Samurai War Stories Read online

  For Crystal, Austin and Claire – siblings who have endured my interests for many years

  Contents

  Title Page

  Dedication

  Acknowledgements

  Author’s Note

  Information on the Three Historical Manuscripts Translated

  Zohyo Monogatari, Tales of the Foot Soldiers, c.1657-1684

  Volume One

  Volume Two

  Musha Monogatari, Tales of the Samurai, 1654

  Volume One

  Volume Two

  Volume Three

  Oan Monogatari, The Story Of Oan and of Okiko

  Samurai Tales – A Brief Overview of the Samurai Found Within

  Bibliography

  Plate Section

  About the Authors

  Copyright

  Acknowledgements

  A special thank you to Jackie Sheffield for her proofreading and preliminary editing, and also to Shaun Barrington, my editor at The History Press, for his continued support in helping to bring this and many other translations to life.

  Author’s Note

  History – as I will repeat many times in my career – is best told by the people who were there. The samurai, while extraordinarily popular, are dramatically misunderstood. That is, people know what the samurai are, they know what they look like and they even have an ingrained presupposition of how they should act. However, this samurai image – which is one of Japan’s biggest cultural exports – is a ‘soft’ image of the reality of the medieval world of Japan. Today’s image is terribly oversimplified. This work will by no means correct this problem in its entirety, but will be more of a first step in revealing the real lives of the medieval knights of Japan. Embedded in a complex hierarchy and further subdivided by skills and tasks, an understanding of the whole of samurai culture takes an academic’s devotion to understand. Therefore, to start to describe such a complex pattern, this text will separate out and display three main areas of the warrior culture of Japan. The first are the samurai themselves; the group of landed gentry – eerily similar to landed European knights – who are given fiefs so that they can provide war horses, gear, men and service in the name of their lords. The second is the ashigaru, or Japanese foot soldiers, a group who have all but been brushed out of history. These lower class men were either conscripted, mercenary, or owed military service to a ruling family. A form of militia that were brought together for basic training and campaign duties, they make up the bulk of samurai armies and even venture into fully paid professional soldiering in some periods of history. Lastly, we consider the females of the samurai class, as seldom has there been an investigation into the position of the female in war. Three major Japanese texts have been brought together here to highlight these aspects of samurai culture and each will, it is hoped, help to develop a finer picture of a very exotic and mysterious world.

  To understand medieval warfare is to begin to understand samurai culture. It is a preconceived perception that samurai combat is an honourable affair, with proud men on chargers calling out their family names and rank. However, this idealistic and simplistic understanding comes from great war chronicles, such as the Taiheiki text, which highlight the prowess of brave knights who have charged to their death. While this behaviour does indeed exist within the samurai class, it is only a small part of samurai warfare. In fact, betrayal, teamwork, hit-and-run, tactical withdrawal, assassination and all the facets of total war are found. Therefore, here you will read of the war deeds of both brave and cowardly samurai; read who beheaded whom; and learn all the skills needed to be an ashigaru foot soldier, or even how to decorate the heads of the dead if you happen to have the misfortune of being a female blockaded inside a castle.

  Overall, this text is a foretaste of future translated volumes dedicated to the exploration of samurai warfare and the violent world in which they lived. Therefore, ignite the engine of the imagination and colour all of the mud, blood, smoke and flying banners that can be found among the black and white of this book.

  Antony Cummins

  Warabi

  Japan

  Information on the Three

  Historical Manuscripts

  Translated

  ZOHYO MONOGATARI – THE FOOT SOLDIER’S TALES

  With a possible three authors, this selection of tales is written from the perspective of the lower-ranking soldiers and servants of the samurai which is reflected in the syntax and tone. The purpose of this text was to teach lower-ranking soldiers the do’s and don’ts of Japanese warfare through a collection of semi-fictional and semi-comical anecdotes attributed to imaginary warriors, and to deal with the very real needs of the battlefield.

  The document can be dated and placed between two events, pointing to its origin somewhere between 1657 and 1684. In 1657 a devastating fire broke out in Edo called the Meireki-no-Taika, a disaster that this document refers to. Also, in 1684, a retainer of Matsudaira Nobuoki called Tashiro Sadaemon Tadakane referred to this manual in his writings, so it must have already beeen in circulation by this year.

  The author or complier of these war teachings is unknown, but three people are often put forward as possible authors:

  1. Matsudaira Terutsuna (1619-1671) the heir to Matsudaira Nobutsuna.1

  2. Matsudaira Nobuoki (1630-1691) the fifth son of Nobutsuna.

  3. Matsudaira Terusada (1665-1747) a son of Terutsuna and adopted by Nobuoki.

  The first name, Matsudaira Terutsuna, was written in the postscript of a version owned by Mr Furukawa Hisashi. The second candidate, Matsudaira Nobuoki, is most widely believed as the author as his name is found in various versions in their postscripts, including the one owned by the National Archives of Japan; this one is presumed to be the oldest transcription known and can be dated to 1728. The third candidate, Matsudaira Terusada, is written in the postscript of the version owned by Tokyo University; however, he is widely considered to have been too young to have compiled these stories.

