Miyamoto Musashi

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Miyamoto Musashi
The Masterless Samurai
A Treatise Presented ro
Grand Master W. Thomas Mount
At Ki Survival Systems
In Partial Fulfillment of the
Requirements for the Red-Belt
In Mixed Martial Arts
Albert E. Lyngzeidetson
13 October 2009
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Table-of-Contents
* Prologue ....................................................................................................................................3
* 1 Biography ................................................................................................................................7
o 1.1 Birth .........................................................................................................................7
o 1.2 Upbringing................................................................................................................7
o 1.3 Training in Swordsmanship ..................................................................................8
o 1.4 Duels.......................................................................................................................9
o 1.5 Later Life and Death........................................................................................14
* 2 Teachings .......................................................................................................................... 16
* 3 Timeline ............................................................................................................................. 18
o 3.1 Legends................................................................................................................. 20
* 4 Philosophy ....................................................................................................................... 20
o 4.1 Way of strategy ...................................................................................................22
+ 4.1.1 Ni-Ten Ichi Ryu................................................................................... 24
+ 4.1.2 Long sword ...............................................................................................25
o 4.2 Religion .................................................................................................................26
* 5 The Book of Five Rings.................................................................27
o 5.1 Thematic Elements of Book .............................................................27
+ 5.1.1 Timing.................................................................................................28
+ 5.1.2 Resourcefulness ................................................................................28
+5.1.3 Generalization......................................................................................28
+ 5.1.4 Observation ......................................................................................29
+ 5.1.5 Manipulating the Enemy’s Mind ..................................................29
+ 5.1.6 Practice ..............................................................................................29
o 5.2 The Ground Book .............................................................................. 30
o 5.3 The Water Book ................................................................................ 32
o 5.4 The Fire Book .................................................................................. 33
o 5.5 The Wind Book ................................................................................ 34
0 5.6 The Book of Emptiness ................................................................... 34
* 6 Musashi as an Artist........................................................................................................37
* 7 Musashi in Modern Culture............................................................................................. 38
* 8 Bibliography ..........................................................................................................................39
* 9 Notes.....................................................................................................................................39
*10 Concluding Poem.................................................................................................................40
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A picture of Musashi engaged in fantastic combat, by Utagawa Kuniyoshi (1798–1861).
*Prologue:
Why Musashi? I chose Musashi as the subject for the writing requirement for the Red-Belt
for several reasons. First of all, Miyamoto Musashi is the apotheosis of a true warrior. Secondly, he
is something of an enigma in Japanese Samurai history; he lived in a culture steeped in suffocating
formalism, protocol, ritual, and ostentatious notions of ‘respect’ and ‘honor’, yet he disdained all
prefectures. He was an iconoclast, a non-conformist, seemingly completely unconcerned with
‘making an impression’, status, rank, or ‘playing by the rules.’ He lived only for one objective:
perfecting his art. There is a general misconception that Musashi was expert only with the Katana,
this is inaccurate and limiting, for he had no preference of one particular weapon over any other - he was superlative in the use of all of them. To the trepidation of those who challenged him to
over 60 duels – when he accepted the duel he would casually tell the challenger that they may
choose any weapon they preferred – to him it mattered not! Yet he never lost, culminating his
career with 60 confirmed kills in formal duels, and an unaccounted for (probably at least another
100) in combat. After his final mortal duel at age 30 with Sasaki Kojiro, Musashi never fought
opponents to the death again, and would duel only with non-lethal weapons such as wooden
swords (but the killing continued in a number of military campaigns). I strongly suspect that
Musashi had little use for Katas and the affectation for performing martial arts forms (routinely
practiced in all Dojos thousands of times), he was a self-taught warrior and adhered to no specific
discipline or school. This unorthodox lifestyle struck a sympathetic chord with me.
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“ Not to be bound by rules, but to be creating one's own rules--this is the kind of life which
Zen is trying to have us live. “ ~ D. T. Suzuki
Thirdly, in his later life Masushi turned to deepening his art through poetry, painting, and
the practice of Zen. To the Western mind it might seem that these were disparate pursuits;
however, such is not the case. To the Samurai tradition, the most masculine of all the arts was the
writing of poetry. Hence, it might be said that Masushi expressed his dharma through various
mediums, culminating in painting and poetry. Sadly, none of his poems survive, though his
paintings do. Hence, we find in the person of Musashi a unique combination of an affinity for the
martial arts culminating in pure philosophy and meditation. This is most evident in his Book of
Five Rings (an allusion to the five rings of Zen Buddhism). I found common ground with Musashi
in this aspect also, as my journey has also included Zen and abstract philosophical speculation.
Fourthly, I was attracted to Musashi due to his no-nonsense, very pragmatic approach to
the Martial Arts. As in our Dojo, he was completely unconcerned with whether a particular
movement or strike was aesthetically pleasing or visually stunning; in fact he admonishes the
practitioner to not favor esoteric, unusual, or convoluted forms of combat. Indeed, he says that you
should force your opponent to adopt these outlandish mannerisms, and then strike him down with
one single well placed blow. The point is to be effective and dispatch the opponent as expeditiously
as possible. Nothing else matters. In keeping with this sentiment, and true to his Zen roots, the
warrior should be completely unconcerned with the loss of his own life or the taking of the
opponent’s life. Life and death – no difference! This may seem quite cruel and crass to some, but
the import of the attitude is this: if I am even the least bit apprehensive about losing my life in
combat, this may promote a hesitancy or anxiety to act, and this very delay may indeed cost me my
life due to making a fatal error. Likewise, the slightest reluctance or hesitation in my taking an
opportunity to kill my opponent, due to superstitious Judeo-Christian hang-up that all human life
is precious or sacred, may give him just the opportunity to strike and kill me.
"It is critical that you think everything is an opportunity to kill."
Lastly, in the best tradition of Zun Tsu’s The Art of War, Musashi pays indispensable
homage to the importance of psychology in combat. The ability to keep one’s opponent guessing,
off guard, and in a state of heightened anxiety, or anger, can pay handsome dividends in our ability
to confound them, and use this vulnerability to their fatal detriment. I found much to admire
about this realization, as most people egregiously underestimate the effect of the mental in their
daily lives.
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“In battle, if you make your opponent flinch, you have already won."
In conclusion, the message communicated by Musashi’s formidable accomplishments and
life, is that we should not succumb to the stifling tendencies to follow pre-set rituals, formalisms,
and conventions, but rather should have the autonomy and courage to be creative, experimental,
and audacious in our undertakings.
A samurai once asked Zen Master Hakuin where he would go after he died.
Hakuin answered "How am I supposed to know?"
"How do you know? You're a Zen master!" exclaimed the samurai.
"Yes, but not a dead one," Hakuin answered. -- Zen mondo
Musashi, Self-Portrait
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Musashi practicing the Two-Sword Techniquehe developed.
Entitled, ‘Fidelity in Revenge’ by artist Kuniyoshi c. 1848.
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* 1 Biography
All Biographical Text is from Wikipedia
o1.1 Birth
Musashi was born in Miyamoto village to a noble, if somewhat humble, family. His mother died
shortly after he was born, so Musashi was raised by his step mother. His father, an expert with the
Jitte -
was notoriously harsh and distant. His family background and his own violent nature
led Musashi to study Kendo (Japanese fencing). At 13 Musashi took on an experienced sword
fighter in an organised duel. To everyone's surprise, Musashi killed the visiting samurai. A few
years later, in the classic style, Musashi left on a long journey to discover himself, learn from
nature and other schools and develop his own technique.
Travelling alone and with a single-minded determination to improve his skill, Musashi had several
recorded duels and probably many we do not know of. After all, travelling alone in feudal Japan
was perilous enough even if you were not looking for a fight.
