#tate鉢

[katakuriko1986]

. ピグさん新葉は割と丸いのに 徐々に平たくなってしまうなぁ😭 . 嫁の新ノートPC💻を見て 息子が「僕もぱちょこん欲しい」と言うので、 とーさんが作っちゃる‼️と軽口叩いてしまったからに、朝からダンボール📦三昧の1日に😗💦 . #ceraria #pygmaea #cerariapygmaea #tate鉢 #悠久の風 #ダンボールpc #息子のぱちょこん https://www.instagram.com/p/CKJdUMwrcO-/?igshid=1w7lwj3xn0yet

[hipumaitranslations]

Alternative Rap Battle - Division All Stars || Kanji, Romaji & Eng

Alternative Rap Battle is the a song for the upcoming mobile game ‘Alternative Rap Battle’, by Division All Stars - The full HypMic cast.

Lyrics, Composition, Arrangement: invisible manners (Daisuke Hirayama ・ Sei Fukuyama) MV Creator: Pink Janakutemo Vocals: Division All Stars

Lyrics under the cut! Apologies for taking a while with this!

KANJI

ICHIRO Yo yo yo! Play the gameだぜ! Back again、yo 固唾を呑みな起こすぜフェノミナン おもねんなメンバー下げんな縦フェーダー(Let’s go) 叫ぶスピーカーでブクロをBig up この国家は��一度洗濯しかないぜ 円卓の騎士が起死回生の為に凱旋 いかんせん邪魔ばっか嫌になるぜパイセン(Let’s go) 謳えアンセム山田一郎が参戦

SAMATOKI ナチュラルハイでイキったクソガキが いっちょ前にマッチョな事言ってまちゅねぇ? アティチュードは血も凍るゼロ・ファーレンハイト 我に返っても既にToo late Mother Father Sister Brother 俺さまはGod Father 言霊ぶつけるぜまざまざと バイオハザード級の災いだ　まだやるか

RAMUDA ハート型の光線をコンセントレート チョコで包む洋酒入り怖～いダイナマイト！ inner zoneに入り交じり愛憎を倍増させる メッ！する対象広くユニセックス 乱数の事グルグルと何回考えちゃう? Love感情生産する脳内マニファクチャー 飴玉が甘いなんてダメだ決めつけちゃ? 特別なレクチャーはぐちゃぐちゃにチャーミングだよ?

JAKURAI それは理にかなうクリニカルなスキル クリティカルな状況　狼狽しパントマイム などは堅く禁ずだが進む淡々とTime 万全とは何か問われているAll time

壊れている人体涙目のクランケ ブランケットにくるむ腐乱する痛ましい フランス・ルイ17世の幼気な魂 神よ全ての子供たちにMercy

CHORUS 騒乱動乱　ヒプノシスマイク 群雄割拠 Alternative Battle illなビート寄越しなDJ バチバチの捨て鉢　ぶちこんでくライム

エキシビションじゃない歴史上のBattle 格式容赦ない異次元の魔法 欲張りだぜ東西南北 分捕るまでぶっ放すぜ罵倒

奪い奪われても恨んでる暇はねえ Are you game for more? Do you want more?

JIRO 無人のリムジンに火をつけて木っ端微塵 バチバチに燃えてるぜ俺は風神雷神 阿吽の呼吸でRollin’ Rollin’ 何かに取り憑かれたゴロツキ 冗談抜きで火気厳禁の ごぼう抜きのスキルは 物好きくらいじゃ到達できん(Let’s go) 殺す気でかかって来るが良いが ウチの一兄の出る��も無いようだ

JYUTO はいはいはい ウザい余罪つかムカつく重過失 蛇足だぜ　その無駄すぎるライム もはやクライム 初動で動員する押韻 そうさ機動捜査隊のスタンス 滅相もない！ 元も子もない もっともな言い分なんてない ニューナンブの銃弾に代わる ニューロンを蹂躙するマイク 公務執行妨害だぜ 頭部ぶっとぶがいい

GENTARO 明治大正昭和平成令和 厭世的時代考証 真似し青年は 永遠なるパラダイムからも抗えるポエジー 物狂で不器用な文豪のイメージ 流刑地から一等地まで 伝播して蔓延るこの活字のステージ 弁は立つ 衒学趣味 無知蒙昧 no mind エクリチュール 高慢な鼻を抉り取る

HIFUMI バトルもある意味接客業務 せっ���くだし盛り上げとくゲーム ウェイとか言っときゃ良いとか無え？(ウェイ！) 大都会生きるエンターテイメント 延滞料金は不要だぜメンズ？ 弁解無用さツケにしてやんぜ？ 顔は殴らんよライムでもそう ただしアンタのメンツはぐちゃぐちゃでしょ？

CHORUS Run & Gun　ヒプノシスマイク 蛮勇韻力 Alternative Rap Dopeなビート繋ぎなDJ たちまち奪うガチ　ぶちこんで詰める！

one for the treble two for the bass 痛いガキ死すともフローは死せず 韻の攻防は因果応報 分捕るまでぶっ放すぜ罵倒

奪い奪われても恨んでる暇はねえ Are you game for more? Do you want more?

SABURO 三郎の出番 何喋ろう？ とりま愚弄 しとく マイクロフォン ワーカホリックなリックで奪う 不道徳なFlow所得 フォトショして書き換えてく ブクロの青写真(ブループリント) Bring on Bring on キンコンカンコン 義務教育をお前に施してやろうか？ You know what？ 有能な僕の助言さ まずはブクロの法律の授業だ

RIO ようそろ！ さあようこそ お前の不安要素の 戦場の霧 小官がメイソン理鶯 弁証法により勝利を 導く道理を 一字一句 お前に軍事指南進ぜよう 心理的シンドローム 伴う心底 死んでも死にきれんほど 擦り切れるだろう前頭葉 前途多難だなジェントルマン ああ残念　当面は火力演習の的となる

DICE おいおいおい go humble おいあんちゃん go gamble 丁半も知らん唐変木 チンチロならションベンだぜ マジ勘弁　テンション下げ まず1勝 次は本気で来いよ Once again 今日の賭場はラップゲーム ショバ代を払っとけ Dead or Alive 降りんならとっとと払えよ ZionだろうがBabylonだろうが 財を成そうが滅びようが 要は賭け(Bet)だろうが

DOPPO 死に敵う救済なんて シニカルな冗談 商談相手にいつだって 媚び諂ってshit damn 疾患寸前ぐらいなら 失敗なんてノーカン 儲かっても無いけど まだ食えてるならいっか 一回や二回じゃ覚えらんない ルーティンワーク 雨天決行する結構なハードワーク 営業トークで隠された封印解く 日本刀のごとく突き刺す深く深く深く

