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Nampō Roku, Book 7 (54): the Use of a Large Tray When Tea and Incense Utensils are Displayed Together on the Daisu.

54) Broadly speaking, when [the appreciation of] incense will take place at the beginning [of the gathering], the incense utensils are displayed together on a large kō-bon [香盆]¹; while on the right seat, displaying the container of thin-tea and the chawan [that will be used to serve usucha] makes for a good arrangement².

But when the incense utensils and tea utensils are arranged together on a shaku-naga-bon [尺長盆], this is generally done when incense will be appreciated later [after the service of tea is finished]³.

〚When we talk about ‘[appreciating] incense first,’ this means that it is done as soon as the guests have taken their seats in the shoin [at the beginning of the shoza]⁴. And because usucha [may be served] whenever [someone’s] throat is dry, it can be drunk at any time -- and so the utensils [for serving usucha] may be displayed at all times⁵.

〚‘Appreciating incense afterward’ means that, following the meal, when [the service of] koicha has been concluded, then incense is going to be [appreciated] after that⁶. It is for this reason that the tea utensils and incense utensils should always be displayed commingled [when incense will follow the service of tea]⁷.〛

Because these arrangements are based on the old rules, they have been handed down [within the corpus of secret teachings] in this way; nevertheless, it is [really] better if the tea utensils and incense utensils are displayed separately, both before [at the beginning of the shoza] and after [at the beginning of the goza] -- so they may be dealt with appropriately [without confusing the one set of things with the other]⁸.

[Furthermore, the host] should never [appear to] insist on [including] tea and incense [in the same gathering] -- so [Ri]kyū declared⁹.

￮ Kaki-ire [書入]:

[The writing to the right of the sketch reads: kyōji・koji no tate-yō, kaku-no-gotoki, hai-oshi no kashira ha (キヤウジ・コジノ立ヤウ、如此、灰ヲシノ頭ハ); and below the sketch: kayō ni mukau-beshi to iu-iu (カヤウニ向ベシト云〻)¹⁰.]

_________________________

◎ This entry consists of a relatively brief text, to which a kaki-ire (that really has little to do with the text*) was appended. Once again, Shibayama Fugen’s teihon includes additional material that is helpful to our understanding, and this has been included in the above translation where possible -- enclosed in doubled brackets, as usual.

Nevertheless, this entry appears to be a machi-shū addition that attempts to (re)interpret the Shino family’s cha-kō midare-kazari [茶香亂れ飾] through the medium of Edo period tea practices on the one hand, while arguing against the actual implementation of this practice, during the chakai, on the other. ___________ *The kaki-ire may actually be the only part of this entry that can authentically be attributed to Nambō Sōkei. In fact, it is actually connected with entry 53 -- suggesting that the present text was spuriously intercalated between that earlier entry and its kaki-ire.

¹Oyoso hatsu no kō ni ha dai-kō-bon ni kō-gu kazari-komi　[凡初ノ香ニハ大香盆ニ香具カザリ込].

Oyoso [凡そ] means things like about, nearly, roughly, approximately; and also broadly speaking, generally, and as a rule. In other words, the argument or explanation that follows is certainly usual, if not a hard and fast rule.

Hatsu no kō [初の香] means that incense will be appreciated during the shoza -- either at the very beginning (this is the meaning embraced in this entry), or at the end of the sumi-temae (this was a modification that gained favor among the machi-shū, albeit somewhat later*). The appreciation of incense is usually referred to as mon-kō [聞香] (which literally means “listening to incense”).

Dai-kō-bon [大香盆] simply means a large tray, one large enough so that the complete set of incense utensils can be arranged on it. In the sixteenth century, this was usually (a copy of) one of the six meibutsu trays that had been made for Ashikaga Yoshimasa by Haneda Gorō†.

Kazari-komi [飾込み] means to decorate, to embellish -- in this case, to arrange the kō-gu on the dai-kō-bon‡. Grammatically, this is a kind of expression that came into fashion during the Edo period.

In the following photograph, the kō-gu [香具] are arranged on a nagabon. The utensils are (from right to left): the kōgō [香合], the taki-gara-ire [炷空入]**, the koji-tate [火筋建] (in which are standing the koji [火筋], kyōji [香筋], hai-oshi [灰押し], and gin-yō-basami [銀葉挾]), and the kōro [香爐] (covered by its lid).

Shibayama Fugen’s teihon is more expansive, providing us with a relatively complete list of the kō-gu (incense utensils)†† that should be displayed on the large kō-bon: oyoso hatsu no kō ni ha dai-kō-bon ni kōro・kōgō・taki-gara-ire・kyōji-koji-tate・ko-habōki kazari-komi [凡初ノ香ニハ大香盆ニ香爐・香合・タキカラ入・キヤウシコシ立・小羽帚飾込]. __________ *This variation may have been proposed by Jōō, or possibly by Furuta Sōshitsu; but it is impossible to determine who was actually responsible. The idea of appreciating incense after the sumi-temae, so that some of the charcoal utensils could be used in place of some of the kō-gu would be in keeping with Oribe’s approach (if the idea was not already current before his time).

The fact that the Sen family embraced this approach (while simplifying the kō-gu even more) also suggests that Sōshitsu was the source of the idea.

†When just the incense things would be displayed on the tray, the Gassan nagabon [月山長盆] (1-shaku 3-sun 2-bu by 9-sun 2-bu, measured across the rims), tsune no nagabon [常の長盆] (1-shaku 5-sun 2-bu by 1-shaku 4-bu, across the rims), Chōshō rai-bon [趙昌雷盆] (1-shaku 1-sun in diameter, with a foliated rim), naka maru-bon [中丸盆] (1-shaku 2-sun 3-bu in diameter) -- and the non-canonical naka hō-bon [中方盆] (which measured 1-shaku square, and was highly favored by the machi-shū chajin of the early sixteenth century) -- were the trays most commonly used (because these trays can be lowered to the mat, and so would protect the mat from any bits of ash that might fall from the kōro.

‡Possibly the expression kazari-komi [飾込み] includes the nuance of arranging the kō-gu attractively on the large kō-bon.

**The taki-gara-ire [炷空入] was usually made of ceramic, or sometimes metal (since the burned-out piece of incense, which became fused to the gin-yō on which it was placed during the heating process, was discarded into it straight out of the censer). The kōgō [香合], meanwhile, was usually made of lacquerware.

After Jōō started to use the ro, he borrowed the taki-gara-ire as a container for the neri-kō [練り香] (since the taki-gara-ire can be washed in water afterward, while lacquerware might be damaged by the incense, or by the washing process).

††As the Edo period deepened, the enforced separation between the different arts meant that, by the end of the eighteenth century, most tea people would have been unaware of precisely what these kō-gu actually consisted of -- if only because the Sen family and their adherents had moved the appreciation of incense to the end of the sumi-temae, with the effect being that some of the sumi-dōgu were pressed into service during the preparation of the kōro (in recent years even more than in the past).

²Migi-za ni, usucha-ire・usucha-wan kazaritaru ga shimai yoki-kazari nari　[右座ニ、ウス茶入・ウス茶碗カザリタルガ仕廻ヨキカザリ也].

Migi-za [右座] is the way the Nampō Roku refers to the left side* of the ten-ita of the daisu. Because this side is above the furo and kama, it was considered the inferior side†.

The arrangement to which this is referring (shown above) is discussed in the post entitled Nampō Roku, Book 5 (39): the Sō [草] Form of the Display of a Kōro [香爐] -- Before and After, [One] of Three [Arrangements]‡.

Shimai yoki-kazari [仕廻よき飾なり] means (adding the usucha-ire and usucha-wan) makes this a good arrangement for the end (of the gathering). In other words, when the dai kō-bon is accompanied by the usucha-ire and usucha-wan, this indicates that the appreciation of incense will take place first, with the service of usucha being undertaken later**.

Perhaps the whole point of including the tea utensils was to inform the guests that this was not going to be just a kō-kai [香會] -- that tea would eventually be served later††.

Here Shibayama’s text deviates from the Enkaku-ji version: migi-za tenjō ni usucha-ire・usucha-wan shikomite kazaritaru rui no kazari ōshi [右座天井ニ薄茶入・薄茶碗仕込テ飾リタル類ノ飾多シ].

Migi-za tenjō ni [右座天井に] means in the right seat on the ten-ita (tenjō [天井], which means ceiling, is another name for the ten-ita).

Usucha-ire・usucha-wan shikomite [薄茶入・薄茶碗仕込みて] means to set up (or prepare) the usucha-ire and usucha-wan together (on the ten-ita of the daisu).

