修行会

解説

植芝の六つのプライマーで整えてきた〈武＝宇宙原理・合気の実践・心魂一如と顕幽・和合美化・体＝道場、心＝修業者／修行者心／学び手・「至愛」への一致〉という縦糸に、このページの第9首は横糸を通します――「ありがたや伊都とみづとの合気十ををしく進め瑞の御声に。」という一句を、口語の批判的訳にすれば「ありがたいことだ。〈伊都（いづ）〉と〈みづ〉の〈合気〉が結び合い、〈十〉（十字＝合気「十」／あるいは「十重」の調和）をおおしく進めて、〈瑞（めでた）き御声〉にかなっていく」といった趣旨です。このページの英訳見出しも「Itsu and Mizu Join Now」 として、〈伊都×みづ〉の結合を主題化しており、本文訳も「How truly blessed! … the tenfold harmony of Aiki」 という調子で「合気十」を要語として掲げています。ここで「伊都／みづ」は大本系の語法で、厳の御魂（いづのみたま）と瑞の御魂（みづのみたま）――経魂（荒・和）と緯魂（幸・奇）の合一＝厳瑞合一の観念に通じる読みが妥当です。また「合気十」は、開祖が「合気十／愛気十／十字道」を〈あいきどう〉と読ませた表記群に呼応する語で、縦横の十字（天地・顕幽）の統合を含意する、と理解できます。さらに「ををしく」は古語の雄々し（勇ましい）で、臆せず堂々と進め、のニュアンスを補います。

この読みを植芝盛平の六つのプライマーへ「糸戻し」すると、第9首で示された「主の大御神に同化し、『至愛』の御霊の源に順う」という最上位ルールのもとで、プライマーの第三原理〈心魂一如〉（寸隙なき統一）とプライマーの第四原理〈和合美化〉（調和を通じて世界を美へ向ける）を、プライマーの第五原理〈体＝道場、心＝修業者／修行者心／学び手〉のミクロな所作にまで貫きながら、伊都（厳）×みづ（瑞）という二相の魂の働きを「今」ここで結び合わせよ――と第9首は促している、と言えるでしょう。ページ固有の訳語が示す「join now / tenfold harmony」という差し向けは、「合気（あいき）」を縦（厳）×横（瑞）＝十字の運行として具体化し、顕（ふるまい）と幽（内奥）の両界にわたる結び（むすび）を「勇ましく」推し進めよと強調する指針として、先の六つのプライマーを束ね直してくれます。

口語要約のひとこと

「いづとみづの働きをいま結んで、十字の合気をおおしく進め、瑞々しい『御声』にかなうように歩こう。」

詩法補記――定型・句切れ・縁語のはたらき

この第9首を、語義だけでなく歌体の運びとして見ると、まず五・七・五・七・七の定型そのものが教義の器として強く働いています。「ありがたや」で初句切れを作り、感嘆を一度立てたうえで、「伊都とみづとの／合気十」までを上の句として凝縮し、下の句「ををしく進め／瑞の御声に」で実践への命令・方向づけへ転じる。つまり上の句は「名を呼び、二相を結び、十字の場を立てる」部分であり、下の句は「その場へ身を進め、御声に調う」部分です。ここで三句「合気十」は、厳密な終句の体言止めではないものの、中間体言止め、あるいは三句体言止めのように働き、意味の重心を一度名詞に留めます。歌はそこで「説明」から「行」へ変わり、十字の名そのものが、上の句と下の句を折り返す蝶番になります。

また「伊都とみづとの」という同格の反復は、「と……と……の」の助詞配列による対句・並列法です。厳と瑞、剛と柔、火と水、顕と幽といった二相を、上下関係ではなく、いったん同じ高さに並べてから「合気十」へ収束させる。これは単なる列挙ではなく、縁語の網を作る配合でもあります。「伊都・みづ・瑞・御声」は神名・御魂・祥瑞・言霊の系列に属し、「合気・十・進め」は道・軸・修行の系列に属する。この二つの縁語群が交差するため、歌の内部で「聖なる語の場」と「稽古の身体の場」が一枚に重なります。したがって、この歌の縁語は、古典和歌における景物の連想網というより、植芝的な神道・武道語彙を互いに呼応させる宗教的な縁語として働いている、と見てよいでしょう。

