THE

HEIJŌSHO TAKAGI RYŪ

SHŌSHO SUNSŌ HISHO NO MAKI
(2021)
 THE TRANSLATION AND TRANSCRIPTION
OF THE

HEIJŌSHO TAKAGI RYŪ

SHŌSHO SUNSŌ HISHO NO MAKI

AN AMATEUR TRANSLATION PRODUCED

FOR THE INTERESTS OF

THE AMERICAN FEDERATION OF JUJUTSU

PRODUCED FROM
THE ORIGINAL DOCUMENT
POSTED AT THE INDICATED WEBPAGE

http://jtweymo.angelfire.com/COVER_PAGE_T-T.html

Persons wishing to view the original document

as produced by the Japanese
should consult the web address included in this text.

WEYMOUTH PUBLICATION CO.

AUSTIN, MINNESOTA
2021

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 TABLE OF CONTENTS

INTRODUCTION.............................................................................................................................. 4

THE HEIJŌSHO HIKETSU KIKIGAKI Section.....................................................................6

THE TAKAHASHI NO CHI NO ŌGISHO Section................................................................ 17

The SUMMARY............................................................................................................................... ..31

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INTRODUCTION

These translations and transcriptions, of which the Heijōsho Takagi Ryū Shōsho Sunsō Hisho No Maki text is a part of,
were produced in the interests of the American Federation of Jujutsu . Any party or person is free to avail
themselves of a copy of this text or any other found therein. It would be appreciated if you would acknowledge the
AFJ in doing so.

Technical Information: The document is based upon an original 18th Century example, dated at 1780 c.e., a copy of
the originals can be found in Appendix A at the end of this PDF file. We really don’t know where the scroll book came
from (the source was never identified). The transcription of the Scroll book into print font was made by the Japanese
as an Academic copy. When they did so. they often used Shintaiji Kanji characters whereas the original used the
Kyūtaiji Classical Kanji characters. I myself would not have been able to decipher this text, it is far too "chicken
scratched" for my skill level to handle. I would love to be able to credit the proper Japanese party by name, but the
source(s) of these documents did not know whom among the Japanese made the transcription?
The text bears the signature of Takahashi Susume(?) Yoshizō. It is part of a two piece partial set on Jojutsu and
Yarijutsu of a specific branch of the Takagi Ryū. This branch of the Takagi Ryū was passed down in the Iwakuni-han
fuedal domain. It is a very good example of the fact that there are several different branches of the Takagi Ryū,
although it may trouble some people, not all branches of the Takagi Ryū are a form of Takagi Yōshin Ryū, yet, in some
way they very much are Takagi Ryū nonetheless. They have their connection to Takagi Umanosuke, for example. This
school of Jojutsu and Yarijutsu we see represented in this scroll book is likely one of those schools. There are schools
that bear the name Takagi Ryū with that same spelling (高木流) and which are not any part of the Takagi (Yōshin) Ryū.
These others schools have no connection to Takagi Umanosuke, for example. Whether one thinks that this Takagi Ryū
is a representation of one or the other, the fact remains that the technique listings for either chōbō long staff or hanbō
short staff known of the Takagi (Yōshin) Ryū bears very little resemblance to the technique listings found in this
document. The Yari-jutsu spear art listings are the same way, they don’t much resemble the Kukishin Ryū based spear
techniques.
Anyone whom is familiar with the legends and lore centered on the figure known as Takagi Umanosuke knows that
he was famous for his skills with a staff. This popular fact would probably figure in here. Schools of something called
Takagi Ryū staff arts at times would become rather popular among certain circles. The adoption of Kukishin Ryū based
staff techniques occurred after the fact (Takagi Umanosuke was famous for his staff fighting skills well before that
happened.) This leaves the door open to say that this-or-that Takagi Ryū school of staff arts was the more original
form of staff technique he actually used. But whether or not this scenario figures in here, with this scroll book, is not
something I am prepared to state outright.
• Technical terminology and nomenclature within the document, from beginning to end, is fully consistent with
the usual genres of schools that make up Kano Jujutsu and Early Kodokan Judo. This form of Takagi Ryū staff
and spear arts definitely does belong to them, there is 100 % consistency. But it does use the now archaic
Chinese based term ‘heijō-jutsu’ (兵杖術) “Paramilitary Staff Arts”.
• The original age of the martial arts tradition found in this document would have been seated on a date of
about 1680, one hundred years before this copy was made and dated at 1780 c.e. Probably based out of the
developments dating back to 1580 c.e. that codified into the present form evidenced in the text (a process
that takes roughly 80 to 125 years to complete, generally speaking.)

There is quite a bit more to be said about this text, we will save that for the Summary of the PDF.

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Here in the last word of the introduction, I hope to make it perfectly clear that only linguistics and legitimate
academics was applied in the course of rendering translation and the making of these transcriptions, hoping to remain
true to the original content and feel of the Heijōsho Takagi Ryū Shōsho Sunsō Hisho No Maki text itself. This was
thought best, so as to provide a more authentic experience that is devoid of 'stained glass' colourations which offers to
obscure the text's content. I mean, namely, that one ought not to approach such important works of translation, having
a biased view caused by insistence upon interpreting things according to one's own beliefs or martial arts experiences.

Logan (J.T.) Weymouth

Shihan, Rokudan (6D)
AFJ Shinden Yōshin Ryū
Yudansha, AFJ American Judo.
April 19th, 2021

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 兵杖書高木流諍書寸鑓秘書巻
Heijōsho Takagi Ryū Shōsho Sunsō Hisho No Maki
The Book of the Secrets of the Paramilitary Staff of the Takagi School
The Book of the Secrets of Fighting within mere Inches of the Spear .

高橋前義蔵書
Written by Takahashi Susume(?) Yoshizō

兵杖書秘訣聞書
Heijōsho Hiketsu Kikigaki
Record of the Book of the Secrets of the Paramilitary Staff

序 杖法 Tsuide Jōhō
Introduction The Staff Method

一、兵杖ト言ハ兵道、兵の道具といふ、 一、戈術ハ則多門の戈の事也、
-- The Heijō Paramilitary Staff is an implement of -- It shares principles in common with the basics of
the Paramilitary arts the Hoko-jutsu Spear arts

一、条とハ宮城祐之出雲浪人なり、 一、三歳三年の間、四角座敷を不出也、
-- The articles came from a Rōnin named Miyagi No Suke -- He sat in a square tatami mat room in Mitose for three
of Izumo. years not coming out.

一、利道ハ杖の道を工夫ありし也、 一、忽有霊夢受秘形密意ノ
両巻、覚動静と働き静かなり、
-- The advantage of the staff art lies in the use of tactic. -- It was unexpectedly received in a dream that showed
Both scrolls describe taking calm actions and movements. secret Kata techniques with a hidden meaning.

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一、打突ハうちつき、突とハ別して悉事也、此事奥にあり、
-- When striking use strikes and thrusts, done so all of it amounts to a thrust.
There is a secret to doing this.

一、進退すゝみ退きの機、 一、機ハはたもの気色ともいふて、則我威ノ事也
-- Advancing and retreating is -- Of these mechanics, there is what can be identified
done according to the mechanics when very close in. Namely, just how much control
of advancing and retreating. one has at the time.

一、覚ハ則覚リを得られたと申事也、
-- Of what one perceives there is what one can accomplish by having perceived it.

一、圓刀ハ丸太刀という事ニ而、則杖の事ナリ、 一、二口ハ両方の小口也
-- The curvature of a sword is why the long sword is used -- [The staff] has two ends, both are
in an arcing path. However, there is the subject of the staff smaller.
in regard to this.

一、難関ハ防きセくと言字ニ而、杖ハ防がたくセきがたく、難関々難
圭事速の意也、動静打突進退の中ト〆出る也、
とまる〱とつかふを寸能と言、
-- Obstacles can be used to defend yourself, and there are saying about the written character 'fusegu'
( 防 ), when defending with the staff, one uses what obstacles one can. Using obstacles to make it
harder to attack you. There is some sense of speediness in what angles you use. The sense of
proceeding to strike and thrust while advancing and retreating. Stopping him by handling
circumstance and condition, even when only by mere inches.

一、座ハいしく、立だつ、縦ハ立テ打、横ハ横打ち、萬化ハよろづに
変し万の業ニ達す、器ハ杖也、五々ハ五尺五寸、三曲ハ三寸廻り、
☑ ヲもつて三度まハす心也、
-- When seated in a place, and when standing, there are strikes to be used when standing that take
advantage of the vertical height. when sideways there are sideways strikes that can be used. There are
ways to change every technique used, so as to be able to reach him. The implement being used is a
staff. There is the subject of five and five, that is, five feet and five inches. And the three angles
(sankyoku) possible by merely rotating three inches, such things as can be done of the act of changing
grip and rotating three times.
一、道跡ハ頭先、其働きを要とす、要ハかなめ肝要なり、
-- When seated and observing the signs, it is important how one moves the top of the head. The
subject is of extreme importance.

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 致急致早者得勝利、セはしさを致、早きをなす時は必定勝をよふ
☑ 火乱に急早あり、其業といへとも心が達セねバ、何程急早してもやく
なし、狭座敷といふ業の是ト〆出る也、不怠工夫修練則自明者ナリ、
左様なれハ工夫を廻らし修練に怠らすして自然と明らかになるもの也、
一、杖ハ元多門天の矛の寸一円相より起ル、一丈八尺夫を三分に分て
六尺の杖、夫を又三ツにわりて五尺五寸、過去現在未来の三ッスかた
とり也、わり付ケ五尺ハ常人の長ケ、人間ハ元五行より生する故、先
五尺のからだ、大中小ともに中の寸とす、杖は霊夢にして字義をいへハ、
篇ハ立一チ横八也、作リハ丈字也、合一丈八尺一円相ト〆方に現れ三
角も四角も皆一に始り、終る所又一ツに帰す眼相にありと、心の眼ハ
円也、円力といふも此心也、三曲是又三世を表す、法とハ三すいに、去
るといふ字ニ而貪欲心の愚智の三ツを去れという儀也、一説ニ杖
ハ又刃にあらさる故心臆するもの也、夫故三ツをよけてハ必勝を
得る也、兎角打損んしてハ向ふト刃物故、憶せぬ様か肝要ナリ、

By performing these, the practitioner can secure victory quickly in the face of the unexpected.
The doings will become frantic, as things begin to hasten, inevitably the chance for victory will
become apparent. The flames of battle will rise and hasten, it will come to the point when you
need call upon these techniques. How far the trouble will go when it hastens is not unlike being
restricted to a narrow tatami mat room, much as these techniques themselves had come out of. Do
not neglect these techniques and tactics, that the practitioner must train in them is self
explanatory. Even in practice rotate and surround [the opponent] in the tactic performed, never
neglecting to do so. Practice them until they come naturally.
-- Many of the origins of the staff come from every inch of the long spear (hoko) in the circular
path it sometimes uses. In length it's one Jō and eight shaku [18 feet or 5.486 m] divided into
three equal parts a six foot staff [or 1.828 m]. This is sometimes further reduced by a third and
gives a length of five foot five inches. As in previous times so the present and future, its
appearance is determined by increment of 1/3. Being the division is in relationship to the fact that
the average man is about five feet tall. The lives of human beings are based upon the five
elements (gogyō) and their bodies are five feet tall, although the body has small, medium and
large parts. When he had the dream about staff fighting, one could say that it accounted for the
meaning of the word a thing was called. When he was making the compilation, [as described in
the dream] there were the written characters for one stance (ryū-ichi) and also eight inches wide
(yokohachi). The character Jō (丈) length or height came to figure in. When combined all together
it formed the statement "one Jō and eight shaku (18 feet or 5.486 m) making one complete circle".
It manifested even in a triangular shape, or a square shape. All beginning with the number one, a
straight line. Coming to its conclusion, then, it came back to being visually oriented. The minds
eye is likewise circular. They say there is a certain force to the arc of a circle. The mind and heart
are like this as well. Of the three angles (sankyoku), they actually represent the three worlds.
Method and artifice have three levels, and there is what gets said about the written character
itself, how avarice and foolishness of the heart can be dismissed by proceeding according to the
three wisdoms. There is another theory on the staff arts, being that it lacks a blade, this causes
some hesitancy on the part of its bearer. Often this can be overcome by the capacity of dividing
into three as a means of achieving certain victory. There is the infeasibility of strikes [with a staff]
and what injury can actually be inflicted when faced with a bladed weapon. It is an important
point to remember.

