THE RETIRED LIFE
隠居
The inclination for a life of retirement was partly the product of the fierce struggles of the military class for material advantages and posthumous glory.
隠居の方法については、武士にとってその実績（名を残すことや勝利の為に戦うこと）によっています。
Their contempt for life and readiness to throw it away in the pursuit of domination or a splendid memory led to an emphasizing of its vanity and transitory through the vicissitudes and tragedies thus evoked.
彼らの後悔、支配欲の追及や素敵な思い出を捨て去る準備は、呼び覚まされた栄枯と悲しみを通して、虚しさやつかの間というある一つの思いへとつながっていきます。
And the result of this was the development on one hand of a greedy instinct to make the most of every opportunity for material enjoyment while it lasted, and on the other of a desire to escape from the ruthless struggle and lead a secluded life devoted to literary diversions and the meditative pleasures of nature.
その理由は物欲を満たすためだけに費やす人間の本能の性と、他方、そんな無慈悲な戦いから逃れたいという望みが、隠遁と向かい自然の瞑想や文芸的なものへの傾倒として現れるのだと思います。
This custom of retirement had been in existence ever since Buddhism was introduced into Japan , inspired by the contempt of this world of impermanence taught by its philosophy.
隠遁という文化は日本の」仏教のなかから生まれ存在して来ました。我々の哲学という学問の世界では、はかない軽蔑的な行動として解釈されたのです。
The “ Shukke ” or hermit is a familiar figure in the middle ages of Japan and is represented in literature by the well known works of Kamo no Chomei and Yoshida Kenko , the Hojoki and the Tsure-zure Gusa , of the twelfth and the thirteenth centuries as well as by the writings of Saigyo Hoshi.
出家は英語では Hermit 、日本の中年層にはよく見かける形で、鴨長明の方丈記や吉田兼好の徒然草などなど人物書物が有名、短歌の西行法師などもいて、１２世紀から１３世紀にかけて活動していました。
The Kyogen or Comic Interludes known him well too, for there he is often held up to ridicule.
狂言は英語では Comic Interludes 、の中で西行はよく嘲笑の役などで登場します。
Not unnaturally it became the fashion for poets and literary men to retire from the world, and when so recognized it became regular way of making a living, and did not prevent them from enjoying some of the solaces of society either, for unlike the earlier “ Shukke ” these amateur recluses were not always unaccompanied by wife or family.
不自然ではなく、歌人や文人の隠遁はファッションとなり、生き方の見本となります。社会のやさしさや楽しい事で隠遁をやめさせられなかったことは、始めそれは出家とは言わずに、妻や家族をもたない変人扱いになっていたのだと思います。
In fact, since they were separated from society only in so far as they were not reckoned as belonging to any particular stratum of it, they were free to mix with people of all ranks from the lowest to the highest, and sometimes even penetrated to the forbidden precincts of the Imperial Court , as in the case of Botanka Shohaku .
実際に、彼ら隠者は社会からは遠く離れ、数にも入らず、様々な階層にも属してはいませんでした。同時に彼らは、自由人として、あらゆる階層の人たちと交友を持つことが出来皇帝の場へも出入りすることが出来たのです、歌人の牡丹花肖柏の様に。
And no doubt this would be as refreshing to the noble of high degree, thus set free to mix with less conventional characters than those found among the aristocracy, as it would be to the commoner also able to meet interesting people otherwise debarred from his society.
そして貴族社会の中にあって肩書を無視した行動は、高層社会の活性化の任を担っていますし、民の中にあってもけして会えることの無い興味深い人との交流となるのに間違いはないと思います。
As time went on these dilettanti recluses lost their Buddhist inspiration and came more under the influence of Chinese feeling as set forth in the Taoist idea of the hermit or “ Sennin ” familiar to Japanese scholars from the pages of Lao- tz ' and Chuang- tz '.
同時に隠者は仏教的な感性はなくし中国の道教的な考え方へと向かって行きました。別名「仙人」といい、老子や荘子からの教えをうけた者を言います。
They did not regard the world as impermanent and evil in theory, but rather wished to be free from the bonds of society and its competition and wander at leisure among the beauties of nature.
彼らはこの世界は理論上において劣っているとかはかないことであるとは考えませんでした。むしろ、社会のしがらみや競争からの自由を望み、自然の美しさの中に身をゆだねたのです。
Thus there came to be a type of recluse who, while not actually separating himself from society, thought little of it, and refused to take either it or himself seriously.
このようにして彼らは一つの隠者の形を作り、まったくの社会拒絶というわけでもなく、少し考え、距離をとるっという感覚ですか、、、。
They liked to pose as hermits or pilgrims to a certain extent, and to divert themselves by reading poetry and the classics and visiting famous scenes.
彼らは隠者や放浪者を気取り、詩や古典を語り、絵になる場所を徘徊するのです。
It was in the same spirit that people took to Cha-no- yu .
これは人が茶の湯をすることと同じ精神です。
It was a way of abstracting themselves for a while from the bother and stress of everyday life.
毎日の生活のストレスや憂いをちょっと楽にする一つの方法とでも言いますか。
It was becoming a recluse for an hour or two, and though it may owe its simplicity to its plebeian associations, (i.e. when reformed by Rikyu ) when it became a contention and an art, this art was one of simplicity and rusticity to which the use of the words “ Wabi ” solitary, and “ Sabi ” mellow by use, bear witness.
一二時の隠者、社会の縮図（利休居士を見てください）、しきたりや芸術、この芸術とは素朴であり簡素であって「侘」と「寂」という言葉に如実に現れているのです。
The changes and upheavals that accompanied the beginning of the Tokugawa era again emphasized the desire for retirement among many who were disappointed in their expectations of rank and property and who were otherwise embittered by failure.
チェンジや変革は、徳川幕府時代に入るにつれて多くの隠遁希望者を出して行きます。彼らは地位や財産に失望し、また、落後者からも辛酸で見られていたのです。
A good example is Kinoshita Ktsutoshi (1568-1649) Lord of Wakasa , 80,000 koku one of Hideyoshi's captains, who was dispossessed by Ieyasu for fighting against him and retired to Kyoto and took the name of Cosho , devoting himself to poetry and literature.
よい例として、木下勝俊という若狭藩主がいます。秀吉の家来で八万国を擁していましたが家康によって没収、京都で「ちょう子」と名乗り詩歌に身をささげました。
His work Higashiyama Sangeki is modeled on the Hojoki of Kamo Chomei , but it is noticeable that now it is a Chinese flavour that it exhibits and not a Buddhist, i.e. instead of volumes of the Ojo-shu , a Buddhist collection, he speaks of having the anthology of To- sha-yo , and instead of the “ origoto ” and “ tsugibiwa ” the musical instruments patronized by Chomei , he has a “Koto” in reference apparently to the “ Stringless Koto” of Emmei .
彼の仕事である「 Higashiyama Sangeki 」は鴨長明の「方丈記」がモデルになっていますが、仏教よりもむしろ中国趣があります。参考としては「 Ojo-shu 」、仏教関係類、「 To- sha-yo 」の詩選集、長明が紹介している折琴や継琵琶のかわりに Emmei 弦無琴などが紹介されています。
Since the revival of the study of Chinese literature and philosophy was a characteristic of this period, for Fujiwara Seikwa had introduced the Sung philosophy which was to become the official school under his pupil Hayashi Ranzan , the outlook on nature of the retired man of the day became exceedingly Sinicised and he saw and described Japanese scenery almost entirely through Chinese spectacles, and this literary view of ordinary life became a further assistance in separating him from the mundane affairs that surrounded him.
中国文学と哲学の復興はこの時期の特徴で、藤原惺高は宋哲学を紹介し弟子に林羅山を排出しています。中国思想による隠遁者を生み出している事を説明し、彼らは自分の身の回りの俗事から離脱する理論としての中国思想が浸透しているのです。
Lao- tz ' and Chuang- tz ' were no less popular than before, and the early Tokugawa Japanese recluse liked to fancy himself a kind of Taoist Rishi or Chao Fu (a legendary Chinese hermit who retired and lived in a tree to be aloof from the world) rather than a Buddhist S'ramanera as had formally been the case.
