••••••••••••••••••••••••••• 五八
Daini-setsu Kiai-jutsu To Shisei Page 58
Section Two, The Art of Kiai and One's Attitude
一、姿勢の第一要件•••••••••••••••••••••••••••••••••••••••••••••••• 五八
Ichi, Shisei No Dai'ichi Yōken Page 58
One, The Single Most Important Matter Regarding Attitude
二、姿勢の第二要件•••••••••••••••••••••••••••••••••••••••••••••••• 五九
Ni, Shisei No Daini Yōken Page 59
Two, The Second Most Important Matter Regarding Attitude
三、姿勢の身體に及ぼす影響•••••••••••••••••••••••••••••••••••••••• 六○
San, Shisei No Shintai Ni Oyobosu Eikyō Page 60
Three, The Effects of One's Attitude on the Body
四、姿勢の精神に及ぼす影響•••••••••••••••••••••••••••••••••••••••• 六一
Yon, Shisei No Seishin Oyobosu Eikyō Page 61
Four, The Effects of One's Attitude on the Spirit
五、姿勢の氣血に及ぼす影響•••••••••••••••••••••••••••••••••••••••• 六二
Go, Shisei No Seishin Oyobosu Eikyō Page 62
Five, The Effects of One's Attitude on the Spirit
第三節 氣合術と眼力••••••••••••••••••••••••••••••••••••••••••••••••••• 六四
Daisan-setsu Kiai-jutsu To Ganryoku Page 64
Section Three The Art of Kiai and the Powers of Observation
第四節 氣合術と握固••••••••••••••••••••••••••••••••••••••••••••••••••• 六五
Daiyon-setsu Kiai-jutsu To Nigiri-gatamu Page 65
Section Four, The Art of Kiai and One's Grip
第五節 氣合術と足及腰••••••••••••••••••••••••••••••••••••••••••••••••• 六五
Daigo-setsu Kiai-jutsu To Sokkyūyō Page 65
Section Five The Art of Kiai and the Position of the Hips and Feet
第六節 氣合術と「ふぐり」••••••••••••••••••••••••••••••••••••••••••••• 六八
Dairoku-setsu Kiai-jutsu To Fuguri Page 68
Section Six, The Art of Kiai and the Testicles
第三章 氣合術と心理••••••••••••••••••••••••••••••••••••••••••••••••••• 七一
Daisanjō Kiai-jutsu To Shinri Chapter Three The Art of Kiai and Physchology Page 71
第一節 氣合術と精神力の統一•••••••••••••••••••••••••••••••••••••••••••• 七一
Dai'issetsu Kiai-jutsu To Seishinryoku No Tōitsu Page 71
The Art of Kiai and Control of the Force of Will

—— ( 4 ) ——
 第二節 氣合術と注意集注作用•••••••••••••••••••••••••••••••••••••••••••• 七二
Daini-setsu Kiai-jutsu To Chūi Jūchū Sayō Page 71
Section Two Caution in the Usage of Various Writings
一、突嗟の機智•••••••••••••••••••••••••••••••••••••••••••••••••••• 七三
Ichi, Tossa No Kichi One, The Tactic of Immediacy Page 73
二、注意作用の練磨•••••••••••••••••••••••••••••••••••••••••••••••• 七四
Ni, Chūi Sayō No Renma Two, The Practice of Caution in Application Page 74
三、注意力利用法•••••••••••••••••••••••••••••••••••••••••••••••••• 七九
San, Chūi-ryoku Ryōhō Three, Methods to Use Attentiveness Page 79
四、氣と心•••••••••••••••••••••••••••••••••••••••••••••••••••••••• 八○
Yon, Ki To Shin Four, The Spirit and the Mind Page 80
五、調氣
法•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 八二
Go, Chōki-hō Five, The Methods of Rhythmic Disposition Page 82
六、充氣法•••••••••••••••••••••••••••••••••••••••••••••••••••••••• 八四
Roku, Jūki-hō Six, The Methods of 'Filling-up' Page 84
七、氣の扱と力の扱•••••••••••••••••••••••••••••••••••••••••••••••• 八五
Shichi, Ki No Koki To Chikara No Koki Page 85
Seven, The Handling of Disposition and the Handling of Strengths
八、心、氣力の一致•••••••••••••••••••••••••••••••••••••••••••••••• 八五
Hachi, Shin, Ki, Chikara No Icchi Page 85
Eight, The Mind, Disposition and Strengths as One
九、本心と血氣•••••••••••••••••••••••••••••••••••••••••••••••••••• 八七
Kyū, Honshin To Kekki Nine, True Feelings and Vigorousness Page 87
十、身心相關の原則•••••••••••••••••••••••••••••••••••••••••••••••• 八七
Jū, Shinjin Sōkan No Gensoku Page 87
Ten, The Principle of Inter-relationship Between Mind and Body
第四章 氣合術と哲理•••••••••••••••••••••••••••••••••••••••••••••••••• 八九
Daiyonjō Kiai-jutsu To Tetsuri Chapter Four The Art of Kiai and Philosophies Page 89
第一節 天人一體•••••••••••••••••••••••••••••••••••••••••••••••••••••••• 八九
Dai'issetsu Tenjin Ittai Section One Heaven and Man Together as One Page 89
第二節 天地の氣機•••••••••••••••••••••••••••••••••••••••••••••••••••••• 九○
Daini-setsu Tenchi Kiki Section Two, The Mechanics of Heaven and Earth Page 90

—— ( 5 ) ——
 第三節 心即天•••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 九○
Daisan-setsu Kokoro Sokuten Section Three The Mind Agrees With Heaven Page 90
第四節 心體清浄の要訣•••••••••••••••••••••••••••••••••••••••••••••••••• 九一
Daiyon-setsu Shintai Seijō No Yōketsu Page 91
Section Four The Main Point of Purity of Mind and Body
第五節 虛實の妙用•••••••••••••••••••••••••••••••••••••••••••••••••••••• 九二
Daigo-setsu Kyojitsu No Myōyō Page 92
Section Five The Mysterious Effects of Truth and Falsehood
第六節 動靜一致•••••••••••••••••••••••••••••••••••••••••••••••••••••••• 九四
Dairoku-setsu Dōsei Icchi Section Six Cooperation With Circumstances Page 94
第七節 動靜と無住心•••••••••••••••••••••••••••••••••••••••••••••••••••• 九五
Daishichi-setsu Dōsei To Mujūshin Page 95
Section Seven Conditions And The Unfettered Mind
第五章 氣合術と精神修養•••••••••••••••••••••••••••••••••••••••••••••• 九七
Daigojō Kiai-jutsu To Seishinshūyō Page 97
Chapter Five The Art of Kiai and Mental Training
第一節 克己心と降魔の氣合•••••••••••••••••••••••••••••••••••••••••••••• 九七
Dai'issetsu Kokkishin To Gōma No Kiai Page 97
Section One The Spirit of Self-Denial and the Kiai of Conquering the Devil
第二節 柔能く剛を制す•••••••••••••••••••••••••••••••••••••••••••••••••• 九九
Daini-setsu Jūyokugō Wo Seisu Page 99
Section Two That Which Is Gentle Frequently Governs That Which Is Firm
第三節 自重心と不動心•••••••••••••••••••••••••••••••••••••••••••••••••• 九九
Daisan-setsu Jijūshin To Fudōshin Page 99
Section Three Self Restraint and Steadfast Calmness
第四節 不動心と死生觀•••••••••••••••••••••••••••••••••••••••••••••••• 一○○
Daiyon-setsu Fudōshin To Shiseikan Page 100
Section Four Steadfast Calmness and One's Outlook on Life and Death
第五節 不動心と無畏心•••••••••••••••••••••••••••••••••••••••••••••••• 一○一
Daigo-setsu Fudōshin To Muishin Page 101
Section Five Steadfast Calmness and the Unconditioned Mind

—— ( 6 ) ——
 第六節 不動心と正直•••••••••••••••••••••••••••••••••••••••••••••••••• 一○一
Dairoku-setsu Fudōshin To Shōjiki Page 101
Section Six Steadfast Calmness and Frankness
第七節 當意即妙と虛無の心•••••••••••••••••••••••••••••••••••••••••••• 一○二
Daishichi-setsu Tōisokumyō Kyomu No Shin Page 102
Section Seven Sharpness Mindedness And The Sense of Nothingness
第八節 能ある鷹逸物の猫•••••••••••••••••••••••••••••••••••••••••••••• 一○四
Daihachi-setsu Nō Aru Taka Ichimotsu No Neko Page 104
Section Eight Having The Skill Of A Fine Hawk With A Cat In It's Claws
第九節 武田信玄家訓•••••••••••••••••••••••••••••••••••••••••••••••••• 一○五
Daikyū-setsu Takeda Shingen Kakun Page 105
Section Eight The House Rules of Takeda Shingen
第六章 氣合術の極意•••••••••••••••••••••••••••••••••••••••••••••••• 一○七
Dairokujō Kiai-jutsu No Gokui Chapter Six The Secrets of the Art of Kiai Page 107
第一節 氣合術の託宣••••••••••••••••••••••••••••••••••••••••••••••••• 一○七
Dai'issetsu Kiai-jutsu No Takusen Section One The Oracle of the Art of Kiai Page 107
第二節 氣合術極意の歌••••••••••••••••••••••••••••••••••••••••••••••• 一○九
Daini-setsu Kiai-jutsu Gokui No Uta Page 109
Section Two The Song of the Secrets of the Art of Kiai
第三節 氣合術の秘奥••••••••••••••••••••••••••••••••••••••••••••••••• 一○九
Daisan-setsu Kiai-jutsu No Hio-o Page 109
Section Two The Mysteries of the Art of Kiai
一、方圓三角•••••••••••••••••••••••••••••••••••••••••••••••••••• 一○九
Ichi, Hōen Sankaku One, The Squares, Circles and Triangles Page 109
二、四角八方•••••••••••••••••••••••••••••••••••••••••••••••••••• 一一○
Ni, Shikaku Happō Two, The Squares of Eight Directions Page 110
三、雨捨一用•••••••••••••••••••••••••••••••••••••••••••••••••••• 一一○
San, Usha Ichiyō Three, Abandoning in the Rain has One Usage Page 110
四、水月移寫•••••••••••••••••••••••••••••••••••••••••••••••••••• 一一一
Yon, Suigetsu Isha Four, Transferring Moon On the Waters Page 111

—— ( 7 ) ——
 五、心眼の活力•••••••••••••••••••••••••••••••••••••••••••••••••• 一一二
Go, Shingan No Katsuryoku Dynamics of the Mind's Eye Page 112
六、必勝の 秘訣••••••••••••••••••••••••••••••••••••••••••••••••• 一一三
Roku, Hisshō No Hiketsu Six, The Secrets of Certain Victory Page 113
第四節 澤庵和尚禪劍一致の極意•••••••••••••••••••••••••••••••••••••••• 一一四
Daiyon-setsu Takuan Oshō Zenken Icchi No Gokui Page 114
The Secrets of the Monk Takuan and the Sword of Zen Are One
一、無明住地の煩惱•••••••••••••••••••••••••••••••••••••••••••••• 一一四
Ichi, Mumyō Jūchi No Bonnō Page 114
One, The Evil Passions of Living in Lands of Ignorance
二、諸佛不動智•••••••••••••••••••••••••••••••••••••••••••••••••• 一一六
Ni, Shōbutsu Fudōchi Two, The Firm Wisdom of the Many Buddhas Page 116
三、間不容髪•••••••••••••••••••••••••••••••••••••••••••••••••••• 一二一
San, Kan Fuyohatsu Three, Not Even Enough Space For A Single Hair Page 121
四、石火の機•••••••••••••••••••••••••••••••••••••••••••••••••••• 一二二
Yon, Sekka No Ki Four, The Opportunity of a Flint's Flashing Page 122
五、心の置き處•••••••••••••••••••••••••••••••••••••••••••••••••• 一二五
Go, Kokoro No Okidokoro Five, A Place To Put Things In One's Heart Page 125
六、本心と妄心•••••••••••••••••••••••••••••••••••••••••••••••••• 一二八
Roku, Honshin To Mōshin Six, True Feelings and Delusion of the Mind Page 128
七、有心の心と無心の心•••••••••••••••••••••••••••••••••••••••••• 一二九
Shichi, Ushin No Shin To Mushin No Shin Page 129
Seven, The Spirit of the Distracted Mind and the Spirit of the Mindlessness
八、水上の胡蘆子•••••••••••••••••••••••••••••••••••••••••••••••• 一三一
Hachi, Suijō No Koroshi Page 131
Eight, The Children of the Barbarian Bullrush On The Waters
九、應無所住而生其心•••••••••••••••••••••••••••••••••••••••••••• 一三一
Kyū, Ōmushojū Ni Shōgoshin Page 131
Nine, Respond To Having No Place To Live But Yet Live According To That Spirit
十、求放心•••••••••••••••••••••••••••••••••••••••••••••••••••••• 一三五
Jū, Kyūhōshin Ten, Wanting For Peace Of Mind
Page 135
十一、前後際斷•••••••••••••••••••••••••••••••••••••••••••••••••• 一三七
Jūichi, Zengo Saidan Eleven, Circumstances Before and After Page 137
十二、永焦上、火酒雲•••••••••••••••••••••••••••••••••••••••••••• 一三七
Jūni, Eishōjō Kaju'un Page 137
Twelve, Scorching At Length, the Clouds of Strong Drink
第七章 氣合術の實例••••••••••••••••••••••••••••••••••••••••••••••••• 一四二
Daisichijō Kiai-jutsu To Jitsurei Chapter Seven, Examples of the Art of Kiai Page 137

—— ( 8 ) ——
第一節 人類の氣合••••••••••••••••••••••••••••••••••••••••••••••••••••• 一四二
Dai 'issetsu Jinrui No Kiai Section One The Kiai of Humans Page 142
千利休加藤清正氣合競べ••••••••••••••••••••••••••••••••••••••••• 一四二
Sen No Rikyū Katō Kiyomasa Kiai-kurabe Page 142
A Comparison of the Kiai of Sen No Rikyū and Katō Kiyomasa
第二節 動物氣合••••••••••••••••••••••••••••••••••••••••••••••••••••••• 一四三
Daini-setsu Dōbutsu Kiai Section Two The Kiai of Animals
Page 143
一、動物催眠の方法•••••••••••••••••••••••••••••••••••••••••••••• 一四五
Ichi, Dōbutsu Saimin No Hōhō Page 145
One, The Methods of Mesmerizing Animals
二、動物催眠の原理•••••••••••••••••••••••••••••••••••••••••••••• 一五七
Ni, Dōbutsu Saimin No Genri Page 157
Two, The Principles of Mesmerizing Animals
三、柳生飛彈守雀羽がひ止めの氣合•••••••••••••••••••••••••••••••• 一六○
San, Yagyū Hida No Kami Suzumeha Ga Tome No Kiai Page 160
Three, The Sparrow Feather Kiai Stopper of Yagyū-Hida-No-Kami
四、正木段之進鼠追ひの氣合•••••••••••••••••••••••••••••••••••••• 一六二
Yon, Masaki Danshi Shinso Ahi No Kiai Page 162
Four, The Kiai of the Masaki Danshi When Chasing a Mouse
五、柳生三厳狐退抓治の氣合•••••••••••••••••••••••••••••••••••••• 一六五
Go, Yagyū Mitsuyoshi Kitsune Shirizoke Sōji Page 165
Five, Yagyū Mitsuyoshi's Quelling By Plucking Up A Fox As It Retreats
六、毘沙門無心の氣合•••••••••••••••••••••••••••••••••••••••••••• 一六七
Roku, Bishamon Mushin No Kiai Page 167
Six, Bishamon's Kiai of the Mindlessness
七、清正秀忠虎除けの氣合•••••••••••••••••••••••••••••••••••••••• 一六八
Shichi, Kiyomasa Hidetada Tora Yoke No Kiai Page 168
Seven, Kiyomasa Hidetada's Kiai of Repelling a Tiger ('Drunkard')
八、吠え付く犬を止むる氣合•••••••••••••••••••••••••••••••••••••• 一六八
Hachi, Hoetsuku Inu Wo Yamu Kiai Page 168
The Kiai To Stop A Barking Dog Chasing You
九、山本勘助狼除けの氣合•••••••••••••••••••••••••••••••••••••••• 一六九
Kyū, Yamamoto Kansuke Ookami Yoke No Kiai Page 169
Yamamoto Kansuke's Kiai For Repelling A Wolf
十、動物氣合の原理•••••••••••••••••••••••••••••••••••••••••••••• 一七○
Jū, Dōbutsu Kiai No Genri The Principles of the Kiai of Animals Page 170
第三節 動物相互の氣合•••••••••••••••••••••••••••••••••••••••••••••••• 一七三
Daisan-setsu Dōbutsu Sōgo No Kiai Page 173
Section Three The Reciprocal Kiai of Animals
一、蛇の氣合•••••••••••••••••••••••••••••••••••••••••••••••••••• 一七四
Ichi, Hepi No Kiai One, The Kiai of Serpents Page 174

—— ( 9 ) ——
 二、蝦蟇の氣合•••••••••••••••••••••••••••••••••••••••••••••••••• 一七四
Ni, Hikigaeru No Kiai Two, The Kiai of Toads Page 174
三、雉の氣合•••••••••••••••••••••••••••••••••••••••••••••••••••• 一七六
San, Ki(ki)ji No Kiai Three, The Kiai of Pheasants Page 176
四、犬の氣合•••••••••••••••••••••••••••••••••••••••••••••••••••• 一七七
Yon, Inu No Kiai Four, The Kiai of Dogs Page 177
五、狸能く豹を伏す•••••••••••••••••••••••••••••••••••••••••••••• 一八○
Go, Tanuki Yoku Hyō Wo Fusu Page 180
Five, A Raccoon Hiding Itself From A Leopard
六、窮鼠猫を嚙む•••••••••••••••••••••••••••••••••••••••••••••••• 一八○
Roku, Kyūso Neko Wo Kamu Six, A Cornered Rat Will Bite A Cat Page 180
第四節 生物以外に對する氣合•••••••••••••••••••••••••••••••••••••••• 一八九
Daiyon-setsu Seibutsu Igai Ni Taisuru Kiai Page 189
Section Four The Kiai of Living When Confronted With One Another
一、耶蘇の氣合颶風を靜む•••••••••••••••••••••••••••••••••••••••• 一九○
Ichi, Yaso No Kiai Gufū Wo Shizumu Page 190
One, The Kiai of Jesus Christ Quieting The Tempest
二、湯淺常山の氣合 鼂を叱す••••••••••••••••••••••••••••••••••••• 一九一
Ni, Yuasa Jōzan No Kiai Umigame Wo Shikasuru Page 191
Two, Yuasa Jōzan's Kiai Against Being Scolded by Sea Turtles
三、九字護身法•••••••••••••••••••••••••••••••••••••••••••••••••• 一九三
San, Kuji Goshinpō Three, Nine Syllables Self Protection Method Page 193
(イ)九字護身法 授受儀•••••••••••••••••••••••••••••••••••••••• 一九三
(I) Kuji Goshinpō Jujugi Page 193
(A) Nine Syllables Self Protection Method, The Matter of Changing Hands
(ロ)九字の印••••••••••••••••••••••••••••••••••••••••••••••••• 一九四
(Ro) Kuji No In (B) The Signet Seal of the Nine Syllables Page 194
(ハ)九字の切り 様•••••••••••••••••••••••••••••••••••••••••••• 一九六
(Ha) Kuji No Kirizama (C) The Finishing of the Nine Syllables Page 196
(ニ)十字の大事••••••••••••••••••••••••••••••••••••••••••••••• 一九六
(Ni) Kuji No Daiji (D) The Important Matters of the Nine Syllables Page 196

殺自
活在

氣合術目次発終
Kiai-jutsu Sakkatsu Jizai Mokuji Hattsui
Conclusion of the Table of Contents of the Kiai-jutsu Sakkatsu Jizai

—— ( 10 ) ——
殺自
活在

氣合術
熊代彦太郎著

第一章 氣合の妙用

人生を支配する一大勢力、其れは人類に存するあらゆる勢力の源泉であつて、殆んど勢力中
の勢力ともいふべき一大勢力がある。即ち氣合の妙術である。蓋し氣合術の存在は、古來世
人の認めて居る所であるが、多くは武術に專屬し、武士の專有物、特に柳生だとか塚原だと
か宮本だとかいふ樣な、少数武術家の專責特許のやうに考ヘて居て、武門以外の人には用の
なきもの、或は用ありとも到底之を何ふことの出來ない秘密の

Kiai-jutsu Sakkatsu Jizai

The Art of Kiai That Takes and Spares Life
Kumashiro Hikotarō
[Author's Name]

Daijjō Kiai-jutsu No Myōyō

Chapter One The Mysterious Effects Of Kiai-jutsu

Having the power to control human life and death is a great power, indeed, mankind exists having
come from the source of all powers. Almost invariably [mankind is] a power within the midst of the
powers, one ought to say, being one great power [himself]. Namely, there is the strangely superb
artifice (myōjutsu) of the Kiai [ ALT TRANS: "...superb artifice of the ability to control things..." ]. Regarding the
existence of the Art of the Kiai, perhaps people in the ancient times observed that it existed as a matter
of recourse. Many of the paramilitary arts (bujutsu) specialize in it. The samurai warriors had
something of a monopoly on it. Was it not especially so with the likes of Yagyū [Jūbei], Tsukahara
[Bokuden] and Miyamoto [Musashi]? Some few records of the practitioners of the Warrior arts do
delve into the existence [of kiai-jutsu]. With the exception of the warrior classes, there was among
people something of a lack of it's usage.

—— ( 1 ) ——
門戸のやうに思つて居る樣である。然るに其れは大なる誤解である。氣合術は武道以外、す
べて如何なる藝道事業に於ても、其の存在を認むることが出來るのである。大にしては驚天
動地一世を震撼するやうな事業を始め、小にしては生花茶の湯等の末技に至るまで、總て氣
合術の妙用に依つて、其の成功其の神技を表すのである。彼の英雄偉人の雄圖偉蹟も全く氣
合術の効果である。軍人の勳功政治家の覇業も乃至實業 家の成功も、藝術家の妙技も何れも
皆氣合術の効果である。之を要するに人生の事業に若し氣合術を缺いたならば、軍に戰勝な
く、美術に生命なく、音樂に神韻なく、著作に好著なく、發明なく、發見なく、世の又明は
光を放たす。人生は實に暗黒同樣である。蓋し惟ふに氣合術は人生に不可缺的のものである。
其の妙用は實に廣大無邊至微至妙殆ど神變不可思議である。併しながら正法に奇特なし、氣
合術は決して不可思議のものでは無い。然らば氣合術とは果して何ぞや、との問題が起るの
である。

—— ( 2 ) ——

Possibly they were not able to have made any use of it for whatever reason, except for the ones whom,
due to circumstance and condition, perceived the gate of it's secrets (himitsu no monko). Even so it
was still the case that the greater numbers had misunderstanding of it. Regarding the Art of Kiai, with
the exception of Budo, there was only whatever kind of accomplishment and whatever kind of
techniques that existed. Recognizing that such things existed made some able to conduct it. It made
ever greater shaking in startling the generation that first saw the conduct of it. There was only a little
bit of the poorer skills of ikebana flower arrangement and the serving of tea having produced
themselves [at the time]. Collectively, the mysterious influences of the Art of Kiai came due and were
quite a success. They came practically to represent [an embodiment of] the supernatural powers. The
doings by it of great and manly heroic fellows truly came to be an effect on the Art of Kiai itself. The
valor of foot soldiers [who used it] being under the governmental houses and whom gained
advancement of their deeds. Even the practitioners of the civilised arts also developed exquisite skills
and this had whatever effects upon the Art of Kiai that it did. The point of all this being that in the case
of human life and death the Art of Kiai was no longer lacking. With military troops, victory is not the
totality of its purpose for existence. Neither is the exceptional artistry of concert recitals all there is to
life. Neither is writing books even when they are good books. Neither the cleverness of invention.
Neither is detective work. The clarity of these generations has shed light upon such things. Indeed,
sometimes human existence and darkness are practically the same. Perhaps in this, regarding the Art of
Kiai, it is to handle these deficits of the improper aspects of human existence. Regarding its mysterious
influences, indeed it is broad scale and practically borderless, in both minute conducts and in grander
conductings. It is the extraordinary and inexplicable miracle. And although the true teachings of the
Buddha are praiseworthy, by no means is the Art of Kiai lacking in the miraculous. That being so one
is left to wonder what is the Art of Kiai? That is the question that comes up.

—— ( 2 ) ——
術 合 氣
第一節 氣合術とは何ぞや
氣合といふことは、字義よりいへば氣を合はせるといふことで、精神と精神と相對した時に、
雙方の氣を合せるといふことなのである。而して一方の精神氣力が一方の精神氣力を牽制し
て殺活自在にするとの謂である。而して之を心理上よりいへば、氣合術とは精神力を一事の
上に集注すること、即ちすべての能力て光線を一焦點に集むるをいのである。されば、吾人
が或目的の上に全力を傾倒して、是非是を徹底せざれば已まぬといふ精神氣魄は 所謂氣合に
外ならないのである。畏くも陛下の御製に、器には從ひながら巖をも透すは水の力なりけり。
とあらせらる乀が、此巖をも透す水の力といふのは、右の是非貫徹するといふ精神氣魄を指
したもので、此力は實に猛烈で殆ど不可抗的のものであ る。天下無敵といふのは實に氣合の
力を謂つたものである。(後章氣合術と心

Kiai-jutsu
The Art of Kiai
Dai'issetsu Kiai-Jutsu Toha Nanizoya
Section One The Art of Kiai and What It Is

Regarding what is said about Kiai, from the meaning of a word as it would be uttered, it is said to be in
regard to the construct 'to Merge or join with the spirit' (ki wo au), spirit against spirit when in
confrontation at the time. One can surely say that it is to match rhythms between both spirits (ki wo
awaseru). And so by willpower driving the spirit of the other in another direction, restraining the spirit
into the other direction, into the meaning of the saying 'taking and sparing life'. And it would be from
this state of mind that the Art of Kiai and willpower are one and the same thing, being over all others.
Namely the whole thing is said to be the ability to focus all together as if a single ray of light. That
being the case, we hold the objective of focusing all of our powers as if into a single power, having a
certain thoroughness, to halt the vigour of their spirit. But the so-called Kiai is not really external to
oneself. As was graciously stated by His Majesty in the Imperial poems, even in the vessel through
which one would force a boulder through the mouth of, water still flows. To the extent which one does
try, yet the force of water can itself drive it through. This aforementioned is a realization without fail.
And so it is said to be the case when two people stand facing one another in regard to the vigour of the
spirit. This force is indeed vehement towards it's target and almost invariably inescapable. Said to be
unequaled and so it's also said about the powers of the Art of Kiai.

—— ( 3 ) ——
理參照氣合術を又哲理上よりいへば虛實一體動靜一致の法である。(後章氣合術と哲理參照)
又生理上よりいへば呼吸の術である。(後章氣合術と生理參照)又用よりいへば機先を制する
といふことである。即ち我が已發を以て敵の未發を抑ふるといふとである。之を詳言すれば、
すべて敵に向ひし時、雙方の氣一圖にかち合ふの際、我一歩先んじて、以て先の先にか乀る
か、將た又敵より懸る氣を外して以て後の先を取るか、孰れとも我れ敵より一歩先んずる、
是れ即ち氣合術である。所謂我が金剛不壊の身心を以て、敵の事理未發の以前より全勝する
といふのが氣合術の眼目である。本領である。氣合術又氣合術ともいふ、併し合氣といふと、
氣合といふと、之を廣義に解すれば差別はないが、狹義に解すれば聊か相違がある、其の説
明は甚だ困難であるが強いていへば、合氣とはその靜的方面をいひ、氣合とは動的方面をい
ふ。(前者は無心氣合、後者は有心氣合である。)

... would be said to be from the references to the Art of Kiai which involves the exchange of truth and
falsehood as a singular movement being from that coincidental method. (The references to it in the later
chapter [entitled] Physiology and the Art of Kiai) again this would be said to be from Physiology and the
techniques of breathing (kokyū no jutsu). (References to it in [the chapter entitled] Physiology and the Art
of Kiai) and again this would be said to be from the usage of forestalling [the opponent or episode.]
Namely, it is said to mean to have halted the enemy from the very start and sent him away. That would be
the detailed explanation of this, in the circumstances of having been confronted with the enemy at the time.
The occasion of the spirits of both meeting in a singular schematic of reaching for victory. It is to be one
step ahead, by means of the extension into the interval of intervals (sen no sen), again the commanders can
capture the enemy by suspension of their fighting spirits. And of capturing in the later interval (go no sen) it
is used when one could not be one step ahead of the enemy. All of this is namely the Art of Kiai. By means
of the so called unshakable firmness of mind and body, it is said to take advantage of facts observed about
the opponent before the event has taken place, this is the gist of the Art of Kiai. There is [one form of] the
Art of Kiai and there are [other forms that are also] the Art of Kiai, and there is also the AiKi itself. In the
broader applications of this, in the end there is no difference between them. In the narrower sense however,
there are some small differences. Regarding the explanation of that, it is very difficult to give. In regard to
the Aiki, this is said to be a static facet, whereas Kiai is said to be the active facet. (With the former, there is
nonsensical kiai (mushin kiai) and the latter is sensical kiai (ushin kiai).

TRANS NOTE:
Heads up! Two (2) important and traditional Kiai-jutsu terms here, ultimately four (4), mushin kiai (無心氣合) “nonsensical kiai” when as an utterance
(whether a sharp shout or merely a vocalization) was not entirely intentional and the utterance may have been without any real force-of-definition
(meaningless syllables) or instead having direct simple meaning (such as “What are you doing?!?”) It is not always something said or vocalized, kiai are
also minor actions, in which case it is not done on purpose but by reactionary response (much as the unintentional utterance.) It could be an unintentional
sort of gesture or sudden facial expression that causes the opponent to halt and quickly rethink exactly how vulnerable you really are , for one good
example. The ushin kiai (有心氣合) “sensical kiai” is exactly the same sorts of thing... but was quite intentional and even when it seemed as if it were
rather coincidental or accidental as an occurrence.

(1) Although these two basic Kiai terms are by far more common, there is a cognate for them in the Aiki, they are of course mushin aiki (無心
合氣) “nonsensical aiki” and ushin aiki (有心合氣) “sensical aiki”, one is quite purposeful and the other is rather accidental or coincidental
(not done on purpose.) Much like the Kiai forms of the term, the Aiki does not necessarily involve any utterances, but may have vocalizations.
The Japanese would rather state that 'kiai' is the active form and aiki is the static form of the sensical and nonsensical (or, purposeful and
unintentional.) There would usually be other terms that may express these same concepts (all four) but some of those are also said to be listed
under the main form idioms here as being a rather distinct form of it (Japanese sources do not always agree on exacting details like this, most
probably due to ryuha specific usages of terminology and their definitions.)

(1-A) Some sources do not distinguish the Aiki forms of these two terms and insist that the Aiki versions are contained only within
the Kiai (-jutsu) terminology.

—— ( 4 ) ——
 (一)合氣、靜的方面 雲無心にして岫を出づるといふ場合である。(潜䍠の狀態)
(二)氣合、動的方而 或る特別の目的に向つて邁進し活動する場合である。(顯䍠の
狀態)
合氣は精神に何等の碍滯もなく、何等の恐怖もなく、何等の邪念もなく、虛無恬澹の中、隙
もなく弛みもなき場合である。氣合は應事接物の際、其目的に向つて勢力を集注し、遲疑逡
巡せず、勇往邁進する場合である。斯くいへば、氣合は活動的で、合氣は非活動的の加く思
はる乀が、全くさうではない。是れは唯説明の便宜上二つに分解して見ただけで、實際には
分解して、是れは合氣、是れは氣合と取り出すとは出來ないのである。たとへば顯䍠と潜䍠
との如きものである。 要は活躍自在縱横無魔の狀態に達するのをいふのである。

第二節 氣合術と成功

凡そ人生の勝利者は、必ず氣合に於て勝を得たものである。氣合術の妙

(1) Aiki, is when one makes the more obscure static facet (seiteki hōmen unmushin) and is said to be
not unlike coming up out of a ravine in the ground circumstances. (like a condition of latent heat).

(2) Kiai, is when dynamic ways are used and also one is advancing in the activities of some certain
special objective in the ground circumstances. (Like a condition of sensible heat).

Regarding the Aiki, it is not necessarily an obstacle to whatever his intentions are, it is not going to
cause self concern in whatever [of his intentions], it is not going to interrupt the wickedness of his
intentions, in the midst of it's neutrality it is not a break-in-the-action, more like causing slackness in
the ground circumstances.
Regarding Kiai it is the occasion of the subject of patching into [the ground circumstances], and
without hesitation in confronting to influence in a variety of fashions according to that objective, thus
dashing into the ground circumstances. Such would be said regarding the Kiai, it is from active
dynamics. Regarding the Aiki, it is quite as if it is inactive, despite that it really is not. Of this, the usual
explanation, for convenience's sake, it is observed to have been divided as if into two separate subjects
[aiki and kiai] and in truth the division is in regard to the Aiki itself. The Kiai can itself be used to
pluck up [the opponent] whereas [the Aiki itself] cannot be used to pluck him up. It would be much as
the same as sensible heat and latent heat. The point being that it is to have accomplished the condition
where one is perfectly free and unhindered by the ogre [the opponent] in one's activity.

DAINISETSU KIAI-JUTSU TO SEIKO SECTION TWO The Art of Kiai and Success

In general, regarding the victor in life, invariably with the Kiai it is to have acquired victory. Having
acquired the superbness of of the Art of Kiai.

—— (5) ——
を得たものは、何れも凱歌を揚げて成功の旗を建つることが出來るのである。

一、奮鬪の氣合
世は益生存競爭の激しき時代となつて來た。此の激烈なる生存競爭場裡に立つて優勝の地位
を占めんとするものは、大に奮鬪しなければならぬ。世人一般の憧憬する成功の殿堂は、奮
鬪の道程を經過せなければ之に達することが出來ぬ。勿論其の路は平々坦々たるものではな
い、崎嶇たる峻坂羊腸又羊腸葛もあれば荆韓棘もある。勇氣の斧、努力の鎌を以て之を刈り
取りつ乀、自ら路を開いて進まねばならぬ。而して吾人をして此の奮鬪の巻に勇氣を揮ひ、
努力を盡さしむるものは、氣合術の然らしむる所である。

Whatever victory song arising, a victory banner now erected, things having been completed.

(1) The Kiai of Strenuous Effort (funtō no kiai)

Through the generations, it being the profit of intensifying advantage in the competitions of life as the
era continued. Being the violence of this in the arena of struggling for survival, it was to occupy the
position of standing firm as the overall victor. As one must do with great and strenuous effort. The
general aspirations of people being to succeed, the strenuous efforts were rather like the passage
through [the halls of] a temple shrine, being like meandering through the slopes a steep mountain peak,
like the qudzu mountain plant meandering there across, and the thorny brambles. It is by means of an
extending of the axe of courage and the sickle of grand endeavor, for one's own sake opening up the
distance and advancing as one must do. Thus would we unfurl this strenuous effort and brandish our
courage. Having exhausted great effort in the thing, is incidentally to bring about the works of the Art
of Kiai.

—— ( 6) ——
 二、事を爲すの氣合
事の大小を論せず、すべて何事を爲すにも、氣合といふ原動力に動かされて、着手もする、
竣功もするのである。故に事をすには氣合といふことが大切である。感興といふことがなけ
れば、藝術上の傑作を見ることが出來ない。 一氣呵成といふことがなければ、事業上の快擧
を見ることが出來ない。感興といひ一氣呵成といふ。是れ即ち氣合に外ならないのである。

三、歌川豐國の書

東錦繪を始めたる歌川豐國は、肖像畵の名人であつた。常に曰く「人の肖像を畵くには、先
づ其の人の心を寫し、而して後其の形を畵くのでなければ、真を寫すことが出來ない」と。
一商人豐國を訪ひ、美酒佳肴を贈り

2, The Kiai of Forming Things (koto wo nasu no kiai)

It is not a debating of things great and small, in general it's about making whatever things. It's said that
Kiai is the driving force in motion, having undertaken the endeavor, being towards the [goal of]
completion of construction. Consequently in things related to the Kiai, it is said to be most necessary. It
is said that if there is not inspiration, and beyond seeing the masterpieces of the Arts of
Accomplishment (geijutsu), then one is not able to make it. It is said that if there is not the spirit of
scolding [the foe], beyond seeing the brilliant achievements of enterprise, one is not able to. It is said
only by inspiration and by the spirit of scolding [can one do so]. This is namely not outside the Kiai at
all.

3, The Writings of Utagawa Toyokuni (1769 – 1825)

Utagawa Toyokuni having started with Azumanishiki [(?)brocade art(?)], became a master at brushed p
ortraits. Always in history「in painting portraits of people, he copied the spirits of earlier people, then l
ater on would not paint the likes of merely form, since it is not able to copy truth 」. Called upon by th
e one merchant, Toyokuni was given fine wines and prized delicacies....

—— (7) ——
て、其の肖像を畵かんことを請うた。豐國諾して而も數月經ても猶畵かない。商人は屢々之
を促がしたけれども聞かない樣な風であつた。一日又小僧を遣つて之を催促させた。豐國は
其の時、素が終つて、特に着色しようとする際であつた。小僧之を熟視し嘆じて曰く、「我
亦先生に囑んで肖像を畵いて欲しいが、資力がないから仕樣がない」と。豐國曰く、「汝肖
像を得て如何するか」 小僧答へて曰く、「我は越後の産であるが、家を出たきり三年もたつ
が、一度も歸國したことがない、父母は如何にか我を思つて居るでせう、一年唯二回の休暇
に、他の人は皆其の家に歸るが、我は地遠くして容易に歸ることが出來ない。日夜親の事が
氣にかゝつて堪りません、今若し我が肖像を國へ贈つたならば、父母は如何にか喜ぶでせ
う」と、言ひ終つて涙をこぼした。豐國聴いて感涙を催し、我れ豈汝の孝を憐まざるべけん
やと言つて、そこで小僧を正坐せしめ、絹に畵きて精妙に着色し、以て之を與へた。 小僧大
に喜び歸つて之を其の主人に告

...having inquired of the making of that portrait. It was consented to by Toyokuni, even despite the
expiring of several several months, and he had not painted more. The merchants again and again urged
him for this howbeit that he would not pay heed as if it was so much wind blowing about. And yet it
seems that on one day he did so at the request of a mere errand boy. Regarding Toyokuni at that time,
particularly what he attempts by use of coloration in his work is noteworthy. It is told that the errand
boy was admiring this with close scrutiny and said: 「 I also request of you, Sensei, that you make
more portraits such as these, as they are very desirable. It is inevitable that they should be held as
treasures. 」 And also, Toyokuni replied: 「 You blockhead! In what way are these portraits
valuable?!」The errand boy replied and said: 「I was born in Echigo! Our household lived there about
three years! Not once since then have we returned, I think my parents for some reason didn't want to
live there. Having taken furlough of about one or two year, everyone else of our household always
returns, but I have always been in distant territories and could not return! Day and night I am
concerned for the affairs of my master [a merchant], which I could not endure, and now perchance I
am presented with these very portraits of that territory [made by you], even my parents are in some
way delighted!」And also, these last few words were uttered with tears on his cheek. Toyokuni felt it
necessary to reply due to the tears of gratitude, "It is I who am the blockhead, having no sympathy for
filial piety, for what I have said." He painted on silk with exquisite colors, due to this inspiration. It
resulted from the great joy of the errand boy, that this master was informed of it.

TRANS NOTES:

The author is using these examples of conversation from the history of the famous Painter Toyokuni, who made (among other things) paintings of Samurai
like figures. Please pay particular attention since the author was trying to give a functional example of the usage of Kiai-jutsu in action. It is
otherwise not what some people would expect, but if given due consideration... one then recognizes the elements of the Kiai manipulation are in fact
evidenced. (1) Usage of voice and speech (2) Body language and body movements (3) Emotional inflection (4) all being used to convince the target
towards a specific objective. In this case, the 'errand boy' [a low ranked servile of one of the Merchants mentioned, who wanted to market Master
Toyokuni's paintings for profit] convinced the Master Painter to paint several more of his masterpieces whereas no one else seemed able to do so at the
time. This is Japanese Kiai-jutsu in action, that is why the author recounted the conversations, trying to explain Kiai-jutsu itself. Kiai-jutsu has virtually
nothing to do with making spirited shouts (actually, as a linguist, I can tell you that most of the time the term Kiai (氣合) itself CANNOT be translated as
“shout; outcry”, the circumstances are rare that it could be properly translated as a shout of any kind. In such applications it should perhaps be translated
as “control” specifically of spirit, mood or disposition (yours and the aggravants both, actually.)

—— ( 8 ) ——
げたところが、主人は聞いて怪み且つ憤つた。翌日豐國を訪ひて、自分の肖像を作らず、却
つて小僧の肖像を畵いたのは如何いふものかと言つて、之を詰つた。豐國曰く、「いや是れ
には大に理由がある。余決して等閑に附したのではない。屢々筆を執つては見たが、如何も
畫くことが出來ない。すべて肖像を畵くには、先づ其の人の性質品行風尚を察する必要があ
る。例へば孝子の意を以て孝子を畵き、忠臣の意を以て忠臣を畵くの類である。然るに今君
が平生の行狀を察するに、平凡で可もなく不可もない、其の意を注ぐべき所がないので、今
日迄遅れたのである。線點旣に出來たが、猶畵ぎ了らない、着色に及ばずして其の儘で玆に
在る。然るに小僧は君と違つて、孝子の眞情面に溢れて居るから至つて畵き易い、そこで畵
いて與へたのだ」と、商人は此の説明を聞いて頭を搔いて去つたといふ。

The Master hearing, it is wonder that he was angered, the next day when visiting Toyokuni he would
not make the self portrait, but having withdrawn he painted the portrait of the errand boy in whatever
way, it is said, to be connected to the things he had said. This having become the end of it all, Toyokuni
said「Oh, this has become the larger reason as to why, but by no means at all would [refusing to make]
more [paintings] have been negligent, if time and again it is seen that one is penning out more, despite
whichever ones were not then painted. In regard to all the paintings that were already made, the
previous conduct, disposition and nature of the various people being not unlike the wind, and still
furthermore to presume that [more paintings] needs to be made! By means of the very feelings of
intent of the Pious young man was my painting of him made, by the feelings of a loyal retainer was
that loyal retainer recorded and painted. Still that one's master soon went about presuming it to be of
usual behavior, not that the commonplace is either good or bad, but it's not proper to be filled with
such impressions, suffice to say that now I am falling behind [too many pictures to paint]. Already I am
able to put the shape and form, being the paintings are not finished, at the moment colour has not been
applied. However, the errand boy with his Master flitting about the sense of the face of the true
feelings of the errand boy comes easily spilling out as one approaches. And so accordingly I indulge in
more paintings. 」 And, when hearing the merchants explanations of this, one is left scratching one's
head.

—— ( 9 ) ——
 四、䍠誠の氣合

凡そ成功の要素は種々あるが、䍠誠といふことは其の主なるものである。而して熱誠といふ
ことは氣合より湧き出て來るのである。若し氣合といふ油を注がねば、誠熱といふ火は燃え
ないのである。鍛工助弘が名刀を鍛ひ上げたる如きは、實に此の䍠誠氣合の結果である。

五、鍛工助弘の熱誠

助弘は初め直助と言つた赤穗の義士、小野寺十内の家奴と爲つて召し使はれ屈たのである。
然るに十内の家は極めて貧困であつた。一日同僚と共に明友の宅に會した時に、各自其佩刀
の眞贋を品評した。家老の大野九郎兵衞も亦座に居合せて、同じく品評した、なかく目が利
いて居て、少しも錯らない、何れも其の明眼を歎賞したのであつた。最後に十内の

Four, The Kiai of Earnestness (Nessei No Kiai)

Regarding the factors of success in general, there are various and many successes, and of earnestness it
is said to be a main principle. And so it is said of earnestness that [various] Kiai just come gushing out.
One dares say that Kiai are much like fuel to the fire in it. It is said of it to be the true heat of the fire
that then does not burn out. Much like the forge of the great sword maker Sukehiro. Indeed earnestness
is the result of this kiai.

Five, The Earnestness of the General Assistance of Forge Training (Tankō Sukehiro Nessei)

Regarding Sukehiro [ALT TRANS: "Regarding general assistance..."], initially it is said that Naosuke the loyal retainer
of Akō [ALT TRANS: "...it is initially the true assistance of the loyal retainer(s) of mature production..." ] of the Household of Onodera
Jūnai [ALT TRANS: "... from the households of the smaller fields of the 10 inner temple shrines..."] and that he made the submissions
there unto. However, regarding the Household of Jūnai [ALT TRANS: "...However, the households of the Inner Ten..."] they
were excessively poor. One day the co-workers along with Akitomo [ name means "the brilliant friend"] all united
at a certain hour, and each carrying a sword, were commenting on both wrongful and correct things that
had been happening. Onodera of the Daimyo's minister, and even Kurobee Mamoru [ name means "the nine sons
who are defense guardians and protectors" ] happened to be present, similarly making such commentaries. Having had
an eye for such doings, and not moving not even a little bit, and all there gave praise to such as is clear
vision. In the end Jūnai [name means: "the 10 inner ones"] took hold of the swords they were carrying and
captured all whom had observed this.

TRANS NOTE:
Item five (5) can also be translated “The Earnestness of the Forge Work of (Sword Forge Master) Sukehiro”, both meanings are possible due to the exact
meaning of the name 'Sukehiro'. The word nissei (䍠誠) is an idiom that is used to refer to “steady (high) heat” and also “earnestness; integrity; honesty;
faith”. I chose the translation for Item Five carefully based off the actual subject matter of the text. Either way, the story told (whether taken on Base or
upon Alternate translation) was meant to illustrate the usefulness of tempering one's skill and conduct in regard to Kiai-jutsu. The alternate translation
reads instead: “Regarding general assistance, it is initially the true assistance of the loyal retainer(s) of mature production from the households of the
smaller fields of the 10 inner temple shrines and that made the submissions there unto. However, the households of the Inner Ten were excessively poor.
One day the co-workers along with "their brilliant friend" had all united at a certain hour, and each carrying a sword, were commenting on both wrongful
and correct things that had been happening. Of the larger fields of the Daimyo's minister(y), even the nine sons who are defense guardians and protectors
happened to be present, similarly making such commentaries. Having had an eye for such doings, and not moving not even a little bit, and all there gave
praise to such as is clear vision. In the end, the 10 inner took hold of the swords they were carrying and captured all whom had observed this. ” I had
thought it best to present both forms of translation.

—— ( 11 ) ——
佩刀を手に取つて見たが、鈍刀で鞘が剝げて居たから、大野は之を嘲り笑ひ、口を極めて罵
詈した。十内は口惜しく思つたが辭色に顯さない。其の時直助壁を隔てゝ之を聞き、深く其
の亡狀を恚り、切齒して曰く、「老奴不遜敢て吾が主公を辱めた、此怨を雪がなければ承知
が出來ぬ」と。そこで鄕里に歸省したいからというて暇を貰うて、大阪に出て、近江といふ
鍛冶職の家に詣つて其門外に彷徨して居た。家人怪んで「何用あつて來たのか」と尋ねると、
「志願の事あつて來たのであるが、主人公に御目に懸つて直接榜に御願ひしたい」と申込ん
だ。家人が之を取次いで、近江に面會せしめた。此の近江といふのは攝州の名工で、世間に
之を神刀鍛冶と稱して居たのである。直助は近江に向ひ、何卒弟子にして貰ひたいと賴んだ、
辭氣激切で何か素望の有る樣子であつたから、早速其の請を入れ、假に召使にした。直助は
餘暇さへあれば、一心に其業を修め、鎚を運ぶ法を稽古し、チンカン、チンカンと音をさせ
て、寢るとさには、

The conclusion came from a blunt sword being drawn from it's scabbard, Ono[-dera?] laughed in scorn
about this, and using the strongest abusive words possible. It was thought not to be evident if by his
behavior and appearance whether or not Jūnai deserved this. At such times, it was Naosuke's obstacle
to have paid heed to it, such discourtesy caused much agitation. It caused deep anger and agitation as
was told: 「The older age fellows among them were showing quite a bit of disrespect causing shame to
their masters. And this brought about the wiping away of the disgrace of this complaining, recognition
of it having occurred.」And so accordingly this is called 'Returning to one's own proper place'. And
also it is said that taking this as one's leisure is to have come upon a great hill indeed, akin to a bay
inlet of sorts, as if one is subjecting household to a blacksmith to be worked [like iron]. With such
outer gates there is much wandering. Leaving one's people to wonder: 「 What sort of thing is
happening here?」and so one is left to ask. 「It is the subject of exactly what is being aspired to here,
to have been recognized by the honorable Heads of household, and to want to do such things! 」and
also what had been proposed. The retainers having intermediated in this, it is not unlike having meet
together in a bay inlet, as it is said, acting in addition to the skilled masters of the state, to pretend to be
a divine sword-maker of society itself [i.e; as if to forge society] Regarding Naosuke having confronted
Ōmi, if it pleases you young people to have gained what you requested, in the intense spirit of address,
whatever occurs in the course of the state of affairs, immediately with such invitations having entered
the picture, in taking presumptions things are made menial. If one would use leisure time like Naosuke,
whole heartedly to master such techniques is the method of carrying a forge hammer around, you dill-
weeds, dill-weeds making too much noise. Careful with whom you go to bed.

—— ( 11 ) ——
其の枕を叩き、食事の時は其の茶碗を打つといふ樣な熱心で、畫夜其の聲が止まない。家人
之を嫌うて、色々と直助を毀つて近江の耳に入れたけれども、近江は少しも取り合はない。
斯くて三年辛抱して業が大に進んだ。直助一日從容として近江に謂つて曰ふには、「三ケ年
間師匠に就いて敎示を受け、頗る會得致しました。そこで一ツの御願がある。何卒師匠の一
臂を假りて、寸鐵を鍛ひ上げることが出來たならば、志願を達することが出來る。是非御承
引下されたい」と。近江は早速首肯した、直助大に悦び、乃ち七日間齋戒沐浴して、遂に一
刀を鍛ひ上げた。近江は鎚を取つて之を助けた。刀が出來て了つて、硏きを加へると、神光
水のやうで、古名刀と雖も多く讓らないといふ出來であつた。近江は歎賞し自分の後を繼が
せて、女を之に妻し自分の姓を冐させて、津田越前守助弘と言ふ名前にした。助弘其の手づ
から鍛ひし力を挈へ、舊主小野寺十内を江戸に訪うて寄贈し、且つ泣て曰ふには、「此れ下
奴が精神の凝結した

With the extortion of such leadings-in, regarding meal-times the tea cups thereof are quite striking, it is
said to have similar enthusiasm. The brush strokes of the night having not stopped such voices. His
own family loathing this, Naosuke himself destroyed various of them, when Ōmi heard about it had
entered and Ōmi refused to assume possession of some of them. And so over the course of three years
the business had advanced, Naosuke along Ōmi in one single calm day made the tale that was told.
「Over the course of some 33(?) years the Master took seat and received his instruction. From this one
example please allow yourselves to understand. If it pleases you to take the helping hand of this
master, it could be as if to arise and forge every inch like iron. One might then arrive at the aspiration,
certainly bowing in humbling acceptance of it. 」 Regarding Ōmi, he promptly gave consent and
Naosuke went on to much greater things. Namely that in the purification rites of seven days, finally
they raised the sword they were forging. Ōmi being the assistant whom took up the forge hammer,
they were able to finish the forging of the sword. And even it's polishings. It's immersion in flowing
waters lit by sacred lights. Even though the ancient names of most of the Katana (swords of Japan)
were never conveyed, it is said of this one that they were able to. Ōmi took up the torch of praising
himself afterwards, risking to have taken a certain woman to wife in regard to their surname, Tsuda
Echizen Morisuke Sukehiro as the full name is worded. Sukehiro forged swords in the fashion meant
for battle according to such as the ancient traditions of such as Onodera Juunai of Edo [old Tokyo].
When asked for contributions, the tale is told that: 「This lowly fellow is himself the concentration of
spirit in the place...

—— ( 12 ) ——
所、願くは主公此を以て昔日の汚辱を雪いで下さい。さすれば下奴が年頃の志願を償ふこと
が出來まするほどに」とのとであつた。十内感喜して深く其の厚志を謝し、坐臥佩服して其
の側を離さず、間もなく義士敵討の事あり、十内其の刀で仇家の門を斫り數人を斃したとい
ふ。此の刀は今泉岳寺に遺物と爲つて保存して居る、百數十年を歴ても、曇りも來らず、硏
きをかけたやうである。菊池三溪曰く、衆藝百工の世に名ある所以は皆精神至誠の貫ける所、
加ふるに鍛錬の功を以てす、鍛工助弘は眇然たる一匹夫のみ、特に其の至誠より出で、主家
の辱等を雪がんと欲す、精神の注げる所意に此の三尺を獲て、以て異日報讐の用と爲せり。
鐵心石腸の人に非ざるよりは、安ぞ此の快刀を鍛鍊するを得んやと。鐵心石腸といふのは、
實に氣合の妙力に依つて得らるゝのである。古人曰く、精神一到何事か成らざらんやと、凡
そ人生の勝利は䍠誠の勝利に

Desirously, by means of such a master as this, having rinsed away the humiliation of the olden days for
us, which we would gladly allow this lowly fellow to do, and by this now was he able to make
compensation for the aspirations of his younger years. 」 Such was the case. Jūnai was made to
profoundly rejoice, and so retreating into this kind intention. And so he seated the swords in their rack
seats, so that they were not separated from each other. Before too long, came the affairs of the
vengeance of the loyal retainers, and Jūnai was soon shaving away at the gates of the enemy
households with such as these swords, although he also dropped many other people, it is said. Such
swords at the Imaizumi mountain shrines, many of which remain as mementos later in time, for some
few decades at least. Then came the grumblings and polishing on them was suspended then.

As told about Kikuchi Sankei [poet 1819-1891], being renowned as an adept of a great deal of the 100
arts, had quite a penetrating spirit. He also by the merits of practice and much like the sword maker
Sukehiro was a focused master of one subject. Proceeding by the likes of such devotion, even when
controversies settled upon the household of this master, he would gird himself with a concentration of
the mind and making use of the different things that were held in the daily reports. With such persons
whom have a heart tough as iron itself this is not mistaken, thus calmly forging such sharpened
swords. It is said that to have the fortitude of a heart as strong as iron, indeed does not rely upon
having a Kiai of any particular strength. As with ancient peoples in history, where there was a will,
there was a way to face whatever came along. As a general rule this is the triumph of human
existence....

TRANS NOTE: The text refers to a known Japanese poet in describing the swordsman Sukehiro and this is hinting towards the well known Sino-
Japanese maxim “the Sword and the Pen are one”. Dropping mention of a poet when mentioning a sword-maker especially (but sometimes also when
mentioning swordsmen) is a fairly common way of making hints and references to this well known maxim.

—— ( 13 ) ——
歸せざるものはないのである。

第三節 氣合術と處世法

處世の要訣は、氣合術の應用である。苟くも氣合術の心得あるものは、其の處世法頗る巧妙
である。
一、機智の氣合
すべて機智に富むといふことは、成功の秘訣で處世上の最大要訣である。而して機智といも
のは、氣合術の源泉より流れ出る靈液である。アプラハムリンコンが、サンガモン河の改修
を標榜し、初めて州議會議員候補を爭ひし時、変畑に勞働中なる農夫世人の投票を請はんと
て、遊説に出かけた。農夫等は其の政見に關して、何等質すとなく、却つて州議會に其の代
表者として適當なる筋肉の有無を知らうと欲した。リンコ

… but is not the conclusion of it.

Daisan-setsu Kiai-Jutsu To Shoseihō

Section Three The Art of Kiai and Methods of Conduct

The main point of conduct, is that it is the application of the Art of Kiai. At the very least it is to have
knowledge of the Art of Kiai, this as an ingenious usage of the principles and rules of conduct.

Ichi, Kichi No Kiai One, The Kiai of Tactic

All in all it's said to be about being full of wit, and of the secret of success conduct is one of the larger
main points. So wit is said to be the source of the Art of Kiai, it having flowed out of the very sap of
it's spirit. Abraham Lincoln became an advocate of improvement for the Sangamon River while as a
debater among the candidates to State legislation. A farmer of the people toiling in the fields and
soliciting the voters of his generation, proceeding along his campaign routes. As a farmer and the like
of it, such political views are a barrier and to whatever sort of inquiries might be made along the way.
To the contrary he proceeded amongst the delegates of the state legislature along the sinews of the
tidings of both consent and refusal, as he was want to do.

TRANS NOTE:
The Sangamon River is a principal tributary of the Illinois River, approximately 246 miles long, in central Illinois in the United States. The river is
associated with the early career of Abraham Lincoln

—— ( 14 ) ——
ン直ちに鎌を手にして麥を刈つた。三十人の農夫初めて得心してリンコンに投票した。

二、利休と曾呂利新左衞門

千の利休は茶道の名人であるが、或時秀吉公利休を召されて、「如何に利休、其の方は天下
の茶道の名譽と聞く、令朝庭前にありし梅の折枝是へさせよ」との上意、折もあれ、近習の
侍直徑三尺五六寸のいとも平げなる皿に水を盛りてさし置き、次に梅の折枝を金紋付の丸盆
に乘せて出した。諸人は如何して是へ花を活るであらうかと、利休の心を推し量り、暫時息
をもつかず靜肅に控へて居る。利休はさすがに、わるびれたる氣色もなく、左の臂を伸して
彼の梅の折枝の幹を攫み、右の手にて花の咲きしも、まだ蕾なるに、無造作に無手と掻い摑
み、悠々と下より上に、こき上げしに、何かは以てたまるべき、皿に湛へし水の上に花は一
面に散り

Lincoln immediately, with sickle in hand, reaped the wheat. Thus were 30 farm peoples first convinced
of Lincoln at the voter polls.

Ni, Rikyū To Sorori Shinzaemon

Two, Rikyū and Sorori Shinzaemon

Sen no Rikyū (1522-1591) was a master of the tea ceremony, a certain Hideyoshi Masatoshi having
invited Rikyū 「 Rikyū in whatever way honored that person with the Tea ceremony and listened to
him. And by his command that morning in the garden, plucked a plum from its branch 」 ,
coincidentally by this decree, and the attendant retainer having in his hand a serving platter of a
circumference exceeding three (3) feet and some 5 or 6 inches. He next placed the plumb taken from
it's branch on the gold crested serving tray. To many people for whatever reason this was like the
revitalization of a flower blossom. And for a short time there was some conjecture regarding the heart
of Rikyū as to how he could be so reserved as to be utterly silent while he breathed. Rikyū all the same
was not disturbed in his mood. Stretching out his left elbow and plucking the plumb off it's branch on
the tree trunk. And with his left hand blooming like a flower, as if it were budding, casually plucking as
if with no hand. Quietly pulling it down and then putting it [on the tray], putting it right on it. By
whatever means by which he did this, the tray filled with both water [vessel] on it and the flowers
scattered across the surface of the tray.

—— ( 15 ) ——
敷いた。之を其の儘秀吉公の前へ差し出すと、「秀吉天晴感心せり、之より外に致し方なし、
根〆もなし花を挾み押へもなし、當意即妙出かしたり」と、大にほめたといふとである。堺
の鞘師、始めて太閤に謁しける時、太閤「汝の姓名は何と申すぞ」と問ひけるに、其の者の
答ふるやう、「臣が姓名は即ち曾呂利新左衞門と申し候。」太閤「はゝあ、奇な姓もあるも
のかな、して其曾呂利と申す姓には、何ぞいはれにてもあるのか」と問はせも果てず曾呂利
答ふるやう、「聊かいはれこれあり候、別儀にあらず、臣の拵へたる鞘は堅くしてそろりと
入り、敢てつかへず、こゝを以て曾呂利と申し候」と太閤聞いて「こは奇なことを言ふ男ぞ、
面白し、又折節來い」と言つた。他日又太閤に謁した所が太閤問うて曰く、「汝の姓名は何
とか申したりな。」答へて曰く「曾呂利、曾呂利、新左衞門、新左衞門。」太閤怪しみて其
の重言を尋ねた、ところが新左衞門の答ふるやう、「殿下先に臣の姓名を御問ひに相成、今
又重ねて御問ひなさる。故に臣も亦殿

Hideyoshi because of the likes of all of this, presented [Rikyū] to the public. 「 Hideyoshi gave
splendid admiration saying that beyond this method others were unsatisfactory. Without roots flowers
but slip in and cannot be pushed in. It being namely the ready wit of right on thinking. 」 It is said to
be the greater thing. It was the very first time that the Regent Toyotomi Hideyoshi had audience with
experts of the world. Regent Toyotomi Hideyoshi inquired 「What is your full name??」 That person
gave reply, 「 Please excuse me! Regarding the servant, his full name is Sorori Shinzaemon. 」 The
Regent Toyotomi Hideyoshi said: 「Ah.. what a strange surname. And to be called Sorori along with
the surname! And how did this come about? 」 And the reply went unfinished from Sorori. 「 It's
rather odd how it came about, but it's not a special matter. Doing the workmanship of a servant is like
the scabbard of a sword, it's tough work but goes smoothly. 」 And the Regent Toyotomi Hideyoshi
listening to this said: 「This is a strange thing for a man to say! How amusing! You must come and
entertain me occasionally. 」 And that is what is said about it. Again at some future time, he had
audience at a certain place with the Regent Toyotomi Hideyoshi who asked, as the tale is told,
「Excuse me, what is your full name? 」back to the story「Sorori, Sorori, Shinzaemon, Shinzaemon
」 the Regent Toyotomi Hideyoshi suspected and so inquired of a succession of words of similar
meaning. However Shinzaemon replied: 「 Your Highness, as if were possible earlier you placed
inquiry regarding the name of a mere servant! Now you do so again as if it were important, you should
not ask.」
TRANS NOTE:
“...However Shinzaemon replied...” in Japanese language there is a certain amount of word play based off the syllables of the name Sorori Shinzaemon,
and some few of the kanji with which it is written. This is being presented as a shrewd and amusing way to reply... a servant boy making puns off his own
name over which the Nobleman had inquired – but replying as he did to him in doing so.

—— ( 16 ) ——
下重問の意に從ひ、同じく重言を以て答へ候なり。」と。新左衞門ある時太閤に向ひ、「願
くば一日御耳の香を嗅がせられたい。」と願ひ入れた。太閤いぶかしく思ひ、こやつ又何を
か爲すだらうと、疑つたが、「何はともあれ、宜し汝が思ふに任せ嗅がせよう。」と許され
たから、諸大名の御機嫌伺ひに出づる時を窺ひ、太閤の耳元に口寄せて何やら言ふ體にした
から、皆々心中密に驚き、かやつ何を言ふだらうか、若しや我を讒するのでは無からうか。
がやつは頗る殿下の御氣に入りであるから、やつの言ふことを御取上げにならうも知れんと
憂ひて、各我が屋敷に歸りて、早早、數多の金銀財寳を調へて、密に曾呂利が方へ贈つたか
ら、數日の間に金銀財寳山の如く集つた。そこで太閤の前へ出でゝ、謝して言ふ樣、「殿下
一日の御耳を拜借し、其のかぐはしき香を嗅ぎたる効能で、金銀財寳山の如く集り來つて、
殆ど坐する餘地がございません。是れ全く殿下の御耳の効能だ。」とあつたから、太閤も亦
呆然として驚いたといふこと

Consequently, even the retainer [said] Why does Your Highness think that it is important? Much the
same as my reply in being a servant was reworded in word games [regarding my name]?? 」and the
Regent faced Shinzaemon [and replied] 「 Pray thee, I long for a single day by which to be heard. 」
and so was the request entered. The Regent had only said what he felt and also by this what had been
established, and doubted, 「 if nothing else thinking to be well treated, and presumably thinking to
catch a whiff himself.」And perhaps it would have been permitted, so awaiting the hour of proceeding
with visitation upon various of the Feudal Lords (Daimyō) and whispering the body of whatever
mystical utterances into the Regent's ear. And the surprise of all secret intentions of the heart, from
whatever fellow had uttered them, and by some chance perhaps containing no slander against another.
And so had many other 'pet' people of the Regent entered, and they accepted the saying of this fellow
and they were even known to emulate him at times somewhat distressingly. Each one then returning
eagerly to their own estates of residence, to arrange for their treasuries of gold and silver. This
conferred in secret by Sorori, in the span of some few days it was as if they had heaped up mountains
of gold and silver. And so accordingly had they come before the Regent, uttering apologies, 「 Your
Highness, may we be heard by you for a single day? We have but the scent of unimportant people, and
having approached intending to amass mountainous heaps of gold and silver, since to do otherwise is
practically to have sit squatting in the corner of a room! This is truly the benefit of having Your
Majesties noble ear. 」And having done so, even the Regent was absolutely amazed at the saying of
this thing.

—— ( 17 ) ——
である。又ある日のこと、新左衞門、太閤の機嫌を取り頗る其の効あつたから、太閤の申す
には、「何なりと汝の望めるものを賜はせん。」とのとであつた。新左衞門言ヘるやう、
「臣敢て大なる望も之なく、唯紙袋二個ほど米を賜りたい。」太閤は「そはいと易きとであ
る。あまり募慾だ。」と仰せられたが、新左衞門「これにて澤山です。」と申して退出した。
やがて、二個の紙袋を張り拔き數十百人を雇ひ來つて、太閤の前に出で、「前日御約束の米、
これに賜りたい。」と言つて、米倉二戸前を葢うたので、さすがの太閤も之に呆れて暫しは
言葉も無かつたといふことである。又ある日の事であつたが、嘗て太閤數多金銀の蟹を造ら
せ之を庭の泉水或は其の近傍に放ちて、樂しみとしたが、程經て見厭きたと言ふので近習の
者に、「何にても一用を言ひ出づる者に之を與へん。」と申されたものだから、皆々大に喜
び臣は之を紙押へになさうといひ、或は、臣は金の茶

And then one day, Shinzaemon as a result of all this had very much taken the favor of the Regent, he
said to the Regent 「 I am not asking you for any kind of a boon 」 and that was how it was.
Shinzaemon was also able to say 「A retainer servant must not daringly wish for more than this, but
merely two conjoined paper sacks and perhaps to be granted 88 years of life. 」 The Regent said
「 Well then, there is a certain simpleness to all of this, is that all that remains of greed? 」 And
Shinzaemon had replied 「 This is like with [the famous servile] Sawayama 」 and so he said while
withdrawing. Soon thereafter, came 100 people hired to tote scores of two conjoined papier-mache
paper bags, passing before the Regent.「 It was only yesterday that we agreed upon 88 years of life,
this is humbling to have received! 」And having so remarked, the twin doors at the front of the Rice
grainery being closed, as one would expect for a short while the Regent was amazed by this and had no
words by which to express himself. Again one day in the course of the thing, at one point the Regent
had received many many crab effigies made of gold and silver, these having been placed around the
court of the garden pond, or at least in the vicinity of it, as an amusement. And a while later he was
said to have lost interest in viewing it. By the persons attendant at the time it was said 「People will
complain, what use is any of this? [it's frivolous] 」 And so it was expected that this would be said
about it. The Retainer servant [Shinzaemon] being a source of greater joy, and this being pushed in the
[news] papers was becoming dis-interesting. Or possibly from the other perspective this Retainer
servant was like a valuable gold lid on teapot.