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 表
水玉、玉ミがゝされは光なし、光リ無きハ則邪法也、水ハ則三すいに
て三毒を去ル、水ハ元ト陰-阝篇に書て天陰也、先杖を組合置たる
に向い左の襟を突、襟の上に手を置キ右の襟を居立、杖に右の手をかけ
とり、少し右へ引心にて杖元を左の手へとり渡し、左右の手引分持テ立ツ、胸へ
引請ケ付て、物打八寸程に打合す、右脇へかむり廻し、左の足を踏出し
打、其時右手先キにあり、左手後にあるを人かへ取て、左右へ引分胸に付ケ
張合打おろし、打合て進んと退くの気有也、 一、水玉ハ陰杖、よつて
水にかたとる、陰體右也、されは手足共に発気する事皆右より始る也、
玉ハ赤く水にて磨く心也、杖のとりハ角になく、其方によくとむ故玉也、
高くかまへて玉の如く廻せと也、玉ハ小サク丸キ故一円相に廻セ也、
是又一円相之術伝に、杖の體打人所肝要也、右之手強く張出セハ
敵の強ミになる故に細く廻す也、此杖ハ兎角眉間をはすさぬ様
なるが肝要也、尤打時ハ退気を兼て打事肝要也、打て後も眉間を
放さすおれハ敵成る事あたわざる物也、所詮動かさぬ様セヨト也、

Omote
Outer Teachings
When it has started, there is not much that illuminates just what is happening here, Heretical
teachings certainly cannot illuminate it either. [SEE LANGUAGE NOTES] The 'waters' of the episode
are likely triple deep, and are produced from the three poisons of the heart [desire, ill will and
ignorance], having grown deeper and darker as a then passive element (yin) having been dammed
up as indicated by the written element(阝) as it was described in the text he wrote, it is not unlike
darkened skies (tenin 天 陰 ). The tip of the staff faces into the struggle, thrust at the left
collarbone. Then place [?the left?] hand on his lapel and using the right lapel place him in a
seated position as you stand there. Catch a hold of the staff with your right hand. Bear in mind
that you will be pulling him a bit to the right, catch the base of the staff in your left hand,
bringing it across. Use the way you are standing to pull him further apart with right and left hand
[on the staff]. Cling to and pull him by his chest, pulling and biting into him with about 8 inches
of the end edge of the staff. Rotate and pull him over onto his right side. Step in on with your left
foot and strike him, your right hand up near the tip of the staff reach behind the man with your
left hand and take hold of him. Clinging to the chest pull left from right side extend and separate
then drop him. Advance as you are exchanging blows, and retreat likewise, according to the spirit
of the episode. -- So, accordingly, when it first begins the staff is inactive as is the body
itself. but as the 'waters' of the episode take shape and form, the limbs of the body become subject
to the spirit as it arises. This despite the state all was in before it began. As it starts it will grind
against the heart and mind, as you take hold of the staff, it's not at an angle. Quite frequently that
is how it will have begun, you will rotate and strike a high posture with the staff. As it starts [the
staff] moves in a small arc, coincidentally, while on it's way to making a full circle. This is said in
regard to the teachings about the techniques that use a full circle and the phases of it. It is an
important point of how the staff is used to strike points on a man's body. Extend your right hand
[on the staff] sharply, planning to make use of the strength of the opponent by means of a slight
rotation [of the staff and body]. There is some infeasibility at this angle to attempting a strike to
his brow, this is an important point. A superb attack for this point would be to retreat and to do so
for no other reason than to make the strike. After making the strike, one could then strike him
between the eyes. There is very little the opponent would be able to do to stop you. Either way,
there is a need to make a move of some kind.

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秘形巻 極の形のあらわれすらも、其業をなすこそすみやかになすの意也、

此巻者業計リニてハなし、形をかくすといふ儀也、然れハ此業をバ則
秘事して人にかくすへき義じやという事也、
向合 陽の杖なれハ是を向合といふ、互ニ相対する時は是を陽といふ、此
取組ハ敵を押付たる時、敵に添へからす(ず)、其故ハ敵左右の足を取事
もある也、傳に此取組ハ自然向ふの手首もげぬ時ハ一ツの秘傳あり、
先、敵の手首をとり杖をもちたる手をさし上ケ、杖を我首の上に越
さセ、杖手をはなして直に敵の柄手を留め、ひじを打るヘし、此外
時にのそみ心得あるヘし、
杖を両人の間に横たへて取居せ、向の右の手を我右の手ニて取をす、少し
上る心ニして、我左の手にて取たる杖を、向肘の下手入組、我左の足を
ふミ出し、我頭をこさせ前へ身をかわす、押付向の後の方へ☑ へきなり、
左右同前、向相後も帰杖にて☑ 然故也、

合向 杖を前に横たへ自らも同く向故、合向といふ、是も敵に添へハ
あしく、傳に是も手首もげさる時有之、左手ニて敵の手くひを取、右

Hikei No Maki, The Book of Secret Patterns Even when the Kata pattern are only an
embodiment of actual technique, they should still have the proper feel and intent that the
technique itself was based off of.

The practitioner of material in this book is free to use adaptive technical strategy,
the Kata patterns themselves are kept secretive according to custom. Particularly, these
techniques are based upon secretive subjects that are to be kept hidden from people as a matter
of tradition.
Mukai-ai Meeting Face to Face The active nature (yang) of the staff is about to come into
play, that is what is meant by calling it Mukai-ai "Meeting face to face". As one comes face to
face with him/them, this is where [the staff] will become active (yang). As the struggle begins
the opponent will cling to and push you away. The opponent will not lean very much at all as he
does this. Coincidentally, his left and right feet will have been planted so as to take a better grip
on you. In the teachings, as one grapples like this, naturally his wrists are extended out in front.
There is a secret teaching (hiden) about this one. Firstly, one can grab his wrist, the staff itself
can be used in taking the grip, while sweeping his hands upwards and away with it. The staff is
then positioned in front of one's own neck, releasing a hand from the staff, immediately use it to
halt the opponent's hilt by the hand on it. One then strikes his elbow, there is the understanding
that this strike comes from the outside [of his elbow].
At this point both men will be positioned with the staff between them, struggling to
control it. His right hand is to the front, grab it with your right hand with the intention of
raising it up a little. Your left hand is holding the staff, with your elbow pointed down
insert your hand as you struggle with him. Step in with your left foot, as you do this will
change the positioning of your head and face. Push him backwards and away, do the same
again with left and right sides. As positioning exchanges front to back you must mind the
positioning of the staff.

Ai-Mukai Meeting His Direction The staff is positioned facing the front, the same direction
you are, that is why it is called Mukai-ai "Meeting face to face". This time, the way the opponent

10
 moves and steps, he does lean somewhat. In the teachings, his wrists are held in a lowered
position at the time, using your left hand reach out and take hold of the opponent's wrist. Use
your right hand...

手☑ 柄手を留むへし、左右何☑ 同前、時宜によるヘし、
杖を前にして両人立并取様向、左の手を我たの手ニてもぎ取、少し上ル心
にして我右の手ニて取たる杖を向のこの腕に下より押当ル、左の足を
踏出し杖の下をくゝり帰り、前へ押上ル也、杖の下をくゝらす押かへし腰とニて
三十二ニ云、左手にて向ノ右手を取、右の手ニて杖を脇下へ越サセひじニてねじ返ス
也
隔輪 是ハ杖を中に立てけ廻す所、輪なるゆへ輪を隔るといふ心に隔
輪也、伝に中に踏落し勝事も有り、又常の通り半分程とりたる時、
☑ 左手をはなし、杖に手をかけくるりとねじもきとる、又立たる
杖を敵のまた合ニけ込勝事も有、
杖を中に突立て取居也、向の左右の手首を、我左右ニて取つめ
行を☑ ☑ 心し、右の足にて杖の本を我左の方へけ廻し、とる所ニて下へ
引落セハ向も我も地に臥、平体になる、その時我右の手にて杖の
本の方を逆手に取、引をこセは、杖かける也、中にて脚もあり、

燕返 是ハ杖先を地につけ、其下ト〆所あがる所、あたかも燕の泥を取
て空中にあかる様に随分早く手執いたセ、後に足をとらセぬ
時ハ返つて向合にとつてよき也、向に是を用心すれハおふかた

...to halt his hilt by the hand on it. Right and left side versions would be done the exact same way,
done according to the circumstances at the moment. The staff will be to the front, between where
both men are standing, grab his left hand with your own hand with the intent of raising it just a bit.
Using your right hand take grip on the staff which is to the front, your elbow is pointed down.
Attack and push him away [with the staff]. Step in with the left foot, the staff is hanging down and
back a bit. Use it to push him up and back. Do not lower the staff, push him further away instead.
Use the hips when you do so, according to the 32 principles spoken of. Using your left hand, grab
his right hand while it is still in front of you. Use your right hand to move the staff down along
your right side. Screwer and drive him back with your elbow.
Kakurin Separating Circles This one rotates the staff from the middle of where you stand. One
makes circle after circle, which is why it's called "separating by circles" (wa wo hedateru 輪 を 隔
る verb form of → 隔輪) because of the ussge of alternating circles (kakurin) . In the teachings, as one

does one steps in and drops him (fumi-otoshi) to take victory. One goes halfway up the usual
route, and releases [the staff] with the left hand then rotate the staff using the one hand on it as a
pivot point for it. As you do so, catch the opponent's inner thigh with one end and snatch it out
from under him to take victory.
When attacking him use the staff in stabbing thrusts, to buckle him. As his left and right
wrists are in front, use your own left and right hands [?on the staff?] intending to sweep
them aside. Step in with your right foot near the base of the staff and rotate the staff
sharply to your left side. Grab him, pull and force him.down, dropping him (hiki otoshi).
Lay him out on the ground before you. His body out flat. At this point, take the base of the
staff in a reverse grip with your right hand, pull him across and over with it, catching him

11
 with the staff itself. Lay it across his leg to immobilise him.

