The Book of Five Rings

~ 'The Book of Five Rings' by Miyamoto Musashi in 1645 ~

~ Prologue ~

I have been many years training in the Way of Strategy, called Ni Ten Ichi Ryu.  And now the first time, I think I will explain it in writing.

It is now during the first ten days of the tenth month in the twentieth year of Kanei.

I have climbed mountain Iwato of Higo in Kyushu to pay homage to Heaven, pray to Kwannon, and kneel before Buddha.

I am a warrior of Harima province, Shinmen Musashi No Kami Fujiwara No Genshin, age sixty years.  From youth my heart has been inclined toward the Way of Strategy.

My first duel was when I was thirteen, I struck down a strategist of the Shinto school,

One Arima Kihei.

When I was sixteen I struck down the able strategist,

Tadashima Akiyama.

When I was twenty-one I went up to the capital and met all manner of strategists, never once failing to win in many contests.

After that I went from province to province, dueling with strategists of various schools, and not once failed to win even though I had as many as sixty encounters.  This was between the ages of thirteen and twenty-eight or twenty-nine.

When I reached thirty I looked back on my past.

The previous victories were not due to my having mastered strategy.  Perhaps it was natural ability, or the order of Heaven, or that other schools' strategy was inferior.

After that I studied morning and evening searching for the principle, and came to realize the Way of Strategy when I was fifty.

Since then I have lived without following any particular Way.  Thus with the virtue of strategy I practice many arts and abilities - all things with no teacher.

To write this book I did not use the law of Buddha or the teachings of Confucius, neither old war chronicles nor books on martial tactics.

I take up my brush to explain the true spirit of this Ichi school as it is mirrored in the Way of Heaven and Kwannon.

The time is the night of the tenth day of the tenth month, at the hour of the tiger.

柿 Tales - prologue (part one)

(immediately follows 'Utakata')

These are to be released quietly in Japan, to be discovered at the appropriate time to lead into Kashikoi (six half hour episodes, in twelve parts).

_____________________________________________________________

~ Into the magistrate's simple palace ~


柿 (kaki)

Or Persimmon.

The Powhatan name for the fruit

which for some reason grows abundantly in both places.

The magistrate sits on his throne reading the book, symbols on pages lighting the room as it empties into the night.  Day and night, he continues reading, the guards ageing, the village becoming overgrown and flowered. 

As the eras fade, the village fades within a growing city, gone.

He sits reading, engrossed, ageless.  The room covered in dust and web, himself lost beneath where he does not move, until a shadow crosses the page, which for the first time darks the symbols.

He looks up and sees her.

He smiles with soft love in his eyes, closes the book and bows.

She - "I've traveled a very long way.  I hope not to trouble your great house for accommodations, the night.  To depart the morn."

Magistrate - He examines her, "I know you."

She - "You know me."

Magistrate - Staring, then a smile, "Please.  My home, be humbled and aged, is yours as far beyond the morn as you would wish it."

She - Glancing to the book, then back, "A reader ?"

Magistrate - Almost nervously, shy, "Indeed at times, I am."

She - Pausing to stare, a smile, "Will you read to me tonight ?"

Magistrate - A long held bow, "You are my queen."
________

She lies in bed, stretched perhaps conspicuously as he sits in a chair bedside, Akari and Mariko standing on either side of him.

Akari - Whispering in his ear. looking at Mariko, "Tell her a love story ..."  They turn and fade away with Mariko's giggle, taking hands.

Magistrate - Listening, then watching his guest a moment.  "If one would not mind a more modern tale."

She - Smiles, "One would not."

Magistrate - With excitement, "Excellent."  He opens the book, reads and smiles a moment, then at her, "It is a tale of two daughters.  One in Heaven, and one in Hell, yet bound together always by their love."

('Ituri' by Pain Teens)

 

 

As he reads through the night, the pages turn over writhing sheets, in the last she is joined.

________

She awakes to the sounds of strings plucked.

Through the window a mist passes gently, the market filled with life in it's gusts, then emptied again to age.  He looks to her then to the rough breakfast and tea and the bedside table. 

Wrapped, she sits up and drinks as he continues to play.

Through the castle, mists and shadows pass with echoing tones.  Mariko and Akari hold hands running and laughing out the front door to the mist.

Their echoing stops and laughter fills with the music.  The guest smiles, the host continues as she snacks the greens on her plate.
____

Akari points into the air with shooting fingers shooting while Mariko rolls her eyes and sits watching, listening to the tale.  Akari points at the sun with her finger and shoots to the sound of a true shot

They browse the wares in the market, sampling occasionally too much.  A swirling black form passes, leaving the empty village in its wake before life returns cold from the mist, all looking after.

From within the swirling, a deep rumble as a kiln burning, the sound of debris churning within, absorbed and ground by dervish, feeding a flame in it's chest along with all the color around it.

Akari takes Mariko's hand and they watch it approach the palace, drawing its color into age, gliding in steady path furiously paced until standing before the great door, aging it.

The nearby trees shake toward, losing leaves, ground into it's fury.

It raises it's arm to pound, leaning in and striking the door three times, with deep echo, each sending a crack further up the greying surface.

The magistrate opens the cracked door to greet, the book open in one arm.  The churning thing stares with a grinding growl, almost metallic.

Magistrate - "You must be thirsty."

Within the dervish a face begins to form, the chaos settling into rough black clothing, never quite formed, as his face.  He nods.

Magistrate - As they enter, he pages through the book. "Do you ... care for tales of the blade ?" 

A deep rumble from the guest, his head turned toward angrily.

Magistrate - "Indeed who does not ?  This !"

He whips his finger down the page drawing fire into the shape of a sword, blade upright, the pommel atop his finger tip, blade upright and turning slowly.

Magistrate - "Is the blade of Miyamoto Musashi."

He looks to the guest staring back into his eyes, emotionless beyond a sense of rage.

Magistrate - "In it's archetypal form of course but you see it isn't just who he was ..."  He drops the blade into his fingers, twirling the handle between dramatically but non threateningly in his motionless arm as he examines the guest.

Magistrate - "... nor was it his tale of fingers."  The blade returns to fingertip, his gaze returning to the blade.

A deep rumble from the guest as form fades and returns, anger in the eyes.  Tea is prepared as they sit, spirits prepare and pour, spinning between task, the sword still on the his finger tip.

Magistrate - "It's how he forged his blade.  And what ..."  His eyes return to guest, "... he forged it from.  Metallurgy."

The dervish stares angrily at the magistrates eyes until all is settled and the attendants spin away to dust.  Akari and Mariko stand behind him now, each with a hand on his chair.

The magistrate turns the bladed finger over hand, twisting wrist sharply the whipping arm over, slamming the blade into the floor, hilt upright at his side.  He draws the finger back over to turn back a page, looking to the guest,

Magistrate - "And there inspires our tale."

~ an asteroid burns across the sky ~ 

Miyamoto Musashi drinks his drink on his porch in the late dusk.  He spots an asteroid flying across and into the distant land with a quiet sound.

Musashi - Staring at it's distant landing place while Mariko and Akari walk from the wall behind.  "There are two thousand eyes which have seen this.  And not one a sleeping guard ..."

~ A gate guard at distant Edo falls off the end of his pike spar, jolting back awake while the asteroid flies over unnoticed.  He returns to slump ...

Akari flies her hands over the distant path of the asteroid, exploding with her arms apart.

Musashi - "And now they wonder what to do ..."

~ A woman runs through the deep wood pursued, coming out to see the war at sea.  The sound behind, she runs desperately for the docks.

Musashi - Standing and walking to the cupboard, "Yet how many will go ?"  He pulls a dirty robe of hard cloth.  "How many will wonder what if ?"

~ Another woman is dragged to a village center, stones gathered.

Musashi - "Who will be met and how ?"  He removes a dark wide belt.

~ Western pirate ships round the horn, approaching a convoy from India.

He stares at a mount of two blades, one broken, one not.  The tipped half of the broken bound at the base as a knife with trailing red fabric.  The other half is tipped as a cracked gouge across the blade, sharp at the break. 

Musashi - "How much skill will be seen for this ..."

~ The palace samurai notice the flight, and seem to know what to do.  They prepare full blade and armors before departure on horse.

He takes the unbroken blade, holds it high with a bow, then taking the broken blade pieces and tucking them into either side of his robe, a bit of the fabric bind hanging over the belt.

Musashi - "And always still the question which hangs ..."  He looks over the travel hats, choosing the broad woven cone.

~ At a distant dock a woman stops to watch it fly over.  She takes a drink and flips a coin to the slumped guard before entering Edo's gate.

Musashi - Putting on the hat hung well over his face, seeing through the broken weaves, "... will I at last meet my Buddha in the road ?"

He departs, followed by the spirits into the dark night.

柿 Tales - prologue (part two)

~ Edo ~

Kan'ei 9.  24th day of the first month.

~ March 14, 1632 ~

With the fading out of a man's laughter, the woman yells drunk in the street at night, heard through the window ...

"! Hidetada !"

The sound of vomit.

"! Hidetada !"

The retired shogun goes to the window in his night robes.

Tokugawa Hidetada - "Woman !  What are you !?  In the street falling over as a fool calling out my name !  The guards are here soon I think."

Shumi - "Hi !"  Dressed in rags with a sack of wine bottles, she holds up the shriveled skin from a head by the hair.  "This guy."

He winces away at the sound of vomit.

Shumi - "He was a guard.  He lost his his skull when I killed that other guard with it.  There were a lot guards !  But one good hit ... skull flies right out.  It ... "  She holds up her hand sick, but composes, "It's really disgusting.  Do you know Hidetada ?"

Hidetada - "I am ... Tokugawa Hidetada."

Hit in the face with a head skin.

Shumi - "Was there going to be another one ?"

She winces from the sound of vomit.

He turns from the window to the wall of weapons, takes the well favored sword from the front, inhaling it's ever burning incense surrounding.  Drying his face of blood he turns to the bedroom door, three women surround his bed watching.

He slides the door to the broad stair opening.

Shumi - Waiting there, "Hi !"

She watches giddily as the blade slides through his chest from behind, she looks up to his eyes with an excited grin.  She drinks with a giggle while two more, one a long blade, one short, scissor the throat a foot in front of her. 

He falls over after his head.

Gara (center) - While other two turn to gear from his wall, "You're late."
____

She tickles his feet in bed while he laughs loudly out of control, the other two playing musical instruments, all three look annoyed.
____

Shumi - "Do you know how many guards this place has ?"

They all look at each other.

Shumi - "Yah !  I don't either !  Let's go !"

From outside the window ...

Guard - "! Tokugawa !"

A guard stands with a troop.  A banging sound, then a flying skull hits him in the head, knocked out.  The skin hits the second.  He slumps over to vomit ~

 

~ ! 柿 Tales ! ~

(Give We the Pride by PE and Mavis Staples)

 

 

~ a man raises his hand to strike, his surprised eyes as the unseen woman cuts him though.

