Dojo Darelir, the School of Xenograg the Sorcerer

Tag: martial arts

The Finest Judoka in the World

October 19, 2023

[…The three women who coexisted as the Incarnation of Fate] had lunch and adjusted a few threads, preoccupied. Then Clotho donned slacks, low-heeled shoes, and a businesslike shirt, and rode a thread back down to the dojo.

Mars appeared as she landed before it. He was garbed in a white gi. Niobe had never been certain how Mars traveled, but it seemed to be related to his sword. Each Incarnation had a symbol of office that was imbued with much of the magic, and the red sword was obviously Mars’ symbol.

“Follow me,” Mars said, handing her his sword.

Clotho looked at it. The thing was unsheathed—a massive instrument, with a handle almost too big for her small hand to hold, and a gleaming double-edged blade that glowed red from some deep layer. The whole thing had a magical aura of menace; it made her nervous. She held it awkwardly by two hands, the blade pointing straight down.

Even Niobe was astonished. What’s he up to? He never sets aside his red sword!

We’ll find out soon enough, Atropos thought.

The girl at the desk recognized Clotho. “Please leave,” she said. “You are not welcome here.”

Mars leaned over the desk. “I am her champion. Signal your hirelings.”

Two men appeared at the inner doorway. Both were in gi‘s and wore black belts. “The lady has asked you to leave, mister,” one said, stepping forward.

I think we’re going to see some man-style foolishness, Atropos thought with a certain relish. When they don’t have sex on their minds, they do like to fight.

“I have an appointment,” Mars said. He stepped into the man, caught his outstretched arm, spun about, and sent him rolling across the floor.

The other man turned—and Mars’ leg shot out and swept the other man’s foot from under him, so that he landed on the floor with a resounding slap.

“Now go in and announce me,” Mars said. “I expect a full turnout, and the courtesy of the dojo.”

Without further word, the two men hurried away.

“But you could have hurt them!” Clotho protested.

Mars walked back to Clotho and proffered his arm. “Not with a simple hand throw and a foot-sweep; they know how to take falls. I merely showed them a hint of my competence.”

She held his sword out to him, but he demurred. “I shall not be using that here, but cannot trust it to the hand of a mortal. Hold it until we are done.”

Clotho managed to hold the dread sword by one hand, and took his arm with the other. She walked with him through the bamboo curtain and down the hall toward the main chamber of the dojo. “Are you planning to fight all of them?”

“Certainly,” Mars replied.

“But—”

“I will run the line. Then it will be your turn.”

“But—”

“Do not be concerned, cutes. It will be all right.”

I hope so, Clotho thought nervously.

He knows what he’s doing, Niobe thought reassuringly. The three of us may not know what he’s doing, but he knows.

They reached the second curtain. “Take off your shoes,” Mars told her. He was already barefoot.

She took them off. They stepped through.

About forty students were lined along the far wall, standing barefooted on the edge of the big mat. They seemed to be arranged roughly in order of rank, with the white-belts at one end and the black-belts at the other. There were, she noted, several women among them.

In the center of the mat stood Samurai. He turned to face them.

Mars stretched out his right arm. A red cloth appeared in his hand. Slowly, deliberately, he wound this belt about his middle and tied it in place with the odd knot that martial artists used. There was a murmur of amazement from the line of students. It was as if they had never seen a red belt before.

Is something significant happening? Niobe thought.

Mars stepped up to the mat, and halted, and bent forward at the waist. He’s bowing to the mat! Atropos thought, finding it funny.

But Clotho had heard of this. “It’s the ritual,” she murmured. “Always bow when joining or leaving the tatami, the mat, for it breaks your fall and spares your bones. Always step on it barefooted.”

Now Mars stepped onto the mat. “You assume the belt of a Master Dan,” Samurai said, as if in challenge.

“You are observant,” Mars replied.

Samurai turned and walked to the black end of the line of students. He dropped into a cross-legged seated position.

Mars faced the class, and bowed to the line. The line bowed back.

Then Mars strode forward and took hold of the student at the white end of the line. This was a young woman, so small and light that her bare feet left the mat when he brought her forward. He can’t attack her! Niobe thought with horror.

Yet no one else protested, or even seemed dismayed. They merely watched.

Mars brought her to the center of the mat and held her by the right lapel and left sleeve of her gi. “Try a throw,” he told her.

