Pathway to Japanese Literature

Eastward Expedition by Sea Route

Eastward Expedition by Sea Route

Chapter 1: Takachiho

Male Voices (Solo and Chorus)

The deity was enshrined, lofty as the azure sky,
Enshrined is your august form, Imperial Ancestor.
Distant is our firmament,
Limitless Kamusubi,
Behold all things of the world,
Behold the heavenly and exalted august origin.
The land was formed, with Watatsumi's tides youthful,
Firmly wrought became this land.
Distant is our land's birth,
Unfading Heavenly Jeweled Spear,
Hearken now to that spirit-echo,
The Great Eight Islands rise through resounding chant.
Imperial lineage! Divine descendants of the sun-shining deity,
Generation after generation were enshrined, already in Hyūga.
Distant is our Takachiho,
Limitless thousandfold waves,

Rejoice now beneath the sun's direct radiance,
The palace where seas and mountains blaze resplendent!
The deity had been enshrined - fifteen hundred autumns of the Land of Abundant Rice Ears,
The Imperial Land is Abundant Reed Plains.

Distant stood our nation's founding,
Boundless stretched the celestial works,
Now let him march swift-eastward,
Let him make radiant his kingly realm.

Chapter 2: Longing for Yamato

Female Voices (Solo and Chorus)

Yamato—the land supreme of the realm,
Mountains layered blue as fences—
East—the land's center,
Encircling blue-fenced mountains—
Who dares conceal its splendor—

Who dares descend in that rock-hewn ship—

Beloved Shiotsuchi Elder,

Let that Yamato be heard.

Yamato too resounds in beauty,

That celestial realm lies distant in thought.

O Yamato of beauty!

O Yamato of beauty!

Chapter 3: Imperial Departure

Male and Female Voices (Solo and Chorus)

Part One

The sun rose into banner clouds' abundant madder red,

Now set forth on your imperial voyage from fair Mimitsu Port!
The sea calmed; heat shimmers rose in the east,
Now let him go forth along that radiantly beautiful sea road.
The sea calmed, the dawn tide too reached its fullness,
Sterns and prows interlocked, the Great Imperial Fleet—the Imperial Departure now commenced.

Part Two

Ah, radiant clarity! Kamuyamato Iwarehiko—the divine mandate—

Ah, radiant—O multitude of princes! O their royal elder brothers!

Proceed grandly, O Great Imperial Army,

Still shrouded lay what belonged to primordial chaos.

The Imperial Ancestor had thus accumulated blessings,

He had nurtured righteousness through countless years.

Divine authority! Myriad years had passed,

Radiance! Amassed anew through generations enthroned.

Harmonizing spirits became reconciled; simply granted peace,

Chaotic spirits refused submission—rose in defiance.

The great divine authority shone resplendently—the Imperial Departure stood accomplished.

O Sun Prince! Taking up the sacred halberd, he has thus arisen.

Part Three

The sun rises, the banner clouds' radiant crimson—

Now, imperial ship, set forth from bright Hyūga!

The sea has calmed, the high tide's swells swaying languidly,

Now let him go forth along that radiantly beautiful sea route.

The sea has calmed, the dawn tide too has reached its fullness,

Sterns and prows interlocked, the Great Imperial Fleet—the Imperial Departure now commences.

Chapter 4: Imperial Ship Chant

Male Voices (Solo and Chorus)

Part One

Imperial Departure—the Great Imperial Departure,

Assemble the accompanying fleet,

Assemble the attendants.

Chant while swaying to the wind of the Sacred Gate,

Release your voices toward the east.

Raise your voices, face east.

The Great Imperial Fleet's true rudders densely arrayed,

The resplendent imperial bow's tips—
Ah crystalline purity! We enshrine as deities—
Ah dazzling radiance! We consecrate the prince—
Boundless expanse—the open sea—
Endless—the azure sea foam—
Sway and chant—O mighty nation—
To our Great Sovereign—
To this divine presence—
Praise verses—
Offer auspicious words!

Part Two

Turbulent sea—

Turbulent sea—the myriad paths of its tides—,

Eightfold tidal ways—

At the myriad tides' confluence—Hallelujah,

To Hayakitsu-hime who resounds enthroned,

Dawn breaks—the morning mist

In distant whiteness—,

The final calming—

Bring calm,

May your divine eyes smile refreshingly clear,

Deign to hear, they entreat,

Imperial Ship Chant.

Part Three

Ah!

Yaa-hare!
The open sea—the azure sea.
Yaa-hare!
Blue clouds—their sharp rise,
This—the very pinnacle—,

Our sea and—the Great Sovereign proclaims,

Our sky and—the Imperial Grandson rules.

Ro

Yaa-hare!

As long as the tide foam endures,
The prow of the ship advances to the farthest reaches.
Yaa-hare!
Spanning islands, stretching across eighty isles,
Upon the great sea, ships multiply without cease.
Gazing afar—the Great Sovereign proclaims,
The four seas—the Imperial Grandson governs.
Ha
Yaa-hare!

The land—the great land.

Yaa-hare!

The land's ramparts—their sharp rise,

This—the very pinnacle—,

Our country and—the Great Sovereign proclaims,

Our land and—the Imperial Grandson rules.

Ni

Yaa-hare!

Blue clouds tower to their utmost,

As long as the white clouds bow down.

Yaa-hare!

The valley frogs' traverse to the utmost,

As long as the horses' hooves endure.

Gazing far—the Great Sovereign proclaims,

The four quarters' lands—the Imperial Grandson rules.

Ho

Ya

Narrow lands made wide,

Ya

Steep lands made level!

Ya

Distant lands—cast ropes over,

Gather now—,

All together—,

Pull the lands, draw them near.

Ah, magnificent! The Great Sovereign proclaims,

Ah, splendid! His eyes are veiled.

Splendid, splendid—Eternal Prosperity.

Thunderous, thunderous—eternal prosperity.

Chapter 5: Hayasuhi and Usa

Part 1

Male Solo
The seas—the azure seas—
O guide of the sea route! Swiftly, Hayanemitsu Hiko,
At Hayasuhi's strait—that Uzuhiko!

Children's voices or female chorus (childlike)
Rocked upon a turtle's carapace,
Rocked by the tidal surges,
Dunking, dousing, child of the sea—
Take up the oar! Secure it now!
As waves drenched them again and again,
Transferred to the imperial ship—
"Proclaim your names! Quickly, quickly!"
Those who came forth to the imperial ship
Declared themselves as subjects.
They prostrated themselves before the earthly deities—
Tide-drenched earthly deities—

Behold the dolphin's eye!

Far-seeing eyes, keen eyes, wise ones—
Flap, flap—splendid.

Part Two

Male and female voices (alternating call-and-response and unison chorus)

Usa, O! Upon the rising tide's surface,

Toyokuni’s temporary palace.

Ah, splendid! Ashi-Hitotsu-Agetsu-no-Miya to yo—the temporary palace.

