The Samurai, the Ship, and the Golden Gate

This St. Patrick’s Day marks the 162ndanniversary of the arrival of the first Japanese ship to reach North America, as reported in the local San Francisco newspaper Daily Alta Californiaon March 18, 1860:

“His Imperial Japanese Majesty’s war steamer Candinmarru, commanded by Kat-sin-tarroh, a Captain in the Japanese Navy, arrived in our harbor yesterday, and anchored off Vallejo street wharf, at three o’clock P.M., after 37 days’ passage from Uragawa. . . .”

The Daily Alta, of course, was referring to the arrival of the Japanese warship Kanrin Maru, captained by Katsu Kaishū, the “shogun’s last samurai” of my book Samurai Revolution. The American journalists really had no way to know the correct transliteration of the Japanese names, probably because at that early date there was still no standardization thereofand they certainly bastardized the pronunciation (Katsu Kaishū was his pseudonym; his given name was Katsu Rintarō).

Following is an excerpt from the book (without footnotes):

At dawn of the thirty-eighth day at sea, Katsu Kaishū caught his first sight of the North American continent—and one can only imagine the intense interest with which he took up his binoculars to view through dense fog the coastal mountains in the distance, “like great waves rising above the clouds,” he wrote in a journal-like account of his San Francisco experience in History of the Navy. The captain would have been standing on the deck of his warship—a white banner emblazoned with the red rising sun flying at the mainmast; at the mizzenmast a signal flag of red and white displaying [Admiral] Kimura’s family crest of an encircled diamond. As the Kanrin passed safely through the strait called the Golden Gate, into San Francisco Bay, Kaishū paid special attention to the forts on the north and south shores, for the state-of-the-art military technology naturally concerned the military scientist who would construct modern batteries on the coast of his own country. To this purpose, during his sojourn in and around San Francisco he kept meticulous notes. The battery at Fort Point, on the south shore, he wrote,”is equipped with tens of large guns. The battery is made entirely of brick, with loopholes at three levels. The flat upper surface, sixty or seventy ken [around 109 or 127 meters] in length and of a suitable width, is large enough to mount smaller guns. From the outside there appears to be plenty of room for posting sentries at the rear. On the hillside on the left [north] shore are lights for targeting vessels entering and leaving the bay.”

From the topography of the city, “with mountains on all four sides,” Kaishū was struck by “its similarity to our Nagasaki.” Presently, a tugboat approached. “Two of its men boarded our ship. . . . We requested them to lead us [further] into the bay.” “They were going to salute us with cannon fire from land,” wrote Fukuzawa Yukichi, who sailed on the Kanrin as a steward to Kimura. “If they were going to salute us, then we had to return the honor.” But the captain hesitated on the grounds that his tiny ship might not withstand the shock. Meanwhile, Senior Officer Sasakura Kiritarō was eager to return the salute. “No,” said the captain. “Rather than attempting to return the salute and failing, it would be better to let the matter alone.” But Sasakura was determined. “I can do it,” he said. “I’ll show you.” “Don’t be stupid,” the captain retorted. “There’s no way you can do it. But if you try and succeed, you can have my head.” Permission granted, Sasakura ordered some of the men to clean the guns and prepare the gunpowder. He returned the salute superbly, as Kaishū probably expected, assisted by Junior Officer Akamatsu Daizaburō, who used an hourglass to time the intervals between shots. Then Sasakura got his feathers fluffed up and strutted right up to his captain. “Your head belongs to me,” he announced for all to hear. “But I think you’d better keep it where it is for a while. I’m sure you’ll be needing it during the rest of our voyage.” Sasakura’s remark drew laughter from the entire company.


