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THE TRANSLATION AND TRANSCRIPTION OF THE

KITŌ RYŪ JŪJUTSU

YOROI-GUMIUCHI

NO DENSHO[2017 Corrected Version]

2016

THE TRANSLATION ANDTRANSCRIPTION

OF THEKITŌ RYŪ JŪJUTSUYOROI-GUMIUCHI

NO DENSHOAN AMATUER TRANSLATION PRODUCED

FOR THE INTERESTS OF

THE AMERICAN FEDERATION OF JUJUTSU

MADE BY LOGAN (J.T.) WEYMOUTH, SHIHAN

PRODUCED FROM

THE ORIGINAL DOCUMENT

POSTED AT THE INDICATED WEBPAGE

http://jtweymo.angelfire.com/COVER_PAGE_T-T.html

Persons wishing to view the original document as posted by the

Japanese should consult the web address included in this text.

The original document may not be available in the future

and the web address may no longer function then.

http://bujutsu.jp/

Privately Published

BY

LOGAN WEYMOUTH, SHIHAN

AUSTIN MINNESOTA

2016

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TABLE OF CONTENTS

INTRODUCTION ..........................................................................................................................4LIST OF SECTIONS.......................................................................................................................6

CHAPTERSCHAPTER 1 – Prologue and Ten No Maki Section............................................................7 CHAPTER 2 – Chi No Maki Section..................................................................................12 CHAPTER 3 – Jin No Maki Section....................................................................................23 CHAPTER 4 – Kuden Hisho No Maki Section...................................................................27 CHAPTER 5 – Summary.....................................................................................................38

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INTRODUCTION

These translations and transcriptions, of which the Kitō ryū document is a part of, were produced in the interests ofthe American Federation of Jujutsu. Any party or person is free to avail themselves of a copy of this text or anyother found therein. It would be appreciated if you would acknowledge the AFJ in doing so.

MY APOLOGIES! This PDF file had to be updated and edited on 11/04/2017, due to a need to correct some numberof translation errors (and associative textual editing.) Future corrective re-issuance is a possibility.

CONSISTING OF THE FOLLOWING SIX (6) SCROLLS:

本體之巻 Hontai No Maki Book of Essentials

天巻 Ten No Maki Book of Heaven

地巻 Chi No Maki Book of Earth

人巻 Jin No Maki Book of Mankind

性之巻 Saga No Maki Book of Nature

口傳秘書巻 Kuden Hisho No Maki Book of the Secret Oral Instructions

4

起倒柔道鎧組討合巻 KITŌ JŪDŌ YOROI-GUMIUCHI-AHI NO MAKI

Book of the Rousing Conquest of Judo in Armor Grappling

The document, as originally posted by the Japanese was at the following web address: “http://bujutsu.jp/a18.html”. Thedocument is dated between 1740-1799 with some elements from the later 1810 of the Kitō Ryū Jujutsu Yoroi-GumiuchiNo Densho. The language is late classical pre-modern Japanese. The document contained cross references to the Ryūhaspecific pronunciations of the names of it's techniques, in many cases. Much to my good pleasure being that I am thetranslator and transcriber (it made the job easier.) The names of Main sections and sub-sections, I did the best that I could, itcan be difficult to ascertain the more proper Romaji renderings for the known reason of Ryūha specific pronunciations.According to the document it is a primary form of Yōshin ryū that is not Miura or Shioda branches. It appears to be a strongrelative of the Takagi branches (most probably from Takenouchi ryū mostly?) but appears to have also contribution fromAkiyama branch. The document includes complaints against the Akiyama-Miura branch as well as the Shioda branches ofYoshin Ryu and calls their material contents “...a piled up heap...”, denoting the fact that they are not descended of orconnected to either branch school (Miura or Shioda.) The Yōshin Shintō Ryū Mokuroku contained a similar complaintagainst the Yanagi branch. The Kitō ryū document calls the Yōshin ryū simply “...the school...” indicating that it is one andthe same school. Kitō ryū's structure is more related to Akiyama whilst yet many of the technique names and othernomenclature are Takenouchi (via Takagi?) branch derived. In the Summary section of the Yoshin Shinto Ryu PDF file ofmy handiwork, there are excerpts used for comparison of these mokuroku, you may find them handy references incomparison.

One knows that the Kitō ryū scroll had been copied and recopied, from master to master, for some length of time by thedate that this version was written. Ergo, we are dealing with a document that has sections originally penned on or aroundthe late 17th Century, and some of which had come to be written all the way up to the very late 19 th Century. Any and alltextual additions added later in time, as the Kitō ryū had grown, so it's Mokuroku also got larger. Hence the language in thetext is definitely a conglomerate of middle 17th Century through late 19th Century Japanese, having a rather specific genre ofidioms and terms that are subject-specific (namely, Japanese Budo and its philosophies.) The text contains a remarkableaccount from Japanese history, a point in antiquity when they had encountered Asiatic Vikings that invaded Japan, and callsthis group “the Children of the Foreign Bulrushes”, implying that their group numbers grow like weeds. The documentcontain some number of historical references like this, implying or directly stating that such instances in Japanese history isprecisely why the Kitō ryū exists at all. This document contains a certain number of terminologies as well as person andplace names, that are rather difficult to render with absolute certainty into the Romaji script used to represent pronunciationof Japanese language. In some cases, internal evidence within the passages of the text itself provides likable clues, by wayof Kana clauses in the entries, to what Romaji should be used. Concrete usage of these clues was considered appropriate tothe occasion of translation and transcription. All personal names and most place names may have been rendered with apossible margin of error. Minor exceptions apply, such person or technique names that were easily recognized, for example.Place names and personal or surnames in the 18th and 19th century did not follow modern Japanese dialecticpronunciations. Without a more precise guide to help render technique, person and place names, it is very difficult to becertain how they should be rendered and pronounced.

Technical Information: Judging by direct and indirect statements within the document and by the content of techniquelistings that were provided throughout the mokuroku itself, this Kitō ryū scroll apparently represents various main lines ofthe Yōshin ryū itself (along with whatever else might be the case), and originally of the 16 th and 17th Centuries at that.Sometimes the Kitō ryū is said to be a direct relative of the original form(s) of the Takenouchi ryū, from which the Yōshinschools of the Takagi and others descended out of. Other lines of the Kitō ryū had existed, some are said to have becomeextinct by this late date.

Logan (J.T.) WeymouthShihan, Rokudan (6D)AFJ & USMA Shinden Yōshin Ryū Yudansha, AFJ American Judo.March 18th, 2016

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LIST OF SECTIONS

The document is divided into the following sections, which may correspond to the degreesof adeptness which one has acquired in the Kitō ryū school. Apparently, the custom was torecord these sections (in whole or in part) straight off the Mokuroku and give them as proofof certification at that level of proficiency. It seems that these 'sub-documents' so producedhave the title of the section itself. Other schools follow the same kind of custom.

SECTION ONE..............................................................天巻 Ten No Maki The Heaven Book

SECTION TWO.............................................................地巻 Chi No Maki The Earth Book

SECTION THREE........................................................人巻 Jin No Maki The Mankind Book

SECTION FOUR..........................................................口傳秘書巻 Kuden Hisho No Maki The Book of Kuden 'Oral' Tradition Secret Writings

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本體之巻Hontai No Maki

The Book of the Main Parts

起倒流柔道鎧組討本體之巻 Kitō Ryū Jūdō Yoroi-Gumiuchi Hontai No Maki1

School of Rousing Conquest2 Armoring Oneself With Judo, the Book of the Main Parts

本體者体之事 Hontaisha Tai No Koto Matter of the Basics for Beginners

理也専離形扱 Rie Senri Keitō3 Main Principle Set of Handling Forms

氣不得正理己 Kihutoku Shōriki4 Unacquired 'Ki' Energy Correct Self-Perspective

不知扱氣静貌 Buchisō Kijōbō The Countenance of Being Stout Hearted and Unaffected

至所得静氣敵 Shishotoku Seikiteki Being Stout Hearted About the Enemy and The Place-of-Incident

之強弱能徹強 Shikyōjaku Sōtetsukyō The Strength of Penetrating into Strengths and Weaknesses

弱通達則千變 Jaku.tsū Tatsusoku Senben The Changing to the 1000 Rules of Acquiring Passage by Weakness5

萬化無不制敵 Banka Muhuseiteki The Infinite Changing Against the Enemy who is Lawless6

是則中虚實為 Zesoku Chōkyoji-i The Rule of Changing Between Truth and Untruth

本務体之正而已 Honmutai No Seiji-i The Cessation of One's Basic Duty

故本體云爾 Kohontai Unji Such As Is Regular Happenstance

[SECTION CONTINUES NEXT PAGE]

1 NOTIFICATION: This mokuroku document came from between 1740-1798 and contains expressions of the Late classical dialects of Japanese, it's romaji pronunciations are not identical to modern Japanese or the modern Kito ryu. For example, the technique name 'saka otoshi' is instead 'saka wotoshi'. Similarly, some of the Kanji have slightly difference pronunciation and meaning (fortunately, the document did record some of these differences in Kana later in its text.)

2 'Kito' is usually said to be a Japanese family name, but that is the translation of the school name either way.3 Possibly instead “Riesen Rikeitō” which is only to say that it's difficult to be certain what syllable alignment to use?4 Or, 'Seiri' which has slightly different but very near same meaning when characters are pronounced as such.5 Otherwise known as 'exploiting weaknesses'.6 Possibly the other way around... “The Lawless Enemy Shows Formless Infinite Changes”

7

　　　　今堀吉之助.............Imahori Yoshimune No Suke7.............[? Name Rendering ?]