Kazaritaru-rui no kazari ōi [飾りたる類の飾多い] means the ways in which (the host) can potentially arrange the utensils are numerous. While this could be a passing reference to the fact that adding the usucha-ire and usucha-wan changes the time and meaning for the present arrangement, this phrase probably should be taken more generally (to indicate that there are a number of different ways to arrange the daisu when the appreciation of incense will be included during the chakai).

In other words, while the Enkaku-ji text focuses on the significance of adding the usucha-ire and usucha-wan to the dai kō-bon, Shibayama’s text implies that this is one of many possible ways to arrange the utensils on the ten-ita. __________ *According to the arguments made in the Nampō Roku, when arranged on the utensil mat the daisu is considered to be facing toward the host. Thus, the mizusashi is said to be on the left, and the kama and furo are on the right. The same way of dividing up the space is applied to the ten-ita, where the right half is referred to as the left seat, and the left half is called the right seat.

This may have been intended to sow confusion in the minds of those who had not been initiated into the secret teachings.

†This was not only because it was originally the side closest to the guests (whose movement could raise dust out of the tatami that would then settle on that side of the daisu), but because the heat passing through the ten-ita could damage any utensils -- or, more pointedly, the tea itself -- that were displayed on that side (this is why very few arrangements in Book Five have important utensils located on that side of the ten-ita).

The fact that the text specifies that it was the container of usucha, and the chawan that would be used for serving usucha, that were to be displayed on that side of the daisu, emphasizes their (inherent) inferiority.

‡The URL for that post is:

https://chanoyu-to-wa.tumblr.com/post/629088351517032448/namp%C5%8D-roku-book-5-39-the-s%C5%8D-%E8%8D%89-form-of-the

**There is a certain roughness about this sentence, which might suggest that it was crammed into a space in a pre-existing text that was not really big enough for everything the author wished to add.

There may be a suggestion here that once the dai-kō-bon has been lowered to the mat, the chaki and chawan should be relocated closer to the center of the ten-ita.

††It seems that the Shino family originally served only usucha (during the discussion over the guests’ poems -- that had been inspired by the incense -- which was the main purpose for their goza), so in their case the display of the usucha-gu from the beginning of the kō-kai [香會] would inform the guests of the anticipated program for the gathering.

Including koicha was probably a much later development, perhaps influenced by the increasing popularity of Jōō’s cha-kai [茶會] (since he originally drew his guests primarily from among the people whom he had met at the Shino’s kō-kai).

³Shaku-naga-bon ni kō-gu mo cha-gu mo hitotsu ni kazari-komitaru ha, ō-kata ato no kō nari　[尺長盆ニ香具モ茶具モ一ツニカザリ込タルハ、大方後ノ香ナリ].

The shaku-nagabon [尺長盆] was the largest of the six meibutsu trays that were used by Ashikaga Yoshimasa. It measured 1-shaku 6-sun 8-bu x 1-shaku 8-bu, and so was too large to be lowered to the mat during the temae. Nevertheless, its large size allowed multiple objects to be placed on it, thereby elevating them above the ten-ita of the daisu (and so handling them respectfully).

Several cha-kō [茶香] arrangements*, using the shaku-naga-bon, are described in Book Five†. The first of these is shown above.

Here Shibayama’s teihon has: hajime yori shaku-naga-bon ni kō-gu to temmoku・daikai nado hitotsu ni kazari-komitaru ha, ō-kata ato no kō nari [初ヨリ尺長盆ニ香具ト天目・大海抔一ツニ飾込タルハ、大方後ノ香ナリ].

Hajime yori [初より] means from the beginning (presumably the beginning of the chakai).

Shaku-naga-bon ni kō-gu to temmoku・daikai nado hitotsu ni kazari-komitaru [尺長盆に香具と天目・大海など一つに飾込みたる]: this arrangement, in which incense utensils are combined with a temmoku (resting on its dai) and a taikai‡ on the shaku-naga-bon is not found in Book Five.

Ō-kata ato no ko nari [大方後の香なり] means in general, this (kind of arrangement) is used when incense will be appreciated later (i.e., during the goza, and presumably following the service of koicha**). __________ *That is, arrangements in which the tea utensils are mixed with the incense utensils on the same large tray. These kazari were probably originally championed by the Shino family during their kō-kai [香會].

†See, for example, the following posts:

◦ Nampō Roku, Book 5 (43): Cha-Kō Midare-kazari on the Shaku-nagabon (1).

https://chanoyu-to-wa.tumblr.com/post/629996204363857920/namp%C5%8D-roku-book-5-43-cha-k%C5%8D-%E8%8C%B6-%E9%A6%99

◦ Nampō Roku, Book 5 (44): Cha-Kō Midari-kazari on the Shaku-nagabon (2).

https://chanoyu-to-wa.tumblr.com/post/630084902954614784/namp%C5%8D-roku-book-5-44-cha-k%C5%8D-%E8%8C%B6-%E9%A6%99

◦ Nampō Roku, Book 5 (45): Cha-Kō Midari-kazari on the Shaku-nagabon (3).

https://chanoyu-to-wa.tumblr.com/post/630175508950302720/namp%C5%8D-roku-book-5-45-cha-k%C5%8D-%E8%8C%B6-%E9%A6%99

Other arrangements were also possible.

‡The three entries cited above all include a dai-temmoku and a chaire, but in none of these cases is the chaire referred to specifically as a taikai (and, unless it were a very small taikai -- such as one 2-sun 5-bu in diameter -- it would be difficult to include a taikai along with all of the other utensils). Perhaps the addition of the word taikai was intended to indicate that this chaire was supposed to be of a lower status (since it was mixed in with the incense things, rather than being appreciated “in its own right” -- which would have been the way that chajin of the Edo period would have interpreted this kazari)?

The Shino family’s treasured chaire, named Kisakata [象潟], seems to have been a katatsuki. (In that period, it was exceptionally rare for anyone -- even dedicated chajin -- to own more than one chaire; and the Shino family, with their focus on incense, served tea incidentally, and so would have been even less inclined to go to the expense of owning several).

**While this may have been the later machi-shū interpretation of this kind of arrangement, since the shaku-naga-bon cannot be lowered to the mat during the temae, there is nothing else in the Nampō Roku that supports this argument.

⁴Mae no kō to iu ha kyaku-rai shoin [h]e chaku-za-shite yagate kō ari　[前ノ香ト云ハ客來書院ヘ着座シテヤガテ香アリ].

This sentence, and the three sentences that follow (footnotes 5 to 7), are found only in Shibayama’s version of the text*.

Kyaku-rai shoin [h]e chaku-za-shite yagate kō ari [客來書院へ着座して軈て香あり] means "soon after (yagate [軈て])† the visitors (kyaku-rai [客來]‡) have taken their seats (chaku-za-shite [着座して]) in the shoin (shoin [h]e [書院へ]), (the appreciation of) incense takes place (kō ari [香あり]).

This is an explanation of what the expression “mae no kō” means.

In fact, chajin had been moving the appreciation of incense to the end of the sumi-temae since Jōō's day. __________ *Which accounts for the highly anachronistic language that is found in them.

†The word yagate [軈て] has the nuance of something being done “immediately” -- in other words, just after the host and guests have finished their exchange of greetings. Therefore, the appreciation of incense will, according to this, apparently precede the sumi-temae, rather than follow it (as had become the norm during the Edo period).

After the appreciation of incense the host will have to attend to the fire, and then serve the meal. This puts a lot of pressure on the shita-bi. But if the sumi-temae is further delayed until after the meal has been finished (as was the usual way for things to be done during the Edo period -- as well as today -- when the furo was being used), it can almost be guaranteed that the shita-bi will have long since burned out before the host gets around to laying the charcoal around it. (When the tadon is lighted by placing it beside the shita-bi, it will actually cause the shita-bi to burn more strongly, and so go out sooner -- though the fire may calm down a bit after the tadon has been removed).

During the Edo period, Rikyū’s teaching regarding the significance of the fire (and its importance to the timing of the whole gathering) was forgotten, and it is out of this basic ignorance that explanations such as the present one began to appear.

‡This is not the way that the guests were ever referred to in tea documents from Rikyū’s period.

⁵Usucha ha nodo no kawaki-shidai itsumo nomu-koto yue, fudan ni kazari aru nari　[薄茶ハ喉ノカハキ次第イツモノムコト故、不斷ニ飾リアルナリ].

Usucha ha nodo no kawaki-shidai itsumo nomu-koto [薄茶は喉の乾き次第何時も飲むこと] means “whenever someone’s throat feels dry (nodo no kawaki-shidai [喉の乾き次第]), (we) always drink usucha (usucha ha...itsumo nomu-koto [薄茶は...何時も飲むこと]).”