老子と荘子の人気は落ちたわけではなく、徳川初期の日本の隠者達の憧れは Taoist Rishi や Chao Fu で、彼は中国の伝説的な隠者で俗世から離れ木の下に住んだと言われています。仏教の修行ではなく隠遁が世の流行となりました。
However, these recluses came to find out that retiring did not relive them of their own personality, and since it was peace of mind they sought, it was necessary to find some means of transcending their own ego or they could not attain it.
しかしながら、これらの隠遁生活が心の平穏を見つけ出す手立てだったとはかぎりません。そして彼らが求める平穏が見つかるまで、自己のエゴを超越しなければそれは見つからないのです。
This being so, it would be as easy to transcend oneself in the world as out of it, because the real cause of the unquiet mind is not the environment itself but the attachment to phenomena leading to regret and sorrow at changes in them.
その行動は、外に出るのと同様に簡単に超越できるかもしれません。なぜなら、平常心ではない真実の状態はそれ事態は自然ではないからです、そして、変化においての事象との結合によって、彼らの中で後悔と悲哀へと導いていくのです。
But it is as easy to be attached to a hut in the wilderness as to anything else, as Chomei observes in the Hojiki , or to the literary life of a Chinese hermit.
それは他に何も無い荒野に小屋があるのと同じで、長明も方丈記で言っていますし中国の隠者もその物語のなかで言っています。
In fact poetry and literature and all the other affectations may be regarded as only further incitements to attachment.
現実として、詩人や文人そのふりをしている全員はたぶん、結びつけるためにより遠くの刺激を求めているのだと思われます。
Moreover one needed a certain amount of leisure and means for life even in the wilderness, and so it was largely people who did not need to get their living who practiced it.
さらに、喜びの本当の価値と荒野に生きるという意味、生きる糧のために働くという事を必要としない大きな人間。
It was a kind of luxury, and people who could not afford it had to remain in the world willy-nilly.
これはとても贅沢なことで、人は意識して行き当たりばったりにはなかなか出来ないものです。
They were then faced with the necessity of attaining this peace of mind in ordinary life, and if this could be accomplished then there was no need for any one to shun the world at all.
普通の人生では幸福の達成を必要として向き合います。そしてもしそれが実現するとしたら、とにかく、その世界を避けようとする必要はないのです。
But temperamentally people in Japan were inclined to took on the world as a vale of tears owing to the severe struggle for life in it, and this view had been reinforced by Buddhist and Chinese thought so they could not bring themselves to regard their duty in life as ordained from on high and to took on the fulfillment of it as a source of happiness.
日本人の気質として、彼らは生は苦労の数だけ偉いと思ってしまいます。この価値基準は仏教や中国文化の影響が多大で、苦労することを公務であるっと割り切れない。そして、勤勉な努力こそが人生幸福の根本であると思っているのです。
Some praised a wandering life like that of the beggar Rakuami , a mendicant flute player who is the hero of one of the Kyogen , as the ideal, while others thought to amuse themselves with the changing aspect of the seasons.
面白いとされるべきぶらぶら人生として楽阿弥という言葉があります。彼は狂言の笛奏者で、その考え方や奏でる音楽で季節の変化を楽しませてくれます。
But since they could not get away from the incidents of everyday life they had to adopt a casual attitude in regard to them, if they wished to avoid being involved in anxiety, and ended in adopting a point of view that refused to take anything seriously.
毎日の煩らわしさから逃げることが出来なければ流されなければなりません。もし、どろどろを避けたりいやなものを見ることを終わらせたいのなら、それは全ての関係を絶たなければならないのです。
And so they lived their ordinary life with the mind of a recluse, but a some what humorous one.
そして人は何処かへ行きたいの思いながら普通の生活をし、ユーモアとして隠棲生活を望んで生きているのです。
So, like the mendicant Rakuami in the Tokaido Meishoki , wandering along the busy highway, looking into the houses, listening to the out-of tune flute playing of the blind minstrels, and strolling about the quarters of the dancers and strumpets, they found a whimsical sort of interest in all the varied phenomena of life, letting themselves be moved to sadness or amusement or anger or fear or regret as the case might be, but soon passing on and forgetting it all in the next mild sensation, and all the while looking on themselves as odd sort of creatures not to be taken seriously.
東海道名所記という書物の中に楽阿弥という隠遁者が登場、街道を行きかう人ごみの中に徘徊したり家の中にいたり、はたまた盲目の笛吹きなんかも登場します。人々は悲しみ、笑い、怒り、恐れ、悔やみ、様々な表情です。そして、次はそのすべてが通り過ぎて新しい場面、全編を通して彼らはなんの屈託もありません。
“This feeling world is nothing but a puppet show,” as Soin puts it.
「この感性の操り人形一つ以外世界は何もないけど」 Soin が操る物語。
And this spirit forms a considerable element in the Japanese character.
この精神世界は日本人の性格の相当量の要素を形にしています。
It was a very convenient one too in the Tokugawa age, when society was so rigidly ordered that failures and non-conforming spirits had a hard time and had perforce to seek solace in some such philosophy.
徳川時代における民の気持ち、社会は厳しく統制され、落後者や鬱屈した精神は一つの厳しい時を与えます。必然としてそれらの哲学は慰めへと向かっていきました。
Then again, this world of strife for place and power tended to be a materialistic one and was so stigmatized by the satiric thinkers.
それはまた、場の紛争や力は物質主義がはびこり風刺家たちにによる非難が闊歩することになるのです。
“Love is a dirty sort of business,” “Men is nothing but an animal who eats his way through life.”
「愛は仕事の内、一つの不潔なもの」「男たちは一匹の動物で、生きてる間自分の人生を食う」
And it seemed doubly funny that people should be so blind as to think these dirty and commonplace things fair and splendid and worth striving for.
これはちゃんちゃら可笑しくて、気持ちを隠さなければなりません。平凡な出来事は公平でばら撒かれ、その成果のために奮闘します。
Strip men of their fine clothes and ceremonial deportment and how ridiculous they were!
素晴しい服と形式的な態度のみの人たち、なんと彼らはばかばかしいのだ！
This is a view that the Haikaishi continually reveal in their epigrams.
これは徘徊師がどんどん風刺を表現しているのです。
But people with these views were not ordinary of course, - for the average man was content as elsewhere to go on groveling, - but sophisticated and sensitive men of letters, and for some reason or other it never occurred to them to try and improve matters.
光景にいる人々はもちろん普通の人たちではありません、普通の人は体制に従い生きています。しかし、洗練され感覚的に優れている文学者、また不満分子は、解決できない鬱憤を溜め込んでいます。
They were content either to spurn the world and to go into retirement or to remain in it with a sardonic smile.
彼らは互いにその世界を拒絶して、一方は隠棲に入って行き、またそんな彼らを他方は冷笑によって認識をするのです。
As for the average man of the military class, he made the best of it.
武士の一団はそんな世界で全力をつくす。
He would have as merry a time as he could while it lasted, for he never knew when he might be called on to die.
彼らはおしまいまで楽しくやって、死の意味すら分からないでしょう。
And this reckless disposition did not change in a time of peace such as was the age of Tokugawa.
このおかしな性質は、徳川泰平の世にあってけして変わることはないと思います。
And it is this view of life that produced the expression “ Ukiyo ” “This fleeting World” that we hear so often in the West nowadays in connection with Art and Colour Prints, with all that it implied of reckless gaiety and enjoyment.
この風景は「浮世」という言葉で表され、、むちゃくちゃな馬鹿騒ぎや娯楽も含む近年の西欧における芸術や絵画でも表現されています。
The words “ Ukiyo-no-suke ,” “ Ukiyo-bo ” and “ Ukiyo-jin ” were coined to designate one who was typical of this spirit.
