翻刻
相手ノ内股へ蹴込心ニテ下手ノ方ヘ廻テ落ス是ヲ上手矢倉ト云下
手ヨリ釣上ケ廻リナカラ合手ノ膝ヲ我上手ニテ払フ是ヲ下手矢倉
ト云上手ニテ廻シヲ取我腰ヲ少シ下ツテ我頭ニテ土ヲ払フ程腰ニ
掛テ投ル是ヲ上手投ト云下手投ハ相手ノ二ノ腕ヲ免サス腰ニ掛テ
投ル上手ヲ取テ頭ヲ上手ノ方ニ廻シ足ヲ抜テ引居ルヲ出シ投ト云
又廻シヲ取テ矢倉ノ如ク振廻スヲ八柄投ト云又相手ノ脇ヘ頭ヲ
出シ相手ノ腕ヲカツイテ下手ニテ脇廻シヲ取テアケニ倒ルヲ腕反
居テ向フヘ返ルヲ撞木反諸手ヲ差《割書：レ｜》テ足ヲ掛レハ掛反又相手ノ足ヲ
膝ヨリ下ヲ我肩ニ当テアケニ倒ルヽ時ハ一寸反ツマ取ハ古人ノ伝アレトモ
今ハナシ掛ハ皆人ノ知ル処故記サス捻ハ手ニテスル業ノ名也同利害
ナル故荒マシヲ記ス業ノ形ハ書尽シ難ク前ニ記ス如ク皆気変ノ
ナス処心ノ一手ヨリ外ニナシ故ニ目ニ見ヱス口ニ説ス又人ニ教ルコト不能
稽古ノ修行苦ミ苦ンテ我ト知ル妙術ナリ
目録ニ記ス十五ケ条早年ノ頃ヨリ稽古修行ノ妙術ヲ以テ漸クニ
四十八歳ニシテ此業ニ不惑五十一歳ニシテ意味ヲ能知ト云トモ燕雀之質
短才ナルカ故ニ皆人〻へ知レ難シ然レトモ見ル処聞処知ル処一言トシテ
腹ニナキコトヲ記サス今此道ヲ去ルカ故ニ聊愚意ヲ述懇意ノ
人々へ贈ル尤千冊ヲ限リ絶板シ畢
君子ハ其業ヲ業トスルカ故ニ腹心ヲ磨ク磨ハ明鏡如台ト云リ我
多年相撲ノ道ニ入テ其業ノ腹ニ有所ヲ知ル壮年ニテ空ハ至＿レ空漸
天命ヲ知ル齢ニ至リ空ハ帰＿レ腹￣ニ我学才ニハ非レトモ儒仏神モ心ノ明鏡
曇サレハ移ルカ如クナルヘシ相撲モ阿吽ノ空ニテ勝負ノ決スル処皆心
現代語訳
相手の内股へ蹴り込む心で下手の方へ回って落とす。これを上手矢倉と言う。下手より釣り上げ、回りながら相手の膝を我が上手で払う。これを下手矢倉と言う。上手で廻しを取り、我が腰を少し下げて、我が頭で土を払うほど腰にかけて投げる。これを上手投げと言う。下手投げは相手の二の腕を離さず腰にかけて投げる。上手を取って頭を上手の方に回し、足を抜いて引き据えるのを出し投げと言う。
また廻しを取って矢倉のように振り回すのを八柄投げと言う。また相手の脇へ頭を出し、相手の腕を担いで下手で脇廻しを取って仰向けに倒れるのを腕返し。座って向こうへ返るのを撞木返し。諸手を差して足をかければ掛け返し。また相手の足を膝より下を我が肩に当てて仰向けに倒れる時は一寸返し。つま取りは古人の伝えがあるけれども今はない。掛けは皆人の知る処故に記さず。捻りは手でする業の名なり。同じく利害があるので粗略を記す。業の形は書き尽くし難く、前に記すが如く皆気変の
なす処、心の一手より外になし。故に目に見えず、口に説く、また人に教えることもできない。稽古の修行、苦しみ苦しんで我と知る妙術なり。
目録に記す十五ヶ条。早年の頃より稽古修行の妙術をもって、漸くに四十八歳にしてこの業に惑わず、五十一歳にして意味をよく知ると言えども、燕雀の質、短才なるが故に皆人々へ知れ難し。然れども見る処、聞く処、知る処、一言として腹にないことを記さず。今この道を去るが故に、聊か愚意を述べ、懇意の人々へ贈る。尤も千冊を限り絶版し畢んぬ。
君子はその業を業とするが故に腹心を磨く。磨けば明鏡台の如しと言えり。我が多年相撲の道に入りて、その業の腹にある所を知る。壮年にて空は空に至り、漸く天命を知る齢に至り、空は腹に帰る。我が学才にあらずといえども、儒仏神も心の明鏡曇らされば移るが如くなるべし。相撲も阿吽の空にて勝負の決する処、皆心
英語訳
Kicking into the opponent's inner thigh with intention, turning toward the lower grip side and dropping them - this is called jōte yagura (upper grip tower). Lifting from the lower grip while turning and sweeping the opponent's knee with one's upper hand - this is called shitate yagura (lower grip tower). Taking the mawashi with the upper grip, lowering one's hips slightly, and throwing by hooking the hip so forcefully that one's head sweeps the ground - this is called jōte-nage (upper grip throw). The shitate-nage (lower grip throw) involves not releasing the opponent's upper arm while hooking the hip to throw. Taking the upper grip, turning the head toward the upper grip side, extracting the foot and pulling them down is called dashi-nage (pulling throw).
Also, taking the mawashi and swinging around like a yagura is called yatsuka-nage (eight-handle throw). Also, putting one's head under the opponent's armpit, shouldering the opponent's arm, taking the side mawashi with the lower hand and falling backward is called ude-gaeshi (arm reversal). Sitting and returning toward the opponent is called shugi-gaeshi (mallet reversal). Using both hands and hooking with the foot is called kake-gaeshi (hooking reversal). Also, when the opponent's leg from the knee down hits one's shoulder and one falls backward, this is called issun-gaeshi (one-inch reversal). Tsuma-dori (heel grab) has ancient transmission but is not used now. Kake (hooking techniques) are well known to everyone, so I do not record them. Hineri (twisting) is the name of techniques done with the hands. Having similar advantages and disadvantages, I record only the essentials. The forms of techniques are difficult to write exhaustively, and as recorded before, they are all products of ki-hen (energy transformation).
These are the workings of nothing other than the mind's single technique. Therefore they cannot be seen with the eyes, explained with the mouth, or taught to others. Through the suffering and hardship of training practice, one comes to know these subtle arts by oneself.
The fifteen articles recorded in the catalog - through the subtle arts of training practice since my early years, I gradually became unwavering in this art at age forty-eight, and at fifty-one came to understand the meaning well. However, being of sparrow quality and limited talent, it is difficult for all people to understand. Nevertheless, regarding what I have seen, heard, and known, I record not a single word that is not from the heart. Now leaving this path, I briefly express my humble thoughts and present them to my close friends. I particularly limit this to one thousand copies and cease publication.
The gentleman makes his art his profession, therefore he polishes his inner heart. When polished, it is said to be like a bright mirror on a stand. Having entered the way of sumo for many years, I know where this art resides in the belly. In my prime, emptiness reached emptiness, and gradually reaching the age of knowing heaven's mandate, emptiness returns to the belly. Though not through my scholarly talent, Confucianism, Buddhism, and Shinto all would shift like reflections when the mind's bright mirror is clouded. In sumo too, in the a-un emptiness where victory and defeat are decided, all is mind.