Analecta Nipponica
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5/2016 Analecta Nipponica Journal of Polish Association for Japanese Studies Analecta Nipponica J o u r na l o f P o l i s h A s s o c i at i o n f o r J apan e s e S t u d i e s 5/2016 Analecta Nipponica J o u r na l o f P o l i s h A s s o c i at i o n f o r J apan e s e S t u d i e s Analecta Nipponica Journa l of Polish Association for Japanese Studies Editor-in-Chief Alfred F. Majewicz Nicolaus Copernicus University, Toruń Editorial Board Agnieszka Kozyra University of Warsaw, Jagiellonian University in Kraków Iwona Kordzińska-Nawrocka University of Warsaw Editing in English Aaron Bryson Editing in Japanese Fujii Yoko-Karpoluk Editorial Advisory Board Moriyuki Itō Mikołaj Melanowicz Sadami Suzuki Hideo Watanabe Estera Żeromska Gakushūin University in Tokyo University of Warsaw International Research Center for Japanese Studies in Kyoto Shinshū University in Matsumoto Adam Mickiewicz University in Poznań The publication was financed by Takashima Foundation Copyright© 2015 by Polish Association for Japanese Studies and Contributing Authors. ANALECTA NIPPONICA: Number 5/2015 ISSN: 2084-2147 Published by: Polish Association for Japanese Studies Krakowskie Przedmieście 26/28, 00-927 Warszawa, Poland www.psbj.orient.uw.edu.pl University of Warsaw Printers (Zakłady Graficzne UW) Order No. 1312/2015 Contents Editor’s preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 ARTICLES Iijima Teruhito, 日本の伝統芸術―茶の美とその心 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 English Summary of the Article Agnieszka Kozyra, The Oneness of Zen and the Way of Tea in the Zen Tea Record (Zencharoku) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 English Summary of the Article Anna Zalewska, Expressing the Essence of the Way of Tea: Tanka Poems used by Tea Masters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 English Summary of the Article Ewa Rynarzewska, SHINPA versus SHINP’A. The Influence of Japanese ‘New School’ Theater on the Development of Modern Korean Theater. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 English Summary of the Article Agata Koszołko, The Ideals of Bushidō Depicted in Hagakure (‘Hidden in the Leaves’) and Chūshingura (‘The Treasury of Loyal Retainers’). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 English Summary of the Article Urszula Mach-Bryson, On Jars and All-time Masters. Chanoyu as Revealed by Yamanoue Sōji . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 English Summary of the Article INETRVIEWS 立川志の春氏インタビュー「世界に通じる日本の笑い」聞き手 ザレフスカ・アンナ、藤井カルポルク陽子. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 REPRINTED WORKS OF POLISH JAPANOLOGISTS Ewa Pałasz-Rutkowska, General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 – Part Two. . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Notes About the Authors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Information for Authors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 EDITOR’S PREFACE Sending the present volume to the printers, we reached the first “round anniversary” of our journal the first issue of which saw the light of the day with the date 2011. The consecutive number of this volume (‘five’) indicates that the journal conceived as a yearbook proved to function as such despite our fears of being unable to manage to produce one book per year. As initiators and editorial board, we feel relieved, cautiously optimistic, and motivated to continue with our sincere wish and hope to improve as much as possible this undertaking of ours. Constructive criticism and support on the part of our potential readers will always be welcomed and cherished, and we shall feel very much obliged for good advice on the one hand, and your contributions (be it articles, communications, reports, fieldwork data, reviews, etc., proposed for publication, or opinions on the journal, suggestions, polemics with what has been published). This volume opens with our Japanese guest writer touching the problems eternal in Japanese studies – the aesthetics and essence of the tea ceremony perceived as one of the representative traditional arts of Japan. It so elegantly coincides with the paper concluding the “Articles” section, also inviting readers to the realm of chanoyu. Moreover, two other papers have as well been devoted to the Way of Tea, one anchored in philosophy, the other in poetry, making thus the entire book a kind of anthology of texts, or a new small monograph, on the subject. Papers on bushido (another representative and eternal subject in Japanology) and on Japanese influence on modern Korean theater enrich the subject matter. The volume continues our two other sections present since the commencement of the Analecta, namely “Interviews” (this time, with a rakugo master and a world class specialist on tidying (sic !)) and “Reprints” of out-of-print works of Polish Japanologists (the present volume offers the second installment of a 1990 monograph on General Jinzaburo Masaki, introduced in volume four). Stęszew-Toruń-Poznań, March 2016 ARTICLES 飯島照仁 「日本の伝統芸術―茶の美とその心―」 １. はじめに 日本の伝統芸術の代表的なものに「茶の湯」がある。この茶の湯は、 「奠茶・奠湯」に起因し、茶を奠じ、湯を奠じて「神仏にお供えをする」 ということが本源的な姿である。そして「道としての茶湯」すなわち「茶 道」は、心の茶を目指す珠光の出現により開花される。珠光 (1423-1502) は、一休宗純和尚 (1394-1481) に参禅して禅を修め、孔子の道つまり儒教 を学び、三十年茶の道に専念しており、当時から芸術家としても人としても 偉大な人物であると評されていたことは周知の通りである。珠光の目指す茶 は、「茶から心へ、心から茶への道」であり、それを換言すれば「心茶」で あり、また「禅茶」にほかならない (『珠光』倉澤行洋著) 。珠光は、こ れまでの茶会が宴会式の華やかなものであったのに反して、落ち着いた簡 素なものへ転換し、日本最古の書院造りである東求堂同仁斎にみられるよ うな四畳半の狭い空間や、広座敷を屏風で仕切り囲ってその中で茶法を行 なうなど、いままでの形式に対して大変革を行なっている。これより囲い の茶が始められ、この後武野紹鷗 (1502-1555) そして千利休 (1522-1591) へとその道統が受け継がれることになる。その過程で茶室は四畳半を重視 しながらも、利休によって縮小傾向に向かうことになる。利休は悉く空間 の不要な部分を削ぎ落とし、二畳ほどの極小空間を好むことになる。これ により茶の湯に新たな変革がなされ「わび茶」が大成された。 このような利休以前の茶の歴史、そして利休歿後四百年以上に亘り茶 道の根幹をなすものの要素としてあげられるのが「用の美」、「不完全の 美」そして「きよめ(清め・浄め)」である。尤もこれらのみで茶道のすべ てを語ることは困難であるが、今回はこれらに焦点を絞り、「露地」、「 茶室」、「茶道具」、「茶の点前」の四つの分野の｢用の美｣、「不完全の 美」、「きよめ」について論をすすめることとする。 まず「用の美」とは、亭主と招かれた客ともに使い勝手がよく、それ と同時に無駄がなく美しいということである。利休が大成したわび茶の美 意識とは、この不要な部分をぎりぎりまで削ぎ落とし、極めて完成度の高 い美の追求をしている。そしてこの美意識の究極は、「不完全の美」へと 12 飯島照仁 繋がり、完全を超えた不完全の姿となる。これは決して未完の意味すると ころの不完全ではなく、完全を超えた不完全の姿というところにわび茶の 徹底した非対称の美の追求がある。またそこにのみ表現される独特な美意 識であり、形によって語らずして表現されることが茶の美の特徴の一つで ある。 そして精神的には終始一貫して「きよめ」という行為を意識し、世俗の 塵や埃を祓うことから始まり、空間をきよめ、道具をきよめ、主客の心を きよめ整える。これらのきよめの所作は、一つの結界を越えることで、俗 なる世界を脱するものと考えられ、そして茶室の中でのきよめの行為は、 すべてをあらわにするという、心をあきらかにするもので「主客の直心の 交わり」へと繋がる行為でもある。このきよめの所作は、不要なものが削 ぎ落とされ、語らずして多くの事柄を表現するのに重要なものである。 ２．茶の湯のための庭―「露地」 茶の庭は茶の湯の舞台とも言える茶室と一体となって空間を形成し、特 に「露地」と呼ばれている。露地は茶室への伝いであり、「用の美」、「不 完全の美」の調和によって構成され、茶の湯空間の根幹をなす。 露地には一重露地・二重露地・三重露地とあるが、最も基本的な露地 は、二重露地といって、内露地と外露地の二つの領域に分かれている。 外露地側には、寄付・待合・外腰掛 (腰掛待合)・下腹雪隠などの建築 物があり、中門を挟んで内露地へと続く構成となっている。そして内露地 側には、内腰掛・砂雪隠・蹲踞・燈籠・塵穴・茶室 (水屋) などが存在 し、これらを飛石・延段や垣根・植栽（苔）が繋いでおり、露地の風情を 醸し出すとともに、主客の動線を円滑に導いている。これらの構成は、ま さに「用の美」を追求し、その意匠は非対称の景を採り入れて自然に配さ れている。 露地の源は室町時代後期に創始され、『山上宗二記』に記されている ように「坪ノ内」と呼ばれており、「坪ノ内」から、ただ単に茶室への通 路としての「路地」、「路次」などと呼ばれ、更に深化し清浄で無一物の 仏教精神を込めた「白露地」から、「露地」の文字があてられたといわれ ており、清浄・無垢であり、心をすべて露にするという意が込められてい る(『法華経』「比喩品第三」)。 千利休は「露地ﾊ只ｳｷ世ﾉ外ﾉ道ﾅﾙﾆ心ﾉ塵ｦ何ﾁﾗｽﾗﾝ」(『南方録』)と露地の 真相を示したといわれており、露地のあり方は山道、野辺の自然のままの趣 を表現して、自然な姿の中にこそ、白露地に共通する清浄さがあると説明 しようとした。この精神は禅思想に通ずるもので、自然風景の中に仏を感 じ宇宙間の新羅万象はすべて仏門に入るという思想と同一のものである。 例えば茶室前の蹲踞で清浄な水を使い、周辺を清め亭主も客もともに手 や口そして心をも清める動作は、入席するために世俗の塵を払い心身を一 「日本の伝統芸術―茶の美とその心―」 13 新する行為であり、露地での深い意味が凝集されている。また茶室の躙口 (入口) 付近にある塵穴は、その傍らに掛けられた露地箒とともにきよめ を示唆するものと考えられている。塵穴は亭主が客を迎える直前に木の葉 などを拾い入れる実用的なものであると同時に、主客が蹲踞できよめた後 に、最終的に心の塵・埃を祓い入れる精神的な意味合いも含まれているの である。それゆえ塵穴の近くには露地箒が掛けられている。心からの自浄 作用を確認して茶室へ席入することになる。このように徹底してきよめの 所作が行なわれる。茶道において「用の美」は、使い勝手と美しさだけに 留まらず、「実用と精神性」というところまで意識して構成され、そこに は自然な姿の「不完全の美」の存在も見逃すことはできない。侘びた草庵 の世界は「市中の隠」とか「市中の山居」と称され、喧噪の街中にあって なおかつ、山中に居るような風情を大切にする。その理想とするところは 山川の境の趣にあると言えるであろう。 桃山時代に渡来した宣教師ジョアン･ロドリ－ゲスはその著書『日本教 会史』で露地について「市中の山居」であり、その中を歩くと「林なり、 自然が調和と優雅さを保ちながら無造作にそこに造り出している」様子が 窺われ、更に「僻地の山寺に行ったようにして一種隠遁の気分」を感じ、 「すべての構成が、全体としてその目的に適応」している等、的確に露地 の印象を述べている。露地を歩きながら、大自然に身をおいた時のような 清浄感を、表現できたらその露地は成功といえるのである。 露地の構成要素を繋ぐ代表的なものに飛石や敷石がある。一見何の変 哲もない露地の飛石は、客が露地草履を使って、歩きやすい様に考えられ て据えられている。この飛石は客に不安を与えないように、大部分地中に 埋め、安定感を持たせている。また、飛石の据え方は歩幅や歩行に合わせ て自然に据えられた千鳥かけ、景色を少し強調した二連打ち、雁行等々、 数多くの意匠と技法が存在する。飛石は自然石であって一つ一つどの角度 をとっても、裏側にひっくり返しても表情が異なる。また着物を着た人、 洋服を着た人の歩幅も当然違う。様々な条件に適応した組み合わせの妙は 意匠を凝らす醍醐味とも言える。客の動きを充分に配慮した露地の飛石の 据え方を、千利休は「わたり六分に景気四分」といって歩きやすさを六分 とすれば景色 (デザイン) は四分に考えればよいと規定し、それに対し古 田織部は「わたり四分に景気六分」と表現しているが、この利休と織部の 違いはよく知られているところである。これは、飛石の据え方と露地の風 情が深く関連しており、飛石の据え方に、それぞれの人の茶道観が現れる と言ってもよい。またこのことは利休と織部の茶室のあり方にも当然現れ ている。利休の茶室は極めて簡素で無駄がなく、織部の茶室は斬新な意匠 であるといえ、茶室と一体である露地の「景気四分」、「景気六分」との 調和が窺える(『露地聴書』)。 しかし最も重要なことは、露地本来の意義である。露地に出る際、露 地口で履物を履き替え、外露地・内露地を通り蹲踞を使い席入をするとい う行為は、すべてが「きよめ」の所作に繋がり、茶室での一会の前段であ 14 飯島照仁 るということである。式正の茶事は、この露地でのきよめなくしては直心 の交わりは考え難いものである。露地のきよめ、そしてきよめの場という ものは、茶道にとって不可欠な存在である。 3. 茶の湯のための建築―「茶室」 茶室は四畳半を基本とし四畳半以上を広間、四畳半以下を小間（席） と分けている。「以上」「以下」は、その語意から「含む」という約束で ある。よって四畳半は広間であり小間（席）でもあるという独立した基本 空間ととらえられている。また踏込んだ畳 (踏込畳) で点前をするのが小 間 (小間据えも含む)、踏込んだ次の畳で点前が行われれば広間という考 え方もある。 茶室（数奇屋）を四畳半に定めて真の座敷と成したのは、一説に珠光 が足利時代に十八畳を四分の一に囲んで茶室としたといい、珠光の庵にも 真の座敷四畳半を構えたと伝えられている（『数寄屋構造法』）。足利時 代の会所の主室は十八畳の広さの三間四方の部屋で、「九間」と呼ばれて いた。この頃部屋の大きさを数えるのは、畳の数ではなく、一間四方を「 間」とする単位が用いられていた。 四畳半は、約一丈 (3m) 四方である。この一丈四方の広さを仏教の方で は方丈という。むかし、釈迦の弟子の維摩居士が方丈の庵に座して、文殊菩 薩と八万四千もの仏陀の弟子に説教をしたという故事にならって、今でもお 寺の住職や居室を方丈と称している。囲い（茶室）も方丈にならって四畳 半の囲いの中に、宇宙の森羅万象すべてが納められるという意を含んでい ると考えられる。それは広狭に拘らず、大小にとらわれず、すべて無限の 可能性を秘めている空間である。それゆえ四畳半という基本的空間は、空 (無) であり伸縮自在で、広くもなれば狭くもなると捉えられる。この様 な考え方からも四畳半は広間であり、小間でもある空間として位置づけら れており、広間などの書院台子等の点前から、小間のわび茶の点前まで可 能な茶の湯空間で、すべての点前ができる基本的空間とされている。 またこの茶室の意義として、岡倉天心は著書『茶の本』の第四章に「茶 室」の章を設けて述べている。そのなかで数寄屋 (茶室) の原義は「好き 家」であるといい、それは「空き家」、「数奇家」の意味にもなると説い ている。詩趣を宿すための仮の住み家であるためには「好き家」であり、 ある美的必要を満たすためにおく物のほかは、いっさいの装飾を欠くから には「空き家」であり、不完全崇拝にささげられ、故意に何かを仕上げず において、想像の働きにこれを完成させるからには「数奇屋」であると述 べている(岩波文庫、村岡博訳)。これら天心の解釈は、方丈と解されてい る茶室の捉え方と共通するところがあるといえよう。 きよめの露地ときよめ所作が行なわれる茶室を繋ぐ役割として躙口が ある。この露地と茶室を繋いだのは利休である。客は、精神的にも意味深 「日本の伝統芸術―茶の美とその心―」 15 い、躙口という約70cm四方の小さな戸口から頭を下げて入席し、ここより 別の世界へと進むことになる。この躙口の板戸を開けた瞬間、客は茶室の 床の間に掛けられた軸（初座の場合）、或いは花（後座の場合）を目にす ることになる。軸はその日の茶事・茶会のテ－マをあらわすものともいわ れ、席入した客が最初に拝見する茶道具である。利休は、茶室の床の間に ついて「床のつけよう心得て作事すべし、掛物ほど第一の道具はなし」と 説き、床の間は茶室の構造の中でももっとも精神的な要素を秘めた部分と 考えられている。そのため床の間の構成要素である床柱、床框や落掛の材 料の吟味がとくに重要になってくる。 また茶室の窓も同様で、意匠性や実用性、精神性などの多面性を有し ている。これは、季節感や時間の移り変わりを楽しむことにつながるもの でもある。茶室の窓は一般の建築と異なり、壁面や天井のどの部分であっ ても設けることが可能な建築である。これは茶事の陰の座（初座）と陽の 座（後座）という精神的な演出にも対応できるように考えられている。光 量の抑制のため、窓の配置と意匠にはとくに細かい注意が払われる。それ は窓の微妙な高さや大きさや設ける数で茶室の雰囲気は大きく変わってし まうからである。ここに茶の湯者の茶道のあり方や理念が示されるものと 言えよう。それゆえ、茶室には壁を塗り残した下地窓をはじめ、連子窓、 突上窓などと呼ばれる窓があり、限られた小さな壁面の中でそれぞれが重 要な役割を果たしている。 これら茶室の意匠は、客のために最善を尽くしていることも知っておか なければならない。それは、利休が茶室の化粧屋根裏 (斜めの天井) に突 上窓を開けたのは、席中のデザインや明かりをとるためだけではなかったの である。狭い茶室では炭酔いしてしまう人もいる、また病者はなおさらの こと、煩い出す人もいる。よって化粧屋根裏も突上窓もうっとうしい雰囲 気を和らげる客への心からの配慮のためのものでもあると利休は伝えてい る（『茶譜』）。このような本意を知らないで突上窓も化粧屋根裏も茶室 のデザインとばかり心得る人が極めて多い。利休の客への最善の配慮は、 現代において特に学ぶべき点が多く、茶室の意匠に込められた想いの深さ を再認識させられる。 また天井に関しても客への細かな配慮がなされていることがわかる。そ れは、ある茶家の数寄屋は炉や道具畳の上を化粧屋根裏 (斜めの天井) にし ているが問題ないのか、という茶湯者の問いに対して薮内竹心 (1678-1745) の答えは、茶席の天井を張る場所は床の上・上座の上・道具畳の上で、上 部を覆って不浄を禁ずるためのもの、わびた化粧屋根裏などにするのは下 座や勝手の方だけにするもの。当世、諸方に宗匠好みの茶席といってこの ようなものが造作されているが、伝える人の誤りが多いものである。今な お正しく利休の遺構である山崎の妙喜庵を参考にして正しくわきまえてお くべきであると伝えている（『源流茶話』）。 これは草庵茶室の化粧屋根裏についての記述である。化粧屋根裏天井 は建築的には化粧の屋根裏天井なので、その上にもう一つ屋根裏天井があ 16 飯島照仁 る。実例として、妙喜庵の待庵の天井は、上座と道具畳の上部を平天井で 覆い、不浄を禁ずるという形式となっている。さらに客座の下座側に化粧 屋根裏が構成されており、炉や道具畳の上ではないことが分かる。茶室の 天井はただ構造やデザインだけで構成されるものではなく、「不浄を禁ず る」ということから、機能性と精神的な意味合いも込められている。これ も客への最善の配慮からである。 露地と茶室、そこにしつらえられた茶道具、さらに主客が一体となっ て、はじめて茶の湯の精神が具現された空間となる。意味ある意匠が施さ れている茶の湯空間は、様々な客への配慮が成されている。茶の湯の空間 は、一会ごとに変わり得るものである。利休は、小座敷の茶の湯は、修行 得道する事、家はもらぬほど、食事は飢ぬほどにてたる事なりと説いてい る。つまり小座敷の茶の湯は、本来、余分なものを削ぎ落とした、極めて 求道的な茶の湯の空間なのであると言えよう。 （注）「初座と後座」茶事は中立（席中をあらためる）をはさんで前 席を初座と呼び、床には軸が掛けられ、懐石が中心。また採光が抑えられ た陰の席。後席は後座と呼ばれ、床には軸にかわり花がしつらえられ、濃 茶、薄茶がおこなわれる。後座は採光を充分にとり入れた陽の席となる。 引用は『南方録』。 4. 茶の湯のための道具―「茶道具」 茶の湯の一会に使用されるものとして「茶道具」がある。この茶道具 には、茶室内で一会の中心となる「主たる茶道具」、露地で扱う「露地道 具」、そして水屋仕事で使う「水屋道具」がある。例えば「主たる道具」 には、掛物、花入、香合、炭道具、風炉、釜、炉縁、茶入、薄茶器、茶碗、 茶杓、建水、蓋置、香道具、水次などがあり、「露地道具」には手燭、水 屋桶、湯桶、蹲踞柄杓、露地草履、露地下駄、円座、露地傘、露地箒、塵 取、塵箸、露地行燈、足元行燈などがあり、「水屋道具」には水壺、茶巾 盥、切藁、釜据、水漉、掻器、茶掃箱、箱炭斗、火箸、板釜敷、水屋鐶、 掴箒、台十能、半田などの多くの道具がある。 「茶の湯とはただ湯を沸かし茶をたててのむばかりなる事と知るべし」 と利休百首にもあるように、まず茶道具といえば主客が手にする茶碗が身近 な道具としてあげられる。そのなかでも「楽茶碗」は特別な存在である。な ぜなら、楽茶碗は利休が茶の湯のためだけに陶工長次郎に作らせたものであ り、利休の茶の理念が凝縮されていると考えられるからである。長次郎を 初代とする楽家十五代目の楽吉左衛門氏はそれを次のように述べている、 「長次郎茶碗には、侘びの理念というべき厳しさが、虚飾を削ぎ落とした 端正な姿の中に語られている。我々は長次郎の茶碗を掌に納めるとき、そ の深々とした見込みのさらなる奥に、まさに掌の内の宇宙というべき深淵 「日本の伝統芸術―茶の美とその心―」 17 を感じ、利休居士自身と対座する緊張感に震える。まさに長次郎の茶碗は 利休居士の茶碗、居士そのものといえる」。 楽茶碗は手捏ねで成形し、そののち不要な部分を悉く削ぎ落として焼成 され、無作為の作為の造形の典型といわれている。それは、利休が最晩年到 達し好んだ二畳の極小空間と同様の理念が根底にあるといえるであろう。 楽茶碗は、茶の湯のために作られた茶碗であり、茶が点てやすく、ね りやすく、湯を入れても茶碗がほどよい温もりをもち熱くならず、茶が冷 めにくく、手に馴染みやすい。小さな宇宙を抱えているような、そんな茶 道具である。ここに「用の美」、そして手捏ねからなる非対称という「不 完全の美」の追求が完結されているといえよう。 5. 茶の湯のための所作―「茶の点前」 茶の湯の所作の主たるものとして、点前がある。茶の湯の点前には、 「点前の三要素」というものがあり、一「位置の決定」、二「順序」、三 「動作、個々の美、働き」というものがある。 まず「位置の決定」は、亭主の座る位置と茶道具を置く位置が正確に定 められた位置に存在するということである。それによって点前の順序や動 作に無駄な動きがなくなり、円滑な点前を行なうことができるのである。 また「順序」は、点前の一連の動作を合理的に美しく行なえるように定め られている。そして「動作、個々の美、働き」は、茶道の稽古によって磨 かれる自然体の動作であり、それが個々に美しく、余裕のある動作には心 を伴った働きの動作が可能になるということである。これら点前の三要素 が揃ってこそ、茶の湯のための所作、茶の点前が成り立つのである。それ はまさに「用の美」であり「きよめ」の所作であり、招かれた客に無言で 清らかに語りかける所作である。心を伴う茶の点前は、捨てきったときに 表れる自然の姿であり、ありのままの姿である。それは言葉ではなく所作 が語ることであり、無駄を削ぎ落とした姿は大変に美しいものである。 このように茶の湯のための所作を整えることは心を整えることに繋が り、所作を磨くことは心を磨くことになる。それは禅でいうところの「白 珪尚可磨」や「時々勤払拭」と共通するところで、禅にも茶にも完成はな く、心に煩悩の塵をつけないように綿密に修行や稽古に勤めなければなら ないという意味をもつ。 茶の湯の点前のなかに「帛紗捌き」という重要な「きよめ」の所作が ある。帛紗捌きには、真・行・草の捌き方があり、器物によって捌き方が 異なる。そして四方捌きや、いわゆる二方捌きは「きよめ」の所作の代表 的なものである。四方、二方とは東西南北、春夏秋冬、天と地や乾と坤な どの二つを合わせ、自然界の森羅万象すべてを用い道具をきよめるもので ある。それは道具のみならず、自分自身の心をきよめ、客の心をきよめ、 空間をもきよめる行為である。 18 飯島照仁 茶室でのきよめの行為は、茶入や薄器をきよめる、茶杓をきよめる、茶 碗や茶筅をきよめる、茶巾できよめる、畳をきよめる、羽箒や座箒できよ める、香を焚ききよめる、湯気によってきよめる、露を打ってきよめる、 炭火によってきよめる、灰をきよめ整えるなど様々なきよめの行為がおこ なわれる。 「きよめ」ということは、本来清めること、けがれやよごれを取除く こと、不浄を取除くものとして、水・火・塩・香などを用いて行うもので ある。これによって茶の湯・茶道は、心茶であり、禅茶として「茶から心 へ、心から茶への道」として直心の交わりを貫徹することで「わび茶」の 大成が成就したものと言えよう。 6. 結語 以上の「露地」、「茶室」、「茶道具」、「茶の点前」を「用の美」、 「不完全の美」、「きよめ」に焦点をあてて論じてきた。茶道の本意が、「 心からの茶」であることを少し理解していただけたかと思う。そしてこの 茶の道の根幹を成すものとして、多くの人が聞き覚えのある言葉に「和・ 敬・清・寂」の四文字がある。あまりにも有名な利休居士の四規 (四つの 規範) であるが、実践することは大変困難である。「和」は平和の意味で あり、お互い同士が仲良くし和しあうということ。「敬」は尊敬の意味で あり、好き嫌いを超えた敬である。「清」は清らかという意味であり、目 にみえるだけの清らかさではなく、心の中が清らかであるという意味であ る。最後の「寂」は寂然不動の寂であって単なる静寂の寂ではない。それ は心がどっしりと落ち着いていて何事にも動じない心のことである。それ は信念に基づいた行動へと繋がるものである。 日本の伝統芸術である茶道は、総合的な文化体系である。そしてその茶の 美とその心は、この「和・敬・清・寂」なくしては語ることの出来ないもの である。よって「和・敬・清・寂」を心底におき、一碗の茶を点てる・喫す るという実践こそが、茶の美とその心を理解する第一歩であると言えよう。 主要参考文献 岡倉覚三著、村岡博訳『茶の本』岩波文庫、1961年。 倉澤行洋『珠光 茶道形成期の精神』淡交社、2002年。 ジョアン･ロドリ－ゲス著、江馬務ほか訳『大航海時代叢書IX-X日本教会 史』岩波書店、1967-70年。 「日本の伝統芸術―茶の美とその心―」 千宗室編『茶道古典全集第三巻（源流茶話）』淡交新社、1960年。 千宗室編『茶道古典全集第四巻（南方録）』淡交新社、1962年。 千宗室編『茶道古典全集第六巻（山上宗二記）』淡交新社、1958年。 19 English Summary of the Article Iijima Teruhiko Japanese Traditional Art – The Beauty and Essence of the Tea Ceremony The tea ceremony (chanoyu) is one of the representative Japanese traditional arts. It derives from tencha and tentō, meaning making tea as an offering. In the history of the tea ceremony, the efflorescence of the Way of Tea namely sadō, was led by Murata Jukō (1423–1502) who pursued the heart of tea. The Way of Tea he aimed at was nothing but the way that associates tea with the heart, in other words, shincha (tea of heart) and zencha (tea of Zen). Jukō preferred a calm and simple tea style rather than the showy tea-parties that were popular at the time, and carried out radical reforms. Later, Takeno Jōō (1502– 1555) and Sen no Rikyū (1522–1591) inherited the way Jukō started. Jōō simplified the tea inherited from Jukō, and Rikyū furthered the change. Rikyū filtered out the space and preferred the smallest tearoom, a space that has only two tatami mats. Not only the tearoom but also the garden of a teahouse roji, utensils, manners and movements, especially the heart of tea were reconsidered and developed by Rikyū. He finally established the new style of tea called wabicha. More than 400 years after Rikyū’s death, tea people still believe that the aesthetics of yō no bi (the beauty of use), fukanzen no bi (the incomplete beauty) and kiyome (purification) are the immutable essences of the Way of Tea. Although we cannot describe everything about tea with only these three keywords, I shall focus on studying these three aesthetics in the four different fields given: the garden of a teahouse, the tearoom, the utensils, and making tea. Key words: chanoyu, the Way of Tea aesthetics, tearoom, Sen no Rikyū, wabicha Agnieszka Kozyra The Oneness of Zen and the Way of Tea in the Zen Tea Record (Zencharoku) The Zen Tea Record was published in Edo (today’s Tokyo) in 1832 based on previously existing versions. It is difficult therefore to determine the time it was written. The authorship is attributed to the Zen monk Jakuan Sōtaku. The author proves to be a rather mysterious person. There is no record of him in either the Daitokuji or Tōkaiji Zen temples’ documents even though Tōkaiji was founded in Edo by the Zen master Takuan (1573–1645) and Jakuan Sōtaku did refer to Takuan’s teachings on multiple occasions. The text itself was written most likely no earlier than the beginning of the 17th century. It is valuable since it also contains critical notes on the Nampōroku (Southern Records) written by Sen Rikyū’s (1522–1591) student, Nambō Sōkei, who was writing down his master’s teachings. Some researchers state that at least part of the Zen Tea Record teachings must be attributed to Rikyū’s grandson, Sōtan (1578–1658) who was an advocate of the “Tea and Zen – One Flavor” (chazen ichimi) theory1. Sōtan practiced with Zen master Shun’oku Sōen from Daitokuji temple2. Sōtan’s father was Rikūy’s wife, Sōon’s, son from her first marriage. Sōtan who contributed greatly to the spread of tea in the ‘noble poverty’ (wabi) style did not care about fame and riches3. He criticized the lavishness of feudal lords’ tea and was himself scorned for not caring about social status4. Itō Kokan agrees with the opinion that Sōtaku, who often quotes Takuan, was Takuan’s student. According to Itō, in his writings Sōtaku also refers to Sōtan’s teachings. According to Sōtaku, the spirit of tea (cha’i) is the spirit of Zen (zen’i) – there is no spirit of tea outside of Zen5. With the admonition though, not to draw a contrary conclusion, that the Way of Tea is in itself Zen enlightenment – not every tea ceremony expresses the spirit of Zen. Sōtaku criticizes those who only superficially relate to the Zen teachings about the inexplicability of the essence of Zen Sen 1985: 61. Haga 1997: 38. 3 Furuta 1997: 85–86. 4 Tanaka 1998: 74. 5 Jakuan 1980: 246. 1 2 22 Agnieszka Kozyra in words or to the concept of “Transmission beyond Teachings” (kyōge betsuden)6. Such people abide by their haughtiness, rely on their own taste, and criticize others though they have no recognition of the essence of Zen. The tea ceremony they practice is not “Zen tea” (zencha), but “secular tea” (zokucha)7. It is Sōtaku’s belief, that it is those people that the following verse of the Lotus Sutra refers to: “They suffer unceasingly, since in their blindness they entertain a predilection for fulfilling their yearnings and desires”8. Sōtaku is not alone in his belief. Haga Kōshirō also stresses that the person who wishes to fully plumb the spirit of tea ceremony should endeavor to religious practice under the guidance of a Zen master9. Only the Way of Tea that is inextricably interlinked with Zen is worthy of the name of the “True Way of Tea” (shinsadō)10. This article is aimed at the analysis of Sōtaku’s Zen Tea Record from the perspective of the teachings of the Zen masters included within it. In my book entitled Estetyka zen (Aesthetics of Zen)11, in relation to the ideas of Nishida Kitarō ­(1870-1945), a philosopher who was also a Zen practitioner, I explained how in Zen art there must be conveyed certain aspects of reality grasped in the act of enlightenment. Nishida called this reality the “absolutely contradictory self-identity” (zettaimujunteki jikodōitsu), meaning such a paradox unity of all that does not exclude the distinctiveness of singular elements. The aspects mentioned above are: surpassing the dualism of the subject and object of cognition (“one is all and all is one”, ichi soku issai, issai soku ichi)12, affirmation of the common perspective of perception of reality (“form is emptiness and emptiness is form”, shiki soku ze kū, kū soku ze shiki)13, internally contradictory unity of oppositions (like motion– motionlessness, sacred–profane), “eternal now” as paradox unity of past and future, state of “no-self ” (mushin) as the creative act and absolute freedom of the enlightened person (for example braking the rules and canons of artistic creation). In the article I want to show that Sōtaku in his treatise included most of those aspects. Ibidem. Zokucha can also be interpreted as “unmannerly, common tea”. Ibidem. 8 Ibidem: 247. 9 Haga 1997: 45. 10 Ibidem, p. 47. 11 Kozyra 2010. 12 The vision of reality grasped in the act of enlightenment as the state in which „All is One and One is All” was included in the Flower Garland Sutra (Jap. Kegongyō) in the description of the enlightenment of Gautama Buddha. The transmission “from Mind to Mind” (ishin denshin) starts precisely with Gautama Buddha. 13 Teachings included in the Heart Sutra (Jap. Hannya shingyō). 6 7 The Oneness of Zen and the Way of Tea in the Zen Tea Record (Zencharoku) 23 Tea ceremony as meditation Sōtaku starts his deliberations on the relationship of tea and Zen with the strong statement that it was Zen master Ikkyū Sōjun who considered tea ceremony to be a kind of Zen practice14. Ikkyū reinstated the Way of Tea as one of the “expedient means”, so that all sentient beings can discover their true nature that is one with “Buddha nature”15. Following tradition, Sōtaku considers Murata Shukō to be Ikkyū’s disciple. According to Sōtaku all the actions of the tea ceremony have a tight relation to Zen. He recalls the verse of Zen master Dairin Sōtō inscribed on the portrait of Takeno Jōō: “It can be said that our goal is to know the taste of tea and the taste of Zen” (chami to zemmi o chiryō suru mune ieru)16. The goal of the Way of Tea is getting to know one’s own nature (jishō o ryōge suru), an important Buddhist truth meaning “there is no dharma outside of mind [nothing exists outside of mind – A.K.] (shingai muhō nari)”17. The above words in the context of Zen masters’ teachings relate to the truth about “absolutely contradictory self-identity” of subject (singular mind) and objects of cognition, therefore the internally contradictory oneness of the human being and the world. Sōtaku states that the Way of Tea is one of the “expedient means” (hōben) leading to enlightenment. That is why the “Zen tea” (zencha) is a religious practice, expressing the “Great Way, subtle and deep, that existed before anything emerged, before one could talk about the beginning of all things”18. This kind of practice is a completely spontaneous expression of human nature. The Way of Tea has to be the way of the true tea, therefore “Zen tea”19. Hence the Way of Tea has to be a form of meditation. Sōtaku explains the meaning of the word sammai. The word is mostly interpreted in texts about Buddhism as meditation or contemplation, but according to Sōtaku it means the “right perception” (shōju). The right perception means concentrating the whole mind on a certain object. For Sōtaku, the Way of Tea is a “practice that consists of entering into meditation by the means of tea utensils and seeing one’s own original nature (chaki o atsukau sammai ni irite honshō o kanzuru shugyō nari)20. Sōtaku recites here Zen master Huineng, who taught, Jakuan 1980: 243. Ibidem. Verbatim: „so that they could see their own mind dharma” (jiko no shinbō o kanzeshimuru) 16 Ibidem. 17 Ibidem. 18 Ibidem: 244. 19 Ibidem. 20 Ibidem. 14 15 24 Agnieszka Kozyra “sammai is thinking only about the aspect of tranquility (jakusō)”21. Sōtaku states, however, that the mind during meditation constitutes a unity in which there is no duality (of subject and object of cognition), and the aspect of tranquility relates to the empty and unblemished state in which the highest wisdom can freely enlighten all. Meditation perceived in such a way is the “right perception”, not limited by time or space. Sōtaku compares the person who conducts tea ceremony in the state of “right perception” to the meditation lasting an inconceivably long period of time described in the Lotus Sutra22. This kind of “right perception” should be preserved during any activity, also during walking or sleeping23. The most important is the state of mind of the person who prepares tea during tea ceremony – the host should be completely focused on the utensils and immersed in each movement. He cannot think about anything else and nothing should break his concentration. The focus is intensified by the fact that all movements should be performed according to a decided pattern24. Full focus on the utensil suggests a state in which the subject is absent, as if it was absorbed by the object. Hence the “right perception” can be considered surpassing the duality of subject and object that happens effortlessly. Concentrating fully on performed gestures, the practitioner forgets about himself. This forgetting about oneself is experiencing the state of “no-self ” (mushin). Therefore the most important is not proficiency gained in the course of years of practice, but rather to gain a strong volition (kokorozashi)25. Volition yearns for concentration and upholds it. When the will is strong, the practitioner can devote himself to practice with full determination. Sōtaku describes “right perception” during tea ceremony as “practice in the sitting position” (ichiza)26. He clearly relates to meditation in the sitting position (zazen), with admonition against wrong meditation called “silent illumination Zen” (mokushō zen), that entitles dampening cognitive functions and attachment to motionlessness. To convey “tranquility” here he uses the word seimoku, stressing that attachment to stillness is wrong – “right perception” has to be upheld also in motion27. Sōtaku enlists the advantages of active meditation and he places tea ceremony under this category. Sitting still during Zen meditation that is not related Ibidem: 245. Ibidem. The long meditation mentioned is that which lasts for 84 thousand calps, with one calp (Jap. kō) equal to the metaphorical time needed to clean a city covered with poppy seeds by removing one poppy seed every three years. 23 Ibidem. Sōtaku cites here the words of master Youtan (Jap. Udon, died 1330), who wrote about the contemplation of Amida Buddha in his work Renshū Hōkan (Precious mirror of Lotus Sutra teachings). 24 Ibidem: 244. 25 Ibidem. 26 Ibidem: 245. 27 Ibidem. 21 22 The Oneness of Zen and the Way of Tea in the Zen Tea Record (Zencharoku) 25 to subjected contemplation, the practitioner encounters difficulty in avoiding the flow of thoughts that disturbs his focus. Such thoughts do not appear during tea ceremony, a kind of active meditation, since the practitioner is fully immersed in performing gestures according to certain patterns. Sōtaku states that Zen master Ikkyū noticed precisely this aspect of tea ceremony and that is why he considered it to be an effective Zen practice28. Haga Kōshirō in his deliberations on tea ceremony as meditation aimed at enlightenment clearly relates to Sōtaku’s ideas29. He uses the term “right perception” (shōju), a focal concept for Sōtaku, which he interprets according to the logic of paradox as the “right perception that is non-perception” (fuju). For Haga, meditation during tea ceremony has to be the state of non-duality of subject and object of cognition30. The Way of Tea and moral discipline Sōtaku’s opinions on ethics and etiquette should be examined from the perspective of the teachings of Zen masters who rendered individual attempts of moral self-improvement to lead to even deeper entanglement in discrimination, the base for the dualism of the subject and object of cognition. We have to remember that discrimination is an obstacle in the course of Zen training since it forces the practitioner to stray away from enlightenment seen as the state of “non-discriminatory discrimination”. It is also the case with the discrimination of good and evil. Sōtaku stresses that there is no true good in the world of men who are mostly intent on satisfying their own desires. “The so-called evil and good deeds of people submerged in ignorance are evil” (Bompu no okonau tokoro wa zenaku tomo ni aku nari)31. Sōtaku cites here the following phrase by the Daoist wise-man Laozi: “Everybody knows that good is good, but it is not good for real”32. Zen masters stressed that one has to surpass the duality of all oppositions; including the opposition of good and evil, since it is only then that one can attain enlightenment that is a source of great compassion. The great compassion (daihi) embraces all, good and evil – according to the rule of non-duality. The great compassion, the ethical ideal of Buddhism, is indeed the “spirit of law”, not the “letter of law”, therefore the one who achieved enlightenment can evince great compassion in any form. He helps others on their way to enlightenment using any “expedient means” that fit the circumstances. That is why a practitioner should first of all focus Ibidem. Haga 1997: 39. 30 Ibidem: 40. 31 Jakuan 1980: 245. 32 Ibidem: 248. 28 29 26 Agnieszka Kozyra on achieving enlightenment, not on abiding by ethical rules at all costs. The ultimate ethical ideal of Buddhism, the great compassion, is an outcome of enlightenment, although the way to achieve this ideal is not through moral self-improvement. The criticism of collecting precious utensils Sōtaku stresses that collecting rare and valuable tea utensils has absolutely nothing in common with Zen33. Those who accumulate great collections prove that they did not understand the important Buddhist teaching about the impermanence of all things. Instead of freeing themselves from all attachment, they indulge in amassing goods that are no more than an obstacle on the way to enlightenment34. Sōtaku proposes his own interpretation of suki35 that was first written with a Chinese character in the context of tea ceremony, meaning mastering one’s taste in the choice of utensils. To differentiate this sort of predilection for desiring material objects, with time, the word suki started to be written with characters that bring to mind the odd number36. Such notation appears in the word sukiya meaning teahouse, where asymmetry and dissonance between certain elements was introduced on purpose. The pinewood support pillars preserve the natural, irregular shape of their trunk and branches37. The character ki can be interpreted as “strange, uncommon”, it then suggests something incomplete or irregular, hence it represents fully the spirit of tea ceremony. The person who evinces suki in tea ceremony does not place more value on the things that are perfect, complete and commonly considered to implement good taste38. Tea utensils in suki style should not be selected so that they uphold one style – the objects, both light and heavy, old and new, wide and slim should be brought together. Utensils once broken can be fixed and still used. Even and symmetrical elements should be matched with the odd and asymmetrical (kigū ichidō)39. Ibidem: 243. Ibidem: 246–247. 35 In the Heian period the word suki, used mostly in poetry composed by noblemen, related to passions in amorous relationships. In the Kamakura period it stopped having erotic connotations since it started to signify an uncanny predilection for art. According to Izutsu Toshihiko, suki in the context of the Way of Tea signifies a unique subjective attitude of a man who through his lifestyle shows that he values aesthetic impressions and sensitivity much higher than the pragmatic sense of usefulness. Such a trend could evolve towards either “aesthetic luxury in abundance and totality of external expression” or “aesthetic idealism in its nature in accordance with the metaphysical and ethical austerity of a hermit”. Izutsu Toshihiko 2005: 190. 36 In this word the order of characters is rearranged – odd number in Japanese is kisū. See: notation of suki in Appendix 2. 37 Jakuan 1980: 251. 38 Ibidem. 39 Ibidem. 33 34 The Oneness of Zen and the Way of Tea in the Zen Tea Record (Zencharoku) 27 Sōtaku regrets that the true meaning of suki has been lost and contemporarily it is being treated the same as the word konomu that signified predilection towards utensils commonly considered valuable – such an attitude is moving away from the spirit of the “thatched roof hut” (sōan)”40. Sōtaku stresses that suki implies the lack of will to express individual preferences (therefore the lack of attachment to earthy life), that shows in freely matching various styles. It could be said that Sōtaku’s definition of suki preserves the meaning given to the word by Kamo Chōmei, who chose the life of a hermit away from the capital. Karaki Junzō rightfully points out that suki initially meant individual aesthetic inclinations, but with time it stopped to be associated with indulging one’s own desires and started to be used to mean the renunciation of earthy delights and gains41. Sōtaku criticizes tea gatherings (chakai) during which the guests indulge in splendid dishes and drinks. He regrets that so many teahouse or garden owners go out their way to impress the guests42. They spend a great deal of money for that purpose and the tea ceremony they perform becomes a mere form of past time and an occasion to boast of one’s riches. Sōtaku claims that the most valuable utensil in Zen tea ceremony is the “vessel of Buddha mind” (busshin), and not the antiques, the precious porcelain imported from China or utensils made in rare shapes43. Sōtaku strictly criticizes traditional tea families for paying too much attention to defined sizes and forms of utensils and for preferring utensils of certain styles, like pieces in the style of Rikyū (Rikyū gonomi) or in the style of Sōtan (Sōtan gonomi)44. He deplores that there are new types of utensils constantly being created, so that “one has not enough time to even count them all”45, while initially, it was mostly the everyday utensils that were used during tea ceremony. The standardization of measurements and manners of producing tea utensils has gone so far, that it applies to the least important objects used in the teahouse or the tea garden. It is commonly acknowledged that the host has to be a connoisseur of tea utensils. Kobori Enshū46 was considered to be an ideal connoisseur. Sōtaku did not share this belief – for him predilection towards valuable utensils and attachment to them is not in accordance with the spirit of suki47. The spirit of suki should be an expression of freedom from all attachment, should manifest in accepIbidem. Karaki 1983: nr 35: 34. 42 Jakuan 1980: 243. 43 Ibidem: 249. 44 Ibidem: 252. 45 Ibidem. 46 Also, in modern times, during the ceremony guests examine and admire the utensils. The connoisseurs exhibit vast knowledge of their poetic names and can recognize makers of valuable utensils. The host should not only master the order and manner of the performed movements during various kinds of ceremony, but also gain a near encyclopedic knowledge about the utensils. 47 Ibidem. 40 41 28 Agnieszka Kozyra tance of all forms, also those irregular, incomplete, austere and plain, unfitted to the common perception of cannons of beauty. The tea practitioner has to remember that the mania of collecting precious utensils comes from the vanity of human nature, a nature that knows no appeasement. Acquiring one precious utensil does not bring peace. It only arouses the appetite for more. One is ready to lose one’s health trying to satisfy one’s unquenchable desires. Only once brought down by sickness and exhaustion one discovers what is important in life – but by then it is already too late48. Collecting precious utensils takes the practitioner away from enlightenment and brings forth suffering. “On the brink of death, has no regrets he who acted according to the rules of suki, devoted himself fully to Zen tea and discovered his own nature attaining the state in which ‘nothing is born and nothing dies’ (fushō fumetsu)49 [meaning a state of nirvana, identical to enlightenment]”. Sōtaku was not the only one who criticized collecting precious utensils. Zen master Takuan was against it and Sōtaku invoked his opinion. Takuan was a disciple of Kobori Enshū and was himself a tea utensil connoisseur, but did not collect them. Takuan deplored the degeneration of the Way of Tea that once again became a kind of past-time and an occasion to boast of precious collections50. The metaphor of Zen tea utensils (zenchaki) Tea ceremony utensils are not beautiful objects that can be considered unique or valuable. Aesthetic discrimination also belongs to the sphere of discriminatory knowledge that takes one away from enlightenment. According to Sōtaku the true Zen tea utensil is “one mind” – ultimate, empty and unsullied (enkyo shōjō no isshin). Only when such a mind is the vessel there can exist Zen tea51. The vessel of “one mind” is the vessel of the universe, including all that exists. It is the “Buddha nature” (busshō) that can be compared to the clear moon shining bright in the sky52. The metaphor of “mind-vessel” containing all existence expresses the Buddhist truth that “one is all”. Sōtaku stresses that “Buddha nature” is empty53, which brings forth the concept of mubusshō (verbatim “not Buddha nature”), therefore the paradox negation of “Buddha nature” in the Zen masters’ teachings. Using the term mubusshō, they tried to make their disciples realize that “Buddha nature” is “emptiness” and not Ibidem: 252–253. Ibidem: 253. 50 Nishibe 1981: 41. 51 Ibidem. 52 Ibidem. 53 Ibidem. 48 49 The Oneness of Zen and the Way of Tea in the Zen Tea Record (Zencharoku) 29 some yet unknown marvelous feature that can be obtained through diligent religious practice. Sōtaku recalls the imagery of the full moon symbolizing enlightenment, stressing that everybody has “Buddha nature” although most people are not aware of that. This situation can be compared to the moon covered with clouds. A person who never saw the moon, gazing upon the cloudy night sky would never believe the stories of travelers who had their path illuminated by the moonlight. The ones that lose their way, suffering from the three poisons (sandoku): greed, anger and ignorance; cannot see their true “Buddha nature”54. Sōtaku strongly stated that a person who practiced tea ceremony according to Zen spirit, would become an “originally unblemished vessel” (honrai shōjō no utsuwa), meaning the vessel of “one mind”55. It is also true about practitioners who do not show any talent for this art. They should fully concentrate on Zen practice and not be influenced by the ones who treat the Way of Tea as past-time or an occasion to entertain one’s pride. Sōtaku therefore does not consider the “technical” aspects of tea ceremony, like the order and manner of performed movements, important. However it is what matters for various tea schools’ traditions in Japan. The practitioner for many years attains consecutive stages of initiation allowing him to study various ways of conducting the ceremony, depending on the placement of the brazier or the season of the year. Sōtaku associated such concepts with “the posture, constituting the base” (tai) and “activity that arises from the base” (yō)56. He criticizes the interpretation in which tai are the objects that are still during the tea ceremony (for example the kettle with hot water), and yō are the utensils that are in motion (for example a bamboo tea scoop). For Sōtaku the true “base constituting the essence” is the sprit of Zen, and a manifestation of this essence – Zen tea. One could also compare this base to motionlessness and tranquility, and the activity to movement and all forms of human activity57. It is worth noting that Sōtaku points out two different aspects of “absolutely contradictory self-identity” – motion and motionlessness. He recalls the concepts from the Doctrine of the Mean saying that there is no dualism in the relation between tai and yō, as well as the Lotus Sutra teachings explaining that “base constituting the essence” is identical to enlightenment, and the “activity arising from the base” could be interpreted as the strife to free all sentient beings58. Ibidem. Ibidem. 56 Tai (verbatim “body”) can be interpreted as “substance”, and yō as “function”. 57 Jakuan 1980: 254. 58 Ibidem. 54 55 30 Agnieszka Kozyra Symbolic meaning of the tea garden Sōtaku points out that many have forgotten the true symbolism of the tea garden (roji). The garden is divided into outer and inner. According to Sōtaku, ro signifies “manifestation, disclosure” and ji – the ground, foundation, base, in this context identified as “mind” (shin). Therefore roji is the manifestation of one’s mind, one’s true nature (jishō o arawasu)59. In this sense roji refers not only to the garden alone but the whole space of the teahouse where the initial nature of man (honshō) should manifest. The term hakuroji also ushers thought in the same direction – manifestation of an unblemished mind, since the teahouse should a place of practice leading to enlightenment, where one is freed from all lusts and desires. In this place one should attain enlightenment and manifest the true nature of the mind, the true nature of Thusness as the reality in itself (shinnyo jissō)60. The concept of roji is most often tied to the untainted sphere of enlightenment that is described in the Lotus Sutra. The children who ran out of the burning house expecting to be rewarded with toys came to the “dewy ground”. To ultimately absorb the essence of enlightenment is compared to coming out to the open ground after being lost in the thicket. However Sōtaku points out that even though the teahouse is believed to belong to the sphere of enlightenment, entering the roji should not be seen as forsaking the sphere of the profane. Here Sōtaku cites the following words from the Diamond Sutra that clearly show the logic of paradox, meaning the logic of the “absolutely contradictory self-identity” of sacred and profane: “[Our] world is not the world and that is why it is the world”. The essence of Zen practice is “awakening the mind that has no abode” (ōmushojū nishōgoshin61). Those words, from the Diamond Sutra (Jap. Kongōkyō), became the catalyst for the enlightenment of Huineng, the sixth patriarch of Zen in China. An enlightened mind is not detached from the earthly, sullied world. According to the rule that “one is all and all is one” it resides everywhere and nowhere – in that sense it does not possess its own fixed place, and yet it is present. Because of “absolutely contradictory self-identity” that which is unsullied is also that which is sullied; therefore, Sōtaku does not give much attention to the purification rites undertaken before entering the tea garden, seemingly so important to Sen no Rikyū. There is no need to purify oneself from the “dust of this world”, since all things, including those things that we consider impure, have “Buddha nature”. The same as Sōtaku, Hisamatsu Shin’ichi also states that roji does not signify “dewy ground”, but a “disclosed / manifested” nature of reality62. The garden shoIbidem: 253. Ibidem. 61 Masa ni jū suru tokoro nakushite shikamo sono shin o shō subeshi. 62 Hisamatsu 1987: 107. 59 60 The Oneness of Zen and the Way of Tea in the Zen Tea Record (Zencharoku) 31 uld look natural; as if it was not touched by a human hand, and at the same time evoke an atmosphere of calm. According to Rikyū, the teahouse as a “pure and unsullied world of Buddha” is a place where the host as well as the guest should shake off the “dust” of earthly life63. Recalling these words of Rikyū, Hisamatsu compares the teahouse to a Buddhist temple64. But such an attitude does not take into account the Zen masters’ teachings about the “everyday mind being the Way”. Entering the Zen garden is a symbolic entering into the sphere of enlightenment that is no different from profane. Upon realizing the paradox Hisamatsu strives to show that Rikyū created a new, lay form of Zen, inextricably tied to the earthly sphere of culture and art65. Freedom from form in Zen tea ceremony In Zencharoku, Sōtaku states that to express the spirit of Zen during tea ceremony is much more important than the etiquette. Etiquette in comparison to the mysterious dharma of the Buddha (myōhō) is a mere “lonely island in the universe”66. The proper behavior is not the most important – etiquette can be compared to “branches and leaves” with the root and trunk being the Way of the Buddha67. Etiquette cannot be something ultimate and indisputable in the Way of Tea since it is only a form that cannot overshadow the spirit of Zen. It does not mean treating lightly the ways of conduct in society. Sōtaku states that the one who preserves “right perception” in a natural and spontaneous way will uphold the etiquette and excel in fulfilling his social obligations68. Sōtaku quotes the Diamond Sutra to prove, that paying too much attention to etiquette can be an outcome of attachment to form, therefore misunderstanding of the essence of “emptiness”69. He also quotes an admonition by Laozi, not to deviate from the Way because of the rules designed by men. Sōtaku pays little attention to such elements of the tea ceremony as the guests appreciating the value of the utensils used by the host or adjusting the course of the ceremony to specified conditions (like the time of day or time of year)70. The most controversial fragment of Zencharoku is Sōtaku’s criticism of some of Rikyū’s recommendations as recorded by his disciple, Nambō Sōkei, in the Nampōroku. Sōtaku points out the following teachings of Rikyū: Hisamatsu 1993: 19. Ibidem: 23. 65 Ibidem: 24. 66 Jakuan 1980: 244. 67 Ibidem. 68 Ibidem: 245. 69 Ibidem: 244. 70 Ibidem. 63 64 32 Agnieszka Kozyra The teachings of masters considering the placement of utensils during tea ceremony and the manner of performing specific movements are full of detailed descriptions and it cannot be avoided. However when the practitioner internalizes them thoroughly, when he masters the basic rules, taking into account the mysterious balance between yin and yang, he will be absolutely free, although there will be ceaseless changes71. Rikyū believed that only a true master could allow himself to go beyond the decided canons – usually treated as absolutely binding, and new practitioners would put significant effort into interiorizing them. Sōtaku has objections to this statement, since he does not agree that only those who mastered all the techniques can introduce changes. It is due to be noted that it is not about a dispute between following the two statements: weather to change the canon after mastering all techniques, or to change it before one masters them all. This is not the problem. The changes in the canon cannot be a conscious act performed in some previously planned time. Sōtaku clearly stresses that this is not how Zen tea works. There cannot be any conscious introduction of change, since Zen tea demands surpassing the duality of subject and object of cognition, going beyond cognitive, conscious action. All changes have to be absolutely spontaneous and there can be no trace of intention of the subjective or cognitive argumentation. Sōtaku cites the following verses by Takuan Sōhō: Tea ceremony initially has no form. According to Heavens’ teachings it is one mind, disturbed by nothing. There are rules, and at the same time there are no rules – change signifies the self-identity of specific reaction and a mysterious functioning [of Buddha nature – A.K.]72. Sōtaku continuously underlines the need to surpass the epistemological dualism of subject and object (surpassing the cognitive thinking). A condition necessary for Zen practice aimed at enlightenment. If a practitioner decides that he became a master and is now fit to bring about a change in the canon, or waits for another master to confirm his mastership and allow him to introduce changes, he is proving he did not surpass the dualism of subject and object just yet. He does not enter the state of “no-self ” understood as “absolutely contradictory self-identity” of subject and object. Here there is no “right perception” of Zen tea, the source of spontaneous creation coming from the experience of unity with the universe. The moment of attaining enlightenment cannot be planned, so the moment the Ibidem: 250. Ibidem. „Self-identity of specific reaction of mind and mysterious functioning [of Buddha nature – A.K.]” (tōi soku myōyō). 