Hara-Kiri: Japanese Ritual Suicide (5 page)

If the seppuku performer asked to use his own knife, it was the principle not to comply with this request. The
kaishaku-nin
would make excuses, such as the desired knife was not at hand, or it would take time to obtain the approval of the
bakufu
government to use it. In the event there were delays, it would not give the samurai a good reputation after death, which most samurai were concerned about. If the seppuku performer was a man of high rank or if he were dying for a popular cause, his wish was granted, but the blade of the knife was deliberately dulled.

The
sambo
or white wooden tray on which the knife was carried was placed backwards before the condemned. Two corners of the rim of the tray were cut to make a depression to hold the knife and prevent it from slipping off the tray. According to the earlier custom, the seppuku performer bared himself entirely from the waist up. Later, however, the kimono was only partly opened at the front without being completely lowered.

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 hasten 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.