#ka ka fuka ka

[en-qq]

i was kinda worrying for a bit that the manga just is like that, but ever since that scene in ch42, i've been thinking that it's actually meant in a way to portray an abusive relationship overall, enjoyable read, even if my ranting(?) might make it seem like the opposite lmao but i feel like something was lacking in the conclusion of the deal between hongyou and hase

[anime-of-the-day]

Anime of the day: Dungeon ni Deai wo Motomeru no wa Machigatteiru Darou ka IV: Fuka Shou - Yakusai-hen

Alt title: Is It Wrong to Try to Pick Up Girls in a Dungeon? IV Part 2

Released: 2023

This is the second part of the 4th season. Bell  has advanced in level, but he can't yet celebrate his dungeoneering success. Before Bell can go on his next assignment, news of a horrible murder rocks the exploring community.  It's up to Bell and his buddies to clear their friend's name and find out who is really responsible for the terrible act as one of Bell's trusted allies is being held accountable.

[xenojiva69]

Ryuu getting help from her Familia spirits to kill Juggernaut...

[ekyanimehd]

Watch Is It Wrong to Try to Pick Up Girls in a Dungeon? Season 4 Part 2 Episode 2 online or download the full episode and the rest of the series in HD.

[lalunameli]

『タナトスの声を聞け」

Hear the Voice of Thanatos!

Translation of this snippet on Lunatic/Yuri's character song 「タナトスの声を聞け」 (Hear the Voice of Thanatos) from the Best of Hero album.

I adore this song so much and listen to it a lot!

Scans provided by @tnbscans and the rest of the article reviews the other songs in the album.

BONUS ルナティック

『タナトスの声を聞け」

ルナティック／ユーリ・ペトロフ（声／遊佐浩三）

Bonus - Lunatic

"Hear the Voice of Thanatos"

Lunatic/Yuri Petrov (CV: Yusa Kōji)

断罪者であるダークヒーロー・ルナティックも、ボーナストラックで参戦！普段のクールなイメージとは違う、意外な一面が見えるかも・・・・・·？

The Dark Hero Lunatic, who is a sinner, performs the bonus track! It's different from his usual "cool" image. You may see an unexpected side...?

1コマレビュー

作：武若丸

1 Koma Review

By: Takewakamaru

Kotetsu and Barnaby's comments while listening to track:

生あったかいですね…

It's warm...

業なの

The performance...

これは...この歌はぁ...‼︎

This...this song is...!!

やんちゃだった頃の

When I was naughty

過ちっつーか

And made mistakes

黒歴史っつーか

My dark past

抉り出される感じがオジサンもう・・・ッ‼︎

It feels like it's being gouged out. Old Man, you too....!!

Lyrics Update 12/21/2023:

Replaced the transcription of the lyrics originally posted, with the official lyrics from the Best of Hero booklet courtesy of @tnbscans (Previously added scan of lyrics to this post).

Added Romaji

Tweaked some of the translation choices to match the official lyrics as written in the booklet.

Removed link to UTA.net as there are incorrect kanji

LEGEND:

Bold - Original Japanese Lyrics

Blue - Romaji

Green - English Translation

『タナトスの声を聞け」

"Tanatosu no Koe o Kike"

"Hear the Voice of Thanatos"

ルナティック／ユーリ・ペトロフ（声／遊佐浩三）

Lunatic/Yuri Petrov (CV: Yusa Kōji)

蔓延(はびこ)る邪心を　青き炎で鎮め

Habikoru jashin o Aoki honode shizume

Calm the spreading evil heart with blue flames

醜き悪には　月からの報いを

Minikuki aku ni wa Tsuki kara no mukui wo

Reward from the moon for the ugliness of evil

裁きの標(しるべ)に　罪人(つみびと)は導かれ

Sabaki no shirube ni Tsumibito wa michibikare

Sinners are guided by the mark of judgement.

テミスの秤は　平衡を取り戻す

Temisu no hakari wa Heikou o torimodosu

Themis' scale restores its balance.

ひび割れた暗闇で掴んだ正義に

Hibiwareta kurayamide tsukanda seigi ni

To the justice I grasped in the cracks of darkness

迷いなど何ひとつない それなのに何故

Mayoi nado nanihitotsu nai sorenanoni naze

There's nothing to lose, but why?

消えない痕(しるし)が疼く

Kienai shirushi ga uzuku

The indelible mark hurts.

己の罪の深さを嘲笑うように

Onore no tsumi no fuka sa o azawarau you ni

Like laughing at the depth of your sins

誰が一番呪わしいのか

Dare ga ichiban norowashii no ka

Who is most cursed?

囁きはまだ届かない

Sasayakiwa mada todokanai

The whispers have not reached me yet.

棺はいらない　全て灰に変え��う

Hitsugi wa iranai Subete hai ni kaeyou

I don't need a coffin. Let's turn everything into ashes.

この手で与える　相応しき最期(おわり)に

Kono tede ataeru Fusawashiki owari ni

I'll give those deserving their ending, with this hand.

購(あがな)いは　唯一の残された道

Aganai wa Yuiitsu no nokosareta michi

Purchase is the only road left behind.

誰ひとり逃れることは　許されない　さあ

Dare hitori nogareru koto wa Yurusarenai saa

No one is allowed to escape.

癒えない痕(しるし)を抱いて

Ienai shirushi o daite

Hold the unhealable scar

非業の罰を我が身に科そう　怯まずに

Higou no batsu o wagami ni kasou Hirumazu ni

I won't falter to inflict the punishment of untimely death

やはり悪は滅びる宿命(さだめ)・・・

Yahari aku wa horobiru sadame...

After all, evil's destiny is to perish...

刮目し今、省みろ

Katsumokushi ima, kaerimiro

Look at it now, reflect on it.

業火でさえ 燃やしきれず

Gouka de sae Moyashikirezu

Even the fire can't be burned.

記憶の底 こびりついた

Kioku no soko Kobititsuita

The core of my memory is stuck.

憎しみごと焼き尽くしてしまえば・・・

Nikushimi goto yaki tsukushiteshimae ba...

If you burn up all the hatred...

消えない痕(しるし)が疼く

Kienai shirushi ga uzuku

The indelible mark hurts.

己の罪の深さを嘲笑うように

Onore no tsumi no fuka sa wo azawarau you ni

Like laughing at the depth of your sins

誰が一番呪わしいのか

Dare ga ichiban nowashii no ka

Who is most cursed?

囁きはまだ遠い

Sasayakiwa mada tooi

The whispers have not reached me yet.

癒えない痕(しるし)を抱いて

Ienai shirushi o daite

Hold the unhealable scar

非業の罰を我が身に科そう　怯まずに

Higou no batsu o wagami ni kasou Hirumazu ni

I won't falter to inflict the punishment of untimely death

これが私の正義の形

Kore ga watashi no seigi no katachi

This is my form of justice.

さあ、タナトスの声を聞け

Saa, Tanatosu no koe o kike

Now, hear the voice of Thanatos!

Scan of lyrics from "Best of Hero" booklet courtesy of @tnbscans

Listen on YT here

[tetrix-anime]

Megami Magazine March 2023 Issue (#274) - Dungeon ni Deai wo Motomeru no wa Machigatteiru Darou ka IV: Fuka Shou - Yakusai-hen

[akuqilla]

