Kiyuzo Mifune

The definitive book by the 'God of Judo'

Judo's origins date back to ancient times, and through the course of its long history it has evolved into one of Japan's most renowned heritages, assimilating many aspects of Japanese culture. In recent years, Judo has acquired heightened popularity, both in Japan and around the world, as a martial art and a path to spiritual enlightenment.

Kyuzo Mifune (1883-1965) began Judo as a junior middle-school student, and in 1920 was awarded the rank of 10th dan. Known as the 'God of Judo,' he was so famous that, in referreing to him, the words '10th dan' alone sufficed. Legend has it that in his sixty years of practice he never lost a match and was never thrown.

This book is the completely revised edition of Canon of Judo, originally published in 1960. It is said the book played a big role in founding the International Judo Association, and in helping Judo to become an Olympic sport in 1964.

Shortly before his death Mifune revised his work, and this new edition includes these revisions, as well as correcting flaws in the translaton of the original. It also contains a completely new layout.

With around 1,000 photos of the author and his students, and detailed, thorough explanations of the techniques, The Canon of Judo is the only book of its kind to provide such a comprehensive guide to the various techniques and the spirit of Judo. it wil be an indispensible resource for all Judo practitioners.

Kyuzo Mifune Born n 1883 in Iwate prefecture, Mifune began practicing Judo in his junior middle-school days. He joined the Kodokan in 1903 when he came to Tokyo to attend Waseda University, and became the close disciple of Jigoro Kano, the father of Judo and founder of the Kodokan. From1910, he was a Judo instructor at a number of universities, high schools, and junior high schools. In 1923 he acquired the rank of 7th dan, and became a Kodokan instructor. In 1945 he was awarded 10th dan at the age of sixty-two. He was not physically imposing (159 cm tall and 56 kg), but he made up for that with his persistent hard training and logical, scientific approach to Judo. After developing many new Judo techniques and variations, he came to be known as the 'God of Judo.' He passed away in 1965 at the age of eighty-two. At his hometown, Kuji, a Memorial Gymnasium was erected in his honor, called the Mifunejudan.

Francoise white received a first class degree in Japanese from the School of Oriental and African Studies, University of London, and also studied at Sophia Univrsity, Tokyo. She has a keen interest in martial arts and Japanese culture, and currenty works as a translator of Japanese in London.

Contents

Foreword to the original edition
Notes
Introduction
The history of Judo
The origin of 'Jutsu' (Technique),and its transition to 'do' (Way)
The principles of judo
True meaning of Judo
Two key elements
Key to acquiring Judo
Reason in harmony with nature
Competition in Judo
Judo is a manfestation of truth
The essence of Judo practice
Five main points
Seven disciplines
The essentials of technique
Etiquette
1. Rules before entering waza
Spirit in rei (Mutual resect, bowing)
Correct way of sitting
Zarei (Sitting bow)
Ritsurei (Standing Bow)
2. Posture
Basic Natural posture (Shizen-hontai)
Right natural posture (Migi-shizentai)
Left natural posture (Hidari-shizentai)
Mental attitude in defense posture (Jigotai no kokoro-gamae)
Basic defense posture (Jigo-hontai)
Right defense posture (Migi-jigotai)
Left defense posture (Hidari-jigotai)
3. Warm-up and cool-down exercises
Warm-up exercises
Push-up
Push-up turning left and right
Spring forwarrd
upper ody stretch
Left and right turn of the upper body
Leg sweep practice
Side turn, facing up
crawiling exercise
Bending stretch, facing up
Lower body twist, facing up
Sitting stretch for upper body
Col-down exercises
Side stretches, right and left
Upper body, forward and backward stretch
Deep breathing
The author's mottos for judo
5. The meaning of kuzushi (Breaking balance)
Method of understanding of kuzushi
Kuzushi practice
Direct front kuzushi
Direct rear kuzushi
Right front corner, left front corner kuzushi
Right rear corner, left rear corner kuzushi
Right-side kuzushi/left-side kuzushi
6. Meaning of Free practice-randori
7. Meaning of Form (kata)
8. Essential points to master