Tsubame Gaeshi Swallow Counter This one involves planting the tip of the staff on the
ground. One takes an immediate hold on the staff lower down, and then swings the staff like a
swallow flying into the air from the mucky ground. The way it's done the hand moves rather
quickly as if quickly pulling a bow out. Afterwards, do not catch hold of him with your foot,
reverse him instead. Meeting him now, face to face, catch a hold of him suitably. Facing the front,
hoist him over your shoulder [and throw him down.]

火輪 取様前に回し、右の手ニて杖を取り左の脇へ引込左の足を踏
出す体、左の手を添へ張合打とり返し実に、左の手☑ になる也、又引取右
の手を先にして打張合下る、進退気前に同し、下ゲて納る也、
火輪ハ陽の杖、よつて火にかたとる、陽の字ハ-阝に篇に火字、夫故手足皆左
ト〆生ず、火ハよく高く登り早く燃へ、よく物を照らし敵の虚實見ゅ
ル物也、眼の心肝要、火輪の輪ハ大きに太くとる也、初手☑ 右手を脇に
かけす、真ろくにとす、打時左手に念を入退気を兼て打、二の目
前通り、杖先眉間をはなれす、又引取時も、先の手を念を入引取突
時も腰を張、内相を以て突へし、

火乱 備前の如く、右手ニ而杖を取、引分はり合、左手ハ杖元にあるをはな
し右手ニて持ち、左の脇へ引込廻し、左の足を踏出し敵の頭中を打、
左足を踏様に左の手ニて杖を本ン様にとつて打也、杖をかへし右の足を踏
出し向の左の肩を逆手にて打、又引取、其侭突、又引取杖をかへし、左の
足を踏出し右の肩を打、引取其侭突、又右足を歩☑ 出腰を拂ひ
又右を踏出し、腰を拂ひ又右を踏出し、すそを払ひ又左を踏出し

Karin Fire Ring The way this capture is done it uses front rotations. Using your right hand, take
hold of the staff, pulling it over to your left side as you step with the left foot. As you do, prop [the
staff] with your left hand extend and strike him as he strikes at you. Counter him this way. With
your left hand [?word?], then with the tip of the staff in your right hand catch a hold of him and pull
him in, extend out and strike downward at him [with the staff]. Advance and retreat from the front in
the same kind of movements. Then reposition and lower it. Of the Karin Fire Ring technique, the
staff is active (yang), like taking the form of fire. Of the written character Yang (yō 陽 )
the kozatohen element ( 阝 ) as it is written into the character refers to the fire element and the
written character for 'fire' (火). This is coincidentally on the left side of the entire body and through
the movements of the hands and feet. Fire tends to grow and to rise quickly as it burns. Frequently it
makes things nearby hotter. As the opponent usgae of truth and falsehood is observed in the affair, it
is a crucial point to understand the mind's eye as well. About the circles of the Karin Fire Ring
technique, they are rather large and broad. The front hand and the right hand are not kept drawn in
close to the side of your body. Obviously one can make strikes at the time, and there is a sense of
retreating to where one can enter with the left hand to make a strike. And there are the two routes to
and from the front side. One does not issue a thrust between his eyes. Pulling at him then at the
time, there is some intention to enter with the hand on the tip of the staff, and to thrust and capture
him with it, extending the hips as one does so. Thrust to the inside where you can.

12
 Hiran Wildfire Very much like in the earlier preparations, take hold of the staff with your right
hand, meet up with him pull and separate him. Release your left hand from the base of the staff,
gripping it with your right hand. Rotate [the staff] using it to pull him off to the side. Step in with
your left foot, and strike the opponent in the middle of his head. Step in with your left foot, your left
hand on the base of the staff. Use the movement to strike him. Reverse the staff in your hands, step
in with your right foot, using a reverse grip grab his left shoulder at the front and strike him [with the
staff]. Then pull him sharply [with your hand], and immediately thrust him [with the staff]. Then,
stepping with your right foot, sweep him across your hip. Then step with the right foot, sweep him
over your hip again. Then step in further on the right side, sweep him by the hem of his garment as
you step with the left foot...

すそを拂ひ、左手を先に☑ ☑ かまへている其時、太刀左手へ切かくる也、中にて合せ
おろし進退の気有へし、太刀身の体手足の働キ杖に同し、

太刀合込太刀遣様、杖に同し、
太刀ハよく身をひねりて、手をねじつかひてよし、太刀にて切かゝるをハ下
にてはらひ上よりかゝるを、中にてはらひ、引打に打合セ、虎入の心得也、
火乱とハ五行の備へ乱て一致ならす(ず)、物の急早なるをいふ、千転万曲の
起る所、又随ひ縦横の働き座立動静の色を見てうけ答へする所の心、
実を化といふ、向ふ乱さバ、化を以納め、言ハ静なる心也、敵化を以柔ら
かに實に成らハ、乱を以打破るヘし、然れハ乱の内の化、化の内の乱一
体両変是を口伝とす、両変ハ相位の中ト〆出る勝負のつかぬ所故
化乱化となり、向ふてこつちも一ツなれハ、乱を以ちかへたる、左様あれ
バ工夫修練の者ハ勝利也、向の太刀が兎角こすミたがる物也、其
時は向のさか手を打へし、此回りのすそを拂ふ時うかりとして、杖先の
手空しく出すへからす、必身にそへて然るヘきなり、此扁ハ心の深き
事じやゆへ、よく〱さとるヘし、

...sweep him by the hem of his garment (suso wo harai). Tip of the staff in your left hand positioned
[?word?] at the time, he is cutting at your left hand with the Tachi long sword. There is some sense
of advancing and retreating used to meet up with and handle him. The body of the Tachi long
sword, the movements of the limbs of the body and the movements of the staff are all the same.

Tachi Aikomi Tachi Tsukai-sama

Meeting Up with and Handling the Long Sword, the staff is used the same
Quite frequently the long sword wrenches the body [being struck with it], the hands are used to
control its movements. When the long sword is about to cut, it uses a downward sweeping motion,
or sweeping level across the middle, or it uses a dragging cut when exchanging blows. There is the
knowledge of how a tiger enters. Of the Hiran Wildfire technique there is the principle that says
prepartion for the five elements (gogyō) and preparation for conflict are not always one and the
same thing. Some things are unexpected and occur rather swiftly. It is to arise against the thousands
of changes and the tens of thousands of angles it will all take. It follows then that some movements
will be rather long and broad. One observes and responds to the sense and sentiment of things both
when standing and seated, whether still or in motion at the time. So they say about shifts in fact and
circumstance. As one comes to be confronted with conflict, it is the shifts and changes that will

13
 bring it to its conclusion. In a word, there is the sense that it will have done so calmly. One can
direct the course of fact and circumstance by gently handling the changes presented by the
opponent. Crushing blows will have been dealt in the conflict. And of course there will be changes
resulting from them within the conflict itself. The changes on the inside of the conflict and those
changes elsewise encountered will become one body in motion. There is Oral instruction about both
kinds of changes. About both sets of changes, there are transitional positions that are produced by
them, some of them do not decide victory and defeat. Coincidentally changes within the conflict will
cause more changes to occur. When faced with them all, they tend to become one. Various shifting
changes will occur because of the conflict. The following material are tactics used when handling all
of this, the practitioner studies and trains in them to afford their advantage in taking victory. When
faced with the long sword it is infeasible to act upon the wish to make an immediate advancing
move against him. When faced with him, one ought to strike at his hands. By rotating one can sweep
him away by the hem of his garment (suso wo harai) as you fend off [his attack]. Do not pass the
hand on the tip of the staff through empty air very much, inadvertently the body will lean
sometimes. This is to be approached with a profoundly level head which quite frequently would
allow one to take victory.

浮木 盲亀の浮木はどんげといふ是也、是ハ極て上手の勝負にし
て十死一生の勝也、浮本とは水鳥を取り水上よりもちを流しかくる時、
鳥其のもちをはねたる時ハ勝なり、はねきけゑつる時ハ心の負ナリ、然
れは足の越様肝要也、兎角一足に越てよし、一説に浮木とは一眼の亀
あつて何とそ天を見たきと思へとも、ゑかへらぬ故、本望ゑとけざる也、
或時水上より浮木、一つ流れ来り、夫に乗てかへり様に夫を見た(る)也、夫
故常に稀なる事ハ盲亀の浮木といふ也、然れハ此杖も随分
☑ ☑ ☑ 勝ぢやといふ、此杖を越へざれハ、終に本望をとぐる危ひ事
じや程に、此心を深くあまなへ、傳に敵の手高けれは越されぬ也、
其故盲亀浮本にゑのらぬといふ心也、すへて是迄ハ順々に取つくる、
敵燕返にとりしたる時ハ、鷲羽返にもとる、程々に取かへるなり、
燕返に取時、足をとつて越させんとする時、両足をともにこゆれハ向の取
たる手、我が前になる、その時杖に取揃、肘を押付勝也、尤杖手を
高くすれハこされぬ也、
衣返 袖口より返し着たる衣をかへす故、衣かへしといふ、傳にゑり
☑ ☑ 出たる杖をおしさけ、右手をとりそへ行へし、又袖をとりすへ行く事
もあり、是取ゑた時の事也、左右同前なれ共、右尤よし、

Ukigi Driftwood This one is made use of for those less likely episodes, which is why it is
called Ukigi "Driftwood". It is an advanced technique used to decide victory and defeat, a victory
that is "ten deaths for one life". To explain Ukigi Driftwood technique, it is to pluck a duck from the
surface of the water and its currents. He is the bird being seized by its wing. Snatched by its wing at
the time, there would be his sense of defeat. It is an important point to step over with the foot when
doing it [so you can pluck him up]. It is infeasible to take only one step to do it. One theory about
the Ukigi Driftwood technique says to keep an eye on him like a turtle watches with one eye, and to
give consideration to looking up at the sky as you are confronted with him. But do not turn the back
on him. And do not seek immediate satisfaction against him. or perhaps, at the time, as he is drifting
like driftwood on the water, a single current may come along, ride upon this to counter him and do
so in such fashion as he sees you doing it. But this is one reason why it is all called Mōki no
fuboku "an event unlikely to occur", because that [current] is quite unlikely to come. So then, even
with the staff following along with all of this, [?word?] and so is sometimes referred to as taking

14
 victory by [?word?]. One does not so much cross over to him using the staff itself, finally one can
seek self saatisfaction against him, but it is a dangerous undertaking. Keep that in mind deeply. In
the teachings, when the opponent holds his hand high, do not ctoss over to him, since then it would
be less likely to succeed. Instead, await the opportunity to make the capture that you intend. When
the opponent performs the Tsubame Gaeshi Swallow Counter technique, or perhaps he does
the Washibane Gaeshi Eagle's Wing Counter technqiue, one could cautiously make the capture then.
When making the capture through his usage of the Tsubame Gaeshi Swallow counter technique,step
and cross over then, step over both feet one after another. He will raise his hands high in the front as
you make the capture, Stay right in front of him and catch a hold of him with the staff. Push sharply
against his elboe [with the staff] and take victory. But you can't do it if you hold your hand hiigh on
the staff. Don't even cross like that.
Koromo Gaeshi Clothing Counter Use the mouth of his sleeve to counter him, use the garments
he is wearing to counter him. That is why it is called Koromo Gaeshi Clothing Counter. In the
teachings, one can do it by using the lapels and collar. Insert the staff there and push him. Catch it in
your right hand and use [the staff] to direct him. Then there is catching him with it by his sleeves.
This is how you make the capture. Doing on the left r right side of the body is the same either way.
The right side is suitable for it,...

