Sometimes a 'jacket' known as a haori can be worn over a kimono.

The outfits worn by the captains in Bleach are called Shihakusho, which consists of a white haori (captain's coat) worn over a black kosode (robe) and hakama (pants). Each captain also wears a unique haori with a specific design and symbol representing their division.

Sasuke's clothing is called a hakama, and haori, I think.

naga juban (under kimono), kimono (outer kimono), obi (waist tie), haori (jacket), and hakama (outer pants)

naga juban (under kimono), kimono (outer kimono), obi (waist tie), haori (jacket), and hakama (outer pants)

naga juban (under kimono), kimono (outer kimono), obi (waist tie), haori (jacket), and hakama (outer pants)

The standard shinigami uniform is called a Shihakushō. Depending on the rank of the soul reaper, addition garments may be added. This includes the captain's haori.

No, and I'm glad. They don't belong together. I think Haruhi should be with Hikaru, or if she can't atleast Tamaki, which the author seems to be making Haruhi fall in love with him

Grow your hair out and bleach it white. Get contacts with yellow lenses and slit pupils. Buy a red hakama and haori. Wear fake fangs.

Sasuke:

- undergarments: dragon tattoos(black)

- upper body: vagrant's haori(white)

- arms: executioners braces(black)

- lower body: slops(black)

- legs:vagrant's waraji(black)

- phisique: -50 muscularity: -50

- male voice 6 Pitch_ +10 (only good in Japanese ;-)

- hair: wild short(0: 44, 32)

- male face 1 (black)

- eye color (9: 02, 13)

- skin color (5: 09, 06)

- base color (7: 44, 32)

- style: misturugi

- weapon: masamune

Cylia Malki has: Played Lara in "Seconde B" in 1993. Played Nathalie Hamar in "Le juge est une femme" in 1993. Played Astrid in "Le groom" in 1995. Played Barbara in "Nos plus belles vacances" in 1996. Played Sandra in "Vertiges" in 1997. Played Florence in "Louis la brocante" in 1998. Played Vanessa in "Monsieur Naphtali" in 1999. Played Yasmine Kerouane in "Boulevard du Palais" in 1999. Played Nathalie in "Les jours heureux" in 2000. Played Cindy in "Roule routier" in 2000. Played Laurence in "Marie-Line" in 2000. Played Rallia in "La fille de Keltoum" in 2001. Played Le bras droit de Jambe-de-Fer in "Le petit poucet" in 2001. Played Nina in "Sauveur Giordano" in 2001. Played Sandra Solano in "Commissaire Valence" in 2003. Played herself in "Par ici la sortie" in 2004. Played Samira in "La moustache" in 2005. Played Vera in "Le haori de soie mauve" in 2007. Played Fanny in "La cour des grands" in 2008. Played Annabelle in "Flics" in 2008.

Ichigo has just learnt that all his fights were a plan of Aizen's. There are recaps all through Episode 295, and they continue on at the beginning of 296. Shortly after Ichigo's dad enters the scene.

The cast of Perfect Blue - 2012 includes: Mire Aika as Keiko Teppei Akashi as Kenjiro hayama Mabuki Andou as Keiko Sota Aoyama as Maeda Shiho as Akemi Megumi as Hayama Saori as Tomoe Jiro Dan as Toshiro Jiro Dan as Toshiro koda Eriko Hamada as Chihiro Akira Hamada as Seiichi hayama Mika Hijii as Masami Takuma Hiraoka as Kimihisa Aya Hirayama as Nana Keisuke Horibe as Cpa Masami Horiuchi as Yoshio shimizu Mari Hoshino Yoshihiko Hosoda as Tamai Yumiko Ise as Natsumi Nanami Ishimaru as Teen kazumi Ryo Iwase as Yuji nishioka Izumi Kasagi as Chizuru Ririka Kato as Girl hikari Shingo Katsurayama as Uno Yuki Kazamatsuri as Eriko Maiko Kikuchi as Hisako Masataka Kubota Sea Kumada as Girl akie Koko Kumada as Mizue Tatsuya Kuroki as Hiroshi Toshinobu Matsuo as Hideki kai Kensei Mikami as Shunichi miyamoto Miho Miyazawa as Reiko saeki Yuri Mizutani as Hikari Taishi Nakagawa as Shinya Hiroko Nakajima as Noriko misawa Takahiro Natsui as Kenji Toshie Negishi as Michiko miura Taiki Negishi as Tomoyuki Kengo Okuchi as Nishimiya Ken Osawa Takaya Sakoda as Kazuo Hijiri Sakurai as Kisanuki Akihiro Shimizu as Aizawa Hikari Shinoda as Young chihiro Moro Shioka as Uekusa Kumiko Shiratori as Momoko Daikichi Sugawara as Misono Kaoru Sugita as Akiko Takashi Sumida as Haruo Reiko Tajima as Maekawa Haori Takahashi as Itoko Takuma Takei as Boy katsuhiko Miori Takimoto as Kayoko Yasufumi Terawaki as Yusuke shiina Satomi Tezuka as Old chihiro Kaori Torii as Nobue aizawa Kimito Totani as Masashi Shingo Tsurumi as Nakayama Ariei Umefune as Young keiko Shiiko Utagawa as Kazumi Tetsu Watanabe as Fujinaga Kinuo Yamada as Ritsuko Arata Yamanaka as Mitarai Chieko Yamasaki as Noriko Hajime Yamazaki as Fuminari Megumi Yokoyama as Akie Saya Yoshida as Sumiko Naomi Zaizen as Kyoko