Musashi was quite tall and had facial scars from a childhood illness that meant no amount of
grooming would make him attractive. Perhaps this, his life on the road, his fear of being caught
unarmed in a bathtub and his violent nature all conspired to make him quite averse to bathing and
grooming himself. His unkempt appearance made quite an impression in noble circles. According
to the 17 century records of Spanish and Portuguese visitors to Japan, Japanese were quite obsessed
with personal cleanliness to a level much higher than Europeans of that period. Imagine the
reaction of samurai being challenged by such a wildman.
Like some Buddhist Monks, Musashi is said to have been fond of taking showers below waterfalls
o1.2
Upbringing
Regardless of the truth about Musashi's ancestry, when Musashi was seven years old, the boy was
raised by his uncle, Dorinbo (or Dorin), in Shoreian temple, three kilometers (~1.8 mi.) from
Hirafuku. Both Dorin and Musashi's uncle by marriage — Tasumi — educated him in Buddhism
and basic skills such as writing and reading. This education is possibly the basis for Yoshikawa
Eiji's fictional education of Musashi by the historical Zen monk Takuan. He was apparently trained
by Munisai in the sword, and in the family art of the jitte. This training did not last for a very long
time, as in 1589, Munisai was ordered by Shinmen Sokan to kill Munisai's student, Honiden
Gekinosuke. The Honiden family was displeased, and so Munisai was forced to move four
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kilometers (~2.5 mi.) away to the village of Kawakami.
In 1592, Munisai died, although Tokitsu believes that the person who died at this time was really
Hirata Takehito.
Musashi contracted eczema in his infancy, and this adversely affected his appearance.[citation
needed] Another story claims that he never took a bath because he did not want to be surprised
unarmed. While the former claim may or may not have some basis in reality, the latter seems
improbable.[9] An unwashed member of the warrior caste would not have been received as a guest
by such famous houses as Honda, Ogasawara and Hosokawa. These and many other details are
likely embellishments that were added to his legend, or misinterpretations of literature describing
him.
His father's fate is uncertain, but it is thought that he died at the hands of one of Musashi's later
adversaries, who was punished or even killed for treating Musashi's father badly. However, there
are no exact details of Musashi's life, since Musashi's only writings are those related to strategy and
technique.
Musashi never took a wife and instead designated a street kid he met in Dewa as his heir. At 60
years of age he took his leave of royal patronage, climbed Mt Iwato and went to live alone in a
mountainside cave. He wrote the Book of Five Rings and became quite ill, probably from some
kind of stomach cancer. His followers brought him back to civilization for palliative care. In a few
months, he was dead. Finally Musashi returned to his home town as his cremated bones were
placed in his family's tomb in Miyamoto
o1.3 Training in Swordsmanship
The name "Musashi" was thought to be taken from the name of a warrior monk named MusashiboBenkei who served under Minamoto no Yoshitsune, but this is unconfirmed. * In the book
"Musashi" by Eiji Yoshikawa, the name Musashi is the Chinese pronunciation of the Kanji used to
write his Japanese childhood name, Takezo-. In any case, the name seems fitting, particularly when
comparing the level of mastery of weaponry — both being able to masterfully use nine or more
weapons.
It's said that he may have studied at the Yoshioka Ryu school, which was also said to be a school
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Musashi defeated single-handedly during his later years, although this is very uncertain. He did
have formal training either by his father until he was 5 years old or from his uncle beginning at
the age of 5. Ultimately the name was taken from his own original kanji, , which can be read as
Takezo- or as Musashi, as stated in Eiji Yoshikawa's book Musashi.
The duel between Miyamoto Musashi and Tsukahara Bokuden
Tsukioka Yoshitoshi, Japanese 1839-92.
o1.4 Duels & Combat
“I have trained in the way of strategy since my youth, and at the age of thirteen I fought a duel
for the first time. My opponent was called Arima Kihei, a sword adept of the Shinto ryu-, and I
defeated him. At the age of sixteen I defeated a powerful adept by the name of Akiyama, who
came from Tajima Province. At the age of twenty-one I went up to Kyo-to and fought duels with
several adepts of the sword from famous schools, but I never lost.”
—Miyamoto Musashi, Go Rin No Sho
According to the introduction of The Book of Five Rings, Musashi states that his first successful duel
was at the age of thirteen, against a samurai named Arima Kihei who fought using the Kashima
Shinto--ryu- style, founded by Tsukahara Bokuden (b. 1489, d. 1551). The main source of the duel
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is the Hyoho senshi denki ("Anecdotes about the Deceased Master"). Summarized, its account goes
as follows:
In 1596, Musashi was 13, and Arima Kihei, who was traveling to hone his art, posted a public
challenge in Hirafuku-mura. Musashi wrote his name on the challenge. A messenger came to
Dorin's temple, where Musashi was staying, to inform Musashi that his duel had been accepted by
Kihei. Dorin, Musashi's uncle, was shocked by this, and tried to beg off the duel in Musashi's name,
based on his nephew's age. Kihei was adamant that the only way his honor could be cleared was if
Musashi apologized to him when the duel was scheduled. So when the time set for the duel
arrived, Dorin began apologizing for Musashi, who merely charged at Kihei with a six-foot
quarterstaff, shouting a challenge to Kihei. Kihei attacked with a wakizashi, but Musashi threw
Kihei on the floor, and while Kihei tried to get up, Musashi struck Arima between the eyes and then
beat him to death. Arima was said to have been arrogant, overly eager to fight, and not a terribly
talented swordsman.
—William Scott Wilson, The Lone Samurai[10]
The duel is odd for a number of reasons, not least of which is why Musashi was permitted to duel
Arima, whether the apology was a ruse, and why Arima was there in the first place.
Travels and duels
In 1599, three years later, Musashi left his village, apparently at the age of 15 (according to the
Tosakushi, "The Registry of the Sakushu Region", although the Tanji Hokin Hikki says he was 16
years old in 1599, which agrees time-wise with the age reported in Musashi's first duel).[8] His
family possessions such as furniture, weapons, genealogy, and other records were left with his
sister and her husband, Hirao Yoemon.
He spent his time traveling and engaging in duels, such as with an adept called Akiyama from the
Tajima Province.
In 1600, a war began between the Toyotomi and Tokugawa clans. Musashi apparently fought on
the side of the Toyotomi's "Army of the West", as the Shinmen clan (to whom his family owed
allegiance) had allied with them. Specifically, he participated in the attempt to take Fushimi castle
by assault in July 1600, in the defense of the besieged Gifu Castle in August of the same year, and
finally in the famed Battle of Sekigahara. Some doubt has been cast on this final battle, as the
Hyoho senshi denki has Musashi saying he is "no lord's vassal" and refusing to fight with his father
(in Lord Ukita's battalion) in the battle. Omitting the Battle of Sekigahara from the list of Musashi's
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battles would seem to contradict the Go Rin No Sho's statement that Musashi fought in six battles,
however. Regardless, as the Toyotomi side lost, it has been suggested that Musashi fled as well and
spent some time training on Mount Hiko.
Ichijoji Sagarimatsu, Location of the battle between Musashi and the Yoshioka school
After the battle, Musashi disappears from the records for a while. The next mention of him has him
arriving in Kyoto at the age of 20 (or 21), where he famously began a series of duels against the
Yoshioka School. Musashi's father, Munisai, also fought against a master of the Yoshioka school
and won 2 out of 3 bouts in front of the shogun at the time, Ashikaga Yoshiaki who granted him
the title of "Best in Japan". The Yoshioka School (descended from either the Tenshin Sho-den Katori
Shinto--ryu- or the Kyo-hachi-ryu-) was the foremost of the eight major schools of martial arts in
Kyoto, the "Kyo-ryu-" / "Schools of Kyoto". Legend has it that these eight schools were founded by
eight monks taught by a legendary martial artist resident on the sacred Mount Kurama. At some
point, the Yoshioka family also began to make a name for itself not merely in the art of the sword
but also in the textile business and for a dye unique to them. They gave up teaching
swordsmanship in 1614 when they fought in the Army of the West against Tokugawa Ieyasu in the
Battle of Osaka, which they lost. But in 1604, when Musashi began duelling them, they were still
preeminent. There are various accounts of the duels_ — the Yoshioka family documents claim that
there was only one, against Yoshioka Kenpo-, which Musashi lost.
