MushinFrom Wikipedia, the free encyclopedia

Kanji for the word Mushin. "Sword and Zen are same." quoted from Tsuji Gettan Sukemochi:[1]

Mushin (無心; Chinese wúxīn; English translation "no-mindedness") is a mental state into which very highly

trained martial artists are said to enter during combat.[citation needed] They also practice this mental state during everyday

activities. The term is shortened from mushin no shin(無心の心), a Zen expression meaning mind of no mind and is also

referred to as the state of "no-mindness". That is, a mind not fixed or occupied by thought or emotion and thus open to

everything. For the origin of the mushin concept, see Muga-mushin. It is somewhat analogous to flow experienced by

artists deeply in a creative process.

Mushin is achieved when a person's mind is free from thoughts of anger, fear, or ego during combat or everyday life.

There is an absence of discursive thought and judgment, so the person is totally free to act and react towards an

opponent without hesitation and without disturbance from such thoughts. At this point, a person relies not on what

they think should be the next move, but what is their trained natural reaction or what is felt intuitively. It is not a state of

relaxed, near-sleepfulness, however. The mind could be said to be working at a very high speed, but with no intentions,

plans or direction. In analogy a clear mind is compared to a still pond, which is able to clearly reflect the moon and trees.

But just as waves in the pond will distort the picture of reality, so will the thoughts we hold onto disrupt the true perception

of reality.

A martial artist would likely have to train for many years to be capable of maintained mushin. This allows time for

combinations of movements and exchanges of techniques to be practised repetitively many thousands of times, until they

can be performed spontaneously, without conscious thought, thus changing your natural reactions to be more effective in

combat or whatever else you may be doing. If he is capable of truly listening to his teacher, however, he could attain this

level in only a few years.

Some masters believe that mushin is the state where a person finally understands the uselessness of techniques and

becomes truly free to move. In fact, that person will no longer even consider themselves as "fighters" but merely living

beings moving through space.

The legendary Zen master Takuan Sōhō said:[2]

The mind must always be in the state of 'flowing,' for when it stops anywhere that means the flow is interrupted and it is

this interruption that is injurious to the well-being of the mind. In the case of the swordsman, it means death. When the

swordsman stands against his opponent, he is not to think of the opponent, nor of himself, nor of his enemy's sword

movements. He just stands there with his sword which, forgetful of all technique, is ready only to follow the dictates of the

subconscious. The man has effaced himself as the wielder of the sword. When he strikes, it is not the man but the sword

in the hand of the man's subconscious that strikes.

However, mushin is not just a state of mind that can be achieved during combat. Many martial artists, particularly those

practising Japanese martial arts such as karate or iaijutsu, train to achieve this state of mind during kata so that a flawless

execution of moves is accomplished — that they may be achieved during combat or at any other time. Once mushin is

attained through the practicing or studying of martial arts (although it can be accomplished through other arts or practices

that refine the mind and body), the objective is to then attain this same level of complete awareness in other aspects of

the practitioner's life.

Mushin is very closely related to another state of mind known as heijoshin,[3], wherein a complete balance and harmony is

attained in one's life through mental discipline. Musashi Miyamoto, the great swordsman, alluded to these mental states

briefly,[citation needed] and his conversations with Jotaro were often repeated in Japanese folklore as lessons to be learned for

the practice of one's life. Mushin and heijoshin are closely related to the teachings of Buddhism,

specifically Zen teachings, and indeed the more mental aspects and attributes draw heavily from these philosophies.

[edit]References

1. ̂ Craig, Darrell Max. Mugai Ryu - The Classical Samurai Art of Drawing the Sword. YMAA Publication

Center, Boston, Massachusetts, 2002, p.20.

2. ̂ Soho, Takuan. The Unfettered Mind. Trans. William Scott Wilson. Tokyo: Kodansha International Ltd., 1986.

3. ̂ Kiyota, Minoru. Kendo, Its Philosophy History and Means to Personal Growth. Kegan Paul International,

1995, p.13.

[edit]See also

Bushi do

Flow (psychology)

Fudōshin

Kime

Martial arts

Muga-mushin

Reiseishin

Shoshin

Unconscious mind

Zanshin

Zen Buddhism

Categories: Japanese martial arts terms | Zen terms

Miyamoto Musashi (宮本 武蔵?) (c. 1584–June 13 (Japanese calendar: May 19), 1645), also known as Shinmen

Takezō, Miyamoto Bennosuke, or by his Buddhist name Niten Dōraku,[1] was

a Japanese swordsman and samurai famed for his duels and distinctive style. Musashi, as he was often simply

known, became renowned through stories of his excellent swordsmanship in numerous duels, even from a very

young age. He was the founder of the Hyōhō Niten Ichi-ryū or Niten-ryū style of swordsmanship and the author

of The Book of Five Rings (五輪書 Go Rin No Sho?), a book on strategy, tactics, and philosophy that is still studied

today.

Contents

[hide]

• 1 Biography

o 1.1 Birth

o 1.2 Munisai and Musashi's birth date

o 1.3 Upbringing

o 1.4 Training in swordsmanship

o 1.5 First duel

o 1.6 Travels and duels

1.6.1 Duel with Sasaki Kojirō

1.6.2 Service

o 1. 7 Later life and death

• 2 Teachings

• 3 Timeline

• 4 Philosophy

o 4.1 Way of strategy

4.1.1 Ni-Ten Ichi Ryu

4.1.2 Long sword

o 4.2 Religion

• 5 Musashi as an artist

• 6 In popular culture

• 7 See also

• 8 Bibliography

• 9 References

• 10 Further reading

o 10.1 Fiction

o 10.2 Essays

o 10.3 Testimony

• 11 External links

[edit]Biography

[edit]Birth

The details of Miyamoto Musashi's early life are difficult to verify. Musashi himself simply states in Gorin no Sho that

he was born in Harima Province.[2] Niten Ki (an early biography of Musashi) supports the theory that Musashi was

born in 1584: "[He] was born in Banshū, in Tenshō 12 [1584], the Year of the Monkey."[3] The historian Kamiko

Tadashi, commenting on Musashi's text, notes: "[...]Munisai was Musashi's father...he lived in Miyamoto village, in

the Yoshino district [of Mimasaka Province]. Musashi was most probably born here."[4] His childhood name

was Bennosuke 弁之助.

