#ro: i tachibana | Explore Tumblr Posts and Blogs

chanoyu-to-wa · 10 months

Text

Nampō Roku, Book 7 (61a): Concerning the Kanban [看板]¹ for the Shō-ka-dō [松下堂]².

61) With respect to the kanban [看板] for the Shō-ka-dō [松下堂], we prepared the draft [of the text that would be carved onto the kanban]³. [I] visited [Ri]kyū to let him see it, and he was delighted⁴! -- and [he] immediately decided to add a postscript⁵.

When everything was ready, up to the application of the [name] seals, [I decided] it was time to have the board carved⁶ -- and [Ri]kyū also felt the same⁷.

Just at that time, when [Rikyū] was serving [me] a portion [of koicha] and the like, on the eighteenth day of the First Month [of Tenshō 19], [his] daughter took her own life⁸.

During the period of mourning following that [tragedy], the world began to whisper⁹. And in the end, because of the disaster [that befell Rikyū] on the twenty-eighth day of the Second Month, the kanban stayed as it was -- [so] all [of our efforts] proved to be in vain.

No matter what happens from now on, this has all been so regrettable¹².

_________________________

◎ Only one version of entry 61 is found in the different editions of the Nampō Roku*.

If any of the entries in Book Seven were actually written on the third anniversary of Rikyū’s seppuku, in the hours between the dawn memorial service and the time when Nambō Sōkei left the Shū-un-an to walk to the mountains (where his intention was to do away with himself by falling off a cliff), a majority of scholars consider this to be one of the most likely passages. That said, the language is simply anachronistic for the end of the sixteenth century, and would better site the drafting of this entry to the late seventeenth -- or even eighteenth -- century...suggesting that this was an attempt, on the part of the Sen family, to insert their preferred version of events into the historical record. ___________ *In addition to the text that is translated here, Shibayama’s toku-shu shahon, and Tanaka’s genpon, include the text that was carved onto the kanban itself, which is known as the Nambō Sōkei no Roji・Sō-an no Shin-gi [南坊宗慶ノ露地・草菴ノ清䂓] (Nambō Sōkei’s Rules of Purity for the Roji and Sō-an). This text was preserved in Tachibana Jitsuzan’s Ko-chū-ro dan [壺中爐談].

In addition to the material quoted by Shibayama and Tanaka, a second version of this text is also known (which incorporates certain significant modifications).

As there seem to be doubts regarding the dates of these different versions (with the cited dates sometimes appearing to be anachronistic in light of the language used), the best solution would be to discuss the Nambō Sōkei no Roji・Sō-an no Shin-gi in a subsequent post (because there was not enough time for me to prepare all of this before today’s publication -- and a basic analysis of the text will require some 30 footnotes).

¹Kanban [看板, 鑑板] is usually translated signboard or plaque. In this case, it refers to a wooden board on which a text* is written.

Today the kind of kanban most frequently encountered in the context of chanoyu are those that show the name of the tearoom. __________ *Often, in the interests of permanence, the words would be carved into the board, with the carving either colored with ink or gesso to make the words easier to read.

The example shown above is an ink-rubbing of a kanban depicting Tachibana Jitsuzan’s copy of the text around which the present episode revolves. This document is known as the Nambō Sōkei no roji・sō-an no shin-gi [南坊宗慶ノ露地・草菴ノ清䂓] (Nambō Sōkei’s Rules of Purity for the Roji and Sō-an) which, as the text of this entry states, was intended to be hung up in the koshi-kake of the Shū-un-an, to provide guidance to the guests during their visit.

²Shō-ka-dō [松下堂] was the name of a waiting room (dō-machi-ai [堂待合]) in the roji of the Shū-un-an. The kanban featured a list of seven points that should be observed by visitors to the Shū-un-an (see the appendix that will be published as the next post).

³Shō-ka-dō no kanban ha, warera sōan-shite　[松下堂ノカンバンハ、我等草案シテ].

Warera [我等] means “we.” Ostensibly this is referring to Nambō Sōkei and Rikyū.

Sōan-suru [草案する] means to prepare a draft (of a document).

In other words, Sōkei and Rikyū jointly drafted the text that would appear on the kanban that would be hung up in the waiting room, to guide the behavior of the guests* while in the Shū-un-an.

Needless to say, perhaps, this kanban does not survive. I have seen written versions in some recently published books that are put forward as copies, but these (though often written by Daitoku-ji monks) invariably date to the modern period, and so are more than likely based on the modern conception of what a kanban of this sort would look like than any surviving historical evidence. ___________ *In light of Sōkei’s tea activities, and his closeness to Rikyū (it appears that he acted as the unofficial steward of the Ima-ichi household -- this property was a 10 or 15 minute walk from the Shū-un-an -- whenever his official duties compelled Rikyū to be elsewhere), it was likely that people who did not know how to behave in the temple setting could be visiting the Shū-un-an. It was to instruct these people that Sōkei wished to hang this kanban in his koshi-kake.

⁴Kyū [h]e mise mairasekeru ni, jin-kiesshi tamai　[休ヘ見セマイラセケルニ、甚喜悅シ玉ヒ].

Mise-mairasekeru ni [見せ参らせけるに] means to visit in order to show the text of the kanban (to Rikyū).

Jin-kiesshi tamai [甚喜悅し給い] means (Rikyu) was delighted (by the kanban).

⁵Soku-za ni oku-gaki dekiru-shi　[卽座ニ奧書出來シ].

Sokuza ni [卽座に = 即座に]* means immediately, as soon as (Rikyū) saw it.

The word oku-gaki [奧書] refers to the final sentences added by Rikyū that follow the date and Nambō Sōkei’s name and seal†. __________ *Use of this variant form of soku [即] was fashionable during the Edo period -- probably in light of the reintroduction of these antique forms from Korea during the early decades of that period.

†Possibly his written kaō [花押], rather than a name-stamp.

⁶Han-made totonoi, yagate ita ni horite kakeshi nari　[判マデトヽノヒ、ヤガテ板ニホリテカケシ也].

Han-made totonoi [判まで調い] means up to the (carving of the) seal, everything has been finished.

The process for transferring a written text onto a board has to be understood before this phrase will make sense.

The text that will be carved on the board is written by the calligrapher (usually on a piece of paper, though on rare occasions* this could be done directly on the board itself), and this is provided to the craftsman, so he can begin to lay the work out. However, the text, at this point, usually lacks the name-seals (or the kaō) that will certify it as authentic. After the person who wrote the text approves of the arrangement (he must check it again to make sure that it contains no mistakes or miswritten kanji), he provides his kaō or name-seal, and the text will then be carved onto the board.

Yagate ita ni horite-kakeshi nari [軈て板に彫りてかけしなり] means presently the board will be carved.

In other words, nothing but Rikyū's final approval was needed before giving the order to the craftsman to begin the carving process. __________ *Because it is easy to change to a new piece of paper if a mistake has been made. When the writing is done directly on the board, this means that it must be perfect, since it cannot be changed. (Of course the entire board could be sanded down, but then everything else will be lost as well as the mistaken kanji.)

⁷Kyū ni mo onaji-yō ni koshiraerarete　[休ニモ同シ様ニコシラヘラレテ].

Kyū ni mo onaji-yō ni [休にも同じように] means “Rikyū, in the same way...,” or “Rikyū, in like manner....”

Koshiraerarete [拵えられて]* means things like make, reconstruct, make over, prepare, and so forth -- though here the nuance is closer to something like “be satisfied with” (i.e., make something full, make something complete, satiate).

The basic meaning is that it was the same for Rikyū -- that he felt the kanban was ready to be carved. In other words, Rikyū was prepared to give his approval (as per the previous footnote). __________ *Today this word is usually conflated with tsukuru [作る], which means to make.

⁸Kinjitsu, kakete ippuku mōsu-beku nado to no tamau-uchi ni, shōgatsu jū-hachi nichi soku-jo jisatsu-serare　[近日、掛テ一服可申ナドヽノ玉フ内ニ、正月十八日息女自殺セラレ].

Kinjitsu [近日] means at or around this time, shortly, one of these days, imminently*.

Kakete ippuku mōsu-beku nado to tamau-uchi ni [掛けて一服申すべくなどとの給う内に]: kakete [掛けて] means something like while†; ippuku mōsu-beku [一服申すべく] means to offer a bowl of tea†; nado to [などと] means and so forth; no tamau-uchi ni [の給う内に] means when (Rikyū) was proffering (the bowl of tea to Sōkei).

The image is of the two men -- Rikyū and Nambō Sōkei -- chatting together (seemingly about the kanban) over a bowl of tea.

Shōgatsu jū-hachi nichi [正月十八日] means (on the) eighteenth day of the First Month‡.

Soku-jo jisatsu-serare [息女自殺せられ]: soku-jo [息女] means (Rikyū’s) daughter**; jisatsu-serare [自殺せられ] means to do the deed of killing oneself, to commit suicide. __________ *This seems to be an example of typical Edo period indirection. In fact, the breaking of the bad news (explained in the second phrase) occurred while the two men were sharing a bowl of tea (rather than at some later date).

†It is used for an action that extends across a certain span of time.

‡The year was Tenshō 19 [天正十九年]. The date was February 11, 1591 in the Gregorian calendar.

**This is a reference to Rikyū's second daughter, the widow of Mozu-ya Sōan [萬代屋宗安; ? ~ 1594] (who was also nicknamed Shōan [少安], “Little An”), who had been one of Rikyū’s closest friends since childhood. Most of the stories about Rikyū and “Shōan” that are told today actually referred to this man, rather than to the Shōan who was the father of Sōtan (and who had been a machi-shū follower of Imai Sōkyū -- who was 42 years old when his mother, the widow of Miyaō Saburō Sannyū, Shōan’s father, was given to Rikyū to run his Kyōto household, and act as Hideyoshi’s in-house spy).

At any rate, the Sen family's story is that, following Mozu-ya Sōan’s death, this daughter (whom they refer to as Ogin [お銀] -- though her actual name is not known) had been pursued by Hideyoshi (who wished to add her to his harem); but Rikyū objected. And since this brought the displeasure of Hideyoshi down upon her father, she committed suicide.

This, along with the episode regarding the Daitoku-ji san-mon (where Rikyū's life-sized statue was installed), are given (by the Sen family) as the reasons why Rikyū was ordered to commit seppuku several months later.

That said, the fact that Mozu-ya Sōan died 3 years after Rikyū tends to disprove at least half of this thesis.

⁹Sore-yori shūshō no uchi ni, sejō hisomekite　[ソレヨリ愁傷ノ内ニ、世上ヒソメキテ].

Shūshō no uchi ni [愁傷の内に] means during the period of morning (for his daughter).

Seijō hisomekite [世上密めきて] means society (began to) whisper (about Rikyū having fallen out of Hideyoshi’s favor).

¹⁰Tsui ni ni-gatsu ni-jū-hachi nichi no nan ari-shi yue　[ツヰニ二月廿八日ノ難アリシユヘ].