9. 'Tsukuri' and 'Kake' (positioning to throw and execution of throw)
Synchronization of arm, leg, and hips
10. Opportunity and method to Apply Technique
11. Philosophy of winning
Five Principles
The First Principle
1. Deashiharai (Foreword foot sweeping)
2. Hiza-guruma (Knee-wheel)
3. Uki-goshi (Floating hip)
4. Sasae-tsurikomi-ashi (Supporting foot lift-pull throw
5. Osoto-gari (Large outer reaping)
6. Tsuri-goshi (Lifting hip throw)
7. Tai-otoshi (Body drop)
8 Tsurikomi-goshi (Lift-pull hip throw)
The Second Principle
9. Kouchi-gari (Small inner reap)
10. Koshi-guruma (Hip wheel)
11. Kosoto-gari (Small outer reap)
12. O-goshi (Large hip throw)
13. Seoi-nage (Shoulder throw)
14. Ouchi-gari (Large inner reap)
15. Kosoto-gake (Small outer hook)
16. Harai-goshi (Hip sweep)
The Third Principle
17. Uchi-mata (Inner thigh reaping)
18. Hane-goshi (Hip spring)
19. Hane-makikomi (Springing wraparound throw)
20. Harai-tsurikomi-ashi (Lift-pull foot sweep)
21. Tomoe-nage (Circular throw)
22. Sukui-nage (Scooping throw)
23. Ashi-guruma (Leg wheel)
24. Ushiro-goshi (Back hip throw)
The Fourth Principle
25. Yoko-guruma (Side wheel)
26. Osoto-guruma (Large outer wheel)
27. Uki-otoshi (Floating drop)
28. Utsuri-goshi (Hip shift)
29. Uki-waza (Floating throw)
30. Tani-otoshi (Valley drop)
31. Yoko-otoshi (Side drop)
32. Yoko-gake (Side body drop)
The Fifth Principle
33. Ura-nage (Back throw)
34. Sumi-otoshi (Corner drop)
35. Yoko-wakare (Side separation)
36. O-guruma (Large wheel)
37. Okuri-ashi-harai (Foot sweep)
38. Sumi-gaeshi (Corner throw)
39. Kata-guruma (Shoulder wheel)
40. Soto-makikomi (Outer wraparound throw)
Katame-waza (Grappling techniques)
Scarf hold (kesa-gatame)
Basic scarf hold (Hon-kesa-gatame)
Variation of scarf hold (Kuzure-kesa-gatame)
Rear scarf hold (Ushiro-kesa-gatame)
Back scarf hold (Ura-kes-gatame)
Shoulder hold (Kata-gatame) Top four-corner hold (Kami-shiho-gatame
Shoulder hold (Kata-gatame)
Top four-corner hold (Kami-shiho-gatame)
Broken top four-corner hold (Kuzure-kami-shiho-gatame)
Side locking four-corner hold (Yoko-shiho-gatame)
Back hold (Ura-gatame)
Vertical four-corner hold (Tate-shiho-gatame)
Broken vertical four-corner hold (Kuzure-tate-shiho-gatame)
Strangling techniques (shime-waza)
Cross lock
One-hand cross lock (Katate-juji-jime)
Reverse cross lock (Gyaku-juji-jime)
Normal cross lock (Nami-juji-jime)
Rear cross lock (Ura-juji-jime)
Naked lock (Hadaka-jime)-Front naked lock (Mae-hadaka-jime)
Single-wing lock (Kata-ha-jime)
Two-hand choke (Ryote-jime)
Sleeve wheel choke (Sode-guruma-jime)
Thrust choke (Tsukkomi-jime)
One-hand choke (Katate-jime)-Variationn of the one-hand choke
Rice bale lock (Tawara-jime)
Fastening choke (Hasami-jime)
Sliding collar lock (Okuri-eri-jime)
The author's poem 'Sphere'
Counters to grappling techniques (Katame-waza no kaeshi) and defense of strangling techniques (Shime-waza no bougyo)
Counter to the basic scarf hold (Hon-kesa-gatame no kaeshi)
Counter to the broken scarf hold (Kuzure-kesa-gatame no kaeshi)
Shoulder hold (Kata-gatame) Escape and reverse
Top four-corner hold (Kami-shiho-gatame)-Defense method
Side locking four-corner hold (Yoko-shiho-gatame)-Counter and reverse
Vertical four-corner hold (Tate-shiho-gatame)-Defense method
Cross lock (Juji-jime) Defense method
Coverting to cross armlock (Ude-hishigi-juji-gatame) for defense
Sliding collar lock (Okuri-eri-jime) defense method
Leg break (Ashi-kudaki) Defense against sliding
Collar lock (Okuri-eri-jime)
Sliding collar lock (Okuri-eri-jime) from sitting position
Naked lock (Hadaka-jime) defense from standing position
Counter to the standing cross lock (Tachi-juji-jime no kaeshi)
Free mat practice situation
Joint techniques (Kansetsu-waza)
Entangled armlock (Ude-garami)
Armlock
Cross armlock (Ude-hishigi-juji-gatame)
Variation of the armlock (Ude-hishigi-betsu-gata)
Variation of the knee hold (Hiza-gaame-betsu-gata)
Arm armlock (Ude-hishigi-ude-gatame)
Knee armlock (Ude-hishigi-hiza-gatame)
Standing arm armlock (Tachiai-ude-hishigi-ude-gatame)
Body armlock (Ude-hishigi-kata-osae-tai-gatame)
Shoulder and body armlock (Ude-hishigi-kata-osae-tai-gatame)
Armlock, lying down (Ao-muke-gata-ude-hishigi)
Triangle armlock(Sankaku-gatame-ude-hishigi)
Entangled leglock (Ashi-garami)
Leglock (Ashi-hishigi)