寛政八丙辰年.............Kanseihachi Heishinnen8

The Tolerant Government as of the 8th Day(?) of the 53rd of the Sexagenary cycle Kansei Era (1780's-1801)

　林鐘穀旦　平能寛.............Hayashi (?)...(?) Hirano.............[? Name Rendering ?]

　山中丹右衛門殿.............Yamanaka (?)Akashi(?) of Emondo, Jp.............[? Name Rendering ?][Trans Note: This one seems is both a name and a statement (右衛門) '(Yu) emon' shows up in a few Japanese idioms based off a historical person. As a statement this says (Lit.): “The right hand, rust coloured Gate of protection of the mansion in the mountains” As an utterance it may be a protective charm. ]

　

殺活 Sakkatsu Taking and Sparing Life


7 Like the other example of what is apparently a Japanese person's name, likely being used as a protective good luck charm, this name likewise. The name, as a statement can easily translate as: “The Help of (a) Current Bout of Good Luck” in obvious compliment of the “tolerant government” of the Kansei era Japanese society.

8 The line entry about the 'bout of current good luck' is in reference to the mention of the 'tolerant government of the Kansei period' what was being said is that all the Japanese were in lucksince certain tolerations famous of the Kansei government towards its peoples and principalities had been occurring.

8

天巻Ten No Maki

The Heaven Book

起倒流

KITŌ RYŪ

School of Rousing Conquest9

天巻.............Ten (No) Maki The Heaven Book

起倒はをきたをると訓す、起は陽の形、倒は陰の形也、陽にして勝、

陰にして勝、弱にして強を制し、柔にして剛を制す、吾力を捨て敵の

力を以て勝、不然して吾力を頼み吾力を出す心あらは勝利不全、勝利

全き處、貌は敵に随て変すれとも、我心不動にして静正なる時は、不

可有不得利

Ten (No) Maki. The Heaven BookAs concerns a rousing conquest [also “...Kito (ryu) itself...”] to explain defeating someone, regarding when onearises to the occasion [(Ki – 起 in Kito ryu)] there is the rising up part in the kata pattern techniques (yō nokata) that throw him and there is the part of the kata pattern where he has been thrown down ( in nokata), the bright day that is victory [for you or him] and the shadows of victory [suffered by you orhim]. And although the stronger will control the weaker, and harshness offer to control gentleness, oneabandons one's own strength and takes victory by the strength of the opponent. One has not thenrelied upon one's own power and one's power also has not been fully expended just to achieve victory.The conditions of a perfect victory. As concerns the odd facial expressions accompanying theopponent [e.g. his face, your face and the faces of anyone present], at that hour have a quiet demeanor and in one's heartbeing made immovable, being [they intend] improper gain [e.g. at your expense]


9 The passages here and further along, the Kana script of the text often uses 'wo' for 'o'. For example. the verb 'Tao(re)ru' was written in the Hiragana as 'taworu' this is atypical

pronunciation and so I noted it in the footnotes... a tiny complication in rendering the translation. I think probably it represents a dialect of old (18th century) Japanese, since the verb would usually be 'taoreru' but was written only as 'taworu' (technically such inflections don't appear, the inflection would always be 'taoRE.ru'.)

9

當流に本體と云事を始にしめす本體とは何を云そなれば、心裡虚霊に

して神氣不動、貌をさして本體と云、敵に對するに爰に敵ありと念の

起る時は、動するもの顕る、動するに至て一身むなし、敵とみて然も

心不動虚霊にして安對する處、本體備われるなり、是を不動智と云、

平生の神氣不動の工夫熟得肝要也、神氣不動にして敵に對すれは、敵

氣をのまれて迷ふ、こゝを先を取とも云、たとへ敵より先んにとりか

けても、吾神氣不動なれは、敵速に事をなすことあたわすしかるうへ

は勝利たしかにあらすや

It is said that among the adherents of the school, when they had began the 'hontai' basics [section], theywere shown and told however many of the hontai [section of techniques], the basis of the 'ura' [or, other set of

techniques in the hontai] and being that they were as yet unprepared, [they were taught] not to have much ofan expression on their faces. Here in facing every opponent at the hour of the arousal of attention, doing themotions the thing becomes apparent, without doing the motions oneself monotonously, furthermore, halting theopponent is heart of steadfastness10. Although being unprepared for the place where one will calmly beconfronting him occurs [e.g. in practice], through the useless formalities of formal conduct at the time, andhaving been provided with the 'hontai' basics [unpreparedness] is broken, here is said to be steadfast wisdom.The devising of the usual steadfast spirit is to gain crucial advantage, steadfast spirit when being faced with theopponent, the adversarial spirit engulfed in doubt. Here it is said that the future is certainly caught up, supposethat the opponent forestalling to capture but that he is devastated by mistake, one must have steadfast spirit, theopponent will swiftly do the thing anew, scolding to make victory.

一、風水智音 Fūsui Chi-in The Close Relationship of Wind and Water

一、目附 Metsuke Adherence

一、起居心 Kikyoshin Awakening Heart

　須掌静謐 Mochii-Tana-Kokoro Seishitsu [?rendering?] Whisper Quiet Salutation

　　以上 Ijō (Mochi-age) By the Means Above


10 Indicating that it is confidence inspiring for the beginner to learn self protection techniques.

10

寛政八丙辰年9月今堀吉之助............Imahori Yoshimune No Suke11..............

Kansei-hachi Heishinnen Kyūgetsu [? Name Rendering ?]

The Tolerant Government as of the 能寛 .(Hira)no..............[? Name Rendering ?] 8th Day(?) of the 53rd of the Sexagenary

cycle Kansei Era (1780's-1801) 9th Month

　山中丹右衛門殿 Yamanaka (?)Akashi(?) of Emondo, Jp12 [? Name Rendering ?] The Rust-red Right-side Gate of Protection of the Mansion in the Mountains

[SECTION ENDED HERE NEXT CHAPTER AND SECTION ON NEXT PAGE]


12 This one seems is both a name and a statement. The name is (右衛門) '(Yu) emon' and shows up in well developed dictionaries with a few Japanese idioms, These name based idioms are based off a historical person. As a statement this particular entry says (Lit.): “The right hand, rust coloured gate of protection of the mansion in the mountains” As an utterance it may be a protective charm and may not be a persons name at all (idiomatic.)

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地巻Chi No Maki The Earth Book

　地巻 Chi (No) Maki The Earth Book

　序 Shō The Beginning

ほのかに聞、中頃福野某と云人有て組討雌雄の術を修煉し微力にして

剛強に對し全く勝利をうる事をなす、然はあれと其術世にあまねく傳

るもの多からさりしに、三浦某寺田某此両氏、福野氏門弟として一貫

の道を極む、其後両士流を分て廣く衆を導く、所謂、三浦は和と云寺

田は柔と教ゆ、兵法に曰、柔能制剛と、まことにゆへ有哉予か師寺田

正重、先祖の業をうけ切磋琢磨してその淵源を極むるのみにあらす、

更に己か意をつけて無拍子と云事を発明す是則微妙の真利也、號て起

倒と云、授る于三巻の書を以すしかしより此かた其術益明らかにして、

門人弥すゝみ、その名四方に高し、予又彼門に遊ふ事とし有、後学の

徒、夜半に思ひ夙にねり、終に無拍子の真利を握る事を得は、其敵に

應し速なる事、石火のことく勝をとる事、素手にして強蛇を搦るに同

しからむと云爾

Shō The BeginningFew are those whom ask about the heart of the fortunes of civilian life and it is said that such personhave troubles practicing the Art of being male and female [e.g. gender roles] it makes for poor ability andstrength indeed to be faced with a thing and trying to acquire victory, as such breaking into thatartifice is generally quite a lot to teach13 so many particular things. The unknown Misters Miura andShioda both these persons, they would become unswerving disciples of the extremes of the ways ofthe Honorable Mr. (?name?) Fukuno (?rendering?). These both afterwards divided the gentlemen of theschool14 leading away vast and great numbers into the, so-called, Miura Yawara (or, Jujutsu) andShioda sayings about 'Ju' (e.g. foundational principles of Jujutsu) and Knowledge. In the reasonings of Hyōhō (e.g.

Japanese Martial Traditions), the capacity of 'Ju' (suppleness, Jujutsu) and the rule of 'go' (hardness), indeed, is thereason for prior possession [e.g. of the skills in Jujutsu], with Master Shioda it is an absolute heap.Cultivating one's character by diligent study of the ancestors15 this most unequaled origin is more13 E.g. meaning quite difficult to teach the Artifice of being male and female, in other words, gender roles. What they are saying in the mokuroku is that one whom does not already exhibit

this 'artifice' by nature... can be very difficult to correct and teach otherwise. Furthermore, they are discussing it in light of potential opponents who would try to use this character flaw to their advantage– so they have not divurged from the introduction to basic knowledge for the Kito Ryu school.

14 Definitively identifying their Kito Ryu has having been originally from the Yoshin Ryu tradition back before Misters Miura and Shioda formed their own break-away branches. But as yet they didn't really say if they were originally Akiyama branch or Takagi branch... however, Akiyama is usually spoken of as nearly inseparable from Miura so...?

12

than one deserves. Moreover, oneself adhering to the meanings, [? with or ?] without rhythmic chantingof record and oral traditions16 and so having the meaning of everything become clear even of thisadvantage of delicate followings17, the sign of the Kito (ryu) and its sayings. By means of impartingthe Ukuzōkan No Shō [? Text name rendering ?] “the Writings of the Book of Three Goings” it is only thisgift(?) being the advantage of that artifice, Of the followers it is extremely so of them, in this lofty'four directions name', it's on one hand and the other to devote oneself to recreational diversions,useless of young scholars. In the dead of night18 having [?only?] hopes for the longest time, finallythe profit of taking hold of the real advantage of 'without rhythm'19, one's opponent makes swiftreply, The acquired victory advantage at his disposal of flashing flint20, (?) of which the likes (?) isindistinguishable [?one cannot likely escape?] from [?only?]21 bare handed binding.