CHORUS 騒乱動乱　ヒプノシスマイク 群雄割拠 Alternative Battle illなビート寄越しなDJ バチバチの捨て鉢　ぶちこんでくライム

エキシビションじゃない歴史上のBattle 格式容赦ない異次元の魔法 欲張りだぜ東西南北 分捕るまでぶっ放すぜ罵倒

Run & Gun　ヒプノシスマイク 蛮勇韻力 Alternative Rap Dopeなビート繋ぎなDJ たちまち奪うガチ　ぶちこんで詰める！

one for the treble two for the bass 痛いガキ死すともフローは死せず 韻の攻防は因果応報 分捕るまでぶっ放すぜ罵倒

奪い奪われても恨んでる暇はねえ Are you game for more？ Do you want more？

ROMAJI

ICHIRO Yo Yo Yo Play the game da ze Back again, yo katazu wo nomi na okosu ze fenominan omonen na menbaa sagen na tate feedaa (Let’s go) sakebu supiikaa de bukuro wo Big up

kono kuni wa ima ichido sentaku shikanai ze entaku no kishi ga kishi kaisei no tame ni gaisen ikansen jama bakka iya ni naru ze paisen (Let’s go) utae ansemu yamada ichiro ga sansen

SAMATOKI nachuraru hai de ikitta kuso gaki ga iccho mae ni maccho na koto itte machu nee? atitchuudo wa chi mo kooru zero.faarenhaito ware ni kaettemo sude ni Too late Mother Father Sister Brother ore-sama wa God Father kotodama butsukeru ze mazamaza to baiohazaado kyuu no wazawai da mada yaru ka

RAMUDA haatogata no kousen wo konsentoreeto choko de tsutsumu youshu iri kowa~i dainamaito! inner zone ni iri majiri aizou wo baizou saseru me! suru taishou hiroku yunisekkusu

ramuda no koto guruguru to nankai kangaechau? Love kanjou seisan suru nounai manifakuchaa amedama ga amai nante dame da kimetsukecha? tokubetsu na rekuchaa wa guchagucha ni chaamingu da yo?

JAKURAI sore wa ri ni kanau kurinikaru na sukiru kuritikaru na joukyou roubai shi pantomaimu nado wa kataku kinzu da ga susumu tantan to Time banzen to wa nanika towareteiru All Time

kowareteiru jintai namidame no kuranke buranketto ni kurumu furan suru itamashii furansu.rui juunanasei no itaike na tamashii kami yo subete no kodomotachi ni Mercy

CHORUS souran douran hipunoshisu maiku gunyuu kakkyo Alternative Battle ill na biito yokoshi na DJ bachibachi no sutebachi buchikondeku raimu

ekishibishon janai rekishijou no Battle kakushiki yousha nai ijigen no mahou yokubari da ze touzai nanboku bundoru made buppanasu ze batou

ubai ubawaretemo uranderu hima wa nee

Are you game for more? Do You Want More?

JIRO mujin no rimujin ni hi wo tsukete koppa mijin bachibachi ni moeteru ze ore wa fuujin raijin aun no kokyuu de Rollin’ Rollin’ nanika ni toritsukareta gorotsuki joudan nuki de kaki genkin no gobou nuki no sukiru wa monozuki kurai ja toutatsu dekin (Let’s go) korosu ki de kakatte kuru ga ii ga uchi no ichinii no deru maku mo nai you da

JYUTO hai hai hai uzai yozai tsu ka mukatsuku juukashitsu dasoku da ze sono mudasugiru raimu mohaya kuraimu shodou de douin suru ouin sou sa kidou sousatai no sutansu messou mo nai! moto mo ko mo nai mottomo na ippun nante nai nyuu nanbu no juudan ni kawaru nyuuron wo juurin suru maiku koumu shikkou bougai da ze toubu buttobu ga ii

GENTARO meiji taishou shouwa heisei reiwa enseiteki jidai koushou mane shi seinen wa eien naru paradaimu kara mo aragaeru poejii bukkyou de bukiyou na bungou no imeeji ryuukeichi kara ittouchi made denpa shite habikoru kono katsuji no suteeji ben wa tatsu gengaku shumi muchi moumai No mind ekurichuuru kouman na hana wo eguritoru

HIFUMI batoru mo aru imi sekkyaku gyoumu sekkaku dashi moriagetoku geemu wei to ka ittokya ii to ka nee? (wei!) daitokai ikiru entaateinmento entai ryoukin wa fuyou da ze menzu? benkai muyousa tsuke ni shite yan ze? kao wa naguran yo raimu demo sou tadashi anta no mentsu wa guchagucha desho?

CHORUS Run & Gun hipunoshisu maiku banyuu inryoku Alternative Rap Dope na biito tsunagi na DJ tachimachi ubau gachi buchikonde tsumeru!

one for the treble two for the bass itai gaki shisu tomo furoo wa shisezu in no koubou wa inga ouhou bundoru made buppanasu ze batou

ubai ubawaretemo uranderu hima wa nee

Are you game for more? Do You Want More?

SABURO saburo no deban nani shaberou? torima gurou shitoku maikurofon waakaahorikku na rikku de ubau fudoutoku na Flow shotoku fotosho shite kakikaeteku bukuro no buruupurinto Bring on Bring on kinkon kankon gimu kyouiku wo omae ni hodokoshite yarou ka? You know what? yuunou na boku no jogensa mazu wa bukuro no houritsu no jugyou da

RIO yousoro! saa youkoso omae no fuan youso no senjou no kiri shoukan ga meison riou benshouhou ni yori shouri wo michibiku doori wo ichiji ikku omae ni gunji shinan shinzeyou shinriteki shindoroomu tomonau shinsoko shindemo shinikiren hodo surikireru darou zentou you zento tanan da na jentoruman aa zannen toumen wa karyoku enshuu no mato to naru

DICE oi oi oi go humble oi an-chan go gamble chouhan mo shiran touhenboku chinchiro nara shonben da ze maji kanben tenshon sage mazu isshou tsugi wa honki de koi yo Once again kyou no toba wa rappu geemu shobadai wo harattoke Dead or Alive orin nara tottoto harae yo Zion darou ga Babylon darou ga zai wo nasou ga horobiyou ga you wa Bet darou ga

DOPPO shi ni kanau kyuusai nante shinikaru na joudan shoudan aite ni itsudatte kobihetsuratte shit damn shikkan sunzen gurai nara shippai nante nookan moukattemo nai kedo mada kueteru narai ikka ikkai ya nikai ja oboerannai ruutin waaku uten kekkou suru kekkou na haado waaku eigyou tooku de kakusareta fuuin toku nihontou no gotoku tsukisasu fukaku fukaku fukaku

CHORUS souran douran hipunoshisu maiku gunyuu kakkyo Alternative Battle ill na biito yokoshi na DJ bachibachi no sutebachi buchikondeku raimu

ekishibishon janai rekishijou no Battle kakushiki yousha nai ijigen no mahou yokubari da ze touzai nanboku bundoru made buppanasu ze batou

Run & Gun hipunoshisu maiku banyuu inryoku Alternative Rap Dope na biito tsunagi na DJ tachimachi ubau gachi buchikonde tsumeru!

one for the treble two for the bass itai gaki shisu tomo furoo wa shisezu in no koubou wa inga ouhou bundoru made buppanasu ze batou

ubai ubawaretemo uranderu hima wa nee

Are you game for more? Do You Want More

ENGLISH

ICHIRO YO YO YO! Let's play the game! Back again, yo Don't be scared, get up to this new phenomenon No backing down! No fade us out! (Let's go!) Shout it through the speakers, big up 'Bukuro! This country’s all washed up again The Knights of the Round Table have been revived Sorry senpai, but you best not get in our way Sing the battle anthem! It's Ichiro Yamada on the set!

