Sun Wu Quotes

After Supper the Master dismissed all except Sun Wukong, Zhu Bajie and Sha the Monk. He took them out with him and said, "Look at that wonderful moolight. It makes me long for the time when I can return home.

Sun Tzu Wu was a native of the Ch`i State. His Art of War brought him to the notice of Ho Lu, King of Wu. Ho Lu said to him: “I have carefully perused your 13 chapters. May I submit your theory of managing soldiers to a slight test?

The boatman then gently guided the raft across. They saw a dead body floating. At the sight of this, the Master was greatly frightened. But Sun smiled and said, "Master do not be alarmed! That corpse is none other than your own." Zhu Bajie said, "It is you, it is you!" Sha the Monk clapped his hands, and also said, "It is you, it is you!" The boatman also remarked "It was yours, I congratulate you." The three pilgrims congratulated him, and they quietly crossed over the Could Ferry in safety. The Master's shape was changed, and he jumped ashore on the other side with a very light body.

the Completer and Wu Wang all used spears and battle-axes in order to succor their generation. The SSU-MA FA says: "If one man slay another of set purpose, he himself

There should be a Stage IV of black identity—Unmitigated Blackness. I’m not sure what Unmitigated Blackness is, but whatever it is, it doesn’t sell. On the surface Unmitigated Blackness is a seeming unwillingness to succeed. It’s Donald Goines, Chester Himes, Abbey Lincoln, Marcus Garvey, Alfre Woodard, and the serious black actor. It’s Tiparillos, chitterlings, and a night in jail. It’s the crossover dribble and wearing house shoes outside. It’s “whereas” and “things of that nature.” It’s our beautiful hands and our fucked-up feet. Unmitigated Blackness is simply not giving a fuck. Clarence Cooper, Charlie Parker, Richard Pryor, Maya Deren, Sun Ra, Mizoguchi, Frida Kahlo, black-and-white Godard, Céline, Gong Li, David Hammons, Björk, and the Wu-Tang Clan in any of their hooded permutations. Unmitigated Blackness is essays passing for fiction. It’s the realization that there are no absolutes, except when there are. It’s the acceptance of contradiction not being a sin and a crime but a human frailty like split ends and libertarianism. Unmitigated Blackness is coming to the realization that as fucked up and meaningless as it all is, sometimes it’s the nihilism that makes life worth living. Sitting

Asked if an army can be made to imitate the SHUAI-JAN, I should answer, Yes. For the men of Wu and the men of Yueh are enemies; yet if they are crossing a river in the same boat and are caught by a storm, they will come to each other's assistance just as the left hand helps the right.

Youthful friendships were as transient as morning dew. When the sun rose, they would disappear. Just like people in the end would all change into something different from what they had been. It was just that some people still showed the outlines of their past selves, while some people's faces had changed altogether.

The shi of Sun Wu was to “make the most of the strategic advantage” and “if there is no advantage, do not move into action.

threw light upon the principles of war. It is obvious enough that Ssu-ma Ch`ien at least had no doubt about the reality of Sun Wu as

many words. "Sun Tzu's 13 Chapters and Wu Ch`i's Art of War are the two books that people commonly refer to on the subject of military matters. Both of them are widely distributed, so I will not discuss

WU WEI flow of Life governed by Tao flow of change spontaneous natural effortless acting through non-action connecting with Earth and Moon and Sun through being not inert or lazy or passive but swimming swiftly within the current merging Life with Tao quiet and watchful not-interfering receptive alert directly connected acting without action trusting detached without desire spontaneous natural effortless Living

preserved in the T`UNG TIEN, and another in Ho Shin's commentary. It is suggested that before his interview with Ho Lu, Sun Tzu had only written the 13 chapters, but afterwards composed a sort of exegesis in the form of question and answer between himself and the King. Pi I-hsun, the author of the SUN TZU HSU LU, backs this up with a quotation from the WU YUEH CH`UN CH`IU: "The King

17.  Thus we may know that there are five essentials for victory: (1) He will win who knows when to fight and when not to fight. [Chang Yu says: If he can fight, he advances and takes the offensive; if he cannot fight, he retreats and remains on the defensive. He will invariably conquer who knows whether it is right to take the offensive or the defensive.] (2) He will win who knows how to handle both superior and inferior forces. [This is not merely the general’s ability to estimate numbers correctly, as Li Ch’uan and others make out. Chang Yu expounds the saying more satisfactorily: “By applying the art of war, it is possible with a lesser force to defeat a greater, and vice versa. The secret lies in an eye for locality, and in not letting the right moment slip. Thus Wu Tzu says: ‘With a superior force, make for easy ground; with an inferior one, make for difficult ground.’"] (3) He will win whose army is animated by the same spirit throughout all its ranks. (4) He will win who, prepared himself, waits to take the enemy unprepared. (5) He will win who has military capacity and is not interfered with by the sovereign. [Tu Yu quotes Wang Tzu as saying: “It is the sovereign’s function to give broad instructions, but to decide on battle it is the function of the general.” It is needless to dilate on the military disasters which have been caused by undue interference with operations in the field on the part of the home government. Napoleon undoubtedly owed much of his extraordinary success to the fact that he was not hampered by central authority.] 18.  Hence the saying: If you know the enemy and know yourself, you need not fear the result of a hundred battles. If you know yourself but not the enemy, for every victory gained you will also suffer a defeat.

