contents

 

               Ⅰ　　Kokyuh Hoh / the methods of breathing:

 

                            ――　　Thoracic method and

                                      Abdominal method, or Se-ika tanden method

      

                Ⅱ　　 Kokyuh / Breath　and Iki zukai / Breathing

 

                Ⅲ　　 Choh soku / Long breathing and

                                          Tan soku / Short breathing

 

                Ⅳ　　  Ki-kankaku / Ki-sense

 

　　　　　　　　Ⅴ　　The features of Ki-kankaku / Ki-sense　　⑴

 

　　　　　　　　　　　　　　　――　　its forms /types

 

               Ⅵ　　The feasures of Ki-kankaku / Ki-sense　　⑵

 

　　　　　　　　　　　　　　　――　　its workings

 

               Ⅶ　　Breathing and Ki-kankaku / Ki-sense　relevant to

 

                      Interpersonal Relationships and < Ma >

 

                       
               

                                    prefice

 

 

    One breathes, for example,

 

                      deeply in the early morning, crisp clear cut, and cool,

     

       as when one, leisurely lying flat on a spring green field, lets out a

 

           contented little sigh.

 

   Or, after having climbed up the steep slope of a hill,

 

                                    one grasps for air.

 

 

      It is not that one takes iki / breath only such situations as mentioned

 

   above.

 

     In the ordinary, everyday world of interpersonal relationships, for

 

    two people thereof, if there exists Ma like ' a serene pond '  ---  to

 

   put it another way, Ma* made up with Hodo Hodo / moderate and

 

   Fusoku Furi / < neither (too) close nor (too) remote >  ---  iki / breath

 

   they take:  is long, slow and relaxed.

 

                                   _________________

 

                                     * Regarding with Ma, please refer to my

 

                                     previous paper;  《　Ma and interpersonal

 

                                     relationships　》

 

                                                      ___________________

 

 

    Imagine, then, the case that two people at first, have a light, little

 

  chat, but soon they get so excited, and escalate into heated discussion.

 

  At this moment, iki and/or kokyuh, that is, breath of both becomes an

 

  exchange of rough, short ones.

 

    Generally, people try, without notice or unconsciously, to take various

 

  kinds of iki / kokyuh / breath.  Spotlighting on this phenomenona of iki /

 

  kokyuh / breath and kokyuh hoh / breathing method, allow me hereafter

 

  proceed to consider and examine the composition /maintemance of Ma

 

  in interpersonal relationships. 

 

 

 

        I     Kokyuh Hoh / the Bethods of Breath (-ing )

 

 

 

 

 

   Between iki /kokyuh/ breath and composing and/or maintaining Ma is

 

  there an imperative relevance.  That is to say, at the substratum or found-

 

  ation of Ma, it is assumed the existence of iki / hokyuh.

 

    It is exactly breath / breathing that gives life and death to Ma ---

 

  so it could be assumed.  It would not, then, too much to say that breath-

 

  ing awakens / activates Ma, or makes it decline / disappear it.

 

    Keeping in mind the elementary remarks above mentioned, let us now

 

  consider the methods of iki / kokyuh / breath.

 

   To roughly classify, there are two different types:

 

   The one is kyohsiki kokyuh / thoracic breath, the other is fukusiki kokyuh/

 

  abdominal breath.

 

    With regard to the method of thoracic breath, it is explained in the

 

   KOHJI-EN* as follows.

 

                                   __________________

 

                                     *  The KOJI-EN is the brand name of Japa-

                                        nese language dictionary; it is installed in

                                        the SHARP RLECTRIC DICTIONARY  PW-

                                        AC920.

                                         A word; All the dictionaries used in the

                                         present paperd belong to the above men-

                                         tioned  electric dictionary.

 

 

                                           

                          Kyohshiki Kokyuh

 

                          （【 theoracic breath / respiration 】

 

                               respiration mainly exercised by the movement of

 

                               ribs with intercostal muscles.  Thoracic breathing

 

                               is dominant among women, and generally obseved

 

                               when inactive.    breast breath  *

 

   

                                            * The original one is that of Japanese expla-

 

                                           nation, and its translation is made by me,

  

                                           the writer of the present paper.  The follow-

 

                                            ing translations of the present paper paren-

 

                                            thesized with square barckets 〔　　〕 are all

 

                                            mine.

 

 

          

    To clarify this type of breathing a little more a detail, it is the movement

 

   of lungs, the upper part of rib cages, taking in /inhaling, and sending out /

 

   exhaling, air.  This type of breathing is shallow and short;  and as admin-

 

   istered by automatic nerves, it is usually, natural  ---  that is, unconscious.

 

      It is also true that we are familiar to taking a long deep breath of this

 

   type as when we try as stretching  exercise at the last stage of radio

 

   gymnastics, or in a word and at a seashore.

 

     On the other hand, to look up abdominal breath in the  KOJI-EN,

 

 

                         fukushiki kokyuh

 

                        〔【 abdominal breath 】

 

                           brething mainly exercised by stretching midriff

 

                                      belly breath　　〕

 

 

    To add some more, it is the body  movement of breathing, in holding

 

   mid-riff up and down, and so stretching ribcages. At this moment, con-

 

   sciousness is supposed to concentrated on se-ika tanden, the lower

 

   part of abdomin under a navel;  it is called < abdomen-under-navel

    breath>  ---  that is, the most characteristic feature of the abdominal

 

    breath type which must be especially indicated.

 

     Referring again to the KOJI-EN for se-ika tanden;

 

 

                          se-ika tanden

 

                          〔　It is the part of abdomen which lies under navel.

 

                               It is said that if you train this part, you would

 

                               acquire health and courage. 〕

 

                       

   Abdominal breath is exercised concentrating concsiousnesss on the lower

 

   part of abdomen under navel, where breathing out or exhaling is most

 

   emphasized.  In terms of the present concern, < Ma and ikizuka-i / breath-

   ing >, this type of abdominal breath is  ---  it should be mentioned in

 

   advance   ---  exactly the pivot of maintaining / composing Ma.

 

     Accordingly, I would like to consider and examine fukushiki kokyuh /

 

   abdominal breath of se-ika tanden kokyuh / abdomen-under-navel

 

   breath, for a while.

 

     As regards se-ika tanden kokyuh / abdomen-under-naval breath  ---

 

   in classic China, various kinds / methods of abdominal breathing, or

 

   by abdomen-under-navel breath were developed, and advocated;

 

   and introduced introduced to Japan. Yet, it seems, in the present con- 

 

   text, not appropriate tosearch the introduction / development in Japan,

 

   and so, it would rather be better to leave it out.

 

     Instead, allow me to present the method of se-ika tanden kokyuh /

 

   abdomen-under-navel breath formed on the basis of my personal

 

   knowledge and experience / exercise.

 

     The particular method of abdominal method of abdominal breathing,

 

    ---  i.e., se-ika tanden kokyuh  / abdomen-under-navel breath, conksists

 

    of 3 steps;

 

  

                          i)  Kyuh soku* / breathing-in or inhaling

 

                          ii)  Shi soku / to hold or stop breathing, or to take a pause

 

                         iii) To soku / breathing-out or exhaling 

 

 

                                             _________________

 

                                               *  Soku is the word expressed and pro-

                                                   nounced by the Chinese charcter for

                                                   for Japanese word, iki / kokyuh.

                                                                       _______________

 

 

    The ratio of the 3 different steps is approximately 1:2:3.  

 

   And special emphasis must be place on the third step, i.e., sending out

 

   air, or exhaling.

 

    Now, let us make a specification of the 3-steps method of se-ika tanden

 

   kokyuh.

 

       The first step :  kyuh soku.

 

   Breathing in / inhaling air of this step is so called 'natural breath.'

 

     Taking air into the lungs as usual.  It is light, shallow, and short

 

   ( not long ) iki / breath. As it is the ordinary kind that one unconsciously

 

   breathes in air under automatic nerves, so called ‹natural› ,　or sizen na

 

   iki : kokyuh / breath.

 

    Next, the second step is shi soku.

 

   To take a pause  ---  it is to hold a breath ( iki : kokyuh ).  After inhaling

 

   air, or breathing it in, or exercising iki : kokyuh, it is suspended for a short

 

   time, with consciousness. The method exercised here is to let inhaled

 

   air down to the bottom of lungs, stretching midriff and ribcage.

 

    It is the moment of ' pause.'  And just for a short while  ---   for approx-

 

   imately 20~30 seconds.  To stop breathing so as to face with a quiet

 

   time for a while.  Never try hard ;  it is unnecessary to stop breathing,

 

   iki : kokyuh no longer.

 

        The third step ;  to- soku.

 

   It is to breathe / exhale out air by using abdominal muscles, and con-

 

   centrating consciousness on se-ika tanden, or the lower part of abdomen

 

   under navel, and to send out air from the body slowly and ' little by little.'

 

    Just ' little by little '  ---  that is, it is anotherd way different from ex-

 

   haling air at a burst.

 

    What is important about this step is to continually breathe out a little

 

   amount of air as much as possible, not excessively though, taking a

 

   considerably long time.  Approximately 3 times longer than the first

 

   step of breathing.

 

     The above is the outline of se-ika-tanden-kokyuh method.

 

    After the 3-step breathing is finished, there comes a small, ordinary

 

   kokyuh : iki, or 'natural breath' of usually thoracic type.

 

     This assumes a form of taking a  breath ( kokyuh : iki ) between a set

 

   of 3 steps of breathing and a succeeding one, and is taken as breathing

 

   for a ' rest .'

 

     The rest here means predparation for, or adjutment to, the next set

 

   of 3 steps of breathing, so it may well I called se-i soku / preparing or

 

   adjustment kokyuh: iki / breath .

 

     To characterize the method of abdominal fbreathing / se-ika tanden

 

   kokyuh, once more :  it goesf as follows :

 

          Kyuh soku, Shi soku, To- soku plus Se-i soku

 

                 = 3 steps + 1 step

 

    And as already ndicated, the third step of breathing, that is, To-soku /

 

    breath-out deserves special attention.

 

      To soku is classifiable into two kinds of kokyuh : iki :

 

                   

                  choh soku /  long breath

 

                   tan soku  /  short breath 

 

        

      Here, let me to take up choh soku /long breath.

 

   The features of this kind could be expressed by adjectives such as :

 

 

                    deep

 

                        heavey,  hard

 

                     slow

 

                       soft, tender

 

                              gentle

 

                            mild    -----       etc. 

 

 

   Tan soku / short breath goes as follows.

 

 

                               hallow

 

                                 quick, speedy

 

                                              hasty

 

                                 harsh,  rough   -----    etc.

 

 

    Choh soku / long breath contributes to relaxation and tranquilization of

 

    mental / emotional excitment, recovery of mental / physical balance

 

    and produces cool sense or state of mind. 

 

      Tan soku / short breath is deffective for a short term.  At a breath.

 

    As when, at the summer event of ' su-ika wari,' you , with a mask on

 

    your eyes, chop down a water-melon, by a stick at a seashore.

  

    In this connection, to more specify the basic attitude / posture to take

 

  the abdominal brething or se-ika tanden kokyuh / abdomen-under-navel-

 

  breath (-ing).

 

     First, it is the attitude of putting yourself ( mind and body ) in a state

 

   of relaxation.  More concretely speaking, it is like a state of fatigue after

 

   playing a sports game, or like when you get so exhausted, and so,

 

   sink into a sofa, after coming home from shopping with bags in both

 

    of your hands.

 

      As for the posture of your body, it is that you droop your shoulders,

 

    or look up at the sky absent-minded or vacantly.  Or kind of 'apathy'

 

    state.  And to breathe slowly.

 

      The 3 steps of < Kyuh soku --- Shi soku --- To- soku > should be

 

    desirably exercised in a tempo: < slow --- slow --- slow >.

 

     What is, accordingly, most necessary is to take the relaxed and slow

 

    breathing attitude / posture, in the sense / manner as above described.

 

      By the way,

 

   the words kokyuh and iki (/ soku) are adopted without sheer discrimin-

 

   ation between them, or rather, arbitrarily, at random, or in parallel.

 

   Allow me then to stop here in an attempt to examine their meanings

 

   all over again.

 

                                        To retrieve kokyuh from the KOJI-EN:

 

 

                           kokyuh

 

                         　〔 ➀ ( respiration )

           

                              ㋐ phenomena that living things take in exygen from

 

                                  external world, and send out carbon dioxide. Par-

 

                                  ticulary, the muacle movement of animal to do so.

 

                                  It is to breathe in and out.   ga-i kokyu / external

 

                                  respiration

 

                                   「 to adjust --- 」　　　「 ---  fresh air 」

 

                                      ( The following explanation is omitted. )

 

                              ➁ delicate knack / kotsu to conduct things

 

                                      chohsi / tone    yo-uryoh / point

 

                              ➂ chohsi / tone or harmony  between person and

 

                                  person     playing the same performance

 

                                    「 to harmonize --- 」　　

 

　　　　　　　　　　　　　　　　➃ a very short time   「 after  ---　」 〕

 

 

　　The explanation of kokyuh, or respiration, is primarily made on the

 

   level of biological ( / physiological ) movement of living things, but, it

 

   could be said that the second to fourth choices ➁～➃ exceed that

 

   level, and enter into, and be grasped in, the interpersonal / socio-cultural

 

   context.

 

　　　Next, how is iki explained?

  

                     According to the KOJI-EN:

 

 

                           iki 

 

                           〔 【 breath　】

 

                            ➀ The air you breathe through your nose and mouth 

 

                                   koki / breathing-in or kyuhki / breathing-out

 

                             ➁ iki-o-i  / force   keha-i / atomoshere; mood

 

                             ➂ kokyuh or chohsi / tone ( taken when more than

 

                                 two people work on one matter together )

 

                             ➃  phonetically exhaling breath without vibration of  

 

                                  of vocal cords

 

                             ➄  ge-idoh no yohryoh / secret of art

 

                             ➅  kawori / aroma of tea, etc.

 

 

    In the case of iki as well as kokyuh starts with the explanation as phys-

 

   iological movements of living things, and then goes up to the interper-

 

   sonal / socio-cultural level.

 

    Based on the above, it could be considered to give emphasis on kokyuh

 

  of physiological scenes  ---  i.e., respiration;  whereas iki assumes per-

 

  sonal / socio-cultural  ---  i.e., breath / breathing in the world of daily

 

  life. It seems that iki is very familiar to people there.

 

    Yet, kokyuh also, it seems, understood and used almost  synonymous-

 

   ly to iki, so I would like to adopt both words interchangebly, depending

 

  on a given situation or ’ situation by situation.’

 

     In this connection, some remark must be btter to be made.  That is,

 

   about the English words, respiration and breath.

 

        To consult the Oxford Modern English-English Dictionary ;

 

 

                          respiration

 

                          ( formal )  the act of breathing

 

                           Blood pressure and respiration are also recorded.

 

 

    Then, to go on to breath;

 

   

                        breath

 

                       1 the air that you take intoyour lungs amd send out again

 

                          *  his breadth smelt of garlic.

 

                          *  We had to stop for breath before we go to the top.

 

                                  ( other examples are omitted )

 

                       2 an amount of air that enters the lungs at one time.

 

                          * to take a deep breath

 

                          * He recited the whole poem in one breath.

 

                                   ( the following explanation are omitted )

 

                           IDM

 

                          a breath of fresh air

 

                            a  person, thing or place that is new and different

 

                            therefore interesting and exciting

 

                               * breath of life of/for sb

 

                               * ( literary )  an essential part of a person  s existence

 

                           hold your breath

 

                            1 to stop breathing for a short time

 

                                * Hold your breath and count to ten.

 

                             2 to be anxious while you are waiting for sth that

 

                                you are worried about

 

 

                               immediately after saying sth that suggests the

 

                               opposite intention or meaning

 

                                 * He praised my work and in the same breath

 

                                    told me I would have to leave.

 

                                       ( Some other explanations are omitted )

 

 

    To review the above explanations of respiration and breath, the former

 

   is seen to be restriced to the level of physiological phenomena, while

 

   the latter ranges more :  that of personal/interdpersonal ones.

 

     Accordingly, my understanding of the present context  ---  that is,

 

   breath corresponds to kokyuh/ iki.

 

 

   

 

                   II    Kokyuh / Breath and Iki zukai / Breathing

 

 

 

    So far we have treated kyohsiki kokyuh / thoracic breath, fukusiki

 

   kokyuh / abdominal breath, se-ika tanden kokyuh / abdomen-under-

 

  navel breath, and finally kokyuh:iki / breath which were all focus

 

  mainly on a single one (=person ), on one's internal, or in-personal

 

  circumstances.

 

    In the present context, allow me to, and consider one's extersnal

 

  or inter-personal circumstances, that is, to examine workings of iki:

 

  kokyuh / breath, which implies iki zuka-i / breathing in interpersonal

 

  relationships. 

 

    Put it more concretely, it is to inquire into  < How does iki /ikizuka-i

   breathing go along with interpersonal relationships in the everyday

 

  world ? >, and about < how is it that Ma is composed / maintained

  thereby? > .

 

    As a clue to deal with these tasks, I would like to start looking up,

 

   arbitrarily though, several of the ordinary expressions of ikizuka-i /

 

   breathing in the KOHJI-EN.

 

     

                           iki wo haru

 

                           〔 to breath deeply and insert iki into abdomen 〕

 

                       

                         　 iki ga a-u

 

                          　〔 Chohs-i / tone ( kokyuh / breath ) of both ( parties )

 

                               goes well.  It is to say that feelings get into one

 

                               well   「　exchange with ---　」　〕

 

 

                         iki ga tsumaru

 

                          〔➀　to become unable to breathe   to suffocate

 

                                     because of much stress

 

                             ➁　Transsformed, it is a state tat one, constrained,

 

                                      can act freely. 〕

 

 

                          iki wo ireru

 

                          〔to put at a breath    to take a rest / to have a break 〕

 

　　　　　　　　　　　

　　　　　　　　　　　　　iki wo nuku

 

                         〔 to take a break while at work     to take a rest for

 

                             　 change of air 〕

 

 

　　　　　　　　　　　　  iki wo hisomeru

 

                         〔 to hold still keeping oneself under breath so as not

 

                             noticed of one's  existence  〕

 

 

　　At this moment, to turn to the colloquial expressions of ikizuka-i / breath-

 

   ing synonymous to iki-phrases, those related to kokyuh :

 

 

                         kokyuh wo awaseru

 

                         〔 to match one's tone ( chohsi ) with another's 〕

 

 

　　　　　　　　　　　　　kokyuh wo nomikomu

 

                        〔 to know well a delicate knock, tone, or pont, when

 

                          conducting things 〕

 

 

　　　To scan the above cited expressions of iki zuka-i / breathing used in

 

   the world of daily life, the two phrses:  ' Iki ga a-u ' and ' Kokyuh ga a-u,'

 

   it should be imagined, particularly appropriate for consideration of the

 

   pivotal point of the present concern.

 

     To examine both phrases more concretely, they contain iki : kokyuh,

 

   which is signified as chohsi.  And, chohsi is, it appears, the most press-

 

   ing matterds at present.

 

    We must, then, specify the meaning of chosi more in detail. 

 

   retrieving, and partially extracting, from the KOJI-EN:

 

  

 

                        choh shi

 

                        〔➀ rise and fall of sound in music    sirabe / melody

 

                              onchoh /  harmony of sound

 

                          ➁ rise and fall of vocal sound and i-imawasi / verbal

 

                              expression    gochoh / intonation    kuchoh / tone

 

                           ➂ hodo a-i / degree of movement of things / events

 

                                gu a-i / condition

 

                                  「 ---  of a body 」  「　---  of mecanics ｝

 

　　　　　　　　　　　　　　　➃ hazumi / impetus     iki o-i  / force  「gain --- 」

 

 

    Regretably, the meanings above quoted seem to step aside from our

 

   concern, so let us take up the term, rizumu* / rhythm as it seems to have

 

   similarity to chohshi.  To consult the KOJI-EN, it reads as follows:

 

                                    _________________

 

                                     * Rizumu is leteral / phonetic translation/

 

                                        pronunciation of into Japanse of rhythm

 

                                                         _________________

 

 

                          rizumu

 

                         〔 ➀ cycle movement tone / chohsi of proceeding

 

                               ritsudoh / swing

 

 

                            ➁ inritu / meter of poem

 

                            ➂ all temporal relations in music  〕

 

 

　　Turning to the English-Japanese Dictionary:

 

 

                            rhythm

 

                            〔 【original meaning : something that flowsd well 】

 

　　　　　　　　　　　　　　➀ rizumu, chosi   〔 poetics 〕　　meter 

　　

                                《　informal 》 sense of rhythm / rhythic sense

 

                            ②　rhymic move   cyclic    　〔 regular 〕　change 

 

                                 shuhki se-i / periodicity 〕

 

 

    We came to an understanding that iki / kohyuh signifies chohsi of the

 

   sense of 'tone'  ---  it seems a rough interpretation, though ---  in the

 

   present context, and associates to, or is linked to rizumu / rhyth, so,

 

   as a conclusion, ‹iki ga a-u › / ‹ kokyuh ga a-u ›　could be understood

 

   in terms of interpersonal relationship that rhythms of the two persons

 

   get along well, match each 's rhythm well, or harmonize with each other

 

   well in rhythme.

 

     More specifically, what is it to match, or harmonize with, each other's

 

   rhythm, then?

 

     In order to make it clear, let us take up, as an example,  o'mochi tsuki

 

   ( literally, rice-cake-pounding ) , one of the annual events in the end of

 

   a year which was once very popular and familiar in Japan.

 

     To sketch the event of o'mochi tsuki:

 

    Having placed steamed  rice ( mochi-gome: glutinous rice ), in usu /

 

   mortar,  a tsuki-te / pounder with a kiné / mallet pounds it (rice ), mean-

 

   while a kone-te / kneader, wetting the hand in a basin with water, kneads

 

   steamed rice in the usu, and twists it once or twice.  All these movements

 

   continue until the steamed is finished into mochi / rice-cake.

 

    It is exactly a series of movements of rhythmically repeated type.

 

      And, it is our main concern to figure out through illustration of this

 

   series of o'mochi tsuki by the abdominal method of se-ika tanden kokyuh/

 

   abdomen-under-navel breath  ---  that is, the abdominal breathing of

 

   < 3 steps + 1 step > type.  It goes as follows.

 

 

                tsuki-te                                      kone-te / kneader

    _______________________________________________________

 

 

     Tsuki-te / pounder stands by usu /     Kone-te / kneader stands by usu

 

    mortar, holding kiné / mallet in usu      mortar, set aside is the basin filled

 

    with his hand.                                     with water. It is the same posture

 

⑴　　All this moment,  breathing is that     as tsuki-te / pounder's breathing

 

     of adjusting kind, to put breath in        at this moment is that of adjust-

 

     preparation for rice-pounding.                  ment.

 

 

 

      Tsuki-te / pounder holds up kine /       Kone-te / kneader soaks the

 

      mallet, which is performed by           hands in the water of the basin,

 

 (I) soku / breath-in ( inhale ) at a           meanwhile ikizuka-i / breathing

 

      natural, ordinary speed.                    kyoh soku / breath-in ( inhale )

 

 

 

      Tsuki-te / pounder keeps holding        Under the condition of si soku /

 

(II) up kiné /mullet, waits and stands      breath-stopping,  wets rice-dough

 

      still for a short while, and stopps        in usu / mortar with the wetted

 

       breathing, or takes si soku, or           hand from usu / mortar as soon

 

       takes a pause.                                  as possible.

 

     

      Iki zuka-i / breathing, or to soku /      If you keep putting longer in usu /

 

(III) breathing-out ( exhale ) is a short     mortar, kine / mullet may drop

 

      and powerful,  but about 80% of        down on your hand, and this direct

 

      pounding power. Tsuki-te pounds       attack may cause a pretty pain to

 

      rice-dough in a tone of 'pettean.'        you.    Watch out!

 

 

       Tsuki-te, taking a small breath,         

 

 (VI) gets into the next step of adjust-        The same process  with  the

 

      ment so as to prepare for the suc-      left column

 

     ceeding performance

 

 

        Illustration of the series of poundig and kneading performances

 

    is prepared below.  Just take a look, please.

 

 

 

 

    Now allow me to turn to a further consideration on linkage of series

 

   of o'mochi tsuki performance with the method of se-ika tanden kokyuh

 

   abdomen-under-navel breathing and its relevance to composition /

 

    maintenance of Ma.

 

       Firstly, about the stage  (i):

 

     This is a ' pre- stage.'  It is the period to prepare for the coming per-

 

   formance.  Iki zukai / breathing is that of adjustment. Slow and short:

 

   to keep composure.

 

    Ma between the two persons  ( tsuki-te / pounder and kone-te / knead-

 

   er ) is also slowly or, rather, awkwardly being opened.

 

     Stage (I) :

 

   Both performancers, taking the same type of iki zuka-i / breathing, that

 

  kyuh soku / keeping natural breath, differ in playing their respective roles.

 

   Ma is in a implicit state;  it does not appear on the level of consciousness

 

   between the performers personally and interpersonally, because it is

 

   so difficult to compose Ma by kyuh soku / natural breath.

 

     Ma becomes explicit at the next stage.

 

     Stage (II) :

 

   Tsuki-te / pounder stands still, holding up kine / mullet.  Personal Ma

 

   appears.  Tsuki-te / pounder here controls ' timing ' when to hold down

 

   kine / mullet. In a sense,  tsuki-te is fairly free to manipulate Ma.

 

     However, it is the place ffor one to grasp the other's situation, and con-

 

   template it ;  otherwise, one may not be admitted to play in a carefree,

 

   or ego-centric manner.

