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chanoyu-to-wa · 1 month ago

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The Chanoyu Hyaku-shu [茶湯百首], Part IV: Poem 79.

〽 Akatsuki ha sukiya no uchi mo andon ni yo-kai nado ni ha tankei wo oke

[曉は數奇屋の內も行燈に夜會などには短檠を置け].

“Dawn [is the time] when, within the sukiya, the andon [should be used]; but at night-gatherings and the like, the tankei is placed out.”

Once again, referring to ideas that have already been touched on in the previous posts, Jōō is reinforcing the tradition that a tomoshibi sequestered within a zashiki-andon should be used as the principal source of artificial illumination in the sukiya [數奇屋]¹ at chakai held early in the morning².

But at night, the tomoshibi should be placed on a tankei, so that its unobstructed light will be able to flood the whole room with its warming glow.

Aside from the fact that Jōō uses the word asa [朝] (morning), rather than akatsuki [曉] (dawn), in his (original) version of this poem³, there are no other differences between what is found in any of the collections, reflecting the uniformity of the understanding of this teaching -- that the zaseki-andon should be used at dawn, and the tankei at night.

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¹While the Kyūshū manuscript spells sukiya phonetically (as sukiya [すきや]*), the other versions (except for Katagiri Sadamasa’s) use the Korean kanji-form sukiya [數奇屋].

Sekishū’s version has sukiya [數寄屋], using the “Japanese” form of the word† that began to appear after the middle of the seventeenth century (at the time when the Japanese, under the influence of Kanamori Sōwa’s [金森宗和; 1584 ~ 1657] highly speculative histories‡ of chanoyu in Japan, were actively trying to distance chanoyu from its Korean roots). ___________ *Possibly implying a certain ambiguity over the proper kanji to use -- Sansai’s version of this poem was committed to paper a decade or two before Sekishū’s version, which suggests that Kanamori Sōwa’s writings were already beginning to have their desired effect.

†Unlike suki [數奇, 수기], the Korean word (which, in this kind of context, means something like “rely on the odd [numbers]”), suki [數寄] has no meaning apart from this use as the name of a kind of tea room.

With respect to the original (i.e., Korean) meaning, it is noteworthy that Rikyū explained the word suki in this way:

suki ⋅ ni jikun [數奇 ⋅ 二字訓]

‘su’ no ji kazu atsumuru naran mada sadashi sekiji ha shibashi to tsuzuku nari [數の字カズアツムルナランマタサタシ昔時ハシバシト続ク也].

‘ki’ no ji sugururui tori katakata ayashimu [奇の字スグルルヒトリカタカタ��ヤシム].

“An explanation of the two characters su [数] and ki [奇]: “The character su [数] means not just to gather together a number of things, but that this should be done in accordance with the classical teachings; in ancient times, things were always done like this.

“And with respect to the character ki [奇], it means that each person should directly investigate these matters in minute detail for himself.”

Rikyū then continues:

hi-mi-i-na-ko kore wo go-ki to iu [一三五七九コレヲ後奇ト云フ].

fu-yo-mu-ya-to kore wo sen-fu to iu [二四六八十コレヲ先偶ト云フ].

nakaba wo chōzuru yotte suki to iu [半ヲ調スルヨツテ數奇ト云フ].

“1, 3, 5, 7, 9, are the later (“derived”) odd numbers, while 2, 4, 6, 8, 10 are the earlier (“original”) even numbers, so to speak.

“Carefully paying attention to both of these is what is meant by suki, so it is said.”

His words have been interpreted (by the daimyō Uesugi Kenshin [上杉謙信; 1530 ~ 1578], in his commentary on the Chanoyu san-byak’ka jō [茶湯三百箇條] -- where Rikyū’s kaki-ire [書入] is found at the beginning of the second scroll of Jōō’s teachings) in this way:

chanoyu tsukamatsuru-toki, sho-dōgu no oki-awase tori-awase naraí no gotoku nose-ai mōsu- beku sōrō-koto dai ichi nari, sari-nagara sono hito-bito no kiryō ni yotte oki-awase tori-awase tsukamatsuru-beku sōrō, kono ki-no-ji no kokoro wo motte kufū no ue ni te toku to gatten itashi, sūki tsukamatsuru koto kan-yō nari , u-kaku tsukamatsuru koto ta-ryū tsutae naki no chanoyu naru-beku nao mata hon-i ni somuki omoshirokarazu sōrō nari

[茶の湯仕る時、諸道具の置き合わせ取り合わせ習のごとく載せ合い申すべく候事第一也、さりながらその人〻の器量によって置合せ取合せ仕るべく候、此の奇の字の心を以って工夫の上にて得と合點致し、數奇仕る事肝要なり、うかく仕る事他流伝え無きの茶の湯なるべく尚又本意に背き面白からず候也].

“When doing chanoyu the most important thing with regard to the way in which the utensils are arranged, and combined [with the others], is that this should be done in accordance with the way you were taught. Nevertheless, each person, in accordance with his own abilities, should endeavor to select and place the utensils in the way that seems best [to him]. The true meaning of this ki [奇] must be incorporated into everything one does: this is of the utmost importance when practicing suki. The things that the people who follow other paths [that is, other schools or traditions] teach represent a deviant form of chanoyu which, when compared with the original conception [the way advocated by Jōō and Rikyū], is wholly lacking in interest.”

‡Kanamori Sōwa’s “histories” of chanoyu were nothing more than government propaganda, produced by deliberately conflating the yotsu-gashira-shiki [四つ頭式], and the tō-cha shiki [鬪茶式], together with the ordinary drinking of tea (that was prepared at the o-chanoyu-dana [御茶湯棚] by a servant dressed as a monk, and then conveyed to the residential apartments by a second servant dressed in the house’s livery) -- all of which were historically earlier uses of matcha in Japan (in every case of which the tea was served as usucha) -- with chanoyu (which practice ultimately supplanted the first two -- though matcha, as usucha, remained the principal drinking tea for ordinary occasions among the upper classes until the use of steeped tea was introduced, from Korea, around the middle of the seventeenth century).

Sōwa was charged with “Japanizing” chanoyu, as the first step in the bakufu’s process of declaring that chanoyu (as a now-established purely, and authentically, Japanese traditional practice of great antiquity), of an appropriate level of formality appropriate to the rank of the government envoy they were entertaining (this is where the modern school’s ranked system of temae originated), must be included in the formal reception of every such official received (at least in an official capacity) by the daimyō and wealthy merchants.

The purpose of this rule was not only to effect the bakufu’s control, but also to force the daimyō and merchants to spend money on tea utensils (those that were to be used for the most formal services being ruinously expensive) -- money that would then no longer be available to those aspiring to rebellion against the Tokugawa government.

