Each genre has its own art of war. Only by understanding the art of war of other schools can we truly understand the art of war of this school. Therefore, in the scroll of wind, I will focus on the art of war of other schools.
When researching the art of war of different schools, I found that some schools focus on cultivating brute force and advocate the use of daggers; some genres like to use short swords, which they call "Kodachi"; and other genres are obsessed with techniques and invented many tricks. , Call it "so-and-so swordsmanship", which is widely taught in this gate.
In fact, these have deviated from the principles of kendo. On this point, I will elaborate in this volume so that everyone can recognize the flaws and understand the right and wrong, useful and useless. There are too many fancy scenes in these art of war, some become clowns dressed in costumes and show off their skills; and some art of war has become a tool for profit.
The principle of "two-day first-rate" warfare is completely different from them.
According to traditional concepts, the art of war only refers to swordsmanship. But it is hard to imagine that it is difficult to win victory with brute force or diligent legs and feet, let alone become the law of war.
In this volume, I will analyze the deficiencies of other genres and compare them to help you understand the essence of "Two Days First Class".
School of Odachi
Some schools are keen on Odachi. In my opinion, this is a sign of weakness. Because they don't know how to make a layout and lack a strategy, they can only use the length of the knife as a way to win. They thought that the longer the knife, the better it could defeat the enemy.
Someone used to say that in a duel, the key to victory is the length of the knife. In fact, this is the fallacy of people who don't understand the art of war at all. Therefore, relying on the advantage of the sword to defeat the enemy at a long distance is something that is done by people with weak hearts and ignorance of the art of war. This kind of warfare is naturally not popular.
Sometimes, when you fight the enemy at close range, the longer the knife, it will hinder the attack. At this time, the distance between you and the enemy is very short, and the space for swinging the Odachi is very small, so the Odachi becomes a burden; if the enemy you are facing is a short and sharp saber, your situation will be Very unfavorable.
Of course, people who like big swords often have their own reasons, but this can only be their own logic; as far as the art of war is concerned, this is absolutely illogical. Is it true that those who use sabers will definitely lose to those who use Odachi
Imagine if your combat environment is a very small space, would you still use Odachi? If you can only choose to fight with a saber, do you want to give up fighting? If you must persist, you do not believe in the performance of the art of war.
Of course, some people are naturally weak and cannot use Taidachi.
Since ancient times, "big" and "small" are just a concept, and each has its own strengths and weaknesses. There is nothing wrong with using a long knife, but being too stubborn and treating the long knife as the only tool to win is naturally extremely stupid.
Historically, there have been examples of small wins everywhere. Therefore, in my school of art of war, we must never allow narrow bias.
Genre of assault
Some schools emphasize "powerful blows." In fact, when you swing a knife, if you have "powerful" thoughts, then your actions will be savage and rude. In battle, it is difficult to win by brute force alone.
In addition, in a duel, if you want to cut down the enemy and use the so-called "powerful blow", this can only make your actions awkward. Although it takes a lot of effort, it will not succeed.
Even when practicing, you can't deliberately use your best to chop down something.
In a battle, when fighting an enemy in a life-and-death struggle, it is difficult to consider whether the blow is strong or weak. Your only thought is how to kill him. At this point, whether the attack is strong or weak is no longer within your consideration.
If you hit the opponent's knife too hard, it will also cause the knife in your hand to vibrate. At this time, if you want to grab the knife again, it is bound to slow down the movement.
Therefore, in a duel, blindly pursuing a "powerful blow" is absolutely undesirable. If you want to rely on a powerful army to carry out a fierce attack, the enemy will also adopt the same method to resist. Only by adopting the correct strategy can we win the battle.
The art of war thinking of this school is based on the basic principles of strategy and means, without considering any unrealistic things. Only in this way can we win the final victory. Please think carefully.
School of Kodachi
Some schools advocate the use of Kodachi to achieve victory. In fact, this idea is not in line with the principles of the art of war. Since ancient times, the big sword and the small sword have only been distinguished in terms of warfare.
For people with strong strength, using Odachi can be more maneuverable. People who use Kodachi think that the short one can pierce or throw into the enemy's chest while the enemy is swinging the sword. In fact, this idea is very one-sided. If you focus too much on finding the enemy's gap, you will inevitably ignore other things and get into trouble; in addition, if you are surrounded by enemies, it is completely impossible to use Kodachi to break through the defense and defeat them. Therefore, it is not correct to like Kodachi too radically.