Hitori Boushi kanji & romaji lyrics

独り奉死

快楽を呼ぶ声が 脳(あたま)を蝕んだ 振り払う術はなく あんたのもとへ

心地よい服従に 悶えて 身を委ね 欲望に舵を取る あぁ狂おしい

家事 給仕 マッサージ 回峰行 人柱 誰かに 盗られるのなら いっそ殺して

骨の髄 髄まで尽くして ほろり 花と散る この命も捧げて それで終われたら… 尽くし 尽くし つく 澪標 独り奉死

お気にの首輪と足枷は 契りの印 どうかこのままいさせて あんたの奴隷でいられることが 生きがいです

望むなら(求めさせて) 電流 火くぐり 氷締めも 身体が(覚えてるね) 熱く刻まれた 愛の罪

何なりとご用命を!さぁ!(飯出せ) 内臓は要りますか?(ありがとう) 異次元の負荷を即頂戴 いますぐ

骨の髄 髄まで尽くして ほろり 花と散る 手段なんて選ばない 僕はこうして活きる

いつか…散ってしまうのなら 最後はあんたの傍がいい 咲いて 咲いて 咲き乱れて あんたの"記憶の花"になります

もう一度生まれ変わって あんたに仕えます 愛おしき命令よ もっともっとください

髄 髄まで尽くして ほろり 花と散る この命も捧げて それで終われたら… 尽くし 尽くし つく 澪標 独り奉死

•────────────•

Hitori Boushi

Kairaku o yobu koe ga atama o mushibanda furiharau sube wa naku anta no moto e

kokochiyoi fukujuu ni modaete mi o yudane yokubou ni kajiwotoru aa kuruoshii

kaji kyuuji massaaji kaihougyou hitobashira dareka ni torareru nonara isso koroshite

hone no zui zui made tsukushite horori hana to chiru kono inochi mo sasagete sore de owaretara… Tsukushi tsukushi tsuku miotsukushi hitori boushi

okini no kubiwa to ashikase wa chigiri no shirushi douka kono mama i sasete anta no dorei de irareru koto ga ikigaidesu

nozomunara (motome sasete) denryuu hi kuguri koori jime mo karada ga (oboe teru ne) atsuku kizama reta ai no tsumi

nan narito goyoumei o! Saa! (Meshi dase) naizou wa irimasu ka? (Arigatou) i jigen no fuka o soku choudai ima sugu

hone no zui zui made tsukushite horori hana to chiru shudan nante erabanai boku wa koushite ikiru

itsuka… chitte shimau nonara saigo wa anta no soba ga ii saite saite sakimidarete anta no "kioku no hana" ni narimasu

mouichido umarekawatte anta ni tsukaemasu itooshiki meirei yo motto motto kudasai

zui zui made tsukushite horori hana to chiru kono inochi mo sasagete sore de owaretara… Tsukushi tsukushi tsuku miotsukushi hitori boushi

[demonslayerscript]

Episode 7 : Muzan Kibutsuji / 第七話『鬼舞辻無惨(Kibutsuji Muzan)』

＊Green-colored words are only in anime, not in original manga, and we usually call them “ani-ori(anime-original)".

炭治郎「禰豆子！深追いするな。こっちへ戻れ。こっちへ来い。禰豆子！」

Tanjiro “Nezuko! Fuka-oi suruna. Kocchie modore. Kocchie koi. Nezuko!”

Tanjiro “Nezuko! Don’t chase after him! Get back here! Come to me. Nezuko!”

炭治郎（鱗滝さんは言ってた。‘禰豆子は今、鬼だ’と。‘必ずしも自分が守らねばならない程、弱いわけではない’と。いいのか？任せても。二人を守ってくれれば、攻撃に専念できる…）

Tanjiro (Urokodaki-sanwa itteta. ‘Nezukowa ima, onida’to. ‘Kanarazu-shimo jibunga mamoraneba naranai-hodo yowai wake-dewa nai’to. Iinoka? Makasetemo. Futario mamotte kurereba, kogekini sennen dekiru…)

Tanjiro (Mr.Urokodaki did tell me… that Nezuko is a demon now. And that she’s not necessarily so weak that I have to protect her. Is it all right to let her handle this? If I have her watch over those two, I can focus on my attacks.)

炭治郎「禰豆子！くっ。禰豆子、俺は下に行く!! 二人を守ってくれ。できるな」

Tanjiro “Nezuko! Ku. Nezuko, orewa shitani iku!! Futario mamotte kure. Dekiruna.”

Tanjiro “Nezuko! Nezuko, I’m going underground! I want you to protect those two! You can do that, right?”

ーーーーー

炭治郎（沼の中!! そしてこれは…攫われた人たちの着物や持ち物か？何の罪もない人たちをこんなにも殺した!! 許せない… 許せない!!）

Tanjiro (Numano naka!! Soshite korewa… sarawareta hito-tachino kimonoya mochi-monoka? Nanno tsumimo nai hito-tachio konna-nimo koroshita!! Yuruse-nai… Yuruse-nai!!)

Tanjiro (Inside a swamp… And these are… Are these the clothes and belongings of the people who were kidnapped? Just look at all the innocent people they’ve murdered! It’s unforgivable! Unforgivable!)

一本角「ハハハッ、苦しいか、小僧。この沼の中には、ほとんど空気もない。さらに、この沼の闇は体に纏わり付いて重いだろう、ハハハハ!!」

Ippon-zuno “Hahaha, kurushiika, kozo. Kono numano naka-niwa, hotondo kukimo nai. Sarani, kono numano yamiwa karadani matowari-tsuite omoidaro, hahahaha!!”

One Horn “Getting hard to breathe, brat? There’s hardly any air inside this swamp. On top of that, the darkness coiling around your body must feel pretty heavy.”

三本角「地上のようには動けんのだ、ざまをみろ!! 浅はかに自ら飛び込んできた愚か者めが！」

Sanbon-zuno “Chijono yo-niwa ugoken-noda. Zamao miro!! Asahakani mizukara tobikonde-kita oroka-mono-mega!”

Three Horns “You can’t move the way you would aboveground! Serves you right! You should’ve looked before you leaped in, you damn fool!”

炭治郎（舐めるなよ!! 一体俺がどこで鍛錬したと思ってるんだ!! 狭霧山の頂上は、もっと空気が薄かった!!）

Tanjiro (Nameru-nayo!! Ittai orega dokode tanren shitato omotte-runda!! Sagiri-yamano chojowa, motto kukiga usukatta!!)

Tanjiro (Don’t underestimate me! Just where do you think I got my training anyway? The air was thinner on top of Mt.Sagiri!)

炭治郎（さらに、水の中でこそ力を発揮する技がある）

Tanjiro (Sarani, mizuno nakade-koso chikarao hakki suru wazaga aru.)

Tanjiro (Not to mention… there are moves that only unleash their full potential underwater!)

炭治郎（沼の中で、こんな角度の動きができるのか。でも関係ない!! 攻撃のために接近した所を斬るだけだ!!）

Tanjiro (Numano nakade, konna kakudono ugokiga dekiru-noka. Demo kankei nai!! Kogekino tameni sekkin shita tokoro’o kiru dakeda!!)

Tanjiro (So, they can move at angles like that inside this swamp? But it doesn’t matter! All I have to do is slash when they get near enough to attack!)

炭治郎（足場もない不安定なこの場所でも使える型。上半身と下半身の激しいねじりで強い渦動を発生させる）

Tanjiro (Ashibamo nai fuanteina kono basho-demo tsukaeru kata. Jo-hanshinto Ka-hanshinno hageshii nejiride tsuyoi kado’o hassei saseru.)

Tanjiro (The form that can be utilized even when there’s no sure footing… Generating a powerful vortex with a violent twist of my upper and lower body!)

炭治郎（匂いが来た！隙の糸!!）

Tanjiro (Nioiga kita! Sukino ito!!)

Tanjiro (Here comes the scent! The opening thread!)

炭治郎（全集中・水の呼吸。陸ノ型。ねじれ渦!!!）

Tanjiro (Zen-shuchu, Mizuno Kokyu. Rokuno Kata. Nejire-Uzu!!!)

Tanjiro (Total Concentration! Water Breathing! Sixth Form! Whirlpool!)

炭治郎（うっ…苦しい!! 早く上へ。禰豆子!!）

Tanjiro (U… Kurushii!! Hayaku uee. Nezuko!!)

Tanjiro (I can’t breathe! I gotta get out of here! Nezuko!)

ーーーーー

二本角（この女、強い!!）

Nihon-zuno (Kono onna, tsuyoi!!)

Two Horns (This girl is powerful!)

二本角（まだ何の異能も使えないようだが、それでもこの強さだ!! この女は恐らく、分けられた血の量が多いんだ!!）

Nihon-zuno (Mada nanno inomo tsukae-nai-yodaga, sore-demo kono tsuyosada!! Kono onnawa osoraku, wake-rareta chino ryoga ooinda!!)

Two Horns (She doesn’t seem to have mastered any morphing skills yet, but look how strong she is anyway! She must have gotten a huge amount of blood from him!)

二本角（女の動きが速すぎて、沼に潜れない。だが、単調な攻撃に慣れてきたぞ）

Nihon-zuno (Onnano ugokiga haya-sugite, numani mogure-nai. Daga, tanchona kogekini narete kitazo.)