Nevertheless, it is important for the modern reader to understand, however, that only chanoyu included the service of koicha, and the dichotomy of koicha and usucha; and that is what identifies it as unique, and what contrasts chanoyu with all of the other uses of matcha that were practiced in Japan from the late Heian period until the fifteenth century.

²As has been mentioned before, because sunrise would be expected to occur during the naka-dachi, the artificial light will only be used during the shoza. And even then, since (in Jōō’s day) this kind of gathering would not begin until after dawn had broken*, the natural light coming in through the windows will be increasing, moment by moment, over the course of the shoza, so that the artificial illumination should be kept to the minimum, and focused near to the floor. ___________ *Again, this is a little different from the way things are usually done today. But since the time when the sei-ka-sui [井華水] (“the water that is the ‘flower of the well’”) could be drawn was limited to the 15 or 20 minutes when the dawn was actually breaking, the guests would have to be careful to time their arrival so that they would not interfere with this very important task. The idea was that the water had to be drawn and carried to the mizuya before any activity that might stir up dust could occur.

Since the intracity plots in places like Sakai and Kyōto were exceptionally small (and largely occupied by the residential building, business offices, and storehouse, with the roji being little more than a path that lead around to the back of the property where the chashitsu was erected between the well and the toilet facilities), the koshi-kake was always in close proximity to the well -- hence the desire, on the part of the guests, to postpone their arrival until after the host had drawn the water and carried it back to the preparation area. (And again, we must be careful not to impose our contemporary idea of roji design -- which originated in the Edo period -- on the facilities available to the chajin of Jōō’s and Rikyū’s time.)

³This change in wording was discussed at some length in the previous post. Akatsuki [曉] seems to have been substituted for asa [朝] by Hosokawa Sansai, since this is the kanji that is found in all of the versions that can ultimately trace their source back to his collection (which, along with his other treatises on chanoyu, was written down during the last decade of his life -- Sansai died during the winter of 1645-1646).

The specificity of this word reflects the way that the early-morning chakai had come to be staged during the first half-century of the Edo period, the period to which the modern interpretation of the dawn gathering -- the akatsuki-no-chaji [曉の茶事] -- traces its root.

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mo-ok · 1 year ago

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ya boy likes watching shows

Up to date toku watched list 📺

Currently Watching:

the currently watching list is where shows come to die. If I put a show here I will NOT finish it. This list is cursed.

Gozyuger 🐺🦁🦖🦅🦄

Sentai (in watched order):

Kyuranger

Kyoryuger

Kiramager

Gekiranger

Go-Onger☆

ToQger

Magiranger

Zyuohger

Boukenger

Hurricaneger

Kakuranger

Megaranger

Carranger

Liveman

Gingaman☆

Gaoranger

GoGoV

Bioman

Fiveman

Dairanger

Changeman☆

King Ohger

Dynaman

Goggle V☆

Flashman

Denziman

Sun Vulcan

Battle Fever J

JAKQ

Goseiger

Ohranger

Boonboomger

☆ - the big 4. Peak fiction. The best ones

every ranger from kyu to denzi ❤️❤️❤️

Kamen Rider:

Ghost

Zero One

Amazon

Amazons (S1)

Hibiki

Blade

Power Rangers (chronological + completely finished):

MMPR

Alien Rangers

In Space

Lost Galaxy

Ninja Storm

SPD

Mystic Force

Operation Overdrive

Jungle Fury

RPM

Dino Charge

Dino/Cosmic Fury

Metal Heroes:

Choujinki Metalder (😭😭😭😭😭😭😭😭😭😭😭😭)

Uchuu Keiji Gavan + next gen movies

Uchuu Keiji Sharivan + next gen movie

Sekai Ninja Sen Jiraiya

Misc/Specials:

The Highschool Heroes

Strongest Battle

Kanpai Senshi After V

Chosoku ParaHero GandD

Thunderbirds (1965)

I'm Coming Back For You I PROMISE:

Go Busters

Ultraman Gaia

Kamen Rider Kabuto

Changerion

Juspion

#updated 1/3

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tsunflowers · 2 years ago

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I would like to see the gentle femdom list

ok this is an incomplete list of toku ships that I think have gentle femdom potential. or perhaps not so gentle

mako/takeru

nagi/komon

tsukasa/sakuya, tsukasa/keiichirou

tetom/silver

I think I’m the only person who ships this but I want sawa to top sento

megumi/wataru

maya/otoya, maya/nago

ozawa/hikawa OF COURSE

I’m looking at my shipping chart and it says shuki pegged zanki so I guess shuki/zanki

sakura with every male boukenger

kiriko/chase

umeko/sen

sayo/takamichi and sayo/shiguru

himeno/yanma and himeno/gira

yua/fuwa

ahim/gai, ahim/don, probably ahim with the other two guys as well

akiko/terui

nanaha/jin

#my nyasks

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trudnadusza14 · 1 year ago

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2-3.12.2023

Miałam znów sen o jakieś wycieczce

Aczkolwiek co do reszty dnia mam jakiś zanik pamięci

Czy to przez gorączkę czy zwyczajnie wczoraj nic się nie działo ?

Nie wiem. Pamiętam jedynie że zostałam w domu właśnie z powodu gorączki i że do kogoś dzwoniłam na chwilę i że wieczorem napisałam do kuzyna z którym dawno kontaktu nie miałam i się umówiliśmy na przyszły weekend. Też oglądałam ponownie serial na netflixie pt

"Gambit Królowej"

Kiedyś mi poleciła to moja była terapeutka

Ten serial bardzo mi się podobał więc postanowiłam obejrzeć go po latach ponownie

Jest o dziewczynie co była królową szach. Zaczęła grać w szachy w piwnicy będąc w sierocińcu,pod wpływem pigułek zaczęła widzieć na suficie szachy i przez to była mistrzynią bo wiedziała jak grać

Na tik toku znalazłam filmik o tym jak wyglądają normalne,depresyjne i maniakalne oczy. I wychodzi na to że mam maniakalne. Maniakalne źrenice są poszerzone jakby było się pod wpływem jakiś narkotyków.

To już wiem czemu mam tak poszerzone

Tymbardziej jeśli teraz mam albo mieszane albo hipomaniakalne lub i maniakalne

Nawet po moich oczach widać manie 😐

Moja mama mi często od miesiąca zwraca nawet uwagę na to że mam poszerzone źrenice

W nocy coś mnie tknęło że miałam ochotę się pociąć i myśli samobójcze.

