THE

KITŌ RYŪ JŪJUTSU

TAI NO MAKI NO BEN
(2019)
 THE TRANSLATION AND TRANSCRIPTION
OF THE

KITŌ RYŪ JŪJUTSU

TAI NO MAKI NO BEN

AN AMATEUR TRANSLATION PRODUCED

FOR THE INTERESTS OF

THE AMERICAN FEDERATION OF JUJUTSU

PRODUCED FROM
THE ORIGINAL DOCUMENT
POSTED AT THE INDICATED WEBPAGE

http://jtweymo.angelfire.com/COVER_PAGE_T-T.html

Persons wishing to view the original document

as produced by the Japanese
should consult the web address included in this text.

Privately Published
BY

LOGAN WEYMOUTH, SHIHAN

AUSTIN, MINNESOTA
2019

2
 TABLE OF CONTENTS

INTRODUCTION.............................................................................................................................. 4

THE HONTAI Section.......................................................................................................................5

THE TEN NO MAKI Section......................................................................................................... 12

THE CHI NO MAKI Section.......................................................................................................... 28

The SUMMARY............................................................................................................................... 71

3
INTRODUCTION

These translations and transcriptions, of which the Kitō Ryū Tai No Maki No Ben text is a part of, were produced in
the interests of the American Federation of Jujutsu. Any party or person is free to avail themselves of a copy of this
text or any other found therein. It would be appreciated if you would acknowledge the AFJ in doing so.

Technical Information: The document is based upon the original 18th and 19th Century Museum piece that came
from the Toyama Prefectural Library website (antique books collection). It's directly associated with the Kitō Ryū, as a
principle document (a record scroll of sorts for that school). As such it is highly relevant to the 18th century text of the
KITŌ RYŪ JŪJUTSU YOROI-GUMIUCHI NO DENSHO that we translated and posted on the date of February of 2016. The
original historical document is a mid sized booklet, originally thought to be part of a set, which by now had proven to
be rather separate texts that represent various and divergent branches of the Kitō Ryū. Exactly which branch this one
might represent, we do not know? About the text itself, these kind of 18th and 19th Century Museum pieces are
written in an older historical form of the language. It's a formal document of the school, and ergo a valid form of
documentation. The text as such was originally produced by the Japanese and is dated between 1760-1810 in the
original form, this particular example seems to have been dated around 1841 or so? The document has obvious
language roots back as far as perhaps the 1500's (terminology, nomenclature and grammatical structures of the text.),
as one would expect from a text that descended from an earlier point into however many adaptations actually existed?
This text uses Kyūjitai classical kanji and Katagana script.

The expectation that this Tai No Maki No Ben will prove to be near identical to the Tai No Maki No Ben sub -section
of the Jūjutsu Kiroku is rather short lived. As we said before about this subject, many Western practitioners seem to
have expected that it would be the case? It simply isn’t. An important detail here is that this Tai No Maki No Ben does
not agree with the text found in the Jūjutsu Kiroku. This Tai No Maki No Ben we have here is an independent text,
representing a specific Kaden branch tradition of the Kitō Ryū, and it is even possible that (when combined with it’s
own proper sibling texts) it may form a separate and distinct version of the Jūjutsu Kiroku, evidently for that branch
of the school… whichever it may prove to have been? There are many interesting differences between this text of the
Tai No Maki No Ben and the representation of the text in the Kiroku itself, The Summary in this PDF will offer to
explain some of them and a few other interesting points as well.

Here in the last word of the introduction, I hope to make it perfectly clear that only linguistics and legitimate
academics was applied in the course of rendering translation and the making of these transcriptions, hoping to remain
true to the original content and feel of the Kitō Ryū Tai No Maki No Ben text itself. This was thought best, so as to
provide a more authentic experience that is devoid of 'stained glass' colourations which offers to obscure the text's
content. I mean, namely, that one ought not to approach such important works of translation, having a biased view
caused by insistence upon interpreting things according to one's own beliefs or martial arts experiences.

Logan (J.T.) Weymouth

Shihan, Rokudan (6D)
AFJ Shinden Yōshin Ryū
Yudansha, AFJ American Judo.
February 13th, 2019

4
 起倒流柔術體之巻辨
Kitō Ryū Jūjutsu Tai No Maki No Ben
Discerning the Book of the Corpus Section of the Kito Ryu

TRANSLATOR'S NOTE on the TEXT STRUCTURE

The Structure that the text seems to use is based largely off of the Sino-Japanese language statement found in the Jūjutsu Kiroku at the beginning of it's
section that bears the same title (Tai No Maki No Ben):

本体者体之事理也専離形扱気不得正理己不知扱気静貌至所得静気敵之強弱能徹
強弱通達則千変萬化無不制敵是則中虚実為本務体之正己故本体云爾

右当流不浅執心依修行雖為秘事本体令伝授予仮令為親子兄弟膠漆友共敢謾不可
漏者也仍如件

This statement is chopped up into a form of 'clauses' that are used as Title Heads for the segments of the text. Doing this does change the meaning (of
these 'clauses') being that they were not presented in the context of a paragraph or sentence (but used as titles instead). This form of a Literary Device is a
known thing, but "translating" the examples of it seldom ever works out quite like it did in the native language given. So there is a better context for this
whole text, I decided to place a copy of the Sino-Japanese statement and it's translation. It translates as:

"Persons of the Hontai basic section are concerned exclusively with the Tai no koto Subjects of the Basic Corpus. They handle only the separate kata
techniques being that they are unskilled in the spirit and correct principles and do not know how to handle themselves such as by approaching with a calm
look on the face. When having acquired a calm spirit, the strengths and weakness and skills of the enemy are easier to observe, and one becomes well
versed in signs of their strengths and weakness. This concerns itself with rulings about the thousands of changes within every and all actions taken even
when an enemy is not unsystematic in what they do. This concerns rulings about when one is exchanging truth and falsehood, even in the essential tasks
that one own body truly are capable of. This is the Hontai basic section.
The previously mentioned standard customs of the school are not frivolous when in devotion to the training practice, however, there are some secret
subjects of the Hontai basic section dictated by the giving of instructions in them. Although one must not commit the despicable act of injuring the
intimate bonds of father and mother, sister and brother [in giving over-attention to the training], because there are such persons whom commit this
oversight."

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 起倒流柔術三巻明記
Kitō Ryū Jūjutsu Sankan Meiki
Clarification on the Three Books of the Jujutsu of the Kito Ryu

PAGE ONE

本體

傳ハ体ニモトツキ氣ニモトツク道ヲ説タリ武術ハ専ラ歒ニ
勝ノ道ヲ教レトモ歒ハ末ナリ我ハ本ニテ先我身ニ可勝道
理ヲ修行セスンハ歒ニ勝ノ道ナシ仍之當流ハ先歒ニ可勝ノ
理ヲ我躰氣ニモトツキ知ルト云心ニテ本体ト号
本體者体之事理也
下ノ体ハ柔ノ体也事ハ歒ヲ取扱フ事ナリ理ハ人ニ可勝ノ
道理ヲ知ルん事ト理ハ車ノ两輪ノ如ク事ヲ修行シテモ
理クラクシテハ勝事難シ理ヲ知テモ事ノ修行タラサレハ
アヤウシ事理一致ニシテ熟得シタルヲ本体ト云
専離形扱氣
是ヨリ事理一致シテ本体ノ道理ニ至ル修行ノ仕形ヲ云
他流ニハ業ノ数多クシテ教レトモ業ノミニカヽワリテ理ヲ

Hontai
the Basic Foundations Section
In regard to the teaching traditions, one clings physically, spiritually and emotionally [when a
thing is happening]. It is explained that way. Regarding the Paramilitary arts (bujutsu), with an
enemy the way to victory must be known. With an enemy there is the end that will come.
Regarding oneself, indeed, there comes the point that one physically ought to be able to secure
victory, but one ought not to train for [this point], because for the enemy victory is the path
intended. Regarding the consequential standard customs of the school about this, they say that
even one's body and spirit is known to the enemy in the principles that he is using when at the
point where the enemy would seek victory. That is said to be what the Hontai basics have in
mind.

6
 Hontaisha Tai No Jiri Nari
The Reasoning for the Corpus of those Whom are at the Basic Foundations Level

Persons of the Hontai basic section are concerned exclusively with the Tai no koto subjects of
the basic corpus.
Regarding the Tai Corpus level that comes before it, it is the corpus of Jujutsu (jū no
tai /or/ yawara no karada) and is the subject of handling and capturing the enemy. Regarding
the principles of this, with human beings one ought to know the reasons for which they seek
victory. The subject and the principles are quite like two wheels on a cart even when making
practice of the subject, and regarding the joys and sorrows brought on by the principles,
suffice to say that victory is a difficult subject. Knowing the principles would not allow one to
practice the subject and is also dangerous. They say that the utter and coincidental agreement
between the subject and the principles is what allows one to profit from the Hontai basic level.
What folly there is in the reasoning of the principles and subjects of Tai No Koto level are the
techniques of Jujutsu. There is a psychology to the principles. Regarding the strategic
elements of the techniques, it's not exactly the path of life itself, it's pretty much the same as
when the dead are seated in zazen. Regarding the strategic elements of the techniques without
them the techniques have no practical application. Consequently, practicing the techniques
tempers one's state of mind, they say that the principle of the Tai no koto corpus level is to
profit by the reasoning of the subjects and principles being utterly one.

Moppara Hanarete Katachi Wo Atsuka(f)u Ki Wo

Handling the Kata As Being Separate And Exclusive Unto Themselves
(or, "Seeking to Distance Oneself by Means of Handling with the Kata Patterns")

[Persons of the Hontai Basic section] handle only the separate kata techniques being that they are
unskilled in the spirit.
From this union of the reasoning of principle and subject within the Hontai Basic section, they
say that then one is approaching the truer sense of the methods of practice. In other schools, it
is known that they have a great many techniques (waza). Not knowing the principles, they
develop a pointed fixation with the many techniques and corpus of them.

7
PAGE TWO

不知其上人ハ無量ノモノニテ業ノ働變化難定シカルヲ
業ヲ定メヲキタル時ハ其業ニ氣トヽマリ自由スルホトノ
上手ニイタル事カタシ。依之當流先業形ニカヽワラス歒ノ
一氣ノ発スルヲ取扱事ん形ト云字ハ人ニ生得タル手ヲ下ケ
足ヲソロヘタルニテ無ク別ニ手ヲアケ足ヲヒロケナトコシラヘタルヲ
形ト云ナリ
不得正理己不知扱氣
右ノ如ク歒ノ一氣ノ動ヲ取扱ニワ歒モ我モ氣シチニカワルフハ
無キモノユエ先己ニ其道理ノ正所ヲ知ラサレハ歒ノ氣ハ取扱
ガタシトソ
靜貌至所得靜氣
此一段眼目ん貌ハ人生レ得タル自然ノカタチヲ云他ニハ石火ノ
勝負ナト申テ業ノ早キヲ好メトモ早キ事ニハ己カ氣体モ

Those whom make it beyond that [fact of these schools while practicing them] will find it difficult
because of the immeasurable number of variations in the movements of those techniques. And though
that may be the case yet are further techniques established and placed. Those techniques begin rather
freely to stifle [the practitioner], as one approaches the subject of the more advanced technique levels.
Regarding this having become the standard practices of a school, they are not particularly fussy about
the initial sets of techniques and kata patterns because of it. There is the subject of having diverged
from the singular spirit which the enemy enjoys while handling you. So they say of the Kata patterns
and the written characters [used to describe them], with people techniques [for use in anything] are
innate to have descended. They do not occur in any other way than to have accrued and compiled over
time, right on down to where the foot is to be placed and which hand is held low. When being
entrusted with the subject, one must be particular about which hand is upraised and which foot is flat
to the ground. They say that is how they become standardised through these step-stages, the Kata
techniques are formulated out of them.

Futoku Seiriko Fuchi Sōki

Having not acquired correct principles they do not know how to handle themselves.

Much as with what has already been said here, handling and capturing by the singular lurching
movements of the spirit of the enemy, both you and the enemy are going to be quite particular about
the very point episodes of spirit. The coincidental discharging within the event, and prior to it, one not
having known for sure what would be correct principles, there is some uncertainty in manipulating
and handling the enemy's spirit.

8
 Shizuka Naru Katadotte Itari-ha Tokoro (H)Eru (Wo) Seiki
When Having A Calm Look On The Face And Remaining Calm One Might Be Able To Proceed Despite
Things.

Regarding this first level it has its main objectives. The look on the face, acquiring a substance for life
from birth to death, the more natural of looks upon the face as they say. Besides this, the flashing
spark that is victory or defeat and etc etc. The preference for the quicker of the techniques and
regarding the subject of quickness, there are questions about how to correct one's own body and
spirit,…

PAGE THREE

不正ユヘ少シノ間違タル事アレハ大キニ散乱シテ迷フ是ヲ放心と云
小キワザニテモ氣サワキテワハ成カタシ殊ニ歒ノ氣ヲ取扱ホトノ事ニ
氣散乱シテハ細カタル所エハ眼ツカス歒ノ氣ワサモミヱス。氣
ハカタチニシタカヒ動クモノユヘ當流第一ニカタチ靜ナル事ヲ教ル
形シツカナレハ氣モヲノズカラシツカナルナリ。
靜貌靜氣事口傳
但ウコキ働ク時ハ体モ氣モシツカナラ子トモ修行ノ上ハ鞠ニ水ヲ
半分入タルカ如シ鞠ワコロケウコケトモ水ハイツトモロクニソナワル
ナリ靜貌得氣技ノ呼吸ニ不障ホトニスルん呼吸ニサワルト
コロ平生何ノ技ニテモ道理ノ同事ん
歒之強弱徹ス
靜貌靜氣ヲ能熟得ノ上ハ我心正クアキラカナルユヘ歒ノツヨキモ
弱キモ進モ早キモヲソキモ能知ルん徹ハ我心ニタシカニ知るを云

9
 ...particularly the likes of minor errors that would effect the circumstances, that would largely scatter
and disperse [your abilities] in any given circumstance. They say that there is a peace of mind in this.
Even with the lesser techniques, there is some disturbance to the spirit. Particularly to the spirit of the
enemy whom we are handling and capturing. To some extent in the subject, the spirit becomes
disarrayed and diverted, and regarding the fine details in the circumstance, having no particular look in
one's eyes or face and so one has not given away their technique by which to fuel the enemy's spirit.
Regarding the spirit, the look in the eyes and face when in motion is considered the single most
important thing in the standard customs of the school and [the wrong look] could bring death to what
benefit they might be to you. Know well the subject of keeping a calm look in the eyes and face. Even
the Kata patterns are to be performed with a calming spirit, calmness being a matter of their natural
course.
There is oral instructions (kuden) about the calming spirit and calm look on the face.
Yet even despite movement and activity at the time. Beyond practicing with a calmness of spirit and
calmness of body, much as when in the children’s game of ball one only approaches halfway to the
waters edge. Given the tumbling motions in the game of ball it is proper to guard oneself from
approaching the water's edge. Having acquired the spirit of having a calm look on the face, there is the
subject of the increasing hindrance to one's breathing in the performance of the techniques. There is the
subject of what hindrance to one's breathing there is in the techniques as opposed to the more normal
ways of breathing which are the same as the correct way [to perform the techniques].

Teki No Kyōjaku To(w)osu

Pushing through the strengths and weaknesses of the enemy.

Quite frequently, having a calm spirit and calm look on the face, beyond carefully attending to this,
keeping a correct frame of mind so that things remain quite clear to you. Particularly, the strengths of
the enemy and even his weaknesses, even how and when he advances quickly or slowly. Know all this
quite well. In regard to making it through the thing, they say that one must know beyond any doubt
what one has in mind oneself.