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Samurai Revolution Miniseries Project (2)

 

[Wanted: International media professionals with vision to make a miniseries based on Romulus Hillsborough’s Samurai Revolution]
The Samurai Revolution: a series of tumultuous events of the mid-19th century by which Japan was transformed from a country of hundreds of feudal domains under the hegemony of the Tokugawa Shogun, into a modern industrialized world power under the unifying rule of the Emperor. “The samurai revolution at the dawn of modern Japan,” as I wrote in the Prologue of my eponymous history of the era, “is a human drama of epic proportion unfolding amid a whirlwind of world-shaping events of such complexity and speed that sometimes even the leading players got lost in the maelstrom.” Featured is a cast of samurai, historical personages all, engaged in Machiavellian maneuverings among leaders of the shogun’s government, the most powerful feudal lords, and nobles of the Imperial Court; intrigue among nobles at the Imperial Palace and the ladies of the shogun’s inner-palace, one of whom was rumored to have been raped by a close advisor to the shogun; the mysterious death of the Emperor, who some, including the British diplomat Ernest Satow, believe was actually murdered by arsenic poisoning; and numerous assassinations committed as “divine punishment” by samurai on both sides of the conflict. As the driving force behind the Samurai Revolution, the assassins, I have written elsewhere, “transformed the formerly tranquil streets of the Imperial Capital into a sea of blood. . . . Terror reigned. . . .The assassins skewered the heads of their victims onto bamboo stakes. They stuck the stakes into the soft mud along the riverbank. The spectacle by dawn was ghastly.”
        *                              *                       *                           *

Samurai Revolutionwill make a riveting miniseries, co-narrated by Katsu Kaishu, the “shogun’s last samurai,” who is the focus on the book, and his political ally and confidant, Ernest Satow.

Interested producers and media professionals are urged to contact Romulus Hillsborough under the “Contact the Author” tab in the menu above.


“Hillsborough’s prose is cinematic and intense.” The Wargamer

“Hillsborough deserves high praise for successfully combining high drama… with meticulous scholarship.”  The Daily Yomiuri

“Hillsborough does a great job of elucidating the complex customs that ruled Edo Period life and politics.“ The Japan Times

“[an] absorbing if sometimes gruesome reading for anybody who wishes to understand the chaos in which the shogunate was finally engulfed, not least for its study of significant figures on various sides of the struggle . . . .” Times Literary Supplement

[About the above portrait of Katsu Kaishu: The overthrow of the Bakufu in 1868 sparked a contained civil war that threatened to spread throughout the country, endangering Japan’s sovereignty. To avoid catastrophe, Kaishu, as commander in chief of the fallen shogun’s still formidable military, negotiated an eleventh-hour peace, including the surrender of the shogun’s castle, with the commander of the Imperial Army. For that he was considered a traitor by many in the Tokugawa camp. Behind him is a stonewall of the castle, to the left of which is a fellow Bakufu samurai, sword drawn, as if ready to attack him. The portrait is based on a photograph taken at the British Legation in Yokohama by Ernest Satow, secretary to the British minister to Japan, around the time the castle was surrendered. “I was so very sleepy at the time,” Kaishu recalled years later. “But they dragged me over there. Satow took it, because, as he said, ‘You’re going to be killed.’”]

 


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Samurai Revolution Miniseries Project (1)

[Wanted: International media professionals with vision to make a miniseries based on Romulus Hillsborough’s Samurai Revolution]

[Samurai] working under [Imperial Loyalist leader] Takéchi [Hanpeita] in the name of . . . “divine punishment”—went after . . . just about anyone who opposed or even seemed to challenge [them]. The . . . assassins terrorized the city. The murders they committed in the name of “divine punishment,” write Takéchi’s early biographers, were “a vengeful reaction” against [the shogun’s government], which turned Kyoto into so many scenes of carnage, that “even the dancing girls . . ., frightened by the sound of the carp jumping from the ponds at night, would go together every morning, in their long-sleeved muslin kimonos, to see the freshly severed heads [exposed] at the river bed.” [From Romulus Hillsborough’s Samurai Assassins, companion volume to his Samurai Revolution]

Takéchi ordered his first “divine punishment” assassination in Kyoto in the late summer of 1862. The target was Honma Seiichirō, a fellow Imperial Loyalist activist whom he believed had crossed him.