—— ( 18 ) ——
釜の葢がないから、せめては之を以て其の葢のつかみになさうといひ、或は何と言ひ、かと
言つて各々一個を賜りしうち、新左衞門の名ふ樣「臣は人間の相撲も 旣に見厭きしことであ
るから、此の蟹を集めて相撲を取らせようと存ずる。」と言つたから、太閤「相撲とあつて
は五個十個では、其の與薄いであらう、悉く持ち行け。」と、殘れる蟹を皆新左衞門に與へ
なといふことである。

第四節 氣合術と武士道及武藝

武士道に於ては、先づ心術を正しくするといふのが根本である。而して是れ實に氣合術の骨
髓ともいふべきである。心術正しからざれば氣合術を行ふことが出來ないのである。凡そ武
藝には、劍術を初めとし馬術弓術槍術其他種々あるが、何れも氣合術が其奧殿に潜んで居る
のである。武術に於て氣合術を缺かば生命の

At the least with all of this, it was said that the [golden] lid was not being taken hold of. Or what
otherwise was being said about it. And it was said that each involved should bestow a little something
upon him. And in regard to the fame of Shinzaemon it was said 「The Retainer servant is already as if
wrestling with people, and the thing is growing more dis-interesting. One feels that it is a contest in
regard to the issues of this collection of [gold and silver] crabs.」And from this having been said, the
Regent replied「Having engaged in this wrestling, [He is doubling his possessions from five items to
10 items!! But the engagement is thinning out. He is entirely straight on in the conduct of making
acquisitions.」And this was in addition to all of the remaining [gold and silver] crabs was said to be
the case.
Daiyon-setsu Kiai-Jutsu To Bushidō Oyobi Bugei
Section Four The Art of Kiai and the Way of the Warrior, as well
as the Warrior Arts

Regarding the codes of Bushido, it's said to be based upon the earlier Mentalist arts (shinjutsu), and
that is it's root source. And that this is said to actually be the bone marrow of the Art of Kiai-jutsu. But
the conducting of the Art of Kiai-jutsu would not be from the truer Mentalist arts (shinjutsu) and one is
not able to do it like that. Generally, in regard to the Paramilitary Arts (bugei), it begins with
Swordsmanship (kenjutsu) and also Horsemanship (bajutsu), Archery (kyūjutsu) and Spearmanship
(Sōjutsu) and various other artifices. Whatever the case, the secrets of the Art of Kiai-jutsu lay hidden
within. In Bujutsu martial arts, a lack of the Art of Kiai-jutsu cause a dead inanimate Bujutsu.

—— ( 19 ) ——
ない武術である。武術の勝利は畢意氣合の勝利に歸するのである。武士訓に曰く、勝負一に
ありて二にあらず、古語にも、一毫差へば則ち天壊易所といへり。一度過りあれば、再び改
むこと能はず、勝負は瞬目の間に在り、手を拍ちて音生ずるに似たり。若し夫れ武具を合せ
て後千變萬化の働ありと言はゝ、世にいふ人形兵法にて用に足らざるなり、千變萬化は發せ
ざる前の心をいふ。と、是れ實に氣合術を指點せるものである。又曰く、勝負は石を以て水
をうつが如くすべし。石を以て石をうつが加くすべからず。石を以て水をうつとは、氣の位
を以て敵を取りひしぎて出でしめざるをいふ。云々と。又機先といふことを説いて曰く、先
をとるといふは、業を以て言ふにあらず。懸るにあらず、待つにあらず、氣の位をさしてい
ヘりと。此の氣の位とは何ぞ、是れ實に氣合術の謂である。

Regarding the victory provided by the Bujutsu martial arts, it is attributed to the victory provided by
the Kiai of Conclusionary sentiments (kiai (no) tsui(?) “control afforded by the conclusionary sentiments”). As is told
of the teachings of the Samuraii, victory or defeat are one and not two separate things. Even in the
older proverbs, there is some minor discrepancy about it, namely, it is said in regard to the Ease with
which Heaven [Higher level government and military] can destroy. It would be by degrees that they
are capacities that have changed time and again, victory or defeat comes in the blink of an eye, much
like the rhythm of one hand beating on something. Much the same as it is said when the meeting of
weapons becomes the movements of 1,000 turning into 10,000 things. In this generation it is said to be
the Paramilitary method of puppeting (jingata heihō) that is just short of being regular usage.
Regarding the action of 1000 changing into 10,000 it is said not to have begun with
straightforwardness of the heart. And, this indeed truly points directly to the Art of Kiai-jutsu. Again,
as the tale is told, victory or defeat should not be such as a stone dropped into water. When a stone is
dropped into water, it should not be approached as by means of the positioning of one's spirit in
capturing the enemy. And also it is said that of forestalling one must explain. It is said to allow one to
have captured right from the start. It is said not to be necessarily by means of such techniques. It is
said not to be exploiting any resource. It is not much to do with the positioning of one's spirit. What of
this positioning of one's spirit? This also is indeed truly one basis of the Art of Kiai-jutsu.

—— ( 20 ) ——
 一、劍法の極意と氣合術

鐵舟居士は擊劍の名匠であつたが、人に語りて曰く、擊劍は敵の身構に心を置くことなかれ、
己が身構にも太刀にも心を置くことなかれ、唯心を丹田に置きて、斬らうとも思はず斬らる
ゝとも思はず、思案分別を捨て果て、敵の太刀を振り上ぐるを見るや否や、其の儘直に付け
入るべし。と、是れ實に氣合の妙術にて働くことの義である。

二、馬術の極意と氣合術

馭馬の法は、丹田の氣力をはりつめて支體を虛無にならしむれば、精神自然と兩體四蹄を貫
け透りて、鞍上に人なく鞍下に馬無きの機を自得し、四技(鞍轡鐙鞭)三術(合節知機處分)學
ばずして自ら妙所に到ることが出來る。すべて臍下の力ばかりで馬を自在に動かし、手綱と
把る手とを其に忘るゝ

Ichi, Kenpō No Gokui To Kiai-jutsu

One, The Secrets of Swordsmanship and the Art of Kiai

Regarding Tesshū Koji he was a master craftsman of the sword, amongst people talk recounts the tale,
[the polished blades of] swords do not reflect the bearing of the heart of an enemy. Even with a broad
sword (daitō) the heart of one's own bearing is not reflected. Reflected in the re-composure of
consciousness there is a certainty to the act of beheading that goes without need of thought and
certainly one does not think about beheading. The limits of abandoning the discretion of reflective
contemplation, no sooner than seeing the raising of a broad sword (daitō) by an enemy, in that kind of
situation one must directly take whatever advantage can be had. And, in truth this is the justice in the
workings of the subtle arts of the Kiai.

Ni, Bajutsu No Gokui To Kiai-jutsu

Two, The Secrets of Horsemanship and the Art of Kiai

Regarding the driving of horses, the straining of willpower in one's resolve despite negation of the
[strength of the] limbs of the body would not prevent you. Spontaneous intentions and both bodies
[horse and rider] braced in passing along over four hooves. The people in the saddles, in the
opportunity of repaying improper deeds, there is little difference between dismounting the horse and
saddle [and the repaying of the deed.] The Four techniques (saddle (kura), bit (kutsuwa), stirrup
(abumi), horsewhip (muchi) of the three arts (the occasion (gosetsu), the experiential knowledge
(chiki), dealing with the problem (shobun) having not studied them oneself is a point of beauty since
one is then able to approach doing so. On the whole, the strength of the lower abdomen (or, "the force
of resolve") and the loins of the horse move with full freedom and there are secrets of Horsemanship
for when one has lost hand control of the reigns of the horse.

—— ( 21 ) ——
のが馬術の極意である、是れ即ち氣合の妙術である。
三、弓術の極意と氣合術

勁弓を彎きて、百發百中の妙を得る力は臂にあらず、指頭にあらず。ただ身體の正中なる丹
田の樞軸より發せし一氣を以て發たぬ先に的を貫くのである。畢竟是も亦胸肩を虛にしてた
ゝ臍下に氣息を張りつめ、其の心を以て的に向ひ、眼を以て視ることを戒めねばならない。
是れが弓術の極意である。而して氣合の妙術である。
うち送る弦の位ひは知らずして
放つばかりと思ふものうき。
弓は射よ唯射るほどの師はあらじ
ならはぬ事を我とこそ知れ。

This is namely the subtle arts of the Kiai.

San, Kyūjutsu No Gokui To Kiai-jutsu

Three, The Secrets of Archery and the Art of Kiai

When drawing a strong bow, to have the power to always be skillful and hit the target, it is not in the
elbow, it is also not in the fingertips. It is merely in centering the body, from the axis point of the belly.
Sending it on it's way with a ka-thunk! Sending the point straight through the target. After all, even this
makes a hollow of the chest and shoulder [as the bow is drawn] and there is a lowering when drawing
one's breath. By means of the heart of this does one direct oneself at the target. And one must look
carefully with the eyes. These are the secrets of archery and in conclusion the subtle arts of the Kiai as
well.
When shooting, one does not have to know the position of the bowstring.
Merely fire [the arrow] and think of it floating [to the target].
In archery, ordinarily to shoot the bow lies in what one already knows how to do,
to the extents of what one's master has taught you,

—— ( 22 ) ——
 四、槍術の極意と氣合術

槍の極意は、人を突かうと思はず、唯呼吸を靜かに、氣を丹田に止けて、水月移寫(合氣術の
極意に出づ)の心を取り、うつ事もする事もなく、たゝ敵の虛を見て之に乘するといふことで
ある。
たゝ槍は心ばかりの浪分よ
うつ事もなくする事もなし。
槍突くな引いてくり出せ石づきに
心を付けよ油斷大敵。
五、柔道の極意と氣合術

柔道の柔は、字に示す如く柔い事である。剛に對しての柔硬に對するの柔。である。此の理
窟を基礎として建設したものが即ち柔道である。其の極

Yon, Yarijutsu No Gokui To Kiai-jutsu

Four, The Secrets of Spearmanship and the Art of Kiai

Regarding the secrets of the spear, it is to thrust people and not to think about doing so. Merely
breathing calmly, putting a stop to their composure. Capturing by the heart of copying the shift in
glances and expression (there are secrets of Aiki No Jutsu here). Nailing the thing easily, it is said to be
looking for any openings presented by the enemy.
Ordinarily regarding spears, it is to use a trifling of
the motion of waves in easily nailing the thing.
Thrusting and pulling with the spear
the butt cap ever adhering close to the heart being that unpreparedness is your worst
enemy.

Go, Jūdō No Gokui To Kiai-jutsu

Five, The Secrets of Judo Unarmed Combat and the Art of Kiai

Regarding pliable mobility (yawara) of Judo, much as can be demonstrated in the strokes of the Hand
written Chinese characters, it is the subject of pliability (yawai). Stiffness makes too much opposition
for pliable mobility (yawara). Hardness makes too much opposition for pliable mobility (yawara).
This is the foundation of it's reasoning, to establish the thing is namely Judo itself. Regarding the
secrets of this...

—— ( 23 ) ——
意は、唯我が全身に氣を滿たしめ手足共硬くならず。肩が怒らぬ樣全身柔く爲して、敵の變
に應ずること第一である。即ち敵の己に加へて來る力を利用して敵を押し、又は引いて敵の
姿勢を崩し、其の隙間あるに乘じて業を施すのである。敢て自己の力を勞することなく、氣
の扱ひで敵を倒すのである。所謂柔能く剛を制するといふことで、是れ亦氣合の妙術に歸す
るのである。其の他鎻り鎌でも、長刀でも、ありとあらゆる武藝は、皆氣合術が其の骨子を
なして居るのである。

第五節 氣合術と相撲道
相撲取を力士といひ、相撲を又角力ともいふ位で、相撲は實に力の業である。力の强き者は
勝ち力の弱き者は負ける、足れ即ち當然の理である。然れども相撲は又力の外に術を要す。
所謂四十八手とか稱して種々の手

...by oneself alone, throughout the entire body spirit (ki) is fulfilled and lacking this there would be no
strength in the limbs of the body. Squaring the shoulders the entire body is made pliable (yawaku 柔
く) to the changing responses of the enemy, this is of topmost importance. Namely, at the same time as
the enemy himself has approached, there is the usage of force pushing the enemy back. Or possibly
pulling on the enemy to disrupt his body posture. It is the conducting of techniques that take advantage
of such openings. Daringly and without accident one own force is the reward, from the handling of
spirit (ki) the enemy is overthrown. As it is called, and so is it said, rigidity and pliability together goes
far. From others such as chain and sickle (kusari-gama), and from halberds (naginata), and of every
possible paramilitary arts (bugei) all of these have the Art of Kiai as a formative basis.

Daigo-setsu Kiai-jutsu To Sumōdō

Section Five The Art of Kiai and the Art of Sumo

It's said that Sumo Wrestlers are all very strong men, and it's even said that Sumo wrestling is to take
rank in contests of strength. Really, Sumo wrestling is the technique of strength itself. Victory is for
persons of superior strength and defeat for those whom are weaker. Namely, to be worthy is the very
principle of the course of natural reasoning. Sumo in particular does require techniques beyond mere
force. The so called 48 basic techniques (shijūhatte) among a variety of other things that are generally
available.

—— ( 24 ) ——
がある。故に力をのみ恃んで勝を恣にすることが出來ない。されば力も强く、術も巧であら
ば、常に勝星を取つて、全勝力士の名聲を博することが出來るかといふにさうでない。此の
二者が兼ね備つた上に尚又氣合の術を心得て居らねばならぬ。縱令力では優り手では優つて
居ても、氣合術を缺いて居るが爲に即ち氣合負けをしたが爲に、却つて相撲に負けるといふ
實例は、往々國技館の土俵上に於て見るのである。之を要するに相撲道に於ても亦武道に於
ると同じく氣合術が肝要である。東西の兩力士將に四股を踏んで龍攘虎鬪の大活劇を演ぜん
とするに當り、唐突に組合はずして、先數回化粧立といふことをするのは、即ち互に呼吸を
計り、氣合を何ふのである。双方何れかの勢でヤツと呼び、オウと立つや、其の時早や 旣に
勝負の數が定つて居るのである。未だ力を角し術を博たずして一方の力士旣に相手の氣を制
するのである。之を要するに角力に於ても、氣合術の妙用を得たるものが、常に勝名乘を揚
げることが出來るの

Consequently when relying upon mere force one cannot exploit victory to it's fullest. That being the
case, even great strength, even the ingenuity of technique, always in capturing the good fortune of
victory there is the spreading of the fame of the complete victory of the Sumo Wrestler. And it is said
that this is not the only thing it is capable of doing. Such as these two persons [sumo combatants] meet
head-on and driving upwards, and moreover eventually the understanding of the Art of Kiai must have
come to exist in it. Even when from strength one has a manual advantage that is superior, in lacking the
Art of Kiai in such deeds, namely, this causes the outcry (kiai) of being defeated. But on the contrary in
Sumo wrestling it is said that to be defeated is the law of reality. Sometimes up in the ring of the
Kokugikan Arena [major sumo location in Tokyo] one observes it. The point of this is that in the Art of
Sumo (sumōdō) and likewise in the Martial arts (budō) much the same, the Art of Kiai is a crucial
element. In both the East and the West, there are surely strong man wrestlers whom tread in stomp
stepping taking very active roles played in the drama of chasing and fighting one another (ryujō kotō
[lit. "dragons chasing tigers fighting"]). In a sudden combative joining, but bit before it, everything
was about the [ceremonial] face paint mask and the stances. Namely it is measured in the breaths
drawn together [when advancing and struggling], and whatever outcries and manipulations (kiai). Both
parties mutually, whatever vigour these fellows display and their breathing, [the outcries of] Oo!! and
the stances. Early in such episodes, it is already too late, the truer number of victories and defeats that
were the case. Winning acclaim by the techniques of the contest of strength. In the singular method of
strong man wrestlers it is to bridle the spirit (ki) of the opponent. The point of this is that in a contest of
strength, it is to have acquired practical usage of the Art of Kiai, one can be elevated and given a name
by victory in it.

—— ( 25 ) ——
である。今年一月相撲の際朝日新聞に吉田追風氏の『角力道の由來』といふ談は、實に相撲
道に於て氣合術の肝要なること相撲の極意は氣合術の極意なることを示して居る。左に之を
抄記しやこう。角力の極意余(吉田追風氏)は十六歳より角力を取り始め、同時に柔術は扱心
流を學び、劍術は自源流を修め、又丁丑の亂には、若年ながらも西鄕の軍に投じて、戰にも
與り、而して四十歳以上になりて水泳術を猿木師(學習院の水泳師範小堀氏の實兄)に學び今
年五十五歳の今日迄、此等武道の修業は曾て怠らず、角力たり柔術たり劍術たり、はた水泳
術たり、其極意に於て歸する所は皆一なり。角力の手の古名に、磯の浪、波まくら、浪くぐ
り、よろひづめ抔あるが、何ぞ其の名の優美なるや、而も是にて極意を謠ひ盡せる所あり、
先年東京相撲が熊本に來りし時、國見山が敗を取りしことあり。相手は誰れなりしか、忘れ
たれど、國見がパツと突きかけ來るを、ヒラリと之を外したれば國見の體トンくくと泳ぎし
が、其の時余は門弟に指して、是れ

In January of this year [1923 ?], the circumstance of 『 (Mr.) Yoshida of the Art of Strength
Contests』which was addressed in the Asahi Shimbun newspaper. Indeed, with Sumo wrestling, the
Art of Kiai is a crucial element. Regarding the secrets of Sumo wrestling, discipline becomes the
whole thing. On the other hand, one jots down notes about this sort of thing. More than just the secrets
of a contest of strength (the favourable reputation of Mr. Yoshida) from age 16 years old, he began to
capture the contests of strength and while simultaneously studying Jujutsu of the Kyūshin ryū. Also
practicing kenjutsu swordsmanship on a self taught basis, also there was the bout on the fourteenth of
the sexagenary calendar cycle. Although he was quite young, devotion was common among Saigō's
troop and they all participated in the war [preamble wars of WWI]. Thus and finally, beyond all this, at
Forty years old took to the swimming arts of Master Saruki (master instuctor of the swimming
techniques of the learning institute, elder son of the Kobori family) studying up to this very day at age
forty five years old. Of these practices of the martial arts (budō) earlier in life he was not negligent
either. Being pursuant of Sumo, Jujutsu and kenjutsu as well as the arts of swimming, with such
secrets all are ultimately one thing. In the older names of Sumo techniques, there is such as Breaker
waves (iwa no nami), Curling waves (nami makura) and Passing through waves (nami kuguri) and
several others besides. Whatever given names used to provide more elegance [to the art]. Furthermore,
here is devotion in recitation of the secrets. Some length of time ago the Sumo wrestling in Tokyo, Mr.
Kumamoto had approached at the time. He captured and defeated Mr. Kunimisan. Regarding the
opponent, for example, whom of them will be forgotten, in the sight of the whole country, in
approaching to thrust and in the dancing steps, as if nimbly stepping outside the line of sight of the
whole country. Swimming as if one weighed a ton, and at such times to be faced with all one's
followers!

—— ( 26 ) ——
が古名「魚の水離れ」といふ手なりと敎へたることあり、柔術扱心流にも此等の名あり、是
れ恐く角力より盜めるものにあらざるか。其扱心流は心を主として體をあつかはぬを極意と
せり。角力も然り水泳亦然り。數年前猿木師が西洋の醫學博士の請により、江津湖にて浮身
水書をなせしが其の時扇面に水月と書きしを、何か謂れのあることならんと尋ねられしに、
猿木師は、然り謂れあり、月は水に其の影を映さんとするにあらず、水も亦月を宿さしめん
とするにもあらず、是れ天地自然の現象にして、其の意ありて然るにあらず。游泳の極意は
即ち水を忘るゝにありと答へければ、博士は初めて其の意を悟り、是まで日本の武士道に就
き處々にて極め來りしが、玆に始めて極意を聞くことを得たりとて、眞心を籠めて猿木師に
握手を求めたるが、猿木師の此の詞は武蔵流より出でたるものなり、又扱心流の敎も心を主
として體をあつかはぬを極意となしあり。武術は總て正を主とす、我學べる柔術にて「大水
の先に流るゝとちがらも

Of this, it is said that the older names of techniques such as 「Plucking a fish from water (uo no mizu
banare) 」 were what was being taught. And in the Jujutsu of the Kyūshin ryū these names are also
used. This is quite unusual, when stealing away in a contest of strength it would not usually be so.
Regarding this Kyūshin ryū, chiefly it is about the secrets of the mind and also the body and it's limbs.
Aye, the same as with Sumo wrestling and of swimming arts. Some years back, Master Saruki, a
doctor of Western medicine whom had been inquired of, in Edzuko Japan, made a book about floating
on one's back in water. The book describes fan shading the eyes when doing so. One should not do this
for any reason, and in inquiring of it, Master Saruki gave the explanation that the moon is not reflected
in a body of water otherwise [i.e.; probably means that sunlight and similar light could blind you?].
Again even in water the moon's reflection cannot reside, and the meaning of this phenomenon of
heaven and earth is not given proper thought. Regarding the secrets of swimming, namely it is about
being lost in a body of water and how one should respond to it. The doctor had understood this
meaning right from the start. To this extent, in the Bushido warrior ways of Japan, the concerns of such
situations were probed deeply. Nowadays, when hearing of the secrets for the first time and acquiring
the thing, master Saruki having made such devotion and upon a mere handshake! Regarding the
language of this master Saruki, it seems to have come from Musashi ryū. Even the teachings of the
Kyūshin ryū are chiefly about the secrets of the adjoining of mind and the body, and what occurs
without it. In the paramilitary arts (bujutsu) everything is chiefly about justice. With one whom would
study Jujutsu, it is said:「Move with the flow of flood-waters...

—— ( 27 ) ——
身を捨てゝこそ浮む瀬もあれ」といへば相撲道にては「何事もたくむ言の葉僞りぞ不國思ひ
出に誠こそあれ」と敎あり。又柔きを尊ぶは決して柔術のみにはあらず、相撲も亦柔を以て
主眼とす。されば四十八手の古名中に雪の下とい手あり。其の解に、向ふより一ばいに押し
かゝつて來るを竹柳などに、雪降り積りたるを受けし如く、フワリくと受けて右へなりとも
左へなりとも流して勝つなり。随分腰より上の柔にしなヘて受身が專一なり。わけて修業な
くては此の術を得難し、又腰より上のシワリくと柔にあるには、向ふより手を出しても利か
ざるものなりとあり。以て其の意を知るべし。前記の受身が專一なりに就て向いはんに、三
段の構への如きは、受身即ち防禦寮の體なり、常陸山梅ケ谷の此の構へは、昨年の國技館開
館式の時よりも今度は一層熟し來れるが尚未だしき所あり、之を始めて兩力士に敎ふる以前
先づ一段の構へにつき、胸を透して下腹に力を入るゝ呼吸を、

...surely casting aside all self concern and ride the rapids bodily. 」 In speaking of the art of Sumo
wrestling (sumōdō), 「 whatever small amount of lying deception in what gets said about it is not
thought to be unpatriotic since there is truth as well 」 and that is what is taught about it. Flexible
mobility (yawaki 柔き) being prized is by no means limited to the subject of Jujutsu alone. Even in
Sumo wrestling pliability (yawara) is a crucial aspect. Being that the case, the older names of the 48
hand techniques are the techniques that naturally occurred over time. In such solutions, when being
thus faced with a single one, approaching to push in intrusively much as if pushing one's way through
bamboo and willow trees. Convictions and intentions being much like being caught in snowfall as one
does, lightly received to the left and to the right as one proceeds the currents of victory. The weakening
of pliable motion (yawara) from the waist upwards that is possible to occur being solely when bodily
receiving [the opponent], the distinguishing of which is hard to come by when studying to acquire this
artifice. Again the shrinking contractions from the waist up and whatever pliable mobility remains, to
reach out with one's hands when headed towards him is not possible to be very effective because of it.
One understands when giving thought to it. The previously mentioned state of receiving bodily [the
opponent], when the positions of the confrontation have settled in the one single instance, much like
the three level postures (sandan no kamae) themselves, to bodily receive [the opponent] is namely to
defend oneself bodily, and in regards to Hitachiyama Umegatani ( famous Sumo master (?)1878 - 1927(?) famous for his
Sumo bouts 1910-1916) and this position, at the time of the ceremonies of the opening of the doors for
business at the Kokugikan Arena, and shortly thereafter still the more would it be approached. And
furthermore throughout the whole place. Both of the Sumo wrestlers having begun this, having already
been taught it beforehand, in the push of the posture of a single level, forcing one's way through at the
chest by composure of the lower body position and it is claimed that ones breath is like a thunderbolt
when doing so.

—— ( 28 ) ——
雷に語りしに、流石は權太夫なり、是容易ならずとて、歸りて梅ケ谷に一心に稽古せよと語
りしかば、梅も頗る䍠心になり、常陸山も亦共に相勵みしにより、首尾能く相勤むるを得た
り。今度の稽古に於て、梅の手が何うしても上り過ぎんとするを、是れ自分の眼と相手の眼
が相合せざりしに依ると注意して、始めて全きを得たり。總じて三段の構は行司がシーッと
いふ呼吸と兩力士の呼吸が合ざれば出來ぬ業なり。今度の勤めに尚未だしき所ありといふは、
兩力士とも首が仰向き過ぎたる事なり、前記の如く是は防禦の構にして、其の防禦は額と手
とにて受くべきものなり。夫にしては今少し首を屈め腰を落す樣に致さゝれば隙を生す。然
れども今一度勤めしむれば、必ず完璧たる事と信ず。云々。又曰く、我が家の傳法には、角
力の位により横綱を授くとあり、位なくんば力勝りたりとて角力の上位には立たしむべから
ず。

As one would expect, being Masters of a greater power, even though none of this is really very simple,
it is said that one ought to address the subjects of and practice having returned with single-mindedness
through the opulent route (lit; "...Valley full of plumbs..."), since even the 'plumbs' are filled with very
much spiritedness. Even so with Hitachiyama because of all that striving together from the very
beginning to the end had acquired and skillfully employed it. Shortly after having practice of it, what
hand you may put to the plumbs reaching across as [to pluck] them, this one can notice for oneself,
and so also which ones the opponent can see but one knows that it is not according to mutual
opportunity and one must be cautious. It [both perceiving and plucking the plumbs] has been acquired
when it has begun and is then completed. All together of the three levels posturing (sandan no kamae),
it is said that the sumo referees make declaration, and the breathing patterns of both Sumo wrestlers
would not be in agreement, given the happenstance of the techniques. And also so it is said of the
doings shortly thereafter in the place. The heads of both Sumo wrestlers are held looking upwards [at
each other] has the thing has elapsed. This is much as was said previously, making it a positioning of
defense. With such defenses it is largely about receiving the forehead and the hands. In making it with
him, one stoops a bit more and drops the hips in order to have created an opening by which to enter.
Even once more it would be with a certain act of constriction, invariably it's believed to be making the
thing flawlessly. Etc etc. And as things are recounted, in the rough housing of one's own customs, in
the postures and positions of Sumo wrestling, it is like they were imparted by a Sumo master
champion. It would not really be the postures and positions that make the stronger victory, but in the
upper hand position of Sumo wrestling it would be to have not assisted [the opponent] in keeping his
footing.

TRANS NOTE:
The text has: “...ka(h)erite umegatani ni isshin ni...” (...歸りて梅ケ谷に一心に...) which means: “...having returned with single-mindedness through the
opulent route (lit; "...Valley full of plumbs...") and I thought it best to explain (especially given the importance to Kiai-jutsu and the practices of Japanese
(-descended) self protection arts.) In the Sino-japanese languages, such references to plumbs, and especially to the likes of orchards or valleys of plumbs...
it means things like abundance, opulence and etc. It's a language idiom. In this specific example, “valley of plumbs” refers to the routes along the streets
to the Sumo arena, and the main routes (whether through the crowd or not) that lead to and from the fighting floor of the arena. They are considered to be
valley-like and so are thus described. In the subject of self protection it would be much the same: the routes and foot paths that lead up to the place where
the altercation occurs... and along which one will retreat after the act of self protection. The traditions of Sumo that the Sakkatsu jizai are referring to were
meant to be applied in self protection under the terms of kiai-jutsu itself. It suggests to consider and to practice the various subjects of victory and defeat
both, coming and going along the route of “the valley of plumbs”. Whether you proceed or exit, whether you were defeated or victorious. Understanding
and even practicing to make one way along through the “valley of plumbs”. Sometimes, in some context, the “plumbs” also refers (at the same time) to
various kinds of persons and groupings of people whom may be present (as if they were dottings of pumb clusters hanging from the branches of plumb
trees in small orchards along the sides of the valley-path.)

—— ( 29 ) ——
第六節 氣合術と催眠術

催眠法の巧拙は暗示使用の巧拙如何に在り、暗示使用の巧拙如何は暗示奏功の徹底するか否
かといふに在り。而して暗示奏功の徹底は、氣合術を會得するに非ざれば得られないのであ
る。故に催眠術者に取りては、心身を鍛錬して氣合の妙術を得ること急務といはねばならぬ。

第七節 氣合術と宗敎

宗敎は氣合術と大に交涉を持つて居る。元來宗敎は人の心靈に大革命を與ふるものである。
基督敎では復活を說き、拂敎では煩惱即菩提を說く是れ實に人類の罪惡てふ汚れより洗ひ清
めて永生の命を與へる、又無明即ち迷といふことを解脫して、悟道正覺に導くといふ主眼で
ある。罪惡の汚は清められ、無明の醉は醒まされるのである。所謂心機一轉である。

Dairoku-setsu Kiai-jutsu To Saimin-jutsu

Section Six The Art of Kiai and the Art of Mesmerization

Regarding the skills of the Method of Mesmerisation (saiminpō), there is to be found here some hint of
the skill of it's usage. A hint of whatever skill of it's application is a hint of whatever consistent
achievements one can make by it, or not as is sometimes said to be the case. Thus when as a hint of the
consistent achievements, it would not be mistaken to comprehend it as Kiai-jutsu which can otherwise
not be achieved. And consequently when capture is performed by a practitioner of the art of
mesmerization, having made the forging of mind and body is to have acquired the marvelous subtle
arts of the Kiai. It is said to be imperative that one has done so.

Daishichi-setsu Kiai-jutsu To Shūkyō

Section Seven The Art of Kiai and Religious Matters

The art of Kiai and even greater discourses have connection, primarily in religion there is the spirit of
mankind, resoundingly like the beating of a drum. And so then Christianity which is the advocate of
the resurrection, and likewise Buddhism the advocate of enlightenment against wicked passions. But
all of this is in truth spotted with the filthy avarice of mankind, but yet one would participate in the
purifications to become a proper person and receive the estate of eternal life. Also there is ignorance,
namely in going astray, so it is said, and in seeking freedom from this. It is said that we are to be led in
the perfect enlightenment of the path of enlightenment itself, this being the main point. The
purifications from the defilement of avarice, and to have awakened to the drunkness that is ignorance.
The so-called vehicle of self-change.

TRANS NOTE:
The author here in this entry on the relationship of Kiai-jutsu to Saimin-jutsu didn't say very much because he had written some 3-5 books on the subject
(sibling texts that go with the Sakkatsu jizai itself.)

—— ( 30) ——
而して基督とか釋迦の氣合に導かれて、此の清淨心の域に至るのである。而も此の清淨心と
いふことは、氣合術に於て、最も大切なる要件で、清淨心でなければ、氣合術を施すことが
出來ないのである。黒志梵士或る時釋迦の前に出たが、右の手には合歡木の花を持ち、左の
手には桐の花を持つて居たのである。然るに釋迦は突然梵士に向つて放下着と一喝した。梵
士覺えす左の手の桐の花を捨てた。釋迦は透さず、又放下着と言つた。梵士聲に應じて右の
手の合歡木の花を捨てた。釋迦は更に疊みかけて放下着と命じた。梵士は最早手には一物の
捨てるものがない、鳴呼梵士何を捨つべきであらうか、然るに梵士は右や左やと考へもしな
いで、躇躊なく直に、ハツと答へて放下了したのである。其の捨てたものは何かといへば迷
の心である。汚がれた心である。胸に一物手に荷物といふが、梵士は手の荷物を捨て更に胸
の一物を捨てた。是に於て梵士の心は清淨心となつたのである。而して是れ實に釋迦

And so by the Kiai (def. is "control of circumstances") of Christ and among others the Gautama
Buddha, were we led. The purity of this and the very limits of spirit were approached. And moreover,
the spirit of the purity of this, as it is said, was not truly possible by the art of the Kiai alone. The
Brahma Kuroshida [?and?] the Gautama Buddha were proceeded at the time by a certain gentleman
whom took in his right hand a bloom of the silk tree, whereas in his left hand he took the bloom of a
paulownia tree. Still yet, the Gautama Buddha unexpectedly turned and abandoned the robes of the
Brahma loudly rebuking them for the sake of enlightenment. The Brahma remembering cast away
from his left hand the bloom of the paulownia tree. The Gautama Buddha having not proceeded
through, also discarded the robes and so it is said. The Brahma having heard what he said cast away
the bloom of the silk tree in his right hand. The Gautama Buddha furthermore when pressed for an
answer commanded the casting away of the robes. The Brahma having already taken it in hand, then
cast away his ulterior motive regarding it, and the outcry of the Brahma as to why he had discarded it,
nonetheless the Brahma and without the least consideration [cast them] from both his left and right
hands. Directly and without hesitation. and (?) with certainty(?) answering that it was to completely
abandon them. Having abandoned that, and so quickly, and the doubt of it in his heart that would
pollute it. The contrivance by which he took it in hand being only so much a burden, the Brahma
abandoned it in his hand even more so and abandoned that weight upon his chest. At this point here the
heart of Brahma became pure of spirit. And so indeed of this, by the Kiai (def. Is “control of
circumstances”) of the Gautama Buddha...

—— ( 31) ——
の氣合に打たれて是に至つたのである。キリスト或る時弟子達に足を洗へと命じた。弟子達
足を洗ひ了つた所でペテロは背をも洗ひませうと言つた。キリストは足を洗へば足ると言は
れた。それは足は汚塵や垢のつく所である。キリストが弟子達に足を洗へと命ぜられたのは、
其の目的は足にあらずして他に在るのだ、即ち穢い汚れたものを洗ひ清めよとの暗示であつ
た。弟子達は遂にキリストの氣合に應じて、罪惡といふ心の垢を洗雪したのである。釋迦は
放下着といひ、基督は足を洗へといふ。言ひ方こそ違へ、同じ高嶺の富士の白雪、何れも同
一筆法で、氣合の力を以て弟子達の心靈に革命を起させるのである。此の他猶ほ基督敎の敎
でも、拂敎の敎でも、何れも氣合術修養の條件に一致せざるは無いのである。それは後章
追々に說く所を以て知ることが出來るであらうと思ふ。

...would have been beaten at the approach of this. And Christ being with his disciples at a certain hour
commanded the washing of the feet. Having completed the washing of the feet of his disciples, he
being bent over at the back whilst washing, so it is said. That Christ would have washed the feet was
worthy enough and so it is said. One knows that the feet are covered in dirt and grit. So had Christ been
commanded to wash the feet of his disciples but the purpose of this is not an obvious one. Namely, it
only suggests that it was done to have washed away the dirt on the feet. The disciples finally, in
proportion to the Kiai (def. is "control of circumstances") of Christ, said that the dirt on the feet
signified sinfulness in even proper persons. And it was also said of the Gautama Buddha casting away
the robes much the same as the [foot] washing of Christ. It is certainly a way of expressing self change,
identical to the snowy peaks of a mountain top upon which wealthy gentlemen do stand, either way it is
an identical expression of a literary nature. By means of the strength of Kiai (def. is "control of
circumstances") there had awakened a revolution in the spirits of Christ's disciples. Furthermore and
besides all this, even in the teachings of Christianity, and so the teachings of Buddhism, both have
various items of the cultivation of the Art of the Kiai, but do not agree between themselves in
possession of it. That was explained in the sections previously in this chapter, being aware of such
things allows one to be able to do it, or so it is thought.

TRANS NOTE:
The last few pages have had some wonderful examples that clearly demonstrated the meaning of term 'Kiai' when under the definition of “controlling self,
others and circumstances”. This is actually the chief definition... there really kind of is not an actual definition that expresses “spirited shouts”, that slightly
erroneous definition is actually produced by the fact that any-of-a-certain-kind-of-thing that is used as a standard part of kiai-jutsu to perform its actions is
referred to as a 'kiai'. Much the same (and kind of in an opposite direction) it is the case with things (actions or objects) that are called an 'aiki' (from the
coagnate aiki-no-jutsu.)

—— ( 32) ——
吾人をして百尺竿頭更に一步を進めて、極言せしむれば、宗敎心のあるものでなければ、眞
正の氣合術は得られないのである。基督の愛、釋迦の慈悲是れ實に氣合術の依りて生ずる根
源である。之なければ氣合術の妙力は現はれないのである。

第八節 氣合術と敎育
一、氣合術と習字

文字を習ふは、其の形を摸するに非ずして、其の神を傳ふるにある。其の神を傳ふるに非ざ
れば、如何に其の形を模し得たりとも、畢竟死文字である、毫も見るに足らないのである。
然れども一度其の神を傳へ得んか、形は力めずして自ら整ひ、行雲流水意の欲する所に從う
て自由自在に書くことが出來るのである。小石川音羽に、山崎東陽とて氣合にて習字を敎ふ
る人あるといふことであ

We ourselves furthermore still advance step by step towards the highest state of enlightenment we can
muster, frankly, in hopes that it will happen for us. In the heart of piety it is as if it's not there at all.
Otherwise one would not acquire truly correct kiai-jutsu. The love of Christ, the compassion of the
Gautama Buddha, these consequently do not bear the fruits of the art of the Kiai, despite being it's
source. This being not present in the marvelous subtle power of the art of the Kiai, but for it would
otherwise not exist.

Daihachi-setsu Kiai-jutsu To Kyōiku

Section Eight The Art of Kiai and the Education
Ichi, Kiai-jutsu To Shūji One, The Art of Kiai and Penmanship

Regarding the learning of written characters, it is no mistake to model things based upon the forms of
this. It is said that to do so is to follow divine tradition. It would not be mistaken to follow after divine
tradition. Surely for the sake of acquiring it by following whatever of it's patterns. After all, it is
otherwise the written characters of meaningless writings! And as such not at all worthy to observe.
Even when it is the likes of such upon occasion, one can acquire it by following divine tradition. If one
has not already endeavored in it then one should prepare themselves to do so. Following to the point of
desiring such thoughts is somewhat like freely floating and drifting on the tides of the sea, then one is
able to write books about it. By the babbling brook sounds of water currents flowing over pebble
stones and the sunrise in the East over mountain capes by the Kiai (def. is "controlled circumstances")
one learns penmanship. It is said to be that way with people.

TRANS NOTE:
The entry has ...小石川音羽に、山崎東陽とて... ( Koishikawa onu(?) ni, yamazaki tōyō tote ) which means: “...By the babbling brook sounds of water
currents flowing over pebble stones and the sunrise in the East over mountain capes... ” This is highly poetic language in reference to stroking the Japanese
brush-pen in water and over the surface of the ink-stone, then, as the lines of text are being stroked in, eventually one can see what is being written and it
can be read (“...the sunrise in the East over mountain capes ...”) 'mountain' signifies the obstacle of not being able to make out the kanji character until the
writer has performed much of it's strokes, and likewise the obstacle of not being able to read the line of text until the writer has written enough to make
out what it says.

—— ( 33) ——
る。昨年十二月の婦人世界に載せられたる同雑誌記者の訪問記を見るに、同氏は先づ其の手
習子の手を取り、手本に模して二三度模寫せしめ、一通り文字の形を呑み込ましたる上、さ
て兩手を膝につき、身體を眞直に感儀を正し、手習子の持てる筆先に、屹と眼を着け、テン、
シユー、ウン、タタタなどと氣合を懸け、此の氣合に連れて手習子をして筆を運ばしむ。テ
ンに點をうち、シユーに撥ね、ソンに曲げタタタと線を引くのである。また十二歳の少女が
氣合につれて書きたるものなりとて、同記事の中に挿入せるものを見るに、筆力遒勁寸分の
すき間もなく、人をして驚嘆措く能はざらしむるものがある。氣合を以て神を導くが故に、
操縱自在にして毫も筆端窘束澁滯の狀がなく、氣充ち神足り文字生動せるがやうである。發
明者は岡崎鐵山といふ、今年八十三歳の老人なりとのことであるが、氣合術を應用して、神
と氣とを以て筆を運ばしむることに着眼したのは、卓見といふべきである。

Last year in the month of December a woman of the world was given a ride to where she was going, to
see about the visitations of a magazine journalist. Previously she had an education in penmanship and
hand writing, she followed along in her copy book writing two or three entries. Generally she had good
understanding of the various forms of the written characters. Well then, placing both hands on her
knees, and directly maintaining proper bodily posture, she had been able to hold interest in learning to
write with a brush-pen. With the tip of the pen, she towering like a mountain and with her eyes affixed
[to the page], [she wrote] heaven (ten), practice (shū) and clouds (un) tappity tap tap tap [on the paper
canvass with the brush pen] and so adhered to her Kiai (def. is "sense of control of the circumstance").
In this kind of kiai, it is proportionate to the interest in the practice of writing with a pen and to the
carry of the pen itself. 'Heaven' (ten) is the the pinning of the [initial] point [of the brush stroke when
making Sino-japanese characters], practice (shū) is in brushing up on one's skills with the long body of
the brush pen, wind (son) is when tappity tap tap tap [on the paper canvass with the brush pen] and in
drawing the lines of text [across the page]. And also when she was a little girl of some 12 years old,
her kiai (def. is "sense of control in the circumstances") in penning things out for example, was the
same as when she made news articles when observing the insertion [of the text lines]. Her ability to
write being so strong that there were not even any small gaps in forming written lines. This caused
people to halt in admiration, as this was not thought to be common place. By means of the kiai (def. is
"sense of control of the circumstances") and consequently being led by the divine, makes for freedom
in execution and handling not the least of which is the tip of the brush pen in it's halting bunches of
strokes, the divine basis of the waning and waxing spirit of the written characters are made to be living
motions. Of the inventor Okazaki Tetsuyama it was said that this very year he was 83 years old, an old
man, I am told. He having made practical application of the art of the kiai, by means of the divine and
of the spirit, and by paying some attention to the carry of the brush pen he was said to have been very
clear-sighted.
TRANS NOTE:
The entry has: ...どと氣合を懸け... ( doto kiai wo kake ) here the idiomatic phrase ( 氣合を懸け... kiai wo kake which can also be written as 氣合を
掛 け ) in this entry example it means “...adhering to the sense of control of the circumstances...” but could just as easily have been translated as
“...adhering to the sense of control of the skills (of writing with a brush pen)...” In any writings by the Japanese on Kiai-jutsu, or other literary references
to the subject of the kiai, one commonly encounters the idiomatic phrase ( 氣合を懸け(る)... kiai wo kake(ru) or the other way that it can be written as
氣合を掛け(る) this idiomatic phrase can be a little hard to translate due to the definition of the word 'kiai' being derived by context. If the phrase kiai
wo kake(ru) is encountered in a technical description of a Jujutsu kata technique, for example, it might not mean that a kiai shout occurs at that point in
the technique, but instead might better be translated as “...continuing to pursue and subdue [the opponent] by the sense of control over the moment...” or
something quite like this. Similarly but with slightly differenced meaning, the phrase kiai wo kake(ru) might instead mean “adhering to the control one
has gained (over the circumstances)”. These kinds of textual examples, straight from the Japanese, are an excellent example that demonstrates the
meaning of the term 'kiai' is most certainly not any kind of spirited shout or utterance.

—— ( 34) ——
余の知人四平墨華氏亦氣法分解敎授法を行うて居る。やはりトンスウー、ウン、と三段に氣
合を入れて習はせるのである。余は曾て氏を聘して敎員にも、生徒にも、其の講習を受けさ
せたが、頗る進步が早くて好成績を得た。前記の氣合習字法は、從來の死習法を變じて活習
法としたのである。習字ばかりではない、其の他の敎育法に於ても死活の別がある。活きた
敎育を施さうとするには、敎育者に氣合術の心得が無くてはならぬ。吉田靜致氏は、敎育者
の氣合といふことに就き次の如きことを言つて居られる。

二、敎育家と氣合術

『撃劍、柔術、馬術といふやうな武術には、總て氣合ひといふとがある。此の氣合ひといふ
をは、啻に武術の上にのみ見出さるべきものでなくして、其の他の方面にも見出さるべきも
のと思ふ。敎育に關しても其所に

Moreover, an acquaintance a one Mr. Shihei Sumika, was a conductor of the analytical teaching
method of the Spirit method (kihō). Likewise, five tons later, and clouds too, made practice through
to the third stage of the techniques of motivating oneself. Beyond that, previously upon invitation of
the family had been an instructor and was also one of the pupils himself, and had become subject to
such short courses of training. He had acquired good results and quite a lot of progress even early on.
Regarding the Methods of Controlled Penmanship (kiai shūji-hō) of the previous mentioned person,
it transforms into a conventional method of strangulation. But is also a revitalizing method.
Penmanship is not the doddling of the head of someone's penis, there are other teaching methods for
that, discerning between taking and giving life. One tries to be lively at one's training, and with
educators one cannot do without the knowledge of the art of the Kiai. Mr. Yoshida Seichi was said to
be proficient in the kiai (def. is "circumstantial control") of educators, much as was said of the next
subject.

Ni, Kyōikuka To Kiai-jutsu Two, The Art of the Kiai used by Educators

『 It is also said of the Paramilitary arts, the art of Fencing, Jujutsu, and Horsemanship all are said
to include the Kiai. Of this Kiai it is said that only on the surface of the Paramilitary arts would it not
be observable. And so it is thought and said to be so observable in the other subject fields.
TRANS NOTE:
The entry has a very useful idiomatic example: “...氣合習字法...”, kiai shūji-hō, which translates as: “Methods of Controlled Penmanship” and in this
context the word 'kiai' serves as a form of the adjectival past tense participle “controlled”. This shows yet another example of the contextual nature of
the various definitions for the word 'kiai'. It actually served as an adjective here! But, in a twist of fate, and I must say that, linguistically speaking (and
in regard to the subject of Kiai-jutsu for the Japanese descended arts) it is necessary to point out that the definition of this idiomatic phrase is doubled.
It carries invariably the duel meaning of “Penmanship that affords control over circumstances and others”, such as is known of journalism in some
contexts. Also, in some keeping with this idiom's meaning: that was why I offered to translate and post these translations free-gratis. It is a form of K iai
shūji-hō for me to have done so. Profound misunderstanding of the subject of Kiai-jutsu and things related to it. Grotesque mistranslations leading to
wrongful application of even common place Japanese Budo and Jujutsu terminology, which then reduced the value of the teachings. SEPARATE
NOTE: The entry says: “... 習 字 ば か り で は な い ...” shūji ba-kari de hanai... which means “...Penmanship is not the doddling of the head of
someone's penis...”, it sounds rude but in reality it is comparing the shaft of a Sino-japanese brush pen with the length of the male organ and so the tip
of the pen with the head of a penis. It was meant to say that journalism was not intended to muck things up and ruin peoples lives by the perpetration of
misinformation and lies. The text continues thereafter in reinforcement of the idea and says: “...there are other teaching methods for that...” in reference
to the paramilitary arts and the usage of misinformation in war and conflict. NOTE THREE: The title of the sub-section: Kyōikuka No Kiai “The
Kiai of Educators”, instead of this version of the title, the text has instead Kyōikuka To Kiai-jutsu “The Art of the Kiai used by Educators”.

—— ( 35) ——
氣合ひといふことがあらうと思ふ。氣合なき武術は死せる武術である。氣合なき藝術文學も
亦死せるものと同じやうに、氣合なき敎育は實に死せる敎育であらうと思ふ。現今の敎育者
には果して氣合なるものがあらうか、世間の中には固より優秀なる敎育者が無いでもないが、
眞に魂の入つて居る敎育を施して居る者がどれほどあるであらうか。近時敎育に宗敎の要素
を加へねばならぬなどと唱ふるものあるに至りしも、一は從來の敎育に氣合なるものなかり
し事を不滿足に感じたからである』。云々吾人も固より同感である。由來敎育は精神上の交
涉問題である。感化といふことは人格以外に之を求むることが出來ないのである。されば敎
育に於ては武術其の他の藝術よりも一層氣合術が大切なのである。然るに從來の敎育者は此
の氣合術と沒交涉である。故に從來の敎育法は唯徒に形式ばかりに氣を取られて、毫も實質
を顧みなかつたのである。忌憚なく言へば、現令の敎育法は生命のない敎育である。死した
授業法である。

In her upbringing, her kiai (def. is: "control of the circumstance/skill") was said to be the obvious
thing, and so it was thought. Regarding that Paramilitary arts (bujutsu) which lack the Kiai are dead
paramilitary arts, quite identically the fine arts (geijutsu) and the literary arts (mongaku) which lack
the Kiai are also dead arts, similarly education that lacks the Kiai is thought to be dead. The educators
of the modern era, as one would expect, know what the so-called Kiai is. From the very beginning,
some in the world do not show superiority in it and are lacking. Really, being they people of spirit, in
conducting education, however much they can do so as such persons. Recently, in education they have
some need of adding the elements of religion and to approach the subject of it's chants. Singularly in
education up to now, what is called Kiai is lacking in things, giving one the impression that things are
going poorly. 』 And the likes of all that gets said about it we quite agree. In education to make
discussions of history, one wonders if this is a problem? That is to say, with the possible exception of
the inspiration to personal character, one really cannot seek this subject out. That being the case in
what passes for education, even from the Paramilitary arts (bujutsu) and the Fine arts (geijutsu) and the
likes of other artifices all the more has become indispensable. Nonetheless, educators have up to now
lacked relationship to this Art of the Kiai. Therefore, regarding the Methods of education up to now-a-
days, because of the forms of the usual vanities being too preoccupied, not the least of which is the
over-emphasis on self reflection in it's relative value. It is said to lack modesty, Reality based teaching
methods tend to be inanimate in the course of education. And the methods of classroom work are dead
methods.

—— (36) ——
拂造つて魂入れずといふ諺があるが、是は實によく今日の敎育の實際を說明して居るのであ
る。敎育をして生命あり活氣あらしむるには、是非とも氣合術の妙用に訴へなければならな
いのである。敎育者に意氣地がないといふことは、屢々吾人の耳孕に觸るゝ所である。世上
から敎育者の蔑視せられて居るのは、畢竟敎育者に氣合術の要素を缺いて居るからである。
若し夫れ造花的敎育法、死敎授法を變じて、精神あり氣力ある活敎育を施さんとする敎育者
にして、先づ氣合術の修養に專ら力を致し、然る後其の應用を實地に試みられたならば、敎
育上の成績大に見るべきものがあらう。

第九節 氣合術と藝術

凡百の藝術亦氣合術が必要である。之を要するに、藝術上の傑作及入神の妙技何れも皆氣合
術より生ずるのである。彼の詩や歌をして、天地を

Having swept away structure, it is said that spirit cannot enter, much as in the old maxims. In reality
this is quite well explained of the modern circumstances of education. When making education, there
is the vitality of life itself to account for. It is a case wherein one must by whatever necessary means
make application of the art of the Kiai. With educators it is said that they don't really have self
confidence, we quite frequently hear about a proliferation of effects from this sort of thing. All over
the world educators are being held in contempt. After all, there is an obvious deficit of the art of Kiai
(def. is "circumstantial control") among the educators. Supposing of this that the Methods of education
were the likes of paper flowers, the dead teaching methods must be changed. Will-power and spirit are
givers of the revitalization of doctrine, to be made by educators. From the beginning exclusively one
makes the necessary effort with the discipline of the art of the Kiai. Afterwards in the true conditions
of the application such things, there might be the cause of experimentation. Results above and beyond
mere education would then be seen.

Dainana-setsu Kiai-jutsu To Geijutsu

Section Nine The Art of Kiai and the Fine Arts

The many kinds of Fine arts (geijutsu) and also the art of the Kiai occur as needed. The point being in
this, that beyond the Fine arts there are masterpieces that occur by whatever divinely inspired
techniques and even all the arts of the Kiai bear fruit like this. Some piece of poetry there now having
become classical Japanese poetry, it is said that they did not occur from the stirring of heaven and
earth nor from the inclinations of the demon gods (kijin).

—— (37) ——
動かし鬼神を感ぜしむるといふも、氣合術の然らしむる所である。文章も亦其の通りである。
彼の胡澹庵が高宗に上る封事の如き、諸葛孔明の陳情表の如き、賴山陽の日本外史の如き、
火の燃ゆるが如き熱誠の文辭にして、初めて讀者の胸奧に火を點ずることが出來るのである。
書家が一氣呵成に筆を執つて直に龍蛇を躍らせ雲烟を湧かしむるものも、亦氣合の力である。
若し此の力を缺いたならば、所謂蚯蚓ののたくり、金釘流といふ文字である。例令巧く出來
ても、筆力遒勁字々飛動するといふ樣な勢のある面白い書が出來ないのである。畵も亦其の
通りである。若し繪畵にして氣合の一事を缺かば、たとへ意匠が非凡に出來筆致神韻あり、
色彩といひ配置といひ調子といひ、濃淡の具合といひ毫も間然する所がなくつても、惜しい
ことには、毫も其畵に生氣といふものがない。昔足利十一代將軍義澄の近臣に畵を以て妙を
得たもの二人あつた。一人は土佐の將監光信、一人は狩野大炊介元信、(古法眼といふ)であ
る。將軍

It is by way of bringing about results from the art of the Kiai, making even the lines of written text to
be like the flowing avenue of a street. That haven of peaceful foreigners over there in Koshū (lit. "with
High religion" refers however to the Gaozong Chinese Imperial temples ) much like a thing that is sealed up, much like
the ulterior motives of the appeals of Shokatsu Kōmei (Ch. Zhuge Liang Kongming, 181 a.d - 234 a.d., author of
classical Chinese writings). Much like the unofficial histories of Rai San'yō (1780-1832 Japanese Confucianist
philosopher and historian) outside of Japan. Such as these are much like flames fueled by petroleum, made
all of earnest words. It can ignite flames in the depths of the reader's mind right from the first time it is
read. Practitioners of calligraphy write it all down to the last and final stroke, and straight away it is
like a bounding and serpentine dragon with smoking clouds gushing forth. This is also the power of the
Kiai. Supposing that this power were to be lacking, it would only be the likes of a mere earthworm. As
it is said, the scrawling of words is just made of letters. It can command skillful customs, the pen is
mightier than the sword, character after character and is said to make leaping motions. Similar to the
vigour of life itself, otherwise writings cannot be so fascinating. Even when the lines of text are like
the flowing avenue of a street. In the case of picture-paintings there is deficiency in one thing about the
art of the kiai. Even though the design happens to be very unique and having exceptional artistry in the
stroke of the brush, colour it is said, and arrangement it is said, and mood it is said. As well as the
saying that the conditions of where [the paint] thickens and thins should be excellent. And not the least
of which is the concern that it may be liable to criticism. Even though it should not be, it can be a
regrettable thing. And also not the least of which is that the vitality can suffer from such things. In the
olden days, the Military General Ashikaga Jūichi had [gained notice] by means of the vassals of
Yoshizumi making rather skillful use of a mere two people. One person, Shōken Mitsunobu of Tosa,
and the other person was Kanō Ooi Tasuku Motonobu (it is said by the old method of observation.)

—— (38) ——
は大内義隆の爲に京都を落ちて江州へ至る。光信元信、此の時世の中を味氣なく感じ、發心
して各々畵を以て天下に名を現さうと志した、所謂土佐家狩野家といふ兩畵祖である。十二
代將軍義晴の時代に西班牙人來朝して虎を獻じた。此の時土佐狩野兩人へ摸寫仰せ付けられ
た、兩人は心を碎き或は寢姿を取り或は物を食するところを取り、或は聊か怒れるを見んが
爲に、檻の中へ捧を入れて虎の猛き所を見ては之を取り、種々にして兩人心を碎いて遂に出
來上つた。將軍之を見くらべるに、何れも妙技神に入つて双方些一の優劣がない。唐詩に玉
花卻在御榻上 榻上庭前屹相向とある。此玉花といふのは、唐の太宗の愛したる名馬のことで
ある。榻上とは曲碌の如きもの所謂今日の椅子である。其の太宗皇帝の皇子玄宗皇帝此の馬
を甚愛し、聊かでも馬を見ざる日もなく、會將軍といふ名畵家に命じて此の馬を寫生せしめ
た所甚意にかなひ、庭前にある玉花と、榻上に掛けて置いてある畵と少しも相

The Shogun had for the sake of Oouchi Yoshitaka left behind Kyoto and approached towards Gōshū
[Omi province], (?)Mitsunobu Motonobu(?) had the sense of being wearied in those times, and by each
spiritual awakening distinguished himself in all the world and had planned to do so. One of the so
called 'residents of Tosa' it was said of the House of Kanou, both said to be founding ancestors. The
Shogun Jūnishiro during Yoshiharu's time period met up that morning with people who came from
Spain and was presented with drunkards. At this time (?) Tosa and Kanō(?) [means: "the hunters across the field
assisted by the Earth"] both people requested copies be made, both people either wracking their brains out
over the thing or otherwise curled up asleep. Or sometimes taking a bite to eat. Or otherwise were seen
to be getting rather angry. When given over to be jailed in a cell, the ferociousness of the drunkards
was observed and they had to be captured this way. Both people were wracking their brains over a
variety of things, finally they were able [to resolve it]. The Shogun seeing this contention, both having
divinely inspired exquisite skills, both parties were very small [bodied] and each having near the same
capacities. As was said in the Tang China poetry, the jeweled petals of the blossom exist contrary to
one another much like one throne and another throne, in front of their courtyards overlook the
towering mountains there. It is said to be this kind of jeweled flower, the love of grandiose religions of
Tang China, as if it were a fine horse. Much as if bent seated upon there thrones, it is the so-called
office-of-the-day. The Imperial grandiose religion of that Imperial son Xuanzong (Emperor of China, r.
712-756) exceedingly loved this horse, howbeit somewhat could not observe the horse himself in those
days. It is said that the assemblies of the Shogun, there are drawings of this horse in the appointed
notable families, it was such a tremendous satisfaction. In the garden there are jeweled blossoms,
placed hanging upon the throne, but there are some few variations [of these saying].

TRANS NOTE: The Chinese quote came from the Writings of Du Fu

—— (39) ——
違がない、二匹相向つて居るやうだと、非常に賞賛せられたといふことである。詩の意味が
即ち是れである。今土佐狩野の畵きたる二枚の虎は、是れ亦眞正の虎と違ふことなく、何れ
を何れと見分ちがたいほど眞に迫つてよく出來た。將軍甚感賞して二枚とも御殿に張り置き
たるに、毎夜二疋の虎噛み合ふと思はるゝやうな聲が聞え、宿直の武士恐れない者がなかつ
たといふ。後此の土佐の描いた虎は京都小川法恩寺に納り寳物と成つて居る。又狩野の虎は
紫野大德寺に納り什物となり、今に保存して居るとの事である。氣合術の妙を得て精神気魄
の這入つた畵は、入神の妙技何處となく超凡絶特の趣を發輝して居るのである。此の他又巨
勢の金岡の畵いた馬は脫け出て萩を食つたとか、狩野の畵いた芙蓉の花に猫の畵があつた、
然るに其の花に蝶が來て戱れたとか、狩野永德の畵いた難が脫けて出て時を吿げたとか、雪
舟は幼少の時から畵を

If it is the case where two such horses are confronted with each other, it is said that usually the have
exceeding appreciation of each other. There are traditional poems who's meaning is namely in
regard to this. Now the two flattened drunkards having come upon Tosa Kanō, and also the profound
righteousness of the drunkards and the difference between them. Which was which and it being
virtually impossible to distinguish to what extent, really with such things there can be some urgency.
The Shogun, of course, tremendously admired both parties. In the proceedings of his court it had
been given place. Every evening the drunken tigers of both horses, fangs locked, and so it was
considered to be the case and so spoken of. Afterwards Tosa made paintings of this, and regarding
the tigers, the thing was thought a treasure and [the news of it] became like a babbling brook in the
favor of the temples throughout all Kyoto. And also regarding the drunken tiger of Kanō, at
Murasakino Daitokuji temple [place name means: "Temple of Great Virtue and Purple Fields" ] the thing had
become proportionately a fixture. Before long preserving records were made of the thing. Having
been quite skillful at the art of the Kiai ( def. is: "circumstantial control") partaking of soul and spirit, had the
shining of exquisite and superhuman skills of whatever effective limits. Also in the rest of all this, it
was said that Kose No Kanaoka [name means: "Golden hill of Military Might" ] stole away with the horse,
while it was making a meal of bush clover. It was said of Kanō that he was like a cat amid the
blossoms of the cotton rose. Still yet, amid those blossoms such things as butterflies come sporting.
It was said of Kanō Eitoku that such as the hardships of those times would befall him. Regarding
Sesshuu (1420-1506), he was preferred from the time of his infancy...

—— ( 40) ——
好んだ、住職怒つて大黒柱に縛し置いた際に、足で鼠を畵いた、ところが其の鼠がぬけ出て
縛し置きし繩を噛み切つたとか、土佐の又平の描きし大津畵が脫け出たとか、其の他種々
樣々の奇特の傳說(伝説)があるが、要するに眞の美術家と云ふものは、世上の事衣食金綫な
どの事に頓着しないで、精神一途に、所謂専念一向に心力を一に美術の上に傾注するに依つ
て、期の如き傳說(伝説)村きの名畵を、千歳の人に展觀せしむることが出來たのである。

書畵の極意と氣合術

書畵の極意と云も畢竟は氣合術の妙用に歸するのである。書家や畫家が筆を揮ふに、胸肋よ
り手腕に至る間は、すべて空洞にして物なきが如く唯臍の氣力を筆尖に貫き通し、筆よく手
を忘れ手よく筆を忘るゝの境に到つたならば、運轉自在の妙を得らるるのである。渡邊華山
人に與ふる書に曰く、『繪事すら第一の心と申すものに、志を一途に立て申さず候ては

...but a Chief priest became angered once and had him bound to a central pillar on one occasion, it was
said that he was like a mouse under foot. Whereupon seeing that he was a mouse thus bound, he
chewed through the rope. Tosa also painted this, but Ootsu stole away with it. It is much about the
teachings (mythological legends) of the praiseworthiness of various other species of creature. After all,
such things are what is said about a true artist. Without giving to much attention to the connecting
threads of the creature comforts, food, clothing, money and etc. Yet being wholehearted in spirit, as it
is said to be completely undivided in one's attention, a single focus of one's powers, and through such
devotion the fine arts are uplifted. The times were much like that in the teachings (mythological
legends) of the renowned villages, such as this they had exhibited among the peoples of a thousand
years.
Shokaku No Gokui To Kiaijutsu
The Secrets of Writing and Painting and the Art of the Kiai

Even with the secrets of writing it is said that, after all, it leads to the practical applications of the art of
the Kiai. Much as when something is lacking, the diagonal moving strokes of the brush-pen reinforces
our instinctive will power. Frequently, the brush-pen is as careless as the hand that wields it and we
would be approaching such dangers. But there is clever skill is freely conducting it. As was told by the
writings of Watanabe Hanayama 『 Even with the subject of painting, it is the more important core,
and so it is called. The earnestness of intentions is not stated, only the visible forms and the
arrangement is...

TRANS NOTE:
The entry seems to have symbolic language that could easily be confused with literal language, it says: ...Jūshoku okotte daikoku-bashira ni shibashi oita
saini...(住職怒つて大黒柱に縛し置いた際に ...) “...a Chief priest became angered once and had him bound to a central pillar on one occasion...” this
may be a literal punishment but more than likely it means that the person was given religious court orders requiring them to adhere to some foundational
(“pillar-”) principle of the religion that was otherwise being violated. If the punishment described was literal, then certainly it was also in relationship to
this sort of religious court orders (just more of the same, doubled by literal punishment of being tied to a pillar.) The text continues saying: ... tokoro-ga
sono nezumi ga mekedete shibashi-oki nawa wo shigami kitta toka... (ところが其の鼠がぬけ出て縛し置きし繩を噛み切つたとか...) “...Whereupon
seeing that he was a mouse thus bound, he chewed through the rope...” this is what really makes one think that it's all symbolic language (surely the guy
didn't literally chew through the ropes?!) So the lines of text are continuing the symbolic language, apparently the person refused to observe the religious
court orders. But what's really interesting is that in saying it this way, the suggestion is that the person used arguable counter-points and loop-holes in the
laws to avoid being forced to modify his behavior.

