#hachi no ki kai | Explore Tumblr posts and blogs

fortunetellersdilettante · 1 month ago

Text

pira to simvouli shu kai katestrepsa afiste mé gia ton eayto mou, afiste mé gia ton eayto mou pira to simvouli shu kai katestrepsa afiste mé gia ton eayto mou, afiste mé gia ton eayto mou aux, ftiachtika gia na ziso choris esena allow pote den proceedings na katalavo, pote den t katalavo aux, gennithika gia na ziso choris esena allow pote den proceedings na katalavo, pote den katalavapligosa ton eayto mou simera gia na do anne eksakoloutho na esthanomes estiazo ston pono to mono prague pou einai alithino iii belona schizei mia trypa to palio gnorimo tsimpima prospathiste na ta scotosete wholly makria allow thymamai ta panta ti echo ginei iii pio glykos mou filos oli osi gnorizo feygoun sto telos kai t mporousate na ta echete wholly iii autokratoria mou tes bromias t so apogoitefso t so kano na ponesis forao auto to acanthine stefani steni karekla the pseuti mou gemato spasmenes skepseis den mporo na episkevaso kato apo thugs lekedes the chronou ta synaisthimata exafanisontai eisai kapoios allos eimai akoma edo ti echo ginei iii pio glykos mou filos oli osi gnorizo feygoun sto telos kai t mporousate na ta echete wholly iii autokratoria mou tes bromias t so apogoitefso t so kano

hu tamari salah laine barbadi karva avyo chu mane mara per chodi do, mane mara per chodi do hu tamari salah laine barbadi karva avyo chu mane mara per chodi do, mane mara per chodi do oh, mane tamara vagar jivava mate banavavaman avyo hato parantu hu kyarey nahin samaji saku, kyarey nahin samaji saku oh, hu tara vagar jivava mate j janmyo chu. parantu hu kyarey nahin samaji saku, kyarey samjis nahin ke aje men mari jatane du:kh pahoncadyun che hu haji pan anubhavun chu ke nahin te jova mate hu pida par dhyan kendrit karun chu ekamatr vastu jay vastavik che soy ek chidrane aansu ape che juno parichit dankh te badhane mari nakhavano prayas karo pan mane badhu j yaad che. hu shu bani gayo chu maro sauthi meetho mitra hu janu chu te darek jan door jay che antman ane tame te badhu melavi shako cho maru gandakinun samrajy hu tamne nirash karish hu tane dukhi karish hu kantano a taj paherun chu mara juththanani khurashi per tutela vicarothi bharpur hu repair kari sakato nathi samayana daghani nice lagnio adrishya thai jay che tame koi bija j cho hu haji pan ahi j chu hu shu bani gayo chu maro sauthi meetho mitra hu janu chu te darek jan door jay che antman ane tame te badhu melavi shako cho maru gandakinun samrajy hu tamne nirash karish hu tamne banavish

likahti at itzotech vevati laharos tashair shoot leatsmi, tashair shoot leatsmi likahti at itzotech vevati laharos tashair shoot leatsmi, tashair shoot leatsmi ho, noidati life bladich ebl ani laolam lo abin, laolam lo abin ho, noldeti life bladich ebl ani laolam lo abin, laolam lo avinapagati bate hayom leraut em ani edien margischa ani matamacdat bachav hadavar hayed shewa amitai hamakht korat hor haokets house vahamuchar nesu laharog at all ebl ani zuccher all mah owser weit? haber hachi metok slay kul mei shanny makir nalam basopo sal deber vata jechol lakable at kul ze emperies hallachluch slay ani aesab youfor ani agrom lech lekhaov ani und at ether hakutsim hazeh al chairs hashkaran slay mela mens shevorot ani lo jechol lathken mithat lekhatmi hazman hargshut manding est mishoe for ani edien kon mah owser weit? haber hachi metok slay kul mei shanny makir nalam basopo sal deber vata jechol lakable at kul ze emperies ohpar slay ani aesab youfor ani akrih youfor

maine aapki salah maani aur barbaad ho gaya mujhe mere paas chhod do, mujhe khud par chhod do maine aapki salah maani aur barbaad ho gaya mujhe mere paas chhod do, mujhe khud par chhod do oh, mujhe tumhare bina rehne ke liye banaya gaya tha lekin main kabhi nahi samjhunga, kabhi nahi samajhunga oh, main tumhare bina rehne ke liye paida hua tha lekin main kabhi nahi samjhunga, kabhi nahi samajhungamainne aaj khud ko chot pahunchayi hai yah dekhane ke lie ki kya main abhi bhi mehsoos karta hoon main dard par dhyan kendrit karta hoon keval ek cheej jo vastavik hai sui ek chhed phad deti hai purana parichit dunk yeh sab door marne ki koshish karo lekin mujhe sab kuchh yaad hai main kya ban gaya hoon mera sabse pyara dost mujhe pata hai ki har koi chala jata hai ant mein or aapke pass yah sab ho sakta hai gandagi ka mera samrajya main aapko nirash karunga main tumhe chot pahunchaaunga main yeh kanton ka taaj pahanata hoon mere jhuthe ki kursi par toote hue vicharon se bhara main marammat nahi kar sakta samay ke daag ke niche bhavanaen gayab ho jaati hain tum koi aur ho main abhi bhi yahin hun main kya ban gaya hoon mera sabse pyara dost mujhe pata hai ki har koi chala jata hai ant mein or aapke pass yah sab ho sakta hai gandagi ka mera samrajya main aapko nirash karunga main tumhe banaunga

Kuv muab koj tus kws lij choj thiab tuaj puas Cia kuv tus kheej, tawm hauv kuv rau kuv tus kheej Kuv muab koj tus kws lij choj thiab tuaj puas Cia kuv tus kheej, tawm hauv kuv rau kuv tus kheej Huag kuv tau ua nyob tsis tau koj Tab sis kuv yeej tsis yuav to taub, yeej tsis to taub Huag kuv yug los nyob tsis tau koj Tab sis kuv yeej tsis yuav to taub, yeej tsis to taub kuv tus kheej hnub no Saib yog hais tias kuv tseem xav tias Kuv kub siab rau qhov mob Qhov tshaj plaws xwb uas yog tiag Tus koob kua muag ib lub qhov taub Cov laus paub sting Sim tua nws tam sim ntawd Tab sis kuv nco ntsoov txhua yam Kuv kuj yog dab tsi Kuv tus phooj ywg sweetest Sawv daws kuv paub mus tam sim ntawd Thaum kawg Thiab koj yuav muaj tag nrho Kuv tim teb chaws av Kuv yuav cia koj cia koj Kuv yuav ua rau koj mob Kuv hnav no yas ntawm thorns Raws li kuv lub rooj zaum Daim ntawv qhia txog kev xav Kuv kho tsis tau Beneath lub sij hawm stains lub sij hawm Txoj kev xav zoo Koj yog lwm tus neeg Kuv tseem nyob ntawm no Kuv kuj yog dab tsi Kuv tus phooj ywg sweetest Sawv daws kuv paub mus tam sim ntawd Thaum kawg Thiab koj yuav muaj tag nrho Kuv tim teb chaws av Kuv yuav cia koj cia koj Kuv yuav ua rau koj

मैंने आपकी सलाह मानी और बर्बाद हो गया मुझे मेरे पास छोड़ दो, मुझे खुद पर छोड़ दो मैंने आपकी सलाह मानी और बर्बाद हो गया मुझे मेरे पास छोड़ दो, मुझे खुद पर छोड़ दो ओह, मुझे तुम्हारे बिना रहने के लिए बनाया गया था लेकिन मैं कभी नहीं समझूंगा, कभी नहीं समझूंगा ओह, मैं तुम्हारे बिना रहने के लिए पैदा हुआ था लेकिन मैं कभी नहीं समझूंगा, कभी नहीं समझूंगामैंने आज खुद को चोट पहुंचाई है यह देखने के लिए कि क्या मैं अभी भी महसूस करता हूं मैं दर्द पर ध्यान केंद्रित करता हूं केवल एक चीज जो वास्तविक है सुई एक छेद फाड़ देती है पुराना परिचित डंक यह सब दूर मारने की कोशिश करो लेकिन मुझे सब कुछ याद है मैं क्या बन गया हूँ मेरा सबसे प्यारा दोस्त मुझे पता है कि हर कोई चला जाता है अंत में और आपके पास यह सब हो सकता है गंदगी का मेरा साम्राज्य मैं आपको निराश करूंगा मैं तुम्हें चोट पहुँचाऊँगा मैं यह कांटों का ताज पहनता हूँ मेरे झूठे की कुर्सी पर टूटे हुए विचारों से भरा मैं मरम्मत नहीं कर सकता समय के दाग के नीचे भावनाएं गायब हो जाती हैं तुम कोई और हो मैं अभी भी यहीं हूं मैं क्या बन गया हूँ मेरा सबसे प्यारा दोस्त मुझे पता है कि हर कोई चला जाता है अंत में और आपके पास यह सब हो सकता है गंदगी का मेरा साम्राज्य मैं आपको निराश करूंगा मैं तुम्हें बनाऊंगा

לקחתי את עצתך ובאתי להרוס תשאיר אותי לעצמי, תשאיר אותי לעצמי לקחתי את עצתך ובאתי להרוס תשאיר אותי לעצמי, תשאיר אותי לעצמי הו, נועדתי לחיות בלעדיך אבל אני לע��לם לא אבין, לעולם לא אבין הו, נולדתי לחיות בלעדיך אבל אני לעולם לא אבין, לעולם לא אביןפגעתי בעצמי היום לראות אם אני עדיין מרגישה אני מתמקדת בכאב הדבר היחיד שהוא אמיתי המחט קורעת חור העוקץ הישן והמוכר נסו להרוג את הכל אבל אני זוכר הכל מה הפכתי להיות? החבר הכי מתוק שלי כל מי שאני מכיר נעלם בסופו של דבר ואתה יכול לקבל את כל זה אימפריית הלכלוך שלי אני אאכזב אותך אני אגרום לך לכאוב אני עונד את כתר הקוצים הזה על כיסא השקרן שלי מלא מחשבות שבורות אני לא יכול לתקן מתחת לכתמי הזמן הרגשות נעלמים אתה מישהו אחר אני עדיין כאן מה הפכתי להיות? החבר הכי מתוק שלי כל מי שאני מכיר נעלם בסופו של דבר ואתה יכול לקבל את כל זה אימפריית העפר שלי אני אאכזב אותך אני אכריח אותך

לקחתי את עצתך ובאתי להרוס תשאיר אותי לעצמי, תשאיר אותי לעצמי לקחתי את עצתך ובאתי להרוס תשאיר אותי לעצמי, תשאיר אותי לעצמי הו, נועדתי לחיות בלעדיך אבל אני לעולם לא אבין, לעולם לא אבין הו, נולדתי לחיות בלעדיך אבל אני לעולם לא אבין, לעולם לא אביןפגעתי בעצמי היום לראות אם אני עדיין מרגישה אני מתמקדת בכאב הדבר היחיד שהוא אמיתי המחט קורעת חור העוקץ הישן והמוכר נסו להרוג את הכל אבל אני זוכר הכל מה הפכתי להיות? החבר הכי מתוק שלי כל מי שאני מכיר נעלם בסופו של דבר ואתה יכול לקבל את כל זה אימפריית הלכלוך שלי אני אאכזב אותך אני אגרום לך לכאוב אני עונד את כתר הקוצים הזה על כיסא השקרן שלי מלא מחשבות שבורות אני לא יכול לתקן מתחת לכתמי הזמן הרגשות נעלמים אתה מישהו אחר אני עדיין כאן מה הפכתי להיות? החבר הכי מתוק שלי כל מי שאני מכיר נעלם בסופו של דבר ואתה יכול לקבל את כל זה אימפריית העפר שלי אני אאכזב אותך אני אכריח אותך

Na ɗauki shawararka kuma na halaka Ka bar ni, ka bar ni a kaina. Na ɗauki shawararka kuma na halaka Ka bar ni, ka bar ni a kaina. An sa na yi rayuwa ba tare da kai ba Amma ba zan taɓa fahimta ba, ba zan taɓa fahimta ba An haife ni don rayuwa ba tare da ku ba. Amma ba zan taɓa fahimta ba, ba zan taɓa fahimtar cewa na yi wa kaina lahani a yau ba Don in ga ko har ila ina jin daɗin rayuwa Ina mai da hankali ga azaba Kawai abin da ke da gaske. Lafin ya yi hawaye a cikin ɗaki Tsohon ƙarfe da aka sani Ka yi ƙoƙari ka kashe dukansu Amma na tuna dukan abu Me ya sa na zama Abokina mafi kyau Dukan wanda na sani ya tafi A ƙarshe Kuma za ka iya samun dukansu Daular ƙasa Zan bar ka. Zan sa ka baƙin ciki Ina saka wannan rawanin ƙaya A kan kujerata ta ƙarya. Cike da tunanin da ba su da kyau Ba zan iya gyara ba A ƙarƙashin laka na lokaci Yadda ake ji ya ɓace Kai wani ne Har yanzu ina nan. Me ya sa na zama Abokina mafi kyau Dukan wanda na sani ya tafi A ƙarshe Kuma za ka iya samun dukansu Daular ƙasa Zan bar ka. Zan sa ka

m pran konsèy ou e m te vini pou m detwi kite m 'nan tèt mwen, kite m' nan tèt mwen m pran konsèy ou e m te vini pou m detwi kite m 'nan tèt mwen, kite m' nan tèt mwen O mwen te fè yo viv san ou Men, mwen pa janm pral konprann, pa janm konprann Oh mwen te fèt pou viv san ou Men, mwen pa janm pral konprann, pa janm konprann fè tèt mwen mal jodi a Pou wè si mwen toujou santi m konsantre m sou doulè a Bagay la sèlman ki reyèl Zegwi a kriye yon twou Ansyen pikan an abitye Eseye touye li tout lwen Men, mwen sonje tout bagay Kisa mwen vin Zanmi dous mwen Tout moun mwen konnen ale Nan fen a E ou te kapab genyen li tout Anpi mwen nan pousyè m ap lage ou m ap fè ou mal m mete kouwòn pikan sa a Lè chèz mantè mwen Plen panse kase Mwen pa ka fè reparasyon Anba tach yo nan tan Santiman yo disparèt Ou se yon lòt moun m toujou la a Kisa mwen vin Zanmi dous mwen Tout moun mwen konnen ale Nan fen a E ou te kapab genyen li tout Anpi mwen nan pousyè m ap lage ou m ap fè ou

હું તમારી સલાહ લઈને બરબાદી કરવા આવ્યો છું મને મારા પર છોડી દો, મને મારા પર છોડી દો હું તમારી સલાહ લઈને બરબાદી કરવા આવ્યો છું મને મારા પર છોડી દો, મને મારા પર છોડી દો ઓહ, મને તમારા વગર જીવવા માટે બના��વામાં આવ્યો હતો પરંતુ હું ક્યારેય નહીં સમજી શકું, ક્યારેય નહીં સમજી શકું ઓહ, હું તારા વગર જીવવા માટે જ જન્મ્યો છું. પરંતુ હું ક્યારેય નહીં સમજી શકું, ક્યારેય સમજીશ નહીં કે આજે મેં મારી જાતને દુ:ખ પહોંચાડ્યું છે હું હજી પણ અનુભવું છું કે નહીં તે જોવા માટે હું પીડા પર ધ્યાન કેન્દ્રિત કરું છું એકમાત્ર વસ્તુ જે વાસ્તવિક છે સોય એક છિદ્રને આંસુ આપે છે જૂનો પરિચિત ડંખ તે બધાને મારી નાખવાનો પ્રયાસ કરો પણ મને બધું જ યાદ છે. હું શું બની ગયો છું મારો સૌથી મીઠો મિત્ર હું જાણું છું તે દરેક જણ દૂર જાય છે અંતમાં અને તમે તે બધું મેળવી શકો છો મારું ગંદકીનું સામ્રાજ્ય હું તમને નિરાશ કરીશ હું તને દુઃખી કરીશ હું કાંટાનો આ તાજ પહેરું છું મારા જુઠ્ઠાણાની ખુરશી પર તૂટેલા વિચારોથી ભરપૂર હું રિપેર કરી શકતો નથી સમયના ડાઘની નીચે લાગણીઓ અદૃશ્ય થઈ જાય છે તમે કોઈ બીજા જ છો હું હજી પણ અહીં જ છું હું શું બની ગયો છું મારો સૌથી મીઠો મિત્ર હું જાણું છું તે દરેક જણ દૂર જાય છે અંતમાં અને તમે તે બધું મેળવી શકો છો મારું ગંદકીનું સામ્રાજ્ય હું તમને નિરાશ કરીશ હું તમને બનાવીશ

Πήρα τη συμβουλή σου και κατέστρεψα Αφήστε με για τον εαυτό μου, αφήστε με για τον εαυτό μου Πήρα τη συμβουλή σου και κατέστρεψα Αφήστε με για τον εαυτό μου, αφήστε με για τον εαυτό μου Ω, φτιάχτηκα για να ζήσω χωρίς εσένα Αλλά ποτέ δεν πρόκειται να καταλάβω, ποτέ δεν θα καταλάβω Ω, γεννήθηκα για να ζήσω χωρίς εσένα Αλλά ποτέ δεν πρόκειται να καταλάβω, ποτέ δεν κατάλαβαΠλήγωσα τον εαυτό μου σήμερα Για να δω αν εξακολουθώ να αισθάνομαι Εστιάζω στον πόνο Το μόνο πράγμα που είναι αληθινό Η βελόνα σχίζει μια τρύπα Το παλιό γνώριμο τσίμπημα Προσπαθήστε να τα σκοτώσετε όλα μακριά Αλλά θυμάμαι τα πάντα Τι έχω γίνει Ο πιο γλυκός μου φίλος Όλοι όσοι γνωρίζω φεύγουν Στο τέλος Και θα μπορούσατε να τα έχετε όλα Η αυτοκρατορία μου της βρωμιάς Θα σε απογοητεύσω Θα σε κάνω να πονέσεις Φοράω αυτό το ακάνθινο στεφάνι Στην καρέκλα του ψεύτη μου Γεμάτο σπασμένες σκέψεις Δεν μπορώ να επισκευάσω Κάτω από τους λεκέδες του χρόνου Τα συναισθήματα εξαφανίζονται Είσαι κάποιος άλλος Είμαι ακόμα εδώ Τι έχω γίνει Ο πιο γλυκός μου φίλος Όλοι όσοι γνωρίζω φεύγουν Στο τέλος Και θα μπορούσατε να τα έχετε όλα Η αυτοκρατορία μου της βρωμιάς Θα σε απογοητεύσω Θα σε κάνω

0 notes

chanoyu-to-wa · 7 months ago

Text

Nampō Roku, Book 7 (84): Nambō Sōkei’s Postscript to Book Seven.

￮ The preceding volume [is dated] the Second Year of Bunroku [文祿] -- the ki-shi [癸巳] year -- Second Month, twenty-eighth day¹.

[For] the deceased teacher, Rikyū Sōeki dai-koji, on the third anniversary of the date of his death², incense, flowers, tea, and sweets [were offered] during the memorial service³.

After [I] finished chanting the sūtras, beneath the lamps [on the altar], [my] tears of yearning flowed freely⁴. Along with stories of the bygone age, with neither end nor beginning, I wrote [everything down] continuously⁵ -- [and lo,] already it has become an entire volume⁶.

And in that room where [I] had been writing, [I] intoned [this] gāthā, offering it [to Rikyū] below [his] mortuary tablet⁷.

A disciple of Rikyū dai-koji’s Pure Tea, Nambō Sōkei prostrates himself [before the altar]⁸:

“A solitary lamp, its oil exhausted, the flower is not quite white⁹;

“The single dǐng [鼎], its water dried, [my] tea is not green¹⁰.

“The master has left the thatched hut, the three stages of enlightenment [are] a dream¹¹;

“The East Wind announces the dawn, [and my] tears of emptiness fall [like raindrops]¹².”

_________________________

◎ This is Nambō Sōkei’s oku-gaki [奧書] to Book Seven of the Nampō Roku. While the gāthā may actually have been written by Sōkei, the rest of this entry is a melodramatic creation of the Edo period -- for even if Sōkei was so racked by sadness during what would be his final hours, it would have been unseemly for a monk of his eminence to leave such traces of his grief behind to sully his reputation. Nevertheless, this is how the Nampō Roku ends, leaving it to us to cherish and carry on Rikyū’s memory in perpetuum.

¹Migi kono ikkan ha Bunroku ni[-nen] ki-shi ni-gatsu nijū-hachi nichi　[右此一巻ハ文祿二癸巳二月廿八日].

Migi kono ikkan [右この一巻] means the preceding volume -- that is, Book Seven.

Bunroku-ni [文祿二] means the second year of the Bunroku era. The second year of Bunroku ran from February 2, 1593, to February 19, 1594.

Bunroku was the era that followed the Tenshō [天正] era (during which most of the episodes that are documented in the Nampō Roku occurred).

Ki-shi [癸巳] is the 30th year in the sixty-year cycle.

[Bunroku ni-nen] ni-gatsu nijū-hachi nichi [二月廿八日] was March 31, 1594.

This date indicates that this oku-gaki [奧書] is a forgery, because Nambō Sōkei elsewhere recognized that Rikyū’s seppuku took place on the 28th day of the third month of the year (because Tenshō 19 had two first months) -- thus, the 28th day of the Second Month of Tenshō 19 was April 21, 1591; so the third anniversary would have had to be on the corresponding day, according to the Lunar Calendar, in 1593 -- April 30.

²Sen-ji Rikyū Sōeki dai-koji dai-san-kai ki-shin　[先師利休宗易大居士第三囘忌辰].

Sen-ji [先師] means the deceased teacher.

Rikyū Sōeki dai-koji [利休宗易大居士]: the formula dai-koji [大居士] is primarily used after the person is deceased.

Dai-san-kai ki-shin [第三囘忌辰]*: means the third (anniversary of); ki-shin [忌辰] means the day of (someone’s) death.

Tanaka’s genpon text introduces a comma following Rikyu’s name and title (that is, following the word dai-koji [大居士]). Also, rather than dai-san-kai ki-shin [第三囘忌辰], the genpon has san-kai [no] hi [三回日], which means the third (memorial) day. ___________ *The toku-shu shahon and genpon change the nonstandard kanji kai [囘] to the more usual kai [回], writing this as dai-san-kai ki-shin [第三回忌辰].

Both kanji actually have the same meaning.

³Kō ka cha kashi wo kuyō-shi　[香花茶菓ヲ供養シ].

Kuyō-suru [供養する] means to hold a memorial service for (Rikyū).

However, kō ka cha kashi wo kuyō-shi [香・花・茶・菓を供養し] would mean “incense, flowers, tea, and kashi were offered” (in other words, arranged on the altar in front of the image of the Buddha and Rikyū’s mortuary tablet).

The offering of kashi in particular, on occasions such as this, seems to be something that was done during the Edo period. In records from Rikyū’s period, kashi are never mentioned.

⁴Ju-kyō ekō-shi owarite, tō-ka kaikyū no namida wo shi-tate　[誦經囘向シ畢テ、燈下懷旧ノ涙ヲシタテ].

Ju-kyō ekō-shi owarite [誦經回向し畢て]: ju-kyō [誦經] means chanting of the sūtra(s); ekō-suru [回向する] means to hold a memorial service for (Rikyū); owarite [畢わりて = 終りて]* means concluded, be through with.

Tō-ka kaikyū no namida wo shi-tate [燈下懷旧の涙を爲たて]: tō-ka [燈下] means beneath the lamp(s), in other words, in front of the altar; kaikyū no namida wo shitate [懷旧の涙を爲たて] means tears of yearning† flow freely.

In other words, when the chanting of the sūtra(s) during the memorial service for Rikyū were concluded, Sōkei sat in front of the altar with tears of yearning flowing.

The toku-shu shahon represents this sentence as u-kyō ekō-shi owarite, ta-nen no ya-wa bundan wo omoide, tō-ka kaikyū no namida wo otoshite [誦經回向シ畢リテ、多年ノ夜話聞談ヲ思ヒ出、燈下懷旧ノ涙ヲ落シテ].

There seems to be an error in this version of the text (perhaps a copyist’s mistake when Shibayama Fugen’s notes were being typeset for publication?), since the meaning of ya-wa bundan [夜話聞談] is unclear. The genpon text gives this as ya-wa kandan [夜話閑談], which means “informal chatting at night,” and this is probably the correct expression‡.

The genpon text has abbreviated this sentence by removing the first phrase: ta-nen no ya-wa kandan wo omoidete tō-ka kaikyū no namida wo otoshite [多年ノ夜話閑談ヲ思出テ燈下懷旧ノ涙ヲ落シテ].

Ta-nen no ya-wa kandan wo omoidete [多年の夜話閑談を思い出て] means “remembering many years of late-night chats**.”

And, tō-ka kaikyū no namida wo otoshite [燈下懷旧の涙を落して] means “beneath the (altar) lamps tears of yearning fall.”

So, “remembering many years of late-night chats, beneath the (altar) lamps my tears of yearning fall.” ___________ *This use of the kanji “畢” to mean owaru [畢わる = 終わる] was more or less unique to the Edo period.

†Kaikyū [懷旧] more literally means things like reminiscence, nostalgia. Yearning, in the sense of longing for something (or someone) that is in the past, that cannot be experienced again.

‡With respect to the toku-shu shahon version, assuming that ya-wa kiki-dan [夜話聞談] is a mistaken rendering of ya-wa kandan [夜話閑談], the meaning of u-kyō ekō-shi owarite, ta-nen no ya-wa kandan wo omoide, tō-ka kaikyū no namida wo otoshite [誦經回向シ畢リテ、多年ノ夜話閑談ヲ思ヒ出、燈下懷旧ノ涙ヲ落シテ] would be “after finishing the recitation of the sūtra(s), [I] remembered the many years of chatting at night, and shed tears of yearning beneath the [altar] lamps.”

**The toku-shu shahon has omoide [思い出], rather than omoidete [思い出て], but both refer to memories, recollections.

⁵Arishi-yo no monogatari tomo wo, ato-saki naku kaki-tsuzuke　[アリシ世ノ物語トモヲ、アトサキトナク書ツヽケ].

Arishi-yo no monogatari tomo wo [在りし世]: arishi-yo [在りし世] means the bygone age, the world that is past; no monogatari tomo wo [の物語ともを] means along with stories of (a world that is no more).

Ato-saki naku kaki-tsuzuke [後先となく書続け]: ato-saki naku [後先となく] means without either end or beginning*; kaki-tsuzuke [書續け] means writing continuously.