The three leap from the window over the guards.

~ the other woman kicks a stone thrown.

The two of three work in unison, dancing their way through the crowd while the third makes final kills, directing the mass, Shumi watches drinking from the window.

~ highwaymen enter the geisha temple.

The three run through the streets Edo, guards filling the intersection ahead, the fourth stumbling behind with the quarry's weapon's and loot.

~ the wife empties his pockets, takes his weapons.

The three fight in their way until Shumi arrives staggering, drinking with oversized pack, trying to light a torch ...

~ the woman stoned begins a slowed view spin between stones.

The three part in her path, left and right cartwheeling, the third back flipping over Shumi as she spits a mouthful through the flame, igniting the front while she lights a rag hanging from the next bottle.

~ The temple burns ...

Burning guards fleeing as the three clear the streets while Shumi stumbles ... cocktails fly, the city gate slams shut, archers line the walls.

~ The village burns ...

The wall detonates, explosions lining across.

~ The wife looks at the bottle on the stand, Shumi's face seen.

The geisha are geared behind the fallen wall.

Shumi - Drinking from the bottle, looking at the geisha crew, "Hi !"
________________

In a drinking house ~

Tokugawa Ieyasu - The son of the dead man dirty robed and heavy hatted, nearly obvious guards dotting the house, "I assumed it would be quiet."

Shumi - "Why the hell would you assume that ?  Do you have any idea how many guards we had to kill ?"  She drinks.  "I sure as hell don't."

Ieyasu - "Well you were dressed all in black ..."

Shumi - Slamming the table, nearly obvious guards becoming more so, "Look !  Just because I spill my wine sometimes does not mean I should have to wear all black all the time !"
____

The entire crew - Rushing into her cabin while she drinks muttering to herself, "! Intervention !"  They knock over the lantern in the attack, the sounds of extreme beatings in the dark ...
____

Ieyasu - "But ... you were wearing black.  And you had a mask ..."

Shumi - "So ?"

Ieyasu - "So ... I assumed it would be more quiet."

Shumi - "So I spill my wine sometimes.  Whatever.  So you have a very interesting name for the son of a traditionalist.  Phonetic Latin, right ?" 

She drinks staring, analyzing ...

Shumi - "So one may wonder about that."  She drinks again, lost in an eye.  "Given your dead father's policies.  So !  Is it my patricidal payday yet ?"
________________

Walking out to the ship, It's hull lifted with the screw scrubbing.  The 'scissor twins' meet her, the third on deck watching them, coiling rope.

Hidarite - "Payment ?"

Shumi - "A map."

Migite - "A map to ?"

Shumi - Tossing the bottle to the sea, drink splashing out wasted, "Another place entirely." 

They walk the dock ...
_______________

The grinding thing stares listening in it's furnace rage at the Magistrate, who looks back down with a smile to turn a page.

... fade to credit roll ...

 ('Give it Up' (live) by Public Enemy)

 

The Book of Five Rings

~ Chapter One ~ The Ground Book ~

 

Strategy is the craft of the warrior.  Commanders must enact the craft, and soldiers should know this Way.  There is no warrior in the world today who really understands the Way of Strategy.

There are various Ways. 

There is the Way of Salvation by the Law of Buddha, the Way of Confucius governing the Way of Learning, the Way of Healing as a doctor, as a poet teaching the Way of Waka, tea, archery, many arts, and many skills.

Each one practices as they feel inclined. It is said the warrior's is the twofold Way of Pen and Sword, and he should have a taste for both Ways.

Even if one has no natural ability they can be a warrior by sticking assiduously to both divisions of the Way.  Speaking generally, the Way of the Warrior is resolute acceptance of death.

Although not only warriors but priests, peasants and common people have been known to die readily in the cause of duty or out of shame.  This is a different thing.

The warrior is different in that studying the Way of Strategy is based on overcoming men.  By victory gained in crossing swords with individuals, or enjoining battle with large numbers, we can attain power and fame for ourselves or our lord. 

This is the virtue of strategy.
________________________

The Way of Strategy ~

In China and Japan practitioners of the Way have been known as "masters of strategy".

Warriors must learn this Way.

Recently there have been people getting on in the world as strategists, but they are usually just sword-fencers. 

The attendants of the Kashima Kantori shrines of the province Hitachi received instruction from the gods, and made schools based on this teaching, traveling from country to country instructing men.

This is the recent meaning of strategy.

In older days strategy was listed among the Ten Abilities and Seven Arts as a beneficial practice.  It was certainly an art but as a beneficial practice it was not limited to sword-fencing. 

The true value of sword-fencing cannot be seen within the confines of it's technique.  If we look at the world we see such arts for sale.  Men use equipment to sell their own selves. 

As if with the nut and the flower, the nut has become less than the flower. 

In that Way of Strategy, both those teaching and those learning are concerned with coloring and showing off their technique, trying to hasten the bloom of the flower. 

They speak of "This Dojo" and "That Dojo".  They are looking for profit.  Someone once said "Immature strategy is the cause of grief". 

That was a true saying.
________________________

There are four Ways in which one passes through life :  Gentlemen, Farmers, Artisans, and Merchants.
____

The Way of the Farmer. 

Using agricultural instruments, he sees springs through to autumns with an eye on the changes of season.
____

Second is the Way of the Merchant.

The wine maker obtains his ingredients and puts them to use to make his living. The Way of the merchant is always to live by taking profit. This is the Way of the merchant.
____

Thirdly the Gentleman Warrior, carrying the weaponry of his Way.

The Way of the warrior is to master the virtue of his weapons. If a gentleman dislikes strategy he will not appreciate the benefit of weaponry, so must he not have a little taste for this?
____

Fourthly the Way of the Artisan. 

The Way of the Carpenter is to become proficient in the use of his tools, first to lay his plans with a true measure and then perform his work according to plan. Thus he passes through life. 
____

These are the four Ways, of the gentleman, the farmer, the artisan and the merchant.
________________________

Comparing the Way of the Carpenter ~

The comparison with carpentry is through the connection with houses.  Houses of the nobility, houses of warriors, the Four houses, ruin of houses, thriving of houses, the style of the house, the tradition of the house, and the name of the house.

The carpenter uses a master plan of the building, and the Way of Strategy is similar in that there is a plan of campaign.  If you want to learn the craft of war, ponder over this book.  The teacher is as a needle, the disciple is as thread.

You must practice constantly.

Like the foreman carpenter, the commander must know natural rules, and the rules of the country, and the rules of houses.  This is the Way of the Foreman.

The foreman carpenter must know the architectural theory of towers and temples, and the plans of palaces, and must employ men to raise up houses.  The Way of the Foreman is the same as the Way of the Commander of a warrior house.

In the construction of houses, choice of woods is made.

Straight un-knotted timber of good appearance is used for the revealed pillars, straight timber with small defects is used for the inner pillars. 

Timbers of the finest appearance, even if a little weak, is used for the thresholds, lintels, doors, and sliding doors, and so on.

Good strong timber, though it be gnarled and knotted, can always be used discreetly in construction.

Timber which is weak or knotted throughout should be used as scaffolding, and later for firewood.

The foreman carpenter allots his men work according to their ability.  Floor layers, makers of sliding doors, thresholds and lintels, ceilings and so on. 

Those of poor ability lay the floor joists, and those of lesser ability carve wedges and do such miscellaneous work.

If the foreman knows and deploys his men well the finished work will be good.  The foreman should take into account the abilities and limitations of his men, circulating among them and asking nothing unreasonable. 

He should know their morale and spirit, and encourage them when necessary.  This is the same as the principle of strategy.
________________________

Comparing the  Way of Strategy ~

Like a soldier, the carpenter sharpens his own tools.  He carries his equipment in his tool box, and works under the direction of his foreman. 

He makes columns and girders with an axe, shapes floorboards and shelves with a plane, cuts fine openwork and carvings accurately, giving as excellent a finish as his skill will allow.

This is the craft of the carpenters. When the carpenter becomes skilled and understands measures he can become a foreman.

The carpenter's attainment is, having tools which will cut well, to make small shrines, writing shelves, tables, paper lanterns, chopping boards and pot-lids. These are the specialties of the carpenter. Things are similar for the trooper.

You ought to think deeply about this.

The attainment of the carpenter is that his work is not warped, that the joints are not misaligned, and that the work is truly planed so that it meets well and is not merely finished in sections.

This is essential.

If you want to learn this Way, deeply consider the things written in this book one at a time.

You must do sufficient research.
________________________

Outline of the Five Books of this Book of Strategy ~

The Way is shown as five books concerning different aspects. These are Ground, Water, Fire, Wind, and Void.
____

The body of the Way of Strategy from the viewpoint of my Ichi school is explained in 'The Ground Book'.

It is difficult to realize the true Way through sword-fencing alone.  Know the smallest things and the biggest things, the shallowest things and the deepest things.  As if it were a straight road mapped out on the ground, the first book is called 'The Ground Book'.
____

Second is 'The Water Book'.

With water as the basis, the spirit becomes like water.  Water adopts the shape of its receptacle, it is sometimes a trickle and sometimes a wild sea.  Water has a clear blue color. 

By the clarity, things of Ichi school are shown in this book. 

If you master the principles of sword-fencing, when you freely beat one man, you beat any man in the world.  The spirit of defeating a man is the same for ten million men.  The strategist makes small things into big things, like building a great Buddha from a one foot model. 

I cannot write in detail how this is done.

The principle of strategy is having one thing, to know ten thousand things. Things of Ichi school are written in this the Water book.
____

Third is 'The Fire Book'.

This book is about fighting.  The spirit of fire is fierce, whether the fire be small or big; and so it is with battles.  The Way of battles is the same for man to man fights and for ten thousand a side battles.

You must appreciate that spirit can become big or small.

What is big is easy to perceive: what is small is difficult to perceive.  In short, it is difficult for large numbers of men to change position, so their movements can be easily predicted.  An individual can easily change his mind, so his movements are difficult to predict.

You must appreciate this.

The essence of this book is that you must train day and night in order to make quick decisions.  In strategy it is necessary to treat training as part of normal life with your spirit unchanging.  Thus combat in battle is described in the Fire book.
____

Fourthly 'The Wind Book'.

This book is not concerned with my Ichi school but with other schools of strategy.  By Wind I mean old traditions, present-day traditions, and family traditions of strategy.  Thus I clearly explain the strategies of the world.

This is tradition.

It is difficult to know yourself if you do not know others.  To all Ways there are side-tracks.  If you study a Way daily, and your spirit diverges, you may think you are obeying a good Way but objectively it is not the true Way.

If you are following the true way and diverge a little, this will later become a large divergence. 

You must realize this. 