[Chang Yu relates the following anecdote of Kao Tsu, the first Han Emperor: “Wishing to crush the Hsiung-nu, he sent out spies to report on their condition. But the Hsiung-nu, forewarned, carefully concealed all their able-bodied men and well-fed horses, and only allowed infirm soldiers and emaciated cattle to be seen. The result was that spies one and all recommended the Emperor to deliver his attack. Lou Ching alone opposed them, saying: “When two countries go to war, they are naturally inclined to make an ostentatious display of their strength. Yet our spies have seen nothing but old age and infirmity. This is surely some ruse on the part of the enemy, and it would be unwise for us to attack.” The Emperor, however, disregarding this advice, fell into the trap and found himself surrounded at Po-teng.”] 19.  Thus one who is skillful at keeping the enemy on the move maintains deceitful appearances, according to which the enemy will act. [Ts’ao Kung’s note is “Make a display of weakness and want.” Tu Mu says: “If our force happens to be superior to the enemy’s, weakness may be simulated in order to lure him on; but if inferior, he must be led to believe that we are strong, in order that he may keep off. In fact, all the enemy’s movements should be determined by the signs that we choose to give him.” Note the following anecdote of Sun Pin, a descendent of Sun Wu: In 341 B.C., the Ch’i State being at war with Wei, sent T’ien Chi and Sun Pin against the general P’ang Chuan, who happened to be a deadly personal enemy of the later. Sun Pin said: “The Ch’i State has a reputation for cowardice, and therefore our adversary despises us. Let us turn this circumstance to account.” Accordingly, when the army had crossed the border into Wei territory, he gave orders to show 100,000 fires on the first night, 50,000 on the next, and the night after only 20,000. P’ang Chuan pursued them hotly, saying to himself: “I knew these men of Ch’i were cowards: their numbers have already fallen away by more than half.” In his retreat, Sun Pin came to a narrow defile, with he calculated that his pursuers would reach after dark. Here he had a tree stripped of its bark, and inscribed upon it the words: “Under this tree shall P’ang Chuan die.” Then, as night began to fall, he placed a strong body of archers in ambush near by, with orders to shoot directly they saw a light. Later on, P’ang Chuan arrived at the spot, and noticing the tree, struck a light in order to read what was written on it. His body was immediately riddled by a volley of arrows, and his whole army thrown into confusion. [The above is Tu Mu’s version of the story; the SHIH CHI, less dramatically but probably with more historical truth, makes P’ang Chuan cut his own throat with an exclamation of despair, after the rout of his army.] ] He sacrifices something, that the enemy may snatch at it. 20.  By holding out baits, he keeps him on the march; then with a body of picked men he lies in wait for him. [With an emendation suggested by Li Ching, this then reads, “He lies in wait with the main body of his troops.”] 21.  The clever combatant looks to the effect of combined energy, and does not require too much from individuals.

The more I speak, the angrier I get, and the steadier my voice grows. I think of all the people like me, like Lucy Goh or Evie Wu or even the young woman from the restaurant with Chanel's father. The neglected ones, the unlucky ones, the ones who want more than they've been given. The ones who have to crawl and scrape and fight their way up from the very bottom, who have to game a system designed for them to lose. Always the first to be punished and blamed when things go wrong. Always the last to be seen, to be saved.

His poetry was like Li Po’s, his calligraphy like that of the great Wang Hsi-Chih, and in strategy his cleverness matched that of Sun Pin and Wu Ch’i. He was well versed in astronomy and geomancy, in the six tactics and three practicalities.

Sun aimed the rod at its head, and one stroke caused its brain to burst out like ten thousand red petals of peach blossoms, and the teeth to fly out like so many pieces of white jade.

Böhm-Bawerk had his favorite metaphors for capital heterogeneity. His stream, which is not “of equal breadth at all stages,” with “dams at certain points, and leakages at others,”17 evokes the favorite image of Sun Wu. Best of all, though, and conveniently following our conifer leitmotif, Böhm-Bawerk offered the depiction of a tree’s growth, specifically a crosscut, essentially a large trunk, revealing its annual growth rings in a pattern of concentric circles (“konzentrische Jahresringe”).