Once again, the toku-shu shahon deviates from the text that is found in the Enkaku-ji manuscript: tsukuzuku to wasurarenu-monogatari domo wo, ato-saki to naku kaki-tsurane [ツク〻〻ト忘ラレヌ物語ドモヲ、アトサキトナク書ツラネ].

Tsukuzuku to wasurarenu-monogatari [熟と忘れぬ物語どもを] means (these) thoroughly unforgettable stories....

So this version changes “stories of a by-gone world,” to “stories that can never be forgotten.”

The genpon text, meanwhile, has tsukuzuku to wasurarenu-monogatari domo ato-saki to kaki-tsuke [ツクヅクト忘ラレヌ物語ドモヲアト先ト書付].

The meaning here is that these completely unforgettable stories were written down in (temporal) order, from beginning to end. __________ *The temporal inversion is something that is rather unique to the Japanese language.

⁶Sude ni ikkan to naru-mono nari　[已ニ一巻トナル者也].

Sude ni [已に] means already*.

Ikkan to naru-mono nari [一巻となるものなり] means it had already become an entire volume of text.

In other words the author (who is supposed to be Nambō Sōkei) is saying that, writing incessantly since the conclusion of the (dawn) memorial service, he is rather surprised that his writings have already filled up an entire book†. __________ *There is a nuance of something being “too late” inherent in this expression.

†This is nonsense, since the variability of the language -- including numerous idiomatic usages that did not exist until long after Sōkei’s lifetime -- preclude the contents of Book Seven from having been written by a single author writing during the sixteenth century, let alone in a matter of no more than four or five hours.

The length of daylight in Sakai at the end of March 31 is approximately 12 hours and 30 minutes, and the dawn service would probably have taken an hour. The walk to the nearest mountains that are high enough for one to commit suicide by jumping from a height would have taken 6 or 7 hours from the Shū-un-an, which leaves no more than 4 or 5 hours for the writing of Book Seven -- an absolute impossibility.

The convention was that, for a retainer (or, in this case, a disciple) to follow the master into death, if not done immediately on the day of the master’s passing, the suicide would have to take place on the third anniversary of that date (so Sōkei would have had to get to the mountains before the end of the same day, otherwise his suicide would be meaningless).

⁷Shippitsu no seki ichi-ge wo tonaete hai-ka ni teisu　[執筆ノ席一偈ヲトナヘテ牌下ニ呈ス].

Shippitsu no seki [執筆の席] means the room in which Nambō Sōkei was writing the text that became Book Seven of the Nampō Roku.

Ge [偈] refers to a gāthā [गाथा], a type of religious poem or song* -- originally such a verse when it occurred within a religious text or narrative (the type of which originated in India).

Ichi-ge wo tonaete [一偈を稱えて] means this one gāthā (written below) was recited or intoned.

Hai [牌] refers to a Buddhist mortuary tablet (usually called an i-hai [位牌]), an example of which is shown below.

The name of the deceased would be carved or written on the face of the i-hai.

Hai-ka ni teisu [牌下に呈す]: hai-ka ni [牌下に] means below† (Rikyū’s) Buddhist mortuary tablet; teisu [呈す] means to present, to offer (often in the sense of offering something by displaying it publicly, such as on an altar).

Here this text seems to mean that, after intoning his gāthā aloud, Sōkei placed the written page on the altar, as an offering for the repose of Rikyū’s soul (in other words, so that he would be reborn into the bliss of Amitābha’s Pure Land).

The toku-shu shahon has two changes: shippitsu no jo ichi-ge naru, soko hai-ka ni teisu [執筆ノ序一偈成ル、乃牌下ニ呈ス].

Shippitsu no jo [執筆の序] means the introduction, introductory section, or preface to the text that Sōkei was writing down.

Shippitsu no jo ichi-ge naru [執筆の序一偈成る] means there was a gāthā included in the preface‡.

Soko [乃 = そこ, 其處] means there, in that place.

Hai-ka ni teisu [牌下に呈す] means presented (or offered) below (in front of) the i-hai. This seems to mean that the sheet of paper on which the gāthā was written was laid flat on the altar, in front of the i-hai, as a sort of offering.

The genpon, taking its cue from the toku-shu shahon text, goes even farther afield from what was written in the Enkaku-ji manuscript: shippitsu no jo naru ko-ge naru, ue ni teisu, tada kou jō wo jutsuru nomi [執筆ノ序成ル小偈ナル、上ニ呈ス、只乞フ情ヲ述ルノミ].

Shippitsu no jo naru ko-ge naru [執筆の序成る小偈なる] means there was an preface to the writing**, and a short gāthā.

Ue ni teisu [上に呈す] means it (it is unclear whether this is supposed to indicate that the whole document, or just the gāthā by itself) was offered above (that is, it was placed on the altar).

Tada kou jō wo noberu nomi [只乞う情を述るのみ] means this was simply a way (for Sōkei) to express his emotions (on this sad occasion).

The toku-shu shahon text could be understood either way (though it tends to support the idea that this is at least in part a dedicatory text); but what is found in the genpon edition reads more like a narrative, than as the actual text of a dedication. __________ *It is said that gāthā were traditionally composed of units of 24 syllables. The reader should note that Sōkei’s poem (which is quoted at the end of this oku-gaki) consists of two units of two lines, each line of which has 12 syllables.

Gāthā were sometimes recited (usually mentally, rather than aloud) in rhythm with the breath, as a form of meditation practice.

†As with the expression tō-ka [燈下] (see footnote 4, above), “below the lamp(s),” which meant that Nambō Sōkei was seated on the floor in front of the altar (on which the lamps were arranged), hai-ka ni [牌下に] means that Sōkei was seated on the floor in front of Rikyū’s memorial tablet (which was also arranged on the altar) while he intoned this gāthā.

‡This is confusing, because the gāthā is found at the end of this oku-gaki (between the dedication and Nambō Sōkei’s seal), which, in turn, is placed at the end of the Nampō Roku, not the beginning (as this seems to imply). An oku-gaki of this sort could only be placed at the end, since it includes the date when the writing was completed. (A similar format is seen in Rikyū’s various densho, where he adds a few complementary lines, the date, and the name of the recipient, to the end of the document.)

**In this version of the text, shippitsu [執筆], “the writing,” seems to be referring to the completed text of Book Seven (though not necessarily bound into a book -- indeed, the evidence is that the documents in Nambō Sōkei’s wooden chest were mostly individual sheets of paper, of various sizes).

⁸Rikyū-daikoji sei-cha-montei Nambō Sōkei keishu　[利休大居士淸茶門弟南坊宗啓稽首].

Sei-cha-montei [淸茶門弟] means a disciple of (Rikyū’s) Pure Tea.

Nambō Sōkei [南坊宗啓]: sometimes his name is written Sōkei [宗啓] (as here), and sometimes it is written Sōkei [宗慶], in documents surviving from his period. There does not seem to have been any definitive consensus on way to write it (which, as a matter of fact, was quite common during that period); but neither have I ever seen any documents written by his own hand that would lay the matter to rest, one way or the other (and in this his “name seal” -- which can be seen above at the end of the translated gāthā -- is of no help at all).

Keishu [稽首] means to bow down so that one’s forehead touches the floor; to prostrate oneself (in front of Rikyū’s mortuary tablet).

￭ Hereafter follows the text of Sōkei’s gāthā. It is composed in four lines of 12 syllables each. There are no meaningful differences in the text of this poem between the three iterations of this oku-gaki.

⁹Ko-tō yū-shin ka san-haku 　[孤燈油盡花纔白].

Ko-tō [孤燈] means a solitary lamp (this is referring to Rikyū, whose teachings and approach were so different from that of his more popular contemporaries).

Yū-shin [油盡] means (the lamp's) oil is exhausted.

Ka san-haku [花纔白] means the flower* is not quite white.

The white flower indicates a pure heart, the person who can live their life fully in samadhi. Rikyū did not quite attain this level of spiritual purity (because of his association with Hideyoshi). __________ *The toku-shu shahon text uses the kanji ka [華], rather than ka [花]. Both, however, mean flower.

¹⁰Ittei sui-kan cha fu-sei　[一鼎水乾茶不靑].

Ittei [一鼎] means one dǐng -- a dǐng being an ancient Chinese vessel in which ceremonial food was boiled and served (according to the Yì-jīng [易經]), making it roughly comparable to a jō-bari-gama [上張釜] (many of which also had three legs -- though they were considerably smaller). The analogy is to a kama.

A bronze Chinese dǐng is shown above.

Sui-kan [水乾] means the water (in the dǐng) has dried up.

Cha fu-sei [茶不靑] means the tea is not green. (Spoiled matcha is whitish or grayish-brown.)

¹¹Shi-kyo sō-bō san-kaku mu　[師去草房三覺夢].

Shi-kyo [師去] means the master has departed (in other words, Rikyū has died).

Sō-bō [草房] is the Chinese word for a thatched cottage; a thatched hut.

San-kaku-mu [三覺夢]: san-kaku [三覺] refers to the three stages of the Buddha’s enlightenment. These three are:

◦ zì-jué [自覺] (ji-gaku), self-awareness, the state in which one realizes oneself;

◦ jué-tā [覺他] (kaku-ta), the desire to bring enlightenment to others; and,

◦ jué-xíng qióng-mǎn [覺行窮満] (kaku-gyō gū-man), the state in which the work of enlightenment is completed, and one awakens to perfection; the condition of the Bodhisattva.

One who has transcended all three of these stages is called the Buddha.

But here Sōkei is saying that the three stages are a dream (mu [夢]).

¹²Shitake hō-kyō rui kō rei　[東風報曉涙空零].

Shitake [東風] means the east wind.

Hō-kyō [報曉] means announces the dawn.

Rui-ko rei [涙空零] means (and) tears of emptiness fall (like raindrops).

￭ The page is only signed with Nambō Sōkei’s red seal (reproduced from the last page of the Enkaku-ji manuscript version of the Nampō Roku).

==============================================

◎ If these translations are valuable to you, please consider donating to support this work. Donations from the readers are the only source of income for the translator. Please use the following link:

https://PayPal.Me/chanoyutowa

0 notes

mishimaesque · 3 years ago

Photo

鉢の木会

#yukio mishima #mishima #literary circle #japanese author #japanese writers #poets #Kenichi Yoshida #Mitsuo Nakamura #Shohei Ooka #Itsuji Yoshikawa #Tsuneari Fukuda #Takeyoshi Tanuma #hachinokikai #hachi no ki kai #三島由紀夫

57 notes · View notes

netego · 3 years ago

Quote

Is it cold at night when the potted trees are left unburned

Mitsuo Nakamura

#japanese literature #Mitsuo Nakamura #hachi no ki kai #hachinokikai #Pot tree society

4 notes · View notes

niji-rainbow · 5 years ago

Text

N5 Kanji ON-readings

Ordered by number of strokes

1) 一 ICHI/ITSU

2) 九 KYUU/KU

3) 七 SHICHI

4) 十 JUU/JI’

5) 人 JIN/NIN

6) 二 NI

7) 入 NYUU

8) 八 HACHI

9) 下 KA/GE

10) 口 KOU/KU

11) 三 SAN

12) 山 SAN

13) 子 SHI/SU

14) 女 JO/NYOU

15) 小 SHOU

16) 上 JOU

17) 千 SEN

18) 川 SEN

19) 大 DAI/TAI

20) 土 DO/TO

21) 万 MAN/BAN

22) 円 EN

23) 火 KA

24) 月 GETSU/GATSU

25) 五 GO

26) 手 SHU

27) 水 SUI

28) 中 CHUU/JUU

29) 天 TEN

30) 日 NICHI/JITSU

31) 木 BOKU/MOKU

32) 六 ROKU

33) 午 GO

34) 今 KON/KIN

35) 少 SHOU

36) 父 FU

37) 分 BUN/FUN

38) 友 YUU

39) 右 U/YUU

40) 左 SA

41) 四 SHI

42) 出 SHUTSU/SUI

43) 生 SEI/SHOU

44) 白 HAKU/BYAKU

45) 本 HON

46) 目 MOKU/BOKU

47) 立 RITSU/RYUU

48) 外 GAI/GE

49) 古 KO

50) 半 HAN

51) 母 BO

52) 北 HOKU

53) 気 KI/KE

54) 休 KYUU

55) 耳 JI

56) 先 SEN

57) 年 NEN

58) 百 HYAKU

59) 名 MEI/MYOU

60) 会 KAI/E

61) 行 KYOU/GYOU/AN

62) 西 SEI/SAI

63) 多 TA

64) 毎 MAI

65) 安 AN

66) 花 KA

67) 見 KEN

68) 車 SHA

69) 足 SOKU

70) 男 DAN/NAN

71) 何 KA

72) 言 GEN/GON

73) 社 SHA

74) 来 RAI

75) 雨 U

76) 学 GAKU

77) 金 KIN/KON

78) 空 KUU

79) 国 KOKU

80) 長 CHOU

81) 店 TEN

82) 東 TOU

83) 後 GO/KOU

84) 食 SHOKU/JIKI

85) 前 ZEN

86) 南 NA/N

87) 校 KOU

88) 高 KOU

89) 時 JI

90) 書 SHO

91) 魚 GYO

92) 週 SHUU

93) 間 KAN/KEN

94) 道 DOU/TOU

95) 買 BAI,

96) 飲 IN

97) 新 SHIN

98) 電 DEN

99) 話 WA

100) 語 GO

101) 読 DOKU/TOKU, TOU

102) 駅 EKI

103) 聞 BUN/MON

#kanji #nihongo #N5 #readings #kun #on #dictionary #japan #japanese #nihon #vocabulary #vocab #learn #language #jlpt #日本語 #漢字 #radical #stroke #teacher #test

226 notes · View notes

yellowcorona · 4 years ago

Text

Girls talk - rerulili feat. Hatsune Miku, Kagamine Rin, Megurine Luka, GUMI

Original Romaji:

Kinou no dorama sukoshi namida me；； konbini zen sa meate tachiyomi arie nai! toku mo no kaban no naka kontorekkusu hyaku hachi juu en! obentou tamago to winnaa torikae shuumatsu mada mada tooi yume no kuni houkago hen gao chame toriai yabaku nai? ato de LINE okutte

Teiu ka mousugu tesuto jan maji de!? sekai shi toka maji ki mo kunai? papuanyuu ginia no 'papua' tte nani? nanka sugoi puni puni shite sou ? wakaru ?! nee nee kiita? ni kumi no karette kikoku shijo desho, yabaku naai? tokoro de europe america no doko ni aru no?

Nee shitte ta? kudaranai nichijou no naka yume miru koi no ichidaiji nee sukoshi ira?? toshite mo yurushite ne datte sore ga onnanoko da mon

Tannin suruu sukiru zenkai kanji wa igaito yomeru no yo sumaho ja tokenai houteishiki zenin, hachikou mae shuugou!

Anta no kareshi sokubaku shisugi ? tsuka yaba ku nai? maji chou yabaai demo bosei honnou e gurarerutte iuka atashi no jaga riko tabeta? raigetsu joshi kai doko iku? yakiniku! shabushabu! onsen! okane nai! chotto juuden ki kashite yabba ? i kyou baito datta ?!

Nee mite ta? ki ni naru shisen sagashite koi ni koisuru o toshigoro nee sukoshi uza garami datte waratte ne taai nai koto ga shiawase na no

Nee shitte ta? kudaranai nichijou no naka araburu koi wa tomara nai nee sukoshi ira?? toshite mo gaman shite datte sore ga onnanoko da mon

Tari nai no wa kitto joshi ryoku janai ichi ho fumidasu yuuki da yo kira kira shiteru hontou mo uso demo kashimashii kono hibi wa tsuzuite ku

English Translation:

Yesterday's drama got me a little teary-eyed；； and in the convenience store, I strolled through with some money on hand, and I couldn't believe my eyes! In one aisle, I found a cutout tote bag, with a Contrex bottle, only 180 Yen! So in my bento, I substituted eggs with sausage... I still dream of a weekend in a distant country… After school, we copied each others funny faces, is that so bad? I'll send a LINE to you later.

I think we have a test coming up soon. Seriously!? Have you been studying your world history really hard? In Papua Guinea, what does "Papua" mean? This thing over here is really squishy and cool! Check it out-! Hey hey, have you heard? He replied me back in only two texts, is that bad? By the way, where can I get goods from Europe or America?

Hey, did you know? Even in this quirky life of mine, I still love to dream big. Hey, can't I be forgiven☆ even a little bit, because after all, I'm still just a girl.

I'll improve my skills in homeroom, because kanji still confuse me to no end. My smartphone can't solve this equation… Now, everyone in front of Hachiko!

Your boyfriend is too invasive- Can you just stay out of it? But he's really awful! It's just my maternal instinct setting in… Can we get someplace to eat? Where shall we host our women's meeting next month? Yakiniku! Sizzling! Hot Springs! So much money~! I need to charge this a bit more… Come on, I used up all my data for today-!

Hey, are you seeing this? Everywhere I look, people my age are falling head over heels in love. Hey, just laugh a little please. So I'm not just a klutz, I'll try to be a little happier.

Hey, did you know? Even though my everyday is silly, I won't stop this turbulent love. Hey, just up with me☆ a little longer… Because I'm still just a girl.

It's still not enough, I'm not a full woman yet. I'll need a bit more courage to take that leap. The sparkling truth is that I can lie, but also that I'll keeping moving on with my life.

Have a nice day- See you again-

#vocaloid #vocasubs #Translation #hatsune miku #kagamine rin #megurine luka #gumi #rerulili

3 notes · View notes

kebudayanacorn · 6 years ago

Text

messeji kita gureato ben8110-san kara da eto nani nani eh, night fall no seichijunrei dekita iina iina watashi mo seichijunrei shitemitai night fall wa nagai aida zen sekai de daihito tsuzuketeiru shousetsu shiriizu zen sekai to(usho shoujo) shousetsu taishou hyakunijuu nen renzoku nyushou sou hakobusu go juu roku roku hassen man bo hakoru chou ogateiru de kishi (kyouhen or hyougen?) shoujo shousetsu ima mo zen sekai no shoujotachi ha kyou tsuzuketeiru no mochiron watashi mo dai dai dai fan

iko yo, seichijunrei no tabi hah mata hajimeta date lotte ikitaindeshou so-sou dakedo, demo sonna kyuu ni futaritomo yoku kangaete, natsu yasumi mo ato isshukan shika ga naindayo m-mmm omoide tsuzukurini choudo ii to omowanai betsu ni, yasumi nanka itsu demo aru jan demo watashi no natsu yasumi ha shounichi kara iroiro na taihen datta shi ne saa lotte, hayaku doko ni iku noka kimete eh, watashi ga kimeru no? datte night fall to ittara lotte jan daitai ii, iku toite no ha lotte deshou itsukae ittemitai natte omottedake nandakedo ii kara ii kara, zen ha isoge ikunakyanai! to iu wake de, seichijunrei no tame night fall no buttai no moderu to nanta bashou erabu koto ni nattendakedo morieru wo shitsukerareta katachi dakara, saishou ha shikata na kutta toiu kanji de erandeieta, watashi mo kizukeba ha juu ni natte nanda datte, ii za seichijunrei to nantara ikitai bashou ga oosugiru damon

de, lotte, iku bashou ha kimata no ooi lotte kikoeteinai mitai, lotte kara shitara erabenai n jainai sugoi ikyoude seichijunrei suru bashou shirebete mimotteiru mitai nandakedo masaka zenbu iku toka iwanai yo ne saa ne

are, akko to sushi, doushita no? o-oo...saki kara, koe kaketetandakedo...sore yori, bashou ha kimatta? un, hitotsume ha night fall no shuujinko bell to arthur ga deatta, stone circle ni kimete yo shikamo, mou sugu purachina no yoake mirareru dai chanzu nano yo purachina no yoake tte hyaku nen ni ichido, stone circle de miru koto ga dekiru kiseki no hi node nano hyak,u nen ni ichido? sugoi mite mitai tada sono stone circle to itte, night fall no fan no aida de ha yuumei nandakedo tadoritsuketa hito ga inakute, maboroshi no seiji tte iwareteiru mitai maboroshi no seiji? sonna tokoro ni atashitachi ga tadoritsukeru no? daijobu, kono jiki no hi node no jikan, ido to keido mo keisan shite bashou ha daitai owaridashita ka hee, sugoi, sasuga lotte chinamini, sono purachina no yoake tte , itsu? sore ga, asatte no yoake nandakedo asatte? ja, ashita ni ha shuppatsu shinai to dame ja so, sou nano seichijunrei suru no asoko dake? uun, mada mada aru yo, sugoku nayandandakedo, nantoka yon juu hakkasho made ni shiborikometa yon juu hachi kasho ! un, hontou ha motto motto ikitai bashou ga attakedo, shibori ni shibotte yon juu hakkasha eh, s-sou, docchi ni shiro purachina no yoake miru nara, higaeri ja muri da yo ne mondai ha soko nano haa, natsu yasumi to ha ie, gaihaku suru nara shinsei shinakuchashinainda yo ne

dame desu yappari nande desu ka atari mae desu yo, anatatachi dake de ryouko da nante , ittai nani wo **shirekasu** yara daijobu desu, atashitachi wo shinjitekudasai shinjiru shinjinai no hanashi ja arimasen, dame na mono ha dame desu anooo.... nandesuka ursula sensei made watashi ga kono kotachiã€€wo insotsu suruã€€to iu koto de, kyoukai shiteitadakenai deshouka ursula sensei ga hai, kikeba asobi ni iku to iu no de ha naku, kako to gendai de no sekai no henka nitsuite no genjijousa to demo iimashouka, seichijunrei to no koto seito no jishiteki no katsudou ha, seito no shourai nitsute kitto yakuã€€mitatsu to omoundesu nfuu, anatatachi to ursula sensei ga isshou ni? nfuu, a-ano, seichijunrei to ittemo, sou desu! seichijunrei nandesu, shinken mokuteki nandesu dakara, onegaishimasu, finneran sensei ii desu yo yatta! arigatou gozaimasu tadashi, asobi de ha nai to iu nara, seichijunrei no repooto, natsu yasumi yake ni teishutsu suru koto, wakarimashita ne heee? wakarimashita ne haiii ursulsa sensei mo kuregure mo soto de toraburu wo okasanai you ni ki wo tsuketekudasai yo! ha-hai!

ursula sensei no okage de, seichijunrei ni ikeru you ni nattandakedo, ano ato ursulsa sensei ni shoujiki ni watashitachi ga night fall no seichijunrei ni iku koto wo uchiaketara, odoroiteita dakedo finneran sensei ni ha naishou ni shitekureru mitai tonikaku, anatatachi ha repooto wo teishutsu shite, issai kurereba, daijobu no hazu dakara soshite, watashitachi ha ashita shuppatsu suru tame ni, ***oo wo watete*** seichijunrei no junbi wo suru koto ni nattandakedo,

etoo, keitai to taoru to ha burashi to, aa, kaichuudentou to rajio toka motta hou gai ii, ame ga furu kamoshirenai kara, kasa to amakapa to, ato ha nantoitemo umeboshi! akko, sonna ni nimotsu iranai to omou kedo demo, ryouko saki de nani ga okuru ka wakanai jan! kiken na bouken ni naru kamo engi demo nai koto iwanaide yo ha! sou sou shiny roddo motteikanakucha! haa...sucy ha mou junbi dekita no? junbi mou nanimo, motteiku mono nante nai kai, atashi ha kinoku ga sagasereba sore de ii. moshikashite, tebura deã€€iku tsumori? houki kuraiã€€ha motteiku kedo ne ara akko~ mizukuri nan ga shite, toutou taigaku kashira yatto jibun no sainou no nasa wo jikaku shita no kamoshiremasen wa hannah to barbara...chotto, nani katteni miteru no sa heya no doa wo akete sawaideiru kara, chouishi ni iketa dake yo sou sou, shizuka na rizooto modottekite souzou, urusakute kanaaimasen wa nfuunda, atashitachi datte, ashita kara seichijunrei ni ikundakara seichijunrei? sou! night fall ni toujou suru yuumei na bashou mitemo aru no night fal tte? ano kudaranai gakki muke shousetsu no? (<-- "Night Fall? You mean that dumb, worthless book for kids?" Right in Barb's heart, Hannah) ashita? moshikashite, purachina no yoake? sou, sore! hyakunen ni ichido shika mirarenai dakara! ii dehsou! sonna no urayamashiku mono nanto mo nai kimatteiru janai, ne Barbara e-ee! s-sou desu wa!

soshite, seichijunrei ni shuppatu suru toujitsu ursula sensei to no shuugou bashou de aru, luna nova no seimon chikaku ni ittemiteiru to

waa! kore ursula sensei no kuruma desu ka? masaka, rent-a-car yo *burp* ursula sensei tte, kuruma unten dekirundesune eh? e-ee...mochiron! tabun, daijobu, menkyou ha motteimasu kore ha peipa duriba da ne haha..ha-hahaha, saa minna, hayaku nimotsu wo tsunjatte, shuppatsu suru wa yo! oo! yoshi! doki doki no waku waku!

jissai, ursula sensei no unten ha doki doki shipanashi datta, waku waku shinakatta kedo, tokuni luna nova wo tatte sugu ley line wo ****** hashitteiru saijunen toshita toki ha *****, doushio ka to omoutta

hah? ara? arararara? sensei, mata ensuto? heh, okashii wa ne, koushou shiteita tokoro ha shufuku mahou de naoshita hazu nanoni ano, ursula sensei, kono meetaa de, gasoriin meetaa ne eh? e-ee. hah! moshikashite gasuketsu kashira tabun chikaku ni gasoriin sutando nante nai ha yo ne, ah, choutto houki ni notte, gasoriin wo kattekuru kara, anatatachi ha koko ni mattete heee? maji de? tia fureire isu houki de mukatta hou ga hayainjanai mashouseki no maryoku ja katamichi mo motanai kara, shikata nai yo demo, konna choushi de, tadoritsukeru no? d-daijobu da yo, kitto saisho ni iku stone circle tte mada mada touindakke mm, futsuu ni ikeba yuugata made niha tsuku to omou kedo maa, ashita no you wake made ni tadoritsukereba iindashi, rakusho rakusho

nande taikousha mo hotondo konai, konna inakamichiã€€gasoriin sunno, imi wakanai chotto sucy, sapooto denaide, isshouni kuruma oshite yo haaa kshou, ursula sensei, accel fundekudasai wakatta wa, onegai nnggghhh

haa, yoyaku unten saikai desune gomenasai sensei kiã€€niã€€shinaide, ah demo, michi no hashi wo hashiru no ha yameta hou gai ii kamo desune u-un, ki wo tsukeru wa jikan ha daijobu nano? kono mama junchou ni ikeba, yoru made niha tsuku to omou kedo junchou ni ikeba ni? h-haha sore yori, onaka sukanai? ursula sensei, o-hiru ha dou surundesuka? kono hen, o-mise toka nasasou desu kedo o-hiru nara, younin-san ni tsukutta moratta sandwichi ga aru wa yo yatta! kono kaban no naka desu ka? eetoo, hmmm...geh. potato sarada no sandwichi?