Other strategies have come to be thought of as mere sword-fencing, and it is not unreasonable that this should be so.  The benefit of my strategy, although it includes sword-fencing, lies in a separate principle.  I have explained what is commonly meant by strategy in other schools in The Tradition Book.  Wind.
____

Fifthly, 'The Book of the Void'.

By void I mean that which has no beginning and no end.  Attaining this principle means not attaining the principle.  The Way of strategy is the Way of nature. 

When you appreciate the power of nature, knowing rhythm of any situation, you will be able to hit the enemy naturally and strike naturally.  All this is the Way of the Void. I intend to show how to follow the true Way according to nature in the book of the Void.
________________________

The Name "Ichi Ryu Ni To" (One school - two swords)

Warriors, both commanders and troopers, carry two swords at their belt.

In older days these were called the long sword and the sword, nowadays they are known as the sword and the companion sword.  Let it suffice to say that in our land, whatever the reason, a warrior carries two swords at his belt. 

It is the Way of the Warrior.

"Nito Ichi Ryu" shows the advantages of using both swords.

The spear and the halberd are weapons which are carried out of doors.  Students of the Ichi school Way of Strategy should train from the start with the sword and the long sword in either hand. 

This is a truth: when you sacrifice your life, you must make fullest use of your weaponry. It is false not to do so, and to die with a weapon yet undrawn.

If you hold a sword with both hands, it is difficult to wield it freely to left and right, so my method is to carry the sword in one hand.  This does not apply to large weapons such as the spear or halberd, but swords and companion swords can be carried in one hand. 

It is encumbering to hold a sword in both hands when you are on horseback, when running on uneven roads, on swampy ground, muddy rice fields, stony ground, or in a crowd of people. 

To hold the long sword in both hands is not the true Way.

For if you carry a bow or spear or other arms in your left hand you have only one hand free for the long sword.  However, when it is difficult to cut an enemy down with one hand, you must use both hands.  It is not difficult to wield a sword in one hand; the Way to learn this is to train with two long swords, one in each hand. 

It will seem difficult at first, but everything is difficult at first.  Bows are difficult to draw, halberds are difficult to wield; as you become accustomed to the bow so your pull will become stronger.  When you become used to wielding the long sword, you will gain the power of the Way, and will wield the sword well.

As I will explain in the second book, 'The Water Book', there is no fast way of wielding the long sword. The long sword should be wielded broadly and the companion sword closely.

This is the first thing to realize.

According to this Ichi school, you can win with a long weapon, and yet you can also win with a short weapon.  In short, the Way of the Ichi school is the spirit of winning, whatever the weapon and whatever its size.

It is better to use two swords rather than one when you are fighting a crowd, and especially if you want to take a prisoner.

These things cannot be explained in detail. 

From one thing, know ten thousand things.  When you attain the Way of Strategy there will not be one thing you cannot see.

You must study hard.
________________________

The Benefit of the Two Characters Reading, "Strategy"

Masters of the long sword are called strategists.  As for the other military arts, those who master the bow are called archers, those who master the spear are called spearmen, those who master the gun are called marksmen, those who master the halberd are called halberdiers.

But we do not call masters of the Way of the long sword "longswordsmen", nor do we speak of "companion swordsmen". 

Because bows, guns, spears and halberds are all warriors' equipment they are certainly part of strategy.  To master the virtue of the long sword is to govern the world and oneself, thus the long sword is the basis of strategy.

The principle is "strategy by means of the long sword".

If one attains the virtue of the long sword, one can beat ten. Just as one can beat ten, so a hundred can beat a thousand, and a thousand can beat ten thousand.

In my strategy, one is the same as ten thousand, so this strategy is the complete warrior's craft.

The Way of the warrior does not include other Ways, such as Confucianism, Buddhism, certain traditions, artistic accomplishments and dancing.  But even though these are not part of the Way, if you know the Way broadly you will see it in everything.

One must polish their particular Way.
____________________

The Benefit of Weapons in Strategy

There is a time and place for use of weapons.

The best use of the companion sword is in a confined space, or when you are engaged closely with an opponent.  The long sword can be used effectively in all situations.

The halberd is inferior to the spear on the battlefield.  With the spear you can take the initiative, the halberd is defensive.  In the hands of one of two men of equal ability, the spear gives a little extra strength.  Spear and halberd both have their uses, but neither is beneficial in confined spaces.  They cannot be used for taking a prisoner. 

They are essentially weapons for the field.

Anyway, if you learn "indoor" techniques, you will think narrowly and forget the true Way.  Thus you will have difficulty in actual encounters.

The bow is tactically strong at the commencement of battle, especially battles on a moor, as it is possible to shoot quickly from among the spearmen.  However, it is unsatisfactory in sieges, or when the enemy is more than forty yards away.  For this reason there are nowadays few traditional schools of archery. 

There is little use nowadays for this kind of skill.

From inside fortifications, the gun has no equal among weapons.  It is the supreme weapon on the field before the ranks clash, but once swords are crossed the gun becomes useless.  One of the virtues of the bow is that you can see the arrows in flight and correct your aim accordingly, whereas gunshot cannot be seen. 

You must appreciate the importance of this.

Just as a horse must have endurance and no defects, so it is with weapons.  Horses should walk strongly, and swords and companion swords should cut strongly.  Spears and halberds must stand up to heavy use, bows and guns must be sturdy.

Weapons should be hardy rather than decorative.

You should not have a favorite weapon. To become over-familiar with one weapon is as much a fault as not knowing it sufficiently well.  You should not copy others, but use weapons which you can handle properly.  It is bad for commanders and soldiers to have likes and dislikes. 

These are things you must learn thoroughly.
____________________

Timing in Strategy

There is timing in everything. Timing in strategy cannot be mastered without a great deal of practice.

Timing is important in dancing and pipe or string music, for they are in rhythm only if timing is good.  Timing and rhythm are also involved in the military arts, shooting bows and guns, and riding horses.  In all skills and abilities there is timing. 

There is also timing in the Void.

There is timing in the whole life of the warrior, in his thriving and declining, in his harmony and discord.  Similarly, there is timing in the Way of the Merchant, in the rise and fall of capital.  All things entail rising and falling timing. 

You must be able to discern this.

In strategy there are various timing considerations.  From the outset you must know the applicable timing and the inapplicable timing, and from among the large and small things and the fast and slow timings find the relevant timing, first seeing the distance timing and the background timing. 

This is the main thing in strategy.  It is especially important to know the background timing, otherwise your strategy will become uncertain.

You win battles with the timing in the Void born of the timing of cunning by knowing the enemies' timing, and thus using a timing which the enemy does not expect.

All the five books are chiefly concerned with timing.

You must train sufficiently to appreciate this.

If you practice day and night in the above Ichi school strategy, your spirit will naturally broaden.  Thus is large scale strategy and the strategy of hand to hand combat propagated in the world. 

This is recorded for the first time in the five books of Ground, Water, Fire, Tradition as Wind, and Void. 

This is the way for those who want to learn my strategy ~

1. Do not think dishonestly.

2. The Way is in training.

3. Become acquainted with every art.

4. Know the Ways of all professions.

5. Distinguish between gain and loss in worldly matters.

6. Develop intuitive judgement and understanding for everything.

7. Perceive those things which cannot be seen.

8. Pay attention even to trifles.

9. Do nothing which is of no use.


It is important to start by setting these broad principles in your heart, and train in the Way of Strategy.  If you do not look at things on a large scale it will be difficult for you to master strategy.  If you learn and attain this strategy you will never lose even to twenty or thirty enemies. 

More than anything to start with you must set your heart on strategy and earnestly stick to the Way.  You will come to be able to actually beat men in fights, and to be able to win with your eye. 

Also by training you will be able to freely control your own body, conquer men with your body, and with sufficient training you will be able to beat ten men with your spirit.  When you have reached this point, will it not mean that you are invincible ?

Moreover, in large scale strategy the superior man will manage many subordinates dexterously, bear oneself correctly, govern the country and foster the people, thus preserving the ruler's discipline. 

If there is a Way involving the spirit of not being defeated, to help oneself and gain honor, it is the Way of Strategy.

柿 Tales - chapter one (part one)

('No' by Public Enemy)

 

 

Musashi walks the road with Akari and Mariko, running around and playing behind, diving into bushes and jumping out at each other and fighting with sticks, then tumbling back into the bush.

He maintains his stoic 'hero walk', hand rested casually on belt to the fabric of the broken blade as they roll around playing behind on their way.

They freeze and look then jump back to the bushes.  His hand flies, unraveling the blade to the view.
____

A wave splashes against the bow of the departing ship, dipping the aft.  At it's lowest point, Musashi's blade strikes the aft hull, then pulled taut in it's lowest dip.

Slacked with the counter splash rise, the woman set to be stoned in the village sails over from the snap-pull of the ribbon, landing behind the crow's nest, a small circular enclosure set on a slightly larger square platform.

She climbs behind and curls the blade's fabric around her arm, then laying down to sleep.
____

The village burns as she walks away into the wood.

Days pass as she wanders, sun raging across the sky while she walks the path, off the path, to the hunt, the feast, and to the path, the sun chases the moon.

She settles into the cave to sleep ...
________________

The scene pulls angrily back to the Magistrate and the dervish rumbling.

The magistrate leans back and rests his hand on the blade's hilt to his right, looking at his guest, then up to the woman walking down the stairs behind the dervish.

Magistrate - A smile, returned as she walks to the kitchen.  Then after she's gone he leans in, "I will marry her one day you know."

The dervish stares in rage, his furnace chest burning and grinding, breathing hard through gritted teeth.

The Magistrate smiles leaning back to read, Mariko and Akari watch the guest with curiosity, occasionally whispering to each other.
________________

A man's arm is raised before a beggar.  Musashi cracks his neck, grabbing his two blades, long and short as he falls.

Musashi - To the beggar, "That's not as easy as it looks."

Samurai behind - "! You !"

Musashi - Glancing behind then back to the the beggar, then a drink, "Would you like their coins ?"  He smiles and turns twirling with blades spinning ...

('Take Me to the River' by Annie Lennox)

 

 

Gara, the priestess of the temple watches the bandit choke on his wine.  His two swords drawn by Hidarite and Migite, used then on the two bandits behind them as the temple turns to action.

____

The stranger catches a stone thrown at her in the village.
____

Musashi lets loose his ribbon blade ~
____

Time slows to near stop as the stranger leans back, un-ravelling the ribbon blade with a spiral behind her.  Stones nearly hover as she kicks one back to the thrower, turning over as the blade enters an attacker.

She pulls hard as the kicked stone strikes the other, pulling the man down as the blade flies to the next target.
____

Temple tools then stolen blades are used to quell the drunken attackers, led by Hidarite and Migite while the Gara watches lighting her pipe.  She observes their method with approval as would a teacher.

She exhales smoke with a laugh at the crashing sound.
____

Musashi strangles one over his shoulder while shoving the jagged blade beneath and armor plate on another.  He tosses one coin bag into the pile before the beggar then kicks the other over as it falls.