Triple spring mated to beget all things. A divine stone quickened by the sun and moon Changed from egg to ape to reach the Great Way. Loanname and surname matched elixir made. Formless inside he yields no image known; His outward guise coheres in action shown. In every age all persons will yield to him: Hailed a king, a sage, he is free to roam.

Triple spring mated to beget all things. A divine stone quickened by the sun and moon Changed from egg to ape to reach the Great Way. Loanname and surname matched elixir made. Formless inside he yields no image known; His outward guise coheres in action shown. In every age all persons will yield to him: Hailed a king, a sage, he is free to roam.

Triple spring mated to beget all things. A divine stone quickened by the sun and moon Changed from egg to ape to reach the Great Way. Loanname and surname matched elixir made. Formless inside he yields no image known; His outward guise coheres in action shown. In every age all persons will yield to him: Hailed a king, a sage, he is free to roam.

Triple spring mated to beget all things. A divine stone quickened by the sun and moon Changed from egg to ape to reach the Great Way. Loanname and surname matched elixir made. Formless inside he yields no image known; His outward guise coheres in action shown. In every age all persons will yield to him: Hailed a king, a sage, he is free to roam.

For the Chinese, the fate of the kingdom of Wu serves as an elemental lesson on what happens when you dissipate your forces on several fronts, losing sight of distant dangers for the sake of present gain. “If you are not in danger,” says Sun-tzu, “do not fight.” It is almost a physical law: What is bloated beyond its proportions inevitably collapses. The mind must not wander from goal to goal, or be distracted by success from its sense of purpose and proportion. What is concentrated, coherent, and connected to its past has power. What is dissipated, divided, and distended rots and falls to the ground. The bigger it bloats, the harder it falls.

Unmitigated Blackness is simply not giving a fuck. Clarence Cooper, Charlie Parker, Richard Pryor, Maya Deren, Sun Ra, Mizoguchi, Frida Kahlo, black-and-white Godard, Céline, Gong Li, David Hammons, Björk, and the Wu-Tang Clan in any of their hooded permutations.

The Winter War serves as a powerful example of the effectiveness of the roundabout military strategy of Sun Wu and Clausewitz, of indirect over direct, shi over li, achieving intermediate gains over grabbing immediate territory, and most of all, sisu as the gritty perseverance without which such undertakings are virtually impossible.

Look north, he said, In the middle of that vast plain is a single lonely peak. In the light of the setting sun you can just make out the ruins of A-fang-kung, the palace of the great Ch'in Shih-huang, among the weeds and the high grass. Look west. The wind is rustling the woods where the gray mountain mist hides Mou-ling, the tomb of Emperor Han Wu-ti. In the east you can see the white wall reflecting the green hills where a red rooftop pierces the sky and the pale moon comes and goes. No one leans on the on the jade balustrades at Huang-ch'ing-kung where Emperor Hsuan Tsung frolicked with his ill-fated concubine Yang Kue-fei. Those three emperors were for ten millennia the heroes of our history. Where are they now? [Fenkl translation]

Outside, the sun was glowing, and the air was thick with gray clouds of exhaust, sounds of drilling, and ice cream trucks singing. There was a black dog licking a dripping fire hydrant and cherry tomatoes set out like little jewels. Magnolia was thrilled by all of it.

To be one-sided means not to look at problems all-sidedly, for example, to understand only China but not Japan, only the Communist Party but not the Kuomintang, only the proletariat but not the bourgeoisie, only the peasants but not the landlords, only the favourable conditions but not the difficult ones, only the past but not the future, only individual parts but not the whole, only the defects but not the achievements, only the plaintiff's case but not the defendant's, only underground revolutionary work but not open revolutionary work, and so on. In a word, it means not to understand the characteristics of both aspects of a contradiction. This is what we mean by looking at a problem one-sidedly. Or it may be called seeing the part but not the whole, seeing the trees but not the forest. That way it is impossible to kind the method for resolving a contradiction, it is impossible to accomplish the tasks of the revolution, to carry out assignments well or to develop inner-Party ideological struggle correctly. When Sun Wu Tzu said in discussing military science, "Know the enemy and know yourself, and you can fight a hundred battles with no danger of defeat", he was referring to the two sides in a battle. Wei Chengi of the Tang Dynasty also understood the error of one-sidedness when he said, "Listen to both sides and you will be enlightened, heed only one side and you will be benighted." But our comrades often look at problems one-sidedly, and so they often run into snags. In the novel Shui Hu Chuan, Sung Chiang thrice attacked Chu Village. Twice he was defeated because he was ignorant of the local conditions and used the wrong method. Later he changed his method; first he investigated the situation, and he familiarized himself with the maze of roads, then he broke up the alliance between the Li, Hu and Chu Villages and sent his men in disguise into the enemy camp to lie in wait, using a stratagem similar to that of the Trojan Horse in the foreign story. And on the third occasion he won.