*A COMMENTARY ON "THE ANALECTS OF THE INSTRUCTOR" BY HIRONORI

OHTSUKA. FROM HIS BOOK, ?WADO RYU KARATE?. *

/by Tim Shaw/
*Foreword*
For those who have the misfortune of not being able to lay their hands
on either the "limited edition" English translation, or the original
Japanese version of this seminal work, I have taken the time to compose
the following, hopefully comprehensive, analysis of the opening chapters
of Master Hironori Ohtsuka's book, "Wado Ryu Karate" (with the original
preface dated Showa 44 [1969]). These opening chapters come under the
general title of, "Analects of the Instructor". 1 <#1>
I am under no illusions that the quality of this analysis depends
largely on the translation of the original text into English. In some
cases I have risked second guessing the message of the translator. Also,
the content and style of the original text has to cross cultural
barriers and therefore we inevitably find ourselves questioning the
intention of the author and the identity of his original target
audience. Also, it is possible that I have simply misunderstood the
intentions of Ohtsuka Sensei's words ? if so the error is purely mine
and I exhort you to read the original text for yourself and I will
simply have to take criticism on the chin and revise my text (and ideas)
accordingly.
I have endeavoured to address the commentary to the general reader as
well as those who are already well versed in Wado methodology and tried
to avoid over-complicating the message. I have deliberately kept away
from some of the heavier philosophical issues, particularly those which
demand a solid grounding in Japanese culture.
Ohtsuka Sensei published very little in his lifetime, and even less has
been translated from the original Japanese. It is possible that he saw
the written word as a poor substitute for actual training. Certainly
there is some limited evidence to suggest that this may be the case,
specifically if one takes into consideration the comments relating to
Ohtsuka Sensei's contact with Daito Ryu Aikijujutsu master, *Kodo
Horikawa *. In an interview with Horikawa Sensei's widow, *Chieko
Horikawa * and a senior student, *Yusuke Inoue * in Hokkaido in 1986,
this intriguing reference is made to a visit from Ohtsuka Sensei:
Mrs. Horikawa /: ?On one occasion, I can't recall exactly when, an
expert in Wado-ryu karate by the name of *Hironori Otsuka * happened to
visit the dojo. He and Horikawa got on quite well. He was a wonderful
person, and very strict about technique. He was talking with Horikawa
and he said, ?I'll never write a book either?. For example there are
many ways to put out one's hand, but in a book all that can be conveyed
is the phrase ?put out your hand,? which misses all the subtleties. Both
he and Horikawa agreed that techniques cannot be expressed in books or
in words.? /
Inoue: /?I was present at the meeting too, and was shown his techniques.
Otsuka Sensei, too, had started out in jujutsu. So when the two of them
spoke about jujutsu they were in firm agreement about the heart and
spirit of the techniques.? /2 <#2>
Technical descriptions in either text or photographs always fall well
short of the experiences and lessons learnt from direct hands-on

teaching. Ohtsuka Sensei knew this and the subtlety of his art can only
be appreciated by engaging in serious practice under a well-qualified
instructor. The published material can do little more than act as a crib
guide, or a memory aid. In addition, Wado Ryu as a Japanese Budo system
is extremely difficult to master, the nuances and variations are so
numerous that a written record of the full range of possibilities is
completely unfeasible.
Is it a wonder that while books detailing the techniques of other
martial arts spring up like mushrooms overnight very little has been
published on Wado Ryu karate?
I will attempt to maintain the original structure of Ohtsuka Sensei's
text, including chapter headings and page numbers to allow the reader to
follow and cross-reference with the original text. It is my intention
for this to be used as a companion piece and not a replacement for the
original.
*(Reference page 4) A chapter titled, "The Origin of the Martial Arts." *
Ohtsuka Sensei begins his critique modestly by denying any real
authority or knowledge in the historical origin of the martial arts. He
states that out of the primitive needs for survival developed fighting
skills utilized by groups, used by the strong to control the weak. Unity
and stability had to be maintained through the power established by
these groups.
Ohtsuka Sensei then goes on to describe how, as mankind and scientific
and technological capability have developed, weapons and the sciences of
warfare have become so advanced that we are well on the road to self
destruction.
He speculates that in earlier, primitive societies life was simpler and
possibly relatively more peaceful.
It is the threat of self-annihilation that can be effectively
counterbalanced by true martial arts.
To put this into context, it has to be remembered that this was written
a mere twenty-four years after the unprecedented destruction of the
Japanese cities of Nagasaki and Hiroshima .
*(Ref. p5) "The Path* of Martial Arts". *
(*for "Path in this heading, read, "Way", /Jap/. "Do" /Chin/. "Tao".)
In the first section the reader is lead towards examining the
ideograms/characters for "chivalry/military affairs". This refers to the
debate on the character "Bu". He informs us that the strokes that make
up the character indicate, in one part, "to fight", in the other, "to
cease, or lessen". Thus Ohtsuka Sensei sets out for us his main
argument; that the martial arts are about the establishment of peace.
Ohtsuka reminds us that all nations and societies are subject to change
and that in the past emphasis on the robustness of warriors and warfare
and victory over the enemy were paramount, particularly during the times
when the nation was troubled by domestic and national conflict. But in
times of peace the focus was shifted to the characteristics of, as