「浮世の助」「浮世坊」「浮世人」などはこのような人たちのために名付けられた呼び名です。
Hence the words “ Ukiyo Monogatari ” or “Tales of this Fleeting World,” “ Ukiyogurui ” “Fleeting World Madness,” “ Ukiyoasobi ” “Fleeting World Dalliance,” “ Ukiyo-bushi ” “Fleeting World Songs,” “ Ukiyo-koji ” “Fleeting World Lane,” and many other such terms characteristic of the literature of the Kwanbun and Genroku periods (late 17 th and early 18 th century), while it followed that Ukiyo -e were the pictures that illustrated this transient world of dance and song and revel.
よって、「浮世物語」「浮世狂い」「浮世遊び」「浮世節」などの言葉が、寛文から元禄にかけて（１７世紀後半から１８世紀前半）生まれました。同時に浮世絵とい絵が生まれ、踊りや歌や遊戯風景が表現されたのです。
This expression thus means more than merely genre pictures.
この絵はただの風俗画にくらべより意味付けが表現されています。
It signifies a world of lurid enjoyment snatched wildly against a black and threatening background.
けばけばしい娯楽の世界は、その後ろにある抑圧と闇を広く掴みとっています。
“Consoling ourselves with drinking and dancing,
It is but for a moment :
What does it matter if we spend our all?
An inch before us is the darkness.
We are like a gourd bobbing up and down on the water.”
“With this wretched body of five feet add,
Let us enjoy the moon while we may.
An inch before us is nought but blackness.”
Ko-kon I- kyoku-shu .
酒と踊りで慰めるのは
ほんの一時
すべて過ごしたところでそれがどんなことなのだろう？
ほんの少し前は暗闇
私たちは水にぷかぷか浮かぶ瓢箪
この変な１５０ｃｍの下品な体
月が出てる間だけでも踊ろうよ
ほんの少し前はゼロそして真っ黒
古今夷曲集
Man cannot go any farther.
男たちはどこにも行くことは出来ません。
This fleeting world is but a temporary lodging.
浮世はつかの間の宿。
This spirit is just the opposite of the older Buddhist view of the world as a place to be avoided with all its delights, for it is nothing but a determination to enjoy all material pleasures to the utmost instead of fleeing from them.
この精神は昔の仏教精神とは反対側にあって、喜びを避け、それでも精神の豊かさより物質主義が最高っと言う決心でなのです。
But the sense of sadness is not lost. “In all amusement there is sadness.” “A perilous thing is this life of ours” ; are characteristic expressions of its devotees.
しかし、悲しみは消えません。「すべての快楽には悲しみがあり」「危険なことは我々の人生」っと熱狂家らが漢字で示します。
The Japanese could not be thorough-going materialists it seems.
日本人は完璧な物質主義になることは無理に見えます。
It was the ineradicable legacy of their long history of upheaval and strife and calamity.
彼らの長い激動の歴史や闘争、苦難、この伝統は根絶は不可能なのです。
DAZAI JUN NO CHA-NO-YU
太宰純の茶の湯
Dsazai Jun was a famous Confucian scholar, pupil of Ogyu Sorai and author of many works. He died in 1747 aet 67.
The Confucians were on the side of pedagoguery and dislike the neglect of social distinctions practiced by the Tea lovers. Their point of view was that of the English Classical Scholar who declared that “a knowledge of Latin and Greek not only raises one above the common heard but not infrequently leads to positions of considerable emolument.”
太宰純は儒学者で荻生そらいに学ぶ、作家として多くの仕事を残した。西暦１７４７年に没、享年６７歳。
儒学者達は厳格な教育者で、茶人たちのやっている社会差別の稽古システムは嫌いであった。いわく、彼らはイギリスの伝統的な学者同様、「ラテン語とギリシャ語の知識は、一般的な民衆の頭上ににあるのだ！そして時として、利益というものにもっていこうとする。」
When you offer anyone tea you gather in a little hut only six feet square.
あなたが１８０ｃｍ四方の小さな小屋に人を集め茶なるものを振舞おうとする時。
The meal is not allowed to be served by others, the host must do it himself.
食事の支度は他に任せてはいけません、亭主が自分で準備しなければいけないのです。
And he pours out the liquor and rinses out and wipes the cup when it is drunk, and puts them away.
お酒も同じ、コップに注いで飲み終わったら、濯ぎ拭いて、片付けるのです。
When they have finished this light meal they go out and rinse their mouths and after a while come in again, when the host makes tea with his own hands and serves it to them.
客たちが軽い食事をすませ、一旦外へ出て、口を濯ぎ、しばらくたって、また部屋へ入ります。そして、亭主は自ら茶を点てお客に振舞うのです。
It is made in one bowl and the chief guest takes a sip and passes it to the second and so the three, or it may be four, of them drink it, the last one drinking up all there is left.
一つの茶碗にお茶は点てられます。まず、正客が一口いただいてから次客三客へと回して飲みますが、四人になることもあります。そして、最後の一人が残さずに飲み干します。
The Tea-bowl is then handed to the chief guest who takes it and examines it carefully and praises its admirable make, after which he hands it to the next, who passes it on to the last, and he hands it back the host.
そして、茶碗は正客へ渡されそれを注意深く拝見して、作りの素晴しさを褒め称えます。その後は同じように次へ渡されていって、また、亭主に戻されます。
Then all the guests together return thanks and bow.
全員がおじぎで感謝。
They then ask to see the bag of the Tea-bowl and then the Tea-caddy and its bag and after that the tea-spoon, and though they may be nothing out of the ordinary it is the correct thing to ask to be permitted to examine them.
その後、まず茶碗の袋、茶入、仕服、茶杓と拝見をしていきます。そして、これらの道具の由来など聞きたいと亭主へお願いをします。
And since there is a proper way to arrange the ashes in the hearth the guests approach and examine this too, and of course praise the elegance of it all.
炉の中の灰の仕込み方も拝見の対象で、きちんとした方法があります。客たちはそれも拝見することになりますが、もちろん、その優雅をも賞賛の対象になります。
And so too when the host arranges flowers in the vase.
そうそう、亭主が活けた花瓶の花も忘れずに！
In fact everything the host does they inspect and then praise.
兎に角、亭主が仕込み、客が精査し褒める。
It seems the extreme of flattery.
まさに、お世辞の極地なのです。
As to the style of the Tea-room, it is now rather smaller than the traditional dimensions of the cell of the recluse Vimalakirti , and as the windows are small too it does not get much light.
同様に Vimalakirti という隠者が作った茶室の伝統的な寸法も小さくなりました。窓も小さくなって光も入らなくなりました。
In summer it is extremely hot, and the aperture through which the guests enter is like of a dog-kennel and they have to wriggle in through it.
夏は殺人的な暑さで、客たちは犬小屋の中にいるのと同じでのたうち回ることになります。
The room is stuffy and equally unbearable in winter.
部屋は風通しが悪く、同時に冬も耐えられない場所なのです。
As to the meal one gets on these occasions, since the host has taken so much trouble about it the guest must eat everything up whether it is to his taste or not, and that is rather an infliction, I think it a shame too to praise utensils that are quite ordinary as if they were rarities.
食事も同様、亭主が味付けを失敗しても、客は美味しかろうがまずかろうが残してはいけません。これは拷問かもと思います。そして理解が不能がもう一つ、何のへんてつも無い普通の道具を褒める彼らは普通ではない。
And though it is well that tasteful people should like their house and furniture to be elegant and wish to avoid monotony and symmetry, yet Tea Masters seem to me to go to an extreme in making the pillars of their rooms so small and the frames of their shoji so slight that they look as though they would blow away.
これは良いことだろうか、趣味の良い人は家や家具の優美さが好きで、単調や釣合なんかは避けるはずだが。茶人の皆さんは私には一つの極端人に見える、それは、小さな部屋の柱や障子、なんだか吹き飛ばしそうである。
And these pillars and the beams of the rooms are always of natural wood with the bark on and oddly shaped and crooked.