 

      One ( tsuki-te ) is now required to take it into consideration how to

 

   compose Ma of interpersonal relationship. The other ( kone-te / kneader ),

 

   changing from si soku / holding breath to-soku / breathing-out, is given

 

   discretion in manipulating ( composing ) Ma.

 

     But, if the other takes a loose attitude and with a slow tempo, or at the

 

   other's own pace, one's kine / mullet, as above mentioned, would in-

 

   stantly fall down on the back of the other's hand, and hit by pain.

 

      Conversely, if performed in such a hurry, it would make  tsuki-te /

 

  pounder to kone-te / kneader's situation, and it is this moment, there

 

  appear the matter of Ma and its composition.

 

     Stage (III ):

 

   Here, tsuki te /pounder holds down his kine /mullet in a short, quick

 

   breath, and so Ma is small and narrow. Iki zukai / breathing is exhaling

 

   ( breathing-out ). The other one is also required short, quick motion, that

 

   is, exhaling ( breathing out ).  Ma is still small and narrow.

 

     The two performers compose Ma, manipulating it in exchange of short,

 

   quick motions of pounding and kneadking.

 

        And then, back to the pre-stage (i).

 

        Stage (ii)

 

    This is the succeeding ( pre-)stage of the stage (i).

 

   The two take a small breath. It is time for each to take rest and relax,

 

   and to be prepared for its composition.

 

     If personal, carfree ( ego-centric ) Ma is stressed to compose  ---  that

 

   is to say, to perform proper one for interpersonal relationship, would

 

   disappear.  If, conversely, the two perform well and smoothly, they

 

   would attain a mastery of o'mochi tsuki / rice-cake-pounding.

 

     So, there is no need of composing Ma newly for the coming stage (I),

 

   it would turn out that Ma be maintained in coordinating well between

 

   the two with each other's respectively different roles and performances.

 

     To review:

 

   O'mochi tsuki consists of repeated movements of two different kinds of

 

   performance, pounding and kneading, which further involves the ele-

 

   ment of exchange.

 

     That is to say, this 'exchange' impliess the movement in which the two

 

   performers  play their roles in turn, or one after another, alternatively.

 

     If it is repeated for dsome certain period, and they get well experienced,

 

   it is the state that  ' Iki ga a-u ' / ' Kokyuh ga a-u '  --- their breaths

 

   become matched or harmonized, which soon results in regular cycle

 

   movement, i.e., rizumu / rhythm.

 

     ' Pettamn-ko '　--  ' Pettamn-ko '  --  ' Pettamn-ko '  ~~~~~~

 

    These ' Pettamn ' are imitation sounds which come into our ears which

 

   hoding down kine / mullet on rice dough.

 

    ' Ko ' expresses the motion kone te / kneader wets rice dough with  the

 

   wetted hand; it actually sounds ' piha! ' though. When kone te pulls rice

 

   dough to the center of usu /mortar so that tsuki te pound smoothly,

 

   it is rather soundless.

 

     ' ~~~ ' signifies the period for taking a rest after the last stage.

 

    However, it is likely to disapper as the performers practice well and be-

 

   come good command of their performance.

 

     Repetition of o'mochi tsuki movements, if Ma thereof is properly mani-

 

   pulated would make the tone the two people ( performers )would get

 

   all the more rhythmical in exchange of their performances.

 

      In this connection,

 

   let me examine / consider once again what it means by ' Iki ga a-u.'

 

     It is the process in which the two people exercise the method of

 

   《　3 steps + 1 step 》 iki zukai / breathing, manipulating it for composi-

 

   tion of Ma ;  the two performers ( pounder and ) conduct ' choh wa,'

 

   ' choh setsu ' and ' ' chohse-i ' so as to create certain rhythm in their

 

   performance.

 

      To consult KOJI-EN for the three words, cho wa, choh setsu, and

 

  choh se-i, in turn:

 

 

                         choh　wa

 

                         〔【　harmony 】

 

　　　　　　　　　　　　　　to be well balanced, and to be totally coordinated

 

                          several things are moderate with one another with-

 

                          out inconsistency 〕

 

　

　　　　　　　　　　　　　choh setsu

 

                       　 〔【adjust 】

 

　　　　　　　　　　　　　　➀ to coordinate moderately    to darrange so as to

 

                              become moderate     to make well-balanced

 

                           ➁ 〔psycho 〕　〔accommodation 〕　the process of chang-

 

                               ing by which to adjust self to the external world ;

 

                                Piaget's terminology     ⇔　assimilation

 

 

                         choh se-i

                        

                         〔【tune 】

 

　　　　　　　　　　　　　　to arrange tone and make moderate, getting rid of imbal-

 

                        　ance  〕

 

 

   The element that commomly discernible from the above quoted meanings

 

   of the three words is, it could be so sgrasped, as being  ' moderate,'

 

   and ' well balanced.'

 

     Yet, only with thiss kind of understanding, it seems different to get suffi-

 

   ciently the point of the present concern. So, by tuition, and arbitrarily

 

   let me take up the English original, 'adjust ' / ' adjustment' and to retrieve

 

   it from the Oxford Modern English-English Dictionary.

 

 

                  　　　 adjust

 

                  　　　1 ~  sth ( to sth ) to change sth slightly to make it more

 

                   　　 suitable for a new set of conditiions or to make it work

 

　　　　　　　　　　　　　better 

　　

　　　　　　　　　 　　　2 ~ ( to sth / to doing sth ) | ( yourself to sth ) to get

 

　　　　　　　　　　　　　used to a new situation by changing the way you behave

 

                        and /or think

 

                       3 to move sth slightly so that it looks neither or feels more

 

                          comfortable 

 

                               〔　All sample sentences are omitted 〕

 

 

                          adjustment

 

                          1  a small change made to sth in order to correct or

 

                              improve it

 

                          2 a change in the way a person behaves ord thinks

 

 

    To put it simply, adjust / adjustment, it can be seen, impliesf slight,

 

   small change in behavior for correction / improvement.

 

     After pondering on the words, choh wa, choh setsu, choh se-i, a  conclu-

 

   sion is reached that, among others, choh setsu, Japanse correlate of

 

   adjustment, seems most suitable for the present concern.

 

      Now, I would like to go back to the prime point of our concern :

 

   O'mochi tsuki / rice-cake-pounding and iki zuka-i / breathing ( or rhythe).

 

     All one  ---  may one own be tsuki te / pounder or kone te / kneader  ---

 

   can do is to play one's own assigned role; one cannot afford to pay atten-

 

   tion to the other's performance. It is, as it were,  patterned performance

 

   or movement of o'mochi tsuki exercised according to its manual.  It is,

 

   certainly, exact, but, in a sense, crude orclumsy.

 

 

                        *  heated dispute

 

                         *  a pushy salesperson

 

                         *  One who tries to be secretive, and as having some

 

                             giulty conscience about it, so in an attempt to hide it,

 

                              one raisess the tone of voice, high- piched.

 

 

    All these cases are of tan soku / short breath which is shallow, rough or

 

   harsh.

 

     It is to soku / breath-out of kyosiki kokyuh / thorasic breath.

 

   Kyohsiki, we must take it to mind, has a tendency to repel, at times, kick

 

   around, adnd to hold them off.

 

     Tan soku / short breath is, by or through it, hard to take Ma modestly,

 

   Ma zumari / narrowed choking Ma would appear.

 

      Incidentally, if one, in the situation of closes contact, breathes / in-

 

   hales air which is exhaled by the other and happens to carry with bad,

 

   poisonous fume, one would feel ill in the chest, or vomiting , or worse,

 

   be caught by heavy fatigue; it would result in serious damage to one's

 

   body and mind.

 

    It must be effective to respond against such a case by manipulating

 

  se-ika tanden kpkyuh / abdomen-under-navel breath of, particularly,

 

   long to iki / breath-out, and to push back, or repel the other's ill, harm-

 

   ful air (breath ).

 

    Owing to this clumsiness, the two persons ( pounder and kneader ) are

 

   apt to fall into excessive mental stress, assimilate waste of physical exer-

 

   cise, and evesntually store dfatigue.

 

     However, as they practise hard o'moch tsuki  performances, and reach

 

   at the stage of mastery, there emerges a delicate lag of time, or rhythm.

 

   It emerges by departing from the manual of o'mochi tsuki movements ---

 

   ---  deviation from the course of regular rhythm directed by the manual.

 

     One ( pounder as well as kneader ) takes a move of ' off-course ' or

 

    ' off-rhythm ' in a sense, a little, a bit.

 

      ' A little' / ' a bit ' is approximately about 1 beat.

 

   To move ' off-course ' by 'a beat ' is deeply related with composition /

 

  maintenance of Ma.

 

    How to manipulate Ma is the point ford departing from the course  of

 

   the regular rhythm in o'mochi tsuki movement.  In  other words, departure

 

   from regular rhytmic movemet is to make a proper Ma, or the distance

 

   of Hodo Hodo / moderate and  Fusoku Fusoku / < neither (too) close nor

  (too) remote >.  This distance constitutes the limit permissible / admis-

 

  sible for departure from the o'motchi stsuki 's regular rhythm.

 

     The admissibleness means one step before the limit where, if Ma is

 

   loosened ord broadened  ---  i.e., Ma nobi, the rhythm of o'mochi tsuki

 

   movement would be broken, ' its performer woukd fail to ponder or knead,

 

   and, it is most important, ' off-rhythm ' / ' off-course,' or departure a

 

   a little ( a beat ) from the regular of rhythm would sooner or later sub-

 

   merge under consciousness.

 

 

     To review further the point of drelevance of se-ika tanden kokyuh of the

 

  《　3 steps + 1 step 》　breahing method.

 

    A departure from the dregular rhythm of o' mochi tsuki is performed

 

  through two types of breathing.  Si soku holding a breath, and to soku /

 

  breath-out ( exhaling ).  Ma which appears, while being taken by either

 

  breath, is that of ' room ,' which is the area of mental activities such as

 

  observation, analysis, consideration, evaluation, feeling, emotion, etc.

 

    Tsuki-te / pounder stands still, holding his kine / mortar over the head,

 

  and takes a pause, or si soku / holding a breath.  At this moment, Ma

 

  appears, departing appropriately a little / a beat from the o'mochi tsuki

 

  rhythm ; that is to say, he takes into consideration his partner ( kone-

 

  te / kneader )'s situation and how rice dough should be made / finished

 

  into rice rice, and decide what performerance he is to take accordingly.

 

    It is exactly when adjustment when adjustment is made, and prepared

 

   for the next stage.

 

    For example, ' a little more slow in movement may be better  ...   '

 

   If tsuki-te / pounder dropps down hsi kine / mullet in a hurry, his kine

 

   might strike the back of the kone-te / kneader, or if pounding is too

 

   slow, the rhythm of o'mochi tsuki gets dull, and so does Ma, and then,

 

   rice dough would be made loose or stiffened.

 

    It is that between the two people ( pounder and kneader ) is made a

 

   slight / delicate adjustment to each other's movement, which is an oc-

 

   currence in the ' room ' area of Ma.

 

    This slight / delicate adjustment  ---  to put it another way, ' fine tuning ’

 

　 implies slight / delicate change of both rhythm and performance of o'

 

   mochi tsuki. And, in due course, it reaches the point where speed becomes

 

   moderate and well balanced, it would invit the moment of ' Iki ga a-u. '

 

    That is to say, matching / harmonizing breath.

 

      Then, the two people's individual, resspective feeling grow  into one

 

    tightly.  It is the state of mind which comes about, according to the

 

    rhythm which is repeatedly  being adjusted; it is that feelings of the

 

    two fuse into one.

 

     In the course of o'mochi tsuki movement, the two persons ( pounder

 

   and kneader ), as they practise well, and become skilled well, become

 

   free to manipulate their iki zuka-i / breathing, and compose / maintain

 

   Ma proper to the situation.  They also handle well with its rhyth, freely

 

   changing speed.

 

     Eventually, the movement of o'mochi tsuki / rice-cake pounding devel-

 

   ops smooth and rhythmcal and, and it is that of skilled one.

 

                   The state of mastery.

 

   Now, rice cake is beautifully finished with soft, smooth skin surface.

 

       A new year is coming to visit home.

 

          It makes us feel like  hearing the footsteps of a new years.

 

 

      Lastly,

 

   allow me sketch my personal exdperience of ' iki ga a-u ' /  harmonizing

 

   or matching breath.

 

 

                          　≴　On  a day, the cold wind was blowing. ≵

 

 

　　　　　　　　　　　　On a day of early winter when the sky looked chill, and

 

                      clear, all of a sudden, the north wind began to blow.

 

                        It was the fair wind.

 

                        I was outside for walking. I wondered if I should stand

 

                      as firm as possible, or continue to walk, letting the fair

 

                      wind blow me on the back, like the fallen leaves rolling

 

                      along my shoes.

 

                        It was when I got almost stumbled, the north wind ab-

 

                      ruptly stopped blowing.

 

                        I could, then, take a breath, a rest, for a while.  It was

 

                       a peaceful time, but, very soon, the cold north wind began

 

                       again to blow.

 

                         ' Does the wind breathe, and, moreover, by the method

 

                       of abdominal breathing, i.e., seika tanden kokyuh / ab-

 

                       domen-under-navel breath ? '  So I felt.

 

                        When blowing strong breath of the wind is to soku /

 

                       breathing-out, it strikes you harsh and bitter.  And then,

 

                       a time of adjustment and preparation for the succeeding

 

                       blow.

 

                         I took a breath of relaxation, since I've been tolerated

 

                      the harsh, bitter breathing of the north wind.

 

                       I took a breath of relaxation, since I've been tolerated

 

                       the harsh, bitter breathing of the north wind. Then, there

 

                       appeared  a calm like  ' a lull before a storm.'

 

                         This time, the north wind must have breathed in  / in-

 

                        haled.  Somewhere on the great Nature, the

 

                        north wind seems to supply itself with energyes for

 

                        the next blowing and again it grew strong, fair wind,

 

                        chased after me.

 

 

   Here, I felt I had an understanding or a knack.  The wind does not blow

 

  continually nor ceaselessly;  it has a time for rest, and so I can take a

 

   rest as it does so, and when it blows, dit would be better to let it go

 

  its course.  Not try to  stand against it.

 

    Walking along with the north wind, matching or harmonizing with it

 

   was not something formidable, or unwelcomed; it was rather good.

 

   I found myself feeling gradually that the north wind, which I used to dislike

 

   because it was too cold and bitter for me, became somehow comfortable.

 

      Could I get dalong well with the north wind, could'nt I ?  ---  although

 

   not to the degree of becoming one (-feeling) with it. I felt a little that way.

 

   But, to tell the truth, it was a little too tough exdperience for me.

 

     Afterall, it must be smart to drefrain from taking a walk on a day the

 

   north wind is blowing.

 

 

 

 

                         III   Choh soku / Long breath and

 

 

 

  

   In the previous section, we have  considered behavior in interpersonal 

 

   relationships referring to the method of fukusiki kokyuh / abdominal

 

   breathing, or se-ika tande kokyuh / abdomen-under-nave breath.

 

     To specify more concretely, the breathing method of < 3 steps +

   1 step > type, and illustrated it by taking up as its examle, a series of

 

   o'mochi tsuki movements / performances.

 

     With this respect, the method of breathing which most attracted our

 

   attention was, to repeat, ;  Kyuh soku / breathe in or inhale, si soku /

 

   hold a breath,  and to soku / breathe out or exhale, and se-i soku / breath

 

   of adjustment and preparation.

 

     Among these steps of breathing, to-soku / breathe out  or exhale, is

 

   of importance, especially its role played in manipulation of composition /

 

   maintenance of Ma.

 

     Consequently, in the presesnt section, let us take up to-soku / breathe

 

   out for a further consideration , and, needlessd to say, into the context of

 

   how to compose and maintain Ma in interdpersonal relationships.

 

     To soku could be distinguished by two types :  long and short, and

 

   be treated accordingly.

 

    Short to-soku  ---  in the case of this type of iki zuka-i / breathing,

 

   It is rough, harsh strong and even radical.  In one breath.  A powerful

 

   breath-out.  'Ka tsu!', or when pull in the slack.  At a blast.

 

     And it is short lived, or does not last long, as when one attacks against

 

  fiercely or vigorously.

 

    Ma between two people interpersonally related gets narrowed, and Ma

 

  zumari / narrowed or choking Ma is apt to emerge.

  

    Choh soku / long breath is meant to be relaxed, and quiet.  It settles

 

   down one's mind so as cultivate abilities such as cool decision, or actua-

 

   lization of concrete  behavior, etc.  The case of persuation,  for example,

 

   as when one negotiates the other slowly and delibrately, composing

 

   modest Ma, it is that of choh soku / long breath.

 

    Of the two types of to-soku breath-out, long  and short, long to-soku is

 

   indispensable for smooth development of interpersonal relationships, and

 

   composition / maintenance of Ma.

 

     Se-ika tandenkokyuh / abdomen-under-navel breath of < kyuh soku

  　ー　shi soku > scheme, and to-soku, as well as kyohsiki kokyuh / thoracic

 

   breath, could be recognized of its various manipulation under various

 

   circumstances.

 

　　　However, before proceeding to our concern of the  present section,

 

  as to how fukushiki / abdominal breath, or se-ika tanden kokyuh / abdo-

 

  men-under-navel breath is manipulated in interpersonal redlationships,

 

  let us review kyohsiki kokyuh.

 

   Kyoshiki kokyuh / thoracic breath also has two sifferent kinds of breath

 

   or beathing:   long and short.

 

    Firstly,

 

    I would like to take up short breath, or tan soku / short breath.

 

  This type of iki zuka-i / breathing is, whetherd it may be to-soku / breath-

 

  out, kyuh soku / breath-in, or tan soku /short breath is shallow and quick.

 

 

                    *  A person who talks in a high-handed manner or

                  

                       with a threatening attitude.

 

 

    Accordingly, to repeat, it is that, in the context of intrpersonal relation-

 

   ships, various kinds of breath / breathing are prepared, adopted, and

 

   operated in order to compose /maintain Ma modestly.

 

      Here is an episode of a naughty sparrow.

 

    This case is not that of humans, nor person-to-person or interpersonal,

 

   but a ' hybrid '  of different animal species, yet presents various kinds of

 

   iki zuka-i / breathing which, it seems, is worthy to see.

 

 

 

                  　       　≴　 　a poor one 　 ≵

 

 

　　　　　　　　　　　   This a happening which took many years ago.

 

                    One day, a big cat was lying flat on the lawn of my house,

 

                     idly bathing in the sun.

 

                     Then, a sparrow soared up into the air out of a group of

 

                    other ones pecking at the edge of the lawn, took a quick

 

                    turn, skimmed on the nosed of  the big cat, and flew away.

 

                      The big cat looked nonchalant, keeping his eyes closed.

 

                                                     A tedious attitude.

 

                      The sparrow then came back, and this time, it was a very

 

                    low flight which as almost ' near miss ' on the big cat's head.

 

                      ' You are really naughty one to kid that big cat!

 

                          Stop kidding him, or else ...   '

 

                      Looking at him from a window, I tried to speak to him, but

 

                      he looked to have shut his ears to my advice.

 

                        For a while, a peaceful time passed by.

 

                       Abruptly, I felt something ominous, so turned my eyes to

 

                       the lawn and saw the big cat walking with composure across

 

                       the lawn.

 

                          He held the naughty little sparrow firmly in the mouth.

 

                        The sparrow's neck, unnaturally crooked and drooped,

 

                        told that after the second kidding flight, somewhere esle

 

                        he was given one strong bite at the instant, and so lost

 

                        his life.

 

                          Sadly, my forseeing of the tragedy hit the target.

 

                         My apprehension grew into fear and ended in reality.

 

 

    The big cat, it seems, used the two types of iki zuka-i / breathing:

 

   si soku / holding a breath and to-soku / breath-out.  By making use of

 

   these steps of se-ika tanden kokyuh hoh / abdomen-under-navel breath,

 

   he unshakably composed a modest Ma, and held his breath, fully aware

 

   of the naughty, little sparrow flying very closely over his head.

 

     His iki zuka-i / breathing this time must be that of si soku / holding a

 

   breath. Yet, it did not, since it is physiological phenomenon last long,

 

   he must have changed it into to-soku / breathing-out and took a quiet,

 

   long one.  Needless to say, he must have manipulate  《　3 steps + 1 step 》

 

　 of se-ika tanden kokyuh method  ---  not once, but repeatedly, pretend-

 

   ing as if he had fallen asleep.

 

    In so doing, he was delibrately searching chance to catch the naughty,

 

   little sparrow, meanwhile, he ( the sparrow ) was  too frolicsome just

 

   in high spirits, it seems kyohsiki  kokyuh/ thoracic breath, short and

 

   shallow.  And, moreover, rough and rude so that  his performance became

 

   hasty in attacking against or kidding the big cat.

 

     The sparrow did not take a modest distance of Ma, and so it is assumed

 

   to have got too much narrowed, and consequently, without taking suffici-

 

   ent consideration to this situation, very dangerous to him, he flew around

 

   as he pleased.

 

     He appeared frequently before the big cat who was smartly pondering

 

   when to capture his food.  It cannot be helped that the poor sparrow

 

   was forlorn of Fortune.

 

     I felt so sorry for him, since I was hopefully thinking he would have

 

  escaped safe without harm.

 

    If the naughty, little sparrow stayed with his seniors and peers, with

 

  slow choh soku / long breath  ---  be it abdominal or thoracic  ---

 

  and pecked at grass roots the lawn, he would not  have mades such a

 

  fatal mistake as this.

 

    For the sparrow as well as the cat and also ford the humans, choh soku /

 

   long breath is desdsired and desirable as the essence of behavioral

 

   contact, and life.

 

   

     Returning back to the human world, allow me hereafere sketch several

 

  episodes in order to consider / examine ikizuka-i  / breathing of choh soku /

 

  long breath, and tan soku / short breath, and its manipulation  ---  it is

 

  connected to composition / maintenace of Ma in interpersonal relation-

 

  ships.

 

    Firstly, the case of tan soku / short breath.

 

 

                            ≴　 a burst of joy    ≵

 

 

                   In this case, iki zuka-i / breathing belongs to short one ---

 

                  thoracic or abdominal. Feelins of people get along well with

 

                  one another, matching / harmonizing well and develop into

 

                 oneness. There is, then, no place nor room for Ma to dappear.

 

                    However, joy of this kaind made by tansoku / short breath

 

                 does not last long; soon it falls down from high excitment to

 

                 deep depression.

 

                     Calm which results in at this moment composes Ma there,

 

                  it could be said.

 

                   In orderd to continue long interpersonal contact at the state

 

                  of excitement, it would be necessary to make / keep some

 

                   certain interval  ---  that is, a distance or Ma  between people

 

                   related whereby to repeat exchange of exitement and depres-

 

                   sion. If excitement  alone remains, it would sooner or later

 

                   burst out, o burn out.

 

 

 

                            ≴　　　Katsu !   ≵

 

 

　　　　　　　　　　A burst of voice  for encouragement.

 

                     It is one of the religious austerities by Zen buddhist.

 

                   During za-Zen ( seated meditation of Zen ), if one in any way

 

                   cannot renounce worldly desires, one gets hit with a cane on

 

                   one's shoulder by unsu-i or Zen buddist ascetic.

 

                     This is excersied by tan soku / short breath at an instant,

 

                    and the trainee takes short to-soku / breath-out to accept

 

                     the encouraging cane. When performed with choh soku / long

 

                     breath, timing of both sides gets into a state of disorder, and

 

                     does not work sell, then, at times, the trainer unhappily might

 

                     break the shoulder bone of the trainee.

 

 

                          

                            ≴　　　kakego-e / barker*   ≵

 

                                                 ____________________

 

                                                 * This and the following episodes are

                                                    the revised sketches havin already 

                                                    taken up in my previous paper:

                                                     《Ma and Interpersonal Relationships 》

 

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　____________________

 

                   Suddenly, a voice came up.  It belonged to a young salesclerk.  

 

                  He, standing outside a store, has just started to call,

 

                      " Step in!  Step in!   Step right up! "

 

                    It was tan soku / short breath of appealing power, repeating

 

                  powerful short breath with clapping hands.

 

                     Eventually, people who happened to pass by the store,

 

                   stopped in front of it, and, in twos, and threes, went into it, as

 

                   if spell-bound.  Such people are also assumed to take tan

 

                   soku / short breath of kyosiki kokyuh / thoracic breath.

 

                     In any way, they oth would match / harmonize their tan soku

 

                   well, or else, enchanted by the salesclerk '  cheerful, rhythmical

 

                   hand-clapping, all of which would in impulse purchasing he

 

                   things not necessary at the moment.

 

                      If people took choh soku / long breath, Ma would be modest-

 

                    ly opened, and so appear a distance of  ‹ cooling-off period ›

 

                    for delibrate consideration so that they need not waste dmoney

 

                     by unnecessry purchase.

 

 

 

                                ≴　　　the reverse case    ≵

 

　　　　　　　　　　　　　

　　　　　　　　　　　　　Unexpectedly, no one stepped into the store.

 

                     Only the shouting voice of the salesclerk echoes the ceiling

 

                   of a shopping arcade.    Hollowly ---  in vain.

 

                      It is just because the voice was shouted by to-soku /

 

                    breath-out of kyohsoku kokyuh / thoracic breath ---  the

 

                    type which is inclined to repel people ( passers-by ) or

 

                     drive them away.

 

                      The more vigorously the salesclerk tries to attact people's

 

                     attention, the more his to-soku / breathout  fumed out

 

                      air in the direction of repelling people, which, then, let

 

                      go away at a quick pace ;  Ma is too much loosened and

 

                      broadened, and, as a result, there left the ' eye-catcher '

 

                      goods piled up in a heap on a counter, looking somewhat

 

                       lonesome. 

