By Hisamatsu Fûyô
Hisamatsu
Masagorô (ca. 1790-1845), named Fûyô, was a fourth-generation successor of
Kurosawa Kinko1 and was of exceptional
importance to the Kinko school2. Like Kinko himself,
Masagorô made great efforts to further the Zen aspect of shakuhachi playing and
had strong reservations against the use of the instrument in worldly music.
Three writings of his have survived: Hitori Mondo (written
in 1823), Hitori Kotoba (before
1830) and Kaisei Hôgo (1838).
These writings are of special importance as they comprise the only surviving
statements from a shakuhachi player from the Fuke tradition on
the
spiritual background to this practice.
This
essay was printed in the Chikuyû journal,
a quarterly publication of the Chikuyûsha3. In
the introduction is it said that Fûyô wrote this essay before 1830, and that it
was often copied. It is not stated whose hand wrote the manuscript which served
as a basis for this printed version.
The
title, which can be read as either Hitorigoto or Dokugen,
means “monologue”.
■ Whoever studies the
shakuhachi must rid himself of worldly thoughts, separate himself from his
desires and put aside [the idea of] being superior or inferior. He must concentrate
his mind in his stomach4, so that he can hear the sound of the bamboo. That
is the most important thing. For this reason, he must play with his eyes
closed. Especially in the case of beginners, worldly thoughts will arise when
they do not close their eyes.
■ The shakuhachi must
not be too tightly held. If it is too tightly held, tensions arise. Should
tensions arise, you must relax your mind. Know that tension is the “sickness of
the shakuhachi”. The shakuhachi is held with only the thumb and middle finger
of the right hand, but you must not grip it too tightly5.
■ There are rules for
playing the shakuhachi. The basic rule is the notation itself. Whoever injures
the rules is outside of the tradition. For this reason one must not repeatedly
deviate from the notation.
■ Meri-kari
is of
particular importance. If meri-kari is lacking [when
playing the shakuhachi], it is as if you were blowing through a stick, and it
is most disgraceful. It is actually good when the tone becomes certain and
firm, but wildly blowing about is most unpleasant.
1
Kurosawa Kinko (1710-1770) joined the Fuke tradition at the
age of 19 and studied the shakuhachi under Ikkei, komusô at Shôjuken Temple in Nagasaki. He travelled throughout Japan as a begging monk and compiled a collection of 36 honkyoku, which
have remained until today the definitive repertoire of the Kinko school in Japan. In the year 1768 he became shinanban, teacher
of both main temples of the Fuke tradition in Edo (modern day
Tokyo), Reihô-ji and Ichigetsu-ji and taught there until his
death two years later.
2
The Kinko school began as a revival movement within the Fuke
tradition and was originally not a movement that aimed to further develop
shakuhachi music. Instead it represented simply one of many traditions within
the Fuke lineages. In any case the movement acquired particular importance as it
from that point on shaped the tradition in both of the tradition’s main temples
in Edo.
3
The Chikuyusha
forms today one of the traditions
within the Kinko School. At this time, it is head by Kawase Junsuke III.
4
Literally “settling one’s mind in the region below the
navel.”
5
It is worth mentioning that today the best players prefer a
reversed hand position in which the left hand is the lower hand which holds the
instrument.
■ One must not
deliberately strive from the beginning to achieve a beautiful tone. It is disgraceful
when someone loves to produce a splendid tone.
■ When the pieces are
played they should be uninterrupted from beginning to end, like the stem of the
lotus6.
They must be played without interrupting this connection. In the
interruption-connection of the breath the playing happens by using one’s mind7. In this way from the
beginning, no interruptions will arise. There is no place for interruptions in
the case of tsukiro, nayashi and so forth8.
■ Concerning the
pieces, it is of great importance that with respect to the time structure the
correct measure prevails. The correct measure must not be omitted. Calm pieces
have the correct measure when they are played calmly; energetic pieces have the
correct measure when they are played energetically. Each individual piece has a
different time-structure. This must be thoroughly practiced.