to yappari, saki no michi wo magarani to ikenakattanjanai desuka chizu datto, kono mama massugu ni itta hou ga chikai mitai dakedo ursula sensei, kono saki, ikidomari mitai desu Heeeh? demo, chizu niha chanto... are? kono chizu juunen ijou mae ni hatsubai sareta yatsu janai? h-ha-hahahaha... ima doki ***ka namida or kanami** ga tsuiteinai toka

daibu kurakunattekita, kono hen gaitou nai kara, yoru niha makkura ni naru kamo ursula sensei, kono kuruma, raito ga tsukimasu yo ne...? a-atari mae janai, etoo, kore kashira? sensei, burinka ga deteteimasu a-ara, sensei, wipaa ga ugoiteimasu k-kondo koso! hora, tsuita! nanka tenmetsu shiteiru kedo, kore kichaunjanai. somosomo yoru ni nachattara, tadoritsukeinainjanai i-isogimashou!

kekkyoku, yoru ni nattemo, watashitachi ha stone circle ni tadoritsuku koto ha dekinakatta, sore dokoro ka, makkura ni natte, michi ni mayotteshimatta sei de, jibun tachi ga ima doko ni iru no kassai ka wakaranakunatteta kono mama deha, purachina no yoake wo miru koto ha dekinai kamo... sonna fuu ni akiramekaketa tokoro de, watashi tachi ha minka no akari wo mistuketa no

yabun osokuni sumimasen, michi wo ***dazude***ã€€shitai no desuga konna tokoro ni sundeiru no tte, donna hito nandarou kitto otoko dane, ayashii kamen kabutteite, chin sou to omotteiru kamo~ s-sucy, kowai koto to iwanaide yo maa, konna jikan ni dare ga kita to omottara, ima doki majou no kyaku-san nante, mezurashii wa ne... aa, sumimasen, watashi, kyoushi wo shiteiru, ursula to moushimasuga hai hai, soto ja nandakara, tsuzuki ha naka de kikimashou ka ne,

sumimasen, konna toki ni ojama shita no ue ni, gochisoushiteitadaiteshimatte betsuni ki ni shinaide, sore yori mo, okuchi ni au to ii kedo oishii desu, mmm! mou saikou! konna ni oishii ryouri tabeta o-hisashiburi kono saute sareta kinoko, masaka no porcini totemo oishii desu, arigatou gozaimasu nfufufu, kou yatte hito ni tabetemorau no tte nan nen buri kashira, sore ni shitemo, majou nante zuibun hisashiburi, anata tachi Luna Nova? sore tomo betsu no gakkou? majou nano yo ne hai! sou desu! genki na majou-san ne~ saikin ha mukashi old majou ga inai kara, nandaga natsukashii wa kono kotachi ha, mada mada benkyouchuu nandesukeredo aa sou, demo kono joushi nara kitto ripa na majou ni naru wa ne un! atashi ha, sekaijuu no hito ni egau wo saseru majou ni narunda, obaa-san! miru miyaru no kora, Akko! nfufufu, sou, tanoshimi ni shiteiru wa. demo, doushite majou ga yonin mo sorotte konai naka ni kita no? atashi tachi, seichijunrei ni kittandesu seichijunrei? ano, night fall tteiu shousetsu no moderu to natta bashou megutteirundesu, mada ikkasho mo megutteimasenkedo night fall? moshikashite, stone circle wo minikita no? s-shitteirundesuka? ha, moshikashite.. un, watashi mo night fall ga suki nano, dakara koso kono hen na tokoro ni kurashiteiru no yo watashi mo, night fall ga suki nandesu sou, koko made tadoritsuketa fan nante, nan nen buri kashira, watashi ga yondeita koro shiirizu ha yowake no datenshi hen ga hajimatta bakari datta kedo yowake no datenshi...? sore kanari mukashi no ban ga hen desu yo ne araa kuwashii, anata hontouni night fall ga suki nano ne ee, daisuki nandesu moshikashite, kono chikaku ni stone circle ga aru no? mochiron, me to hana no saki yo, datte, anata tachi mo sono tame ni kitandeshou atashi tachi maigo ni nachattate desu ara ara, maigo no majou-san dato no sumimasen, kyoushi ga tsuiteinagara yuugata niha tsuiteiru yotei datta kedo uu.. demo, koko made tadoritsuketa nara, unmei kamoshirenai wa ne unmei, desuka? ee, night fall fan demo, stone circle no bashou waridashite, koko made kuru hito ha hon no hito nigiri nano yo, shikamo, purachina no yoake no timingu de kuru nante, anata no night fall enai jou ga, tsuujita kamoshirenai wa ne lotte, sugoi! wa-watashi, sonna... haa, demo, purachina no yoake wo miru nara, soro soro mukatta hou ga ii kashira heh? mada yowake made jikan ga arunja? koko kara stone circle madeha kuruma no toranai michi dakara aruite ni jikan ijou kakaru ha yo geh, sonna ni?? maji ka. houki de tondeikeba, sonna ni kakaranai to omou kedo mukashi to chigatte, ima ha madoseki ga chikaku ni nai to, houki de tobu koto mo mama naranai mo ne aruiteikimasu! Bell to Edgar mo aruita michi dakara, atashi mo aruitemitai sorede koso, night fall fan ne! eheh, souieba, obaasan ha purachina no yoake mi ni ikanaindesuka? atashi ha mae ni mita koto ga aru kara mae ni mita tte? heh? purachina no yoake tte hyakunen ichido nandesu yo ne nfufufufu, atashi tte, yoku mita me yori wakai tte iwareru no yo ne heeeeh?

obaasan no okage de, watashi tachi ha you ga akeru mae ni, stone circle ni tadoritsuu koto ga deki ta no, luna nova wo shuppatsu shite kara, iro iro atte, tsukareteita node, kami wo toru koto ni natta kedo, watashi ha kekkyoku koufun shite nemuru koto ga dekinakatta datte, night fall dai ikka no hyouji no moderu to natta, stone circle ga m e no mae ni arundamon, nemureru wake ga nai yo

akko, soro soro okite, *snore* mnnn, atashi ni makasete sucy, nani wo- ngyaaaa, ooohhhohohuhu, hora okita n-nani shita no...? chotto sucy, sore yamete tte itta deshou akko ga okinai kara waruindeshou dakara tte... hora, mou sugu yoake yo heh, mou!? ee, mite, hinode yo, haah, sugoi sugoi, kore ga purachina no yoake nanda! sucy, mitemanai yo kiii, akko tama niha damate, lotte wo hiataraseteagenai yo eh?, ooh, sokka, yokatta ne, Lotte waa, konna yoake nanoka, bell to edgar ha de attanda, suteki...

buji, purachina no yoake wo miru koto ga dekita watashi tachi ha kuruma wo kasetemoratteiru obaasan no ie to dou iu koto ni shita no aratamete, obaasan niha o-rei wo ittakatta shi, dekireba, nightfall nitsuitemo takusan kataritakattandakedo, naze ka obaasan no sugata ga nakatta no

akko, ita? uun, obaasan doko nimo inai, doko ittandarou? yuurei dattanjanai yamete wo, sucy~ sanpo nidemo itteiru kana sou iu wake janai mitai yo sensei, sore ha? tabun, ano obaasan ga nokoshita kyouki da to omou kedo nante kaitearundesuka? etoo...

" purachina no yoake ha, chanto mirareta kashira? tada no yoake janai ka to, kakari shiteinai to ii kedo, mijikai jikan datta keredo, hisashiburi ni tanoshi jikan ga ***sugo seta*** wa, mata kikai ga attara, night fall nitsuite hanashimashou. sono toki ni anata tachi ga dou na majou ni natteiru ka, tanoshimi ni shiteiru wa "

" tsuishin: horologium no noroyo doitekurete arigatou ", haa..? heh? Horologium tte, doushita ano obaasan ga- mite akko, ie ga kieteku nani kore... nan nano? kanzen ni ie ga kiechatta, moshikashite atashi tachi, kitsune tanuki baka sareteita!? masaka, mahou? da to sureba, ano obaasan ha majou...

to yu wake de, night fall no seichijunrei ha omoi mo yoranai dekigoto de, makuoro sono kata **** datte, yotenshi deta seichijunrei no bashou ha yonjuuhakkasho mo aru noni, mada ikkasho shika ittenai kieta obaasan no nazo toka ki ni naru koto ha atta kedo, toriaezu, watashi tachi ha saisho no yotei doori night fall no seichijunrei wo zoko suru koto ni shita no kyuuketsuki no Edgar ga Bell wo tsuku tame ni tobinotta gaido sagashitari, Edgar no giri no onee-san ga nyuuin shiteita byouin no byoushitsu wo tazou nettari, ki ga tsuita ookami otoko no asa ga toaretari, ashi wo shitani ittemitari, asa wo hitsuyou no kaneudo hanata yaresasatta ooku no ki ni sawattari, bell no hi no obaasan no akakari shikoro ni baai to shiteita kao wo shashitari aa, sou sou, seichijunrei no saki de, omona deai dakke... tonikaku, kakenukeru you ni seiji wo meguri, nantoka yotei shiteita yonjuuhakkashachuu, sanjuurokkasho seiji wo junrei suru koto ga dekita na tada, sono sei de luna nova ni kaete korareta noha, mayou naka ni nachatta

Ursula-sensei! anata ga tsuiteinagara, kono you na osoi jikan ni modotekuru to ha, dou iu koto desuka? kore niha iro iro to jijou ga arimashite.... ii wake ga kikimasen! ursula-sensei, anata ha sonna koto dakara, itsumade tattemo kyoushi toshite no kanroku ga! haah, hontou, sumimasen...

(daitai anata niha kono dentou noha Luna Nova kyoushi toshite, jikaku ga atari mae desuyo (hai) ii desuka, Ursula sensei (haah), kiri sou iu mono mamoru tame ni aru no desu, sore wo mamorete koso jishin wo umare, sou suru kin wo mamoru seki nin kan -- seito tachi ichi ni mae ni wo sodateru tame ni ha mazu kyoushi dearu motto shikkarishinakerba komarimasu!) itsumo made tsuzuku no, kore? haa, sassato heya ni modotte netai yo akko wo kaeri kurumade zutto ibiki kaite miteta ja hehe, sasuga ni chotto tsukareta ne chotto? lotte tte, igai ni tairyoku arunda? s-sou ka na watashi ha mou heto heto, fuaaah Miss Kagari! watashi ha ursula sensei dake ni hanasu tteiu wake deha arimasen yo, chanto hanashi wo kiiteimasu ka!? h-hai, kiiteimasu!

seichijunrei deha sore hodo tsukare wo kanji ga nakatta watashi mo, finnelan sensei no sekkyou de tsukarateshimatte, saigo no hou ha yoku oboeteinai kekkyoku, watashi tachi no nokori no natsuyasumi ha gaishutsu kinshi to iu koto ni natteshimatta no

Yo, akko! hm? nani shitenda? natsuyasumi no shukudai ka? uun, seichijunrei no repooto ooh, souieba, doudattanda, seichijunrei? mou shibaraku wo ii yo, seichijunrei ha hee? mata ikitai! tsugi ha fuyu yasumi demo ooaa, fuyu yasumi ha atashi kiseã€€shiteiru kamo atashi mo jikken de isogashii kara ittai, nani ga attanda..? iro iro atta no...de, amanda ha? shukudai yatta no? ooa, chanto jasna no shukudai wo utsu sasetemoratta kara, bacchiri da ze sore, chanto tte iwanai to omou kedo **koumake** koto ha ki ni sun na tte, ahahaha maa, ii kedo, sorede jasminka to constanze ha? oo, jasminka ha hirunechuu, conz ha stanbot no tairyouseisan to iteta kana stanbot no tairyouseisan? un, stanbot no joushi ni shite, nanka dekee mon tsukuru mitai da ze heee, nani tsukurundarou wa saa na, atashi mo soko madeha shiranee kedo...sonna koto yori, akko, konban aiteiru ka? konban? maa, seichijunrei no repooto kakiagatara daijoubu dakedo nara, natsuyasumi saigo ni kurabu de paaa to ikou ze, all-night de party yaru rashikute saa heee, party nante arunda ! akko, dame da yo, atashi tachi natsu yasumi no owari made gaishutsu kinshi nandakara, ooo, souieba sou dakke sounano, barenakya daijoubu da yo ara, ochikobore rashii hanashi ga kikoeta to omottara, yappari ochikobore no futari ne rui ha tomo wo yobu to iimasunga, hontou deshita no ne, ohohohohohoho hontou kore ijou, ochikobore wo fuyasanaidehoshii wa ne, uhahahahahaha nanda yo, temera, ikinari..! chotto, gatte ni hito no heya ni haitekunaide yo watashi tachi ha finnelan ni iwarete, seichijunrei no repooto wo kaiteiruka mi ni ikita dake desuwa waza waza ha iwarenakutemo kaete iu te (hee, hontou ni kaiten noka?) hontou ni hontou ni hontou ni kaiteiru datte! (hora, misetemiro yo) (haah, barbara, sonna koto wo tanomareta? ) (eh? a-aa...s-souieba, purachina no yoake ha d-doudatta kashira..) ara, zuibun nigiyaka ne aah? ursula sensei, doushitandesuka? iie, finnelan sensei ni akko tachi ga repooto wo chanto kaiteiru ka douka kakunin suru you ni iwarete, mi ni kitandakedo ursula sensei mo? shinyou zero da ne aha-hahaha...

nantoka seichijunrei no repooto ha kakiageru koto ha dekita kara, ato ha, ashita, finnelan sensei ni teishutsu suru dake repooto wo yonda finnelan sensei no hanou ga sukoshi kowai kedo, fukaku kangae nai you ni shiyou, sou kangeta toki... ah, gureato ben8110 san kara meseiji da! " Kono mae ha bikkuri shimashita. " tte, tashikani are ha watashi mo bikkuri shita naa.. seichijunrei de gureato ben no moderu to natta tokeidai nitsuite toki, gureato ben8110 san battari attanda yo ne mochiron, gureato ben8110 san ha gureato ben no kosupurei shiteta kara, hitomi mite wakatta. watashi ha koufun, tsui gureato ben8110 san ni daketsuiteshimattandakedo, ima kangaeru to sukoshi hazukashii are? shashin ga tenpu sareteiru...oh, sugoi! biichi demo gureato ben no kosupurei shiteiru! sasuga gureato ben8110 san, sujigane iri da naa ee-to, kikai ga areba - kondo - isshou ni seichijunrei ni ikimashou - **netto/retto** haa, kotoshi no natsuyasumi ha hontou ni moridakusan datta naa nandaka, akko ni furiã€€masaretebakari datta ki ga suru, huhu, demo kekkyoku watashi mo sucy mo tanoshindeiru dayo ne ashita kara no shingakki ni mo tabun akko ha furi masarerundarou kedo, demo, kitto,

heh, oyasuminasai, mata ashita ne

0 notes

itjapanacademy · 7 years ago

Text

Tổng hợp 1000 chữ kanji thông dụng nhất

Dưới đây là 1000 chữ kanji thông dụng nhất nó được sử dụng nhiều trong các bài thi năng lực tiếng Nhật, sách, báo và các bài báo sẽ là tài nguyên tốt nhất để bạn học Kanji