SAMATOKI You think too high of yourself, damn brat. It’s almost natural. Acting all macho with the big dogs now, huh? My 0°F attitude's enough to freeze blood. Try to come back to me, it's already too late Mother Father Sister Brother, I'm the Godfather Samatoki These words'll crush you,  cause I'm a biohazard. So you still up to fight?

RAMUDA My heart-shaped beams will strike your through♡ Wrapped in chocolate and wine, it's scary dynamite! Both love and hate mix and explode in the inner zone! This punishment is unisex~ Hey, is Ramuda's cute face stuck inside your head yet~? Brains are manufactured to produce love, you know! Who says candy has to be sweet anyway? That's silly! My special lecture is chaos, let’s make a charming mess~!

JAKURAI Clinical skills are defined by logic Panicking and pantomining in critical situations, these are forbidden, though apathy and time never halt. I ask myself “what is perfection?” is all the time. The eroding human body, patient with teary eyes I swathed in blankets, they still decay.  How pitiful.The innocent soul of Louis XVII May God have mercy on his children

CHORUS Chaos and mayhem, Hypnosis mic! This means war! Alternative Battle! DJ, bring that ill beat! Crackling tension, rhymes are bullets! This ain't an exhibition! It's a historic battle! The brutal magic of this new dimension! Everyone here's greedy as hell! We're gonna rap you to death! No hard feelings, ain't no time for that! Are you game for more? Do you want more?

JIRO Set the limousine alight and blow it up! Let's burn it all up! I’m the God of both Wind and Thunder. The three of us, Rollin' Rollin'! Punks who fight us'll end up dizzy Seriously, you gotta bite harder than that if you wanna match my skill (Let's go!) It's aight if you're aiming for the kill, but this fight would be too easy for Ichi-nii!

JYUTO Yeah, yeah, all right! How annoying, shut your trap! You’re in for the arrest. It's ridiculous how useless your senseless rhyming can get! It's a crime in itself! Striking at the first sign of trouble, that is our criminal investigations department's stance! Absurd? No way! We can't afford mistakes or losses! Take this mic instead of a revolver, to fry your neruons! Obstruction of justice is a felony, you know? Don't blame me if I blast your head off!

GENTARO Meiji, Taisho, Showa, Heisei, Reiwa I'm but a copycat, looking back to every pessimistic era Writing poesies that resist even eternal paradigms, I create the image of a mad and bumbling wordsmith. This verbal stage spreads like an epidemic, from the depths of the slums to the royal palace Your manner of speech clearly indicates what an ignorant fool you are (No mind) This ecriture dictates my desire to gouge out that haughty nose of yours.

HIFUMI Battles are like a customer service, in a way As long as we're here, why don't we up this game? Nothing wrong with a little party and fun, hm? Let's enjoy some big-city entertainment. No need to pay the late charges guys, but your excuse is useless. It'll go on your tab. So no hits to the face, but let's settle this in rap. Though, your appearance is just a mess, isn't it?

CHORUS Run & Gun, Hypnosis Mic! The merciless rhyme, alternative rap! DJ, bring that dope beat! We'll beat you down before you know it! One for the treble! Two for the bass! Even if you knock us down, our flow's here to stay! Fight or flight, it's still your win or loss! We're gonna rap you all dead! No hard feelings, ain't no time for that! Are you game for more? Do you want more?

SABURO Saburo's turn, what should I say? For now, it's time to wreck ‘em with this microphone Workaholics earn their money through dirty work Photoshopped, rewritten, it's 'Bukuro's new blueprint. Bring on, bring on, ding dong ding dong Why don't I teach you a lesson, right here right now? You know what? Take it as a lesson from someone smarter than you. First off, how bout we talk about 'Bukuro's rules?

RIOU Keep the ship stead! Welcome, come on! I am the unstoppable force on the battle field. I'm Mason Riou. The path to victory is through sound logic and reasoning I move with the guidance of the military way. The psychological syndrome that afflicts your heart shall wear out your brain until you perish. Many difficulties lie ahead of you gentlemen. Unfortunately, you are my target and I’m opening fire.

DICE Oi, oi, oi, go humble! C'mon, let's go gamble! Don't know how, then I'll teach ya dumbass! Chinchiro's easy! Still can't play? Gimme a break! It's my win now, so come at me seriously next, got it? Today's a gamble! Fork over your bets! Dead or Alive, if you gonna call quits, hurry and pay up! Zion or Babylon, win or lose, it ain't matter! What matters is we bet it all!

DOPPO Salvation in the face of death, what a cynical joke Doing business means nothing but sucking up, shit damn If you're on the verge of collapsing, making mistakes is fine, I guess Sure, there's not much profit. But as long as you get paid, it's all good. Just doing it once or twice isn't enough for this routine work Rain or shine, it has to be done. It's pretty hard work. Hiding it on normal days, I'll unleash myself during sales talks. I'll stab through you with my blade, let it go deeper, deeper, deeper

CHORUS Chaos and mayhem, Hypnosis mic! This means war! Alternative Battle! DJ, bring that ill beat! Crackling tension, rhymes are bullets! This ain't an exhibition! It's a historic battle! The brutal magic of this new dimension! Everyone here's greedy as hell! We're gonna rap you to death!

Run & Gun, Hypnosis Mic! The merciless rhyme, alternative rap! DJ, bring that dope beat! We'll beat you down before you know it! One for the treble! Two for the bass! Even if you knock us down, our flow's here to stay! Fight or flight, it's still your win or loss! We're gonna rap you all dead!

No hard feelings, ain't no time for that! Are you game for more? Do you want more?

TRANSLATOR NOTES

Ichiro refers to the knights of the Round Table - 12 here, but the original numbers are something like 24, 36 or some even as 72.

Paisen - Another way of saying senpai, but for one you're much closer to/familiar with.

Samatoki's referal to himself as 'the Godfather' is related to how he brought up Ichiro's rap skills.

Jakurai uses the german word for patient/ill person, Kranke

Since these verses are shots at their rivals, Jakurai is addressing Ramuda in this verse. Louis XVII was a child king. Jakurai is asking mercy on Ramuda's soul because he's about to beat this kid to the ground.

Chinchiro is the game that Fling Posse played in the 2nd Drama Track and 4th Chapter of Side FP/M

Zion - synonym for Jerusalem. Babylon, once the largest city in the world - This line possibly refers to how Dice is risking it all with his bets. All or nothing.