—— (41) ——
物の形調ひ候うて、落ちなく見事に出來申さず候。又心ばかり矢竹に存じ込み候とて、手も
亦心の通りに働き申さず候うては畵成り申さず候。又心手ばかり自由に相成候とて、夫にて
畵出來候と申すには參り申さず。胴體四肢治り不申候て、机に向ひ腹より溢れ出候樣に存じ
込み不申候うては出來不申候、之に依り總身の髪の先、爪の端まで皆畵に相成る樣仕る事に
て候。』華山の所謂『畵訣は腹に在り』といへる如く、畵でも書でも、極意は丹田に在るの
である。而して是れ即ち氣合術の極意と相符合するのである。只書畵ぱかりではない、建築
でも、彫刻でも、其の傑作として長く萬代に傳はるものは、氣合術の妙用之を然らしむる所
である。彼の有名なる左甚五郎の製作が、到る處に奇跡的傳說を傳ふるのも、全く氣合術の
妙用に歸せざるを得ないのであるび又演劇に於ても氣合術が必要である。彼の名優團十郎や
菊五郎が其の妙

...these having not been omitted, one can then admire what has not been told. Yet, it is considered to be
merely the most trifling of a slender shaft of a bamboo arrow. Again, even the hand from which the
heart flowed in the labour has not been told, and likewise, what resulted has not been told either. Even
so, the heart and hand only flowed as freely as they were able to, only as much as they could. And so
came to tell what had not been told. Thus recovering the limbs and the body of what had not been told.
[The artist] having sat working and spilling their guts out, considering what will have remained unsaid
and what will have been told. And so because of this, all the hair all over the body stands up on end,
everything does, all the way up to the tips of the fingernails. 』 Hanayama as it was told said that
『the secret is in having the guts [to do it]』 much as was said about it otherwise. However, still yet
of writing, the secret lies in having plenty enough guts [note: the word tanden ( 丹 田) is used]. And so this is
namely the secret of the art of the Kiai, there is coincidental agreement here. It is not all that usual to
attempt to make writings, nevertheless there is the compilation of it, and nevertheless there is the
stroke of the pen, at some length making such masterpieces as influence all generations thereafter. The
mysterious effects of the art of the Kiai is brought about like this. That famous fellow over there,
Hidari Jingorō, who made productions, at some point arrived at the decision to do it, as was told in
miraculous legends. Really, the mysterious effects of the art of the Kiai cannot help but occur. Again,
even in a theatre, the art of the kiai is invariable. That famous actor over there, Danjūrō Kikugorō,
performed with such exquisite skill and frequently caused his viewing audience to murmur in
admiration.

—— (42) ——
技を演じて能く着客を唸らせたも、畢竟氣合術の呼吸を呑み込んで居たからである。英國の
名優ガーリウクが、或る牧師より、其の看客を心醉せしむる魔方の由來を問はれたるに答へ
たる語は、能く氣合術を說明し得て餘蘊がないのである。曰く足下は不變の理及び足下の眞
なりと信ずる所を說くにも、自ら之を信ぜざるが如き語氣を以てす。然るに余は眞ならざる
事實をも全く我が心に信ぜるかの如く語る。と鳴呼世の宗敎家たり、敎育家たり、はた政治
家たり、辯護士たるを論ぜず、苟も言語辯論を以て人を感動せしめんとするには、豈に此の
名優の言に深く反省せざるべけんやである。

第十節 氣合術と實業
現時實業界の覇王ともいふべき岩崎家を筆頭とし、曰く三井、曰く澁澤、

After all, the art of the Kiai often requires one to gulp down one's breath. The famous actors of Great
Britain, Gary Cooper [rendered in Jap. as: Gaari Ukuga], or from a certain clergyman, who having caused such
adoration from his spectators, that it was like having caused the opening of the very source of magic
itself in even the language in which he replied. Frequently this is the explanation given of the art of
the Kiai itself, in it's accumulation. As is told, the principles are ever at one's feet and besides this, the
truth is ever at your feet, and so it is explained that otherwise one simply does not believe that it is so.
As if one simply cannot believe that this is the case, so to speak. Moreover, the truth is that it's not the
case at all, really truly, as if in one's heart, one cannot believe or even speak of it. The outcrying of the
religionists of the world, and of educators, and besides also of politicians, and what is not discussed
by watchdog speakers, not the least of which is the language of the debating, and the people being
deeply moved by it. And with some expression of surprise the deep words of these famous actors that
do not reflect upon us.

Daijuusetsu Kiaijutsu To Jitsugyō

Section 10 The Industries and the Art of the Kiai

At the present time in history, of the high rulers of the business world it is said that the first on the list
are those of the House of Iwasaki [lit. "house of big mountain boulders" kind of an insult], and so it is
told Mitsui [lit. "Three wells" kind of a compliment], and likewise told Shibusawa [lit. "Harsh
swamps" very insultuous].

—— (43) ——
曰く大倉、曰く若尾、曰く雨宮等其の他斯界の名將勇士各一世に雄視する者殆ど枚舉に遑な
い位澤山あるが。何れも氣合の妙術を以て實業界の勝利者となつたのである。されば實業界
に一大飛躍を試みて、隻手巨萬の富を作らんとするには、是非氣合術を會得せねばならない。
何となれば實業は是れ平和的戰爭である。刀劍銃砲の凶器こそ携へざれ、資金と云武器に訴
ふる所の激烈なる戦争である。其の懸引は戰場の懸引と其の歸趣する所は同一である。戰爭
に於て機先を制するとの必要なる如く、實業に於て機先といふことが最も大切である。彼の
有名なる紀文大盡或は河村瑞軒の如きは、何れも機を視る敏慧、直に其の機に乘じて神速な
る行動を取りたるが爲に、無一文より起りて、遂に能く一大富豪家となることが出來たので
ある。而して其の所謂機先を制するといふことは、是れ氣合術の骨髓である。昔明曆の大火
の時に、河村瑞軒火の初に方りて、審に地勢風向を察して

As is told of Ookura [lit. "Great Storehouses" a definitive compliment ] and as is told of Ootsuka [ lit. "Young Tailed" a
neutral compliment denoting immaturity] , and so was told of Amemiya [ lit. "Shinto shrines in the rain" a definitive
compliment regarding abundance through traditionalism but also controversy ] and still yet other famous leaders in this
subject field. Each one in the world regarded as heroes, virtually innumerable standing like mountains
overlooking a marsh. In either event it was always by means of the marvelous subtle techniques of the
Art of the Kiai (def. is: "control of others, circumstance and condition") that made them all victors in the realm of
business. Such being the case, in the realm of business very great activities are endeavored. Yielding in
one hand magnanimous immeasurable wealth, one ought certainly to understand this without failure
regarding the art of the Kiai. Because in true business it is the case in both peacetime and war. Surely
such lethal weapons as swords and guns are not being carried in the hand, only the funds for capitol,
whereas in contrast it is said that weapons are carried instead during war. Regarding when one haggles
[in business] and when the [bow strings] are pulled back in war [ see Trans Note], and the consequences of
both, in some way they are one and the same. When at war, it is much the same as the necessity of
forestalling. In true business, it is said that such things as forestalling are of necessity. That famous
man over there, the likes of (?)Toshifumi Oodzukushiyama(?) or maybe Kawamura Zuiken ( 1617-1699,
timber merchant who arose to samurai status ), saw whatever opportunities arose with discriminating vision. And
in directly taking advantage of such opportunities, made acquisitions with a certain swiftness of action.
From being penniless they arose, finally they were even able to become millionaires. And so, it was
said to have been by what is called forestalling, this is the pithy marrow of the art of the Kiai. During
the time of Great fires in the olden days of the Meireki era (1655-1658), Kawamura Zuiken was the
first to approach the fires. When in court, he even presumed the direction of the wind in topographical
map making...
TRANS NOTE:
The entry uses the word kakehiki 懸引 which means: "(1) bargaining; haggling; (2) tactics; strategy" but means literally 引 pull a bow string and 懸 hold
it there (before letting the arrow fly). I translated it the way I did so the statement would make more sense in the translation.

—— (44) ——
其の災の大なるべきを知り、金二十兩を懷にして、走つて甲州及信州に赴き、富商大質を訪
うて悉く其の所有の木材を買ひ、直に烙印を施して搬出せしめた。果して江戸は大部分灰燼
となり瑞軒の宅も亦燒けた。商人竸うて甲信地方に行き、材木を買はうとしたが、旣に材木
は悉く瑞軒の所有と爲つて居て、餘す所がない。價忽ちに暴騰して、瑞軒非常の大利を得た
のである。

第十一節 氣合術と政治

政治界の檜舞臺に於て大活劇を演ぜんとするには、必ずや氣合術を心得ねばならない。苟も
氣合の妙を得なるものは、長く政界に覇を稱することが出來るのである。總理大臣が議會に
臨んで、巧に豫算案を通過せしむるも氣合術の爲す所である。議長が能く議場を整理するも、
氣合術の爲す所である。

One knows it would have been the greater of such calamities, but yet making a purse of 12 gold coins!
Running in the direction of Kōshū and besides it Shinshū also, inquired of a wealthier commercial
college and bought entirely enough timbers for such a place. He entirely made his mark by carrying it
all out. As a result, Edo ( old name of Tokyo, Japan) which had been reduced to ash back then, became
Zuiken's home, even while it was roasting. Promptly had Zuiken acquired and taken possession of the
timbers and accomplished it. There were none left over. Even with an immediate sharp rise in cost [of
the timbers] Zuiken accomplished this extraordinary thing.

Daijūichi-setsu Kiai-jutsu To Seiji Section 11, The Art of Kiai and Politics

On the grandstand stage of the world of politics are the plays of grander revivals performed. Surely,
these ought to have knowledge of the art of the Kiai? Not the least of which is that they must have
become quite skilled at the Kiai (def. is all def. that apply). At some length in the political world, they
having been able to conjure supremacy [one nation over another]. Prime ministers looking out over
parliaments and going through the processes of becoming skilled at the concepts of setting budgets,
doing the art of the Kiai over the place. Chairmen skillfully arranging the assemblies of the Houses of
the Senates, doing the art of the Kiai over the place.
TRANS NOTE:
The entry speaks of: “...Edo (old name of Tokyo, Japan) which had been reduced to ash back then ...” which refers to any of several altercations involving
either the European fleets or other Asiatic fleets and forces (sometimes both together, including from rival Japanese territories) having militarily assaulted
the capitol of Edo city. The statement being worded as it is in the entire passage was meant to contrast the volumes of fresh building timbers to the facts
of burning ash. Contrasting the city of Edo being demolished to it's rebuilding.

—— (45) ——
一勞働兒より起りて、異日大統領と爲りし米國の大政治家アブラハム、リンコンは、實に氣
合の妙術を得た人である。議員選擧の時、麥を刈つて農夫の投票を得たるリンコンの機智氣
合は、單に其の時に止らず、殆ど生涯を通じて縱横無得自由自在に、其の妙用を發輝したの
である。友にせよ敵にせよ、面倒なことを言ひ出した時は、リンコン屢々趣味のある噺を語
つて遁れた。それは噺を語つて對話の方向を轉じたのである。勿論其の噺といふも、別に熟
思苦慮の結果之を創作するのではない、又大に修正を加へつゝ適切ならしめようと勉むるで
もない。たゝ自然に出でゝ妙を極めたのである、所謂當意即妙の氣合術が然らしめたのであ
る。其の面白き一例を擧ぐれば、次の如くである。州議會の開かれた時のことであるが、議
員の中にワバッシ郡を代表せる一人があつた。此れは甚だやかましき議員で、自分は嚴格な
る建議者なりとして誇つて居た。而して常に議案の中に非憲恚法的なる部分ありと稱

Having arisen from a singular reward for their accomplishments, on another day the doings of the
great leader of the ruling household of the sovereign authority of the Americans, Abraham Lincoln,
was indeed a person whom had acquired the marvelous subtle arts of the Kiai. At the hour of the
election of the members of their Congress, having cut the sheaves of wheat, he acquired the vote of
the farmers, Lincoln's Kiai of wit (kichi kiai) at the time then was unstoppable. Almost invariably
throughout his lifetime, going freely to and fro in countless episodes and making his mysterious
gleaming influence upon departure. Even if it made enemies of some of his friends, as it was said at
the time to be quite troublesome, Lincoln again and again did things to his liking and having escaped
to speak of it in his speeches. Very much he considered it to be in the direction of adversarial
conversation. Naturally, it is said that such speech is not particularly the result of consideration of
what worried concerns it may cause and so is not conducive. Again much as with greater revisions,
there is a need to keep to what is appropriate and not become boastful. With his usual
spontaneousness in his doings, he sometimes carried things to curious extremes. He brought about
the results of the so-called art of the ready wit kiai (tō'isokumyō no kiaijutsu). He was very much an
interesting example of just this sort of thing. At the commencement of their state legislature at the
time, amid the members of their Congress, [there was] the [incident with the] single representative of
(?)Washington(?) county. As for this, it was very much as if he reaped the members of their Congress
[much as he had the sheaves of wheat]. In regard to himself it was proposed by others that he was
very strict, and somewhat prideful. Thus when in the middle of working on the legislative bills, he
would purport to use parts of the method of provocation over mistaken laws (hikenihō).
TRANS NOTE:
The entry speaks of hikenihō 非憲恚法 which means “the method of provocation over mistaken laws” this is in direct and obvious reference to a
paramilitary strategy called phonetically by the same name: hikenihō ( 秘剣違法 ) “the method of changing to [use] a concealed sword”. In this
strategy, the sword or dagger doesn't have to be literal, it's just about anything one could employ and win by.

—— (46) ——
して、面倒なることを言ひ立てた。如何に他の議員が眞面目に論辯しても、到底此の議員を
沈默せしむることが出來なかつた。それ故益々得意と爲つて滔々として、無益の辯を弄した。
遂にリンコンは彼の議員を沈默せしむべき役目に選ばれた。一議案が提出せられた。此の議
集の起草にはリンコンも關係した、例のの議員は、果して滔々として、所謂非憲法なる點を
摘出して、頗る猛烈に攻撃して壇を降つた。次にリンコン演壇に立つた。彼は人に謎を掛く
るが如ぎ顔付きを爲し、其の灰色の眼を可笑しくシバタ、きつゝ說き出した。議長よ、今ウ
バッシ郡の議員より攻撃を受けて、本員は端なくも、本員の一舊友を思ひ出しました。舊友
は濃い長い眉毛を有せる奇異なる容貌の老人で、其の眉毛に接して眼鏡を懸けて居つたので
ある。(此の時他の議員達は皆ウバツシ郡の議員の顔を見た、該議員は全く斯樣な容貎の男で
あつた。)

It was said to have been a troublesome thing. Whatever seriousness of the members of their Congress
in argumentation, he was not able to hush the members of their Congress at all. And for such causes
his pride was ever more offended so that it caused quite a torrential babbling, deriding the speech then
as being in vain. Finally, Lincoln brought those members of their Congress to silence by the exercise
of his elected station. He had done so by presenting a singular opinion. Regarding the drawing up of
legislative bills by compiled discussion, even Lincoln had immediate involvement. Regarding their
aforementioned Congress, as one would expect, there was the making of voluminous eloquent
speeches. Meant to pick out the point of error in their own Constitution, these being sometimes quite
vehement and meant to cause one to surrender the platform. Then next, Lincoln would take the
platform. That being much as if to pose a riddle to the persons present, causing quite a few
expressions on people's faces, rather peculiar looks of ashen eyes as he would begin to explain. And
so now the chairmen, from the members of their Congress who were from (?)Washington county(?),
had to receive these assaults. Of these members of their Congress, one must remember that, whether
by chance or by accident, they are all old friends. Old friends even at greater length, even when the
older men among them were caused to quirk an eyebrow at the oddball behavior, as their eyebrows
would seem to become one with the rim of their spectacles. (At such times, the other members of
their Congress all stared at the members from (?)Washington county(?) since, really, the matter at
hand is one of why do men have the look of a lion on their faces?)

—— (47) ——
或る朝、老人は臥床を出でゝ、窓より外を眺めしに、近き立樹の上に一匹の活々した栗鼠が
居た。老人はライフル銃を取り出して栗鼠を射た。然るに驚くべし、栗鼠は知らざるものゝ
如くして平然として居た。老人は再び裝塡して射たが、栗鼠は矢張り平然として居る。三度
四度遂に十三度まで發砲した。而も栗鼠は猶中然である。老人も遂に堪へ得ずして銃を投げ
捨て、傍に立てる我が子に云ふよう、此の銃は狂つて居ると。子は答へた。否確に銃は狂つ
て居りません、されど全體栗鼠は何處に居るのです。老人は眼鏡越に樹を眺めて曰く、汝は
彼の樹の中程に居る栗鼠が見えないか。否とよ私は見ません、かく答へて子は振り返つて父
の顏を眺め居りしが、やがて叫んで曰く、あゝ解つた、解つた、父上の眉毛に一匹の虱が居
ります。それを栗鼠と間違へて發砲を砲し玉うたのであると。說明を用ひずして、此噺の意
味は明である。議場は笑ひどよめいた。そは此の噺が旨く場合に應じて、彼の議員を默止せ
しむるに適したばか

[Lincoln told the tale:] On a certain morning, there was an old man who was confined to his bed, from
his window he had a view of the outside. There was a lively squirrel going up a tree trunk. The old
man produced a rifle and took aim at the squirrel. However, to his surprise, the squirrel seemed to
recognize his intentions, watching him without a blink [the old man missed when he fired.] A second
time, the old man loaded and took aim. The squirrel again did not so much as blink [watching as the
old man missed yet again.] And so it was the third time, and the fourth time. All the way up to the
13th time that he discharged the firearm. Moreover, the squirrel was reasonably unaffected. Finally
the old man settled on not being able to take the squirrel and so cast aside the firearm. It was said that
his own young son was standing nearby during all of this, and because of it had become a gun
enthusiast. The young son commented on all of this: No, if I remember correctly he was not a gun
enthusiast and be that as it may, the squirrel was moving wherever it was moving. And the old man
was not wearing his spectacles when looking out at the bush, as the story is told. As far as the
blockhead was concerned, the squirrel was halfway up his tree, don't you see? No, and as for me, I
really didn't see it all. More than anything at the time as a child, I remember the look on my father's
face. He had been cursing at some length about it. [He saying] What the hell, what the hell is going
on?! His father's eyebrows standing up on end. There at that point, was the squirrel, and his mistaken
discharges of the firearm. This does not serve an explanation, it's just a story with a clear meaning to
it. Which the had the entire House [the American Congress] laughing boisterously. With this speech
he had made skillful use of the circumstances and the members of his Congress had been kept
adequately quieted during the whole story.
TRANS NOTE:
The recounting of Lincoln's story about the old man shooting at the squirrel was also meant to illustrate all sorts of things, including known parts of kiai-
jutsu such as recognition of sakki 殺気 the “intent to kill”. It was also presented to explain an example of kiai-jutsu used to quiet and keep control over
the American Congress assembly, demonstrating that some forms of kiai, perhaps to the surprise of many, involve the usage of mesmerizing or
entertaining stories. Much like casting a spell by way of a 'hypnotic' (attention getting) story.

—— (48) ——
りでなく、又リンコンの話し方が誠に巧であつたからである。是に依つて彼の議員は爾來甚
だ謹愼と爲つて、多く口を開かないやうになつたといふ。政治家須く、此のリンコンの呼吸
氣合を學ぶべきである。
雨霰雪や氷りと隔つれど、
落つれば同じ谷川の水。
人生の事業種々ありと雖も、其の成功其の勝利の根本は、何れも歸趣を同じうするのである。
氣合の妙術、 勢力鳴呼眞に偉大なるかな。

Again, in Lincoln's way of speaking, indeed there was ingenuity. here in this case it depended entirely
upon the members of his Congress, since there was a need to control their behavior. Many of them did
not run off at the mouth so much then. As ought to be with politicians, Lincoln was schooled in the
Kiai of breathing (kokyū kiai “Breath control”) .
Through rain and freezing hail, one following the other,
falling only to become one and the same with water in a mountain stream.

In the various enterprises of human existence, the success of which is the root of seeking victory, either
way the outcome is the same [it's all the endeavors of human existence.]

TRANS NOTE:
The entry employs the kiai-jutsu term kokyū kiai ( 呼 吸 氣 合 ) or, “the Kiai of breathing”. This term is particularly difficult to translate since it has a
multitude of meaning (context derived.) It does have the force of meaning to be in control of one's own breathing, but it implies being in control of the
other person's breathing more than not. In the case applied here, Lincoln was using it (by telling such amusing stories such as the old man trying to shoot
the squirrel) to keep the assembly of Congressmen quieted down (not the least of which was their amusement and laughter at the nuances of the tale in it's
unfolding.) Just as well, it is kokyū kiai when one has alarmed the opponent so much that their breathing suffers (in whatever useful to you fashion) and
their weakness can then be exploited. If one could get the opponent to laugh and snicker (which is not all that hard with one whom is perhaps a little
drunk) then the uncontrolled laughter impedes their breathing and this too is kokyū kiai. If one confuses the opponent by having (momentarily) used an
unusual breathing pattern yourself, and his confusion is immediately exploitable, that too is kokyū kiai. Any way that effects breathing and is exploitable is
generally kokyū kiai. There are other, even deeper meanings to the term kokyū kiai, which entail manipulating the opponent by mere 'air' expectations
(trick them into trying to act on something that... just isn't really there at all.) This is also kokyū kiai.

—— (49) ——
 第二章 氣合術と生理
本章に於ては氣合の生理的修件、及び身體の鍛練法を述べやうと思ふ。

第一節 氣合術と呼吸
氣合術は呼吸の術であるといふことは、前に旣に述べて置いれのであるが、此の呼吸といふ
ことが最も大切なのである。呼吸之を息といふ、「いぶき」(奇魂)を略して「いき」といふ
とのことである。吾人若し此の呼吸を整へて其の眞を得たならば、身心能く靈妙の神力を得
て、刀劍も害する能はず、水も溺する能はず、火も燒く能はざる底の堅固なるものとなるい
である。凡そ息を吐き出すときは、筋骨に氣力が弛み、息を吸ひ込んで、下腹に力が這入る
と、筋骨が締、氣力よく渾身に充實するのである。呼氣の

Dainijō Kiai-jutsu To Seiri

Chapter Two The Art of Kiai and Physiology

In this chapter is the subject of the study of the physiological elements of the Kiai. That which is
thought to be beyond the mere mention of the methods of physical training.

Dai'issetsu Kiai-jutsu To Kokyū

Section One The Art of Kiai and Breathing

Regarding the art of the kiai, there is said to be the subject of breathing techniques. This was already
previously mentioned and we have only the remainder to speak of. It is said of this subject of breathing
it is quite important. That is what is thought and said about it. 「Breathing」the omission of (unusual
breath patterns) it is said to be the subject of「moving conduct.」Supposing that we prepare ourselves
for this kind of breathing but we do not really know the truth about it? The mind and body frequently
exhibit miraculous and mysterious powers. Even swords do not have such skill to harm, even water
cannot drown someone so well. Likewise, fire cannot burn someone like this. And this is said to be the
rather form foundation of the subject. Generally, there is inhaling and exhaling when breathing, and a
certain vitality in the loosening of bone and muscles and sinews [as one breathes]. Breath is inhaled,
and there is a natural order and arrangement of the trunk and torso. There comes a tightening of bone
and muscles and sinews [as one exhales] and an enhancement of vitality throughout the entire body.

—— (50) ——
時は力がなく吸氣の時は力が充實す、即ち此れ虛實である。我れ實にして敵の虛を擊つのは、
即ち我は下腹に息を入れて、敵の吐く息の所を突くので、突くに應じて倒れるのである。吾
人が氣合術を呼吸の術といふ所以は、全く玆に在るのだ。即ち氣合を掛けるといふのは此の
事で、我は息を吸ひ込んで居て、敵の吐く息を見る其の瞬間利那の機一髪、ャツと擊を掛け
て進擊するのであるから、立所に敵の氣を奪ひ去ることが出來るのである。此の他呼吸の生
命、並に精神上に影響する事及び呼吸の方法並に注意等に就いては、前年東亞堂より出版し
たる地著、『深呼吸健康法』に詳しく說明してあるから參照を請ふことゝし、本書に於ては
呼吸の整へ方に就き『深呼吸健康法』に書いてないことを述べようと思ふのである。呼吸の
整へ方、即ち調息法といふことは、臍下丹田を充實することいふのが、要訣となつて居るの
である。吾人が、『深呼吸健康法』に於て、凡百

As for when force is lost, at the moment of inhalation there is an increase of force, namely this is both
true and false. Indeed, one deceives the opponent when attacking. Namely, one enters having
composed oneself (shitahara ni iki wo irette). The point of the opponent having exhaled is when one
thrusts him. One then makes use of thrusting to cast him down. We, it is said, use the techniques of
breathing in the art of the Kiai. Indeed, still now-a-days. Namely, to the effect of exerting control (kiai
wo kakeru), so it is said of this matter. There being the point of inhalation in one's own breathing,
seeing the opponent exhale, at that moment one takes what advantage there is, since it is but a hair's
breadth wide. Both the fellow and his sword forestalled from making the sword attack. Right then and
there the opponent's spirit snatched away, he cannot continue.
There is the life of this other secret of breathing pattern, also, beyond the heart and mind, there is the
subject of influence. And besides this, the various ways of trick breathing as well as taking precautions
and etc. Last year, a publication from East Asia written by someone in the country, there was a fully
detailed explanation of 『The Hygienic Methods of Deep Breathing (shinkokyū kenko-hō)』you are all
invited to browse it. In this book, it tells the way to start preparation for breathing tricks, 『 The
Hygienic Methods of Deep Breathing (shinkokyū kenko-hō) 』 but one thinks rather that it was not
expressly written to describe it. The ways of preparing for breathing tricks, namely the methods of
breath timing (chōsoku-hō) and what it said about the subject, it said to fill all the lower abdomen
[when inhaling]. That was the main point and there wasn't much else to it. We include [the book]
『The Hygienic Methods of Deep Breathing (shinkokyū kenko-hō)』 as [one of the accomplishments
of the] Fine arts (geijutsu).

TRANS NOTE:
Note One: The entry uses the uncommon idiomatic (verbal) clause ...shitahara ni iki wo irette...下腹に息を入れて...(definition determined by context).
Can mean what it's elements imply (breathing deeply into the lower abdomen) but in a context like this it's a form of a verbal idiomatic clause akin to the
verb “to (Re-) Compose oneself”. BUT HOWEVER there is a catch to the contextual definition(s): it almost always carries a force of meaning such as
“via control of one's breathing”. How further may we understand this idiomatic clause?? English and a few other European languages have a very similar
idiom: “I took a deep breath and then went after him.” This idiom means “I regained my personal composure and then ([proceeded to whatever action])”.
We just don't have the “...(into the) lower abdomen...” part of the idiom.
Note Two:
The entry uses the common kiai-jutsu associative idiomatic (verbal) clause ...kiai wo kakeru...気合を掛ける...(definition determined by context). One
commonly finds this verbal clause translated (sometimes) incorrectly as "to Cheer on; to Raise a shout" but this is quite often not proper a translation. It
treats the word 'kiai' as if it strictly refers to spirited outcries (it MOST DEFINITELY DOES NOT.) When and if the verbal clause ...kiai wo kakeru... does
mean that, then that is indeed the meaning. But more commonly (in certain contexts much like this one) it means "to Exert control", or, "to Maintain
control". If used directly against a single (or singular group) opponent... it means to exert control over him/them. It can also (quite literally and by it's
literal elements of speech) mean "to Cause a stalling (by means of exerting direct control)" and so sometimes the verbal clause ... kiai wo kakeru... means
"to Forestall".

—— (51) ——
の藝術、すべて此の丹田の力より運び出されると言つた如く、氣合の妙術も亦此の丹田より
生ずるのである。此の臍下丹田を充實せしむるといふのは、胸式呼吸を營んで居ては駄目で
ある。是非腹式呼吸を營まねばならないのである。所謂深呼吸である、氣合の妙術を得んと
するには、此の深呼吸即ち息を長くする練習を怠つてはならないのである。何となれば氣合
に於て、息の長きものは勝を制し、息の短い者は敗を取るからである。

一、調息術

左に記する所は、櫻寧居士の調息法である。近來また調息の術を得たり、其の法は布を以て
胸下腹上を緊く縛りて臍下へ氣息を充實せしむるなり。之を試みるに大に捷便にして行易く、
其の成功尤も速なり。それは木綿の長さ曲尺にて六尺有餘、呉服尺

On the whole, this comes from the force of the abdomen (tanden) being carried out, much as what gets
said about it. But in the marvelous arts of the Kiai this is not bourne from the abdomen itself. The
lower abdomen having been filled like this, as the saying goes, is an operation of thoracic respiration
and is rather useless. Certainly though, one ought to have [use of] abdominal breathing. What is getting
called 'deep breath', when acquiring the marvelous arts of the Kiai this deep breathing, namely, one
must not neglect the practice of taking long breaths. Due to the fact that, with the Kiai, the longer
breaths help determine victory. Those persons whom use short breaths will be captured and defeated.

Ichi, Chōsoku-jutsu
One, The Art of Breath Timing

Regarding what is written [in this book] hereafter, it is the Breath timing method of gentlemen whom
sit quietly like cherry blossoms hanging on a tree. Recently yet again we have acquired the arts of
breath timing. It is by means of a piece of cloth bound tightly around the lower chest and upper
abdomen while making full breaths. when trying this out, it is important to do so at any easy and quick
opportunity. Although success at this is at whatever speed it comes. This is a length of cotton about one
foot wide by six foot long or longer, if a different fabric measurement is used, then it could be shorter
such as five 'feet' of that measurement, but if...

TRANS NOTE:
The text says: "...whom use short breaths will be captured and defeated..." this whole idea being expressed is one where, chiefly, oxygenation of the blood
and having sufficient breath by which to handle duress (in defense or combat) is a single determining factor of victory and defeat. Since the Art of kiai-
jutsu chiefly means "the art of controlling self, others and the circumstances" it would be rather difficult to do so without these elements from the start. One
will have already lost (any real) hope of being in control of the circumstances, thereby violating the tenets of kiai-jutsu.

—— (52) ——
にては五尺許なるを四ツに摺みて、左右季肋端辛門(肋骨の最下部の所)の邊をかけて二重に
纒ひ紮り、さて力を極めて臍下へ大氣を吸ひ入るゝこと、其の人の機根に應じて、日に三四
百次より二三千次にも至る。之を行ふには其の體を柔和にし、肩を垂れ、背を屈め、すべて
胸腹肩骨臂を虛しくして、たゝ臍下に氣息を充實するなり。此れ從來傳ふる所と異なる如く
なれども、其の本旨は必ずしも相背かずとす、故は身體の中心なる臍下丹田は上鼻頭と應通
することなり。また醫の四診の一なる望の法にも、臍中より以下の病苦を、準頭の色相を以
て視察することあるも、眞氣の往來最も近き所なればなり。故に坐襌家の法も、鼻と臍とを
上と下とに相對し、背膂を堅てゝ、其の體を偏斜低昻なからしめ、面を平にし耳輪を肩上に
中てゝ、正住にあらねば心氣よく臍下に止くこと能はず、故に必す技は敎ふるなり。されど
も、もと觀相を以て行ることなれば、自己は能く修し得たりと思ふものも、多くは偏見に溺
れて襌定成就せさ

... it is under the needed four or five feet long it will leave scraping marks [on your body]. It is to be put
on and worn wrapped around in about two layers at the left and right sides of the edge of the rib cage
(placed at the lower part of the rib-cage). It will then strengthen the lower abdomen to some extent as
one breathes in air. Depending upon the patience of the person practicing this, [one wears this] for
some 200 or 300 days and [eventually, over time] approaching as many as 2000 to 3000 [days]. One
conducts this with some gentle regard for the body, owing that the shoulders hang just a bit when
bending the spine, given the shoulders and shoulder blades as well as the chest and abdomen, there is
[noticeable] weakening of the [usual mechanics] of the elbow [when bending to lift something.] This
[method of wearing it] improves abdominal breathing. When implementing this conventional
instruction, there would be various similar ways of doing it, however, it's main objective is not always
the same as for this example [when done differently.] In particular being across the belly and navel and
so the center of the physical body [where one binds and wears this], rather forces one [to breath]
through the nose [and give due attention to] the head. [TRANS UNDERLIGNED HERE ] Also, as with the
Four Part Medical Examinations [of Traditional Sino-Japanese Medical Arts] where there is pain as if
from a medical condition involving the navel, and perhaps upon observation there is also some
associative discoloration of the face, neck or head region, one would, of course, desist early [from
wearing this] to keep in true spirit with the thing. Consequently, even in the methods of the
practitioners of Seated Zen Meditation, the nose and the navel are kept vertically aligned to one
another, the spine kept rigidly straight and deviation from this can cause severe bodily agitation. The
face is held humbly and the ears aligned to the center line of the upper shoulders. If one does not have
this proper seating, the sensation from the area of the lower navel dying down and so the functions [of
that part of the body likewise]). Consequently then the techniques [of even Zen seated meditation]
involve awareness of this. Nevertheless, where the likes of even Physiognomy is concerned, often
when in regard to mastering it for oneself, quite often would be the same thing as to put on garments
that are simply too thin and so one thinks that one would be drowning in too narrow a view of the
thing. For this cause, again, the fault of weaknesses cannot bear fruit [knowing this about things.]

—— (53) ——
るのみか、之に因つて病を生ずるものも亦多し。故に今の世の長老智識とよばれ、參襌工夫
間斷なしといふものも、其の身體各處に氣の滯ることありて、何の取り處もなきが多きを見
れば、言行一致内外一貫の地には到らぬ輩とは知られたり。此れ其の動中に靜あり、靜中に
動ありて、動靜もとより不二なることを知らず、たゝ空心靜座にならねば定に入りたるにて
はなく、道は得られぬことゝのみ思ひ謬り、行住座臥悉く襌定なざるものなき理を明にせざ
るに由つて、斯くなりゆくなり。令此の帶を用ひて胸下を紮る法は、强に脊骨を眞直にして
趺座に及ばず。たゝ其の禮を放胖として平坐し、面を下に向けて臍中を覗くやうにして、鼻
頭と臍とを對はしむ。且つ行住坐臥に其の意を用ひて、須臾も止むことなく、大氣をして常
に臍下に充實せしむるなり。此れ活用の法にして、鼻と臍とを對せしむるに、たゝ内外の差
別あるまでなれども、彼の心下痞塞胸脇苦憊、又は中脘臍傍などに「かたまり」ありて、い
かに正坐して

Consequently, there would be in the knowledge of the seniors of these modern generations, and said to
be so in the schematics of [meditative] cessation of the three forms of Zen Buddhism, that the sash-belt
is what [determines] the bodily disposition. In whatever is taken to be the case, whatever is lacking
would be largely observable. Acting consistently with one's own words in the circumstances, and
proceeding therewith, then one's fellows would know that you have done so. In the middle of this kind
of activity there is stillness, and in this stillness there is motion, and from this stilling motion one is not
aware of any difference between stillness and motion. When seated in the heart of the open air, even
when it is not so, certainly it is as if nothing else enters. This even when one believes that one has
made errors when acquiring the way of this. The cause being that it is not very clear to us that in
coming and going through daily life, the fixed principles of Zen are not present with us. And, for
example, this is how things simply are. By using the rule of this sash-belt, in the method of binding up
the lower chest, it's not uncommon that having made the spine rather erect, one would not much be
able to sit in the Lotus position. And so according to the rules it is sufficient to sit in a half posture and
having the face pointed down, somewhat as if one were looking into one's navel. The tip of the nose
and the navel aligned. And moreover, throughout the comings and goings of daily life, one makes use
of staying alert. But there really is not halting, not even for short instances, although this having been
made the [existing] atmosphere (taiki), it does strengthen the lower abdomen [since there is always
some kind of motion.] This making up the methodology of practical usage, the nose and the navel
being aligned, there becoming as if no real difference between what is inside and outside of you,
howbeit the burdened and fallen heart of those people over there, they standing 「 bunched
together」breast to breast, and belly to belly and etc. However much that even making proper seating
(seiza) can afford one the ability to recompose oneself.

TRANS NOTE:
The page entry, near the bottom of the statement from: “...This making up the methodology of practical usage ...” betrays the fact that much of the page's
statements were as much meant to say that, during times of distress, it is usually preferable to take a self composed seat (thus not unnecessarily wasting
resources nor further disturbing one's own composure.) This despite the sight of one's own family members or other people tightly grouped together and
weeping in their distress. Self control.

—— (54) ——
も氣息臍下に到りがたきものも、其胸腹を虛しぅして、氣力を極めて臍下へ吐納せし
むるときは、必ず到らざるものなきを以て、大に行ひ易しとなす。若し此の術により
て呼吸を調へんには、其の坐するには、臀肉を以て席上を壓す意持をなし、步行には
氣息を以て小腹を牽き紮むるやうにして、脚步よりも小腹先づ進むが如くし、其の面、
人に對し眼に物を視るときにも、心には必ず臍下を觀るの念を、瞬時も忘失すること
なければ、其の外物と交る所の妄心自ら斷ちて、心識安定陰陽和適することを得る捷
徑の法なり。余が此の術を傳へしは兵法者鳩洲白井翁なり。此の翁の師に寺田五右衛
門といふ人ありて、白隱の弟子東嶺より參禪煉丹の術を受け、初めて之を兵法に加へ
たれども、其の術は未だ全きことを得ず、たゝ己が有にして、之を人に傳ふること能
はず。且動もすれば其の骨力を託みて缺漏少からず、然るに鳩洲翁の技は其の師に卓
絶して、よく動中の工夫を凝し、空中大氣の活動あるを察し、鉾尖の赫機を觀出

If one's own composure becomes ineffective, then you yourself may wretch until the limits [of deciding
to] overcome it by willpower. Invariably, by having not having approached things like this, even
greater things are made much easier to perform. In such cases one uses the techniques of controlled
breathing [or, "recomposure through controlled breathing"]. When taking such seating, it is not correct
to [take a posture that] presses in too much on the flesh of the buttocks. When walking, breathing can
cause the lower abdomen to bind and tighten from the pace at which one walks, and the front of the
lower abdomen [may feel as if] it is jutting out. About one's face, it is often best to look people in the
eyes. About the heart and mind, invariably due consideration of one's own mortality is best, since if
there is even a single moment that this is forgotten, you will kill your chances having deluded yourself
and then seek [wrongful] external objectives. Acquire by methodology right then and there a steady
calmed consciousness and heart suitable by which to discern correct from incorrect. We whom are
martial artists (heihō no mono) espouse this artifice, like a dove-of-an-old-man gathered around the
clear wells of the province [TRANS NOTE: this is also a name, something like “Hatoshu Shirai'o” ]. By such old men for
instructors, as people had said of Terada Goemon [(swordsman, of the late 1600's(?)] who was a pupil of the
Head Abbot Hakuin from Higashimine, whom had received the Art of Making the Elixirs of Life. From
the beginning it would have included the Paramiltary arts (heihō) but not so much as to have acquired
these artifice quite completely. Only enough for his own usage, and not beyond his own ability to do so
which is what people have been taught about this. Furthermore, he being inclined to inquire of the base
strength of this, it was scarcely an oversight of his. Still yet, the techniques of Hatoshu'o(?) having
made such an excellent instructor, skillfully exercising ingenuity in the course of their movements,
even to make conjecture about the atmosphere in the air that would be around the place at the time,
even to observe the reflections of light in the blade of the sharpened halberd pole arm.

—— (55) ——
せしも、皆其の自得に出でゝ、よく身心を虛にし、敵を伏するに天眞無爲の道を以てするの
妙を得たり。鳩洲翁が兵法の、たゝ天眞に任せて毫も私意を挾むことなかれ、と示されたる
は、全く氣合術の骨髓を得たるものである。而して要は只心氣を丹田に集むるといふことで
ある。換言すれば下腹に力を入れて腹式呼吸を營むといふことである。

二、無念無心と呼吸

無念無心といふことは、氣合術に於て最も重要な心法であるが、是れ亦呼吸を調へることに
依つて之を得られるのである。浮庵和尚の結蠅集に曰く『無念無心がといふこと即拂の御名
にて候。口をあけていきをつけば、南の字にあたり、つくいきに口をふさげば無の字にあた
り、又口をふさげば阿の字にあたり、又口をふさげば彌の字にあたり、又ひらけば陀の字に
あ

Through all such self realisations, the mind and body are perhaps unprepared, as when laying out an
opponent by means of the cleverness of the path of idleness and humble naivete [rather as if to ignore
him]. The Paramilitary arts of Hatoshu'o(?) involve to have entrusted things to humble naivete and not
the least of which is to not harbor personal opinions in doing so, which then demonstrates that [one
does entrust things to humble naivete]. Really here in having this it is to have acquired the bone
marrow of the Art of the Kiai. Thus the point is said to be that the usual thing is mood and feeling
being reflected in the abdomen [and how it behaves.] In other words, one can recompose oneself by
means of performing abdominal breath control.

Ni, Munen Mushin To Kokyū

Two, Breathing and the State of Freedom from Obstructive Thoughts

It is said regarding the Freedom from Obstructive Thoughts (munen mushin) it is a most important
core method (shinpou) of the Art of the Kiai and also that it requires breath control to master this as
well. In the Ketsuyōshū ("Compilations of the Binding of Flies") by the High priest Ukian, it is told:
『 Of the Freedom from Obstructive Thoughts (munen mushin) it's said that, namely, with the
beautified names of the Buddha, when the mouth is first being opened to utter them, one encounters
the syllable [that means] 'south'[(or, "prosperity")] and when the mouth is being closed [having uttered it]
there is the syllable [that means] 'increase'. And further beyond this, there is the syllable [that means]
'treacherous'.

TRANS NOTE:
What is the entry trying to explain (the relationship between the Buddhist principle statement, and the state of Freedom from Obstructive Thoughts)??
Judeo-Christian tradition has a similar doctrine that says the mouth that blesses God ought not to utter curses. Hence the Buddhist version here states that
one encounters “the syllable... treacherous...” meaning much the same thing. But furthermore, in regard to Kiai-jutsu and the subject of the Freedom from
Obstructive Thoughts here it is being applied to indicate the need to control one's mouth (as a sub action of controlling one's breath) so as not to say the
wrong thing and perhaps fail.

—— (56) ——
たり、又口をふさげば拂の字にあたり、つくいきに口を開き、ひく息に口をふさぎ、斯樣に
三度候へば南無阿彌陀拂の名號、されば南無阿彌陀拂の六字は阿吽の二字を表したるものに
て候、阿吽と申候、は阿は口を開きてアと言ふにて候、呼と申せば口をふさぐにて候、心さ
へ無念無心に候へば、南無阿彌陀拂と申さず候とも、自ら彌陀の名號口に御入候まゝ、つね
べは南無阿彌陀拂と申される程は申させ給へども、よくく臨終の心持が此に心得候て、正直
正路の心よく候。一体和尚の歌に
我はたゝ後世のをしへを知らぬなり、
あうんの二字のあるにまかせて。
南無阿彌陀拂と構ふるは、畢竟呼吸の方便である。無念無心の誘導法である。されば呼吸が
其の眞を得れば、殊更に南無彌陀拂と唱へずともよろしいのである。拂敎の極意も詮じ詰む
れば、阿吽の二字即ち呼吸といふことに歸するのである。

Again, as the mouth is being closed, the syllable [that means] 'dispelling' is encountered. And so as the
mouth will continue [later] to open, as the mouth draws breath to close, in such fashion as this thrice-
over it is encountered. Even the issuance of the dispelling name when saying Namu Amida Butsu
[("Hail the Amida Buddha!")]. This being the case, the six syllables of Namu Amida Butsu [ ("Hail the
Amida Buddha!")] there is expressed the twin syllables A-UM [ (from Sanskrit 'OM', roughly coequivalent to
"Halleluyah!")]. There is both A-UM and SHIN [ (from Sankrit also, probably from the same root as 'shan(ti)', roughly
means "Be thou honoured!")] Regarding 'A (阿)' [of the twin syllables A-UM] it is the opening of the mouth
when uttering it, calling out in praise before the mouth is being shut. Even the heart itself would be
free from obstructive thoughts. But there is also Namu Amida Butsu [("Hail the Amida Buddha!")] and
without honoured praise [in its utterance]. For oneself then, the name can be increasingly treacherous,
and so one's mouth becoming increasingly so. And thus there are limits to how much Namu Amida
Butsu [("Hail the Amida Buddha!")] should be meted out and still be worthy praises. Please then, that
it be with praising. With a knowledge of this to the very last sense of feeling. There should be
righteous integrity. A singular unity in the chanting of the High Priest.
Besides for just ourselves one knows that it is for the sake of future generations
with whom the twin syllables A-UM have been entrusted.
In being concerned about [how one utters] Namu Amida Butsu, after all there is a liveliness to how one
breathes. Much like the methods of inducing the freedom from obstructive thoughts. That being the
case, one would have acquired some of the truth regarding breathing itself. Particularly, in that one
would not, of course, be chanting the Namu Amida Butsu. Even in the secrets of Buddhism, it could
checkmate any effects sought, it is said namely to be the conclusion of the twin syllables A-UM.

—— (57) ——
氣合術の生理的修件として、呼吸を整ふることの必要なるは、之を以て見ても解るのである。
之を要するに氣合に勝つといふことは、呼吸に於て勝つのである。呼吸の長く讀くものが、
如何しても勝利を得るのである。

第二節 氣合術と姿勢

呼吸に次いで氣合術に必要なる生理的修件は、體容調和即ち姿勢を正しくするといふことで
ある。
一、 姿勢の第一要件

體容即ち姿勢の第一要件は、身體を胖にして決して堅くならないやうにすることである。い
つも柔で而も彈力あること護謨鞠の如く、倒れかけても決して轉ばざること、不倒翁の如く
するのが肝要である。體容をし

When performing the physical practises of the Art of the Kiai, orderly arrangement of one's breathing
is crucial. Having seen this one can understand. The point of all this is that victory is said to rest in the
Kiai. By breathing one gains victory. Long deep breaths are the thing, despite all else that is how one
acquires victory.

Daini-setsu Kiai-jutsu To Shisei

Section Two, The Art of Kiai and One's Attitude/Body Posture

Beyond breathing there are other necessary physical practises of the Art of the Kiai, such as, keeping
agreement in the physical appearance of the body, namely, by proper upright body alignment as it is
said.
Ichi, Shisei No Dai'ichi Yōken
One, Top Most Important Matter About One's Attitude/Body Posture

Of physical appearance of the body, namely, the utmost important matter of attitude/body posture is
that the sides of the body ought never to be held stiffly. Always flexible, much as if one were only
playing defense in a game of ball. Even if one were perhaps going to be defeated, never change this
thing at all. Being much like a self-righting doll that pops itself back up is quite crucial. The positioned
appearance of the body...

—— (58) ——
て此の條件に適ふやうにならしむるには、丹田に力を集めて胸腹を虛にすることが必要であ
る。從て體容と呼吸と相待つて練習する必要を生ずるので、此の二者實に親密なる関係を持
つて居るのである。澤庵禪師曰く、『人は身を輕く持つべし、身に重荷を負はするは、身の船を覆す。
車は輪だちを折り、馬は脚を折る。』と。

二、姿勢の第二要件

姿勢の第二要件は、口を塞いで腭を引き寄せて居ることである。坐禪に於て耳と肩と相對し、
鼻と臍と相伺はしむと敎ふるのは即ち之である。斯く口を塞いで腭を引き寄せて居ることな
れば、頸の兩方にある大なる筋、即ち胸左乳嘴筋が張るやうになつて來る、之が張るだけに
頸に力を入るれば、期せずして脊骨は伸びるのである。脊骨が伸びれば又自然の結果として、
下腹に力を入れる樣になる。下腹に力を入れるといふ習慣

In this condition there is the ring of wishes coming true, having physically collected oneself utterly, the
abdomen being relaxed is quite crucial. Accompanying the physical appearance of the body and one's
breathing there is the state of being in opposition [to the faced opponent] and here what practice can
produce is not so crucial. This truth exists between both persons [enemy and defender] as a firm
intimate relationship. As was told by the Zen Master of the Sawazaki Hermitage 『 Regarding people,
when the agility of the body has taken hold of them, the body is as if bearing quite a load, [trying to] capsize the body [of
the opponent] not unlike a boat. Regarding such as vehicles, the wheels [can be used] to break [bones], much as can the gait
of a horse.』

Ni, Shisei No Dai'ni Yōken

Two, The Second Most Important Matter About One's Attitude/Body Posture

The second most important thing about attitude/body posture, one keeps the mouth closed which helps
pull the palate, gums and teeth inward. In Seated Zen (zazen), there is the ears, the shoulders and all
the rest [kept aligned]. And one knows that the nose, the navel and all the rest are kept aligned. This is
namely it. Keeping the mouth closed like this and so the palate, gums and teeth being drawn in, the
tendons of both sides of the neck are made stronger. Namely, the tendon(s) of the left breast at the area
of the nipple can become pulled taunt, this tensing can cause some strength in the neck and head, but
the spine is not expected then to be perfectly straight. The spinal column would otherwise straighten
but having made natural extension since one is exerting some amount of force, [it does not]. Putting
out such an effort, it is said that this would be produced as a matter of habit.

—— (59) ——
を作れば、次には腹直筋及び斜腹筋などといふものが、發達して來る樣になる。

三、姿勢の身體に及ぼす影響

これだけのことで、身體上に及ばす影響は大したものであある。先づ胸左乳嘴筋が張る爲に、
其の下に連つて居る膓胃等は、上に吊り上げらるゝといふことになるから、大に膓胃の連動
を促して其の發達を助成するのである。頭の大なる人は膓胃が强いといふ話は、普通に聞く
所の言であるが、之は全く以上の理から來たものであらう。次に腹直筋が張り、斜腹衛筋の
發達を來たすことになれば、即ち腹力が强いといふもので、腹は必ず强い、從つて呼吸をす
るのにも、何時も腹式呼吸であつて、肩で息する、即ち鎻骨呼吸などいふ患は無いのである。
之が姿勢上より來る身體上の直接の利益である。然れども若し之に反對の姿勢を取れば、從
つて

Next, the abdominal rectus muscle and the abdominal muscles themselves become taunt and distorted,
so it is said of this that one would arrive at this conclusionary effect.

San, Shisei No Shintai Ni Ooyobasu Eikyō

Three, The Effects Beyond the Body and Its Postures

With so much of this, there are greater things beyond the mere bodily effects. Before the tendon(s) of
the left breast and nipple are made taunt, there is a sinking feeling in the stomach and intestines and
etc. And it is said that there is a feeling of being suspended in the thing. There is a greater urgency in
the workings of the stomach and intestines being fostered in this conclusion. Regarding the relevance
of the brain with human beings, it is said to be powerful when spoken of. Generally, when one listens
to what is said about the entirety of this, it is approached by going beyond mere principles. Beyond
this, the abdominal rectus muscle having grown taunt, as the resultant distortion of the abdominal
muscles has begun, namely, it is said that the abdomen grows very strong. The belly thus invariably
strengthened, this follows with the breath having become so. Usually, it would be abdominal breathing,
the shoulders [may heave] in breathing. Namely, one must fear that there will be [misalignment of
one's] bones. All this otherwise provides a certain bodily advantage, but supposing that it happens one
would be captured by the opposite side. Following after this...

—— (60) ——
反對の結果を來して營養を損ひ、健康を害することになるのである。

四、姿勢の精神に及ぼす影響

次に精神上に及ぼす影響は如何かと云ふに、是れ又大したものである。吾人が直立して胸廓
を擴げ、雙手を擧ぐればᙁ快を感ずることとは日常經驗する所である。斯の如く身體の姿勢
異常が、種々の感情を惹起し、遂には身心の害を來たすこと往々あるのである。元來武士の
修養とか、禪の修養とかいふものに於ても、口を塞いで鼻から息を吸ひ込んで、下腹に力を
入れることを、修養の際の篠件として居るが、實際さうする時には、何となく精神が强固に
なつて來るものである。又姿勢を整へてキチンとして居れば、自然と精神が締つて、威儀を
存することが出來る。氣合術に於て、威嚴を保つといふことも大切な要件で、此點から言つ
ても、姿勢を整ふる練習をすることが肝要なのである。

Arriving at the effects of this opposition, there is injury to one's digestion, that will lead to injury of
one's good health.

Yon, Shisei No Seishin Ni Ooyobasu Eikyō

Four, The Effects Beyond the Mind and Bodily Postures

Following the effects beyond the mind, as for what is said about it, there are also greater things here
too. Being that we stand upright and broaden in the area of the chest [as we breath], and we tend to
raise both our hands when we feel happy, all this is quite usual to the experience of our being. Much in
this way we exhibit a variety of abnormal postures dictated by our emotions, and sometimes these
could lead to bodily injury. Originally, in the training practices of the samuraii warriors (bushi), it was
said to be much like in the training practices of Zen Buddhism. Mouth closed and taking in breath
through the nose. When putting out a bodily effort, such things as make up the smaller components of
the training, and relying upon some practicality at the time, for whatever reasons this is something that
strengthens the spirit. And also in the ordered arrangement of bodily posturing, there ought to be
proper order, indeed. The natural and that which is restricted by the mind and emotions but this can
also be in a dignified manner. In the Art of the Kiai, there is observation of one's own dignity as being
quite crucial to the matter. Even from what gets said about this very point of the subject, there is
preparation for bodily posturing and making one's training practices as being crucial itself.

—— (61) ——
 五、姿勢の氣血に及ぼす影響

姿勢其の正を得ざる時は、血液の運行を害する。從つて氣の方を薄弱にするのである。何と
なれば血の運行と氣と相附隨して、此の二者實に相近接密着して居るからである。彼の氣力
の旺盛といふ事は、即ち血行の雄健といふことで、血行の萎靡凝結は、即ち氣力の消衰とい
ふことである。試に察し見よ、氣合負けをして、氣合で倒れたものは血が出ない。それは、
氣合負けをしたのは、氣力の消衰した者であつて、從つて血行が萎靡凝結するからである。
是故に氣合術を修むるものは、常に血液の運行を良好にしなければならない。血液の運行を
好くしようとするには、呼吸を整へ、姿勢を整ふる練習を怠つてはならない。幸田露伴先生
曰く、『汝の氣力を盛にせんとならば、汝の血行を盛にして見よ、汝は直に自己の氣力の盛
になつた事を自覺し得るであらう。手近

Go, Shisei No Kiketsu Ni Ooyobasu Eikyō

Five, The Effects Beyond the Blood and Life Force of the Bodily Postures

When having not acquired such as the correctness of bodily posturing at the time, the circulation of
blood is being somewhat injured. And beyond this there is a feebleness to the routes of the Ki life
force. The reason being the [reduced] circulation of blood and the Ki life force and other things besides
these. This would certainly be true even more so when two people are in close proximity and direct
contact [such as in combative encounter.] That thing over there so full of vim and vigour, so it is said,
namely, that which causes a rush in the circulation of blood, and then [when finished] the decline in
circulation as if near to coagulation of the blood. Such as this is namely said to make willpower all but
extinct. Observing and considering the endeavor, it makes for the defeating of the Kiai [def. is control
of self, others and the surroundings]. From control (kiai) having been cast down, blood does not
continue passing [in your veins] correctly. Very much so, it having defeated the Kiai [(kiai (no) make)
def. of kiai here is control of self, others and the surroundings ], and a person's willpower having been made all but
extinct, this would be followed by a decline in blood circulation and the blood congealing because of it.
Consequently with this in the study of the subjects of the Art of the Kiai, always the flow of blood must
be maintained in a favourable fashion. When attempting to maintain a proper flow of blood, controlling
one's breath, and preparing one's bodily postures must not be ignored in training. As told by Sensei
Kōda Rohan (1867-1947) 『If it is observable in the case of the abundance of your willpower, and the
abundance of the flow of your blood, that you can muster the abundance of willpower yourself in the
matter, it is by having acquired self awareness in the episode...

TRANS NOTE: The text entry contains an import Kiai-jutsu term: kiai (no) make 氣合負け “defeated kiai (or, defeated control//loss of control)”. In
addition to the obvious counsel of the text itself, the term is perhaps interesting because kiai (no) make can be inflicted upon an opponent, and certainly so
in the case of an opponent whom is experienced at (and using against you) the Art of Kiai-jutsu. The term exists in several different forms: (1) Simple
Verbal Construct: kiai wo makeru 氣合を負ける “to Lose Control; to be Defeated”, (2) Compound Verbal Construct: kiai (no) make wo suru 氣合負け
をする “to Make for/Cause a Loss of Control” (3) The Verbal Noun form in this entry... and some few forms of Verbal adjectives are possible.
Presumably, kiai wo makeru 氣合を負ける is to be caused to Lose Control whereas kiai wo makasu 氣合を負かす means to cause another to have lost
control and is ergo coagnate to (aite wo makasu 相手を負かす “to Defeat one's opponent"). This may possibly be expressed in Japanese as kiai (no)
makashi, one would think?

—— (62) ——
い例を擧げようならば、人試みに直立して胸を張り、拳を固め頭を擡げ、視を正して、横綱
が土俵入をして雄視するやうな姿勢を取り、そして兩手を動かすこと數分時、或は上下し、
或は屈伸し、或は擊つが如くし、或は攫するが如くして、注意に力を用ふれば、忽にして身
暖く筋張るを覺ゆるであらう。其の時は即ち血行盛なる時であつて、其の運動を取らざる以
前に比すれば、血液が血管の内壁を壓する力、即ち血壓力が増加し、血液が血管末梢に駛走
する。即ち血行力も强まり、無論同一時間に同一脉管内に流るゝ血の分量、即ち血量も増加
する事と認め得るであらう。』 云々。是に由つて之を觀れば、氣合術に於て、血液循環を良
好ならしむるを要し、其の必須的條件として、姿勢を正しく整ふることの肝要なることが
解るのである。

To cite an example of something that would usually be close at hand, in human experimentation
involving to stand upright with the chest thrust out, head raised and the fists held in a defensive
position. When correct observations are made, the topmost ranked sumo fighter when entering the
sumo ring is usually the man to be observed. The winning postures and the movements of both his
hands during the first several minutes at the time. Or possibly the up and down [movements of the
body], or possibly the pushing actions. Or possibly it will be the likes of the attacks used? Or perhaps
it will be when he carries the opponent off and away. And also there would be the cautious use of
force. One observes [of this] that there are the mild formal behaviors that demonstrate in an instant but
a fraction of [the full power of] the body. At the time then, it is namely the circulation of blood being
allotted at the time. The movement of that is not arrested, when one compares this to the previous
item. The force of the pressure of the blood against the inner walls of the blood vessels, namely the
increasing force of blood pressure, blood then dashes to even the furthermost branches of the veins.
Namely, the circulatory system gets much stronger and naturally, at the same time, the veins fill with
even more blood. It is really a matter of the increase of blood. And so this is what was recognized and
received. 』 and etc etc.
Here, the observation of the significance of this, in the Art of the Kiai, one needs to maintain
favourable blood circulation. That makes for an indispensable subject. It is crucial to maintain an
upright body posture, and to understand this.

—— (63) ——
 第三節氣合術と眼力

往時武道に於て、一眼、二早速、三膽、四力と言つて、眼に最も重きを置いたものであるが、
氣合術に於ては、此の眼力を最も重要視せねばならない。最も其れには二樣の意味がある。
一は觀察の明敏聰慧なるを意味し、一は威嚴を意味するのである。所謂眼光烱烱として人を
射る底の威容を意味するのである。(前の要項は心理の章に之を説明してある。)抑も眼力を
して、此の威容を保たしめようとするには、物を正確に視るといふ練習を要す。それから常
に心術を正しくすることが必要である。孟子も胸中正しからざれば眸子耗しと言つてある如
く、心中に蟠りがあると、眼力其の光を失うて威嚴を損ずるのである。故に眼の光に威力あ
らしめようとするには、先づ胸中を正しうせんければならないのである。又物を見詰めて瞬
きせない樣に練習せねばならぬ。

Daisan-setsu, Kiai-jutsu To Ganryoku

Section Three, The Art of Kiai and the Powers of Observation

In the Budo Paramiltary way of ancient times, one eye, watching two things at once, triple courage,
fourfold power and that is what is described of it all. In the power of visual observation there is quite
a lot of emphasis placed. In the Art of the Kiai, this is not as crucial an observable point. Very much
so is this meaningful in two different ways. Regarding the one, it is the significance of the clarity of
the intelligent discernments of observation. The so-called glint in the eye of having discerned
something, that penetrates the look in a person's eyes and face. It' importance lies in the fact that it
shoots [like an arrow] through to the very base of the other persons dignity [injuring it]. (Main points
of this will be explained in the next chapter, on the subject of Psychology (shinri). To begin with,
when trying to maintain your own dignity against this [when it happens to you], as much as you can,
use the power of observation to observe whether or not [his observations against you] are indeed
factual. This is said to be a requirement of training practice. Beyond that, always correctly apply the
mental arts (shinjutsu) when they are needed. Even Mencius (372-289 BCE) said that one should not
question what intentions one sees residing in the eyes [of the opponent], even when ill feelings are
the true motive, since parting with this illuminating perception will surely break even austere dignity.
Consequently, due to the power of light to restrict vision, unless one has already questioned his true
intentions [by looking for them in his eyes], one may not be able to do so. Again, watch for the thing
intently, unblinkingly, and one ought to have practiced this.

—— (64) ——
 第四節 氣合術と握固

握固とは握り固めるといふことで、手を握り固むるをいふのである。其の法は拇指を掌中に
入れて他の四指で握り固むるのである。握固は實に身心を堅固ならしめ、渾身に勇氣と力と
を生せしむる効果があるのである。握固すれば又自ら膽が太くなるのである。

第五節 氣合術と足及腰

兵法に切る手なしといふことがある。是れは兵法の第一は、手では無うて足であるといふ意
である。それは手に重きを置くと心が變動する患があるが、足に重きを置けば其の患は無い
とのことである。故に手に失あり、足に過なしといふのである。之を要するに、常に足及腰
に力を入れるといふことが必要なのである。然うする時は、腰から足の方に血液が

Daiyon-setsu, Kiai-jutsu To Nigiri-gatamu

Section Four, The Art of Kiai and One's Grip
Regarding to have a firm grip, it's said that to have a strong grip is the thing. The hand gripping firmly
so they say. And about that methodology, it is to have entered into it with that opposable thumb and
then taking firm grip with the other four fingers. With a firm grip, really, the whole body is made
strengthened. Having courage that is growing and by all one's might, that is the effect of it. Also, in the
case of having a firm grip, there is a certain brazen courageousness about oneself.

Daigo-setsu, Kiai-jutsu To Sokkyūyō

Section Five, The Art of Kiai and the Position of the Hips and Feet

In the Paramilitary sword arts (heihō), cutting [with a sword] is said not to be done by the hand itself.
This is regarded as a main point of the Paramilitary sword arts (heihō), [cutting is done] more with the
feet than with the hands, so it is thought to be. With the hands it is instead very much about placement,
and there is the concern about fidgeting [with the hands]. In the emphasis upon placement of the feet
this concern is not so pointed. Consequently then, there is some kind of flaw in the hands, but the feet
lack this excessiveness. The point in all of this being that, usually, the feet and even the hips can put
forth an effort [more effectively than the hands can] and this is said to be a crucial point. And so in this
way at the time, the way the hips, legs and feet move when taking a seat, blood can still flow.

—— (65) ——
運行し来つて、所謂下半身が溫暖となり、上半身が清凉となるのである。凡そ生と養ふの道、
上部は清凉ならんことを要し、下部は溫暖ならんことを要すといふ條件に適合し、從つて氣
力旺盛となるのである。又眞人の息は、息するに踵を以てすといふ如く、踵で息をする必要
がある。踵で息をするといふのは、十分足の先まで力を入れて、腹式呼吸を營むの謂である。
而して起つて居る場合に、足の拇指に力を入れて屈伸しつゝ、踵を地に付けない樣にするこ
とが肝要である。いざ氣を掛けようと言ふには、前に述ぺた臍下丹田の力、握固の力、足指
の力、此の三拍子相揃はなければならないのである。勿論腰廻りに十分力を充實して置くの
である。元來人間が氣力を失ひたる時には、足腰が起たぬといふことを言ふが、實際、不意
の事變に逢うて驚動した時には、往々腰を拔かしたり、足が起たなかつたりする樣なことが
ある。氣合術を學ぶものは、足腰を堅固

The lower body being rather warm, so to speak, but there tends to a cooling of the upper half of the
body. Generally this is natural and is the way that it tends to maintain itself. The topmost part [e.g.;
especially the head and chest] needs to be able to cool off and this is a crucial point. The lower half of
the body cannot help but to be war and this is a crucial point of it's conformity [to it's part of our bodily
structure.] Beyond this, the main reason is because of the energy filling [that part of the body.] Again
really, in the breathing of human beings, when breathing it is said to be much by means of the [counter
support of] the heels [digging in subtly when we breath in and out.] Making the heels a crucial part of
[the process] of breathing. Of the heels involvement in breathing, it is said that even the tip of the foot
pits forth so involved effort. So it's told of abdominal breathing. And so, when arising to the occasion,
the big toe puts out some effort bending and flexing, the heel then is not digging into the ground when
doing so, and this is a crucial point. This is said to be [how the body] applies it. Before this is to be
mentioned, the force of the belly and abdomen, and the force of one's firm grip, the force of the big
toes, all three of these must have aligned in rhythmic timing. Naturally when in the turning of the hips
(koshi mawari) there is a complete placement of suitable strength. Essentially, human beings tend to
lose some of their will-power at the time, it is said to be observable through the legs and loins when it
happens. In practical application, when one is faced with an unexpected disaster that occurs, at the
time there is fearful astonishment. Quite often one might not be able to stand due to fear. It is then as if
one cannot use one's legs to arise due to what has happened. When studying the topics of the Art of the
Kiai, making the legs and loins quite firm...

