Category Archives: Japan

Yomiuri Giant Nagashima as Manager, 1970s

From: Wally Yonamine: The Man Who Changed Japanese Baseball, by Robert K. Fitts (U. Nebraska Press, 2008), pp. 302-303:

As a manager, Nagashima could inspire his players. John Sipin, a former San Diego Padre who played with the Giants from 1978 to 1980 after five years with the Taiyo Whales, recalls, “Nagashima was a great leader. He was a legend and had extremely high energy. Unlike most managers, he would not go into the dugout and sit down. He was always on the field, hitting fly balls or ground balls.” Nagashima especially liked aggressive players who showed “fighting spirit” and rewarded them with compliments and playing time. His enthusiasm was infectious and most of his players trained and played hard for him.

Nagashima’s ability as a strategist, however, did not match his enthusiasm. He rarely played percentage baseball. Instead, he relied on a bizarre combination of traditional conservative Japanese baseball tactics and irrational hunches. After a lead-off hitter reached base, Nagashima routinely used the second batter to bunt the runner over, even when the Giants trailed by large margins. He rarely employed pinch runners, even when a slow catcher representing the tying run stood on second in the late innings. He bunched his like-handed hitters together in the lineup, instead of interspersing lefties with righties. Most importantly, he did not stick to a steady pitching rotation. He often started pitchers who were throwing well on short rest and continually used starters in relief. Nagashima was also intolerant of pitching mistakes and routinely pulled pitchers at the first sign of trouble.

He seems to have done better the second time around, during the 1990s.

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Wordcatcher Tales: -右衛門

Wally Yonamine, whose interesting biography I’ve been reading, has an Okinawan surname that is neither in P. G. O’Neill’s book Japanese Names nor in my Canon Wordtank electronic dictionary. But, of course, both the English and the Japanese Wikipedia entries about him give the kanji used to write Yonamine: 与那嶺.

While consulting O’Neill’s Japanese Names, however, I came across a wonderfully archaic-sounding given name for men, 四万四五右衛門, which is pronounced Yomoshigo_emon, a name that has fewer syllables (or moras) than kanji. The kanji mean ‘4-10000-4-5-right-guard-gate’, and 右 ‘right’ is the one that doesn’t rate its own syllable. The Sino-Japanese reading for 右 is U, so it’s easy to see how the high rounded vowel -u- could get lost in the transitional glide (-w-) from a preceding round vowel (o-) to a following unrounded vowel (-e). The U does get pronounced when it starts the name, as in 右衛門 Uemon ‘right-ward-gate’.

There are many such given names ending in 右衛門 -_emon ‘right-ward-gate’ and one imagines that being a gatekeeper was a rather important function in many a feudal household: 五郎右衛門 Goro_emon ‘5-son-right-ward-gate’, 八郎右衛門 Hachiro_emon ‘8-son-right-ward-gate’, 孫右衛門 Mago_emon ‘grandchild-right-ward-gate’, 万右衛門 Man_emon ‘10000-right-ward-gate’. Only the last of these fails to provide the environment expected to encourage the -U- to glide away.

Not all ward-gates (garde-portes?) guarded the right gate, or guarded the right side of the gate. Some guarded the left as well: 文左衛門 Bun-za-emon ‘culture-left-ward-gate’ (or ‘literate’?), 権左衛門 Gon-za-emon ‘assistant-left-ward-gate’ (same gon- as in the old words gonsuke ‘manservant’, gonsai ‘concubine’), 茂左衛門 Mon-za-emon ‘lush-left-ward-gate’ (or ‘thick, luxuriant’).

These Japanese names ending in -(za)emon ‘wardgate’ sound to me even more archaic than those ending in -suke ‘servant’, though perhaps not as archaic as Aethelbert or Ealdwulf sound in English. However, they are more equivalent etymologically to English names like Stewart (< steward < ‘sty-warden’) or Lord (< ‘loaf-warden’).