Tsui ni [遂に] means at long last, in the end, finally, eventually.

Ni-gatsu nijū-hachi nichi no nan ari-shi yue [二月廿八日の難ありしゆえ] means “because of the disaster (that befell) on the twenty-eighth day of the Second Month....”

Because Tenshō 19 had two First Months*, the twenty-eighth day of the Second Month corresponded to April 21, 1591 in the Gregorian calendar. __________ *A timeline of which the author of this entry appears unaware.

¹¹Kanban mo sono-mama ni, munashiku nari-hateshi nari　[カンバンモ其マヽニ、ムナシク成ハテシナリ].

Kanban mo sono-mama ni [看板も其儘に] means the kanban also (stayed) as it was.

Munashiku nari-hateshi nari [空しく成り果てしなり] means (it) proved to be in vain.

¹²Nani ni tsukete mo zan-nen sukuna-karazu　[何ニ付テモ殘念スクナカラズ].

Nani ni tsukete mo [何に付ても] means whatever happens (from now on)....

Zan-nen sukunakarazu [殘念少からず] means it is so very unfortunate; it is so very regrettable; it is so very disappointing.

2 notes · View notes

parvisforum · 2 years

Text

Déjà vu

isabelle tachibana my beloved 😩

@thesecrimsonstrings-if is back again with another banger of an if

have this severely unfinished attempt at drawing my favorite ro from this if,,, hopefully i’ll post my vamp mc soon-

#these crimsons strings #ro: i tachibana #fanart #interactive fiction #parvi draw #author wtf #why are they so hot??#literally can’t expect me to not simp #they can stab me and i’d say thank you

54 notes · View notes

lemonade-if · 2 years

Note

Usually I just ramble about my MCs and stuff but your word of mouth introduction for your ROs was actually genius? So I wanted to try that! Hope that's ok

Kaoru Tachibana, The New Kid

"Tachibana? Yeah... I've actually tried talking to him one time, he just kinda dismissed me though, maybe he just likes his space but honestly? I've never seen him hang out with anyone."

"Oh my god, that guy? Holy shit, creepiest person I've ever met in my life. The way he looks at people just makes you feel like your being dissected, not to mention he always says and does the last thing you'd expect someone to do, he's just uncanny."

"Oh! Tachibana-kun! Yeah I know him... sorta, have you heard about the incident where Tachibana-kun shoved a cupcake in someone's face and was being chased around the whole campus by them? Well those guys were giving me a hard time that day, they used to do that a lot, but after Tachibana-kun did that they kinda just left me alone! I really owe him! But... everytime I try to talk to him again he always slips away somehow..."

"A-ah, did you say Tachibana? Oh I think he's supposed to be in the Art Club, but if so... he never shows up. I-I mean it could be he's busy! I mean, my friend's in one of his classes and she says she spotted him doodling in a sketchbook while they were supposed to work, s-so clearly he likes drawing... maybe?"

An odd loner who shoves cupcakes into bullies' faces!? I love this boy already...I’m ready to defend him with my life. I think he’ll fit in so well with the side characters in the Art Club!!

Thank you so much for using the same campus interview format!! This was super fun to read (╯✧∇✧)╯

#LemonadeIF #asks #MCs

43 notes · View notes

lazysublimeengineer · 2 years

Text

forever is the sweetest con

Title: forever is the sweetest con

Summary: Now you hang from my lips

Like the Gardens of Babylon

Characters: Takemichi "Takemitchy" Hanagaki, Manjirou "Mikey" Sano, Hinata Tachibana, Hitto Kakuchou, Kokonoi Hajime, Akashi Takeomi, Sanzu Haruchiyo, Ran Haitani, Rindou Haitani

(A/N: Dedicated to one of my avid readers. This is a long, overdue request in the past. Apologies if it came out late since I was sort of stuck up with finishing other in progress fics of mine previously and I was having trouble getting the right inspiration for the premise of your request. But here it is now. A part of me is thankful for the beautiful yet bittersweet track of, “cowboy like me” from the Evermore album of Taylor Swift since the lyrics itself sparked an idea within me to create this oneshot fic of mine. Basically, the overall premise of the request is to write Takemichi who can fight and a bit sadistic with the pairings for almost everyone and a special participation of Takehina. I made it mainly a Takemikey and Takehina (even though they’re exes in this story) since the timeline is in Bonten arc – but in AU. Some side pairings will be mention to Takemichi so it’s also mostly a pairing for everyone. I hope you enjoy this request of yours, to one of my avid readers. I don’t own this franchise and the song cowboy like me. Respective and rightful ownership belongs to Ken Wakui for this wonderful manga and Taylor Swift for this poetic song. Lastly, credits to (@_itseuni) in twt for this beautiful art of Bonten Takemichi).

And the tennis court was covered up

With some tent-like thing

And you asked me to dance

But I said, "Dancing is a dangerous game"

Oh, I thought

This is gonna be one of those things

Now I know

I'm never gonna love again

The maître d held the tray of alcoholic drinks with his right hand as he effortlessly circled around the ballroom hall littered with guests who’re dressed to nines with sparkling and elegant masks adorning their faces. He served each guest who called for his attention and requested for a glass filled with sparkling yet tempting moonshine encased with ice cubes.

It was a masquerade party.

Normally, he didn’t have any patience and interest in attending to gatherings such as this one. Preferring to leave it to his other members such as the advisor of their group, Takeomi and his top 2 and top 3 members, Sanzu and Kakucho to oversee the event.

Nevertheless, he’d make an exception since this was a special event. Not only did they acquire of the most successful partnership in the underworld of Tokyo, but a new era will be reborn again starting tonight. And he had no doubts that he will make it happen.

He proved it. Time and time again. Keeping his promises and word was one of his greatest strengths after all.

Soft music lulled into the air. The pairs started to occupy the middle of the luxurious, banquet hall and swayed gently into the rhythm of the music.

He wasted no his time as he strode towards the man who was wearing a royal blue three-piece suit and a coal-colored mask that was swirling with shimmering and elegant small Swarovski crystals lined at the side of it. His steps were idle yet confident at the same time.

“Would you like to dance milady?” He asked in his usual playful yet sincere voice that’s only reserved for him as he offered his gloved hand towards him.

He was the only one who could strip bare easily the other side of him that’s not apparent with anyone.

Electrifying Neptune hued irises clashed against his brilliantly dark sable orbs.

He accepted his offered hand. “I thought you’d never ask Mikey-kun. Also, drop the overly formal voice. It sounded weird on you.” The familiar light, airy tones and sweet laughter that’s akin to the soft chimes in a summer breeze of June that never failed to make his heart skip a beat as always.

“Awww. You wound me Takemitchy. I practiced so hard last night for this.” He feigned a hurt look on his face as he guided him towards the middle of the dancefloor.

Takemichi rolled his eyes playfully. “Now stop it with that look Mikey-kun. Would you want me to kiss it better instead?” He placed his hands on his shoulders as Mikey gently encircled his arms around his waist and pulled him closer to his frame.

Together they swayed slowly to the music.

“I really wouldn’t mind if it’s you.” Mikey whispered lowly against his ear that sent a delicious yet dangerous thrill on his spine.

Takemichi gazed at his face that was covered in a dusky, yet glinting mask shrouded with miniscule red diamonds and golden crystals that brought out the shade of his midnight eyes.

He couldn’t help but to be swept away by the hidden promises laid underneath his gaze.

“You’re still a rascal Mikey-kun.” He whispered back; his lips almost brush teasingly against his.

I've got some tricks up my sleeve

Takes one to know one

You're a cowboy like me

Never wanted love

Just a fancy car

Now I'm waiting by the phone

Like I'm sitting in an airport bar

You had some tricks up your sleeve

Takes one to know one

(Several years earlier)

A tall man dressed in a black pinstripe suit and a lavender necktie stepped out of the burgundy Porsche with the Ray Ban sunglasses adorning his eyes. The heliotrope highlights on his short, raven locks glistened under the rays of the sun as he walked confidently along the streets of the city.

“You’re late again.” A bored voice drawled from somewhere inside the penthouse upon reaching the inside the top floor of the building.

“Better late than never my beloved brother.” Ran replied in amusement as he took off his sunglasses which earned a grunt from Rindou as usual.

“Whatever. I’m going out now. Koko called me to assist something in Kyoto. Keep an eye on Hanagaki if you don’t want to earn Mikey’s ire when something’s bad happen to him.” Rindou stood up and picked up his coat from the stand.

“Good luck on the errands Rin.” He chortled as Rindou flashed him his middle finger as he left the penthouse and closed the door.

“I’ve prepared something in the dining table…” The familiar airy yet soft voice greeted his ears and he turned around to came face to face with the raven-haired boy who wore his signature awkward smile on his lips and those wide, expressive oceanic eyes that held most of his thoughts and emotions like an open book.

Hanagaki Takemichi.

How could someone not know him? Especially in the world of delinquency?

Ran had saw him several times in almost every gang fight that was held before starting from the Bloody Halloween war to the Tenjiku fight that had him displayed his reckless yet ballsy attitude and valor.

His determination and honesty were laughable…yet…it was something else entirely.

No wonder Kisaki had always been pissed off at him.

Many other people who were clearly bigger and stronger than him was also shook at him despite being beaten down several times.

And he couldn’t help but to be fascinated by him.

“Isn’t that considerate of you Hanagaki-kun?” He crooned. “Preparing a meal for someone who is clearly an obstacle from you roaming free outside to escape?”

His words made the other’s ears tinged with pinkish hues and face beet red as he sputtered.

What an amusing guy.

“Well, I just don’t want you to exert too much effort when you get here cause I know that you’re exhausted from whatever you did earlier…!”

It made him laughed airily.

“You’re pretty entertaining sometimes Hanagaki-kun. Now c’mon let’s eat those food you’ve prepared.” Ran shot him a playful wink and walked past him going to the dining room.

It didn’t escape in his peripheral vision about the adorable confusion and shyness that engulfed his face.

Somehow Takemichi’s appearance made his days more interesting and vibrant.

You're a cowboy like me

Perched in the dark

Telling all the rich folks anything they wanna hear

Like it could be love

I could be the way forward

Only if they pay for it

The waiter placed the plates of savory foods in their table after they’ve ordered a group of meal that was like a feast for ten people.

“Are you sure Takemichi that you can pay for all of this?” Kakucho asked in askance as he stared at the banquet of food laid in front of them.

“I’m sure of it Kaku-chan. Don’t you have a bit of a faith in your childhood friend?” Takemichi asked in feigned offense.

“You know that’s not what I meant Takemichi.” Kakucho sighed. “You ordered these bunch of foods where it’s just the two of us and I doubt it that we can finish eating all of them. I just don’t want your money to go to waste.”

“Don’t worry about it Kaku-chan! Think of it as like a reunion lunch of some sorts since it’s been years since we last saw each other and I’m just happy to see my childhood friend again.” Takemichi beamed at him.