71 72 The Oneness of Zen and the Way of Tea in the Zen Tea Record (Zencharoku) 33 freedom coming from enlightenment will manifest cannot be planned either. That is why Sōtaku writes about “ultimate trust in the creativity of the Heavens, final rejection of one’s knowledge, so that the ‘emptiness’ can manifest in a human”73. Negation of the independent “self ”, understanding the “emptiness of individual nature” (jishōkū), is essential for Zen practice. Sōtaku, relating to his own experience of enlightenment, even criticizes the statements of respected figures if they are not in accordance with the spirit of Zen. I do not believe though that he is criticizing the essence of Riktū’s teachings, rather one statement that could be wrongly understood by practitioners. In his statement, Rikyū tries to worn beginning tea practitioners not to imitate the “true freedom” of accomplished masters. Traditional manners of performing certain gestures during the ceremony are usually the most efficient, precise movements of high aesthetic value. Sōtaku appreciates this aspect since it is indispensable for active meditation, like tea ceremony. A practitioner can forget about himself, being fully immerged in the actions performed according to decided patterns. Sōtaku does not agree however with the conclusion that being spontaneous comes with mastering all techniques, since spontaneous creativity is linked with the state of “no-self ” that can manifest at any time, even if the practitioner in question is a beginner. Sōtaku did not suggest that anybody should change the canons of tea ceremony whenever feeling like it. He wanted to point out, that everywhere where “no-self ” manifests there is ultimate freedom evincing itself through spontaneous creativity. “No-self ” does not manifest itself as a result of mastering all techniques, so it can manifest even in a beginner. From the point of view of Zen teachings it is obvious that any change in the canon has to be introduced as a spontaneous expression of enlightenment, not as an objectified strategy. The above deliberations of Sōtaku became the cause for which Zencharoku was rendered a work not in accordance with Rikyū’s tea spirit. For me, however, it seems it was rather his other conclusions that were more upsetting for the majority of his contemporary Way of Tea advocates than the issue of the interpretation of Rikyū’s words. Sōtaku writes: In Zen tea there are few names (meimoku), also there are no secret procedures. If you get caught up in names [learning the procedures – A.K.] and you study written instructions, you will go astray from the true Way of Zen tea74. One has to remember about the whole system of teaching that was created by various schools of tea ceremony (originating in the need to learn multiple procedures and utensil names) and about the existence of a secret transmission addressed to chosen disciples. This system solidifies the organizational stability of tea cere73 74 Ibidem. Ibidem: 250–251. 34 Agnieszka Kozyra mony schools and this foundation Sōtaku undermines directly, saying that joining the system equals drifting away from the true Zen tea. It is my opinion that Sōtaku is right, from the perspective of Zen teachings on freedom of enlightenment. In such freedom there is no place for activity of some subjective intentional “self ”. Sōtaku’s conclusions are the natural following of his previous deliberations relating to tea ceremony as active meditation during which a practitioner is in a state of “no-self ” since he forgets about himself fully engulfed by the utensils. “Zen tea” does not mean breaking it off with the chanoyu schools’ canons. It is only important not to treat those canons as specific knowledge and skills, something like a magician’s tricks that, as they become more complicated and diverse, the more they entertain the viewer. On the other hand there is nothing more misguided than the arrogant attitude of a beginning practitioner who decides he can lightly treat all the rules of tea ceremony because it is not those rules that express the Zen spirit. As is common with Zen, again we deal with a specific equilibristic procedure necessary for preserving the unity of oppositions – the tea ceremony canon cannot be accepted and it cannot be negated. We have to also remember that Rikyū himself taught about the state of “no-self ” during tea ceremony: During a formal ritual in the shoin daisu75 style, everything has to be arranged in the most precise order. […] But finally the host puts aside all rules, forgets all the techniques and it all comes down to thinking without thinking76. Rikyū clearly stresses that the tea ceremony has to be performed in the state of “no-thought” (munen), meaning “thinking without thinking” that is indeed surpassing the duality of subject and object of cognition. In this sense tea ceremony has no set laws or rules. It is clear if we take the example of Rikyū’s deliberations on tea ceremony organized outdoors, the “tea in the field”: As for the actions while preparing tea or for the multiple kinds of utensils – there are no set laws. But precisely because there are no set laws, the great law is the law. It means that one has to pursue the way with his whole heart, and since it is an art that goes beyond the boundaries of form, somebody who does not inquire deeply, should not go into it77. Rikyū warns practitioners not to allow the harmony between the participants of the ceremony to be the result of conscious effort. 75 Shoin daisu – a highly formal style of preparing tea using Chinese utensils and a specific shelf for the utensils (daisu). 76 Sen XV 1998: 171. 77 Nambō 2005: nr 3: 44. The Oneness of Zen and the Way of Tea in the Zen Tea Record (Zencharoku) 35 It is the most proper for their hearts to be in accord. But it is not right for them to desire to attain agreement. When both the host and the guest are people who attained the Way, a good feeling between them appears naturally. If immature people only strive to attain this state of harmony, if one of them deviates they will both be led astray. Hence it is right for them to be in harmony, not right to aspire to attain it78. Just as one cannot achieve enlightenment as an objective goal, true harmony cannot be achieved in this way. True harmony only appears in the state of „no-self ”. Tea ceremony of no host, no guest (muhinshu no cha) Sōtaku is critical towards the deliberations recorded in Nampōroku regarding the secret teaching of Rikyū about the “tea ceremony of no host, no guest”79. In the quoted paragraph Rikyū explains that the space of the teahouse and the tea garden (hakuroji) is Thusness (the essence of reality) that is empty and free from all disturbance (buji anshin). Then follows the ultimate liberation from all: mountains and rivers, trees and grasses, thatched roof hut, host and guest, tea utensils, all rules and canons. Such is the Great Way transmitted by master Rikyū80. Sōtaku does not agree with such interpretation of the “tea ceremony of no host, no guest” in which the master who gained all secrets of the tea ceremony no longer has to concentrate on the movements he performs81. He stresses that such ceremony is not a secret teaching and should not be studied after mastering all its techniques. He points out that the concept of the “tea ceremony of no host, no guest” comes from Zen teachings, but he does not offer the source82. Rikyū most likely was quoting famous verses by Daitō Kokushi that were supposed to express his enlightenment: By the twilight I rest, by the dawn I wander, there is no host, there is no guest – with every step I feel the refreshing breeze83. Nambō 2004: nr 2: 25. Jakuan 1980: 243. 80 Ibidem: 255. 81 Ibidem. 82 Jakuan 1980: 255. 83 Kobori 1988: 8. 78 79 36 Agnieszka Kozyra It is worth remembering, that in Zen tradition the juxtaposition of host and guests, or master and vassal, is a metaphor to express the relationship between subject and object. The lack of “host and guest” points at going beyond the dualism of the subject and object of cognition, a necessary condition for enlightenment. According to Sōtaku the paragraph from Nampōroku relating to the “tea ceremony without host nor guest” does not convey the true meaning of “nothingness” (mu). Sōtaku uses the term “nothingness”, not “emptiness”, although in this context both terms are synonyms84. In Rikyū’s deliberations on the “tea ceremony of no host nor guest” Sōtaku sees “silent illumination Zen” (mokushō zen), criticized by many masters as the manifestation of “one-sided emptiness” (henkū), seen as negation of existence. Meanwhile the “true emptiness” (shinkū), as experienced in the act of enlightenment, is an internally contradictory oneness of negation and affirmation. It is in the context of “silent Zen” that Sōtaku states that rejecting all forms is not a true “ceremony of no host nor guest”. Quite similarly dampening all consciousness functions in meditation is not “true emptiness”. What is the purpose of tea ceremony if host and guest are no more? It is my opinion that the “tea ceremony of no host nor guest” corresponds with the third category of Zen master Linji, meaning, “taking away the man and the ­environment” (Jap. ninkyō gudatsu), so negating the subject and object of cognition (“form is emptiness”). However this category describes only one out of two important aspects of enlightenment, the second aspect being the fourth category, which is “leaving the man and the environment” (Jap. ninkyō gufudatsu) – ­“emptiness is form”. Hence the third category of Linji expresses that “form (including subject and object) is emptiness”, while the fourth category states that “emptiness is form”. Does Sōtaku attack Rikyū or is he merely pointing out a wrong interpretation of his words by posterity? The answer is not easy, but we should pay attention to a wider context of Zen masters’ polemics. There are discussions in which one master does not recognize the enlightenment of the other and accuses him of heresy (so called “heretic Zen”, Jap. jazen). Many of those discussions though concentrate on faulty interpretation of certain verses, taken out of their wider context in Zen teachings. It is often the case that some Zen master in a given statement was referring to just one aspect of enlightenment. For example Dōgen, the same as Rikyū, wanting to stress that “form is emptiness”, would state that during meditation one must “be liberated of his body and mind” (shinshin datsuraku). His other statements, however, contain the truth that “emptiness is form”. It is most likely that Sōtaku was reprimanding Rikyū for not expressing the essence of “nothingness More about the Daoist concept of „nothingness” (mu) and the Buddhist concept of “emptiness” (kū) in: Kozyra 2004: 223–224. 84 The Oneness of Zen and the Way of Tea in the Zen Tea Record (Zencharoku) 37 / emptiness” for in his interpretation of the “tea ceremony of no host nor guest” there is no mention of the inseparability of emptiness and form. Sōtaku believed that tea ceremony has nothing in common with Zen unless it expresses “nothingness”. Without it tea merely becomes an exclusive past time that can easily evoke pride and arrogance and lead a household to ruin85. One must practice ceaselessly and then the “right perception” will appear, his state of “one mind”86. Haga Kōshirō seems to be convinced by Sōtaku’s arguments. He states that Zen tea is not the “tea ceremony of no host nor guest”, but the “direct residing of the mind in the state of Thusness, so a mind in which there is no duality of host and guest (subject and object)” (shukaku no funi ichinyo no jikishin no majiwari)87. Characteristics of Zen art in Zencharoku The first characteristic feature of Zen art that we find in Sōtaku’s treatise is the statement, that in the state of “no-self ” an individual experiences such unity with the world when “one is all and all is one”. Sōtaku refers to this Buddhist teaching when he writes that nothing exists except mind – “there exists no dharma except mind”88. Pure, perfect and empty “one mind” is a vessel that contains the whole universe. Sōtaku quotes a famous passage from the Diamond Sutra (Jap. Kongōkyō) about awaking the mind that has no abode, meaning a mind that is everywhere and nowhere, precisely because “one is all and all is one” (ichi soku issai, issai soku ichi). An important feature is also affirmation of the everyday mind (byōjōshin) from the point of view of an inconceivable oneness of the relative sphere (samsara) and absolute sphere (nirvana). It is worth noting that tea appears in Zen koan as an affirmation of the everyday, common perspective. Zen practitioners might ask questions concerning the essence of enlightenment and hear an answer like: “drink a bowl of tea”. The underlying message of this koan is a reminder not to look for the sacred separately from the profane – realizing “Buddha nature” can happen with any given daily activity – also while drinking tea. The next characteristic is the oneness of oppositions coming from the fact that in enlightenment one experiences the essence of reality in which “one is all and all is one”. In tea ceremony, the absolutely contradictory self-identity of movement and motionlessness has to be experienced. Sōtaku stressed that it is wrong to consider the calmness during tea ceremony to be motionlessness / stillness – the “right perception” also has to be kept in action89. To describe tranquility during tea ceremony the Jakuan 1980: 255. Ibidem. 87 See: Haga 1997: 53. 88 Jakuan 1980: 243. 89 Ibidem: 245. 85 86 38 Agnieszka Kozyra word jaku is used. This word in the context of Buddhist teachings describes nirvana as the fading of urges and desires – that is only possible after passing beyond the world of “birth and death”90. Tranquility in such an interpretation is not just the mere antithesis, the lack of motion. Suzuki Daisetsu wrote, that tranquility in Zen means “calmness in the midst of boiling oil, amongst raging waves, in the fire’s blaze”91. The oneness of oppositions excludes favoring only one side of the pair. In the architecture of the teahouse, symmetry is not common but irregular elements are often used – crooked poles instead of neat and straight ones. The stones in the tea garden (tobiishi) are never put in symmetrically and they differ in size and shape. As Daisetsu rightfully points out, symmetry draws attention, is connected to grace, dignity. Asymmetry disturbs balance and that is why its usage is crucial for discovering a new dimension of reality92. It is worth notice that Sōtaku does not prefer asymmetry. According to the logic of paradox he does not choose one of the pair of oppositions. He writes about using both regular and irregular elements simultaneously (kigū ichidō)93. In Zen art it is also necessary to express surpassing the linear perception of time flowing form the past to the future and showing the unity of both those times in the “eternal now”. Disturbing the time continuum that comes from the “eternal now” as seen in the tea ceremony is also described in the Zencharoku. Sōtaku compares a tea ceremony performed by a person in the state of “right perception” to meditation lasting an inconceivably long period of time described in the Lotus Sutra94. It could be concluded that for the person in the state of “no-self ”, a person who experiences that “One is All and All is One”, every moment is eternity, and eternity is just a moment. It is extremely important to treat the state of “no-self ” (mushin) as a creative act. Sōtaku considered tea ceremony to be a kind of active meditation designed to discover the “true self ”. According to him the “right perception” should be upheld during any activity – also during walking or even sleep. It is in accordance with Zen masters’ teachings explaining that one should meditate during any activity. Zen master Yongjiajiao (Yōka Genkaku, 665-713) taught: Walking is Zen, sitting is Zen. Whether you speak or remain silent Whether you move or remain motionless – The essence in itself remains undisturbed.95 Suzuki 1959: 309. Ibidem: 356. 92 Ibidem: 27. 93 Jakuan 1980: 251. 94 Ibidem: 245. 95 Suzuki 1960: 94. 90 91 The Oneness of Zen and the Way of Tea in the Zen Tea Record (Zencharoku) 39 A person fully submerged in the actions performed, for example during tea ceremony, is “engulfed” by the utensils and then stays in the state of “no-self ” (mushin), understood as surpassing the dualism of the subject and object of perception. The state of “no-self ” is a source of spontaneous creativity and that is why a tea master who performs tea ceremony in this state has no equal. The last characteristic feature of Zen art that can be observed in Sōtaku’s treatise is absolute freedom, also freedom from rules and canons. Tanikawa Tetsuzō rightfully points out a substantial difference in attitudes towards the formal laws of tea of Sōtaku and Rikyū – an undisputed authority in the field of tea ceremony. Sōtaku does not recognize “mastering the techniques according to set canon as a prerequisite for entering the sphere of freedom”.96 Sōtaku stresses that everybody who is in the state of “no-self ” reaches the source of spontaneous creativity, regardless of whether or not he mastered tea ceremony canon. Sōtaku quotes the words of Takuan Sōhō that remain in accordance with the logic of paradox: “there are rules, and at the same time there are no rules”97. In the state of “no-self ” there is a complete reliance on the “creativity of Heavens”98, since the source of true creativity is a feeling of oneness with the universe. Sōtaku believed that a practitioner of the Way of Tea, just as a practitioner of Zen, could not fall back on any set of written rules or strive to realize any objective goal, even if it were the Zen ideal he aimed at. Everyone who consciously (objectively) practices the “Way of Zen” practices a heresy (jahō)99. A practitioner has to ceaselessly strive toward surpassing the dualism of the subject and object of perception and not set it anew over and over again while subjectively exerting himself to obtain an objective goal. Only one who has experienced the ultimate freedom of enlightenment can express beauty in any form. In this day and age many utensils of crude, irregular shapes100 are indeed considered to be classic masterpieces and it is easy to oversee how shocking their first usage must have been. Where elaborate Chinese porcelain once reigned, irregular tea bowls of porous texture started to take precedence. Takeno Jōō using a simple well bucket or a bamboo lid rest during a tea ceremony must have been seen as the peak of extravagance. Sōtaku’s treatise, the Zencharoku, differs greatly from other works in which Zen is only sporadically mentioned and the main topic is to describe the flow of tea ceremony or the most important rules related to its conduct. Sōtaku’s discourse can be seen as polemical, since the author does not only describe tea ceremony as a kind of Zen meditation, but also tries to discern those of its elements that have nothing to do with Zen. The differences between Sōtaku and Rikyū’s ideas that are Ibidem: 13. Jakuan 1980: 250. 98 Ibidem. 99 Ibidem: 246. 100 Utensils in the wabi style – more about wabi in chapter seven. 96 97 40 Agnieszka Kozyra evidenced in the Zencharoku could also be explained by the fact that Rikyū – in contrast to his successor Sōtan – did not put so much stress on chanoyu sammai, meaning meditation during tea ceremony, and did not consider the ceremony to be solely a form of religious practice101. Tea ceremony often has nothing in common with Zen and still provides aesthetic experiences, teaches discipline and concentration. It allows a practitioner to enjoy many aspects of Japanese tradition – architecture, artisans’ works, painting, and flower arrangement. Still it does not change the fact that it is Zen that provides the spiritual depth of the Way of Tea. To express this depth Zen practice is necessary, since only then tea becomes “no-tea”, and “everyday mind” – the Way. It was Sōtaku, in his Zencharoku treatise that expressed this truth most thoroughly. Bibliography: Furuta Shōkin 1997. „Zencha to sono bi” [zen tea and its beauty]. In: Kumakura Isao (ed.), Zen to nōgaku, cha [zen in noh theatre and tea ceremony]. Tōkyō: Perikansha. Pp.65-101. 古田紹欽 1997。禅茶とその美。熊倉功夫偏 禅と能楽・茶 1997。東 京：ぺりかん社。 Haga Kōshirō 1997. “Chazen ichimi” [one taste of tea and zen]. In Kumakura Isao (ed.), Zen to nōgaku, cha [zen in noh theatre and tea ceremony]. Tōkyō: Perikansha. Pp.31-65. 芳賀幸四郎 1997。茶禅一味。熊倉功夫偏 禅と能楽・茶 1997。東京： ぺりかん社。 Hisamatsu Shin’ichi 1987. Wabi no cha [tea in wabi style]. Tōkyō: Tōeisha. 久松真一 1987。侘びの茶。東京：燈影舎。 Hisamatsu Shin’ichi 1993. „The Way of Tea and Buddhism”. Chanoyu Quarterly 74. Pp. 15-25. Horiguchi Sutemi 1951. Rikyū no cha [Rikyū’s tea]. Tokyo: Iwanami Shoten. 堀口 捨己 1951。利休の茶。 東京：岩波書店。 Jakuan Sōtaku 1980. Zencharoku [zen tea record]. In. Nihon tetsugaku shisōshi zensho [collected works of Japanese philosophy and thought] 16. Tōkyō: Heibonsha. 寂庵宗澤 1980。禅茶録。日本哲学思想史全書。東京：平凡社 Karaki Junzo 1983. “Perspective on the Self: Suki, Susabi and Sabi in Medieval Japanese Literature”. Chanoyu Quarterly 35. Pp.31-45. Kobori Nanrei Sohaku 1988. “Zen and the Art of Tea”, Chanoyu Quarterly 55. Pp.36-52. 101 Horiguchi Sutemi 1951: 217–218. The Oneness of Zen and the Way of Tea in the Zen Tea Record (Zencharoku) 41 Kozyra Agnieszka 2010. Estetyka zen [zen aesthetics]. Warszawa: Wydawnictwo TRIO. Nishibe Bunjō 1981. “Zen monks and the Formation of the Way of Tea”, Chanoyu Quarterly 28. Pp. 35-52. Sen Sōshitsu XV 1985. Tea Life, Tea Mind. New York/Tokyo: Weatherhill. Sen Sōshitsu XV 1998. The Japanese Way of Tea. From Its Origins in China to Sen Rikyū. Honolulu: University of Hawaii Press. Tanaka Sen’o 1998. The Tea Ceremony, Tokyo: Kodansha International. Suzuki Daisetz T. 1970. Zen and Japanese Culture. New York: Princeton University Press. Suzuki Daisetsu T. 1960. Mannual of Zen Buddhism. New York: Grove Press. 42 Agnieszka Kozyra English Summary of the Article Agnieszka Kozyra The Oneness of Zen and the Way of Tea in the Zen Tea Record (Zencharoku) This article is aimed at the analysis of Jakuan Sōtaku’s Zen Tea Record from the perspective of the teachings of the Zen masters included within it. In my book entitled Estetyka zen (Aesthetics of Zen), in relation to the ideas of Nishida Kitarō (1870–1945), a philosopher who was also a Zen practitioner, I explained how in Zen art there must be conveyed certain aspects of reality grasped in the act of enlightenment. Nishida called this reality the “absolutely contradictory selfidentity” (zettaimujunteki jikodōitsu), meaning such a paradox unity of all that does not exclude the distinctiveness of singular elements. The aspects mentioned above are: surpassing the dualism of the subject and object of cognition (“one is all and all is one”, ichi soku issai, issai soku ichi), affirmation of the common perspective of perception of reality (“form is emptiness and emptiness is form”, shiki soku ze kū, kū soku ze shiki), internally contradictory unity of oppositions (like motion–motionlessness, sacred–profane), “eternal now” as paradox unity of past and future, state of “no-self ” (mushin) as the creative act and absolute freedom of the enlightened person (for example braking the rules and canons of artistic creation). In the article I want to show that Sōtaku in his treatise included most of those aspects. Key-words: Nishida Kitarō, Jakuan Sōtaku, tea ceremony, Zen art, Zen aesthetics, Sōtan Anna Zalewska Expressing the Essence of the Way of Tea: Tanka Poems used by Tea Masters The writings on the way of tea – chasho The way of tea, called chadō or chanoyu in Japanese, is a comprehensive art and philosophy that unites a very rich material culture with a deep spiritual tradition. This tradition, the teachings of the way of tea have been passed down to modern times mostly by way of oral instruction, from a master directly to his pupil, who in turn passed the knowledge to his pupils. In this article I want to show how tea practitioners have been using tanka poems, either composed by themselves or borrowed from the earlier, classical authors, to express their knowledge of chanoyu, and especially, to express what they considered to be the essence of tea philosophy. In the Edo period (1600–1868) the writings about chanoyu, called chasho, started to appear. Tsutsui Hiroichi (2003: 134) counts as many as 249 chasho published in this era. The first of these, published in 1626, is Sōjinmoku; the title can be translated simply as Grass, man and tree, and these are the elements from which the kanji character for the word cha, tea, is composed. Out of the three volumes, the first is devoted to the manners of both the host and the guests, the second explains the rules for the tea room and tea making procedures, and the third is concerned with making tea using the daisu shelf. One of the most important writings of the way of tea is the Nanpōroku, or the Southern Records, purportedly discovered and then published at the end of the 17th century. It is a seven volume long treatise ascribed to Nanbō Sōkei (16–17th century), who identifies himself in the text as a disciple of the great tea master Sen no Rikyū (1522–1591). Another form of chasho are collections of anecdotes (itsuwashū) about the famous tea masters or memorable tea meetings, for example Chawa shigetsushū, or The Collection of Tea Stories Pointing to the Moon, which is a collection of stories and sayings of Rikyū’s grandchild, Sen Sōtan (1578–1658), recorded by his disciple, Fujimura Yōken (1613–1699), and published in the year 1683. 44 Anna Zalewska Kaiki (notes on the tea meetings) also belong to chasho. They are texts concerned with dishes for chaji (formal tea gatherings), collections of images connected with chanoyu, books on gardening etc. Tsutsui Hiroichi (2003: 137) divides chasho into separate types, of which he counts 26. According to his assessment, the most numerous are texts devoted to utsuwamono (the utensils, 26) and temae (procedures, 43). One more, quite different literary genre was used by some to convey the teachings of the way of tea: it was waka, Japanese poetry, especially in the form of tanka, a short poem, consisting of five verses of 5, 7, 5, 7 and 7 syllables (together it is 31 syllables, and because of this, tanka had also been called misohito moji – thirty one characters). The oldest tanka we now know of were probably composed in the 4th century, and afterwards for many centuries tanka have been a main poetic and even literary genre in Japan. From tanka, the forms of renga and the much better known haiku were derived. One hundred poems – hyakushu uta Although tanka have been basically composed as a single poem, they also came to be either composed or brought together in collections of a set number of poems, and the most popular was hyakushu uta – an anthology, or series of one hundred poems. The best known example of hyakushu uta is of course Ogura hyakunin isshu, or The Collection from Ogura – A hundred poems by a hundred poets, attributed to the famous poet and literary man, Fujiwara Teika (1162–1241) in the 13th century. The form of hyakushu uta itself is much older, because it can be traced back to the 10th century, when Minamoto no Shigeyuki composed what is probably the first known compilation of one hundred poems. Later, many of these one hundred poem series were composed and among them there appeared those organized by one subject or by one group of creators, for example Genji hyakunin isshu – One hundred poems about The Tale of Genji, Nyobō hyakunin isshu – One hundred poems by women poets, or even Kemari hyakunin isshu – One hundred poems about the game of kemari. Kemari is an ancient form of ball game, so this is a collection of poems about football – let us try to imagine modern day football players making poems about the right way of, say, making a corner kick. Fujiwara Teika is also attributed with a collection of Taka sanbyakushu – Three hundred poems about falconry, additionally there were many other series devoted to one specific subject. Kemari hyakunin isshu was compiled in the beginning of the 16th century and from this collection it is quite close in time to the first chanoyu series of one hundred poems. This is probably Sachō (or Sajō) hyakushuka, or One hundred poems from the tea place, from the year 1642 (Tsutsui 2003: 392), soon after the publishing of Sōjinmoku. The poems were part of the collection called Usoshū and they also seem to be closely connected with another chanoyu text, Chagu bitō shū, A Collection of Expressing the Essence of the Way of Tea: Tanka Poems used by Tea Masters 45 remarks about tea utensils, which describes chagu (tea utensils), their names and shapes. Because these remarks are rather dry and technical, it is probable that the poems were intended as a helpful tool used to remember the very detailed information about the utensils and the rest (Tsutsui 2003: 394). And quite probably the same may be said about the kemari and other poems: although in Japanese poetry, waka, rhymes were not used, still the poems were versified and the rhythm of the verses made it easier to remember the words and the teachings. Poems of the way – dōka In the middle of the 17th century there were already many poems on the subject of tea utensils or the tea making procedures, but among them were also those aimed at expressing much more general ideas connected with the way of tea. Here we should introduce the term dōka, which means literally michi no uta, “poem of the way”. Dōka can be described as poems that convey knowledge or teachings, belonging to a very wide range of arts and ideologies: Buddhism, ethics, arts and crafts, military arts and others. One of the reasons for putting the teachings in the form of tanka poems was certainly an effort to make them easier to memorize. We should also remember that tanka had been used for communication and entertainment for over a thousand years by then, and composing a tanka poem was a very natural method of expressing thoughts for a literate Japanese person. The name dōka, poem of the way, is closely connected to the fact that many arts and ideologies in Japanese are called dō – a way: butsudō is the way of Buddhas, budō – the way of military arts, shintō is the way of gods, chadō – the way of tea, and shodō – the way of writing, i.e. calligraphy. There are also kadō, the way of incense, kadō, the way of flowers, and kadō is also the way of poetry (all three are written with a different ka character); to budō belong many ways like kendō, way of the sword, or kyūdō, way of the bow. The earliest use of the word dōka can be traced to the second half of the 15th century, to the early versions of Setsuyōshū (Collection of Words for Everyday Use, a dictionary of Japanese language with entries organized according to iroha order), but the poems expressing some moral instructions, and therefore similar to the later dōka genre, can be found already in the songs and poems in Kojiki (Records of Ancient Matters, 712) and Nihonshoki (The Chronicles of Japan, 720) (Nihon Koten Bungaku Daijiten Henshū Iinkai 1986: 1301) . The most commonly known dōka about the way of tea is the collection known as Rikyū dōka (Rikyū’s poems of the way), or Rikyū hyakushu (One hundred poems of Rikyū). The same series may also be found as the Jōō hyakushu (One hundred poems of Jōō; Takeno Jōō, 1502–1555, was a tea master and a teacher of Rikyū) and today it is not possible to determine which one or if any of them was the author or 46 Anna Zalewska the compiler of these poems. Sen Sōshitsu (1977: 148) writes that a copy of the text, made by his great great grandfather, Gengensai Sōshitsu 11th (1810–1877), bears the title Chadō kyōyu hyakushu waka (One hundred poems on chanoyu education). The poems have been circulating amongst tea practitioners for a long time and today they remain widely studied, learned and used as a help in keiko, training. Setting aside the problem of the authorship, let us have a look at the contents: among the poems in Rikyū hyakushu we can find both quite technical ones, that can be understood only by those persons who already know utensils and know the ways of handling them, and also poems that can be described as aiming to express the essence of the way of tea. As an example of the first type let me give this one: Bokuseki o kakeru toki ni wa takuboku o sueza no hō e ōkata wa hike1 When you hang a scroll, you better put the takoboku cord towards the lower hand [of the tokonoma alcove]. Takuboku is a cord or string attached to a scroll, used to fasten the scroll when rolled up; it is not needed when the scroll is exhibited in the tokonoma alcove. It is natural that what is not needed, should be put aside, therefore the cord should be hanging behind the scroll and towards the lower hand of the tokonoma. In this way, chanoyu practitioners always give thought to matters both big and small, and aim to do things in both a reasonable and beautiful, harmonious way. The collection starts with five poems devoted to entering the way of tea, learning and teaching it. The following is the first one: Sono michi ni iran to omou kokoro koso wagami nagara no shishō narikere2 The very wish to enter this way should be my master, as long as my life lasts. This is one of the poems endeavoring to express something essential within chanoyu: the importance of persistent and conscious effort in practicing the way, an effort that is the base for the practice, which is shown here as lasting a lifetime. Keeping a beginners mind, shoshin, fresh and free of prejudice, is valued in the way of tea as much as it is in Zen Buddhism; the poem makes it a master, a teacher, leading the practitioner on the way of tea. Sen Sōshitsu 1977: 137. Gdy zwój zawieszasz,/ pamiętaj o tym, żeby/ sznurek takuboku/ przełożyć odpowiednio/ w niższą stronę tokonomy. Unless otherwise stated, all the poems translated into English and Polish by Anna Zalewska. Polish translations are added for the benefit of Polish language speakers. 2 Sen Sōshitsu 1977: 133. Postanowienie/ by na tę drogę wstąpić/ i nią podążać/ niechaj mi będzie mistrzem/ przez całe moje życie. 1 Expressing the Essence of the Way of Tea: Tanka Poems used by Tea Masters 47 The second poem is written from the perspective of the student: it says we should learn and watch, and then learn more, because giving an opinion without proper learning is foolish. The next, third poem, switches to the perspective of the teacher: to a pupil who has deep interest in studying the way of tea, it says, the teacher should explain many times, with compassion. The student, emphasizes the fourth poem, should study without feeling ashamed of himself. Finally the fifth poem explains what qualities a good student of the way of tea should possess: suki (aesthetic liking, fascination), kiyō (dexterity) and kōseki (gaining experience)3. Most of the poems after these five are concerned with the meaning of details of temae procedures, handling of different utensils or mutual relations between the host and the guests, and only in the end of the collection again there are few poems conveying more general ideas. Among them there is a version of the wellknown Rikyū shichisoku (Seven rules of Rikyū): Chanoyu to wa tada yu o wakashi cha o tatete nomu bakari naru koto to shiru beshi4 Know that chanoyu is simply this: boil the water, make the tea and drink. Here even more than in the first poem we can see the effort of the author to capture what the essence of chanoyu is, in the shortest, simplest possible way. Since it is so concise, certainly it can be read in different ways. In my opinion, it shows chanoyu as something very simple, drinking tea without thinking of procedures, because the procedures only serve in making the right tea, concentrating on the simplest thing. It resembles the spirit of Zen Buddhism saying: Yama kore yama mizu kore mizu Mountains are mountains, waters are waters (rivers are rivers). At first a person just sees the mountains or the rivers, the physical world. Then, an enlightened person sees that there is no dualism, there are no differences between yes or no, man and woman, old and young, mountain and river. And then realizes that the nature of enlightenment and delusion is the same and he or she can see the mountains again as the mountains and the rivers as the rivers. As for the tea, at first many people ask, what is so difficult in learning chanoyu, since it is just making tea and drinking it. Then they learn about procedures and All five poems in Sen Sōshitsu 1977: 133. Sen Sōshitsu 1977: 147. Musicie wiedzieć,/ że chanoyu to tylko:/ zagotować wodę,/ przyrządzić herbatę,/ i pić, więcej nie trzeba. 3 4 48 Anna Zalewska utensils and scrolls and the proper ways to walk around the tearoom, and how to behave as a guest or a host, and it all seems that it may be unnecessarily complicated and difficult. But if they practice and learn more, they can see it is all about making and drinking good tea. Let me cite just one more poem from Rikyū hyakushu: Kama hitotsu areba chanoyu wa naru mono o kazu no dōgu o motsu wa orokana5 If you only have one kettle, it is enough for chanoyu. Having many utensils is foolishness. Naturally, it should not be understood literally, because it would be hard to make tea without a bowl and a chasen (a tea whisk), not to mention the tea. But this poem reminds us that tea is not about the utensils, not about the detailed knowledge of the utensils or their handling. Classical tanka written by famous authors As a means of expressing the essence of chanoyu, the tea masters not only composed poems, but also used the poems already in existence, composed by ancient poets in times when chanoyu was not yet created. One of the most famous examples of such borrowing is a poem by Fujiwara Teika, illustrious poet and literary man of the Heian (794–1192) and Kamakura (1192–1333) periods, already mentioned above. As Nanpōroku, or The Southern Records treatise mentions, Takeno Jōō used to say that the spirit of wabicha, tea in wabi style, is embodied by this poem6: Miwataseba hana mo momiji mo nakarikeri ura no tomaya no aki no yūgure As I gaze far about – there’s neither blossom nor crimson leaf. At sea’s edge: a rush hut in autumn dusk. Shinkokin wakashū IV, 3637 Iguchi Kaisen 1982: 206–207. Jeden kociołek/wystarczy mieć, abyś mógł/ chanoyu urządzić./ Gromadzić sprzęty liczne,/ to dopiero głupota. 6 Nanbō Sōkei 2005: 44. 7 Hisamatsu Sen’ichi et al. 1961: 101. English translation by Hirota, Dennis 1995: 233. Gdy w dal spoglądam/ kwiatów ni liści barwnych/ nie ma już wcale./ Jesienny zmierzch zapada/ w mej chatce nad zatoką. 5 Expressing the Essence of the Way of Tea: Tanka Poems used by Tea Masters 49 This is one of the three famous poems about dusk, sanseki no uta, called so by the ancient Japanese poetry lovers. Cleverly it first mentions flowers, making us think of spring, then the colorful autumn leaves, and only then the poems says, there are no flowers and no leaves anymore. In the Japanese and Polish versions this order of words is quite clear: the words nakarikeri, there is no, nie ma – only appear as late as the third line. Only after this colourful image there comes the picture of a solitary, sad little hut by the sea, in the evening. The hut does not have to belong to the poet, it may be, but not necessarily, his chosen abode, yet it might also be just a lonely place to stop during the journey, making the image even sadder. So here we have two contrasting images, showing that underlying this cold, dark melancholy of an evening by the sea, as its base, there is a dazzling beauty of colors and forms. This can be taken as a metaphor for chanoyu: there are all forms of beauty underlying wabi – the loneliness, the simplicity, the feeling of poverty. This was Jōō’s view on the essence of chanoyu. Nanpōroku says that his pupil, Sen no Rikyū, found another poem, which he often wrote together with the one chosen by Jōō8. This second poem, chosen by Rikyū, was composed by Fujiwara Ietaka (1157–1237), who lived in the same epoch as Teika: Hana o nomi matsuran hito ni yamazato no yukima no kusa no haru o misebaya To one who awaits only the cherry’s blossoming I would show: spring in the mountain village with new herbs amid snow9. This poem can be seen as an extension of the first one: first the flowers are mentioned, and when the word hana is used in Japanese poetry, without the specific name of a flower, it generally means cherry blossoms. And what would be the best form of cherry blossom – naturally, flowers in full bloom. Some people might wait only for the flowers in full bloom and see them as the embodiment of spring spirit. Yet spring can be seen and felt not only in magnificent trees covered with flowers, but also in new grass blades when they break snow. Seeing spring in these tiny grasses and herbs is very close to the chanoyu understanding of beauty: things do not have to be shown in full for us to appreciate their beauty, a suggestion or hint can be enough. Nanbō Sōkei 2005: 45. Nanpōroku (Nanbō Sōkei 2005: 45) says the poem comes from the same collection as the previous one, but actually it can be found in Roppyakuban utaawase (Six hundred rounds of poetry contest, 1193) and in the collection of Ietaka’s poems, not in Shinkokin wakashū. English translation by Hirota, Dennis 1995: 234. Temu kto czeka/ tylko na kwiaty, chciałbym/ pokazać wiosnę/ w trawkach, co wyrastają/ wśród śniegu w górskiej wiosce. 8 9 50 Anna Zalewska There is a famous itsuwa, anecdote, about morning glory flowers in Rikyū’s garden. When Toyotomi Hideyoshi heard that these very beautiful ones were blooming in Rikyū’s garden, he expressed a wish to see them. Later, when he visited Rikyū, passing through the garden he could not see any flowers; when he entered the tea room finally there was only one branch of flowers, much more impressive than if it were an entire garden full of them. However, Kurasawa Yukihiro from Takazuka Zōkei Geijutsu Daigaku, professor of art history and a chajin (tea person) himself, explained to me once that this story might be only an anecdote created later, because it is hard to imagine that Rikyū would really cut and throw away all those beautiful flowers in order to show only one of them. Nevertheless, as an anecdote it shows well the meaning and importance of suggestiveness in chanoyu. I introduced a poem above, composed by Fujiwara Teika, chosen by Takeno Jōō as explaining the essence of chanoyu, and then a poem by Ietaka, with which Rikyū answered to the first one. This poetic dialogue was continued later by Nanbō Sōkei, supposedly a disciple of Sen no Rikyū. To these two poems he was to answer with his own, noted by Seki Chikusen (1791–1801) in his Chawa mamuki no okina (Tea stories of old man looking straight, published 1718 and 1805): Hana momiji tomaya mo uta mo nakarikeri tada miwataseba roji no yūgure10 There are no flowers No rush hut, no colorful leaves And even no poem Gazing far about There is only an evening on the dewy path. A “dewy path” is the roji, a path leading through the garden towards the tea room. This poem is significantly different from the previous two and one of the differences is the consciousness of creating poetry, not usually seen in tanka poems; mentioning a poem in the poem, and saying there is no poem – it takes this verse on quite another level and makes it resemble Zen Buddhism kōans. A kōan is a short story or a dialogue, a question, used in Zen to provoke and to stimulate practice; they are often based on seemingly paradoxical statements, like here, when a poem says there is no poem. There is also no poet or a tea lover in this tanka, only an evening, so there is no I, no ego consciousness; this poem clearly shows the way of tea as a way towards enlightenment. Gengensai Sōshitsu 11th changed just one syllable in this poem and took it one step further: Tsutsui Hiroichi (2003: 15) mentions that Gengensai copied it Tsutsui Hiroichi 2003: 14. Kwiatów, liści barwnych/ chatki i nawet wiersza/ nie ma już wcale. Gdy w dal spoglądam, tylko/ zmierzch na ścieżce do chashitsu. 10 Expressing the Essence of the Way of Tea: Tanka Poems used by Tea Masters 51 and made a scroll with this calligraphy, but instead of uta, a poem, he wrote usa, sadness. Although there are no flowers and no brightly coloured leaves, there is also no sadness: enlightenment is not gloomy. Poems composed by chajin The composing of tanka poems has been one of the means of communication and cultural exchange among the Japanese up to the 20th century: it was natural to compose a poem when occasion called for it. Many tea practitioners, who would not be described as poets, left poems expressing their understanding of chanoyu. As the last part of this article, let me cite here a few more examples of such poems, starting from one that might not sound so serious: Tetori me yo onore wa kuchi ga sashideta zo zōsui taku to hito ni kataru na Oh, you kettle Your mouth is protruding A little too much. Don’t tell the others I cooked porridge in you11. Hechikan who lived in Kyoto in the times of Rikyū, was a tea connoisseur, known for his ecccentricities and simplicity of life. One of the most popular anecdotes about him claims that he had only one iron kettle and used it both to cook his meals, and boil water to make tea (after cleansing it thoroughly). This playful little verse of Hechikan is grounded in his firm belief in modesty, even poverty, in practicing chanoyu in wabi style. Tachibana Jitsuzan (1655–1708), a samurai of Kuroda han from Kyūshū, a tea lover and a calligrapher, is the person who purportedly found the text of The Southern Records. In his diary he noted the following poem: Waga io wa kitaranu hito mo kuru hito mo chikashi utoshi o iu koto mo nashi12 Those who come to my abode and those who do not come I never say I like or dislike them. 11 Tsutsui Hiroichi 2003: 213. English translation by Chikamatsu Shigenori 1982: 94. Kociołku z rączką,/ a tobie to dzióbek/ trochę wystaje./ Nie mów nikomu, że ja/ zupkę w tobie gotuję. 12 Tsutsui Hiroichi 2003: 58. Ci, co przychodzą/ i ci, co nie przychodzą/ do mej pustelni –/ nigdy nie mówię, że są/ bliscy mi czy dalecy. 52 Anna Zalewska Here we can see another aspect of chanoyu pointed out: in the way of tea there should be no choosing, no likes and dislikes, human beings should be treated as equals; the way of tea is not a sphere based on emotions, likes and dislikes, it surpasses them, all people are welcome, whether they come or not. I wrote above about the value of the suggestiveness in chanoyu, and here let us have a look at one more example. Joshinsai Sōsa (1706–1751) was the 7th iemoto of the Omotesenke school; his disciple, Yokoi Tansho, wrote down some of his teachings in Chawashō (A short collection of tea stories), and one of the notes says he asked the master what was the meaning of chadō, the way of tea. The answer of Joshinsai goes as follows: Chanoyu to wa ikanaru mono o iuyaran sumie ni kakishi matsukaze no koe13 If I were to tell what is chanoyu? I would say it is a voice of wind in the pines painted with ink on a scroll. A comparison to matsukaze, wind in the pines, may often be found in chanoyu. For example, the sound of hot water boiling in the kettle on the hearth is called the sound of wind in the pines. Among zengo, literally, Zen words, or Zen sayings which are often seen on scrolls used in tea rooms, there are the words: kanza shite shōfū o kiku, to sit quietly and listen to the sound of wind in the pines; they describe the atmosphere in the tea room, when the tea is served. In the poem above Joshinsai expressess the essence of chanoyu as based on suggestion, and at the same time, shows its sensual, audiovisual nature. Chawashō is a short text consisting of 12 paragraphs, the second of which is titled Cha no kyōka no koto – About kyōka devoted to tea. Kyōka, meaning “a wild poem”, is a comical variety of tanka poem, identical in form. As Donald Keene (1999: 514) describes it, creation of comical verse “opened a channel for those who sought to describe the ordinary or humorous experiences of daily life”. For us today these poems often do not sound humorous or funny and certainly not wild, yet in pre-modern Japan they differed so much from classical tanka as to the subjects and word usage, that they earned the name of kyōka. The second paragraph of Chawashō contains some kyōka devoted to chanoyu composed by Sen Sōtan and one of them is: Horiuchi Sōkan 1977: 266. „Wrzątek na herbatę”,/ jeślibym miał powiedzieć,/ co to takiego –/ wiatr wiejący wśród sosen/ namalowanych tuszem. 13 Expressing the Essence of the Way of Tea: Tanka Poems used by Tea Masters 53 Chanoyu to wa mimi ni tsutaete me ni tsutae kokoro ni tsutau ippitsu mo nashi14 Chanoyu is transferred through the ears and through the eyes and through the heart there is nothing to write down. In the previous poem we could see the importance of sight and hearing in chanoyu, here we learn even more: the teachings are transferred and absorbed by watching and listening and by mutual understanding between the teacher and the pupil, not by studying written materials. Karada de oboeru, remembering with your body, is also the method of learning chadō in today’s world. This poem might be called an easier version of the famous words expressing the doctrine of Zen Buddhism: Kyōge betsuden Furyū monji Jikishi ninshin Kenshō jōbutsu Special transmission outside the teachings Not depending on words and letters Directly pointing to the human mind Seeing one’s nature and achieving Buddhahood. Yuensai Teiryū (1654–1734), a kyōka master from Kyoto, although capable of composing elaborate poems, rich in rhetorical terms, was to instruct his pupils: Dōka o mune to su beshi – You should take dōka as a model (Nihon Koten Bungaku Daijiten Henshū Iinkai 1986: 486), encouraging them to keep to the simpler measures. Indeed it can be seen in the examples cited above that dōka, while keeping the usual rhythm, were much simpler than the regular tanka, mostly without any usual waka figures of speech (like makurakotoba, epithets regularly used with certain words, or kakekotoba, pivot words, etc.) concentrating on conveying the message in a style easy to understand, without ornamentation. Let us look at one last example of dōka, composed by Hayami Sōtatsu ­(1727–1809), a tea master from Kyoto and the founder of the Hayami school: Cha no michi wa kokoro yawaragi uyamōte kiyoku shizukani monozuki o seyo15 The way of tea: 14 Horiuchi Sōkan 1977: 257. Chanoyu to coś/ przekazywane przez uszy/ i poprzez oczy/ i jeszcze poprzez serce,/ nie ma co zapisywać. 15 Tsutsui Hiroichi 2003: 118. Droga herbaty:/ niech twe serce wypełnią/ harmonia, szacunek,/ czystość, spokój – tak właśnie/ podchodź do chanoyu. 