Musashi gives his full name and title in Gorin no Sho as Shinmen Musashi-no-Kami Fujiwara no Genshin." (新免

武蔵守藤原玄信)[5] His father, Shinmen Munisai 新免無二斎, was an accomplished martial artist and master of the

sword and jutte (also jitte).[6] Munisai, in turn, was the son of Hirata Shōgen 平田将監, a vassal of Shinmen Iga no

Kami, the lord ofTakayama Castle in the Yoshino district of Mimasaka Province.[7] Hirata was relied upon by Lord

Shinmen, and so was allowed to use the Shinmen name. As for "Musashi," Musashi no Kami was a court title,

making him the nominal governor of Musashi province. "Fujiwara" was the lineage from which Musashi claimed

nominal descent.

[edit]Munisai and Musashi's birth date

Mysteriously, Munisai's tomb says he died in 1580, which obviously conflicts with the accepted birth date of 1584 for

Musashi. Further muddying the waters, according to the genealogyof the extant Miyamoto family, Musashi was born

in 1582. Kenji Tokitsu has suggested that the accepted birth date of 1584 for Musashi is wrong, as it is primarily

based on a literal reading of the introduction to the Go Rin No Sho where Musashi states that the years of his life

"add up to 60" (yielding the twelfth year of the Tensho era, or 1584, when working backwards from the well-

documented date of composition), when it should be taken in a more literary and imprecise sense, indicating not a

specific age but merely that Musashi was in his sixties when he wrote it.

Because of the uncertainty centering on Munisai (when he died, whether he was truly Musashi's father, etc.),

Musashi's mother is known with even less confidence. Here are a few possibilities:

1. Munisai's tomb was correct. He died in 1580, leaving two daughters; his wife adopted a recently

born child, from the Akamatsu clan, intended to succeed Munisai at his jitteschool. Omasa, Munisai's

widow, was not truly Musashi's mother.

2. The tomb was wrong. Munisai lived a good deal longer, later than 1590 possibly. Musashi, then,

was born to Munisai's first wife, Yoshiko (daughter to Bessho Shigeharu, who formerly controlled Hirafuku

village until he lost a battle in 1578 to Yamanaka Shikanosuke). Munisai divorced her after Musashi's birth,

whereupon she decamped for her father's house, leaving Musashi with Munisai. Musashi grew up treating

Munisai's second wife, Omasa (daughter to Lord Shinmen) as his mother. This second scenario is laid out

in an entry to the Tasumi family's genealogy. The daughter of Bessho Shigeharu first married Hirata Muni

and was divorced from him a few years later. After that she married Tasumi Masahisa. The second wife of

Tasumi Masahisa was the mother of Miyamoto Musashi. Musashi's childhood name was Hirata Den. He

later became famous on account of his swordsmanship. During his childhood, he went to Hirafuku to find

his real mother. He moved in with the Tasumi family.[8]

3. A variant of this second theory is based on the fact that the tombstone states that Omasa gave birth

to Musashi on 4 March 1584, and died of it. Munisai then remarried to Yoshiko. They divorced, as in the

second theory, but Yoshiko took Musashi, who was 7 at the time, with her, and married Tasumi Masahisa.

4. Kenji Tokitsu prefers to assume a birth date of 1581, which avoids the necessity of assuming the

tombstone to be erroneous (although this poses the problem of from whom then Musashi received the

transmission of the family martial art).

[edit]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

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.

[edit]Training in swordsmanship

Miyamoto Musashi having his fortune told. Print by Utagawa Kuniyoshi

The name "Musashi" was thought to be taken from the name of a warrior monk named Musashibō Benkei who

served under Minamoto no Yoshitsune, but this is unconfirmed.

It's said that he may have studied at the Yoshioka ryu school, which was also said to be a school 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 7 years old or from his uncle beginning at the age of 7. Ultimately the name was taken from his

own original kanji, 武蔵, which can be read as Takezō or as Musashi, as stated in Eiji Yoshikawa's book Musashi.

[edit]First duel

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 calledArima Kihei, a sword adept of the Shinto ryū, and I defeated him. At the age of sixteen I

defeated a powerful adept by the name ofAkiyama, who came from Tajima Province. At the age of twenty-one I

went up to Kyōtō 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 Shintō-ryū style, founded

by Tsukahara Bokuden (b. 1489, d. 1571). The main source of the duel 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]

[edit]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 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 Shōden Katori Shintō-ryū or the Kyo-hachi-ryū) was the foremost of the eight

major schools of martial arts in Kyoto, the "Kyo-ryū" / "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 Kenpō, which Musashi lost.

Musashi challenged Yoshioka Seijūrō, master of the Yoshioka School, to a duel. Seijūrō 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 Seijūrō. They faced off, and Musashi struck a single blow, per their agreement. This blow struck Seijūrō 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 Denshichirō, who promptly challenged Musashi for revenge. The duel

took place in Kyoto outside a temple, Sanjūsangen-dō. Denshichirō wielded a staff reinforced with steel rings (or

possibly with a ball-and-chain attached), while Musashi arrived late a second time. Musashi disarmed Denshichirō

and defeated him. This second victory outraged the Yoshioka family, 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 branch of the Yoshioka School was

destroyed.

After Musashi left Kyoto, some sources recount that he travelled to Hōzōin 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-

ryū based on the Enmei-ryū 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 bokutoin 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 1607, 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 Hyōhō Niten Ichi-ryū (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 Kyūshū after the Battle of Sekigahara. Munisai had moved

to northern Kyūshū and became Tadaoki's teacher, leading to the possibility that Munisai introduced the two.

Nagaoka proposed a duel with a certain adept named Sasaki Kojirō. Tokitsu believes that the duel was politically

motivated, a matter of consolidating Tadaoki's control over his fief.