Ashi-Hitotsu-Agetsu-no-Miya—the temporary palace—

On the azure bedrock sat a single divine pillar.

When approaching Ashi-Hitotsu-Agetsu-no-Miya,

Great turtle—came upstream in the river.

The Grand Feast of Ashi-Hitotsu-Agetsu-no-Miya,

Who offered—in the distant cloud realm.

Ashi-Hitotsu-Agetsu-no-Miya is Usatsu Hiko,

Morning drew in, evening drew in.

Ashi-Hitotsu-Agetsu-no-Miya stood above the rapids—

Ashi-Hitotsu-Agetsu-no-Miya rose—one foot aloft—and sat at the edge of clouds.

Splendid! O splendid!

Splendid! O splendid!

Chapter 6: Sea Route Retrospection

Part One

Male and female voices (alternating call-and-response and unison chorus)

Traversing day and night, crossing the sea plain,

Traversing the impending years, they had relocated the palace.

Ah, splendid—those many years,
Ah, splendid—that ceaseless advance.
Year by year, the imperial escort ships—no, their numbers had multiplied—
One after another, the imperial attendants—indeed, their numbers had increased—
Ah, splendid—again the springs and autumns,
Ah, splendid—its sea and mountain.

Part Two

The moon's edge—Ashi-Hitotsu-Agetsu-no-Miya,

One year—the Okada-no-Miya Palace in Tsukushi.

Takeri Tomo, Aki's Palace of Dust,

Step by step—seven years—.
Ah.

In Kibi, again eight years—Takashima Palace,

Yamato lies far away—O distant Takachiho!

Part Three

Traversing day and night, crossing the sea plain,

Traversing the impending years, they relocated the palace.

Ah splendid—those many years,

Ah splendid—that ceaseless advance.

How abundant—the august stores—already has this come to pass,
May the realm under heaven be governed—autumn has now come to pass.

Ah, splendid—O splendid—
Ah, splendid—now autumn has come.

Chapter 7: Landing at Shirakata Port

Part One

Male voices (solo and chorus)

At Shirakata Port beneath azure clouds—that very port—

A valiant war cry rose; the imperial ships had docked.

"Now advance, Grand Imperial Army,

Now rouse yourselves, band of stalwarts!"

The clamoring allied wild ducks at Naniwa's edge—that shore—

They pushed forward in relentless pursuit and arrayed the august shields.

"Now advance, Grand Imperial Army,

Now rouse yourselves, band of stalwarts!

Part Two

Tadezu of Kusaka Bay—at that very port,

A valiant war cry now rises—Grand Imperial Army.

Now advance—Yamato lies near,
Now rouse yourselves, band of stalwarts!
When Naniwa's tide ebbed for upstream passage—
"What hinders my advance, Nagasunehiko?"
Now advance—Yamato lies near,
Now rouse yourselves, band of stalwarts!

Chapter Eight: The Divine Enterprise Flourishes

Male and female voices (solo, unison, and chorus)

The gods were enshrined, high above azure clouds,
Takachiho—Kushifuru Peak.
How distant that Founding,
Limitless—the divine enterprise—,
Now revere the Divine Edicts,
How awe-inspiring—the pure august mirror.
A land existed—with Watatsumi’s tides still young,
It made its luminous abode—the center of all quarters.
How distant—that nation's birth,
Limitless—the heavenly Sun Succession—,
Now let them succeed—those entrusted through words,
Let the magatama beads and radiance be strung together.

A path existed—since ancient times thus has it resounded,

Pierces through—this heaven and earth.

How distant—that divine nature,

Unfailing august sword and tachi,

Now subjugate those who do not submit,

Attack relentlessly—and yet enforce peace!

Clouds loom azure; divinely august through eternal ages—

Radiantly beautiful our mountains and rivers.

How distant—that national character,

Unmoving—the bedrock of the depths,

Now raise up the Emperor,

Emperor Jimmu.

When enshrined with gods and made to reign through great divine authority—

Eight Directions Under One Roof—thus was it proclaimed.

How distant that Founding,

Limitless—the divine enterprise—

Now reigned over Yamato here—

Valiant war cry—may prosperity ever be ours!

Susanoo-no-Mikoto

Susanoo-no-Mikoto

Scroll of the Withered Mountain

First Section

Oh, oh,

Oh.

A god dwells here, wailing and lamenting,

Dark god—

Divine nature thundered—

Ferocious solitary pillar—

Behold Susanoo-no-Mikoto—

Take-Susa-no-O—

Hayasusano-o—

Fervent one with Masurao-gami—

The raging Aramitama in full frenzy—

Valiant war cry—

Wept fiercely—

Trod bellows—

Kicked scattering—

Coiled-released ritual claw-comb—

Tousled sidelocks—

Struck fists—

Swept chest-front—

Parted eight-handspan beard—

Resounded imperial jewels-necklaces—

Bracelets-armbands—

Swayed ankle-cords swaying—

Shaking—
When shaken violently—

How fearsome—this god of completed creation—
Just like a sea cliff’s surge—
Surging onward—
Divinely towering clouds—
Swift winds, streaking lightning—
Thundering coiling azure dragon—

Flashing claw-like scorch marks—coiling, collapsing—
Overturning scale-clad fish—a deluge,
When he lamented thus—
When he wailed and cried out thus—
When he wailed in decay, when he clamored in weeping—
The whole darkened world—
Pouring down decay upon all creation—
When even seas and rivers wept until they ran dry,

A drenching, prolonged rain—ah,
Lightless, timeless rain,
No sun—,
No night—,

Only longing—the motherland,

Only distant—Ne-no-Katasu-no-Kuni,

In gloom—merely in gloom—he hid weeping.

Part Two

Alas, alas,

Alas.

Gods be present, crying out—

Dark god,

Awe-inspiring divinity—,

Single-minded humanity—,

Wisdom! Though you permit—good and evil—,

The god of storms who merely laments—,

Mist rises—eightfold clouds rise—

O descendants of Izumo,

Great clans, ancestral deities of provincial rulers,

Lo, Takehaya Susanoo-no-Mikoto—
Lo, this deity—
In splendor seen—the distant skies upon distant skies,
The visible land of splendor—
The layered blue-fenced mountains—
Stone roots of blue mountains, standing trees—
The gods weakened, and when they wailed in decay—
When the gods grew desolate—when they wept mountains into barrenness—
The long-breath's howling wind—
When they summoned rain, wailed and clamored, hid weeping—
When they aligned day upon day, night upon night, and lamented thus—
In gloom—merely in gloom—they darkened.