 

 

    So far some examples of tan soku / short breath have been sketched.

 

   Still, on the ordinary scenes of interdpersonal relationships, breaths are

 

   woven, not only sfhort but also long dones.

 

     Let us, then, take up some mored eepisodes to consider how both choh

 

    soku / long breath and tan soku / short breath are manipulated  ---

 

    delibrately, and alternately.

 

 

 

                  ≴　　persuation to a cult　  ≩

 

 

　　                A sudden phone call.

 

                    It was from Ms. A, a new aqcuaintance.

 

                   There seemed a small misunderstanding of which Ms. A

 

                   assumed of  Ms. B's behavior.   Ms. A was very upset and

 

                   high-handed.

 

                             Ms. B got stunned.

 

                     Ms. A, with harsh, persistent tan soku / short breath, spoke

             

                   to Ms. B giving her an aggressive ' push ' which almost drove

 

                   Ms. B into faint. Ms. A would not listen to Ms. B's explanation

 

                   of the situation which seemed caused a serious misunderstand-

 

                   ing. 

 

                            Ma is  at this moment remained closed.

 

                     Ms. B was very let down.

 

                   Next day, a phone call from Ms. A again.  This time, she took

 

                   a very friendly sttitude to Ms. B, by contrast to the day be-

 

                   fore,  was utterly unthinkable as the same person as the

 

                   previous Ms. B.

 

                      Her breath was that of long one, that is, choh soku / long

 

                   breath Ms. B, bewildered at this drastic change of her attitude

 

                    though, somehow understood frdom her talk the situation,

 

                    she was forced to be involed.  Ms. A was the devotee of a

 

                    founded religious cult.

 

                      Ms. A, handling skillfully choh soku / long breath and tan

 

                     soku / short  breath, tried eagerly to invite / persuaded

 

                     Ms. B's to join her cult.

,

                       How was Ms. B's reaction, then?

 

                     She, with choh soku / long breath of fukusiki kokyuh / ab-

 

                     dominal type ( : se-ika tanden kokyuh / abdomen-under-navel

 

                      breath ), attempted to elaborately compose Ma against Ms.

 

                       A. If one inhales airwhich the other exhales, or breathes out,

 

                      one would be struck by that air, and be handled by the other

 

                      as the other desires or pleases.

 

                       Accordingly, Ms.A dared to take slow, loose tan soku /

 

                    short breath, and so making a modest Ma, dodged well her

 

                    opponent's fast, tight breath, or tan soku / short breath, and

 

                    ultimately could successfully escape from Ms. A's persistent

 

                    persuasion to her religious cult.

 

 

 

                             　　  ≴　　friendship   ≵

 

　　　　

　　　　　　　　　    Like air, very close freiends are to each other's existence.

 

                   ---  this is Japanese expression of how friends are felt close,

 

                   intimate and comfortable to each other.

 

                     In this case, both take choh soku / long breath  --- be it

 

                   thoracic or abdominal. By relaxed, slow or quiet iki zuka-i /

 

                   breathing, they harmonise / match their iki:kokyuh / breath, or

 

                   choh shi / tone to each other so as to maintain Ma modestly.

 

                     In the midist of the pleasant talk between close friends,

 

                   it happens their opinions differ and can oppose against.

 

                    Each of them has, naturally, accustomed to iki zuka-i / breath-

 

                   ing by which not to cause Ma zumari or narrowed, choking Ma.

 

                     The air, if it carries that of acid, stingy atomosphere, may

 

                   give a crack to their friendship ; it would become different to

 

                   maintain modest Ma, essential for it.  Choh soku / long breath,

 

                   among others, must be the bes remedy for broken friendship,

 

                   then.  Choh soku / long breath  ---  particularly that of se-ika

 

                   tanden kokyuh  / abdomen-under-navel breath, can be said

 

                   to contribute as its pivot for friendship.

 

                     Yet, friendship kept long by choh soku / long breath would

 

                    become patterned and stiffened, or fall into kind of mannerism.

  

                       That is to say, despite its such unshakable stabitily or secu-

 

                    rity, friendship makes us bored and fed up with it ; fresh air,

 

                    or surprise are already lost.

 

                      In such a case, it is to make a drastic change to tan soku /

 

                    short breath, and, suspending Ma, which has been maintained

 

                    until then, to try to keep separated, i.e., becoming remote

 

                    from each otherd for a while, and letting fresh air blow into

 

                    the particular friendship.

 

                      Then, a new stage of friendship wdould be re-organized and

 

                    developed once again.

 

                     Fresh air breaks mannerism of old friendship and invites

 

                     a new world view for freinds.

 

 

 

                                ≴　　sympathy   ≵

 

 

　　　　　　　　　　　For one who tells one's feeling of profound sorrow quietly

 

                   and calmly, people usually express deep sympathies.

 

                     Iki zuka-i / breathing of this case is that of to-soku / breath-

 

                   out of long type ; it means slow and deep.

 

                      This kind of long to-soku allows or lets people come nearer

 

                   one who is grieving, and links them with one, fusing emo-

 

                   tionally into the feeling of oneness so that it creates Ma where

 

                   deep sympathy with one arises.

 

 

    A reversed one of the above case:

 

 

                       As unbearable as it is, one who reveals one's heart-rending

 

                   experience by shouting and crying is, unexpectedly, not accpt-

 

                   ed with sympathy by people. Rather, they feel one's cries and

 

                    shouts much disgusted; and even cruel reactions are apt to

 

                    be evoked.

 

                      Iki zuka-i / breathing at this moment is that of thoracic

 

                    method, and it's short,and harsh and hasting.

 

                     Ma can hardly be opnend :  Ma zumari or  choking Ma.

 

                    Ma declines, and almost about to disappear.

 

                      People involved shrink at the burst of one's wrath, and

 

                     recoil from one.  They would not approach one, or, so

 

                     fearfully, could not.

 

                       If  this occurs continually like ' attack in waves,' people

 

                   fail in finding chance to get along well with one, in fusion

 

                   into oneness-feeling.  Here in this context, Ma is most

 

                   important.

 

                    If, Ma is modestly composed by taking to-soku / breath-out

 

                   of long kind, people come nearer to become and feel one-

 

                   ness with one, there would  arise, among them, deep sym-

 

                   pathy with  one.

 

 

                             ≴　　orator   ≵

 

 

                     There seem to be two different types of public speaker:

 

                   One is the type of person who speaks like right ' off the reel '

 

                    or speaks spurting words from his mouth ceselessly, and

 

                    if unable to do so, repeats the same phrase or content as

 

                     previously spoken.  All these behaviors annoy the audience,

 

                    the speaker still keeps speaking.

 

                      Iki zuka-i / breathing of this type of person is shallow,

 

                     short and hasty ; and of kyuhsiki kokyuh / thoracic breath.

 

                         Not eloquent, but just so talkative.

 

                      Ma, taken by the speaker, between words / utterances is

 

                     narrow and small, and so iti is the state of Ma zumari or

 

                    narrowed Ma.

 

                     a talkative speaker who gets the audience annoyed and makes

 

                   feel weaary produces an ' one-person show '  ---  that is self-

 

                   complacent personality.

 

                     Ma shuts out the audience.

 

                    Neglecting the existence of the audience just before the eyes,

 

                    the talkative, self-fascinated speaker does nothing but talk,

 

                   and on and on.

 

                     Another type of public speaker proceeds to speak, watching

 

                   reactions of the audience. The speaker takes a pause for a

 

                   short time, while speaking. Keeping quiet, he looks his audi-

 

                   ence.

 

                        Ma is now maintained.  It's a modest one.

 

                    There appears, then, two different kinds of Ma.

 

                    Ma between words, phrases and paragraphs uttered by the

 

                    speaker, and that made by the speaker himself and the

 

                    audience. 

 

                      There two kinds  of Ma are linked and manipulated by iki  

 

                     zuka-i / breathing, i.e., the method of se-ika tanden kokyuh /

 

                     abdomen-under-navel breathing of 《　3 steps  + 1 step  》。

 

　　　　　　　　　　　Particularly, si soku / hold a breath and  so-soku / breath-out.

 

                       If the speaker senses necessary to broaden ( extend ; ex-

 

                    pand ) Ma, it is done so, taking se-i soku / breath of adjust-

 

                    ment and preparation for the next. Natural, ordinary breath of

 

                     the thoracic type.

 

                     And, in the case that Ma is alll the more needed, the speaker

 

                    would take a quiet, relaxed, and deep breath  ---  be it abdom-

 

                    inal or thoracic, depending on a given situation. It would

 

                    be a repetition of a set of se-ka tanden kokyuh / abdomen-

 

                    under-navel breath and/or the ordinary thoracic type.

 

                      In so doing, the speaker takess / keeps an attitude of  still-

 

                    ness or ' wait-and-see ' posture; it means that he waits for

 

                    appearance, on the side of the audience, of motivation / in-

 

                    tention / enthusiasm, etc., to listen to what he speaks to them.

 

                       For him, the speaker, it is a time for endurance with to-

 

                    soku / breath-out of se-ika tanden kokyuh, slowly and deeply.

 

                     Not being impatient, just wait until he can witness or see

 

                    reaction ( excitement ) in his audiesnce, it is, then, time when

 

                    he pushes his speech self-confidently, and powerfully, taking

 

                    kyuh soku / breath-in, and this moment with repetion of tan

 

                    soku / short breath.

 

                       And again comes a time of rest for a while.

 

                    If it is a short-period one, the speaker must have taken si so-

 

                   ku / hold a breath, and, if long, a repetition of ordinary kyoh

 

                   shiki kokyuh or thoracic iki zua-i / breathing would be right and

 

                   proper.

 

                     As for the side of the audience, at the beginning of speech, re-

 

                  main, with shallow, short kyousiki kokyuh / thoracic breath, in

 

                  the atmosphere unstable and uneasy, or, rather, under tension.

 

                    To pay a close attension to the ' between ' of the both side,

 

                   there ensues transaction of, so to speak, 'osi tari, hih tari ' /

 

                    ' push or withdrawal ' movement.

 

                     If the speaker keeps osu / push or press toward the audience,

 

                    with hasty iki zuka-i, the latter ( the audience ), would with-

 

                    draw or detracted from the former ( the speakerd ), rather

 

                    than get attracted.

 

                      Such movement produces Ma so spacious and vacant that

 

                    any word, even if sincerly spoken from the depth of the heart,

 

                    would not reach the heart of the audience.

 

                      An eloquent speaker, or orator, under this kind of circum-

 

                    stance, quits / suspends speech at that moment, and changes

 

                    his iki zuka-i / breathing into that of breathing into that of

 

                    relaxed one. He manipulates either thoracic or abdominal

 

                    method of breath  ---  slowly.  That is to say, he withholds

 

                    himself from the audience.

 

                       Then, the mind of the audience who has receded from the

 

                    speaker / orator, being overwhelmed by his forceful osu /

 

                    push or press ( sppech ), would come back or return, and

 

                    revive, then, Ma, so vast and vacant before, would be ful-

 

                     filled.

 

                      With the atmosphere with excitement or mental exaltation.

 

                    A period of sufficint thinking and delibration.

 

                      Between the speaker and his audience, if this kind of 'osi

 

                    tari, hi-i tari ' / ' push or withdrawal ' transaction repeatedly

 

                    developed, the mind / feeling of both sides would soon get

 

                    fused into one.  And the speech invite a surge of excitement.

 

                      The speaker, however expert or skilled he may be, would

 

                    not be able to proceed his speech, unifying thed mind of the

 

                    audience with his only through ' one trial ' only through ma-

 

                    nipulating various types of iki zuka-i / breathing, step by

 

                    step, he reaches his audience's mind.

 

                      Just as one tightens or loosen the reins :  in the former

 

                    situation, it is done with powerful tan soku / short breath

 

                    in the latter with serene, long iki zuka-i  / breathing.

 

                      Furthermore, if this kind of transaction  is developed,

 

                   adding to it, such as change of speed, accent or stress,

 

                   it appears as if the speaker manages the audience freely

 

                   as he desires.

 

                     Then, the speaker, it could be said, an eloquent one, or a

 

                   genuine orator.

 

                     The essense of speech may be evaluated by excellence of its

 

                   content, yet, in order for the excelllent content to reach the

 

                   depth of audience 's mind / heart, it depends, after all, on vari-

 

                   ous types of iki zuka-i / breathing and composition Ma thereby.

 

 

    In the everday world of interpersonal relationships, as examined above,

 

   various kinds of iki zuka-i / breathing are manipulated.

 

     To review once more,

 

    choh soku / long breath, particularly to-soku /  breath-out a most ef-

 

    fective way of producing the most Ma so as to smoothly develop and

 

    maintain contact of two people.

 

     So, keeping in mind this understand of effectivenesss of choh soku /

 

   long breath, let us furter sketch some other example ( episodes ).

 

     To begin with the famous fable:

 

 

 

                     ≴　　The North Wind and the Sun  ≵

 

 

                     One day, the north wind and the sun found a traveler walk-

 

                   ing along. And, they decided to bet on which one can make the

 

                   traveler take off his coat quickly.

 

                     The north wind blew hard at the traveler trying to remove 

 

                   his coat, but the harder the north wind blew, the more tightly

 

                   the traveler kept his coat to himself.

 

                      The sun, on the other hand, enveloped the traveler with

 

                     warm, soft sunlight, and continued to do so which finally

 

                     made the traveler take off his coat.

 

 

   To blow short-temperedly in an ' ose, ose' / ' push, push or press, press '

 

   mode as the north wind did causes Ma zumari, or Ma choking, which is

 

   only stressful.  Tan soku / short breath benefits nothing.  Composing Ma

 

  modestly gives the other ' freedom of ' which ultimately lets the other

 

  live well.

 

 

                   ≴　　meeting for the first  time   ≵

 

 

　　　　　　　　　　　Meeting for the first time, people are likely to feel awkward

 

                   uneasy. It is because people newly acquainted, cannot yet

 

                   get along well with each other nor match /harmonize each

 

                   other's iki zuka-i / breathing well nor do they compose Ma

 

                   modestly.

 

                     They each have nowhere to settle in their contact, unable to

 

                   produce a space ( distance ) so comfprtable as it may be.

 

                     Iki zuka-i / breathing of each is that of tan soku / short

 

                   breath; shallow and quick.

 

                      Irritation increasingly accumulates, despite that they desire

 

                    to feel well at ease with each other as soon as possible, and

 

                    to have  chats, carefree and pleasant.

 

                      How should they do, then ?

 

                     It is to handle choh soku / long breath.  Slow, mellow, relax-

 

                    ed, and quiet ...   then, the atmosphere which was stressful

 

                    until then, would be softened, and settle down the mind of

 

                    of the two people newly acquired.  Irritation would be reduced.

 

                       Conversation between them would begin to radiate its glow

 

                     of life.

 

                       What, if it is in any way impossible ?

 

                        In such a case, do not haste, wait for another opportunity,

 

                      otherwise, patience is only required.  Be patient keeping

 

                       choh soku / long breath until Ma would be modestly opened

 

                      ---  in other words, things do not go so easy as expected.

 

 

 

                             ≴   squaring shoulders   ≵

 

      

                      It is someone always taking kyohsiki kokyuh / thoracic

 

                   breath.   Short and shallow.

 

                    Squaring one’s shoulders, one assumes a perfect posture

 

                   ---  perfect in the sense of perdmitting to oneself no faults

 

                   nor weakness even a little bit.  This particular type of per-

 

                   sonality is often found among modern / contemporry people.

 

 

    If only one took choh soku / long breath of se-ika tanden kokyuh /

 

   abdomen-under-navel, one would be able to have a little ’ room’ for

 

   oneself, and be released from stress, to feel at ease with others.

 

     In the ordinary worldd of interpersonal relationships, trying not to

 

   live through it only with tan soku / long breath, and, not to allow the

 

   other know one’s  weakness, but, if one, manipulating choh soku /

 

   long breath, take a rest, one could return to one's natural attitude

 

    ---  as one is what one actually is.  And, then, would be able to keep

 

   frank, sincere contact with the other.

 

    If the otherd who is ssimilarly a contemporary type of person, with

 

   tan soku / short breath also changed it into choh soku / long breath.

 

   Then, Ma would be modestly composed between the two people and so,

 

   it would expected a new phase of interpersonal relationship to appear

 

   and develop.

 

                       

 

                          ≴   defiant daughter and her mother   ≵

 

　　　　　　　　　　　　　　　　　　

　　　　　　　　　　　Furious with her daughter who would not listen to her is

 

                   she, when Mother scolds her by severe, bitter words.

 

                     Mother’s iki zuka-i / breathing at this moment is that of

 

                    kyohsiki / thoracic type ; short, shallow and harsh.  Against

 

                    a storm of those critical words her daughterd stiffens  her

 

                    attitude, and gets all the more rebellious. She also reacts

 

                    against Mother with short, thoracic breath.

 

                      Ma zumari, or Ma between the two gets increasingly nar-

 

                    rowed, and stresses therein increase ; it is almost choking.

 

                      In this case, if choh soku / long breath was used, a new

 

                    situation.  Mother holds a breath, and adjusts her iki zuka-i /

 

                    breathing.

 

                      Then, looking at her daughter once again, she does not

 

                   ask to herself  --- ' Why in the world she cannot understand

 

                   what I told ? '  Instead, she, taking a calm, relaxed to-soku /

 

                   breath-out, makes some certain distance to her daughter,

 

                   a modest Ma, thinks over what her daughter has said /claimed

 

                  to her.

 

                     If so settled by choh soku / long breath, she would come to

 

                    understand her daughter, little by little, though. 

 

                      However, Mother's understanding of her daughter is one

 

                    thing, her thought / policy of good breeding to her daughter

 

                    is another. However understanding of her daughter is she,

 

                    Mother cannot permit what she cannot. It is no need to do so.

 

                      What is ' not good ' is lack of understanding ; rejection of

 

                     Mother's warm feeling of omo-i yari / considerateness to her

 

                     suffering daughter.

 

                       Good understanding would let daughter cool down her mind, 

 

                     and listen to what her mother thoughtfully was telling her.

 

                      To repeat again, it is nothing but choh soku / long breath of

 

                     slow, relaxed one, and Ma modestly composed that conveys

 

                     Mother's thoughts to her daughter.

 

 

    So far we have re-sketched / re-examined several episodes which indic-

 

   ates the effectiveness of choh soku / long breath, yet it is not always the

 

   case.

 

      Allow me then to turn to what happened in my backyard years ago

 

   The story goes as follows.

 

 

 

                        ≴　　　a  rejecting kitten   ≵

 

 

　　　　　　　　　　　　’ Mew, me~~ w, Mew ~~  me ...  '

 

                       ' Gya-haaa,  Gyah!  Gyahaaa ...  '

 

                    Crying of cats against each other coming up from my yard

 

                   continued ( to be heard ) on and on.

 

                      It was a sweet, mellow voice somehow indulging or cooing

 

                    in trying to sooth and reducing tension.

 

                      I was a little surprised to see from the window that the

 

                    cooing ' Mew ~~ ' voice belonged to a big cat, and the thre-

 

                   atened, defending one, his would-be playmate, was a little cat

 

                   cat or kitten of about three month year old.

 

                    The kitten was used to come to my yard, and to play around

 

                   with his brothers cheerfully and in high spirits.

 

                    But, this time, he got frozen with fear at ' big-brother-like '

 

                   calling, ' Why don't you play together with me? '

 

                    Bristling up, he only defended with panic-striken, short voice

 

                   or tan soku / short breath.

 

                     ' no!  No!  I'm just scared.  Gmew  gyammew ... '

 

                    The big cat, for a pretty long  time, patiently continued to

 

                   make appeal to the kitten by using choh soku / long brath,

 

                   but finally gave up, and went away, rejected.

 

                     Manipulation of choh soku / long breath was, it seems, by no

 

                   means a wrong choice. If the big cat with tan soku / short

 

                   breath abruptly play at the little one it is nothing but a fear-

 

                   ful attack to his future playmate.  The kitten mus have scream

 

                   as loud as possible, and tried to ran away, or desperately

 

                   fight against him with all his strength just as ' Kyuh so,

 

                   neko wo kamu,' 〔 Driven to a corner, a panick-stricken mouse

 

                   attacks against / bites back a dreadful cat. 〕　just as the mouse

 

                  does the big cat.

 

                     Anyway, it would be very difficult for the big cat to realize

 

                  the situation he has been dreaming in which he could play

 

                  with the little one.

 

                    The big cat certainly did his best, calling / appealing to the

 

                   kitten patiently  ---  with patience which actually deserves

 

                   a medal, and waited until the kitten would get out of fear,

 

                   and open his mind.

 

                     But there appeared too much difference in size and volume

 

                    between the two cats.

 

                      The kitten continued to firms proposaly refuse the big cat's

 

                    proposal ; he had not yet acquired capacities to be a play-

 

                   mate of the big one.

 

                     If he had, he would have realized the dream the big cat en-

 

                   tertained about him.  He looked a little too young.

 

                   Sadly, for the big cat, the operation of choh soku / long breath

 

                   was just useless ord resulted in vain.

 

                     It is really an utmost difficult matter for us to convey our

 

                   feelings and thoughts to other people, nevertheless, we

 

                   struggled hard to attempt to do so in interpersonal relation-

 

                   ships, and this is what we do in the ordinary world of daily life.

 

                       If we would to communicate well with others, there are

 

                   various dways to do so ; the type abovr sketched must be

 

                    one of them.

 

                       That is, choh soku / long breath which implies patience.

 

                   One must patiently awaits until favorable reaction comes

 

                    up from the other, repeatedly making appeal by and through

 

                    manipulation of chyoh soku / long breath.

 

                       But, not to narrow Ma too much.

 

                     One must compose Ma without narrowing it, and make it re-

 

                   laxed so as to provide the other with ' room ' for consideration /

 

                   delibration. Failure of choh soku / long breath resides not in

 

                   itself, but, rather, using and manipulating it  --- it is that one

 

                   cannot draw chyoh soku from the other, however patiently

 

                   one tries to keep on awaiting.

 

　　　　　　　　　　　Lastly, a supplementary, or it might be unnecessary though,

 

                   note to the present section, it is my personal, strange experi-

 

                   ences again in my yard.

 

                       Allow me to present these episodes.

 

 

 

                               ≴　A sparrow who did not fly away ---  ≵

 

　　　

　　　　　　　　　Years ago, I was watering the lawn of my yard with a hose,

 

                 sinc it was a small one which needed no sprinkler.

 

                   I looked down at my feet, several sparrows were easgerly

 

                 pecking th lawn.

 

                   ' Are'nt you afraid of me ?  I'm Japanse human, you know? '

 

                   Sparrows are ' naktural enemy ' for the agricultural people

 

                  of Japan.  The scene of kakasi / scarecrow and naruko /

 

                  clappers for sending them off have long been familiar to the

 

                  people of the rice-field country, i.e., Japan.

 

                    Sparrows must be all the more instinctively cautious about

 

                  people, and would not come near them; if people come near

 

                  them, they fly away at once, at an instance. they are different

 

                  species from pigeon living at the parks and shrines.

 

                     Nevertheless, the sparrows would not fly away from me.

 

                  Holding breath, I remained still, and watched what the spar-

 

                 rows would do.

 

                   Nothing particular has happend; they were pecking unconcern-

 

                 ed with me.  Just carefree ...

 

                  Slowly a mellow time passed by.  It was a strange, literally,

 

                 wonder-full exdperience, indeed.

 

 

    Was my iki zuka-i / breathing mild enough to dissolve the sparrow's feel-

 

   ing of strong cautiousness ?

 

     They might have manipulated well both choh soko / long breath and

 

   tan soku / short breath.  To me, they responded with quiet, cool choh

 

   soku, taking a nonchalant attitude ; neabwhile, they were pecking busily

 

   with tan soku / short breath.  I felt admittedly their emphasis / attention

 

   was on the latter behavior.

 

     The above experience further, reminds me of another similar case:

 

 

 

                            ≴　　　a turtledove marching with me   ≵

 

 

　　　　　　　　　　　　On a day in late autumn,

 

                    a turtledove who suddenly appeared from under the fallen

 

                   leaves of a big oak tree, and walked along with me as if

 

                   marching in harmony with my pace. I was a little surprised.

 

                     At this moment, my iki  zuka-i / breathing wa ordinary tho-

 

                   racic one.

 

                          How about the turtledove, then ?

 

 

 

                     ≴　　mejiro / Japanese while eye 　 ≵

 

 

     　　　　　　　 When I was idely looking out from a window, a little bird

 

                 flew somewhere else, and perched on a twig  of Pyracantha

 

                 bush.  Quietly  ---  holding breath, I remember I remained still,

 

                 and watched how it went. If I opened the window abruptly and

 

                 violently, the bird would have flown away at an instance.

 

                   With quiet ikzuka-i / breathing and making Ma modestly,

 

                 there appeared some possibilities for me to observe / imagine

 

                 the situation at that moment.

 

                   The bird has the color of light yellowish green. Its size was, as

 

                well as its color, the same as Japanese bush warble, the only one

 

                different point was its eye with clear-cut white rink like ' eye

 

                shadow' around its eye.

 

                  Later I learned that the bird was mejiro / Japanese white eye.

 

                 I wonder if she cameto peck red little fruit of Pyracantha, but,

 

                   it seemed too early to expect to be ripen;  it was late spring,

 

                   then.

 

                    Was it a preview for harvert in autumn ?  Or else, simply tak-

 

                   ing a little rest ?

 

                    ' Here this yard is a territory of a long, dark greyish-haired

 

                   cat.  Do not be his easy mark!  He is wild enough  to catch

 

                   many sparrows for his food.'

 

                     By taking Ma modestly, various kinds ofd imagination and

 

                   readlity were interlaced.

