THE KITŌ RYŪ JŪJUTSU TEN NO MAKI NO BEN (2018)

THE

KITŌ RYŪ JŪJUTSU

TEN NO MAKI NO BEN

THE TRANSLATION AND TRANSCRIPTION OF THE

KITŌ RYŪ JŪJUTSU

TEN NO MAKI NO BEN

AN AMATEUR TRANSLATION PRODUCED FOR THE INTERESTS OF

THE AMERICAN FEDERATION OF JUJUTSU PRODUCED FROM

THE ORIGINAL DOCUMENT POSTED AT THE INDICATED WEBPAGE http://jtweymo.angelfire.com/COVER_PAGE_T-T.html

Persons wishing to view the original document as produced by the Japanese

should consult the web address included in this text.

Privately Published BY

LOGAN WEYMOUTH, SHIHAN AUSTIN, MINNESOTA

TABLE

OF

CONTENTS

INTRODUCTION...4

THE TEN NO MAKI NO BEN Section...5

THE FŪSUI CHI-IN Section...13

THE METSUKE Section...14

THE KIKYOSHIN Section... 16

INTRODUCTION

These translations and transcriptions, of which the Kitō Ryū Jūjutsu Ten No Maki No Ben text is a part of, were produced in the interests ofthe American Federation of Jujutsu . Any party or person is free to avail themselves of

a copy of this text or any other found therein. It would be appreciated if you would acknowledge the AFJ in doing so.

Technical Information: The document is based upon the original 18th and 19th Century Museum piece that came

from the Toyama Prefectural Library website (antique books collection). It's directly associated with the Kitō Ryū, as a principle document (a record scroll of sorts for that school). As such it is highly relevant to the 18th century text of the KITŌ RYŪ JŪJUTSU YOROI-GUMIUCHI NO DENSHOthat we translated and posted on the date of February of 2016. The original historical document is a small sized booklet, known to be part of a set, we just don't know what all might have been included? These kind of 18th and 19th Century Museum pieces are written in an older historical form of the language. It's a formal document of the school, and ergo a valid form of documentation. The text as such was originally produced by the Japanese and is dated between 1760-1810 in the original form, this particular example seems to have been dated around 1837 or so? The document has obvious language roots back as far as perhaps the 1500's (terminology, nomenclature and grammatical structures of the text.), as one would expect from a text that descended from an earlier point into however many adaptations actually existed? This text uses Kyūjitai classical kanji and Katagana script.

The expectation that this Ten No Maki No Ben will prove to be near identical to the Ten No Maki No Ben sub -section of the Jūjutsu Kiroku is rather short lived. As with many of the old hand-written texts of this set, many Western practitioners seem to have expected that it would be near identical. In the case of this example, it’s rather a completely different book (-let). The Ten No Maki No Ben in the Jūjutsu Kiroku is just not the same booklet at all. This leaves us with many questions, doesn’t it? The Summary in this PDF will offer to discuss and explain some of them and a few other interesting points about terminology in the text as well.

Here in the last word of the introduction, I hope to make it perfectly clear that only linguistics and legitimate

academics was applied in the course of rendering translation and the making of these transcriptions, hoping to remain

true to the original content and feel of the Kitō Ryū Jūjutsu Ten No Maki No Ben text itself. This was thought best, so as to provide a more authentic experience that is devoid of 'stained glass' colourations which offers to obscure the text's content. I mean, namely, that one ought not to approach such important works of translation, having a biased view caused by insistence upon interpreting things according to one's own beliefs or martial arts experiences.

Logan (J.T.) Weymouth Shihan, Rokudan (6D) AFJ Shinden Yōshin Ryū Yudansha, AFJ American Judo. December 27th, 2018

起倒流柔術天ノ巻辨

KITŌ RYŪ JŪJUTSU TEN NO MAKI NO BEN

Distinguishing The 'Book of Heaven' Section of Kito Ryu Jujutsu

起倒流柔術天ノ巻ノ辨

天ノ巻

此巻ヲ天ノ巻ト号スル事天ハ氣ザシ而巳ニテ形ヲ無シ

此巻モ氣ザシ而巳ヲ說キタル故ニ天ノ巻ト号ス又事ニ

テ云フ時ハ五躰ヲ以ナス業ハ有形ニテ人智分別ん虛

躰ニシテ無形事ハ天理ん

起倒ハヲキタヲルヽト訓ス起ハ陽ノ形倒ハ陰ノ形也陽ニシ

テ勝陰ニシテ勝弱ニシテ強ヲ制シ柔ニシテ剛ヲ制ス吾カ力ヲ

捨テ敵ノ力ヲ以テ勝不然我力頼ミ吾力ヲ出ス心アラハ

勝利不全勝利全キ處ノ貌ハ敵テ随テ変スレトモ吾心不

動ニシテ正靜ナルトキハ不可有不得利

人ノ常道ヲ起倒ト云フ起ハ陽之形ニシテハ進ミ行キ手ヲ

出シ息ニツレテ伸ヲ云倒ハ陰之形ハ下ニ居跡ヘヨリシテ息ニ

Kitō Ryū Jūjutsu Ten No Maki No Ben

Discerning the Book of Heaven of the Jujutsu of the School of the Rousing Conquest

Ten No Maki

the Book of Heaven

This book, the Ten no maki Book of Heaven is also named [as a title] and in regard to Heaven itself, [it says] that notwithstanding what feelings one might have oneself, the Kata patterns show none. Even this book explained that it was notwithstanding one' own feelings, and it too named the book as the Ten no maki. As represented in the Ten no maki Book of Heaven, as a subject they say, there are techniques that make use of the body and it’s limbs,

and these are used as Kata patterns. Of that, the wisdom of any man can discern. And regarding the immaterial [patternless] techniques, it is a principle of Heaven itself.