As may be expected, the basic clothing item in a samurai's 'everyday' wardrobe was the kimono, which for men normally consisted of an outer and inner layer. Heavier kimonos were worn in the winter, while lighter examples (those made of finer silk, for instance) were worn in the summer. In fact, there was a ceremonial day where winter kimonos were exchanged for their summer counterparts, traditionally on the 1st day of the Fourth Month (by our reckoning, in the first week of May). A samurai's kimono would normally be made of silk, a material considered superior to cotton and hemp not only for its feel and appearance but for it's relative coolness in the hot Japanese summer. (Incidentally, kimono makers traditionally reckoned on one roll of silk measuring about two feet by 20 yards for one kimono). Naturally, the quality of a kimono a given samurai might wear largely depended on his personal station and income, though, at least prior to the Edo Period, there were no hard and fast rule in this regard. Hojo Soun, for instance, touches on the matter of clothing in his 21 Articles, "Don't think your swords and clothing should be as good as those of other people. Be content as long as they don't look awful. Once you start acquiring what you don't have and become even poorer, you'll become a laughingstock."1 Exceptionally bright colors and outlandish patterns were typically avoided or sneered upon as a show of immodesty or conceit. On the same token, women of samurai families tended to wear kimono layers and colors dependant upon the station and/or power of their husband. Samurai children, however, were dressed rather flamboyantly, and a more subdued appearance was one of the results of the coming-of-age ceremony. Older samurai tended towards shades of gray or brown, in keeping with their dignified age. Beneath the kimono, a loincloth (fundoshi) was worn, of which there were two varieties. One was essentially a wrap that, for lack of a better description, resembled a diaper (familiar to anyone who has witnessed or seen footage of some of modern Japan's more esoteric festivals); the other type (more often worn under armor) was a long piece of material worn down the front of the body. A loop slung around the neck fastened the top of the loincloth while the other end was pulled up around the other side of the abdomen and tied around the front of the lower waist with cords. Samurai had the option of wearing socks, called tabi, which included a space to separate the big toe from the other toes (to facilitate the wearing of sandals). Tabi worn in an everyday capacity were normally white and were tailored to the season. Footwear generally consisted of sandals (waraji) and wooden clogs (geta). Sandals were made from various sorts of material, including straw, hemp, and cotton thread. Clogs were generally associated with the lower classes (geisha, for instance, and kabuki actors are often depicted wearing geta) though samurai wore them from time to time. The Tale of the Heike, for instance, mentions that the powerful Taira Kiyomori wore clogs, though it was considered sufficiently unusual to find its way into puns composed by his rivals. Bearskin boots were at one time popular, especially with armor, but by the 16th Century had come to be considered archaic. For rainy days, samurai, like everyone else, wore raincoats made out of straw (kappa) and availed themselves of folding umbrellas (which looked rather like Victorian era parasols, complete with decoration). Between the 12th and 17th Century, the hitatarestyle of dress was popular. Unlike the common kimono, hitatare was a two-piece costume, though comparably flowing and ample (Yoroi hitatarewas a snugger version for use under armor). This costume, for a possible frame of reference, is what most of the samurai wear in Japanese movies set prior to the Edo Period (the oft-mentioned Kagemusha, Ran, Throne of Blood, Heaven and Earth, ect...). Generally worn when in some 'official' capacity, the hitatare were normally adorned with the crest (or mon) of their immediate family or clan, or, in the case of relatives or direct retainers of the lord, the crest of the daimyô or shugo. Decorative bows also often adorned hitatare, normally worn on the breast. As with the standard kimono, the samurai's swords were normally thrust through a belt (obi) worn wrapped around the waist and tied in front. Alternatively (and again in 'official' circumstances) the main sword could be slung by cords from the obi (in a fashion more akin to a western dress uniform convention) while the short sword (Wakizashi) or knife (tanto) was worn through the Obi. Regardless, the sword was ALWAYS worn on the left side, probably a case of a practical consideration (ease of drawing) that became more fashion oriented (after all, there were certainly some left-handed samurai...). Indoors, the samurai might dispense with his long sword, but always kept some form of weaponry on his person, even if the simple dagger. A daimyô could expect a page to carry his sword for him, though typically only in the most formal of circumstances. (Traditionally, pages or trusted or honored men would carry a lord's sword and bow for him, especially in ceremonial circumstances. By the 16th Century, few daimyô bothered with keeping bows around their person, even for formalities.). In addition, a simple folding fan might be tucked in the obi, as well, perhaps, as a few tissues. The hitatare could be worn 'half-off', that is, the upper half was allowed to hang about the waist, and this would be done when engaging in impromptu wresting matches or, occasionally, shows of swordsmanship or archery (in other words, for martial purposes). By the Edo Period, the hitatare gave way to the kamishimo. The kamishimo consisted of a two-piece costume worn over a kimono. This is probably the most well known samurai dress. The upper piece was called the kataginu, and was essentially a sleeveless jacket or vest with exaggerated shoulders. Alternatively, a long sleeved coat, the haori , could be worn, especially when traveling or in bad weather. The lower piece was the hakama: wide, flowing trousers somewhat like those found in the older hitatare. The kamishimo would normally be composed of the same material, and was more likely to reflect the status of its wearer than not. The Edo Period was an extremely status-conscious time in Japanese history and this was nowhere more the case then among the samurai. Style was, as always, important, but subject to much greater regulation. The kamishimo was normally worn outside of the house, or when expecting visitors. Otherwise, the trusty kimono would do. The samurai's hair was an important part of his appearance, and most texts and house-codes of the samurai make reference to the importance of its neat appearance. The traditional hairstyle (for the better part of a thousand years) was the topknot, a fashion by no means exclusive to the samurai. Nearly everyone, with the exception of Buddhist priests, wore topknots, making the genesis of this style nearly impossible to guess at it with authority. There is reference to the use of topknots in ancient China, and it might have been one of the many cultural imports introduced to Japan between the Asuka-Nara and Heian Periods. Needless to say, there was any number of styles of topknot by the Edo Period. The chasen-gami , for instance, was produced by wrapping a piece of string around the length of the topknot, producing a spray of hair at the end that resembled a tea wisk. The topknot would then either be worn back or forward, hanging over the center of the head. The mitsu-ori was a style popular in the later 16th Century. The hair was well oiled and formed into a queue and folded forward on the head, then back again, and was tied in place. An abbreviated version, the futatsu-yori, was only folded forward before being tied, and was trimmed with a razor to give the front an almost solid appearance. Interestingly, these styles were not uncommon among the lower classes. The style of shaving part of the frontal part of one's head was supposedly developed as making helmet wear more comfortable. By the early Edo Period it had become a simple fashion, and was adopted by many outside the samurai class. There seems to have been no special ordnances or something of the sort regarding the wear of one's hair, though doubtlessly 'house rules' applied. Facial hair was common prior to the Edo Period, and was, unsurprisingly, a show on manliness on the part of the wearer. Moustaches were popular, and among generals these could become quite distinctive. Beards (while typically thin) were also worn, particularly because they made wearing helmet cords more comfortable (as anyone who has worn a military helmet for an extended period of time might sympathize with). Beards appear to have fallen out of favor and/or popularity in the Edo Period, and to this day they are rather rare among Japanese men. For headgear out of armor, powerful samurai (daimyô/shugo or their important retainers) would wear eboshi, a cap of black silk gauze stiffened with a black lacquered paper lining. The cap was held in place either by a white cord, or was pinned to the samurai's topknot. The size and shape of the cap was largely dependant on the samurai's rank, though the use of eboshi was reserved for only the most formal of events by the 16th Century. As may be expected, the basic clothing item in a samurai's 'everyday' wardrobe was the kimono, which for men normally consisted of an outer and inner layer. Heavier kimonos were worn in the winter, while lighter examples (those made of finer silk, for instance) were worn in the summer. In fact, there was a ceremonial day where winter kimonos were exchanged for their summer counterparts, traditionally on the 1st day of the Fourth Month (by our reckoning, in the first week of May). A samurai's kimono would normally be made of silk, a material considered superior to cotton and hemp not only for its feel and appearance but for it's relative coolness in the hot Japanese summer. (Incidentally, kimono makers traditionally reckoned on one roll of silk measuring about two feet by 20 yards for one kimono). Naturally, the quality of a kimono a given samurai might wear largely depended on his personal station and income, though, at least prior to the Edo Period, there were no hard and fast rule in this regard. Hojo Soun, for instance, touches on the matter of clothing in his 21 Articles, "Don't think your swords and clothing should be as good as those of other people. Be content as long as they don't look awful. Once you start acquiring what you don't have and become even poorer, you'll become a laughingstock."1 Exceptionally bright colors and outlandish patterns were typically avoided or sneered upon as a show of immodesty or conceit. On the same token, women of samurai families tended to wear kimono layers and colors dependant upon the station and/or power of their husband. Samurai children, however, were dressed rather flamboyantly, and a more subdued appearance was one of the results of the coming-of-age ceremony. Older samurai tended towards shades of gray or brown, in keeping with their dignified age. Beneath the kimono, a loincloth (fundoshi) was worn, of which there were two varieties. One was essentially a wrap that, for lack of a better description, resembled a diaper (familiar to anyone who has witnessed or seen footage of some of modern Japan's more esoteric festivals); the other type (more often worn under armor) was a long piece of material worn down the front of the body. A loop slung around the neck fastened the top of the loincloth while the other end was pulled up around the other side of the abdomen and tied around the front of the lower waist with cords. Samurai had the option of wearing socks, called tabi, which included a space to separate the big toe from the other toes (to facilitate the wearing of sandals). Tabi worn in an everyday capacity were normally white and were tailored to the season. Footwear generally consisted of sandals (waraji) and wooden clogs (geta). Sandals were made from various sorts of material, including straw, hemp, and cotton thread. Clogs were generally associated with the lower classes (geisha, for instance, and kabuki actors are often depicted wearing geta) though samurai wore them from time to time. The Tale of the Heike, for instance, mentions that the powerful Taira Kiyomori wore clogs, though it was considered sufficiently unusual to find its way into puns composed by his rivals. Bearskin boots were at one time popular, especially with armor, but by the 16th Century had come to be considered archaic. For rainy days, samurai, like everyone else, wore raincoats made out of straw (kappa) and availed themselves of folding umbrellas (which looked rather like Victorian era parasols, complete with decoration). Between the 12th and 17th Century, the hitatarestyle of dress was popular. Unlike the common kimono, hitatare was a two-piece costume, though comparably flowing and ample (Yoroi hitatarewas a snugger version for use under armor). This costume, for a possible frame of reference, is what most of the samurai wear in Japanese movies set prior to the Edo Period (the oft-mentioned Kagemusha, Ran, Throne of Blood, Heaven and Earth, ect...). Generally worn when in some 'official' capacity, the hitatare were normally adorned with the crest (or mon) of their immediate family or clan, or, in the case of relatives or direct retainers of the lord, the crest of the daimyô or shugo. Decorative bows also often adorned hitatare, normally worn on the breast. As with the standard kimono, the samurai's swords were normally thrust through a belt (obi) worn wrapped around the waist and tied in front. Alternatively (and again in 'official' circumstances) the main sword could be slung by cords from the obi (in a fashion more akin to a western dress uniform convention) while the short sword (Wakizashi) or knife (tanto) was worn through the Obi. Regardless, the sword was ALWAYS worn on the left side, probably a case of a practical consideration (ease of drawing) that became more fashion oriented (after all, there were certainly some left-handed samurai...). Indoors, the samurai might dispense with his long sword, but always kept some form of weaponry on his person, even if the simple dagger. A daimyô could expect a page to carry his sword for him, though typically only in the most formal of circumstances. (Traditionally, pages or trusted or honored men would carry a lord's sword and bow for him, especially in ceremonial circumstances. By the 16th Century, few daimyô bothered with keeping bows around their person, even for formalities.). In addition, a simple folding fan might be tucked in the obi, as well, perhaps, as a few tissues. The hitatare could be worn 'half-off', that is, the upper half was allowed to hang about the waist, and this would be done when engaging in impromptu wresting matches or, occasionally, shows of swordsmanship or archery (in other words, for martial purposes). By the Edo Period, the hitatare gave way to the kamishimo. The kamishimo consisted of a two-piece costume worn over a kimono. This is probably the most well known samurai dress. The upper piece was called the kataginu, and was essentially a sleeveless jacket or vest with exaggerated shoulders. Alternatively, a long sleeved coat, the haori , could be worn, especially when traveling or in bad weather. The lower piece was the hakama: wide, flowing trousers somewhat like those found in the older hitatare. The kamishimo would normally be composed of the same material, and was more likely to reflect the status of its wearer than not. The Edo Period was an extremely status-conscious time in Japanese history and this was nowhere more the case then among the samurai. Style was, as always, important, but subject to much greater regulation. The kamishimo was normally worn outside of the house, or when expecting visitors. Otherwise, the trusty kimono would do. The samurai's hair was an important part of his appearance, and most texts and house-codes of the samurai make reference to the importance of its neat appearance. The traditional hairstyle (for the better part of a thousand years) was the topknot, a fashion by no means exclusive to the samurai. Nearly everyone, with the exception of Buddhist priests, wore topknots, making the genesis of this