 

                     My iki zuka-i / breathing, for the meanwhile, is assumed

 

                   to be choh soku / long breath.

 

                     On the side of the white-eye, she hopped up and down,

 

                   threading the stingy twigs with slender leaves ; she was pre-

 

                   sumably tan soku / short breath of thoracic type.One day, I

 

                         A year or so has passed.

 

                    One day, Ifound a nest in the Pyracantha bush.

 

                      It was empty, telling that young brood had already left it.

 

                    Looking at the dried-up nest, twined with broken threads of

 

                   spider, I wondered how she could make the nest and raised

 

                   her children, without drawing attention fro anyone at all  ---

 

                   not from me nor from that wild-natured greyish-haired cat.

 

                     She must have done it, maintaining well choh soku / long

 

                  breath, and tan soku / short breath interchangeably. 

 

                    I wish I could ask her how she has actually complete her

 

                 labor.

 

 

   Before closing the present section, let us review the relevance of

 

  iki zuka-i / breathing, or our main concerdn here, to Ma and its com-

 

  position and maintenance.

 

    For the purpose of composing / maintaining Ma modestly, iki zuka-i /

 

  stands as its pivot and essence, and two kinds of it are introduced and

 

   examined.

 

    They are :  choh soku / long breath and tan soku / short breath.

 

   Tan soku, certainly has good effect (-tiveness) underd some certain cir-

 

   cumstance, depending son the situation, ford example, in the case of

 

   quick response or attack, but it is short-lived, and a flash of glow.

 

    It is, all things considered, choh soku / long breath of fukusiki kokyuh /

 

  abdominal breathing method  ---  se-ika tanden kokyuh of especially to-

 

  soku / breath-out that is  the most effective in, and promotes, composi-

 

  tion / maintenance of Ma and interpersonal relationships.

 

    A further concluding remark for the present section :

 

  Iki zuka-i / breathing is, it is assumed, ultimately exercied / manipulated

 

  on the unconscious level, or without intention.

 

    That is to say, with resgards to fukusiki kokyuh / abdominal breath,

 

  one breathes, moving rib cages linked to abdominal muscles, and con-

 

  centrating one's concsiousness on se-ika tanden / abdomen-under-navel

 

  breathing.

 

    After having acquired, through hard discipline / exercice of se-ika tanden 

 

   kokyuh, a mastery of breathing, one comes to breathe naturally, or, just as

 

   the ordinary breath (-ing) of thoracic type administered by automatic

 

   nerves.

 

     In the everyday world of interpersonal relationships, if one has good

 

   control of breathing in a natural or unintentional way, one can manipulate

 

  various kinds of breath (-ing ) and compose / maintain Ma modestly, and

 

  so develop contacts with others.

 

   Then, it is that the secret of interpersonal relationships is at last attained.

 

  To put it another way, the only one that can manipulate iki zuka-i / breath-

 

  ing well and delibrately on the unconscious level or naturally, could be

 

  said a master of interpersonal relationships.

 

 

 

                IV   KI and Ki-kankaku / Ki-sense

 

 

 

   Iki zuka-i / breathing is, whichever method it may take, the phenomena /

 

  process that the living thing inhales air into its lungs and exhales it out of

 

  its body.

 

                  Air is part of Ki.

 

            what is Ki, then, ?

 

   Ki is the key concept of Chinese traditional thought / philosophy.

 

        According to the KOJI-EN ( pertially extracted ):

 

 

                          ki

 

                         〔　❶　something that fills up between heaven and earth,

 

                                 and constitutes the universe and also its activities

 

                                ➀　phenomena such as wind and rain, cold hot

 

                                ➁   ( omitted )

 

                                ➂　root which gives rise to all things in the universe

 

 

                            ❷　moving forses for lifee     sources of vitality

 

                            ❸　  ( omitted )

 

 

   In order to grasp more in detai the concept of Ki, I looked it up the In-

 

   ternational Encyclopedia Britanica ( written/explained by Japanese ):*

 

 

                        _____________________

 

                                *  This is the one installed  in my electric diction-

                                   sry ( SHARP ELECTRIC DICTIONARY ( op. cit. )

 

                                                      _____________________

 

                         

                         ki

 

                         〔 The concept of Chinese philosophy which explains the

 

                            existence of thing and activities ( omitted )

 

                              In exploration of why the human live and die, or

 

                            why living things respond to the change, or rise and

 

                            fall of four seasons, it is deemed to explain it by ki of  

 

                           collecting and dispersing minute things such as vapor

 

                           or human breath.  Therefore, ki is indpendent of the

 

                           human mind, and ubiquitous in the universe; It is a

 

                           common /universal matter which possesses energy in

 

                           itself, and, if ki collects individual things, things can

 

                           exist, and if it disperses them, things become extinct.

 

                             ( The following explanation is omitted. ) 〕

 

 

 

  Here is an episode which tells about Ki:

 

 

                       

                     When I was a child, I happened to see Ki-vapor of the

 

                     Earth, I remember.

 

                        I have only vague memory of where it was, the exact

   

                     place, though, it was in the middle of spring.

 

                        I saw something transparesnt like steam or cloud curl-

 

                     ing up far beyond the field.

 

                            ' What's that ? '

 

                                          I wondered.

 

                     It was a mirage.  Ki, the vapor that the Earth was emitting.

 

                                    ---   So learned I later.

                     

 

                    Years have passed, and then, I again experienced a similar

 

                    phenomenon.

 

                       I saw a group of women in white dresses at a little far

 

                    distance, and got a little surprised to see something over

 

                    their heads.  It was the same thing as I once observed in

 

                    my childhood  ---  a mirage curling up from the heads of

 

                    people belong to some certain religious cult.

 

                     It was a curling-up of Ki which each of them, it was so con-

 

                   cievable, was naturally, or, unconscously emitting.

 

 

     Ki is not that which is invisible, nevertheless, it is generally sensed /

 

   felt only under special  circumstances or conditions ; obviously as rare,

 

   extraordinary experiences.  It seems so especially in modern times.

 

 

      Ki has been traditionally the object of adoration or awe.

 

          Se-i re-i / spirit is a good example.

 

      Se-i re-i lives/inhabits in the nature. In grass, in trees, rivers, woods,

 

   rocks, mountains, and so on.

 

              To retrieve from the KOJI-EN:

 

 

                        se-i re-i

 

                       〔　( spirit )

 

                         ➀ mysteirous Ki which is said to be the root of all things

 

                              the universe     spiritual energy

 

                          ➁ supernatural existence which inhabits in grasses,

 

                              animal humans, and inanimate objects

 

                           ➂ liberal spirit released from the flesh or the body

 

                                   soul of the dead   〕  

 

 

　　Yoh se-i is also se-i re-i / spirit.  So is ninfu / nymph.

 

      To look up yoh se-i and ninfu in the KOHJI-EN:

 

 

                         yoh se-i

 

                        　〔 ( fairy ) se-i re-i of natural things seen in the legends

 

                             and tales of Eastern Europe. Take a figure of pretty,

 

                             tender, young maiden.  Many found in the Celts peo-

 

                              ple, tribes of the Latin origin. It is named differently

 

                              in different vountries.   sen nyo / Chinese fairy 〕

 

 

　　　　　　　　　         ninfu　【 nymph 】

 

                        〔 ➀ ( Nymphe  Greek ) apirits of mountains, fields, rivers,

 

                              brooks, trees, caves, etc., which appear in the Greek

 

                              Myth.  They take the figure of a pretty, young maiden

 

                             who likes singing and dancing. They are not immortal, 

 

                             leads a long life.  〕

 

 

 

　　　Yoh se-i / fairy seems to have similarity to yuki on-na, yama no kami,

 

   and yama uba who appear in old Japanese legends.  To consult the KOH-

 

   JI-EN, and to retrieve theme, in turn:

 

 

                         yuki on-na

 

                       　 〔　【 snow fairy 】

 

　　　　　　　　　　　　　　　fairy of snow who shows herself at the night of heavy

 

                             snowfall; told in the legends of snowy regions of

 

                             Japan.  It is said to appear in the figure of woman

 

                             wearing white costume.   yuki joroh / snow woman

 

                                 yuki musume / snow maiden  　〕　

 

 

　　　　　　　　　　　　　　yama no kami

 

                           〔　【 Goddess of mountain 】

 

　　　　　　　　　　　　　　　➀ goddess who protects and administers mountain.

 

                                   spirits of mountain     According to folklore,

 

                                 it is said, after haarvest in autumn over, she stays

 

                                  up above moutain, and, in spring, she comes down

 

                                   to become of paddy fields.

 

                                         ( the following explanation is omitted  )

 

 

                         yama n'ba

 

                          〔 【 old-woman mountaineer 】

 

　　　　　　　　　　　　　　Legendary woman who is thought living in the deep

 

                           mountains and to exercise strong power.

 

                             yama on-na / moutain woman    kijo ( oni on-na ) /

 

                              female demon  〕

 

 

　　 Although this might be an unnecessary remark though, it is not difficult

 

   to imagine that yohse-i / fairy to take a human figure ;  I have no object-

 

   ion against it.  But, why is the figure so different in the West and the East?

 

     In the West, it is symbolized by an image of beauty, a pretty young

 

   women, bright and kind, while in the East, for example, in Japan the

 

   image is apparently reversed.

 

    Love for se-i re-i / spirit of the nature somehow slipped down from ado-

 

   ration to awe. If so, a figure / image of brave hero, or samura-i would be

 

   more suitable.

 

     Anyway, it is just such a wonder /  mystery that in the world of se-i

 

   re-i /  spirit and fairy / nymphe, no handsome boy has ever appeared.

 

 

     Turning to the subject,

 

   A word to add:  contemporary interpretation of  se-i re-i / spirit is, in a

 

   sense, ' fitonchiddo, '  is'nt it ?   To consult the KOJI-EN:

 

 

                         fitonchiddo　　【 fitontsid　　Russia 】

 

                         〔 Chemical material which such as trees emits    It has

 

                            power to control microbe like bacteria.  〕

 

 

　　　Searching a more detailed explanation, I reached the Pahsonaru

 

   Katakana go Jiten*:

 

                                         ____________________

 

                                          * A dictionary of personal Japanese Character

                                             (of mostly made-in-Japan, or Japanese

                                               English ). Installed in my electric dictionary

                                              ( op. cit ).

　　　　　　　　　　　　　

                                                               ___________________

 

 

                         fitonchiddo

 

                         ( fitonsid   Russia )

 

                        〔　It is aromatic material possessing disinfectant power,

 

                           germicide, which is emitted from trees.  To bathe it is

 

                            one of the purposes of  sinrin yoku / wood bathing.  〕

 

 

　　　Back to the KOHJI-EN:

 

 

                          sinrin yoku

 

                        〔 【 wood bathing 】

 

                        a phrase imitated after 'sea bathing,' or 'sun bathing')

 

                        To enter into a wood, and to bathe  aroma of tree and

 

                        to get mental relaxation and feeling of refreshment  〕

 

 

　　　It makes me feel that it would be more romantic and pleasant tp meet

 

   fairies and nymphes in a wood than to try sinrin yoku / wood bathing.

 

     But, nowadays, in the modern world, is it impossible to realize such a

 

   dream.  It seems just a phantasy.  It's really a little sad thing, though.

 

         One more additional word:

 

    It is hard to remember when, but we came to see and hear as a matter

 

   of course the word, ohra. 

 

                              To retrieve it from the KOJI-EN,

 

 

                          ohra  【 aura 】

 

　　　　　　　　　　　　　　〔 spiritual energy or peculiar atomosphere which human

 

                             or thing emits  〕

 

 

   Aura is, it is understandable as, Ki.

 

   Aura is also concievable as contemporary interpretation of se-i re-i / spirit.

 

   Having stepped aside a little too much from our concern to the present

 

   section, let us now come back within its ' path '; Ki itself and Ki of the

 

   Nature  ---   that is, air is, as already indicated, by way of resiration /

 

   breath (-ing ), taken into  the body, circulates around it, and sent out of

 

   it.

 

      This working of Ki, from ancient times in China, attracted much atten-

 

    tion and utilized ; in order to maintain health, both mental and physical,

 

    various kinds of caring / curing methods were developed,doh-in jutsu /

 

    art of breathing ( breath-training / -exercise ), for example, and intro-

 

    duced in Japan.

 

      For the present section, however, I would like to examine the special

 

   power of Ki, rather than those related to maintenance of mental / physic-

 

   al conditions such as above mentioned.

 

     To begin with, let us ascertain that Ki creates / produces a new, extra

 

   power united and fused with the senses of human body  ---  i.e., five

 

   senses such  as sight, hearing, smell, taste, and touch.

 

     It is, to put it another way, the extra sensory power transceding the

 

   ordinary five senses, and this particular extra sense is altenatively called

 

   as choh kankaku, or super sense, because of its transcending abilities

 

   over the ordinary senses.

 

     To repeat, and what must be emphasized is :  it is Ki which underlies

 

   the particular extra power sense as its original source.

 

     In the present section hereafter, this extra-power sense, or super

 

   sense is called Ki-kankaku / Ki-sense, and its consideration is proceed

 

   accordingly.

 

     Our first task is then  to collect and examine the words related to Ki-

 

   kankaku / Ki-sense :  They are da-i roku kan / the sixth sense, and choh

 

   nohryoku / super natural / power or psychic force.

 

      To look up da-i roku kan in the KOHJI-EN:

 

 

                          da-i roku kan

 

                          〔【 da-i rokkan 】

 

                          the sense that exists besides the five senses, and the

 

                           function of the mind which sharply grasp the essence

 

                            of things / events  〕

 

 

　　To further proceed to the International Encyclopedia Britanica:

 

 

                           da-i rokkan

 

                          〔【 sixth sense 】

 

　　　　　　　　　　　　　　It means the six sense which is other than, or  trans-

 

　　　　　　　　　　　　　　cends, human senses ( sight, hearing, touch, taste,

 

                           and smell ).  Or else, psychologist Ryo Kuroda named

 

                          it over against siki of isiki / consciousness, as kaku /

 

                          awareness and concieved that it functions in intellectual,

 

                          artistic activities, and budoh / Japanese martial arts.

 

                              inspiration      kan / intuition  

 

 

   To look up the word, ' sixth sense,' in the Oxford Modern English-

 

   English  Dictionary:

 

 

                          six sense

 

                          A special ability to know sth without using any of the

 

                           five senses that include sight, touch, etc.

 

                                 * My sixth sense told me to stay here and wait.

 

 

    Next, let me see how choh nohryoku is explained in the International

 

   Encyclopedia Britanica:

 

 

                         choh nohryoku

 

                         〔 【 psychic force 】

 

                          unknown ability which cannot clarified by modern

 

                          science can be roughly classifed as follow: (1)

 

                           extra-sensory perception ( ESP ), se-i sin kn-noh /

 

                           telepathy, yochi / precognition, tohsi / clairvoyance etc.

 

                           to know person and situation spatially and temporarily

 

                           distant  (2) physical forces such as nenriki ( PK ) /

 

                           psychkninesis, nendoh / telekinesis, nensha / thought-

 

                           graph, other than these, there is the case of transfer-

 

                           ring immediately one's own body and thing.

 

                              With regards to these forces, the attempt to clarify

 

                            them from the standpoint of super-psychology is

 

                            proceeded. 〕

 

 

　  Among these phenomena of choh nohryoku / psychic force, two types of

 

   them attract attention as relevant to the present concern  ---  se-i sin

 

   kan-noh and nenriki.

 

      To refer to the International Encyclopeia Britanica:

 

 

                        se-i sin kan-noh

 

                        〔【 mental telepathy 】

 

　　　　　　　　　　　　　　It is also called  as terepasih / telepathy, sinen dentatsu /

 

                           conveyance of thought, dokusin jutsu / mind reading.

 

                          It is that existence of human, the content of mind and

 

                          thought, or behavior are conveyed to other people with-

 

                          out rational communicative means mediated by the ordi-

 

                          nary sensory channels. It is a kind of mental psychic phe-

 

                          mena, and so called as choh nohryoku, and objec of psy-

 

                          chological study, together with nenriki, tohsi, yochi.  〕

 

 

　　　　　　　　　　　　　nenriki

 

                         〔 【 psychokinesis 】

 

　　　　　　　　　　　　　It indicates a function and/or ability which is concieved

 

                         to exert influence on material by human will or intention,

 

                         not by way of physical media.  It named PK as abbreviation

 

                         for it.

 

                          It isclassified as follows. 1) direct move an object in

 

                         front of eyes.  2) bodily move to be able  to move to far

 

                         distance  in an instant by exerting influence on one's own

 

                         body. 3) nendoh / telekinesis to move object of far dis-

 

                         dance.  4) nensha / thoughtgraph to reflect psychlogical

 

                          phenomena on photo plate.  These psychological / psy-

 

                          cal phenomena and extra-sensory perception are named,

 

                          as a genera term, sa-i genshou / psy phenomena. 〕

 

　　　　　　　　　　　　　　　　　( The following is omitted. )

 

 

    Now, Ki-sense as above explained is to be treated to find its significance

 

   not in choh nohryoku / psychic force  ---  particularly, the psychic phe-

 

   nomena of yet psychologically unclarified field, but in the ordinakry

 

   scenes of the everyday world of interpersonal relationships.

 

     For this purpose, let us pick up first of all the colloquial expressions /

 

   phrases in which the concept of Ki is recognizable as intervened in inter-

 

   personal relationships.

 

     To scan them in the KOHJI-EN, there amount, it is assumed, ten times

 

   or more of Ki expressions / phrases here chosen, though  ---  only those

 

   which bear direct relevance to the present concern are arbirarily chosen:

 

 

                         ki ga a-u

 

                         〔 to be able to get along well together because ways of

 

                            feeling and thinking are similar to each other 〕

 

 

　　　　　　　　　　　　　ki ga aru

 

                          〔 to concern with    to be interested in    to have a

 

                             heart longing for  〕

 

 

　　　　　　　　　　　　　ki ga okena-i

 

                          〔 not to feel awkward     to feel comfortable    Or, one

 

                            need not worry about the other. 〕

 

 

　　　　　　　　　　　　　ki ga kiku

 

　　　　　　　　　　　　 〔 ➀ to be able to quickly make a judgement suitable to

 

                               the given situation     to be wensitive to small things

 

                            ➁ to be fashionable  〕

 

 

　　　　　　　　　　　　　ki gagari

 

                         〔 to feel bright because you do not feel burden for thing /

 

                            matter 〕

 

　　　　　　　　　　　　　

　　　　　　　　　　　　　ki kubari

 

                         〔 ➀ to make aware of

 

                            ➁ to be careful so as not to maked failure  〕

 

 

　　　　　　　　　　　　　ki makase

 

                         〔 to behave as one pleases, without attention to others

 

                            ki mama / to behave in one's way  〕

 

 

　　　　　　　　　　　　　ki mame

 

                         〔 one who works well and honestly     being sensitive,

 

                           and willing to dwork, sparing no pains  〕

 

　　　

　　　　　　　　　　　　　ki muzukasi-i

 

                         〔➀ not to feel well    to be moody

 

                          ➁ stick to one's own thoughts and feelings    not to

 

                                conform early to other people   being nervous  〕

 

 

                         ki yasu-i

 

                          〔 to feel relaxed    to  feel easy   to be familiar with  〕

 

 

　　　　　　　　　　　　　 ki raku

 

                         〔➀ to be in an easygoing mood without trouble and worry

 

                           ➁ not to be particularly concerned with things   optinistic 〕

 

 

　　　　　　　　　　　　 ki wo mawasu

 

                        〔 to bother about, or imagine in one or another, something

 

                           unnecessary to do so  〕

 

　　　

　　　　　　　　　　　　ki wo momu

 

                       〔 to worry, apprehending things in one way or another 〕

 

　　　　　　　　　　　

　　　　　　　　　　　　ki wo yurusu

 

                       〔 to become a state of defenselessness by releasing ca-

 

                          utiousness andstress  〕

 

 

　　　　　　　　　　　 ki wo yokusuru

 

                       〔 to have a good feeling ( as things go well, ord praised ) 〕

 

 

　　　　　　　　　　　ki kubari

 

                     〔 to be considerate in one way ord another so as not to

 

                       make disadventage and failure    to be sensitive taking

 

                       others into considerations / regards  〕

 

 

　　　　　　　　　　　ki zukare

 

                     　〔 to get tired, being too sensitive, thinking about in one

 

                         way or another  〕

 

 

                     ki zumari

 

                     〔 unable to feel not constrained because there are many to

 

                        worry about otherss and those who surround one   to be

 

                        constrained  〕

 

 

　　　　　　　　　　　ki ga tsumaru

 

                      〔 to feel like mentally constrained and opposed to feel un-

 

                         related  〕

 

 

                    ki bataraki

 

                      〔 to work sensitively with great care so that the mind works

 

                         promptly as the situation develops to work tactfully  

 

                              kiten / tacit  〕

 

                                    ( the following is omitted )

 

 

     To review the above quoted collection of Ki expressions / phrases,

 

   Ki, for one thing, it seems most signified in the idea of ' being consider-

 

  ate and/or consideration.'  Under this idea come ' concern,' 'attention,'

 

   ' regard,' ' apprehension,' ' worry,' and ' care.' All of them indicate the

 

  working of  one's mind toward the other interpersonally related to one.

 

     Another thing is about one's state of mind to the other :  to be ' sen-

 

   sitive,' ' delicate,' ' apprehensive,' ' anxious,' ' attentive,' ' concened

 

   (concerned ),' and ' thoughtful,' to point several of them.

 

     And one more his is one's own state of mind. To feel ' relaxed, ' ' care-

 

   free, ' ' easy,' ' comfortable,' and, reversely, ' comstrained,' ' opposed,'

 

   ' hesitated,' ' awkward,' etc.

 

    To specify more these colloquial expressions of Ki by a < positive ―

　　negative > scale, it seems, significance is placed on the latter  ---

 

    i.e., the negative.

 

     As evidence for this, it could be mentioned, the word, ' worry,' is most

 

   often seen or appeared in the collection of Ki  ---  related expressions /

 

   phrases.

 

     Such working of the mind as ' sensitive ' about  small things, or in one

 

   way or another,' and these would be counted as expressions of Japanese

 

   beauty consciousness, but, leaving consideration of this theme to another

 

   occasion, I would like to proceed to consider my present concern.

 

     There is one thing which caught my attention.

 

     While listing up Ki-related phrases, I noticed for the explanation of Ki,

 

   kokoro are interchangeably treated as synonym.*

 

                              ___________________

                                

                                 *  I must confess to have failed in my attempt

 

                                     to translate Ki and kokoro into English, with

 

                                     a clear distinction between the two words,

 

                                     which, regrettably, went beyond my abilities

 

                                     of translation. 

 

                                                        ____________________

 

 

    So, allow me attempt at, for a while, specification of kokoro, bearing its

 

   relevance to Ki (-phrases ) in mind.

 

     According to the Jihni-asu 〔/Genius〕  Japanese-English Dictionary,

 

   kokoro is interpreted as follows :

 

 

                         kokoro

 

                         mind

 

                         kokoro / mind   kanga-e /  thought     se-i sin / spirit 

 

                         chise-i / intelligence

 

 

                         heart

 

                         kokoro / mind   kanjoh / emotion     kimoch / feeling

 

                        ninjoh / humanity

 

                        〔　(1) There are various English words corresponding to

 

                          ' kokoro '; for kokoro, which is grasped as workings of

 

                          intelligence and reason such as consciousness, thought,

 

                          judgement, and memory, ' mind ' is mainly applied.

 

                        　 (2) to ' kokoro ' which is grasped as the place where the 

 

                           emotions of joy, anger, sorrow and happiness, particul-

 

                           arly, affection reside, ' heart ' corresponds.  〕

 

 

　　Kokoro is, descernible from the above quotation interpreted either mind or

 

  heart, or both ( mind and/or heart ).  Roughly speaking, mind signifies

 

   thought / reason / intelligence, etc.,  whereas heart does emotion and

 

  feeling. Hereafter, then, depending on the given situation, in other words,

 

  ' situation by situation.'

 

    So much for kokoro.   So far an no further.

 

     Yet, in order to understand a little more the idea of kokoro in interper-

 

   sonal relationships in redlevance to Ki, let us again take up several phraes

 

   related to Ki, and examine their meanings, referring to the KOJI-EN:

 

 

                         kokoro a-i

 

                         〔➀ matching of Ki, or compatible with    nakayosi / living

 

                               in friendship

 

                            ② ki mochi *     sinkyoh / state of mind; feeling

 

                                  _______________

 

                                     *  Ki mochi is part of Ki. In the ordinary world of

                                        daily life, Ki, generally, appears as Ki mochi

                                         which could be translated as ' feeling '  ---

                                         incidentally, the literal translation of ki moch

                                         is ' to fhave / hold Ki.'  Ki moch is directed to

                                         person in interpersonal relationships covering

                                         ' concern,'  ' considerateness/consideration,'

                                         ' thoughtfulness,' 'worry,' etc., all directed by

                                          one toward the other.

 

                                                        _________________

 

 

                         kokoro iki

 

                         〔➀  kisitsu / born nature   kidate / ( good- ) natured,

 

                           especially with the good grace.