Prior to the general acceptance of sencha [煎茶]* (steeped green tea), usucha was the usual drink of the upper classes whenever anyone felt thirsty†.

Fudan ni kazari aru nari [不斷に飾あるなり] means (because usucha was commonly drunk for the most mundane of reasons) its (utensils) were always displayed‡.

This seems to be saying that displaying the usucha-ire and usucha-wan was something that was done at any time, so their presence seems to have no special significance**. __________ *Sencha seems to have been first drunk in Korea, at the beginning of the sixteenth century (perhaps because the tea mills and the other utensils needed for preparing matcha had been destroyed during the persecution of Buddhism during the previous century); and it was probably introduced to the Japanese monkish communities not long after. However, sencha does not seem to have become the common drink of all classes of the Japanese citizenry until the second half of the seventeenth century.

†Water drawn from wells within the city was generally considered unsafe (as a result of household sewage seeping into the water table), at least until it had been boiled. And while boiling might make it safe to drink, unflavored water was usually considered unpalatable. (This is why a big fuss was made whenever “special” water was obtained for chanoyu -- since the determining factor was that this water did taste good by itself. It is also why kō-sen [香煎], savory barley powder used to flavor hot water before drinking, became a “thing.”)

‡Many of these idiomatic expressions would have been completely out of place in Rikyū’s period. For example, rather than fudan ni [不斷に], Rikyū and his contemporaries would have used something like tsune ni [常に].

**That is, they are not indicative of when, during the gathering, usucha will be drunk.

This way of thinking is, of course, completely out of place, in so far as Rikyū’s chanoyu would have been concerned. (Displaying the container of matcha above the furo for a prolonged period of time would cause the tea to degrade. Since the matcha used for usucha was already inferior -- either because it was ground from the inferior-quality leaves that had been used as packing material, or because it was matcha that was left over after the host had served koicha previously (opening the chaire several times over the course of that temae would have resulted in the loss of too many of the volatile constituents, thus rendering the remaining matcha no longer suitable to be served as koicha) -- keeping it in a warm place for a long time would have made the tea undrinkable.

While it would perhaps be logical that the chawan and chaki should be moved toward the center of the ten-ita once the dai-kō-bon has been removed (perhaps this was why these things were included in the kazari in the first place -- so that the ten-ita would not be left empty, since that might suggest that the gathering was going to come to an end following the appreciation of incense), nothing is actually said to address this issue.

⁶Ato no kō to ha shoku-go koicha sumite sono-nochi kō ari　[後ノ香トハ食後濃茶スミテ其後香アリ].

Ato no kō [後の香] means that incense will be appreciated during the goza.

Shoku-go koicha sumite [食後濃茶濟みて] means after the service of koicha, which follows the meal, has been concluded. Between the end of the meal and the service of koicha the guests usually left the room for the naka-dachi*.

This means that the appreciation of incense occurs at the end of the go-sumi-temae (and so takes the place of burning incense in the furo and the haiken of the kōgō)†.

Since the kama is also replenished (from a mizu-tsugi [水次]‡) at this time, it will take the kama 10 or 15 minutes to return to a boil, thus the appreciation of incense will give the guests something to do while waiting for the water to be ready.

As mentioned under the previous footnote, this sentence is found only in Shibayama Fugen’s teihon**. __________ *Often the meal was served somewhere other than in the shoin, so the naka-dachi included the relocation of the guests from one venue to the other (which may be why the word naka-dachi does not appear in this text).

†The format for the goza where the koicha-temae was followed by a go-sumi-temae, and then the service of usucha, was a machi-shū practice that dated from Jōō’s middle period. When things could be done so that the kama was still boiling strongly during the service of koicha, Rikyū generally preferred to serve usucha immediately (using the matcha remaining in the chaire, since it could not be used again to serve koicha in any case).

Rikyū also seems to have disliked including the appreciation of incense during the goza -- since doing so has no practical value with respect to the purpose at hand (which was to appreciate the tea). According to the records of his own gatherings, the only time incense was included was when the guests arrived at dawn during the ro season, so that including the appreciation of incense would keep them engaged in the gathering while waiting for the cold kama to slowly come to a boil -- since Rikyū was averse to serving multiple courses of food during his kaiseki.

‡While the modern schools tend to prefer using a kiji kata-kuchi [木地片口], this practice began with Sōtan. Rikyū seems to have used a lacquered kata-kuchi (which was based on the precedent of Yoshimasa’s usage), while also allowing for the use of a metal (usually beaten copper) mizu-tsugi.

**It also occurs in Tanaka Senshō’s “genpon” version of the text, which is largely the same as what is found in Shibayama’s book. (As I have mentioned before, the precise relationship between these two documents is difficult to say with certainty: Tanaka’s genpon text was a block-printed edition, that was published at the end of the eighteenth century as a challenger to the more widely available versions of the Nampō Roku that were more faithful to the Enkaku-ji manuscript; while Shibayama’s teihon was a hand-written version of the Nampō Roku made by one of the Enkaku-ji scholars, as his own personal copy of the text -- which also included interlinear comments and marginalia based on the work of the Enkaku-ji scholars -- though whether that manuscript was the ultimate source of the published version, or whether it incorporated material from the block-printed edition, is unclear. The differences between these two versions can be interpreted either way.)

⁷Saru-yue ni kanarazu cha-gu・kō-gu hitotsu ni kazaru-koto nari　[然故ニ必茶具・香具一ツニ飾ルコトナリ].

Saru-yue ni [然るゆえに] means because of that, for that reason -- referring to the previous sentence that sates that incense will be appreciated during the goza, following the conclusion of the service of koicha.

Kanarazu [必ず] means certainly, surely, inevitably, unavoidably, always.

In other words, it is because the appreciation of incense will immediately follow the koicha-temae that the incense utensils are displayed on the ten-ita of the daisu together with the usucha utensils: because mon-kō [聞香] (appreciating incense from a hand-held censer that is passed around the room -- usually three times) is effectively the last part of the go-sumi-temae, the service of usucha will follow immediately thereafter -- and the presence of the usucha utensils on the daisu is intended inform the guests of the host's intentions (so they will be mindful of the hot water* -- since the usucha-temae must be finished, and the guests take their leave, before the kama stops boiling again). ___________ *When incense was being appreciated in this way, it was common for one or more of the guests to also offer a piece of his own treasured incense (which people of culture were want to carry around on their person in the event of just such an eventuality). Because that could prolong the time spent on appreciating incense far beyond what the host had anticipated, the guests must self-police themselves -- since the purpose here was to keep them occupied with incense while the kama was returning to a boil, rather than indulge in the appreciation of incense for its own sake.

⁸Ko-hō no kazari yue sōden-su to iedomo, cha-gu・kō-gu betsu-betsu no kazari, mae-go tomo ni sabaki yoki yue　[古法ノカザリユヘ相傳ストイヘドモ、茶具・香具別〻ノカザリ、前後共ニサバキヨキユヘ].

Ko-hō no kazari yue [古法の飾ゆえ] means “because this arrangement is based on the old way of doing things....”

Sōden-su iedomo [相傳すといえども] means “even if it has been handed down (within the corpus of secret teachings)....”

Cha-gu・kō-gu betsu-betsu no kazari [茶具・香具別々の飾] means “the tea utensils and incense utensils (really) should be kept separate....”

Mae-go tomo ni sabaki yoki yue [前後共に捌きよきゆえ] means “it is better to deal with them separately, both before” (i.e., during the shoza) “and later” (in the goza).

In fact, this way of doing things seems to have been based on one of the Shino family’s arrangements, from the time before the chakai even existed. For them, the appreciation of incense was paramount, and tea was simply part of the refreshments that were served at the end of the gathering, while the participants read and discussed the poems that had been inspired by the incense. Thus, the idea was apparently to integrate the drinking of tea (and the discussion of the poems that would take place at that time) into what was actually a celebration of incense (and the state of samadhi that this practice was intended to induce). All of this would have been incomprehensible to the chajin of the Edo period, who had lost touch with the understanding that there was a connection between these arts and the cultivation of samadhi; and who had been taught to keep the different arts completely separate from each other (and so would have taken the subservient role played by tea in the Shino’s gatherings as insulting).

⁹Shiite cha・kō wo konomu-bekarazu, Kyū ha mōsare-shi nari　[シヰテ茶・香ヲコノムベカラズト、休ハ被申シ也].

Shiite [しゐて, しひて = 強て] means to insist upon something; to compel or force (the guests to participate in the appreciation of incense).

Konomu-bekarazu [好むべからず] means must not take a fancy to (including the appreciation of incense in the chakai); should never wish to/be inclined to (include the appreciation of incense in the tea gathering).