TRANS NOTE: The text mentions the technique called Tsubame Gaeshi Swallow Counter. Not all versions of this
technique are done the same these days, but historically, the point of the sword was down (rather pointed at the
ground somewhat) and the tip is swung sharply and quickly upwards in something of an arcing path.Both techniques
the text named outright involve both the hands and the sword point being in a lower position. It is fully in keeping
with what the text said when it stated: "...when the opponent holds his hand high, do not ctoss over to him, since then
it would be less likely to succeed..."

杖先を地に突て居ル也、我ハ地付の方を取て上へ腰合をもつてつり上け、
その座したる時、我左の手にて向の足の踵を取、引上杖の上へ
こさセ、身をかわセ前へ押付也、
鷲羽返 敵燕返の如く廻る時、其手を取ておしつくる、左様あれハ鷲
の諸鳥を取時、必羽かひを取添へる物也、向の手ハ羽がひと見るヘし、
俗に上見ぬわしとハ是也、諸鳥ハ鷲に恐れて上を見る、わしハ上
に恐ろしき物なき故下を見る、傳に手をとる時、杖を敵の足
本に突込事肝要也、左なけレ(バ)かへつて禍ひとなる、然れとも時宜に
より飛す(ず)して勝事もあり、
☑ よくする時すその座したると見て、足を取とき地の方へ杖を突
もどし足とらんとするも、手首を我左の手にてとり向の肘へ押か
け横手開き居る也、
追詰 是ハ追掛行ゆへ追詰といふ、是も時宜により向合相向もとる
へし、所詮右の肩をはつさす、捻の付様も是也、
杖を持追還行に向の右の肘に☑ を付て行へし、向も帰りて杖をと
る共、右手ハやハリ我身に近けれハ、働を留るため、又しかく☑ にて向の左の
手を取也、その時向の身杖の尺の中へ来れハ杖の勝手はやし、

....the tip of the staff is planted on the ground where it sits. One lifts the staff from the ground and
brings it up, catching him in the upper hip. When doing this from a seated position, one left hand is
out in front of one's feet, at the heel. Pull upwards on the staff as you raise it. Jab it into the front

15
 side of his body and push him away.
Washibane Gaeshi Eagle's Wing Counter This is very much like when the opponent
uses the Tsubame Gaeshi Swallow Counter technique, one turns and rotates as one does it at the
time. Catch a hold of his hand and push it away. The following is based off of how an eagle captures
various birds, invariably, it involves taking the bird by its wings. One positions one's hands by the
direction of the bird's wings and one really doesn't so much come from above when doing it. Other
birds fear the eagle when they see that it is flying overhead. They are afraid to fly up where the eagle
is. And it can see them beneath itself, seeing that it lacks nothing. In the teachings, the hand is what
is sued to make the capture. The staff will have been thrust into the opponent's foot to pin him in
place. That is an important point. The following describes how to counter and catch him with it as he
carries out his crime. Of course, one might not use any jumping around to take victory, depending
upon circumstances.
One can frequently [?word?] at the time, even if seated and observing him. Catch his foot at
the time, thrusting with the staff and pinning it to the ground. He will try to free his foot,
catch him using the wrist of your left hand, push him away with the edge of your open palm
against his closest elbow from where you sit.
Oidzume Pursue and Cram This is done when chasing him , that is why it is
called Oidzume Pursue and Cram. This is done according to circumstances at the time, he had
confronted you and tried to capture you. He ended up looking back at you over his right shoulder
[fleeing], this is used to wrench him off his feet [as he flees]. As you chase him, keep a grip on and
use the staff, to catch him by the right elbow. Catch him with the staff as he turns back to face you.
Use your right hand gently, since he is now much closer to your body. Take advantage of and halt
him by his own motion. Then snare him with [?word?] grab him by the front side with your left
hand. At this point the staff is between both of you by about one foot. Swiftly use the staff
techniques of victory.

杖を袖口ト〆後のぼんのヘりへとをしねじおろし、杖先を帯へ
返して連行也、
天脚 是ハ人生る時、下敷天を踏んて逆に出る故天脚と云、脚ハ足とよ
む逆に陰所にあたる、傳に互に杖を取ている時、杖を離れて業も
ならぬゆへ其時ハ我身を沈になし敵のいん所にあたる、必天を踏む
者ハ此世に生するといふ理也、生るハ勝也、
互に杖を取居なれハ手の働なりかたし、足にて陰の位に當へし、
生死ふたつの所なれハ、大事の勝負也、天脚則出生の時つかふ足也、
☑ 時は逆になり、天を踏みて生るれハ足にて陰へ当る也、

陰相躰 敵の後より取、逆故陰相躰也、傳に敵我胸を取組し時
首ぎハをすりあけたる時ハ見やすし、杖手をかため我躰ト〆ぬ
ける心あり、手計ニ而さし上る心なれハ、あし、躰ニ而セりあかる也、
向横たへ持たる杖を後より同様に外の方をとり立居也、我右
の手ニ而向の左の手くびたなこころへカけとり、左の手ニ而杖の右外
をとりて右にてはなし、右の足をふミ出し杖手をはなし

16
 Stick the staff into the mouth of his sleeve, and use it to bind and constrict him. Insert the tip of the
staff through his beltline and reverse him with it, dragging him away.
Tenkyaku Pedestal of Heaven This one allows a man to survive. There are many layers of
Heaven under which to walk, and one can reverse one's path That is why it is called Tenkyaku the
Pedestal of Heaven. About the pedestal itself, suffice to say that the foot has its uses, such as
stepping back into shadows and attacking from there. In the teachings, all of this is done in
conjunction with using the staff to make the capture. There really aren't any of these techniques that
have one separating oneself from the staff. At the time one seeks to immerse one's body in shadows,
even the opponent's shadow will do to attack by. Invariably it has the practitioner as if treading the
Heavens, that is why they say that this one allows a man to survuve in this generation, that is the
principle it is based upon. Surviving and taking victory.
One uses the staff combied with the movements of the hands from where one is seated. The
foot is sued to take a position in the shadows from which to attack. It all deals with the twin
principle of life and death. A subject of great importance to victory and defeat. The
technique Tenkyaku the Pedestal of Heaven uses the feet to help handle the circumstance
and survive. When [?word?] at the time, one counters him. Treading the Heavens allows one
to survive. One attacks from the shadows using the feet..
Insōtai The Body in Shadows Take the opponent from behind, reverse him, keeping behind his
body ("Insōtai"). In the teachings, The opponent grabs you by your chest at the time and starts
struggling with you. Raise his wrist up, using this to get a better look at him. Use the binding staff
techniques (katame) but do not constrict your own body. Bear that in mind. Use the techniques in a
sensible fashion, intending to drive him upward and back with them. Use your body and footwork to
do this. Take grip [on the staff] facing to the side, Pass the staff around and behind his body from
the outside. It is done this way whether standng or seated. Catch his left hand with the right side of
your staff, releasing the right side when you do. Step in with the right foot and release the hand on
the staff...

☑ の左の肘を取、我身をかわし勝事也、左右同断、又右の手の持を
はなたずして杖にて肘を押付勝もアリ、
喜工 是ハ如此して胸をつめル時☑ なげる也、
陽相躰 是ハ我と敵と相対し順なれハ陽也、傳に是も手の動
かぬ様ニするが肝要也、自然かてさる時ハ却而天脚或ハ向合
ニもとる時宜によるヘし、
向杖を横たへ持たるを我も同取居也、向左の手を下より我か左
にてまた手に取しめ少上る心して右の杖を取たる手を下る心
して前へ引時、左の手にてねじめおろして勝也、
有持有法有形有密可一致得心精行也
持ハ杖也、法ハ法度也、形あるハ業也、業あれハ必我心の秘あつて以心
傳心もあり、得心ハ我心に得也、委しく行ふ也、

右拾ケ条、 是全く縄ハなくして取しむるなり、

...catching hold of his left elbow and [?word?], rotate your body and take the victory. It is done the
same way on both right and left sides. Do not release your right hand from the staff, instead, use the
staff to push away his elbow and take victory.
Kikō Good Tactic This is very similar. Cram him by his chest, and throw him.

17
 Yōsōtai The Body in Light This is done when immediately faced with the opponent as a general
rule that is what is meant by 'being in broad daylight'. in the teachings, one really doesn’t move the
hand(s) when one does it. That is important to the technique. Do not flinch as it begins to occur.
One could do Tenkyaku the Pedestal of Heaven technique or Mukai-ai Meeting Face to face
technique to make the capture. whatever one can immediately employ.
Grip the staff facing to the side, one does this whether seated or standing. The left hand is
held lower, use your left hand [on the staff?] to catch him by his thigh. Raise him by it, catch
him with the right side of the staff from beneath with the intent to pull him forwards. Using
the left hand [on the staff] to pound him down and take the victory.
There are forms of taking a grip that are better to do this with. There is a secret to it, use the ones
that better reflect your spirit at the time.
About gripping the staff, there are numerous ways to do so. Pattern forms and techniques that go
with them all. One need keep one's intentions to oneself, remembering the basis of core tradition
(shinden)..As for how one understands it all, that is according to how one understand things. It is
best to conduct oneself according to that.

Of the previous techniques, there are 10. This doesn't omit techniques that
use the rope to make the capture.

