Dojo Darelir, the School of Xenograg the Sorcerer

Attention is selectivity applied to perception. It is an inward decision, usually made unconsciously, about what is worth perceiving and what isn’t. Attention both finds meaning and creates meaning. When we adopt the principle of “separate the subtle from the gross,” we are deciding on purpose where we want our attention to go, temporarily withholding it from what is obvious and bestowing it instead on what is inconspicuous and elusive.

In the world of spirit, attention is the equivalent of physical movement. It carries us toward the knowledge and acquaintances we seek and away from influences that we have determined to be harmful or useless. If you can’t control your attention, you can’t move properly, can’t get where you want to go when you want to go there. To the extent that you allow your attention to be jerked around by whatever happens to be manifesting most insistently, you look to other spiritual beings like a spastic. Control of attention is thus the first skill an aspiring magician must master, and perhaps the most important.

— Catherine MacCoun, On Becoming an Alchemist, pp. 52-53

I have used the concept of attention-as-spiritual-movement in my fiction, most notably in the “The Princess, the Sorcerer, and the Wizard” story thread on the Rings of Honor site.

Because attention determines what will or will not appear in consciousness, and because it is also required to make any other mental events—such as remembering, thinking, feeling, and making decisions—happen there, it is useful to think of it as psychic energy. Attention is like energy in that without it no work can be done, and in doing work it is dissipated. We create ourselves by how we invest this energy. Memories, thoughts, and feelings are all shaped by how we use it. And it is an energy under our control, to do with as we please; hence, attention is our most important tool in the task of improving the quality of experience.

— Mihaly Csikszentmihalyi, Flow, p. 33

Author’s emphasis.

The remarkable accomplishments of Hindu fakirs and other practitioners of mental disciplines are often presented as examples of the unlimited powers of the mind, and with more justification. But even many of these claims do not hold up under investigation, and the ones that do can be explained in terms of the extremely specialized training of a normal mind. After all, mystical explanations are not necessary to account for the performance of a great violinist, or a great athlete, even though most of us could not even begin to approach their powers. The yogi, similarly, is a virtuoso of the control of consciousness. Like all virtuosi, he must spend many years learning, and he must keep constantly in training. Being a specialist, he cannot afford the time or the mental energy to do anything other than fine-tune his skill at manipulating inner experiences. The skills the yogi gains are at the expense of the more mundane abilities that other people learn to develop and take for granted. What an individual yogi can do is amazing—but so is what a plumber can do, or a good mechanic.

— Mihaly Csikszentmihalyi, Flow, pp. 24-25

In the context of the hunt, Native American youths were taught to view themselves as subordinate to their game: as suppliants requesting a favor from a powerful being. The hunter’s strength was necessary to inspire the animal to sacrifice its life on his behalf. He had to prove himself worthy to appeal to the animal like a medieval knight performing brave deeds before begging a boon from his king.

The relationship between the warrior and his human enemies was viewed very differently. The warrior’s intention was always to dominate his opponent completely, on both the material and the spiritual plane. Most of the Plains tribes believed that the spirit of an animal that willingly gave up its life to a hunter would either travel to a peaceful spirit world or else be reborn in this world. Either way, that animal’s spirit would bear no grudge against the man who killed it. By contrast, they thought that if you destroyed a man’s physical self without fully conquering his spirit as well, his spirit would continue to represent a serious threat to your own physical and spiritual well-being. The angry spirit of a fallen enemy could bring a warrior bad luck, disease, or even death.

The warriors of the plains felt that the only way for a man truly to defeat an enemy without risking postmortem supernatural harassment was to demonstrate clearly the superiority of his spirit over that of his opponent. Even after death, an inferior spirit would always fear to attack a stronger one. Therefore a great deal of their warrior training was directed toward encouraging their young men to have confidence in their own superiority of spirit.

— Shannon E. French, Code of the Warrior, pp. 145-46

…No one now alive has witnessed combat between organized forces using hand-to-hand weapons, for the last vestige of it disappeared one hundred fifty years ago when the bayonet charge became obsolete. We tend to think (assisted by the movies) that direct shock combat of the sort described above was much more common in premodern warfare than it was. In reality, it was always difficult to make foot soldiers seriously engage one another with edged weapons because of their natural tendency to keep out of one another’s way. We have already seen that the Persian and other Eastern armies put no faith in heavy infantry assault. The main function of their spearmen was to provide cover for their archers, and battles were won by cavalry and archers with a minimum of physical contact. Only the Greeks had developed a style of warfare that made shock combat inevitable, because their infantry formation was no loose huddle but a tight rectangle (phalanx) often eight ranks deep or more, its heavy shields a collective locking device, its sheer depth and weight propelling the men in the front ranks onto the spears of the enemy.

— Doyne Dawson, The Origins of Western Warfare, p. 48

War has been intertwined with hunting for millennia. The word venison, originally “hunted meat,” comes from the same Indo-European root as the Russian votna, meaning war. Certain French armored units still dignify themselves as chasseurs, huntsmen, while several elite German and Austrian formations are styled jaeger, or hunters, a reminder that they were first recruited from the gamekeepers of central European forests. A guest of the more established officers’ messes in Italy or Spain is likely to dine beneath stag or boar heads glaring from the walls, the high-toned British regiments preferring paintings…celebrating the fox hunt. In the United States, which finds its romance on the frontier, the comparable designation for light, fast-moving outfits is Rangers, harking back to the days when woodsmen passed almost overnight from hunters into warriors who contested mastery of the forests with Mohawks and Hurons on the edge of an unknown world.