54 Anna Zalewska let your heart be harmonious, respectful, clean and calm, and thus you should practice chanoyu. The subject of the poem is the so-called four teachings, shikyō, or four rules, shiki, expressing the way of tea of Rikyū: wa, kei, sei, jaku – harmony, respect, purity and tranquillity, simply listed as chanoyu essentials. Also now they are considered a basic set of terms, used to explain what chanoyu is. We briefly examined poems used by the tea masters, tea lovers, to express their understanding of what chanoyu is. The poems were both old and created without any relation to chanoyu, which did not yet exist at that time, and new, created by the tea masters. Although aimed at expressing what is most important in the way of tea, they actually showed many different angles and told us about the meaning and usage of utensils, about human relations, about the meditational, buddhist character of the way and about various means of uderstanding beauty. Bibliography Chikamatsu Shigenori 1982. Stories from a Tearoom Window. Lore and Legends of the Japanese Tea Ceremony. Tokyo: Tuttle Publishing. Hirota, Dennis 1995. Wind in the Pines: Classic Writings of the Way of Tea as a Buddhist Path. Asian Humanities Press. Hisamatsu Sen’ichi [&] Yamazaki Toshio [&] Gotō Shigeo (eds) 1961. Shinkokin wakashū [new collection of poems ancient and modern]. Tōkyō: Iwanami Shoten. 久松潜一[&]山崎敏夫[&]後藤重郎編集「新古今和歌集」。東京：岩波書 店。 Horiuchi Sōkan 1977. “Chawashō“ [a short collection of tea stories]. In: Sen Sōshitsu (ed.) Chadō koten zenshū [complete works of the way of tea], vol. 10. Kyōto: Tankōsha. 堀内宗完1977。「茶話抄」。千宗室編集 表茶道古典全集第十巻。京都： 淡交社。 Iguchi Kaisen 1982. Rikyū hyakushu [one hundred poems of Rikyū]. Kyōto: Tankōsha. 井口海仙1982。「利休百首」。京都：淡交社。 Keene, Donald 1999. World within Walls. Japanese Literature of the Pre-modern Era, 1600–1867. New York: Columbia University Press. Nanbō Sōkei 2005. “Nanpōroku, czyli Zapiski z południowych stron. Rozdział I, Oboegaki, czyli Spisane z pamięci”, part 2. Silva Iaponicarum 3, 32–50. Nihon Koten Bungaku Daijiten Henshū Iinkai (ed.) 1986. Nihon koten bungaku daijiten [dictionary of classical Japanese literature]. Tōkyō: Iwanami Shoten. Expressing the Essence of the Way of Tea: Tanka Poems used by Tea Masters 55 日本古典文学大事典編集委員会編 1986。「日本古典文学大事典」。東 京：岩波書店。 Sen Sōshitsu 1977. “Chadō kyōyu hyakushu waka” [one hundred poems on chanoyu education]. In: Sen Sōshitsu (ed.) Chadō koten zenshū [complete works of the way of tea], vol. 10. Kyōto: Tankōsha. 千宗室1977。「茶道教諭百首和歌」。千宗室編集 表茶道古典全集第十 巻。京都：淡交社。 Tsutsui Hiroichi 2003. Chasho no kenkyū [studies of the way of tea writings]. Kyōto: Tankōsha. 筒井紘一2003。茶書の研究。京都：淡交社。 Tsutsui Hiroichi 2004. Chanoyu hyakunin isshu [the way of tea one hundred poems by hundred poets]. Kyōto: Tankōsha. 筒井紘一2004。茶の湯百人一首。京都：淡交社。 56 Anna Zalewska English Summary of the Article Anna Zalewska Expressing the Essence of the Way of Tea: Tanka Poems used by Tea Masters The Way of Tea, called chadō or chanoyu in Japanese, is a comprehensive art and philosophy, uniting a rich material culture with a spiritual tradition. Some of the teachings of chadō masters can be found in treatises like Nampōroku, or The Southern Records (17th century, ascribed to Nambō Sōkei, supposedly – a disciple of Sen no Rikyū) or in anecdote collections, like Chawa shigetsushū, or The Collection of Tea Stories Pointing to the Moon (1683). Most of the chadō masters did not leave their respective collected writings or teachings put into treatises, but many of them made the effort to express the essence of the Way of Tea in the much shorter form of tanka poems. First of all, Rikyū hyakushu, or One hundred verses of Rikyū (called also Rikyū dōka – Rikyū’s poems of the way) must be mentioned. This is a collection of one hundred tanka poems, traditionally ascribed to Rikyū himself, although most of them were known since before Rikyū’s times and attributed to Takeno Jōō. The final collection of Rikyū hyakushu, as we know it now, was assembled probably by the eleventh head of the Urasenke school of tea, Gengensai (1810–1877). Among the poems we can find some very detailed instructions on how to use tea utensils or how to understand some parts of the tea making procedures, but there are also poems endeavouring to express the very essence of the Way of Tea philosphy. Apart from poems created especially to show the understanding of tea art, many tea masters used pre-existing poems, written originally without any connection to chanoyu. One of the most famous examples is a short exchange of poems recorded in Nampōroku: to illustrate the essence of the Way of Tea Takeno Jōō used a poem by famous poet, Fujiwara Teika (1162–1241), to which Rikyū answered with a poem by Fujiwara Ietaka (1158–1237). Later, the alleged author of Nampōroku, Nambō Sōkei, continued this poetic dialogue with a tanka of his own. The aim of this article is to introduce the poems used by the tea masters and to analyse the ways of expressing the essence of the way. Key-words: the Way of Tea, chanoyu, chadō, sadō, Japanese culture, Japanese poetry, tanka, waka, dōka Ewa Rynarzewska SHINPA versus SHINP’A. The Influence of Japanese ‘New School’ Theater on the Development of Modern Korean Theater The traditional theater art of old Korea developed chiefly within the plebeian culture1. Over the centuries, three basic types of performing arts were formed. They are defined by contemporary historio-theatrical thought as mask dance performances (t’alch’um 탈춤, lit. ‘mask dance’; kamyŏn-gŭk 가면극 假面劇, lit. ‘mask theater’), puppet shows (kkoktu-gakshi-nor’ŭm 꼭두각시놀음, lit. ‘the play of [the character of] a young woman), and p’ansori theater (판소리). Despite the lack of proper facilities, and its condemnation by Korea’s intellectual elites during the Chosŏn dynasty (조선 朝鮮 1392-1910), when it was viewed as a source of social demoralization and unrest2, traditional Korean theater developed rapidly until the end of the 19th century. In order to present their art, theater groups used whatever natural topographical features were available: they performed in bazaars, near Buddhist temples or inns – anywhere the crowds would gather. Artists, generally referred to as kwangdae (광대 廣大), chaein (재인 才人), or pan’in (반인 泮人), addressed the lower and the lowest class (ch’ŏn’in 천인 賤人) that they themselves came from; many of them were even of slave origins. Their performances merged elements of a variety of arts – dance, pantomime, vocal music and naturally, drama. From the very beginning, the word was vitally important as the material of creation, and in time grew to be a vehicle of important, socially charged content. Actors exposed the pressing problems of contemporary Korea: the discrimination against Korean women, demoralization of Confucian scholars and Buddhist monks, as well as the depravity and incompetence of Korean nobility (yangban 양반 兩班). The main subjects of their critique were the patriarchal system of Confucian Korea and the distorted social relations that resulted in social inequality and discrimination. Each episode of a given performance presented a different conflict: within soci1 The Korean terminology, titles and names are Romanized according to the McCune-Reischauer transcription. The names follow the Korean rule of writing a one-syllable family name before the one or two syllable given name. 2 The first Korean theater was established in 1902. See: Rynarzewska 2013c: 41-55. 58 Ewa Rynarzewska ety, family or between generations. The gravity of the message was mitigated by a satirical, ribald and sometimes downright iconoclastic style of expression that was an aesthetic determinant of folk art in old Korea. The entertaining elements of native theater performances attracted audiences that gladly enjoyed the same plots, and who were perfectly amused listening to the same dialogues again and again. No one complained about the unchanging repertoire recycled for at least three centuries, as no one had a notion that theater could change. The isolated Korean audience was completely oblivious to the fact that outside of the Korean Peninsula an entirely different theater art was developing. A shift in awareness occurred only in the beginning of the 20th century, when Japanese ‘new school’ (shimpa 新派) theater groups started coming to the Korean Peninsula. They provided some variety in the Japanese residents’ cultural life, entertained, and to a certain degree alleviated the feeling of alienation in a foreign country3. Japanese shimpa companies also came to Korea to proclaim victory over China and Russia4, and thus fulfill the policy of the authorities that treated artistic activity of theater companies as a useful tool to show Japan’s power5 and propagate her cultural achievements6. Companies such as Itō Fumio-za (伊東文夫座), Minamiza (南座), Gotō Ryōsuke-za (後藤良介座) and Aizawa-za (愛澤座) performed not only in the Korean capital, but also in the provinces, where local Japanese theaters often invited them7. Popular adaptations of famous Japanese sentimental novels and family sagas, such as Hototogisu 不如歸 (The Cuckoo) by Tokutomi Roka 徳冨 蘆 花 (1868–1927), Konjiki yasha 金色夜叉 (Golden Demon) by Ozaki Kōyō 尾崎 紅 葉 (1868–1903) or Kigiku shiragiku 黃菊白菊 (Gold and White Chrysanthemums) by Hosoda Tamiki (1892–1972) comprised the core of their artistic program. Also included were: an adaptation of the classic Shūnen-no hebi 執念の蛇 (Snake of Vengeance), a comedy Hatsuonki 發音器 (Hearing Aid), as well as the most popular morality and history plays and melodramas, and even remakes and travesties of classic Western works such as Hamlet and most probably The Merchant of Venice8. Performances by Japanese groups were primarily meant for the Japanese residents, but the Koreans were allowed to watch them, even though they were discouraged, at least in the first period, by the foreign theatrical convention and 3 In 1880, 835 Japanese lived on the Korean Peninsula. Their number grew to 7,245 during the next decade, and when the Japanese occupation began in 1910, there were as many as 171,543 Japanese residents (Yu 1982: 83). The number of Koreans living in the capital in the same period was between 400,000 and 500,000. (Yu 1990: 26). 4 Yu 1996: 217; Sŏ 2003: 37. 5 Powell 2002: 6, 9, 11–12. 6 Sŏ 2003: 37. 7 Yu 1996: 218. From 1908 to 1910 – in just two years – eight Japanese theaters opened in the Korean capital, and two more in Inch’ŏn and Pusan. See: Sŏ 2003: 37. 8 Ibid. SHINPA versus SHINP’A. The Influence of Japanese ‘New School’ Theater... 59 l­ anguage9. With time, Japanese shimpa theater began to attract the growing attention of both Korean audiences and artists, intrigued by its different style of acting, stunning special effects, stage design and novel plots. It showed the Koreans new possibilities in the theater arts and exposed the parochialism of their native theater groups. It should not come as a surprise that it quickly found its imitators. Idealism versus politics Im Sŏng-gu (임성구 林聖九, 1887–1921) was a staunch supporter of the Japanese ‘new school’ theater. In the beginning of the second decade of the last century he initiated the development of the Korean ‘new school’ theater (shinp’a 신파 新 派). Im Sŏng-gu came from a poor but large family that he had to support by selling fruit with his brother at the back of the capital’s Myŏngdong Cathedral. He got his elementary education in a traditional sŏdang school, where he supposedly only mastered “a single volume of Chinese characters” 10. The Catholic religion, inculcated through numerous Sunday schools run by missionaries, had a bigger influence on his development11. As a child he was already showing extraordinary ambition, a sharp mind, determination, open-mindedness, efficiency and a thorough ­interest in “everything new and different”12. At fifteen he saw a performance of a Japanese theater group, left his job and found employment in the private Japanese theaters Keisei-za (Kyŏngsŏng-jwa 경성좌 京城座) and Kotobuki-za (Su-jwa 수좌 壽座). He did not have any suitable education or artistic experience, so he mostly performed simple physical work13. At the same time he observed Japanese shimpa actors at work, and thus learned acting technique and memorized plays. Despite the adverse circumstances, he managed to understand the contents of the Japanese shimpa plays, translate them into Korean and in a simplified form adapt them for the use of his own group Hyŏkshindan (‘innovation’ 혁신단 革新團), established in the beginning of the second decade of the 20th century. Im Sŏng-gu and his company started to develop a new theater genre, which to Korean audiences, brought up on native theater performances, initially appeared as the crowning achievement of Western theater. Im Sŏng-gu was driven by idealism. He wanted to give people living in the capital a new kind of cultured entertainment, and hoped that it would shake his compatriots out of their stupor14 – stirring up some reaction to the reality of occupation, hardships of life, and political restrictions introduced by the Japanese ­administration’s Yu 1990: 28. Yu 1990: 29. 11 Ibid. 12 Ibid. 13 Yu 1990: 30; Yu 2006: 154. 14 Yu 1990: 29-30. 9 10 60 Ewa Rynarzewska a­ uthorities15. He also believed that the idealistic message of Japanese plays, ‘rewarding the good, punishing the evil’ (kanzen chōaku, kwŏnsŏn ching’ak 권선징악 勸善懲惡) would positively influence the Korean morale, give them reassurance and renewed faith in the existence of such elementary things as order and justice. Although Im Sŏng-gu must have been aware that Japanese plays did not match up with Korean reality and his compatriots’ everyday problems, he decided that their modern convention and new scope of interests would compensate for the cultural discrepancy, and perfectly fit into the revolutionary movement aimed at changing the Korean society, raising its intellectual level, and preparing it for functioning in the modern world. The artistic activity of Hyŏkshindan was supposed to be an example of how an ‘educational movement’ (kyoyuk undong 교육운동 敎育運動) is realized: a socio-educational movement supported by Korean intelligentsia, in a camouflaged way, trying to manifest resistance to the occupant’s restrictive policy16. Im Sŏng-gu’s patriotic motives were confirmed by his charity activities, in which Hyŏkshindan would provide new clothes for the poorest, organize food and haircuts for them, and even pay for their visits to local public baths17. The company also gathered funds for Korean schools that were closed en masse in occupied Korea for reasons both political and economic. Im Sŏng-gu managed to initiate a unique social movement by combining simple entertainment with philanthropy, an activity that he did not give up even at the peak of his fame, when he enjoyed the privileges of stardom. The social activity of the Hyŏkshindan company comprised a vital part of its fateful artistic activity. By involuntarily exposing how culturally and artisticly archaic the traditional theater performances were, the company indirectly played a part in causing their decline. Audiences began to see mask dance performances, puppet shows, p’ansori theater and even the classic ch’ang-gŭk opera (창극 唱劇) 18 as symbols of an era past, and pushed them to the margin of major artistic events. In the new political and social reality these forms were perceived as a cultural relic, and could not rival Hyŏkshindan’s repertoire of adaptations of Japanese plays. There is no doubt that Im Sŏng-gu opened a new chapter in the history of Korean theater and initiated the development of modern theater. At the same time, he became an involuntary advocate of the Japanese administration that sought to marginalize Korean art and used any pretext to uproot it. Rejection of the native art standards by Hyŏkshindan company and its numerous continuators fit neatly in the Japanese authorities’ policy, and was interpreted as an acquiescence to further cultural assim15 Japanese authorities declared a protectorate over Korea in 1905, and occupied the Korean Peninsula from 1910 to 1945. 16 Yang 1996: 244. 17 Maeil Shinbo (1914.2.4; 1914.3.13; 1914.4.7; 1914.5.2) [in]: HKYCJ 1 2001: 247; Yu 1990: 49–50; Yu 1996: 243; Rynarzewska 2013c: 79-80. 18 The classic ch’ang-gŭk opera is a genre of theater plays created around 1906, that for a couple of years stood as an example of modern theater [shin-yŏn’gŭk 신연극 新演劇]. SHINPA versus SHINP’A. The Influence of Japanese ‘New School’ Theater... 61 ilation – a process in which Hyŏkshindan played a significant part. For this reason, the company’s activities to this day remain a source of academic disagreement. Imitation versus innovation Im Sŏng-gu and other members of the group – many of whom had never seen a play in their lives – had no artistic experience, and the first performances of Hyŏkshindan were “unsuccessful imitations” of Japanese plays19. “What happened on stage was so bad it was ridiculous” 20 – remembered An Chong-hwa 안 종화 安種和, the theater’s chronicler and director, in the thirties of the past century. “[The actors of Hyŏkshindan] collaborated with [a Japanese shimpa actor] Komatsu, but the best he could do was to explain what the play was about and how they were supposed to move [on stage]. He wasn’t able to teach them how to present their culture, their native customs and everyday behaviour. The result was such that [the Hyŏkshindan actors] performed on stage in some bizarre Japanese kabuki style that wasn’t remotely congruent with Korean sensibilities21. Im Sŏng-gu was aware of the many imperfections of his group and in subsequent years did his best to improve the quality of their performance22. He even attempted to modify his actors’ way of performing to match the requirements of the Western theater’s realistic convention23, introduced to the Koreans first by the Japanese group Geijutsu-za 藝術座, and later, also by amateur groups of academic youth 소인극 素 人劇 (soin-gŭk). The changes introduced by Im Sŏng-gu were not meant to undermine the general artistic foundations of Hyŏkshindan, which remained faithful to the model of Japanese shimpa theater. It became his artistic trademark, and was therefore perceived by some as a typical example of artistic imitation, and an initiator of innovatory artistic changes by others. The truth most likely lay, as it often does, in the middle. Hyŏkshindan remained in the circle of Japanese ‘new school’ theater, and for this reason its art may be deemed, particularly by Japanese theatrologists, an attempt of artistic mimesis. On the other hand, one has to take into account the fact that the Hyŏkshindan group was the first to cut themselves off from the centuriesold tradition of native performative art and propose a ­completely different model of theatrical art that could successfully claim the name of modern theater. Yu 1996: 229. An Chong-hwa, Chosŏn Chung’ang Ilbo (1933.8.26) [in]: HKYCJ 6, 2001: 592. 21 Ibid. 22 To do that, he sought the help of a certain Komatsu, a Japanse shimpa actor befriended during his stretch of work in the capital theaters: Keisei-za and Kyŏngsŏng-jwa. Furthermore, in June 1914 he went to Japan, where he spent four months gaining artistic experience and observing Japanese troupes at work (including kabuki performers) (Sŏ 2003: 88). 23 Maeil Shinbo (1916.3.2) [after]: Yu 1996: 286. 19 20 62 Ewa Rynarzewska Removing the mask The novelty that Hyŏkshindan proposed was without a doubt taking off the mask, deeply rooted in the culture of native theatrical and ritual spectacles, it was used by actors in traditional dance performances24. By showing their faces and announcing their names, shinp’a actors rejected the anonymity of a traditional actor and gave their art a more individual aspect, and with that, initiated the process of reevaluating the social role of an actor. Moreover, by taking the example from the Japanese shimpa theater, they abandoned the practice of emploi, which tied the traditional actor to the part they played. Traditional actors would play the same character for as long as their physical condition or position in the group allowed. A change of part signified not only more artistic experience, but also increased prestige in the theater world. In this sense the practice of emploi, indicating an actor’s maturity and their recognition in the theater milieu, was a form of a rite of passage and an artistic expression of the conservative customs of the Koreans25. Hyŏkshindan’s actors not only changed their roles often, but were not attached to any of them. Granted, practical factors such as constant changes in the repertoire and lack of time for rehearsals were crucial elements for the adoption of such a scheme, but the worldview of the young amateur artists also played a vital part. Changes proposed by Hyŏkshindan were more than just an artistic flair – they were a challenge to the old era and its hierarchical structure, conservative customs and developed network of social dependencies26. The concept of onnagata Hyŏkshindan embraced the tradition of Japanese theater and adopted the stage practice of onnagata, an idea completely novel for the Korean audience. In an account from the thirties, An Chong-hwa remembers the reactions of the Koreans after Hyŏkshindan’s performances: “News of a bizarre theater unlike anything seen before quickly spread around the capital. [In this theater] a hick turned into a maiden, a youth played a greybeard”27. Admittedly, in traditional mask dance performances male Korean actors performed the roles of women. Artistically, however, it was a very different practice that resulted from distinct aesthetic ­concepts, shaped by 24 The exception being, of course, the p’ansori artists, who never performed in masks, as well as the traditional puppet-show artists. 25 The arrangement of masks on a ritual table during the opening ceremony preceding mask dance performances (t’alchum, kamyŏn-gŭk) attests to that: central space was taken by the masks of ‘Old Woman’ (Halmŏm) and ‘Old Man’ (Yŏnggam). This privileged position was dictated by the old age of the characters represented by the masks. 26 Rynarzewska 2013c: 165-166. 27 An Chong-hwa, Chosŏn Chung’ang Ilbo (1933.8.26) [in]: HKYCJ 6, 2001: 591. SHINPA versus SHINP’A. The Influence of Japanese ‘New School’ Theater... 63 the stylistics of plebeian Korean theater, including its signature satire, joviality and a Bakhtinian vision of a ‘topsy-turvy’ world28. Among all the female characters that appear in t’alch’um, the most important were the roles of the ‘Young Courtesan [kisaeng]’ 소매 (Somae) and ‘Old Woman’ 할미, 할멈, 미얄할미 (Halmi, Halmŏm, Miyalhalmi), although they too were almost entirely subordinate to the actions of the lead characters of the play – ‘Old Buddhist Monk’ 노장, 노승 (Nojang, Nosŭng), ‘Nobleman’ 양반 兩班 (Yangban), ‘Confucian Scholar’ 샌님 (Saennim), ‘Bachelor’ 취발이 (Ch’wibari) and ‘Old Man’ 영감 (Yŏnggam). The most autonomous was the character of ‘Old Woman’, who also perfectly represents a fundamental difference between the Japanese and Korean concept of onnagata. The former emphasized a realistic portrayal of ideal womanhood. What is more, it required the actor to embody a dramatic character, to wholly and faithfully paint her moral and psychological portrait29, to “in a way become unable to tell where reality ends and theatrical illusion begins”30. The latter, meanwhile, aimed to make a point of the dissonance between the role played on stage and actor’s individual identity. The grotesque, exaggerated acting style of a performer playing the part of the ‘Old Woman’ was supposed to break the symbiosis between the actor and the mask, and the caricatured portrayal of the character served to increase the distance between them. A Japanese actor playing a female part, consciously tried to create “stylized beauty, and therefore moved and spoke in such a way that the spectator would be completely entranced and start to perceive illusion as truth” 31. At the same time, a Korean actor emphasized the ugliness of ‘Old Woman’ and to this end reached for coarse, vulgar, even iconoclastic means. In contrast to a Japanese actor who was seductive and exuded a sensual aura32, a Korean actor amused and entertained. Ugly, disfigured ‘Old Woman’ did not excite aesthetic delight, but served as a vehicle of social critique. The ideological message of scenes in which this character appeared put aesthetic aspects in the background. The Korean character of ‘Old Woman’ had nothing in common with the subtle, delicate, charming Japanese creation of onnagata, which appeared as “the personification of a male vision of the ideal of womanhood”33. The character of ‘Young Courtesan’ could attempt to play such a part, were it not for her insignificance and marginal nature, reinforced by her silence and Yu Min-yŏng is inclined to identify the tradition of mask dance performances with the Japanese concept of onnagata, as evidenced in his comment: “[the concept of onnagata] was similar to the tradition of mask dance dramas”. The Korean historian does not elaborate, nor does he justify his position. (See: Yu 1990: 41). 29 Entry: Postać (Character) [in]: Pavis 2002: 363. 30 Żeromska 2010: 99. 31 Ibid.; Bowers 1954: 50. 32 Kawatake 2003: 131. 33 Żeromska 2010: 99. 28 64 Ewa Rynarzewska ­ assivity. She represents an incomplete character, a token of a character, reduced p to being an object of ‘Old Monk’s’, ‘Confucian Scholar’s’ and ‘Bachelor’s’ desire. For an actor playing this part it was impossible to bring to life an artistic creation that would match the Japanese onnagata. Hidden behind the backs of other characters, ‘Young Courtesan’ could not even present her charms, and indeed that was not her purpose. Both she and ‘Old Woman’ appeared on stage to criticize the faults of old Korea’s social elite’s representatives, and simultaneously entertain the audience and sensitize it to social misdeeds. The educational and entertaining function of these characters had a decisive impact on their portrayal34, further influenced by historical and social conditions that Korean actors operated in, different expectations of audiences, and the non-existence of an emancipated middle class that could sponsor its favourite actors and elevate them and their scenic creations to the status of a star. The Korean characters of ‘Old Woman’ and ‘Young Courtesan’, along with the actors that played them, could not lay claim to stardom. It was made impossible not only by their low social status, but also the mask worn on stage. The mask made it difficult to identify an actor, stripped him of his individual identity, emphasized the stereotype, and even deformed his physiognomy35. The suspicion of the Korean audience at the sight of the powdered faces of actors wearing women’s clothes without masks cannot come as a surprise. The Hyŏkshindan actors themselves were not thrilled by this formula. Kim Sun-han 김순한 金順漢 and An Sŏk-hyŏn 안석현, who went down in the history of modern Korean theater as the first male actors performing as female characters, played the parts “under duress”36. Protests of Hyŏkshindan actors prove that the concept of onnagata, although familiar due to the performances of Japanese companies, appeared to the Koreans as completely novel. Theatrical convention Another very innovative idea introduced by Hyŏkshindan was a new theatrical convention. The company attempted to break with the epic tradition of native performances and began to stage plays that were dominated, at least in theory, by acting. These actions were accompanied by a ‘moderator’ 해설자 解說者 (haesŏlja, lit. ‘interpreter’), who combined the functions of a commentator, a narrator and an intermediary host. They welcomed the audience and bid them farewell, explained the plot’s development, announced the repertoire, and invited attendees to see the Rynarzewska 2013b: 72. Entry: Maska (Mask) [in]: Pavis 2002: 280. 36 Yu 1990: 32. 34 35 SHINPA versus SHINP’A. The Influence of Japanese ‘New School’ Theater... 65 subsequent play37. Thus they contravened the mimetic convention of a play and its dramatic Aristotelian form. Whatsmore, they attested to the power of the theater tradition, as they introduced an element of the epic. Furthermore, they clearly connected to the convention of a traditional actor’s performance, in which they would spontaneously interact with audience, often addressing it directly and modifying their lines to better fit the context and environment of a given performance38. Therefore, the moderator’s comments were to some degree in line with native performance tradition and possibly helped to embrace the foreign theatrical convention of Hyŏkshindan’s plays. At the same time, they were something new. Their innovation added to the enrichment of theater performance with an ideological message and numerous educational elements corresponding to the enlightenment ideas of the period that bore witness to the historical and social changes as they occurred. The moderator’s comments drew attention to the non-artistic function of a theater performance and gave it the quality of a social manifesto, which distinguished them from the traditional native performances. Using their intuition and mimetic talents, Hyŏkshindan actors did their best to create a modicum of an illusion on stage – a concept completely foreign in Korea in the second decade of the 20th century. The epic form of the traditional theater performances made the audience a critical spectator that by necessity was detached, put in opposition to the action, and forced to draw rational conclusions39. Even if the Koreans were moved by the plight of eponymous heroines of Ch’unyang-ga 춘향가 (The Song of Ch’unhyang) and Shim Ch’ŏng-ga 심청가 (The Song of Shim Chŏng), they were fully aware that the real world and the world of the performance are separate, and they remained outside of the action that took place on stage. There is no doubt that they were invested in the dramas of their favourite characters – they expressed it with stylized ch’uimsae 추임새 shouts during the performance, but they knew the plots of the plays they were watching, and therefore were not subject to the effect of the increasing dramatic tension, a critical element of stage illusion40. The effect of illusion was further weakened by the episodic format of the traditional performances and a lack of a cause-and-effect motif41. The mask dance performances and puppet shows of old Korea were built out of autonomous scenes that could be easily rearranged without doing damage to the plot’s logic. Such construction made building dramatic tension more difficult, and the approach of p’ansori actors – only showing fragments of a play – made it virtually impossible. The plays presented by Hyŏkshindan’s actors juxtaposed with traditional performances appeared as continuous, complete and ­coherent l­iterary units formed Yang 2001: 52. Rynarzewska 2013c: 168. 39 Balme 2005: 71. 40 Entry: Iluzja (Illusion) [in]: Pavis 2002: 192. 41 Ibid. 37 38 66 Ewa Rynarzewska through the cause-and-effect motif and an internal logic of the action42. These features made it possible to keep plot continuity and build up tension on the stage, and as a result, also create an illusion of reality. In consequence, Hyŏkshindan presented a new theatrical form that to a greater degree engaged the emotions of the audience and invited the audience to express them. It was very suggestive and involving43. Simply put, Hyŏkshindan initiated the development of a convention described by modern theater studies as ‘dramatic theater’. The actors of Hyŏkshindan attempted to create a slice of the real world on stage, and for this purpose they started using various props and elements of scenography44. By doing this they rebelled against the tradition of native performances, whose creators appealed to the audience’s imagination and used mainly voice or at best fans and drums. Hyŏkshindan appreciated the value of visual features and tried to develop them as well as they could. In the harsh reality of occupied Korea, without any support or facilities, it was nearly impossible. Hyŏkshindan often had to perform wearing the uniforms of Japanese soldiers45, the only thing that was available and did not raise objections from the Japanese censors. The outfits were often in stark contrast with the contents of the staged plays and Korean language and, on the other hand, they were a clear marker of the reality that surrounded the Koreans. Likewise, their direct relation to the reality of occupation marked by the presence of Japanese police and gendarmerie strengthened the illusion created on stage and reinforced the conviction of the Korean audience that they were witnessing real events. Literary sources Im Sŏng-gu introduced unusual themes along with the unusual conventions. He reached into the repertoire of Japanese shimpa theater and started to stage plays about war, crime and morality. In 1912 alone, he presented over thirty Japanese plays that he had more or less aptly fitted to his own needs and capabilities46. By adapting Japanese plays, Hyŏkshindan offered the Korean audience a new range of motifs that could appear on stage. Scenes of murder and suicide, fights, crime, robberies and acts of vengeance that were the staple of action in most Japanese plays, were unknown in the literary output of old Korea. What is more, they constituted ideas foreign and controversial. Especially unique was, as it turned out, Rynarzewska 2013c: 166. Balme 2005: 71. 44 It is important to note that the first Hyŏkshindan performances took place on an almost entirely empty stage lit with nothing but lamps, and acting consisted of a small number of conventional gestures whose purpose was to convey the content of the play. See: Yang 2001: 52. 45 Yu 1990: 40. 46 For more on this topic – See: Rynarzewska 2013a: 202–208. 42 43 SHINPA versus SHINP’A. The Influence of Japanese ‘New School’ Theater... 67 the motif of boldly depicted love that in classic Korean works was a taboo, presented at most in underground productions, and which in traditional theatrical performances, was mostly used to convey social critique. The motif of love was generally tied to the values derived from Buddhist philosophy or Confucian doctrine. It was the only approach acceptable for the readers brought up in the spirit of puritan Confucian doctrine that removed sensual experience from everyday life. In the plays performed by Hyŏkshindan the motif of love was not only presented openly, but also in the context of an individual, as a manifestation of the lovers’ individual dilemmas and an expression of their personal desires. The protagonists of shinp’a plays freely expressed their own emotions and granted themselves the right to choose their partner and make decisions about their own future. It would not be an overstatement to say that in Confucian Korea such content was revolutionary, just as revolutionary was the new approach to creating characters on stage. Whereas the protagonists in traditional native performances were devoid of individual personality traits and represented an abstract idea that served as an artistic vehicle for ethical values, shinp’a characters were to a larger degree shaped by psychological and social factors. The appearance of Korean shinp’a characters on stage, often simplified and exaggerated, still revealed the connection to traditional theater forms, even as it broke off with the allegorical construction of characters defined by a single trait, typical to native performances. Moreover, Hyŏkshindan broke off the uniform language used in traditional performances shaped by dialectal forms and dominated by literary, often archaic vocabulary. Using the repertoire of Japanese ‘new school’ theater plays, Im Sŏng-gu and his actors managed to differentiate the way their characters spoke, and convey through speech their different social background, status, even age and gender. In spite of a certain artificiality in dialogues47 that was an inevitable result of the hasty adaptation of Japanese works, shinp’a characters expressed themselves using language close to everyday speech. This made them appear to Koreans as real people embodying the new epoch and its real problems. Tachimawari scenes Taking an example from Japanese kabuki and shimpa theater, Hyŏkshindan introduced scenes of stylized tachimawari combat that combines elements of gymnastics and rhythmic dance48. Such scenes contradicted the aesthetics of native Korean Kim 2009: 10–11. Bowers 1954: 160. Żeromska translates the term tachimawari as ‘standing in a circle’, ‘­a fight’, ‘a scuffle’ (Żeromska 2010: 165). 47 48 68 Ewa Rynarzewska performances, where the motif of conflict had an entirely different ­dimension: it was meant to chiefly express social critique, not the personal grudges of characters. Furthermore, in traditional Korean theater a scene of conflict was most often presented in a comedic style as a quarrel, dance performance, or as childish, seemingly innocent play. It was meant to mollify the tragic aspect of the characters’ death – usually the result of an accident, as opposed to death presented in Japanese theatre where it was the result of the deliberate actions and vengefulness of the characters. It would never occur to the Korean actors of mask dance performances to present a fight scene literally. Instead of swords and clubs, willow and peach branches were held, and the clash and antagonist’s defeat were represented by an arbitrary, conventionalized gesture, such as striking the opponent with a sleeve or branch49. Therefore, the tachimawari scenes presented by Hyŏkshindan had to cause great surprise – and confusion; evident in an anecdote that relates how bystanders, upon seeing Hyŏkshindan’s rehearsal, were convinced that the tachimawari scene was a real fight. Certain that they were witnessing an assault, they promptly called for the Japanese police50. Such reaction proves that tachimawari scenes appeared at first as culturally foreign interpolations, but very soon were recognized as having great impact on the audience, and became an extremely attractive artistic device. The distaste of the Korean audience, accustomed to the satirical convention of native performances, turned into delight and adoration. During the subsequent performances, the Koreans were practically cheering actors on, and the theater transformed into the scene of a grand tournament. Tachimawari scenes became a source of entertainment and a way to improve audience attendance. They were elevated to the status of the pivotal scenes, and made into a trump card that could fill the audience all on its own51. Eager to excite the audience even more, Hyŏkshindan actors made some small changes: they gave up the sword, carried by Japanese characters52, and replaced it, often with fists53. This and other examples show that Hyŏkshindan altered Japanese plays to cater to the tastes of their own audience. Melodramatic acting style The last of the innovations that Hyŏkshindan introduced onto the Korean stage, one that was possibly the most significant and had the greatest impact, was a melodramatic acting style. Melodrama was completely foreign to the Koreans, not only on stage, but in everyday life as well. Just how far removed such a style was from Rynarzewska 2013c: 171. Yu 1990: 32. 51 No 2009: 104. 52 Bowers 1954: 160. 53 No 2009: 104. 49 50 SHINPA versus SHINP’A. The Influence of Japanese ‘New School’ Theater... 69 what the Koreans were familiar with is attested to by the audiences’ reactions: bursting out laughing in the worst possible moments, frequently distracting the actors, conversing loudly, moving around the audience and even leaving the room54. Such a reaction is hardly surprising. What Koreans expected from theater was above all entertainment and amusement. Laughter was a way to dispel any negative emotions. The sentimental tone of Japanese shimpa theater was incongruous with the exuberant character of the Koreans, their natural spontaneity and optimism55. When the creators of the traditional performances of old Korea presented dramatic scenes, they used elements of satire and homey, rural joviality to minimize their tragic character. A perfect example of such an approach is the ‘Old Woman’ death scene from the mask dance performances. The tragic import of the episode was strongly contrasted with the actor’s stage actions, whose uncoordinated, ridiculous movements caused bursts of spontaneous laughter from the audience. A similar solution was used by the creators of puppet shows. A nude puppet of Hong Tong-ji 홍동지 and its foolish tirades eclipsed the death of ‘the P’yŏng’an Governor’ 평안 감사 (P’yŏng’an Kamsa) and the tragic aspect of fragile human existence. Hong Tong-ji’s enormous phallus employed to support the coffin signified physical and spiritual liberation and evoked joyful laughter. It was precisely this exuberant laughter that brought about the collective cathartic experience. It mollified the dramatic message of native performances, relieved social tensions and lightened the burden of personal issues56. Hyŏkshindan adopted the basic principles of Japanese acting style, but due to the actors’ lack of experience these foundations became extremely exaggerated, pretentious, schematic and artificial57. The company initiated the development of new means of stage expression and began performing in a pathetic style whose doleful tone was expressed chiefly through stylized wailing, sobbing and hysterical cries. From the very beginning Im Sŏng-gu paid great attention to maudlin scenes58 and at all costs tried to make the audience cry. This approach was at first met with general resentment, as evidenced by skeptic reviews in the Korean press that published the following after the premiere of Chinjungsŏl 진중설 陣中雪 (The Battle in the Snow), an adaptation of a Japanese play Jinchūsetsu: “[The play presented] in Yŏnhŭngsa theater was likeable and certainly innovative. However, the stars of the group, Im Sŏng-gu and Ko Su-ch’ŏl, should have cried with more restraint. Their wailing was unbearable. In a dramatic scene one should cry, and in a comedic one – laugh. One cannot cry all the time. It is not the right approach”59. Maeil Shinbo (1912.3.31; 1913.1.21) [after]: Yu 1990: 51. Yu 1990: 52. 56 Rynarzewska 2013c: 174. 57 Sŏ 2003: 110–111; Ko 1990: 18; Kim 2009: 12–13. 58 Yu 1996: 239. 59 Maeil Shinbo (1912.3.27) [in]: HKYCJ 1, 2001: 118. 54 55 70 Ewa Rynarzewska Despite reviewers’ critical opinions the melodramatic acting style of Hyŏkshindan actors quickly spread and was accepted by the audience that was already starting to go to the theater not for amusement, but in acknowledgement of their plight. When other shinp’a companies realized that sentimental plays matched the prevalent social mood and better met the expectations of audiences, they also adopted the melodramatic style of Hyŏkshindan. Soon “drama became a synonym of crying, and one could not go to the theater without a handkerchief ”60. The melodramatic acting style of Hyŏkshindan had a tremendous impact on a multitude of Korean actors and shaped the art for the following generations of actors, proving the great influence of the first Korean shinp’a group and Japanese shimpa theater. By transplanting the Japanese art of acting to the soil of Korean culture and transforming it according to his vision, Im Sŏng-gu achieved a radical reevaluation of aesthetic principles in Korean theatrical art. According to some Korean theater scholars, he also contributed to a shift in the national character of Koreans61. The innovative stage experiments of Hyŏkshindan came to fruition not only in the artistic field but also outside of it. Conclusion Many Koreans followed in the footsteps of Im Sŏng-gu and soon there were over a dozen Korean groups of ‘new school’ (shinp’a). Among them the most influential companies were Munsusŏng 문수성 文秀星 (lit. ‘literature and a unique star’), Yuildan 유일단 唯一團 (lit. ‘[the] one and only’), Ch’wisŏng-jwa 취성좌 聚星座 (lit. ‘constellation’) and Shin’gŏk-chwa 신극좌 新劇座 (‘new theater’). The directors of these companies – Yun Paeng-nam 윤백남 尹白男, Yi Ki-se 이기세 李基世, Kim So-rang 김소랑 金小浪 and Kim To-san 김도산 金陶山 – came from different social backgrounds and each had a different vision for the direction in which modern Korean theater should go. Yun Paeng-nam and Yi Ki-se represented the intellectual circles. They gained artistic experience in Japan, where they had the possibility to observe, in person, Japanese actors at work62. Kim So-rang and Kim To-san took their first steps as actors in Hyŏkshindan; they were Im O 2002: 214. This position is supported by Yu Min-yŏng (1990: 52), who believes that Japanese theater contributed to a change in the Korean national character, as it suppressed in Koreans their innate optimism, creative attitude towards life, and the ability to overcome any obstacles. Japanese shimpa theater, Yu Min-yŏng argues, released the experience of han (understood as a complex emotional and psychological syndrome that merged negative emotions like regret and bitterness, grudge and sorrow, indifference and disillusionment) into Korean society (Rynarzewska 2007: 154–182). 62 Yun Paeng-nam took acting classes from Saorikei Ichirō (1869-1943), a Japanese shimpa actor; Yi Ki-se was a student of Shizuma Kojirō for over two years, copying the scripts of various plays and familiarizing himself with Japanese ‘new school’ theater. See: Yang 1996 : 260, 261. 60 61 SHINPA versus SHINP’A. The Influence of Japanese ‘New School’ Theater... 71 Sŏng-gu’s followers and adopted his artistic views. While the former artists were interested in the reformation of ‘new school’ theater, the latter were striving to strengthen its position and popularize it, and for this end they undertook various endeavors, with varying results. For example, Kim So-rang developed intermedia (makkan 막간 幕間), which within a short time became the artistic program’s highlight and almost dominated the dramatic arts, in the process, dividing the Korean audience into staunch supporters and opponents. In 1919 Kim To-san initiated the development of ‘mixeddrama’ (yŏnsoeae-gŭk 연쇄극 連鎖劇) 63, and earlier cooperated with classic ch’anggŭk opera artists. However, he soon gave up such stage experiments and focused on staging remakes of Japanese shimpa theater plays. He and Kim So-rang, also brought up on Japanese art, had no intent to give it up. Yun Paeng-nam and Yi Ki-se were also vested in the paradigm of Japanese shimpa theater, but they undertook a number of important endeavors that served to improve the quality of Korean shinp’a theater. First of all, they put great emphasis on improving the literary quality of the plays they staged, and the development of acting and scenographic art. They strived to move away from the schematic copying of Japanese shimpa theater and break away from the common practice of staging simplified versions of Japanese ‘new school’ plays. They also declared a readiness to stage Korean plays64 and were the first to attempt staging Western plays65. Their efforts were only half successful, as neither the actors nor audiences were ready for such radical changes. Japanese shimpa theater dominated the stages in Korea during the second and third decade of the 20th century, and in its modified form shaped Korean tastes. Its elements seeped through even to amateur school and student theater groups (soin-gŭk) active in the twenties – groups that officially cut themselves off from Korean shinp’a companies, used the achievements of Western theater; groups that aimed to change the native theater, and – according to a number of Korean theater scholars – created the foundation of modern Korean theater66. ‘New school’ theater could not be removed from the stage, even by the Institute of Theater Arts (Kŭg-yesul Yŏn’gu-hoe 극예술연구회 劇藝術硏究會). For a couple of years the Institute’s theater company presented the crowning achievements of western drama, and made every effort to implement the formula of realistic EuroKim To-san took the Japanese ‘mixed drama’ (rensageki), presented a year earlier by Setonaikai company, as a model for his art. See: Entry: Kim To-san [in]: SSTYS 2006: 32. 64 Maeil Shinbo (1921.11.19) [in]: HKYCJ 1 2001: 579. 65 In 1916 they staged a travesty of Alexander Dumas’ father’s The Corsican Brothers and an adaptation of Tolstoy’s novel Resurrection, the latter taken from the Japanese group Geijutsuza. Not only did Yun Paeng-nam and Yi Ki-se use the Japanese script and title for Katyusha, but also the song that was originally performed by Matsui Sumako, the lead performer and the group’s star. See: Yu 1996: 288-289. 66 Yi 1966: 163; Yu 1996: 536; Yang 1996: 45. 63 72 Ewa Rynarzewska pean theater in Korea. It, however, did not manage to change the taste of the average Korean, who preferred shinp’a plays for their specific acting style, melodramatic tone, sentimental message and a simplified vision of the world. After three decades most Koreans forgot the Japanese roots of ‘new school’ theater and accepted it as a genre of native theater art. It should not come as a surprise, as in the meantime Japanese shimpa theater underwent a grand metamorphosis: it adopted elements of modern Japanese theater (shingeki) and artistic manifesto of Korean proponents of Western theater (shin-gŭk 신극 新劇). In its restructured form, ‘new school’ theater shaped the modern Korean scene and was close to gaining an artistic monopoly. Its dominance was an inevitable result of historical, political, social and cultural factors. In the second decade of the last century Japanese shimpa theater appeared as an important and the only source of artistic inspiration. The geopolitical isolation of Korea did not allow for a free exchange of artistic experiences with the outside world. The restrictive policy of the Japanese authorities blocked all artistic initiatives, turning Korea – especially in the second decade of the 20th century – into a cultural desert. The Japanese administration attempted to eradicate traditional theatrical performances, correctly assuming that they could strengthen the Korean national identity as symbols of national heritage. Ambitious shin-gŭk drama (‘new drama’), whose creators tried to touch upon the pressing social issues and raise the political consciousness of their fellow Koreans, shared the fate of traditional theatrical performances. Only shinp’a companies could count on a concession from the Japanese authorities. Their repertoire, adopted from Japanese shimpa groups, complied with the assimilation policy of the Japanese administration, implemented under the slogan of “Japan and Korea are a single body” (nansen ittai, naesŏn ilch’e 내선일체 內鮮一體)67. Therefore the development of ‘new school’ theater was a result of a deliberate Japanese policy, one that had recognized the social influence of theatrical art and decided to use it in the process of cultural integration. Political implications played a crucial part in the development of modern Korean theater68. Traces of Japanese shimpa theater could still be found in the South Korean theater after the war69. No 2009: 124. Sŏ Yŏn-ho proves that an assesment of Korean art developing during the ocuppation is not possible without taking into consideration political factors, e.g. Japanese censorship and cultural policy of Japanese administration, which “from the very beginning sought to stymie the creative imagination and liberty of [Korean] artists”. See: Sŏ 2003: 44. 