The beggar laughs clapping ...
____

In slow time the blade spins through the crowd cutting, a swirling of cloud over head.  Tears fly from her eyes as she spins, it rains.  A lightning and thunder brooding above.

In the spinning views Mariko and Akari dance through the crowd as it looks up.
____

Musashi sits with the beggar sharing his wine and telling a tale, gesturing to the sky.  Akari and Mariko laugh with them.
____

Lightning strikes the village structures igniting them in a swirling view of the stranger's dance with the clouds above, Akari and Mariko spinning between.
____

Akari and Mariko watch the temple burn with the priestesses, turning then to walk away whispering.
____

Mariko and Akari follow Musashi down the path, playing as he resumes his 'hero walk', carrying the hunted rabbit, while they play and pretend the above scenes.
____

The stranger sleeps in her cave ...
____

The priestess lights smokes her pipe, looking over the fallen as they're looted.

Gara - "Time for a change."

柿 Tales - chapter one (part two)

Shumi - "! Hey !"

The woman wakes with a pistol to her head from over the edge of the crow's nest, Shumi yelling from beneath.  She sits up stretching, then casually sweeps the pistol across with her hand from under the grip pulling to, flipping it to the sea.  She settles back in to sleep.

Karasu - Looking down to Shumi while the guest lies back down to sleep, "Did you see that !?  Like Whoosh ... I didn't even see that !"

Shumi - Drinks angrily from the bottle.  "You're not supposed to be happy about that."

Karasu - "Well I am.  Whooooosh ..."

Shumi - "Well kill her or kick her or something !  What the hell kind of watch are you ?!"

Karasu - "Oh look Shumi, there's a woman sleeping there.  Wonder how she got on board ?  And she didn't kill me so why the hell should I kill her !?"

The bottle smashes against side of the the nest, the woman sits up abruptly.

Karasu and Guest - "! Hey !"

The fabric blade strikes the ground at Shumi's feet, the sky darkens with moving storm and distant thunder.  A flash of lighting across the clouds and the guest is crouched in front of her.

Shumi - Looks around, counting ... "one ... two ... three ..." 

The sound of thunder as the guest rises, staring ready.

Shumi - "Hi !  That was three miles away."  She takes a drink raising her brow to the stranger.  "So whatever the fuck you are you've got at least a three mile range.  That's useful.  Do you eat food ?"

Stomach sounds ...

Stranger - Looking a moment, "I do eat food ..."

Shumi - "I eat food too."  She takes her hand and pulls, "Let's go eat food."
____

Musashi eats a rabbit at the fire ...

Akari and Mariko stares in horror while he truly seems to enjoy the meal.
____

On a plate before the magistrate's guest dervish, a tart goes grey with age.  His churning grind sounds almost appreciative as he stares in his rage, the attendants spinning away to dust.  His face takes a slight more form. 

Eyes focusing to the sound of heavy page turning.

The sound of sea splash and a deck alarm bell clangs ...
____________

They watch the armada line against their departure.

Shumi - Standing alone next to the stranger, deck quiet behind, "So ... did you know that I find super powered females to be sexy as hell ?"

Stranger - Smiling, watching the enemy make a slow formation, a bit of confusion between the placement of two ships, "I did know that."

Shumi - Looks sideways, drinking, "... stalker ..."

Stranger - "It's true what he said.  You're very noisy."

Shumi - "Crowded bar, yah ?"

Stranger - "After you left ... less so."
____

The bar burns ...
____

Shumi - "You talk so dirty to me ... but it was so loud because all the ninjas were in the water."  She hands her the scope, "Ever seen one of these ... ?

Stranger - Takes it, extending, then looking annoyed at Shumi before using it to scan the boats, "Plenty."

Ninjas crawl up the enemy gunwales on every boat, men fall across one deck, darts are loaded and shot to the next, they climb back down while others enter cabins ...

Stranger - "How many are there ... ?"

Shumi - Annoyed, "They don't let me count them."  Drinks.
____

Hundreds of ninjas cartwheel and flip among each other giggling in a large cargo bay while Shumi storms away with her bottle.
____

Shumi - Throwing down the bottle to smash, "Shall we dance ?"

('The Undertaker' by Prince)

 

 

(five minute cut, ending intact)

As the ships begin to burn and alarms sound in the distance, they dance ...

Deck after deck silently cleared as each soldier looks for what he can't find before falling, the cleared ships lit afire behind, powder igniting, they dance.

Rear guard ships work their way forward, a cloud of smoke crosses their path breathed by a turtle ship.

(These are Korean warships, usually paddled, with an enclosed top deck, armored and spiked (like a turtle ... with spikes) and a dragon's head at the bow which breathes smoke. One of history's most awesome things (of war).

The ship deploys quiet rockets rockets across the sails, catching them afire. The ships before them soldiers fall one after the next silently.

Their dance and spin with fire lit smoke ...

Stranger - An explosion in the distance, "I admit I believed you're so calm because you just assumed I'd kill them all for you."

Shumi - "I put the ninjas in the water so we could dance instead."

Stranger - Leaning in to kiss, "I would have ..."

Shumi - "... stalker ..."  The kiss, smoke lit explosions as the turtle ship meets with a large cargo ship, finishing the last to screams and heavy cannon.
________________

Musashi kicks over the fire with dirt, the sound of bushes rustling.
____

The dervish grins as the plate cracks beneath the black tart, teeth beginning to form in a rumbling exhale.
____

As the burning ships fade ~

Shumi - Kiss breaking, "You kiss like a goddess ..."

Stranger - "You kiss like a pirate."

! The End !

 

 

The Book of Five Rings

~ Chapter two ~ The Water Book ~

The spirit of the Ni Ten Ichi school of strategy is based on water, and this, 'The Water Book', explains methods of victory as the long-sword form of the Ichi school.  Language does not extend to explaining the Way in detail, but it can be grasped intuitively. 

Study this book. 

Read a word then ponder on it.

If you interpret the meaning loosely you will mistake the Way.

The principles of strategy are written down here in terms of single combat, but you must think broadly so that you attain an understanding for ten-thousand per side battles.

Strategy is different from other things in that if you mistake the Way even a little you will become bewildered and fall into bad ways.

If you merely read this book you will not reach the Way of Strategy.  Absorb the things written in this book.  Do not just read, memorize or imitate.  But so that you realize the principle from within your own heart, study hard to absorb these things into your body.
________________________

Spiritual Bearing in Strategy ~

In strategy your spiritual bearing must not be any different from normal.  Both in fighting and in everyday life you should be determined though calm.  Meet the situation without tenseness yet not recklessly, your spirit settled yet unbiased. 

Even when your spirit is calm do not let your body relax, and when your body is relaxed do not let your spirit slacken.  Do not let your spirit be influenced by your body, or your body be influenced by your spirit.  Be neither insufficiently spirited nor over spirited. 

An elevated spirit is weak and a low spirit is weak.

Do not let the enemy see your spirit.

Small people must be completely familiar with the spirit of large people, and large must be familiar with the spirit of small.  Whatever your size, do not be misled by the reactions of your own body.  With your spirit open and unconstricted, look at things from a high point of view.

You must cultivate your wisdom and spirit. 

Polish your wisdom. 

Learn public justice, distinguish between good and evil, study the Ways of different arts one by one.  When you cannot be deceived by men you will have realized the wisdom of strategy.

The wisdom of strategy is different from other things.  On the battlefield, even when you are hard-pressed, you should ceaselessly research the principles of strategy so that you can develop a steady spirit.
____

Stance in Strategy ~

Adopt a stance with the head erect, neither hanging down, nor looking up, nor twisted.  Your forehead and the space between your eyes should not be wrinkled. Do not roll your eyes nor allow them to blink, but slightly narrow them.  With your features composed, keep the line of your nose straight with a feeling of slightly flaring your nostrils.

Hold the line of the rear of the neck straight.  Instill vigor into your hairline, and in the same way from the shoulders down through your entire body.  Lower both shoulders and, without the buttocks jutting out, put strength into your legs from the knees to the tips of your toes.

Brace your abdomen so that you do not bend at the hips.  Wedge your companion sword in your belt against your abdomen, so that your belt is not slack.  This is called "wedging in".

In all forms of strategy, it is necessary to maintain the combat stance in everyday life and to make your everyday stance your combat stance. 

You must research this well.
____

The Gaze in Strategy ~

The gaze should be large and broad.  This is the twofold gaze, "Perception and Sight".  Perception is strong and sight is weak.

In strategy it is important to see distant things as if they were close and to take a distanced view of close things.  It is important in strategy to know the enemy's sword and not to be distracted by it's insignificant movements. 

You must study this.

The gaze is the same for single combat and for large-scale strategy.

It is necessary in strategy to be able to look to both sides without moving the eyeballs.  You cannot master this ability quickly.  Learn what is written here.  Use this gaze in everyday life and do not vary it, whatever happens.
____

Holding the Long Sword ~

Grip the long sword with a rather floating feeling in your thumb and forefinger, with the middle finger neither tight nor slack, and with the last two fingers tight. 

It is bad to have play in your hands.

When you take up a sword, you must feel intent on cutting the enemy.  As you cut an enemy you must not change your grip, and your hands must not "cower".

When you dash the enemy's sword aside, or ward it off, or force it down, you must slightly change the feeling in your thumb and forefinger.  Above all, you must be intent on cutting the enemy in the way you grip the sword.

The grip for combat and for sword-testing is the same.  There is no such thing as a "man-cutting grip".

Generally, I dislike fixedness in both long swords and hands.  Fixedness means a dead hand.  Pliability is a living hand. 

You must bear this in mind.
____

Footwork ~

With the tips of your toes somewhat floating, tread firmly with your heels.

Whether you move fast or slow, with large or small steps, your feet must always move as in normal walking.  I dislike the three walking methods know as "jumping-foot", "floating-foot" and "fixed-steps".

So-called "Yin-Yang foot" is important in the Way.  Yin-Yang foot means not moving only one foot.  It means moving your feet left-right and right-left when cutting, withdrawing, or warding off a cut. 

You should not move on one foot preferentially.
____

The Five Attitudes ~

The five attitudes are: Upper, Middle, Lower, Right Side, and Left Side. These are the give.  Although attitude has these five divisions, the one purpose of all of them is to cut the enemy. 

There are none but these five attitudes.

Whatever attitude you are in, do not be conscious of making the attitude.  Think only of cutting.  Your attitude should be large or small according to the situation. 

Upper, Lower and Middle attitudes are decisive.

Left Side and Right Side attitudes are fluid.  Left and Right attitudes should be used if there is an obstruction overhead or to one side.  The decision to use Left or Right depends on the place.

The essence of the Way is this. 

To understand attitude you must thoroughly understand the middle attitude.  The middle attitude is the heart of attitudes.  If we look at strategy on a broad scale, the Middle attitude is the seat of the commander, with the other four attitudes follow it.