Musashi challenged Yoshioka Seiju-ro-, master of the Yoshioka School, to a duel. Seiju-ro-
accepted, and they agreed to a duel outside Rendaiji in Rakuhoku, in the northern part of Kyoto on
8 March 1604. Musashi arrived late, greatly irritating Seiju-ro-. They faced off, and Musashi
struck a single blow, per their agreement. This blow struck Seiju-ro- on the left shoulder, knocking
him out, and crippling his left arm. He apparently passed on the headship of the school to his
equally accomplished brother, Yoshioka Denshichiro-, who promptly challenged Musashi for
revenge. The duel variously took place in Kyoto outside a temple, Sanju-sangen-do-. Denshichirowielded a staff reinforced with steel rings (or possibly with a ball-and-chain attached), while
Musashi arrived late a second time. Musashi disarmed Denshichiro- and defeated him. This second
victory outraged the Yoshioka clan, whose head was now the 12-year old Yoshioka Matashichiro.
They assembled a force of archers, musketeers and swordsmen, and challenged Musashi to a duel
outside Kyoto, near Ichijoji Temple. Musashi broke his previous habit of arriving late, and came to
the temple hours early. Hidden, Musashi assaulted the force, killing Matashichiro, and escaping
while being attacked by dozens of his victim's supporters. With the death of Matashichiro, this
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branch of the Yoshioka School was destroyed.
After Musashi left Kyoto, some sources recount that he travelled to Ho-zo-in in Nara, to duel with
and learn from the monks there, widely known as experts with lance weapons. There he settled
down at Enkoji Temple in Banshu, where he taught the head monk's (one Tada Hanzaburo's)
brother. Hanzaburo's grandson would found the Ensu-ryu- based on the Enmei-ryu- teachings
and iaijutsu.
From 1605 to 1612, he travelled extensively all over Japan in Musha Shugyo, a warrior pilgrimage
during which he honed his skills with duels. He was said to have used bokken or bokuto in actual
duels. Most of the engagements from these times did not try to take the opponent's life unless both
agreed, but in most duels, it is known that Musashi did not care which weapon his foe used —
such was his mastery.
A document dated 5 September 1605, purporting to be a transmission by Miyamoto Munisai of his
teachings, suggests Munisai lived at least to this date. In this year, Musashi departed Nara for Edo,
during which he fought (and killed) a kusarigama practitioner named Shishido Baiken. In Edo,
Musashi defeated Muso Gonnosuke, who would found an influential staff-wielding school known
as Shinto Muso Ryu. Records of this first duel can be found in both the Shinto Muso-ryu tradition
and the Hyo-ho- Niten Ichi-ryu- (Miyamoto Musashi's school). The Shinto Muso Ryu tradition
states that, after being defeated by Musashi, Muso Gonnusuke beat Musashi in a rematch. There
are no current reliable sources outside the Shinto Muso Ryu tradition to confirm that this second
duel took place.
Musashi is said to have fought over 60 duels and was never defeated, although this is a
conservative estimate, most likely not accounting for deaths by his hand in major battles. In 1611,
Musashi began practicing zazen at the Myoshinji Temple, where he met Nagaoka Sado, vassal to
Hosokawa Tadaoki; Tadaoki was a powerful lord who had received the Kumamoto Domain in
west-central Kyu-shu- after the Battle of Sekigahara. Munisai had moved to northern Kyu-shu-
and became Tadaoki's teacher, leading to the possibility that Munisai introduced the two. Nagaoka
proposed a duel with a certain adept named Sasaki Kojiro-. Tokitsu believes that the duel was
politically motivated, a matter of consolidating Tadaoki's control over his fief.
Duel with Sasaki Kojiro-
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In April 13, 1612, Musashi (aged about 30) fought his most famous duel, with Sasaki Kojiro-,
who wielded a nodachi. Musashi came late and unkempt to the appointed place — the remote
island of Funajima, north of Kokura. The duel was short. Musashi killed his opponent with a
bokken that he had carved from an oar while traveling to the island. Musashi fashioned it to be
longer than the nodachi, making it closer to a modern suburito.
Musashi's late arrival is controversial. Sasaki's outraged supporters thought it was dishonorable
and disrespectful while Musashi's supporters thought it was a fair way to unnerve his opponent.
Another theory is that Musashi timed the hour of his arrival to match the turning of the tide. The
tide carried him to the island. After his victory, Musashi immediately jumped back in his boat and
his flight from Sasaki's vengeful allies was helped by the turning of the tide. Another theory states
he waited for the sun to get in the right position. After he dodged a blow Sasaki was blinded by the
sun. He briefly established a fencing school that same year.
Musashi ended up on the wrong side of the most famous battle in Japanese history,
Sekigahara. His side lost but unlike 70,000 comrades, Musashi somehow survived both the battle
and the ensuing manhunt for straggles of the defeated army.
Sometime later Musashi left for Kyoto to avenge an insult to his father by the Yoshioka clan.
First Musashi fought Yoshioka Seijiro, the head of the family. He faced Seijiro's sword with only a
wooden bokken and yet managed to win by breaking his arm. In shame, Seijiro cut off his samurai
top knot. Musashi hung around Kyoto a while which probably goaded Seijiro's brother,
Denshichiro, into applying for a duel with Musashi. Musashi killed him quickly with a blow from
his bokken to Denshichiro's head. Outnumbered & Outgunned
Finally Seijiro's son, a minor, issued a challenge. It would be normal to be represented by a second
in this situation, but around 30 men were waiting for Musashi at the designated area. They were
armed with guns, arrows and swords, some of them hiding in a tree beside Seijiro's son. Problem
was, Musashi had anticipated their plan and hidden in the bushes several hours earlier. He waited
until they were ready to give up and then sprang out of the bushes, cut down the young boy, and
then dispatched the rest, stating with the gunmen. Musashi said that being surrounded by so many
enemies made him spontaneously put out both swords using one to control the enemy's position
and the other to kill. This was the beginning of his famous two sword technique.
Later he fought Baikin, a master of the sickle and chain. Baikin usually dispatched his opponents
by wrapping his ball and chain around their sword and stab them with the sickle while they were
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struggling to free their sword from the chain. This didn't work on Musashi because he wasn't
unreasonably attached to his sword. He simply pulled out his short sword and stabbed Baikin with
it. Baikin's followers were shocked and angry but before they could attack Musashi dispersed them
with a show of violence.
o1.5 Later Life and Death
Miyamoto Musashi, Self-portrait, Samurai, writer and artist, c. 1640
Six years later, in 1633, Musashi began staying with Hosokawa Tadatoshi, daimyo of Kumamoto
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Castle, who had moved to the Kumamoto fief and Kokura, to train and paint. Ironically, it was at
this time that the Hosokawa lords were also the patrons of Musashi's chief rival, Sasaki
Kojiro-.[clarification needed] While there he engaged in very few duels; one would occur in 1634
at the arrangement of Lord Ogasawara, in which Musashi defeated a lance specialist by the name
of Takada Matabei. Musashi would officially become the retainer of the Hosokowa lords of
Kumamoto in 1640. The Niten Ki records "[he] received from Lord Tadatoshi: 15 retainers, a
stipend of 300 koku, the rank of o-kumigashira , and Chiba Castle in Kumamoto as his
residence."[11]
In the second month of 1641, Musashi wrote a work called the Hyoho Sanju Go ("Thirty-five
Instructions on Strategy") for Hosokawa Tadatoshi; this work overlapped and formed the basis for
the later Go Rin No Sho. This was the year that his third son, Hirao Yoemon, became Master of
Arms for the Owari fief. In 1642, Musashi suffered attacks of neuralgia, foreshadowing his future
ill-health. In 1643 he retired to a cave named Reigando- as a hermit to write The Book of Five
Rings. He finished it in the second month of 1645. On the twelfth of the fifth month, sensing his
impending death, Musashi bequeathed his worldly possessions, after giving his manuscript copy of
the Go Rin No Sho to his closest disciple (Terao Magonojo)'s younger brother. He died in Reigandocave around June 13, 1645 (Sho-ho- 3, 30th day of the 4th month). The Hyoho senshi denki
described his passing:
The grave-marker of Miyamoto Musashi, in present-day Kumamoto Prefecture ().