—— (66) ——
にして、如何なる場合に臨んでも、足腰を拔かす樣なことのないやうに、鍜錬して置かねば
ならない。此の足腰を堅固にするには、折々庭中にて地團駄を踏むがよい、是も腰にて踏む
のである、或は前後左右へ一尺二尺づゝ飛びならふがよい。腰を兩手におさヘて腰にて飛ぶ
事である。腰をひつさげて飛ぶ心持にするのである。其の時足の爪先を前方に向けずして、
横に向けるようにし、而も、一直線上にあるように修め習ふことを要するのである。古の名
將勇士が、床几に腰を掛けたる圖を見るに、何れも其の兩足の爪先が横に向いて居て、一直
線を爲して居る。是は大に理由のあることである。氣合の妙術を得んとする者は、此の練習
を爲さねばならぬ。又此の要頜を持して、横步きの練習をすることも必要である。横步きの
練習をして置けは、身が輕く、足が疾くなつて、いざといふ場合に、迅速の動作を取ること
が出來るのである。

...whatever the circumstance that one is being confronted with, the legs and loins certainly cannot be
left out of it, but there isn't really training that can engage in for it. When making the legs and loins
strong again, sometimes stamping one's feet on the lawn works. This prepares the hips for walking in.
Or possibly instead, if not, hop about one or two feet, forward and backwards, to the left and to the
right works. [NECC ALT TRANS: "Or possibly, if not, some small amount of self control can be regained by hopping about somewhat" ]. In doing this thing one
would press both hands into the hips when leaping. It is done with the intention to take quite a solid
stance once done hopping about. At that time, the toes are kept pointed forwards, one would be facing
sideways [body turned]. Furthermore, one needs to have completed this rather in a straight line, and
one should practice doing it. Famous warriors and commanders of olden times, as one sees in old
illustrations, would take seat on a camp stool. The tips of their toes would be pointed out sideways and
so making a straight line. There were greater reasons for doing this. Persons whom would acquire the
marvelous arts of the Kiai must have made this practice. And also one must hold the jaw still, this is
crucial. And the practice of side walking (yoko aruki) is also quite crucial. Placement when practicing
the side walking (yoko aruki), the body moves nimbly, the feet move with a certain swiftness, and so
it's said that one will be able to move swiftly into action and make the capture.

—— (67) ——
又横步きの時でなくても、通常の步行に於ても、爪先は成るべく前方に向はないで、外側に
向ふ樣にするのが大切である。而して踵を地に付けないように、而もシヤンくと爪先をうけ
て步くことが肝要である。
第六節 氣合術と「ふぐり」

「ふぐり」は常にブラリッとして居ねばならぬ。平生はダラリとして居ても、一旦危急存亡
ともいふべき場合、生命を奪はれんとする樣な危險な場合に臨んで、縮み上る樣では到底駄
目なのである。往時劍客千葉秀作氏の門人に三木某といふ士があつた。此の士或る風雨の夜、
湯島聖堂の裏手の所で、當時有名な桃井先生が醉脚跟蹌として謠を歌うて來るのに逢ひ、突
然之に斬り付けた。其の時早く彼の時遅く、桃井先生體をヒラリと变し傘を以て之を蔽ふが
否や、直に三木の利腕をシタゝカに擊つて刀を地に落させた。『何物なれば余に無禮を致す
ぞ、何

Also, even where there is no occasion of need for side walking (yoko aruki), even when walking as
usual, it is not necessary to keep the toes pointed forward. But even when to the outside, the toes being
pointed towards the front is important. Also it is fine if the heel does not dig into the ground. Also, it is
quite beautiful when the toes are pointed in the right direction should you receive and attack, that can
be crucial.
Dairossetsu, Kiai-jutsu To Fuguri
Section Six, The Art of Kiai and One's Testicles
Regarding 「the testicles 」 one ought to consider that they are usually dangling, during usual days in
life, rather loosely. It is said that, occasionally, during conditions of a life and death matter, when one
would be robbed of life itself and so one is faced with such circumstance of peril, the testicles contract
upwards but that this cannot possibly be good. With the followers of the ancient swordsman Chiba
Shūsaku it was said that there was an unknown by the name of Mitsuki, a certain warrior met him by
night i the wind and rain, in places back behind Yushima Seidō temple. In those days there was the
famous Sensei Momonoi, this man had been boozing his heels off, and was encountered [drunkenly]
singing the Noh chants, and then began to unexpectedly make slashes [with his blade]. Even though
they got to him quickly, it was too late, no ssoner [had he done this] and Sensei Momonoi his body
moving quite nimbly with only an umbrella and it's covering, despite this man stubbornly using his
dominant arm, dropped his sword harmlessly to the ground. 『Something had to be done because he
was being quite rude,...

—— (68) ——
か意趣でもあるのか、併し汝の腕はなかく達者である、余なればこそ其の刄にかゝらざれ、
余人であつたならば屹度切られたに相違ない。天晴腕前は達者であるが、併しまだ修業が足
らない、如何だ汝の睪丸を見せろ、ヤア汝の睪丸は此の通りチヾンで居るではないか、斯ん
なことでは駄目だ、サア余の睪丸を摑んで見い、 ソラ此の通りダラケて居るだらう。不意に
人から斬り付けられても、睪丸がダラケて居る樣でなければ不可ぞ、人を斬らうといふ者が
斯樣に睪丸がチヾンで居るようでは役をしない、全く是は修業が足らないからだ、向後尚修
業をしなさい。余は桃井といふもので、小石川の云々の所に居る者だ、チト話しに來なさい、
汝の姓名は聞くに及ばない。』と言つて行き過ぎた。三木は後影を見送つて茫然として居た。
其の夜はロクに睡ることも出來ず、翌日早々桃井先生を訪うて、取次の者に向ひ、『先生御
在宅ならば、昨夜のチヾミ睪丸が參つた、と仰つて下さい。』と案内を賴んだ。取次の者此
由を先生に通する

...whatever his grudge might have been, but when he took hold of my arm I found that he was quite
healthy! I thought for sure that I'd be cut by his blade, there were also other people present whom no
doubt were going to be cut. Good health is an admirable capacity, really, it is not enough to have
enjoined upon oneself training. How to go about showing my own fortitude, yes well, I was not all that
prepared to go up that avenue. Such as it was, that's no good, so, ah well, I saw the chance to grab his
testicles. But that is a rather dark avenue indeed. When he was unexpectedly slashing at the other
people, although it was improper I dragged him away by his balls. This person said he was going to
behead some of those people, it was not proper behavior for him to behead them so I dragged him
away by his balls. Really, all of this demonstrates that bodily training is simply not enough, and
furthermore [when it comes to something like this] what about someone whom has only just begun the
training? That such things were said about Momonoi, there was talk about this person all over
Koishikawa, both chit chat and more serious talking, but it did not amount to his full name being heard.
Mitsuki wwas seen receeding into the shadows dumbfounded. Regarding that night he was obviously
could not have been snoring away in sleep, early the next day, Sensei Momonoi was inquiring [about
him], conveying what he had been faced with because of this person. 『The sensei would have been at
home at the time, but this man was showing himself off that night, and was at times laying flat on his
back looking upwards [falling down drunk]. 』 and this is what they were informed of. For this reason
the sensei had pushed through to consult the man's representatives.

TRANS NOTE:
The entries in this whole section have multiple usages of various forms of the word “testicles”, but some of them were idioms (most usually with the
definition of “fortitude”, or “nerve”.) English and several other European languages use similar 'vulgar' idioms. Quite frankly I did not draw specific
attention directly to these instances... because in English language that would sound remarkably rude.

—— (69) ——
と、『左樣か、ダラケは在宅だと言つて室へ通せ。』と言はれたといふ噺がある。道三翁曰
く、『関居步行も、心を「ふぐり」の内におさめ、氣を「ふぐり」の蓋にする蓋にすると修
し習ふべし。』と。氣合術に於ては、斯の如くに睪丸の練習を要するのである。

And 『Indeed then, being caught up in all of this, and so he told them, he pushed through just so he
could get home to his wife. 』 And that was how the story was told. The old man Dousan said
『Concerning conduct towards such residents, courage must rest in the heart, and one must slap a lid
on their gutsy spirit. One would even need to practice for putting a lid on it. 』 In the Art of the Kiai,
much in this way, it is consider a necessity to practice for courage's sake.

—— (70) ——
 第三章 氣合術と心理
本章に於ては氣合術の心理的條件、及び其の心的作用の鍛錬法を述べよ
うと思ふのである。

第一節 氣合術と精神力の統一
明の邵康節曰く、『心一にして分れずんば、則ち能く萬變に應ず、此れ君子の心を虛しぅし
て動かざる所以なり。』と。是れ實に氣合術の心理的條件を說明し得たるものである。 心一
にして分れざるといふは、精神の統一を謂つたものであるが、精神の統一は實に氣合術心理
的條件の第一義である。マーデン曰く、「何人も一事に精神の力を集むれば、失敗せんと欲
するも能はざるなり、脂蠟を天幕に投げ付ければ、之を貫く能はざれども、發

Daisanjō Kiai-jutsu To Shinri

Chapter Three The Art of Kiai and Physchology

In this chapter we explore the requirements of the likes of psychology in the Art of the Kiai. This as
well as exploring the training methods for [practical application of] psychological effects, and what is
thought on the subject.

Dai'issetsu Kiai-jutsu To Seishinryoku No Tōitsu

Section One, The Art of Kiai and Control of the Force of Will

As was told clearly by Shōkōsetsu [Ch. Shào Kāngjié, 11th Century Chinese philosopher] 『 There is a single
wholeheartedness if one does not diverge from it, it is namely to be accepted of the 10,000 changes
occurring in things. The man of virtue empties his heart for this, and it's the reason why [his heart] is
otherwise not allowed to stir. 』 Indeed this is the explanation of the requirement of psychology in the
Art of the Kiai that is to be acquired. It is said of this whole-hearted singularity that one should not
diverge from, that it means a certain unity of heart and mind. Regarding this unity of heart and mind,
really, it is the first principle of the requirement of psychology in the Art of the Kiai.
Marden said 「Everyone musters a certain amount of force of heart and mind in [facing] a singular
objective, even when the endeavor is perhaps a blundering mistake and is but to have cast wax against
a curtain [so accomplishing nothing]. Even though the blunder was fully carried out...

TRANS NOTE:
The text shows some references to Stoicism , and so indicates that Stoicism plays some role here. The quote of the 11 th Century Chinese philosopher Shào
Kāngjié is one of Stoic thought. I would maybe have included the original Chinese lines for the quote but it was written in early 20 th Century Japanese
adaptation. That makes it harder to be sure what part of the Chinnese writings they were quoting. According to the text, this kind of stoicism is the first
and main principle of the subject in Kiai-jutsu.

—— (71) ——
射すれば一枚の樫の板を貫くべし、鉛の彈丸を發射するときは、四人の身體を貫き、多日日
光と雖も、其の焦點は物を燃焦する力あり。」と。是れ實に氣合術の妙力を說明する好辭句
である。之を要するに、人の心は綿花藥の樣なもので、其の爆發の機運に遭遇せざる間は、
綿の樣に力なく、打ち見たる所では平凡のようであつても、一朝此の綿花藥に火を點じたな
らば、轟然として山を劈き谷を撼かして、猛烈なる焔と成るに至るのである。其の勢力や實
に不可抗的である、所謂天下無敵である。

第二節 氣合術と注意集注作用

注意といふものは、智情意の三要素が共働するものであつて、種々なる心の働きの基礎根抵
である。而して氣合術に於て、最も重要の位置を占むるものである。二宮尊德曰く、『百事
決定と注意とに依りて成る。小事と雖も決定するこ

… much like in the case of an arrow shot, the slenderest object goes all the way through the plank of
evergreen wood. And when the lead musket ball is fired, it passes all the way through the bodies of
four men. Similarly, many days are illuminated despite that there are the rays of only one sun.
Regarding that focal point, its force offers to sear and char an object. 」 This really makes a good
explanation of the mysterious power of the Art of the Kiai and we are quite fond of this passage-of-text
because of it. After all, this is much like a medicine pill of raw cotton wool for the heart of human
beings. The likes of which at the occasion of it's diffusion [into the belly] is not so often encountered.
Hoping for something with the power of cotton wool, one glances about the place, but finds only the
commonplace items. There was once a time when this raw cotton wool medicine pill would be put to
flame and a tea made from it, roaring that would split mountains and move valleys, the fanned flames
of violence had begun to approach.

Daini-setsu Kiai-jutsu To Chūi Jūchū Sayō

Section Two The Art of Kiai and Caution in the Usage of Various Writings

There is said to be a subject of precaution here, there is the interaction of the emotion and volition in
the three components of Wisdom (chi 智), Emotion (jō 情), and thought (i 意). The variety of contacting
with the foundation of the mechanics of the heart. Likewise in the Art of the Kiai, it is to occupy the
utmost superior position. Ninomiya Sontoku (1787-1856) said 『Judge everything and for some very
obvious reasons be cautious in doing so. Even despite that some matters are trifling, make judgment
without exception,...

TRANS NOTE:
The text refers to someone named only as 'Marden', this is possibly the late 19 th early 20th C. American philosopher and inspirationalist Dr. Orison Swett
Marden (1848–1924). If not, then I am entirely unsure whom they are quoting? The text references to a [medicine pill] made from raw cotton wool is in
reference to an old 19th belief that there was medicinal value to raw cotton wool. This is roughly the same as 'aspirin' to some extent (there were other
medicinal uses for raw cotton wool.) The text statement about “splitting mountains and moving valleys” is a quote probably, but from whom? Most likely
European (or European descended → it's an obvious adaptation of a statement in the Biblical book Zechariah.)
Note On Section Two, This Entry: The text advises extreme precaution in the accepting and implementing of written materials, doctrines and teachings.
If one thinks about it, since Kiai-jutsu is ultimately the Art of Controlling Self, Others and the Surroundings... this makes quite a lot of sense, really. If one
accepted the wrong doctrines, teachings or instruction... then obviously SOMEONE ELSE is in control.

—— (72) ——
となく注意することなければ悉く敗る。』と。氣合術に於ては、身心に隙間のなきを貴ぶ。
此の隙間のないといふことは所謂注意の結果である。油斷なしといふのが即ち其れである。

一、突嗟の機智

昔越後侯上杉氏の臣下に、堀監物といふ者があつた。伏見の邸で一日客を送りて出でしに、
刺客俄に現れて、切つて掛る。侯拔合せて之を防ぐ程に、監物通かの後方より走り來つて刺
客を斃した。後同僚と談此の事に及びし時、同僚の者問うて曰く、『彼時旣に日暮且つ突嗟
に起りて、側に在りし我等さへ聊か氣遅れしたる所に、御身遙かの後方より之を認めて駈け
附け、一番に仕留めたまひしは、如何なる神速の術ありしや。』と、監物答へて曰く、『さ
ればなり、予固より技に於て諸君に優るもの有るにあらず。唯一つ常に守れる祕訳あり、大
切の事ながら讓り申さん。其れ

...but by not being precautious in doing so with everything, you will defeat your own attempts to do
so.』In the Art of the Kiai, it is valued that there be not a single gap between the mind and body. It is
said that having no such gaps is the result of precaution and that, namely, negligence is just such [a
gap].
Ichi, Tossa No Kichi One, The Tactic of Immediacy

In the olden days the Daimyo Uesugi [Kenshin] at Echigo and his retainers with him, it was said that
there were persons trying to cross the moats, from the residence at Fushimi one day they sent forth a
visitor. An assassin suddenly materialised, trying to cut him down. While the Daimyo met and fended
off this folly, their matters of governmental rule fell behind while they were chasing down the assassin.
Later on, their colleagues told tales about this affair, persons among these colleagues were inquired of
and said 『A that time it was already twilight, and crying out "Alas!" they arose, having been in the
vicinity ourselves, even we suffered some chagrin (ki (wo) okure). He [the Daimyo] being at some
distance sent a horse rider galloping with his approval [for action]. The main thing was to get [the
assassin] stopped. Whatever else came from the techniques of extreme swiftness (shinsoku no jutsu).』
(?)Kenmotsu(?) afterwards said 『 All this being the case, I used a technique ladies and gentlemen,
there is nothing that quite exceeds it. It is a unique secret of defense. Although it is an important matter,
it comes only through inherited succession.

TRANS NOTE:
(By some special request, I guess you would say?) The text uses a Kiai-jutsu sub-associative idiom: ... ki wo okure(-
ru)... (氣を遅れ(-る) “to Suffer chagrin or reservation” , in this instance the text is using a verbal compound construct
form: ...ki wo okureshi-taru... (氣遅れしたる) “Making for chagrin or reservation”. What makes this a sub-associative
idiom//term in Kiai-jutsu? Because it can be inflicted upon an opponent. Here some few others, pretty much the same
kind of sub-associative types (for similar reasons). These are in no particular order, by the way:

...ki wo magira(wa)su... 氣を紛ら(-わ)す “to (be) Divert(-ed) away from” → (...ki wo magirawaseru... 氣を紛らわせる “to
Divert oneself away from” including to be tricked into doing so.) It carries a force of meaning similar to
“preoccupation” somewhat. ...ki wo kikaseru... 氣を利かせる “to Make the smart move” and this would include, beyond
the obvious usage oneself, tricking the opponent so that their fleeing or surrender becomes the “smarter” move....ki
wo kubaru... 氣を配る “to be Watchful; Pay attention”. Likewise, …ki wo tsukeru… 氣を付ける has the same meaning.
Next we have ...ninki wo sarau... 人氣を攫う “to Upstage; Steal away attention”, and also ...ki wo sorasu... 氣を逸らす “to
Distract”. And …genki wo dasu... 元氣を出す “to Cheer up, Cause laughter” (even applies when causing an opponent to
laugh, because it's awfully hard to defend oneself when chuckling.) And also there is ... ki wo nomareru... 氣を呑まれる
"to be Overwhelmed", and also ... ki wo haru...氣を張る "to Steel oneself in doing". ...ki wo momu...氣を揉む "to Worry;
be Anxious" and also ...ki wo mawasu...氣を回す "to be Misled; get the Wrong ideas; to have Groundless suspicions"
And also ... eniki wo kowasu... 雰囲氣を壊す "to Spoil the mood" ... ki wo yurumeru... 氣を緩める "to Relax one's efforts;
to Let one's guard down". And also ...ki wo motasu... 氣を持たす "to Encourage someone to expect something; to Raise
someone's hopes", ...shōki wo ushinau... 氣を失う "to Lose one's mind; to Go crazy", ...goki wo tsuyomeru... 語氣を強める
"to Raise one's voice; to Speak emphatically", ...ki wo torinaosu...氣を取り直す " to Completely rethink; to Pull one's
self together", ...ki wo shizumeru...氣を静める "to Calm oneself ", ...ozoke wo furuu...怖氣を振るう "to Horrify", ...yūki wo
dasu...勇氣を出す "to Summon courage; to Be brave", , ... kūki wo yomu...空氣を読む "to Read the situation"→ ...kūki wo
yomenai... 空氣を読めない "be unable to read the situation" , ...dokki wo mekareru... 毒氣を抜かれる "to be Taken aback; to
be Dumbfounded" , ... ki wo otosu...氣を落とす "to be discouraged; to be disheartened". With some ingenuity one can
understand the relationship of all the idiomatic verbal constructs to the art of Kiai-jutsu.

—— (73) ——
は君侯に待する時は、初中終に瞬間も君の身邊より目を離さぬといふ事なり。然れば君の擧
止動靜針程の事も見付けずといふことなし。呉々も此の一言を忘れたまふべからず。』云々
と。之を要するに氣合術に於ては、彼の拿破崙の所謂、『總督は日に數回自ら心に問を起す
べし、敵若し不意に我が前面に現るれば、我れ果して何等の策あるか、或は右に現るれば如
何、左に出づれば如何と、而して此の問に對して十分答へ得ざる困難あるを見るに於ては、
是れ其の位地猶未だ宜しきを得ざるものあるなり、規律に合はざるものあるなり、乞ふ速に
之を變革せざるべからず。』といふの注意なければならない。

二、注意力の練磨

貝原益軒曰く、『坐しては立つことを思ひ、閑にして動くの利を思ふ、是れ君子の務めな
り。』と。

Indeed so, the Daimyo awaited at the time, from start to finish and every instances through it all, they
ever took their eyes off him. A certain fellow of bearing etched as if with a needle the boundaries of the
circumstance, but it was said to be the case that he was not observed doing so at the time. He was
repeatedly said to have not forgotten even the briefest comments made at the time.』And that the likes
of this is what was told about it all. The point of all this is that, much like in the Art of the Kiai, being
over there in the middle of a [circumstantial] mountain range of sorts, 『Regarding the Viceroy that
day, several times he inquired from the heart as to whether or not they would arise to meet this thing.
Had not the menace just suddenly materialised before them all? And as one would expect [wanted to
know] what sorts of plans had been laid? Or possibly what more is there that had materialised? And
exiting afterwards in whatever way, so inquiring about all this but not receiving sufficient replies,
observing the distress in it, so further yet the circumstances here not quite appropriate. Thus having not
really met up to the rules being the thing, it invited speediness but knowing that it would not change
[the facts of] the thing.

Ni, Chūi-ryoku No Renma Two, The Training for Attentiveness

Kaibara Ekiken [Japanese Neo-Confucianist philosopher 1640-1714] said 『 When implicated, arise against what is
believed, thinking of the advantage of calming motion in doing so. The man of virtue employs this,...』
and etc.

—— (74) ——
TRANS NOTE:
Textual discrepancy exists here, a discrepancy between the Table of Contents and the actual pages of
the text. The Table of Contents listings (of Chapter Three) compared to the actual text are:
第二節 氣合術と注意集注作用 Daini-setsu Kiai-jutsu To Chūi Jūchū Sayō
Section Two Caution in the Usage of Various Writings

ACTUAL PAGES of BOOK TABLE of CONTENTS

一、突嗟の機智 Ichi, Tossa No Kichi 一、突嗟の機智 Ichi, Tossa No Kichi
One, The Tactic of Immediacy One, The Tactic of Immediacy

二、注意力の練磨 Ni, Chūi-ryoku No 二、注意作用の練磨 Ni, Chūi Sayō No Renma

Renma Two, The Practice of Caution in Application
Two, The Training for Attentiveness

三、注意力利用法 San, Chūi-ryoku Ryōhō 三、注意力利用法 San, Chūi-ryoku Ryōhō

Three, Methods to Use Attentiveness Three, Methods to Use Attentiveness

四、氣と心 Yon, Ki To Shin 四、心と氣 Yon, Kokoro To Iki (or, 'Shin To Ki')
Four, The Spirit and the Mind Four, The Mind and the Spirit
Etc etc Etc etc

I documented the difference lest anyone might notice and think that I had rendered the text wrong. Also, PLEASE take note
that all numbered sub-entries in Chapter Three, Section Two are further information on the subject of “Caution in the Usage
of Various Writings”, if one fails to bear that in mind, no doubt you could misread the text.
是れは實に油斷なき心、即ち注意力の大切なことを敎へたものである。昔一劒士、參州大河
内家に召されし時、將さに一室に入らうとして、襖の開くや否や、二��
士左右より、突然擊
つて掛るよと見えたが、此の時早く彼の時遅し、劍士は懐中より一個の小風呂敷を取つて投
げつけたれば、彼の二��
士は是れぞ眞の劍士と認めて、擊ち下す木劍の上を見向もせず、悠
然として徐かに進んだ。次の間の敷居に接近せる此方に、劍士の席を設け、正面に大河内侯
の嚴坐して居られたから、劍士はハツと畏れ入りて平伏したが、其の頭恰も敷居の上に行く
や否や、左右の襖遽かに閉ち來つて、アハヤ劍士の頭は襖挾にならうとしたが、劍士は豫て
心中一寸の油斷がない、嚮きに平伏するの際、織扇を敷居の溝に入れて其の上に平伏したの
である。豫て計れる第二の二��
士は、這は如何にしやう、と心焦りつゝ頻りに力に任せて押
せども突けども、更に襖が進み動かないから、今はとて詮術なく、唯茫然呆乎として佇立し
て居つたとい

—— (75) ——
And so in doing this, really, it is mindfulness that is without a certain negligence to it. Namely it is to
have well studied the important subjects of attentiveness. The one sword saint (kenshi) of old, was
summoned to the House of Sanshū Ooko'uchi, howbeit that the one room which he entered, he had no
sooner opened the sliding doors but that [he was faced with] two samurai standing on the left and the
right sides of the door. He observed that they immediately attacked trying to capture him, at this time
he delayed them by stepping off to one side, he then took from his pocket a single object, a small stem
shaped thing to throw it and the two samurai noticed this, recognizing that he was a true sword saint
(kenshi). But [so distracted] did not notice when he attacked with the wooden sword first downwards
then upwards. And so he advanced quite calmly. Drawing nearer to the threshold of the next room like
this, at the appointed seat [at a banquet table] of the sword saint (kenshi) which would have Ookouchi
placed in front of the Daimyo, and rather rigidly he taking the seat, the sword saint was served a [dish
of] animal hearts and so he had prostrated himself begging their forgiveness. No sooner but right then
the Chief [?servant?] came crossing over the threshold, approached hurriedly shutting the left and right
sliding doors. Turning his head and laughing loudly the sword saint pinched the sliding doors shut, but
none of them could guess what the true motives of the sword saint must have been for some short time
in all this. He having preferred to prostrate himself at the time, had put a folding fan in the groves of
the sliding door when he arose from prostrating himself. For some length time having plotted it against
the second of the two [pursuant] samurai, as he groveled to some extent before them. Being their
regular impatience [shown during the episode], trying to pull in and coerce others even while they
were thrusting at him, and moreover not advancing through the sliding doors themselves. Now not
having used any proper artifice, were they not thus shocked and dumbfounded? It is said that they were
even standing still.

—— (75) ——

NOTICE: This text page and one or two other has the term ��
士 (probable pronunciation is 'doshi') it seems to be a kind
of retainer attendant, samurai guardsman used on the grounds of a place or indoors on the grounds. The kanji ( �� ) is one
of those unusual kanji (rare archaic variant?), it's computer font encodement seems does not get sustained on all computers
or computer devices. Attempting to copy the text page may show problems. Try recopying the characters and "paste
without format" back into the text page when you copy it.
ふ。斯の劍士の如く、絶えず注意して居れば、決して猿狽はない。不意を擊たれても、心靜
に之を處理することが出來る。而して注意も練磨すれば、斯の如き境域に入ることが出來る
のである。柳生但馬守の次男又十郎(宗冬飛驒守)が��
年の時、家を出て、日光の廣田伴藏の
許に修行中、大に此の注意力を練麿した噺がある。即ち次に記さう。或る時伴藏先生藥寢を
して居る。又十郎此の隙に髭でも拔かうと、懐中から用意の毛拔を取り出して、又其の邊で
拔いて居ると叱られると思ふから、外へ飛び出して、庭前の大きな石の上に腰をかけて、前
の流れを見ながら、頻りに又十郎鼻の下の髭を拔いて居る。寢て居るやうでも廣田伴藏眼を
細く開いて見ると、先方を向いて髭を拔いて居る樣子、一本敎へてやらうかなと、ソツと立
つて、やツと聲を掛けて肩先を突いた。

The sword saint was like this, he would always be precautious. In no way [tolerating] the wolfish or
monkey-like [behavior of others]. Even when unexpectedly attacked, he was able to deal with it
calmly. So, even though he was attentive already, he would train for it. Because of this he was able to
enter any borders anywhere. The second son of Yagyū Tajima no Kami (1572-1646), Matajūrō
(Munefuyu Hida) in a year's time, left his household and having no companions other than the rays of
the sun shining in open fields engaged in ascetic practices, practicing the power of greater attentiveness
in this as the story is told. Namely as in the next tale-from-history told. At certain time of day, Sensei
Banzō had made a sleeping drug. And in this occasion Matajūrō had plucked out his beard with a pair
of tweezers that he had taken out of his pocket. He was still about the doing of it, plucking away at it,
while thinking about how he would be rebuked for doing it. Having rushed off to the side, he went and
took a seat in a large garden, and while watching a brook babble by, Matajūrō would frequently pluck
away at his upper lip. He would have gone to sleep but Banzō would look at him with squinty eyes and
so [Matajūrō] kept opening his eyes to look at him. He turned and faced away continuing to pluck
away at his beard despite the situation. One scroll of instruction came to his mind, and though it was a
waste of his time he stood to his feet, he intently called out as he thrust over his shoulder.

—— (76) ——
突かれて又十郎は谷川へ眞つ倒に轉り込んで、七八間流れたが、やうやうの事で岩へ攫つて
濡鼠の樣になつて、先生の前に來て、『誠に恐れ入りました、ツヒ餘り髭が伸びましたか
ら。』と言ふと、先生は『イヤ髭は拔かうが拔くまいが隨意だが、余が後へ廻つて行くのが
氣が付かなかつたか。何も竹刀を持つて立ち上つた時ばかりが劍術でない、平素の心掛が肝
心だ、伴藏だから宜いが、敵であつたら其の方の命はあるまい。此上ともに何事にも心を付
け、油斷なき樣に致せ。』と云はれた。又十郎『恐れ入りました。』と頭を下げる所を、又
一ツポカリと打たれた。驚いたなあ、ドウも後から敵が來る樣ぢや油斷が出來ないと悟つて、
又十郎何をするにも、前後へ心を配つてやつて居る。其の後又或時又十郎炊事をして一生懸
命火を吹き付けて居る所を、先生ポカリと脊中を打つた。又十郎驚いて後を見ると、先生が
袋竹刀を以て立つて居る。其れから又十郎は更に物事に注意を深くするやうになつたが、先
生は其の進境を認めながら

Having just thrusted, Matajūrō turned straight-away and entered the stream. He went about seven (7) or
eight (8) spans into the stream, and was calling out in bravado about the thing, having carried away a
rock in both hands by which to submerge himself like a drenched rat. The Sensei approached in front
[along the banks] and said『Please, I'm so very sorry and beg your pardon! I did not intend such a fuss
over merely your plucking out your beard! 』And that is what was told about it. Regarding the Sensei,
『It is quite disagreeable to voluntarily pluck out one's own beard, afterwards I went round and round
about having done it, having noticed how disagreeable it was. And on top of everything else, to have
stood up and taken my Bamboo sword (shinai) in hand at the time, I should not have resorted to the
sword arts (kenjutsu), being the usual thoughts on it so crucial. Banzō was really quite good about it
all, being that when one is thus attacked by an enemy, one's life flashes before your eyes. At the same
time, beyond this, whatever things stick in your mind, one cannot be negligent to take action.』and so
that's what he said about it. Matajūrō said 『I am very sorry that it happened.』 and hung his head at
the time. And with something of a 'thump' was struck for it. Having been quite surprised, and
afterwards not not quite so incautious about the approach of an enemy, having been thus enlightened.
Matajūrō in what he had done gave attention to what he had done before and after. And also afterwards
at a certain time, Matajūrō was cooking his meals, with quite a bit of effort was fanning the flames.
The Sensei hit him in the back with a thump. Matajūrō was quite surprised and stared back at him. The
Sensei was standing over him with a leather bagged bamboo sword (shinai). After that, Matajūrō was
profoundly attentive of things, of course, the Sensei had improved his recognition at the time in those
days.

—— (77) ——
今日は、氣の付いた所を一本打つてやらうと、例の袋竹刀を採つて、又十郎の火焚をして居
る後へ廻つて來た。所が又十郎今日は氣が付いて居る、先生は氣が付いたなと思つて居つゝ、
一本ヤツと打下した、流石は但馬守の子息だけあつて、後へ下つてカツチリ受けた。先生は
『惑心致した』と賞めつ、猶激勵の辭を與へた、又十郎が『有り難う存じます』と、吹竹を
置いてお辭義をする所を、又ポカリと腦天を打たれた。先生は更に、『どうもまだ油斷があ
つて不可い、向後は寢るにしても眼を開いて寢ろ。』と命じた。又十郎二三日は少しも寢な
い、身體は綿の如くになつて疲勞を惑じて來た。そこで薪を採りに山へ往つて、芝原の景色
の好い所で一寢入り寢込んで、それから歸つて來た。其の夜伴藏先生腹の中に、今日はもう
四日目だ大方疲れて寢るに相違ない、眠つたならば修業の爲一つ打ツてやらうと樣子を見て
居ると、矢張り寢入らない、ハテ不思議だと其の夜は明けて翌日になると、又薪を採りに山
へ出て往く、そ

On such day as this, even though he was being precautious about the place, he was struck a single
blow. As always [the Sensei] had fetched a hold of a leather bagged bamboo sword (fukuro shinai).
Matajūrō who was making a fire at the time turned and moved to the rear. And still more Matajūrō
was watchfully precautious all the rest of the day, and the sensei too believed that he was being
[properly] precautious, but gave out a cry of yatsu! ("A-ha!" or, "Like this!"). Regarding the brook
and the rock, such having been the case with the son of Tajima(?) afterwards he was humbled head
bowed down and received his chiding. Regarding the Sensei, 『I was astonished at the way he did
it...』and so spoke well of him, despite that he had been providing the language of violent striving.
Matajūrō said 『 Thank you so much for being considerate. 』 And so then [the Sensei] resigned
himself [to speaking] by the wooshing [blows of] the bamboo [sword] and also with a 'whack' to the
crown of the head when would strike him. Furthermore to the Sensei he said 『Many thanks for not
taking my indiscretion as being unjustified [and attacking me over it]. From hereon I will sleep when
I lay down, but I will sleep with one eye open. 』 And that is how he would instruct him [as his
Sensei.] Matajūrō did not sleep much at all for the course of two or three days. His body began to
feel quite lock a wad of cotton from his weariness. And so accordingly, when he would journey up
the mountain to gather firewood, and being that the landscape scenery of Shibahara was quite
beautiful he was induced upon arrival to bed down and take a nap. And that evening Sensei Banzō
greeted him with a hearty Hello! and to a larger extent this stood out to him quite a bit. Perhaps it
seemed obvious that from his tiredness he would lay down and sleep, and so should he have gone to
sleep then maybe he would be struck again in making the training practice. Seeing this state of
affairs, so either he should not fall asleep or, Good gracious!, what a mystery to have passed through
the night until daybreak of the next day! So again he ventured up the mountain to gather firewood.

TRANS NOTE: The text contains a play-in-words in Japanese language: "...[the Sensei] resigned himself [to speaking] by the wooshing [blows of] the
bamboo [sword]..." 吹竹を置いてお辞義をする所を...fukidake wo oite ojigi suru tokoro wo... This is in reference to the sound made by fukuro-shinai
(bamboo sword encased in a protective leather encasement.) When one hits with the shinai bamboo sword, as the "blade" of the bamboo strikes, it gives
somewhat due to construction being several slats of cut bamboo having been tied and bound together. The force of air pressure inside the encasing
leather bag makes a distinctive "wooshing" sound with each strike. This play-on-words was eant to say that these 'wooshing' sounds became the chief
way the sensei 'spoke' when giving the training for precaution (awareness training.)
Separate note: "... From hereon I will sleep when I lay down, but I will sleep with one eye open..." not quite literal, the idiomatic phrase "with one eye
open" means to maintain such awareness as if one's eyes were open.

—— (78) ——
 第四章 氣合術と哲理
本章に於ては、氣合の哲理的修件、及び其の關係を述べやうと思ふのである。

第一節 天人一體
孔琴論に曰く、『毎朝平且誦經天拜の節は、欲に動かず物に滯らざる時なり。此の時天と一
般にして肌の合ひたる位を得ることあり。』 と。此の天と肌の合うた所が、實に氣合術の生
れ出づる所であつて、其の實體はといへば、所謂至大至剛天地に充して、虛空と共に法界に
遍滿して居るのである。吾人種々の妄想雑慮を放下して心源を澄し、所謂清淨無垢純一無雑
神明昭々、毫髪も倚る所なきときは、萬物一體にして物我の隔てがないのである。其處が即
ち心正の本體氣合の實體といふものである。

Daiyonjō Kiai-jutsu To Tetsuri

Chapter Four, The Art of Kiai and Philosophies

In this chapter we address the practices of the philosophies of the Kiai and besides this, also what is
thought of as being the interconnection of these.

Dai'issetsu Tenjin Ittai

Section One Heaven and Man Together as One

In the Kōkinron [("The Discourses of the Harp at the Breast")] it is said 『 Each morning even the
commoners are chanting the [Buddhist] Sutras, at the time appointed to worship Heaven. Thus avarice
does not stir, and there is no delay at the hour [of worship]. At this hour Heaven and all [the peoples]
are generally as if one body in accord, they having taken this position. 』 At this time the condition of
singular accord with Heaven, really that is where the Art of the Kiai came into existence. So it is said
of the substantial body of that. That absolutely enormous in size and strength filling of Heaven and
Earth, the empty skies together with the rest of the universe filling itself around them. We ourselves get
various and sundry wild ideas and crude consideration that pollute the clarity of the base of the heart.
But there is the spotless utter purity of the brilliance of the Spirits of Heaven and Earth, even the hair
of their heads is never disturbed. The 10,000 things coming together in a single body, and in such
circumstances we ourselves are as if barely separate entities. And there is namely the foundation of the
true heart that is said to be the very substance of the Kiai itself.

TRANS NOTE: The text entry refers to a Buddhist religious text called the Kōkinron (Ch. Kǒng qín lùn) I couldn't find record of it, but the quote
definitely is a Japanese language adaptation of Chinese and the text was probably written sometime between the 1600's and the 1700's.
Separate Note: I should probably mention that both the term 'kiai' and the term 'aiki' occur with some minor commonality in the Buddhist sutras and other
holy writings. The usage and definition is, of course, derived by context as usual... but it's not uncommon to find them in these writings. As far as I know,
the terms 'kiai-jutsu' and 'aiki no jutsu' however, do not occur. This would be perhaps surprising given the minor commonality of the usage that is made by
the sutras and other holy writing. One more thing that might be perhaps of interest? Several of the Sutras were originally written in a language such as
Sanskrit, leaving one to wonder just what word(s) in Sanskrit that the terms 'kiai' and 'aiki' were being used to express?? I must remind you though,
Sanskrit and the other similar Hindi languages that these were written in are not that related to Sino-Japanese. Probably, they would have had to use more
than one root-word to express the various contextual definitions that Sino-Japanese has for the terms 'kiai' and 'aiki'.

—— (89) ——
 第二節 天地の氣機

菜根譚に曰く、『天地は寂然不動にして氣機息むことなし。』と。成程天地自然は、打ち見
た所、たゞ寂然として動いて居さうにもないけれども、氣を止めてよく見ると、其間にチヤ
ンと一定の規則があつて、少しの弛みもなく活動して居る。日は朝東から出て西に沒する、
月は次第に虧けて次第に盈つる、さうして夜と畫の世界とを、滿偏なく照して、幾億萬年の
古から、幾億萬年の後までも變らない。之と同じく氣合術を修めやうといふ人は、如何に閑
な時でも、心をシツカリと引きしめて居て、少しの弛みもないといふのでなくてはならめ。
如何に忙しい時でも、悠たりとした趣があつて、物に動ぜぬといふ風がなくてはならぬ。
第三節 心即天

Daini-setsu Tenchi Kiki

Section Two Heaven and Man Together as One

In the Saikontan [(Ch. Caigentan "A Talk About The Roots of Green Vegetables" circa 1590) ] it was said 『Regarding
Heaven and Earth, it becomes unmoving and forlorn when the mechanics of spirit is not pressing upon
it. 』 Indeed! To glance over Heaven and Earth and all nature, it certainly does not seem to be
unmoving and forlorn. But having a closer look and not being distracted [one thinks otherwise], and
yet it seems to be a standard rule that things seem not to slow in activity. The sun rises in the morning
in the East and sets in the West, the moon gradually in it's course waxes and wanes. So comes the
nighttime and the painting that is the world. On the whole there is no lack of light, howbeit ancient by
many millions and tens of thousands of years, many millions and tens of thousands of years so far and
without changing. This is said to be the same when mastering the Art of the Kiai, people are peaceful
to whatever extent they are at the time, otherwise straining together in fighting. It is said that it never
really ceases to be the case. It tends to be hectic by whatever extent at the time, and for some duration
effects things. It is said that things cannot help but be buffeted as if by the wind.

Daisan-setsu Kokoro Sokuten

Section Three The Mind Agrees With Heaven

—— (90) ——
人の心は宛も自然現象の如きものである。喜びの情は天に美しいめでたき雲の現れたやうな
もの、怒の情は地震や、雷や、暴雨の如きもの、慈悲の情は和き風甘き露の如きもの、情を
制して嚴格なるは、秋霜烈日の如きもの、此の喜び此の怒此の慈悲此の嚴格、何れも則を踰
えないやうにせねぱならぬ。たゞ是等の念慮も、隨つて起れば隨つて消え去るといふ、眞に
廓然無碍の狀態にならうと思へば、即ちかの大空も其の體を同じうするに在るのだ。

第四節 心體清淨の要訣

心の中に複雑な事情がなく、カラリとして居る時には、實際の自分の本性が現れる。故に心
を少しも体めないで、色々の雑念を持つて居ながら、心の本性を見やうとしても、それは丁
度水に影を寫して居る月を、波を撥ねのけて取らうとするのと同じことで、到底望み得られ
ることではな

Regarding the human heart, it is as if it were a [set of] natural phenomenon itself. We experience
feelings of elated pleasure at the sight of beautiful skies, and want to watch the clouds drifting through
it. We experience outrage when an earthquake occurs, or a crack of lightning, and much the same when
boisterous rain storms occur. We experience feelings of kind compassion towards one another when
there is peaceful harmony and the sweet breezes blow, and much the same when there is dew. We
restrain our feelings when we feel austere strictness, much the same with strict severity itself. The
elated pleasure of this or that, the sense of outrage over this or that, the sense of compassion over this
or that, the sense of strictness caused by this or that, one cannot help but to convey whatever of these
that is being conveyed and whatever is not being conveyed. Usually with these emotional impressions,
immediately following their occurrence it is said that they then vanish. Yes indeed, well, one thinks
that in their emulations they are quite free from obstacles and enclosures, aren't they? Namely they are
quite like [clouds drifting through] open skies and our bodies are as if they are [these open skies].

Daiyon-setsu Shintai Seijō No Yōketsu

Section Four The Main Point of Purity of Mind and Body

When mixed feelings are what is in one's heart, there is some clattering noise made by it at the time,
and so really it is observable as being the circumstance of the person's true character at the time. And
consequently, to whatever small extent, the heart is simply not the body itself, there are the various idle
thoughts that occur, and the true character of the heart can be observed through this. It is very much
like the reflection of the moon caught on the surface of a body of water, when waves are not distorting
the reflected image it is then identical [in appearance to the moon itself]. By no means whatsoever can
expectations about a thing not be recognized [due to this].

—— (91) ——
い。氣が清淨であれば、心の全體も初めて清く澄み渡るのである。氣を清淨にしないで以て、
心の全體を澄さうとあせるのは、それは丁度鏡を索めて置きながら、塵を多くして、其の表
面を曇らすやうなもので、到底目的を達することは出來ぬ。總じて一心に物ある時は體窮屈
である。物なきときは心廣く體胖である。是れ所謂無住心の必要なる所以である。

第五節 虛實の妙用

言志錄に曰く、『心虛ならざるべからず、虛なれば則ち義理來り居る。心實ならざるべから
ず、實なれば則ち物欲入らず。』と。是れ實に虛實一體の妙所である。而して是れは自分に
對する虛實の法である。次に敵に對する虛實の心得を說かう。孫子曰く、『兵の加ふる所、
石を以て卵に投するが如き者は虛實是なり。』

If it is so that there is purity of the spirit, even the entirety of the heart becomes perfectly clear and
noble. When the spirit is without purity then the entire heart is effected and stained by discoloration
[of thought and feeling]. This is quite like being put in the position of needing to examine oneself in a
hand mirror. There can be quite a lot of rubbish, tarnishing even the surface and visible on one's face,
by no means at all would one be able to accomplish their objectives [in this condition]. Generally,
when wholeheartedness is the case at the time, there is a certain physical restriction involved. When
there is no subject of address, the heart feels quite broad and bodily one is not cramped up [e.g.; there
is freedom of though and action]. This is sometimes said to be essentially not unlike a temple without
a priest to conduct it.

Daigo-setsu Kyojitsu No Myōyō

Section Five The Mysterious Effects of Truth and Falsehood

In the Genshiroku [("Record of Sayings" Confucianism writings (?)1700's)] it was said 『The heart must empty itself in
such cases, because namely, in emptying is the next requirement upon it [having filled]. If it is the
truth that the heart must do so, really, then such as worldly greed and desires do not enter it. 』The
reality of this is the beautiful point that is expressed as truth and falsehood are one and the same. And
so regarding this, one allows oneself the method of exchanging truth and falsehood (kyojitsu no hō).
And what comes next is the explanation of the knowledge of truth and falsehood with an enemy.
Sonshi [(Sun Tzu)] said 『 Besides the condition of the Paramilitary, it is by means of the
aforementioned, much like seeds strewn about by someone, this being [use of exchanging] truth and
falsehood. 』

—— (92) ——
と。蓋し虛といふのは用心せずして隙間のあるをいひ、實とは、用心して隙間なきをいふ。
我の實を以て敵の虛を擊つときは、石を以て卵に投ずるやうなもので、打ち潰さるゝこと疑
ないのである。此處が即ち氣合術の奧の手である。即ち我が油斷なき心を以て、敵の油斷を
擊つといふ所に勝利が伴ふのである。昔京都に吉岡兼房といふ有名な劍士があつた。或時四
條河原に於て舞業の御催しのあつた時、兼房殺伐を働き終に近衛公に切り付けんとしたので、
大河内舎人といふもの薙刀を携へて之に向うた。暫く戰つて居る中に兼房摚と倒れた。「南
無三」と起き上らうとした處をトウ〱 切られた。其後近衛公が大河内舎人を召されて、『兼
房が石に躓いて倒れた所を切らず、起き上らうといふ所を切つたは如何なる譯か。』と尋ね
られると、舎人は、『彼はなか〱 の名人で、倒れたと申せ、そこを切らうとしますと、却つ
て彼に切られます、ところで彼が起き上らうとした時、即ち氣が起

It is said about falsehood that, probably, without proper precaution in using it one would be making
rips in things. Really though, it's said that being on one's guard there will not be any rips. By means of
truthfulness towards oneself, one shoots down the deception of the enemy at the time. And by means
of the aforementioned, like strewing seeds about in the thing, a crushing blow indeed and of it there is
no doubt. Here namely are the Inner techniques of the Art of the Kiai (kiaijutsu oku no te), namely that
there be no negligence towards oneself and one's own heart. And it is said, to have shot down the
opponent by taking advantage of his negligence. This and victory go hand in hand together. In Kyōto
back in the olden days, Yoshioka Kenbō as he was called, became quite the famous swordsman. On a
certain occasion, on the beach-banks of the Shishō river was performing the dance techniques of the
Sacred Festivities at the time. And Kenbō thought that he was finished with all that blood thirsty
business, but the Imperial guards tried to cut him down in public right there. It is said that the
manservants of Ooko'uchi [saw him] turn and face them with a naginata halberd in his hand. Moments
later the battle began and in the middle of it Kenbō made an opening and cast them down. 「Turning
and Repenting」and thus he arose against them and did a cutting throw down. He and the Imperial
guards afterwards, he and the manservants of Ooko'uchi were sent for 『You failed to down Kenbō
and could not kill him. He arose thus estranged to you under these circumstances, and so no
judgement of any kind has been issued against him. 』 And having inquired of them, regarding the
manservants 『He is after all quite a famous person, that he had cast us down as they say, [seeing that]
he was cutting at us, we withdrew poste haste so as not to be cut. From the point that he arose against
us, namely the spirit by which he arose...

TRANS NOTE (SPECIAL ATTENTION):

There is an extremely important (but simplistic) Kiai-jutsu idiom found on this page (first time so far that we've encountered it.) It is: 氣合術の奧の手
Kiai-jutsu Oku No Te, “Inner techniques of the Art of the Kiai” which is the principle name of the core techniques as a group. Largely speaking, it would
be divided into two or three levels: 下手の手 Shitate no te (or, Shimote no te) “Lower techniques”, 中手の手 Chūte no te (or, Nakate no te) “Middle
level techniques” and 上手の手 Jōte no te “Upper techniques”. One might also encounter an adaptation of this structure instead: 初段の手 Shodan no
te , 中段の手 Chūdan no te , 下段の手 Gedan no te, all as levels of the 氣合術の奧の手 Kiai-jutsu Oku No Te. This book, the Kiai-jutsu Sakkatsu
Jizai (or, as sometimes the title is listed in the reverse: Sakkatsu Jizai Kiai-jutsu) was meant as an elementary introduction to the 氣合術の奧の手 Kiai-
jutsu Oku No Te.

—— (93) ——
き上る方へ奪はれて居る處を切りましたから、勝を得たのでございます。』と答へたといふ
話である。此れ即ち敵の實を避け虛を擊つといふ、虛實妙用の心得方である。

第六節 動靜一致

靜かなること林の如く、疾きこと風の如しとは、氣合術の謂である。眞の活動は靜所より來
るものであるから、事無き時は林の如く靜かにし、事有る時には、疾風迅雷の勢を以て活動
するといふ樣にならねばいかぬ。彼の無住心といふも、不動心といふも、要は此の靜的方面
を貴んで居るのであるが、畢意は此の靜中に動機を貯へて、いざといふ場合に縱横無碍殺活
自在に大々的飛躍活動をすといふのが本旨である。故に氣合術家は、かの自然界の、空青肖
く澄み、水深く湛へて靜なるが中に、鳶高く飛び魚勇しく躍りて、靜中に動あり動中に靜あ
るやうに、よく動靜一致

... to meet us had snatched away [our courage]. Please, with him cutting like that, what did you think
we'd do?? Obviously it was he who was victorious. 』 and that was how they replied in the
discussions about it. Namely, this is said to be averting the truthfulness of an enemy and shooting him
down by his deceptions. It is by way of having knowledge of the mysterious power of truth and
falsehood.
Dairoku-setsu Dōsei Icchi
Section Six Cooperation With Circumstances

Being quiet about things much like a silent forest, then [going into motion] much like the wind moves
rapidly [through the branches of the trees], that s said to be the tale of the Art of the Kiai. In regard to
genuine activities, it is something that comes from the quietness in a circumstance. Being calm in the
events at the time, much like a silent forest. Things being what they are at the time, it is said to be by
means of vigorous lightning speed that one makes the activities or one might not be able to. It is said
even of that heart over there that is like a temple without a priest, its is even said of the immovable
heart. The point of this being that there is a certain value to static direction. Regarding concessionary
thoughts, the calmness in the middle of this is where one's motivation is kept stored. Come then, as it
is said, in the ground circumstances, there is activity without restraint, taking and sparing life quite
freely (sakkatsu jizai) and leaping into action is said to be the main objective. Consequently,
regarding the practitioners of the Art of the Kiai, it is but [the emulation of] the substance of the
natural world, it rather resembles blue skies that are becoming even clearer. The calm that fills the
very depths of the waters. The black bird that flies so very high, and the courageousness of the fish as
he leaps from the water. A certain calmness in the movements of these and a certain motion in that
calmness, quite often there is a coincidence to the state of affairs...

—— (94) ——
の理を會得せねばならぬ。菜根譚に曰く、風來疎竹風過而竹不留聲䧹度寒潭䧹去而潭不留影
故君子事來而始現事去而心隨空と。風が吹く竹が動いて鳴る、風が過ぎ去ると、竹は靜まつ
て聲をも留めぬ。雁が渡る、潭に其の影が映る、䧹が過ぎ去ると、其のまゝ何の影をも留め
ぬ、立派な人物の精神は常に透明で何物もない。而して事件が起ると共に初めて心が動き、
事件が過ぎれば、又もとの通り心中何の障るものもない。丁度かの靜まれる竹澄める淵と同
じことである。

第七節 動靜と無住心

拂袓錄に曰く、止動止更彌動。とある如く、凡そ心の動かざることをやめんと思へば、やめ
んと思ふ念亦動ずるのである。されば歌にも、
おもはじとおもふも物を思ふなり、
おもはじとだにおもはじや君。

...and one ought to have an understanding of the principles in this. In the Saikontan [ (Ch. Caigentan "A Talk
About The Roots of Green Vegetables" circa 1590) ] it was said: "Unpredictability is somewhat like wind moving
through bamboo, and yet bamboo never stops making a noise even in the depths of mid-winter
passing. Likewise the depths never cease their shadows, the man of virtue must intentionally approach
matters like this. Even from their commencement seeing things through to the conclusion, with a heart
that is like the open skies.” When the wind blows through the bamboo, it moves with a creaking and
chirping sound. When the wind has passed all the way through, only then does the bamboo cease
making it's noises. The wild goose flies over the watery depths and his shadow is reflected on it's
surface, your passing should be like this, because [once passed] the shadow of anything ceases, this
makes a splendid spirit for anyone's character. Usually though, nothing is quite that clear in things.
And so, when arising to [handle] affairs whence it begins so as your heart inclines to do, that do. And
once the affair is past, the avenues of one's true intentions have not really been injured by anything.
Quite like when the bamboo has obviously quieted down and the watery depths [no longer reflect] it is
the same as this.

Daishichi-setsu Dōsei To Mujūshin

Section Seven Conditions And The Unfettered Mind

In the Butsuroku [(Catalog of Buddhism (?)date)] it was said: "Once motion is stopped, all the more it
stills" much the same is written otherwise, generally it is thought that the heart does not stir when
that's the case. It is thought to have already stopped. Thought then is also become agitated as if
moving on to sing another song entirely.
Thinking of thinking about things that are thought of,
thinking of thinking about even about itself.

—— (95) ——
言志錄に曰、喜寂厭喧者、往々避人以來靜、不知意在無人、便成我相心着於靜、便是動根、
如何到得人我一視動靜兩忘的堺界．勝つことを思はずして勝つも此れと同理である。又かの
高雄が、『忘れねばこそ思ひ出さず候かしく。』と言へる詞を、動靜の沙汰より見れば、實
に妙味があるのである、
水流任急境常靜、花落雖頻意自閒。

In the Genshiroku it was said: "The boisterous should take pleasure in elegant simplicity, quite often
people whom avoid [boisterousness] can regain quiet composure. To allow oneself to reside in foolish
thoughts is to continue to go without any kind of help from others. To facilitate your own life, addorn
yourself with calm composure and a true heart. Facilitation of this is the root of action. In whatever
way people arrive at this, one sees oneself as being calmly composed, it is like being detached from
objectivity and subjectivity and free of the limitations of the world. Thinking of the victory in this
thing, one thinks it is the same principle." Also of this Takao said 『 What is forgotten then is not
remembered.』 It is possible to say in so many words that one would be able to see the issues in an
affair. And this would be really profitable.
Like currents of water sudden obligations in an affair should be attended with usual
calmness. Although thoughts of oneself sometimes drop away like petals of flowers.

—— (96) ——
 第五章 氣合術と精神修養
氣合術は精神修養に依つて之を得られるのである。故に氣合の妙用を得んとする者は、大に
精脚を修養せんければならない。前數章に於て說く所、一として精神修養ならざるはないの
であるが、向本章に於て特に氣合術に關する精神修養の方面を說かうと思ふのである。

第一節 克己心と降魔の氣合

山中の賊を破ることは易いが、心中の賊を破ることは難しい、と王陽明が言つた通り、心中
の惡魔、即ち外からの誘惑に打ち克つことは困難であるが、荷も人に勝たうとするには、先
づ己に克つことから始めねばならぬ。偖比の誘惑に打ち克つには、まづ自分自身の欲心に打
ち克つてかゝらね

Daigojō Kiai-jutsu To Seishinshūyō

Chapter Five The Art of Kiai and Mental Training

Regarding the Art of the Kiai, it's reliant upon the practice mental training and so one must have
acquired this. And consequently, for those whom have acquired the mysterious effects of the Kiai, to a
greater extent it itself causes a self-disciplining of the mind. As in some places of the previous chapter,
there really is no one single way of disciplining the mind. And in the coming chapters it explains the
connections of things to the Art of the Kiai as well as what is thought and believed about the various
ways of disciplining the mind.

Dai'issetsu Kokkishin To Gōma No Kiai

Section One The Spirit of Self-Denial and
the Kiai of Conquering the Devil

Regarding the subject of shattering [the ranks of] the thieves who lived in the mountains [in reference
to ancient Chinese mountain bandits], it was likely that it would be with some difficulty when going to
shatter the true intentions of the thieves. When Ōyō-mei [ Wang Yangming (1472-1529 CE)] had reported on
it, the true intentions of these fiends were notable, namely in regard to their designs about everything
and everyone external to themselves. When going to defeat them, there was quite a bit of distress. Even
the burdens upon those people whom were moving to take victory against them forced them to exercise
quite a bit of self control right from the start in order to do it at all. Now then, the designs of these
[bandits], even when being defeated it was rather as if the very greed and avarice [of their own designs]
was defeating them itself.

—— (97) ——
ばならぬ。自分の心に些の邪念をも持たぬならば、如何なる誘惑が周圍に群り集らうとも。
如何ともすることが出來ない。反つて其の誘惑者を降伏せしめて、此の方の意志で感化する
ことが出來る。横暴なる人物を制馭するには、先づ自分の心を平靜にして、血氣に騙られぬ
やうに力めねばならぬ。自分の心が平靜であつたならば、如何に横暴なる人物も乘ずべき隙
がないのである。此の克己といふことは、私欲を働かぬことである。孟子の、心を養ふは寡
欲より善きはなし、と言つたのは此處である。又己に克つといふことは堪忍といふことであ
る。通常人の堪ふる事の出來ない所を堪へ忍ぶことである。那翁の、勝利は最後の五分間に
あり、といへるは、此の堪忍のことである。
堪忍のなる堪忍は誰もする、
ならぬ堪忍するが堪忍。

Even what few wicked thoughts occur in our own heart and mind would rather take some hold upon us,
and whatever kind of design-of-temptation in the surroundings around us tends to mount up, surely.
But either way, one really cannot have them. On the contrary, when one has submitted to those
temptations, despite the direction of one's own intention in this sort of thing, one can redirect and
correct himself. Thus one keeps oneself from resorting to violence by controlling one's own character.
From the start one would be maintaining a calm heart and mind, to whatever extent one does not give
space to violence arising in one's own character. It's said regarding this sort of self control that there are
the effects of selfish desire. Mencius said that, regarding the fostering of the mind and heart, it is best
to maintain an unselfish wanting of very little. He also said other things about this subject. Again it's
said that patient endurance is one means by which to control oneself. One cannot account for the
fortitude of normal people in any given circumstance, in this fortitude there is the ability to patiently
endure things. And what of the victory made by an old man? While in the conclusion of over half of
them it's said that it's owed to the patient endurance the old man can muster.

This so called patient endurance may show itself in virtually anyone,

and allow them to endure what is unendurable with true endurance.

—— (98) ——
矜高倨傲無非客氣。降伏得客氣下而後正氣伸。情欲意識盡属妄心消殺得妄心盡而後
眞心見。

第二節 柔能く剛を制す

柔能く剛を制すといふことは、氣合術の方便である。處世上に於ても柔和謙讓なるものは、
常に最後の勝利を得られるのである。
木々の枝は折るかとばかり吹く風に
堪ふる力を見する肖青柳

第三節 自重心と不動心

謙遜柔和と共に貴むべきは自重心である。試に察せよ、かの耶蘇や、釋迦や孔子は、世界の
三聖人と幷稱せらるゝ程で、何れも皆謙遜の徳を發揚しながら、實に大自重心を抱いて居た
のである。耶蘇曰く、『我は神の

Proud arrogance is not but the rashness of youth, when one has surrendered to the rashness of youth thereafter is sanity pressed. Lustful
passions deplete one's awareness, one is dominated by the delusional mind-set and it will extinguish what one has been able to
accomplish as it is exhausted by the delusional mind. Thereafter one observes a [wrongful] devotion to it.

Daini-setsu Jūyokugō Wo Seisu

Section Two That Which Is Gentle Frequently Governs That Which Is Firm

It's said that willow wood is weak, yet it binds other wood. This is the more expedient means of the Art
of the Kiai itself. Even beyond the conduct of it, there is the subject of modest humility. Victory having
been acquired, always in the end, there are the boughes of every kind of tree having been broken and
only the wind whispering through them and one will observe which of them have had the fortitude to
continue waving in the wind, these are not unlike the green willow tree.

Daisan-setsu Jijūshin To Fudōshin

Section Three Self Restraint and Steadfast Calmness

Modesty humility coupled with what respect one ought to show has the self restraint of prudence at its
core. One ought to be able to guess what it will endeavor. Those persons Jesus Christ, the Gautama
Buddha and Confucius as the enlightened trinity of men in the world and the extent of all that they said
and did, in regard to every manner of the ways that humility can benefit in proceeding and how indeed
one becomes laudable for doing so. Indeed the greater core of it all was openly accepted. Jesus Christ
said that 『 I am the Son of God 』.
TRANS NOTE: The Text entry contains another quote from the Saikontan [(Ch. Caigentan "A Talk About The Roots of Green Vegetables" circa 1590)]
Consequently much of the entry at Section Two, and somewhat Section Three, was made by slight rewording of the Chinese quote, this was observed in
many places where the Sakkatsu Jizai made such quotations.
SEPARATE NOTE: The text says: "...the boughes of every kind of tree having been broken and only the wind whispering through them..." is in reference
to the obvious losses of the branches of a family tree (in the someone got hurt or killed in order for victory to have occurred), the "wind whispering" could
also be said to refer to the rumors and statements that will have resulted afterwards (expressions of the opinions and beliefs of people about what had
happened.)

—— (99) ——
子なり』と。釋迦曰く、『天上天下唯我獨尊』と、孔子曰く、『天未だ斯文を亡さず、桓魋
夫れ我を如何せん。』と。鳴呼是れ何等の抱負ぞ、何等の自重ぞ。フイリップス、ブルック
ス曰く、『己の生命は人類一般に屬し、神の己に與ふるものは、人類一般の爲なることを悟
らざれば、何人も眞に偉大なる能はず。』と。人若し自重心が無かつたならば、決して氣合
術を行ふことが出來ないのである。而して此の自重心は、不動心を作るに必要である。而し
て自重心は何れより來るかといへば、身心を鍛錬して得たる金剛不壞の身より生れ來るので
ある。

第四節 不動心と死生觀

言志錄に曰く、『賢者物に臨み、理の當然を見以て分と爲す、死を畏るゝを耻ぢて、死を安
んずるを希ふ、故に脚氣亂れず。』と。死生を觀ると一加、而もよく死生を忘れて、毫も生
きたいとか、死にたくないとか云ふ

It was explained in what was said that 『Those whom are below Heaven enter Heaven only through me
and through me alone.』 Confucius said: 『Heaven is not an abode or subject for the dead alone, the bear
totem poles mark this somewhat to one's regret. 』 Whatever the outcries from this having whatever
aspirations they do, and whatever extent of respect. Phillips(?!)//Philippe's(?!) [book?] spoke of the
Brook, 『Regarding one's own life and state of existence, generally with human beings there is the sense
of belonging. And there is the subject of the Divine and one's own participation therewith. There is
some recognition of the general benefits of being human, including the recognition that, really, no one
has superior capacities over another. 』 In such cases where people show respect, and also when there is
not, by no means at all can one conduct the Art of the Kiai by that [e.g.; when there is no respect being
shown.] And so with this prudence and self respect, it would be said to be by whomever has
approached [in the proper ways]. When acquiring the forge training the mind and body, there is born
from it an unshakableness of the body indomitable.

Daiyon-setsu Fudōshin To Shiseikan

Section Four Steadfast Calmness and One's Outlook on Life and Death

In the Genshi [name means: "stating one's will and intentions"] it was said: 『In the challenges that
confront a wise man, one approaches them by means of natural reasoning and so does things that way.
Ashamed to exhibit a fear of death, but instead to exhibit a rare contentment about death. And so
consequently much the same about disorders such as Beriberi.』 An outlook where life and death are
one and the same, moreover, to frequently leave behind any thought of life or death. Living even if
only just a little, not wanting for death and not wanting anything when dying. So it's said, to arouse
oneself by such ideas as these.

—— (100) ——
樣な念を起さず、全く生死の外に超出するのが貴いのである。斯樣に死生を忘るといふこと
は、不動心建設の一要件である。

第五節 不動心と無畏

澤庵禪師曰く、『何事もおづるな〱、おづれば仕損ふぞ、おづるは平生の事、場へいでゝは
おづるな〱、溝をばづんと飛べ、危しと思へばはまるぞ。』と。此の畏るゝ無しといふこと
は、是れ亦不動心を建設するに大切な要件である。曾子曰く、『自ら反みて縮からざれば、
褐寬博と雖も、吾れ惴れざらんや、自ら反みて縮ければ、千萬人と雖も吾れ往かん。』と。
心さへ正しく直ければ、世の中に畏るべき者は無いのである。

第六節 不動心と正直

井澤長秀の武士訓に曰く、『世俗の說に正直の頭に神宿るといふを、武術

Truly, beyond life and death, there is much to be revealed that is precious and valuable. And in such a
manner one is said to have lost something in life and death. It is an important part of the establishment
of steadfastness.

Daigo-setsu Fudōshin To Muishin

Section Five Steadfast Calmness and the Unconditioned Mind

The Zen monk Takuan said『Whenever (?)there is nervousness(?), when one is nervous(?) all kinds of
things will go wrong. Yet being nervous(?) is a normal subject of life. One can become nervous(?)
under any number of circumstances. It is much like trying to jump a large ditch, the thought of the
danger tends to impede us.』 Of this fear, it's said to be quite inappropriate. It is quite necessary as an
important point of establishing reliable steadfastness. Zeng Tsu [disciple of Confucius] said: 『 One
tends to counteract oneself wrongfully, one ought not to allow oneself to become so paralyzed.
Notwithstanding the likes of the Senmannin ['One in a thousand man', e.g.; "the perfect human being"]
we ourselves must go on nonetheless!』 So long as the heart and mind would correct themselves we
can, and yet there are nonetheless horrible people in the world. There is never a lack of them.

Dairoku-setsu Fudōshin To Shōjiki

Section Six Steadfast Calmness and Frankness

The Samurai Izawa Nagahide warrior teachings said: 『 In the common customs of worldliness it is
said that being Honest is the best policy. And so that is what would be conducted in Bujutsu and the
likes of it...

TRANS NOTE: The Text entry contains a quote from the writings of Zen Buddhism by Takuan Soho, circa the 1620's. The Text entry also contains
another quote from the writings of Confucianism, namely by Zeng Tsu, circa the 5th and 6th Century. Consequently much of the entry at Section Two, and
somewhat Section Three, was made by slight rewording of the Chinese quote, this was observed in many places where the Sakkatsu Jizai made such
quotations.

