engei-jo (演芸場): Theaters, usually smaller venues than those for kabuki or bunraku, used for public entertainment. Usually set up for dancers, musicians, comic raconteurs, or professional storytellers.
Enmei-ryu (円明流): Perfect Enlightenment Style. A swordsmanship style Musashi developed around 1604 while he was in Edo, it was probably a precursor to the Niten Ichi-ryu.
enso (円相): The circle. In Zen Buddhism, the symbol indicating the perfect fundamental enlightenment that every person has, whether he is aware of it or not. Often found on the memorial markers of priests or enlightened persons who have passed away.
Fudo Myo-o: The “Immovable Brightness King.” Manifestation of the Vairocana Buddha, much associated with Musashi and swordsmanship in general. His fierce expression is meant to scare off the enemies of Buddhism: greed, hate, and ignorance.
Fugai Ekun: Eccentric Zen painter, contemporary of Musashi.
gaki daisho: “Commander-in-chief of ruffians and troublemakers.” Phrase used to describe Musashi as a child.
Gan-ryu (巌流): The swordsmanship style developed by Sasaki Kojiro, Musashi’s greatest rival. He is said to have been a student and sparring partner of Toda Seigen of the Chujo-ryu, but may have in fact studied under Seigen’s disciple, Kanemaki Jisai.
Ganryu Sasaki Kojiro. See Sasaki Kojiro.
Ganryujima (巌流島): Ganryu Island. Jima (shima) means “island.” The island where Musashi fought his famous duel with Sasaki Kojiro. Also known as Funa Island (Funashima) and Mukai Island (Mukaijima).
gedan. See jodan.
Gion Toji: Legendary swordsman said to have been an influence on the Yoshioka school.
go (碁): A board game originally from China, played on a grid of 19 by 19 lines with black and white stones. The object of the game is to capture as much territory on the grid as possible, surrounding the opponent’s stones without having one’s own stones surrounded. Games can go on for extraordinary lengths of time. Favored by Chinese and Japanese military men since ancient times.
hachimaki (鉢巻): A small towel or strip of cloth folded neatly and tied around the forehead. Originally used to stop perspiration from getting into one’s eyes, it now connotes determination. Used by laborers, soldiers in battle, students during exam periods, men carrying heavy sacred objects during festivals, and sometimes even pregnant women during labor.
hakama (袴): Traditional wide, almost skirtlike, pants worn by both men and women during different periods in Japanese history. Today worn almost exclusively by men for official, often religiously linked ceremonies. Often worn during official bouts or matches for some of the martial arts.
haori (羽織): A traditional jacket made of heavy material (plaited cotton or hemp). It has wide sleeves into which small personal items may be placed, and is worn over other clothing.
harakiri (腹切): Ritual suicide by plunging a sword into one’s belly. Also called seppuku (切腹). The form of this ritual changed over the centuries. See also junshi.
Heart Sutra, The (Hannya Shingyo; 般若心経): Shortest of Mahayana Buddhism’s Wisdom Sutras. Said to distill transcendental wisdom of emptiness down to a few hundred Chinese characters, it is chanted every day by millions of Buddhists, both priests and laymen.
Hirata Munisai (Muni): Musashi’s father. An expert at the jitte and other weapons. Served the Shinmen clan and took its name, as did Musashi.
Hon’ami Koetsu: 1558–1637. A sword polisher, potter, calligrapher, and garden designer. Was at the center of the Kyoto Renaissance.
Honda clan: Warrior clan established at Himeji during Musashi’s time. The family is said to have employed Musashi to design the castle town there and seems to have held him in great esteem.
Honshu (本州): The largest of the four main islands of Japan. The mainland of the country.
Hosokawa Tadatoshi: 1586–1641. Lord of the Hosokawa domain in Kumamoto, Kyushu. Son of Hosokawa Tadaoki (Sansai). A keen swordsman and disciple of Musashi.
Hozoin (宝蔵院): The Buddhist temple in Nara where the monk In’ei developed a style of combat with the spear. It was here that Musashi defeated the spearman-priest Ozoin with only a short wooden sword.
iai-do (居合道): A martial art based on techniques for drawing the sword, cutting down visualized opponents, and then calmly returning the sword to its scabbard.
Inagaki Hiroshi: Japanese filmmaker who specialized in movies on Musashi. His three-part treatment of Musashi 1954–56 starring Mifune Toshiro was very well received in both Japan and the West. See Appendix 1.
Inshun: The priest who reestablished the Hozoin spear style after Kakuzenbo Hozoin In’ei’s demise. Studied under the priest/practitioner Ozoin.