69 Shinp’a theater, under a different name and in a changed formula, exerted a significant influence on the South Korean theater of the thirties, fourties, and even fifties. It was strongly condemned in North Korea – an assessment dictated mostly by political and idealistic reasons. Chief complaints that North Korean critics had for shinp’a groups were ‘promotion of reactionary ideas’, ‘expression of lowliest, animal instincts’, ‘spreading extreme individualism’, ‘propagating militarism’ and ‘depicting robbery and murder’. See: Ogarek-Czoj 2007: 37–38. 67 68 SHINPA versus SHINP’A. The Influence of Japanese ‘New School’ Theater... 73 Bibliography Balme, Christopher 2005. Wprowadzenie do nauki o teatrze [introduction to theater studies]. Warszawa: Wydawnictwo Naukowe PWN. Bowers, Faubion 1954. Japanese Theatre. London: Peter Owen Limited. HKYCJ 1 2001. An Kwang-hŭi (ed.). Han’guk kŭndae yŏn’gŭksa charyojip 1 [the history of Korean theater in the kŭndae period – sources, vol. 1]. Seoul: Tosŏch’ulp’an Yŏngnak. HKYCJ 6 2001. An Kwang-hŭi (ed.). Han’guk kŭndae yŏn’gŭksa charyojip 6 [the history of Korean theater in the kŭndae period – sources, vol. 6]. Seoul: Tosŏch’ulp’an Yŏngnak. Kawatake, Toshio 2003. Kabuki: Baroque Fusion of the Art. 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II [classical Japanese theater – roots and metamorphoses, vol. 2]. Warszawa: Wydawnictwo Trio. SHINPA versus SHINP’A. The Influence of Japanese ‘New School’ Theater... 75 English Summary of the Article Ewa Rynarzewska SHINPA versus SHINP’A. The Influence of Japanese ‘New School’ Theater on the Development of Modern Korean Theater The traditional theater art of old Korea developed chiefly within the plebeian culture. Despite the lack of proper facilities and its condemnation by Korea’s intellectual elites during the Chosŏn dynasty (1392–1910), traditional Korean theater developed rapidly until the end of the 19th century. Traditional actors addressed their art to the lower class and exposed the pressing problems of contemporary Korea, but the gravity of the message was mitigated by a satirical, ribald and sometimes downright iconoclastic style. A shift in awareness occurred only in the beginning of the 20th century, when Japanese ‘new school’ (shimpa) theater groups started coming to the Korean Peninsula. They presented popular adaptations of famous Japanese sentimental novels and family sagas addressing the plays to the Japanese residents. Performances were primarily meant for the Japanese residents, but the Koreans were allowed to watch them, even though they were discouraged, at least in the first period, by the foreign theatrical convention and language. The first, and very staunch supporter of the Japanese ‘new school’ theater was Im Sŏng-gu (1887–1921). Together with his group Hyŏkshindan (‘innovation’) established in the beginning of the second decade of the 20th century, he started presenting the Korean audience simplified and adapted versions of Japanese shimpa plays, thus developing a new theater genre and initiating the development of the Korean modern theater. The main aim of this article is to describe the process of adapting the Japanese theater: to show which elements were borrowed from Japanese theater groups, e.g. the concept of onnagata, the theatrical convention, literary sources, tachimawari scenes, melodramatic acting style; to present achievements of Im Sŏng-gu who had to overcome cultural differences between Japan and Korea, political and social barriers and the aesthetic taste of the Korean audience; and finally to point out the consequence of Im Sŏng-gu’a artistic activity. Key-words: Korean shinp’a theater, Japanese shimpa theater, Im Sŏng-gu, Hyŏkshindan, onnagata, tachimawari Agata Koszołko The Ideals of Bushidō Depicted in Hagakure (Hidden in the Leaves) and Chūshingura (The Treasury of Loyal Retainers) Hagakure (‘Hidden in the Leaves’) and Chūshingura (‘The Treasury of Loyal Retainers’) are widely known not only in Japan but also around the world. These two texts from the eighteenth century were translated into English and many other languages and became a part of world culture. Hagakure and Chūshingura are regarded as two sources in which the ideals of bushidō (‘the way of the warrior’) are depicted. Both texts, written in the middle of the Edo period, present an ideal warrior and describe the values of bushidō ethics. This article is an attempt to analyze and compare these two texts and the visions of bushidō depicted in them. Firstly, I will briefly introduce Hagakure and Chūshingura and present the circumstances in which they were written. The next part will concern the term bushidō and its emergence and also the situation of warriors in the Tokugawa period. The second part will be devoted to Yamamoto Tsunetomo’s teachings – the practice of junshi he was fascinated with, the concepts of kage no hōkō and shinobu koi and also his worship of death realized as the idea of shinigurui. Then, I will present the ideal of samurai in the second text – Chūshingura with its historical background concerning the revenge of the loyal vassals from Akō. The next part will concern Yamamoto Tsunetomo’s evaluation of the 46 retainer’s deed and other opinions on their revenge. The last part will be an attempt to compare the visions of bushidō depicted in these two texts. Hagakure (葉隠れ) – translated as ‘Hidden in the leaves’ is a compilation of short stories and anecdotes written between 1710 and 1716 by Tashiro Tsuramoto from the oral transmission of Yamamoto Jin’uemon Tsunetomo (1659-1719)1, 1 Yamamoto Tsunetomo, the author of Hagakure, was born in a respected samurai house. His grandfather and father were loyal and influential vassals of daimyō Nabeshima. Even though all his life he aspired to be a real warrior, he never had the chance to because of the times he was born in. He was a personal servant of his lord, Nabeshima Mitsushige and later, his secretary and scribe, but he never had an opportunity to demonstrate his martial skills on the battlefield. After the death of his lord, he left active service and moved to a Buddhist monastery where he became a monk and obtained the name ‘Jōchō’ (Chinese reading of the kanji from his name Tsunetomo). 78 Agata Koszołko a ­vassal of Nabeshima Mitsushige (1632-1700), daimyō of the Saga han. The original manuscript of Hagakure was lost and until contemporary times approximately 40 copies of the text remained which – in various versions and with various commentaries were spread among the vassals of the Nabeshima house. Such a large number of versions caused much confusion regarding the translations – not only into the western languages but even into contemporary Japanese. The text also has a few different titles, such as Hagakure kikigaki ‘Overheard stories hidden in the leaves’ , Hagakureshū ‘Compilation hidden in the leaves’, Hagakure rongo ‘Teachings hidden in the leaves’, Nabeshima rongo ‘Teachings of the house of Nabeshima’). Also the name of the author is not precise because it can be found written as Yamamoto Tsunetomo or Yamamoto Jōchō, which was the name he had taken after becoming a Buddhist monk. The end of the seventeenth and the beginning of the eighteenth centuries - the time when Tsunetomo lived - was a time of brilliance in the reign of the Tokugawa shōguns, under which Japan developed for over 250 years as a country free from military conflict. Samurai born in the time of the Edo period were more bureaucrats than warriors. Tsunetomo and other samurai from his generation knew battles only from stories, not from their own experiences, although – paradoxically – it was the flowering time of the schools of kenjutsu and other martial arts. The original corpus of the text consists of 11 scrolls called ‘kikigaki’ – ‘overheard stories’. The book is introduced by a preface entitled ‘Night idle talk’ (Yain no kandan) which was written by Tsunetomo himself. Two first scroll deals with short teachings and thoughts of Tsunetomo. The third scroll includes stories about Nabeshima Naoshige, the founder of Nabeshima domain, the fourth – about Nabeshima Katsushige, the first ruler of the domain, the fifth – about Nabeshima Mitsushige and Tsunashige, accordingly the second and the third daimyō. The fifth scroll is almost wholly a chronicle of Nabeshima domain and is often omitted in contemporary editions because it doesn’t have any information interesting for today’s reader. The sixth scroll includes stories compiled from the whole Nabeshima domain and the next three scrolls consist of stories of various vassals of the Nabeshima house. The tenth scroll includes stories about vassals from other provinces and the eleventh is an appendix that consists of texts that don’t consort with the other chapters of the book2. The history of the 46 retainers3 from Akō, which is known in Japanese culture as Chūshingura (“The Treasury of Loyal Retainers”) was incorporated into the colOike 1999: 46–48. In fact, the group of ‘loyal retainers’ was composed of 46 members, not 47 as it could be found in some sources, because one of the warriors, Terasaka Kichiemon was excluded from the group and he was not arrested (Bitō 2003: 165). Other sources state that Terasaka ran away from the place where the action took place in order to carry the message about what had happened to Akō (Ikegami 1997: 224). 2 3 The Ideals of Bushidō Depicted in Hagakure (Hidden in the Leaves) and Chūshingura... 79 lective consciousness of the Japanese and exists as an epic tale about loyal retainers who in the name of faithfulness to their late master decided to take revenge on his enemy. The history of their action, reinterpreted and re-imagined became the base for innumerable plays, novels, movies, manga, anime and even ballet performances and operas. To the present day the theme of the 46 samurai vendetta seems to be an endless source of inspiration for creators not only in Japan but also abroad. In Japan, Chūshingura has gained the status of a national legend and the avengers themselves became heroes called gishi (‘righteous man’, ‘righteous warrior’), which was indicating the approval of their deed. Gishi were glorified by the masses from the moment of their death.4 To date, even though over three centuries have passed, the kabuki play Kanadehon Chūshingura, based on the story of the 46 samurai, is staged every year on Japanese stages and invariably attracts many viewers. Chūshingura, the title under which it was incorporated into the Japanese literature5 was written by Takeda Izumo II (1691-1756), Namiki Senryū (1695-1751) and Miyoshi Shōraku (1696-1772). Izumo created the outline of the plot and was supervising the entire play. The two other co-authors were responsible for the other parts of the play. Such a system of multiple authorship was often practiced at that time6. Chūshingura was originally written as a puppet play and soon after that it was adopted into kabuki. The origins in the puppet theater could lead to the stereotypisation of characters because by such medium as a puppet and its limited ways of expression, it was very difficult to present subtle differences between the characters. The adaptation of the play by the kabuki theater enabled it to exceed those limits, but the modification of the original text was unavoidable. Such modifications concerned for example, omitting some parts and extending the others in order to exploit the possibilities in kabuki for spectacular stage effects or to make a particular effect on the viewer. Individual actors could also transform each character with their own personal characteristics, something that was not possible in a puppet play7. Chūshingura, from the moment it was staged the first time as a puppet play, became an immediate success. When it was adopted by the kabuki theater it began to be staged in Ōsaka, Kyōto and then in Edo. As time passed the story of the 46 rōnin from Akō stopped being perceived as a taboo and theaters did not have any problems with the bakufu’s censorship. The play was gaining popularity not only in Japan but also abroad. In 1794 it was translated into Chinese and in 1880 – into German and English. The story’s power of influence was 4 To the present day they are worshipped in the Kagakuji (the Asano House’s family temple, at the present time in Hyōgo prefecture), where their graves are located. 5 The full title: Kanadehon Chūshingura literally means ‘a copybook of kana’ and could refer to the number of retainers who participated in the vendetta (with the 47th retainer who in fact did not take part) or it could suggest that the play was written in kana. 6 Hattori 2008: 89–94. 7 Takeda, Miyoshi & Namiki 1971: 22–24. 80 Agata Koszołko so strong that Japanese theaters staged it whenever in financial straits because it was a guaranteed success. There always were viewers wanting to see it. The aim of this article is to analyze and compare two visions of the ideal warrior that emerge from these two 18th century texts and present the differences between them while presenting the values of bushidō. In both texts the concept of ‘the way of the warrior’ is presented as referring to the medieval type of samurai ethics that glorified and legitimized the aggressive and violent actions. However, there are meaningful differences between these two visions and they will be presented during the comparison. The emergence of the term bushidō and the situation of warriors in the Edo period The term bushidō translated as “the way of the warrior” is used in the meaning of samurai ethics or a kind of unwritten code of behavior existing among Japanese warriors. Although it is believed that bushidō was created along with the process of the emerging of the samurai class in Japan, in fact until the Edo period it was not in common use. But it does not mean that there was not any code or way of life commonly regarded by warriors as righteous and proper. In spite of the fact that it had not became a systematized ideology, it was always present in collective samurai’s consciousness and its evidence was not words but performed actions8. Numerous terms were used to name the samurai ethics, for example shidō – ‘the way of the noble man’, samuraidō,- ‘the way of samurai’ bushi no michi – ‘the way of the warrior’, mononofu no michi – ‘the way of the warrior’, masurao no michi – ‘the way of the hero’, tsuwamono no michi - ‘the way of the soldier’, yumiya no michi - ‘the way of bow and arrows’, musha no narai - ‘the customs of the warrior’, yumiya toru mi no narai – ‘the customs of that who hold the bows and arrows’9. Medieval samurai did not contemplate the condition of the warrior and the function he should have in Japanese society because they simply did not have time for that. In the times when no one could be sure what will happen the next day, philosophical considerations were a luxury no one could afford. In such circumstances the only way to express one’s values and present opinions was with action. A warrior expressed his own value system by his actions – they were the proof that he was doing right. When the great peace of the Tokugawa period began, warriors engaged thus far in fighting and unsure what the future would bring, were able to put away swords and consider what it meant to be a samurai. An additional impulse for such considerations was no doubt the fact that their role in the 8 9 Ikegami 1997: 278. Takahashi 1987: 38–40. The Ideals of Bushidō Depicted in Hagakure (Hidden in the Leaves) and Chūshingura... 81 society had changed diametrically. That new role could be fully expressed with the term bunbu ryōdō (文武両道), ‘the way of the brush and sword’10. The ideal of bunbu ryōdō was connected with an entirely new group in samurai society that emerged in the Tokugawa period – a group of warrior-intellectuals who, in spite of the fact that they were still carrying a sword by their sides, did not have many occasions to use it and more often they took up a brush to write11. The peace that was brought to Japan for over 250 years with the Tokugawa bakufu initiated a flourishing development of culture and art in every field. The samurai class has also participated in that development, not only as patrons but also as distinguished authors who exchanged their swords with brushes. When they had became bureaucrats in the administrative machine of Tokugawa bakufu, their status and function in Japanese society also has changed. Toward such great change warriors had to redefine their social position and to find themselves a place in that new social order. For this reason the Edo period abounds in numerous literary and philosophical works considering the warrior’s condition, his role in society and duties incumbent upon them in that society. Along with the spread of the term bushidō, that term began to be used as the name of the set of ethic rules which everyone of righteousness should follow. A significant impact on the consideration of the warrior’s moral code was made at that time by Zen Buddhism and Neo-Confucianism. Zen was associated with samurai from the moment it was brought to Japan in the 12th century. From the warrior’s point of view it was a very attractive philosophy that was ideally adapted to his needs and was answering dilemmas emerging in his mind. In turbulent medieval times and the Warring States period teachings calling for an indifferent approach to the matter of life and death, valuing action higher than words was comforting to the warrior’s minds. It was also showing them how to follow their path. Because of the fact that the practice of martial art (especially swordsmanship) was one of the ways to achieve enlightenment, even in the peaceful Edo period Zen had many followers and disciples among the samurai class. The idea of bunbu ryōdō was created long ago before the Edo period for the expression describing the ideal form of warrior’s education. This term was used regarding well-educated samurai – the one who was practicing swordsmanship along with the art of poetry, painting or other fine arts. Nowadays this term is used to describe comprehensive education in Japan – the education concerning the mind and the body, the cultivation of the mind along with sports training, generally martial arts. 11 Although the Edo period warriors did not have any occasion to test their own martial proficiency on the battlefield, paradoxically that period was a flourishing time for the development of schools of swordsmanship and other martial arts schools (Agata Koszołko, Historia drogi miecza (kendō) w Japonii, (The history of the way of the sword (kendō) in Japan), [in:] Agnieszka Kozyra (ed.) 2013. W kręgu wartości kultury Japonii. W 140. rocznicę urodzin Nishidy Kitarō (1870-1945). Warszawa: Wydawnictwo Uniwersytetu Warszawskiego. Pp: 355–369). 10 82 Agata Koszołko The other philosophy that had a great influence on the formation of the samurai’s ethical code was Neo-Confucianism 12. In spite of the fact that its role is often exaggerated in that process, it could not be disclaimed that it was a great factor forming the samurai mentality. Neo-Confucianism was entrenched and legitimizing existing social order in Japan of that time with the supreme position of the samurai class. By the affirmation of the virtue of public and collective loyalty and responsibility it was entrenching the feudal structures of bakufu. It was also relocating the focus from the military aspect of samurai culture to the more intellectual aspect aimed at education and administration13. On the basis of those two philosophies intellectualists from the Edo period were explaining the role of warrior in society and presenting his privileges and duties. Neo-Confucian philosophers described a warrior as a ‘noble man’ who because of his inner moral virtues had the right to rule the rest of the society. Zen on the other hand taught how to maintain the military spirit in times when warriors did not have chance to stand on the battlefield. Such considerations on the samurai ethics or the warrior’s code which later began to be called bushidō could be found in two literary works from the Edo period Hagakure by Yamamoto Tsunetomo and Kanadehon Chūshingura which was written by three dramatists - Takeda Izumo, Miyoshi Shōraku and Namiki Senryū. Although the ideas regarding the warrior’s condition in some aspects are different, they present important reflections on the Edo period concept of bushidō. Yamamoto Tsunetomo’s teaching in Hagakure For nearly 200 years the contents of Tsunetomo’s Hagakure were known only among the vassals of the house of Nabeshima, because his views on samurai ethics were too radical to be presented to a larger audience. The radical philosophy of Hagakure as well as the unforgiving criticism of the contemporary world of local politics that Tsunetomo stated made Hagakure a very ‘dangerous’ book. It was not allowed to be published or widely known by the bakufu authorities. Because of that the author attached a note to the manuscript: ‘After reading, this 11-chaptered book should be burned’. Tsuramoto, the editor, felt that Hagakure was too precious and did not obey his teacher’s order. In Saga han, reading Hagakure was not prohibited, but on the other hand, it was not recommended14. In such a way the book was handed down until the end of the Tokugawa period. It was transcribed secretly, by The term ‘Neo-Confucianism’ was used in the meaning of philosophical movements that proposed the return to the original teachings of Confucius and the rejection of all the other ideas from Buddhism and Taoism. The representatives of that movement in Japan were the schools of yōmeigaku and shushigaku. (Blocker &Starling 2008: 80–81) 13 Ikegami 1997: 299–301. 14 Ikegami 1997: 279–280. 12 The Ideals of Bushidō Depicted in Hagakure (Hidden in the Leaves) and Chūshingura... 83 supporters and volunteers, within the Saga clan and among people who had some relation to the Saga. On the other hand, because of that fact, contained within it, the written history of the Nabeshima house and the Saga han was included, from an educational point of view it was a very valuable literary work for young warriors from the Saga han15. Upon the new era of Meiji, Hagakure was printed and so made widely available. The practice of junshi For Tsunetomo and others like him, looking for bravery and fame on the battlefield was something unrealistic. What is more, Tsunetomo could not even end his life by junshi – suicide committed after the death of one’s master and was customarily done as the proof of one’s lifelong loyalty towards the lord. In Tsunetomo’s situation such an act was impossible because Nabeshima Mitsushige prohibited that practice in 1661 after it was discovered in the Saga han that 36 vassals of his uncle were planning to commit junshi after their lord’s death. Short after that the procedure of junshi was officially prohibited by the bakufu. Acts of junshi appeared sporadically in the middle ages, but back then they were suicides of samurai who lost their masters in the battle. At the beginning of the 17th century that custom had returned and became kind of a fashion among the warriors. What is more – it was considered normal behavior for samurai whose service was specially appreciated by the master. There are several reasons why junshi was committed. First, but rather not praiseworthy, was the calculated desire to gain fame after death by the samurai who wanted to be remembered as a loyal and faithful servant of his lord. It had also material profit, because very often the heirs and the family left behind by such samurai were rewarded for his services. More often junshi was the way to demonstrate the military art of a warrior and sometimes it was the only occasion to show one’s own martial proficiency in the times of peace, although it was directed upon oneself. Junshi could also be interpreted as the most extreme form of protest of the samurai, who – inserted into the frames of control of the Tokugawa bakufu – were forced to refrain from their traditional forms of demonstrating their aggression (eg. while solving conflicts or taking revenge). The moral dilemma of the samurai from that time, considered also on the pages of Hagakure, was the fact that the samurai – although he was incorporated into the political structure of the state and did not have any economical base which could maintain his independence (as it was in the middle ages), was obliged ethically to oppose the laws of that organization when they endangered his own sense of honor. 15 Yamamoto 2012: 108–109. 84 Agata Koszołko It had created a very paradoxical situation when – for example – in the case of conflict (kenka)- adhering to the law and abandoning the violence was exposing a warrior to a shameful term of fukaku (‘lack of attention’, ‘negligence’) and meant the betrayal of one’s own honor. On the other hand – behaving according to the sense of samurai honor was the same as breaking the ruling laws. The conflict emerged in situations when the sense of honor collided with the sense of law. The ethical dilemma samurai were facing in such a situation was unsolvable from the logical point of view, because the choice of any of that way had fatal consequences – most often it ended by sentencing on committing seppuku by the authorities of the bakufu or by one’s own sense of honor and the desire to avoid shame. That is the reason why Tsunetomo considers junshi as the only solution in such situation, because according to him the best decision is to choose death and to leave honorably as a warrior. In his opinion shame is much worse than death. Suicide by junshi was the act of relieving that frustration which samurai suffered from in the times of changing social and political circumstances. It was also a manifestation of their absolute freedom and the right to decide about their own life and death in situations that could be perceived as hopeless and unmanageable. Another reason for committing the act of junshi by the samurai in the 17th century could be a homosexual relationship between the vassal and his master and the seppuku committed after the lord’s death by his servant was interpreted as a suicide out of love. According to some researchers, homosexual relationships were often helping in creating the sense of solidarity in samurai armies16 and in such cases the act of junshi was the point where love and death met, hidden under the official ideology of loyalty. Such expression of one’s personal loyalty towards his senior was blatantly contradictory to the official politics and laws of the Tokugawa bakufu. The bakufu, leaning on the Neo-Confucian philosophy whose principles were modified for its own politics, showed the clear path that the samurai of the new era should follow. Samurai – according to the bakufu– were not only warriors now, but they became bureaucrats incorporated into the administrative machine of the Tokugawa bakufu. They were compared to sages or ‘noble men’ who had the right to rule Japanese society because of their inner moral virtues. What is more, they were presented as a moral standard for the rest of the society17. (Ikegami 2011, p. 313-314) All aspects connected with the martial spirit that was creating ‘the way of the warrior’ (bushidō) have lost their significance from the point of view of new philosophy. Expressing the samurai identity in Neo-Confucian categories caused the reevaluation of moral standards in Neo-Confucian spirit. The teachings of that philosophy and its ideal of ‘noble man’ were contrary to the traditional samurai identity, for example by prohibiting junshi. The major virtues 16 17 Leup 1995: 48–51. Ikegami 1997: 310–312. The Ideals of Bushidō Depicted in Hagakure (Hidden in the Leaves) and Chūshingura... 85 stemming from that philosophy and popularized by the bakufu were for example the organizational loyalty, hierarchical social ethics, the sense of social duty, the cultivation of self-discipline or inner integrity and benevolence on which the idea of ‘noble man’ was based. The virtue of loyalty and faithfulness was totally redefined, because from now on the object of one’s loyalty was the impersonal organization that was the country, not the person of one’s own master. The ideological obedience towards the superior replaced the emotional bonds between the vassal and his senior. In the society of the Tokugawa period the militant samurai ethos had been successively ‘tamed’ and toned down by the restrictions and law regulations of the Tokugawa bakufu. Neo-Confucianism was to a certain extent one of the tools to control society. The idea of kage no hōkō and shinobu koi Yamamoto Tsunetomo was also planning to commit junshi when his master passed away, but Nabeshima Mitsushige strongly disagreed and eventually the author of Hagakure stayed alive after his master’s death, something he deeply regrets on the pages of Hagakure. Tsunetomo, criticizing the vision of the samurai popularized by the bakufu: a warrior-bureaucrat, considers the redefinition of the relation between the master and his vassal. He creates the concept of service as a ‘hidden love’ (shinobu koi) or ‘service in the shadow’ (kage no hōkō), which means the service without appreciation. Tsunetomo proposed the return to the typical ideals from the middle ages, alive and emotional bonds connecting a senior and his vassal and depreciated the infiltrated with Neo-Confucian thought, impersonal relation characteristic for the Tokugawa period. However, the vision of the relationships he proposed was not an unconditional copying of the old customs. Tsunetomo rejected the idea of the vassal relationship as exchange: repaying the debt of gratitude to the master (go’on) with one’s service (hōkō)18. He proposed the total devotion to the master without expecting appreciation from him. The difference between the status of samurai from the middle ages and the contemporary status for Tsunetomo was the social and economical independence like the middle-aged warriors who were not so tightly bound to the bakufu. In exchange of their military service they gained privileges and material profits from the senior. Tsunetomo rejects such kind of relationship as tainted with low motives and being contrary to the selfless, emotional attachment to one’s master. He glorifies the totally subordinate position of samurai from the Tokugawa period, who – according to his vision – should serve the master with unwavering loyalty and abandon their own egocentric nature. The other category that should characterize the ideal warrior from the point of view 18 Ikegami 1997: 288. 86 Agata Koszołko of the author of Hagakure was shinobu koi – ‘the hidden love’. Tsunetomo explains that it is love without revealing one’s feelings and without expecting any reciprocation. In order to attain such form of service the ideal samurai, servant of his senior, should not expect any reward – material or honorary – from his master. He should not even wish his master to know about his true faithfulness and service. According to some theories the title Hagakure – ‘Hidden in the leaves’ comes from that term. Shinobu koi could be also interpreted more literally, in terms of homosexual relationship between a lord and his retainer. As it was stated before, such relationships often occurred in samurai armies but they also existed in feudal terms between a feudal master and a servant19. ‘Hidden love’ or ‘service without appreciation’ which in Hagakure are presented as the ideals of the relationship between the vassal and his master in an unexpected way emphasize the free will of a person who decides to serve the other person. It could be seen as a paradox, because how could someone who subordinates himself absolutely to another person be free? But in fact it is an affirmation of freedom, because the samurai who served his master, was doing it from his own free will. He used his right to decide about his life. It is also an affirmation of individualistic and assertive sense of a warrior’s self-esteem. When the loyalty and service were redefined as ‘hidden love’, the attitude of obedience became the inner virtue of honor and dignity. Shinigurui and the worship of death In his opinion it could be attained by shinigurui, not very fortunately translated as the ‘death frenzy’, – obsessive thinking about one’s death and mentally preparing for it, which should create the inner discipline characterizing the true warrior. Such practice was not something unknown and strange for the samurai because – considering their role in the society – their life was constantly in danger and they were aware that they could die in every moment : in fight on the battlefield or by the hand of an assassin. From that reason in Japanese poetry a warrior was compared to a cherry blossom because the life of a samurai was short and passing as the beauty of cherry blossom. Warriors found the solace in practicing Zen, which – because of its specific form and teachings perfectly satisfied their spiritual needs. According to Zen thought the enlightenment could be attained by the changing of one’s perspective of perceiving oneself and the surrounding world. In the effect, the fear of death was diminished and the warrior could attain the ideal state of mind - without any thought, emotions or doubts, which was the most important for example during the fight - the most critical moment in warrior’s life. Yamamoto Tsunetomo also practiced Zen, as many other samurai from Edo period. But the 19 Leup 1995: 51–55. The Ideals of Bushidō Depicted in Hagakure (Hidden in the Leaves) and Chūshingura... 87 significant difference between them and the warriors from for example S­ engoku period (15th- 16th century) was that Tsunetomo and him alike did not have to fear for their life because they lived in peaceful times of Tokugawa period when two samurai swords became more the symbol of their status or to some extent just a decoration than a weapon. Tsunetomo was aware of that and that is why he ­stated that especially in such times warriors should cultivate their martial spirit and preserve their identity. Shinigurui was a mean to maintain their samuraihood by constant thought of fight and potential death. Hagakure could be interpreted as a book written by disappointed samurai who tries as hard as he can to understand the changing reality of his life by reviving the world which does not exist anymore but which was – in his opinion – the world of the true warriors. But it is not only the criticism of the present and the glorifying the past but an attempt to revive the samurai spirit. Tsunetomo tries to emphasize the moral autonomy of samurai with confirming the absolute authority of his master. In such situation the total loyalty towards one’s senior becomes the independent choice of the warrior who decides to serve the master because of his ‘hidden love’, without expecting any reward or appreciation. Although the ruling laws should be abide – as Tsunetomo states - if the time comes and the law endangers the samurai honor– one should follow the ‘way of warrior’ and chose death. The ideal of samurai in Chūshingura The revenge of loyal vassals from Akō That whole story, widely known in Japan as Akō jiken (‘The Akō incident’)20 can be divided into two parts – two stages or from the other point of view – into the factor which initiated it, the cause, and the after-effects or consequences which it brought about. It all began in the spring of fourteen year of Genroku era, on the fourteenth day of the third month (21th April 1701 according to the solar calendar). On that day the daimyō of Akō han (present Hyōga prefecture), Asano Takumi no kami Naganori (1667-1701) without warning attacked Kira Kōzuke no suke Yoshinaka (1641-1703) in shōgun’s Edo castle. On that particular day, Kira Yoshinaka served as kōke21 - the senior bakufu master of ceremony was attacked Apart from the term ‘Akō jiken’ (‘the Akō incident’), the name ‘Akō ikken’ (‘the Akō case’) was used, but it was known in society also as ‘chūshingura’ (‘the treasury of loyal retainers’) and ‘chūshingura no jiken’ (‘the incident concerning the treasury of loyal retainers ’). (Hattori 2008: 8) 21 Kōke was a high bakufu official who was responsible for supervising the etiquette and proper ceremony in relations between bakufu and the imperial court. Houses which had been appointed kōke were treated as daimyō although they had low stipends. 20 88 Agata Koszołko by Asano with wakizashi22. Although Kira’s wounds turn out to be superficial and not life-threatening, that incident brought about tragic consequences for Asano and his house, because of the place and circumstances it took place. It was a serious violation of law and etiquette and disruption of order within Edo castle. It could interrupt the course of official ceremony and negatively influence the image of shōgun Tokugawa Tsunayoshi (1646-1709), dedicated supporter of Confucianism. Tsunayoshi was deeply shocked by that incident, imposed penalty on Asano Naganori and his whole house. Naganori himself was sentenced to commit seppuku, his lands and properties were confiscated, his house (lineage) was terminated and retainers dismissed from the service that meant they became rōnin, a masterless samurai. The sentence was carried immediately and on the same day, in evening, Asano Naganori committed seppuku. The shōgun’s decision was criticized for being too rash and inconsiderate, because he made it by himself, without consulting with the rōjū23, the elders council. The members of the rōjū asked Tsunayoshi for time to investigate the incident, but the shōgun was so enraged at Asano for such behavior that he ordered him to commit seppuku the same day he was arrested. Beside this hastiness, also the strictness of the punishment was criticized, because the sentence of seppuku passed to a daimyō was very severe punishment practiced when really serious crimes were committed24. (Matsushima 1964, p. 14-19) But the most serious accusation regarding the sentence, which from the beginning is a matter of discussion, is the fact that the punishment was one-sided and concerned only Asano. It meant that it was incompatible with the kenka ryōseibai (‘equally severe punishment for both sides of conflict, despite the cause’) rule. Kenka ryōseibai was a rule which was created in the Sengoku period to prevent the practice of administrating the justice on one’s own when it came to conflicts or fights between two warriors. With the beginning of the Tokugawa period it gained the status of a law, widely approved and accepted by samurai society. It is believed that it was a way to subordinate retainers and restrain their autonomy by powerful lords and a process of establishing their rule as public authorities in their provinces25. The foundation for the kenka ryōseibai rule was the fact that with the application of that rule, there was no space for evaluating what was right and what was not. 22 Wakizashi is kind of short sword. It was carried with the longer sword daitō and was a subsidiary weapon used in some conditions for fighting in short distance. In the shōgun’s castle in Edo carrying the daitō was prohibited so the wakizashi was the only weapon warriors could carry there. 23 Rōjū – ‘the elders council’ was an administrative organ of bakufu and has numerous responsibilities. It was controlling daimyō, supervising all lower administrative organs and as a supreme court it was arbitrating cases concerning daimyō and temples. Decisions of rōjū were announced as collective and depended on the shōgun’s approval. (Tubielewicz 1984: 272) 24 Matsushima1964: 14–19. 25 Ikegami 1997: 138–141. The Ideals of Bushidō Depicted in Hagakure (Hidden in the Leaves) and Chūshingura... 89 It was not important to consider the motives of the sides, the possible cause of the conflict or to decide where (on which side) to locate the blame. Regardless of the fact of who was responsible for the kenka and what the reason was, both sides of the conflict were punished. Because it was only Asano who was punished for that which happened, and Kira was not only declared innocent but also treated with care, as a simple victim by the shōgun. The bakufu offered him words of sympathy, declaring that he would not be charged and tend to heal his wounds26. For Asano’s retainers and many other samurai the verdict was perceived as unfair and one-sided. The other question is if the incident could be qualified as kenka or not and consequently – if the rule of kenka ryōseibai should be applied. There are various opinions but the most common states that the conflict between Asano and Kira should not be regarded as kenka. The proof confirming that could be the statement of Kajikawa Yoriteru27, the eyewitness, who testified that the assaulted Kira was not defending – he did not even touch his sword when Asano attacked him28. Although that fact could justify the bakufu’s interpretation of the incident and such judgment, it doesn’t present Kira and his attitude very well. While it may be true that it does not amount to a fight if one side flees, the basic assumption is that no proper warrior would ever flee. Such behavior could be seen as the lack of martial proficiency or simple cowardice. Kira disobeyed the warrior code and its ethics where the fundamental rule was to defend oneself when attacked. From that aspect his behavior was unworthy of a warrior and he also deserved punishment. But Tokugawa Tsunayoshi, willing to show the society how deeply he valued the law and order, declared Kira innocent and punished only Asano. It’s no wonder that resolving the matter in such way by the bakufu was not approved by Asano’s retainers. The shōgun’s decision was criticized and hard to acknowledge in Akō han. Public opinion was divided regarding that sentence and some officials even considered it unfair and too severe. Among the various ambiguities concerning that incident the most unclear seems to be the fundamental issue – the cause of the young daimyō attack on an elder kōke, which initiated the chain reaction of events. After the incident the authorities probably tried to find out what provoked Asano to such reaction, but no word of explanation that could be the reason of his attack exists in documents that remain from that time. We know that Asano had been harboring anger against Kira, and we are left to conjecture that his action was probably not the result of a sudden impulse. Even the letter written to his retainers before death does not explain his motives. It is not clear if the samurai from Akō knew the reason that lead their master to such Bitō 2003: 153–154. Kajikawa Yoriteru (known also as Kajikawa Yosobei), an eyewitness, was serving as a supervisory official in the woman’s quarters of Edo castle. 28 Bitō 2003: 153–154. 26 27 90 Agata Koszołko dramatic action but they were meaningless for them or they did not know them at all. The words Asano shouted to Kira while attacking him, quoted by Kajikawa, could prove that the daimyō from Akō indeed bore some grudge toward Kira. Asano admitted that his action was revenge for something Kira did to him ‘these past days’. What could it be? While precise explanation could not be found in historical sources, numerous hypotheses began to fill this gap and give an answer. The standard explanation has become that Asano failed to give an appropriate bribe to Kira in return for his guidance in matters of etiquette, so Kira became offended and began to treat him disrespectfully. The other theory doesn’t mention the bribe but explains that Kira, from the very beginning treated Asano disrespectfully and with disdain as an unmannered country samurai. Asano could not bear such an offence any longer and attacked him. But the theory that seems to be most accurate and possible is very trivial and simple. The young (he was 34 when he died) and inexperienced daimyō from Akō was known for his impatience and for how easily he could get angry. It may well be that boastful Kira Yoshinaka, who prided himself on his experience and knowledge of court etiquette, had become haughty and acted in such a way that Asano felt offended29. He could not halt his anger and wanted to take revenge on Kira, which he almost accomplished. Whatever the real motives of Asano, it all ended fatally for him, his retainers and the entire Asano house. Such severe punishment was considered a great injustice, and soon after the day Asano committed seppuku, his retainers began to seek out a way to restore the good name of their master. The shōgun’s decision was considered highly unfair in Akō. The retainers remaining in Edo castle were complaining that staying beneath the same sky with their masters’ enemy was unbearable. At the beginning, two factions emerged among the former Asano vassals. The first, conservative group under the leadership of Ōishi Kuranosuke Yoshitaka30, the head of Akō han rōjū. That group was aiming at the restoration of the house (ōie31) of Asano. It could be possible if his younger brother, Asano Nagahiro (Asano Daigaku) was allowed to inherit the title after his late brother32. On the other hand, the radical group represented for example by Horibe Yasubei was standing for military action. At first, they were planning to refuse to surrender the Akō castle to the bakufu and follow their master in death by committing junshi at Kagakuji, the Asano family temple in Akō. Ōishi oppoMatsushima 1964: 10–13. Or Ōishi Kuranosuke Yoshio as his name could be also read. 31 Oie (literary ‘the great house’, ‘the noble house’) was not only an honorific term used while speaking about the house of the senior but it also meant the organization of the daimyō’s house with his retainers. (Ikegami 1997: 226) 32 Asano Daigaku, who in the bakufu’s opinion was considered complicit in the crime of his older brother, was sentenced to domiciliary confinement (heimon) the same day Naganori comitted seppuku. He was released after 7 months (Bitō 2003: 156–157) 29 30 The Ideals of Bushidō Depicted in Hagakure (Hidden in the Leaves) and Chūshingura... 91 sed such a solution and sent a petition to the bakufu inspectors who had been appointed as the receivers of Akō castle. He expressed dissatisfaction with the bakufu judgment and asked to ‘take some sort of measures that the retainers will find satisfactory’33. It is not clear what sort of measures it could be – the restoration of the Asano house or some sort of punishment for Kira. Unfortunately, the petition was turned down. The difference of opinion between the conservative and the radical group existed over the matter of how best to defend their honor. Whereas the radical group was anxious for a quick strike against Kira, the conservative group pointed put that it would preserve their honor if the house of Asano were to be restored. The bakufu did not allow Asano Daigaku to inherit the title after his older brother so it became clear for all the retainers that the only remaining way to vindicate their honor was to carry out their lord’s wishes and kill Kira. For the conservative faction the highest value was the continuity of the Asano house and the honor of ōie. They were presenting the ‘organizational’ kind of loyalty towards the ōie as an that which was the part of the state. From that point of view the honor of an individual could not exist separated from the honor of the organization they were incorporated into – the house and the state. On the other hand the radical faction was following the individual sense of loyalty separated from any kind of organizational structures and the category of honor in a more private meaning. As Ikegami states, these two different attitudes describe two distinct ideals of samurai-hood – the ideal of the medieval samurai who was characterized by the emotional concept of loyalty and aggressive, militant heroism and modern warrior of Tokugawa period functioning as a part of the state organization who tied his individual sense of honor in with the organizational honor34. This militant heroism could be seen clearly in the text of Chūshingura, in act four when the former retainers of Enya Hangan (Asano Naganori) are talking after their master’s death about avenging him by killing Ki no Moronao (Kira Yoshinaka). One of the rōnin, Yuranosuke, states: “Blood of our late master spilled out on the point of this sword. This tantō (short sword) preserves his free spirit. With this sword we will cut off Moronao’s head and accomplish our purpose”35. Although such action was against the law, the retainers were willing to violate it in order to avenge their master’s honor. Bitō 2003: 158. Ikegami 1997: 226–231. 