10
PAGE FOUR

強弱通達則千變萬化無不制歒
歒ノソヨキヨワキスヽミヒキヲソキハヤキモ自由ニ通シ達シタル上ハ
歒イカヨウニ千ニ變シ萬ニカワリテモ其氣ヲ知リレニシタカイ
應シ自由ニシテ制セスト云事ハナキト也制スルハカタスト云事
ハナキト同シ
是則中虚實
ミカル上ハ歒ノ虚モ實モ能ク知テ勝トん是則トワ右ノ如ク修行
熟得スレハ我ニ自由ヲ得ル故自然ト虚實ニアタリ勝也中ハ
他ノ如ク形ヲニアテヲ用ル事テハナシ内ノ氣ニアタルヲ云ん
虚實ノ事猶口傳アリ曳息ハ實吹息虚ん曳息ハ實ニテ陰ん
ツク息ハ虚ニテ陽ん虚實ハ至極ユルヤカナル業ナリ出入ノ息
タケニ應スルナリ
爲本務体之正己故本體云爾

Kyōjaku Tsūtatsu Sossenhen Monka Naku Fusei Teki Wo

Identifying The Strengths And Weaknesses Within The 10,000 Changes And Thousands Of
Variations Of An Enemy That Make Him Lack Control Of Himself And The Circumstances.

What strengths and weaknesses the enemy exhibits as he advances and how slowly or
quickly he grabs and pulls on you. And beyond that what defrauding trickery he tries to use
in the thousands of changes and the 10,000 variations and what one can come to know about
his spirit in doing so. Following along those lines when freely responding to him, and they
say the subject of his losing control and whatever else he might lack. He having control, you
cannot have victory, they say the subject of what he and you are lacking is one and the
same.

Kore Sunahachi Ataru Kyojitsu

This Is Namely to Attack through Exchange of Truth and Falsehood

Since it is such the case one may know quite often how to take victory in the enemy's truth
and his falsehoods. Regarding these rulings, much as with the aforementioned, it would be
intently sought out through the training practice, and having acquired it freely oneself,
particularly so as the natural recourse of truth and falsehood for the sake of taking victory.
When in the middle of it all, much as with the other [items], it's not lacking in the good
usage of the Kata patterns. They say that there is the objectives of the spirit when inside the
event. Regarding the subject of truth and falsehood there is further oral instruction (kuden).
And in regard to breathing, there is one's true breathing and falsified breathing patterns.
When drawing breath, there is obvious deception available. There are techniques for using
the extremes of truth and falsehood. The inhalations and exhalations of breath would be in
some reply to what is happening.

11
 Suru Honmutai No Seiko Yue Ni Hontai Iu Nanji
Even the Essential Tasks that One’s Own Body is Truly Capable of, These are Also of
the Hontai Basic Section.

PAGE FIVE

カクノ如ク自由ニ自在ニ勝ノ道ヲ得ル事トカク我氣ノ正所ヨリ
上手ニイタルユヘ根本トシテ修行スル所ハ一体ソ正キ所ノミ
第一んトソ
本體之勤ハ口傳
▫ 天巻
此巻ヲ天ノ巻ト号スル事天ハ氣ザシノミニテカタチ無シ此巻モ
氣ザシノミヲ説タルユエニ天巻ト号ス
·起倒
起倒ハヲキタヲルヽト訓ス起ハ陽ノ形倒ハ隂ノ形ナリ
起倒ノ二字ヲ説起ハ形ト見テハ悪シ氣ノ少ニテ動進ムモノハ陽ん
倒ハ形ノ折敷シキ又座シタル形ニテ隂ナリ隂ハ物ノヲサマリタル
事ユエ隂ト云
起倒ハ禪語ナリ人ノ常道ヲ起倒ト云起ハ陽ん形ニシテハ

Much as when this is the case, there are various things that one can do to have freely and
unrestrictedly acquired the path to victory, approached by the techniques brought about by
one's own true spirit in the circumstances. One practices in the training as if it were all a
singular body, in consideration of the root causes of the trouble incident. Correctness about the
circumstances is the chief thing.

▫ Ten No Maki Book of Heaven

This book, the Ten no maki Book of Heaven is also named and in regard to [the title] Heaven,

12
 [it says] that notwithstanding what feelings one might have oneself, the Kata patterns show
none. Even this book explained that it was notwithstanding one' own feelings, and it too named
the book as the Ten no maki.

·Kitō Rousing conquest

Rousing conquest (kitō) when read as 'okitaoru' means rising and falling [when pronounced kitō, it means
more like “(rousing) conquest” or can also mean “conquest and defeat”]. The character (O)Ki (起) is of the Yang element

pattern ("rising") and the character Tō (倒) is of the Yin element pattern ("falling"). The two
characters of [the name] Kitō [Ryū] are [further] explained. The character (O)Ki (起) is when
seeing that the shaped form is that of evil. Somewhat the spirit moves advancing against it
because the thing is obvious (Yang element). The character Tō (倒) is the splitting apart and
dispersing of it as a shaped form (kata no oshiki), and also if one remains seated [not taking
action] that is a passive form pattern. Regarding the Yin elemental components, it is those
which are the conclusion of things, they say that other things are Yin element as well.
Also, the word Kitō ( 起 倒 ) is part of Zen Buddhist terminology. They say that causing
downfall (Kitō (起倒) is part of the natural human path. The character Ki (起) is Yang element
("rising (to the occasion)"). Regarding the formed patterns that occur, …

Translator’s Note: At this point in the text, we see another reason why I wanted to add it to the Collection. This would be the Third Version of the Ten
No Maki “Book of Heaven” that we have on record (handy for comparison purposes.) The Chief version in the Jūjutsu Kiroku, which we listed as a
‘chief’ version because it clearly labeled and identified both the Chronicles of Nakanishi and Sakai. Version Two that we just finished and added to the
Collection, of which this second version shows marked differencing from the version in the Kiroku. Then, of course, this version. One notices that this
version (the Third version of the text that we are working on here) has a very different Formatting. The Page layout is interesting and really quite logical.
What other differences elsewise occur, we leave to the reader.

13
PAGE SIX

進メ行手ヲ出シ息ニツレテ伸ヲ云。倒は隂ナリ形ハ下に居
跡ヘヨリイキニツレテ屈ルヲ云人ノ常ナレハ歒味方カハリナシ
·陽ニシテ勝隂勝隂ニメ勝弱ニメ強ヲ制シ柔ニメ剛ヲ制ス
歒進ミ陽ニカヽレハ隂ニメ勝ち歒シリソキヲサマル心アレハ陽ニメ
勝んクハシク云ハ隂ニメヲサマリタル内ヨリ発スル心有ヲ隂中陽ト
云陽ニ発タル内ヨリヲサマル心有ヲ陽中ノ隂ト云陽ノ頭隂ノ
シリヘニテ勝ナレトクワシキ道理有トモ筆ニツクシ難シトカク陽ハ
カタチニテ見ハ悪シ一氕ノ動ん取形ニモ隂ノ形ノ勝多シ陽ノ
勝ヲ形ニテ云ハ谷落ナトワ引アケルニツ井テ起テ勝ユエ是ナ
ドヲ陽ノ勝ノ云力ヨワキモノニツヨクテ勝ハ習ニ不及ツヨキ
モノニヨワクテ勝ハ歒ノ力ノ集ラサル以前ノ陽ノ頭亦ハヲサマ
ラントスル隂ノシリヘヲトリ扱ハズンハ制シ難シ是當流ノ教ナリ
隂陽勝口傳

…when someone is coming and going they say that their breathing expands.
The character Tō(倒) is Yin element ("falling") what formed patterns collapse, and from the
traces of it left behind, so the breathing inclines likewise. Because of the usual state of human
affairs, there is the dissatisfaction that enemies and allies are always being replaced.
·There are obvious victories and there is the inobvious taking of victory. Weakness (jaku)
sometimes controls strength (kyō) and gentleness (jū) sometimes controls strictness (gō). The
enemy would openly cling to advancing, seeking even inobvious victories, when the enemy
would retreat it would be on account of what he obviously has in mind about taking victory.
They say he does so leaving behind what he has propagated. And so comes the beginning of
what had not been obvious, and once inside what is emerging of it, they say one is to be
considerate of what is hidden in the shadows even by day light (inchū no yō). What has
openly begun (yō-ni hasshitaru) once inside it as the beginning they say one is to be
considerate of what is revealed in the shadows by coming day light (yōchū no in). Once in
daylight then one gains knowledge of the shadow tops and victory can be taken. But it is
difficult for a brush pen to record the sense of everything that was left behind and propagated.
Regarding the various things that are Yang element components, there is seeing its shaped
form as being evil. There is but a single initial chugging movement. Even with the forms that
are taken, victory has many passive forms (in no kata no kachi). And they say of the forms of
active victory (yō no kachi wo kata), the likes of the valley drop (tani (w)otoshi) that it's

14
 pulling and clinging, arising upwards to meet victory. They say that this in particular is an
active victory (yō no kachi). Regarding the victory of the weaker over the stronger, the force
of the enemy had not been accumulating because of what was obvious from the beginning of
it. Also, once having begun, it's quite difficult to control and handle things in a less than
obvious fashion. This is to have knowledge of the standard customs of the school.
There is oral instruction about both active and passive victories (Inyō no kachi).

15
PAGE SEVEN

·我力ヲ捨テ歒ノ力ヲ以テ勝
少ニテモ我力ヲイタス心ニテハ氕扱トハ云難シ仍又陽隂ノ
道理ヲヨク修行シテ取扱ん有モノモ出サントスレハ力味トナル
ユエ力ヲ捨テ取扱んシカレハ歒ノ力アマリテヒトリ倒ルヽカ如シ
故ニ歒ノ力ヲ以テ勝ト云
·不然シテ吾力ヲ頼ミ吾力ヲ出ス心アレハ勝利不全
此段力ノ事ヲ少力ヘシ説タリ力ヲ捨ルヲ冝ト説タレトモ修
行ノ上吾力ノ自然ト出ルハ不苦タトエハ投出ス時ハ力有モノハ
一ハイニ投タル冝故力ヲタノムト云者ナリ然レトモ吾力ヲ出スト云ハ
此方ヨリ求メタルモノユエ自然ト出力ニテハナキユエ力味トナリ
勝事正シカラサルナリ不全トハタトエ勝タリトモ當流ノ本
意ニハ叶ハサルユヱタシカナル勝トハ云難シトノ心也
·勝利全處貌ハ歒ニ隨テ變トモ我心不動ニシテ正静ナル

· One abandons one's own strength and takes victory by the strength of the enemy.
Some small amount of one's own strength does get exerted, they say by what one has in mind
by way of initially handling it all which is a bit difficult. Quite often this is reliant upon the
principles of Yin and Yang polar opposites, for which handling practices are undertaken.
Even that which exists as objects or conditions would produce itself forth with some sense of
force, and particularly force is to have been abandoned when handling and making the
capture. As such, the enemy's strength and force which yet remains is much as if it alone was
what cast him down. They say that consequently victory is taken by means of the enemy's
own force.
· One has not then relied upon one's own power and one's power also has not been fully
expended just to achieve victory.
It is somewhat at this level that there are the theories of exchanging blows from the Chikara
no koto Subject of Force itself. Force having been suitably abandoned, the standing theories
go beyond just the training practice. It's not that difficult for one to exert force oneself
naturally in the outplay. An example would be when throwing something down at the time,
there is what force exists within what the person is doing, having suitably tossed away one
single object. They say that, particularly, some force was relied upon by the person to do it.
With that sort of thing, they say that one is exerting force in it, coming from this approach
then one is even searching out the object itself [¿in preparation to throw it?]. In particular, it

16
 is natural that it be produced this way. So then, force be lacking there is still some sense of
force existing. It's not correct for the subject of taking victory. That it is not really correct,
even when taking victory one's real intentions according to the standard customs of the
school is not really to have given a response, and this is particularly so beyond a doubt.
Victory they say is hard to bear in mind.
·Concerning the conditions of a perfect victory and the odd facial expressions
accompanying the enemy [e.g. his face, your face and the faces of anyone present], at that
hour have a quiet demeanor and in one's heart being made immovable, …

PAGE EIGHT

時ハ不可有不得利
至極全キ正キ勝ト云モノハ氕ノ扱ニテ勝事ユヱ貌ハ歒ニヨ
イカヨウノカワルトモ我心氕サヘヲドロカス不動サ散乱
セズシテ正クシツカナル時ハ歒ノ變化ヨクミエルユヘ勝利ヲ
得スト云事無トナリ
是ハ本体ノ靜貌靜氕ヲウルノ道理ヲクワシク説タルナリ
正靜ナル軍ヲ出スニ家ヲ忘妻子ヲ忘吾身ヲ忘ト云ニ同シ
是生死ヲ兼テ期スル故ニ一叟(?)シテ迷ナシ
[ HERE TWO LINE ARE ILLEGIBLE ]

·當流本体ト云事始ニシメス本体トハ何ヲ云トナレハ
心裏虚霊ニシテ神氕不動の貌ヲサシテ本体ト云
本体ノ巻ニテハ本体口傳之所ニ氕ヲヲサムル迄ヲ教ユレトモ

17
 …being [they intend] improper gain [e.g. at your expense].
They say that victory will very much push one entirely to the limit. As an object or condition, victory
comes by handling and manipulating the initial spirit, and particularly the expression on the enemy's
face and what deceit he has presented you with. There are one's own initial passing sentiments, not
having been surprised and not really moving, and so not suffering dispersal oneself. Having a correct
calmness at the time, the enemy is observed to be quite often making henka changes, they say
particularly because he has not yet secured victory and you are still as yet safe. This concerns itself
with the details of the theories of keeping a calm look on the face as evidence of a calm spirit from
the Hontai Basic section.
When a military troupe proceeds by such calmness, their household have been left behind and
forgotten, their wives and children left behind and forgotten. Indeed they say that even one's own body
has been left behind and forgotten just the same. This is to have anticipated life and death beforehand.
And in particular not a single older man(?!) hesitates at all.
[ HERE TWO LINE ARE ILLEGIBLE ]
·They say this Hontai Basic foundations of the standard customs of the school, and how one begins
them. What else can be said of the Hontai Basic section? There is the other side of what one had in
mind and spirit, the look on the face expressing the immovable spirit of the initial Divine mysterious
life force, that they say is the foundation of it. Regarding what is in the Hontai no maki Book of the
Basic section, there are the circumstances of the oral instruction (kuden) in the Hontai Basic section
itself. That one ought to know how to control the initial spirit [one's own, the enemy and that of the
circumstances] as that is what one was taught to do.

18
PAGE NINE

次第ニ修行ノ功ツモリテ勝口ノ道理ヲ手ニ握リタル上ハ
一物モ心氣ニタクフヘサルモノニナルん始ハ勝口ノ事ク色々心ニ
思ヘトモ熟得ノ上ハ心裏虚霊トテ心ノウチカヽミヲトギタル
如ク少ヲモトマル事ナク亦歒少シノ動キトモヨクウツリリ
自由ナルモノニナル也是ヲ不動ノ貌ト云此段至極名人ニ
至リタル所ヲ説タリ。神氕トハ魂ノ事ん虚霊トハ少
シモクモリナクトヾコヲリナキ事ん如是ナル時ハ自由成ユヘ
井力ヤウノ歒ニ合テモ心ノ散乱シ動クト云事ハ無トナリ
·歒ニ對スルニ爰ニ歒アリト念ノ起ル時ハ動スルモノ顕ル
動スルニ至テハ一身ムナシ歒ト見テシカモ心不動虚霊
ニシテ安ク對スル處本体ソナワルナリ
モシ少ニテモ心ニ色々ト未メ如是取扱ヘキトヽ思フ時ハ
心氕トヽコウリ其了簡ノ如ク歒ヨリセサル時大キニ心氕

This is the eventual strategy and merit of the practice, grasping and taking a hold of the principles of
the mouth of victory. Provided that one does not restrain oneself by one's own sentiments from
succeeding in this singular venture. At first one has various things in mind about the subject of the
mouth of victory and gives these consideration, and seeks to acquire what lay beyond these, of the soul
and spirit and of the look upon one's face reflective of what one hold inside oneself, much as with
seeking to improve oneself. Sometimes one does so non-stop, as also the movements and actions of
the enemy will be many and freely made. They say that this steadfastness shows upon your face,
explaining that this level is very much to approach the ranks of master. There is the subject of the soul
and spirit in regard to the initial stages of the Divine mysterious life force that makes up everything.
Regarding the spirit and soul, there is not the least bit of hindrance or turmoil. It is much like this at
the time, having become the case most freely, and particularly what deceit and what force the enemy
has met you with. They say that it's movements that disperse what he has in mind. Leaving him with
nothing.
· Here in facing every enemy at the hour of the arousal of attention, doing the motions the thing
becomes apparent, without doing the motions oneself monotonously, furthermore, halting the enemy is
having a heart of steadfastness. Although being unprepared for the place where one will calmly be
confronting him occurs [e.g. in practice] such as the Hontai Basic section., through the useless
formalities of formal conduct at the time, and having been provided with the 'hontai' basics
[unpreparedness] is broken. Supposing such a case where one is searching out the various things that
one has in mind, much in this way would one handle it and make the capture. Considering this at the
time, there is some hindrance to one's initial sentiments much as if at the mere thought of it all. Not so
much from the enemy at the time, largely just from the dispersal of one's initial sentiments.