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American Influence on Japanese Baseball, 1953

From: Wally Yonamine: The Man Who Changed Japanese Baseball, by Robert K. Fitts (U. Nebraska Press, 2008), pp. 126, 140-141:

[Before 1953], a typical Japanese catcher would receive the ball from the pitcher, take two steps forward, crank his arm back, and throw it back to the mound. In the midst of that routine, [American Nisei Wally] Yonamine would sometimes steal second base, sliding in safely just as the pitcher caught the ball. [Nisei catcher Jyun] Hirota brought American receiving to Japan. He had a strong arm and used to return the ball to the pitcher while still in his crouch. The fans loved it as much as opposing base runners feared it. Soon, Japanese catchers began mimicking Hirota and their mechanics changed. The average number of stolen base attempts in the Central League dropped from nearly 3.0 per game in 1952 and 1953 to 2.6 per game after Hirota’s second season in Japan….

One of the most enduring questions of international baseball is how the quality of the Japanese leagues compares to the U.S. Major and Minor Leagues. Many baseball experts consider the Japanese leagues at the present time to be “4A”—that is, better than Triple A but not equal to the Majors. In 1953 the gap was even broader. The Giants were undoubtedly Japan’s best team, but they were unable to match Pacific Coast League teams, even during spring training. The game results suggest that the club was probably equivalent to class A competition. Some of the Giants, however, could have played at a higher level. Takehiko Bessho particularly impressed PCL managers; San Diego reportedly tried to buy his contract from Yomiuri. Lefty O’Doul also noted that Yonamine could move into the PCL if he was interested in returning to the United States.

Despite their poor record, the trip to Santa Maria was a resounding success. “We certainly learned a lot during our spring training,” proclaimed Harada, “and I can truthfully say that this is an entirely different ball club now. The Major League managers especially, briefed us thoroughly on how to play the national pastime properly. The many so-called inside hints that they offered us went a long way toward improving all of our players.” The managers helped the Giants with all aspects of their game. Kawakami learned to hit with more power by cocking his wrists. Chiba worked on fielding fundamentals and getting his body in front of the ball. “He doesn’t make those one-handed catches he used to make,” Harada commented approvingly. Mizuhara adopted Leo Durocher’s style of leaving the dugout and managing from the third base box. He also learned how to direct base runners and use signs like the American managers.

Perhaps most importantly, the Giants experienced the aggressiveness of American baseball firsthand. Early in the trip, Shigeru Chiba, attempting to turn a double play Japanese-style by standing on second base, was taken out with a hard slide and was spiked. He quickly learned how to move off the bag and avoid a slide while making a double play. The Japanese realized that Yonamine was not particularly rough or dirty, but just played hard-nosed American baseball. Some of the Giants began to adopt a more aggressive style and learned to slide hard with their spikes up.

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Japanese vs. American Baseball Practice

From: Wally Yonamine: The Man Who Changed Japanese Baseball, by Robert K. Fitts (U. Nebraska Press, 2008), p. 272:

Many Americans state that the Japanese practice too much. “I believe that the Japanese put more emphasis on practice than actually playing the game,” said Gene Martin, who later played for Yonamine. Leron Lee, who played for the Orions during the 1980s, adds, “To show their fighting spirit, the Japanese would focus on how hard they could practice and how long they could practice…. So when they would get into the ball game, they couldn’t really perform up to their abilities.”

Yonamine agrees that many Japanese managers at that time conducted drills that accomplished little. He especially disliked the thousand ground ball drill, pointing out that as players tired they abandoned their fundamentals. At best, it led the players off track. At worst, it led to bad habits that affected their play.

Wally, however, argues that Japanese players then, and now, need to practice more than Major Leaguers. In the United States, most players learn baseball basics in high school, college, or at the latest in the instructional league—the first rung of the Minor League ladder. They then fine-tune their skills as they ascend through the extensive Minor League system. During this time, the young players practice hard so that when they become Major Leaguers, proper technique is automatic. Most Japanese, on the other hand, have not been taught proper fundamentals in high school and college. They enter the professional league as raw players with much to learn. There is no equivalent of the American instructional league in Japan, and each club has only one minor league squad. Young Japanese players therefore rarely get enough drill before they are promoted to the main team. As a result, Japanese managers need to constantly instruct their players and improve their skills even after they become starters on the parent club.