At the moment of his death, he had himself raised up. He had his belt tightened and his
wakizashi put in it. He seated himself with one knee vertically raised, holding the sword with his
left hand and a cane in his right hand. He died in this posture, at the age of sixty-two. The
principal vassals of Lord Hosokawa and the other officers gathered, and they painstakingly
carried out the ceremony. Then they set up a tomb on Mount Iwato on the order of the lord.
It is notable that Musashi died of what is believed to be thoracic cancer, and was not killed in
combat. He died peacefully after finishing the Dokkodo ("The Way of Walking Alone", or "The
Way of Self-Reliance"), 21 precepts on self-discipline to guide future generations.
His body was interred in armor within the village of Yuge, near the main road near Mount Iwato,
facing the direction the Hosokawas would travel to Edo; his hair was buried on Mount Iwato itself.
Nine years later, a major source about his life — a monument with a funeral eulogy to Musashi —
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was erected in Kokura by Miyamoto Iori; this monument was called the Kokura hibun. An account
of Musashi's life, the Niten-ki, was published in Kumamoto in 1556, by Toyota Kagehide, based on
the recollections of his grandfather Toyota Masataka, who was a second generation pupil of
Musashi.
*2 Teachings
Musashi created and perfected a two-sword kenjutsu technique called niten'ichi (, "two heavens as
one") or nito-ichi (, "two swords as one") or "Ni-Ten Ichi Ryu" (A Kongen Buddhist Sutra refers to
the two heavens as the two guardians of Buddha). In this technique, the swordsman uses both a
large sword, and a "companion sword" at the same time, such as a katana and wakizashi.
It is said the two-handed movements of temple drummers inspired him, although it seems more
likely that the technique was forged by a means of natural selection through Musashi's combat
experience, or from jitte techniques which were taught to him by his father — the jitte was often
used in battle paired with a sword; the jitte would parry and neutralize the weapon of the enemy
whilst the sword struck or the practitioner grappled with the enemy. In his time a long sword in
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the left hand was referred to as gyaku nito. Today Musashi's style of swordsmanship is known as
Hyo-ho- Niten Ichi-ryu-.
Musashi was also an expert in throwing weapons. He frequently threw his short sword, and Kenji
Tokitsu believes that shuriken methods for the wakizashi were the Niten Ichi Ryu's secret
techniques (see Hayakutake-Watkin).
Musashi spent many years studying Buddhism and swordsmanship. He was an accomplished artist,
sculptor, and calligrapher. Records also show that he had architectural skills. Also, he had a rather
straightforward approach to combat, with no additional frills or aesthetic considerations. This was
probably due to his real-life combat experience.
Especially in his later life Musashi also followed the more artistic side of bushido. He made various
Zen brush paintings and calligraphy and sculpted wood and metal. Even in The Book of Five Rings
he emphasizes that samurai should understand other professions as well. It should be understood
that Musashi's writings were very ambiguous. Translating them into English makes them even
more so. That is why we find so many copies of Gorin no Sho. One needs to read this work,
Dokkodo and Hyoho Shiji ni Kajo to get a better idea of what he was about and understand his
transformation from Setsuninto (the sword that takes life) to Katsujinken (the sword that gives life).
“I dislike passing on my Way through written pledges and regulations. Perceiving the ability
of my pupils, I teach the direct Way, remove the bad influences of other schools, and
gradually introduce them to the true Way of the Warrior…The method of teaching my
strategy is with a trustworthy spirit,”
From, The Wind Book
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*3.0 Timeline
Miyamoto Musashi having his fortune told.
Print by Utagawa Kuniyoshi
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The following timeline follows, in chronological order (of which is based on the most accurate and
most widely accepted information), the life of Miyamoto Musashi as of yet.]
Date
1558
1584
1591
1596
1599
1600
Age
Occurrence
Musashi’s brother, Shirota, is born.
0
Miyamoto Musashi is born.
5
Musashi is taken and raised by his uncle as a Buddhist.
13
Musashi duels with Arima Kihei in Hirafuku, Hyo-go Prefecture.
15
Duels with a man named Akiyama in the northern part of Hyo-go Prefecture.
16/15 Believed to have fought in the Battle of Sekigahara in Sekigahara, Gifu Prefecture
on the losing side.
1604 21
Musashi has 3 matches with the Yoshioka clan in Kyoto. {1} Match with Yoshioka
Seijuro in Yamashiro Province, outside the city at Rendai Moor (west of Mt.
Funaoka, Kita-ku, Kyoto). {2} Match with Yoshioka Denshichiro outside the
city. {3} Match with Yoshioka Matashichiro outside the city at the pine of
Ichijoji.
1604 21
Visits Ko-fuku-ji, Nara and ends up dueling with the Buddhist priest trained in
the style of Ho-zo-in-ryu-.
1605–12 22–29
Begins to travel again.
1605 25
Munisai (Musashi's father) passes his teachings onto Musashi.
1605 25
Duels with the kusarigama expert Shishido Baiken in the western part of Mie
Prefecture.
1608 26
Duels Muso Gonnosuke, master of the five-foot staff in Edo, modern-day
Tokyo.
1610 28
Fights Hayashi Osedo and Tsujikaze Tenma in Edo.
1611 29
Begins practicing zazen meditation.
1612 30
Musashi's most famous match with Sasaki Kojiro- takes place on Ganryujima
(Ganryu or Funa Island) off the coast of present-day Shimonoseki.
Opens a fencing school for a brief time.
1614–15 32–33
Joins the troops of Tokugawa Ieyasu in the Winter and Summer
campaigns at Osaka Castle.
1615–21 31–35
Musashi comes into the service of Ogasawara Tadanao in Harima province
as a construction supervisor.
1621 39
Duels Miyake Gunbei in Tatsuno, Hyo-go Prefecture.
1622 38
Sets up temporary residence at the castle town of Himeji in Hyo-go Prefecture.
1623 39
Travels to Edo.
Adopts a second son named Iori.
1626 42
Adopted son Mikinosuke commits seppuku following in the tradition of Junshi.
1625 43
Travels again.
1628 46
Meets with Yagyu- Hyo-gonosuke in Nagoya, Owari Province.
20
1630 46
1633 49
1634 50
1635
1641
1642
1643
1645
53
55
58
59
61
Enters the service of Lord Hosokawa Tadatoshi.
Begins to extensively practice the arts.
Settles in Kokura, Fukuoka Prefecture for a short time with son Iori as a guest of
Ogasawara Tadazane.
Serves a major role in the Shimabara Rebellion.
Writes Hyoho Sanju-go.
Suffers severe attacks from neuralgia.
Migrates into Reigando where he lives as a hermit.
Finishes Go Rin No Sho / The Book of Five Rings.