■ A beginner must
firstly practice the technique of playing the shakuhachi. When he has mastered
the technique, he must penetrate the mind of the music. Mastery does not lay in
[the mastery of] technique, but in [penetrating] the mind of the music. Penetrating
the mind of the music, however, is contained in technical mastery. Whoever has
not mastered the technique will not penetrate the mind of the music. Whoever
preoccupies himself as a beginner with the mind of the music, will stay his entire
life a theoretician of the way of bamboo. [This is] beyond doubt!
■ It is bad to always
blow around wildly with all your strength. One must play evenly and with
certainty.
■ Recently the finger
holes have been enlarged10. But still [instruments with] small finger holes
should not be called bad. When the bamboo is played fully and with a mature
style, then the difference between large and small finger holes is of no importance.
For the beginner it is difficult to play [on an instrument] with small finger
holes. But [for him as
well] it is of no importance whether the finger holes are large or small.
■ There are people who
believe that the true meaning of the bamboo tone “sadness about impermanence”11 is to be expressed
sadly and with deep emotions. How ridiculous! Playing shakuhachi is actually
not about being heard by others. The shakuhachi is an instrument to develop
one’s own mind. He who has freed himself from everything can hear this. Whoever
feels sadness [when listening to shakuhachi music] becomes even sadder;
whoever feels
happiness becomes even happier. Sadness and joy are not on the side of the
musician, but on that of the listener. [This is] beyond doubt!
6
Unlike bamboo, the lotus has no nodes.
7
This means remaining present with the mind over the breath
pauses, thus establishing a connection between individual tone units.
8
Tsukiro is the older term for nayashi; the meaning of the phrase, however, remains unclear.
10
Around the turn of the 18th century, the finger holes of the shakuhachi of the Kinko School were enlarged, in particular making the execution of the meri-kari technique
easier.
11
Mono no aware
■ No one should be
criticized when he strays [from the set form of the pieces] when playing alone.
However, when he plays together [with someone else] and his partner strays
[from the form], they must harmonize with one another. When one of the two wants
to dominate the other, the bamboo's tone becomes chaotic. Indeed, the true meaning
of the shakuhachi is not found in playing together, but nonetheless those
who play together in
harmony actualize shugyô12. When playing together, helping the other must
be the most important concern.
■ “Other pieces”13 should not be
disregarded as “farmer’s music”14. Do not such pieces also have the wondrous yûgen tone15? Should we not learn
them as well?
■ The beginner must
take care that the pitch of the shakuhachi is balanced. If the pitch of the bamboo
is poor, and he continues to practice in this way, his own [perception of
correct] pitch becomes poor and he will stray from the correct path. It is
difficult for the beginner to judge if his intonation is good or bad. Still he
will, if he
studies seriously,
later be able to recognize it more or less correctly.
■ The [purity of the]
intonation of an individual shakuhachi16 varies. Normally the intonation
of the first and second finger hole is better than that of the third and
fourth. Holes four and five are [on most instruments] not as good as two and
three17. A good shakuhachi is one on which the pitches
of the five fingerholes sound out clearly, neither too weak nor too bold18. On most
[instruments], however, the five holes are insufficient19. What the bamboo does not automatically
produce [i.e. an even intonation], human skill cannot correct. Such shakuhachi
are to be played by submitting to their intonation and by equalizing the
intonation through playing technique.
12
The practice of playing the shakuhachi. The essence is
playing “free from reason”, shugyo is thus the spiritual discipline to reach the stage where tettei on, “the
absolute tone”, appears. The “great bamboo” is then blown with kisoku the
spiritual breath. Kisoku shugyô (“the discipline of spiritual breathing“) defines the
shakuhachi as a tool of Zen. Within this context of shugyô, the honkyoku are not a
repertoire to be mastered in their entirety in order that one is considered a
true player. It is not important how many pieces you have mastered, but rather much
more how you play one single piece. In a source text, all honkyoku are
reduced to a single piece; this piece
is reduced to mukyoku
“no piece”; this in turn is reduced to kisoku the
spiritual breath; and kisoku finally is reduced to kyomu, “emptiness and nothingness”. “What meaning”, ends the
text, “has the number of pieces learned?”
13
Meant here are pieces which stand outside the Fuke
tradition.
14
Jap. inakadake
“rural bamboo“.