I bought an extra copy of this book for my father, who’s the same age as Wally Yonamine, arrived in Japan about the same time, and became a big fan of Wally. During a decade in Hiroshima, he also became a fan of the hapless Hiroshima Carp, whose former pitcher Hiroki Kuroda just pitched a crucial win for the Dodgers in the current NLCS. Kuroda seems to have brought Japanese-style baseball with him to the U.S., according to a nice LA Times profile of him this past summer.

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Underwater Pyramids in Okinawa?

Somebody who is trying to market an underwater diving business in Okinawa has been interviewed on video about a new discovery of “10,000 year old pyramids” in the offshore waters near Yonaguni, no doubt within easy reach of their embarkation point.

“One of the greatest discoveries in the history of archaeology was made last summer, off Japan There, spread over an amazing 311 miles on the ocean floor, are the well-preserved remains of an ancient city. Or at the very least, a number of closely related sites.

In the waters around Okinawa and beyond to the small island of Yonaguni, divers located eight separate locations beginning in March 1995. That first sighting was equivocal – a provocative, squared structure, so encrusted with coral that its manmade identity was uncertain. Then, as recently as the summer of 1996, a sports diver accidentally discovered a huge, angular platform about 40 feet below the surface, off the southwestern shore of Okinawa. The feature’s artificial provenance was beyond question. Widening their search, teams of more divers found another, different monument nearby. Then another, and another. They beheld long streets, grand boulevards, majestic staircases, magnificent archways, enormous blocks of perfectly cut and fitted stone – all harmoniously welded together in a linear architecture unlike anything they had ever seen before….

One would imagine that such a mind-boggling find would be the most exciting piece of news an archaeologist could possibly hope to learn. Even so, outside of the “Ancient American” and CNN’s single report, the pall of silence covering all the facts about Okinawa’s structures screens them from view more effectively then their location at the bottom of the sea. Why? How can this appalling neglect persist in the face of a discovery of such unparalleled magnitude? At the risk of accusations of paranoia, one might conclude that a real conspiracy of managed information dominates America’s well-springs of public knowledge.”

Indeed! Why trust “managed information” when you can so easily find the mismanaged variety, which is way more interesting? Ancient American is obviously a very rigorous and reputable source. In their own words:

Our task is to translate often complex research into accessible, attractive language in a visually appealing format ordinary readers can understand and enjoy. Ancient American writers and artists appeal as much to the imagination as to the intellect in the conviction that mankind’s past belongs to all inhabitants of the Earth; it is not the exclusive property of establishment academics. Each issue features articles submitted by the world’s leading authorities on prehistory in clear, non-technical language, and illustrated by a wealth of original color photographs and artwork published nowhere else.

Features include reports of Scottish mariners who sculpted the images of New Mexican cactus in a Highland church nearly a century before Columbus was born, and Vikings who left evidence of their visits behind in Minnesota and Oklahoma. Our research traces influences from 4th Millennium BC Japan in Ecuador, and prehistoric African themes throughout the earliest Mexican civilizations. We describe Semitic visitors, whose trek across ancient South Dakota is commemorated by native American Indians in four bluffs still referred to as “the Hebrew Brothers”. Our writers examine a huge stone wall underwater 55 miles east of Miami, Florida, together with a Phoenician altar for human sacrifice found in Chicago, Illinois. These are only some of the puzzling enigmas showcased in every issue of Ancient American magazine.

CNN’s Worldview coverage in 2000 (surprisingly!) includes a good bit more skepticism about the age of the structures and the extent to which they are manmade.

Masaaki Kimura has a different story, based on the theory that the Japanese archipelago was once part of continental Asia. He says the most likely reason it and other similar sites nearby are now underwater is because they suddenly sank after an event like an earthquake.

MASAAKI KIMURA, RYUKYU UNIVERSITY (through translator): From our investigations of surrounding organisms, such as coral, we estimate this ruin was made approximately 2,000 to 3,000 years ago.

KAMIMURA: A geologist by training, Kimura says he’s found evidence of chiseling, even a stone instrument.

(on camera): Kimura’s findings already have locals excited about the opportunities. Okinawa’s governor says if there’s more conclusive evidence, he’d like to propose the ruins for designation as a world heritage site…

(voice-over): … a finding that would be a boon for local tourism.

World-renowned dive enthusiast Jacques Mayol is already convinced.

