by Jack Seward
The preparation of the white standing screen as well as cleaning up after the ceremony was the office of the ashigaru samurai.
As soon as the seppuku performer opened his kimono, he stretched out his right hand to seize the knife. Without allowing a moment's delay, he cut into his abdomen from left to right. It was counted more courageous to make a slight cut upwards at the end, which was called the jumonji or crosswise cut. The exact moment of decapitation was arranged beforehand and the assistant had to know whether or not the condemned would make a crosswise or straight cut. He might either raise his hand or say in a low voice, "KaishakuV
The kaishaku-nin sat about four feet to the left and in back of the seppuku performer, holding himself ready, resting on his knees and toes. The inspector would then say, "Kaishaku-nin, maintain your silence," and he would bow reverently.
While handing the knife to the seppuku performer, the kaishaku-nin would pick up the sword with his left hand and would place it flat on the tatami with the haft to the right. Then, when he had unsheathed the blade, he would lift his right knee, keeping his left foot in place. He poised the sword in air, adding his left hand to the haft and measuring a straight line between the big toe of his right foot and the earlobe of the seppuku performer. Then he made the downward slash toward the lower margin of the hair on the back of the victim's neck.
It was considered expert not to cut the head completely off in one stroke, but to leave a portion of uncut skin at the throat, so that the head would not roll away but would hang down, concealing the face. This technique was called daki-kubi or "retaining the head," and was taken as proof of excellent swordsmanship. The kaishaku-nin would later make the last separation at leisure, either with the same long sword or with his short knife.
When decapitation was completed, the kaishaku-nin took some white tissue paper from his kimono—ten to twenty sheets folded in triangular form. Holding them in his right hand, he placed the head on them, holding the head by the hair and showing it to the kenshi for his inspection. The point of the triangular white paper was toward the inspector. If the head was bald, a small blade called a kozuka was used to hold the head in position by driving it into the left eye. The head was then placed as close to the neck as possible and the paper used to wipe the sword clean was placed beside the corpse. Sheathing his sword, the kaishaku-nin devoutly bowed to the deceased and retired. Then the assistants drew the curtains.
It sometimes happened that the kaishaku-nin lost his composure or nerve and was unable to fulfill his role. In such a case, his assistant immediately took his place.
If the seppuku performer was a man of high rank, the head might be sent to relatives. Then the hair was well combed, scented, and the head wiped clean of blood. If the eyes were open, they were closed. If the eyes would not stay closed, they were sewn shut with hair from a horse's tail. These attentions were called kubi-shozoku or "head-dressing." The dressed head was wrapped in a square of white cloth and placed in the conventional cylinder-shaped box. In case white cloth was not available, the white kimono of the deceased might be cut up and used as a substitute.
If the head was not to be sent somewhere, it was attached to the body with a ladle-handle containing two holes. The corpse was placed in the coffin on the cushions used by the deceased and sent to the temple where he was registered. The final procedures differed according to local customs.
Kaishaku
The word kaishaku means "to attend," "to look after," or "to serve." In the course of time, this term came to be used solely to refer to the act of helping a samurai in committing seppuku and lessening his long drawn-out agony. During the Warfare Period, there were many cases of kaishaku to help shorten the period of agony after disembowelment. It was, however, from the time of the fourth Shogun, Tokugawa Ietsuna, during the Empo Era (1673— 81) that kaishaku was officially established as a part of the seppuku ceremony. In the course of time, even the assistant himself came to be designated by the same word.
The basic motive of kaishaku was one of mercy, at least from the viewpoint of the feudal code of the samurai. Though seppuku was considered the flower of Bushido or chivalry, it was believed needless and even cruel, except on the actual battlefield, to let the disemboweler suffer lengthy agony. Thus, kaishaku was officially approved and introduced into the seppuku ceremony.
Whatever the standing or rank of the kaishaku-nin, the seppuku performer had to follow his orders, although there were customs and standards varying with the rank and offense of the condemned.
The kaishaku-nin was expected not to excuse himself from performing this duty. Errors, clumsiness in swordsmanship, or lack of dignity, while not absolutely disgraceful, could detract from his reputation. Young samurai were most likely to make slips. If a senior samurai recommended in his stead a younger samurai solely to escape this onerous duty, it was considered to be an act of cowardice.
Earlier it was pointed out that the finest technique in kaishaku was to leave an uncut portion of skin at the throat to "retain the head." Herein lies the philosophy that distinguishes seppuku from mere decapitation. To be decapitated without the seppuku ceremony was a great dishonor to a samurai, because it was the punishment usually meted out to commoners.
The sentence of decapitation was given to such criminals as arsonists, bandits, murderers (for an ignoble cause), and persons guilty of crimes against the state. It was to make a clear distinction from these crimes that the rite of seppuku was initiated. Hence, it was important to employ a swordsman of the highest order so that the head would not be cut off completely at the first blow. For all that, it was nevertheless difficult to always "retain the head." In an attempt to succeed at this difficult task, persons appointed as kaishaku prepared for it with two exercises: lopping off the lower halves of leaves on low tree branches, and knocking off a head-like object placed on top of a sand bag.