15
Jap. yûgen (yû: unclear, gen: secret, dark) describes the aesthetic principal of honkyoku. This
ideal that penetrates all of Japanese art, consists in the fact that innuendo
is valued more highly than complete clarity, the excerpt valued more than the
whole. It also consists in a turning away from closed symmetrical forms in
favor of freer wanderings in which the individual parts are to be found in
mutual interdependence. The contradiction between precisely executed details
and the loosely-fitted entire form is not to be seen as a contradiction but as complementary
elements. Yûgen is, however, not only realized in the form. The rhythm of honkyoku is not manifested
as a series of regular and predictable stresses, but consists of a sort of
hesitation so that an irregular
sequence of tension and relaxation arises. Another aspect of
this veiled art is the inexactly definable pitch of grace notes. The same goes
for the slow tempo in which the honkyoku
are played: a significant moment of
time is placed between the tone-events, for even taking a breath becomes part
of the music.
16
Plural.
17
As is also common in the notation, the numbers refer to the
opened finger holes.
18
Possibly this last remark refers less to the tone color than
to its pitch. Then the translation would read “neither too low nor too high”.
19
This means the pitch is irregular.
■ Nothing has been
transmitted by a master in writing on the subject of how shakuhachi are made.
Many make the holes according to their own ideas and without much knowledge,
and polish the shakuhachi with all sorts of herbs to produce an outer shine
that confuses the [innocent] beginner. Such people are only interested in money.
I will not say anything more about that. What a pity for the bamboo, which is
naturally provided with a good tone! When shakuhachi are produced by such
idiots, the bamboo is crippled forever and in the end is nothing more than a
bamboo club. How sad!
■ There are many who
only think about memorizing the external form when learning a piece. This is a
grave misunderstanding. Meri-kari and the proper
time-structure is the essence [of shakuhachi playing] and one who plays,
understanding this after having learned the external form, is a good player. A
beginner or a mediocre player is under no circumstances capable of doing so20. [For such players]
the most important thing is that they imitate their teacher in everything. This
is why the choice of teacher is of such fundamental importance. One must not be
careless in this! Only playing the outer form may not be called playing the
shakuhachi and has nothing to do with the shakuhachi. Be very careful to avoid this!
■ There are many who
can produce a tone that resembles [that of the shakuhachi] and who already
criticize others, disdaining some who are better than themselves. Entrusting
yourself to such people and learning from them is meaningless. With deceitful
slander they mislead beginners. Whoever is [once] misled will his whole life long
never be able to step onto the correct path. A village without birds will be
invaded by [false teachers like] bats21, who spread untruths
and cheat the ignorant. So keep your distance when people appear who have not
themselves achieved [mastery]. Do not linger there! How pitiful! In the end one
must give one’s life entirely to this matter. That is everything!
■ Shakuhachi teachers
who meet someone who plays better than themselves should truly wish to allow
his students to hear this bamboo tone22, and to teach and
lead them accordingly. These students should not separate from their teacher
but should have trust in his judgment.
■ In today’s practice
there are pieces which are not played alone, but rather together with sangen23. Yet in doing so, the
shakuhachi is deprived of its bamboo tone and loses its true meaning. This
practice is like being arrogant of being the most common of people and being
proud of going about with base prostitutes. These people should be careful
about straying from the right path to the wrong one. Keep away [from
them]! Such people have nothing to do
with the shakuhachi. They seem to play it, but in fact only steal its name and
defile the shakuhachi, which is an important tool in Zen. They should be on
their guard! Members of the Fuke tradition should forbid this [practice]. In
any case, the end of time has been reached and the end of the right path is in
sight. Nonetheless, whoever wants to study the way of bamboo seriously and with
dedication must put [these people] aside and not get involved with them.
20
This means indeed that he cannot yet understand the essence
of playing the shakuhachi, as he has not yet mastered the external form of the
pieces, which is a pre-requisite to this understanding.
21
This refers to the saying: “Bats come to a village without
birds”. In this case: where no authentic masters are to be found, false ones settle
in.
22
i.e. the better player
23
Jap. sangen, lit. “three strings”, one name for the shamisen.
■ As I have described
here, it should be easy for the beginner to find the right path. Still these
were [only] general explanations so that [the student] does not end up on the
wrong path. How one plays shakuhachi is something each person must learn from
his teacher.
 kashikô24.
24 A closure common in letters.