[edit]Duel with Sasaki Kojirō

Main article: Sasaki Kojirō

On April 13, 1612, Musashi (about age 30) fought his most famous duel, with Sasaki Kojirō, who was known as

"The Demon of the Western Provinces" and who wielded a nodachi. Musashi came late and unkempt to the

appointed place — the island of Funajima, in the Kamon Straight separating Honshū and Kyūshū. The duel was

short. Musashi killed his opponent with a bokken that Legend says that he used a oar from the boat he rode to the

isand. 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.

Musashi briefly established a fencing school that same year.

[edit]Service

In 1614–1615, Musashi participated in the war between the Toyotomi and the Tokugawa. The war had broken out

because Tokugawa Ieyasu saw the Toyotomi family as a threat to his rule of Japan; most scholars believe that, as

in the previous war, Musashi fought on the Toyotomi side. Osaka Castle was the central place of battle. The first

battle (the Winter Battle of Osaka; Musashi's fourth battle) ended in a truce. The second (the Summer Battle of

Osaka; Musashi's fifth battle) resulted in the total defeat of Toyotomi Hideyori's Army of the West by Ieyasu's Army

of the East in May 1615. Some reports go so far as to say that Musashi entered a duel with Ieyasu, but was

recruited after Ieyasu sensed his defeat was at hand. This may seem unlikely since Ieyasu was in his 70s and was

in poor health already, but it remains unknown how Musashi came into Ieyasu's good graces.

Other accounts claim he actually served on the Tokugawa side, but such a claim is unproven, although Musashi

had a close relationship with some Tokugawa vassals through his duel with Sasaki Kojirō, and in the succeeding

years, he did not drop out of sight as might be expected if he were being persecuted for being on the losing side. In

his later years, Ogasawara and Hosokawa supported Musashi greatly — an atypical course of action for these

Tokugawa loyalists, if Musashi had indeed fought on behalf of the Toyotomi.

In 1615 he entered the service of Ogasawara Tadanao (小笠原忠直) of Harima Province, at Ogasawara's invitation,

as a "Construction Supervisor," after previously gaining skills in craft. He helped construct Akashi Castle and in

1621 to lay out the organization of the town of Himeji. He also taught martial arts during his stay, specializing in

instruction in the art ofshuriken-throwing. During this period of service, he adopted a son.

In 1621, Musashi defeated Miyake Gunbei and three other adepts of the Togun-ryu in front of the lord of Himeji; it

was after this victory that he helped plan Himeji. Around this time, Musashi developed a number of disciples for

his Enmei-ryū although he had developed the school considerably earlier; at the age of 22, Musashi had already

written a scroll of Enmei-ryū teachings called "Writings on the Sword Technique of the Enmei-ryū" (Enmei-

ryū kenpo sho). 円/"En" meant "circle" or "perfection"; 明/"mei" meant "light"/"clarity", and 流/"ryū" meant "school";

the name seems to have been derived from the idea of holding the two swords up in the light so as to form a circle.

The school's central idea is given as training to use the twin swords of the samurai as effectively as a pair of sword

and jutte.

In 1622, Musashi's adoptive son, Miyamoto Mikinosuke, became a vassal to the Himeji Domain. Possibly this

prompted Musashi to leave, embarking on a new series of travels, winding up in Edo in 1623, where he became

friends with the Confucian scholar Hayashi Razan, who was one of the Shogun's advisors. Musashi applied to

become a swordmaster to theShogun, but as he already had two swordmasters (Ono Jiroemon Tadaaki and Yagyū

Munenori — the latter also a political advisor, in addition to his position as the head of the Shogunate's secret

police), Musashi's application was denied. He left Edo in the direction of Ōshū, ending up in Yamagata, where he

adopted a second son, Miyamoto Iori. The two then traveled, eventually stopping in Osaka.

In 1626, Miyamoto Mikinosuke, following the custom of junshi, committed seppuku because of the death of his lord.

In this year, Miyamoto Iori entered Lord Ogasawara's service. Musashi's attempt to become a vassal to the lord

of Owari, like other such attempts, failed.

In 1627, Musashi began to travel again. In 1634 he settled in Kokura with Iori, and later entered the service of

the daimyo Ogasawara Tadazane, taking a major role in the Shimabara Rebellion. Iori served with distinction in

putting down the rebellion and gradually rose to the rank of karō — a position equal to a minister. Musashi, however

was reputedly injured by a thrown rock while scouting in the front line, and was thus unnoticed.

[edit]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 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 Kojirō.[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: 17 retainers, a stipend of 300 koku, the rank

of ōkumigashira 大組頭, 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 namedReigandō 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 the younger brother of Terao Magonojo, his closest disciple. He died in Reigandō cave around June 13,

1645 (Shōhō 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 (熊本県).

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.

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 funereal eulogy to Musashi — was erected in

Kokura by Miyamoto Iori; this monument was called the Kokura hibun. An account of Musashi's life, the Niten-ki 二

天記, was published in Kumamoto in 1776, by Toyota Kagehide, based on the recollections of his grandfather

Toyota Masataka, who was a second generation pupil of Musashi.

[edit]Teachings

A picture of Musashi engaged in fantastic combat, by Utagawa Kuniyoshi (1798–1861).

Musashi created and perfected a two-sword kenjutsu technique called niten'ichi (二天一, "two heavens as one")

or nitōichi (二刀一, "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 with a wakizashi.

The two-handed movements of temple drummers may have inspired him, although it could be that the technique

was forged by a means of natural selection through Musashi's combat experience. Jutte techniques were taught to

him by his father — the jutte was often used in battle paired with a sword; the jutte would parry and neutralize the

weapon of the enemy while the sword struck or the practitioner grappled with the enemy. In his time a long sword in

the left hand was referred to as gyaku nito. Today Musashi's style of swordsmanship is known as Hyōhō Niten Ichi-

ryū.[citation needed]

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 seems to have had a rather straightforward

approach to combat, with no additional frills or aesthetic considerations. This was probably due to his real-life

combat experience; although in his later life, Musashi followed the more artistic side of bushidō. He made

various Zen brush paintings, 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, and translating them into English makes them even more so; that is why so many

different translations of the Go Rin No Sho can be found. To gain further insight into Musashi's principles and

personality, one could read his other works, such as Dokkodo and Hyoho Shiji ni Kajo.