Scarf hold traingle armlock (Kesa-gata-sankaku-gatame-ude-hishigi) Defense methokd
Three effective methods to escape the cross armlock (Ude-hishigi-juji-gatame)
Leglock (Ashi-hishigi) Defense method
How to enter a mat technique (Ne-waza)
The way to hold an opponent down
Method to enter a hold-down technique (Osae-komi)
Method to counter a hold-down technique (Osae-komi)
How t escape the top four-corner hod (Kami-shiho-gatame)
variation pinning method for the broken top shoulder hold (Kuzure-kami-kata-gatame)
How to reverse hold the opponent's leg (An example) Variation in entering
Hold down (Variation of teh broken scarf hold)
Method to prevent the opponent from entering in
Reverse techniques (Ura-waza)
Technques for defense, conter, and change
Foot sweeping (Ashi-harai)
Small outer hook (Kosoto-gake)
Knee wheel (Hiza-guruma)
Supporting foot lift-pull throw (Sasae-tsurikomi-ashi)
Small inner reap (Kouchi-gari)
Large inner reap (Ouchi-gari)
Inner thigh reaping throw (Uchi-mata)
Main points to evading hip tachniques
Floating hip throw (Uki-goshi)
Large outer reap (Osoto-gari)
Large hiip throw (O-goshi)
Side drop (Yoko-otoshi)
Lift-pull foot sweep (Harai-tsurikomi-ashi)
Shoulder throw (Seoi-nage)
Hip wheel (Koshi-guruma)
Hip sweep (Harai-goshi)
Body drop (Tai-otoshi)
Circular throw (Tomoe-nage)
Floating drop (Uki-otoshi)
Rice bale counter (Tawara-gaeshi)
Outer wraparound throw (Soto-makikomi)
Inner wraparound throw (Uchi-makikomi)
Hip spring (Hane-goshi)
Back hip throw (Ushiro-goshi)
Large wheel (O-guruma)
Floating throw (Uki-waza)
Shoulder wheel (Kata-guruma)
Belt drop (Obi-otoshi), Scooping throw (Sukui-nage)
Lifting hip throw (Tsuri-goshi)
Corner throw (Sumi-gaeshi)
Valley drop (Tani-otoshi)
Outer two-hand reap (Soto-morote-gari)
Large outer drop (Osoto-otoshi)
Hug sacrifice (daki-sutemi)
Lift-pull hip throw (Tsurikomi-goshi)
Reference techniques
Adaptation and continuation
Heel trip (Kibisu-gaeshi)
Two-hand reap (Morote-gari)
Shoulder drop(Seoi-otoshi)
Rice bale counter (Tawara-gaeshi)
High lift and separate (Daki-wakare)
One-hand drop (Kuchiki-taoshi)
Large outer drop (Osoto-otoshi)
Pulling-in counter (Hikikomi-gaeshi)
Belt drop (Obi-otoshi)
Inner wraparound throw (Uchi-makikomi)
Shoulder throw hip sweep(Yama-arashi)
Rock drop (Ganseki-otoshi)
Rear wheel (Ushiro-guruma)
Hand wheel (Te-guruma)
Outer two hands (Soto-morote)
Fastening counter (Hasami-gaeshi)
Flying hip (Tobi-goshi)
Hugging sacrifice (Idaki-sutemi)
High lift (Dakiage)
Arm counter (Ud-gaeshi)
Swallow counter (tsubame-gaeshi)
Sphere wheel (tama-guruma)
Throwing techniques: Reverse forms (Nage-waza-ura no kata)
the practice of form
Hand techniques (Te-waza)
1. Uke: Floating drop (Uki-otoshi), Tori: Body drop (Tai-otoshi)
2. Uke: Shoulder throw (Seoi-nage), Tori: Side wheel (Yoko-guruma)
3. Uke: Shoulder wheel (Kata-guruma), Tori: Corner throw (Sumi-gaeshi)
4. Uke: Body drop (Tai-otoshi), Tori: Small hip throw (Kotsuri-goshi)
5. Uke: Belt drop(Obi-otoshi, Tori: Large wheel (O-guruma)
Foot and leg techniques (Ashi-waza)
1. Uke: Foot sweep (Okuri-ashi-harai), Tori: Swallow counter (tsubame-gaeshi)
2. Uke: Smallinner reap (Kouchi-gari), Tori: Knee wheel (Hiza-guruma)
3. Uke: Large inner reap (Ouchi-gari), Tori: Couknter to large inner reap (Ouchi-gari-gaeshi)
4. Uke: Supporting foot lift-pull throw (Sasae-tsurikomi-ashi), Tori: Corner drdop (Sumi-otoshi)
5. Uke: Inner thigh reaping throww (Uchi-mata), Tori: Body drop (Tai-otoshi)
Hip techniques (Koshi-waza)
1. Uke: Hip spring (Hane-goshi), Tori: Reap counter (Kari-gaeshi)
2. Uke: Hip sweep (Harai-goshi), Tori: Back hip throw (Ushiro-goshi)
3. Uke: Half-hip shift (Han-goshi), Tori: Hip shift (Utsuri-goshi)
4. Uke: Floating hip throw (Uki-goshi), Tori: Side separation (Yoko-wakare)
5. Uke: Large hip throw (O-goshi), Tori: One-arm shoulder throw(Ippon-seoi-nage)
General resuscitation (Kappo), first aid
1. Breath resuscitation Kokyu-katsu)
A) Lapel method (Eri-katsu)
B) Supine method (Gyogai-katsu)
2. First aid for groin injuries (Kogan-katsu)
3. Drowning resuscitation (Dekisui-katsu)
The author's mottos… (meer)