さらに、上の句全体には序詞的な働きもあります。もちろん「伊都とみづとの合気十」は、古典和歌の固定的な枕詞や慣用の序詞そのものではありません。しかし機能としては、「ををしく進め」という下の句の命令を導き出すための有心の序、すなわち意味を持つ導入句として作用しています。先に神的な二相と十字の場を整えておくからこそ、「進め」は単なる前進命令ではなく、厳瑞合一の場へ身を入れる修行上の勧奨になります。この意味で、上の句は下の句の心理的・宗教的な前提を作る序詞的装置であり、道歌のなかで「唱えること」と「行うこと」をなめらかに接続しています。

下の句には、倒置法と助詞止めが重なっています。散文なら「瑞の御声に、ををしく進め」と置くところを、歌は「ををしく進め」を先に出し、最後を「瑞の御声に」で受ける。この倒置によって、命令は前面に出ながらも、終わりは勝利や到達ではなく、「に」という方向・同調・帰趨の助詞に委ねられます。これは体言止めではなく、むしろ助詞止めによる開放的な終止であり、「御声に従って」「御声にかなって」「御声のうちへ」といった述語をあえて言い尽くさない省略法でもあります。未完の格助詞が残ることで、読者／稽古者の身体はまだ進行中に置かれ、道歌の命令は終わった言葉ではなく、いま続いている稽古の方向として響きます。

見立ての面から言えば、この歌は「合気十」を単なる術語ではなく、天地・顕幽・神人・人間関係が交差する十字の場に見立てています。さらに「進め」という身体的動作は、「瑞の御声に」向かう聴従の姿勢に見立て直される。すなわち、進むことは押し破ることではなく、御声を聴き、その響きに調いながら、十字の中心へ入っていくことになります。ここで武道の前進は宗教的な聴聞に、身体の運行は言霊への同調に、技の方向は御声への帰一に、それぞれ見立てられているのです。

音の面では、「みづ」「瑞」「御声」と続く mi／mizu の音韻連鎖、また「伊都」の i・u 音と「進め」の su-su の反響が、意味以前に歌を声の運動としてまとめています。「ありがたや」の開いた a 音で畏敬が広がり、「伊都とみづとの」の t・d・m・n の連なりで結びが編まれ、「ををしく進め」の s 音で前進の勢いが生じ、最後に「御声に」の柔らかな m・k・n 音へ落ち着く。この調べは、御声を主題にする歌が、内容だけでなく発声そのものにおいても「声へ向かう」構造を持っていることを示します。とくに「みづ」と「瑞」は掛詞としてだけでなく、反復・呼応・回帰の音型として、上の句で呼ばれた霊的な名が下の句の終点で再び響き直すように仕組まれています。

最後に、この首には本歌取りというより、本説取り・神話語彙の取り込みに近い働きがあります。特定の古歌を踏まえて古典的な情景を再演するというより、厳御魂・瑞御魂・御声・十字といった神道的・大本的な語彙を、三十一音の器の中に折り畳み、稽古者が唱え、覚え、身体化できる詩の形へ圧縮しているからです。その意味で、ここに定型的な枕詞や厳密な係り結びを無理に立てる必要はありません。むしろこの歌の力点は、初句切れ、三句の名詞的停止、対句的並列、縁語、句跨り、倒置、助詞止め、省略、音韻反復、序詞的導入、見立てといった諸装置が、いずれも「名を呼ぶこと」から「身を進めること」へ、さらに「御声を聴くこと」へと読者の姿勢を移していく点にあります。第9首は、意味を解く歌である前に、唱えることで身体の向きを変える歌であり、その詩法はまさに、伊都と瑞を十字に結ぶための、小さな儀礼的装置として働いています。

発話行為理論

オースティン（Austin, 1968）の発話行為理論（Speech Act Theory）の枠で眺めると、この道歌は発話行為（locutionary／ロキューション）の層で、「ありがたや」の や は切れ字として、感嘆を一度切り、同時に次句へ掛け渡す。上の句の内部で、稀少（有り難）と畏敬が一息に立ち上がり、「伊都」と「みづ」の名指しが場を整える。さらに「みづ」は後の「瑞」と音で縫い合わされ、掛詞として水の響きと吉兆の意味を重ねる。ここに「合気十」が置かれることで、十（十／十字／道）の含みが折り（折り）となり、上の句の配置が下の句の運動へ折り畳まれていく。