—— (101) ——
になぞらへていへば、我が胸中に高天原といふ廣地あり、其の地に固有の神明を宿し奉る。
其の神明に訴へて、邪穢を拂ひ精明を致し、理非を決斷して、善惡を差別し、秦然と立ちて
寂然と動かず、頭より腰に到る迄、直ちに少しも曲らず、心眼ま開して眸子を逃がざる所、
正直の頭に神宿るの理に此すべし。儒書に頭容直ければ心も亦直しとあるに等し。但し言句
にては曉しがたきものあり、つとめて學んで默識すべし。
古歌に
奥山に心を入れて尋ねずば深き紅葉の色を見ましや』
此の正直といふことは、實に不動心を養ふ所の唯一の肥料である。

第七節 當意即妙と虛無の心

東海夜話に曰く、『一切の事を爲すに當意即妙也。預め設けてする事ある
べからず。設けたることは合ふべからず。只虛無のみ能く萬事に應じて、

One's own heart and mind is said to be as vast as Heaven above and the Earth below. And in that Earth
below [that is our heart and mind] it gives lodging to the Bright spirits of Heaven and Earth. And these
Bright spirits make complaint in regard to the broad strokes of filthy wickedness and the effetcs that it
has upon them as Bright spirits. They also make determinations of judgement between right and wrong
and make distinction of good and evil. In the likes of Qin ( dynasty of China 221-206 BCE) they did not stir in their
desolation, and were ill-effected from top to bottom because of it. Straightaway they did not bend not
even an inch. The mind's eye opening, such things do not escape its pupil. One ought to consider the
principle that says that Honesty is the best policy in relationship to such things. In the writings of
Confucianism, the head and face would reveal what lies in the heart, and much else besides. However,
the passages containing these remarks are like daybreak across the land, and serve as education for us,
despite that they were written in complete silence.

In the old poems, our hearts had entered deep into the mountains, not inquiring of anything,
seeing the beautiful colour of the Autumn leaves, 』
This frank honesty is said indeed to be the provision of reliable steadfastness a unique
condition that fertilises.

Daishichi-setsu Tōisokumyō To Kyomu No Shin

Section Seven Sharp Mindedness And The Sense of Nothingness

In the Tōkai Yawa [(Zen writings associated with Takuan Soho)] it was said: 『When doing anything, anything at all,
one does so with a ready wit. There should not be even the slightest delay in making preparations. And
those making the preparation need not necessarily move in one unison together, much as there is empty
nothingness in proportion to the 10,000 things...

—— (102) ——
長短方圓あたらずといふことなし。我胸を虛無にして心を無事に納めて居れば、何事なりと
も向ひ來る其の事に隨つて働くべし。前かどに設けて居れば、設けたる事が心に在つて、向
ひ來る事に合ひはせずして、却つて其の設けたる事が心を塞いで、座取をして居る故に、向
ひ來る事をうけやうが無いなり。』と。又曰く、『心に物を置かぬを虛無といふなり。心に
物があれば用が缺くるほどに、心に物を置かぬを虛無といなり。又心は萬事をなす役者なり、
然れば心に何なり共一役さすれば、向ひ來る事をしやう樣がない程に、無役にして置いて、
何なりとも向ひ來る事をさすべきなり。たとへば目は見る役者、耳は聞く役者、鼻はかぐ役
者、舌は味ふ役者、身は物に觸れて知る役者、手は取る役者、足は踏む役者なり。一役一役
あれども、心は其の諸役を外さず計ふものなれば、一役に心をばさけば、諸役がかけぬる程
に、心をば無役にして置くを虛無と云ふ也。人を召し使はるべきに、弓鐵砲槍長刀それ〲の
一役一役をす

The length and shortness, advantage and disadvantages of the squares and circles is said sometimes to
be insufficient. One is not troubled when there is nothing bothering you, and that would be more or less
the end of it, in anything that one would be faced with and so there would be fewer actions needed.
When one would make preparations beforehand, and in the subject of making preparation there is the
subject of what lies in the heart. And what one will be faced with, including what one will lack in
facing it. And much to the contrary, the subject of making preparation also obstructs the heart and
mind. But when one is making the basis of capture, consequently, there is the subject of receiving what
one will be faced with and also what one will not be faced with.』 It was also said: 『In the heart and
mind there is placement of things, and so it's said not to be empty there. In the heart and mind there
might be any given subject and for whatever purpose, the reason being on account of whatever is
lacking [in the occasion]. Where things get placed in the heart and mind is according to where it has
empty space. Also regarding the heart and mind, there is the amassing of countless myriad things such
as might be relevant to the person, in particular, those things which together form a singularity with the
person's interests. And so faced with whatever is beginning to occur, and due to what conditions one
would wish for, things are then placed [in memory] but have no real context. In whatever thing one is
faced with, that is what occurs, for instance. And so for example [of these placements], the eye acts in
the capacity of seeing, the ear in the capacity of hearing, the nose in the capacity of smelling, the
tongue in the capacity of tasting. The body knows many things by the capacity of touch and physical
contact. The hand acts in the capacity of grasping. The foot in the capacity of stepping. Even though it
is one capacity after another, the heart and mind plan things as if there were nothing else but these
various capacities. The heart and mind use one capacity to help avoid something, while using various
other capacities to cling to something. When lacking capacities by which to handle something, the
mind and heart are said then to place it in memory [as the only handling it can do.] When people make
use of all this, there is also the capacity after capacity of the Bow, the Rifle, Spear and Halberd as
ought to be of the common soldier.

TRANS NOTE:
For more information on “...squares and circles...” in the entry, please see the translation of the Jujutsu Higakusho that we
placed, specifically the notes on the red font commentaries.

—— (103) ——
るは端武者なるべし。總ての武者をつかふべき大將が何にても、弓か鐵砲にかゝつて居たら
ば、萬事が皆缺くべき事なり。大將は一役もせずして、萬事をするものなり。一役にて塞が
ぬを虛無といふ也。』と。新井白石の虛無の心をよめる歌に
よの中はたヾ何となく住めばよし
心一つをすなほにはして

第八節 能ある鷹逸物の猫

鷹の立つて居るのを見ると、まるで睡つて居るのかと思ふほど靜かである。虎の步くのを見
ると、まるで病人のやうに、のそり〱として居る。是れ其の人を嚙み人をつかまんとする手
段ではないか。孫子に曰く、能而示之不能と。是れ我が兵の勇なるも臆病の振りを見せ、强
けれどもワザと弱き體を見せて、敵に油斷させて打ち勝つなり。

Everything with the warrior is about the warrior's errantry, even if by whatever commander [he is
given]. And he would be clinging to his Bow, or his musket rifle. In all of the 10,000 things, want and
lack are but one of them. Regarding commanders, there is the condition of acting in the capacity of not
having one, and it is but to be doing certain of the 10,000 things. And when in this capacity one is said
to be standing alone, not unlike a dike, standing alone in the emptiness. 』 In the readings of the
classical Japanese Shamisen poetry made by Arai Hakuseki (1657-1725), they had been sitting there as
if alone in the midst of whatever thing there was, there was no singularity of the heart and mind [sitting
there] in meek obedience like this.

Daihachi-setsu Nō Aru Taka Ichimotsu No Neko

Section Eight Having The Skill Of A Fine Hawk With A Cat In It's Claws

Seeing it the hawk arises from his perch, [the cat] is otherwise thought to be completely still and quiet
where its sits. Seeing the tiger one steps aside, one is rather infirm at that moment and moving away
quite slowly. This is about those people whom are to be caught in its fangs, it's questionable as to
whether or not it can be prevented. In the Sun Tzu its said: One has the ability but this points out that
one does not have the ability [under these conditions]. This is for oneself the point of martial courage,
and the behaviour of cowardice will be seen. Nonetheless there is a purposeful in the observed frailty
of the body. When the enemy is off guard, strike and their shall come victory!

TRANS NOTE: The Text entries of several of the pages 101-105 contains quotes, chiefly from the writings of Japanese Zen
Buddhism dating between the years 1620-1810. Some of the quotes would be a bit difficult to identify an exact source
(quoted and requoted, adaptive quoting and etc). Sorts of obscures which actual text they might have intended to quote (for
example, they may have quoted an adaptation from one of the much later text... but meant it as a quote of the original older.
Or visa versa.) The Japanese do that all the time.

—— (104) ——
六韜に曰く、鷙鳥將擊卑飛歛翼、猛獸將搏弭耳俯伏、聖人將動必有愚色と。新井白石曰く、
『逸物の猫は、鼠の未だ出でざるほどは、眠るが如くにして、鼠出づれば急に發す、故に一
發にて得ざる事なし、膽決ある人此の如し。二物の猫は常にやかましく啼いて、鼠を見ると
斯に後る、庸人多く此の如し。』と。

第九節 武田信玄家訓

武田信玄の家訓を左に錄して參考に供しやう。以て機山將軍の修養の用意を窺ふことが出來
るであらう。
一、心に物なきときは體泰かなり。
一、心に我慢ある時は愛敬を失ふ。
一、心に欲なき時は義理を行ふ。
一、心に私なき時は疑ふことなし。

In the Rokutō (or, 'Rottō') it was said: The bird of prey, the battle commander, looks down upon them
and taking to wing. The beast of prey, the other commander, from what has been heard is inclined the
occasion to make his strike and seizure. The holy men surely [have informed] this commander of the
stain of folly [in his actions]. Arai Hakuseki (1657-1725) said『Being a first rate specimen of a cat, the
mouse does not yet know that he approaches. Much as if [the cat] is but lying idle [in it's stalking of
the mouse], the mouse would be darting this way and that as it proceeds. Consequently, the mouse
does not have a singular subject of doings, and this is the deciding factor in what courage [mouse-like]
people can muster [distracted by more than one doing at the time]. Regarding that the cat is doing two
things, usually it is much talked about, what sounds he may be uttering as he sees the mouse and after
this point. many commoner people are much like a mouse in this regard.

Daikyū-setsu Takeda Shingen Kakun

Section Nine The House Rules of Takeda Shingen

These are the family precepts of Takeda Shingen (1521-1573) offered as references. They come from
the training methods of the Hatayama military troupe and can include preparations for laying in wait
and spying out an enemy.

-- In the heart and mind it can be uneventful at times. The body is then considerably calmer.

-- There is in the heart and mind elements of one's own arrogance, and then one will have parted
with courteous behavior.

-- Sometimes in the heart and mind avarice is lacking, and so there is the conduct of one's duties.

-- Sometimes one lacks a sense of self in one's heart and mind. Thus one acts in things with very
little doubt.

—— (105) ——
一、心に驕なき時は人を敬ふ。
一、心に誤なき時は人を畏れず。
一、心に貧なき時は人に諂はず。
一、心に怒なき時は言葉和らかなり。
一、心に堪忍ある時は事を調す。
一、心に曇なき時は靜なり。
一、心に勇ある時は悔ゆることなし。
一、心に迷なき時は人を咎めず。

-- Sometimes in the heart and mind haughtiness is lacking, then will other people be shown respect.

-- Sometimes in the heart and mind there is no error, then are other people made uneasy.

-- Sometimes in the heart and mind one is without poverty, the are other people not subject to being
flattered.

-- Sometimes in the heart and mind one is without anger, then will one's language be considerably
fairer.

-- Sometimes in the heart and mind there is patient endurance, then are things in proper timing.

-- Sometimes in the heart and mind there is no cloudiness, then are things much calmer.

-- Sometimes in the heart and mind there is bravery, then there is no regret in things.

-- Sometimes in the heart and mind one has no doubts, then will other people not be accused.

—— (106) ——
 第六章 氣合術の極意
第一節 氣合の託宣
我に父母なし、天地を以て父母となす。
我に家なし、臍下丹田を以て家となす。
我に神力なし、正直を以て神力となす。
我に方便なし、柔和を以て方便となす。
我に魔力なし、人格を以て魔力となす。
我に生死なし、阿吽を以て生死となす。
我に體なし、無我を以て體となす。
我に眼なし、電光石火を以て眼となす。
我に耳なし、感應を以て耳となす。
我に手足なし、神速を以て手足となす。

Dairokujō Kiai-jutsu No Gokui

Chapter Six The Secrets of the Art of Kiai
Dai'issetsu Kiai-jutsu No Takusen
Section One The Oracle of the Art of Kiai

When one is without father and mother oneself, Heaven and Earth become one's mother and father.
When one is without Household oneself, the Seika Tanden becomes your household.
(Seika Tanden, Lit.: the "Navel in the center of the rust red fields" e.g.; your own belly and abdomen)
When one is without Divine power oneself, honest integrity becomes your divine power.
When one lacks a Livelihood oneself, gentleness (or, 'jujutsu) becomes your livelihood.
When one lacks magical powers oneself, personality and individuality becomes your magical powers.
When one lacks cyclic rebirth [e.g.; reincarnation] then the Aum praises [of the Divinity] become your cyclic rebirth.
When one lacks Physicality oneself, selflessness becomes one's physicality.
When one lacks the ability to see, with sudden lightning speed will stone and fire, and flashes of
lightning, give you the ability to see.
When one lacks the ability to hear, then will Divine inspiration become your ability to hear.
When lacking the usage of your limbs, hands and feet, then will true swiftness become your hands and feet.
TRANS NOTE:
The entry listing here are a profound foundation of Kiai-jutsu. The entry listing that says: " When one is without Household oneself, the Seika Tanden (the
"Navel in the center of the rust red fields" e.g.; your own belly and abdomen) becomes your household." This is Japanese language and is about the same
thing as saying "One then relies upon Gut instinct to make your household". The gut instinct and survival instincts are being referred to. One thus
challenged or endangered by this lack will seek to resolve it. The last entry says: “When lacking the usage of your limbs, hands and feet, then will true
swiftness become your hands and feet.” This was in reference to known instinctive reactions to a loss of ability in certain kinds of circumstance (whether
from a panic attack or anything else)... the person will quite commonly exhibit instinctive reactions, the body alone takes over and moves rather swiftly
with an unusual strength and certainty. The two examples I explained here should make it easier to understand the whole listing. For the purpose of Kiai-
jutsu, there is also knowing how to defeat the listed items.

I am well aware of other translations for some of the maxims that occur in list groupings throughout these chapters of the Sakkatsu Jizai (whether these
listed maxims or others found in the text.) Those translations are sometimes only paraphrased citations (incomplete) and others simply weren't translated
very well: Quite commonly, some of them were originally translated into German language, Portuguese or French, or rarely an Eastern European language,
then were translated from that language into English. The results of this “translation of a translation (sometimes, of a translation still yet)” were choppy
and unpredictable. But some did gain status as an accepted translation (no matter if it was lacking material content or not.) THIS TRANSLATION WAS
TAKEN STRICTLY FROM THE JAPANESE IN THE ACTUAL TEXT AND SUBJECTED DIRECTLY TO ENGLISH TRANSLATION .

—— (107) ——
我に法なし、護身を以て法となす。
我に術なし、殺活自在を以て術となす。
我に工夫なし、機先を以て工夫となす。
我に奇特なし、正法を以て奇特となす。
我に主義なし、臨機應變を以て主義となす。
我に懸引なし、虛實を以て懸引となす。
我に才能なし、當意即妙を以て才能となす。
我に味方なし、一心を以て味方となす。
我に敵なし、油斷を以て敵となす。
我に甲冑なし、仁義を以て甲冑となす。
我に城郭なし、不動心を以て城郭となす。
我に刀劍なし、無心を以て刀劍となす。

When one lacks Methodology oneself, then self protection will become your methodology.

When lacking Artifice yourself, the freely taking and sparing life (sakkatsu jizai) becomes your artifice.

When lacking Cunning Device oneself, then will forestalling become your cunning device.

When lacking Benevolence for oneself, then will the true teachings of Buddha become your benevolence.

When one lacks Doctrine oneself, then adapting oneself to the requirements of the moment will become
your doctrine.

When one lacks Tactic and Strategy for oneself, then will the exchange of truth and falsehood become
your tactic and strategy.

When lacking Ability oneself, then will ready wit become your ability.

When lacking an Ally oneself, then will your own wholeheartedness become your ally.

When lacking an Enemy oneself, then will our own careless negligence have become your enemy.

When lacking Helm and Armour oneself, then will humanity and justice become your helm and armour.

When lacking a Fortress of one's own, then will your own steadfastness become your fortress.

When lacking Swords yourself, then will freedom from obstructive thoughts become your swords.

—— (108) ——
 第二節 氣合術極意の歌

氣合とは物皆聞くな寢な起きな、
泣いて笑うた哺乳兒に
氣合とは風を握つて其のまゝに、
足を止めて鼻によく聞け。
夫れ其處だ、勝つな負ける那不動心、
己が進退自由自在に。

第三節 氣合術の秘奧

一、方圓三角
内柔にして外剛なるは、圓外に方形のある形で、是れは似而非勇者である。强さうで其の實
臆病の事である。内剛にして外柔なるは圓内に

Daini-setsu Kiai-jutsu Gokui No Uta

Section Two The Song of the Secrets of the Art of Kiai

Regarding the Kiai, each and every one of its subjects must be heard and obeyed when one lies
down and when one rises in the morning, when one weeps and when one laughs aloud. Like a
young pup raised at its breast. In regard to the Kiai it is to cause [the foe] to have taken a hold
of the wind, having made his foot to halt and so likewise his nose and ears. This condition [of
sensory failure] my dear fellows, is it not that steadfast heart that takes victory and gives
defeat?? The course of one's own actions of advancing and retreating most freely indeed?

Daisan-setsu Kiai-jutsu No Hi-o

Section Two The Mysteries of the Art of Kiai

Ichi, Hōen Sankaku One, The Squares, Circles and Triangles

Regarding them, on the inside of them there is flexibility (Jū) and outside of them there is rigidity (go).
Outside the circles there are patterns of squares. Of this, there are the false men of valor, and so the
reality of that is the very subject of cowardice. There are also reverse patterns where squares inside the
circles the outside is the flexible (Jū) side and the interior is rigid strictness (go).

TRANS NOTE: The entry listing Hōen Sankaku The Squares, Circles and Triangles is in reference to the mandala and mandala like drawings that get
made in Sino-Japanese tradition. It is described as probably being originally intended as the floor plan of a Fortress of sorts. In the Jujutsu Higakusho that
we translated, it explains that the lines of Squares and Circles are, in part, a reference to context (social, governmental and etc). It says that, frequently,
those whom exist within certain of the lines of squares and circles (by context) are bound by them and cannot act outside of them. Such as when bound by
restrictive modes of law that impede one's ability to respond. For more information on the subject please consult our translation of the Jujutsu Higakusho.

—— (109) ——
方形のある形で、是れは眞の勇者である。勇を内に含みて外にあらはさないのである。而も
一朝事あるときは内に藏したる三角の銳角が、其の銳鉾を外に向けて大に活働を爲すのであ
る。氣合術には此の心法を要するのである。

二、四角八方
心の本體益々明にして、氣が八方へ充つるを要するのである。必ず一

三、雨捨一用
敵もなく、我もなく、動もなく、靜もなく、唯一心の劍を用ふるとい

Regarding this part of it, that is where the true men of valor are. On the inside [of the squares and
circles] is the true implications of bravery a fact which becomes clearly evident on the outside of them.
Moreover, for short periods of time when the occasion arises, on the inside of them occurs a triangle
and its points. This is pretty much the same as being faced with a Chinese long spear [when it occurs].
To a larger extent it would make up the activities of life at the time. In the Art of the Kiai, this is a
crucial point of the Mental arts (shinpō).

Ni, Shikaku Happō Two, The Squares of Eight Directions

The true substance of the heart and mind become ever increasingly clearer, and it's a crucial point of
the occasion that the spirit then fills to all eight directions. Invariably, one [direction].

San, Usha Ichiyō Three, Abandoning in the Rain has One Usage

Even not having an enemy, even not having oneself, even there not being the confusion of motion, even
there not being stillness, there being only the wielding of a single sword, and so it's said. Regarding the
shifting movements it's much like the changing of glances back and forth (suigetsu 'moon-in-the-
waters').

TRANS NOTE: The entry title “Abandoning in the Rain (has One Usage)”, the idiom “abandon in the rain” means the
likes of “being alone in (in certain harsher conditions); being forlorn” Based off the idea of being shit out of luck and stuck
in a downfall of rain with no likely shelter nearby.

—— (110) ——
 四、水月移寫
移とは月の水に移るが如し。是を捧心の位といふ、事に着くなり。寫とは水の月を寫すが如
し、是を殘心の位といふ、離るゝの事なり。理を以て之を示すときは水月といひ、事にて之
を傳ふる時は移寫といふ。眼を以て見る所を目附といひ、心を以て守るを移といふ。事を以
て攻むる寫をといふなり。水月に遠近の差別なし、若し遠近を攻めんと欲する者は却つて移
を失ふ、是れ其の移に心を取るが故なり。月無心にして水に移り、水無念にして月を寫す、
内に一念生ぜずんば事能く外に應ず、故に邪念を生ぜざるときは、能く水月の全體に至るべ
きものなり。語に曰く、一月は一切の水に現じ、一切の水は一月に攝す。と。
古歌に
移るとも月は思はず寫すとも、

Yon, Suigetsu Isha Four, Transferring Moon On the Waters

(or, “The shifting exchange of glances back and forth”)

Regarding the reflective transference, it's much the same in suigetsu 'moon-in-the-waters' exchanging
of glances. This is said to be a state of sharing notions in things as they have come to be. Regarding the
duplication [of emotional charging, reciprocation and etc], it's much like the reflection of the moon in a
body of water that has transferred itself to another reflective surface. This is said to be a state of
continued alertness that makes distinction between one thing and another. This principle is said to be
the very demonstration of moon-on-the-waters [reciprocal exchanging of glances]. There is said to be
various teachings about these things and for when the exchange of looks on the face and glances
(suigetsu 'moon-in-the-waters') is occurring. The eye looks and sees, then is said to lock its gaze upon
the circumstance, and so in guarding itself transfer it to the heart and mind. By means of this copying
transference it reciprocates to the attack. With Suigetsu moon-in-the-waters exchanging of glances and
expressions, there really is no distinguishing distances and perspectives. In such cases as the attack is
off in the distance, to the contrary the exchange of glances will desist, the sight of it only having caught
one attention momentarily. The moon [in this circumstances being discussed] has no sense of self, the
water but catches the reflections. The water [our hearts and minds] are free from obstructive thoughts
as the moon is being reflected [e.g.; as the episode is occurring and we see and respond to it] and inside
[the episode] the purpose of all this has not been borne out yet. Frequently things outside ourselves are
responded to, and consequently wicked thoughts might not be born from having observed it. Quite
often the entirety of the course of moon-in-the-waters will have occurred in any given circumstance. In
the language of the subject it's said that one moon appears reflected in an entire body of water, and the
entire body of water acts in addition to the single moon [reflecting whatever else besides].

In the old poems

it's said that the reflective transference of the moon is not thought to transfer [the
nature of] the moon [itself].

—— (111) ——
 水も思はぬ猿澤の池。

五、心眼の活力

何事も肉眼で見るのではなく、心靜に一體より見るときは、自然と能く見ゆるのであ
る。白隱禪師曰く、『人の心の眼は、堅につき横につき、筋違ひにつくが故にさま〲
と迷ひを見出す也。唯目なしとならば、人我の私案なく、本心自性の光り明にして、
見ずして一切の物を看、學ばずして萬事に通ずべし。此所を一体和尚も、目なしどち
〱聲についてましませ、と申されけん、脚下に眼を附て目なしになるべし。
世の中は唯に座頭の丸木橋、
わたる心でわたるなるらん。

「ねむりさまし」に此れと同意の歌あり。
目にきゝて耳にてものを見る人は、

The water is thought of as if it were a marsh pond

with monkeys on the banks.

Go, Shingan No Katsuryoku Five, Dynamics of the Mind's Eye

Whatsoever be seen by the naked eye is not seen by it alone, the spirit and mind, as one entity,
see it as well at the time. Naturally quite often there's a certain amount to be seen. The Zen
Master Hakuin said: 『The mind's eye of human beings most firmly pierces through and across,
and pierces even through the absurd and consequently gentlemen, finds itself bewildered by it.
Nevertheless, even without the eye itself [the mind's eye] still sees. Having no real plans of one's
own or another to act upon, there is yet the bright light of one's own true nature. Even when one
does not see it everything is being taken care of. Even though not having been educated at all the
10,000 things are not impeded along their course. This is the circumstance even with the High
priests, even though the eye does not know in what direction to look but the voices still call out
praises! The eye clings to what is at our feet but it's opinion is that it doesn't know what to do. In
the world there are but leaders whom are blind men trying to cross a bridge of wooden logs, and
in crossing over the heart and mind do but cross over themselves.

「Rotten from being damp」this same sentiment is expressed in poetry,

the eye clings [to the rotted bridge] the ear [hears the cracking] thus do people see...

—— (112) ——
 萬の事は迷はざりけり。

六、必勝の秘訣

勝つとか負けるとかいふ事を念頭に置いてはいけないのであるが、秀吉曰く、『負ける〱と
思へば負け、勝つ勝つと思へば勝つものなり、負けると思ひて勝ち、勝つと思うて負けるこ
とあれども、人には勝つものと聞かすべし。』と。勝つとは思はず、負けぬやうに勝負すれ
ば、必ず勝つものである。勝たう勝たうとするから負けるので、負けさヘしなければ、自ら
勝つに違ひないのである。以上の事を腹に會得して十分身心を鍛錬すれば、功を積むに隨ひ
自ら氣合の妙術を得られるのである。之より以下章を追うて身心鍛錬の方法を說かうと思ふ
のであるが。其の以前に吾人は讀者に紹介して置きたいものがある。それは澤庵和尚が柳生
但馬守に敎へて禪劍一致の極意を說い

...yet the 10,000 things have not gone astray!

Roku, Hisshō No Hiketsu Six, The Secrets of Certain Victory

It's said not to be much good to give thought to such things as victory and defeat, Hidekichi said:
『 When giving thought to defeat then one is defeated, when giving thought to victory after victory
then there is the subject of victory, for instance. Then when giving thought to defeat, there is victory.
And likewise when giving thought to victory even when there is [the possibility of] defeat. Human
beings ought to give heed to the subject of victory.』 Having not given thought to victory, even when
defeated in such circumstances victory may come anyway. Inadvertently victory is a possibility. One
will be defeated if one does nothing at all, for oneself then there is no mistaking it when victory has
been taken.

Beyond a mere understanding of the gut level of the subject one ought to make sufficient training of
mind and body, making the accumulation of achievements while at the mercy of waves Then has one
acquired for oneself the excellent artifice of the Kiai. By means of all this which is further pursued in
the next chapter explaining the ways and methods of training the mind and body, and what is thought
of about these. We previously had already placed introduced the reader to that subject. The Zen priest
Takuan had very much when instructing Yagyū Tajima no Kami Munenori (1572-1646) explained the
secrets of Zen [Buddhism] and the sword being one and the same this coming from the immovable
wisdom of the Bright spirits of Heaven and Earth.

—— (113) ——
た不動智神明錄是れである。是れ實に氣合術の極意を儘したもので、前に掲げた氣合術の託
宣は、これに依つて說明を求められるのである。

第四節 澤庵和尚禪劍一致の極意

一、無明住地の煩惱

無明とは明になしと申す文字にて候。迷を申し候。住地とは止る位と申す文字にて候。拂法
修行に五十二位と申す事の候。その五十二位の内に物毎に心の止る所を住地と申し候。住は
止ると申す義理にて候。止ると申すは何事に付ても其事に心を止るを申し候。實殿の兵法に
て申し候はば、向より切太刀を一目見て、其儘にそこにて合はんと思へば、向ふの太刀に其
心が止りて、手前の働が拔け候て、向ふの人にきられ候。是れを止ると申し候。打太刀を見
る事は見れども、そこに心をとめず、向ふの打太刀に拍子合せて、打たうとも思はず、思案
分別を殘さず、振上る

The truth is that these are also pretty much part of the secrets of the Art of the Kiai. Earlier we placed the
listings of the Oracle of the Art of the Kiai (Kiai-jutsu No Takusen) and this somewhat depends upon
how one interprets it.

Daiyon-setsu Takuan Oshō Zenken Icchi No Gokui

Section Four The Secrets of the Monk Takuan and the Sword and Zen Are One

Ichi, Mumyō Jūchi No Bonnō

One, The Evil Passions of Living in Lands of Ignorance

Regarding the state of ignorance, the lack of ignorance and knowledge of written characters is one and the
same. But doing or acting so [without knowledge of the written characters] causes one to go astray. But
being able to maintain residency in one's own lands comes by making the written characters [e.g; resolving
illiteracy]. In the practices of the Methods of Sweeping away [the sword or spear, or other unwantable
things] there are the 52 positions and the doings of performance [including the making of the written
characters]. Each one of the inner sides of these 52 positions involves taking a firm seat in the act of
stopping the mind and heart [a Zen concept "neutralization and control of thoughts and emotions; self
discipline"] and also the Doings of performance. Taking the position of this cessation and the performing
the doings with some sense-of-duty in it. Regarding the doings of performance and the cessations, clinging
to these subjects in everything one does. In the paramilitary methods of the true mansions ( jitsuden no
heihō) it concerns itself with naught but the doings of performance. It is but to give a single glance to the
direction of the cut of the long sword, and in doing so then wherever one meets with that, one will ready, so
it is thought. Stopping the long sword when it was moving in the direction of the heart or the head, by way
of the hand moving contrary to and removing [the sword] from the hand in which it rests. [Removing it]
when it was in the direction of killing people. And this is both cessation and the doings of performance.
Seeing the strike of the long sword, even though one sees it, there the heart and mind have not ceased, one
meets with the rhythm and strike of the long sword. It having struck with no thought of doing so, no trace
of considerate discretion. It was no sooner than one had seen the upraised long sword.

—— (114) ——
太刀を見るや否や、心を卒度止めず、其まゝ付入て、向ふの太刀にとりつかば、我をきらん
とする刀を我が方へもぎとりて、却て向ふを切る刀となるべく候。禪宗には是を還把鎗頭倒
刺人來ると申し候、鎗はほこにて候。人の持ちたる刀を我が方へもぎとりて、還て相手を切
ると申す心に候。實殿の無刀と仰せられ候事にて候。 向ふから打つとも吾から討つとも、打
つ人にも打つ太刀にも程にも拍子にも、卒度も心を止めれば、手前の働は皆拔け候て、人に
きられ可申候。敵に我身を置けば敵に心をとられ候間、我身にも心を置くべからず。我が身
に心を引きしめて置くも、初心の間習入り候時の事なるぺし。太刀に心をとられ、拍子合に
心を置けば拍子合に心をとられ候。 我太刀に心を置けば我太刀に心をとられ候。これ皆心の
とまりて、手前、拔殻になり申し候。實殿御覺え可有候。拂法と引當て申すにて候。拂法に
は、此止る心を迷と申し候、故に無明住地煩惱と申すことにて候。

To some extent the heart and mind of the foot soldier does not do the stopping, but does cling to it all
while entering. The direction in which one would capture the long sword could get you cut as you
pluck the sword from his hand. But instead the direction of the sword cut is to be made use of. In Zen
(Buddhism) this spear disarming counter throw down is the approach to people and the doings of
performance. It's as if it were against a Chinese long spear. Those people whom are taken a hold of are
much like when you pluck the sword from his hand in a certain direction. And so countering the
opponent's cut is the doings of performance that are on your mind. To state it outright, these are the
subjects of the sword disarms of the true palaces (jitsuden no mutō). When confronted with the facts of
the sword strike, we seek vengeance. When such people strike, even the strike of the long sword, and
even its rhythm, the heart and mind would stop even rows of foot soldiers at such a point! Our hand in
motion would pluck away everything at once! One ought to know that people could get killed here.
One's own body seeks to put the enemy in his place, is it not the heart itself which captures him? But
the heart ought not to put the body in such positions! Regarding oneself, the heart and mind have been
put in a position of restrictive stiffening. One enters one's training on an initial resolution and that is the
nature of the occasion. The mind and heart having captured the long sword itself, when first meeting its
rhythm, the heart and mind would certainly put the thing away for him! And such is the rhythm with
which the heart and mind would capture the long sword. With the fact that the one's own heart and
mind would put aside the long sword for him, so one makes capture of the long sword. All of this the
heart and mind have thus surely stopped, being that it was our standpoint, and so it was consequently
plucked out of his hand and cast aside. The good learnings of the gentlemen of the true palaces which
one ought to observe. It is the Methods of Sweeping away [the sword or spear, or other unwantable
things] and the doings of its performance. In the Methods of Sweeping away [the sword or spear, or
other unwantable things], the heart and mind are brought to a halt when they are going astray and so
consequently even when one resides in the lands of ignorance and worldly desires there are the doings
of performance of the subject.

LANGUAGE NOTE: Archaic construct (of Classical Chinese Literary Language used by the Japanese):
可申候 （ まをすべくさふらふ ） sometimes carries a value of "one ought to wait in expectation of", also "one ought
to know it will come/occur/happen".

—— (115) ——
 二、諸拂不動の智
と申す事、不動とは、「うごかず」といふ文字にて候。智は智慧の智にて候。不動と申し候
ても、石か木かのやうに無性なる義理にてはなく候。向ふへも左へも右へも、十方八方へ心
は動き度きやうに動きながら、卒度も止らぬ心を不動智と申し候。不動明王と申して、右の
手に劍を握り左の手に縄を取りて齒を喰出し目を怒らし、拂法を妨げん惡魔を降伏せんとて
突立て居られ候姿もあの樣なるが、何國の世界にも隱れて居られ候にてはなし、容をば拂法
守護の形につくり、體をば此不動智を體として衆生に見せたるにて候。一向の凡夫は、怖れ
をなして拂法に仇をなさじと思ひ、悟に近き人は、不動智を表したる所を悟りて一切の迷を
晴らし、即ち不動智を明めて、此身則ち不動明王程に此心法をよく執行したる人は、惡魔も
いやまさぬぞと知らせん爲めの不動明王にて候。然れば

Ni, Shōbutsu Fudōchi Two, The Firm Wisdom of the Many Buddhas

Regarding immovable steadfastness, it' said to be「unmoving」, much as the written characters imply.
And this by the wisdom of intelligence and its wit. Even doing the performances and when unmoving,
much like a tree, much like a stone, being as if neutral in gender and with no sense of duty or
obligation. Whether facing to the left or to the right, any and every direction. When at times in motion,
during the course of those motions. Even as the rows of foot soldiers which one would put a stop to, in
the doings of performance of the heart and mind acting upon immovable wisdom. The doings of
performance of the Wisdom King (the diety Fudō Myōō), sword held in the right hand, the left hand
holding the binding rope. His fangs protruding from his mouth, his eyes showing his outrage. Those
hindrances of Buddhist Methods of Sweeping away [of unwantable things] which have surrendered to
the demons are thereby thrust through. By the ways of this very figure [of a God], whatever countries
in the world they [the demon's followers] have hidden themselves in, He is the very countenance of the
many forms of protective guard to Buddhist Methods of Sweeping away [that which is unwantable],
the body of which is a corpus of immovable wisdom which all living things have surely seen.
Regarding the singular direction of an individual himself, Buddhist Methods of Sweeping away
[unwantable things] being afraid to wrong others and this is how [Buddhists] think since among
Buddhists treating people this way is tantamount to enlightenment itself. The enlightenment to the
outer ranges of immovable wisdom. When everything that is going astray has been dispelled, namely,
there is the brilliance of immovable wisdom. This corpus is namely because of His Majesty King of
Wisdom (the deity Fudō Myōō) and frequently these mental arts (shinpō) are what is to be carried out
towards people. Aye, the demons (?)despise(?) knowing this. Which is to the advantage of the King of
Wisdom (Fudō Myōō). And these would be the particulars of the doings of the King of Wisdom (Fudō
Myōō).

—— (116) ——
不動明王と申すも、人の一心の動かぬ所を申し候、又身を動轉せぬことにて候。動轉せぬと
は、物毎に留らぬ事にて候。 物一目見て其心を止めぬを不動と申し候。なぜなれば物に心が
止り候へば、いろ〱の分別が胸に候間、胸のうちにいろ〱に動き候。止れば止る心は動きて
も動かぬにて候。警へば十人して一太刀づゝ我へ太刀を入るゝも、一太刀を受流して、跡に
心を止めず、跡を捨て跡を拾ひ候はヾ、十人ながらヘ働を缺かさぬにて候。十人十度心は働
けども一人にも心を止めずば、次第に取合ひて働は缺け申間敷候。若し又一人の前に心が止
り候はヾ、一人の打太刀をば受流すべけれども、二人めの時は、手前の働拔け可申候。千手
観音とて手が千御入り候はヾ、弓を取る手に心が止らば、九百九十九の手は皆用に立ち申す
間敷、一所に心を止めぬにより、手が皆用に立つなり。観音とて身一つに千の手が何しに可
有候。不動智が開け候へば、身に手が千有りても、皆用に立つと云ふ事を、人に示さんが爲
めに作り

The wholeheartedness of people's movements is the circumstance of the doings of performance, and
also the less fortunate physical transitions within circumstances. Regarding the occurrent unfortunate
physical transitions, one by one each thing in these kinds of circumstances having been put a stop to.
The thing in a single glance that which the heart and mind would put a stop to and make unmoving and
that is what is done. Because the heart and mind would wish to put a stop to such things, is it not by
some due prudence?? Having been thus heart-struck one goes into motion. To stop what would be
stopped, even though the heart and mind have already gone into motion after motion about it. One
would admonish a group of ten people regarding [to raise] even one long sword against yourself, or
even to enter [against you] with a long sword. When warding off (uke nagashi) the long sword, the
traces of ruin that it caused is not stopped by the heart and mind. The traces of ruin are instead
abandoned and then gathered up later. This while the actions of the [other] ten people are yet lacking.
Everyone has their own ideas about things and what should happen, and each individual person would
not necessarily seek to put a stop to a thing. To some extent, the actions involved in having struggled
nearly encompassing everything. Supposing such to be the case, there are those persons whom would
have put a stop to it beforehand. Each person whom would have themselves warded off (uke nagashi)
the strikes of the long sword. Sometimes, even two people together would have at the time. Ought one
then to wait in expectation that they will pluck the long sword from his hand?? Even if the hands of the
thousand-armed Kannon have come, nonetheless take your Bow in hand and put a stop to him. Because
999 of the hands [of the kannnon spirit] all may be of some use is the expectation, but under these
circumstances stop him yourself. A hand, any hand [even your own] can be of some use, for instance.
Even if there is a Kannon spirit there at the time, being that you lack a thousand hands yourself, what
ought one then to do? This would be to have commenced with an immovable wisdom. Owing that you
do not have a thousand hands yourself, yet it's said that any [hand] would be of use, given the
circumstances. It shows that, with people, one must take what advantage there is, even to having a
certain look on the face.

—— (117) ——
たる容にて候。假令一本の木に向ふて、其内の赤き葉一つを見て居れば、殘りの葉は見えぬ
なり。葉ひとつに目をかけずして、一本の木に何心もなく打ち向ひ候へば、數多の葉殘らず
目に見え候、葉一つに心をとられ候はヾ、殘りの葉は見えず。一つに心を止めねば、百千の
葉みな見え申し候。是を得心したる人は、即ち千手千眼の觀音にて候。然るを一向の凡夫は、
唯一筋に身一つに千の手千の眼が御座して難有と信じ候。又生物じりなる人は、身一つに千
の眼が何しにあるらん、虛言よと破り譏る也。今少し能く知れば、凡夫の信ずるにても破る
にてもなく、道理の上にて尊信し、拂法はよく一物にして其理を顯す事にて候。諸道共に欺
樣のものにて候。神道は別して其道と見及び候。有の儘に思ふも凡夫、又打破れば猶惡し。
其内に理有る事にて候。此道彼道さま〲に候へども、極所は落着候。扨初心の地より修行し
て不動智の位に至れば、立歸て住地の初心の位へ落つべき子細御入り候。貴殿の兵法にて可
申候。初

Facing in the direction of the tree(s) that are most important according to ancient law, as time goes on
one would see the red scarlet leaves. Regarding the leaves yet remaining, one is also faced with them.
One can see these leaves without really looking for them. With this one tree, lacking whatever it does
by way of heart, striking in that direction might be expected. The number of leaves left behind are not
many to be seen. One of the leaves has capture on its mind, but the rest of the leaves do not see this.
One leaf does see and would stop it. Hundreds of thousands of leaves all wait in expectation to see
what will happen. Regarding that people are convinced of this, namely, that the thousand hands and
thousand eyes of the Kannon spirits really do exist. Though it may be that there are absolutely ordinary
people, that there is this unique kind of person who has a thousand hands and a thousand eyes is
difficult for some to believe. And that such living creatures are a people, since we ourselves lack
anything by way of a thousand eyes, there is then lies and slander about their existence. One would
wish to know a little more, so that people would know more and believe without being crushed by it.
Beyond reasoning itself, there is reverence. Regarding Buddhist Methods of Sweeping away
[unwantable things], frequently there is an ulterior motive, representing some such principle or
circumstance. Various arts and accomplishments and the fraudulence of them, these things go the way
they do. Shintoism is particularly inclined to such paths and known to be so. As possessions and life
go, and even when one thinks [they or another] are but ordinary people, yet again comes a crushing
blow, and also evil. Later on there are the principles that were used in it all. With this art and that art it
would be the case as the extremes of circumstance come to their conclusion. Well then, from the
grounds of initial resolution training practices have been made from the approach of the positions of
immovable wisdom. Having arrived at the stance from the positions of initial resolution brought about
by residency in our lands originating from the circumstances of conquest we have suffered. One ought
to be expectant of the Paramilitary methods of our residency.

TRANS NOTE: The text has, for several pages now, been showing quite a bit of connection to the subject matter and language of the Kenkan-mon
that we translated and placed available as of November 2017. That particular scroll is a Yoshin ryu version of the subject, but otherwise the teachings of
the Kenkan-mon are known to be somewhat universal, derived from earlier Chinese treatise on the subject. That's where it gets the specific idioms and
nomenclature from. These last several pages are CRAMMED FULL of it, line per line. I don't know how well it shows up in the English language
translation but the Sino-Japanese text is quite visibly stuffed full of the Kenkan-mon type idioms.

—— (118) ——
心は身に持つ太刀の構も何も知らぬものなれば、身に心の止る事もなし、人が打ち候へば、
つひ取合ふばかりにて、何の心もなし。然る處にさまざまの事を習ひ、身に持つ太刀の取樣
心の置所、いろ〱の事を敎へぬれば、色々の處に心が止り、人を打たんとすれば、兎や角し
て殊の外不自由なる事、日を重ね年月をかさね稽古をするに從ひ、後は身の構も太刀の取樣
も、皆心のなくなりて、唯最初の何も知らず、習はぬ時の心の樣になる也。是れ初と終と同
じやうになる心持にて、一から十までかぞへまはせば、一と十と隣になり申し候。調子など
も、一の初の低き一をかぞへて、上無と申す高き調子へ行き候へば、一の下と一の上とは隣
りに候。
一、壹越。 二、斷金。 三、平調。 四、勝絶。 五、下無。 六、雙調。
七、鳧鐘。 八、黄鐘。 九、鸞鏡。 十、盤涉。 十一、神仙。 十二、上無。

Regarding the initial resolution, one has grasped even the very posture [by which] the long sword [is being
held and wielded] since one knows what circumstances offer themselves. The heart and mind use the body
to stop the circumstances. The people who would otherwise strike with the sword based upon whatever
sentiments were had they are now just caught up in struggling without regard to whatever sentiments might
have been the case. These kinds of circumstances can be rather habitual [with some people]. In the
circumstances of the physically capturing and seizing the long sword, it will be placed where the heart and
mind determined best to place it. One ought to know the various subjects here. The heart and mind stops a
variety of circumstances, and so people from being struck by the sword. In any event, beyond the difference
one to another there is some discomfort in any given circumstance. Day after day amounting to more,
month after month and year after year amounting to still yet more and one makes his training practices in
accord with this. Afterwards, the body postures are used to capture the long sword and all occurring without
a sense of self concern. However, from the outset it is without knowing what all is entailed. Regarding the
details of practice, it's at what time the heart and mind decide. The beginning and the end of this are openly
one and the same, when the heart and mind have come to understand that they are. From first to last and
each part supporting the others. From first to last being consecutive to each other as one ought to expect.
Even the timing (chōshi) and etc, the first and least important stroke of it, or the single act of any support
stroke thereafter, the Unrising rhythm (kamimu) rising higher as the timing (chōshi) is proceeding. The
[timing and rhythm] first low and then rising consecutively.

1) Ichi-etsu First Movement 2) Dankin Strong Association 3) Hyōjō State of Calm

4) Shōsetsu Interrupted Victory 5) Shimomu Without Falling 6) Sōchō Double Time

7) Fushō Temple Bell 8) Ōshiki Yellow Bell 9) Rankyō Phoenix Mirror

10) Ban Serving Tray 11) Shinsen Immortal Wizard 12) Kamimu Without Rising

TRANS NOTE: The 12 Items listed here are the names of the traditional Timing rhythms (調子chōshi) used in Budo for Jujutsu kata, sword arts and etc
etc. They are the 12 traditional Timing rhythms of Sino-Japanese Court Music. Suffice to say that a fighting bout (hand to hand, sword to sword, spear to
sword etc etc) is being treated like a piece of music to be conducted according to the Timing rhythms of the Sino-Japanese court music. This subject is
quite important, for several reasons. I chose the exact translations I gave them trying to be helpful to the reader by way of understanding, without
sacrificing correctness in translation. For example: Ichi-etsu or “First Movement”, 'movement' in the sense of its musical definition... but also “first
movement when defending oneself”, if you catch my hint. Shimomu or “Without Falling” can be understood as not having lost your own footing or (even
more so as the rhythmic timing) “Not letting up (having interrupted his victory proceed to your own)”. FURTHERMORE, these 12 are highly relevant to
the (調子之事 chōshi no koto) found in the Jūjutsu Higakushō and the Denshō of the Kito Ryu and etc etc. These 12 are the “chōshi” being referred to. So
much that the suffixal (調) “chō” can occur affixed to each of the 12 names. Hence, Rankyō-chō “Timing of the Phoenix Mirror”.

—— (119) ——
づツこと高きとづツと低きは似たるものになり申し候。拂法もづツとたけ候へば、拂とも法
とも知らぬ人のやうに、人の見なす程の飾も何もなくなるものにて候。故に初の住地の無明
と煩惱と、後の不動智とが一つに成りて、智慧働の分は失せて、無心無念の位に落着申し候。
至極の位に至り候へば、手足身が覺え候て、心は一切入らぬ位になる物にて候。鎌倉の拂
國々師の歌にも、「心ありてもるとなけれど小山田にいたづらならぬかゝしなりけり。」皆
此歌の如くにて候、山田のかゝしとて人形を作りて弓矢を持せておく也。鳥獸は是を見て逃
る也。此人形に一切心なけれども、鹿がおじてにぐれば、用がかなふ程に、いたづらならぬ
也。萬の道に至り至る人の所作のたとへ也。手足身の働斗にて、心がそつともとどまらずし
て、心がいづくに有るともしれずじて、無念無心にて山田のかゝしの位にゆくものなり。一
向の愚痴の凡夫は、初から智慧なき程に、萬に出ぬなり。又づツとたけ至りたる智慧は、早
ちかへ處入によりて一

There are in the circumstances the likes of [timing rhythms] that are longer and higher pitched and
those that are shorter or lower pitched. Even in Methods of Sweeping away [the sword or spear, or
other unwantable things], one would excel in each of these apart from the other. With people knowing
both how to sweep away and methodology itself, to some extent people equate it with a vain
embellishment that lacks substance in any given circumstance. Consequently when first having taken
residence in ignorant lands filled with worldly lusts, after one has just promoted immovable wisdom, to
some degree there is an extent of the activities caused by its intelligent wit that will have vanished right
away. That becomes the end conclusion of the positions of becoming free from guilt and from
obstructive thoughts (mushin munen no kurai). One would then have approached the more extreme
positions (shigoku no kurai) and it will be remembered by the body and its limbs [i.e.; this is a physical
experience that sometimes involves pursuit of one's person or other physical hardships]. Regarding the
heart and mind, everything is entered as a circumstance by having established a position. Even in the
old Shamisen poetry about the many countries that swept over Kamakura city, it said 「Even though
they knew in their hearts that it was happening, nonetheless in Oyamada itself there was quite a lot of
toying around with it all. 」 It was all pretty much like the poem songs say it was. Even despite the
failings of Yamada (?)itself//himself(?) having become like a puppet had taken a hold of (?)its//his(?)
bow and arrows. Even the wildlife, birds and wild animals seeing this took to fleeing. In this puppet
like state it was as if there was no presence of mind at all in anything. Even the deer were very afraid
and kept going the wrong way. But it was realized that there were uses for all of this, all just by toying
around with it. No matter how it all goes, people's conduct in these kinds of conditions reaches the
extremes. With the crossing and dotting movements of the body and its limbs, the heart and mind
surely will make slips ups stumbling even when there are no obstacles. The heart and mind proceed in
using what they have to use, and what they do not have. So in seeking freedom from guilt and
obstructive thought regarding the position of the failures of Yamada (?)itself//himself(?), they moved
along towards that in the circumstances. Regarding even the least of the idle complaints of the ordinary
people, from the outset they lack any intelligent wisdom. Early on into entering the circumstances
everything about them is emerging.

—— (120) ——
切出ぬなり。また物知りなるによつて、智慧が頭へ出で申し候てをかしく候。今時分の出家
の作法ども、嘸をかしく可思召候。御耻かしく候。理之修行。事之修行と申す事の候。理と
は右に申上候如く、至りては何も取あはず、唯一心の捨やうにて候。段々右に書付け候加く
にて候。然れども事の修行を不仕候へば、道理ばかり胸に有りて、身も手も不働候。事之修
行と申し候は、貴殿の兵法にてなれば、身構の五箇に一字のさまざまの習事にて候。理を知
りても事の自由に働かねばならず候。身に持つ太刀の取まはし能く候ても、理の極り候所の
闇く候ては相成間敷候。事理の二つは、車の輪の如くなるべく候。

三、間不容髪

と申す事の候。貴殿の兵法にたとへて可申候。間とは、物を二つかさね合ふたる間へは、髪
筋も入らぬと申す義にて候。たとへば手をはたと打

And also consequently, those whom could be called the more informed of persons, they are seen to proceed
respectfully enough by brains and the wit of intelligence. And about times like these even their households
do proceed by most proper means, as surely ought to be the opinion about them. Even despite shame. The
discipline of the principles. Practice of and the doing of relevant things. Of the principles, much as the
aforementioned doings are on the rise, as that is occurring but as yet everything else is not been taken a
hold of, it will be by the mere act of the heart and mind openly abandoning what they will in the
circumstances. Gradually little by little, as was described in these writings earlier. Even though some
certain practices would be done of that which would otherwise have gone unattended, one has really
nothing but the principles of reasoning to do things by at the time [not knowing how things will outplay].
Both the body and the hands become unmoving. Regarding the practice of and the doing of a thing, it
would be by the paramilitary methods of your own household (kiden no heihō), with the five body postures
and the various training subjects of the singular written characters. Even when one knows the principles
one does not have full freedom of activity given the circumstances. When physically taking hold of and
capturing the long sword, frequently one does so by way of the principles of doing so, despite the sorrowful
condition [of being exposed to its blade] if it proves possible to lay the thing down. Regarding the facts of
two [combatant parties] it would be much like the turning of a wheel [circling one another or the place
itself].

San, Kan Fuyohatsu Three, Not Even Enough Space For A Single Hair

There are the doings of the circumstance, and this ought to be likened to the paramilitary methods of your
own household (kiden no heihō). Regarding the intervals [through which one can act], there are two things
that as they are encountered cause interval gaps to amass, and one can enter by these even when it's but a
hair's breadth of space. This is likened unto the hand when it strikes [with a sword].

TRANS NOTE: The text uses references throughout its pages to disarming the long sword as a parallel to dispensing with various problematic or
combative circumstances. It was meant to be taken both literally and figuratively. The first meaning is, of course, to take matters into one's own hands,
skillfully and correctly so, rather than leave them to the adversary or rival. ALSO: Dual parallelism occurs in the description: "...and one can enter by these
even when it's but a hair's breadth of space. This is likened unto the hand when it strikes [with a sword]..." the sharp blade of the sword is often described
in similar terms {having the width of a hair's breadth} which of course, largely it does. It's about the same thing as saying in Japanese: "the necessary
opportunity to employ the sword and dispense with the problem". Refer again to the explanation I gave in these notes about how the text uses the subject
of sword disarming.

—— (121) ——
つに、其儘はつしと聲が出で候。打つ手の間へ、髪筋の入程の間もなく聲が出で候。手を打
つて後に、聲が思案して間を置いて出で申すにては無く候。打つと其儘音が出で候。人の打
ち申したる太刀に心が止り候へば。間が出來候。其間に手前の働が拔け候。向ふの打つ木刀
と我働との間へは、髪筋も入らず候程ならば、人の太刀は我太刀たるべく候、禪の間答には
此心ある事にて候。拂法にては此止りて物に心の殘ることを嫌ひ申し候、故に止るを煩惱と
申し候。たてきつたる早川へも、玉を流す樣に乘つて、どつと流れて少しも止る心なきを尊
び候。

四、石火之機

と申す事の候。是も前の心持にて候、石をハタと打つや否や光が出で、打つと其儘出る火な
れば、間も透間もなき事にて候。是も心の止るべき間のなき事を申し候。早き事と計り心得
候へば惡敷候。心を物に止め間

As that condition has proceeded so proceed the voices out-crying. The hand strikes through the interval
gap entering through that which is not even the width of a hair's breadth as voices outcry. And then
after the hand that struck there is the occasion of the voices that give reflective consideration and of
this there is no lack. Having struck and the the sound of [these voices] proceeds. And there are the
people whom would have had in mind to halt the strike of the long sword [but could not]. There are the
interval gaps that one can use. Meanwhile the intervals that exist from one's standpoint and the
activities through them plucking away what one can. There is the direction of the strike of the long
sword, and one's own activities, and some few other intervals. And where it occurs not even a hair's
breadth enters between. There are the long swords of people and your own long sword, in the responsa
of Zen Buddhism these mind sets are part of the circumstance. In the methods of Sweeping away, there
remains yet the intent to halt these circumstances, although one dislikes having to do so. Consequently
in this there is the halting of worldly passions. Having just done so like the currents of a quick stream,
the rivlets of water amass, the drops thereof flowing with only some coming to a halt. There is the
value of selflessness.

Yon, Sekka No Ki Four, The Opportunity of a Flint's Flashing

There are the doings of the circumstance, even in this there is the sense of it all beforehand, and
previously before this there was the ta-tat ta-tat of the sword strikes no sooner in it than a mere glint of
it had proceeded. The sword strikes and the circumstances produced as the blaze be kindled [as though
it were flint strikes flashing]. It's as if there are not even the gaps much less wide open cracks in the
circumstance [through which to act]. One has it mind to put a stop to it all but there is no opportunity to
do so. Early on there would be the circumstances and the conjecture about them, wickedness spreading
throughout. It's said that one has it in mind to put a stop to the circumstances and there is the effects of
this.

—— (122) ——
敷と云ふが詮にて候、早きにも心の止らぬ所を詮に申し候。 心が止れば、我心を人にとられ
申し候。早くせんと思ひ設けて早くせば、思ひ設ける心に又心を奪はれ候。西行の歌集に、
「世をいとふ人とし聞けばかりの宿に心止めなと思ふばかりぞ」と申す歌は、江口の遊女の
よみし歌なり。心とむなと思ふばかりぞ、と云ふ下旬の引合せは、兵法の至極に當り可申候。
心をとどめぬが肝要にて候。禪宗にて如何是拂と問ひ候はヾ、拳をさしあぐべし。加何か拂
法の極意と問はド、其聲未だ絶たざるに、一枝の梅花となりとも、庭前の柏樹子となりとも
答ふべし。其答話の善惡を選ぶにてはなし。止らぬ心を尊ぶなり。止まらぬ心は色にも香に
も移らぬ也。此移らぬ心の體を、神とも祝び拂とも尊び、禪心とも極意とも申候へ共、思案
して後に云ひ出し候へば、金言妙句にても住地煩惱にて候。石火の機と申すも、びかりとす
る電光の早きを申し候。例へば「右衛門」とよびかくると「あつ」と答ふるを不動智と申し
候。「右衛門」と呼

Either way one has it mind to put a halt to the circumstances and the effects doing what they do. One
would have it in mind to put a halt to it, and even you along with some other people would have it in
mind to capture someone. With a quickness at this point and the expectation is that it would be rather
quick. That is the expectation one has in mind and one becomes thoroughly fascinated with it. In the
anthology of poems by Saigyō (of the Heian period) it said: 「 It's said of the world that it's only a
saying that [the Bright spirits] seek lodging [within the souls of] people, it's thought that the heart and
mind have inadvertently halted here... 」 and that is what the poems tell, such as in the poem read
about the prostitutes of Eguchi. It's thought that the heart merely sits in the breast, and so they say,
when introducing the last one third of the subject. And one ought to expect this from the extremes of
the Paramilitary arts (heihō) it being a crucial point that the heart has halted here. There are what ways
in Zen Buddhism this is swept away, and the questions about it, would be chiefly by way of sitting
cross legged with your fists on your knees. Whatever else there is lies in the secrets of sweeping away
[unwanted things] and the questions about this. Those voices as yet have not been interrupted. Like the
plum blossoms of a single branch most certainly, of course. Like the children of the Cypress tree in a
garden, for instance. And that would be the reply. One would keep picking and choosing between the
good and evil in that reply, and so there is some value in the halting of the heart. Regarding that the
heart and mind are halted here, yet there is the colouration and the scent [of the blooms]. This conveys
itself via the body to the very heart itself, certainly there is the value in the celebration of the Divine.
Even the heart of Zen Buddhism and its secrets which one ought expect, when giving consideration
and afterwards to proceed therewith, it's said, with the sections of the unusual maxims whilst yet one
dwells in the lands of worldly passions. The flashing of flint and the doings, about to grow even
brighter and soon one ought to expect flashes of lightning. And as already mentioned,「Uemon -- right
side defense gate」and the hidden preparations and「atsu -- enthickening」 and to expect the replies
of immovable wisdom. 「Uemon -- right side defense gate」and …

—— (123) ——
びかけられて「何の用にてか有るべき」などゝ思案して、跡に何の用か抔いふ心は住地煩惱
にて候。止りて物に動かされ迷はさるゝ心を所住煩惱とて、凡夫にて候。又「右衛門」と呼
ばれて、「おツと」答ふるは諸拂智なり。拂と衆生と二つ無く、神と人と二つ無く候、此心
の如くなるを神とも拂とも申候。 神道、歌道、儒道とて道多く候へども、皆この一心の明な
る所を申し候、言葉にて心を講釋したぶんにては、この一心人と我身にありて、晝夜善事惡
事とも、業により、家を離れ國を亡し、其身の程々にしたがひ、善し惡しともに心の業にて
候へども、此心を如何やうなるものぞと悟り明むる人なく候て、皆心に惑はされ候。世の中
に心も知らぬ人は可有候。能く明め候人は稀にも有り難く見及び候。たまたま明め知る事も
また行ひ候事成り難く、此一心を能く說くとて、心を明めたるにてはあるまじく候、水の事
を講釋致し候とても、口はぬれ不申候。火を能く說くとも、口は熱からず。誠の水誠の火に
觸れてならでは

...what will be discussed there. When making the considerations 「 Whatever use can be made of a
thing, that ought to be made of it」and et cetera. It's said that whatever traces remain of something that
was used, the heart and mind yet dwell in the lands of worldly desire. When all movement has stopped
in a thing then also there is no further going astray. The heart and mind being the dwelling place of evil
passions, there are yet those people whom are unenlightened. Also one will have been summoned
[before/to] 「 Uemon "the Right Side Defense Gate" 」 and the reply given will be
「Persevere!」Wisdom will receive various compensations. These compensations and all that live in
the world are not separate from each other, much like Mankind and the Gods are not really separate.
The heart and mind are much like this having been established by the Gods, one ought to expect the
compensations. Even though there are many ways, such as Shintoism, the ways of Tanka poetry and
Confucianism all such as these are expected to share a single common heart. In their terminologies and
the sections of the core terminology, there is one single human heart much as if it were your very own
body. Of course there is the subject of doing good deeds morning and night, and the Karmic principle
of it, much as a country that is separate from it's own households is a dead country. In one's own social
positions right or wrong, good or bad occur at the same time in the technicalities of the heart and mind.
It's understood that the heart and mind handle this in whatever way they do, being that people are not
without brilliance and not everything in the heart and mind are mere delusions. In the world, even the
heart knows what people will do. Quite often it's rather obvious. People are seldom ever seen
expressing proper gratitude. When a thing becomes suddenly recognized, it may become more difficult
to conduct it. Since quite often it is explained as having this single-mindedness and there is some
degree of inclarity in the heart about some things, there are the explanations of it that use the subject of
water as an example. One ought to expect some input about it. Sometimes fire is used to explain it and
how there may be flying off at the mouth hotly. It's understood that the subject can be explored by the
facts of water and of fire.

—— (124) ——
知れぬもの也。書を講釋したるまでにては知れ不申候。食物をよく說くとても、ひだるき事
は直り不申候。說く人の分にては知れ申す間敷候。世の中に拂道も儒道も心を說き候得共、
其說く如く其人の身持なく候心は、明に知らぬ物にて候。人々我身にある一心本來を篤と極
め悟り候はねば不明候。又參學をしたる人の心が明かならぬは、參學する人も多く候へども、
それにもよらず候。參學したる人心持皆々惡敷候。此一心の明めやうは、深く工夫の上より
出で可申候。
五、心の置き處

心を何處に置かうぞ。敵の身の働に心を置けば、敵の身の働に心を取らるゝなり。敵の太刀
に心を置けば、敵の太刀に心を取らるゝなり。敵を切らんと思ふ所に心を置けば、敵を切ら
んと思ふ所に心を取らるゝなり。我太刀に心を置けば、我太刀に心を取らるゝなり。われ切
られじと思ふ

In the explanations made in the writings, one ought to expect it to be made known. Quite often there
are also explanations about foodstuffs and regarding the sentiments expressed about it, one ought to
expect it to concern the healing power [of foodstuffs]. It's explained that to some degree people do
already know about this subject. In the world, and even in Confucianism, with the way that payments
and compensations are made, there is the explanation in mind that both are had together [e.g.; one pays
for and receives instruction in the tenets of Confucianism]. Much as in that explanation, otherwise
people do not acquire it. With that in mind, such things are made quite obvious. Oneself as with any
other person it's to be approached with sincere wholeheartedness for the purpose of acquiring an
understanding of it otherwise the conclusion is confused inclarity. And so when making the study
readings it makes it clearer in the mind of people. And so many people engage in these studies. In any
case one cannot do so any other way. People make studies to acquire knowledge about everything, and
this dispenses with the wickedness of ignorance. Regarding the obvious wholeheartedness involved in
this, one ought to expect by this to have acquired it well beyond the profound cunning tact of it.

Go, Kokoro No Okitokoro

Five, The Placement of the Mind in Circumstances

The heart and mind are put into whatever circumstances, for example, in the physical movements of an
enemy, the heart and mind are being expressed, having in mind to capture by these physical
movements. What the enemy has in mind is betrayed even by his long sword, for instance that he
intends to make the capture by using his long sword. In the circumstances the enemy makes whatever
cuts he thinks that he needs to, betraying what he has in mind. And so for instance, we can make the
capture with our own long sword instead. As we make our own cuts we betray what we think in the
circumstances as well.

—— (125) ——
所に心を置けば、切られじと思ふ所に心を取らるゝなり。人の構に心を置けば、人の構に心
を取らるゝなり。兎角心の置所はないといふ。或人問ふ、我心を兎角餘所へやれば、心の行
く所に志を取止めて敵に負ける程に、我心を臍の下に押込めて餘所にやらずして、敵の働に
より轉化せよと云ふ。光も左もあるべき事なり。然れ共拂法の向上の段より見れば、臍の下
に押込めて餘所へやらぬと云ふは、段が卑きし向上にあらず。修行稽古の時の位なり、敬の
字の位なり。又は孟子の放心を求めよと云ひたる位なり。上りたる向上の段にてはなし、敬
の字の心持なり。放心の事は別書に記し進じ可有御覧候。臍の下に押込んで餘所へやるまじ
きとすれば、やるまじと思ふ心に心を取られて、先の用かけ、殊の外不自由になるなり。或
人問ふて云ふは、心を臍の下に打込んで働かぬも不自由にして用が缺けば、我身の内にして
何處にか心を可置ぞや。答へて曰く、右の手に置けば、右の手に取られて身の用缺けるなり。
心を眼に置けば、

One cuts where one thinks one needs to in the circumstances, having in mind to make the capture. Even
the bodily postures of people betray what they have in mind, for instance, bodily postures [indicate]
when one intends to make the capture. It's also said that [bodily posture] betrays when one has in mind
to do something that is not possible. When people place certain kinds of inquiries, one would have to
concern over what remains of impossible ideas in what one has in mind oneself. When conducting what
one has in mind for the circumstances the intention is to stop and capture the enemy, for the cause of
defeating him. One has in mind to suppress one's own sense of mortality but one cannot dismiss what
remains of it in the circumstance. It's said to be just part of the changes one must make in handling the
movements of the enemy. Or otherwise, when appealing to the peace-of-mind spoken of by Mencius,
it's said to be a position all it's own. When going beyond this, one keeps advancing in the levels and
there is the mental attitude expressed in the written character 'respect' (kei no ji 敬 の字 ). Regarding the
subject of peace-of-mind, there was a distinction that was made in the writings when observing an
effort that was being made [to do a specific thing]. When suppressing the sense of one's own mortality
and what remains of that sense one could not dismiss, it's thought of as having a certain serious
mindedness to it as one has it in mind to make the capture. In making use of this point, beyond certain
other difference there will be some discomfort involved. Of what is said about certain questions that
people have, when driving through the sense of one's own mortality in what one has in mind to do,
even one's movements demonstrate some degree of discomfort. They are somewhat disjointed, and in
ones own body there are whatever physical sensations occurring on relationship to what one has in
mind to do. What is said about the given response, is that the right hand would be positioned where it
is, the left hand having been captured, what the body does in response is probably disjointed, for
instance. The eyes would be positioned according to what one had in mind to do...