Want more HypMic content? Catch our discord here: https://discord.gg/GFRESW5

[chanoyu-to-wa]

Rikyū Chanoyu Sho, Book 6 (Part 27):  Rikyū’s Hyaku-kai Ki, (1590) Eleventh Month, Tenth Day; Morning.

27) Morning of the Tenth Day [十日・朝]¹.

￮ Guests:  four people².

￮ 4.5-mat room³.

￮ Yaki-mono (sake) [焼物・さけ], kurome [くろめ], soup (nattō [納豆]), rice⁴.

￮ Hiki (soshite) [引　而]: ◦ sashimi (koi)  [さしみ・こい]⁵.

￮ Kashi:  shiitake [しいたけ], fu-no-yaki [ふのやき], akoya [あこや]⁶.

[￮ Shi-hō-gama [四方釜]⁷;] [◦ Seto mizusashi [瀬戸水指]⁸;] [◦ S��ho-dana [宗甫棚]⁹;] ◦ Hikigi-no-saya [ひき木のさや]¹⁰; [◦ chaire:  Shiri-bukura [茶入・尻ふくら]¹¹;] [◦ Hotta mizu-koboshi [ほつた水こぼし]¹²;] [◦ zōge no chashaku [ぞうげの茶杓]¹³;] [◦ Hashi-tate [はしたて]¹⁴;] ◦ Kokei bokuseki [古溪墨跡]¹⁵.

_________________________

◎ An interesting collection of noble guests -- three of whom were related to Toyotomi Hideyoshi, while the fourth had been the enemy commander and virtual king of Shikoku when Hideyoshi invaded in 1585; and three of whom  served as Imperial Chamberlains (while the fourth had served as Governor of three of the most ancient Provinces in Japan).  Perhaps these courtiers had been at Juraku-tei to confir with Hideyoshi, and this chanoyu was given as part of their official reception.

    And yet, there seems to be something omnious happening here -- with Rikyū hanging a scroll written by Kokei oshō (the monk who had been expelled from Kyōto only two months before for insulting Hideyoshi) in the place of honor at a gathering that was held for several of Hideyoshi’s own relatives.

¹Tō-ka ・ asa  [十日・朝].

    The 10th day of the Eleventh Lunar Month of Tenshō 18.  The date corresponds to November 26, 1590 in the Gregorian calendar.

    The weather would have turned very cold, and this necessarily would have impacted on Rikyū's choice of the chawan.

²Kyaku ・ yottari  [客 ・ 四人].

    In the other versions of the kaiki for this gathering, the guest list is written out in full:

▵ Tatsuno jijū dono [龍野侍從殿]:  this daimyō-nobleman (jijū [侍從] means he was a member of the board of chamberlains serving in the Imperial Palace*) may be identified with Kinoshita Katsutoshi [木下勝俊; 1569 ~ 1649].  He was related (according to the ideas of the time) to Toyotomi Hideyoshi through Hideyoshi's principal wife Sugihara Yasuko [杉原寧子; 1546 ~ 1624], also known as Nene [ねね] and Kita-no-mandokoro [北の政所], who was his aunt.  For this reason Katsutoshi is occasionally listed as a member of the Hashiba [羽柴] family†.  He served as an Imperial Chamberlain, as mentioned above, and also as lord of Tatsuno castle (Tatsuno-jō [龍野城]) in Harima‡ -- resulting in Rikyū's sobriquet.

    At the battle of Sekigahara (1600), he supported the cause of the heir Toyotomi Hideyori, and consequently was dispossessed after Mitsunari's defeat.  He retired to Kyōto, and became a recognized waka poet in his latter years**.

▵ Aoki Kii-no-kami dono [青木紀伊守殿]:  this was the daimyō-nobleman Aoki Kazunori [青木一矩; ? ~ 1600]††, who was a cousin of Toyotomi Hideyoshi.  As Governor of Kii (Kii no kami [紀伊守]), he held the junior grade of the Fifth Rank; he had also served as an Imperial Chamberlain.  

   Kazunori studied chanoyu with Rikyū, as was true of most of Hideyoshi's courtiers.

▵ Chōsokabe dono [長宗我部殿]‡‡:  this refers to the daimyō-nobleman Chōsokabe Motochika [長宗我部元親; 1539 ~ 1599], who served both as an Imperial Chamberlain and official in the Imperial Household (he was kunai-shōyu [宮内少輔], Assistant Under-minister of the Imperial Household), and as Governor of Tosa (Tosa no kami [土佐の守]), where he had been born***.

    Motochika held both the senior grade of the Fifth Rank and, later, the senior grade of the Third Rank, and also served as an Imperial Chamberlain.

▵ Kose Shinano dono [小頼信濃殿]†††:  according to the scholars, the surname is a mistake -- this entry refers to the daimyō-nobleman Koide Yoshimasa [小出吉政; 1565 ~ 1613), who served not only as Governor of Shinano (Shinano no kami [信濃守]), but also held the governorships of Harima (Harima no kami [播磨守]) and Yamato (Yamato no kami [大和守]) provinces as well.  He was also related to Toyotomi Hideyoshi (Yoshimasa's mother was the younger sister of Hideyoshi's mother).

    Yoshimasa held the junior grade of the Fifth Rank. __________ *Katsutoshi held the junior grade of the Fifth Rank at the time of this gathering (but eventually was elevated to the junior grade of the Fourth Rank as shikibu-taifu [式部大夫], High-steward of the Ministry of Ceremonial).

†He is also sometimes known as Hashiba Katsutoshi [羽柴勝俊].

‡He served as lord of Tatsuno Castle from 1589 to 1594.

**After his forced retirement from the political world, he used the name Kinoshita Chōshōshi [木下長嘯子].

††Kazunori was known by an almost unbelievable number of names, designations, and sobriquets, over the course of his career -- which was always linked to the rising fortunes of Hideyoshi.

‡‡The name is written Chōsokabe dono [長曾我部殿] in the Hisada version of this kaiki.  This is an accepted variant of the Chōsokabe name.

***Chōsokabe Motochika was the 21st chief of the Chōsokabe clan, and he eventually brought the whole of Shikoku under his control.  He fought against Hideyoshi's invasion of Shikoku in 1585, but was eventually forced to surrender.   As a result, Hideyoshi demanded that he forfeit the provinces of Awa, Sanuki, and Iyo (all on Shikoku), keeping only Tosa as his hereditary fief.

†††His name is written Kose Shinano dono [小瀬信濃殿] in the Hisada version of the kaiki.

³Yojō-han [四疊半].

⁴Yaki-mono ・ sake, kurome, shiru ・ nattō, meshi  [焼物 ・ さけ、 くろめ、 汁 ・ 納豆、 めし].

    The four dishes offered to the guests on their zen:

- salmon (sake [鮭]), grilled over charcoal with salt;

- kurome [黒布], an edible seaweed served raw, with a dressing of rice vinegar, sesame oil, soy sauce, sugar, salt, and sometimes ginger juice;

- nattō-jiru [納豆汁], miso-shiru with suribachi*-ground nattō added to the broth, along with seasonal vegetables (and usually tōfu as well);

- and steamed rice measured into uniform portions in a mossō [物相].

