#ナガラ

[legacyofacat]

[12] Where Your Core Rests (Kongō x Reader)

Can also be found on Ao3 (completed), Wattpad, FanFiction.net and DA.

First Next Last

Black Fleet Sailing Homewards

Surprisingly enough, the United States Navy didn't try to stop them. They did contact them, did ask what they were here for and also sent destroyers to supervise them, but that was it.

On the other hand, what were they supposed to do? While tensions were still partially high, officially there was peace between humanity and the Fleet of Fog and no one really wanted to provoke them.

"Found anything, Ojō-sama?"

Kongō had submerged, leaving Nagara on the surface to chat with the US Navy through morse code while she, Luigi and the human scouted the underwater area.

"Not yet", neither with eyes nor with sensors. 

"Me neither", they deflated, "Lui?"

Luigi shook his head, sitting down with a pout.

"Maaaan, at least we know Arizona is still here."

Kongō threw her a look which made them instantly duck away in fear of getting punched.

Of course Arizona was still here! She was both dead and a memorial!

"We're not going to break into Arizona, are we?"

"No, my scanners can reach inside her", she grabbed at her forehead in exasperation.

But there really is nothing here.

What were they supposed to do now? 

Their only clue was a piece of nanomaterial, a piece that was slowly falling apart to add, and a Philadelphia-class of the Fog of whose status and whereabouts they had no idea.

"Ah, I'm an idiot", she acknowledged the human as they crawled out of whatever corner they had vanished in, "we're resurfacing."

"Huh?", they and Luigi blinked, but soon had to hold on tight as the large vessel cut through the surface, Nagara greeting them excitedly, "woah! That was awesome, really fucking terrifying, but also really awesome!"

Please never do that again!

It had also been really really sudden.

"Apologies. Nagara, we are leaving for neutral waters."

Click!

She said goodbye to her new friends and then trailed behind her flagship happily until the destroyers stopped following them and Kongō slowed down to a stop.

"Ojō-sama? Are you alright?"

"Yes…", she walked past them, ignoring Nagara's questioning sound, "I just need to concentrate for a moment."

"What are you trying to do??"

"I'll be getting the CCS back in order."

When all of the High Flagships had sunk, the massive outburst of energy had partially disrupted the Concept Communication System and while it had rightened itself to a certain amount, some of its functions were still out of order. They could still trade information, for example, but they couldn't tell who was currently active.

If Kongō could get it in working order again, then, at the very least, they would be able to figure out whether Arizona and Philadelphia were still alive or not – thinking back on the fleet she had annihilated back then, if they had been hunting a corpse all this time she would cry.

"Oh, ok? Good luck?"

"Thanks."

Apparently, getting everything running again was a partial headache, but Kongō managed it somehow.

(Not that anyone doubted her abilities).

When she reappeared again she was looking annoyed as all hell, but more like in the "I'm done with this bullcrap" way, and waved both cat and human over: "Only Arizona is still active. I was able to pinpoint her position from past coordinates, but she has gone under radar since."

They had hurried over the moment she had called, Luigi on his friend's shoulder so that they could look at Kongō’s screens: "But that's good news, right? Sure, we only have a vague idea now and maybe she already moved further, but that's more than we have now! So where is she?"

Kongō pointed to a blinking dot on a map.

"..."

"..."

"..."

"You gotta be kidding me!?"

Luigi the drama queen wailed with them.

The dot on the map was… the old man's villa from the beginning!

Kongō still looked less than happy, but now she was being smugly amused because she had felt the exact same way.

"Tell me you're joking!"

"I wish I could."

"Waaahahaaaaaa!", they wailed, hiding their head in both hands, backing out, walking in a medium sized circle and coming back to hide in Kongō's shoulder.

Luigi licked their cheek, Kongō patted their head.

Lying here was nice, they thought with a dramatic sob, but it had to end – the sob this time was a real one.

"Ok", they lifted their head again, "so we're going back home? Cool, nice, long time no see. Really missed it."

"I'll act like you're serious."

"Thanks."

Nagara began moving first, rushing past them with so much enthusiasm that they almost were swept up in it. Almost.

The human looked after her: "Is she actually that enthusiastic or…?"

"No idea", Kongō was a bit afraid to ask, in all honesty, "let's go."

"You're saying this as if I could actually move."

"I hope that you can move."

"I- wh-", they sputtered, "what's with that sudden sassiness??"

Kongō rested a hand on her hip: "I've always been sassy."

Which… was true, she was just trying to be at least a bit serious about things that interested her.

"Well… yeah, fair", they had come to the same conclusion, "then let's go!"

"You don't get paid for fake elan."

They slumped forwards as if shot.