JACQUES MAYOL, DIVER: My impression is that it’s a natural sight, of course, it’s a natural sight but that has been improved, enhanced, embellished, if you want, by man. We don’t know who did it, what kind of men did it, how long ago they did that.

KAMIMURA: Questions that only seem to add to the rock’s intrigue for those that believe it’s more than just a natural phenomenon.

Marina Kamimura, CNN, Okinawa, Japan.

via Japundit‘s Japan News Junkie

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Another Basho, Another Scandal

Japan’s Fall Grand Sumo Basho is underway, and Jack Gallagher, writing in The Japan Times, updates us on the latest scandal to hit the sport.

The resignation of Japan Sumo Association chairman Kitanoumi last Monday was just the latest in a litany of black eyes for sumo.

In fact, the 55-year-old former yokozuna illustrates precisely why sumo is in its current state.

He was the head of the JSA for more than six years, but under his tenure things didn’t stay the same, they got progressively worse.

What defies comprehension is his seeming unawareness to what was going on around him and refusal to take responsibility until an incredible amount of harm had been done to sumo’s standing with the public.

So clueless was Kitanoumi that he practically had to be strong-armed out the door. It is precisely this kind of stubbornness and arrogance that has brought sumo to this point.

Kitanoumi should have been forced out last year, following the beating death of Tokitaizan, a young wrestler in the Tokitsukaze stable, but passed the buck and continued on.

When Russian wrestler Wakanoho was expelled by the JSA last month following his arrest for possession of marijuana, Kitanoumi again had a chance to take responsibility but refused. It was a pathetic show of power.

Only after the most recent embarrassment, the failure of Russian wrestlers Roho and Hakurozan (a member of Kitanoumi’s stable) to pass drug tests administered by the JSA, and prodding from his colleagues, did Kitanoumi finally go.

Gallagher also suggests some innovations that might help revitaize the sport.

• Make better geographic use of the six annual tournaments. Having half of them in Tokyo every year makes no sense at all. Hold one in Sapporo and another in Sendai.

• Change the starting times of the makuuchi bouts. Having them on television between 4 p.m. and 6 p.m. each day makes it very difficult for a large number of viewers to see them live. People are either at work, on their way home, or otherwise occupied.

• Establish a marketing department that knows how to do something besides just pick up the phone. Take a page out of the J. League’s book and be aggressive. Target youngsters and female fans.

• Archive all of the tournaments’ videos on the Internet with commentary in English. With the time difference it is tough for folks outside of Japan to see the bouts live. The one place that sumo has retained its interest is with fans overseas. Give them a better chance to follow the sport and increase the international fan base.

via Japundit‘s Japan News Junkie

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Wordcatcher Tales: Gorin = Orimpikku

Japanese video reports about the Olympics often show the screen label 北京五輪 ‘Beijing Olympics’. I had assumed that the Japanese news media were simply following Chinese usage, with 五輪 gorin (‘5 rings/wheels’) being a clever and concise sound-symbol translation of the word Olympic, which is otherwise rendered more lengthily in Japanese katakana オリンピック. A Google search on 五輪 returns 18,600,000 possible results, while a search on オリンピック returns 27,000,000 results.

Well, it turns out that this usage of 五輪 for ‘Olympics’ is restricted to Japanese. The official Chinese homepage for the Beijing Olympics uses four characters strictly for their sound values, 奥林匹克 (ao-lin-pi-ke), a string that Google finds on 17,500,000 pages. Korean usage also relies on a phonetic transcription, 올림픽 (ol-lim-pik), with 23,300,000 Google results.

Beijing Olympics logoSo it looks as if the Japanese may have coined the term 五輪 for ‘Olympics’, probably on the occasion of its 1964 Olympics. That headword shows up in my father’s battered old New Pocket Japanese-English Dictionary (Kenkyusha), which was revised in 1964 after first appearing in 1958. (Does anyone have an earlier edition?) It’s a clever coinage, with several positive allusions, but first I’d like to note that the Beijing Olympics logo also incorporates a bit of clever usage of Chinese characters. The stylized image of a runner strongly evokes the character 京 jing (‘capital’) of Beijing (‘north capital’), and the logos for the various event types also evoke the old Chinese seal scripts widely used in decorative engraving from as early as the Han dynasty.

