| |
| |
| Translator's Preface | |
| |
| |
| Translator's Introduction | |
| |
| |
| The Book of Five Rings | |
| |
| |
| |
| Preface | |
| |
| |
| The Earth Scroll | |
| |
| |
| On the Science of Martial Arts | |
| |
| |
| Likening the Science of Martial Arts to Carpentry | |
| |
| |
| The Science of Martial Arts | |
| |
| |
| On the Composition of This Book in Five Scrolls | |
| |
| |
| On Naming This Individual School "Two Swords" | |
| |
| |
| On Knowing the Principles of the Words Martial Arts | |
| |
| |
| On Knowing the Advantages of Weapons in Martial Arts | |
| |
| |
| On Rhythm in Martial Arts | |
| |
| |
| The Water Scroll | |
| |
| |
| State of Mind in Martial Arts | |
| |
| |
| Physical Rearing in Martial Arts | |
| |
| |
| Focus of the Eyes in Martial Arts | |
| |
| |
| Gripping the Long Sword | |
| |
| |
| On Footwork | |
| |
| |
| Five Kinds of Guard | |
| |
| |
| The Way of the Long Sword | |
| |
| |
| Procedures of Five Formal Techniques | |
| |
| |
| On the Teaching of Having a Position without a Position | |
| |
| |
| Striking Down an Opponent in a Single Beat | |
| |
| |
| The Rhythm of the Second Spring | |
| |
| |
| Striking without Thought and without Form | |
| |
| |
| The Flowing Water Stroke | |
| |
| |
| The Chance Hit | |
| |
| |
| The Spark Hit | |
| |
| |
| The Crimson Foliage Hit | |
| |
| |
| The Body Instead of the Sword | |
| |
| |
| Striking and Hitting | |
| |
| |
| The Body of the Short-Armed Monkey | |
| |
| |
| The Sticky Body | |
| |
| |
| Comparing Height | |
| |
| |
| Gluing | |
| |
| |
| The Body Blow | |
| |
| |
| Three Parries | |
| |
| |
| Stabbing the Face | |
| |
| |
| Stabbing the Heart | |
| |
| |
| The Cry | |
| |
| |
| The Slapping Parry | |
| |
| |
| A Stand against Many Opponents | |
| |
| |
| Advantage in Dueling | |
| |
| |
| The Single Stroke | |
| |
| |
| The State of Direct Penetration | |
| |
| |
| Epilogue | |
| |
| |
| The Fire Scroll | |
| |
| |
| The Physical Situation | |
| |
| |
| Three Preemptions | |
| |
| |
| Holding Down the Pillow | |
| |
| |
| Crossing a Ford | |
| |
| |
| Knowing the State of Affairs | |
| |
| |
| Stomping a Sword | |
| |
| |
| Knowing Disintegration | |
| |
| |
| Becoming the Opponent | |
| |
| |
| Letting Go Four Hands | |
| |
| |
| Moving Shadows | |
| |
| |
| Arresting Shadows | |
| |
| |
| Infection | |
| |
| |
| Upset | |
| |
| |
| Threat | |
| |
| |
| Sticking Tight | |
| |
| |
| Coming up against Corners | |
| |
| |
| Flustering | |
| |
| |
| Three Shouts | |
| |
| |
| Mixing | |
| |
| |
| Crushing | |
| |
| |
| Mountain and Sea Changing | |
| |
| |
| Knocking the Heart Out | |
| |
| |
| Becoming New | |
| |
| |
| Small and Large | |
| |
| |
| A Commander Knowing Soldiers | |
| |
| |
| Letting Go of the Hilt | |
| |
| |
| Being Like a Rock Wall | |
| |
| |
| Epilogue | |
| |
| |
| The Wind Scroll | |
| |
| |
| On Wielding Extra-long Swords in Other Schools | |
| |
| |
| Powerful Sword Blows in Other Schools | |
| |
| |
| The Use of Schorter Long Swords in Other Schools | |
| |
| |
| Numerous Sword Strokes in Other Schools | |
| |
| |
| Positions of the Sword in Other Schools | |
| |
| |
| The Focus of the Eyes in Other Schools | |
| |
| |
| Footwork in Other Schools | |
| |
| |
| The Use of Speed in Other Schools | |
| |
| |
| The Esoteric and Exoteric in Other Schools | |
| |
| |
| Epilogue | |
| |
| |
| The Scroll of Emptiness | |
| |
| |
| Notes | |
| |
| |
| The Book of Family Traditions on the Art of War | |
| |
| |
| |
| The Killing Sword | |
| |
| |
| Preface | |
| |
| |
| The Great Learning | |
| |
| |
| Mood and Will | |
| |
| |
| Appearance and Intention | |
| |
| |
| Beating the Grass to Scare the Snakes | |
| |
| |
| The Vanguard of the Moment | |
| |
| |
| Aggressive and Passive Modes | |
| |
| |
| Logical Principles of Aggressive and Passive Attitudes of Body and Sword | |
| |
| |
| Mental and Physical Aggressive and Passive Modes | |
| |
| |
| Things to Learn When You Face an Aggressive Opponent | |
| |
| |
| Things Learned for Facing Off in a Contest of Adversaries | |
| |
| |
| The Mental Postures of Three Ways of Feinting | |
| |
| |
| Addressing and Adapting to Changes of Mind | |
| |
| |
| Double Looks | |
| |
| |
| Hit and Be Hit At: The Sense of Winning by Letting Yourself Be Hit At | |
| |
| |
| Three Rhythms | |
| |
| |
| A Small Rhythm to a Large Rhythm, a Large Rhythm to a Small Rhythm | |
| |
| |
| Noting the Tempo | |
| |
| |
| Techniques | |
| |
| |
| Techniques II | |
| |
| |
| Hearing the Sound of Wind and Water | |
| |
| |
| Sickness | |
| |
| |
| The Sense of Elementary and Advanced Levels of Removal of Sickness | |
| |
| |
| The Normal Mind | |
| |
| |
| Like a Wooden Man Facing Flowers and Birds | |
| |
| |
| The Free Mind | |
| |
| |
| The Life-Giving Sword | |
| |
| |
| Perceiving Abilities and Intentions | |
| |
| |
| The Rhythm of Existence and Nonexistence | |
| |
| |
| The Moon in the Water | |
| |
| |
| The Quiescent Sword | |
| |
| |
| Explanation of the Characters Used for "Quiescent" | |
| |
| |
| Stride | |
| |
| |
| The First Principle | |
| |
| |
| The One-Foot Margin on Both Sides | |
| |
| |
| "This Is the Ultimate"/The First Sword | |
| |
| |
| Analysis of the Moon in the Water; the Quiescent Sword; Sickness; Body, Hands, and Feet | |
| |
| |
| Moves | |
| |
| |
| The Margin of Safety | |
| |
| |
| Maneuvering | |
| |
| |
| Seeing the Quiescent Sword: Distinction of Three Levels | |
| |
| |
| "The Mind Is Like the Moon in Water, the Body Is Like an Image in a Mirror." | |
| |
| |
| Hasty Attack | |
| |
| |
| Bringing Back the Mind | |
| |
| |
| The Sense of Total Removal, the Sense of the Void, the Sense of Presenting the Mind | |
| |
| |
| True and False Mind | |
| |
| |
| No Sword | |
| |
| |
| Great Potential and Great Function | |
| |
| |
| Mind and Objects | |
| |
| |
| Martial Arts and Buddhism | |
| |
| |
| Yes and No | |
| |
| |
| Truth and Untruth | |
| |
| |
| Notes | |
| |
| |
| Bibliography | |