|Taekwondo Bible, Vol.2||
6. Ilgiyae(One Skillart)
The tide is what leads and rules the current in each fight and change. "Thus, the energy of troops skillfully commanded in battle may be compared to the momentum of round boulders which roll down from a mountain thousands of feet in height."1) In the same manner "In case that you have the best tide of Taekwondo, you should have the spirit overwhelming a huge mountain once you begin while sinking yourself deep under the sea once hidden. And when in a hurry your tide should be able to sweep even a big rock off like a landfall while when tender it should embrace everything like a warm wind in the spring. When fierce it should look like a sharp knife while when soft it must feel like light cotton. When firm it should never be moved by anything like the calm earth while when flexible it should follow every turn like a new born leaf."(Ch.21)
Mencius said, "You may be clever,/ But it is better to make use of circumstances;/ You may have a hoe/ But it is better to wait for the right season."2) Of the same reason "a skilled commander seeks victory from the situation and does not demand it of his subordinates."3) The Taekwondo man, who knows this truth, leads Kyorugi with his tide, not relying on each trivial change of techniques.
In Kyorugi a pure beginner can show somewhat superior to a color belted practitioner sometimes who recently learned techniques, for the beginner relies on just his tide as he knows nothing of technique while the color belted practitioner knows techniques, yet incompletely, so that he clings to them losing his own tide. On the other hand, a lower leveler attacks a higher leveler relying on his rough tide but fails to collapse due to a critical counterattack of the latter, for his tide failed to be coupled with technique. That is, he failed to modulate the tempo of his tide, so he lost his temperance. Therefore, considering the tide in another terms from more objective perspective, "Tide is to show out the spirit and its flow that come from accumulation of world's changes, and the world's changes include the relationships of you and your opponent, of you and the world, and of the opponent and the world."(Ch.21)
Let me discuss breath, rhythm and temperance in tide.
Sun Tsu said in this discussion on posture; "when torrential water tosses boulders, it is because of its momentum; when the strike of a hawk breaks the body of its prey, it is because of timing. Thus, the momentum of one skilled in war is overwhelming, and his attack precisely timed. His potential is that of a fully drawn crossbow; his timing, that of the release of the trigger."4) Here 'timeing' or timeliness is another expression of temperateness, so you know how temperance appears in tide. Therefore, if you rely on tide only without temperance you come to be exhausted easily, and if he can see through me in addition to that, he can counter-use it with his technique, which will tell you it would have been better without that blind tide. The best tide in Taekwondo should be able to change freely between fast and slow, strong and weak, so "you can control all of these with the accordance of its tempo and your breath."(Ch.21)5)
Tide when temperate generates rhythm. Thus, its motion shows the strong and weak rhythmically so that it looks like a dance, and it doesn't hurry up yet moves fast to gain on the opponent's fast withdrawal and concentrate its entire flow to eject strongly. It is verily the Kang-gi, but as it relies on rhythm and pose, when it fails to meet a target, it just makes a flow without waste of strength. In this way you can "have <Heo> as <Sil> and <Sil> as <Heo> so that you catch the difference between his <Heo> and <Sil> with the help of the sameness of your <Heo> and <Sil>."(Ch.29)
It is because of the instability of your mind like fear that you come to have your tide intemperate sometimes. It is linked immediately to the disorder of your breath. Therefore, you can compensate this with breathing technique by contrary.
1) Sun Tsu, The Art of War, á§ø¹ð¯çé, Íºà¼îúìÑñýá§, åýï®êà´åÚô¶ ñýß£íº,