#Sen Toku

[thevvking]

Actors with multiple roles in toku: Hirota Issei

Akira/Blue Mask (Hikari Sentai Maskman, 1987-1988)

Asuka Ryu/Spear Ninja Toppa (Ninja World War Jiraya, 1988-1989)

[mo-ok]

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.

Boonboomger 😌

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

☆ - the big 3. Peak fiction. The best ones

every ranger from kyu to denzi ❤️❤️❤️

Kamen Rider:

Ghost

Zero One

Amazon

Amazons (S1)

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

I've seen significant portions of almost all the seasons not listed (the only exceptions are Lightspeed Rescue, Wild Force and Dino Thunder)

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

I'm Coming Back For You I PROMISE:

Go Busters

Ultraman Gaia

Kamen Rider Kabuto

Changerion

Juspion

[tsunflowers]

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

[trudnadusza14]

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 💜

[ebbywaffle]

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

[jade-lop]

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?

[chanoyu-to-wa]

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.

[nuvamata]

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

[sapphire-monkey]

Ksitigarbha sutra

にじせそん　こうこんじきひ　うまじぞうぼさつ　まかさっちょう　にさぜごん Ni jise son kō Kon jiki hi umaji zō bo-satsu makasa tchō ni sa ze go n じぞうじぞう　にょしじんりきふかしぎ　にょしじひふかしぎ　にょしちえふかしぎ　にょしべんざいふかしぎ　 Ji zōji zō ni ~yoshijinrikifukashigi ni ~yoshijihifukashigi ni ~yoshichiefukashigi ni ~yoshibenzaifukashigi この時、世尊は金色の腕を上げ、「地蔵菩薩は最高に偉大な志を持つ者です」と言った。 Kono toki, seson wa kin'iro no ude o age,`djizōbosatsu wa saikō ni idaina kokorozashi o motsu monodesu' to itta. 地蔵よ地蔵よ、汝の神力は無量である。汝の慈悲は無量である。汝の智慧は無量である。汝の分別は無量である。 Jizō yo jizō yo, nanji no Shinriki wa muryōdearu. Nanji no jihi wa muryōdearu. Nanji no chie wa muryōdearu. Nanji no bunbetsu wa muryōdearu. しょうしじっぽうしょぶつ　さんだんせんぜつ　にょしふしぎじ　せんまんごうちゅう　ふのうとくじん　 Shi ~youshijippoushobutsu-sanda n sen zetsu ni ~yoshifushigiji sen ma n go uchi ~yuu fu nō toku jin

例え、十方のもろもろの佛は教えをほめたたえ、汝の無量の境地は、無限に滅びることはない。 Tatoe, jippō no moromoro no hotoke wa oshie o home tatae, nanji no muryō no kyōchi wa, mugen ni horobiru koto wanai.

[haveyouseenthistoku]

The results are in!

Amongst the participating voters, 83.7% have not seen Sekai Ninja Sen Jiraiya, with only 5.5% having seen it in full.

Jiraiya is the 11th "most slept on" toku (another installment + familiar percentages) and the 3rd most seen Metal Hero

Most Seen Metal Hero:

Space Sheriff Gaven the Movie - 26.7%

Juukou B-Fighter - 25% (12.5% finished)

Sekai Ninja Sen Jiraiya - 16.4% (5.5% finished)

Tokusou Robo Janperson - 12.9% (3.2% finished)

BLUE SWAT - 4.7% (0% finished)

B-Robo Kabutack - 0% (0% finished)

[naraozu]

Sen- you got something on your head

[trudnadusza14]

9-10.05.2023

Od poniedziałku mam o dziwo słabe duszności albo i wcale przez co cały czas jestem w ruchu.

No ba i energi więcej.