高木流諍書寸鑓 秘書巻
Takagi Ryū Shōsho Sunsō Hisho No Maki
The Book of the Secrets of the Takagi School
Fighting within mere Inches of the Spear

高橋知 奥義書
Takahashi No Chi No Ōgisho
Secret Book of the Knowledge
of the Takahashi Family

18
遠きをハ捨て近きにもとつけよ、こふしに鑓のかねハちかはぬ、
朝は唯東をきらひ、タへには西にむかはす方角をとれ、
しかけと者心をしづめ位にて敵の心をさとりかつへし、
目ひさし者常に嗜習ひなり、心みたれて忘れはらすな、
はやくなく、おもくあらな、軽くなく、おそきはあしき心也ケリ、
突時は深くおしミて放へし、残心しかけ、さて者二の鑓、
鑓者唯心静に思白なし、あたりハ左右かため手のうち、
上鑓をこのむハ我も人もみな唯下鑓に利ニハうすきなり、
鑓さきの落るをきらうことなれハ、手もとを下る心うるはし。
突時者前後左右を弁て、はやからぬこそ勝ツ位ヒなれ、
敵の鑓長く、我ケ鑓みしかく者入身位の利こそ多ケれ、
二の鑓はつかてもあたることそあり、我カ身のたひにつるゝ習ひを、
月の夜は敵もや見ん、闇の夜の鑓ハ大事のものとこそきけ、
闇の夜ハひさを折敷、手を下ケ鑓さきあけて敵を待つへし、

There is the matter of distance and what is sacrificed when one crosses it to draw near. The position
of your fist upon the Kanehachi metal collar of the spear (yari) will not change. The morning after
will be detested across all the East, as this is being endured, they will not turn and face you in the
West given your direction of travel. The practitioner will become absorbed in what tactics he knows,
and using those positions, seeks to fathom the intent and mindset of the opponent. The practitioner
observes what he can, always seeking to learn more. There will be what was lost and forgotten in the
disorder of one's heart and mind caused by it all. There will be nothing speedy about any of it. No
real time to think over or consider anything. There will be nothing trivial about any of it. One bears
in mind that more evil (ashiki) will occur if we are sluggish (osoki お そ き , 遅 き from → 遅 い ) about
things. When one thrusts [with the spear], one thrusts rather deeply [NECC ALT TRANS: "...one will remain
utterly committed..."] and then pull it free [NECC ALT TRANS: "...until the end conclusion..."]. Then one must be
vigilant to further observe (zanshin), and then as two approach with two spears, the spearman
remains calmly aware as to whether or not their intentions are pure. Should they attack, control them
to the left and right by striking at their hands. The spear upraised over all of this, like other men
there, one has what advantage and disadvantage comes to exist under the spear. As the point of the
spear is lowered and points, then does one come to hate it. But the hand that lowers it is truly
beloved (uruhashi うるはし → Mod Jap uruwashii 麗しい). When the practitioner thrusts with it at the time,
he must have an understanding of the entire context in which he does so. Be not hasty to do so, as
that too is a position of victory. When the enemy has a longer spear, hold one's own spear square on,
as there are many advantages to the positions of entering bodily (irimi) upon him. There are
teachings about how to attack when it is against two spears. One learn how to not let things impede
your own body and movements. When by moonlight at night, one can see because of it. There are
the topics and important subjects about the spear when by the dark of night, such as the many times
one finds oneself kneeling in the dark of night, as your hand raises the point of the lowered spear,
about to seize the enemy with it.

19
しけり多き山にて鑓を持時者、穂さきをもちて先を見るヘし、
我れ家入うちにて鑓を突時者、唯鑓先を下けてもつへし、

馬武者にむかはゝ、敵の右にそへ左口をハきらふなりけり、
馬の上の敵を突へき鑓ハ唯馬をハたてに綱にそへへし、
舟の☑ ☑ 突へき鑓の心得者、横にかまへて敵色を見よ、
多勢有中にて鑓を持時は、穂さき上下の心得をせよ、
馬上にてかち立、敵に打向ひ鑓上手なら者、我もかち立
はるかにも浪にたゝよ浮木とそ、鑓のをしへの道しるヘなれ、
鑓は唯敵のしかけによることぞ、強ならば強、弱ならは弱、
知人もしらぬも、なへて突といふ、実鑓☑ ☑ そ習なりありけれ、

突といふ鑓筋こそハ習なれ、敵の一火のおしへなりけり、
打を得てすつれハ、利あるおしへあり、こほれ者是も露といはまし、
色々のおしへあまたの利ハあれと、ろ(露)といふこそハ鑓のそら名
鑓ハ唯まろくはしなきものとしれ、かと有時者ものゝさはるな、

During the many hard times that occur, the practitioner finds himself gripping his spear in the
mountains where they have hidden. One observes that even the tips of the mountain plants seem
inclined to grip the point of the spear. And when one does enter one's own household, there is
possibly the thrust of the spear of others. Still one lowers the point of the spear.

When one must handle horse mounted warriors, one controls and separates them right from left
through opening on the left side. As one thrusts at the opponent on horseback, of using the spear for
this, there are limits to what the cording and ropes on a horse can withstand. When thrusting with a
spear on the decks of a boat, the practitioner must have knowledge of how to do so. Sideways
postures are used that allow one to see the opponent's reactions. When in larger crowds of people,
the spear must be gripped in certain ways. Remember what you know of the tips of mountain plant
which try to grip the top and bottom of the spear. When on horseback yourself, it is a stance of
victory. When the opponent strikes the practitioner has the upper hand. Even when one's own victory
seems far off in the distance, and all seems to be floating like driftwood upon the waves, still one
presses on with what one knows along the path of the spear. Of the spear, there are the usual tactics
that the opponent will make use of. Where one has become strong then one will show strength.
Where one has become weak then one will show weakness. Even when one doesn't know a friend
one can turn to, still one knows to make that thrust too. Indeed that is a reality well learned with the
spear.

As for what they say about thrusting with a spear, one learns how to manipulate the line and length
of the spear as the enemy presses in not unlike a single burning fire. As one's strikes hit home, there
is what advantage it affords when he presses in like this. It becomes not unlike a rolling mist and
there are all sorts of advantages materialise out [of that mist] as they press in. What they say of that
mist is that the spear becomes like the sky itself [in which the mist rolls], the fame of the spear and
its spearman roll in through it, or become obscured by it. It helps where it does and hinders where it
hinders.

20
なか〱にしらぬ心そ奥深き、いたりて見れはそのかひもなし、
ふもとなる一木の色をしりかほに、奥も見とけぬ見よし野ゝ花、
一、應無所住而生其心 一、方尚應捨何況非法
右者當家奥秘也、不可有他者也、 (朱印)
山県家門外不出之秘書、養父邦弼ヲ以得之、師家ニも無之由天下無双之

秘決也、子孫ニ至マテ堅禁外見者也、
廣瀬喜尚(花押)

安永九庚子年二月十四日謹而書写

There is what one cannot readily know of things, and deeper secrets still than that. As one
approaches to view them, still one cannot understand all of it. It is like being able to see the colours
of only one tree at the base of mountain and nothing more of it. There are what secrets the eye
cannot see, and then seeing what flowers grow in yon field.
-- Ōmu Shojū Nishō Goshin -- Hōshō Ōshaka Kyōhihō
Having Nowhere to Flee, the Awakened The Method of Reducing Mistakes
Mind Arises. when the Answer is Unclear.

There are secrets for us in the previous listed items and what there is that is unjustified of other people.
(Red seal here)
In the Yamagata Kamon Hoka Fushutsu No Hisho "Secret Book that No One Outside of the
Yamagata Family is Allowed to See", as it was acquired through our adopted father Kuni No Suke it
says that even the instructors within the household become unequalled through it but may not reveal
it for any reason.

These are its secrets, entered for posterity's sake although

it is firmly prohibited to let others outside the family see it.
(the seal of) Ōse Kishō

Copied by Kinji on February 14th 1780 during the An'ei era in the year of the Metal Rat.

高木流寸鑓聞書秘書之巻

第一鑓持様之事 第二手間之事 第三仕懸之事

21
第四足遣之事 第五腰之事

第一
一、下段之鑓左右対陽、先之手を推下、中柄を胸ニ而張懸
る、鑓先☑ 我ひとへ身も敵方に推當る、腰後へ引退也、
右ハ
一、上段の鑓、右同左右陰に先之手差上ケ鑓先敵ノ頂の通に
當る、中柄腰ニ而面堅ル、腰右同前、
右ハ
一、敵中段、左右同位ニ両陽ニシテ、禄に腰ヲ沈メ腰右ニ同し、

第二
一、上中下ニ手間中騎三リ五ンと言、人の大小尤可有、手ノ内和カニ
長指を合せシメ當息ノ所引取ハシメ遣可出、

第三
一、仕懸と言ハ上中下三段ノ内、何ニ而も手前ヲ堅め、心先ヲ取、位
詰ニシテ一色之所にて得利也、周章不驚不行懸様之所届間
ニテ、是ヲ勝、是ヲ心拍子ノ仕懸と言、弱位ノ勝、

第四
一、足立ハ善ノ理ニ無替踏込、開退ノ足所次第心得ニ有、力まぬ

Takagi Ryū Sunsō Kikigaki Hisho No Maki

The Secret Book of the Record of Takagi School
Fighting within mere Inches of the Spear

No. 1 Yari Mochiyō No Koto No. 2 Tema No Koto No. 3 Shikake No Koto
The Subject of Gripping a Spear The Subject of Effort The Subject of Tactic
No. 4 Ashi-tsukai No Koto No. 5 Koshi No Koto
The Subject of Footwork The Subject of Hip
No. 1
-- When the spear is in Gedan lower position it is active to the left and right sides, the hand
controlling the point is palm down. The shaft of the spear is midway along the chest, its
length extended out. The point of the spear and your body move as one, in directions that
facilitate attack against the opponent. The hips are used to pull back and retreat.
And of the previous,
-- When the spear is in Jōdan upper position, much like earlier but the left and right sides
are inactive instead. The hand guiding the point of the spear is bearing it up. The point is
kept aligned to the opponent's head ready to attack. The middle of the shaft of the spear is
along your hip but kept firmly to the front. The hips are used just like stated inn the earlier
entry.
And of the previous,
-- When your spear and the opponent's spear are both in Chūdan middle position, the left
and right sides are both in the same position and both are active. The hips are kept
sufficiently lowered and are otherwise used just like stated earlier.

22
 No. 2
-- There are three levels of effort (tema), high middle and low levels, they say that they
actually amount to five level total. One handles [the spear] rather gently, aligned with the
longest finger. One ought to accept the circumstances even in breathing and dispatch
him. .

No. 3
-- To explain what is meant by tactic (shikake) it occurs within the three level high, middle
and low [both of positions and the tema "effort" described above] and what of these are done as a
technique in front of you and by the front hand. Hold the point pointed at his heart, cram
him into his position with this, taking advantage to make it all one and the same
circumstance. Do not be startled by the confusion and panic, carry on, reach for and snare
him between episodes. This is how to take victory. They say that one needs bear this in
mind about the tactics of using rhythm. Taking victory despite the positions of weakness.

No. 4
-- About your feet where you stand, the proper principle is to not change the position of
your feet when stepping. When openly retreating, know how to move your feet according to
this principle. There is no need for effort when you...

