feet. Therefore, even though the seppuku performer might be a close friend of the kaishaku-nin, a careful scrutiny of the movements of his eyes and feet was not to be neglected.
Regardless of the relationship of the kaishaku-nin to the condemned, he was expected to look upon the seppuku performer as an enemy. If the condemned planned to escape, he might snatch up the sword of the kaishaku-nin. To prevent this, the kaishaku-nin had to watch constantly his longer sword (tachi) as well as his shorter one (wakizashi). He was advised not to carry his swords in his hands but to attach them to his belt in the manner called otoshizashi.
The cord on the sword-sheath was not to be wrapped around the haft, because it sometimes became coiled around the blade. It was to be tied to the rear.
The kaishaku-nin had to be sitting down when the kenshi appeared, so he had to take care not to let his limbs become numb, especially on cold days. Even though a man of high rank might be present, he was not to forget to exercise his limbs. Such a precautionary measure was not counted as disrespect.
In addition, regardless of the temperature, the palms of the hand were liable to become sweaty, and the kaishaku-nin was expected to keep them dry.
The kaishaku-nin also had to make precise measurements beforehand, so that his sword would not touch the ceiling or the walls when executing his downward stroke.
To eliminate further hindrance to his movements, the kaishaku-nin would loosen his kataginu or wing-pointed formal surcoat, dropping it off his shoulders.
It was common knowledge among swordsmen that the human neck is about four sun long, or a little over four inches, both in the front and rear portions. However, as it varied somewhat with the individual, the kaishaku-nin considered it part of his duties to study the length of the neck of the condemned.
There were three positions for holding the sword: high, middle, and low. If the seppuku performer were a person of high rank, it was deemed proper to use the high position. If he were of equal rank with the kaishaku-nin, the middle position was recommended.
If the seppuku ceremony were to be held in a courtyard covered with white sand, the kaishaku-nin was requested to wear zori or straw sandals. However, it was not good form to wear them up to the actual spot for seppuku. Even this etiquette surrounding the zori was taken as a delicate indication of the culture and character of the kaishaku-nin, and, therefore, could form the basis for criticism.
If the seppuku performer indicated hesitance to carry on with the ceremony, he was sometimes given a suzuri or Japanese ink-pot (for use with a writing brush) and told that he might leave a written message. Understandably, he might wish to postpone death, even for a moment. While concentrating on what to write, he would become somewhat calmer. Then, when the victim's neck was in the right position, the kaishaku-nin would do his duty. In utilizing this device, however, prior consultation with the kenshi was thought to be advisable.
Whenever any conversation was directed at the kaishakunin by the seppuku performer, "Put your mind at rest" was the stereotyped response usually given. Indulgence in conversation might only serve to further disquiet the mind of the condemned.
According to one school, it was taboo for the seppuku performer to face either east or north for the reasons that the east is the direction of birth and facing the north would show disrespect to the Emperor.
In individual feudal fiefs,the condemned was prohibited from facing the castle, and, within the castle, from facing the main building. Whereas the directions which the condemned could face were west and south, it sometimes happened that the castle or main building was located in one of those directions. In such cases only, the east and north became permissible.
Degradation of Seppuku
In the course of time, the rite of seppuku took on many forms. The wooden sword and the white
Regardless of the relationship of the kaishaku-nin to the condemned, he was expected to look upon the seppuku performer as an enemy. If the condemned planned to escape, he might snatch up the sword of the kaishaku-nin. To prevent this, the kaishaku-nin had to watch constantly his longer sword (tachi) as well as his shorter one (wakizashi). He was advised not to carry his swords in his hands but to attach them to his belt in the manner called otoshizashi.
The cord on the sword-sheath was not to be wrapped around the haft, because it sometimes became coiled around the blade. It was to be tied to the rear.
The kaishaku-nin had to be sitting down when the kenshi appeared, so he had to take care not to let his limbs become numb, especially on cold days. Even though a man of high rank might be present, he was not to forget to exercise his limbs. Such a precautionary measure was not counted as disrespect.
In addition, regardless of the temperature, the palms of the hand were liable to become sweaty, and the kaishaku-nin was expected to keep them dry.
The kaishaku-nin also had to make precise measurements beforehand, so that his sword would not touch the ceiling or the walls when executing his downward stroke.
To eliminate further hindrance to his movements, the kaishaku-nin would loosen his kataginu or wing-pointed formal surcoat, dropping it off his shoulders.
It was common knowledge among swordsmen that the human neck is about four sun long, or a little over four inches, both in the front and rear portions. However, as it varied somewhat with the individual, the kaishaku-nin considered it part of his duties to study the length of the neck of the condemned.
There were three positions for holding the sword: high, middle, and low. If the seppuku performer were a person of high rank, it was deemed proper to use the high position. If he were of equal rank with the kaishaku-nin, the middle position was recommended.
If the seppuku ceremony were to be held in a courtyard covered with white sand, the kaishaku-nin was requested to wear zori or straw sandals. However, it was not good form to wear them up to the actual spot for seppuku. Even this etiquette surrounding the zori was taken as a delicate indication of the culture and character of the kaishaku-nin, and, therefore, could form the basis for criticism.
If the seppuku performer indicated hesitance to carry on with the ceremony, he was sometimes given a suzuri or Japanese ink-pot (for use with a writing brush) and told that he might leave a written message. Understandably, he might wish to postpone death, even for a moment. While concentrating on what to write, he would become somewhat calmer. Then, when the victim's neck was in the right position, the kaishaku-nin would do his duty. In utilizing this device, however, prior consultation with the kenshi was thought to be advisable.
Whenever any conversation was directed at the kaishakunin by the seppuku performer, "Put your mind at rest" was the stereotyped response usually given. Indulgence in conversation might only serve to further disquiet the mind of the condemned.
According to one school, it was taboo for the seppuku performer to face either east or north for the reasons that the east is the direction of birth and facing the north would show disrespect to the Emperor.
In individual feudal fiefs,the condemned was prohibited from facing the castle, and, within the castle, from facing the main building. Whereas the directions which the condemned could face were west and south, it sometimes happened that the castle or main building was located in one of those directions. In such cases only, the east and north became permissible.
Degradation of Seppuku
In the course of time, the rite of seppuku took on many forms. The wooden sword and the white
Similar Books