from preface With the reputation of Judo gradually enhanced in public estimation, we think it proper and natural that the understanding as to the value of what Judo really is should be deepened. That things are correctly understood and treated is no doubt a source of delitght; the better are things the more will be delight. Judo has hitherto been explained and introduced in many ways. But the war once plunged Japan in darkness. The counry is now, however, regaining her dawn with the bright and limpid azure above, and Judo is being encouraged anew like the fresh air. Here Judo appears to be sprouting with a new meaning. Well, Judo embodies a life, and therefore it is developed. Not only in Japan, but also in all the world Judo is now being desired. The reason why it is so universally supported and hoped for is ascribable to nothing but that Judo maintains in its bright movement concretely the basic condition of easy and free human activities. After all, the tricks and mysteries of Judo are acquired only by the above reason. Trained and taught under Jigoro Kano, founder of Kodokan, I have been with Judo for the last 59 years. Despite being more than 70 years old, I do not yet retire from severe Judo practice with a vigorous and ever-fresh hope. Now, in compliance with the earnest request of Seibundo-Shinkosha Publishing Company, I wrote the full manuscripts for the present book from the motive of the above reason with new contrivances added to, expecting to contribute in the cause of the future development of Judo. By the peace conference Japan has thus regained independence, but the world peace has not yet been enjoyed. The true peace mankind desires is to realize the world pure from evil thoughts and unreasonableness. Since Judo demonstrates truth free from unreasonableness, it is loved by the right-minded irrespective of nationalities.--Kyuzo Mifune INTRODUCTION GENERAL REMARKS MAINLY OF HISTORIC DEVELOPMENT 1. Historic Development It can safely be said that the feats of strength man performs were coeval with the creation of the human beings and that Judo was originated from some of such feats. Judo is characterized, however, with the soundest Japanese specific feature imaginable which values no doubt pure reason and is naive and natural; this is developed gradually to the perfect physical technique worth being proud of in all the world as perfect feats beautified, internal and external. This is attributable to the moral factor of the gist developed, and what Judo has enjoyed in the tradition and culture descended down in Japan. Of course, there is much difference between the feats of strength of olden days and Judo of today, yet when we refer to the Koji-Ki (Ancient Chronicle) we learn that there existed in ancient Japan a feat of strength not simply aiming at murderous and outrageous fight but completing the strength, physical and spiritual, through mutual under-standing. In one of the mythological stories in the volume 1 of the Koji-Ki the following is cited: 'Tatemikazuchi and his assistant Amatorifune were dispatched to Ina on the sea-side of Izumo by the sacred order of Amaterasu Ohmikami to persuade in a very serious and solemn attitude Okuni-Nushino-Kami, who had occupied Japan by force, to surrender the land to Amaterasu Ohmikami. Okuni-Nushino-Kami pledged allegiance to them, yet he wished to consult with his two sons, Kotoyonushi-no-Kami and Tate-Minamata-no-Kami, the former agreed to his father's opinion and insisted that the land should be surrendered to the son of Amaterasu Ohmikami, while the latter or Tate-Minagata-no-Kami, appearing with a big stone on hand, said, 'What are you? Stop trying to protest against our occupation of the land! Come on, let's settle the matter by force.' And he stepped towards Tate-Mikazuchi-no-Kami, who stood never shaken but firm. Tate-Mikazuchi-no-Kami then said, 'Well, now I'll show you What I can do,' catching Tate-Minagata-no-Kami quickly by the hand and thrown him down as if throwing a leaf of reed, and then Tate-Minagata-no-Kami ran away.' The attitude, determination and the feats of strength described in this story give a hint of Judo. In another part of the History of Japan it is recorded that in the 7th year of the reign of' Emperor Suijin (28 B.C.) Tomaketsu-Hayato performed a kind of wrestling. The wrestling in those times was a desperate match and Tomaketsu-Hayato was supposed to be the best wrestler of the age and very arrogant and insolent, but when he played a match with Nomi-no-Sukune by order of the Emperor, he was defeated and kicked down to death. Nomi-no-Sukune is said to be the very founder of Judo. Japanese wrestling and Judo at the beginning were not distinctive, but wrestling though maintaining Japanese characteristic began gradually to have a factor of a professional feat and a performance, while Judo has developed as an educational and rational exercise. 