柱や梁は皮の付いた木をそのまま使い、形も奇妙で曲がりくねっている。
In everything they like to make an appearance of poverty and scantiness.
すべてにおいて、貧弱とわびしさの演出を好むのである。
In our country the monks of the Five Temples of the Zen Sect brought Tea from China in the Kamakura age, and it seems to have become known to some extent, but hardly very fashionable.
わが国には鎌倉時代、禅宗の宗派が五つあり中国から茶をもって来ました。そして、それが広がって行ったことはよく知られていることです。そのころの茶はとてもファッショナブルな存在でした。
It was not till the Muriomachi Shogun Yoshimasa took a fancy to it and made it his chief diversion at all hours, and had his Cha-no- yu parties in the Ginkakuji , that it became the rage.
室町将軍足利義正が茶をファンシーな文化へと変化させます。彼はこの茶遊びに入れ込み、銀閣寺でパーティーを連日ひらき、それが大流行となっていったのです。
But Yoshimasa was by temperament luxurious and his Tea-room and its appurtenances were like him, very ornate and elaborate, whereas the present-day Chajin looks to Rikyu as his model.
義正は豪華好きで、彼の作った茶室や付属物は彼の趣味になりケバケバして精緻にとんだ物になりました。ゆえに、今日の茶人は利休をモデルとしているのです。
Rikyu was a Zen priest and inculcated simplicity and economy in everything, and his Tea-room was a tiny thatched hut, and he induced the great nobles to leave their lofty halls and find it pleasant to meet their friends in this little room and there make tea with their own hands.
利休は禅の信者で、簡素と節約を推奨していました。彼の作った茶室は小さくかや葺屋根の小屋、彼の偉大な功は、大きなホールから出て小さなその茶室へ友人達を招き、茶を自分たちで点てて楽しむことを普及させたということでしょう。
And it was because of this Zen feeling that they disliked rich food and any elaboration, and kept all the utensils and furniture rough and simple.
禅宗に流れるものは、贅沢な食べ物や緻細な豪華品を嫌うことです。シンプルで粗野な家具や道具が尊ばれることにその理由があります。
Now there may be a reason for the wealthy thus amusing themselves by imitating the poor.
今もなお、裕福な人たちがこのような貧乏ごっこをして楽しんでいるのかと言う疑問があります。
But what pleasure can the really poor find in imitating those who are still poorer?
その楽しみって、貧乏イミテーションで本当の貧乏って見つかるのか、彼らはまだ貧乏なのかしら？
It does not seem to me at all wise of the rich to invite the poor to take tea with them merely as an amusement.
私にはそうは思えません、裕福な賢者が貧乏人を招待して茶を飲み楽しむなんて事が有るのでしょうか。
Personally I think tea is well enough served after a good meal and in a spacious room, in separate cups and with new utensils.
個人的な意見として、お茶は広い部屋で美味しい食事の後に出す、別々の器と新しい道具が一番ですね。
I would keep it in caddies of modern ware or in lacquer containers or boxes made of silver or tin.
茶入はモダンな物や漆が施された物、箱も銀かブリキが良いと思います。
And I prefer a silver tea-spoon.
もちろん、私は銀のティースプーンを選びます。
The Way of Tea seems to me rather an objectionable one.
茶の湯は正反対の物に私には見えます。
Doku -go.
A criticism of Cha-no- yu from the Kokoro-no-soshi of Matsudaira Sadanobu
松平定信「心の草紙」から茶の湯批評
Mastudaira Sadanobu (1758-1829) one of the greatest statesmen of Tokugawa days, was minister to the Shogun Ienari . An able administrator and economist, he was also an author, and is well known as Gaku -o, the name he took on retirement in1812.
松平定信（１７５８−１８２９）、徳川幕府の重鎮で将軍家成の老中。官僚で経済人、また、作家としても活躍。１８１２隠居後「楽翁」と号す。
Making Tea is a very worshipful performance, I can tell you.
茶を点てることは一つの礼拝的儀式であるっと言えます。
The host invites his guests and come to meet them with an important and knowing air.
亭主は客を招き、緊張と知的な空気の中で茶を点てます。
Then it is “This scroll is by Kyodo. I gave a huge sum for it. This kettle is an Ashiya . It cost me I don't know how much. This Tea-bowl was picked up cheap it is true, but I don't suppose there is another like it. And as I am an adept at the Zen philosophy, why should I need a famous teacher? You just take a little tea, and ladle up the water, - so – and then put it into the kettle – and it will croon its pine-breeze song, and a wonderful peace steals over you, and over your guests too – if they are the right sort of people.”
これは教える道の巻物です。概略を紹介すると、釜は芦屋という値段があってないような名物、茶碗は安物を選んで使いますが、他に同じ物はないものです。そして、同時に私自身は禅宗の達人で師匠は必要ないのです。少量のお茶と汲んできた水、釜に入れ湯を沸かすと美しい「松風」が我々の心を和ませてくれます。これが粋人です。
Chajin are liable to a number of complaints such as blindness, a slandering tongue, curio mania, garden-mania, building-mania, swelled head, sycophancy, argumentativeness, over eating and drinking, obsession with technique and cleanliness, stinginess, introversion, covetousness and dilettantism.
– Tanaka Sensho , Chazen Ichimi .
茶人は以下の誹りを覚悟しなければなりません。盲目的、饒舌、骨董お宅、お庭お宅、建物お宅、うぬぼれや、おべっか使い、理屈っぽい奴、食いすぎ飲みすぎ、技術と清潔にとりつかれている、けちんぼ、内向的、欲張りで道楽者。
田中仙樵「禅茶一味」
Observations of Mastudaira Fumai on Cha-n- yu
松平不昧の茶の湯批評
Mastudaira Fumai Harusato , lord of the province of Izumo , flourished c. 1800, the most famous Chajin of his day.
松平不昧治郷、西暦１８００まで出雲藩主、当時最も有名な茶人。
“People may ridicule Tea Masters and say that they only care for what is add and crooked, and are always looking for old crocks and spend a lot of money on some curious utensil that they then proceed to use for making Tea.
人は茶人のことを嘲笑します。彼らは奇妙なものやねじまがったものを後生大事にして、いつも昔を再現して喜ぶ。骨董品に巨額を投じ、それでお茶を点てている。
But the fact is that there is a very good reason for using old Tea-bowls and utensils.
しかし、古い茶碗や道具を使うとても良い理由があります。
When vessels of pottery and lacquer are new they have an earthy or lacquery taste which must disappear with use before tea made with then gives out its proper taste.
陶器や漆器は新しいと臭いが付いていますから、茶の本来の味を味わう事が出来ないのです。よって、古い物の方が良い訳です。
As to the extravagance of spending money on these things, well, all men wants is food and furniture and utensils, and they do not fall from heaven or well out of the ground, and if his expenditure is according to his means there is nothing to complain about.
散財する贅沢ですが、そうですね、例えば、すべての人の欲求物は食べ物、家具、道具ですよね。地獄ににも行きたくないし悟って暮らしたい、そんな希望の為の出費は惜しみたくない訳です。
Only Tea must not be allowed to degenerate into a mere display of curios and so encourage a spirit of covetousness that is entirely alien from its true meaning.”
茶の湯だけは古物の持つ根本的な形を退化させるべきではありません。その事と貪欲な精神とは、対立した考えだとは思いますが。
“ Teaism means contentment.
茶の精神とは満足という事です。
The art of being contented with the unsatisfying.
芸術活動とは、不満足を伴って満足する。
So it was that Rikyu said that it began in luxury in the days of Ashikaga Yoshimasa and continued more or less as a kind of ostentation even to his time, so he reformed it and instituted Wabi-no-Cha-no-yu a kind of Hoben or Pious Device for securing this contentment through the use of discrimination or fastidiousness.