発話内行為（illocutionary／イルロキューション）として働くのは、感嘆と指令の重ね書きである。冒頭は説明ではなく讃嘆であり、その直後に二極の名が置かれることで、言葉が“整列”の働きを持つ。下の句の「ををしく進め」は命令として明瞭だが、軍令ではなく、切れ字の余韻を帯びた勧奨へ変質する。終止が「瑞の御声に」であるため、前進は征服ではなく同調として方向づけられ、道は声へ回収される。

発話媒介行為（perlocutionary／ペルロキューション）として期待されるのは、畏敬による心勢の引き上げと、稽古への推進力の点火、そして“聴く”姿勢への再配列である。Austin の言うとおり効果は常に成功するとは限らないが、切れ字の切断と掛詞の縫合が、理解を越えた気分と行動へ働きかける設計になっている。神道的には言霊が「言葉の霊力」を語るため、声（御声）へ向かう終止は、響きそのものを導きとして受け取らせ、余韻の中で身心の向きが整えられていく。

コーダ

この第9首は、伊都とみづ、厳と瑞、声と身体、名を呼ぶことと身を進めることを、三十一音の内に小さく結び直す歌である。「ありがたや」と感嘆して始まる声は、単なる謝意ではなく、存在そのものの稀有さを前にした畏敬であり、その畏敬が「合気十」という十字の場を開く。そこでは、縦の働きと横の働き、顕れた行いと見えない心魂、剛なるものと柔らかなるものが、対立のまま放置されず、結びの働きとして重ねられていく。

したがって、「ををしく進め」とは、外へ押し出す命令ではなく、御声に調いながら中心へ入っていく勧めである。勇ましさとは、他を制する強さではなく、伊都と瑞の二つの霊的な働きを、心身の内で裂けさせずに保つ力である。十字の中心に立つ者は、天地のあいだ、人と人のあいだ、顕と幽のあいだで、聴く身体として進む。

この意味で、この道歌は解釈されるべき教義であると同時に、唱えられるべき稽古でもある。言葉は意味を伝えるだけでなく、姿勢を変え、呼吸を整え、進む方向を示す。伊都とみづを結ぶこと、合気十を進めること、瑞の御声にかなうこと――それらは別々の段階ではなく、一つの行の中で同時に起こる。歌はそこで終わらず、「に」という助詞の余韻に身を預けたまま、稽古者をなお歩ませる。

ゆえに第9首の結びは、到達の宣言ではなく、聴従の継続である。ありがたさに目覚め、二相を結び、十字の道へ身を入れ、御声の響きに調いながら進むこと。その小さな声の儀礼こそが、植芝における合気の詩法であり、また合気の実践そのものなのである。

English Translation

Commentary

Into the warp thread prepared through Ueshiba’s six primers—bu (武) as cosmic principle; the practice of aiki (合気); shinkon ichinyo (心魂一如), or the oneness of heart-mind and soul, together with the manifest and the hidden; harmonious beautification; the body as dōjō and the heart-mind as practitioner, practitioner-mind, or learner; and unity with “supreme love,” shiai (至愛)—this page’s ninth poem draws a weft thread.

The verse Arigataya Izu to mizu to no aiki jū ōshiku susume mizu no mikoe ni (ありがたや伊都とみづとの合気十ををしく進め瑞の御声に。), rendered into a colloquial yet critical translation, would mean something like: “How blessed it is. The aiki of Izu (伊都／いづ) and mizu (みづ) join together, advancing boldly the ten—the cross, that is, Aiki ‘Ten,’ or perhaps the harmony of tenfold layering—and thereby come into accord with the auspicious Divine Voice.” The English heading on this page, “Itsu and Mizu Join Now,” likewise thematizes the joining of Izu and mizu (伊都×みづ), while the body translation, in the register of “How truly blessed! … the tenfold harmony of Aiki,” also raises aiki jū (合気十) as a key term.