Two Horns (She moves so fast! I can’t dive back into the swamp! But they, I’m getting used to these one-note attacks of hers!)

二本角（もげるほど首を蹴られても、内臓を破裂させられようと、鬼はすぐに回復できるんだ！）

Nihon-zuno (Mogeru-hodo kubio kerare-temo, naizo’o haretsu saserare-yoto, oniwa suguni kaifuku dekirunda!)

Two Horns (Even if she kicks my head clean off… Even if my internal organs explode, demons can regenerate in a flash!)

和巳「ああっ!!」

Kazumi “Aa!!”

二本角（よし!! その面(ツラ)に風穴開けてやる!!）

Nihon-zuno (Yoshi!! Sono tsurani kaza-ana akete-yaru!!)

Two Horns (All right! Now I’m gonna drill a hole right through your face!)

炭治郎「妹に触るな!!」

Tanjiro “Imotoni sawaruna!!”

Tanjiro “Hands off my sister!”

二本角（うっ、や…殺(や)られたのか？コイツに俺が…二人共殺られた！）

Nihon-zuno (U, ya… yarareta-noka? Koitsuni orega… futari-tomo yarareta!)

Two Horns (Did I just get taken out? Both of my other selves got taken out by this guy!)

炭治郎「お前たちは腐った油のような匂いがする。ひどい悪臭だ。一体、どれだけの人を殺した!!」

Tanjiro “Omae-tachiwa kusatta aburano-yona nioiga suru. Hidoi akushuda. Ittai, dore-dakeno hito’o koroshita!!”

Tanjiro “You give off a scent like rotten oil. It’s a horrible smell! How many people have you killed?”

二本角「女共はな!! あれ以上生きていると、醜く不味(まず)くなるんだよ。だから喰ってやったんだ!! 俺たち鬼に感謝…」

Nihon-zuno “Onna-domo-wana!! Are-ijo ikite-iruto, minikuku mazuku narundayo. Dakara kutte-yattanda!! Ore-tachi onini kansha…”

Two Horns “Listen! If women live any longer, they turn ugly and start tasting like crap! So, we killed them for their own good! You should be thankful to us demons―”

炭治郎「もういい。鬼舞辻無惨について知っていることを話してもらう」

Tanjiro “Mo ii. Kibutsuji Muzanni tsuite shitte-irukoto’o hanashite morau.”

Tanjiro “Never mind. You’re going to tell me what you know about Muzan Kibutsuji.”

二本角「ひっ！うう…」

Nihon-zuno “Hi! Uu…”

炭治郎「話してもらおう」

Tanjiro “Hanashite morao.”

Tanjiro “Talk to me!”

二本角「ひっ！」

Nihon-zuno “Hi!”

炭治郎「話せ！」

Tanjiro “Hanase!”

Tanjiro “Start talking!”

二本角「い…言えない…言えない…」

Nihon-zuno “I…Ienai… Ienai…”

Two Horns “I-I can’t tell you. I can’t tell you!”

二本角「言えない…言えない…」

Nihon-zuno “Ienai… Ienai…”

Two Horns “I can’t tell you! I can’t tell you!”

ーーーーー

鬼舞辻無惨「喋ってはいけない。私のことを誰にも喋ってはいけない。喋ったら、すぐにわかる…。私はいつも君を見ている…」

Kibutsuji Muzan “Shabettewa ikenai. Watashino koto’o dare-nimo shabettewa ikenai. Shabettara, suguni wakaru… Watashiwa itsumo kimio mite-iru…”

Muzan Kibutsuji “You mustn’t tell. You mustn’t tell anyone about me. If you do tell anyone, I’ll know right away. I’m always watching you.”

ーーーーー

二本角「言えない…言えない！言えない、言えない…」

Nihon-zuno “Ienai… Ienai! Ienai, ienai…”

Two Horns “I can’t tell you! I can’t tell you! I can’t tell you! I can’t tell you! I can’t tell you!”

炭治郎（骨の奥まで震えるような、恐怖の匂い）

Tanjiro (Honeno oku-made furueru-yona, kyofuno nioi.)

Tanjiro (The smell of fear is strong. He’s trembling all the way down to his bones!)

二本角「言えないんだよオオオ!!!」

Nihon-zuno “Ienaindayoooo!!!”

Two-Horns “I can’t tell you, all right?”

炭治郎（ああ、��た何も聞き出せない）

Tanjiro (Aa, mata nanimo kiki-dase-nai.)

Tanjiro (Once again, I failed to get any information.)

炭治郎「禰豆子！…寝てる。血も止まっている。回復するための眠りか…」

Tanjiro “Nezuko! …Neteru. Chimo tomatte-iru. Kaifuku suru-tameno nemurika…”

Tanjiro “Nezuko! She’s asleep. She stopped bleeding, too. So, she’s sleeping in order to recover?”

炭治郎「ごめん。ごめんな。もう少し待ってくれ。兄ちゃんがきっと、人間に戻してやるからな」

Tanjiro “Gomen. Gomenna. Mo sukoshi matte-ite kure. Niichanga kitto, ningenni modoshite yaru-karana.”

Tanjiro “Sorry. I’m sorry. Wait just a little longer, okay? I promise to turn you back into a human again!”

炭治郎「和巳さん。大丈夫ですか？」

Tanjiro “Kazumi-san. Daijobu desuka?”

Tanjiro “Mr.Kazumi? Are you all right?”

和巳「…婚約者を失って、大丈夫だと思うか？」

Kazumi “…Kon’yakushao ushinatte, daijobu dato omouka?”

Kazumi “I’ve lost my fiancée. How can I be all right?”

炭治郎「和巳さん。失っても、失っても、生きていくしかないんです。どんなに打ちのめされようと…」

Tanjiro “Kazumi-san. Ushinattemo, ushinattemo, ikite-iku-shika nain-desu. Donnani uchinome-sare-yoto…”

Tanjiro “Mr.Kazumi… No matter how many people you may lose, you have no choice but to go on living. No matter how devastating the blows may be.”

和巳「お前に何がわかるんだ!! お前みたいな子供に!!」

Kazumi “Omaeni naniga wakarunda!! Omae mitaina kodomoni!!”

Kazumi “What do you know about it? A kid like you?”

炭治郎「俺は、もう行きます。これを…。この中に、里子さんの持ち物があるといいのですが…」

Tanjiro “Orewa, mo ikimasu. Koreo… Kono nakani, Satoko-sanno mochi-monoga aruto iino-desuga…”

Tanjiro “I’ll be on my way now. Take this. I hope you’ll find something of Miss Satoko’s in there.”

和巳「あっ…うう…」

Kazumi “A…Uu…”

和巳（ハッ…君も同じだったのか？そうなのか？）

Kazumi (Ha… Kimimo onaji datta-noka? So nanoka?)

Kazumi (So, you went through the same thing, too? Is that it?)

和巳「す…すまない!! 酷いことを言った!! どうか許してくれ。すまなかった…」

Kazumi “Su…Sumanai!! Hidoi koto’o itta!! Doka yurushite kure. Sumana-katta…”

Kazumi “I… I’m sorry! That was an awful thing to say! Please forgive me! I’m so sorry!”

和巳（痛ましい手。硬く鍛え抜かれ分厚い。少年の手ではなかった）

Kazumi (Itamashii te. Kataku kitae-nukare buatsui. Shonenno te-dewa nakatta.)

Kazumi (His hand was heart-breaking to see. Hardened by relentless training and so thick. It wasn’t a boy’s hand.)

炭治郎「その女性の方、お願いします」

Tanjiro “Sono Joseino kata, onegai shimasu.”

Tanjiro “I’m leaving that young woman in your hands!”

和巳「分かった。…分かった…」

Kazumi “Wakatta. …Wakatta…”

Kazumi “All right! All right!”

ーーーーー

炭治郎（俺だけじゃない。どれだけの人を殺し、痛めつけ、苦しめた。鬼舞辻無惨。俺はお前を絶対に許さない）

Tanjiro (Ore-dakeja nai. Dore-dakeno hito’o koroshi, itame-tsuke, kurushimeta. Kibutsuji Muzan. Orewa omaeo zettaini yurusanai.)

Tanjiro (It’s not just me. How many people have you killed, tortured and tormented? Muzan Kibutsuji, I’ll never forgive you as long as I live!)