You must appreciate this.
____

The Way of the Long Sword ~

Knowing the Way of the long sword means we can wield with two fingers the sword we usually carry.  If we know the path of the sword well, we can wield it easily.  If you try to wield the long sword quickly you will mistake the Way.

To wield the long sword well you must wield it calmly.

If you try to wield it quickly, like a folding fan or a short sword, you will err by using "short sword chopping". 

You cannot cut down a man with a long sword using this method.

When you have cut downwards with the longsword, lift it straight upwards.  When you cut sideways, return the sword along a sideways path. 

Return the sword in a reasonable way, always stretching the elbows broadly. Wield the sword strongly. This is the Way of the longsword.  If you learn to use the five approaches of my strategy, you will be able to wield a sword well.

You must train constantly.
________________________

The Five Approaches ~

1 - The first approach is the Middle attitude.

Confront the enemy with the point of your sword against his face.  When he attacks, dash his sword to the right and "ride" it. 

Or, when the enemy attacks, deflect the point of his sword by hitting downwards, keep your long sword where it is, and as the enemy renews his attack cut his arms from below.

This is the first method.

The five approaches are this kind of thing.  You must train repeatedly using a long sword in order to learn them.  When you master my Way of the long sword, you will be able to control any attack the enemy makes.  I assure you, there are no attitudes other than the five attitudes of the long sword of Ni To.
____

2 - In the second approach with the long sword, from the Upper attitude cut the enemy just as he attacks. 

If the enemy evades the cut, keep your sword where it is and, scooping up from below, cut him as he renews the attack.  It is possible to repeat the cut from here.

In this method there are various changes in timing and spirit.  You will be able to understand this by training in the Ichi school.  You will always win with the five long sword methods. 

You must train repetitively.
____

3 - In the third approach, adopt the Lower attitude, anticipating scooping up.

When the enemy attacks, hit his hands from below.  As you do so he may try to hit your sword down.  If this is the case, cut his upper arm(s) horizontally with a feeling of "crossing".  This means that from the lower attitudes you hit the enemy at the instant that he attacks.

You will encounter this method often, both as a beginner and in later strategy.

You must train holding a long sword.
____

4 - In this fourth approach, adopt the Left Side attitude. 

As the enemy attacks hit his hands from below.  If as you hit his hands he attempts to dash down your sword, with the feeling of hitting his hands, parry the path of his long sword and cut across from above your shoulder. 

This is the Way of the long sword.  Through this method you win by parrying the line of the enemy's attack.

You must research this.
____

5 - In the fifth approach, the sword is in the Right Side attitude.

In accordance with the enemy's attack, cross your long sword from below at the side to the Upper attitude.  Then cut straight from above.

This method is essential for knowing the Way of the long sword well.  If you can use this method, you can freely wield a heavy long sword.
________

I cannot describe in detail how to use these five approaches.

You must become well acquainted with my "in harmony with the long sword" Way, learn large-scale timing, understand the enemy's long sword, and become used to the five approaches from the outset.  You will always win by using these five methods, with various timing considerations discerning the enemy's spirit.

You must consider all of this carefully.
________________________

The "Attitude No-Attitude" Teaching ~

"Attitude No-Attitude" means that there is no need for what are know as long sword attitudes.

Even so, attitudes exist as the five ways of holding the long sword.  However you hold the sword it must be in such a way that it is easy to cut the enemy well, in accordance with the situation, the place, and your relation to the enemy.

From the Upper attitude as your spirit lessens you can adopt the Middle attitude, and from the Middle attitude you can raise the sword a little in your technique and adopt the Upper attitude.

From the lower attitude you can raise the sword and adopt the Middle attitudes as the occasion demands.  According to the situation, if you turn your sword from either the Left Side or Right Side attitude towards the centre, the Middle or the Lower attitude results.

The principle of this is called "Existing Attitude - Nonexisting Attitude".

The primary thing when you take a sword in your hands is your intention to cut the enemy, whatever the means.  Whenever you parry, hit, spring, strike or touch the enemy's cutting sword, you must cut the enemy in the same movement.

It is essential to attain this.

If you think only of hitting, springing, striking or touching the enemy, you will not be able actually to cut him.  More than anything, you must be thinking of carrying your movement through to cutting him.

You must thoroughly research this.

Attitude in strategy on a larger scale is called "Battle Array".  Such attitudes are all for winning battles. Fixed formation is bad. Study this well.
________

To Hit the Enemy "In One Timing" ~

"In One Timing" means, when you have closed with the enemy, to hit him as quickly and directly as possible, without moving your body or settling your spirit, while you see that he is still undecided.  The timing of hitting before the enemy decides to withdraw, break or hit, is this "In One Timing".

You must train to achieve this timing, to be able to hit in the timing of an instant.
____

The "Abdomen Timing of Two" ~

When you attack and the enemy quickly retreats, as you see him tense you must feint a cut.  Then, as he relaxes, follow up and hit him.  This is the "Abdomen Timing of Two".

It is very difficult to attain this by merely reading this book, but you will soon understand with a little instruction.
____

No Design, No Conception ~

In this method, when the enemy attacks and you also decide to attack, hit with your body, and hit with your spirit, and hit from the Void with your hands, accelerating strongly.  This is the "No Design, No Conception" cut.

This is the most important method of hitting. It is often used.

You must train hard to understand it.
____

The Flowing Water Cut ~

The "Flowing Water Cut" is used when you are struggling blade to blade with the enemy. 

When he breaks and quickly withdraws trying to spring with his long sword, expand your body and spirit and cut him as slowly as possible with your long sword, following your body like stagnant water.  You can cut with certainty if you learn this.

You must discern the enemy's grade.
____

Continuous Cut ~

When you attack and the enemy also attacks, and your swords spring together, in one action cut his head, hands and legs.  When you cut several places with one sweep of the long sword, it is the "Continuous Cut".  You must practice this cut, it is often used.

With detailed practice you should be able to understand it.
____

The Fire and Stones ~

Cut The Fires and Stones Cut means that when the enemy's long sword and your long sword clash together you cut as strongly as possible without raising the sword even a little.  This means cutting quickly with the hands, body and legs, all three cutting strongly.

If you train well enough you will be able to strike strongly.
____

The Red Leaves Cut ~

The Red Leaves Cut means knocking down the enemy's long sword.

The spirit should be getting control of his sword.  When the enemy is in a long sword attitude in front of you and intent on cutting, hitting and parrying, you strongly hit the enemy's long sword with the Fire and Stones Cut, perhaps in the spirit of the "No Design, No Conception" Cut. 

If you then beat down the point of his sword with a sticky feeling, he will necessarily drop the sword.  If you practice this cut it becomes easy to make the enemy drop his sword.

You must train repetitively.
____

The Body in Place of the Long Sword ~

Also "the long sword in place of the body".

Usually we move the body and the sword at the same time to cut the enemy.  However, according to the enemy's cutting method, you can dash against him with your body first, and afterwards cut with the sword. 

If his body is immovable, you can cut first with the long sword, but generally you hit first with the body and then cut with the long sword.

You must research this well and practice hitting.
____

Cut and Slash ~

To cut and to slash are two different things.

Cutting, whatever form of cutting it is, is decisive, with a resolute spirit.  Slashing is nothing more than touching the enemy.  Even if you slash strongly, and even if the enemy dies instantly, it is slashing.

When you cut, your spirit is resolved.  You must appreciate this. 

If you first slash the enemy's hands or legs, you must then cut strongly.  Slashing is in spirit the same as touching.  When you realize this, they become indistinguishable.

Learn this well.
____

Chinese Monkey's Body ~

The Chinese Monkey's Body is the spirit of not stretching out your arms.  The spirit is to get in quickly, without in the least extending your arms, before the enemy cuts.

If you are intent upon not stretching out your arms you are effectively far away, the spirit is to go in with your whole body.  When you come to within arm's reach it becomes easy to move your body in.

You must research this well.
____

Glue and Lacquer Emulsion Body ~

The spirit of "Glue and Lacquer Emulsion Body" is to stick to the enemy and not separate from him.

When you approach the enemy, stick firmly with your head, body and legs.  People tend to advance their head and legs quickly, but their body lags behind.  You should stick firmly so that there is not the slightest gap between the enemy's body and your body.

You must consider this carefully.
____

To Strive for Height ~

By "to strive for height" is meant, when you close with the enemy, to strive with him for superior height without cringing.  Stretch your legs, stretch your hips, and stretch your neck face to face with him. When you think you have won, and you are the higher, thrust in strongly.

You must learn this.
____

To Apply Stickiness ~

When the enemy attacks and you also attack with the long sword, you should go in with a sticky feeling and fix your long sword against the enemy's as you receive his cut.

The spirit of stickiness is not hitting very strongly, but hitting so that the long swords do not separate easily.  It is best to approach as calmly as possible when hitting the enemy's long sword with stickiness.

The difference between "Stickiness" and "Entanglement" is that stickiness is firm and entanglement is weak.

You must appreciate this.
____

The Body Strike ~

The Body Strike means to approach the enemy through a gap in his guard.

The spirit is to strike him with your body.  Turn your face a little aside and strike the enemy's breast with your left shoulder thrust out.  Approach with the spirit of bouncing the enemy away, striking as strongly as possible in time with your breathing.

If you achieve this method of closing with the enemy, you will be able to knock him ten or twenty feet away.  It is possible to strike the enemy until he is dead.

Train well.
 ________________________

Three Ways to Parry a Cut ~

First, by dashing the enemy's long sword to your right, as if thrusting at his eyes, when he makes an attack.

Or, to parry by thrusting the enemy's long sword towards his right eye with the feeling of snipping his neck.

Or, when you have a short "long sword", without worrying about parrying the enemy's long sword, to close with him quickly, thrusting at his face with your left hand.

These are the three methods of parrying.  You must bear in mind that you can always clench your left hand and thrust at the enemy's face with your fist. 

For this it is necessary to train well.
____

To Stab at the Face ~

To stab at the face means, when you are in confrontation with the enemy, that your spirit is intent of stabbing at his face, following the line of the blades with the point of your long sword.

If you are intent on stabbing at his face, his face and body will become rideable.  When the enemy becomes as if rideable, there are various opportunities for winning. 

You must concentrate on this.

When fighting and the enemy's body becomes as if rideable, you can win quickly, so you ought not to forget to stab at the face.

You must pursue the value of this technique through training.
____

To Stab at the Heart ~

To stab at the heart means, when fighting and there are obstructions above, or to the sides, and whenever it is difficult to cut, to thrust at the enemy.

You must stab the enemy's breast without letting the point of your long sword waver, showing the enemy the ridge of the blade square-on, and with the spirit of deflecting his long sword.

The spirit of this principle is often useful when we become tired or for some reason our long sword will not cut.