Kakucho blinked a few times before he coughed slightly and prevented himself from blushing at his words. While it’s true that it’s been ages since they last each other, one of the few traits that Takemichi still actively possessed was how damn honest and sincere he was most of the time. It was both endearing and embarrassing at the same time.

“Okay whatever you say. Let’s just eat.” He muttered as he picked up the spoon and started to scoop some soup from the bowl.

Hours had passed with them eating in companionable silence and some mild conversation injected in the midst of their lunch along the way.

Takemichi mostly do the talking with him answering and listening quietly to what he had to say. Even if he was too talkative for his own liking…Kakucho found it nice…and comforting…the vague memories of their lost childhood washed his senses.

He found himself missing it.

He found himself missing Takemichi despite the terrible turnarounds of their own destinies.

“Ah, sir excuse me!” Takemichi’s voice jostled him out from his nostalgic thoughts and watched him whispered something at the waiter with an arched brow.

Afterward Takemichi let him go smilingly with the waiter nodding politely at him. “Thank you for letting me know sir. I’ll go ahead and send him the bill.”

As soon as the waiter left them, Takemichi took his hand and quickly stood up and pulled him outside of the restaurant.

“Oi Takemichi! Wait! Why are we leaving suddenly? The bill wasn’t given to us yet.” Kakucho asked in half confusion and half exasperation.

“Silly Kaku-chan. Do you even think that I have the capacity to pay for all of that? We have a great benefactor who can pay on behalf of us!” Takemichi grinned at him.

“What do you mean…?”

“I saw some politician eating at the other side of that resto. He had a notorious reputation in money laundering and other forms of corruption within the government. Not to mention, he’s a dickhole who mistreats his wife physically and verbally. So, a little bit of a punishment like this will be nothing for him anyway.” He shrugged but his usual tender, blue eyes held nothing but coldness within them.

It was at this period that he realized that Takemichi was still the same yet different at the same time.

Yet he still had a soft spot for him inside his heart.

You're a bandit like me

Eyes full of stars

Hustling for the good life

Never thought I'd meet you here

It could be love

We could be the way forward

And I know I'll pay for it

His viridian irises looked in feigned disinterest as Takemichi kneeled to the traitors who were gagging and drooling in the pieces of cloth tied around their mouth, desperate tears streaming down their cheeks.

“Ph-ph-phlease… re-releash us… we don’t wanna die yet…!” Words came tumbling out of their lips in the middle of their agonizing cries while Takemichi just smiled at them beatifically and caressed their heads gently.

“Ah, as much as I’ve wanted to make you all cling for that thin kind of hope… I’m not that cruel. Besides you all knew what you’re all getting yourself into when you joined our gang right?” Takemichi replied cheerily as he brought out a gun and pointed at them.

Upon seeing the gun pointed at their faces, one of them trashed and cried loudly.

“Traitors have no spot in here except in hell.” Takemichi smiled coldly before he pulled the trigger, blood came splashing all over the place.

He might put on act of being bored and indifferent to all this event but Sanzu could not deny that he was facing one of the most beautiful smile and sight in front of him aside from his own king, Mikey.

“So, how’s that Sanzu-kun? Did I pass your initiation test?” Takemichi faced him with a bright smile on his face as specks of blood coated his cheeks and clothes in crimson.

And for the first time in his life, Takemichi had caught his attention and his heart leaped erratically inside his chest.

That day fate had decided that he’ll also serve and protect Takemichi alongside with their king, Mikey.

“No need for you to ask that Hanagaki since I think you know the answer to that one.” Sanzu smiled sharply at him, his eyes gleamed with unabashed curiosity and interest.

You're a cowboy like me

Perched in the dark

Telling all the rich folks anything they wanna hear

Like it could be love

I could be the way forward

Only if they pay for it

Rindou eyed the raven-haired boy analytically behind his indifferent yet intense lilac irises.

Unlike his brother who was much more flexible, talkative, feisty and playful around other people, he was much more reserved, silent, critical and preferred to observe things in the background. Although he admitted that being in the shadow of his brother’s colorful personality and aura irritated him sometimes, being in this position had its perks in certain situations.

Just like now.

They were dealing currently with asking…no…interrogating possible people who could be their lead into the clusterfuck disposable shipment that happened unexpectedly at the Ōsanbashi Pier a few days ago.

They were tasked in finding some leads on the how, why, what, when and where it exactly happened.

And he wasn’t pleased being paired up with this bubbly, naïve male.

At all.

Hanagaki Takemichi had an irritating bright disposition around him. A sunny smile that he wanted to punch. A pair of wide, blue eyes that could not lie. And a gleeful buoyancy that he can’t stand of.

He didn’t understand why his brother was interested in him.

Nor Mikey who had an irrational fixation and possessive behavior towards him.

He doesn’t get it.

And he watched him critically as he does the work of conversing with the 2 people who wore fearful yet hopeful expressions on their faces.

‘What the fuck is he doing?’ Rindou thought exasperatedly. They don’t have time for this pointless conversation. If he was in Takemichi’s position, he would’ve just pointed the gun and demanded answers from all of them.

He was about to make a move when Takemichi turned around and went back to his side with a bright expression on his face.

“It’s all good now Rindou-kun. I’ll tell you all the details that they’ve spilled to me earlier. Now c’mon we only have a few minutes before Mikey-kun asks us to come back to the headquarters.”

“Wait Hanagaki. Are you sure you extracted something important from them?” Rindou asked suspiciously because in his own experiences you don’t get anything with just a “mere innocent conversation.”

“Yup! I’m sure of it. You can check with them if you want.” Takemichi smiled cheerfully at him and gestured for him to look at the 2 people he conversed with.

What the hell.

When Rindou looked at their direction, he masked his own surprise upon seeing the pale and terrified faces looking at them.

Just from that look alone Rindou had decided. “Right. Tell me about it as I drive the car.” He took out the car keys.

He didn’t need to be wizard to know that Takemichi told some incriminating thing to them that would probably ruin their lives if they don’t cooperate.

Who knew that he had it in him?

He hid a smirk as he opened the door of the car and slid inside.

He understood now why they’re enthralled by his presence. And he might be the additional one as well after this day.

You're a bandit like me

Eyes full of stars

Hustling for the good life

Never thought I'd meet you here

It could be love

We could be the way forward

And I know I'll pay for it

Koko looked at the glass of wine placed silently at the side of his table. His attention on the financial documents that he was perusing was cut off temporarily because of it.

His brows furrowed and he noticed a shadow looming on it that made him looked up and arched a brow.

“Hanagaki?” He questioned at the smiling raven-haired boy in front of him.

“I’ve read somewhere that when you drink alcohol it lessens stress and elevates your mood and relaxation. You looked stress Koko-kun. So, maybe a glass of wine will help?” He offered him that signature innocent yet determined smile that made Inupi besotted and followed him religiously back then.

Although he wasn’t closer to him like Inupi does, he understood the charisma that Takemichi had. It could almost rival that of Mikey when it came to making people listen and beckon to their words.

A force to be reckoned with.

Nevertheless, it still came to a shock to him that Takemichi was willing to join their gang and did things that was a complete opposite of what he stood and believe of in the past.

Koko didn’t know on what to think and feel about him right now.

But one of the few things that remained the same was he still possessed the genuine concern to those people that he held close to his heart.

To a fault.

It exasperated and amazed him sometimes.

And maybe…just maybe…he was also spellbound by Takemichi’s invigorating presence like Inupi a long time ago.

But he would not admit it until he was in a grave.

“Thanks.” He muttered and drink the glass of wine, unable to withstand the warm hues of his tender gaze directed at him.

And the skeletons in both our closets

Plotted hard to mess this up

And the old men that I've swindled

Really did believe I was the one

And the ladies lunching have their stories about

When you passed through town

But that was all before I locked it down

“Maybe in another timeline you were really happy with me Hina.” He said in a stony voice, yet silent tears streamed down his cheeks as he stared at the woman who was standing a few meters apart from him in an alley.

His form was mostly shrouded by the darkness of the area so she cannot see the entire expression on his face.

But Hina knew him. Knew his heart and soul from the very start. Even if he could temporarily deceive her with a coldness within his voice and actions, his heart and eyes cannot lie.

So, he mostly confined himself in the darkness as he talked to her because he knew that once Hina will see him falling apart, she would beg for him to stay and he’s not sure within himself if he can withstand her like that.

Hina had been his strength and weakness at all.

“But I am happy with you Takemichi-kun. I’m willing to stay by your side. I’m willing to wait whatever it takes so please…” Hina’s voice grew fainter and smaller as a small sob escaped from her lips.

“If you’re happy with me then you wouldn’t be crying like this, so you need to let me go Hina. This was for the best. Don’t look for me any longer. This is the last time that we’ll ever meet. I don’t regret on loving you, but this is the end. So do not wait for me Hina because I’m not really worth it.” Each word that slipped past his lips was like a stab through his heart and soul.

But he had to do it.

He had to.

Because destiny wasn’t kind to people like them.

In every timeline, he brought nothing but pain and misery to her by either her dying or him ending up as fucked up person in general to the point of leaving her with no context that left her emotionally scarred and heartbroken for life. And he wouldn’t want that to happen to her in the long run.

He loved her so, so, so much that he’s willing to let her go to pursue her own happiness without him.

Because their worlds are different.

Hina was the shimmering light of his existence.

Yet at the same time he was the bottomless pit of despair that brought nothing but disappointment and misery not only to her but to the people around her.

Now you hang from my lips

Like the Gardens of Babylon

With your boots beneath my bed

Forever is the sweetest con

Seeing Hanagaki Takemichi in the flesh was like a reminder of his past that he wanted to move on.

It was like Shinichiro had possessed his soul and body because of that familiar sincere smile and eyes that held steely determination and an aura that you could trust your life into.

Takeomi was witnessing the glory days of the Black Dragons whenever he saw his presence and the way he handled the situations and people around him.

He didn’t know if this was a blessing, or a curse bestowed on him since it also reminded him of how he failed Shinichiro and didn’t even paid attention to him when the news of his death had hit him back then.

Too wrapped up in his own problems to give a damn about his funeral.

Maybe this was his punishment whenever he saw Takemichi.

The smile that was devoid of malice. Eyes that was always open yet steadfast at the same time.

He knew about the boy’s sacrifices that he’d made to get here. The way he dirtied his hands just to get Mikey to finally listen to him.

Regardless…

Takeomi felt like this was another shot given to him by fate to rectify his mistakes.

Because no matter what he did, he couldn’t help but to flock towards Hanagaki Takemichi.

Like a moth to a flame.

And this time he will not make the same mistake twice with Shinichiro and will protect him from now on.

I've had some tricks up my sleeve

Takes one to know one

You're a cowboy like me

(Present Day)

“Thank you everyone for coming here. It’s an honor for us to have you people celebrating with our success. But even so, there is also an important reason why we’ve gathered you around here.” Takeomi’s calm yet compelling voice from the top of the staircase of the ballroom hall caught the audience’s attention and looked up at him. Behind him were the Bonten members who were looking indifferently down the crowd.