style nearly impossible to guess at it with authority. There is reference to the use of topknots in ancient China, and it might have been one of the many cultural imports introduced to Japan between the Asuka-Nara and Heian Periods. Needless to say, there was any number of styles of topknot by the Edo Period. The chasen-gami , for instance, was produced by wrapping a piece of string around the length of the topknot, producing a spray of hair at the end that resembled a tea wisk. The topknot would then either be worn back or forward, hanging over the center of the head. The mitsu-ori was a style popular in the later 16th Century. The hair was well oiled and formed into a queue and folded forward on the head, then back again, and was tied in place. An abbreviated version, the futatsu-yori, was only folded forward before being tied, and was trimmed with a razor to give the front an almost solid appearance. Interestingly, these styles were not uncommon among the lower classes. The style of shaving part of the frontal part of one's head was supposedly developed as making helmet wear more comfortable. By the early Edo Period it had become a simple fashion, and was adopted by many outside the samurai class. There seems to have been no special ordnances or something of the sort regarding the wear of one's hair, though doubtlessly 'house rules' applied. Facial hair was common prior to the Edo Period, and was, unsurprisingly, a show on manliness on the part of the wearer. Moustaches were popular, and among generals these could become quite distinctive. Beards (while typically thin) were also worn, particularly because they made wearing helmet cords more comfortable (as anyone who has worn a military helmet for an extended period of time might sympathize with). Beards appear to have fallen out of favor and/or popularity in the Edo Period, and to this day they are rather rare among Japanese men. For headgear out of armor, powerful samurai (daimyô/shugo or their important retainers) would wear eboshi, a cap of black silk gauze stiffened with a black lacquered paper lining. The cap was held in place either by a white cord, or was pinned to the samurai's topknot. The size and shape of the cap was largely dependant on the samurai's rank, though the use of eboshi was reserved for only the most formal of events by the 16th Century. As may be expected, the basic clothing item in a samurai's 'everyday' wardrobe was the kimono, which for men normally consisted of an outer and inner layer. Heavier kimonos were worn in the winter, while lighter examples (those made of finer silk, for instance) were worn in the summer. In fact, there was a ceremonial day where winter kimonos were exchanged for their summer counterparts, traditionally on the 1st day of the Fourth Month (by our reckoning, in the first week of May). A samurai's kimono would normally be made of silk, a material considered superior to cotton and hemp not only for its feel and appearance but for it's relative coolness in the hot Japanese summer. (Incidentally, kimono makers traditionally reckoned on one roll of silk measuring about two feet by 20 yards for one kimono). Naturally, the quality of a kimono a given samurai might wear largely depended on his personal station and income, though, at least prior to the Edo Period, there were no hard and fast rule in this regard. Hojo Soun, for instance, touches on the matter of clothing in his 21 Articles, "Don't think your swords and clothing should be as good as those of other people. Be content as long as they don't look awful. Once you start acquiring what you don't have and become even poorer, you'll become a laughingstock."1 Exceptionally bright colors and outlandish patterns were typically avoided or sneered upon as a show of immodesty or conceit. On the same token, women of samurai families tended to wear kimono layers and colors dependant upon the station and/or power of their husband. Samurai children, however, were dressed rather flamboyantly, and a more subdued appearance was one of the results of the coming-of-age ceremony. Older samurai tended towards shades of gray or brown, in keeping with their dignified age. Beneath the kimono, a loincloth (fundoshi) was worn, of which there were two varieties. One was essentially a wrap that, for lack of a better description, resembled a diaper (familiar to anyone who has witnessed or seen footage of some of modern Japan's more esoteric festivals); the other type (more often worn under armor) was a long piece of material worn down the front of the body. A loop slung around the neck fastened the top of the loincloth while the other end was pulled up around the other side of the abdomen and tied around the front of the lower waist with cords. Samurai had the option of wearing socks, called tabi, which included a space to separate the big toe from the other toes (to facilitate the wearing of sandals). Tabi worn in an everyday capacity were normally white and were tailored to the season. Footwear generally consisted of sandals (waraji) and wooden clogs (geta). Sandals were made from various sorts of material, including straw, hemp, and cotton thread. Clogs were generally associated with the lower classes (geisha, for instance, and kabuki actors are often depicted wearing geta) though samurai wore them from time to time. The Tale of the Heike, for instance, mentions that the powerful Taira Kiyomori wore clogs, though it was considered sufficiently unusual to find its way into puns composed by his rivals. Bearskin boots were at one time popular, especially with armor, but by the 16th Century had come to be considered archaic. For rainy days, samurai, like everyone else, wore raincoats made out of straw (kappa) and availed themselves of folding umbrellas (which looked rather like Victorian era parasols, complete with decoration). Between the 12th and 17th Century, the hitatarestyle of dress was popular. Unlike the common kimono, hitatare was a two-piece costume, though comparably flowing and ample (Yoroi hitatarewas a snugger version for use under armor). This costume, for a possible frame of reference, is what most of the samurai wear in Japanese movies set prior to the Edo Period (the oft-mentioned Kagemusha, Ran, Throne of Blood, Heaven and Earth, ect...). Generally worn when in some 'official' capacity, the hitatare were normally adorned with the crest (or mon) of their immediate family or clan, or, in the case of relatives or direct retainers of the lord, the crest of the daimyô or shugo. Decorative bows also often adorned hitatare, normally worn on the breast. As with the standard kimono, the samurai's swords were normally thrust through a belt (obi) worn wrapped around the waist and tied in front. Alternatively (and again in 'official' circumstances) the main sword could be slung by cords from the obi (in a fashion more akin to a western dress uniform convention) while the short sword (Wakizashi) or knife (tanto) was worn through the Obi. Regardless, the sword was ALWAYS worn on the left side, probably a case of a practical consideration (ease of drawing) that became more fashion oriented (after all, there were certainly some left-handed samurai...). Indoors, the samurai might dispense with his long sword, but always kept some form of weaponry on his person, even if the simple dagger. A daimyô could expect a page to carry his sword for him, though typically only in the most formal of circumstances. (Traditionally, pages or trusted or honored men would carry a lord's sword and bow for him, especially in ceremonial circumstances. By the 16th Century, few daimyô bothered with keeping bows around their person, even for formalities.). In addition, a simple folding fan might be tucked in the obi, as well, perhaps, as a few tissues. The hitatare could be worn 'half-off', that is, the upper half was allowed to hang about the waist, and this would be done when engaging in impromptu wresting matches or, occasionally, shows of swordsmanship or archery (in other words, for martial purposes). By the Edo Period, the hitatare gave way to the kamishimo. The kamishimo consisted of a two-piece costume worn over a kimono. This is probably the most well known samurai dress. The upper piece was called the kataginu, and was essentially a sleeveless jacket or vest with exaggerated shoulders. Alternatively, a long sleeved coat, the haori , could be worn, especially when traveling or in bad weather. The lower piece was the hakama: wide, flowing trousers somewhat like those found in the older hitatare. The kamishimo would normally be composed of the same material, and was more likely to reflect the status of its wearer than not. The Edo Period was an extremely status-conscious time in Japanese history and this was nowhere more the case then among the samurai. Style was, as always, important, but subject to much greater regulation. The kamishimo was normally worn outside of the house, or when expecting visitors. Otherwise, the trusty kimono would do. The samurai's hair was an important part of his appearance, and most texts and house-codes of the samurai make reference to the importance of its neat appearance. The traditional hairstyle (for the better part of a thousand years) was the topknot, a fashion by no means exclusive to the samurai. Nearly everyone, with the exception of Buddhist priests, wore topknots, making the genesis of this style nearly impossible to guess at it with authority. There is reference to the use of topknots in ancient China, and it might have been one of the many cultural imports introduced to Japan between the Asuka-Nara and Heian Periods. Needless to say, there was any number of styles of topknot by the Edo Period. The chasen-gami , for instance, was produced by wrapping a piece of string around the length of the topknot, producing a spray of hair at the end that resembled a tea wisk. The topknot would then either be worn back or forward, hanging over the center of the head. The mitsu-ori was a style popular in the later 16th Century. The hair was well oiled and formed into a queue and folded forward on the head, then back again, and was tied in place. An abbreviated version, the futatsu-yori, was only folded forward before being tied, and was trimmed with a razor to give the front an almost solid appearance. Interestingly, these styles were not uncommon among the lower classes. The style of shaving part of the frontal part of one's head was supposedly developed as making helmet wear more comfortable. By the early Edo Period it had become a simple fashion, and was adopted by many outside the samurai class. There seems to have been no special ordnances or something of the sort regarding the wear of one's hair, though doubtlessly 'house rules' applied. Facial hair was common prior to the Edo Period, and was, unsurprisingly, a show on manliness on the part of the wearer. Moustaches were popular, and among generals these could become quite distinctive. Beards (while typically thin) were also worn, particularly because they made wearing helmet cords more comfortable (as anyone who has worn a military helmet for an extended period of time might sympathize with). Beards appear to have fallen out of favor and/or popularity in the Edo Period, and to this day they are rather rare among Japanese men. For headgear out of armor, powerful samurai (daimyô/shugo or their important retainers) would wear eboshi, a cap of black silk gauze stiffened with a black lacquered paper lining. The cap was held in place either by a white cord, or was pinned to the samurai's topknot. The size and shape of the cap was largely dependant on the samurai's rank, though the use of eboshi was reserved for only the most formal of events by the 16th Century. As may be expected, the basic clothing item in a samurai's 'everyday' wardrobe was the kimono, which for men normally consisted of an outer and inner layer. Heavier kimonos were worn in the winter, while lighter examples (those made of finer silk, for instance) were worn in the summer. In fact, there was a ceremonial day where winter kimonos were exchanged for their summer counterparts, traditionally on the 1st day of the Fourth Month (by our reckoning, in the first week of May). A samurai's kimono would normally be made of silk, a material considered superior to cotton and hemp not only for its feel and appearance but for it's relative coolness in the hot Japanese summer. (Incidentally, kimono makers traditionally reckoned on one roll of silk measuring about two feet by 20 yards for one kimono). Naturally, the quality of a kimono a given samurai might wear largely depended on his personal station and income, though, at least prior to the Edo Period, there were no hard and fast rule in this regard. Hojo Soun, for instance, touches on the matter of clothing in his 21 Articles, "Don't think your swords and clothing should be as good as those of other people. Be content as long as they don't look awful. Once you start acquiring what you don't have and become even poorer, you'll become a laughingstock."1 Exceptionally bright colors and outlandish patterns were typically avoided or sneered upon as a show of immodesty or conceit. On the same token, women of samurai families tended to wear kimono layers and colors dependant upon the station and/or power of their husband. Samurai children, however, were dressed rather flamboyantly, and a more subdued appearance was one of the results of the coming-of-age ceremony. Older samurai tended towards shades of gray or brown, in keeping with their dignified age. Beneath the kimono, a loincloth (fundoshi) was worn, of which there were two varieties. One was essentially a wrap that, for lack of a better description, resembled a diaper (familiar to anyone who has witnessed or seen footage of some of modern Japan's more esoteric festivals); the other type (more often worn under armor) was a long piece of material worn down the front of the body. A loop slung around the neck fastened the top of the loincloth while the other end was pulled up around the other side of the abdomen and tied around the front of the lower waist with cords. Samurai had the option of wearing socks, called tabi, which included a space to separate the big toe from the other toes (to facilitate the wearing of sandals). Tabi worn in an everyday capacity were normally white and were tailored to the season. Footwear generally consisted of sandals (waraji) and wooden clogs (geta). Sandals were made from various sorts of material, including straw, hemp, and cotton thread. Clogs were generally associated with the lower classes (geisha, for instance, and kabuki actors are often depicted wearing geta) though samurai wore them from time to time. The Tale of the Heike, for instance, mentions that the powerful Taira Kiyomori wore clogs, though it was considered sufficiently unusual to find its way into puns composed by his rivals. Bearskin boots were at one time popular, especially with armor, but by the 16th Century had come to be considered archaic. For rainy days, samurai, like everyone else, wore raincoats made out of straw (kappa) and availed themselves of folding umbrellas (which looked rather like Victorian era parasols, complete with decoration). Between the 12th and 17th Century, the hitatarestyle of dress was popular. Unlike the common kimono, hitatare was a two-piece costume, though comparably flowing and ample (Yoroi hitatarewas a snugger version for use under armor). This costume, for a possible frame of reference, is what most of the samurai wear in Japanese movies set prior to the Edo Period (the oft-mentioned Kagemusha, Ran, Throne of Blood, Heaven and Earth, ect...). Generally worn when in some 'official' capacity, the hitatare were normally adorned with the crest (or mon) of their immediate family or clan, or, in the case of relatives or direct retainers of the lord, the crest of the daimyô or shugo. Decorative bows also often adorned hitatare, normally worn on the breast. As with the standard kimono, the samurai's swords were normally thrust through a belt (obi) worn wrapped around the waist and tied in front. Alternatively (and again in 'official' circumstances) the main sword could be slung by cords from the obi (in a fashion more akin to a western dress uniform convention) while the short sword (Wakizashi) or knife (tanto) was worn through the Obi. Regardless, the sword was ALWAYS worn on the left side, probably