I emailed Matt of No-sword about this, and he suggested that one positive association of 五輪 is Miyamoto Musashi’s Book of Five Rings (五輪書), which involves competitive strategy and tactics and is sometimes translated as The Art of War. Indeed, many of the Chinese-language search results for 五輪 referred to that book. Other Chinese results referred to “5-wheel” (off-road 4WD) vehicles, the 5th round of 6-party talks, and the popular Japanese singer Itsuwa (‘5-rings’) Mayumi (also known as Wulun Zhengong in Chinese). Just about the only Chinese-language usage I could find of 五輪 for Olympics was by a Chinese blogger in Japan.

A more spiritual association of 五輪 occurs in 五輪塔 (gorintō), the 5-element pagoda. And 五輪 is also homophonous with 五倫 (Jp. gorin, Ch. wǔlún), the essential 5 relationships of Confucianism.

POSTSCRIPT: I’ve been watching far more of the Olympics than I had planned, and I must say that I am most impressed by the good sportsmanship of the athletes from both the host country and the largest guest country. It’s a big improvement over the behavior of both such parties during the 1988 Olympics in Seoul. (And congratulations to Constantina Tomescu-Dita! Her gutsy move paid off.)

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Vichy, 1940: ‘Heaven-sent’ Defeat

From Sacred Causes: The Clash of Religion and Politics, From the Great War to the War on Terror, by Michael Burleigh (HarperCollins, 2007), pp. 239-240:

Vichy used much of the moralising rhetoric that had been favoured by the French Catholic Church in the century since the Revolution. The regime denounced the ‘esprit de jouissance’ (pleasure-seeking) that was allegedly responsible for the defeat, promising ‘moral recovery’. This resonated with a Catholic tradition of moralising major events, as in 1789, 1870, and 1914….

The Catholic hierarchy converted a complex national disaster into a moralising myth, which suited what the Jesuit Henri de Lubac called the ‘masochistic’ spirit of those times. Victory, some senior ecclesiastics argued, would have led to further moral degradation; defeat afforded a ‘heaven-sent’ opportunity for regeneration. Victory in 1918 had proved a wasted opportunity; perhaps 1940 could be different? The Catholic writer Claudel regarded defeat as a form of deliverance, confiding in his diary: ‘France has been delivered after sixty years from the yoke of the anti-Catholic Radical party (teachers, lawyers, Jews, Freemasons). The new government invokes God … There is hope of being delivered from universal suffrage and parliamentarism.’

Similar attitudes seem quite prevalent in the West these days, especially among our hordes of jet-setting Jeremiahs, but one wonders how many Japanese citizens felt the same way on this day 63 years ago. How many members of the ruling elite of Imperial Japan felt let down by their masses and determined to teach them a lesson? Certainly a good many ordinary citizens were ready to sacrifice their elites in return for peace.

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Wordcatcher Tales: Kabure, Hamanasu

Daimaru English manor house facing the Imperial Palace, KyotoSometime during my high school years in Kobe, Japan, I heard the term 西洋かぶれ seiyō kabure used to describe Japanese people who were ardent Westernizers. I never learned the real etymology of kabure, which I thought came from the verb kaburu (被る) ‘to wear (on one’s head), cover one’s head’, so that seiyō kabure suggested to me people who donned their Western thinking caps rather than their Eastern (東洋 tōyō) ones.

It wasn’t until I decided to blog about an extremely seiyō kabure establishment at the top of Mt. Hiei, one of Japan’s leading early centers of tōyō kabure (when it was importing Buddhism from China 1200 years ago), that I discovered a more direct source for kabure. It’s from kabureru ‘to break out in a rash; be (noxiously) influenced by (lacquer, poison ivy, communism, Western goods/values, etc.)’. However, I suspect that kaburu ‘to cover one’s head’ and kabureru ‘to be covered (with rash)’ might ultimately be related etymologically, even though one can obscure the connection by writing kabureru with an unrelated kanji combination, 気触 lit. ‘feeling+touch’. Perhaps the native Japanese root kabu in both forms even relates to the now various kabu that mean ‘head’ (頭), ‘stump, stock’ (株), or ‘root, turnip’ (蕪).

