修行会

26「敵下段同じ構への中段に上り下りに移りかむるな。」- 植芝盛平

Original Waka

敵下段
同じ構への
中段に
上り下りに
移りかむるな

植芝盛平 (Ueshiba, 1977)

Translation

“When the foe is in gedan, continue toward the same stance structurally ready into middle guard—whether raising, lowering, changing or shifting—do not.” – Morihei Ueshiba

Waka Translation

Foe is in gedan;
same stance; keep the steady mean
into middle guard—

cover by raising, dropping,
changing or shifting—do not.

Morihei Ueshiba

歴史的仮名遣い（語構成を明示）

敵下段（てきげだん ）
同じ構への（おなじかまへの）
中段に（ちうだんに）
上り下りに（のぼりくだりに）
移りかはるな（うつりかはるな）

植芝盛平

Bungo Romanization

teki‑gedan
onaji‑kamae no
chūdan ni
nobori‑kudari ni
utsuri kawaruna

Ueshiba Morihei

Translation, Notes, Commentary, and Research by Latex G. N. R. Space-Coyote

Ueshiba, M. (2025). 植芝盛平道歌–026: Unlured, guarding in chūdan (L. G. N. R. Space-Coyote, Trans.; OpenAI ChatGPT-5 Pro, Ed.). Shugyokai.org. (Original work published 1977) https://shugyokai.org/u33g

敵（てき; teki）— enemy (<啇 – stem/root|<冂 – upside down box)|古 – old, ancient, things past, simple, unsophisticated, history>|攵 – strike, hit, ; person + weed, govern, control, manage, nurture)>; kakekotoba on -te form + ki (Space-Coyote, 2026).

下段（げだん; gedan）—
lower tier; column; under step; lower guard/line

敵下段（てきげだん; teki‑gedan）—
“opponent in gedan (lower guard).” In sword arts, gedan no kamae points the tip low; chūdan no kamae is the centered, standard guard (also called seigan).

同（おな; ona）— same, identical, together, with each other, with, and (all + mouth together)

構へ（かまへ; kamae）— in budō means more than a physical “stance”: it is readiness that integrates body and mind (kokoro no kamae). “同じ構え” carries both technical and mental steadiness—do not be lured out of center by the opponent’s change; kakekotoba of かまへ (構え) can simultaneously carry stance, structure, construction, appearance and readiness, determination, preparedness.

同じ構への（おなかまへ; onaji kamae no）— “(moving) toward the same kamae,” i.e., choosing the same frame of engagement rather than answering high with high or low with low; directional へ + genitive の modifies 中段. (cf. Shirane, 2005)

中段（げだん; chūdan）— middle guard; tip threatens center (eyes/throat); kakekotoba can change 中段 to 中断, where 中断 is “interrupt[ion]”, ”cancel[lation]”, “abort[ion]”, “discontinue”, “suspend”, “break off” thus breaking flow.

同じ構への中段に（おなじかまへのちうだんに; onaji kamae no chiudan ni）— “keep to the same stance, namely chūdan.” Ueshiba instructs not to mirror the opponent’s drop but to maintain centerline. On kamae, chūdan as balanced “middle posture,” and its strategic centrality, see Bennett (2015).

上り下りに（のぼりくだりに; nobori kudari ni）— literally “by raising or lowering”—i.e., do not chase high/low feints.

かむる / かはる（kamuru / kaharu）— classical synonym of かぶる (“to cover / wear; to be covered with”), yielding a martial metaphor: do not ‘cover’ your line by bobbing upward / downward—keep the blade on the midline.

移りかはるな（うつりかむるな; utsuri kamuru na）— “do not shift / change (over).” Classical かはる (modern kawaru) fits the idiom うつりかはる “to change by shifting.” Multiple online recensions of dōka 26 read かむる, but that verb (冠る “to put on/cover”) yields an awkward sense here; the parallel imperative うつりかはるな is explicit in dōka 41, strengthening the emendation to かはる for 26.

Historical kana and bungo morphology. 構へ (かまへ; kamae) uses へ for /e/ and 中段 is read ちうだん in historical kana spelling; bungo often writes は where modern pronunciation is /wa/ (e.g., かはる → modern kawaru). See Seeley (history of writing reforms) and Frellesvig/Shirane (classical morphology). The negative imperative …するな is a standard classical directive pattern (here かはるな).

Lexis from sword schools in waka diction. Bungo often integrates Sino‑Japanese technical terms; here 下段／中段／構え are kenjutsu/kendō terms treated as poetic diction inside a didactic dōka. Bennett’s (2015) cultural history documents these guards and their ethics‑laden discourse in modern budō.

Parallel usage in Ueshiba’s corpus. The prohibition …うつりかはるな appears verbatim in dōka 41 about not changing over to the opponent’s hyōshi (timing), which corroborates the classical verb choice here.

Parallelistic rhetoric. The binom 上り下り (up/down) and the repeated centerline term 中段 create the symmetrical cadence prized in waka diction. 

Budō semantics of centerline. In kendo/kenjutsu, chūdan no kamae (often equated with seigan) is the normative “middle” guard that controls the center and balances offense / defense; dropping to gedan is classically used to bait or transition. Ueshiba’s admonition to stay in chūdan rejects being “lured” off center.

Religious inflection. Ueshiba’s poetics developed in conversation with Ōmoto‑kyō and broader prewar discourses on spiritualized budō; the ethical ideal is an unmoved center (fudōshin) harmonizing with heaven/earth, which dōka often encode in compact technical images. Stalker’s study of Deguchi Onisaburō and Ōmoto clarifies the new‑religion matrix in which Ueshiba’s language of kami and kokoro matured; Benesch (2014) and Bennett (2015) track how modern budō framed such ideals in national and pedagogical terms.

Opening drag. Ueshiba is warning against being “dragged” by the opponent’s apparent opening. Hold chūdan, physically and mentally, and keep the centerline threat rather than reacting up or down. This is canonical budō pedagogy and aligns with recognized translations of the verse and with mainstream descriptions of chūdan/seigan and kamae.

Classical imperative. In context and in light of Ueshiba’s own dōka 41 (…うつりかはるな), the classical intransitive かはる (“to change over”) appears the intended reading in no. 26 as well. Adopting かはる yields a clean bungo grammar, matches the martial‑arts sense (“don’t change your guard by going up or down”), and preserves perfect 5‑7‑5‑7‑7 meter. The emendation is conservative and follows standard historical‑kana principles described by Seeley (2000) and Shirane (2005).