Nienawidzę stanów mieszanych bo jednak wtedy jest tak... Dziwnie

Mam wtedy euforie,dużą pomysłowosc ale i myśli autodestrukcyjne i samobójcze

Takie kocham życie i siebie ale chce się zabić 🙄

Nie mam kontroli nad tymi myślami ani stanami

A niedziela to moja Kiara mnie obudziła bo musiałam wcześnie wstać bo wybierałam się z mamą na giełdę po buty

I zaczęło sypać 😍

I kupiłam sobie buty. Złote śniegowce

Akurat pasowały tylko paradoks jest taki że w tych butach jest mi gorąco 🤣

Mimo że to są buty na teraz to mi w nich gorąco

Po powrocie z tej giełdy czytałam sobie książkę i wiecie co mnie dziwi ? Miałam wysoką gorączkę a umiałam być bardzo skupiona na tej książce

A co mnie jeszcze bardziej dziwi ? Że ta książka mnie nie striggerowała bo jest o zaburzeniach odżywiania

A dokładniej o dziewczynie co przez stresy zatraciła się w odchudzanie

Normalnie to mnie pod ten temat książki czy filmy czy artykuły ostro triggerowały a tu coś się stanęło że nie

Jeśli ktoś by chciał przeczytać to zachęcam. Bardzo mnie wciągnęła aczkolwiek nie było takiego szoku jak po jednej

Odnośnie właśnie zaburzeń odżywiania

W ogóle tak się przyznam i jednocześnie sama się sobie dziwię

Moje pobyty w szpitalach w tym roku uświadomiły mi jak bardzo byłam więźniem własnej wagi

Mimo że te pobyty trwały po tydzień to jednak zdziałały w tym kierunku sporo

To były moje pierwsze razy bez ważenia i normalnego jedzenia. Często też nie liczenia kalorii

I wtedy czułam najpierw lęk a potem wolność

Wolność którą mi trudno opisać

I ja dosłownie bardzo bardzo długi czas byłam uzależniona od tego ważenia się

Ważyłam się w najgorszym okresie po głupim łyku wody

A teraz mimo że powinnam zrobić u siebie ważenie w niedzielę jak co tydzień to jednak tego nie zrobiłam

Ostatni raz się zważyłam jak wróciłam ze szpitala psychiatrycznego

Jak zobaczyłam że mimo normalnego jedzenia i picia i małej ilości ruchu spadłam pół kilo to postanowiłam teraz zrobić taki eksperyment

Zważe się dopiero na nowy rok

Jak schudnę to wyjdzie że ostatnio nie chudłam nie przez to że za dużo czy za mało jem tylko przez te jakąś presję że "muszę schudnąć,nie mogę przytyć"

A teraz tej presji nie ma bo sobie jej nie stawiam

Boże jakbym któregoś dnia poszła do dietetyk to by się chyba zdziwiła bo "wreszcie się udało"

Ale naprawdę będąc w tym psychiatrycznym ostatnio to ostatecznie powiedziałam sobie że chce dłużej te uczucie wolności

Ogólnie jak musiałam wyjść po pomidory i jakieś artykuły spożywcze to jak wróciłam okazało się że mam prawie 41° gorączki

To dlatego tak niemrawo się czuje i że zemdleje zaraz i mam omamy xd

Był potem w telewizji

"Grinch świąt nie będzie"

Jakiś trudno mi było się skupić na tym filmie.

Możliwe że przez gorączkę

Trochę ją zbiłam lekami przeciwgorączkowymi i lodowym kakao i jedzeniem yoghurtów z lodówki i witaminami do rozpuszczenia z lodem

No i plus jakieś zdrowe kanapki

Trochę pomogło bo o północy miałam już 38

A teraz to już w zasadzie 37 więc chyba do rana wydobrzeje

Jedynie co mi dołączyło to katar ale to na luzie przejdę

Tylko dalej mi gorąco xdd

Wieczorem dokańczałam obraz ale muszę jeszcze zrobić drobne poprawki i chyba jutro pokaże

I jeszcze podczas kończenia ktoś do mnie zadzwonił z kim bardzo chętnie porozmawiałam

O 1 oglądałam "Szpital" a później "Śmierć na 1000 sposobów"

Dziwne ale polubiłam oglądać programy które oglądałam jako dziecko

I tak się teraz zastanawiam nad tym co będę teraz czytać

Dziś też się wybiorę do biblioteki i muszę zajść do szkoły podpisać te deklaracje maturalne. Potem spytam o praktyki i zapisze się na wizytę do psychiatry. A potem terapia

I nie czuje się zmęczona mimo iż dopiero zbiłam gorączkę

Także ten do zobaczenia

Trzymajcie się kochani 💜

#pamietnik #dziennik #blogi motylkowe

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ebbywaffle · 1 year ago

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having a sunday brunch thought but it's interesting to see the splash back against pow/er rang/ers due to the (sigh) problematic nature of taking a Japanese media and whitewashing it. like true. no buts there. it's just that even for the stereotypical ways some Black characters were portrayed, i did fall for the representation as a kid. it did help to remind me that yeah other ppl do want to see us involved (where it takes certain tokus/atsu several years to have a Black hero, have them transform off screen, then kill them off...from what i've heard tbf). so i still have some lingering affection(?) for it. but the current 'po/wer ran/gers bad, sen/tai superior' is a different and way less gatekeep-y version that should be acknowledged as...right

po/wer ran/gers should have been more of its own thing inspired from super se/ntai from the start. it should have had a lot more Japanese actors involved at the very least. when super se/ntai was inspired by Spi/der-man they didn't just straight up have the spid/ey suit, they changed the bug (silence arachnophilliacs i know) or didn't have a bug at all but 4 other ppl, they changed the suits. pr didn't do that because it was cheaper to just copy and paste, it's almost a hand-me-down. and lets be real a good chunk of pr seasons aren't written that great bc for many reasons US execs have less respect for their younger audience than Japanese ones do

so when i see the Blu/e Bee/tle movie, that's what convinced me that maybe pr, as it is, was a mistake. not the hate creeds of sen/tai fans on social media. but the fact that it could have gone full circle in the funniest way possible

#waffle blather #yeah i'm censoring sen/tai and pr fans are scary as shit lol #this ramble is the most ramble ever #there is no proper conclusion lmao #what does this even mean

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jade-lop · 2 years ago

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Characters introduction >>> built up to mysteries and characters’ conflicts >>> mysteries revealed and characters making mistakes (or abused by the plot in Neon case) >>> characters resolving their problems and earning their redemptions (or gaining second wind in Neon case).

I disliked Jitt’s nasty personality. But I liked his fighting style, both inside and out of suit. It reminded me of Ong Bak or Garo. His glaring expression was also charming.

I hoped there would be more toku show with Jitt’s fighting style.

Other villains brought the end of the world for sake of ruling it. DGP staff brought ruin to the world for the sake of viewer rating.

