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Pathfinder Society Member. 565 posts (19,541 including aliases). No reviews. No lists. 1 wishlist. 1 Pathfinder Society character. 43 aliases.


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Freddy Honeycult

About Freddy Honeycutt

Nin-jutsu

(secrets of Kaijutsu)

By Tsuneyoshi Matsuno

My word
The tripod supporting “Bushido” (The way of warriors) consists of “Chi, Jin, and Yuu” (Chi means wisdom, Jin means benevolence, and yuu menad courage). Nin-jas were wise enough to investigate the enemy’s situation and led their army to their advantage by their deft performances. Without boldness ninjas could not carry out their duties.
“Budo” means martial arts in English, and the word “bu” consists of two parts – “stop” and halberd”, consequently meaning “stop the enemy’s spear”. “Do” means way or method. From this readers will know that martial arts are and have been a peaceful means of settlement. Not to kill and not to be killed is the fundamental principle in martial arts. To control or subdue the enemy without drawing one’s sword is regarded the best mystery of the arts. Traditionally experts boasted abililty in conquering the enemy without hurting him. And the last thing those martial artists should do was to take the initiative. Defending oneself first is the basic way, which he changes into offense instantly.
Fighting fair and a fight for a rightful cause was very important, or the samurai would have suffered from dishonor for his life. In the book the author says, “Nin-jutsu never works if the ninja uses it in the wrong way.” I do hope readers use ninjutsu for a rightful cause.
Finally I would like to add that my mother’s ancestor was General Chikafusa Kitabatake, advisor to Emporor Godaido (1228-1339) whose plot of destroying the warrior’s government in order to restore the Imperial rule ended in failure. It is not known that ninjas fought for the Southern Dynasty which Emporor Dodaigo established later.
I hereby heartily express my gratitude to Ms. Debbie Brown whose husband is the head teacher of Kogen-ryu Brown Dojo, Harrogate in North Yorkshire in England for her assistance to my translation.
Translator: Mr. Tsuneyoshi Matsuno, graded 5-dan in Iai-tameshi-giri-do, degree “Renshi” (feb. 25, 1991)
Copyright reserved by Tsuneyoshi Matsuno 1991

Mr. Mochizuki’s Ninja House in Kouga in Shiga Prefecture (various photos)
Ninja tools (various photos)

Address
To our great surprise ten thousand copies have all been sold out in just three months after publication. The greatest prosperity that the publishing circles of Japan have ever made. Hereby I have produced a reprint with additions and amendments after reading more books in Japan as well as in China, and finding more secrets handed down by word of mouth. I hope I have described in full detail, adding a chapter on the miraculous black art.
June 1916.
Author: Ken-sai Buyou-ken

Preface
“Nin-jutsu”, a self-defense art, had long existed though once neglected. Recently it has come into fashion and is being talked about. Nin-jutsu, different from those appearing in the film or on the cover of picture books, should never be used to cheat others, nor in the wrong way. Intuitively it is apt to be regarded as the art for a theif, stealing into others’ houses or hiding himself when noticed, but the importance of its secret teachin lies, in sum, in that “Nin-jutsu” is to be performed with justice acknowledged by the public, not by self-interest.
According to this rule, nin-jutsu can never be used by thieves of self-interest. Burglary and nin-jutsu originated differently. Never should this be neglected.

Contents
Secret Teachings of Nin-jutsu

1. Foreward
2. What is ninjutsu?
3. Another name of nin-jutsu
4. The difference between ninjutsu and burglary
5. An academic study of ninjutsu
6. Application of ninjutsu
7. Origin and history of nin-jutsu
8. The schools of nin-jutsu
9. Historical investigation of nin-jutsu
10. Nin-jutsu is transmitted in secret
11. Tools necessary for nin-jutsu
12. Nin-jutsu is a practicable art
13. Factual account of nin-jutsu
14. Fables concerning nin-jutsu
15. Contention of shrewdness against shrewdness
16. Conversion from truth to falsehood
17. Strategic conversion
18. Five mysteries of the art of invisibility
19. Invisibility art for self-defense
20. Nin-jutsu precepts
21. Stealing into the ranks of the enemy
22. Deceiving others- by one, by two and by three
23. Conjuration
24. Symbolic signs with fingers
25. Disguise methods in nin jutsu
26. Make up methods
27. Traveling incognito, quick pace
28. Detective work - by night, life foxes and wolves, like horses and cows
29. Amateur ninja detective
30. Dazzle method
31. Chanting a spell with symbolic signs with the fingers
32. Snakes and frogs in the pocket
33. Making small snakes and frogs look larger - the art of a huge monster
34. Offshoot and transformation method
35. The Art of Jumping Up and Striking the Opponent
36. Jesuit missionaries method
37. How to Ensconce Oneself

PRACTICAL METHODS OF HIDING AND TRANSFORMING IN NIN-JUTSU
1. "Mokuton-no-jutsu"
2. "Katon-no-jutsu"
3. "Doton-no-jutsu"
4. "Kinton-no-jutsu"
5. "Suiton-no-jutsu"
6. “Jinton-no-jutsu"
7. Original text lists #4 again as #7
8. "Juulon-no-jutsu"
9. "Gyoton-no-jutsu"
10. "Chuuton-no-jutsu" snakes, frogs, spiders
11. "Unton-no-jutsu"
12. "Muton-no-jutsu"
13. "Fuuton-no-jutsu"
14. “Preparation for becoming a nin-ja”

THE MYSTERIES OF THE BLACK ART

1. The black art is same with magic
2. Scientific explanation
3. The black art in vogue - experiment of elusiveness
4. The mysteries of phantasmagoria
5. Rules for the practitioner of nin-jutsu and black art
THE MYSTERIES OF "KIAI - JUTSU"
Foreword
What is "Kiai - Jutsu" ?
1. Preparatory training - straining the abdomen, selflessness, confidence
2. Gradual performance - practitioner's attitude, it's method
3. Dr. Fukurai's method of intentionally leading the enemy to his weak point
4. Crying in a voice of great thunder
5. Inhalation and exhalation
6. Kiai - jutsu was a traditional mystery in the martial arts
7. The difference between kiai-jutsu and gouki-jutsu
8. Kiai-jutsu is one of the self-defence arts in the civilized society
9. Application of kiai-jutsu to moneymaking
10. Making a puppet of a person by kiai-jutsu
11. Kiai-jutsu leads a person to cultivating his courage
12. Application of kiai-jutsu to ju-jutsu
13. Application of kiai-jutsu to "sumo" wrestling
14. Secrets handed down from mouth to mouth
GOUKI - JUTSU
1. What is "Gouki-jutsu"?
2. The mysteries of gouki-jutsu
3. Instant mind reading
4. Calling out
5. Secret art of gouki-jutsu
INSTANCES OF KIAI - JUTSU
1. Kiai-jutsu performed by Hideyoshi Toyotomi
2. Kiai-jutsu performed by Itto-sai Ito
3. The contest in kiai-jutsu between Jiro-zaemon Ono and Munenori Yagyu

