A BOOK OF FIVE RINGS with more sense in English
- Continued (1) -
In THE WATER BOOK
In strategy your spiritual bearing must not be any different from normal. Both in fighting and in everyday life your spirit should be no difference, without tenseness yet not recklessly, set straight and broad, neither tightened nor slackened, quivered calmly yet quivered constantly. Study this well. (the original English version - 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. Pay attention to the spirit, no to the body. Even the spirit on the top appears weak, the spirit at the bottom shall be strong. (the original English version - An elevated spirit is weak and a low spirit is weak. ) Do not let the enemy see your spirit.
My comment: If the conclusion is "Do not let the enemy see your spirit>, the original English version - An elevated spirit is weak and a low spirit is weak - does not make sense well.
The Way of Seeing in Strategy (the original English version - The Gaze in Strategy )
To see things should be large and broad. There are two ways to see things (the original English version - The gaze should be large and broad. This is the twofold gaze.) - "Perception and Sight". Perception is strong and sight week.
My comment: 'Gaze' already has a meaning of "to see closely, carefully, with attention" so it contradicts "large and broad".
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 watch his sword at all (the original English version - not to be distracted by insignificant movements of his sword.) You must study this well. The way of seeing things is the same for a small combat and for a 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 way of seeing in everyday life and do not vary it whatever happens.
My comment: Musashi originally says "It is important in strategy to know the enemy's sword and not see his sword at all." Since it is difficult to get the meaning as it is the translator paraphrased the latter part as "not to be distracted by insignificant movements of his sword." But if you think of the difference between "Perception and Sight" and "Perception is strong and sight week." you can guess the meaning of "It is important in strategy to know the enemy's sword and not see his sword at all." Some professional people can do things (some performances) with their eyes closed by training, for instance.
Besides, Musashi did not explain "two ways to see things" very much here and not clearly mention "Perception and Sight" but hinted the difference between "seeing large and broadly" and "seeing closely."
The Five Approaches
The first approach is the Middle attitude. When confronting the enemy point your sword against his face. When he attacks, dash his sword to the right and "counter-attack" him. Or, when the enemy attacks, deflect the point of his sword by hitting downwards, keep your long sword where it is, and then 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 swords (the original English version - a long sword) in order to learn them. When you master my Way of the swords (the original English version - 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 two swords (the original English version - the long sword) of Ni To.
My comments: As the Japanese language generally does not differentiate singular and plural when using a noun and uses a singular form even when talking about two or more things the translator used a singular form of sward. But Musashi is talking about Ni To (which means two swards) here. However, Musashi did not say how to use the right hand and with the long sward and the left hand with the short sward but used only the word long sward (太刀) here. To become of sure of this we must ask Musashi "Are you talking about one long sward as you use the word 太刀 in the writing or two swards also shown as Ni To (二刀)?"
The "Belated Second Timing" (the original English version - The "Abdomen Timing of Two")
The original English version: 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".
My comment: The "Abdomen Timing of Two" does not make sense with the content.
Universal (or "Relating to all") Strike (the original English version - Continuous Cut)
When you attack and the enemy also attacks, and strike your sword, in one action cut his head, or hands or legs. You cut any place or places of the enemy's body with one sweep of the long sword, it is the "Universal Strike". You must practice this cut; it is often used. With detailed practice you should be able to understand it.
(the original English version - 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". )
My comments: The original title in English Continuous Cut comes from the content - continuously cut different places of the enemy's body - head, hands and legs.
It is possible to do this but in very few cases in a real battle. The original Japanese title is 縁's (which means "relation's" ) Strike. What is explained here is that the strike is related with the situation - or to strike any place or places with one pass of the sward under the circumstance.
Please also note that the enemy' body in a battle (war not a duel) is usually protected by an armour.
The Body in Place of the Long Sword
Also "the long sword in place of the body". Usually we should not move the body and the sword at the same time to cut the enemy. (the original English version - 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 should dash against him with your body first, and afterwards cut with the sword. You can cut first with the long sword followed by the body forward movement, but generally you dash against the enemy with your body first and then cut him with the long sword. (the original English version - 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.
My comment: Common sense leads to Usually we move the body and the sword at the same time to cut the enemy. However, what Musashi said was - Usually we should not move the body and the sword at the same time to cut the enemy. Was it a mistake? Because of this seemingly mistaken statement the next sentence of the English version became different much from the original Japanese. The translator once correctly translated - you can dash against him with your body first. Mushashi repeated the same thing but the translation changed to but generally you hit first with the body and then cut with the long sword.