2. Origination of Technique and Turning-point of Principles One thousand and a few hundred years or two thousand and a few hundred years had elapsed before Japan was unified and stood as a modern nation, and all the while the strife for power produced samurai known for their force of arms. And their military influence gradually growing was followed by natural development of a variety of martial arts. Fight with weapons was decided by the final close-combat, and in such cases importance began to be attached to valour and technique, which led to the organization of Jujutsu as martial arms to develop to Judo. It was from the Tokugawa era on that Jujutsu literature began to be compiled, yet the first record of something like Jujutsu is quoted in Judo-higaku-sho (Important Records of Judo) as 'grapple was in vogue since Eisho era.' In the Eisho era (1504 -- 20), Ashikaga Yoshi-mitsu was the Shogun in the reign of Emperor Go-Kashiwa-Bara and the Ashikaga era drawing to the closing years. It was the age of civil wars and about 450 years ago. Next comes Honcho-Bugei-Shoden (Brief History of Military Arts of Japan) by Shigetaka Hitaka, in the volume No. 9 where it is described that Kogusoku was introduced long, long ago and Takenouchi is now reknown for this feat of arms. Here, Kogusoku indicates Taijutsu, Taido, Jujutsu, Wajutsu, etc. and another name of it is Yawara, which means the Takenouchi Branch initiated by Takenouchi Chumutaku Hisamori in June in the 1st year of Tenmon era. In the Tenmon era (1582 -- 54), Ashikaga Yoshiharu was the Shogun in the reign of Emperor Gonara. Thenceforth, the origin of various branches of Jujutsu and other outlines in chronological order are as follows: The Honcho-Bugei-Shoden says, 'Nobody knows where Araki Muninsai is from and little is known of his deeds, yet his excellent technique in arresting criminals is reknowned.' The preface to The Re-start of Araki School shows 'this school was originated by Fujiwara Katsumi in the Tensho era when Toyotomi Hideyoshi was in power.' However, Fujiwara Katsumi seems to be an imaginary person, and in the List of Originators of Branches of Feats of Arms, it is stated that Araki School is originated by Araki Muninsai. So Araki Muninsai must be the originator of the Branch. The year when the school was formed is not known, but it is estimated to be in the Oda-Toyotomi era (Tensho era, 1573 -- 9). It was in the reign of Emperor Ogimachi and it was when Oda Nobunaga overthrew the Ashikagas and was succeeded by Toyotomi Hideyoshi. According to Dobogoyen (the title of a book), Nomura Gen-i of Shinmachi was a disciple of Hitotsubashi Jyokensai, a celebrated master of Jujutsu that time. Thus Gen-i is quoted to have cheered Miyamoto Musashi when the latter was going to visit the soldiers at the front when riots took place at Shimabara in the 15th year of Kan-en. In the same hook, a paragraph says Nomura Gen-i is the originator of Judo school and an expert Jujutsu-man, formerly a disciple uncover Hitotsubashi Jokensai, encl used to live afterwards at Shinmachi in Edo. Sawa Dochi, a disciple of Gen-i is also a good hand at Juki, or Jujutsu and Kiai (or mesmeric power) put together, and resided at Nichome, which proves the fact that at that time there was already a master hand of Juki and that a feat of arms called 'Ju' was prevalent. In the Kan-ei era (1624 -- 43), in the reign of Emperor Go-Mizuno-o and the succeeding Emperor Myosho, Iyemitsu, the 3rd Tokugawa Shogun was then Shogun. On the other hand, paragraph of the preface to Ju of Shin-shin Branch denote: 'From childhood I cherished a desire to master this art, yet had no master' and 'I was once ordered to the East Musashi, then there were many Ju-men.' This book entitled 'Ju of Shin-shin Branch' was published in May in the 8th year of Kan-en by Jushin in commemoration of Inauguration of Sekiguchi-Shinshin Branch, thus it is obvious that in Kan-ei era or thereabouts, what was called 'Ju' was