Spike & Chain. Charles V. Gruzanski

in demonstrating the techniques.

      Preface

      In revealing the secrets of Masaki-Ryu and Shuriken-Jutsu, the author gives much needed information and instruction in two arts of self-defense—the manrikigusari and the shuriken—previously little known or understood in the West and valuable storehouses of knowledge in themselves.

      But, most important of all is the author's appreciation of the spirit of Zen in the martial arts. This book could not be written without it. Because of his lengthy instruction by the masters in Japan in martial arts, and because of his receptive, open mind, he has long recognized the need for Zen in the defensive arts. Years of experience in both teaching and practicing the martial arts in the spirit and tempo of Zen have convinced him of its dire necessity.

      This delicate balance between the mental, spiritual, and physical is maintained solely by the practice of Zen. It cannot be omitted from a book on martial arts. One should read all of this book. The author has made great efforts to make his study, practice, and presentation of the arts of self-defense true to their Oriental origin. Read this book and profit richly by it.

      Rev. Soyu Matsuoka

       Zen Buddhist Temple of Chicago

      Introduction

      The Japanese arts of Masaki-Ryu and Shuriken-Jutsu are very old. Their practicality for use in self-defense situations will be left by the author to the intelligence and imagination of the reader.

      For enthusiasts of the martial arts, this work should broaden your knowledge considerably. For those who wish to use the manrikigusari or shuriken for wrongdoing, a warning is issued that irresponsible use in injuring others or damaging property will result in physical and spiritual destruction. Even the broadest interpretation of the law will classify them as deadly or dangerous weapons.

      Remember that the weapons and techniques illustrated in this book cannot injure anyone by themselves. It is the person behind them that really makes them dangerous.

      The Samurai Creed

      I have no parents; I make the heavens and the earth my parents.

      I have no home; I make saika tanden (abdominal region) my home.

      I have no divine power; I make honesty my divine power.

      I have no means; I make docility my means.

      I have no magic power; I make personality my magic power.

      I have neither life nor death; I make a um (art of regulating one's breath) my life and death.

      I have no body; I make stoicism my body.

      I have no eyes; I make the flash of lightning my eyes.

      I have no ears; I make sensibility my ears.

      I have no limbs; I make promptitude my limbs.

      I have no laws; I make self-protection my laws.

      I have no strategy; I make sakkatsu jizai (free to kill and free to restore life) my strategy.

      I have no designs; I make kisan (taking opportunity by the forelock) my designs.

      I have no miracles; I make righteous laws my miracles.

      I have no principles; I make rinkiohen (adaptability to all circumstances) my principles.

      I have no tactics; I make kyojitsu (emptiness and fullness) my tactics.

      I have no talent; I make toi sokumyo (ready wit) my talent.

      I have no friends; I make my mind my friend.

      I have no enemy; I make incautiousness my enemy.

      I have no armor; I make jin-gi (benevolence and righteousness) my armor.

      I have no castle; I make fudoshin (immovable mind) my castle.

      I have no sword; I make mushin (absence of mind) my sword.

      PART I

       THE SECRETS OF

       MASAKI-RYU

      1. The manrikigusari used against the samurai sword

      History of

       the Manrikigusari

       and Masaki-ryu

      The Beginning

      According to the written records of Masaki-ryu, the founder of the manrikigusari and the person chiefly responsible for its development is Dannoshin Toshimitsu Masaki—one of the most famous and skillful swordsmen of his day.

      While assigned as Head Sentry for the main gate of Edo (Tokyo) Castle, it was the responsibility of Masaki and his disciples to guard against the intrusion of bandits, hoodlums, or otherwise insane persons. It was at that time that Masaki became aware and gravely concerned that should an attempt be made to breach the gate, it would certainly result in the heavy flow of blood.

      Masaki's convictions dictated that such bloody battles should not take place before such a famous and important gate. He felt that a sword should never be unsheathed at such a sacred place nor should it be soiled with blood, yet the castle gate must be defended at all costs. For some time to follow, Masaki gave considerable thought to what type of weapon would be most appropriate. For reasons known only to himself, he decided that the use of the chain in some form would be most suitable for defending not only against unarmed enemies, but those armed with sticks, swords, and other types of weapons. As a result he constructed many kinds of chain weapons with iron weights attached to them—this was the birth of the manrikigusari. (These events are alleged to have occurred about two hundred years ago.)

      Development of the Art

      Masaki then taught the techniques of the chain to his disciples and students of the sword, and founded the Masaki-Ryu (or Masaki School). Masaki named his weapon "Manrikigusari" (manriki meaning "10,000-power" and gusari, "chain") because he felt it contained the power and ingenuity of 10,000 persons.

      In the time that followed, it was not long before the manrikigusari became famous throughout Japan. People came from all corners of Japan to secure the manrikigusari and to learn its techniques and secrets. Before Masaki presented the manrikigusari to anyone or before he taught its techniques, he always instructed the receiver that the manrikigusari was not meant for unnecessary fighting and that it should be used only for right. Should it be used for wrongdoing, Masaki warned that that person would destroy himself physically and spiritually. Upon presenting the manrikigusari, Masaki is said to have bowed and with a prayer sought to inject a good spirit in it before presenting it to a patron.

      The art of manrikigusari was adopted at the Ogaki Samurai Headquarters (Ogaki City, Gifu Prefecture) soon after. At that time an ancestor of Yumio Nawa (author of Jutte Hojo-No Kenkyu cited in the Acknowledgment) was Superintendent and Administer of Justice for Samurai. The art then descended to him from his grandfather.

      For many years the manrikigusari was taught in the Ogaki High School as a part of its regular curriculum just as judo, kendo, and other martial arts are taught in schools throughout Japan today. But, because of its misuse by some of the students at that time, the course was discontinued. Today at Ogaki Castle there are approximately 15 manrikigusari displayed with a complete history, which is all that remains of this dying and almost extinct art.

      2. Master Yumio Nawa

      Other Schools of the Manrikigusari