  It is commonly said that this manual was meant as a textbook for low-ranking soldiers or servants. However, it was actually used for education by commanders of ashigaru or foot soldier troops for generations within the Matsudaira clan, and was transcribed repeatedly. There are various existing transcriptions of several dates (such as 1728, 1744 and 1776) but it was eventually printed in woodblock form in 1847 by Fujiwara-no-Kasuga Noriyuki.

  The document consists of two volumes. Volume One has eighteen episodes and Volume Two contains thirteen episodes. The written form is a collection of tales from thirty imaginary individuals, including five ashigaru soldiers, twenty-five chugen, or servants, and a ‘chief of servants’, all of whom talk in turn about life in battle; this includes hints about their jobs, occurrences in battle, their masters and so forth. It was given in this form to help educate those soldiers who had not experienced actual warfare. The names of the ‘story tellers’ were constructed in jest; examples such as sunrise, sunset, big deep river and narrow shallow stream, are used in the ideograms that make up their names, lending to a light-hearted effect.

  The writing style and syntax are constructed in a form that is meant to resemble the colloquial dialects of the foot soldiers of the time. This is quite pronounced, as most documents or manuals about warfare were, at the time, written in a more formal style and, in contrast, can make the English translation appear base. However, terms like ‘kick the bucket’ and ‘that bloke’ fully represent the feel of the document, and the difference between Musha Monogatari – the second text in this book – and its educated audience is pronounced.

  Overall, in Japan, the document is considered a very important manual and is thought to be a strong reflection of the happenings of medieva
l warfare, allowing this first English translation to be a cornerstone in understanding the world of the Japanese foot soldier and permitting us to see the world of Japanese warfare through its teachings.

  Although there are a number of transcriptions existing for this writing, this translation used the printed version in 1846 as its major source. However, the last paragraph that mentions the fire of Meireki, in the chapter told by Koroku, is not included in the printed book but is found in the transcription kept in the National Archives of Japan. All the images used in this book are from the transcription kept in the National Archives of Japan.

  THE MUSHA MONOGATARI – THE SAMURAI TALES

  Written by Matsuda Ichiraku Nyudo Hideto in 1654 and distributed as a woodblock edition in 1656, this manuscript is divided into three volumes and records the stories of the samurai of the warring periods. From famous battles to small encounters, it was penned with the aim of preserving these war tales for future generations. Nothing more than the author’s name is known of him, although it has been inferred that he may have been a monk at the time of writing as his name has connotations of a religious connection.

  The manual is divided into three main areas:

  Jo, or Volume One, which consists of thirty-three articles.

  Chu, or Volume Two, which consists of sixteen articles.

  Ge, or Volume Three, which consists of fourteen articles.

  While these stories cannot be verified as wholly true in every respect and cannot be considered solid historical fact, they should be treated as general outlines to what was happening in the Sengoku Period and, like war stories of the Second World War, are still told two generations after the conflict. Therefore, trust that the people and the battles contained in this manual are generally real but that minor details may have been embellished or altered. Above all, remember that they are based on the truth of a war that had not long ago ended.

  The Tales of Women

  The third and final section of this book includes two tales of separate women who were besieged in castles during the rebellions at the start of the Edo, or peace period; while short, they deal with the realities of battle from the female perspective and give us a great insight into the role of the woman during warfare in Japan.

  OAN MONOGATARI – THE STORY OF OAN

  Oan is not a name but is a title given to mean ‘old nun’ which makes this story the tale of an ageing nun, talking of her times spent within a castle siege. The author of this story was the daughter of a samurai who served Ishida Mitsunari during the Battle of Sekigahara in 1600. The writer was a later member of her family who had heard this story told by Oan or the nun when he, the author, was eight or nine years old. The story is of her experience in Ogaki Castle of the Mitsunari domain. After the fall of the castle she fled with her father to Tosa on the island of Shikoku where she married but had to be supported by her nephew after her husband’s death. She is thought to have died in the Kanbun period (1661-1673) at the age of more than 80.

  OKIKU MONOGATARI – THE TALE OF OKIKU

  Kiku was a 20-year-old female who was besieged in Osaka Castle when it fell in 1615 and tells of her experiences, describing how she fled with a group after its fall. She later became the grandmother of a doctor named Tanaka Itoku who served the Ikeda clan. Kiku died in Bizen at the age of 83. The author of this text is unknown.

  Both of the above tales were printed together in 1839 with a postscript written by Asakawa Zen’an.

  * * *

  1 Matsudaira Nobutsuna was the commander of the forces which defeated the rebellion of 1637/8.

  Zohyo Monogatari,

  Tales of the Foot Soldiers,

  c.1657-1684

  * * *

  VOLUME ONE

  * * *

  Teppo Ashigaru Kogashira

  The Musket Sergeant

  By

  Asahi Ide’emon

  As it is my job to use the baton and conduct my men, I dare to state the following and I do so without presumption, so listen carefully.

  I am sure I do not have to tell you this, but you should know that the main knot of your ration1 belt should be in the centre of the back of your neck. Also, if the beads of the ration belt are on your chest it will prevent you from taking good aim with your musket.