炭治郎「あっ！」

Tanjiro “A!”

鎹鴉の天王寺松右衛門「次ハ東京府浅草ァ！鬼ガ潜ンデイルトノ噂アリ!! カァアア!!」

Tennoji Matsuemon (Kasugai-Garasu) “Tsugiwa Tokyo-fu, Asakusaa! Oniga hisonde irutono uwasa ari!! Kaaa!”

Matsuemon Tennoji (Kasugai Crow) “Next up, Asakusa, Tokyo! Rumors of a demon lurking there!”

炭治郎「えっ！もう次に行くのか」

Tanjiro “E! Mo tsugini ikunoka.”

Tanjiro “I’m heading to my next mission already?”

鎹鴉の天王寺松右衛門「行クノヨォオ!!」

Tennoji Matsuemon (Kasugai-Garasu) “Ikunoyooo!”

Matsuemon Tennoji (Kasugai Crow) “Oh, yes, you are!”

炭治郎「ちょっと待って」

Tanjiro “Chotto matte.”

Tanjiro “Hold on a minute.”

鎹鴉の天王寺松右衛門「待タァナイ!!」

Tennoji Matsuemon (Kasugai-Garasu) “Mataanai!!”

Matsuemon Tennoji (Kasugai Crow) “No can do!”

炭治郎「いやいや待って…ちょっとでいいから…」

Tanjiro “Iya-iya matte… Chottode iikara…”

Tanjiro “Come on, just give me a minute! Hold on! What?”

鎹鴉の天王寺松右衛門「イイカラ、サッサト行ク！」

Tennoji Matsuemon (Kasugai-Garasu) “Iikara, sassato iku!”

Matsuemon Tennoji (Kasugai Crow) “Just shut up and go already!”

炭治郎「ええ～」

Tanjiro “Eeee”

ーーーーー

炭治郎（街はこんなに発展しているのか!! 夜なのに明るい!! 建物高っ、なんだあれ!! 都会って… 都会って… おお… めまいがする…）

Tanjiro (Machiwa konnani hatten shite irunoka!! Yoru nanoni akarui!! Tatemono taka! Nanda are!! Tokaitte… Tokaitte… Oo… Memaiga suru…)

Tanjiro (Are the cities this advanced now? It’s nighttime, but it’s so bright out! The buildings are so tall! What is this? The cities… The cities… I feel dizzy.”

炭治郎「あ…あっち行こう、禰豆子」

Tanjiro “A… Acchi iko, Nezuko.”

Tanjiro “Uh, let’s go that way, Nezuko!”

炭治郎「うわっ！し…失礼しました！」

Tanjiro “Uwa! Shi… Shitsurei shimashita!”

Tanjiro “I-I beg your pardon!”

炭治郎「すみません… 山かけうどんください…」

Tanjiro “Sumimasen… Yamakake-udon kudasai…”

Tanjiro “Excuse me. A bowl of udon with grated yam on top please.”

うどん屋の豊「あっ、あいよ」

Udon’yano Toyo “A, Aiyo.”

Toyo “Uh, sure thing!”

炭治郎「こんな所、初めて来た……人が多すぎる」

Tanjiro “Konna tokoro, hajimete kita……Hitoga oosugiru.”

Tanjiro “I’ve never been to a place like this. It’s way too crowded.”

うどん屋の豊「山かけうどん一丁、出来上がり」

Udon’yano Toyo “Yamakake udon iccho, deki-agari.”

Toyo “Here’s your udon with grated yam on top!”

炭治郎「ありがとうございます」

Tanjiro “Arigato gozaimasu.”

Tanjiro “Thank you very much.”

炭治郎「ああ……あっ！」

Tanjiro “Aa……A!”

炭治郎（この匂い!! どうして突然こんな所で!! 家に残っていた匂いだ。鬼舞辻無惨!！）

Tanjiro (Kono nioi!! Doshite totsuzen konna tokorode!! Ie-ni nokotte-ita nioida. Kibutsuji Muzan!!)

Tanjiro (This scent! Why would I catch it here all of a sudden? It’s the same scent that was left in my house! Muzan Kibutsuji!)

炭治郎（こいつが、匂いの…）

Tanjiro (Koitsuga, nioi’no…)

Tanjiro (Is this the guy giving off that scent?)

鬼舞辻無惨「ん？」

Kibutsuji Muzan “N?”

炭治郎（こいつが!!）

Tanjiro (Koitsuga!!)

Tanjiro (It’s him!)

娘「お父さん」

Musume “Otosan.”

Daughter “Daddy?”

炭治郎「あっ」

Tanjiro “A.”

娘「だあれ？」

Musume “Daare?”

Daughter “Who’s that?”

炭治郎（ハッ！こいつ…）

Tanjiro (Ha! Koitsu…)

Tanjiro (He’s…)

無惨「大丈夫だよ。安心なさい」

Muzan “Daijobu dayo. Anshin nasai.”

Muzan “It’s all right. Don’t worry.”

炭治郎（こいつ!! こいつ!! 人間のふりをして暮らしているんだ!!）

Tanjiro (Koitsu!! Koitsu!! Ningenno furio shite kurashite irunda!!)

Tanjiro (He’s… He’s… He’s living here, pretending to be a human!)

無惨「私に何か用ですか？随分慌てていらっしゃるようですが…」

Muzan “Watashini nanika yodesuka? Zuibun awatete irassharu-yodesuga…”

Muzan “Is there something I can do for you? You seem to be quite flustered.”

妻「あら、どうしたの？」

Tsuma “Ara, do shitano?”

Wife “Oh my. What’s going on?”

娘「おかあさん」

Musume “Okaasan.”

Daughter “Mother!”

炭治郎（ああ… 人間だ… 女の子と女の人は人間の匂いだ。知らないのか？わからないのか？こいつが鬼だって、人を喰うって）

Tanjiro (Aa… Ningenda… Onna’noko to onna’no hitowa ningenno nioida. Shiranai-noka? Wakaranai-noka? Koitsuga oni datte. Hito’o kuutte.)

Tanjiro (They’re humans! The girl and the woman… Their scent is human! Don’t you know? Can’t you tell? That this guy is a demon? That he devours humans?)

妻「お知り合い？」

Tsuma “Oshiriai?”

Wife “Do you know him?”

無惨「いいや、困ったことに少しも――…知らない子ですね。人違いではないでしょうか？」

Muzan “Iiya, komatta kotoni sukoshimo――…shiranai ko desune. Hito-chigai-dewa naideshoka?”

Muzan “No. Much to my consternation, I’ve never seen this child before. He must have mistaken me for someone else.”

妻「まあ、そうなの？」

Tsuma “Maa, sonano?”

Wife “Oh, you think so?”

炭治郎「あっ！」

Tanjiro “A!”

男「うっ…」

Otoko “U…”

女「あなた、どうしました？」

Onna “Anata, do shimashita?”

Woman “Dear, what’s the matter?”

男「うっ…うっ…」

Otoko “U… U…”

女「あなた？」

Onna “Anata?”

Woman “Dear?”

男「グアア！」

Man “Guaa!”

炭治郎「やめろ!!」

Tanjiro “Yamero!!”

Tanjiro “Stop!”

女「キャアアアッ！」

Onna “Kyaaaa!”

ーーーーー

大正コソコソ噂話　-Taisho Secret-

炭治郎「ついに鬼舞辻無惨を見つけた。こいつを倒せば、禰豆子を人間に…。」

Tanjiro “Tsuini Kibutsuji Muzan’o mitsuketa. Koitsuo taoseba, Nezuko’o ningenni…”

Tanjiro “I’ve finally tracked down Muzan Kibutsuji! If I can bring him down, Nezuko could be human again!”

炭治郎「それにしても、浅草の人たちはおしゃれな格好をしていたな。禰豆子も似合いそうだな」

Tanjiro “Soreni-shitemo, Asakusano hito-tachiwa osharena kakko’o shite-itana. Nezukomo niai-sodana.”

Tanjiro “Anyway, everyone in Asakusa sure is stylish, huh? I bet you’d look great in an outfit like that!”