Kanji Âm Hán Việt Nghĩa / Từ ghép On-reading

1 日 nhật mặt trời, ngày, nhật thực, nhật báo nichi, jitsu 2 一 nhất một, đồng nhất, nhất định ichi, itsu 3 国 quốc nước, quốc gia, quốc ca koku 4 十 thập mười juu, jiQ 5 大 đại to lớn, đại dương, đại lục dai, tai 6 会 hội hội họp, đại hội kai, e 7 人 nhân nhân vật jin, nin 8 年 niên năm, niên đại nen 9 二 nhị 2 ni 10 本 bản sách, cơ bản, nguyên bản, bản chất hon 11 三 tam 3 san 12 中 trung trung tâm, trung gian, trung ương chuu 13 長 trường, trưởng trường giang, sở trường; hiệu trưởng choo 14 出 xuất xuất hiện, xuất phát shutsu, sui 15 政 chính chính phủ, chính sách, hành chính sei, shoo 16 五 ngũ 5 go 17 自 tự tự do, tự kỉ, tự thân ji, shi 18 事 sự sự việc ji, zu 19 者 giả học giả, tác giả sha 20 社 xã xã hội, công xã, hợp tác xã sha 21 月 nguyệt mặt trăng, tháng, nguyệt san, nguyệt thực getsu, gatsu 22 四 tứ 4 shi 23 分 phân phân số, phân chia bun, fun, bu 24 時 thời thời gian ji 25 合 hợp thích hợp, hội họp, hợp lí goo, gaQ, kaQ 26 同 đồng đồng nhất, tương đồng doo 27 九 cửu 9 kyuu, ku 28 上 thượng thượng tầng, thượng đẳng joo, shoo 29 行 hành, hàng thực hành, lữ hành; ngân hàng koo, gyoo, an 30 民 dân quốc dân, dân tộc min 31 前 tiền trước, tiền sử, tiền chiến, mặt tiền zen 32 業 nghiệp nghề nghiệp, công nghiệp, sự nghiệp gyoo, goo 33 生 sinh sinh sống, sinh sản sei, shoo 34 議 nghị nghị luận, nghị sự gi 35 後 hậu sau, hậu quả, hậu sự go, koo 36 新 tân mới, cách tân, tân thời shin 37 部 bộ bộ môn, bộ phận bu 38 見 kiến ý kiến ken 39 東 đông phía đông too 40 間 gian trung gian, không gian kan, ken 41 地 địa thổ địa, địa đạo chi, ji 42 的 đích mục đích, đích thực teki 43 場 trường hội trường, quảng trường joo 44 八 bát 8 hachi 45 入 nhập nhập cảnh, nhập môn, nhập viện nyuu 46 方 phương phương hướng, phương pháp hoo 47 六 lục 6 roku 48 市 thị thành thị, thị trường shi 49 発 phát xuất phát, phát kiến, phát hiện, phát ngôn hatsu, hotsu 50 員 viên thành viên, nhân viên in 51 対 đối đối diện, phản đối, đối với tai, tsui 52 金 kim hoàng kim, kim ngân kin, kon 53 子 tử tử tôn, phần tử, phân tử, nguyên tử shi, su 54 内 nội nội thành, nội bộ nai, dai 55 定 định thiết định, quyết định, định mệnh tei, joo 56 学 học học sinh, học thuyết gaku 57 高 cao cao đẳng, cao thượng koo 58 手 thủ tay, thủ đoạn shu 59 円 viên viên mãn, tiền Yên en 60 立 lập thiết lập, tự lập ritsu, ryuu 61 回 hồi vu hồi, chương hồi kai, e 62 連 liên liên tục, liên lạc ren 63 選 tuyển tuyển chọn sen 64 田 điền điền viên, tá điền den 65 七 thất 7 shichi 66 代 đại đại biểu, thời đại, đại diện, đại thế dai, tai 67 力 lực sức lực ryoku, riki 68 今 kim đương kim, kim nhật kon, kin 69 米 mễ gạo bei, mai 70 百 bách trăm, bách niên hyaku 71 相 tương, tướng tương hỗ, tương tự, tương đương; thủ tướng soo, shoo 72 関 quan hải quan, quan hệ kan 73 明 minh quang minh, minh tinh mei, myoo 74 開 khai khai mạc, khai giảng kai 75 京 kinh kinh đô, kinh thành kyoo, kei 76 問 vấn vấn đáp, chất vấn, vấn đề mon 77 体 thể hình thể, thân thể, thể thao tai, tei 78 �� thực sự thực, chân thực jitsu 79 決 quyết quyết định ketsu 80 主 chủ chủ yếu, chủ nhân shu, su 81 動 động hoạt động, chuyển động doo 82 表 biểu biểu hiện, bảng biểu, biểu diễn hyoo 83 目 mục mắt, hạng mục, mục lục moku, boku 84 通 thông thông qua, thông hành, phổ thông tsuu, tsu 85 化 hóa biến hóa ka, ke 86 治 trị cai trị, trị an, trị bệnh chi, ji 87 全 toàn toàn bộ zen 88 度 độ mức độ, quá độ, độ lượng do, to, taku 89 当 đương, đáng chính đáng; đương thời, tương đương too 90 理 lí lí do, lí luận, nguyên lí ri 91 山 sơn núi, sơn hà san 92 小 tiểu nhỏ, ít shoo 93 経 kinh kinh tế, sách kinh, kinh độ kei, kyoo 94 制 chế chế ngự, thể chế, chế độ sei 95 法 pháp pháp luật, phương pháp hoo, haQ, hoQ 96 下 hạ dưới, hạ đẳng ka, ge 97 千 thiên nghìn, nhiều, thiên lí sen 98 万 vạn vạn, nhiều, vạn vật man, ban 99 約 ước lời hứa (ước nguyện), ước tính yaku 100 戦 chiến chiến tranh, chiến đấu sen 101 外 ngoại ngoài, ngoại thành, ngoại đạo gai, ge 102 最 tối nhất (tối cao, tối đa) sai 103 調 điều, điệu điều tra, điều hòa; thanh điệu, giai điệu choo 104 野 dã cánh đồng, hoang dã, thôn dã ya 105 現 hiện xuất hiện, hiện tại, hiện tượng, hiện hình gen 106 不 bất bất công, bất bình đẳng, bất tài fu, bu 107 公 công công cộng, công thức, công tước koo 108 気 khí không khí, khí chất, khí khái, khí phách ki, ke 109 勝 thắng thắng lợi, thắng cảnh shoo 110 家 gia gia đình, chuyên gia ka, ke 111 取 thủ lấy, nhận shu 112 意 ý ý nghĩa, ý thức, ý kiến, chú ý I 113 作 tác tác phẩm, công tác, canh tác saku, sa 114 川 xuyên sông sen 115 要 yêu, yếu yêu cầu; chủ yếu yoo 116 用 dụng sử dụng, dụng cụ, công dụng yoo 117 権 quyền chính quyền, quyền uy, quyền lợi ken, gon 118 性 tính tính dục, giới tính, bản tính, tính chất sei, shoo 119 言 ngôn ngôn ngữ, ngôn luận, phát ngôn gen, gon 120 氏 thị họ shi 121 務 vụ chức vụ, nhiệm vụ mu 122 所 sở trụ sở sho 123 話 thoại nói chuyện, đối thoại, giai thoại wa 124 期 kì thời kì, kì hạn ki, go 125 機 cơ cơ khí, thời cơ, phi cơ ki 126 成 thành thành tựu, hoàn thành, trở thành sei, joo 127 題 đề đề tài, đề mục, chủ đề dai 128 来 lai đến, tương lai, vị lai rai 129 総 tổng tổng số, tổng cộng soo 130 産 sản sản xuất, sinh sản, cộng sản san 131 首 thủ đầu, cổ, thủ tướng shu 132 強 cường, cưỡng cường quốc; miễn cưỡng kyoo, goo 133 県 huyện huyện, tỉnh ken 134 数 số số lượng suu, su 135 協 hiệp hiệp lực kyoo 136 思 tư nghĩ, suy tư, tư tưởng, tư duy shi 137 設 thiết thiết lập, kiến thiết setsu 138 保 bảo bảo trì, bảo vệ, đảm bảo ho 139 持 trì cầm, duy trì ji 140 区 khu khu vực, địa khu ku 141 改 cải cải cách, cải chính kai 142 以 dĩ dĩ tiền, dĩ vãng I 143 道 đạo đạo lộ, đạo đức, đạo lí doo, too 144 都 đô đô thị, đô thành to, tsu 145 和 hòa hòa bình, tổng hòa, điều hòa wa, o 146 受 thụ nhận, tiếp thụ ju 147 安 an an bình, an ổn an 148 加 gia tăng gia, gia giảm ka 149 続 tục tiếp tục zoku 150 点 điểm điểm số, điểm hỏa ten 151 進 tiến thăng tiến, tiền tiến, tiến lên shin 152 平 bình hòa bình, bình đẳng, trung bình, bình thường hei, byoo 153 教 giáo giáo dục, giáo viên kyoo 154 正 chính chính đáng, chính nghĩa, chân chính sei, shoo 155 原 nguyên thảo nguyên, nguyên tử, nguyên tắc gen 156 支 chi chi nhánh, chi trì (ủng hộ) shi 157 多 đa đa số ta 158 世 thế thế giới, thế gian, thế sự sei, se 159 組 tổ tổ hợp, tổ chức so 160 界 giới thế giới, giới hạn, địa giới kai 161 挙 cử tuyển cử, cử động, cử hành kyo 162 記 kí thư kí, kí sự, kí ức ki 163 報 báo báo cáo, báo thù, báo đáp hoo 164 書 thư thư đạo, thư tịch, thư kí sho 165 心 tâm tâm lí, nội tâm shin 166 文 văn văn chương, văn học bun, mon 167 北 bắc phương bắc hoku 168 名 danh danh tính, địa danh mei, myoo 169 指 chỉ chỉ định, chỉ số shi 170 委 ủy ủy viên, ủy ban, ủy thác I 171 資 tư tư bản, đầu tư, tư cách shi 172 初 sơ sơ cấp sho 173 女 nữ phụ nữ jo, nyo, nyoo 174 院 viện học viện, y viện in 175 共 cộng tổng cộng, cộng sản, công cộng kyoo 176 元 nguyên gốc gen, gan 177 海 hải hải cảng, hải phận kai 178 近 cận thân cận, cận thị, cận cảnh kin 179 第 đệ đệ nhất, đệ nhị dai 180 売 mại thương mại bai 181 島 đảo hải đảo too 182 先 tiên tiên sinh, tiên tiến sen 183 統 thống thống nhất, tổng thống, thống trị too 184 電 điện phát điện, điện lực den 185 物 vật động vật butsu, motsu 186 済 tế kinh tế, cứu tế sai 187 官 quan quan lại kan 188 水 thủy thủy điện sui 189 投 đầu đầu tư, đầu cơ too 190 向 hướng hướng thượng, phương hướng koo 191 派 phái trường phái ha 192 信 tín uy tín, tín thác, thư tín shin 193 結 kết đoàn kết, kết thúc ketsu 194 重 trọng, trùng trọng lượng; trùng phùng juu, choo 195 団 đoàn đoàn kết, đoàn đội dan, ton 196 税 thuế thuế vụ zei 197 予 dự dự đoán, dự báo yo 198 判 phán phán quyết, phán đoán han, ban 199 活 hoạt hoạt động, sinh hoạt katsu 200 考 khảo khảo sát, tư khảo koo 201 午 ngọ chính ngọ go 202 工 công công tác, công nhân koo, ku 203 省 tỉnh tỉnh lược, phản tỉnh, hồi tỉnh sei, shoo 204 知 tri tri thức, tri giác chi 205 画 họa, hoạch họa sĩ; kế hoạch ga, kaku 206 引 dẫn dẫn hỏa in 207 局 cục cục diện, cục kế hoạch kyoku 208 打 đả đả kích, ẩu đả da 209 反 phản phản loạn, phản đối han, hon, tan 210 交 giao giao hảo, giao hoán koo 211 品 phẩm sản phẩm hin 212 解 giải giải quyết, giải thể, giải thích kai, ge 213 査 tra điều tra sa 214 任 nhiệm trách nhiệm, nhiệm vụ nin 215 策 sách đối sách saku 216 込 <vào> – 217 領 lĩnh, lãnh thống lĩnh, lãnh thổ, lĩnh vực ryoo 218 利 lợi phúc lợi, lợi ích ri 219 次 thứ thứ nam, thứ nữ ji, shi 220 際 tế quốc tế sai 221 集 tập tập hợp, tụ tập shuu 222 面 diện phản diện, chính diện men 223 得 đắc đắc lợi, cầu bất đắc toku 224 減 giảm gia giảm, giảm gen 225 側 trắc bên cạnh soku 226 村 thôn thôn xã, thôn làng son 227 計 kê, kế thống kê; kế hoạch, kế toán kei 228 変 biến biến đổi, biến thiên hen 229 革 cách da thuộc, cách mạng kaku 230 論 luận lí luận, ngôn luận, thảo luận ron 231 別 biệt biệt li, đặc biệt, tạm biệt betsu 232 使 sử, sứ sử dụng; sứ giả, thiên sứ shi 233 告 cáo báo cáo, thông cáo koku 234 直 trực trực tiếp, chính trực choku, jiki 235 朝 triều buổi sáng, triều đình choo 236 広 quảng quảng trường, quảng đại koo 237 企 xí xí nghiệp, xí hoạch ki 238 認 nhận xác nhận, nhận thức nin 239 億 ức trăm triệu oku 240 切 thiết cắt, thiết thực, thân thiết setsu, sai 241 求 cầu yêu cầu, mưu cầu kyuu 242 件 kiện điều kiện, sự kiện, bưu kiện ken 243 増 tăng tăng gia, tăng tốc zoo 244 半 bán bán cầu, bán nguyệt han 245 感 cảm cảm giác, cảm xúc, cảm tình kan 246 車 xa xe cộ, xa lộ sha 247 校 hiệu trường học koo 248 西 tây phương tây sei, sai 249 歳 tuế tuổi, năm, tuế nguyệt sai, sei 250 示 thị biểu thị ji, shi 251 建 kiến kiến thiết, kiến tạo ken, kon 252 価 giá giá cả, vô giá, giá trị ka 253 付 phụ phụ thuộc, phụ lục fu 254 勢 thế tư thế, thế lực sei 255 男 nam đàn ông, nam giới dan, nan 256 在 tại tồn tại, thực tại zai 257 情 tình tình cảm, tình thế joo, sei 258 始 thủy ban đầu, khai thủy, nguyên thủy shi 259 台 đài lâu đài, đài dai, tai 260 聞 văn nghe, tân văn (báo) bun, mon 261 基 cơ cơ sở, cơ bản ki 262 各 các các, mỗi kaku 263 参 tham tham chiếu, tham quan, tham khảo san 264 費 phí học phí, lộ phí, chi phí hi 265 木 mộc cây, gỗ boku, moku 266 演 diễn diễn viên, biểu diễn, diễn giả en 267 無 vô hư vô, vô ý nghĩa mu, bu 268 放 phóng giải phóng, phóng hỏa, phóng lao hoo 269 昨 tạc <hôm> qua, <năm> qua.. saku 270 特 đặc đặc biệt, đặc công toku 271 運 vận vận chuyển, vận mệnh un 272 係 hệ quan hệ, hệ số kei 273 住 trú, trụ cư trú; trụ sở juu 274 敗 bại thất bại hai 275 位 vị vị trí, tước vị, đơn vị I 276 私 tư tư nhân, công tư, tư lợi shi 277 役 dịch chức vụ, nô dịch eki, yaku 278 果 quả hoa quả, thành quả, kết quả ka 279 軍 quân quân đội, quân sự gun 280 井 tỉnh giếng sei, shoo 281 格 cách tư cách, cách thức, sở hữu cách kaku, koo 282 料 liệu nguyên liệu, tài liệu, nhiên liệu ryoo 283 語 ngữ ngôn ngữ, từ ngữ go 284 職 chức chức vụ, từ chức shoku 285 終 chung chung kết, chung liễu shuu 286 宮 cung cung điện kyuu, guu, ku 287 検 kiểm kiểm tra ken 288 死 tử tử thi, tự tử shi 289 必 tất tất nhiên, tất yếu hitsu 290 式 thức hình thức, phương thức, công thức shiki 291 少 thiếu, thiểu thiếu niên; thiểu số shoo 292 過 qua, quá thông qua; quá khứ, quá độ ka 293 止 chỉ đình chỉ shi 294 割 cát chia cắt, cát cứ katsu 295 口 khẩu miệng, nhân khẩu, khẩu ngữ koo, ku 296 確 xác chính xác, xác lập, xác suất kaku 297 裁 tài may vá, tài phán, trọng tài sai 298 置 trí bố trí, bài trí, vị trí chi 299 提 đề cung cấp, đề cung tei 300 流 lưu lưu lượng, hạ lưu, lưu hành ryuu, ru 301 能 năng năng lực, tài năng noo 302 有 hữu sở hữu, hữu hạn yuu, u 303 町 đinh khu phố choo 304 沢 trạch đầm lầy taku 305 球 cầu quả cầu, địa cầu kyuu 306 石 thạch đá, thạch anh, bảo thạch seki, shaku, koku 307 義 nghĩa ý nghĩa, nghĩa lí, đạo nghĩa gi 308 由 do tự do, lí do yu, yuu, yui 309 再 tái lại, tái phát sai, sa 310 営 doanh doanh nghiệp, kinh doanh, doanh trại ei 311 両 lưỡng hai, lưỡng quốc ryoo 312 神 thần thần, thần thánh, thần dược shin, jin 313 比 tỉ so sánh, tỉ lệ, tỉ dụ hi 314 容 dung dung mạo, hình dung, nội dung, dung nhận yoo 315 規 quy quy tắc, quy luật ki 316 送 tống tiễn, tống tiễn, tống đạt soo 317 消 tiêu tiêu diệt, tiêu hao, tiêu thất shoo 318 銀 ngân ngân hàng, ngân lượng, kim ngân gin 319 状 trạng tình trạng, trạng thái, cáo trạng joo 320 輸 thâu thâu nhập, thâu xuất yu 321 研 nghiên mài, nghiên cứu ken 322 談 đàm hội đàm, đàm thoại dan 323 説 thuyết tiểu thuyết, học thuyết, lí thuyết setsu, zei 324 常 thường bình thường, thông thường joo 325 応 ứng đáp ứng, ứng đối, phản ứng oo 326 空 không không khí, hư không, hàng không kuu 327 夫 phu trượng phu, phu phụ fu, fuu 328 争 tranh đấu tranh, chiến tranh, tranh luận, cạnh tranh soo 329 身 thân thân thể, thân phận shin 330 優 ưu ưu việt, ưu thế, ưu tiên yuu 331 違 vi vi phạm, tương vi I 332 護 hộ bảo hộ, phòng hộ, hộ vệ go 333 店 điếm cửa hàng, tửu điếm ten 334 土 thổ thổ địa, thổ công do, to 335 率 suất thống suất, xác suất, tỉ lệ suất sotsu, ritsu 336 士 sĩ chiến sĩ, sĩ tử, bác sĩ shi 337 算 toán tính toán, kế toán, toán học san 338 育 dục giáo dục, dưỡng dục iku 339 配 phối phân phối, chi phối, phối ngẫu hai 340 術 thuật kĩ thuật, học thuật, nghệ thuật jutsu 341 商 thương thương mại, thương số shoo 342 収 thu thu nhập, thu nhận, thu hoạch shuu 343 武 vũ vũ trang, vũ lực bu, mu 344 州 châu tỉnh, bang, châu lục shuu 345 導 đạo dẫn đường, chỉ đạo doo 346 農 nông nông nghiệp, nông thôn, nông dân noo 347 構 cấu cấu tạo, cấu thành, cơ cấu koo 348 疑 nghi nghi ngờ, nghi vấn, tình nghi gi 349 残 tàn tàn dư, tàn tích, tàn đảng zan 350 与 dữ, dự cấp dữ, tham dự yo 351 足 túc chân, bổ túc, sung túc soku 352 何 hà cái gì, hà cớ ka 353 断 đoạn, đoán phán đoán, đoạn tuyệt dan 354 真 chân chân lí, chân thực shin 355 転 chuyển chuyển động ten 356 楽 lạc, nhạc an lạc, lạc thú, âm nhạc gaku, raku 357 施 thi thực thi, thi hành shi, se 358 庁 sảnh đại sảnh choo 359 番 phiên thứ tự, phiên hiệu ban 360 害 hại có hại, độc hại, lợi hại gai 361 援 viện viện trợ en 362 究 cứu nghiên cứu, cứu cánh kyuu 363 可 khả có thể, khả năng, khả dĩ ka 364 起 khởi khởi động, khởi sự, khởi nghĩa ki 365 視 thị thị sát, thị lực, giám thị shi 366 副 phó phó, phó phòng fuku 367 線 tuyến dây, tiền tuyến, điện tuyến, vô tuyến sen 368 急 cấp khẩn cấp, cấp cứu kyuu 369 例 lệ ví dụ, tiền lệ, thông lệ, điều lệ rei 370 食 thực ẩm thực, thực đường shoku, jiki 371 補 bổ bổ sung, bổ túc ho 372 額 ngạch trán, giá tiền, hạn ngạch, kim ngạch gaku 373 証 chứng bằng chứng, nhân chứng, chứng nhận shoo 374 館 quán đại sứ quán, hội quán kan 375 質 chất vật chất, phẩm chất, khí chất shitsu, shichi, chi 376 限 hạn giới hạn, hữu hạn, hạn độ gen 377 難 nan, nạn khó, nan giải, nguy nan; tai nạn nan 378 製 chế chế tạo sei 379 監 giam, giám giam cấm; giám đốc, giám sát kan 380 声 thanh âm thanh, thanh điệu sei, shoo 381 準 chuẩn tiêu chuẩn, chuẩn bị jun 382 落 lạc rơi, lạc hạ, trụy lạc raku 383 病 bệnh bệnh nhân, bệnh viện, bệnh tật byoo, hei 384 張 trương chủ trương, khai trương choo 385 葉 diệp lá, lạc diệp, hồng diệp yoo 386 警 cảnh cảnh báo, cảnh sát, cảnh vệ kei 387 技 kĩ kĩ thuật, kĩ nghệ gi 388 試 thí thí nghiệm, thí điểm shi 389 英 anh anh hùng, anh tú, anh tuấn ei 390 松 tùng cây tùng, tùng bách shoo 391 担 đảm đảm đương, đảm bảo tan 392 幹 cán cán sự, cán bộ kan 393 景 cảnh cảnh sắc, thắng cảnh, quang cảnh kei 394 備 bị trang bị, phòng bị, thiết bị bi 395 防 phòng phòng vệ, phòng bị, đề phòng boo 396 南 nam phương nam nan, na 397 美 mĩ mĩ nhân, mĩ lệ bi 398 労 lao lao động, lao lực, công lao roo 399 谷 cốc thung lũng, khê cốc koku 400 態 thái trạng thái, hình thái, thái độ tai 401 崎 khi mũi đất – 402 着 trước đến, đáo trước, mặc chaku, jaku 403 横 hoành tung hoành, hoành độ, hoành hành oo 404 映 ánh phản ánh ei 405 形 hình hình thức, hình hài, định hình kei,gyoo 406 席 tịch chủ tịch, xuất tịch (tham gia) seki 407 域 vực khu vực, lĩnh vực iki 408 待 đãi đợi, đối đãi tai 409 象 tượng hiện tượng, khí tượng, hình tượng shoo, zoo 410 助 trợ hộ trợ, trợ giúp, viện trợ, cứu trợ jo 411 展 triển triển khai, phát triển, triển lãm ten 412 屋 ốc phòng ốc oku 413 働 động lao động doo 414 佐 tá phò tá, trợ tá sa 415 宅 trạch nhà ở taku 416 �� phiếu lá phiếu, đầu phiếu hyoo 417 伝 truyền, truyện truyền đạt, truyền động; tự truyện den 418 福 phúc phúc, hạnh phúc, phúc lợi fuku 419 早 tảo sớm, tảo hôn soo, saQ 420 審 thẩm thẩm tra, thẩm phán, thẩm định shin 421 境 cảnh nhập cảnh, quá cảnh, cảnh ngộ kyoo, kei 422 況 huống tình huống, trạng huống kyoo 423 仕 sĩ làm việc shi, ji 424 条 điều điều khoản, điều kiện joo 425 乗 thừa lên xe joo 426 想 tưởng tư tưởng, tưởng tượng soo, so 427 渡 độ đi qua, truyền tay to 428 字 tự chữ, văn tự ji 429 造 tạo chế tạo, sáng tạo zoo 430 味 vị vị giác, mùi vị mi 431 念 niệm ý niệm, tưởng niệm nen 432 負 phụ âm, mang, phụ thương, phụ trách fu 433 親 thân thân thuộc, thân thích, thân thiết shin 434 述 thuật tường thuật. tự thuật jutsu 435 差 sai sai khác, sai biệt sa 436 族 tộc gia tộc, dân tộc, chủng tộc zoku 437 追 truy truy lùng, truy nã, truy cầu tsui 438 験 nghiệm thí nghiệm, hiệu nghiệm, kinh nghiệm ken, gen 439 個 cá cá nhân, cá thể ko 440 若 nhược trẻ, nhược niên jaku, nyaku 441 訴 tố tố cáo, tố tụng so 442 低 đê thấp, đê hèn, đê tiện tei 443 量 lượng lực lượng, độ lượng, dung lượng, trọng lượng ryoo 444 然 nhiên quả nhiên, tất nhiên, thiên nhiên zen, nen 445 独 độc cô độc, đơn độc doku 446 供 cung cung cấp, cung phụng kyoo, ku 447 細 tế tinh tế, tường tế, tế bào sai 448 授 thụ đưa cho, truyền thụ, giáo thụ ju 449 医 y y học, y viện I 450 衛 vệ bảo vệ, vệ tinh, vệ sinh ei 451 器 khí khí cụ, cơ khí, dung khí ki 452 音 âm âm thanh, phát âm on, in 453 花 hoa hoa, bông hoa ka 454 頭 đầu đầu não too, zu, to 455 整 chỉnh điều chỉnh, chỉnh hình sei 456 財 tài tiền tài, tài sản zai, sai 457 門 môn cửa, nhập môn, môn đồ, bộ môn mon 458 値 trị giá trị chi 459 退 thoái triệt thoái, thoái lui tai 460 守 thủ cố thủ, bảo thủ shu, su 461 古 cổ cũ, cổ điển, đồ cổ ko 462 太 thái thái dương, thái bình tai, ta 463 姿 tư tư thế, tư dung, tư sắc shi 464 答 đáp trả lời, vấn đáp, đáp ứng too 465 末 mạt kết thúc, mạt vận, mạt kì matsu, batsu 466 隊 đội đội ngũ, quân đội tai 467 紙 chỉ giấy shi 468 注 chú chú ý, chú thích chuu 469 株 chu cổ phiếu – 470 望 vọng ước vọng, nguyện vọng, kì vọng boo, moo 471 含 hàm hàm ý, hàm nghĩa, hàm súc gan 472 種 chủng chủng loại, chủng tộc shu 473 返 phản trả lại hen 474 洋 dương đại dương, tây dương yoo 475 失 thất thất nghiệp, thất bại shitsu 476 評 bình bình luận, phê bình hyoo 477 様 dạng đa dạng, hình dạng yoo 478 好 hảo, hiếu hữu hảo; hiếu sắc koo 479 影 ảnh hình ảnh; nhiếp ảnh ei 480 命 mệnh, mạng tính mạng, cách mạng, vận mệnh, mệnh lệnh mei, myoo 481 型 hình khuôn hình, mô hình kei 482 室 thất phòng, giáo thất shitsu 483 路 lộ đường, không lộ, thủy lộ ro 484 良 lương tốt, lương tâm, lương tri ryoo 485 復 phục phục thù, hồi phục fuku 486 課 khóa khóa học, chính khóa ka 487 程 trình trình độ, lộ trình, công trình tei 488 環 hoàn hoàn cảnh, tuần hoàn kan 489 閣 các nội các kaku 490 港 cảng hải cảng, không cảng koo 491 科 khoa khoa học, chuyên khoa ka 492 響 hưởng ảnh hưởng, âm hưởng kyoo 493 訪 phóng, phỏng phóng sự; phỏng vấn hoo 494 憲 hiến hiến pháp, hiến binh ken 495 史 sử lịch sử, sử sách shi 496 戸 hộ hộ khẩu ko 497 秒 miểu giây (1/60 phút) byoo 498 風 phong phong ba, phong cách, phong tục fuu, fu 499 極 cực cực lực, cùng cực, địa cực kyoku, goku 500 去 khứ quá khứ, trừ khử kyo, ko 501 欧 âu châu âu oo 502 段 đoạn giai đoạn dan 503 管 quản ống, mao quản, quản lí kan 504 天 thiên thiên thạch, thiên nhiên, thiên đường ten 505 非 phi phi nhân đạo, phi nghĩa hi 506 買 mãi mua, khuyến mãi bai 507 賞 thưởng giải thưởng, tưởng thưởng shoo 508 辺 biên biên, biên giới hen 509 競 cạnh cạnh tranh kyoo, kei 510 振 chấn chấn động shin 511 察 sát quan sát, giám sát, cảnh sát satsu 512 観 quan quan sát, tham quan kan 513 推 thôi giới thiệu, thôi tiến sui 514 易 dị, dịch dễ, dịch chuyển i, eki 515 移 di di chuyển, di động I 516 専 chuyên chuyên môn, chuyên quyền sen 517 衆 chúng quần chúng, chúng sinh shuu, shu 518 申 thân thân thỉnh (xin) shin 519 浜 banh bờ biển hin 520 深 thâm thâm sâu, thâm hậu shin 521 離 li tách li, li khai ri 522 督 đốc giám đốc, đôn đốc toku 523 白 bạch thanh bạch, bạch sắc kaku, byaku 524 帰 quy hồi quy ki 525 撃 kích công kích, tập kích geki 526 橋 kiều cây cầu kyoo 527 歩 bộ bộ hành, tiến bộ ho, bu, fu 528 材 tài tài liệu zai 529 識 thức nhận thức, kiến thức, tri thức shiki 530 雄 hùng thư hùng, anh hùng, hùng tráng yuu 531 達 đạt đạt tới, điều đạt, thành đạt tatsu 532 録 lục kí lục, đăng lục roku 533 討 thảo thảo phạt, thảo luận, kiểm thảo too 534 春 xuân mùa xuân, thanh xuân shun 535 鮮 tiên sáng, tươi, tiên minh (tươi đẹp), tân tiên sen 536 赤 xích đỏ, xích kì, xích đạo, xích thập tự seki, shaku 537 効 hiệu hiệu quả, hiệu ứng, công hiệu koo 538 被 bị bị, bị động, bị cáo hi 539 呼 hô gọi tên, hô hoán, hô hấp, hô hào ko 540 悪 ác, ố hung ác, độc ác; tăng ố aku, o 541 右 hữu bên phải, hữu ngạn, cánh hữu u, yuu 542 根 căn gốc, căn bản, căn cứ kon 543 光 quang ánh sáng, nhật quang, quang minh koo 544 他 tha khác, tha hương, vị tha ta 545 渉 thiệp can thiệp, giao thiệp shoo 546 融 dung tan chảy, dung hòa, dung hợp yuu 547 針 châm cái kim, phương châm, châm cứu shin 548 満 mãn thỏa mãn, bất mãn, mãn nguyện man 549 兵 binh binh lính, binh lực hei, hyoo 550 修 tu tu sửa, tu chính, tu luyện shuu, shu 551 処 xử, xứ cư xử, xử trí, xử lí; nơi chỗ sho 552 捕 bộ bắt, đãi bộ ho 553 積 tích tích tụ, súc tích, tích phân seki 554 河 hà sông, sơn hà ka 555 丸 hoàn tròn gan 556 編 biên đan, biên tập hen 557 師 sư giáo sư, tôn sư trọng đạo shi 558 歌 ca ca dao, ca khúc ka 559 森 sâm rừng shin 560 鉄 thiết sắt, thiết đạo, thiết giáp tetsu 561 並 tịnh xếp hàng hei 562 愛 ái yêu, ái tình, ái mộ ai 563 青 thanh xanh, thanh thiên, thanh niên sei, shoo 564 責 trách khiển trách, trách cứ, trách nhiệm seki 565 単 đơn cô đơn, đơn độc, đơn chiếc tan 566 客 khách hành khách, thực khách kyaku, kaku 567 秋 thu mùa thu shuu 568 園 viên vườn, điền viên, hoa viên, công viên en 569 献 hiến hiến dâng, hiến tặng, hiến thân ken, kon 570 林 lâm lâm sản, lâm nghiệp rin 571 蔵 tàng bảo tàng, tàng trữ, tàng hình zoo 572 模 mô mô phỏng, mô hình mo, bo 573 系 hệ hệ thống, hệ số kei 574 券 khoán vé, chứng khoán ken 575 清 thanh thanh bạch, trong sạch sei, shoo 576 婦 phụ phụ nữ, dâm phụ fu 577 夜 dạ ban đêm, dạ cảnh, dạ quang ya 578 核 hạch hạt nhân, hạch tâm kaku 579 富 phú giàu, phú hào, phú hộ, phong phú fu, fuu 580 接 tiếp nối tiếp, tiếp đãi, tiếp xúc setsu 581 城 thành thành phố, thành quách joo 582 販 phán bán, phán mại han 583 請 thỉnh thỉnh cầu, thỉnh nguyện sei, shin 584 久 cửu lâu, vĩnh cửu kyuu, ku 585 登 đăng trèo, đăng sơn, đăng kí, đăng lục too, to 586 図 đồ bản đồ, đồ án, địa đồ zu, to 587 読 độc độc giả, độc thư doku, toku, too 588 益 ích lợi ích, hữu ích eki, yaku 589 黒 hắc đen, hắc ám koku 590 介 giới ở giữa, môi giới, giới thiệu kai 591 貿 mậu mậu dịch, trao đổi boo 592 脳 não bộ não, đầu não noo 593 候 hậu mùa, khí hậu, thời hậu koo 594 存 tồn tồn tại, bảo tồn, ôn tồn son, zon 595 号 hiệu phiên hiệu, tín hiệu, phù hiệu goo 596 吉 cát tốt lành, cát tường kichi, kitsu 597 除 trừ trừ khử, trừ bỏ, loại trừ, phép chia jo, ji 598 旧 cựu cũ, cựu thủ tướng, cựu binh kyuu 599 超 siêu siêu việt, siêu thị, siêu nhân choo 600 健 kiện khỏe mạnh, kiện khang, tráng kiện ken 601 障 chướng chướng ngại shoo 602 左 tả bên trái, tả hữu, cánh tả sa 603 母 mẫu mẹ, phụ mẫu, mẫu thân bo 604 険 hiểm nguy hiểm, mạo hiểm, hiểm ác ken 605 激 kích kích động, kích thích, kích hoạt geki 606 摘 trích hái, trích yếu teki 607 央 ương trung ương oo 608 批 phê phê bình, phê phán hi 609 座 tọa chỗ ngồi, tọa đàm, tọa độ za 610 弁 biện hùng biện, biện luận ben 611 催 thôi tổ chức, khai thôi, thôi thúc sai 612 児 nhi nhi đồng, hài nhi ji, ni 613 江 giang trường giang, giang hồ koo 614 給 cấp cung cấp, cấp phát kyuu 615 具 cụ công cụ, dụng cụ gu 616 殺 sát sát hại, sát nhân satsu, sai, setsu 617 飛 phi bay, phi công, phi hành hi 618 速 tốc tốc độ, tăng tốc soku 619 波 ba sóng, phong ba ha 620 階 giai giai cấp, giai tầng kai 621 友 hữu bạn hữu, hữu hảo yuu 622 苦 khổ khổ cực, cùng khổ ku 623 幅 phúc bề ngang fuku 624 劇 kịch kịch bản, vở kịch, kịch tính geki 625 司 ti, tư công ti, tư lệnh shi 626 周 chu chu vi, chu biên shuu 627 走 tẩu chạy soo 628 未 vị vị thành niên, vị lai mi 629 拡 khuếch khuếch đại kaku 630 �� 週 chu tuần shuu 631 従 tùng phục tùng, tùy tùng, tòng thuận juu, shoo, ju 632 採 thải hái, thải dụng sai 633 否 phủ phủ định, phủ quyết hi 634 織 chức dệt shoku, shiki 635 舞 vũ vũ điệu, khiêu vũ bu 636 写 tả miêu tả sha 637 抜 bạt rút ra batsu 638 色 sắc màu sắc, sắc dục shoku, shiki 639 療 liệu trị liệu ryoo 640 突 đột đột phá, đột nhiên totsu 641 余 dư thặng dư, dư dật yo 642 火 hỏa lửa ka 643 越 việt vượt qua, việt vị etsu 644 攻 công tấn công, công kích koo 645 歴 lịch lí lịch, lịch sử, kinh lịch reki 646 完 hoàn hoàn thành, hoàn toàn kan 647 破 phá phá hoại, tàn phá ha 648 休 hưu hưu trí, hưu nhàn kyuu 649 船 thuyền thuyền sen 650 危 nguy nguy hiểm, nguy cơ ki 651 債 trái nợ, quốc trái, công trái sai 652 航 hàng hàng không, hàng hải koo 653 冷 lãnh lạnh, lãnh đạm rei 654 廃 phế tàn phế, hoang phế hai 655 盟 minh đồng minh, gia minh mei 656 庫 khố kho, xa khố, kim khố ko, ku 657 皇 hoàng hoàng đế koo, oo 658 占 chiêm, chiếm chiếm cứ sen 659 将 tướng tướng quân shoo 660 捜 sưu sưu tầm, sưu tập soo 661 厳 nghiêm tôn nghiêm, nghiêm khắc, nghiêm trọng gen, gon 662 及 cập phổ cập kyuu 663 紀 kỉ thế kỉ, kỉ nguyên ki 664 故 cố cố tổng thống, lí do ko 665 装 trang trang phục, hóa trang, trang bị soo, shoo 666 就 tựu thành tựu shuu, ju 667 塁 lũy thành lũy rui 668 素 tố yếu tố, nguyên tố so, su 669 竹 trúc trúc chiku 670 異 dị dị bản, dị tộc, dị giáo I 671 薬 dược thuốc yaku 672 札 trát tiền giấy satsu 673 盛 thịnh thịnh vượng, hưng thịnh sei, joo 674 延 duyên trì hoãn en 675 馬 mã ngựa ba 676 遺 di sót lại, di tích, di ngôn, di vật i, yui 677 級 cấp sơ cấp, trung cấp, cao cấp kyuu 678 父 phụ phụ tử, phụ thân, phụ huynh fu 679 降 giáng, hàng giáng trần; đầu hàng koo 680 王 vương vương giả oo 681 講 giảng giảng đường, giảng bài koo 682 維 duy sợi dây I 683 顔 nhan nhan sắc, hồng nhan gan 684 均 quân quân bình, quân nhất kin 685 玉 ngọc ngọc gyoku 686 油 du dầu yu 687 喜 hỉ vui ki 688 類 loại chủng loại rui 689 等 đẳng bình đẳng, đẳng cấp too 690 芸 nghệ nghệ thuật, nghệ nhân gei 691 覚 giác cảm giác, giác ngộ kaku 692 静 tĩnh bình tĩnh, trấn tĩnh sei, joo 693 習 tập học tập shuu 694 標 tiêu mục tiêu, tiêu chuẩn hyoo 695 般 bàn, ban nhất ban han 696 夏 hạ mùa hè ka, ge 697 永 vĩnh vĩnh viễn, vỉnh cửu ei 698 興 hưng, hứng hưng thịnh, phục hưng; hứng thú koo, kyoo 699 羽 vũ lông vũ u 700 博 bác uyên bác haku, baku 701 迎 nghênh hoan nghênh, nghênh tiếp gei 702 禁 cấm cấm đoán, nghiêm cấm kin 703 短 đoản đoản mệnh, sở đoản tan 704 彼 bỉ anh ta hi 705 曲 khúc ca khúc kyoku 706 伸 thân dãn ra shin 707 継 kế kế tục kei 708 圧 áp áp lực, trấn áp atsu 709 績 tích thành tích seki 710 頼 lại ỷ lại rai 711 僚 liêu đồng liêu, quan liêu ryoo 712 厚 hậu nồng hậu, hậu tạ koo 713 替 thế thay thế, đại thế tai 714 背 bối bối cảnh hai 715 逆 nghịch phản nghịch gyaku 716 岩 nham đá tảng, nham thạch gan 717 陸 lục lục địa, lục quân riku 718 印 ấn in ấn, ấn tượng in 719 熱 nhiệt nhiệt độ, nhiệt tình netsu 720 香 hương mùi hương, hương thơm koo, kyoo 721 角 giác tam giác, tứ giác kaku 722 毎 mỗi mỗi mai 723 豊 phong phong phú hoo 724 輪 luân bánh xe, luân hồi rin 725 留 lưu lưu học, lưu trữ ryuu, ru 726 順 thuận tòng thuận, thuận tự jun 727 辞 từ từ vựng, từ chức ji 728 便 tiện thuận tiện ben, bin 729 散 tán, tản phấn tán, tản mát san 730 締 đế buộc tei 731 妻 thê thê tử sai 732 因 nhân nguyên nhân in 733 津 tân bờ biển shin 734 途 đồ tiền đồ to 735 罪 tội tội phạm, tội ác zai 736 則 tắc quy tắc, phép tắc soku 737 諸 chư chư hầu sho 738 志 chí ý chí, chí nguyện shi 739 源 nguyên nguồn, nguyên tuyền gen 740 湾 loan vịnh wan 741 踏 đạp dẫm lên too 742 払 phất trả tiền futsu 743 幸 hạnh hạnh phúc, hạnh vận koo 744 許 hứa cho phép, hứa khả kyo 745 略 lược tỉnh lược, xâm lược ryaku 746 固 cố ngoan cố, cố thủ ko 747 賛 tán tán đồng, tán thành san 748 星 tinh hành tinh, tinh tú sei, shoo 749 執 chấp cố chấp shitsu, shuu 750 善 thiện thiện ác, từ thiện zen 751 版 bản xuất bản han 752 精 tinh tinh lực, tinh túy sei, shoo 753 亡 vong diệt vong boo, moo 754 植 thực thực vật, thực dân shoku 755 崩 băng băng hoại hoo 756 戻 lệ quay lại rei 757 層 tầng hạ tầng, thượng tầng soo 758 聴 thính thính giả choo 759 適 thích thích hợp teki 760 属 thuộc phụ thuộc zoku 761 震 chấn địa chấn shin 762 宿 túc tá túc, kí túc xá shuku 763 押 áp ấn oo 764 脱 thoát giải thoát datsu 765 欠 khiếm khiếm khuyết ketsu 766 尾 vĩ cái đuôi bi 767 逮 đãi đuổi bắt tai 768 昭 chiêu sáng shoo 769 囲 vi chu vi, bao vây I 770 婚 hôn kết hôn, hôn nhân kon 771 旅 lữ lữ hành, lữ khách ryo 772 倍 bội bội thu, bội số bai 773 迫 bách áp bách, bức bách haku 774 浦 phổ cửa biển ho 775 闘 đấu đấu tranh, chiến đấu too 776 池 trì cái ao chi 777 像 tượng tưởng tượng, thần tượng zoo 778 貨 hóa hàng hóa ka 779 削 tước gọt, tước đoạt saku 780 寺 tự chùa ji 781 坂 phản cái dốc han 782 壊 hoại phá hoại kai 783 乱 loạn phản loạn, chiến loạn ran 784 帯 đới nhiệt đới, ôn đới tai 785 岸 ngạn hải ngạn gan 786 遣 khiển phân phát ken 787 緊 khẩn khẩn cấp, khẩn trương kin 788 努 nỗ nỗ lực do 789 練 luyện rèn luyện, luyện tập ren 790 康 khang kiện khang, khang trang koo 791 遅 trì muộn chi 792 棄 khí từ bỏ ki 793 刑 hình hình phạt, tử hình kei 794 宣 tuyên tuyên bố, tuyên cáo sen 795 避 tị tị nạn hi 796 著 trứ trứ danh, trứ tác cho 797 房 phòng phòng ở boo 798 塚 trủng đống đất – 799 勤 cần chuyên cần, cần lao kin, gon 800 服 phục y phục, cảm phục, phục vụ fuku 801 臨 lâm lâm thời rin 802 測 trắc đo đạc soku 803 惑 hoặc nghi hoặc waku 804 巨 cự to lớn, cự đại, cự phách kyo 805 昇 thăng thăng tiến, thăng thiên shoo 806 為 vi, vị hành vi; vị kỉ I 807 停 đình đình chỉ tei 808 遠 viễn viễn phương, vĩnh viễn en, on 809 軽 khinh khinh suất, khinh khi kei 810 兆 triệu triệu chứng, triệu triệu (10 mũ 12) choo 811 混 hỗn hỗn hợp, hỗn độn, hỗn loạn kon 812 沖 xung ngoài khơi chuu 813 幕 mạc khai mạc, bế mạc maku, baku 814 賀 hạ chúc mừng ga 815 載 tải đăng tải sai 816 創 sáng sáng tạo soo 817 陣 trận trận mạc jin 818 暴 bạo, bộc bạo lực, bộc lộ boo, baku 819 倒 đảo đảo lộn too 820 普 phổ phổ thông fu 821 雑 tạp tạp chí, tạp kĩ zatsu, zoo 822 築 trúc kiến trúc chiku 823 徳 đức đạo đức toku 824 季 quý mùa ki 825 密 mật bí mật, mật độ mitsu 826 浮 phù nổi, phù du fu 827 令 lệnh mệnh lệnh, pháp lệnh rei 828 樹 thụ cây, cổ thụ ju 829 恵 huệ ân huệ kei, e 830 儀 nghi nghi thức gi 831 邦 bang liên bang hoo 832 犯 phạm phạm nhân han 833 償 thường bồi thường shoo 834 抑 ức ức chế yoku 835 絶 tuyệt đoạn tuyệt, tuyệt diệu zetsu 836 措 thố đặt, để so 837 爆 bộc bộc phát baku 838 刊 san tuần san, chuyên san kan 839 繰 sào – 840 貴 quý cao quý ki 841 庭 đình triều đình, gia đình tei 842 老 lão già, lão luyện roo 843 患 hoạn bệnh hoạn kan 844 底 để đáy tei 845 郵 bưu bưu điện yuu 846 旬 tuần 10 ngày jun 847 損 tổn tổn hại, tổn thương son 848 徒 đồ môn đồ, đồ đệ to 849 承 thừa thừa nhận shoo 850 恐 khủng khủng bố, khủng hoảng kyoo 851 齢 linh tuổi rei 852 隆 long cao quý ryuu 853 誌 chí tạp chí shi 854 択 trạch tuyển trạch taku 855 居 cư cư trú kyo 856 裏 lí đằng sau ri 857 駅 dịch ga eki 858 卒 tốt tốt nghiệp sotsu 859 傷 thương tổn thương, thương tật shoo 860 遊 du du hí, du lịch yuu, yu 861 雇 cố thuê, cố nông ko 862 併 tính thôn tính hei 863 需 nhu nhu yếu ju 864 抱 bão ôm, hoài bão hoo 865 掲 yết yết thị kei 866 更 canh canh tân koo 867 緩 hoãn hòa hoãn kan 868 描 miêu miêu tả byoo 869 汚 ô ô nhiễm o 870 招 chiêu chiêu đãi shoo 871 欲 dục dục vọng yoku 872 染 nhiễm ô nhiễm sen 873 葬 táng an táng soo 874 養 dưỡng dưỡng dục yoo 875 絡 lạc liên lạc raku 876 訳 dịch thông dịch, phiên dịch yaku 877 募 mộ mộ tập, chiêu mộ bo 878 複 phức phức tạp fuku 879 刻 khắc thời khắc koku 880 血 huyết tâm huyết ketsu 881 希 hi hi hữu, hi vọng ki 882 筋 cân gân cơ kin 883 契 khế khế ước kei 884 致 trí trí mạng chi 885 列 liệt cột, la liệt retsu 886 迷 mê mê hoặc, mê đắm mei 887 拠 cứ căn cứ, chiếm cứ kyo, ko 888 息 tức con trai, tử tức soku 889 奏 tấu diễn tấu soo 890 功 công công lao koo, ku 891 草 thảo thảo mộc soo 892 盤 bàn cái khay ban 893 板 bản tấm bảng han, ban 894 我 ngã bản ngã ga 895 射 xạ xạ thủ sha 896 触 xúc tiếp xúc shoku 897 秀 tú ưu tú, tuấn tú shuu 898 温 ôn ôn hòa, ôn tồn on 899 暮 mộ chiều tối bo 900 懸 huyền treo ken, ke 901 弱 nhược nhược điểm, nhược tiểu jaku 902 章 chương chương sách shoo 903 撤 triệt triệt thoái tetsu 904 納 nạp nộp noo, naQ, na, nan, too 905 痛 thống thống khổ tsuu 906 街 nhai phố xá gai, kai 907 笑 tiếu cười shoo 908 栄 vinh vinh quang, vinh hạnh ei 909 救 cứu cấp cứu, cứu trợ kyuu 910 願 nguyện tự nguyện, tình nguyện gan 911 探 thám do thám, thám hiểm tan 912 仲 trọng trọng tài chuu 913 裕 dụ giàu sang yuu 914 賃 nhẫm tiền thuê chin 915 扱 tráp đối xử – 916 了 liễu kết liễu, liễu giải ryoo 917 枠 <khung> cái khung – 918 秘 tất tất nhiên, tất yếu hi 919 鈴 linh cái chuông rei, rin 920 巻 quyển quyển sách kan 921 縮 súc co lại shuku 922 折 chiết bẻ gãy, chiết suất setsu 923 逃 đào đào tẩu too 924 詰 cật đóng hộp kitsu 925 雨 vũ mưa u 926 弾 đàn, đạn đánh đàn; viên đạn dan 927 宇 vũ vũ trụ u 928 鳥 điểu chim chóc choo 929 託 thác ủy thác taku 930 堂 đường thực đường, thiên đường doo 931 党 đảng đảng phái too 932 仏 phật phật giáo butsu 933 困 khốn khốn cùng kon 934 倉 thương nhà kho soo 935 互 hỗ tương hỗ go 936 節 tiết tiết mục setsu, sechi 937 絵 hội hội họa kai, e 938 届 giới đưa đến – 939 慎 thận thận trọng shin 940 慮 lự tư lự, khảo lự ryo 941 徴 trưng đặc trưng, tượng trưng choo 942 端 đoan đầu đoạn tan 943 肉 nhục thịt niku 944 枚 mai tờ mai 945 丁 đinh <số đếm> tei, choo 946 借 tá mượn, tá điền shaku 947 骨 cốt xương, cốt nhục kotsu 948 傾 khuynh khuynh đảo, khuynh hướng kei 949 還 hoàn hoàn trả kan 950 里 lí làng ri 951 束 thúc bó (hoa) soku 952 伴 bạn đi cùng han, ban 953 跡 tích dấu tích, vết tích seki 954 酒 tửu rượu shu 955 君 quân quân chủ, quân vương kun 956 奥 áo trong cùng oo 957 項 hạng hạng mục koo 958 躍 dược nhảy lên yaku 959 災 tai tai họa sai 960 焼 thiêu thiêu đốt shoo 961 閉 bế bế mạc, bế quan hei 962 夕 tịch tịch dương seki 963 促 xúc xúc tiến soku 964 群 quần quần chúng, quần thể gun 965 瀬 lại thác nước – 966 拒 cự cự tuyệt kyo 967 縄 thằng sợi dây joo 968 銭 tiền tiền bạc sen 969 律 luật luật pháp ritsu, richi 970 純 thuần đơn thuần, thuần khiết jun 971 簡 giản đơn giản kan 972 緒 tự tình tự sho, cho 973 贈 tặng hiến tặng zoo, soo 974 陽 dương thái dương yoo 975 預 dự gửi yo 976 夢 mộng mơ mu 977 燃 nhiên nhiên liệu nen 978 却 khước khước từ kyaku 979 掛 quải treo – 980 杉 sam cây sam – 981 揮 huy phát huy, chỉ huy ki 982 渋 sáp chát juu 983 称 xưng xưng tên, danh xưng shoo 984 控 khống khống chế koo 985 暫 tạm tạm thời zan 986 誘 dụ dụ dỗ yuu 987 依 ỷ ỷ lại i, e 988 曜 diệu ngày trong tuần yoo 989 妥 thỏa thỏa hiệp da 990 宗 tôn tôn giáo shuu, soo 991 殿 điện cung điện den, ten 992 奪 đoạt chiếm đoạt datsu 993 豪 hào hào kiệt, phú hào goo 994 紹 thiệu giới thiệu shoo 995 敬 kính kính yêu kei 996 貸 thải cho mượn tai 997 症 chứng chứng bệnh, triệu chứng shoo 998 購 cấu mua koo 999 顧 cố nhìn lại ko 1000 典 điển cổ điển, điển tích ten