a case of a practical consideration (ease of drawing) that became more fashion oriented (after all, there were certainly some left-handed samurai...). Indoors, the samurai might dispense with his long sword, but always kept some form of weaponry on his person, even if the simple dagger. A daimyô could expect a page to carry his sword for him, though typically only in the most formal of circumstances. (Traditionally, pages or trusted or honored men would carry a lord's sword and bow for him, especially in ceremonial circumstances. By the 16th Century, few daimyô bothered with keeping bows around their person, even for formalities.). In addition, a simple folding fan might be tucked in the obi, as well, perhaps, as a few tissues. The hitatare could be worn 'half-off', that is, the upper half was allowed to hang about the waist, and this would be done when engaging in impromptu wresting matches or, occasionally, shows of swordsmanship or archery (in other words, for martial purposes). By the Edo Period, the hitatare gave way to the kamishimo. The kamishimo consisted of a two-piece costume worn over a kimono. This is probably the most well known samurai dress. The upper piece was called the kataginu, and was essentially a sleeveless jacket or vest with exaggerated shoulders. Alternatively, a long sleeved coat, the haori , could be worn, especially when traveling or in bad weather. The lower piece was the hakama: wide, flowing trousers somewhat like those found in the older hitatare. The kamishimo would normally be composed of the same material, and was more likely to reflect the status of its wearer than not. The Edo Period was an extremely status-conscious time in Japanese history and this was nowhere more the case then among the samurai. Style was, as always, important, but subject to much greater regulation. The kamishimo was normally worn outside of the house, or when expecting visitors. Otherwise, the trusty kimono would do. The samurai's hair was an important part of his appearance, and most texts and house-codes of the samurai make reference to the importance of its neat appearance. The traditional hairstyle (for the better part of a thousand years) was the topknot, a fashion by no means exclusive to the samurai. Nearly everyone, with the exception of Buddhist priests, wore topknots, making the genesis of this style nearly impossible to guess at it with authority. There is reference to the use of topknots in ancient China, and it might have been one of the many cultural imports introduced to Japan between the Asuka-Nara and Heian Periods. Needless to say, there was any number of styles of topknot by the Edo Period. The chasen-gami , for instance, was produced by wrapping a piece of string around the length of the topknot, producing a spray of hair at the end that resembled a tea wisk. The topknot would then either be worn back or forward, hanging over the center of the head. The mitsu-ori was a style popular in the later 16th Century. The hair was well oiled and formed into a queue and folded forward on the head, then back again, and was tied in place. An abbreviated version, the futatsu-yori, was only folded forward before being tied, and was trimmed with a razor to give the front an almost solid appearance. Interestingly, these styles were not uncommon among the lower classes. The style of shaving part of the frontal part of one's head was supposedly developed as making helmet wear more comfortable. By the early Edo Period it had become a simple fashion, and was adopted by many outside the samurai class. There seems to have been no special ordnances or something of the sort regarding the wear of one's hair, though doubtlessly 'house rules' applied. Facial hair was common prior to the Edo Period, and was, unsurprisingly, a show on manliness on the part of the wearer. Moustaches were popular, and among generals these could become quite distinctive. Beards (while typically thin) were also worn, particularly because they made wearing helmet cords more comfortable (as anyone who has worn a military helmet for an extended period of time might sympathize with). Beards appear to have fallen out of favor and/or popularity in the Edo Period, and to this day they are rather rare among Japanese men. For headgear out of armor, powerful samurai (daimyô/shugo or their important retainers) would wear eboshi, a cap of black silk gauze stiffened with a black lacquered paper lining. The cap was held in place either by a white cord, or was pinned to the samurai's topknot. The size and shape of the cap was largely dependant on the samurai's rank, though the use of eboshi was reserved for only the most formal of events by the 16th Century. As may be expected, the basic clothing item in a samurai's 'everyday' wardrobe was the kimono, which for men normally consisted of an outer and inner layer. Heavier kimonos were worn in the winter, while lighter examples (those made of finer silk, for instance) were worn in the summer. In fact, there was a ceremonial day where winter kimonos were exchanged for their summer counterparts, traditionally on the 1st day of the Fourth Month (by our reckoning, in the first week of May). A samurai's kimono would normally be made of silk, a material considered superior to cotton and hemp not only for its feel and appearance but for it's relative coolness in the hot Japanese summer. (Incidentally, kimono makers traditionally reckoned on one roll of silk measuring about two feet by 20 yards for one kimono). Naturally, the quality of a kimono a given samurai might wear largely depended on his personal station and income, though, at least prior to the Edo Period, there were no hard and fast rule in this regard. Hojo Soun, for instance, touches on the matter of clothing in his 21 Articles, "Don't think your swords and clothing should be as good as those of other people. Be content as long as they don't look awful. Once you start acquiring what you don't have and become even poorer, you'll become a laughingstock."1 Exceptionally bright colors and outlandish patterns were typically avoided or sneered upon as a show of immodesty or conceit. On the same token, women of samurai families tended to wear kimono layers and colors dependant upon the station and/or power of their husband. Samurai children, however, were dressed rather flamboyantly, and a more subdued appearance was one of the results of the coming-of-age ceremony. Older samurai tended towards shades of gray or brown, in keeping with their dignified age. Beneath the kimono, a loincloth (fundoshi) was worn, of which there were two varieties. One was essentially a wrap that, for lack of a better description, resembled a diaper (familiar to anyone who has witnessed or seen footage of some of modern Japan's more esoteric festivals); the other type (more often worn under armor) was a long piece of material worn down the front of the body. A loop slung around the neck fastened the top of the loincloth while the other end was pulled up around the other side of the abdomen and tied around the front of the lower waist with cords. Samurai had the option of wearing socks, called tabi, which included a space to separate the big toe from the other toes (to facilitate the wearing of sandals). Tabi worn in an everyday capacity were normally white and were tailored to the season. Footwear generally consisted of sandals (waraji) and wooden clogs (geta). Sandals were made from various sorts of material, including straw, hemp, and cotton thread. Clogs were generally associated with the lower classes (geisha, for instance, and kabuki actors are often depicted wearing geta) though samurai wore them from time to time. The Tale of the Heike, for instance, mentions that the powerful Taira Kiyomori wore clogs, though it was considered sufficiently unusual to find its way into puns composed by his rivals. Bearskin boots were at one time popular, especially with armor, but by the 16th Century had come to be considered archaic. For rainy days, samurai, like everyone else, wore raincoats made out of straw (kappa) and availed themselves of folding umbrellas (which looked rather like Victorian era parasols, complete with decoration). Between the 12th and 17th Century, the hitatarestyle of dress was popular. Unlike the common kimono, hitatare was a two-piece costume, though comparably flowing and ample (Yoroi hitatarewas a snugger version for use under armor). This costume, for a possible frame of reference, is what most of the samurai wear in Japanese movies set prior to the Edo Period (the oft-mentioned Kagemusha, Ran, Throne of Blood, Heaven and Earth, ect...). Generally worn when in some 'official' capacity, the hitatare were normally adorned with the crest (or mon) of their immediate family or clan, or, in the case of relatives or direct retainers of the lord, the crest of the daimyô or shugo. Decorative bows also often adorned hitatare, normally worn on the breast. As with the standard kimono, the samurai's swords were normally thrust through a belt (obi) worn wrapped around the waist and tied in front. Alternatively (and again in 'official' circumstances) the main sword could be slung by cords from the obi (in a fashion more akin to a western dress uniform convention) while the short sword (Wakizashi) or knife (tanto) was worn through the Obi. Regardless, the sword was ALWAYS worn on the left side, probably a case of a practical consideration (ease of drawing) that became more fashion oriented (after all, there were certainly some left-handed samurai...). Indoors, the samurai might dispense with his long sword, but always kept some form of weaponry on his person, even if the simple dagger. A daimyô could expect a page to carry his sword for him, though typically only in the most formal of circumstances. (Traditionally, pages or trusted or honored men would carry a lord's sword and bow for him, especially in ceremonial circumstances. By the 16th Century, few daimyô bothered with keeping bows around their person, even for formalities.). In addition, a simple folding fan might be tucked in the obi, as well, perhaps, as a few tissues. The hitatare could be worn 'half-off', that is, the upper half was allowed to hang about the waist, and this would be done when engaging in impromptu wresting matches or, occasionally, shows of swordsmanship or archery (in other words, for martial purposes). By the Edo Period, the hitatare gave way to the kamishimo. The kamishimo consisted of a two-piece costume worn over a kimono. This is probably the most well known samurai dress. The upper piece was called the kataginu, and was essentially a sleeveless jacket or vest with exaggerated shoulders. Alternatively, a long sleeved coat, the haori , could be worn, especially when traveling or in bad weather. The lower piece was the hakama: wide, flowing trousers somewhat like those found in the older hitatare. The kamishimo would normally be composed of the same material, and was more likely to reflect the status of its wearer than not. The Edo Period was an extremely status-conscious time in Japanese history and this was nowhere more the case then among the samurai. Style was, as always, important, but subject to much greater regulation. The kamishimo was normally worn outside of the house, or when expecting visitors. Otherwise, the trusty kimono would do. The samurai's hair was an important part of his appearance, and most texts and house-codes of the samurai make reference to the importance of its neat appearance. The traditional hairstyle (for the better part of a thousand years) was the topknot, a fashion by no means exclusive to the samurai. Nearly everyone, with the exception of Buddhist priests, wore topknots, making the genesis of this style nearly impossible to guess at it with authority. There is reference to the use of topknots in ancient China, and it might have been one of the many cultural imports introduced to Japan between the Asuka-Nara and Heian Periods. Needless to say, there was any number of styles of topknot by the Edo Period. The chasen-gami , for instance, was produced by wrapping a piece of string around the length of the topknot, producing a spray of hair at the end that resembled a tea wisk. The topknot would then either be worn back or forward, hanging over the center of the head. The mitsu-ori was a style popular in the later 16th Century. The hair was well oiled and formed into a queue and folded forward on the head, then back again, and was tied in place. An abbreviated version, the futatsu-yori, was only folded forward before being tied, and was trimmed with a razor to give the front an almost solid appearance. Interestingly, these styles were not uncommon among the lower classes. The style of shaving part of the frontal part of one's head was supposedly developed as making helmet wear more comfortable. By the early Edo Period it had become a simple fashion, and was adopted by many outside the samurai class. There seems to have been no special ordnances or something of the sort regarding the wear of one's hair, though doubtlessly 'house rules' applied. Facial hair was common prior to the Edo Period, and was, unsurprisingly, a show on manliness on the part of the wearer. Moustaches were popular, and among generals these could become quite distinctive. Beards (while typically thin) were also worn, particularly because they made wearing helmet cords more comfortable (as anyone who has worn a military helmet for an extended period of time might sympathize with). Beards appear to have fallen out of favor and/or popularity in the Edo Period, and to this day they are rather rare among Japanese men. For headgear out of armor, powerful samurai (daimyô/shugo or their important retainers) would wear eboshi, a cap of black silk gauze stiffened with a black lacquered paper lining. The cap was held in place either by a white cord, or was pinned to the samurai's topknot. The size and shape of the cap was largely dependant on the samurai's rank, though the use of eboshi was reserved for only the most formal of events by the 16th Century. As may be expected, the basic clothing item in a samurai's 'everyday' wardrobe was the kimono, which for men normally consisted of an outer and inner layer. Heavier kimonos were worn in the winter, while lighter examples (those made of finer silk, for instance) were worn in the summer. In fact, there was a ceremonial day where winter kimonos were exchanged for their summer counterparts, traditionally on the 1st day of the Fourth Month (by our reckoning, in the first week of May). A samurai's kimono would normally be made of silk, a material considered superior to cotton and hemp not only for its feel and appearance but for it's relative coolness in the hot Japanese summer. (Incidentally, kimono makers traditionally reckoned on one roll of silk measuring about two feet by 20 yards for one kimono). Naturally, the quality of a kimono a given samurai might wear largely depended on his personal station and income, though, at least prior to the Edo Period, there were no hard and fast rule in this regard. Hojo Soun, for instance, touches on the matter of clothing in his 21 Articles, "Don't think your swords and clothing should be as good as those of other people. Be content as long as they don't look awful. Once you start acquiring what you don't have and become even poorer, you'll become a laughingstock."1 Exceptionally bright colors and outlandish patterns were typically avoided or sneered upon as a show of immodesty or conceit. On the same token, women of samurai families tended to wear kimono layers and colors dependant upon the station and/or power of their husband. Samurai children, however, were dressed rather flamboyantly, and a more subdued appearance was one of the results of the coming-of-age ceremony. Older samurai tended towards shades of gray or brown, in keeping with their dignified age. Beneath the kimono, a loincloth (fundoshi) was worn, of which there were two varieties. One was essentially a wrap that, for lack of a better description, resembled a diaper (familiar to anyone who has witnessed or seen footage of some of modern Japan's more esoteric festivals); the other type (more often worn under armor) was a long piece of material worn down the front of the body. A loop slung around the neck fastened the top of the loincloth while the other end was pulled up around the other side of the abdomen and tied