prevalent. Shibukawa Rangoro Yoshikata, a senior disciple of Sekiguchi Hachiro-zaemon, the second-generation master of Sekiguchi Branch, originated Shibukawa School art, and in those days promulgation of Jujutsu was made by many new schools of Jujutsu. Then a Chinese Chen Tsu U came over to Japan in the 2nd year of Manji (1659) in the reign of Emperor Go-Sei-En with Iyetsuna as Shogun, and he got naturalized and died here in the 11th year of Kanmon (1670) in the reign of Emperor Reigen with Iyetsuna as the 4th Shogun. While Chen@ was in Edo (present Tokyo) he resided temporarily at the Kokuseiji Temple at Azabu and one day incidentally lectured a Chinese origin of feats similar to Ju to Fukuno Hichirouemon, Isomi Iirozaemon, Miura Yojiuemon and others, lordless samurai residing at the non-converts' dormitory. Stimulated by the story, the three samurai devised various ways, especially Fukuno studied, contrived and opened a new branch, Fukuno Branch, which sometimes was called Ryoi-shinto Branch and remained with Miura Branch originated by Miura Yojiuemon, while from Fukuno Branch was founded Kito Branch later or Terada Masashige, started Kito Branch and Yoshimura Hyosuke, Terada's disciple and Horiuchi Jidaku, Yoshimura's disciple, were all celebrated Judo-men, especially Horiuchi who never got married but endeavored to promulgate Jujutsu all his life, and his senior pupils Terada Ichiemon of Kyoto and Takino Yugyo of Edo were reknowned all over Japan. Hamano held an arena at Misuji-machi, Asakusa, and his disciples numbered 3,000. Thenceforth Kito Rranch was widely spread. Hitaka Shigetaka published Honcho-Bugei-Shoden (History of the Feats of Arms in Japan) during Shotoku era (1711 -- 15 A.D.) when Iyenobu, the 6th Shogun and Iyetsugu, the 7th Shogun ruled. In the volume 10 of it he tells, 'According to 'Secrecy of Pugilism,' modern Jujutsu is what is termed pugilism in 'Record of Feats of Arms' and in olden times this was called 'Tebaku.' To Japan, Cheng Tsu U, a Chinese, introduced this art in recent years, etc.' Thus, Cheng Tsu U is said to be the originator of Jujutsu. There were, however, various branches coming from Fukuno School, especially Kito Branch was popular and all of them were fancied more authoritative to induce the public at large to believe that the secrecy of each branch was introduced from foreign countries. But this was a wrong and superficial idea in those times, for such idea ignores the old-established fact and deep-founded idea. As to limits of Jujutsu no idea is fixed and definite: I quote the statement by Master Kano Jigoro as follows: 'Training how to wring the neck, to twist the arm, or to kick or thrust is sometimes called Jujutsu, and the exercise of throwing only is, too, termed Jujutsu, and on the other hand, body trick, atemi (body attack), vital spots attack, Judo, Kogusoku, or grasping of arms, pugilism, blow by palm and other such terms are Jujutsu just the same. But Kogusoku or arm grasping generally means training how to arrest, while body trick or Judo generally means the training how to grapple with armors for throwing. In the aggregate, Jujutsu could be defined as an art or technique to attack barehanded or with a short weapon or defend himself from an opponent bare-handed or with the weapon.' It may be noted here that the word Judo so termed by Master Kano means the one already used in Tokugawa era and in fact an alias of Jujutsu through transitional stage up to Judo of today, but entirely different from what we imply nowadays. Though there were so many Jujutsu schools, best known are, besides those above-referred-to, Yoshin, Shin-shin-do, Kyushin, Yuiga, Teiho-san, Muso, Chokushin, Seigo, Kanshin, Isei Jitoku Tenshin, Tenshin Shinyo schools and other branches. 