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jokertrap-ran · 4 years

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[Stand My Heroes] 花ざかりのSwallow tail (Swallow Tail in Full Bloom) Event Story: Investigation ① Translations

*Master-list will be created In the future *MC name is retained default Izumi Rei *Scenerio Writer: @benihara_k (紅原香)

Part 1 / Part 2 / Part 3 / Part 4 / Part 5 / Part 6

Investigation 1: Chapter 1

It was 3 o’clock, a time where even the plants and fauna were asleep-- Not really; but it was pretty late into the night. A certain scheme was unfolding within one of the rooms in the Kujo Manor.

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Kirishima: LET OUT SECRET STRATEGIC MEETING BEGIN!!!

Kaname: That’s clearly not the volume you should be speaking in if you want to keep this secret...Anyway, where’s Kiyoshi-san?

Kirishima: He said that he can’t come due to work.

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Shindo: Pass me the Record of the Proceedings later. I’ll go through them.

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Kirishima: ...So, he says.

Kaname: Understood.

Kaname: So what’s the agenda here?

Kirishima: I was thinking of doing something for Miyase since we’re always causing him trouble on our end.

Kirishima: I mean, he feeds us good food on a daily basis and makes all of our rooms sparkling clean.

Kirishima: We’re able to live in such comfort everyday thanks to him.

Kirishima: Long story short , I want to do something big.

Kirishima: SOMETHING THAT GOES KINDA LIKE CRACKLE-BOOM-POW!

Kirishima: ...Kinda like that sorta.

Kaname: That’s not of much help though.

Kirishima: No, it’s plenty, don’t you think!?

Kujo: It’s fine. I can tell that you’re thankful towards Go, at least.

Kirishima: As expected of you, Kujo-san! It must be the tension!

Kaname: (He could tell just from that…?)

Kujo: If we had to convey our gratitude for him not in words, but through actions,

Kujo: Perhaps it would be prudent for us to create a space for him where he can relax and take his mind off.

Kirishima: ...Something relaxing…? Then how about a trip to the Hot Springs…?

Kujo: I see. It could also very well be something overseas.

Kujo: There are also a couple of great Hot Springs located in Italy and Hungary.

Kujo: How does renting one of those Hot Spring Facilities sound?

Kirishima: That’ll certainly be an amazing feat!

Kujo: And then, after he has thoroughly relaxed from the Hot Springs, how about calling in a Top-Notch Chef and treating him to a scrumptious full-course?

Kujo: Maybe we should also get him a special seat to the Opera and grace his ears with wonderful singing.

Kirishima: That’s great! Kujo-san! Let’s just roll with that!

Kaname: Hold up. Don’t you think that’s taking things a little too far?

Kirishima: Can’t we do that?

Kaname: It’s not that we can’t, but since it’s a party for him…

Kaname: Wouldn’t it be better if we do things based off things he likes?

Kujo: Things that he likes…

Kujo: How about the garden that he takes care of?

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Investigation 1: Chapter 2

Kirishima: I think that’s a super duper great idea!

Kaname: Then how about we hold a Garden Party?

Kujo: I see; that’s a brilliant idea.

Kujo: However, it’s boring to simply just hold a party.

Kaname: What if we add on a concept to it then?

Kujo: ...Come to think of it, there’s something called a Butlers’ Cafe.

Kujo: I’ve seen it on TV before.

Kujo: It’s a place where people serve their customers with hospitality whilst dressed as Butlers; just as the name implies.

Kujo: I think it’ll make for a pretty interesting idea.

Kaname: Wait, so we’re going to be holding a butler-themed party?

Kujo: Indeed. We shall become butlers and serve him with hospitality.

Kujo: I think that this is the best bet we have to show him how grateful we are to him, don’t you think?

Kirishima: I think you’ll look super duper cool dressed as a sheep, Kujo-san!

Kirishima: I’m sure he’ll also be appeased and pleased by how fluffy you’ll be!

Kaname: Butlers, not sheep. They’re someone who takes care of others.

Kirishima: What’s with that; how confusing!

Kirishima: Alright, let’s decide who else we should call in on our plan!

Kirishima: It’s a party for him, so I want to do it with a bang.

Kujo: Of course, I’m sure he’ll be happy if it’s a lively party.

Kirishima: ‘Kay. I’ll tell Shindou about it later!

Kujo: We’ll be leaving that to you, Kirishima. Do tell him when the next meeting is scheduled too.

Kujo: Let’s see...how about next week, same day and time?

Kujo: There are still a lot of things we have to think about.

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Investigation 1: Chapter 3

Kirishima: I’m glad we were able to decide on something so soon thanks to Kujo-san and Kaname!

Kirishima: Still, all this thinking has got me hungry. Maybe I should search the fridge and see if there’s anything edible in there.

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Miyase: Oh, Kirishima-san! Good evening.

Kirishima: Miyase, you’re still awake at this hour?

Miyase: I’m planning on making Meatloaf tomorrow, so I’m in the middle of preparing it right now.

Kirishima: Ohh! Sounds delicious!

Miyase: Yup. It’s something that I’m confident in making, myself.

Kirishima: (To think that he’s been preparing for it till this late...)

Kirishima: (We really do have to thank him properly for his hard work everyday. I’ll definitely make this party of ours a success!)

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Investigation 1: Chapter 4

--A couple of days later.

Sugano: Good work today! Here are the files you asked for.

Rei: Yes, these are the ones.

Sugano: Say, did you receive an invitation too?

Sugano: The one for the “Thank you Miyase Party”?

Rei: Well, everyone in the Narcotics department got one.

The multitude of invitations sent to the Investigation Planning Division. Written inside an envelope that had been sealed with a red wax seal was:

“We have decided to cordially hold a thank you party for Miyase Go, a member of the Kujo Family.”

“We’d be honoured if everyone who has been under his care participates in this party.”

Sugano: Oh, same here. Say, this invitation was also sent out to others asides from the Narcs and the Investigation Planning Division, right?

Rei: I think so. Most probably.

Imaoji: If that’s so, then I think that they sent out quite a number of these invitations.

Sugano: I don’t really get it but it does sound fun.

Sugano: I plan on going, but what about you two?

Rei: I’m going. I’m definitely participating in his thank you party.

Imaoji: I’ll go too if she’s going.

Sugano: Yay! A Kujo Family party sounds like it’ll be something awesome!

Sugano: I'm sure the food will be great! And it'll probably be real extravagant too! Plus, lots of celebrities will be there~

Imaoji: A party held by the Kujo Family is almost certainly guaranteed to be a big thing.

Sugano: Whee~ I can't wait! Oh, right! Tsukasa-san said that he's coming too.

Asagiri: Only because I'm worried if Natsuki's going there alone.

Sugano: Eh~ I'll be fine! I always have good table manners.

Rei: Is Arakida-san and Hattori-san going as well?

Sugano: Sousei has something on that day so he won't be going. And as for You-san…

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Hattori: Maybe, if I feel like it.

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Sugano: So he says.

Rei: Ahaha, that's just like him to say that…

Asagiri: How about your end?

Rei: Everyone says that they'd love to participate if they could make the time for it, but…

Rei: Seki-san and Natsume-kun say that their participation depends on how the cases they're involved in proceeds, I suppose.

Rei: Seems like they're going to be headed to a location near the mountains for their cases.

Imaoji: And Watabe-san did mention before that he had a dinner scheduled on the day itself.

Asagiri: What about that guy?

Rei: That guy? Who…?

Asagiri: I'm talking about Aoyama.

Rei: It seems like he's free on the day so he's willing to attend.

Asagiri: ...I see.

Rei: (He looks really disgruntled…)

Rei: (Come to think of it, I wonder who else is coming?)