......................寛文十一辛亥春三月上弦

Kammon Jū-ichi Shingai Shunsangetsu JōgenKambun era (1661-1673) Eleven (11) Day(?) 8th of the sexagenary

cycle Spring-time 3rd Month 1st Quarter of the Moon


15 Integral part of Shintoism, but also a reference to study of the ancestral lines of their Kito Ryu..16 This refers to the fact that traditional Japanese recitations are done intoned in a form of chanting.17 In part, it means to be speaking this way of Misters Miura and Shioda, since by this time period their schools had grown larger and better established.18 Poetic reference to earlier time periods such as the medieval period (or 'dark ages') and post eras to it, when things were said to be quite primitive and difficult. But here, it is paralleling

ones own difficulty in having enemies and being the age of dueling it was not hard to have very serious enemies indeed, and so it also refers to known sentiments of the mid 1700's regarding the illegalization of dueling and similar customs.

19 The old idiom (無拍子) Muhyōshi /or/ Muhyōtsu literal and general translation is “Without Rhythm” or “Rhythmless” the term is encountered a few times throughout the passages of the Mokuroku. It is a reference to not engaging in the rigid systems of personal and group conduct known of ancient and primitive societies wherein, for example, group activity is lead by a song chanter or similar rhythm setter. One is not actually free to desist from the selected activity very much (it's a part of ancient group social structure.) It has a route tendency to guide one as a group down inadvisablepaths to easily (especially when the group leaders are inept.) Mention of this 'without rhythm' however it was translated in the text (in an effort to make a sensible and legible translation) requires one to bear this note in mind to properly understand what the lines of the passage said. There was no easier way of denoting in the translation the deeper and real meaning that to footnote it. Route behavior perhaps from which there is no escape.

20 E.g. Flintlock firearms.21 Trans Note: There is a play on words concealed in the kana of the last line of the passage, (しからむと '(shi-) karamuto') the ending 'shi' actually must be consulted even though

technically it it's part of the adj. 'doushi' “indistinguishable; identical”. You will see why in a moment. (しから) 然 Shika(-ra)(-ri)(-shi) “that sort of thing; (if) so; such as;” むと 'muto' for 無刀 'mutō' rendering a definition of “... that sort of thing is indistinguishable from such as from binding with the [techniques of] mutō [dori] no sword captures”. Even if one omits the 'shi' from the construct, still it says: “... indistinguishable from...binding with the [techniques of] mutō [dori] no sword captures.”

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一、敵に柔剛強弱之事 --............Teki Ni Jūgō22 Kyōjaku No Koto The Matter of Strengths and Weaknesses in an Enemy

敵に柔剛強弱の位あり、柔弱の人に向ふとも軽しめ侮るへか

らす、又剛強の人に對するとも危ふみ恐るへからす、常の修

煉に柔弱の相手には、剛強の人のことく心を励し、剛強の相

手ならは、柔弱の人のことく思ひこなして修行すへし、然は

修煉には剛強の人柔弱の人、長高大の人、低小の人其嫌なく

修煉して獨立の位にいたるへし

Teki Ni Jūgō Kyōjaku No KotoThe Matter of Strengths and Weaknesses in an Enemy

With the opponent there are positions of strength and weakness (kyōjaku) and of mobility andimmobility (jūgo)23, certainly with human weaknesses [when] facing [the opponent] he is shoutinghoarsely belittling and disdaining. Hereupon and certainly, with human strengths to be facing the causeof danger one will be afraid and shouting hoarsely, practice of the usual conditions is the opponent ofweakness. The subject of human strengths the heart cheers encouragement for, and is the partner ofstrength, the subject of human weaknesses, throughout the course of training, derived of formingintentions, in that way the training drills [capitolise on] human weaknesses and human strengths,[making us] human beings of lofty superiority. Human shortcomings are disagreeable, by the trainingthere are those whom are coming to the position of self-proficiency.


22 The occurrence of (柔剛強弱) Jūgō Kyōjaku, here the idiom Jūgō (柔剛) is only a qualifier and so proper translation appears to be only “strengths and weaknesses”. 23 Otherwise, I reasonably translated this idiom as merely “strengths and weakness” and stated in that footnote the sub-idiom 'juugo' was merely a qualifier reinforcing the idea of strengths

and weakness. BOTH are true. The most correct literal translation of the idiom ''Juugo Kyoujaku (柔剛強弱) is “the strengths and weakness of [both] mobility and immobility”. The original meaning of the principle of 'Juu' (柔) and that of (剛) 'Go' is one of mobility and immobility, “stiffness” (剛) 'Go' causing immobility such as when one's body or mind (or both) lock up in paralysis due to fear or anxiety. Flexibility or pliability (柔) 'Juu' which allows mobility (as opposed to being bodily locked up from fear and so forth.

14

一、無拍子之事 -- Muhyōshi No KotoThe Matter of 'Without Rhythm'

當流無珀子といふ事眼目なり世にもてはやす和捕手と云には拍子表裏

の位を求て勝負を決定する事多端也、無拍子は是に異なり、敵に拍子

表裏を求るとも亦は無二無三に取掛るとも敵の表裏拍子に乗らす、我

直躰に備へ正心神氣を動かさすして、向ふ時は躰氣満々とみちて敵の

強弱邪正表裏遅速の氣さし未顕れさるに察し、秘術を振ふといふとも、

是に應して變化し勝利を得事疑へからす、拍子といふに二品あり、軽

くうき立たるを皮肉の拍子と云、重く静なるを筋骨の拍子と云、浮立

たる拍子を請て勝利をうる事如何程も有へけれとも、危き事にて真の

利にあらす、拍子に出来不出来遅速有ゆへなりをもきの字此所へつゝ

く也重きも軽きもともに拍子を用ひす、然とも熟得して後は其業につ

れておのつからなる拍子あれとも、拍子を好み用ひさる事右のことし

Muhyōshi No KotoThe Matter of 'Without Rhythm'

The [generations of the school who were] 'Without Rhythm' [see footnotes placed on this] as standardpractices of the school, for instance, said that the cultivation of [the skills of] Yawara Torite (“thegrappling techniques of Jujutsu”) was the “Matter of the Core Principle”, and in the sayings aboutthe position of the inner and outer levels of 'rhythm/or/rote repetition (of kata)' [they spoke as if thesewere] victory and defeat when instead there are many things which make that decision. As regardsbeing 'rhythmless/or/having no rote repetition (of kata)', for instance, here an unusual thing, theopponent also makes claims24 about the inside and outside levels of 'rhythm/or/rote repetition (ofkata)'25. Again, by earnest single-mindedness, at the least to begin [to discern] the inner and outer'rhythms' of the opponent and ride him by it. In the body an instant [concern for] one's own safetywill puts one' resolute spirit in motion, at the time and place, brimming with bodily energy and risingto act upon one's feelings to meet the strengths and weaknesses of the opponent, wickedness andjustice inner and outer progression without appearing to be it is a certain kind of sensing, if one wereto speak of it, that is wielding the Hijutsu 'secret arts'. Here by reply curiously changing into theacquiring of triumph, he in doubt and shouting hoarsely, it's a 'rhythm' called 'Two articles', movingeasily to rise to one's feet, this is said to be a 'rhythm' of irony. It's said that it's a core 'rhythm', animportant calmness. Quickening oneself invites a 'rhythm' that allows one to acquire victory. But thedanger in the thing is not a profit. In this 'rhythm' is uneven results, [due to] the speed being usedhere under these circumstances, even the meaning of the kanji Jū (重)** “importance; emphasis”. ,

24 This means that the opponent claims that your behavior is offensive, similarly on a route basis and that his assault behavior is justified.25 As indicated in the earlier footnotes about the meaning of this business called Muhyōshi (無拍子) “Without Rhythm”, it is a doctrine against 'route' behavior and so I translated these

instances to reflect this meaning. Sorry but, how should one render an idiom whose meaning is rather philosophical AND YET maintain legibility and flow of the translation transcript???

15

and here is where the thrusting occurs and there is the importance of agility together with the usageof rhythm. As such, certainly, there is some profit in being behind him, and such techniques areproportionate to the occasion and even this is a rhythm of it's own. The 'rhythm' is favored a thing tokeep on hand nearby and to be made use of.

(**) TRANS NOTE: I should explain that hyōshi (拍子), while meaning and referring to 'rhythm' (in many of it's usual senses) the word also means 'rote (behavior; action)' andthe by-product of it. Such as the result of repeatedly practicing kata techniques, which allows one to perform the movements as second nature. Thisproduces a reliable 'rythmic' capacity and so the word hyōshi (拍子) quite often is used (in such schools of Jujutsu) to describe this. In fact, most usually,when one encounters the word, it usually means this along with any other definition, simultaneously. And so sometimes, but not always, muhyōshi (無拍

子) “Rhythmless” means to lack the quality and/or to have not so practiced.The Japanese text says: “...the kanji Jū (重 ) “importance; emphasis” By dangerous things is this important truth...” This is an important 'secret'mnemonic device, based off the shape and strokes of the kanji (重) Jū which by it's name is thus linked (to Jujutsu)... one must know (1) meaning of thiskanji “be heavy; heap up; pile up” (2) One must know the order of strokes used to write it top to bottom to encode: first stroke: “From the place we firstcross paths” second stroke “the decline into confrontation” third stroke: “Through the gate (of the event) we go.” Fourth stroke through seventh strokecollectively refers to the day of the episode, since it forms the character 'day' (日) but is not to imply that a single day is the actual length of the episode.Eighth stroke: “Nearing the end” Ninth stroke: “After the end it was long ago” whether one prevails or if it was long ago that one's tombstone was placed.The character has nine strokes and so there are connotations related directly to the Kuji-in and Kuji-kiri. Suffice to say that the use of the character means“when things piled up and confrontation occurred.”