0 notes

netego · 3 years ago

Quote

鉢の木の燃え残りたる夜寒かな

中村光夫

#中村光夫 #hachi no ki kai #hachinokikai #pot tree society #japanese literature #literary circle #upload

1 note · View note

chanoyu-to-wa · 7 years ago

Text

Rikyū Chanoyu Sho, Book 6 (Part 46): Rikyū’s Hyaku-kai Ki, (1590) Twelfth Month, Fourth Day; Morning.

46) The same, Fourth Day; Morning [同四日・朝]¹.

￮ [Guests: .]²

￮ Afterward in the 4.5-mat [room]³.

￮ [shi-hō-gama [四方釜]⁴;] ◦ [Shigaraki mizusashi [しがらき水指]⁵;] ◦ [Soto-no-hama chawan [外ノ濱茶碗]⁶;] ◦ [katatsuki [肩衝]⁷;] ◦ Kogaku bokuseki [古嶽墨跡]⁸; ◦ Shaku-hachi hanaire [尺八花入]⁹.

￮ Yaki-mono (sake) [焼物・鮭], rock-dove (senba-iri) [鳩・せんばいり], soup (miso-yaki [汁・みそやき]), rice¹⁰.

￮ Kashi: fu-no-yaki [ふのやき], yaki-guri [やきぐり], abura-mono [油もの]¹¹.

_________________________

◎ This was a gathering that Rikyū hosted for three high noblemen -- Oda Uraku-sai [織田有樂齋] (who was living in semi-retirement at this time) , Sakuma Fukan-sai [佐久間不干齋], and Shibayama Sōtsuna [芝山宗綱] -- people with a sincere interest in chanoyu whom he had known for many years. There is thus a certain feeling of intimacy in the arrangements*.

After serving these three men the kaiseki, the group was joined by another of Rikyū's old friends, the machi-shū-chajin Sumiyoshi-ya Sōmu [住吉屋宗無], during the go-za -- with Sōmu probably playing the role of Rikyū's hantō [半東], assisting the noblemen by bringing and returning the chawan for them. __________ *Rikyū, for example, preferring to move all of the utensils out onto the utensil mat from the dōko, rather than displaying them on a tana. The arrangement is extremely wabi, but it is also indicative of the host’s desire to be of service to his guests.

And Rikyū's use of the chaire that had been one of Nobunaga's treasures surely was intended to contribute to the feelings that joined this group of people together -- all of them having been intimately connected with Nobunaga and his efforts to unify the country in the years leading up to his unfortunate death (on which day he had been using this specific chaire to serve tea to his 17-year-old page -- and lover -- Mori Ranmaru [森蘭丸; 1565 ~ 1582] when Akechi Mitsuhide attacked the Honnō-ji, forcing Nobunaga’s seppuku and death at Ranmaru’s hand, who then set the shoin on fire by scattering the charcoal from the furo, after which he took his own life).

¹Onaji yokka ・ asa [同四日・朝].

The same (onaji [同]) month -- the Twelfth Lunar Month.

²No guests are mentioned in the kaiki as it was published in the Rikyū Chanoyu Sho. However, the manuscripts list three guests:

◦ Uraku sama [有樂樣]: this refers to Oda Nagamasu [織田長益; 1547 ~ 1621], a younger brother of Oda Nobunaga, who was commonly known after his retirement as Uraku-sai [有樂齋] (or, simply, Uraku [有樂], as here).

Nagamasu was a daimyō-nobleman, who had previously served as an Imperial Chamberlain (jiju [侍従]), and held the junior grade of the Fourth Rank.

He converted to Christianity in 1588, but lived out the last years of his life in the Kennin-ji [建仁寺] in Kyōto, practicing chanoyu as a way of Zen motion-meditation in the room (the Jo-an [如庵], the façade of which is shown below) that he erected on the grounds of the temple for this purpose.

◦ Fukan kō [不干公]: this man's name is usually given as Sakuma Nobuhide [佐久間信栄; 1556 ~ 1632], though he was also known as Sakuma Masakatsu [佐久間正勝] and (particularly in the context of chanoyu) Sakuma Sōgan [佐久間宗巖]; he was also known as Fukan-sai [不干齋].

Nobuhide had formerly been a governor of the province of Suruga (Suruga no kami [駿河守]), which is located within modern day Shizuoka Prefecture. Both Nobuhide, and his father Nobumori, were well known as chajin, and it was commonly said that they were more interested in chanoyu than in military affairs.

In the battle of Osaka (1614~15) Nobuhide supported the Tokugawa forces, as a retainer of Tokugawa Hidetada (who succeeded Ieyasu as the second Tokugawa shōgun).

◦ Shiba ken kō [芝監公]: this man, whose original name was Shibayama Toshikatsu [芝山俊一; his dates of birth and death are not known], was usually known as Shibayama kenmotsu [芝山監物]* to his associates in Hideyoshi's service.

Shibayama kenmotsu was also one of Rikyū's disciples† (in which capacity he was known as Shibayama Sōtsuna [芝山宗綱]), and one of the small group of retainers whom Hideyoshi trusted sufficiently to permit to learn the gokushin no futatsu-gumi temae [極眞の二つ組手前] -- in consequence of which he is usually included in the (Edo period) list of Rikyū's Seven Principal Disciples (Rikyū shichi-tetsu [利休七哲]).

A fourth person joining the group later‡ (during the go-za) for tea:

◦ Sōmu [宗無]: this refers to Yamaoka Sōmu [山岡宗無; ? ~ 1595], who was commonly known as Sumiyoshi-ya Sōmu [住吉屋宗無], a wealthy merchant chajin from Sakai. Sōmu was originally initiated into the practice of chanoyu by Jōō, and later came to identify himself with the group of chajin who surrounded Rikyū.

Sōmu was closely associated with Oda Nobunaga, and later served as one of Hideyoshi's sadō [茶頭]. ___________ *The designation kenmotsu [監物] means that Shibayama Toshikatsu served as a auditor in the Naka-tsukasa shō [中務省], what is usually called the Ministry of Central Affairs.

†He is mentioned in other documents as having hosted a gathering for Tsuda Sōkyū and Yamanoue Sōji in Tenshō 9 [天正9年] (1581), and so was already an accomplished chajin before the ascendancy of Hideyoshi (thus bespeaking an early and sincere interest in chanoyu).

‡In the manuscript versions of this kaiki, Sōmu’s name is preceded by the comment o-cha no toki [御茶の時], meaning that Sōmu only joined the group when it was time to serve tea (i.e., during the go-za). He did not participate in the sho-za with the other guests (though he was surely served his meal elsewhere), probably as a mark of respect to the noblemen (it was considered impolite for people of lower status to witness people of a higher status eating, or engaging in other bodily functions).

³Yojō-han ni soshite [四疊半ニ而].

This statement seems to mean “afterward in the 4.5-mat room.”

However, according to the manuscripts, the entire gathering took place in that room. It is unclear why the editors of the Rikyū Chanoyu Sho added the phrase ni soshite [ニ而] to the description of the room.

⁴Shi-hō-gama [四方釜].

Except for the kakemono and the hanaire, none of the other utensils are mentioned in the kaiki as it was published in the Rikyū Chanoyu Sho.

It is difficult to understand their editorial choices -- unless either the manuscript was so badly deteriorated (though the fact that the manuscripts were formatted in such a way that the utensils -- along with the date -- are written above, while the guests and menu for the kaiseki are found below, makes it difficult to believe that the manuscript was "selectively" deteriorated in this way), or they wanted to reduce the length of the sixth book (so that the printed version would be of a similar size to the other five books in the set).

⁵Shigaraki mizusashi [しがらき水指].

⁶Soto-no-hama chawan [外ノ濱茶碗].

Rikyū’s Soto-ga-hama [外ヵ濱] ido-chawan.

⁷Katatsuki [肩衝].

The Hisada version of the text qualifies the katatsuki as being the Ten-ka-ichi katatsuki [天下一肩衝] -- which appears to be the same chaire that is now known as the Enjō-bō katatsuki [圓乗坊肩衝], below.

This chaire was always used on the matsu-no-ki bon [松ノ木盆] that Rikyū made for it, as shown in the photo.

Rikyū would have used an ori-tame [折撓] chashaku that had been specially made (by himself) to match this bon-chaire, making its mention unnecessary.

The use of this chaire at this gathering was extremely appropriate, because it had been one of Nobunaga’s favorite pieces, and the noble guests had been among his closest retainers.

In addition to the above-mentioned things, Rikyū would have needed a futaoki and mizu-koboshi: a take-wa [竹輪] and mentsū [面桶], below, being most likely.

⁸Kogaku bokuseki [古嶽墨跡].

Kogaku Sōkō [古岳宗亘; 1465 ~ 1548]* a monk of the Daitoku-ji in Kyōto, had originally been a disciple of Shunpo Sōki [春浦宗熈; 1409 or 1416 ~ 1496]. Kogaku o-shō became the 76th head monk of that temple; and he, in turn, initiated the future Shōrei Sōkin [笑嶺宗訢; 1505? ~ 1584] in the Zen teachings. Kogaku was also the first of Rikyū’s Zen masters. It is also recorded that Kogaku had been the preceptor to both Emperor Go-kashiwa-bara [後柏原天皇; 1462 ~ 1526] and Emperor Go-nara [後奈良天皇; 1495 ~ 1557].

While it is not certain which bokuseki by Kogaku Sōkō Rikyū may have displayed (or whether that scroll is still extant or not), the above writing of a gāthā (ge [偈], in Japanese, which means a Buddhist song or verse)† by Kogaku is a good possibility. ___________ *Kogaku Sōkō had a particular interest in the text of the document known as the Inka-shō [印可狀] -- the kakemono that is now called the Nagare Engo [流れ圜悟] (and which was the most prized possession of Shukō).

This is a fragment of the text of a lecture delivered by the Northern Sung period Chinese monk Yuanwu Keqin [圜悟克勤; 1063 ~ 1135], the author of the prose commentary on Xuedou Chong-xian’s (雪竇重顯; 980 ~ 1052; known as Setchō in Japanese) poetical collection Sòng-gǔ Bǎizé [頌古百則], “One Hundred Old Cases” (Yuanwu’s text is now known as the Bì-yán Lù [碧巖錄] -- Heki-gan Roku in Japanese). Yuanwu’s lecture is said to have had a profound effect on Kogaku’s own understanding, and his interpretation of the Zen teachings.

†The type of poems included in the Sanskrit word gāthā are distinct from the Zen kōan [公案], and might better be considered songs; yet in contemporary Buddhist practice as popularized (and derived from the Zen and Theravādin traditions) by Zen Master Thich Nhat Hanh, “a gāthā is a verse recited (usually mentally, not aloud) in rhythm with the breath as part of mindfulness practice, either in daily life, or as part of meditation or meditative study.” (See Hanh, Thich Nhat: The Blooming of a Lotus: Guided Meditation Exercises for Healing and Transformation [Beacon Press, Boston,1993; ISBN 0-8070-1222-X], and Stepping Into Freedom [Parallax Press, 1997; ISBN 1-888375-02-7].)

⁹Shaku-hachi hanaire [尺八花入].

The flowers are not mentioned, but since this is an oki-hanaire, they would have been something that naturally blooms near to the ground. Given the time of year, suisen [水仙] (narcissus) seems the most likely choice.

¹⁰Yaki-mono ・ sake, hato ・ senba-iri, shiru ・ miso-yaki, meshi [焼物・鮭、鳩・せんばいり、　汁・みそやき、　めし].

