Art of War (Barnes & Noble Classics Series) (3 page)

Every commentator, however, will point out that for all the wonders of its cities, the heart of Chinese society is in the countryside. The power of the landowners over the peasants as well as the land during the time when Sun Tzu wrote is difficult to imagine for those who have experienced the rootlessness of contemporary society. The aristocracy not only controlled the land much as feudal lords would some 1,000 years later in Europe, but they owned the carts, the livestock, the implements, and even the people. As Roberts points out, adding an important dimension to Sun Tzu’s advice to generals in encouraging troops: “Labourers could be sold, exchanged, or left by will”; in other words, many members of the infantry would have been serfs. Also, in those times the nobleman always had a monopoly on armaments, and “only noblemen could afford the weapons, armour, and horses [of war].”

Highly developed as Chinese culture was, the era of the Spring and Autumn period, during which Sun Tzu composed his treatise, was outstandingly brutal. More than one hundred feudal states and principalities were reduced to about forty, in a process that continued until about 403 B.C., when the state of Ch’in officially split into three parts and there were only seven important states left. The year began the Warring States period, which ended in the unification of the empire under Ch’in Shih-huang-ti, the first emperor of the Ch’in Dynasty, who took power in 221 B.C.

Classical Chinese at the time Sun Tzu wrote was a matter of “pronouncements,” as was also true in early Western and Near Eastern civilizations; consider, for example, the pithy maxims of Marcus Aurelius and Hesiod. And particularly in the case of documents such as Sun Tzu’s military treatise, clans and families in a sense “owned” information—just as in medieval European guilds fathers passed on their goldsmithing or other specialized training and lore to their sons; the transmission of this information was accomplished in both physical and verbal lessons. A written version would have served solely as a mnemonic, and the language was therefore often startling and symbolic, like poetry.

Further, both as an aid to memory and also because of the intrinsic characteristics of the language, which consists of single syllables ending in mutable vowel sounds, there is a tendency in Chinese writing “to use balanced, parallel phrases, and to treat ideas in the form of numerical categories—the five felicities, the three virtues, etc.” (
Early Chinese Literature
). This gives the language an unparalleled drive and power but, as with poetry, makes it almost impossible to translate while retaining its original efficiency and style. And in a strong divergence from the Western Romantic ideal, the Chinese made no distinction between
belles lettres
and didactic literature, between philosophy, say, and storytelling or military treatises. The Emperor Wan of Wei even referred to literature as “a vital force in the ordering of the state.”

The distinguishing mark of writing was its refinement or its vulgarity of expression. “Good” meant works of whatever stripe that were “morally sound in content, clear in thought, and expressed in suitably gracious and dignified language” (
Early Chinese Literature
). Meanwhile readers avidly sought works—this is also characteristic of high culture in Greece and India—that explored what the twentieth-century poet Stephen Spender (in
The Making of a Poem
) would call “that human experience so neglected in modern art—the art of ruling, the art of being a prince and being responsible for the use of power.”

The moral and social content of the ancient Chinese world was thoroughly scrutinized and reflected upon by Sun Tzu. As a result, his was an approach to human frailty so elastic and capacious—and so true not just to the Chinese, but to the human way—that it sits easily with Western and Eastern military establishments, and still can form the basis for hilarious, long-running Korean sitcoms, kung-fu action flicks, sight gags in Hollywood comedies, countless boost-your-aggression-quotient tomes by business-school professors, and cusp-of-religious-enquiry books. It’s been an endless marvel since its first “publication” some 2,500 years ago.

For writers in the West from Hugo Grotius (
De jure belli et pacis
, 1625) to President Theodore Roosevelt (
The Winning of the West
, 1889), wars, like the great forest fires of summer, cleanse society of its Darwinian detritus and give backbone to those who survive. John Milton’s Satan distilled it as: “th’ unconquerable will, / And study of revenge, immortal hate, / And courage never to submit or yield / And what is else not to be overcome?” (
Paradise Lost
, book 1). If we learn about war from the movies, in which heroes rise from innumerable wounds in seconds flat to fight with nary a shiver of fear, it does seem a clean, albeit loud, exercise, and reading the clipped, clear pronouncements of Sun Tzu would make it seem all the easier. But historically war is synonymous with mud and thorns, with dysentery, typhoid, and famine. The best military minds may disagree on many points, but on one they will always concur: The only way to prevent war is to know how to wage and win it better than your enemy. So, first, let us examine what we think war is, how it is defined, and then proceed to how it is waged.

West or East, Asia or Europe, war conjures deception as much as destruction. The old High German word for war—the root of the English word—was
werre
, “to confound.” And wars, as opposed to beer-hall brawls, are not a “blind struggle between mobs of people” but rather an engagement or a series of them between well-organized masses, moving as a team, acting under a single, overarching will, and directed against a definite objective: another country or alliance of countries. This definition (adapted from the
Encyclopedia Britannica
, eleventh edition) is key.