THE MYSTERIES OF PHYSIOGNOMY
Mole reading - good luck and bad luck
Reading wrinkles on face -good or bad
1. Foreseeing disaster three days before
2. Foreseeing rapine and red ruin
3. Foreseeing a flood disaster or being drowned
4. Foreseeing a discord
5. Foreseeing the danger by sword
6. Foreseeing the death
7. Foreseeing a destroyer
8. Foreseeing the dates good for negotiation or contest
9. Foreseeing the possibility of making money
10. Foreseeing the dates when you cannot make a success
11. Foreseeing the dates departing from someone
12. Foreseeing the dates of possible death
13. Foreseeing the unlucky direction
14. Foreseeing the dates of great success
15. Foreseeing the good match by skeletography
16. Foreseeing one's intelligence by way of his laughing
THE MYSTERIES OF SEEING THROUGH A PERSON (WOMAN)
1. A jealous woman and not jealous woman
2. Judge a woman by her eyes
3. Judge a woman by her nose
4. Judge a woman by her mouth
5. A chaste and wise woman
6. A woman who looks kind but is dishonest at heart
7. A woman beautiful but unfortunate
8. A woman who looks good but is bad at heart
9. A woman beautiful but leading a wrong life
10. How to read a woman's soul
11. The sign of a friendly feeling
12. The sign of an unfriendly feeling
THE MYSTERIES OF SEEING THROUGH A PERSON (MAN)
1. A faithful and trustworthy man
2. A man going to be wealthy
3. A man born to be poor
4. A man going to rise in the world
5. A man easy to make a mistake
6. A man of loose conduct

KOUGA SA,URAIS- A SUMMARY FROM A BOOKLET PUBLISHED BY KOUGA SAMURAI SOCIETY
THE SPIRIT OF KOUGA SAMURAIS

Introductory Remarks
1. This book is composed of secrets of this way.
2. This book has some omissions in the text, refraining from making them disclosed.
3. Those parts difficult to understand the meaning are left as they are for fear that rough understanding may spoil the originality.
4. Reference materials:
“Bubi-shi” (defenses), “Sho-nin-ki” (Ninjutsu), “Kai-jutsu” (highest degree of martial art- Volumet “Water” – the art of the spirit), “Sen-jutsu & Nin-jutsu” (hermit and ninja’s arts), “Secrets of Aiki-Jutsu”, “Self study of Mesimism”, “The great Magic in Nin-jutsu”. “Buke-mei-mokushou” (A Register of Buke, samurais), “Secret Martial Strategies”, “Freehand Kiai-jutsu”, “Sword and its history”, Tengu-gei jutsu” (a long nosed goblin’s art), “Japan Encyclopaedia”, “The Story of the Houjou Family” and so on.

Foreward
The secrets of nin-jutsu and kiai-jutsu described in this book were not allowed to be disclosed, even a little part of it, to the public by the law or the family constitution of a long time ago. Thanks to the development of science and progress of the society, they have fortunately come to be placed in the sun. I’m sure these secret teachings will enable you to make success in this sophisticated society of competition if you earnestly study those arts and master them.

During the best time of cherry-blossoms in the middle of April, 1916

2. What is nin-jutsu?
“Nin-jutsu” literally means the art of mystification. It had been applied to various uses as the mysteries of martial arts belonging to samurais since olden times, getting out of difficulties, or making frequent appearances or disappearances from the ranks of the enemy. His body itself working just in front of the people can steal into another’s house without being noticed or he can hide himself when he does not want to be seen by others.

3. Another name for nin-jutsu
“Nin-jutsu” is a traditional name with another name of “In-shin-jutsu” or “In-kei-jutsu”, or “Shintai-ingen-jutsu” meaning hiding himself or appearing in unexpected places and at unexpected moments.

4. The difference between ninjutsu and burglary
Nin-jutsu has some similarity to burglary in the use of strange tactics or magical techniques, causing extraordinary results. Nin-jutsu seems too dangerous to be opened to the public, but there is no necessity of our having such a worry. That is because nin-jutsu differs from burglary in its spirit and in its occasion of use; nin-jutsu is put to good use while burglary to bad use; the starting point and the destination are different respectively. Since olden times those who used nin-jutsu for a bad purspose had not been successful in practicing magic. For example Goemon Ishikawa, notorious for practicing magic in burglary, tried to steal a very precious incense burner from Kou-taiko (the father of Imperial advisor in the 16th century) and Danjo Niki in Sendai (northern part of Japan) tried to threaten the life of Prince Tsuruchiyo transforming himself into a mouse; they are all bad examples of using nin-jutsu for the bad purpose. Nin-jutsu in bad use had not traditionally worked, which was a general acknowledgement. Let me now introduce you a part of the mysteries of nin-jutsu written by Seiryu-ken Natori, expert in nin-jutsu who lived in Kishu (in the middle part of Japan). I’m sure it will clarify the difference between nin-jutsu and burglary.
“Nin-ja” no koto (about ninja): A secret agent in Japan, practicing magic anywhere and anytime. He shares some parts with burglar but never steals. He sneaks into the deepest and comes back the hardest way. He is to be called an expert with profound techniques.
“Nusubito” no koto (about a burglar): audacious enough to neglect justice, looking after wealth. He is like a hunter, on the track of a deer, who does not see the mountain. He ruins himself by stealing things from people.
Nin-jutsu is, accordingly to be used for a good purpose different from burglary or pocket-picking which pursues self-interest and so will never succeed in making full use of jutsu. Though nin-jutsu and burglary look alike at a glance, there are miles of difference between them in the fundamental meaning, those readers who want to make use of nin-jutsu should know this fact above everything.