The four dishes offered to the guests on their zen:

- charcoal grilled salmon (sake [鮭]);

- spit-roast* rock dove (hata [鳩])†;

- miso-yaki shiru [味噌焼汁]: miso-shiru with a slice of yaki-tōfu [ 焼き豆腐]‡ arranged in the soup-bowl, with julienned daikon (and sometimes sliced shiitake mushrooms) suspended in the soup**; and,

- meshi [飯], steamed rice, pressed in a mold (a mossō [物相])†† so that each guest received a uniform portion. ___________ *Senba-iri [船場煎り] is so-named from its being a popular way to cook food at the food-stalls that proliferated around the dockyards at Sakai. The food -- usually fowl or seafood -- was roasted over an open (wooden) fire, while being basted with a sauce made from soy-sauce, sesame oil, crushed garlic, and ginger.

†Rock doves -- i.e., carrier pigeons -- were used to send messages over long distances at this time, so these were either such, or birds (perhaps feral) that had been taken by Hideyoshi’s hawkers.

‡A coarser grade of tōfu called momen-tōfu [木綿豆腐] is used, and it is sliced into fairly large rectangular pieces after being grilled (the skewered momen-tōfu was scorched over burning charcoal). Traditionally yaki-tōfu [焼き豆腐] was sold in tōfu shops in Kyōto, making it unnecessary for the customer to perform this task at home. The piece of tōfu (with a scorched side facing upward) was arranged in the soup-bowl first, and then the miso-shiru, containing the sliced daikon and shiitake would be ladled into the bowl.

**Even in Rikyū’s day, many people preferred to add some prepared mustard [karashi [芥子 or 辛子]) to their miso-shiru. While the modern schools usually teach that a large “drop” of prepared mustard should be placed on top of the solid food arranged in the soup bowl, in Rikyū‘s period the mustard was brought out in a bowl containing a small spoon (along with the bowl of miso-shiru that was offered to the shōkyaku), and this bowl of mustard was then passed around, so that each guest could help himself to what he wanted. The bowl was kept beside the last guest’s place, and returned to the host at the end of the course.

††It is not known whether Rikyū used a simple round mossō, or one of the decorative shapes described in the previous post -- in part because the machi-shū school from which the Sen families were derived attacked and discouraged this practice in favor of serving a spoonful of rice scooped out from the side of the rice-cooking-pot (and so shaped like a rounded wedge) as a sort of “wabi” affectation (even though measuring out the rice in a mossō was the way things were done in the temple -- on which their service was supposedly modeled).

Part of their reason for doing so (again, which they considered “wabi”) was because, unlike Rikyū (who served properly cooked rice from the start of the meal), the Sen families preferred to start the meal with undercooked rice (it still has a lot of water in it), and such rice can not be measured out in a mossō (it will compact too densely if pressed into the mold, resulting in an inedible blob). The rice, according to the Sen families’ style of service, continues to cook while the kaiseki is in progress, so that the second serving (which is offered to the guests in a hanto [飯胴] / hanki [飯器]) is properly cooked. (It continues to be cooked even further, so that it begins to scorch, and this scorched rice is used to make a sort of soup -- called koge [焦げ] -- that is served at the end of the modern tea meal.)

In fact, it seems likely that Rikyū probably used the decorative mossō when measuring the rice out for each portion (serving the kaiseki in a large fuchi-daka box, like a bentō, was not done often enough to justify the collection of mossō that were unearthed in the dig at Rikyu’s old Sakai residence), and decorated the rice in the same manner (by sprinkling crushed nori and other condiments on the shaped rice) whether it was served in a fuchi-daka, or in an ordinary rice bowl.

¹¹Kashi ・ fu-no-yaki, yaki-guri, abura-mono [菓子・ふのやき、　やきぐり、　油もの].

Fu-no-yaki [麩の焼] were Rikyū’s “signature” kashi -- little crêpes filled with sweetened red-bean-paste.

Yaki-guri [焼栗] are roasted chestnuts.

And abura-mono [油物] means vegetables fried in oil. But it is unlikely that these foods resembled modern tempura (they would not have been deep-fried, and the process of chilling the batter so that it bubbles up as soon as it is dropped into the pot of heated oil seems to have been developed in the Edo period). It appears that good-quality sesame oil was used for frying (which lends a distinct taste and smell to the foods fried in it), and so only a little was placed in a sort of shallow nabe, with the food cooked on one side, and then flipped over to cook the other side. The Portuguese had already introduced the practice of coating fried food with batter prior to cooking, and Rikyū certainly must have become acquainted with this sort of cookery during the time he spent in Kyūshū with Hideyoshi’s army. Nevertheless, scholars are unsure about how he may have prepared the abura-mono on this occasion.

2 notes · View notes

chanoyu-to-wa · 7 years ago

Text

Rikyū Chanoyu Sho, Book 6 (Part 20): Rikyū’s Hyaku-kai Ki, (1590) Eleventh Month, Second Day; Midday.

20) Eleventh Month, Second Day; Midday [十一月二日・晝].

￮ Guests¹: Tenman shin-monju [天満新門主]², Yaku-in [藥院]³.

￮ 4.5-mat [room]⁴.

￮ Shi-hō-gama [四方釜]⁵; ◦ Seto mizusashi [瀬戸水指]⁶; ◦ chaire: Shiri-bukura [茶入・尻ぶくら]⁷; ◦ Yakushi-dō [藥師堂]⁸; ◦ Hotta-dai [ほつた臺]⁹; ◦ zōge-chashaku [象牙茶杓]¹⁰; ◦ shaku-hachi no hana-zutsu [尺八之花筒]¹¹; ◦ Hotta mizu-koboshi [ほつたこぼし]¹².

￮ Kushi-awabi [串鮑], sake (yaki-mono) [鮭・焼物], kō-no-mono [香物], soup (na [な]), rice¹³.

￮ Ni [二]¹⁴: ◦ sashimi (sake) [さしみ・鮭]¹⁵; ◦ soup (koi no nakauchi) [汁・こいの中うち]¹⁶.

￮ Kashi: senbei [せんべい], shiitake [しいたけ], yaki-mochi [焼もち], yaki-guri [やき栗], gobō [牛房]¹⁷.

==============================================

20a¹⁸) The same: atomi [同・跡見]¹⁹.

￮ Guests: Kanamori Hōin [金森法印]²⁰, Tomita sakon [冨田左近]²¹, Hayashi sakyō [林左京]²².

_________________________

◎ At this gathering, Rikyū entertains Hideyoshi*, along with the (recently installed†) head-monk of the newly reconstructed Hongan-ji in Ōsaka, and Hideyoshi’s personal physician. Perhaps Kyōnyo Shōnin [敎如上人], the head-monk of the Tenma Hongan-ji had come to Kyōto to swear his fealty‡ to Hideyoshi, and this chakai was part of his official reception.

This gathering was followed by an ato-mi no chakai [跡見の茶會] that Rikyū hosted for three of his disciples (who were also among Hideyoshi's courtiers)**. ___________ *Who is curiously absent from the list of guests in the version of the kaiki that was published in the Rikyū Chanoyu Sho.

†While Kyōnyo Shōnin [敎如上人] seems to have functioned in this capacity in the Ishiyama Hongan-ji (which was destroyed by Hideyoshi, with its lands confiscated as the site for his Ōsaka castle), Hideyoshi subsequently gave this very politically powerful temple land in the northern part of the city (in the district known as Tenma [天満], since this is where the Shintō Shrine known as the Ōsaka Tenmangū [大阪天満宮] was located) on which the Hongan-ji was reconstructed. It is to his installation as the monju [門主] of this new Tenma Hongan-ji that his title refers.

‡The Ishiyama Hongan-ji was greatly feared by both Nobunaga and Hideyoshi, due to its connection with the Ikkō-shū (which sect may have been responsible for the downfall of the Koryeo dynasty in Korea). Perhaps, now that the temple had been rebuilt (on land given to the Hongan-ji as restitution for Hideyoshi’s having confiscated their Ishiyama site), Hideyoshi wished the temple’s head to reaffirm that Hideyoshi and his posterity would have no further cause to fear this very powerful temple.

It seems that the temple ultimately betrayed this trust, for which its headquarters was finally moved to Kyōto so that it would be under the fist of the government; and in consequence of which the temple itself was divided into two competing institutions -- the Higashi Hongan-ji and the Nishi Hongan-ji -- in an attempt to weaken their political power, within two years of this chakai. (That this occurred in the midst of Hideyoshi’s invasion of the continent suggests that the temple was again becoming involved in a political situation too dangerous to be put off.)

**The guests of this ato-mi no kai were conflated with the gathering that follows this one in the Rikyū Chanoyu Sho.

¹Kyaku [客].

As was mentioned above, while the Rikyū Chanoyu Sho version of this kaiki lists two guests (the Temman shin-monju [天満新門主] and Yaku-in [藥院]), the other versions read:

Ue-sama [上様].

(Tenma) Shin-mon [天満・新門], Yaku-in [藥院].

Ue-sama [上様] is the usual way in which a retainer referred to his lord. In other words, in addition to the other two, the gathering also included Hideyoshi. This certainly is the reason for Rikyū’s formality -- both in terms of the utensils, and the style of the kaiseki -- which otherwise might seem conspiratorial, and perhaps even nefarious (Rikyū was ordered to commit seppuku less than 5 months after this gathering; while Kyōnyo Shōnin was forced to move the Hongan-ji to Kyōto, where its organization was divided in two competing factions -- so that Hideyoshi could keep a personal eye on the doings of this temple -- one year after that).

²Temman shin-monju [天満新門主].

This refers to the monk known as Kyōnyo Shōnin [敎如上人; 1558 ~ 1614]; he is also sometimes known by his imina [諱]* of Kōju [光壽]. He was a monk of the Jōdo Shin-shū [浄土真宗] sect of Buddhism, and the 12th monju [門主] (head monk)† of the Hongan-ji [東本願寺].

The Hongan-ji was divided into two temples during his lifetime (1592), and Kyonyo became the head monk of the Higashi Hongan-ji while his younger brother, Junnyo Shōnin [准如], became the head of the Nishi Hongan-ji.

Kyōnyo was the oldest son of the 11th head monk, Kennyo [顯如], and had been born at the Ishiyama Honganji [石山本願寺]‡. Tenma [天満], which is a district in the northern part of Ōsaka city, here refers to the Tenma Hongan-ji [天満本願寺] in Ōsaka, which was the successor of the Ishiyama Hongan-ji. Land for this site was donated to the Hongan-ji by Toyotomi Hideyoshi in 1585 (shortly after the destruction of the Ishiyama Hongan-ji); and the title shin-monju [新門主], by which Rikyū nominates Kyōnyo, apparently refers to his installation as the head of this temple. ___________ *His posthumous name.

†Monju [門主], which means “keeper of the gate” is a special term that is used for the subsequent heads of a temple that was established by the founder of the sect.

‡The stronghold of the Ikkō [一向] sect, that was feared -- and destroyed -- by Nobunaga and Hideyoshi. Hideyoshi’s Ōsaka castle was built on the site of the Ishiyama Hongan-ji.

³Yaku-in [藥院].

This is the moniker Rikyū used for Yakuin Zen-sō [施藥院全宗; 1525 ~ 1599]. He was originally trained as a monk at Hieisan [比叡山], and was also a respected medical doctor of the period. It appears that Zen-sō was what we would call Hideyoshi's personal physician*.

Zen-sō was also a chajin, who had followed the teachings of Jōō, and the former owner† of the white temmoku-chawan that Rikyū uses at this gathering. __________ *Hideyoshi was suffering from tertiary syphilis (which, based on contemporary accounts of his increasingly eccentric behavior, appears to have begun evolving into neurosyphilis during the second half of the 1580s), and so the near-constant attendance of a physician (who could at least offer a degree of palliative care) would have been important both to him, and to those around him.

†This chawan (which is usually referred to as the Jōō haku-temmoku [紹鷗白天目] today) was fired at the Seto kilns in Mino (and so is an early version of what eventually came to be known as Shino-yaki [志野焼]); and, as the modern name implies, originally was in the possession of Jōō, from whom Zen-sō acquired the bowl. Rikyū, in turn, seems to have purchased it from Zen-sō.

⁴Yojō-han [四疊半].

Hideyoshi would probably have sat alone on the mat in front of the tokonoma (since this room did not have a jō-dan -- and the toko itself was too small for use as a jō-dan), with the other two guests on the mat between there and the nijiri-guchi. Yaku-in (in the lowest seat), as one of Hideyoshi’s personal attendants, probably acted as the hantō, conveying things like the chawan from Rikyū to Hideyoshi, and returning them for him.

⁵Shi-hō-gama [四方釜].

⁶Seto mizusashi [瀬戸水指].

⁷Chaire ・ Shiri-bukura [茶入・尻ぶくら].

⁸Yakushi-dō [藥師堂].

This is the white Seto temmoku-chawan that was loved by Jōō.

It is interesting that Rikyū used it on every occasion when Yakuin Zen-sō came for chanoyu -- and this was surely because the guest delighted in seeing and drinking from the chawan that had formerly been in his possession.

⁹Hotta-dai [ほつた臺].

This seems to be the temmoku-dai that was paired with the Yakushi-dō chawan, hence they are always used together.

The identity of the member of the Hotta clan whose name this temmoku-dai bears has not been identified.

¹⁰Zōge-chashaku [象牙茶杓].

This is the same black-lacquer-coated chashaku that Rikyū used in his previous chakai earlier in the day*.

Because the chaire-bon used with the Shiri-bukura chaire is a little smaller than that used with the Enjō-bō katatsuki (the difference is 1-bu), the chashaku would still have to be placed horizontally in front of the chaire, as was also the case at the morning’s gathering.

The handle of the chashaku, in this case, would project 5-bu beyond the right rim. ___________ *It is very interesting that Rikyū is taking pains to keep this second gathering from resembling an ato-mi for the morning’s chakai, even when he wishes to do things in a similar manner.

Actually, the interconnectedness between these two gatherings is very similar to what we saw between the two chakai that Rikyū hosted on the 20th day of the Ninth Month -- where he used a natsume in the morning (when serving tea to Mizuno Moritaka and Takeda Sa-kichi), and a nakatsugi at midday (when offering tea to Kamiya Sōtan). In both instances, Rikyū retains -- and maintains -- the same basic concept of his tori-awase (the difference in chawan in the present instance is related to the status of the guests, not to the concept of his tori-awase) while yet avoiding any suggestion that the second gather is simply a (mindless) repetition of the first...or that it is an ato-mi.

¹¹Shaku-hachi no hana-zutsu [尺八之花筒].

The other versions of the kaiki simply state Shaku-hachi [尺八], without qualification. Therefore, this word is the name of the hanaire, rather than a generic description*, and so must refer to the take-zutsu of that name that Rikyū made from Nireyama bamboo during the siege of Odawara the previous summer.

This was used as an oki-hanaire [置き花入]†, and displayed on the floor of the toko resting on a black-lacquered rectangular usu-ita of the type known (today) as the yahazu-ita [矢筈板]‡.

___________ *This type of hanaire is described either as a shaku-hachi-giri [尺八切], or as an oki-zutsu [置き筒].

†While later generations of chajin occasionally bored a hole in the back of this kind of hanaire, so that it could be hung up, Rikyū intended Shaku-hachi (and the shaku-hachi-giri in general) to stand on the floor of the tokonoma.

‡The yahazu-ita is so called because the edge of the board is notched, rather like the end of an arrow. This was the only kind of usu-ita that Jōō and Rikyū used -- though even in their day certain machi-shū were already using different types of boards as a base for their oki-hanaire.

¹²Hotta mizu-koboshi [ほつたこぼし].

There is no record of a koboshi of this name anywhere.

In discussions that I had with Japanese scholars a number of years ago, several individuals speculated that Rikyū may have made a dyslexic mistake* (of the sort that he has made before in his densho) -- writing an unfamiliar word that he has just written in the recent past, rather than another equally unfamiliar word that he has not used for a while†. So, possibly he used the mon-sasu mizu-koboshi [紋指す水こぼし] again on this occasion.

The mon-sasu mizu-koboshi also appears in the tori-awase of the next several chakai listed in the Rikyū Hyakkai Ki, along with the rest of the set of utensils that were used on this occasion, which strongly suggests that it was used on this occasion as well.

And as for the futaoki, it was most likely a take-wa [竹〇], as usual.

___________ *Cultural dyslexia seems to be the best explanation for the many errors of this sort that are found in Rikyū’s writings -- in other words, Japanese was not his native language, so when attempting to express his stream-of-consciousness in writing, he occasionally miswrites unfamiliar words that he has just used for equally unfamiliar words that he has not used recently.

†Something similar may have occurred in the previous kaiki, for the morning’s gathering, where, thinking about the black-lacquered chashaku, he wrote the word kuro [黒] (black) when he intended to write the name of the chawan (Ko-mamori [木守]).

We must also remember that Rikyū was 68 years of age (by the Western way of counting) at the time when he wrote this kaiki, and that is certainly old enough to earn him some leeway with respect to lapses of memory -- especially when, as in the present case, we are dealing with personal records that were never supposed to be seen by anyone but himself (and even then, he would likely only search through them if the same guest was expected to come again for chanoyu -- so that he could avoid doing things the same way on the subsequent occasion).

¹³Kushi-awabi, sake ・ yaki-mono, kō-no-mono, shiru ・ na, meshi [串鮑、鮭・焼物、香物、汁・な、めし].

The first zen that was offered to the guests contained:

- kushi-awabi [串鮑]*;

- charcoal-grilled salmon (sake [鮭]) as the yaki-mono;

- pickled vegetables (kō-no-mono [香の物])†;

- miso-shiru with chopped leaf-vegetables (na-jiru [菜汁])‡; and,

- steamed rice. ___________ *Dried abalone (awabi [鮑]) reconstituted by boiling in broth, and then sliced.

†Probably freshly pickled with salt in Rikyū’s home. This was considered more of a vegetable course -- something to accompany the service of sake [酒] -- than the usual tsuke-mono that are served with rice.

‡Na-jiru [菜汁] is miso-shiru in which chopped seedlings of daikon [大根] (Raphanus sativus), hakusai [白菜] (Brassica rapa subsp. pekinensis), kabura [蕪] (Brassica rapa subsp. rapa or rapifera), and/or na [菜] (often translated field mustard or rape, Brassica rapa subsp. oleifera). Seeds of these plants were thickly sewn in rows in the kitchen garden in Autumn, and the seedlings were harvested throughout the winter and early spring for use in soups and other dishes, as a source of fresh greens.

The shoots were coarsely chopped and then suspended in the miso-shiru.

However, aside from the one published in the Rikyū Chanoyu Sho, all of the other versions of this kaiki give nattō-jiru [納豆汁] as the soup. (Nattō-jiru is a variety of miso-shiru with coarsely ground nattō -- and usually tōfu and vegetables -- added to the soup; it has a very different taste, and much sharper and stronger smell, than ordinary miso-shiru: most modern people have difficulty tolerating the smell, even if they can accept the taste. Nevertheless, nattō-jiru is extremely nutritious and fortifying, especially in cold weather, and so was a common breakfast food both in Japan and in Korea -- until fairly recent times.) This seems more logical, since otherwise the soup here would taste too similar to the soup served on the second zen (which was also miso-shiru, albeit with carp in it).

¹⁴Ni [二].

A second zen, which held sashimi, and another soup dish.

Rather than serving the additional courses in the hiki-dashi manner (where they are brought out in large serving bowls, or smaller individual bowls arranged on a nagabon, with each guest taking his portion and placing it on his zen), Rikyū is resorting to the more formal method of service, where the first zen is taken away, and a new zen is offered to each guest, with the subsequent dishes arranged on it.

This style of service was based on court etiquette, and probably employed during this chakai because Hideyoshi was present.

¹⁵Sashimi ・ sake [さしみ・鮭].

Sashimi of salmon.

The other versions of this kaiki, however, state that rather than salmon, this was koi sashimi [鯉刺身] -- sashimi of carp.

Carp sashimi was in season in the early winter. Also, serving the fillets of the carp as sashimi would make the second dish (koi-no-nakauchi no shiru) more logical (since it was made from the left over parts of the fish).

¹⁶Shiru ・ koi no nakauchi [汁・こいの中うち].

Koi-no-nakauchi no shiru [鯉の中内の汁]* seems to be what is known as koi-koku [鯉濃] today -- miso-shiru in which carp heads, tails, and the internal organs† were boiled.

In addition to the carp, the soup would also contain daikon and leeks, and sometimes hakusai, and possibly slivered burdock root (gobō [牛蒡]) that had been brazed in sesame-oil and soy sauce before being added to the soup; and a little grated ginger (or ginger juice) as a flavoring. ___________ *In the other versions, this dish was entered into the kaiki as onaji naka-uchi no shiru [同中うちの汁] -- the reference being to the previously mentioned (onaji [同じ]) koi sashimi.

†Apparently the gallbladder and thyroid must be carefully removed, since these will spoil the taste of the soup. This suggests that Rikyū had a specialist come in to prepare the carp for him.

While Rikyū’s household had a professional chef and other kitchen staff, as was appropriate for someone of his rank and eminence (such people, and the facilities that they required to perform their jobs properly, would have been necessary on those occasions when Rikyū hosted Hideyoshi and his court in his Colored Shoin and its anterooms), it is not entirely clear how much of the cooking these people actually did for his chakai. While some scholars argue that everything was cooked by them (which is probably an anachronistic extension of what was done in daimyō households during the Edo period) most of the menus consist of things that Rikyū could very easily have managed to prepare by himself -- and that certainly was how it was supposed to be.

¹⁷Kashi ・ senbei, shiitake, yaki-mochi, yaki-guri, gobō [菓子・せんべい、しいたけ、焼もち、やき栗、牛房].

Because this chakai took place at midday -- at a time when most people only took two meals each day -- Rikyū has kept the food service minimal, while offering a larger than usual number of foods as kashi -- since (unlike the other dishes) in this case the guests could help themselves and take as much (or as little) as their stomach required.

Senbei [煎餅] are rice crackers, usually brushed with a mixture of soy sauce and mirin to give them a savory (and only slightly sweet) taste.

Shiitake [椎茸] were grilled over charcoal, probably with just a pinch of salt (dengaku [田樂] would have been too heavy, and made the taste of miso too prevalent in this gathering).

Yaki-mochi [焼き餅] is toasted mochi (餅)*, frequently a sheet of nori [海苔] (dried seaweed that is processed into paper-thin sheets) was wrapped around the hot mochi (since it can be sticky if the center leaks).

Yaki-guri [焼栗] are roasted chestnuts.

Gobō [牛蒡] is burdock root, usually sliced and braised with soy sauce, mirin, sugar, and sometimes other flavorings.

These different kashi would have been arranged in several different containers -- probably lidded boxes (possibly resembling a stack of fuchi-daka), with one or several kinds of kashi placed in each box† (so that the entire set of boxes would hold all five varieties of kashi). ___________ *Mochi is made by first steaming a highly glutinous variety of rice (called mochi-gome [餅米]), and then pounding the cooked rice until it forms a smooth, thick paste. The paste is then cut into rectangular pieces (one piece being generally considered to equal to one portion) and dried (below).

Toasting the dried mochi over a charcoal fire softens it, so that it can be eaten easily. The outside is crisp, while the inside is soft.

Because the toasted mochi gives off steam, which can soften the outside (causing the pieces of toasted mochi to stick together), each piece of mochi was often wrapped in a sheet of nori (the nori, which is treated with sesame oil and salt when it is being prepared for sale, thus prevents the pieces of mochi from sticking together).

†A small pile of senbei, for example, would probably have been placed in a box by themselves, to keep them dry.

Likewise, the yaki-mochi would have had to be kept separate too, since they needed to be served hot (otherwise the mochi would start to get hard again), and also give off steam (which could spoil things like the senbei).

Meanwhile, the cooked foods (shiitake, yaki-guri, and gobō), which were generally served at room temperature when used as kashi, could have been arranged together in the same box.

It is important for the reader to understand that the kashi were not distributed the way the modern schools usually teach -- with one person’s portion of each arranged in one box; and with each person taking one box, the contents of which he would eat by himself. Rather, the several boxes would be passed around, with each guest helping himself to whatever he wanted from each of the boxes.

In addition to the larger-sized fuchi-daka (which actually seems to be what Rikyū would have used), other kinds of boxes (generically known as jū-bako [重箱]), such as the set shown in the photo above, were made (usually in sets of three or four, and often intended for carrying food on picnics) as food containers, and this kind of box had also traditionally been used to serve kashi (mention of this the jū-bako as a kashi-ki is found in documents from the Ashikaga period, such as in Nōami’s Kun-dai Kan Sa-u Chō-ki [君臺観左右帳記]). This is why the kashi served on this occasion can be broken down into three distinct groups.

¹⁸This entry (in which, aside from the title, Rikyū only lists the names of the guests) was conflated with the next gathering (Eleventh Month, Third Day, Morning) in the Rikyū Chanoyu Sho. Rather than skew the numbering (in case anyone is following this translation in the Rikyū Daijiten), I decided to insert this data interstitially.

¹⁹Onaji・ato-mi [同・跡見].

The three guests were among Hideyoshi’s courtiers, and they would seem to have asked Rikyū to allow them to view the utensils and arrangements that were used at the gathering for Hideyoshi.

At an ato-mi no chakai, everything is done as close to the way that things were done at the gathering that it follows as possible -- including the food service. Traditionally, at the ato-mi, the left-over food from the first chakai is served (though sometimes the hiki-dashi courses are combined on an additional plate that is placed on the zen, to simplify things -- since the real purpose is so that the guests can inspect the utensils that were used to serve the tea).

²⁰Kanamori Hōin [金森法印].

Kanamori Nagachika [金森長近; 1524 ~ 1608) was a daimyō and nobleman, and vice-minister of the Department of War* (which means that Nagachika held the junior grade of the Fourth Rank).

He was also a chajin, and an admirer of Rikyū. When Rikyū was ordered to commit seppuku, Nagachika sheltered Rikyū’s son, Sen no Dōan, and so protected him from Hideyoshi’s wrath (which, by custom, would have consumed him as well). Nagachika’s interest in viewing the arrangements used in this gathering was, therefore, perfectly sincere, and exemplifies his interest in Rikyū and his vision of chanoyu. ___________ *He was the hyōbu no taifu [兵部大輔], vice-minister of the Department of War. Since the minister was, by precedent, an Imperial Prince (hence a sinecure), the vice-minister was the official who was actually in charge of running the department.

²¹Tomita sakon [冨田左近].

This refers to Tomita Tomonobu [富田知信; ? ~ 1599]* . He is also commonly known as Tomita Ippaku [富田一白], this name being a sort of nom de plume. He was a sakon no shogen [左近将監] (Lieutenant of the Left Division of Inner Palace Guards), and so a nobleman holding the junior grade of the Fifth Rank.