様ニ指先そ浮てとは有レド、又指先ニ心を渡し両足共ニ油断
ハナキソ惜ム、位ノ足と言、敵次第ニ踏分も有、組其かねハ左之
足金ノ拳ニ當ル、強も左、然故當も左也、

第五
一、鑓先ノ勝ハ有無ノ所ニテも後ノ鑓は引取、手之内腰通ニ堅メ
敵ノ中段真身に推當殺ス、

第一延之事 第二手之内之事 第三強弱之事

第四浮沈之事 第五日月之事 第六穂合色付之事
第七鑓長短之事

第一
一、延間五三ニ定ム、内手ノ理一五、内足ノ理三八、是手間三五ノ内也、然ハ
三五不☑ ハ弱也、二ノ残尺と言、一五ノ延ト云、鑓長短に不寄延
所ハ同前也、然ハ能々善ニ心を付て可忌可有之、
第二
一、左右如何ニも鳥子を持たることく、心不緩手之内緩リ仕懸
之時も同前ニ、手之内を自由ニ持、右手ノ大指ニ引乗セ左手之
内如何にも無油断、如右長十八指を繕ヒ両手同前ニ心を渡し、當

...do so, the fingertips will somewhat float [on the shaft of the spear] as you do. The fingertips will drift
where they do [on the shaft of the spear] according to what you have in mind, do not be careless and change

23
 the positioning of your feet as this occurs. That is what is meant by Kurai no ashi positioning of the feet. The
opponent will step and position his feet apart. In the struggle with him, as he moves his left foot, strike the
hand he has on the metal fitting [of his spear]. Even if you are the stronger, attack [when he moves] his left
[foot], use the [movement on] the left side [of the body].

No. 5
-- About taking victory by the point of the spear, there are the circumstances when you can
and circumstances when you cannot do so. About taking the spear by its rear end, keep it in the palm of your
hand along your hip line, at about Chūdan middle level alligned with the opponent's body ready to attack and
kill him with it.

No. 1 Nobashi No Koto No. 2 Te No Uchi No Koto No. 3 Kyōjaku No Koto

The Subject of Extending Out The Subject of the Palm of the Hand The Subject of Strength and Weakness

No. 4 Fuchin No Koto No. 5 Jitsugetsu No Koto No. 6 Suigō Irodzuke No Koto
The Subject of Rising and Falling The Subject of the Sun and Moon The Subject of Everything Taking on
the Same Colour
No. 7 Yari Chōtan No Koto
The Subject of Advantages and Disadvantages of the Spear

No. 1
-- There is need to determine if one will extend out three times [the length] or five times. There is the
principle that the palm of the hand provides one fifth of the extension. And the principle that the sole of the
foot provides three eights of the extension. This also says that it provides for three fifths of the effort (tema).
Otherwise there is three fifths that will go (?)unaccounted(?) for. And they speak of the two feet (shaku) that
yet remain and the one fifth more that can be extended out. Of the advantages and disadvantages of the spear,
there is when one cannot draw nearer by extension. And much the same as was said earlier. When that is the
case, it is best to pay closer attention, or there will be occasion to mourn.
No. 2
-- Much as was already said and will be said hereafter, it comes down to plucking a duckling up [by its
wing]. Even when at the time doing so is with all ease as a tactic, and was not ineffectual, it is much the same
as was described earlier. Take him freely in hand, pulling with the right hand and thumb and riding it all like
that and planting him into the palm of your left hand. Much as was said earlier, there is what the 18 teachings
can repair, as both hands are used by the heart and mind to cross over quite well.

所ニテ左強上筋ヲ張懸、右☑ 小指をしむる、引取腰左右しめ合
専一也、手綱ハ以心也、

第三
一、左右共に強成を悪トス、又弱ニも不有、左遣ノ所ニテハ、右ハ少惜
ト言、右遣之時ハ左如前惜所なけれハ又動ク所ナシ、然ハ合
位ニ強ハ強トハ如何ニと言ニ、假ハ味方の勢中ニ口論ノアラン時、両
方同位ニ強けれは友崩出来て、敵ニ勢可付と号ス、然共
又強ハ弱ノ所常ニ可有、敵強キニ共ニ強ノ行合所にて善
ニハせス可忌、後刻時ニ望ノ所カ真ン春ノ説ツなれハ心可勇ニと、

24
第四
一、浮沈とハ鑓ノ軽重ノ所也、右ノ二ツを能不遣分ハ不善也、浮沈
ノ二道ニテも浮ヲ能軸セスハ難得勝利、然は心不成浮は不
行、心浮なれハ鑓も浮也、心曇ハ鑓も同、不遊人ニ假レハ朝と〆暮
迄道ヲ行身ヲ動セ共、浮沈有ハ右に似ス、然ハ浮ノ所善と寄、
重鑓も浮沈を軸すれハ又軽し、然ハ張合所ニテ浮ノ鑓ハ如
何其張所を好なれハい弥浮ノ所可為、然は浮沈トハナゼ言、

When attacking him at the time, there are what weakness can be exploited to snare him. The outer
edge of the right pinky finger glides in closely. Pluck him up and carry him away, controlling both
the right and left [wings], keeping them closed and together. This is done by bridling the heart and
mind.

No. 3
-- In both what was said earlier and hereafter, there is what incorrectness occurs within the strength
that was gained. Even when there are no apparent weakeness, there is what will yet be sent forth as
a circumstance. When what has already been described has occurred, and so they say that some
minor regrets did already occur [you just didn't know it]. Owing to what was already issued forth,
much like what has already been said and will be said hereafter, there will have been at least some
occasion for regret. There are no actions or movements that would lack something by way of it. Of
course, what strong positions were met pretty much like strength itself and what gets said about it.
Meanwhile, there is what quarreling arises between allies, both sides will have their own strong
points in the argument. But it can destroy the firmest of friendships. The enemy is sure to name all
of this and draw the strength of support from it. Thus we see that there are strengths and
weaknesses meeting together here. The strength of the enemy may combine with the strength of the
outplay itself, even though this is not very good and will lead to mourning. Then afterwards,
according to the theories of the art and technique, one can better tell what position both you and the
enemy are really in. You must bear courage in mind.

No. 4
-- To explain rising and falling, there is the circumstance of the relative weight of the spear. There
are two possibilities that cannot be dismissed, as there is the occurrence of vices and that it can lead
to a path of floating and sinking into them. Floating in them is much like a pivotal axis for them,
making it considerably more difficult to take victory. Naturally, to be floating in them is not
preferable for the heart and mind, it makes you inoperable. When the heart and mind itself floats,
even the spear is floating. When the mind is clouded then so is the spear. Although is is not a man
without an occupation, it can temporarily cause that to befall you, come the next morning. It effects
the way the body moves down the roadway come the next sunset. Rising and falling, sinking and
floating exists because of what has already occurred. That being the case, there are circumstances
of both good and evil when floating. At time the spear itself becomes like an axis for the floating
and sinking, and this is quite belittling. It creates quite a different sort of competition over the
spear, and so it is inadvisable to allow oneself and one's spear to float for greater durations. There
will be need to take what advantages one can when floating with the spear. And that is the
explanation for floating and sinking.

25
 續ケたるそ沈なけれハ無浮故也、

第五
一、朝東暮西之言、敵如此ならは拳之金を渡て、敵ヲ付廻寄、
月も同前也、昼中に口伝可多カル、難載一筆上也、

第六
一、仕懸寄天ニ合ハ當そ、然ハ敵も知之動ク色付也、是そ清光
の色付とて雷光ニ同し、

第七
一、敵鑓長、我鑓短ノ時ハ西の心肝要也、入身位ニ号有ト
中筋無ハ悪トス、右手ヲ張事専位ニス、カセノ所ニテ無ハ危し、此

外別法余く無之、但露の利ニ可落可秘と云、

第一目ノ持様之事 第二間積之事 第三目付之事

第四後ノ鑓之事 第五夜鑓之事 第六上中下動目付之事
第七合寸合位之事

第一
一、鑓ヲ構とも常ノ眼体吉目日指常ニ可嗜ム、假ハ夏ノ日ノ
清く明カニ見ゆる所也、☑ キハド之々ト無明ニ見ゆる様ニ
可持、當所にてハ可有心得、惣而眼ハ人ノ精なれば色々

If one persists the point will come when there is only sinking, and one will never float again.

No. 5
-- It is said that the sun rises in the East and sets in the West. An enemy is very much like
this, and he clenches his fists quite commonly. The enemy at turns will draw closer, the moon
comes as ever before. There are several oral instructions (kuden) for how to handle the next
sunrise. But it is difficult to put into writing.

No. 6
-- With each attack and contrivance he draws closer to Heaven [e.g. the Higher ranked].
Even the enemy understands the nature of his actions, and that will become ever more evident
until the thunderclap of his arrival finally hits home.

No. 7
-- There is the enemy and his long spear and oneself and one's own spear, and the inevitable
nature of a heart like the sun that sets in the West. When he bodily enters, he does not really
seem to lack numbers and rank. There is the evil that he will do and the length to which his
right hand will go, as a matter of position. There will be no lack of peril. And there will be no
lack of any number of other methods that may have come into play. There will be need to
take advantage of the mist, and they say what one must drop and what must be kept a secret.

26
 No. 1 Me No Mochiyō No Koto No. 2 Kanseki No Koto No. 3 Metsuke No Koto
The Subject of Riveting the Eyes The Subject of Distancing The Subject of Observation
No. 4 Ushiro No Yari No Koto No. 5 Yoru No Yari No Koto No. 6 Jōchūge No Dō No Metsuke No Koto
The Subject of the Spear's The Subject of the Spear by The Subject of Observing the Larger, Mid
Backend Night Sized and Smaller of Movements
No. 7 Ai-sun Ai-gurai No Koto
The Subject of Meeting Every Inch and Meeting Every Position

No. 1
-- Certainly, posturing with the spear is always a matter of the eyes and the body itself,
essentially so one can see, the position of the sun and the fingers. Of these one must be
reserved. There is the brightness of the summer sun, and its effects on vision. When it is on
the outer edge of our line of vision, one might not be able to see very well and that may show
in the grip we use. Knowledge of positioning is needed. The eyes are the gateway to the soul
and also...