 

                           ② ki mochi to aggressively treat with  〕

 

 

                        kokoro ire

 

                          　〔➀ to use the mind / heart for things in one or another

 

                                to be sensitive   or, to treat with, by being sensitive

 

                                    kokoro zo-e / heartily advice;support

 

                              ➁ sinsoko / from the (bottom of one's ) heart

 

                                   thought / idea  〕

 

 

　　　　　　　　　　　　　kokoro ga kayo-u

 

                         〔 to communicate heart-to-heart   to communicate

 

                            ki mochi / feeling with each other well  〕

 

                            ki gagari / worry

 

 

                        kokoro ga hazumu

 

                        〔 to be excited kibun / mood with expectation and pleasure 〕

 

 

　　　　　　　　　　　　　kokoro kiki

 

                         〔 to be sensitive, or person as such  〕

 

　　　　　

　　　　　　　　　　　　  kokoro kubari

 

                        　〔 to give care ( or, consideration ) here and there

 

                             kokoro zuka-i / to be consideration   ha-i ryo / con-

 

                            sideration  〕

 

 

　　From the above quoted list of kokoro phrases, it could be assumed, Ki

 

   taking figure of ki mochi frequently appears. To it another way, it implies

 

   that Ki and kokoro are used without intention for clear discrimination.

 

    So, as a concluding remark, it must be realized that kokoro / mind

 

   and/or  heart, as is the case Ki, is treated synonymously and inter-

 

   changeably with Ki.

 

      The mosts witted phrase is :

 

                ' Ki ha kokoro.' / ' feeling is heart. '

 

    

     In this connection, lastly;

 

    Allow me to suggest the two types of the sayings that have once been

 

   familiar in everyday lifed of Japan: ' isin densin ' and ' tsuh - kah.'

 

      To consult the KOJI-EN,

 

 

                         isin densin

 

                         〔➀ ( Buddhism ) in Zen-Buddhism, to convey from the

 

                               relevant to the disciple through mind the truth which

 

                               is to tell by words

 

                           ➁ to communicate with each other what they each

 

                               think, not by means of language, but from kokoro to

 

                               kokoro /　heart-to-heart ; mind-to-mind  〕

 

 

　　To further refer to another source, the Koji, Kotowaza & Yoji Jukugo

 

   Jiten:

 

 

                          isin densin

 

                           〔「meaning 」　to convey each other's ki mochi / feeling,

 

                           or mind /heart by mind / heart, without using words.

 

                           「annotation 」 quoted from Zen Buddhists' language,

 

                            to convey kokoro to kokoro

 

                           「source 」　Den Toh Roku

 

                            「synontm 」Nenge mishoh 」

 

 

                         nenge mishoh

 

                         「 Smile at twisting a lotus petal  ---  literal translation

 

                         [ meaning ]  What a person intends to tell is understood

 

                          by communication from kokoro to kokoro / heart by

 

                          heart ; mind by mind, without using words.

 

                          [ annotation ] quoted from the legend that, while Buddha

 

                         preached a sermon at the mountain Ryohju, he showed

 

                         himself twisting the petal of a lotus, without uttering

 

                         a word. People around him remained silent as they could

 

                        not understand what he has meant, but, among them,

 

                       only one disciple, Maka Kashoh, understood it and smiled,

 

                       so Buddha initiated his secret to him.

 

                       [ source ] Go Tohe Gen

 

                       [ synonym ] isin densin

 

 

   Next, to another saying : ' tsuh kah ,'   referring to the KOJI-EN:

 

 

                       tsuh kah

 

                       〔 When one says tsuh, then the otherd respnds kah

 

                                 ---   literally translated

 

                       ( abbreviation of the saying ' tsuh, then kah ' )

 

                       When people know well each other's ki gokoro / feeling

 

                       or heart;mind, they can understand what they say to

 

                        each other by expressing only a word or two.  To be

 

                        good friends because they know their ki mochi /feeling

 

                       well.

 

 

   What is that that to  say 'tsuh, ' then is responded by 'kah,' after all ?

 

     The origin and meaning of these two kinds of sound / uttrance are just

 

   unknown ; and it appears impossible to make inquiry of it explanation

 

   other than the above quoted.

 

     However, with regards to isin densin, proceeding for da further explan-

 

   ation, and retrieve it from the Japanese-English Dictionary,  under this

 

   entryword, is cited as ' telepathy.'

 

 

                         isin densin

 

                         〔 telepathy  seisinnkannoh / mental telepathy 〕

 

                         tacit understanding

 

 

    Among the terms above cited, se-i sin kan-noh has already looked up,

 

   so here let  us take up ' telepathy .'  To consult the Oxford Modern

 

  English-English Dictionary:

 

 

                          telepathy

 

                           the direct communication of thoughts or feelings from

 

                           one person to another without using speech, writing, or

 

                           any other norma method

 

 

     To put it simply, telepathy as well as isin densin is the phenomenon

 

   in which people directly communicate what they think and feel with

 

   each other, not by means of ordinary communicative media, but  those

 

   which transcend them  ---  throug or by kokoro / mind;heart.   

 

    Now;

 

   keeping in mind all the inforrmation we have acquired above, let us 

 

   return to our main concern of the present section : Ki-kankaku / Ki-sense

 

   and the consideration into it.

 

    To review again, Ki-kankaku / Ki-sense is grasped as choh kankaku/

 

   ' extra sense ' of the five senses, or ordinary senses of human body. Or

 

   else, ' super ' sense transcending those senses. In this sense, it is meant

 

   to be 'super-sense.'　

 

    This exrea/super sense, it should be emphasized, is just made possible

 

   by the force of Ki.  So, the particular sense, choh kankaku / super sense

 

   is grasped as Ki-kankaku / Ki-sense.

 

   Ki-kankaku / Ki-sense can be placed as a general term for choh kankaku /

 

   extra sense of fives senses.  That is to say:

 

     Choh kankaku / super sense of sight, choh kankaku / super snses of

 

   hearing, smell, tast, and touch.

 

    Or, cho si-kaku / super visual sensory organ, choh choh-kaku / super

 

  auditory sensory organ, choh kyuh-kaku / super smell sensory organ,

 

   choh mi-kaku / super taste sensory organ, choh  shokkau / super tactle

 

   sensory organ.  And, still more, choh si- choh-kaku / super audio, visual

 

   sensory organ as compounded one. 

 

     One distinguishing characteristic of Ki kankaku / Ki-sense is: it is not

 

   related to ordinary, normal five senses  ---  that is, invisible and intangi-

 

  ble;  it is not sensed, nor received by them.

 

    At this point, let me mention something on choh  shokkaku / super sense

 

  of touch, or super tactile sensory organ.

 

  It is that:  in contemporary Japan, what is called  hifu kankaku / skin

 

  sense is well fixed among ordinary people, which, it seems, an altenative

 

   naming for ' sense of touch.'

 

    According to the KOHJI-EN,

 

         

                         hifu kankaku

 

                         〔　【 skin sense 】

 

                          A generic name based on the receptor of the skin.  It

 

                          includes senses such as touch, pressure, cold, pain, etc.

 

                          Living creatures of the lower level have doptic skin. )

 

　　

　　　It reads that hifu kankaku / skin sense is grasped as almost equivalent

 

   in meaning to normal shokkaku / sense of touch, that is, it is understand-

 

   able as another alternative expression of the term, but, wdhen it comesd

 

   to colloqual usagess of ordinary people of Japan, it has a fell that it bears

 

   some mysterious significance.

 

    This ' feel ' is actually full of ambiguity, if not mystery.

 

   It connotes something uncleared or elusive, unidentifiable and unrecog-

 

  niable.  Still, it certainly exists.

 

    one thing tdhat can be said is that hifu kankaku / skin sense has close

 

  affinity with choh hankaku / super sense, that is, normal five senses

  

   fused by Ki-kankaku / Ki-sense.  So, hifu kankaku can be understood

 

   as super hifu kankaku, or as a kind of choh shokkaku / super tactile sense.

 

    Here, in the present context, hifu kankaku / skin sense is to be used in

 

   place of choh shokkaku / super sense of touch.

 

 

  

 

            V　     Features  of  Ki-kankaku  /  Ki-sense   (1)

 

 

    Now, as mentioned above, Ki-kankaku / Ki-sense is characterized to

  

    be intangible and elusive, but it does exist. And it appears, taking figure

 

    of various and divergent kinds. People of the everyday world develop

 

   different types of Ki-kankaku / Ki-sense under different circumstances

 

   and depending on a given situation in which they are involved.

 

     So, let me list up, from now on, and illustrate / examine the types of

 

   Ki-kankaku / Ki-sense  ---  in other words, forms of Ki-kankaku / Ki-

 

   sense as they come up in my mind.

 

 

                        a )   something like gas ...

 

 

    Spring mist.  It must be aura of the earth in spring.

 

    Hoever, as mist consists of small particles of moisture, wrafting in the

 

   air, and is thicker than gas, it iss dunnecessary for Ki-kankaku / Ki-

 

   sense to work.

 

     It can be sensed by the ordinary five senses.

 

        What about gokoh / halo, then ?

 

   Gokoh / halo is explained by the KOHJI-EN as follows:

 

 

                         gokoh

 

                        〔➀ Radiance which is discharged from the images of Budd-

 

                         ha / Bosatsu ( Buddha's disciple ), and, the golden ring

 

                         attached behind the Buddha images to symbolize it

 

                         ( go koh / halo )   hoh ha-i / halo behind

 

                         　➁ ( aureole ) in Christian art, the golden color which em-

 

                           braces the whole of the person in the sacred picture

 

                           It expresses his glory.    kohrin / golden ring

 

 

   Gokoh / halo is something like aura of Buddha and his disciples:

 

   it implies Ki and Ki-kankaku / Ki-sense, and, as it is assumed to be like

 

   gas, it needs its own symbolization, embodiment, or visualization.

 

    

       Ajari  ---  religious ascetic who dhas accomplised rigorous disciplines

 

   of Sen-nichi-e gyoh 〔 a thousand-days practice of circling / trecking a-

 

   round sacred mountains 〕　looked as if emitting gokoh / halo behind him.

 

        I once saw him on TV screen.

 

     Diving aura pervading the air, and people surrounding him prostrated

 

   themselves before him, which reminds me vividly even now.

 

     To return to the more secular world, mored familiars to us, a person who,

 

   with soft, tender atmosphere, wraps another,and so relaxes her/him.

 

          ' I feel like I'm so comfortable, when I'm with her.

 

                         one feels that  way.

 

    This type of person is assumed to communicate / relate with others not

 

  only through verbal behaviors such as chats and conversations or kinetic

 

   performances, but also with Ki kankaku / Ki sense.

 

     As, in this case, it is of ' like-gas ' type, so person wraps another gently,

 

   not with genteel manner. The other one, then, if motivated one's  Ki kan-

 

   kaku/ Ki sense  would sense/feel accordingly.

 

      Reversely,  the case of nervous, stresssful atomosphere:

 

 

           I once saw on TV;

 

    A tense atomosphere of a ballerina waiting for her turn at backstage.

 

  It was immediately conveyed to the viewer's side (/ my side ). Not from her

 

  facial expressions or appearance, i.e., those which are visible by ordinary

 

  sense of sight, rather, from her whole atmosphere, or aura dispersed

 

  from her body.                    

 

          ---  so I  senzed, maybe, by my Ki kankaku / Ki sense, or choh

 

  shi kaku / super visual sense, or else, choh hifu kankaku / super skin

 

  sense.

 

    It is that Ki kankaku / Ki sense discharged from her was something in-

 

  visible, because it is ' like gas, ' nevertheless, I could see it because I

 

  used Ki kankaku / Ki sense to catch it.

 

   

              b )   something like veil, like curtain ...

 

 

    Painful accident, diaster, catastrphe, tragedy, etc.  ... 

 

  when people encounter such bitter, cruel experiences as these, they

 

  ---  I have read in a book ---  feel as if it happened in the world beyond

 

  heavy veil or curtain;  their nerves, sense of reality, got paralized.

 

    It is just the power of Ki kankaku / Ki sene, or, particulary, choh hifu

 

   kankaku / super skin sense.

 

     In order to mitigate awesome, awesome, terrible , horrifying ' shock, '

 

  and to attempt at recovering ' balance of power ' in mind, one creates

 

 ' buffer zone,' and self-defense mechanism to protect ooneself.  Triggered

 

  by this power, Ki kankaku / Ki sense is mobilized to produce atomosphere

 

  of some kind like curtain, thicker than veil.

 

    This curtain, or curtain like atmosphere is generally coloress and trans-

 

   parent;  something one could hardly feel / know;  it must be something

 

   of a little strange feeling.

 

    At times, Ki kankaku / Ki sense, if thickened and stiffened, happens to

 

  became like a wall  ---  like ' rampart. '

 

    Another case is that of being a stranger to unknown place or person.

 

   In this kind of encounter, so stressful for one, one unconsciously builds

 

   up a firm wall around onself.  Or else, when a noisy person invades

 

   one's privacy.

 

    Further, if one is subject to experiences under severe, tough circum-

 

   stances would take an attitude as if dressed in ' iron armor.'

 

     People in the old days of Japan said that once they went outside home,

 

   and into the business world, the working men confront seven enemies 

 

    ---  not '  seven samurai,' to be sure. However, there appear more

 

  ' good neighbors ' other than the seven, if one relaxes onself loosing the

 

  stiffened part of body, tense posture such as ' square shoulders,' then,

 

  would naturally decline and disappear.  So would ' wall,' ' rampart,' or

 

 ' armor,' produced by Ki kankaku / Ki sense, or choh hifu kankaku / super

 

  sense of skin.

 

   And, then, there would be soft, tender atmosphere ' like gas.'  If this  oc-

 

   cures, it would be expected that interpersonal relationship between one

 

   and another become more favorable.

 

 

 

                    c)   something like a ballon ...

 

 

     Balloons which Ki ( kankaku / sense ) produces from human body are

 

  various and diverse in size and volume.

 

    From something like bubble of chewing gum, like rubber balloon, to far

 

  bigger one like hot-air ballon.

 

    Ki ( kankaku / sense ) like rubber balloon is like atmosphere as if curling

 

   on the head of an infant, and wafting around it.  If a balloon-like atmos-

 

   phere is much more, and grows as sizable as to contain the whole of an

 

   adult, it is that one, emitting soft, warm atmosphere, is wrapped with a

 

   balloon of Ki like ' spring mist. 'People around the one would be surren-

 

   der themselves to the balloon.

 

     At a gathering of people, the balloon gets swollen all the more, integra-

 

   ing into it Ki and Ki kankaku / Ki sense.

 

     At a meeting hall, for example;

 

    The atmosphere of the hall almost suffocating with heat and stuffy air,

 

   a balloon of Ki ( kankaku / sense ) pervaded through the entire hall,

 

   people therein, then, would feel drunken with ecstasy and experience

 

   fascination.  And eventually, balloon leads people to the world of ' fusion,'

 

   and they grow into one.  It is that there are possibilites to accomplish itta-i

 

   kan / feeling of oneness.

 

 

 

                 d)   something like a long sash ...

 

 

   A very mysterous story I happened to hear, viewing TV years ago.

 

   It occured at some certain small island of Hokka-i doh ( the northern

 

   large island of Japan ).

 

    The experience of someone who nearly failed to escape from sudden

 

   attack of giant tsumani / tidal wave.

 

     Engulfed by the surging waves, ' I'm  done ...  '  thought she.

 

    At that instant, she saw something  like a while sash coming out of her

 

   own body, and twisted firmly around the branch of a tree near her which

 

   also submerged in the waters, so that  she did not get drowned and could

 

   narrowly escaped death.

 

     " Nobody believes what I tell, I had a white sash stretching out from my

 

   body."  Giving a wry smile, so said she.

 

           I do believe her.

 

   The ' white  sash ' is her own aura, or, in other words, Ki kankaku / Ki

 

  sense of choh hifu kankaku / super skin-sense kind.

 

    Her Ki ( kikankaku / sense ), or super skin sense must have extended

 

  into the ' white sash ' which was  by far a  longer and stronger than her

 

  arm, and caught the branch of the tree for her.

 

           It wass  so fortunate of her that she could save her life.

 

 

 

            e)    something like tentacle  ...  

 

 

     Something like tentacle of invertebrates animal such as sea anemone.

 

   Ki, or choh hife kankaku / super skin sense of this form has elasticity to

 

   develop much longer, further than theirs.

 

     " Oh!, we picked up a nail."

 

    A voice came up from a car driver.  While driving, he explained that

 

  his car had picked up a nail.

 

     ' What does he mean ? '  I wondered.

 

   He, then, explained more in detail that the rear wheel run over a small

 

  nail and was stuck by it.  I could not see why he could  catch that  happen-

 

  ning, because he was driving his car, and did not get off his car, and wit-

 

  nessed the particular situation from outside.

 

     It was such a mysterious feel for me, then.

 

  Now, I can understand very well that it is the matter that happened in the

 

  world of Ki and Ki kankaku / Ki sense.

 

   He surrounded, with his Ki, or particularly, choh hifu kankaku / super skin

 

  sense of ' tentacle ' form, around his beloved car from corner to corner,

 

  and would not miss any damage, however small it may be, which any

 

  foreign object might give damage to his car.

 

   To think / recapture the situation this way, I could solve the mystery of

 

  his explanation which has lingered long in my mind, and came to a better

 

   understanding of it.

 

 

 

                  f)   like a spider 's thread ...

 

 

   If you feel unable to move, bound hands and feet by something, or to be

 

  wrapped strangely by the  atmosphere of confinement, ' like the bird in

 

   a cage,'  it is presumably that someone near you shoots off his Ki or

 

   choh hifu kankaku / super skin sense  ' like a spider's thread and twines

 

   it around you.

 

     This is not psychic phenomenon of  hana sibari / chain-binding ---

 

  that of bodily movement made numbed as if tightly bound  by chain that

 

  experienced while sleeping or in dream.  But, rather, more similar to the

 

  religious  practice of yamabusi ( ascetic-in-mountain )

 

       To consult the KOJI-EN:

 

 

                          kana shibari no hoh

 

                          〔【 the method  of chain-binding 】

 

                            The practice that religious practionner ( ascetic ) tries.

 

                            By power of fudoh myoh-oh ( one of the five saints of

 

                            Buddhism, taking the image of wrath ), those who give

 

                            harm /damage to people are made unable to move even

 

                            a muscle, feeling as if bound by chain.

 

 

    This ' kanasibai no hoh ' could be understood as the working/fuction of

 

   Ki or Ki kankaku / Ki sense of ' something like spider's thread,' which

 

   turns out to be so strong and hardened into somethig like steelwire.

 

     It becomes so because of the power of shugenja' s Ki  is particularly

 

   so mighty as a result of his hard disciple.

 

     Usually, Ki kankaku/ Ki sense of ' like-spider's-thread ' form is as slen-

 

   der and weak as spider's, yet, it is in as sense awful, horrible, or terrible,

 

   because it has strong adhesiveness. So it is extremely troublesome, if

 

   adhesively bound up.

 

     Moreover, it takes place under unconsciouness, or subconsciousness; 

 

   one is aware of the situation trapped or bound, so that one might become

 

   most impossible to escape therefrom.

 

     In that case, to play one's trump card.

 

   That is, to be cool, and to consciously grasp adnd awake from the particu-

 

   lar situation, sharpen one's own Ki kankaku / Ki sense like a knife, and

 

   cut off into pieces, the other's spider's thread-like Kisense.

 

     Being unaware of the malicious Ki kankaku / Ki sense, and dragged

 

   into it, it would result in mistery.

 

    Further, it invites us to the tragedy of Anchin and Kiyo himé。

 

　　　　Let us see the legend of them.

 

         According to the KOJI-EN:

 

 

                      　　Anchin and Kiyo himé

 

　　　　　　　　　　　　　〔 The name of the hero and the heroin who appear in the

 

                           Kishuh Dohjoh Ji (/ temple ) 's legend.  Kiyo himé fell in

 

                           love with a young bonze, Anchin, whowas on the way of

 

                           Kumano mohde (/ riligeous-visit course ). But, as he

 

                           broke the promise to meet her on the way back, so she

 

                           got in such a fury that she became a large snake, chased

 

                           after him, finally burnt him and the hanging bell of the

 

                           temple in which he hid himself, and killed him.

 

                             The original of the legend is found in the books of Hok-

 

                           kagen ki ( / document ) and Konjaku Monogatari shuh,

 

                           and, the title; Anchin and Kiyo himé was fixed after

 

                            Early Modern. Dramatization made in Noh, Johruri,

 

                           Kabuki, etc. 〕

 

 

    Here is my personal interpretation of this tragic story:

 

　　　Young bonze, Anchin, was captured by pretty Koyo himé at first sight.

 

   It was just enough ford him to only look up at her as ‹ takane no hana ›

 

 　　---  to literally translate, it means that ' the flower blooming on the peak

 

   of a high mountain.'  Figuratively, ' it is beyond one's reach.'

 

    Nevertheless, he, captured by his lust and passion for her, and so unable

 

   to stop thinking of her, became captive of love for her.  What is worse is,

 

   he is in the middle of religious training of Buddhism. Moreover, he is

 

   chicken-hearted, and, an ugly man,  but full of self-conceit.*

 

 

                            _____________________

 

                            *  Kiyo himé　---   to literally translate, Princess Pure-

 

                              ness  ---  as her name suggests must be comely.

 

                               The meaning of Kiyo can be connected with se-iga /

 

                             elegant, se-ire-i / lovely, se-i-en / attractive, se-ijun /

 

                             lily, se-iso / clean and neat, se-iroh / clear, se-itoh /

 

                             light, seiryoh / cool, etc. all of them indicate feminine

 

　　　　　　　　　　　　　　　charm and beauty of Kiyo himé . 〔' Se-i ' is an expres-

 

                            sion of Chinese character of Japanese character, 'Kiyo,'〕

 

　　　　　　　　　　　　　　　　Anchin,  to take 'An,' iit is associated with cheap and

 

                            safe, presumably with the former, that is, anka / low

 

                            price, yasumono / junk, anchoku / easy, an-i / idle, etc.

 

                            And, ' chin ' covers chinki / abnornal, chinmyoh / queer,

 

                            chinmuru-i / eccentric or ridicule, chin-pun-kan-pun /

 

                             nonsense, etc.

 

                              As such, it is so very difficult to imagine and expect

 

                           Anchin a ' handsome boy.' But, he seems to think himself

 

                           good-looking in his conceit.

 

                                                    _____________________

 

 

    He must have thought to himself that his attack to her in a normal, ortho-

 

   dox manner such as sending her amourous letters was an unqualifed

 

   thing.  So he mobilized / discharged his Ki, and Ki kankaku / Ki sense.

 

      Firstly, it  was choh si-choh kaku / super sense of audio-vision  ---  i.e.,

 

   nenriki / psychic force.

 

     Obsessed by the saying, < Nenriki iwa omo tohsu >*, he appealed to

 

　 Kiyo himé his sheer desire and passion persistently, and disturbed much

 

   mind, throwing her into mental confusion.

 

                             ____________________

 

                              * Literal translation is: ' psychokinesis pierces into even

 

                                 the rock.'  Figuratively, there is nothing unable to do,

 

                                 if one does it with one's whole intention/will.

 

                                               __________________

 

   Next, he, Anchin, made powerful suggestion / exercised almost hypnotic

 

   one to Kiyo himé　by his Ki ( kankaku / sense ) of remote controller type

 

   that  ---  ' Love me, please ... '  ' Love me passionately ... '

 

    And he furtherd extendeds his Ki kankaku / Ki sense of ' like-spider's

 

   thread,' and conducted kanasibari / chain-binding to her mind and body.

 

    Anchin's ' spider 's thread' was terribly mighty.  It was mored than adhe-

 

   sive: vindictive, spiteful, and obstinate.

 

     It was hard to get rid of it;  to be liberated from it.

 

    Kiyo himé, naÏve and delicate, caught in the comweb Anchin had malici-

 

    ously trapped.

 

      Now, the situation took a total reversal.

 

    Longing of Anchin fordf Kiyo himé turned out to Kiyo himé's one for An-

 

   chin. Anchin, at thisdf moment, should be heartily delighted with, and

 

   accept, her response ( love ), because he has at last  attained it, although

 

   it was just a bubble affair which he laid on purpose.

 

     However, to observe this love affair moreds closely, Anchin is bonze or

 

   ascetic.  He is not in a position of indulging himself in it. Moreover, he is

 

   chicken-hearted, ugly man ( as already imagined and  indicated ).

 

   Beautiful maiden, Kiyo himé's beauty, must have been certainly too much

 

   for him.

 

     Panic-stricken, and trembling with fear and guilty feeling about of what

 

   he was thinking and has acturally done, he seemed to make a quick dis-

 

   appearance.  This must be something justd unavoudable though.

 

    As the  young bonze to whom she had oroginally no concern, nor interest,

 

   beggedd her to turn to him so she kindly made a promize ( for date )

 

   as he desired.  Nevertheless, he hid himself from her stealthily.

 

      ' What is it ? '   What does he mean by it ? '

 

         ' What is he thinking about me ? ' 

 

  　　Kiyo himé 's  pride was hurt seriouslly, and infinitely.

 

   Nothing is there more troublesome than hurt pride.

 

    Emotional entanglement between man and woman, most of all, it is as-

 

   ssumed, originates from ' deeply hurt pride ' which, as a matter of course,

 

   breaks desperately down love and affection.  It causes an outburst of fury

 

   and grudge. This drives people to mad / crazy.

 

       There appears the world of insanity.

 

    The fury / grudge soon linked with Kiyo himé's Ki kankaku / Ki sense,

 

   producing ' something like a spider's thread.'  Then, the beginning of Kiyo

 

   himé's counterattack.

 

     Her ' spider's thread ' of choh hifu kankaku / super skin sense extended

 

   more and more, and finally  grew into a great snake; it bound the hanging

 

   bell where was Anchin, and so burnt it to give him death ( the large

 

   snake is,  it can be assumed, a visualization / incarnation of Kiyo himé

 

   so much, so extremely as that extent  ---  that is, to be burnt and killed

 

   by her fury and grudge.   I get, rather, much astonished by his attitude

 

   and behavior.