“Joining our celebration here is the Bonten leader which is a feat considering that he doesn’t attend formal parties like this religiously.” He added.

Murmurs and speculations erupted from the crowd.

“Wait. Isn’t Mikey the leader? I mean he’d always attend parties like this several times in the past although he doesn’t mingle with the crowd.” One of them whispered.

“But I heard he was just the acting president of their gang.” One of them whispered back.

“Really?” Another piped up from behind them.

Mikey stepped up and nodded to Takeomi who silently understood and backed away.

“Listen up people.” He said in a terse yet commanding voice that made the crowd quieted down in an instant.

“I’m happy to introduce all of you our leader, Hanagaki Takemichi. Any disrespect or questionable actions against him will not be allowed as you’re also directly questioning our presence.” Mikey announced calmly as another male who wore a glittering mask stood beside him and finally took it off to reveal a pair of deep, blue eyes and stylishly short raven locks coupled with a pair of earrings on his ears that displayed the Bonten symbol on them.

“Thank you Mikey-kun. I’m looking froward to work with all of you and hopefully get along with everyone.” Takemichi said with a cheerful yet ruthless smile adorning his lips.

The crowd just stood there silently before a round of applause reverberated inside the halls.

Mikey took ahold of the other’s hand and gave it a firm yet gentle squeeze. He looked at Takemichi blankly, yet his eyes held a silent reverence and fondness for him.

He looked back at him tenderly, squeezing back his hand in return.

They let the world fell away and noises drowned between the two of them.

And I'm never gonna love again

I'm never gonna love again

Mm, mm, oh, oh

I'm never gonna love again

(A/N: Reviews are amusing. So, let me hear them from you).

16 notes · View notes

kimchi-noodles · 4 years

Text

Utaite nicknames

I tried collecting nicknames of utaites (either by the fans or by other utaites)! It’s already arranged alphabetically so you can find your oshis/faves quite easily. Enjoy! (?)

If you think I missed anything, it’ll be better if you send me a DM on my Twitter, or by replying to this tweet, since I won’t be very responsive on this account.

Full list under the cut!

3bu/Sanbu = Bu-nya, Bu-nyan, Sanbu-nyan, Papa

3821 = Miha-chan (by Akajam)

96neko = Kuro-chan (by Amatsuki), Chan-kuro (by Eve)

A24 = Acchan

Again = Age, Ageo

Aho/Tonari no Sakata = Sakatan

Aizawa = Ai-chan, Zazza (by Hydamio), Zawazawa

Akajam = Jamu, Jami

Alfakyun = Fakyun

Amatsuki = Ama-chan, Amatsuki-sun

amu = Amutan

Asamaru = Marutan

ASK = Asukecchi

Ayafuya = Aya (often with -chan)

Bonzin = Bon-chan (by Chagepoyo)

BURNBIT = Banbi (Bambi?), Ban-chan

Chagepoyo = Chage

chomaiyo = Choma-san

Chou Hinjaku na Kujira = Kujira

clear = Kaichou (chairman)

Dasoku = Tono (feudal lord)

Eve = Ibu, Ibu-sensei or sensei (by Sou), Chan-Eve (by luz), Ibuibu (by 96neko)

Faneru = Nerutan, Hatomune Tensei Poppochan, Fakkun (by Gero)

Fenikuro = Feni

Gero = Gerorin, Purpleman, Vomit Monster

Glutamine = Glutan

halyosy = Halyo-nii, Haru-nii

Horohorodori = Horo, Horohoro, Hage (baldy; by Alfakyun)

Honkon = Oyakata (master), Boss (by NicoNova and Nicocas members)

Houkago no Aitsu = Kago

Hydamio = Mio, Damio, Mimmi (by Aizawa), NHK (by Again)

InvaderT = Beda, Bedao, Invader-san

Isubokuro = Isu-kun

Itou Kashitarou = Kashi-kun, Kasshi

Ivudot/Ivudotto = Ivu, Ivudo, Dots (by Again)

Kaito = Kaiton

Kakerine = Kake-chan

KANKAN = Sava (based on the Japanese word for mackerel, saba), Kansaba-chan, Kan-chan

Kanseru/KanzentaiCell = Kan-san

Kettaro = Kettan, Ketsu

Kogeinu = Koge-tan

kradness = Chan-Kura, Kuuraa

Kurokumo = Kumo (often with -chan or -tan)

KYS = Yassan, Koyasu

LowFat = Low-san, Ro-san

luz = Lu-tan (by meychan), rusu

Madotsuki@ = Mado-chin

Mafumafu = Mafu, Mafu-don (by luz)

Mahiru = Mahi

Margurit = Guri (often with -chan), Maru-chan (by MUNE)

Meychan = chan-mey (by nqrse), Mey

Mi-chan = Micha

Miyashita Yuu = MiyaYuu, Yuu

moldio = Moru (-kun used by MUNE, -chan used by 3821)

MUNE = Papa (by Akajam)

Natsushiro Takaaki = Nacchiro

Nayugorou = Nayu (often with -chan), Goro

nero = nerorin

Nodoame = Ame-chan

NORISTRY = Nori-san

nqrse = Naruse, Naru-chan

Piko = Kopi

Pokota = Pokotan, Hage (baldy), pkt (by Hanatan)

Rim = Tan-Rim

Rumdarjun = Ramu-kun

S!N = Shin, Oshinshin (only S!N himself uses this though lol)

Senra = Osensen, Senraman,

Shakemii = Shake-san

Shamuon = Shamu-kun

Shima = Maashi, Shima-tan

Shinshakaijin = Shinshaka-san

Shintaro = Taro-pi

Shoose = Shuu-chan, Kutsu-san (shoe)

ShounenT = T-kun, Tomo, A Certain Pokémon Master, Pokémon Master

SILVANA = Shiru-chan

Solar = Sola-kun, Sora-kun, Debu (fatty, by Ivudot)

Soraru = Soraru-san, Sora-pi (by Uratanuki)

Sou = Sou-chan, Soniki

Soumarui = Rui-kun, Soma

STUNGUN = Stun-chan

syun = syun-pi

Tachibana Yuu = Banayu, Bana-chan, Yuu, Loofah (by InvaderT), Fucking Bird (by Ivudot)

Tarachio = Tara-chan (by Chagepoyo)

Teruto = Teru, Te-san

that = Zatton

un:c = Anku, Wanku

Underbar = An-san, Kokuou (king)

Uratanuki = Uratan, Ura-san

Utamaro = Maro-chan

Utau Onii-san = UtaOni

Utori = Utorin

VALSHE = Val-chan, Val-nee

victream = Ream (often with -kun)

Wolpis Kater = Shachou (president), Wol-kun

Wotamin = Minmin

Yuge = Yugepo

Yukimi = Yukimin, Yukimi-san (by himself), Yu-tan (by Rim)

Yukimura. = Tono (feudal lord), Yukimuu

Yuran = Yura-pi

Zakuro = Zaku-pi

Zekuro/Shou Zekuro = Shou-kun, Niini (big bro)

ZimuinG = G-san, Zimuin (often with -san)

#utaite #NND #utaites

23 notes · View notes

sambart93 · 6 years

Text

2017.12.14 Adekan 2 [Review]

I was so excited to go and see this! I was surprised how small the theatre ended up being! I thought 12th row would be like the middle of the threat but turned out to be the second to last row! But even though it was a smaller venue, the boys felt so much closer to us! The stage everything felt really close which is gooood!

CAST and CHARACTERS

Sakurai Keito as Yoshizawa Shiro Mikami Shun as Yoshizawa Anri Suehara Takuma as Yamada Koujiro Tanoue Marina as Mutsukuchi Hayashino Takeshi as Tachibana Shinzou Noda Hirotaka as Wakabayashi Kenichi Kano Kazuma as Yugami Murata Hisashi as Sakura Haruto Kato Ryosuke as Uchiuma Akito Ensemble: Okada Agasa, Yoshino Teppei, Osawa Shinji, Takashi Yukiya and Akama Hide

NON-SPOILER REVIEW Overall: If you thought the last one was nose-bleedy and sexy enough, WAIT until you see this one! Oh my! I don’t remember the first one having THIS much nakedness, this much implied sex, this many kisses nor these many moans! It was so bad! Seriously, we girls in the audience.. some people DID squeal because some parts really did get you hot and sweaty. BUT past all the sexiness, there’s actually a really good story and a heart-touching one too; we all ended up crying by the end of it! I was weeping like a baby by the end. This was a lot of fun, very sexy, but also has a real solid story. I really have no qualms or complaints about this one ^_^ Rating: 8/10

SPOILER REVIEW

Where do I start with this.... the story I guess? I’m a little fuzzy on the details but I’ll try my best:

STORY

There has been a series of people being killed and decapitated near a run-down community. Shiro goes to investigate and discovers it’s a community of ex-convicts or simply people who want to escape their past. The owner of the community accepts everyone and anyone, and makes it a rule that people don’t pry in others business when it’s not wanted; he’s not interested in what they did or might have done so long as everyone is good; everyone deserves a second chance, is the life lesson he’s living by. And of course his brother Anri gets involved a long the way and part of Shiro’s past comes up.

DONE! Without getting into all the spoils >.<

Now for the real spoils!

So Anri goes undercover to find out what’s happening at the community as well as Mutsukuchi experimenting on people and turning them into abominations; one also being the culprit who's taking people and decapitating them because they have the desire to eat human flesh. During one of the fights, Shiro gets seriously injured but luckily an old friend (Sakura) and his comrade (Akito) turn up to help him - they too have come to Shiro for help.

But it turns out Sakura just wanted to manipulate and take Shiro's power; when he turns on Shiro and tries to cut off his arm, Anri is too late to help but ends up using his power in order to save Shiro's life. It's implied that Anri's body has gone back to that of a child in order to help save Shiro, but it's never revealed or confirmed.

I'll leave the rest to surprise you.

The ending is what makes it though; the old man of the community, Yugami, had taken Anri in and taken a liking to him, but after he learns that Anri was just manipulating and using him, he starts to doubt his life and feels like leaving because so many in the community see him as this god-like leader. There is one character who is a super old man, who goes to visit Yugami every day to show him his flower, and at the end of this scene while Yugami is having his real down moment and yelling 'I am not a god! What do these people want from me! It's better if I die! Kill me! Kill me! There is no point in me living any more! Kill me!!!' the old man just walks on stage and finally, his flower has bloomed (this is where I started balling!) and he had come to show him but he over hears all these. When Yugami realises the old man heard everything, he's distraught, but the old man tells him that he wanted to show him the flower everyday, it doesn't matter what he did, he gave the old man a new way of life so now it's time for him to give Yugami meaning in his life too. I am not doing this scene justice at all because it's just heartbreaking and heartwarming all in about the space of 5 minutes. It's one of my favourite scenes from the stage.