It is true that you can learn a lot of knowledge in short weapons, such as: struggling to hack and kill, crossing the crowd, jumping freely, turning around quickly, etc.; however, these situations will put you in a defensive state and cause restlessness. This mentality is often only controlled by others.
In the art of war, pursuing the enemy effectively and directly, leaving the enemy in a state of chaos, is the only way to achieve victory. Launching a sudden attack on the enemy, and then quickly solving them, this is the focus of the art of war. Be sure to think carefully.
School of Swordsmanship
Some genres emphasize a wide variety of peculiar moves. Let beginners think that one move is the right way of war. In fact, this is a misunderstanding.
It is a mistake to think that as long as you learn all kinds of moves, you can defeat the enemy. As far as killing enemies is concerned, the methods in the world are no different. Whether a person with knowledge, a woman, or a child, there is no difference in killing the enemy. If we must say that there are moves, it is nothing more than "stabbing" and "chopping".
First of all, our goal is to kill the enemy. It is our goal to kill the enemy, and the cumbersome moves are a burden. Even so, because of the different situation and terrain, the situation is different, so this school's art of war has five ranks and five sword techniques.
In addition, if you insist on adding other techniques, such as bending your hands, rotating your body quickly, or jumping far away, it will be impossible to increase your power and kill the enemy. These are just useless empty shelves.
In my art of war, I emphasize simple, direct mentality and offensive methods. We must make the enemy nervous, unable to maintain a good state, and lure the enemy to use those flashy moves. This is the correct way to win, and it needs to be carefully understood.
School of Posture
Simply emphasizing the posture of holding a knife is another misunderstanding of the art of war. Once faced with a strong enemy, any so-called posture will be useless.
This is because, no matter whether it is based on past standards or today’s standards, the methods developed are simply useless in actual combat. Only doing everything possible to bring the enemy to an unfavorable situation is the key to victory.
Regardless of the posture adopted, unwavering courage is very important. No matter what the situation is, it should stand as a castle. Even if you are attacked, you must be calm and firm.
The essence of the art of war is to concentrate, seize the first opportunity, and gain the advantage of taking the initiative to attack. The defensive posture is also for the needs of offense, and you must wait for the opportunity to win the initiative.
In combat, we must use tactics flexibly to undermine the enemy's defense. The enemy's unexpected situation can be used, such as confuse the enemy with illusions, deliberately anger the enemy, deliberately intimidate the enemy, and then defeat them while the enemy's army is in disarray. This is the secret of victory in the art of war. Therefore, it is absolutely undesirable to blindly consider posture when defending. Therefore, in my art of war, I mentioned "no position", which means that there is no posture.
The same is true in the joint warfare. We must first pay attention to: the enemy's strength, the terrain of the battlefield, the state of our own army, how to adjust to the best state, and so on. As the saying goes, know yourself and the enemy, and win every battle.
Preemption and being controlled are two completely different things. Faced with these situations, the mentality is also different. When passively defending, try your best to use your sword skills to dodge, as if your sword has become a defensive fence; when actively attacking, you must have high morale, even if the weapon is a pillar, use it as a sword. These must be experienced.
Eyes of other genres
Different genres emphasize different eye styles. Some require staring at the enemy's knife; some require staring at the enemy's face or feet. In fact, if you fix your eyes on a certain point, it will cause restlessness, which is the shortcoming of the art of war.
When playing football, although people's eyes are not fixed on the ball, they can still be successful. This is because, after a person has done a sport very skillfully, he does not need to keep an eye on a point at all. The same is true in juggling. For a highly skilled juggler, even if he doesn’t look carefully, he can put a door on his nose and keep it balanced on it. Because when they are doing this, they have accumulated a wealth of experience and can always feel what is about to happen, which has become an instinctive sensory response.
In the art of war, the same is true. With the increasing combat experience, you will also master the enemy's moves and psychological trends. In short, the eye technique in the art of war is delicate observation and keen senses.
In joint warfare, it is also necessary to observe the enemy's state clearly.
There are two ways to observe: one is "watching" and the other is "watching." Both viewing and seeing require strong eyesight. They must be able to perceive the enemy’s mind, distinguish the situation of the war, recognize the strengths of the enemy and the enemy, and at the same time have a broad vision; then through precise judgments, effective strategies are formulated to win victory.
In joint battles or individual duels, you must have a broad vision. Short-sighted, confined to a certain point, will inevitably be disturbed by details, disturb the mind, and lose the chance of winning. Only by considering the overall situation can we win. This principle requires careful study and continuous practice in practice.