[saku-skywalker]

とある日のお昼ご飯 はナガラ食品監修のホルモン焼きを丼にしてみた。 ナガラ食品と言えばアルミの容器に入った冷凍のホルモン鍋。 これが大好きで食いまくってたな〜…なんて思いながら購入。 結果、全く別モンでしたわ笑 #ローソン #ナガラ食品 #ナガラ食品ホルモン鍋 #ナガラ食品監修 https://www.instagram.com/p/CpEK6DcSeJM/?igshid=NGJjMDIxMWI=

[azure358]

--深海人形特別篇-- プロジェクト グランドフィナーレ 準備号 館主様と蒼傑達は噛ませ犬

※クロスオーバー注意

※ショタ・男リョナ注意

※オリ設定注意

※某機動戦士シリーズ、サムスピ、月華並グロテスク、流血残虐表現注意

※館主様と蒼傑の噛ませ犬化注意（※何時もの事）。

※ガソダムEXAって漫画あるじゃろ？それをガソダムの奴等が他漫画（※…但し、ドマイナーで、基本的に、其の存在を誰も気にして無い）に対してやって居るみたいなモンじゃ（※男塾勢は読むな）。

※最後に、某ドクサレイカサマ煮卵の出て来る蛇足おまけがあるけど、読むだけムカつくので閲覧非推奨（※…対戦相手も対して強く無いし……）。

…。

蒼傑vs

今回、蒼傑十八番の『双条檄射』で死合をする。然し、相手は、『Effigy（相手を呪う為の儀式人形）』とも呼ばれ、『特級呪物』とも称される謎の強化人間。もしかすると、下手をしたら『呪われる』かもしれない。…其れでも、蒼傑は怯まなかった。

死合開始直前、蒼傑は改めて、相手を見る。…自分とは違う拵えの弓（※疾風の弓ミュルグレのレプリカだと言う ※元ネタ:FE封印の神将器）を構え、銀髪で長髪で、左目だけが金眼で、服装は和装で……、蒼傑と同じか其れより背の高い男だった。かつては、『ソロモンの悪夢』等と呼ばれて居たらしい。

（…『ソロモンの悪夢』？…相手の経歴等、…俺には、関係無い事だ。…別に、如何でも良い……。）

…其の時の蒼傑は、はっきり言って、『身の程知らず』としか言えない。実際、其の力量の圧倒な差は、最終的な試合結果にも表れて居た。

…そして、死合開始。

梁山泊 闘弓術 三連貫！！

すかさず、RXQ-02は自らも矢を放ち、蒼傑が撃つ飛んで来た矢を、一本ずつ、丁寧に、相殺して、撃ち落とす。

それを見た蒼傑は酷く驚く。

「…なっ？！相手は千日ほう鏡の使い手か何かか？！！」

そうは言うも、次は二本続けて、時間差を交えながら、弓を射る。

だが、全弾さらりと避けられてしまう。

（…俺の速射は、速度精度共に、大陸一だと言われて居る……、…其れでも、…何故、避けられる……？？）

「…味な真似を……、」

相手の規格外な性能に、段々と追い詰められて行く蒼傑。

（…後、5本か……）

それから、すぐさま、相手が蒼傑に向けて矢を撃って来た。4本の矢を。瞬時にこの矢は如何足掻いても避け切れないと判断した蒼傑は、自分も矢を4本撃つ事で事無きを得る。…そして、其の間一本の矢を混ぜて、相手の頭をスナイプしようとしたが、余裕で相手に見切られており……、…此れで、蒼傑0本、されど、相手方は2本だ。

…かくして、手持ちの矢を撃ち尽くした蒼傑は、もう対抗手段を持っていなかった。

相手方の勝ち。

…此れで死合は終了となった。

「…仕方無い、…俺の負けだ。」

…蒼傑が己の負けを潔く認めた、…其の時、相手方のRXQ-02が口を聞きはじめる。

「…何だ貴様、生き恥だな。…今、私が、もう貴様が二度と生き恥をかかなくて良い様にしてやる。」

すると、蒼傑の降参も虚しく、上からの命令を無視し、容赦無く、RXQ-02は、矢を蒼傑に撃った。

「？！？！！？？！！」

「この矢で最後、さらばだ。」

其うして、放たれた矢は、蒼傑の首と脳天を貫く。

…。

館主様vs

…其の瞬間、嶺厳は対戦相手を、しかと見た。

（…あの男、…日本刀を持って居るな……）

虚な目をした、左目だけが金眼で悪人面で紫髪で白い服を着た背丈180cm程度の男が、嶺厳の前に現れる。

すると、予め、対戦相手の情報を知らされて居る嶺厳が思い出す様にぼやく。

「…此れは正に、『一握りの天才』同士の戦いだな……。」

そうして、嶺厳は体術の構えを『魔人』RXQ-03は日本刀を桃の様に構えて、戦闘体制に入った。

（…あの構え方は、剣桃太郎、…剣の構え方だ……）

「…面白い。俺が相手になってやろう。精々惨めな最期を迎えるなよ？」

いざ尋常に、一本目、勝負！！

…翔穹操弾！

…然し、何と、敵目掛けて撃った筈の何発もの操弾が刺さらない。嶺厳は驚愕した（→驚愕する）。

「…何……だと……？！」

嶺厳が一瞬怯んだ隙に、RXQ-03は一気に間合いを詰める。然し、流石の嶺厳も相手を警戒した後、思い切り相手の腹を何度も蹴る、…が、何��ダメージをも与えられない。