Przez co może jem więcej przez apetyt ale spalam dwa razy tyle

Co na jedno wychodzi

Od dietetyk dostałam zadanie. Mam zrobić eksperyment. Jeść zgodnie z intuicją,nie na siłe ani nie głodzić się czy też nie ćwiczyć na siłę tylko ogółem wszystko ituicyjnie i jak waga będzie stać albo i spadnie będziemy układać dietę

Więc teraz mam nie mieć oporów

Muszę się jednocześnie wzmocnić i zadbać bardziej o kondycję

Wróciłam do godziny tańca dziennie i jak chce biegać to biegam. Nie duszę się to szaleje xD

Już nie mówiąc o odpałach z przyjaciółką 😂

Ogółem. We wtorek wpadł mi pomysł na zrobienie na szydełku torebki na lato

Oby mi wyszły kieszenie i wzory

Kocyk oczywiście w toku 🥰 będzie na sezon zimowy w tym roku gotowy

Zdecydowałam że zrobię szerszy więc jeszcze muszę pół dołożyć

Ale warto będzie 😏

We wtorek były też zajęcia teatralne i ...

Ludzie. Ja mam taką iskierkę w oku na tych zajęciach że po prostu sobie nie wyobra��acie

Tak marzę cholernie o występach ❤️

I taka sytuacja że mieliśmy odegrać scenkę kogoś innego żeby poćwiczyć emocje i ja myślałam że naszej grupce w którą zostaliśmy dobrani poszło najgorzej a jeszcze gorzej mi

A się okazało że nasza grupa sobie fenomenalnie poradziła

Jeszcze muszę chyba popracować nad tą samooceną xd

Byłam po próbie przeszczęśliwa

A wczoraj miałam najpierw psychiatrę i ludzie. Według niego na razie jest dobrze. Chociaż to zdrowie psychiczne mi się poprawiło jak na razie 🥰

Choć się boje ze się zbliżam do mani albo już dostałam hipomani

Aczkolwiek usiłuje dbać o sen bo lubię spać i nie mam myśli typu że"

nie potrzebuje snu ani jedzenia bo jestem niezniszczalna "xD

Więc póki co jest jeszcze dobrze

W drodze do pasmanteri spotkałam swoją koleżankę z terapi i porozmawiałyśmy,napiłyśmy się kawy pośmiałyśmy. Było ekstra 😁

Kupiłam parę włóczek i pojechałam do galerii

Obczajalam coś w empiku. Musiałam też zajść do zoologicznego po jedzonko dla swych malców

Zagadał mnie sprzedawca i ja na spokojnie z nim rozmawiałam xd

Moja otwartosc do ludzi mnie po prostu zadziwia

Aczkolwiek cieszy mnie to

Oglądałam anime. Nie pamiętam tytułu i chyba dziś napiszę później tytuł bo serial jest jeszcze w toku dodany

Odcinek kolejny ma być dziś. Zaczęłam też kolejne

Wróciła mi faza na anime oł yeah

Później były zajęcia artystyczne i robiliśmy broszki. To też dziś pokażę później xD

Ale ludzie mieliśmy to ogółem też przypalac żeby zrobić płatki i ja odkryłam że mam fobie przed ogniem

Na szczęście pani zrozumiała i pomogła mi w tym

Doszła też jakaś nowa osoba do nas

A potem był wypad nad jezioro z przyjaciółką i impreza u niej w domu

Tanczylysmy jak wariatki

Jak się cieszę że znów mam siłę tańczyć

Teraz czekam na lekarza więc mam czas napisać posta

Poza problemami zdrowotnymi jest wprost zajebbiście 🥰😁

Do zobaczenia potem 😃

[dewa-chan]

what do submarines and aircraft carriers look like? do they look like the regular ship mechas?

The submarines’ appearance may change depending on their class (Typhoon class, Vanguard, Delta III, 092 Xia etc). However, all of them in general have a “bulkier” appearance.

This one is Dmitriy Donskoy TK-208, a Typhoon/Akula class submarine!

As for aircraft carriers, there are both normal aircraft carriers and submarine aircraft carriers. 

This one is a submarine aircraft carrier, I-402 Sen Toku. Normal carriers look less bulky!

their faceplates have different shapes as well:

Aircraft carriers look a lil sharper, while submarines are a lil rounder and smooth =w=

[megiddo-ichi]

Who wants to talk about Ninja?

Months ago I discussed a want to get into the metal heroes series. So keeping with that, today's stream will start with a watchalong of Ninja World War Jiraiya. 

 5pm CST. Hope to see you then.

twitch.tv/megiddo_ichi

[chanoyu-to-wa]

Nampō Roku, Book 7 (61a):  Concerning the Kanban [看板]¹ for the Shō-ka-dō [松下堂]².