In other words, Rikyū appears to be declaring* that the host should never take it upon himself to deliberately include the appreciation of incense in the program of his chakai.

Shibayama’s teihon has shiite cha・kō wo sukanu, Kyū ha mōsare-shi nari [シヒテ茶香ヲ不好ト休ハ被申シナリ].

Sukanu [不好 = 好かぬ] means to not care for (including the appreciation of incense during a chakai), while konomu-bekarazu [好むべからず] is more of a prohibition -- should never wish to (include the appreciation of incense in the program of a tea gathering).

Since, of course, Rikyū actually did include the appreciation of incense on occasion† (albeit when there was a valid reason for doing so -- such as to keep the guests occupied during the long wait for the large ro-gama to come to a boil at dawn), he could hardly have offered this unqualified condemnation of the practice here. This, therefore, illustrates the the antagonism that had developed between the various arts during the early decades of the Edo period was becoming less virulent (as chanoyu became more and more an elegant pastime, with the focus on the host's showing off as many of his treasures as possible‡ over the course of the gathering). __________ *The declaration of this prohibition is put into his mouth by the author of this text.

However, since the inclusion of mon-kō would necessarily require the host to make certain preparations beforehand, the statement appears to be too forceful.

On the occasion of the famous snowy-dawn gathering, Rikyū had not invited anyone to come for tea. Still, when he became aware that a guest (Tennōji-ya Sōkyū) had let himself into the koshi-kake, Rikyū took the initiative to prepare a kōro and burn a piece of famous kyara -- as a way to distract his still unknown guest (while he sent someone off to get some water from the Samme-ga-i, in honor of the beauty of the occasion).

On another occasion, when several guests (Shōrei oshō [笑嶺和尚] and Hosokawa Yusai [細川幽齋]) came to his residence at dawn, Rikyū invited them to appreciate incense while the kama was heating (since it had just been put into the ro, and its water was still cold; meanwhile, neither of these guests would have enjoyed a large and heavy meal at such an early hour, even if it could be made ready so quickly).

While it could be argued that, on neither of these occasions, Rikyū planned to include the appreciation of incense before the fact, he obviously had both an incense burner and his treasured kyara [伽羅] readily accessible (rather than having to go search for them in his storehouse); and on neither occasion does he seem to have consulted with the guests beforehand, but rather took the initiative -- believing that his guests would have no objection to this unexpected interpolation.

†And, of course, he would have had no reason to declare -- on numerous occasions (according to his various densho) -- that, when the furo was being used, the haiki should be brought out only when the appreciation of incense was going to be included in the gathering unless doing so was acceptable.

‡High-quality kyara incense wood was an extremely expensive commodity -- especially in the pre-modern era where it was usually sold as a large chunk of a branch or trunk (rather than as the tiny fragments that are still sold for exorbitant prices at the incense shops today) -- or even more so, when the host managed to acquire a tiny piece of one of the named varieties of kyara that had been part of Yoshimasa's collection.

¹⁰Kyōji・koji no tate-yō, kaku-no-gotoki, hai-oshi no kashira ha kayō ni mukau-beshi to iu-iu　[キヤウジ・コジノ立ヤウ、如此、灰ヲシノ頭ハカヤウニ向ベシト云〻].

Kaku-no-gotoki [如此] means “just like this” -- and is a reference to the drawing (Shibayama Fugen’s version of which is shown below).

Here, Shibayama Fugen’s version provides us with additional verbal guidance (since the drawing is rather vague unless one already understands what it is intended to depict): kyōji・koji no tate-yō, kaku-no-gotoki tatsuru hai-oshi ha kayō ni geza no kata [h]e mukau-beshi to iu-iu [キヤウジ・コジノ立様如此立ル灰オシハカヤウニ下座ノ方ヘ向ベシト云〻]. The primary difference is that here the author has specified that the head of the hai-oshi (the flattened part that is used to press the ash in the kōro into shape) should be oriented toward the lower seat.

Even when incense is appreciated at the end of the sumi-temae (meaning that some of the kō-gu can be replaced by things routinely used during the sumi-temae), the number of objects standing in the koji-tate will be far greater than what is shown in the drawing† -- whose only purpose is to show where and how the hai-oshi is oriented. __________ *In Shibayama’s teihon, the drawing was actually inserted into the text at this point.

†The photo under footnote 1 shows the things that are usually included in the koji-tate when mon-kō is taking place in the context of a chakai.

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lesbianhidemi · 3 years

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alignment chart for people from/related to the organization

#yes shuichi is functional bi at most but he's sometimes borderline disaster bi ESPECIALLY as okiya subaru #gin is the distinguished gay but also a h*moph*bic gay dbbhddhsjns #detective conan #gin #hiromitsu morofushi #rei furuya #vermouth #shuichi akai #rumi wakasa #curacao #hidemi hondou #chianti #rumi is there although not from bo bc she's closely related to the haneda koji death #and she really is a chaotic bi hshfhdhdh #dcmk

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kojiarakiartworks · 3 years

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February 2003 JAPAN TOKYO

Daily life and every small thing is the gate to the universe ：）

#2003 #February 2003 #JAPAN #TOKYO #Tokyo International Airport #Haneda airport #b&w photography #photography #original photography #koji araki art works #Passenger plane #sky #cloud #SONY Cyber-shot DSC-F77 #Cyber-shot #SONY

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ohwhytheskateboard · 5 years

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logical

#dc #detective conan #yiissssssssssssssss haneda koji murderrrrrrr #finally some good bo stufffff

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hnnyoongs · 3 years

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akai shuichi headcanons

shuichi wears a beanie all the time because he's self conscious about hir hairline .... and I mean who can blame him? id be too

shuichi saw gin when he was visiting Japan in the 10 years ago flashback and was like ooh long hair is cool AND it'll piss ka-san off flash forward 5 years later when shuichi infiltrates the BO and is like fUck cool long hair dude is a psycho

shuichi cut his hair off when he heard akemi was killed by gin he kinda went into the whole mental breakdown mode and was like fuck this shit because he started growing his hair out cuz of gin and also akemi really liked his long hair

shuichi used to be a band kid when he lived in England and wanted to pursue a career in music (much to the chagrin of Mary) but after tsutomu disappeared he was like fuck that and stopped playing until he entered the BO

shuichi has a really bad memory about things that dont have to do anything with his job kinda like BBC's Sherlock but not as bad

shuichi used to find dead bodies when he was a kid just like shinichi but it wasn't as often maybe like a dead body once a year or something

shuichi named himself dai because that's what Mary actually wanted to name him when she was giving birth she was screaming die die die and tsutomu wasn't there yet so she was like aight die sounds like the japanese name dai the only reason shuichi wasn't named that was that tsutomu burst in and was like FUCK NO

shuichi was picked on when training for the FBI since compared to 6 foot jock white men shuichi was a 5 foot 7 asian with long hair and dressed like a teenage girl who frequented Starbucks in the toxic environment of the FBI for anyone who doesnt fit the mold shuichi had it cut out for him

shuichi showed signs of multiple mental illnesses but they were all difficult to pin down so he was never diagnosed with anything since he refused to talk at the FBI mandated therapy sessions

shuichi's type is someone who is kind but could wield a gun

he used to dislike kids but being around them as okiya has made SOME kids special in his heart

before tsutomu's disspeareance he taught shuichi how to hunt with a shotgun

shuichi lived off of sports drinks and bars whenever he was single since he couldn't rely on take out due to it being unhealthy which wouldn't help his FBI styled life

shuichi taught akemi simple self defense techniques but refuses to teach her how to shoot a gun saying he didn't want her hands to get dirty

shuichi and shukichi blackmail each other for favors by using the "ill tell ka-san you did that one thing that you blamed dad for when we were kids if u dont help me out"

scotch once told him that bourbon's type was a white milf (in reference to Elena who was white and was a mother) so shuichi was scared as fuck when rei met Mary's adult self for the first time

shuichi hates being compared to his mother but the truth is they're the most similar and they both started mimicking tsutomu after his disappearance

the only thing shuichi knew how to cook before meeting yukiko was plain white rice as that was the only thing tsutomu was able to teach him

shuichi mimics an American accent while talking in America or talking in English unless he's talking to his family or he's mentally shook up and his British accent slips out

he thinks in British accented English as well (idc if the animanga shows him thinking in japanese it makes no sense that western raised people like Jodie and camel think in japanese) but he does use some japanese like ka-san and when he's trying to get deep into his okiya persona

he tries very hard to keep the polite speech patterns of okiya Subaru since as akai shuichi he's very .. rude