（…此れが、『強化人間を超えた強化人間』の実力か……！？）

其処で、短期決戦に持ち込みたい嶺厳は、『回頭閃骨殺』で一撃決着を狙うが、其れは相手にも見切られており、空対空で対策された後、其の対戦相手であるRXQ-03は、一気に刀を勢い良く振るい一閃して、嶺厳を袈裟斬りにした。

「…あ゛あ゛あ゛っ゛っ゛！！！！！」

そして、嶺厳の最期は、丁度、『月華の剣士（第二幕）』と言う対戦剣戟格闘ゲームで、『決！勝負あり！』の後に、対戦相手の、人間の胴体が真っ二つに切れて行く様だった。

そんな中、無表情で立ち尽くす--返り血を浴びて綺麗に染まった白服の--RQX-03。

「…落ちたか、カトンボが。」

そう言うと彼は刀に付いた血を手持ちの布で拭い、血を拭いて綺麗にした後、刀を鞘に収めた。

…。

蛇足試合 マホロアvs

「…キャハッ⭐︎」

ほんとムカつく、ドクサレタマゴの此の笑顔。

「…サァテ、今日のボクの対戦相手ハ、…誰カナ……？？…誰カナーーーー？！？！！！！」

やがて、其の相手は、イカタマ野郎の元にのそもそとやって来た。今回の相手、其れは、元々は『幻の撃墜王』とも称された『準魔人』RXQ-05。

「ヤァ、ボクはマホロア！対戦宜シクネ！！」

「…変な生き物？」

「…変な生き物言うナァ！！」

「…嫌な生き物。…何かヤダな。」

其う言いながら、RXQ-05は両手にダガーナイフを装備する。

両者が気が付く前に戦闘は開始されていた。

あのドクサレ煮タマゴは、適度に牽制として魔力球とジェムリンゴボムとキルニードルを撒く。完全に"待ち戦法"狙いである。…然し、其んな当たっても少し痺れるだけの慣性の付いた重い風船の様な物は、可也、魔防の高い相手にはぜーんぜん効かず、キルニードルに至っては当たらず、ジェムリンゴボムに至っても、完全に仕様を見切られており……、

「…ナ、ナンデ！？ナンデダヨ！？？ナンデ！？？？効かねぇンダヨ！当たらねぇンダヨ！」

其のドクサレタマゴは短気なので、早速、キェエエエエエエ！！！（猿叫）状態になって居た。

其うなって居る内に、イカタマ君は、あっと言う前に近付かれ、RXQ-05に此の上無い位強く蹴り飛ばされた。

…まぁ、皆は既に知ってると思うけど、イカサマタマゴの技は、殆ど小回りが効かず、隙がデカい。ストームと異空間バニシュは数少ない例外か（※ストームって言っても、竜巻召喚する技じゃなくて竜巻纏って敵にカミカゼ特攻仕掛ける技だけどね）。

ミリ知ら勢は、シリーズ各ゲームで、此のド腐れ煮タマゴが如何言うモーションしてるかを見れば分かる。

ある程度の反射神経とスピードがあれば、隙を突き放題である。遠くに居ても、無慈悲に飛び道具が飛んで来る。投げ技を持つ個体なら投げ放題。

…ゲーム本編での『彼奴等』は優しかった……。

…さて、其んな此んなで、何度も異空間バニシュ後に着地狩りされ、ソードとブラックホールを出そうとしても、発動を潰され、ストームを出しても、力付くで捩じ伏せられ……、…と、苦戦を強いられるドクサレ煮卵であったが、ある秘策を思い付く。

…彼奴、瓦礫の下敷きにシテ埋めちゃエ。

イカサマタマゴは何とか勝つ為に、其の作戦を全力で実行する。

必死に敵を誘き寄せて、廃墟になったビル群--コンクリートジャングルに来させる。

其処に、RXQ-05が、半ばやる気無く、のそのそ歩いて来ると、

「…ワナに掛かったネ⭐︎御馬鹿サン⭐︎」

「？！！？！」

そう言って、イカタマは繰り出した、あの最強の魔砲、マホロア砲を。

そして、その魔砲は、RXQ-05が近くにいる建物にマホロア砲が勢い良く当たって、瓦礫の雨が出来る。そして、RXQ-05は、其の瓦礫から掻い潜り抜けられず、…瞬く間に埋もれ……、

「瓦礫に埋もれナガラ、昇天でもしナ！！」

瓦礫が完全に、RXQ-05を飲み込んだ後、イカサマタマゴはその上で敵の生死を確認する。

それから、暫くしてから、イカタマは、完全に確認を終えた後に……

…これッテェ…、…ヤッパリボクのッ……！！

「…キャハハハハハッ！！…ボクの大勝利！…魔法使いハ、コウで無くちゃっネ⭐︎」

…等と束の間の勝利を、ダンスを踊りながら、誇って居ると、ドクサレ煮卵を掴みながら、背後から未だ死んでいない『彼奴』が現れた。

「…じゃあ、僕も、魔法使いになろうカナ？」

「…ゲ、ゲェエエエエエエエエ！？！？！！！！！！」

「逃がさない。」

そう言って、イカサマタマゴの頭に、強力な肘打ちを食らわせた上に、乱暴に膝と太腿の中間辺りで締め上げた上に、

「捕まえた。」

両手のダガーナイフでイカタマの首を掻っ切る様に攻撃した後、…勝負あり！！

…。

おまけの資料

RXQシリーズ 魔人・準魔人

生体兵器であり特級呪物。…『Effigy』、『Semi-Effigy』とも呼ばれる。

ティターンズ製の『強化人間を超えた強化人間』。下位存在である生体部品（バイオ・パーツ）達と同様に、阿頼耶識システムめいた接続端子を肉体に内蔵しており、生体部品として機械に接続する事が出来る。