Other favourite scenes would be:

This also relates to my favourite character which is DEFINITELY Wakabayashi, the Mousou King. He is absolutely hilarious! He essentially daydreams about having sex with Shiro all day, but because it's only in his head and his imagtination, he claims he isn't gay xD he is absolutly hilarious and kudos to Keito because during Wakabayashi's first scene Keito is literally naked on stage bar a metal disk that he's holding to cover his private area. And then Wakabayashi gets behind him and starts thrusting and the doors close as Shiro starts seriously moaning. It was a very raunchy scene! And then another scene with Wakabayashi is actually a higawari/daily-change scene when he meets Sakura and suddenly he's like 'Oohhh Yamada and Sakura together?!'. The day I went he gave three commands; The first was that Yamada puts his head on Sakura's lap, and the second; turn the other way so his face is in Sakura's crotch and grope his chest, to which Sakura started moaning, and the final command; to nozzle their noses. He left them to do it for like a good minute and Yamada was like 'can we stop now? Can we stop?!' and Wakabayashi was like 'nah, I'm good. Keep going ...................................................................................................................................................................................................................... okay that's enough' I'm pretty sure the actors hated him after xD I know Murata wrote on his blog that he was embarrassed and is always worried every show for that scene because he doesn't know what Wakabayashi is going to say >.<

Another scene I loved was with Tachibana. Just after Anri infiltrates and gets in with the community leader, Anri is left in his room and he opens the side wall and BAM Tachibana had been eaves dropping. He tries to get through the small square in the wall but really struggles. Eventually he does. On his way out he struggles again and ends up going back through butt first xD

Another great scene is when Mutsukuchi is telling off Anri but he doesn't want to deal with responsibility. She tells him to get out and he says something like 'okay I'll go and strip!' and goes down the aisle and starts taking his kimono/cloak off. BUT before that scene, Anri enters from the right side door and approaches a girl on the either and tells her to touch him, and to touch him more but Mutsukuchi turns up and tells him to stop xD

However, one scene that really hurt my heart though is towards the end; I really liked Sakura and Akito, even when Sakura turned on Shiro, I still liked him (blame it on the actor-biasness). BUT THEN(!!!!) he turns on Akito and kills him!! He tells him that they were never friends, that all he even did was manipulate him into doing Sakura's bidding! But after Akito is dead, Sakura says 'the last part (he said he hated him) was a lie'. But you can't completely blame Sakura because in ANOTHER scene, we see him stripped of his upper clothing and is getting whipped to crap by his dad! So clearly there's abuse and mental issues there with Sakura -- I hope Shiro can save him in the next stage. But I am SO upset Sakura killed Akito! I wanted more gayness and adventures with them two! They were a great pair =[ I was so shocked at him betraying Akito.

Going back to the sexy things that happened: There were so many kisses! There were some between Anri and Akito. Another between Anri and Mutsukuchi which shocked everyone and especially after the kiss where he so softly saying 'I really do like you'.

Now to character/acting points:

Of course Keito did a great job as Shiro! He definitely went all out this time! It takes guts to go all out naked on stage with nothing but a metal disk covering your parts, and he did look do a few times to make sure he was completely covered! Of course, the fight scenes he was in were great too! In fact all the fact scenes were great!

I really liked how this time Yamada has trouble trusting Shiro and vice-versa and it creates a distance between them. Yamada really struggles and he has a moment where he's like 'Am I even Shiro's friend?! I don't even know anything about him!' but luckily they finally meet up again towards the end and it's a beautiful moment of 'yes these two were always friends. How could they not be!' ^_^

Speaking of fight scenes; there's one moment where he's fighting against Sakura and he does his signature 'crotch in the face' pin down xD Poor Murata >.< it was fabulous haha Also I'm now super interested if he really meant it to Mutsukuchi when he said he liked her. Because it was a proper kiss and everyone went silent in shock and the way he said he liked her sounded so serious and true.

I really liked Murata in this and his character! Naturally, I appreciated the shirtless whipping scene even though it sounded super duper painful. Also the fact that his weapon is a damn whip!! OH YEAH!! xD But still(!) he's freaking switch-a-ro and betraying his friend was a huge shocker1 But damn he better be back in the third stage!! And I freaking LOVE his outfit! And fighting in THOSE heels?! DAMN! xD

Also Kato did a great job as Akito too! I am so upset we won't be coming back though -- or at least it seems like it! I really, really liked his and Sakura's relationship. Also the fight scene where he just kept getting kissed was hilarious too!

I have nothing else left to say except GIVE ME A SECOND LIVE AND/OR A THIRD STAGE ASAP PLEASE!!!

GOODS

Even the goods are riskee o_O

And we’re done! I’m super excited to see which higawaris made the DVD recording and stuff >.<

#sakurai keito #murata hisashi #suehara takuma #mikami shun #noda hirotaka #kato ryosuke #adekan #review #stage #2.5次元

65 notes · View notes

thesecrimsonstrings-if · 6 months

Note

now I'm stuck with an image of mc getting caught sneaking around tachibana with like half their leg stuck from trying to climb thru the window going "come here often?"

tachibana glares at you, clearly unimpressed by your nonchalance. “give me one good reason why i shouldn’t just shoot your head off.”

“you won’t be able to meet my magnificent self properly?” you try with the most charming smile you can muster.

the hunter’s mouth twitches into a ghost of a smile before they revert it back to their usual scowl. “you think you’re pretty clever, vampyr? brave of you to try to turn on the charm with a gun to your head.”

“clever?” you pretend to think. “perhaps not. but pretty? definitely.”

you smile seductively to prove your point and see a slow tint of pink creep up their cheeks. hell yeah, you still got it.

“are you like this with everyone who tries to kill you?” tachibana asks, mildly frustrated.

“only the cute ones,” you say with a wink, lapping up their flustered reactions. “by the way, were you aware that your gun barrel has been empty this entire time?”

#asks #fellas #is it okay to feel attracted to one of the creatures you’ve sworn to eradicate?#it’s gonna be a rollercoaster ride for tachibana for sure #ro: i tachibana #these crimson strings

132 notes · View notes

sawamura-daichis-thighs · 7 years

Text

Tagged by @yaoyoroses :D thanks En! sorry this is hella late asldkjf

Rules: Answer the 20 questions and tag followers you want to get to know.

Name: Kat

Nickname: Kat, KK, Nene, Miss Refreshing

Zodiac: Taurus

Height: somewhere between 5′2″ & 5′3″

Orientation: ace-spec/demi-ro

Favorite fruit: strawberries!

Favorite season: I can never really decide lol rn it’s Fall

Favorite book series: a;lskdfj I can’t choose just one ^^;

The Hunger Games

Three Sisters Island trilogy by Nora Roberts

The Maker’s Song series by Adrian Phoenix

Maximum Ride by James Patterson

The Vampire Diaries by J.L. Smith

Favorite flower: tiger lilies & orchids

Favorite color: blue!

Favorite animal: so many but I’m especially fond of owls, hedgehogs, & all canines

Coffee/tea/cocoa: coffee is my life-force tbh

Average sleep hours: around 6.5?

Cat or dog person: I love them both but i’m probably more of a dog person

Favorite fictional character: nuhhh I have so many but I’ll always have a soft spot for:

Oikawa Tooru, Iwaizumi Hajime, Sugawara Koushi (HQ!!)

Uraraka Ochako, Bakugo Katsuki, Kirishima Eijirou (BNHA)

Mikleo & Sorey (Tales of Zestiria the X)

Obi (Akagame no Shirayukihime)

Tachibana Makoto (Free!)

Hak (Akatsuki no Yona)

Number of followers: 369 (holy crap! thank you!)

What I define as amazing followers: to quote En, all of my followers! :’D

TAG | @fullyautomatedgayspaceescapism, @shewaseatenbyacake, @quietlyobscure, @alittleaboveaverage, @never--enough

(Tags are based on mutuals/new followers/those I see in my notifications or talk to often :3 Only if you want to of course! ❤)

#tag! kat's it #yaoyoroses #about me #this...has been sitting in my drafts for like 2 weeks orz sorry #I tried not to tag the same people as always ^^;#but if you'd like to do it feel free to say I tagged you!#I always like to get to know new people

2 notes · View notes

luxyfi · 7 years

Text

tagged by: @literaryalexis (who writes goooooooood kagehina fanfics hehe)

name: i’m just going to stick with Ro...

nickname: roby and the variation of rovy (by @doctorpuns)

height: 165 cm

ethnicity: latin

favourite fruit: BLUEBERRIES !!!!

favourite season: autumn bc it’s my birthday and sweaters have a special place in my heart.

favourite book: the perks of being a wallflower; i read it every year

favourite flower: tulips

favourite animal: b u n n i e s

favourite beverage: tea and coffee without sugar added

favourite fictional character: damn this one is hard...but i’ll stick with Kageyama Tobio, Kakashi, Makoto Tachibana, Genos, and Levi Ackerman...(i’m sorry i couldn't choose only one

number of blankets you sleep with: just one, it’s pretty hot here...

dream trip: hmmmm i guess somewhere with lot’s of stuff to do.

blog created: it’s going to be a year old in two weeks !! :D

number of followers: rn 1,022

tagging: @doctorpuns @someonetheelusivefangirl and @naoamaya

#i really love tag games #tag game #!!!!#luxyfi

7 notes · View notes

chanoyu-to-wa · 7 months

Text

Nampō roku, Book 7 (71a): Nambō Sōkei Declares His Attachment to the Two-mat Daime Room.

71) This monk replied [to Rikyū], “[what you say] is very praiseworthy; [but we must not forget the fact] that Jōō and [Ri]kyū exerted their wholehearted efforts to establish the details of the kane [䂓矩 = カネ] of the daime-giri [臺目切]¹. So, even if [we] were determined to discard [the use of] such an interesting venue, [I] do not believe it would, in fact, be possible to make do with only the [two mat room with] mukō-ro²! [Nevertheless,] if [you] insist on finding fault with attaching a daime to the two-mat room, then [you] should just continue doing as you wish [and receive your guests only in a two-mat room with mukō-ro]³!

“But furthermore, when the ro in the three-mat room was moved out [of the utensil mat], and cut [in the adjoining mat] on the katte-side of the half-ken [that is beyond the right edge of the utensil mat], that also made it easier [for the host to interact directly with his guests]⁴. The [delightful] effect of suspending [the kama on] a jizai (or something of the sort) -- that it would be difficult to discard this kind of setting [cannot be denied]....⁵”

Lord [Ri]kyū chuckled [to himself], “I think we are both harboring the same thoughts⁶!”

“But as for the rest of the worldly style of tea [that we see all around us], look at the way it is [already] collapsing into ruin! This, we should say, is deplorable!” -- I am passing on what I heard [him say].