Ohtsuka puts it, "loyalty, integrity, sacrifice and dedication". It is

interesting that he directs us to these particular virtues. These
"qualities" embody some of the key aspects of Bushido, (the Way of the
warrior, as specified by the code of the Samurai), who's origins lay in
the doctrines of the ancient Chinese philosopher, *Confucius*. Confucian
principles underpinned the development of the warrior ethos and
complemented the highly developed physical and technical skills of the
Samurai.
Ohtsuka also underlines the point that these philosophical principles
were not the exclusive domain of the ruling classes, but were also
embraced by the general populace. This echoed the development of the
Martial arts at this period. The fighting arts that had previously been
exclusive to the warrior class became accessible to all levels of
society, partly due to the reforms undertaken during the Tokugawa
period. Ohtsuka states that these philosophical principles survived the
subsequent periods or eras of Japanese history at one level or another,
even through the traumas and inevitable social upheavals of the Second
World War and its aftermath.
Within this text he mentions in passing that the principles of the
warrior and the man of honour were promoted to the advantage of the
ruling hegemony to maintain its grip on society and the general
population. (a comment he'd made oblique reference to in a previous
section, when referring to the use of organised military might to
control the populace.)
Ohtsuka brings us up to date and emphasises that Peace and Harmony
should be thought of as universal, and not the exclusive domain of
particular individuals or governments.
In the conclusion of this section Ohtsuka finishes this section with his
oft-quoted comment,
/"The Path/Way* of martial arts is the path for peace. By mastering the
path of martial arts, which is the path of peace and desiring the path
of peace consequently, is indeed the true path of the martial arts. The
essence of the path of the martial arts lies in the peace and happiness
of all human beings. Regardless of the change that time brings; as it
was in the past, martial arts has not altered its true essence now and
it never will in the future to come." /
*(Ref. p6) "The Path/Way and Technique." *
(For this title some may wish to consider it as it reads in Japanese,
i.e., "Do and Jutsu".)
Ohtsuka starts by drawing to our attention the development that took
place during the Meiji Era (1868 - 1912) of traditional Japanese martial
arts reinventing themselves and embracing the principle of "Do" i.e.
"Way", to the extent of adding "Do" to the name of their discipline and
dropping "Jutsu" i.e. "Technique, Art or Skill". E.g. Ken-jutsu became
Ken-do, Ju-jutsu became Ju-do, etc.
He comments that as times changed the martial arts no longer held the
same status within the Meiji era as it did in previous times. This he
put down to "cultural expansion", and the net result was that the
martial arts filtered down to the ordinary people. In addition, the
transformation of the martial arts into the modern "Do" forms was

further encouraged by its adoption into the education system,

particularly through Kendo and Judo.
Ohtsuka then directs us to the debate between "Do" and "Jutsu". He
indicates that although the two terms are ostensibly the same, there may
have be a certain cultural snobbery within Meiji thinking attached to
the use of "Do"; suggesting a more cerebral, hence elevated approach to
the martial arts.
So, is there really a difference between the mental approach to the
martial arts and the emphasis on technique? It is this central question
that Ohtsuka then seeks to answer. According to his understanding and
experience the mind is an integral part of "Jutsu", so "Do" is
essentially the same. Technique (Jutsu) without the necessary elevated
mental attributes would be hollow and meaningless, and the mental
qualities without equally developed skills would also fail to achieve
the highest objectives that Ohtsuka then seeks to direct us to later in
the book.
Ohtsuka states that, /"skill must be the kind of skill that expresses
the mind. By practicing with skill that expresses one's mind can one
train his own mind". /
There is perhaps more than one way of looking at this. On one level it
may just be an endorsement of the idea of technique expressing a
comparable level of understanding; that is, on a physical technical
plane. But on another level it may be that Ohtsuka is asking us to
consider the concept of the individual practitioner's technique matched
up and expressing the psychological balance and moral direction of that
particular practitioner. The principle of "right" or "righteousness" is
perhaps hinted at here, which indicates a subtle moral underpinning to
Ohtsuka's brand of martial arts.
This theme is explored later in the book in more depth under the
heading, *"Sei Ken" (Righteousness of the Fist). * "Sei" means,
"correct", ?precise? or "right", as in "Seiza". "Sei" = "Correct", "Za"
= "to sit". But in this context it means more than the right way to hold
your fist. Ohtsuka links this with a concept well known within
swordsmanship. There was a long tradition of the sword being the soul of
the swordsman and an expression of the swordsman's heart. If his heart
is on the right path he will not use his skills for evil means or become
subverted and stray from the true path - he will have a "righteous heart".
Ohtsuka expands by saying that this is the same with karate training,
and stressing how important it is that the martial art one undertakes to
devote oneself to must be "correct" in all ways. To explain this he
returns to a favoured theme of stating that the martial art must be in
line with the Harmony ("Wa") and the logic and reason ("Ri") of both
Heaven ("Ten") and Earth ("Chi"). The inevitable result being
righteousness and peace.
*(Ref. p7) "The Purpose of Training for Martial Arts". *
Ohtsuka opens this chapter by outlining that whatever reason you begin
your training in the martial arts (and it is accepted that these reasons
are many-fold) you must seek to embrace what he calls the "True Essence"
of your martial art. To fail to grasp this point inevitably results in
dissatisfaction and emptiness, which can be psychologically damaging.
While there are probably equally effective ways of developing ones mind