Itto-ryu (一刀流): A style of swordsmanship founded by Ito Ittosai (1560–1653), who first studied with Kanemaki Jisai of the Chujo-ryu, and then went out on his own. The style emphasizes training to deal with unexpected attacks, insisting, as author and kendo instructor Kiyota Minoru has phrased it, that the practitioner be able to act with “an instantaneous union of intuition and action.” Ittosai passed his mantle on to Ono Tadaaki, who became an official instructor of swordsmanship to the shogun along with Yagyu Munenori.
jitte (十手): Also pronounced jutte. Refers to a small metal rod about 1½ feet long, with a sort of crooked thumb just above the handle. Used to disarm an opponent by catching the blade of his sword between the rod and the metal thumb of the instrument, and then wrenching the sword away. Often used by minor officials and policemen during the Edo period (1603–1868).
jodan, chudan, gedan (上段, 中段, 下段): Stances taken with the sword aimed at the opponent’s head, chest, and feet or legs, respectively.
joruri. See bunraku.
jujitsu (柔術): Also jujutsu. A martial art of grappling or combat using only the hands and feet. Anciently called yawara, it was transformed into the modern martial art and sport of judo by Kano Jigoro early in the twentieth century.
junshi (殉死): Ritual suicide committed on the death of one’s lord, in order to accompany him into the next world. Although a traditional and honorable custom, it was outlawed by many daimyo during the first years of the Edo period (1603–1868), and by the central government in 1683. See also harakiri.
jutte. See jitte.
kabuki (歌舞伎): A form of drama created by a dancer named Okuni in 1603. Originally a somewhat “lowbrow” form of entertainment, it became extremely popular and developed into one of the great Japanese dramatic genres. It is full of action and bombast, compared to the restrained and elegant Noh.
Kage-ryu (陰流): A style of swordsmanship. Considered by many to have been founded by Aisu Ikosai, who based his techniques on natural elements (waves, the wind, and mountains) and the movements of animals. Author and kendo instructor Kiyota Minoru states that although these factors may display an emphasis on “rhythmic and synchronized motion,” they may also indicate that Ikosai was developing a “swordsmanship of totemism with the intent to incorporate the power of natural phenomena” into his art. Ikosai was from Iga, and his style is considered to be the ancestor of the Western schools of swordsmanship.
Kaiho Yusho: An older contemporary of Musashi. At first a well-known spear practitioner, and then a famous painter. His painting of Hotei and the fighting cocks is said to have influenced Musashi, but this is unsubstantiated.
Kakuzenbo Hozoin In’ei: Buddhist priest and innovator of a spear style made famous at his temple, the Hozoin.
Kamiizumi Ise no kami Hidetsuna (or Nobutsuna): 1508–77. Master swordsman of the sixteenth century. Easily defeated Yagyu Sekishusai, and then became his instructor.
kana (仮名): The syllabary of Japanese orthography. Divided into two styles: the more fluid hiragana and the more angular katakana.
Kansai (関西): Generally considered to be the region around Kyoto, Osaka, Kobe, and, in broader terms, also includes areas farther to the west. Contrasted with Kanto, the area around Tokyo (Edo, during Musashi’s time).
Kanto. See Kansai.
Kashima Shinto-ryu. See Shinto-ryu.
katana (刀): The Japanese sword. A curved blade with a single edge, and generally held with two hands. It changed in length and the way it was worn as styles and circumstances in combat changed over the centuries. Known as the “samurai sword” in the West. See also tachi and wakizashi.
Kataoka Chiezo: 1903–83. An actor and producer who starred in many early films on Musashi.
Kato Kiyomasa (1562–1611): One of the fiercest of the general/daimyo allied to the Toyotomi clan. After the death of Toyotomi Hideyoshi, he sided with Tokugawa Ieyasu, and fought with the Eastern army at Sekigahara. He was appointed daimyo of Kumamoto, and rebuilt the castle there to a massive size.
Katori Shinto-ryu. See Shinto-ryu.
Kiichi Hogen: Legendary twelfth-century swordsman. The Yoshioka swordsmen are said to have studied in his line.
kodan (講談): Professional storytelling, usually performed at smaller venues. Popular from early on, but especially so from the Edo period (1603–1868) to just after World War II.
Koetsu. See Hon’ami Koetsu.
koku (石): 5.119 U.S. bushels. This was the unit of measure for rice, and was the standard both for the grants given to the various daimyo and lords and for the samurai who served them.
Kokura Hibun: A stone monument dedicated to Musashi outside the city of Kokura on Mount Tamuke, erected by his adopted son Iori in 1654. It is about twenty feet tall, and is inscribed with the story of Musashi’s life written in a style of classical Chinese.