  Be sure not to shoot too quickly as people usually do at practice. You should pull yourself together firmly so that you will avoid meaningless shots and not waste ammunition. Remember, even after a gun battle begins, do not throw away your leather musket bag, this is a rule. Fold it in two, put two or three spare cleaning rods into it, then wear it on your back by putting it into any space somewhere on your right side. If worn too vertically, it will hit your headgear and thus be inconvenient. If it is placed horizontally, it would be dangerous as the rods may hit the eyes of your allies. Therefore, you should do as you think appropriate.

  When the distance to the enemy is considerable, I will pass you a Hayago2 cartridge, so you can shoot. If you are close to the enemy, take out a cartridge from your satchel. Warning: if you are hurried, it may burst open. Or if you handle the Hinawa fuse wrongly, it will not ignite the gunpowder and the fuse will go out. In the event where the Hinawa fuse has gone out, use another one; there are lots more Hinawa available, so replace it.

  When a bullet is stuck in the barrel, a thick cleaning rod is put inside of another rod: use this and ram it down into the barrel. No matter how big the trapped bullet is, you can still load your gun.

  While the men in the front line are shooting, those in the second line should set their Hinawa fuses. The target to be aimed at for each distance of 1 cho [109m] will be directed by us, that is, those who are in charge.

  Even when you cannot see the enemy, you should not carry your musket on your shoulder without loading it. Always keep it charged whenever you carry it.

  In case you shoot a mounted enemy, shoot the horse first then the man. However, it depends on the timing. Sometimes you should shoot the man first and let the horse run into the enemy’s line and thus, disturb them.

  When you get very close to the enemy, separate into the right and left groups and begin fighting with spears. When you have used up everything in your satchel, draw the cleaning rod from the waist, replace it with the musket and then draw your sword, cutting the enemy by aiming at his hand or leg. If you hit the front of the enemy helmet rashly, a blunt3 sword will bend into a shape like that of the handle of a pot.

  If you get to a good distance from the enemy, clean the inside of the barrel by wiping or washing it. In this case, be sure that half of the muskets should be loaded with bullets.

  If you are out of breath after a lot of fighting, having just finished a tooth-and-nail battle, take out your Umeboshi plum from your ration pack and have a glance at it. Do not even lick it. Eating it is out of the question, but even licking it will make you thirsty. So keep it safe until you die. Remember it is just a medicine4 for when you are out of breath, just take it out in such a case, but do not eat it.

  In case you are still thirsty, even after having a glance at your Umeboshi plum, sip the blood of the dead or the clear layer atop of muddy water.

  One Umeboshi will do for the entire period of battle. However, if you are using peppercorns you should take the same number of peppercorns as the number of the days of the battle you are, or about to be involved, in.

  In summer or winter, crunch one peppercorn every morning, and you will not be struck by heat or cold. These are different from Umeboshi plums, as you will need a large supply of peppercorns.

  Also, if you apply ground hot pepper5 from your arse to your tiptoe, it will prevent you from freezing. You can apply it onto your hands too, but if you carelessly rub your eyes with your hand, your eyeballs will be bloodshot and a lot of pain will follow.

  Teppo Ashigaru

  Musketeers

  By

  Yuhi Irizaemon

  Since we are going to cross over the river, I will tie my satchel onto my neck. Also, the foot soldier
named Hikoroku is such a strange man. He does not know how to wear his ammunition bag when he is in armour, so he was trying to hang the cord around his neck, like we usually do when we do practice drills again and again but he is doing this with his helmet-hat on (because we are in armour), but as the cord is too short to put it on in this manner, he should know that he has to cut the cord and tie it around his neck. He is so strange he does not know that the cord for the ammunition bag should be tied on to the breastplate of his armour. He is in no way a good musketeer.

  Remember, the gunpowder in your Hayago cartridge is not only for shooting bullets but also for other uses. During this long spell of battle, we sometimes have to sleep in the fields or even in the mountains. Some may be bitten by Mamushi snakes. In such a case, put the gunpowder on where you are bitten to the amount of 1 momme [3.75g] and light it, the poison will disappear in no time, but it will not work if it is done too late. (See Fig 1)

  Yumi Ashigaru Kogashira

  The Bowman Sergeant

  By

  Okawa Fukaemon

  First of all, bowmen should always try to keep the knot of the ration belt at the centre of the back of the neck. If a ball (bead of rice) is on the chest it will touch the string, and you will not be able to shoot an arrow.

  Before bow fighting begins, fix a Hazuyari6 bayonet blade onto your bow. While the enemy is still far away, do not shoot the arrows in your quiver but the ones I give you. Once you get close to the enemy, use the arrows in your quiver. Never try to shoot farther than the distance you are told, but within that range or closer will be fine. Take good aim when shooting, try to draw your arrow back as far as you can as you always do at the practice marks. Be sure not to be spurred on and waste arrows. One archer foot soldier should be between two musket foot soldiers; therefore, shoot your arrows while they are loading their guns. You should not shoot arrows together with the two muskets. Remember, shoot in-between the intervals.