Miyamoto Musashi dies from what is believed to be thoracic cancer.
o3.1 Legends
After his death, various legends began to appear. Most talk about his feats in kenjutsu and other
martial arts, some describing how he was able to hurl men over 5 feet backwards, other about his
speed and technique. Other legends tell of how Musashi killed giant lizards in Echizen, as well as
Nue in various other provinces. He gained the stature of Kensei, or "sword saint" for his mastery in
swordsmanship. Some even believed he could run at super-human speed, walk on air, water and
fly through the clouds.
*4.0 Philosophy
Throughout Musashi's last book, The Book of Five Rings, Musashi seems to take a very
philosophical approach to looking at the "Craft of War"; "There are four Ways in which men pass
through life: as Gentlemen Warriors, Farmers, Artisans and Merchants." these falling into one of
the few profession groups that could be observed in Musashi's time.
Throughout the book, Musashi implies that the way of the Warrior, as well as the meaning of a
"True strategist" is that of somebody who has made mastery of many art forms away from that of
the sword, such as tea drinking (sado), laboring, writing, and painting as Musashi practiced
throughout his life. Musashi was hailed as an extraordinary sumi-e artist in the use of ink
monochrome as depicted in two such famous paintings: "Shrike Perched in a Dead Tree" (Koboku
Meigekizu, ) and "Wild Geese Among Reeds" (Rozanzu, ). Going back to the Book of Five Rings,
Musashi talks deeply about the ways of Buddhism.
He makes particular note of Artisans and Foremen. In the time in which he writes the book, the
majority of houses in Japan were made of wood. In the use of building a house, foremen have to
21
employ strategy based upon the skill and ability of their workers.
In comparison to warriors and soldiers, Musashi notes the ways in which the artisans thrive
through events; the ruin of houses, the splendor of houses, the style of the house, the tradition and
name or origins of a house. These too, are similar to the events which are seen to have warriors
and soldiers thrive; the rise and fall of prefectures, countries and other such events are what make
uses for Warriors, as well as the literal comparisons of the: "The carpenter uses a master plan of the
building, and the Way of strategy is similar in that there is a plan of campaign".
22
o4.1 Way of Strategy
"It is critical that you think everything is an opportunity to kill."
Throughout the book, Go Rin No Sho, the idea which Musashi pushes is that the "way of the
strategist" (Heiho- ) is similar to how a carpenter and his tools are mutually inclusive, e.g. — A
carpenter can do nothing without his tools, and vice versa. This too, he compares to skill, and
tactical ability in the field of battle.
Initially, Musashi notes that throughout China and Japan, there are many "sword fencers" who
walk around claiming they are Strategists, but are, in fact, not — this may be due to the fact that
Musashi had defeated some such Strategists, such as Arima Kihei.
The idea is that by reading his writings, one can become a true strategist from ability and tactical
skill that Musashi had learned in his lifetime. He pushes that Strategy and Virtue are something
which can be earned by knowing the ways of life, the professions that are around, to perhaps learn
the skills and knowledge of people and the skills of their particular professions.
However, Musashi seems to state that the value of Strategy seems to be homogeneous. He notes
that:
The attendants of the Kashima Kantori shrines of the province Hitachi received instruction from
the gods, and made schools based on this teaching, travelling from province to province instructing
men. This is the recent meaning of strategy.
As well as noting that Strategy is destined to die;
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 forever. Thus the true Way of strategy is
becoming decadent and dying out.
As a form, strategy was said to be one of "Ten Abilities and Seven Arts" that a Warrior should have,
but Musashi disagrees that one person can gain Strategy by being confined to one particular style,
which seems particularly fitting as he admits "I practice many arts and abilities — all things with
no teacher" — this perhaps being one of the reasons he was so highly regarded a swordsman.
23
Musashi's metaphor for Strategy is that of the Bulb and the flower, similar to western philosophy of
"the chicken or the egg", the "bulb" being the student, the "flower" being the technique. He also
notes that most places seem to be mostly concerned with their technique and its beauty. Musashi
writes, "In this kind of Way of strategy, both those teaching and those learning the way are
concerned with coloring and showing off their technique, trying to hasten the bloom of the flower"
(as opposed to the actual harmony between strategy and Skill.)
With those who are concerned with becoming masters of strategy, Musashi points out that as a
carpenter becomes better with his tools and is able to craft things with more expert measure, so too
can a warrior, or strategist become more skilled in his technique. However, just as a carpenter
needs to be able to use his tools according to plans, so too must a strategist be able to adapt his style
or technique to the required strategy of the battle he is currently engaged in.
This description also draws parallels between the weapons of a trooper (or soldier) and the tools of
a carpenter; the idea of "the right tool for the right job" seems to be implied a lot throughout the
book, Go Rin No Sho. Musashi also puts into motion the idea that when a Carpenter is skilled
enough in aspects of his job, and creates them with expert measure, then he can become a
foreman.
Although it is not expressly mentioned, it may be seen that Musashi indicated that when you have
learned the areas in which your craft requires, be it carpentry, farming, fine art or battle, and are
able to apply them to any given situation, then you will be experienced enough to show others the
wisdom of your ways, be it as a foreman of craftsmen, or as a general of an army.
From further reading into the book, the idea of "Weapons within strategy," as well as Musashi
referring to the power of the Writer, may seem that the Strategy which Musashi refers to does not
exclusively reside within the domain of weaponry and duels, but within the realm of war and
battles with many men:
Just as one man can beat ten, so a hundred men can beat a thousand, and a thousand can beat
ten thousand. In my strategy, one man is the same as ten thousand, so this strategy is the complete
warrior's craft.
24
+ 4.1.1 Ni-Ten Ichi Ryu
Within the book, Musashi mentions that the use of Two swords within strategy is mutually
beneficial between those who utilise this skill. The idea of using two hands for a sword is an idea
which Musashi disagrees with, in that there is not fluidity in movement when using two hands —
"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"; he as well disagrees with the idea of using a sword with two
hands on a horse, and/or riding on unstable terrain, such as muddy swamps, rice fields, or within
crowds of people.
In order to learn the strategy of Ni-Ten Ichi Ryu, Musashi employs that by training with two long
swords, one in each hand, you will be able to overcome the cumbersome nature of using a sword
in both hands. Although difficult, Musashi agrees that there are times in which the Longsword
must be used with two hands, but if your skill is good enough, you should not need it. The idea of
using two long swords is that you are starting with something to which you are unaccustomed, and
that you will find difficult, but will adapt to after much use.
After using two long swords proficiently enough, Musashi then states that your mastery of a
Longsword, and a "Companion Sword", most likely a wakizashi, will be much increased — "When
you become used to wielding the long sword, you will gain the power of the Way and wield the
sword well.".
In short, it could be seen that from the excerpts from Go Rin No Sho, the real strategy behind
Ni-Ten No Ichi Ryu, is that there is no real iron-clad method, path, or type of weaponry that is
specific to the style of Ni-Ten No Ichi Ryu:
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. 25
+4.1.2 Long Sword
The strategy of the long sword is different than other strategies, in that it is much more
straightforward. In the strategy of the longsword, it seems that Musashi's ideal was, that by
mastering gripping the sword with two fingers, it could become a platform used for moving onto
the mastery of Ni-Ten Ichi Ryu, as well as being able to use two broadswords, or more masterfully
use a companion sword.
However, just because the grip is to be light, it does not mean that the attack or slash from the
sword will be weak. Like with any other technique in the Ni-Ten Ichi Ryu, he notes:
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.
Like with most disciplines in martial arts, Musashi notes that the movement of the sword after the
cut is made must not be superfluous; instead of quickly returning to a stance or position, one
should allow the sword to come to the end of its path from the force used. In this manner, the
technique will become freely flowing, as opposed to abrupt.