Taka-sen’s shows often contained reality subtext. Is there a case in real life where people do harm (either to themself or to others) for the sake of gaining more viewers?

#kamen rider #kamen rider geats #random musing

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jossoriopapercraft · 7 days ago

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#papercraft #recortables #manualidades

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mukaikun · 2 months ago

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Hello! Your secret valentine here once again! I've looked over your currently watching and noticed that you're watching a few toku series right now. I've watched some toku series and really enjoyed them, so I was wondering if you could tell me about your favorite toku and some characters or relationships that stand out to you. I'd love to hear your thoughts :)

hiya! yeah i've been rewatching some early 2000s sentai with my sister since we never got to finish them as kids. it's been so much fun rediscovering my love for the franchise and i owe it to the toku fandom on tumblr honestly. 🥰 it'll take me a while to catch up on everything that's aired, but i do plan to keep up with the franchise from here on out!

it's hard to pick a favorite since each series means something to me. and i've experienced some of them in two completely different stages: my younger self, who just loved the suits and action, and my current self, who has more exposure to japanese media. then there are series like boonboom and gavv which im only watching as an adult. so, i have no idea how to rank them in my heart, but i can tell you my impressions!

TLDR: gao nostalgic, hurri peak, deka objectively good, aba guilty pleasure, magi i don't remember, bunbun cute, kr geats peak, kr gavv indifferent

gaoranger: this was my first sentai ever, so i'll always have a bias towards it. i remember the kids in my neighborhood would always gather to roleplay the characters, and i would proudly claim to be gao white. there's something about her that feels so feminine and youthful 🥰!!! i definitely need to rewatch this series soon to see if i still love her the same. i have a feeling she'll still be my favorite female ranger! the animal mechas were so versatile! my memories of the episodes are mostly hazy, but i don't think i was ever that impressed by their friendship and teamwork. the group just always felt like a bunch of randos who just happened to come together for a cause, but they were likeable characters!

hurricanger: it's rare for me to care about every character equally, but this series made it happen! (well, minus ishuu because he got the least character development, but i promise he was lovely!) the entire cast was so so so charming, even down to the villains--i swear they were the stars of the show just like the rangers! i rewatched this as an adult last year, and i still loved it just as much, if not even more. the (b)romance between yosuke and ikkou altered my brain chemistry forever. shurikenger is the guy of all time. i don't know if you've watched hurricanger but you just had to be there for shurikenger!!! he's the lad! and evil bosses wendinu and furabijo? always a treat whenever they were on screen. i literally have no bad things to say about this sentai 😭

dekaranger: this is where my younger self and older self completely diverge. as a kid i thought the cop aesthetic was boring. i actually preferred the power rangers adaptation of it which had a bit more grit. but now, having rewatched deka as an adult, i consider it to have the best writing out of all the sentai i've watched. there was not a single dull episode. the writing was just the right mix of comedic and serious moments. my favorite characters are sen and tetsu (silly boys you will always have my heart), but honestly you could pick anyone from the team and they would be my favorite too. they all have very solid character development and backstories. the bromance between ban (red) and hoji (blue) was okay, not life changing but did reach my heart. the ONLY thing i don't like in this sentai is that the monsters didn't "enlarge" themselves after being defeated the first time. they instead hopped into giant robots which i thought was lame, but that's just me

abaranger: i am quite conflicted about this series. do i hold it dear to my heart and consider it one of my favs? absolutely i am always an abaranger defender. can i objectively say it was good? it was nowhere near that. the first 20 episodes had what i thought was my favorite kind of writing: punny and edgy. it did feel like they were subverting all the usual sentai tropes in the first half and i loved, i savored, i lived for every bit of it. but then came the second half it was consistently bad. some episodes were downright NONSENSICAL. despite all that abaranger still gave me ryouga who is my favorite toku character of all time :^) it always fills me with so much joy when the fandom calls him 'abaredad'! you just had to be there for his interactions with his "daughter" mai-chan. also, abarekiller, without potentially spoiling too much about his character, is the coolest mf.

kr ryuki, magiranger, ultraman cosmos (?): this was where i stopped watching toku and i honestly don't remember anything about them. i remember hating them when i was younger but who knows. i'm a different person now. will pick them up again in the very near future.

boonboomger: this was my first series after a loooong break from the franchise (well not really the first since i techincally started kr gotchard but dropped it so bunbun is what i considered my true comeback series). i am not sure if i'm used to the reiwa conventions yet. bunbun definitely feels tamer, less offensive, less violent than what i was used to seeing, but what’s keeping me engaged is the likeable characters. jou is quickly rising to my top favorite toku characters of all time--ily my silly guy. and i always have the best time when mira gets the chance to show off her driving skills!!! i am taking my time warming up to bunbun's charms and they're working! but maybe gritty is just more my vibe ^.^

kr geats: this could easily pass as a regular jdrama tbh, just without all the henshin. it had a more serious tone which i always look for in toku. loved the dynamics between the players and their investors (especially how they developed toward the end of the series!). ace is 100% in my top favorite protagonists (alongside ryouga from aba and yosuke from hurri?). every time he snapped his fingers to transform i nearly lost my mind. i enjoyed the friendship between keiwa and ace as well; i thought they had just the right amount of screentime together, nothing overstated, just... right. the only thing i didn't like was the god of genesis plotline.

kr gavv: it's still early for me to form a definite opinion on this series; im indifferent so far. i just know hanto is a silly guy that WILL rise to my fav list.

wow idk why i typed all that. i hope you only skimmed through it since i was just yapping. have a good day!! <3

#anonymous #ask

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nuvamata · 7 months ago

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i have finished tokusou sentai dekaranger.

very fun series, and a different formula from the other sentais i have watched so far (shinkenger, gokaiger, boonboomger). the kind of police procedural motif reminded me a lot of kamen rider w, which i loved.

the cast was made of all-stars, and no one felt like they got the short end of the stick. i felt like mako in shinkenger and ahim in gokaiger were a little underdeveloped in comparison to the rest of their respective casts, but didn’t get that feeling with anyone here.

dekamaster is the coolest toku character i’ve seen so far. i love that motherfucker.

the opening is top tier, psychic lover always delivers, and both ending songs are earworms too.

some episodes i really loved

episode 11 houji’s friend who betrays him

episode 18 samurai alien

episode 24 umeko is a hostage negotiator

episode 27 alien pretending to be a dumbass

episode 34 sen chan being columbo and mad at the rich people hunting the child for sport

episode 36 doggie kruger’s mentor seeks revenge for his daughter

episode 37 houji’s girlfriend’s brother is killing people to keep her alive

episode 39 umeko’s mind trapped

episode 41 guy who teleports people to another dimension

episode 43 ban’s suicide mission

episode 44 doggie kruger settles the score

#super sentai #dekaranger #nuva watches toku

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chanoyu-to-wa · 2 years ago

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Nampō Roku, Book 7 (70): Rikyū Said, the Two Mat Room with a Mukō-ro is the Place Where the Sō-an Lives.