───⋅𝕿𝖎𝖑𝖑 𝖓𝖊𝖝𝖙 𝖙𝖎𝖒𝖊…⋆⋅☆

#Stand My Heroes #スタンドマイヒーローズ #スタマイ #Sutamai #Translations #Otome #花ざかりのSwallow tail #Swallow Tail in Full Bloom #Asagiri Tsukasa #Sunago Natsuki #Hattori You #Miyase Go #Imaoji Shun #Yamazaki Kaname #Shindo Kiyoshi #Kujo Soma #Kirishima Koya

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sweet-pinkitty · 5 years

Video

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Stand my Heroes: PIECE of TRUTH PV 1

Is here: Character Design

Soon in October 2019!

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harvard-art-museums-calligraphy · 3 years

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Poem Written on Shikishi, attributed to Emperor Go-yōzei, Emperor Go-Yōzei, 16th-17th century, Harvard Art Museums: Calligraphy

Harvard Art Museums/Arthur M. Sackler Museum, Bequest of the Hofer Collection of the Arts of Asia Size: 22.6 x 18.5 cm (8 7/8 x 7 5/16 in.) Medium: Shikishi (poetry paper)mounted as a hanging scroll; ink on paper; sunago; floral

https://www.harvardartmuseums.org/collections/object/211395

#emperorgoyōzei #museumarchive #calligraphycollection

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mia-japanese-korean · 3 years

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Sleeping Cat, Kawanabe Kyōsai, 19th century, Minneapolis Institute of Art: Japanese and Korean Art

Size: 9 3/8 x 9 1/2 in. (23.8 x 24.1 cm) (image, sheet) Medium: Woodblock print (nishiki-e); ink and color on paper with embossing and sunago

https://collections.artsmia.org/art/67249/

#artsmia #kawanabekyōsai #museumarchive #minneapolisinstituteofart

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chanoyu-to-wa · 3 years

Text

Nampō Roku, Book 6 (11.2, part 2): the Details of the Go-daisu-sho [御臺子所] in Ashikaga Yoshimasa's Shoin.

11.2, continued) What follows is a sketch that documents this [kind of arrangement]¹.

_________________________

◎ The way that the notes have been written on the illustration is frequently very confusing. I will try to make better sense of things, for the reader, by redrawing the sketch, and separating the text from the sketch completely (with the notes referring to points indicated on my drawing by bracketed letters). The somewhat erratic ordering of the notes on the redrawn sketch (below) reflects the confused way in which the details are written on the original sketch (though I have more than once combined fragments that are actually scattered more randomly, since otherwise the descriptions would be unreadable).

¹Hidari ni zu wo shirushi to domu [左ニ圖ヲ記シトヾム].

Hidari ni [左に] means “on the left.” The sketch follows this section of the text, with was written right to left.

To domu [トヾム] is most likely a corruption (as a result of deterioration of the paper)* of to iu [と云], which means something like “so it is said.” ___________ *Tanaka Senshō’s teihon [底本] has to iu-iu [ト云〻]; while, once again, Shibayama Fugen agrees with the Enkaku-ji manuscript by concluding this sentence with to domu.

In both this case, and the one cited in the last footnote in the previous post (where the kanji kyaku [客] and miya [宮] were confounded), the discrepancies can be explained by physical deterioration of the paper on which the text was written. Tanaka’s interpretation may have been the result of scholarly inquiry, rather than deterioration between the time when his source copied down the text and when the Enkaku-ji manuscript (and Shibayama’s teihon) were produced.

Consequently, the present issue tends to support the argument that the previous sentence was also corrupt.

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◎ The sketch of the south-facing shoin in the Higashiyama-dono’s palace.

Ⓐ Mi-chōdai [御調臺]².

Ⓑ Above this is [suspended] a mizu-hiki [水引], [tied up] with age-maki [アケ巻]³.

Ⓓ Jō-dan [上段], 6-mats⁵.

Ⓔ Shōji [障子]⁶.

Ⓕ Small wood-floored room, with a latticed ceiling; the room was finished with imported wood⁷.

Ⓖ Mi-kutsu-sho [御沓所]⁸.

Ⓗ When tea will be served from the daisu, 2 raised tatami [for the nobleman] are [arranged] here⁹.

Ⓘ Daisu-sho [臺子所], with windows above on the two [adjoining walls]¹⁰.

Ⓙ Four koshi-shōji [コシ障子] panels. The upper [part of the shōji] are kumi-bone [組骨], while the lower [part is finished like] fusuma [with] sunago [paper pasted on both sides]. (These [shōji] are removed when [the tea utensils] are displayed on the daisu.)¹¹

Ⓚ 2-shaku 6-sun 8-bu high shōji with exposed wooden frames, two panels¹².

Ⓛ Above, wrapping around the daisu-tatami, are [two] windows featuring a diamond pattern¹³.

Ⓜ In this veranda room are spread twelve tatami-mats, including the mat on which the daisu is displayed¹⁴.

Ⓝ Wooden storm-doors, two panels. (This [doorway] is also known as the mo-biki no ōdo [裳引ノ大戸].)¹⁵

Ⓞ Under the windows that face in two directions, a 6-panel byōbu, [covered with paper] decorated with flakes of gold and silver, is stood; perhaps it might also be stood with two panels folded [closed]¹⁶.

Ⓟ [Along this side are a bank of] shōji¹⁷.

Ⓠ In this area is the ochi-en [落エン]¹⁸.

Ⓡ In this area is a smooth edging board 5-sun [wide]¹⁹.

〽 This room measures 3-ken by 4-ken²⁰.

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²Mi-chōdai [御調臺] = mi-chōdai [御帳臺]. The nobleman’s “seat of estate*.” While originally portable (it was taken to wherever the nobleman wanted to be), by this period it was built in at the end of the jō-dan farthest from the entrance to the room. __________ *Also used as his bed, when dining, and possibly when pursuing literary or clerical activities (to the extent that a nobleman would be personally involved with such things) as well.

³Kono ue mizu-hiki, age-maki ari [此上水引、アケ巻アリ].

A mizu-hiki [水引] is a length of cloth suspended from the otoshi-gake [落掛] (the horizontal beam that serves as a base for the transom), and gathered into a series of swags* (rather like ornamental bunting) with cords. The cords (usually with tassels on the lower ends) were tied with an age-maki [総角] knot. The mizu-hiki could be lowered (to shield the interior of the mi-chōdai from the view of those seated on the outside).

An age-maki knot is shown above, while a mizu-hiki suspended along the front of a government check-point (seki-sho [關所])† is shown below.

This detail seems to have been something that became common during the Edo period (a mizu-hiki was often suspended in front of any elevated platform on which government officials were seated -- such as the open-front building that housed the inspectors at the government check points that were erected at intervals along the major highways)‡. The mizu-hiki could be lowered or raised, depending on the preferences of the nobleman who would be seated on the mi-chōdai.

Reference to the mizu-hiki is found only in the Higashiyama-dono o-kazari sho [東山殿御飾書], which is the Tokugawa-sponsored revised version of Sōami's O-kazari ki [御飾記]**. __________ *Sometimes just two, with a single cord in the middle; sometimes into three swags, using two cords.

†The example shown in the photo is the reconstructed Hakone seki-sho [箱根関所], the first major government check-point on the famous Tōkai-dō [東海道], when leaving Edo.

‡In earlier days sudare-like blinds (albeit usually made of finely split bamboo, rather than reeds, and edged with kinran or brocade) were suspended along the open side of the mi-chō-dai. These were often left open (rolled up and then secured with the same sort of age-maki cords), but could also be lowered (permitting the person seated on the mi-chō-dai to see the people seated in the room beyond, while being hidden from their view), at the nobleman's discretion.

**All of these details argue against this being an authentic part of Nambō Sōkei’s notes, which originally made up the contents of Books One, Six, and Seven of the Nampō Roku. (The language of this entry, too, is of the Edo period, rather than the second half of the sixteenth century.)

⁴Ni-ken no oshi-ita toko [二間ノ押板床].

Ken [間] is a unit of length equal to 6-shaku, so two ken (ni-ken [二間]) would equal 12-shaku -- which is the width of this oshi-ita [押板]*.