Musashi also discouraged the use of only one sword for fighting, and the use of over-large swords
like nodachi due to the fact that they were cumbersome and unwieldy.
26
o4.2 Religion
Even from an early age, Musashi separated his religion from his involvement in swordsmanship.
Excerpts such as the one below, from The Book of Five Rings, demonstrate a philosophy that is
thought to have stayed with him throughout his life:
There are many ways: Confucianism, Buddhism, the ways of elegance, rice-planting, or dance;
these things are not to be found in the Way of the Warrior.
—[12]
However, the belief that Musashi disliked Shinto is inaccurate, as he criticises the Shinto--ryustyle of swordsmanship, and not Shinto, the religion. In Musashi's Dokkodo, his stance on religion
is further elucidated:
"Respect Buddha and the gods without counting on their help.".[13]
Cormorant', a painting by Miyamoto Musashi
27
*5.0 The Book of Five Rings
o5.1 Thematic Elements of The Book of Five Rings
Japanese tombstones are based upon based the 'five rings' of the five elements of the universe,
these being: earth, water, fire, wind, and the absolute void. Doubtless this was the inspiration
for the title of Musashi’s book
The book can be understood as a masterful ‘how-to’ manual on the use of weapons, or,
alternatively, it may be interpreted as having a much deeper meaning about how to conduct
oneself in life. It is left to the reader to decide which interpretation should prevail.
Nonetheless, several recurring themes are salient in the work, and it is to these that we now
give consideration.
28
+ 5.1.1 Timing
Timing is crucial to success, and is comprised of several components. It is making a decision and
executing the decision in action. The decision in turn has several contingencies; for instance, one
must understand the opponent’s rhythm, and choosing their most vulnerable moment within that
rhythm to strike. Conversely, one must avoid falling into a predictable pattern themselves, vary
your speed, direction, and stance frequently – keep the opponent perpetually guessing and off-
balance about what you’re about to do next. Vary the distance you engage the opponent at, again
confounding them. Ascertain their vulnerabilities in choosing the opportune moment to strike; for
instance, “the sword amplifies the subtle movement of breathing. By watching the tip of the sword
(kensen), you can attack while the opponent is inhaling”. It is nearly impossible to attack while you
are inhaling. Use your opponent’s predictable rhythm in your favor, if they fall into a pattern, all
you need do is strike faster than they can react. Every momentary hesitation on their part opens up
an opportunity to kill them.
+ 5.1.2 Resourcefulness
Musashi was a skilled artisan and craftsman; and stresses the importance of these skills for the
warrior. Every implement can be turned into a weapon provided we use our ingenuity and
imagination. The ability to improvise and be resourceful are very valuable abilities for the warrior.
Once again we find here the stress on the inadvisability to be bound by tradition or constrained by
custom. To use a much abused phrase nowadays, Musashi was the proverbial ‘think outside the
box’ warrior. This skill also applies to people, all persons have assets and capabilities which can
be further improvised and refined in some respect, thereby making them more lethal in their
performance.
+ 5.1.3 Generalization
Musashi frequently cites a specific example, and then extrapolates or generalizes to a much larger
grouping. Nowhere is this more prominent than in his insistence that the skilled warrior can
defeat thirty enemies as effectively as one. Indeed, a prominent motif in the advice given, is that
one should always train so as to repel numerous attackers simultaneously. Apparently Musashi
was not just speaking in hypotheticals, in one altercation he was ambushed by thirty Samurai and
slaughtered them all!
+ 5.1.4 Observation
29
The ability to observe one’s opponent astutely is of paramount importance to Musashi.
Developing this ability, to see one’s adversary clearly in their ‘suchness’ unadorned and raw, is no
simple matter. Any lawyer will tell you that eyewitness testimony is the most unreliable – why?
Because our observations are distorted by expectations, fears, hopes, anxieties, and the like. To be
able to see past these delusory affectations is what we seek. For instance, people who have anxiety
in public speaking are sometimes told to get over this apprehension by imagining their audience
naked – why? Because this will shed any prejudices, preconceptions and adverse imaginings that
intimidate them. In true Zen fashion, Musashi would counsel us to see our opponent as no more
than a ‘meat puppet (my idiom), or as a ‘useless bag of skin’ (Zen idiom). This type of raw
perception will liberate us from the distracting affect of ideas about the opponent’s status, rank,
family, etc.
+ 5.1.5 Manipulating the Enemy’s Mind
The ability to ‘psych-out’ one’s enemy can be as important as one’s actual physical skills with
weaponry. Musashi used this type of ‘psychological warfare’ with devastating effect. One of his
often used ploys was to arrive late to a duel; given the pompous haughtiness of Samurai culture,
enamored with inflated notions of pride, respect, and honor, this invariably brought about great
consternation in his opponents. Secondly, in stark contrast to the impeccably attired, perfectly
groomed Samurai that challenged him to a duel, Musashi would often arrive in casual attire,
looking unkempt, scruffy, and disheveled. All of this infuriated the hell out of his adversaries
because it conveyed an attitude of utmost disrespect for their way of life, culture, and dignity.
Furthermore, when challenged to a duel, his dismissive attitude about not caring what weapon was
favored by his opponent, further irritated them. Tactically, the opponent never knew what
Musashi was about to do, his speed, timing, locomotiuon, and style seemed sporadic and random,
and often forced opponents to adopt convoluted contortions to try to counter him, whereupon they
would be dispatched by a simple, direct, but lightning quick strike by Musashi’s sword.
+ 5.1.6 Practice
In order to swim, you must get wet! You cannot learn how to do something by merely reading
about it, or ritualizing into endless repetitions. The importance of practical hand on practice
cannot be overestimated. Musashi was constantly adapting, changing, and perfecting his style,
there was no static state of completion in his art – it was always a work in progress. If you want to
fight well, fight often you must. Practicing stylistically and aesthetically pleasing Katas and Forms
thousands of times is useless; indeed, can prove counter-productive, in that you ay fall into the
30
habit of only being able to execute certain movements from certain very specific stances.
o 5.2 The Ground Book
This book is a general overview of the rest of the book, and a preview of the key points to appear.
Initially, Musashi’s emphasis is on carpentry as an analogy to the warrior’s craft, wherein all wood,
even the most mundane and seemingly useless, can be crafted into a an appropriate weapon – the
message is clear: be able to improvise well, and you will find resources everywhere to aid you in
your quest. Next, Musashi expounds at length about the advantageousness of using the TwoSword Technique he perfected in combat. Using two swords simultaneously is initially difficult
(unless you happen to be ambidextrous), but the mastery of using two swords concurrently will
result in some very serious advantages over your opponent: for one thing, your opponent is
suddenly tasked with actually fighting two foes simultaneously, this in itself is unnerving;
moreover, for an opponent accustomed to fighting someone only from a left or right handed
tendency this can be severely disorienting. Last, but not least, this method is very useful in
encountering an ambush by several attackers. Here we find a recurring theme in the rest of the
book: that you should always be prepared to ward off multiple attackers; and that to the truly
proficient warrior is equally efficacious in repelling one or a hundred attackers.
Next, Musashi expounds on the importance of the timing and rhythm of one’s moves.
Timing is crucial to success, and is comprised of several components. It is making a decision and
executing the decision in action. The decision in turn has several contingencies; for instance, one
must understand the opponent’s rhythm, and choosing their most vulnerable moment within that
rhythm to strike. Conversely, one must avoid falling into a predictable pattern themselves, vary
your speed, direction, and stance frequently – keep the opponent perpetually guessing and offbalance about what you’re about to do next. Vary the distance you engage the opponent at, again
confounding them. Ascertain their vulnerabilities in choosing the opportune moment to strike; for
instance, “the sword amplifies the subtle movement of breathing. By watching the tip of the sword
(kensen), you can attack while the opponent is inhaling”. It is nearly impossible to attack while you
are inhaling. Use your opponent’s predictable rhythm in your favor, if they fall into a pattern, all
you need do is strike faster than they can react. Every momentary hesitation on their part opens up
an opportunity to kill them.