19
PAGE TEN

散乱スルナリ一タヒ心乱レテハ心氕本体ニソナワラサル
故一身ムナシク成ん然ルユヱニトクト道理ヲ智タル上ハイカ
ホトノ歒ニテモ心氕動ク事ナク鏡ノ如ク心安ク思
歒ニ向ユエ本躰備ハルナリ
·是ヲ不動智ト云
ウゴカズメ知ト云道理ん伹此段第一ノ事ニテ了簡違
スレハ大キニ害アリ不動トハ本体ニ氕ヲコラシウコカズ
ト云事ニテハナシコラシウコカサル時ハ手足ノハタラキナラ
ス反テ歒ニ合心氕散乱スルん不動智ハ本体ノ道
理ヲヨク合点シテ通達スルトキハ一体に氕満ん少シニテ
モ一方ヘ氕住リサマサマ思ヲモイタクムモノニナレハ俄ノコ
トニ取合ガタクウロタヘ放心トナルん形ニナヅム事モナクシ
ハラクモトヽコヲル事ナク心氕鏡ノ如クナルトキハ歒ノ

Upon the occasion of the heart and mind becoming disheveled, the initial sentiments within the Hontai
Basic section will not be able to provide for the occasion, particularly because of the lack of
wholeheartedness it has caused. And further yet, there is the wisdom of entering the likes of the
priesthood, and what of the enemy lies beyond that, the movements of the initial sentiments being
much like reflections in a looking glass. The thought of the intimate nature of confrontation with an
enemy, and in particular that is why the Hontai Basic section has been provided.
·This is said to be immovable wisdom.
They say that one knows when not to stir into motion, there is a reasoning behind it. But regarding this
stage of it, the number one thing would be not to have gotten it wrong which would cause harm and
injury. About being steadfast, in the Hontai Basic section they say that there is no expression of an
initial spirit to go into motion and punish him. The focus is on not moving at the time, since the
movement and activities of the hands and feet cannot succeed against this, when meeting the changes
of the enemy, it is to disperse his initial spirit. Regarding immovable wisdom, quite frequently the
principles of the Hontai basic section, one reaches an understanding of the identification [markers] for
it and other things, then the entire body initially brims with spirit. Even if some few parts of the initial
spirit move and settle in various directions, there would be some thought as to one's skill in the matter,
one unexpectedly meets with and struggles most firmly against the thing. No doubt while becoming
quite flustered. Clinging to the Kata patterns in the circumstance, there will be the delay from which of
them have been momentarily lost like loose ends. The initial sentiment being kept much as if it is an
uneventful encounter at the time. Quite frequently the enemy…

20
PAGE ELEVEN

掛ルモ引クモ立モ居ルモヨク見ユルナリ是ヲ不動智ト
云動ク所ヲ氕トシツテ其氕ヲ取扱迄ノ事ん然レハ外ヘ
氕ノ止ル事モナク不動智ノ理ニ叶事也
·平生ノ神氕不動之工夫熟得肝要也
仍之常ニ心氕不動ノ道理ヲ考ヘ熟得スル事當流ノ`
第一ナリ神氣不動ニシテ歒
·神氣不動ニシテ歒ニ對スレハ歒氕ヲ呑レテ迷フコヽヲ
先ヲ取トモ 云タトヘハ歒ヨリ先ニトリツキテモ我カ神氕
不動ナレハ歒速ニ事ヲナス事不能然ル上ハ勝利タシ
カニアラスヤ
右ノ如ク修行工夫シテ熟得シタル上ハ勝負ノ時能心氕
ヲサマリタシカタルユエ歒ノ心ニヲソロシクナリテ氕ヲノマレウロ
タヘマヨイテ一向ニ手モ出サレヌヤウニナルナリタトヘハ心タ

…will be seen clinging to and pulling on you where you're standing at the time. They say that there is
immovable wisdom in this. One knows the movements of the initial spirit throughout the place, up
through to the handling and capture. There would be a certain halting of the initial spirit outside this,
the response to it by immovable wisdom.
·Even the more usual ranges of the initial stages of the Divine mysterious life force (shinki) is of
cunning design in its steadfastness.
To have thought out the principles and reasoning behind having and gaining an immovable [or,
"steadfast"] initial sentiment (shinki fudō), and to have definitively gained it, is of foremost importance
in the standard customs of the school.
·Having the steadfast Divine mysterious life force is to gain crucial advantage, a steadfast initial
spirit when being faced with the enemy, the initial adversarial spirit is engulfed in doubt. Here it is
said that the future is certainly caught up, suppose that the enemy forestalling to capture but that he is
devastated by mistake, one must have the initial steadfast Divine mysterious life force, the enemy will
swiftly do the thing anew, scolding to make victory.
Much as what has already been said, one seeks to have definitively gained it by making cunning
training practices for it. Beyond victory and defeat at any given time, quite often one's initial
sentiments will most certainly recover themselves. Most particularly when one is quite fearful of what
the enemy has in mind, thrusting out ones hands in a single direction, initially overwhelmed, terrified
and shrinking back from the enemy. What would be an example, that while there is doubtless a certain
nobility in the heart of Man,…

21
PAGE TWELVE

シク貴キ人ニハ悪魔ノサマタゲナラサル力如シ然ラハ則チ
先ヲ取ト云モノ也タトヘ歒ヨリ取附テモ我心氕正シケレハ
歒迷ヒテアヤウクナリ業チミナリガタシ然ハ勝ハ至極タ
シカナルモノナリ
風水智音
是ハ天地ノ目付也次ノ目附ヲ云ハンカタメニ先天地ノ目付
ヲ云氕ニヨツテ形チ出來カタチヲ見テ氕ヲ察ルナリ
天地ノ事ハ形モナキ者ニテ風モ形チん水モユルヤカニナカレ
形チナキモノナレトモ風水ニ當レハ波ト云形チ出來聲出ル
水中ニ岩アレハ水逆立テ声ヲナス是形チヲ見テ天地ノ
氕ノサワガシキヲ智ん人ハ小天地ト云テ天地ノ氕ヲウケ
テ生タルモノナレハ天地ノ理ニ少モ違スモノ也
目附

…yet there is known to be the vexing of demons, as if that nobility did not exist at all, as if by force
dismissed. And so namely, they say that this is how it is at the point of capture. Even when the enemy
is making the capture, one ought to have correct initial sentiments despite it. When the enemy falters,
then he is in danger, for instance. But it's difficult to do if one lacks a certain number of techniques
suitable to the occasion. That being the case, regarding victory, it determines whom will and will not
be victor.

Fūsui Chi-in The Close Relationship of Wind and Water

This means to be watchful of Heaven and Earth. And they say of what is to be watchfully observed in
sequential order, the points before and after [the developments evidenced in] Heaven and Earth.
When the Kata patterns occurring [e.g.; whether of fighting techniques or the forms that things are
taking at the time] are in accordance with the initial spirit, then one can deduce the initial spirit by
means of those kata patterns. Regarding the subjects of Heaven and Earth (tenchi no koto), even when
patterns are lacking among the people doing all of it, even the wind seems to be lacking any pattern in
the circumstance. Even the waters seem very turbulent, however when the circumstance is lacking
pattern, wind and water (fusui) they say would strike up into waves. When patterns occur they have a
certain sound as they proceed. The rocks that are underwater would make some noise as they are
being jostled [by the swifter currents]. When having seen these patterns, wisdom knows that Heaven
and Earth are being made somewhat turbulent. Regarding people, they say it's a small world, and

22
 when having received Heaven and Earth, and the results produced, the people doing all have some
discrepancy with the principles of Heaven and Earth.

Mestuke Watchful Observation

Translator’s Note: Unlike many of the other pages and subject matter found in this version of the text, the passages on this subject matter here did
not really diverge from the version (of the immediate statement) as evidenced in the Chief version that was found in the Jūjutsu Kiroku. Probably,
this was due to the importance assigned to the subject and the traditional statement(s) about it? Many of the other pages and entries found in this
version of Tai No Maki No Ben do use adaptation of the passage lines, in most instances (but not all instances) when adjoining two separate lines of
passage together they either (1) Drop down to the next line of text and proceed with it, or (2) Placing a red dot or other marker to separate the two
merged lines. Only a small number of the merged lines had simply cut off in the middle of a statement and “grafted” the other line into it. This was
sometimes two beginning statements merged as one, or sometimes a beginning statement merged with the tail end of another statement (all done to
form a slightly different statement from what is presumed to be the more original.) Another textual difference common in this text was swapping ‘ki’
(氕) for ‘ki’ (氣) thus requiring an adjustment of the translation to “initial (spirit /or/ sentiment)”, as an example.

PAGE THIRTEEN

此教ヘ品々アリ本体ノ口傳ノ所人々一氕ノ動キ出ル事
故是一ノ目附ナレトモ教ル時ノ目附ハタトヘハ体カヽミ悪キハ
カヽミタル事ハ不云人ノ氕サシハ眼中ニアラハレルユヘ眼中ニ
氕ヲ付タルヨキト教ハ体ノカヽミ自然トナヲル亦体ノ
ソリタルハ人ノ動ハ足ノ働ニ有足フミミシメテ後力出ルモ
ノ故足ニ氕ヲツケタル冝トヲシユレハ体自然トナヲル是ニ
カギラズ教ノ上ニテハ色々アルヘシ。歒ノ氕サシヲ知ル目附ハ
此方ヨリ申シカケニテ歒強弱又ハ氕ノヲサマリタルヲサマラ
ヌヲミル事モ有第一ノ目附ハ一木ノ目附トテ何ンテモ樹
木ヲ見ルニ一ツノ枝ニ心ヲ留メテ見レハ外ミヘス。本ヨリ末迄ユ
ユラリトミレハ一本ノ木悉クミル如是歒ニ對スルニワ歒ヲ
ユラリトミレハ頭ヨリ手足ノウコキ迄ヨクミユルん是第一ノ
目附ト云視観察ト云事アリ目付ノ事ナリ

23
 One ought have knowledge of the various articles that this is comprised of. The circumstance of the
oral instruction (kuden) of the Hontai Basics section each person proceeds with a single initial
chugging motion forward, and one would observe and know this also of troubling circumstances at the
time. Regarding watchful observation, what would be an example of it, one's body is being physically
clung to, evil is clinging, and it all goes untold and unsaid. One sees indicators of the initial spirit of
people becoming visible, particularly, when giving consideration to what they are paying attention to
in all of it as if it were settling snow. One is taught that the physical clinging is natural and should be
corrected. And also regarding the physical circumstances, the movements of people while they are on
foot. When and where they stomp about, and afterwards what force they produce themselves with.
Particularly, what suitable attention is being given and what one ought to have already known. That
natural physical reactions should be corrected. This has no real limitations, and one knows that there
will be various other things as well. One knows the initial spirit of the enemy being indicated when
observing, the ways in this [the enemy] persists in doing certain things indicate the enemy's strengths
and weaknesses. Also how he recovers his initial spirit, watching how he would recover it which is an
observation of foremost importance. What can one observe is not unlike the timbers of a certain kind
of structure all of which were made from a single tree. Seeing how one might be able to stop any given
single branch of his doing so, and also what one could not see beyond this. From these foundations,
top to bottom, one would be able to see at least one layer of the tree fairly well. Much as if one could
see the whole thing. When confronted with an enemy like this, and one sees that the enemy is shaking
things up, quite frequently one sees the movements from the head down to the hands and feet. They
say that this is the single most important thing to observe. This is the subject of watchful observation
(metsuke no koto).

Translator’s Note: In this page entry, on the subject of Metsuke “Close Observation”, the text passages diverged from any version of the statement (as
evidenced in any form of the text or its passages in the Collection.) It meshed in the statement: “…Also how he recovers his initial spirit, watching
how he would recover it which is an observation of foremost importance. What can one observe is not unlike the timbers of a certain kind of structure
all of which were made from a single tree….” directly grafted into the lines of the passage. This statement does not exist in the other forms of the text
that we have translated and presented in the Collection. The modification changed the entire meaning of the statement somewhat, by introducing the
idea that everything he//they do is observable to be the timbers of a single structure… timbers all hewn from a single tree (the tree trunk of his//their
intentions and the branching out of those intentions as the thing proceeds.) The transformation in meaning is both attractive and quite symbolic (very
nice example of properly done adaptation!) I assume it is unnecessary to point out that the subject of Metsuke and the Yōshin ryū Kenkan-mon (we
placed into the Collection) are one and the same??

24
PAGE FOURTEEN

慈鎮ノ歌ニ
柴乃戸ニ匂ハん花ハ然モアラハアレナカメテケリナ恨メシノ身や
起居心
是ハ二ノ氕ヲ心得ル事ナリ起ハ陽居ハ隂ナリタツテ向モ
ノハ下ニ居ル變アリ是陽中ノ隂座タルモノウタツ變有
是隂中ノ陽んシイテ心ニトマルニテハナシ心ニシル迄ん是ヲ
不知寸ハ氕ハナルヽ也常形修行ニテ知ル事也
須掌靜謐
カキノヘ教ル所ハ品々ナレトモ當流第一ニシツマリ靜カナル所
ヨリ萬事考ヘ知テ上手ニモイタリ自由ニトリアツカフ事
也トカクシツカナル事ヲ手ニ入ルヤウニセヨト也タナコヽロハ手ノ
ヒラノ事也靜カナル事ヲ手ノヒラニ握リタル如クタシカニ
せヨトナリ

In the poetry of Jichin [Japanese poet Jien?? 1155-1225]: Firewood is brought in the door, some of it is
still in bloom! One wonders what this would indicate? Gazing upon it, should one begrudge
one's position?

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

This is a subject of having knowledge about the spirits of both [parties]. Of the rising and
setting of the sun there are shadows (o)ki-yō iru ha, kage nari 起 陽居 ハ 隂也 based on the Chinese
construct 起 陽 居 隂 ( 陰 ) 也 qǐ yáng jū yīn yě). When standing and confronting him, one might
possibly change to sitting back down, this is to become like a shadow in broad daylight
(yōchū no in 陽中ノ隂(陰)). Regarding those persons whom are seated, they might change to
standing up, this is to become like sunbeams illuminating shadows (inchū no yō 隂(陰)中ノ
陽). There is no lack of compulsion to put a stop to it all. One knows what more there is in
mind. What one does not know every inch about all this at the time, is how initially unsettling
all of it will have been. Usually in the practice of the kata patterns one knows of it.

Sushō Seishitsu What Peacefulness Can Be Had, By All Means, Ought To Be Pursued.
[ AKA; Mochii-Tana-Kokoro Seishitsu “Whisper Quiet Salutation” ]

25
 It was written that one comes to know the various foremost articles of the standard customs of
the school which will help settle down and quiet a circumstance. From this still quiet
circumstance, one comes to know and discern the 10,000 things and so even approach the
upper techniques that allow one to freely handle and make the capture. Those that allow one
to quietly do and accomplish various things. There is the subject of what one actually has
available that can be done. Much as with what calm tranquility is actually available, and
should be taken hold of. This is without any doubt so.