一、調子之事 -- .......Chōshi No KotoThe Matter of Timing

調子といふは拍子に似て似さる所也軽くこまやかなるを陽の

調子といふ況てゆるやかなるを陰の調子といふ右の品は書の

へかたき面々色々所作を修煉するうちに自然と心に合する所

の調子を得て覚悟すへし

Chōshi No KotoThe Matter of Timing

As regards what is called 'timing', in 'rhythm' one resembles the other [e.g. timing resembles rhythm], it'sa certain place seeming very unimportant called the timing of the event, still the more acquiringit seems to have become the very timing of the other side [of the subject], as regards implements tobe kept on hand, writings about the kata techniques each and every one. To make practise one'sconduct between the natural and in the mind/heart adjoined together to profit from the timing ofthe place, the preparedness being throughout all.


16

一、位之事--.........Kurai No Koto

The Matter of Positions

位は波上浮木の位やうき立なみには浮、況む浪にはしつむかことく敵

の氣力の烈しきにさからわす夫に随ひ應して、其氣力を察し勝利をう

るなり

Kurai No KotoThe Matter of Positions

As regards positions (or, postures/stances), there is the Position of Driftwood upon the Waves26, instanding waves one floats, still the more on the crest of the waves the large ship and it's seamantake profit27, the violence of the intentions of the opponent, the violence of the intentions of theopponent because that person is being rubbed the wrong way and then followed by hisconjecture/assumptions, triumph comes by consideration, for instance, of this his derived anddiscontented force of intention.

一、先々先後先之事 -- Sakizaki Sen Atosaki No Koto The Matter of the Point of the Distant Future Beginning and End28

先に取掛て其先をぬかすして勝を取、是先々先敵よりとり掛

られて敵の先を抜て勝を後の先と云、求すして叶處勝利なり、

或は先或は後先と求る心あらは心とまるなり、心とまる所に

於て勝利あるへからす適(たまたま)勝利有とも拍子表裏の危事

にて実理にあらすと知るへし

Sakizaki Sen Atosaki No Koto(Sen Sen No Sen, Go No Sen No Koto)

The Matter of the Point of the Distant Future Beginning and End

In times past, in clinging to victory they omitted [the likely future outplay], just by taking victory. Thiswas the course of their inevitable distant future, from point to point to point along its course. It was

26 This is a very traditional idiom that means shifting and changing between postures ('stances') and positions, not unlike driftwood tumbling on the waves, throughout the course of a kata technique, or forthat matter in general usage at large. It is in some schools considered the essential name of all postures (as grouped together.) Making them all one posture or stance.

27 This contains Kana based encodement, according to how one writes these kana, it forms a few different interesting sentences regarding the subject matter of the passages. Namely and for example, “on the crest of the waves (namihashi 浪端) to have been checkmated (tsumu 詰む) in bygone days (kako 過去) and undone (toku 解く) and another example “ on the crest of the waves (namihashi 浪端) in bygone days (kako 過去) to pluck (tsumu 摘む) the advantage (toku 得)” YOU MUST REMEMBER that Japanese language doesn't use the same word order (syntax) as English does. These kinds of'alternate' statements are used in description to assist teaching adherents of such schools more of the intricacies of the art.

28 Actually better translated as “the distant future through which one will be moving...”.

17

said that the point where the opponent was encountered excluded victory by any means other than bypoint after point (sen go no sen), having made claims and they were answered, this is the circumstanceof triumph. Possibly from one end or possibly on both ends before and after and wished for it in theirheart and their hearts stopped, in that place their hearts stopped and [craving] triumph unexpectedlythey began shouting hoarsely [in protest]. Encounter upon encounter there is triumph and danger as ifthey were both the inside and outside of 'rhythm', and without practical theory one cannot understandit. [Trans Note: the passages of the Sakizaki Sen Atosaki No Koto are largely speaking of the process of the cessation of a form of dueling that used to be thefabric of practise, one began to learn kata technique and then thereafter there was no performance of kata that was not controlled dueling. One's ability toperform the actual fighting kata was dictated by whether or not you could actually best the other performer. This was how rank and title were awarded. Themen who were more accomplished were the more dominant and higher ranked. The talk about 'hearts stopping' was because now an inferior skilled person(under the old rules) could have equal or superior rank to ones own. Kata are sometimes called 'kumite kata' even today. 'kumite' is the word 'duel; match;bout' a remnant left over from the mentioned earlier times now past.]

水上に胡芦子を打は捺着即轉といふ事あり、瓢を水ヘ入て手を以て推

は脇へ出、いか程力を以て押といへとも同し事にて留らぬ也其如く敵

の力にさかふへからす是波上浮木と似て氣味また少し弁へあり、修煉

自由を得て如此成刻は、いか成剛強と云とも制せすといふ事有へから

す大水の先に流るゝとちからも身をすてゝこそ浮む瀬もあれ是又おな

し心はへ成へし

Suijō No Horyutsu (or 'Koroshi') No Koto29 The Matter of the Children of the Barbarian Bullrushes on the Waters

As regards 'Across the Waters the Children of the Barbarian Bullrushes Attacked', arriving andattacking then and immediately in as many great numbers as did, by means of their [empty] gourd-bottles from their hand setting upon the waters, the deduction was made that someone was nearby,soon to appear. By means of the maximum strength of the aforementioned as they were surelypushing in, they were indistinguishable when being stopped and overtaken, the strength of the enemy[expressed] in unjustified resentment shouting hoarsely. They were not unlike driftwood upon thewaves and also the markets [filled] a little with their dialects and acquiring likewise the freedom oftraining having made for themselves the opportunity, it is said that, of the more manly and mostpowerful of the rest of them to be sure and certainly they were getting the better of us. On the flowingcrest of the unbroken floods across the face of the land as numerous as they were, even theirloincloths30 were floating in the shallows/rapids, yet in all of this, the hearts of women still turned tothem.


29 One must notice the position these passages occupy in the mokuroku, to understand the nature of the Kito ryu, by placement of position, this block of information is a foundation stone to their basics and initial transmission level and as such one can say that... it literally is the school of rousing conquest itself. The foundation upon which it was lain. Any art or system derived or descended of Kito ryu(such as Judo and Kano jujutsu – of which the greater majority of American and Canadian judo and jujutsu schools are, in fact) must strongly consider the facts. Also, as foundation stone, it says one must prepare oneself from the beginning, should the Children of the Barbarian Bullrush ever return. They were called 'bullrush' because it grows in great clustered numbers on the shores and vicinity of water sources. Here, water sources means 'resources'.

30 There is an encodement here but it is a tinsy vulgar so I declined to directly translate it. Suffice to say that it indicates these barbarians were inclined to take sexual liberties.

18

一、氣躰之事– Kitai No Koto

The Matter of the Body of Ki Energy

氣は鉢のみつる所なり、氣の起るを陽と云、おさまるを陰といふ當流

専氣のあつかいを教て業をなさしむるといへとも、氣と云て顕われた

るものにあらす躰の備あしけれは其氣も随てつりたるみ出来て全から

す平生安座したる形は意氣満々として安躰無事なり、然るに所作をな

しうこき働きする時は其業につれて或は左にかたより右にかたより終

に平生の氣を損すこの故に當流に秘して教る所也己か方寸の元氣を養

ひ、ものに心をとめす、其基と成處を健固に守れは業をなしうこき働

といへとも、根本とするの元氣立しかもやわらきすわつて正しきゆへ

に、用る所の氣自由自在にして左に力を入れとも右の空しき事なく、

右を働せとも左のうつろなることなく前後又同し、起居動静ともに常

遍の平氣と成、是則天の巻にいふ処の不動智なり、兵書に曰克己と云

ともかよふへきか、己れに勝て躰正き時は千万人に勝の利ならむ

.Kitai No Koto The Matter of the Body of Ki Energy31

As concerns 'Ki' energy [or, “air” we breath], it's like the arched handle part of a pot, and it's said that Yang('Positive' polarity energy) occurs with 'Ki' energy, Yin ('Negative' polarity energy) is settled in places as much of it asthere is. The adherents of the school are taught to specialise in handling 'Ki', it may be said that thereare techniques to compel ['Ki' energy]. And it's said of 'Ki' energy that it can become a visible thingand invade the safety of the body, the legs being kicked at32, 'ki' energy itself also follows such asphilosophical principles [describe of it] and is entirely able to do so. Seated in the usual quiet positionis that which causes it, as concerns [the relationship to] Kata techniques they are brimming with ourdispositions being the (physically based33) peace of mind of safety itself [ergo charged of 'Ki' energy].However, to be able to do the workings of the movements, as concerns the moment, in thesetechniques, possibly in proportion to being offset on one hand and being offset on the other hand [e.g.

31 “Body of Ki Energy” is but is not what this term means. The idiom 'Kitai' ( 気体) actually means “spirit or disposition of an event”. Modern Japanese 'Kitai' ( 気体) means “vapours; gases”.NOT THE

SAME as the idiom prior to the middle 20th century or as used in 18th and 19th century Budo. In these: Almost the same thing as the idiom 'Kitai' (基体) “base; basis” as in of an event or episode. Strongly associative to the idiom 'Kitai' (奇体) ”strange; curious; odd” especially when the event or episode has unwanted elements. Thereby more associative to the continuing idiom 'Kitai' (奇胎 or鬼胎 ) “anxiety; concern” Mainly via the sibling idiom 'Kitai' (危殆) “danger; jeopardy; distress” Recognition of a possibility to victory or survival is 'Kitai' (期待) “expectation; anticipation; hope”. A most excellent chance to these is expressed by the sibling idiom 'Kitai' ( 希代 or 稀代 ) “uncommon; rare; extraordinary; matchless”. Looking in these directions both to understand the entry and to understand 'Kijutsu' (気術) “Art of Ki Energy” which is also sometimes written as 'Kijutsu' (奇術) “Wierd Arts” or “Slight of Hand Arts”.