[edit]Timeline

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.[citation needed]

Date Age Occurrence

1578 Musashi’s brother, Shirota, is born.

1584 0 Miyamoto Musashi is born.

1591 7 Musashi is taken and raised by his uncle as a Buddhist.

1596 13 Musashi duels with Arima Kihei in Hirafuku, Hyōgo Prefecture.

1599 15 Duels with a man named Akiyama in the northern part of Hyōgo Prefecture.

1600 16Believed to have fought in the Battle of Sekigahara in Sekigahara, Gifu Prefecture on the losing side. Whether he actually participated in the battle is currently in doubt.

1604 20Musashi 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 20 Visits Kōfuku-ji, Nara and ends up dueling with the Buddhist priest trained in the style of Hōzōin-ryū.

1605–1612

21–28

Begins to travel again.

1607 23 Munisai (Musashi's father) passes his teachings onto Musashi.

1607 23 Duels with the kusarigama expert Shishido Baiken in the western part of Mie Prefecture.

1608 24 Duels Muso Gonnosuke, master of the five-foot staff in Edo, modern-day Tokyo.

1610 26 Fights Hayashi Osedo and Tsujikaze Tenma in Edo.

1611 27 Begins practicing zazen meditation.

1612 28Musashi's most famous match with Sasaki Kojirō takes place on Ganryujima (Ganryu or Funa Island) off the coast of present-day Shimonoseki.

Opens a fencing school for a brief time.

1614–1615

30–31

Believed to have joined the troops of Tokugawa Ieyasu in the Winter and Summer campaigns at Osaka Castle, though no significant contributions are documented.

1615–1621

31–37

Musashi comes into the service of Ogasawara Tadanao in Harima province as a construction supervisor.

1621 37 Duels Miyake Gunbei in Tatsuno, Hyōgo Prefecture.

1622 38 Sets up temporary residence at the castle town of Himeji in Hyōgo 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.

1627 43 Travels again.

1628 44 Meets with Yagyū Hyōgonosuke in Nagoya, Owari Province.

1630 46 Enters the service of Lord Hosokawa Tadatoshi.

1633 49 Begins to extensively practice the arts.

1634 50 Settles in Kokura, Fukuoka Prefecture for a short time with son Iori as a guest of Ogasawara Tadazane.

1637 53Serves a major role in the Shimabara Rebellion and is the only documented evidence that Musashi served in battle. Was knocked off his horse by a rock thrown by one of the peasants.

1641 57 Writes Hyoho Sanju-go.

1642 58 Suffers severe attacks from neuralgia.

1643 59 Migrates into Reigando where he lives as a hermit.

1645 61 Finishes Go Rin No Sho / The Book of Five Rings .

Miyamoto Musashi dies from what is believed to be thoracic cancer.

[edit]Philosophy

Throughout Musashi's last book, The Book of Five Rings (五輪書 Go Rin no Sho?), Musashi seems to take a very

philosophical approach to looking at the "craft of war"; "There are five 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, 枯木鳴鵙図) and "Wild Geese Among Reeds" (Rozanzu, 魯山図). 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 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".

[edit]Way of strategy

Throughout the book, Go Rin No Sho, the idea which Musashi pushes is that the "way of the strategist" (Heihō 兵法)

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 because 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.

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.[edit]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 long sword 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 long sword, 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.[edit]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 because they were cumbersome and unwieldy.

[edit]Religion

Even from a late 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 Shintō-ryū style 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]

[edit]Musashi as an artist

Kingfisher Perched on a Withered Branch, by Miyamoto Musashi

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 "HoteiWalking" and "Sparrow on Bamboo"), his Hotei Watching a

Cockfight, and his Rozanzu ("Wild Geese Among Reeds").

[edit]In popular culture

For more details on this topic, see Miyamoto Musashi in fiction.

Even in Musashi's time there were fictional texts resembling comic books. It is therefore quite difficult to separate

fact from fiction when discussing his life. There have been numerous works of fiction made about or featuring

Musashi, among them several dozen films, including several 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 Inagakistarring Toshirô Mifune. Eiji Yoshikawa's novelization has greatly influenced successive fictional

depictions (including the ongoing manga Vagabond byTakehiko Inoue) and is often mistaken for a factual account

of Musashi's life.

[edit]See also

Miyamoto Musashi Station

[edit]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)

[edit]References

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

7. ̂ Miyamoto, p. 17ff.

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. ISBN 4-7700-2942-X.

11. ̂ Toyota, p. 250

12. ̂ Miyamoto, p. 57.

13. ̂ 獨行道

[edit]Further reading

[edit]Fiction

Inoue, Takehiko (1998). Vagabond. Viz Communications. (Manga/historical fiction)

Yoshikawa, Eiji (1995). Musashi (reprint edition ed.). Kodansha International. ISBN 4770019572. (Historical

fiction)

[edit]Essays

Tokitsu, Kenji (2004). Miyamoto Musashi: His Life and Writings. Shambhala Publications,

Inc.. ISBN 1590300459.

Turnbull, Stephen R. . The Lone Samurai and the Martial Arts. London: Arms and Armour

Press. ISBN 0853689679.

Wilson, William Scott (2004). The Lone Samurai. Kodansha International. ISBN 4-7700-2942-X.

[edit]Testimony

Iwami Toshio Harukatsu soke (11th successor to Miyamoto Musashi), Musashi’s teachings – philosophy

first: translation in English, Dragon n°7, January 2005, ed. Mathis ; French original text: L’enseignement de

Musashi est d’abord une philosophie

Iwami Toshio Harukatsu soke (11th successor to Miyamoto Musashi), Musashi's principles, Dragon n°13,

January 2006, ed. Mathis ; French original text: Les principes de Musashi

[edit]External links

Wikimedia Commons has

media related to: Miyamoto

Musashi

Wikiquote has a collection of

quotations related

to: Miyamoto Musashi

Miyamoto Musashi, One of the Greatest Warriors in History

The Complete English Translation of A Book of Five Rings (Go Rin No Sho)

Tracking Musashi's Final Years

Musashi & "The Book of Five Rings"

"The Way Of Walking Alone by Miyamoto Mushashi"

Some artwork by Miyamoto Musashi (archive link)