35 此鋒には。我君の御血をあやし。御無念の魂を残されし九寸五分。此刀にて師直 が。首かき切て本意をとげん。(Takeda, Miyoshi, Namiki 1937: 49) 33 34 92 Agata Koszołko Ōishi was against the plans of the radicals who at the beginning were planning to oppose the bakufu inspectors and commit junshi because it could cause further negative consequences for the Asano house and for Asano Daigaku himself who in Ōishi’s opinion was the last hope for the Asano house (junshi was prohibited by that time)36. By petitions he was trying to save the honor of the Asano house but all of them were turned down by bakufu officials and Daigaku was not allowed to inherit the title after his brother. Facing such a turn of events the conservative faction agreed for the solution proposed by the radicals and the preparations for their revenge began. The preparation took almost two years and at last during the night of December 14th 1702, the group of 46 former retainers of Asano Naganori attacked the mansion of Kira Yoshinaka in Edo. They killed him, took his head and offered it before the grave of their lord in Sengakuji temple. They had written a manifesto in which they explained that their deed were supposed to be an act of honorable revenge (katakiuchi) of their master, Asano Naganori and an expression of their loyalty towards him. But the revenge carried out by them could not be described as a classical katakiuchi and until the present date there are discussions among researchers if the assassination of Kira from 14.12.1702 should be considered katakiuchi and justified as a fulfillment of samurai duties. Where are these differences located? First of all, katakiuchi, which was a deep-rooted tradition among the samurai class, was customarily practiced by the close relatives of the victim, for example a son or brother, and was executed after previous registration in an adequate institution37. In the case of the 46 retainers such conditions were not met. First of all, the rōnin were not related to Asano Naganori. If someone could have the right to avenge Naganori it would be his brother, Asano Daigaku, not his retainers. Secondly, the attack of such a numerous and well organized group of avengers who for almost two years planned the whole action was something unprecedented in the history of practicing the katakiuchi. Because of that some of the bakufu officials who were investigating the incident accused the rōnin of breaking one of the articles from Bitō 2003: 156–157. There was an institution of ‘registered revenge’ in the Tokugawa state. It was a right that allowed for executing an act of revenge for the murder of one’s close relative in a situation when the perpetrator avoided punishment (eg. by escaping from the crime scene). The avengers were most often the closest male relatives – sons, brothers, nephews, but the majority of such institutionally registered revenge was carried out by sons of killed parents (especially fathers). In order to act on the revenge, the avenger applied for permission to his daimyō and then the daimyō applied to the shōgunate. After the approval, authorities enrolled the avenger’s and his helper’s names in the official ‘list of avengers’ and they in essence received a kind of ‘license to kill’ – a right to kill the murderer wherever he was because it was respected in the whole country, The right to revenge was a way to defend the honor of one’s own family in the Tokugawa state and one of the few occasions to manifest a military power by samurai during those times. (Ikegami 1997: 242–247) 36 37 The Ideals of Bushidō Depicted in Hagakure (Hidden in the Leaves) and Chūshingura... 93 the code Buke shohatto38 concerning the prohibition of forming a conspiracy. But the opinions among the investigators were divided and eventually that accusation was withdrawn because some of the officials were sympathizing with the avengers and were favorable towards them39. In the end, on February 4th 1703 they were sentenced to death by seppuku, it was executed on March 20th. The events named later as the ‘Ákō jiken’ came as a great shock to the entire samurai society of that time. It became clear that values of medieval bushidō ethics such as individual sense of honor or loyalty towards the master rather than towards the state were still alive in the society of warriors. The 46 retainers were perceived as the embodiment of those values and soon became glorified for their deeds. Yamamoto Tsunetomo’s evaluation of the 46 retainers actions Various opinions concerning the revenge of the 46 retainers appeared during the investigation and after their execution the discussion became even more heated. Society divided into two groups – those who condemned them and the others who praised their deeds. The group of critics consisted mainly of the bakufu officials and Confucian scholars, especially Ogyū Sorai (1666 - 1728)40. It is said that his opinion strongly influenced the shōgun’s decision concerning the case of the 46 rōnin. The most serious charge was that the avengers broke the law by attacking Kira’s mansion and disrupted the order. The retainers avenging their master were not following the law – their deed was against the law. According to the critics opinion, they were not following the principles of loyalty towards the master from the warrior’s code either but egoistically wanted to defend their own honor. They were not considering the honor of the whole oie that they were part of and which eventually had been damaged even worse by their action41. As a result, in the criBuke shohatto (“Laws of Military Households”) was a code written for warriors and promulgated in 1615. Originally it consisted of 13 articles. In 1635 it was reissued and 8 articles were added. The code was regulating many aspects of a warrior’s social and private life – from aspects concerning marriage and education to the prohibition of forming a conspiracy. (Tubielewicz, 1984: 261–263) 39 As Eiko Ikegami notices, the statement that the actions of every retainer among the group being caused by the sense of loyalty and personal attachment to Asano Naganori is highly doubtful. Certainly some of them sought to defend his good name but the majority wanted to restore their own honor. (Ikegami 1997: 227–228) 40 Ogyū Sorai (1666–1728) – Japaneese Neoconfucian philosopher and scholar. He was proposing an idea of ‘purging ‘ the Confucian thought (from eg. Taoism or Bhuddism influences) and returning to the original teachings of Confucius. 41 Two weeks after the funeral of the 46 retainers from Akō a kyōgen play entitled Akebono Soga no Youchi (“Night attack at dawn by the Soga”), which plot was was refering indirectly to the story of 46 avengers, was staged at the Nakamura Theater (Nakamura za) in Edo. The text of that play did not survived to the present times but it is known that after only three performances it was closed by the authorities. It was caused by the bakufu’s censorship which prohibited staging 38 94 Agata Koszołko tics point of view they were simple assassins and villains and they should be treated as such. But such harsh opinions regarding the act of the 46 rōnin were in the minority and the general public approved their act of revenge to such extent that soon after their seppuku and funeral they started to be called Akō gishi – ‘righteous, noble warriors from Akō’. Their bravery and loyalty were praised and they themselves were glorified as national heroes. Their deed, noble and proper from the point of view of the medieval samurai ethics, where direct loyalty towards one’s own master was the highest value, soon conquered the hearts of the Japanese people at that time. Thus the history of that vendetta started to become fabled. However, Yamamoto Tsunetomo’s opinion of the deed of the 46 retainers wasn’t so enthusiastic. Although he praised them for their act of revenge and for fulfilling the will of their late master, at the same time he criticized the avengers for their delayed response42. He was pointing out in Hagakure that instead of immediate revenge they were planning and waiting almost two years with their action. Tsunetomo wondered what would have happened if Kira had died of illness within the period the Akō rōnin were planning their revenge and stated that it would have been “extremely regrettable”43. He considered the best way to avenge their master was to take revenge immediately after Asano’s death, without hesitation and planning, even if it would have been unsuccessful. Tsunetomo perceived the Akō rōnin preparation time of almost two years to be a dangerous waste of time that could bring them to shame if Kira would have died in the meantime. Their sense of honor would have been damaged irrevocably and they would have to live in shame to the end of their days. Chūshingura and Hagakure – the aggressive bushidō of old warriors in the time of the great peace of the Tokugawa period The Tokugawa period was a time of stability and peace in Japanese history. The state, under the rule of one dynasty of shōguns, was developing economically and culturally, the arts were flourishing. It was a completely different time from the war turmoil of the previous periods. Because of the changing circumstances, plays that concerned the matter of contemporary political and referring to current events. However the dramatists managed to circumvent that rule by changing time, place of the event and the participant’s names (respectively Kō no Moronao as Kira Yoshinaka and Enya Hangan who is refered to Asano Naganori). The next play based on the story of the 46 retainers from Akō was Goban taiheiki (A chronicle of great peace played on a board for go”) written in 1706 by Chikamatsu Monzaemon (1653-1725. Goban taiheiki became the core on which in 1748 the play Kanadehon Chūshingura was created. The plot and the cause of the conflict had also been meaningfully changed. (Takeda, Miyoshi & Namiki 1971: 4–7) 42 Oike 1999: 136–140. 43 Yamamoto 2000: 35–36. The Ideals of Bushidō Depicted in Hagakure (Hidden in the Leaves) and Chūshingura... 95 society also began to change. The townspeople class, which was at the bottom of the social hierarchy, was gaining economical power. The warrior class also began to change. Samurai, from warriors dedicated only to warfare, were transforming into the bureaucrats, officials incorporated into the system of the Tokugawa state. They were like little parts creating that great administrative machine. Because of the fact they were born and raised in peaceful times without wars, they could not experience any real battle and their contact with swordsmanship was probably limited to practicing kenjutsu in swordsmanship schools. Possibly some of them were longing for the old times when violent action and military aggression were valued attributes among samurai and personal attachment or direct loyalty were the most important virtues of bushidō ethics. Such mental atmosphere surrounded the 46 retainers who carried out an unprecedented act of revenge on the man who, according to them, caused the death of their master. Following the way of the old warriors they consciously decided to break the law because the loyalty towards their master was more important that the loyalty towards the organization and existing law. As it turned out, the majority of society had a similar opinion. Yamamoto Tsunetomo, for whom the loyalty towards his master also was the highest virtue, approved the deed of the 46 retainers but he criticized the way their action was executed. Tsunetomo also stood for the militant samurai ethics that were in fact anachronistic and old-fashioned for modern warriors from the Tokugawa period. Chūshingura and Hagakure – texts written in the second half of the 18th century, present the vision of the warrior completely differently from that popularized by the ideology from that time: a vision of warrior, bureaucrat, sage who – even if he did not exchange his sword for the brush – was holding that brush in the other hand, as a symbol of the idea of bunbu ryōdō. In the ideals depicted by these two texts the warrior- bureaucrat is replaced by the aggressive, proud warrior, eager to fight for his honor or the honor of his lord and not respecting the laws that might restrain his right to such a fight. In Chūshingura’s avengers, and in the ideal depicted in Hagakure, a reference to the old, medieval version of bushidō could be clearly seen. This may be the source of the popularity of the loyal retainers’ story that has enchanted the minds and hearts of the Japanese, and in fact to a wider non-Japanese audience. This also may be the source of the power of Hagakure. These two texts were the breath of fresh air within the fossilized walls of the great Tokugawa state. However, besides clear similarities between the visions of the ideal warrior presented in these two texts, the ideals of bushidō depicted in them differ to some extent. Hagakure focuses on the emotional bond between the senior and the vassal realized as the concept of ‘hidden love’ (shinobu koi) and ‘service in the shadow’ (kage no hōkō). Tsunetomo refers here to the medieval type of bushidō where the relationship between the senior and the vassal was more emotional, but he modifies and idealizes it. As opposed to the Sengoku period, the ideal warrior, 96 Agata Koszołko created by him, serves his master out of sheer love. It is not some kind of pragmatic calculation but real feeling – ‘hidden love’ that underlies the idea of loyalty and faithfulness towards one’s master. Another difference that could be perceived while comparing the vision of bushidō depicted in Hagakure and Chūshingura is that the idea of ‘the way of the warrior’ presented by Tsunetomo is the way that leads straight to death. It could be seen in the very first and the most famous lines of the Hagakure text that states, “The way of the warrior is found in death”44 and is the essence of the concept of shinigurui. Here Tsunetomo offers his own personal version of bushidō – idealized, far from reality and hard to accept even for 18th century warriors. The vision of samurai ethics that emerges from Hagakure is based on his personal experiences and should be interpreted through the prism of his fascination of junshi or the aggression aimed at himself. Chūshingura on the other hand also presents the aggressive version of bushidō but not understood in the meaning of self-destruction but rather aimed at defending one’s honor. The warrior’s personal honor is the most important value in the ethics presented here. The right to defend or restore one’s own honor and the right to avenge one’s master became the highest moral laws binding samurai. Even though it could be against the ruling laws created by the bakufu, the moral laws arising from the ‘way of the warrior’ were primary from that point of view. The vision of bushidō presented in Chūshingura was far more realistic and surely secretly admired by warriors from the Edo period constraint by Neo-Confucian ideology and the laws of the bakufu. It was based on historical facts and the deeds of the 46 retainers that actually happened. Therein probably rests the secret of its popularity – the awareness that in peaceful times the warriors were still able to behave as warriors, regardless of the consequences. Bibliography Bito, Masahide 2003. The Akō Incident, 1701-1703, Monumenta Nipponica, vol. 58, no. 2 Blocker H.G. [&] Starling Christopher 2008. Filozofia japońska, [Japanese Philosophy]. Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego Hattori Yukio 2008. Kanadehon Chūshingura o yomu. [Reading Kanadehon Chūshingura ]. Tōkyō: Yoshikawa kōbunkan Ikegami Eiko 1997. The Taming of the Samurai. Honorific Individualism and the Making of Modern Japan. Harvard University Press Leup Gary P1995. Male Colours: The Construction of Homosexuality in Tokugawa Japan. University of California Press 44 Yamamoto 200: 23. The Ideals of Bushidō Depicted in Hagakure (Hidden in the Leaves) and Chūshingura... 97 Matsushima Eiichi 1964. Chūshingura. Sono seiritsu to tenkai [Chūshingura. its formation and development].Tōkyō: Iwanami shoten Oike Yoshiaki 1999. Hagakure. Bushi to ‘hōkō’[Hagakure. warriors and ‘service’]. Tōkyō: Kōdansha gakujutsu bunko Takahashi Tomio 1987. Bushi no rekishi, [the history of warriors], vol. 1. Tōkyō: Taiyōsha Takeda Izumo, Miyoshi Shōryaku, Namiki Senryū 1937. Kanadehon Chūingura. Tōkyō: Iwanami shoten Takeda Izumo, Miyoshi Shōryaku, Namiki Senryū. Chūshingura. A Puppet Play translated by Donald Keene. New York: Columbia University Press Tubielewicz Jolanta 1984. Historia Japonii [the history of Japan]. Warszawa: Zakład Narodowy im. Ossolińskich Yamamoto Hirofumi 2012. Bushidō no koto ga yoku wakaru hon [a book which will help to understand bushidō ].Tōkyō Yamamoto Tsunetomo 2000. Hagakure. The Book of the Samurai, translated by William S. Wilson. Tōkyō: Kōdansha References Bito, M. 2003. The Akō Incident, 1701-1703, Monumenta Nipponica, vol. 58, no. 2 Blocker H.G., Starling Ch. 2008. Filozofia japońska, (Japanese Philosophy). Kraków Hattori Y. 2008. Kanadehon Chūshingura o yomu. (Reading Kanadehon Chūshingura). Tōkyō Ikegami E. 2011. Poskromienie samurajów. Honorowy indywidualizm i kształtowanie się nowożytnej Japonii, trans. J. Hunia (The Taming of the Samurai. Honorific Individualism and the Making of Modern Japan). Kraków Matsushima E. 1964. Chūshingura. Sono seiritsu to tenkai (Chūshingura. Its Formation and Development).Tōkyō Oike Y. 1999. Hagakure. Bushi to “hōkō, ”(Hagakure. Warriors and ‘Service’). Tōkyō Suzuki D. T. 2009. Zen i kultura japońska, (Zen and the Japanese culture). Kraków Takahashi T. 1987. Bushidō no rekishi, (The history of warriors), vol. 1. Tōkyō Takeda I., Miyoshi Sh., Namiki S. 1971. Chūshingura. A Puppet Play translated by Donald Keene. New York Tubielewicz J. 1984. Historia Japonii (The History of Japan). Warsaw Yamamoto H. 2012 Bushidō no koto ga yoku wakaru hon (A Book which will help to understand bushidō ).Tōkyō Yamamoto T. 2000. Hagakure. The Book of the Samurai, translated by William S. Wilson. Tōkyō 98 Agata Koszołko English Summary of the Article Agata Koszołko The Ideals of Bushidō Depicted in Hagakure (Hidden in the Leaves) and Chūshingura (The Treasury of Loyal Retainers) This article is an attempt to present and compare the ideals of samurai ethics known as the way of the warrior (bushidō) depicted in two texts from the eighteenth century Hagakure (Hidden in the leaves) by Yamamoto Tsunetomo and Chūshingura (The Treasury of Loyal Retainers) written by Takeda Izumo II, Namiki Senryū and Miyoshi Shōraku. Both texts are widely known, not only in Japan but also around the world, and they are regarded as a source of information about the culture and philosophy of the warrior class from the second half of the Edo period. They also present two specific views of an ideal warrior and his values. “The ways of the warrior” depicted in these two texts are similar to some extent but there are also significant differences between them. Tsunetomo focuses in Hagakure on the emotional bond between the senior and the vassal and makes it the base and the essence of samuraihood. He introduces two concepts which in his opinion should be adopted by the ideal warrior – the concept of kage no hōkō (‘service in the shadow’) and shinobu koi (‘hidden love’). Chūshingura on the other hand proposes bushidō which emphasizes the individual sense of honor of every warrior and his inviolable right to defend that honor even when it is against the law. Key-words: bushidō, Edo period, samurai ethics, Neo-Confucianism, Hagakure, Chūshingura. Urszula Mach-Bryson On Jars and All-time Masters. Chanoyu as Revealed by Yamanoue Sōji Amongst the multiple treatises and documents that a chanoyu history researcher has at his disposal, the Yamanoue Sōji ki (Record of Yamanoue Sōji, later the Record) holds a special place. First of all, written over the period from 1586 to 1590, it is a document written within the timeframe of the life of Sen no Rikyū (1522–1591) – the very person to whom the accomplished form of wabicha – tea in the style of the “beauty of noble poverty”, is attributed. Just this quality alone makes it priceless for the study of Rikyū’s tea. The Record was written by Rikyū’s close disciple who, whether himself or by the hands of those he trusted, rewrote it a number of times. For the past few decades the Record has been gaining interest among chanoyu researchers in Japan and the publications that introduce the results of its study have become more and more detailed1. What it is providing may not be deeper, but is definitely, with all its limitations, a direct insight into tea in Rikyū’s times, which image for some time was dominated by later interpretations. It is the first tea document written with at least an attempt to record the history of chanoyu, even if the historical part does not spread over a number of sheets. Being mostly focused on lists of noteworthy utensils, it is also the first tea treatise that in a detailed manner describes the tearooms of Takeno Jōō (1502–1555) and Rikyū, including drawings to illustrate the descriptions, giving the reader a feeling of intimacy with the architectural spaces created by the tea men of old. The Record relates the teachings of Murata Shukō (1423–1502), Takeno Jōō and Rikyū. For as busy of a man of tea that Rikyū was, he left us very little written evidence of his ideas. However, thanks to one of his most endeared disciples, we today posses sources based on first-hand information concerning the style and essence of Rikyū’s tea. 1 The first collective study of the Record discussing Sōji’s writings from many perspectives was a 1997 publication that followed a symposium on Yamanoue Sōji ki that took place in Gotō Museum in Kyoto on November 21–22, 1995. It was the third and last volume of the series introducing the Record. (Chanoyu Konwakai 1993–1997) 100 Urszula Mach-Bryson In the article I will introduce the author, Yamanoue Sōji (1544–1590), whose name seems to never be mentioned enough in chanoyu training, since it is thanks to Sōji, that today we can acquaint ourselves with the details of the world of wabi tea in the late period of its formulation. I will succinctly describe the contents of the Yamanoue Sōji ki and make a closer analysis of two out of many aspects of the world of tea mentioned: the status of a tea jar among the widely described mustknow tea utensils, and Sōji’s categories of tea men. It is my belief, that delving into the Record can provide a fresh insight into the nature of tea in Rikyū’s times, and can turn out to be of invaluable help for today’s tea practitioners in finding their approach to the essence of tea. Yamanoue Sōji – a man of tea A while ago I asked one of my tea students if he knew who Yamanoue Sōji was. He answered: “Of course. He wrote the Yamanoue Sōji ki!” Well, it does help when somebody writes a treatise that includes one’s name in the title. But to be honest the figure of Rikyū’s most close disciple is not usually familiar to today’s tea practitioners. And his story was not an ordinary one. Yamanoue Sōji, from the Sengoku era to Azuchi Momoyama, merchant and distinguished man of tea, was born in Tenbun 13 (1544) in Sakai. He was a man from Yamanoue, south of the Senshū region in Sakai, which even today is located in the central area of the city. The name of the place became his family name. He was also known by his trade name, Satsumaya, and used the name Hyōan (the ideograms meaning “gourd hut”, which is how he was often signing his Record). His father was most probably Yamanoue Sōheki, who we know was quite prominent in the world of chanoyu. Tsuda Sōgyū (died 1591) wrote in his diary (Tsuda Sōgyū Chanoyu Nikki) about Yamanoue Sōheki’s chakai in the second year of the Eiroku era (1559), 12th day of the 8th month. Sōheki used Kidō’s scroll in the tokonoma. We learn from the Yamanoue Sōji ki, that this scroll later belonged to Sōji. In the Record we also see a chaire – small ceramic container for powdered tea, Sōheki Katatsuki (a famous utensil, meibutsu, from Jōō’s times), enlisted as a utensil in the possession of Yamanoue Sōji – most likely an inheritance from his father. Since the chaire was described as a utensil praised by Jōō, it is likely Sōheki was Jōō’s student (monka) like Imai Sōkyū, Tsuda Sōgyū and many merchants from Sakai, and at the same time sukisha – men that possessed an unusual inkling for chanoyu accompanied with a passion for tea utensils. Therefore Sōji was a sukisha after his father. The term sukisha at that time in the world of tea meant chazuki “one that likes tea”. In the Record Sōji clarified and organized the requirements for becoming a sukisha. On Jars and All-time Masters. Chanoyu as Revealed by Yamanoue Sōji 101 Sōji became Rikyū’s disciple in 1565 and studied with Rikyū for over twenty years. Therefore Rikyū started instructing Sōji at the age of 44, at that time Rikyū was still preserving the teachings of his teacher – Jōō, but at the same time had already started to create new trends. The first chaji – formal tea gathering, hosted by Yamanoue Sōji, who was then only 24, which we can read about in the Tsuda Sōgyū Chanoyu Nikki2, took place on the 25th day of the first month of Eiroku 11 (1568). It was a tea gathering in a very wabi atmosphere. The guests present were Sen Sōeki (Rikyū), Tennojiya Dōshitsu and Tsuda Sōgyū (?–1591). Sōji was using a hearth with an umbrella kettle and teoke mizusashi – a fresh-water container made from a bucket, which, outside wabi tea, was definitely seen as an unconventional demonstration for one so young, holding his first gathering for older, experienced tea men and his teacher, using tea utensils they would use. Rikyū’s tea instruction had to be intertwined with Zen practice, and so Sōji, most likely following his tea teacher, started joining zazen sessions at Nanshūji temple in Sakai from 1575, where his Zen teacher was the successor of Dairin Sōtō (1480–1568), the second generation abbot of the temple, Shōrei Sōkin (1505–1583). The members of his practice group were fourteen Zen monks including Shunoku Sōen (1529–1611) and Sengaku Sōtō (1545–1595), whose literary work allows us to trace those events today3. Apart from the monks, the group consisted of seven laymen including Rikyū, Tsuda Sōgyū and Sōji, who seemed to be given high praise for the depth of insight in his lay Zen study4. Sōji, just like Rikyū, became a tea adviser to Oda Nobunaga. Together with Rikyū he was assisting Oda Nobunaga during the Ranjatai cutting ceremony. Just as his teacher, Rikyū, he became Hideyoshi’s osadō – person in charge of chanoyu related events and ceremonies. In 1584, however, he angered Hideyoshi with his capricious comments, and was banished. Sōji did not leave Hideyoshi’s circles just yet. He started to serve Maeda Toshiie (1538-1599), who, although against Hideyoshi after Nobunaga’s assassination at Honnō-ji, and the subsequent attack by Hideyoshi on Akechi Mitsuhide, after being defeated started to work for Hideyoshi and became one of his leading generals. At this time Sōji was pardoned by Hideyoshi and returned to his sadō office. The last time we know he was performing osadō duties (organizing a tea gathering in Nara for Toyotomi Hidenaga) was in the tenth month of 1586. In 1586 he again angered Hideyoshi and retreated to Kōyasan, a spiritual center for the Shingon school of Buddhism in Wakayama prefecture, where he started writing his secret transmission, the Yamanoue Sōji ki. Sōji started to distribute The chanoyu diary of Tsuda Sōgyū. (Sen Sōshitsu (ed.) 1977, vol 7: 139) Konnichian (ed.) 2014: 69. 4 Ibidem: 70. 2 3 102 Urszula Mach-Bryson copies of the text among his worthy tea students from 1588. He spent one year at Mount Kōya, teaching chanoyu to monks from Annyōin and Jōjūin. In 1588 he traveled to Odawara, where he became tea teacher to the Hōjō clan. This was the beginning of the tragic end. It was 1590, during the Siege of Odawara – Hideyoshi’s campaign to eliminate the Hōjō as a threat to his rise to power. Hideyoshi’s army camp was seen as having “the most unconventional siege lines in samurai history” – concubines, prostitutes, musicians, acrobats, fire-eaters and jugglers entertained the samurai. Tradition states that it was there, after Rikyū’s intervention, that Sōji was granted another chance to talk to Hideyoshi. In fact Hideyoshi was ready to hire him back, but Sōji – faithful to his new masters in the Hōjō clan, again evoked Hideyoshi’s wrath. It is widely known that Sōji died a horrible death, before execution first his ears and nose were cut off at Hideyoshi’s command, all this at only 47 years of age. However there is no proof of this event in the documents of the time. We learn about Sōji’s final moments in a record from 1640 included in Chōandōki written by Kubo Gondayu (1571–1640), a priest from Kasuga Taisha in Nara and a man of tea. In Chōandōki we are introduced to Sōji as providing a rather extraverted and unpleasant first impression: “In Sakai, as a person skillful in chanoyu and well versed, he was someone who could not be ignored; but he had a bad manner and was evil-tongued, and thus was disliked by others.”5 During the Siege of Odawara it was most likely his overly sincere and uncompromising words that hurt Hideyoshi’s ears and got him killed6 on the 11th day of the fourth month of Tenshō 18 (1590). In Hakoneyumoto (now Kanagawa Pref.) in Sōunji (a Rinzai school temple belonging to the Daitokuji line) where Hideyoshi was staying during his campaign against the Hōjō, there is a gravestone, only erected in the 1950’s, that marks the most likely place of Sōji’s tragic death. Sōji left a son, Dōshichi, who was in possession of a copy of the Yamanoue Sōji ki and continued his father’s line of work serving as chanoyu professional to Tokugawa Ieyasu. Although, as Kubo Gondayu relates, the short temper of the father must have transmitted to the son, and he was sent away from Ieyasu’s court after showing his discontent with a charcoal form done by Ieyasu in a brazier and fixing it with impunity before he was even asked to do so.7 Yamanoue Sōji’s life became the inspiration for Saitō Fumiko to write her novel Sōan ni hikari sasu: Yamanoue Sōji ibun (Shining light into the thatched roof hut: 5 For the original Japanese text see: Sen Sōshitsu (ed.) 1977, vol. 3: 365. Translation from: Varley, Paul [&] Kumakura Isao 1989: 42. 6 After Kubo Gondayu: Odawara gojin no toki, Hideyoshi-kō ni sae, omimi ni ataru koto mōshite, sono tsumi ni, mimi hana sogase tamaishi – During the Odawara siege, he spoke words that hurt the ears of the very lord Hideyoshi and for this crime he got his ears and nose cut off. (Sen Sōshitsu (ed.) 1977, vol. 3: 365) 7 Konnichian (ed.) 2014: 22. On Jars and All-time Masters. Chanoyu as Revealed by Yamanoue Sōji 103 another story of Yamanoue Sōji), published in 2002. In the world of motion pictures the character of Yamanoue Sōji was depicted multiple times. When the life of Rikyū becomes the inspiration for a movie-maker, Rikyū’s beloved young disciple always appears. The actors who have taken on the role of Yamanoue Sōji were Nakamura Atsuo (born 1940) in the movie Ogin-sama (1978) directed by Kumai Kei, Igawa Hisashi (born 1936) in Rikyū (1989), the famous screen adaptation by Teshigahara Hiroshi, and Kamijō Tsunehiko (born 1940), as a partner of Mifune Toshirō who was playing Rikyū this time, in Sen no Rikyū: Honkakubō Ibun (Death of a Tea Master, 1989) – film adaptation of Inoue Yasushi’s award winning novel Honkakubō Ibun (Literary remains of Honkakubō, 1981) directed by Kumai Kei. In the latest years, the life of Rikyū has again become a widely discussed topic with the release of the movie Rikyū ni tazuneyō (Ask this of Rikyū, 2013) based on the 2010 novel by Yamamoto Ken’ichi of the same title. The director Tanaka Mitsutoshi had Kawano Naoki (born 1982) play the role of Sōji. The interesting feature of this movie, which is otherwise quite immersed in a romantic side of the story, is the usage of many genuine tea utensils from the era – a great point of interest for a viewer who happens to be a tea practitioner. Recent years also brought into being a manga character of Yamanoue Sōji introduced in the series Hyōge mono (Jocular Fellow, 2009), written and illustrated by Yamada Yoshihiro, who depicted Sōji as a worthy opponent of the main character based on the historical figure of Furuta Oribe, another disciple of Rikyū. Yamanoue Sōji ki and its contents Yamanoue Sōji ki is undisputedly the best source on the tea of Sakai merchants in the Tenshō era (1573–92). It can be seen as the historical record of chanoyu, and as the first recorded secret transmission (hidensho) of chanoyu teachings; the only hidensho that transmitted tea from Shukō to Rikyū’s times. The Record was preserved in both handwritten scroll form (kansubon), believed to be the original handwriting of Yamanoue Sōji, and bound copies. Tanihata Akio, a renowned historian of chanoyu, counted up to sixty preserved copies of the Record, although those believed to be originally written by Sōji himself are extremely rare. Discrepancies between the copies do appear – in arrangement of contents, and also in the style of writing and wording. The multiple versions of Yamanoue Sōji ki are mainly well represented by three of several versions that have been published: 1. Chaki meibutsu shū 茶器名物集 Included in Zoku gunsho ruiju. This version is addressed to Kuwayama Shuri Taifu, dated the 27th day of the second month of Tenshō 16 (1588). 104 Urszula Mach-Bryson 2. Yamanoue Sōji ki 山上宗二記 Included in Chadō koten zenshū. This version in addressed to Kōsetsusai, dated the second month of Tenshō 17 (1589). 3. Yamanoue Sōji ki 山上宗二記 Included in Chadō koten zenshū taikōhon. This version is addressed to Minakawa Yamashiro no kami, dated the third month of Tenshō 18 (1590). It is this latest discovered version that led to the conclusion that the second date of Sōji’s death, not the 27th of the second month, but the 11th of the fourth month of Tenshō 18, is correct. The most recent publication of the preserved versions of the Record is the compilation by Konnichian, Chadō Bunka Kenkyū 6 from the year 2014, introducing three versions in the possession of the Konnichian Library. The oldest handwritten version is dated the 27th of the second month of Tenshō 16 (1588). It is a scroll consisting of 37 sheets of paper differentiated in length. Unfortunately it lacks the 1st volume, so we do not know the person it was addressed to. Multiple records have markings in red ink suggesting they were either check signs for the author himself, or they were checked by Sōji himself after the text was written by somebody from his surroundings he entrusted with the task. Amongst the multiple versions there are the ones addressed (given) to Sōji’s son Dōshichi and Kuwayama Shigeharu (later handed down to Katagiri Sekishū), a few addressed to monks, and those addressed to either Hōjō clan members or their vassals: Hōjō Ujinori, Itabeoka Sukenari (Kōsetsusai), and Minakawa Yamashiro no kami, showing that Rikyū’s tea penetrated the Hōjō clan through Sōji. The contents of the Yamanoue Sōji ki differ in multiple versions as the text was rewritten for different addressees; however, comparing the versions we can sketch a draft of the basic contents. Yamanoue Sōji ki composition: I.A brief history of chanoyu II.Shukō isshi mokuroku III.A record of famous utensils – meibutsu. [The order of utensils listed differs in different versions] Leaf tea storage jars (hachatsubo) Miniature stone gardens displayed on a tray (bonseki) Stands for tenmoku bowls (tenmoku dai) Tenmoku teabowls (tenmoku chawan) Teabowls (chawan) Tea scoops (chashaku) Ink stones (suzuri) Kettles (kama) Fresh water jars (mizusashi) On Jars and All-time Masters. Chanoyu as Revealed by Yamanoue Sōji 105 Chains for hanging kettles (kusari) Examples of Fujiwara Teika’s calligraphy (Teika shikishi) Charcoal scuttles (sumitori) Kettle hangers (jizai) Incense burners (kōro), incense containers (kōgō), famous incense (meikō), ash used for burning incense (kōbai) Calligraphy and paintings (bokuseki, e) Flower containers (hanaire) Ceramic thick-tea caddies (chaire) Arrangements of tea utensils on a daisu stand (daisu kazari) Wabi style flower containers (wabi hanaire) Flowers IV. Ten Points of Attention for the Man of Tea (Chanoyusha kakugo jittai) Ten Further Points (Mata jittai) V. Tea men and tearooms Lumber used in tearooms Tea men in the service of Toyotomi Hideyoshi Legends on the eight picture scrolls of Yu-chien The Record is the first attempt to write down the history of chanoyu, even though the opening part is very short. Sōji portrayed chanoyu history as starting with collecting utensils during the Higashiyama Bunka period, the time of activity of dōbōshū. While on the topic of Murata Shukō’s tea, Sōji recalls its Confucianism, Zen, the art of Poetry and Noh theater influences, stating that the art of tea is enriched through inspiration from all the above. The following lists of utensils show how intertwined and inseparable in Rikyū’s times were the two concurrent trends of chanoyu: the utensil connoisseurship-based daisu tea (daimyō style of tea) and that focused on the state of mind and heart, wabicha. Sōji had seen a large part of the utensils he described, and for his knowledge and eye, he was known as a person that could not be ignored in the world of tea. He compiled the lists of famous utensils that the practitioner of tea should strive to acquaint himself with – this was an important part of the Record as a hidensho for the art of chanoyu. It was a crib sheet for new practitioners, enabling them to work easier on their connoisseurship skills, but at the same time it was also a way to create trends, assign value to certain utensils, a power Sakai merchants did posses at the time. And so, by the end of the long lists of famous utensils, many-a-time of Chinese origin, Sōji enlists a wabi hanaire, a simple bamboo flower container, carved by Rikyū ­– giving it a very high standing in the world of tea, in the same row with meibutsu. But the Record is not only a list of famous utensils. 106 Urszula Mach-Bryson When the Record was written, the core of the Japanese Way of Tea was already in place, with the concept of wabi at its center. The word ‘wabi’ appears in the title of the chapter dedicated to wabi hanaire. Tea in a small two mat room (nijō) is further called a wabi chanoyu. From Sōji we also learn that Shukō, using Engo Kokugon’s (1063–1135) scroll, inaugurated the practice of using calligraphy at tea gatherings. In the part where Sōji described important men of tea, we can find an assessment of Rikyū’s tea by his close disciple, who did not withhold his opinions – which makes it an all the more interesting description: “Sōeki’s tea is like a deciduous tree in early winter. It is not for the ordinary person”8. Referring to Rikyū being the first person to design a one-and-a-half mat tearoom Sōji wrote: “Although unusual for the time, it was useless for the ordinary person. It is interesting that Sōeki, as a meijin (master), freely transformed mountains into valleys, changed west to east, and broke the rules of chanoyu. But if the ordinary person were simply to imitate him, there would be no chanoyu.”9 The Record provides us with descriptions of tearooms designed by famous men of tea, like Takeno Jōō and Rikyū, which are accompanied by drawings – invaluable sources for the study of historical tearoom architecture. But even though the tearoom drawings are very precise, in the parts that refer to given technical skills necessary for advancement in the art of chanoyu, just as should be expected from a secret teaching, Sōji does not go into detail, but after giving a first rough draft he points out: the rest is in the oral transmission (kuden ni ari). Hachatsubo – leaf tea storage jars The most extensive part of the Record, the lists of famous utensils, consists of chapters, each one dedicated to a different utensil. Usually the first chapter deals with leaf-tea storage jars – hachatsubo, followed by tenmoku, teabowls (chawan), tea scoops (chashaku) etc., all the way to chaire – thick-tea containers, ending with wabi flower containers. The part dedicated to tea jars, a utensil without which one could not do tea at the time, enlists twenty two examples of famous leaf-tea jars (meibutsu hachatsubo) starting with Mikazuki (the Crescent Moon) and ending with Miyama (the Deep Mountain). The famous jars, so highly praised by Nobunaga and Hideyoshi, were most often Luzon pieces. It does not mean they were fired in the Philippines. Their origin was of Fukien or Canton in southern China and northern Vietnam, Varley, Paul [&] Kumakura Isao 1989: 42. Original Japanese text see: Sen Sōshitsu (ed.) 1977, vol. 6: 102. 9 Ibidem. 8 On Jars and All-time Masters. Chanoyu as Revealed by Yamanoue Sōji 107 but they made their way to Japan (originally probably not as containers for leaftea but for wine or spices) with the Europeans through Luzon. The leaf-tea storage jars were called hachatsubo to differentiate them from thick-tea containers (chaire), that were called hikichatsubo – powdered tea jars, or hikichaire. Leaf storage tea jars were also called matsubo – the ‘real’ jars. Depending on their size they could be ōtsubo – big jars, or kotsubo – small jars. During Rikyū’s time the leaf-tea jar was considered the first, most important utensil (chaki chū daiichi no dōgu). The crucial problem was to preserve the fragrance and taste of the tea. In modern times they are mostly used once a year in November (tea New Year), for a special kuchikiri tea gathering, during which the mouth of the jar filled with this year’s tea is cut open for the first time to serve carefully chosen guests the first tea of this year’s crop. To preserve the old ways, today they can still be, like in Rikyū’s times, presented in their silk garments, nets and knotted silk cords in the tokonoma during tea gatherings. In Rikyū’s times, the chatsubo was a very familiar utensil. Nowadays this familiarity is transmitted to the much smaller and more common chaire. Sōji’s description of leaf-tea jars always starts with giving their poetic name. He organized the information about each piece in the same way: size, appearance, who owned it, what was its story. The most emphasis is given to appearance, since a famous piece in Sōji’s time had to first of all be aesthetically appropriate for the subdued feel of chanoyu. As far as the size is concerned leaf-tea jars start around 3–4 kin, and get up to 7–8 kin.10 It was the size that was comfortable for usage and for presenting tea jars in the tokonoma. The description of the first jar, Mikazuki, is very detailed, but the tsubo itself has been lost so instead I would like to describe in more detail one from the end of the list – Chigusa. The jar was recently purchased by the Smithsonian’s Freer Gallery and a detailed online workshop was given on the topic.11 In the Record we only see the poetic name and the information that it was currently owned by Kondaya Tokurin from Sakai, but that it had also belonged to Insetsu before. Kamiya Sōtan, in 1587, was invited alone by Kondaya Tokurin to a tea gathering and Chigusa was displayed in the tokonoma. Kamiya Sōtan wrote about it in detail in his Sōtan nikki: “The clay is coarse and red, the lower part swells, on the bottom are blisters (kobu), there are four ciphers. [The graph shō 祥 is above one cipher.] The glaze is thick, and there are many downward flows (nadare). Below that [the glaze] appears 10 Kin being a measurement of weight. Usually 1 kin was considered to be 160 monme (one monme being 3.75g) hence one kin was around 600g. In different periods though, depending on the products being weighed, kin could differ anywhere from 350g to 250 monme, so nearly 1kg. 11 http://smithsonianconference.org/teajar/ (access date: 12.10.2015) 108 Urszula Mach-Bryson to divide. Three potting lines. From the neck, between two lugs (chi) and above, there are small lines in three areas; one in the area in the place between the lugs they cannot be seen. The [mouth] cover is red-colored [-ground], old, gold brocade, and the reverse is light blue.”12 This was a very detailed description. At the time, the ability to look and see, to understand where the aesthetic mastery came from was of utmost importance for the man of tea. The skill they were striving to attain was mekiki – the eyes that ‘work’, not only to look, but to actually see. The Japanese word for appreciation of beauty, kanshō, can be written in two ways: 鑑賞 and 観賞. The first word brings on the meaning of ‘to think deep based on one’s knowledge and to be able to distinguish between good and bad’ (kantei 鑑定, kanbetsu 鑑別) + ‘take pleasure in watching’ (賞). The second word means ‘to gaze intensively with one’s eyes’ + ‘take pleasure in watching’ (賞). It was the first kanshō that constituted the meaning of mekiki – a virtue sought after by the men of tea of old, but also nowadays. The importance that is still placed on appreciating the utensils during a tea gathering (dōgu haiken) is reminiscent of this longing for connoisseurship but it is also a great occasion to exercise one’s eyes to be more sensitive to the beauty of wabi aesthetics, and in wabicha that brings with itself a desired mental composition. Categories of tea masters in Yamanoue Sōji ki Arranging practitioners of an art, whether it was renga, the linked verse, or tea, into categories has a long tradition. Already in the 14th and 15th centuries it was not unusual for the same person to be accomplished in both arts. Tea was recalled in works that explained the theory of poetry as an analogy13; poets were matched in ranks copying ranks of tea men already existing in high society14. The division of accomplished practitioners of chanoyu in the Yamanoue Sōji ki consists of three main categories: 1. chanoyusha – man of tea 2. wabi sukisha – practitioner of chanoyu in the spirit of wabi 3. meijin – master 12 http://www.asia.si.edu/exhibitions/current/chigusa-diary-translation.asp (access date: 12.10.2015) 13 For example the poet Nijō Yoshimoto (1320–1388) is credited with one of the first mentions in literature of the honcha/hicha differentiation. In his Jūmon Saihishō (Ten questions: the most secret commentary, 1383) he is comparing an unskilled way of indulging the beauty of sakura blossoms to honcha, real tea, unmatched in its fragrance, but destroyed by unprofessional preparation. See: Sen Soshitsu 1998:134. 14 Ibidem. Such a literary motif is used for example by the Reizei clan style waka poet Shōtetsu (1381–1459) in the second volume entitled Seigan chawa (Tea talks of Seigan) of his theoretical treatise on poetry, Shōtetsu monogatari (Shōtetsu’s tale, two volumes, 1448–50). On Jars and All-time Masters. Chanoyu as Revealed by Yamanoue Sōji 109 CHANOYUSHA 「目利ニテ茶湯モ上手、数寄ノ師匠ヲシテ世ヲ渡ルハ、茶湯者ト云」 Mekiki nite chanoyu mo jōzu, suki no shishō o shite yo o wataru wa, chanoyusha to iu. Therefore chanoyusha, a man of tea, is “a person who is a connoisseur of utensils, who is skilled in tea manner and etiquette, and who leads a life of a teacher of tea”. Connoisseurship (mekiki) is listed first, considered the most important, indispensable requirement. It was no longer necessarily the ability to judge the authenticity of the utensils, but the ability to judge whether or not the utensil was suitable for chanoyu.15 One still, and this was very much so in Sōji’s time, had to be acquainted with the utensils then revered as meibutsu – the famous pieces. It was their experience, familiarity with famous utensils through attending the tea gatherings where they were used, and owning precious utensils due to their financial facility that gave the tea men of Sakai great authority in the world of tea. The Yamanoue Sōji ki is to a great extent a list of famous pieces that a tea practitioner is expected to know and recognize. Those are both old and new utensils, of Chinese origin, but next to them are listed the ones Rikyū himself created. It was strong proof that the new aesthetics were gaining in status, not by cancelling the old, but by joining with it. This connoisseurship, calling for earmarking substantial sums for utensil purchases, ushering one towards a great deal of dedication in order to gain experience in artistic appreciation through looking for occasions to be in the vicinity of famous utensils, was later often criticized by the inheritors of Rikyū’s ideology, the advocates of wabicha, seen as the core of Rikyū’s teachings, tea designed foremost to aid one’s spiritual development in accordance with Zen philosophy.16 Through 15 The idea of connoisseurship in tea developed earlier, especially during Higashiyama culture. During the rule of Ashikaga Yoshimasa (1436–1490, in office 1449–73), the golden age for various arts: Noh theater, linked verse poetry, tea, flower arrangement or garden design to name the most flourishing, the skill to detect the true masterpieces amongst the shipments from China, distinguish them from forgeries, was held in high praise. This cherished connoisseurship, reared and developed, contributed greatly to consolidating the later undisputed merit of the Higashiyama treasures (gomotsu). A good eye and unmatched taste could bring a man of even low social standing a high position and esteem amongst noble circles, as it was the case with dōbōshū – ‘companions’, etiquette and artistic advisers of the Ashikaga shoguns. 