and character outside of the martial arts, as is also true of the quest
for strengthening and toughening the body, the martial arts of the ?true
tradition' offer something greater.
Ohtsuka comments in passing that the rigours of the harsher forms of
physical combat tests are a "violent, but effective medicine" i.e. it
gets the results, but at a cost.
He follows by saying that the methods must be correct in their
application and warns against being led astray and losing sight of the
objectives, adding that grave consequences await those who divert from
the goal. While methods must be strict it is essential that there must
be the support of a teacher who follows the right path, as well as the
camaraderie of one's fellow travellers on the Way.
He outlines the qualities necessary within the individual for pursuing
the true martial art. Firstly, the double edge weapon of intelligence
and wisdom. These attributes teamed with an unwavering and enduring
mental strength and equally matched with physical ability will give
access to the "Way of the martial arts mentality".
*(Ref. p8) "What is the Mentality of the Path of Martial arts?" *
Here Ohtsuka emphasises what to him is the underpinning principle and
objective of the martial arts; that is "Peace". But he acknowledges that
this is no easy task and should be approached through a realistic
awareness of the imperfections of human nature. Ohtsuka states that the
desired Peace will not come through the interventions of transcendent
beings, Gods, Buddhas, etc. but instead through human toil, (though he
is sceptical about the direction that recent sociological trends and
scientific developments have taken us). Here we see that Ohtsuka's faith
remains firmly rooted in mankind and the potential there is for
self-improvement and the improvement of society as a whole. Evidence
perhaps that otherworldliness has little place in Ohtsuka Sensei's
personal philosophy.
Ohtsuka sees that the source and the motivation to achieve this task is
within the Martial Arts. He describes it as "this extraordinary mental
power".
*(Ref. p9) "Martial Arts Mentality Necessary for Present Day People." *
However, he perceives a dilemma in that the Martial Arts, and hence the
Martial Arts Mentality, is seen in some quarters as anachronistic, a
throw-back to feudalism, a symbol of oppression. This is only natural in
the cultural climate in Japan after the Second World War and originates
out of misinformation and ignorance.
*(Ref. p9) "Words and Actions are never separated from each other." *
Ohtsuka pursues the necessity of reaching for the ideal, of the need for
peace in society and underlines the complexities of approaching such an
objective. He shies away from any detailed formula but instead promotes
his theory of the Martial Arts Mentality and how it can supply the
necessary will to succeed. He mentions decisiveness and striving towards
what is right, unencumbered by problems or obstacles met along the way.
Effectiveness must come from the dual disciplines of educating the
intellect and focussing mind and body through training. The highly

educated and informed individual can effectively deploy his learning and
talents through disciplines honed in the Dojo. These two aspects must be
in balance, as Ohtsuka puts it, ?like wings to a bird?. This exhortation
has its roots in the Samurai maxim of ?Bun Bu Ryo Do?, literally
?Literary arts, Military arts, together?. This is a goal that dates back
to a 12th century Samurai ideal, but which few military men of the time
were equipped to live up to.
*(Ref. p10) "How Martial Arts exist in the present". *
In this section Ohtsuka seeks to establish a rationale that suggests
that the will towards the cultivation of an intellectual, emotional and
physical elite should be driven by a feeling towards the promotion of
the common good. He warns us against using people as unconscious pawns,
saying that this must work within society, not separate from it. He also
underlines the importance of true virtue within contemporary martial
arts, warning against using martial arts for purely competitive
purposes. It is clear that Ohtsuka had certain misgivings regarding the
direction that the "sports only" policy can take future generations into.
*(Ref. p11) ?The Relationship between Martial Arts Training ? Martial
Arts Reality.? *
In this chapter Ohtsuka moves from the practical into the philosophical.
For me this is perhaps the most interesting and profound section of the
book. It is structured in a very traditional format harking back to the
style of the Chinese classics favoured by the Tokugawa scholars,
following a logical sequence that builds from humble and practical
beginnings and leads us into the exposition of an ambitious set of
objectives for the whole of humanity.
Ohtsuka's initial point of departure is to underline the seriousness of
martial arts training, explaining that while the techniques used are
potentially lethal, practice must be governed by a regard for the safety
of all involved, but training must be a serious undertaking to enable
the practitioner to respond in the most appropriate manner. He also
explains how courtesy comes out of a historical regard for the
importance of propriety which is woven into Japanese society. Bowing is
an outward expression of this propriety (?begin with a bow and end with
a bow?). In Japanese martial arts this is referred to as ?Reigi? and
comes out of a historical regard for propriety deeply rooted in Japanese
life. Ohtsuka says that respect is born from love and that actions
associated with Respect (Reigi) are not empty gestures but a true
expression of love.
The word ?love? translated here can cause difficulty for the western
audience. In western society it is a word that comes loaded with extra
baggage. ?Love? like ?passion? can suggest unbridled and even
unreasonable devotion, or emotions out of control. It is a word that
because of its ambiguity has been hijacked to explain all kinds of hocus
pocus.
So what did Ohtsuka mean in his use of the word ?love?? It was obviously
very important as the phrase, ?bowing comes from respect and that
respect is born from love? (or its' rough equivalent) is repeated three
times in a very short section. The clues to help find a definition come
later in the chapter. Firstly he emphasises the importance of
relationships and mutual support, and talks of prolonged ?emotional
contact? (within a martial arts community context) engendering the

practitioner's ?emotional control and moral nature?. He then presents a

somewhat circular description of the dynamics of love within a
community. Basically to be true to ones self and hence to love oneself,
we must also feel love for society and all humanity within that society.
It is from this love in/of humanity and all things that make us human
(in the higher sense) that society and all individuals will be nourished
and encouraged to flourish and live towards higher ideals. To do this we
must have respect for our fellow human beings, and the true expression
of this respect is shown in courtesy ? with real sincerity.
It follows that peace and harmony (?Wa?) are the net results of a
healthy society. Ohtsuka describes contentedness and gratification of
wants and desires as prerequisite for a robust and balanced world, and
states that the martial arts mentality builds the necessary mental
muscle and moral fibre to achieve this end.
Thus we see that Ohtsuka's vision is not retrospective, but instead is
focussed clearly upon the future, towards a goal that is all-embracing
and for the good of the whole of mankind. Ohtsuka outlines the qualities
he believes that the martial arts bequeath the individual practitioner;
these are as follows:
*
*
*
*
*

Mental strength.
Physical strength.
Moral strength.
Emotional control.
Strength of judgement.