Kumoi: A courtesan in Edo with whom Musashi is said to have had an extended intimate relationship while he was in his mid-fifties.
Kuroda clan: Warrior clan in Fukuoka, northern Kyushu. Was first allied with the Toyotomi but changed its allegiance to the Tokugawa and fought for them at the Battle of Sekigahara.
kusarigama (鎖鎌): A weapon consisting of a chain attached to the handle of a sickle. The chain is swung to ensnare and neutralize either the sword of the opponent or the opponent himself, while the sickle is used to finish him off.
Kyoto (京都): The political and cultural capital of Japan between the eighth and twelfth centuries. It remained the cultural capital even after the center of political power moved elsewhere.
Kyushu (九州): Third largest of the four main islands of Japan, to the southwest of Honshu. Separated from the latter island by the Kanmon Straits.
Life-Giving Sword, The (Heiho kadensho; 兵法家伝書; title translates literally as, The Book of Clan Traditions on the Martial Arts): Book on the Yagyu Shinkage-ryu school of swordsmanship written by Yagyu Munenori in about 1632. It includes both technical advice and related psychology and philosophy based on Zen Buddhism.
Matsudaira Izumo no kami Naomasa: Daimyo of Matsue Castle in Izumo (Shimane). Had an instructional bout with Musashi in 1638.
Mifune Toshiro: Actor famous for (among many other roles) his portrayal of Musashi under the directorship of Inagaki Hiroshi. See Appendix 1.
Mirror of the Way of War, The (Heidokyo or Heido no kagami; 兵道鏡): Short book said to be written by Musashi in 1604 when he was in Edo. It may have been an outline for the style he was developing at that time, the Enmei-ryu, or Perfect Enlightenment Style. The first edition of the book contained eighteen articles, which were later expanded to thirty-five.
Miyake Gunbei: Skillful swordsman of the Togun-ryu and a retainer of Honda Tadamasa. Defeated by Musashi in Himeji in 1621, he later became a disciple of the Niten Ichi-ryu.
Miyamoto Iori: Musashi’s second adopted son. Met Musashi in 1624 and was later employed by Ogasawara Tadazane. Eventually rose to the position of chief retainer to the Ogasawara. Died in 1678.
Miyamoto Mikinosuke: Musashi’s first adopted son. Said to have been a pack horse driver when first encountered by Musashi in 1619. Employed as a page by Honda Tadatoki, he committed ritual suicide upon his master’s death in 1626.
Murakami Genzo: Writer famous for his portrayal of the rivalry between Musashi and Sasaki Kojiro in the serial novel Sasaki Kojiro (1949–50). A film of the same title was produced in 1950, starring Mifune Toshiro as Musashi. See Appendix 1.
Muso Gonnosuke: Master of staff technique, defeated by Musashi in Edo in 1608.
Muto-ryu (無刀流): The No-Sword style. Style created by Kamiizumi Ise no kami Nobutsuna and perfected by Yagyu Sekishusai and his son Yagyu Munenori. With his own bare hands joined in a prayerlike lock, the practitioner arrests his opponent’s stroke just before its execution, by grasping either the hilt or blade of his opponent’s sword.
Nagaoka Sado no kami Okinaga: Retainer to the Hosokawa clan, and student of Musashi’s father Munisai. Helped Musashi obtain permission for a match with Sasaki Kojiro.
Nagaoka Yoriyuki: Adopted son of Nagaoka Sado Okinaga. One of Musashi’s close disciples. Helped care for Musashi during the swordsman’s final illness.
Nakamura (Yorozuya) Kinnosuke: Actor originally from a Kabuki family, famous for his portrayal of Musashi in a five-part film directed by Uchida Tomu.
Nen-ryu (念流): Style of swordsmanship founded by the priest Nen’ami Jion in 1368. Currently emphasizes breathing, shouting (kiai) and footwork techniques. Jion began his practice as a young boy, and at the age of ten was instructed at Mount Kurama by a mysterious character who subsequently disappeared. He later studied the Chujo-ryu and wandered the country, finally becoming a Zen priest.
Niten Ichi-ryu (二天一流): The Two-Sword Style. The combat style of using two swords, developed by Miyamoto Musashi. Musashi’s practice of swordsmanship is clearly described in The Book of Five Rings. See also Enmei-ryu.
Nitenki: A compilation of stories about Musashi and his disciples published in 1755 through the research of Toyoda Matashiro and his son and grandson.
No-Sword style or technique. See Muto-ryu.