Miyamoto Musashi and The Book of Five Rings (English) and (Italian)

Tribute page "Dedicated to the greatest Samurai of all time"

The samurai warrior and Zen Buddhism (website of the Asian Art Museum, San Francisco)

[hide]v · d · eProminent people of the Sengoku period

Three major daimyo Oda Nobunaga · Toyotomi Hideyoshi · Tokugawa Ieyasu

Other daimyoAsakura Yoshikage · Azai Nagamasa · Chōsokabe Motochika · Date Masamune · Hōjō Sōun · Hōjō Ujiyasu · Imagawa YoshimotoNagayoshi · Mogami Yoshiaki · Mōri Motonari · Ōtomo Sōrin · Saitō Dōsan · Sanada Masayuki · Satake Yoshishige · Shimazu YoshihisaKenshin · Uesugi Kagekatsu · Ukita Hideie

Other notable military individuals

Akechi Mitsuhide · Fukushima Masanori · Fūma Kotarō · Hattori Hanzō · Hōjō Ujimasa · Honda Tadakatsu · Kobayakawa HideakiMitsunari ·Katō Kiyomasa · Kuroda Kanbei · Maeda Keiji · Naoe Kanetsugu · Oda Nobutada · Ōtani Yoshitsugu · Saika MagoichiKatsuie ·Shima Sakon · Tachibana Dōsetsu · Tachibana Ginchiyo · Tachibana Muneshige · Takahashi Shōun · Takeda KatsuyoriNorimasa ·Yamamoto Kansuke

OthersEmperor Ōgimachi · Hosokawa Gracia · Ishikawa Goemon · Izumo no Okuni · Kaihime · Katō Danzō · Komatsuhime · Miyamoto MusashiChiyome ·Nene · Nōhime · Oichi · Sasaki Kojirō

Go Rin no Sho - The Book of Five Rings

The Go Rin no Sho is widely accepted to be the best treatise on swordmanship ever written. While many martial artists have read it, to practitioners of Hyoho Niten Ichi-ryu the study of the Go Rin no Sho is a highly important part of the school. A thorough knowledge of the Buddhist scripts is necessary to understand the texts of Musashi sensei.

The Go Rin no Sho is broken down into five sections, named after the five elements/rings (Go Rin) of Earth, Water, Fire, Wind & Void. Each chapter concentrates on a different aspect of the strategy of swordsmanship:

• Earth - The strategy of martial arts• Water - The 'Two Heavens as One School' - Musashi's own school of swordsmanship• Fire - The strategy of battle• Wind - The study of other schools of swordsmanship• Void - The understanding of the Way

In addition to the Go Rin no Sho, Musashi also left a number of other writings as part of his teachings:

• Hyodokyo ( The Mirror of the Way of Strategy)• Hyoho Sanjugo Kajo (Thirty-five Instructions on Strategy)• Hyoho Shijuni Kajo (Forty-two Instructions on Strategy)• Dokkodo (The Way to be Followed Alone)

For some reason, the Book of Five Rings has been adopted by businessmen both in Japan and the West in recent years as a guide to financial prosperity although it is not meant as anything of the sort.

The Book of Five RingsFrom Wikipedia, the free encyclopedia

This article's tone or style may not be appropriate for Wikipedia. Specific concerns may be found on the talk page. See Wikipedia's guide to writing better articles for suggestions. (June 2009)

Go Rin No Sho calligraphed in Kanji . Musashi strived for as great a mastery in that art as in swordsmanship

The Book of Five Rings (五輪書 Go Rin No Sho?) is a text on kenjutsu and the martial arts in general, written by

the samuraiwarrior Miyamoto Musashi circa 1645. It is considered a classic treatise on military strategy, much like Sun

Tzu's The Art of War. There have been various translations made over the years, and it enjoys an audience considerably

broader than only that of martial artists: for instance, some business leaders find its discussion of conflict and taking the

advantage to be relevant to their work. The modern-day Hyōhō Niten Ichi-ryū employs it as a manual of technique and

philosophy.

Musashi establishes a "no-nonsense" theme throughout the text. For instance, he repeatedly remarks that technical

flourishes are excessive, and contrasts worrying about such things with the principle that all technique is simply a method

of cutting down one's opponent. He also continually makes the point that the understandings expressed in the book are

important for combat on any scale, whether a one-on-one duel or a massive battle. Descriptions of principles are often

followed by admonitions to "investigate this thoroughly" through practice rather than trying to learn them by merely

reading.

Miyamoto Musashi in his prime, wielding two bokken.

Musashi describes and advocates a two-sword style (nitōjutsu): that is, wielding both katana and wakizashi, contrary to

the more traditional method of wielding the katana two-handed. However, he only explicitly describes wielding two swords

in a section on fighting against many adversaries. The stories of his many duels rarely reference Musashi himself wielding

two swords, although, since they are mostly oral traditions, their details may be rather inaccurate. Some suggest that

Musashi's meaning was not so much wielding two swords "simultaneously", but rather acquiring the proficiency to (singly)

wield either sword in either hand as the need arose.[citation needed] However, Musashi states within the volume that one should

train with a long sword in each hand, thereby training the body and improving one's ability to use two blades

simultaneously.

Contents

[hide]

• 1 The five books

o 1.1 The Book of Earth

o 1.2 The Book of Water

1.2.1 Attitudes of swordsmanship

o 1.3 The Book of Fire

o 1.4 The Book of Wind

o 1.5 The Book of Void

• 2 Philosophical methods

o 2.1 Crimson-Leaves Strike

o 2.2 Autumn Monkey's Body

o 2.3 Blow Like a Spark from a Stone

o 2.4 Body of Lacquer and Paste

o 2.5 Chance-Opening Blow

o 2.6 Strike of Non-thought

• 3 See also

• 4 References and further reading

• 5 External links

[edit]The five books

Although it is difficult to grasp it from the book, Go Rin No Sho, these books are actually the teachings which Musashi

preached to his students in his own dōjō. Despite taking some ideas from others, the books are not based on any other

school of teaching.