*(Ref. p13) ?Martial Arts are Techniques for Peace?. *

In this section the previously practical master Ohtsuka is at his most
esoteric. However, even within the picturesque analogies and arguably
extreme examples, the practicalities are still there.
Ohtsuka expounds on natural phenomena and common-sense physical
principles as they apply to the martial arts. As we read through his
descriptions of nature's logic, we cannot help but find ourselves
nodding in agreement and acknowledging the startling simplicity of it
all. But, we also find ourselves wondering how these simple principles
can be put into practice? The ideas seem lofty and a long way from the
crudities of the ?block/counterstrike? approach of primitive pugilism.
He states that martial arts being an expression of peace does not
?exceed heaven, (? /Ten /?) it does not oppose the earth (? /Chi /?) it
does not oppose humanity (? /Jin /?) ?It goes with the ways of nature,
like the flowing of water and the blowing of the wind. Water has its own
logic, it flows naturally from high to low (Analogies connected to water
as a mirror of nature's intentions are common in Japanese and Chinese
philosophy, examples can be found in *Mencius * Book VI, Chap. II, 1 ?
3. Legge translation. Also in the *Lao Tzu * LXXVII, 186, D.C. Lau
translation.)
Ohtsuka's ideas here are a reflection of Neo-Confucian philosophies
which were prevalent in Japanese society and political thinking since
the early 1600's and touched all levels of Japanese life, in particular
the Japanese Budo systems.
Briefly, Ohtsuka states that true martial arts are in harmony with
Nature. The lack of resistance and yielding qualities of water provide a

lucid image of apparent softness that masks real strength. Also consider
the analogy of the floating bottle gourd as it responds to pressure, as
well as the water-wheel, where the energy absorbed due to the weight of
falling water is harnessed in a disarmingly simple and effective way.
All of these supply us with direct physical models which can be applied
instantly to combat strategy ? one only has to think of the yielding
qualities found in Ohtsuka Sensei's Kihon Gumite to understand how these
ideas translate in real terms. ?Defence and offence are the same? states
master Ohtsuka.
?Techniques of martial arts must be flexible to change and other forces
? like a ?ball of air'?. In this comment we see that the fluidity needed
to comply with these ?natural? movements are also governed by external
influences, acknowledging that ?change' is a quality of the world around
us that we ignore at our peril. To understand this fully we have to draw
ourselves back and take a view from a cosmological level, again, trying
to grasp fully the relationship between heaven (Ten) and earth (Chi) and
mans place within the grand scheme as part of a cosmological trinity.
There is a ?logic' behind it all; this ?logic' is the ?Ri? or natural
and moral Principle behind all manifestations. Ohtsuka says that the
techniques born out of this mode of thinking are limitless. He says,
?There is shape without shape, surface without surface and limit without
limit. These changes are infinite. Like outer space, it is infinitely
limitless. It is like the sky. This infinity embraces all things and
makes peace. In martial arts there is no such thing as the ultimate
technique. Techniques must be infinitely changeable and altered ? just
like the sky and space.?
*(Ref. p14) ?Sei Ken? (Righteousness of the Fist). *
As mentioned earlier Ohtsuka states that if ones heart is not righteous
then neither will his weapon be righteous. The weapon is the tool, the
instrument directed by the will and intention of its user.
Righteousness, as in the ability to understand/recognise the right and
correct intentions and actions in all situations is a quality highly
regarded by the classical Japanese warrior. Clearly, Ohtsuka Sensei sees
the empty handed arts as an extension of the older weapon based systems
through more than just the physical techniques. The ethical and
philosophical traditions of the older warrior traditions live on in
Ohtsuka's modern interpretations. For the warrior the training of the
heart and development of righteousness must be in accordance/harmony
with the logic and reason (Ri) of heaven and earth, the ultimate
objective being Peace.
*(Ref. p15) ?The Ideal and the Reality.? *
Ohtsuka Sensei goes on to speculate as whether this path of
righteousness can be brought to fruition. He acknowledges that the
largest hurdle would be the inevitable differences between nations and
individuals in their beliefs and their wants and needs as human beings.
He is critical of quick fix ?medicines? in the form of religious sects
and messiahs and suggests that only short term comfort can be gained
from those areas.
*(Ref. p15) ?Martial Arts Mentality and the ?Sports? Mentality.? *
Even though the higher goals for humanity may be obstructed by seemingly
impossible hurdles this is a reality that we must all respect. We must
also recognise that it is also a ?reality? that it is natural for us to