Translator’s Note: In this page entry, the beginning line, an old Shamisen poem: I would not have been able to render this without the example(s) of
the same poem that were found in the other examples of the text. The line of text is really a scribbled cursive that otherwise would have been beyond
my skill level.

PAGE FIFTEEN

不動智
易ハ變易ん天地人ノ常道何レカワランモノナシ四時ノ移リ
變カ如シ人モ常ノ心ト勝負ノ心トハ變ル然ルヲ形ヲ教業
ヲ第一トスレハ勝負ニ至テ自然ト氕散乱スルヲ取鎮
テ業ヲナサント思ハヽ弥動スルニ至テ吾未熟ナルナトヽワ
ケモナキ事ノ氕移テ歒へノ働ヌケ吾ヲ亡ス當流ハ
常ト勝負ノ場トハ各別ナルモノト兼テ知ル故散乱
動氕モ其筈ト打捨テ反テ安シ是則不動智ん名目
ニナツンテ高上ナル事トシレハ弥ヨムツカシクナリロニハイヘト
業ニカヽワラス空理トナル此段西湖水ナト云ト同シ力ヲ
用ユルモ手ノカヽリタルノ千ニシマリテ力トナリ色々數々ノ
業モ是ニ同シ歒對スルニ心ノ動靜ニカヽワラス吾身ヲ
歒ノ餌ニナシテ向ヘハトラント手ヲ出ス是定タル事ニ

26
 Fudōchi Immovable Wisdom

The usual trends in the ways of Heaven, Earth and Man to whatever extent in the thing. Much
as the many changes in the Four seasons. Of mankind the usual mind sets about victory and
defeat and the changes within them. And though that may be that knowledge of
the Kata patterns and their techniques (waza) is the most important thing, as much as they may
be one and the same, when victory and defeat are approached, there are the spontaneous
techniques of initially finishing it off by diversions when disheveling and quelling him that
ought to be given consideration. Ever increasingly, his initial agitation approaches, and one's
own lack of skill and experience become inconsequential. But whatever distractions posed by
the enemy that did not get noticed may have led you to your ruin. Regarding the standard
customs of the school, and what is the more usual on the grounds of victory and defeat, in
particular what conditions and circumstances one might know beforehand. And most
particularly the initial pounding of the heart beat that comes with the dispersal [of his victory].
Such things as this that one might expect and so resign oneself to the changes within it that one
must contend with. This is namely immovable wisdom. And there is the pretense of mud [if
present] and one ought to know what position would be superior there. Ever increasingly it
may turn to the six (6) ground layouts. In what would be taught by mouth, not to cling to the
techniques would be an impractical theory. At this stage they say its the same as the waters of
the Western lakes, when using force the hands are used to cling with. After that things may
quiet down in what force is being used. There are various of the techniques that are otherwise
the same. When confronted by the enemy, one need not be very particular over the quiet
movements one has in mind. When being confronted one's own body would be fodder for the
enemy to feed upon. And he would but reach out with his hand and capture you, if he could a
thousand times over and what force he could exert thereby. This is a rather fixed subject, that
one is handling up through the act of the techniques that send him off…

Translator’s Note: This page in the Chi No Maki “Earth book” section labels itself as Fudōchi “Immovable
Wisdom” and uses a simple adaptation of a known set of statements (such as can be found in the Jūjutsu
Kiroku version of the text)

27
PAGE SIXTEEN

シテ其發動ノニ業ヲアシラフ迄ん勝ヲカロク心カケ叟(?)
スレハ諸方ニ氣満テ止ル事ナシ平生モ數々ノ事ヲせント
思ヘハ氕マキラハシクテ調カタシロハ何ニテモ一路ニカタ付
ヲケハ其事成ヤスシ生ト死モ事多キヨリ迷ヒヲ生ス
是ヲ平世ノ工夫ト云也

▫ 地巻
氕ヨリ業ニ出ルノ道理ヲ説故地ヨリ万物生ル理ニナライ
地ノ巻ト号ス。
序 吉村兵助作ト云
保(K?)に聞中頃福野某と云人有て
福野七郎右工門ト云近世唐ヨリ陳元贇ト云者我
朝ニ渡江府髙輪国昌寺 記髙(高)私記ニハ 布 ニ寓シテ (K?)

国正土ヨトアル

..The attitude of the more nimble of victories, even the older of gentlemen(?!) thus brimming with
spirit would be able to halt a thing in a variety of ways. There is the point of various and more
normative affairs, and one should initially consider it. But the layout might make the whim more
difficult according to the timing. Just what undertaking could be put into order should perhaps be
placed, the affair having propagated itself already. Even in life and death many things cause
bewilderment and do not produce results. They say that there are some few cunning tactics for
normative life in the world.

▫ Chi No Maki The Book of Earth

It is explained that the techniques proceed from one’s initial spirit, particularly from the Earth
element [e.g.; "ground circumstances"] and normally by that principle do the 10,000 things
produce themselves. That is what the Chi no maki Book of Earth has declared.

The Introduction -- Few are those whom pay heed to what was said about the life of a certain
[Master Instructor] Fukuno. What is said of [Master Instructor] Fukuno Shichirō Uemon, in

28
 the recent past that there was the visitations of Chingen Hin (Ch. chén yuán bīn) of the Ming
Dynasty who came one morning, coming and going across the bay. As was chronicled (One
observes that I made similar entry into our own chronicles and also that he was sometimes on the grounds.) he was seen to have
made brief stays in some of the country’s Buddhist temples.

Translator’s Note: This section entry, Chi No Maki “Earth book”, from its opening lines, is quite different from the form of itself in the Jūjutsu
Kiroku. This is really quite surprising since every section to this point has followed along rather faithfully with that text, except of course wherein it
used adaptation of its passage lines.

29
PAGE SEVENTEEN

人ヲ捕ルノ術ヲ教ユ福野士モ元贇ニ隨ヒ其道ヲ熟
得ノ上和ラト云事ヲ発明メ福野流ト号百八十ノ事
形有ト云又了移心當流トモ云
組討雌雄乃術ヲ修煉シ微力ニシテ剛強に對シ
全キ勝利ヲ得ル事ヲナスシカハアレト其術
世ニ遍ク伝ル者多カラサリシニ三浦某
三浦與次右工門ト云始元贇ニ隨ヒ修行ス後福野士
門弟ト成リ業熟得ノ上一流開発ス是諸流和ノ祖ト云
寺田茉(?)
名ハ平左工門福野士門弟ニメ修行ス
此两氏福野士の門弟として一貫の道を極む其は
後両氏利を別て廣く衆を導く所謂三浦流は和という
和ハ求テヤワラクノ理

People were then just learning the tactics for capturing other people, as was Mister Fukuno himself, all
were at the mercy of the waves of the beautiful foundations of the society. Those ways once
accomplished, they say that Jujutsu had come from them. Clever invention that it was, various schools
formed out of it including those descended from Fukuno’s which shows 180 Kata patterns. In the
conclusion the shifting mind-set they say became the standard customs of the school.

He was practiced at the art of victory and defeat through kumiuchi grappling, wherein poor ability against
brute strength means having acquired a perfect victory. Of course, there is such artifice in the world, but there
are generally not many being taught by people,but there was a certain Miura.
Of Miura, he was said to have participated with Uemon Fukuno, having trained with Chingen Hin and
afterwards became Fukuno’s student. He acquired even the advanced techniques of a single school at
their commencement, this became the founding of various schools.

Terada Matsu(?)
About his name, when he was a student of and trained under Mister Fukuno, he was called Taira
Saemon. Both were pupils of Master Fukuno, both were taught the secrets in a single congruous way.
And afterwards both persons were of particular advantage in having taught before great numbers of
people. It was then that he was said to have the so-called Miura ryū, Jujutsu.
Regarding Jujutsu, it relies upon the principle of gentleness (yawara).

30
PAGE EIGHTEEN

寺田は柔と教ゆ兵法に曰柔能剛を制すとは誠にゆへ有成
曰七書柔能制剛ノ理ヲ考ユ柔ノ字ヲ用ユ柔ハ自然ト
ヤワラクノ理
寺田正重先祖乃業ヲ稟切磋琢磨シテ其淵源を極ヲキワ
而巳ニ非ス更ニ己カ心ヲ付テ無拍子トイフ事ヲ
発明スル是則チ微妙乃真利也號シテ起倒ト云
寺田勘右工門正重ト云兄平右工門業ヲ稟修行熟得
ノ上多端ノ離業絻ニ以ニ十四雌雄ノ明術ヲ制スルノ道ヲ
発明ス号ニ起倒ト是當流の元祖也
然シヨリ此カタ其術益明ラカニシテ門人弥スヽ
メ其名四方ニ高シ予
寺田兵助事
予彼門ニ遊フコト年アリ授クルニ三巻ノ書トハ(Ch?)(Ch?)

About Terada, he learned Jujutsu under the Paramilitary methods (heihō) as is indeed indicated by the saying
that willow wood is weak but binds other wood.
It is told that seven books expressed the principle of willow wood is weak but binds other wood, so
much so that to use the written character Ju ( 柔 ) is to naturally indicate it as an expression of the
principle of gentleness (yawara 和).

The Founder Terada Masashige had received the techniques, by diligent practice and study, without which
one cannot reach the depths of the foundation and of which one is not mistaken to pursue. What one ought to
bear in mind about this is what is said about the clever subject of being Rhythmless (muhyōshi). Namely this
is a principle of subtle and marvelous truth that has some advantage to it. It is said to be the mark of a rousing
conquest (kitō → kitō ryū ).
Terada Kan’emon Masashige as he was called, and his elder brother Taira Uemon had received the
techniques, beyond the many and various odds and ends one must gather when intently acquiring their
practices. All will be made quite clear even to the mourning that will result at the application of their
feats in the control afforded by the brilliant artifice of the 14 victories and defeats, such as is called a
rousing conquest.

This all came straight from the founders of the standard customs of the school. Save but for this sort of clear
profit for which many students seek out such artifices, and then exalt its name to the four directions and
moreover.

31
 The Subject Matter of Terada Heisuke
And more than this, there is subject of being at the gate of idle amusements for some length of years. That is
the view of the three scrolls of instruction.

Translator’s Note: These pages in the Chi No Maki “Earth book” section oddly enough tries to avoid mention of the name [Master] Ibaraki. It is
taking the statements (from what seems to be the more original form of the text) that were used to refer to Master Ibaraki, rewriting and reorienting
them to discuss instead Terada Masashige. Ergo attributing things originally listed of Master Ibaraki instead to Terada Masashige. We don’t know why
this obvious omission occurred? The rewriting in question is the most extensive so far that we have found in the text. As already stated, the Chi No
Maki section is really quite separate from the more usual form(s) we have viewed so far.

32
PAGE NINETEEN

三巻ハ天地人ノ巻也ト云フ
後學乃徒夜半ニオモヒ夙ニ煉リ終ニ無子ノ真利
(Ch?)握ル事ヲ得ハ其歒ニ應シ速ナル事素手

ニシテ強蛇ヲ捕ルニ同シカラシムト云爾
寛文十一辛酉春三月上弦

ー歒ニ柔剛強弱之事
歒ニ柔剛強弱乃位アリ柔弱ノ人ニ向フトモカ軽ロ
シメアナトルヘカラス亦剛強乃人ニ対スルトモアヤ
踏ミ恐ルヘカラス
柔剛強弱ノ四ヶ條ニ力キラス人ノ生得進アリ退アリ
遅アリ速キアリ然レトモユルヤカナル歒アナトリタル
時ハ氕ニ自然ト油断出來ルユヘ氕離ルヽ也亦スルトキ

About the three books, they are said to be the Books of Heaven, Earth and Man.

It is thought that perhaps the younger students will engage in vanities in the dead of night after
practice studies, and for quite some length, finally then becoming tempered by the training and there
is the truth one must grasp about [the younger students] not yet having children [related to all of
this]. As one would acquire these subjects, the swiftness of the response to the enemy, the subject of
having to do this while empty handed, and that it's said to be the same as having to capture a snake
who is much larger and stronger than you.

Spring-time, First Quarter of the Moon

March 11th of the Kanbun era (1661-1673)
58th year of the sexagenary cycle

-- Teki Ni Jūgō Kyōjaku No Koto

The Matter of Strengths and Weaknesses in an Enemy

With the opponent there are positions of strength and weakness (kyōjaku) and of mobility and immobility
(jūgo), certainly with human weaknesses [when] facing [the opponent] he is shouting hoarsely belittling and
disdaining.
One is not limited to the four items of the strengths and weakness (jūgō kyōjaku) given the nature of
people when they are advancing [upon an objective], or retreating or even when they tarry along. Or

33
 when they do these with some speediness. When making a certain usage of these, the enemy treating
you with disdain at the time, it can be naturally a cause of some initial distressed carelessness since one
is disheveled.

Translator’s Note: When one examines the entry pages in the museum piece this text was taken from (whether or not it’s the Chi No Maki “Earth
book” section), one notices that some entries were written in the Archaic Cursive. I used the Computer Font Versions and my own translations (of
related Kitō Ryū texts) to render those lines. Upon closer examination, these lines often mix Hiragana with Katagana. That is fairly common to see in
this kind of a text, really. I always used Katagana when rendering them, unless the text clearly demonstrated that Hiragana script alone was used in
those passage lines I denoted it here, should anyone wish to know.

34
PAGE TWENTY

歒ニテモ恐ルヽ時ハ事形シフリ氕ユヘ自由ナラス
常々修練スルニ柔弱乃相手ニハ剛強乃人如ク
心ヲハケマシ剛強乃相手ナラハ柔弱乃人ノゴトク
思ヒ熟シテ修行スベシ
此段修行稽古ノ場ヲ説タル事ニテ勝負ノ場ノ心
持ニアラスイカントナレハ柔弱ノ歒トテ心ヲハゲマサト
思ハ自然ト氕本体ニ備ラス氕ウクヘシ亦剛強ノ相
手ニテ思イコナシタル時ハ氕放ルヽ也仍テ常々修練修煉
スべシト有テ稽古ノ心持也
然ラハニ修練ニハ剛強乃人柔弱乃人長高大ノ人低
小乃人其嫌ナク修煉シ独立乃位に至ヘシ
右ノ法ノ如ク修行シテ煉磨ノ上ハ萬人ハ万心トチカヘ
トモ勝敗ノ場強弱髙低トモニ一氕ノ未発已発ノ所ハ

This also causing the enemy to become further provoked to anger at the time, the pattern of things
becomes stifled, and the initial spirit does not proceed freely.

If one's practices usually entail the training partner [pretending] to be weak as if you are the stronger man,
which is much like entreating a nobleman, it is revolting to do since the training partner should be
[pretending] to be the stronger person. Much as if your were the weaker person. It is thought that this is how
practice should be carried out.
It is explained at this level that the grounds of this practice training is addressed with some sense of
what one does not know about the grounds of victory or defeat [in such place where it will have
occurred]. It would be of no use where one would cheer the enemy on hoping to exploit his
weaknesses, and regarding what is thought about that, one is not properly safeguarding the foundations
of one's own initial spirit to do so. One would be initially unsettling oneself [lit: "setting one's own
initial spirit adrift"]. Again, one gives consideration to the strengths of the opponent, as to how they
might be broken down at the time, initially throwing one's all into that. Consequently, what would be
usual in practice, is to be with a sense of practice of what will exist of this in it. Again in the
explanatory notes there should be traces of the aforementioned methods meant for practicing them.

Throughout the course of training, derived of forming intentions, in that way the training drills [capitolise on]
human weaknesses and human strengths, [making us] human beings of lofty superiority. Human
shortcomings are disagreeable, by the training there are those whom are coming to the position of self-
proficiency.