shuichi's sniper skills were so good the fbi was willing to overlook his disrespect of authority and his tendency to do everything by himself without consulting everyone

shuichi slips into a British accent around James if he's feeling really comfortable

he felt bad about using shiho since she was only a year older than masumi and she hadn't done anything wrong so he vowed to get her and akemi out of the BO

he had a plan to get akemi and shiho out by convincing the higher ups to grant them immunity if they testified but akemi's death derailed the entire thing

he hates to admit it but his family is the most important thing to him he may not contact them that often but he's going to such lengths to bring his father back because he cares for his family so much

shuichi didnt really know what he wanted to do with his life once he took down his father's pursuers but after akemi and scotch he decided that if he solved his father's disappearance first he'd hunt down the BO next tho once learning that Haneda Koji’s death had something to do with the BO he's back at the thing where he doesn't know what to do with his life without revenge

he promised shukichi that he'd be the one to solve shukichi's death if what happened to Haneda kohji also happens to shukichi

he isn't a fan of dates in amusement parks but if it makes his partner happy and smile he'll have fun

dating Jodie was a quiet thing most likely from an attachment maybe due to a bad case or a loss of a mutual friend depending on the agency they might have been legally allowed to date each other but it is usually looked down upon I dont think they went out together often probably spending time together at home ... doing stuff

he identifies as bisexual it was normal to him in childhood since both Mary and tsutomu talked about their past relationships to their children he never told anyone due to the fact it would affect his FBI status since it was illegal in America shukichi and Mary know he's bi but shuichi has no idea Mary knows

akemi and shuichi would take strolls in parks go shopping and go to cafes

he's very self conscious about his height and whenever he goes to Japan it makes him feel good about himself since he's relatively tall there

Mary was the one who drilled japanese into his head not tsutomu

the last time shuichi talked to Mary was when he called her up to tell her to take masumi and leave Japan for Britain after masumi cornered him and scotch him and Mary had a whole argument and after that they stopped talking to each other, not that they talked to each other much in the first place

shuichi learned jee kun do by watching training videos from vhs tapes/cds/YouTube depending on when you consider detco taking place I personally believe conan shrinks in 2018 meaning that tsutomu disappeared in 2001 and shuichi used a mixture of tapes and cds to learn

shuichi can read people really well but has a hard time manipulating people by being nice he can use people by being a jackass very well but trying to be a normal person is hard for him

Yukiko and yusaku remind shuichi of his parents before tsutomu disappeared but like more upbeat

shuichi dislikes full body hugs

akemi and shiho were both anime and romance drama fans so he knows random things about the shows and uses that info to connect with the DB and especially haibara

he considered himself British first and foremost but when asked about whether he considers himself white or asian he'll always go with asian

he started smoking soon after his father disappeared since his father used to smoke and he needed to cope but didn't wanna fall into drugs like cocaine

smoking is heavily looked down upon in America and is seen as unprofessional which helped shuichi go undercover a bunch due to him being a heavy smoker

akemi would make him stop smoking around her and shiho saying that second hand smoking was dangerous and that shuichi who was smoking constantly was going to get lung cancer but he would tell her that he just couldn't stop smoking he did stop smoking around shiho and akemi tho going outside to do it instead

as okiya it makes him go wild because he desperately needs to smoke to cope but okiya cant smoke it doesnt fit his image so he smokes a shit ton at night during his nightly drives

shuichi forced himself not to smoke during his time visiting Japan when he met masumi because he knew Mary would get even more upset with him

shuichi was terrible driving American styled cars and he got so upset that he perfected his drive-in techiuque over the years just to spite the instructor that said he was barely passing

he likes to go on late night drives and speed on the high way because he's a thrill seeking idiot

he has no social media but he created on as okiya Subaru to keep an eye on haibara's higo stan account

he takes offense to the idea that he's stalking haibara he's just p r o t e c t i n g her

he wants shiho to be happy more than anything so he's an avid coai shipper and is exhausted in Conan's obliviousness

shuichi didnt tell shukichi he wasn't actually dead shukichi just walked up to okiya Subaru one day and was like shuuichi-ni-san right? shuichi has long stopped questioning shukichi's weird ways of knowing shit he shouldn't know

shuichi is a sherlockian but he's not like shinichi or hakuba in that he does not hate BBC's Sherlock and actually enjoys it a bit

one upside to shuichi living in America is that he gets to hoard guns because he's obsessed with them he thinks they're really cool it's like conan with Sherlock he starts yapping his mouth of about them

bourbon once dangled a gun on in front of a sleeping shuichi cuz he didnt believe scotch when he said that rye was obsessed with guns and started saying incorrect shit about the type of gun he was holding and shuichi just shot up and started berating him

shuichi hates that chianti is a killer because she's the only person who's as much as a gun fanatic as he is

he tends to steal Jodie's car a lot

he likes fucking with peoples heads it's very fun to him to watch them get all worked up

shuichi hasn't mourned his father yet because he doesnt believe his father’s dead

deep down he blames his father for his mother going slightly bonkers

he didnt want masumi to be a detective at first but now hes proud of her

he drinks a lot as okiya Subaru since he cant smoke as much

he's willing to go to hell if it means he can rip gin from limp to limp

he really hates gin yall I dont think I can convey how much he hates gin

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loropechika · 2 years

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Wakasa Rumi theory

I know that most people suspect that Rumi is Asaca however this theory has a few holes. Asaca is said to be a woman simply because of a mirror however there is also the possibility that Asaca was a man. If Rumi is Asaca it means she was super awesome sauce and ready to work as a body guard for some really wealthy and important person only at the age of 20? Which I dun think it is very likely.

So, we know that in this case Rum was involved and that he likes to change his appearance , given that there have been reports of him being a woman as well and not just a man. Asaca was Rum and he was supposed to keep an eye on Amanda and kill her most likely. Quite possibly Haneda Koji got caught up in this whole thing because Amanda was his fan.

When Koji died, most likely Amanda and Rum(disguised as Asaca) were there in Haneda’s room. Perhaps Amanda figured out that Asaca was Rum and she perhaps wanted Haneda’s help or Haneda for some reason was already aware of the BO but for this I have no evidence and it is just speculation, either way the possibility of him not being too connected and just a “side victim” is much more likely. Perhaps Amanda wanted to leave with him some info she had, my suspicion is that Amanda who has ties with FBI and CIA was prob an executive for them , she felt the danger and tried to convey it to someone available at the moment, Haneda, however, Asaca/rum followed her there and bfore Koji was to know more things he was given the APTX 4869 and was killed in front of Amanda’s eyes then because it would seem strange, Rum subdued Amanda easily , she was old after all, and as such brought her to the hotel to kill her, perhaps gave her the APTX 4869 the first version I assume, the one Hell Angel made.

Now for some reason, this is the screw up Rum did, he did not confirm that Amanda died , perhaps at that moment Tsutomu Akai arrived there -- would not be surprising for another agent to be in on this case or even by chance he followed Rum when transporting Amanda to her place to kill her there . either way I believe Tsutomu got in his way which was probably the reason why he had to ‘disappear'. So Tsutomu got in the way and Rum had to flee to not be caught at the scene hence the bodyguard poofs. This leaves Tsutomu finding Amanda perhaps reverted to a much younger age [ prob this pill had that effect on her. like it did with Conan] so now Amanda is back to being young and there is no Amanda body which meant only one thing. They had to fake the death and it would not be hard if she asked for help from FBI or CIA [ i would assume CIA? ] or even MI6 since Tsutomu was there...[ but this is crazy speculation and I have no great evidence for the MI6 scenario] either way though Amanda had to fake her death [ the same shinichi did ] and went into hiding. Now the problem with the eye that Rumi has might be because of her fight with Rum in Haneda’s room.

another reason why i think that we are being hinted towards the Amanda is Rumi theory is because of the lipstick color both Rumi and Amanda wear.

how is Kuroda connected to this case? We dunno many things yet but from my guess , he has deduced that Rum was in on this case and as such he is interested since it is B.O. case.

