Seven Samurai Quotes

seven times down eight times up like the Daruma doll

seven times down, eight times up

Ghost Dog: In the words of the ancients, one should make his decision within the space of seven breaths. It is a matter of being determined and having the spirit to break through to the other side.

Seven times up, eight times down

a problem’s nothing but an opportunity wearing a funny hat, and inside every disaster there’s a triumph struggling to get out.

Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we are going to haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.

Sometimes I rode the Circle Line reading a book on organic chemistry and sometimes I read Leave It to Psmith for the 20th or 21st time and sometimes I watched Jeremy Brett's marvellous grotesque Sherlock Holmes or of course Seven Samurai. I sometimes went out for Tennessee Fried Chicken. Day followed day. A year went by.

The young need their sleep and their dreams; only we who are old dream best when we are awake.

La Strada, Yojimbo, Ikiru, The Bridge, Rififi, Bicycle Thieves, Rocco and His Brothers, Open City, Seven Samurai, Le Doulos, Bitter Rice (which Cliff thought was sexy as hell).

CLIFF’S TOP KUROSAWA FILMS (tie) Seven Samurai and Ikiru Yojimbo Throne of Blood Stray Dog The Bad Sleep Well (for the opening scene alone)

In America, Rousseauism has turned Freud’s conflict-based psychoanalysis into weepy hand-holding. Contemporary liberalism is untruthful about cosmic realities. Therapy, defining anger and hostility in merely personal terms, seeks to cure what was never a problem before Rousseau. Mediterranean, as well as African-American, culture has a lavish system of language and gesture to channel and express negative emotion. Rousseauists who take the Utopian view of personality are always distressed or depressed over world outbreaks of violence and anarchy. But because, as a Sadean, I believe history is in nature and of it, I tend to be far more cheerful and optimistic than my liberal friends. Despite crime’s omnipresence, things work in society, because biology compels it. Order eventually restores itself, by psychic equilibrium. Films like Seven Samurai (1954) and Two Women (1961) accurately show the breakdown of social controls as a regression to animal-like squalor.

Remember！That's war！You're all in one boat！He who thinks only about himeself will destroy himeself, too！ Such selfishness will not be tolerated！" 「いいか！戦とはそういうものだ！人を守ってこそ自分も守れる！己のことばかり考えるやつは己をも滅ぼすやつだ！」

Cole envisioned the next few weeks passing as a sort of painless montage: there'd be music, and different moments of the townspeople hard at work building a defensive wall around the perimeter of the town, and digging holes to serve as traps, and training with the few weapons they had. There'd be a wiping of perspiration and drinks raised to one another and the exchange of friendly smiles between comrades, and perhaps deeper, more meaningful glances between him and MaryAnn. But by midmorning of the first day, Cole had come to the unavoidable conclusion that the remainder of the experience would in fact drag on in exceedingly real time, with lots of heaving and hoing and digging and hauling under the hot sun, full of the kind of intense straining that raised the danger of a really spectacular hernia. And, judging from the few tense conversations he'd had so far, he foresaw a series of increasingly strident arguments with Nora regarding matters strategic. Plus, of course, at the end of all this effort they'd all probably be dead.

Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we're gonna have it haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.

Fall down seven times, get up eight,” Manjiro said. “So my mother used to say.” 22 THE RACE here were no earthquakes. There were no broken legs. There were no emergencies of any kind. The day of the race arrived, as days generally did on the farm, with the barnyard rooster incessantly announcing its arrival. Manjiro climbed out of bed like an old man. Today was the day of his humiliation. Captain Whitfield squinted up at him from his coffee when he came into the dining room. “Rough night?” he asked. Manjiro shook his head, trying not to let his gloom show. He had taken great pains to keep this contest secret from Captain Whitfield. He poured himself a cup of coffee, muttering to himself, “I’m not going to let the cat jump in the bag now.” “Pardon me?” the captain said. Manjiro shook his head and sipped his coffee, the bitterness of it like a rebuke. His relationship with Captain Whitfield had been changing. Now that Manjiro was growing up—he was seventeen now—he regarded the captain more as a friend than a father. There were times, though, like now, when the feeling of being the naughty child of a possibly disapproving father was overwhelming. He should have confided in Captain Whitfield; the captain might have been able to help him out of his predicament. Well, it was too late now. He

Accountability An executive in service, as I said in the first chapter, must be one who lives for today but cares nothing for tomorrow. If this is so, and he does what he has to do day-to-day, with zeal and thoroughness, so that nothing at all is left undone, he has no reason to feel any reproach or regret. But living in the moment of the day does not mean ignoring future consequences. Troubles arise when people rely on the future and become lazy and indolent and let things slide. They put off quite urgent affairs after a lot of discussion, not to speak of less important ones, in the belief that they will do just as well the next day. They push off this responsibility onto one comrade and blame another for shortcomings. And when trying to get someone to do something for them, if there is no one to assist, they leave it undone, so that before long there is a big accumulation of unfinished jobs. This is a mistake that comes from relying on the future against which one must be very definitely on one’s guard. For instance, some executives are never accountable enough to arrive on time for a meeting. These silly fellows waste time by having a smoke or chatting with their secretaries and colleagues when they ought to be starting, and so leave their office late. They then have to hurry so much that, as they walk or drive, they do not acknowledge with courtesy people they pass. And when they do get to their destination, they are all covered with perspiration and breathing heavily, and then have to make some plausible excuse for their lateness on account of some very urgent business they had to do. When an executive has a meeting, he never ought to be late for any private reason. And if one man takes care to be a little early and then has to wait a bit for a comrade who is late, he should not sit down and yawn, neither should he hurry away when his time is up as though reluctant to be there. For these things do not look at all well either.