The girl turned and hauled on his jacket. She got nowhere. Then Mars stepped back, drawing her along with him so that she had to step quickly forward to avoid losing her balance. At the moment her right foot touched the mat, his left foot swept against it. Her foot went up and she fell backward. She landed on the mat, her left arm outstretched, slapping the mat resoundingly, her right arm captive to his grip.

De-ashi harai,” Mars said. “The Advanced-Foot Sweep. Remember it.” Then he let her go, and she scrambled up, bowed hastily, and returned to the line.

Mars nodded to the next student, a boy in white belt. The boy came out, took hold, and tried a throw of his own. It also got nowhere.

Mars drew him forward, as before, but this time set his left foot against the boy’s kneecap and hauled him into a tumble on the mat. “Hiza-guruma,” Mars said. “The Knee-Wheel. Practice your falls, son, or you’ll get hurt.”

“Yessir!” the boy exclaimed, scrambling up, bowing, and running back to his place in the line.

Mars nodded to the third student, another woman in a white belt. Again he gave her the chance to try to throw him, and she failed; then he threw her spinning to the mat with a hand-and-foot motion that seemed to be in between that of the prior two throws. “Sasae-tsurikomi-ashi,” he said. “The Propping-Drawing-Ankle Throw.”

There was a murmur along the line. “He’s doing the First Course of Instruction!” someone said behind Clotho. She turned to look. A brown-belt had come in behind her, off the mat. It was the instructor of the morning beginners’ class; evidently he had returned too late to join this one, so was watching from the side.

“Is that significant?” Clotho asked.

Now he recognized her. “You’re the—”

“The same,” she agreed. “I brought my champion to meet Samurai.”

“In a red belt!” he murmured, amazed. “That’s ninth or tenth Dan!”

“Is that good?”

“Oh—you don’t know judo?”

“Nothing,” she confessed. “I just came to talk to Samurai, and then things went wrong.”

He pursed his lips thoughtfully. “Just so,” he said after a moment. “Very well, I’ll be glad to explain. The master grades of judo are the Dan, as opposed to the student grades, the kyu. The Dan are black belt. But the very highest grades may wear the red belt. Normally such grades are only achieved as honors for service to the art, by masters who no longer compete. A competitor with a red belt should be the finest judoka in the world.”

“Oh, that explains why the class was so surprised.”

“It certainly does. As far as I know, there is no living, competing red belt today. So this man is bound to be an impostor.”

“He is Mars, the Incarnation of War.”

“Oh? Then maybe he—” The brown-belt shrugged. He returned to her prior question. “There’s nothing wrong with the First Course,” he explained. “They’re all good throws. But once people catch on to the order, they’ll know exactly which throw he’s going to do next. That makes it much harder. It doesn’t matter for the white-belts, but he’d have trouble throwing me with a throw I expected, and it would probably be impossible with a black-belt.”

Mars threw the next student over his right hip. “There’s the fourth—Uki-goshi, the Floating Hip Throw,” the brown-belt said. “I’ve never seen it done better. But I wonder where he could have gotten his training?”

Mars threw the next backward. “O-soto-gari,” the brown-belt murmured. “He certainly knows the basics.”

The next student fell. “And O-goshi,” the brown-belt said.

“Didn’t he just do that one?”

“No, that was Uki-goshi, a different throw. It looks similar and the footwork is similar, but the feel is quite different. Uke takes a much harder fall.”

“But I thought Uki was the throw, not the faller.”

The brown-belt smiled. “You really don’t know, do you? The one who does the throwing is always called Tori, the taker, and the one who gets thrown is Uke, the receiver. Anyway, the Uki-goshi is done stiff-kneed, while O-goshi flexes the knees, and—oh, there’s O-uchi-gari, the Major Inner Reaping! Beautiful!”

Clotho—and Niobe—were having trouble distinguishing the throws. They were ready to take the brown-belt’s word that they were being properly done. Clotho took advantage of his presence to ask another question. “What is this—this running the line?”

“Well, a challenger shows his superiority by defeating a number of others in rapid order,” the brown-belt said. “For example, a black-belt should be able to run a line of five brown-belts and throw them all, because his skill is greater. When the line is mixed, they do the lowest grades first, the Kyus, and work up to the Dans. Of course, by the time someone has thrown twenty or thirty people, he’s apt to be getting tired, so it gets harder both ways. No one has ever run our full line victoriously; if your friend makes it, he will have proved his rank. Some of ours are Sandans, and one’s a Yodan, and of course Samurai is Rokudan, the sixth level, and the champion of the eastern states. He’ll be world champion one day, if he decides to go for it.”