Thus it stood—they, the gods of this world—
Ah! Ah! They—these deities—
Serene and luminous—the Harmonious Spirit intensified,

Radiant and clear, beautiful and splendid,

Eternal rustling, wondrous-working god,

Spirits of mountains and fields,

Ōyamatsumi,

Kanayanohime, the two deities,

The deities who apportioned and brought forth,

The various life-giving sanctuaries,

Pioneer of the earth—Kukunochi-no-Kami, deity of trees—
Deity of branching treetips—

Pristine divine realm—
Sacred zelkova, Yutu true camellia,
Broad-leaved bear-white tree,
Sacred oak, white oak, maiden spindle tree,
Ah, black hinoki cypress—cloud-entwined—
Snow-clad white birches—
The deity of water-surface stone azaleas—
Holly—spreading rustling branches—
Thicket-standing Japanese andromeda, ebony—
Iwa Village dog’s-tongue fern—
At the marsh’s edge—cogon grasses, reeds, hair sedges—
The various mirror-leaved—

Haze-needled, slender-leaved deity—,
Deciduous trees—,
Young sprouts’ glistening tree buds—,

Flower-hiding tree ferns—
What being—weeping—withers them,
Seizing by day, seizing by night—when rain falls—
All standing things—every single one—
All colors—every single one—
Strength gone—when they lie prostrate and bend—
No recourse—when even those standing perish—
The essence of water exhausted, the vital force exhausted—
Ah, swiftly—the scent vanishes.

Third Segment

Oh, oh—
Oh.
Gods dwell here—crying out, weeping—
Dark deities—

“Well now, Child Susanoo,”

Great Heaven and Takamagahara—
Let the sun reign—Great Sun Goddess—
Indeed—let night reign over the Land of Night—
Let darkness reign—O Moon, Tsukuyomi—
The sea plain—I will not govern it—

Let them issue decrees—I will not listen,

Divine authority—a rampant deity—
As Itada’s canthus split—
As he declared, raging through tears—
As he resisted—a thunderous bellow erupted.

Thus when he roared,
Great sea—azure expanse—
Warped and receded in twisted contortions—
The tide ebbed—the tidal flat foamed with bubbles—

Seething—scorpion-formed things—,
Ammonite-shaped, eel-shaped things—,
Gill monstrosities—dragons with flying wings—,
Eight-sword lizards grazing on grass—,
The archaeopteryx bit with savage teeth.
Blue mud—terrible swamp—,
Coiling slimy serpent—,
Unrestrained—
Wilderness giant oxen—
Fearlessness—
Calamity Wolf.

Oh, oh—oh—

When this had come to pass—with the unceasing rain—

Maggots seething—putrid rot—flies swarming—the clamor of the gods—

The calamity of all deities across four directions—

The calamity of Takatsudori—

The calamity of swarming insects—

Grease-forming—regurgitation—vomiting—

Spawning—killing—throbbing—groaning—

Countless evils—

Warping—decaying—souring—the defilement of dying things—

No constancy—no fiery vigor—

Not gleaming—not fully purified—

Ulterior motives stagnating—

Uncleansed—affliction—

Sneezing—ague-affliction—

Rustling—seething impatience—

Agonizing—breathless—

Skin sores—scratching relentlessly—
As ugly deities pursued and provoked—
All things—the world’s all things—
Dammed torrents seethed—

Weeping—inquiring—,

Wailing—weeping ceaselessly—,

Ah—swiftly the event has come to pass.

Part Four

Oh—oh—

Oh—oh—

I dwell here—a god crying out—

Dark deity—

Endless weeping provocation—

Coasts—lofty banks—

Stone gates like rocky grottoes—sandy expanses—

belly-crawling large sea urchin—
vermillion shells—life-and-death shells—
rusty nails—multitude of nails—

Those roots—sparsely buried in trunks—
spread leaves—lofty spread—
large-leaf cycad—

Oh, oh—
Oh, oh—
Dripping—the prolonged rain’s stillness—,

Water-kelp-formed midzura dewdrops—,

Moss-covered—thigh—arm—,

turban shells and beads crawling—,

Tatami-matted loincloth torn and rent—,

Small bell falling—leg-binding cord loosening—,

Fluttering—that short skirt—,

Not seeing sky—I merely lamented—
Not seeing sea—I merely lamented—

Ah—Great Deity Izanagi—

It’s futile—Susanoo-no-Mikoto—

“You—”

The realm entrusted remains ungoverned—

Everything incites weeping—

When Divine Father utters His sacred decree—

Izanami—my mother—

Should Mother dwell—

Ne-no-Katasu-kuni—

I long—if I do not depart—,
I merely weep and cry.
Ah—foolishness—

Do not dwell here—if so, this land—
Go, begone—
By divine mandate—to wander rootless from origin—
Tending gods—attending divine affairs with reverence—

Ah, alas—Susanoo-no-Mikoto—
Eyes whitening—driven out—
He wept until parched—then burst into laughter.

Continental Overture

Leap

Leaping—

Leaping—the galloping bull was this—

Unyielding willpower—

Thunderous stomping—a black whirlwind of flesh masses—

Resounding horns—

Resounding horns—

Behold the horns—the great frontal crest of azure helmets.

This place was Obo—Mongol Dorokai,

Spring yet winter—

Hazing, hazing—the vast desolation of Inner Mongolia,

Boundless field of vision—

The desert shifting east and ever eastward—
In the depths of austere cold.

Oh, it’s an eye—the full sun of high noon,
Glittering glittering in all directions—the sun’s course—
And yet it steals away the golden light.

It was the deep blue upper sky.

Dust-particles of stars,

A well-honed airflow.

Light reflected light,

Shadow with shadow,

Sprouting grass buds too existed somewhere.

In the hollow of something unknown to anyone,
Something was held.

――There is something.

Leaping,

Riding upon the will of that leaping galloping bull,

A roar beyond imagining came.

Terrific, resembling rage—

A thing that did nothing but gleam came.

Footsteps came.

(Manchuria, Zhengjiatun Outskirts)

Landscape at Thirteen Thirty

There were roots.

Dried sorghum rows,

Yellow soil,

Piled soil-manure rows,

Ah, that was all.

There were trees,

Each and every one,

They were withered trees casting shadows.

Ah, that was all.

Flat, or soft ground—

To the riddle of swells—

The sunlit area was moderately warm.
Ah, that is all.
A covered wagon passed in the distance.
White horses, three red ones—
Dust swirls—

Ah, that is all.

Desolate South Manchuria,
Endless river, frozen over,
Earthen walls with gunports,

Wind, wind, wind,

Ah, that was all.

O Coolie,

O fourth-class car coolie,

A small sun—

13:30–15:30,

The train kept moving forward,
It kept moving forward.
Ah, that was all.
Someone slept by the roadside,
Looked at a war pictorial,
Utterly exhausted—ah, thus—
A person slept at the roadside's edge,
Life was in the crimson sun,
Lay prostrate unyieldingly.
The righteous did not flinch,
Not facing heaven or earth,
Warriors, guardian deities,
They exposed their bodies; their beards froze.
Behold this state,
Neither day nor night existed there,
Only the homeland, the nation's

Blood and flesh, one alone—
they do not submit, faithless,
those Manchurian-Mongolian bandits.
They seethe, these seething ones,
their strength unhesitating.
When they fight, some prevail.