Finally, Musashi focuses on nine important rules to follow. Though on the surface these
rules appear to have a simple meaning, in fact, each has a deeper underlying import.
1. Think Honestly: this has little to do with morality; rather what is at stake is that the
individual evaluate themselves and the challenges they face with sober, irreproachable
31
objectivity. Needless to say, this is easier said than done.
2. Practice: one must practice one’s art assiduously; there is no room for a lackadaisical
attitude or half-measures in this.
3. Diversify: do not restrict yourself to simply one method, one school, or on style of fighting –
examine them all and adopt the most effective ingredients of each.
4. Learn from the Artisans: observe how carpenters, stone masons, and other craftsmen
develop their craft. They are always improvising, adapting, and creating new variations.
5. Be Utilitarian: in your endeavors make an honest assessment of the potential costs and
benefits of your undertakings – is practicing move x to perfection really worth it? Is
learning a new or esoteric weapons system really needed, when a more practical one is
more effective?
6. Acuity: observe those phenomenon which are not readily apparent at first glance, heed
what is not there, the absence of something can be as critical as its presence.
"To the curious incident of the dog in the night-time."
"The dog did nothing in the night-time."
"That was the curious incident," remarked Sherlock Holmes.
The Memoirs of Sherlock Holmes (1893)
7. Details: pay attention to the small things, minutiae, the details of the situation you find
yourself in. What may seem trivial and insignificant, may in fact have devastating
consequences.
i. A true story: upon inspecting a jet liner before take-off the ground crew
noticed a minute leak of one drop of water every few seconds dripping from
the plane’s fuselage underside. Being on a tight schedule and under
pressure to get the plane off the ground on time, they dismissed the leak as
insignificant, and made a note for the ground crew at the next destination to
check it out. The plane took off and reached cruising altitude of 37,000 feet
uneventfully. Whereupon, given the vacuum of much lower pressure, the
water leak turned into a sizable trickle, and as it was blasted against the
fuselage by the 400 knot plus slip stream in a temperature of -30F, instantly
froze as sheets of ice. The ice rapidly accumulated, until it became so thick
that the slipstream dislodged it, and was instantly sucked into the jet turbine
immediately aft. The blocks of ice, by now weighting, 30 – 50 lbs each,
caused a massive engine failure, such that the jet turbine literally tore itself
apart as it disintegrated, breaking off the rear fuselage in the process. The
32
aircraft, completely out of control without a tail section plummeted to earth
killing all onboard!
8. Don’t Do Useless Things: what works, works! What doesn’t work, doesn’t. So don’t waste
your time practicing skills that have no use. Just because a Kata, or move looks impressive,
does not mean it’s effective.
o 5.3 The Water Book
This book adopt the metaphor of water for an extended analysis of mental and physical states of
preparedness. But the focus is predominantly on the mind. Preconceived ideas, self-serving
notions, pride, haughtiness, and the like, all contaminate the mind and impede its pure functioning.
Self-absorption and selfishness are especially pernicious in their degrading affect on mental
proficiency. Like water, the mind should be pure, clear, and malleable, it should be capable of
instantaneously adapting to the situation at hand without resorting to preconceived rote learning
and ritual.
In the execution of our physical stance and movements, we should also be fluid and smooth.
Once again, the message about not relying on fixed forms, patterns, methods, and ritualistic
repetitions is drilled home when Musashi paraphrases a famous Taoist proverb:
Living plants are flexible,
In death, they become dry and brittle.
Therefore, stubborn people are disciples of death,
but flexible people are disciples of life.
One salient feature of this book is the emphasis on taking the offensive in battle; Musashi
spends little time on defensive tactics, choosing instead to focus on the need to attack aggressively,
without forewarning nor hesitation. Perhaps he was inclined to believe that defensive postures
will come naturally; or perhaps, dwelling on the defensive may make one more likely to hesitate
instead of taking advantage of opportunities when the enemy is vulnerable.
Musashi’s most portentous quotes:
Thus, one of
"It is critical that you think everything is an opportunity to kill."
o 5.4 The Fire Book
This book is concerned with combat itself. One important precept is the necessity of using
33
terrain – environment in general – to our advantage, by driving our enemy into difficult,
disadvantageous, and trying circumstances. Musashi further expounds on this with the allegory
of what is known as ‘holding down the pillow’ in the Martial Arts. The idea is this: a Grand
Master of advanced age, and seemingly infirm constitution, will so-to-speak ‘wipe-the-floor’ and
easily outmaneuver and beat a much younger, faster, and stronger opponent. At the end of the
contest the Grand Master is calm, composed, and breathing normally, while the novice is drenched
in sweat, exhausted, and trembling. How is this possible? It is because the more experienced
Grand Master has ‘held the pillow down’ over the novice. He did this by allowing the novice to
waste energy with exaggerated, useless contortions, while himself only striking on those tactically
astute moments where the greatest damage is inflicted with the least effort. This is called ‘effortless
effort’ in Taoist parlance. Indeed, we can easily observe that even the most difficult tasks look
effortless and easy when performed by a true expert.
Lastly, Musashi exhorts us reach ‘deep’ and conjure up supreme effort when the tide turns
against us. As we fight, so must we practice, so must we live. This obvious survival strategy of
never quitting finds much resonance in our Dojo at Ki Survival Systems, where great emphasis is
placed on the need to persevere and commit to maximum effort in seemingly hopeless
circumstances. It is one thing to fight well when one is in top shape and rested, but the real test is
to not only survive, but win, when one is injured, exhausted, and wants to just lie down and die.
“Pain is just weakness leaving the body!”
--- USN Seal motto
o 5.5 The Wind Book
In this book consideration is turned to the choice of weaponry and stance. Musashi
admonishes those that rely exclusively on one specific weapon or mannerism, and is generally
dismissive of all of them. The true warrior is comfortable with using any weapon and preferring
none over any other. I think that, were Musashi alive today, he would be quite amused by the
endless posturing and jousting that goes on among different Martial Arts schools and military units
as to who is the best. The question is inappropriate and irrelevant. The effectiveness of each
method is relative to the particular niche of its development.
Musashi also cautions against the use of unusual, esoteric, or peculiar stances in fighting.
These stances are distortions of correct stances and the beginning of defeat. After all, the point is
to put the opponent off balance, while one maintains the balanced position.
In sum, to Musashi, arriving for a duel with the expected weapon, in the expected style,
34
and at the appropriate time, was anathema.
o 5.6 The Book of Emptiness
This book is the shortest and most enigmatic of the series. It’s Zen influences are apparent from
the beginning. Ostensibly it is about perception, but of course, there is much more to it than this.
Musashi explicates that the Void he is alluding to is often mistaken and confused with other
noltions. For instance, people often believe the Void is just those things that cause bewilderement,
are perplexing, or incompreg=hensible. This is a mistake. The Zen notion of Emptiness is a much
more thorougoing ‘unmasking’ of our perceptions, so that we peel away the layers of
preconceptions, prejusdices, insecurities, and anxieties from our perceptions. A few examples
might suffice to give at least an inkling of:
1. When we look at the fashion and hairstyles of times past we often find them amusing and
humorous, yet back then people saw nothing funny about what they wore, What has
changed? Clearly, the materials haven’t, it’s the way we perceive these things that has
changed.
2. If you re-visit your high-school or college, several years after graduation, you might be
struck by a couple of unexpected transformations – the place ‘looks’ a lot smaller and the
students are appear to be much younger than as you remember them. Have they actually
changed? Of course not, it is your perception that has changed.