around the front of the lower waist with cords. Samurai had the option of wearing socks, called tabi, which included a space to separate the big toe from the other toes (to facilitate the wearing of sandals). Tabi worn in an everyday capacity were normally white and were tailored to the season. Footwear generally consisted of sandals (waraji) and wooden clogs (geta). Sandals were made from various sorts of material, including straw, hemp, and cotton thread. Clogs were generally associated with the lower classes (geisha, for instance, and kabuki actors are often depicted wearing geta) though samurai wore them from time to time. The Tale of the Heike, for instance, mentions that the powerful Taira Kiyomori wore clogs, though it was considered sufficiently unusual to find its way into puns composed by his rivals. Bearskin boots were at one time popular, especially with armor, but by the 16th Century had come to be considered archaic. For rainy days, samurai, like everyone else, wore raincoats made out of straw (kappa) and availed themselves of folding umbrellas (which looked rather like Victorian era parasols, complete with decoration). Between the 12th and 17th Century, the hitatarestyle of dress was popular. Unlike the common kimono, hitatare was a two-piece costume, though comparably flowing and ample (Yoroi hitatarewas a snugger version for use under armor). This costume, for a possible frame of reference, is what most of the samurai wear in Japanese movies set prior to the Edo Period (the oft-mentioned Kagemusha, Ran, Throne of Blood, Heaven and Earth, ect...). Generally worn when in some 'official' capacity, the hitatare were normally adorned with the crest (or mon) of their immediate family or clan, or, in the case of relatives or direct retainers of the lord, the crest of the daimyô or shugo. Decorative bows also often adorned hitatare, normally worn on the breast. As with the standard kimono, the samurai's swords were normally thrust through a belt (obi) worn wrapped around the waist and tied in front. Alternatively (and again in 'official' circumstances) the main sword could be slung by cords from the obi (in a fashion more akin to a western dress uniform convention) while the short sword (Wakizashi) or knife (tanto) was worn through the Obi. Regardless, the sword was ALWAYS worn on the left side, probably a case of a practical consideration (ease of drawing) that became more fashion oriented (after all, there were certainly some left-handed samurai...). Indoors, the samurai might dispense with his long sword, but always kept some form of weaponry on his person, even if the simple dagger. A daimyô could expect a page to carry his sword for him, though typically only in the most formal of circumstances. (Traditionally, pages or trusted or honored men would carry a lord's sword and bow for him, especially in ceremonial circumstances. By the 16th Century, few daimyô bothered with keeping bows around their person, even for formalities.). In addition, a simple folding fan might be tucked in the obi, as well, perhaps, as a few tissues. The hitatare could be worn 'half-off', that is, the upper half was allowed to hang about the waist, and this would be done when engaging in impromptu wresting matches or, occasionally, shows of swordsmanship or archery (in other words, for martial purposes). By the Edo Period, the hitatare gave way to the kamishimo. The kamishimo consisted of a two-piece costume worn over a kimono. This is probably the most well known samurai dress. The upper piece was called the kataginu, and was essentially a sleeveless jacket or vest with exaggerated shoulders. Alternatively, a long sleeved coat, the haori , could be worn, especially when traveling or in bad weather. The lower piece was the hakama: wide, flowing trousers somewhat like those found in the older hitatare. The kamishimo would normally be composed of the same material, and was more likely to reflect the status of its wearer than not. The Edo Period was an extremely status-conscious time in Japanese history and this was nowhere more the case then among the samurai. Style was, as always, important, but subject to much greater regulation. The kamishimo was normally worn outside of the house, or when expecting visitors. Otherwise, the trusty kimono would do. The samurai's hair was an important part of his appearance, and most texts and house-codes of the samurai make reference to the importance of its neat appearance. The traditional hairstyle (for the better part of a thousand years) was the topknot, a fashion by no means exclusive to the samurai. Nearly everyone, with the exception of Buddhist priests, wore topknots, making the genesis of this style nearly impossible to guess at it with authority. There is reference to the use of topknots in ancient China, and it might have been one of the many cultural imports introduced to Japan between the Asuka-Nara and Heian Periods. Needless to say, there was any number of styles of topknot by the Edo Period. The chasen-gami , for instance, was produced by wrapping a piece of string around the length of the topknot, producing a spray of hair at the end that resembled a tea wisk. The topknot would then either be worn back or forward, hanging over the center of the head. The mitsu-ori was a style popular in the later 16th Century. The hair was well oiled and formed into a queue and folded forward on the head, then back again, and was tied in place. An abbreviated version, the futatsu-yori, was only folded forward before being tied, and was trimmed with a razor to give the front an almost solid appearance. Interestingly, these styles were not uncommon among the lower classes. The style of shaving part of the frontal part of one's head was supposedly developed as making helmet wear more comfortable. By the early Edo Period it had become a simple fashion, and was adopted by many outside the samurai class. There seems to have been no special ordnances or something of the sort regarding the wear of one's hair, though doubtlessly 'house rules' applied. Facial hair was common prior to the Edo Period, and was, unsurprisingly, a show on manliness on the part of the wearer. Moustaches were popular, and among generals these could become quite distinctive. Beards (while typically thin) were also worn, particularly because they made wearing helmet cords more comfortable (as anyone who has worn a military helmet for an extended period of time might sympathize with). Beards appear to have fallen out of favor and/or popularity in the Edo Period, and to this day they are rather rare among Japanese men. For headgear out of armor, powerful samurai (daimyô/shugo or their important retainers) would wear eboshi, a cap of black silk gauze stiffened with a black lacquered paper lining. The cap was held in place either by a white cord, or was pinned to the samurai's topknot. The size and shape of the cap was largely dependant on the samurai's rank, though the use of eboshi was reserved for only the most formal of events by the 16th Century. As may be expected, the basic clothing item in a samurai's 'everyday' wardrobe was the kimono, which for men normally consisted of an outer and inner layer. Heavier kimonos were worn in the winter, while lighter examples (those made of finer silk, for instance) were worn in the summer. In fact, there was a ceremonial day where winter kimonos were exchanged for their summer counterparts, traditionally on the 1st day of the Fourth Month (by our reckoning, in the first week of May). A samurai's kimono would normally be made of silk, a material considered superior to cotton and hemp not only for its feel and appearance but for it's relative coolness in the hot Japanese summer. (Incidentally, kimono makers traditionally reckoned on one roll of silk measuring about two feet by 20 yards for one kimono). Naturally, the quality of a kimono a given samurai might wear largely depended on his personal station and income, though, at least prior to the Edo Period, there were no hard and fast rule in this regard. Hojo Soun, for instance, touches on the matter of clothing in his 21 Articles, "Don't think your swords and clothing should be as good as those of other people. Be content as long as they don't look awful. Once you start acquiring what you don't have and become even poorer, you'll become a laughingstock."1 Exceptionally bright colors and outlandish patterns were typically avoided or sneered upon as a show of immodesty or conceit. On the same token, women of samurai families tended to wear kimono layers and colors dependant upon the station and/or power of their husband. Samurai children, however, were dressed rather flamboyantly, and a more subdued appearance was one of the results of the coming-of-age ceremony. Older samurai tended towards shades of gray or brown, in keeping with their dignified age. Beneath the kimono, a loincloth (fundoshi) was worn, of which there were two varieties. One was essentially a wrap that, for lack of a better description, resembled a diaper (familiar to anyone who has witnessed or seen footage of some of modern Japan's more esoteric festivals); the other type (more often worn under armor) was a long piece of material worn down the front of the body. A loop slung around the neck fastened the top of the loincloth while the other end was pulled up around the other side of the abdomen and tied around the front of the lower waist with cords. Samurai had the option of wearing socks, called tabi, which included a space to separate the big toe from the other toes (to facilitate the wearing of sandals). Tabi worn in an everyday capacity were normally white and were tailored to the season. Footwear generally consisted of sandals (waraji) and wooden clogs (geta). Sandals were made from various sorts of material, including straw, hemp, and cotton thread. Clogs were generally associated with the lower classes (geisha, for instance, and kabuki actors are often depicted wearing geta) though samurai wore them from time to time. The Tale of the Heike, for instance, mentions that the powerful Taira Kiyomori wore clogs, though it was considered sufficiently unusual to find its way into puns composed by his rivals. Bearskin boots were at one time popular, especially with armor, but by the 16th Century had come to be considered archaic. For rainy days, samurai, like everyone else, wore raincoats made out of straw (kappa) and availed themselves of folding umbrellas (which looked rather like Victorian era parasols, complete with decoration). Between the 12th and 17th Century, the hitatarestyle of dress was popular. Unlike the common kimono, hitatare was a two-piece costume, though comparably flowing and ample (Yoroi hitatarewas a snugger version for use under armor). This costume, for a possible frame of reference, is what most of the samurai wear in Japanese movies set prior to the Edo Period (the oft-mentioned Kagemusha, Ran, Throne of Blood, Heaven and Earth, ect...). Generally worn when in some 'official' capacity, the hitatare were normally adorned with the crest (or mon) of their immediate family or clan, or, in the case of relatives or direct retainers of the lord, the crest of the daimyô or shugo. Decorative bows also often adorned hitatare, normally worn on the breast. As with the standard kimono, the samurai's swords were normally thrust through a belt (obi) worn wrapped around the waist and tied in front. Alternatively (and again in 'official' circumstances) the main sword could be slung by cords from the obi (in a fashion more akin to a western dress uniform convention) while the short sword (Wakizashi) or knife (tanto) was worn through the Obi. Regardless, the sword was ALWAYS worn on the left side, probably a case of a practical consideration (ease of drawing) that became more fashion oriented (after all, there were certainly some left-handed samurai...). Indoors, the samurai might dispense with his long sword, but always kept some form of weaponry on his person, even if the simple dagger. A daimyô could expect a page to carry his sword for him, though typically only in the most formal of circumstances. (Traditionally, pages or trusted or honored men would carry a lord's sword and bow for him, especially in ceremonial circumstances. By the 16th Century, few daimyô bothered with keeping bows around their person, even for formalities.). In addition, a simple folding fan might be tucked in the obi, as well, perhaps, as a few tissues. The hitatare could be worn 'half-off', that is, the upper half was allowed to hang about the waist, and this would be done when engaging in impromptu wresting matches or, occasionally, shows of swordsmanship or archery (in other words, for martial purposes). By the Edo Period, the hitatare gave way to the kamishimo. The kamishimo consisted of a two-piece costume worn over a kimono. This is probably the most well known samurai dress. The upper piece was called the kataginu, and was essentially a sleeveless jacket or vest with exaggerated shoulders. Alternatively, a long sleeved coat, the haori , could be worn, especially when traveling or in bad weather. The lower piece was the hakama: wide, flowing trousers somewhat like those found in the older hitatare. The kamishimo would normally be composed of the same material, and was more likely to reflect the status of its wearer than not. The Edo Period was an extremely status-conscious time in Japanese history and this was nowhere more the case then among the samurai. Style was, as always, important, but subject to much greater regulation. The kamishimo was normally worn outside of the house, or when expecting visitors. Otherwise, the trusty kimono would do. The samurai's hair was an important part of his appearance, and most texts and house-codes of the samurai make reference to the importance of its neat appearance. The traditional hairstyle (for the better part of a thousand years) was the topknot, a fashion by no means exclusive to the samurai. Nearly everyone, with the exception of Buddhist priests, wore topknots, making the genesis of this style nearly impossible to guess at it with authority. There is reference to the use of topknots in ancient China, and it might have been one of the many cultural imports introduced to Japan between the Asuka-Nara and Heian Periods. Needless to say, there was any number of styles of topknot by the Edo Period. The chasen-gami , for instance, was produced by wrapping a piece of string around the length of the topknot, producing a spray of hair at the end that resembled a tea wisk. The topknot would then either be worn back or forward, hanging over the center of the head. The mitsu-ori was a style popular in the later 16th Century. The hair was well oiled and formed into a queue and folded forward on the head, then back again, and was tied in place. An abbreviated version, the futatsu-yori, was only folded forward before being tied, and was trimmed with a razor to give the front an almost solid appearance. Interestingly, these styles were not uncommon among the lower classes. The style of shaving part of the frontal part of one's head was supposedly developed as making helmet wear more comfortable. By the early Edo Period it had become a simple fashion, and was adopted by many outside the samurai class. There seems to have been no special ordnances or something of the sort regarding the wear of one's hair, though doubtlessly 'house rules' applied. Facial hair was common prior to the Edo Period, and was, unsurprisingly, a show on manliness on the part of the wearer. Moustaches were popular, and among generals these could become quite distinctive. Beards (while typically thin) were also worn, particularly because they made wearing helmet cords more comfortable (as anyone who has worn a military helmet for an extended period of time might sympathize with). Beards appear to have fallen out of favor and/or popularity in the Edo Period, and to this day they are rather rare among Japanese men. For headgear out of armor, powerful samurai (daimyô/shugo or their important retainers) would wear eboshi, a cap of black silk gauze stiffened with a black lacquered paper lining. The cap was held in place either by a white cord, or was pinned to the samurai's topknot. The size and shape of the cap was largely dependant on the samurai's rank, though the use of eboshi was reserved for only the most formal of events by the 16th Century.