Here, Izu / mizu (伊都／みづ) belongs to Ōmoto-style usage, and it is reasonable to read it as connected to the idea of izu no mitama (厳の御魂) and mizu no mitama (瑞の御魂)—the union of the vertical spirit, comprising the rough and pacifying aspects, and the horizontal spirit, comprising the blessed and wondrous aspects; in other words, the union of Izu and Mizu, Izu-Mizu gōitsu (厳瑞合一). Likewise, aiki jū (合気十) may be understood as a term resonating with the cluster of written forms that the Founder had read as aikidō—aiki jū (合気十), aiki jū (愛気十), and jūjidō (十字道)—and thus as implying the integration of the vertical and horizontal cross: heaven and earth, the manifest and the hidden. Further, ōshiku (ををしく) is the classical form of “manfully,” “bravely,” or “boldly,” and it adds the nuance of advancing without hesitation and with dignity.

When this reading is “threaded back” into Morihei Ueshiba’s six primers, the ninth poem may be said to exhort us as follows: under the highest rule of assimilating oneself to Su no Ōmikami (主の大御神), the Great Deity of Su, and following the source of the spirit of “supreme love,” shiai (至愛), one should bring together, here and now, the twofold workings of the soul—Izu (厳) and Mizu (瑞)—while carrying through the third primer, shinkon ichinyo (心魂一如), seamless unity of heart-mind and soul, and the fourth primer, harmonious beautification, down into the micro-gestures of the fifth primer: body as dōjō, heart-mind as practitioner, practitioner-mind, or learner.

The page-specific direction suggested by “join now / tenfold harmony” concretizes aiki (合気) as the movement of the cross: vertical, Izu (厳), multiplied by horizontal, Mizu (瑞). It gathers together the six earlier primers by emphasizing that the practitioner should boldly advance the binding, musubi (結び), that spans both worlds—the manifest, as conduct, and the hidden, as inner depth.

A one-sentence colloquial summary

“Let us join the workings of Izu and Mizu now, boldly advance the cross-shaped Aiki, and walk so as to accord with the fresh, auspicious Divine Voice.”

Poetic note: Fixed form, caesura, and the work of associative diction

If we look at this ninth poem not only in terms of lexical meaning but also in terms of the movement of its poetic form, the fixed 5–7–5–7–7 structure itself functions strongly as a vessel for doctrine. The opening phrase arigataya (ありがたや) creates a first-line break, letting the exclamation stand once on its own; then the upper hemistich condenses the movement up through Izu to mizu to no / aiki jū (伊都とみづとの／合気十), while the lower hemistich, ōshiku susume / mizu no mikoe ni (ををしく進め／瑞の御声に), turns toward command and practical orientation.

In other words, the upper hemistich is the part that “calls the names, joins the two aspects, and establishes the field of the cross,” while the lower hemistich is the part that “moves the body into that field and attunes it to the Divine Voice.” The third phrase, aiki jū (合気十), is not a strict nominal close at the final line, yet it functions like a medial nominal stop, or a third-phrase nominal close, briefly holding the poem’s center of gravity in a noun. At that point, the poem changes from “explanation” into “practice.” The very name of the cross becomes the hinge that folds the upper hemistich back into the lower.

The coordinate repetition in Izu to mizu to no (伊都とみづとの) is a parallel construction produced by the particle sequence “to … to … no” (と……と……の). The two aspects—Izu and Mizu, hardness and softness, fire and water, the manifest and the hidden—are not placed in a hierarchy. They are first set side by side at the same height, and only then drawn together into aiki jū (合気十). This is not mere enumeration. It is also a compositional act that forms a web of engo (縁語), or associated words.

The series Izu, mizu, Mizu, mikoe (伊都・みづ・瑞・御声) belongs to the register of divine names, spirit, auspiciousness, and sacred utterance; the series aiki, jū, susume (合気・十・進め) belongs to the register of the way, the axis, and practice. Because these two clusters of associative diction intersect, the “field of sacred words” and the “field of the training body” overlap into a single plane within the poem. Thus the poem’s associative diction may be understood less as the network of scenic associations found in classical waka, and more as a religiously charged engo that makes Ueshiba’s Shintō and martial vocabulary respond to itself.

Moreover, the whole upper hemistich has something like the function of a jo-kotoba (序詞), an introductory phrase. Of course, Izu to mizu to no aiki jū (伊都とみづとの合気十) is neither a fixed classical pillow word nor a conventional introductory phrase in the strict sense. Functionally, however, it acts as a meaningful introduction, a conscious prelude that draws forth the lower hemistich’s command, ōshiku susume (ををしく進め), “advance boldly.” Because the divine twofold aspect and the field of the cross have first been set in order, “advance” is no longer a simple order to move forward. It becomes a training exhortation: place your body within the field of Izu–Mizu union. In this sense, the upper hemistich is an introductory device that creates the psychological and religious premise for the lower hemistich, smoothly joining “chanting” and “doing” within a poem of the way.