Rousing conquest (起倒 Kitō) is read as 'okitaoru' rising and falling. The character (O)Ki (起) is of the Yang element pattern ("rising") and the character Tō (倒) is of the Yin element pattern ("falling"). There are obvious victories and there is the inobvious taking of victory. Weakness (jaku) sometimes controls strength (kyō) and gentleness (jū) sometimes controls strictness (gō). One abandons one’s own strength, preferring to take victory instead by means of the enemy’s strength itself. Otherwise, one would be relying upon one’s own strength by which to proceed upon what one had in mind to do.

Whether of victory or of partial victory the circumstance shows upon the face. It follows that with an enemy changes occur, and one’s own steadfastness and absolute calm even when what is happening is incorrect and there is nothing for him to gain by doing it. The usual path of life for people being what it is, they say there is stumbling and getting back up (kitō). About getting back up (‘ki’ 起) it is a Yang (active element) pattern, upon which one proceeds to advance with the hand extended out and one’s breathing drawn out taunt, they say. About stumbling (‘tō’ 倒) and it being a Yin (passive element) pattern, when seated one will have made use of what traces remain and one’s breathing…

ツレテ屈ルヲ云フ人ノ常ナレハ敵味方替ナシ。敵進ミ陽ニ掛レ

ハ陰ニシテ勝、敵退キ治ル心アレハ陽ニシテ勝ん委敷云ヘハ

陰ニシテ治リタル内ヨリ發スル心有ヲ陰中ノ陽ト云。又陽ニ

發シタル内ヨリ治ル心有ルヲ陽中ノ陰ト云フ陽ノ頭陰ノシリへニテ

勝ナレハ委敷キ道理有トモ筆ニ尽クシ難シ盡。兎角陽ハ形ニテ見

ハ悪シ一氣ノ動ん取形ニモ陰ノ形ノ勝多シ是ハ形ニ付ヒテノ

論ん此天ノ巻ノ趣意ニテ氣ザシ而巳ノ處ニテ云フ時ハ敵ノ

掛ラントスル時敵業ノ出サル巳前ニ氣ノ發スルヲ此方モ氣

ニテ其ノ發ル氣ノ頭ヘツヽト行キテ取ルヲ陽ノ頭ト云フ是天理ニシ

テ無ん是ヲ陽ニシテ勝ト云フ又陰ニシテ勝トハ敵ヨリ付掛ルヲ腹

ノ内ヲ扱フテ腹氣ヲ引ク揉ニシテ氣ヲ外ス又業モ夫レツレテ

取扱フん是地ノ理ニシテ又無形ん地ノ理ハ有形ノ所ん夫ヲ天理ニ

知シテ無形ニ取ル事當流ノ教ノ第一ん是ヲ陰ノシリヘニテ

…will still be drawn taught despite being seated, they say. Because of the usual state of human affairs, there is the dissatisfaction that enemies and allies are always being replaced. The enemy would openly cling to advancing, seeking even inobvious victories, when the enemy would retreat it would be on account of what he obviously has in mind about taking victory. They say he does so leaving behind what he has propagated. And so comes the beginning of what had not been obvious, and once inside what is emerging of it, they say one is to be considerate of what is hidden in the shadows even by day light (inchū no yō). What has openly begun (yō-ni

hasshitaru) once inside it as the beginning they say one is to be considerate of what is revealed

in the shadows by coming day light (yōchū no in). Once in daylight then one gains knowledge of the shadow tops and victory can be taken. But it is difficult a brush pen to record the sense of everything that was left behind and propagated. Regarding the various inadvisable things that are Yang element components, there is seeing its shaped form as being evil. There is but a single chugging movement. Even with the forms that are taken, victory has many passive forms (in no kata no kachi). About this, in the Kata patterns the argument is adhered to firmly. In the opinions of this Ten no maki Book of Heaven, they say due to the symptoms of one’s own feelings about the circumstances. At the time, the enemy would be trying to cling firmly to you, and when the enemy proceeded with his techniques there were what of your feelings were produced by this beforehand. What of feelings and spirit were produced, and they say the chief of these, grinding at you, as you conduct yourself actively to make the capture (yukite toru wo

yō no gashira). This is a natural principle of which there is no lack. This having become

obvious as the light of day, they say victory will be taken. And likewise, what inobvious victories will have been taken from the enemy as he clings to you firmly. And the gut reactions [from both you and he] when handling it all, which have been prolonged, given all the bother being made. Your spirits will have become spent. Then so even technique itself as all this grinds along when handling and making the capture. This is an Earth based principle in action, as is then the unpatterned and by the principle of Earth it is made to become patterned as a circumstance, for instance. Knowing the natural principles about this then one makes the capture on a patternless basis even. It is the foremost thing when learning the standard customs of the school, even when it is a passive knowledge about it…