_________________________

◎ Though this entry is not very long, the language is extremely idiomatic (with the idiom being that associated with the scholasticism of the late seventeenth or early eighteenth century), meaning that this text proved very challenging to translate*. Indeed, none of the commentators ventured to say anything about this section except for Tanaka Senshō -- and, in his case, he limits his entire discussion to the genpon text†, ignoring the Enkaku-ji material entirely‡.

As is quite common in Book Seven, there are three versions of this entry. While the passage in Shibayama Fugen’s toku-shu shahon [特殊写本] is more or less similar to what is found in the Enkaku-ji manuscript, there are several minor modifications that will be discussed in the footnotes**.

Tanaka’s “genpon” [原本] version, however, is so different that it will be necessary to look at it in a separate post. In addition, Tanaka also included a kaki-ire [書入] (of unknown antecedents**), appended to the end of his quotation of the Enkaku-ji text. That, too, will be covered in the next post. ___________ *Some versions of the Nampō Roku join this entry to the preceding one, so we would have Rikyū’s declaration, followed by Nambō Sōkei’s response. I have followed the Enkaku-ji manuscript in relegating them to separate entries.

†The genpon text was completely rewritten. All of the obscure idiomatic language has been removed, and the arguments have been normalized -- to the point where they feel completely at home in the modern-day chanoyu.

‡Tanaka’s copy of the Enkaku-ji text was produced while the ban on writing anything down while on the temple grounds was still in effect. Thus, it was another example of one of the Enkaku-ji scholars leaving the temple and then writing what he remembered down as soon as possible (it is said that a number of tea shops were opened in the vicinity of the main gate just for this purpose).

**In addition to the original fair copy of the text that Tachibana Jitsuzan created for presentation to the Enkaku-ji, he subsequently authorized the production of four additional copies -- to protect the original from being damaged by the repeated handling to which it was being subjected. After that, the original text was put away, and only the copies were used for their further inquiries -- and the fact that they were copies may have given certain scholars the feeling that important notes might be added. So whether this kaki-ire was found in one of the “official” copies of the text that were available to the Enkaku-ji scholars, or whether the kaki-ire was added to his own copy of the text by the scholar whose personal copy of the Nampō Roku came into Tanaka’s hands cannot be deduced -- since the only person who could have shed light on at least one of these possibilities died, and the four authorized copies dispersed into the general population when the group of scholars concluded their work in the Enkaku-ji.

**None of them change the meaning so greatly that they need to be incorporated into the translation -- which, as a result, is based only on the Enkaku-ji material.

¹Kono-bō mōshikeru ha, osshayū ni sōroe-domo, daime-giri no kane, Jōō to Kyū, sama-zama o-kokoro wo tsukushite sadameraretaru-koto nari　[コノ坊申ケルハ、仰尤ニ候ヘトモ、臺目切ノ䂓矩、紹鷗ト休、サマ〰御心ヲ尽シテ被定タルコトナリ].

Kono-bō mōshikeru ha [この坊申しけるは] means Nambō Sōkei related (this story)*.

Osshayū ni [仰尤に]†: ossharu [仰る] is a polite word meaning to speak, while yū [尤] means superb, outstanding. The compound, then, appears to mean to praise or express one’s in awe of or in (someone or something): osshayū ni sōroe-domo [仰尤に候えども], then, would mean even though (Sōkei) was deeply impressed by (this situation)...; that Rikyū’s argument was most certainly reasonable or valid....

In other words, Sōkei begins by complementing Rikyū’s argument, before entering into his refutatio.

Daime-giri no kane [臺目切の䂓矩]: this way of writing kane [カネ] (which is usually rendered phonetically) is found only here -- again, casting doubt on the authenticity of this episode.

Jōō to Kyū, sama-zama o-kokoro wo tsukushite sadameraretaru-koto nari [紹鷗と休、様々お心を尽して定められたることなり] means that Jōō and Rikyū, with their whole hearts†, worked very hard to fix the details of the kane, and kane-wari for the daime-giri setting.

In addition to Sōkei’s own personal delight in this room, he also wants to acknowledge that the two-mat daime room was a product of Jōō’s and Rikyū’s most sincere efforts. Thus, for both of these reasons, he is choosing to speak up in defense of this room -- even if he has to contradict Rikyū in order to do so.

Shibayama Fugen’s toku-shu shahon version of the text refers to Rikyū as Kyū-kō [休公] (which would translate Lord [Ri]kyū); but otherwise the two are identical. __________ *This is problematic, because the fiction is that Nambō Sōkei wrote Book Seven between the conclusion of the dawn memorial service and the time (presumably in mid-afternoon) when he closed up the Shū-un-an, and went off to the mountains to do away with himself. That being the case, there is no reason why Sōkei would begin by saying that he said these things. (Of course, someone writing nearly a hundred years later, and hoping to give their narrative a ring of authenticity, would be inclined to do so.)

†Osshayū ni [仰尤に] is difficult, since I have been unable to find any record of its meaning -- or, indeed, that it is a word at all. That said, while one source cites a Heian period precedent (that I was unable to confirm when referring back to the original source), I did find a handful of Edo period documents where it has been used, always in the specific formula osshayū ni [仰尤に]; and, in every case, it is clear that the expression is being used to indicate that (the author, or speaker) was deeply impressed by something. (The nuance always seems to be that the person was inspired to awe and admiration -- by the situation, object, or, as in this case, the argument that is being described in the narrative.)

In other words, in this specific case, before Sōkei enters into his argument for the preservation of the 2-mat daime room, he acknowledges that, in this, he will be going against Rikyū’s argument that, since the 2-mat room was the original type of “small room,” it might be better to stay with that -- since allowing for variation here will only invite others to change other aspects to suit their personal inclinations, which can only lead to the loss of the “small room’s” wabi identity.

Though I must quickly add that there is no evidence in support of this argument in the historical record. The earliest “small room” in Japan, that was built as a dedicated tearoom, appears to have been the 2-mat daime, created jointly by Jōō and Rikyū in the spring of 1555 (several months after Rikyū’s return from the continent). This was later followed by the situation where the ro was moved within the kamae, when the fukuro-dana was eliminated, at which time the superfluous second tatami in that portion of the room used by the guests was taken away, resulting in the 1-mat daime room (this may have occurred while Jōō was still alive); but Rikyū almost immediately rejected this kind of room, because the close proximity of the wall (at this time, the sode-kabe extended from floor to ceiling) made life difficult for all but the first guest. Only then does Rikyū seem to have begun making use of the 2-mat room. This means that the 2-mat room, as well as the three-mat room, was derived from the ichi-jō-han [一疊半] by eliminating the sode-kabe, and extending the utensil mat to its full length (though the utensil mat continued to be used as if it were a daime) -- a model that he employed in his residences within Hideyoshi’s various compounds, and one that most deeply appealed to Hideyoshi himself. Nevertheless, Rikyū appears to have continued to use his 2-mat daime Jissō-an [實相庵] until he removed his household to Mozuno (around 1588 or 1589), at which time the small room within his residence was the two-mat Mozuno ko-yashiki.

As the Sen family was unfamiliar with the details of this history before its final chapter (Shōan's mother was sent, from Hideyoshi’s harem, to manage Rikyū’s Kyōto household no earlier than 1584, so they would have had no knowledge about his personal life prior to that point in time, and of course they never saw the compound at Mozuno -- as Miyaō Saburō Sannyū and his son Shōan, later known as Sen no Shōan, and grandson Sōtan, were all members of the machi-shū faction that had coalesced around Imai Sōkyū following Jōō's death at the end of 1555), they took that brief experience and expanded its details to fill in the whole of Rikyū’s lifetime. As a result, since the small room that Rikyū was using (outside of his Ima-ichi residence in Sakai, at least) between 1584 and his death in 1591 was the two-mat room with mukō-ro, the Sen family believed and then argued that the two-mat room had been the original small room, with the 2-mat daime and the other rooms appearing later -- as perversions of Rikyū’s original vision.

Returning to osshayū ni, because I have been unable to find anything resembling a dictionary entry for this expression, I have also been unable to locate anything resembling a standardized pronunciation (all of the examples I found were written with kanji, without furigana). So “osshayū ni” [仰尤に] is only a guess.

†In other words, they exerted their intellects to the fullest to determine the system of kane-wari. This argument, of course, reflects an ignorance of the shiki-shi [敷き紙]; and so supports the Sen family’s assertion that Jōō and Rikyū had created the idea of kane-wari out of nothing.

²Sute-gataku omoshiroki-koto ni sōroeba, ikkō ni mukō-ro bakari tomo zonzerarezu　[ステガタク面白キコトニ候ヘバ、一向ニムカフ爐バカリトモ不被存].

Sute-gataku [捨て難く] means (something that is) difficult to discard; difficult to throw away.

Omoshiroi-koto ni sōroeba [面白いことに候えば] means if something is interesting (or amusing) to do.

In other words, if something is interesting to do, then it is difficult to just throw it away (because it does not conform with the original way things were done).

Ikkō ni mukō-ro bakari tomo [一向に向爐ばかりとも]: ikkō ni [一向に] means completely, totally, absolutely; mukō-ro bakari tomo [向爐ばかりとも] means even if it is only about the mukō-ro.

Zonzerarezu [存ぜられず]: the verb zonzuru [存ずる] means to know, to be aware of, to be acquainted (with); -rare [-られ] indicates the potential form (i.e., if one were to be aware of...); and the suffix -zu [-ず] makes the verb negative (“if one were not to know...”).

Ikkō ni mukō-ro bakari tomo zonzerarezu [一向に向爐ばかりとも存ぜられず], then, would mean something like “(I) don't believe it would be possible to have only the mukō-ro.” In other words, even if the mukō-ro were the only option, it would not be very satisfying*.

Though Shibayama's text is written using even more archaic structures* (難捨面白キコトニ候得バ、一向ニ向爐ハカリ共不被存), but when read aloud, his version would result in the same sentence that is found in the Enkaku-ji manuscript. __________ *That is, if, in the small room, there were no other option but to use the mukō-ro, dissatisfaction would drive the tea community to search for some sort of alternative.

†This kind of writing (where kana are kept to a minimum) was considered to be analogous to writing in Chinese. Indeed, this is the way that Takuan Sōhō wrote, and (given the enormous influence that he exerted on the Sen family -- especially on Sōtan and his sons Sōsa and Sōshitsu) he might well have been taken as the model for Sōkei’s speeches in this and other such entries in Book Seven.

This kind of affectation seems to have been mostly used only in writing. When read aloud, it would be necessary to change the order of the words so that they would conform to the rules of Japanese grammar.

³Semete ni-jō-shiki ni daime-giri no tsuketaru ha, sono-mama aru-taki sumai ni te sōrō　[セメテ二疊敷ニ臺目切ノ付タルハ、其マヽアルタキ住居ニテ候].

Semete [責めて]: the verb semeru [責める] means to blame, censure, find fault (with).

Semete ni-jō-shiki ni daime-giri no tsuketaru ha [責めて二疊敷に臺目切の付けたるは] means “if (you) fault (the desire) to attach a daime (utensil mat) to the two-mat (room)....”