35
 Beyond polishing up on it in practice, there is the circumstances of tens of thousands of people flitting
about [in such melees]. The rise and fall of the circumstances of strengths and weaknesses, victory and
defeat, as the initial single chug a chug start occurs just before the episode takes place and the course
of it's outplay which tend to be…

36
PAGE TWENTY ONE

同事ト安心スルユヘ獨立ノ位トテ天地ノ内ニ我一人立
タル如ク体氕トモニ泰然トヤスラカ成トん但独立ノ
位ハ至極名達ノ場ニテ地巻傳統ノ人此位ニ至ル
事カタシ右ノ理ヲ考ヘ修行熟得スレハ後独立ノ場ニ
至ル事ナリ獨立ハ我カ知所ニアラス他ヨリ知ル事ん

ー無拍子之事
當流無拍子ト云事眼目ん世ニモテハヤス和ラ捕
手ト云ニハ拍子表裏乃位ヲ求テ勝利ヲ決定ス
ル事多端ん無拍子ハ是ニ異ナリ歒ニ拍子表裏ノ位ヲ用ル
トモ毌亦無二無三ニ捕リカカルトモ毌歒乃拍子ニ乗ラス我直
躰ニ備え正心神氕不動ニシテ向時ハ体氕満々ト
ミ歒ノ強弱邪正表裏遅速乃氣サシ未顕ニ察
シ秘術ヲ振フトイフモ是ニ應シテ変化シ勝利

… one and the same. Some peace of mind in the circumstances, particularly about having a position of
one's own independence amid the higher and lower social ranks, much as one man standing alone on
his own two feet. The body and spirit together, an established calm self composure. However,
provided that the position of self independence are very much upon the grounds of some personal
accomplishment [e.g. not an unfounded self delusional claim of ability], such as people whom have
received [the accomplishments of] the Chi no maki Book of Earth, in which case this would
be a solid position to have taken. Discerning the aforementioned principles in such way as
would allow one to intently make practice of them, so afterwards thus approach the position
of independent self reliance. Such independence is not based upon what you know about the
conditions, it's based upon other knowledge.

-- Muhyōshi No Koto
The Matter of 'Without Rhythm'

The standard customs of the school are said to be 'without rhythm' (muhyōshi) which is one main
point of them [see footnotes placed on this] ,and are very much part of what is called grappling with
Jujutsu (jūjutsu torite) it having sought out the positions of what is fully, inside and out, rhythm

37
 (hyōshi) itself. But there are many things that determine victory besides this. As regards being
'rhythmless/or/having no rote repetition (of kata)', for instance, here an unusual thing, the opponent
might not make full usage of rhythm (hyōshi), inside and out, of the positions of 'rhythm/or/rote
repetition (of kata)'. Over and over again, by earnest single-mindedness, whether he does or not, the
enemy still clings and tries to throw you, but wherein the rhythm of the enemy cannot be ridden
upon itself, straightaway what physical preparations one has already made and fear for one's own
safety will put one' resolute spirit through the initial stages of the initial stages of the Divine
mysterious life force into motion, at the time and place, initially brimming with bodily energy and
rising to act upon one's feelings to meet the strengths and weaknesses of the opponent, fully the
wickedness and justice it's inner and outer progression without appearing to be, it is a certain kind of
sensing, if one were to speak of it, that is wielding the Hijutsu 'secret arts'…

Translator’s Note: When one examines the entry page here, Frame 13 of 25 in the museum piece this text was taken from, it is an adaptation of (what
we presume) is the more original versions of the statement. It is worded somewhat in negative voice: “…here an unusual thing, the opponent might not
make full usage of rhythm (hyōshi), inside and out, of the positions of 'rhythm/or/rote repetition (of kata)'. Over and over again, by earnest single-
mindedness, whether he does or not, the enemy still clings and tries to throw you, …” (…是ニ異ナリ歒ニ拍子表裏ノ位ヲ用ルトモ毌、亦無二無
三ニ捕リカカルトモ毌…)

38
PAGE TWENTY TWO

ヲ得ルこト不可疑
他流品々アレトモ悉ク拍子ヲ以テ人ヲ制ス當流ハ無拍
子トヲシユル事至極ノ發明ニメ此場ニ至ル事甚難シ
但形ニ拍子ヲ不用程ノ儀ハ此巻傳統ノ位ノ人ハ自然
ト放ルヘシ神氕ノ事ハ他ノ見ニ顕サレハ常々取形修行
ノ上ニモ人々ノ心ニカヘリミレハ自然ト氕拍子ノ有事マヽ
多シ小ニテモ氕拍子アレハ大キニ間違放心トナリ當流ノ
本意ヲ失フ也神氕ノ拍子無拍子ヲワカツテイハヽ呼
吸ノ始ニツクモノハ拍子ナリ呼吸ノ終ニツクモノハ無拍子ん
神氕ユルヤカニ虚霊ナルトキハ天巻ニ云不動智ノ理ニ叶環
キノハシナキカ如ク乾坤ノ外マテモミチミチテ泰然ト動サルユヘ
歒ヨリ業ヲホトコステタテ無歒一人心乱シタルカ如ク成ユヘ
邪正表裏不顕サキニ察シ其氕スチニ應シ取扱事

…beyond any doubt at all.

There are the articles of subject matter in other schools, and even according to those one can
completely control people by means of rhythm (hyōshi). Regarding the standard customs of the
school, being rhythmless (muhyōshi) along with the other subjects taught all make a very shrewd
invention. But approaching the grounds on this basis is extremely difficult. However, provided that
one makes use of rhythm (hyōshi) in the Kata patterns according to the extent of the customs they
represent, such as in the positions that people can take according to the instruction of this book then
naturally you ought to be able to throw him. Regarding the subject of the initial stages of the Divine
mysterious life force, when seeing others in which it has not manifested itself, even when those have
undertaken the practice of the Kata patterns for capturing, people might otherwise reject the thought
[of it's existence or application]. Naturally, since there are many trends evidenced in the rhythms of
the initial spirit ((i-)ki hyōshi). Even if only a few, there would be some trends of rhythm in the
initial spirit ((i-)ki hyōshi). Largely it would be erroneous to be absent minded about this, for
instance. And one would then be losing part of the true intentions of the standard customs of the
school. Regarding the initial stages of the Divine mysterious life force one does, so to speak,
distinguish between rhythmic (hyōshi) and a-rhythmic (muhyōshi) as one breathing begins to clench.

39
 Regarding the subject, it's a rhythm. And as the breathing at the conclusion of each breath catches,
regarding that subject, it is a-rhythmic (muhyōshi). The initial stages of the Divine mysterious life
force can seem very jolting, as it establishes itself in the soul at the time. It's said in the Ten no
maki Book of Heaven that it conforms to the principles of immovable wisdom. Much as if forming a
ringed loop. Beyond Heaven and Earth, brimming most fully but fully self composed, and quite
unmoving. As the enemy is doing his techniques it is as if he has no skill or ability. Much as if the
enemy was only one man who's heart and mind rebel against him. It proving itself particularly by
manifesting fully, inside and out, at the points of wickedness and justice. One can guess at such
junctures of that initial spirit what reply will be given and whom will be handled and captured…

40
PAGE TWENTY THREE

甚以タシカナル事ニテ少モ疑有ヘカラスト也
拍子ヲイフニ二品アリ軽ク浮立タルヲ皮肉乃拍子トイヒ
重ク靜ナルヲ筋骨乃拍子ト云浮立タル拍子ヲ化け
(Ch?)テ勝利ヲ得ル事イカノ程モ有ルヘけレトモ危事ニ
テ真ノ利ニア非ス拍子ニ不用然出来熟得シテ後ハ
其業ニ連テトク自スカラナル拍子アレトモ拍子ヲ用サル
事右ノ如シ。
猶拍子ニ品有事ヲ説ク浮立タル皮肉ノ拍子トハ氕(気)拍子
ノ事ナランカ筋骨ノ拍子トハ業ノ拍子ナランカ拍子ハ不顕
モノユヘ勝ノ利ヲ得事何程モ之有んトモ其拍子ハツルレハ
放心トナルユヘ品トモ危キ事ニテ不用ト也但シ熟得ノ
上自ラ成ル拍子ノ事ハ書ニノヘカタ。然れども譬て云は常

…by means of absolute certainty in the circumstances, there existing not at all one bit of
doubt.

It's a 'rhythm' said to have two (2) articles inherent, moving easily to float on one's feet, this is said
to be a 'rhythm' of irony. It's said that it's a core 'rhythm', an important calmness. Quickening
oneself invites a 'rhythm' that allows one to acquire victory. But the danger in the thing is not a
profit, and has no true advantages. In this 'rhythm' is uneven results being what of it goes
unemployed, and even after having acquired such techniques as are proportionate to the occasion,
this is a rhythm all it's own. The 'rhythm' is favored a thing to keep on hand nearby and to be made
use of, as with the aforementioned subjects.
Furthermore, it's explained that rhythm (hyōshi) has some few articles. Regarding those
whom are quickened by it as the irony of rhythm (hyōshi), it cannot help but to cause it due to
the rhythms of the initial spirit ((i-)ki hyōshi). Being the sinews and bones of rhythm (hyōshi)
what they are, there cannot help but be rhythm (hyōshi) in Kata patterns. As rhythm (hyōshi)
would manifest itself in things, particularly in the taking of the advantage to gain victory, to
whatever length or extent may have been the case, whatever would be the extremes of that
rhythm (hyōshi) it becomes a peace of mind all it's own. And particularly of it's inherent
articles, one is still yet not making any use of the peril occurring. However, [it may serve
well] provided that one went above and beyond when having intently acquired it by oneself,
but it would be very difficult to have acquired it from books and writings. They say that an
example of it would be when…

41
PAGE TWENTY FOUR

アユム左右ノ足ヲ遣ハ右ノ足ノ拍子ニテ左ヲツカイ左ノ拍子ニ
テ右ノ足ヲツカフトモコレハ生得自然ノ拍子ニテカンカヘモトメ
タルモノニアラサルユヘ不苦ナリ生得ノヒヨウシハ自然ト程ライ
ヲウケタルモノニテ左右トモ自然トツリ合タルモノユヘ自分ニコ
レヲ拍子トハホヘサルナリヒヤウシヲ用トヲホヘタルモノハコシラ
ヘタルモノユヘヒヤウシヲ不用コト右ノコトシ説タリ
亦云生得不拍子ハモチロン拍子ヲハツス事モナリカタシ
マタ生得拍子ヨロシキモノハ拍子ヲハツス事モ自由ナリ仍テ
生得ノ拍子ハナクテ叶フベカラス

ー調子ノ事
調子ト云ハ拍子ニ似テ似サル處ん軽クコ濃ヤカ成ヲ陽ノ
調子ト云沉んユルヤカナルヲ隂ノ調子トいフ面々所
作ヲ修煉スル内ニ自然ト心ニ合スル所ノ調子ヲ得テ

… in the usual rhythm (hyōshi) of the gait of walking one sends out the left foot and then the
right foot. The rhythm (hyōshi) of the left side is set by the right foot as it is sent out. When it
is a left foot based rhythm, then it only sends out the right foot. This is a spontaneous natural
and quite discernible rhythm (hyōshi). Even when it's sought it is not borne out, but is
otherwise not particularly painful. Regarding the rhythms (hyōshi) innate in nature itself,
when received it proves to have natural limitations in any given circumstance. The left and
right side have a natural conjoined balance, particularly within oneself. This rhythm (hyōshi)
was not produced by memorising it. Regarding the use of a memorised rhythm, it is an
artificially produced thing. And in particular it's explained that it makes no real use of the
previously mentioned [natural] rhythm. Again what gets said about it all, the more natural
rhythms are certainly a rhythm beyond rhythm, and can be hard to establish otherwise. Again,
persons whom have and truly use natural rhythms move and act with a freely detached
rhythm of rhythms. And consequently wherein the more natural rhythm is lacking, one ought
not to seek to conform to it despite the lack.

-- Chōshi No Koto
The Matter of Timing

42
 As regards what is called 'timing' (chōshi), it is said that it resembles 'rhythm' (hyōshi) in a
circumstance. It's said that to nimbly arise to the occasion is an open timing, whereas it is also said
that being sunk and jolted [by the thing] is a closed timing (in no chōshi) too. To make practise
one's conduct between the natural and in the mind/heart adjoined together to profit from the timing
of the place,…

43
PAGE TWENTY FIVE

覚悟スヘシ
拍子ニ似タルト云此拍子自ラナル拍子ノ事ん調子モハヤ
キヲンキ有テ其裎々ヲ自然ト覚ヘタル事ユヘ拍子ニ似
タルトハ記スシカレトモ拍子ハ我ニ有リ調子ハ歒ニヨツテ知モ
ノニテ其歒ノ調子ノ裎ヲ知テ其裎ヲチカヘル事ナランカ
タトヘハ歒スヽム氕ナレハユラリト隂ノ調子ニテムカイ歒ヲ
リキモノナレハスラリト陽ノ調子ニテ立向フカ如シシカレトモ
本書ニ面々各所作ヲ修煉スル内ニ自然ト可知ト記シ
タルハ其立向タル場ニ及テノ歒ノ氕ノ調子常ニ考ヘ知
リ難シ。修煉ノ上ハ歒對ノ時其調子裎々ハミユルモノユヘ
自然ト心ニ合スル調子ヲ得テ可知トナリ委ク云ハ人ト對話
スルニ其座ノ調子ニノラサル咄ナレハ和セサルカ如ク其席々
ノ調人ナラテハ知リカタキ如シ。亦曰糸類ノ調子ハヲシヘテ

…. preparedness being throughout all.

They say that [ Chōshi timing ] resembles 'rhythm' (hyōshi). Regarding this about 'rhythm'
(hyōshi), it is a matter of natural course in the subject of 'rhythm' (hyōshi). Of timing (chōshi)
however swiftly or slowly to some extent it is natural and is memorisable. This is particularly
so when it resembles 'rhythm' (hyōshi), as has been noted. Even when it is a certain kind of
'rhythm' (hyōshi), having it oneself, knowing what timing (chōshi) that an enemy is relying
upon in the circumstances, as he grabs and hoists you by your girdle belt then one knows the
timing (chōshi) of the enemy. One cannot help but alter the course of the incident as he hoists
you by you girdle belt [to one's own favor]. An example would be when the enemy advances
upon his initial spirit to do so and has a gentle sway about himself, it is to be faced with a
'closed or passive timing' (in no chōshi). When the enemy would [advance] a bit more slowly
with a tighter step that is much like standing against an open or active timing (yō no chōshi).
Even when in certain various parts of this book and the good results of it's training practices,
it lies between what is natural and what one would know about the matter as has been noted.
To be confronted upon such grounds, it is difficult to know and discern the timing (chōshi) of
the exertions of the enemy's initial spirit. Beyond the training drills, at the time of the enemy's
confrontation, that timing would be observed as he hoists you by your girdle belt in the
circumstance. Particularly it lies between the union of what is natural and what one has in

44
 mind. One would know if the timing had been acquired or not. They say of what people
entrust things to, when in dialogue the timing of that seated dialogue does not increase and
accumulate. Much as if what one had been talking about lacked harmony. The distinctive
characteristics of human timings at that location are virtually impossible to know. Also it has
been said that…

Translator’s Note: There is an interesting difference in the passage lines of this version of Chōshi No Koto “the Matter of Timing” when compared to
the one version that is seemingly more common. That more common version reads: …chōshi wo yaki-(w)onki arite sore hōdōhōdō wo shizen to
(w)oboe-taru koto… (…調子モ速キ遅キ有テ其程々ヲ自然ト覺(覚)ヘタル事…) “…Of timing (chōshi) however swiftly or slowly to some extent
it is natural and is memorisable...” But this adaptation instead says: …sore chōchō wo shizen to (w)oboe-taru koto… (…其裎々ヲ自然ト覺(覚)ヘタ
ル事…) “…[Of timing (chōshi) however swiftly or slowly..]… he grabbed and hoisted you by the girdle, it is naturally recognisable...” Given the
commonality of such movements (grabbing the girdle belt) in the kata patterns of the Kitō ryū… the difference is understandable, but there are details
that bear mention. For example, the character chō (裎) is a direct relative of the other character used in the other version: hōdōhōdō /or/ jōjō (程々),
both have the element ( 呈 ) in them, they are diferenced only by ( 禾 ) and ( 衤 ), respectively. But it changed their meanings just that much. The
definition of the character chō ( 裎 ) used here was it’s secondary definition “to Carry in or by the girdle”. But the primary definition of the
character chō (裎) when as hadaka “naked” is quite important as well, since when used like this, it could have been easily translated as “when he is
grabbing at your girdle and offering to rip your clothes from your body”… and if you have ever had someone really lay into you then you know why it
spoke this way (as one’s clothing could easily be torn from the body and the opponent does try to use this to his advantage. There are several
examples of the swap out of the characters chō (裎) and jō (程), throughout the text. Those whom wish to quick review the line, in the Museum piece:
Frame 15 /of/ 25 Left side of the page, Line three (3) at Character eight (8).