5. An academic study of ninjutsu
Academically studying nin-jutsu has become important nowadays. During the period of civil wars (15th-16th century( lots of expert ninjas appeared, but their mysteries were kept in secret. They were handed down by word of mouth from a master to a disciple. Just like other martial arts as “ken-jutsu” (sword art), “so-jutsu” (spear art) or “kyu-jutsu” (archery), there was nothing written left; orderly and academic documents were not left. Accordingly they are in great danger of being neglected of forgotten today; even its existence is doubted.
People as well as nin-ja in those days when their acknowledgement was not advanced yet considered nin-jutsu as something strange or magical, unscientific or artificial. But today with the progress of civilization, the development of science made it possible to solve the mysteries of ninjutsu, partly from the point of philosophy or chemistry.
There are several scientific explanations on nin-jutsu today, but many of them are biased and seem to be short of becoming everlasting views. The day is still far off when we can clarify the mysteries of ninjutsu. Let me give you some of them as follows:
1. Nin-jutsu is not magic nor mesimerism.
2. Nin-jutsu is the applied results of concentration method or the variation of mesimerism.
3. Nin-jutsu is too mystical to be explained scientifically.
To each of them I would like to give some explanations:
1. Concluding nin-jutsu to be nothing of magic or mesimerism seems to be fundamentally based on science, but I think too hasty. There is something far more gimmick in nin-jutsu, more than artificial black art.
2. Predicating nin-jutsu to be the results of concentration method or the variation of mesimerism seems not entirely satisfactory. Ninjutsu can never be utilized solely by mesimerism.
3. Saying nin-jutsu to be mystical seems to be a vulgar idea following the traditional custom.

Here I would like to have the pleasure of disclosing my new idea. That is the principle of annexation and combination of the first and second ideas: nin-jutsu is the art of application of both the physical and mental actions in a proper methid. This is clarified by common sense judgement as well by the studies of traditional mysteries of nin-jutsu handed down.
First of all, when performing nin-jutsu, we always make an incantation and make symbolic signs with the fingers in order to concentrate ourselves (mentalacation), and then we use artificial tools for nin-jutsu or supplementary things. To hear of nin-jutsu, the readers will remember Jiraiya’s (famous expert ninja) symbolic signs of the fingers and his frogs which he usually used as an aid. I come to know that almost all the ninjas significantly used both in good combination.

6. Application of ninjutsu
The range of nin-jutsu’s application is very wide as I have described before. Mainly for the purpose of spying upon or assassinating the enemy, nin-jutsu was used by samurais in olden times, stealing into the enemy’s ranks or fighting by the techniques of nin-jutsu. Though they should not be used for a bad purpose, they could lead him to a shortcut to success if a policemen applied those arts in tracking a criminal or further applied in associating with people. He could win the hearts of people and maneuver them as he wished.

7. Origin and history of nin-jutsu

Though the nomination of “nin-jutsu” has existed a long time before, its origin was not clarified. According to “Sho-nin-ki”, during the age of the rise and fall of the Genji and Heike clans (11th century), a lord called Kuro-Yoshitsune Minamoto (Genji) chose some brave soldiers as a ninja, during the period of Kenmu (14th century) a loyal lord Masashige Kusunoki hired “naki-otoko” (a man who cries for money in the funeral service) as a ninja, another lord called Ujiyasu Houjo (16th century) hired a thief called “Kazama” as a ninja, giving him a fief, another lord called Shin-gen in Kaho district also hired a theif called “Suppa” during the age of civil wars (16th century). They wanted to know the state of affairs in the enemy’s territory.
In the Tokugawa period after that, there was a place called County Kouga between the provinces of Iga and the province of Oumi. The residents living in the district had been traditionally famous for their spying abilities of ninj suach as going into hiding, attacking the enemy unaware or reconnoitering him in secret. Accordingly in those days ninjas called themselves Iga Ninja or Kouga Ninja after the place.
The Tokugawas employed Iga ninjas, whom they trained hard enough to be useful to their military spy service. They came upto their expectations very well. Other lords followed the Tokugawa in employing ninjas, but the Tokugawas cunningly tried as much as possible to conceal their mysterys, being alert in disclosing them to the public.
Among the feudal lords who, in secret, employed ninjas and trained them, the Ogaki clan in Mino (middle part of Japan) were significant in organizing ninja groups, whom they gave residences named “Kuriya Town”. In Japanese “kuri” means chestnut which has a bur. A bur in Japanese is “iga”, same as the name of the district. There arose lots of ninja experts. In the Toudous there were a lot of ninja experts.
Castle owner Yumimura Sanada in Matsushiro of Shinshu (middle part of Japan) is said to have had seven dummies, who were famous for using the nin-jutsu of Kouga and Iga schools. Ninjas, though serving lords on the important duties, were low in social standing. They usually received orders from superintendent officers.
Also in China and India there were various kinds of mysterious arts, which were not acknowledged to be the same kind as Japanese but had the same effect that the practioner disappeared abruptly through the “jutus”. Even today there is what is called “Taoist” who performs various kinds of miracle. By the way, what we call “goton-no-jutsu” (five kinds of invisibility art) is not of our origin, but tradionally came from China.

8. The schools of nin-jutsu
The most significant nin-jutsu schools are Iga, Kouga, and Akugawa. In iga school they mainly used mice, Kouga school cats. The creative schools are Negoro, Haguro, Takeda, Akiba and so on.