炭治郎「その間に、大正コソコソ噂話。うどん屋の豊さんは、浅草生まれ、浅草育ち。浅草を愛しているので、浅草でうどんを作っている…らしいですよ」

Tanjiro “Sono aidani, Taisho koso-koso uwasa-banashi. Udon’yano Toyo-sanwa, Asakusa-umare. Asakusa-sodachi. Asakusao aishite irunode, Asakusade udon’o tsukutte iru…rashii desuyo.”

Tanjiro “Now, it’s time for a Taisho-era secret! Toyo from the udon shop was born and raised in Asakusa. He makes udon in Asakusa because he loves Asakusa so much, I hear.”

炭治郎「スーツか！ちょっと大人になった気がするな。ああっ！任務に戻らないと！」

Tanjiro “Sūtsuka! Chotto otonani natta kiga suruna. Aa! Ninmuni modora-naito!”

Tanjiro “A suit, huh? Now I feel kind of grown up! I’d better get back to my mission!”

炭治郎「次回、第八話『幻惑の血の香り』」

Tanjiro “Jikai, dai-hachi-wa, ‘Genwakuno Chino Kaori’.”

Tanjiro “Next, Episode 8, ‘The Smell of Enchanting Blood’!”

(Continue to episode 8)

[en-qq]

i thought so already when aki refused to not break up with him, but seeing hase so pissed off is really satisfying to see lmao

[xenojiva69]

Bell's party finally defeating the Floor Boss without bell....

[ekyanimehd]

Watch Is It Wrong to Try to Pick Up Girls in a Dungeon? Season 4 Part 2 Episode 1 online or download the full episode and the rest of the series in HD.

[curestardust]

Dust Watched: Dungeon ni Deai wo Motomeru no wa Machigatteiru Darou ka IV: Shin Shou - Meikyuu-hen | Fuka Shou - Yakusai-hen

Genres: Action, Adventure, Fantasy, Non-Isekai with Isekai rules // 22 episodes //  S01 (x) | S02 (x) | S03 (x) | Alt (x) | M01 (x)

Well. colour me surprised (a bit)!

✧  story  ✧

Danmachi Season 4 got split into 2 but as they’re all just one long story I’ll be reviewing it as one and instead focus on the arcs. Also spoilers.

The first arc is pretty run of the mill boring stuff I usually expect. Bell, his Familia and some others form a party to go to the lower floors for the first time. Their first mishap is some odd moss monster aka Moss Huge. Bell gets split off from the group, meets the Waifu-of-the-Season who’s a mermaid Xenos with super-effective healing blood. He then trots his way back to his party who’re in a desperate battle agaisnt the Moss Huge, unlocks a new power and sends it to the shadow realm. 

Most annoying of all, besides the forced waifu introduction, was the powercreep. They have Aisha with them, her and Bell being the only Level 4s in the party. Well, while Bell is gone, Haruhime casts her level-up spell on Aisha, making her a Level 5... which is completely ignored by the plot. Lame.

Anyway, onto Arc 2 where things get a bit spicier. Ryuu makes an appearance as she is chasing after the last remaining member of the Evilus (yes, EVILus) Familia who slaughtered her Familia. This dude, Jura, with the help of his lackies manages to summon the monster that was the actual cause of it. An almost undefeatable, insanely deadly Irregular spawned by the Dungeon itself when it feels threatened, the Juggernaut. THIS thing was a TREAT. The very first monster that actually managed to pose a threat to the protagonist!! Insane!! It actually slices off Bell’s arm and almost snaps his neck in half but alas, this is where our mermaid waifu makes her appearance once again and literally just fuses back his arm. FUCK! We were *this* close to perfection. Khm, anyway. Bell comes back, him and Ryuu fight the bitch then when all seems lost they get swallowed by a Lambton which is just a giant snake.

This is where season 1 ends. It was... meh. Standard fair in the beginning, shows some promise near the end. I was almost enjoying it but then Bell got his arm back which was lame. Ryuu’s past and actions also got completely flipped on its head when Jura reveals how her Familia *actually* died (more in that in the character section). Thankfully this gets addressed in the 2nd season, though.

Onto Arc 3, which is by far the best in probably the entirety of Danmachi in my opinion. Now, considering that I hated all previous seasons that doesn’t say much but for real, it was pretty good.

The focus is split into 2. The Lambton barrels down all the way to the Deep Floors (10 levels down) where Bell and Ryuu finally get out of it. Meanwhile, the rest of Bell’s party is back on Floor 25 where they have no idea what’s going on as they never saw the Juggernaut, only know that the Dungeon is freaking out. 

Here comes the accidentally best part of the anime; Bell’s harem has been left alone without him coming to help them thus giving them screentime and finally letting them show that they ARE badass even without the plot-armoured main character. The Floor Boss actually spawns ahead of time and as all exists are blocked off, the small team has to fight for their lives against it. In the episodes where this is going on we occasionally get glimpses at Bell and Ryuu in the Deep Floors but those are usually only a few minutes before we get back to the Action. Similarly, as things quiet down with this group we slowly switch focus to the other two and soon stick to only following them.

This part was honestly... great? The side-characters finally getting screentime, Bell actually shitting his pants for once and Ryuu keeping him from falling apart while not only having to deal with the Juggernaut itself but Floor 37′s monsters.

Story-wise, keeping everything inside the dungeon was a 10/10 decision.

✧  characters  ✧

Again, seeing Bell actually losing it was good to see. As was seeing his harem fight without him, although they kept talking or thinking about Bell constantly which was a bit annoying. “Do NOT let the viewers forget for a second who the most important character in this anime is, even when he is not on screen!!!!” is what I imagine the writer thought.

Delving into Ryuu’s backstory more, I was initially a bit scared. What we have been told all this time was that another Familia killed hers, the Astraea Familia, and thus she went on a “righteous” rampage and murdered them in revenge.

However, we have now been told that in fact.... it was an accident? The Astraea Familia and the Evilus Familia have been constantly fighting for a long time and during one of these encounters in the Dungeon, the Evilus blow up so much of the place that they ACCIDENTALLY summon the Juggernaut. The existence of this creature is a Top Secret, so no, it wasn’t planned. The Juggernaut then proceeds to not only murder the Astraea Familia but the OTHER ONE AS WELL with only Ryuu and Jura escaping from it.

?????????? Well, this certainly changes things. However... However! Despite me thinking that the writer was gonna brush off the implications of the truth, how much this can alter the viewers’ perception of Ryuu, they didn’t. Through her, we get acknowledgment that she really is not righteous who slaughtered the Evilus Familia for justice. She... wanted to die. And was hoping to bring as many people who had even the slightest bit to do with her misery with her to the grave. But she survived. And this whole time she thought she has lost who she was, that she didn’t deserve to live, and deep down was hoping to meet her end defending someone because she couldn’t defend her Familia.

Ryuu would’ve been great of course, and was for the majority of the Season but it was like the writer remembered at the last second that each season needed a waifu for Bell and as these 2 were the only ones together... sigh. Well, now she also wants to ride his dick. *eye roll* 

Small things I wanted to mention but don’t feel like getting too deep into: Cassandra’s God is an asshole for not telling everyone that her visions are actually true and making not only them but Cassandra herself doubt everything.

Jura was the most run-of-the-mill, screeching, evil-laughing, basic-ass villain I’ve seen in a while. Good thing the monster took him out. Juggernaut my beloved <3.

Lack of Hestia was great, I really can’t put up with her jealous antics. Lili is plenty by herself, jesus christ. 

New mermaid waifu got shifted, she was literally introcuded as a deus-ex-machina. The Xenos are still insanely boring btw.

✧  art  ✧

Fight scenes get big focus (especially the ones involving Bell, but 2nd season puts effort into his team’s too). The environment design was pretty nice but the monsters quite cliché. It’s a bit hard to see much in the Deep Floors but it adds to the atmosphere so *shrug*.

✧  sound ✧

OP’s immediately went on my Spotify playlist. The VA’s (especially Ryuu’s) were great (but Bell had a very funny scream when his arm got cut off hahahaha).

✧  overview ✧

Ryuu is great, please let Bell actually lose a limb or smth next time, and I’m forver missing the Juggernaut who made my dreams come true (actually posed a threat to MC).

My Rating: 5/10 | 7/10

[tetrix-anime]

Megami Magazine February 2023 Issue (#273) - Dungeon ni Deai wo Motomeru no wa Machigatteiru Darou ka IV: Fuka Shou - Yakusai-hen

[chanoyu-to-wa]

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

42) Yojō-han tomoshibi no oki-dokoro [四疊半ノ置所]¹.