32 In the philosophical traditions regarding 'Ki' life force energy, Yin is said to sit in whatever size and depth pools and puddles (just sort of laying around) whereas Yang is said to flow and move not unlike a body of water. The text describes “the legs being kicked at” as if one were wading through a brisk woodland stream and the water resistance makes it a bit difficult to move easily. As for how totell where Yin pools are at (which is considered a thing to do, in such traditions) they are considered not unusual in depressions along the ground much like where water would, and sometimes actually does, gather after significant rainfall. Furthermore, it is especially considered so, if there isn't very much growing in it, as if for some reason things seem to have trouble growing there (it is said that the 'Yin' Negative force is why not much grows in such a spot.)

33 The idiom is usually anshin (安心) /or/ (安神) and has the definition “peace of mind; relief” here instead is (安躰) and means “Physically based peace of mind” which is why the difference in kanji (the kanji means “physical body”.) Many many of the mokuroku, denshou and makimono have 'difficult' kanji and 'difficult' dual, triune and quatrine compound constructs made of these sort of kanji... an existing word mutated to a more specific and logical definition by alteration of the kanji. Use romaji spelling and look for the definition. Usually there are three words (fairly close in meaning) if nothing else, combine the two chief meanings and you will usually be right on. :)

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one kind of error opposed to another kind of error]. Losing/having wasted the ordinary 'Ki' energy [e.g. 'Ki' of that which is

ordinary], this consequently the adherents of the school are taught to keep hidden, the position itself [e.g. of

keeping the loss hidden] nurturing the vitality of the one's entire being. To obtain and remain in possession theheart [of the matter], as concerns that itself and having said what has already been said, the position ofsound health is protected by being able to do the techniques. Furthermore, to think that vitality is theorigins, consequently Jujutsu confirmed and recorded the influence factors. Using the parts of 'Ki'energy34 with complete mastery, on one hand certainly to have put effort into it, and on the other hand[to avoid] weeping over vain matters. On the one hand, certainly to do the workings and on the otherhand being vacant to become the thing, both beginning and end being indistinguishable, themovements of sitting and standing [e.g. all body movements througout] being one movement conjoined byacquiring all calm composure with regularity. In the Sokuten No Maki (“Book of Heaven's Rule”) itsays that management is of immovable wisdom, in the Hyōshō (“Paramilitary writings”) it says thatthe reasoning of self denial/self control...(?) certainly (?).....(?)..service...(?)... With oneself victoryrests upon (one's) true character, as concerns hour/time/when with and if the Senmanjin [e.g. (lit.)

“Thousands of Ten Thousands Man” 35

,i.e., 'Perfect human being'] exists is the advantage of victory.

一、志氣力差別之事 -- Shiki Ryokusabetsu No Koto The Matter of the Variations of Strength in Determination36

志と氣と力との差別、わけていひかたし、然れとも是をわかつていふ

は志の趣につれて、其むかふものを取らんと手の出るは、何そなれは

志に随ひ、動て氣のかよふゆへ也、其ものを持上るは何そなれは氣に

随ひ集る所の力也、力の出る所は氣集、氣の通ふ所には力も随ひ寄と

いふ事、定たる理にして氣力不二と成、然とも爰に差別をなして記事

は力を先たて業をせは其害甚多し、是を以て力を捨、唯氣のあつかい

を修行せしめんため也、業熟するに至ては人々の有来の氣力の動につ

れて、其業に應し出る事、教をまたすして備るへし是元来氣力不二の

處也、力を一向に嫌と云にはあらす、譬へは力の有人と無人と同位の

上手に至らは、力有にしくは有へからす然とも事業いまだ熟せさる中

に力を用ゆる所はりきみと成、氣の扱と力の扱との差別をいはゝ事業

をなす處軽く和にしてすらりとこたわりなきを氣の扱といふてこのみ

用ゆるなり重く剛氣にしたる氣を力のあつかひとして是を甚嫌ふなり

[SECTION CONTINUES NEXT PAGE].

34 E.g. Yin, Yang, Yang-yin, Yin-yang plus elemental inter-combinations and inter-elemental inter-combinations of these. For example '+ water' (“torrent river”) and '- Water' (“Lake-marsh”) such as is recorded of the trigrams and hexagrams of the Iching etc etc etc]. That is what is meant by “using the parts of 'Ki' energy”.

35 This is really kind of like saying “One in an infinite number of human beings” at an integral level, that's literally what it says. And so, right away sort of dismisses that there would more than one such fellow, anyway.

36 Can just as well be translated “Variations of Strength in Camaraderie” in reference to degrees of loyalty and trustworthiness between members of a group. The Japanese do not much distinguish betweena member of the group and the group itself, hence whether (these passages are) translated and understood in reference to the individual or to group numbers is a matter of perspective.

20

Shiki Ryokusabetsu No KotoThe Matter of the Variations of Force in Determination

Differentiation of force, spirit and intentions, above all in speaking of it, certainly this is a particulardistinguishing, leading a person with the effects of intentions. As concerns that, although unwantedfacing capture-and-death the effects of the affray are coming out anyways, what windswept placebecause of their intentions will follow?? For such causes as this is the pounding heartbeat, itself risingsuddenly, what wind-swept place of power and helplessness-gathering-about is this?? As concerns theplace where force is proceeding forth and gathering-about, it's said that in the place there is thepassing through of spirit, force follows drawing near. Certainly even the principle which is [that] bywillpower the two [E.g. defender and attacker] are much the same, certainly here is there is differences in theaccounts [E.g. of both parties]. With the point of force, taking actions there is much harm itself in the end,this because of abandoning force, in training to our advantage one is always treated as if one is alone.In arriving at technical maturity as persons have strength of ability they can act, in action itself thereply is outgoing, to keep knowledge waiting is essentially to keep safety waiting, willpower, theplace where the two are one and the same. It's said that force is absolutely disagreeable in that itdestroys, illustrating that the person using force and the helpless have an upper hand of the same rank.The usage of force is to impose widely upon others and using hoarse shouting, as such it's anenterprise that is quite inclined on average to break apart. To be able to use force in a place is to exertswaggering thereupon, there must be discriminating between the handling of Ki energy dispositionand the handling of force in forming your enterprise. In the teachings, the place of little resistance is aplace of continuous movement and weeping as one handles these inclinations, there is what is calledthe principle of leverage in usage. Of course, the weight of a bold spirit can make more spirit and thetreatment of forcefulness therefore staggeringly disagreeable.

一、前後際断之事 --...........Zengo Saidan No Koto

“The Matter of the Context of Refusal”

前のこゝろを跡へつなかすして其間をたち切へしと也、是を含て修煉

すへし、敵に對するに心うこかす不滞して力の合ぬ所にして勝利を得

る事、たとへは頭へ渡るものは下空虚なり、然はかうらへこゝろを移

さすとゝめす其空虚を制す、おこる所を見て發處をすて、虚に乗らす

して是を制するは前後際断の意歟

Zengo Saidan No KotoThe Matter of the Context of Refusal

The front side of the core principle having its established relationships, meanwhile, it's called excellenteagerness to have this all encompassing morsel tidbit. With confronting opponents, overthrowing their intentions without delay and their composite strengths at the time-and-place, thereby acquiring victory.No matter what, crossing through the various heads of them [Alt trans: “...going through whatever number of the beasts...”]

21

just after the place became that way, as such being the case, changing to mixing it up together having been stopped at the empty place37 [it and you] being controlled, seeing the place-of-event is occurring [Alt

trans: “... seeing the place and getting angry...”] being caught off guard this causing the start [of the episode]. Here, is not one holding oneself back with all parts of one's sentiment of judgment??

右者當流之秘傳也

能可有熟得者也

　　　平能寛

This Being the Secret Traditions of the Right-hand Persons the Adherents of the SchoolThat being the skills which such persons mature in.

Hirano [?Name of One the Masters?]


37 It is describing the place of confrontation as the “emptiness” or “vacancy” in the profound sense of “empty place” to reinforce the concept of rejection or refusal (as per the title of this passage). Meaning that such places (wherever they might occur) are actually empty of the adversarial context, they do not exist to harbor or facilitate the incident(s) of violence but instead serve other purposes which are perhaps, by the occurrence of the conflict therein, all but negated. Making it 'context-less' at that point, since the place's usual purposes are all but negated at that point.

22

人巻Jin No Maki

The Mankind Book

體 Tai Body

夢中 Yume No UchiIn Dreams

身碎　Mi KudakiCrushing the Body

力避 RyokuhekiStrength Evading

水車 Mitsu KurumaWater Wheel

車反 Kuruma GaeshiWheel Counter

水流 Mitsu NagashiWater Flowing

曳落 Hiko WotoshiPulling Drop

水人 SuirenWater Man

虚倒 Muna Tawoshi Empty Space Throw-down

打碎 Uchi-kudakiStrike Crusher

柳雪　 RyūsetsuSnow Willow

谷落 Tani WotoshiValley Drop

車倒. Kuruma Daoshi Wheel Throwdown

坂落　 Saka WotoshiHill Drop

錣取 Shikoro Dori Neckplate Capture

錣反 Shikoro GaeshiNeckplate Counter

雪折　 Yuki WoreSnow Breaking

夕立 Yū Dachi Evening Stance

滝落 Taki Wotoshi Waterfall Drop 岩浪 Iwa Nami Snow Breaking


23

.表裏廿一

Hyōri (Omote-Ura) JuichiInner and Outer Twenty One

柄取 Tsuka DoriHilt Capture

小尻反 Kojiri GaeshiCounter with Tip of the Scabbard

諸手取 Morote DoriBoth Hands Capture

二人取 Ninin DoriTwo Man Capture

四人詰 Shinin Dori (Yonin Dori)Four Man Press

戸入 To IriEntering a Door

鎧組 Yoroi GumiPleats of the Armor

附馬上腰當鞍堅 Hubejōyō Tōanken Bourne Upon The Reliable Saddled Horse

居合 Kyogō (Iai) Meeting 早縄　Sōjō (Hayanawa) Quick Rope

中 Chū Middle

　以上 Ijō (Mochi-age) By the Means Above

　　　今堀吉之助 Imahori Yoshimune No Suke38 [? Name Rendering ?]