Footwork of other genres
Some schools focus on fast-moving footwork, such as floating step, jumping step, leaping step, stepping and so on. In fact, in my opinion, these footwork have serious flaws.
The correct step should be firm and steady. Once a floating step is used, the step will float and it is not stable enough. I don't like floating steps precisely for this reason.
I don't like jumping, because jumping is too agitated, blind and extreme. If you don't need to jump again and again, you should minimize jumps.
Leaping is to show the enemy's anxiety and commotion, and stepping is a passive defensive state, which is not advisable.
In addition, there are other different footwork, I will not list them all.
Different battlefields have different steps. Maybe you will fight the enemy in the wetlands or swamps, you will also fight the enemies in the mountains or rivers, you may also fight the enemies on the stone plains, and of course you will fight on the narrow roads; and these terrains must not be jumped. , Leap or other quick steps.
In my art of war, there is no difference in footwork. I think it is the best choice to walk as usual. The point is: follow the enemy's rhythm, adjust your posture, fast or slow, or retreat or advance, the pace should be orderly, calm and vigorous.
In the joint warfare, we must also pay attention to the rhythm of the pace. But don't attack blindly. After understanding the enemy's intentions, choose an effective pace.
Speed of other genres
Some genres pay great attention to speed. In fact, it is the most important thing that the speed matches the speed of the object's movement.
After you have truly mastered the art of war, you will never blindly ask for quickness. For example, a well-trained postman can walk fifty to sixty miles a day and often rests; while a postman who lacks training runs wild all day, but can only take a few paths.
In a dance performance, a highly skilled singer can dance and sing; if a clumsy novice wants to do the same, then he will be in a hurry and unable to follow suit. In the same way, a clever drummer can easily play a piece of music; if it is an inexperienced drummer, he will definitely not be able to master the melody of the piece correctly.
There is an old saying, "Haste is not enough", which emphasizes this truth. Therefore, everything has its own rhythm.
Experts are always calm and unhurried when doing things. Therefore, we can also gain insight into the principles of the art of war.
In the art of war, one-sided emphasis on speed is absolutely undesirable. The speed must depend on the situation. For example, fighting in a swamp cannot move too fast like on flat ground; fighting with a dagger is not as agile as a short sword. If you cut too fast, you can't hurt the vitals at all. We must pay attention to this point.
In the battle, we must not rush for success. The enemy must be controlled by the technique of suppression.
In addition, the enemy is too impatient, what you have to do is just the opposite. At this time, you must remain calm, not rushed or impatient, and must not be affected by the enemy. If you want to reach this state, you can only practice hard to grasp the situation calmly.
Kung fu of other genres
Each genre has its own unique skills and is not taught to others; however, since it has been used as a fighting criterion, there is no such thing as a "secret move".
The art of war that I teach, first of all, let beginners learn and master the most basic skills, and teach them easy-to-understand principles. As for those profound truths that are difficult to understand, I will vary from person to person, and will gradually teach them from shallow to deep according to each person's level of understanding. Since what I teach is knowledge that is suitable for them, there is no such thing as secret skills.
After you have experienced all kinds of peaks, you still want to go farther. The so-called art of war does not have the absolute skill of being secretive; however, if you want to master the principles of these art of war, you must practice assiduously.
Therefore, when I teach theories of the art of war, I don't like to follow the script, but teach them the way of practice that suits them according to their specific circumstances, so as to abandon the so-called "five ways" and "six ways". Unleash your mind and tap your potential, and naturally you will understand the true meaning of the samurai-this is exactly how I teach the art of war. In short, diligence and practice are essential to practice.
Concluding remarks
This volume summarizes the art of war of each genre into nine outlines and records it in the wind scroll. Although I have to discuss the drawbacks of these genres, I deliberately did not mention their names and the unique skills they involve.
In the same genre, there are slight differences due to the different thinking of each person. Therefore, I did not specify the name of the genre I am discussing.
I divide these genre tendencies into nine categories. Looking at it straightforwardly, we can know that some of them prefer long swords or short swords, some prefer power or profit, and some over-consider whether their swordsmanship is ingenious or not. These are all biased. Therefore, although I did not specify which genre they belong to, I believe everyone should know that this is actually wrong.
In my art of war, there is no such thing as "basic skills" and "advanced skills". The only thing I emphasize is that you should experience the essence of the art of war in your heart.