70) [Ri]kyū continuously declared, “the two-mat〚room〛with mukō-ro, this was the first place where the sō-an [草菴] took up its abode¹. When the [naka-]bashira was erected, and the ro was relocated onto a different mat to the right [of the utensil mat], this was regrettable².

“From that [early two-mat room] -- this was [done] so that the guests would not feel so constrained -- [the room] increased to three mats, and then four mats³. Year after year, month by month, we have gotten used to doing various things [that were previously unknown]⁴.

“Then, because the size of the room [beside] the daime-tatami could be [manipulated] freely, many kinds of [new] arrangements also became possible⁵. And once various sorts of utensils [that had never been used before in the sō-an] came to be brought out, the effort [to realize the chanoyu of the sō-an] became futile⁶.

“If only things had [remained] as they were in the beginning, with nothing but the mukō-ro! -- since, despite how wonderful [these various innovations and modifications] might seem to be, they never should have been allowed to come into being. 〚[And] if things had remained just as they were, with but a single way to use the mukō-ro, no matter how delightful we might think [the different ways of doing] things are, having a great number of ways to do [the same thing] is wrong⁷.”

〚Time and again, we must reflect on our errors [and strive to do better], so it has been asserted⁸. We have to recognize [Ri]kyū’s unrelenting care and attention to [the realization of] a tea focused on sincerity and truth⁹ -- [because] such conscientiousness has [actually] been the norm since the earliest days¹⁰. It is through words such as these that we also may come to an understanding [of such things]¹¹ -- because a truly considerate chajin is someone who is worthy of praise! How very unfortunate [that such chajin are so few and far between today]¹²!〛

_________________________

◎ Like many of the preceding entries, the toku-shu shahon and genpon versions include comments that are absent from the Enkaku-ji manuscript -- and in the same manner as we have seen heretofore: the first sentence features certain (relatively minor) additions, with several new sentences (in this case, those covered by footnotes 8 to 12) added to the end of the passage. While the existence of different versions suggests that we are probably dealing with a kernel of truth that dates from Nambō Sōkei’s day in this entry, the idiom used by the authors in the present versions of the text also agrees with what we have seen in the similar instances earlier in Book Seven where multiple versions are found that parallel this one, suggesting that all of these sections were written (or edited*) and added to the collection of documents cached in the Shū-un-an by the same person, at the same time.

In the same way that I structured the earlier translations, the additional material from the toku-shu shahon has been incorporated into the above translation (enclosed in doubled brackets, in order to distinguish the additions from the original text). Variations found in the genpon version of the text have been largely dealt with in the footnotes. ___________ *All of the sections that exhibit this same pattern of sequential modification (all of which are restricted to Book Seven) appear to be based on material that had been preserved by Nambō Sōkei. Nevertheless, these passages seem to have been edited (most likely, to bring them into conformity with the teachings of the Sen family -- which is suggested by the Edo idiom that was used by their author) before being returned to Sōkei’s archive.

¹Kyū tsune ni no tamau, ni-jō mukō-ro, kore sō-an dai-ichi no sumai naru-beshi　[休常ニノ玉フ、二疊向爐、コレ草菴第一ノスマヰナルベシ].

Kyū tsune ni no tamau [休常にの給う] means (this was) Rikyū’s constant way of speaking*.

Ni-jō mukō-ro, kore sō-an dai-ichi no sumai naru-beshi [二疊向爐、これ草庵第一の住居なるべし]: ni-jō mukō-ro [二疊向爐] means a two mat room with mukō-ro; kore sō-an dai-ichi no sumai [これ草庵第一の住居] means this is the primary† place where the sō-an lives; naru-beshi [なるべし] means (it) should be (like this).

Two versions of Rikyū’s two-mat room with mukō-ro are shown below.

Shibayama’s toku-shu shahon has “Kyū tsune ni no tamau, ni-jō shiki kyaku-tsuke no mukō-ro, kore sō-an dai-ichi no sumai narubeshi“ [休常ニノ玉フ、二疊敷客附ノ向爐、是レ草菴第一ノ住居ナルベシ].

Ni-jō-shiki kyaku-tsuke no mukō-ro [二疊敷客附の向爐]: ni-jo-shiki [二疊敷] means a two-mat room‡; kyaku-tsuke no mukō-ro [客附の向爐] means the mukō-ro is cut on the side of the utensil mat closest to the guests. This is certainly more specific than what is found in the Enkaku-ji manuscript, but the Enkaku-ji manuscript uses forms with which we are already perfectly familiar (after progressing this far in the Nampō Roku), so the lack of specificity is not an issue (and so unnecessary).

The genpon abbreviates the first phrase to “Kyu no iu” [休ノ云], which means (what follows) was (something) Rikyū said. The rest of the sentence is the same as what was said in the toku-shu shahon version. __________ *More literally, Rikyū constantly bestowed (or pronounced) this (teaching) on (everyone with whom he came into contact).

This is an intentional exaggeration, one that was intended to suggest to the reader that Rikyū made an effort to promote the idea that the two-mat room was the origin of the sō-an. This is because, if we look at the documented history of chanoyu in Japan, the first rooms smaller than 4.5-mats were built in the spring of 1555 -- both of which were ni-jō daime [二疊臺目] rooms. The 2-mat room with mukō-ro is not mentioned until years after Jōō’s death (which occurred at the end of 1555).

Apparently Rikyū was looking back to an earlier time -- referring to chanoyu and the concept of the sō-an as these had existed outside of Japan (and probably to alluding to ideas that he encountered during his prolonged stay on the continent) for his precedent.

†Dai-ichi [第一] could also mean foremost or principal here.

It could even be interpreted to literally mean the first (place) -- as in that the two-mat room was the first place where the (idea of the) sō-an took up its abode: that is, the idea of the sō-an began with the guests moving into the 2-mat anteroom where the o-chanoyu-dana [御茶湯棚] was installed, and drinking their tea there (rather than waiting for it to be conveyed to them in the shoin).

‡Literally, ni-jō [二疊], which is what is found in the Enkaku-ji manuscript, means two tatami-mats. However, it is correctly assumed that this is referring to a room of that size. In Shibayama’s text, however, this fact is specified literally.

²Hashira wo tate, migi no betsu-tatami ni ro wo naoshitaru-koto kō-kai nari　[柱ヲ立、右ノ別タヽミニ爐ヲナヲシタルコト後悔也].