計八体居り、『某桃玉シリーズで未知の魔法とテクノロジーを駆使した古代文明と知られる神の御国で製造された物品』と同じく、科学と魔術で『加工』されて居る。…尚、『素体』となった人間が存在する。

以下、大雑把に特徴

・某水星のエアリアルに、「やめなさい！」されてもトマトみたいに潰れない。頑丈。でも、RX78のおっちゃんに踏み潰されると、トマトみたいに潰れる。

・『準魔人』は、『魔人』に劣るので『準魔人』と言う扱いになって居る。

・どの個体も人間性と精神を破壊されている。だが、最低限の意志と個性は残ってはいるようだ。どれだけやっても完全には消え去らなかったらしい。彼等の詰めが甘いから。技術が未熟だから。

・魔防も異様に高いが、内部破壊と炎と窒息に弱い。イカタマもレボリューションフレイムが溜め技でなければ……、、

…。

今後の計画

RXQ-Vの登場

種、鉄血、水星辺りで同じ様なのを出したい。CEの中で謎公国水泳部してた人とチョコレートの人、出番だ（※本当にロクでも無い）。

…。

[migiudesp]

手洗いをスタッフに再徹底しよう

手洗いをスタッフに再徹底しよう 【1分で読める！飲食店利益改善コンサル】 【1日1改善ブログ】毎日更新1182日目 #基本の手洗いをナガラ作業にしない #悩み相談解決 #飲食コンサル

年末年始。おせちや年越しそばを販売するお店が多いと思います。皆気を付けているとは思いますが改めて衛生管理を再徹底してください。　基本の手洗いも毎日のことでながら作業になっていまっているスタッフも少なからずいらっしゃると思います。　手洗いは当り前ですがちゃんとできているスタッフは少ないと思います。手のひらだけでなく指の付け根、爪、そして、手首までしっかりと洗い良く水で流すこと。 手洗いはこちらが丁寧に動画で見れますのでおすすめです。ぜひ、スタッフに見せてくださいね。 まず持ち込まないこと。　そして付けないこと。さらに増やさないこと。　この最初の持ち込まないことを再徹底して安心な料理を提供してくださいね。それでは一日一改善で顔晴りましょう(^^

[hobbystationerytagimi]

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https://www.tagimi.net/?pid=101882279

[7ach0]

ナガラくんお誕生日おめでとう🤍💙

[hanagehaegachi]

[chanoyu-to-wa]

Nampō Roku, Book 6 (36.4):  the Seikoya-temae [西湖家手前], Part 3.

36.4) Now [the host] deals with the seikoya¹.

    The temmoku, with its fukuro, is taken out and placed on the maru-bon².  The fukuro is removed; and, taking one of the chakin from on top of the mizusashi, the temmoku is wiped³.

    At this time the chakin remaining [on the lid of the mizusashi] is folded in the shin [眞] manner, and placed inside the temmoku; the chasen is also put in, and [the temmoku] placed on the right side inside of the tray⁴.

    After the fukuro is removed from the [temmoku-]dai, and [the dai] is wiped with [the host’s] fukusa, it is placed on the left side within the tray⁵.

    Next, after the temmoku’s fukuro has been placed inside the seikoya, its lid is closed.  The himo should be tied using an easily tied knot such as the “ordinary dragonfly knot⁶.”

    The temmoku and the dai are distributed on the maru-bon as illustrated, and it is displayed on the tenjō⁷.  Once above, the dai is moved into the exact center of the maru-bon, and the temmoku is rested on top -- again, this was shown in the sketch⁸.

_________________________

◎ As was mentioned before, this temae-narrative was apparently added to the Nampō Roku (seemingly as a kaki-ire [書入] appended to the original brief remarks that accompanied the three sketches in Book Six) during the early Edo period* -- perhaps by an agent acting on behalf of the Tokugawa bakufu, in order to establish the precedent for one of the usages that was then being employed in the shōgun‘s tearooms†.

    This is not to suggest that the use of the seikoya was completely spurious‡, but that certain details of the temae, as narrated here, were likely a product of the early Edo mentality that gave rise to the modern form of chanoyu. __________ *There is little historical evidence to suggest that this kind of temae was every very popular prior to that time, since the original two temmoku that came with seikoya were lost around the middle of the fifteenth century.

    And as for the seikoya that were made by the machi-shū chajin of the early sixteenth century, it seems that the seikoya were used as storage containers (much like the hikiya [挽家] that accompanied certain meibutsu karamono-chaire); and, like the hikiya, while they might be displayed on the chigai-dana during the shoza, they were not typically incorporated into the temae when the utensil that they contained was being used to serve tea.

