“The published books containing quotations attributed to Morihei Ueshiba available in various Western languages are based on ‘sanitized’ Japanese versions of Morihei’s words.”
Recently, due to the publication of a series of books whose authorship has been attributed to Morihei Ueshiba, founder of aikido, I have felt compelled to weigh in on the subject of what O-Sensei actually did write during his career as a martial artist. The answer is in brief, “almost nothing.”
Works attributed to him–both before and after the war–were based on his spoken words and lectures rather than on texts that he had composed himself. They were transcribed and edited primarily by his son, Second Doshu Kisshomaru Ueshiba, and by several trusted students having varying degrees of literary skills. This is especially the case after World War II. Much of what we think of as the spiritual writings of Morihei is based on material published in the “Aikido Shimbun” of the Aikikai Hombu Dojo starting in 1959 and continuing following his passing in 1969. What was published in the “Aikido Shimbun” as “Doka” (Songs of the Way) were actually culled from heavily edited transcriptions of tape-recorded talks and lectures given by O-Sensei inside the dojo and elsewhere.
To understand the rationale for the editing of Morihei’s remarks, one must take into consideration the times and psychology of the Japanese during this period. World War II had recently ended, and much of the population were either direct participants, or deeply affected by the war and its outcome. Japan had acquired the stigma of a defeated nation, and many Japanese wished to distance themselves from all things associated with the conflict and those that had led the country into it.
During the early postwar period, subjects related to Japan’s military and political institutions, State Shinto, and the heavy destruction wrought upon the country were topics many Japanese chose to avoid due to the painful associations they held. Moreover, Morihei’s active role in teaching at numerous military installations during the 1930s and early 40s was a subject that the Aikikai chose to mention only in passing for understandable reasons.
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