9. Historical investigation of nin-jutsu
I have already mentioned that nin-jutsu had been used by samurai since olden times. Now I would like to extend my description as far as historical research referring to the summaries from some books:
“Japan Encyclopaedia” Volume IV – “Shinobi” is the one, disguising himself, sneaks into the enemy’s ranks and watch their movements. His other name is “Shinobi-no-mono”. After Kamakura period (12th-14th century), their main task was to maneuver into the camp of the enemy, assassinating its solidiers or setting the camp on fire. In “Taihei-ki” (War stories written in the 14th century) there is a description that four young retainers of Yuuki Clan who sneaked into Akagi Castle and set it on fire. During the period of civil wars, feudal lords emulated one another in sending spies into the enemy’s camps before and during the battle. Shinobi, another name of ninja, as it was not his fixed job, never settled down in a regular occupation.
“Tamon-nikki” (Tamon’s Diary) describes about Iga ninjas, “Jikyu Matsubara’s Records” says the original samurais were also good at nin-jutsu besides Iga ninjas. “Buke-myomoko-sho” (Samurai roster) notes that Iga, Goushu, Kouga (districts near the Biwa Lake) had lots of native samurais, who organized groups and frequently made wars with one another, some committing burglary. There were some feudal lords who employed ninjas for the use of spying on the enemy’s affairs, and most significant groups were Iga ninjas and Kouga ninjas. Generally those ninjas were called “Shinobi-gumi” (gumi means group). “Nobunaga-Ki” (General Nobunaga Oda’s Record in 17th century) and “Kouyo-gunkan” (Koushu School’s tactics) called a spy “suppa”, “ranpa” or “toppa”. “Houjo-kudai-ki” (The story of Houjo clan’s nine generations in Edo period) says that in those days there were lots of villains who were well acquainted with the places in the country but unprincipiled, who were called “rappa” accordingly. Some feudal lords supported them as they were useful to them. By “Buke-myomoku-sho” they were called “rappa” in Kanto (the eastern part of Japan) and “suppa” in the west of Kai (present Yamanashi prefecture).
In “Kpjitsu-sousho, Buke myomoku-sho” Vol. VI – “Shinobi-metsuke” there is a description that shinobi-metsuke is not a fixed position nut a foot soldier, a footman, a messenger, or a trusted vassal or a ninja who by his master’s order sneaks into other districts and spies upon their affairs. Ninjas are Kouga and Iga ninjas. The trusted vassal is favorite in accepting orders from his master directly. In order that he may not be recognized, he usually transfigured himself into a merchant, a “komuso” (mendicant Zen preist of Fuke sect wearing a sedge hood and playing a shakuhachi (bamboo flute), a “houka” (Zen priest artiste), sneaking into other territories. Superintendent officers were too well-known to the public to take this role, and footmen were good to take this part. They are accordingly regarded as the origin of “kakushi-metsuke” (hidden superintendent) or “onmitsu” (secret agent of later days.
In “Echigo-gunki” there is a description that in the 17th year of Tenmon (1549) feudal lord Kagetora tried to penetrate into Ecchu (middle part of Japan) in full gear. He ordered seven of his trusted vassals to take the role of “kikimono-yaku”; three to Koushu District (middle part of Japan) and four to Ecchu, Noto and Kaga (middle part of Japan). “Kikimono-yaku” was also called “shinobi-no-mono” or “metsuke” or “oume”, which means spy or ninja. The state of administration, retainer’s conduct, the common people’s manners were investigated and reported to the lord in detail.
“Ouu Eikei-gunki” (military record in Ouu, northern part of Japan) says that General Noriyori burnt the country houses in Funakoshi, where he had laid an ambush of “metsuke” (shinobi) and the soldiers in the country composed of one thousand. When the enemy Asaris gave an attack to the country, they were tactically surrounded and destroyed. Those metsukes were footmen and attendants to the samurai. Another story is this: General Yoshimitsu Nitta (14th c), trying to calm both of his retainers, said to Kunai Oguri, “You have distinguished yourself in war, but you have done a meritorious deed less than Yamada because you have been earnest for killing generals alone. You are nefarious of saying that a general’s neck is more precious that a footman’s Such a man you are, I ordered a trusted metsuke to investigate your whereabouts and behavior, which his senior metsuke reported to me in secret.”
“Outomo Kouhai-ki” (Outomo Family’s Rise and Fall) says: When General Sorin Outomo planned to attack Ousumi and Satsuma districts (southern part of Japan), his council members recommended sendin a spy ahead because those districts are strange to them, disguising himself as a priest practicing asceticism or as a merchant. Let him draw a map of the road, an illustration of the castle and so on.
“Yoshimitsu Monogatari” (Yoshimitsu’s Story) says: Construction minister Satomi (14th c) betrayed and left Mogami with five hundred retainers belonging to Echigo (present Niigata Prefecture) clan and looked for a new lord. Kaga (present Ishikawa Prefecture) Vice-minister planned to employ him with the fief of thirty thousand koku (koku = 5 bushels of rice), which General Yoshimitsu had guessed beforehand and sent twenty of Iga metsukes to investigate the situation. As soon as he got the news, Yoshimitsu sent a ninja to Kaga to give up the plan. Satomi, losing the position, went to Echizen to ask for their employment but ended in the same failure. In the same book there is a story that there was an expert shinobi of their pride in Hata Castle, and he sneaked into the enemy’s camp and stole the most precious sword of Kanetsugu Naoe’s and a sleeve target of Zaemon Kurogane’s and brought them back to hoist on the very top of his own castle.
“Houjo Godai-ki” (The story of Houjo Clan in Five Generations) says, in the chapter ‘Meritorious deeds by patrol soldiers’, that generals usually order when confronting each other, the footmen to hide in the bush and spy on the enemies on the front line during the evening and might, to come back at dawn. They were called “kusa” or “shinobi”. Scouts were sometimes attacked and killed by them when they overrided those shinobis hiding in the bush. In case the scouts were riding a horse, they hurridly escaped on the mountain. But it was impossible to do so if they were a stranger there. In the fall of the 13th year of Tensho (1585), Yoshinobu Satake and Ujinao houjo confronted each other in the district of Shimotsuke (present Tochigi Prefecture), with the flags fluttering. Ujinao sent five of his scouts on horses, and they crossed the front line to count the number of the enemy’s flags. In the meantime, Uemon-jo Yamakami and Hikojuro Haga who seemed to be familiar with the location caught up with them, rode past the front about one hundred meters and went up to a hill. Suddenly the enemy’s “kusa” pounced upon them and caught them like fish in the net.

10. Nin-jutsu is transmitted in secret
Nin-jutsu, different from other martial arts such as ken-jutsu, ju-jutsu, sou-jutsu (spear art) or archery, left nothing written systematically on its methods or mysteries. Accordingly it was regarded as very top secret and its way of initiation was different from others. Ninja seldom taught many at a time, neither did he confer full mastership easily. Most of mysteries were transmitted from father to son, from master to proficient disciple, confining it to themselves. Besides, they were taught orally, not by the written text. So we can say there is no book written on ninjutsu. Today there remains only one book on ninjutsu – Seiryu-ken’s traditional book, which clarifies that ninjutsu was surely a top secret of mysteries.