    Oddly, the order of this kaiki is inverted, with the utensils following the menu for the kaiseki. ___________ *A suribachi [擂鉢] is a stoneware mortar or grinding bowl, usually bearing vertical striations that were scratched onto the inner surface using a wooden spatula (as can be seen in the photo, below).

    Suribachi are usually unglazed (at least on the inner side), so that the ridges are sharp and (relatively) deep (glazing would soften -- and possibly fill in -- the ridges).  Material is crushed in the suribachi using a wooden pestle.

⁵Sashimi ・ koi  [さしみ ・ こい].

    This was the hiki-dashi-mono -- koi sashimi, which was in season at this time of year.  The preparation of koi sashimi (which is commonly referred to as koi-arai [鯉洗い]) has been explained elsewhere in this blog.

⁶Kashi ・ shiitake, fu-no-yaki, akoya  [菓子 ・ ��いたけ、ふのやき、あこや].

    The shiitake [椎茸] were probably grilled with a light dusting of salt, since the nattō-jiru is so strong tasting.

    Fu-no-yaki [麩の焼], one of Rikyū’s favorite kashi, are little wheat-flour crêpes filled with sweetened bean-paste*.

    Akoya [珠母] is an ancient kind of kashi, consisting of a small, rounded piece of steamed mochi (which is supposed to suggest a clam shell), with a ball of red bean-paste placed on top (the ball of an-ko [餡子] representing the pearl).

    This last kind of kashi was frequently featured in Court ceremonials, which may have been why Rikyū included it here -- since three of the guests were Imperial chamberlains. ___________ *While red bean-paste made from the azuki [小豆] bean was certainly most common, an [餡] can be made from other varieties of beans -- giving slightly different flavors and colors.

⁷Shi-ho-gama [四方釜].

     With the exception of the chawan and the kakemono, none of the other utensils are mentioned in the kaiki as it was published in the Rikyu Chanoyu Sho.  They have been restored here from the other versions of the kaiki, in the order in which they are found there.

⁸Seto mizusashi [瀬戸水指].

⁹Sōho-dana [宗甫棚].

     The utensils would have been arranged on it in the usual manner:

¹⁰Hikigi-no-saya [ひき木のさや].

     This bowl (which is still extant) is a kind of Korean celadon, albeit with a glaze more gray than blue, and was perhaps “discovered” by the young Rikyū while he was staying on the continent.   He seems to have decided to use it on the present occasion because the weather had turned cold.

    The name “Hikigi-no-saya” [引木の鞘] refers to the bamboo covering or sheath (saya [鞘]) that is placed over the wooden handle (the hikigi [引木]) by means of which a tea-mill is turned (the cover allows the person operating the mill to grasp the handle firmly, yet without getting blisters, since the handle rotates within the covering).  It means something that is elongated, but with a narrow bore -- and so describes what we commonly call a tsutsu-chawan [筒茶碗].

    The design was made by etching the clay with a stylus, after which kaolin and black-dyed slip (kaolin containing a mixture of iron and molybdenum oxides) were applied to the surface.  When completely dried, the surface was burnished with a dry cloth before glazing (Korean pottery was traditionally fired only once, with the glaze and other decorative processes applied directly to the greenware; modern potters, however, usually bisque their pots in a gas kiln first before firing the glaze in a wood-fueled nobori-gama).

¹¹Chaire ・ Shiri-bukura [茶入 ・ 尻ふくら].

¹²Hotta mizu-koboshi [ほつた水こぼし].

    As was mentioned before, Rikyū seems to have fallen into the habit of calling the mon-sasu mizu-koboshi [紋指水飜] the Hotta mizu-koboshi [堀田水飜].  Perhaps further evidence of his lingering discomfort with the Japanese language.

    He would also have used a take-wa [竹〇] as the futaoki.

¹³Zōge no chashaku [ぞうげの茶杓].

    As has been mentioned before, Rikyū’s ivory chashaku (which is what zōge no chashaku [象牙の茶杓] means) was painted with black lacquer*.  Hence it is sometimes referred to as the nuri-chashaku [塗茶杓].  This has been a source of confusion to several of the commentators (who suggest that the zōge-chashaku and nuri-chashaku are different things).

    Because of its length, this chashaku would have been rested on the chaire-bon in front of the Shiri-bukura chaire, with its handle extending toward the right. ___________ *No reason has ever been advanced by the scholars and other commentators for this rather unusual treatment.  Perhaps the chashaku was originally much longer, and the handle had been broken -- or its length was shortened at some time (the coat of lacquer would mask the difference in color between the original surface patina of the chashaku and the place where it was cut or damaged); or possibly the ivory was badly discolored (which Rikyū would have found distasteful, since the chashaku must always be spotlessly clean -- hence his inclination to use chashaku made of bamboo, which he replaced frequently).

¹⁴Hashi-tate [はしたて].

    One of Rikyū’s three cha-tsubo.  The hon-tsubo [本壺] bearing this name was taken to Shikoku shortly after Rikyu’s death, and all mention of it had disappeared from the records by the early Edo period.

    The much smaller cha-tsubo known today by this name is the watashi-tsubo [渡し壺], a second jar into which the host transferred part of the contents of the hon-tsubo, in order to transport part of the tea for use somewhere else*.

    It is important to understand that these jars, while partially glazed on the outside, are always unglazed inside (below the bottom of the neck).  Consequently the volatile elements from the tea that was stored in the jar enter into the clay walls of the cha-tsubo, and could not be removed by washing†.  It was for this reason that the host was urged to always use the same blend‡ of tea -- since if a completely different kind of tea was put into the jar (or a tea from a different source), its flavor and aroma would be compromised by the jar itself.

    Rikyū owned three hon-tsubo either because he purchased his tea from three different firms (the highest quality tea was always available in very limited quantities), or in three different blends.  His use of the different jars at different chakai was possibly related to the status of the guests (he would use the higher quality tea for guests of higher status); but it seems that he also tried to keep a sort of balance between them, so that one of the jars would not be emptied long before the other two**. ___________ *Of course not every cha-tsubo was paired with a watashi-tsubo.  Since all of these jars were extremely costly, this was only done by people, like Rikyū, who regularly served tea in several places that were distant from each other (which would endanger the hon-tsubo, were it repeatedly carried back and forth).  Since his primary obligation during this period was to Hideyoshi and his guests, the hon-tsubo was probably kept in Rikyū’s residence in Hideyoshi’s Juraku-tei complex (in Kyōto), while the watashi-tsubo would have been taken to Ōsaka, or Sakai, whenever Rikyū had occasion to serve tea in those places.

    Because this tea was transferred from the hon-tsubo, the tea in the watashi-tsubo was considered slightly inferior.  This is part of the reason why Rikyū (and the other chajin of his day who owned cha-tsubo) made a point of displaying the hon-tsubo on every occasion when the tea from that jar was used.