16 This line, where tea practice is seen as first of all a kind of spiritual, religious practice, starts with the Nanpōroku (The Southern Records), a text attributed to Nanbō Sōkei, who indentifies himself as a disciple of Rikyū stationed at Nanshūji, a temple of the Rinzai school of Zen in Sakai. Nanpōroku, even though in its seven chapters there are very specific technical passages, calls the Way of Tea being in its essence no other then the Way of the Buddha. Since the oldest preserved version of this text comes from a hundred years after Rikyū, some of the Japanese chanoyu researchers, like Kumakura Isao, call Nanpōroku the first paper in a long line of study of Rikyū’s tea rather than source material depicting tea in Rikyū’s time. For more on Nanpōroku read: Nanbō Sōkei 2004; 2005. The Zencharoku (Zen Tea Record, most likely first half of the 17th century) attributed 110 Urszula Mach-Bryson study of the Yamanoue Sōji ki however we learn that in Rikyū’s time this was not the case, and cultivating the vast knowledge of classic masterpieces, having great aesthetic taste and the power to create new aesthetic trends was an indispensable part of tea training, just as was its spiritual background. Like it is stated in two of the short poems, tanka, explaining some details of chanoyu from the collection of the Rikyū hyakushu (One hundred poems of Rikyū)17: 釜一つあれば茶の湯はなるものを数の道具をもつは愚な Kama hitotsu areba chanoyu wa naru mono o kazu no dōgu o motsu wa orokana In that with one kettle chanoyu is possible, possessing numerous utensils is foolishness. かず多くある道具をも押しかくし無きがまねする人も愚な Kazu ōku aru dōgu o mo oshikakushi naki ga mane suru hito mo orokana Having many utensils but hiding them away and pretending not to, those people are also foolish. On one hand it is wrong for the tea practitioner to be attached to owning numerous precious utensils; regardless of whether it means cherished famous masterpieces of old times, meibutsu, or just utensils of high value. If one does not have many utensils, he can do tea with a metaphorical “one kettle”. But those who own many precious pieces should not try to hide them, worrying that this abundance would sully their wabi tea. Wabicha takes root in the heart. Physical, material insufficiency could help one’s spiritual practice and development, but is not a necessary condition for gaining an understanding of and then putting into practice the essence of wabi tea. In Rikyū’s time, those two lines of tea practice seem to advance simultaneously: studying the procedures and utensils and acquiring deeper insight into the nature of the universe, through introducing spiritual, quasi religious elements into tea practice. For chanoyusha rank of tea men, mekiki – again strongly stressed in the beginning of the Record’s section on “the further ten commandments [for tea practitioners]” (Mata juttai), dealing with the more spiritual aspects of the practice – seems to be of vital importance, accompanied by their proficiency in tea etiquette and procedures, and the ability to make a living as a tea teacher. As was customary in such rank juxtapositions, Sōji gives the names of real people in order to illustrate the character of a given category of tea men. For chanoyusha he names Matsumoto Shuhō and Shino Sōshin. to Zen monk Jakuan Sōtaku takes this interpretation even further, describing the true tea as the Zen tea. See: Kozyra, Agnieszka: article in this publication. 17 Iguchi Kaisen 2006: 206–209. Translation by Urszula Mach-Bryson. On Jars and All-time Masters. Chanoyu as Revealed by Yamanoue Sōji 111 WABI SUKISHA 「一物モ不持、胸ノ覚悟一、作分一、手柄一、此三箇条ノ調タルヲ佗 数寄ト云フ」 Ichibutsu mo motazu, mune no kakugo hitotsu, sakubun hitotsu, tegara hitotsu, kono sankajō no totonoitaru o wabisuki to iu. The next, therefore higher, rank of tea practitioner was the “one that does not possess a single meibutsu, but possesses three qualities: inner awareness, ­creativity, and distinguished achievements”. In Rikyū’s circles it was seen as an impressive thing to live a life that emphasized ascetic elements, not to follow the trends of the day. The difference between wabi sukisha and recognized masters was the lifestyle. The first ones had no connection to the political power structure, no need to make their mark on history, instead they remained faithful to what they believed was the essence of the practice of tea. At first they appeared as people who simply did not have the financial funds to become tea men owning famous utensils. With time their practice took a turn towards tea that put the matters of the heart and wabi spirituality in the center. They were recluse-like wabi tea men. Sōji gives the example of ­Awataguchi no Zenpō – a man of one kettle, as a wabi sukisha. Similar figures in the history of c­hanoyu are Hechikan or Dōtei, whose story shows how the provenience creates a tea utensil. Ishiguro Dōtei, a samurai, was also known as Senbon Dōtei – since he lived near Senbon Street in Kyoto when he retired. He served one of the three highest officials of the Muromachi shogunate, Hatakeyama Masanaga (1442?-1493). After retirement he lived on the income from rural land that produced fourty koku of rice per year. But he did not own a hachatsubo – a utensil every man of tea of the period was expected to own. He therefore exchanged his land for the hachatsubo he desired. Latter this leaf tea storage jar became a part of the Ashikaga Yoshimasa collection and was named Yonjukkoku (Fourty Koku) in honor of Dōtei. Other characteristics of wabi sukisha are creativity and achievements in the field of chanoyu. Yamanoue Sōji being accredited with the discovery of the Korean ido chawan – a well style teabowl, for chanoyu could be seen as one example of such creative sensitivity.18 The ido style teabowls today are considered classic, but it must have called for an independent and developed aesthetic taste to first use them in a chanoyu setting. MEIJIN 「唐物所持、目利モ茶湯モ上手、此三箇モ調ヒ、一道ニ志深キハ名人ト 云也」 Karamono shoji, mekiki mo chanoyu mo jōzu, kono sanko mo totonoi, ichidō ni kokorozashi fukaki wa meijin to iu nari. 18 Kuwata Tadachika 1957: 91. 112 Urszula Mach-Bryson The master was the “one that possesses meibutsu and is accomplished in both connoisseurship and in tea manner, and further, possesses a profound aspiration in this single way of tea”. The coinciding two trends of chanoyu: tea of the form and tea of the heart, prominent during Rikyū’s time can be seen here quite vividly. To be a tea master one could not forget the origins of tea, that was the shoin daisu tea, tea of the utensils and connoisseurship. Owning at least one utensil (here of Chinese origin) that would make tea practitioners flock to see it was a requirement. At the same time the aspiration in the single way of tea would suggest not only following the form oriented tea, but also deepening the spiritual aspect of the way. In Rikyū’s time, the two lines of tea practice seem to be inseparably connected. One was required to know the classics, understand the aesthetic of shoin daisu tea, and then proceed to wabi tea, that was seen as an advanced, more profound development of the tea practice. Therefore to even further emphasize the expectations towards a tea master, Sōji enhances the rank of meijin – master, to the master of times, old and new – kokon no meijin. KOKON NO MEIJIN 「茶湯者ノ数寄者ハ古今ノ名人ト云」 Chanoyusha no sukisha wa kokon no meijin to iu. The one who is “a chanoyusha, and a sukisha” should be called “kokon no meijin” – the master of all times, both old and new. To give an example of such a figure in chanoyu, Sōji enlists three indisputably great personalities in wabi tea history: Murata Shukō (who was the person that first put into words the concept of tea focused on spiritual practice), Torii Insetsu (a great authority as far as mekiki was concerned) and Takeno Jōō (responsible for bringing into tea the sensibility of Japanese poetry). Based on Sōji’s description of a chanoyusha and a sukisha, to summarize the requirements a kokon no meijin had to meet we could form the following list: 1. Connoisseur of utensils 2. Skilled in tea manners 3. Leading the life of a teacher of chanoyu 4. Possessing inner awareness 5. Exhibiting creativity 6. Having distinguished achievements 7. Owning meibutsu 8. Profound aspiration solely in chanoyu To the list of Sōji’s conditions to become a chanoyusha and a wabi sukisha I added the last two requirements for becoming a master – since a master of all times should probably be first considered a master. With all the emphasis on the classics of tea On Jars and All-time Masters. Chanoyu as Revealed by Yamanoue Sōji 113 – tea of the utensils and connoisseurship, and not denying it its importance, in the Record it is ultimately the wabi style of tea that is seen as the highest ideal towards which one should strive. Referring to the rank of tea masters, quoting the masters of old Sōji writes, that after becoming a meijin (therefore after acquiring recognition as a person skillful in both formal and spiritual tea), one should devote oneself solely to the wabi style of tea. And then again, showing the inseparable nature of the two trends of tea the statement follows: “…that is if one owns at least a single famous tea utensil”.19 Sōji added though, that tea practice would change with the times. In conclusion So what does a modern day reader gain from taking time to comb through the contents of the Yamanoue Sōji ki? Murai Yasuhoko states, that the Record is a great source for tea practitioners who would like to do some kind-of background check on many quasi-facts or legends that became part of the chanoyu tradition, but might not have a rooting in reality.20 Like the often perpetuated story of Rikyū’s grandfather being one of the dōbōshū named Sen’ami – hence the later family name Sen. Even though a few dōbōshū names are mentioned in the Record, Sen’ami, especially being Rikyū’s relative, does not appear. It seams very unlikely that Sōji, as close of a disciple of Rikyū’s as he was, would not mention a fact of such importance. Sōji, known for his eccentricity, does not refrain from recording that Rikyū did not always agree with his teacher, Takeno Jōō. Especially the concept of ichiza konryū – building the unity of one sitting (here the tea gathering), and many teachings that should be transmitted referring to techniques on how to build such unity, seemed to be something Rikyū did not agree with. Murai Yasuhoko concludes that Rikyū did not indulge in elaborate techniques on how to make a gathering work, even for the price of bending one’s personality. It would seem that Rikyū was an advocate of not forgetting one’s individuality and striving toward a natural unity during a tea gathering that intrinsically comes from mutual respect and the profound spiritual practice of all the participants. At the time wabicha was developing, utensils possessed a great power, bestowed upon them by Nobunaga’s chanoyu goseidō – the chanoyu reign system. Sakai merchants, very much intrigued by the idea of such power that could be bought with money, perpetuated the existence and propagated meibutsu. Multiple lists were created. The Yamanoue Sōji ki is one example of such a list, including Shukō’s, Jōō’s, Rikyū’s, and also Sōji’s chioce of meibutsu. In this list we clearly see that the image of what constituted a famous utensil was changing. The wabi quality was valued 19 20 Hayashiya Tatsusaburō [&] Yokoi Kiyoshi [&] Narabayashi Tadao (eds) 1994: 249. Chanoyu Konwakai (ed.) 1997: 26. 114 Urszula Mach-Bryson so highly, that, although in the end of the list, we encounter a humble bamboo hanaire carved by Rikyū. The Record was written for new practitioners of tea (shoshinsha), to help them learn about famous utensils and work on their mekiki. This mekiki though did not mean to be able to properly recognize the value of utensils of proper provenience, but it included the skill to judge whether the utensil was appropriate for chanoyu. Whether it had the chanoyu spirit, the wabi quality. Even though modern tea practice has continued to evolve from Sōji’s time, the era of the chatsubo changed into the era of the chaire, the impact of wabi tea from Rikyū’s time can be seen in the haiken of the utensils during a tea procedure – we value the overall form, ownership, the story of the utensil. The practitioner of wabi tea today is forced to deal with the paradox: the wabi philosophy and at the same time praising utensils, placing great value on them. Reading the Yamanoue Sōji ki we see that wabi tea, already in Rikyū’s time – from its beginnings, was a fusion of rich and lavish formal tea and tea done by recluses. The practitioners find themselves mired down in the world of the material but simultaneously aspiring to a higher, nearly opposite ideal. The Record shines some light on the origins of wabicha and helps avoid confusion. It gives a base for building contemporary solid practice, built on historical awareness. Bibliography Chanoyu Konwakai (ed.) 1997. Yamanoue Sōji ki kenkyū, vol. 3. Tōkyō: Santokuan. 茶の湯懇話会（編集）１９９７。「山上宗二記研究」３。東京：三徳庵。 Hayashiya Tatsusaburō [&] Yokoi Kiyoshi [&] Narabayashi Tadao (eds) 1994. Nihon no Chasho 1. Tōkyō: Heibonsha. 林屋辰三郎[&]横井清[&]楢林忠男編集 １９９４。日本の茶書１。東京： 平凡社。 Hirota, Dennis 1995. Wind in the Pines: Classic Writings of the Way of Tea as a Buddhist Path. Asian Humanities Press. Iguchi Kaisen 2006. Rikyū hyakushu [one hundred poems of Rikyū]. Kyōto: Tankōsha. 井口海仙２００６。「利休百首」。京都：淡交社。 Konnichian (ed.) 2014. Chadō Bunka Kenkyū, vol. 6. Kyōto: Konnichian Bunko. 今日庵編集 ２０１４。「茶道文化研究」６。京都：今日庵文庫。 Kuwata Tadachika 1957. Yamanoue Sōji ki no kenkyū. Kyōto: Kawahara Shoten. 桑田忠親 １９５７。山上宗二記の研究。京都：河原書店。 Nanbō Sōkei 2004. “Nanpōroku, czyli Zapiski z południowych stron. Rozdział I, Oboegaki, czyli Spisane z pamięci”, part 1. Zalewska, Anna (trans.). Silva Iaponicarum 2, 19–37. On Jars and All-time Masters. Chanoyu as Revealed by Yamanoue Sōji 115 Nanbō Sōkei 2005. “Nanpōroku, czyli Zapiski z południowych stron. Rozdział I, Oboegaki, czyli Spisane z pamięci”, part 2. Zalewska, Anna (trans.). Silva Iaponicarum 3, 32–50. Sen Sōshitsu (ed.) 1977. Chadō Koten Zenshū, vol. 3 [&] 6 [&] 7. Kyoto: Tankōsha. 千宗室編集１９７７。 茶道古典全集、第三巻[&]第六巻[&]第七巻。京都： 淡交社。 Sen Sōshitsu XV 1998. The Japanese Way of Tea: From Its Origins in China to Sen Rikyū. V. Dixon Morris (trans.). Honolulu: University of Hawaii Press. Varley, Paul [&] Kumakura Isao (ed.) 1989. Tea in Japan. Esseys on the History of Chanoyu. Honolulu: University of Hawaii Press. Internet sources: http://smithsonianconference.org/teajar/ http://www.asia.si.edu/exhibitions/current/chigusa-diary-translation.asp 116 Urszula Mach-Bryson English Summary of the Article Urszula Mach-Bryson On Jars and All-time Masters. Chanoyu as Revealed by Yamanoue Sōji Amongst the multiple treatises and documents that a chanoyu history researcher has at their disposal, the Yamanoue Sōji ki (Record of Yamanoue Sōji) holds a special place. First of all, written over the period from 1586 to 1590, it is a document written within the timeframe of the life of Sen no Rikyū (1522–1591) – the very person to whom the accomplished form of wabicha – tea in the style of the “beauty of noble poverty”, is attributed. It is the first tea document written with at least an attempt to record the history of chanoyu. Mostly focused on lists of noteworthy utensils, it is also a tea treatise that in a detailed manner describes the tearooms of Takeno Jōō (1502–1555) and Rikyū, including drawings to illustrate the descriptions. The Record relates the teachings of Murata Shukō (1423–1502), Takeno Jōō and Rikyū. Sōji became Rikyū’s disciple in 1565 and studied with Rikyū for over twenty years, therefore the Record is a source concerning the style and essence of Rikyū’s tea based on first-hand information. The article describes the contents of the Yamanoue Sōji ki and includes a closer analysis of two out of many aspects of the world of tea mentioned: the status of a tea jar among the widely described must-know tea utensils, and Sōji’s categories of tea men. It is the author’s belief, that study of the Record can provide a fresh insight into the nature of tea in Rikyū’s times, and can turn out to be of invaluable help for today’s tea practitioners in finding their approach to the essence of tea. Key-words: the Way of Tea, chanoyu, Yamanoue Sōji ki, Yamanoue Sōji, Sen no Rikyū, chatsubo, wabicha INETRVIEWS Yoko Fujii-Karpoluk, Anna Zalewska 第八回 ワルシャワ大学三井物産冠講座 「世界に通じる日本の笑い」 立川志の春氏インタビュー 2014年11月4日 ワルシャワ大学中央図書館 懐庵にて 聞き手 ザレフスカ・アンナ、藤井カルポルク陽子 第八回ワルシャワ大学三井物産冠講座にお越しいただいた落語家 の立川志の春さんに、日本の話芸、落語の魅力を語っていただきま した。中央図書館での落語パフォーマンスと講演の後、図書館内の 茶室「懐庵」にて、落語家になるまでの道のり、落語の様々な表現 技法、師弟関係、新作落語や英語での落語についてじっくりとお話 を伺いました。 （インタビューの前の雑談。薄茶を召し上がりながら） 藤井 立川 マハ 立川 落語の中には、お茶を点てる型というのがありますか。 点てる型、そうですね、例えば『茶の湯』っていう落 語の場合は、このように手を動かして（お茶を点てる ときの様子）、「あれなんだ、泡が立たない。ね、隠 居さん、なんで泡が立たないんだ？ これどういうこ とだ、貞吉？ あの、隠居さん、石鹸入れないとだめ だ。そうだ、石鹸を入れるんだ！ 石鹸入れてぶくぶ く！ いいな、こう上に入れればいいんだ。どうだ これ、貞吉。すごいですね。泡だらけですね。これそ のまんまじゃ飲めませんよ。だからな、それは、泡を 向こう岸にふっと吹くんだ。そして、これが戻ってく る前に飲む。それが『茶の間』というわけだ。ああそ うですか。ふふふ、だめです、戻ってきちゃう。」そ んな落語もありますね。これ、なんというんですか。 茶筅です。 茶筅。そうか。 （ウラ・マハ＝ブライソンが茶の湯の説明をしている） 立川 マハ 立川 いや、勉強になります。これをなんという？ 茶杓です。 茶杓。これは落語に出てくるときは、大仏様の耳掻きと いうんだ。知ったかぶりのご隠居さんが、「あれはなん 120 Interview というんですか」と聞かれると、「あれは、お前、大仏 様の耳掻きだよ。」「ああ、そうですか、大きいですよ ね。じゃ、これでしゃかしゃかってするのがありますね。 あれはなんというんですか。」「あれは、お前、竹ででき ているだろう。だから、竹のしゃかしゃかというんだ。」 そのままですね。 （マハが「最後に釜にお水を入れる。「これでしばらくしーんと静かになり ますね。その一瞬が大好きなんです」という。インタビューが始まる。） 落語家になったきっかけ 藤井 立川 藤井 立川 立川先生が落語を始められたきっかけは、ある一つの舞台を見 たことだとおっしゃっていました。それはどんな演目だったの でしょうか。 はい。まず、僕は志の春です、志の春さんとかで。立川だと、 すごくたくさんいるんですね。落語家の慣習として、春風亭と か、笑福亭とかいう。立川とは、いわば苗字のような語で、「 笑福亭さん」というような感じになるんで、「志の春さん」で いいんです。 僕が初めて見たのは、師匠志の輔の落語で、独演会だったの で、二席あったんですね 。一席目は『はんどたおる』という新 作でした。僕の師匠の新作で、まあ、夫婦がちょっと会話をし ている話なんです。現代の話で、僕は初めて落語を見たんです が、「そうか、落語ってわかりやすいんだ」とげらげら笑って いました。とにかく、「あ、面白いんだ。これは現代の話だか ら、僕みたいな素人でも笑えるのかな」と最初、思ってたんで すね。それで、休憩を挟んで、後半、『井戸の茶碗』という古 典がありました。それはわりと人情も入った、笑いあり、ちょ っと涙ありといった話で、それを聞いたときに、江戸の話なん ですけど、すごく情景が浮かんできたんですよ。それで、やっ ている間に師匠の姿がふっと消えるような感覚があったんです ね。そういう芸は、僕は初めて見たんです。映画のコメディー とか、演劇とか、ミュージカルとか、いろいろ舞台を見に行く のが好きだったんだけども、そのように演者が話していて、ふ っと消えて、絵がぶあーっと頭の中に浮かんでくるのは、初め ての経験だった。「すごいな、これは」というふうに思った。 それは第一の衝撃でした。 その時の感動は、今の活動の原動力になっていますか。 なっています。原動力になっているのはいろいろあるん です。その一つであるのは間違いなくて。僕も落語家と 聞き手 ザレフスカ・アンナ、藤井カルポルク陽子 121 して、お客様の頭の中に絵が浮かぶような落語家になり たいなと思っていますね。みんな、いろんなタイプがあ って、落語家でも、本人がおもしろいっていうタイプの 落語を目指す人もいるんです。そうするとギャグを色々入 れていって、その登場人物というよりは、本人のキャラク ターを出していく落語です。僕は消えたい、というタイプ の落語家なんで、話が始まったら、僕がいなくて、とにか くその物語がわっと浮かぶような落語家になりたいと思っ ていますが、それは最初に言った経験がきっかけになって います。 落語の表現技法 藤井 立川 藤井 立川 言葉の力だけで色々な情景が浮かぶというのは面白いです ね。その語りには色々なテクニックを使われると思うんで すけれども、先ほどの講義にもありました、声の使い方と か、話し方の早さですか、その他にもなにか技があるので しょうか。 やっぱり最初は、話のリズムなんです。とにかく、もう、 たんたんとでもいいから、きちんとしたリズムで話せるよ うになるというのは、十五分なり、二十分なり、一時間の 話を、お客さんに聞いてもらえるための最低限の条件なん です。「しゃべるときは、歌うようにしゃべれ」というん です。「歌うときはしゃべるように歌え」という言葉もあ って。その歌の意味を伝えるのには、しゃべる感覚を持ち ながら歌うのがいい。逆に、しゃべる時は、メロディーが あって、リズムがないと、お客さまが長い間聞けないの で、歌っているような感覚でしゃべれという。それを徹 底的に最初はたたき込まれるんですね。とにかく、リズ ム、リズム、調子と言って、リズムがとんとんとん、とい っているときに、とんとんとんーうんとん！ と行くと、 そのうん！ の間に笑いが起こる。とん！ の時にどんと 笑いが来たりするんです。でも、それはちゃんとした最初 のとんとんとんというリズムがないと効かないということ で、そういう基本のことを徹底的にやって、その後はやっ ぱり、声の高低を使うテクニックなどがあります。それか ら、目が落語家には一番大事かもしれない。 目の使い方ですか。目線ということですか。 目線ですね。距離感だとか。落語だと、距離感というのは 大事なので、部屋の中で、「おお、はっちゃん、こっち来 122 Interview なさい」と言って、まあ、（近くを）見て、「ええ、どう もね」と言うのがこれで。家の外にいるはっちゃんを呼ぶ のは、（遠くを見ながら）「おい、はっちゃん、こっち来 なさい」と言って、目の距離感が違うわけです。いろんな 人が来たら、みんなこんなに来て（見渡すような目線）と いうふうになるし、例えば、これ（扇子）は刀だったりす ることがあります。そうすると、刀の長さを表す時に、こ うやって、刀の先を見るんです。そうすると、長さが伝わ るのですね。こうすれば、ものすごく長い刀です。これだ けだと短いとか、全部、目の使い方で距離感を表現します ね。酔っ払いも、言葉はどうでもよくて、酔っ払った時に 目が （見せる） 藤井 酔っ払ってますね。（笑） 立川 「酔っ払ってないでよ」、と言いながらこうやりますね。 やっぱり目なんですね。そこはわりと大事なところです ね。 藤井 いま距離というので、お師匠の志の輔さんが『ろくろ首』 という落語の中で、首が長い話をそういうふうにされてい るのを思い出しました。目なんですね。 立川 それから、子どもが大人としゃべってると、「おじさん！ 」と言ってちょっと上を向くんですよね。で、「何だ坊 や」って下を向く、「あのさ」、で子どもは上を見てて、 「何だよ」というふうに大人の目線で表わす。細かいとこ ろは難しいですね。 ザレフスカ 先ほどのパフォーマンスを見て、話し手が変わると、左 に向いたり、右に向いたりしますね。間違えることなく、 されましたよね。その動きを稽古することがありますか。 時々間違うことがありますか。 立川 間違うことがあります。 ザレフスカ それに集中して、頭の向きを稽古しましょうとか、思 うことがありますか。 立川 あります。こんがらがって、わからなくなって。落語の 上下というのですけど、歌舞伎のほうから来ているもの です。歌舞伎には舞台があって、（客席から向かって左 側、下手）花道があります。だれかが尋ねてくるときは、 花道から来て、ここ（客席から向かって右側、上手）に人 がいます。こういう関係性です。落語も、これと同じで、 こう（上手に）座っていて、だれかが入ってくると、迎え る人はこっち（下手側）を向くのです。入ってくる人はこ っち（上手側）を向くのです。上下ですね。こっち（下手 側）を向いていて、ここ（上手）にいる人は偉い、位が高 聞き手 ザレフスカ・アンナ、藤井カルポルク陽子 123 い人ですね。これは昔からの伝統なので、大概、男の人は こっち（下手側）を向いている。おかみさんとかはこっち （上手側）を向いている。外から尋ねて来た人は（下手側 を見て）こう迎える。例えば、旦那さんが外から帰ってく るとしますね。そうしたらおかみさんが、「あら、お前さ ん、お帰りなさい」と、こっち（下手側）を向いて。「や あ、いま帰ってきた、もう大変なんだよ。（上手側を見な がら）」だけど、どっかのタイミングで、「いやあ、本当 にね、忙しかったよ」とこっち（下手側）を向くのです。 こうして男女、上下に変わったりします。自然に気づかな いようにする。「それはね、お前さんね」っておかみさん はこっち（上手側）を向くのです。そこら辺がやはり時 々、あまり慣れていないネタだと向きを間違えたりする ことがあります。でも、ごまかす。 ザレフスカ やはりそれも稽古が必要ですね。 立川 そうですね、必要ですね。 藤井 表現の点で、流派の違いというのはありますか。上方と江 戸の落語の違いなどはどうでしょうか。 立川 違いはありますね。上方は、まず見台が前にある。カチ ンカチンと音を立てながら、舞台転換のときにやるんで すね。それはなぜかというと、上方落語は辻話と言って、 野外でやっているところから始まったからです。江戸落語 は、お座敷でやったのです。だから形が違った。道行く人 をとにかく引きつけないといけない。こうやって、大道芸 に近いような感じでバーンとやって、「さあ、さあ、みな さん！」と大きな声でやって。とにかく、上方の話は笑い です。江戸の話はどちらかというと、人情話とかであった り、怪談話であったり、まあ、ぞくぞくとする話だとか、 涙が出るような話だとか、お座敷芸から始まったので、色 々なパターンがあるのです。笑いという点では上方の方が すごいかもしれない。そういう違いがありますね。江戸の 中でも、その流派によっての違いは色々あります。演じ方 もそうですし、単純に言うと、団体が四つあって、今は寄 席に出られる団体が二つあって、出られないのが二つあっ て、僕らは出られないほうです。そういうところです。演 じ方とか少し違いがあります。いまはそんなに垣根はな い。ここはこうだ、というのはあまりないですね。 ザレフスカ 落語の内容ですが、さきほどのご講演のとき、主に笑い 話だとおっしゃいましたけども、「主に」と言いますと、 まったく笑いにならない話もあるのですか。本当に悲しい 話も落語ですか。 124 立川 藤井 立川 Interview ありますね。それも落語です。本当に怖い話とか、怪談、 人情噺も。でも、笑いがゼロということはあまりないで す。ただ、一時間ほどの話で二つぐらいしか笑いがないの もある。その物語の主人公とか登場人物の感情に、お客さ んにグッと入ってきてもらうことが出来れば、あまり笑い がない話でも持つことができるので。といっても、それに はやはり本当にテクニックが要るし、経験も要るし、ある 程度年齢を重ねて出てくるものもあるので、若い時にはで きないんですね。 ご自身で、「これはいつかやるぞ」と目標にしている作品 がありますか。 ありますね。それは僕の師匠の得意な演目が多いですけ ど。人情噺とかで、師匠を聞いて、「すごいな」と僕が客 席から見たときから思った話があります。『中村仲蔵』と いう話があって、これは歌舞伎の昔の有名な俳優の話なの です。それは人情噺の形で落語になっています。一時間以 上の長い話で、芸談の話なのです。中村仲蔵は家柄がない 人で、歌舞伎役者になって、その人がゼロの状態から上が っていく、サクセスストーリーです。その中での色々な葛 藤がぜんぶその話に入っている。こんなものはやはり年を 経てやらないと出てこない。まだ手をつけていないけれど も、いずれやりたいです。 落語の稽古、修行時代 藤井 立川 落語の表現の技術は、修行時代に積み重ねてこられると思 いますが、具体的にどういった修行をされるのか、稽古を されるのか、教えていただけますか。 修行という点についてはさっきも講演で言ったとおり、（ 師匠に）「俺を快適にしろ」とだけしか言われないです よ。それは、芸のこととかまず関係ないと。とにかく俺 のことだけを考えてやれということですね。そして運転 手を最初やってました。「俺が快適になる運転をしろ」 と。車線変更をするタイミングも、「俺が快適なタイミ ングがある。車間距離も一番快適な距離がある」と。こ れが落語の間につながるんだということですね。僕はそ んなことないと思います。しかし、とにかく弟子は常に 師匠のことを考えるんです。そうすると、何年かやってい るうちに、だんだんと、いま師匠はこう考えているだろう なと、なんとなく自分の中に浮かんできて。そうすると、 聞き手 ザレフスカ・アンナ、藤井カルポルク陽子 藤井 立川 藤井 立川 125 芸の上でも教わるというのじゃなくて、師匠をひたすら見 てるんですけど、師匠はいま何を考えているのかなと常に 考える癖が、いつの間にかつく。自分の中に師匠を入れて るようなプロセスだと思うんです。師匠はいまこう考えて いるだろうな、何だろうなとか、何をしたいとか、僕は八 年間の修行の間ずっと考えていたんです。そうすると、前 座修行が終わって、二つ目というのになって、自由に動け るようになって、いま僕の落語について師匠はこういうふ うに考えるだろうなと、なんとなく分かるわけです。そう すると、もし師匠がなくなったとしても、僕の中に師匠が いるということになる。僕には二つの視点があって、僕は こうしたい、でも師匠はこう言うだろうな、という。二つ の自己を作るというのが、重要なんじゃないかなと思いま す。客観視できるために。そのために師匠のことをずっと 考えるということを修行中やるんです。テクニックを教わ るというよりも、師匠の考え方そのものを自分の中に入れ るというほうが長い目でいうと役に立つ、大事なことので はないか。 そうすると、舞台に上がる時には、いつもお師匠の視点と ご自分の視点と持ったような状態なのですか。 そうですね。いつもではないですけど、折に触れて、タ イミングによって、いま僕が言っていることについて師 匠はこう考えているだろうな、というのがなんとなくあ ります。舞台に上がっているときは、わりとお客さんに 集中しています。でも、全般的に自分の活動を考える時 にはその視点はすごく役に立ちます。 「二つの自己を作る」というのは、興味深いお話です。そ れから、お稽古は具体的にどのようにされるのですか。 稽古はですね、まず師匠が落語を一遍やってくれる。昔 は三遍稽古と言って、一日やってくれて、終わって「あ りがとうございます」。二日目行って、またやってくれ て、全部それを書いて。三日目行って、もう一度やって くれたのを、全部書く。それは大変ですね。緊張感があ ります。だって、覚えなくてはいけないわけだから。テ ープレコーダーがなかったし、三回やってくれるから、 とにかくその三回の間に全部覚えてしまう。それで覚え て、「見てください」と言って、上げの稽古というのが ある。今はテープレコーダーがあるので、「とっていい よ」と言われて、一回師匠がやってくれます。で、その 録音したやつを書いて、何回も何回もやって覚えて、そ れで、「覚えましたので、見てください」という。師匠 126 Interview がＯＫと言ってくれたら、お客さんの前で出来るように なるのですね。その師匠によって教え方が違うことがあ ります。僕の師匠の場合は、何も言わない。「だめだ！ 」しか言わない。何がだめかは言わない。「自分で考え ろ」という。ただその師匠も今、だいぶ変わった。僕は 三番でした。七人いるうちの三番弟子ですね。四番以降 の弟子に対してものすごく優しくなった。全然教え方が 違うのです。僕の時はなんとか、「永楽に出てまいりま す人物、はっちゃん」、「ああ、だめだね！ 落語じゃ ねえ！ 落語にしてから来い！」今は、「永楽に出てま いります 」「いいか？ そこの間はな、もうちょっと 詰めたほうがいいな。ここで間を入れたほうが…」すご く細かく言っています。それを見ると、ちょっとむかつ きます。（笑）でもそれは多分、関係性が、僕までは、 三番弟子までは、親子だったんですね、師匠と。がーっ と怒られましたし。それが四番から孫になったんですよ ね。かわいい、ということで接し方も全然違いますね。 藤井 弟子同士で稽古をし合うことがありますか。 立川 ええ、あります、あります。 藤井 互いに見せ合ったり 立川 見せ合ったりというのもたまにはありますけど、あんまり 落語家同士ではそういうのがなくて、ただ、兄弟子に稽古 をつけてもらうということがあります。教えてもらうこと があります。 藤井 そういう交流がわりとあるのですか。 立川 すごくあります。 藤井 かなり関係は強いですか。 立川 関係は強いですね。僕のいる一門はすごく関係が強いです し、落語界全体でもぜんぜん違う一門の人にも「教えてく ださい」と言ったら、教えてくれるということです、古典 落語の場合は。古典落語はみんなの共有財産なので、やる たんびのお金をだれかに払わなければいけない著作権があ るわけではないので。みんなでやっているので、教えてく ださいと言ったら、教える。新作の場合は、だれかが作っ た新作をやりたいと思ったら、その人のところに行って、 「あれを教えていただけませんか」と言って、まあ、いい という場合、だめという場合もありますけど。でも、今は ＣＤがあるからといって、それを勝手に覚えてはだめ。そ の人のところにやらせてくださいと言いに行かないといけ ない。 ザレフスカ 日本の芸能には決まりが多いようですね。西洋人の目 聞き手 ザレフスカ・アンナ、藤井カルポルク陽子 127 で見ると、こちらの文化にはあまりないような決まりがあ ります。例えば、出囃子とかありますが、これは決まって いますか。自分で決めるか、決めてもらうのですか。 立川 出囃子は、昔、寄席というところにいると、お三味線の お師匠がぜんぶ出囃子を弾いてくれていました。そのお 師匠さん方が前座の時に見ていて、二つ目に昇進した時 に、「あなたはこういう曲がいいんじゃないの」と選ん でくれて、それが自分のテーマソングになるわけです。 だから、噺家一人一人それぞれに違う出囃子があって。か ぶっているものもありますけれども。僕も出囃子がありま す。それも決めてもらったのですね。落語の師匠ではなく て、唄のほうの師匠が決めてくれました。こんなのいいじ ゃないの、と言ってくれた。その人のキャラクターに合っ たものを人が選びます。自分で選ぶというパターンもあり ます。こういうのが好きだからこれにするって。 ザレフスカ 今日のは琉球節でしたか。これは先生の出囃子ですか。 立川 これは違います。僕の出囃子はCDにはないのです。CDを使 う時は、あれが好きなので、使っています。 藤井 唄は、謡もされますか。 立川 謡はできません。長唄の先生でした。歌舞伎の長唄の先生 について、長唄、小唄、端唄、どどいつを習いました。へ たくそですけれども、それを経験しておくと、発声に役に 立つ。後は踊りとか。しかし、しばらくお稽古に行ってい ないので、だいぶ忘れました。昇進するときは踊りと唄の 試験があります。試験制というのは、立川流だけなんで す。ほかのところだと、年期で五年ぐらいと決めていま す。「五年だからもう二つ目だね」と。それは合理的でも あります。前座であまりたまっていてもしょうがないので す。寄席の場合だと、徐々に送り出して行かなくてはいけ ない。立川流は寄席がない。家元制をとっていたので、家 元が見る。試験で躍りとか唄とか、太鼓とか、講談とか、 とりあえず全部つながっている。全部落語に生きるので、 全部やる、ということです。 藤井 今、家元制というお話がでましたが、落語家になる、入門 するというのは、だれもが出来ることなのですか。 立川 出来ます。試験もないですし。誠意です。誠意しかない です。「私を弟子にしてください。師匠しか考えられま せん、私を弟子にしてください」って、頼みに行くので す。そうするとその師匠自身も、そのまた師匠がとって くれなければ今の自分はないわけですから、ぜんぶ、上 の世代への恩を下に返すみたいなことなので、自分の師匠 128 Interview が今の自分だから、同じように落語家になりたいと言う人 がいれば、基本的にはとってあげるというふうになってい ます。あまり合わなそうだったらとらないですけど、とり あえずチャンスをあげる。僕は弟子になる前に一回だけ、 友だちの前でやったことがあります。本当にお客さんの前 でやったことがなかったです。その経験のないやつを一応 入れてくれたのだ。歌とかだったら、オーディションがあ って、「歌ってみ」と言われて、下手だったらもう絶対に だめじゃないですか。でも、落語の場合は、最初は技術と か関係ない。熱意だ。それから、前座の間、最初は気遣い です。芸はそのあとだ。だから一応、とってくれます。ま あ、みんな辞めていきますけれど。 藤井 ずいぶん辞めますか。 立川 ずいぶん辞めますね。僕は三番弟子ですけど、本当は二 十番弟子ぐらいです。みんな辞めていった。今の日本の 学校でもあまり頭ごなしに怒られるってないですから、 今の若い世代は慣れていないです。僕も含めてです。そ んなに慣れていないので、持たないですね。「やめちま え！」とか、「お前は才能は一ミリもないから、とにか くお前、将来は絶対無理だ！ はやく辞めろ」って。「 へたくそな奴がうまくなったという試しは一度もないん だ。うまい奴は最初からうまいんだ」、というようなこ とをずっと言われ続けた。 ザレフスカ 言われるけれども、それを我慢して 立川 そうですね。「ああ、じゃ」ってなっちゃうかもしれな いけど、さっきの原動力の話から言うと、僕にとっても う一つの大きな原動力は、師匠から、がーっと三年ぐら いずっと厳しく言われていたことですね。そしたら、そ れに対する、「見てろよ」っていう部分が出てきた。「 あなたは今、私に対して一生芽が出ない、一生可能性はな いと言ったけれども、じゃ、十年後、二十年後どうなって いるか。」そこは師匠と弟子ですけども、勝負みたいな部 分があって、まあ、言葉では絶対に言えないですけど、「 申し訳ございません」と言いながら、心の中で、「いや、 いつか！」と思う気持ちがエネルギーになります。それは もしかすると誉められるより、そうなるかもしれない。「 いいよ、お前は」というよりも、「だめだ、だめだ」と言 われ続けるほうが、大きなエネルギーになる。でも、ズタ ズタにもなりますけどね。 藤井 若い人も多くいるのですか。お弟子さんになる方は、皆さ ん二十代ぐらいですか。 聞き手 ザレフスカ・アンナ、藤井カルポルク陽子 立川 藤井 立川 129 そうですね。だいたい若いですね。基本的には本当に若 ければ若いほどいいと言われている世界なので、昔は中卒 で、十五、六でなる人が多かった。高卒も多かった。大卒 までとなるとちょっと珍しいですけども。まあ、最近はみ んな二十代ぐらいで入ってきます。もしかすると、落語だ って語学と一緒で、若い頃の方がリズムとか身につくのか もしれない。でも、社会経験をしているということで、普 通の社会人、落語をあまり見たことがない人に落語を届け るためには、その経験がぜったい生きるのです。そういう 意味では色々な経験をしたほうが今はいいかもしれない。 落語家の道には、前座の時代があって、二つ目があって、 そういう時代を経て それぞれのステップの時に、やるべきことがあるんだと思 います。前座時代には徹底的に基礎ですね。だから僕は古 典しかやらせてもらえなかったですし、とにかく古典を数 多く覚えて。それ一つ一つの、古典の中にいろいろとキャ ラクターが出てくる。小僧が出てくる話もあれば、動物が 出てくる話もあるし、おかみさんが出てくる話もあるし、 おじいさんの隠居さんが出てくる話もある。それぞれいろ いろなキャラクターをやっていくなかで、演じ方を一つ一 つ体に入れていって、それをきちんとしたリズムできちん と笑わせられるということを稽古していくと、ほかのもっ と複雑な長い話をしたときにそのテクニックは生きるので すけど。最初の前座の時から何か変なギャグを入れたりし て、ばーんとお客さんが受けても、基本のリズムで笑わす 技術はない。ずっとそのギャグを入れ続けなければいけな いということで、おいおい困ることになる。だから、前座 は基礎です。 二つ目になってからやっと自分自身でいろいろなところ で会を開けるようになりますね。前座の間は自分の会は 開けない。だれかの会の前座を務める。だから二つ目は、 いろいろなところに出て、そこのお客さんにいかにして満 足してもらうかということを考えて、そこで場数を踏んで どんなところでどういうふうにやれば合うだろうなという ことを模索していく段階ですね。だからいろいろな経験を したほうがよくて、とにかく失敗をしたほうがいい。失敗 をもちろんするし、とりあえずそれは二つ目の間では許 される。 真打になった時には、やっぱり来てくれたお客さんを 絶対に満足させるというふうなことでやっていく段階 ですね。 130 Interview 藤井 古典作品をずっと前座時代に学ばれるということですが、 古典作品はどのぐらいあるものなのですか。 立川 古典作品は、いま言われているものは、六百とか七百ぐ ら い。でも本当はたぶん何千とあったのが二百、三百年 の間に淘汰されていって、いま伝わらないものは消えてい っているわけですね。残っているのは、絶対におもしろい 話なんです。前座のころに僕が落語をやって、受けないと き、師匠に言われたのは、「お前は落語に失礼だ」と。「 今残っている古典は絶対おもしろいんだから、本で読んだ って、お客さんは笑える。そこにお前が間に入って、お前 がやることでその落語が受けなくなったら、その落語を作 った昔の人に失礼だ。ぜったい受けなきゃいけないんだ。 」それはそうでしょうね。 ザレフスカ 前座を務めると言いますと、呼ばれるのですか。それ とも「先生、私に前座に出させてください」と頼むのです か。 立川 僕の場合は、ほとんど毎日師匠にくっついて、いろいろ なところに行っていたので、師匠の落語会でしかほとん ど出なかった。また寄席とかに出ている、別の流派の人 たちだと、寄席で出たり、それから寄席で出会ったほか の師匠に、「じゃ、今日ぼくの会あるから、来て」と言 われてやったりします。あまり前座から「僕を使ってく ださい」と自己主張をしてはいけない立場なので、「お 前さん来てくれ」と言われるように、好かれるように気 を使ってやるということですね。 落語の新作、創造的側面 ザレフスカ 型には決まったやり方がありますね。そして、古典落 語と新作落語がありますが、新作落語では現代の生活に合 わせて動きをしたりするのではないですか。 立川 そうですね。 ザレフスカ それは新しい型になるのですか。 立川 そうですね。そこの「型」という部分は難しいですね。動 きだとか、何だとか。僕の新作落語でも、やっぱり古典落 語の世界はすばらしいんですけど、古典落語ではカバーで きていない、新しいコミュニケーションみたいなのが今生 まれてきて、例えばインターネットとか、携帯電話とか、 フェイスブックみたいなものも新しくでてきて、新作落語 だと、そういうもののコミュニケーションについて取り上 聞き手 ザレフスカ・アンナ、藤井カルポルク陽子 131 げたりすることが多いです。例えば、二人の人物が出てき て、フェイスブックで「お誕生日おめでとう」とかありま すね。それで、その一人、上司みたいな人が、「君な、今 朝、私に向かってお誕生日おめでとうと言ってくれたな。 」「はい、言いました。」「あれはどっちなんだ。覚えて いてくれたか、それとも今朝、フェイスブックからその通 知がきたのか、どっちなんだ。」「どっちでもいいじゃな いですか。」「よくない。覚えていてくれたというのがう れしいんだよ。フェイスブックから来たので言われたっ て、うれしくない。覚えていてくれた心がうれしいのが、 わかるか。」「全然わかりません。」ということだとか、 インターネットとかフェイスブックとか出たら、あります ね。携帯とか。携帯はこうやったり（扇子を耳元に持って いきながら）するんですけど。 藤井 扇子でされるのですか。 立川 そうですね。今は新作をやると、これ（二つ折り携帯を開 いて耳元に持っていく）でやるんですけど、どっちかとい うと、古い携帯ですよね。今どっちかというと、こっち（ スマートフォンを扱う様子を見せながら）ですか。わりと 自由です、新作のほうが。とにかく、お客さんの頭にこれ が携帯だと思い浮かべばいいので。 ザレフスカ もう少し新作について聞きたいのですが、ご自分で話 を作られますね。その他に、例えば好きな作者に、落語を 書いてくださいと頼むことはありますか。依頼することが ありますか。 立川 そういう人がいます。落語作家という人がすごく少ないで すけど、二、三人いるのです。 ザレフスカ 落語作家の専門家ですか。 立川 ほぼそうですね。評論家と作家を両方やっている人がいる のです。そういう人が作った落語をやる噺家もいます。僕 は今のところ、それをやっていなくて、僕の師匠もどっち かというと、「自分が伝えたいことがあるから新作を作る のだ」という考え方なのです。だから、例えば、だれか落 語家が作った新作を他とシェアする、教えて、どんどん広 げていくという人もいるのです。僕の師匠の場合は、「こ れは俺のメッセージを込めたものだから、お前はお前自身 のなにかメッセージを込めたものを作れ」ということで、 師匠のをやることはないです。自分で作りなさいというこ となんで、今は自分で作っている形です。 藤井 志の春さんはどういったテーマの新作を選ばれるのです か。 132 立川 Interview やっぱり自分が暮らしていて、何かちょっと疑問に思った ことだとか、ちっちゃい怒りだとか、そういうものがテー マになることが多いですね。喜怒哀楽という感情のうち「 怒」という感情をスタート地点に新作を作ることが多いで すね。世代的には僕は今三八歳で、とにかく、ちっちゃい ころ、携帯もなければ、インターネットもなかった。大学 を卒業して、社会人になる頃こういうものが広まってきた のです。だから両方とも体験している。なかった時代の気 持ちと、ある時代の気持ちがわかる。そこにちょっとギャ ップがあると思うので、わりとそういうテーマを取り上げ ることが多いですね。例えば、約束というテーマで、今だ と携帯とかができて、待ち合わせしていて、「ごめん、5 分遅れる、とか簡単にするということが、わしは許せない んだ」というおじさんがでて、「わしの時代は約束が絶対 だった。遅れたらもう二度と会えないかもしれない。それ だけの緊張感を持ったものが約束だった。お前たちはだめ だ。」「いいじゃない、便利な世の中だから、それを使え ば。」そういうテーマが多いですね。 ザレフスカ 話を作るのですか。それともその場でインプロビゼー ションをすることがありますか。 立川 僕はわりと作ってからやるほうが多いですね。中には、登 場人物と大まかな話だけでインプロビゼーションでやる人 もいます。 藤井 落語に入る前に「まくら」という部分がありますけれど も、この部分は毎回同じなのですか。それとも新しいも のを作られますか。 立川 毎回というほどではないですけど、僕は毎月自分の会をや っているので、何かしら毎月新しいことをしゃべる。まく らというのは、結局、現代のお客さんに、いきなり江戸の 落語の世界にぼーんと飛んできてくれと言ってもなかなか 難しいので、そこにちょっと助走の時間を作るんですね。 例えば「知ったかかぶり」というテーマで入るとすると、 「いや、この間、こういうような政治家さんが知ったかぶ りをしたような発言があった」として、「こんなのがあり ましたよね」というまくらを話しておいて、それから知っ たかぶりの話にすっと入っていく。すると、なんとなく準 備をしていけるということです。まくらはこれからすごく 大事になっていくと思うんですよね。やっぱり江戸落語の 古典落語の世界と、今生きている世界がだいぶ変わってき ています。僕が生まれた1970年代ぐらいまではわりと江戸 の頃からのつながりが残っていたと思います。隣りの家に 聞き手 ザレフスカ・アンナ、藤井カルポルク陽子 藤井 立川 藤井 立川 133 お塩を借りに行ったり、隣りの家に簡単に行けるような感 じで、電話も家の電話しかなかったということで、対面の 会話がほとんどだった。今それがちょっと少ないです。な にかわからないことがあるから、隣りの家に聞きに行こう とはあまりしないじゃないですか。「ウィキペディアで調 べよう」と、そうなるじゃないですか。いろいろ変わって きているので、まくらのところはもっと大事になってきて いると思います。 まくらは、昔からあったのですか。 ありました、昔から。ただ、決まったまくらが多かったで すね。わりと小咄ですね。短い、関連した小咄をして、本 題に入っていくというのは多かったです。今はわりとそこ で、それぞれの落語家の個性を出していくという感じにも なっていますけれども。 やっぱり個性が出ますね。 そうですね。個性って難しいところなんですね。最初か ら個性優先で行くと、芸が出来ていないうちから、ちょ っと目立とうというようなことになるし。変わったこと ばかりやっている、例えば野球で言うと、直球を投げら れないで、変化球しか投げられないピッチャーになって しまうと、後で困るんですよね。直球勝負ができた上で 変化球を投げられたらいいんですけど。だから最初は徹 底的に個性とかと関係なく、とにかくコピーをやって、 その後で、ある段階から徐々に個性がにじみでてくるも のだから、あえて出すものでもないんです。 英語の落語 ザレフスカ 英語の落語について伺ってもいいですか。日本学科に 御本を下さいまして、CDもついていますので、少し聞か せていただきました。「てんしき」はとても面白かった ですね。先に日本語の落語をしましたよね。その後で、 英語の落語を作るようになりましたね。しばらく英語の 落語をして、また日本語の落語をしたら、英語の落語は 日本語の落語に何か影響を与えましたか。何か変えたの でしょうか。 立川 影響は、すごくあります。それは、考え方の部分が多く て、例えば、日本で落語をやると、落語家は他にたくさ んいますね。古典落語ですと、みんな同じ話をやってい ます。そうすると、慣れているお客さんは何回も同じ話を 134 藤井 立川 藤井 立川 藤井 立川 Interview 聞いているわけです。そういう人たちにアピールするため に少し変わった演出をしたり、ちょっと違うようなことを やって、僕は違うんだというような感じの見せ方になって いきます。相対評価を気にするようになるのですね。英語 でやってみると、お客さんはほとんどが初めてです。そう いう場に行ったときに、素直に、元々の形でやったほうが 受けるのです。変な、自分が入れたギャグとかよりも元々 の形をうまくやったほうが受けるのですね。英語でやった 時、「あ、そうか、僕はけっこう日本ではなんらかんら言 って、相対評価に捕らわれていたな」と思った。そうじゃ なくて、落語という物語が持っている力をもっと信じる。 それこそ、シンガポールでは「転失気」が宝だと言われた けれども、僕自身がそれを宝だと思っている部分が減って いたな、と気付いた。では、もっと落語の底力を信じて、 それで純粋にやったほうが日本でもお客さんに受け入れて もらえるのではないかなというふうに思ったのは、英語を やった経験が、どちらかというと、原形に戻るという方向 に働いたからです。 英語で落語をされるときですが、日本語でされるときと気 持ちの持っていき方は違いますか。 そんなに違いはないですね。僕は理想的には、英語でやっ ていても日本語でやっていてもあまり変わらないような感 じでやりたいと思っています。できるだけ、日本語のテイ ストを残すような形で英語に直しているし、演じるときも そういうふうにやろうと思っています。 英語に直される作品は、どういうふうに選ぶのですか。何 か選ぶ基準はあるのですか。 基準はやっぱり、落語には洒落がメインというものが多い けれども、英語で洒落を伝えるのはちょっと難しいので、 ストーリーラインがしっかりしていて、こういう感情はど の国の人でも共感できるだろうなという、共感がベースに なると思います。その気持ちと共感できるなら、笑いにな る。このストーリーなら共感を得られるな、というものを 選びます。 今後は海外も含めて、どんな活動をしていかれたいとお考 えですか。 やっぱり海外でやるにしても、日本語の芸というのがとに かく根底にあるので、その日本語のところがちゃんとして いないと、英語に直したりしたときに、それなりのものに しかならない。やはり徹底的に日本語できちんとやってい く。でも、英語でやらなきゃ伝わらないところには、色々 聞き手 ザレフスカ・アンナ、藤井カルポルク陽子 135 外に出ていって、やっていきたいなと思っています。さっ きも言いましたが、日本人のイメージというのがちょっと 変わったりして、「ああ、なんだ、日本人も豊かな笑いの 文化があるんだ」ということで、少し考え方が変わって、 身近になったりすれば、それはうれしいことです。僕は日 本人としてアメリカに留学していた時に、僕があまりにも 日本のことを知らないなという気持ちがあった。それがも やもやと残っていて、それでもっと日本のことを知ろうと 思って日本で就職することに決めたんです。そうしている 時に落語を見て、「ああ、これだ！ 日本人として僕が自 慢できることは」と思った。それをやっていきたいです ね。 ザレフスカ、藤井 今日は長い間、貴重なお話を聞かせてくださっ て、本当にありがとうございました。 立川 ありがとうございました。 立川志の春 プロフィール 落語家。1976年に大阪で誕生し、幼少時と学生時代の七年間を米国で過 ごす。米国イェール大学卒業後、三井物産にて三年半勤務。2002年、立川 志の輔門下に入門。2011年、二つ目昇進。古典落語、新作落語、英語落語 を日本国内で演じるほか、海外公演、大学や企業での講演も多数。著書に 『誰でも笑える英語落語』（新潮社、2013年）、『あなたのプレゼンに「 まくら」はあるか？ 落語に学ぶ仕事のヒント』（星海社新書、2014年） 、『自分を壊す勇気』（クロスメディアパブリッシング、2015年）など。 REPRINTED WORKS OF POLISH JAPANOLOGISTS Ewa Pałasz-Rutkowska General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 – Part Two1 Contents Part One 0. Introduction 0.1. The scope of the work and the primary sources 0.2. The historical background – the origin of the 1930’s events 0.2.1. Japan in the early twentieth century 0.2.2. Changes in the Japanese Army after the Meiji Restoration 0.2.3. Factions within the Japanese Army – up to the late 1920’s 0.3. Masaki Jinzaburō – his life and activities (1876-1931) 1. Masaki Jinzaburō as the Vice-Chief of the General Staff Office (1932-1934) 1.1. Political incidents 1.1.1. The March and October Incidents 1.1.2. The Blood Pledge Group Incident and the May 15 Incident 1.2. The Original Imperial Way Faction (Gensho Kōdōha) 1.2.1. Ideology 1.2.2. Personnel composition of the Original Kōdōha 1.2.3. Split of the Gensho Kōdōha 1.3. Masaki Jinzaburō during the period of the Original Kōdōha 1.3.1. Masaki versus incidents 1.3.2. On understanding the situation (Jikyoku ninshiki ni tsuite) 1.3.3. Masaki versus factions 2. Masaki Jinzaburō as the General Inspector of Military Education (1934latter part of 1935) 2.1. Political incidents 2.1.1. The November Incident 2.1.2. The problem concerning the Emperor as an Organ theory 1 This is the second part of General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army, 1932-1936, originally published as “Orientalia Varsoviensia”, No. 4/1990, Wydawnictwa Uniwersytetu Warszawskiego. The first part in: “Analecta Nipponica”, No. 4/2014, pp. 149-223. 140 Ewa Pałasz-Rutkowska 2.2. The Imperial Way Faction and the Control Faction 2.2.1. The Army Pamphlet 2.2.2. Personnel composition of the Kōdōha and the Tōseiha 2.3. Masaki Jinzaburō during this period 2.3.1. Masaki versus incidents 2.3.2. Masaki versus his political opponents Part two 3. Masaki as the Military Councilor – the second half of 1935 up to March 1936 3.1. Political incidents and events 3.1.1. The problem concerning Masaki’s removal from the post of General Inspector 3.1.2. The Aizawa Incident 3.1.3. The February 26 Incident 3.2. Masaki versus incidents 3.2.1. Masaki versus the Aizawa Incident 3.2.2. Masaki versus the February 26 Incident 4. Conclusion 4.1. Masaki’s life and activities (1936-1956) 4.2. Some remarks on Masaki’s character 4.3. Final remarks 3. Masaki as the Military Councilor – the second half of 1935 up to March 1936 3.1. Political incidents and events The first question that needs to be discussed in this chapter is the problem concerning Masaki’s removal from the post of General Inspector of Military Education. The plan to fire Masaki from his post was the main aspect in personnel changes suggested by Minister Hayashi in the second half of 1935. His suggestions stimulated one of the most important political events in the above-mentioned period. They also caused the intensification of conflict between the Kōdōha and Tōseiha. Soon, the conflict came to its climax and after that the Imperial Way Faction finally lost its importance and position. Most of its members were removed from the main posts in the Army. The direct consequences of Masaki’s removal were two important events, specifically, the Aizawa Incident (Aizawa jiken) and the February 26 Incident (Niniroku jiken). These two incidents were closely connected with Masaki himself as well as with the factional struggle; therefore, they ought to be presented in this chapter. 3.1.1. The problem concerning Masaki’s removal from the post of General Inspector The proceedings relating to the “Emperor-as-an-Organ” theory as well as the November Incident and their direct consequences caused a strong attack on Gen. Masaki undertaken by his opponents, opponents who accused him of nurturing the mutinous atmosphere among the “Young Officers”. The antagonists, that is to say mainly the members of the Tōseiha and the Seigunha as well as the Emperor’s advisers and some politicians, more and more frequently demanded Masaki’s dismissal from his post. Notes about these facts already appeared in the General’s diary in March 1935 (Mn, II, 39, 41) but he did not really believe in the possibility of the accomplishment 142 Ewa Pałasz-Rutkowska of this plan. The Tōseiha officers, however, felt strong enough to throw Masaki out from the Army Central Headquarters and at the same time to remove the rest of Kōdōha’s representatives from the other important posts. A good opportunity to carry out this plan was the annual August changes of the Army staff. The Tōseiha members were also going to get rid of Hata Shinji (the Commander of 2nd Division) and Yanagawa Heisuke (the Commander of 1st Division), putting them on a reserve list and to remove Suzuki Yorimichi from the post of Chief of Strategy Section (GSO). Having completed all these changes the Tōseiha would gain exclusivity in deciding all the Army matters, as most of the important posts would be in the hands of its followers. In the General’s diary the notes on this matter and his intention to resign appear more often again in July 1935 because many consultations concerning this problem took place at that time. In order to talk about this for the first time Masaki met Hayashi on 10 July 1935, when the Army Minister showed him the project of changes prepared by the Vice-Minister, Hashimoto Toranosuke. The proposals given by Hayashi read as follows: “First of all, among those who, according to the Minister’s project, are to undergo the reshuffle are: Hishikari, Matsui, Wakayama – reduction; I – remaining only as the Military Councilor; Watanabe – my successor; Hata – reduction; Koiso – the Chief of Aviation Head Office.” (Mn, II, 151) Masaki, however, did not agree with Hayashi’s suggestions, responding: “As concerns true relations between the sovereign and the subordinate I state positively that I will fight to the death.” (Ibidem) On the same day he started his own campaign against his opponents from the Tōseiha trying to compromise them. For this reason he met his followers, Araki, Katō, and Hiranuma, ordering them to bring some evidence and documents, but he did not state precisely (in his diary) what he had in mind. Minister Hayashi’s suggestions were supported by the Chief of GSO, Prince Kan’in who, for the last few years had not liked Masaki, which was one of the reasons why Masaki had little chance to win. The General, however, tried to explain to the Prince that his antagonists were to be blamed for the situation within the Army. On 11 July he said to the Prince: “The March and October Incidents and also the movement for taking over the political power had influenced the present situation in the Army. The examples of the rivalry among the supporters, of the right relations between the sovereign and subordinates and their opponents, the rivalries appearing in an ideological dispute are: General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 143 - the fact that some people who had been, for a period of time, debarred from the central posts were stimulated by the incidents and the movements; - the fact that such a situation was mainly the effect of Minami’s and Nagata’s activities and also the fact that the Military Academy Incident was turned into an intrigue, while its real causes were kept secret. It might be feared that if we in this situation take even one false step everything will turn upside down. It is most regretful for me as a soldier that I will be buried alive as a leader of the conspiracy. But I will not rest until I make clear which is white or which is black.” (Mn, II, 153) Once again Masaki stressed that Nagata and Minami were the centre of the evil and intrigues within the Army. In the General’s opinion they organized the incidents trying to regain power – consequently blaming their antagonists, that is, Masaki’s group. Whereas he himself, the honest soldier of His Majesty, the Emperor, “the white side” of the Army tried to put the situation right in accordance to “the true relations between the sovereign and subordinates” (taigi meibun). On 12 July, at 1 p.m. the Big Three Conference (Sanchōkan Kaigi)1 started. It was expected that during this conference the decision to remove Masaki would be taken. Demanding Masaki’s dismissal, Hayashi said that according to the general Army opinion Masaki was the leading spirit of factionalism (tōbatsu shunō) (Mn, II, 155). Masaki, however, did not agree with the accusation. He did not even want to discuss things thoroughly saying that he had presented his opinion in writing. He called it “a separate paper” (besshi). A few days later, on 15 July, during the resumed debate he quoted this document. Unfortunately, this text is not enclosed in the diary.2 Once more, just as he had during the conversation with Prince Kan’in, in this document Masaki blamed, first of all, Nagata for planning the March Incident in 1931.3 On 15 July, during the resumed debate, Masaki refused to resign his post. Both Hayashi and Kan’in were of the opinion that his resignation was necessary for the Army’s good. But Masaki said: “As the General Inspector of Military Education, the Inspector for His Majesty, I can’t agree with it.” (Mn, II, 160) Then, he wrote in his diary: “The conference comes to an end and in this matter the Minister decides himself to report it to the Throne.” (Ibidem) For more details see: Takamiya 1951: 214-221. The text is included in Gs, XXIII: 438-441; Cf.: Nini, I: 3-6. 3 Masaki maintained that Nagata was the author of The Project of the March Coup d’Etat; Cf.: Takahashi 1969: 123-124. 1 2 144 Ewa Pałasz-Rutkowska Under the circumstances Hayashi decided to present the decision himself to the Emperor. Masaki’s successor was to be Watanabe Jōtarō (8) and Masaki was to be left with only the post of Military Councilor. However, this was not the end of the matter. During the debate, Masaki defending himself recollected an old principle dated from the second year of the Taishō era (1913). It was not written but was accepted by the Emperor at that time. It referred to decisions relating to personnel changes of the three highest posts in the Army.4 According to Masaki such changes could only be made by the Big Three, that is to say, after obtaining the consent of the Minister, the Chief of GSO and the General Inspector. Although, by right, the final decision belonged to the Minister, Masaki found it impossible to be dismissed without his own approval, as he himself was the Inspector of His Majesty, the Emperor, confirmed by the Emperor. He considered that in a matter like this the Generals could not decide themselves. Defending himself he said that such a decision taken without his approval would be “violating the rights of the Supreme Command” (tōsuiken no kanpan). Finally however, on 16 July, with dignity, he accepted the order to resign, handed to him by Hashimoto.5 The whole affair seemed to be closed but a few days later “the Young Officers” once again undertook an attack on the Tōseiha. They began printing texts “mysterious documents” (kaibunsho) in which they accused Nagata for his interference in the rights of the Supreme Command (tōsuiken), for Masaki’s dismissal, etc. They declared to be against the new General Inspector, Watanabe, saying that he supported Minobe’s theory. In fact, Gen. Watanabe defended Minobe four months after Masaki’s instructions were published, on 4 October 1935, during a meeting at the 3rd Division. He said then, that Minobe’s theory was right because regarding the Emperor as an organ it was in accordance with The Imperial Rescript to Soldiers and Sailors (1882) in which Emperor Meiji said: “We rely upon you as Our limbs and you look up to Us as your head.”6 This speech infuriated many of “the Young Officers”. Consequently Watanabe, together with Nagata, came to be regarded as traitors within the Army. The main authors of these kaibunsho were, like before, Muranaka and Isobe as well as Nishida Mitsugi.7 Masaki’s dismissal and these texts that made “the Young Officers” very furious were the main reasons one of them, Aizawa Saburō, committed murder. Ibidem: 207-214 Mn, II, 160-161; Cf.: Arisue 1975: 369-373. 6 Shillony 1973: 51. 7 See: Kyōiku sōkan kōtetsu jijō yōten, Gs IV: 678-680. 4 5 General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 145 Before describing this incident, in the end of this section, the authoress would like to present the public reaction to Masaki’s dismissal. Hayashi’s decision was praised in almost all newspapers. The journalists considered it to be “a masterpiece” as well as “a pressing on carrying out a purge in the Army” or “the first step of a return towards the state of normality within the Army”.8 Masaki was publicly condemned as guilty of demoralization and the cause of the bad atmosphere within the Army. On 20 July, the Army Minister announced the personnel changes to the most significant posts that were confirmed by the Emperor.9 According to the previous suggestions, Hata Shinji and Hishikari Taka from the Kōdōha were placed on the waiting list, while Ishiwara Kanji replaced Suzuki Yorimichi as the head of the Strategy Section. By the end of 1935 the Tōseiha became the strongest faction within the Army and the Kōdōha lost its influential position. Only a few members of the latter were not definitively expelled from the Army Central Headquarters. (Major-General Yamashita Tomoyuki was the head of Research Bureau; Gen. Yanagawa Heisuke, until 2 December 1935, was the Commander of 1st Division, which made the Kōdōha still powerful in the Tokyo area). But comparing the position of Kōdōha during the period 1932-1934 and during late 1935 up to March 1936 it become clear that its representatives lost power and could no longer independently decide Army politics. It was one of the main reasons for the important incidents soon to come, i.e., the Aizawa Incident and the February Incident. 3.1.2. The Aizawa Incident The Aizawa Incident, known also as “the Incident during which Nagata, Chief of Military Affairs Bureau was stabbed to death” (Nagata gunmu kyokuchō saisatsu jiken)10 was the direct result of Masaki’s dismissal and of the publication of such papers like “mysterious documents”. Aizawa Saburō was a member of “the Young Officers’ Movement” and a friend of Nishida Mitsugi. He had admired General Masaki very much and therefore he could not bear Masaki’s removal from his post. The first time he came to visit Major-General Nagata Tetsuzan on 19 July 1935 he tried to force him to resign the office because of his responsibility for Masaki’s dismissal. Nagata refused and Aizawa went back to Fukuyama, to his 41st Infantry Regiment. But after he had read some kaibunsho published by Muranaka he decided to kill “the evil man” from the Tōseiha. On 11 August, Aizawa came to Tokyo on See: Tōkyō Asahi Shinbun, 18, 22, 23 July, 15 August 1935, 1. Tōkyō Asahi Shinbun, 22 July 1935, 1. 10 For more details see: Gs, IV: 158-164; Hiroku… 1972: 246-275; Takamiya 1951: 231-240. 