“He might not go for it?”

“Well, he’s getting old for competition, and judo is only part of his interest. He’s a master in karate, too, and aikido, and his specialty is the sword; no one can touch him there. He’s been searching for this mythical finger-strike, too— Say! Look at that Tsuri-komi-goshi! I’ve never seen a prettier throw! Did you see how he got full extension? I’ve never been able to do that on an Uke my own weight!”

The throw had looked just like all the others to Clotho and the other Aspects, but evidently there was a difference.

“But now he’s into the yellow-belts, and when he hits the green-belts he’ll have to work a little for it. Oh, nice Okuri-ashi-harai! That’s not as easy as it looks.”

Clotho was willing to take his word for it.

“God, I wish I was in that line!” the brown-belt said after the next throw. “It’s a privilege to be thrown by a master like that! Is he really the Incarnation of War?”

“Yes, he—”

“Oh, there’s the Uchi-mata! Samurai himself couldn’t have done it better!”

They watched while Mars moved into the green-belts. They were trying to throw him and failing as dismally as the white-belts had, and had no better success in resisting the return throws.

“That’s amazing!” the brown-belt commented. “I’ve never seen someone give them a chance like that; usually they put them away as fast as they can. He’s got a lot of confidence.”

“He should,” Clotho said, though she was amazed herself.

Then she saw Mars drop down. Someone had thrown him! But immediately the brown-belt opponent fell too. Both of them were lying on the mat.

Yoko-otoshi! The Side Drop!” the brown-belt exclaimed. “Beautiful!”

“You mean it’s supposed to look like that?” Clotho asked.

“Of course. It’s a sacrifice throw.”

“Oh.”

They watched several more standing throws. Then Mars went down again. He had his foot in the other’s belly, and lifted him over so that he did a roll and landed on his back. “Tomoe-nage, the Stomach Throw,” the brown-belt said.

The throws continued as Mars progressed three-quarters of the way down the line. There seemed to be no end to them. But obviously the class was highly impressed.

Soto-makikomi,” the brown-belt remarked as both men went down again. “I hate to take falls on that one! Of course it’s a power-throw; there’s not much stopping it once it starts. If he can do the next one, the Uki-otoshi—”

It seemed to Niobe that the brown-belt who was Uke at the moment simply threw himself on the mat, but the one beside her whistled softly. “Perfect!”

A black-belt came out of the line. Mars waited while the man tried a foot-sweep without success, then said, “Try another.” There was a chuckle along the line.

“What’s so funny?” Clotho asked.

“The situation. He’s up to the thirty-seventh throw in the Basic Forty. That’s Ushiro-goshi, the Rear Loin. It’s a counterthrow following an attempted hip-throw. Clyde didn’t try a hip-throw.”

Clyde tried a sacrifice throw, without effect; it was as if Mars were an immovable wall. There was another chuckle.

Then, moving like lightning, Clyde tried a hip-throw—and Mars picked him up and threw him to the mat. Clyde had gambled and lost. He got up, bowed, and smiled; he didn’t mind losing to an artist of that skill. “And he did it left-side,” the brown-belt murmured in awe. “Clyde tried to fool him, left-side, and he was ready.”

“Left-side is different?”

“And how! I really sweat on them!”

The last man in the line approached and took hold, but declined to try a throw. “Randori,” he said.

“What does that mean?” Clotho asked.

“That’s our Yodan,” the brown-belt said. “He’s a top competitor; he doesn’t like to do stationary throws. He prefers to counter, or to seize his opportunity. He knows your man will try the Yoko-gake, the Side Body Drop; he wants to make him do it in a moving situation.”

“Interesting,” Clotho said, unenlightened.

The two men moved about the mat, almost as if dancing together. Suddenly the black-belt screamed piercingly, his foot moving like lightning. But Mars’ foot moved too, just as fast—and they both fell to the mat.

The brown-belt shook his head. “Beautiful! He did it!”

“But how do you know who threw whom? And why the scream?”