†Actually, due to the damage that lingering moisture could inflict on any tea subsequently kept in the containers, neither the cha-tsubo, nor the small chaire, were ever washed.  At most, they might be cleaned (on the outside) with a barely damp cloth, but internally, only dry paper or cloth was used to clean them.

‡As I have mentioned before, already the tea merchants were a flourishing profession in Rikyu’s period.  These firms would send their buyers to Uji during the Fifth Month, and these men would buy the freshly processed leaves from the tea gardens.  The leaves were then transported to the tea merchant’s warehouse where they were usually blended into three distinct grades (with every attempt made to preserve the continuity of the flavor of each grade from year to year).  The three grades were then offered for sale in five blends (the original three blends, plus two more:  the first of which combined the first and second grades into a product intermediate between these two; and another which combined the middle and lower grades into a product that was sold at a price intermediate between these two).

    Chajin who did not own cha-tsubo would buy their tea from the merchant as needed.  It was provided to them in wooden boxes (which resembled the sa-tsū-bako [茶通箱] with ya-rō buta [藥籠蓋] -- “shoebox”-style lids):  the leaves intended for koicha were sealed in a paper envelope that was packed around with low quality leaves that could be used for usucha.  Persons of limited means usually bought their tea in this way (which was seen as a disadvantage, since the host would not know how best to prepare the koicha -- lower quality koicha is generally better when made a little thinner, while the better blends can be made thicker, though in Rikyū’s day it was never as thick as the schools teach to make it today).

**It was also a custom during his period -- and this practice persisted throughout the Edo period -- that the host would open a new jar of tea leaves on an occasion when he was receiving a very special guest.  Having three jars meant that Rikyu was able to do this honor three times.

    Incidentally, because Rikyū used tea from his Hashi-tate tsubo [橋立 壺] for the kuchi-kiri to which he invited Hideyoshi, we can assume that this jar contained his best grade of tea.

¹⁵Kokei bokuseki [古溪墨跡].

     Whether immediately after Rikyū’s death (when his property was confiscated on Hideyoshi’s orders), or possibly not until after Kokei Sōchin’s own execution in 1597, most of Kokei’s writings were destroyed (perhaps on Hideyoshi’s orders)*.

    Apparently this scroll was an ichi-gyō-mono [一行物], featuring the text “shun-fū ichi-jin” [春風一陣]†, “a gust of Spring wind,” as shown below.

    Kokei Sōchin  [古渓宗陳; 1532 ~ 1597]‡ was, of course, Rikyū’s own Zen master.

    The hanging of this scroll was probably intended to put the guests in mind of the approach of Spring’s warmth (at the time of year when the weather had just turned its coldest); but it was also a very ill-advised thing for him to do, considering that three of the guests were Hideyoshi’s blood-relatives, and the fourth a nobleman who was deeply beholden to him for both his life and his fortunes -- Kokei having been banished for insulting Hideyoshi less than two months before**. __________ *Perhaps as part of a sort of Japanese-style damnatio memoriae imposed against Kokei by Hideyoshi, much as he had done against Rikyū in 1591.

    One of the few documents written by Kokei oshō to survive down to the present is shown below, to give the readers an idea of his style of calligraphy.

    While some scholars have suggested that this kakemono was owned by Rikyū, at least around the middle 1580s (he displayed a scroll of this type at gatherings in 1586 and 1587, where he describes it in his kaiki as Kokei oshō hosoji [古溪和尚細字]; this is a different writing from the one that Rikyū hung in the tokonoma on the present occasion -- and again at a number of chakai after this), the style of the mounting is atypical (which makes his ownership doubtful).

    This idea of damning the memory of an individual who was sentenced to seppuku is the reason why much of the personal information about Rikyū was lost, only to be replaced later (in the Edo period) by stories and teachings that were actually connected with Jōō and Furuta Sōshitsu.  For the same reason, Hideyoshi’s supporters (such as Date Masamune [伊達正宗; 1567 ~ 1636], about whom several such relevant stories exist) undertook to destroy things connected with Rikyū (such as several of the ido-chawan and a number of Rikyū’s chashaku), particularly when they were owned or being used by important public figures (such as, in one case, an ido-chawan that was owned by the Emperor -- which Masamune tossed out of the nijiri-guchi under the pretext of examining it in better light).

    Kokei was expelled from Kyōto in the Ninth Month of 1590, apparently for vociferously opposing Hideyoshi’s plans to invade the continent (and the chakai that Rikyū held for Kokei on the morning of the day when he had been ordered to start of his journey into exile -- at which Rikyū displayed Hideyoshi’s prized Kidō bokuseki [虛堂墨跡] -- clearly angered Hideyoshi enormously); and he was finally executed in Kyūshū on the 17th day of the First Month of Keichō 2 [慶長二年] (1597), also on Hideyoshi’s orders, just prior to the launch of the second expeditionary force.

†This scroll had been in Rikyū’s possession for a number of years (possibly given to him as a sort of graduation present when Kokei certified his attaiment, though scrolls written by Kokei Sōchin first appear at Rikyū’s gatherings beginning in Tenshō 10 [天正十年], 1582), and is described in the kaiki (perhaps dating from 1586) that constitutes Book 2 of the Nampō Roku -- where Rikyū refers to it variously as “the Kokei bokuseki” [古溪和尚墨跡], “Kokei oshō daimonji” [古溪和尚大文字] (scroll written in large characters), “Kokei Shun-fū” [古溪 春風], and by its full text of “Shun-fū ichi-jin” [春風一陣].  (In that kaiki, the scroll that is shown above under footnote “ * ”, is always entered as “Kokei oshō hosoji” [古溪和尚細字]; and this scroll does not appear again either in his kaiki, or in records of his gatherings compiled by others, after the Second Day of the Eighth Lunar Month of 1587, which suggests that he gave it to someone else.  That scroll had remained in the repository of the Tenzui-ji [天瑞寺] subtemple of the Daitoku-ji -- where it was kept under the name of “Jukō-in Dai-oshō” [聚光院大和尚] -- until recently, which is perhaps why it escaped from Hideyoshi’s wrath.)

    Historically speaking, “Shun-fū ichi-jin” was one of the earliest ichi-gyō-mono [一行物] (traditionally, horizontal scrolls -- yoko-mono [横物] -- were preferred for chanoyu), a style of kakemono that became especially popular in the Edo period (because the limited number of characters, representing a traditional series of Zen aphorisms, meant that the guests were more likely to be able to read and comprehend the writing -- unlike in earlier times when the old continental bokuseki were preferred).

‡Kokei oshō was also known as Ho-an Sōchin [蒲庵宗陳]; and, posthumously, as Daiji-kōshō Zenshi [大慈廣照禪師].