61) With respect to the kanban [看板] for the Shō-ka-dō [松下堂], we prepared the draft [of the text that would be carved onto the kanban]³.  [I] visited [Ri]kyū to let him see it, and he was delighted⁴! -- and [he] immediately decided to add a postscript⁵.

    When everything was ready, up to the application of the [name] seals, [I decided] it was time to have the board carved⁶ -- and [Ri]kyū also felt the same⁷.

    Just at that time, when [Rikyū] was serving [me] a portion [of koicha] and the like, on the eighteenth day of the First Month [of Tenshō 19], [his] daughter took her own life⁸.

    During the period of mourning following that [tragedy], the world began to whisper⁹.  And in the end, because of the disaster [that befell Rikyū] on the twenty-eighth day of the Second Month, the kanban stayed as it was -- [so] all [of our efforts] proved to be in vain.

    No matter what happens from now on, this has all been so regrettable¹².

_________________________

◎ Only one version of entry 61 is found in the different editions of the Nampō Roku*.

    If any of the entries in Book Seven were actually written on the third anniversary of Rikyū’s seppuku, in the hours between the dawn memorial service and the time when Nambō Sōkei left the Shū-un-an to walk to the mountains (where his intention was to do away with himself by falling off a cliff), a majority of scholars consider this to be one of the most likely passages.  That said, the language is simply anachronistic for the end of the sixteenth century, and would better site the drafting of this entry to the late seventeenth -- or even eighteenth -- century...suggesting that this was an attempt, on the part of the Sen family, to insert their preferred version of events into the historical record. ___________ *In addition to the text that is translated here, Shibayama’s toku-shu shahon, and Tanaka’s genpon, include the text that was carved onto the kanban itself, which is known as the Nambō Sōkei no Roji・Sō-an no Shin-gi [南坊宗慶ノ露地・草菴ノ 清 䂓] (Nambō Sōkei’s Rules of Purity for the Roji and Sō-an).  This text was preserved in Tachibana Jitsuzan’s Ko-chū-ro dan [壺中爐談].

    In addition to the material quoted by Shibayama and Tanaka, a second version of this text is also known (which incorporates certain significant modifications).

    As there seem to be doubts regarding the dates of these different versions (with the cited dates sometimes appearing to be anachronistic in light of the language used), the best solution would be to discuss the Nambō Sōkei no Roji・Sō-an no Shin-gi in a subsequent post (because there was not enough time for me to prepare all of this before today’s publication -- and a basic analysis of the text will require some 30 footnotes).

¹Kanban [看板, 鑑板] is usually translated signboard or plaque.  In this case, it refers to a wooden board on which a text* is written.

    Today the kind of kanban most frequently encountered in the context of chanoyu are those that show the name of the tearoom. __________ *Often, in the interests of permanence, the words would be carved into the board, with the carving either colored with ink or gesso to make the words easier to read.

    The example shown above is an ink-rubbing of a kanban depicting Tachibana Jitsuzan’s copy of the text around which the present episode revolves.  This document is known as the Nambō Sōkei no roji・sō-an no shin-gi [南坊宗慶ノ露地・草菴ノ清䂓] (Nambō Sōkei’s Rules of Purity for the Roji and Sō-an) which, as the text of this entry states, was intended to be hung up in the koshi-kake of the Shū-un-an, to provide guidance to the guests during their visit.

²Shō-ka-dō [松下堂] was the name of a waiting room (dō-machi-ai [堂待合]) in the roji of the Shū-un-an.  The kanban featured a list of seven points that should be observed by visitors to the Shū-un-an (see the appendix that will be published as the next post).

³Shō-ka-dō no kanban ha, warera sōan-shite　[松下堂ノカンバンハ、我等草案シテ].

    Warera [我等] means “we.”  Ostensibly this is referring to Nambō Sōkei and Rikyū.

    Sōan-suru [草案する] means to prepare a draft (of a document).

    In other words, Sōkei and Rikyū jointly drafted the text that would appear on the kanban that would be hung up in the waiting room, to guide the behavior of the guests* while in the Shū-un-an.