An oshi-ita was a wood-floored platform, raised a certain distance above floor-level, on which decorative objects were arranged†. One (or a set of two, three, or even more) kakemono was hung on the wall at the back of the oshi-ita, and one (or more) tables were set up in front of the scroll(s), on which incense, candlesticks, and flower arrangements were displayed.

Appending the kanji toko [床] to the expression oshi-ita [押板] (like appending toko to the expression shoin to make shoin-toko [書院床]‡) only appeared in the Edo period. __________ *The expression oshi-ita [押板], “a board pushed [against the wall],” originally referred to a long Korean table (such as were used in the dining halls of Buddhist monasteries) that was pushed against the wall, and on which the various objects were arranged. As a consequence of the expense and nonavailability of such pieces (after trade with the continent was suppressed in the fifteenth century), a built-in shelf of a comparable height came to supplant the actual table, while retaining the same name.

†It was thus the forerunner of the ita-doko [板床], a board-floored tokonoma.

‡Shoin-toko [書院床] refers to the dashi-fuzukue [出し文机], the built-in writing desk (historically speaking, it was only called the tsuke-shoin [付書院] much later) when the objects on it are arranged for display (rather than for use).

While a certain amount of intentional manipulation had been known since earlier times, even in Rikyū’s day the objects were arranged primarily for use (Rikyū, for example, actually made a habit of using his dashi-fuzukue prior to the gathering -- perhaps to write out the page of information for the guests that was traditionally left in the koshi-kake) -- and then left as they were, so they could be inspected by the guests. Deliberately arranging the objects on the tsuke-shoin, while considering it to be just another place where treasures could be displayed (but never actually used), was done at the behest of the Tokugawa bakufu.

Toko [床], which literally means “bed,” was a slang reference to a built-in mi-chōdai. It thus referred to a platform floored with a tatami-mat (rather than a board).

⁵Jō-dan roku-jō [上段　六疊].

Jō-dan [上段] means that this six-mat section of the floor was elevated above the other parts of the reception room (though the mi-chōdai was naturally raised even higher). Only persons of high rank would be invited to sit there (since they would be in close proximity to the nobleman who was ensconced on the mi-chōdai).

⁶Shōji [障子].

Sliding papered panels. Possibly they were papered on both sides (and so would be what are called fusuma [襖] today), though this is unclear (since no description is made -- as it is for the shōji located elsewhere).

This word is not found on all versions of this sketch.

⁷Ishi-datami no kumi-ire kara-ki no ko-itashiki [石疊ノクミ入カラ木ノ小板敷].

Ishi-datami no kumi-ire [石疊の組入] refers to the ceiling: ishi-datami [石疊] means that the ceiling was divided into squares (like a checkerboard) by means of horizontal lattices. A wooden panel was placed above each open square thus created (to hide the underside of the roof above), which is what kumi-ire [組入] means. This kind of ceiling is also called a kumi-ire tenjō [組入天井].

Kara-ki no ko-itashiki [小板敷] means a small, wood-floored room (in this case, apparently equal in size to a 3-mat room). The room was floored with imported (“Chinese”) wood. (Kara-ki can specifically mean ebony.)

This small room was located between the vestibule (where the guests’ wooden shoes were stored) and the jō-dan. While it could have been used as a place for persons of lower rank to sit, the room was finished with high-quality imported wood because the guests who were invited onto the jō-dan would have to pass through it.

⁸Mi-kutsu-sho [御沓所] refers to a vestibule (often with the floor paved with stone) in which the guests’ footwear was stored.

Kutsu [沓] are lacquered wooden rain-shoes (with raised soles and a sort of carved hood that covers the toes).

⁹Go-daisu no toki, koko ni o-age-datami ni mai [御臺子ノ時、コヽニ御上疊二枚].

O-age-datami [御上疊] seems to refer to a low platform on which two tatami (ni mai [二枚]) were placed, as a seat for a nobleman. In fact, this refers to the kind of arrangement that was originally named the mi-chōdai [御調臺] (albeit apparently without the usual surrounding hangings that were incumbent on a mi-chōdai of the original sort).

When tea would be served from the daisu, the nobleman left his mi-chōdai and took his seat on this o-age-datami.

¹⁰Daisu-sho [臺子所]: the mat on which the daisu was set up.

¹¹Yon-mai no koshi-shōji, ue kumi-bone shita sunago no fusuma-shōji, daisu kazari no toki mina hazururu [四枚ノコシ障子、上組骨下スナコノフスマ障子、臺子ノ時、ミナハツルヽ].

Koshi-shōji [腰障子] are shōji that have a (usually) wooden panel at the lower end. The idea is to protect the shōji from being damaged by the feet of people who are seated along them (this veranda room was used for the seating of the lower ranking attendants of the persons who were received on the jō-dan, and such attendants would usually sit in rows along the sides of the room). Two pair of such shōji were placed along this side of the room, to let light into the large hall (though between the lower pair of pillars, a pair of fusuma were used).

The actual height of the panel is not fixed*, though it is usually around 1-shaku today. Occasionally shōji of this type have a panel that rises to the height of a person's shoulders (when seated on the floor). Shukō’s 2-mat room was said to have had shōji of the latter sort.

Kumi-bone [組骨] refers to a shōji panel that is papered on only one side, while the lattice-work is visible on the other -- and which was intended to allow light to pass through. The upper part of these four koshi-shōji panels were made in this way.

Meanwhile, in the case of these particular shōji, either the wooden panel was covered (on both sides) with sunago-kami [砂子紙]†; or else, rather than a wooden panel, the frame was simply covered on both sides with sunago paper (though this might seem rather dangerous)‡.

When chanoyu was served from the daisu**, the four koshi-shōji that separated the veranda room from the large hall (to its right) were removed. ___________ *Today koshi-shōji are usually distinguished into koshi-tsuki-shōji [腰付障子] (on the left) and koshi-daka-shōji [腰高障子] (on the right).

Unfortunately, nothing is said to indicate the height of the wooden panels in this description.

†Sunago paper is paper on which small flecks of gold or silver foil, or small bits of mica, are scattered.

Usually a heavier sort of paper such as tori-no-ko [鳥の子] was used for fusuma, since the idea of this kind of panel was to keep light from passing through.

‡The lower panels are described as sunago no fusuma-shōji [砂子の襖障子]. This means that the panels were papered on both sides with sunago-kami [砂子紙]. However, since the purpose of the panel was to prevent damage to the shōji when someone was seated in front of it, and since the veranda room was usually where the lowest-ranking attendants of the guests were seated (with their backs to the shōji), usually with nothing to occupy them whatsoever, this aspect was probably even more important than usual. Thus there was almost certainly a wooden panel inside that was simply disguised by being covered on both sides with the decorative paper.

Fusuma [襖] are made just like shōji, but differ from them in two respects: first, because heavier paper is used (since the purpose is to keep light from passing through); and secondly, because they are papered on both sides.

**The officiant was probably one of the dōbō-shū [同朋衆] (since the service was conducted on the veranda). Yoshimasa would have sat on the 2-mat o-age-datami platform, if he was participating.

¹²Takasa ni-shaku roku-sun hachi-bu, kumi-bone no shōji ni mai [高サ二尺六寸八分、組骨ノ障子二枚].

The shōji were similar to modern-day shōji, where a wooden framework is covered on one side by a thin sheet of paper*, and probably without a wooden panel at the bottom.

The relatively low height of these shōji panels may have been because persons seated on the veranda were not supposed to simply step into the adjoining room through these shōji. (The shōji would require them to go down on their knees and slide over the track, probably with their heads bowed forward. The low height of the kayoi-guchi / katō-guchi [通い口・火燈口] in the tearoom -- the doorway to the preparation area that has a rounded upper edge, and through which food and sweets are brought to the guests -- serves the same purpose of keeping people from walking through it.) __________ *This is the meaning of kumi-bone no shōji [組骨の障子].