—— (126) ——
眼に取られて身の用缺け申し候。右の足に心を置けば右の足に心を取られて身の用缺けるな
り。何處なりとも一所に心を置けば、餘の方の用は皆缺けるなり。然らば則ち心を何處に置
くべきぞ。我答へて曰く、何處にも置かねば、我身に一ぱいに行きわたりて、全體に延びひ
ろごりてある程に、手の入る時は手の用を叶へ、足の入る時は足の用を叶へ、目の入る時は
目の用を叶へ、其入る所々に行きわたりてある程に、其入る所所の用を叶ふるなり。萬一も
し一所に定めて心を置くならば、一所に取られて用は缺くべきなり。思案すれば思案に取ら
るゝ程に、思案をも分別をも殘さず、心をば總身に捨て置き、所々止めずして其所々に在て
用をば外さず叶ふべし。心を一所に置けば、偏に落るといふなり。偏とは一方に片付きたる
事を云ふなり。正とは何處へも行き渡つたる事なり。正心とは總身へ心を伸べて一方へ付か
ぬを言ふなり。心の一虛に片付きて一方缺けるを偏心と申すなり。偏を嫌ひ申し候。萬事に
かたまりたる

Seeing that [one limb] has been captured what the body does is somewhat disjointed. The right foot
will get placed where one has a mind to, one has it in mind to capture bu the positioning of the right
foot, and the body [movements] are disjointed. Certainly one has it in mind to place [the right foot]
somewhere, and in regard to making use of the remaining directions, everything will be somewhat
disjointed, for example. Being that the case, namely, the mind will drift to whatever it does. What is
said about one own responses is that they will be placed when and where they are, one's own body
conducting it's segments to reach out, the whole body extending out and exerting itself on account of
what is happening. Entering with one hand at the time, the hand being used to meet the occasion with.
Entering with one foot at the time, the foot also being used to meet the occasion with. Entering by the
eyes at the time, the eye likewise being used to meet the occasion with. Entering like this and extending
out to reach here and there because of what is happening. Entering like that to meet the occasion and
making use of this and that. Ten thousand things becoming one and surely one single circumstance, the
mind having been placed wherever it would be. Making the capture or being captured both would be
disjointed. The considerations in such situations would be considerations of capturing and being
captured, and even in these considerations and their discretion there is nothing left remaining. One's
whole body and mind otherwise being ignored are stopping [the opponent] here and there, positioning
in here and there, and these are not separate from what else is made use of when meeting the occasion.
Together with the heart and mind putting a stop to it, it's said to be earnestly seeking his downfall. It's
said to be like the subject of joining the written radical left hand side of a [Sino-japanese] character yo
the character's other side [to form what word//outcome that one wants]. Regarding what is just and
correct, there is the subject of what has become prevalent throughout the circumstance and place. The
correctness of heart and mind permeates through the entire body, and so it's said to cling to a particular
course of direction. Even the slightest gap in what one has in mind causes what one does to be
disjointed and odd. As if one had attached the wrong left hand side radical to a [Sino-japanese] written
character [forming what is not a word, or forming the wrong word]. The 10,000 things will be made certain.

—— (127) ——
は、偏に落るとて道に嫌ひ申す事なり。何處に置かうとて思ひなければ、心は全體に伸びひ
ろごりて行き渡りて有るものなり。心をば何處にも置かずして、敵の働によりて、當座々々
心を其所々にて可用心歟。總身に渡つてあれば、手の入る時には手にある心を遣ふべし。足
の入る時には足にある心を遣ふべし。一所に定めて置きたらば、其置きたる所より引出し遣
らんとする程に、其處に止りて用が拔け申し候。心を繫ぎ、猫のやうにして餘處にやるまい
とて、我身に引止めて置けば、我身に心を取らるゝなり。身の内に捨て置けば餘處へは行か
ぬものなり。唯一所に止めぬ工夫是れ皆修業なり。心をばいづこにも止めぬが、眼なり肝要
なり。いづこにも置かねばいづこにもあるぞ。心を外へやりたる時も、心を一方に置けば、
九方は缺けるなり。心を一方に置かざれば、十方にあるぞ。

六、本心と妄心

Even when most earnestly seeking his downfall, there is the subject of it being seen as despicable to
occur in the very streets. But wherever it happens to be occuring, there is not to be much thought given
to this. Generally one proceeds to carry out what one has in mind, and to make use of what one can.
One has not oneself placed what is happening as one carries out what one has in mind to do, it came
according to the actions of the enemy. In that immediacy, which is ongoing, ought one not to make use
of what one has available and in mind to do? Would not the entire body be carried away in this? And so
entering with one hand at the time, one has it in mind to use the hand since the hand was there.
Entering with one foot at the time, one has it in mind to use the foot since the foot was there. One is
but making use of the singular circumstances of what occurs and is there. The circumstances being
positioned like that, there having been the failure to withdraw when one could have. One ought to
expect it to come down to making use of what there is to put a stop to the circumstances. As for
associations that the mind forms, obviously the cats will help themselves to what bits remain of the
circumstance to the larger extent. Oneself having been restrained [by the enemy] at the time and so
one's heart turns to making the capture. There is the sense inside oneself of having abandoned self
concern and what remains of self concern then is what conducts the thing, for example. The cunning
tactic needed to put a stop to a unique circumstance itself, this being what training concerns itself with,
for instance. Even when one knows not to what extent one will have to go the put a stop to it. And so
the eyes themselves are a crucial point. And there is also the extent that one will not have to go to in
what lengths will prove necessary. Beyond what one has in mind at the time, one has in mind a
singular course of direction. The remaining nine directions are disjointed. One would place [all effort]
into one course of direction, but there are yet 10 courses of directions.

Roku, Honshin To Mōshin

Six, True Feelings and Delusion of the Mind

—— (128) ——
と申す事の候。本心と申すは一所に留らず、全身全體に延びひろごりたる心にて候。安心と
は何ぞ思ひつめて一所に固り候心にて、本心が一所に固り集りて、妄心と申すものに成り申
し候。本心は失せ候と、所々の用が缺ける程に、失はぬ樣にするが專一なり。たとへば本心
は水の如く一所に留らず、安心は氷の如くにて、氷にては手も頭も洗はれ不申候。氷を解か
して水と爲し、何所へも流れるやうにして、手足をも何をも洗ふべし。心一所に固り一事に
留り候へば、氷固りて自由に使はれ申さず、氷にて手足の洗はれぬ如くにて候。心を溶かし
て總身へ水の延びるやうに用ゐ、其所に遣りたるまゝに遣りて使ひ候。是を本心と申し候。

七、有心之心、無心の心

と申す事の候、有心の心と申すは、忘心と同事にて、有心とは「あるこころ」と讀む文字に
て、何事にても一方へ思ひ詰る所なり。心に思ふ事

There are the things that one does. Regarding the so-called 'true feelings', collectively they do not stop,
the entire body having become committed extends and stretches out carrying out what one has in mind.
Regarding the 'deluded mind', it's something that one gives consideration to, having in mind to fortify
oneself by it. True feelings gathering together and fortifying within it, one ought to expect it to happen
even when the 'deluded mind' is occurring. When true feelings vanish, the using of this and that
becomes disjointed, making for an exclusive condition of error. For an example, true feelings are much
like water which never really stops flowing. The 'deluded mind' is much like ice, one ought not to
expect that the hand and the head will move with any real certainty. When ice is melting it turns into
and behaves like water, obviously flowing wherever it does. Both the hands and the feet doing so wash
over and away. One has it in mind to halt it in a single lump where it stands, ice having hardened one
does not freely deliver the message to be given, much as with water when rinsing the hands and feet.
As the heart and mind melt, the entire body makes use of flowing and extends out like water, and so
performing under these circumstances is like merely conducting a mission of sorts. This is 'true
feelings' and the doings of it.

Shichi, Ushin No Shin To Mushin No Shin

Seven, The Spirit of the Distracted Mind and the Spirit of the Mindlessness

There are things that are done. The mind set that is the 'Distracted Mind' and what its doing are. The
'deluded mind' and what is the same as it. Regarding the 'Distracted Mind' 「Here is the mind itself」
as with reading written characters, no matter what the thing is, it involves regularly thinking about and
questioning things along a single course of direction. The subject of how the mind thinks...

—— (129) ——
ありて分別思案が生ずる程に、有心の心と申し候。無心の心と申すは、右の本心と同事にて、
固より定りたる事なく、分別も思案も何も無き時の心、總身にのび廣ごりて全體に行き渡る
心を無心と申す地。どつこにも置かぬ心なり。石か木かの樣にてはなし、留る所なきを無心
と申也。留れば心に物があり、留る所なければ心に何も無し。心に何もなきを無心の心と申
し、又は無心無念とも申し候。此無心の心に能くなりぬれば、一事に止らず一事に缺かず、
常に水の湛へたるやうにして、此身に在りて用の向ふ時出で叶ふなり。一所に定り留りたる
心は、自由に働かぬなり。車の輪も堅からぬにより廻るなり、一所につまりたれは廻るまじ
きなり。心も一時に定れば働かぬものなり。心中に何ぞ思ふ事あれば、人の事をも聞きなが
ら聞えざるなり、思ふ事に心が止るゆゑなり。心が其思ふ事に在りて一方へかたより、一方
へかたよれば、物を聞けども聞えず、見れども見えざるなり。是れ心に物ある故なり。ある
とは、思ふ事がある

...when prudent discretion has not bourne fruit. This is the 'Distracted Mind' and it's doings. Regarding
the mind set of being Mindlessness and its doings, there is the previously mentioned 'true feelings' and
what is the same as it. Of course, it's about what has not been established in the circumstances, even
with prudence, even with consideration, no matter what is lacking in the heart and mind at the time, the
entire body encompasses entirely in conducting everything. That is the mind set of being Mindlessness
and its doings. This is so even when a single point of focus exists in the heart and mind. Even when
described in terms of wood and stone, mindlessness [or, 'selflessness'] and its doings can stop a
circumstance. Where otherwise one would have it in mind to put a stop to a thing, if one does not have
it in mind to put a stop to it, it's because of what one lacked by which to do it. Mindlessness does not
concern itself with what one lacks. Likewise the workings of being free from worthless and distracting
thoughts (mushin munen). Where this mindlessness [or, 'lack of self concern'] would frequently not
occur in circumstances, one cannot put a stop to a single thing as one is disjointed in even that single
thing. It becomes like the usual course of water openly filling a thing, this comes to exist in even the
body itself and in the directions of usage proceeding at the time when responding. Regarding when one
has it it mind to put a stop to a thing, there would be freedom in motion to do so. Even the wheels of a
cart rotate well because of the rigidity by which it turns. And so in other words one ought not to
impede their turning. Even having in mind what to do in a single instance would establish the
movements by which to do it. Ut would be the subject of the truer motivations in thought, and the
subject of people when they will hear you out and when they will not hear you out. Thinking about
these things when having it in mind to have put a stop to a thing, for instance. There are such thoughts
in the mind about a thing, and the mind inclines in a single direction. Preferring to incline in a single
direction, hear the thing out or not hear the thing out, observe the thing or to not observe the thing.
This is coincidentally what one has in mind for a thing, and how it is thought of after it has occurred.

—— (130) ——
なり。此有る物を去りぬれば、心無心にして、唯用の時ばかり働きて其用に當る。此心にあ
る物を去らんと思ふ心が、又心中に有る物になる。思はざれば、獨り去りて自ら無心となる
なり。常に心にかくすれば、何時となく後は、獨り其位へ行くなり。急にならんとすれば行
かぬものなり。古歌に「思はじと思ふも物を思ふなり思はじとだに思はじやきみ」

八、水上の胡蘆子

水上打胡蘆子捺着即轉。胡蘆子を捺着するとは、手を以て押すなり。瓢を水へ投げて押せば、
ひよつと脇へ退き、何としても一所に止らぬものなり。至りたる人の心は、卒度も物に止ら
ぬ事なり、水の上の瓢を押すが如くなり。

九、應無所住而生其心

This comes to exist as circumstances are coming to bear upon us, the mind becoming free of
obstructive thoughts and self concern, however one has planned to use this in one's movements at the
time, in that usage one seeks to nail the thing. Having it in mind and thinking to get passed the
circumstances like this, also there will be what truer feelings and senses one has of the circumstance.
As one would have thought to approach it, one is going through it all alone, with no real sense of self
concern about one's person. Usually one would cling to what one has in mind when going through it,
and one doesn't really know how long or far it will be to through it. It's to be conducting it from the
position of being alone, all by oneself. It happens suddenly and one cannot otherwise help oneself as
the circumstances have gone into motion. In the old Shamisen poems it said 「Even thinking about it
when one is not thinking about it, thinking out the circumstances, for instance. Not thinking about not
thinking it over.」

Hachi, Suijō No Koroshi

Eight, The Children of the Barbarian Bullrush On The Waters

The Children of the Barbarian Bullrush [Asiatic vikings] struck across the waters, leaving their imprint
upon us at every turn. The imprint left upon by the arrival of the Children of the Barbarian Bullrush by
means of their very hand they imprinted it themselves. The gourd bottles that they threw overboard
imprinted upon us, and we withdrew holding [several of them] under our arms. We tried to stop them
together wherever we could, and everyone's heart and mind was pushed to the extreme, and there is the
subject of the lower rank and file of our soldiers whom had tried to stop them. It was much like the
gourd bottles that came floating across the waters and impressing themselves on us.

Kyū, Ōmushojū Ni Shōgoshin

Nine, Respond To Having No Place To Live But Yet Live According To That Spirit

—— (131) ——
此文字を讀み候へば、「をうむしよじうじじやうごしん」と讀み候。萬の業をするに、せう
と思ふ心が生ずれば、其する事に心が止るなり。然る間止る所なくして心を生ずべしとなり。
心の生ずる所に生ぜざれば手も行かず、行けばそこに止る心を生じて、其事をしながら止る
事なきを、諸道の名人と申すなり。此止る心から執着の心起り、輪廻も是れより起り、此止
る心生死のきずなと成り申し候。花紅葉を見て花紅葉を見る心は生じながら、其所に止らぬ
を詮と致し候。慈圓の歌に「柴の戸に匂はん花もさもあらばあれながめにけりな恨めしの一本
身
世や」花は無心に匂ひぬるを、我は心を花にとヾめてながめけるよと、身の是れにそみた
る心が恨めしとなり。見るとも聞くとも、一所に心を止めぬを至極とする事にて候。敬の字
をば主一無適と註を致し候て、心を一所に定めて餘所へ心をやらず、後に拔いて切るとも切
る方へ心をやらぬが肝要の事にて候。殊に主君抔に御意を承る事、敬の字の心眼たるべし。
拂法にも敬の字の心

This would be much like reading the [Sino-japanese] written characters, 「(?!-)There is the chatter about
the God who made release of payment by means of the Cross (-?) 」 [Sorry, lacking any Kanji it's very hard to be sure how to translate this
quote??] and so there is a reading that exists. When doing the ten thousand techniques, there is not much by

way of thoughts about it being born in the heart and mind and so this causes the mind to halt
somewhat. If one did not make use of certain intervals to put a stop to it, then for instance is it from
what has not been bourne in the heart and mind? The heart and mind not having bourne fruit in the
circumstance, even the hand will not conduct what has not been bourne like this. By what [the hand]
does conduct there, then may it come to mind to put a stop to it. And so one will manage to put a stop
to the circumstances without much qualm and one may come to be recognized as an expert oneself by
it. This halting of it comes from the tenacity at the bottom of one's heart, having it's origins even in the
samsara endless cycles of death and rebirth. One ought to expect that this halting of it might arise in the
heart bourne from the escape from death [which is not yet due under the rules of samsara.] Having seen
the bright crimson leaves, the bright crimson leaves are seen. What has not been bourne in the heart
and mind under such circumstances the results is that it will be stopped anyways and that is what one
does. In the poetry of Jien it says 「The firewood is brought in the gates, and even the scent of flowers
permeates the place, much as will resentments throughout the body of the world itself 」 The
insentients of the aroma of flowers may one not have a heart and mind like these flowers? Likewise the
heart and mind that fill with resentments and so the body itself. Certainly, when hearing and seeing,
together with [what one hears and sees] it very much comes to mind to put a stop to the circumstances,
there is the written character 'respect' and also what one does from the statements about not having
even a single master. The heart and mind together with whatever else remains in the circumstances that
the heart and mind will not handle. And afterwards having cut away and omitted what one did, and the
direction in which it was cut away, and also what was not in mind to be done. These are crucial
subjects. Particularly, whether or not one has a master, and the subject of what sentiments will be
expressed. The written character 'respect' ought to be held in the mind's eye. When dealing with
methods of payment and compensation, 'respect' is a useful thing.

—— (132) ——
有り、敬白の鐘とて、鐘を三つ鳴して手を合せ敬白す。先づ拂と唱へ上げる此敬白の心主一
無適、一心不亂同義にて候。然れども拂法にては、敬の字の心は至極の所にては無く候。我
心をとられ亂さぬ樣にとて習ひ入る修行積古の法にて候。此稽古年月つもりぬれば、心を何
方へ追放しやりても、自由なる位に行く事にて候。右の應無所住の住は向上至極の位にて候。
敬の字の心は心の餘所へ行くを引き留めて遣るまい、遣れば亂るゝと思ひて、卒度も油斷な
く心を引きつめて置く位にて候。足は當座心を散らさぬ一旦の事なり。常に如是ありては不
自由なる義なり。たとへば雀の子を捕へられ候て、猫の縄を常に引きつめておいて、放さぬ
位にて、我心を猫をつれたるやうにして不自由にしては、用が心のまゝに成る間敷候。猫に
よく仕付をして置いて、縄を追放して行度き方へ遣り候て、雀と一つ居ても、捕へぬやうに
するが、應無所住而生其心の文の心にて候。我心を放捨て猫のやうに打捨て、行度き方へ行
きても、心

Even the bell ringing of most sincere respect, the hand meeting to it to give three peals does so with
most sincere respect. Prior to payment and the sound of its peals rising, this most sincere respect is
bourne in the heart of even those whom lack a single master. It has the same meaning as wholehearted
and undivided attention. Even though having a certain payment method, the heart of the written
character 'respect' [ NOTE: 句 composed of 勹 and 口 means "how a thing is addressed by word of mouth"] very much ought not to be
lacking. Even when one's own heart and mind are gripped by rebellion, there are the usual customs of
entering into the practice methods of asceticism. The plan is that this training would last for months
and years. In whatever ways the heart and mind would purge themselves, it's the subject of conducting
this from a position of total freedom to do so. The previous mentioned responses involve living with
rather unconditional states of existence that allow for positions of exceedingly advanced development.
Regarding the heart of the written character 'respect', what else remains of that heart entails the
conducting of restraint in performing it. What is thought about what should be conducted in the
disorder [of ones own heart and mind], even in the ranks of foot soldiers the [flow of] oil is not
interrupted despite the positions of disheveled pushing and pulling. The foot will falter for the moment
since the heart and mind are scattered, and there is the subject of the morning [when that has ended].
Usually there are the variety of "and so thus" and the "much like this" which impede the teachings and
ways one can carry things out. For example, there are the chicklets of the sparrow that will be snatched
up, and the pulling this way and that of the cat on the leash. And the positions of those whom will go
free, one's own heart and mind are like the cat that pulls this way and that because one is not really
free. The heart and mind use what it can when it can as this sort of thing has spread itself throughout.
Quite often the cat does what is customary for a cat to do, and so seeks release from the rope leash, in
whatever direction it may. Even a tree sparrow alights were it will, even if openly to be captured, the
response will be unconditional and so by the heart of that characteristic do they live. And so one's own
heart and mind becomes like a stray cat, struck and abandoned, conducting like that down every
boulevard...

—— (133) ——
の止らぬやうに心を用ひ候。貴殿の兵法に當て申し候はヾ、太刀を打つ手に心を止めず、一
切打つ手を忘れて打つて人を切れ、人に心を置くな、人も空、我も空、打つ手も打つ太刀も
空と心得、空に心を取られまいぞ、鎌倉の無學禪師、大唐の亂に捕へられて切らるゝ時に、
電光影裡斬春風といふ偶を作りたれば、太刀をば捨てゝ走りたると也。無學の心は、太刀を
ひらりと振上げたろは、稻妻の如く電光のぴかりとする間、何の心も何の念もないぞ、打つ
刀も心はなし、切る人も心はなし、切らるゝ我も心はなし、切る人も空、太刀も空、打たる
ゝ我も空なれば、打つ人も人にあらず、打つ太刀も太刀にあらず、打たるゝ我も稻妻のびか
らとする内に、春の空を吹く風を切る如くなり、一切止らぬなり。風を切つたのは、太刀に
覺えもあろまいぞ、かやうに心を忘れ切つて、萬のことをするが上手の位なり。舞を舞へば、
手に扇を取り足を蹈む、其手足をよくせむ、舞を能く舞はむと思ひて、忘れきらねば上手と
は申されず候。

Pay attention to how the heart and mind seek to stop a thing, that will allow you to nail your own brand
of martial art (heihō). The mind does not really stop the strike of the long sword with the hand itself,
the hand is but forgotten in the way that the circumstance is handled because people are being struck
and cut. It comes to mind [to stop the long sword] because of people, what people are being exposed
to, what you yourself are being exposed to. Even the way that the long sword is striking, understanding
what [self and others] are being exposed to. When so exposed it probably isn't so much coming to
mind to make the capture. The illiterate monks of Kamakura city, during the battle of Ookara, were
being cut and captured at the time. It's said that they suffered decapitation amid lightning strikes and
storm shadows as the occasional spring breeze would blow, they had cast aside their long swords and
ran away. Regarding the mind set of the undisciplined, as the long sword approaches upraised, much
like a garnish of the rice plant, there is a sudden outburst like flashes of lightning occurring at certain
intervals. No matter what sort of heart, no matter what sort of feeling, aye even the strike of the long
sword itself will be released by the heart and mind. Even the people being cut will be released by the
heart and mind. As the thing is running down the heart and mind will even release the sense of self.
The exposure of the people being cut, the exposure of the long sword itself, and as it's striking one is
exposed oneself. Even the people being struck are as if they are not people, the long sword becomes as
if it were not a long sword. And as the sword is striking one becomes as if one were but an
accompanying rice plant garnish. The cutting of the sword becomes as if it were spring winds blowing
through the skies. Everything comes to a stop. Things flying right along, one probably will not be able
to easily remember the movements of the long sword they will likely have been forgotten. As the entire
thing makes itself, there is the point of last moves made [that can be remembered], for instance. As if
one would be performing a dance, having taken the folding fan in hand and taking the dance-steps with
the foot, the hand and foot do so skillfully. When dancing, frequently one thinks of the dance itself, one
will have forgotten all but the last moves themselves.

—— (134) ——
未だ手足に心止らば、業は皆面白かるまじ、番皆心を捨てきらずしてする所作は皆惡敷候。

十、求放心

と申すは、孟子が申したるにて候。放れたる心を尋ね求めて、我身へ返せと申す心にて候。
たとへば犬猫鷄など放れて餘所へ行けば、尋ね求めて我家に返す如く、心は身の主なるを、
惡敷道へ行く心が逃げるを、何とて求めて返さぬぞと也。尤も斯くなるべき義なり。然るに
又邵康節と云ふものは、心要放と申し候。はらりと替り申し候。斯く申したる心持は、心を
執へつめて置いては勞れ、猫のやうにて、身が働かれねば、物に心が止らず染ぬやうに能く
使ひなして、捨置いて何所へなりとも追放せと云ふ義なり。物に心が染み止るによつて、染
すな止らすな、我身へ求め返せと云ふは、初心稽古の位なり。蓮の泥に染ぬが如くなれ、泥
に

Further yet, the hands and feet [while dancing] are not halted by the mind and heart. The more serious
and interesting of the techniques really do not involve abandoning the heart and mind in the
movements used in a bout despite the wickedness that is spreading throughout it all.

Jū, Kyūhōshin
Ten, Wanting For Peace Of Mind

And so as was said by Mencius, there are those whom are seen as able to do it. And so one seeks to
gain release, one has it in mind to restore things for one's own sake. As an example, the likes of dogs,
cats and chickens all work themselves free [of their restraints], and so one would carry out what
remains in the circumstances, much as if one were seeking to restore things for one's own household.
Regarding the heart and mind, these are like an emperor to the body itself, the wickedness moving and
spreading down the streets one wants to escape. One seeks to restore that which one wishes for.
Although it's now all come down to such as this, nonetheless there is justice, for instance. And also, it's
said that there is the occasion of peace time. The mind is crucial in seeking release. One ought to
expect to slip gently into it, a feeling much like this. The heart and mind having taken a hold of it as if
it were a reward, as it is with the cat [who wants to escape it's leash], and to this end the body will
labor. In circumstances when it was not in mind to stop a thing there is often some impression that
causes one to undertake doing so, and to some extent a point of abandoning oneself to the intention to
do so, said to be the justice of seeking freedom from it. In circumstances when it was in mind to stop a
thing, the stain of it is not stopped. It's said to wish for what one wants to restore for oneself, which is
the position of the initial intentions for which one practices. Much as the lotus flower leaves it's imprint
in the muck of the pond.

—— (135) ——
ありても苦しからず。よく磨きたる水晶の玉は、泥の内に入つても染ぬやうに心をなして、
行き度き所にやれ、心を引きつめては不自由なるぞ、心を引きしめて置くも、初心の時の事
よ、一期其分では、上段は終に取られずして、下段にて果るなり。稽古の時は、孟子が謂ふ
求其放心と申す心持能く候。至極の時は、邵康節が心要放と申すにて候。中峯和尚の語に、
具放心とあり。此意は即ち邵康節が、心をば放さんことを要せよと云ひたると一つにて、放
心を求めよ引きとどめて一所に置くなと申す義にて候。又具不退轉と云ふ、是も中峯和尚の
言葉なり。退轉せずに替はらぬ心を持てと云ふ義なり 人たヾ一度二度は能く行けども又つか
れて常に無い裡に退轉せぬやうなる心を持てと申す事にて候。急水上打毬子念々不停留と申
す事の候。急にたぎつて流るゝ水の上へ手毬を投ぜば、浪にのつてばつぱと止らぬ事を申す
義なり。

It's not difficult for the muck to take the imprint. Frequently when making improvements through
training, it's like polishing a quartz jewel. Entering into the muck, the heart imprints itself thereupon.
Going about place after place and circumstance after circumstance, the heart and mind pull them along
in going but not freely. The heart and mind draw them up tightly, and there is the subject of the initial
intentions at the time. In the parts of one's life time and at the upper levels it does not conclude in
merely capturing and being captured. In the lower levels, there is but progress to be made, for instance.
At times when making the practice, as was said by Mencius, frequently one sees that the heart and
mind take a hold of the wish to be set free from it. Very much so at times, during the occasion of more
peaceful times, it's said that having freedom in mind is crucial. In the language of the High Priest
Nakamine, the heart and mind have tools that are used to gain freedom. With these feelings, namely,
upon the occasion of more peaceful times, it's said to be crucial that the heart and mind would seek
freedom as it's number one objective. Drawing this from the wish to have peace of mind, together with
the conditions of justice. And also it's said to be the conviction of the tools [possessed by the heart and
mind by which to gain freedom], this is what the High Priest Nakamine said in his writings.It's said that
the heart and mind sometimes exchange this for something less desirable when back-sliding in
behavior. Justice, for instance, gets put aside. People skip along like this one occasion after another in
their doings, even when otherwise just dragging along. Usually there's something missing in behavior
when back-sliding too much, and it's said that the heart and mind adopt this course in circumstances at
the time. Suddenly someone like the Mariko [name means "Children of the Burrs", Asiatic vikings?] comes along striking
against us across the waters, and we are left thinking constantly about how we did not put a stop to
them. They were there all of the sudden and acting as if they were playing Temari ball games with us,
we tried to stop the waves of them bowling us over, but it's said that there was yet justice.

—— (136) ——
 十一、前後際斷

と申す事の候。前の心をすてず、又今の心を跡へ殘すが惡敷候なり。前と今との間をはぎつ
てのけよと云ふ心なり。是れ前後の際を切つて放せと云ふ義なり。心をとヾめぬ義なり。

十二、水焦上、火酒雲

「武藏野はけふはなやきそ若草の妻もこもれり我もこもれり」此歌の心を誰か「白雲のむす
ばヾ消えん朝顔の花」
内々存寄候事、御諌可申入候由、愚案如何に存候得共、折節幸と存じ及見候處あらま
し書付進じ申候。
貴殿事、兵法に於て今古無雙の達人故、當時官位俸祿世の聞えも美々敷候。此大厚恩を寐て
も覺めても忘るゝことなく、旦夕恩を報じ忠を盡さん

Jūichi, Zengo Saidan

Eleven, Circumstances Before and After

There is what is said on the subject, prior to what one had in mind but abandoned, and what traces it
left behind in the heart and mind at the present moment, and how that has spread itself throughout the
circumstances. These intervals of prior to, and at the present moment, are said to occur throughout due
to the heart and mind itself, for instance. The context of this sort of occasion is one of earnestly freeing
oneself and is said also to be a matter of justice. Having it in mind to put a stop to it was justice, for
instance.

Jūni, Eishōjō Kaju'un

Twelve, Scorching At Length, the Clouds of Strong Drink

「At Musashino [(place or family name, means: "Field of the Warrior Storehouses")] flowers bloom
on the edge of the green grass, where I have shut myself in living in my isolation.」Someone said that
the true meaning of the poem is「White clouds billow and then vanish leaving naught but the flowers
of the Japanese morning glory.」

It is the subject of the oddities of one's private life and private circles, and the causes for which
one dissuades others from entering them. And of what foolish ideas have occurred within these
circles along the way. And occasionally what good fortune did and did not befall you in these
circles. As well as, what things were observed and recorded in one's journal notes.

It is the subject of one's immediate residence, and with the Paramilitary methods (heihō) both now and
in ancient times, without having a master expert in both fields [e.g.; modern and premodern
Paramilitary methods] one would obey due to the payment received as an official rank one had
received, and so the beauty of this had spread itself throughout. This greater favor and obligation upon
awakening from one's slumber was not to be forgotten. Both morning and night one made reports by
this obligation, until one's duty was satisfied. One would finish such matters based off these feelings.
TRANS NOTE: The page entry above has an entry labeled Zengo Saidan or, Circumstances Before and After. This is
parallel to an entry in the Jujutsu Higakusho and its tail section, namely the Kyūkajo no gokui, or “Secrets of the Nine
Items”. That version of comments on this same subject bears the title Zengo Saidan No Koto or, “The Matter of the
Context of Refusal” The difference in how I translated the instances for a title has to do with the word 'saidan' (際斷) itself.
The entire term Zengo saidan (前後際斷) is a Buddhist and Zen Buddhist term, but is used outside (Zen) Buddhism and then
uses a slightly different but related definition. It sometimes not easy to tell exactly which of these definitions fits best? But
suffice to say that, in Buddhism it is part of the rejection of the world and it's worldly ways schematic. It means to live in
the present moment (as a (Zen) Buddhist) neither being caught in the past nor fearing for the future. Outside Buddhist usage
it does have the same sense (living for now and not the past or the future.) But it also (through the definitions possible for
'saidan' (際斷) or in Mod Jap (際断) bears the meaning of: “Issuing a judgment (especially one of rejection)”. In this sense, it
can still carry the force of meaning as given in Buddhist terminology. Namely “to judge and reject both the past and the
future in favor of the present moment”. ( 斷) or in Mod Jap ( 断) has a basic meaning of “severance; decline; refuse” and
hence from the two characters in the dual compound construct 'saidan' ( 際斷) or in Mod Jap (際断) literally says “rejection
of the occasion” When encountered in the case of the “Paradigm” discussed in the Jujutsu Higakusho, which is expressly
the subject of Zengo Saidan No Koto, even when found in the densho of the various schools (Kitō ryū, Shin no shintō ryū,
Tenjin shinyō ryū and etc) So now, a very very important question arises... is this instance of the subject of Zengo Saidan
and its' commentary in any relationship to that same “paradigm” (of the Jujutsu Higakusho)? As far as we can determine
from the context of the statements the answer is NO NOT REALLY, it seems to be exactly what the Table of Contents of
the Sakkatsu Jizai lists it as, further sub topics within the general subjects of: “Section Four, The Secrets of the Monk
Takuan and the Sword and Zen Are One” But... and it's a big 'but', what it says here about Zengo Saidan can and should be
added to the Zengo Saidan No Koto found there and in the densho scrolls to increase one's understanding of the entire
subject that Zengo Saidan constitutes.

—— (137) ——
ことをのみ思ひだまふべし。忠を盡すといふは、先づ我心を正くし身を治め、毛頭君に二心
なく、人を恨み、咎めず、日々出仕怠らず、一家に於ては父母に能く孝を盡し、夫婦の間少
しも猥になく、禮儀正しく妾婦を愛せず、色の道を絶ち、父母の間おごそかに道を以てし、
下を使ふに私のへだてなく、善人を用ゐ近付け、我足らざる所を練め御國の政を正敷し、不
善人を遠ざくる樣にするときは、善人は日々に進み、不善人もおのづから主人の善を好む所
に化せられ、惡を去り善に遷るなり。如此君臣上下善人にして欲薄く奢を止むる時は、國に
寳滿ちて民も豐に治り、子の親をしたしみ、手足の上を救ふが如くならば國は自ら平に成る
べし。是れ忠の初なり。この金鐵の二心なき兵を、以下樣々の御時御用に立てたらば、千萬
人を遣ふとも心のまゝなるべし。則ち先に云ふ所の千手觀音の一心正しければ、千の手皆用
に立つが如く、貴殿の兵術の心正しければ、一心の働自在にして、數千人の敵をも一劍に隨
へるが如し。是れ

It's said regarding one's duty being satisfied that it's managed physically by the correctness of one's
own heart and mind. Having absolutely no duplicity towards the monarch, or any of the resentment of
people, not placing any blame, and not being negligent in one's daily duties. By means of a single
household, quite frequently through it's parents mother and father, having satisfied filial piety, and not
trifling in the exercise of the rites of proper intermarriage. The courtesy of not keeping secret
mistresses, avoiding the ways in which one stains oneself, by means of proper conduct as being parents
oneself. And beyond what one makes use of in such things, tirelessness in handling one's private
affairs. Making use of the company of correct and proper people. Spreading the correct ways of the
government by not setting foot into that which does not hold to the correct governmental ways. Being
quite sure to distance oneself from the vices of other people, and being like a virtuous person making
progress against such vices in one's own daily life. So that even when the vices of other people are
transforming into virtue towards the governmental people, and evil is departing away, so that one may
take action with continuing virtue. Much the same as with the names of both high and lower ranked
retainers whom were virtuous people, whom dispersed their own avarices and put a stop to them at the
time. And so, in our country, the treasuries filled even of treasure families, and there was abundant
healing of it. Making further a corpus of [treasure] children by their parents, beyond the rescue that is
possible with the limbs of the body, in much this way our country leveled out nicely. This was a
renewed fidelity. Both this quality of gold and of iron did not lack even in our paramilitary [arts and
practices]. And after this came the various reigns of the Emperors of Japan, and the stances of each
were implemented. Tens of thousands of people swift to implement them to their hearts content.
Namely, it's said that before all this happened, the many hands of the thousand-armed Kannon all
moving with a single mind to perfect justice, much as if all thousand hands were moving to effect this
purpose. Making with perfect correctness that our residences were the abode of the Paramilitary
artifices (heijutsu), all as a single heart moving quite freely. And even the fate of the thousands of
enemy peoples were all made subject to a single sword [that of the Emperor of Japan].

—— (138) ——
大忠にあらずや。其心正しき時は、外より人の知る事もあらず、一念發る所に善と惡との二
つあり、其善惡二つの本を考へて、善をなし惡をせざれば、心自ら正直なり。惡と知り止め
ざるは、我好む所の痛あるゆゑなり。或は色を好むか、奢氣隨にするか、いかさま心に好む
所の働きある故に、善人ありとも我氣に合はざれば善事を用ゐず、無智なれども、一旦我氣
に合へば登し用ゐ好むゆゑに、善人はありても用ゐざれば無きが如し。然れば幾千人ありと
ても、自然の時、主人の用に立つ物は一人も不可有之、彼の一旦氣に入りたる無智若輩の惡
人は、元より心正しからざる者故、事に臨んで一命を捨てんと思ふ事、努々不可有。心正し
からざるものゝ主の用に立ちたる事は、往昔より不承及ところなり。貴殿の弟子を御取立て
被成にも、箇樣の事有之由、苦々敷存じ候。是れ皆一片の數寄好む所より其病にひかれ、惡
に落入るを知らさるなり。人は知らぬと思へども微より明かなるなしとて、我心に知れば、
天地鬼神萬民

There was no greater loyalty than this. Such correctness of heart at the time, and beyond this there was
no subject that the people did not understand. The condition of a most perfect resolution in regard to
good and evil both, having thought it over about both good and evil, establishing the good and
rejecting the evil. A frank honesty about it in one's own heart and mind. Knowing when evil has not
been put a stop to, taking the position oneself that it is to allow sickness to continue. Or quite possibly
having preferred the stain of avarice, that such lasciviousness is to be as if at the mercy of the waves. A
deception of the heart and mind that consequently effects one's actions. The virtuous person knows that
one ought not to meet with that spirit since there are no conducts of good deeds in it. And even when
[people are] ignorant, in a single morning that is coming they may turn to the implementation of good
deeds. Much as when virtuous people suddenly desist from implementing good deeds. That sort of
circumstance with thousands of people is exceedingly spontaneous at the time, and the affairs of the
heads of households not even a single man should be like this. Yet somewhere, over there, upon a
single morning the spirit enters upon the ignorant and inexperienced people. From a foundation of
having no correctness of heart, that being what caused it. Having looked over the subject, and thinking
that is is fundamentally the abandonment of life itself, they act, thinking that it should not be the case.
From having no correctness of heart in any given circumstance, the subject of implementing the chief
points [of correctness] since it is useful. From ancient times, there was some disagreement in the
circumstance surrounding it. Even having made patronage in our homes for students of the subject, for
the cause of the various articles to be studied, yet did hardship spread far and wide. All of this
becoming the substance of a single preferred fate, that of the ailments it would dispense with. Knowing
that wickedness was dropping away as we entered into it. The people having known and thought it out
to even the minute degree, yet they were not perfectly clear on some parts of it. Knowing what is in
ones own heart and mind, even the clans of the Fierce gods of Heaven and Earth knowing this.

—— (139) ——
も知るなり。如是して國を保つ、誠に危き事にあらずや。然らば大不忠なりとこそ存じ候へ。
たとへば我一人いかに矢猛に主人に忠を盡さんと思ふとも、一家の人和せず、柳生谷一鄕の
民背きなば何事も皆相違仕るべし。總て人の善し惡しきを知らんと思はヾ、其愛し用ゐらる
ゝ臣下、又は親み交はる友達を以て知ると云へり。主人善なれば其近臣皆善人也、主人正し
からざれば臣下友達皆正しからず、然らば諸人みななみし隣國是を侮るなり。善なるときは、
諸人親むとは此等の事なり。國は善人を以て寳とすと云へり。よく〱御體認なさるべし。人
の知る所に於て、私の不義を去り、小人を遠け賢を好む事を急に成され候はヾ、いよ〱國の
政正しく、御忠臣第一たるべく候。就中御賢息御行跡の事、親の身正しからずして、子の惡
しきを責むこと逆なり。先づ貴殿の身を正しく成され、其上に御異見も成され候はヾ、自ら
正しくなり、御舎弟内膳殿も兄の行跡にならひ正しかるべければ、父子ともに善人となり、
目出度

The country was preserved in this way, indeed, there was no lack of dangers existing in it. Being that
the case, great impropriety also existed in doing so. As an example, oneself as but one of the people,
endured however many ferocious arrows, and it was thought that the loyalty of the heads of households
was satisfied [in how they endured it]. A single household that lacked a male at the time, such as Yagyū
Taniichi(?), would disobey and infringe in their discrepancies of servitude. The right and wrong of
everyone involved was known and given consideration. And the services of the much beloved lower
ranked retainers, and also the succession of parents and grandparents, and of friends, were all known
and spoken of. Since the goodly virtues of the heads of households and such as the goodness of the
vassals and the retainers whom were people of virtue, there was otherwise no questions raised about the
conduct of the heads of household. Likewise no questions asked about the conduct of the friends or the
retainers themselves. Being that the case all the many people in the neighboring countries looked down
upon us with some disdain. The virtue at the time, many people whom were closer reacted to this
subject and etc. The country was said to have become like a treasure trove due to the virtues of the
people. Quite often this sort of thing must be based upon understanding that was gained by actual
experience. By what the people knew at the time, and distancing themselves from immorality even in
their private affairs, even the lessor peoples preferring to distance themselves respectfully, allowed it all
to be established rather swiftly. Having a just and correct government for the country, loyalty from the
retainers was a top thing needed. Above all, the subject of self-composed and intelligent management
and the conducting of it. The corpus of those who initiated it having been upon correct doings, and the
subject of correcting wicked conduct among our children. Prior to that was the establishment of
correctness among the corpus of the heads of households, ergo correctness oneself. The younger
generations serving at the low set tables, behaving correctly towards their own older siblings, father
and child together having made auspicious the virtues of being a good person.

—— (140) ——
かるべし。取ると捨つるとは、義を以てすると云へり。唯令龍臣たるにより、諸大名より賄
を厚くし、欲に義を忘れ候事、努々不可有候。貴殿亂舞を好み、自身の能に奢り、諸大名衆
へ押して參られ、能を勸められ候事、偏に病と存じ候なり。上の唱は猿樂の樣に申し候由、
また挨拶のよき大名をば、御前に於てもつよく御取成しなさるゝ由、重ねて能くよく御思案
可然歟。歌に
心こそ心迷はす心なれ、
心に心こゝろゆるすな。

但馬守が遂に天下無敵の達人となつたのは、其の天稟非凡の技能と、鍛錬修業の功によるこ
と勿論であるが、澤庵和尚の敎傳に依ることも亦極めて尠くはあるまいと思ふ。

Regarding what is accepted and what is rejected, it's said to be done by way of just correctness.
According to the commands of Ryūshin [name means "Dragon Retainer"] several of the Daimyō feudal lords craved
bribery, and there is the subject of how justice was being forgotten in the course of this avarice. This
ought not to exist even in the least. As if having a preference for boisterous dancing in your place of
residence, even treating it as if you have some skill at doing so, several of the Daimyō feudal lords
went this route rather en masse at times. And being advised of [their] skill at so doing, humbly
acknowledged that they knew that it was a sickness to be doing so. Beyond these recitations, it's said to
be due to the cause of idle monkey business. And much the same as the greetings of a trickster spirit
when carried on by the likes of a Daimyō feudal lord. When smoothing it all over [with lies] is much
the same as removing the innards before dressing dinner [one really cannot]. And will one not have to
do so many times repeatedly? In the Shamisen poetry it says
that the heart and mind stray wherever the heart and mind do,
and the heart and mind think to do whatever they think to do.
At Tajima-shū,finally there came to be master experts whom were unequalled, having technical skill of
extraordinary natural talents. There were accomplishments of training and the pursuits of knowledge,
of course. [Spoken in a voice of contempt?] In the teachings of the Priest Takuan, there is some
reliance upon such subject matter and quite often there is a lack of it is thought to be the case.

—— (141) ——
 第七章 氣合術の實例
第一節 人類の氣合
千利休加藤清正氣合競べ
千の利体は實に氣合術の妙を得た人物であつた。秀吉も、『利休の茶の立て方、人々見よ、
身體いさゝかもすきまない、悟道に叶うて居る、劍を以て打ち込むに由ない、百事是であ
る』と激賞された位である。然るに加藤清正之を聞きて、如何かして利休の隙を見付けて一
擊を加へ樣といふ念を持て、一日秀吉に侍して、利休を其の庵に訪ひ、寸分の油斷なく利休
の隙を覘つて居る、然るに、或る瞬間に利休の隙を見付けたと見えて、疊でも打つゝもりか、
手に持ちたる扇をヤツト自分の腹に當てたのが早いか、利休が此の電光石火の機を悟つたの
が先きか、殆ど先後の區別が付かない位で、利休が、『ヤツ是れは清正殿には感服の至り、
殿下は

Daisichijō Kiai-jutsu To Jitsurei

Chapter Seven, Examples of the Art of Kiai

Dai 'issetsu Jinrui No Kiai

Section One The Kiai of Human Beings

A Comparison of the Kiai of Katō Kiyomasa and Sen no Rikyū

Regarding the thousand advantages of the body, really, when having become skilled at the Art of the
Kiai, one can nail the personality of other people. Even [Hidekichi /?/ Hideyoshi] said 『 From the
practices of the tea ceremony, Sen no Rikyū (1522-1591) had gained an enlightenment based off seeing
that each person does not incline their bodies in the same way, much as people do not strike with the
sword in the same way. There are a hundred different ways. 』 This has received some enthusiastic
praise. However, Katō Kiyomasa (1562-1611) having heard rumor of this, under whatever
circumstances had taken the opportunity presented by Sen no Rikyū to take another poke at it to
increase understanding. One day while attending upon [Hidekichi /?/ Hideyoshi], inquired of where
Sen no Rikyū had taken hermitage retreat, but having already looked into the subject actually was
already somewhat aware [of the answer]. After a certain point having seen the opportunity that Sen no
Rikyū presented to take, he struck even the tatami mat itself [e.g.; drove a point in the conversation
straight to it's foundation.] Having taken a folding fan into his hand, he gave a quick strike to the belly
himself. Sen no Rikyū like this had a sudden chance enlightenment before, and almost invariably there
was no real difference between these two things. It was said of Sen no Rikyū 『Regarding this fellow
Mr. Kiyomasa, he had the utmost admiration. Regarding his Highness,...

—— (142) ——
實に善き臣下を持たれた』と言つて清正の顔をヂロツと眺める。清正は此の間髪を容れざる
瞬間に、アツト氣を奪はれて、腹に當てし扇が動けなくなつたといふ。此れは清正が慥に利
休の隙を見付けたのである。それは丁度此の時、蠅が一匹飛んだのが利休の心に映つたので
ある。此の石火の機を看破した清正の眼力もなか〱賞賛に價する。さればこそ利体も秀吉に
向つて、殿下は善き臣下を持たれたと言つたのである。併し清正の氣合を見て取つた利休の
心眼、亦實に驚くの外はない、清正が先に出たのであるけれども、利休は更に後の先を制し
て、清正を屈せしめた譯である。清正がシメタ、隙を見付けたといふ所に、油斷が生じ弛み
が來て、隙があつた所を、却つて利休に乘せられたのである。此の他古の英雄豪傑が行つた
氣合の實例は、枚擧に遑がない位であるが、多く諸書に散見する所であるから、唯一例だけ
に止めておく。

第二節 動物の氣合

...really it was an act of goodness for the retainer to have taken it [the folding fan?] into his hands. 』
There are also remarks about the look on Kiyomasa's face and the look in his eyes. About Kiyomasa,
all this did not happen in a single flash of an instant, they were engaged [in speakings and doings] and
so enthralled when he struck at the belly with the folding fan. It's said that he did so without much
movement. About all this, undoubtedly Kiyomasa had seized the opportunity provided by Sen no
Rikyū, precisely so at that moment. As if to captivated by Sen no Rikyū as if one who had in mind a
single fly as it flew by, and this sudden flashing of insight provided by Kiyomasa and of some
commendable value indeed. Just as one would expect, even with physical advantages, having gone in
the direction of [Hidekichi /?/ Hideyoshi], and in regard to his Highness there was the goodness in the
act of the retainer having taken it into his hand, as had already been remarked. However, seeing the
control ('kiai') taken by Kiyomasa as he held Sen No Rikyū in his mind's eye, and really there was
nothing beyond being astonished. Kiyomasa, however, before having proceeded with it, like Rikyū
having restrained himself afterwards, Kiyomasa was interpreted as having submitted himself.
Kiyomasa's restraint even if only after having seized the opportunity in the circumstances, [Kiyomasa]
had exposed the negligence caused by slack looseness. He had struck as if through a chink in the
armour, whereas to the contrary Sen No Rikyū had been borne along through such. Other warrior
heroes of old like this are given as the example of the conducting of the kiai, indeed there are too many
to count. There being such position as this, the circumstances of many and various of them are written
about, and the unique practices they had for stopping a thing.

Daini-setsu Dōbutsu Kiai

Section Two The Kiai of Animals

—— (143) ——
氣合術は、たヾ人間同士の間に行はるゝばかりでなく、又人間と動物との間にも行はろゝの
である。即ち吾人は氣合の術によつて、動物を自在に制することが出來るのである。例へば
空飛ぶ鳥を動けなくするとか、荒れ廻る駻馬を馭して從順ならしむるとか、猛獸を馴して思
ふ通りに從はせ、亦毫も害を加ふること無からしむるとかいふ樣なことが出來るのである。
所謂動物氣合といふことを、實際に行ふことが出來るのである。然るに西洋の人は、氣合術
といふことに、未だ氣が付かぬと見えて、哲學だとか心理學だとか其の他の學問に於て、隨
分研究もし實驗もして居るに拘らず、未だ氣合術といふことは、更に念頭にないと見えて、
その研究もなければ說明もない。されば動物氣合といふ樣なことは、夢にも知らない。併し
ながら動物催眠といふことに就いて隨分實驗をも爲し、研究をも積んで居る樣である。而し
て其の所謂動物催眠といふものは、全く動物氣合の消息を洩らして居るのであるから、先づ
一通り動物催眠

Regarding the Art of the Kiai, while being merely human creatures, as well as the goings and doings
thereof, yet also there is human beings and [in relationship to] animals and the goings and doings of
these. Namely, we [both] make use of the techniques of the Kiai, and one can freely take control of
certain animals by these. For example, the birds that move and fly through the skies, singing their songs
among other things. Or the wild rotations of unruly horses when being broken to their obedience and so
forth. One need give due consideration to the routes of taming of wild beasts, not the least of which is
what harm and injury can befall [man or beast] when doing so and not giving consideration. And what
is said of the subject of the kiai of so-called animals, which one can practically conduct oneself. But in
regard to the peoples of the West, and what they say about the Art of the Kiai, when seeing and taking
note of it, and if one ought to consider it to be a form of philosophy, or otherwise based upon
psychology, whatever the occasion it is yet a field of study. And although perhaps contemptible, there is
not much fuss made over the experimentation and research done for it. As yet what gets said about the
Art of the Kiai there is not much heed paid to what one sees. If there is no real research into it then
there will not be much explanation available. And in the case of the likes of what gets said about the
kiai of animals, and how some of it is beyond one's wildest dreams [ ALT TRANS: "..and how really none of it is unknown.."
both translations at once] And also there is what gets said about the subject of animal mesmerisation (saimin) and
what measures to take when making experimentation with it. There is even research to be compiled
about this. And so there is what generally gets said about that so-called animal mesmerisation (saimin)
and really it is what reveals [the secrets of] the kiai [def. is "control methods"] of the animals, animal
mesmerisation methods are a primary route...

—— (144) ——
概略を述べやう。

一、動物催眠の方法

獨逸の催眠學者プライエル氏の說に據ると、動物催眠といふことは除程 以前から發見されて
居たといふことである。羅馬のアタナシウス、キルヘルといふ人は、牝鷄に催眠術を施した
實験を書いて居る。其の方法は 次の如くである。先づ牝鷄の兩脚を一所に縛り附けて、地面
か或は臺の上に、其れを横臥させ、其れから十分落ち着いて靜かになつた所で、其の眼の處
から眞直に自堊の線を畵くのである。之を畵いて了つたら、其の脚を縛つた紐を靜かに解い
て、自由にしてやるのである。所が牝鷄は其の紐を解かれても、決して遁げて行くことはな
く、始め置かれた儘少しも動かす、靜かに臥て居るのである。此れは實に奇妙なことで、丁
度人間が催眠術を施

...to have expressed the sum of it.

Ichi, Dōbutsu Saimin No Hōhō

One, The Methods of Mesmerizing Animals

The German scholars on the subject of mesmerisation (saimin) especially the base suppositions of a
one Mr. Preior [name spelling?] as to what gets said about animal mesmerisation (dōbutsu saimin) and the
extent of it prior to its scientific discovery. Athanasius of Rome and what was said by Mr. Kiel [ name
spelling?] regarding people and how they perform the techniques of mesmerisation (saimin-jutsu) on a
roosting hen give indications about what one could put to pen. Such methods as those described in the
following pages. From the start taking a hold of and binding both the chicken's legs, [pressed] against
the ground or perhaps [pinned] while on its roost. Having lain it on its side in a short length of time the
chicken is calmed despite the circumstances. Despite what is in full sight of the chicken, as if somehow
whitewashed from it's view. There ought to be understanding of this white-washing brush stroke, that
the legs being bound, once the chicken is calmed can be untied! One is yet free to openly do [the
butchering]. And even though the chicken is no longer bound, by no means does the chicken try to
escape. It has to do with how one placed the chicken from the start, using only a little movement, the
chicken is lain calmly down on it's side. And so here, really, is a marvelous thing. And likewise one can
just as precisely perform the Art of Mesmerisation (saimin-jutsu) on human beings.

—— (145) ——
された時のやうな狀態である。そこで牝鷄が斯かる狀態になるのは、何ういふ譯であるかと
いふに、キルヘル氏の信じて居た所に據ると、牝鷄は、其の白堊の線を、己れを束縛して居
る桎梏と思ひ、自分は其れに束縛されて居るから、飛び去ることが出來ないのだといふ强い
想像を起し、其の想像の爲に動けなくなるといふのである。又ツエルマツクといふ人の實驗
によると、此の狀態になるのは啻に牝鷄のみではなく、鴨、鵝、七面鳥の雌、カナリヤ等の
如き他の鳥類も亦同一の狀態にすることが出來るのである。而して氏は鳥類を斯る狀態にす
るには、脚を縛り附ける必要もなく、又白堊の線を畵く必要もなく、唯手でシツカリ摑んで、
其の頭と頸とを、臺の上へ押し附けて居れば宜しいといふことを發見した。即ち暫く押へ付
けて居て放せば、依然として動かずに居るのである。又氏は種々の小い物體、例へば硝子球
の如きものを、鳥の眼の前に近づけて持つて居ても、同一の狀態に爲し得ること

Now then, it's not so much the condition of the chicken in what's being done as much as it is how the
circumstances are being interpreted [by the chicken]. In the beliefs of Mr. Kiel, it's being caused by the
circumstances of the state [of misinterpretation]. The chicken is thereby white-washing what it sees,
and so is thought to be virtually fettering itself for you, as if having bound itself so much so that it
cannot fly away and escape. Caused by the power of its own imagination so forceful an imagining that
it really cannot move at all. Also [the German scholar] Zermatick [name spelling?] said that people can make
use of this empirical observation, since chickens are not the only thing susceptible to the phenomenon.
Making someone a sitting duck, a cooked goose, forced to look in seven directions at once [ lit. “Hen of the
seven faced bird”], made to give away facts like a singing canary and etc. Several other kinds of birds as
well. Again one and all can be subjected to the same phenomenon. And finally, regarding what all these
gentlemen said, by the condition struck in each of these various kinds of birds, that their legs are as if
bound is something of a crucial point of it all, even though in fact they are not bound. Also, the white-
washing what otherwise is in their line of sight, this is a crucial point, even though there is nothing
blocking their view. The hand becomes much like the grip of a Siccari assassin. The hair of the head
and back of the neck will stand up, as one would be pulling upon it, when such a thing is observed it is
very good. Namely, it [the standing hair?] would be getting pushed down as they would be released
and yet still they will not move. Also there are various things about this that sometimes get
overemphasized, for example, much like the subject of a glass bead, it looks closer to the bird due to
their vision so it tries to pluck it up. One can make use of the same phenomenon when one observes
that it's occurring.

TRANS NOTE: Some of this 'bird' based terminology here is quite comparable to entries on the Kiraku ryū no densho that
uses the word bird ('tori') to discuss capturing tactics (capturing is also pronounced 'tori' in Japanese. Look in the translation
of that densho for similar material. Also in Kito ryu and a few others related to "plucking up a duck on the surface of a
pond".) There is no mistake in how I translated these terms ("duck", "goose", "seven faced bird" and etc).

—— (146) ——
を發見した。そこでツエルマック氏は、鳥類は凝視即ち物を見詰めて居ることに依つて、催
眠狀態になるといふ結論にしたのである。プライエル氏の硏究に據ると、鳥類を如上の狀態
にするには、白堊線の不必要なるが如く、物を見詰めさせることも亦不必要なのである。鳥
類が此の狀態になると、必す肢體が顫へるとか、呼吸の急迫するとかいふ樣な、恐怖の徴候
が現れる。そこで氏は鳥類が上述の如き動けない狀態になるは、突然捕へられた爲に生する
恐怖の結果であると考へ、而して氏は其の狀態を催眠狀態から區別して、恐怖的不隨狀態と
稲したのである。又ホイベル民も、動物の催眠に關する實驗をした。氏は主に蛙に之を實驗
したのであるが、プライエル氏とは其の說を異にして、之を普通の睡眠と同樣に考ヘた。と
ころがプライエル氏は、此の狀態が全く普通の睡眼と違ふといふことに就いて、大にホイベ
ル民の說を攻擊した。氏の說によれば、普通の睡眠は漸々に生じて來るのであるが、上述の
狀態は突

And so according to Mr. Zermatick [name spelling?] in regard to the various birds, namely when fixing their
gaze upon any given thing depending upon what it might be, there is the conclusion of when it
becomes the condition of being mesmerised by it. And in the research handled by Mr. Preior [name spelling?],
in the condition of the birds so discussed, there is that line of unnecessary "white-walling" to block the
thing out and this is a crucial point. This despite that they are in full view of the thing and again there
is the uselessness of this as a crucial point. Birds that suffer this condition are quite often resigned to
the trembling of their own limbs [as paralysis has set in], and so much the same with their breathing in
the urgency of the occasion. The symptoms of dread are visible. According to these scholars, much as
with the condition of the previously mentioned birds who become paralysed and cannot move, thereby
are abruptly and easily captured, believed to be afforded by the effects of their own sense of dread.
Also according to these scholars, such condition has some minor difference to a condition of outright
mesmerisation (saimin jōtai) but is a form of it. From the paralysis of the state of fearful dread they
become not unlike a rice plant [stuck in place unmoving]. And also even Mr. Heuber [name spelling?] said
that there are experiments made in subject of the mesmerisation of animals (dōbutsu no saimin).
Regarding these scholars, there is primary experimentation with frogs, and Mr. Preior [name spelling?] said
that there are different theories about this. This involves a state similar to sleep itself, but is thought
otherwise to be much the same phenomenon [as white washing or white walling to block things out].
However, Mr. Preior [name spelling?] said that, really, this condition is presumed to be quite different from
the state of being asleep. And largely there is the criticisms about these theories made by Mr. Heuber
[name spelling?]. That scholar said that according to the theories, the state of sleep occurs rather gradually,
whereas the discussed state of condition occurs rather abruptly and cause paralysis.

TRANS NOTE: I thought it best to point out, in both Asiatic and Europeaner tradition, whether Paramagical or Paramilitary, in both pre-modern and
ancient writings there is talk about the use of a "Fowler's net" in making the capture of an enemy. It is sometimes mistaken for more literal usage of such
nets by which to capture an enemy... when in reality it was referring to the teachings of this same order discussed here in the Sakkatsu Jizai. It is easier on
us to discuss these subjects in relationship to birds, rather than our fellow human being, and then expand the subject to acknowledge “sitting ducks” people
as having been made perfectly vulnerable to us. Much the same with a cooked goose, such persons having absolutely no escape. And the persons forced to
look in seven directions at once [“the seven faced bird”] whom then “whitewash and white-wall out” the real threat we pose to them in having to look in
the proverbial seven directions “cannot see the forest for the trees”. And of course when having made people to give away facts like a singing canary. The
various kinds of “birds” that can be used. And speaking in symbols of “birds” instead of people is a way of avoiding to speak offensively of fellow human
beings. Also it helps hide the information since it sounds as if one is discussing the phenomenon of birds for hunting purposes. And yes, before anyone
would ask the question: Japanese and Chinese (even in the older forms of the language) use the word “duck” in the same sense that English language uses
“sitting duck” to describe a vulnerable person or position. “Goose” used much the same as “Cooked goose” and etc. I was merely denoting this fact when I
rendered the translation as one sees it, since eventually the dialogue does reveal the elementary facts of the occasion. Likewise, Japanese uses “frog” and
“toad” to signify certain kinds of people, people who's behavior under duress can become frog-like or toad-like.

—— (147) ——
然動けなくなるのである。此れが其の異なる一つの點、又此の狀態に於ては大抵は眼を開い
て居る。此れが其の異なる第二點、又此の狀態に於ては四肢を絶えず上に擧げ、呼吸及び心
臟は變化を來し、肢體の戰慄は規則正しく、又不隨的狀態の現はるゝことも屢々ある。此れ
其の異なる第三點である。此等の證據に基いて、プライエル氏はホイベル氏の說を大に辯駁
し、決して普通の睡眠と同一視すべきものに非ざることを主張したのである。然るにプライ
エル氏の說は、フオレル氏から大に攻擊を受けた。フォレル氏の說に據ると、普通の睡眠で
も催眠狀態でも、突然之を生ずることが出來る。馴れない野生の動物に於ては、突然斯る狀
態にすることは幾らか困難であるが、牝鷄や天竺鼠の如き馴れたる動物に於ては、毫も恐怖
なしに之を不隨狀態にすることは、極めて容易であるといふのである。獨逸では、ジーベン
シユレーフエルと呼ぶ鼠の一種がある。此れは冬になると冬眠と稱して、全く眠つて居る動
物であるが、リ

There is a single point of disagreement in this, being that, chiefly, the eyes remain opened when in this
condition [but are closed during actual sleep]. And there is a second point of disagreement in that the
four limbs frequently do get raised and can move, and besides this the breathing patterns as well as
other changes in the chest and heart rate itself, which causes an irregularity in the otherwise orderly
movements of the body that produces shivering or shaking. Quite frequently a paralysis even of the
ability to think occurs [all this is inconsistent with the state of being asleep]. And also there is a third
point of disagreement observable in all this, in that what has been evidenced in this state of condition,
as indicated by both Mr. Preior [name spelling?] and Mr. Heuber [name spelling?] largely there are these
contradictions in the theories. So generally the state of sleep and the condition described are never
really treated as being one and the same thing. One would not be in error to claim that the two states
are different. However in the theories of Mr. Preior, and Mr. Forel [name spelling?] they are susceptible to
attack [when in this condition]. In Mr. Forel's theories about what causes it all, the general conditions
of sleep as opposed to the general conditions of a state of mesmerisation (saimin jōtai) is that [from the
state of sleep] one cannot get any significant useful results [whereas from mesmerisation, one does].
The wild animals not being accustomed to it, they experience some difficulty when having been cut off
unexpectedly by this condition. Much like with such animals as both a domestic roosting hen or a
guinea pig, not the least of which as when they are not experiencing fear, but are otherwise paralysed
under the circumstance. And it's said to be quite easy to induce this condition. So then, according to
these German scholars, such as Sieben Yuri-? [name unrenderable] one can invoke it even in such species as
mice and rats. In winter, for instance, this is much like so-called hibernation. Really, for animals, this is
a kind of sleep.

—— (148) ——
エボー氏は暗示に類した心作用に依つて、夏斯といへども、人爲的に此の動物の冬眠を生じ
得ると言つて居る。フォレル氏は此の動物の眠りに就いて、一つの觀察をして居る。二匹の
ジーベンシユレーフエルが、冬の間眠らされずに活動して居て、十分肥つた。所が五月にな
つたら昏睡の狀態になつて、夏の大部分は其の狀態を持續し、八月に至つて始めて醒めた。
併し此の昏睡狀態にある間と雖も 食物を取る爲に、時々幾らか覺醒したので、其れが數時
間或は一日間も續くことがあつた。彼等は睡眠中と雖も、必要なる運動をする爲には、斯く
時々覺醒或は半醒の狀態になるのである。此の動物は自由に生活して居る場合には、決して
己れの巢の外に於て睡ることはなく、而して其の眠るには定まつた準備を要するのである。
そこでフォレル氏は、此の動物の冬眠には二ッの要素があると考ヘた。其の一つは一定の營
養狀態即ち十分肥ることであつて、一つは聯想作用に依つて喚起された暗示である。要する
にフォレル民は

Regarding what got said by Mr. Liebeault, there is the suggestion of some equality [between the two
states] in regard to the workings of the mind and heart. Even as summer time is terminating, is said to
be part of what triggers hibernation in the animals whom hibernate. What Mr. Forel said about it was
that the animals who fall asleep like this, when one makes observation of one as an example, or as Mr.
Sieben Yuri-? [name unrenderable] said about two such animals, without the intervals of the winter hibernation,
there would otherwise be a certain amount of activity from them. One thinks that it is sufficient that
they merely excrement [when hibernating]? Still, when the five months have come, they go into a
comatose like state. For the greater part of summer, they endure as normal. And also at the approach of
eight months, they reawaken [from hibernation]. But, during the intervals of this comatose like state,
despite a need for food and drink, which sometimes through the course [of the hibernation] they do
awaken and avail themselves, doing so only for intervals of a few short hours, and otherwise resume
[hibernation] through the remaining course of the day. Notwithstanding the deep sleep of these
creatures, and out of the necessity for some physical movement [during hibernation], at certain times
they awaken for that cause. or possibly a condition of being half awake. Animals of these orders live in
a condition of freedom [in the wild], never really leaving behind the nest or den where they were born.
At times they do not really sleep at all, and then [at winter's onset] go through the rituals of preparing
for the needs of their hibernation. And so, according to Mr. Forel, there are discernibly two factors
important to the animals that hibernate like this. One being that there is a regular need for nourishment
of the body, and namely that they attend to it by fattening up to a certain degree [before hibernation].
The other one being namely that, when awake, there is the suggestion that they do make certain use of
den-grouping numbers together [to live]. In summation, Mr. Forel said that...