    Needless to say, perhaps, this kanban does not survive.  I have seen written versions in some recently published books that are put forward as copies, but these (though often written by Daitoku-ji monks) invariably date to the modern period, and so are more than likely based on the modern conception of what a kanban of this sort would look like than any surviving historical evidence. ___________ *In light of Sōkei’s tea activities, and his closeness to Rikyū (it appears that he acted as the unofficial steward of the Ima-ichi household -- this property was a 10 or 15 minute walk from the Shū-un-an -- whenever his official duties compelled Rikyū to be elsewhere), it was likely that people who did not know how to behave in the temple setting could be visiting the Shū-un-an.  It was to instruct these people that Sōkei wished to hang this kanban in his koshi-kake.

⁴Kyū [h]e mise mairasekeru ni, jin-kiesshi tamai　[休ヘ見セマイラセケルニ、甚喜悅シ玉ヒ].

    Mise-mairasekeru ni [見せ参らせけるに] means to visit in order to show the text of the kanban (to Rikyū).

    Jin-kiesshi tamai [甚喜悅し給い] means (Rikyu) was delighted (by the kanban).

⁵Soku-za ni oku-gaki dekiru-shi　[卽座ニ奧書出來シ].

    Sokuza ni [卽座 に = 即座に]* means immediately, as soon as (Rikyū) saw it.

    The word oku-gaki [奧書] refers to the final sentences added by Rikyū that follow the date and Nambō Sōkei’s name and seal†. __________ *Use of this variant form of soku [即] was fashionable during the Edo period -- probably in light of the reintroduction of these antique forms from Korea during the early decades of that period.

��Possibly his written kaō [花押], rather than a name-stamp.

⁶Han-made totonoi, yagate ita ni horite kakeshi nari　[判マデトヽノヒ、ヤガテ板ニホリテカケシ也].

    Han-made totonoi [判まで調い] means up to the (carving of the) seal, everything has been finished.  

    The process for transferring a written text onto a board has to be understood before this phrase will make sense.

    The text that will be carved on the board is written by the calligrapher (usually on a piece of paper, though on rare occasions* this could be done directly on the board itself), and this is provided to the craftsman, so he can begin to lay the work out.  However, the text, at this point, usually lacks the name-seals (or the kaō) that will certify it as authentic.  After the person who wrote the text approves of the arrangement (he must check it again to make sure that it contains no mistakes or miswritten kanji), he provides his kaō or name-seal, and the text will then be carved onto the board.

    Yagate ita ni horite-kakeshi nari [軈て板に彫りてかけしなり]  means presently the board will be carved.

    In other words, nothing but Rikyū's final approval was needed before giving the order to the craftsman to begin the carving process. __________ *Because it is easy to change to a new piece of paper if a mistake has been made.  When the writing is done directly on the board, this means that it must be perfect, since it cannot be changed.  (Of course the entire board could be sanded down, but then everything else will be lost as well as the mistaken kanji.)

⁷Kyū ni mo onaji-yō ni koshiraerarete　[休ニモ同シ様ニコシラヘラレテ].

    Kyū ni mo onaji-yō ni [休にも同じように] means “Rikyū, in the same way...,” or “Rikyū, in like manner....”

    Koshiraerarete [拵えられて]* means things like make, reconstruct, make over, prepare, and so forth -- though here the nuance is closer to something like “be satisfied with” (i.e., make something full, make something complete, satiate).

    The basic meaning is that it was the same for Rikyū -- that he felt the kanban was ready to be carved.  In other words, Rikyū was prepared to give his approval (as per the previous footnote). __________ *Today this word is usually conflated with tsukuru [作る], which means to make.

⁸Kinjitsu, kakete ippuku mōsu-beku nado to no tamau-uchi ni, shōgatsu jū-hachi nichi soku-jo jisatsu-serare　[近日、掛テ一服可申ナドヽノ玉フ内ニ、正月十八日息女自殺セラレ].

    Kinjitsu [近日] means at or around this time, shortly, one of these days, imminently*.

    Kakete ippuku mōsu-beku nado to tamau-uchi ni [掛けて一服申すべくなどとの給う内に]:  kakete [掛けて] means something like while†; ippuku mōsu-beku [一服申すべく] means to offer a bowl of tea†; nado to [などと] means and so forth; no tamau-uchi ni [の給う内に] means when (Rikyū) was proffering (the bowl of tea to Sōkei).