11. Tools necessary for nin-jutsu (one used to be decapitated when he revealed such mysteries of nin-jutsu tools)
Special kind of tools or weapons were needed for practicing nin-jutsu. Those who revealed such mysteries would be decapitated. Here I would like to introduce a summary of what is written in “Densho Shonin-ki” (A Legend of Nin-jutsu) by an expert Seiryu-ken Natori of Kishu-han (present Wakayama prefecture), “han” means feudal clan; Generally speaking “shinobi” derives its origin from “being unknown”, and when leaving and arriving he should not be noticed by anyone. He concealed his identity even from his parents or brothers and sisters, so few others could know that he was shinobi. Their regular tools were a wattle hat, a rope with a hook, a slate pencil, medicine, one metre towel, and flint and steel.
The wattle hat was used to conceal his face, disguising himself. He could see the others through the hat. “Kagi-nawa” (a rope with a hook) was used to go up and down a fence, or was used to bind an enemy, or to close a door, or in any way. He had another small rope to be used for a saddle. The slate pencil was used to take a note, and the medicine was a first-aid one and it was mainly for expelling worms. The towel was used to cover his cheeks or to climb a fence. He used to have it under his belt, or in his collar, which was fashionable those days. He had to keep it in hand, even when he wore a hemp kimono. The flint and steel was used to make a fire. A pocket heater was very convenient when he needed fire during the night or to set fire to a house or any other building.
He usually wore clothes, dyed brown, covered with mud, dyed black, or deep blue. Deep blue has many kinds, and it was convenient when disappearing. A raincoat was used in many ways, with a single sword inserted under his belt. He usually painted the blade black, and had his black loop belt blindstitched which could be used in any way in emergency.

12. Nin-jutsu is a practicable art
Appearing in unexpected places and at unexpected moments is possible for anyone who has practices nin-jutsu and has attained proficiency. With the art he prowls about the enemy’s ranks to spy, using the technique of transforming truth into falsehood and vice versa. Generally nin-jutsu is regarded as something unattainable, but it is easy for those who have mastered the mysteries of ninjutsu, slarifying its doctrines or principiles. It is a kind of scientific self-defence art.

13. Factual account of ninjutsu
Ninja Daigaku Oumori of Ougaki Clan in Nou-shu (present Gifu Prefecture) once had to pass through Hakone Guard Station, but he had no pass for some reason. He managed to pass there with some technique of ini-jutsu with ease; throwing a mist before the guard’s eyes.
Mataemon Araki, sword expert in the 17th century, concealed himself behind his iron fan of two feet length with the art of nin-jutsu. Shosetu Yui, martial strategist in the 17th century, sneaked into the ranks of a big feudal lord to spy. Yukimura Sanada’s retainers, feudal lords good at fighting in the 16 – 17th century, were somewhat phantom ninjas.

14. Fables concerning nin-jutsu
When I try to talk about nin-jutsu on factual account or its fables, I mean thet nin-jutsu is not anything impossible for us or anything like magic but that nin-jutsu is a kind of scientific and psychological experiment. If you know their trick of appearing or disappearing abruptly by Daigaku Oumori, Mataemon Araki or Shosetsu Yui as I mentioned before, you feel no wonder at all.
That is:Mataemon Araki was really an expert of martial arts, so when he holds his iron fan assuming the defensive, his enemy could not find any point to attack, he was thoroughly alert. It was metaphorically described that Araki could conceal himself behind his iron fan. Daigaku Oumori could pass through the guard station without being noticed by them; he made a detour of two days without sleeping over the back mountains and deep valleys. Shosetsu Yui disfigured himself into the enemy’s footman and got into their ranks with ease. You see there is no wonder about nin-jutsu, but there are mysteries about nin-jutsu which need much practice and training. Araki’s skill in sword, Oumori’s stout body overcoming his fatigue by walking up and down among the mountains, Shosetsu’s composed boldness of rapidly disfiguring himself are all never imitated by ordinary man. The mysteries of nin-jutsu, that is, the back side of nin-jutsu would be found as the result of hard training in mastering those skills.

15. Contention of shrewdness against shrewdness
As to the mysteries of nin-jutsu, I have described the front side and back side of it in the previous chapter. Those who have mastered them are able to perform the miraculous art of appearing in unexpected places and at unexpected moments. By the way, one of the most important mysteries of nin-jutsu for us who can make use of it at once is a contention of shrewdness against shrewdness. This method was used by the generals of war in their strategy or by nin-jas when spying on the enemy as the occasion demanded.
This method is to escape from the enemy throwing a mist before his eyes, taking him unawares. With plenty of practice and with much experience, the realization of the method will be easy for an ordinary person, and it can also be the safest defense art.

16. Conversion from truth to falsehood
The method of conversion belonged to nin-jutsu, which anyone could practice with ease. The commonest way is “hide-and-seek” played by children, when a tagger covers his face, those who are hiding shift their positions. The tagger would not find them at the original positions. Let me give you another example: when walking during the night, one used to hold his lantern at the point of a stick two meters long so that he could escape from assassination. Or when sleeping, one would put the lantern case in the “futon” (bed quilt) in the hope of the assassin mistaking it for his target.
Toukichiro Kinoshita, who later became a tycoon of Japan in the 16th century, once used the method to steal his master’s sword while he was sleeping. One rainy day he put a sedge hat in the rain, then his master Koroku Hachisuka, who bet Toukichiro the sword if he could steal it from him, could sense Toukichiro in the rain. Towards dawn, while Koroku was fallen asleep as he could hear the sound of the rain on the sedge, Toukichiro could take away his sword quite easily. In this way, people in modern life can easily make use of the method.