Sono-mama aru-taki sumai ni te sōrō [其ままあるたき住居にて候う]: sono-mama [其まま] means (just) that way, as it is*; aru-taki sumai ni te sōrō [有度き住居にて候う] means live as (you) wish; do as (you) want.

In other words, if you object to the idea of appending a daime utensil mat to the earlier two-mat room for whatever reason†, you are completely within your rights to reject that sort of venue, and simply continue serving tea in your two-mat room with mukō-ro.

Here Shibayama’s toku-shu shahon version has ni-jō-shiki ni daime-giri wo tsuketaru ha, sō-an sumai no uchi dai-ichi ka to kono-bō ha zonji-sōrō-mama, semete ha ni-jō-daime-giri wo kagiri ni shitaki-koto to zonzuru nari [二疊敷ニ臺目切ヲ附ケタルハ、草菴住居ノ内第一カト此坊ハ存候マヽ、責テハ二疊臺��切ヲ限ニシタキコトヽ存ズル也].

Ni-jō-shiki ni daime-giri wo tsuketaru ha [二疊敷に臺目切を付けたるは] means “with respect to the case where a daime-giri is appended to a two-mat room....”

Sō-an sumai no uchi dai-ichi ka to kono-bo zonji-sōrō-mama [草菴住居の内第一かとこの坊は存じ候うまま] means “within (the various forms of) the sō-an, was this the first? this monk understands what was (the truth of the matter)....”

Semete ha ni-jō-daime-giri wo kagiri ni shitaki-koto to zonzuru nari [責めては二疊臺目切を限りに慕いことと存ずるなり] means “but though (I) might be blamed, since the ni-jō-daime-giri (already exists), I only know that I love it.”

While the Enkaku-ji text generalizes the matter, the toku-shu shahon version personalizes the issue. __________ *Sono-mama, here, is referring to the original 2-mat room.

†Again, this ignores the actual history of the case. It is not that the daime was appended to a two-mat room, but that the superfluous 1.5 mat area at the lower end of the 4.5-mat room was cut off, since this was not necessary.

The 4.5-mat room had been considered the usual size for a personal study -- the amount of space needed for a nobleman to live comfortably (he spent virtually his entire time within that room, both day and night). This is why the 4.5-mat room was considered intimate -- it was inviting ones guests into the nobleman-host’s personal space.

And the number of guests had been fixed at around 5 people (which was half the number of people usually considered appropriate for a renga [連歌] competition, since a smaller number would lack the variety of personalities, and so the varied nature of their verse links, that made such gatherings interesting: the participants in the renga-kai were usually divided into two teams of five persons each, and this may have been the precedent for the number of guests invited to the the chakai), because it was difficult to serve the meal to a larger number of guests in the 4.5-mat room (since, unlike the poetry session, the guests were not supposed to sit on the utensil mat, nor obstruct the path that the host would have to take from the katte-guchi in order to have access to each of the guests -- this is why the renga competition took place in one room, while refreshments were served somewhere else).

As Jōō grew older, he came to find serving five or six guests more and more difficult, so the number of guests, as well as the size of the meal, began to shrink. (Nevertheless, even 5 people could be entertained in a 2-mat daime room without difficulty.)

⁴Mata san-jō no ro wo mochi-dashite kiritaru ha, katte no kata, ken-han kutsurogite　[又三疊ノ爐ヲ持出テ切タルハ、勝手ノ方、間半クツロギテ].

Mata san-jō no ro wo mochi-dashite kiritaru ha [又三疊の爐を持ち出して切たるは] means “and again, the ro in the three-mat (room) was moved out and cut (to the right of the utensil mat)....”

Ken-han [間半]* refers to the division of a one-ken (a 6-shaku square, which is roughly† the space occupied by two kyōma tatami) space into halves. Here, it refers to the utensil mat (in the three-mat room) plus the mat to its right, divided in half. Thus, it is referring to the space to the right of the utensil mat (regardless of the actual orientation of the mats).

Katte no kata, ken-han kutsurogite [勝手の方、間半寬ぎて]: this phrase is oddly written. It means that the 1-ken area (that includes the utensil mat) is divided in half (parallel to the edge of the utensil mat), and then the ro is located on the katte-side of the half that does not include the utensil mat -- since this would give the most comfortable (katsuragite [寬ぎて]) access to the guests, when he is seated on the utensil mat -- as shown below (where Ⓣ is the host, and Ⓢ, ②, and ③ are the guests).

Looking at Nambō Sōkei’s Shū-un-an [集雲庵] (since this is probably the room that the author was thinking of), the one-ken area is that outlined by the dashed red line. The middle (ken-han [間半]) is, in turn, indicated by the dotted red line.

The ro was to be located on the katte-side of the half that does not include the utensil mat. This is what we see in the sketch.

Here Shibayama's version has mata hira-san-jō no ro wo mochi-dashite kiritaru ha, katte no kata, ken-han kutsurogite [又平三疊ノ爐ヲ持出テ切タルハ、勝手ノ方、間半クツロギテ].

The only difference is that the 3-mat room is defined as a hira-san-jō, which means a three-mat room where the utensil mat is located at one of the shorter ends of the room‡. __________ *The word is usually pronounced ma-naka [間半] today; and also, it is more commonly written ma-naka [間中].

†Technically, two kyōma mats placed side by side would give a square that measures 6-shaku 3-sun by 6-shaku 3-sun. Either the author did not know this, or was not concerned about such details (as Nambō Sōkei most certainly would have been).

‡There were two basic ways to orient the mats in a three-mat room:

￮ the fuka-san-jō [深三疊], which (in Book Seven) is said to have been the older version, had the utensil mat on one of the long sides (with the temae-za close to the center of the room);

￮ the naga-san-jō [長三疊], which appeared later, originally had the three mats arranged so they were parallel (left).

Later, though, the two mats used by the guests were arranged so that they were perpendicular to the utensil mat (right).

When the idea of using the utensil mat as if it were a daime-gamae arose (even though the use of a sode-kabe was optional), cutting the ro to the right of the utensil mat also became an option -- and both orientations were also seen (as shown below).

Rikyū’s Tai-an [待庵] (though it included a sode-kabe, and also had an ita-datami [板疊] installed on the left side of the utensil mat) was arranged like the example on the left; Nambō Sōkei’s Shū-un-an [集雲庵], as shown above, took the right version as its model.

⁵Jizai-nado tsuri-sōrō keshiki, sute-gataki sumai ni sōrō to mōshikereba　[自在ナドツリ候氣色、ステガタキスマヰニ候ト申ケレバ].

Jizai [自在] refers to a length of bamboo, with an adjustable wooden hook (made from the crown of a small pine-tree) that is used to suspend the kama over the ro.

Jizai-nado tsuri-sōrō keshiki [自在など釣り候う氣色] means “the visual effect (or mood)* produced by suspending (the kama over the ro) from something like a jizai....”

Sute-gataki sumai ni sōrō to mōshikereba [捨て難き住居に候と申しければ] means “if we argue that it is difficult to throw away this kind of situation....”

The second phrase of the toku-shu shahon version is omoshiroku sute-gataki sumai ni sōrō to mōshikereba [面白ク難捨住居ニ候ト申ケレバ], which means “if we argue that it is difficult to throw away such an interesting sort of place (where the kama is suspended from the ceiling on a jizai)....”

The Sen family only used the jizai in the daime-giri setting†, so the elimination of that venue meant that the tsuri-gama could no longer be used in the small room. And in rooms of 4.5-mats or larger, they always used a metal chain (kusari [鏁]) to suspend the kama. Both of these rules seem to have been originally articulated by Imai Sōkyū. __________ *This is referring to the very special mood that comes from suspending the kama from the ceiling -- since it is impossible to keep the kama from moving once it begins to boil (and so, throughout the temae). This feeling of inherent instability emphasizes the transient nature of the gathering, an idea that became increasingly important as Takuan Sōhō’s ideas began to spread through the Edo tea world.

†Unlike Rikyū, who certainly used it in his 2-mat room with mukō-ro, when serving tea using the small unryū-gama -- according to his own records. (Indeed, there is no other way to use this kama in the ro, since it is too small to rest on the ro-gotoku: this small kama actually fits in between the legs of the gotoku, which was necessary because Rikyū set up the ro at dawn with an ordinary kama, and then replaced that with the small unryū-gama shortly before the guests were expected to arrive -- and the fact that it fits between the legs allowed the small unryū-gama to be suspended so that its mouth was below the level of the ro-buchi).

⁶Kyū-kō waratte, warera mo dō-i ni omou nare-domo　[休公笑テ、我等モ同意ニ思フナレドモ].

Kyū-kō waratte [休公笑って] means Lord Rikyū chuckled to himself.

Only the Sen family (and their followers) referred to Rikyū as Kyū-kō, never his contemporaries.

Warera mo dō-i ni omou nare-domo [我等も同意に思うなれども]: warera [我等も] means us, we; dō-i ni omou naredomo [同意に思うなれども] but I think we share the same thought.

In other words, Rikyū is saying that even though the two-mat room with mukō-ro came first, and so should be considered the orthodox form of the sō-an, he has to agree with Sōkei -- that it would be a shame to repudiate the 2-mat daime just as a matter of principle.

The sentence in Shibayama Fugen’s toku-shu shahon is the same.

⁷Amari se-jō no cha, kuzure yuku-beki tei wo mite, tansoku ni mōsu nari to zo no tamaikeru　[アマリ世上ノ茶、クヅレ行ヘキテイヲ見テ、歎息ニ申也トゾノ玉ヒケル].

Amari se-jō no cha [余り世上の茶] means “but as for the rest of the worldly form of tea” -- the kind of chanoyu practiced by the men of the world.

Kuzure-yuku-beki wo mite [崩れ行くべき体を見て] means “look at the way it will fall into ruin.”

Nagekawashiku ni mōsu nari [歎かわしくに申しなり]* means (we) should say that this (state of things) is deplorable.

To zo no tamaikeru [とぞ給いける] means something like (I am) offering what I have heard.

Aside from taking a pot-shot at the competition (which was something that the Sen family and their followers were always ready to do, particularly as the seventeenth century came to its end with the appearance of the hated daimyō-cha), it is difficult to see how this conclusion is connected with the rest of the passage. The entry looks at Nambō Sōkei’s polite objection to Rikyū’s assertion that he regrets that the sō-an was ever enlarged from the original 2-mats (with mukō-ro) to the ni-jō-daime configuration, and ends with Rikyū’s amused concession that he, too, has a special fondness for this latter version of the sō-an. But how this then serves as an invitation to knock everything else† that was being done “in the world” -- which pointedly is a reference to the modifications being wrought by the recently untethered daimyō (and anyone else who was not part of the Sen family’s machi-shū tradition) -- is beyond me.