45
PAGE TWENTY SIX

ヲシヘカタシ耳よリ耳ニ傳テ覺ユルカ如ク勝負ノ調子タキ
ノヘカタキユヘ人々自然ト覺ユヘシトナリ 本ノマヽ
キ故

ー位ノ事
位は波上浮木乃位んヤ浮立浪ニハ浮沉ム浪ニハ沉ム
如シ歒乃氕力乃ハケシキニ刄不逆夫ニ隨ヒ應シ
て其氕力ヲ察シ勝利ヲ得ナリ
此タトヘニ曰如ク浮木ノ流水ニ隨フ理ニメ歒ノ事ニ應メ
アランワヌ歒ト我ト一体ニナリ隨ヒ應スル心んタトヘハ歒
ノ押テモ動マジキト心得押キタルヲ押ニ應シテワカルヽカ如シ
取形ニテ云ハムナトリヲセント手ノ出ルヲ其押ス氕節ニ
應シ隨ヒ制スル力如シ無拍子調子位此三ヶ條ワケテ
云離シ然トモワカツテ云ハ次弟ヲ立タルノん無拍子ハ歒ノ
表裏拍子ニノラサル敎ヘユエ己ガツトメニアリ調子ハ歒ニ

… it's difficult to be taught and know the cord-strings of timing itself. They are pretty much
taught and memorised strictly by ear. Even the timing of victory and defeat is difficult to
convey in writing. Particularly in what is natural to people and what they are actually able to
memorise.

-- Kurai No Koto
The Subject of Positions

As regards positions (or, postures/stances), there is the Position of Driftwood upon the Waves30, in standing
waves one floats, still the more on the crest of the waves the large ship and it's seaman take profit31, the
violence of the intentions of the opponent, is because that person is being rubbed the wrong way and then
followed by his conjecture/assumptions, triumph comes by consideration, for instance, of this his derived and
discontented force of intention.
An example of this, as they tell it, would be the advantage of the principle of driftwood being carried
on the currents of water. There are no absolutes when giving response to an opponent, as a subject.
The opponent and oneself begin to move as one body, for instance. The responses conform to what
one has in mind [both persons moving as one like driftwood carried on the currents.] Another example
would be when the opponent is pushing against you, one knows how to make oneself unmovable when

46
 being pushed upon, much the same one knows how to respond when being pushed against. They say
when it is a capturing pattern (torigata) such as Muna dori Chest capture, one gives the response of
controlling him by extending out the hand and pushing against the [elbow?] joint, much as if one were
using force. Muhyōshi Rhythmlessness, Chōshi Timing and Kurai Positioning, when having come to
understand these three items, and having come to understand [the technique of] freeing oneself by
'separating' (hanashi), one could then also help one's junior student stay on their feet [during a
confrontation]! About Muhyōshi Rhythmlessness, there is the inner and outer of it used by the
opponent. Having knowledge of Hyōshi Rhythmic Timing, one would know when to stop oneself at
key points. About Chōshi Timing itself,...

Translator’s Note: There is an interesting difference in the passage lines of this version of Chōshi No Koto “the Matter of Timing” when compared to
the one version that is seemingly more common. That more common version reads: …chōshi wo yaki-(w)onki arite sore hōdōhōdō wo shizen to
(w)oboe-taru koto… (…調子モ速キ遅キ有テ其程々ヲ自然ト覺ヘタル事…) “…Of timing (chōshi) however swiftly or slowly to some extent it is
natural and is memorisable...” But this adaptation instead says: …sore chōchō wo shizen to (w)oboe-taru koto… (…其裎々ヲ自然ト覺ヘタル事…)
“…[Of timing (chōshi) however swiftly or slowly..]… he grabbed and hoisted you by the girdle, it is naturally recognisable...” Given the commonality
of such movements (grabbing the girdle belt) in the kata patterns of the Kitō ryū… the difference is understandable, but there are details that bear
mention. For example, the character chō (裎) is a direct relative of the other character used in the other version: hōdōhōdō /or/ jōjō (程々), both have
the element (呈) in them, they are diferenced only by (禾) and (衤), respectively. But it changed their meanings just that much. The definition of the
character chō (裎) used here was it’s secondary definition “to Carry in or by the girdle”. But the primary definition of the character chō (裎) when
as hadaka “naked” is quite important as well, since when used like this, it could have been easily translated as “when he is grabbing at your girdle and
offering to rip your clothes from your body”… and if you have ever had someone really lay into you then you know why it spoke this way (as one’s
clothing could easily be torn from the body and the opponent does try to use this to his advantage.) There are several examples of the swap out of the
characters chō (裎) and jō (程), throughout the text. Those whom wish to quick review the line, in the Museum piece: Frame 15 /of/ 25 Left side of the
page, Line three (3) at Character eight (8).

47
PAGE TWENTY SEVEN

ヨツテ如ルモノユヘ手トキマテ上ノ事ニテ歒ノ浮沉ニ應スル
理也

ー先々先後先之事
先ニトリ掛テ其先ヲヌカスシテ勝ヲ取是ヲ
先々先敵ヨリトリ掛ラレテ歒ノ先ヲ抜テ勝其後ノ先
ト云不求シテ叶處勝利ん或ハ先或ハ後先ト求ル心
アラハ心留ルん心トマル所ニ於テ勝利有へカラス遇々勝
利有トも拍子表裏ノ危叓事ニテ実理ニアラスト知
(K?)ルへシ
註ニ委ク説ユヘ記スルニ不及本書ニ云如ク先後先トタクワヘ
タルモ求ル氕ニテノユヘ少シノ了簡違タル時ハ放心スル也但
修行ニハ先後先ニ力キラス隂中ノ陽陽中ノ隂遅速
進退トモニ心ヲ付ヘシ勝敗ノ場ニ及テ考ヘ求メタルハ心氕

... so consequently much like when an opponent is trying to stop you with his hands, and what
comes after that subject, our response is from the principle of send the opponent rising and
falling [like driftwood upon the wave crests].

Sakizaki Sen Atosaki No Koto

(Sen Sen No Sen Go No Sen No Koto)
The Matter of the Point of the Distant Future Beginning and End

In times past, in clinging to victory they omitted [the likely future outplay], just by taking victory.
This was the course of their inevitable distant future, from point to point to point along its course. It
was said that the point where the opponent was encountered excluded victory by any means other
than by point after point (sen go no sen), having made claims and they were answered, this is the
circumstance of triumph. Possibly from one end or possibly on both ends before and after and
wished for it in their heart and their hearts stopped, in that place their hearts stopped and [craving]
triumph unexpectedly they began shouting hoarsely [in protest]. Encounter upon encounter there is
triumph and danger as if they were both the inside and outside of 'rhythm', and without practical
theory one cannot understand it.
In the explanatory notes it was not quite explained and written of to the full length of satisfaction.
Much like how one is to understand the causes of the stages of point to point through it and afterwards
(sen-go no sen) as it gets called. One gets some small wrong ideas about the thing as to how to
maintain one's peace of mind. When merely practicing for it, there is the lack of exerted force from the

48
 stage points through to what follows afterwards (sen-go no sen) as if these [and doing all this] are the
shadows that stand in broad daylight (inchū no yō). The speedier of movements throughout become the
light illuminating within the shadows (yōchū no in) as one clings to and carries out what one had in
mind across the grounds of victory and defeat. Beyond all this there is the opinions held within what
one would otherwise have wished for in the initial sentiments one had about the thing. Of which…

Translator’s Note: To make thing clearer to the readers, the indented commentaries in the last few pages and those pages which follow hereafter:
those statements are “new material” in the Collection of Shihan Weymouth. They do not seem to be evidenced in any of the other writings that we
have placed. Furthermore, when speaking of the relationship of this kind of Kitō ryū material to the Tenjin shinyō ryū material one needs to consider
the fact that the Kitō ryū is listed as one of the Parent schools of the Tenjin shinyō ryū itself. And that there is Kitō ryū documental material found
within the writings of the Tenjin shinyō ryū. Similarly one MUST mention that the writings of the Kitō ryū are largely based upon the Jūjutsu
Higakusho itself, and could be said to be a re-writting of, and further commentaries upon, the subject matter of the Jūjutsu Higakusho. In the actual
documentation of the Tenjin shinyō ryū itself, there was found an abbreviation of the Jūjutsu Higakusho listed as has come from the Shin no shintō
ryū. Ergo, being that the Kitō ryū material is largely based upon the Jūjutsu Higakusho itself, and that the Kitō ryū is listed as one of the Parent
schools of the Tenjin shinyō ryū (in the expanded listings that explain the Parentage of that school) Then all these texts like this one we put in the
Collection are in fact valid for the Tenjin shinyō ryū. They could be considered indirect “actual documentation” of that school as well.

49
PAGE TWENTY EIGHT

トコヲリテ不全虚霊ノ体ニテ向ヘハ自然ト先後先ニカナフん

ー水上乃胡芦子之事
水上ニ歩胡芦子捺着即轉トイフ事アルリ
右ハ禪ノ語ヲカリ用エ胡芦子ハフクヘん捺着ハ手ニテ押事ん
轉ハ歩カヘル事ナリ
瓢ヲ水ヘ入テ手ヲ以テ推ハ脇へ出イカ程ノ力ヲ以テ押ト云
へトモ同シ事ニテ留ラヌナリ其如ク歒乃力ニ逆フ
へカラス是波上乃浮木ト似テ氣味又少シ辨へアリ
修煉自由ヲ得テ如此成刻ハイカ成剛強ト
イフトモ毌制セスト云事アルへカラス
本書ニ曰如ク浮木ノ位ト似タルモノん然レトモ分テイハヽ位ハ歒ノ
氕ニ隨ヒ應シテ右ニ註スル如ク水流ノ如シ此一ヶ條ハ歒ノ氕
ハツルヽ道理ニテ少ノ(K?)アリ取形ニテイハ坂落ノ如シ歒氕

…these were put on suspension in the mind and heart being that one directly faced the imperfections
in the empty soul(s) of those whom were being confronted. But naturally of these [which were put on
suspension] some of them will have come true in the course of the outplay, anyways.

-- . Suijō No Horyutsu (or 'Koroshi') No Koto

The Matter of the Children of the Barbarian Bulrush on the Waters

As regards 'Across the Waters the Children of the Barbarian Bullrushes', arriving as they had turned [towards
the shores of Japan].
The previous material comes decisively from the language of Zen Buddhism, and as they use it. About
the Koroshi Asiatic Vikings, and of the gourds [washed ashore from their ships], these even bore the
imprint of their hand [upon the gourds found]. Which, of course, made the matter more pressing. So
they turned and walked away from where they had found the gourds.

They knew that they were coming by means of their [empty] gourd-bottles from their hand setting upon the
waters, the deduction was made that someone was nearby, soon to appear. By means of the maximum
strength of the aforementioned as they were surely pushing in, they were indistinguishable when being
stopped and overtaken, the strength of the enemy [expressed] in unjustified resentment shouting hoarsely.
They were not unlike driftwood upon the waves and also the markets [filled] a little with their dialects and
acquiring likewise the freedom of training having made for themselves the opportunity, it is said that, of the
more manly and most powerful of the rest of them to be sure and certainly they were getting the better of us.
Much as was said in the book that all this came from, it was all from the position of becoming like

50
 driftwood on the waters, and they were particularly able to discern the matter by [the gourds] that
washed ashore [like driftwood]. Regarding that position, the opponent soon followed and they gave
responded to them, much as was recorded in the writings about it all. Much as if the whole thing was
carried to them by the currents of water. This chief item in it all, there is the principle of such an
enemy eventually dying off in numbers through the course of it. About the patterned captures that
were evidenced, for the opponent initially their spirit being as a single grouping it was all essentially
like falling off of a hillock (saka otoshi).

51
PAGE TWENTY NINE

一ハイニ取付ントスルヲハツレテ投ルユヘ氕歒アマリテ倒ルヽ
如シ別テサカン成血氕ノ歒ナトハ此心得ニ扱時ハ独タヲルヽ力如シ
大水乃先ニ流ルヽトチカラモ身ヲ捨テヽコソ浮ム瀬モアレ
是又同シ心バエ成ヘシ
此哥ハ空也上人ノ歌ト云伹此歌ハ初心ノ敎ニハ有モ有ヘキナレ
トモ地巻傳統ノ人ニハ叶フヘカラスカ危キ場ヲ身ヲ捨テ
フミ込ハ歒ノ氕以ノ外アマルトイヘトモ當流身ヲ捨テ入込ニ
テハ無如此シテワ歒ノ氕ハツルヽト知テ入込モノユヘ身ヲ捨
テトハタトヘ難カランカ知テナスモモノト不知シテナス物トノ
違アリ

ー氣體之事
氣ハ鉢ノ滿ル所ナリ氣ノ起ルヲ陽ト云オ納マ
ルヲ隂トイフ當流専氣ノ扱ヒヲオシヘテ業ヲナサシ

…And so this was reflected in the capturing patterns as we freed ourselves from them, and threw them
down. The initial spirit of the opponent that had remained after being cast down was much the same,
in particular that the bloodlines of this opponent had joined our own. In knowing about this, one thinks
it is much the same as the force applied by the Anglo-Teutonic races, is it not?

On the flowing crest of the unbroken floods [across the face of the land] with what force they
did, we had a sense of being like their gourds carried on water currents like driftwood. This had
become pretty much our mind set and heart.
In the poems about all of this, as was said in the poems made by the sages regarding our lack of skill
in the occasion. About what was known of their initial intentions [when they first appeared], what of it
existed at the time, according to the traditions taught people by these books, the response to their
arrival is that the involved parties began to shout hoarsely in self concern. Abandoning the sense of
self as they tread the peril of the ground under foot, they say that there remained the interest in setting
themselves free of this opponent. And so in the standard customs of the school there came to exist the
custom of entering into a thing with a sense of self abandonment. Since one really doesn't know what
will occur here, one knows that the opponent may die off in numbers through the curse of the thing.
But even when entering into a thing with a sense of self abandonment, one knows that it will all
otherwise be quite difficult, one does not really know when you, or they, will seek to vioate in the
circumstances.

52
 Kitai No Koto
The Matter of the Disposition

As concerns 'Ki' energy, it fills a place not unlike a pot, and it's said that Yang ('Positive' polarity energy)
occurs with 'Ki' energy, Yin ('Negative' polarity energy) is settled in places as much of it as there is. The
standard customs of the school teach one to specialise in handling 'Ki' (“control oneself and others”), it may
be said that there are techniques to compel ['Ki' energy].