The brown-belt smiled. “The scream was a kiai yell, to facilitate the throw. Didn’t work, this time. And sometimes it can be hard to tell, on a throw. I saw a match once where the award was given to the wrong judoka, before the judges corrected it. But this one was a perfect Yoko-gake, no question.”

Indeed, the class seemed to know it. Mars returned to the center of the mat, and exchanged bows with the class. It seemed he had successfully run the line.

“And he’s not even tired!” the brown-belt murmured.

Then Mars walked to the edge of the mat, stepped off, turned about, and bowed to it. “All right, girl,” he said gruffly. “He has to meet you now.”

“He what?”

“As your champion I conquered his class. I did not challenge Samurai himself. It is you who must meet him.” He took her by the elbow, urging her forward. “Honor the tatami.”

Bemused, Clotho bowed and stepped onto the mat….

With a Tangled Skein, Chapter 12

Author’s emphases in italic. Mine are in bold.

Requesting a Lesson

October 17, 2023

“So,” Tomita said calmly as he kneeled again, “to the task at hand.” He sat up a bit straighter and said, “I am Tomita…”

“Formerly of the Kunaicho,” I interrupted, just to rattle him a bit. Some of the true danger in him shot out briefly from his eyes, escaping from behind the barrier he had placed there.

“I am a student of the Morita-ha Tengu-shin ryu. I am menkyo-kaiden there and a yudansha in Yanagi-ryu jujutsu and kendo. I have killed four men in duels. I request a lesson.”

It told me nothing, other than that there were more victims than we were aware of. I had never heard of the Tengu-shin ryu. Tengu are the winged mountain goblins of Japanese legend. Master swordsmen, in the old stories they sometimes teach mortals their art. Depending on how “shin” was written, it could refer to some sort of divine revelation, the heart, or a deity of some sort. All I really could tell was that the man before me had had a variety of training. And he killed people.

He bowed toward me at the conclusion of his recital. It was my turn.

“I am Burke,” I began. The Japanese tend not to use the given name in situations like this. “I am a student of Yamashita-ha Itto ryu. I am yudansha in Shotokan karatedo and Kodokan judo. I have killed no man in a duel.”

Tomita grinned ferally at me.

“Until tonight,” I concluded. His grin just got harder looking.

Sensei, Chapter 18

To Conquer By Yielding

May 29, 2023

Jiujutsu is the old samurai art of fighting without weapons. To the uninitiated it looks like wrestling. Should you happen to enter the Zuihokwan while jiujutsu is being practiced, you would see a crowd of students watching ten or twelve lithe young comrades, barefooted and barelimbed, throwing each other about on the matting. The dead silence might seem to you very strange. No word is spoken, so sign of approbation or of amusement is given, no face even smiles. Absolute impassiveness is rigidly exacted by the rules of the school of jiujutsu. But probably only this impassibility of all, this hush of numbers, would impress you as remarkable.

A professional wrestler would observe more. He would see that those young men are very cautious about putting forth their strength, and that the grips, holds, and flings are both peculiar and risky. In spite of the care exercised, he would judge the whole performance to be dangerous play, and would be tempted, perhaps, to advise the adoption of Western “scientific” rules.

The real thing, however—not the play—is much more dangerous than a Western wrestler could guess at sight. The teacher there, slender and light as he seems, could probably disable an ordinary wrestler in two minutes. Jiujutsu is not an art of display at all. It is not a training for that sort of skill exhibited to public audiences: it is an art of self-defense in the most exact sense of the term; it is an art of war. The master of that art is able, in one moment, to put an untrained antagonist completely hors de combat. By some terrible legerdemain he suddenly dislocates a shoulder, unhinges a joint, bursts a tendon, or snaps a bone—without any apparent effort. He is much more than an athlete: he is an anatomist. And he knows also touches that kill—as by lightning. But this fatal knowledge he is under oath never to communicate except under such conditions as would render its abuse almost impossible. Tradition exacts that it be given only to men of perfect self-command and of unimpeachable moral character.

The feet, however, to which I want to call attention is that the master of jiujutsu never relies upon his own strength. He scarcely uses his own strength in the greatest emergency. Then what does he use? Simply the strength of his antagonist. The force of the enemy is the only means by which that enemy is overcome. The art of jiujutsu teaches you to rely for victory solely upon the strength of your opponent; and the greater his strength, the worse for him and the better for you. I remember that I was not a little astonished when one of the greatest teachers of jiujutsu told me that he found it extremely difficult to teach a certain very strong pupil, whom I had innocently imagined to be the best in the class. On asking why, I was answered: “Because he relies upon his enormous muscular strength, and uses it.” The very name “jiujutsu” means to conquer by yielding.