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ト云フん又弱ニシテ強ヲ制シ柔ニシテ剛ヲ制ス。吾力ヲ捨テ

敵ノ力ヲ以勝トハ弱キ者ニ強クテ勝ハ習ニ不及強者ニ弱テ

勝ツハ習ヒノ處ん弱ト柔トハ少シ返アリ柔弱トモツヽケトモ茲ニハ

少シ返アリ弱ハ唯ヨワキヲ云フ柔ハ(

柔ト云フ又強ト剛トハ剛強トツヽクケレト是モ少シ返アリ強ハ唯ワヨ

キヲ云フ剛ハ根ツヨキカタキヲ云フん故ニ弱クニシテ強キニ勝チ柔カ

ニシテ剛キニ勝ハ習ノ處ん合氣ヲ外シテ虛躰ノ無形ノ業ニ

テ勝ん其無形ノ業ハ練丹シテ腹氣ヲ強クシ腹氣強クナレハ

自然ニ虛躰トナル腹氣強シテ虛躰トナレハ我心氣ハ自然ニ

神機トナリテ天地ノ間ノ物ヲ自由ニ扱フん故ニ吾力ヲ捨テ敵ノ

力ヲ以勝ト云フ此理ヲ知ラズシテ我カ力ラヲ頼ミ我カ力ラ

出ス心アラハ我ヨリ力ラノ強キ者ニハ勝事叶ハズ。故ニ勝利ノ

全キ所ハ敵ニ自然ニ應シテ勝ん吾心不動ニシテ正靜ナル

…so they say. So then of weaknesses when it is used to control strength, and gentleness when it is used to control strictness. Having abandoned one’s own strength in preference for taking victory by the strength of the enemy himself, but it is not sufficient for the stronger person to feign weakness and allow victory in practice. During the circumstances of practice, both weakness and gentleness are somewhat being reversed as you yield to one another, in the course of thrusting at one another, they say because now-a-days things are being a bit toned down [for practice’s sake]. About gentleness (jū), and strictness (go), they say that things become gentler when gentleness is applied. So then, of strength and strictness, much the same with endless thrusting [as of a sword]. Things are somewhat reversed then, they say,being that strength [being thus applied] also tones down [due to exhaustion]. Strictness is quite binding as the root of confidence, they say. And so consequently is weakness, when used to take victory against the stronger, and gentleness when used to take victory over the stricter. When practicing for the circumstance, one takes victory by unpatterned techniques that stifle his spirit and forestall him (aiki wo hazusu). About these unpatterned techniques [Note: there is a sub-section of Kito ryu techniques by this same name 無形 “Unstructured”] they are like an elixir of life that strengthens

one’s fortitude as they should strengthen fortitude. Naturally, physical vanity also strengthens false fortitude in ways one knows it would strengthen false fortitude. One;s own sentiments should naturally seek to establish that which is miraculous and good. Freely handling the objects that exist between both Heaven and Earth. Thereby abandoning one’s own strength and taking victory by the strength of the enemy as has been said. When one did not know this principle, then one relied upon and proceeded according to one’s own strength towards what one had in mind. In which case when using one’s own strength against a stronger person, victory will not be the result. Consequently then, of the circumstances of any victory, one

naturally responds to an enemy, seeking victory. One’s own steadfastness of heart makes for an absolute calm. NEXT PAGE

トハ練丹ニヨル所ん口テニテ不動ニシテ正靜ナルト云フトモ腹氣

ナクシテ不動心ニハ成リカタシ辟言ハ力ラノ有者ト力ラノ無キ者ト

同シ修行ナラハ力ラノ有者ハ勝ワニ極リタリ故ニ悉ク力ヲ嫌フ

ト云フニハ非ス自然ト出ル力ラハ不若唯力ラヲ頼ミテ求ムル時ハ

力味トナル故敵其力味ヲ取扱フ時ハ屓ト成ル故力ラヲ頼ム攴

嫌フん唯全キ所ノ勝ハ我ガ力ラモ躰モ敵ノ躰モ忘レテ自然ニ

應ル所肝要ん

當流ニ本體ト云始メニシメス本體トハ何ヲ云ソナレハ心裏虛霊ニ

シテ神氣不動ノ貌ヲサシテ本体ト云

心裏ノ心ノウチノ㕝ん虛霊ハ虛ハムナシ霊ハタマシイ。虛霊

ハ心ノワチ空虛ニシテ一塵モ曇リナキ處ヲ云フ是則明ハ

其ノ中ニ有リ空明ナル故ニ萬物ガウカム故ニ衆理ヲ具スト云フ

又神気ハ魂イノ事ん不動ノ貌ハ空明ナルヨリシテ萬物ガ

And that serves as an Elixir of Life under such circumstances. There is then steadfastness of even the things one says which further establishes absolute calm, they say. Having made this your gut reaction gives a steadfastness of heart and mind.There will be no lack of force in your words of rebuke against him//them. Practitioners ought to practice this same way, making use of such force during practice. Then the practitioner has already decided to whom went the victory. Consequently, it is [among the reasons] why they say that one ought to entirely loathe the use of force. What force is then naturally proceeded with is not what was meant to be indicated here. However, when at the time one wants to rely upon what force one can muster is nonetheless to taste that force itself. So thereupon does the enemy handle and seek to make the capture by taste of such force. Exerting himself by strength and consequently strength as such is to be loathed in use, and so loathed to strike with. However, about the circumstance of victory in general, even when by one’s own strength and force, even when by purely physical means, having forgotten the opponent’s body and merely giving natural reply is quite crucial. They say that when one has begun to demonstrate the Hontai Basic foundations of the standard customs of the school, what is there then to be said of these Hontai Basic foundations? There was what else one otherwise had in mind and the look on the face that is reflective of the Mysterious Divine life force which rests in the soul and spirit. They say that [this is the meaning of] the

the Hontai Basic foundations.