 

     Normally or ordinarily, in the ' sane ' world of everyday life, Kiyo himé

 

   would be smart enough to find out on halfway the cobweb.  Anchin had

 

   set on her, and turn away from me.

 

        ' Well, he is such an imprudent bonze.'

 

    From then, she would thouroughly exclude him out of her sight, and

 

   consciousness, and would not recognize any of his existence at all.

 

                          ---  It would be so settled down, I feel.

 

    Yet, Anchin and Kiyo himé is a legendary story.

 

    It must be necessary to be dramatic, and be prepared a dramaturgical

 

   ending.

 

     Even so, it is too much for that beauty,  Kiyo-himé to be forced to trans-

 

   form herself into a large snake !  Poor princess, indeed. I feel pity for

 

   her.  Snakes are not a bit comfortable creatures for me.  I cannot like

 

   them:  Snakes, eels, and earthworms  ---  all have never been my pets.

 

    Kiyo-himé must have been the same type of person as me ...

 

 

 

                      g)  something like amoeba,

 

                               like a blanket or tablecloth ...

 

 

     The KOJI-EN explains amihba / amoeba as follows.

 

   

                          amihba

 

   

                         【 amoeba : ameba 】

 

　                        〔 a group of the protozoa  Single-cell and its diameter is

 

                             about 0.2 milimeter,  even of the largest one, chang-

 

                             ing its shape, and stretching its pseudopodium and

 

                              take food. 〕

 

 

　　Ki kankaku / Ki sense or choh hifu kankaku / super skin sense, absorb-

 

   other's vital energies, grows much more than real amoeba  ---  per-

 

   haps, some ten thousand times more, or more than that.

 

    And, extending / expanding like blanket or tablecloth, it clings to the

 

   other's body, covers it over, and so tightly twines around it.

 

     Its adhesiveneness is powerful as if stuck by strong glue; it is not easy

 

   to remove.  To be liberated from it is, it seems, tremendously difficult.

 

     This is often seen among those who are inclined to be dependent ;

 

  for example, in the case of parent-child relationship, a child would,

 

  if embraced completely by this type of Ki kankaku / ki sense ( taking

 

  the form of overprotection ), fail in normal development.

 

 

                      h)     like casting a fishnet ...

 

 

   The net of choh Ki kankaku /Ki sense or choh hifu kankaku / super sense

 

  of skin is apt to transform itself, ratherd dthan a fishnet, into plastic wrap

 

  and to work accordingly.

 

    To take as an example, the case of public speaker who annoys his audi-

 

   ence. Or a talkative one.

 

    Soon after starting speech, the speaker spreads a huge ' Saran Wrap '

 

   form of Ki kankaku / Ki sense, and casts it like a fishnet over his audi-

 

   ence, perhaps, unconsciously, trying to control his audience 's free work-

 

   ing of mind.  It is ' one-person show,' and nothing but self-intoxication,

 

   or self-complancy.

 

     The speaker is, generally, not aware that his audience under a fishnet,

 

   or, rather, ' plastic wrap ' type  of Ki kankaku / Ki sense which he is cast-

 

   ing / spreading over them can no longer move a bit freely, and feel al-

 

   most choking, and get completely bored  and annoyed.

 

     Now, the audience begin to leave  the meeting hall in one and twos.

 

    It would result in that, finally, only the speaker with his regretful face

 

   is left alone.

 

     Casting a fishnet may be good and appropriate only at the seashore or

 

  riverside.

 

 

               i)   something like rador, lik sonar ...

 

 

   The talk of a former ' naughty boy ' who used to spend almost all the time

 

  of his summer vacation, in trying to catch cicadae with a net.

 

    Eraly in the morning, when he got uo, he heard cicadae's bussing sound

 

   coming from the hill behind his house.  He, then, could sense / recognize

 

   which tree a cicada perched on.

 

     It is hard to imagine that  the boy could actually hear the cicada buzzing

 

   on the hill pretty distant from where he lived;  it was certainly a quiet resi-

 

   dence, but, however quiet it might be, it seems just impossible for him to

 

   receive the buzzing sound by one of his normal, ordinary five senses, i.e.,

 

   sensory organ of hearing.

 

     It must be, at best, only the bussing of cicadae perching on the branches

 

   of a tree in nearby backyards that he could by his audial sense receptor.

 

    It must be that the cicada's sound caught by his Ki kankaku / Ki sense, 

 

   choh chohkankaku / super sense of hearing.

 

    Rador detects object by radio wave, but the boy in old days could hear

 

  cicada's buzzing by sharpening his choh chokkaku / super sense of touch

 

  together with his choh hifu kankaku / superd sense of skin, and find the

 

  particular spot where a cicada was.

 

    For children nowadays this kind of summer vacation experience, it seems,

 

  is next to impossible to expect, though.  Such Ki kankaku / Ki sense as

 

  above sketched might as well be  considered to enter into the genre of

 

  ' senri gan ' ( / clairvoyance ), or ' thousand-ri eye sight '   ---  although

 

  the hill behind the boy's house was no so far as a thousand-ri.*

 

 

                                   __________________

 

                                    *  1 ri corresponds to apprpximately 4 kilometers.

                                        ' thousand ' means figuratively ' so very far

                                        distance.'

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　__________________

 

 

    What is ' senri gan, ' then ?

 

    To retrieve from the KOJI-EN, it is explained as follows:

 

 

                         〔【 clairvoyance 】

 

　　　　　　　　　　　　　　mysterious power by which to intuitionly sense the event

 

                          at a far distance, or its possesser    tengen tsuh / heaven-

 

                           vision connoisseur in Buddhim language  〕

 

 

    Another name is tohsi / clarivoyance, to literally translate, see-through

 

   sight.

 

                         tohsi

 

                         〔【 clairvoyonce 】

 

　　　　　　　　　　　　　　senri gan    one kind of psychic phenomena     To know

 

                          super sensory object such as an event at a distance which

 

                          is unablet to grasp sensorily or perceptually ( at the level

 

                          of normal, ordinary sensory organs ). 〕

 

 

　　Here, allow me to introduce an episode of ages ago:

 

 

                       It is a happening of ages ago.

 

                      One of hisclassmates awarded high remarks in spite of the

 

                     fact that he did not look to study hard at all. 

 

                       So, one day, the classsmates sitting around him asked

 

                      how he was studying, here is what he replied:

 

                      As he made meditation, closing his eyes, test paper sheet

 

                      appeared before him, and so he studied exclusively the

 

                      questions listed on the paper.

 

                       Then, the classmates at once asked him again to make

 

                      that meditation  ---  that  is, tohsi / clairvoyance.  ---

 

                      In those days ( in about the 1920's ), tohsi was a boom

 

                      among  people in Japan, I heard.

 

                        He nodded and entered into meditation for tohsi .

 

                      The classmates  waited, holding breath and remained silent.

 

                       After a while, he slowly opened his eyes and said:

 

                         " No, no ... "

 

                              with a nod in denial.

 

                       " What do you mean by it ? "  

 

                       The classmates pressured him to answer.

 

                        He relied:  " Our teacher has not yet made  the test paper

 

                        sheet."

 

 

   It seems somewhat like a fiction. But this is a true story.

 

   It is the reollection of a former student of the Japanese old-system

 

  high school who happened actually to be there in the classroom at that

 

  moment.

 

 

                        j)   something like a magnifier...

 

 

      Watching TV screen;

 

   On a small grain of rice are clearly written in minute letters  ---  which

 

   were taken with zoom lens, and  so could I recognize.

 

     I am not dtaking about power of camera;  it  is simply an extension of

 

   ordinary, normal sense of sight.  It is on the of Chinese master of writing

 

   minute letters who surprised me, and I was much interested in him.

 

     He did use a magnifier.

 

    " While watching a grain of rice, it gradually expands larger, so I can

 

   write letteres on it," said he, the master.

 

      This is exactly tshe world of Ki kankaku / Ki sense, or choh si kaku /

 

   super sense of sight, with mastery of skill to write minute letters.

 

 

 

                k)   something like a ray ...

 

 

   Watching TV again :

 

    The scene of a TV reporter travelling overseas places who met people

 

   there for the first time.

 

     The screen pictured the attitudes of children.

 

        Shining eyes, but remain still.

 

    Adult people stood at a bit distance, looking with sharp, inquiring eyes.

 

   All eyes looked to question*:

 

       ' Who are you ? '  ' Where are you from ? ' 

 

   People usuallyshow interest in physical, outward appearances, but ob-

 

   viously this scene was not the case.  It looked as if they ( the local

 

   people ) were wondering how wondering how they should contact with

 

   the stranger ( reporter ), trying to guess at his purposes and feelings

 

   with Ki kankaku / Ki sese, or choh si kaku / super sense of sight of

 

   ' like-a-ray ' form.

 

      In everyday life, there goes a saying: ' Me ha kutihodo ni mono wo

 

   i-u ' / ' The eyes are as eloquent as the tongue'  ---  quoted from the

 

   Japanese-English Dictionary.

 

     Power of eyes seem to contain pretty strong ray type of Ki kankaku /

 

   Ki sense more than tongue.

 

 

 

                 l)   something like ' remote  control '

 

 

    This can be said as phenomenon of terepasih / telepathy.

 

      To consult the KOJI-EN:

 

 

                        terepasih

 

                        【 telepathy 】

 

                        〔 To convey, from one person's mind to another's, the

 

                         content of thought, ideas and senses, etc.    Not yet con-

 

                         firmed by concreted devidence    enkan genshoh / distance

 

                             sensing phenomena    se-isin kan-noh / telepathy 〕

 

 

　　Telepathy is explained as ' not confirmed by concrete evidence, ' actu-

 

   ally in the world of everyday life, people are made aware of it. Incident-

 

   ally, that is, by  Ki kankaku / Ki sense.

 

      To describe an example from my personal experience:

 

      When I begin to think that it is about time to recieve phone call from

 

    her  ( my best friend ), miraculouly enought, so do I, and have chats,

 

    sharing a pleasant time with her  ---  this kind of experience I've often

 

    had.

 

      My thoughts must have ridden on my  Ki kankaku / Ki sense and,

 

    with it, reached  my friend at a distance stimulate her mind / intention

 

    to call me.

 

     As for me, I also detected by  Ki kankaku / Ki sense, or choh  si  kaku/

 

   super sense of sight when she was free, and sent message to her that

 

   any time was convenient for me.

 

     Mobilization of this ' remote control-like ' form of Ki kankaku / Kisense

 

   by one does not mean to control the whole of another's mind.

 

      It is to convey to the other at a distance one's thoughts and feelings,

 

   and to ask or even control the other to act  as one wishes. At times, one

 

   does not act as one wishes, or rather, might invite reverse results. This,

 

   regrettably, means to have in communication by Ki kankaku / Ki sense

 

   of ' remote control ' kind.

 

     Hypnotism could be connected to this genre. Hypnotist is a practioner

 

   Ki and Ki kankaku / Ki sense ;  He seems to exercise them more or less,

 

   or in one way or another.

 

 

             m)  something like a reciver ...

 

 

    To listen to what the other talk is, in this case, to receive the other's

 

   talk by Ki kankaku / Ki sense, or choh choh kaku / super sense of hear-

 

   ing, not by normal, ordinary tangible ears (receptors ).

 

    I read in a book years ago an episode of Michelangelo, the giant of

 

   Renaissance art, who sculptured the statue of David. In seeking marble

 

   good for carving, he stood before  a certain block of marble, it, then,

 

   spoke to / appealed to him, ' Make a stutue out of me, please.'

 

     Marble also, it is assumed, possesses Ki kankaku / Ki sense in itself,

 

   and its mind ( thoughts ) was expressed by its Ki kankaku /Ki sense was

 

   received with that of Michelangelo.

 

     Then, the moment the minds of the two ( sculptor and marble ) reached

 

   consensus in that 's thoughts stimulated Michelangelo's motivation and

 

   inspired him for execution of work which was presumably the moment

 

   that gave birth to masterpiece.

 

    It is very important that the two get along well together, or to be ' one,'

 

   otherwise, the case would occur that marble would not welcome Michel-

 

   angelo and so would be marble which would result in miserable failure.

 

 

      A sculptor of Buddha image seems to have similar experience:

 

   He  said that he sees the image of Buddha, when he is about to carve it

 

   on wood. At times,  he receives even messages /directions to please carve

 

   here at this  point, or this or that way.

 

    It is, needless to say, in the world of Ki kankaku / Ki sense, or choh choh

 

   kaku / super sense of hearing, the sculptor must be all the more reverently

 

   eager in sculpturing Buddha statue.

 

 

     Among gardeners and agricultural producers ( farmers), it seems, also

 

  abundant of such  experiences: Plant, while growing or being made grown,

 

   speak to, and talk with them ( producers ). 

 

   To listen to, or to receive, what others feel and think by use of Ki kan-

 

  kaku / Ki sense takes place not only between humans, but also in the world

 

 other than, or beyond, the human  ---  which consequently would open a

 

 new super sensory world.

 

      Now, from a little different angle.

 

    The phrase:  Musi no sirase '  ---  to  literally translate, ' Bug tells you

 

   news.'

 

          According to the KOJI-EN,

 

  

                         musi no sirase

 

                        〔 Although there is no clear evidence, but somehow you feel

 

                          that way.    to  have a premonition / yokan  〕

 

 

    What is 'musi' in this context ?

 

  To quote from the　KOHJI-EN the related part of explanation of this word:

 

 

                         musi

 

                        〔【 bug / worm 】

 

                          ➀ In honzoh gaku ( pharmacopoeia based on Chinese

 

                              pharmacy ), it is the general term for small animals

 

                              such as insects, other than humans, animal, birds,

 

                              fish.

 

                          ➂ subconsciousness   source that causes some thoughts

 

                              or feelings    In old times, it was assumed / believed

 

                              that thereslived in one's  mind, ' musi ' which evokes

 

                              some thoughts and　feelings　〕

 

 

     ' Musi, ' does not, it seems, mean Goldbug nor Ladybug nor a caterpillar

 

   which soon grows  into butterfly.  It belong to hunch, intuition, or the

 

   sixth sense.  So ' musi ' could be recognized as something belonging  to

 

   Ki kankaku / Ki sense, particularly, choh si-choh kaku / super audio-visual

 

   sense.

 

    In the case of a traffic accident, for example, one who happened to be

 

  on the very spot, involved in the accident, and became its victim.

 

    On the other hand, another one who usually was there, but on that par-

 

   ticular day, the other did not know why, but somehow felt relactant to

 

   go straight there, took a llittle deture, and could narrowly escaped from

 

   the accident.  A very lucky one!

 

     To decide one's fate is, it seems, up to Ki kankaku / Ki sense.

 

   Unluckily, in the former case, it would be that ' musi ' does not romp a-

 

   round, and so, the very person had no feelding of uneasiness nor forebid-

 

   ing nor promination.

 

     In the latter case, ' musi ' predicted the accident  ---  that is to say,

 

   Ki kankaku / Ki sense, received predicably the coming aweful situation.

 

   The another took behavior necessary to avoid it.

 

     It is certainly necessary to have ' musi no sirase.'

 

                 I myself sincerely hope ' musi ' to tell me when.

 

    ' Musi ' is actually living in dhumans, it seems.

 

   ---  in miko / Japanese shaman and/or channeler, ford example, those

 

   people who are so calleddd ' medium ' or 'psychic.'

 

    ' Musi ' in these people is by far powerful that of ordinary people, and,

 

   then, deeply affect them.  They, it could be said, receive / sense, with

 

   choh nohryoku / supernatural power, or Ki kanakku / Ki sense, the super-

 

   natural, or the super-human world.

 

     In this connection,

 

   we could find people who hold contact with the spiritual world supposed

 

   by ' musi,' or Ki kankaku / Ki sense: among tdhem are shaman, miko,

 

   re-iba-i, and chaneringu / channeling.

 

      To retrieve from the KOJI-EN,

 

 

                         shahman

 

                          ( shaman )

 

                         〔 People of religious power who lead themselves to a state

 

                           of trance, and directly contact God or spirits and make of

 

                           use of God's and/or spirits' power to receive message,

 

                           predict and for treatment.  The Tunguses of Siberia are

 

                           from early noticed. 〕

 

 

　　　　　　　　　　　　　　miko

 

                          〔Those who serve God, playing gagaku / traditional

 

                            Japanese music as prayer, and ask God for his message

 

                            and imform it to people.   mostly young maidens  〕

 

 

　　I remembe I  saw some scene of TV drama.

 

    Shaking her long hair loose, singing in fascination / intoxication, and say-

 

   ing prayer / invocation, she ( actress ) perdformed so realistically that  I

 

   saw a real shaman right before my eyes.  Behavior of kshaman as such

 

   seems to sweep away her own thoughts and feelings or, self-conscious-

 

   ness, and send her into a state of trance.

 

   

   Re-iba-i, according to the International Encyclopaedia Britannica,

 

          

                        re-iba-i

 

                        〔　【 medium 】

 

                        The person who communicates and mediates between

 

                        and the spiritua world such as spirits of God and, of the

 

                         dead, and has abilities to call forth supernatural psychic

 

                         phenomena. In Japan, re-iba-i is known as kuchi yose.

 

                         Re-i a-i is seen from the old time in many  places of the

 

                         world. Re-i ba-i is generally female. Women are likely to

 

                         fall in a trance, and　to be engaged in psychic activities such

 

                         as auto-speaking or auto-writing, etc.  〕

 

                             〔 the following is omitted. 〕

 

 

　　Chaneringu / channeling  is explained in the International Enclopaedia

 

   Britannica as:

 

 

                         chaneringu

 

                         【 chanelling 】

　　　　　　　　　　　　

　　　　　　　　　　　　　〔 One who communicate with th spiritual psychic world by

 

                          using special ability ( choh nohryoku / supernatural power)

 

                          and tell its message to people, or one who has acquired

 

                          such ability by training is called as chanerah / channeler.

 

                            Particularly in the USA, it belongs to psychism lasting

 

                          since the 19th century. Channeler, then, roughly corre-

 

                          sponds to one who is traditionally named as ' medium,'

 

                          what is new is that stress dis put on training by pulished

 

                          books. 〕

 

 

   The special ability  of channeler  ---  i.e., power that a channeler possess-

 

   ess to communicate by mediating between the spiritual world and people

 

   is, it could be said, Ki kankaku / Ki sense of channeler.

 

     It could be further imaginedd that by workings of this Ki kankaku /Ki

 

    sense, a channeler is led to, or channelled to the supernatural world,

 

   and  recieves message from there.

 

    But, by what kin of training is this  ability acquied ?

 

  If it is made clear, we would expect it to contribute to solve the puzzle of

 

  production and  development of Ki kankaku / Ki sense.

 

 

 

                  l)   something like talking on a cellphone ...

 

 

    The cellphone is a means of communication through ears ( normal recep-

 

   tor of hearing ), and a small-sized, portable electric device. To figure it in

 

   terms of Ki kankaku / Ki sense, its correponds to  ' isin densin.'

 

     As previously mentioned, it is heart-by-heart communication considera-

 

    tion conducted immediately, without communicative vehicle, between two

 

   people. This communication is possible only by working of choh cho kaku /

 

   super sense of hearing.  Recently, we hear that people standing just before

 

   their eyes talk on cellphone.  Communication between people nearby

 

   should be made in heart-to-heart, or ' mind-by-mind ' manner, should'nt

 

   it ?

 

     This manner would be more worthy of energy saving, and deserve cost-

 

   reduction, I suppose.

 

 

 

 

 

 

 

    So far Ki kankaku /Ki sense of various forms have been considered.

 

   From now on, I would like to examine choh kankaku / super sense from

 

   another different angle   ---   that is, its charcteristic features.

 

    The main features of Ki kankaku / Ki sense could be classified as:

 

 

                        a)   extension / expansion

 

                        b)   elasticity

 

                        c)   adhesiveness

 

                        d)   radicalization

 

                         e)   penetration

 

                         f)    fusion

 

                         g)   repulsion         etc.

 

                                          ( these features listed at random order )

 

 

    Allow me to examine theses features respectively:

 

  

 

                     a)      extension / expansion

 

 

    Senrigan / clairvoyonce is a good example.  It is because Ki kankaku /

 

   Ki sense extends / expands itself, and detects object at a far distance,

 

   as far as 'sen ri / four  thousand meters .'  Other are:  rador-like, sonar-

 

   like, sash-like forms of Ki kankaku / Ki sense which extend /expand in

 

   someway or whatever way each chooses.  Nenriki, or remote control-

 

  like form, also belongs to this class. 

 

   To see closer at hand, tentacle-like one which expands sensitively around

 

   small things.

 

 

 

                    b)    elasticity 

 

 

     Elasticity, to some extent, overdlaps the feature of a) category, but the

 

  overlapping one will not be touched  here.

 

     Only that of the reverse:  the shrinking one.

 

  People say that, in case you meets with the bear in a wood all of a sudden,

 

  you had better act as if dead.  Or stand like a tree or a stone is another

 

   way, zoologist suggests.

 

    In this case, one must quickly draw / contract within oneself one's Ki-

 

   kankaku / Ki sense which one unconsciously discharges outside one's

 

   body, and remains still.

 

     Panic-stricken, one works Ki kankaku / Ki sense unpreparedly in a wrong

 

   direction so that sensitivity of the bear  ---  its Ki (kankaku / sense )

 

   would badly evoke in itself feeling of cautiousness which might cause

 

   unexpected or unpredictable tragedy.  Pounced on by the bear, and

 

   seriously injured.

 

    So, it is not sufficient to  act as if dead on encounter with the bear,

 

   but, one must quickly draw within  one's body one's Ki or aura of great

 

   fear which might produce a dreadfully frightened atmosphere.

 

    When intimidated, Ki kankaku / Ki sense generally gets contracted and

 

   shrunken.

 

    ' Neko kaburi '  ---  to literally translate, ' a person in a cat's clothing '

 

   ---  is another state in which Ki kankaku / Ki sense gets shrunken.

 

 

    According to the KOHJI-EN,

 

      

                         neko kaburi

 

                         〔 To disguise onself / to hide one's true color, and behave

 

                            obediently     Or, person as such 〕

 

 

　　Signification of the phrase, it seems, needs a littel more.

 

   ' Neko kaburi ' means to be ' gentle / obedient ' as another similar phrase,

 

   ' Karite kita neko no yoh '  ---  literally, ' like a cat borrowed from some-

 

    where '  ---   goes.

 

       To quote from the KOHJI-EN,

 

 

                         karite kita neko no yoh

 

                         〔 attitude which is unlike 'as usual,' and very meek, or

 

                           quiet 〕

 

　　

　　　To freely interpret, it means that, overwhelmed by the atmosphere

 

    around one, and unable to behave as usual, one's Ki kankaku /Ki sense

 

   gets shrunken and contracted. If one intentionally performed neko kabu-

 

   ri / to ware cat's clothing;to disguise to be meek and, then, would, in spite

 

   of giving an impression that one somehow has an imprudent attitude,

 

   it may be said that one is really  ' neko kaburi.' 

 

     In any way, cats generally  look only to live as they please, why ' neko

 

  kaburi,' then ?  

 

    If one wears cat's clothing (/ keko kaburi ) in the true sense of its nature,

 

   one would behave not obediently nor meek, but carefreely as one  pleases,

 

   and live, letting one's  Ki kankaku / Ki sense naturally go its course ( ex-

 

   tension / expansion ).

 

 

 

                  c)   adhesiveness

 

 

   ' Hebi ni mikomareta ta-eru ' / ' a frog frozen by  snake's glare '

 

          To retireve from the KOHJI-EN : 

 

 

                         hebi ni mikomareta ka-eru

 

                         〔( from a popular belief that a frog cannot move when

 

                           a snake glare at it )  A state that one gets shrunken

 

                           and  cannot move out of fear.  To say the state that

 

                           one is unable to demonstrate power when  faced a-

 

                           gainst an oppnent whom one can hardly resist 〕

 

 

　　In this context, attention is paid not on its extended translation to the

 

  human world, but on the relation of frog and snake.

 

    A frog, as is mentioned when glared by a snake, gets frozen by fear.

 

  The snake at that moment not only dazzles the frong with its long tongue

 

  fickering, but it disperses Ki kankaku / Ki sense of ' like-a-spider's-

 

  thread ' form, spreading as if plastic wrap, or even casting fishnet to the

 

  frog, and twine it.  It is bound thoroughly its hands and feet by the snake.

 

    Moreover, choh hifu kankaku / super skin sense of this case is very adhe-

 

  sive that the frog cannot move even a muscle that it is frozen at the spot

 

   ---  all this interpretation is just out of  my personal imagination, though.

 

  Therre exists, in the human world, such a type of person as so adhesive.

 

  Simply and sticky like the skin of a slug ...  And he uses such Ki kankaku /

 

  Ki sense as illusive, which makes you feel so uneasy and awful.

 

     ' How can you produce such slime, sticky thing ?'

 

    If one questions him very demandingly, he would dodge himself illusively,

 

   to the question, and no prompt answer you could expect from him.  It is

 

   next to impossible to cope with this type person.  If you are being long

 

  dragged into him, it means that you will lose all means of escape. 

 

        Be careful!

 

 

                        d)  radicalization

 

 

    Let us return back to, and take up, one of the episodes, ≴　a Mexican

 

   mouse  ≵ sketched in the section of my previous paper :   《and inter-

 

   personal relationships 》.

 

     To illustrate it, again:

 

                  

                    A mouse, whom I happened to see on TV screen, driven

 

                    to the corner of a building at some certain Mexican town,

 

                    after being chased by a big cat. Abruptly, the mouse turned

 

                    around, and attempt counterattack desperately against the

 

                    big cat.