#detective conan #detective conan theory #wakasa rumi #asaca

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tsuri-chan · 1 year

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Episode 1045-1046: The Birthday Party of Divine Punishment

Based on volume 98-99, files 1047-1050

Plot in five keywords:

At a birthday party of a model and her sister

They should save the girls from a stylist who tries to get closer to the girls

After the cake gets cut, the stylist is poisoned and the “divine punishment” is written on his forehead

The only person who’s carrying a functional marker is the model’s sister

What about the black spot that was found on the ground and the marker that was found in the kitchen

Important plot development:

First appearance of Yumi Sekizawa

Conan carries a pill with him. Sera notices it and calls Mary to tell her about it

Mary tells Masumi that the APTX wasn’t in a blue-white capsule, so it must be some kind of antidote

Mary tells Masumi to get the antidote

Mary got poisoned by the APTX in London at the Vauxhall Bridge. She met Tsutomu who kissed her. Later it turns out that it was Vermouth in disguise, who poisoned her during the kiss

We get to know that Tsutomu wanted to get to know who killed Koji Haneda but only found out that it was a big organization that found out about him and he had to flee. He didn’t call Mary for 10 years because of his amnesia and we get to know that he wanted to return to the MI6

Vermouth’s disguise is revealed when Mary talks about her daughter

We get to know that Mary is an MI6 agent

Vermouth spent quite a while in London, being disguised as Tsutomu Akai

Mary told Masumi that she should leave London immediately if she doesn’t return after meeting Tsutomu

Vermouth wasn’t able to infiltrate the MI6

Sera steels the medication box from Conan but the antidote isn’t inside

Mary’s cough is caused by the APTX

Mary and Masumi watched the tennis match of Minerva Glass and spotted Conan. As they’ve met him at the beach years ago, they knew he should be the age of Masumi but he’s still a small boy

THE MI6 did research on Shinichi Kudo. They told Mary that Shinichi was on the passenger list of a flight, that he doesn’t have a little brother and that he’s travelling with people who aren’t his family. He also stopped his detective work in Japan half a year ago and a small boy appeared at the crime scenes more often. With this information, Mary deducts that Shinichi also got shrunken and has some kind of antidote for travelling

Rating:

9/10 marker

This is a very interesting case, but obviously the plot relevant parts of Masumi and Mary are a bit more interesting. Therefore, you should definitely watch it.

#detective conan #Detektiv Conan #dcmk #episodes #rewatch #episode1045 #episode1046

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mrs-tsunderemeitantei · 3 years

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Wakasa Rumi Theory Series: Part 2 of 3

Hello lovelies! This is my second part of my Wakasa Rumi Theory that will go over my thoughts about Haneda Koji's murder and his dying message.

WARNING: SPOILERS AHEAD

Just for reference, I already covered the first three points in Part 1 and the ones in bold are the ones I'm covering in this post:

Why I think she's Asaca.

Her probable relationship to Haneda Koji.

How she became Amanda's bodyguard.

What might have happened on the day of Haneda Koji's murder.

How Haneda Koji's dying message directly refers to RUM as his killer.

Why Wakasa went on a hiatus for 17 years since the murder.

Reason behind Haibara liking Wakasa.

With that out of the way, happy reading 😁💛.

4. What might have happened on the day of Haneda Koji's murder.

So based on the blog that uploaded, we know that two people were killed in each of their own hotel rooms; Haneda Koji and Amanda Hughes (an investor who holds powerful connections to the FBI and CIA). While Haneda Koji showed bruises and signs of struggle against his assailant, the actual cause of his death was unclear, as well as with Amanda Hughes. (In reality, the cause of his death is because of APTX-4869 and the same can be assumed for Amanda). Both rooms were left in a total mess with crockery and glass broken as well as taps left running in the bathroom. Amanda was a huge fan of Haneda Koji and happened to visit him in his room the day of the murder before they were killed. Also on the same day, her bodyguard whom she called 'Asaca' disappeared and she is the main suspect of the murders. Interestingly, something else went missing from the crime scene which was Haneda Koji's Watchtower Bishop (a shogi piece he deemed as his lucky charm). His family is convinced he would never parted without the shogi piece and whoever has it must be the murderer.

All these accusations point to Wakasa because not only has she disappeared for 17 years and her identity is shrouded in mystery, but she also has the exact shogi piece that went missing from the crime scene...So, what exactly happened?

Based on the fact that only Haneda Koji's body was bruised, I'd say he put up a fight after witnessing Amanda's death. The likelihood that he used the taps in her bathroom to cut the mirror before fleeing to his room where he was then finished off is very possible. Why? The case similar to 17 years ago foreshadowed it.

I'm guessing when Amanda was murdered, Wakasa was probably out for whatever reason and upon her return, she saw Amanda's state. She then walked in and saw Haneda's body. The reason why I'm convinced she discovered their bodies and did not happen to be there when they died was her reaction in Chapter 1032 to blood and her obvious knowledge about how bodies do not necessarily smell until days later after their death. This could very well imply she lived through this before, which is why she is so knowledgeable of the topic. And smelling blood, reminded her of when she found Haneda dead in his room.

She then noticed the cut up mirror with one part of it looking like a shogi piece. As she picked it up, RUM returned to clean up and they ended up struggling in a fight before she managed to escape. The reason why I think Wakasa was in a physical fight with RUM was how triggered she seemed when she saw him leave the school after his delivery. The way she looked at him with such apprehension, it shows as if she were remembering their interaction before.

She would turn out to be RUM's mistake. He couldn't finish her off and not only did he leave a loose end, but she also ran away with a crucial part of Haneda Koji's dying message, leaving RUM unable to fully destroy the crime scene. Also RUM is clearly aware of its significance to Haneda Koji's dying message. Especially after he not-so-subtly mentioned it to Conan in Chapter 1057.

The final thing in relation to this part of the theory is Wakasa's flashback of Haneda Koji in the Collecting Edible Wild Plants Chapter. Why was she calling him a fool? It made a lot of sense when I found out the actual meaning of the proverb Haneda Koji said in her flashback.

The proverb he said is 'with a watchtower bishop there must be a brilliant move'. This proverb translates to the Bishop should stay at a distance while aiming at the opponent's camp rather than approaching them directly. Now that we know the actual meaning of the proverb, Wakasa's words make more sense. She guessed that he probably underestimated RUM and approached him rather than escaping him. Hence why Wakasa refers to him as a foolish person because in the end he got himself killed. Not because she thinks he's a fool and she managed to kill him. Again, a classic on Gosho's part to frame innocent characters as threatening and dangerous when the truth is she is just extremely upset over his death. Her collapse to the ground shows just how much Haneda meant to her. If anything, she probably like Rei, feels guilty she couldn't save him in time, which is why the memory of him is so triggering to her.

Phew, finally done with the fourth point 😂 There really was so much to unpack there. Anyways, I hope it made sense...

5. How Haneda Koji's dying message directly refers to RUM as his killer.

Now that it has been confirmed that RUM is Wakita, I'll be showing how Haneda Koji's dying message refers to "RUM", aka Carasuma's number 2.

The key to solving the message lies in the broken mirror and linking it to the shogi piece. Akai and Yusaku already solved the true meaning behind the broken mirror. The remaining pieces on the mirror had the letter PTON. These letters are not needed and the letters that do matter are the scattered ones from the original 'PUT ON MASCARA'. If we remove PTON we are left with U MASCARA which was then rearranged to CARASUMA. However, one letter in particular was cut out in the form of a shogi piece. If we write 'CARASUMA' with the shogi piece border around the letter U, it will seem as if it is hinting to another message within CARASUMA. That would form a word: UMA. UMA translates to Dragon Horse and is the promoted version of the Watchtower Bishop (the shogi piece held by Haneda Koji). (Promoted in shogi means to simply flip the original shogi piece to use its 'levelled-up' power...It's the same piece not two separate shogi pieces). Therefore, if we flip Haneda Koji's shogi piece, it will show UMA which is the more powerful form of the Watchtower bishop.

Anyways, what is the significance of UMA and how does it relate to anything? Well, Uma in shogi is the second strongest shogi piece. The strongest shogi piece is Dragon King (Ryū). Based on this we can assume this is the dying message. UMA of Carasuma (second strongest / number 2 aka RUM) of Carasuma killed me. This might seem too far-fetched but there was too much coincidence when I found out about Uma's strength as a shogi piece that it made sense to me to think that Haneda Koji's dying message points straight to RUM. However, I'm not sure how Haneda Koji figured out that RUM is Carasuma's number 2 in the first place. Maybe it was during his struggle against him before his death or maybe he overheard Amanda before her death talk about it, but so far this is what i came up with.

I hope you guys enjoyed this part of my theory. The final points will be addressed in Part 3 (linked here) so have fun 😁💛

(In cased you missed the first post, this is the link for Part 1)!

#dcmk #dcmk theories #dcmk character analysis #case closed #detective conan #wakasa rumi #rumi wakasa #wakasa-sensei #wakasa sensei #asaca #RUM #rum #Rum #Rum arc #RUM arc #Haneda Koji #case from 17 years ago #dc character analysis

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newsintheshell · 2 years

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The Faraway Paladin: il nuovo trailer ci prepara alla seconda parte dell’anime

Il 7° episodio della serie arriverà in streaming su Crunchyroll sabato prossimo.