The final phrase, as found in Shibayama's version (the punctuation of which has also been changed), is given as nagekawashiku omou yue ni, mōsu nari to zo, no tamaikeru [ナゲカハシク思フ故ニ、申ス也トゾ、ノ玉ヒケル], which means “because (I) think this is deplorable, I am saying it (out loud) -- and passing it on to you.” ___________ *Today nagekawashiku [嘆かわしく] (or, more commonly, nagekawashii [嘆かわしい]) is preferred.

†This statement appears intent on gathering together every other change that had been effected -- except for the creation of the 2-mat daime. Everything else should be repudiated, and chanoyu should be restored to Sōtan’s machi-shū version of the practice (which, far from having anything to do with Rikyū, would have resulted in a restoration of Imai Sōkyū style of tea).

1 note · View note

pomsicles-blog · 5 years

Text

Tag Drop (part 3) for Muses for my other blog

just making it easier than cramming my dash on the other blog

#A Mᥲjor Sᥕᥱᥱt Tooth ⇢ ❴Momoko Akatsutsumi ¦ Hyper Blossom❵#Sᥲss ᥲt ιt's Fιᥒᥱst ⇢ ❴Kuriko Akatsutsumi ¦ Bouncing Bullet❵#Thᥱ Bᥱttᥱr - Pᥱrfᥱᥴt Morbᥙᥴks ⇢ ❴Duchess Morbucks❵#Aᥒgᥱᥣιᥴ Pιᥲᥒιst ⇢ ❴Kanade Tachibana❵#Lᥱᥲdᥱr of thᥱ SSS Brιgᥲdᥱ ⇢ ❴Yuri Nakamura❵#Lιttᥣᥱ Roᥴk Stᥲr ⇢ ❴Yui❵#A Wιᥴkᥱd Sᥱᥒsᥱ of Sᥲrᥴᥲsm ⇢ ❴Shinoa Hīragi❵#Qᥙᥱᥱᥒ of thᥱ Vᥲmριrᥱs ⇢ ❴Krul Tepes❵#Aᥒgᥱᥣιᥴ Pᥙddιᥒg ⇢ ❴Stocking Anarchy❵#Thᥱ Sᥱxιᥱst Aᥒgᥱᥣ ιᥒ Hᥱᥲvᥱᥒ ⇢ ❴Panty Anarchy❵#Strᥱᥒgth of ᥲᥒ Amᥲzoᥒ Wᥲrrιor ⇢ ❴Pyrrha Nikos❵#Soft Fιᥣtᥱrᥱd Photogrᥲρhs ⇢ ❴Velvet Scarlatina❵#Pᥙrᥱ Whιtᥱ Dovᥱ Fᥱᥲthᥱr ⇢ ❴Melanie Malachite❵#Yoᥙr Fᥲvoᥙrιtᥱ Iᥴᥱ Crᥱᥲm ⇢ ❴Neo Politan❵#Nᥱrvoᥙs bᥙt Comρᥲssιoᥒᥲtᥱ ⇢ ❴Meiko Mochizuki❵#Gᥱᥒtᥣᥱ Sᥲkᥙrᥲ Fᥣoᥕᥱr ⇢ ❴Mei Wang ¦ Taiwan❵#Cᥙρᥴᥲkᥱ Crᥲzყ ⇢ ❴Olivia Kirkland ¦ 2p!Nyo!England❵#Soρhιstᥲᥴtᥱd Grᥲᥴᥱ ᥲt ιts Fιᥒᥱst ⇢ ❴Lucille Bonnefoy ¦ Monaco❵

0 notes

snackpointcharlie · 5 years

Photo

Snackpoint Charlie’s December emanation has transcended its temporal prison and is now free to roam to your personal data-smushing device for playback at the time and date of your choosing, so why not download now? It’s waiting… waiting… waiting…. Navigate thyself to WGXC.org and click the “Audio” link for this and all previous broadcasts.

Transmission 019 - 2018.12.05 PLAYLIST

1) Masahiko Sato - “Kanashimi No Belladonna (Mayumi Tachibana)” from 哀しみのベラドンナ (BELLADONNA OF SADNESS) https://www.discogs.com/Masahiko-Sato-Belladonna-Colonna-Sonora-Originale-Del-Film/release/4476332

2) Maria Bethânia ‎– “Movimento Dos Barcos” from DRAMA 3º ATO "LUZ DA NOITE" https://www.discogs.com/Maria-Beth%C3%A2nia-Drama-3%C2%BA-Ato-Luz-Da-Noite/release/2718399

3) Nação Zumbi - “Hoje, Amanhã e Depois” from FUTURA https://www.youtube.com/watch?v=bcg46jq-R4U

4) HSFB/Parashi - “Moore’s Shot Disrupted” from "ASSASSINS" https://parashi.bandcamp.com/album/hsfb-parashi-assassins

5) Musekiwa Isaac - “Chérie Akini Ngai” from NGOMA, SOUVENIR YA L'INDÉPENDANCE https://www.discogs.com/Various-Ngoma-Souvenir-Ya-LInd%C3%A9pendance/release/3716465

6) Mestre Cupijó e Seu Ritmo (The Mythical Sound of Northern Brasil) - “Caboclinha Do Igapo” from SIRIÁ https://analogafrica.bandcamp.com/album/siria

7) Ros Sereysothea + Dara Jamchan - “Kone Oksok Nas Pa (We're Very Bored, Dad!)” from CAMBODIAN ROCKS http://blog.wfmu.org/freeform/2007/12/cambodian-rocks.html

8) Professor Wali Ullah Khan - “Sitar Instrumental (1935)” from INDIAN TALKING MACHINE: 78 RPM RECORD AND GRAMOPHONE COLLECTING ON THE SUB-CONTINENT http://www.sublimefrequencies.com/products/576327-book-2cd-indian-talking-machine-78rpm-and-gramophone-collecting-on-the-sub-continent

9) Bill Ramsey - “Yellow Submarine” https://www.discogs.com/Bill-Ramsey-Yellow-Submarine/release/2757965

10) Unknown - “Seaside” from THE JOY OF SPRING https://madrotter-treasure-hunt.blogspot.com/2018/10/unknown-artist-joy-of-spring.html

11) Jacques Tati - excerpts from LES VACANCES DE MONSIEUR HULOT https://www.youtube.com/watch?v=4f2gLy-A0hM

12) Koes Plus - “Djangan Selalu Marah (Don't Always be Angry)” from VOLUME 2 http://www.sublimefrequencies.com/products/576866-koes-plus-dheg-dheg-plas-volume-2

13) Fairuz - “Al-Raqsa Al-Suriyya (instr)” from DABKAY WITH FAIRUZ https://www.discogs.com/%D9%81%D9%8A%D8%B1%D9%88%D8%B2-%D8%AF%D8%A8%D9%83%D8%A9-%D9%85%D8%B9-%D9%81%D9%8A%D8%B1%D9%88%D8%B2-Dabkay-With-Fairuz-/release/5184632

14) Selomon Shibeshi - “Endiet Zenegashiw” from ERNESTO CHAHOUD PRESENTS TAITU - SOUL-FUELLED STOMPERS FROM 1960S - 1970S ETHIOPIA https://ernestochahoud.bandcamp.com/album/ernesto-chahoud-presents-taitu-soul-fuelled-stompers-from-1960s-1970s-ethiopia

15) Ngozi Family - “Hi Babe” from DAY OF JUDGEMENT https://www.discogs.com/Ngozi-Family-Day-Of-Judgement/release/6014281

16) N'Draman-Blintch ‎– “Self Destruction” from COSMIC SOUNDS https://www.discogs.com/NDraman-Blintch-Cosmic-Sounds/release/12234193

17) William Onyeabor - “Atomic Bomb” from ATOMIC BOMB https://www.discogs.com/William-Onyeabor-Atomic-Bomb/master/919315

18) Jacques Tati - excerpts from MON ONCLE https://www.youtube.com/watch?v=vkF5izzXMas

19) Ducros - “Psyco” from FREEDOM POWER http://sonormusiceditions.bandcamp.com/album/v-a-freedom-power

20) Brigette Fontaine - “Comme À La Radio” from COMME À LA RADIO https://www.discogs.com/Brigitte-Fontaine-Areski-Avec-Art-Ensemble-Of-Chicago-Comme-La-Radio/master/47689

21) Orlando Julius with the Heliocentrics - “Buje Buje” from JAIYEDE AFRO https://www.discogs.com/Orlando-Julius-With-The-Heliocentrics-Jaiyede-Afro/master/746208

22) Naram - “Mogwai Riddim” from MARCH OF THE GREMLINS https://www.discogs.com/Naram-March-Of-The-Gremlins/release/5325061

23) Ken Boothe - “Ain't No Sunshine” https://www.discogs.com/Ken-Boothe-Aint-No-Sunshine/master/330006

24) Jacques Tati - excerpts from PLAYTIME https://www.youtube.com/watch?v=ZO3SIkso0QQ

25) Kosmischer Läufer - “Sandtrommel” from VOLUME ONE http://kosmischerlaufer.bandcamp.com

26) The Electronic Circus - “Direct Lines” https://www.discogs.com/The-Electronic-Circus-Direct-Lines/master/999705

27) Excerpts from LSD UNDERGROUND 12 https://www.discogs.com/LSD-Underground-12-LSD-Underground-12/master/723576

28) France Gall - “Teenie Weenie Boppie” https://www.discogs.com/France-Gall-Teenie-Weenie-Boppie/release/2009687

29) Yusufu Olatunji - “Orin Yusufu Olatunji / Kuburatu Adebisi Edioseri, etc.” from VOL. 17 https://music-republic-world-traditional.blogspot.com/2018/10/nigeria-yusufu-his-group-vol.html

30) Anais Nin - “Child Born Out of the Fog” from ANAIS NIN READING HER OWN SHORT STORIES FROM UNDER A GLASS BELL https://www.discogs.com/Ana%C3%AFs-Nin-Folio-I-Reading-From-Her-Own-Book-Under-A-Glass-Bell/release/5450075

31) Delia Derbyshire and Anthony Newley - “I Decoded You (Moogies Bloogies, Pt. 2)” https://www.discogs.com/Delia-Derbyshire-Anthony-Newley-Moogies-Bloogies/master/744613

32) Deben Bhattacharya - “Saban Akdao, cümbüş - Çiftetelli (gazel)” from PARIS TO CALCUTTA: MEN AND MUSIC ON THE DESERT ROAD http://www.sublimefrequencies.com/products/625798-deben-bhattacharya-paris-to-calcutta-men-and-music-on-the-desert-road

33) HSFB/Parashi - “I Am Going to the Lordy Oh Sings Charles Guiteau” from "ASSASSINS" https://parashi.bandcamp.com/album/hsfb-parashi-assassins

34) Mabel Mafuqa - “Happy Xmas, Happy New Year”

#snackpointcharliewgxc #snackpointcharlieradio #hellsdonuthouse #communityradio #freeform radio #outernational #hudsonvalley #globalmusic #worldmusic #wgxcradio #hudsonny #wgxc

0 notes