†The apparently intentional ambiguity that peppers this narrative, coupled with the warning that only a chajin of mature practice could ever perform this temae correctly, suggests that the bakufu was the source of this material.

‡This kind of usage seems to be a valid manifestation of the earliest form of chanoyu, as it appeared in Japan during the first half of the fifteenth century.  But we must remember that the Tokugawa sought legitimacy by publicly emulating such historically-validated practices of the Ashikaga shōguns (while always using these practices as a way to highlight pieces from the Tokugawa collections as a deliberate way of emphasizing a kind of fictive continuity from the earlier dynasty into the present).

¹Sate seikoya sabaki [サテ西湖家サバキ].

    Sabaki [捌き] means things like handle, manage, dispose of, deal with, and so on.

    The meaning is that, after orienting the tray and cleaning it, the host turns his attention to the seikoya.

    In other words, he unties the knots, removes the himo (ties it into a knot, and puts it to the side)*, opens the seikoya, and removes the temmoku (which is tied in its shifuku). ___________ *Please refer to footnote 6, below, for the details of this matter.

²Temmoku wo fukuro-nagara tori-dashite maru-bon ni oite [天目ヲ袋ナガラ取出シテ丸盆ニ置].

    Fukuro-nagara [袋ながら] means “with its fukuro.”

    The temmoku is tied inside its shifuku*, and in this way inserted into the seikoya. __________ *The shifuku, which is lightly padded, provides some additional protection.

³Fukuro wo nugase, mizusashi no ue no chakin hitotsu torite temmoku wo fuki [袋ヲヌカセ、水サシノ上ノ茶巾一ツトリテ天目ヲフキ].

    Nugaseru [脱がせる] means to remove (the fukuro) from (the temmoku), undress.

    Fuku [拭く] means to wipe.

    Because old cloth tends to shed lint*, it is important to clean the temmoku after removing its shifuku. __________ *This is why Rikyū preferred to display the temmoku on the daisu without its shifuku (even though displaying it in its shifuku was generally considered to be the more formal way to do things) -- because that allowed him to wash the temmoku in the mizuya, and so clean it much more thoroughly than simply wiping it with a damp chakin could do.

⁴Ima hitotsu no chakin wo shin ni tatamite temmoku ni shikomi, chasen wo mo irete, bon no uchi, migi no kata ni oki [今一ツノ茶巾ヲ眞ニタヽミテ天目ニ仕コミ、茶筌ヲモ入テ、盆ノ内、右ノ方ニ置].

    Chakin wo shin ni tatamite [茶巾を眞に疊テ]:  the chakin is folded as shown below.  This is called shin-no-tatamu [眞の疊む], which means the shin way to fold (the chakin).

    Of course, in the present case, the temmoku is not (yet) resting on a temmoku-dai.

    The following sketch shows the arrangement according to this statement:  the temmoku is standing on the right side of the tray, with the chakin and chasen arranged inside of it.

    Note that the chakin that was used to clean the temmoku (after its shifuku was removed) has been placed on the ji-ita of the daisu.  The host will bring a kae-chawan out later to remove it (while the guests are inspecting the seikoya and the temmoku’s shifuku).

⁵Dai no fukuro nugasete fukusa ni te fuki, bon no uchi, hidari no kata ni oki [臺ノ袋ヌカセテフクサニテフキ、盆ノ内、左ノ方ニヲキ].

    In the early days*, the fukusa was folded in the katte at some point during the host’s preparations, and kept in the futokoro of the host's kimono until needed.  Thus, after taking the dai out of the go-motsu-bukuro [御物袋]† in which it was tied, the host simply took the fukusa out from his futokoro and immediately wiped the dai in the usual manner.  The fukusa was also used to grasp the hane of the dai while arranging it on the tray, to minimize fingerprints, after which it was returned to the futokoro (without ever being refolded).

    At this point, the arrangement of the objects‡ on the mat is as shown above. __________ *Folding the fukusa in the tea room is said to have begun with Rikyū.  However, in his case, he folded it immediately after coming to the temae-za, so it was available in his futokoro whenever needed.

†A go-motsu-bukuro [御物袋] is a simple kind of fukuro, primarily used for protection during storage.  It is usually made from two circles of purple chirimen [縮緬] silk with a long himo (most commonly dyed yellow-ocher).  Usually a thin layer of cotton batting is sandwiched in between the two circles of cloth for added protection.

‡Note that the chashaku has also been moved onto the tray.  The narrative contained in the Nampō Roku is extremely abbreviated -- possibly intentionally so, to make the temae more mysterious (and to make the probability of error more likely in the case of persons who lack sufficient experience).  As was mentioned previously, this material seems to have been added during the early Edo period.

⁶Sate seikoya no uchi ni temmoku no fukuro wo irete futa wo shite, himo ha yasu-yasu to tsune-no-tōbō musubu-beshi [サテ西湖家ノ内ニ天目ノ袋ヲ入テ蓋ヲシテ、緖ハヤス〰ト常ノ東方ニムスブヘシ].

    Futa wo suru [蓋をする] means to close the lid.