¹³Ue ha daisu-tatami oshi-mawashi, hishi no kumi-mono mado [上ハ臺子疊ヲシマハシ、菱ノ組モノ窓].

Though this text is written on the sketch as if it were connected with the previous statement (regarding the low shōji that were described in the previous footnote), it actually refers to a pair of windows in the walls that surround the daisu-tatami on two sides.

Oshi-mawashi [押し回し] means to be pressed, or wrapped around (something). Thus, the windows are being described as “wrapping around” the daisu-tatami.

This pair of windows, which would seem, from the description, to have met at the corner (so that the entire window was shaped like an “┏”) were covered with shōji panels* where the lattices were oriented on a diagonal, resulting in a diamond (hishi [菱]) pattern. These panels would, therefore, contrast with the rest of the shōji that enclose the veranda room. __________ *These had paper pasted on one side only. The paper was generally pasted on the outward-facing side of the shōji because (at least originally) its purpose was to deflect rain (if the wooden lattices face outward, water will collect on the upper sides of the horizontal lattices, loosening the glue that fastens the paper to the wooden frame).

¹⁴Kono engawa daisu-tatami tomo ni tatami jū-ni-mai shikaruru [此エンカハ臺子疊トモニ疊十二枚シカルヽ].

Once again, though it appears that this statement is written as if it were connected with the previous two, this is not the case.

Here the author is simply indicating that this enclosed veranda room (engawa [緣側]) is of 12-mats (including the mat on which the daisu is displayed). While the tatami in modern rooms are usually arranged in “decorative” patterns, in the early rooms there were usually simply laid down in rows.

The arrangement of the mats in this room would have looked like what is shown above.

¹⁵Ōshike fuchi no do ni mai, mo-biki no ō-do to iu [大シケフチノ戸二枚、裳引ノ大戸ト云].

Ōshike [大時化] means a heavy storm.

This seems to refer to wooden doors set in deep tracks (such as were found in the seawalls that protected the warehouses that adjoined the wharves) that would prevent wind and rain from blowing through. A pair of such sliding doors shared the tracks at the end of the veranda room.

A mo [裳] is a ceremonial train*, made of white silk gauze (usually with a design stamped on with gold- or silver-infused lacquer†) worn by women when attending upon a person of high rank. They would tie on the mo (mo-biku [裳引く]) after stepping into the veranda room through this pair of doors (which open onto the carriage entrance)‡.

Elsewhere in Book Six of the Nampō Roku, mo-biki no ō-do is used to mean the host’s entrance -- the katte-guchi [勝手口] or sadō-guchi [茶道口]. __________ *The mo resembles an apron, of the sort that is tied on at the waist. It flairs out slightly from the waistband, and is several meters long. Unlike an apron, the mo extends toward the back, and trails behind the wearer. White Takeya-machi gire was preferred for the mo because it was much less expensive than kinran, and also significantly lighter in weight (which is important on account of its length). Also, white with a pattern in gold would not clash with any of the other colors that the person was wearing -- though, during certain historical periods, the white cloth was dyed to complement the rest of the outfit.

†The series of cloths called Takeya-machi gire [竹屋町裂] were originally used for this purpose. In fact, the cloth that was imported from China was white silk gauze, with an arabesque (or other) pattern stamped on it in gold. This is why the design is usually quite simple and geometric (which minimizes the size of the blocks needed to stamp the design). Below is a photo of an actual piece of Takeya-machi gire.

Reproductions made in Japan, however, usually reduce the patterns, and then render them as kinran [金襴] -- to the extent that modern people do not even realize what the original cloth was like. Note, however, that the way the stamp was cut, “real” Takeya-machi gire actually does look like woven kinran -- unless one looks very close.

I will digress for a moment, because there is a certain amount of confusion connected with Takeya-machi gire. In the Edo period a “rule” arose stating that scrolls written by monks (some versions of the rule specifically state monks affiliated with the Daitoku-ji in Kyōto) -- and (again, according to some) it should not be used when mounting scrolls inscribed by others. The reason for the rule was actually connected with yoko-mono [横物] (horizontal scrolls), many of which were not originally intended as scrolls, but were written to be framed as gaku [額] (framed specimens, very often of calligraphy, that are hung high on the wall, usually suspended above fusuma or shōji). When mounted in this manner, conventional cloth can be used without any special difficulties. However, if calligraphy such as this is mounted as a kakemono, there are problems because most traditional cloth is only 9-sun or 1-shaku wide, and kinran must be cut parallel to the weft (if kinran is cut parallel to the warp, the metal threads will detach at the edge of the ichi-mon-ji and project forward). It is possible to “splice” several sections together to make it appear to be a single piece, though after a time the lines where the sections meet become apparent (and it takes a lot of effort to match the pattern). The pattern on Takeya-machi gire, on the other hand, is stamped on with gold lacquer, meaning that the cloth can be cut in any direction without any subsequent problems. This is why it was preferred for wide horizontal scrolls. Furthermore, since the design is stamped on rather than woven, the cloth was much less expensive than kinran, which was philosophically in keeping with scrolls written by monks.

‡The mo would become horribly wrinkled if worn while riding in a palanquin or some other such conveyance).

¹⁶Kono ni-hō mado no shita, kin-gin sunago-ji no roku-mai byōbu tate, mata ni-mai ori mo tatsu [金銀砂子地ノ六枚屛風立、又二枚折モ立].

As above (footnote 11), sunago-ji [砂子地] means that the paper was lightly covered with flakes of gold and silver foil*.

There is a certain ambiguity regarding how the byōbu will be arranged†, and using a 2-fold screen might seem to be the more logical solution. __________ *Though sometimes mica flakes were used rather than silver, since silver will oxidize to black, while mica will retain its silvery glitter.

†In fact,it is rather difficult to envision a six-fold screen placed only along two sides of the daisu-tatami (if only because the folds would tend to make it project rather far from the wall). This six-fold byōbu is only described, and not delineated in the sketch.

One possibility is that it was arranged as if it were a two-fold screen, with three panels on each side, as shown below.

Another is that two panels extended along the wall on the left side of the daisu-tatami, with four panels along the far wall -- and this may be why two panels are folded up (to limit how far it would project along that far wall and the adjoining pair of shōji).

In this second case, the screen would have to be oriented with what was usually the back side facing toward the room. As a result, the byōbu would have had to be finished in the same way on both sides (at least nowadays, the back side is usually finished with inferior paper).

‡Earlier it was written that Yoshimasa owned both a six-fold and a two-fold byōbu that were used for this purpose.

¹⁷Shōji [障子].

There is no description of what sort of shōji these might have been. Since a window is mentioned as having been opened in the wall to the left of the daisu-tatami, it is possible that there were only three shōji on this side of the veranda (rather than four panels, as on the other side of the room).

Furthermore, because of the presence of the nume-ita (see footnote 19, below), someone seated along this side of the room would not be able to touch the bottom of the shōji with his feet. Thus, these shōji may have been ordinary kumi-bone shōji [組骨障子], with the paper-covered lattices continuing down to the floor.

¹⁸Kono tokoro ochi-en nari [此所落エンナリ].

An ochi-en [落緣] is an additional veranda one step lower than the inner veranda. It would be wood-floored. A balustrade may have been erected on the outer edge of the ochi-en.

¹⁹Kono kata nume-ita go-sun iri [此方ヌメ板　五寸入].

Nume-ita [滑板] means a board that has been sanded so that it is perfectly smooth. The board was inserted between the mats and the lower track of the shōji to hold the mats firmly in place (since the veranda was built first, and mats were added only later)*. This, of course, was the way that the go-sun-ita [五寸板] arose -- with the space later being used as a convenient spot for some of the utensils when using the daisu.