[The writing reads:  written on a diagonal, kono-hashira kugi-butsu kake-tomoshibi (此柱 釘打掛灯)², hi-guchi no takasa fukuro-dana no ue yon-sun no kokoro-e-subeshi (火口ノ高サ袋棚ノ上四寸ノ心得スヘシ)³; center, hi-guchi (火口)⁴.]

〽 Go-shaku-toko no toki kaku-no-gotoki [五尺床ノ時如此]⁵.

〽 Tankei oki-kata yoshi, Shukō no shin-no-yojō-han, Engo no ō-haba wo kakerare-shi yue ikken-toko nari, tankei mo sono toki made ha okazu, shokudai nari, Jōō yojō-han, toko-naki mo ari, toko wo tsukerare-taru ha go-shaku nari [短檠置方ヨシ、珠光ノ眞ノ四疊半、圜悟ノ大幅ヲ掛ラレシ故一間床也、短檠モ其時マデハ不置、燭臺也、紹鷗ノ四疊半、床ナキモアリ、床ヲ付ラレタルハ五尺也]⁶.

[The writing reads:  hi-guchi (火口)⁷.]

〽 Ikken-toko no toki, Sōkyū kaku-no-gotoki wo okaruru, Kyū ha tsu[w]i ni ji-ka ni te, sumi-kakete okare-taru wo mizu, aru-toki, Yodo-ya no yojō-han ikken-toko ni te ari-keru ni tōdai oki-taru ni, Kyū mi-tamaite, kore ni te koso aru-beki to no tamau, shikaraba sumi-kake ha konomarezu to oboe ni, Yodo-ya ha Kyū koni no montei nari [一間床ノ時、宗及如此ヲカルヽ、休ハツヰニ自家ニテ、スミカケテヲカレタルヲ見ズ、アル時、淀屋ノ四疊半一間床ニテ有ケルニ燈臺置タルニ、休見玉テ、コレニテコソアルベキトノ玉フ、シカレバスミカケハ不被好ト覺ニ、淀屋ハ休懇意ノ門弟也]⁸.

43.1) Fuka san-jō furu-zama [深三疊古様]⁹.

[The writing reads (right to left):  kono tokoro kakemono (此所カケ物)¹⁰; kono kabe chū-dan kōshi ari, mata chū-dan made ni shite, hashira nashi ni, ita no furo-saki mo ari, takasa kama no mie-kakure (此カヘ中段カウシアリ、又中段迄ニシテ柱ナシニ、板ノ風爐サキモアリ、高サ釜ノ見ヘカクレ)¹¹; isshaku go-sun ita (一尺五寸板)¹²; ro wo koko ni kirareshi ha, isshaku-yon-sun kiwamarite ato no koto nari, hajime ha ita no ue ni daisu no gotoku, kane no furo mizusashi nado gu-shite oki-shi nari (爐ヲコヽニ切ラレシハ、一尺四寸キハマリテ後ノコト也、初ハ板ノ上ニ臺子ノコトク、カネノ風爐・水サシナト具シテヲキシナリ)¹³; kake-tomoshibi koko ni (カケ灯コヽニ)¹⁴.]

43.2) Ato kaku-no-gotoki ni mo [後如此ニモ]¹⁵.

[The writing reads:  isshaku go-sun ita (一尺五寸板)¹⁶; ro (炉)¹⁷.]

44.1) Naga-yojō furu-zama [長四疊古様]¹⁸.

[The writing reads, from right to left:  kakemono koko ni (カケ物コヽニ)¹⁹; furosaki (風炉サキ)²⁰; go-sun ita (五寸板)²¹; ro (炉)²²; furo no toki kono ro no futa no ue ni oku-koto fuka-sanjō no i-fū nari (風炉ノ時コノ炉ノフタノ上ニヲク事深三疊ノ遺風也)²³, ro hidari no sumi ni mo kiru nari (炉左ノ隅ニモ切ル也)²⁴.]

44.2) Ato kaku-no-gotoki ni mo [後如此ニモ]²⁵.

[The writing reads, from right to left:  kakemono koko ni (カケ物コヽニ)²⁶; ro (炉)²⁷; ro hidari no sumi ni mo (炉左ノ隅ニモ)²⁸; go-sun-ita koko ni naoshite (五寸板コヽニホシテ)²⁹.]

_________________________

◎ This entry contains the six drawings that graphically memorialize the details of entries 39 (Lighting the 4.5-mat Room for the Shoza*), 40 (the Fuka-sanjō [深三疊] Room†), and 41 (the Naga-yojō [長四疊] Room‡).  Even though these sketches have already been published in the posts to which they relate, I am repeating them here in order to maintain the series of entries as found in the Enkaku-ji manuscript version of Book Seven of the Nampō Roku.

    In addition, I have included a translation of a related entry, from the Sumibiki no uchinuki-gaki・tsuika [墨引之内拔書・追加 ] (A Record of Excerpted Passages for Internal Use, Supplementary Material)**, that deals with certain points related to the three- and four-mat rooms, and their seating arrangements.  This appears as an appendix, at the end of this post. ___________ *The URL for the post of entry 39 is:

https://chanoyu-to-wa.tumblr.com/post/702018933860040704/namp%C5%8D-roku-book-7-39-lighting-the-45-mat

† The URL for the post of entry 40 is:

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

‡ The URL for the post of entry 41 is:

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

**In these translations, I usually refer to this pair of documents as the Book of Secret Teachings, and Second Book of Secret Teachings (the original Sumibiki no uchinuki-gaki only has 10 entries; most of the material that has drawn our attention is found in the much more expansive supplementary book, which contains 54 entries) for the sake of simplicity.

￭ The translations found in footnotes 1 to 29 are pretty perfunctory, since everything has been discussed, in detail, in the posts (the URLs of which are given above) where these drawings first appeared.  I have only provided explanations where circumstances seemed to make this appropriate.

¹Yojō-han tomoshibi no oki-dokoro　[四疊半ノ置所].

    This means the place to put the lamp in the 4.5-mat room.

²Kono-hashira kugi-butsu kake-tomoshibi　[此柱 釘打掛灯].

    “[If] a hook has been nailed into this pillar, a hanging lamp [may be hung here].”

³Hi-guchi no takasa fukuro-dana no ue yon-sun no kokoro-e-subeshi　[火口ノ高サ袋棚ノ上四寸ノ心得スヘシ].

    “Regarding the height of the hi-guchi, you should understand that it should be 4-sun above the fukuro-dana.”

⁴Hi-guchi　[火口].

    Hi-guchi refers to the place where the wicks extend above the rim of the lamp; the place where the flame is burning.  The meaning here is that the hi-guchi should face toward the ro.

⁵Go-shaku-toko no toki kaku-no-gotoki　[五尺床ノ時如此].

    “When [the room has] a 5-shaku toko, it is like this.”

    In other words, the drawing illustrates the arrangement in a room that has a 5-shaku toko.

⁶Tankei oki-kata yoshi, Shukō no shin-no-yojō-han, Engo no ō-haba wo kakerare-shi yue ikken-toko nari, tankei mo sono toki made ha okazu, shokudai nari, Jōō yojō-han, toko-naki mo ari, toko wo tsukerare-taru ha go-shaku nari　[短檠置方ヨシ、珠光ノ眞ノ四疊半、圜悟ノ大幅ヲ掛ラレシ故一間床也、短檠モ其時マデハ不置、燭臺也、紹鷗ノ四疊半、床ナキモアリ、床ヲ付ラレタルハ五尺也].

    “The way the tankei has been placed is suitable.  In Shukō's shin [眞] 4.5-mat room, because he wanted to hang the wide scroll [that had been written by] Engo, [the room] had a 1-ken toko.  Up to that time, the tankei was still not placed [in the tearoom]; [they] used a candlestick.

    “Jōō also had a 4.5-mat room that did not have a toko.  And when he wanted to attach a toko, it was 5-shaku [wide].”

⁷Hi-guchi　[火口].

    Again, the word hi-guchi indicates the orientation of the tankei.  In this case, it is placed on a diagonal, so that the lamp gives light not only to the ro, but to the interior of the toko as well.