No time to sleep, no narrow cots,

At least now, to level their rifles—
None took cover.
Shed tears for this sight,
Where neither day nor night existed.

There it lay upon the sandbags,
People utterly asleep.

Dawn Sky.

The Divine Welcoming at Hyūga Takachiho Peak

The peak of Takachiho in Hyūga

Upon the mountain's darkened shoulder,
The wind had already sliced through arrow fletchings.
It resounded and soared into the sky.
O gods,

The gods gathered—dawn had already arisen—
Dawn came and stood revealed—

Halberds in hand toward east,
They shaded their eyes.
O pale blue clouds! O primal land—
Not yet awakened,
Fields and rivers unshaped,
Not yet formed.

Stirred, only,
Fish in the lake above the clouds
Their jaws ablaze with vermilion.

The sun rose,
Ah, Asahiko,
Parted a thousandfold, parted to the farthest reaches of the clouds,
How small! How pure! It shone resplendently.

Seed

Continental Overture

There was a seed that had coagulated with divine birthing jewels,
Thus it existed—existed and lived—its fragrance accumulated.
The earth—Mongolia's great continental depths profound—
They concealed themselves, crevices between ore and stone buried.
There was time—the sun unaware, stars indistinct—
There simply was—existing thus for fifteen million years.
Be awed by this existence—endowed with spirit,

Extol it—so ancient and so whole.

Ages there were—people arose, filled the land full.

Nations rose, stood poised to perish, and there were eras again.

Haze—yellow sand—storm and roar,

Surges—the great waters; heaven tilted askew.

Still it existed—the life of living buds being fragrant—

There was waiting—its dawn finally came.

Crossing seas, shrouding skies, came roaring—

The earth quaked—sound detonated, wings pummeled.
Who else but the Sun’s Imperial Offspring, successors to Kume and Ōtomo—
The footsteps of gods became our Great Imperial Army.
There had been waiting—the great land now shone—
O green! That which revives without end.

There was a seed, shining with divine birthing jewels,
It is life—it breathes and begins to bud.

Took aim.

The summer sky lay tranquil,

Directly above the army,

An awe-inspiring formless thing -

Wind swelled in a fleeting moment.

Enemy? Some nascent...

Lifeform poised to be,

Appeared, appeared again,

Vision pierced through.

No echo remained, no voice sounded,

Only breath

Radiant instants only,
Filled and lived on—
Full-fronted yellow soil.
There was an army bearing grass,
Tanks heaped mountain-like,
They faced unwavering toward clear-eyed vigilance,
Not yet released.

In the beginning, heaven and earth

Having been created anew,
There was waiting—something's
A single movement.
With a resounding boom—we? They?
This fleeting moment—
The righteous aim of the victor
Only the gods deigned to know.

Deep sleep

Shadows exist—huge tanks,
Stationed—during their respite—

By the roadside,
Only buzzing flies
Gathered and gathered.
Sleep-weary—merely
Exhausted to the bone,
No sky, no foe,
The battle's brief lull.
Life stood tautly filled—
Fifth day, sixth day,
No night, no dawn,
They drank not, ate not.
We shot, they shot,
And yet this sweltering heat—
What purpose they knew not—even as—
They knew not—they shot.
Whether strong or weak,
Who could tell?
Sleep-weary—merely these eyelids—
Had sagged heavily down.
Sinking, sinking deeper—

Soldiers they are; we sleep.

O tanks, iron tanks,
O brief moment,
Ah, let this brief moment veil the light.

Sleep-weary—
Merely sleeping—
Nothing exists; we are not—
They press foreheads to bare earth.

It was midday—merely hollow.

Were they starved? Come—even should starvation come—

Whether they lived or died

They could not foresee.

Sleep-weary, merely sleep-weary—

No longer knowing battle nor bullets—

Sleep-weary—let sleep come.

For a fleeting moment, let them hear their mother's voice.

Charge

Charge,

Those who charged,

They stabbed, stabbed relentlessly,

Stabbed straight, pierced through,

Rifle stocks gripped in reverse hands—full force.

Leap in, strike down,
Strike, batter down,
This alone, solely this alone.

Charge,
Those who charged,
Fervent, fervent indeed—
No life nor death; no impurity—
They fought, fought ecstatic,

Stabbed through; struck down;

Only voices; there was only breath.

We exist; there exists only leaping.

Charged,

At the moment of charging,

They merely saw; living; ugly,

Distorted their faces, opened eyes wide,

In fear, their courage vanished,

Trembled; those who trembled.

Enemy? Or they?

They knew not,

They collapsed, yet would not fall.

Resounded; one would not fall.

Clear Ancient Tune

Shirasuka

Enshū Hamana District, Shirasuka

Shirasuka was an inn of old,
Simply white and desolate in aspect,
Its lattice shutters and sliding doors,
All paper screens uniformly identical.
Simply desolate stood the row of eaves,
Same design repeated,
Even those exiting and entering—
Same silhouettes mirrored.
No sound lingered, nothing at all,
Not even dust-gathering objects remained.
Only thatched huts persisted,
Where feeble sunlight reached.
Somewhere lay Tōtōmi Nada,
Near Shiomizaka Slope it stood,
Beneath a low sky thinly clouded,
Where no wind stirred.
Though winter gripped that settlement,
Before faintly soothing houses,
Passing through here—harsh though it might be—
It seemed neither severe nor cold.

Shirasuka—the old highway,
Vermilion combs shaking erect,

Gamecocks were present though.

That was but a solitary gleam in the dusk.

Sanbōji Pond

Tranquility—Sanbōji Pond,
Cherry blossoms bloom,
On the cherry branch,
A person sits there, fishing rod uncast.

Tranquility—Sanbōji Pond,

Shakujii—

Spear-cedars clustered—

The shadow sank into green-tinged water's surface.

Tranquility—Sanbōji Pond,

In waning midday light,

Parched reeds,

Water chestnuts half-lit, duckweed.

Tranquility—Sanbōji Pond,

Diving grebes resounded,

Tending to dart together—only heads visible.

Tranquility—Sanbōji Pond,

Clouds drifted,

Spring lingered cloud-bound,

Still somehow uncomposed.

Midsummer.

Midsummer it is,
The good spacing of steel towers,
Flutter, flutter,
Darting
Birds.

“O children, behold,”

Billowing clouds,

Blue-green grasses and rice plants in fields
Glaringly reflecting.

Sky.

Midday it was,

Dust from buses on the highway,

In the chilly green of the slope

A window opened,

Ah, August.

Chili pepper

Flowers bloomed,

Hazily,

People and houses,

The field beneath the blazing sky warped.