There is the subject of the other side of what one had in mind. Regarding the soul and spirit, one knows that it will not have been carried away through the skies in death. One bears in mind those empty skies in regard to the soul and spirit, even in the face of a single instance of the rubbish. They say that there is turmoil about it. This concerns itself with rulings about what occurs when in the middle of it all. Consequently, those being clear skies the 10,000 things are easily manifest. And also they say the greater number of people whom will soon follow. Regarding the Divine mysterious life force that makes up everything, there is the subject of the soul and spirit. Regarding the look of steadfastness upon the face, the clear skies and the manifesting of the 10,000 things…

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ウカム故心慥ニ成リテ不動ノ貌トナル是ヲサシテ本体ト云

敵ニ對スルニ爰ニ敵アリト念ノ起ルトキハ動スルモノ顕ル動スルニ

至テハ一身ムナシ敵ト見テシカモ心不動虚霊ニシテ安ク對

スル處本体ソナワレルナリ是ヲ不動智ト云

是ハ合氣ヲ外サセルノ示シん相氣ニナリテ敵ノ樣子ヲ考ヘ

心ニテ色々ト求メ斯如取扱ヘキナドト思フ時ハ心氣滞リ其

了簡ノ如ク敵ヨリセサル時ハ大キニ心氣散乱スルん一度心乱レ

テハ心氣本体ニ不備故一身虛シクナルん殊ニ敵ノ大力大男

強敵ト見レハ直ニ動スルん動シテハ自然ノ業不叶故ニ敵ト見

テ相気ヲ外シ空機ト敵ト一躰ニ見テ心不動虛霊ニシテ

對スル所ニ本然ノ位アリ又不動智ハ不動ハ一刹那ノ間ニモ

三千大千世界ヲ走リ廻リ能動中ニアル不動ん本佛右佛ノ

不動ノ樣ニ腹氣ヲイレテウコカヌヲ不動ト心得テハ用ヲル

…which do float therein. The heart and mind become particularly doubt-free, and this reflects in the steadfastness of the look on your face.

That is said to be the particular reason [for the calm look on the face used in] the Hontai Basic foundations. When confronted with an enemy, then here is the enemy and the sense of arising to the occasion, there is some obvious agitation. One does not approach with wholeheartedness when agitated. Seeing the enemy, and furthermore, the steadfastness of heart and mind and the tranquility of spirit and soul when so confronted in the circumstances, as furnished by the Hontai Basic section.

They say this is immovable wisdom.

About this, as an example, when one detaches oneself from the exchange of spirit (aiki wo

hazusaseru) [in the confrontation], for instance. And so one can discern what phases of spirit

has become the circumstance for the opponent. Where one is searching out the various things that one has in mind, much in this way would one handle it and make the capture. Considering this at the time, there is some hindrance to one's sentiments much as if at the mere thought of it all. Not so much from the enemy at the time, largely just from the dispersal of one's sentiments. Upon the occasion of the heart and mind becoming disheveled, the sentiments within the Hontai Basic section will not be able to provide for the occasion, particularly because of the lack of wholeheartedness it has caused. Even more so with an opponent whom is a very large and powerful man. One would be seeing and become agitated at the sight of the stronger enemy. Having become agitated, and not able to respond with spontaneous techniques having seen the enemy, beyond the other aspects of it are the chance mechanics and the enemy whom is seen moving as a singular body. Having a steadfast heart and mind, soul and spirit about it when confronted in the circumstances, this is an innate position. Regarding steadfastness and immovable wisdom, in the interval of a mere instance, all the world is sent running and spinning. Quite frequently, when in motion it is steadfast. Also, there is the steadfastness of the Primary Buddha and the Buddha who followed after him. The unmoving nature of that as a gut reaction as steadfastness is something one ought to learn to make use of.

Translator's Note (HIGH PRIORITY): The text entry makes use of the word AIKI in a very important example of it's usage. The

verbal construct: Aiki wo hazusaseru (合氣ヲ外サセル) or in Mod Jap → (合気を外させる) . This might confuse some people just a little bit, since many of the instances of the word AIKI found in this text were also used in a similar Verbal Constructs, namely some form of aiki ( 合 氣 ) + hazasu ( 外 ス ). This immediate example we are discussing was a very specific Declination of the verb hazasu (外ス) to its form as the Causative Voice form hazusaseru (外させる). Most of the other examples found in this text used instead a different Plain Tense of the verb and so it’s meaning changed here considerably. There was an immediate occurrence of the related idiom sōki ( 相 氣 ) “phase/aspect/stage (of gases, energy, spirit or mood and cadence)” which is also sometimes pronounced AIKI and used with near identical meaning (when in the form pronounced aiki, anyways) This immediate occurrence of the related idiom sōki (相氣) further modified (and identified) the definition of AIKI and the definition of the verbal construct Aiki wo hazusaseru (合氣ヲ外サセル) so I translated it as: “…when one detaches oneself from the exchange of spirit [in the confrontation]…”

The Verbal Construct Aiki wo hazusaseru ( 合 氣 ヲ 外 サ セ ル ) comes from AN EXTREMELY IMPORTANT base construct, that being Aiki Wo Hazusu (合氣ヲ外ス), or in Mod Jap → (合気を外す), that is actually used as the name of something, or similarly found in the name of something within AIKI-JUTSU and cognates such as Aiki-Jūjutsu. For example, the term Aiki Wo Hazusu-Tame No Jutsu (合気を外すための術) or “The Art//Techniques of Taking Advantage of (aiki wo hazusu)”. But the problem is that the Verbal construct Aiki wo hazusu (合氣ヲ 外ス) has a definition derived by context… so there are a number of ways that one could translate Aiki Wo Hazusu-Tame No

Jutsu ( 合 気 を 外 す た め の 術 ). Examples would be: “The Art//Techniques of Taking Advantage of Detaching

Oneself from the Exchange of Spirit//Emotion//Mood”, ergo “The Art//Techniques of Taking Advantage of (Self-) Detachment”, and another example would be: “The Art//Techniques of Taking Advantage of Stoic Behavior”, as well as “The Art//Techniques of Taking Advantage of (Fore-) Stalling a person or thing”. There are several other possibilities, such as “The Art//Techniques of Taking Advantage of Phases or Stages in a thing” but especially by hindering them (as stages).