Honma’s “freshly severed head” was found exposed the next morning, skewered atop a bamboo stake stuck in the mud on the riverbed at a place called Shijōkawara. His body had been dumped into the nearby Takaségawa canal; but in the early morning rain it was washed downstream so that it had to be retrieved by men from the local town office, who found it still fully clothed in a hakama(pleated trousers) of striped Kokura weave, hakata-obi(sash), black haori(jacket), and dark blue tabi(socks). The wooden signboard hanging from the stake below the head announced the reason for Honma’s “divine punishment,” including his having “slandered” [Takéchi’s political allies]; setting the Loyalists against one another; “wicked scheming”; and “other unreasonable wickedness difficult to express in writing”—or in other words, vying for power with Takéchi Hanpeita. [From Samurai Assassins]

Samurai Revolution Miniseries Project


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Katsu Kaishū’s “Notebook of Deceased Friends”

Katsu Kaishū, “the shogun’s last samurai” of Samurai Revolution, was a prolific writer. Recently I’ve been thinking about one of his books, Bōyūchō (“Notebook of Deceased Friends”), which he wrote in 1877 (at age fifty-seven), nine years after the Meiji Restoration, about ten important historical personages of that era. Following is an edited excerpt (without footnotes) from Samurai Revolution:

Though Katsu Kaishū had not mentioned Saigō Takamori’s death in his journal, shortly after Saigō died he produced a small book of late great men of the Meiji Restoration. It is clear that Saigō was foremost on his mind—but he could not explicitly dedicate the book to him. Bōyūchō (Notebook of Deceased Friends) is an annotated compilation of letters, poems, and paintings in the original calligraphic brushwork, which Kaishū personally had received from eight late friends “over my career of thirty years.” (The book actually covers ten men, but Kaishū possessed calligraphic works addressed to himself from only eight of them.) . . . . Included beside Saigō are (in order of appearance): Sakuma Shōzan, Yoshida Torajirō (Shōin), Shimazu Nariakira, Yamanouchi Yōdō . . ., Katsura Kogorō, Komatsu Tatéwaki, Yokoi Shōnan, Hirosawa Hyōsuké, and Hatta Tomonori. Yokoi and Saigō are allotted the most space, with three works included from each of them. But Saigō alone is alluded to (if only implicitly) in the Introduction and it was with Saigō’s poem, Zangiku(“Chrysanthemums of Early Winter”), that Kaishū concluded the book.


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A Note On Ryoma, the Gunman

The other day I was interviewed by John Dolan, co-host of a very fine weekly podcast called “Radio War Nerd,” which covers a wide range of military topics. John had read my Shinsengumi and became interested in the “samurai revolution.” He mentioned that many men had been butchered with swords during those years, and asked why samurai did not also use guns against their enemies. In my reply, I failed to mention the incident at the Teradaya inn in the outskirts of Kyoto, in which Sakamoto Ryoma famously used a Smith and Wesson revolver to defend against an attack by a Bakufu police unit, as depicted in this print published in Chikami Kiyomi’s early biography (1914). In Samurai Revolution, I translated Ryoma’s own account of the incident, as reported in a letter to his family. Following is a brief excerpt:

Thinking that the enemy was going to attack from the [left] side, I shifted my position to face left. Then I cocked my pistol and I fired a shot at [the man] on the far right of the line of ten enemy spearmen. But he moved back, so I shot at another one, but he also moved back. Meanwhile, [others of] the enemy were throwing spears, and also hibachi [charcoal braziers], fighting in all sorts of ways. . . . Needless to say, the fighting inside the house made quite a racket. Now I shot at another man, but didn’t know if I hit him.

Smith & Wesson No. 2 Army revolver, same model carried by Sakamoto Ryoma


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