Enzan. John Donohue
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class to take another look. He smiled. Then his face went totally blank. The sudden movement of his arm was fluid and almost too fast to see. The tanto shot across the room and buried its point into one of the wooden pillars along the dojo’s perimeter. You could almost hear the metal hum as it struck home.
“In another,” Yamashita concluded, “it is something very different. So …” He smiled at us. “In swordsmanship there is ki, ken, tai.” Spirit, sword, body. “Without spirit, without the force of the warrior, there is no sword.” He shrugged. “It is a spike, perhaps, or a cleaver. Just metal.” His eyes narrowed. “You make it dangerous. You create the sword.”
And then the lesson continued. He left the knife buried in the wood of that pillar as a reminder to us all.
I carry on that tradition, but without the elegance of my master. All of the pupils he accepts for training are required to have black belts in more than one martial art. Many of them have trained with bokken, the oak sword that forms the centerpiece of Yamashita’s training, but they have rarely plumbed its depths. As a result, new students often focus on the sword too intently, momentarily forgetting the other valuable lessons they have learned.
So I have to remind them. I like to think of it as an awareness exercise. But as some of my students limped off the floor after one session, I heard them ruefully calling it “hammer time.”
I’m not a cruel man, you understand. Yamashita used to chide me for sometimes being too gentle with the students. And over time, I’ve learned ours is an austere discipline, set against a hard world. Compassion is only possible when it follows mastery. But even in the rigors of training, I remind myself what is taking place is not mere battery, but a pounding more akin to the blows of a swordsmith as he forges metal into a blade of terrible beauty.
That day on the dojo floor we were working on different counters for attacks at distant and close intervals. Most sword work takes place in issoku itto no ma, the distance where you cross swords with an opponent and one small step will bring your weapon into striking distance. Some of the students had spent time studying kendo, the modern version of Japanese swordsmanship, so the concept was second nature to them. And the others quickly got the hang of it. They all had the body awareness of fighters.
The members of the class were paired off, a long line of swordsmen in the midnight blue of the traditional uniform, gripping the white oak bokken. I worked their wrist and forearm muscles in the quick jerking parries that are designed to deflect a strike and, with luck, expose an opening for a counterattack. We moved on to the sliding deflection of the suriage technique, then the move known as kaeshi, and finally to uchiotoshi. By that time, I could see the fabric of their heavy training jackets growing limp with sweat. In the pauses when we would rotate partners, people wiped their hands on their uniforms to keep their swords from slipping out of their hands. The constant repetition of the training session, the ceaseless back and forth of attack and counterattack, was taking its toll on them. They were straining to maintain focus, working hard at their swordsmanship. It was, as they say, a teachable moment.
I called the class to a halt and asked for a volunteer. A guy named Rick stood up. He had been training with me for almost a year, a diligent student who was skilled enough to be a good demo partner. We paired off and the others dropped to one knee to watch, grateful for the break. “So,” I began as I squared off with Rick. The tips of our bokken crossed. We were in issoku itto no ma. “From this interval, a number of attacks are possible. And a number of parries.” I nodded at him and we began, running in sequence through the techniques we had been practicing. As the senior member of the duo, I would attack, giving my junior a chance to respond. He did. Then we squared off once more and I came at him with a different technique. Again, the smooth response. I held up a hand to pause as we squared off one more time. “But now, what happens if something changes?”
Up to this point, I had been moving in what I call training speed. It was fast enough to be dangerous, but not so fast that a student like Rick didn’t have the opportunity to counter my attack. There was no point going at him full speed. I would have struck him every time and he would have simply grown frustrated. That would have been battering, not forging. And a good sensei must teach, not simply humiliate.
But now, I came at him for real. I shot toward him so fast that I got inside the striking radius of his sword. For a moment, Rick froze. I shot diagonally to the left across his front my right hand let go of the bokken, and my free arm curled up and across his neck. I saw the realization of what was happening come into his eyes, but by then it was too late. I was facing his rear, our hips on the same line. I extended forward and down, driving him into the floor. It wasn’t a hard throw, and I didn’t put all my energy into it, but coming down like that onto a hard wooden floor is bound to ring some bells in your head. I kicked his sword away and it skittered across the wooden floor.
Rick looked slightly cross-eyed for a moment, and then he shook it off. Even half stunned, he began to roll to his feet. I nodded in approval. Training is designed to help your body respond even before the conscious mind orders it to. But I must have dumped him harder than I had intended. His movements seemed slower than usual. Yet he doggedly began the long slog to his feet. I liked him for that, and felt the urge to help him up. But I didn’t. In the end, what we teach is not victory, but the capacity to endure. He deserved the small dignity of the struggle to stand upright once again.
Rick took a breath and set himself for the next attack. His sword was gone, so he set his hands in front of him in the unarmed tegatana posture, and waited. I nodded in approval, then backed away, showing him there would be no further attack.
“Irimi nage,” I told the class. “You’ve probably all seen it at one time or another, right?” Rick nodded ruefully and some other heads nodded as well. “So what happened?” I gestured to him, someone handed him his bokken, and we slowly went through the motions of what I had just done.
“We’re working on sword techniques and you’re getting tired. So you’re trying to compensate and you’re trying really hard. But your brain is sticking, focusing on the idea of using the sword.” I looked at Rick. “Here I come.”
I replicated my move and got in close. “For Rick to strike me, he needs to take a step back and swing the sword up, right? But that’ll be too late. So …” I smiled at them, “here’s Burke’s secret technique for the day.” I gestured at Rick. “You come in at me and do the same thing I did.” Rick glided in and across my front. He was now inside my strike radius to my right and my arms were extended in front of me, holding the bokken in the classic two-handed grip. “Now the sword is useless, yes?” I could hear Yamashita’s vocal cadence sneaking into my own. “But look!” I let go of the bokken with my left hand and raised the weapon horizontally and mimed hammering the butt of the sword into the side of Rick’s head. Well, maybe I gave him a poke in the nerve point under the ear where the jaw hinges. I pivoted around and placed my left hand against the back of the sword, slicing it down in a deep, vicious arc across the triceps of the arm that should have been snaking across my neck to throw me.
Rick nodded. I ran through the sequence again, letting him try the technique. We bowed to each other.
“The sword is a great weapon,” I told them. “But don’t get locked into thinking about it one way. It’s a spear. It’s a cleaver. A hammer. And sometimes it’s just an impediment. In fighting, there’s only one way to use a sword,” I told the class. “The way that gets the job done.” I swept my arm up and they reformed the line.
“Hajime,” I said. Begin.
Some people won’t take no for an answer.
Ito unfurled the small tube of paper, carefully smoothing it down on the coffee table between us. Below the loft apartment, the dojo was silent and empty. I could hear the refrigerator’s compressor cycle on in the kitchen and the distant hum of street traffic. Before me, the old paper crinkled.
It was a sheet of calligraphy in a vaguely familiar hand. The two large characters at the head of the paper were clear enough: seiyaku, a written vow.
“Can you read this?” Ito asked. He wasn’t being arrogant: the