3. Founding of Kodokan Through the Meiji Restoration, feudalistic administration was abolished and the people were elated with the so-called 'civilization.' Naturally, in the early years in the Meiji era, martial arts together with the old customs went out of vogue as being stale and awkward, and by the celebrated masters only they were kept. About then, there lived at Daikucho, Nihonbashi, Fukuda Hachinosuke, once a master at the Institute of Martial Arts in the Tokugawa era and a celebrated master of Tenshin Shinyo School who unable to earn his livelihood by teaching Jujutsu only took in the bone-setting as his occupation. Kano Jigoro, who had taken much interest in Jujutsu in his early days, studied Jujutsu under Fukuda, while the former was 18 years old, and after Fukuda's death he continued his study and training under Ishizue Masatomo who had an arena at Otamaga-ike, Kanda. Here Kano made himself master of the secret principles. However, Ishizue, too, died in the 14th year of Meiji, so Kano received instruction under Iikubo Kohei, a great master of Kito School, and learned a great deal under him. Originally, in Tenshin Shinyo School, body attack and folding and fighting of body and arms are regarded as its basis, while the characteristic of Kito School was throwing technique, and the Kodokan Judo, originated by Master Kano owes very much to the above two schools for the foundation of the technique. Master Kano graduated from the Imperial University of Tokyo in the year of Meiji, but, not satisfactory to possess himself all what he had acquired through his study and training of Jujutsu, moved his abode in the 15th year of Meiji to Eishoji Temple at Shitaya, where he originated Judo out of Jujutsu which he had much reformed. He started Judo with much broader moral-culture added to martial art, and taught young disciples. In fact, this was the very beginning of Kodokan and Master Kano was 23 years of age. The exercise hall was only a 10-mat room occupying part of the temple and the trainees numbered only nine in all. The reason why Master Kano originated Kodokan Judo was that whereas the Jujutsu of various schools or branches as feat of arms which so far existed had their own characteristics and defects in many points, and their direct aims were solely to acquire the ways to attack and defend. So he desired to make it not only a feat of arms, but also a means to help physical and spiritual training to contribute most effectively in the cause of educational and cultural acquirements. The exercise hall at the Eishoji Temple was in a little while removed to Minami-jinbocho, Kanda, then to Kami-nibancho, Koji-machi, and then to Fujimicho, Kojimachi, and afterwards through Shimo-Tomizakacho, Koishikawa, and Sakashitamachi, Otsuka, until in January, the 9th year of Showa (1934), at the present site near Suido-bashi the Great Kodokan Hall was founded. Really within about fifty years, a small arena of 10-mat room developed to a gigantic 514-mat hall with trainees numbering several hundred thousands. Furthermore, at present, Judo seems to be fascinating the people all over the world being diffused in the United Kingdom, the United States, France, Germany, Italy, the Soviet Union, etc. and after the War, the true merits of Judo are increasingly appreciated and have amounted to one of the foremost elements of Japanese culture. 'The way to employ mental and physical strength most effectively is proper Judo' is a compact and laconic expression briefly indicative of Kodokan Judo, and the gist of it is the effective use of energy aiming at mutual prosperity, or more legibly the answer to 'What is Judo?,' 'Ju-no-michi' or 'Way of Ju.' 'Ju' means 'being natural' or in other words 'way which is natural and accords with the truth of the Universe and the one the human beings have to follow.' Also, 'Ju' may mean 'anything reasonable, just and honorable, accordingly noble: namely, the realization of Truth, Good and Beauty. To show Judo is by means of technique, which is acquired by technical training based on the scientific study.' This can also be said to be a direct pursuit after truth, which appears among the activities of human beings with well-matched willpower and physical strength. Contents General Remarks-Mainly of Historic Development 1. Historic development 2. Origination of technique and turning-point of principles 3. Founding of Kodokan Special Treatise-Mainly as to Interpretation of Meaning Chapter 1. Introductory Remarks Sec. 1. True meaning of Judo Sec. 2. Two basic elements Sec. 3. Key to acquirement of Judo Chapter 2 Three basic Elements Sec. 1. Reason to be concurrent with nature Sec. 2. Match in Judo Sec. 3. Judo is impersonation of truth Chapter 3. Mysteries of Judo Operation Sec. 1. General remarks Sec. 2. Five essential points Sec. 3. Seven preparatory notions Sec. 4. Trick Hints