itoy nangangahulogan sa mga tao na ang mundo ay hindi paralang sa kanila,lalong lalo na sa mga masasamang tao









Ni Natsumi Soseki Salin ni Aurora E. Batnag
Paakyat sa landas ng bundok, nakapag-isip-isip ako. Kapag laging utak ang pinapangibabaw mo, magiging malupit ka, sumagwan ka sa ilog ng emosyon at matatangay ka ng agos. Palayain mo naman ang iyong mga hangarin at di ka mapakali sa iyong pagkakakulong. Hindi kasiya-siyang mamuhay rito, sa daigdig na ito. Habang lumulubha ang pagkayamot,ibig mong tumakas kung saan higit na magaan ang buhay. Pagdating lang sa puntong una mong napag-isip-isip na sadyang mahirap mabuhay kahit malayo na ang narating mo, saka isinisilang ang isang tula, o nalilikha ang isang larawan. Ang mundong ito ay di likha ng Diyos o ng demonyo kundi ng mga karaniwang tao sa ating paligid; yaong mga nakatira sa tapat o sa kapitbahay, na tinatangay ng pang-araw-araw na agos ng pamumuhay. Maaaring napakahirap mabuhay sa mundong ito na nilikha ng mga karaniwang tao pero may iba pa bang mapupuntahan? Kung mayroon man,tiyak iyon ay isang lupaing ³di-pantao´, at anong malay natin,baka mas kasumpasumpa pa ang mundong iyon kaysa rito? Hindi tayo makatatakas sa daigdig na ito. Samakatuwid, sa hirap ng buhay, wala kang magagawa kung di magpakaginhawa sa taghirap, bagamat maikling panahon lamang ang kaya mong tiisin, upang kahit papaano¶y makaya mo ang iyong maikling buhay. Sa puntong ito nagsisimula ang bokasyon ng isang alagad ng sining at dito rin itinatalaga ng langit ang gawain ng isang pintor. Pasalamatan mo ang langit dahil sa mga tao na sa iba¶t ibang paraan ng kanilang sining, ay naghahatid ng katiwasayan sa mundo at nagpapataba ng mga puso. Alin sa mundo ang lahat ng alalahanin at problemang nagpapabigat sa buhay sa halip ay ilarawan ang isang daigdig na punung-puno ng biyaya at pagmamahal. Magkakaroon ka ng musika, ng isang larawan, o tula, o iskultura. Hindi lang ito, idaragdag ko pang hindi kailangang magkatotoo ang pananaw na ito. Sapat nang ilarawan sa isip at magkakabuhay ang tula, magkakahimig ang awit. Bago mo pa man isulat ang iyong inisip, mararamdaman mong parang napupuno ang iyong dibdib ng kristal na taginting ng mga kampanilya; at kusang magliliwanag sa iyong mga mata ang lahat ng maningning na kulay, kahit di nagagalaw sa kabalyete ang iyong kanbas na di pa nahahaguran ng pintura. Sapat nang magkaroon ka ng ganitong pananaw sa buhay at ang marumi¶t bulgar na mundong ito ay magiging malinis at maganda sa mga mata ng iyong kaluluwa. Maging ang makata na wala pang naisusulat kahit isang taludtod, o ang pintor na walang pintura at wala pang naipipinta kahit isang bahagi ng kanbas, ay makatatagpo ng kaligtasan, at makaaangat sa mga makamundong hangarin at damdamin. Kailanma¶t ibig, mapapasok nila ang isang daigdig ng dalisay na kalinisan, at kapag naitapon ang pagkakasakim at pagkamakasarili, ay makapagbubuo ng walang katulad at di mapantayang daigdig. Sa lahat ng ito, higit pa silang maligaya kaysa sa mayayaman at tanyag; kaysa sa sino mang panginoon o prinsipeng nabuhay sa mundong ito; tunay na mas maligaya kaysa sa lahat ng nagtatamasa ng pagmamahal sa bulgar na mundong ito.
Pagkaraang mabuhay nang dalawampung taon, napag-isip-isip kong karapatdapat mamuhay sa mundong ito. Sa edad na beinte-singko, naunawaan ko na tulad ng liwanag at dilim na magkabilang tabi ng iisang bagay, saan man may liwanag ng araw, tiyak na may anino. Ngayon, sa edad na treinta, ganito ang nasasaisip ko: sa kailaliman ng kaligayahan, naroroon ang kalungkutan; at kung lalo kang maligaya, lalo ring matindi ang sakit. Subukin mong ihiwalay sa lungkot ang tuwa at mawawalan ka ng kapit sa buhay. Itabi mo ang mga ito sa isang sulok at guguho ang mundo. Mahalaga ang pera, pero kapag naipon, di ba nagiging problema lamang ito na bumabagabag hanggang sa pagtulog? Ang pag-ibig na nakatutuwa pero kapag nagkapatung-patong ang mga kagalakang ito hahanap-hanapin mo ang mga araw noong di mo pa kilala ang tuwa. Ang mga balikat ng estado, ang Gabinete, ang nagsusuporta ng mga pasanin para sa milyun-milyon, ang mga paa nito; at pabigat sa kanila ang mga sagutin ng gobyerno. Iwasan mong kumain ng napakasarap na bagay, at pakiramdam mo¶y may nakaligtaan ka. Kaunti lamang ang kainin mo at pagtindig mo sa mesa, mararamdaman mong gusto mo pang kumain. Kumain ka nang napakarami at pagkaraan ay sasama ang pakiramdam mo. Sa bahaging ito ng paglalakbay ng aking isip, napatapak ang aking kanang paa sa isang matulis na bato at nadulas ako. Tuluyan na akong bumagsak matapos kong bawiin ang kaliwang paa na bigla kong naisipa sa pagtatangkang mabalanse ang katawan ko. Mabuti na lamang at napaupo ako sa isang malaking bato na may lapad na tatlong piye, kaya ang nangyari lamang ay nakalog ang kahon ng pintura na nakasukbit sa aking balikat. Swerte na lamang at walang nasira. Nang tumayo ako at tumingin sa paligid, napansin ko sa dakong kaliwa ng landas ang isang namumukod na tuktok na korteng baliktad na balde. Nababalutan ito mula ibaba hanggang itaas ng makapal na berdeng puno, na di ko makilala kung cryptomeria o sipres. Sumasalit sa mga dahon ang ilang kumpol ng ligaw na cherry na kulay maputlang pula at dahil sa napakakapal na ulap sa ibabaw tila naglanguyan at naghalo ang mga kulay at imposibleng makita nang malinaw ang mga puwang sa pagitan ng mga puno at sanga. Nasa di kalayuan ang isang kalbong bundok. Namumukod ito sa paligid at parang abot-kamay lamang ang layo. Parang pinalakol ng isang higante ang walang kapunu-punong gilid nito at napakatarik ng batuhang mukha na diretsong pababa sa kapatagang nasa kailaliman. Sa tingin ko¶y pulang pino ang nag-iisang punong iyong nasa tuktok. Kitang-kita maging ang mga piraso ng langit na masisilip sa pagitan ng mga sanga. May dalawampung yarda sa dako pa roon, biglang naputol ang landas, pero pagtingala ko, may nakita akong isang pigurang nakabalot ng pulang kumot na pababa sa gilid ng bundok, at naitanong ko sa aking sarili, makarating kaya ako roon kung aakyat ako. Terible ang daang ito. Kung lupa lamang ito, hindi sana ganito katagal lakarin, pero may nakabaong malalaking bato sa daan.
Mapapantay mo ang lupa, pero nakausli pa rin ang mga bato. Mapagpipirapiraso mo ang maliliit na bato, pero hindi ang malalaki. Hindi mo maaalis ang mga batong iyon. Ang mga bato ay parang nangungutya at tiwalang-tiwala sa sarili na nakapwestong di masusupil sa tambak ng di patag na lupa. Wala yatang daan dito na di mo muna paghihirapan. Kung gayon, dahil ayaw magparaan ng ating kalabang di mapagbigay, kailangang umakyat tayo o kaya¶y ikutan ito. Hindi pa rin madaling lakarin ang lugar na ito kahit hindi ito mabato. Mataas ang magkabilang tabi at may hukay sa gitna ng landas. Ang hukay na ito ay mailalarawan sa pamamagitan ng heometriya. Tatsulok ito na ang lapad ay may anim na piye, na ang mga gilid ay nagtatagpo sa isang matulis na anggulo, na nasa gitna ng landas. Para kang naglalakad sa ilalim ng ilog sa halip nasa isang landas. Dahil sa simula pa¶y di ko na inisip na magmadali, magdahan-dahan lang ako sa paglakad at haharapin ang di mabilang na paliku-liko kapag nanduon na. Sa ibaba ng aking kinatatayuan, biglang umawit ang isang pipit. Ngunit kahit gaano ko pa man titigan ang kapatagan, talagang ni anino ng ibon ay di ko makita; ni hindi ko malaman kung saan ito naroroon. Malinaw kong naririnig ang tinig nito, pero hanggang doon lamang. Dahil malakas at walang tigil ang pagawit ng ibon, pakiramdam ko¶y masiglang nagpaparoo¶t parito ang hangin para matakasan ang nakaiinis na kagat ng libu-libong pulgas. Talagang hindi tumigil ang ibong iyon kahit saglit. Para bang hindi ito masisiyahan hangga¶t hindi nakaaawit nang husto araw at gabi sa buong nakasisiyang tagsibol; at hindi lamang umawit kundi patuloy na lumipad magpakailanman. Walang dudang doon na mamamatay ang pipit sa itaas ng ulap. Maaring sa pinakaitaas ng kanyang paglipad, mararating ng pipit ang lumulutang na ulap at doo¶y lubusang maglalaho hanggang sa tanging boses na lamang ang maiiwan, na ikinukubli ng hangin. Biglang lumiko ang landas sa isang nakausling kanto ng bato. Ang isang bulag ay maaring magtuluy-tuloy hanggang sa bingit, pero naiwasan ko ang peligro at nakuha kong kumanan. Sa ibaba, natanaw ko ang mga rape-blossom na parang alpombrang nakalatag sa kapatagan. Mapapadpad kaya roon ang isang pipit? ± Hindi. Siguro, naisip ko, lilipad ito mula sa mga ginintuang bukirin. Pagkaraa¶y inilarawan ko sa isip ang dalawang pipit, ang isa¶y pasisid habang ang isa nama¶y paitaas, nagkasalubong sa paglipad. Sa wakas ay naisip kong pasisid man o paitaas o magkasalubong man sa paglipad, malamang magpapatuloy pa rin ang masiglang pag-awit ng pipit. Sa tagsibol, inaantok ang lahat. Nalilimutan ng pusa na manghuli ng daga, at nalilimutan ng tao ang kanilang mga utang. Kung minsan, pati kaluluwa¶y nalilimutan nila at sila¶y nagmimistulang tuliro. Ngunit nang tanawin ko ang dagat na iyon ng mga rapeblossom, waring natauhan ako. At nang marinig ko ang awit ng pipit, naglaho ang ulap at muli kong natagpuan ang aking kaluluwa.Hindi lamang lalamunan ang umaawit sa pipit, kundi ang kabuuan nito. Sa lahat ng nilalang na maaaring magsatinig sa mga gawain ng kaluluwa, walang sinlakas at buhay na buhay na gaya ng pipit. Tunay itong kaligayahan. Kung nasasaisip mo ito at maaabot mo ang ganitong antas ng kaligayahan, iyon ay tula. Biglang pumasok sa isip ko ang tula ni Shelley tungkol sa pipit. Tinangka kong bigkasin, pero dadalawa o tatlong saknong lang ang naaalala ko. Narito ang ilang taludtod:
Lumilingon at tumatanaw Hinahangad ang wala sa kamay: May halong pait Ang pinakamatapat mang halakhak, Pinakamatamis ang awit tungkol Sa pinakamatinding sakit.
Gaano man kaligaya ang makata, hindi niya maibubuhos sa awit ang kanyang galak tulad ng malaya at walang pakialam na taos-pusong pag-awit ng pipit. Madalas gamitin sa Kanluraning panulaan, at makikita rin sa panulaang Tsino, ang pariralang ³di mabilang na bushel ng kalungkutan.´ Marahil, bushel ang ginagamit sa pagsukat sa lungkot ng makata, samantalang sa kariniwang tao ay ni hindi pa makapupuno ng pint man lamang. Marahil, ngayong napag-isip-isip ko, dahil mas mapagalala ang makata kaysa sa karaniwang tao, mas matalas ang kanyang pakiramdam. Totoong may mga sandaling nakadarama siya ng di masukat na tuwa, pero mas madalas din naman siyang nakadama ng di masukat na lungkot. Dahil dito, dapat munang isaalang-alang na mabuti bago ka magpasiyang maging makata.Dito, pantay-pantay ang landas nang may ilang hakbang. Nasa kanan ang burol na natatakpan ng mga palumpong, at sa kaliwa naman, hanggang sa maaabot ng tanaw ay puro rape-blossom. Sa magkabila, nakatapak ako ng mga dandelion, na may mga dahong parang ngipin ng lagari na nakatayong nagmamalaki upang ipagtanggol ang ginintuang lobo sa gitna. Nakapanghihinayang dahil sa katatanaw ko sa mga rape-blossom ay natapakan ko ang mga dandelion. Pero paglingon ko, nakita kong di nagalaw ang mga ginintuang lobo sa pagitan ng mga nagsasanggalang na dahon. Kaylayang buhay! Binalikan kong muli ang aking iniisip. Siguro, hindi mawawala sa makata ang kalungkutan, pero nang marinig kong umaawit ang pipit, ni katiting na sakit o lungkot ay wala akong naramdaman; at pagtingin ko sa mga rape-blossom, ang tanging alam ko¶y lumulukso at sumasayaw ang aking puso. Gayon din ang nadama ko nang makita ang dandelion at ang namumukadkad na cherry, na ngayo¶y nawala na sa aking paningin. Doon sa kabundukan, malapit sa kagalakang hatid ng kalikasan, lahat ng makikita mo at maririnig ay nakasisiya. Ito¶y galak na di mababawasan ng alinmang hirap. Posibleng manakit ang mga binti mo, o maaring sabihin mong wala kang makaing masarap, pero iyon lang, at wala nang iba. Bakit kaya ganito? Siguro, dahil pagtingin mo sa tanawin para bang nakatingin ka sa isang larawang binuksan para sa iyo, o kaya¶y nagbabasa ka ng tula sa isang iskul. Sarili mo ang buong paligid, pero dahil iyo¶y gaya ng larawan o tula, hindi mo naiisipang paunlarin ito, o magkapera sa pamamagitan ng pagtatayo ng riles mula sa siyudad. Wala kang inaalalang anuman sapagkat tanggap mo ang katotohanang walang magagawa ang tanawing ito para busugin ka o kaya¶y dagdagan ng kahit kusing ang iyong suweldo, kaya kuntento ka nang pagmasdan na lamang ito. Ito ang malaking pang-akit ng Kalikasan na sa isang kisap-mata, madidisiplina nito ang puso at isip, maisasantbi ang lahat ng paghamak, at ihahatid ang mga ito sa dalisay at walang dungis na daigdig na tula. Sa obhetibong pananaw, masasabing maganda ang pagmamahal ng isang lalaki sa kanyang asawa o sa kanyang mga magulang, at mainam maging tapat at makabayan. Ngunit kapag kasangkot ka na sa mga ito, bubulagin ka ng marahas na agos ng mga kontra at kampi, mga bentaha at disbentaha, at di mo na makikita ang ganda at kinang, at tuluyan nang maglalaho ang tula. Para mapahalagahan ang tula, kailangang lumagay ka sa lugar ng miron na dahil puwedeng lumayo, ay makikita ang tunay na nangyayari. Sa puwestong ito lamang magiging nakasisiya ang isang nobela o dula dahil malaya ka sa mga personal na interes. Makata lamang habang nanonood o nagbabasa, at di ka pa aktuwal na kasangkot.Pagkasabi nito, dapat kong amining karamihan ng mga dula at nobela ay puno ng pagdurusa, at pagluha, kaya kahit miron lamang ay di maaaring di masangkot sa emosyon. Matatagpuan na lamang niya, na sa isang punto ay karamay na siya, at nagdurusa rin, naiinis, nagiging palaaway, at umiiyak. Sa ganitong pagkakataon, ang tanging bentaha sa kanyang puwesto ay ang pagyayaring hindi siya apektado ng ano mang damdamin ng kasakiman o paghahangad ng personal na ganansiya. Ngunit ang kawalan niya ng interes ay nangangahulugang ang ibang mga damdamin niya¶y higit pang matindi sa karaniwan. Kaysaklap naman! Sa loob ng mahigit na tatlumpong taon ng pamumuhay sa daigdig na ito, labis na ang nararanasan kong pagdurusa, galit, paglaban, at kalungkutan na di napapawi; at talagang napakahirap kung paulitulit na matatambakan ng pampagising sa mga emosyong ito kapag nagpupunta ako sa teatro, o kapag nagbabasa ako ng mga nobela. Ibig ko ng tulang naiiba sa karaniwan, at nag-aangat sa akin, kahit pansamantala, mula sa alikabok at dumi ng pang-araw-araw na buhay; hindi yaong nagpapatindi nang higit sa karaniwan sa aking damdamin. Walang duda, gaano man kadakila, na walang emosyon at iilang nobela ang tiwalag sa konsepto ng tama at mali. Tatak na ng nakararaming mandudula at nobelista ang kawalang kakayahang humakbang palabas sa makamundong ito. Ang mga kalikasang pantao ang sentro ng paksa ng mga Kanluraning makata sa partikular kaya di nila pinapansin ang daigdig ng dalisay na panulaan. Dahil dito, pagdating sa dulo ay mapapahinto sila dahil hindi nila alam kung may matatagpuan pa sa dako pa roon. Kuntento na silang talakayin ang karaniwang itinitindang simpatiya, pag- ibig, katarungan, at kalayaan, na pawang matatagpuan sa pansamantalang palengke na tinatawag nating buhay. Maging ang pinakamatulin sa mga ito ay abalang-abala sa pangaraw-araw na gawain, kaya ni hindi na nagkakapanahong kalimutan ang susunod na pagbabayaran. Hindi kataka-takang nakahinga nang maluwag si Shelley nang marinig niya ang awit ng pipit. Mabuti na lamang at paminsanminsan, ang mga makatang Silanganin ay nagkakaroon ng sapat na pagkaunawa upang makapasok sa daigdig ng dalisay na panulaan.
Sa ilalim ng halamang-bakod Sa Silangan pumili ako ng krisantemo, At naglakbay ang aking paningin sa mgaBurol sa Timog.
Dadalawang taludtod, ngunit kapag nabasa mo ang mga ito, lubos mong mamamalayan kung papaanong ganap na nagtagumpay ang makata na makalaya sa mapaniil na mundong ito. Hindi ito tungkol sa babaeng nakasilip sa kabilang bakod; o sa mahal na kaibigang nakatira sa kabilang burol. Ang makata ay nasa ibabaw ng lahat ng ito. Sapagkat natanggal na niya ang lahat ng alalahanin tungkol sa bentaha at disbentaha, tubo at pagkalugi, natamo na niya ang dalisay na takbo ng isip.
Nag-iisa, sa gitna ng kawayanan Kinalabit ko ang kuwerdas; At mula sa aking alpa Pumailanlang ang nota.
Sa madilim at di dinadaanang landas Tumatanglaw ang buwan sa pagitan ng mga dahon.
Sa pagitan ng iilang maikling linyang ito, isang buo at bagong mundo ang malilikha. Ang pagpasok sa mundong ito ay di tulad ng pagpasok sa mundo sa mga popular na nobelang gaya ng Hototogisu at Konjiki Yasha. Para itong pagtulog nang mahimbing at pagtakas sa nakapapagod na mga bapor, tren, karapatan, tungkulin, moral, at kagandahang- asal. Ang uring ito ng tula, na hiwalay sa mundo at sa mga problema nito, ay sing-halaga ng pagtulog upang matagalan natin ang bilis ng pamumuhay sa ikadalawampung dantaon. Gayon man, sa kasamaang palad, lahat ng makabagong makata, kabilang na ang kanilang mga mambabasa, ay labis na nabighani sa mga Kanluraning manunulat kaya hindi makuhang maglakbay sa lupain ng dalisay na tula. Hindi ko talagang propesyon ang pagtula, kaya hindi ko intensiyong mangaral tungkol sa makabagong panulaan, upang mapagbagong-loob ang iba na sumunod sa uri ng pamumuhay nina Wang Wei at Tao Yuan-Ming. Sapat nang sabihing sa aking opinyon, ang inspirasyong natatamo sa kanilang mga akda ay higit pang mabisang panlaban sa mga problema ng makabagong pamumuhay kaysa sa panonood ng sine o pagdalo sa mga sayawan. Bukod dito, para sa akin, ay higit na kasiya-siya ang ganitong uri ng tula kaysa sa Faust o Hamlet. Ito ang tanging dahilan kung bakit pagdating ng tagsibol, mag-isa kong nilalakad ang landas sa bundok, sukbit sa balikat ang aking tripod at kahon ng pintura. Hinahanap-hanap kong makuha mula sa Kalikasan mismo ang kahit na bahagyang atmospera ng daigdig nina Yuan-Ming at Wang Wei; at kahit pansamantala lamang, naglalakad-lakad ako sa lupaing lubusang hiwalay sa mga pandama at emosyon. Ito'y isang kakatwang ugali