In the same way, a base-board 5-bu thick (though sometimes wider, as necessary) is inserted between the mats and the walls in a tea room. __________ *In the early days, the floor was not covered with tatami. Rather, it was wood, with tatami put out only here and there, much the way futon are set out for the guests to sit upon today. When the custom of covering the entire floor with tatami first arose, rather than rebuilding the rooms, boards of this sort were inserted between the mats and one or two of the walls, so that the standard-sized mats would fit into the slightly larger traditional rooms. (Kyōma tatami measure 6-shaku 3-sun by 3-shaku 1-sun 5-bu, while the rooms were traditionally built with spaces measured to the full shaku, rather than fractions thereof.)

²⁰〽 Kono ma san-ken ni yon-ken [此間三間ニ四間].

San-ken [三間] refers to a length of 18-shaku; yon-ken [四間] is 24 shaku. San-ken ni yon-ken [三間に四間], therefore, means 18-shaku by 24-shaku.

Consequently, kono ma san-ken ni yon-ken, means that the room* measures 18-shaku by 24-shaku.

This refers to the area bounded by the mi-chōdai and jō-dan (on the top side of the sketch), and the 12-mat veranda room (along the left side). The 2-mat o-age-datami was only set up within this space when tea would be served from the daisu, and so was not subtracted from this measurement.

This 24-mat hall might have been the ni-no-ma [二の間] -- a tatami-floored room one level below the jō-dan, in which medium-ranking officials (those in the class below the officials seated on the jō-dan) were seated. Usually there was one further level of tatami-floored room below the ni-no-ma. ___________ *Ma [間] means an unobstructed or open space; a room.

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yoga-onion · 5 years

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[Peel 423]

- The festival of stars -

The bamboo leaves rustle, rustle, shaking away in the eaves. The stars go twinkle, twinkle; Gold and silver grains of sand.

Sasa no ha sara-sara (笹の葉さらさら) Nokiba ni yureru (軒端にゆれる) Ohoshi-sama kira-kira (お星様キラキラ) Kingin sunago (金銀砂子)

#the festival of stars #galaxy #bamboo #twinkle #rustle #song #art #Japan

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tomboyjessie13 · 6 years

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I know it's a bit early to upload a image for Japan's Star Festival, or Tanabata, since it's said it's gonna be on July 7th, but I thought I get this out of the way before we move or I forget, since we're expecting to move in to our new crib in July. I thought I draw Nemesis and Nyoze attending there because why not? They went to a summer festival in The Last Revolver so I might as well play around with it.

Here's to those who don't know what Tanabata is:

In present-day Japan, people generally celebrate this day by writing wishes, sometimes in the form of poetry, on tanzaku (短冊tanzaku), small pieces of paper, and hanging them on bamboo, sometimes with other decorations (see also Wish Tree). The bamboo and decorations are often set afloat on a river or burned after the festival, around midnight or on the next day. This resembles the custom of floating paper ships and candles on rivers during Obon. Many areas in Japan have their own Tanabata customs, which are mostly related to local Obon traditions. There is also a traditional Tanabata song:

Sasa no ha sara-sara The bamboo leaves rustle, Nokiba ni yureru shaking away in the leaves. Ohoshi-sama kira-kira The stars twinkle Kingin sunago on the gold and silver grains of sand. Goshiki no tanzaku The five-colour paper strips watashi ga kaita I have already written. Ohoshi-sama kirakira The stars twinkle, sora kara miteru and there they will watch us.

Tanabata was inspired by the famous Chinese folklore story, "The Cowherd and the Weaver Girl". Some versions were included in the Man'yōshū, the oldest extant collection of waka poetry: https://en.wikipedia.org/wiki/The_Cowherd_and_the_Weaver_Girl

#evillious chronicles #nemesis sudou #nyoze octo #tanabata #star festival #cotton candy

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thehourfather · 2 years

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Press Release about the #FriendshipFestival taking place at @audaciouschurch in central Manchester on Saturday 28th May, from 11am-3pm. • Sign up today! http://bit.ly/ukhkmcr • • • • • • #ukhk #audaciouschurch #thisaudaciouslife #welcomechurches #freefestival #hongkongersinuk #manchester #chinesedancing #kpopdancing #streetdancing #bubbletea #fishnchips #chinesefood #mindfulness #livemusic #hinrylau #sunago #britishmusic #hkmusic @jerseyroadpr (at Audacious Church) https://www.instagram.com/p/Cd8AX09rogS/?igshid=NGJjMDIxMWI=

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yama-bato · 6 years

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A pair of fusuma (sliding doors) painted in ink on a buff and sunago (sprinkled gold) ground with tokusa (horse tail) in gilt moriage (raised design). The hikite (handles) are in the form of usagi (rabbits). The reverse of each door is decorated with two shikishi (poem slips).

Japan 20th century Taishō period

Dimensions: H. 26” x W. 20¾” (66cm x 52.5cm) each

Tokusa (equiseta, horsetails, scouring rush) has long been associated with the rabbit, which is said to use this silica-rich plant to polish the disc of the moon. The plant alone or a combination of equiseta with the rabbit is found in a variety of artistic formats.

Usagi (hare or rabbit) and moon are often linked together in East Asian folklore. Japanese legends describe the shadows on the surface of the moon as hares pounding mochi (sticky rice) cakes while an ancient Chinese-Taoist tale tells of a hare that resides in the moon and pounds magic herbs in order to make the elixir of eternal life. In Japan the full moon and the hare have become associated with autumn as this is when the moon is deemed to shine brightest. (http://japanesescreens.com/catalogue/fusuma/7125-a-pair-of-fusuma-sliding-doors/)

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dalyunministry · 4 years

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WHO IS AN APOSTLE?

INTRODUCTION

I want to appreciate God for my teachers over time — Kenneth E. Hagin, Moses Oludele Idowu, Olusola Ayodele Areogun among others, whom have been used of God to shape some of my understanding of whom an apostle is.

Last week, I taught on the meaning of an apostle (if you missed it, you may kindly request the free lecture.)

Today, I am teaching on the four kinds of apostles and the two forms of apostles.

God willing, for the next 2 or 3 weeks, we will be dwelling on the apostolic ministry. Then we will move to the prophetic ministry for another 4 weeks, followed by the evangelistic ministry for another 4 weeks, then the pastoral ministry for another 4 weeks, and lastly, the teaching ministry for another 4 weeks.

Ministering: Segun Olumide

THERE ARE 4 KINDS OF APOSTLES, 2 TYPES OF APOSTLES, 2 FORMS OF APOSTLES, 2 CLASSES OF APOSTLES AND 3 SPHERES OF APOSTOLIC INFLUENCE.

FOUR KINDS OF APOSTLES

1. THE APOSTLE OF OUR CONFESSION

2. THE APOSTLES OF THE LAMB

3. THE FOUNDATIONAL APOSTLE

4. NON-FOUNDATIONAL APOSTLE

The first kind of apostles is the Apostle of our confession. Only Jesus Christ is qualified to stand in this office. He is not going to be the Apostle of our confession neither was he the Apostle of our confession just some years ago. No! He is the Apostle of our confession now (see Hebrews 3:1)!

The second kind of apostles comprises the twelve apostles of the Lamb. Jesus had quite a number of disciples but he named just twelve of them apostles.

They are:

Simon Peter

Andrew, his brother

James, the son of Zebedee

John, his brother

Philip

Bartholomew

Matthew, the tax collector

Thomas

James, the son of Alphaeus

Simon, the zealot

Judas, the brother of James or Lebbaeus Thaddaeus

Judas Iscariot (see Luke 6:12-16, Matthew 10:2-4).

Then Matthias was chosen to replace Judas who betrayed Jesus and hanged himself (see Acts 1:15-26).

These twelve apostles of the Lamb have a strategic place in the eternal plan of God (see Luke 22:14-15, 28-29, Revelation 21:12-14).

They all witnessed Jesus’ life, ministry, sufferings, death, and so on until his ascension!

The third kind of apostles consists of the foundational apostles in the Early Church.

Ephesians 2:20 reads: “Are are build upon THE FOUNDATION OF THE APOSTLES AND PROPHETS, Jesus Christ himself being the Chief cornerstone.”