The Overlook Martial Arts Reader, pp. 56-57

Self-protection of Body, Mind, and Spirit

February 8, 2023

The essence of all martial arts and military strategies is self-protection and the prevention of danger. Ninjutsu epitomizes the fullest concept of self-protection through martial training in that the ninja art deals with the protection of not only the physical body, but the mind and spirit as well. The way of the ninja is the way of enduring, surviving, and prevailing over all that would destroy one. More than merely delivering strikes and slashes, and deeper in significance than the simple out-witting of an enemy; ninjutsu is the way of attaining that which we need while making the world a better place. The skill of the ninja is the art of winning.

Ninjitsu, p. 3

The author makes ninjitsu sound so appealing. Yet another grand master asserting his martial art is supreme. 🙂

Japanese Versus Chinese Martial Arts Styles

November 23, 2022

“…The movement patterns here are typical of Japanese as opposed to Chinese styles of unarmed fighting—the Japanese think of the torso as a cylinder that should be kept upright when fighting. The Chinese are a bit more flexible….”

Tengu, Chapter 10

The Cossack-Sorcerers

November 19, 2022

Among these Cossacks who lived within the territory of the Zaporizhian Sich, there were said to be some with magic abilities, who were called the Cossack-Sorcerers. According to folklore, these were true war mages, of which legends were born. However, unlike the modern fantasy warriors, they did not throw lightning-bolts and issue fire from their staffs. Their weapons and abilities were somewhat different….

According to the people’s imagination, the Cossacks were able to find and hide treasures, to heal wounds with spells, and to evade and catch bullets. They could withstand hot rods, change the weather and open castle doors with their bare hands. They were able to float on the floor in boats, as if on the sea, to cross the rivers on rugs…and instantly transport themselves from one side of the steppe to another. They knew psychotherapy, understood herbalism, and also possessed the art of hypnosis. There were also claims about the super-human physical training the Cossacks endured, and much more….

How the Cossack-Sorcerers actually began is shrouded in secrecy. Many believe that the Cossacks of legend have come from the ancient Slavic Yazykh priests of the Magi. It is said that after Prince Vladimir the Great was converted from Slavic paganism to Christianity in 988 and christianized the Kievan Rus, the priests did not agree that the prince should have accepted a foreign faith from Byzantium and so fled to the steppe where the warlords set up, teaching their followers in the martial arts….

Just as the Zaporizhzhya Sich was a melting pot for different people, it became possible that such a variety could exist among the Cossacks, sharing their knowledge, skills and abilities with them. By mastering this knowledge, the Cossacks could combine the practice of divination, charisma, and mysticism with the illusion and art of battle, as did the Japanese ninja….

Cossack-Sorcerers: The Secretive and Magical Warrior Society of Ukraine – Ancient Origins

Talents Beyond the Mere Physical

September 26, 2022
Abbot:
I see your talents have gone beyond the mere physical level. Your skills are now at the point of spiritual insight. I have several questions. What is the highest technique you hope to achieve?
Lee:
To have no technique.
Abbot:
Very good. What are your thoughts when facing an opponent?
Lee:
There is no opponent.
Abbot:
And why is that?
Lee:
Because the word “I” does not exist.
Abbot:
So. Continue.
Lee:
A good fight should be like a small play, but played seriously. A good martial artist does not become tense but ready. Not thinking yet not dreaming. Ready for whatever may come. When the opponent expands, I contract. When he contracts, I expand. And when there is an opportunity, I do not hit. It hits all by itself.
Abbot:
Now, you must remember: the enemy has only images and illusions behind which he hides his true motives. Destroy the image and you will break the enemy. The “it” that you refer to is a powerful weapon easily misused by the martial artist who deserts his vows. For centuries now, the code of the Shaolin Temple has been preserved. Remember, the honor of our brotherhood has been held true. Tell me now the Shaolin Commandment Number Thirteen.
Lee:
A martial artist has to take responsibility for himself and accept the consequences of his own doing.