want to do something about it. This sentiment echoes ideas espoused by

Confucius 2400 years ago.
Confucius taught that one does what one ought to do simply because it is
morally right to do so, even if one's efforts are doomed to failure. If
it is the decree of the universal way that our labours fail to succeed,
so be it? what more can we do? 3 <#3>
Faced with the reality of our own inevitable extinction is it not a
wonder that society has not fallen apart and been overtaken by anarchy?
Instead Ohtsuka Sensei exhorts us to strive towards physical and mental
betterment. His answer is to be found in the pursuit of the Way of the
martial arts, even though modern society makes prolonged dedication to
training and study incredibly difficult and, unfortunately, it is also
possible to fall into the trap of allowing the martial arts to be
nothing more than a commodity, something to peddle for commercial gain.
Ohtsuka Sensei describes this as akin to ?spilling poison into a river?
and adds that, ?it only serves to harm society?.
Aspiring towards a peaceful society is truly a hard road to travel.
Again Ohtsuka Sensei lectures us that physical activities and sports go
beyond the aim of increasing physical strength or feeding the ego. Sport
for these reasons alone is a shallow activity.
Instead, sporting activities should aspire towards improving the ?whole?
person for the betterment of society. This ideal has remained intact to
the current day. The current Wado Ryu grandmaster, Hironori Ohtsuka II,
often reminds students that within the competitive format the
competitors should be humble in their gratitude to their fellow
competitors. Winners should remember that their successes are built upon
the generosity of their fellow sportsmen/Budoka, those who courageously
competed against them on their way to the top, and that they should
acknowledge these unsung competitors.
*(Ref. p17) ?Compromise and Cooperation.? *
This is Ohtsuka Sensei's short treatise on the strategies necessary to
settle differences. The use of power to achieve one's objectives is
frowned upon and the idea of compromise also has its limitations.
Instead Ohtsuka Sensei extols co-operation and understanding. The power
option has a habit of reaping its own negative legacy.
*(Ref. p17) ?Shu Ha Ri?. *
Master Ohtsuka suggests that the term has been around for a long time,
even existing within the Japanese Tea Ceremony.
Shu = To keep to the practices, methods and teachings of the previous
generation (master to student).
Ha = is to doubt, to deviate from those teachings (based upon elevated
knowledge through years of dedicated training).
Ri = to break away. To create new ideas and move on, move forward.
Ohtsuka Sensei adds the postscript that these levels of attainment
depend on the natural ability of the student, as well as the
circumstances and environment necessary for the student to flourish -

something not easy to accomplish.

*(Ref. p18) ?The Worship of the Martial Arts Dojo.? *
Here Ohtsuka Sensei examines the connections between Japanese martial
arts and Japanese religious establishments and traditions. The tradition
has always been that the Gods and /Kami / (spirits - of the Shinto
tradition) are enshrined within the Dojo. 4 <#4>
The connection between specific Japanese holy places, temples etc. has a
certain convenience attached to it. The temples and shrines were
sponsored and supported by the warrior classes. These sites were the
logical venues for dedicated students of the Ways and this tradition
continued over hundreds of years. The private dojos also insisted on
personalised Kami, often reflecting the beliefs of the dojo owners.
Ohtsuka Sensei suggests that after the ban on the Japanese martial arts
imposed by the Americans after WWII the tie between religiosity and
martial arts became disconnected and in some areas the martial arts
became just another form of physical activity to run alongside
basketball, baseball and other sports.
The traditional dojo had small shrine positioned in a prominent place in
the room (Kamiza), Ohtsuka Sensei laments the fact that in the post-war
era sometimes these shrines were absent from the place of training, or
if they were present they were more a form of decoration, empty of
meaning and significance. He also comments on the lack of formal
etiquette (bowing, etc.) which added further to the erosion of the
long-established traditions.
Ohtsuka offers us some hope by observing that in the current age there
seems to be a return to etiquette and formality, even though it is
sometimes lacking in real meaning or incorrectly performed. As for the
Gods, Kami and Buddhas; the young people of modern Japan pay less
attention to their influences than the previous generations. Master
Ohtsuka says that if proficiency in the martial arts was based on the
power of prayers and devotions why would anyone bother to actually do
any training?
Ohtsuka Sensei sees the dojo as sacred because it is the crucible for
the betterment of oneself towards the good of society. Shortfalls in
matters of propriety and etiquette within the dojo act as a stain on the
consecrated ground and make a mockery of the aims and ideals of the
Martial Way . This also applies to loss of personal control. There is no
place in the dojo for anger and emotional incontinence.
This exploration into the correctness of discipline in and around the
dojo extends to what Ohtsuka Sensei refers to as the ?ten evils? or
hindrances to avoid as a martial artist. In this book he is not specific
as to what the ten evils are. Possible variations as to what these ills
may be range from the general social malaise identified by the Buddhists
5 <#5> to the most likely candidate i.e.:
1.
2.
3.
4.
5.

/Gaman / ? resistance, unnatural stoicism.

/Gashin / ? egotism.
/Ikari / ? anger.
/Osore / ? fear.
/Ayabumi / ? seeing only the dangers, over-caution, excessive
misgivings.

6.
7.
8.
9.
10.

/Utagai / ? doubt.
/Mayoi / ? bewilderment.
/Anadori / ? to belittle, criticise, be contemptuous.
/Donyoku / ? avarice, covetousness, greed.
/Manshin / ? arrogance, pride, conceit. 6 <#6>