ルん唯動テウコカザルノ不動ヲヨシトスルん

平生ノ神氣不動ノ工夫熟得肝要也。神氣不動ニシテ

敵ニ對スルハ敵氣ヲ呑レテ迷フママヲ先ヲ取トモ云タトヘハ敵ヨリ

先ニトリツキテモ吾神氣不動ナレハ敵速事ヲナス事アタ

ワス然ルウヱハ勝利タシカニアラスヤ

玆ニ又不動ノ工夫熟得ヲ返シテノ示ん前顕ノ如ク練丹シテ

腹氣ヲ強クシテ心氣ヲ神機ト知シ空機ニ渉リテ空機ト敵ト

一集ニ自由ニ扱ヒ虛躰トナリテ其事人ノ目ニワカラスシテ用ヲ

成シ心裏虛霊ニシテ慥ナル物ヲワカマイタルヲ不動ノ工夫熟

得ト云フ此位ニ至ラ子ハ敵ト見テ安ク對スル事テキズ此位

故敵氣ヲ呑レテ迷フ又此位故ニ敵ヨリ先ニ取付キテモ速ニ事

ヲナス事ナラス故ニ練丹シテ腹氣ヲ強クスル事當流ノ

第一ノ修行ん

Although how does one make use of movement that is actually motionless when no movement is?

Even the more usual of the Divine mysterious life force (shinki) is of cunning design in its steadfastness. As such it is an important point to have acquired it. By the steadfastness of the Divine mysterious life force (shinki), when one would be confronted by an enemy, he will become overwhelmed and hesitate losing his way, they say at that point you can capture him. For example, at the point when the enemy is making the capture, even if he is thrusting with a sword, what of the steadfastness of the Divine mysterious life force (shinki) one would have oneself, surely, the swiftness the enemy has mustered just isn't enough. One is able to accomplish a certain victory that is otherwise unavailable.

Now-a-days then an example of countering by having pointedly acquired the cunning tactic of steadfastness, much like the earlier clarification of it, that it becomes an Elixir of Life that strengthens our fortitude (harage) when as a sentiment we know that the Mysterious Divine Life Force flows through as a chance mechanics. The chance mechanics and the enemy begin to become one bound together which we can then freely handle. Even so of the vanity of his having a larger body [kyotai (虚体) as a pun on words for kyotai (巨体) meaning “larger build of man”] being that such

techniques in the eyes of Man are quite distinguishable when made use of. What else one had in mind, and the soul and spirit being what they are, all being doubtless, one is able to distinguish the affair plainly, they say by having pointedly acquired the cunning tactic of steadfastness. Of this position, when approached like this, as any children whom have come to be involved, seeing them and seeing the enemy yet one remains calm throughout the altercation, which usually one would not. This position [of endangered children] would usually cause one to hesitate and become overwhelmed. And then the enemy would quite quickly overcome and capture you at that point as one would prefer not happen in the affair. So it has become an Elixir of Life, strengthening fortitude (harage). The subject is a topmost practice in the standard customs of the school.

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ー風水 智音

是氣ニ因テ貌ヲナシ形ヲ見テ其氣ヲ察ス譬ハ水ハ平ラ

カニ流ト云フトモ發スルハ波ヲ起ス波則チ音ヲ生ス水中ニ意アレハ

水高テ流ル是貌ヲ見テ下ヲ知ルニ非スヤ溘上ニ波アレハ沖ニ風ノ

有ル事ヲ知ルガ如シ氣ニヨツテ形チ出來形ヲ見テ氣ヲ察ルナリ

天地ノ事ハ幽妙ニテ妙々凡智んニ計ガタシ風モ形チナキモノん水モユル

ヤカニ流レ形チナキ物ナレトモ風水ニ當レハ波ト云形チ出來聲出ル水

中ニ岩アレハ水迷立テ声ヲナス是形チヲ見テ天地ノ氣ノ驗敷キヲ智ん

人ハ小天地ト云フテ天地ノ氣ヲ受テ生タル者ナレハ天地ノ理ニ少

モ返ヌモノん又風ハ形ナキ物ナレトモ鉄ヲ積タル大舩ヲ覆スハ形チ

ナキ風ん是呼吸ノ目付トモ云フヘキカ風ハ譬諭シテ氣ニ當ルん又

波ハ譬諭シテ躰イ當ルん依テ風水ノ音ヲ心身ニテ聞智ル事ん

是無形ノ目付心ノ目付ん

-- Fūsui Chi-in The Close Relationship of Wind and Water

This is the spirit that the look on the face is caused by that is observed in the Kata patterns, so one can guess the spirit [by seeing it]. An example, they say, is when level water is flowing even, of course as it produces itself along then waves arise, wave after wave. Namely the sound of running water across [the surface of] water itself is used to indicate the mind. And when high water is flowing, this is [used to indicate] the looks on the face, it is not incorrect to think that these too are flowing downward [like water following its course]. Then suddenly waves will appear splashing up. Out on the open seas, [the waves] are compelled by the winds, much as one knows would be the case, so spirit can have similar form. Observing that it has such form, one sees the spirit [as one can see the invisible winds acting upon the waters], for instance. About the subject of Heaven and Earth, they are mysterious and deep like water, generally one knows it. Of their schematics even wind does not lack a pattern. Even water makes use [of the patterns of the wind] surely in the things that it does. Wind and water being what they are make contact with each other to make waves, they say. These can have patterns as do the sounds that they make, and so the stones under the water as the flowing water jostles them where they stand, so [the stones] make sounds too. Having observed these patterns, one knows that it is the spreading effects of the spirit of both Heaven and Earth interacting. Man himself is but a small part of Heaven and Earth, they say, receiving the spirit of Heaven and Earth and all born there

into, as indeed any person does. Yet the subject of Heaven and Earth is not the least opposed thereby. Regarding the wind, it may lack a pattern, however, things may begin to pile up and stack themselves as if to turn into a great iron vessel sailing off and away only to topple over, because the winds lacked pattern. They would tell you that this is observable in breathing patterns too. Regarding the winds, it has been argued that it's something of a metaphor regarding what spirit has been struck up. About waves, it has been argued that they tend to lap against the body. Consequently bearing in mind that wind and water (fusui) makes a sound, both the mind and body listen for it knowing this. What is observable of their being unpatterned is observable of the heart and mind themselves.