You must understand the application of this method.
____

To Scold "Tut-TUT!" ~

"Scold" means that, when the enemy tries to counter-cut as you attack, you counter-cut again from below as if thrusting at him, trying to hold him down.  With very quick timing you cut, scolding the enemy. 

Thrust up, "Tut!", and cut "TUT!"

This timing is encountered time and time again in exchange of blows.  The way to scold Tut-TUT is to time the cut simultaneously with raising your long sword as if to thrust the enemy.

You must learn this through repetitive practice.
____

The Smacking Parry ~

By "smacking parry" is meant that when you clash swords with the enemy, you meet his attacking cut on your long sword with a tee-dum, tee-dum rhythm, smacking his sword and cutting him.

The spirit of the smacking parry is not parrying, or smacking strongly, but smacking the enemy's long sword in accordance with his attacking cut, primarily intent on quickly cutting him.

If you understand the timing of smacking, however hard your long swords clash together, your sword point will not be knocked back even a little.

You must research sufficiently to realize this.
____

There are Many Enemies ~

"There are many enemies" applies when you are fighting one against many.

Draw both sword and companion sword and assume a wide-stretched left and right attitude.  The spirit is to chase the enemies around from side to side, even though they come from all four directions. 

Observe their attacking order, and go to meet first those who attack first.  Sweep your eyes around broadly, carefully examining the attacking order, and cut left and right alternately with your swords.

Waiting is bad.

Always quickly re-assume your attitudes to both sides, cut the enemies down as they advance, crushing them in the direction from which they attack.  Whatever you do, you must drive the enemy together, as if tying a line of fishes, and when they are seen to be piled up, cut them down strongly without giving them room to move.
____

The Advantage when Coming to Blows ~

You can know how to win through strategy with the long sword, but it cannot be clearly explained in writing.  You must practice diligently in order to understand how to win.

Oral tradition: "The true Way of Strategy is revealed in the long sword."
____

One Cut ~

You can win with certainty with the spirit of "one cut".

It is difficult to attain this if you do not learn strategy well.  If you train well in this Way, strategy will come from your heart and you will be able to win at will.

You must train diligently.
____

Direct Communication ~

The spirit of "Direct Communication" is how the true Way of the Ni To Ichi school is received and handed down.

Oral tradition: "Teach your body strategy."

Recorded in the above book is an outline of Ichi school sword-fighting.
________________________

To learn how to win with the long sword in strategy, first learn the five approaches and the five attitudes, and absorb the Way of the long sword naturally in your body.

You must understand spirit and timing, handle the long sword naturally, and move body and legs in harmony with your spirit.  Whether beating one man or two, you will then know values in strategy.

Study the contents of this book, taking one item at a time, and through fighting with enemies you will gradually come to know the principle of the Way.

Deliberately, with a patient spirit, absorb the virtue of all this, from time to time raising your hand in combat.  Maintain this spirit whenever you cross swords with and enemy.

Step by step walk the thousand-mile road.

Study strategy over the years and achieve the spirit of the warrior.

Today is victory over yourself of yesterday.  Tomorrow is your victory over lesser men.  Next, in order to beat more skillful men, train according to this book, not allowing your heart to be swayed along a side-track.  Even if you kill an enemy, if it is not based on what you have learned, it is not the true Way.

If you attain this Way of victory, then you will be able to beat several tens of men. What remains is sword-fighting ability, which you can attain in battles and duels.

柿 Tales - chapter two (part one)

('Short Change Hero' by The Heavy)

 

 

In the storm a Xinhua woman (Qiu) works the decks alone of a temple warship.  Stumbling over the dead, she works the rigging from the broken wheel.

In tears she begins dragging the bodies to clear her path, lightning flashes sight of a dark spirit clinging to the underside of an overhang, whispering names in the wind.

Qiu turns to the decks below.  Oarsmen are slung dead over oars, lightning flashes the spirit smiling and licking her lips, whispering names.

She drags the bodies and dumps them over in the storm, one by one, all too heavy.  The spirit crawls rarely seen along the ceilings watching.

She drags heavy wooden crates from around the ship to the oars, attaching the tied upright in a row across both sides of the oar's deck then to the newly rigged wheel.

She pulls it and brings it down, fixes the rigging to the below deck, then opens the forward invasion gate to the storm.

...

With a deep breath she lifts the broad pole and pushes against the last of the row with a roar, knocking the oars one by one, the ship moves.

She lines them up again, lifting and dipping the oars,

She lifts the pole and pushes hard with a roar, the goes behind to the wheel pulling hard. The ship knocks through half sunken wreckage.

The spirit sits at the bow whispering names as Qiu dumps the last of the bodies. She returns below.

The ship edges out from storm and the last of the wreckage.
________________

The stranger and Shumi lie in bed ~

Shumi - "Are you gonna tell me your name ?"

The stranger smiles and kisses her nose.

Shumi - Giggles, "I'm just saying I have no idea what to scream when you do that thing."

The stranger - Giggles then a breath, she looks at her, "They never gave me one."

Shumi - Stroking her hair then smiling, "Me neither."

('Power to the People' by The Chi-Lites)

 

 

Out to a sailing scene, decks and crews shown, post battle repairs, a display of the various ships and their workings through the song.

A calm wind, beautiful sail ~
________________

Samurai in the street - "! Miyamoto Musashi ! You ..."

Musashi - A distance away for showdown, "Oh shut up !" He drinks from his bottle, "Sullen cow."

Samurai - "You ..."

Musashi - "It's always the same you know. You've got your ..."  He gestures around, "archers on the rooftops ..."  He waves around, "Hello ... hello ..."

Rooftop motion crouches low.

Musashi - "You have your warrior best !  At your side.  You'll send them after the archers are dead of course.   Coward."

The samurai draw back in shock and hubris, the sound of stretched bows across the wind.

Musashi - "The same every time.  And now you will talk of your own elevation in my death.   Knowing it would be so, yet knowing it would not be your victory.   A random arrow, you believe, to kneel me before you.  Anonymous.  Excrement."

The lead samurai growls to speak ...

Musashi - "So I was thinking along the path, how to approach this differently. Indeed every time they just send another like the dead before and then dead again.  The same the same ..."

Samurai - Grip tightening, "You will ..."

Musashi - "This once I say this.  One good man step forth.  Any man.  Step forth and fight at my side.  I care not for skill, we together will kill all opposition to the one good man who would swear to me to rule in peace and feed his people.  All.  This moment."

A murmur around, then silence.

Musashi - "Hm.  So be it."  He reaches into his robe.

Farmer - "Wait !" He walks up to stand next to Musashi. "I do not know about rule.  Only food.  I grow food.  These dogs eat it.  The people starve."

Musashi pulls off his broad hat and stares into the man's eyes, deeply analyzing ... he grabs the back of the farmer's head and puts hard their foreheads together.

Musashi - Whispering, energy crackling between them, "Do you swear it to me, Miyamoto Musashi, upon your sworn life that when I return, your people are fed, this land in peace, with guard ready to defend it ? Prepared as the seed in your fields ? Baked like your bread ? Will you do that which is required ?"

Farmer - "I will do this."

Musashi - With a roar, "! Swear it !  Swear it to Musashi."

Farmer - "I swear it upon your most jagged blade, let it touch my heart if I fail."

Musashi - Whispering, "Good.  Then let us kill these men and be done with it."

He throws the man into the crowd and flings the ribbon blade through a rooftop archer's eye.  The others turn to see as he's pulled violently from the roof, all losing temporary sight line on Musashi as he spring forth replacing his hat, charging the street samurai.

The farmer disappears into the watching crowd as field tools are passed around between, disappearing behind the nearby buildings.

The samurai roar to charge.

柿 Tales - chapter two (part two)

In the map room cabin, Shumi unravels the new map on the table, main deck hands placing the random objects at corners. The Korean captain Mishil, looks over with her, joined by her first.

The stranger lurks in the back, bored and casually spinning here and there, then suddenly looks up.

In a moment the bow of the ship dips suddenly.

Shumi - "Fuck !"

With a wind the lanterns extinguish, giggles in the total darkness.

Unseen voice - "It is time for payment."

Shumi - "Beautiful new ribbon friend, please don't do what your thinking."

An impatient sigh in the dark.

Shumi - The sound of a sloshing drink and a spill. "And Chiyome. There was a plan.  You will be paid !"

The ship creaks and shakes with the sound of laughter from the decks.

Chiyome - "Payment."
____

Hundreds jump on the fore deck, others grabbing the rails and shifting weight while the ship bobs, the entire deck crew tied to mast and various works.  They looked mostly just annoyed.

Karasu - Shouting from the crow's nest, "Please stop doing that !  I really do hate it !"

The nest swings and bobs in dramatic circles atop the mast.

Karasu - "You have no idea what that's like up here !"

A ninja pops up behind her - "Yes we do !"  Karasu turns with a scare as the ninja back flips with a flinging toss from the swinging mast.
____

Chiyome - "Ice cream."

A slow chanting in the darkness - "... ice cream ... ice cream ..."

Shumi - "It's in France ! It's on our way !"

...

Chiyome - "Good.  And then we will make mochi.

A gust of wind, the lanterns lit.

The ship sails quietly approaching the temple ship.
________________

"Hey !"

Qiu's eyes open.

Shumi - Heard yelling from outside her ship, "! Hey !"
____

The stranger whispers in her ear, while on the Xinhua ship Akari and Mariko stare at her, pointing to the hissing spirit.

Shumi - Looks at the stranger like it's a crazy thought and takes a drink, "Whatever."

Qiu walks out to her deck's edge.

Shumi - "Hi !  So ... is this your boat ?"

Qiu - "You shouldn't be here.  It's very bad here.  There is nothing you can do."

Shumi - "Yah my new wife told me all about that (the stranger stares at her), but it's okay !  I don't believe in ghosts and I'm pretty sure she's immune to them so ... we're coming over now."

Akari and Mariko stare at the stranger, she shrugs back while the deck crew nervously extends plank.
____

Shumi and the stranger sit at the table with Qiu, the spirit nearly well wrapped around Shumi's head, sticking a serpent-like tongue in her ear while the others stare in horror, Akari and Mariko pale.

Shumi - Looks at them annoyed, "Oh come on ..."  She drinks.  "Anyway, ya wanna join the fleet ?  Oh !  And also who are you, and my beloved petal wants to know why your boat is Hell."

The stranger stares at Shumi, then the spirit looking back ...

Qiu - Examining her, a raised bow and caution of the grinning spirit, "I ... am Qiu.  I was always a bit like your friend I think ..."  She shies her eyes from the spirit as it curls around Shumi, " ... but different."
____

She runs from pursuing dogs of hunt.

Qiu - Voiced over, "I had to run.  They came for me.  For us."
____

The spirit smiles briefly, as though touched by the acknowledgement.

Qiu - Eyes low, "And so I ran here ... I don't know how I got by them, I just did and then I hid.  It's a warship, I ... just ran ... there was war ..."
____

She crouches in the dark storage.