こらは利休居士が言いました。足利義正が贅沢な茶の湯を開催しそれが続いて来て、利休が侘の茶の湯を始めたのです。それは方便の一つかもしれませんが、信心をつなぐモノとして、また、差別や几帳面にすることへの充足感の到達場所として存在しました。
Because one must have the discrimination to enjoy making tea in an atmosphere of the severest simplicity using only bare necessities.
なぜなら、最低限と簡素の中の緊張感でお茶を点てる満足の為に差別が存在するのです。
So to live contentedly and joyfully with bare necessities is Teaism .
そぎ落とした充足感と快楽の中で生きることが茶の精神なのです。
We may go so far as to say that one who cannot do this is not a man at all.
私たちはこう言えるかもしれません、行動出来なけば男として認められないと。
I fear there are more who understand the form of Cha-no- yu than its inner spirit.
私は茶の湯精神より、その形だけを理解する人が沢山いることを憂いています。
Fewer still, perhaps, who, understanding this, carry it into their everyday life as they should do.
日常の中に、学んだことを生かしている人がどれだけいるだろうか。
There may be scarcely one in ten thousand.
万に一つの確率かもしれません。
Those who keep their Teaism for the Tea-room only are not properly educated in it.
茶室の中だけで茶の精神があればよいと思うことは、それは、学んでいないと同じことです。
Tea what is a Tea-room but a shelter from the rain?
茶室はただ雨やどりをするためだけの場所でしょうか？
Those who cannot practice Cha-no- yu without requiring any other reason for enjoying it than the thing itself should give it up.”
楽しみだけで茶の湯を学んでいる人は、辞めた方がよいです。
The Tea maxims of Nanbo Sokei and Rikyu
南坊宗啓と利休の茶の格言
The guests shall assemble in the waiting place and when all are ready shall announce their arrival by striking a board.
客は待合という所に集合し、全員そろったら木の板をたたき亭主に知らせます。
As to ablutions, the most essential thing in the Way of Tea is that the mind shall be cleansed of all ill-feeling.
水をもって心を清める、これが茶の道で最も根本的なことです。
The host shall come out and greet the guests, after which they shall enter the Tea-room.
亭主は客を迎え茶室に入ります。
If the host is not wealthy and so the utensils are not all they might be and the food is not specially good and the trees and stones in the Roji just natural, those who cannot appreciate such simple things had better leave at once.
もし亭主が裕福でなければ、道具は満足を与えるものでは無いし食事も特別なものでは無い、露地の木や石も自然には見えない。客達は侘茶を感謝すること無く退室することになります。
When the water boils audibly like the sound of the breezing the pines a bell is rung and the guests come in again.
お湯の沸くかすかな音、これを「松風」と言いますが、鐘が鳴り客は再び入室をします。
If the heat of the fire and of the water are not as they should be it is very reprehensible.
もし、釜の火やお湯が充分でなければ非難をしてかまいません。
Both outside and inside the Tea-room there must be no ordinary tittle-tattle.
茶室の外でも内でも、うわさ話をするようではダメです。
The meeting is one of host and guests, so there is no need of flattery.
客と亭主は本音でなければなりません、お世辞は無用なのです。
The meeting should not be longer than two hours, but an exception may be made if there is some lofty philosophical discussion.
茶事は二時間を越えてはいけませんが、一つだけ例外があります。それは、高い次元の哲学的議論が行われた場合です。
The Maxims of Hosokawa Tadaoki .
細川忠興の格言集
To enter the Nijiri one puts one's hand and then one's head, and bends down and, kneeling on one knee, slips sideways.
にじり口の入り方は、手をついて頭をおりさげて、膝を曲げて滑るように入ります。
When the guests have entered the Tea-room they should be silent.
客は茶室に入る時は静かにしなければなりません。
If they babble or whisper the host may be embarrassed.
騒がしくしたりひそひそ話しは、亭主を不快な思いにさせてしまいます。
Neither should they peep into the cupboard ( Doko ) if there is one.
同様に、洞庫がある場合は中を覗いてはいけません。
The most experienced of the guests replies to the host's greeting, and all bow.
一番経験のある客が出迎えた亭主へお礼を言い、全員で礼をします。
Those who are inexperienced should say nothing, but must not look awkward or bored.
経験の無い人たちはおどおどしたり退屈なそぶりを見せてはいけません。
Their demeanor should be natural and self-possessed.
品格は自然で冷静にしなければなりません。
It is the chief who praises the utensils and style of the Tea-room.
正客は道具や茶室を褒めます。
The younger people had better be quiet and look admiring.
若い人はむやみにしゃべらず聞き入っていること。
If the host tells a story or holds forth, even if he is wordy, one must keep one's mind taut as a drawn bow, and sit up with a straight back, not letting it touch the wall behind, and of course showing no sign of impatience in one's face.
もし、亭主が道具の言われや拝見のためそれを差し出したら、きちんと礼をして立ち上がり取って戻ります。けして、後ろの壁にぶつかるようなことをしてはいけません。もちろんあせった顔を見せてはダメです。
The menu of the Kaiseki should be only soup, two or three dishes of vegetables and Sake.
懐石料理の品は一汁二もしくは三采とお酒だけです。
It is unsuitable to the surroundings to have more.
普通の食事とはことなっています。
Rice cake, bean jelly, cooked chestnuts, boiled mushrooms and so on may be side dishes.
ご飯、味噌汁、栗料理、きのこ蒸、あってもう一品がいいところです。
The Tea maxims of Kuroda Josui .
黒田如水の格言集
Written up in his Mizuya .
彼の水屋で書かれたもの。
When you grind tea do so very quietly and carefully and yet not too slowly.
茶引候事、いかにも静かに回し、油断なく滞らぬ様に引可申事。
Wash the Tea-bowls and other utensils often so that no dirt may cling to them.
茶碗以下、あかつき不申様に度々洗可申事。
If you take one ladleful of hot water from Kettle take great care to replace it by another, and so make up for what is lost. Never use it up without replenishing.
釜の湯一ひゃく汲取候はば、又水一ひゃくさして候て、まどひ置可申候。つかひ捨、のみ捨に仕間敷事。
These maxims are not of a school of my own, but are from Rikyu , and so should be observed.
これらの格言は、我流ではなく利休居士の教えであり、助言を受けるべきです。
Most people are merely careless when they think they are calm, and fussy when they consider themselves expeditions.
多くの人たちは静かで思慮に欠け、騒ぐ時はきまって急いでいるときです。
But everyone con only act according to the capacity that is in him, and though a man's duty may be plain, yet the impurity of covetousness will quickly defile him.
皆は自分の持っている力量の中だけで行動をしますが、人は自分をごまかしてはいけないという任があります。欲張りといういやらしさは彼自身を汚します。
And one receives great kindness from parents and superiors in the first place, and then from colleagues and retainers, and if anyone neglects to repay this he will incur the punishment of heaven.
親の恩に勝るものは無く、同僚や家人もまた同様であります。もし、そのことをおろそかにする人は天から罰を受けるでしょう。
So that I may think of these three maxims every morning and evening when I make my tea I have written them up here.
朝や午後、私はお茶を点てるときこの格言を思い出し心に書き留めています。
Keicho 4the yare, 1 st month (1600) Josui .
慶長四年一月 如水
Be very careful to observe these.
この助言を大切に！
Obiter dicta of Kobori Enshu
小堀遠州のつぶやいた言葉
Cha-no- yu is nothing but Loyalty and Filial Piety, doing good work and minding your own business, and particularly keeping on good terms with your old friends.
茶の湯は何もありません、が、忠節と孝行、よい仕事をしたりあなたのビジネスに役立つでしょう。そして何より、古い友人達との良い関係を築いて行けます。
In spring the shelving mists, in summer the cuckoo lurking in the green foliage, in autumn the evening sky with its feeling of solitude, in winter the snow of early dawn, all these things are the essence of Teaism .
春には霧に包まれた風景、夏には青葉のかげで鳴くカッコウ、秋には孤独に包まれた夕空、冬には朝に積もる雪、すべては茶の湯の源になります。
And don't trouble yourself about rare utensils.