Master Ohtsuka says that the overcoming of these evils is down to the
individual, divine intervention for Ohtsuka Sensei is not an option,
this challenge must be undertaken alone and through the sheer power of
the will. When the weaknesses are identified by the individual only then
will the gods and spirits deign to bestow providence upon the labours of
the long-suffering Budoka.
Ohtsuka Sensei is generous and open in understanding how the individual
wishes to tackle their own demons, saying that it is perfectly
acceptable to attach the struggle to otherworldly agencies, or even gain
the support from one's own parents, family, or even ancestors, as long
as the struggle is sincere and gained through one's own labours.
He concludes his thoughts on this theme by saying that really it is how
you achieve these ends that matters not which sources of inspiration you
employ. He finishes with a quote from the Japanese author *Eiji
Yoshikawa *7 <#7>
?To respect God and yet not depend on him?.
I suspect that Yoshikawa was not original in the sentiment behind this
quote, as this is an echo of a similar comment by Confucius 2400 years
earlier,
/?To work for the things the common people have a right to and to keep
one's distance from the gods and spirits while showing them reverence
can be called wisdom?. 8 <#8> /
*(Ref. p19) ?Enter into Kata, then withdraw from Kata.? *
I am sure in my own mind that this chapter has often been misread by
modern day western Wado practitioners, or if not misread then viewed
from a very limited perspective.
It is my feeling that the misunderstanding comes from the literal
translation of the word ?kata?. Yes this section can be read as
referring to ?kata? as in; Pinan 1 through to 5 and Kushanku through to
Chinto, but if ?kata? is read as ?form' in the broadest sense,
encompassing what Ohtsuka Sensei understood as ?form' from his
long-established Budo background, then it is possible to extract a wider
understanding of this section of the book. I would suggest that we
consider amongst the assumed kata the paired forms of Kihon Gumite,
Kumite Gata, etc. But this also depends on how large one spreads the net
? for example, all techniques could be described as having ?form'.
Ohtsuka Sensei begins this section by explaining to us that there are so
very many ?kata' that have been designed and modified by worthy Masters
throughout the history of the martial arts (again, don't just think,
solo kata). Serious students of the martial arts must learn these
kata/forms assiduously, but they must not become ?stuck? in the form. He
says that one must develop the ability to ?withdraw from? the form and
extrapolate; develop; expand; branch out; explore the possibilities or
risk becoming stagnant and limited in their approach and understanding.

This idea resonates with the oft-quoted comments of Aikido master

*Morihei Ueshiba * who would exhort his students to ?Learn and forget?
techniques he had taught them.
Ohtsuka Sensei encourages us to adopt this as a ?habit', one that is
acquired over a long period of training. This habitual development very
subtly becomes part of your psychological makeup, but be warned, the
rewiring can result in unconscious reactions that are liable to be
harmful or even dangerous. 9 <#9>
Ohtsuka Sensei says that the way around this quandary is to approach it
like an actor who is able to play different characters, but the balance
is difficult to maintain.
*(Ref. p20) ?Igata and Kata?. *
Here Master Ohtsuka warns us against practicing ?dead' form. His
comparison with the manufacture of mass produced pottery is apt.
Soulless, homogenised form is of no value to martial artists of the ?
True Way ', this is ?Igata?.
True ?Kata? interpreted intelligently and with real understanding is a
living thing, and as such responds, flows and changes to situations, in
the same way the reflection in a mirror does. Obviously this higher
level of operation demands an equally high level of applied skill and
will vary from person to person.
Ohtsuka's other comparison is with writing. Mass produced lettering
while looking polished, coherent and slick, lacks opportunities for
personal expression, character and individual style. The clear reference
and comparison here has to be with the Japanese tradition of
calligraphic art, Shodo, where the characters and marks made by the
brush reflect not just the experience of the artist but also the essence
of their character. Consider the wonderful dynamic brushwork of the Zen
Buddhist swordsman and calligrapher *Yamaoka Tesshu *10 <#10> (1836 ?
1888). His calligraphy is the embodiment of single-mindedness and
resolute power. As with his swordsmanship, form takes second place to
intent and the mastery of the will.
In this section Ohtsuka also draws comparisons with Folk Dancing and
Acting.
*(Ref. p21) ?The Difference Between Large and Excessive Actions?. *
Master Ohtsuka starts by saying that individual movements must be ?large
and lively, but not excessive or pointless?. My understanding of this is
that you must train to make your movement expansive and full with vigour
and energy, the technique must be ?loaded' through the whole range of
its motion, thus avoiding movement that appears large but is in fact
empty. As with all of Ohtsuka's technical demands there have to be
caveats to protect against straying from the path; in this case the
warning is against unnecessary movement which is a waste of energy and
does not qualify as the particular type of ?large' movement as Ohtsuka
defines in this section.
Ohtsuka expands on this by connecting to the previously discussed ?Kata'
versus ?Igata' discussion. Pointless ?form for form's sake' styles of
movement run counter to the meaningful, relevant freedom of appropriate
movement afforded by ?live' Kata. To be locked into ?dead' rigid form

can become a habit, and as such would be a major obstacle to advancement.

Interestingly, almost as a footnote, Ohtsuka states that in some
circumstances these judgements can be purely subjective, and depend on
the demands of the situation and particularly the opponent ? meaning
that one could actually gain advantage through making deliberate
excessive or seemingly pointless actions.
*(Ref. p22) ?The Difference Between Quick and Fine Actions?. *
Quick and Fine in this context refer to speedy efficient actions of
attack, defence or strategic manoeuvring, with emphasis on the word
?efficient'. In one's quest for speed there must be no wasted movement.
An obvious example of wasted movement would be what boxers call a
?telegraphed punch'. In his eagerness to deliver as much energy as
possible to his chosen target the novice boxer withdraws his fist
slightly, naturally this causes a momentary time-lapse and gives his
opponent a valuable hint as to what is about to happen. In some attempt
at justifying his actions the novice believes that this is what his body
is telling him to do, and that the apparent naturalness of this physical
quirk is correct. Experience and the rules of logic tell a different story.
The warning against the over reliance on ?fine' actions is directed
towards those movements that might appear to be fast but lack the energy
and intent of ?quick' actions. An example of what Ohtsuka Sensei means
by ?fine' actions would be techniques that are ?flicky', BUT there can
be benefits from these types of movements under certain circumstances,
the trick is to recognise the difference between the two.
*(Ref. p23) ?Martial Techniques and Self Defence?. *
This is a short section based upon common sense and the morality of self
defence and the use of acquired martial skills.
It stands to reason that civil laws designed to protect the innocent
citizen cannot guarantee 100% protection, and sadly it may be necessary
to have to take a stand and take action to defend yourself. Ohtsuka
warns us that perpetual vigilance is the responsibility of the martial
artist, but rash or ill-judged action can be the cause of much grief. He
also says that an over-reliance on ones martial prowess could lead the
individual down the rocky road to ruin and disaster. The martial artist
must as a matter of course always strive towards peaceful resolutions.
*(Ref. p23) ?Preparing the Mind, Preparing the Heart?. *
This section carries on from the previous chapter. The main theme is
preparedness.
Master Ohtsuka uses anecdotes and tales to illustrate his points. The
vigilant Samurai was never caught off-guard and always projected ahead
for potential risks. It has often been said about Ohtsuka Sensei that he
was himself exceptionally watchful, taking streetcorners in a wide arc
to prevent being surprised and even crossing the road to avoid walking
under overhead scaffolding. He obviously ruled his own life by these
antiquated anecdotes and understood this as part of his responsibility
as a serious martial artist.
Ohtsuka recalls that as a ten year old he observed an old Samurai, one