　　　　　　能寛 Hirano [? Name Rendering ?]

　山中丹右衛門殿Yamanaka (?)Akashi(?) of Emondo, Jp [? Name Rendering ?]“The Rust-red Right-side Gate of Protection of the Mansion in the Mountains”[Trans Note: This one has been encountered a few times in the text and seems is both a name and a statement (右衛門)'(Yu) emon' shows up in a few Japanese idioms based off a historical person. So I translated it as a statement as well.I think as an utterance it may be a protective charm. ]

[SECTION ENDED HERE]

[NEXT CHAPTER AND SECTION BEGINS NEXT PAGE]


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性之巻Sa'ga No Maki

The Book of Traditions39

性之巻 Sa'ga No Maki The Book of Traditions

　二勢中 Nisei Chū Between Two Forces

　五行中 Gogyō Chū In the Five Elements

　陰陽中 Inyō Chū In Shadow and Light

性 Sa'ga Nature; Destiny; Tradition

心 Shin / Kokoro Heart; Mind

　氣 Ki / Iki Life force; Energy; Spirit

機. Ki / Hata Mechanisms; Machinery

忘氣 Hōki / Wasure-iki Forgetful Moods

太極 Taikyoku The Great Origin

　以上 Ijō (Mochi-age) By the Means Above

右雖為極意多年

執心因熟煉以口傳

不残令授與所如件

The above mentioned, for the purposes of the deepest levels takes several years. Complete devotion in forging [e.g. training], Oral tradition. Nothing remaining rank advanced according to custom.


39 Tradition(s)' in the sense of 'customs and traditions', but could also be translated as “of Destiny”.

25

文化十二乙亥年　今堀吉之助

　十月　　　　　　平能寛 Year of the Pig Bunka era (1804-1818) Twelfth Year of the Sexagenary CycleMonth Ten Hirano [Name of One of the Masters]

　山中丹右衛門殿The Rust-red Right-side Gate of Protection of the Mansion in the Mountains[Trans Note: Here's this one again, has been encountered a few times in the text and seems is both a name and a statement (右衛門) '(Yu) emon' shows up in a few Japanese idioms based off a historical person. As a statement this says (Lit.): “The right hand, rust coloured Gate of protection of the mansion in the mountains...” As an utterance it may be a protective charm. ]

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口傳秘書巻 Kuden Hisho (No) Maki

The Book of Kuden 'Oral' Tradition Secret Writings

體之巻Tai No Maki

The Book of the Corpus

本體は体の事理也、専ら形を離れ氣を扱う、正理を得ずして己氣を扱

ふを知らず、静かなる貌(かたち)静なる氣を得る所に至て、敵の強弱

能く徹し強弱通達せば、則ち千變萬化して敵を制せざると云こと無し、

是則虚實に中(あた)る為に本を務むるは体の正しきとするのみ、故に

本體と云爾右の正理と云は術の正理にあらす、全躰天地の間、萬物の

正理也虚実に中(あたる)と云は呼吸の間え中る也

Tai No Maki The Book of the CorpusAs concerns the 'hontai' [basic techniques] they are the reason for the 'corpus' section, mostly handlinga loss of interest in the 'Kata' techniques, arranging in order the 'Kata' techniques without having beentaught to handle one's own spirit, calmly making one's visage, calmly making one's control of 'Ki'energy at the time of arrival. The strength and weaknesses of the opponent. Nicely forcing through thedirecting of strengths and weaknesses, namely, the innumerable oddities and changing to myriadthings. It's said of things that to not control the opponent, this is the rule of truth and untruth [e.g. tactical

deception] in attacking (nailing it) for the sake of the obligation to the base situation attempting only thethreshold40. Consequently, it's said that such as the 'hontai' basics on one hand are the orderedarrangement of 'Jutsu' artifice, the entire sections of Heaven and Earth [e.g. those sections of the mokuroku]. Thisis innumerable ordered arrangement it's said that in truth and untruth in attacking (nailing it) there isthe intervals of one's breathing.


40 Sort of Kana encodement, by what kanji are written produces also: “to fully assume the threshold” ( 閾賭する呑み ), “to consume the esprit de corp” ( 志気賭する呑み) and also the third example “toconsume the four season” ( 四季賭する呑み). Often such constructs omit the verb's object pointer '(w)o' as a matter of rote course. When one sees that the lines of Kana has no verb-object pointer... these encodements may be the case.

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一、殺活の口傳は、殺はのどしめるなり、活は當流にては後より抱へ

て起し立て腰をふみ倒す又関濽流にてのどじめには○はらばいにふさ

しめて、四足を持てあをつ又中の活には同しくふさしめて七九の所に

右の手の中て有なり、揚心流も同しこととも申なり此関せんりうの死

活は山名氏にて合田祐順受たりと云、予故有て傳之、何れも術口傳

As concerns the Oral traditions on Sakkatsu (taking and sparing life), regarding 'satsu' (taking life) it isright after cutting the throat41, concerning 'Katsu' with the adherents of the school it's similar toafterwards42 since there is the embracing of 'to get up and leave' in particular the poses of Dō-jime43

(“trunk of the body constriction”) of Fumi-tawoshi (“trampling underfoot”) as by the barrier gateswept away in the currents44, ○ all being told it's when lying on one's belly quite a lot45. Being ableto control the pressure of the four legs46 in the 'Katsu' (animate activity) indistinguishable from ...(?)...tangled up ...(?)... in (one/some of) the '49' points, on the one hand while still attacking (maliciously).In the Yōshin Ryū (“the School of the High Spirited”) also, of course, it was said by the Late (e.g.deceased) (?name?)Aida Yūjūnjū(?rendering?) of the Yamana family line, possessor of the tradition,that it's the thing called the Sakkatsu (“taking and sparing of life”) barrier gate sweeping away in thecurrents. On every 'Jutsu' artifice there is Oral tradition here.

一、殺活の時、人のこきう晝夜に数一万三千五百息として、其割を以

て三百息の内は活あたる、其余あやうし

-- The moment of Sakkatsu (taking and sparing of life). the breathing of human beings at noon-dayand night-time as the ten thousand47 three thousand48 five-hundred49 (13,50050) breaths, by means ofthe ratio itself, concerning the inner three hundred breaths it [either] secures or attacks 'Katsu' (life),thus risky themselves.


41 The Kana 'nodo shimeru' also reads “The song voice being shut up” (喉閉める) in reference both to 'the song that is life' and to singing songs one should not have. “Tranquility being strangled” (和絞める), seems obvious in its meaning.

42 E.g. the intention is that you be the one who walks away, the other(s) suffer death and loss, hence it is “similar” to the 'right after' of Satsu. Both are the same for you... it's always “right after”.43 Here, it does not really refer to the Judo or Jujutsu technique 'Dō-jime' (trunk/body Constriction) but instead to constriction and control of the body of an event or happenstance. Similarly the mention of

'Fumi-tawoshi' (trampling underfoot).44 Play on the shape of the kanji, especially the first kanji in the arrangement, involving a reference to the legs of the body (sort of 'leg sweeping').45 This is a reference to laying in tall grass overlooking an enemy camp to observe their numbers and details... but (all such references) are strictly a Japanese language idiom and not literal at all!! It does

mean to spy out or otherwise gain hidden information and to use that information but that's as far as it goes (it's an idiom.) 46 Usage of obtuse Japanese idioms here. The business about “Four legs” here indicates two legs (yours) and two legs (his) thus “both parties” and ergo, from this perspective could have been translated

“... both parties...” BUT at the exact same time, it refers also to four legged creatures that may have been involved (attack dogs or coincidentally, any wild animal that came along). WHILE STILL YET at the exact same time it refers to four legged furniture that could be in the immediate area (Japanese furniture is usually fairly low to the ground) which might be easily tripped over (when defending oneself in a more active violent encounter.) Or, our Western style of furniture which might entrap or entangle you, should have been seated when it began. The kanji used thereafter throughout the line of this passage also further refers to entanglement of, or with, legs, including furniture legs (又中) which also graphically portrays the position of the legs of a dog or animal when running (front legs thrust between back legs 又) .But this kanji looks like and is direct relative also of one that means “table stand”.

47 A reference to the 10,000 things (everything that exists and all time and space.)48 A reference to the three things (thought, word and deed) and the hundred things one can do thereby. 10 X 10 = 100 means everything one is completely able to do oneself in life.49 A reference to the Five elements and all that one can do with them (grouped per element 10 the number of completion times itself.) “All one can do with each element.”50 As a combined number (of breaths) refers to the collective capability represented as indicated in the previous footnotes of the number segments themselves.

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天の巻Ten No Maki

The Book of Heaven

一、心裡虚霊(しんりきょれい)とは心のうちかゞみののとぎたてたる

が如を云

-- Shinri Kyorei (The Mentality of Vain Spirituality) it's said that they are like farmers of the mind and heart, erecting [idols of ] themselves in mimicking the Gods of Shinto prayers.