    The image is of the two men -- Rikyū and Nambō Sōkei -- chatting together (seemingly about the kanban) over a bowl of tea.

    Shōgatsu jū-hachi nichi [正月十八日] means (on the) eighteenth day of the First Month‡.

    Soku-jo jisatsu-serare [息女自殺せられ]:  soku-jo [息女] means (Rikyū’s) daughter**; jisatsu-serare [自殺せられ] means to do the deed of killing oneself, to commit suicide. __________ *This seems to be an example of typical Edo period indirection.  In fact, the breaking of the bad news (explained in the second phrase) occurred while the two men were sharing a bowl of tea (rather than at some later date).

†It is used for an action that extends across a certain span of time.

‡The year was Tenshō 19 [天正十九年].  The date was February 11, 1591 in the Gregorian calendar.

**This is a reference to Rikyū's second daughter, the widow of Mozu-ya Sōan [萬代屋宗安; ? ~ 1594] (who was also nicknamed Shōan [少安], “Little An”), who had been one of Rikyū’s closest friends since childhood.  Most of the stories about Rikyū and “Shōan” that are told today actually referred to this man, rather than to the Shōan who was the father of Sōtan (and who had been a machi-shū follower of Imai Sōkyū -- who was 42 years old when his mother, the widow of Miyaō Saburō Sannyū, Shōan’s father, was given to Rikyū to run his Kyōto household, and act as Hideyoshi’s in-house spy).

    At any rate, the Sen family's story is that, following Mozu-ya Sōan’s death, this daughter (whom they refer to as Ogin [お銀] -- though her actual name is not known) had been pursued by Hideyoshi (who wished to add her to his harem); but Rikyū objected.  And since this brought the displeasure of Hideyoshi down upon her father, she committed suicide.

    This, along with the episode regarding the Daitoku-ji san-mon (where Rikyū's life-sized statue was installed), are given (by the Sen family) as the reasons why Rikyū was ordered to commit seppuku several months later.

    That said, the fact that Mozu-ya Sōan died 3 years after Rikyū tends to disprove at least half of this thesis.

⁹Sore-yori shūshō no uchi ni, sejō hisomekite　[ソレヨリ愁傷ノ内ニ、世上ヒソメキテ].

    Shūshō no uchi ni [愁傷の内に] means during the period of morning (for his daughter).

    Seijō hisomekite [世上密めきて] means society (began to) whisper (about Rikyū having fallen out of Hideyoshi’s favor).

¹⁰Tsui ni ni-gatsu ni-jū-hachi nichi no nan ari-shi yue　[ツヰニ二月廿八日ノ難アリシユヘ].

    Tsui ni [遂に] means at long last, in the end, finally, eventually.

    Ni-gatsu nijū-hachi nichi no nan ari-shi yue [二月廿八日の難ありしゆえ] means “because of the disaster (that befell) on the twenty-eighth day of the Second Month....”

    Because Tenshō 19 had two First Months*, the twenty-eighth day of the Second Month corresponded to April 21, 1591 in the Gregorian calendar. __________ *A timeline of which the author of this entry appears unaware.

¹¹Kanban mo sono-mama ni, munashiku nari-hateshi nari　[カンバンモ其マヽニ、ムナシク成ハテシナリ].

    Kanban mo sono-mama ni [看板も其儘に] means the kanban also (stayed) as it was.

    Munashiku nari-hateshi nari [空しく成り果てしなり] means (it) proved to be in vain.

¹²Nani ni tsukete mo zan-nen sukuna-karazu　[何ニ付テモ殘念スクナカラズ].

    Nani ni tsukete mo [何に付ても] means whatever happens (from now on)....

    Zan-nen sukunakarazu [殘念少からず] means it is so very unfortunate; it is so very regrettable; it is so very disappointing.

[je-blauge]

Yeah, Touha, you. You, the guy who kills somebody almost every episode. Because you are a ninja, a person who kills people. Because that is the premise of this show. Can you just watch one of your enemies die, someone you'll have to kill eventually if you don't just let her die now?