Ephesians 3:5 reads: “Which in other ages was not made known unto the sons of men, as IT IS NOW REVEALED UNTO HIS HOLY APOSTLES AND PROPHETS by the Spirit.”

The foundation of the Church of the Jesus was laid by the twelve apostles of the Lamb and the foundational apostles as well as foundational prophets in the Early Church.

The foundational apostles include:

Paul and Barnabas (Acts 14:14)

Silas and Timothy (1 Thessalonians 1:1, 2-6)

James, the Lord’s brother (Galatians 1:19)

Andronicus and Junias (Romans 16:7)

These apostles listed above as well as the twelve apostles of the Lamb contributed their quota to lay the foundation of the Universal Church once and for all.

Now that the foundation is laid forever and the Chief Cornerstone has taken his position, we have no foundational apostles any more today.

The last kind of apostles comprises the present-day non-foundational apostles as well as the post early Church apostles.

Ephesians 4:11-13 reads: “And he gave some, APOSTLES…For the perfecting of the saints, for the work of the ministry, for the edifying of the body of Christ: Till we all come in the unity of the faith, and of the knowledge of the Son of God, unto a perfect man, unto the measure of the stature of the fullness of Christ.”

As long as the saints need to be perfected or matured, to be released into the work of the ministry, and the body of Christ needs to be edified or built up, there will be apostles, prophets, evangelists, pastors and teachers; for they were given for that three-fold purpose!

More so, they were given ‘till we all reach unity in the faith and in the knowledge of the Son of God and become mature, attaining to the whole measure of the fullness of Christ’ (Eph 4:13, NIV).

Have we attained that yet? No! So we still need apostles and other ministry gifts today!

TWO FORMS OF APOSTLES

1. CHURCH-FOUNDING APOSTLE

2. NON-CHURCH-FOUNDING APOSTLE

CHURCH-FOUNDING APOSTLE: Paul was a church-founding apostle. He founded the Church in Antioch. Before he came to Antioch, they only had converts who were not formed into a congregation.

Acts 11:19-26 NIV: 19 Now those who had been scattered by the persecution that broke out when Stephen was killed traveled as far as Phoenicia, Cyprus and Antioch, spreading the word only among Jews.

20 Some of them, however, men from Cyprus and Cyrene, went to Antioch and began to speak to Greeks also, telling them the good news about the Lord Jesus.

21 The Lord’s hand was with them, and a great number of people believed and turned to the Lord.

22 News of this reached the church in Jerusalem, and they sent Barnabas to Antioch.

23 When he arrived and saw what the grace of God had done, he was glad and encouraged them all to remain true to the Lord with all their hearts.

24 He was a good man, full of the Holy Spirit and faith, and a great number of people were brought to the Lord.

25 Then Barnabas went to Tarsus to look for Saul,

26 and when he found him, he brought him to Antioch. So for a whole year Barnabas and Saul met with the church and taught great numbers of people. The disciples were called Christians first at Antioch.

Acts 11:26 KJV : And when he had found him, he brought him unto Antioch. And it came to pass, that a whole year they assembled themselves with the church, and taught much people. And the disciples were called Christians first in Antioch.

These brethren scattered from Jerusalem preached to the Jews in Antioch among other places; but some of them broke the barrier and preached to the Greeks in Antioch as well. And they got many converts. Therefore, when the Church in Jerusalem heard of this, they sent Barnabas of Cyprus to Antioch perhaps because his place of origin was close to Antioch and some brethren from his place, Cyprus [though together with some from Cyrene] were already ministering in Antioch.

So when Barnabas arrived Antioch, he simply encouraged them to remain true to the Lord as well as brought a great number of people to the Lord!

Then the Lord ministered to him that the work at hand was beyond him. So without wasting time, he had to travel to Tarsus to bring Saul down to Antioch because of the grace he carried.

And when Saul arrived Antioch, he gave a new face to the entire work. Barnabas and he focused on just 2 major things, namely:

(1) met with the church and (verse 26)

Very importantly, the word "Church" was never used for the work at Antioch until Saul came there because he was the one the Lord used to initiate, found or establish it.

The Greek word translated "assembled" (KJV) or "met" (NIV) in Acts 11:26 according to Strong's Greek Dictionary of the New Testament is the word "sunago" which in the infinitive form, means "to lead together, i.e. collect or convene;..."

It can also mean "bring together, hence come together."

So Saul with the help of Barnabas led the Church together, that is, Saul with the help of Barnabas collected the Church together or convened (congregated) the Church. [There is a clear difference between a pile of blocks and a building of blocks on a construction site. The same thing is true in the spirit realm. A spiritual pile of blocks must become a spiritual building of blocks. And the Church is a spiritual building of blocks. Remember Jesus promised to BUILD a building of spiritual blocks, not just to pile up the spiritual blocks, which are his individual people (Mattew 16:18).]

In other words, Saul with the support of Barnabas brought the Church together into formation.

(2) taught great numbers of people (verse 26)

Also they began serious teaching among the disciples so much so that the impact of the teaching anointing and authority made the unbelievers outside to call those disciples Christians (Christ-like people) because of their radically changed character, manner of speech, mode of dress, and so on!

Similarly, Peter was a church-founding apostle. He founded the first Christian Church in history — the Church in Jerusalem — on the day of Pentecost in AD 33 in partial fulfilment of Jesus' personal prophecy to him:

Matthew 16:17-19: And Jesus answered and said unto him, Blessed art thou, Simon Bar-jona: for flesh and blood hath not revealed it unto thee, but my Father which is in heaven. [18] And I say also unto thee, That thou art Peter, and upon this rock I will build my church; and the gates of hell shall not prevail against it. [19] And I will give unto thee the keys of the kingdom of heaven: and whatsoever thou shalt bind on earth shall be bound in heaven: and whatsoever thou shalt loose on earth shall be loosed in heaven.

Remember that the Church refers to people called out of darkness, not a temple or building!

The word "Church" occurs 22 times in the Book of Acts. And its first occurrence is in Acts 2:47, which complements the result and impact of Peter's apostolic anoiting displayed on the day of Pentecost!

Acts 2:1,14,41-47: And when the day of Pentecost was fully come, they were all with one accord in one place. [14] But Peter, standing up with the eleven, lifted up his voice, and said unto them, Ye men of Judaea, and all ye that dwell at Jerusalem, be this known unto you, and hearken to my words: [41] Then they that gladly received his word were baptized: and the same day there were added unto them about three thousand souls. [42] And they continued stedfastly in the apostles' doctrine and fellowship, and in breaking of bread, and in prayers. [43] And fear came upon every soul: and many wonders and signs were done by the apostles. [44] And all that believed were together, and had all things common; [45] And sold their possessions and goods, and parted them to all men , as every man had need. [46] And they, continuing daily with one accord in the temple, and breaking bread from house to house, did eat their meat with gladness and singleness of heart, [47] Praising God, and having favour with all the people. And the Lord added to the church daily such as should be saved.

Josiah Akindayomi was a church-founding apostle. He founded the Redeemed Christian Church of God. W.F. Kumuyi is a church-founding apostle. He founded the Deeper Life Bible Church.

If a church-founding apostle decides not to found a new church, but chooses to work with an existing church, then he has failed. Church founding is different from Church planting.

NON-CHURCH-FOUNDING APOSTLE

A non-church-founding apostle is not called to found or establish a new church; rather he's called to spread an existing church or plant branches of an existing church. Yes, he's not a church founder, but he's a church planter!

Enoch Adeboye is not a Church-founding apostle. He was neither the founder nor co-founder of the Redeemed Christian Church of God!

[As a matter of caution, Paul wrote: "Be ye followers of me, even as I also am of Christ" 1 Corinthians 11:1 KJV.

Personally, I try as much as possible to follow some of the fathers in the faith, but as long as they follow Christ. I have hence stopped following some people these days.]

You see, two people cannot be founders of a Church. So, there is nothing like a co-founder.