— Derek Leebaert, To Dare and to Conquer, p. 4

…[T]here is little finesse in air combat. Many civilians and those who have never looked through the gun sight…at an enemy aircraft have a romantic perception, no doubt influenced by books and movies about World War I, that pilots are knights of the air, chivalrous men who salute their opponents before engaging in a fight that always is fair. They believe that elaborate rules of aerial courtesy prevail and that battle in the clear pure upper regions somehow is different, more glorified and rarefied, than battle in the mud. This is arrant nonsense. Aerial combat, according to those who have participated, is a basic and primitive form of battle that happens to take place in the air. Fighter pilots—that is, the ones who survive air combat—are not gentlemen; they are backstabbing assassins. They come out of the sun and attack an enemy when he is blind. They sneak up behind or underneath or “bounce” the enemy from above or flop into position on his tail—his six-o’clock position—and “tap” him before he knows they are there. That is why fighter pilots jink and weave and dart about like water bugs in a mason jar. They never hold a heading or a position longer than six or eight seconds. Aerial combat is brutally unforgiving. To come in second place is to die, usually in a rather spectacular manner. Most casualties never know they are targets until they are riddled with bullets, covered with flames, and on the way to creating a big hole in the ground. Those who want to engage in the romanticized World War I pirouette of a fair fight will have a short career. Thus, aerial combat favors the bold, those who are not afraid to use the airplane for its true purpose: a gun platform. There is nothing sophisticated about sneaking up on someone and killing him. Aerial combat is a blood sport, a knife in the dark. Winners live and losers die….

— Robert Coram, Boyd: The Fighter Pilot Who Changed the Art of War, pp. 42-43

Emphasis mine.

All [medieval Japanese] warriors, regardless of rank, were trained in swordsmanship. Those of the upper ranks, of course, had more time to devote to the pursuit of excellence in this art, and to the pursuit of superior instructors—which explains why a retainer of lower rank, notwithstanding his longer exposure to the hardships of military life, was usually no match for a higher-ranking bushi in a duel. This type of situation…resembles that of Europe during the seventeenth and early eighteenth centuries [C.E.], when hardened veterans of countless battles were still no match for a well-trained aristocrat with a sword—the noble’s weapon which, with the rise of the bourgeoisie to power at the end of the eighteenth and early nineteenth centuries, became known as the gentleman’s weapon.

— Oscar Ratti and Adele Westbrook, Secrets of the Samurai, pp. 254-55

The Byzantine horsed archer was an expert, capable of loosing arrows from either side of the horse while at full gallop, either shooting a fleeing opponent, or defending himself by a ‘Parthian’ shot over the horse’s rearquarters if he himself was fleeing. The method used was a full draw to the right ear which imparted greater poundage to the arrow. The penetrative quality of Roman equipment used at the battle of Callinicum was due to the adoption of the Hunnic bow and the Mongolian release. The Mongolian release, which uses a thumb lock, is faster, whereas the Mediterranean release, using the fingers to draw, is slower and with an oriental bow the fingers would be crushed. Procopius says the bow used by the Persians at Callinicum was much weaker and the arrows unable to pierce armour, even though the rate of delivery was greater.

— Ann Hyland, The Medieval Warhorse, p. 22

Emphasis mine.

Naturally, there were many ryu and many sensei of bujutsu who specialized, often exclusively, in the use of the spear in combat. Famous among the former was the ancient Hozo-in ryu, named after the Hozo monastery where spear fighting was widely practiced. The Shinkage ryu, famed for its skillful swordsmen, also included spear fighting in its program of instruction. According to the literature of bujutsu, an expert spearman trained in any of these schools was studiously avoided not only by single warriors armed with the formidable katana but even by groups of warriors whom he could scatter with an intricate, yet impenetrable and deadly circular dance—his long weapon cutting, thrusting, slashing, and parrying as it cut through the air around him in a series of murderous whorls….

According to the major types of spears, there were two major arts or methods of using them: yarijutsu, the art of the straight spear, and naginatajutsu (or simply naginata), the art of the curved spear. Each art was practiced in accordance with innumerable styles, and there were subspecializations centered upon the use of all the various types of long and short spears and javelins. All shared a substantial number of basic techniques, such as the thrusts (tsuki), strikes (kiri), and parries which, in common with all cutting weapons, were also found in swordsmanship. Postures of readiness, introductory movements, styles of moving in toward an opponent or of sliding out of range of his blade, manners of reaching a target or of evading an attack, varied from school to school and even, within each, from expert to expert….

…In feudal times every part of the yari was used, including the bottom, which was usually capped with a pointed metal head; and that the position of readiness with the spear kept close to the side (in one of the predominant styles) was known as kai-kumi. We also know that several schools taught intricate patterns, high and low (jumonji-yari), in order to be able to strike not only from the front but also with characteristic sweeps directed at the opponent’s rear, while other schools specialized in parrying, hooking, and deflecting techniques known as kagi-yari. Naginatajutsu added to the techniques of the yari those circular cuts particularly appropriate to the curved shape of the naginata.

— Oscar Ratti and Adele Westbrook, Secrets of the Samurai, pp. 250-253

Emphasis mine.