Hashira wo tate, migi no betsu-tatami ni ro wo naoshitaru-koto [柱を立て、右の別疊に爐を直したること]: hashira wo tate [柱を立て] is referring to erecting a naka-bashira [中柱]; migi no betsu-tatami ni ro wo naoshitaru [右の別疊に爐を直したる] means to decide to relocate the ro onto the mat to the right (of the utensil mat); and -koto [こと] means the case or situation where these things were done -- that is, this is referring to the creation of the 2-mat daime room.

This sketch shows Jōō’s Yamazato-no-iori [山里ノ庵] (left) and Rikyū’s Jissō-an [實相庵] (right), the first two “small rooms” ever seen in Japan*, both of which were built in the spring of 1555. Note that in these rooms, while the fukuro-dana was still used (at least at first), it was completely hidden by the sode-kabe (which extended from floor to ceiling, making everything within the kamae invisible to the guests)

Kō-kai nari [後悔なり] means (the establishment of the 2-mat daime room) was regrettable. In other words, Rikyū is being quoted as having regretted, or been remorseful, that he and Jōō had decided (probably for the convenience of the guests†) to create the 2-mat daime room.

The other two versions agree with the text of this sentence. __________ *At least in so far as what we might call dedicated tearooms was concerned.

Shukō’s original Shukō-an [珠光庵] is said to have been a 2-mat room (with a walled-off, wood-floored recess -- originally a place to store things like bedding during the daytime -- that he used as if it were an o-chanoyu-dana when serving tea); but this was a monk’s residential cell, so its use for serving tea was occasional and temporary.

†Prior to that time, the only kind of room that had been used for wabi-chanoyu was the 4.5-mat room. If a group of guests had suddenly been invited into a two-mat room at that point in time, they would have been completely unprepared regarding where to sit and how to conduct themselves. The 2-mat daime room allows the guests to basically conduct themselves as usual, while reducing the overall space -- in particular, the space used by the host for the display and arrangement of the utensils.

³Sore-yori kyaku-seki no tsumanu-yō ni tote, san-jō ni nari, shi-jō ni nari　[ソレヨリ客席ノツマラヌヤウニトテ、三疊ニ成、四疊ニ成].

Sore-yori kyaku-seki no tsumanu-yō ni tote [それより客席の詰まらぬようにとて] means from the early room, in order that the area used by the guests for their seats was not constrained (or useless)... -- that is, so that the guests did not feel boxed in.

San-jō ni nari, shi-jō ni nari [三疊になり、四疊になり] means (the room) became three-mats, four mats. This is referring to rooms of the following sorts.

Because the original two-mat room would seem to confine the guests to too small an area, the room was increased to three mats, and then four mats. The details of these expansions have been discussed elsewhere in the Nampō Roku (both in Book One, and again in Book Seven).

While Shibayama’s toku-shu shahon reproduces the sentence as given in the Enkaku-ji manuscript, Tanaka’s genpon changes the ending, so that it reads san-jō ni mo, shi-jō ni mo nari [三疊ニモ、四疊ニモナリ] meaning that (in addition to the two mat room), rooms of three mats also, and rooms of four mats also, came into being. The basic meaning -- that the size of the room was increased in relatively short order -- is the same. ___________ *The reader may refer to the following posts for further information:

￮ Nampō Roku, Book 1 (16): Regarding the Boards that are Inserted at the Far End of the Utensil Mat.

http://chanoyu-to-wa.tumblr.com/post/175652104074/namp%C5%8D-roku-book-1-16-concerning-the-boards

￮ Nampō Roku, Book 7 (40): the Deep Three-mat Room.

https://chanoyu-to-wa.tumblr.com/post/702653075106742272/namp%C5%8D-roku-book-7-40-the-deep-three-mat

￮ Nampō Roku, Book 7 (41): the Naga-yojō [長四疊] Room.

https://chanoyu-to-wa.tumblr.com/post/703015465673441280/namp%C5%8D-roku-book-7-41-the-long-four-mat-room%C2%B9

￮ Nampō Roku, Book 7 (42, 43, 44): the Sketches for Entries 39, 40, and 41.

https://chanoyu-to-wa.tumblr.com/post/703287276430655488/namp%C5%8D-roku-book-7-42-43-44-the-sketches-for

⁴Nen-nen tsuki-zuki iro-iro no koto ni nareri　[年〻月〻色〻ノコトニナレリ].

Nen-nen [年々] means year after year.

Tsuki-zuki [月々] means monthly, every month, month by month.

Iro-iro no koto ni nareri [色々] means we get used to doing various things (that move farther and farther away from the tradition established by Rikyū).

In other words the push away from Rikyū’s chanoyu was insidious*; it overwhelmed every trace of what had been there before.

While this sentence is the same in Shibayama’s toku-shu shahon, it is completely missing from the genpon version of the text. __________ *While this statement is very true, we must remember that this is not really talking about Rikyū’s actual style of chanoyu (which had already been all but forgotten), but the machi-shū tea (derived from the teachings of Imai Sōkyū) that was being championed by the Sen family. The second half of the seventeenth century was when the opposition to the Sen family (ironically, by the daimyō whose ancestors had been trained personally by Rikyū, and whose movement was technically intent upon repudiating Sōtan’s changes and restoring Rikyū’s chanoyu) began to reach fever pitch.

Unfortunately, this fledgling back-to-Rikyū movement was damned to failure on account of the fact that Rikyū’s densho (which were the only bridge between Rikyū and the chajin of the second half of the seventeenth century) were always written for a specific person, to answer that individual’s specific questions; and his answers were always predicated on the understanding that his correspondent already possessed. Thus, when the bakufu finally permitted the daimyō to restore the Rikyū-derived traditions that had been passed down within their families, their basic approach to the practice of temae had already been irreparably corrupted by their having been forced to imitate the manner of Sen no Sōtan for two generations, as much as by the fact that Rikyū’s densho are notoriously incomplete when viewed individually. (It was only possible to collate and summarize Rikyū’s actual teachings only after Suzuki Keiichi published his Sen no Rikyū zen-shū [千利休全集] -- in 1941 -- because that was the first time that all of the densho had been collected together, allowing them to be compared, and the blanks in one filled in with information that had been disclosed in one of the others.) The result was that, though the original idea had been to restore Rikyu’s chanoyu, this concatenation of circumstances meant that every daimyō moved off on his own tangent, as a consequence of the coloring of their pre-existing Sōtan-style chanoyu with a patina of only those Rikyū-based teachings that had been imparted specifically to their ancestor (while remaining largely, or wholly, ignorant of everything that had not been communicated, in writing, to that person -- since only the written word remained, while everything that had already been known by their ancestor, and so not mentioned by Rikyū in the densho that he wrote for that person, was long forgotten, suffocated under the unprecedented weight of Sōtan’s machi-shū tea).