17. Strategic conversion
“Military Science” – A great commander never started fighting when he thought he would lose; fighting at a disadvantage should never be included in his tactics according to Suntsu’s. Suntsu’s strategy mainly reasons with us that we should win without fighting – frustrate the enemi’s plot. In the Military Science he talks about the plan of fighting, which means the feeling appeared in the state of war, not a battle flag or the ranks, nor a fortress or camps – something substantial that are seen by men. His plan aims first of all to catch a glimpse of the enemy’s tactics, not being caught of his own by them. Onee’s own tactics being frustrated called according to Suntsu, “our plan was seen” and frustrating theirs “see his plan”. A military plan is formless. The fighting method is based on smashing shadow with substance, which will lead to an unfailing victory. Smashing substance with shadow is the means of winning victory. Accordingly it is necessary to see if the enemy is substance or shadow by analyzing their military conditions. If they are substance, they should be averted, and if shadow, they should be attacked. Being substance or shadow is varied, not fixed, and when attacked by force of circumstances they will transform themselves easily. Since olden times, great generals had seldom started fighting easily, they would be at loggerheads with wach other for a lond time. That was because they were trying to find out if they were substance or shadow. During that famous fighting between K’ungming and Chungta in China in the 3rd century, they took a stand against each other and did not fight. Neither could attack the enemy in his unguarded moment. When they up a position in the right way, control their own army tight, have good supplies of provisions, occupy a vantage ground, men are well under the command of the general, the enemy is substance, who are never attacked with ease. In case the enemy is substance, they will keep it, and so no one has nothing but to strengthen one’s guard, being alert not to be detected one’s own military conditions.
Kawanakajima in Shinshu (present Nagano Prefecture) is famous for several confrontations between the Takedas and the Uesugis (two powerful clans in the 16th century); fifteen times marched their armies during the ten years, among which they really fought only twice at the place. They could hardly take advantage of the enemy’s unguarded moment. Any foolish general will start a war with ease who does not know this doctrine of false and truth, and will soon lose. Hideyoshi and Yeyasu were encamped at Komaki-yama for more than ten days, but they both being experts at war, never started the war first. The two generals never showed themselves to each other. Ikeda and Mori tried to seduce Yeyasu’s army out into the battlefield, but the plot was known to Yeyasu, who attacked Ikeda and Mori from behind. They were instantly defeated by Yeyasu and died. False and truth go round, without ending, in a circle. Owing to one’s own way of aperation, his enemy could be either false or truth. One should be wise enough to transform himself either into false or truth depending on the enemy’s actions.
“The examples of Truth & Flase Circulation” – During the times of Eiroku (16th) century), Sankuru Outa, a powerful lord, once tried to occupy Edo Castle cooperating with Satomi in Awa. He stationed his troops on the Kounodai plateau before attacking Edo Castle, when Ujiyasu hujou, together with is heir Ujimasa, leading about three hundred thousand of his troops across Odawara and Sumida River faced Sanraku’s troops across the Tone River. General Touyama and Tominga, vans of the Houjou, marched on to the riverside, when they saw the enemies, about two or three hundred, who were thronged on the opposite bank. On noticing them running away hurriedly, about two thousand of Touyama and Tominaga’s troops jumped into the rivers to attack them. When they pushed the enemy’s to Kounodai, they were ambushed by big troops of the enemy. The two generals were killed instantly. That was their tactics – showing falsehood in spite of truthfulness. The rear guard of the Houjou crossed the river, but they were defeated. The fight of the day ended in Houjou’s big defeat. Sanraku Outa was ingenious enough to use his troops of a few hundred sent to the riverside, with his other few hundreds on the plateau and another few hundreds with gunds in the town houses. Touyama and Tominaga tried to take the enemy unawares, without consideration, and crossed the river. Their troops on the riverside were their bait – giving an egg to gain an ox. “ One should not attack the bait troops” is a famous instruction by Suntsu. Ujiyasu Houjou got angry at the defeat, and discussed the matter at Kameido Village, but could not make out any good plan, when the spy who had been sent into the enemy’s rank by General Saemon-dayu Fukushima returned to tell Outa and Satomi’s troops holding a victory celebration. Ujiyasu was wise enough to take the chance. He asked a farmer about the shallow part of the river called “Karameki”, which was about two kilometers up to Matsudo. Then he ordered Ujimasa and Fukushima with their eith thousand troops to cross “Karameki” and hide among the pine forest which is located between Kounodai and Matsudo until dawn. Ujiyasu attacked the enemies from the front and Fukushima from the back at the same time. Satomi and Outa’s troops, drunk and with only a few guards, were too surprised to defend themselves, and ended in great defeat – in false situation, defeated by the truthfulness.
“He conquers who conquers himself in victory.” Means to win of lose depends on one’s preparedness. When one finds the reason he can win, he will be sure to win if he attacks the point, taking advantage of the enemy’s unpreparedness. Sanraku and Ujiyasu were familiar with the mysteries of Truth & False, but if they had not known how to control the power, they would have been controlled by their power to the contrary. It must have been difficult for them to change false into truth or vice versa.