    Yasu-yasu to...musubu-beshi [易々と...結ぶべし] means to tie (the himo) in an easily-executed knot.

    Tsune-no-tōbō [常の東方] is an odd way* of writing tsune no tonbo [常の蜻蛉], or “ordinary dragonfly,” referring to the knot in which the cord is tied.

    This point in the narrative requires a certain amount of explanation:

    As the was host was untying the yae-ba musubi [八重羽結び]†, he was also supposed to remove the cord from the seikoya entirely‡ (this is why the himo was simply pushed through the three kan on the sides of the seikoya, rather than being attached more securely)**.

    After detaching the himo from the seikoya, he first folds the himo (which is made into a loop, just like a very long himo from a shifuku) in half.  Then he simply ties a loose knot in the middle (so that there are two loops on either side of that knot, resembling the paired wings of the dragonfly).  This is the “ordinary dragonfly knot” to which the text is alluding††.  The himo will not be offered to the guests for inspection:  it will simply be removed from the room.

     Once the himo is out of the way, the lid of the seikoya is simply rested on top, in case the guests want (Tanaka Senshō goes so far as to argue that they were expected) to open the seikoya, so they may look at the temmoku’s shifuku‡‡ ___________ *Perhaps the person who wrote the kaki-ire did not know the kanji for tonbo [蜻蛉], and attempted to write it phonetically using hentai-gana?

†The yae-ba musubi [八重羽結び] is the knot with which the seikoya was tied when displayed on the daisu (or on the chigai-dana).

‡The fact that nothing was said might be another example of deliberate ambiguity.  If the himo is left on the seikoya, no matter how simply the host ties the knot, there would always be the possibility that the guest could not untie it, and this would cause everyone to loose face.

    Furthermore, it would be difficult to pass the seikoya along with the cords dangling from the three kan (since the lid would not normally be replaced, and the cord retied, until it reached the last guest), which would be unsightly.

**Once the knots on the lid has been untied, the himo can be detached from the seikoya by simply pulling it gently from the three kan.

     About this matter, Tanaka Senshō wrote (and I will quote his entire comment:

“When you hear [this line] for the first time, it seems as if [the host] is tying the seikoya closed for a second time.  But actually, the himo is tied after it has been removed [from the seikoya].  Otherwise, if the guests wish to look at the fukuro that is inside [the seikoya], it will be very inconvenient for them to have to untie the knot.  This is why it follows that, ‘naturally [the guests] will inspect the fukuro that is inside, too.’”

(Kore ha chotto miru to seikoya wo futatabi kono himo de musubu-yō ni kikoeru ga, jitsu ha hazushita himo wo musubu-koto de aru. Shikarazare ba naka no fukuro wo kyaku ga haiken-suru toki ni, kono musubi wo hodoite mi-nakereba naranu fu-tsugō ga shōzuru. Sunawachi ‘mochiron uchi no fukuro mo miru-koto nari’ to aru [是は一寸見ると西湖家を再び此緖で結ぶ様に聞えるが、実は外づした緖を結ぶ事である。然らざれば中の袋を客が拝見する時に、此結びを解いて見なければならぬ不都合が生ずる。即ち「勿論内の袋も見ることなり」とある].)

††Care must be taken with this name, because a number of knots are referred to as “tsune-no-tonbo-musubi” [常の蜻蛉結び] in Japanese texts from the feudal period.

‡‡This was because, on the continent at least, these shifuku were made from pieces of the King’s banqueting robes (which were apparently worn for only one course of a formal banquet, and then cut into pieces that were distributed to the guests as souvenirs), and so made of extremely costly and beautifully woven and dyed cloth.

     After each course, the king retired for a short break, to use the restroom if necessary, wash his hands, and, of course, change his garments.  The reason was in case grease had splashed onto his robes, or they had become stained for some other reason, because the king must always be radiantly and perfectly attired (at least when in public).

    To what extent such customs were ever followed in Japan is unclear (though the earliest extant records suggest that shifuku and kakemono were typically made from the breast- and back-panels and sleeves of ordinary indoor clothing of the upper classes, in particular the clothing of the daimyō in whose domain the chajin lived -- such indoor clothing was made from imported donsu [緞子]) -- after the knees had worn out and so rendered the garments useless:  no records survive, of which I am aware, to suggest that pieces of the Emperor’s clothes were ever used like this).

⁷Maru-bon ni temmoku to dai to, zu no gotoku wakete kakae, tenjō ni kazaru [丸盆ニ天目ト臺ト、圖ノゴトク分ケテカヽヘ、天井ニカザル].

    The reference is to the sketch reproduced below.

    As described previously, the temmoku is on the right, and the dai is on the left.  If the host wishes to be authentic in his actions, they should be distributed equally (so there is the same distance between the rim and the dai, the dai and the temmoku, and the temmoku and the rim).  In the early days, such care was expected.

⁸Ue ni te dai wo maru-bon no mannaka ni yose, temmoku wo nosuru, kore mata zu no gotoki [上ニテ臺ヲ丸盆ノ眞中ニヨセ、天目ヲノスル、是又如圖].