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ー 目附

當流一木ノ目付ト云上ヨリ下迄ウロリト見ハラズニ見ルん一所ニ

目ヲ不付上下迄クハラリト見ルナリ是則視ルニマシタル物見ん神

氣不動ニシテ観察スレハ勝利タシカん又譬ハ躰カヽミ悪キハ

カヽミタル事ハ不云人ノ氣ザシハ眼中ニ顕ハレル故眼中ニ氣ヲ

付タルヨキト教ハ体ノカヽミ自然ト直ル亦体ノソリタル人ノ動足

ノ働キニアリ足踏シメテ後力ラ出ルモノ故足ニ氣ヲ附タル宜シト教ユ

レハ体自然ト直ル是ニ不限教ノ上ニテハ色々アルヘシ敵ノ氣ザシ

ヲ知ル強弱又ハ氣ノ治リタル治ラヌヲ見ルニ其處計リ見テハ合氣

ニナリテ不見一ツノ枝に心ヲ留メテ見レハ外ミヘズ又本体ヨリ末迄ユ

ラリト見レハ一本ノ木悉ク見ルガ如シ是敵ニ對スルニ合氣ヲ外ス

シテ腹氣ヲ始メ 敵ヲユラリト見レハ頭ヨリ手足ノ動心中迄モ

悉クく見ユルん又物身

〵諭スニハ遠山ノ目付トテ敵ノ長ケ高キ

-- Mestuke Watchful Observation

In the standard customs of the school are observed to be a single tree. One drifts one's eyes up and down it to see what can be seen. One does not look only at one place, but instead one looks up and down it's length to see what can be seen. This is namely for the purpose of what one may observe about it. By use of the Divine mysterious life force that makes up everything (shinki) one ought to observe the possibility of victory that exists within it all. What would be an example of it, one's body is being physically clung to, evil is clinging, and it all goes untold and unsaid. One sees indicators of the spirit of people becoming visible, particularly, when giving consideration to what they are paying attention to in all of it one can forecast things by it. One is taught that the physical clinging is natural and should be corrected. And also regarding the physical circumstances, the movements of people while they are on foot. When and where they stomp about, and afterwards what force they produce themselves with. Particularly, what suitable attention is being given and what one ought to have already known. That natural physical reactions should be corrected. This has no real limitations, and one knows that there will be various other things as well. One knows the spirit of the enemy and what is being indicated of his strengths and weaknesses. Also how he recovers his spirit, watching how he would recover it. That is observed to be a measured circumstance wherein how the spirit be met and forestalled (aiki) would allow one to go unobserved when putting a stop to what he had in mind in any given single branch of his doings, which having seen it otherwise one would not be able to detach oneself. From these Hontai Basic foundations, top to bottom, one would be able to see at least one layer of the tree fairly well. Much as if one could see the whole thing. When confronted with an enemy like this, having not diverged from what spirit be met when forestalling (aiki wo hazusu) through one’s own gut reactions from the start, and seeing that the enemy is shaking things up, quite frequently one sees the movements from the head down to the hands and feet according to what one had in mind having observed things most completely. They say that this is the single most important thing to observe. This is arguably to be rather physically as if one were observing a distant mountain, when the enemy is rather tall and has longer reach…

Translator’s Note: The usage of the word aiki (合氣) in two instances that occurred in the lines of the text seemed to better be translated by both

definitions at once (“(fore-)stalling” and “(evident) spirit to be met”). Given the context that occurred in the first instance of it’s usage on the page, especially the part following that reads: “… would allow one to go unobserved when putting a stop to any given single branch of his doings…” Mention, immediately afterwards, of “halting” the enemy made a definition of “(fore-)stalling” seem self evident, but to be on the safe side, I used both definitions. The first instance of occurrence had no doubt helped to govern the definition of the second occurrence as well, one would think.The second instance of the occurred of the word AIKI was in the Verbal Construct aiki wo hazusu (合気を外す) in the Declinated form of aiki wo hazusu-shite (合 気を外すして). This Verbal Construct was already discussed in the Blue Font Notes a few pages up.

人又俄(

合宜シ是ハ扱ノ爲ん本然ノ目附ハ敵一人ヲ見留メズ天地一躰

ノ空機ト敵ト一集ニウロリト見レハ敵呑レテ業ヲ出ス㕝叶

ハズト目ヲ見ハルト殺氣顕レ敵ノ目

トナル又空眼ト云フ

㕝アリ目計リ空眼ニテハ活用些ニシ虛躰ニナレハ目モ自

然ニ空眼ニナル故自然ニウロリト見ル是第一ノ目付ト云視観

察ト云フ㕝アリ目付ノ事也。

ー 起居心

是ハ又起倒 ト云フニ同シ起ハ立ツん居ハ居ニシテ平生立ト居ル

トノ二ツん立者ニハ居リ居ル者ニハ立抔ト云フ心ト云フ事モアリ

又起キテモ居テモ寢テモ皆同シ心ん又七慱八倒シテモ同シ

心ん是貌ニ不拘シテ心ノ治リヲ云フん

須掌靜謐

…and suddenly other men are not inclined to extend themselves in the affair, and perhaps you have observed that the enemy has his forehead freshly shaved clean of hair [mark of a new inductee into samurai ranks] then one has a better balance in things [knowing these facts.] This sort of thing will better allow you to handle it as is innate to watchful observation, seeing the enemy is but one person and he is not getting stopped, as with the singular body of Heaven and Earth by the chance mechanics of it, one sees that they are gathering to become one body even along with the enemy himself. Seen as a happenstance occurrence.The enemy having been drinking, then proceeds with his techniques, to which you cannot respond, having seen the look in his eyes and his intentions to kill you (sakki) becomes visible to you. That is the look in the opponent's eyes. Also they say that there is a vacancy in the eyes. Regarding that one measures the vacancy in the eyes, it has some small practical application to it. Because the vacancy in the eyes betrays the vacancy in the body. They say that this is the single most important thing to observe. This is the subject of watchful observation (metsuke no koto).