⁸Ikken-toko no toki, Sōkyū kaku-no-gotoki wo okaruru, Kyū ha tsu[w]i ni ji-ka ni te, sumi-kakete okare-taru wo mizu, aru-toki, Yodo-ya no yojō-han ikken-toko ni te ari-keru ni tōdai oki-taru ni, Kyū mi-tamaite, kore ni te koso aru-beki to no tamau, shikaraba sumi-kake ha konomarezu to oboe ni, Yodo-ya ha Kyū koni no montei nari　[一間床ノ時、宗及如此ヲカルヽ、休ハツヰニ自家ニテ、スミカケテヲカレタルヲ見ズ、アル時、淀屋ノ四疊半一間床ニテ有ケルニ燈臺置タルニ、休見玉テ、コレニテコソアルベキトノ玉フ、シカレバスミカケハ不被好ト覺ニ、淀屋ハ休懇意ノ門弟也].

    “When [the room] had a 1-ken toko, Sōkyū wanted to place [the tankei] like this.  But [as for] Rikyū, [the tankei]  was never seen to be placed so that it rested in the corner [of the  mat] in his own home.

    “On one occasion, in Yodo-ya’s 4.5-mat room with a 1-ken toko, the tōdai was placed out in the aforementioned way.  When [Ri]kyū saw it, he declared ‘this is exactly the way it should be done!’

    “In light of this, perhaps we should consider that he did not [really] like [the way Sōkyū had arranged it].  Yodo-ya [Gentō] was one of [Ri]kyū’s most intimate disciples.”

⁹Fuka san-jō furu-zama　[深三疊古様].

    “The old style of the deep 3-mat [room].”

¹⁰Kono tokoro kakemono　[此所カケ物].

    “The kakemono is [hung] in this place.”

¹¹Kono kabe chū-dan kōshi ari, mata chū-dan made ni shite, hashira nashi ni, ita no furo-saki mo ari, takasa kama no mie-kakure　[此カヘ中段カウシアリ、又中段迄ニシテ柱ナシニ、板ノ風爐サキモアリ、高サ釜ノ見ヘカクレ].

    “In the middle of this wall is a lattice-work.   But again, with respect to this, including the making of [the lattice in] the middle, when the pillars [that would support the wall] are absent, a furosaki made from boards can also be [used].

    “It should be high enough to hide the kama from view.”

¹²Isshaku go-sun ita　[一尺五寸板].

    “The board [measures] 1-shaku 5-sun.”

¹³Ro wo koko ni kirareshi ha, isshaku-yon-sun kiwamarite ato no koto nari, hajime ha ita no ue ni daisu no gotoku, kane no furo mizusashi nado gu-shite oki-shi nari　[爐ヲコヽニ切ラレシハ、一尺四寸キハマリテ後ノコト也、初ハ板ノ上ニ臺子ノコトク、カネノ風爐・水サシナト具シテヲキシナリ].

    “As for wanting to cut the ro here, this only appeared after the ro was fixed at 1-shaku 4-sun [square].

    “Originally, a metal furo, mizusashi, and so on, were [all] placed on top of the board, just like [on] the daisu.”

¹⁴Kake-tomoshibi koko ni　[カケ灯コヽニ].

    “A hanging lamp is [suspended] here.”

¹⁵Ato kaku-no-gotoki ni mo　[後如此ニモ].

    “After, [the fuka-sanjō room] was also [arranged] like this.”

¹⁶Isshaku go-sun ita　[一尺五寸板].

    “The board [measures] 1-shaku 5-sun.”

¹⁷Ro　[炉].

    The ro is shown on the right.  However, it was also permissible to cut it on the left side of the mat, adjoining the wall of the katte.

¹⁸Naga-yojō furu-zama　[長四疊古様].

    “The old style of the long 4-mat [room].”

¹⁹Kakemono koko ni　[カケ物コヽニ].

    “The kakemono is [hung] here.”

²⁰Furosaki　[風炉サキ].

    This furosaki could refer either to a free-standing screen made of two boards, or to one (or more) boards suspended between a pair of pillars.  In either case, the height should be equal to that of the lid of the kama (when arranged on the furo).

²¹Go-sun ita　[五寸板].

    “The board [measures] 5-sun [wide].”

²²Ro　[炉].

    The ro is shown as being cut on the right side of the mat.  While this was the orthodox position (according to the classical understanding that the fire should always be located between the part of the room where the guests were seated, and the mizusashi and chaire), it was also permitted for the ro to be cut on the left side (which corresponded with its position on the ji-ita of the daisu).

²³Furo no toki kono ro no futa no ue ni oku-koto fuka-sanjō no i-fū nari　[風炉ノ時コノ炉ノフタノ上ニヲク事深三疊ノ遺風也].

    “When the furo is being used, there is the case where it is placed on top of this lid of the ro.  This was a practice of long standing that began with the fuka-sanjō.”

²⁴Ro hidari no sumi ni mo kiru nari　[炉左ノ隅ニモ切ル也].

    “The ro may also be cut in the left corner [of the mat, in front of the board].”

²⁵Ato kaku-no-gotoki ni mo　[後如此ニモ].

    “After, [the naga-yojō room] was also [arranged] like this.”

²⁶Kakemono koko ni　[カケ物コヽニ].

    “The kakemono is [hung] here.”

²⁷Ro　[炉].

    This was the more common location for the ro [based on the argument that the fire should be moved closer to the guests when the weather was cold].

²⁸Ro hidari no sumi ni mo　[炉左ノ隅ニモ].

    “The ro may also be [cut] in the left corner [of the utensil mat].”

²⁹Go-sun-ita koko ni naoshite　[五寸板コヽニホシテ].

     “The go-sun-ita is repositioned here.”

    “Repositioned” (naoshite [直して]) because, in the original form of the room, the board appeared to be oriented between the utensil mat and the mat that was functioning as the tokonoma.  According to that idea, the board should have been found on the right side of the mat.  However, that is mistaken.  The board should be found at the end of the utensil mat, to make it seem to be an inakama-datami.

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

❖ Appendix:  Entry 39 from the Second Book of Secret Teachings.

    Because the deep 3-mat room was originally [just] the [enclosed] veranda of Jōō's sitting room, there was only one way [for the guests] to advance [through the room]³⁰.  Later this [problem] was resolved [by changing the orientation of the mats]; but even if this gave [the guests] more freedom [to move about]³¹, it did not really solve [the problem]³².  As a result, in the present day [the three-mat room] has largely been discarded³³.

० The deep three-mat room:

〽 (①) If the shōkyaku [takes his seat] here, his position will be the same as when the room has an ordinary mukō-ro³⁴.

〽 (②) If [the guests] take their seats as shown [in this drawing, with the shōkyaku seated in the spot indicated near the katte-guchi], the host will have appropriate access [to all of them]³⁵.

〽 If, during the furo season, [the utensils are arranged] only on the board, [the host] will not be able to gain access to [all of the guests]³⁶.

〽 In any case, it is appropriate for the shōkyaku to sit near the katte-guchi (as shown in this sketch), during both the sho[za], and the go[za]³⁷.

० The long four-mat room:

〽 When the host is serving the guests, there is no way for [him] to gain access to the [guest in the] last seat³⁸.  Consequently, the shōkyaku should undertake to act as his intermediary, passing things along to the [person in the] last seat³⁹ -- because, otherwise, there will be no way for the host to be able to serve [that guest]⁴⁰.

    [A guest who understands] such [things] is what we mean when we say that a “man of experience” enters [the tearoom]⁴¹.

_________________________

³⁰Fuka-sanjō ha Jōō i-ma no engawa naru yue, ippō agari nari　[深三疊ハ紹鷗居間ノ椽カハナル故、一方アカリナリ].

    Jōō i-ma no engawa [紹鷗居間の縁側]:  i-ma [居間] means a living room, a residential room, or a sitting room (a room that could be used to receive guests); engawa [椽カハ = 縁側] usually means a porch or veranda, but here it seems to refer to a sort of room created by arranging mats on a veranda, which are then enclosed by banks of shōji along the exposed sides to protect them from the weather*.  This space was then used as a dedicated tearoom.

    Fuka-sanjō ha Jōō i-ma no engawa naru yue [深三疊は紹鷗居間の縁側なるゆえ] means “because the deep 3-mat room was originally (just) the (enclosed) veranda of Jōō's sitting room....”