特別な道具所有に悩むことはありません。
Famous antiques are nothing in particular.
有名な骨董など特別何も必要ありません。
They were new enough once, and it is only their survival till now that makes them antique.
古物も元々は新物、いままで生き残りそして時代を付けただけの事です。
If antique are ugly they are no use, while new utensils of beautiful form should not be despised.
もしその骨董がふさわしくなければ使われませんでした。だから、新しい道具の素晴しい形を軽蔑すべきではありません。
Don't envy people because they have a large number of these things, or be discontented because you have few.
他をうらやんではいけません、彼らは素晴しい功績を積み上げてきただけなのです。不平を言っててはいけません、あなたはまだ少ししか持ち合わせていないだけのことです。
You can get the greatest enjoyment out of using even one utensil, and hand it down to your descendants into the bargain.
道具ではなく、もっと素晴しい喜びを手に入れることが出来ます。そして、そのモノを子孫へ継承していけばいいのです。
And as to food, even a plain bowl of rice will taste delicious if the host serves it with real cordiality, while the most delicate trout or carp will not please without it.
食事も同じ、亭主の真心はあれば一杯のご飯もそれはそれは美味しく頂けるでしょう。例えば、とても贅沢なマスや鯉料理を出す出さないという次元ではないのです。
So sitting all day long in the Tea-room with its dewy fence and twining creepers we must quietly await a guest, only taking care that the pine-breeze crooning of the kettle never ceases.
そして、湿った壁と蔦の生い茂る茶室で長い一日お客を待たなければなりません。ただそこにあるのは、松風の鳴る釜が一つありだけなのです。
Though there be no flowers
Though there be no straw-thatched hut,
Though there be no sea,
Quite a satisfying view
Is the Roji's evening calm.
花もみじ
とやまの藁もなかりけり
ただ、みわたすは
露路の夕暮れ
宗啓
The reference is to the famous verse of Teika quoted below,
「見渡すは 花ももみじも無かりけり 浦のとやまの 秋の夕暮れ」
これは定家の歌のわざと引用して作られました。
The maxims of Kobori Enshu
小堀遠州の格言
The hearth must never stepped over.
炉はけしてまたぐべからず。
If anyone goes out of the room he must do it so that it is audible in the next room.
もし誰かが部屋を出るときけして炉をまたいではいけません。となりでは、その気配がしているのです。
Should there be a large number of guests in a small room there is no objection to the chief guest sitting in the Tokonoma , or the last one in the entrance of the Mizuya .
ただし、その他の客は正客が床の間に座ったり水屋口に座ってもけして反論してはいけません。
The wall maxims of Karasu Maru Mitsuhiro
烏丸光広の壁の格言
Karasu Maru Mitsuhiro. Died 1639. A court noble and one of the greatest literary men of his time. Pupil of Hosokawa Yusai for Japanese verse. Rose to be Gon-Dainagon of the second rank.
烏丸光広、１６３９年没、廷臣で優れた文人。細川幽斎の門下生で権大納言まで出世した。
If you keep calm and untroubled by anything in creation, making your friends of the flowers of springtime and the tints of autumn, and taking a drop of liquor when you feel inclined, you need not regard the world as such a bad place.
もしあなたが静寂の中で何かを考え出そうとしたら、春の花や秋の紅葉を友として生け、孤独の中で一滴の酒を飲んでいる。これは最高の贅沢と言うものだ。
Just sit down quietly and arrange a flower or two, burn a stick of good incense and sip a cup of fine tea, with some old books for company; and if a congenial friend does happen to drop in, you may find it very comforting to chat with him about all sorts of people from ancient times to the present day.
座り、静かに、一輪か二輪の花を生け、よい香りの香に火をつけ、一口の茶をすすりながら仲間たちの為に古い本を読む。そして、もし突然友が尋ねて来たら、彼と昔からのすべての好き日を語り合うのです。
Some say this kind of life is best achieved by retiring to the hills, but however far way you live you will find no peace of mind if still harbor egoistic thoughts of honor and profit.
誰かは言うでしょう、こんな生き方は上りつめた人間だけが出来ること。遠い昔でも今でも、名誉欲や財産欲があれば来る事の出来ない、ここは平和な境地なのです。
So you may just as well live right in the middle of the city without changing your style or choosing any particular locality.
そしてここは丁度真ん中、あなたを変えるか、特別な場所を選ぶのか。
Monk as monk, layman as layman, the flowers are bright and the willow is green.
寺でも、俗でも、花は輝き柳は緑なのです。
Whether you are enlightened or not,
If you regard the mind of all things as the same,
Things are quit well as they are.
改心してもしなくても
すべての気持ちが同じと感じたら
それは感じたようにとても良い。
Wall maxims of Zen Priest Takuan Osho .
禅師、沢庵和尚の格言
Famous as Takuwan Osho was in his day, his name is now only known to the average Japanese as a synonym for the pickled radish he used as a relish for his rice, and which the Zen master is said to have invented.
沢庵和尚は日本人の間で、“たくわん”を発明したお坊さんとして有名です。彼が作った大根の漬物を“たくわん”と言います。
Why does one eat?
なぜ食べる？
Merely to satisfy hunger.
ただ空腹を満たすため。
If one is not hungry there is no need to eat.
もしお腹が空かなければ食べる必要はありません。
People have got into the bad habit of saying that they cannot eat unless food is made tasty.
人は味がしないと食べないっと、それは悪い習慣と言われていますが。
This is nothing but a device for preventing hunger.
そうじゃない、空腹を防ぐ役割をあります。
Eating is not a business, and if people cannot dispense with a relish with their food it is simply because they are not hungry.
食べることは仕事ではありません。もし人が食べ物を楽しんで食べなければ単純ですね、空腹ではないからです。
If people were not hungry they would never need to eat at all, and if any one is really hungry he won't refuse from mach less rice.
とにもかくにも、人が空腹でなければ食べる必要はありません。もし空腹なら生のご飯だって食べてしまうでしょう。
AS Buddha has said “ Take food like medicine. What need is there of relish.”
お釈迦さまはおっしゃっています。「食べ物は薬だと思って食しなさい。必要なのは楽しむことです。」
The Tea maxims of Matsudaira Fumai .
松平不昧の茶の格言
The characteristics of Cha-no- yu should be quiet, reticence and dignity.
茶の湯とは静寂、寡黙そして品格である。
As to the choice of a picture, it is best to pick one straight off without a lot of fuss and consideration.
絵画を選ぶがごとく、騒がず考え過ぎず直感で。
Skill in Cha-no- yu consists in making guests enjoy themselves.
茶の湯のスキルとは、彼らを楽しませる演出をすることに尽きる。
Expertise in serving tea consists in doing it so that there is nothing to notice.
茶のエキスパートとは、自然であることに尽きる。
As to the placing of the utensils, care is all it needs.
道具のすべてに気を配ること。
In the Kaiseki it is only necessary that there should be nothing uneatable.
懐石料理は一つだけ、それは食べられるモノを出すこと。
Do not neglect an opportunity for a Cha-no- yu on a snowy morning.
雪の朝は好機を逃してはならない。
Cha-no- yu is like the bamboos dripping with rain.
茶の湯は雨と共にふる竹のようなもの。
It is like the pine–trees laden with snow.
雪で重みを増した松の木のようなものである。
When the land is bare,
And the fields are colorless,
Then the view is best.
Better than the autumn tints,
Is this lack of color scheme.
地が見渡せる時
その土地は色がない。
そして、それが最も素晴しい景色なのだ。
秋の紅葉よりも
無色がよい。
The garden of the Yu-in is the best model.
Yu-in と言う庭が最も良い模範である。
The host should take it for granted that the guests are less expert than himself.
亭主は客人の未熟を理解しなければならない。
The flowers that are best at twilight are the wisteria and the bottle-gourd, at night the white plum-blossom, and in the morning the convolvulus and the lotus.
生ける花は、夕方には藤の花と瓢箪、夜には白い梅の花、朝にはヒルガオか蓮が良い。
For midday there are any number.