8 9 146 Ewa Pałasz-Rutkowska his way to a new assignment. (He was transferred to Taiwan during the personnel changes.) The morning after spending the night at Nishida’s house he went to the Army Ministry. He seemed to be completely calm and unruffled. “At first he bade farewell to his friend Yamaoka Jūkō [not Jūkō but Shigaetsu; EPR], head of the Third [Equipment] Bureau. While they were talking Aizawa asked him to check whether Nagata was in his office. Upon receiving an affirmative reply, Aizawa asked his friend to excuse him for a moment and headed straight for Nagata’s office. The general was behind his desk, discussing ways of strengthening military discipline with Colonel Niimi Hideo, Chief of the Tokyo Military Police. Suddenly the door opened and Aizawa appeared, wielding his officer sword in his hand. The two men jumped to their feet. Aizawa dashed toward Nagata and struck him with the sword. Nagata was wounded. Niimi tried to engage Aizawa, while Nagata made a desperate attempt to reach the door. But Aizawa pursued his victim and slashed him from the back. Nagata fell dead. Aizawa left the room and returned to Yamaoka’s office. […] Sirens started howling and military policemen rushed into the building, but Aizawa seemed not to care. As he later told the court-martial, he intended to pick up his hat from Nagata’s room and proceed to Taiwan. Before he could do that he was arrested.”11 The assassination of Nagata shook the military circles and public. It was the first time an officer on duty had murdered his superior. This incident was, however, a fortunate development for the Kōdōha and “the Young Officers”. First of all, Minister Hayashi, responsible for Army discipline, had to resign. His successor became, on 5 September 1935, General Kawashima Yoshiyuki, a neutral figure, but leaning more toward the Kōdōha than toward the Tōseiha. Although, according to Prof. Itō Takashi,12 Masaki’s clique expected him to do more for them, Kawashima contributed also to strengthening the Kōdōha position within the Army. He appointed Kashii Kōhei the Commander of the Tokyo Garrison. Murakami Keisaku (22) took the post of the Chief of Military Affairs Section. General Yanagawa was finally transferred from the 1st Division to Taiwan, but General Hori Takeo, another of Kōdōha’s men became his successor. Besides that, Kawashima also allowed Aizawa to have a public court-martial at the headquarters of the 1st Division, in Tokyo. The trail was pending from 18 January 1936 for many weeks. The presiding judge was Major-Gen. Satō Seisaburō, from the 1st Brigade, while the defenders were Dr. Uzawa Sōmei, the President of Meiji University and Mitsui Sakichi, both of them known Kōdōha followers. The Imperial Way Faction tried to turn this trail into a stage for attacks on the Army leadership and on the regime. Mitsui and Uzawa, according to Crowley, 11 12 Shillony 1973: 52-53. Itō 1984: 168. General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 147 “advanced familiar themes: the Emperor was surrounded by men, who were frustrating a “national restoration”, the Minobe theory enabled the plutocrats and the Okada Cabinet to misuse Imperial prerogatives, and a “military clique”, closely allied with bureaucrats and financial magnates, had driven Gen. Masaki from his post as Inspector General.”13 During the trial Aizawa said: “I intended respectfully to support the great Shōwa ishin, undertaken by destroying the centre of high treason. I thought that His Excellency, Nagata, the Chief of Bureau was an evil member of the General Headquarters”.14 Nagata’s assassination itself, while not only a murder, but also a conspicuous violation of military discipline, ceased to be an important problem. Instead, Aizawa was made a simple soldier who sought only to reform the Army and the Nation, according to the kokutai ideals. His deed became a pattern for “the Young Officers” showing them, how to destroy “the evil” in the Army and the country. They understood that the time had come at last to carry out “the Shōwa Restoration”. They had been waiting for this moment for a long time but the Generals and others from the Kōdōha maintained that the right time had not yet come. This time, however, the latter’s behavior during the Aizawa trial, namely defending the murderer, who had, in their opinion, acted in the name of purifying the Army of the evil and the restoration of the kokutai ideals, convinced “the Young Officers” that it is necessary to launch the action. The nationalistic moods within the military circles grew even stronger. The Kōdōha in spite of loosing the most important position in the Army did not stop fighting to regain it and to carry out their postulates, as its members still had many followers in the Army offices, mainly in the Army Ministry and also at the Imperial Court (e.g. Honjō Shigeru, the Chief Aide-de Camp). Besides, “the Young Officers” still backed them up. Due to those connections, Masaki’s followers could still take an active part in making decisions concerning the Army affairs, at least indirectly. In spite of the Tōseiha officers’ attempts, the Kōdōha’s members were not completely cut off from power, similarly to the situation existing in 1932-1934 when those from “the main stream”, namely the Ugakibatsu, had not been cut off. The Kōdōha, in spite of unfavorable press and hostile attitudes of many groups in the Army, government and at the Court, did not lose the support of its followers. The situation in late 1935 speaks to this most distinctly. Kokutai meichō undō 13 14 Crowley 1964: 323. Eguchi 1982: 274. 148 Ewa Pałasz-Rutkowska was still alive and its participants attacked Masaki’s successor, General Watanabe for the views consistent with Minobe’s theory. Dismissal of Masaki from the post also became a pretext used to accuse the Tōseiha members of “violating rights of the Supreme Command”. Muranaka and Isobe used this subject to publish further kaibunsho in which they called for punishing those, who were guilty of “violating rights of the Supreme Command” and destroying the kokutai ideals. Another link in the chain of events was the Aizawa Incident, carried out under the influence of “mysterious documents” and the Masaki affair. This incident together with the trial performed according to the Kōdōha plan became the direct cause of launching decisive action by seinen shōkō. It was impossible to stop this chain of events. The chauvinistic atmosphere among “the Young Officers” and their desire to free the Emperor from his bad advisers were too strong, and the Generals’ attitude during the trial confirmed only the necessity to take action. Besides, the GSO decision to send the 1st Division, on February or March, to Manchuria was one more pretext. The direct cause of the GSO decision, made known by headquarters, was, that since the time of the Russo-Japanese War the soldiers of the Division stayed only in Tokyo and they never participated in direct fighting. It may seem, however, that the real, direct cause was a fear within the GSO, which was mainly represented by the Tōseiha, of the possibility of some activities undertaken by “the Young Officers” under the slogans of Shōwa ishin. However, before the soldiers were sent to Manchuria, the last, most significant incident of the 1930’s took place. 3.1.3. The February Incident This incident is a striking and still inexhaustible topic for historians as well as journalists and writers. Particularly for the last few years,15 as the publication of documents concerning the incident has become possible and when eyewitnesses and other people connected with “the Young Officers” have started to provide information concerning the subject, many reports and analyses have been published.16 Also, every February the Japanese press and television refer to the 1936 revolt and remind everyone of its cause, always adding some new, frequently not proven or supported by the facts, pieces of information on the subject of the incident. Every year, in front of the Kannon (Goddess of Mercy; Buddhism) monument in the Shibuya Ward in Tokyo, which is devoted to the rebels of the niniroku jiken, The text was written in the second half of the 1980s. The basic materials relating to the incident are included in the following sources: Niniroku jiken. Kenkyū shiryō, 1976; Nini 1971; Kashii 1980; Kido 1974; Honjō 1967; Cf.: writings left behind by executed “Young Officers”, compiled by Kōno Tsukasa, Kōno (ed.) 1983 and many others. In English the most detailed work on that subject is Shillony 1973. 15 16 General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 149 a small celebration in honor of the slain “Young Officers” is carried out. It is always led by Kōno Tsukasa, the brother of Hisashi, one of its members. The authoress had the chance to see such a celebration in 1985. This all proves the significance and the popularity of the February Incident, a great uprising, which is sometimes compared with the Meiji Restoration. At 5 a.m. on the snowy morning of 26 February about 1400 soldiers from the 1st and 3rd Divisions and 1st Imperial Guard Division led by more than 20 “Young Officers” (see: Appendix 2) started the plot aimed at carrying out the Shōwa ishin goals. To begin they attacked residences of some, in their minds, of the “evil men around the Throne”, that is to say, of those from the government as well as some representatives of military circles. First Lieutenant Kurihara Yasuhide (Saga, 41) and 300 soldiers from the 1st Infantry Regiment surrounded the official residence of Prime Minister Okada Keisuke, near the Diet Building. However, they failed to achieve their purpose because Okada escaped. By mistake, they killed his brother-in-law, Colonel Matsuo Denzō. They believed then, that the man shot down was the Prime Minister himself17. But the rebels did succeed in some other cases. 120 soldiers from the 3rd Imperial Guard Regiment led by First Lieutenant Nakahashi Motoaki (Saga, 41) attacked the private residence of the Finance Minister, Takahashi Korekiyo in Akasaka. Nakahashi himself fired at the old man, who was asleep. The Minister died instantly. At 5:05 a.m. another group of 150 soldiers from the 3rd Infantry Regiment that were under First Lieutenant Sakai Naoshi’s (Mie, 44) command reached the private residence of Viscount Saitō Makoto, the Lord Keeper of the Privy Seal, in Yotsuya. Three officers shot him almost simultaneously. About 6:30 a.m. the officers from the same regiment shot down the General Inspector of Military Education, Watanabe Jōtarō. These were the only three victims out of the intended list of six that seinen shōkō managed to kill. As it has been mentioned previously, Prime Minister Okada was alive. The fifth “evil man” Makino Nobuaki, the former Lord Keeper of the Privy Seal also escaped from death at the hands of Captain Kōno Higashi (Nagasaki, 40), who arrived at 5.45 a.m. at the Itōya inn in Yūgawara, where Makino was staying. Although the last victim, the Grand Chamberlain, Suzuki Kantarō had been severely wounded by the soldiers under the command of Captain Andō Teruzō (Gifu, 38), he recovered and a few years later became the last Prime Minister during the Asia Pacific War. The first official announcement given by the Army Ministry said that Okada was murdered. The news was published by the press in the evening edition on 27 February. 17 150 Ewa Pałasz-Rutkowska The mutineers knew, having learnt from previous failure, that only through the support of the Emperor a national reform would succeed. Therefore they planned to size the Imperial Palace in order to replace some “bad” advisers with “good” ones and thus, to get the Emperor’s support. As it seemed unthinkable to storm the palace from the outside, the rebels decided to capture it from within. Fortunately, from the rebels’ point of view, First Lieutenant Nakahashi Motoaki of the 3rd Imperial Guard Regiment and his unit were scheduled to begin their duty as the Palace Guard on 26 February.18 Nakahashi was to enter the palace and open it to the rebels. After completing the attack on the Finance Minister’s residence, Nakahashi took his men and succeeded in entering the palace grounds.19 But as the Commander of the Imperial Guard had learnt about Nakahashi’s connections with the rebels he ordered him to leave the palace. The plan to size the palace failed and the rebels’ chances to get hold of the Emperor were lost. Fortunately for seinen shōkō “the other parts of the occupation plan were carried out swiftly and encountered no resistance. By ten o’clock in the morning, the rebels were in control of the whole area comprising about one square mile to the south of the palace. It included the recently constructed Diet Building, the War [Army; EPR] Ministry, the General Staff, government offices, some foreign embassies […], and the official residences of the Prime Minister, the War [Army; EPR] Minister and other Cabinet members. (The border of the area under the rebels’ control ran from the Hanzō gate [Hanzōmon; EPR] in the north, through Miyakezaka to Akasaka Mitsuke in the south, from there to Toranomon in the east, then to Sakuradamon in the north and from there along the southern moat of the palace back to the Hanzō gate [...], the whole area was sealed off by barbed wire and sentry lines”.20 The mutineers were backed by many senior Army officers, especially by those belonging to the Kōdōha, such as Masaki, Araki, Yanagawa and their f­ ollowers, namely General Abe Nobuyuki and others, and even by the Army Minister Kawashima as well as the Chief Aide-de-Camp, Honjō Shigeru who was the father-in-law of “Young Officer” Yamaguchi Ichitarō (Shizuoka, 33). They were also supported by Prince Chichibu (brother of the Emperor), and by Princes, Higashikuni and Asaka. In the morning General Kawashima received the rebels’ leaders who gave him the “Demands to the Army Minister” (Rikugun daijin yōbō jikō) and their manifesto, called the “Outline of uprising” (Kekki shuisho).21 They demanded: This duty, which was assigned every week to a different company of the Imperial Guard Division, entitled that company to enter the Palace grounds in case of emergency to protect the Emperor. For this reason the rebellion was scheduled on 26 February. 19 Cf.: Shillony 1973: 142. 20 Ibidem: 143-144; the map see: Appendix 3. 21 For the text see: Kashii 1980: 37-38; Cf.: Takahashi 1965: 25-27. 18 General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 151 1. to prevent the use of force against the rebels; 2. to arrest Generals Ugaki, Koiso and Tatekawa because of their part in the March Incident; 3. to dismiss the leading Tōseiha personnel from service, etc. The manifesto was a representative text for the Nihon shugi activists, the text including all the ideas they propagated before. First of all they wrote that they served under the Supreme Command of the Emperor. They explained also that the essence of the country consisted of the evolutionary formation of a single nation and then of unification of the entire earth under the Japanese roof (hakkō ichiū). They mentioned that Emperor Jinmu, the legendary, according to the mythology, first Emperor of Japan (from 660 B.C.) had founded the nation and the Meiji Restoration had transformed the society. After that they underlined that some genrō, the military factions, the bureaucrats, the parties’ politicians and so on had all contributed, as leaders, to the destruction of kokutai (by signing the London Naval Treaty, by dismissing Masaki, etc.). They also wrote about the Ketsumeidan jiken, goichigo jiken as well as the Aizawa jiken. “Even if our actions cost our lives and our honour, vacillation now has no meaning to us. [...] To make the traitors perish, to make the supreme righteousness righteous, to protect the national essence and make it manifest, we dedicate our own true hearts as children of the sacred land, thereby giving our lives and brains to be consumed in the fire.”22 The manifesto was written in a very moving style but it affected only the Kōdōha officers and their followers. The Emperor remained adamant. He refused to sanction any restoration and his firm opposition to the rebellion became one, although not the only, cause of its failure. However, the first two days of the uprising were full of success. Even the proclamation of the Martial Law (kaigenrei) signed by Emperor on the morning of 27 February was accepted with full satisfaction. According to the proclamation the Tokyo Garrison became the Martial Law Enforcement Headquarters (Kaigen Shireibu) and Gen. Kashii Kōhei from the Kōdōha was appointed its Commanding Officer (kaigen shireikan). Soon afterwards the Army stopped bringing in reinforcements to the capital and the rebels reduced their occupation to the Miyakezaka area, south of the Imperial Palace. But on the morning of 28 February they learnt that the situation was not going to be easy for them. The Emperor, the Navy23 and GSO dominated by the Tōseiha men, opposed their action strongly. Finally, an Imperial Command ordering the rebels’ units to withdraw from their position was issued and the rebellion ended Kashii 1980: 37-38. Cf.: the translation given in Shillony 1973: 46-48. The Navy traditionally opposed the Army but then they were upset by the fact that the three people attacked during the incident were Admirals (Saitō, Okada, Suzuki). 22 23 152 Ewa Pałasz-Rutkowska as a fiasco. But it was not suppressed by force although many tanks began to enter the occupied area on the morning of 29 February. “The Young Officers” stopped their action because they were disappointed by the Kōdōha’s Generals. The Generals, knowing that the Emperor was against the rebellion and being afraid for their future backed out of the uprising. In such a situation the rebels decided to withdraw from the occupied area because they did not see any reason to further endanger the lives of their soldiers. But they categorically refused to commit suicide. Isobe, one of them, stated, that if they had to kill themselves, all the Generals who had supported them should do the same.24 Only two of the 21 leading seinen shōkō committed suicide. They were Captain Nonaka Shirō (Okayama, 36) and Kōno Hisashi. There is also the possibility that “the Young Officers” did not commit suicide because they expected public trials as in the case of Aizawa and they intended to use the courtroom as a forum to stir up the people against the government and some of the “bad” advisers around the Throne. But the end of the uprising was very tragic for the rebel officers and their civilian collaborators. In July, Kōda, Andō, Kurihara, Takeshima, Tsushima, Nakahashi and Hayashi, as well as the civilians Muranaka, Isobe, Shibukawa and Mizukami were sentenced to death and executed. Five officers, Mugiya, Tokiwa, Suzuki, Kiyohara and Ikeda were sentenced to life imprisonment. Forty-four non-commissioned officers and four soldiers were sentenced to various prisons. The troops taking part in the rebellion with a few exceptions were transferred to Manchuria in May. The Kōdōha senior Generals were temporarily purged from their posts. But the only General put on trial was Masaki Jinzaburō. Some months after the February Incident Lieutenant-Colonel Aizawa Saburō was also sentenced to death for the assassination of Nagata. Kita and Nishida who played an important role in encouraging the rebels were also executed in August 1937. Thus, the biggest uprising against the government in modern Japanese history and also the best organized one carried out by seinen shōkō ended as a fiasco. It was the last one. With the execution of the leading “Young Officers” the idea of Shōwa ishin died. “The Young Officers’ Movement” also ceased to exist. However, this incident proved that “the Young Officers” could not only spread slogans concerning the Shōwa Restoration but also act in order to bring them to life. But they were His Majesty’s soldiers till the end and they surrendered only because they had not gained His support. Even in prison, awaiting death, they seemed to think mainly about their Emperor. The poems included in their wills prove it. For example, the following one: “Thinking about the Emperor and the people I am leaving this world forever.”25 24 25 Kōno 1957: 84-88. Shillony 1973: 204. General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 153 They were also betrayed by the senior Generals who, being the followers of the same ideology, encouraged “the Young Officers” to act. It turned out, however, that in a critical situation they backed out only taking care of their own posts and futures. They were not able to convince the Emperor that their views were right and in this way support the rebels. The Emperor did not want to realize the necessity for any changes in the political situation in the country fearing the uncertain future and the chaos, which could be brought about. He also feared the reaction of Western countries. The February 26 Incident finally led to firing the Kōdōha’s representatives from a few posts in the Army that had still remained in their hands. And although Konoe Fumimaro (1891-1945) as the Prime Minister (4 June 1937 – 5 January 1939) in order to gain the Army support appointed once more several officers from this faction to some posts, Kōdōha’s members never again regained its position from the 1932-1934 period. Thus, the Kōdōha lost its significance as the dominating power and Tōseiha’s rival in the Army. Putting Masaki on trial because of the February Incident also proved this to be so. 3.2. Masaki versus incidents 3.2.1. Masaki versus the Aizawa Incident As mentioned before, Lieutenant-Colonel Aizawa Saburō had greatly admired Masaki from the time the latter was the head at the Rikushi in the mid-1920’s. During this time Aizawa was an instructor of Japanese fencing at the same Academy. According to Crowley, Masaki had been Aizawa’s sponsor even then.26 Their connections became closer when Masaki was appointed the Commander of the 8th Division at Hirosaki (1927), where Aizawa also held a post. In early 1934 Masaki even visited Aizawa in a hospital when he was sick.27 During the preliminary interrogation of the trial Aizawa said: “Later, during my service with the Gymnastics School in Tokyo I got the guidance of His Excellency [Masaki; EPR] and I visited him frequently even at His house and listened to him. I realized that His Excellency was really an august personage.”28 Crowley 1964: 322, n. 58. Itō 1984 (a), I: 167. 28 Ōtani 1961: 195. 26 27 154 Ewa Pałasz-Rutkowska Masaki confirmed this in his testimony after the February Incident. He added that Aizawa visited him to hear the General’s opinion on the Army, the various ranks officers’ duties and their morale, and also the views concerning the kokutai ideals. Masaki found out about Nagata’s assassination almost immediately after it had happened. Etō Genkurō informed him by telephone. But then the murderer’s name was not mentioned at all. As this case had shocked the military circles, and Masaki, in spite of losing the Inspector’s post, still belonged to the most important personages in the Army, he was, on that day, visited by many people, and some talked to him by phone, but Aizawa’s name was not mentioned until the evening when Matsuura said to Masaki: “This morning Aizawa visited Yamaoka and paid his respects to him. After Nagata was killed he once more entered [Yamaoka’s room; EPR] to ask for a bandage.” (Mn, II, 187) The General, during the earlier mentioned interrogation, stated that he had suspected various people of committing the murder but not Aizawa as he knew he had been out of Tokyo. Therefore he was very much surprised to find out that Aizawa himself was the assassin. He admitted, however, that Aizawa and Nagata both had contrary views on many matters concerning the Army. The next day after the incident Masaki participated in the Military Councilors’ Conference. During the conference Minister Hayashi said, among other things, that the direct causes of this assassination were the former incidents, that is to say the March and October Incidents as well as the November Incident. Araki, on the other hand, tried to draw attention to the danger from the civilians’ side, those who were going to get mixed up in the Army. That day Masaki also found out that false rumors were being spread that he himself had inspired Aizawa’s action. Masaki developed this topic in greater detail during the visit of Lieutenant-Gen. Ishimaru Shitsuma. He then heard that his opponents thought Aizawa had committed this crime because he knew he had had Masaki’s support, as he was his guarantor at the Rikushi. In answer to this accusation Masaki said that he could not see any need to explain the fiction made up by outsiders. As always, and this time also, he tried to avoid a positive answer since he did not know the attitude of many people towards this incident. However, for the next few months, until the February Incident, Masaki was very busy with the matters and events, which were the consequences of the Aizawa jiken. The above-mentioned personnel changes and Aizawa Saburō’s public trial were the most important among all others. Minister Hayashi had to bear the consequences and resign. Masaki, in spite of the fact that the Tōseiha’s officers occupied a great number of important posts, still had, as the Military Councillor, a right to vote for the candidates for the ­Minister’s General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 155 s­ uccessor. Therefore he often met with the people from the Kōdōha, mainly Araki and his followers from outside the faction to discuss the suggestions concerning the choice of the new Minister. Finally, on 5 September 1935, Kawashima was appointed the Army Minister. As Kawashima’s attitude towards the Imperial Way Faction has already been described in Chapter 3.1.2. it only ought to be added here that Masaki recognized Kawashima’s candidacy as the most suitable one and supported it. Although Kawashima feared that his nomination might lead to another incident Masaki said: “We all will support you as strongly as possible. We should make an effort in order to exclude any difficulties.” (Mn, II, 214) Anyway, Masaki did not trust Kawashima completely. His doubts grew stronger when it came to the discussion with the new Minister on the subject of the choice of the Army Vice-Minister. Masaki put forward, among others, the candidacy of Yanagawa but Kawashima did not give a definite answer. The discussion on that matter lasted for several days and finally, on 21 September, Furushō Motoo (14) was appointed the Vice-Minister. As Masaki also suggested choosing him, this nomination might perhaps be considered as Kōdōha’s partial success. Although none of the leading members of the Kōdōha were chosen, Imai Kiyoshi from the Tōseiha had also been rejected. However, the main posts in the Army Central Headquarters were mostly in the hands of those representing the Control Faction. Masaki’s followers could not agree with it. Besides, they considered (Cf.: Mn, II, 298) that their enemies would not rest as long as they were able to eliminate the Kōdōha’s members from all the most significant posts. The December personnel changes, namely sending Yanagawa to Taiwan and dismissing Yamaoka from the Chief Equipment Bureau, were the best examples of Tōseiha’s policy in staffing matters. Then the same people, e.g. Imai, Hashimoto, etc., already planned the March personnel changes of 1936, which were supposed to result in the definite elimination of the Kōdōha’s members from the Army Central Headquarters. On 28 January 1936, the public trial against Aizawa Saburō began. Masaki did not participate but was very much interested, that attitude is proven by the spacious notes in his diary on that particular subject. In the authoress’ opinion, Masaki’s interest resulted mainly from two reasons. The first one was certainly the fact that Masaki liked and even admired Aizawa for his courage. The second, much more important, was the fear for his own skin. As it is known Masaki had sporadically met Aizawa since 1927. During these meetings they discussed the Army problems, which led the General to learn of “the Young Officers” views. And although Masaki was astonished by the fact that it was Aizawa who assassinated Nagata he understood why it was he who had done it. Even before the trial, on 16 January, after having listened to the recorded ­protocol from Aizawa’s hearing he wrote in the diary: 156 Ewa Pałasz-Rutkowska “On hearing this [the protocol; EPR] I feel ashamed of my misunderstanding. I suddenly experienced feelings of relief and respect towards Aizawa.” (Mn, II, 348) That was the reason why, later on, his attitude towards each day of the trial was so emotional. Some sentences put down at that time in his diary show very well his attitude towards the accused and the whole matter. Masaki wrote that he was praying for a happy ending, or that he wished Aizawa the best of luck. Besides that, for the first time in his diary, he recollected a happy event that had taken place in the past, on the same day. It seems that quoting some such sentences will be a good example of Masaki’s emotional attitude towards the whole affair. – “3 January: Since this morning it was cloudy and I have been superstitious about it. However, the weather changed about 10 a.m. and I am delighted with this lucky omen for today.” (Mn, II, 360) – “1 February: I wish Aizawa good luck at the trial.” (Ibidem: 363) – “3 February: It has been snowing heavily since afternoon and I felt anxious about the future fortune. But if I turn the pages of the diary I will see that this day is the day of the Imperial Conference concerning the Russo-Japanese War and also the day of the attack on Weihaiwei during the SinoJapanese War. I haven’t yet been informed about today’s trial but probably everything will be brought to a happy end.” (Ibidem: 365-366) – “14 February: Today will be a lucky day because [on the same day; EPR] in 1932 the 9th Division landed in Shanghai. I wish good luck for the future of this affair.” (Ibidem: 376). The second, more important reason of Masaki’s great interest in the Aizawa’s trial was the fear that his enemies would use this matter to destroy the General definitively. Many members of Masaki’s faction paid him visits at that time relating the trial to him, describing the activities of the opponent faction and insisting on the General not participating in the whole matter. At first Masaki agreed with them but eventually, as he had learnt Aizawa’s and his enemies’ points of view, he arrived at the conclusion that for the good of the Army he ought to appear as a witness before the jury. On 30 January, during his conversation with Araki who maintained that Masaki’s appearance at the trial may result in his disadvantage the General firmly replied: “I do not care if it even leads to an unfavorable result for me. I should deal with it on the basis of an elimination of impropriety in the Army, regardless of my advantage or disadvantage.” (Mn, II, 362) Since that day Masaki began to prepare a written testimony, which he wanted to present before the jury. As it was in his nature he talked this text over with many General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 157 people considering every possible consequence of its publication. One more problem, which was connected with this testimony, had arisen at that time. The text was to be sanctioned by the Emperor. Masaki, appearing before the jury, would appear not as a private person but as a General, Military Councilor, and the former Inspector General and Vice-Chief of GSO. That is why he thought that his testimony ought to be approved by the Emperor. He did not wish to cause His anger again, and he wanted to prevent attacks from the Court. Finally, however, on 25 February, he appeared before the jury having received no answer. The trial due to the fact that Masaki was the main witness on that day continued behind closed doors. However, in the General’s diary detailed descriptions can be found. This time also the General remembered as he had before that: “Today is the day when, in 1863, the English and French guards in Yokohama withdrew.” (Mn, II, 386) Further he described leaving the house, meeting with journalists on the way to the Headquarters of the 1st Division. During the trial he first answered the presiding judge’s questions. They concerned Masaki’s relations with Aizawa, his own views on the subject of Aizawa himself and on the assassination of Nagata. Next, he had to answer the defenders, Uzawa and Mitsui. It ought to be mentioned here that even earlier, that is during the first days of the trial, they both often visited Masaki at home relating the process to him and that their mutual relationship was not indifferent. Both Uzawa and Mitsui supported and respected Masaki, while the latter had a high opinion of both Aizawa’s defenders, particularly of Mitsui. Answering Uzawa’s questions concerning relations with the Aizawa Incident and the problem of violating rights of the Supreme Command, Masaki said that it was the basic problem for the whole Army. The Imperial Army ought to watch out that the principles that were at its core would not be thoughtlessly destroyed. Referring to spirit and the basic significance of the Army he added that he himself as one of the Imperial officers deeply believed that the matter of the incident would be completely cleared for the Army’s good. Mitsui also referred, in his questions, to the problem of violating the rights of the Supreme Command. He returned to the Big Three Conference during which Masaki opposed the decision to dismiss him from the Inspector’s post. Answering, Masaki said that his protest was neither personal nor was it caused by the dislike for Minister Hayashi or Prince Kan’in. Judging by what had been written in the diary, the whole trial went according to Kōdōha’s plan. The Aizawa Incident was used to introduce the ideological discrepancies in the Army with which the assassin, having acted for the Army’s good, could not go along. Masaki appearing before the jury also believed that he acted for good of the Imperial Army. He claimed, as far as we can take the sentences 158 Ewa Pałasz-Rutkowska from his diary as the source of the truth, that the jury would rightly judge whether or not he stood behind Nagata’s murder. He made up his mind to withdraw completely from political life if his influence on Aizawa’s action could be proven. It all speaks very well for the General’s nobleness and integrity but nevertheless, one thing must be mentioned at this point. Masaki knew what the personnel roster of the jury had been and that it was Yanagawa, the man from his faction, who, before leaving for Taiwan had chosen those particular people. They were almost all Kōdōha’s followers and therefore its opponents’ attempts to use the process as the means to destroy Masaki’s group were for nothing. Although the Imperial Way Faction together with Masaki was dismissed almost totally from the main posts in the Army, its members and their ideology still had the support of many social circles. Aizawa’s process convinced them that following “the Imperial Way” had been right and that it was necessary to carry out the Shōwa ishin quickly. Therefore the next day after Masaki appeared in court, the February Incident broke up. 3.2.2. Masaki versus the February 26 Incident On 26 February about 5:30 a.m., when Masaki was woken up by a servant who told him that Kamekawa Tetsuya had come, he did not expect the news he heard in the least. He supposed, as he said during the above-mentioned hearings (Nini, II, 204), that the reason for such as early visit was some important matter connected with Masaki’s appearance before the jury concerning the Aizawa Incident the day before. However, Kamekawa informed him about “the Young Officers”’ uprising and in tears asked Masaki for help. He claimed Masaki was the only person who was able to support the rebels. He said: “If it is impossible to form the new Cabinet today the soldiers will be killed. Therefore it is necessary to meet many people.” (Mn, II, 389) Masaki was extremely astonished. During the later hearings he also mentioned that he had not thought that the matter would go in such a direction. Just to the contrary, during the whole of Aizawa’s trial he heard that “the Young Officers” were gradually calming down and they were glad with its course. Did he really know nothing about “the Young Officers”’ preparations for the coup? Engrossed in Aizawa’s case he did not mention it at all in his diary. As it is very well known, Masaki was careful not to get involved in any illegal action and that is why perhaps he avoided such discrediting notes. It seems unlikely that he, who had always been well informed about everything that was going on in the Army, was omitted this time. It is even more unlikely as “the Young Officers” trusted him very much. They planned that he would become the chief of the new, reformed General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 159 government under Martial Law. It was Kamekawa (the same person, who visited Masaki in the morning) who suggested to the rebels that, following the outbreak of the rebellion, Uzawa Sōmei be dispatched to the genrō Saionji Kinmochi to recommend Masaki as the next Prime Minister.29 The proof for these plans might be Kamekawa’s short sentence written down by Manaki in his diary. He said: “I will visit Uzawa now and we shall go together to Saionji.” (Mn, II, 389) Due to an upset stomach, Masaki went to the Army Minister’s official residence as late as 8:30 a.m. There he met Minister Kawashima, the Vice-Minister and five or six “insurgent officers” (kekki shōkō), but he only knew one of them, Captain Kōda Kiyosada. Reserve-General Saitō Ryū related to him the events of that morning. According to what had been written down during Masaki’s hearings on 21 April 1936, all present there listened to the rebels’ manifesto and were wondering what to do next. Masaki suggested to Kawashima to call for the Cabinet (they all thought at that time that Okada was dead) and to proclaim Martial Law. About 10 a.m. Masaki went to the Palace to meet Prince Fushimi and tell him the news concerning the present situation in the Army. This piece of information ends the up-to-date notes written during the incident in Masaki’s diary. The General himself added that he would complete them when he could find the time. Further, in the diary there are notes from March and the news from 26 February after 10 a.m., from 27, 28 and 29 February but they are put down no earlier than between 10 and 11 March. This fact slightly lessens the dairy’s value as the basic source material as it might have happened that the General, being extremely occupied with different events at that time, had forgotten some important details. Besides, writing about those exciting days after suppressing the incident and knowing the Emperor’s and other influential personalities’ attitude towards it and fearing for his own future, he could have concealed or interpreted differently some facts. Still, as Masaki’s diary is the basic source material for this work the authoress decided to continue to make use of it in this chapter. Comparing the facts from this diary with the facts from the protocol of Masaki’s hearings from April 1936 and supplementing them, if the need arises, with pieces of information from other available documents and studies, it is possible to show the General’s activities during the incident with some accuracy. The Military Councilors met at the Imperial Palace that afternoon at 2 p.m. The meeting was dominated by Kōdōha’s men, namely by Masaki, Araki, Kashii, Yamashita and Murakami Keisaku. Besides them also Minister Kawashima, ­Sugiyama, the Vice-Chief of GSO, and others were present. Probably it was S­ ugiyama, a man from the former Ugaki clique and the Tōseiha’s representative, one of the s­taunchest It was a reason for cancelling the attack on Saionji Kinmochi. Uzawa left for Saionji’s residence but returned later in the day without finding the genrō. 29 160 Ewa Pałasz-Rutkowska opponents of the rebels who suggested asking for some Imperial instructions, how to pacify the situation. However, Araki replied that the Councilors had to cope themselves with such an unprecedented affair within the Army. He also suggested drafting a proclamation to the rebels, which was then written probably by Murakami or Yamashita and corrected by Terauchi, Abe and Ueda. The text reads as follows: “- The purpose of Your uprising has been reported to the Emperor; - Your true motives are approved; - We, Military Councilors will be striving together for the realization of the real intentions.” (Nini, II, 207; Cf.: Mn, II, 400) Masaki, having learnt his lesson through experience, did not voice his opinion during that debate, being afraid that what he would have said could have been used against him in the future. He behaved in the same manner that evening, when he was called together with Araki and others to the Minister’s residence to meet the rebels’ representatives. The purpose of the meeting was to impart to them the Military Councilors’ opinions. After the night spent in the Minister’s residence, on 27 February, in the morning, Masaki together with other Councilors went to the Imperial Household Ministry (Kunaishō) to discuss with the members of the Cabinet the matter of future government. However, no definite result was reached. During the day the General met many people, but it wasn’t so important for the topic of the work. About 3 p.m. Gen. Kashii Kōhei having already been appointed the Chief of the Martial Law Enforcement Headquarters applied to Masaki with a request that he went to “the Young Officers” to discuss with them various matters connected with the incident. But Masaki refused being afraid that it would again be used against him. The General did not agree to go there alone in spite of the fact that all the Military Councilors insisted on him doing that. At the same time they pointed out that the moment was important and that Masaki’s position among the rebels had been so strong. Finally, about 4 p.m. Masaki with two other Councilors, Gen. Abe Nobuyuki and Gen. Nishi Giichi met with the seinen shōkō in the Minister’s residence. As it is written in his diary (Mn, II, 401), eighteen rebels came to the meeting. Nonaka spoke on behalf of all of them: “We would like to leave the control of the situation to His Excellency, Masaki. We wish that other Military Councilors will agree and will cooperate with him.” (Mn, II, 401-402) Both Abe and Nishi agreed to help and cooperate if Masaki or anyone else were to be questioned. Then Masaki spoke and reminded them, as it had happened General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 161 before in similar situations, that being a Military Councilor he was totally subordinate to the Emperor’s orders and he could not do anything against the Emperor’s will. However, in a moment so important for the country he could not be idle. As a superior officer he wanted to help “the Young Officers” and therefore he agreed to accept their proposal, but on one condition. As after proclaiming Martial Law the units of mutinous officers also were under the orders of the Martial Law Enforcement Headquarters, they had to obey all the commands of the Commander of the 3rd Regiment, who was their direct superior. He said: “If it happens that you disobey an order it will mean that you stood against the Imperial standard. Then I, as I have always stressed it, will be the first to suppress this fighting against the Emperor.” (Mn, II, 402) “The Young Officers” agreed with Masaki and this fact satisfied and calmed him down. The General’s decision may be interpreted in two ways. The first - the rebels understood it in this way - the senior officers supported the incident and since then seinen shōkō would act under their orders to carry out the reforms. The second - that how the senior officers as well as Masaki explained it after suppressing the incident - the rebels’ units were in this way under the command of the Martial Law Enforcement Headquarters, which would make possible bloodless withdrawal from the occupied area and would lead to the definite ending of the revolt. On the same day, in the evening, Masaki together with Abe and Nishi related the meeting with “the Young Officers” to the Princes Higashikuni and Asaka, and also to some representatives of AM and GSO. He spent the night in the Collective Activity Society (Kaikōsha),30 which was his substitute home during the days of the February Incident. The morning of 28 February, however, brought a complete change of the situation. Masaki himself, who was so glad with the decision he made together with “the Young Officers” the day before, was very astonished of this change. The Emperor did not approve the coup and ordered to suppress the rebels as soon as possible. The “Young Officers”, disappointed with this turn of the events, called on Masaki as early as 7:30 a.m. The General, in spite of the fact that he sympathized with them, did not show his feelings as he realized that the incident would end in the failure for seinen shōkō and all their supporters would be punished. During the hearings carried out by the Military Police on 21 April, Masaki repeated several times that he did not remember precisely what had happened on that day or who had said what. Fearing the consequences, he probably preferred Translated also as the Companions’ Society; Cf.: Morris 1960: 216, n. 3; Club of Army officers, established in 1877 in Tokyo. 30 162 Ewa Pałasz-Rutkowska to refrain from speaking the truth. He also maintained, that he had not known why the situation had changed so completely. Besides, he added he had not known and had not understood the reasons for the February Incident, which had probably been the result of a spontaneous, inspired from the outside “Young Officers’ Movement”. He said: “When I learnt about their uprising I thought that they had done me a terrible thing.” (Nini, II, 210) When it had become clear that “the Young Officers” would not reach their aim and a government with Masaki at the head would not come to life the General taking care of his own future preferred not to admit that he had been on the rebels’ side. Also this time his common sense had prevailed over the emotions. Thus, when Masaki learnt that the Emperor had refused to sanction the Shōwa Restoration and had even given an order to expel the rebels’ units immediately from their positions during this day, for many hours, he thought together with many people over some ways, how to obey the order. It became clear that seinen shōkō decided to ignore and disobey the Imperial order, because some of them suspected it of being a forged document, written by the traitors of GSO, which therefore did not bind them. They tried to contact the Emperor directly by an Imperial messenger (chokushi) and if, then, the Emperor disapproved of their deeds, on this one condition, they would commit suicide. However, the Emperor did not grant the request and for that reason the rebels decided to fight to the end. In such a situation General Masaki and General Abe gave their consent (as the Military Councilors) to the use of the Imperial Guard Division for suppressing the rebellion. The whole situation was a dramatic experience for Masaki. His concise, very short notes in the diary, from 29 February, prove it best: “Finally they will attack. It has been decided not to shoot, making use of all other possible means; 7:30 – they surrender one after another; 8:00 – Major Ōkubo from the Press Section comes to report on the situation of surrendering; 8:45 – completion of arrangements for the attack; 10:00 – I’m going to the Palace. Each of Their Imperial Highnesses is observing the military operation from the palace near the Shintenfu;31 1:30 – I give my respects to His Highness, Prince Kan’in at Court; 2:20 – return to the Kaikōsha; 3:00 – Major Yagasaki makes a report on the situation in the Prime Minister’s residence; Pavilion in Remembrance of the Dead in War, built in the Imperial Palace compound after the Sino-Japanese War. 31 General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 163 8:30 – the Army Minister called on us. We all together asked whether we should resign or remain in office.” (Mn, II, 404) And so, finally, on 29 February, the rebels surrendered and this, the greatest in the modern history of Japan, incident ended as a fiasco. “The Young Officers”’ and Kōdōha’s representatives’ dreams to carry out the aims of Shōwa ishin had not come true. They had, on the other hand, to consider the consequences of the incident. During the next few days Masaki was extremely busy with numerous meetings and debates during which he considered his future and the fate of the other officers from the Kōdōha. On 1 March he wrote in his diary: “I was in the club the whole day. I’m absorbed in some desultory conversations about the present situation.” (Mn, II, 389) They were mainly occupied with three matters, namely, the matter of the March personnel changes; the problem of responsibility for the incident breaking out; personnel matters in the future, namely what would happen with Kōdōha’s members and whether the Tōseiha would completely dominate the Army Central Headquarters. They also worked out The Broad Policy for the Future (Shōrai no daihōshin), which are not included in the diary. The next two days, still during numerous meetings with officers from his groups, he was considering the future of the Army and the new personnel relationships. On 6 March he was placed on the waiting list and next, on 10 March he retired from active service. In the diary on this day he wrote: “At 4:20 p.m. I was notified that the Army Minister decided that I should retire from active service, which was mentioned in the Imperial edict. So, I announce that I have finished 40 years of life as a soldier. However, looking at the present situation I do not intend to say that it is also the end of my spirit [=ideology; EPR]” (Mn, II, 399) In spite of the fact that Masaki finished his active service in the Imperial Army he still participated, although unofficially, in many meetings and he was informed all the time about the problems concerning the Army. As he said himself in the above quoted fragment, he knew that his spirit, the ideology of the kokutai, kōdō and seishin shugi would not cease to have its supporters. It was this ideology which originally gained Masaki “the Young Officers”’ support but also the same ideology that created his enemies. Although he never changed his opinion concerning the role and shape of the Army, the Emperor’s position and so on, as the years went 164 Ewa Pałasz-Rutkowska by and as he was more strongly attacked by his opponents Masaki was more and more cautious while speaking on the subject, common sense and caution suppressed his feelings. At present, many researchers of the events of that time, as well as people connected with the incident or supporting seinen shōkō blame Masaki saying that he had betrayed the latter.32 He was one of the senior officers in the Army Central Headquarters who had been trusted by “the Young Officers” and whose views concerning the kokka kaizō had fascinated them. Masaki himself, although he avoided direct encounters with seinen shōkō, carefully watched their activities. He was often kept informed by his confidential agents. The General tried to direct the movement in such a way that everything, in his opinion, would be according to the law and military discipline. He also read all the published kaibunsho, some of which (for example: Sangatsu jiken kūdeta keikaku) he even supplied with materials. Although he wrote in his diary that he had no foreknowledge about preparations concerning the February Incident, it seems to be unlikely. During the first two days of the revolt he did nothing to lead it to a quick end and to the punishment of the guilty. He tried, on the other hand, to cautiously direct “the Young Officers”, this time leading to the formation of the Cabinet with him as the head. There is no proof for that but it seems very likely that the General of the Imperial Way Faction wanted to regain power for himself and, what is obvious, for the representatives of his group and to get rid of his enemies, that is to say mainly from the Tōseiha. In this way Kōdōha’s members could have again decided the policy of the Army and the country, explaining that the seinen shōkō itself was the Shōwa Restoration. But finally they and Masaki lost. 32 See for example: Tatamiya 1980; Tatamiya 1968; Nakano 1975 and others. General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 165 4. Conclusion 4.1. Masaki’s life and activities (1936-1956) General Masaki Jinzaburō was transferred to the reserve on 10 March 1936 and that was the end of his active service in the Japanese Army. In July of the same year he was imprisoned in Tokyo as a person suspected of having been connected with the February Incident, but he was released due to the lack of evidence on 15 September 1937. Probably Masaki was relatively quickly released from the prison thanks to the Prime Minister at that time, Prince Konoe Fumimaro, who wanted to appoint some of Kōdōha’s representatives to more important posts in the Army in order to gain a stronger control over it. At present Masaki is regarded by some historians33 as a member of the KonoeYoshida34 group which was formed at the beginning of the 1940’s and which stood in opposition to the group of Tōjō Hideki and others from the Tōseiha. This opinion is not shared by Masaki Hideki who maintains that his father had nothing to do with politics after his transfer to the reserve.35 Nevertheless the same Hideki remembers very well that after 1937 there often came visitors to the General’s house. They conferred sometimes until late at night, in Hideki’s beliefs, seeking and probably receiving the General’s advice. It seems reasonable to presume that Masaki Jinzaburō’s transfer to the reserve and then his imprisonment must have dealt severe blows to his soldiery pride. Afterwards he did not want to be associated openly with any group, nor with politics in general. But at the same time he did not become indifferent to the needs of his former disciples, colleagues, and other people of similar political orientation. Cf.: Itō 1979: 221-253. Yoshida Shigeru (1878-1967) was a diplomat, delegate to the League of Nation (1932) and Ambassador to England (1936). 