“To be able to win depends on the foe, and not being able to win lies in one’s fault.” One should be alert so that he may not be defeated by the enemy. When he finds the reason to win, he is sure to win by attacking it; he hits the enemy being careless – in false. Both Sanraku and Ujiyasu should have been familiar with the principle. But is he does not know how to control his own power, however familiar he might be with that, it won’t be easy for him to switch from false to truth and vice versa, being overcome by the enemy’s power.
When two contestants fight each other, it is evident one wins and the other loses. When their abilities are even, the fight will be hard enough for them to fall together. If one knows the mystery of false and truth, he might win easily by attacking the opponent by surprise. The principle works even between the two. The mysteries are effective when one troop fights with another, one arm against another. In the case of “Sakurada Uprising” which happened at the end of the Edo period, seventeen lordless samurais attacked the big parade of a chief Minister of Shogun, in which they used the art of “false and truth”, being successful in assassinating him.
Saganosuke Kaigo talked about their sucessfulk attack later: Magasaburo Kaneko, their leader had divided his troops into three – Takenosuke Sano’s, Chuzaburo Kurosawa’s and Saigimono’s – each positioned outside the gate of Sakurada. Gorokuro Mori alone raided into the head of the march, making it a false show of attack. Making use of the moment each group stormed the Minister and successfully cut down his head in an instant as long as taking a couple of smokes. While Gorokuro was struggling with one of their retainers leading the march whose spear he was trying to take away, those guards around the Minister’s “kago” (paranquin) rushed ahead hearing the shout ‘A rioter!’ This is a false show of attack, and then at the signal of gunshot the sixteen raided altogether which was too sudden for Minister. Li’s troop to prevent their real attack – a complete defeat.
In 1634 at Ueno in Iga, Mataemon Araki and his three retainers, four of them, Succeeded in revenging on Kawai and Sakurai’s seventeen by the art of “false and truth” theory. Sakurai, who was the leader and expert, came first on a horse. Araki cut his thigh in his sudden attack, causing him to jump off the horse in surprise. It was easy for Araki to give him the second attack as he was getting off the horse. The others followed Sakurai and got off their horses, the moment Araki’s retainers had been expecting – an unguarded moment.Araki’s retainers easily killed Sakurai’s. This kind of theory can be adapted to the real world today.
Kenshin Uesugi (1530-78), excellent at tactics, used battle flags, as various signals in war. On the other hand, it was regarded as a secret handed down by mouth in Koshu School of the Takedas. In Uesugi School, they also used them calling “sugai” flags which were of Kenshin’s invention. He used to hoist the flag according to the geography and the war situation; if there were twenty falgs at the headquarters, among which he ordered to gather up ten and hoist them at a place which could be noticed by the enemy when he ordered his troops to retire. The enemy wondered at the meaning of the gathered flags, while he ordered to gather up those at the headquarters quickly. In this way he ordered his retainers to retire step by step. Besides that, the flag meant various geographies. Gagehide kaji was the expert at the art, which had been handed down to him by mouth.
18. Five mysteries of The Art of Invisibility
According to the top secret mysteries of “nin-jutsu”, there are five ways of escaping from the enemy’s attack – by means of trees, fire, earth, metal and water. Besides them are by means of men, birds, beasts, fich, insects the sun, the moonm starts, clouds, fogs, thunder, lighteing, wind and so forth. They came from China, Chinese martial arts, which are recorded in some books. “Ton-jutsu” means various arts of escaping from the enemy or concealing oneself making use of those objects. Once the nin-jutsu-sha (“sha” means a person) chants a spell making symbolic signs with fingers, he disappears instantly. Or he transforms himself into a snake, a frog, a spider, or a rat in respective art.
1. Moku-ton-no-jutsu (The art of Trees) : to conceal oneself by means of trees, as well as by grass.
2. Ka-ton-no-jutsu (The art of Fire) with a piece of fire, conceal oneself by using it.
3. Do-ton-no-jutsu (The art of Earth): to conceal oneself by means of earth
4. Kin-ton-no-jutsu (The art of metal): to conceal oneself by means of pieces of metal.
5. Sui-ton-no-jutsu (The art of Water): if there is even a bit of water, try to conceal oneself making use of it.
6. Jin-ton-no-jutsu (The art of Men): to conceal oneself by means of men
7. Kin-ton-no-jutsu (The art of Birds): to conceal oneself by means of birds.
8. Jun-ton-no-jutsu ( The art of Beasts): to conceal oneself by means of beasts.
9. Gyo-ton-no-jutsu (The art of Fish): to conceal oneself making use of fish.
10. Chu-ton-no-jutsu (the art of insects) to conceal oneself making use of insects
11. Hi-ton-no jutsu (the art of the Sun): to conceal oneself making use of the sun
12. Ge-ton-no-jutsu (The art of the Moon): to conceal oneself making use of the moon.
13. Sei-ton-no-jutsu (The art of starts): to conceal oneself making use of starts.
14. Un-ton-no-jutsu (The art of clouds): to conceal oneself making use of clouds.
15. Mu-ton-no-jutsu (The art of fogs): to conceal oneself making use of fogs.
16. Rai-ton-no-jutsu (The art of thunder): to conceal oneself making use of thunder.
17. Den-ton-no-jutsu (The art of lightning): to conceal oneself making use of lightening.
18. Fuu-ton-no-jutsu (The art of wind): to conceal oneself making use of wind.

19. Invisibility Art for Self-defense
When one practices “False and Truth” method making use of various arts of invisibility mentioned above, it is easy for him to conceal himself or escape from the enemy coming across – without any use of a sword or a gun. Ninjutsu can be described as a kind of civilized art for self-defense.
20. Nin-jutsu Precepts
According to the top secret mysteries of nin-jutsu, “The arts should be learned without avarice or anger, but just in earnest efforts.” I dare to say, “Hide in your shade.”
21. Stealing into the Ranks of the Enemy
To light a lamp (special kind of light, burning wolf’s droppings; the smoke rises straight in the air in spite of wind) so that his ally may know his departure and that he may find the place to come back again when he sets off on his duty. The best timing: when soldiers are engaged in cutting trees in the woods or building houses here and there, soldiers are dead tired after the fighting and sleeping, in a heavy rain and storm, slipping into the soldiers (footmen) but not into the samurais. Midnight is the most favorite time, but when it comes across a person early in the morning, mountains are covered with clouds, he should speak the native language. He should remember to test words between soldiers. It is clever of him changing his residence, but too often or too easily may reveal himself. When almost revealed, he should not fear it very much, submitting to fate. The best hides are within an old well, behind a big rock, on a hill, in a cave, under a toilet, at the foot of a wooden wall, or rather an open place which few think of such a possibility.
The Nin-jutsu of Mouse, easily practiced by anyone
One of the commonest nin-jutsua traditionally impressed people is the “Art of Mouse”: for example Niki Danjo’s, Ashari Raigou, Benevolent Picaroon Nezumi-kozou are notorious. Their tricks would surprise you. There should be no reason why man can take the shape of a mouse; nin-jutsu-sha makes use of a mouse, which that nin-jutsu-sha has taken the shape of a mouse as a result. A mouse is rather confused in the strange situation, which nin-ja utilizes in nin-jutsu. He prepares two mice before he steals into a house. He lets one of them run into the house through a door or a window, and it runs about as the place is strange for it or as it is free to go after getting out of the ninja’s pocket. The people in the house who are in a sleep will awaken to find the mouse. He might scat the mouse, but will soon go to sleep again. Then the nin-ja lets go the other mouse in the house. The two mice will run about in the house, which will wake the people again, but they won’t mind so much this time and go to sleep feeling at rest. Finally the nin-ja steals into the house and does his duty without difficulty. This is surely “False and Truth” method- making a truth look false first and acts truth taking advantage of his unpreparedness. The mystery of nin-jutsu is nothing but this method.
The First Instruction on Training Nin-jutsu: according to an old book handed down “The art of stealing into a house is not that of stealing, but of enduring”. The most important point a nin-ja has to keep in mind is to train himself in spirit so as to be able to endure any ordeal.