 

 

    It was exactly ' Kyuh so neko wo kamu.'   To literally translate:  A mouse

 

   driven to the corner, panick-striken, bites at the cat which has driven him

 

   to.  The English saying nearly corresponding to the above Japanese one 

 

   is:  ' A baited cat may grow as fierce as a lion, ' according to the Koji

 

   Kotowaza and Yojijukugo Jiten.

 

     The mouse, to be sure, did not only bare and his fangs. Such action

 

  would simply make the cat wonder why the mouse was smiling, or, at best,

 

  grinning.

 

    It is the mouse 's Ki kankaku / Ki sense, or choh hifu kankaku / super

 

  sense of skin which saved his life. At the beginning, choh hifu kankaku

 

  emitted by  fear was like hedgehog, and, then, escalated to big porcupine.

 

    Here, the big cat was only trying to check the situation, nudging the

 

   mouse with his paw.  More radicalization of the mouse's Ki kankaku / Ki

 

   sense, it seems, still was necessary.

 

     The big cat at this moment got shrunken by  the mouse's shrunk attack.

 

   He intimidated, and looked to have sensed the super power of the mouse's

 

    ki kankaku / Ki sense, or choh hifu kankaku, and so withdraw, and gave

 

    up his meal ( a lunch or a dinner, I know not ).

 

  

 

                    e)     penetration

 

 

    " I inspire my Ki into the  whole of wasi (/ Japanese paper ) before I

 

   brgin topaint picture."

 

    It is a talk of well-known artist of the Japanese traditional painting.

 

  Firstly, he spreads wasi for painting, and strokes it softly with his hand.

 

  That is, he penetrates his Ki and himself slowly into wasi, concentrating

 

  consciouness on paper, and then, he started painting.

 

      By  Ki kankaku / Ki sense, or choh hifu kankaku / super skin sense, it

 

   is assumed, the painter let his Ki perpetuate through painting paper just

 

   as water soaks into cloth.

 

     In this connetion, to step in the world of Ha-iku:

 

 

             Sizukasa ya

 

                      Iwa ni simiiru  Semi no ko-e

 

                                                     by Bashoh Matsu-o

 

 

              〔　Quietness,  so quiet as cicadae's buzzing as

 

                               Penetrating into rock 　 ---   translation mine  〕

 

　　

     Did dicade's buzzing sounds really penetrate into rock ?

 

   This is truly insensitive, indelicate, and inelegant a question, indeed.

 

   But, if so, it would be exactly the art of cicadae's Ki,  Ki kakaku / Ki sense,

 

   or choh hifu kankaku / super sense of skin.  Otherwise, if cicada stings

 

   by its long lip-top into rock and pours its buzzing sound into it, it must

 

   have gotten a pretty pain.

 

 

 

                    f)   fusion

 

 

     One day,while watching a butterfly flitting  / dancing around the yard of

 

  my home, I found myself as if playing  or moving my body, like her in

 

  harmony with her.

 

　 My Ki kankaku / Ki sense was working at the moment.

 

  It is assumed that that kind of rhythmic movement because naturally pos-

 

  sible, just because I could be one with the buttefly by working of Ki kan-

 

  kaku / Ki sense. That is to say, it was, it seems, which sensed the butter-

 

  fly's flitting / dancing stimulated my  motor nerve system, and muscle

 

  accordingly.

 

   It was a happening in a spring time.

 

   The butterfly's body and mine were not actually attached together tighly

 

  and become ' one and one body.'  Physical distance existed.  Nevertheless,

 

  I felt so, and enjoyed a mood of flitting around with her is : it  is, to repeat,

 

  assumed of Ki kankaku / Ki sense.

 

    To become ' one '  does not result from the fact that I 'imitate,' or 'mimic,'

 

  the butterfly's movements, following it with my eyes, or using my ordinary

 

  normal sense of sight;  it is by way of Ki kankaku / Ki sense by which I

 

  could transcend between the two, the flitting butterfly and me.

 

 

    By the way, this ' to be (-come) one ' implies yuhgoh / fusion.  To consult

 

   the KOHJI-EN,

 

          

                          yuhgoh

 

                          〔➀ to fuse into one   to make fused and become into

 

                                「 feelings of two people --- 」

 

　　　　　　　　　　　　　　 ②　( boi )

 

                               ⒜　cell or nucleus to be united into one   nuclear

 

                                fusion    celluer fusion

 

　　　　　　　　　　　　　　　 　⒝  the same as gatta-i

 

 

                         gatta-i

 

                         ① more than two things to become one    to incorporate

 

                         ② to make minds into  one

 

                         ③   ( omitted )

 

  

   ' Fusion ' type of Ki kankaku Ki sense, it is for one to sense / feel fused

 

  with the other's mind ( feelings and thoughts) into one.  It is not a weav-

 

  ing nor mosaic conbination of the two, but that which appears is produced

 

  in the mental / emotiona undifferentiation, and/or indiscrimination from

 

  the other.

 

    And, it is when ' one '  ---  or, rather, it should be said that ' one-ness '

 

  be felt / sensed.   It is feeling of oneness.

 

    As far as ' fusion ' type of Ki kankaku / Ki seense is  concerned, the

 

  other's mind ( feelings and thoughts ) as well as bodily movements apear

 

  as they do.  By taking into onself the other as the other does, one ' be-

 

  comes one ' or attains ' feeling of oneness,'

 

    In the case of butterfly, fusion occured in that I, who watched her, did

 

  not synchronized nor directed her performance at my discretion, tak-

 

  ing liberties to do so.  But taking in, or imprinting on, my mind / body as

 

  she was flitting around. I felt self flitting around as she was.

 

   On the inter-human / interspersonal level, it is to feel the other's sorrow

 

  in getting along with the other, but in spite of that effort, one is repel-

 

  led or repulsed by the other.

 

   Ki kankaku / Ki sense has power of epulsion, not only that of fusion.

 

  We have in Japan metaphorical expression : ' Ya omote ni  tatsu '  ---

 

  according to the Japanese-English Dictionary, it is explained as ' to bear

 

  the brunt of O ';  ' stand in the breach.'

 

   To literally translate, it deems to mean that ' to stand before arrows being

 

   shot. '

 

    ' Ya ' / ' arrow ' in this sense is metaphoric.  It is not a real arrow which

 

   is shot by an archer:  it is generally words such as criticism, claim, blame,

 

   reproach, i.e., directed to, or pointed to the one standing before accus-

 

   ing people.

 

    When on this linguistic arrow is attached Ki kankaku / Ki sense of choh

 

   hifu kankaku / super skin sense and if it is raicalized, although it may

 

   be at first a simple arrow, but would soon become a kabura-ya / split-

 

   headed arrow, then, a poisoned arrow, or arrow with a fired head, and

 

   finally transform into a knife or sword.

 

     It is pretty mighty.

 

   One who is shot various kinds of arrow  ---  concretely words stand on the

 

   defense, constructing ' wall ' of Ki kankaku /Ki sense before, or around

 

   oneself. The ' wall ' soon gets transformed into steel-made one, and

 

   into a fortness, a rampart, repelling arrows / words shot against one.

 

    ' Repel ' means here repulsion, refuse, resisence, etc

 

   However sincerely one might make one's apologies to the other, and hum-

 

   bly one might  perform, if one,  on the level of Ki kankaku / Ki sense,

 

   pulses and rejects the other, it would be impossible to get along  well with

 

   the other, tothegther. The side of shooting arrows, i. e., acute, piercing

 

   words, increases, all the more, compliant, claim, irritation, rage, or wrath,

 

   etc., finding nowhere to disperse them.

 

     It is certainly true that it is most important to make a fusion of mind /

 

   feeling into ' one (-ness ) ' and to make an affort to achieve mutual under-

 

   standing, but, at times, repulsion / rejection is of necessity when one is

 

  exposed to a venomous tongue, unreasonable demand, malicious rumor,

 

  slander, abuse, etc.

 

   These negative remarks, once attached Ki kankaku / Ki sense, along with

 

  one's negative inclination ( nature / character ), become increasingly bit-

 

  ter and intense.  so, if one accepts them, unguarded, one would beseri-

 

  ously injured.

 

    One must, as soon as possible, stand in the defense, repulse and reject

 

  these harmful attacks, mobilizing Ki kankaku / Ki sense.

 

    It is not that those who come should be always welcomed.  It is of utmost

 

  importance that Ki kankaku / Ki sense so as to make a good selection of

 

  words and people as well.

 

   Now, let us further proceed from consideration on the forms of  main fea-

 

  tures of Ki kankaku / Ki sense, or choh kankaku / super sense to still

 

  another angle of examination to dcharacterize Ki kankaku / Ki sense,

 

  bringing into relief its otherd distictive features.

 

    To list up several of these featured of Ki kankaku / Ki sense  ---  in a

 

   contrasting mode of adjectives:

 

 

                           a)     colorless   ---   colorful

 

                           b)     sweet   ---       bitter

 

                           c)      cold ( / cool )  ---  hot

 

                           d)     heavy   ---   light;       thick  ---  thin

 

                           e)    strong   ---   weak

 

 

 

                     a)  colorless   ---   colorful

 

 

    Ki kankaku / Ki sense is renerally coloress and transparent like a mirage

 

   curling up from spring field.

 

     Mirage can be visually received as it appears in volume, but when it

 

   comes to Ki kankaku like gas, so that it may be characterized as invisible

 

   and intangible  ---  that is to say, colorless.

 

     Yet, it at times appears colorful.  It is that one who can see by Ki kan-

 

   kaku / Ki sense what  ordinary people cannot.

 

       Particularly, under some circumstances.

 

    For example, if you master kikoh.

 

   To quote ( partially ) from the International Encyclopaedia Britannica,

 

  

                        kikoh

 

                       〔 The method of hygene ( helth care ) practised since ancient

 

                          times in China. 

 

                                    ---    ( partly omitted )  ---

 

                          Ki ( of kikoh ) is interpreted  in various ways, it means Ki

 

                          of kuhki ( air ) which a human being breathes, and the

 

                          vital energy ( internal ki ) of human body.  And, putting

 

                          emphasis on this internal ki, to strengthen its power and

 

                          to make use of its chracterize kikoh.

 

                                    ---    ( partly omitted )  ---

 

                          ---  to classify kihoh for the pursoses of its practice, there

 

                         are 「hard hikoh ( martial kikoh ) 」 as training of martial

 

                         arts, and 「 soft kikoh ( medical kikoh;  hygine kikoh ) 」

　

　　　　　　　　　　　　　　　At present, kikoh has three elelemts as follows.

 

                        1) relax the whole body, and to keep a special posture.

 

                        2) training of ki  ---  training of breath and internal ki.

 

                        3) to concentrate consciousness on ssome special part of

 

                         body and to evoke a set of so called, munen-musoh ( no

 

                         thinking nor meditation, that is, nothing. )

 

 

   I once read in a book that an expert of kikoh method can see the aura

 

   (/ ki ) flaring out from human body.

 

     Red ' aura suggests a decline or weakening of heart;  ' blue ' one, that

 

   of kidney, said the book. Certainly, one who is bright and happy looks like

 

   radiating golden aura from within.

 

     I remember I was surprised to see a friend of mine wrapped with some-

 

   thing like cloud, dark and transparent, around her chest.   Later, I knew

 

   that she had one of her family members suffering from serious illness.

 

     

    At times, Ki kankaku / Ki sense discharges whilte color (aura ).

 

     For example, siraketa hun-iki / chilled mood.  Literally translated, it

 

   means ' whitened mood. '  The color which is discharged is assumed

  

   ' white.'  People emit delicate, chilled Ki ( or aura ) which make  them

 

   motionless.

 

      Another case:  the woman who narrowly escaped death, when engulfed

 

   by great tsunami told her experience that she saw something like ' white

 

   sash ' extending from her own body.

 

     Still another cases:  

 

     Ki-iro ko-e / yellow voice    Koh ru-i  /  crimson-red tears

 

   These are the phrases which are familiar and colloquial in Japan until

 

   recently.  They also suggest colorful features of Ki ( kankaku / Ki sense ).

 

    ' Ki-iro-i ko-e ' or  yellow voice is heard, when young girls scream not

 

   only by the normal vocal organ, but mobilizing their coloful feature of

 

   Ki kankaku / Ki sense, which people also presumed to receive somehow

 

  tickling by their Ki kankaku / Ki sense.

 

    If ' ki-iro ' / yellow gets escalated to  'red,' it might be a sign of danger.

 

   Yellow might be a warning before danger.

 

     Koh ru-i / crimson-red tears means the tears which a beautiful lady 

 

   sheds. Why are her teras crimson-red ?  Maybe no one knows.  We should

 

   ask the beauty's Ki kankaku / Ki sense for it.

 

 

                

               b)    sweet   ---   bitter

 

    

   ' It's a lot of fun to talk with her. I'm much pleased to see her ...'

 

   When one shows feelings such as joy and happiness / pleasures, emotion-

 

   al atomosphere is filled with sweetness.

 

    Ki kankaku / Ki sense produces and discharges sweetness.

 

          Sweet like honey.  sweet like fragrance of roses  ...

 

   Sweetness is ordinarily sensed / recieved by both normal five senses and

 

  Ki kankaku / Ki sense.

 

   To produce sweet atomosphere people wear perfume and eau de cologne,

 

   but is'nt it sufficient to disperse / produce sweet Ki ( kankaku/ sense )

 

   to one another and enjoy it, is'nt it ?   ---   if possible, though.

 

     Bitterness, on the other hand, is experienced, when one beecomes

 

   nervous by stress, and one's Ki ( kankaku / sense ) also gets nervous

 

   which makes itself bitter and sharpened.

 

     The same goes for anger. 

 

   Angry voice, or roar dispers bitterness.  That anger of the other lingers

 

   long  in one's ears, it is assumed, because the other's Ki ( kankaku /

 

   sense ) , carrying bitterness, accepted heavily it remains straightly re-

 

   verating in one's mind.  Bitter atomosphere might be changed into a

 

   different one, if a little of sweetness is added to it.

 

     In the case of friends who are always quarreling, a companionship of

 

   this kind of people, even during a heated exchange of bitter words,

 

   waft sweetness around them in some way another.

 

    But, their Ki kankaku / Ki sense is ' double sword fencer.'

 

   If they can keep no longer good companionship, it is evident, bitterness

 

  and sweetness would be imbalanced, and the former would increase its

 

  power.

 

    In this case that one wishes to keep one's friendship, one must extend /

 

  expand sweet Ki kankaku / Ki sense of tentacle-like type onto the other,

 

  or wrap the other with that of mellow, honey-like spring mist.

 

   When one of the friends is reluctant to do so, and prefers rejection to

 

  it, the end of friendship would soon arrive.

 

 

  

            c)   cold / cool   ---   hot

 

 

   Glacial eyes.  A chilly welcome  ... 

 

   They accompany cold Ki ( -kankaku / sense )  ---  even in midsummer.

 

   If one feels irresistibly chilled to the bone, frozen with  fear, it is because

 

   one has touched ' cold ' of th other's Ki ( -kankaku / sense ).  Or,

 

   regardless of physical temperature of body,  when the mind gets so cold

 

   as to affect Ki kankaku / Ki sense, one received  ' cold', whether it be

 

   midsummer or high temperature.

 

    A hot dispute.   A heated discussion.   Words uttered / spoken are not

 

   themselves not hot.  It is Ki kankaku / Ki sense produced when words

 

   are expressed takes on ' hotness.'

 

    Enthusisam, together with  hot Ki ( kankaku/ sense), makes the mind

 

   more blazing which consequently develpos the atmosphere full of fire.

 

     Excitement is assumed similar to the above.

 

   People's excitment  dispersed from  Ki kankaku / Ki sense of mist-like

 

   type grows into a big mass or balloon, and then, they fall into esctasy.

 

    At an outburst of fury, hot Ki kankaku / Ki sense is discharged. It is

 

   explosion of Ki ( kankaku / sense )' s hotness.

 

     Anger steaming from the head  ---  this is a colloquial expression in

 

   Japan.

 

     The head never looks like steaming  as steam piffing out of a kettle.

 

   this ' steam ' is an expression of aner by  Ki kankaku / ki sense itself

 

   blowing high upon the head. But it seems really hot, you might burn

 

  yourself with the steam, if you come too close to the owner of the steam-

 

  ing, hot head.    Let's watch out!

 

    Intermediate kinds of Ki kakaku / Ki sense is ' warmth.'

 

    Encouragement, before all, needs ' warmth ' of Ki, and of Ki (kanksku /

 

   sense );  it is of importance.

 

    Behavior of encouragement  ---  it is often the case ---  results in driv-

 

   ing the other allthe more into a tight corner.  It is because that a help-

 

   ing hand of Ki kankaku / Ki sense given by one to the other is so cold,

 

   frozen, or depressing and rejecting that the other feels as if abandoned by

 

   the rest of the world.

 

    If one could come to feel one ( -ness ) with the other, wrapping the  other

 

   with warmth of Ki like a mirage curling up from spring field, or steam

 

   puffing from boiled rice, encouragement would, it is assumed, make much

 

   contribution.

 

 

                  d)   thick / heavy   ---   thin / light

 

 

   Draping Ki kankaku / Ki sense like a thick blanket of fog over the other,

 

  and embracing the other within it, one would not liberate the other. It is

 

   the case of a couple becomes cold and thin, their honeymoon period

 

   would soon come to an end.

 

     Parental expectation to a child  ---  the thicker it is, or becomes, the

 

   more it surpasses the child's actual, natural-sized capacities.  Exces-

 

   sive expectaton ( usually the parent (s) 's aim is too high for him/her )

 

   creeping adhesively over the child annoys him/her with their thick Ki-

 

   kankaku / Ki sense, firstly like  amoeba and then, like a spider's thread.

 

    Fondness  ---  in other words, excessive affection protection accompanied

 

   by thick Ki kankaku / Ki sense only suffoocates the child.

 

 

        A phrase goes:  ' Awa-i nozomi wo kakeru.'

 

                                      〔' to put a thin hope on sb. 〕

 

 

 　　For the other, it seems that much is just enough.

 

     A faint first love  ---  first love must be better that way.

 

  In the case of thinness / faintness, Ki kankaku / Ki sense of this type is

 

  something like spring breeze, soft and tender, so that one feels easy and

 

  relaxed.

 

    ' Warm '   ---  a person so praised is filled with thin Ki kankaku / Ki sense,

 

   which does not evoke unnecessary stresses so that Ki kankaku / Ki sense

 

   the other produces may not be thick / heavy, but thin / light.

 

     ' Kunsi no majiwari ha awaki koto mizu no gotosi.'

     

      〔 Acquaintance of a man of character is as flat ( thin / light ) as water. 〕

 

　　This saying also tells us that Ki kankaku /Ki sense should not be thick

 

   nor dense nor heavy. It asssumed to be suitable for one's Ki kankaku /

 

  Ki sense not to impose onself, but to keep reserved.

 

  

 

                   e)   strong   ---   weak

 

 

    Ki kankaku / Ki sense of ' strong' feature transforms itself into a big

 

  arm, forefoot, of a fierce animal  such as a lion or tiger. 

 

   In the case of comrades united with strong bond, their bond is, it is as-

 

  sumed, attained by Ki kankaku / Ki sense or choh hifu kankaku / super

 

  skin which is very tenacious.  So called ' Ichima-i iwa no kessoku ' /

 

   ' unity of monolith ' would also be consequent upon working of choh hifu

 

  kankaku / super sense of skin.

 

     When it comes to ' weakness,' Ki kankaku / Ki sense is weak, in a sense

 

  ' dim ' delicate or fragile, almost fainting, it does not mean to disappear

 

   easily like a bubble.

 

     A person with soft atmosphere which appears weak / feeble at first

 

  glance, does not always remain that way. such a person in a wa or an-

 

  other might possess strength within weakness.

 

   It may possibly happen to abruptly switch from ' weak ' to ' strong.'

 

  Ki kankaku / Ki sense is free and changable;  it is kaleidoscopic.

 

 

   Before closing this section, a question to be raised is :

 

    ' How is Ki kankaku / Ki sense  produced ? '

 

   It is certainly an aporia, or the problem which presumably remains long

 

   unsolved.

 

    As such, it seems just impossible to expect / explore the right  and proper

 

  anwser to this question, I would like to make an attempt at some consider-

 

  ation on it, hoping that it might be a help for its solution.

 

    As  a primary condition / requirement for Ki kankaku / Ki sense to be

  

  produced, relaxation of body and mind, among others, should be men-

 

  tioned.

 

    It is to keep body (/mind ) in a state of sizen ta-i / natural posture.

 

   The KOHJI-EN interprets as:

 

 

                         sizents-i

 

                        〔( literally, natural body )

 

                          ➀ posture of body, when standing,  just natural, and

 

                            composed, particulaarly use in Judoh

 

                          ➁ to be as it ( sb / sth ) is / ' ari no mama,'  not being

 

                            affected nor tensed up / stressed out 〕

 

 

　 Focusing  on the second choice of explanation, let us grasp sizenta-i /

 

  ' natural posture of body ' or ' to be as one is. '

 

    To take the particular  posture is to concentrate power of consciousness

 

  on se-ika tanden / abdomen-under-navel, or the lower part of the body

 

  to relax muscles of its upper part.   This is exercised and accomplished

 

  by the method of fukusiki kokyuh / abdominal brath considered in the

 

  section II of the present paper.

 

   By exercicing the fukusiki kokyuh method, Ki  is smoothly circulated

 

  throughout the body, and fuses with ordinary, normal five senses, tran-

 

  scending them, it is, then, linked to production of Ki kankaku / Ki sense

 

  and its mobilization.  If it is done without hindrance, it would be that

 

  Ki kankaku / Ki sense has completed its working thoroughly.

 

    As for the method of kyohsiki kokyuh / thoracic breath, stresses are

 

  concentrated, and stagnated, on the upper part of body which cause dis-

 

  advatages or the unfavorable  to body  ---  for example, stiffened muscles

 

   of neck, or of upper arms, and scruff shoulders. No relaxed body of natural

 

   posture: sizenta-i  is, in no sense, expected.

 

     Circulation of Ki ( kankaku /sense ) is, then, aggravated, declines and

 

   shrinks its working.

 

    Only sizenta-i / natural posture brings about relaxation of body (/ mind )

 

   as achieved by exercising / mastering  the method of se-ika tanden kokyuh

 

   hoh or abdomen-under-navel breath.

 

     For modern people, there are, among them, those who, rarel though,

 

   acquire that posture;  nevertheless, it seems conceivably the most dif-

 

   cult task to do so.

 

     It must be that modern people struggle hard to live through the world,

 

   being chain-bound by various stresses and strains from external circum-

 

   stances, and sufferings from their own internal stressful states such

 

   as excessive self-asstertion, self- conceit, or ego-centricity.

 

     If liberated from these  ' chain-bindings' and sufferings, both external

 

   and internal, people would naturally accomplish an attitude of ' ari no

 

   mama /  ' to be as it ( one ) is / let it ( one ) be,' attain perfect Ki kanaku /

 

  Ki sense, and  developing it, be led into more appropriate and favorable

 

   world of interpersonal relationships.

 

 

 

 

 

 

                             Interpersonal Relationships of < Ma >

 

 

 

 

    We have so far sketched and examined individual / personal experiences

 

   of human power as well as animal 's under particular circumstances con-

 

   concerning the ' forms,' ' features,' and, the charcteristics seen from still

 

   another angle of Ki kankaku / Ki sense.

 

     Hereafter, returning to the ordinary world of everyday life, consider-

 

   ation on the main concern of the present paper  ---  that is, Ki kankaku /

 

   Ki sense, and its relevance to interpersonal relationships are to be taken.

 

     Among the Ki-weaved colloquial  phrases previously examined in the

 

   section IV, let me pick up several of them, and re-examine, or re-interpret

 

   them from the perspective of Ki kankaku / Ki sense, in turn ( according to

 

    the KOJI-EN ) .

 

 

                        ki ga a-u

                               　   --- to translate litellary, Ki ( of two people )

                                        matches well.

 

　　　　　　　　　　　　 〔　people get intimacy, because they are similar in thoughts

 

                        　　and feelings.  〕 

 

 

　' Ki  ga a-u ' / ' Ki of two people match well ' exists there not only because

 

  they  have similar Ki and mind / thoughts and feelings resembling each

 

  other, but because Ki kankaku / Ki sense, or choh hifu kankaku / super

 

  skin sense gets fused into one (-ness ), and at the moment of its climax,

 

  and, where distance felt  between them disappear, they would be filled

 

  with a pure bliss, and so, experience all the more a closeness to each

 

  other.

 

     A small behavior of choosing the same sweets, for sexample, at a tea-

 

  room would give chance to fusion of Ki (kankaku / sense ) and, as a

 

   result, as a result, invite comfortable excitement for those who  did it.

 

     At that moment, Ki ( kankaku / sense ) of two people could be seen

 

   to behave with extended dtentacle-like Ki, and to firmly shake hands,

 

   so fusuing ' to become one.'

 

 

                        ki ga aru

 

                           ---  to literally interpret,  to have Ki toward ...

 

 

                       　〔　to be concerned with  〕

 

 

　　Ki kankaku / Ki sense starts to develop itself like a rador or sonar rather

 

   than  tentacle like one for exploration, probing, detect, search, etc.

 

      If the object of exploration is directed to the opposite sex, depending

 

   on occasion, and when an occsion comes up, Ki ( kankaku / sense ), or

 

   choh kankaku / super sense  of five senses would be mobilized in full

 

   force, and utilized, but which would give unfavorable consequences, and

 

   so one falls into disappointment, or dismay.

 

     All is well, if Ki (kankaku / sense ) is mobilized well.  But, this is not

 

   always the case;  things do not seem to work always that way, though.

 

   

                         ki gakari 

                                ---  ki concerns

 

                         〔 to worry about 〕

 

 

   It takes a similar from to the above one.