Qiu - Voiced over, "But the men ... they found me and ..."

The light from the opening door and their shadows.

A sloshing sound and Shumi's voice - "Then what happened ?"
____

The spirit sits piggy back on her shoulders, playing with her hair.

She looks at them, "! What !?"
____

Qiu walks through the bloody oar deck, none on her except her feet.  The spirit sits at the end licking her fingers and whispering their names.
____

She stares at Shumi, then one by one the rest, then back to her.

Qiu - "None may stay here.  I hope you understand this."

Shumi - "That's too bad.  It's a really nice boat."

Qiu - "I ... suppose it is, but you must also know that I ... we are hunted.  Pursued."

The tension breaks with laughter.

Shumi - "Yeah.  You're cool.  Need anything ?"

Qiu - "I need ... pulleys.  A lot of pulleys."

...

Qiu - "Do you have any pulleys ?"
________________

Xinhua priestesses crawl in red across the sinking wreckage let behind, checking wind and wave while a small ship passes through, crewed by the same, robed. 

They dive from the wreckage for the boat as it passes through, knocking aside a corner chipped off from a roof of Qiu's ship, following a trail of bloating oarsmen.
________________

Faces churn from the dervish's shoulders and torso while it breathes hard through it's new teeth.  His chest churns with grinding fire as it smiles slightly, form returning to rough clothing.

Magistrate - Staring a moment at the form, churning chest then up to eyes ..."I wonder how many ..."  He smiles.

The dervish hisses though a grin.

The woman walks back through with her snack, "Will you be long ?"

The magistrates grins into the dervishes eyes, plucks the upright blade to wobble in the floor.  The wobbling blade returns a shaking house, dust falling in a brief quake before he rights it with his finger tip. 

Magistrate - "Not long now."

She smiles before turning up the stairs, he looks up to admire her, finger on the blade, then returns eyes to the enraged dervish.

~ Scene over Musashi gathering blades of the fallen into a nap-sack while the village gathers more, stripping the armor and dragging bodies away.

Magistrate - Voiced over, "Shall we continue ?"

~ ! The End ! ~

The Book of Five Rings

~ Chapter three ~ The Fire Book ~

In this the Fire Book of the Ni To Ichi school of strategy I describe fighting as fire.

In the first place, people think narrowly about the benefit of strategy.  By using only their fingertips, they only know the benefit of three of the five inches of the wrist. 

They let a contest be decided, as with the folding fan, merely by the span of their forearms.  They specialize in the small matter of dexterity, learning such trifles as hand and leg movements with the bamboo practice sword.

In my strategy, the training for killing enemies is by way of many contests, fighting for survival, discovering the meaning of life and death, learning the Way of the Sword.  Judging the strength of attacks and understanding the Way of the "edge and ridge" of the sword.

You cannot profit from small techniques particularly when full armor is worn.

My Way of Strategy is the sure method to win when fighting for your life one man against five or ten.  There is nothing wrong in the principle "one man can beat ten, so a thousand men can beat ten thousand". 

You must research this.

Of course you cannot assemble a thousand or ten thousand men for everyday training.  But you can become a master of strategy by training alone with a sword.  So that you can understand the enemy's strategy, his strength and resources, and come to appreciate how to apply strategy to beat ten thousand enemies.

Any man who wants to master the essence of my strategy must research diligently, training morning and evening.  Thus can he polish his skill, become free from self, and realize extraordinary ability. 

He will come to possess miraculous power.

This is the practical result of strategy.
_________________________

Depending on the Place ~

Examine your environment.

Stand in the sun; that is, take up an attitude with the sun behind you.  If the situation does not allow this, you must try to keep the sun on your right side.

In buildings, you must stand with the entrance behind you or to your right.  Make sure that your rear is unobstructed, and that there is free space on your left, your right side being occupied with your side attitude.

At night, if the enemy can be seen, keep the fire behind you and the entrance to your right, and otherwise take up your attitude as above.  You must look down on the enemy, and take up your attitude on slightly higher places.

For example, the Kamiza in a house is thought of as a high place.

When the fight comes, always endeavour to chase the enemy around to your left side.  Chase him towards awkward places, and try to keep him with his back to awkward places.  When the enemy gets into an inconvenient position, do not let him look around, but conscientiously chase him around and pin him down. 

In houses, chase the enemy into the thresholds, lintels, doors, verandas, pillars, and so on, again not letting him see his situation.

Always chase the enemy into bad footholds, obstacles at the side, and so on, using the virtues of the place to establish predominant positions from which to fight.

You must research and train diligently in this.
________________________

The Three Methods to Forestall the Enemy ~

~ The first is to forestall him by attacking. 

This is called Ken No Sen (to set him up).

~ Another method is to forestall him as he attacks.

This is called Tai No Sen (to wait for the initiative).

~ The other method is when you and the enemy attack together.

This is called Tai Tai No Sen (to accompany him and forestall him).

There are no methods of taking the lead other than these three.  Because you can win quickly by taking the lead, it is one of the most important things in strategy.

There are several things involved in taking the lead.  You must make the best of the situation, see through the enemy's spirit so that you grasp his strategy and defeat him.  It is impossible to write about this in detail.
________

The First - Ken No Sen

When you decide to attack, keep calm and dash in quickly, forestalling the enemy.  Or you can advance seemingly strongly but with a reserved spirit, forestalling him with the reserve.

Alternatively, advance with as strong a spirit as possible, and when you reach the enemy move with your feet a little quicker than normal, unsettling him and overwhelming him sharply.

Or, with your spirit calm, attack with a feeling of constantly crushing the enemy, from first to last.  The spirit is to win in the depths of the enemy.

These are all Ken No Sen.
____

The Second - Tai No Sen

When the enemy attacks, remain undisturbed but feign weakness. As the enemy reaches you, suddenly move away indicating that you intend to jump aside, then dash in attacking strongly as soon as you see the enemy relax. This is one way.

Or, as the enemy attacks, attack still more strongly, taking advantage of the resulting disorder in his timing to win.

This is the Tai No Sen principle.
____

The Third - Tai Tai No Sen

When the enemy makes a quick attack, you must attack strongly and calmly, aim for his weak point as he draws near, and strongly defeat him.

Or, if the enemy attacks calmly, you must observe his movements and, with your body rather floating, join in with his movements as he draws near.  Move quickly and cut him strongly.

This is Tai Tai No Sen.
________

These things cannot be clearly explained in words.  You must research what is written here.  In these three ways of forestalling, you must judge the situation.  This does not mean that you always attack first, but if the enemy attacks first you can lead him around. 

In strategy, you have effectively won when you forestall the enemy, so you must train well to attain this.
________________

To Hold Down a Pillow ~

"To Hold Down a Pillow" means not allowing the enemy's head to rise.

In contests of strategy it is bad to be led about by the enemy.  You must always be able to lead the enemy about.  Obviously the enemy will also be thinking of doing this, but he cannot forestall you if you do not allow him to come out.

In strategy, you must stop the enemy as he attempts to cut, you must push down his thrust, and throw off his hold when he tries to grapple.  This is the meaning of "to hold down a pillow".

When you have grasped this principle, whatever the enemy tries to bring about in the fight you will see in advance and suppress it.  The spirit is too check his attack at the syllable "at… ", when he jumps check his jump at the syllable "ju… ", and check his cut at "cu… ".

The important thing in strategy is to suppress the enemy's useful actions but allow his useless actions.  However, doing this alone is defensive.  First, you must act according to the Way, suppressing the enemy's techniques, foiling his plans and thence command him directly. 

When you can do this you will be a master of strategy.

You must train well and research "holding down a pillow".
____

Crossing at a Ford ~

"Crossing at a ford" means, for example, crossing the sea at a strait, or crossing over a hundred miles of broad sea at a crossing place. 

I believe this "crossing at a ford" occurs often in man's lifetime.

It means setting sail even though your friends stay in harbor, knowing the route, knowing the soundness of your ship and the favor of the day.  When all the conditions are meet, there is perhaps a favorable wind, or a tailwind, then set sail. 

If the wind changes within a few miles of your destination, you must row across the remaining distance without sail.  If you attain this spirit, it applies to everyday life.  You must always think of crossing at a ford.

In strategy also it is important to "cross at a ford". 

Discern the enemy's capability and, knowing your own strong points, "cross the ford" at the advantageous place, as a good captain crosses a sea route.

If you succeed in crossing at the best place, you may take your ease. 

To cross at a ford means to attack the enemy's weak point, and to put yourself in an advantageous position.  This is how to win large-scale strategy.  The spirit of crossing at a ford is necessary in both large and small scale strategy.

You must research this well.
____

To Know the Times ~

"To know the times" means to know the enemy's disposition in battle.  Is it flourishing or waning ?  By observing the spirit of the enemy's men and getting the best position, you can work out the enemy's disposition and move your men accordingly.  You can win through this principle of strategy, fighting from a position of advantage.

When in a duel, you must forestall the enemy and attack when you have first recognized his school of strategy, perceived his quality and his strong and weak points.  Attack in an unsuspecting manner, knowing his meter and modulation and the appropriate timing.

Knowing the times means, if your ability is high, seeing right into things.  If you are thoroughly conversant with strategy, you will recognize the enemy's intentions and thus have many opportunities to win.

You must sufficiently study this.
____

To Tread Down the Sword ~

"To tread down the sword" is a principle often used in strategy. 

First, in large scale strategy, when the enemy first discharges bows and guns and then attacks it is difficult for us to attack if we are busy loading powder into our guns or notching our arrows. 

The spirit is to attack quickly while the enemy is still shooting with bows or guns. The spirit is to win by "treading down" as we receive the enemy's attack.

In single combat, we cannot get a decisive victory by cutting, with a "tee-dum tee-dum" feeling, in the wake of the enemy's attacking long sword.  We must defeat him at the start of his attack, in the spirit of treading him down with the feet, so that he cannot rise again to the attack.

"Treading" does not simply mean treading with the feet.

Tread with the body, tread with the spirit, and, of course, tread and cut with the long sword.  You must achieve the spirit of not allowing the enemy to attack a second time. 

This is the spirit of forestalling in every sense.  Once at the enemy, you should not aspire just to strike him, but to cling after the attack.

You must study this deeply.
____

To Know "Collapse" ~

Everything can collapse.  Houses, bodies, and enemies collapse when their rhythm becomes deranged.

In large-scale strategy, when the enemy starts to collapse, you must pursue him without letting the chance go.  If you fail to take advantage of your enemies' collapse, they may recover.

In single combat, the enemy sometimes loses timing and collapses.  If you let this opportunity pass, he may recover and not be so negligent thereafter.  Fix your eye on the enemy's collapse, and chase him, attacking so that you do not let him recover.

You must do this.