53
PAGE THIRTY

ムルトイへトモ氣トイフテ顕ワレタルモノニアラス
体ノ備ヘ足ケレハ其氣モ随ツリタルミ出
来テ全カラス平生安座シタル形ハ理氕満々トシ
テ安躰無事ん然ルニ所作ヲナシ動働キスル
時其業ニツレテ或ハ左ニカタヨリ右ニカタヨリ
∨故ニ當流ニ秘シテ教ル
終ニ平生ノ氣ヲ損スコノ∧所也己カ方寸ノ元氣ヲ養ヒ
モノニ心ヲ止ス其基ト成處ヲ健固ニ守レハ
技ヲナシフコキ働トイへトモ根本トスル乃
氣自由自在ニシテ左ニ力ヲ入レトモ右ノ空シキ
事ナク右ヲ働セトモ左ノフツロナル事ナク前後
亦同シ起居動静トモニ常遍ノ平氣ト成是則
天ノ巻ニ云処ノ不動智ナリ
兵書曰有。不負備有。可勝謀又聖言克己ト

And it's said of 'Ki' energy that it can become a visible thing and invade the safety of the body, the legs being
kicked at, [ALT TRANS: “…one’s spirit can instead visibly endanger the body and even cause one’s knees to come out from under you…”] 'ki'
energy itself also follows such as philosophical principles [described of it] and is entirely able to do so.
Seated in the usual quiet position is that which causes it, as concerns [the relationship to] Kata techniques
they are brimming with our dispositions being the (physically based) peace of mind given by safety itself
[ergo charged of 'Ki' energy, or ‘spirit’]. However, to be able to do the workings of the movements, as
concerns the moment, in these techniques, possibly in proportion to being offset on one hand and being offset
on the other hand [e.g. one kind of error opposed to another kind of error]. Losing/having wasted the ordinary
'Ki' energy [e.g. 'Ki' or ‘spirit’ of the ordinary kinds], this consequently the standard customs of the school
teach to keep hidden, the position itself [e.g. of keeping the loss hidden] nurturing the vitality of the one's
entire being. To obtain and remain in possession the heart [of the matter], as concerns that itself and having
said what has already been said, the position of sound health is protected by being able to do the techniques.
The root of it all being used lies in freely excising complete mastery over oneself, on one hand certainly to
have put effort into it, and on the other hand [to avoid] weeping over vain matters. On the one hand, certainly
to do the workings and on the other hand being vacant to become the thing, both beginning and end being
indistinguishable, the movements of sitting and standing [e.g. all body movements throughout] as if all were
one movement conjoined by acquiring a calm composure with regularity. Namely this was said in the Ten No
Maki Book of Heaven, that management is of immovable wisdom, in the Hyōshō (“Paramilitary writings”) it
says that there is preparation for being undefeatable, one must use strategies of victory, and also restrain
oneself from misusage of sacred words, and it also says what one should do with those [i.e.; the sacred
words]. With oneself victory rests upon (one's) true character, as it concerns with the Senmanjin [e.g. (lit.)
“Thousands of Ten Thousands Man” i.e., 'Perfect human being'] as if they exist, this is the principles of
victory.
That is what was said in the writings. The safeguard of being undefeatable. Then one ought to be able
to devise the taking of victory for oneself even from the very words of the Sages.

54
PAGE THIRTY ONE

イフトモカヨフへキカ己レニテ躰正キ時ハ千万人ニ
ト勝ノ利ナラムん
氕ハ体ニミチテ左右上下ニ遇不足ナキモノナレトモ氕ハア
ラハレタルモノニアラサレハ事ニカヽワル時ハ一方ヘノミカタヨリ
一方ハ極テ虚ニナリ前後合セ難シ体ノソナヘ悪ケレハ
其氕モ隨テツリタル出來テ不全トハ初心ノヲシヘん
本体ニテ註スル鞠ノタトヘノ如ク熟得ノ上体誰ル事ハ
ナケレトモ修行タラサレハ歒ニ對スル時自然ト氕ノカタヨ
ルモノん平生ハ氕ヲサマリ正ケレトモ氕ヲ理サマルヲ知ラサ
レハ少ノ業ニモ氕トヽコヲル者ユエ况ヤ歒ヲ扱裎ノ事能其
理ヲ修行セサレハ氕不備仍テ當流始ヨリ方寸ニ氕
ヲ秘シテ敎ヘ修行セシムリ事ナリ理ヲ熟得スレハ氕
ノ働キ自由自在ニシテシカモ前後左右ニ氕ノ片ヨ

With oneself victory rests upon true character, as it concerns with the Senmanjin [e.g. (lit.) “Thousands of
Ten Thousands Man” i.e., 'Perfect human being'] as if they exist, this the principles of victory.
The initial mood being one of rather complete agitation that this thing is happening at all, which is not
sufficient [as a response] by which to handle it, since it is to allow oneself an over-reaction to it. At
the time it could take one form or another, the extent of the one outplay amounting to being rather in a
circumstantial hole of sorts, it being difficult to face what occurs from the course of its beginning and
ending, even being so physically ill-effected as to incline idly and to not make needed preparations,
and what will follow then is that one is just scraping along through it's course, best one can. What
causes this incompleteness? The constriction of one’s initial resolve to the occasion, much as the
example that was given in the writings about [the game of] ball. Surely one ought to have gained
exacting command over one's own upper body, through one's practices, so that when the opponent is
being faced at the time, one naturally inclines towards being able to handle the opponent as a natural
recourse in life. Surely having come to the ability somewhat by knowing the principles of doing so
with some certainty. When it is the techniques of preventing someone from capturing you, not to
mention when it is the subject of being hoisted by your girdle belt by an opponent, indeed there are
principles that one can practice against such things, taking advantage of flaws done during it. In the
standard customs of the school one initially keeps the advantage of such secrets to oneself, having
learned them during practice. The principle of taking keen advantage from his movements and your
own, doing so rather freely, moreover, initially tending to do so and control things throughout the
course of it all.

55
PAGE THIRTY TWO

ル事ナク勝屓モ平生モ同氕トナルナリ伹シ徒固ニ守ル
了簡有ヘシ徒固文字ノカヽワルトキハ氕コリテ手足ノ
動キ自由ナラス方寸ニ氕ヲ捨置逅ノ事也右ハ當
流弟一ノ心得ユヘ本体ニ敎ヘ天ノ巻ニ不動智ノ理ヲ説
尚又此ニ歩返説タリ是則己ヲ正シテ後人ヲ制スルノ
道ニテ 兵書ニ云取又聖人ノ語ニ克己復禮ノ教ヘニ
モ叶んト也

ー志氕力差別之叓
志ト氕ト力トノ差別分テ云カタシ然レトモ是ヲ分
テイフハ志ノ趣ニ連レテ其向フモノヲ取ラント手ノ出
ルハ志ニ隨ヒ動テ氣ノカよフユヘん其物ヲ持
揚ルハ氕ニ隨ヒ集ル所ノ力ナリ力ノ出ル所ハ氣
集リ氣ノカヨフ所ニハ力モ隨ヒ寄トイフ事定リ

Even if it is to be a decisive victory or defeat, even when it is during the usual course of life
itself, it is of the same initial spirit, since the firm vanity of an idle defense is a difficult one,
the thought is to understand even the characters that it's written with ( 徒固 "firm vanity") and
the effects this has, the hand and foot may not have full freedom of movement but through
abandonment are placed where they are placed, as the affair is met. Having knowledge of the
previous mentioned is a chief thing in the standard customs of the school. In the Hontai Basic
foundations, one learns of it in the Ten no maki Book of Heaven, under the theories of the
principle of Immovable wisdom. Besides this there is the theory of perhaps being able to just
walk away? This is namely to question what one can do for oneself, and is a path to
controlling future people you may meet up with. In the Books on the Paramilitary arts,
which were spoken in the language of the sages, there is the teaching that says responses are
given by exercising one's self-restraint.

-- Shiki Ryokusabetsu No Koto

The Matter of the Initial Variations of Strength in Determination

Differentiation of force, initial spirit and intentions, above all in speaking of it, certainly this is a
particular discernment, leading a person with the effects of intentions. As concerns that, although
unwanted facing capture-and-death the effects of the affray are coming out anyways, what

56
 windswept place because of their intentions will follow?? For such causes as this is the pounding
heartbeat, itself initially rising suddenly, what wind-swept place of power and helplessness-
gathering-about is this?? As concerns the place where force is proceeding forth and gathering-about,
it's said that in the place there is the passing through of spirit, force follows drawing near.

57
PAGE THIRTY THREE

タル利ニシテ氣力不二ト成然レトモ爰ニ差別ヲナ
シテ記ス事ハ力ヲ先タテ業ヲセハ其害甚多シ
是ヲ以テ力ヲ捨只氣ノ扱ヒヲ修行セシメンタメ
ん業熟スルニ至テハ人々ノ有來ノ氣力ノ動ニツ
レテ其業ニ應シ出ル事教ヲ待シテ備ルへシ是元来
氣力不二乃所ナリ力ヲ一向ニ嫌フト云ニハアラ
スタトヘハ力ノ有人ト無人ト同位ノ上手ニ至ラハ力
有ニ志クハアルへカラス然トモ事業未熟セサル
ウチニ力ヲ用ル扱ハ力味ワフ氕ノ扱ト力ノ扱
ノ差別ヲ云ハゝ事業ヲナス所カロヤク和カニシテスラリ
トコタワリナキヲ氣ノ扱トイフテコノミ用ユルナリ
重クゴウ氣ニ隨手(K?)シタル氣ヲ力ノ扱ヒトシテ是ヲ甚
嫌フん

Certainly even the principle which is [that] by willpower the two [E.g. defender and attacker] are much the
same, certainly here is there is differences in the accounts [E.g. of both parties]. With the point of force,
taking actions there is much harm itself in the end, this because of abandoning force, in training to our
advantage one is always treated as if one is alone. In arriving at technical maturity as persons have strength
of ability they can act, in action itself the reply is outgoing, to keep knowledge waiting is essentially to keep
safety waiting, willpower, the place where the two are one and the same. It's said that force is absolutely
disagreeable in that it destroys, illustrating that the person using force and the helpless have an upper hand of
the same rank. The usage of force is to impose widely upon others and using hoarse shouting, as such it's an
enterprise that is quite inclined on average to break apart. To be able to use force in a place is to exert
swaggering thereupon, there must be discriminating between the handling of initial Ki energy, spirit and
disposition as well as the handling of force in forming your enterprise. In the teachings, the place of little
resistance is a place of continuous movement and weeping as one handles these inclinations, there is what is
called the principle of leverage in usage. Of course, the weight of a bold spirit can make more spirit and the
treatment of forcefulness therefore staggeringly disagreeable.

58
PAGE THIRTY FOUR

萬事耳ヨリ心ニ移リ志發シ夫ヨリ氕力ト從ヒアラハルヽ
事本書ニ委ク云如クナリ然レトモタトヒ力ヲ不出トモ力ヲ用
ルニテハ氕ニカタヨリナツムモノ出來ルユヘマユクトナル也無力
モ有力モ力ヲ出サント思フ取存アレハ氕ノ滯ル取ハ同事
也仍テ無力有力トモニ身捨修行セヨトナリ熟得ノ上ハ
虚實ノ取扱ヲ知リタル上ユヘ氕ノ働ニツレテ自然ト力ノ
出ル事有之トモ氕ニ力ヲイダサントナツム事無キユヱ無
力モ有力モ同位ん歒ヲフロクニアツカイナケ出ス場ニ至
テワカカ有猶以冝キトん氕力不二トイエトモ氕ハ本也
力ハ未ニテ先氕ノ修行セスシハ大キニ害アリトん

ー前後際断之叓
前ノ心ヲ跡ヘツナカスシテ其間ヲタチ切ヘシ
トん是ヲ含テ修行スヘシ歒ニ對スルニ心不

One hopes that the many transitions within it all that is occurring will reflect one's own intentions and
so what force gets applied be in accordance with this. It is said to be a sentiment that these writings
know all too well, and so the force that got used would not have exceeded that. But as the application
of force goes, it tends to be according to what he was capable of exerting, for known and due causes.
Even when one is powerless, yet even then some force be plausible, it is believed that this force will
be what got conducted. This will somewhat delay whom is to capture whom. About making the
capture, this is the same exact subject. So consequently then, when powerless there is still what
influence one may have, thus does one practice self abandonment. When having keenly acquired what
lies beyond this keen acquisition, it is understood that the capture is made as a matter of handling the
circumstances through exchange of truth and falsehood. There are what actions lay beyond these
causes. It is certainly natural that force will be applied, as this matter proceeds, and when force has
been proceeded with, there will be no lack of it. Even when powerlessness is evidenced, even given
what influence is still plausible, the stance is nonetheless identical. What has not been described about
the opponent in the supplemental writings is what he cannot proceed across those grounds upon, as
well as what he can proceed there a-crossed. Furthermore and indeed truly so, it is said that force is a
two-sided coin, and surely this is the foundation of it all. Of force, at the point when it has not been
practiced for, largely harm and injury will then result.

-- Zengo Saidan No Koto

The Matter of the Context of Refusal

The core principle of the previous material having its established relationships, meanwhile, it's called
excellent eagerness to have this all encompassing morsel and to practice it. When confronting opponents,…

59
PAGE THIRTY FIVE

滯スシヌ如ク(ch?)内スチシテ力乃合ぬ所ニシテ勝利
ヲ得ル事タトヘは頭ヘ渡ルもノは下空虚ん然はカうらヘ
心不移トゝめス其空虚ヲ制ス起ル所ヲ見テ
オコル處ヲステ捨虚ニ乗らスシテ是ヲ制スルは前後際
断ノ意歟
註ノ如シ頭ヘ渡ルモノハ下空虚ノタトヘ了簡有ヘキカ此本文
ノ註ノ心得ハ當流專用ル所ナレトモ際断トハ相違有ヘ
キヤヲコル所ヲ捨虚ニ乗シテ制スルハ氕ヲ扱フ心得ユヘ
自分ノ氕スヂ放マシキカ己カ氕スシ放レサレハ歒ノ氕モハナ
レズカゲノ我身ニ随フ力如シ氕ヲ扱フト云場ハ歒強弱
トモニ一氕働クニ業ノ取ヲ扱事んヲ教ユレトモ一力一取合タル
上ニ氕ナツンカ歒ト氕合タル時是非其取ヲ制セシト思ハ
シ其取ヲ身(?)捨氕滅スレハ歒ノ氕モメツスル理ニテ歒ハ放

… overthrowing their intentions without delay and much the same their composite strengths at the time-and-
place, thereby acquiring victory. No matter what, crossing through the various heads of them [Alt trans:
“...going through whatever number of the beasts...”] just after the place became that way, as such being the
case, changing to mixing it up together having been stopped and as if abandoned by others at the empty place
under those empty skies. [It and you] being controlled, seeing the place-of-event is occurring [Alt trans: “... seeing
the place and getting angry...”] being caught off guard this causing the start [of the episode]. Here, is not one holding
oneself back with all parts of one's sentiment of judgment??
Much as what gets said in the Explanatory notes, it will all have gone over your head, rather as if it
were flying down upon you from the open skies. The thought is that this sense was what was being
described in the writings, and so became the speciality of the standard customs of the school since
then one would be able to make use of it when such thing had transpired as a circumstance. What is
[the context of] the circumstances of condition (saidan)? There will have been discrepancies in what
arose in the circumstances, and some sense of vacant abandonment to the circumstances as one
initially handles and controls them. As one would seek to free one's own joints, and as seeking to do
so cannot set them free from the opponent, it follows that one will end up applying more physical
force oneself [struggling to get free], so they say. Even despite the strengths and weaknesses of the
opponent, all will have become a single movement of handling as a technique when making the
capture, just as one had learned to do so. There having combined as one force in a single act of
capture, and as what had occurred at the peak high point when having then met with the opponent at
the time. It is thought that he was mistaken in this attempt to control and capture you, that by our self
abandonment his effort to capture us was spoiled. Based upon the principle of just what the opponent
had based his quarrel upon. So one was [instantly] made free of the opponent by his absent-
mindnesses.

