159「世を思い嘆きいさいつまた奮いむら雲の光はわれに勝速日して。」- 植芝盛平
Original Waka1
世を思い
植芝盛平 (Ueshiba, 1977)
嘆きいさいつ
また奮い
むら雲の光
はわれに勝速日して
Translation1
“Brooding about the world, grieving—come now—when, again, shall one rouse oneself again? Through rifted clouds’ shining light, swift-victory sun gleams—upon me!” – Morihei Ueshiba
Waka Translation1
On the world, brooding,
lamenting—come now!—what time?
rouse oneself again,
through rifted clouds shining light,
upon me, swift victory sun gleams!
Morihei Ueshiba
歴史的仮名遣い（語構成を明示）
世を思ひ (よをおもひ)
嘆きいさいつ (なげきいさいつ)
また奮ひ (またふるひ)
むら雲光 (むらくもひかり)我勝速日 (われかつはやび)
植芝盛平
Bungo Romanization
Yo wo omohi
nageki isa itsu
mata furuhi
murakumo hikari
ware katsuhayabi
Ueshiba Morihei
Notes
1 The original dōka is ji-amari in line 5 which is extra morae, and is tolerated with acceptance in classical Japanese tanka/waka verse.
Translation, Notes, Commentary, and Research by Latex G. N. R. Space-Coyote
Ueshiba, M. (2025). 植芝盛平道歌–159: Brooding on the world (L. G. N. R. Space-Coyote, Trans.; OpenAI ChatGPT-5 Pro, Ed.). Shugyokai.org. https://shugyokai.org/ukuc (Original work published 1977)
世（よ; yo）— generation, many spanning generations, era, period, time, epoch, dynasty, regime, year, age, world, earth, people (atemporal) (three leaves on a branch).
を（を; o）— object marker.
思ひ（おもひ; omohi）— 連用形 of 思ふ “to think, to brood on” (classical spelling).
世を思ひ（よをおもひ; yo wo omohi）— “brooding / reflecting on the world / age”; yo ranges from “this world” to “the times,” a common waka opening that sets an ethical‑cosmic horizon.
嘆き（なげき; nageki）— 連用形 of 嘆く “to lament” → “Brooding on the world and lamenting [it]…” (cf. Heian phrase 世を思ひ嘆きたまへる in Genji monogatari; Mrasaki Shikibu, 1008/1999).
いさ（isa）— interjection “come now, well then”, often used to urge decision or action (classical and early‑modern usage).
いつまた（itsu）—“when again?”, “at what time yet again?”.
嘆きいさいつ（なげきいさいつ; nageki isa itsu）— “lamenting,” + exclamative いさ (“come now!”, urging resolve) + いつ “when [again]”; the phrase dramatises a pivot from sorrow to mustering will. Exclamatory particles like いざ / いさ are well attested in bungo usage.
奮ひ（ふるひ; furuhi）— 連用形 of 奮ふ “to stir oneself, rouse one’s spirit” → “Come now—when, again, shall [one] rouse [oneself]?”
また奮ひ（またふるひ; mata furuhi）— “rousing / brandishing oneself again”; 奮ふ / 奮ひ conveys stirring the spirit to action.
むら雲（むらくも; murakomo）— “clustered / ragged clouds”; also overlaps with the mythic 天の村雲 (“Heavenly Clustered Clouds”), a Shinto poetic term and sword epithet.
の — genitive/attributive.
光（こう / ひかり; kō / hikari）：light, radiance (here solar or divine).
は（wa）— topic marker.
むら雲の光 / むら雲光（むらくものこう / むらくもひかり; murakumo no kō / murakumo hikari）— “the light through rifted clouds (murakumo),” a classical nature image signalling a breakthrough or divine irruption. Lexically, むら雲 (~叢雲/村雲/群雲) denotes clustered, patchy cloud.
我れ（われ; ware）— 1st‑person pronoun “I / myself” (classical form, often somewhat lofty or philosophical).
勝速日（かつはやび／かちはやひ; katsuhayabi / kachihayahi）：“swift‑victory sun/day,” epithet Katsuhayahi from the name 正勝吾勝勝速日天之忍穂耳命 (Masakatsu Agatsu Katsuhayahi Ame‑no‑Oshihomimi no mikoto), a key kami in the Kojiki genealogy.
我勝速日（われかつはやび; ware katsuhayabi）— “for me [it is] Katsuhayabi,” i.e., the light manifests as the Victory‑Swift Sun/Day, a Shintō epithet embedded in the theonym 正勝吾勝勝速日天之忍穂耳命; in Aikidō discourse this fuses mythic luminosity with decisive, righteous action.
–して（shite）— 連用形 of す／する “to do, to act as, to become” → “acting as ‘Katsuhayahi’ for me; becoming swift light‑victory upon me”.
Orthography & morphology. Restoring historical kana (思ひ, 奮ひ) and reading 勝速日 as かちはやひ (われかつはやび here) matches classical spellings and readings (rekishiteki kana‑zukai; classical verb morphology). This is the register expected of waka‑styled diction.
Prosodic unit. We count mora (on/haku), not English‑style syllables. The normalized text yields a clean 5–7–5 / 7–7 (31 on), the classical waka template.
Ellipsis of particles and auxiliaries. Omitting light particles (の, は, に) and final して is a familiar compression strategy in classical verse for metrical and rhetorical focus (already noted by major waka critics).