Sacred Garden

Meiji Shrine West Approach

Ethereal hush—this very midday's
The profound trees' stillness.
Unleash your voice, pheasant,
Into the outer haze.
Sacredness—the sacred garden’s
The shining sun's young oak leaves,
Tranquility—shadows deepening swell to fullness,
Alternating azure and verdure.
Retain not a single speck of dust,
Jeweled sand spread smooth,
Refreshing—the shrine approach’s
The winding path—should one tread here?
Lawn—gentle slope,
Treasure Hall,
Whiteness hidden—summer’s
Spindle tree blossoms—one fragrant trunk.
Gaze intently unto the harmonizing spirits,

O my young child,
The wavering shadow of a hatchling turtle,
Fin, ripples.
Be still, midday tempest,
Manifest,

Hazily, clouds rose,
Gods and humans communed through breath.

Nishiyama-sō

Tranquil,

Dim valley embrace,

A wild bird comes and stirs something.

Dead leaves. Mixed trees.

The sky was perfectly clear
A sky without a single speck of dust,
A deeply wooded garden,

That clear brightness—still cold.

Simplicity—
Scattered stones,
A gate thrust upward toward the thatch-roofed house,

This is Nishiyama-sō.

Faintness—

Upon cracked earth's surface

Shadows shift—the ancient plum tree’s,

Its scent too early for blossoms.

Ah, and so

A sound pierces through as one,

Ah, Shinji Pond,
The spirit of Dai Nihon Shi—its resonance.

Tranquil aged contentment,

Noble soul,

I listened to the sound of water,

Gikō, the Mito Kōmon.

Snow Morning

Clear bright morning—this snow,
Snow piling upon fallen snow,
piling on trees,
On the lantern had piled white.

Sacred precincts—this morning,
The sound of water rushing over stones
Echoes,
Icicles, all fresh in the sunlight.
Tracks form in this snow—
A rabbit hopping along.
The purity lies in nibbled bamboo shoots,
The softness of fur—youthful.
Abounding humble gratitude,
Everything fills one with awe,
It breathes,

In the nation's eminent mountain, lofty.

Deities along this path,

Ah, I find myself speechless,

The Imperial Prince is born,

Spring now—the clouds surge upward.

Clapping hands—

Clapping hands—only that.

White birches
The pure are those that stand in snow,
White birch grove—indeed—
White bark:
That is the true maiden.
O profound hush in the snowy gorge—
Upright slender trunks
Bearing light surpassing snow.
The sun hangs clouded in white midday:
No sound—this radiance—
No wind—a single hue.
O profound tranquility—Khingan Range—
Piercing cold through mist-shrouded treetops—
Not even one hawk takes flight.
What do they do dwelling there?
White Russia—
The poor open windows with purity—
The white night glimmers faintly—
The sky—for a moment—

White birch grove, indeed,
Radiant deities.

Gentian

What bored through deep indigo rock walls—

Who would call these seeping droplets freshwater?

Who could know? The clouds that so often came blowing through,

Delicate roots with slippery upper surfaces probed each existing vein.

Tips rustling—the ivy leaves, as faint red mingled within,

Midwinter—the droplets flowing over stones dripped again.

Eyes clear—rock crags—wide open,

The deep indigo gentian stood well-chilled.

Lake Motosu

Lake Motosu’s billowing,

Went and vanished
In thin ink-wash clouds，
Silver-smoked．
Even more so in the profound hush，
The Eurasian Jay cried，
Rain hid among the trees，
The reverse side of Fuji．

O awe upon the mountain's height,

The moon hangs full

appearing,

White once more, shadows deepening.

Coming only, passing only,

Clouds often gathered,
misting and shifting,
leaving clarity behind.
Does the deity sit enshrined at this dawn?
Ah—ripples—
the char that dreams of wind dwells in water,
then sinks once more.

Smoke and Haze Afterthoughts

Full-Round Carving

Carve me in full-round carving.
This eye's blade.
This full-round wood carving

Finely wrought, yet rough in its raw state.

This full-round carving's tactility,

"I shall carve—all of myself."

The full-round carving's manual rigor,

Touching while being touched—this self.

Full-round carving—hold your breath,
I breathe upon it—how pitiable, how dear.

The refined beauty of full-round carving,
I think: Behold this.

That which is carved in full-round carving—
Not I—something exists.

Having carved into completion through full-round carving,
To those white hands I offered it.

Smile.

Smile—a gentle breeze,

something boundless and endless,

—ripples in a lake of deepest depths.

Smile—held in the eyes,

naturally rising to cheeks,

a voiceless melody.

Smile—radiant yet
Modest silk enwrapping jewels,
Unburnable—this genuine heart.
The smile's tenderness—
Love descending upon a cherished child,
Eternally veiled yet never fulfilled.
Preserve your smile,
Mother of tranquil realms,
Venerable moon in daylight's glare,
Like clouds both present and dissolved.

Smile—a gentle breeze,
something boundless and endless,
Be mere—shadowless brows.
The radiance would reside in you.

Sunlit place

In the wind I ponder,

Gentle breeze,

Is there sunlight as tranquil as this?

A sunlit place fragrant with chrysanthemum blossoms
a girl engaged in some kind of play
She turned around.
The passage of time went unnoticed,
Empty though it was, swift though it was,
It simply calmed.
The girl did nothing but play,
autumn days without fixed course
Yet since it remained unseen by the eye.

For a time, nothing occurred;
The coming and going of dragonfly wings,
Time-gleaming guidepost stones.

Swaying in the wind

The sun's hue—,

Like the moon, moments passed into distant time.

Along the path

Homeland—my mother's
This hillside,
The unchanged form seen long ago,
Tranquilly.
Luxuriant wax tree saplings,
The pond also visible,
Red-walled mountain house's

One or two.

Stone embankments and terraced fields,

The profound noon,

The sun's shining,

Time passes, this solitary crag.

A shadow exists; I stand solitary.

Good child,

The gaze—could it be my own,

Now I looked up.

O grosbeak, where have you gone?

It cried out, then stifled,

Color, scent, form indistinguishable,

Is it wind? Or perhaps sky?

Northern gates, southern gates,

This stretch of the road,

I see my yesterday's

Childhood heart.

Water's surface
Only the hue,
Only through wind
Would I convey—
This scent.

On the water’s surface—
Falling rain—
How often
Dotting into circles.
Wayfarer’s Lodging...

No recourse—,

He looked at the window.
As days passed.
Dimly,
Blooming flowers'

Splendid tree of heaven,

Summer had arrived.

Drenched in fine rain,

Color existed only through sound,

Drenched in fine rain,

Only droplets—minute—

This daybreak.

Flowers lived solely through shadow,

Alone and quiet,
Only the fragrance retained its desolate grace.
Cedars, cypresses.
The nest hung, only high,
Lichen,
Only the semblance—mother bird—
Figure, wingbeats.
A presence existed, purely white.
Glistening light,
Only eggs—perhaps—
Four or five.
Color existed, only in sound,
Drenched in fine rain,
Droplets—O droplets—
Only faintly.