—— (149) ——
上述の觀察に依つて、此動物の昏睡狀態はカタレプシー(止動病的狀態)と同種である如く、
催眠進狀態と同種のものであるといふ考を起したのである。又ダニレウスキ氏は種々の動物
に就いて、澤山催眠術の實驗をして居る。而して氏は其の實驗に據つて動物を催眠狀態にす
るには、其の體を異常の位置に保つて、(例へば仰向けにして)一定の時間靜かに之を押し開
けて居れば十分であるといふことを發見した、然るに斯の如き場合に於ては、其の動物が少
しも恐怖を感じないことも屢々あるのだから、氏は動物の催眠狀態は、全く暗示に依つて起
るに相違ないと信じた。然らば其の暗示とは如何なることかといふに、動物は術者が靜かに
押し付けて居るのを以て、一種の命令と爲し、自分は其れに從はんければならないと思ふの
である。ダニレウスキの說に據れば、其の動物は術者の施術を以て斯の如く考へるから、其
れが爲に催眠狀態になるのだと謂ふのである。又

...it depends upon what part of it all that one is observing. The comatose like state of these animals is
rather cataleptic (much like the morbidity of illness from which one cannot really move), it's said to be
pretty much like that. The advancing of a condition of mesmerisation (saimin) is said to be believed to
be quite similar, and to be awakening therefrom.
And Mr. Daniel Usick [name rendering?] said that a variety of animals are presumed to be this way.
And there are the experimentations of the Sawayama style of the Art of Mesmerisation (saimin-jutsu).
These scholars say that it relies upon proper experimentation, to [learn to] cause a state of
mesmerisation in such animals. Causing a peculiar bodily condition by doing so. (For example, when
[the creature] is turned face upwards) and at the time remains quite calm nonetheless, one discovers
that it is so even when one pushes their head and face upwards more. However, it's much like this
condition even though apparently the animal isn't the least bit afraid. Quite frequently this is
observable. These scholars say that in regard to the condition of having mesmerised the animal, there is
the suggestion of what will happen when this condition has ceased, certainly. That being the case, in
regard to that suggestion, it's said to be whatever kind of reaction it will be. People whom use the
techniques of handling such animals show the ability to keep the animal quite calm. Seeming to have
command over their species. One cannot help but to think that one ought to acquire that for
themselves? In the theories of Daniel Usick [name rendering?] as to how one would handle the creature, one
would use a technique similar to the medical handling of the animal, it's believed to be best like that.
And so this is described as having made a state of mesmerisation (saimin jōtai).

—— (150) ——
氏は催眠術を施された動物に於てカタレプシー、疼痛無威、及び其の他人間の催眠狀態に於
て現はるゝと同一の現象の、確に存することを登見したと言つて居る。フエルヴォルン氏は、
動物心理の研究に於て有名なる學者であるが、氏は前に述べた如き動物が動けなくなる狀態
に就いて、又一種の說を立てて居る。氏の說に據ると、動物の動けなくなる原因は、下に述
ぶるが如き二つの事柄に存するのである。即ち其の一つは身體の位置を保持する爲に働く、
腦の反射中樞が强く刺戟さるゝことであつて、他の一つは運動を司る、大腦皮質部の働かな
くなることである。而して動物の催眠狀態と構せられて居るものゝ特徴は、身體の位置を保
つ爲に働く、反射中樞の强く刺戟せらるゝといふ事にあるのだから、氏は上述の二つの要素
のうちで、前の方の事柄を、一層重く見て居るのである。氏は動物の體が、置かれたまゝの
位置を保持して居るのは、通常の場合に於て、身體

These scholars also said that when one has performed the techniques of mesmerisation (saimin-jutsu)
upon such animals they become likewise near cataleptic. Somewhat unaffected by the introduction of
pain, and besides this they seem not to be very responsive when other people are introduced [after the
mesmerisation has been applied]. It's believed to be much the same phenomenon. There is said to be a
certain reliability in the circumstances about it all.
Regarding what was said by Mr. Fuer Voildemorten [name rendering?] in the research on the subject of animal
psychology, of which there were various famous scholars, much as was discussed by the previous
scholars cited, they become unmoving when in this condition. And there are standing theories as to
why depending upon which species the animal is. As to what causes it in the theories of these scholars,
what causes the animal to cease movement and what happens when you put the animal back down is a
subject of the case. Namely, one of the things is how the animal was picked up and handled and what
one was doing with the animal. The reflex of the brain centers in the animal don't know how to
interpret what is happening. The other thing is that there are certain rules of movement sections of the
cerebral cortex seem to stop working when they are observed. So there is the characteristics of the
bodily posture and position of the animal being placed in the state of mesmerisation (saimin jōtai), how
one is holding the animal and what one is doing. The otherwise strong reactions of the reflex centers of
the brain do not know how to interpret the circumstances. The previous mentioned scholars have
identified two factors, the direction and the type of activity, and still-the-more so even when activity is
being increased. Usually it's circumstances like this.

—— (151) ——
の位置を調節する爲に働いて居るのと、同一の反射作用に依ることを發見した。而して斯る
反射作用に關する所の筋肉は、動物の催眠狀態と稱するものに於ては、强い收縮の狀態にな
つて居るのである。此と同一の現象は大腦を取り去つた動物に於ても現はれる。氏が動物の
催眠狀態を起す原因としては、大腦の方の影響を餘り重んじないのは、即ち此れが爲である。
然るにフエルヴォルシ氏の說は、動物の催眠狀態の說明としては、未だ十分なるものと言ふ
ことは出來ない。元來動物の催眠狀態の特徴といふものは、變ぜられた位置を永く保つて居
ることではなくして、動けなくなることである。而して此れは全く心理的事情に基くのであ
る。だから氏の說は、動物の催眠狀態を十分說明することは出來ない。要するに是れまで多
くの硏究家が實驗した所の、動物の催眠狀態と稱するものを通觀するときは、各硏究者が施
した所の實驗は、動物に必ずしも、同一の

There are the activities of managing the animal's (bodily) placement, and it's observed to be the same
sort of thing when managing the animal's reflex actions. So a certain kind of cutting off of the reflex
actions having to do with the circumstances of the animals musculature. The condition of animal
mesmerisation (dōbutsu no saimin jōtai) and what is addressed by it, a condition of a kind of strong
withdrawal by the animal, as if to protect itself. These are all the same phenomenon that is canceling
out the existing reactions of the animal's cerebrum. These scholars said that what was causing the state
of mesmerisation to occur in these animals is in the way that the cerebrum is being influenced, and the
rest just follows along the course without much regard. Namely, that;s what's making it happen.
However, in the theories of Mr. Feurvorsch [name rendering?], there is another explanation for animal
mesmerisation, but these are not considered sufficient to explain the occasion. Essentially, what is said
about the characteristics of the condition of animal mesmerisation, there isn't that much change in how
one holds and handles the animal and so the animal doesn't really move that much itself. So then,
really, this being the case, it's based upon psychological conditions. And so in the theories of these
scholars really one cannot quite explain why the condition of animal mesmerisation actually works.
Long story short is that there are many researchers whom have experimented in these subjects, making
general surveys from address the subject of animal mesmerisation. But not all were necessarily done
with the animals themselves.

—— (152) ——
狀態を生じて居ないといふことが明かである。動物が如何なる狀態になるかといふことは、
實驗の方法如何に由つて大に違ふ。故に之を實驗する人の用ふる方法の種類に由つては動物
に恐怖の現象の著しく現るゝこともあり、又殆ど現れないこともある。是れ此の問題を研究
するに當つては大に注意すべき點である。恐怖の加はつて居る場合は、前回に述べたプライ
エル氏の說の如く 恐怖的不隨狀態として、之を催眠狀態から全然區別す可きものである
か、如何か。此の問題を論ずるに當つては、既に述べた通り、恐怖の感情が、催眠狀態と類
似の狀態を生ずるといふことを考へんければならない。プライエル氏が謂ふ所の恐怖不隨狀
態に於ては恐怖の結果として身體上に起る著しい現象が伴ふのであるから、暗示に依つて動
物に生せらるゝ所の狀態から、多少之を區別せんければならないが、併し恐怖が催眠類似の
狀態を生ずる以上は、之を催眠狀態と全く別のものと見る譯には行かない。自發的の運動が
無くなつたり、

But it's said that some of this is not caused by quite the same phenomenon, clearly so. What is said
about it when it becomes the case with whatever species of animal, and the basis for whatever of the
ways and means of experimentation do differ somewhat. And consequently, the various ways and
means of the reasons that people employed the experimentation that revealed the striking phenomenon
of fear reactions in the animals, in which there were practically none! Here also one is presented with
the questions produced by the this experimentation, and it is a point to have largely exercised due
precaution. Where the fear reaction had increased given the circumstances, and in the mention of the
previous go arounds in it, much as in the theories of Mr. Preior somewhat paralysis was produced by
the fearful reaction. From the likes of this in a state of mesmerisation (saimin jōtai), it would seem to
be entirely different from an actual the state of mesmerisation in whatever way(s). When presented
with the questions produced here, along the avenues already mentioned here, the emotional reactions
of fear when in a mesmerised state are said not be be so much produced and that one cannot help but
notice it. The striking occurrences of the phenomenon and what it accompanies, the suggestion is that
it is reliant somewhat upon the circumstances under which the animal had grown up to adulthood.
However, the resemblance of the state of mesmerisation to a certain kind of fear reaction does not
produce much results beyond this. These [paralytic fear reactions] and the state of mesmerisation are
quite different when observed, and neither are impossible to invoke. Even when not having any
immediate motion to do so.

—— (153) ——
疼痛無感になつたり、カタレプシーを起したりするやうな、主要なる現象は兩方の狀態に於
て等しく存するのである。小い動物が大きな恐しい動物、特に蛇の如きものに見られると、
一種特別の狀態になる、斯る狀態になるのは、全く目前に迫つて居る危險から起る恐怖の爲
であつて、凝視の爲ではない。然るに單に凝視のみにても、動物に催眠狀態を生ずることが
出来るといふことは、バラッサ氏の馴馬に依つても分る。此れは墺地利の騎兵士官で、パラ
ッサといふ人の始めた方法であつて、亂暴な頑固な馬の足に馬蹄を打つときに用ふる方法で
ある。此の法によると、馬に强く物を見詰めさせて置けば、其れで馬は從順になつて、思ふ
通りに從はぜることが出来ると云ふのである。シユヴエンテル、及びキルヘルが、始めて牝
雞に實驗を施して以來、動物を催眠する方法は、一定して居るものゝ如く考へられて居たの
である。然るに其の後ッエルマックやプライエルの實驗に依つて、牝雞の眼から

Being that there was little reaction to pain, in that an obvious cataleptic state was produced, chiefly
both parties in the phenomenon (man and beast) came to be rather similar [in the interaction]. The very
small animals whom are horrified by the much larger animals especially such as snakes when having
seen one, what becomes the special case with any given species of animal there is that state of being as
if cut off. Really when being forced into peril right before one's very eyes, the very doings of fear will
have arisen. Then there is no real advantage in being able to see. Still yet, when only fixing their gaze,
it did not produce any advantage for the animal in the state of mesmerisation. And this is said to be
what makes it possible. Mr. Balassa [name rendering?] of Nareuma [place name] understood what it was reliant
upon. And regarding this, it was an advantage of the Paramilitary troops of the cavalryman of Austria.
Mr. Balassa [name rendering?] said that people once they begin will produce the ways and means of such
things, even the more stubborn violence gets reduced to nil under the beating of the hooves and legs of
the horses, which is the ways and means of using them anyways. When making use of this
methodology, the placement of the horses would be seen as being quite strong, and thereupon are the
horses quite obedient. And it's said there is also when giving thought to the avenues down which one
will be able to proceed. (Mr.) Schwanter [name rendering?] and Mr. Kiel besides him, thereafter first
proceeded with the experiments regarding hens. The ways and means of mesmerising animals became
much as if they were a fixed establishment, and so were held to be so. However, beyond all this in
Germany, they became reliant upon Mr. Preior's experiments, much as when the chicken...

—— (154) ——
白堊の線を引くやうなことは、催眠法として全く不必要なることが發見された。例へば牝雞
を催眠するには其れを何か臺の上へ横臥させ、頸を伸ばさせて、暫く壓し付けて居る丈で出
來る。始めの間は抵抗するが直に靜まつて了ふ。又之を捕へて、嘴の處から地面に太い一本
の白堊線を引くばかりでも、催眠することが出來る。少したつてから、手を離すと動けなく
なつて居る。又兩脚を捕へ、仰向に臥かして頭を白堊の線の方へ向けて置くだけでも宜しい。
又白堊線などを引かずに、單に之を突然捕へて卓上に壓し付けて居るだけで、十分な場合も
ある。斯の如く色々な方法あるが、牝雞を動けない狀態にするには、白堊の線を引く方法が
一番便利である。レヴヱシフエルド氏は、鳩に就いても亦同一の觀察をして居る。鳩は永い
間一定の位置にシッカリ摑へられて居ても、動けない狀態になることはないが、其の嘴の虛
から白堊線を引くと、忽ち此の狀態になるといふことである。併し白堊線を見詰めることは、
斯る狀態を生

...had its line of sight white walled [and blocked out] what could be openly seen. Really it's not
necessary to actively try to seek out the Methods of Mesmerisation (saimin no hō). For example, when
making mesmerisation of the chickens, doing so upon whatever roost stand or having lain it on the
ground, it's neck having been stretched out, one can for a short while even apply some pressure. At the
point of having begun, any resistance [to what you intend] is being put quietly down through to the
end, neck stretched out. Again, this is so when taking a hold [of the bird], not by the bird's beak but
largely holding the bird down against the ground attempting to cause it to "white-wall" the
circumstance. This is the circumstance under which mesmerisation can be performed. From this
minimal contact, holding the bird apart from oneself by the hand, and it's really not moving much.
Also having taken a hold of both the bird's legs, and it being turned face up lain on it's side. Even when
not “white wall” blocking it's line of sight, in unexpectedly being taken captive like this, there would
be the pressure of having been lain out on the chopping block, which is sufficient in the circumstances.
Just in this way, and there are various ways and means as well, the bird having been brought to this
condition really cannot move. It is the handiest and quickest way to cause the white walling line. Mr.
Levitsfelt [name rendering?] made the exact same observation by taking a pigeon and subjecting it to this.
Having taken grip upon and holding the pigeon not unlike a Siccari assassin [ Alt Trans: "sickle like grip"] other
than when in this condition there is no time when such bird goes unmoving. The beak held in the crook
[of the hand] and white wall blocking it's line of sight, this is said to immediately cause the condition.
However, the gaze being locked behind the white walling line, this is not always proved necessary to
invoke...

—— (155) ——
ずるに必ずしも必要といふ譯ではない。此れは前にも述べた蓮り、牝雞を捕へて唯臺の上に
壓し付けただけでも、同一の狀態を生ずることに由つて知られる。白堊線を引いて、其れを
凝視せしむると大に便利なのは、人間に催眠する場合に於けると同じく、眼の疲勞が其の原
因となるかも知れない。又捕へられて、既に恐怖の念を起して居る動物に對しては、手を以
て摩擦することは、其の恐怖を益(?Ht)强くする觀念を惹起するやうに思はれる。併し雞及び鳩
に、斯くの如き方法に依つて生ぜらるゝ狀態を以て、プライエル氏の如く、恐怖に打たれて
動けなくなつた狀態と斷定することは出来ない。レヴェンフエルド氏などの實驗に據ると、
此等の動物は其の捕へられて居る間に、別段恐怖の徴候を現さないといふことである。又此
等の動物を突然捕へて、臺の上に壓し付ける樣なことをして、恐怖の念を起させたからとい
つて、唯其れだけで、上に述べたやうな狀態を生

...the cutting off condition wherein [the bird] cannot interpret the circumstances. As for this, even
before when mention of the sacred lotus was made, capturing the chicken, whether trapped on it's roost
stand or lain down on the ground, the reasons are understood when the same condition produced no
results. White walling its line of sight, and so its gaze becoming fixed is rather the greater part of the
handiness of it. When mesmerising human beings, it's much the same. The eyes grow weary, but it's
otherwise not known why this occurs.

Also having been captured, there is the sense of fear that has already arisen, quite the same as with the
animals. Regarding rubbing with the hand, there is strong benefits to be had in the idea of doing this
[even with human beings], and what is thought about what it causes. However, with both the pigeon
and the chicken, it's much the same as this depending upon what ways and means are used as to
whether or not results are produced by the condition. Much as with Mr. Preior they become paralytic
from a fear reaction, one cannot conclude anything else. There were the causes of the experiments of
Mr. Levinsfelt [name rendering?] and etc. And regarding these animals, and there is what is said about
the point of being captured that it really didn't resemble a fear reaction much at all. Also the animals
were rather abruptly taken captive, whether on their perch roost or having been pressed flat to the
ground, the sense of fear was said to have been evidenced, beyond mention of the obviousness of the
condition...

—— (156) ——
ずるものではない。

二、 動物催眠の原理

レヴエンフエルドの說に從へば、動物を捕へてシッカリ摑んで居ることは、其の動物に恐怖
の感を起させるのであるが、此れに依つて暗示に感應する傾向が高まつて來るのである。斯
る境遇になつた結果として、捕摑が生じた所の靜止は、其の動物の心に動けないといふ觀念
を起させ、 而して其の觀念が動物の旣に解放された後までも繼續して居て、其の働きを現す
のである。上述の意味をモット明瞭にする爲に、更に之を說(説)明せんに、例へば、吾人が
雞を捕へてシッカリ摑んで居ると、雞は其れが爲に恐怖の感を起す。そこで暗示に感應する
傾向が一層强くなる。斯くなつた結果として、摑まれて居る爲に、靜かになつた其の靜止の
狀態は、動けないといふ觀念を惹起するのである。其れから其の雞を放しても、

...it's not really understood what caused it.

Ni, Dōbutsu Saimin No Genri

Two, The Principles of Mesmerizing Animals

Accompanying the theories of Levinfelt, the animal being taken in a sickle grip, the sense of dread will
arise in the animal. With this, according to how much sympathy the animal is or is not shown, the
[sense of dread] may increase. Resulting in a condition of being cut off, the holding grip causes a
circumstance of calmness, the idea arises that the heart and mind of that animal also does not stir very
much. And so with that idea is the thought that the animal is already as if freed, afterwards [when
actually being released] is only a continuation of that [freedom]. And so one observes indicative
activity. The significance of that is made even firmer and clearer, supporting this more and more as an
explanation. For example, when we capture the bird in the sickle grip, it's causing a sense of dread to
arise in the chicken. Accordingly, in the suggestion that some sympathy will likely cause the [sense of
dread] not to increase. Accompanying the procedure like that, having taken a hold, the calmness and
when that calmness will cease as a condition, generally not being a lot of motion, observation of that
provokes the idea [that dread is the cause]. After that even after the chicken is set free,...

—— (157) ——
此の觀念は猶ほ繼續して居て働くから、其れが爲に雞は實際動くことが出來なくなると言ふ
のである。以上はレヴエンフエルド氏の說であるが、 斯くの如く考ヘるときは、上述の方法
に依つて動物の動かれない狀態になるのは、全く人間の催眠狀態になるのと、其の性質を同
じうするといふ結論に歸着するのである。然るに吾人は、之に同意を表することが出來ない。
吾人の見る所を以てすれば、西洋學者の所謂動物の催眠狀態といふことは、偶ま動物が其の
本能性とも稱すべき假死、即ち止動的狀態を呈したに過ぎないのである。別言すれば似而非
催眠狀態である。例へば芋蟲の如き、之を棒で觸て見ると、子供が芋蟲コロ〱といふ如く、
忽ち止動病的狀態を現はし、兜蟲を捕へて仰向けに置けば其まゝになつて居る。又大きな檐
の権にかかつたのを地に落すと、足を收めて石のやうに成つて了ふものであるが、西洋の催
眠學者は之を見て催眠狀態だと言ふであらう、ところが是れは

...in regard to this idea, further still, the continuation of activities afterwards, such doings as the
chicken does afterwards, one cannot say that it is able to do very much at all. Beyond all this, in the
theories of Mr. Levinfelt, much in this way, it's discernable at the time. In the above mentioned
methodology, it depends upon whether or not the animal can move. Really with human beings, when
causing a state of mesmerisation, the nature of that is said to be identical, and one returns to this as the
very conclusion of it.
However, regarding ourselves, one cannot really express agreement with this! In the case of self-
observation, the so-called Western scholars were speaking about the conditions of mesmerising
animals. And on rare occasion these animals had demonstrated a somewhat death-like state, when
having been subjected to it. Namely, having demonstrated a paralytic condition which did not subside
anytime soon. In other words there is the sentiment that mesmerisation is a sham. For instance,
[mesmerisation is] much like a potato with insects on it, one looks at and pokes it with a stick, much
the same as when children are around a potato with insects on it and then suddenly are made to feel
sick and all freeze in motion. The heads of the insects all pretty much looking up at all of you
themselves. And largely the authorities are all waiting in the narrow corridors, to throw them all to the
ground. To openly halt them in their tracks and put a stop to it [as charlatanry]. Regarding the Western
scholars whom specialise in mesmerisation, seeing this they say that THIS is a state of mesmerisation
itself. In these circumstances,...

—— (158) ——
動物の自護律とでも言ふべき本能性から、故意に斯る狀態を呈するので、全く死を遁れ樣と
云ふ策で、所謂狸寢を爲して、人間を計つて居るのである。一寸の蟲にも五分の魂で、斯ん
な小蟲と雖もなか〱油斷(断)はならない。能く呼吸を計つて人間の態度を注意して居るので、
若し人間が一寸でも傍見をするとかして、注意を此等の動物から轉じて他に向けると云ふと、
其時早く彼時遅く、兜蟲でも[f.o.¿蜿?]でも、忽ち其の機に乘じて遁げ去るのである。其れは全
く動物が、生きた物は捕ヘて食ふが、死んだものゝ肉ならば食はないといふのが、原則だと
いふ本能性的信念を抱いて居るから、サテコソ斯かる假死を裝ふのである。動物が此の本性
を發輝して止動病的狀態を表したのを見て、催眠狀態であると思ふのは誤解の甚しいもので
ある。吾人は動物催眠といふことを否定する。吾人は斷言する、動物には人間と同じ樣な催
眠狀態を現すものではないと。併しながら、吾人は氣合術に依つて、他の動物を一種奇妙な
狀態にすることが出

...they would make reference to the rules of animal self protection, as an instinct of the living. The
intent of displaying it was to demonstrate how [the animal] cuts off, really, it's said to be a measured
effort to escape death. Same as what gets called "playing dead", a strategy known even among human
beings. Even with insects that are merely an inch long, but having only half intelligence, cut off smaller
insects like this. Although it's probably accidental that they do so. Quite often there is warning sign
from the behaviour of the measured breathing of human beings, and it's much the same when made to
feel one inch tall being looked upon by the bystanders whom are present. From this warning sign, and
on the other hand also these animals besides, they say that it goes in this direction. [One must act]
quickly at that time or it's already too late by then. And also, as with the heads of [grouped] insects as
they approach, ¿-meandering this way and that-? [to harm you], one takes the opportunity to turn and
make good the escape. Indeed so, just like animals do, when living things are being captured to be
eaten, one could just die even when one's flesh will not have been eaten. It's said to be a general that
instinct embraces gender and even the conviction of religious faith, and as one would suspect, we are
prepared to play dead [if it will allow our survival]. The true character of the animals shines through
like this, observed when they lay stock still playing dead. Thought to be so even when from a state of
mesmerisation, and this is something that gets severely misunderstood. And it does get said that we
cannot be mesmerised the way that animals can. So we declare it, that it has not been demonstrated that
the ways of mesmerising an animal is the same as mesmerising a human being. And notwithstanding
this, we whom rely upon the Art of the Kiai can bring about the strange condition of mesmerisation
upon a variety of animals.

Trans Note: There is an interesting kanji construct that occurs in a few of these pages, translated as "the head(s) of
insects", the dual compound character construct is peculiar and interesting: 兜蟲 meant to look like the head of an insect
with its antennae and the body with its many legs underneath. Very hieroglyphic, really. Hmm, maybe not play dead when
the insects are meandering this way and that towards us??

—— (159) ——
來る。是より愈々動物氣合の本文に這入るのである。

三、柳生飛驛守雀羽がひ止めの氣合

柳生又十郎(後に飛驛守)は彼の伴藏先生の許で修業を積んで、愈々眞影流の極意皆傳を受け、
十八個條の極意の外、空飛ぶ鳥の羽がひ止め、之を遠當氣合の術といふこと迄悉く傅授に預
り、遂に二荒山を辭して江戸に歸つた。そこで先づ駿河臺なる大久保彦左衛門を訪うて、其
の執成しで以て、但馬守より勘當の免しを受け、柳生の家を相續することの出來る樣に賴み
込んだ。そこで彦左衛門、『それは執成もしやうが、今日勘當が免され、明日相續をし、上
樣初め二百六十餘大名の指南を致す腕に覺えがなければ相成らんが、それは上達致したか
な』又、『さやうでございます、武藝では父の但馬に負け樣とは思ひません』彦、『ハツハ、
此奴生意氣なことを言ふ、乃父は天下の名人だ、其の親に負けないといふ高言

From all of this there is an ever increasing volume of text on the Kiai of animals [ Alt Trans: "...taking control over
animals..."]

San, Yagyū Hida No Kami Suzumeha Ga Tome No Kiai

Three, The Kiai of Stopping A Sparrow Feather of Yagyū-Hida-No-Kami

About Yagyū Matajūrō (after the episodes at Hieki-shu), about when he began his training under Banzō
Sensei and was acquiring more and more of the secrets of the complete transmission (gokui kaiden) of
the Shinei ryū. Beyond the 18 items of the secrets (jūhachi kajo no gokui) there was the stopping of the
wings of a bird flying through the sky (sora tobu no hane gahi dome) and this is said to come from the
Art of Toate kiai no jutsu [lit. "techniques of controlling things from a distance"]. He had close
supervision while studying like this, then finally took his leave of Futarasan and arrived at Edo [present
day Tokyo]. And so, having made a stand at Suruga, he inquired of Ookuho Hikozaemon. While
smoothing things over, from Tajima-shu he received a dismissal of disinheritance and so nonetheless
was able to receive succession of the Yagyū household itself. Thereupon Hikozaemon said
『Somewhat by good fortune, today there was the dismissal of a disinheritance, tomorrow here will be
succession. So for the SHogun there yet remains some 260 famous instructors and without these one
has no real confidence in the abilities of one's own country. Possibly there will now be
improvement?』He also said 『It is thought that [when this happens] by that evening, the masters of
the paramilitary arts (bugei) at Tajima suffer a defeat.』 A servant boy replied 『Oh! Speaking this
way about such a brazen fellow, his father and master was every famous person under Heaven! They
say that with such parents one cannot suffer such a defeat! But about the way he boasts of himself, it's
hard to have to hear it...

Trans Note: The entry makes reference to a sub-artifice of Kiai-jutsu called Toate Kiai No Jutsu (遠当気合の術) which
are techniques for controlling things from a distance. I thought drawing some attention to it would be helpful? Also, the
name of the entry Kami Suzumeha Ga Tome No Kiai (雀 羽がひ止めの氣合) especially in light of the content of the
entry suggests that the "sparrow feather" is a quill pen, so it is an example of controlling less fortunate legal occurances?

—— (160) ——
は聽き難いが、併し物の修行である故、如何いふ腰前になつたかも知れん、目通りに於て一
ツ手練を見せては呉れまいか』又、『何時なりとも御覧に入れます、何卒其お相手を御願ひ
申し度い』彦、『拙者はもう年を老つて居ていかんから、其方一人で致して見せい』又、
『如何に御ためしとは申ながら、一人で劒術を致すことは困りました』といひながら、庭前
にある、大木の松の枝から枝へ、雀が二三羽飛んで居る樣を見詰め、「エィッ」と氣合ひを
入れると、松に居た雀が三羽共バタ〱ツと大地に落つる、かくて氣合ひをウンと入れて居る
時は雀が動く事が出來ない。ハツと氣合を緩むれば、其のまゝ何處ともなく飛んで行く、彦
左衞門ハタと手を拍ち、『ハハー、是は兼ねて聞き及んだ、彼の眞影の極意と致す、俗に申
す飛鳥の傳、空飛ぶ鳥の羽使を留める遠當氣合の術といふ者か』と云つて、大に其の妙術を
感じたといふことである。

… However, it's a matter of discipline, one supposes? Somehow coming to understand what one is
faced with, and observing what skill one has when given audience before the Higher ranked as for
what they will grant you. 』 Again speaking he said 『 Even when one always enters and shows
oneself properly, one ought I beg of you, to ask permission for your adversary to speak as well.』 The
Servant boy replied 『It is not proper for me myself when in regard to one whom is of older age, one
should allow them to show themselves voluntarily. 』 Speaking again, 『 In what way one produces
oneself, where one had engaged in swordsmanship (kenjutsu) alone and by oneself, it is troubling
itself.』 While this is all fine and good, when in a garden [court of the nobility], with the branches
branched off the main branches of a large Pine tree, one watches the two or three sparrows that are
flitting the branches of the tree. One enters and controls (kiai wo ireru) the circumstance by uttering
「Aye!」 The two or three sparrows that live in the tree will fluster and then fall to the ground. In this
way, entering and controlling like clouds (kiai wo un to irete) drifting in at the time, the tree sparrows
then cannot move through the circumstances. [Uttering an outcry of] 'Indeed, so!' [it's rightfully mine]
or otherwise you will lose control over the circumstances. Somehow it having come down to this sort
of thing, they would but fly away with it all. The servant boy was suddenly as if he were uemon [name
means "defender of the left side of the gates"], as if beating their hands away. And so it got said 『 A-
ha, this has been getting heard of for quite some time! That is the performance of the truer secrets from
which to profit, but commonly we are following the customs of flying away with [what belongs to
another]! We will stop the messengers whom fly away with it like birds in the sky! And this is said to
have become persons whom practice controlling things from something of a distance (Toate kiai no
jutsu). 』 And that is what got said about it. That it was largely from a sense of such as the superb
artifices.

Trans Note: The entry makes some numbered usage of the idiom 'kiai' in it's verb state (or, “compound verbal construct”
as it gets called.) There are two kind of these “compound verbal constructs” they are (1) Simple – the word kiai (in older
texts, 'kiahi' is actually the more accurate 'romaji' rendering) occurs more in it's noun or adverbial noun form. (2) Complex
– such as in the instances found in this page entry, wherein the word 'kia(h)i' is in full verb form, conjugations of the
verb's infinitive tense kiau (気合う) in modern Japanese or in the more archaic forms of Japanese instead it's kiafu (氣合
ふ ) most usually translatable as “to Exert control over; to Influence; to Direct”. The conjugations of this verb, in both
examples Type One and Two, are most usually combined (in the construct) with some other verb conjugated to whichever
of it's tenses (future or past tense imperfect conditional is quite common.) The first example from this page we need to look
at is quite interesting and tell-tale (commonly encountered).
 • 「エ ィッ」と氣合ひを入れると 「Eitsu」 to kiahi wo (ha-)ireru -to...
“One enters and controls the circumstance by uttering 「Aye!」” and this is even quite commonly encountered
in descriptions of jujutsu kata techniques, as well! It will most usually get mistranslated as “Entering with a
spirited shout of 「Eits!!」” but this is a gross mistranslation, of sorts, even when encountered as a description
of a jujutsu kata fighting technique. In Japanese, to say 「エ ィッ」と氣合ひを入れると is about the same
thing as saying “Enter and control a bad circumstance by refusing to accept its occurrence and redirecting it.” In
this case of it's usage in this text here at this point: Aye, it's mine! (putting forth the claim of what is one's own)

• The particular instance was said of putting a stop to a legal injunction (“the dismissal of a legal
inheritance”) by insisting that the conditions of dismissal were not fully legitimate. The “branches
branched off the main branches of a large Pine tree (in the courts of the nobility)” and the “sparrows
flitting in these branches” is a reference to the sub-courts that branch off the main courts... and handle
things like “dismissals of legal inheritance (disinheritance)”. The sparrows are the source of the sparrow
feather quill pens used to sign away and dismiss your legal inheritance.

• The situation would be much the same if one were going to loose one's business license and be
forced to shut down one's dojo chains, or other relevant businesses. Entering and controlling the
loss by protesting on grounds of denial that the conditions for revocation were met. The
business(-es) are legitimately your own.

• かくて氣合ひをウンと入れて居る時は
Kakete kiahi wo un to-(ha-)irete iru-tokiha
“...entering and controlling like clouds drifting in at the time...”

This second construct shows a further complexity possible to the same verbal construct. Then there is the third example,
from this same part of the entry, that is not the same form of the verbal construct, at all:

• 氣合を緩むれば Kiahi wo yurumureba “...loosing control over...” or it could be translated as “...control

over the thing slipping away...”. Again one can see that, in examples like this, it is not possible to translate the word
'kiai' as being “spirited shout” but at the same time, in some contexts, if this same clausal construct had been said of
a battlefield, in an attempt to describe the enemy troops as having begun to loose control, and it included references
to their utterances even reflecting the facts of imminent defeat. Then it would be translated something quite like:
“(At the sight of their own defeat) their spirited shouts began to fade away as they lost control on the battlefield.”

—— (161) ——
 四、正木段之進鼠追ひの氣合

橘南谿の東遊記に、正木段之進の鼠追ひの氣合の事を記してあるから左に掲げやう。正木段
之進といへるは、美濃國大垣の家中で歴々の武士なり。此の人劒術の妙を得て、此の門人と
爲る者へは鎖を授くることなり、京都抔にも此の鎖を傳授したる人多し、其の外江戸抔には
尤も多く諸國にも門葉多し。此の段之進劒術の事に就いては、世間色々の奇妙の咄多くして、
信じがたき事もあるに、旅中にて、彼の門人に親しく交りて、其の修行のあらましを聞きし
に、誠に感ずべくたふとむべき事なり。此の段之進の父袓にや有りけむ、幼年より劒術に心
を寄せ、日夜寢食を忘れて修行せし頃、一夜寢間の襖を鼠の嚙む音に目覺めて、疊を叩きて
追ひたりしに、鼠迯げ去れり、暫くして、少し寢入らむとする頃、また鼠來りて襖を咬

Yon, Masaki Danshi Shinso Ahi No Kiai

Four, The Kiai of the Masaki Danshi When Chasing a Mouse

In the Azuma-asobi-no-ki ["The Chronicles of the Eastern Dance Robes"] by Tachibana Nankei [Japanese
scholar, physician and essayist 1753-1805], there is recounted the subject of the Kiai [( def is: "control exhibited (by/over)")]
Masaki Danshi [uncertain person?] when chasing a mouse, so as to carry it up and away on the left side. It's
said of Masaki Danshi's approach that he was a samurai (bushi) of the notable families that constitute
the Mino-kokudai [National university of Mino] and that this person was superb at the swordsmanship
(kenjutsu). Both a practitioner and instructor of this and also instructed in the usage of the chain
(kusari). Even in the likes of Kyoto city, he had instructed many people in the use of the chain, and that
many more also taught in Edo [ present day Tokyo] and etc. Although many countries have similar lineages
[of these arts?] When progressively ascending through the grades of the swordsmanship (kenjutsu),
there would be some talk about the peculiarities of peoples throughout the world. The subject of the
unbelievable things people do, should one be on a journey abroad. The students associated with him
became familiar with such things like that. When listening to the outlines of the studies, indeed one
gets certain impressions like this. When progressing through the ranks with the master being present,
from their childhood, they would take to the swordsmanship (kenjutsu). Day and night, never
forgetting the practice even at such times as when they would eat or sleep. One night, there was a
mouse gnawing at the sliding door of one of the bedrooms, and the sound of this awakened some of
them. They knocked against the tatami mat while they were chasing it, but the mouse escaped and got
away. After some length, as they were almost fallen back into sleep, the mouse returned and began
gnawing at it again.

—— (162) ——
む、又目覺めて追へば、鼠迯げ去る。心ゆるみて、寢入らんとすれば鼠襖を咬む、かくの如
くする事三四度に及びて、段之進思ふやう、我氣滿たずして、彼の鼠に徹せさればこそ、眠
るに從うて鼠襖を咬むなりとて起き直り、座を正して、一心に氣をあつめ、鼠の方を守りつ
めて居たりしに、鼠遂に來らず、其の後は、鼠の音する度に斯の如くするに鼠咬むこと能は
ず、後には、けたを走る鼠をも、氣を集めて睨みぬれば落つる程に成れり。今に至り其の門
人氣を練ることを稽古するに、鼠の物を咬むにてためすことありといふ。門人の中にも、二
三人は能く鼠を退くる程、に至れる人ありとなり。 如何なる猛獸と雖も、先づ此の方の氣を
以て制す。敵人と雖も、立ち向ふより先づ氣を以て勝つ事なりとぞ。此の事は奇妙のやうに
聞ゆれども、さることもあるべしと思ふ。 我が學ぶ所の醫術にも壓勝の法といふ事ありて、
氣を以て禁ずるに癪氣を開かしめ、或は腫物を押し散らし、又は狐狸に魅せられたるものを
治し、其の外奇効

Awakening again, they gave chase. And the mouse escaped. With some sense of relief, they returned
again as if to sleep, the mouse returned and resumed its gnawing. It continued this way three or four
more go arounds. And so thinking about advancing through the grades [of their swordsmanship], they
thought about how one might not be fully committed. Over there the mouse was just going at it as had
been suspected. when they tried to go to sleep, the mouse returns and continues gnawing away. So they
simply sat up on the edge of their beds, they seated themselves to inquire about what to do. Seeking
wholeheartedness by which to nail the circumstances, but the mouse was guarding itself from certain
directions. Finally the mouse did not return, but after that point, the mouse was making other sounds
that indicated that it was gnawing on something else. And after that, the mouse would run here and
there. They all gave one another sharp looks and were hoping to capture this mouse. Now before long,
pushed to the limits these pupils became engrossed by thoughts of their training, somewhat caused by
the circumstance that the mouse kept gnawing on things. Two or three people from among the students
stepped nimbly around the mouse, around the area where it was, and so it had let these people approach
it this way, for instance. Even though [human beings are a form of] predatorial hunter [themselves]
they were able to control the circumstance better than they had earlier. Even though they were an
adversarial, and earlier had been confrontational with [the mouse], they were able to take some
momentary victory this way. On this subject, an obvious oddity of the episode, yet it becomes famous.
And one thinks that such a thing should be. Even in my own studies of the medical arts, as is said about
the method of taking victory by laying someone in a prone position, by means of spirit one suppresses
one's own annoyance caused by the offensive thing. Otherwise one's spirit is hindered, or possibly the
pressure of the occasion will stifle you. Also there is the confusion caused by a deceiver, which one
must guard against or fall victim to. Beyond this the astonishing effects...

—— (163) ——
目を驚かす程のことも出來るなり。其の法皆正木の修行の如し。又彼の鎻取持の者は、如何
なる强敵に逢ふ時にも、おくれを取る事なく、又如何なる猛獸盜賊と雖も、此の鎖を所持す
る人には近付くこと能はずと言へり。是は如何なる事にてかくはいふ事なるやと尋ねしに、
何人にもせよ、正木の門人と爲り、鎖を受けんと願ふ時、先づ誓約をすることゝぞ。其の誓
約の辭、君に不忠なるまじ、親に不孝なるまじ、朋友に信を失ふべからず、大酒すべからず、
虛言いふべからず、高慢の心を起すべからず、禮義を失ふべからず、公事にあら'ずして、み
だりに血氣にはやり、夜行すべからず、猶此の外數々の條目ありて長し。是に一ツもそむく
ことめらば、摩利支尊天の御罰を蒙りて武運に盡くべしとなり。初にかくの如く誓ふこと故
に、もし此の辭に背く者は、たとひ鎖幾條所持すと雖も、其の驗なく、鎖の奇特を失ふと定
めたり。誠に此くの如くなれば、正大の誓約と有難き鎖なり。聖人の道と雖も此上は有ろぺ
き、實に武邀

...observed can extend throughout a circumstance. The training practices of Masaki is much like that all
encompassing principle. Also in the chain capturing which is even to be employed when encountering
a more formidable enemy to make an uneventful capture and dispense with him. As well as with any
sort of wild animal, or a burglar or thief. And so having possession of this chain (kusari) when
approached by a person [aggressively] they say that you don't have to be all that skillful. Whatever sort
of any of this is inquired into as a subject. Even what kind of persons one might encounter. The
students of Masaki do it this way, hoping to be able to defend themselves by the chain. But there is a
written vow that is engaged in. The addresses of that written vow requires one not be disloyal to one's
master, not to practice impiety towards one parents, and that one should not betray a friend. Not to
engage in strong drink and not to practice falsehood. Not to allow arrogance to arise in one's heart. Not
to diverge from the customs of the school, not to perjure oneself in civil matters. To be vigorous in
one's own affairs. Not to conduct oneself in a criminal fashion by night. And furthermore, there some
length of other items to be seen to. And the one item that combines them all. To humble oneself before
Marishiten [Japanese chief deity], and that one must exhaust what good fortunes of war may occur.
Much as from the start itself, consequently the vow is like this. Aye, some of these addresses run
contrary to one another out of necessity, even as some of the items of the chain techniques do. But this
does not necessarily signify anything. For example, it's said sometimes to be commendable to part with
the chain! Indeed it really is like this, the written vow of just behaviour and of gratitude for the
techniques of the chain. Following the way of the Sages even despite it all and beyond this making use
of what one must. Really, one ought to say that there are secrets in answering the martial call-to-arms.

—— (164) ——
の奧義といふべし。法華經の水火も焼溺する事能はずと說き、老子の虎豹も牙を觸るゝこと
なしと敎へしも、亦是に外ならず、瑣末の技藝の上にても、其の妙所に至りては難有こと多
し云々。

五、柳生三巖狐退治の氣合

柳生十兵衛三巖東海道旅行の砌、薩陲峠の手前倉澤といふ所の旅館に宿泊したが、其の旅館
に狐憑病に罹つた娘が居て、其れと問答をしたといふ有名な話がある。眞僞は暫く置き、茲
に其の話を抄記しやう。右旅館の娘が柳生三巖に問答を挑んで、若し其の問答に於て、三巖
おくれを取つたる時には、直に其の旅館を引拂ふといふ約束であつた。そこで其の娘が、
『何なりと問うて見よ、速に答へやう』といふ恐しい權幕だ、三巖は、『然らば汝に尋ぬる
が、四書といふ書の中に、大學あり、大學に曰といふ字が、幾つあるか、ハツ』といふと、
さすがの娘が俯向いてし

Even the "Fire and Water" [sections] of the Lotus Sutra, the tempering caused by indulgence is
explained as being inadvisable. As taught by Lao Tzu, one does not get tigers and leopards without
getting the fangs and claws too. Again, there is no contradiction in this, even in the more trifling of the
artifices is to be approaching the beauty of that. Although they say that there will be many difficulties.

Go, Yagyū Mitsuyoshi Kitsune Shirizoke Sōji

Five, Yagyū Mitsuyoshi's Quelling By Plucking Up A Fox And Then Retreating

Yagyū Jūbee Mitsuyoshi when traveling the Tokaido highway, it was said that he took lodging at an
ryokan travel inn the Buddhist shrines this side of Kurasawa. While at the travel inn, there was an
ailing person possessed by a fox spirit, that had caught a hold of someone's daughter. The record of the
exchange of conversation between them is quite famous. In short while, the truth and error in the
correctness of the record of that conversation will have become evident here. The girl was a daughter
of the previously mentioned ryokan travel inn, so Yagyū Mitsuyoshi challenged him to a duel to win
her in the dialogue between them. By the course of that dialogue, Mitsuyoshi captured and dispatched
him at the time. He was said to have then moved out of that ryokan travel inn, as part of an agreement.
So accordingly, that daughter had said 『See to it that he can ask anything he like, and give him the
answer quickly.』 It is said of the menacing looks [the possessed person gave] that they struck horror
in a person, of Mitsuyoshi it was said 『However, since that was the case, you had investigated the
thing in a different way. In the Books of Confucianism it says that they are the greater learning. In that
'Greater learning' [(this is the title of one of the four texts in question)] that one must consider the very
written characters themselves. However many and whichever of them one should. And so 'hatsu'
[(meaning "(take your) departure (from us)...")] 』 And that is what got said, and as one would
expect, the girl hung her head... as thus restrained he gave no reply.

Trans Note: The entry makes references to a person possessed by a fox spirit. As to why the Ryokan innkeepers asked the
hero in the story to leave, which seems a strange reward for his valor, probably it has to do with the idea that the spirit itself
might return and seek vengeance for it's defeat. It is probably the same reason why the hero agreed so readily to leave the
area (one assumes perhaps the spirit could be encountered again in that region?)

—— (165) ——
まつたぎり返答がない。『サァ何うぢや、答のつかざる時に於ては、一刀兩斷の下に切つて
落すが何うぢや』と、突然に刀の鯉口を切つて、中柄に手をかけ、『何うぢや』と詰め寄つ
たが、娘はさしうつむいて居る。そこで、「エイツ」と氣合をかけてズバッと、拔打ちに其
の娘の頭から切つてしまつた。すると旅館の者は、襖の外から其の容子を見て居たが、娘が
切られてしまつたと驚く内に、娘が倒れながら、身をふるはすかと思ふと、遙か裏手の方に
當つて、コン〱といふ狐の聲が聞えた。光巖は旅館の者を顧み、『其方共の目から見ると、
此の方が娘を切つたと思ふだらうが、さうではない、鍔音や拔いた位では立ち退かんと考へ、
十兵衛が柳生流の極意眞の氣合を以て切り込んだる故、流石の野狐も堪りかねて、當家を退
散致したり、引拔きざまに氣合をかけたる故、さながら娘を切つたやうに見える、野狐は其
の身を切られたと思つて退散したのである云々』と云つた。此の話の事實は信せられぬにし
ても、氣合術によ

... as thus restrained he gave no reply. 『For whatever cause, he gave no reply at the time, after all what
did he do? He cut [the attacker] in two with a single downward stroke! 』 and so he had rather
suddenly drawn his sword from the mouth of the scabbard, his hand clinging halfway up it's hilt
『(Done for) Whatever cause』 and when they pressed him for an answer, he simply pointed at the
girl. And so accordingly 「 Aye! 」 and then without hesitation took heavy handed control (kiai wo
kakete zubatto), drawing and striking with the sword, right alongside the girl's head! Thereupon, the
ryokan innkeepers came out the sliding screen doors having seen the sad state of affairs. The girl could
have gotten cut and they were quite astonished by what had happened. The girl had dropped to the
ground, it was thought that her body just gave out. He had struck in the reverse direction with there
being little distance [between the sword and the girl], and so they asked him why as the voice of the
fox could still be heard. Regarding [Emperor] Kōgon when he gave consideration to the innkeepers
『They seeing the whole thing with their own eyes this way, and thinking that surely the girl had been
cut too, even though it turned out that she was not cut at all. The sound of his sword-guard stopping
[the attacker's blade] as it drew along it's length, one considers it appropriate to have asked him to
vacate!! Of Jūbee and the secret levels of the Yagyū ryū, the absolute and deliberate control afforded
(shin no kiai wo motte) much like cutting rather deeply like with a sword, even how to prevail over the
nokitsune fox spirits capable of possession. Those whom come from this family practice dispersal [of a
threat], scouting out the sorry state for the purpose of gaining deliberate control over it (kiai wo
kaketaru furu). Just in having seen and thought that the girl had been cut, regarding the nokitsune fox
spirit, it's thought to be the case that it knew the body [it was possessing] had been cut in half, is said to
have thus dispersed the spirit.』And that was what got said about it all. The subject of the conversation
with it, really, were conveyed with absolute sincerity and all according to the use of the Art of Kiai.

—— (166) ——
つて、斯の樣な場合狐を降伏せしむることは、不可能の事ではないので
ある。

六、毘沙門無心の氣合

古印度に於て虎が非常に害をしたとき、元來勇に猛き毘沙門が斯う考ヘた。虎は猛獸と雖も、
萬物の靈長たる人間に向つて害を加へ得べき道理がない。それに人間が往々其れに害せらる
といふのは、軍竟するに人間の方に書心或は恐怖心を以て臨むからである。令我れ苟くも、
無我無心清淨無垢無住不動の心を以て臨まば、虎また何の加ぶべき所かあらんと。そこで身
には寸鐵をも帶びず、單身虎の群に入つたが、さすがの猛獸從順なること羊の如く、遂に一
頭を生捕にして連れ歸り、能く之を馴らして、自由自在に從はしめたといふことである。虎
が全く毘沙門の無心氣合にうたれたのである。

Like this comes the circumstance of the submission of the fox, it's not impossible to do it.

Roku, Bishamon Mushin No Kiai

Six, Bishamon's Kiai of the Mindlessness

Every time the tiger left his stamp-imprint it had a very injurious effect, and really it was with great
courage that Bishamon had given address to it. Regarding the tiger, despite it's ferocity, at the apex of
the 10,000 things there is the truth that human beings have acquired ways to avoid harm and injury.
And moreover besides this human beings are said to quite often be able to counter-inflict when doing
so. And so military troops are sometimes the conclusion of what such written letters have in mind. Or
possibly, to be faced with that which is terrifying. Not the least then is what one's own orders are, a
steadfast mind-set of purity from calm selflessness unfettered by thoughts of self concern (muga
mushin seijō-muku) against what one has been faced with. But will not the tiger do much the same too?
So then, even though one is not girded every inch of the like iron (e.g.; armour??), alone and away
from home the tiger is entering in groups, as fierce an animal as one expected him to be, there is a
tendency to become as docile as sheep before him. But finally there is the attempt to capture their top
head so as to disperse them. Frequently this acts to tame the beast. It's said to incidentally have
complete and free control. The tiger thus fell victim to the selfless control (mushin kiai) that Bishamon
exhibited.

Trans Note: If I am not mistaken ("if"), here in this context, the tiger spoken of here is probably the Emperor of China and his Generals. The "stamp-
imprint" mentioned refers to the stamp seals used on edicts and decrees (such as would have been getting issued by Chinese Imperial Courts against Japan
during some of the ancient paramilitary struggles between the two countries.) The "stamp-imprint" kanji used here also look vaguely like claw marks (印)

—— (167) ——
 七、清正秀忠虎の氣合

太閤秀吉が諸將と猿樂を觀て居たときに、虎が檻を破つて出で來り、堂階を攀ぢて進入する、
諸將或は起ち或は走りて之を避けた。虎は進んで加藤清正に向つた。清正劒を按じてこれを
叱したから、轉じて秀忠の座に近づいた。秀忠端坐して之を一睨すれば、虎乃ち去つたとい
ふことである。

八、吠え付く犬を止める氣合

呪咀本に、人喰犬ふせぐ呪咀とて、次の如きことが書いてあるが、是れ即ち吠え付く犬など
に對する、氣合術の方法を示めしたものである。
歌に、
我は虎いかになくとも犬はいぬ、しゝのはがみをおそれざらめや。

Shichi, Kiyomasa Hidetada Tora Yoke No Kiai

Seven, Kiyomasa Hidetada's Kiai of Repelling a Tiger ('Drunkard')

Various commanders under the Taiko Regent Hidekichi were watching the Sarugaku theater at the time,
and a drunkard produced himself [(lit. "a tiger got out of its cage")] in the middle section of the
performance. he approached to climb up on the stage and some of the various commanders, and
whomever else, arose to the occasion to help protect against him. The drunkard had advanced in the
very direction of Katō Kiyomasa (1562-1611), and Kiyomasa pushed down his sword as he scolded the
fellow over all this. Meanwhile, he had come rather close to where Hidetada was sitting. Hidetada sat
bolt upright and glared at him over this. It was said that the drunkard then was trying to quit him.

Hachi, Hoetsuku Inu Wo Yamu Kiai

Eight, The Kiai To Stop A Barking Dog Chasing You

Indeed it's a vexing curse, to have to defend oneself against a man-eating dog is quite vexing. Much as
what has been written about it, this is namely to be chased while the dog is barking and etc. The Art of
the Kiai shows ways to control this.
In the Old poems [it says],
I am put upon by a dog whom is not unlike a tiger! Made afraid by it grinding and gnashing its
teeth like a lion!

—— (168) ——
此の歌三返となふべし、而して次に戌亥子丑寅とよみつゝ拇指より、五つの指を握りて犬を
睨み付くるなりと。此の拇指を掌内に入れて、指を握り固めること、所謂握固といふことは、
渾身に氣を滿たしむるに最も必要なることは、旣に述べた通りである。

九、山本勘助狼除けの氣合

山本勘助諸國を遍歷し、一色淡路守貞好の遊客となつた頃、楠正齋の噂を聞き、之に就いて
軍法の奥義を學ばんとの心願を以て、其の幽居を訪れやうとする途中数多の猿に取園まれな。
物助は直に身構へを爲し、『憎き畜生かな、イデ片つ端よ。切り盡し吳れん』と、旣に刀の
柄へ手を掛けたが、又考へ直して、イヤ〱我も人なり、高の知れたる獸に、武士の刀を拔く
は恥なりと思ひかへし、揖指を四本の指にて押へ拳を握つて、其の中を怯ず臆せず通つた所
が、狼は害を加へず、立ち退いたと

Three poems return to this and what one should do about it. And next there is the reading of lines with
the thumb pointer moving to the northeast and the northwest (Jukkai-shi ushitora [or, 'Imei-shi
ushitora']) taking grip on the dog like this with all five fingers while giving a sharp stare straight into
the dog's eyes. Having entered with the palm of the hand and all five fingers like this, one takes firm
grip with the fingers, they say that this is taking a firm grip on the situation. It is necessary to convey
one's mood and spirit with the entire body [so the dog can see it], as already mentioned about this route
of doing things.

Kyū, Yamamoto Kansuke Ookami Yoke No Kiai

Nine, Yamamoto Kansuke's Kiai For Repelling A Wolf

Yamamoto Kansuke was in various countries a number of times, and one episode involving a sightseer
named Awaji Sanesada, having heard rumors about Kusunoki Masanao of which he had a hearfelt wish
to study from and learn the secrets of the Paramilitary methods(gunpō). So he came calling upon where
he had taken his isolated refuge, he was en route when he heard the chattering of a large band of
monkeys in a park. Using his body posturing and position to directly help himself, 『I wondered about
their animal ferocity, as I [stood there] on the brink of it. Wondering when it would finish itself. 』 His
hand already clinging to the hilt of his sword, and giving it due consideration, said to himself: Stop it!
Anyone knows that being human ourselves we cannot climb as high [up a tree] as these creatures can!
Regarding the drawing of a warrior's sword, one must give consideration to whether or not one will
bring shame when drawing it. The four fingers come together forming a fist when taking grip on it's
hilt, and yet one must not show fear or hesitation when on the route of doing so. Much as when a wolf
would do you harm, it is considered best to withdraw away from there.

Trans Notes: The entry in reference to stopping dog attacks says something about: "...the thumb pointer moving to the northeast and the northwest..." This
is in reference to driving the tips of the thumbs into the dog's ear canals, taking a grip of sorts on the dog's head this way to control the animal. The
language terms used are “reading” terms, using the thumb to point to the lines of text and locking the eyes onto the characters so that they may be read.
Also, in this dog control method, there are certain kinds of utterances one uses, but the text doesn't seem to refer to them?

—— (169) ——
いふ。初論此れは作り話に相違ないが、勘助が刀を拔かず、握固して怯めず臆せず、狼を見
ても、狼ありとも思はず、不氣で通りゆ〱其の心法は、即ち氣合術の消息を洩したもので、
特に動物氣合の原理骨髓を語つたものである。

十、動物氣合の原理

老子に、『善く生を攝する者は、陸に行いて兕虎に遇はず、軍に入つて甲兵を被らず、兕も
其の角を投ずる所なく、虎も其の爪を措く所なく、兵も其の刄を容るゝ所なし、そは何故と
なれば、其の死地なきを以てなり。と言つてあるのは、一切の妄念を放下して、些一の邪心
なく、よく澹然虛靜の境に到り、宇宙の眞機無上正覺の眞理を得たものゝ身體は、所謂虛剛
不壞の身で之に向つては刀杖も害すること能はず、猛獸も賊すること能はずとの意である。
而して是れ直に動物氣合の原理を說明したもので

As for the initial basis for this argument, without a doubt in the fables, Kansuke would not draw his sword, yet
neither did he falter or hesitate to take firm grip on it's hilt. Even when seeing a wolf, and even the wolf being
what it is did not really give any consideration. Even when upon a dis-spirited avenue there is the Mental arts
(shinpō), namely the movements and conveyances of the Art of the Kiai which were disclosed [in writings like
this]. Particularly, in the language of the core truth of the principles of controlling animals (dōbutsu kiai).

Jū, Dōbutsu Kiai No Genri

Ten, The Principles of the Kiai of Animals

In the Rōshi (Ch. Lao Tsu) [it says:],『People frequently act as a surrogate of sorts in life, and when sufficiently
conducted there is no real trace evidence [lit: "there is no rhinoceros or tiger"] left behind [that it was only
surrogation]. When one has entered the military, and donned one's armour and weapons, even when faced with
an aggressive foe ("tiger") one takes the initiative and casts him down. Being that there is a need to stop the
claws of the tiger. Even the warrior/soldier must face [the reflection of] his own face [showing in the mirrored
surface] of his own blade, thus one gives some due consideration to the how's and why's, so as to avoid the
possible circumstance of one's own death. And regarding what has been stated about it, having abandoned
whatever is of the convictions based on flawed ideas, not harboring even the least of wicked designs, and so
reaching the conclusion of a quiet calm that is free of ambition or care. The reality of the world being what it is,
one takes enlightenment on the acquiring of the better of the chance opportunities that occur. And regarding the
physical systems, notably the complete corpus of the more strict vacancies when going in that direction, there is
very little that the danger of the hidden sword in a cane is not suitable for. Even with burglars and fierce animals,
there is the sense that they cannot resist falling victim to it. And so, this is a true fundamental principle of
controlling animals (dōbutsu kiai).

Trans Note: Examples like this entry and its usage of the idiom dobutsu kiai (動物氣合), having a definition of "controlling animals", whereas otherwise
one would be tempted to thing that it meant "the Kiai (control) used by animals", shows the definition of the idiom 'kiai' ( 氣合) when as Passive voice
participle "(being) controlled", whether as a verbal noun from the passive voice, or as it a verb itself. Could sometimes occur as a verbal adjective. And yes,
when the language construct occurs anyways, there is a form (several forms, actually) of the verb "to be controlled" that employ the idiom kiai ( 氣合).
Separate Note: The text uses the classical Sino-Japanese idiom shiko/or/shitora ( 兕 虎 ) “rhinoceros and//or tiger”. This classical idiom also occurs
sometimes in reverse order as koshi/or/torashi ( 虎兕 ) “tiger and//or rhinoceros”. The definition is somewhat decided by context (from a base platform
definition). Generally it means something “quite undesirable to encounter” as if trapped between a pissed off rhinoceros and a tiger (especially as the result
of one's own doings or actions). In this example of it's usage here in the text (...rokuni okanaite shiko-ni ahazu (...陸に行いて兕虎に遇はず...) given the
negation of the verb au (遇) "to Meet; encounter" I translated it the way that I did “no trace evidence left behind”. I could just as well have translated the
statement as: "...and when sufficiently conducted there is no real trouble left behind from having done so..." I would also like to point out, again, that all
this talk about controlling animals (dōbutsu kiai) is also talking about controlling people as much as ut is literally talking about animals (I guess one would
say that it is the nature of the “human animal” in archetype descriptions??)

—— (170) ——
ある。素問に謂、『恬澹虛無なれば、眞氣之に從ひ、神心内に守り、病何くより來らん
や。』と。是れ老子の所謂善く生を攝する者の謂である。又醫學源流論に、『夫れ人の精神
完固なれば、外邪敢て犯さず、唯其の之を禦ぐ所以の具虧くることあれば、則ち之を侮るも
の斯に集る。』と言つてあるのは、右の老子及素問の言と同趣意である。而して唯其の之を
禦ぐ所以の具虧くることあれば、則ち之を侮るもの斯に集ると言ふのは、我に隙き間のある
時には、敵に致さるゝものであるとの謂である。例へば邪念があるとか、恐怖心があるとか
いふ場合には、我が精神の靈力が鈍つて、到底動物氣合などを施すことが出來ないのである。
勇氣は靈力を増すが、恐怖は靈力を失はしむるものである。猛獸などに對しては、決して恐
怖心を抱いてはならない。否彼等を懾伏せしめなければならない。動物を懾伏せしめやうと
するには、我が金剛不壞の身心を以て臨まんければならない。動物氣合といふのは、廣大な
る人間の威嚴を以て、

In the discourses of the Somon [Ch. the Suwen, a tractate of the Huangdi Neijing, "the Inner Canon of the Yellow Emperor" ]
『Because of the neutral disinterest of nothingness, in accordance with sanity, guarded by the Divine
heart and mind, and so preventing illness in a variety of ways. 』 This is what Rōshi [Lao Tsu]
described as when people act as a surrogate in life. And also in the theories of the sources of the
medical arts (Igaku Genryū No Ron; Ch. yī xué yuán liú lùn), 『There are definitive conclusion about
this regarding the health of human beings, beyond evil itself why else is wickedness committed? As a
tool by which to carry out the inclination to defend oneself. Namely this is held to be held in increasing
disdain. 』 Regarding what is said about it all, what was said in the Rōshi [Lao tsu] and the Somon
[Ch. suwen] are said to have the same meaning. However, when as a tool for protecting oneself with,
what was said about it being held largely in disdain, this creates a gap [in one's defense ability] at the
time. And so the enemy is said to be able to approach through [this gap]. For instance, where there are
wicked thoughts, there is also the sense of terror that comes with it. And one's own spiritual power and
force becomes quite sluggish. By no such means can control over animals (dōbutsu kiai) then be
performed. Courage increases spiritual power, but terror weakens and destroys spiritual power. When
confronted by the likes of a fierce animal, one cannot at all display fear. Nay, one cannot possibly
prostrate oneself before such creatures! Where one would prostrate oneself in fear of an animal it
cannot be of help to do so when confronted by them since our bodies are not particularly
indestructible. Regarding what gets said about controlling animals (dōbutsu kiai) it is largely done
through the superiority that human beings do have.

—— (171) ——
動物を懾伏せしむるといふことに外ならない。換言すれば動物が人間の威光に打たれて、全
く其の氣を奪はのであつて、是れ實に萬物の靈長たる人間の威力の、いかに偉なるかを示し
たものである。彼のレダエンフエルド氏が、動物に恐怖の感を起させるといことを以て、動
物催眠の原理を說いてあるが、是れは動物氣合の原理を說明したものと謂つて宣しい。即ち
吾人は、動物の恐怖的現象を以て動物氣合の原理を說明することが出來ると思ふのである。
元來動物は感覺の非常に銳敏なもので、直覺作用の敏捷なることは、人間よりは遙に優つて
居る。諺に朝鳶雨、夕鳶晴、だとか、鴉が水を浴びると雨が降るとか、熊深山を出づれば雪
が降る、とかいふ樣な類が澤山あるが、天候とか氣象とかいふことに關して、人間の全く豫
知することの出來ない前、己に動物は早く之を感じ知つて居るのである。されば、遠く空中
を飛んで居る鳥類等に氣合を施せば、鳥類が其の氣合に打たれて、地に落つるとか、飛翔す

They say that once you've prostrated yourself before an animal, there is nothing beyond that. In other
words the animal has all the power and will strike. Really when being engrossed in that attack, the
animal is at it's best as it takes authority over the human being. A tremendous lesson will have been
learned [by both man and beast]. About that Mr. Ledaranfelt [ name spelling?] said that the animal is
compelled by sensing your fear, which explained a fundamental principle of animal mesmerisation as
well as this having clearly revealed a fundamental principle of controlling animals (dōbutsu kiai).
Namely, regarding ourselves, that it's thought that the phenomenon of the animal's own fear as clearly
explained in the principles of controlling an animal (dōbutsu kiai) is what allows us to do it.
Essentially, the animal very much senses things acutely, whereas the insight of a human to handle them
gently [and unafraid] astounds them. In some maxims of the Chōen-u (name means: "The Morning a
Black Kite Flew In The Rain") it says, that evening the weather was fine for the Kite, and that being the
case, a raven was dashing water over itself. And then it began to rain. A bear was coming out of the
deep ranges of the mountains, where it had begun to snow. There was plenty of this kind of activity.
The disposition of the weather was becoming an obstacle. Even human beings knowing such
circumstances really cannot relax. We ourselves like the animals quickly sense this and know it. That
being the case, flying the distance across the sky, with the likes of birds, they do perform some control
(kiai). But in controlling [themselves?] like that the birds can be struck down, or fall accidentally to the
ground.

—— (172) ——
る方向を轉ずるとかいふ樣なことは、決して不思議ではない。何となれば人間が氣合術を施
す時には、必ず其の呼吸、其の眼光、威容、動作等が鳥類に知れるのである。鳥類は其の銳
敏なる感覺機關を通じて、人間の心機動を察知すると同時に、ハツと驚いて恐怖の現象が生
ずる。其の結果として動けなくなるとか、其の他奇妙な狀態になるのである。獨り鳥類ばか
りではなく、他の動物も亦、同樣の理由に基いて、人間の氣合術にかゝるのである。

第三節 動物相互の氣合

氣合術は、獨り人間の專有物でなく、動物間にもそれ〲斯の術を用ひて、互に虛實を何ひ、
激しき戰鬪を演じて居るのである。而して氣合術の妙を得たものは、動物世界の勝利者と爲
つて、堂々雄視して居るのである。

It soaring in whatever direction it had turned, and by no means is this not miraculous. The reason being
that the Art of the Kiai performed by human beings at the time invariably has such breathing involved
in it, the same glint in the eye, the same composed dignity. The active movements of the bird are a
known thing. The birds being thus decisive, and through their own sensations and feelings, as well as
simultaneously sensing the motion and mood of human beings, neither fear nor surprise are given rise
to. Accompanying that, there is no additional movements other than the peculiar circumstances that
come to exist. But birds are never really alone, there are always other birds and animals. And this is the
same as the reasoning upon which the principle [of controlling animals] rests upon. Human beings can
influence by the Art of the Kiai much the same.

Daisan-setsu Dōbutsu Sōgo No Kiai

Section Three The Reciprocal Kiai (“controlling”) of Animals

Regarding the Art of the Kiai, even when human beings are alone they are not exclusively alone.
Making use of a kind of animal to animal artifice. Truth and falsehood exchanging together in
whatever way they do. Even evidenced in the mad rushing of battlefield combat. And so one acquires a
superb Art of the Kiai, becoming victorious even in the animal world itself. Viewed as a magnificent
specimen of a manly animal-creature [man or beast].