Tomonobu was also a disciple of Rikyu’s. The Ming period gold brocade known as Tomita kinran [富田金襴] (a fragment of the original is shown above) originally belonged to him†. ___________ *Notice that the actual name is written with a slightly different kanji: 富 versus 冨 as it appears in the Rikyū Chanoyu Sho. Since the details of the date and time of the gathering were written above the guest list in the original, this might suggest that the paper on which the upper part of the entry was written was damaged, hence the conflation between these names and the next gathering.

†Note that, unlike many modern-made imitations of this cloth, the original has a bright orange-red ground color.

²²Hayashi sakyō [林佐京].

This sobriquet, as printed in the Rikyū Chanoyu Sho, is not correct: it should read Tsu sakyō [柘左京], as an abbreviated form of Tsuge sakyō-no-suke [柘植左京亮].

This entry refers to the man known variously as Tsuge Tomokazu [柘植與一; 1541 ~ 1609] and Tsuge Yo-hachirō [柘植與八郎]. Tomokazu was a nobleman holding the junior grade of the Fifth Rank; he served as sakyō no suke [左京亮] (assistant civil administrator for the eastern half of Kyōto*) and also the ōi-no-suke [大炊助] (vice-minister of bureau of palace kitchens). At first a retainer of Oda Nobunaga, he gave his allegiance to Toyotomi Hideyoshi after Nobunaga’s seppuku at the Honnō-ji in the summer of 1582.

Tomokazu also studied chanoyu with Rikyū. ___________ *The Emperor sat in his throne room facing South (on his mi-chō-dai [御帳臺], an elevated platform covered with 2 extra-thick mats, with curtains around the four sides, rather than on a throne as in China or Korea). From in front of his “throne” a courtyard extended to the Southern gate of the palace (the Suzaku-mon [朱雀門]), and continued on as the Suzaku ōji [朱雀大路], to the Southern gate of the city, the Rashō-mon [羅生門]. Suzaku ōji divided the city into two halves, as can be seen dramatically in the scale-model of the ancient city shown below (the Imperial Palace is at the very top of the picture, and the extremely wide Suzaku ōji extends from it to the Rashō-mon, in the foreground).

When the Emperor sat facing South, the Eastern half of the city was, therefore, on his left, while the Western half of the city was on his Right. This is why many official titles include the kanji sa [左], left, and u [右], right -- since this dichotomy in the organization of the civil and military administration seemed both logical and natural when the city is viewed in this way.

2 notes · View notes

chanoyu-to-wa · 6 years ago

Text

Nampō Roku, Book 2 (39): (1587) Fifth Month, Twenty-sixth Day, After the Morning Meal.

39) Fifth Month, Twenty-sixth Day; after the morning meal¹.

◦ Two-mat room².

◦ [Guests:] Sōmu [宗無]³, Ryūami [立阿彌]⁴.

[Sho [初]⁵.]

◦ Tōyo [東嶼]⁶.

◦ Ko-ita furo ・ kiri ko-gama [小板風爐・桐小釜]⁷.

◦ On the tana, suzume ・ hane [スヽメ・羽]⁸.

▵ Senbei ・ kuri [センヘイ・栗]⁹.

[Go [後]¹⁰.]

﹆ Chaire Enza [茶入圓座]¹¹.

◦ Chawan Nagatabi [茶碗長旅] hakobi [ハコビ]¹².

◦ Mizusashi Bizen [水指備前]¹³.

◦ In a [take-]zutsu [筒]¹⁴, ajisai [アチサイ]¹⁵.

_________________________

¹Go-gatsu nijū-roku nichi, asa-han go [五月廿六日、朝飯後].

The date was July 1, 1587.

Asa-han go [朝飯後] means that the guests broke their fast elsewhere (probably in their own homes, since both had residences in Sakai), and then proceeded to Rikyū's house for chanoyu.

This gathering is not included in Kumakura Isao's modern-Japanese version of the Nampō Roku.

²Nijō shiki [二疊敷].

This would have been the two-mat room in Rikyū's Ima-ichi machi residence in Sakai.

³Sōmu [宗無].

This refers to Okayama Hisanaga [山岡久永; 1534 ~ 1603*], who was also known as Sumiyoshi-ya Sōmu [住吉屋宗無]. He was a wealthy townsman from Sakai, and a highly respected chajin†, who also served as one of Hideyoshi’s Eight Masters of Tea (sadō hachi-nin-shū [茶頭八人衆]). ___________ *Certain accounts suggest that Sōmu may have died in 1595, at the time when Sakai was razed on Hideyoshi’s orders (as a punishment for the city-state’s opposition to his invasion of Korea).

†Sōmu is usually said to have been initiated into the practice of chanoyu by Jōō, and then continued his studies with Rikyū after Jōō’s death (though, given his high standing with both Nobunaga and Hideyoshi, this latter assertion might be a revisionist opinion put out by the Sen family during the Edo period).

He studied Zen under Shunoku Sōen [春屋宗園; ? ~ 1611], from whom he received the name Sōmu [宗無] -- which he used as his professional name thereafter.

⁴Ryūami [立阿彌].

Ise-ya Ryūami [伊勢屋立阿彌; his dates of birth and death have not been preserved] was a machi-shū chajin*. A letter written to him by Rikyū suggests that he held an official position in Hideyoshi's household -- perhaps as a member of the staff of Hideyoshi's tea department†.

Ryūami's name is found in other documents connected with chanoyu from this period, such as the Tennōji-ya Kai Ki [天王寺屋會記] and Tsuda Sōkyū's diary of his own gatherings (the Tsuda Sōkyū Ji-kaiki [津田宗及自會記]). He also appears as a guest at several of Rikyū's gatherings that are described in the Rikyū Hyakkai Ki [利休百會記].

Some sources describe Ryūami as being one of Rikyū's students. __________ *The Ise-ya [伊勢屋] seems to have been a purveyor of high-quality kashi (then as now). The sembei that Rikyū served as one of the kashi at this chakai may have been brought as a gift from Ryūami.

†Or possibly the official provisioner of kashi to Hideyoshi’s household.

⁵This word sho [初] is not found in the original kaiki, though the shoza can be understood from the list of utensils that follows.

With respect to kane-wari:

- the toko held the kakemono, making it han [半];

- the room had the ko-ita furo, making it han [半] as well;

- and the tana had the kōgō and habōki, which would have been placed side by side (with each of them contacting a different kane), making the tana chō [調].

Han + han + chō is chō, which is appropriate for the shoza of a chakai that is being held during the daytime.

⁶Tōyo [東嶼]*.

This refers to a bokuseki written by the Yuan period Chán monk Dōnglíng Yǒng-yú [東陵永璵; 1285 ~ 1365] (whose name is pronounced Tōryō Eiyo in Japanese).

He is said to have been related to the great Chán master Wúxué Zǔyuán [無學祖元; 1226年 ~ 1286] (Mugaku Sogen in Japanese). Both Wúxué and Dōnglíng emigrated to Japan in order to spread the orthodox Chán teachings.

Dōnglíng Yǒng-yú was a follower of the Sōtō sect [曹洞宗] of Chán; and, as mentioned above, he came to Japan in Shōhei 6 [正平六年] (1351). Although he was a monk of the Sōtō Shū, he served as the abbot (jūji [住持]) of a number of important Japanese temples that had no affiliation with that sect, among which were the Tenryū-ji [天龍寺] and Nanzen-ji [南禪寺] in Kyōto, and the Kenchō-ji [建長寺] and Enkaku-ji [圓覺寺] in Kamakura. ___________ *Though Rikyū seems to have made an effort to write the correct kanji (rather than using the kanji yo [與] that was part of his childhood name as on previous occasions when this kakemono was displayed), he mistakenly wrote yo [嶼], rather than yo [璵].

⁷Ko-ita furo ・ kiri ko-gama [小板風爐・桐小釜].

The furo -- usually known as the Rikyū men-tori do-buro [利休面取土風爐] -- was made of lacquered, low-fired earthenware; and had been designed by Rikyū specifically to be used with this particular kama*.

The kama had belonged to Jōō, who seems to have been responsible for the repair of the rusted-out bottom.

__________ *The profile of the furo roughly mirrors that of the original small kimen-buro; though, since the space between the kama and the sides of this kind of furo should be around 2-sun, the size was increased significantly over that of the original metal furo. This is why it was placed on a ko-ita (like other “large” furo).

⁸Tana ni suzume ・ hane [棚ニスヽメ・羽].

Once again, Rikyū uses his ruri-suzume kōgō [瑠璃雀香合] -- with the furo. Perhaps for this reason, this gathering was excluded from Kumakura Isao's Nampō Roku wo Yomu [南方録を読む].

Hane [羽] means feather, and is an alternate way of referring to the habōki. It would have been a go-sun-hane [五寸羽], as shown -- though it is impossible to speculate on the kind of feathers that were used to make it.

⁹Senbei ・ kuri [センヘイ・栗].

These were the kashi*.

Senbei [煎餅] are rice crackers; and they were usually procured from a specialty shop, rather than made at home. The ji-kyaku, Ryūami, was a scion of the Ise-ya house, famous then (as now) for their high-quality kashi (of which senbei was a category); and perhaps he brought a box of special senbei to Rikyū as a gift -- which Rikyū decided to serve during the chakai.

“Kuri” [栗] probably refers to yaki-guri [焼栗], chestnuts roasted over a charcoal fire. ___________ *Since the guests would have already eaten their morning meal at home, Rikyū served only kashi at this chakai.

¹⁰Again, while Rikyū did not actually write go [後] to indicate the goza, his intentions can be inferred from the utensils listed.

As for the kane-wari:

- the chabana was displayed by itself, with the vase standing on an usu-ita resting on the floor of the toko, making the toko han [半];

- the room had both the ko-ita furo and the mizusashi (with the bon-chaire placed in front of it*), so the room was chō [調];

- and the tana was apparently left empty, which would be counted as chō [調].

Han + chō + chō is han, which is proper for the goza of a gathering hosted during the daytime. __________ *It is unclear (from the kaiki) whether Rikyū used the black lacquered Haneda-bon [羽田長盆] that he had ordered for this chaire, or the larger tray that Jōō had made for it (which was black with a red rim). Depending on the chawan, the bowl could have been displayed beside the bon-chaire if Rikyū's tray had been used; but if Jōō's tray was used, it would have been impossible.

I have shown Jōō's tray in the sketch because the way the kaiki was written suggests that Rikyū originally intended to place the chawan next to the bon-chaire (meaning that he originally planned to use his own tray), and then “suddenly changed his mind” about doing so (the word “hakobi” [ハコビ = 運び], which means “carried out,” is scribbled in the margin, and was clearly added after the record had already been entered) -- perhaps because the guests (both of whom were experienced chajin) had asked to see Jōō's chaire-bon (necessitating that Rikyū had to unexpectedly bring the chawan out from the katte at the beginning of the temae).

While both guests were machi-shū from Sakai, and at least one of them (Sōmu) had studied chanoyu with Jōō; but this does not mean that either of them would necessarily have had the opportunity to see the tray that Jōō had designed (it must be remembered that the Nade-kata enza chaire [撫肩圓座茶入] was the first chaire ever used on a chaire-bon -- previously, chaire had only been placed on a naga-bon, and only very few of the meibutsu pieces could be so used since the size had to be exactly 2-sun 2-bu or 2-sun 5-bu in diameter: the Nade-kata enza measured 2-sun 6-bu, and that was why Jōō had been inspired to make the tray in the first place). Jōō, while possessing an incredible number of meibutsu utensils, seems to have been especially parsimonious about showing them off -- especially in his last years.

The fact that the bon-chaire is marked with a red dot in the Enkaku-ji manuscript indicates that this was the “special utensil” used during this chakai, and so the above scenario seems most likely.

¹¹Chaire Enza [茶入圓座].

This is the chaire known today as the Rikyū enza [利休圓座]; in the historical documents it appears either as the Nade-kata enza [撫肩圓座] or (erroneously) the Enza katatsuki [圓座肩衝]*.

This meibutsu chaire had formerly belonged to Jōō, who designed what seems to have been the first chaire-bon for it. That tray†, which is similar in shape to the tray shown above, has a red edge, and is 3-sun 5-bu larger than the chaire on all four sides. Rikyū copied the style of Jōō's tray, but reduced the size (so that his tray -- which is the one shown in the photo -- is only 2-sun larger than the chaire on all four sides). It seems that, while Rikyū surely performed bon-date on this occasion, which tray he used is a matter of debate -- yet, since Rikyū specifically states that he carried the chawan into the room at the beginning of the temae, and since the two guests were chajin, perhaps he decided to use Jōō's larger tray‡.

As mentioned above, in the Enkaku-ji manuscript of Book Two of the Nampō Roku the chaire is marked with a red spot, indicating that it was the featured utensil used during this chakai. Perhaps Sōmu and Ryūami had asked Rikyū to let them see it (and see it used on Jōō’s original tray) -- since it had been one of Jōō's treasures, and had been given to Rikyū by Hideyoshi.

Though the chashaku is not mentioned in the kaiki, with this chaire Rikyū would have used an ori-tame [折撓] of his own making**. __________ *The latter designation seems to have been more commonly used by the machi-shū; and it gained a certain currency during the Edo period.

†Jōō patterned his chaire-bon after the several Haneda naga-bon [羽田長盆] that Haneda Gorō [羽田五郎] had made for Ashkaga Yoshimasa (when he replaced the six large meibutsu trays that had been destroyed when Yoshimasa’s storehouse was burned down during the Ōnin wars).

‡Jōō's tray was too large to allow a chawan to be placed beside it.

The rather odd way in which the kaiki is written suggests that Rikyū may have originally intended to use his own tray (and so wrote the name of the chawan immediately after that of the chaire, since the two could be displayed together in front of the mizusashi); and then, acceding to a request from the guests, substituted Jōō's tray at the last moment (and so he scribbled “hakobi” in the margin next to the chawan).

**The chashaku shown in the photo is the one to which Furuta Sōshitsu gave the name “Namida” [泪]. Rikyū made this chashaku to be used with the Enza chaire (this was the chaire that he used at his last chakai, on the morning of his death), and then sent the chashaku to Oribe afterward (the Enza chaire was returned to Hideyoshi, to whom it technically belonged).

Rikyū seems to have frequently replaced his chashaku with newly made ones, so they would always be clean. It is said that he carved the “Namida” chashaku while waiting to hear his fate.

¹²Chawan Naga-tabi ・ hakobi [茶碗長旅・ハコビ].

While searching out the identity (or even a description) of this chawan has frustrated scholars since the Edo period, this seems to be one of the earliest of Furuta Sōshitsu's hiki-dashi-kuro [引き出し黒] chawan*.

Since the actual chawan has not been located (in fact, it was probably lost around the time of Rikyū's seppuku), the chawan shown above shows one of Oribe's early black bowls (which “Naga-tabi” may have resembled). __________ *Apparently the only account of this chawan that was written by someone who actually drank from it is found in the Sōtan nikki [宗湛日記]*, the tea diary of the Hakata machi-shū Kamiya Sōtan [神屋宗湛; 1551 ~ 1635].

In his account of a gathering given by Rikyū (for Sōtan alone) at midday on the 20th of the Ninth Month (of Tenshō 18, 1590), he indicates that the utensils used during the goza were a naka-tsugi, a kuro chawan [黒茶碗] (with, Sōtan noted, the utensils -- chakin, chasen, and chashaku -- placed inside it), an earthenware (unglazed) mizusashi, Seto mizu-koboshi, and a hikkiri. In Rikyū's own account of this chakai (which is found in the Rikyū Hyakkai Ki [利休百會記]), Rikyū identifies this chawan as “Naga-tabi” [長旅].

Further details on this hypothesis may be found under footnote 15 in the post entitled Nampō Roku, Book 2 (7): (1586) Eleventh Month, Third Day, Midday. The URL for that post is:

http://chanoyu-to-wa.tumblr.com/post/179631582956/namp%C5%8D-roku-book-2-7-1586-eleventh-month

¹³Mizusashi Bizen [水指備前].

This was Rikyū's Bizen mizusashi. While definitive documentation is missing, this was most likely the mizusashi shown below (though, when Rikyū owned it, it would have had a matching lid).

Note that in the sketch of the arrangement of the utensil mat (under footnote 10, above) the mizusashi has been pushed a little closer to the far end of the mat than usual (in the present case the back side of the mizusashi was in line with the back edge of the shiki-ita). This was so that the chaire would remain in its proper place even though a larger-than-usual tray was used.

In addition to the above utensils, Rikyū would have used a take-wa [竹輪] and a mentsū [面桶] during the service of tea.

¹⁴Tsutsu ni [筒ニ].

This was an oki-zutsu [置き筒], a simple hanaire made from a short length* of bamboo, that was stood on a black-lacquered usu-ita†, on the floor of the toko.

__________ *Usually just under 1-shaku long, though this is quite variable.

†As has been mentioned before, Jōō and Rikyū used only one kind of usu-ita (irrespective of what kind of hanaire they were placing on it) -- that known, today, as the yahazu-ita [矢筈板]. It was painted with shin-nuri, and measured 1-shaku 3-sun 2-bu by 9-sun 2-bu.

Though the modern schools usually say otherwise, all of the other usu-ita were created during the Edo period (and then “blamed” on Rikyū to legitimize their use).

¹⁵Ajisai [アチサイ].

Ajisai [紫陽花] is the hydrangea -- though the hydrangea available to Rikyū were simpler and more “natural-looking” than the hybrid forms commonly seen today*.

The East Asian hydrangea (Hydrangea serrata) -- sometimes referred to as the mountain hydrangea -- which generally has very few flowers with enlarged tepals (and these usually arranged in a loose ring around a dense cluster of simpler flowers), is shown above. The color of the larger florets was pale, and generally somewhere between light blue and a bluish-purple (the more acid the soil, the bluer the flowers). The flower clusters are also notably smaller, and more compact, than the better known European hybrids. __________ *The hybrid forms, most of which originated in Europe, seem to have been first imported into Japan during the Edo period.

0 notes

chanoyu-to-wa · 7 years ago

Text

Rikyū Chanoyu Sho, Book 6 (Part 21): Rikyū’s Hyaku-kai Ki, (1590) Eleventh Month, Third Day; Morning.

21) Eleventh Month, Morning of the Third Day [十一月三日之朝].

￮ Guests: Kanamori Hōin [金森法印], Tomita sakon [冨田左近], Hayashi sakyō [林佐京]¹.

￮ 4.5-mat [room]².

￮ Shi-hō-gama [四方釜]³; ◦ Shigaraki mizusashi [しがらき水指]⁴; ◦ Yaku-shi temmoku [藥師天目]⁵; ◦ mon-sasu koboshi [もんさすこぼし]⁶; ◦ chaire: Shiri-bukura [茶入・尻ぶくら]⁷; ◦ Sōho-dana [宗甫棚]⁸; ◦ Kankyo tsubo [閑居つほ]; ◦ kuro zōge-chashaku [黒象牙茶杓]⁹.

￮ Kamaboko [かまぼこ], kurome [くろめ], soup (na no tataki [なノたゝき]), rice¹⁰.

￮ Hiki (soshite) [引 (而)]: ◦ funa namasu [鮒なます]¹¹.

￮ Kashi: fu-no-yaki [ふのやき], kaya [かや], shiitake [しいたけ]¹².

_________________________

¹Kanamori Hōin, Tomita sakon, Hayashi sakyō [客・金森法印、冨田左近、林佐京].

These three men, all personal disciples of Rikyū, were guests at an ato-mi gathering following Rikyū's chakai for Hideyoshi, Kyōnyo Shōnin (the monju [門主] of the newly opened Tenma Hongan-ji [天満本願寺]), and Yakuin Zen-sō (Hideyoshi’s personal physician), on the second day of the Eleventh Month. They have nothing to do with the present chakai.

According to all of the other sources, the guests at this gathering were:

▵ Hachi Awa-no-kami dono [蜂阿波守殿]: Hachisuga Iemasa [蜂須賀家政; 1558 ~ 1639], daimyō, and Governor of Awa [阿波國] (Awa no kami [阿波の守], a province located on the eastern side of the island of Shikoku), a nobleman who held the junior grade of the Fifth Rank.

▵ Mashita uemon-no-jō dono [增田右衞門尉殿]: Mashita Nagamori [增田長盛; 1545 ~ 1615], a general (bushō [武将]) and daimyō, as well as holding a commission as uemon-no-shōjō (the third rank in the Outer Palace Guards, equivalent to second lieutenant; it brought the bearer the junior grade of the Fifth Rank).

Mashita Nagamori was also one of the Five Commissioners (go-bugyō [五奉行]), the officials in charge of the administrative organ established by Hideyoshi in 1585. His signature (kaō) is highlighted on an official document certified by the five commissioners.

▵ Nakamura shikibu-no-sunaisuke dono [中村式部少輔殿]: Nakamura Kazu-uji [中村一氏; ? ~ 1600], another daimyō, was also the assistant vice-Minister of Ceremonials (shikibu-no-sunaisuke [式部少輔]); he held the junior grade of the Fifth Rank.

The guests, then, were all high-ranking government and military officials, who were at Juraku-tei to consult with Hideyoshi -- probably in their official capacities (and so representing the interests of the court’s relevant institutions) -- regarding his planned invasion of the continent. This chakai would have been part of their official reception; and in his arrangements, Rikyū is treating them as noblemen.

²Yojō-han [四疊半].

The position of the Sōho-dana [宗甫棚] is indicated.

³Shi-hō-gama [四方釜].

⁴Shigaraki mizusashi [しがらき水指].

While it is impossible to know with 100% certitude that this is the Shigaraki mizusashi that Rikyū used at this gathering*, scholars generally agree that the mizusashi shown above is one that he was using at the end of his life. ___________ *The “other” Shigaraki mizusashi -- which does not have a matching lid (something that Rikyū strongly also disliked) -- that is sometimes associated with Rikyū in his last years, has a pronounced crack in the front. This piece is shown below.

Rikyū seems to have had an instinctive prejudice against using these kinds of “damaged” pieces (probably because, in his formative years, any utensil that was damaged was prohibited from being used for chanoyu); and the fact that the crack was not repaired completely (and so could potentially leak when the mizusashi was filled to 90% as it certainly must have been when displayed on the Sōho-dana) only adds to the doubt. It seems, in fact, that, rather than being owned by Rikyū, this mizusashi was actually an example of what is known as Rikyū-Shigaraki -- an Edo period designation for any pot made at the kiln where Rikyū’s Shigaraki pieces were presumed to have been fired (kilns at Seto and Bizen were also nominated in this way).

Cracked and other “naturally damaged” pieces (that were subsequently repaired with lacquer to make them usable, yet without disguising the damage -- as is the case with the above mizusashi) were favored rather by Furuta Sōshitsu; and the Rikyū-Shigaraki mizusashi shown above is actually typical of these pieces -- the most famous example of the genre being Oribe’s Yabure-bukuro mizusashi [破れ袋水指], below.

The feeling of this Iga mizusashi is actually quite similar to that of the Shigaraki piece, suggesting that it, too, must have been originally selected by Oribe (or one of his close followers), and then only ascribed to Rikyū at the time when Furuta Sōshitsu’s reputation was being destroyed following his presumed treachery against Tokugawa Ieyasu in 1615 (the same time when Rikyū was being rehabilitated by the Tokugawa, due to his refusal to poison Ieyasu on Hideyoshi’s orders).

⁵Yaku-shi temmoku [藥師天目].

And though Rikyū does not mention it in the kaiki, this white temmoku-chawan was always used on the Hotta-dai [堀田臺], shown below.

⁶Mon-sasu koboshi [もんさすこぼし].

And though not mentioned, the futaoki would have been a take-wa [竹〇]:

⁷Chaire ・ Shiri-bukura [茶入・尻ぶくら].

This chaire was always used on its red-lacquered Chinese tray, as shown.

⁸Sōho-dana [宗甫棚].

This tana and its associations are described in detail in the post entitled Rikyū Chanoyu Sho, Book 6 (Part 15): Rikyū’s Hyaku-kai Ki, (1590) Tenth Month, 27th Day, Morning*.

The utensils would have been arranged on this tana as shown below (according to Book 5 of the the Nampō Roku):

The chakin and chasen were probably arranged in the temmoku, along with the chashaku, when it was displayed on the ten-ita of the daisu†. ___________ *The URL for that post is:

http://chanoyu-to-wa.tumblr.com/post/168616950742/riky%C5%AB-chanoyu-sho-book-6-part-15-riky%C5%ABs

†Making a kae-chawan unnecessary. All three guests would have been served using the dai-temmoku.

⁹Kuro zōge-chashaku [黒象牙茶杓].

And, as mentioned in the two previous installments of the Rikyū Chanoyu Sho, due to its length, the chashaku would have been placed on the tray horizontally in front of the chaire, as shown in the sketch below.

¹⁰Kamaboko, kurome, shiru ・ na no tataki, meshi [かまぼこ、くろめ、汁・なノたゝき、めし].

The foods served to each guest on their individual zen:

- kamaboko [蒲鉾] is a kind of processed seafood, consisting of a steamed paste made from white-fleshed fish: while often served in soup, in this case the kamaboko was probably deep-fried in oil and allowed to drain before serving (so, as an age-mono, it takes the place of the yaki-mono);

- kurome [黒布] is a type of seaweed, served raw, with a mixture of rice vinegar, sesame oil, soy sauce, sugar, salt, and ginger juice as a dressing;

- na no tataki-shiru [菜の敲き汁]* seems to be a variety of miso-shiru, though the name is not found elsewhere: while tataki-shiru was traditionally made by suspending minced fowl (especially ko-tori [小鳥]†, though sometimes the flesh of larger birds was used as well) in the soup, here Rikyū appears to specify that it was na no tataki-shiru‡ (some suggest that, rather than minced bird-flesh, the katsuo-bushi used to make the soup-stock was left in the soup**, with chopped vegetables added later); however, in other versions of this kaiki, the kanji na is missing from the name, so there the soup is simply tataki-shiru (meaning the soup with minced fowl suspended in the broth††);

- steamed rice, measured out in a mossō [物相], in covered bowls. ___________ *Some scholars have suggested that na [菜] was a miswriting for uzura [鶉], quail -- which was just coming into season at this time of year. Possibly the paper was worm-eaten, and “na” was the editors guess at what the illegible kanji might have been.

†The various sparrows and finches taken by the hawkers.

‡Na [菜] is a generic name for the various greens often grown in the kitchen garden -- seedling hakusai [白菜], daikon [大根], kabura [蕪], as well as na [菜] (rape).

**Unknown in Japan today, this kind of miso-shiru is still often found in Taiwan, where it is said to have been one style of preparation that has come down from the Japanese occupation period.