Toward the Moon

Let me pose the question,
Upon the iron tower sat the serenely round Moon-Reading Deity, Tsukuyomi-no-Mikoto,
Two or three strands of madder-red clouds drawn thin.
As much as had been reaped, the wheat remained unharvested.
The clamor of day's visage passed.

Come, let us raise the amber glass,
Time-lamenting evening cicadas.
While purple dwells solely in shadow,
There too lies mist tinged with color upon the field.

Emptiness—
Emptiness—is it sake alone?
There is also color that exists only in shadow.

Poetic Mood of Late Winter

The wayfarer who contemplates beneath the late winter moon

He resolutely bit into the sake cup.

Biting frost,

Frost gnawed at the lakeside iron tower.

Frost gnawed at the gray-silver smokestack.

A duck, glinting, dove.

The green-headed duck bit into the reed mold.

Ah.
The rattle and gravel gnash,

It’s a cart! A cart loaded with chili peppers!

Dog, bite that deep crimson spill.

Spring is here—soon,

Freezing, he bit into the sake cup.

Tainan Travel Mood

Listlessness, aged sake,
Though they pluck and eat melon seeds,
No fragrance—day remains still.
Colored-lantern cut-glass.
The sky—

The sun's phantom departed into clouds,
Reason unknown, reality absent,
The girl inquired, yet...

Rainy season gloom

In shadows only, thickened,

Low and only

Uchū frolics in flight.

Damp-prone,

Vermilion's patina of age—,

Curved roof ridge's milled tiles,

Chihkan Tower.

Watermelon seeds—the watermelon seed is the small black mole beneath the eye.
Pressing it against their teeth,
Pressing it against their teeth,
Foolishly and beautifully, time passed.

Notes:
Melon seeds (watermelon seeds), *Uchū* (Taiwan crow)

Chihkan Tower (what the Dutch called Provintia Castle)

Indigenous children

Indigenous children shot kid goats.

Indigenous children gripped their bows and arrows,
They girded themselves with jade-studded indigenous swords,
They positioned their mother behind them,

They boldly stood and kicked away the bedrock.
The Indigenous children approved of cinnabar.

They approved of the wind-bent grass.

Indigenous children shot kid goats.
They peered through the longan trees.

Naga-uta: Mongol Invasions

Naga-uta: Mongol Invasions

First Section

The Genkai that joined with heaven's
Horizon held Iki and Tsushima,
Where evening waves saw plovers flocking back—
No fishermen's humble craft these,
But warships mountain-high in stature:

Countless true sails stretched taut,
Matchlock cannons bending at oarports,
Military drums' rhythm with banners resounded,
Nine hundred vessels prow-to-stern interlocked—

Their hulls dyed by the setting sun
Thunderously washed by tidal hands—
Lo! This relentless assault formation
Pressed merciless toward Matsuura.

Second Section

Cloud Peaks

Surged—at every tip of the shore,

When the relay horses neighed incessantly,

Shock and awe—it was the barbarian enemy invasion!

All people, high and low alike, turned pale,

Winds raged through valley pines,

Now they understood the admonition of Nichiren, the Lotus Sutra practitioner—

Truly, the foreign nation

This had to be the invasion calamity foretold.

Third Section

Now, as for those called Mongols—
They emerged from wild grasses to gallop across northern sands,
Spread northward across ten thousand leagues,
When their forces descended upon Han lands,
They destroyed Jin and toppled Song,
Their residual power extended to Goryeo,
They often set their sights on our imperial land.
The Yuan's world-conquering ambition—
Daring to shatter this ambition with ironclad resolve—
Behold this man: Regent Tokimune.
When observed, he was like a polished mirror and still water;
Decisively—they say the very mountains and rivers trembled in their entirety.
Dragons' maws hauled—

A single stroke of the gleaming blade,
Upon the exposed necks of the slain,
Stood he with a mighty roar—
Truly awe-inspiring was the nation's soul,
Solemn yet valiant.

Fourth Section

Under a starlit moonlit night,
In Kamakura Mountain's faint glow,
If only they had waited for the Eastern Provinces forces now rushing forth—
Declaring this moment a national crisis of utmost urgency,
The Western Provinces rose:
Commissioner Dazai's Shōni,

Kikuchi, Ōtomo,
Beginning with the military officers and soldiers of Shimazu and Takesaki,
Local warlords,
Commoners, down to women and children,
Inevitably, the imperial court and military united as one,
Old and young alike,
If we know shame,
Perish! Perish! Ye—
Gathering available armor, donning their gear, tightening it—
Heave-ho! Heave-ho!
Heave-ow!
Ow-ow-heave-ho!
Heave-heave-heave!
With bows, steeds, blades, and staves of every kind,
Each clamoring "Me first! Me first!" they raced to assemble.

Heave-ho, heave-ho!

Heave-ah,

Oh-oh heave-ho,

Heave-heave-heave!

Bows, horses, swords, and staves in diverse array

They rushed to gather, each clamoring "Me too! Me too!"

Fifth Section

The Land of the Rising Sun—
Under heaven reigns the myriad-chariot Great Lord,
My reign—
Oh wretchedness of such disorder—
Though I would make solemn entreaty to the gods—
It would be my profound honor were [they] to summon divine decree,
Deign to stand in [our] stead—
How awe-inspiring that [they] lament!
Morning purification—

The Isuzu River’s purifying waters—

Otokoyama where offerings were presented,

Upon hearing of the imperial envoy’s descent—

The cedars of the imperial mausoleum—noon deepening—

Sunlit cicada downpour,

The goma smoke’s lingering wisps,

The smoke ceaselessly enshrouding temples upon mountains,

Eventually, the subjugation rites for foreign lands—

Resounded the Heart of the Great Prajnāpāramitā Sutra,

With utmost solemnity they presented it.

Sixth Section

The enemy bore the renowned continent's

clangorous stratagems of bronze gongs, mounted heroes of merit.

Though they wielded the art of fire concealment—

Our tempered blades,

since the Age of Gods at Katori-Kashima,

when righteousness converged here—

Behold this array we muster,

Bear witness! O Imperial Heavens and Sovereign Land.

If we go to sea—water-soaked corpses,

If we go to mountain—grass-covered corpses,

The Frontier Guards who never look back—

The age-old valiant war cry!

Mizuki, Hakata—the defensive ramparts of Tatara Beach,

Particularly the grand front of Hakozaki Shrine,

Not a single step shall be raised—permit not—

When they shot down with lion-like ferocity,

Diving through the waves—the crews of light boats,

Row closer, row closer—
In Japan was Kōno Michiari, resident of Shikoku,
"Come! Let us survey Ebara,"
The moon arched like a bow of omen—
Felling masts, boarding ships—
They boarded, closed in, slashed through.