--Kikyoshin the Awakening Heart (or, "the Arousing Heart")

About ‘Rousing conquests’ [Kitō (起 倒 → 起倒流)] they say that this [and the Awakening heart]

are the same thing. Regarding the character “Arising” [(O)Ki (起→ 起倒 → 起倒流)] and regarding

to be standing up or seated, when seated it is a usual position in life to be in. But of two people, one seated and one standing, they say it is better to be the one standing. They say that is the heart of it as the subject goes. But then again, whether seated or standing or even to be laying down, these are all the same to the heart and mind, being that what one has in mind is to cause the eight downfalls (hattō) by way of the seven sorrows (shichi-ten) as if they were of the same heart and mind. When by this one having not restricted oneself even to the look on the face, they say that the heart and mind will recover themselves.

Subekaraku Tanagokoro-ni Shigume Shizumaruru-wo

[(AKA) Subeshi Tanagokoro-ni Seihitsu ]

What peacefulness may be available, by all means, ought to be sought out.

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是ハシツカニシツムル事ヲ手ノ内ニ握ルベシト云フ心ん静カナル所

萬事ヲ考ヘ知テ上手ニモ至リ自由ニ取扱事ん是本體ノ

静貌静氣ヲ又返シテ上ケタルん静貌静氣ヲ掌ニシテ

天地ノ本然ノ道ニ至ルベシト也。

起倒流多年之執心不浅依修行雖爲當流秘事令

天巻許冩者也假令爲親子兄弟膠漆友共敢誛不可

漏者也仍如件

是則文ノ通也

天保九年戊五月

冨奥丞有桓

What calm tranquility would settle into the palm of the hand, they say should be taken firm hold of. From this still quiet circumstance, one comes to know and discern the 10,000 things and so even approach the upper techniques that allow one to freely handle and make the capture. These Hontai Basic foundations provide a calm look on the face and a calm spirit even when what is happening is contrary to this. Much as with what calm tranquility and facial expression is actually available, which one should take hold of. This is how the Hontai Basic foundations are to be approached.

The Kitō Ryū dependent upon training practices for many years of devotion that are not spuriously placed. Although the standard customs of the school had been made secret matters through the dictation of the license of the Ten no maki Book of Heaven was the copy made. The close relations of parent to child and brother to sister must not be contemptibly abandoned, as there are those whom

make that mistake.

This namely shows how they will truly approach the avenues of study.

May of the 9th Year of the Tenpō Era (1830-1844// 1839 ?) Tomioku (No) Suke Akan(?)

SUMMARY

As stated in the Introduction of this PDF, the expectation that this Ten No Maki No Ben proves to be near identical to the Ten No Maki No Ben section of the Jūjutsu Kiroku is rather short lived. As with many of the old hand-written texts of this set, many Western practitioners seem to have expected that it would be near identical. In the case of this example, it’s rather a completely different book (-let). The Ten No Maki No Ben in the Jūjutsu Kiroku is just not the same booklet at all. Should one otherwise have expected it to be rather identical would have been reasonable, after all, many of the text entries in the Jūjutsu Kiroku are just that… merely a copy of certain of the existing and separate text document from the set in question. They have the same titles and everything. Here though, as with the Hontai No Ben that we added recently, there is an obvious wrinkle in the rug (not identical in the one case and in this particular case, not even the same text.) We are left with many questions, all this having peeked our interests and curiosity as to why these unexpected differences occur between such texts when apparently they were supposed to be part of the Kiroku. We think we have an explanation, but we admit we’re not dead damned sure. This text (the Kitō Ryū Jūjutsu Ten No

Maki No Ben) and the other text in question (the Hontai No Ben) simply are not written by the same people and were

not from the exact same (Den) branches of the Kitō Ryū. In fact, they may not constitute the congruous set of documents that people seem to have indicated they should have.

Interesting facts about this supposition:

(1) Some of the Brown faced manuals in question were produced by, but not written by, the same people. They were probably a form of a bookseller and practiced the Scribal arts as such.

(1-A) The ‘Hand’ in which (some) these texts were written is the same exact ‘hand’ (probably hand recorded by the same persons?) I can tell by the way they drew the Kanji characters and wrote the Kana script. Same guy, usually.

(1-B) There are a small number of the Brown faced booklets that most definitely were not recorded by the same people at all. The ‘Hand’ with which they were written is completely different. In fact, these few examples I cannot help you people with… these examples are so chicken scratched as to be illegible (no way for me to reproduce them.) Can’t read it and cannot translate it.IF YOU CAN GET ME A BETTER COPYor even better yet, a print book version… I’m your man! Otherwise, no way. (2) It is unlikely that this ‘set’ of Kitō Ryū booklets is actually a set at all, clearly there are at least three (3) separate and quite distinct Kaden Branches of the Kitō Ryū represented here between the Brown faced booklets and the Jūjutsu Kiroku version of each. At best, this “set” serves as a good example of the diversity within the branches of the Kitō Ryū, but no particular branch is being represented. However, they are a form of legitimate documentation for (various of) the branches of the Kitō Ryū.