Noh (能): a stately and restrained drama developed in the fourteenth and fifteenth centuries. The chanting, dancing, and playing of musical instruments in the genre were highly respected, especially by the warrior class. Men from daimyo to swordsmen like Musashi studied one form or another of this art.
Obuchi Genko: Older Buddhist priest at the Taishoji temple in Kumamoto. Likely instructed Musashi in Buddhist philosophy.
Ogasawara Tadazane: Lord of Akashi who then moved to Kokura in Kyushu. Employed Musashi’s adopted son Iori, and later gave Musashi the status of guest, from 1634 through 1640.
Ogin: Musashi’s older sister.
Okuni: Said to be the creator of kabuki theater. Performed on the banks of the Kamo River in Kyoto in about 1603.
Omasa: Hirata Munisai’s first wife. Said by some to be Musashi’s real mother.
Osedo Hayashi: Yagyu stylist defeated by Musashi in Edo in 1610.
Ozoin: The priest/spearman of the Hozoin style defeated by Musashi in Nara at the Hozoin temple in 1604.
Praiseworthy Tales of Authentically Recorded Heroes, Past and Present (Kokonjitsuroku eiyubidan; 古今実録英雄美談): Apparently a compilation of professional storytellers’ tales, used as the basis of Walter Dening’s novel on Musashi published in 1887 (see Appendix 1). Very likely typical of the stories told about Musashi from the time of his death on into the early twentieth century.
Reigan Cave (霊巌洞): The cave on Mount Gandono outside the city of Kumamoto where Musashi practiced sitting meditation, began The Book of Five Rings, and where he hoped to die. The Chinese characters for the name of the cave, can be taken to mean “the cave of Gan’s [Sasaki Kojiro’s] spirit,” but the name may pre-date Kojiro’s demise.
ronin (浪人): Warriors and samurai who no longer served a daimyo or lord. A man may have found himself in this state for a number of reasons; anything from his lord being defeated in battle or dispossessed of his fief to simple dismissal by a lord whom a samurai had displeased. See also shugyosha.
ryu (流): A style of the martial arts. Thus, the Toda-ryu is the Toda style; the Shinkage-ryu becomes the Shinkage style and so on.
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sp; Sasaki Kojiro: “The Demon of the Western Provinces.” Master swordsman of the Ganryu style defeated and killed by Musashi on Ganryu Island in 1612. Perhaps Musashi’s most famous adversary.
satori (悟): Buddhist term for enlightenment.
Sekigahara (関ケ原): The field in Mino Province (now Gifu Prefecture) where, on 20 October 1600, the decisive battle was fought between the Toyotomi forces (the Western army) and the Tokugawa forces (the Eastern army). Although the number of troops on each side were initially almost equal, the advantage tipped to the Eastern forces when some generals of the Western army defected to the Tokugawa. This marked the beginning of a new era in Japan, the Tokugawa or Edo period (1603–1868). The Tokugawa shogunate, formally established in 1603, ruled for nearly 260 years.
Seppuku. See harakiri.
Shikoku (四国): The smallest of the four main islands of Japan. Situated opposite Honshu and, with it, contains the Inland Sea.
Shindo Muso-ryu (神道無想流 or 真道夢想流): A style of fighting created by Muso Gonnosuke, a contemporary of Musashi, that uses the staff against a sword. It was revealed to Gonnosuke in a dream after he had prayed and meditated.
Shinkage-ryu (新陰流): The “New Kage-ryu” of swordsmanship founded by Kamiizumi Ise no kami Nobutsuna. Improved under Yagyu Sekishusai and his son Munenori, whence it became known as the Yagyu Shinkage-ryu. Nobutsuna had his students practice with fukuro shinai—swords made of thin bamboo cuttings, split in several places, tied together, and covered with a leather sheath. This allowed his practitioners to have “real matches” without the danger of injury.
Shinmen (新免) clan: The clan in Mimasaka to which Musashi was related through his father’s first marriage. Musashi’s father, originally named Hirata Munisai, was actually given permission by that clan to take its name because of his long service to the family as a warrior and martial arts instructor.
Shinto-ryu (新当流): An Eastern style of swordsmanship founded by the legendary Tsukahara Bokuden (1489–1571). Various substyles are the Katori Shinto-ryu (香取新当流), the Kashima Shinto-ryu (鹿島新当流) and the Arima Shinto-ryu (有馬新当流). The Shinto-ryu is known for its ichi no tachi, or “One Cut,” and emphasizes single-mindedness and striking at points on the body not protected by armor or thick bones. In this style—which is based on battlefield conditions—each opponent should be felled by a single strike.
The Lone Samurai Page 27