Seventh Section

At that very time—the 4th Year of Kōan, intercalary seventh month, first day—

Ah! How miraculous—

In the capital,

In a brilliantly clear summer sky,
A lone divine black cloud manifested,
A whistling arrow clad in white feathers—
Radiated brilliance and rumbled as it grew—
In an instant, it flew off westward.
Whether by its power or not—Shiga Island,
Naka-no-Umi, stretching across the open seas—
A sudden typhoon arose in a single night.
In pitch-black darkness where nothing could be discerned,
Lightning tore and rent—
Torrential rain like cascading waterfalls met a hundred thunderclaps’
The sheer terror of sound and thunderous roaring resounded.
Surged upward—heaven’s tornado—
Churning, roaring—raging waves and furious billows,
Relied on it, relied on it—the anchor amounted to nothing.
The ships drifted like scattered leaves—
Clang slash slash,

Slash and slash slash,

Clang slash slash,

Slash and slash slash,

Snapping chains, life's vital ropes,

Gunwales crushed against each other and collapsed,

That formidable Mongol horde of a hundred thousand—

Ah, pitiful! Reduced to ocean debris in the thousand-fathom depths they perished.

This was the Divine Wind!

By imperial decree,

In the Divine Wind—a prayer's manifestation—

The surging waves—

They shattered.

The surging waves—

They shattered.

PRODUCTION CHRONOLOGY

Production Chronology

Showa 5 (1930)

1:30 PM Scene

Showa 6 (1931)

Sleeping by the Wayside Leap

Showa 7 (1932)

Sanbōji Pond Midsummer

Susanoo-no-Mikoto Full-Round Carving

Showa 8 (1933)

Late Winter Poetic Sentiment Gentian

Dedicated to the Moon of Motosu Lake

Shirasuka Sacred Garden

Snow Dawn

Showa 9 (1934)

Snow Morning Path's Edge

On the Water Drenched in Drizzle

Tainan Travelogue Indigenous Child

Sunlight

Showa 10 (1935)

Nishiyama Villa Smile

White Birch

Showa 11 (1936)

Dawn Sky

Showa 12 (1937)

Aim Deep Sleep

Charge

Showa 13 (1938)

Seed

Showa 14 (1939)

Nagauta: Mongol Invasions Eastward Expedition by Sea Route

End Notes

End Notes

This poetry collection, *New Odes*, was published in partial commemoration of the 2600th anniversary of the Imperial Era.

Contained herein are thirty-one pieces—a number exceedingly small.
However, there exist three major long works that add some volume as significant pieces.
With the exception of the nagauta "Mongol Invasions," I selected poems here from works following my previous collection *Seal and Clouds* (Showa 4 edition) that share nearly identical forms in both spirit and poetic style.

What runs consistently throughout is the Japanese spirit; what brings order approximates ancient cadences predating the Manyoshu, generally forming chains of four, five, and six syllables.
This tendency originally arose from "Ancient New Odes" in *Seal and Clouds* and other works, continuing to the present day.
It constitutes the mainstream of my recent work.
It is my azure-antiquity style.

In my view, to grasp the essence of the ancients, nothing surpasses appropriating their rhythms of emotion.
The true intent behind attempting to trace back to azure-antiquity and seek this lies here.

Thus, the various works collected here are generally of the same type and meter, for the editorial principle lies in singularity and orderliness.

Apart from this poetic style, I plan to compile and publish short poems, brief chants, or pieces resembling folk songs as a separate volume.
I have also omitted modern-style poetic works here.
Thus, as this azure-antiquity style does not represent the entirety of my poetic style, I ask that you kindly understand the above.

Now, I shall provide some explanations here regarding the works included in this collection, dividing them into chapters.

Eastward Expedition by Sea Route

This choral poem was specially composed at the request of the Japan Cultural Central Federation for the Imperial Era 2600th Anniversary Commemorative Arts Festival, with music composed by Mr. Noboru Kiyoshi, and was scheduled for performance that autumn.
Furthermore, this choral composition was officially selected for this national celebration, premiered at the Tokyo Academy of Music, and was reverently scheduled to receive the attendance of Her Majesty the Empress.

Regarding the composition of these poems, I faced immense difficulties as it coincided with the worst period of my eye disease. I was in a state where I could neither read nor write. Thus, I had my wife and daughter transcribe materials such as the Kojiki and Nihon Shoki into calligraphy practice book-sized manuscripts. Naturally, I had them read aloud most of it and listened. The composition was also primarily dictated through speech. The structure was somewhat expansive, requiring uniformity across verses, phrases, syllabic feet, and accents—rendering it sufficiently complex that closing my eyes to mentally arrange and calibrate proved no easy task.

Now, this "Eastward Expedition by Sea Route" was originally conceived as a paean to Emperor Jimmu, structured from his departure from Hyūga to his imperial accession at Kashihara Palace. However, during composition, when my writing reached his landing at Shirakata Port, I had already exhausted the allocated page count.
It came to exceed even the scheduled time required for performance, reaching the unavoidable decision to terminate it without having achieved even one-third of the whole.
Thus, though prematurely, I brought it to a provisional conclusion with a chapter on the Grand Imperial Enterprise.
Ultimately, this should become the preface with middle and later parts to follow—my intention being to complete it as a trilogy—but for now, I leave it as an independent single volume.

Moreover, the creation of such choral poems was my first attempt, and as there were no precedents to be found in Japan—coupled with my blindness—it became a complete groping in the dark. However, when I somehow managed to complete the dictation, it seemed that a resolve to further advance toward this form arose.

Susanoo-no-Mikoto

In midsummer of Showa 7 (1932), on the occasion of launching our quarterly magazine *Shinshiron*, I wrote this piece with welling inspiration.
This "Susanoo-no-Mikoto" was supposed to compile the "Pilgrimage Scroll," "Divination Scroll," and "Izumo Scroll" following the "Withered Mountain Scroll," but was discontinued after losing its intended publication venue.

The reason I primarily employed archaic language and classical cadences was to organize within my arsenal the ancient terms from the Kojiki onward.
I thought that what I could utilize should be fully made my own.
Not only that, but I also considered it from the perspective of harmony necessitated by the frequent use of archaic parts of speech.
The reason I adopted free verse form was because I desired the expression I believed most appropriate for grasping what I previously referred to as the ancients' rhythms of emotion.
Moreover, with particular intentions, I refrained from using even a single Chinese-derived word in this piece.

The main narrative relies on the Kojiki, supplemented by consulting the Nihon Shoki and its variant texts.
As for the composition, I employed my own interpretation while further utilizing modern sensibility and cultural-historical imagination.
My interpretation regarding Susanoo-no-Mikoto represents my own perspective.
I do not necessarily regard his divine being as a violent evil god.
I regard him as a heroic deity of childlike valor—supremely masculine—and also as a great and most human-like god.

Moreover, I am considering eventually reinterpreting the Kojiki afresh through modern people's intellect and sensibility.
And I secretly hope to transpose this into poetry.
Thus, this piece constitutes but a mere glimpse of these aspirations.