—— (173) ——
 一、蛇の氣合

蛇が蛙を捕へて呑むにも、亦氣合術を用ひて居る。蛇が氣合をかけるには、鎌首を立てゝ舌
をべロリ〱動かすが、其の眼光は爛々として毫もまじろがない。而して渾身の力を尾に集中
して居る。蛇が舌をベロ〱と出すと、青い火即ち燐火が見ゆるが、蛙が蛇の口に呑み込まる
ゝ前に、先づ以て此の氣合に呑まれるのである。而して憐れなる蛙は、その氣に感じて遂に
自ら蛇の口に飛び込むのである。併しながら蛇が此の氣合の術を捨てゝ、いきなり蛙を呑ま
うとすれば、蛙はヒヨコ〱と逃げ去つて、此の場合には、蛇の餌食より免れることが出來る
のである。

二、蝦蟇の氣合

古來蝦蟇の術とかいふことが行はれて居た。成程蝦蟇は妖術魔術の引き

Ichi, Hepi No Kiai

One, The Kiai (Control) of Serpents

When the snake captures and gulps down a frog, again there is the use of the Art of the Kiai involved.
When the snake does so it is a clinging control (kiai wo kakaru) in slurping movements swallowing
[the frog] down it's tongue and throat. Having quite a furious glint in its eye, to say the least. And thus
it does so with an intense concentration from tip of the nose to tip of the tail. The snake sends it down
[its throat] slurping it over its tongue. One might see a will-o-the wisp greenish-blue light as it does so,
just before the frog goes fully into the snake's mouth. Before that point, there is control ( kiai) as [the
snake] begins to gulp it down. Regarding the frog's misery as this is happening then, the sense of this
feeling at last occurring, it wants to leap out of the snake's mouth. But the snake has all but cast any
possibility of this aside by the Art of the Kiai that it is using. We assume that, inescapably, the frog will
be swallowed. The frog turning unabashedly green wants to leap out and escape. In this circumstance,
the snake's victim can be saved, though.

Ni, Hikigaeru No Kiai

Two, The Kiai (Control) of Toads

From time immemorial they speak of such as the artifice of the toad and how it is conducted. Indeed,
black magic (yōjutsu) and witchcraft (majutsu) both draw upon...

—— (174) ——
合に出されるだけあつて、蝦蟇は一種の魔力否不思議の力を持つて居る。併し其れは實際魔
力でもなければ又不思議の力でもない、全く蝦蟇が氣合の術に長じて居るからである。蛇は
蛙に對しては强いやうであるが、此の蝦蟇に對してはから駄目なもので、若し蝦蟇が一氣合
かける時は、蛇の身體は萎縮して了つて、少しも動けなくなる。而して蝦蟇が其の周圍を一
廻り飛び跳ねて、小便を放射けると、蛇の體は次第に融解されて、其の皮肉は一書夜の間に
消えてたヾ骨を殘すだけである。蛇ばかりでなく、鼠でも鼬でも、一たび蝦蟇の氣合に打た
れると、蛇と同樣な狀態になるのである。而して蝦蟇はただ此等の生物に氣合を施すのみな
らず、往々無生物に對しても氣合を用ふる。若し蝦蟇が軒の下に箕踞して、其の便々たる腹
を突き出しつゝ、氣合を用ひたならば、座敷の眞中にある、菓子盆中の菓子が、コロ〱と轉
げ出して蝦蟇の方へ引き付けられて了ふ。左れば高所に居る蜂等が、

...things that are revealed by the toad. The varieties of toads do not really have any kind of magic
power, but even so, if one does not acknowledge what magical powers they practically do have then
one cannot possess it for themselves. Toads are really quite good at the Art of the Kiai.
As for when a frog is visibly confronted by a snake, it is of no avail to confront a toad this way. The
toad will cling much the same to control (kiai) itself [as would the snake] at the time, as the snakes
body winds and slithers, to some extent [a toad] won't even move. And so the toad only hops up and
down back and forth within the circumference of those gyrations, urinating as it does so, the body of
the snake gradually loosens and slackens [fatigued]. Regarding the irony of that, even when one has
only been reading a book most of the night, as one arises and walks away [from the book] the bones
are stiffened [as if from fatigue]. So the snake, much the same, aye even a weasel chasing a mouse, on
the single occasion of the snake striking so strikes the toad by controlling (kiai) in it's own way [to
wear the snake down]. Finally the toad will have drawn quite close, despite the control (kiai) between
these two kinds of creatures. Quite often not moving at all as an object when being confronted is an act
of using the Art of the Kiai. Supposing the case of a toad cowering and crouching under the ledge of a
structure, it's belly protruding as it crouches idle. In the circumstances by which it uses control (kiai),
at the center of a tatami mat there sits a dish with a pastry on it. The toad croaking and turning in that
direction, it's immediate convulsions [of movement] coming to an end, as the likes of a hornet comes
down from the higher left side [to approach the pastry]...

—— (175) ——
蝦蟇に吸ひ込まれるのは少しも怪むに足らない。抑々蝦蟇の此の牽引力の强いのは、蝦蟇の
呼吸が强いからで、蝦蟇が暗夜に息を吹くと青火が閃き見ゆる。蝦蟇が氣合術に妙を得て居
るのは、全く呼吸力が强いからである。之に由りて見ても、氣合術に於て此の呼吸の大切で
あることが益々明である。吾人は蝦蟇が妖怪を顯すといふことに就いては、敢て疑ひを挿ま
ないが、唯蝦蟇の小便に就いては、遺憾ながらまだ十分の解釋を得ない。併し蝦蟇に小便を
かけられると、眼がつぶれるといふから、餘程有毒なものに相違なからうと思ふ。これは動
物學者などに篤と硏究して貰ひたいものである。

三、雉の氣合

雉は蛇を喰ふといふが、其の蛇を殺す方法はなか〱巧なものであつて、

It's not sufficient to merely wonder if the toad takes a breath in. To begin with, there is the pulling
power of this toad [e.g.; when it snatches a bug out of the air with it's tongue, or when it is
withdrawing from the jaws of a predator] the toads breathing is like someone who is angered. The
toad's breathing whistles in an out in the dark of night, one sees a bluish fire flare a moment. Toads
have acquired a superbness in the Art of the Kiai. Really it is pretty much the same breathing power of
someone who is angry. Even seeing what this is being caused by, in the Art of the Kiai this breathing
pattern is very important as it clearly increases and decreases in it's patterns. We ourselves say that [by
Japanese tradition] the toad is a manifestation of certain kinds of a spirit, this is not necessarily being
disputed here. Merely that toads urinate as an occurrence, and unfortunately there is no sufficient
explanation for this to be had. However, the urine of toads does cling to things, and vision is said to be
impeded by it. If there is too much of it, that is thought to be toxic. About this, the zoologists do
somewhat seem to accept it thoroughly.

San, Ki(ki)ji No Kiai

Three, The Kiai of Pheasants

The Japanese pheasant when seeking to eat a snake, and the skillful ways it seeks to kill that snake, ...

—— (176) ——
先づ自分の身を死地に陷れ、危機一髪といふ所で、十分敵の呼吸を見計らひ、其の虛に乘じ
て直に敵を制するといふ手段を取るのである。即ち先づ、蛇をして自分の身を幾重にも巻か
しめる。而して蛇が巻いてしまつて、ホツと一息つくときに、得たり賢しと、其の體を縮め
其の虛を擣いて、渾身の氣合直に翼力の一擊と爲つて、蛇の身體をズタ〱に切り裂くのであ
る。

四、犬の氣合

犬は勇氣の剛なるもので他の野獸を見ては恐れないが、狼だの虎豹だのといふ猛獸に對して
は、犬は到底叶はない。然るに茲に犬が、百獸中の王猛獸中の猛獸ともいふべき、虎を喰ひ
殺した話を記さう。昔足利十二代將軍義晴の晴代に、西班牙人が來朝して、一頭の虎を寄贈
した。將軍は其の虎を飼養することにしたが、其の頃は人も知る如く、

Even from the start the body of [the snake] itself succumbs to certain death, as a circumstance it has
but the width of a single strand of hair [e.g. occurring very quickly], it would be estimated that the
enemy's breathing would last only ten minutes. Being caught off guard like that, they say the enemy is
being bridled and got the better of by the techniques of capture being used. Namely, from the start the
snake's body is being made to uselessly coil tightly over and over again [causing fatigue]. So the
serpent tightly coils up, and so is spent and in need of rest, [the pheasant] obtains [the snake] by
intelligence. [The snake's] body being reduced in size somewhat by the pounding. [The pheasant] has
direct control (kiai jikani) over [the snake's] entire body with a singular attack from it's wings. The
snake's body will be cut up into pieces.

Yon, Inu No Kiai Four, The Kiai (Control) of Dogs

Regarding dogs they have quite a bit of courage and bravery when seeing other wild animals, and are
fearless towards them. They say that [dogs] are like this even when confronted by such predatory
animals as wolves, leopards and tigers. Dogs absolutely never fail to respond. Still, here with dogs,
they are said to be like this even with the more high ranked of the king of beasts. And there are
historical tales [of dogs] killing and eating tigers. In the olden days, the shogun Ashikaga Jūnishiro
Haruyo was presented with a fairly large tiger, in the arrival of the peoples of Spain to Japan.
Regarding the Shogun, made off as if breeding that tiger. Then the people pretty much knew [what was
likely to happen].

—— (177) ——
牛肉や豚肉などを食用せぬ時代であるから、虎の餌食には洛中の犬を以て之に充てた。處が
日々のことであるから、京洛中の犬が殆ど無くなつた。虎の餌食掛の役人、犬狩をなし、
追々是へ送る中、公方の權威を振ひ、宮門跡攝家清家の館までも、憚る色なく踏み込んで犬
を取り立てるといふ有樣、其時二條高倉に鶴屋美作といふ菓子屋の床下へ犬が兒を一匹産ん
で居たが、普通の犬とは違ひ、逞しき眼ざしに、毛色は白毛の外は、差毛は只の一本もない
美しい犬なので、主人は至極寵愛して飼養して居つた。然るに一日犬掛の役人二三人、打ち
揃つて鶴屋の店へ來り、其飼犬を虎の餌食として、差出す樣にとの命令、主人は一應は拒ん
で見たが、役人はなか〱承知しない、そこで己むを得ず、犬を呼び出して、其の頭を平手で
撫でゝ、『白よ、白よ、汝も愈々虎の餌食に供へられんければならない、是も因緣づくで是
非もない、併しせめてもの事に、京中の多くの犬の讐ざやと思て、例ひ喰はれながらも、虎
の陰嚢へでも食ひ

Beef and pork being used for food even in those generations, the tiger was ordered by the Capitol to be
fed dog instead, day after day so was the tiger [to be fed]. And so there were practically no dogs left in
the Capitol. The governmental official in charge of what the tiger was to be fed, finding it
unsatisfactory to hunt for dogs themselves, little by little sent out someone from among them [to hunt
for dogs]. The authoritative power of the Court was wielded with dignity. In the gate of a Palace there
was some evidence of both surrogate households and pure households, that were not stained by the fear
of what others would think when setting foot into the area of others when hunting for dogs. It was said
about this spectacle that there were two items that Takakura Tsuruya Mimasaka spoke of regarding that
dogs tend to bear their puppies under the floor of confectionery shops. Ordinarily, dogs flit about quite
a lot, even those that are the more robust to the eye. The colour of their fur white and beyond, and the
ordinary variations of their fur is not uniform. But largely they are beautified. The Heads of
Households very much favoured breeding them. However, one day, two or three of the government
officials began to horde and withhold the dogs. Hitting and driving off anyone present, making them
go instead to the Tsuruya stork marked shops. These pet dogs that were being used to feed the tiger that
had been submitted under the orders but the Heads of Household themselves were more or less
declining to obey [and submit the animals]. They had dissented against the government officials,
essentially not acquiring any themselves, the dogs were being summoned for, as they petted their hairy
heads with their hand. 『Innocence, innocence! You blockheads! The tiger eats more and more of them
as if it cannot resist but to do so! Because this was unavoidable, being brought together as a
circumstance, the dogs are starting to think that they have an enemy in many of the Capitols!
Notwithstanding the customary habit of eating them anyways, the tiger...

—— (178) ——
付いてやれ』と、恰も人にもの言ふごとくに云つた。口こそきかね、犬も其の氣合を感じた
樣子であつた。やがて虎の檻中に押し入れられた。犬は這入るや否や大地に匐匍ひ居り、尻
を立て腮を土に伏せ、十分に氣合をこめて虎の樣子を見て居る、虎は餌食が來たので延び上
つて、眼を細くし、舌を出し、口なめづりをして眠るが如く犬の方を見た。其の時早く彼時
遲く、犬は全身の勇氣を鼓して一散に飛びかゝるよと見えたが、忽ち虎の咽喉管へしたゝか
喰ひ付いた。虎は思ひもよらぬ不意を打たれ陰嚢へかけてしたゝか掻きむしる、さしもの虎
も如何ともすべきやうなく、トウ〱呼吸は切れて其のまゝに斃れた。狸能く豹を伏すといふ
こともあり、窮鼠猫を嚙むといふことはあるが、窮犬虎を殺すといふことは、恐くは空前絶
後の話であらう。

... is biting away at their testicles. 』 At that point then, people were pretty much saying the same
thing. The mouths filling with doubt [instead of dog meat], the dogs were exerting a sense of control
(kiai) over the circumstances. Before too long the tiger was stuffed into a cage of its own. The dogs
had no sooner entered then came crawling crawling across the ground, with their buttocks up in the air
and their jaws aligned to the ground [canine beseeching body language]. So advancing with sufficient
control (jūbun-ni kiai wo komete → kiai wo komu), seeing the circumstances of the tiger. The tiger's victim
had come bodies outstretched upwards, their eyes narrowed. Sticking their tongues out as if licking in
and out, and the dogs were lounging as if sleeping. At the time quickly, that hour being sluggish in
coming, the dogs whole body plucked up courage for itself at top speed, and it leaping outward that it
may be seen. In that instant, the tiger's throat constricted inside itself clenching and clinging. All this
struck the tiger unexpectedly and took it by surprise, despite that it was still trying to bite away the
dogs' testicles. Even the tiger had no idea what to do and it's breath caught somewhat as if it were dead.
They say that a raccoon will play dead to fool a leopard, and even a cornered rat will bite a cat, so it's
said. So they say in this case that the cornered dog bit and killed the tiger, so marvelous and horrible
that it may be the first and probably the last such tale can be told.

—— (179) ——
 五、貍能く豹を伏す

豹は必ず貍を從へ喰ふ物なれども、又豹心得あしくして、貍仕り樣善ければ、豹に捕へられ
ずして、結句後は豹を貍が少しも怪我なく捕り食ふ者なり。惡しき大將は、必定縱ひ豹の大
なれども貍に取らるゝ如し。と甲陽軍鑑結要に書いてあるを見ると、斯かる事實が有つたも
のであらう。元來貍は人間をばかす位だから、氣合の術を心得て居るに相違ない。貍が腹鼓
をたゝくといふことを言ひ囃して居るが、貍の下腹の便々たる所を見ると、慥に氣合術の一
要素を備へて居るものである。

六、窮鼠猫を嚙む

猫が鼠を捕ふのも亦氣合の作用である。鼠を捕ふることの巧みな猫は、必ず氣合術の心得が
あるのである。然るに反對に窮鼠猫を嚙む場合があ

Go, Tanuki Yoku Hyō Wo Fusu

Five, A Raccoon Hiding Itself From A Leopard

Leopards invariably catch and eat raccoons, yet raccoons tend to seek out knowledge of how a leopard
steps, and how a leopard makes its capture. And finally beyond that, somewhat how a leopard injures
and captures a raccoon and then eats it. Regarding the wickedness of Commanders, inevitably, despite
the up and down, forward and backward nature of things, much as the larger leopard will capture the
[smaller] raccoon, one sees that the writings indicate the crucial point is the conclusion of armoured
regiments of troops standing in sunlight and the facts of reality about what happens with that sort of
thing. Naturally, the raccoon is of lesser stature than human beings are, but there is beyond a doubt
knowledge of the Art of the Kiai involved. They say that the raccoon will certainly take it's fill [of what
it finds to eat], and so they sing its praises. Seeing the paunchy belly of the raccoon, undoubtedly that is
one factor that impedes its abilities at the Art of the Kiai.

Roku, Kyūso Neko Wo Kamu

Six, A Cornered Rat Will Bite A Cat

The cat when grabbing up the mouse is also using elements of the Art of the Kiai. The cat is quite
skillful at grabbing up mice, invariably this demonstrates knowledge of the Art of the Kiai. However,
there is the circumstance expressed by the old saying that even a cornered rat will turn and bite a cat.

—— (180) ——
る。其の時猫は鼠に氣合負けをするのである。昔上野の近邊根岸の里に伊勢屋といふ質屋が
あつた。其家の土藏に非常に强い鼠が棲んで居て、伊勢屋の一人娘に崇つて居た。そうして
大層利發な飼猫があつたけれども、どうしても此の鼠を捕ることが出來ない。偶々土藏の中
へ此の猫が這入ると、いつも鼠に嚙まれて負傷するのであつた。ところが或る動機で、芝の
愛宕町に大層强い猫があつたのを借りて來て、二匹の猫で土藏の鼠を退治にかゝつた。其の
時トウ〱此の鼠を退治たことは退治たが、伊勢屋の猫は鼠に嚙み殺されたといふ面白い咄が
口碑に傳はつて居る。澤庵和尚の作だとかいふ猫の妙術といふ書物に、劍法のことに就いて
面白いことを書いてあるが、其の中に次の如き面白い咄がある。勝軒といふ劍術者あり、其
の家に大なる鼠出で白書に驅け廻りける。勝軒其の間をたてきり、手飼の猫に捕らしめんと
す、彼の鼠猫の面へ飛びかゝり喰ひ付きければ、猫聲を立て逃げ去りぬ。此の分にては叶ふ
まじ

There is the point when the mouse loses control (kiai make wo suru) to the cat. Back in olden times in
the neighborhoods of Ueno, across miles of the Negishi area, they say that there were niggardly
skinflints who ran pawn shops. Those households apparently possessed the land, and were quite strong.
And there were mice who lived there. There was an adored only daughter of the niggardly skinflints.
And so, she had a pet house cat that was very outgoing, but whatever the case, it couldn't catch even a
single mouse, the mouse would usually end up biting and wounding the cat. By some chance this cat
came across the land owners, whereupon they gave some certain motivation, giving it affection when it
was on the lawn, in the village. And so the cat grew terribly strong from this help. And the land owners
ended up making the cat their mouse exterminator after pitting the two animals against each other.
Then and there, it had exterminated the mouse by whatever way it exterminated it. They say that the
niggardly skinflints' cat killed and ate the mouse, there are some fascinating oral instructions taught
about it. The works of the Zen priest Takuan say that cats have a superb artifice, about which entire
books have been written. The art of swordsmanship (kenpō) draws upon these and made fascinating
writings about it. Much as they made fascinating conversations about the next subjects in this text.
They say that victory is a narrow aisle among the practitioners of the sword (kenjutsu no mono), the
greater of those households made papers about spurring a mouse on not unlike one spurs on a horse. So
closing rather tightly the narrow aisle that is victory, they keep the custom of raising house cats and
mice flee the sight of that cat's face unless they want to be eaten. So they disappear at the sound of the
cat's voice. This occurs even in the least of moments.

—— (181) ——
とて、それより近邊にて逸物の名を得たる猫どもあまた狩りよせ、彼の一間へ追ひ入れけれ
ば、鼠は床のすみにすまひ居て、猫來れば飛びかゝり喰ひ付き、其の氣色すさまじく見えけ
れば、猫共皆尻ごみて進まず。勝軒腹を立て、自ら木刀をさげ打ち殺さんと追ひ廻しけれど
も、手元よりぬけ出で木刀にあたらず、そこら戸障子からかみなど、たゝきやぶれども、鼠
は宙を飛び其の早きこと電光のうつるが如し。やゝもすれば、勝軒の面へ飛び懸り食ひ付く
べき勢あり。勝軒大江を流し僕を呼んでいふ、『これより六七町わきに無類逸物の猫ありと
聞く、かりて來れ』とて、即ち人を遣はして彼の猫をつれよせて見るに、形怜悧にもなく、
さのみはきはきとも見えず。それともに先づ追ひ入れて見よとて、少し戶をあけ、彼の猫を
入れければ、鼠すくみて動かず、猫何のこともなく、のろ〱と行き引きくはヘて來りけり。
其の夜件の猫ども彼家に集り、彼の古猫を座上に請じ、いづれも前に跪

Beyond that, in the vicinities the cat had acquired the reputation of being a first rate specimen, one
among many good for use in hunting that could enter the chase at a mere span of six feet. Regarding
the mice, they would scamper across the floor. The cat would come flying, kill and eat them. One
would see it do so with quite a serious demeanor on it's face, the cat would advance without any
flinching. One takes the narrow aisle that is victory by storm, striking and killing in the turns of the
chase even if only with a wooden sword! Or by whatever else is on hand when there is not even a
wooden sword. Making use of doors and shoji (sliding doors) about the place, knocking things around
and away, much the way a mouse moves and flees rather quickly like lightning through a place by
memory of it's open spaces. Certainly in that kind of situation, one is taking flight through the very face
of the narrow aisles that is victory and vigorously snapping and biting. One's very breathing serves as
the great brook that is flowing through the narrow aisles that are victory. 『By this point here, one will
probably have passed through fully six or seven towns. There will be rumors of the unequalled and first
rate specimen of cat that you have become, and of how you are pouncing!』 Even then, namely it is in
seeing how you dispatch those people over there, that they have no cleverness in their own patterns,
and are not seen to be as brisk and smart as you are. Or else, having been observed at the point before
the chase begins, as the occasion is arising, and that cat over there would be entering as well, and the
mouse is unmoving frozen with fear. The cat lacking whatever things in the circumstances at the time,
and so drawing upon whatever there is to draw upon at the time as one approaches.
In that case, even if by night time the cat gathers about a certain household, that old cat [associate of
his] having summoned and invited him, whom he had knelt before earlier [being one of his
instructors]...

—— (182) ——
き、『我等逸物の名を呼ばれ、其の道に修練し、鼠とだにいはば、鼬獺なりとも取りひしが
んと、爪を硏き罷在候處、未だ斯かる强鼠あるとを知らず、御身何の術を以てか容易に是を
隨へ玉ふ、願くば惜むことなく、公の妙術を傳へ給へ』とて謹んで申しける。古猫笑うて曰
ふ、『何れもわかき猫達、隨分達者に働き玉へども、未だ正直の手筋を聞きたまはざること
故に、思の外の事に逢うて、不覺を執りたまふ。併しながら、先各の修行の程を承らん』と
いふ。其の中に銳き黒猫一疋進み出で、『我鼠を取るの家に生れ、其道に心がけ、七尺の屛
風を飛び越え、小き穴をくヾり、子猫の時より早業輕業に至らずといふ所なし。或は眠りて
表裏をくれ、或は不意に起つて、桁梁を走る鼠と雖も、捕り損じたることなし。然るに今日
思ひの外なる强鼠に出合ひ、一生のおくれを取り、心外の至りに侍る』古猫の曰ふ、『吁汝
の修行する所は所作のみ、故に未だねらふ心あることを免れず、古人の所作を敎ふるは、其
道筋を知らしめんが爲なり。故

『We whom would invoke the name of a first rate specimen by training that way ourselves, as even the
likes of mice would be willing to do so, or weasels and otters, for instance, would be willing to do just
to make the capture! Then withdrawing our claws from the place and country-side, only like this then
does the stronger of the mice not know it. By means of whatever of the artifices to maintain one's good
health, and in this the jewels that are the easy way of doing so. One would hope that one does not lack
but there are the traditions of public and governmental superb artifices, if one pleases. 』 These are
used in moderation so they say. The old cat laughed and said: 『Any and all cats very much enjoy the
jewel that is good health and the adeptness that comes with it. Yet one ought to pay attention to what
lines are palmed off as being honestly advisable to listen to [in guarding one's health], or coincidentally
one might lose it. The thought of what one might meet beyond this, one must attend the business of
occasional failures. However, one should do so while in the lengths of one's practice beforehand.』And
that is what he said. In the middle of all that, a black cat came forward and said: 『When I catch mice
that live in my home, it is by way of clinging to what I have in mind. I jump over seven feet through
the air, closing off [the entrance to] their little den. The younger of the mice do not use the quicker and
easier techniques [to escape by], which is unfortunate for them. Or possibly, the inner side and outer
side of going to sleep when it gets dark, and of course otherwise to arise quite unexpectedly. To run the
lengths of the beams and columns, one will then catch mice that are otherwise making no mistakes in
their movements. Still when unexpectedly coming upon the stronger mice in daytime, there would be
some delay in capturing it. One will have to wait despite what one has in mind.』 That is what the old
cat said. 『Ahh! When you make practice, consider the movements in their context! Consequently then
one does not lose sight of one's objectives and they cannot escape the circumstance. That is something
that the ancient peoples had learned to acquire. Knowing the parts and places of that path and doing it
like that.

—— (183) ——
に其の所作簡易にして、其の中に至理を含めり、後世所作を專として、 左すれば右すると、
色々の業を拵へ巧を極め、古人を不足とし、才覺を用ひ、はては所作くらべといふものにな
り、巧盡きて如何ともすることなし。小人の巧を極め才覺を專とする時は、僞の端となり向
きの才覺却つて害に成ること多し、是を以て顧み能く工夫すべし』 又虎毛の大猫一疋罷出で、
『我れ思ふに、武術は氣合を貴ぶ、故に氣を練ること久し、今其の氣豁達至强にして、天地
に充つるが如し、敵を脚下に踏み先づ勝つて然して後進む。聲に隨つて響に應じて鼠を左右
につけ、變に應ぜずといふことなし。所作を用ひるに心なくして、所作自ら湧き出づ、桁梁
を走る鼠は睨み落して之を取る。然るに彼の强鼠來るに形なく、往くに迹なし、是れ如何な
るものぞや』古猫のいふ、『汝の修練する所は、是れ氣の勢ひに乘りて働くものなり、我に
特む事ありて然り、善の善なるものにあらず。我破りて行かんとすれば、敵も亦破りて來る。

That makes the circumstances easy for us, understanding and including the principles of how to
approach and pounce in. Rather as if you were only moving through the next part of life itself. There is
the left hand and the right hand left foot and right foot as one goes in, and the cunning extremes of the
various techniques (waza) by which we prepare. When the ancient peoples lacked what they needed,
they simply used the resourcefulness of their quick wit. Well now, they say that when comparing the
circumstances, in no way did they exhaust their ingenuity. At the time only the resourcefulness and
ingenuity of little children actually has limitations, and even then the point of deception that, on the
contrary, comes from the resourcefulness in what they are faced with, they can inflict injury under
many circumstances as well. By means of some frequent reflection back on this one ought to have
devised some scheming devices.』 And the higher ranked inclinations of the larger cats [lit; "Tiger's pelt of
the larger cats"] is to boldly advance forward. 『In my opinion, there is respect for the ability to control
things and that respect is also a control agent [(kiai wo tōtobu → expresses both meanings)] in the Paramilitary
arts (bujutsu), and because of this they embolden their spirits at some length. Straight away that spirit
starts to become strongly broad minded. Much like the waxing and waning of the Heavens and the
Earth, when at the feet of the enemy whom is stepping in to seek the point of victory against you and
one is advancing and retreating. The echoing voices that follow in proportion to what is occurring, the
mouse clings to both the left and the right sides, it's said that strangely they give no other reply. It is to
make use of some cruelty in the occasion, as one gushes forward through the conditions of it, running
along the column beams and staring intently at the mice. Capturing and dropping them like this.
However, the strong mice over there as they approach are without pattern in it, and there is no trace of
their footprints from where they have come and gone. There is whatever sort of this that will
occur. 』 The old cat said: 『 Regarding the circumstances of your training and practice, it proceeds
with some forcefulness of spirit, at least in its movements. And of course there are those parts of it that
you end up specialising in. But really there is nothing better than the other. As one would certainly
prefer to escape it all by destroying, even the enemy is trying to escape by destroying.

—— (184) ——
亦破るに敗れざるものある時は如何、我覆うて挫かんとすれば敵も亦覆つて來る。覆ふに覆
はれざるものある時は如何、豈我のみ剛にして敵皆弱ならんや。豁達至剛にして天地に充つ
るが如く、覺ゆるものは皆氣の象なり、孟子の浩然の氣に似て實は異なり、彼は明を載せて
剛健なり、此は勢に乘じて剛健なり、故に其の用も亦同じからず。江河の常流と一夜の洪水
の勢との如し、但氣勢に屈せざるものある時は如何、窮鼠却て猫を嚙むといふことあり、彼
れは必ず死に追つて特む所なし、 生を忘れ欲を忘れ勝負を必とせず、身を全うする心なき故
に其の志金鐵の如し。此の如き者は豈氣勢を以て服すべけんや』又灰毛の少し年たけたる猫
靜に進みて曰ふ、『仰の如く氣は旺なりと雖も象あり、象あるものは微なりと雖も見つべし、
我心を練ること久し、勢を爲さず、物と爭はず、相和して戾らず、彼强き時は和して彼に添
ふ、我術は帷幕を以て礫を受くるが如し、强鼠ありと雖も、我に敵せんとして據るべき所な
し、然るに今日

Again when ripping and destroying, we have no losses in it at the time, and in whatever way we hid
that which is discouraging us, even the enemy is similarly concealing things. When hiding it, there isn't
really anything to cover it with, at the time. With some expression of surprise, one's own body
becoming quite manly, the enemy seems thoroughly weakened. One's broad-mindedness becoming
quite stiff, much as the waxing and waning of the Heavens and the Earth, we become like mind readers,
one of the phenomenon of the spirit in which we engage. It resembles the 'Universal life force' spoken
of by Mencius, as a matter of fact it's somewhat unique. It becomes very obvious, in the vigorousness,
for example. And consequently, making use of that and the thing itself is not quite the same thing.
Much like the more forceful of the flood waters of the flowing currents of the larger rivers that arise in
the course of a single night, yet they will lose their force even so at the time, however much they do.
Yet are the mice cornered by it, and so they say the cat can chew on them! As all that would go they are
invariably pursued unto death, and without any other special circumstances! All experiences of life
having been forgotten, all avarice having been left behind, victory and defeat are inevitable and so it
will have been. The body will carry it all out but not separated from the heart and mind. Much as if the
intentions themselves are made of gold and of iron. Regarding that practitioners are much like this,
with some expression of surprise, it would be by means of submission to one's own forcefulness of
spirit.』 Also one's pelt fur becomes matted somewhat by ashes, during the length of years that it will
occur. They say that the cat will advance with some calmness like this, 『 Much as with the spirit
expressed by having the face straight on forward itself seeking [the mouse], and the phenomenal
pattern of success, and what minute phenomenal patterns otherwise one might see, one mind is
disciplined at some length in this. Not necessarily being forceful, not fighting things, not necessarily in
tune one to the other [mouse and cat, or cat to cat hunting mice]. Regarding what strong points one has
at the time, they would all go well with it, and one artifice(s) are much as being given stones to throw
in some secret place. However, the stronger of the mice, I make occupation of them as one would an
enemy. And still yet there are the mice during the day time, …

—— (185) ——
の鼠、勢にも屈せず、和に應ぜず、來往神の如し、我未だ此の如き者を見ず』 古猫の曰く、
『汝の和といふものは自然の和にあらず、思うて和と爲すものなり。敵の銳氣をはづれんと
すれども、僅に念に涉れば、敵其氣を知る、心を和すれば氣濁りて惰に近し、思うてなす時
は自然の感をふさぐ。自然の感をふさぐ時は、妙用何れより生ぜんや。只思ふことなく、爲
すこともなく、感に隨うて動く時は我に象なし、象なき時は天下和に敵すべきものなし。然
りと雖も各の修する所、悉く無用なりといふにあらず、道器一貫の儀なれば所作の中に至理
を含めり。氣は一心の用を爲すものなり、其の氣豁達なるは物に應ずること窮りなく、和す
る時は力を鬪はしめず、金石にありても、能く折るなし。然りと雖も僅に念慮に至れば、皆
作意とす。道體の自然にあらず。故に向ふ者心服せずして、我に敵するの心あり、我何の術
をか用ひんや、無心にして自然に應する

Even when faced with forcefulness they do not shrink back, neither do they give a harmonious reply.
Much as if they were on a Divine pilgrimage of some sort. I myself don't see why they act like this? 』
The old cat said: 『 You speak of harmony in the circumstances, but harmony here would not be a
natural thing at all, when one thinks out harmony and the doings themselves. The enemy [and we]
would surely be disjointed, and with very little thought of what is occurring in it. Yet even the enemy
knows that spirit. They would have it in mind to be harmonious with it but instead they suffer from
laziness which is quite befuddling to their spirit. Owing that one ought to think about it at the time,
there is the natural feeling that it acts as a hindrance. That is the mysterious influence at work in their
existence. Having merely thought it over, whatever there is that lacks in the doings, with the sense of it
having been followed by their movements at the time, with me myself I don't see it as being any
phenomenal pattern to it. Lacking any phenomenal patterns at the time, everything under Heaven [or,
"all across the country"] is in harmony but the enemy who's behaviour has become unacceptable. So
notwithstanding the pursuit of studying all of it, it's said to be altogether useless to do so, but it is not
useless. There would be the customs of handling the tools and equipment for it, including the
principles of how to enter into the approach as it occurs. One engages in doing so with a
wholeheartedness of spirit, a broad mindedness of spirit that involves giving response to the
circumstance lest one be made destitute by it. Adding to it at the time that one is not fighting the force
and strength that one encounters. There are even metal and stone utensils that quite often will not
break when used. Even though despite that very little thinking is done when on the approach, yet one
has every kind of idea! It is not really natural to the body of the path. Consequently, those persons
being confronted really will not truly submit to us, I seek to know the mind of the enemy so that I
know which of my artifices to use. Allowing myself no distractions, so giving spontaneous responses.

—— (186) ——
のみ、然りと雖も道極りなし、我が云ふ所を以て至極と思ふべからず。昔我鄰鄕に猫あり、
終日眠り居て氣勢なし、木にて作りたる猫の如し、人其の鼠を取りたるを見ず。然れども彼
の猫の至る所近邊に鼠なし、處を替へても然り、我行きて其の故を問ふ、彼の猫答へず。答
へざるにあらず、答ふる所を知らざるなり。是を以て知る、知る者は言はず、言ふ者は知ら
ざることを、彼の猫は己を忘れ、物を忘れて物なきに歸す。神武にして殺さずといふものな
り。我も亦彼に及ばざる事遠し』 勝軒夢の如くに此の言を聞いて、出でゝ古猫を揖して曰く、
『我劍術を修すること久し、未だ其の道を極めず、今宵各の論を聞いて、吾道の極所を得た
り、願くは尚其の奧儀を示したまへ』猫曰ふ、『吾は獸なり、鼠は我食なり、吾何ぞ人のす
る事を知らんや、專ら人に勝つことを務むるにあらず。大變に臨みて生死を明にするの術な
り、士たるものは、常に此の心を養ひて、其の術を修せずんばあるべからず。故に先づ死の
理に徹

And so notwithstanding the limitations that the path does have, I say that it is by means of the
circumstances and what limitation the approach does have, it is not of much use to consider beyond
this. In my old neighborhood there were other cats, they were not very vigorous and would sleep all
day long. They were pretty much like a carved wooden statue of a cat, really. To each his own, people
differ, but they were never seen capturing mice! Even if a particular cat among them would approach,
mice in the neighborhood would not flee. There came a natural change in that condition. When they
asked why I did this, I only replied that they really wouldn't understand. Knowing that it was by means
of this, those whom knew about wouldn't talk about it. And the people who did talk about didn't know
what they were talking about. The cats themselves then simply forgot about it. They forgot about the
thing and it was like the thing didn't exist for them at all. They said that this is why Emperor Jinmu
didn't kill some people. I also appeal to that remote prospect.』The narrow aisle that is victory is much
like a dream, they are heard to say this about it. When going down it the old cats are said to do so
seated with their front legs crossed [in observation]. 『My practices at the sword arts (kenjutsu) were
somewhat lengthily, yet otherwise there were no limitations to that path. Tonight every manner of
theory will have been heard, my path has already acquired what limitations it will have. Regarding
what one hopes for, there are the lessons in the inner secrets (okugi).』 The old cat replied: 『I am an
animal, and the mouse is my dinner, for instance. And one knows that I am whatever people have made
me to be. But people do not entirely have an obligation to seek victory. The artifice of life and death is
clearly quite challenging, gentlemen ascribe to it, usually taking nourishment for the heart and mind
from it. Otherwise one should not engage in the practice of such artifice. Because of it there are
principles for handling the point of death.

—— (187) ——
し、此の心偏曲なく、不疑不惑、才覺思慮を用ふることなく、心氣和平にして物なく、澹然
として常ならば、變に應ずること自在なるべし、此の心僅に物ある時は狀あり、狀ある時は
敵あり我あり相對して負ふ、此の如きは變化の妙用自在ならず、我心先づ死地に落ち入つて
靈明を失。何ぞ快く立つて明に勝負を決せん。假令勝ちたりとも盲勝といふものなり、劒術
の本旨にあらず、無物とて頑空をいふにはあらず、心もと形なし物を蓄ふべからず、僅に蓄
ふる時は、氣も亦其處に倚る、此の氣僅に倚るときは融通轄達なること能はず。向ふ所は過
にして、向はざる所は不及なり、過なるときは氣溢れて止むべからず、不及なるときは餒ゑ
て用をなさず、共に變ずべからず、我所謂無物といふは、不蓄不倚、敵もなく我もなく、物
來るに從うて應じ迹なきのみ、易に曰く、無思無爲、寂然不動、感遂通於天下之故。と、此
の理を知つて劍術を學ぶ者は道に近し云々』と即ち此の文は、猫に事寄せて劍道氣合の極意
を說いたもの

In this, there is no character 'heart' in the left hand side radical of the written Sino-Japanese character
[NECC ALT TRANS: "In this there is no semblance of the heart and mind in the order of the arrangements" ]. Doubtless and firm of
action, there is to be no lack of making use of the discretion of ready wit in the circumstance. No lack
of making use of the steadier sentiments that occur in the circumstance. There would quite often be
some degree of calmness in the conditions. One makes unexpected spontaneous responses. There will
be very little else on your mind in the circumstances at the time. The state of things at the time is that
both you and the enemy are being confronted with defeat. Much like this sometimes the mysterious
effect of the henka variations are not really all that spontaneous. Then might one drop to the ground,
vision dimming as the soul departs in death. Whatever there is would gladly stand and clearly declare
victory or defeat, but in the interim there are the dictations of victory. By which even the blind may
take victory, it is said. But these are not the elementary principles of the sword arts (kenjutsu). Being
uneventful and obstinate it would not be spoken of even across the Heavens. Even the heart and mind
are without pattern, and therefore would amass nothing. And so very little being amassed at the time,
even one's spirit inclines in that direction. For this inclination of the spirit at the time to have any real
flexibility to it would not be frequent. Given any excess that one might be able to direct, and whatever
direction that cannot be obtained, would not stop the overreaction to the excesses. Being unattainable
at the time, it will be led to ruin and be unusable. Combined with whatever changes did not occur [to
your favor] and things being rather uneventful for oneself, now being unreliable and unusable, neither
you are the enemy can make use of them. What will follow and the way it will be responded to cannot
be predicted. Predicting it they say is idleness and indiscretion that will leave you forlorn and
paralysed. A sense that everything has turned against you and decreed your death. Knowing this
principle, people study the sword arts (kenjutsu) and other ways like it.』Namely, these studies place
cats as on a pretext of explaining the secrets of the control that the secrets (gokui) of the sword art
(kendō kiai)...

—— (188) ——
である。

第四節 生物以外に對する氣合

氣合術は人類及動物に對して作用を現すばかりでなく、又生物以外のも
のに對しても、其の妙術を現すことが出來るのである。例へば義經が䍠
したる金盥を捉んで平氣であつたとか、鍋被日親が兩腋に焼鏝を當てら
れ、䍠き鍋を被つて平氣に濟して居たとかいふ如き、基督が湖上を步み
て水中に沈まざるのみならず之に浸されず、平氣で浪の上を步むこと、
恰も堅き地を行くが如くであつたといふ如きは即ちそれである。法華經
の所謂水も溺す能はず、火も焼く能はずといふことは、氣合の妙力によ
つて之を實現することが出來るのである。實に此の氣合術の妙力に逢う
ては、水でも、火でも刄でも、決して人に害を加ふることが出來ないの
である。

… can provide.

Daiyon-setsu Seibutsu Igai Ni Taisuru Kiai

Section Four The Kiai of the Living When Confronted With One Another

Regarding the Art of the Kiai, beyond what would be revealed when human beings are confronted with
animals, and when living creatures are confronted by something outside of what they themselves are,
there is what can be revealed of superb artifice. For example, as when Yoshitsune had snatched up a
metal basin and attacked with a level headed spirit. Or when Nisshin used a pot and its lid, attacking by
placing these two hot objects like a hot iron into their armpits. Much as using the the hot pot with a
level headed spirit had paid off, [Jesus] Christ walked on the water across the lake but his body did not
sink, nor did he become drenched. With a certain calmness he walked upon the waves, going across it
much as if it were firm ground. Namely because of that [they believed him]. In the words of the Lotus
Sutra it is not likely that one can be subjected to water and not drown. Likewise it's said that fire will
burn you and escape is not likely. But one can understand it as depending upon the strange power of
the Kiai (def. is "control of the environment" ). Really, the marvel there is when encountering the strange
power of this Art of the Kiai, from water, and from fire, and from the blade of the sword one knows
that mere human beings cannot escape harm themselves.

—— (189) ——
維新の頃、天台の寺に大平の阿闍梨と呼ばれし僧があつた。北白川宮樣が、まだ天台の門跡
で上野に居られし時、此僧に向ひて、『密敎がさほどの効あるものか、試して見よ』と仰せ
ある。僧は取敢へず、庭の櫻の蕾ばかりなるを折らしめ、御前に於て印を結び、陀羅尼の加
持をしたるに、花美しく咲き出でたといふ。又此の阿闍梨が獨鈷を持ちて加持をし、其の獨
鈷を或る老爺に渡したるに、非常に䍠くて、老爺は火傷した、阿闍梨は其れほどの䍠きもの
を持ちて平氣であつたといふ。

一、 耶蘇の氣合颶風を靜む

耶蘇或時ガリラヤの海に小舟を浮べ、弟子達に命じて向ふの岸に行かしめた。耶蘇は艄の方
に坐りて、暮れ行く西の空紅く色どられて、水に映じ、得も言はれぬ光景を眺めて冥想に耽
つて居られた。やがて艄の方に枕して寢たまひし時颶風起り、浪は舟を浸して潮は舟に這入
つた。され

In the days of the reformation, in the temples of the Tendai sect of Buddhism, the High Monk of
Tenhei called out to and assembled the monks. Master Kitashira Kkawanomiya who was as yet the
Head priest of the temple residing in Ueno, facing this priest and said: 『The secrets [of Buddhism]
are not particularly effective under these circumstances. As one will see when trying to employ
them. 』 And that was his statement. Regarding the monks, straight away saw the occasion as being
mere blooms on a cherry tree [e.g.; temporary and irrelevant changes], in his presence they were
knotting their fingers together in the sacred finger-seals and intoning the litany spells, they say that this
is what they did despite the gorgeous blooms [of the cherry tree]. The High priest was holding a
Dokko single pronged vajra and intoning himself. That single pronged vajra had been passed down to
him from his master, the old man [his master] had gotten badly burned, very much so, it was said that
as High priest he did at least receive that much calmly [e.g. the vajra itself].

Ichi, Yaso No Kiai Gufū Wo Shizumu

One, The Kiai (“Control”) of Jesus Christ Quieting The Tempest

There was a certain tine when Christ was at the Sea of Galilee, drifting in a small boat. He gave
command to his disciples to head ashore, Christ was seated in the stern of the vessel. The skies to the
West had begun to turn red, this reflecting on the waters, it being dusk. They were absorbed in the
words that he was saying and caught up in the view of this spectacle. Before long, as Christ was
sleeping in the stern of the boat, there came a water spout tornado. The waves buffeted the boat as it
got caught in its currents.

—— (190) ——
ど耶蘇は目醒めたまはず、弟子達は痛く恐れ、耶蘇の身を搖り動かして曰く、『師よ我等の
溺るゝを顧みたまはざるか』と。耶蘇は起き上りて、風を戒め、海に向つて、『靜まれ』と
言はれた。すると忽ち風止み、海が穩かになつた。耶蘇は弟子達に曰く、『爾曹何故かく懼
るゝぞ、爾曹何ぞ信なきか』と。弟子達は互に顔を見合せて、『風や海さへ從ふこと斯の通
りである、是れ誰なるや』と言つた。耶蘇ばかりではない、吾人と雖も氣合術の妙用を以て
せば、風でも浪でも一喝の下に之を靜めることが、敢て不可能のことではない。

二、湯淺常山氣合を以て黿鼂を叱す

常山記談を書いた湯淺常山といふ人は、なか〱剛健勇猛の人であつた。寬延三年命を奉じて
讃岐の丸亀に使する時、海上颶風に出遭ひ、船が殆ど覆没しさうで、乘合の人々皆恐怖の絶
頂に達し、全く生きた顔色がな

—— (191) ——

This being the case, and Christ had not yet, his disciples were all cringing in horror at it, so they shook
him awake. And said to him: 『Master! Aren't you afraid that we will all drown?!』 Christ got up, and
rebuked the wind, and turning to the sea he said, 『Be stilled!』 And the wind ceased immediately,
and the sea became calm. Christ said to his disciples, 『Why are you afraid? Have you no faith?』And
the disciples were all looking around at one another, and said to one another, 『Who is this man? Even
wind and sea obey him in their course. 』
Christ made no conjecture, even we ourselves have the ability to perform things by the strange power
of the Art of the Kiai. Even the wind and the waves can be quelled with a sharp rebuking. It is
definitely not impossible to do.

Ni, Yuasa Jōzan No Kiai Umigame Wo Shikasuru

Two, Yuasa Jōzan's The Kiai of Against Being Scolded by Sea Turtles

In the Jōzan Kitan [(Japanese Text written between 1739-1770)] they wrote about Yuasa Jōzan and his
people, describing their heroic valor. Messengers at the time came to Marukame of Sanuki about
prolonging the obedience to a set of orders that has spanned some three years. They happened to
encounter a water spout tornado, and it almost capsized the boat they were in. All of their fellow
passenger was reaching the peak of terror and all of them went pale.

Trans Note: The text uses an adaptive quote of the New Testament, Book of Mark 4:35-41

—— (191) ——
かつた。常山獨り神色自若、落ち着きすまして毫も驚かない。此の危機一髪といふ咄嗟の際
に、直に一詩を朗吟して浪を追ひ退けた。其の詩は南溟奉使使臣搓。直破長風萬里波。忽値
怒濤似奔馬起提雄劒叱黿鼂かの眞言の方にて、請雨法止雨法といふのがある。請雨は雨を降
らせる法、止雨は降雨を止める法である。小野仁海の如きは九たび雨を祈りて、九たびとも
成功し、京都の神泉苑にて祈つた時の如き、三日三晩降つたといふことである、特に眞言宗
には、九字護身法といふものがあつて、眞言秘密の重なる術として居る。俗に所謂九字を切
るといふことであるが、此の九字の法といふのは、やはり氣合術なのである。又余が昨年の
冬、玉刀流劍術の家筋なる岩田昇氏の家を訪問した時に聞いた話であるが、岩田氏の知人に
此の九字護身法を心得た人があつた。嘗て宴會の席に於て、何かの動機からして、德利に對
して九字を切つた處が、忽ち其の德利が壞れたといふことである。

Only [Yuasa] Jōzan was able to keep perfectly calm and collected, and in maintaining his composure
he was not the least bit afraid. This was said to be just in the nick of time too, so while chanting a
single line of verse, it was as if he was chasing away the waves, by the lines of that poem, the
Nanmeihō Shishi Shinsa [(Ch. of unknown dating, name means: "The Braided Retainers and Messengers of the South Seas " )] . At one
moment the winds of 10,00 miles blew across the waves, immediately causing the force of the waves to
become like runaway horses, carrying them all away as if in the grip of the Calvary heads, sword
upraised, as they were being scolded by the sea turtles. And the sound of it all was much like a mantra
being chanted. And so they say that the lines of this poem are are one way to make it rain or to stop
rainstorms. Regarding to make it rain by this poem, there is the method of making rainfall. And there is
the method of making rain to stop falling. What they commonly say about the cutting of the Nine
syllable characters (kuji wo kiru → Kuji kiri) those sayings about the methods of the nine syllable
characters (kuji no hō) one can say with full confidence that it too is part of the Art of the Kiai. And
moreover yet, last winter, we had the occasion to hear from the household of Mr. Iwata Noboru
practitioner of the School of the Jeweled Sword (Gyottō Ryū) of swordsmanship (kenjutsu). And there
was an acquaintance of Mr. Iwata whom is quite knowledgeable of the the Nine Syllable Character Self
Protection Methods (kuji goshin-hō). Previously at a banquet of reception, having had something of an
incentive, over the sake toasts from a ceremonial bottle of sake rice wine [he spoke of and made use of]
the cutting of the nine syllable characters. They say that he was able to beak the ceremonial sake bottle
with it.

TRANS NOTE: The text entry contains a Chinese language adaptive quote, but I was entirely unable to identify it's source other than the name of the poem being the
Nanmeihō Shishi Shinsa ? The line in question being:

[...南溟奉使使臣搓] ... 直破長風萬里波。忽値怒濤似奔馬起提雄劒叱黿鼂

"...At one moment the winds of 10,00 miles blew across the waves, immediately causing the force of the waves to become like runaway horses, carrying them all away as if in
the grip of the Calvary heads, sword upraised, as they were being scolded by the sea turtles..."

—— (192) ——
岩田氏の家には、能見勝典より皆傳を受けたる玉刀流柔術極意外傳九字護身法といふものが
ある。參考の爲にこれを左に記しておかう。

三、九字護身法
(イ) 九字護身法授受儀、
一、法を受くる者は齋戒七日、日々清水に落して以て其身體を潔む、法を受くるの日、燧を
以て火を取り、凡飲食する所の炊執一切斯の火を用びて他火を用ひず、蓋は其の潔を取
るなり、而して後謹んで之を受くべし。
一、法を受けたる後は日々夙に起き、心意未だ物に接せざる時に專一に之を修むべし。
一、法を授くる者、齋戒すること一日、其の他一に之を受くるものに同じ。

In the Household of Mr. Iwata, he received the Complete transmission (kaiden) of the Jujutsu of the
School of the Jeweled Sword (Gyottō Ryū) from Nōmi Katsusuke. It is said that the Supplementary
transmission (gaiden) of the Secrets level (gokui) includes the Nine syllable characters Self protection
method (kuji goshin-pō). The following entries are references that come from it.

San, Kuji Goshinpō Three, Nine Syllables Self Protection Method

(I) Kuji Goshinpō Jujugi

(A) Nine Syllables Self Protection Method, The Matter of Changing Hands

-- Those whom are to receive the methods go through a seven (7) day purification. Every day dousing
and washing the body with pure spring water. On the day of receiving the methods, one takes a hand
drill and starts a fire. Common place food and drink are cooked thereupon, the bow [used with the fire making
hand drill] is placed alongside everything else beside the fire but not making any more fires. The covering
lid is cleaned and taken in hand, and then when it has been discreetly placed to the rear one will
receive the methods.
-- After one has received the methods, every day when arising, for quite some time, while the mind
has not yet made contact with anything, one makes exclusive practice of the methods.
-- Those whom give instruction in the methods, engage in purification for one day before doing so.
One receives nothing else along with it that is not the same as it.

—— (193) ——
 (ロ) 九字之印

臨 此の印左右の十指を組み合せ、只二ツの中指を立て合せ、心に當て、臨々々と三遍唱へ
て頂の上にて印を解くべし。
兵 此の印は二ツの小指及小指の次の指左右組み合せ、掌の内に入れ中指を立て合せ、人指
指を二ツの中へ入れ、即ち中指を以て人さし指をまとふべし、上に同じく兵々々と三遍
唱へて印を解くべし。
鬪 合掌して左右の指さきを、少しづゝ交へ鬪々々と三返唱。.
者 合掌して左右の指さきを深く交へ、者々々と三返唱。
皆 此の印は右の十指を交へ、ピツタリと合せ握り、左右の人指指を立て合ふべし、皆々々
と三返唱。
陳 此印左右十指ともに組み合せ、殘らず掌中に入るべし、陳々々と三返唱。
烈 此の印大日如來の秘印也、左の手を握り右の方へ向けて、人指指

—— (194) ——

(Ro) Kuji No In (B) The Signet Seals of the Nine Syllables

Rin "Face and Look towards"

This seal signet is made by knitting together all ten fingers of both the left and right hands. Both
middle fingers fingers stand together erect. The objective is held in mind. Quick to approach and
see about it (Rinrin-rin) as a chant uttered three times. The crown of the head is held straight up
as the signet seal is unlocked.

Hyō (Pyō) "Soldier(s)/Warrior(s)"

This signet seal both of the little fingers and the fingers next to the little fingers reach out and
knit together, as they are inserted into the palms of the hand, the middle fingers standing erect.
Entering into the steeple arch formed between the two fingers what will be entered. Namely that,
with the middle fingers what people don inserting the middle fingers through [ e.g. a certain form of
gauntlet]. As above so much the same here, the soldiers will hail! (Hyōhyō-hyō) is chanted three
times and then the signet seal is unlocked.

Tō (or, Don) "Battle/War"

Pressing the palms together (gasshō) pointing the fingertips of both hands, somewhat rubbing
them together as one chants three times: Fighting, steadily fighting (dondon-don).

Sha "Person; Doer"

Pressing the palms together (gasshō) pointing the fingertips of both hands, crossing them
together deeply, as one chants three times: Peoples after peoples (shasha-sha /or/ monomono-no-
mono).
Kai "All; Everyone"

This seal signet is formed by combining all ten fingers to and with the right hand. Joining with
and maintaining that which is made secret, the left and right index fingers standing erect
together. One chants Everyone, all of them (minamina-(no-)mina /or/ kai-minamina) three times.

Chin “Display; Explain”

This seal signet is formed by knitting together all ten fingers of the left and right hand. None
being left outside the inserting into the palms, one chants three times: tink-a-chink tink-a-chink
(chinchin-chin) [going about in our armour /or/ as we load the boats to be off about it.]

Retsu “Violence”

This signet seal is the secret seal of the Dainichi Buddha, one grips the left hand towards the
right hand facing it, the index finger is held erect...

Trans Note: The tri-compound construct of the character 'rin' (臨々々) appears in the text description, it can also be written as ( 臨臨々) or as (臨臨臨)
and apparently has a force of meaning quite like "Be(ing) quick to see about it" or otherwise "Be(ing) quick to approach and look it over". The base of the
construct is Rinrin (臨々), a Buddhist term that no doubt has somewhat a distinct Buddhist definition aside from the more standard definitions such as “to
be Quick (to do)”. The thrice repeated chant Rinrin-rin, Rinrin-rin Rinrin-rin has one repeating the syllable 'rin' nine times, obviously. Written as (臨々々
臨々々臨々々) what is being said in Japanese is quite literally: "(I am//We are) quick to see about it! Quick to see about it! Quick to see about it!" I guess
that I don't need to point out that as a mantra like chant it has a force of meaning quite like saying: “Be Thrice-over quick to see about a thing”.
The tri-compound construct of the character 'hyō' (兵々々) appears in the text description, it can also be written as (兵兵々) or as (兵兵兵) and apparently
has a meaning quite like "The Hailings of Soldiers" or otherwise “the Soldiers will hail”, but apparently this may be a reference to banner hails (using
banners on a battlefield to communicate with). Also we have some dispute with the romaji rendering of Hyōhyō-hyō as being possibly incorrect
enunciation? The Chinese language for example, due to sound morphology would pronounce ( 兵 々 ) itself as: bing-bing and sometimes as bing-pong.
Similarly the Chinese pronunciation for ( 兵 々 々 ) is sometimes bing-bing-pong. We suspect a possibility of Hyōpyō-hyō, or even Hyōhyō-pyō ??
The tri-compound construct of the character 'Tō' ( 闘々々) appears in the text description, it can also be written as ( 闘闘々) or as (闘闘闘) and has a
meaning quite like "Fighting, steadily fighting" or otherwise: “Fighting, always fighting” We have severe doubts about Romaji rendering of “Tōtō-tō”
since almost all language listings for (闘々) seem to indicate a pronunciation of Dondon. We didn't even think that Dondon-tō or it's reversal Tō-dondon
seemed very likely??
The tri-compound construct of the character 'Sha (-mono)' (者々々) appears in the text description, it can also be written as (者者々) or as (者者者) and
has a meaning quite like "People(s) after people(s)" when in a context like this. We have some questions about the romaji being Shasha-sha or
Monomono-no-mono?? Pronunciation (and it's romaji) would be probably determined by much the same as the construct participles ( 者ども) and (者ら)
as the meaning inflected in these participles? Given the base meaning of the kanji ( 者 ) as opposed to other characters that might have been more
commonly used to write a clause like “people(s) after people(s)” we think the basic meaning of the tri-compound construct is more like “ the people(s) who
are doing this to us.” I might add that most of these tri-compound constructs used here in the chants of the Kuji kiri are old archaic language constructs,
decidedly premodern, many have somewhat common occurrence in the older writings of Buddhism and some of these constitute an item of Buddhist
terminology. They are certainly not meaningless syllabic utterances, not a single instance of them (it says something in old Sino-Japanese). But there is a
tiny question of how some of them should actually be pronounced?
The tri-compound construct of the character 'Chin' ( 陳々々) appears in the text description, it can also be written as ( 陳陳々) or as (陳陳陳) and has a
meaning quite like "Jingle jingle jingle" or “Chink-a-chink” and so, sometimes, it's a word associated with Begging (put the coins in the begging cup and
jingle jingle them to attract attention that you are begging for money.) The base definition is derived from the dual construct form Chinchin ( 陳々) and is
how Sino-Japanese expresses in written form “Jingle jingle” or something like “Chink-a-chink” the sounds hard objects make when clinking together. In
fact the Verb “to Clink (together)” is a good example itself. When in a context like this, it most usually would refer to the sound of weapons clinking
together. Or to the sound of the pieces of amour clinking together as one walks and moves. Or the sound of loading war boats, for example.

—— (194) ——
 を立て、眞直に伸べ、大指任げて中指の下のフシの上に付くるなり、右の手は左の人
ナサシ指のハ.シをシカと握るべし、心に當て烈烈々と三返唱ふべし。
在 此の印は月輪の印也左右十指ともに開きのベて立て、外に二ツの大指のハシを付け、
二ツの人サシ指のハシをつけて圓き寳珠の如き穴をなし〟面に當てゝ在々々と三返唱
ふぺし。
前 此の印は寳瓶の印也、左の手を握り掌の中をうけいるゝ勢を爲し物のもれざるやうに心
を持ち、右の手の五指皆のぺ掌を下に向け、左の手のつゝみなしたろ上を蔽ふが如く、
物の蓋の如くすべし、尤もピツタリと蓋を爲すべし。
右九字の印畢らば、此の末に一字を加へ十字といふ。今十字の内一字を出す。
王 三返唱へ、印は左右の二手指皆組み交へて、頭の上に上げて形を

...straight up and extended outwards. Thumb clamping the middle finger down clinging at the
top of the joint. The right hand grasping and supporting the tip of the left pointer [index] finger.
Having the objective in mind one chants three times: Aggressively and fiercely (retsurestsu-(no-)
retsu).

Zai “Exist; Live; Reside”

This signet seal is the seal of the full moon, formed by the opening held between all ten fingers,
beyond the tips of the two thumbs, which are clinging tip to tip, the two index fingers clinging at
their tips forms a circle. Much like a precious jewel otherwise done without this opening it's not
suitable. One chants three times: village after village (zaizai-(no-) zai).

Zen “(In) Front (of); Before”

This signet seal is the seal of the Jeweled Recepticle. The left hand is clenched, receiving unto
it's palm that which is used to make force with [e.g. a fist] although none is had at the moment.
One is instead grasping a-hold of what one has in mind. All five fingers of the left hand and the
palm are palming [or, "supporting"] the direction of [other hand]. The left hand is being wrapped
and held much as if being hidden. Much as if it were a lid covering a thing. But then again,
certain secrets would be kept covered up.

That would complete the previously mentioned nine syllable character signet seals. Finally there is the
addition of the 1 syllable character making for 10 syllable characters as they say. And thereupon one
proceeds within the one syllable character that is the entire ten syllable characters.

Oo "the Sovereign"

which one chants this three times (Oo-Oo-Oo) [lit: "Sovereign of sovereigns!"(see notes)], the signet seal knitting
together the fingers of both the left and right hands, raising them above the head would be the
form of doing this. One hides and conceals the force that will have been used.
Trans Note: The tri-compound construct of the character 'Retsu' (烈々々) appears in the text description, it can also be written as (烈烈々) or as (烈烈
烈) and has an apparent force of meaning quite like "Aggressively and violently" or otherwise “Aggressively and fiercely” or it could be translated merely
as “quite fiercely”. The tri-compound construct of the character 'Zai' (在々々) appears in the text description, it can also be written as (在在々) or as (在
在 在 ) and has an apparent force of meaning quite like "village after village" or otherwise “place of residence after place of residence” or it could be
translated merely as “wherever they live”. The tri-compound construct of the character 'Zai' (王王々) is made direct reference to but does not appear in the
text description itself, it can also be written as ( 在々々) or as (在在在) and has an apparent force of meaning quite like "Sovereign of sovereigns" or
otherwise “King of kings” or it could be translated merely as “Most High King”. There is some discrepancy in how the pronunciation (and ergo the
romaji) should occur. Many languages sources indicate that the base of the idiom: (王々) is pronounced as (ホー) or one long Ō. Not as two syllables but
a single elongated sound. Most like the tri-compound is simply pronounced as one slightly longer syllable: Ōo. When written in the Kana script it probably
looks identical to (ホー). Otherwise two or three enunciation would sound like: “Oh-oh-oh!” and quite frankly that is not very likely here.

—— (195) ——
すべて蔽ふ勢を爲して、暫くあつて印を解くべし、印は十字共に通じて此の印を用ふべし、
是を隱形の印と云ふ也。此の九字及び十字を結び畢つて、右の手の人指或は小刀或は弓のホ
コ前又は槍の穂前、何にても持つたるものにて九字を切り、前の物の形を切るべからず、惡
心のみを切るべし、慈悲心に住して印を結び、九字を切る時は、一切の障を除きて安穩なり。

(ハ) 九字の切り樣
ボロン

九字切り畢つて怨敵退行鍐と唱ふ
ベし、ボロンは諸願成就の義なり。

(ニ) 十字之大事
天 高位對面の時、九字の上に此の如く一字を加ふ、只天と唱ふるなり、

After a short while the signet seal is unlocked,the signet seal is made use of by bringing the 10 syllable characters
together. They say that this is the signet seal of magical invisibility. Besides the [finger] knitting together of the 10th
syllable character and the nine syllable characters, the index finger or otherwise one' short sword or possibly even
taking grip on your Bow. And also as previously said the spear head being held forward, no matter what one has taken
hold of the nine syllable characters are cut. One would not do the cutting of these patterns beforehand! Evil intentions
are being cut away. There is benevolence in the bindings of the seal signets. At the time that one is cutting the nine
syllable characters, the first cut is to eliminate harm and injury so that one may find tranquility.

(Ha) Kuji No Kirizama (C) The Finishing of the Nine Syllables

boron foundational core

Sanskrit Seed Syllable 'AUM' ("Praise!") [Roughly the equal of the Hebrew halleluyah ‫" הללויה‬Praise God"]

Having concluded the cutting of the nine syllable character due to the regressions of a sword enemy, there would be
the chants and the headstall [of the horses bridle in preparation to ride out]. Regarding the foundational core (boron)
of it all, there is the justice offered in the various prayer petitions and their settlements.
(Ni) Kuji No Daiji (D) The Important Matters of the Nine Syllables
Ten "Heaven" When faced with high ranks at the time, what is beyond the nine syllable characters is quite the same as
this. Howbeit there are the [prayer] chants and Heaven itself.
Trans Note: The definition of boron (ボロン) is a bit of a problem. It occurs twice on the page. It has multiple listed definitions, many of which were in
relationship to 'foundational' (such as foundational elements or substances) and to 'core' (such as chalky cores of pencils and similar soft cored things.) So
I gave it the translation of “foundational core”.

—— (196) ——
以下皆同じ。

龍 海川を渡り橋を渡る時、九字の上に龍の一字を加へて渡れば安穩。
虎 廣野深山に行くとき。
王 飲食の時王の一字を加ふれば中毒せず。
命 合戰盜賊等相向ふ時一字を加ふれば命の難なし。
勝 問答勝負諍ふとき。
行 出行の時何方へ行くも、必一字を加ふれば、出行の道路に滯りなし。
鬼 病者に向ひ又魔所を過ぐる時と雖も、疫病身に入らず、諸魔惱す能はず。
水 大衆に交る時。
散 敵蜂起の時。
右十字畢

And what is mentioned below is all much the same.

Ryū (Tatsu) "Dragon" When crossing a bridge over a river or sea-water, beyond the nine syllable
characters one would make the addition of the single character 'dragon' that one may have tranquility.

Tō (Tora) "Tiger" When going through open fields and mountain recesses.

Ō "Sovereign" One would make the addition of this single character when at the hour of eating and
drinking, so as to avoid poisoning.

Mei "Fate" One makes the addition of this single character when one is faced with thieves and
robbers in the course of the battle. So as to avoid an unlikable fate.

Shō (Katsu) "Victory" When disputing in a dialogue about victory and defeat.

Gyō (Iku/Yuku) "Going" When coming and going at the time in whatever direction one is going
about, then certainly would one add this single character. So that there is no hindrance along the
roadways.

Sui (Mizu) "Water" When intermingling with the general public at the time.

San "Scatter" At the time of the enemy uprising.

These conclude the ten syllable characters.

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殺活 Sakkatsu Jizai
自在
氣合術 Kiaijutsu

The Art of Kiai That Takes and Spares Life

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KIAIJUTSU SAKKATSU JIZAI
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