The costume of the kaishaku-nin varied. If the seppuku performer was of high rank, the kaishaku-nin wore a new kamishimo which was the most formal attire. This applied to his subordinates as well. If the seppuku performer was of medium rank, the kaishaku-nin, together with his subordinates, wore only hakama. For a lower-ranking man who held neither remarkable status nor office, the aforementioned formalities were not observed by the kaishakunin or his subordinates. However, when an inspector was sent, all the officers had to be dressed in kamishimo, irrespective of the status or crime of the condemned.
Some authorities on seppuku customs said that if the rank of a seppuku performer was high, the kaishaku-nin should be dressed all in white and the haft of his sword should be covered with white cloth. In pursuance of this old advice, it became customary for the sheath and haft of the kaishaku-nin's sword to be white in color.
If seppuku was performed within a house or building, the kaishaku-nin tied up both legs of his hakama. If the rite was to be in a courtyard, the hakama was tied up as high as the knees.
As has been noted, the correct timing in the performance of kaishaku depended greatly on the swordsmanship of the appointed person.
It was the logical order for the kaishaku-nin to use his sword at the proper moment just after disembowelment was completed. However, it was also often the case that decapitation was performed at the moment when the condemned man merely picked up the dirk from the sambo tray.
The kaishaku-nin had to understand the mentality of the seppuku performer. If he looked like a weak-willed person, the assistant should behead him before he thrust the dirk into his abdomen. However, if a previous agreement was made for decapitation to be done at the very instant when the dirk has been drawn to the right side of the abdomen, then the kaishaku-nin should respect that last desire. Still, if the seppuku performer looked as if he were in agony although the cut was incomplete, the kaishaku-nin should act immediately. Intent scrutiny was required of him.
To allay possible criticism later, it was recommended as a good precaution for the assistant to have a word beforehand with the inspector and tell him that he might ha
sten or delay kaishaku according to the courage, reputation, etc., of the seppuku performer.
When a young boy was commanded to commit seppuku, it was considered merciful and proper for the kaishaku-nin to help him at the earliest moment, i.e., when he picked up the dirk from the sambo tray.
In regard to the timing of the death blow, there were three systems of classification. The first system gives three moments when kaishaku should be performed:
1. The moment when the seppuku performer stretches out his hand to pick up the dirk from the sambo tray.
2. The moment just before the seppuku performer thrusts the dirk into his abdomen.
3. The moment when the seppuku performer stabs the dirk into the left side of his abdomen.
The second system gave four proper moments:
1. The moment when the subordinate who delivered the dirk on the tray was withdrawing.
2. The moment when the seppuku performer began to draw the tray toward him.
3. The moment when the seppuku performer picks up the dirk.
4. The moment when the seppuku performer was about to stab himself.
The third system gave nine permissible moments:
1. The moment when the seppuku performer draws the sambo toward him.
2. The moment when the seppuku performer bows after picking up the dirk.
3. The moment just after he stabs himself..
4. The moment when the seppuku performer has drawn the dirk to his navel.
5. The moment when the seppuku performer has drawn the dirk to the right side of his abdomen.
6. The moment when the seppuku performer is about to make the crosswise cut.
7. The moment when the seppuku performer is halfway through the crosscut.
8. The moment when the seppuku performer completed the crosscut.
9. The moment when the seppuku performer withdraws the dirk from his abdomen and places it on his right knee.
The last example was followed in the case described when Lord Redesdale was one of the witnesses at the event.
The kaishaku-nin should be an alert watchman. Close attention to his task was a prime requirement. He had to watch constantly the eyes and feet of the seppuku performer. He could not afford to feel sympathy for the condemned—doing so would be contrary to the spirit of Bushido.
If the condemned man secretly planned to escape, he might involuntarily reveal his intent with his glances or by frequent shifting of his feet. Therefore, even though the seppuku performer might be a close friend of the kaishaku-nin, a careful scrutiny of the movements of his eyes and feet was not to be neglected.
Regardless of the relationship of the kaishaku-nin to the condemned, he was expected to look upon the seppuku performer as an enemy. If the condemned planned to escape, he might snatch up the sword of the kaishaku-nin. To prevent this, the kaishaku-nin had to watch constantly his longer sword (tachi) as well as his shorter one (wakizashi). He was advised not to carry his swords in his hands but to attach them to his belt in the manner called otoshizashi.
The cord on the sword-sheath was not to be wrapped around the haft, because it sometimes became coiled around the blade. It was to be tied to the rear.
The kaishaku-nin had to be sitting down when the kenshi appeared, so he had to take care not to let his limbs become numb, especially on cold days. Even though a man of high rank might be present, he was not to forget to exercise his limbs. Such a precautionary measure was not counted as disrespect.
In addition, regardless of the temperature, the palms of the hand were liable to become sweaty, and the kaishaku-nin was expected to keep them dry.
The kaishaku-nin also had to make precise measurements beforehand, so that his sword would not touch the ceiling or the walls when executing his downward stroke.
To eliminate further hindrance to his movements, the kaishaku-nin would loosen his kataginu or wing-pointed formal surcoat, dropping it off his shoulders.