Just like Enoch Adeboye, some apostles are never called to found or establish a new Church. Rather they are sent by God to spread an existing Church by planting new branches of it. So if a non-Church-founding apostle decides to found a new Church, then he has failed.

It's noteworthy that to be a non-Church-founding apostle in an existing church has its own peculiar challenges. If the non-Church-founding apostle over the work is young or came to their midst not long ago, but has the divinely approved mantle of leadership on him for that existing local Church, he may suffer terrible persecution, criticism or attack from the carnal brethren, especially those who might seem to be the pillars of that Church.

Some apostolic works are suffering today because the founding apostle is gone, but the non-founding apostle to take over the Church is not allowed to take charge. Rather they are busy playing church politics, blinded by spiritual civil war and deceived by biological family ties.

Instead of seeking God for the right non-Church-founding apostle to step in and lead them, they may prefer the founding apostle's wife, son or brother to take over; or the oldest or longest standing pastor in the Church to lead them!

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jokertrap-ran · 4 years

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[Stand My Heroes] 花ざかりのSwallow tail (Swallow Tail in Full Bloom) Event Story: Investigation ② Translations

*Master-list will be created In the future *MC name is retained default Izumi Rei *Scenerio Writer: @benihara_k (紅原香)

Part 1 / Part 2 / Part 3 / Part 4 / Part 5 / Part 6

Investigation 2: Chapter 1

Maki: Sounds like the Kujo Family’s going to be holding a party. An invitation came.

Hiyama: The same invitation has been sent my way too.

Hiyama: There are stunning flowers of all seasons blooming in their garden, so I’d definitely want to see them for myself.

Maki: I got an invitation, so I’m planning on turning up. What about you, Kyosuke?

Kyosuke: Yeah, I have that day off so I think I’ll turn up.

Hiyama: Hatori and Kagura probably got invited too; I’ll check with them later.

Kyosuke: ...Wait, huh?

Maki: What’s the matter?

Kyosuke: This wax seal that’s been imprinted onto the invitation...

Kyosuke: It seems like we’ve got ourselves different designs.

Hiyama: ? Let me see.

Maki: You’re right. Hiyama-kun and Kyosuke both got the rose design. Mine’s the only one with the “K” insignia.

Maki: Come to think of it, it was written in the letter that we had to bring along our individual envelopes on that day itself too.

Hiyama: It’s them we’re talking about; I’m sure they have a plan up their sleeves.

Maki: Which means that whatever it is, it’ll be a secret until the day itself.

Kyosuke: I’m looking forward to seeing what happens.

─────────────────────────⋅…⋆⋅☆

Hinata: I think I’ll go with a cream soda. How about you, Kana?

Kaname: I’ll take...an iced-coffee.

Hinata: Alright, it’s decided then. Right, I’ve received your invitation by the way. Thanks.

Hinata: Everyone says that they’ll try to make it on the day to participate.

Kaname: I see. They don’t have to force themselves to come by if they can’t make it though.

Hinata: I’m going though. The secret hidden within the invitation has piqued my interest anyway.

Kaname: Whatever are you talking about?

Hinata: Hehe. It really tests your observation skills.

Ping-

Kaname: ...Oh, sorry. It’s Koya-kun. Could you give me a moment?

Hinata: Sure, no problem.

Kaname: (He wants to introduce all the participating members for the event next Sunday, he says...)

Kaname: (Well, I suppose that guy is pretty much one of us from the Kujo Family.)

Kaname: (Guess I’ll give him an OK.)

☆⋅⋆ …⋅─────────────────────────────────────────⋅…⋆⋅☆

Investigation 2: Chapter 2

--And then, a couple more days later. I ended up visiting the Rose Garden together with Kirishima-kun and the others.

Kirishima: Whoa- This is amazing! Roses, roses, everywhere!

Kaname: I mean, it IS a Rose Garden for a reason.

Kujo: This is brilliant.

Shindou: This alone proves to be a pretty spectacular view.

Miyase: Each and every one of those roses are stunning. I’m sure they were all raised with lots of love.

─────────────────────────⋅…⋆⋅☆

--And then, just last week. Kirishima-san sent us all a certain invitation through a Group LIME.

Rei: (The group name’s “Miyase Party”)

Rei: (There’s no mistaking it; this must be a group for that party.)

Rei: (But why am I getting this?)

In any case, I decided to give my OK in response to the new invitation, and when I scrolled upwards to look at the chat’s log…

“Kirishima: Let’s meet-up at 8AM next Saturday at the Kujo Manor!”

“Kirishima: Everyone inside this group is to come!”

The message was posted inside the group as such, no questions asked.

─────────────────────────⋅…⋆⋅☆

Kaname: Sorry for making you put up with us this early in the morning despite it being your day-off, big sis.

Kaname: I just couldn’t stand hearing Koya-kun’s non-stop whining about wanting you to participate in this as well.

Rei: Not at all; don’t worry about it. Rather, I’m glad to be invited.

Rei: But why are we in a Rose Garden of all places?

Kaname: It’s one of the things we have to thank Go-san with.

Kaname: On record, Kujo-san said that he wanted to change up the garden’s scenery up a little.

Kaname: He wanted to spruce it up to show everyone how magnificent his garden is, knowing that Go-san would be proud of it when it’s at it’s prime.

Miyase: Wow, these Eventail d'or are beautiful…

Miyase: I’ve heard that it’s extremely hard to breed this particular species of rose.

Staff: It requires a dose of pesticide and fertilizer once every 10 days.

Staff: But it does bloom beautifully, for all the trouble it’s worth.

Miyase: They must have been raised with lots of love and care. Ahh...how wonderful.

Rei: (His eyes are sparkling in delight to be surrounded by such flowers.)

Kujo: …...

Kujo-san’s watchful eyes were all so soft as they looked over Miyase-san.

Surely, this must be one of the gifts they had decided to bestow upon Miyase-san, as a token of gratitude.

Miyase: This one here’s a King Rose, isn’t it. How absolutely lovely…

Kirishima: Let’s buy out everything that catches your eye. Bring out the one with whatever’s the name called earlier too.

Miyase: Ahh, sorry! It’s alright, you don’t have to! It just piqued my interest!

Kaname: Koya-kun, Miyase-san still looks like he’s thinking things through.

Kirishima: Ngh...I see. My bad.

Miyase: Not at all. Thank you for taking note of it though.

Miyase: Then...Could I get these ones here?

The roses he picked were whitish-pink in colour.

Kujo: How pretty. Are these Vine Roses?

Miyase: Yes. They’re called Shrub Roses since they’re half-hanging roses.

Miyase: I think it’ll turn out really picturesque if we hang it on the arch we have in our garden.

Kujo: There’s no problem with it if you say so. We’ll be taking that one then.

Staff: Understood.

The employee carefully packaged the rose seedlings. And Miyase-san beamed as he received them.

Miyase: Thank you so much, Kujo-san. I’ll raise them lovingly!

Kirishima: Yeah. I can’t wait for the day that those Shrub Roses start blooming.

Rei: (An arch decorated with whitish-pink roses...)

Rei: (I’m sure it’ll be a magnificent sight to behold if Miyase-san’s the one raising them with love.)

Kirishima: ...Nuwareria and candy rufuna were…

Kirishima: Jumping, and then..

Kirishima: Ah- Damn it, it’s no good. I don’t know what’s head or tails anymore…

Rei: ……?

Kaname: Koya-kun, we’re leaving.

Kirishima: Hm? Oh, okay.

Rei: (Wonder what’s up with him?)

─────────────────────────⋅…⋆⋅☆

--And then, on the morning of the party itself.

Kirishima: Oh, Miyase. Sorry, but could you come along with me to buy some stuff?

Kirishima: I want to go look for milk that goes well with my new protein.

Miyase: Sure. Let’s head on to Akechi-ya then.

Miyase: They sell their original brand of milk down there so I think there’ll be a wide variety for you to choose from.