 

   One tries, through one's Ki kankaku / Ki sense to detect and  explore the

 

  other's behavior and keeping the result of detection in mind.  To keep an

 

  eye and worry about the situation hwo it goes, for is getting along.

 

 

                       ki no okena-i

                              ---  Ki which is unnecessary to besensitive others

 

                        〔 to feel a home, relaxed  〕

 

 

    A mental state of relaxation  ---  Ki kankaku / Ki sense produces, expan-

 

   sively and carefreely, their soft atmosphere like spring mist.  Not sensed

 

   by Ki, but comfortable, easygoing, homelike feel of Ki.

 

    Kiraku / easygoing would carryalmost the same sense.  In the case of

 

   ' ki wo yurusu ' / ' to drop one's guard and to be open to others, Ki kan-

 

   kaku / Ki sense of the fother is thin and expansive so fthat one's feeling of

 

   cautiousness may be loosened and so settled one's  Ki ( kankaku /sense ).

 

       

                         ki ga kiku ; ki wo kikasu

                                 ---  Ki works well ;  to work Ki well

 

                        〔 to be considerate to others ;

 

                            consider others sensitively  〕

 

 

　　The main point of this phrase is to make a sound judgment for a given

 

   situation, and a quick response to it accordingly.

 

     For ' sound judgment ' to make in the present case, information gather-

 

   ed from eyes and ears of five senses is not sufficient.  In addition to it, it

 

   is required of information received / sensed  by Ki kankaku / Ki sense.

 

    For example, when the asmosphere of the other is cool and moderate,

 

  yet it seems somehow dissatisfactory, one should mobilize Ki kankaku /

 

  Ki sense in search for its causes in order to grasp what the other has in

 

  mind, and create a situation necessary to realize the other's expectation,

 

  etc.   ---  all this kind  of understanding is inclueded in the phrase ;

 

  ' ki ga kiku.'

 

    So, for ' ki wo kikaseru ' / ' to consider carefully,'  it is to develop / work

 

  Ki ( kankaku / sense ) like ' radaor ' or ' sonar ' in judging dthe other 's

 

  feelings and thoughts and the situation related, or to read the mind of the

 

  other, operationg Ki kankaku / Ki sense carefully into small things, and

 

  so behave.

 

    To conduct ' mind-reading ' on the other by Ki kankaku / Ki sense must

 

  be a knack of 'Ki wo kikaseru , ' or thinking about others well and carefully.

 

  

                         ki ga sirena-i

                                  ---  Ki ( of other people ) is not understandable.

 

                         〔 unable to know / understand 〕

 

 

 　This is the case that one, being unable to know / understand in the sense

 

  that ' what or how, on the earth, others  can think and feel ( that way )'

 

  throws one's  hands up.

 

    No reaction  ---  whether or not one speaks to, or tries to give a helping

 

  hand, Ki kankaku / Ki sense remains inactive. So, one's Ki kankaku / Ki

 

  sense also is fruitless, however hard it may work.

 

    The other does not response ;  it may be heard complaining. ' I can not

 

   see what the other is thinking.'

 

   The other remains drawing Ki kankaku / Ki sense into the other's self,

 

  building a ' wall ' around  the other's self. It is a snail-like state : a snail

 

  within it's shell.

 

    In this case, then, for one to do is : to forcefully break the  ' wall ' or

 

  ' shell ' of the other, and pull out from it Ki kankaku / Ki sense of the

 

  other, or to take a, or else, to leave there; to walk out.

 

 

                       ki zugare     ki gane     ki okure

                                 ---   ki choking    ki constraint   

                                                ki stepping backward

 

                     〔 unable to feel relaxed    to feel constraint   to feel

 

　　　　　　　　　　　　 hesitated  〕

 

 

　　When one is in a mood of ' ki zumari,' it is a state that pressure/ push

 

   from the other is so powerful that one gets suffocated, and that one's

 

   Ki kankaku / Ki sense  becomes shurnken.

 

    Kigané is a state in which one constracts and  declines one' s Ki kankaku /

 

  Ki sense rather than make use of it,and cannot develop it as one wishes

 

  to do so.

 

    Ki okure occurs when, overwhelmed by Ki ( kankaku / sense ) of the

 

   other, one is unable to resist against the other so that one's Ki kankaku /

 

   Ki sense gets recoiled in a ' bound-hand-and-foot' state.  Accordingly,

 

   one cannot behaves relaxed as usual ;  But tense, nervous, awkward, or

 

   hesitated.

 

 

                        ki ni suru

                           ---  ki concerned

 

                       〔 to pay attention to ;   to be concerned  〕

 

 

　　Among all types of Ki kankaku / Ki sense, it refers to that of choh si-choh

 

   kaku / super sense of audio-vision, particularly, the form of ' musi ' ( /

 

  intuition ).

 

    This ' musi ' generally predicts in negative, or unlicky direction, and so

 

   one would get helplessly concerned, and worried much. 

 

 

                　       ki ni tomeru

                            ---  ki gets concerned

 

                     　　 〔to take it in mind ;  to put an eye to 〕

 

 

　　Ki kankaku / Ki sense of this kind is not only of choh si-choh kaku / super

 

  audio-visual sense, but, plus choh hifu kankaku / super skin sense.  It, ex-

 

  tending itself like a tentalcle, reaches elaborately small things, and scoop

 

  information, and keeps it in mind.

 

 

　　　　　　　　　　　　　 ki muzukasi-i

                          ---  ki  is hard

 

                        〔 different ;  dissagreeable ;   sour; etc.  〕

 

　　　

　　One who is this personal type is adhesive persistent to one's own feeling

 

   and thoughts, and reluctant to conform with others, and so sharpened

 

   Ki kankaku / Ki sense is radicalized to that extent.  One of this type, sur-

 

   rounding oneself with choh hifu kankaku / super sense of skin like a

 

   barbed wire, or building a shell to shut oneself within, rejects other

 

   people.

 

     Yet, this type of super skin sense would be unexpectedly frail and easily

 

  broken, so that one may be inclined to become stiffed, which consequently

 

   makes one attempt to take more and more persistent, obstinate attitude.

 

 

                         ki kubsti   ki zukai

                                  ---  to distrubute Ki    to use Ki

 

                         〔 to be considerate    to be sensitive 〕

 

 

　　Omo-i yari / considerateness begins with  feeling / appreciation of the

 

  other's mind without offense.  It is the primary element of ki kubari.

 

  Ki kankaku / Ki sense of this type is felt wrapped with a ssoft  blanket,

 

  or thin, sweet mist.  Then, the other would open mind, and approach one,

 

  walk toward one, as if invited by merry spring ;  one would be able listen

 

  to the other whose mind is now opened.  Of course, it is the moment that

 

  one manipulates Ki kikankaku / Ki sense in various ways, being attentive,

 

  and sensitive to small things of the other's mind  ---  even those which

 

  the other is not aware of.  However, excessive attention or too much care

 

  is just a taboo.

 

    It would case invasion of privacy.  To be modest and moderate in working

 

   ki bataraki / ki zuka-i is good and proper.

 

    Now, further and finally,

 

   I would like to re-grasp Ki kankaku / Ki sense taking up again the  cases /

 

  episodes of < Ma > and the methods of breath treated in the section I of

４

  the present paper, and so doing, re-examine / re-consider the main theme

 

  of my paper : 《and Interpersonal Relationships 》.

 

      To begin with, let us re-sketch the case ( episode ) of :

 

 

 

            ≴　　　persuation / invitation to a religious cult    ≵

 

 

　　One day, Ms. B received a phone call of severe accusation from Ms. A.

 

   Ms. A had a sharp tongue  and high-handed attitude, she took a ' osé,

 

   osé ' / ' push and push or ' press and press ' way with shallow tan soku /

 

  short breath so that the situation went more and more into the direction

 

  of  Ma sumari / Ma narrowed, that is, got narrowed chockingly.

 

    Ki kankaku / Ki sense of Ms. A at that moment was sharpened and words

 

  she uttered were very powerful in shooting spiked ball like chestnut or

 

  shrunken, which then changed iself into spider's-thread-like adhesive type,

 

  twining around Ms. B, and put her in a state of  kana sibari / chain-binding.

 

     Ms. B helplessly did not know what to do;  her Ki kankaku / Ki sense got

 

  utterly shrunken.  She was kept being pushed and pressed by Ms. A.

 

  She could not compose, or make / take, modest  ---  that is,  < Ma>

 

  as Hodo Hodo / moderate, and/or,  Fusoku Furi  / neither ( too ) close

 

  nor ( too ) remote from her, Ms. B.  between the two was too close;

 

  Ms. B was inescapably caught by Ms. A's awfull Ki kankaku / Ki sense.

 

    Next day, Ms. A's attitude got drastically turn around.

 

  Around her was an atmosphere filled with soft, mellow, spring-like Ki kan-

 

  kaku /sense ), and her breath (-ing ) was loosened choh soku / long breath.

 

  was being  composed, and so some distance chokingly close was getting

 

  broadened.

 

   Under this newly-appeared circumstance, Ms.B liberated from Ms. A's

 

  chain -binding form of Ki kankaku / Ki sense, and, soon, understood  by

 

  her cool review / reflection given the new circumstance, or, why she had

 

  been involved by Ms. A.

 

     Ms. A's breath (-ing) and oepration of her Ki kankaku / Ki sense  was

 

  simply for the purpose of persuading / inviting Ms. B to the religious cult

 

  to which she was then so dedicated herself.

   

    As soon as she noticed that, Ms. B took counter measures against Ms. A

 

   manipulating quiet, slow breathing, slow breathing, or to iki / exhaling of

 

   long type, she strengthened her Ki (-kankaku / sense ), and shut her ears. 

 

   So doing, she dodged aand declined Ms. A's persistent invitation to the

 

   religious cult.

 

 

                   ≴　 friendship  ≵

 

 

    The breath (-ing) of friends have an attitude easy, relaxed, and tolerant

 

  toward each other. And each's kokyuh / breath is that of choh soku / long

 

  breath of to- soku / breath-out type.  Slow and deep.

 

    Between them lies Ma which has a proper distance.

 

  Ki kankaku / Ki snse they  show is soft and gentle like spring mist ;

 

  It is not uncomfortable nor effensive.

 

    Yet, at times, some conflict or collision does occur. At this moment,

 

 

 

 

 

 

 

 

 

 

 

 

 

   once more gained atmosphere, airy and well-ventilated.

 

     This kind of situation is, needless to say, created by modest  ---

 

   that is, without composition ofas Hodo Hodo / moderate and Fusoku Furi /

 

  .

 

 

 

             ≴　   sympathy   ≵

 

 

　　　Excessive expression of distress and grief  ---   in this case, shallow,

 

  short kyohsiki kokyuh / thoracic breath which is taken properly, collapses,

 

  Ki kankaku / Ki sense specially, choh hifu kankaku / super skin sense gets

 

   coarse, and spiked, and finally radicalized as properdisappears.

 

     There is nothing left to make a distance, pathetic cry straightforwardly

 

   pierces into people's mind.

 

     It is that penetration of Ki kankaku / Ki sense unexpectedly happens to

 

   develop negative / minus power, it stimulates Ki (kankaku /sense ) of ill

 

   kind, and evokes repulsion.  As a consequence, people aggravated their

 

   attitude, and so, one provokes a great antipathy, far from sympathy.

 

   Omo-i yari  / considerateness by which to sense / receive the other's

 

   feelings ( distress, grief,  etc. ) gets entirely dispersed.

 

     One who expresses one'sdistress / grief in a composed manner, is tough-

 

   minded enough to confine one's negative feelings and thoughts within one-

 

   self and refrain fom big, exaggerated  ---  so it seems  ---   performance.

 

     One's Ki kankaku / Ki sense is mild and modest, and produces only an

 

   atmosphere like thick mist  in the spring sky so that Ki kankaku / Ki

 

   sense of people around one, without being wrongly stimulated and irritat-

 

   ed, can develop power to quietly sense / receive the other's mind.

 

      Breath ( -ing ) in this case is  is choh soku / long breat is composed

 

    gradually and modestly.

 

    People around one at a peaceful  time, orrecover Ki nad come to close

 

   to covering one by choh hifu kankaku / super skin sense of ' blanket '   7

 

   type.  Feeling of all get fused into ' one(-ness ), ' and the peace of mind

 

   would arrive.

 

     Sympathy, then, would sprout, and be assumed of its formation.

 

 

 

             ≴　　talkative speaker and eloquent speaker   ≵

 

 

　　Talkative speaker takes kokyuh / breath, which is short, shallow and

 

   rough.

 

    Ki kankaku / Ki sense of this personal type provokes repulsion, it works

 

  to push away, and shove aside the other's feelings and thoughts, works to

 

  push away, and shove aside the other's feelings and/or thoughts to expand,

 

  show.  is there only for the talkative speaker.

 

    The case of an eloquent speaker, or an orator:

 

   The eloquent speaker puts a pause between utterances and worrds.  It is a

 

   time for keeping stillness and for  ' wait-and-see' policy.

 

     The eloquent speaker slowly and modestly casts his Ki kankaku / Ki sense

 

   to the audience in an attempt to decrease stresses of the audience. 

 

     And when he sees the audience make responses to his speech, he quick-

 

   ly contracts his choh hifu kankaku and gets into preparation to accept

 

   them. Simultaneously, he develops choh si-choh kaku / super sense of

 

   audio-vision into every small corner so as to receive and detect atmo-

 

   sphere of the audience.

 

     Regarding to power-balance exchange of eloquent speaker and the

 

   audience the former's speech seems at first glance overwhelmingly supe-

 

   rior to the latter, but in the world of Ki kankaku / Ki sense, it is equal re-

 

   lation of ' ositari, hi-itari ' / ' push / press, or withdraw,'  and they try

 

   to sustain that state.

 

     If an eloquent speaker in eagersness too much approaches the audience

 

   with his Ki kankaku / Ki sense like an iron-like surge, the audience would

 

   would get intimidated, and their Ki (kankaku / sense ) shrunken, which

 

   makes the audience step back and loose power in pushing back his ag-

 

   gressive Ki kankaku /  Ki sense.

 

    In the hall, air becomes dull and lax, and weary atmosphere begins to

 

   pervade around there.

 

     Of this case  ---  it depends on the case though, at times, ' a-i no te '

 

   occurs among the audience.

 

       ' A-i no te ' is explained in the KOHJI-EN:

 

 

                          a-i no te

 

                          〔【 interjecting chant 】

 

　　　　　　　　　　　　　　　➀ It is, in the genre of Japanese traditional music,

 

                                 a short part played by musical instruments only.

 

                             ➁ chant or claps made between dance and song har-

 

                                 monizing with the rhythm of them ( dance or song )

 

                             ➂ utterance which another one interjects, while one

 

                                 starts / keeps a conversation or proceeds a matter

 

                                 and/or event   〕

 

 

　　One who makes / performs ' a-i no te ' plays a role to discharge Ki kan-

 

  kaku / Ki sense like shooting a firework or a dagger, and to brace the lax,

 

  loosened air of the hall.

 

    The performer of 'a-i no te' wait until chance will come.  It implies for

 

  one to compose properly for the  performance, spreading Ki kankaku /

 

   Ki sense in every corner and detecting / considering what the audience

 

   are feeling and thinking at that moment.

 

      Conveyance of message between ' a-i no te ' performer and speaker

 

   whether it may be plotted beforehand or spontaneously happened, it

 

   seems to be based on that of ' isin densin ' / mind by mind communi-

 

   cation.

 

    Both trying to make contact with each other by Ki kankaku / Ki sense

 

   of ' receptor-like,' ' radar / sonar- like, ' ' cellphone-like ' types, can,

 

   it sems almost instantly catch the  timing for performing ' a-i no te ' to

 

   brace air / atmosphere of the hall.

 

     After all, between eloquent speaker and the audience, with the help of

 

  ' a-i no dte ' performer, exchange of Ki kankaku / Ki sense in the ' osi tari,

 

   hih tari ' / ' push, or withdraw ' manner is developed and continued, and

 

  together with the process of manipulating kokyuh / breath and composing /

 

  maintaining.

 

   Both come to mutual understanding of their feelings and thoughts, and,

 

   further, emerge congeniality among the audience, if Ki ( kankaku /sense )

 

   of all people involved extends like a tentacle, and touch with one anoth-

 

   er in a state of ' shaking hands,' Ki kankaku / sense ) unified as such would

 

   be fused into a great  balloon of ' one (ness ).'

 

     Now the speech arrives at its peak, the hall filled with excitement, the

 

   eloquent speaker would conform ( to himself ) having his speech success-

 

   fully.

 

 

                   ≴　　on a first aquaintance   ≵

 

 

     Uneasiness we feel on first qcuaintance, is, it could be said,  nothing

 

   but K mazu-i / choking Ki / to feel awkward, and also being composed

 

   awkwardly.

 

     When people fell ' Ki zumari '  Ki kankaku / Ki sense can scarcely work,

 

   and does not develop itself.  So, uneasiness / awkwardness gets all the

 

   more increased, it would show a vicious circle.

 

     Shallow, short kyohsiki kokyuh / thoracic breath  ---  this is, generally

 

   the case on first acquaintance.  If one changes this kind of iki zuka-i /

 

   breathing to soft, warm to soku / breath-out of fukusiki kokyuh / abdom-

 

   inal breath, one's Ki ( kankaku / sense ) would begin to work.

 

    If one, with scent of Ki ( kankaku /sense ) like mellow spring breeze plus

 

   rosey, sweet taste, wrapped the other, the other,then, would respond  to

 

   one, produce similar kinds of Ki ( kankaku / sense ). At that moment,

 

   both can have a feel to find themselves in an atmosphere like a warm

 

   balloon ( of oneness ) .

 

     Uneasiness on first acquaintance would be extinguished;  and it is sug-

 

   gested of comfortable, pleasant contact to come true.

 

     It seems difficult to decide qhether to appeal continually with Ki (kan

 

   kaku / sense ) which provokes intimacy / congeniality or to withdraw it as

 

   quickly as possible, and to abondon the chance to wait for another.

 

       It's simply up to you.

 

 

 

           ≴　　tsuppari ya san / squaring shoulders   ≵

 

 

　　Posture of squaring shoulders, or tsuppari, implies Ki kankaku / Ki sense

 

  surrounding one, to be made radicalized into that  of barbed or iron wall

 

  type.  This seems similar to the posture :  ' Itibu no suki mo na-i '  ---

 

  to literally translate, ' to stand without carelessness of even 1 inch, '  in

 

  other word, ' ironcla, ' wearing Ki kankaku / ki sense like a wetsuit, or brac-

 

  ing with corset, one appears to be, or, maybe, to feel oneself almost in a

 

  choking state. Such a perfect one would be changed, if a small hole / crack

 

  is made on one's Ki kankaku / Ki sense like ironclad.

 

    But how should we do to override this ' cocking ' kind of situation?

 

   It seems so hard to find ' ironclad ' solution, what is certain is to open a

 

   small hole in the ' corset ' type of Ki kankaku / Ki sense, using modest,

 

  deep, long breath / to soku, then, a breakthough would be made, a thaw

 

  would set in, and finally would be expected of a visit of spring.

 

    There emerges possibility of returning to sizenta-i, or natural posture /

 

  ' to be as one is ' in the ordinary, everyday world of interpersonal relation-

 

  ships.

 

    It happens at times that one breaths a sigh of relief, and stressful Ki

 

   ( kankaku / sense ) gets released.

 

   Then, it is a chance. The other in dturn responds to done, composing ap-

 

   propriate, modestwith Ki kankaku / Ki sense, manipulating it as flexible

 

   as possible.

 

    If it is not the case, and even shoots a dagger into the small hall, it might

 

   cause something awful.  However, paying much attention not to touch the

 

   other's spiked Ki ( kankaku /sense ) like babed wire, one gets thoroughly

 

   fatigued.

 

      At the moment, it is better not to dare operate Ki ( kankaku /sense ),

 

   and observe the situation how it develops then. One should not work by

 

   force ;  not to take forcible action.

 

    Reversely, for one who is reluctant  to be square shoulders, or, to square

 

   oneself, there are two types of behavior.  One type is :

 

     Ki or atmosphere is idly loosened, and so, is Ki ( kankaku / sense ).

 

   It is inactive, slackened, drawsy, flat, etc.

 

    Another type:

 

    As one takes an appearance of  sizenta-i /  to be as one is, by nature,

 

   not forceful nor feels stressful nor too much loosened, but takes a modest

 

   way, so is one's K (care-) free and expansive.   It is opened for possibilies

 

   to change / transform into various types contingent on the situation at the

 

   moment.

 

     If the other also keeps the same natural attitude, there would emerge a

 

   good congeniality, best match.

 

   is, then, composed appropriately , or modestly.

 

   Breath (-ing ) is quiet and slow one, or to soku / breath-out of choh soku /

 

   long breath type. Between the two in interpersonal relationship there

 

   would occur a peaceful time  ---  however transient it dsmay be.

 

 

 

               ≴　 Daughter against Mother  ≵

 

 

    Heated dispute  between the two.   A hot exchange of words.

 

   Ki kankaku / Ki sense seems to particiate in it.

 

     Each shoots each's choh hifu kankaku / super sense of skin which trans-

 

   form itself from a small ball to spiked one, and lets them go into a state of

 

   snowball fight. Further, Ki kankaku / Ki sense would be radicalized to bul-

 

   lets, showing down on each.

 

    Both, Daughter and Mother, have aggressive character in nature so that

 

   they are inclined to get excited and furious.

 

      In this case, it is to try, by taking a breath, to  make a modest.

 

   Ki kankaku / Ki sense, then/ would dischange atmosphere, warm and soft 

 

  spring mist.

 

    If one of the two ---  my it be Mother or Daughter  ---   behaves that

 

   way, the other also would be tempted to do so, and produce similar

 

   atmosphere.  There would, then, come a period of ' thaw ' / ' detent.' 

 

   If Daughter continues to take a rebellious attitude, here is a secret to

 

  treat her.  Not to be forceful.  Don't compel.

 

   Not to throw Ki kankaku / Ki sense of a spider's threat type. Nor coil to

 

  bind around the daughter, but to switch  from choh shi kaku / super sense

 

  of sight, that is, tha of rador and/or sonar or remote control form.

 

    Daughter, now released from constraints and could could behave as she

 

  pleased, dwould feel very happy and cheerful.

 

    Yet, to tell the truth, Mother  traces after her daughter, operating her

 

  Ki kankaku / Ki sense, or choh si kakau.  So, if daughter happened to con-

 

  duct some radical, outerageous thing, Mother can catch it, and modify her

 

  behavior, giving directions to her, and leading her within the right.

 

    Daughter has confidence in that she is doing so  just according to Mother's

 

   Mother's directions and guidance  ---  this is the very merit of Ki kankaku /

 

   Ki sense.

 

    If how she behaves is all based on her own thoughts, she could be much

 

   satisfied.

 

    Daughter at a rebellious stage makes persistent rejection against Mother's

 

  ' push, ' her insistence, whatever it may be.  So, it is that in mobilizing Ki

 

  kankaku / Ki sense which is invisible and intangible, Mother gets desired

 

  or desirable results.

 

    The above consideration / understanding of the present ( episode ) may

 

  be a little difficult to apply to the actual world; things do not seem to go

 

  so well as that.  It is just because the modern society contains all kinds of

 

  stresses and strains.

 

    If released from them, and, for example, ' return to the nature,' which is

 

  most effective clue for it, be actualized, circulation of Ki thoughout human

 

  body gets well, and smoothly, Ki kankaku / Ki sense would be revived.  

 

    Then, one can receive and perceive person / thing before one's eyes,

 

  at a distance not only depending on ordinary, normal fivesenses, but also

 

  mobilizing and operating Ki kankaku / Ki sense, or choh five senses / super

 

  five senses.

 

   Finally;

 

    Let us review the case of a kitten and his mother cat, both seem still to

 

  retain naturalness and wildness.

 

 

 

               ≴　　　a kitten and his mother 　　≵ 

 

 

　　A kitten with cute, lovable voice fawned on my foot.

 

  It was when I was about to stroke his tiny head that I heard a sharp warn-

 

  ing voice, which, to my surprise, came up from the distance far below the

 

  road where the kitty and I were.  Looking down from there, I saw an adult

 

  cat lay curled near the side of a chute in a small park.

 

    It was the kitten's mother, then.

 

   Her little son happened to stay high above her head, nevertheless, she

 

  caught properly the situation around him.

 

     How could she do it ?

 

   At that time, I wondered much why, and it was just a mystery.  But now

 

  now the mystery, it makes me feel so, is solved.

 

    Mother cat must have operated her Ki kankaku / Ki sense.

 

   With her choh shi choh kaku / super sense of audio-vision, she had been

 

  tracing and inspectiing her child's behavior ;  however distanced from her

 

  normal sight, he was caught by her.

 

   As for me, I touched her radar-like Ki kankaku / Ki sense, unintentionally

 

  though.-

 

   It is regrettable enough that my Ki kankaku / Ki sense did not work at

 

   all. I only caught her sharp warning  voice by one of my normal five

 

   senses, i. e., sense of hearing.  Surprised, I withdrew my hand from

 

   the kitten would not hurry back to his mother.  Her message discharged

 

   from her Ki kankaku / Ki sense must be :

 

    ' It's all right to be up there, playing around alone.

 

                     But, don't go too near and close to any hunam! '

 

   The kitten also must have accepted rightly his mother's message with

 

  his choh choh kaku / super sense of hearing.  He followed her warning

 

  obediently.  He kept an innocent, lovable attitude, yet would not try to

 

  fawn on my foot.

 

   He composed Hodo Hodo / moderate and Fusoku Furi /