Sonshi/The Shock of War
V.
THE SHOCK OF WAR.
Son the Master said:—
The control of large numbers is possible, and like unto that of small numbers, if we subdivide them.
If we use drum, bell, and flag,[1] the direction of large forces is possible, and like unto the direction of small forces.
By the skilful interchange of ordinary and extraordinary manœuvres, is the enemy most certainly defeated.
Like the fall of a jagged rock upon an egg, so should the forces, strong and united, be dashed against the enemy’s empty unpreparedness.
Moreover, the collision with the enemy having occured, victory is obtained with the "strategic" force.[2] The methods of skilful employment of the strategic force are, like the heaven and earth, infinite and without end; as the tides and the flow of rivers, unceasing; like the sun and moon, forever interchanging; coming and passing, as the seasons.
There are five notes; but by combinations, innumerable harmonies are produced. There are but five colours; but if we mix them, the shades are infinite. There are five tastes but if we mix them there are more flavours than the palate can distinguish.[3]
Similarly, there is the detaining, or evident force, and the strategic force; but how many plans of battle can we not get from their combination! It is like unto a revolving wheel, perpetually changing, and without finality.
Like the rush of maddened torrents which carries away rocks, so is the shock[4] of battle.
Like the well judged cast of the falcon, in a flash crushing its quarry, so should that force be exerted.
Wherefore the good fighter, his force ever ready to be launched, and that swiftly, is like the stretched cross-bow, whose string is released at the touch of the trigger.
In the confusion of the attack, order is still preserved; the battle array is perfect, impenetrable. If discipline be perfect, disorder can be simulated; if truly bold, we can feign fear; if really strong, we can feign weakness.
We simulate disorder by numbers; fear, by attitude; weakness, by battle formation.
By making skilful dispositions, we may cause the enemy to conform to them. If we offer the enemy a point of advantage; he will certainly take it: we give him an advantage, set him in motion and then fall upon him.
Wherefore, the good fighter seeks victory from battle force, and not simply at the expense of his men: while careful in his choice, he does not regard his soldiers as his only weapons; yet, when an opening or advantage shews, he pushes it to its limits.
As a log or rock which, motionless on flat ground, yet moves with ever increasing force when set on an incline, so await the opportunity, and so act when the opportunity arrives.
Therefore the force of the skilful fighter is as the impetus of a round stone rolled from the top of a high mountain.
VI.
EMPTINESS AND STRENGTH.
Son the Master said:—
To be the first in the field, and there to await the enemy, is to husband strength.
To be late, and hurrying to advance to meet the foe, is exhausting.
The good fighter contrives to make the enemy approach; he does not allow himself to be beguiled by the enemy.
By offering an apparent advantage, he induces the enemy to take up a position that will cause his defeat; he plants obstructions to dissuade him from acting in such a way as to threaten his own dispositions.
If the enemy be at rest in comfortable quarters, harass him; if he be living in plenty, cut off his supplies; if sitting composedly awaiting attack, cause him to move.
This may be done by appearing in seemingly impossible quarters, and assaulting at unexpected points.
If we go where the enemy is not, we may go 1000 leagues without exhaustion.
If we attack those positions which the enemy has not defended, we invariably take them: but on the defence we must be strong, even where we are not likely to be attacked.
Against those skilful in attack, the enemy does not
- ↑ The drum was used to beat the assembly and in the advance, the bell as a signal for ‘‘ cease fire."’ The bell was not used in the wars in Japan, a large conch took its place. Flags were of two kinds, signalling flags and distinguishing banners. The fondness of the Chinese for banners seems to arise, partly from the posteresque quality of the Chinese written character with which the banners are usually adorned, and partly from a feeling of security and liveliness imparted by the many coloured cloth strips waving in the wind.
- ↑ The character (奇), which is here translated "strategic", alludes to that portion of an army which executes a flank attack, creates a diversion, or lies in ambush, while the enemy's attention is occupied by the evident, or detaining force.
- ↑ The five cardinal tastes are, acridity, bitterness, sourness sweetness and saline taste.
- ↑ No one word in English quite conveys the meaning of (勢). Force, élan, the Latin "vis," the shock-energy of troops flushed with success are suggestive.