60
PAGE THIRTY SIX

心トナルん伹シ滅ノ理了簡相違スル時ハ大キニ害アリタ
トヘハ燈ヲ身(?)亇シタル時ハ歒ノ目ニミル事ナケレトモ又己カ目
ニモ見ル事アタワス亦火ヲトモスルホトノ間アレハ己カ目ニミ(Ch?)
レトモ歒モ又夫ヲ知テ見カ如シ同事ニテ氕ワカレ又仍テ際
断ノ理ハ知テ滅ルト不知メ滅トノタカイアリテ歒ハ不知シ
テ滅シテ放心トナリ我ハ知テメツスルユヘ氕ハメツストモ心ハ不
滅火ヲ亇シテ時キト火ハアリナカラ物ヲ覆フテ暫ククラ
キトノ道理ナランカ心氕ハ如燈呼吸ハ油煙ノ如クニテ心メツシ
テハ呼吸成ルヘカラス

右九ヶ條ハ平世修行ノ心得ニテ實ノ勝屓ニハ九ヶ條ニカヽ
ワラス勝屓終テ後顧テ九ヶ條ニ自然ト應シタルヲ當
流柔術熟得ノ人ト云ヘキカ

However, the principle of ruin and the thought behind it as being caused by discrepancies occurring at the
time, is largely what brings harm and injury into the picture. Supposing that there was a lantern casting it's
light upon the body(?) at the time, it is otherwise as if the opponent still cannot see [the truth of] the affair.
But one can oneself see, as much as one can anyways. Similarly had one been making a fire at the time, it
allows one to see as well, and the opponent knowing this also knows that he would be able to see by it as
well [but really he cannot]. It is the same subject. Having discerned this and knowing the principle of [the
context of] the circumstances of condition (saidan), one does not know why ruin and to make a ruin of things
has entered the picture at all? Yet ruin will be the result. The opponent himself does not know why he makes
ruin of the thing, and so is absentminded about the matter. One knows that one can make what use of this one
can, what one sees in it, anyways, that can be used. About what one would have in mind there, one would
seek to prevent the ruin by that fire-light, at the time. Of that very fire, whether it exists or not, there is the
principle along the way which says that one cannot help but to wish to cover it's light for a moment, if doing
so would only help! About what one has in mind for this, the thought of it is about the same things as when
breathing the soot of a lantern [coughing and sputtering]! And so it is hard to bear in mind that one cannot
breath well when shouting hoarsely back and forth at one another.

About the previously mentioned nine items, knowing what one need practice in daily life, and the realities of
definitive victories and defeats, regardless of the nine items in question, definitive victory and defeat will
have been the conclusion of the thing. It is natural to reflect back on this fact within the nine items
themselves and so they say do men seek to keenly acquire the jujutsu that is the standard customs of the
school, that they may make response by it.

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PAGE THIRTY SEVEN

起倒流 Kitō Ryū

▫ 人巻 Jin No Maki 目祿 Mokuroku

Book of Man The Catalog

體 Tai
The Body

夢中 Yume No Uchi 身碎 Mi Kudaki ⁂ 小尻反 Kojiri Gaeshi

In Dreams Crushing the Body Counter with Tip of the Scabbard

力避 Ryokuheki 車反 Kuruma Gaeshi ⁂ 表裡二十一

Strength Evading Wheel Counter Omote Ura Nijū-ichi
The Inner and Outer 21 Techniques
水車 Mitsu Kuruma 柄取 Tsuka Dori
Water Wheel The Hilt Captures

水流 Mitsu Nagashi 水人 Suiren 諸手取 Morote Dori

Water Flowing Water Man Capturing By Both Hands

曳落 Hiko Wotoshi 二人取 Ninin Dori

Pulling Drop The Two Man Captures

虚倒 Muna Tawoshi 柳雪 Ryūsetsu 四人取 Yonnin Dori

Empty Space Throwdown Snow Willow The Two Man Captures

打碎 Uchi-kudaki 戸入 To Ire
Strike Crusher Entering Doors

谷落 Tani Wotoshi 坂落 Saka Wotoshi 鎧組 Yoroi Gumi

Valley Drop Hill Drop Grappling In and Against Armor

⁂ 此二ヶ條ヲ以先師二代之
勝口ヲ可勘

These two items were added by the Former Masters of the Second generations
so that one should be able to take victory.

62
附リ上馬腰當鞍堅
Tsukeri Jōyō Tōan Gatame
Bourne Upon The Reliable Saddled Horse

PAGE THIRTY EIGHT

車倒 Kuruma Dawoshi 雪折 Yuki Wore 居合 Kyogō (Iai)

Wheel Throwdown Snow Breaking Meeting

錣取 Shikoro Dori 早縄 Sōjō (Hayanawa)

Neckplate Capture Quick Rope

錣反 Shikoro Gaheshi 岩波 Iwa Nami 中 Chū

Neckplate Counter Snow Breaking Middle

夕立 Yū Dachi 以上 Ijō (Mochi-age)

Evening Stance By the Means Above

滝落 Taki Wotoshi 曲尺 Kanejaku 千首 師兼

Waterfall Drop Square Measurement Senju Shiken
1000 Joints Advanced Instruction
鉄山 Tetsuzan ⁂
Iron Mines

露月 Tsuyu-zuki 石火 Sekka 爲道
Moonlight Dew Flint Flashing Tamemichi
Means of Ability
草堰 Kusa-zeki ⁂
Grass Dam

雷光 Raikō
Lightening Flash

身釼 Miken
Sword Blade

63
三角金大事 Sankaku Kane (No) Daiji the Important Subject of Triangles of Gold

方圓 Hōen the Squares and Circles

⁂ [ Two lines were just a bit too unintelligible for me, couldn’t render them]

PAGE THIRTY NINE

四寸身 八寸身 神妙曲體

Shisun-mi Hassun-mi Shinmyō Kyokutai
Four Inch Body Eight Inch Body Mysterious Bodily Measurement

四角 Shikaku 三角 Sankaku 一圓相 Ichi-ensō

the Squares the Triangles Continuous Circles
上下 Shōka 下上 Kashō ー體之爲要事
(Ueshita) (Shita-ue) Tai No Tameyōji
Top to Bottom Bottom to Top The Important Matter of the
Advantages of the Body

左右 Sayū 右左 Yūsa 中正之氕 如引糸節ヲ

Controlling Left Controlling Right Chūsei No Ki
and Right Sides to Left Sides Initial Spirit of Impartiality
It’s much like pulling on a string of thread

遠附 ー目之爲要事
To’oi-tsuki Moku No Tameyōji
Distancing The Important Matter of
Oneself the Advantages of the Eyes
戸入之類心得
To-iri No Tagui
No Kokoroe
Knowledge About
Various Ways To
Enter A Door
北辰 Hokushin ー手之爲要事
The North Star Te No Tameyōji
The Important Matter of the
Advantages of the Hands and
Arms
合鏡 Gōkyo 靜則如素女動則如卒
兎
(Ai-kagami)

64
 Much like the rulings about
Matching the being calm, and the rulings to
Reflection in conduct naked females, as a foot
the Mirror soldier.

礒波 Isonami ー足之爲要事
Breaker Waves Ashi No Tameyōji
The Important Matter of the
Advantages of the Feet and Legs
大星 Daishō 十二段 徃勝則喜歸
The Stars 徃屓則死歸
Jūni Dan 22 Levels
Taking pleasure in the journey
to take victory and namely the
happy journey home.
The journey leading to defeat
and returning home dead.

生死一夬 ー口之爲要事
Seishi Ikkai Kuchi No Tameyōji
The Decision that The Important Matter of
Determines Life and the Advantages of the Mouth
Death
三世之勝 ー耳之爲要事
Sansei No Kachi Mimi No Tameyōji
The Victory of The Important Matter of
the Three Realms the Advantages of the Ears

[ ONE LINE HERE UNINTELLIGIBLE CANNOT RENDER ]

我志ス道ナラハサモ有ヘキ力

What one plans for the roadway-path and what effort is put into it.

Translator’s Note: There are some of these that are a cross-over between Zen Buddhist terminology and the Terminology of the Jūjutsu Higakusho, references to the
Circles, Squares, Triangles and etc that show up in the Mandala-like drawings(as a doctrine of sorts found in the teachings of the Jūjutsu Higakusho).

I APOLOGISE DEEPLY, BUT THE LAST SEVERAL PAGES ARE TOO SCRIBBLED FOR ME TO READ
(WE CANNOT REPRODUCE THEM). I WILL PRESENT THE TITLE HEADS WHERE I AM ABLE TO DO SO.
MOST OF THE TITLES ARE EVIDENTLY STRAIGHT OUT OF ZEN BUDDHISM.
IF YOU HAVE A BETTER VERSION OF THIS (PART OF) THE TEXT THAT IS
LEGIBLE, AND WOULD LIKE TO SEE IT PLACED HERE TO COMPLETE
THIS TEXT, PLEASE CONTACT ME.

65
PAGE FOURTY

[ One Line Here ]

[ Partial Lines Here ]

[ TITLE ILLEGIBLE ]
[ One Line Here ]

無明即明 Mumei Sokumei -- Ignorance and Brilliance are Alike

[ Four Lines Here ]

心水月心不畄 Shinsuigetsu-shin Furyū -- There is an Unstoppable Exchange

Between People's Hearts and Minds

[ Two Lines Here ]

66
PAGE FOURTY ONE

[ Two Lines Here ]

㦮子内禮王 Zanshi Nei Rei-ō -- Little Children Under the Rule of the Monarch

[ Three Lines Here ]

[ TITLE ILLEGIBLE ]
[ One Line Here ]

景氣仮(?)ル之ニ Keiki Kariru(?) Shi Ni

Profiting From Good Marketing Conditions

[ One Line Here ]

邪正一如ノ心ヲ Jashō Ichi-nyo No Kokoro Wo

Justice and Injustice Come From The Same Heart

[ One Line Here ]

空即是ク也 Ku Soku Zekuya /or/ Sora Sunahachi Zeku-nari

All This Under Open Skies

67
PAGE FOURTY TWO

[ One Line Here ]

色即是空 Shokusoku Zekū What Colours Be These Skies

[ One Line Here ]

佛法ヲ Buppō Buddhist Ways

[ One Line Here ]

世法ヲ Seihō the Ways of the World

[ One Line Here ]

四居士 Shikyū Kyoji the Four Leisures of Scholars and Laymen

麁茶漬飽々即 補破渡寒晙(?)即
Socha Tsuke Aku’akeha Sunahachi Yasumu (W)Okinate Yafure Taru Wo Wataru Samuki
the Leisure of Being Satisfied While Steeping Tea Wo Aataka Naru Sunahachi Yasumu
the Leisure of Waiting It Out When Winter Supplies
Stores Are Expended

三平二滿遇即 不貪不妬老即
Sanpei Jiman Sukureha Sunahachi Yasumu Su-masahora Su-futamu (W)Ofureha
The Leisure of Awaiting Old Age Sunahachi Yasumu
The Leisure of Not Being A Greedy and Jealous Old Man

[ Three Lines Here ]

Trans Note: Some of the Romaji were provided by the text in the form of
Side Kana pronunciation guides and would not be typical renderings otherwise.

68
PAGE FOURTY THREE

蜷川 Ninagawa [Surname, Chinese Monk ]

[ One Line Here ]

一体 Ittai [Surname, Chinese Monk ]

[ One Line Here ]

寒山子 Kanzanshi [the Chinese Monk Hanshan]

我心如寒月 秋水清無底
Waga Kokoro Gotoku Kangetsu Shūsui Mayoi Nashi Riko
My heart is much like the Wintry Moon Autumn Waterfalls Spout Endless Pure

[ One Line Here ]

三界唯一心心外無別法心佛及衆生

The three realms of existence share but one heart, even if it is unsettling that there is no other means, beyond the
Buddha and all other living creatures.

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後成レ Ushiro Nare What Comes Afterwards

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機 ー 毌弓牙ん書經商書部大甲笰ニ云
括 ー 失括ん若虞機張省括于度則釋

本体終

此書津輕公ノ墦中中西是即所持ニテ白井先生備請
写之又白井先生ヨリ備請字置ク併師範家不知

天保十一年甲午六月 寺田奥亟有恒

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The Mechanics [of this book] -- From the quotations of the Classics in this book it is like the
biting-pierce of the fang of a bow, from cover to cover.
What it encompasses -- There is what error occurs in what one embraces, and in retrospect one
comes to regret what fear of the given opportunities passed up during our youth.

The Hontai Basic Foundations ended here.

This book was brought to Tsugaru [Western region of Aomori Prefecture] to the grave of Nakanishi
himself. This book was thus brought in the hand of Sensei Shirai being that it is a copy of the
Preparations he espoused and it was he [Nakanishi] whom placed the very written characters in it.
How many of the Shihan Master Instructors [of the school] accompanied him when he went is not
known.

Sixth Day of June in 11th Year of the Tenpō (1830-1844 [1841?]) Yoshida Okunojō Aritsune

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SUMMARY

As already stated, the original historical document is a mid sized booklet, originally thought to be part of a set, which
by now had proven to be rather separate texts that represent various and divergent branches of the Kitō Ryū. Exactly
which branch this one, and the others as well, might represent we do not know? It is a formal document of the school,
howbeit of the Kaden branch to which it belonged, and ergo a valid form of documentation. The text as such is, like
the other Brown faced handbooks, is useful and interesting for various reasons.

Again, rhe expectation that this Tai No Maki No Ben would prove to be near identical to the sub -section of the
Jūjutsu Kiroku is rather short lived. But an important detail here is that this Tai No Maki No Ben does not agree with
the text found in the Jūjutsu Kiroku. This Tai No Maki No Ben we have here is an independent text, representing a
specific Kaden branch tradition of the Kitō Ryū, and it is even possible that (when combined with it’s own proper
sibling texts) it may form a separate and distinct version of the Jūjutsu Kiroku, evidently for the branch to which it
belonged? As may the other differenced Brown faced handbooks in the “set”, as per their own independent sub-
branches of the Kitō Ryū. This idea is rather new, the thought that they probably represent differenced versions of the
Jūjutsu Kiroku per Kaden branch isn’t something many of us easily relate to. But at some levels, it makes sense.
There are many interesting differences between this text of the Tai No Maki No Ben and the representation of the text
in the Kiroku itself. Here in the Summary of this PDF we will discuss some of them…

STRUCTURING AND CONTENT

The text is bettered structured than most of the other examples from the “set” of Brown faced handbooks. The text
page structuring doubles as a kind of Technical structuring that was evidently meant as a teaching tool. In fact, the
native structuring of this text is better than the Structuring found in the full and complete version of the Jūjutsu
Kiroku as we have come to know it. If we assume (and it is fairly reasonable to do so) that this text represents a
separate and differenced form of the Kitō Ryū Jūjutsu Kiroku then we should also assume that the version of the
Kiroku in question has similar superior structuring. The initial structuring encountered is based off of a very old
textual statement, presumably from the Chronicles of Sakai, wherein the elements of the statement were chopped up
and made into sub-section titles on subject matter. The Lines of the Chronicles of Nakanishi and Sakai were then used
to explain the titled subject matter. However, we noticed that, like so many other examples of the Brown faced
handbooks this one came with, there is no mention of the Chronicles of Nakanishi and Sakai by name.The chronicles
are quoted, but never identified and named.
A) Unlike some of the other Brown faced handbooks, this text did not “mix and match” the lines from these
chronicles, but instead it kept them largely separate and distinct. It made a separation, of some sort or
another, almost every time that it switched from one chronicle to the other. NONE of the other Brown faced
handbooks did this (usually it “mixed and matched” them together to form a third statement combined of
two or three lines of each chronicle. Joined in any way they wanted to make the new line of text.) Even
though it never named the Chronicles of Nakanishi and Sakai even once, it never really mixed them together
either.
B) The lines quoted of the Chronicles of Nakanishi and Sakai went from statement to statement, recombined
and omitting statements to form a kind of a “third” separate statement… but never by joining two or more
directly together. From some perspectives it could be said to have been created as an abridgment for the
subject matter in the Chronicles… but this isn’t really the case either, since the text made subject titles not
evidenced in the other version(s) at all.
The structuring evidenced in this text is really quite good (one of the best examples we have seen so far.) The content
being what it is, we feel the structuring was meant to give it a substantial body in which to house the lines of text.

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OTHER POINTS OF INTEREST

There was inclusion of some of the verbal constructs that use the word ‘Aiki’ in some form, but by now we assumed
that the reader had come to understand that these idioms and language constructs are simply a natural part of the
Chronicles of Nakanishi and Sakai? If not, let me say that one more time in the conclusion of this summary:

The verbal constructs we documented for you in the other translations, that use the word ‘Aiki’ are simply a natural
part of the Chronicles of Nakanishi and Sakai, and the language in which these chronicles were written. What this
means and what this means for you… one can guess well enough?

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 TEXT ENDED HERE

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