Musashi did not explain clearly but this (i.e. we should not move the body and the sword at the same time to cut the enemy) is a high technique. The enemy usually thinks that you will move the body and the sword at the same time to cut the enemy then the enemy can expect your move. If your body and your sword do not move at the same the enemy will be puzzled - a move different from his expectation, which will give you a good chance to hit him. Anyway these physical and psychological processes usually go on very quickly - less than 1 second if you are professional.
Autumn Monkey's Body (the original English version - Chinese Monkey's Body)
The Autumn Monkey's Body [a monkey stretching its arm to try to get the autumn moon reflected on the surface of water] is the spirit of not stretching out your arms. The spirit is to get your body in quickly, without in the least extending your arms, before the enemy cuts. If you are intent upon stretching out your arms you are naturally far away. The spirit is to go in with your whole body. (the original English version - 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.
My comment: The title comes from the Chinese story. A monkey tries to get the autumn moon reflected on the surface of water by stretching its arm but failed and dropped in to the water. The original English version - If you are intent upon not stretching out your arms you are effectively far away - does not make sense.
To Apply Stickiness
When the enemy attacks and you also attack with the long sword, you should go in and stick your long sword to the enemy's sword as he receives your cut. The spirit of stickiness is not attaching very strongly, but attaching so that your long sword does not separate from the enemy's sword easily. (the original English version - 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 attaching your sword to 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 thi
My comment: In "To Apply Stickiness" Musashi does not talk about how to hit the enemy or hit the enemy's sword but continues to talk about how to get your body in close to the enemy as in the previous several topics - Autumn Monkey's Body, Glue and Lacquer Emulsion Body, To Strive for Height and the next topic The body Strike which follows this To Apply Stickiness. So the point is not hitting the enemy's sword but how to get in by attaching your sward to the enemy's sword to control the move of the enemy's sword.
Three Ways to Parry His Attack
There are three methods to parry the enemy's cut when you make an attack to get in closer to the enemy (the original English version - There are three methods to parry a cut)
First, to parry by dashing the enemy's long sword to your right by your sward, as if thrusting at his eyes. (the original English version - First, by dashing the enemy's long sword to your right, as if thrusting at his eyes, when he makes an attack.
Or, as it is called thrusting parry, to parry by thrusting the enemy's long sword towards his right eye by your sword with the feeling of snipping his neck. (the original English version - 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 sword", without worrying about parrying the enemy's long sword, to get in close with him quickly, thrusting at his face with your left hand.
(the original English version - 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 should always clench your left hand and thrust at the enemy's face with your fist. For this it is necessary to train well.
My comment: This part "Three Ways to Parry His Attack" is one the most difficult parts in the book because you can read this as handling one sword and handling two swords as well. Also very technical. The point is not only to parry the enemy's sward but at the same time you will get your body in close to the enemy as 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 lean backward (the original English version - become rideale). When the enemy leans backward (the original English version - becomes as if readable), there are various opportunities for winning. You must concentrate on this. When fighting and the enemy's body leans backward (the original English version - becomes as if readable), 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.
My comment: Simply a problem of translation of the Japanese word. The original Japanese may be incorrect (does not make sense).
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 of your sword square-on in order to deflect his long sword (the original English version - and with the spirit of deflecting his long sword). The spirit of this principle is often useful when you become tired or for some reason our long sword will not cut well. You must understand the application of this method.
My comment: Difficult to understand but Musashi states that "without letting the point of your long sword waver, showing the enemy the ridge of the blade of your sword square-on" is one way to "deflect his long sword".
To Scold "Tut-TUT!"
To "Scold" "Tut-TUT!" means that, when the enemy tries to counter-cut as you attack, you thrust your sward at him from below and then try to cut him down from above by return. With very quick timing you cut, scolding with a rhythm of "Tut-TUT!" the enemy. Thrust up, "Tut!", and cut down "TUT!" . This timing is encountered time and time again in exchange of blows. The way to scold Tut-TUT is to time the cut immediately after raising your long sword as if to thrust the enemy. You must learn this through repetitive practice.
My comment: What is told here is that you thrust your sword up at the enemy from below, "Tut!", and immediately after cut him down with your raised sword from above "TUT!". This is a continuation of the two actions - thrusting up and cutting down.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 neither parrying, nor smacking strongly, but smacking the enemy's long sword in accordance with his attacking cut, and cut him immediately after smacking. It is important to take an initiative by smacking and again to take an initiative to cut him. (the original English version - this part is missing). If you take a good timing of smacking and have an intention to smack the enemy's sword even a little, however hard the long swords of your and the enemy's clash together, your sword point will not be knocked down. You must research sufficiently to realize this.
My comment: Like the above To Scold "Tut-TUT!" this is a continuous action of smacking and cutting. However, "tee-dum, tee-dum" is not the rhythm of smacking and cutting.
sptt
No comments:
Post a Comment