**It almost seems that Rikyū was deliberately taunting Hideyoshi through his relations and adherents -- it is inconceivable that he would not have understood the impression that the use of this scroll at this chakai would produce -- especially in light of Hideyoshi’s anger which saw Rikyū himself placed under what amounted to house arrest for a full month following his gathering for Kokei.  Yes, according to the kaiki that makes up Book 2 of the Nampō Roku, Rikyū had regularly used this scroll on similar occasions in the past (in the winter, during cold spells, and in the days leading up to Risshun [立春], the beginning of spring according to the solar cycle, to remind his guests that Spring was approaching); but in his present circumstances, using it for this group of guests (regardless of how appropriate its sentiments may have been for the mood that he was trying to induce in the minds of his guests) was either extremely foolish -- or else Rikyū had finally given up, and was trying to precipitate a showdown with Hideyoshi (which is an extremely Korean thing to do, in such a situation).  This may account for the scroll’s utter disappearance from the records immediately following his death.

    More will be said about this in the appendix, that follows this post.

[katakuriko1986]

. 日曜日、珍しく1人の時間🕰 好きな物を眺めてのんびりします。 . ピグさん新葉がポツポツ出てきたので、古い葉を剪定するか迷い中😗 . #ceraria #pygmaea #cerariapygmaea #tate鉢 #悠久の風 #古道具 https://www.instagram.com/p/B8DNGQ_FXsB/?igshid=obropekvatz4

[katakuriko1986]

. 天気良く、気持ちの良い日に 素敵なお届け物が🎁✨ . @tate369_ さんの#ちよーだい 企画にて当選した鉢が届きました😆 . デザインはもちろんの事、鉢底にスリットが入っているトコロなど機能性も考えられていて、ただただ最高です‼︎ . 以前のtate鉢×ピグさんと並べてみました💡 tate369_さん素敵な鉢をありがとうございます🙏✨ . #tate鉢 #明鏡 #ffbe #悠久の風 #ケラリアピグマエア #cerariapygmaea https://www.instagram.com/p/BwMjA9cFYHy/?utm_source=ig_tumblr_share&igshid=175oqp36gouf6

[chanoyu-to-wa]

Rikyū Chanoyu Sho, Book 5 (Part 9):  Transcripts of Rikyū's Secret Teachings.

41) If a [wooden hand-]bucket¹, or something of the sort², is provided for washing the hands³, the hishaku should be rested [across the mouth of the bucket with the cup] facing downward⁴.

42) If water is put in a metal han-dō -- or, on the other hand, a [similarly shaped basin] made of pottery -- and this is put out [for use when rinsing the hands and mouth], the hishaku should be rested [across the mouth of the vessel] facing upward⁵.

43) If it is an ivory chashaku, or one made of wood, then the interior of the chawan should not be rubbed with this kind of chashaku⁶.

44) With respect to the bunrin-chaire, the hand should be kept beneath it when it is held⁷.

45) We will [now] study about what are called the three [drops of] dew⁸:

◦ the dew on the lid of the chaire⁹;

◦ the dew on the fū-tai of the kakemono¹⁰;

◦ the [scoop] end of the chashaku¹¹.

    Taken together, these are the three [drops of] dew that were spoken of.

_________________________

¹Oke [桶].

    A te-oke [手桶], a bucket made of sawara [椹] cypress wood, usually with a bamboo handle, and held together by bands of twisted bamboo, as seen below.

    This bucket should not be confused with the shin te-oke [眞手桶] that has been used as a mizusashi since the time of Ashikaga Yoshimasa's second retirement (from late 1489 to early 1490).

    The modern te-oke that is used to carry water to the tsukubai in the roji is variously ascribed to either Rikyū or Shukō, and the size of the bowl that is gouged into the tsukubai is supposed to be made rather small, so that it “overflows freely with the water from one hand-bucket” (according to the Nampō Roku).

    For this reason, in gardens (or other settings) where there is no access to a stone chōzu-bachi [手水鉢], an ordinary te-oke may be placed out for the guests to use instead, since the amount of water it contains is roughly the same.  This is the practice that is being considered in this entry.

²Nado ni [などに].

     Nado ni [などに] means “something like that,” or “something of the sort.”

    “Something of the sort” would be an object known as a chōzu-oke [手水桶] (shown in an Edo period woodcut, above).  It is essentially the same sort of bucket as shown under footnote 1, but without the handle.  Certain chajin preferred this kind of bucket, because they felt that the handle got in the guests’ way when they tried to use it for washing the hands and mouth*.

    However, since the chōzu-oke lacks a handle, it has to be put in position empty, with water brought out in a bucket with a handle and poured in.  Still, some chajin preferred to do this, since it more closely resembled what the host had to do when the garden had a stone tsukubai. __________ *It should be mentioned that, beginning at some point in the Edo period, some schools began to say that buckets of this sort (as well as similar vessels made of metal or pottery, and buckets with a handle, that were used in places where a stone chōzu-bachi is not available) should be covered with a wooden lid.  (The hand-bucket has a matching two-part lid, as can be seen in the photo under footnote 1; but the chōzu-oke and other containers were usually covered with a square piece of wood that was roughly the size of a shiki-ita -- though a little thinner.)

    When the bucket is covered, this makes its use more complicated (which some schools actually seemed to prefer) -- because the shōkyaku is faced with the problem of what to do with the lid.

    The text of the Rikyū Chanoyu Sho, however, appears to predate the advent of this issue.

³Chōzu wo iru oku-toki ha [手水を入をく時ハ].

    This refers to the usual washing of the hands and mouths of the guests before entering the tearoom for the sho-za* and go-za -- and occasionally at other times as well†.

    This entry is addressing the situation where the host has put out a hand-bucket in the genkan, which the guests use for washing before the sho-za and before re-entering the room for the go-za instead of a stone tsukubai. __________ *In the case of the morning gathering, the guests do not use the tsukubai when going to the tearoom for the sho-za, because it is assumed that they will already have washed their hands and mouths at home, as part of their morning ablutions.  Since all they will do during the sho-za is eat the morning meal (after watching the host perform the sumi-temae), having washed their hands and brushed their teeth at home will suffice.

†If the host will serve two kinds of koicha -- or, technically speaking, if he is going to serve a different variety of matcha as usucha -- the guests were expected to go out to the tsukubai after drinking the first kind of tea (after which they would eat a kashi, to clean their palates) and rinse their mouths and wash their hands before drinking the second bowl.  This also prevents them from being bored while the host goes through the numerous steps necessary to thoroughly clean the chawan of the taste of the first kind of koicha (it is rinsed a total of five times), before he prepares the second kind.

    Also, in Jōō's and Rikyū's day, it was not unusual -- when the host was using a meibutsu chaire -- for the guests to go out and wash their hands prior to the haiken.

⁴Hishaku wo utsumukete-oku nari [ひしやくをうつむけてをく也].

    Utsumuki [俯き] means lying face-downward.  In other words, the opening of the cup faces downward.

    The hand-bucket was uncovered, so the chōzu-bishaku [手水柄杓]* was rested diagonally across the mouth with the cup facing downward -- because the rim is narrow (the thickness of the wood, which was generally 3- or 4-bu). __________ *Today this kind of ladle is often referred to as a tsukubai-bishaku [蹲踞柄杓].