In the lower hemistich, inversion and particle-ending overlap. In prose, one would expect the order to be Mizu no mikoe ni, ōshiku susume (瑞の御声に、ををしく進め): “Toward the auspicious Divine Voice, advance boldly.” But the poem brings ōshiku susume (ををしく進め) forward and receives it at the end with Mizu no mikoe ni (瑞の御声に). Through this inversion, the command is thrust into the foreground, yet the ending is entrusted not to victory or arrival, but to the particle ni (に), a marker of direction, attunement, and final orientation.

This is not a nominal close. Rather, it is an open ending by means of a particle. It is also a form of ellipsis that deliberately leaves unsaid such predicates as “following the Divine Voice,” “accordant with the Divine Voice,” or “into the Divine Voice.” Because the unfinished case particle remains, the body of the reader or practitioner is left still in motion. The command of the dōka is not a completed utterance but the still-continuing direction of training, sounding in the present.

From the perspective of mitate (見立て), or figurative “seeing-as,” the poem treats aiki jū (合気十) not as a mere technical term but as the field of the cross, where heaven and earth, manifest and hidden, kami and human, and human relations intersect. Furthermore, the bodily motion implied by susume (進め), “advance,” is refigured as a posture of obedient listening directed toward Mizu no mikoe ni (瑞の御声に), the auspicious Divine Voice. To advance, then, is not to force one’s way through. It is to listen to the Divine Voice, attune oneself to its resonance, and enter the center of the cross. Here, martial forward movement is figured as religious listening; the movement of the body as attunement to kotodama (言霊); and the direction of technique as return into the Divine Voice.

On the level of sound, the phonetic chain of mizu (みづ), Mizu (瑞), and mikoe (御声), with its mi / mizu movement, and the echo between the i and u sounds of Izu (伊都) and the su-su of susume (進め), gather the poem together as a movement of voice before they gather it as meaning. The open a sound of arigataya (ありがたや) lets reverence expand; the chain of t, d, m, and n sounds in Izu to mizu to no (伊都とみづとの) weaves the act of joining; the s sound in ōshiku susume (ををしく進め) generates the force of forward movement; and finally the softer m, k, and n sounds of mikoe ni (御声に) settle the movement down.

This cadence shows that a poem whose theme is the Divine Voice is structured not only in content but also in utterance as a movement “toward voice.” In particular, mizu (みづ) and Mizu (瑞) function not only as a kind of pivot word but also as a pattern of repetition, response, and return, so that the spiritual name called in the upper hemistich resounds once again at the endpoint of the lower hemistich.

Finally, this poem works less by honkadori (本歌取り), allusive borrowing from an earlier poem, than by something closer to honsetsudori (本説取り), the taking up of doctrinal or mythic vocabulary. Rather than reenacting a classical scene on the basis of a specific older poem, it folds Shintō and Ōmoto-style vocabulary—Izu no mitama (厳御魂), Mizu no mitama (瑞御魂), mikoe (御声), and jūji (十字)—into the vessel of thirty-one sounds, compressing it into a poetic form that the practitioner can chant, remember, and embody.

In that sense, there is no need to force onto this poem fixed pillow words or a strict kakari-musubi (係り結び), the classical binding of particle and predicate. Rather, the poem’s force lies in the way its devices—the first-phrase break, the noun-like pause in the third phrase, parallel coordination, associative diction, enjambment, inversion, particle-ending, ellipsis, phonetic repetition, introductory phrasing, and figuration—all move the reader’s posture from “calling the names,” to “advancing the body,” and then to “listening to the Divine Voice.” The ninth poem is, before it is a poem to be decoded, a poem that changes the orientation of the body through chanting. Its poetics function precisely as a small ritual device for joining Izu and Mizu into a cross (i.e., perpendicular fields).