ko. Mangyari pa, tao lamang ako. Kaya gaano man kahalaga sa amin ang ganitong napakasarap na pagkatiwalag sa mundo, may hanggan kung saan ako makapag-iisa sa isang panahon. Hindi ako naniniwalang maging si Tao Yuan-Ming ay walang tigil na pinagmasdan ang mga Katimugang burol sa loob ng ilang taon. Ni hindi ko mailarawan sa isip si Wang Wei na natutulog sa kanyang pinakamamahal na kawayanan nang walang kulambo. Malamang, ipinagbibili ni Tao sa isang magbubulaklak ang lahat ng krisantemong di na niya kailangan, samantalang naunahan naman ni Wang ang gobyerno sa pagbebenta ng labong sa lokal na pamilihan. Iyan ang uri ng pagkatao ko. Gaano man ako naakit sa pipit at sa mga rape-blossom, mortal pa rin ako at di nagnanais magkamping sa gitna ng kabundukan. May makikilala ka kahit sa isang lugar na tulad nito; sa isang matandang lalaki na nakapaloob sa likod ang kimono at may bandang nakabuhol sa baba; isang kabataang babaeng nakapaldang pula; kung minsan, may makakasalubong ka pang kabayo na ang mukha ay higit na mahaba kaysa sa tao. May bahid pa rin ng amoy ng mga tao ang hangin kahit dito sa taas na ilang daang piye mula sa kapatagan ng dagat. Hindi yata tamang sabihing "may bahid ", dahil inaakyat ko ang bundok na ito sa pag-asang makapagpalipas ng gabi sa isang otel sa mga mainit na bukal na Nakoi. Depende sa kinaroroonan mo, ang isang bagay ay maaring magmukhang ibang-iba. Minsan,sinabi ni Leonardo da Vinci sa isang estudyante: " Pakinggan mo ang tunog ng kampanang iyon. Iisa lang ang kampana, pero maririnig mo ito sa napakaraming paraan." Dahil sa subhetibo ang paghuhusga natin, maaring magkaiba-iba ang mga opinyon tungkol sa iisang tao, lalaki man o babae. Sa ano't ano man, dahil ang layunin ko sa paglalakbay na ito ay pagtagumpayan ang emosyon, at masdan ang mga bagay-bagay nang walang damdamin tiyak na iba na ang tingin ko sa mga tao ngayon kaysa noong namumuhay pa ako sa piling nila sa isang masikip na klayenon sa magulo at isinumpang siyudad - ang daigdig ng tao. Di man ako maging ganap na obhetibo, kahit papaano, ang damdamin ko'y di dapat maging mas matindi pa kaysa kung ako'y nanonood ng dulang Noh. Kung minsan, maging ang Noh ay nagiging sentimental. Papaano makatitiyak na hindi ka paluluhain ng Shickikiochi o Sumidagawa? Gayon man, tunay na emosyon ang treinta porsiyento ng Noh, at teknik naman ang natitirang sitenta porsiyento nito. Ang husay at pang-akit ng Noh ay hindi dahil mahusay nitong ipinamamalas ang emosyon at ugnayang pantao na parang tunay na buhay kundi dahil humahango ito ng mga pangyayaring pangkaraniwan saka ito dinadamitan ng patung-patong na sining, upang makalikha ng mabagal at halos nakaaantok na modelo ng kaasalan, na di makikita sa tunay na buhay. Ano kaya ang mangyayari, kung habang isinasagawa ko ang maikling paglalakbay na ito, ay ituturing kong bahagi ng dulang Noh ang mga pangyayari, at ang mga taong nakikilala ko ay mga aktor. Dahil tula ang pangunahing layunin ng paglalakbay na ito, ibig kong samantalahin na ang pagkakataon ng pagiging malapit sa kapaligirang Noh sa pamamagitan ng pagtitimpi sa aking mga emosyon hangga't maari, bagamat alam kong hindi ko lubusang maisasantabi ang mga iyon. Ang "Katimugang mga Burol" at mga "Kawayanan", ang pipit at mga rape-blossom ay may taglay na sariling karakter, na ibang-iba sa sangkatauhan. Gayon man, hangga't maari, ibig kong pagmasdan ang mga tao mula sa punto de bista ng dalisay na mundo ng tula. Kay Bassho, kahit ang kabayong umiihi sa tabi ng kanyang unan ay eleganteng paksa ng Hokku. Mula ngayon, ituturing ko na ring bahagi lamang ng pangkahalatang kanbas ng Kalikasan ang lahat ng makita kong magsasaka, negosyante, klerk sa nayon, matandang babae at lalaki. Alam kong naiiba sila sa mga pigura sa isang larawan, dahil bawat isa'y kikilos ayon sa gusto niya. Gayun pa man, sa palagay ko'y bulgar ang pagsusuri ng karaniwang nobelista sa kanilang mga tauhan, ang pagtatangka nilang silipin ang isipan ng mga ito at ang pakikialam sa pang-araw-araw nilang mga problema. Walang halaga sa akin kahit gumagalaw ang mga tao, dahil iisipin kong sila'y gumagalaw sa larawan lamang; at ang mga pigura sa isang larawan, gumalaw man nang gumalaw, ay nakakulong sa dadalawang dimensiyon. Siyempre, kung iisipin mong may tatlong dimensiyon sila, magkakaroon ng kumplikasyon dahil makikita mo na lamang na natutulak ka, at minsan pa, mapipilitan kang pag-isipan ang inyong pagbabanggaan ng mga interes. Maliwanag na imposible para kanino mang nasa sitwasyong ito na tingnan ang mga bagay sa punto de bista ng sining. Mula ngayon, magiging obhetibo ako sa pagmamasid sa lahat ng makikilala ko. Sa ganitong paraan, makaiiwas ako sa ano mang ugnayang emosyonal na maaring mamagitan sa aming dalawa, kaya hindi ako maaapektuhan gaano man siya kalapit sa akin. Sa maikling salita, para lang akong nakatayo sa harap ng isang larawan , nagmamasid sa masiglang kilos ng mga tauhan dito. Sa layong tatlong piye mula sa kanbas, mahinahon mo itong mapagmamasdan, dahil walang panganib na masasangkot. Sa ibang salita, hindi maaagaw ng sariling interes ang iyong kakayahang mag-iisip kaya maibubuhos mo ang atensiyon sa pagmamasid sa mga galaw ng mga tauhan mula sa artistikong pananaw. Nangangahulugang maibubuhos mo nang husto ang iyong pansin sa paghusga sa kung alin ang maganda at alin ang hindi. Nang makabuo ako ng ganitong konklusyon, napatingala ako at napansin kong nagbabanta ang langit. Pakiramdam ko'y nasa tuktok ko na ang bigat ng ulap. Ngunit halos di ko napansin, biglang kumalat ang ulap at ang buong kalangitan ay naging isang napakagandang dagat ng ulap, na naghuhulog ng masinsing patak ng ulang tagsibol. Nasa pagitan na ako ngayon ng dalawang bundok at malayo ang mga rape-blossom. Hindi ko nga lamang masabi kung gaano na kalayo, dahil napakasinsin ng ulan. Paminsan-minsan, may sumasalit na hangin at nahahawi ang mataas na kurtinang ulap, saka lilitaw sa dakong kanan ang maitim na abuhing gilid ng bundok. Tila may mga kabundukang nakalatag sa kabila ng kapatagan. Sa dakong kaliwa, tanaw ko ang paanan ng isa pang bundok, at kung minsan sa kabila ng parang kurtinang ambon, nabubuo ang tila aninong hugis ng mga punong pino, na nalalabas saglit at muling magtatago. Hindi ko alam kung ulan o ang mga puno ang gumagalaw, o kung ang lahat ng nasasaksihan ko ay bahagi lamang ng panaginip. Ano man iyon, sa tingin ko'y ibang-iba sa karaniwan at napakaganda. Sa dakong ito, di ko inaasahang naging napakaluwag ng daanan; dahil pantay ito, ang paglalakad ay hindi napakasakit sa likod na gaya ng dati. Mabuti naman, dahil hindi ko napaghandaan ang ulan mula sa aking sumbrero nang makarinig ako ng pagkuliling ng mga kampanilya sa layong sampu o labindalawang yarda. Mula sa kadiliman, sumulpot ang anino ng kutsero.
"May alam ba kayong matitigilan dito?"
"May tea house sa banda roon, mga isang milya ang layo. Basang-basa na kayo, a!" Isang milya pa! Lumingon ako at pinagmasdan ang kutsero na nagmimistulang anino sa isang umaandap na mahiwagang lampara, hanggang sa unti-unting sumanib ang anyo nito sa ulan at lubusang mawala sa paningin. Ang mga patak ng ulan, na kanina'y parang pinung-pinong ipa na tinatangay ng hangin, ay papalaki na ngayon at papahaba, at nakikita ko nang buo ang bawat patak. Basang-basa na ang aking haori at ang ulang bumabasa maging sa aking mga panloob na kasuotan, ay maligamgam na sa init ng aking katawan. Napakakawawa ng pakiramdam ko kaya itinakip ko sa isang mata ang aking sumbrero at binilisan ang paglakad. Kung sa iba mangyayari ito, naisip ko na ang pagkabasa sa ulan na napaliligiran ng di mabilang na patak ng pilak habang naglalakad sa abuhing kalawakan, ay magandang paksa ng isang kahangahangang tula. Kapag lubos ko lamang nalimutan ang aking materyal na buhay, at tiningnan ang aking sarili sa isang obhetibong pananaw, saka ko pa lamang maiaakma ang sarili, tulad ng pigura sa larawan sa kagandahan ng Kalikasan sa aking paligid. Sa sandaling mainis ako sa ulan, o mayamot dahil sa pagod na ako sa paglalakad, hindi na ako ang karakter sa isang tula, o ang pigura sa isang larawan, at muli akong mababalik sa dating walang pang-unawa at walang pakiramdam na lalaki sa kalye gaya ng dati. Kung ganoon ay bulag ako sa kagandahan ng nagdaraang ulap; walang pakiramdam sa pagkalagas ng bulaklak o iyak ng ibon, at lalo nang walang pagpapahalaga sa napakagandang larawan ng aking sarili na nag-iisang naglalakad sa kabundunkan isang araw ng tagsibol. Nang una, hinatak ko pababa ang sumbrero at binilisan ko ang paglakad. Nang malaunan, pinagmasdan kong mabuti ang mga paa ko. Sa wakas, talunan at laylay ang mga balikat, humakbang akong parang kawawangkawawa. Sa lahat ng dako, inaalog ng hangin ang mga tuktok ng puno, at pinagmamadali ang ulilang naglalakad. Pakiramdam ko'y napalayo na ako nang husto sa sangkatauhan!




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