The five "books" refer to the idea that there are different elements of battle, just as there are different physical elements in

life, as described by Buddhism, Shinto, and other Eastern religions. The five books below are Musashi's descriptions of

the exact methods or techniques which are described by such elements.

The term "Ichi School" is referred to in the book, Go Rin No Sho. When referring to such books, it refers to "Niten No Ichi

Ryu" or "Ni Ten Ichi Ryu", which means, when literally translated, "Two heaven, one school", although many could see the

translation as "Two Swords, One spirit", or "Two Swords, One Entity". However, the translation of "Two Swords, one

Dragon" was thought to be a transliteral misinterpretation of the Kanji word Ryu.

The Book of Earth chapter serves as an introduction, and metaphorically discusses martial arts, leadership, and

training as building a house.

The Book of Water chapter describes Musashi's style, Ni-ten ichi-ryu, or "Two Heavens, One Style". It describes

some basic technique and fundamental principles.

The Book of Fire chapter refers to the heat of battle, and discusses matters such as different types of timing.

The Book of Wind chapter is something of a pun, since the Japanese character can mean both "wind" and "style"

(e.g., of martial arts). It discusses what Musashi considers to be the failings of various contemporary schools of

swordfighting.

The Book of the Void chapter is a short epilogue, describing, in more esoteric terms, Musashi's probably Zen-

influenced thoughts on consciousness and the correct mindset.

[edit]The Book of Earth

The ground book, according to Go Rin No Sho, is mentioned as the book which refers expressly to the strategy taught by

Musashi at the Ichi School, and it is said to be how to distinguish the way through "Sword-Fencing", or "Swordsmanship".

The idea of strategy mentioned in this book is that of situational strategy, such as techniques and tricks to use when

fighting indoors, outdoors, on a horse, or in various other conditions. The book or discipline is that of strategies taught to

Ichi school students who would be encouraged to be very astute in their study and strategy:

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 ... 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.

Upon their mastery of the strategy and timing listed in the five books, Musashi states that you will be able to defeat ten

men as easy as you could defeat one, and asks: "When you have reached this point, will it not mean that you are

invincible?"

The strategies listed in this discipline or book relate to situations requiring different weapons and tactics, such as indoor

weapons. Musashi states that the use of halberd-like naginataand spears are purely for on the field, whereas the

longsword and accompanying short-sword can be used in most environments, such as on horseback or in fierce battle.

Musashi also mentions the gun as having no equal on the battlefield. It is the supreme weapon on the battlefield, until

swords clash—then it becomes useless. He also notes that the gun is somewhat lesser than the bow, since at that time

guns were not very accurate at ranges any longer than point-blank in addition to the disadvantage of being unable to see

the bullet and adjust your aim as you would with a bow. Not to mention, in the 17th century, the gap in reloading speeds

between skilled archers and skilled gunmen was rather large.

One of the principles of the Niten Ichi-ryū is that one should be versed in many weaponry skills. Musashi indicates that

during battle you should not overuse one weapon—this is as bad as using the weapon poorly since it becomes easy for

an enemy to find a weakness in your style after countless uses of the same weapon.

Timing, as explained by Musashi, is the core principle in strategy which is listed in the Ground Book. The idea of timing as

explained within the ground book is that you must be able to adapt your strategy to timing with your skill, in that you must

know when to attack and when not to attack.

In The Book of Five Rings he writes on timing:

"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 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."

[edit]The Book of Water

The water book concerns strategy, but it also includes various other factors which perhaps a warrior reading the book

should take into consideration, such as spirituality, religion, and one's outlook on life. The meaning of water in relation to

life is flexibility. Water demonstrates natural flexibility as it changes to conform with the boundaries which contain it,

seeking the most efficient and productive path. So also should one possess the ability to change in accordance with one’s

own situation to easily shift between disciplines, methods, and options when presented with new information. A person

should master many aspects of life allowing them to possess both balance and flexibility.

The spiritual bearing in strategy, which Musashi writes about concerns your temperament and spirituality whilst in the

midst of, or in formulation of a battle. Being a buddhist, most of what is written in the section concerning spirituality refers

to principles of calmness, tranquility and spiritual balance;

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.

This balance refers to what could be thought of as yin and yang within yourself. The over-familiarity or over-use of one

weapon is discouraged by Musashi, as it would be seen to reveal your spirituality to your enemy. The idea is that a

perfectly balanced spirit is also a perfectly balanced physical presence, and neither creates weakness nor reveals it to

your enemy.

During battle, the spirituality and balance is something of which Musashi notes that you should take advantage. Since

small people know the spirituality of big people, they can thus note differences and weaknesses between each other. This

is something which seems easy, but it is said to change when you are on the battlefield, as then you must know to both

adjust your spiritual balance according to what is around you, and to perceive the balance of those around you to take

advantage accordingly.

Just as your spirit should be balanced, your various techniques be honed to a perfectly balanced demeanour. In terms of

stance, much like balance within the trooper, Musashi notes that stance is an important part of strategy, or battle: Adopt a

stance with the head erect, neither hanging down, nor looking up, nor twisted. This is part of what Musashi notes

as wedging in.

In regards to the gaze of someone, he notes that a person must be able to perceive that which is all around him without

moving their eyeballs noticeably, which is said to be a skill which takes an enormous amount of practice to perfect. He

notes that this is again one of the most important parts of strategy, as well as being able to see things which are close to

you, such as the technique of an enemy. It is also used to perceive things far away, such as arriving troops or enemies, as

that is the precursor to battle. You can then change your actions according to what you see.

[edit]Attitudes of swordsmanship

1. Upper

2. Middle

3. Lower

4. Right Side

5. Left Side

The five attitudes of swordsmanship are referred to as the five classifications of areas for attack on the human body.

These are areas which are noted for their advantages when striking at an enemy, and the strategist is said to think of

them when in situations where, for any reason, you should not be able to strike them. Then his mind should adjust

accordingly.

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.

As each is thought of as an attitude, it could be thought of that Musashi means to practice with each "attitude" so that you

do not become over-reliant upon one, something which Musashi repeatedly notes as being worse than bad technique.

"No Attitude" refers to those strategists who do not go with the use of the "Five Attitudes" and prefer to simply go without

the attitudes of the long sword to focus entirely on technique, as opposed to focusing on both technique and the five

attitudes. This is similar to taking chances as opposed to making chances.