一、風水智音(ふうすいちいん)とは不動智しんりきよれきなるときは

不見して敵の胸中通つる義なり

-- With Fusui Chi-in51 (“The Close Relationship of Wind and Water”) the immovable wisdomShinri Kyorei [“the Mentality of vain spirituality”] which frees one of the hopelessness of the strange, moralitythat causes one's own heart and mind to be the endangerment.

一、須らく掌(たなこゝろ)を静謐(せいしつ)にすへしとは、只歌を手

の中にてかるくもむやう心を安く修行せよと也

-- There ought to be Seishitsu (the tranquil disposition) of Tana-kokoro52 (“Palm of the Hand” but also

“Resident of the heart”) all through out, intoned recitation in the scope of one's doings, the cloud shiningmain room53 the advised discipline that is not unsettling to the heart.


51 This is a direct reference to Fusui (Chinese language 'Feng shui') Sino-Japanese aesthetic geomancy. But in the full body of this traditional Geomancy, there are doctrines of these orders because it is a corpus of life oriented Geomancy. 'Fu' (風 ) “Wind” element stands for customs, traditions and language terms (as the spoken word requires wind/air to be forced through the channels of the body to speak.) Ergo, it also denotes the writings of custom and tradition via the association with spoken language. 'Sui' (水) “Water” denotes things moving, much as various kinds of moving bodies of water themselves. Also, by way of this, “interaction”, “involvement” such as is, perhaps, 'social' for example. Combined, 'Fusui' (風水 ) here means outright “the interaction of custom and tradition” but as Budo principle (having pre-occupation with) personal protection of mind, body and soul... the point becomes obvious.

52 This refers to the salutation of placing the palm of the hand on the breast over the heart, usually thought (among Anglo-descended society members) as the 'civilian' form of a salute as opposed to the military open palm down at the edge of the eyebrow. It also refers to 'gasho' gesture, placing both palms together fingertips pointed up and this usually in front of the breast. Palm of the hand salutations and the various reasons for which they are applied. The idiom 'tana-kokoro' in modern Japanese pronounced similarly 'tana-gokoro' this means “the resident of the heart” much as in Christianity and it;s “in-dwelling spirit of God” says that the Divine takes residence within the breast of the faithful... however it's more literal meaning implies that the subject of spirituality is ever in their hearts and on thetheir minds.

53 Meaning the central room where worship or other forms of activity of a certain caliber are performed (including potentially the dojo floor when practicing in certain formal fashions.) The phrase and kanji are: 'tekaru-kumo-muyuu' “the cloud shining main room” ( てかる雲身屋 ) when written the other, in regard to the “Mentality of vain spirituality” it says something quite different: 'tekaru-kumo-muyuu' “the spider shining main room” ( てかる蜘蛛身屋 ) comparing false traditionalists to a spider trying to trap you in it's web.

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人の巻Jin No Maki

The Book of Mankind

一、形表十四54　たい　ゆめのうち　りよくへき　水く

るま　みつながし　ひこをとし　むなたをし　うちく

だき　たにをとし　くるまだおし　しころどり　しこ

ろがえし　ゆうだち　たきをとし

-- Kata Omote Jūshi Fourteen Outer Kata Forms

Tai Body Yume No UchiIn Dreams

RyokuhekiStrength Evading

..Mitsu GurumaWater Wheel

Mitsu NagashiWater Flowing

Hiko WotoshiPulling Drop

Muna TawoshiEmpty Space Throwdown

Uchi KudakiStrike Crusher

Tani WotoshiValley Drop

Kuruma DaoshiWheel Throw-down

Shikoro DoriNeckplate Capture

.Shikoro GaeshiNeckplate Counter

YūdachiEvening Stance

Taki WotoshiWaterfall Drop

一、同裏七手、無段と云　みくだき　くるまがえし　

すいれん　りうせつ　さかをとし　ゆきをれ　いわなみ

-- Muko Ura Shichi Te

The 'inner' seven (7) techniques of the same, it is said for the 'unranked'

Mi KudakiCrushing the Body

Kuruma GaeshiWheel Counter

SuirenWater Man

Ryūsetsu Snow Willow

Saka WotoshiHill Drop

Yuki WoreSnow Breaking

Iwa NamiSnow Breaking


54 These appear to be the Kana of the names of the techniques listed earlier?

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一、柄取とは両手にて大小のつかを持ていかゞするぞと云とき、

敵の鼻をつまみたること也

-- As concerns Tsuka dori “Hilt Capture”, with the 'both hands' [variation] it's said that, atthe moment it is that one catches hold of and makes the hilt of the long-sword fall, andscolding the opponent.

一、小尻反のときは少し左えつゝこみて足ふみこむとゆるむ也

-- As concerns Kojiri Gaeshi “Counter with Tip of the Scabbard” the moment [e.g. ofusage] of the Kojiri “tip of the scabbard” it's to plunge in a little to the left (Etsutsu-komi),and stepping in over the feet (Ashi fumikomi) his having let his guard down.

一、諸手取は両手にて両手をもつとき手をすてゝ前へひきふみ

こみて倒す、敵より引てもつきても同し

-- As concerns Morote Dori “Both hand capture”, with both hands removing and keepingit in one's own hand and casting away, from the front pulling along while stepping in (Hiki-fumikomi) and casting down, since indistinguishably the opponent draws [e.g. the sword]and approaches bearing it in hand.

一、二人詰(とり)は両方より両手にて手首を持つよく引ときに片し

引てひじにてあてこむ也

-- As concerns Ninnin Dori (“Two man capture”), it's because both sides with both hands[e.g. his hand drawing and your own] keep incidentally drawing [e.g. the sword] moving in and drawing [e.g.

the sword] to strike.

一、四人詰は二人取に又向に二人立時、左を引右の人にわさをかけて

向の左の人にかゝるなり、夫より又右の人にかゝるなり、すじかへて

かゝるなり

-- As concerns Yonin Dori “Four man capture”, [much as with] with the two man captures also inthe direction of the time of two men facing each other, with the one man drawing right hand to theleft technique and dashing to the left of the other man advancing there against, since he stilladvances to the right of the other man, advancing with a diagonal stroke.


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一、戸入は、戸口出入のせつ戸にそいてあけうかゞいて入こと也

-- Concerning Toiri “Entering a door”55 [E.g. a name of a technique] coming and going throughdoorways with the instances of doorways, seeming likely that [one is] opening the doorby hand and pausing to enter.

一、鎧組は四つに組て上手にてかぶとのしころを持てそのもちたる方

のひさを折、三つ足になりたゝみふせることなり附、馬上と有は早く

自分より組をちて組しくこと也、腰當鞍堅、腰より細を前へとり前に

てもじりあぶみへよくふみつけるなり

-- As concerns Yoroi gumi “Pleats of the Armor” having come together in grappling with skillfulness,taking hold the neck plates of the helmet which is certainly the very thing itself, breaking in a singledirection. With three steps in as much as one can attaching and bodily turning him upside down, onhorseback pulling down and dropping them as quick as one can. 'Hip attack saddle armor', since thehips are small going along ahead there to find and catching a spot to screwer the stirrups.

一、居合とは常に心得あること也

-- Kyogō (Iai) “Fast draw” it's constantly knowing the thing.

一、早縄とは八寸縄のこと也、縄はことの糸をねりて用ゆ、前後鉄に

て板金形、□如此大さ金五六分

-- Hayanawa “Quick rope” there are matters of the eight inch rope, as concerns ropes the matter ofthreading practice for usage, iron piece at one end and the other plate metal form, □　such things asthis important thirty [kinds of] counterweights.

一、中は面え下より中る上・ (しやう)しんと云両の耳を打を松風と云・・八十より上の中しん上の中と云両眼の中むらさめと云・ -- Concerning Chū “the Middle” ・ It's said that there is attacking the lower face (ambition) ・ It's said striking both the ears and Matsukaze “Pine Wind” ・ It's said that there are 18 top centers of focus ・ It's said that Murasame “Village rain” is attacking both eyes.


55 In some schools and traditions of the Budo, doorways are listed as one of the weak points that one should guard as likely a place in which one will be attacked. Similarly bathrooms and dining tables. They are all called “weak places”.

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又

一、四人詰に両手をぎやくに取ふせられ足も二人にてをさゆるとき、

足の少しゆるみたる方をかゞめてしりを少しふり、體をねしると手の

ぎやくはつるゝなり右いづれも用に立ぬこと也、故に流義に右やうの

わさ無之

FURTHERMORE-- In Yonin Dori “Four man capture” reversing of both hands the 'Catching and Up-Ending Step', muchas with driving away in two man [capture], a little step in the right direction that creates enoughslackness stooping and pushing (?)from behind(?) a little, being aware of the carriage-of-the-body andreversing the hands ...(??)......(??)... On the right side where it will be of use, consequently in theschool's techniques this right hand technique of (?やう?) nothingness.

性之巻Sa'ga No Maki

The Book of Traditions56

一、二勢中はつよくかゝる者をくぢき、よわきてものにてか

つ也

-- As concerns 'amidst two forces' mighty and skillful, advancing and wrenching, even if the fainthearted..(?flee?)...whilst yet things boil.

一、五行の中は體にてあてる也、敵の腹内に中ること也

-- Concerning the Gogyō “five active elements” of Chū “Middle (transmission)”, it's the corpus of attack, there is assault in the force of personality of the opponent.

一、陰陽の中は虚實にて中ること也

-- As concerns the Center of Yin and Yang it's in truth and untruth attacking.