昼は特別なノモはない。
Only those are acceptable that are known to everyone and that all the poets have song.
皆が知っている歌を詠むことは良いと思う。
Very artless are those from the kitchen-garden.
あまり気を使わないのは台所である。
To insist too much on the exactly seasonable is a nuisance.
季節の取合わせに固執するのは迷惑行為である。
To study to please one's guests is well but to appear to do so is not.
客を喜ばせるために努力するのは良い、が、それをあからさまにするのは駄目である。
The Tea maxims of Matsudaira Naritada
松平斉忠の茶の湯格言
Matsudaura Naritada , or Tayasu Chunagon Naridata . Of the Tayasu branch of the Tokugawa family (Sankyo) contemporary of Ii Naosuke in the 19 th century.
松平斉忠、田安中納言斉忠、徳川家親族の田安家で井伊直弼と同時代の人。
In Tea the host is simplicity and the guest elegance.
茶の湯において、亭主は簡素で客はエレガントでなければならない。
If all is done in sincerity it is better than a thousand graces.
もそれが誠実に実行されれば、千の優雅に勝る。
Two evil things are to force on others what you like yourself, and decry other people's ideas and laud your own.
二つの悪い事が有り、一つは自分の価値観を人に押し付ける事。もう一つは、人の考えに対し悪口を言って自分に従わせようとする事です。
It is very delightful to hear the naturally elegant words of able people, and just as objectionable to experience the pretentious talk of the would-be clever.
ごく自然なエレガントな言葉を発する人は信頼に値する。他方、巧みな言葉で人におべっかを使う人は困惑します。
Decent people do not dislike the prosperous and do not speak nothing but ill of them, or envy the wealthy and estimate their possessions and behave in a flattering or boastful manner.
偉い人は成功の話は嫌いではなく、病気以外自分のことは何も喋りません。成功を羨み、相手の資産を推し量り、お世辞と自慢話に花を咲かせます。
And they don't tell you how they bought some valuable thing cheap or paid a lot for something quite ordinary.
彼らは価値のあるのもに対し安く値踏みし、当たり前に多くを散財していることは話しません。
Though we may like pictures and utensils, if we go to excess we shall lose our will-power.
思うに、絵や道具が好きで許容範囲を超えてしまいますが、それは自制心がなくなってしまったのでしょう。
Don't fancy flowers and things to eat out of their proper season, or like anything because it is different.
季節外れの花や食べ物はいらないし、変ったモノも必要ありません。
This applies to utensils too.
道具をことさら飾る事も同様です。
In all things that which is without sham untruth is to be sought.
すべての事柄は、詐欺や贋物が無いところに惹きつける何かがあるのです。
Natural elegance is the real elegance.
自然なエレガントは本当のエレガントなのです。
Striving after tastefulness is a sign of a nature shallow as a mountain well.
風雅とは、自然の浅い浅い場所で湧き出る山の泉です。
As I listen to the wind in the pines and sing to the moon under the eaves and try to again enlightenment I have put down what has come into my mind for my own discipline and instruction.
松のなびく風、軒先で月を見て歌う詩。悟るとは、自分自身が積み上げて来た鍛錬と勉学を置いた先にあるのだと思います。
The Rules of Zuihosai Issoku
Zuihosai Issoku の指示書
Tamaki Issei gives a set of instructions drawn up for pupils by his ancestor Zuihosai Issoku three generations back.
Tamaki Issei は三代前の Zuihosai Issoku の指示書をまとめました。
1 In the Way of Tea man does not live to divert himself with food and clothes alone, but the principle of Harmony, Reverence, Purity and Calm.
一、茶の湯者はその道において、衣食にとらわれ自分自身がら逃げてはならない。和敬清寂を根本とする。
2 Strive always to cultivate a delicate and fastidious taste.
二、敏感と精密の感性を磨くことを怠ってはならない。
3 If you do not develop adroitness of mind and act you are not likely to be able to utilize the teaching of the Way.
三、もし、精神や行動においての気力を湧き出させることが出来なければ、この道を行くことは出来ない。
4 The cleverness of this Way lies in adaptation to circumstances. Let there be no rivalry between different schools.
この道の賢実さとは、常に回りの状況と共であり、けして、他の教場との争いを起こすようなことはしてはいけない。
* Tea masters who know only their own school and take no heed of any other, and who make their pupils buy utensils at a high price because they are indispensable to their style, whereas they could do as well without them, are a great nuisance and no better than curio dealers.
茶人は普通自分の社中のみを知り他をあまり顧みません。そして、弟子に対して高額な道具を売りつけることが必要不可欠であると当然のことと思っています。本当はそうではないのですが、、、それは大迷惑行為であり道具商にもおとる行為なのです。
この事象に対し、他は他内は内で、批判してりしてはいけないっと言っています。
5 The object of the Way is the appreciation of the charm of applying natural things in a dignified design.
この道の形とは、厳粛の中にあって、自然でチャーミングな装飾と考えてよい。
6 The host must strive to give his guest pleasure by his deportment and by the seemly order of things.
亭主は客の喜びを旨とし、それは自身の品行と演出の品格による。
7 The guest must fully realize the pains taken by the host, and try to give him as little trouble as possible. The ideal relation between them is a mutual understanding and appreciation that needs no wards to express.
客は亭主の心使いを十二分に理解しなければならない。そして、出来る限り迷惑を掛けないように細心の注意を払う。お互いの理解と感謝の気持ちが有れば、自己を説明する言葉など必要はないのだ。
8 If both host and guest have the proper understanding they should carry out everything successfully. But this is not easy without both care and study.
もし、亭主と客に適切な了解があったならば、すべてを無にして完璧な場が生まれる。しかし、それはお互いの機智と修練を必要とする。
9 In case of a sudden hitch or anything happening unexpectedly, if one has not the wit to meet the situation some confusion my be cause, so one should not overlook the most trifling possibility.
突然の事故や予期せぬ出来事が起こった場合、その混乱を収めるのが機転であるが、もしそれが些細な偶発でも、けして見過ごしてはならない。
10 There have always been jokes against Cha-no- yu , and indeed some of its devotees invite ridicule by their want on tact and wit.
茶の湯は奇々とよく揶揄される、宗教的な熱狂よる演出や洒落がとにかくその原因である。
The above should be carefully borne in mind.
上記を常に心すべし。
First month of second year of Bunkyu . (1862)
Zuihosai Issoku .
An interesting contemporary account of a Cha- no- yu of the time of Hideyoshi id given by the able Jesuit missionary Father Luis Frois in his History of Japan, as follows:
茶の湯のとても重要な一時期の記述、秀吉がキリスト教の伝道を許可した牧師である Father Luis Frois の日本についての報告である。
“Among distinguished and wealthy Japanese it is the custom that, if they wish to show especial favor to a guest, they bring out their particular treasures for him to see before his departure.
卓越したものの中で、富裕階級の日本人は独特の文化をもっている。彼らが客に対し特別の愛情を示す場合、彼らの宝物を見せる機会を我々与え、出発する前にその場に招待をしてくれました。
These are utensils and necessary articles for drinking a certain powdered herb called Cha, which is not only agreeable to the taste of those who are used to it, but also good for their health.
その宝物とは、お茶と言う葉を煎じた飲み物の道具や器具なのです。茶は香りや味を楽しむだけではなく、健康のための妙薬として存在しているのです。
And all the utensils needed for this are as it were the jewelry of the Japanese, regarded just as rings, gems, fine necklace, pearls, rubies and diamonds are with us.
茶の湯に使われる道具は、我々の社会における宝石、リングやネックレス、真珠、ルビー、ダイヤモンドと同じくらいの価値を持っています。
And there are also jewelers among them who are very experienced in their knowledge of these things and their value, and who act as agents in buying and selling them, appraising them according to either their material, their shape or their antiquity.
彼らはそれをとても高額に取引していて、素材、形、時代などを評価の対象としています。
So when they invite you to partake of this herb, and the best quality costs some nine or ten cruzados the pond, and show you their famous treasures, they first of all give you a banquet according to their means.