眼ニテ五体ノ色付見ュ、☑ ☑ エル也と言、
第二
一、延五三當ハト言手ノ間、三五ノ内へ五足ニテ三八ト言、敵鑓九
尺ノ柄ニシテ、穂先一五合ハ敵ノ先☑ へ三同と〆當台へ一五余
ヲ届寸ハ前ニ有、
第三
一、目付ハ多此二ツを台トス、帰眼雷光ノ付五台右火ノ付
仕懸ノ内ニ敵ハ十長鑓ノ間ニテモアレ両鑓合所ト敵手本ノ
色付右二ツ也、
第四
一、初鑓ハ勝テモ又二三ノ鑓ニテ仕舞可納事、此分ニ而可心得後
鑓色々口伝、
第五
一、夜ノ鑓、夜も夜により月夜こそあれ、然時ハ日月ノ鑓て出
合、夜ノ鑓我身ヲ沈メ鑓先ヲ地と〆四尺程上ケ、左ノ膝ヲ立、
右ヲ折敷、頂ヲ沈メ、雲者花に見、敵を待請、手色ニ付二段
ニ可切突口伝ニ云、
第六
一、上下ノ二ツも中ニ堅クと言、又上下よりナヲル所こそ肝要なれ
、

27
 ...by using the eyes one can see the inclinations manifest throughout the entire body. And so they
call it [?words here?].
No. 2
-- About extending out to three fifth distance when making an attack, it's somewhat a matter of the
distance between the hands [on the shaft of the spear] and the effort exerted. Within the three fifths
distance, the remaining fifth will be covered by the foot[-work]. It is then said to have become a
matter of three eighths the distance. Where the shaft (tsuka) of the opponent's spear is nine feet long,
the head of the spear is about one fifth that long. When the opponent's point is at three [?feet?] and
about to attack, there is a similar [mathematical ] calculation to measure the remaining one fifth
distance.
No. 3
-- About observations, this is based upon a platform of two [subjects], [one] is the platform of how
the eye locks to the flash of a lightning bolt, which has five platforms itself. [Two] There is the
tactic based off of the way that an opponent's eye becomes locked to a [camp-] fire. Even when the
opponent's spear exceeds 10 [feet] in length, both spears still meet. The opponent's hand at the base
[of the shaft of the spear] bears what indications it does. These are the two [platforms of
observation].
No. 4
-- As victory is initially taken by the spear, it is two thirds more pf the spear that will complete that
victory. One must understand this fraction and the various Kuden Oral instructions for how to
handle the spear beyond that.
No. 5
-- When using the spear by night, one makes of even the night itself, as well as the moonlight when
there is a moon. Spears meet by both day and night, when using the spear by night, sink your body
low and drive the point to the ground, the remaining four feet of the spear upwards. When kneeling
on the left knee, keep the right knee bent and the head lowered as well. The person standing up, as if
their head is in the clouds, will see what look like flowering plants [on the ground]. [At night] one
can see the colour of the hands well enough to cut and thrust at them, there are Kuden Oral
instructions here.
No. 6
-- Upper and lower [movements] are themselves two that are much the same, the middle [motions]
are firmer. It is a crucial point that upper and lower motions usually include withdrawing.

其時見込帰眼トテ何も緩メ目付専一也、
第七
一、合寸合位能々可有分別、高ハ高ク、平クハ平ク、
懸ハ掛レ引ハ引ケ強ハ強ク弱ハ弱ク
勝ハ是軽、引ハ是重、仕懸ハ猶裏、勝ハ呼弱之以位教
一、春長此鑓下段ニ仕懸、届間ノ前ニテ上段ニ直し、右ノ足一足
踏入、則下ニ成、敵近ニと〆下ヲ張カマフ、其時左足ニテ敵ノ天ヲ突、
右之足浮テ突ニと〆、踏退鑓中段ニカタム、
一、青十右ノ仕掛ニ無替、右足ニテ敵ノ鑓ニ乗ル、敵天ヲカマフニ
ヨリ、下ヲ突引取、中ニ堅ム突足ハ左、是ヲ木間ノ勝ト言、
一、明鑓突身ナシ、中段ニ構仕懸、敵ノ前ニ鑓ヲ見セ、届間ニ寄、
敵前ヲカコフ時、両足前へ蹴ト勝、又敵上ヲカコフ時、本ノ蹴明
所ヲ突、勝留也、

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一、寒小、此鑓禄下段ニ仕懸、敵地ヲ張時、後ノ拳ヲ返し蹴、

It is then that one can see the results and especially one can see where there is enough slack through
which to enter.
No. 7
-- One can quite frequently meet every inch and meet every position, separating and distinguishing
them. Of higher [positions] the high levels may level out and become the level of activity. Catching
and snaring him, pulling and snatching at him. Weakness tends to weaken further as this occurs.
Victory comes lightly and nimbly. Pulling causes heaviness. Tactic and contrivance further leads to
the other end of the conflict. Does one know how to take victory from the positions of weakness?
-- As springtime lengthens [NECC ALT TRANS: "...When the continuation of circumstances is carrying on..."] the
contrivances of the spear are all done with the spear in Gedan low level position. [NECC ALT TRANS:
"...the spear is held point down waiting and watching for the outplay..."] Earlier when the results of the outplay were
in progress, the spear was held in the Jōdan Upper position. One stepped with the right foot one
pace out to enter, and came up from underneath. The opponent has he draws closer has his spear
positioned long and low. Then we will step with the left foot and drive a thrust high towards the sky
at the enemy. The right foot floats as we thrust. Then one steps in retreat with the spear held
at Chūdan middle level.
-- There are the previous 10 'clear blue' tactics, which one does not change, ride the opponent's
spear-work with your right foot, creating hindrance for the upper rank and file of the enemy. Then
thrust low and true, pulling it out after you do. At middle level, be quite firm when you thrust,
stepping over the left foot. They say that is how to take victory when between tree trunks.
-- When not immediately thrusting at the body, make use of the tactics of holding the spear at
at Chūdan middle level. Seeing that the opponent's spear is to the front, and that he is drawing closer
to you, close in on the opponent yourself to the front, dancing in over both feet to take victory. Then
close in on the opponent from above, kick out the base of your spear and thrust at him where he is,
stopping him from taking the victory.
-- Kanshō Early Winter Start as a tactic that uses the spear in the Gedan Lower level position. As
the opponent extends out across the ground, counter him by stabbing at his fists.

是ニ勝、穴ハ有天ニ、
一、松大、同鑓中段ニ仕懸、敵構☑ る手の拳より眼辺切払、敵上ル
時返ノ鑓ニテ好ム所、
一、開鍵、此鑓懸落ヲ両方様共成、又時一拍子ニ余々敵前へ
別レ勝利也、
一、妙鑓、上段ニ仕懸、下ニ合又上段ニ合ル所、雷光也、柄蹴大指切
通、敵ノ胸まて突カクル、
一、女鑓、下段ニ仕懸、届間ニテ敵面ノ辺へ一振懸、敵動ニ随
而前へ両足蹴敵突んトスル所ヲ冠レハ敵鑓後ろへ遣、其
時面ノ間ノ心揃歟
一、犂鑓、上段ニ仕懸下ニ合、敵ヨリ上段ニ成ントスル時、其侭我釼ヲ
付テ上ケ左右天手ニ構、失ヲ我面へ越、敵ノ真面ノ
鳥ニ散ス、其時敵鑓ヲ下ントスル時ニ一足蹴込、左ノ膝ヲ立
リツス、鑓先ハ真穴ト勝、如右ノセテ冠タル時ハ右ノ足踏込也、

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 This is to take the victory, by using gaps that exist higher up [the body and posture].
-- Matsuō Big Pine Tree Start as the same kind of tactic with the spear held at Chūdan middle
level. Retreat back a little when the opponent sweeps and cuts at your fists and hands from the
posture he is in. It is appropriate to counter by rising up against the opponent at the upper level.
-- Kaiken (Hirakagi) Unlocking Key This is a tactic that uses the spear in both directions to
snare and drop him. Then in a single rhythm, carry through and separate him from the front side,
taking victory.
-- Myōsō Marvelous Spear Use a tactic that holds the spear at the Gedan lower level. Meet him
with it lowered. Then meet him with it upraised to Jōdan Upper position. That is the moment of the
lightning strike (raikō). Kick out the shaft of the spear and cut using the thumb to guide the
cut. Then thrust the opponent in the chest.
-- Josō (Onna Yari) Spear Woman Use a tactic that holds the spear at the Gedan lower level.
Measure the disatnce to the opponent's face, and make a single swing at it. When the opponent
moves in response, follow him by dancing over both feet to thrust the opponent. From behind the
opponent's spear, dispatch him. Can one do so targetting between his face and heart??
-- Suki Yari Spear Plough Use a tactic that holds the spear at the Jōdan Upper position to meet
him. The opponent goes to Jōdan Upper position also. Then cling and push upwards with the blade
of the spear. Move the blade left and right at upper level using the hands to guide it from your
posture. It has the disadvantage of exposing your face. The expression on his face will be like birds
being scattered. As the opponent's spear begins to lower, take victory by inserting the spear point
into his open mouth. Step in on the right foot as you drive the spear point up through the head.

一、顛鑓、下段ニ仕懸敵色ヲ見テ競時、敵中段ノ鑓ニ構タル時、其
鑓後へ狂リ様越ヲ、其時敵突ントスル間一引曳、敵引取時水ヲ
タメタル船ノセンヲぬくことく、なまりもなくさつと付込、
届間ノ所ニテ下ヨリはね上ケ好心有、但勝ハ上下ノ間ニアリ、
一、風鑓、中段ニ手前ヲ堅シテ仕懸ル、敵上段ニシテ不張所なれは、其
侭届ク程まて寄テ好穴ト得利也、然ハ敵下ヲカコフ、其時
腰ヲソラシテ右手ヲ上ケ、鑓ヲハ敵ノ両眼鼻間ニ散シ心叶也、

別ルゝ所ナレハ不及言可真似ニと奠騒事、

露
一、朝東暮西 一、夜ハ枕に雲ヲスリ
一、前後ハ前後用ユ 一、馬上ハ失地綱ニ添ル

一、高ハ不惜放ツ 一、窪ハ深ク惜
一、勢中ハ下上ト揃 一、船ハ横
一、家ハ地也 一、山ハスリ先ヲ持

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 -- Tensō (Itadaki Yari) Overturning with a Spear Use a tactic that holds the spear at the Gedan lower
level. Observe the opponent's demeanor, understanding it. The opponent strikes a posture holding the
spear in Chūdan middle level. What the opponent is doing with the tail end of the spear is madness as he
cross over towards you. Pull sharply [with your spear] as the opponent makes the thrust at you. It is not
unlike pulling the bow of a boat across when you do this. It severely weakens him when you do this, cling
to him as there is nothing he can do about it. Measure the distance between you and come from below,
intending to raise his arm as you make the upward strike, you will take the victory whether you enter
between, rise up or go down.
-- Fūsō (Kaze Yari) Spear in the Wind Use a tactic that holds the spear at the Gedan lower level. The
tactic has the front hand on the spear holding it firmly in Chūdan middle level position. The opponent
uses Jōdan Upper position, but does not have the spear fully extended out. Then measuring the distance
he draws closer. There are targets in the orifices of the body that one could take. Close in on the opponent
and suppress him. Keep your hips open and free, right hand on the spear upraised, intending to catch the
opponent between the eyes and nose.

One can distinguish when any given tactic here likely would and would not work, so one makes a hurried
decision as to which one to use.