Before Training Tricks Chapter 1. Spirit in Saluting Sec. 1. Right way of sitting Sec. 2. Sitz saluting Sec. 3. Stand saluting Chapter 2. Posture (Natural Posture) Sec. 1. Natural proper posture Sec. 2. Right-side natural posture Sec. 3. Left-side natural posture (Self-defense Posture) Sec. 1. Self-defense proper posture Sec. 2. Right-side self-defence posture Sec. 3. Left-side self-defense posture Chapter 3. Preparatory and Final Training Body protection-How to practise Chapter 4 Meaning of Posture Breaking Sec. 1. Way of breaking and preparatory notion Sec. 2. Practical training of breaking posture Chapter 5 Meaning of Free-play Traiing Chapter 6. Meaning of Form Chapter 7 Factor in Mastery Chapter 8 'Tsukuri' and 'Kake' Chapter 9 Chance and Way to Apply Technique Chapter 10 Theory of Game Five Principles The First Principle 1. Deashibarai (Advanced foot sweeping) 2. Hizaguruma (Knee-wheeling) 3. Ukigoshi (Waist floating) 4. Sasaetsurikomiashi 5. Osotagari (Major exterior reaping) 6. Taiotoshi (Body Falling) 7. Taiotoshi (Body falling) 8 Tsurikiomigoshi The Second Principle 9. Kokukchigari (Minor interior reaping) 10. Koshiguruma (Waist wheeling) 11. Kosotogari (Minor exterior reaping) 12. Ogoshi (Major waist) 13. Seoinage (Over-shoulder throwing) 14. Ouchigari (Major interior reaping) 15. Kosotagake (Minor exterior angling) 16. Haraigoshi (Waist pkushing-away) The Third Principle 17. Uchimata (Interior thigh) 18. Hanegoshi (Waist pushing-up) 19. Hanemakigoshi (Waist pushing-up and coiling) 20. Harai-tsurikomiashi (Foot sweeping and decoying) 21. Tomoenage (Huge-comma-shape throwing) 22. Sukuinage (Scoop throwing) 23. Ashiguruma (Foot wheeling) 24. Ushirogoshi (Rear waist) The Fourth Principle 25. Yokoguruma (Side wheeling) 26. Osotoguruma (Major exterior wheeling) 27. Ukiotoshi (Float dropping) 28. Utsushigoshi (Waist removing) 29. Ukiwaza (Floating trick) 30. Taniotoshi (Dale dropping) 31. Yoko-otoshi (Side dropping) 32. Yokogake (Side hooking) The Fifth Principle 33. Uranage (Back throwing) 34. Sumi-otoshi (Corner dropping) 35. Yokowakare (Side parting) 36. Oguruma (Big wheeling) 37. Okkuri-ashibarai (Sending foot sweeping) 38. Sumigaeshi (Corner tumbling) 39. Kataguruma (Shoulder wheeling) 40. Sotomakikomi (Exterior rolling-in) Katame-waza 41. Hon-kesagatame 42. Kuzushi-kesagatame 43. Ushiro-kesagatame 44. Ura-kesagatame 45. Katagatame 46. Kami-shihogatame 47. Kuzushi-kami-shihogatame 48. Yoko-shihogatame 49. Uragatame 50. Tate-shihogatame 51. Kuzushi-tate-shihogatame Shime (Wringing) 52. Juji-shime (Cross wringing) 53. Hadakajime (Nude wringing) 54. Katahajime 55. Ryotejime (Both hand wringing) 56. Sodeguruma (sleeve wheeling) 57. Tsukkomijime (Thrust wringing) 58. Katatejime (One hand wringing) 59. Tawarajime (Straw-bag wringing) 60. Hasamijime (Jamming-in wringing) 61. Okkurieri-jime (Lapel-sending wringing) 62. Various reactions to Katame-waza) Inverse Tricks 63. Ude-hishigi (Arm enclosing) 64. Udekujiki (Arm breaking) 65. Ashi-hishigi (Foot enclosing) 66. Ashikujiki (Foot breaking) 67. Newaza (Lying trick) Ura-Waza (Reverse trick) Definition of Ura-waza Defense, repulsion and variation 68. Ashibarai 69. Kosotogake 70. Hizaguruma 71. Sasae-tsurikiomi-ashi 72. Kouchigari 73. Ouchigari 74. Uchimata 75. Ukigoshi 76. Osotogari 77. Ogoshi 78. Yoko-otoshi 79. Harai-tsurikomi-ashi 80. Seoinage 81. Koshiguruma 82. Haraigoshi 83. Taiotoshi 84. Tomoenage 85. Ukiotoshi 86. Tawaragaeshi 87. Sotomakikomi 88. Hanegoshi 89. Ushirogoshi 90. Oguruma 91. Ukiwaza 92. Kataguruma 93. Tsurigoshi 94. Obiotoshi and Sukuinage 95. Sumigaeshi 96. Taniotoshi 97. Soto-morotegri 98. Osoto-otoshi 99. Dakisutemi 100. Tsurikomigoshi 101. Serial variation Reference technique 102. Kakatogaeshi 103. Morotegari 104. Seoiotoshi 105. Tawaragaeshi 106. Kakewake 107. Kuchikidaoshi 108. Osoto-otoshi 109. Hikikomigaeshi 110. Obiotoshi 111. Uchimakikomi 112. Yama-arashi 113. Gansekiotoshi 114. Ushiroguruma 115. Teguruma 116. Sotomorote 117. Hasamigaeshi 118. Dakisutemi 119. Dakisutemi 120. Dakiage 121. Udegaeshi 122. Tsubamegaeshi 123. Tamaguruma 15 Reverse Forms of Throwing Trick 124. Te-waza (Hand Trick) 125. Ashi-waza (Foot trick) 126. Koshi-waza (Waist trick) General Resuscitation 127. Breath Resuscitation 128. Testicles Resuscitation 129. Drowned-body Resuscitation… (meer)