*Yoshio Suzuki * who would warily watch the young Ohtsuka and pass on
the street in a manner of heightened awareness, obviously this wasn't
out of necessity, it came from an engrained habit. 11 <#11>
He suggests that when riding on a train one should ideally travel in the
middle cars, this is indeed sound advice as statistically in an accident
the chances of escaping injury are far better in the middle cars.
Even in times of relative peace Master Ohtsuka does not dismiss these
strategies of caution but instead exhorts us to consider their practical
use.
I will avoid recounting these stories and anecdotes in detail as it is
far better and much more enjoyable to read them yourself.
*(Ref. p27) ?The Eyes, Heart, Strength and Technique are One?. *
The kanji ?Gan' or ?Gen' refers to ?eyes'.
Ohtsuka Sensei uses the kanji ?Chikara' for ?strength'.
The word ?Heart' here translates from the Japanese ?Shin' or ?Kokoro'
which from my understanding does not translate easily. The closest form
of applicable equivalent in the English language would probably be a
combined (combi-word) ?Heart/Mind' but this does not tell the whole
story. ?Heart/Mind' refers to the focussed intention of an individual as
well as the essence of a situation. But here, in this section Ohtsuka
Sensei's study is directed at the coordination of the above elements as
they relate to Martial training.
Starting with the eyes - In the West it is said that the eyes are the
mirror of the soul, this is also exactly the way Ohtsuka Sensei
describes it. This connects to the martial arts in several ways; it can
be through what is revealed, or conversely, hidden in the eyes. The eyes
reveal the true nature of the Heart/Mind, also, what the eyes see can be
taken in and affect, disturb or influence the Heart/Mind.
The Heart/Mind must be free to travel. This free-ranging Heart/Mind can
go where it wills. Although the eyes are limited to seeing in one
direction the mind has the capacity to extend in many directions. A mind
that just follows the eyes, or allows itself to focus on a narrow and
restricted part of the available spectrum of consciousness has limited
capacity, this is particularly debilitating for the Budoka. Ohtsuka
Sensei expands on this and says that the limited focus of the mind is
all too often betrayed by ones posture, and the inevitable inability of
the practitioner to change and move in various directions as the
situation dictates is a serious flaw.
As regards Strength (Chikara) Ohtsuka Sensei draws parallels with the
Heart/Mind. He says that if strength is used injudiciously or one
over-commits then the posture/position is liable to be broken and the
ability to react and change will be seriously hindered. He talks about
the ?centre of distribution? of strength and states that it is vital
that this remains in the centre of ones body. So this is with the
Heart/Mind; it can (and should) run free but it must remain centred.
Ohtsuka Sensei puts it like this:
/?Like messenger birds; they are free to fly to deliver their messages,
but they always return to their home (their centre of distribution). It

is not visible, but this occurs because there is a connection between

the birds, their hearts and their body? 12 <#12> /
If you become fixated on a particular aspect of the opponent's technique
or his eyes, fist, foot, either through your vision or your Heart/Mind,
this is liable to seriously limit your capacity to act. Master Ohtsuka
says that the ?apex of karate training lies in the training of the
Heart(Mind)?. 13 <#13a>
Ohtsuka Sensei refers to ?Senshin? saying that this is one of the
objectives of the martial arts. ?Senshin? means ?to purify the
Heart/Mind?. He reflects upon how the ultimate challenge to the
Heart/Mind is to remain composed and pure when faced with the
inevitability of ones own death and recounts a story of a Buddhist
priest who had dedicated himself to the purification of his own
Heart/Mind for many years but upon being diagnosed with terminal cancer
had difficulty coping and died in a sorry emotional state.
Master Ohtsuka recommends non-attachment and the disciplining of the
Heart/Mind and living in the ?now' as a way of approaching this
inevitable human dilemma.
*(Ref. p31) ?Physical Strength, Mental Strength, Technical Strength?. *
This trinity of attributes is obviously very important to the martial
artist. In an engagement if you have one of the attributes in advance of
your opponent then you undoubtedly have the better chance of defeating
your foe. Also it is possible that a deficit in one of the three can
cancel out elements of the other two, for example; if your technical
strength is good but you are let down in your mental strength by your
inability to rise above the mental stress of the engagement.
*(Ref. p32) ?Posture and Uke (Posture for Defending)?. *
In this section the Kanji Ohtsuka Sensei uses relates to ?Kamae?.
?Kamae? in this case does not mean ?stance' but instead refers to the
whole body.
Ohtsuka is very clear that in Japanese Martial Arts there is no posture
that is for defence alone, everything must be directed towards offence.
This means that the practitioner is alive and even when practicing kata
his techniques must be trained towards promoting ?living' kata that will
flow between easy transformations of defence/offence, seamless and
without artifice.
*(Ref. p33) ?Machite and Kakete?. *
These timings (initiatives) will not be unfamiliar to experienced Wado
practitioners. They are divided into two categories; Machite, of which
there are two variants and Kakete which only has a single dimension to it.
Machite is the strategy/response that allows the opponent to initiate an
attack and turn the situation to your advantage. Kakete is where you
forestall the opponent with your own initiative.
The first type of Machite is ?Gosen-no-Sente?, this involves defence
turning into attack. The second type is ?Sensen-no-Sente? which means
that your response is to move at the same time as the attacker and