(2-A) I have had the time now to review and have decided to place the Kitō Ryū Jūjutsu Tai No Maki No

Ben and the Kitō Ryū Jūjutsu Chijin No Maki No Ben in the Collection as well They will be done as soon

as I can get to them. They do not agree with the version of themselves in the Jūjutsu Kiroku either (which was why I wanted to add them). In fact they are both either practically or literally a separate and distinct book unto themselves. We suspect that they may represent yet more separate Kaden branches of the Kitō

Ryū, we aren’t sure yet. That could drive the number of Kaden branches represented up to as high as 4 and

What was most originally thought to be (largely) one congruous set ofKitō Ryū documents now turns out probably

not to bean actual set at all. Some people seem to have identified this set as having been written by one specific

master of the Kitō Ryū, around the late 1700’s to early 1800’s. They were not written by one man (and do seem to represent several separate branches instead of one.)

LANGUAGE AND TERMINOLOGY

Unlike the Kitō Ryū Hontai No Ben itself, this text and it’s language showed no contribution from other ryūha. The Kaden branch that the Ten No Maki represents, textually speaking, is differenced (such as from the versions of the Kitō Ryū Jūjutsu Kiroku) but shows no significant and obvious outside sources from other schools. This is a noteworthy fact due to what otherwise would have been indicated.

Usage of the Idiom AIKI

Like the Hontai No Ben, this text made use of the word AIKI (合氣) and in fact it had far exceeded the usage of the word as evidenced in the Hontai No Ben. Most commonly, but not every time in this text, the word AIKI had occurred in a Declinated (or Conjugated) form of the Core (and quite important) Verbal Construct: Aiki Wo

Hazusu (合氣ヲ外ス), or in Mod Jap → (合気を外す), which even serves as the name of something, or is

similarly found in the name of something within AIKI-JUTSU and cognates such as Aiki-Jūjutsu. As given in the Blue font Translator notes on that page, the example of the term Aiki Wo Hazusu-Tame No Jutsu (合気を外すた めの術).

(1) Several Declinated Conjugations of the Verbal Construct appeared in the text (Plain Tense form: Present Indicative Voice AND Plain Past Tense as well as a form of the Past Progressive voice). Also there was Causative Voice form.

(2) The definition and meaning comes from the Verbal Construct as a whole and not from the word AIKI in the construct (the construct governs the definition of the word and not the other way around.) The definition is furthered governed and modified by what Voice and what Declination the verb hazasu (外す) appeared in.

(3) This particular Verbal Construct is considered perhaps the single most important such Verbal Construct in the art of Aiki no jutsu and the arts and schools descended from it. It practically is Aiki no

jutsu and as such, another way of saying Aiki no jutsu is, in fact, Aiki Wo Hazusu-Tame No Jutsu. But

other times the term means something within Aiki no jutsu Instead.

(4) When Aiki Wo Hazusu (合気を外す) occurs in conjunction with the word sōki (相気) or a Verbal Construct containing that word, then the definition and meaning of Aiki Wo Hazusu (合気を外す) frequently undergoes quite a change to a different meaning… but even then, the meaning is usually derived by context (Definition derived by Context). This happened at least once in the text.

(4-A) There is a form of the same or near same Verbal Construct using the characters: (相気を 外す) BUT it would instead frequently be pronounced sōki wo hazusu. When pronounced like this the meaning does not agree, means more like “staunching /or/ interrupting the phase transitions (of gases; chemicals or energy)” HOWEVER (and yes, guys and gals of interested parties… you DO want to pay attention to this one): HOWEVER, when of spirit, mood and cadence (as a relative of energy phase transitions, for example) it means “to Staunch his spirit”, “to (Fore-) Stall and staunch him.” This definitions quite often bleeds over even when written as

Aiki Wo Hazusu (合気を外す).

Should the focus on the occurrences of Aiki Wo Hazusu be largely what gets said about the number of instances of the word AIKI in this text? Out of eight (8) given examples, only two (2) were not couched in the construct in question. The remaining six are all Conjugated Declinations of Aiki Wo Hazusu. Probably you would want me to explain then the other two examples? Fine. Both are an instance of aiki-ni (合氣ニ), or in Mod Jap → (合気に) and most usually in this type of language construct would most probably be identified as a noun that had been

converted by attaching the suffixal ‘ni’ into either an adjective or an adverb. In both cases the sentence participle ‘nari’ followed the instance of ‘aiki-ni’. But it’s a sentence participle that has little to do with ‘aiki-ni’.

What more could I tell you, in regard to the occurrences of the word AIKI in the text? Well, there’s the interesting fact that a form of Literary doubling-of-force occurs in some few of the instances of occurrence such as: Aiki wo hazusu -- -- → aiki-ni. Similarly, although none of the instances of sōki ( 相 気) seem to have appeared under the pronunciation of ‘aiki’, unlike the instance of that order that occurred in the Hontai No Ben. However, two occurrences of Aiki Wo Hazusu in this text were followed by an occurrence of sōki (相気) that modified the definition of the construct. Namely, Aiki wo hazusu -- -- → sōki-ni. Sometimes, as stated before, the word sōki is instead pronounced ‘aiki’ and would be able to serve in the same Literary doubling device expressed as Aiki wo hazusu -- -- → aiki-ni. It was a coincidental fact that it did not do so in this text. When one encounters an occurrence of Literary doubling-of-force like this (Aiki wo hazusu -- -- → aiki-ni) then one should practically, but not literally, consider it to be a singular instance of AIKI, really. From that perspective, there was really only six (6) occurrences and not eight (8).

The facts of the context in which the word AIKI appeared are really quite informative, the most important fact of all being how high ranked the Verbal Construct Aiki Wo Hazusu really is. It is perhaps the single most important construct to the arts in question. More important than most other instances of the word AIKI one might otherwise encounter. Let me put it to you this way… if you are going to encounter the word AIKI in an old historical text like this… the way it appears in this text isthe best way one could.