⁵Kana-handō mata ha yakimono ni mizu wo iri-oku toki ha hishaku wo aonokete oku nari [かなはんどう又はやき物に水を入置時ハ].

    A kana han-dō [金飯胴] was a large pot-like vessel (with a lid, and a handle on each side) in which rice (or rice-gruel) was served to the monks in a temple.  It would hold quite a lot of rice, either enough for all of the monks (in a smaller temple) or for all of the monks seated at one table (perhaps up to 20 people).   An old kana han-dō is shown below.  Note the wide rim on which the chōzu-bishaku can be rested.

    Yakimono [焼物], which means pottery or ceramic (ware), is referring to a similarly-sized and shaped basin made of ceramic.  In the present day most modern schools teach that this kind of basin is to be used only for washing the hands after using the toilet (so it is located near the entrance to the restroom), but in the early Edo period, people who did not have the money to buy a stone chōzu-bachi often used one of this sort, as described in this entry.

    The chōzu-bishaku rests diagonally across the rim; but because this kind of vessel has a wide rim, the hishaku may be rested with the cup facing upward, since the rim allows it to be placed in this way without danger of its falling off.

    Aonoke [仰のけ] means to lie on the back facing upward.  The chōzu-bishaku is rested with the mouth of the cup facing upward. __________ *This object is most commonly seen today when used as a bin-kake [瓶掛] (the small “furo” that holds the fire for heating a tetsu-bin [鉄瓶] (an iron pour-kettle).

†These containers are usually referred to as sui-bachi [水鉢] today.  They are most frequently sold in garden centers as kin-gyo-bachi [金魚鉢] -- large ceramic bowls put out in the garden in which goldfish are kept.

    In pre-modern times, these vessels were generally used as washbasins.

⁶Utanu-mono nari [うたぬものなり].

    The verb utsu [打つ] is generally translated hit or strike, or perhaps tap, and this is how most commentators interpret this prohibition*.

    However, utsu also can be used to mean contact, as in rubbing one thing against another†, and it seems that this is the meaning intended here -- at least according to early precedent.  In the Matsuya collection of the Hundred Poems of Chanoyu‡, there is this verse:

(101) cha wo tate ba chashaku ni kokoro yoku tsukete, chawan no soko ni tsuyoku ataru na [茶をたてば茶杓に心よくつけて、ちゃわんの底につよくあたるな]:  “if [one is] preparing tea, one should focus [ones] mind on the chashaku:  it should not be rubbed forcefully against the bottom of the chawan.”

    What is interesting is that the verb ataru [當たる] that Jōō used here is very similar in its nuances to certain ways that utsu [打つ] is used -- ataru, too, can mean hit or strike; but it also means to contact, touch, and so forth.

    At any rate, while Jōō's poem speaks of chashaku in general, the present entry restricts itself to chashaku that are made of wood or ivory.  And, in this case, the point is probably to take care that the chashaku will not be damaged**.

    A more traditional sort of interpretation -- that the interior of the chawan should not be tapped by an ivory or wooden chashaku -- gave rise, in the Edo period, to the practice of tapping these kinds of chashaku against the index finger of the left hand (rather than against the inside of the chawan), something that is still taught by some of the schools in their higher temae.  The idea seems to have originated from this entry. __________ *The suffix -nu [ぬ] means do not do (whatever the very is).

†Utsu, for example, is used to mean plowing a field

‡As has been mentioned before, this is the oldest surviving version of the poems, and the document was written by Jōō himself.

**Ivory was extremely precious, and it becomes brittle as it gets old.  Thus, whether one strikes it, or rubs it, against the interior of the chawan, it is easy to damage an ivory chashaku.

    Wooden chashaku are also easy to damage in this way -- since most are lightly rubbed with lacquer, which is easy to remove, exposing the wood underneath will be unsightly.

⁷Soko [h]e te wo kake motsu-mono nari [そこへ手をかけもつ物也].

    This seems to describe the way in which the taikai chaire was handled in the early period.  Such conflating of the old teachings was a common feature of the machi-shū tea that was practiced by Sōtan and his followers.

    According to the entire range of documents that have been translated here previously -- from the Hundred Poems, to the Three Hundred Lines, and several of Rikyū's densho -- the rule was that the little finger of the left hand was to be kept in contact with the bottom of the bunrin-chaire when it was held, as shown above.

⁸Mitsu no tsuyu to iu-koto ha narai-koto nari [三ツのつゆと云事ハならひ事也].

    Mitsu no tsuyu [三つの露] means three dews or three drops of dew.  This is an ancient teaching that has been passed down since the time of Shukō.

    In fact, however, other than to be able to say that one knows what this “secret teaching” is, the teaching itself (at least in the form it now holds) has no practical value whatsoever.

⁹Chaire no futa no tsuyu [茶入のふたのつゆ].

    This refers to the little knob that is found in the center of the lid, irrespective of its size or shape.

   Originally, this knob was used as a handle when lifting off the lid (and so the knob is generally much larger -- and so easier to grasp -- on lids made during the early period).

    Many old chaire have lids that were recycled from other chaire (that had been broken), and so the lids were sometime too large or -- importantly -- too small.  In the latter case, the lid could not be picked up from the sides, as is usually done, and so the host had to pinch the knob between his fingernails in order to get the lid off.

    However, unless it was necessary to do so, the preference was to hold the lid from the side*.  And, with the restoration of trade with the continent, ivory was once more being imported, and so custom-made lids were available (to anyone who could afford them).  Thus the knobs were reduced in size (to save ivory) until they became tiny, purely decorative features. __________ *One reason being that after removing the lid, it is leaned against the handle of the hishaku, and this is difficult to do (or impossible) if one is grasping the lid by the knob.

¹⁰Kakemono no fū-tai no tsuyu [かけ物の風帶のつゆ].

    At the end of the fū-tai, two stitches are made on either side (to help keep the backing from coming loose from the cloth that covers the front side of the fū-tai).

    The ends of the threads are frayed out into little tassels, and these tassels are what are referred to as tsuyu*. __________ *When the threads are white (as they almost always are).

    However, if the threads are any other color, the tassels are referred to as hana [花] -- flowers.

    This particular teaching is of great antiquity, dating back to the time of Nōami and Shukō, and probably long before them (the style of mounting that is still used today seems to have been developed in the Koryeo period).

¹¹Chashaku no saki [茶杓の先].

    The scoop-end of the chashaku.

    The reason for the name is more clearly apparent when we look at the classical (ivory) chashaku, since many hand-carved bamboo chashaku do not display the same degree of difference in width between the stem and the bowl.  (The chashaku-no-saki no tsuyu on the classical models -- such as Shutoku’s [珠德; dates unknown, but active during the second half of the fifteenth century:  Shutoku made chashaku -- both ivory and bamboo -- for Shukō] chashaku -- is said to resemble a drop of dew ready to fall.)