simultaneously defend/attack.
The Kakete method is described as ?Sente? this forestalls the attack by
seizing the initiative or creating the situation of seizing the
initiative. BUT one must be careful and realize that all of these
various initiatives can be turned against you by a wily and switched-on
opponent, so one can easily envision a scenario where the initiatives
can be continuously reversed and turned around ? highly unlikely but not
impossible.
*Conclusion. *
If the reader spends any time working through this short section of
Ohtsuka Sensei's book (a mere thirty out of three hundred and fifty-four
pages) it would be hard not to realize that the nature of the various
headings and themes runs akin to a series of jottings, notes that fail
to follow any particular logic that is immediately apparent to us. I do
not mean this as any form of criticism of the great man, only to suggest
that like all creative individuals his thoughts seem to follow a logic
that is unique to him.
Even within very short sections he ranges between the practical, the
sociological and the philosophical. He is able to supply us with
pointers and clearly has certain unambiguous messages that he wishes to
hammer home at every available opportunity (the quest for peace and
harmony being the most obvious).
I toyed with editing and changing the chapter order to follow the themes
but realised that this would achieve little except to obscure an
intriguing indicator as to the way master Ohtsuka's mind worked. For me
these seemingly haphazard musings, examples and aphorisms resonate with
what I have heard of Ohtsuka Sensei's teaching and communication methods
- as a man whose mind seemed to be perpetually in the Dojo, when asked a
question or wishing to put a point across he would demonstrate example
after example, variant after variant, technique after technique. Also,
he would teach techniques differently to different individuals, tailor
made to their own strengths, attributes and capacity. That kind of
thinking cannot really be condensed into thirty pages.
Notes:
1Wado Ryu Karate ? Hironori Ohtsuka 1977. trans. in 1997 Shingo Ishida.
Masters Publications.
2Daito-ryu Aikijujtsu (Conversations with Daito-ryu Masters) Interviews
conducted and edited by Stanley A. Pranin. Pub. Aiki News 1996.
3Confucius, The Analects. In XIV, 41. Confucius is chided by a hermit
who describes him as ?one who knows that he cannot succeed, yet keeps on
trying to do it. ?.
4Dojo = Place of the Way ? ?Way? being the specific use of the word to
mean Way of life, a path for the dedicated individual to tread.
5The Buddhist variation of the ten evils runs as follows:
Kill not, but have regard for life.
Steal not, neither do ye rob; but help everyone to be master of the
fruit of his labour.

Abstain from impurity (sexual misconduct).

Lie not, but be truthful. Speak the truth with discretion, fearlessly
and in loving heart.
Invent not evil reports, neither do you repeat them (slander).
Swear not, but speak decently and with dignity.
Waste not the time with gossip, but speak to the purpose or keep
silence.
Covet not, nor envy, but rejoice in the fortunes of other people.
Cleanse your heart of malice and cherish no hatred.(Anger).
Free your mind of ignorance.
6Information courtesy of email correspondence with Ellis Amdur. Mr Amdur
says that these admonitions are common to the Jikishin Kage-ryu and
Araki-ryu schools of ancient Bujujtsu. And further reference to these
rules appear in 1905 publication, ?Heiho Youmu Budo Zukai Hiketsu? by
Inokushi Matsunosuke.
7Eiji Yoshikawa, Japanese author and journalist, 1892 ? 1962. For some
reason the English translation of Ohtsuka Sensei's book has his name
down as Eiji Yoshikama. Yoshikawa was an author of popular fiction, most
famous being, ?Musashi: An Epic Novel of the Samurai Era? 1935. It is
possible that this quote comes directly from this novel.
8Confucius, The Analects. VI, 22.
9I remember reading a long time ago about a soldier who returned from
jungle warfare in a perpetual state of heightened awareness, his nerves
were in tatters and he was unable to switch off his ?kill response' ? in
reaction to some horseplay, in a moment of complete madness this poor
unfortunate ex-combatant inadvertently maimed a member of his own family.
10For further reading on Yamaoka Tesshu ?The Sword of No Sword ? Life of
Master Warrior Tesshu? by John Stevens 1984.
11For a fascinating and revealing account of the heightened state of
awareness bordering on the paranoiac read the interview with Minoru
Mochizuki in Stanley Pranin's book ?Aikido Masters ?Prewar Students of
Morihei Ueshiba? relating to his encounter with the irascible Daito Ryu
Aiki Jujutsu teacher Sokaku Takeda, in which Takeda sees potential
assassins and poisoners at every turn.
12?Wado Ryu Karate? H. Ohtsuka p.29.
13This echoes the words of Takuan Soho (1573-1645). In Takuan's essay
?The Mysterious Record of Immovable Wisom? there are many pointers
applying directly to the mind of the warrior swordsman, and specifically
to the ?abiding place' of the Mind. Interestingly, within the same essay
is a reference to the qualities and physical properties of a gourd
floating in water, resonating with Ohtsuka Sensei's reference to the
bottle gourd on page 13.
2008 All rights to this article reserved T. Shaw.