The attitude of "Existing - Non Existing", mixes the Five Attitudes with the Attitude of "No Attitude", meaning that the user

of the longsword uses the techniques and principles of both at whichever moment he or she finds most opportunistic.

"In-One Timing" refers to the technique of biding your time until you can find a suitable gap in the enemies' defense, to

which you will deliver one fatal blow to the enemy. Although this is said to be difficult, Musashi notes that masters of this

technique are usually masters of the five attitudes because they must be perceptive of weaknesses. It is rumoured that

Musashi disgraced a former sword master by using such a technique with a Bokken, but there are no descriptions

mentioning "In one" timing.[citation needed]

"Abdomen Timing of Two" refers to feinting an attack, then striking an enemy as they are retreating from the attack, hitting

them in the abdomen with the correct timing of either two moves or two seconds. Although the technique seems relatively

simple, Musashi lists this as one of the hardest techniques to time correctly.

"No Design, No Conception" refers to When word and actions are spontaneously the same. Aside from this philosophical

approach to the meaning, the technique is relatively simple to explain: if you are in a deadlock with the enemy, using the

force from the cut, you push with your body and use the disciplines outlined in the Void Book to knock the enemy over.

This is the most important method of hitting. It is often used. You must train hard to understand it.

"Flowing Water Cut" technique refers to if you come into a fight with an enemy of a similar level to you in swordsmanship.

When attacking fast, Musashi notes that you will always be at stalemate, so like Stagnant water, you must cut as slowly

as possible with your long sword. At the beginning of this technique you and your opponent will be searching for an

opening within each other's defense. When your opponent either tries to push off your sword, or to hasten back as to

disengage it, you must first expand your whole body and your mind. By moving your body first and then that of your

sword, you will be able to strike powerfully and broadly with a movement that seems to reflect the natural flow of water.

Ease and confidence will be attained when this technique is continuously practiced upon.

"Continuous Cut" refers to when you are again faced with stalemate within a duel, where your swords are clasped

together. In one motion, when your sword springs away from theirs, Musashi says to use a continuous motion to slash

their head, body, and legs.

"Fire and Stone's Cut" refers to when your swords clash together. Without raising your sword, you cut as strongly as

possible. This means cutting quickly with hands, body, and legs.

"Red Leafs Cut" refers to knocking down the enemy's long sword in the spirit of the "No Design, No Conception" cut.

[edit]The Book of Fire

The Fire Book refers to fighting methods unlike the specific fighting techniques listed in the Water Book. It goes into a

broader scope in terms of hints as to assess a situation, as well as specific situational instructions.

He notes obvious advantages of armor and preparedness before a duel or battle as it applies to one man or a whole

group of men:

As one man can defeat ten men, so can one thousand men defeat ten thousand. However, you can become a master of

strategy by training alone with a sword, so that you can understand the enemy's stratagems, his strength and resources,

and come to appreciate how to apply strategy to beat ten thousand enemies.

The dependence of location according to the Go Rin No Sho is crucial. You must be in a place where man-made objects

such as buildings, towers, castles, and such do not obstruct your view, as well as facing or standing in a position where

the sun or moon does not affect your vision. This is purely so that your vision is focused on nothing but the enemy, and

thus there is more concentration upon the enemy's stratagems. Musashi also seems to note the age old strategy of

the High Ground:

You must look down on the enemy, and take up your attitude on slightly higher places.

Other kinds of tactics which of Musashi tells are way of ensuring that the enemy is at a disadvantage. Forcing yourself on

the non-dominant side of a trooper is one way because the left side is difficult for a right-handed soldier. Other

disadvantages, such as forcing enemies into footholds, swamps, ditches, and other difficult terrain, force the enemy to be

uncertain of his situation.

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.

Ken No Sen (Attacking) is the most obvious method of forestalling an enemy because a head on collision forces both

parties to a standstill. Although it is not mentioned, Musashi must have been well aware that this method would also be

the most likely to have a higher death count than the others due to the sheer mass of enemies because more than one

enemy could then attack a single soldier or trooper.

As the name suggests, Tai No Sen (Waiting for the Initiative) is invented for very opportunistic and decided battles

between parties. The main idea being to feign weakness as to open a weak spot, or Achilles' heel, in the opposing force,

and then regrouping to exploit such a hole by attacking deep within the enemy's party. Although it is not mentioned, this

would most likely be to kill the officer of the highest rank as an attempt to remove the tactical centre of a group of soldiers.

A method particularly useful for Musashi or others, if attacking a general directly, would signal the end of the battle upon

his defeat.

Only a small amount of text is written about Tai Tai No Sen (Accompanying and Forestalling). Albeit very confusing, the

idea of Tai Tai No Sen is circumventing an ambush or quick attack from the enemy by taking the initiative and attacking in

full force. Musashi admits himself that this is a difficult thing to explain.

Although there are other methods, they are mostly situational methods relating to the crossing of rough terrain, and

battling within such rough terrain. Although it spreads over two or more paragraphs, most information is common sense,

relating to caution and avoidance of such situations.

The idea of timing, as with singular battles, is known as the most important part of attacking next to the skill of

participants. However, the type of timing in this instance is somewhat different from the timing noted in The Ground

Book since this variety of timing requires looking at the various physical factors which affect an enemy during battle, such

as determining if strength is waning or rising within a group of troopers.

The idea of treading down the sword is a very simple technique. Squashing an enemy's attack before it starts by using a

form of charging and then attacking under the veil of gunpowdersmoke, and arrow fire, the initial attacks used when

starting battles can be highly effective. Individually, it refers to attacking the enemy's sword, breaking it, removing it from

play, and a technique of controlling it through direct blade on blade contact.

Like Musashi mentions in his philosophical style, there is a cause for a collapse. As there is collapse within an enemy,

such as waning in his numbers, Musashi notes that one must observe such events and use them to his advantage.

Interestingly, he notes that an enemy's formation can fall if they lose rhythm. It was known that in such battles, drummers

drummed a tune for their other fellow soldiers to march to; and, if the rhythm was lost, it led to a "collapse when their

rhythm becomes deranged".