Pubblicato un quarto trailer di “Saihate no Paladin” (The Faraway Paladin), la serie animata tratta dall’omonima light novel fantasy, scritta da Kanata Yanagino e illustrata da Kususaga Rin, attualmente in simulcast per l’Italia su Crunchyroll.

La prima stagione dell’adattamento prodotto dallo studio CHILDREN’S PLAYGROUND ENTERTAINMENT (The Fruit of Evolution, Tsukiuta The Animation 2) sarà composta da 12 episodi. Le puntate vengono distribuite in streaming, sottotitolate, ogni sabato alle 16:30.

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Il video introduce tre nuovi personaggi che prenderanno parte alla storia:

Reystov: Kenji Nomura (Geld in That Time I Got Reincarnated as a Slime)

Bagley: Minoru Inaba (Daruma Ujiko in My Hero Academia)

Ethelbald: Atsushi Tamaru (Akira Kunimi in Haikyu!! L’asso del volley)

Per quanto riguarda lo staff, l’anime è diretto da Yuu Nobuta (High School Fleet, Kuma Kuma Kuma Bear) e sceneggiato da Tatsuya Takahashi (I’ve Been Killing Slimes for 300 Years and Maxed Out My Level, Eromanga Sensei). Il design dei personaggi è invece affidato a Koji Haneda (Scared Rider Xechs, Yarichin Bitch-bu).

In una città in rovina popolata dai morti, lontana dalla civiltà, vive un ragazzino umano chiamato Will. È stato cresciuto da tre non morti: l'eroico guerriero scheletro chiamato Blood, la mummia sacerdotessa chiamata Mary e il mago spettrale chiamato Gus. I tre hanno insegnato al ragazzo ciò che sanno e gli hanno dato tutto il loro amore.

Il ragazzo inizia un giorno a chiedersi: “Chi sono?”. Will inizierà a scoprire i misteri dei non morti di questa città. Comprenderà l'amore e la pietà degli dei buoni, ma anche la paranoia e la follia di quelli malvagi. E una volta imparato tutto ciò, si cimenterà nella via che porta a divenire paladini.

Lanciata online nel 2015 sul sito Shousetsuka ni Narou, la light novel ha iniziato ad essere pubblicata da Overlap dall’anno seguente e attualmente conta quattro volumi.

Dal 2017 ne viene serializzata online anche una versione manga, curata da Mutsumi Okuhashi (Hai to Gensou no Grimgar), giunta al 7° volumetto.

* NON VUOI PERDERTI NEANCHE UN POST? ENTRA NEL CANALE TELEGRAM! *

Autore: SilenziO)))

[FONTE]

#the faraway paladin #anime #serie tv #manga #light novel #streaming #on demand #simulcast #crunchyroll #newsintheshell #cartoni animati #news in the shell #animazione #giappone #saihate no paladin

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1989nihil · 5 years

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whenever the gang is headed to Gunma, you either want to bite the table because of Yamamura, or you wanna gibbs-slap Yamamura.

But to his credit, he sometimes does get it right on his own, but for entirely the wrong reasons.

#Detective Conan #chapter 1032 #spoiler #ch. 1032 #and woah wait...#Rumi?!#don't tell me Rumi had a thing with Haneda Koji and is after the BO as well #that would mean Wakita is the only viable Rum suspect #because Kuroda does not have a fake eye and it's proven by M22 as well as the Police Women Murder Case that he is not BO #Wakita is Rum I am calling it #and srsly WHY ALWAYS AYUMI?!#WHY NOT HAIBARA FOR A CHANGE?#OR idfk CONAN???

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masterdetectivexx · 3 years

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Hi.. I like your theory very interesting, but actually I have quite for you, in Haneda Koji case there is piece of cup wrote on it Juke Hot and the shape of it like (car Nissan Juke) even this piece appears in every flash back of Haneda crime.. please make theory to clarify it.. thanks to you so much

Hello ^^

What you are referring to is "Juke Hotel". The broken crockeries in the room had the hotel name on them (File 948).

As for why these crockeries were broken, I think it was heavily implied that Haneda Kohji himself broke them. In the same case that the Kohji case was introduced, that had a similar dying message (File 950), the victim Hiyama had thrown the Fusae glass with missing letters at the culprit to break it and hide the fact that letters were missing. Conan and Subaru made connection and realized that Haneda Kohji likely broke the plates and cups in order to camouflage the broken hand-mirror with missing letters.

#detective conan #haneda kohji #the kohji case #broken crockeries #broken hand-mirror #dying message camouflage #juke hotel

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redstarling · 4 years

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Good day admins! Here the same anon that previously asking about Jodie's whereabout. So I've read a theory post about possibility that Vermouth is Jodie's real mother and Mr. Starling is BO's mole. Do you think the theory plausible? I've also got a hunch that Tsutomu knew BO because he already knows much from Mr. Starling that got many BO info=both RedStarling father already knew each other (fluff: already arranged marriage between them)

Hello Anon!

I think I’ve read about the theory of Vermouth being Jodie’s mother, but I honestly doubt that. I just get the feeling that, if Jodie was her daughter, Vermouth would have known. When we see her being chased by Jodie in Episode One, Vermouth is on the phone with Gin and tells him that she has to “outdrive the kitten from the FBI” first.

She doesn’t seem to recognize her in that scene and later at the harbor in Japan, she’s even surprised that Jodie is that girl she thought died in the burning house of her father.

And even then, she just calls her “kitten from the FBI” instead of anything else that could hint or show that Vermouth is indeed her mother, and not just the murderer of her father.

About Tsutomu: I have no idea. I don’t actually think he knew Jodie’s father, because he’s been dead already by the time Koji Haneda got murdered. Tsutomu only went to America after Koji’s death on behalf of his friend/Koji’s dad. Back then, Shuichi’s been around 15 years old, that makes Jodie 11 years. And given, that Jodie’s father died when she was 8 years old, there’s a 3 years gap between that and Tsutomu’s investigation. Plus, Shuichi’s father hasn’t been involved with the FBI either, so I don’t think Mr. Starling and Mr. Akai knew each other.

Thank you for your ask, Nonny, and sorry for the long wait! And sorry, I don’t agree with your theories 😔

#anon #answered ask #vermouth #jodie starling #akai shuichi #akai tsutomu #report by geissbock

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holmes-nii-chan · 4 years

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Considerazioni sulle Traduzioni di Star Comics del Volume 97

Ciao! Sono Holmes-chan, un traduttore dal giapponese all’italiano, e mi occupo delle traduzioni del manga di Detective Conan (a livello non ufficiale) per DCFS (dcfamilysubs.com).

In particolare, ho lavorato personalmente alla maggior parte dei capitoli dal Volume 97 in poi, ed è proprio di questi di cui oggi vorrei parlarvi.

Infatti, ieri è uscito ufficialmente in Italia il tomo numero 97 di Conan, edito da Star Comics, e tradotto da Rie Zushi con gli adattamenti ai testi di Guglielmo Signora. Sono subito corso a comprarlo da accanito fan, ma anche da malizioso traduttore, stropicciandomi un po’ le mani nell’immaginare quali soluzioni si possano essere inventati i miei ‘colleghi’ nel tradurre passi ambigui o particolarmente complessi.

Solitamente, le traduzioni di Star Comics per Conan mi lasciano sempre estremamente soddisfatto, perché pur essendo molto terra-terra, adattano tutto trovando un gran buon compromesso tra testo originale e scorrevolezza in lingua italiana. Tuttavia, devo confessare che, nel tomo 97, ci sono stati alcuni passi su cui ho delle perplessità sulle scelte di traduzione, che in alcuni casi mi sono sembrate piuttosto infelici o molto azzardate.

Mi accingo pertanto a parlarvene, precisando che naturalmente nulla di ciò che dico vuole essere un attacco al lungo lavoro della signora Zushi e del signor Signora, ma bensì una semplice analisi di un appassionato dell’opera e della lingua giapponese. Buona lettura!

File 1029 - Far addormentare anche un bambino che piange

(nell’immagine in alto, il testo originale. In centro, la traduzione di Star Comics, che ho semplicemente ricostruito ‘ricopiando’ il testo originale. In basso, la versione di DCFS.)

Ora, concentriamoci sul testo del primo balloon, evidenziato in rosso. Potete notare che la traduzione ufficiale è molto diversa da quella di DCFS. Eppure, in una delle due c’è qualcosa che non quadra. Determinate voi quale sia, leggendo l’analisi del testo originale:

どの道、僕にメリットはないけど・・・ Dono michi, boku ni meritto wa nai kedo... どの道 dono michi, “in ogni caso”; “comunque”. 僕に boku ni, “a me” (e quindi, anche “per me”) メリット meritto, "merito"; "guadagno". (は wa, particella riferita a "meritto") ない nai, "non esserci" (di oggetti inanimati).