この会に招待された時、このコストは９から１０ cruzados ポンドはするが、それらの高額な宝物を見ることが出来ます。そしてその前に、豪華な食事が振舞われるのも特徴です。
And the place where this is done is a special room that is used only for these solemnities, and the cleanliness, good disposition and order of everything is wonderful.
それが行われる場所は、それだけの特別な部屋で、荘厳と清潔、良質な雰囲気、兎に角すべてが素晴しいのです。
“Now the next day at nine in the morning they sent a messenger for me and I went with a Japanese Brother and another, a wealthy man and a good Christian, who looked after all our affairs, called Cosme Kozen .
朝の九時迎えがまいりました、私は日本の兄弟ともう一人と連れ立って行きます。富豪と良きクリスチャン、迎えにきたのは Cosme Kozen と言う人です。
We were led along by side of the living-rooms and then through a little door just enough for one person to enter easily.
私たちはリビングルームの様な建物の隣へ促せれて来ました。そして、一人が通れるほどの小さなドアから中に入りました。
Then through a straight narrow corridor and up a flight of steps made of cedar, that gave one the impression that it was the first time anyone had ever trodden there, and everything of such perfect workmanship that it was impossible to describe it.
狭いまっすぐな廊下を通り杉で出来た階段を上がりました、それはまだ誰も歩いたことが無いくらいに綺麗なもので、職人の完璧な仕事、これを説明するのは不可能だと思います。
We then reached a court and then a wider corridor giving on to a room where we were to be served with a meal.
私たちは庭を通り広い廊下から一つの部屋へ案内され、そこで食事が振舞われました。
It was little larger than the court and to my eyes appeared very remarkable.
部屋は庭より少し広いでしょうか、そして私の目にとても不思議な光景が現れたのです。
On one side of it was a sort of cupboard as is usual here, and immediately beside this was a hearth of black color about a yard in circumference, that shone like the brightest mirror, strange to say, in spite of its pitch-black hue.
まず食器戸棚らしくものがあり、それは普通でしたが、なんと、その隣に炉がありました。周囲１メートルぐらいの縁で黒く鏡のように輝いています。漆で塗られているにもかかわらずです、不思議としか言いようがありません。
On it there stood a kettle of pleasing shape on a very beautiful tripod.
形の良いヤカンが素敵な三脚（五徳）の上でお湯を沸かしています。
The ashes on which the glowing charcoal lay looked like finely ground and sifted eggshells.
よく整備されたグラウンドのような灰の上に炭が燃えていて、それが卵の殻をすったような朽ち方をしています。
Everything was exquisitely clean and set out with such order as to be beyond description, and this is not that perhaps so remarkable seeing that on these occasions they concentrate their attention only on these things.
すべてが完璧なまでに清潔と整頓、このオーダーは説明の粋を超えています。珍しいものを見るということではなく、彼らのすべての神経をこの演出に集中させた結果を見ているという感じです。
The charcoal is not that which is generally used, but is brought from a long distance and cut up with a handsaw in such a manner that it kindles very quickly and so continues for a long while without going out or emitting smoke.
炭は普通のものではありません。長いままの炭を手に入れて、法則によってカットして使います。よく燃え長く燃え続け、なおかつ煙も出ません。
The kettle, so one of my companions told me, Daigo our host had bought by a very fortunate chance for six hundred cruzados , but its value was much greater.
釜について係りの人が教えてくれました。「主人 Daigo はこの釜を６００ cruzados で手に入れたが、この価値はもっと高いので良い買い物をした。」そうです。
“We sat down on the painfully clean mats that had a surface of the finest texture, and then they began to bring in the food.
私たちは、洗練された美しい表面をもつ病的なくらい清潔なマットの上に座り、運ばれてくる料理をいただきました。
I don't recommend this food at all, for Japan is a very sterile land, but the service, the order, the cleanliness and the utensils were all worthy of admiration.
料理についても、とにかく、説明しがたく、日本はとても貧しい島ですが、サービス、献立、清潔さと道具の素晴しさは感嘆するばかりでした。
And I consider it absolutely certain that nowhere can a meal be served with such spotless cleanliness or better order and etiquette than in Japan .
私は確信をもって言えます、完璧なまでの清潔さや献立そしてエチケットを他の日本で見たことがありません。
So also when there are many people at a meal you do not hear a single word from those who serve it, but all goes off so smoothly and correctly that it is astonishing.
加えて、食事の最中に一言の言葉のなく、淡々と、スムーズに選択的に所作が行われる。なんと驚愕すべき出来事なのでしょうか。
“After the meal we knelt down and thanked our Lord God that the Japanese Christians had such good customs.
食事の後には主イエスキリストに感謝の祈りを捧げます。日本人のクリスチャンは本当に素晴しいと思います。
Then Diogo prepared the Tea and served it with his own hands.
後に Diogo さんが自ら茶を立ててくれました。
This is the powder I spoke of, and it is put into a porcelain vessel with hot water.
茶とは先ほど申し上げ粉状のものですが、それを磁器の碗でお湯で溶いて飲みます。
Then he showed me among many other treasure that he had there a tripod, little more than a span round, on which he place the lid of the kettle when he took it off.
お茶が飲み終わると、彼は沢山の宝物を私に見せてくれました。その中の一つが三脚（五徳）で、親指と人差し指の間ぐらいの大きさで釜の蓋が載せるためのものの様です。
I took it in my hand.
手にとりました。
It was of iron, and so worn with age in many place that it showed signs of having broken through and been repaired in two.
鉄製でとても古そうなのが傷で判ります、二度修理されているようでした。
He told me it was one of the most valuable tripods in Japan , and very famous, and that it had cost him a thousand and thirty cruzados but he considered it worth more.
彼は私に言いました、この五徳は日本でもっとも価値が有り有名なもの、購入に１０３０ cruzados は払ったがそれ以上の価値が有ると思うと。
All these utensils are kept in fine bags of silk and brocade, each in its own box.
すべての道具は専用の絹や緞子製の袋に入れられていて、さらに箱に入れられています。
He told me that he had more of these treasures, but could not show them now as they were stored away in a place where it was not easy to get at them, but that he would show us them if we came again.
彼はもっと宝物を持っているそうですが、奥にしまってあって今日は見せることが出来ないと言いました。もう一度訪問するのなら見せられるっと言いました。
However the value of these things is not so remarkable, for there is in Miyako a lord named Sotai ( Matsunaga Hisahide ) who has a vessel of pottery no bigger than a pomegranate that is used for this powder tea, which is said to be worth twenty-five or thirty thousand cruzados .
とにかくこの価値基準は理解ができません。都には Sotai （ Matsunaga Hisahide ）という貴族がいて、イチジクの実ほどの陶器の茶碗を持っているらしいのですが、値段が２万５千から３万 cruzados するらしいです。
It is called Kukumugami .
Kukumugami というらしいです。
• The famous caddy “ Tsukumogami or Dishevelled Hair, which Matsunaga presented to Nobunaga.
有名な器で「九十九髪」の銘、松永が信長に贈ったと言われている。
I don't say it could be sold much, but it is quit likely some Prince might give ten thousand for it.
なぜそんなに高額なのかは判りませんが、お姫様がこれを１万で売り渡したそうです。
For there are many of these utensils worth from three to ten thousand cruzados , and they are quit often bought and sold.
この様な価値のある道具が３千から１万 cruzados でしばしば取引されているようです。
But they are not sold in any public place, for then they would fetch nothing.
しかし、彼らは庶民に売ることはけしてしないし、取り入れることもけしてありません。
One must go to the owner and ask him with much ceremony whether he will be so gracious as to sell the vessel.
持ち主は相手の茶の儀式の腕前を調べ、大切に扱うかどうかなどを見定めて器を売ります。
And these people consider some swords as equally valuable.
この人たちは武器である刀と同じ価値をこの道具に持っているのです。