It was common knowledge among swordsmen that the human neck is about four sun long, or a little over four inches, both in the front and rear portions. However, as it varied somewhat with the individual, the kaishaku-nin considered it part of his duties to study the length of the neck of the condemned.
There were three positions for holding the sword: high, middle, and low. If the seppuku performer were a person of high rank, it was deemed proper to use the high position. If he were of equal rank with the kaishaku-nin, the middle position was recommended.
If the seppuku ceremony were to be held in a courtyard covered with white sand, the kaishaku-nin was requested to wear zori or straw sandals. However, it was not good form to wear them up to the actual spot for seppuku. Even this etiquette surrounding the zori was taken as a delicate indication of the culture and character of the kaishaku-nin, and, therefore, could form the basis for criticism.
If the seppuku performer indicated hesitance to carry on with the ceremony, he was sometimes given a suzuri or Japanese ink-pot (for use with a writing brush) and told that he might leave a written message. Understandably, he might wish to postpone death, even for a moment. While concentrating on what to write, he would become somewhat calmer. Then, when the victim's neck was in the right position, the kaishaku-nin would do his duty. In utilizing this device, however, prior consultation with the kenshi was thought to be advisable.
Whenever any conversation was directed at the kaishakunin by the seppuku performer, "Put your mind at rest" was the stereotyped response usually given. Indulgence in conversation might only serve to further disquiet the mind of the condemned.
According to one school, it was taboo for the seppuku performer to face either east or north for the reasons that the east is the direction of birth and facing the north would show disrespect to the Emperor.
In individual feudal fiefs,the condemned was prohibited from facing the castle, and, within the castle, from facing the main building. Whereas the directions which the condemned could face were west and south, it sometimes happened that the castle or main building was located in one of those directions. In such cases only, the east and north became permissible.
Degradation of Seppuku
In the course of time, the rite of seppuku took on many forms. The wooden sword and the white fan came into use. Of course, these methods were used in the case of crimes which could not be punished in the more honorable way as well as in the case of the lower grades of samurai. However, Yamaoka Shummei, deploring the abuse of the true spirit of genuine seppuku, wrote in his Seppuku Jisatsu Kojitsu no Koto (Old Facts about Seppuku and Suicide):
We have these days an established manner of seppuku using the kaishaku-nin in a way which renders use of the dirk unnecessary. A fan is placed on the sambo tray; when it is picked up, the seppuku performer is instantly decapitated. It doesn't matter whether he knows how to disembowel himself or not. Such cannot be called seppuku, but only decapitation.
The forms of these quasi-seppuku are as follows:
Sensu-bara or "Fan Hara-kiri." Instead of the seppuku dirk, a fan is placed on the sambo tray. The condemned might have been decapitated for his crime but, being mitigated one degree, he was permitted this "imitation seppuku." It might be more proper to classify this as ranking between seppuku and decapitation.
The fan to be used was prepared in this manner: its rivet was removed and the two major stays broken; the entire fan was held together by only a paper string. The traditional Japanese idea is that the fan symbolizes a blessing and happiness because of its ever widening shape. This shape cannot be held without the rivet and the two retaining stays. Hence, for the purpose of seppuku, this symbol of blessing was distorted.
Mizu-bara or "Water Hara-kiri." Originally two small, unglazed dishes were colored gold, silver, vermilion, and green, and were brought to the condemned. When he had poured the water from the upper dish into the one underneath while holding them high in a prayerful posture, his head was cut off.
Later, exactly when is uncertain, this rite also was abbreviated, s
o that just one unglazed earthenware dish was set forth, without any water. In this case also, the symbolism was marred by chipping the rim of the dish. Even this simple, chipped dish, substituted for the seppuku dirk, saved the face of a samurai.
This "water hara-kiri" was inferior in grade to "fan harakiri," and, therefore, was closer to decapitation. The reason for chipping the rim of the earthenware dish was simply to show that a new one, i.e., a sign of benediction, was not used. While the condemned held this dish on his right knee, his head was cut off.
At this level of punishment, however, either kamishimo (including surcoat and hakama, loose trousers) or just the hakama were allowed, depending on the rank of the condemned. It was like standard seppuku, however, in that the same tatami were used and the kaishaku-nin was dressed the same.
Te-bara or "Hand Hara-kiri." Te-bara was alternatively called yubi-bara or "finger hara-kiri," toshu, or soe-bara. This penalty was just under mizu-bara, and only slightly higher than mere beheading. Whereas the condemned should have been decapitated, his punishment was mitigated for some consideration by one degree. In this case, he was not allowed to sit on regular tatami, but on a thin matting called usuberi, a kind of rush mat, while he wore only a plain white kimono. The man who performed the function of kaishaku was not called by that name, but rather tachi-tori or sword-taker, and this was not considered to be a job for a regular samurai. The tachi-tori was chosen from among the ashigam class; he wore a plain, white kimono, the skirt of which was tucked up behind. His striking posture was also less formal; he waited at the right side of the condemned to take advantage of a favorable moment to strike.