35 The authoress interviewed Masaki Hideki in April and May 1984, in Tokyo. 33 34 166 Ewa Pałasz-Rutkowska Not going into the open, he was nevertheless ready to help privately, discussing some matters over, etc. The final blow, after which the old General’s character changed markedly, came with Japan’s defeat in the Asia Pacific War in 1945. On 19 November Masaki was again arrested and put into the Sugamo prison as one of the Class A war criminals. He was dropped from the list of defendants (together with Abe Nobuyuki) and consequently released on 2 September 1947.36 From that moment until his death he did not participate in the political life. He died of a heart attack at 79, on 31 August 1956. The official funeral ceremony was performed in his house in the Setagaya Ward in Tokyo. Later on, following an old Japanese custom, another ceremony was held in his home town of Chiyoda, where the General’s ashes were put into the family plot of the Buddhist temple Kyōsenji. 4.2. Some remarks on Masaki’s character Up to now the picture of General Masaki emerging from these pages was a rather fragmentary one. It contained an outline of Masaki’s official career, with the emphasis put on five years only. Looking at Masaki’s activities during those years when he was one of leading figures in political intrigue of the time, an attentive Reader may form the opinion that he was a biased, opinionated nationalist, a strict soldier, and a patriot of that fatal patriotic trend which finally led to the war. Such an opinion would be obviously very near the mark but it would not be quite adequate. It would come from an interpretation of the primary sources used in this work, i.e., from contemporary diaries, official documents, etc., showing the General’s public appearances and some of his ideas. In the sources there is nothing personal about the General. Even his diary is almost devoid of any personal touches. It seems unfair (to the late General as well as to the Reader) not to add a splash of color to that monochromatic picture. Nearing the conclusion of this work the authoress would like to devote some space to a few more or less informal remarks on Masaki’s character and his private life, on his interests and his relations with his children. According to Masaki Hideki,37 his father, a typical soldier, was too much involved in the Army affairs to have time for other interests. In his spare time, however, he read a lot and especially studied the problem of the Japanese constitution, comparing it with those of other countries. He did it because he was sure that there were many obscure formulations in the Meiji constitution, for example, those parts referring to the duties of the Army Minister and the military advisors 36 37 Minear 1972: 104, 108. The genealogical tree of Masaki Jinzaburō see Appendix 1. General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 167 to the Throne. As he did not have enough time for thorough study he wanted his eldest son to work on this subject. Among many books that the authoress, thanks to the kindness of Masaki Ichirō (husband of Fumi, a daughter of Jinzaburō’s younger brother), was able to see in the room dedicated to Masaki Jinzaburō in the Myōsenji temple (Chiyoda town in Saga prefecture), the majority referred just to the constitution. One book, however, seemingly did not fit the picture of a severe General. It was the English version of Alice’s Adventures in Wonderland. It can be assumed that he was not only a soldier who fulfilled his duties very thoroughly but he was also just an ordinary man, who liked to relax with literature… Perhaps there was a poetic side to his nature. It rarely manifested itself, which cannot be surprising in a man who spent most of his life in barracks, among harsh soldiers. Certainly, Alice’s Adventures in Wonderland alone would be too slim a clue to build a presumption that the General had his own private wonderland and liked to indulge in daydreaming. That would be going too far. But he wrote poems, which are scattered in fragments here and there in the diary. They tell about the beauty of nature and its connection with man’s moods. Besides that, he also liked, as his father did, to listen to gidayū38 of the traditional Japanese puppet theatre jōruri, recited to the accompaniment of shamisen, a classical instrument with 3 strings. He tried to recite himself but he had to resign when he realized that he had no ear for music. He kept, however, a collection of records of the most famous dramas of the plays. Masaki liked to ride a horse and sometimes went for a ride early in the morning. But he had very little time to spend like this. Most of his time was taken by his professional duties. According to Masaki Hideki: “father in fact did not have any time for rest and entertainment. […] He had numerous visitors until late at night. Besides, the period when he ended his active service in the Army was full of unrest for Japan. Nothing amusing was happening. […] Sometimes, like other Japanese, he practiced calligraphy to calm his soul. He also wrote with a brush it took him a lot of time.”39 As a father he was very severe with his children, especially with his eldest son, Hideki. Hideki was brought up like a soldier, he often got orders from his father and as a type of training he had to wash his face and sometimes even his whole body in icy-cold water. When Hideki, as a little boy, cried, he was told of examples of strictly-bred German soldiers’ children. The father treated his son as he did “the Young Officers” when he was the head of the Regular Course of the Rikushi. He drilled them severely being convinced that nothing was impossible for a soldier. Dramatic recital accompanied by music in which the great achievements of ancient heros were celebrated. Its origin dates as far back as the 13th century. 39 From the interview with the authoress, April 1984, Tokyo. 38 168 Ewa Pałasz-Rutkowska Masaki’s character and his attitude towards the children completely changed, after Japan lost the Asia Pacific War, when he came back home after being released from prison. He became less severe and since then he never was hard on his children. It was such a sudden transformation that Hideki remembers even today how much it astonished him. Probably the fact that the Emperor renounced his divinity and that Japan had been transformed into a democratic country, deprived of its historical mission, had been a traumatic experience for Masaki. Throughout his entire life he implanted the ideals of the kokutai in his subordinates and officers of lower ranks, deeply believing in what he was doing. And then one word said by the Emperor was enough to ruin what he had faithfully served all his life. In spite of the fact that Masaki had been transferred to the reserve in 1936 and personally did not participate in the war, the soldiers educated by him, by a General fanatically devoted to the Emperor and Japan, fought and died on the Emperor’s behalf. Although such people like Masaki are at present accused and blamed for sending millions of innocent soldiers to their deaths it should be admitted that they had been doing it, according to them, for the sake of the “highest ideals” of pre-war Japan, meaning the Emperor and their unique homeland. Thus, it seems natural that the 70-year-old Masaki could not accept the new, postwar situation. Unfortunately, from all the published historical materials, up to now (1985), as well as from the talks with Masaki’s relatives, it is impossible to learn the full truth about the old General, who experienced Japan’s defeat in the war. One may imagine that the truth remains unknown so far. One may only venture a guess. One may imagine how the General suffered during that twenty-two months-long stay in prison. Physically he was fit enough to stand any hardship but mentally he must have been a badly shaken man. His whole world had collapsed around him. The “divine” Emperor was not divine any more. The kokutai ideals was shattered into atoms. The “unique” country lay in ruins while “big and vulgar” American soldiers trampled its “sacred” soil... Perhaps during endless hours, days, months, when the General pondered over the past, it dawned on him that the kokutai was not transcendent, that it was only an idea, one of many possible but not necessarily right ideas. If that was so, then he had to come to the conclusion that he had been mistaken educating fanatical soldiers and then sending them straight into the jaws of death. If that was so, then he must have left the prison as a broken man. Hence, the behavioral changes which Hideki noticed in his father. Excluding those last nine years of his life, Masaki Jinzaburō was a nationalist, totally devoted to the Emperor and Japan. In his lectures at the Rikushi and Rikudai he often emphasized the significance of the idea of kokutai and the unique character of the Japanese Empire. Masaki maintained that “spiritual training”, “patriotism”, “Nipponism” were fundamental values for Japanese soldiers, especially for General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 169 those who wanted to attain the Shōwa ishin goals. Such an attitude, and the fact that he was extremely involved in several problems relating to the Army, and that he was interested in the situation of the lower ranking officers, caused him in “the Young Officers”’ opinion, to become their protector and one of their leaders. On the other hand, as he scrupulously performed his duties he was promoted to the highest military ranks. Gen. Masaki can be recognized as a typical example of a Japanese officer who was not at all conspicuous by his individuality. He was not an orator as Araki Sadao. Also, as he was of peasant origin (in spite of the fact that his family was a relatively rich one) he did not inherit manners, which were characteristic for aristocrats or for samurai. Nevertheless, owing to his diligence and stubbornness he became one of the most influential personages of the 1930’s. For a short period, he was one of those who directly decided the Army policy and indirectly, Japan’s policy. It was possible, because the group to which he belonged, the Imperial Way Faction, to gain a very significant position within the Army. 4.3. Final remarks It is quite evident that the five years, 1932-1936, taken into consideration in this study brought about the apex of Masaki Jinzaburō’s military career and at the same time resulted in the apex of the Kōdōha’s influence. It is the authoress’ conviction that both were not only closely connected but that they were inseparable results of interactions. The group, making use of its own already strong position, pushed up its representative member to high posts. Thanks to that he could then help the group in promoting its other members and shaping the educational policy within the Army in accord with the Kōdōha’s ideals. This interdependence is shown in Appendix 4 in which the names of Prime Ministers and of all most important functionaries in the Army Ministry, in the General Staff Office and others in the Army during the years 1931-1936 are ­indicated. It becomes clear from the contents of the table that after Araki Sadao took the office of the Army Minister in December 1931 Masaki was the first person from the Kōdōha to be appointed to one of the main offices in the Army Central Headquarters. He started to act as the Vice-Chief of GSO on 9 January 1932. Then, as can be seen from the table, the Kōdōha’s representatives took all the other most important posts in the Army. During 1932-1934 they acted together to maintain this position and then to strengthen it. In order to attain its goals the Kōdōha’s members tried to eliminate the other factions’ representatives from the Army Central Headquarters. However, they failed in the latter part of 1934 because of an ideological dissent, which was described 170 Ewa Pałasz-Rutkowska in detail in Chapter 1.40 The Gensho Kōdōha split and that was the starting point for the Kōdōha – Tōseiha rivalry. The Kōdōha gradually lost its power and therefore its members were removed from the main posts within the Army one by one. At the beginning of 1935 only General Masaki from the Kōdōha stayed at the significant post of General Inspector of Military Education. Although Murakami Keisaku replaced Yamashita Tomo­ yuki as the Chief of Military Affairs Section in the Army Ministry on 11 October 1935 – both belonged to the Kōdōha – it was a less important post for the group’s influence. Masaki Jinzaburō was dismissed from office on 16 July 1935. It can be assumed that on just that one day the Imperial Way Faction lost any chance in regaining its power. Masaki was the first one from the Kōdōha to be appointed to one of the main offices in the Army, and after his appointment his group, the Kōdōha, grew stronger and stronger to become the most influential Army faction. He was the last one to stay in a significant office and after his removal his group lost its significance. But during his stay in office General Masaki Jinzaburō did his best to fulfill all his duties and to rise to the expectations set on him by his subordinates and members of the Imperial Way Faction. Bibliography Primary Sources Arisue Seizō 1975. Arisue Seizō kaikoroku [reminiscences of Arisue Seizō], Tōkyō: Fuyō Shobō. 有末精三 1975。『有末精三回顧録』、東京：芙蓉書房。 Harada Kumao 1950-1956. Saionjikō to seikyoku [prince Saionji and political situation], 8 vols. 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A Monumenta Nipponica Monograph, pp. 71-79. newspapers: – Tōkyō Asahi Shinbun, July, August 1935. the authoress interviewed : – Masaki Ichirō and Fumi, April 1984 in Inudō – Masaki Hideki, April and May 1984, Tōkyō Appendices エイ Ei 喜久代 Kikuyo イト Ito 幸男 Yukio 富美 Fumi 芳男 Yoshio 弥市 Yaichi 美代 Miyo 甚三郎 Jinzaburō 一郎 Ichirō 和代 Kazuyo トシ Toshi 正代 Masayo 信千代 Nobuchiyo Kise Yoshichi 勝次 Katsuji キセ 要七 Genealogical tree of Masaki Jinzaburō (Limited to his immediate family; Source: Mn I: Appendix 8) (Limited to his immediate family; Source: Mn, I: Appendix 8) 田鶴 Tazu タカ Taka Appendix Appendix 1. GENEALOGICAL TREE1.OF MASAKI JINZABURŌ 秀樹 Hideki クラ Kura 178 Ewa Pałasz-Rutkowska Andō Teruzō Takeshima Tsuguo Tsushima Katsuo Kurihara Yasuhide Nakahashi Motoaki Nibu Seichū Sakai Naoshi Tanaka Masaru Nakajima Kanji Yasuda Masaru Takahashi Tarō Hayashi Hachiō Mugiya Kiyozumi Tokiwa Minoru Suzuki Kinshirō Kiyohara Kōhei Ikeda Shungen 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. Gifu Shiga Aomori Saga Saga Kagoshima Mie Yamaguchi Saga Kumamoto Ishikawa Yamagata Saitama Ōita Ibaraki Kumamoto Kagoshima Okayama Kumamoto Saga Native Place Parentage Son of Keiō Univ. Professor Son of Maj-Gen. T. Tōjirō Not important Son of Colonel K. Isamu Grand-son of N. Tōichirō Son of Navy C. N. Takehiko Son of Maj-Gen. S. Heikichi Not important Not important Not important Not important Son of Maj-Gen. H. Daihachi Not important Not important Not important Not important Not important Son of Maj-Gen. N. Masaaki Son of Rear Adm. K. Sakinta not important 38 40 41 41 41 43 44 45 46 46 46 47 47 47 47 47 47 36 40 37 Class C FL FL FL FL FL FL FL SL SL SL SL SL SL SL SL SL C C C Rank Maj-Gen. = Major-General; C = Captain; FL = First Lieutenant; SL = Second Lieutenant; Adm. = Admiral Nonaka Shirō Kōno Hisashi Kōda Kiyosada Name 1. 2. 3. (Source: Kōno (ed.) 1984) Committed suicide Committed suicide Sentenced to death and Executed Executed Executed Executed Executed Executed Executed Executed Executed Executed Executed Executed Executed Life imprisonment Life imprisonment Life imprisonment Life imprisonment Life imprisonment Judgment Appendix 2. THE LEADING „YOUNG OFFICERS” OF THE FEBRUARY 26 INCIDENT The leading “Young Officers” of the February 26 Incident (Limited to his immediate family; Source: Mn I: Appendix 8) Appendix 2. 32 30 29 29 30 29 27 26 25 25 24 23 27 23 23 23 23 34 30 34 Age General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 179 180 Ewa Pałasz-Rutkowska Appendix 3. The area of Tokyo under the “Young Officers’” control (during the February Incident) General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 Legend to Appendix 3. 1. Kaikōsha 2. Military Police Headquarter 3. 1st Imperial Guard Regiment 4. 2nd Imperial Guard Regiment 5. Official Residence of Suzuki Kantarō 6. Official Residence of Army Vice-Minister 7. Private Residence of Saitō Makoto 8. Residence of Prince Fushimi 9. Residence of Prince Kan’in 10.German Embassy 11.Army Ministry 12.Official Residence of Army Minister 13.General Staff Office 14.Diet Building 15.Ministry of Foreign Affairs 16.Ministry of Home Affairs 17.Metropolitan Police Office 18.Navy Department 19.Official Residence of Minister of Foreign Affairs 20.Official Residence of Prime Minister 21.Sannō Hotel 22.Residence of Prince Chichibu 23.Private Residence of Takahashi Korekiyo 24.1st Division Headquarter 25.3rd Infantry Regiment 26.1st Infantry Regiment 27.Official Residence of Commander of Imperial Guard Division 28.3rd Imperial Guard Regiment 29.American Embassy 30.Asahi News 31.Soviet Embassy 32.Manchukuo Embassy 33.Polish Embassy 34.French Embassy 35.British Embassy 36.SDN – Sakuradamon 181 182 Ewa Pałasz-Rutkowska Appendix 4. Prime Ministers and most important functionaries in Army Central Headquarters Prime Minister Army Minister A R M Y M I N I S T R Y G E N. S T A F F O F F I C E Vice-Minister 29.7.2 31.4.14 Hamaguchi Wakatsuki Osachi Reijirō 29.7.20 4.14 (6) Ugaki Ub Minami Kazushige Jirō Ub 30.8.1 (12) Sugiyama Gen Ub Chief of Military Affairs Bureau 30.8.1 (12) Koiso Kuniaki Ub Chief of Military Affairs Section 30.8.1 (16) Nagata Tetsuzan GK Chief of Personnel Affairs Bureau 30.12.22 (13) Nakamura Kōtarō Chief of Adjustment Bureau 30.8.1 (13) Hayashi Katsura Ub 30.2.19 (15) Kanaya Hanzō Ub 30.12.22 (12) Ninomiya Harushige Ub 28.3.10 (12) Hata Shunroku 30.8.1 (17) Suzuki Shigeyasu 29.8.1 (13) Tatekawa Yoshitsugu Ub 30.8.1 (14) Oki Naomichi Chief of the GSO Vice-Chief of the GSO Chief of First Bureau Chief of Strategy Section Chief of Second Bureau Chief of Third Bureau Inspector General of Military Education O T H E R S 1931 Chief of Head Office in the Inspectorate Commander Officer of Kwantung Army Commander Officer of Taiwan Army Provost Marshal 27.8.26 (3) Mutō Nobuyoshi GK 29.8.1 (9) Hayashi Nariyuki 30.6.3 (8) Hishikari Taka GK 30.6.3 (8) Watanabe Jōtaro 27.3.5 (7) Mine Yukimatsu 31.12.13 Inukai Tsuyoshi 12.13(9) Araki Sadao GK 12.23 ks. Kan’in Kotohito 8.1 (13) Tatekawa Yoshitsugu Ub 8.1 (19) Imamura Hitoshi 8.1 (14) Hashimoto Toranosuke Ub 8.1 (9) Araki Sadao GK 8.1 (9) Honjō Shigeru Ub 8.1 (9) Masaki Jinzaburō GK 8.1 (12) Toyama Bunzō 1932 32.5.26 Saitō Makoto 2.29 (12) 8.8 (12) Koiso Yanagawa KuniakiUb Heisuke GK; K 2.29 (15) Yamaoka Shigeatsu GK; K 4.11 (16) Yamashita Tomoyuki GK; K 2.29 (15) Matsuura Junrokurō GK 1.9 (9) Masaki Jinzaburō GK; K 2.10 (16) 4.11(22) Obata GK Suzuki GK Toshishirō Yorimichi 4.11 (16) Nagata Tetsuzan GK 4.11 (16) Obata Toshishirō GK; K 5.26 (8) Hayashi Senjūrō GK 1.9 (10) 5.26 (12) Kawashima Kashii Yoshiyuki Kōhei GK; K 8.8 (3) Mutō Nobuyoshi GK 1.9 (9) Abe Nobuyuki Ub 2.29 (12) Hata Shinji GK; K General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 1933 1934 1935 1936 1.23 (8) Hayashi Senjūrō T 8.1 (14) Hashimoto Toranosuke Ub 3.5 (16) Nagata Tetsuzan T 9.5 (10) Kawashima Yoshiyuki 3.9 (10) Terauchi Hisaichi 9.21 (14) Furushō Motoo T 8.13 (15) Imai Kiyoshi T 10.11 (12) Murakami Keisaku K 3.15 (15) 8.13 (17) Imai Ushiroku Kiyoshi T Jun T 12.2 (18) Yamawaki Masataka 3.23 (15) Umezu Yoshijirō 34.7.8 Okada Keisuke 3.5 (15) Yamaoka Shigeatsu K 6.18 (10) Ueda Kaneyoshi Ub 8.1 (12) Sugiyama Gen Ub 8.1 (15) Imai Kiyoshi T 8.1 (16) Isogai Rensuke 8.1 (14) Yamada Otozō 7.29 (5) Hishikari Taka K 8.1 (9) Matsui Iwane K 183 36.3.9 Hirota Kōki 3.23 (16) Isogai Rensuke 3.28 (21) Machijiri Kazumoto 3.23 (14) Nishio Toshizō 3.15 (17) Suzuki Shigeyasu 3.23 (16) Kuwaki Takaakira 8.1 (21) Ishihara Kanji 3.15 (16) Okamura Yasuji 8.1 (17) Ushiroku Jun 9.7 (19) Tsukada Osamu 1.29 (9) Masaki Jinzaburō* K 3.5 (13) Hayashi Katsura Ub 12.10 (6) Minami Jirō Ub 8.1 (15) Terauchi Hisaichi Ub 8.1 (15) Tashiro Kan’ichirō 7.16 (8) Watanabe Jōtarō 3.23 (17) Watari Hisao 3.5 (10) Nishi Guchi 12.2 (13) Nakamura Kōtarō 12.2 (12) Yanegawa Heisuke K 9.21 (15) Iwasa Rokurō T 3.6 (10) Ueda Kaneyoshi Ub 3.23 (15) Nakashima Kesago *From this moment Masaki was left only with the important function of Military Councilor. The numerals put in brackets after the date of appointment indicate “class”, the year of graduation from the Rikushi. The letters given after a name indicate affiliation to a group (Ub = Ugakibatsu; GK = Gensho Kōdōha; K = Kōdōha; T = Tōseiha). 184 Notes About the Authors Iijima Teruhito Born in 1958 in Gunma prefecture. Ph.D. in Art Science (Takarazuka University of Art and Design). Graduate of the Urasenke Gakuen Professional College of Chadō. Tearoom architect. His professional tea name is Sōshō. As an architect, he has been engaged in the restoration of teahouses in Konnichian, including structures designated as Important Cultural Properties. He was involved in the design and construction of tearooms and roji at home and abroad. He now serves as a representative director of the Ida Institute of Forestry and Teahouse, a researcher at the Museum of the Way of Tea, and a director of the Society of Tea Culture. He lectures at Takarazuka University, Kyoto Gakuen University, and the Urasenke Gakuen Professional College of Chadō. He designed the tearooms in Suomenlinna (Finland), in Warsaw University (Poland) and in Takarazuka University (Japan). Publications: Koko kara manabu chashitsu to roji (Learning Tearoom and Garden from Here), Cha no takumi – Chashitsu kenchiku 36 no waza (Master Craftsmanship of Tea – 36 Techniques for Tearoom Construction), Chashitsu tezukuri handobukku (A Handbook for Handmade Tearoom), Itsuwa ni manabu chashitsu to roji (Learning Tearoom and Garden through Anecdotes). Agnieszka Kozyra Ph.D. – post-doctoral degree – doctor habilitatus. Professor at the Chair of Japanese Studies, Faculty of Oriental Studies, University of Warsaw and at the Department of Japanese and Chinese Studies, Institute of Oriental Studies, Jagiellonian University in Cracow. Graduate from Department of Japanese and Korean Studies, University of Warsaw, M.A. in Humanities at Osaka City University. She was a visiting professor at the International Research Center for Japanese Studies. She specializes in Japanese religion and philosophy, especially Zen Buddhism and Nishida Kitarō’s philosophy. 185 Main publications (books): 1. Samurajskie chrześcijaństwo (Samurai-like Christianity), Wydawnictwo Dialog, Warszawa 1995 (Ph.D. thesis) 2. Nihon to seiyō ni okeru Uchimura Kanzō (in Japanese), Wydawnictwo Kyōbunkan, Tokio 2001 (ss. 181) 3. Filozofia zen (Philosophy of Zen), Wydawnictwo PWN, Warszawa 2004 (habilitation thesis) 4. Filozofia nicości Nishidy Kitarō (Nishida Kitaro’s Philosophy of Nothingness), Wydawnictwo Nozomi, Warszawa 2007 5. Estetyka zen (Aesthetics of Zen), Wydawnictwo TRIO, Warszawa 2010 (professor’s thesis) 6. Mitologia japońska (Japanese Mythology), Wydawnictwo Szkolne PWN ParkEdukacja, Warszawa – Bielsko-Biała 2011 Anna Zalewska Ph.D. – assistant professor at the Chair of Japanese Studies, Faculty of Oriental Studies, University of Warsaw; between 2010–2013 also assistant professor in Japanese Language & Culture Center, Nicolaus Copernicus University in Toruń. Graduated from Japanese Studies Department of University of Warsaw, also studied at Gakugei University in Tokyo, Hokkaido University in Sapporo and Kyoto University (Ph.D. course, 1999–2004). Specializes in Japanese classical literature and traditional culture (calligraphy, the Way of Tea), translates Japanese tanka poetry into Polish (Zbiór z Ogura – po jednym wierszu od stu poetów, translation and commentaries, Jeżeli P To Q, Poznań 2008) and modern Japanese literature (Kawakami Hiromi, Pan Nakano i kobiety, translation, WAB, Warszawa 2012, and Sensei i miłość, translation, WAB, Warszawa 2013 et al.). Latest publication: Kaligrafia japońska. Trzy traktaty o drodze pisma (Japanese Calligraphy. Three Treatises on the Way of Calligraphy), translation, introduction and commentaries Anna Zalewska, Wydawnictwo Uniwersytetu Jagiellońskiego, Kraków 2015. Ewa Rynarzewska Ph.D. – assistant professor in the Korean Studies Department, faculty of Oriental Studies, University of Warsaw, where she received her doctoral and post-doctoral degree. Studied at the University of Koryo (1993–1994, 1997–2001) and the University of Yonsei (1995-1996). Specialized in Korean literature and theatre. The author of many articles and books on Korean literature and theater (e.g. Teatr uwikłany – koreańska sztuka teatralna i dramatyczna w latach 1900–1950 [The entangled theater: Korean theatrical and dramatic art in the years 1900–1950], Warszawa 2013), and translator of Korean contemporary plays by Lee Kang-baek, Ch’oe In-hun and O T’ae-sok. Recent academic interests focus on the problem of collective memory and cultural topics in Korean literature. 186 Agata Koszołko Graduated from Jagiellonian University with a Master’s degree in Japanese Studies. Currently a Ph.D. candidate at Jagiellonian University preparing a dissertation on bushidō values depicted in Chūshingura. Her scientific interests focus on Japanese martial arts (kendō, iaidō), Zen Buddhism and samurai ethics (bushidō). She was a scholarship student at Tsukuba University (2011–2012 and 2013–2014). Urszula Mach-Bryson Lecturer and Ph.D. candidate at the Chair of Japanese Studies, Faculty of Oriental Studies, University of Warsaw, where she earned an M.A. focused on Japanese Pure Land (jōdo) Iconography. Her Ph.D. research centers around wabicha from the perspective of Hisamatsu Shin’ichi. She studied at Dōshisha University in Kyoto (2000–2001) and is a graduate of the Urasenke Gakuen Professional College of Chadō in Kyoto (2005–2007). Her professional tea name is Sōu. Recent related publications: 2014 The Grzebień w supraporcie. Rodzina cesarska i chanoyu (The Comb in the Overdoor – The Imperial Household and Chanoyu) in: Z chryzantemą w herbie. W 10. rocznicę wizyty Ich Cesarskich Mości, Cesarza i Cesarzowej Japonii na Uniwersytcie Warszawskim, Urszula Mach-Bryson and Anna Zalewska (ed.), Japonica, Warsaw, pp. 125-140. 2013 Etyczne i estetyczne wartości Drogi Herbaty w filozofii Hisamatsu Shin’ichiego (Values in the Way of Tea from the perspective of Hisamatsu Shin’ichi’s Philosophy), in: W kręgu wartości kultury Japonii. W 140 rocznicę urodzin Nishidy Kitarō (1870-1945), Agnieszka Kozyra (ed.), WUW, Warsaw, pp. 127-149. Tatekawa Shinoharu A master of rakugo, the art of Japanese comic monologue. The third disciple, adopted “son” of Tatekawa Shinosuke (born 1954) whose school he entered in October 2002. Nine years later (in January 2011) he had already achieved the rank of master and accompanied by his teachers conducted his début with two shows on Japanese television under the artistic name Shinoharu. In October 2013 he took part in “New stars of performing arts in the field of rakugo” competition. Together with his ensemble he won the main prize of the public television station NHK. He won the prize and the stipend offered annually by Nikkan Sports and Nikkan Tobikiri Rakugokai, an Association Promoting New Rakugo Talents, founded in the 1970’s by San’yūtei Enraku V (1932–2009) the same year. In December 2013 he published the book Rakugo in English will entertain everyone, published by Shinchōsha. 187 Kondō Marie In 2015, “Time” magazine put her on the list of the hundred most influential people of the year. In 2014 an English version of her book The Life-changing magic of Tidying Up was published and immediately won the hearts of American and British readers. Soon the book was translated to over thirty other languages, including Polish: Magia sprzątania. Japońska sztuka porządkowania i organizacji (2015). Kondō Marie frequently gives interviews and takes part in radio and television programs in Japan. She became the inspiration for a two-part television movie Jinsei ga tokimeku katazuke no mahō (The Life-changing Magic of Tidying Up). Several interviews with her were published, for example in “London Times”, “The Sunday Times” and the magazines “Red” and “You”. Ewa Pałasz-Rutkowska Ph.D. – professor at the the Chair of Japanese Studies, Faculty of Oriental Studies, University of Warsaw; she also lectures at the Polish-Japanese Academy of Information Technology, Collegium Civitas, etc. Graduated from Japanese S­ tudies at the University of Warsaw where she earned a doctorate and post-doctoral degree (doctor habilitatus) in humanities. She spent many tours of duty in Japan, mainly at the University of Tokyo (also as visiting professor and Japan Foundation fellow), and at Rikkyō University, Tokyo International University, the National Institute of Defense Studies, etc. She specializes in the history and culture of Japan, the history of Polish-Japanese relations, and the Japanese Emperor system. Main publications: – „Cesarz Meiji (1852-1912). Wizerunek władcy w modernizowanej Japonii” [Emperor Meiji. The Image of the Monarch in Modernized Japan], Wydawnictwa Uniwersytetu Warszawskiego, Warszawa 2012 – (ed.) „W poszukiwaniu polskich grobów w Japonii. Nihon ni okeru Pōrandojin bohi no tansaku. In Search of Polish Graves in Japan”, Ministerstwo Kultury i Dzie­dzictwa Narodowego, Warszawa 2010 – „Historia stosunków polsko-japońskich 1904-1945” [History of Polish-Japanese relations 1904–1945] (co-authored with A. T. Romer), Warsaw 2009 and Tōkyō 2009 [in Japanese as Nihon Pōrando kankeishi 1904–1945] – „Nihon ni nemuru Pōrandojintachi” [Poles buried in Japan], Gunjishigaku. The Journal of Military History, 47/3, XII 2011, pp. 4-17 –„The Russo-Japanese War and its Impact on the Polish-Japanese Relations in the First Half of the Twentieth Century”, Analecta Nipponica, No. 1/2011, pp. 11-43 Information for Contributors Analecta Nipponica. Journal of Polish Association for Japanese Studies is the peer-reviewed journal of the Polish Association for Japanese Studies (PAJS) covering all aspects, issues, and subjects, from all disciplines, on, and related to Japan, and consists of articles presenting results of original research as well as surveys of research, especially critical, in specific areas, publication reviews, biographical and bibliographical notes, reports on important academic meetings and other events. The language of the journal is English (American or British, but please, be sure of the consistency of the selected orthography) and Japanese. Abstracts in Japanese are required for articles in English, and abstracts in English are required for articles in Japanese; key words should be supplied both in English and Japanese. Language correctness is the responsibility of the author(s), hence securing “native speaker” revision is requested prior to the submission of the material for publication. Ultimate decisions, however, belong to the Editor also in this respect. All permissions to include any material protected by copyright © must also be secured by the author(s). All items, except for proper names, provided in languages other than English should be in italics and, in the case of Japanese, Chinese, Korean, etc., also in the original orthography. The transliteration of Japanese, Chinese, Korean, etc., material must be standard (i.e., e.g. Hepburn for Japanese, pinyin for Chinese, Cune-Reischauer for Korean, etc.), unless in quotations. Please, note that priority of acceptance is given to PASJ members but submissions from non-members are accepted for consideration. Materials submitted cannot be either previously published or currently under consideration for publication elsewhere. The volume of material is, in principle, not limited but it should not exceed reasonable number of pages. Acceptance decision belongs to the Editorial Board and, ultimately, to the Editor of the journal. The material should be submitted electronically to the Editor and to the Secretary of the Editorial Board in the form allowing editorial intervention in the text 190 Information for Contributors and, separately – to ensure the full understanding of authors’ intentions, in typescript version reflecting these intentions. Technical information: the type should be Times New Roman 12 pts., single spaced, on one page only in the typescript version. Footnotes, consecutively numbered throughout the material, should be typed in Times New Roman 10 pts.; no endnotes accepted. For Japanese, MS Mincho type is highly recommended. Text files: doc. rtf (Microsoft Word). Photos, graphic files: plik tif, bmp, eps, psd, cdr. References and source documentation should be provided preferably in the text in the sequence Author year:page(s) in the following way (e.g.): Tamura (2003:74) expressed opinion that..., Tamura wrote: “...” (2003:74), in Tamura’s words; “...” (2003:74), Some authors (e.g. Murata 1999, Tamura 2003, Murasaki 2008) are of the opinion that...; in the case of more authors of one publication referred to, the sequence First Author et al. year:page(s) is, in principle, expected, cf. e.g.: Murasaki et al. 2007; Murasaki et al. (2007:135-41), but in justified cases up to three names can appear in such a reference, cf. e.g.: Murasaki & Murata 1999, Murasaki & Tamura 2002, Murasaki & Murata & Tamura (2004:171-6). References with the same authorship and the same date should be differentiated with Roman characters <a>, <b>, <c>, etc, cf. e.g.: Tamura 2005, Tamura 2005a:233, Tamura (2005b:94-7). Given name initial(s) are provided only when references are made to more than one author with the same family name, cf. e.g.: K. Murasaki 2008; Y. Murasaki (1994:19). References and source documentation must unambiguously correspond to respective items in the bibliography which in turn must be complete and as informative as possible, reflect the title page of the work cited or referred to, and be arranged alphabetically and chronologically in the following way (e.g.): Analecta Nipponica 191 Murasaki 2008 Murasaki & Murata 1999 Murasaki & Murata & Tamura 2004 Tamura 2003 Tamura 2005 Tamura 2005a Tamura 2005b and, naturally, Murasaki K[.] 2008 Murasaki Y[.] 1994. Given-name initials can be used only and only in cases when full form is not available; if it is not indicated on the title page but is known, it should be provided in [square brackets], cf. e.g.: Syromyatnikov, N[ikolay] A[leksandrovich] 1971. The sole function of the coma (<,>) after the listed author’s name is to indicate inversion of the given and family names for the sake of alphabetical listing; when no such inversion occurs in the original, the coma must not follow the family name, cf. (e.g.): Akamatsu, Tsutomu 1997. Akinaga Kazue 1966. Kindaichi Haruhiko 1975. Nihongo [...], but: Kindaichi, Haruhiko 1978. The Japanese Language [...] Munro, Neil Gordon 1962. Murasaki Kyōko 1979. No name inversion must be used in the case of the second, third, etc., author, cf. e.g.: Gaca, Maciej & Alfred F. Majewicz (eds.) 1999. Through the Gate of Yunnan Borderland (Ethnic Minorities of Southern China). Linguistic and Oriental Studies from Poznań Monograph Supplement 4. Poznań: Wydawnictwo Naukowe UAM [Adam Mickiewicz University Press]. Lebedeva, Ye[lena] P[avlovna] [&] M[arina] M[ansurovna] Khasanova [&] V[alentina] T[unsyanovna] Kyalyndzyuga [&] M[ikhail] Dmitrievich] Simonov Елена Павловна Лебедева [&] Марина Мансуровна Хасанова [&] Валентина Тунсяновна Кялундзюга [&] Михаил Дмитриевич Симонов 192 Information for Contributors 1998. Фoльклop удэгeйцeв - нимaнку, тэлунгу, exэ [Udeghe folklore – nimanku, telungu and yehe genres]. Novosibirsk: Nauka. Bibliographical data in Russian and Greek characters are customarily used in the same way as Roman characters (i.e., no transliteration is applied in the description of the title and the authors full names are also provided in Cyrillic and Greek); for the sake of arrangement, however, the head of the bibliographical description can be provided in Roman characters preceding the original notation (no name-surname inversion is to be indicated in this case in the original notation), cf.: Syromyatnikov, N[ikolay] A[leksandrovich] Н. А. Сыромятников 1971. Система времен в новояпонском языке [the category of tense in Early Modern Japanese]. Moskva: Nauka. When an edition different from the first edition is used, it should be marked with an upper index figure preceding the year of publication, cf. e.g.: Hattori Shirō 101976. Gengogaku-no hōhō [...]. Titles of works cited or referred to in languages other than English, French, and German must be translated or explained in English (~ Japanese) in [square brackets] following the title, cf. e.g.: Hattori Shirō 101976. Gengogaku-no hōhō [methods in linguistics]. [...] The Publisher’s name should be provided after the place of publication followed by a colon, and the original bibliographical data must be provided in full below the transliteration, cf. e.g.: Hattori Shirō 101976. Gengogaku-no hōhō [methods in linguistics]. Tōkyō: Iwanami Shoten. 服部四郎 1976。言語学の方法。東京: 岩波書店。 It is advisable to use instead the English (sub-)title when such is originally also provided; it should follow the original title after two slashes (<//>), cf. eg.: Chanbamrung, Mongkhol 1991. jáwthai-jáwkuangsī sŷaphâa lè khrŷangpradàb // Thailand Yao – Guangxi Yao Costumes and Ornaments. Bangkok: Chulalongkorn University Faculty of Arts. Á§´Å ¨Ñ¹·ÃìºÓÃا 2534. àÂéÒä·Â-àÂéÒ¡ÇÒ§ÊÕ àÊ×Í é ¼éÒáÅÐà¤Ã×Í è §»ÃдѺ. ¡Ãا෾Ï: ¨ØÌÒŧ¡Ã³ìÁËÒÇÔ·ÂÒÅÑÂ. Analecta Nipponica 193 Hashimoto Mantarō 1988. Naxi yuryō. Ko-Hashimoto Mantarō kyōju-ni yoru chōsa shiryō // The Naxi Language Materials. Field Data Collected by the Late Prof. M. J. Hashimoto. Tokyo: University of Foreign Studies Institute for the Study of Languages and Cultures of Asia and Africa. 橋本萬太郎 1988。故橋本萬太郎教授による調査資料。東京外国語大学 アジア·アフリカ言語分化研究所。 Inamura Tsutomu [&] Yang Liujin 2000. Guoji Hani/Aka Yanjiu Ziliao Mulu // The International Bibliography on Hani/Akha. Tsukuba: University of Tsukuba Institute of History and Anthropology. 稲村务[&] 杨六金 2000。国际哈尼/阿卡研究资料目录。筑波: 筑波大 学 历史人类学系。 Kamei Takashi [&] Kōno Rokurō [&] Chino Eiichi (eds.) 1988-1989-1992. Gengogaku daijiten, dai-ikkan, Sekai gengo hen // The Sanseido Encyclopedia of Linguistics 1, Languages of the World. Vols. 1-4. Tōkyō: Sanseidō. 亀井孝 [&] 河野六郎 [&] 千野栄一 編著1988。言語学大事典 第1巻 世界言語編 。東京 : 三省堂。 Examples of book publications listing in the bibliography: Akamatsu, Tsutomu 1997. Japanese Phonetics. Theory and Practice. München & Newcastle: Lincom Europa. Chen Lifei 2006. Rijun Weianfu Zhidu Pipin [critique of the institution of ‘comfort women’ in Japanese armed forces]. Beijing: Zhonghua Shuju. 陈丽菲 2006。日军慰安妇制度批判。北京: 中华书局。 Ikegami Jirō 1997. Uirutago jiten // Uilta KIsIni BičixIni [Orok-Japanese dictionary]. Sapporo: Hokkaido University Press. 池上二良 1997。 ウイルタ語辞典 。札幌：北海道大学図書刊行会。 Huang Renyuan 2003. Hezhe Nanai Ayinu YuanshiZongjiao Yanjiu [studies in primitive religions: Nanai of China (Hezhe), Nanai, and Ainu]. Harbin: Heilongjiang Renmin Chubanshe. 黄任远著 2003。远赫哲那乃阿伊努原始宗教研究。哈尔滨: 黑龙江人 民出版社。 Isobe Akira (ed.) 2008. Fei Shou-zai-kan “Xinke Jingben Quanxiang Yanyi Sanguo Zhizhuan”-no kenkyuÛ-to shiryoÛ [studies and materials on the Three Kingdom Romance as published by Fei Shouzai – facsimile of Fei’s publica- 194 Information for Contributors tion with introductions]. Sendai: Tohoku University Center for Northeast Asian Studies. 磯部彰編 2008。費守齋刊「新刻京本全像演儀三国志伝」の研究と資 料。仙 台:東北大学東北アジア研究センター。 Izuyama Atsuko (ed.) 2006. Ryūkyū, Shuri hōgen – hōsō rokuon teipu-ni yoru – Hattori Shirō hakase ihin [Shuri dialect of Ryukyuan, on the basis of a tape record left after the late Professor Shiro Hattori]. Tokyo: University of Foreign Studies Institute for the Study of Languages and Cultures of Asia and Africa. 豆山敦子編 2006。琉球 · 首里方言、放送録音テープによる ー 服 部四郎 博士遺品。東京外国語大学アジア·アフリカ言語分化研究所。 Janhunen, Juha (ed.) 2003. The Mongolic languages. London: Routledge. Jin Peng 1983. Zangyu Jianzhi [outline of Tibetan language]. Beijing: Minzu Chubanshe. 金鹏 1983。藏语简志。北京: 民族出版社。 Kato, Takashi 2001. Lisu Folk Tales. Tokyo: University of Foreign Studies Institute for the Study of Languages and Cultures of Asia and Africa. Keene, Donald 2002. Emperor of Japan. Meiji and His World, 1852-1912. New York: Columbia University Press. Kindaichi Haruhiko271975. Nihongo [the Japanese language]. Tōkyō: Iwanami Shoten. 金田一春彦著 1975。日本語。東京: 岩波書店。 Kindaichi, Haruhiko 1978. The Japanese Language. Rutland, Vermont & Tokyo: Charles E. Tuttle. Kubodera Itsuhiko 2004. Ainu minzoku-no bungaku-to seikatsu [Ainu literature and life]. Kubodera Itsuhiko chosakushū 2 [collected works of Itsuhiko Kubodera, vol. 2]. Tōkyō: Sōfūkan. 久保寺逸彦著作集 2。2004。アイヌ民族の文学と生活。東京: 草風館。 Miller, Roy Andrew 1982. Japan’s Moder Myth. The Language and Beyond. New York & Tokyo: Weatherhill. Murasaki Kyōko 1979. Karafuto ainugo – bumpō-hen [Sakhalin Ainu grammar]. Tōkyō: Kokusho Kankōkai. 村崎恭子 1979。カラフトアイヌ語 - 文法篇。東京: 国書刊行会。 Analecta Nipponica 195 Murayama Shichirō [&] Ōbayashi Taryō 19759. Nihongo-no kigen [origin of the Japanese language]. Tōkyō: Kōbundō. 村山七郎大林太良共著 1975。日本語の起源。東京: 弘文堂。 Ogawa Naoyoshi [&] Asai Erin (eds.) 1935. Gengo-ni yoru Taiwan Takasagozoku densetsu shū // The Myths and Traditions of the Formosan Native Tribes (Texts and Notes). Taihoku Imperial University Institute of Linguistics. 小川尚義 [&] 浅井恵倫 1935。原語臺灣高砂族傳說集。臺北帝國大學語 言 學研究室 [reprinted 1967: 東京: 刀江書院] 。 Song In Seong 2006. Han Han Jung Yeong Il Junggugeo Kancheja Choisin Han Han Sajeon [the newest Chinese-Korean character dictionary with Korean, Traditional Chinese and Simplified Chinese, Zhuyin Zimu, Pinyin, English, and On-Kun Japanese equivalents]. Seoul: Taeseo Chulpansa. 宋寅聖編著、現代中國學研究所編2006。韓·漢·中·英·日、中國語簡體字。 最 新漢韓辭典。서울 : 泰西出版社。 Syromyatnikov, N[ikolay] A[leksandrovich] Н. А. Сыромятников 1971. Система времен в новояпонском языке [the category of tense in Early Modern Japanese]. Moskva: Nauka. Tamura Suzuko 1996. Ainugo Saru hōgen jiten [Ainu-Japanese dictonary of the Saru river valley dialect of Ainu, with English equivalents by Ian R. L. McDonnell]. Tōkyō: Sōfūkan. 田村すず子 1996。アイヌ語沙流方言辞典。東京: 草風館。 Examples of journal article publications listing in the bibliography: Friday, Carl 1988. “Teeth and Claws: Provincial Warriors and the Heian Court”. Monumenta Nipponica 43/2, 153-85. Maher, John C. and Yumiko Kawanishi 1995. “On Being There: Korean in Japan”. Journal of Multilingual and Multicultural Development 16/1&2. Special Issue: John C. Maher and Kyoko Yashiro (eds.) Multilingual Japan. Pp. 87-101. Majewicz, Alfred F. 2005. [Review of:] Tsutomu Akamatsu 1997. Japanese Phonetics. Theory and Practice. München & Newcastle: Lincom Europa. Linguistic and Oriental Studies from Poznań 7, 159-62. 196 Information for Contributors Nishi Yoshio 1986. “Gendai chibettogo hōgen-no bunrui // A Classification of Tibetan Dialects”. Kokuritsu Minzokugaku Hakubutsukan Kenkyū Hōkoku // Bulletin of the National Museum of Ethnology (Osaka) 11/4, 837-900. 西義郎 1986。「現代チベット語方言の分類」。国立民族学博物館研 究報告 11巻 4号。 Shatzkes, Pamela 1991. “Kobe: A Japanese Haven for Jewish Refugees, 19401941”. Japan Forum 3/2, 257-73. Treat, John Whittier 1993. “Yoshimoto Banana Writes Home: Shōjo Culture and the Nostalgic Subject”. The Journal of Japanese Studies 19/2, 353-87. Żeromska, Estera 2008. “Being a Chanter of the Japanese Puppet Theatre Bunraku”. Linguistic and Oriental Studies from Poznań 8, 117-24. Examples of collective volume article publications listing in the bibliography: Janhunen, Juha 1997. “The Languages of Manchuria in Today’s China”. In: Hiroshi Shoji [&] Juha Janhunen (eds.) Northern Minority Languages. Problems of Survival. Osaka: National Museum of Ethnology. Pp. 123-46. Kato, Takashi 2001a. “Khmu Vocabulary”. In: Tasaku Tsunoda (ed.) Basic Materials in Minority Languages 2001. Suita: Endangered Languages of the Pacific Rim Research Project. Pp. 95-104. 加藤高志 2001a。“クム語語彙”。角田太作編 少数言語の基礎的言語 資料 2001。吹田: 「環太平洋の言語」成果報告書。 Majewicz, Alfred F. 2003. “Categorizing the Japanese Lexicon. A Proposal with a Background”. In: Brigitte L. M. Bauer [&] Georges-Jean Pinault (eds.) Language in Time and Space. A Festschrift for Werner Winter on the Occasion of His 80th Birthday. Berlin [&] New York: Mouton de Gruyter. Pp. 271-85. Melanowicz, Mikołaj 2006. “Winds over Ryūkyū by Chin Shunshin: between Literature and History”. In: Josef Kreiner (ed.) Japaneseness versus Ryūkyūanism. Bonn: Bier’sche Verlaganstalt. Pp. 103-10. Bibliography must not be divided into parts unless justified and absolutely necessary. Illustrations and tables should be numbered respectively and consecutively (e.g.: Analecta Nipponica 197 Photo 1, Photo 2, Photo 3,..., Map 1, Map 2,..., Fig. 1, Fig 2,..., Table 1, Table 2,..., etc., and should correspond exactly to respective references in the text; they should be placed where the author wishes them to appear (although some shifting may prove necessary in the editing); photos should additionally be sent separately, either electronically or quality printed. The editor must insist that every contributing work to this publication reveal all respective authors involved in the creation of the said work (including providing their specific affiliation and contribution, i.e., who is the author of the concept, background theories, method, protocol, etc., used in the publication), with the main responsibility falling to the author submitting the manuscript. These measures are put into place given that the so-called “ghostwriting” or “guest authorship” phenomena display the lack of academic integrity and all detected cases of such will be exposed, to the extent of informing the proper entities (institutions hiring the authors, academic associations, associations of academic editors, and so forth). The editor will document all displays of academic misconduct, especially these breaking and infringing the ethics of proper scholarly research. The editor shall disclose information concerning the sources of funding for the publication, the input of research institutions, associations , and other entities (“financial disclosure”). All the volumes of Analecta Nipponica so-far released have been published with the support of the Takashima Foundation grants. Content | 目次 r Editor’s preface7 ARTICLES r Iijima Teruhito 日本の伝統芸術―茶の美とその心 English Summary of the Article r Agnieszka Kozyra The Oneness of Zen and the Way of Tea in the Zen Tea Record (Zencharoku) English Summary of the Article r Anna Zalewska Expressing the Essence of the Way of Tea: Tanka Poems used by Tea Masters English Summary of the Article r Ewa Rynarzewska SHINPA versus SHINP’A. The Influence of Japanese ‘New School’ Theater on the Development of Modern Korean Theater English Summary of the Article r Agata Koszołko The Ideals of Bushidō Depicted in Hagakure (‘Hidden in the Leaves’) and Chūshingura (‘The Treasury of Loyal Retainers’) English Summary of the Article r Urszula Mach-Bryson On Jars and All-time Masters. Chanoyu as Revealed by Yamanoue Sōji English Summary of the Article INETRVIEWS 立川志の春氏インタビュー「世界に通じる日本の笑い」聞き手 ザレフスカ・アンナ、藤井カルポルク陽子 REPRINTED WORKS OF POLISH JAPANOLOGISTS r Ewa Pałasz-Rutkowska General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932-1936 – Part Two r Notes About the Authors r Information for Authors ISSN: 2084-2147