Continental Overture

I mainly collected works related to continental matters.
I traveled to Manchuria before that incident but somehow sensed an uneasy tension in the air.
Within "Leap" there is suggested the footfall of something yet to come.

"The piece 'Seed' was intended to serve as the overture for the choral composition 'Continental'."

"My poetic compositions concerning the present conflict remained exceedingly few."
"As I had contracted an eye disease, I lost that opportunity."
"I resolved to compile them in a future collection."

Clear Bright Ancient Melodies

These were several pieces that sought to directly enter natural scenes and emotions with a clear bright mind.
Among them were works that employed somewhat more accessible expressions at the request of certain magazines.
However, these ancient melodies are my own.

Mist and Haze Afterglow

Only lingering emotion—merely faint mist and haze.

Nagauta: Mongol Invasions

This nagauta "Mongol Invasions" was composed at the request of the Japan Cultural Central Federation for the 2600th anniversary celebration of the Imperial Era, just like "Eastward Expedition by Sea Route".
This nagauta marks my first work in the genre.
The composition was created by Venerable Kineya Jōkan.

Regarding its content, this work took as its core the manifestation of Japanese spirit during the great national crisis known as the Mongol Invasions.
The so-called uniting of court and military as one to protect the Divine Land and confront foreign enemies.
Moreover—beginning with His Majesty the Emperor above and extending down to the common people below—under a structure of true national unity, it sought to express both *the dignity of our national polity* and *the great foundation of the Imperial Way*, as well as *the essence of Japanese bushido*.
While what people call the Divine Wind holds its place in popular discourse, this piece ultimately focuses on Regent Tokimune’s resolve—having exhausted every necessary measure to defeat the Mongol forces—and the Imperial Army’s unparalleled loyalty and valor.
This nagauta was performed at the Kabukiza Theatre on April 26 of this year.
With a lavish performance mobilizing the entire nagauta world—beginning with the iemoto headmasters of every school—it became an unprecedented grand event.
Incidentally, the performers of that night are as follows.

Composition: Kineya Jōkan
Music Arrangement: Fukuhara Hyakunosuke
Music Arrangement: Mochizuki Tasakichi

Segment One Segment Two Segment Three

Kineya Rokuroemon  Kineya Sakichi  Flute: Ume-ya Takeji

Chō: Kineya Fujikichi  San: Kineya Sajirō  Small Drum: Fukuhara Hyakunosuke

Nakamura Rokumatsuji  Aji: Kineya Sasaburō  Small Drum: Fukuhara Harunosuke

Vocal: Kineya Rokushinji  String: Kineya Katsukichiji  Large Drum: Ume-ya Sajūrō

Kineya Katsugorō  Kineya Tajūrō  Large Drum: Ume-ya Kintarō

Segment Four Segment Five

Yoshizumi Kosaburō  Kineya Jōkan  Flute: Mochizuki Chōnosuke

Chō: Yoshizumi Kotarō  San: Kineya Saburōji  Flute: Sumita Matasaburō

Yoshizumi Koshiro  Kineya Rokushiro  Small Drum: Mochizuki Sakichi

Yoshizumi Kobunro  Aji: Kineya Shirosuke  Small Drum: Mochizuki Kichisaburō

Yoshizumi Komomobori  Kineya Shirokichi  Large Drum: Mochizuki Yoshinosuke

Vocal: Yoshizumi Komomobori  String: Kineya Shirotarō  Large Drum: Mochizuki Chōshirō

Yoshizumi Kogorō  Kineya Hachirō  Large Drum: Mochizuki Jūzō

Segment Six

Yoshizumi Koshiro  Kineya Wasaburō  Flute: Mochizuki Chōnosuke

Chō: Yoshizumi Komomotsugi  San: Kineya Rokushirō  Flute: Sumita Matasaburō

Yoshizumi Komamatsugi  Kineya Gorō  Small Drum: Mochizuki Sakichi

Yoshizumi Kohee  Aji: Kineya Rokurō  Small Drum: Mochizuki Kichisaburō

Yoshizumi Kokichirō  Kineya Wasuke  Large Drum: Mochizuki Kichinosuke

Vocal: Yoshizumi Kodenji  String: Kineya Saburō  Large Drum: Mochizuki Chōshirō

Yoshizumi Kosanpachi  Kineya Wakijirō  Large Drum: Mochizuki Jūzō

Segment Seven

Kineya Rokushirō

Kineya Rokurōji

Kineya Hachirō

Yoshizumi Komamatsugi  Kineya Shirosuke

Yoshizumi Koshichirō  Kineya Shirokichi

Yoshizumi Kogenji  Kineya Shirotarō

Yoshizumi Kogorō  Kineya Wakijirō

Yoshizumi Kodenji  San: Kineya Shirōo

Yoshizumi Kosaburō  Chō: Yoshizumi Koheiji  Kineya Gorō

Chō: Yoshizumi Kosaburō  Yoshizumi Kokichirō  Kineya Rokurō

Yoshizumi Koshiro  Yoshizumi Koikurō  Aji: Kineya Wasuke

Vocal: Yoshizumi Komomotsugi  Yoshizumi Kohee  Kineya Saburō

Yoshizumi Kotarō  Yoshizumi Kobunrō  Kineya Shirōbei

String: Yoshizumi Komomobori Kineya Rokuhachirō

Chō: Matsunaga Kazefū  Yoshizumi Koheiji  Kineya Wamomoji

Vocal: Kineya Rokuroemon Yoshizumi Komomobori Kineya Shiroshige

Yoshizumi Koseiji  Kineya Kazujirō

Kineya Jōkan  Yoshizumi Kokenji  Kineya Shirosaku

San: Kineya Katsutarō  Yoshizumi Kotsuzō  Kineya Shirōichi

Aji: Kineya Wasaburō  Yoshizumi Kozo  Kineya Rokukichiji

String: Kineya Sakichi  Yoshizumi Kogaji  Kineya Rokuitarō

Kineya Eizō  Vocal: Yoshizumi Kanji  Kineya Masajirō

Yoshizumi Kikuhiko

Yoshizumi Kio  Flute: Mochizuki Chōnosuke

Yoshizumi Ko Eiji  Flute: Sumita Matasaburō

Yoshizumi Koyosaku  Small Drum: Mochizuki Sakichi

Yoshizumi Kosanpachi  Small Drum: Mochizuki Kichisaburō

Large Drum: Mochizuki Kichinosuke

Large Drum: Mochizuki Chōshirō
Large Drum: Mochizuki Jūzō

On the Production Chronology

I simplified the production chronology.
For detailed records of creative works and publications, please consult each year's Hakushu Annuals: Complete Picture, where these have been compiled.
During this period, my poetry composition became exceedingly scarce as I devoted myself to composing tanka.

End.

September 1940 (Shōwa 15)

At Hakushu's Residence in Asagaya

Author's Note