E quindi, tenendo a mente che l’ordine della frase giapponese è Soggetto (che può essere sottinteso), Oggetto e Verbo (SOV), traduciamo letteralmente: “In ogni caso, per me non c’è (alcun) merito”, ossia -> “(Io) non ci guadagnerei nulla comunque / in nessuno dei casi”.

Insomma, è corretta la traduzione di DCFS, mentre è molto imprecisa la versione ufficiale. Come mai? Eppure questa è una pagina importante, e la frase mi sembra chiara: Amuro spiega a Conan che non ci guadagnerebbe nulla rivelandogli se lo conosca o meno. Non mi spiego questa imprecisione: è vero, non si tratta di un errore, ma nello stesso tempo non si è trasposto ciò che Amuro intendeva veramente.

Fa pensare anche la scelta di “il tizio”, nel terzultimo balloon. Okay, è vero che al 99% Wakita, che è un maschio, è Rum, ma mi sembra un tantino azzardato usare il maschile - che, per carità, funge anche da neutro, ma stona un po’. Usare “la persona” forse sarebbe stato meglio.

File 1032 - La raccolta delle piante selvatiche

(nell’immagine in alto, il testo originale. In centro, la traduzione di Star Comics, che ho semplicemente ricostruito ‘ricopiando’ il testo originale. In basso, la versione di DCFS.)

Qui, diciamo che l’intera vignetta ha qualquadra che non cosa. Procediamo con un’analisi.

すみませんねぇ、うるせぇヤツらで・・・ Sumimasen nee, urusee yatsura de... すみません sumimasen, "scusa" (o, in questo caso, "scusi"); ねぇ nee, particella che 'rafforza' la parola precedente; うるせぇ urusee ('slang' di "urusai"), "rumoroso"; ヤツら yatsura, "tipi"; "tizi"; で de, particella che in questo caso indica "per".

Sempre tenendo a mente l’ordine, SOV, e in questo caso rovesciando l’ordine dei balloon per conferire maggior scorrevolezza, traduciamo letteralmente: “Ci scusi per (essere) dei tizi rumorosi...” -> “Ci scusi se siamo dei tizi rumorosi...”. Mmh. C’è proprio qualquadra che non cosa.

A parte che Conan è ironico e sta parlando di tutto il gruppetto, se stesso compreso, e quindi è improbabile che desideri scusarsi con Yamamura, ma forse qui non è stata colta una spiccata “reference” (come dicono quelli bravi). Infatti, うる星やつら urusei yatsura è il titolo originale dell’opera Lamù, e in giapponese suona molto simile a ciò che dice Conan. Non dimentichiamoci che in giapponese il nome “Lamù” si pronuncia “ramu”, che è anche la stessa pronuncia di “Rum”...

Insomma, a parte l’interpretazione forse troppo azzardata, secondo me ne sarebbe valsa ulteriormente la pena di tradurre in modo più “terra terra”, trattandosi di una citazione, se proprio non si desiderava inserire note esplicative.

File 1033 - Un portafortuna

(nell’immagine in alto, il testo originale. In centro, la traduzione di Star Comics, che ho semplicemente ricostruito ‘ricopiando’ il testo originale. In basso, la versione di DCFS.)

Qui c’è un’imprecisione nel modo di dire citato da Koji, e anche un gran bell’azzardo nella sua frase successiva. Vediamo prima il modo di dire:

「遠見の角に好手あり」ってね・・・ "Toomi no kaku ni koushu ari" -tte ne... 「遠見 toomi, "guardia" + の no, che indica in questo caso "(fare) da guardia"; 角 kaku, "alfiere"; に ni, particella che in questo caso indica "con": più o meno indica qualcosa come "se X c'è, allora..." / “a un X, corrisponde un Y”; 好手 koushu, "buona mossa"; あり」 ari, "esserci" (forma "poetica"); って tte, "si dice che" (indica una citazione, supportata dalle 「」 virgolette) ね ne particella enfatica

Letteralmente: “Si dice che ‘con un alfiere (che fa da) guardia, c’è una buona mossa (da fare)’”. Ovviamente, essendo un modo di dire, si generalizza: “Si dice che ‘con un alfiere che fa da guardia c’è sempre una buona mossa’”, e si riferisce palesemente a Wakasa, che, essendo al 99,9999% Asaka, protegge Koji, immischiato in affari pericolosi con l’Organizzazione.

La traduzione originale si limita invece a parlare del pezzo, non della sua conseguenza. Eppure, si dice esplicitamente “c’è”. Come mai? Inoltre, pur non amando neanche un po’ gli inglesismi e le ritraduzioni, in rete (mi pare su un sito legato allo shogi nel mondo) si trova facilmente una traduzione in inglese del suddetto modo di dire, che suona praticamente come quella che ho scritto qua sopra...

Prossima frase: la tanto agognata battuta dell’”uccidere” detta da Koji:

それでも僕を殺すと言うんですか？ Sore-demo boku wo korosu to iu -n desu ka? それでも soredemo, "eppure", "nonostante ciò"; 僕を boku wo, "io" (maschile) + particella che indica che si tratta del complemento oggetto (uccidere chi? che cosa? "Io"); 殺す korosu, "uccidere", ma in questo caso è al tempo futuro. と言う to iu, "dire che...", ma in questo caso è un tempo presente. んですか -n desu ka, ciò che per noi corrisponde semplicemente al punto di domanda.

Il dubbio vien da sé. In giapponese il verbo è uguale per tutte le persone, e in questo caso è tutto sottinteso. Nonostante ciò, dici che mi ucciderai? Dici che mi uccideranno? E quindi, per antonomasia, vuoi uccidermi? vogliono uccidermi? Chi lo sa. Tutto ciò che sappiamo è che il verbo è alla diatesi attiva, e quindi può essere “ucciderai”, “ucciderà”, “ucciderete”, “uccideranno”. Ancora non si sa chi abbia ucciso Koji, ed è un po’ azzardato gettarsi su una seconda persona. Effettivamente, allo stato attuale delle cose, è molto probabile che non sia stata Wakasa a trucidarlo, ma in quella scena Haneda poteva benissimo star parlando a un’altra persona, se non al suo stesso omicida. Insomma: non ci sono i presupposti per rischiare. A mio parere va benissimo trasformare il “dire che” in “volere”, perché indica quello - però, secondo me, è azzardato tentare a casaccio di indovinare il riferimento. Col senno di poi, sarà anche corretto, ma potrebbe essere fonte di malintesi anche gravi: per questo io mi limitai a tradurre con un verbo al passivo, per evitare ogni conseguenza.

Insomma: nessun errore, ma forse così si va un po’ troppo a fortuna.

File 1035 - Vassoi intagliati e laccati di nero

(nell’immagine in alto, il testo originale. In centro, la traduzione di Star Comics, che ho semplicemente ricostruito ‘ricopiando’ il testo originale. In basso, la versione di DCFS.)

Qui manca semplicemente qualcosa, nel primo balloon. Manca il “ciò che tu chiami”, che è un punto essenziale: infatti, dimostra che “organizzazione” non sia il vero nome del gruppo, che, secondo l’autore, avrà grande rilevanza.

Una semplificazione superflua, secondo me. Anche noi in questa vignetta abbiamo semplificato il testo originale per una questione di spazio, ma quello, a mio modesto parere, era un dettaglio da lasciare.

(nell’immagine in alto, il testo originale. In centro, la traduzione di Star Comics, che ho semplicemente ricostruito ‘ricopiando’ il testo originale. In basso, la versione di DCFS. Scusate per aver intasato il post, è venuta piuttosto alta, lol)

Qui la perplessità sta nel tempo verbale. È vero che il verbo usato (che è il verbo essere) può essere presente o futuro, però la dinamica del caso dimostra che è molto più conveniente usare “quello è il mio piattino” che “sarà”.

Un dubbio sicuramente trascurabile, anche perché non credo che la traduttrice abbia già avuto modo di leggere la fine del caso, contenuta nel Volume 98.

È tutto, gente! Le mie perplessità finiscono qui.

Naturalmente, rimango a disposizione. Se la signora Zushi, il signor Signora o altri mai dovessero vedere questo post e avessero qualcosa da dire, sappiate che io sono a disposizione. La mia email è holmeschann[at]gmail.com (dove “at” sta per @, che ho rimosso per evitare spam ^^;)!

Grazie a tutti di aver letto, e scusate per il post prolisso...

#tradurre #detectiveconan #starcomics #pareri #opinioni #manga

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