56 Tradition(s)' in the sense of 'customs and traditions', but could also be translated as “of Destiny”.

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一、性は天より生れ来る処の義也

-- As concerns 'Sa-ga' “Nature; Destiny; Tradition” since Heaven is approaching the birthplace of the point of justice.

一、心氣は心氣をあるかうことをもつはらとす

-- As concerns disposition, having and keeping jumbled dispositions is very risky.

一、機は今をこるきさしこうして勝あゝして勝のきさし也

-- As concerns opportunity, here to be devoted (?),,,to carrying out the aim...(?) of victory like this is (?)the carrying out(?) of victory.

一、忘機は何もをもわすしてをこりをまつにもあらす、しかけにもあ

らすして勝こと也 -- Concerning absent mindedness, failure to recognize someone...(?)causing much shaking (?)... even to be laid waste to, in some calculated manipulations the thing is rigged to lay waste to you.

一、大極は何もなく只こんせんとしたること也、是より何事もをこる

也 -- Concerning the Taikyoku “Great origin”, it has been that which is a wild melee57, now that it's so, we are absorbed in [the wild melee.]


57 The idiom here, 'taikyoku' has several meanings relevant to the mokuroku, but the two most important are the “Great origin” which is, sort of a creation epic theory (much like the book of Genesis in theBible.) The word when taken at this definition literally means “when the world itself was first created”. So this remark in the mokuroku, about a wild melee literally means that since the world was first created, all living things struggle against each other, kill and eat each other. Constantly fighting and battling even in significant numbers. And still does, which is one reason why Kito ryu (and other schools) exist at all. The OTHER idiomatic meaning of 'Taikyoku' refers to the Imperial palace (and ergo, consequently the bloodlines of Royalty). It thus parallels the two definitions, meaning that since the Throne of Japan was established it has caused a wild melee both among the Japanese and throughout the world.

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諸流十二の形Shoryū Jūni No Kata

Form Of Twelve (12) Various Trends

一二・一、もろ手取は立て右の手上にして両手にてむね持つく取方左の手に

て下の手を持左の足引右の手上より割込右へ倒す、左右二手也

One ・ Two -- As concerns Morote Dori “Both hands capture”, chiefly in the upper right hand, holding the lapels inboth hands [muna mochi] and capturing in the left hand direction, lower hand holding and right handpulling the [opponent's] left leg up thus wedging oneself [ware-iri] in on the right side to throw-down,there are two controls.

三四・一、片手をとしは右の手にてむねとる取方右の手にて手先を持左の手

をそへぎやくにはなし前へ打也、左右二手

Three ・ Four -- As concerns Katate “Single hand” ...(?とし?)..., with the right hand [muna dori] capture the lapel withthe right direction also capture and hold with the fingers, Soe Gyaku “Guiding reversal” with the lefthand striking without going along with, two control techniques.

五六・一、なびきは両手にて両手首もつ取方虚実にふり足を敵の足の後へふ

み込たをす、左右二手

Five ・ Six -- As concerns Nabiki “Fluttering”, with both hands [mochi dori] take both wrists in truth and untruthFuri-ashi “waving step” to the opponent's rear foot treading pressing in upon [fumi-komi], two controltechniques.


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七

一、うしろ掛一人先へ行取方一人跡より行えり持引かゝみふみ倒す

Seven -- As concerns Ushiro Gake “Rear Hanging” one man going along capturing in one direction, one mangoing in the other's tracks and the point of stand-off [eri mochihiki] pulling and drawing on the lapelsKakami-fumi-tawoshi “hooking and trampling underfoot”.

八九・一、俤 (をもかげ)行違取方より両手にてむねなで右の足ふみ込さか

に腰いだき倒す、左右

Eight ・ Nine -- As concerns Womo-kage (“Shadows of the Face (Countenance)”) a way of taking a disagreement[iki-chigae dori], with both hands take the lapel [ muna nade] over the left foot Ashi fumi-komi“treading in” with Idaki-Tawoshi “Embracing throwdown”, controls.

十

一、たいかい右の手にてまつこうをうつ取方左にてうけその手逆にと

りかたより前へをとす

Ten -- As concerns Taikai “(?translation?)” with the right hand taking hold [mochiko], striking capture [uchi-dori] to the left direction parrying with the Tegyaku Dori-gata “hand reversal capturing form” dropping along with it.

十一

一、ともへは取方より両手にてむね持なからわかれ取直にのとしめる

Eleven -- As concerns Tomo-e “whirl-winding” capturing with both hands, taking hold of [muna mochinakara-wakare dori-naoshi] and capturing by dividing the inside, this is made as a regrouping effort.


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十二

一、四手からみはあぐらかき居る左の手を左の手にてもちひつたつる

也、立ぬゆへに右の足ふみ込右の手前より入て引立て後へ少しふり又

前へたをし手をねち上げうしろにてとめる此十二の形も用に立ぬこと

也、是にて色々のわさををしゆる義なり

Twelfth

-- As concerns Yotsude Karami “Four hands entangled”, being (?)seated cross legged(?) with left handover left hand having hold of …?(ひた)?... hoisting, thrusting there into and consequently treading inwith the left foot [ashi fumikomi] right hand in the front and the other hand from the rear entering withthe hand and give a sharp pulling [iri-te hiki-tate] and waving him a little also along the way in thehand dropping him [taoshi-te] having hold above from behind [nuchi-age ushiro] whilst stopping him. These twelve kata in usage are a standing item, here the various techniques have weightin the teachings.

[ MOKUROKU ENDED HERE ]

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SUMMARY

The document is dated from the middle through late 1700's, with some inclusion of textual entry fromthe slightly later forms of the scroll dated through the year 1810. To explain this matter (it's true ofseveral of the school scrolls we are handling): earlier scrolls being much older, more of them are tornand tattered, with however many holes in them throughout the scroll. The blocks of text and listings oftechniques are obscured or even obliterated in certain places. The Japanese transcribers simply used thevarious historical museum-piece examples (dated from as early as the 1740's through as late as 1810) topiece together (in it's entirety) the valuable Master's scroll again. That is the nature of this marvelousscroll and it's text (much the same with the other Master's scrolls we are handling, from whatever timeperiod they came.) The text offers some relevant, and at times obvious, connection to the main schoolsof much older Yōshin ryū, and of more than one known branch than we are generally familiar withtoday. This is perchance the case due to the age of the Kitō ryū which was founded in the 1600's,making it one of the oldest schools we have handled so far. It has a limited but developed number of settechniques and technical sections, with a fairly large volume of wisdom and technical teachings toaccompany and interpret the techniques and methods of the school by. It is worth mentioning that thisKitō ryū (and all the other school mokuroku we have handled so far) are not Koryū schools. Theyoccurred and existed well before the time when the social construct that is Koryū ↔ Gendai emergedwith all of it's definitions and etiquettes. During the long eras of the duel, although I think that it's fairto say that Kitō ryū was more than a mere dueling school, indeed, one still cannot fail to notice thatdueling is integral to all these schools... and the time period itself. The definitions and etiquettes, thevery context, to which they all belong and ever shall (certainly including the Kitō ryū) is simply not (inany way) related to the context that is Koryū ↔ Gendai. It would be a grave mistake to impose thisvery modern context “Koryū ↔ Gendai” upon this or any of the schools we are dealing with (if we doso, we will misinterpret the schools and their documentation.) Having said this and it being a ratherobvious truth, there are other equally obvious necessities that we should apply to in this summary.

There is the fact of even the techniques that we may not recognize and could find ourselves blunderingaway, pleased as punch over what chance we gained by the Master scrolls. Perhaps having not madenecessary connections despite the obvious nature of things (by which we could have profited ourselvesand one another.) The Kitō ryū is likely the single most important of all the Masters scrolls that we arehandling, from the perspective that Kano Jujutsu and the various forms of Judo (formal and informal ofthe Kodokan Judo) derived straight out of the Kitō ryū, by their own admissions. Any man who'spersonal and dojo art developed from this, Kano Jujutsu and Kodokan Judo descended of the Kitō ryū,should take particular precaution to handle the Masters scroll and study it intently. It is the mainfoundation of any school or art that is, or is descended of Kano Jujutsu and Judo itself. The wisdom andtechnical teachings found in it's passages. Many modern schools, certainly including a vast number ofthe Koryū, were influenced by Kano Jujutsu and it's end formal incarnation, Kodokan Judo. Thetechniques and technical listings of both Koryū and Gendai martial arts (including the Koreanizedversions) were influenced, and at times dictated by elements of the Kano Jujutsu and again a little laterin time, by Kodokan Judo. Kitō ryū is largely acknowledged as being the primary parent school of

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these influencers. Even most schools of Karate-do in part derive from Kano Jujutsu and Kodokan Judothrough the connection of Shotokan descent. Any form of Shorin ryū, Goju ryū and any othersdescended of Shotokan Karate have in their repertoire of Goshinjutsu (“self defense techniques”) theelements of Kano Jujutsu, most especially Yōshin ryū and its Kitō ryū. Even the common idiom theseuse, Goshin-jutsu (護身術 ) “Self defense techniques” comes straight out of Kano Jujutsu and isfrequently (even in Karate-do) written as (護身柔術) Goshin Jujutsu.

OTHER SCROLLS THAT ARE ASSOCIATIVE TO THIS KITŌ RYŪ SCROLL

Well, there are certain known supplemental and auxiliary scrolls of whatever sort, including such asBuki and Kakushi buki weapons scrolls, some are quite small. Some of the known supplementalscrolls are quite similar to this scroll, the Kitō Ryū Yoroi-Gumiuchi No Densho, and have a variety oftechnical and wisdom passages written in them. Perhaps one could say that they are further elucidationon the teachings of the school? If I encounter any, they may be translated and transcribed as well, toappear as a PDF file themselves? If I have opportunity I may do so.

END OF TEXT

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