89. One hand chain seizure 71
90. Two hand chain seizure 72
91. Winding the chain around the opponent's wrists 72
92. Raising the opponent's arms 73
93. Inserting the left shoulder under the opponent's elbows 73
94. Pulling the opponent forward and lifting with the legs 73
95. Throwing the opponent over the shoulder and to the ground 73
96. Winding the chain around the opponent's ankle in defense of a kick 74
97. Countering the opponent's kick with a kick to the vital points 74
98. Catching the opponent's leg in defense of a kick 75
99. Raising the opponent's leg to throw him to the ground 75
100. Hooking the opponent's leg 75
101. Throwing the opponent by reaping his leg 75
102. Kyusho-vital points of the human body (front) 78
103. Kyusho-vital points of the human body (rear) 79
104. Specifications for making a manrikigusari 87
105. Samurai throwing the shaken 90
106. Various kinds of shuriken 93
107. Proper method of holding the shuriken (point up) 94
108. Proper method of holding the shuriken (point down) 94
109. Stance for throwing the shuriken at short distances 95
110. Stance for throwing the shuriken at longer distances 95
111. An outdoor target for throwing the shuriken 98
112. Length of some shuriken shown in inches 100
113. Various kinds of shaken 101
114. Method of attacking the eyes with the shuriken 102
115. Method of attacking the throat with the shuriken 102
Acknowledgments
To the following persons I extend my sincere appreciation for their contributions to the successful compilation of this work.
Mr. YUMIO NAWA and the Yuzankaku Publishing Company, Tokyo, for their kind permission to use excerpts and illustrations from the book, Jutte Hojo-no Kenkyu (The Arresting Rope Study).
Mr. RAY FALK, Globe Photos, Inc., and Argosy Magazine for their kind permission to use photographs from the article "Art of Invisibility" which appeared in the May 1961 issue of Argosy.
Mr. TOM JAWORSKI, for his fine photographs of the techniques that appear herein.
Mr. LUPE MEDINA, for his excellent sketch of the manrikigusari.
Reverend SOYU MATSUOKA, for his excellent translating.
Mrs. ROSE SZCZESNY, for undertaking the task of typing the manuscript.
Mr. HENRY E. SARABIA, for his assistance 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