22. Deceiving Others, the Art of Mystification
This art is one of the most important, performed according to circumstances. Usually carry on investigations in another’s house as follows:
(1) Hitori-shinobi, stealing into by oneself – it is nothing new; in front of the house you pretend to have stomach ache and you ask a person of the house to give you a cup of hot water in order to take the first-aid medicine. Or you pretend to ask them for the use of the toilet of the house. Or you might say the ball which you have been playing with has run into the garden of their house and let you come in to pick it up. You investigate when you are let into the house.
(2) Futari-shinobi, by the two – “Shonin Ki” says that “Futari-shinobi” is more difficult than by onese;f, for the two should work in close cooperation. Without concert, it would be worse than hitori shinobi. In case of two, one goes to the door and strike it strongly, or rather violently, then when a person of the house appears, he runs away. The person will run after him, while the other sneaks into the house. Or one brings a forged message to the master of the house in order to take him out, while the other steals into the house during the master’s absence. Or one makes a row by having an altercation just in front of the house to steal into, while the other steals in to investigate. Or one asks a person of the house what way he should take to the station or something, while the other looks into the house and see its geography.
(3) San-nin-shinobi, by the three – the more the nin-jas, the more cooperation is needed. Only experts can attain their purpose fully. In case one of them were poorer at the art, the others will have to help him. When stealing into a house with a tall wall, the two stand shoulder to shoulder and the third climbs it, who pulls up the first and second from the top of the roof. The two steal into the house, while the third stays on the roof top and commands a careful view of the surroundings. When he is noticed by someone walking outside the house, he might shout, “Robbers! Robbers!” and then jump down and start to run as if he were chasing the robbers, and disappear after a while. Or the two start quarreling, which will attract the people around there, and the third will steal into the house. Or one of them goes into the domestic service of the house which they are trying to steal into, the other two are invited into the house for the repair work. Passwords and countersigns are important in any case. The above mentioned is from a book of secrets. I hope it is not necessary for you to steal into other person’s house these days, for it is against the law. In 1702, 47 ro-nins (masterless samurais) avenged their master’s death, one of the samurai Sanpei Hayano used this method so that they could invade the Kiras’ (the enemy) mansion.
23. Conjuration
Shin-gon mysteries were handed down as those of nin-jutsu. They are basedon the principle of correlation between mind and body, which were translated from the Buddhistic point of view. They are a kind of self defense art through making symbolic signs with the fingers, which art is regarded one of the eighteen belonging to Budda.
(1) The sign for purification:
Joining palms, making inside hollow, chant the following phrase five times, “Onso hanba shuda saraba darama sobababanba shudokan” you can purify your sins caused by your evil spirit.
(2) The sign for longevity and blessing:
Opening palms, hold them as if putting something on them and chant three times, “Oshitatagi yato toban hayasowaka”. You will be under the protection of three Buddhas in the ten directions.
(3) The sign for averting troubles:
Opening the fingers, make the shape of a lotus flower with eight petals joining both thumbs and little fingers, and chant, “Onhan domodo hanbabaya tsuwaka” three times. You will get her protection from “Kannon” (Avalokitesvara, the goddess of Mercy) and other bodhisattvas (Buddhist saints).
(4) The sign for good health:
Join the left palm turned downward and the right one turned upward at the backs, and link thumbs and little fingers respectively. Chant three times “Onba sarudo hanba soroka”. By the mercy of Buddhas in Kongo department you will be free from disease.
(5) The sign for self-defense:
Cross the little fingers, to which link ring fingers respectively and make them firm. Then join middle fingers at the tip end, to which link index fingers from behind. Finally join thumbs firmly, and chant ten times, “Onha sara agini harachi hataya hawaka”. You will be free from demons and be safe.
24. Symbolic Signs with Fingers, Showing Nine Letters
Drawing straight lines in the air, vertically four and horizontally five, chant a spell like, “Rin, pyo, to, sha, kai, chin, retsu, zai, zen” in order to protect oneself from enemy’s attack. Each spell has a symbolic sign of fingers.
“Rin”: Clapping hands, lock the fingers together but middle ones standing.
“Pyo”: Locking the fingers inward, stand index fingers and link them to the ring fingers
“To”: Clasping hands together, link middle fingers to ring fingers, and standthumbs, ring fingers and little fingers to join.
“Kai”: Clasp hands together outward.
“Chin”: Lock the fingers together inward
“Retsu”: knot right hand, with the index finger standing, which clasp with the left hand.
“Zai”: Joining thumbs and index fingers, with the others open.
“Zen”: Put loosely clasped left hand on the right palm.
And then chant, “ Akuma goufuku, onteki taisan (Down with Devils, Beat off enemies) Hichinan sokumetsu (Quickly destroy seven troubles) Hichi Fukusokusei-hi (Recover strength seven times)” Blow into the symbolic sign of fingers, unknot the hands, and form a sword with thumbs and middle fingers standing and the others closed. First cut the air horizontally with “Rin” and vertically with “Pyo”, and thus the other spells done respectively. With more practice these signs are easily performed while you have a smoke. The faster and the better performed is regarded best. Ascetics used to perform this, being believed to have a miraculous virtue – curing diseases, working miracles, which were a result of correlation between mind and body.

25. Disguise method in Nin-jutsu
Special means of disguising and kind of clothing were needed for a nin-jutsu-sha (nin-ja). According to “Sho-nin-ki” (a book of nin-jutsu secrets handed down), there were seven styles of disguise:
(1) Into a komuso ( a mendicant Zen Priest of Fuke sect, wearing a sedge hood and playing a shakuhachi (a bamboo flute).
(2) Into a priest, for it was easy for him to get close to anyone
(3) Into a Yamabushi (a mountain priest) who could easily come up to anyone, and he could have a sword
(4) Into a merchant, who attracted persons.
(5) Into an artiste (an entertainer, especially a magician)
(6) Into a Sarugaka (a medieval Noh farce) performer
(7) Into an ordinary man
Those figures are easy for you to get close to the enemies, relaxing their attention to you. There is no one who does not disguise himself into one of those, I dare say.

26. Make-up Methods
Disguising oneself is one of the most important mysteries of nin-jutsu. Let me introduce you a passage written in “Sho-nin-ki”:


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