⁵Mata daime-datami hiroku jiyū naru-yue, shu-ju no oki-awase mo dekiru　[又臺目ダヽミ廣ク自由ナルユヘ、種〻ノ置合モ出來].

Mata daime-datami hiroku jiyū naru-yue [又臺目疊廣く自由なるゆえ] means because the largeness (of the room) of the daime (setting) could be (manipulated) freely....

In other words, because the number of mats that could be added to the right of the daime was free and unrestricted*....

Shu-ju no oki-awase mo dekiru [種々の置き合わせも出來る] means various kinds of arrangements were possible.

The toku-shu shahon and genpon texts add the word kazari [飾 or カザリ] before oki-awase [置合]. Oki-awase means the arrangement (the way the objects are placed out together on the mat); kazari oki-awase [カザリ置合] means the arrangement of the kazari. This has no impact on the English meaning (since the fact that it is the kazari that is being “arranged” is already understood from the context). __________ *This experimentation began with Sōtan's original room, which had just one mat to the right of the daime. As a result, the original Fushin-an [不審庵] was not a sukiya [数奇屋] because it failed to give the guests an unobstructed mat for their own use.

This is why, once the family became the prominent force in the world of contemporary chanoyu, Sōtan's son Kōshin Sōsa [江岑宗左; 1613 ~ 1671] added not just one, but two additional mats beside the mat in which the ro had been cut, making it an early example of the three-mat daime room.

Jōō’s Yamazato-no-iori and Rikyū’s Jissō-an, the first two daime chaseki, were, of course, two-mat daime rooms. They are illustrated under footnote 2, above.

Later on, even larger numbers of mats were added next to a daime utensil mat -- sometimes making the daime utensil part of a shoin-style room. These rooms are part of the corrupt trend that was discussed in the previous two footnotes.

⁶Sama-zama no dōgu wo tori-dashi, mu-yaku no koto ni narinu　[サマ〰ノ道具ヲモ取出シ、無益ノコトニナリヌ].

Sama-zama no dōgu wo tori-dashi [様々の道具をも取り出し] means various sorts of utensils* were brought out (in these expanded versions of the daime setting).

Mu-yaku no koto ni narinu [無益のことになりぬ] means these reckless (variations) will not be of any use.

The reason for this being futile or useless is that the goal was to realize the chanoyu of the sō-an, and the introduction of the utensils and arrangements that had been created for the daisu-shoin setting is counterproductive†.

The second phrase of Shibayama's version is mu-eki no koto nari [サマ〻〻ノ道具ヲモ取出シ、無益ノコトナリ]. This means (bringing out various utensils) is futile.

There is no real difference between what these two variants are trying to say.

This sentence is completely missing from the genpon version of the text. __________ *The implication is that these various utensil combinations were never sanctioned for use on the daime, and are only being attempted because the rest of the room has expanded to the point where it is now for all intents and purposes a shoin.

†As this was the direction that chanoyu had taken during the Edo period, this entry is, at least in part, a protest against this trend.

⁷Hajime no gotoku mukō-ro bakari naraba, ika-hodo mezurashiki-koto wo subeki to omotte mo, naru-bekarazu to iu-iu　[始ノゴトク向爐バカリナラバ、イカホドメヅラシキコトヲスベキト思テモ、ナルベカラズト云〻].

Hajime no gotoku mukō-ro bakari naraba [始の如く向爐ばかりならば] means “if, as in the beginning, only the mukō-ro was being used....”

In other words, if none of the other variants (such as the daime) had ever been proposed -- if the sō-an had been strictly limited to rooms where tea was made with a mukō-ro*....

Ika-hodo mezurashiki-koto wo subeki to omotte mo [如何ほど珍しいことをすべきと思っても] means “no matter how wonderful (diverging from the tea of the mukō-ro) might be considered to be....”

Naru-bekarazu to iu-iu [なるべからずト云々] means “it should never have been done.”

This is the end of the passage, as it is found in the Enkaku-ji manuscript.

The toku-shu shahon text, on the other hand, has hatsu no mama mukō-ro to hito-dōri naraba, ika-hodo mezurashiku-sen to omōte mo, amata no koto ha naru-majiki nari [初ノマヽ向爐一通ナラバ、イカ程珍ラシクセント思フテモ、アマタノコトハナルマジキナリ].

Hatsu no mama [初のまま] means just as in the beginning.

Mukō-ro hito-dōri naraba [向爐一通りならば] means even if there had only been one way (to use) the mukō-ro....

Ika-hodo mezurashiku-sen to omote mo [如何程珍らしく爲んと思うても] means even if you think (the variations are) extremely wonderful to do....

Amata no koto ha [數多のことは] means a great number of ways to do (something)....

Naru-majiki nari [成る間敷きなり] means (this) should not be done.

In other words, “even if, just as in the beginning, the mukō-ro had (always) been used in only the one (original) way, even if (the variations) seem wonderful, having many options is not appropriate.”

The argument here is not that it is the deviations from the mukō-ro setting that were problematic, but that numerous variations on the way to do things (with the mukō-ro), the various forms of the mukō-ro temae (each with its own secret rules, connected with specific utensils), is what is uncalled for. Rather than trying to come up with different ways to do things in order to “spice up” the gathering (as is often the rationale behind the many modern variations), people should content themselves with using the mukō-ro as it was originally intended to be used† -- since the purpose of chanoyu in the sō-an is to prepare and share a good bowl of koicha, so the most expedient way of doing that is best.

For this reason, I decided to include this version at the end of the paragraph, even though it, to a large extent, repeats what has just been said in slightly different words (that produce a different meaning), with the text enclosed in doubled brackets.

The genpon text includes this version of the sentence. __________ *When the ro was first introduced (in the 4.5-mat room setting), Jōō’s intention was that it should have been used all year round.

The same idea appears to have been in the back of Rikyū’s mind, regarding the two-mat room with mukō-ro.

That is why rooms with a ro were considered sō-an -- because they did away with the elaborate trappings (the costly metal furo, or even one made of clay, and the various ways of arranging the room that this utensil demanded).

The first time a furo was used in the small room (in 1586) was when Rikyū created the Yamazato-dana [山里棚] for Hideyoshi to use when serving tea in his Yamazato-maru [山里丸] -- the two-mat room in the boathouse on the moat within Hideyoshi’s Ōsaka castle compound. The purpose was, like with the daisu, to have everything already ready in the room, so that Hideyoshi could enter, simply serve tea (without having to go back and forth from the temae-za to the katte bringing things out) while talking with his guests, and then leave with them (without having to empty the utensil mat afterward).