[edit]The Book of Wind

Whereas most of the information given in the previous books is useful in such a way that it could still be applicable today,

this book is primarily concerned with the specific details about other strategies that existed at the time. The broader lesson

from this book is that an important part of understanding your own way is to understand the way of your opponent as

precisely as possible.

Musashi notes that although most schools have secret and ancient strategies, most forms are derivative of other martial

arts. Their similarities and differences evolved through situational factors, such as indoor or outdoor duelling, and the style

adapted to the school. He indicates that his appraisal may be one sided because the only school he had interest for was

his own, and, in a way, he does not see parallels to his own creation and work. However, he still admits that without basic

understanding of these alternate techniques, you will not be able to learn Ni Ten Ichi Ryu, probably for reasons of finding

the wrongs in other techniques, and righting them within yourself in Ni Ten Ichi Ryu.

The main difference that Musashi notes between the Ichi School and other strategists and schools is that other schools do

not teach the "broader" meaning of strategy. There is a strategy above sword-fencing: "Some of the world's strategists are

concerned only with sword-fencing, and limit their training to flourishing the long sword and carriage of the body." The

book has many paragraphs on the subject of other school's techniques, and much of the text lists the ways that other

schools do not conform to the ideals which he himself writes about in the Book of Five Rings, such as footwork, sight, and

over-reliance or over-familiarity with a weapon.

[edit]The Book of Void

Although short, the void book lists, philosophically, the nature of both human knowledge and other things. The void book

expressly deals with "That which cannot be seen".

"By knowing things that exist, you can know that which does not exist."

The Book of No-thing, according to Musashi, is the true meaning of the strategy of Ni Ten Ichi Ryu. It seems very esoteric

in nature because he seems to note that you must learn to perceive that which you cannot understand or comprehend. He

notes that in this Void, what can be comprehended are things which we do and see, such as the way of the warrior,

martial arts, and Ni Ten Ichi Ryu. At the same time, in the Void, things we do not do or see (which he calls Spirit), are part

of the information which we perceive on a conscious level, but with which we have no physical relationship. It is arguable

whether Musashi is referring to religious spirituality or if he is actually explaining a way to live a life and process thoughts.

"In the void is virtue, and no evil. Wisdom has existence, principle has existence, the Way has existence, spirit is

nothingness."

In the above quote, Musashi speaks of "virtue and no evil". This may mean "goodness and banishment of evil" or

"purpose and non-existence of good and evil", and the exact meaning is open to debate.

[edit]Philosophical methods

[edit]Crimson-Leaves Strike

With this method, you will cause your adversary's sword to drop through a strike from your sword, then bring yourself

immediately back to a readiness to strike. This method is combined with The Strike of Nonthought, in which you will

always strike with true force by swinging your sword toward the ground when your opponent's sword is about to drop.

[edit]Autumn Monkey's Body

With this method, you are to start off by assuming a posture in which you are not to use your hands. You are to think of

getting your body close to your opponent before striking him. However, if you think of reaching out both of your hands,

your body will remain distant. This is to why you must always think of quickly getting your body close to the enemy. When

you are distant, you will exchange blows of the sword, and it will be rather easy to move closer to your opponent.

Thomas Cleary translates this technique as "Body of the Short-Armed Monkey".

[edit]Blow Like a Spark from a Stone

If you are currently within a situation in which you and your opponent's swords are to clash, you must strike extremely

hard without raising your sword to any extent. This is The Blow Like a Spark from a Stone technique. If you are to perform

this technique, you must first strike quickly with the three combined forces of your legs, your hands, and your body. This

blow will be rather difficult to perform if you do not train it at frequent times. If you diligently train yourself, you will be able

to increase the overall force of the technique's impact.

[edit]Body of Lacquer and Paste

With this technique, one's objective is to get close to the opponent and stick to him. When one is to do this, one must first

behave as though one had been strongly glued to him with one's feet, head, and body. It is generally known that during

combat, most fighters will have a tendency to have their body hang back while their heads and feet are extended forward.

One must attempt to paste one's body against the opponent's without leaving any area in which the bodies are not

touching.

[edit]Chance-Opening Blow

When you first start off by striking, your opponent will try to parry by hitting or by blocking your sword. At this point in time,

you need to completely equip yourself into the action of striking with your sword, and strike whenever you may see an

opening, whether it may be the legs, arms, or head. Following the single way of the sword and performing a strike such as

this is known as the Chance-Opening Blow. This technique will be useful at moment while fighting, so it should be trained

regularly.

[edit]Strike of Non-thought

You should always make your mind into a mind that is striking, and your body into a body that is striking when you and

your adversary are about to launch an attack. If this method is followed, your hand will attain movement through

emptiness, with speed and power, without taking note of any point in which movement had begun. Through the technique,

it has been said that Musashi was able to attain incredible strength, and was capable of defeating multiple enemies

simultaneously.

[edit]See also

Dokkōdō

Sun Tzu

Philosophy of war

List of military writers

On War

Legend of the Five Rings

[edit]References and further reading

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations where appropriate. (June 2009)

Tokitsu, Kenji (2004). "Miyamoto Musashi: His Life and Writings." Boston: Shambhala Publications Inc.

The Book of Five Rings has been published in English multiple times. The Thomas Cleary translation is the most widely

available and has been reprinted multiple times. A translation by William Scott Wilson is aimed towards practitioners of

Japanese classical swordsmanship. A translation by D.E. Tarver is marketed as a motivational book with a commercial

bias. Additional published translators include Stephen F. Kaufman and Kenji Tokistu (due May 2010).

The Book of Five Rings: A Classic Text on the Japanese Way of the Sword Miyamoto Musashi (Translator

Thomas Cleary), 2005, Shambhala Publications, Boston, USA. ISBN 978-1-590302-48-4.

[edit]External links

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Information on understanding Go Rin No Sho by Imai Masayuki Nobukatsu, 10th sōke of Hyōhō Niten Ichi-ryū

Miyamoto Musashi and the "The Book of Five Rings" (English) - (Italian)

A complete English translation of "Go Rin No Sho" (the Book of Five Rings)