The nineteenth-century Prussian scholar Carl von Clausewitz amplifies that description to give us a precise understanding of tactics versus strategy in his monumental work
Vom Kriege
(On War):

Wars are political. They derive from the will of one
polis
, or people, against another, usually in a contest to determine which will exercise sovereignty over land, as in territorial wars, or beliefs, as in religious or ideological wars. Either way, war requires a definite objective and a definite enemy. Terrorism is not war; it is an important tactic of war. The distinction is neither arbitrary nor small. To give some recent examples: Terrorism was used with extraordinary efficiency by the Nazis in World War II (a large invading nation against a weaker one), by the would-be Israelis in their quest for statehood from England (a small force against a larger one), and by France as it battled Algerian independence fighters (a large force against a weaker one). The scholar Francis Dummer Fisher, cited by historian Barbara Fields (
Humane Letters: Writing in English About Human Affairs
, 2003), writes, “War is not defined by damage, however great, but by an intent to conquer.” Professor Fields, an expert on the American Civil War at Columbia University, continues:

On paper, these distinctions seem trite, but they bespeak real and perilous differences—differences for which a serious monk admonished all who would fight to calculate the odds and consequences with a bookkeeper’s punctiliousness, and then engage heart and soul. Long before Sun Tzu was a baby and no doubt well into the future, nations will get their dander up over matters that mystify subsequent generations.

Sun Tzu reminds us that empires, in the Orient or Occident, are lost when inadequate men become leaders and wage war for base reasons or no reason at all. Western history is rife with apt examples: England lost its American colonies because of the fizzle-headed King George III and his tax men; the disaster that was World War I owed much to the folly of aristocrats bent on trying out new weapons; even the Crusades resulted from arrogance and the misbegotten vanity of rulers who did no research before they attacked Palestine. The arch-conservative cartoonist David Low once quipped, “I have never met anyone who wasn’t against war. Even Hitler and Mussolini were, according to themselves.”

The issue of a “definite objective” is as essential to the successful military mind as its absence is to a defeated one. Sun Tzu often advises shifting points of attack to baffle the enemy and trounce him. For example, in chapter XI, paragraph 37: “By altering his arrangements and changing his plans, he keeps the enemy without definite knowledge. By shifting his camp and taking circuitous routes, he prevents the enemy from anticipating his purpose.” The principle here mimics a wolf pack attacking a bear from every direction. One on one, the bear would naturally succeed against a smaller enemy, but with his energies splayed on so many fronts, he can be defeated.

Throughout the centuries, there is a deliciously romantic quality to China’s intellectuals. Their passion for knowledge and for transmitting it to others is well-nigh a love affair. The genius of Sun Tzu speaks to Everyman, but his heritage speaks particularly to that belief immanent in both high Western, especially Greek, and Asian cultures—“that a coherent and logical explanation of things could be found, that the world did not ultimately rest upon the meaningless and arbitrary fiat of gods or demons” (
A Short History of the World
).

In more recent memory, readers who might want to conjure their own image of the spiritual and intellectual impetus that conceived and produced
The Art of War
might remember the photograph of a small, slender man standing alone before an advancing tank during the 1989 T’iananmen Square Uprising. He could as easily have been Sun Tzu or his descendant Sun Pin, author of a text that has come to be called
The Lost Art of War
or
The Art of War II
.

Sun Tzu’s work is a unique admixture of simplicity, an utter absence of self-importance, suffused by the authority born of experience, and a breath-taking determination and passion for “ordering”—for setting the record straight, for getting out the truth, whatever that might be, whatever the consequences. In the pages that follow, you will not find the wicked delight Niccolò Machiavelli, the Renaissance Italian author of
The Prince
, took in describing the deceptions and stratagems of the profane world.
The Art of War
is quintessentially Chinese: wise beyond its pages, cryptic, simple, wonderfully profound—and at its root, pacific.

 

Dallas Galvin
is a writer and journalist specializing in international affairs and the arts. She has reported on military affairs in Latin America and Asia and produced documentaries for the NATO Alliance.

To my brother
Captain Valentine Giles, R.C.
in the hope that
a work 2400 years old
may yet contain lessons worth consideration
by the soldier of to-day
this translation
is affectionately dedicated
—Lionel Giles

PREFACE
¹

THE SEVENTH VOLUME OF “Mémoires concernant l’histoire, les sciences, les arts, les mœurs, les usages, &c., des Chinois” [Memoirs concerning the history, sciences, arts, habits, customs, etc., of the Chinese; published at Paris in 1782] is devoted to the Art of War, and contains, amongst other treatises, “Les Treize Articles de Sun-tse” [The Thirteen Articles of Sun Tzu], translated from the Chinese by a Jesuit Father, Joseph Amiot. Père Amiot appears to have enjoyed no small reputation as a sinologue in his day, and the field of his labours was certainly extensive. But his so-called translation of Sun Tzu, if placed side by side with the original, is seen at once to be little better than an imposture. It contains a great deal that Sun Tzu did not write, and very little indeed of what he did. . . .

Throughout the nineteenth century, which saw a wonderful development in the study of Chinese literature, no translator ventured to tackle Sun Tzu, although his work was known to be highly valued in China as by far the oldest and best compendium of military science. It was not until the year 1905 that the first English translation, by Captain E. F. Calthrop, R.F.A., appeared at Tokyo under the title “Sonshi” (the Japanese form of Sun Tzu). Unfortunately, it was evident that the translator’s knowledge of Chinese was far too scanty to fit him to grapple with the manifold difficulties of Sun Tzu. He himself acknowledges that without the aid of two Japanese gentlemen “the accompanying translation would have been impossible.” We can only wonder, then, that with their help it should have been so excessively bad. It is not merely a question of downright blunders. . . . Omissions were frequent; hard passages were wilfully distorted or slurred over. . . .

From blemishes of this nature, at least, I believe that the present translation is free. It was not undertaken out of any inflated estimate of my own powers; but I could not help feeling that Sun Tzu deserved a better fate than had befallen him, and I knew that, at any rate, I could hardly fail to improve on the work of my predecessors. . . .