The place that set me off on this etymological goose-chase was the Garden Museum Hiei, which I visited because I wanted a view of Lake Biwa and because I enjoy botanical gardens. It was well worth the serendipitous visit. (I attended 2nd grade at Camp Botanical Garden in Kyoto in 1956-57, the last year before the U.S. Army closed the base and the land reverted to its earlier use, at which point several missionary families ordered Calvert School materials and started up Kyoto Christian Day School, the predecessor of what is now Kyoto International School.)

Wisteria-covered Japanese bridge over Franco-Japanese lily pond, Mt. Hiei, Kyoto

The Garden’s Rose Gate faces the Kyoto side of the mountain and the Eizan Ropeway station. The Provence Gate at the other end faces the Lake Biwa side and the parking lot and bus station. I entered through the rose garden, but never made it as far as the herb garden and the Provence Gate. I was especially entranced by the water lily pond with bridges and arbors designed to replicate scenes painted by Claude Monet, one of the most Japonisme-kabure of French Impressionists. It was a Japanese tribute to French Japonisme. Carefully placed throughout the garden are large replicas on easels of famous paintings by Monet and Renoir (above all), but also Manet, Cezanne, Degas, van Gogh, and other masters of Impressionism.

It was nearly noon and I was hot and hungry, so I soon repaired to the Café de Paris for a leisurely lunch, where I ordered a bowl of Renoir’s favorite cold turnip (kabu!) soup, a plate of surprisingly familiar “European-style” curry rice, and a half bottle of imported chardonnay. I was the only seiyōjin ‘Westerner’ in the place, but perhaps not the most seiyō kabure. A nice selection of bread rolls and a spaghetti ratatouille were the only other foods on the menu.

Rosa rugosa (Japanese rose, hamanasu), Museum Garden, Mt. Hiei, KyotoOn my way back out, I dawdled in the rose garden, where I noticed a sign for Rosa rugosa, the Japanese rose with the incongruous name hamanasu (浜茄子) lit. ‘seashore eggplant’. Not only was the plant itself awfully far from the nearest seashore, but the kanji for the ‘eggplant’ part of its name is another case where the kanji has no relation to the native Japanese reading (nasu or nasubi), only to the Chinese (Mandarin) reading qiezi (茄子), which shows up on so many Chinese restaurant menus in 魚香茄子 yuxiang qiezi lit. ‘fish-flavor eggplant’, usually translated as ‘garlic eggplant’ (one of my regular favorites).

UPDATE: I queried Matt of No-sword about the likely etymologies of the various kabu-. He confirmed that the various nouns kabu that mean ‘head; stump, stock; root, turnip’ are generally thought to come from the same etymon, but that the verbs are not likely related.

Ono Susumu says that /kabureru/ is related to /kabi/ as in mould, which kind of makes sense, but I can’t find anyone who backs him up. (The Nihongogendaijiten does list a couple of unreliable sources claiming it’s from 蚊触, ‘mosquito-touch’, which is pretty amusing.) 香触 [‘fragrance-touch’] is also common.

/kaburu/ is originally from /kagafuru/ -> /kaufuru/ -> /kaburu/ … but that was Nara-Heian times, and I don’t think /kabureru/ is attested pre-Edo, so I suppose there could be a connection … although, I can’t really see how ‘come out in a rash’ could come out of ‘cover one’s head’.

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Wordcatcher Tales: Miharashi, Okurina

As soon as I arrived at Kyoto Station, I got maps from the tourist information office, called the Palace Side Hotel to book a room for the night, and found a post office ATM to withdraw cash from my U.S. bank account. Then I headed straight for the top of Hieizan (比叡山), not for the famous Enryakuji (延暦寺) temple complex so much as for the panoramic views and the cooler air.
View of Otsu and Lake Biwa from Mt. Hiei, Kyoto, Japan
To get there I took a bus to the Demachiyanagi (出町柳) Station, where I bought a round-trip (往復 ōfuku lit. ‘go-again’) combined ticket (for about ¥2000) on the Eizan (叡山) Railway to Hiei Sanchō (比叡山頂 ‘Hiei Mountaintop’). The first leg to Yase-Hieizanguchi was by one-car train. (Yase 八瀬 ‘Eight Rapids’ is about where the upper eastern fork of the Kamo River, the Takano River, ceases to be navigable.) The next leg was by cable car to Keiburu Hiei, and the final leg was by ropeway to the “summit”—not actually the highest point, but close enough. The Eizan Railway opened in Taishō 14 (1925), the year my father was born.