The chasing attack is with a strong spirit.  You must utterly cut the enemy down so that he does not recover his position.  You must understand how to utterly cut down the enemy.
____

To Become the Enemy ~

"To become the enemy" means to think yourself in the enemy's position.  In the world people tend to think of a robber trapped in a house as a fortified enemy.

However, if we think of "becoming the enemy", we feel that the whole world is against us and that there is no escape.  He who is shut inside is a pheasant.  He who enters to arrest is a hawk. 

You must appreciate this.

In large-scale strategy, people are always under the impression that the enemy is strong, and so tend to become cautious.  But if you have good soldiers, and if you understand the principles of strategy, and if you know how to beat the enemy, there is nothing to worry about.

In single combat also you must put yourself in the enemy's position.  If you think, "Here is a Master of the Way, who knows the principles of strategy", then you will surely lose. 

You must consider this deeply.
____

To Release Four Hands ~

"To release four hands" is used when you and the enemy are contending with the same spirit, and the issue cannot be decided.  Abandon this spirit and win through an alternative resource.

In large-scale strategy, when there is a "four hands" spirit, do not give up.  It is man's existence.  Immediately throw away this spirit and win with a technique the enemy does not expect.

In single combat also, when we think we have fallen into the "four hands" situation, we must defeat the enemy by changing our mind and applying a suitable technique according to his condition.

You must be able to judge this.
____

To Move the Shade ~

"To move the shade" is used when you cannot see the enemy's spirit.

In large-scale strategy, when you cannot see the enemy's position, indicate that you are about to attack strongly, to discover his resources.  It is easy then to defeat him with a different method once you see his resources.

In single combat, if the enemy takes up a rear or side attitude of the long sword so that you cannot see his intention, make a feint attack, and the enemy will show his long sword, thinking he sees your spirit.  Benefiting from what you are shown, you can win with certainty. If you are negligent you will miss the timing.

Research this well.
____

To Hold Down a Shadow ~

"Holding down a shadow" is use when you can see the enemy's attacking spirit.

In large-scale strategy, when the enemy embarks on an attack, if you make a show of strongly suppressing his technique, he will change his mind. 

Then, altering your spirit, defeat him by forestalling him with a Void spirit.

Or, in single combat, hold down the enemy's strong intention with a suitable timing, and defeat him by forestalling him with this timing.

You must study this well.
____

To Pass On ~

Many things are said to be passed on.  Sleepiness can be passed on, and yawning can be passed on.  Time can be passed on also.

In large-scale strategy, when the enemy is agitated and shows an inclination to rush, do not mind in the least.  Make a show of complete calmness, and the enemy will be taken by this and will become relaxed. 

When you see that this spirit has been passed on, you can bring about the enemy's defeat by attacking strongly with a Void spirit.

In single combat, you can win by relaxing your body and spirit and then, catching on to the moment the enemy relaxes, attack strongly and quickly, forestalling him.  What is know as "getting someone drunk" is similar to this.  You can also infect the enemy with a bored, careless, or weak spirit.

You must study this well.
____

To Cause Loss of Balance ~

Many things can cause a loss of balance. One cause is danger, another is hardship, and another is surprise.

You must research this.

In large-scale strategy it is important to cause loss of balance.  Attack without warning where the enemy is not expecting it, and while his spirit is undecided follow up your advantage and, having the lead, defeat him.

Or, in single combat, start by making a show of being slow, then suddenly attack strongly.  Without allowing him space for breath to recover form the fluctuation of spirit, you must grasp the opportunity to win.

Get the feel of this.
____

To Frighten ~

Fright often occurs, caused by the unexpected.

In large-scale strategy you can frighten the enemy not just by what you present to their eyes, but by shouting, making a small force seem large, or by threatening them from the flank without warning.

These things all frighten.

You can win by making best use of the enemy's frightened rhythm.

In single combat, also, you must use the advantage of taking the enemy unawares by frightening him with your body, long sword, or voice, to defeat him.

You should research this well.
____

To Soak In ~

When you have come to grips and are striving together with the enemy, and you realize that you cannot advance, you "soak in" and become one with the enemy. 

You can win by applying a suitable technique while you are mutually entangled.

In battles involving large numbers as well as in fights with small numbers, you can often win decisively with the advantage of knowing how to "soak" into the enemy, whereas, were you to draw apart, you would lose the chance to win.

Research this well.
____

To Injure the Corners ~

It is difficult to move strong things by pushing directly, so you should "injure the corners".

In large-scale strategy, it is beneficial to strike at the corners of the enemy's force. If the corners are overthrown, the spirit of the whole body will be overthrown.  To defeat the enemy you must follow up the attack when the corners have fallen.

In single combat, it is easy to win once the enemy collapses.  This happens when you injure the "corners" of his body, and thus weaken him. 

It is important to know how to do this, so you must research deeply.
____

To Throw into Confusion ~

This means making the enemy lose resolve.

In large-scale strategy we can use our troops to confuse the enemy on the field.  Observing the enemy's spirit, we can make him think, "Here? There? Like that? Like this? Slow? Fast?"

Victory is certain when the enemy is caught up in a rhythm which confuses his spirit.

In single combat, we can confuse the enemy by attacking with varied techniques when the chance arises.  Feint a thrust or cut, or make the enemy think you are going to close with him, and when he is confused you can easily win. 

This is the essence of fighting, and you must research it deeply.
____

The Three Shouts ~

The three shouts are divided thus: before, during and after.

Shout according to the situation.  The voice is a thing of life.  We shout against fires and so on, against the wind and the waves.  The voice shows energy.

~ In large-scale strategy, at the start of battle we shout as loudly as possible.

~ During the fight, the voice is low-pitched, shouting out as we attack. 

~ After the contest, we shout in the wake of our victory. 

These are the three shouts.

In single combat, we make as if to cut and shout "Ei !" at the same time to disturb the enemy, then in the wake of our shout we cut with the long sword.  We shout after we have cut down the enemy.

This is to announce victory.

This is called "sen go no koe" (before and after voice).  We do not shout simultaneously with flourishing the long sword. We shout during the fight to get into rhythm.

Research this deeply.
____

To Mingle ~

In battles, when the armies are in confrontation, attack the enemy's strong points and, when you see that they are beaten back, quickly separate and attack yet another strong point on the periphery of his force.

The spirit of this is like a winding mountain path.

This is an important fighting method for one man against many.  Strike down the enemies in one quarter, or drive them back, then grasp the timing and attack further strong points to right and left, as if on a winding mountain path. 

Weighing up the enemies' disposition.  When you know the enemies' level attack strongly with no trace of retreating spirit.

What is meant by "mingling" is the spirit of advancing and becoming engaged with the enemy, and not withdrawing even one step.

You must understand this.
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To Crush ~

This means to crush the enemy regarding him as being weak.

In large-scale strategy, when we see that the enemy has few men, or if he has many men but his spirit is weak and disordered, we knock the hat over his eyes, crushing him utterly.  If we crush lightly, he may recover. 

You must learn the spirit of crushing as if with a hand-grip.

In single combat, if the enemy is less skillful than ourself, if his rhythm is disorganized, or if he has fallen into evasive or retreating attitudes, we must crush him straightaway, with no concern for his presence and without allowing him space for breath.  It is essential to crush him all at once.  The primary thing is not to let him recover his position even a little.

You must research this deeply.
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The Mountain-Sea Change ~

The "mountain-sea" spirit means that it is bad to repeat the same thing several times when fighting the enemy.  There may be no help but to do something twice, but do not try it a third time. 

If you once make an attack and fail, there is little chance of success if you use the same approach again . If you attempt a technique which you have previously tried unsuccessfully and fail yet again, then you must change your attacking method.

If the enemy thinks of the mountains, attack like the sea.  And if he thinks of the sea, attack like the mountains.

You must research this deeply.
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To Penetrate the Depths ~

When we are fighting with the enemy, even when it can be seen that we can win on the surface with the benefit of the Way, if his spirit is not extinguished, he may be beaten superficially yet undefeated in spirit deep inside.

With this principle of "penetrating the depths" we can destroy the enemy's spirit in its depths, demoralizing him by quickly changing our spirit.  This often occurs.

Penetrating the depths means penetrating with the long sword, penetrating with the body, and penetrating with the spirit. This cannot be understood in a generalization.

Once we have crushed the enemy in the depths, there is no need to remain spirited.  But otherwise we must remain spirited.  If the enemy remains spirited it is difficult to crush him. 

You must train in penetrating the depths for large-scale strategy and also single combat.
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To Renew ~

"To renew" applies when we are fighting with the enemy, and an entangled spirit arises where there is no possible resolution. We must abandon our efforts, think of the situation in a fresh spirit then win in the new rhythm. 

To renew, when we are deadlocked with the enemy, means that without changing our circumstance we change our spirit and win through a different technique.

It is necessary to consider how "to renew" also applies in large-scale strategy.

Research this diligently.
____

Rat's Head, Ox's Neck ~

"Rat's head and ox's neck" means that, when we are fighting with the enemy and both he and we have become occupied with small points in an entangled spirit, we must always think of the Way of Strategy as being both a rat's head and an ox's neck.

Whenever we have become preoccupied with small detail, we must suddenly change into a large spirit, interchanging large with small.  This is one of the essences of strategy.  It is necessary that the warrior think in this spirit in everyday life. 

You must not depart from this spirit in large-scale strategy nor in single combat.
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The Commander Knows the Troops ~

"The commander knows the troops" applies everywhere in fights in my Way of strategy.  Using the wisdom of strategy, think of the enemy as your own troops.

When you think in this way you can move him at will and be able to chase him around. You become the general and the enemy becomes your troops. 

You must master this.
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To Let Go the Hilt ~

There are various kinds of spirit involved in letting go the hilt.

There is the spirit of winning without a sword.  There is also the spirit of holding the long sword but not winning.  The various methods cannot be expressed in writing.

You must train well.
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The Body of a Rock ~

When you have mastered the Way of Strategy you can suddenly make your body like a rock, and ten thousand things cannot touch you.  This is the body of a rock.

You will not be moved.  Oral tradition.
________________________

What is recorded above is what has been constantly on my mind about Ichi school sword fencing, written down as it came to me.  This is the first time I have written about my technique, and the order of things is a bit confused. 

It is difficult to express it clearly.

This book is a spiritual guide for the man who wishes to learn the Way.

My heart has been inclined to the Way of Strategy from my youth onwards.  I have devoted myself to training my hand, tempering my body, and attaining the many spiritual attitudes of sword fencing. 

If we watch men of other schools discussing theory, and concentrating on techniques with the hands, even though they seem skillful to watch, they have not the slightest true spirit.

Of course, men who study in this way think they are training the body and spirit, but it is an obstacle to the true Way, and its bad influence remains for ever.  Thus the true Way of Strategy is becoming decadent and dying out.

The true Way of sword fencing is the craft of defeating the enemy in a fight, and nothing other than this.  If you attain and adhere to the wisdom of my strategy, you need never doubt that you will win.