3. Last, but not least, and sadly or happily (depending on your point of view), suppose you had
been deeply, passionately, in love with someone, but the love affair didn’t last. Then, some
years later, just by chance you run into them. You might be saddened and relieved at the
same time, to find that there is ‘nothing there anymore’ in that you can’t understand what
you were ever attracted to in this person. You now see them ‘warts and all’, ‘raw and
unadorned’ as they are. Your perceptions have changed.
In combat, this ability to see the world bare and naked, unadulterated by emotional distortions is
critical. Clearing your mind of preconceptions, pride, prejudice, peer pressure, ultimately ego,
liberates the Warrior Spirit. This attitude mortises perfectly with Musashi’s disdain wfor tradition,
protocol, and pageantry, for all these merely cloud the mind abd distort our perceptions,
Ultimately, Emptiness is supreme clarity and freedom, it is a ‘lightness of being’ wherein nothing
deters ‘us’ because there is no ‘I’ to behold. In Zen this state of no-mind, wu-shin, is often
illustrated with similes that you will feel ‘like’:
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1. The reflection of the Moon in the water.
2. A fish gliding effortlessly through a crystal clear stream.
3. The wind going through the branches of a pine tree.
4. A cloud in ten0thousand miles of empty sky.
This process though is no easy task, and indeed can be overwhelming and terrifying. The
following story is somewhat illustrative of this catharsis:
A man was very much in love with his wife. She was the only thing he believed in,
cherished, and loved. He was arrested by the authorities due to his dealings as an
organized crime boss. To his absolute consternation, he found out at his trial that his wife
testified against him. She who he trusted completely, she who could not have been by law
compelled to testify against him, did; indeed, it was her testimony that primarily assured his
conviction. He was sentenced to life in prison with no possibility of parole. The man was
absolutely devastated, he suffered in a state of agony and despair for nine years, He had
nothing left to live for. All that he cared for had been taken away. This great sadness
crushed his spirit and destroyed his soul. The despair, agony, anger, self-pity, and
depression made his inner life a nightmare, a living hell, for nine years. Then, quite
unexpectedly, one day, he woke up to find that these awful feelings had suddenly,
miraculously, simply disappeared! Nothing mattered anymore, he hadn’t a care in the
world, and he felt a lightness and freedom that he had never known before. He felt a joy
that he never knew existed. It was the happiest day of his life. He was in the Void.
The Book of Emptiness
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“What is called the spirit of the void is where there is nothing. It is not included in man's
knowledge. Of course the void is nothingness. By knowing things that exist, you can know that
which does not exist. That is the void.
People in this world look at things mistakenly, and think that what they do not understand
must be the void. This is not the true void. It is bewilderment.
In the Way of strategy, also, those who study as warriors think that whatever they cannot
understand in their craft is the void. This is not the true void.
To attain the Way of strategy as a warrior you must study fully other martial arts and not
deviate even a little from the Way of the warrior. With your spirit settled, accumulate practice
day by day, and hour by hour. Polish the twofold spirit heart and mind, and sharpen the
twofold gaze perception and sight. When your spirit is not in the least clouded, when the clouds
of bewilderment clear away, there is the true void.
Until you realize the true Way, whether in Buddhism or in common sense, you may think that
things are correct and in order. However, if we look at things objectively, from the viewpoint of
laws of the world, we see various doctrines departing from the true Way. Know well this spirit,
and with forthrightness as the foundation and the true spirit as the Way. Enact strategy broadly,
correctly and openly.
Then you will come to think of things in a wide sense and, taking the void as the Way, you will
see the Way as void.
In the void is virtue, and no evil. Wisdom has existence, principle has existence, the Way has
existence, spirit is nothingness.”
Twelfth day of the fifth month, second year of Shoho (1645)
Teruro Magonojo SHINMEN MUSASHI
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Musashi killing a giant lizard, by Kuniyoshi c. 1834.
* 6 Musashi as an Artist
In his later years, Musashi claimed in his Go Rin No Sho that "When I apply the principle of
strategy to the ways of different arts and crafts, I no longer have need for a teacher in any domain."
He proved this by creating recognized masterpieces of calligraphy and classic ink painting. His
paintings are characterized by skilled use of ink washes and an economy of brush stroke. He
especially mastered the "broken ink" school of landscapes, applying it to other subjects, such as his
Kobokumeikakuzu ("Kingfisher Perched on a Withered Branch"; part of a triptych whose other two
members were "Hotei Walking" and "Sparrow on Bamboo"), his Hotei Watching a Cockfight, and
his Rozanzu ("Wild Geese Among Reeds").
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*7 Musashi in Modern Culture
There have been thirty-six films made about Musashi, including six with the title of Miyamoto
Musashi. One of these, released in the English-speaking world as Samurai I: Musashi Miyamoto, is
the Academy Award-winning film by Hiroshi Inagaki starring Toshirô Mifune. There was a
television series about his life. Even in Musashi's time there were fictional texts resembling comic
books. It is therefore quite difficult to separate fact from fiction when discussing Musashi. Eiji
Yoshikawa's novelization has greatly influenced successive fictional depictions (including the
ongoing manga, Vagabond, by Takehiko Inoue, which is directly based on Yoshikawa's novel) and
is often mistaken for a factual account of Musashi's life. The character Kyuzo in Seven Samurai by
Akira Kurosawa is said (in a documentary accompanying the DVD of the movie) to "resemble"
Musashi.
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*8 Bibliography
1. Hyodokyo (The Mirror of the Way of Strategy) 2. Hyoho Sanjugo Kajo (Thirty‐five Instructions on Strategy) 3. Hyoho Shijuni Kajo (Forty‐two Instructions on Strategy) 4. Dokkodo (The Way to be Followed Alone) 5. Go Rin No Sho (The Book of Five Rings; a reference to the Five Rings of Zen Buddhism) *9 Notes
1. Toyota Masataka. "Niten Ki (A Chronicle of Two Heavens)," in Gorin no Sho, ed.
Kamiko Tadashi (Tokyo: Tokuma-shoten, 1963), 239.
2. Miyamoto Musashi. "Go Rin No Sho," in Gorin no Sho, ed. Kamiko Tadashi (Tokyo:
Tokuma-shoten, 1963), 13.
3. Toyota, p. 239
4. Miyamoto, p. 18ff.
5. Miyamoto, 13.
6. Miyamoto, p. 18ff
5. Miyamoto, p. 15ff.
8. a b Kenji Tokitsu (2004). Miyamoto Musashi: His Life and Writings. Shambhala.
9. Harris p. 10, Miyamoto p. 16ff. The latter footnote by Kamiko reads "For his entire
life, Musashi never took a wife, cut his hair, or entered a bath..."
10. William Scott Wilson. (2004). The Lone Samurai. Kodansha International.
11. Toyota, p. 250
12. Miyamoto, p. 55.
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*10 Concluding Poem
We reconstruct the man
from shards of paper and pottery
(a shrike in ink
a small wooden bodhisattva
a practical treatise on swordplay)
he said his only teacher was
Nature
which is a fine thing to say
when you're good at everything
they say he slew Ganryū
with a length of oar
he'd whittled on impulse into a
sword
so much for the soul of the
samurai:
not metal, flashing and hard
priceless and irreplaceable
only a discarded wooden spar
emerging from refuse
to refuse returning
and perhaps his poems were the
same
nourished by earth and water
whispering an answer to wind
burbling off towards the long sea
and this is how history left him
and this is how I might find him:
an old man on a mountain
preparing future warriors for
poetry
writing his way back
into the world that wrote him
....and you may stare and ask me
what I am doing
and I will answer
"I am reading Miyamoto
Musashi's poetry."
--Lula Vampiro, Deviant Art Community Board
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Kingfisher Perched on a Withered Branch, by Musashi
'The Way of the warrior is the acceptance of death'
--Musashi