It was at the age of forty-seven that Wang gained a great victory over the rebel army, and wrote to a friend saying: "It is so easy to gain a victory over the rebels fortifying themselves among the mountains, yet it is not so with those rebels living in our mind."[FN#266]

6. The Breathing Exercise of the Yogi. Breathing exercise is one of the practices of Yoga, and somewhat similar in its method and end to those of Zen. We quote here[FN#247] Yogi Ramacharaka to show how modern Yogis practise it: "(1) Stand or sit erect. Breathing through the nostrils, inhale steadily, first filling the lower part of the lungs, which is accomplished by bringing into play the diaphragm, which, descending, exerts a gentle pressure on the abdominal organs, pushing forward the front walls of the abdomen. Then fill the middle part of the lungs, pushing out the lower ribs, breastbone, and chest. Then fill the higher portion of the lungs, protruding the upper chest, thus lifting the chest, including the upper six or seven pairs of ribs. In the final movement the lower part of the abdomen will be slightly drawn in, which movement gives the lungs a support, and also helps to fill the highest part of the lungs. At the first reading it may appear that this breath consists of three distinct movements. This, however, is not the correct idea. The inhalation is continuous, the entire chest cavity from the lower diaphragm to the highest point of the chest in the region of the collar-bone being expanded with a uniform movement. Avoid a jerking series of inhalations, and strive to attain a steady, continuous action. Practice will soon overcome the tendency to divide the inhalation into three movements, and will result in a uniform continuous breath. You will be able to complete the inhalation in a couple of seconds after a little practice. (2) Retain the breath a few seconds. (3) Exhale quite slowly, holding the chest in a firm position, and drawing the abdomen in a little and lifting it upward slowly as the air leaves the lungs. When the air is entirely exhaled, relax the chest and abdomen. A little practice will render this part of exercise easy, and the movement once acquired will be afterwards performed almost automatically." [FN#247]

Yoda is the lead samurai from Seven Samurai,” says Kasdan of Akira Kurosawa’s 1954 film. “Seven Samurai is for me the greatest film ever made and enormously influential for George. If you see Seven Samurai, you see Yoda is Shimada, the lead samurai. He’s the mentor figure who gets the whole picture.

Musashi, being the second son of Tahara Iesada, was given up for adoption to Miyamoto (Shinmen) Munisai. In this way, one person at least from the Tahara line would retain samurai status, something that was a matter of pride. It was a logical arrangement considering the tangled strands of the Akamatsu bloodline connecting them all in one way or another.24 Thus, Munisai’s background is as obscure as Musashi’s and most information about him also appears in contradictory texts written long after he died. Many still argue over whether he was a Hirata or a Hirao. Nonetheless, it is evident from what can be pieced together that Munisai was an accomplished martial artist known for his courage in battle. He reputedly took the heads of seven enemy warriors in one battle with a jūmonji-yari (crossed pike). As recorded in the Shinmen-kaki, “When Muni advanced with his yari [lance], seven warriors among the enemy sought to strike Muni down with their yari, but he skillfully took hold of their yari, running down as many as three warriors, taking their heads and giving chase to the remainder, thereby defeating the Kusakari forces.”25 He created a style of swordsmanship utilizing two swords in unison, which he named Tōri-ryū.26 Such was Munisai’s renown in battle that he was invited to demonstrate his skill in front of the last Muromachi-era shogun, Ashikaga Yoshiteru. Pitted against the shogun’s personal instructor, Yoshioka Kenpō, Munisai won two of the three bouts. This impressed the shogun, who then bestowed on Munisai the lofty designation Hinoshita Musō (“Peerless Under the Sun”). It is unknown when Munisai died, but it was most certainly after Musashi’s duel with Kojirō for reasons outlined below. Musashi clearly learned his trade under the wing of a formidable warrior.

The Lady and the Samurai Gibran was right. Love had beckoned her to follow his steep path and had embraced her. And true to his words, “the sword hidden among his pinions” wounded her that she may know the secrets of her heart, “and in that knowledge become a fragment of Life’s heart.” Thomas was correct as well. Love’s katanainoru “swordpray” was as it should be, fabulously bedaʐᶎling. The Samurai were on board thought she, when they made their seven-fold Code of Bushidō–benevolence, courage, honor, justice, loyalty, politeness and sincere veracity. She would not be a love void cymbal, a kymbalon that tinkled away in the dark night of her soul anymore. She was whole now, a woman, more, no, “greater than the sum of her makeup” according to Aristotle, and in her completeness she, as Archimedes suggested, was strategically going to secure a lever immense enough to move the world . . .