— “Enter the Dragon” (1973)

Unarmed Combat in Full Armor

January 28, 2022

…In fact, if there was one thing I thought they needed, it was more drill in full gear. A [modern] soldier in the field would probably be wearing body armor that weighed about twenty-five pounds. Plus a field pack and other equipment that could mean he’d be carrying sixty pounds. Throw in gloves and goggles, elbow and knee pads, and what you got was someone who had to move in completely different ways. Balance would be a problem. Nobody was going to do much kicking—it’s hard enough to carry that weight on two legs, never mind one.

I was reminded of one of the more obscure kata in judo—kojiki no kata. The moves are odd and stilted, very different from the other forms that judoka practice. But that’s because that particular kata rehearses movements that would be made in full armor. It’s a holdover from the days when the samurai in armor still stalked the battlefields, and a recognition that the mechanics of fighting can change technique considerably.

Tengu, Chapter 9

Don’t Look For Your Opponent

January 12, 2022
Stick:
Don’t look for your opponent. Know where he is. I’m blind, and I see more than any of you. Because I don’t look.

— “Elektra” (2005)

There Is No Block

December 19, 2021

There really is no such thing as a block in traditional martial arts, at least not in the commonly understood sense. You see, the Japanese word uke means “receive” rather than “block” as it often incorrectly translated, a very significant difference both mentally and physically. Your defensive technique receives the adversary’s attack and makes it your own. Without this vital context you’re merely fending off a blow knowing that another is on its way, staying behind the count, whereas a “proper” block can end the fight all by itself without the need to throw what is commonly thought of as an offensive blow…..

There Is No Block – Kris Wilder

Alas, that blog is gone, and the Internet Archive does not have a copy of it.

The First Martial Arts Schools in Japan

November 27, 2021

Conventional martial training did not follow a common structure throughout [feudal] Japan; every clan had its own methodology and philosophy. Many clans had certain individual soldiers serve as group teachers, working with younger, newer troops. As a comparison the modern army, where new recruits learn from more experienced veterans on a fairly informal basis, is a similar system.

Some clans actually took the next step, establishing formal dōjō, or martial arts schools, to provide instruction to their men. Veterans of many campaigns, whose skill had been noted, would serve as instructors. This became their duty, and they lived to perfect their skills. They were more like drill instructors training recruits rather than modern teachers of martial arts. These sensei were teaching their charges how to kill and survive, not how to score points with flair and panache.

The philosophies that became a major part of martial arts as we now know them may have been in place, but only nominally. The subject of instruction was tricks and strategies to be used in defeating the enemy, not inner peace and self-control.

Another unusual martial art still practised in small numbers is armoured wrestling. Grappling with the enemy while in full gear is very different from conventional wrestling, and it needed practice. Related techniques included seizing and dismounting a rider while passing him.

Samurai 1550-1600, pp. 15-16

Emphasis mine.

True Masters Are Both Brutal and Refined

September 3, 2021

In the martial arts, the really good teachers cultivate in their students an acute sensitivity to various stimuli. Your nerve endings are teased and jolted, your reflex actions made more subtle, and, for some of us, the result is a change in the ways we see the world and exist within it. The true masters are both brutal and refined, compassionate torturers, and guides who lead you to places where you will stand alone, confronting age-old fears that snarl in the abyss.

Once you’ve gone into that void and come through to the other side, it changes you. You glimpse it sometimes in people who’ve had a similar experience. I see it in my teacher’s face in his rare unguarded moments. And I see it in the mirror. It doesn’t make us better than other people, just different.

Tengu, Chapter 2

Willing to Act as a Guide

June 18, 2021

The martial arts sensei is very much like a Zen master; he has not sought out the student, nor does he prevent him from leaving. If the student wants guidance in climbing the steep path to expertise, the instructor is willing to act as guide—on the condition that the student be prepared to take care of himself along the way. The instructor’s function is to delegate to the student exactly those tasks which he is capable of mastering, and then to leave him as much as possible to himself and his inner abilities. The student may follow in the footsteps of his guide or choose an alternate path—the choice was his.

The instructor first teaching technique (waza) without discussing its significance; he simply waits for the student to discover this for himself. If the student has the necessary dedication, and the teacher provides the proper spiritual inspiration, then the meaning and essence of the martial arts will finally reveal themselves to him.

Zen in the Martial Arts, p. 5

A Ruthless Model

September 25, 2020

“The selection of a primary disciple is not an easy thing. It is often marked by blood.”