Speech Act Theory

Viewed through the frame of Austin’s (1962) Speech Act Theory, this dōka works on the locutionary level as follows. The ya (や) of arigataya (ありがたや) functions as a cutting word, kireji (切れ字), breaking off the exclamation once and, at the same time, carrying it over into the next phrase. Within the upper hemistich, rarity—“difficult to exist,” the root sense of arigatai (有り難い)—and reverence rise up in a single breath, while the naming of Izu (伊都) and mizu (みづ) sets the field in order. Further, mizu (みづ) is sewn by sound to the later Mizu (瑞), overlaying the resonance of water and the meaning of auspiciousness as a pivot word. When aiki jū (合気十) is placed here, the implications of jū (十)—ten, cross, and way—become a fold, ori (折り), and the arrangement of the upper hemistich is folded into the movement of the lower.

What operates as illocutionary force is the superimposition of exclamation and directive. The opening is not explanation but praise. Immediately after it, the two poles are named, and by that very act language comes to perform the work of “alignment.” The lower hemistich’s ōshiku susume (ををしく進め) is clear as an imperative, yet it is not a military order. It is transformed into an exhortation tinged with the after-sound of the cutting word. Because the poem ends with Mizu no mikoe ni (瑞の御声に), forward movement is oriented not as conquest but as attunement; the way is gathered back into voice.

What is expected as a perlocutionary effect is the lifting of the heart-mind’s disposition (i.e., affective-cognitive disposition) through reverence, the kindling of momentum toward training, and the reordering of the practitioner into a posture of “listening.” As Austin says, such effects do not always succeed; nevertheless, the poem is designed so that the severing force of the cutting word and the stitching force of the pivot word work upon mood and action beyond mere comprehension. In Shintō terms, kotodama (言霊) speaks of the spiritual power of words, and so the ending directed toward voice, mikoe (御声), asks the practitioner to receive resonance itself as guidance. Within that lingering resonance, the orientation of body and heart-mind is gradually set in order.

Coda

This ninth poem gathers Izu and Mizu, sternness and auspiciousness, voice and body, the calling of names and the advancing of the self, into the small vessel of thirty-one sounds. The opening cry, arigataya, is not merely gratitude. It is reverence before the rarity of existence itself, and that reverence opens the crossed field of aiki jū. Within that field, the vertical and the horizontal, manifest action and hidden heart-mind-spirit, hardness and softness, are not left in opposition. They are overlaid as the work of musubi, the joining power.

Thus, ōshiku susume, “advance boldly,” is not a command to thrust outward. It is an exhortation to enter the center while attuning oneself to the Divine Voice. Boldness here does not mean the strength to dominate another. It means the strength to hold together, within one’s own body and heart-mind, the two spiritual workings of Izu and Mizu without allowing them to split apart. The one who stands at the center of the cross advances as a listening body: between heaven and earth, between person and person, between the manifest and the hidden.

In this sense, the dōka is not only a doctrine to be interpreted. It is also a practice to be chanted. Language does not merely communicate meaning; it changes posture, orders the breath, and indicates the direction of movement. To join Izu and Mizu, to advance aiki jū, and to accord with the auspicious Divine Voice are not separate stages. They occur together within a single act of practice. The poem therefore does not fully end. Resting in the lingering openness of the particle ni, it continues to set the practitioner in motion.

For that reason, the close of the ninth poem is not a declaration of arrival, but the continuation of obedient listening. To awaken to blessed rarity, to join the two aspects, to enter the way of the cross, and to advance while attuned to the resonance of the Divine Voice: this small ritual of utterance is Ueshiba’s poetics of aiki, and it is also the practice of aiki itself.

References

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Appendix I: Change Modification Log

17 JUN 26 - Added additional poetic devices analysis; added English translation; added coda in Japanese and English.
23 MAY 26 - Updated Speech Act analysis; citation style updated.
15 MAR 26 - Added 行 (gyō) allusion.
23 JAN 26 - Phase V Speech Acts (Austin, 1962) analysis added in Japanese.
12 JAN 26 - Updated 声（こえ; koe）reading per edits from S. Okada from Facebook.
07 JAN 26 - Added cross reference on meaning of 十 from Takahashi (1986).
04 JAN 26 - Corrected reference for Groesbeck (2023).
03 JAN 26 - Adjusted mora count for kun reading of 十; added kakekotoba cross-references to stern/gentle in 十 reading.
21 DEC 25 - Phase V styling applied to waka.
07 DEC 25 - Updated quotes to Japanese quotes and back propagated English "Primer" to Japanese "プライマー" for Japanese readability.
25 OCT 25 - Phase III completion; Phase IV completion; commentary added.
14 APR 20 - Initial notes transferred.