    Once again, there is a certain (perhaps intentional) ambiguity in the narration.  While it is true that the dai-temmoku eventually ends up in the exact center of the tray, this is accomplished by first lifting the temmoku up onto the dai*, and then moving the dai to the center.

    Kore mata zu no gotoki [是又如圖]:  this is referring to a sketch that is found in Book Five of the Nampō Roku (reproduced below).

    Please refer to the post entitled Nampō Roku, Book 5 (36, 37, 38):  a Meibutsu Temmoku, Displayed in the Seikoya [西湖家]† for a translation of the kaki-ire that are written on the sketch, and additional details on the seikoya-temae.

    The above sketch actually presents us with several possibilities, the two most commonly used of which will be illustrated here:  the chashaku could either be located in front of the dai-temmoku (in which case, the dai-temmoku and chashaku would count as a single unit for the purposes of kane-wari);

or, as shown below, the chashaku could be displayed to the left of the dai-temmoku (in which case the kane-wari count for the tray would be two).

__________ *If the dai is moved first, it would bump into the temmoku long before it could be centered, which is nonsensical.

†The URL for that post is:

https://chanoyu-to-wa.tumblr.com/post/628182388242055168/namp%C5%8D-roku-book-5-36-37-38-a-meibutsu

[legacyofacat]

[11] Where Your Core Rests (Kongō x Reader)

Can also be found on Ao3 (completed), Wattpad, FanFiction.net and DA.

First Next Last

Eye of the Storm

The storm had caught up to them in the night.

It came over them with thunder, raging waves and punishing winds, scaring Luigi half to death and making the human squeal more than once.

Nagara and Kongō had deployed their Klein Fields for them to take the brunt of the force, the light cruiser moving in the wake of her flagship in order to get through the sea more easily.

"Will Nagara be alright?", the human had huddled down in the back of Kongō's bridge with the cat and about five blankets, blinking out of their cocoon.

"She has shouldered worse."

"But she already got sunk once…"

Kongō uncrossed her arms, turned from the windows and sat down beside her passengers against the wall: "Storms don't use thanatonium."

Said passenger unfurled their arms from the layers of fabric like a little octopus and, in a moment of bravery, tugged Kongō inside, not letting her arm go even as they leaned against each other: "What's thanatonium?"

"The material we use to make corrosive torpedoes."

"It makes you people rust? That’s like rotting away while alive!", they, immediately understanding what the "corrosive" stood for, exclaimed, shocked.

Kongō didn’t do anything for a while, just stared.

If they put it like that, then thanatonium suddenly sounded really bad.

In an attempt to make the torpedoes less severe sounding (and against better judgement) Kongō blurted out: "That sounds more like a vibration warhead."

Even Luigi perked his head up now, eyes dark.

Why do you look angrier than them?

He didn't even know what corrosion was!

Kongō tugged the blankets tighter around them to busy herself: "Don't worry, they aren’t a threat anymore."

Not if Kamikage knew what was good for him, at least.

Still, the human didn't seem particularly comforted by that: "But that's still terrible…"

The other sighed and pulled them closer when a booming thunder made them jolt and Luigi disappear again: "Both weapons need to get through our Klein Field first."

"So nothing will happen to you?", they muttered, pressing against Kongō.

"Nothing will happen to me."

They inched even closer, absorbing what little warmth Kongō's Union Core naturally produced.

Did they believe her? Absolutely; they had almost as much confidence in her as the fast battleship in herself, but what if an accident occurred? What if she and Nagara got tricked? Or what if they got lured into a-

All thought processes stopped at once when a weight landed on the human's head for a minute.

Looking up, they could only see soft red eyes shimmering down at them and silky pale blonde.

Kongō's smile shifted a bit into an amused grin as a blush rose to the human's cheek: "D-did you just?!"

"Whatever do you mean? I merely stopped your rambling."

She knew exactly what they meant, of course.

They slumped forwards, face beat red and burying it in their hands while wailing, storm forgotten.

Some hours later, the sun had risen again, the storm subsided and all three could stay on the upper deck again while Nagara played in the water.

"So", the human cleared their throat, a light pink shimmer still on their cheeks, "since we're almost there, what are we going to search for?"

"Once more the answer is 'I don't know'."

Which, admittedly, was fair, because just like when they had found the piece of nanomaterial, they had absolutely zero useful clues.

"Though, since USS Arizona was preserved as memorial ship", before the rising sea levels snatched her like they did Mikasa, at least, "I thought about searching near her."

"The original one? Is that even useful?"

Kongō's long-suffering look returned and got directed at them.

"Right, 'I don't know', sorry sorry. Is that alright, though? Searching Arizona, I mean?"

"Why shouldn't it be?"

"W-well", they fidgeted, "I don't wanna disrupt anyone's eternal rest…"

It was in that moment that Kongō remembered how her surprisingly intelligent but also extremely confused human worked: "The only rest we might disturb is that of Arizona herself."

That's not good either…, they couldn't help but think, you truly are merciless…

Ignoring that thought, they clapped into their hands once and then beamed cheerfully: "Alright! I hope this is the last clue though – I'm kinda tired of this treasure hunt!"

Kongō was too, in all honesty. She didn't mind a bit of adventure then and now, but she also liked to get things down fast and this was decidedly not fast.