Yamashita looked at me significantly. The founder of his style, Ittosai, dealt with this issue centuries ago and had left his successors through the generations a ruthless model. The master, blessed with two remarkable students of apparently equal skill, had brought them together. He had placed the scrolls of the style and the document of succession on the ground, along with a ceremonial sword. Then he had calmly informed the two disciples that the individual who left the room alive would be his successor.

Sensei, Epilogue

To Train in the Martial Arts

August 17, 2015

To train in the martial arts is like being apprenticed to frustration, to the burn of effort, and the unattainable criteria of perfection. There’s no glamour, no reward beyond the ones you create in your own heart. You struggle along the path and your teacher goads you or challenges you, always three steps ahead and always waiting, his eyes betraying nothing but demanding everything. And you try to give it.

Kage, chapter 2

Haragei

December 22, 2014

The nonverbal elements of communication and perception are highly valued by the Japanese; they prize their ability to grasp the essence of people and things using methods we can only guess at. They call this ability haragei. Yamashita has it. He can cross swords with a complete stranger and know the skill level of his opponent before they’ve begun. You can argue that it has to do with subtle physical clues people give off: a look in the eye, posture, breathing rates. The longer I train, the more I tend to agree. But there’s also more to it than that.

On days when he’s really cooking, it seems as if Yamashita can actually read your mind. What’s scary is not that he knows what you’re going to do before you do, but that he does it by getting inside you somehow.

I’ve experienced hints of it. The feeling is a weird, emotive certainty that washes up from the base of the neck and creeps over your scalp. It is often totally unexpected. And distracting.

Sensei, chapter 7

Any Sensei Is a Bit Mercurial at Times

December 22, 2014

Any sensei is a bit mercurial at times—they do it to keep you guessing. Part of the mystery of a really good martial arts teacher is the way in which you’re perpetually surprised by things, kept just slightly off balance. I had a karate teacher years ago, and every time I thought, OK this guy has shown me just about everything he’s got, he would waltz in and do something I had never seen before. Then he would look at me like he could read my mind.

Sensei, chapter 4

In the Martial Arts, Nobody Owes You Anything

November 28, 2014

In Japan, white is the color of emptiness and humility. Many of us had started our training in arts like judo or karate, where the uniforms known as gi were traditionally white as a symbol of humility. Most mainline Japanese instructors I knew frowned on the American urge to branch out into personal color statements with their uniforms. The message was clear: a gi is not an expression of individuality. People wanting to make statements should probably rent billboards and avoid Japanese martial arts instructors. They are not focused on your needs. They are concerned only with the pursuit of the Way. You are free to come along. But your presence is not necessary.

You have to get used to that sort of attitude. In the martial arts, nobody owes you anything, least of all your teacher. The assumption is that you are pretty much worthless and lucky to be in the same room with your sensei. You do what he says. You don’t talk back. You don’t ask rude questions. You don’t cop an attitude—that’s the sensei’s prerogative.

Sensei, chapter 2

Emphasis mine.

Dojo Storming

February 24, 2013

“In the old times…a young warrior would learn all local sensei could teach and then seek out ‘instruction’ at another dojo. A truly skilled fighter could go from school to school, challenging the best students and even the masters.” A sip of air as he paused. “It was known as dojo arashi.”

Dojo storming. I could imagine what it must have been like: hard young men clomping down the packed dirt roads of Japan with battered armor and well-kept weapons slung over their backs. They churned up the miles like hungry predators, hunting down new masters to defeat and new towns to prove themselves in. The good ones earned reputations. The less skilled, in the best of situations, learned to limp away quietly. Sometimes, only their ghosts moaned in phantom processional down midnight crossroads….

Sensei, chapter 17

A Dojo Is a Miniature Cosmos

December 9, 2012

A dojo is a miniature cosmos where we make contact with ourselves—our fears, anxieties, reactions, and habits. It is an arena of confined conflict where we confront an opponent who is not an opponent but rather a partner engaged in helping us understand ourselves more fully. It is a place where we can learn a great deal in a short time about who we are and how we react in the world. The conflicts that take place inside the dojo help us handle conflicts that take place outside. The total concentration and discipline required to study martial arts carries over to daily life. The activity in the dojo calls on us to constantly attempt new things, so it is also a source of learning—in Zen terminology, a source of self-enlightenment.

Zen in the Martial Arts, p. 4