Kirishima: Seriously? Sounds fun. We’ll be heading out for a bit then!

Kaname: Okay, have a safe trip.

Kujo: Take care.

Kachak

Kaname: ...They’ve both just gone out of the gates.

Kujo: Then, allow the operation to commence.

Riiing, riiiiing

“Yes. This is Felicia Catering Services speaking.”

Kujo: Please proceed with the party preparations just like we’ve discussed.

“Roger.”

Beep

Kujo: ...This should do it. They’ll take care of things from here.

☆⋅⋆ …⋅─────────────────────────────────────────⋅…⋆⋅☆

Investigation 2: Chapter 3

Miyase: I’m back!

Miyase: ……!

Miyase: What...in the world…?

Kirishima: Oh! This is perfect! As expected of a Pro; they’re really quick with their hands!

Kujo: I see that you’re back, Go.

Kirishima: Kujo-san, what’s with all of these…?

Kujo: We have decided to cordially hold a thank you party for you to thank you for your daily efforts.

Kujo: As such, you, the star of the party, should simply enjoy yourself.

Miyase: No...You didn’t have to go so far...as to do this much for someone like me…

Kirishima: It’s fine! Ya’ don’t have to do anything today. Just tuck into the food and drinks; sing and dance!

Kaname: Everyone just fancies such a lively set-up, so just let them take care of you for today.

Miyase: ...Thank you. I’ll take you guys up for your word then.

Kirishima: ‘Right! They’re gonna be here soon. Kaname, we’re gonna go prepare!

Kaname: Yes, yes.

─────────────────────────⋅…⋆⋅☆

The party reception had already begun by the time I reached the Kujo Manor.

Rei: (Oh! Kirishima-san and Kaname-kun are over there. Should I turn in my invitation over there instead?)

When I got close enough to the gates to call out to them--

Kirishima: ‘ELCOME!

Rei: ……!

Kaname: Koya-kun, this isn’t an Izakaya. Look, she’s clearly startled.

Kirishima: Oop, you’re right. I couldn’t help but to revert back to my usual habits.

Kirishima: ...Ahem. Welcome; we’ve been awaiting your arrival.

He bowed gracefully; elegantly.

Rei: !

Kirishima: ...How’s that?

Rei: Super cool!

Kirishima: Coolio! It’s thanks to the special training I received under Kaname.

Rei: You’re both really spectacular today. It’s almost as if you’re real butlers!

Kirishima: Well, that’s because the theme we have going today’s a Butler Cafe.

Rei: B-Butler Cafe?

Kaname: It’s a concept where we all become butlers and serve the customers hospitably.

Rei: I see, that’s an interesting concept.

Rei: Oh, right. Can I sign in here?

Kaname: Of course you can. Could I see your invitation?

I pulled out the invitation along with the envelope it was sealed in and watched as he stamped it.

Kaname: X makes the mark. Now you can enjoy all of the food and drinks we have prepared inside.

Kirishima: Do enjoy yourself to the fullest today.

Rei: Thank you. I’ll be heading on in then.

Kirishima & Kaname: Have a nice day.

I passed through the gate as they both saw me off.

☆⋅⋆ …⋅─────────────────────────────────────────⋅…⋆⋅☆

Investigation 2: Chapter 4

Rei: (Wow. The table decorations are really extravagant.)

Rei: (All the food looks really tantalizing too. It makes me feel hungry just by looking at them…)

Miyase: Hello, Izumi-san. Welcome.

Rei: Miyase-kun! I guess...congratulations...for today?

Miyase: Hehe. You don’t have to be so formal; it’s all alright.

Rei: Here. This is just a small gift to thank you for your everyday efforts.

His expression softened as I handed him the wrapped package.

Miyase: ...This is?

Rei: An apron. I thought of it when I started thinking along the lines of getting you something that’ll be of daily use to you.

Miyase: ……!

Miyase: Thank you so much. I’m really happy. I’ll take good care of it and use it well!

Miyase: Still, all that being said...I never thought that there’d be so many people gathered here just for this.

Rei: I think everyone has gathered here because they’re all thankful towards you.

Miyase: I’ve not done anything at all. I’ve only simply taken care of the garden and made food for everyone...

Miyase: That’s all I’ve done, and yet they’ve thrown me such a spectacular party.

Miyase: It’s so brilliant that I feel it’s a waste on someone like me, who only does things that come naturally.

Rei: ...This is just my personal feelings;

Rei: But I think that you always make delicious food and the mansion’s always beautifully maintained.

Rei: And the tea you serve is also really calming.

Miyase: …...

Rei: So, I think that even if you feel that it’s only natural for you to be doing these things,

Rei: those actions of yours have made people thankful towards you and have also granted them happiness.

Rei: That’s why, today’s the day where they’re all gathered here to convey their feelings. So, I think they’ll be happy if you’ll watch over them.

Miyase: …...

Rei: Sorry, I got too caught up in the moment and said some weird things, didn’t I…?

Miyase: ...Thank you. It makes me feel a little better, somehow.

☆⋅⋆ …⋅─────────────────────────────────────────⋅…⋆⋅☆

Investigation 2: Chapter 5

Sugano: Oh, it’s Rei! Good work~

Rei: Sugano-kun! Good work today too.

Sugano: Man~ There’s a real crowd in here. I’m really getting into the mood now!

Asagiri: Please remember to keep your alcohol consumption to a reasonable amount.

Sugano: Got’cha~

Aoyama: He’s not a kid so I’m sure he can control himself at least that much.

Asagiri: ……! Aoyama.

Asagiri: This has nothing to do with you; it’s a Investigation Planning Department problem.

Asagiri: Did you take any precautions against your own juniors?

Aoyama: Even if you ask me that, I’m pretty sure they’re all capable of controlling themselves.

Aoyama: The fact that you’re being so mouthy over this whole matter serves as further proof that you don’t have enough faith in your own juniors, don’t you think?

Asagiri: ...Oh?

Sugano: Ahaha, there they go again.

Rei: Hahaha…

Imaoji: Still, I never expected this many people to turn up; amazingly.

Yui: Ahh. What a great party this is with delicious wine to boot.

Yui: Who would’ve thought that I’d see Ch.Le Pin being served here.

Rei: Yui-san, since when did you obtain something like that?

Yui: It’s being put out on the catering table. You can go get some if you’d like to drink.

Rei: (It’s not even time to clink glasses and say cheers yet, but there he is. He really does things at his own pace at always...)

Imaoji: I hope Seki-san and Natsume-kun can make it in time.

Rei: You’re right. And Watabe-san too.

Hiyama: Izumi? You’re already here?

Rei: Hiyama-san! And Maki-kun too! It’s been such a long time...or so I’d like to say, but it hasn’t really been that long.

Maki: We somehow met each other again not too long ago for a bit.

Maki: Oh, right. Miyase-san, this is from Hatori and Aki.

Maki: They’re snacks that go well together with wine. Seems like they got it for you as an apology for being unable to come today.

Miyase: Thank you. I’ll treasure it.

Kyosuke: Thank goodness that I made it in time.

Rei: Kyosuke-kun! Is Makoto-san with you today as well?

Kyosuke: I tried calling him but he didn’t pick up.

Kyosuke: He’s probably still asleep since it looks like he pulled an all-nighter right before his current dateline.

Kyosuke: But he did say that he was coming to this party, so maybe he’ll make it just in time before the party ends.

Kawai: Oh, Rei-saaan!

Rei: Hikaru-kun! You came too?

Kawai: Yeah. We, of Seo Lab, got invitations too. Everyone’s here too~

Rei: Everyone came here?

Kawai: Yup. Ikuto-san’s has already gone off somewhere in that direction though.

Looking in the direction of where Hikaru-kun pointed at, I spotted him having a friendly chat with Hiyama-san.

Rei: (As canny as ever, I see...)

───⋅𝕿𝖎𝖑𝖑 𝖓𝖊𝖝𝖙 𝖙𝖎𝖒𝖊…⋆⋅☆

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