Click 

All three (Luigi was resting on the piano bench) looked over at Nagara.

"She says that she actually enjoyed this", the blonde translated.

Click click

"And that she will be sad when this is over."

"Eh!? Why are you sad, Nagara!?"

What followed was a very sad click.

"..."

The translation didn't come even after a few long moments of waiting, so the human worriedly looked at Kongō, moving to grasp a sleeve to get her attention when they saw her expression.

She wore that blank, slightly frowning, none-saying face she always equipped when putting serious thought in things or being troubled: "...She is of the opinion that you will leave us once we figured everything out."

"I would never! And neither would Lui!", they grabbed Kongō's hand and held it up so that Nagara could see it clear as day, "we cuddled last night, we're holding hands – some people would consider this practically married!"

Might as well go all out with that stupid ass crush, hm? Kongō was on a weirdly flirty trip anyway, so that might be their best chance to get this relationship rolling.

(Also, there wasn't really a home to return to at the moment…)

Nagara let out a cheery row of clicks, which just seemed to be a verbalization of her emotions without any concrete meaning. 

Kongō didn’t let go of their hand when the nerves got too bad and instead leaned closer to their ear to amusedly whisper: "Married?"

Ah, there was the blush again: "Uhm… uhm, I just said that because- w-what is with that sudden flirtiness anyway!?"

For the sake of their heart, Kongō leaned back again: "A character in a book I read recently used to say that, since you never know when it's over, you should be honest with your feelings at all times – so I'm trying a few things out."

"W-what are 'a few things'?"

She had the nerve to wink.

Ojō-sama!?

[hidechika]

らいすぐらむ（ナガラ食品【ホルモン鍋】バスマティライス追加、卵がけニラ追加に生七味がけ。）
https://www.instagram.com/p/B_KKQFsBPS0/?igshid=1itk3mk07n2s1

[tong-naitoakiko]

下町のそば屋で真夏にDJイベント〜(￣▽￣)サイコーの予感しかない〜!!! 板わさ＋ビールからの蕎麦＆もふもふっとした接しやすい人たちが流す音楽で小躍り(*´꒳`*)ふふふ。 集え！もふもふ系人類！@clarknaito #Repost with @Repostlyapp 2017年８月19日(土) Assman（THE FADEAWAYSのギター）の実家の蕎麦屋で今年もDJイベントやります。 去年は「サマージャム'95」がかかってイエーイと思いましたが、今年はタモリの「SOBAYA」もかけます。 #サラシナガラ #ナガラ #アスマン実家 (きそば更科)

[imcoolhavefun]

LAWSONで #ナガラ 買ってきてキャベツとネギを追加投入してぐつぐつのち七味だばぁ。白いごはんでいただきます。

[atamanax]

DreaminGintoTeenage

俺、もう　まだ　そう　２６才

俺は俺をHip-Hopで自由に独裁

俺のArtも気違いの手遊びだってな、パパとママ、yeah

やりたいことをやれるための暴力とカネが欲しい

やりたいことをやれるための暴力とカネが欲しい

俺、そう　俺　もう　２６才

俺、もう　折れそう。聞くんじゃなかった

パパ、ママ、俺のArtに刻み尽けラレて

死ネ

パパ、ママ、俺のArtで切り刻マれナガラ生キロ

YAH　YAH　YAH

やりたいことをやれるための暴力とカネが欲しい

やりたいことをやれるための暴力とカネが欲しい

酩酊天使オン･ダ･マイク

磨き集めた言の葉がナイフ

じりじりじり貧な退屈

ノド飴とガム噛み砕きいざ参る

やりたいことをやれるための暴力とカネが欲しい

やれるためのやりたいことを暴力とカネでとっぱらう

やりたいことをやれるための暴力とカネが欲しい!!

[minaide]

痩せさんま　食べる私は　本まぐろ

ラジオから聞こえてきた一句に思わず吹き出した。

二年前ぐらいだっただろうか、

ナガラ族でなんとはなしに聴いていた

NHK ‘ぼやき川柳’ だった。

爾来、秋刀魚を見ると必ず思い浮かべ、ニヤリとする。

まるまる肥えた魚姿を目にする機会が

減ったのはなんとも寂しい。

独り暮らしをはじめて以来ずっと、

旬の食材を追いかけて料理下手を

繕ってきたのだけれど・・・

人影まばらな大学キャンパス。

長雨がようやく上がり、

ふと気がつくと僅かに低くなった位置から

差し込む陽光が、季節の移ろいを伝えていた。

雨後の道は濡れた光の巧みな演出によるのだろうか、

厳かな空気に包まれ、

通い馴れている場所なのに、

奇妙なほど心惹かれる精気を秘めていた。

やがて生まれでる物語を暗示するかのような・・・

それにしても、この静けさは何だろう。

子供たちや犬を散歩させる人も見かけない。

学生たちは授業中の教室か、

あるいは、オンラインのための在宅なのか？

そういえば、昨今の日本社会が

なにやら秋刀魚なみに痩せて見えるのは、

あながちコロナ禍が強要した

萎縮のせいだけではないだろう。

[hanagehaegachi]