Pivot from lament to resolve. The sequence nageki → isa (“come!”) → itsu mata furuhi exemplifies the classical jo–ha–kyū‑like movement often realized across the kami‑no‑ku before the shimo‑no‑ku supplies imagistic completion.
Nature image as revelation. Using むら雲光 to stage a theophany and naming 勝速日 aligns with the long tradition of waka where seasonal/natural images carry religious and ethical weight; Shirane shows how such imagery historically bore ritual and symbolic charge in court poetry.
Intersectionality. Ueshiba’s dōka sit at the intersection of martial practice, Shintō mythopoesis, and new‑religious currents. The name 勝速日 (Kachi‑hayahi) forms part of the theonym 正勝吾勝勝速日天之忍穂耳命 (Ame‑no‑Oshihomimi), whose “victory/rightness / swift‑sun” semantics appear in foundation narratives (Kojiki / Nihon shoki), and Ueshiba repeatedly condensed this into the triad 正勝・吾勝・勝速日 (“true victory; self‑victory; swift victory”), integrating mythic language into ethical practice.
Ōmoto-kyō. Historically, Ueshiba was profoundly shaped by Ōmoto‑kyō (Deguchi Onisaburō) and a soteriological vision of harmony; religious‑studies and historical work situates this synthesis of martial and spiritual ideals in early‑20th‑century Japan. Nancy Stalker’s monograph on Ōmoto contextualizes its utopian and charismatic dimensions, while Aikidō scholarship chronicles how Ueshiba translated these into notions of cosmic harmony and luminous action (Katsuhayabi)—precisely the arc dramatized by this poem (lament → awakening → breakthrough light).
Other sources. This dōka is similar to 「世を想い嘆きいさいつまた奮いむら雲の光はわれに脇選日して」found in 武産合気 (Takahashi, 1986, p. 41).
Yoin 余韻. Ending on して with no explicit なり or たり leaves the predicate open—“becomes Katsuhayahi (and …)”—which produces a strong 余韻; this kind of suspended ending is typical of classical waka where verbs like 見ゆ、思ふ, etc. are left without explanatory follow‑through, inviting interpretive resonance.
解説; Commentary
このページの第159首は、まず「世を思い／嘆き」で時代と世界への沈鬱を置き、つづく「いさ」（＝「さあ、来い」）と「いつまた／また奮ひ」の連ねで嘆き→決起への転換点を刻みます。下の句は「むら雲の光」という突破の自然像を掲げ、結語「我勝速日して」でカチハヤヒ（勝速日）＝「正しく・速やかな勝の陽」が自分に差す／自分に成ると詠み切る構図。本文ノートが指摘するように、ここには叙情（嘆き）→起（いさ）→励起（また奮ひ）→顕現（むら雲光・勝速日）という序破急的な運動が仕込まれ、勝速日は正勝・吾勝・勝速日の神名語彙とつながる倫理の合図です。
六つのプライマーに通すと運転図が見える。プライマーの第一原理〈武＝宇宙原理〉では、むら雲の光—勝速日の顕れ—に「正しさと迅速の秩序」を読み取り（宇宙的基準）、プライマーの第二原理〈人との合気〉では嘆きに溺れず「いさ」で関係に向き直り、相手と場を照らす方向に転じる。プライマーの第三原理〈心魂一如〉は「また奮ひ」を声・息・身の同一拍として実装し、プライマーの第四原理〈和合美化〉は突破の光を破壊でなく調和へ返す審美。プライマーの第五原理〈体＝道場、心＝修業者／修行者心／学び手〉は嘆き→いさ→奮ひを一稽古の中の呼吸段取りとして繰り返し、プライマーの第六原理〈「至愛」の源に順う〉は勝速日の「勝」を救いの勝に保つ羅針盤です。これらの読みは本ページの語釈—いさ（促し）、むら雲光（裂け目からの光明）、勝速日（神名的勝の倫理）—に裏づけられています。
直前の三首との糸足しも鮮明です。第156首が「正勝吾勝—御親心に合気して、救い活かすは己が身魂」と勝利観の反転を定め、第157首が「招き寄せ→風を起こし→薙ぎ払い→練り直す」という実地の愛気手順を示し、第158首が「（むらきものの心を）鍛えむ／浮橋に立ち／眞空に結び、神の恵み」と立ち位と恩寵を置いた。その踏段の上で第159首は、世への嘆きにいさで応じてまた奮い、そこへむら雲を裂く光＝勝速日がわれに成ると宣し、内外の運転系（手順・立ち位・恩寵）に「正しく速い勝の光」を点火する章として働きます。言い換えれば——（第156首）勝の定義を救いへ／（第157首）操作を愛気で束ね／（第158首）立ち位と空で鍛え、（第159首）嘆きを越えて光を呼び込む、その連続です。
口語要約のひとこと
「世を思い嘆き、さあ、いつまた奮い立つ――むら雲の光は、わたしに勝速日となってさす。」
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Appendix I: Change Modification Log
03 JAN 26 - Cross-referenced dōka in Takahashi (1986).21 DEC 25 - Phase V styling applied to waka.10 DEC 25 - Phase IV completion; commentary added.23 NOV 25 - Phase IV preparation.20 OCT 25 - Phase III Complete; this is needing Phase IV and may be prioritized.14 APR 20 - Initial notes transferred.