Misting Dew
-- Chōtō Bosei -- Yoru Ha Makura Ni Kumo Wo Suri
The Sun Rises in the East and Sets in the West Making a Pillow of Clouds in the Night Sky
-- Zengo Ha Zengo Mochiyu -- Hajō Ha Jicchi Ni Soeru
Making Use of the Fuller Context When Riding a Horse and are Lost

-- Taka Ha Fuseki Hanatsu -- Kubo Ha Fukaku Attara

When Not to Concern over Opening When Caught in a Hole that is Regrettably Deep
Fire when Higher Positioned
-- Ikioi Naka Ha Shimoue To Soroe -- Fune Ha Yoko
Caught in the Forces of Influence Top to Bottom When a Boat goes Sideways
-- Ka Ha Chi Nari -- Yama Ha Suri Saki Wo Mochi
Having No Home but the Ground Gripping the Peak of Mountain

[ TEXT ENDED HERE ]

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SUMMARY

One could speak quite a bit about various details in the body of this text, there’s a lot one could discuss about it. But I
don’t want to make a summary that large, might be to keep it smaller (where there is a reasonable need for one). So I
thought we’ll list out some language facts to help things along.

The now archaic Chinese based term Heijō-jutsu (兵杖術) “Paramilitary Staff Arts” is employed. There is no sense of
the modern term Jō-jutsu ( 杖 術 ) involved, it is instead definitely a Heijō-jutsu ( 兵 杖 術 ) text. The suggested
dimensions of the staff range from a length of five (5) to six (6) feet long [1.524 - 1.828 m ] but the six foot long
version is not a chōbō (長棒) Long staff also called Rokushaku-bō (六尺棒). In fact, here in this text, it did mention
the Rokushaku-bō (六尺 棒) and named it as merely a typical form of the “Paramilitary staff” while still drawing a
clear distinction between it and a chōbō (長棒) Long staff. That would be fairly typical of the older descriptions of the
Japanese fighting arts. Heijō-jutsu “Paramilitary Staff Arts” and similar edifices would tell you that a chōbō (長棒) is
about 9 to 12 feet long. Spear is the same way, a Long spear is the same length, about 9 to 12 feet long. Modern
terminology would seldom ever call staff techniques by the name Jō-jutsu when the staff is six (6) feet long…that
would be bō-jutsu (棒術).
• The entire text and the separate entry in it for Heijō-jutsu Paramilitary Staff Arts clearly identifies that Heijō-
jutsu as an art is based upon and profoundly linked to Hoko-jutsu and Yari-jutsu spear and pike arts. Unlike
modern Jō-jutsu which is almost always based off the movements of a sword and shares technique names with
the sword techniques. This means that there is more usage of thrusting and jabbing with the staff, attacking as if
it had a spear point. Modern Bō-jutsu and Jō-jutsu does not really do this quite so much.
• The modern art of hanbō-jutsu (半棒術) has two (2) major incarnations. One uses the hanbō stick just
like a sword or short sword depending upon which length of the hanbō is in usage (some ‘hanbo’ are as
long as a Jō staff and some are as short as three feet long (sanshak-bō, or a hanbō). Hontai yōshin ryū is
an excellent example of that kind of stick fighting technique, using the stick like a sword or short sword.
But whereas the chōbō long staff in Hontai yōshin ryū is quite often used more spear-like thrusts, the rest
of the movements with it are inconsitent with spear and pike based Heijō-jutsu.
The second major incarnation of hanbō-jutsu stick fighting does not use the short stick like a sword at all.
Neither does it use the short stick as if it were a spear. It uses the stick in a completely different fashion
than either of these implements. A very good example of this kind of hanbō-jutsu stick fighting techniques
can be found in the Takagi Yōshin Ryū and Kukishin Ryū based techniques of the Takamatsu-den Martial
arts. But this raises a damned good question… is that kind of staff and stick fighting technique indicative
of the Kukishin Ryū ? Because the Hontai yōshin ryū does use the short staff like a sword and not so much
the other ways. They look like they are doing a sword or short sword technique… but they do state that
this school’s stick and staff fighting came originally from the Kukishin Ryū.
• The Kukishin Ryū based staff and stick arts such as Bō-jutsu, Jō-jutsu and Hanbō-jutsu actually
have both incarnations. The one incarnation uses a stick the size of a sword as a sword, for the most
part. And likewise uses the short stick as if it were a short sword. The long staff is, at times, in some
movements, used as if it were a spear but all other movements do not use it that way.

32
 The other incarnation of Kukishin Ryū based staff and stick arts do not use any size of pole (stick or
cane sized) as if it were a sword, nor do they use it as if it were a spear. The stick is used completely
different.
Some incarnations of the Kukishin Ryū based staff and stick arts do not make use of the more
recognisable technique names and have developed separate technical nomenclature (Hontai yōshin
ryū eventually did this, in some branches, for example.) But both systematic approaches still might
use the same recognisable listing of Kukishin Ryū Bō-jutsu technique names -- it is very common
that they do. These listings are fairly well known technique groupings. They appear in various
forms of Takagi ryū and Takagi yōshin ryū based schools and arts (including the modern Takamatsu-
den Martial arts.) People see these technical listings and assume that they must be approached
generally the same -- but in reality, they are not.
• The Kukishin Ryū based staff and stick techniques in my own school (Shinden yōshin ryū)
are a good example of this. Our Tanbō short stick (1 1/2 feet long) is done like a dagger or short
sword. Our Hanbō half staff (3 1/2 feet long) are used is used like a sword. Our Rokushaku-bō
is almost exclusively as if it were a spear. BUT OUR TECHNIQUE NAMES AND THEIR
GROUPINGS ARE THAT SAME HIGHLY RECOGNISABLE LISTING OF BŌ-JUTSU
TECHNIQUES FROM KUKISHIN RYŨ!
There were some number of people whom preferred to insult us by claiming that we are a
Takamatsu-den based school that renamed itself. And if we had been, I suppose that would
have been just fine? (None of us ever really understood the complaint -- most groups whom
renamed their Takamatsu-den based school still acknowledge the Takamatsu-den rather openly.)
We really couldn’t get so confused about things… our techniques came from this other
incarnation of the stuff. That’s we we don’t usually give an open description of them. ☺

Are we making the claim or putting forth the supposition that this Takagi Ryū Heijōsho is, in any way shape or form,
derived from some earlier form of Kukishin Ryū? NO certainly not. There is no evidence to support any such
supposition. BUT, the very usage of the name Takagi Ryū as a form of Stick or Staff fighting does invoke the name of
the Kukishin Ryū, in some circles.
So, should anyone wish to know what actual differences exist between (what was historically called) Heijō-jutsu
Paramilitary Staff Arts and modern Bō-jutsu and Jō-jutsu, the differences are as I stated here, Heijō-jutsu as an art is
based upon Hoko-jutsu and Yari-jutsu spear and pike arts. Most modern cane, short staff and stick arts are instead
based off of the techniques of the sword. And then there are those that belong to the third incarnation -- it doesn’t use
the cane, short staff or stick as either a sword or a spear. Their movements are generally unrelated.

Are there any modern schools and arts that still use the cane and short staff like a spear? YES, there are some. But
almost nobody would ever call it Heijō-jutsu “Paramilitary Staff Arts” these days.

LANGUAGE AND TERMINOLOGY WITHIN THE TEXT

The staff arts text early on bears the sub-title Hikei no maki (秘形巻) “Book of Secret Patterns”, the word hikei (秘形)
is just an old variation of the word hikei (秘計) “secret plan(s); secret strategy (-ies)”.

POETIC ENCODEMENT LANGUAGE AND VERSE WITHIN THE HEIJŌSHO

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In some reference to a subject I have been giving attention to in various PDF File Summaries, namely on the subject
of Metsuke No Koto as it is applied in various of the Parent schools and their scrolls and the version of that item’s
listings that start with Mizudama (水玉 /or/ 玉水)….specifically in the Summary of this PDF file.
From the dialogues I wrote there on the subject of: Kōyō No Metsuke (紅 葉 目 付 ) and specifically the part of the
narrative I gave that says: “The leaves having fallen from the trees, in the emptiness they leave, as winter approaches,
the Autumn moon is dazzling bright ( Kōyō 晃曜)…
• In this traditional style narrative that I paraphrased: the “Autumn moon” and it’s dazzling light refers to the
immediate presence of the enemy and the obvious threat and sorrow being produced. Because the leaves have all
fallen from the trees, the Autumn moon can better illuminate the ground (no foliage to block it).

Mizudama and elements of it used as a part of speech (Poetical base idiomatic constructive) at Page Three of the text
of the Takagi Ryū Heijōsho Hiketsu Kikigaki, at the Omote (表) section, begins with the statement:
水玉、 玉ミがゝ されは光な し、光リ 無きハ則 邪法也、 … , or, “When it has started, there is not much that
illuminates just what is happening here, Heretical teachings certainly cannot illuminate it either…”
• But literally, the text says: “The beads of water do not shine, despite being polished. Heretical teachings
cannot make it shine either…”

This example demonstrates the usage of the Poetical encodement language. You may have heard that some older
martial arts texts were written in a kind of encodement? This is a good example of a principle form of Poetical
encodement, but in fact there were many different forms of such “encodements”. This particular form is well known
and quite common before a date in the early mid 19th century. Obviously, when trying to translate such a text as this
one, and encountering this encodement… it’s going to cause severe problems to anyone who is not familiar with the
encodement. I mean, it’s kind of obvious, how are you supposed to translate or interpret the literal statement cited
above?!? You could translate it literally: “The beads of water do not shine, despite being polished. Heretical teachings
cannot make it shine either …” but what the hell is that supposed to mean?? It wasn’t meant to be taken literally, the
encodement basically says: “When it has started, there is not much that illuminates just what is happening here,
Heretical teachings certainly cannot illuminate it either…” We really don’t have any trouble understanding the
statement then, but when translated too literally, not accounting for the encodement, it is actually quite unintelligible
then.

There are several examples of this sort of usage in the text, I did not document them all, I documented only a few
instances of it so that they could be recognised, should the reader wish to know it exists in the text. Another
example… Page six of the Yari-jutsu section says:

後刻時ニ望ノ所カ真ン春ノ説ツなれハ心可勇ニと、…or, “Then afterwards, according to the theories of

the art and technique, one can better tell what position both you and the enemy are really in. You must bear courage in
mind…”
• But literally, the text says: “Afterwards, it will be according to the position of the full Autumn moon and the
cycles of spring, one must bear courage in mind.”

There are two kinds of texts that one might find bearing this encodement. The one kind is written almost exclusively
in the Poetical encodement and can be quite difficult to translate or comprehend. That fact led eventually to a custom
of partial usage, which is what we see in this immediate text. There is only sporadic usage of the encodement
throughout the text (the majority of the text is written in rather plain language and not encoded). In some cases, a text
that bears only nominal usage of the encodement (such as this text) may in fact be a “decoded” version that was
written later in time, and the original could have been written entirely in the encodement.
• Over time, the encodement proved too much an impediment and was systematically removed in China,
Korea and Japan. Vestiges of it were often left in place, but the examples of the vestigial remnants are almost
always elements of it that are really well known and can be readily understood. THAT is what we see inn this
very book (the Takagi Ryū Heijōsho is a really good example of it.)
There are parts of this encodement that I myself could not possibly give a translation for (it is too obscure).

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 APPENDIX - A

Copies of the original pages of the scroll book follow…

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 TEXT ENDED HERE

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