(I can recall how much older it suddenly seemed to make my father when I first saw Taishō 14 on his Japanese driver’s license—he was a man from another era! He also happened to be the first foreign driver picked up for speeding down Shirakawa-dōri by the Sakyō-ku police with their newfangled radar gun in the late 1950s, when we still had an American car (a 1956 Chevy) and Shirakawa-dōri was still unpaved north of Kitashirakawa, where the road east went up through the mountains to Otsu City.)

From the top of the ropeway, you could look back down toward Kyoto, but the view of Lake Biwa was obstructed by the walls of Garden Museum Hiei (about which more later). So I paid the ¥1000 fee and walked along a path through a rose garden that offered beautiful views of Lake Biwa to my right. At the highest point on the path was a lookout point labeled 見晴らし on the guide map. Although I discerned the basic meaning from the kanji (‘see-clear’), I wasn’t sure how to pronounce the combination. The trailing kana (okurigana) indicated a native Japanese reading, and I had learned from listening to weather reports as a kid the verb ‘to be clear, to clear up’ (晴れる hareru), usually in the ubiquitous phrase 晴時々曇 hare, tokidoki kumori ‘clear, occasionally cloudy’. But I had not encountered the agentive transitive form, harasu, and I wasn’t sure if the combination of two verbs together was pronounced miharashi or mibarashi.

According to the New Nelson kanji dictionary, transitive harasu means to ‘dispel, clear away (gloom); refresh (oneself)’, and my Canon Wordtank electronic dictionary adds to ‘chase away the blues’ and ‘dispel doubts, clear oneself of a charge’. The nominalized verb combination miharashi means ‘view’ in the sense of ‘the viewer’s ability to see’, as in ‘observation platform’ or ‘lookout point’, and not ‘view’ in the sense of ‘that which is seen’ (景色 keshiki ‘scenery, landscape’).

Dengyō Daishi (Saichō) shrine at summit of Mt. Hiei, KyotoI was enjoying the lovely sights from the 見晴らし and the genuine sounds of real uguisu (Japanese bush warblers)—not the recordings they play in the massive urbanity of Kyoto Station—when I caught a glimpse of a Japanese red maple (momiji) and a Buddhist memorial in a sheltered nook off to the left. When I went down to investigate, I found a stele with the name Dengyō Daishi on it. I didn’t take the time to decipher the explanatory plaque, so I’m not sure about the exact significance of that spot, which was certainly out of place in a Garden Museum that otherwise celebrated French Impressionism.

Dengyō Daishi (傳教大師) was the posthumous name of Saichō (最澄, 767-822), the monk who brought back Tendai Buddhism from China, founded Enryakuji (still the headquarters of Tendai), and convinced the court to recognize Tendai as Japan’s first autonomous Buddhist sect (in 822). He was also the first Japanese monk to be awarded the posthumous title of Daishi ‘Great Master’ (in 866). The native Japanese word for posthumous title is okurina, clearly a compound etymologically, meaning something like ‘bestowal-name’ (贈り名), but it’s written with a single kanji, 諡, which otherwise seems to occur only in the Sino-Japanese compounds 諡号 shigō ‘posthumous name’ or 贈諡 zōshi ‘posthumous title’ (both synonyms of 贈号 zōgō lit. ‘bestowal-number/item/title/name’).

Dengyō (傳教, now usually written 伝教) means ‘transmit-teaching’, but 伝 has a lot of different shades of meaning. It occurs in 伝承 denshō ‘legend, tradition, folklore’, 伝言 dengon ‘verbal message’, 伝馬 tenma ‘post horse’, and 伝声器 denseiki ‘speaking tube’. But one of its most interesting compounds is 伝法 denbō lit. ‘spreading Buddhism’, but also ‘bullying, ostentatious bravado’, perhaps reflecting the behavior over many centuries of too many militant monks from Mt. Hiei.

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