The first time a furo was used in the small room in a public setting (the guests visiting the Yamazato-maru were, of course, Hideyoshi’s intimates) was when Rikyū did so in the two-mat room he constructed within the tea village in the pine-barren that surrounded the Hakozaki-gū in 1587. That room featured a mukō-ro; but when Rikyū wanted to use the small unryū-gama in that setting (perhaps as a way to keep the heat to a minimum), he did so by placing the large Temmyō kimen-buro (that had been Nobunaga's treasure) on top of the closed lid of the mukō-ro -- causing the guests to comment that Rikyū had placed the furo directly on the floor. While Rikyū seems to have done this as a subtle way to reinforce the continuity between Nobunaga’s reign and that of Hideyoshi (a point that was still being doubted by some of the influential citizens of Hakata), both of these details were initially unnerving to the chain of that area, because they violated the recognized conventions. (Though, after thinking things through, they also opened up possibilities that had never been considered before -- and thus were imitated in quick order by the chajin of Hakata.)

†This accords with the criticism of the chanoyu of the capital mentioned at the end of the previous entry (in the genpon version of the text), that the chajin of the capital had become so caught up in the idea of doing things differently for the sake of making the gathering more interesting (and challenging -- since only the members of a small group would understand exactly what to do, while those who had studied with a different teacher might find themselves stymied) -- that they had completely lost touch with Rikyū’s (or, rather, the Sen family’s) teachings on the correct way to practice chanoyu.

The reader will notice a certain continuity of idiom between that entry (in the genpon) and the present one (as found in the same source) that confirms this interpretation of the relationship between these two passages.

⁸Kaesu-gaesu ayamachi to koso oboyuru to mōsare-shi　[返ス〻〻過チトコソ覺ユルト被申シ].

From this sentence on to the end of the entry, we are considering ideas* only found in the toku-shu shahon and genpon texts. All of this material is missing from the Enkaku-ji manuscript.

Kaesu-gaesu [返す返す] means repeatedly, time and time again, again and again, over and over.

Ayamachi to koso [過ちとこそ] means precisely those mistakes (that you have fallen into repeatedly).

Oboeru to mōsare-shi [覺えると申されし] means it is said that (it is just those mistakes) on which you should focus your efforts (to eliminate them from your practice).

Tanaka’s genpon text has kaesu-gaesu ayamachi to koso oboere to mosare-shi [カヘス〰アヤマチトコソ覺レト被申シ]. The change means “(you) are urged to remember (i.e., look into) the mistakes to which you return again and again.”

While the wording is slightly different, the essential meaning -- that one should actively criticize one’s own temae, and take whatever steps are necessary to correct one’s mistakes -- is the same. __________ *Perhaps “admonitions” would be a better word for these dicta. The pedantic neo-Confucian tone that became more and more a feature of chanoyu instruction in the late Edo period (and beyond -- including in the modern day) is increasingly apparent in these added sentences.

⁹Kyū no kokoro-ire ha kure-gure magokoro-makoto no cha wo omoi-torite　[休ノ心入ハ呉〻眞心眞實ノ茶ヲ思ヒ取リテ].

Kyū no kokoro-ire [休の心入] means Rikyū’s care and attention (to every aspect of the practice of chanoyu).

Kure-gure [呉々] means repeatedly, again and again, over and over.

Magokoro-makoto no cha [眞心眞實の茶] means that Rikyū’s tea was truehearted (absolutely sincere) and genuine (revelatory of the truth).

Omoi-toru [思い取る] means to realize, to understand, to be considerate of (something), to decide (upon), to make up one’s mind.

In other words, Rikyū was always careful that chanoyu be always and deeply concerned with sincerity and truth*.

The identical sentence is found in Tanaka’s genpon text. __________ *These remarks can be considered part of what we might call the apotheosis of Rikyū -- turning him from a devoted and dedicated practitioner of chanoyu into a superhuman tea kami whose purpose was to guide the tea community toward truth and sincerity. The remainder of the entry is intended to glorify him in the eyes of the reader.

¹⁰Kokoro-zukai arishi-koto　[心遣アリシコト].

Kokoro-zukai [心遣い] means things like consideration, thoughtfulness, attentiveness, solicitude (being solicitous toward some principal).

Arishi-koto [在りしこと] means (this attitude of attentiveness) has existed since the early days.

The criticism seems to be that the mindless and formalistic way of practicing chanoyu is a recent aberration.

Once again, the genpon text includes the same sentence.

¹¹Kayō no kotoba ni te mo shiraruru nari　[ケ様ノ言ニテモ知ラルヽナリ].

Kayō no kotoba ni te mo [斯様の言葉にても] means (it is) also through words of that sort (i.e., the ideas discussed in the previous footnotes).

Shirareru [知られるなり] means (this concept) is made known.

In other words, a chajin’s greatness can be known not only through descriptions of his doings, but also by contrasting him with the usual ways of the world.

Here again, Tanaka’s genpon source agrees* with the toku-shu shahon text. __________ *That said, the kanji used in Tanaka’s version are less ambiguous: kayō no kotoba ni te mo shiraruru nari [カヤウノ辞ニテモシラルヽ也].

Kayō [カヤウ] is a phonetic representation of the expression, while kayō [ケ様] is one of those weird written mannerisms that were so popular around the middle of the Edo period.

Likewise, kotoba [辞], which means language, words, expressions, etc., is clearer than kotoba [言] -- which, as a kanji, is more commonly used to refer to speaking or speech. Today the classical kotoba [言葉] (“the leaves of speech”) is, of course, preferred over these other two.

¹²Shinsetsu kidoku no chajin oshimu-beshi oshimu-beshi　[深切奇特ノ茶人可惜〻〻].

Shinsetsu kidoku no chajin [深切奇特の茶人]: shinsetsu [深切] means things like kind, gentle, considerate, generous, and so forth; kidoku* [奇特] means to be worthy of praise.

Thus, someone who embodies the virtues that we have been discussing in the past several footnotes is a chajin who is worthy of praise.

Oshimu-beshi oshimu-beshi [惜しむべし惜しむべし] is a lament (the repetition gives added emphasis) -- that chajin of this sort are all but unknown in the contemporary world of tea. It would be translated by expressions like “how sad,” “such a loss,” “how unfortunate,” “how regrettable,” and so on.

This can also be interpreted as a specific lament over the loss of Rikyū -- since he clearly has been drawn as the personification of the ideal chajin.

Though the genpon text spells out the second phrase (oshimu-beshi oshimu-beshi [惜ムベシ〰], as opposed to oshimu-beshi oshimu-beshi [可惜〻〻] as found in Shibayama’s toku-shu shahon), the sentences are actually identical. __________ *Today, kitoku [きとく = 奇特] seems to be the preferred pronunciation.

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