††When made with ko-tori or (wild) quail (uzura [鶉] -- the preferred fowl in winter), because red miso (this is miso that has been kept for a long time: it continues to ferment and the color darkens to a deep reddish-brown and -- if left long enough -- eventually to black, though the Japanese rarely keep it that long) is added to the white miso according to taste (on account of the flavor of the birds -- which can be slightly gamey in the dryer seasons of the year) sake is usually added to this kind of soup to sweeten it.

¹¹Hiki soshite ・ funa namasu [引而・鮒なます].

Funa-namasu is a kind of namasu with finely sliced raw funa [鮒] (one of several native forms of the crucian carp -- probably Carassius cuvieri, since it is most common in the rivers and lakes near Kyōto)* added to the usual mixture of slivered daikon and carrot. It was served as an accompaniment to sake. ___________ *After scaling, gutting, and removing the head, fins, and tail, the fish was placed on a cutting board and slivered into pieces as thin as possible using rapid cuts of a sharp knife -- with the bones left intact. This was then mixed with the shredded daikon and carrot, arranged in a serving bowl, and then dressed with a sauce consisting of a mixture of rice vinegar, soy sauce, mirin, and sake.

¹²Kashi ・ fu-no-yaki, kaya, shiitake [菓子・ふのやき、かや、しいたけ].

- Fu-no-yaki [麩の焼], small wheat-flour crêpes, filled with sweet red bean-paste.

- Kaya [榧] are the nuts of the Japanese nutmeg-yew (Torreya nucifera); they are roasted over a charcoal fire before serving.

- Shiitake [椎茸] mushrooms, grilled over charcoal: while they could have been served lightly salted, at this gathering it is also possible that they were prepared in the dengaku [田樂]* style. ___________ *The mushrooms are skewered on a pair of bamboo brochettes and grilled with the underside of the caps facing upward. The underside is painted with a mixture of miso, mirin, sugar and sake, and after the coating has dried (from the heat), the mushroom caps are turned over, so that the coating will begin to caramelize slightly. Sometimes sesame seeds are dusted lightly on top after cooking.

This kind of food (which is said to have originated in the countryside) only began to appear in cultured circles during the last decades of the sixteenth century, and was enjoying a certain vogue at this time.

1 note · View note

chanoyu-to-wa · 7 years ago

Text

Rikyū Chanoyu Sho, Book 6 (Part 17): Rikyū’s Hyaku-kai Ki, (1590) Tenth Month, 28th Day, Morning.

17) Tenth Month, the Morning of the 28th Day [十月廿七日之朝].

￮ Guests: Toda minbu [戸田民部]¹, Maki hyōtai [牧兵太]², Shiba kenmotsu [芝監物]³.

￮ 4.5-mat [room]⁴.

￮ Mon-sasu mizu-koboshi [もんさすこぼし]⁵; ◦ ichi-jū-no-hanaike [一ちやうの花生]⁶; ◦ [shi-hō-gama [四方釜]⁷;] ◦ [chaire: Shiri-bukura [茶入・しりふくら]⁸;] ◦ [Seto mizusashi [瀬戸水指]⁹;] ◦ [ori-tame [をりため]¹⁰.]

￮ Yaki-mono [焼物], kō-no-mono ・ sanshō [かうの物・さんせう], soup (nattō [納豆]), rice¹¹.

￮ Hiki (soshite) [引(而)]: sashimi (koi) [さしみ・こい]¹².

￮ Kashi: shiitake [椎茸], fu-no-yaki [ふのやき]¹³.

_________________________

◎ A gathering at which Rikyū served tea to three of his personal disciples -- who were also high-ranking government officials in the ministries of Public Affairs, Military Affairs, and the Office of the Bursar. The gathering may have been more of a private affair, rather than an official function -- perhaps Rikyū decided to invite these three disciples for chanoyu because the three men were scheduled to visit Juraku-tei, to confer with Hideyoshi (in their various capacities, and perhaps separately), on the same day.

¹Toda mimbu [戸田民部].

Toda Katsutaka [戸田勝隆; ? ~ 1594] was the Assistant Vice-minister of Public Affairs (minbu-no-sunaisuke [民部少輔]; the title is also pronounced minbu-no-shōyu), and also one of Rikyū's personal disciples. He is usually included in the list known as Rikyū shichi-tetsu [利休七哲]*. __________ *In other words, Toda Katsutaka was one of the people who were permitted to learn the gokushin no futatsu-gumi temae [極眞の二つ組手前], which means that he was one of the men whom Hideyoshi trusted implicitly.

The names on the list of Rikyū shichi-tetsu vary from source to source (suggesting that this was a product of the Edo period -- and, specifically, one of the Edo period propaganda machines, either that belonging to the bakufu, or to the subsidiary group that was controlled by the Senke -- rather than something maintained by Rikyū himself). Indeed, Rikyū is known to have taught the gokushin temae to a number of people, including some (such as Nambō Sōkei) whose names do not appear on any of the lists.

While the name Rikyū shichi-tetsu is usually translated “Seven Disciples of Rikyū” (or something to that effect), the word tetsu [哲] has a much stronger meaning: it primarily describes a sage or wise man, and only secondarily a disciple (in the sense that people like Mengzi [孟子], Mencius, or Zhuangzi [莊子], Chuang-tzu, were “disciples” of Kǒngzi [孔子], Confucius). So, because these individuals had been permitted (by Hideyoshi) to receive the teachings of gokushin-no-chanoyu, they were therefore legitimate exponents of the practice in their own rights.

²Maki hyōtai [牧兵太].

This refers to Makimura Toshisada [牧村利貞; 1546 ~ 1593], who is also sometimes known as Makimura Masayoshi [牧村政吉]. He was the Deputy-minister of the War Department (hyōbu-no-daisuke [兵部大輔]), and another of the men whom Hideyoshi permitted to learn the gokushin-no-futatsu-gumi temae from Rikyū (and so is usually on the list of the Rikyū shichi-tetsu [利休七哲]).

³Shiba kenmotsu [芝監物].

Shibayama Shun-ichi [芝山俊一; his dates of birth and death are unknown] was also known as Shibayama Sōkō [芝山宗綱]*. He was a kemmotsu [監物], an auditor in the Ministry of Civil Affairs, and another of Rikyū's personal disciples.

Shun-ichi was also one of the men who were permitted to learn the gokushin no futatsu-gumi temae, and so his name is generally included among the Rikyū shichi-tetsu. __________ *Usually rendered Shibayama Munetsuna [芝山宗綱], according to the usual Japanese pronunciation for personal names.

⁴Yojō-han [四疊半].

⁵Mon-sasu mizu-koboshi [もんさすこぼし].

⁶Ichi-jū-no-hanaike [一ちやうの花生].

An ichi-jū-giri that is said to have been made by Rikyū*. Note that he used the word hanaike [花生] rather than hanaire [花入] when referring to the flower container†.

In Rikyū’s case, the ichi-jū-giri was always used as a kake-hanaire. In this case, since the cha-tsubo was not displayed during the go-za‡, the ichi-jū-giri would have been hung on the back wall, in the middle of the toko. ___________ *Since Rikyū did not usually say anything about the hanaire (at least when it was a newly-made take-zutsu), his mentioning it suggests that there was something special about this hana-zutsu -- that it was one of the “original” containers that he made during the siege of Odawara (all of the guests at this chakai had participated in the siege of Odawara, and perhaps they also took part in the all-night flower arranging competition that Hideyoshi held while waiting for news from the front, so the use of this hanaire would bring back certain memories).

While the take-zutsu known as Onjō-ji [園城寺], Shaku-hachi [尺八], and Yo-naga [夜長] are known as the three original containers, Rikyū actually crafted a fourth container on that occasion: during the all-night flower-arranging competition (for which these containers were made), the ichi-jū-giri Onjō-ji cracked and began to leak (hence its name). During an intermission, Rikyū replaced it with a new ichi-jū-giri (sometimes referred to by the name of Odawara [小田原] -- though unlike the others, Rikyū did not write the name on it with lacquer: this name actually seems to have been coined by chajin in the Edo period), and it seems to be to this second “original” ichi-jū-giri that reference is being made in this entry. Since it technically had no name (unlike the others that were made at that time), Rikyū refers to it simply as “ichi-jū-no-hanaike.”

According to some accounts, the ichi-jū-giri shown in the photo above is the fourth take-zutsu from the siege of Odawara.

†Hanaike [花生] was the original term for a flower vase; hanaire [花入] was coined by the Sen family at the time when they tried to distance their practice from the world of ikebana. But, in fact, even now most “town teachers” usually offer lessons in both chanoyu and ikebana (as did Rikyū -- who also was one of the people charged with creating the large rikka [立華] arrangements for Hideyoshi’s reception rooms and shoin).

‡Displaying the cha-tsubo seems to have been a point of etiquette when serving tea to people with whom the host was on polite terms, since it showed them the source of the tea. When serving tea to close friends -- such as these three men -- this kind of demonstration was unnecessary, hence Rikyū left the cha-tsubo in the katte.

⁷Shi-hō-gama [四方釜].

Neither this kama, nor any of the following utensils, are mentioned under this chakai in the Rikyū Chaonyu Sho. With the exception of the chawan and the take-wa, however, they are included in all of the other surviving manuscript copies of this kaiki, and have been restored here from those sources.

⁸Chaire ・ Shiri-bukura [茶入・しりふくら].

⁹Seto mizusashi [瀬戸水指].

¹⁰Ori-tame [をりため].

As was usually the case, this would have been a smaller chashaku, made to be placed on the tray with the Shiri-bukura chaire.

Nothing is said about the chawan in any of the copies of this kaiki -- which is rather odd, since a chawan is absolutely necessary. Most likely Rikyū used the same chawan that he had been using in recent days (and also uses in his several subsequent gatherings) -- the Ko-mamori chawan [木守茶碗].

And, likewise, with respect to the futaoki, Rikyū doubtlessly would have used a take-wa [竹〇] -- it was extremely rare for him to use anything else.

¹¹Yaki-mono, kō-no-mono ・ sanshō, shiru ・ nattō, meshi [焼物、かうの物・さんせう、汁・納豆、めし].

The things served to the guests on their individual zen:

- yaki-mono: according to the other versions of this kaiki, the yaki-mono was charcoal-grilled salmon (sake [鮭]);

- kō-no-mono [香の物] are pickled vegetables, perhaps pickled in brine in the home*;

- sanshō [山椒]: sanshō is not eaten by itself, so this was offered to the guests as a sort of condiment† -- perhaps to give a spicy flavor the pickled vegetables (shin-tsuke are generally milder in taste than vegetables that were pickled for a long time);

- nattō-jiru [納豆汁] is miso-shiru with nattō‡;

- and a measure of steamed rice (meshi [飯]), in a covered bowl, as usual. ___________ *This kind of simple, homemade tsuke-mono [漬物] is usually referred to as shin-zuke [新漬] today -- they can be made from fresh vegetables overnight, and thus are more like a salad course than what is usually thought of as tsuke-mono (which are usually aged for a long time, and have lost much of their water).

Perhaps Rikyū served this kind of tsuke-mono because the weather turned cold and it was not possible to get fresh daikon and carrots to make namasu [鱠].

†At this time of the year, there would be no leaves, so “sanshō” would mean the prepared seeds (air dried), perhaps crushed into a coarse powder and served on the side of the dish on which the tsuke-mono were arranged. The guest would then dip each piece of pickled vegetable into the sanshō before eating it, allowing him to control the intensity of the flavor.

‡To make nattō-jiru, the nattō is first ground in a suri-bachi into a coarse paste -- which should be left in the suri-bachi until later. After making the dashi, daikon and carrot are boiled in it until tender. Then some of the dashi is poured into the suri-bachi, while continuing to grind the nattō (this process keeps the nattō smooth, otherwise it might clump and refuse to disperse properly). When well mixed and liquid, the host turns to dissolving the miso in the dashi; and when it is ready, the nattō and dashi mixture is poured into the miso-shiru, and the two mixed well.

In addition to the daikon and carrot, tōfu cut into small pieces, sliced aburage [油揚] (fried tōfu), and/or sliced konnyaku [蒟蒻] can be added to the nattō-jiru, as desired.

¹²Hiki soshite ・　sashimi koi [引而・さしみこい].

Koi-sashimi [鯉刺身] is sashimi made from the “wild” black carp (not the colorful varieties raised in garden pools -- and which can cost hundreds of dollars each). In Kyōto it was almost impossible to get ocean fish fresh enough for sashimi, so freshwater fish such as the carp were used*.

After the carp is boned and sliced into pieces of an appropriate size for eating, the sliced fish must be placed in a hot water bath (this is called arai [洗い] -- washing), before chilling it in cold (or ice) water. Then the flesh must be drained (some people put it on a cotton towel and roll it gently) before it is served.

Carp is said to taste best in winter, when the fish is fatty, hence Rikyū was serving it to his disciples at the ideal season. ___________ *Parasites seem to be a more recent problem. If the carp are raised in fresh flowing water that is not exposed to human sewage, the fish should be clean.

¹³Kashi ・ shiitake, fu-no-yaki [菓子・椎茸、ふのやき].

Shiitake [椎茸] were grilled before serving. Some people did this by roasting them over a charcoal fire, perhaps with a sprinkling of salt. Others (in Rikyū’s period) preferred to prepare the shiitake as dengaku [田樂]* -- that is, paint the underside of the caps (the “gills,” as they are called) with a sweet miso based sauce† as they are roasting. The shiitake are served with the miso-coated side facing upward, perhaps with a light sprinkling of sesame seeds.

Fu-no-yaki [麩の焼] are little bite-sized crêpes filled with azuki no koshi-an [小豆の漉し餡]‡. ___________ *It is said that the style of cooking known as dengaku first appeared during the sixteenth century, hence it was a novel taste at the time that would have been appreciated during the chakai.

†The sauce is made by mixing white-miso (though red miso or other varieties can be used, depending on the preferred taste) with sugar, mirin, and sake [酒] (the alcoholic beverage, not the fish).

Roughly one measure each of sake, mirin, and sugar, combined with two measures of miso, makes a suitable dengaku paste (though the amount of sugar may be decreased to taste -- in Rikyū’s period, kashi were supposed to be fairly bland and palate-cleansing rather than overtly sweet the way they often are nowadays). Modern-day “shiitake no miso-dengaku yaki” [椎茸の味噌田樂焼] recipes often include the yellow of one egg to make the paste richer (and yellower -- so that it better colors the dark brown mushroom caps), but it is doubtful whether this was included in Rikyū’s day.

‡Strained bean-paste (straining through a sieve removes the skins and makes it smooth) sweetened with sugar.

1 note · View note

chanoyu-to-wa · 7 years ago

Text

Rikyū Chanoyu Sho, Book 6 (Part 13): Rikyū’s Hyaku-kai Ki, (1590) Ninth Month, 23rd Day, Morning.

13) Ninth Month, 23rd Day; Morning [九月廿三日・朝]¹.

￮ Guest: Honkaku-bō [本覺坊]².

￮ 4.5-mat [room]³.

￮ Shi-hō-gama [四方釜]⁴; ◦ chaire: Shiri-bukura [茶入・尻ぶくら]⁵; ◦ Mishima-chawan [三嶋茶碗]⁶; ◦ wake-mono mizusashi [〇け物水指]⁷; ◦ Kankyo no tsubo [閑居のつぼ]⁸; ◦ ori-tame [おりため]⁹; ◦ [take no wa [竹の〇]¹⁰;] ◦ [ko-Bizen hanaire [古備前花入]¹¹.]

￮ Shiidake [椎茸]¹²;

◦ Gobō kuzu-ni [牛房くずに]¹³.

￮ Kashi: fu-no-yaki [ふのやき], kuri [くり]¹⁴.

_________________________

◎ This meeting with Honkaku-bō Senkō seems to have been connected with an important personal matter.

When Rikyū moved his Sakai household to Mozuno (late the previous year, or early in 1590), Nambō Sōkei had begged to be excused from his duties as Rikyū's steward, due to the difficulty of walking from the Shū-un-an [集雲庵] (just inside the san-mon [山門] of the Nanshū-ji [南宗寺]) to Mozuno*. Consequently Rikyū was in need of a replacement; and apparently Sōkei (or someone else of his acquaintance) had recommended Honkaku-bō, and after speaking with him, the arrangements had been made. However (perhaps because his relative youth made traveling easier, and so he accompanied the special utensils when they were sent to Rikyū from Sakai), it appears that Senkō‘s duties were not always restricted to Sakai, since he is occasionally mentioned as having assisted Rikyū during chakai held at Juraku-tei.

Honkaku-bō seems to have been present (perhaps in the katte) at the gathering that was given on 14th Day of the Ninth Month for the three Daitoku-ji monks Kokei [古溪], Shun-oku [春屋], and Gyoku-ho [玉甫], according to Suzuki Keiichi’s commentary in the Sen no Rikyū Zen-shu. Perhaps the present chakai was for the purpose of urging Honkaku-bō to be prudent, should anyone ask him about the details of that gathering†. And, for whatever reason or reasons, following this chakai there is a span of more than a month before Rikyū entertained guests again‡. ___________ *Nambō Sōkei was apparently several years older than Rikyū, and a man in his 70s could be excused for complaining about the distance, especially in cold or inclement weather (Sakai, being next to the sea, would have born the brunt of anything blowing in from the ocean).

†As was mentioned in the notes appended to my translation, it was on that occasion that Rikyū displayed a bokuseki belonging to Hideyoshi that was written by the Chinese monk Xū-táng Zhì-yú [虛堂智愚; 1185 ~ 1269] (known as Kidō Chigu in Japan), which was in his keeping while he was having it remounted for Hideyoshi.

The use of that particular scroll precipitated certain intemperate remarks from the various participants (according to a memo written by Honkaku-bō some years later). Hideyoshi’s subsequent anger, whether because Rikyū dared to hang the scroll at a gathering held to wish Kokei well during his exile (which had been imposed on him by Hideyoshi) -- or because the monks’ remarks came to his ear (according to one version of the memo, they called Hideyoshi a fool, and praised Rikyū as a clever thief for thwarting his master by hanging his prized possession for the delectation of the man he was sending into exile) -- is difficult to deduce. Nevertheless, this incident was at least part of the reason why Rikyū would be ordered to commit seppuku some 6 months later.

At any rate, the timing of this chakai for Honkaku-bō seems to be significant, because it is likely that it would have taken several weeks for news of Rikyū’s indiscretion to filter back to Hideyoshi.

‡Without further evidence there is no real way to speculate on why Rikyū suddenly stopped officiating at gatherings in the Juraku-tei: but given Rikyū’s extremely busy schedule prior to this time, the fact that Hideyoshi’s meetings with important persons would only be likely to increase in frequency as the time for the invasion approached, and also given that Rikyū returns to an equally hectic schedule after he begins to host gatherings again -- coupled with the fact that Rikyū was ordered to commit seppuku just six months after this meeting with Honkaku-bō -- the month-long break seems ominous.

¹Asa [朝].

The version of the Rikyū Hyakkai Ki preserved by the Hisada family (which descended from Rikyū’s daughter, and preserves certain personal papers of Rikyū that were in her keeping -- perhaps including this document) gives the time for this chakai as ban [晩], evening. This would seem a more likely time for Rikyū to be hosting a gathering for personal reasons -- after his duties for Hideyoshi for the day had been concluded.

²Honkaku-bō [本覺坊].

Honkaku-bō Senkō [本覺坊暹好; his dates of birth and death are unknown] seems to have been a relatively young man (perhaps early middle-age) at the time when he entered Rikyū’s household (following this gathering). He was a monk of the Mii-dera [三井寺] in Ōmi [近江国], one of the four largest temples in Japan. The temple is located a short distance from lake Biwa.

Senkō was also active in the world of chanoyu as well, and he is mentioned by name in connection with the Kitano ō-cha-no-e [北野大茶の會] in 1587.

³Yojō-han [四疊半].

The yo-jō-han in Rikyū’s Juraku-tei residence was a yashiki [屋敷] -- that is, an independent construction located across the inner garden from the residential buildings (to which the 2-mat room was directly connected). In addition to the 4.5 mat tearoom, the building contained a katte and a roofed-over veranda (where the mizuya was located).

Oribe is said to have liked the functionality of the arrangement, and built something similar in the garden of his own Kyōto residence.

⁴Shi-hō-gama [四方釜].

⁵Chaire ・ Shiri-bukura [茶入・尻ぶくら].

⁶Mishima-chawan [三嶋茶碗].

The name “Mishima chawan” is said to have been adopted because of the resemblance to the lines of incised markings to the bands of writing on the block-printed calendars (Mishima-goyomi [三島暦]) issued by the Mishima shrine (Mishima Taisha [三島大社]) in modern-day Shizuoka Prefecture.

This chawan was originally made in Korea for use as a rice-bowl. It may have been one of the pieces that Rikyū found and brought back to Japan with him after his sojourn on the continent.

⁷Wake-mono mizusashi [〇け物水指].

⁸Kankyo no tsubo [閑居のつぼ].

This cha-tsubo was lost in a fire during the time of Sen no Sōtan, according to a letter that he wrote around that time.

⁹Ori-tame [おりため].

As usual, this would have been a chashaku made specifically to accompany the chaire that was used at that gathering -- in this case, Rikyū’s Shiri-bukura chaire [尻膨茶入], which he used on the red Chinese tray shown in the photo under footnote 5, above.

According to Rikyū’s Bon-date no densho, in the case of bon-date [盆立]*, the handle of the chashaku should project 4- or 5-bu beyond the front rim of the tray. Consequently, in the case of this chaire, the total length of the chashaku should be 5-sun long. (The handle, from the bend in the bowl to the rim of the tray is equal to the front-to-baci diameter of the chaire, 2-sun 1-bu, plus 2-sun for the tray in front of the chaire; the length from the bend to the tip of the bowl end is equal to half the difference between the diameter of the foot and the maximum diameter of the chaire itself, which in this case is 5-bu; plus 4- or 5-bu for the distance the handle projects beyond the rim. The node is located at the scoop’s center of balance, and usually near the center of the handle.) ___________ *Usually bon-date [盆點 or 盆点] is preferred by the modern schools.

¹⁰Take no wa [竹の〇].

The futaoki is mentioned in the version of the kaiki that was published in the Sadō Ko-ten Zenshu [茶道古典全集].

¹¹Ko-Bizen hanaire [古備前花入].

This entry is also found in the Sadō Ko-ten Zenshu version of the kaiki, while no mention of the hanaire is made in the Rikyū Chanoyu Sho.

Scholarship dating to the late 20th century suggests that this entry refers to the kake-hanaire [掛け花入] that is also known as the Kōrai-tsutsu [高麗筒].

The reason why Rikyū generally does not mention the hanaire is because, at this point in his career, he was regularly using bamboo hanaire* that he crafted by himself. It is only when he deviates from this rule that he mentions the hanaire in his kaiki. ___________ *Flowers from trees, blooming above eye-level, were hung on the wall (or on the mukō-bashira [向柱], the minor-pillar on the outer-wall side of the toko). These were arranged in an ichi-jū-giri [一重切].

Grassy flowers (which bloom near the ground) were placed in a shaku-hachi-giri [尺八切] (standing on an usu-ita on the floor of the tokonoma). This kind of bamboo hanaire is also referred to occasionally as an oki-tsutsu [置き筒] in documents from Rikyū’s period.

And in his 4.5-mat room, when he wished to include both types of flowers at the same time, Rikyū occasionally used a ni-jū-giri [二重切], standing on the floor (with the tree-flowers arranged in the upper level, and the grassy flowers in the lower level), according to contemporary, or near-contemporaneous (early Edo period) accounts.

¹²Shiidake [椎茸].

The menu for the kaiseki has been truncated in the Rikyū Chanoyu Sho. According to other versions of the kaiki, the zen included:

◦ shiidake [しい竹] (as the yaki-mono*);

◦ kuki-shiru [くき汁]†; and,

◦ meshi [めし] (steamed rice). ___________ *This name should be taken as a phonetic rendering, with the final kanji being used as a hentai-gana. The correct kanji name is shiidake [椎茸], as in the Rikyū Chanoyu Sho version of the text.

When served as a yaki-mono, the stems of the shiidake mushrooms were removed, and the caps were grilled over charcoal. Before serving, they were dusted lightly with salt.

In monastic cooking, mushrooms -- and especially shiidake -- were traditionally used as a substitute for meat or fish.

†Kuki-shiru [茎汁] is an abbreviation for kuki-dachi shiru [茎立ち汁]. This is a version of miso-shiru where the leaves and petioles of daikon, kabura [蕪] (turnip), and/or rape (abura-na [油菜]) seedlings are chopped and suspended in the soup. Seeds for these kinds of plants were sewn in the home’s kitchen garden in late summer or early autumn, and they had reached a suitable size for use in this way by the late autumn; and they were used throughout the winter and early spring as a source of fresh greens.

Kuki [茎] refers to the petioles (when larger, more mature leaves are used, the petioles are removed before the leaves are chopped for inclusion in a soup because they become tough and stringy, hence their inclusion here is a special feature of this kind of soup). This is a homely kind of soup, appropriate for serving a humble monk (as was the use of miso-shiru).

¹³Gobō kuzu-ni [牛房くずに].

In the Sadō Ko-ten Zenshu version of the kaiki, gobō kuzu-ni [牛蒡葛煮] is qualified as the hiki-mono*.

Gobō kuzu-ni [牛蒡葛煮]† is burdock that has been sliced into pieces and then boiled with arrowroot starch (kuzu-ko [葛粉]). Boiling burdock with arrowroot starch gives the root a slightly sweet, honey-like flavor, and also provides a syrupy sauce. ___________ *Hiki-mono [引物] were dishes that were brought out (hiki-dasu [引き出す]) later in the gathering, apart from the zen, and usually to accompany the service of sake.

According to a note in the Nampō Roku, even monks (who were technically not supposed to drink alcoholic beverages) were supposed to drink two servings of sake. Rikyū may be testing the Honkaku-bō’s attitude here, since assisting at a chakai necessarily precludes one from having a strong aversion to alcohol.

†Gobō [牛房], as the word is printed in the Rikyū Chanoyu Sho, is a mistake. This compound means a cow-pen (an enclosure in which the oxen that pulled the ceremonial carriages used by the nobility were kept).

¹⁴Kashi ・ fu-no-yaki, kuri [菓子・ふのやき、くり].

Rikyū’s favorite kashi -- little homemade crêpes filled with sweetened red-bean paste, and roasted chestnuts*. ___________ *Kuri [栗] probably refers to yaki-guri [焼き栗], roast chestnuts -- which was the usual way to serve them in Rikyū’s period (and even today -- outside of chanoyu).

0 notes