    Ippō agari nari [一方上がりなり] means something like “there was only one way to advance (into the room).”

    In other words, due to the limited space available on the preexisting veranda, the area of the mats available for the guests to enter were limited to a single line.  Thus, there would be no room for two-way traffic.  Once a person moved to the end of this line of mats, and he was followed by others, he could not get out again unless the other guests left the room first. __________ *However, according to Kotobank [コトバンク] https://kotobank.jp/, this kind of enclosed veranda only appeared during the first half of the seventeenth century (jū-shichi seiki zenhan ni fuki hanashi no irigawaen kara naibu ni torikoma reta engawa ni henka shite iru [17世紀前半に吹き放しの入側縁から内部に取り込まれた縁側に変化している]).  This would make the argument that Jōō purportedly enclosed his veranda to create this kind of room an anachronism -- a concept possibly generated by the machi-shū to give historical legitimacy their 3- and 4-mat rooms.

³¹Ato ni naoshite jiyū ni shitaru jūkyo mo aredomo　[後ニナホシテ自由ニシタル住居モアレドモ].

    Ato ni naoshite [後に直して] means later this (problem) was resolved (by changing the orientation of the mats so that the utensil mat was perpendicular to the two mats on which the guests would sit).

    Jiyū ni shitaru jūkyo mo aredomo [自由にしたる住居もあれども] means even if (this) were done so that (the guests) would be free (to move about as they wished)....

³²Jū-bun naki yue　[十分ニナキユヱ].

    Ju-bun ni nai yue [十分にないゆえ] means this was not enough.

    In other words, while rearranging the room and so give the guests free reign to move around the two mat area was an improvement over the original form of the three-mat room, it still meant that, regardless of how the mats were arranged, one of the guests would still be sitting within the same one-mat space as the kakemono.  Thus, this was not ideal.

    Apparently, the argument that is being made is that, because this 3-mat area was being appended to the outward-facing side of Jōō's preexisting 4.5-mat reception room, he was thereby limited with regard to the length of the room -- which could not exceed the width of the room to which it was attached (namely 9-shaku 4-sun 5-bu, or a mat and a half).

³³Tō-sei chari-tari　[當世捨リタリ].

    Tō-sei [當世] means in the present day (i.e., the early Edo period, when this text was written).

    Shari-tari [捨りたり]:  shari [捨り = 捨離] means to abandon (specifically, all worldly desires), so here shari-tari seems to be roughly equivalent to sute-tari [捨てたり], and so means that the three-mat room had largely been relegated to the dustbin of history by the time this text was written.  It was no longer used, because it could not fully free itself from the danger of inconveniencing the guests.

³⁴Koko ni shōkyaku tsugi-taraba tsune no mukō-ro no mi-gamae　[コヽニ上客ツキタラバ常ノ向炉ノ身構].

    Tsugi-taraba [次たらば] means to want to sit beside, will sit beside.

    In other words, if the shōkyaku decides to sit in that place*, everything will be done as if they were in a 2-mat room with a mukō-ro. __________ *This seems to mean that the shōkyaku enters the room last (so that he will take his “rightful” seat in front of the toko).  Then, after he has finished inspecting the toko, he moves onto the next mat (so that the other two guests will have to move closer to the lower end, so that all three are sitting on the same mat).

³⁵Kaku-no-gotoki za-tsuki-sōraeba shu no mi-gamae hirakite yoshi　[如此座着候得バ主ノ身構ヒラキテヨシ].

    Kaku-no-gotoki za-tsuki-sōraeba [かくの如き座着き候えば] means if the guests all take their seats as shown (in the drawing)....

    Shu no mi-gamae hirakite yoshi [主の身構開きてよし　] means that the host will have suitable access (to all of the guests); the host will be able to serve them appropriately.

³⁶Ita bakari ni te furo no toki ha hiraku-koto nashi　[板斗ニテ風炉ノ時ハヒラクコトナシ].

    Ita bakari ni te furo no toki [板ばかりにて風炉の時] means when, during the season of the furo, (all of the utensils) are (arranged only) on the mukō-ita [向板]*....

    Hiraku-koto nashi [開くこと無し] means (the host) will not have access (to all of the guests).

    This is because, when the utensils will be arranged on the board, not only are the furo and kama placed out during the shoza, but also the mizusashi, shaku-tate, koboshi, and futaoki -- just as if these things were arranged together on the o-chanoyu-dana (from which this arrangement was actually derived).  As a result, the host will be unable to pass as close to the board as he could when there was nothing on it. __________ *The large board measuring 3-shaku 1-sun 5-bu by 1-shaku 5-sun.

³⁷Shōkyaku to-kaku katte-guchi no kata ni zu no gotoku sho-go tomo ni ite yoshi　[上客トカク勝手口ノ方ニ図ノコトク初後トモニ居テヨシ].

    Tokaku [とかく] means anyways, in any case, at any rate.

    Katte-guchi no kata ni [勝手口の方に] means in the place closest to the katte-guchi.

    Zu no gotoku [図の如く] means as is show in the sketch.

    Sho-go tomo ni [初後ともに] means during both the shoza and (also) the goza.

    Ite yoshi [居てよし] means it is appropriate to remain (in that seat).

³⁸Shu tamai-suru toki ha matsu-za made tōru-beki michi nashi　[主給スル時ハ末座マデ通ルベキ道ナシ].

    Shu tamai-suru toki [主給いする時] means when the host is serving the guests -- the reference is to his serving of the kaiseki (and specifically to things like handing each guest his own tray of food, pouring sake for each of the guests, and so forth).

    Matsu-za made tōrubeki michi nashi [末座まで通るべき道なし] means there is no path for (the host) to gain access to the (guest in the) last seat.

³⁹Shōkyaku tori-tsukite matsu-za [h]e yaru nari　[上客取次テ末座ヘヤルナリ].

    Shōkyaku tori-tsukite [上客取り次ぎて] means the shōkyaku (should) act as an intermediary; the shokyaku should pass (that thing) along.

    Matsu-za [h]e yaru [末座へ遣る] means pass (it) along to (the person in) the last seat.

    In other words, with respect to something like the tray of food, the shōkyaku should receive it from the host and then pass it over to the last guest; and as for the pouring of sake, the shōkyaku should request the chōshi [銚子] or tokuri [徳利] from the host, and then pour for the last guest.

⁴⁰Sa nakereba shōkyaku [h]e shu no kyuji-jika ni watasu-koto narazaru-koto nari　[サナケレバ上客ヘ主ノ給仕直ニ渡スコトナラザルコトナリ].

    Sa nakereba [さなければ] means otherwise.

    Shōkyaku [h]e shu no kyuji-jika ni watasu-koto narazaru-koto [上客へ主の給仕直に渡すことならざること] means if the host does not pass this task over to the shōkyaku, the host will be unable to serve (the last guest).

⁴¹Kōsha no iru to iu ha kayō no koto nari　[功者ノ入ルト云フハカヤウノコトナリ].

    Kōsha no iru to iu ha [功者の入ると云うは] means when we speak about a man of experience entering (the tearoom)....

    Kayō no koto nari [斯様のことなり] means that is what we are talking about.

[uttranews]

Uttarakhand- अमर्यादित टिप्पणी पर बंशीधर भगत का पुतला फूंका, पद से हटाने की मांग

Uttarakhand- अमर्यादित टिप्पणी पर बंशीधर भगत का पुतला फूंका, पद से हटाने की मांग

पिथौरागढ़ सहयोगी 6 जनवरी 2021(Uttarakhand) जिला मुख्यालय में कांग्रेस ने भाजपा प्रदेश अध्यक्ष बंशीधर भगत का पुतला फूंका और कहा कि वरिष्ठ कांग्रेस नेता और उत्तराखंड विधानसभा में नेता प्रतिपक्ष विधानसभा इं��िरा हृदयेश के बारे में उनका अमर्यादित बयान भाजपा के असली चरित्र को दर्शाता है साथ ही कांग्रेसियों ने भाजपा के राष्ट्रीय नेतृत्व से अपील की कि इस मामले में तत्काल प्रभाव से बंशीधर भगत को प्रदेश…

[chutiyaaa]

tera gf ne kabhi sutta fuka hai ?

Nahi gf hai nahi sutta ka paisa 🤌🏾