The Art of War (Barnes & Noble Classics Series)

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

War is a howling, baying jackal. Or is it the animating storm? Suicidal madness or the purifying fire? An imperialist travesty? Or the glorious explosion of a virile nation made manifest upon the planet? In all recorded history, this debate is recent, as is the idea of peace to describe an active state happier than a mere interregnum between fisticuffs. Astounding as it may seem, war has consistently won the debate. In fact, it never had serious competition-not until August 24, 1898, anyway, when Czar Nicholas II of Russia called for an international conference specifically to discuss "the most effectual means" to "a real and durable peace." That was the first time nations would gather without a war at their backs to discuss how war might be prevented systematically. Nicholas was successful. His first Peace Conference was held in 1899. It was followed by a second, in 1907. These meetings gave rise to a process in which the world gained a common code of international laws.

It was a moment when peace and the trials of war were under the microscope of the civilized world. Off in a very quiet corner of this stage, there also appeared two scholars: one, a ghost, Sun Wu-this is Sun Tzu's actual name; Sun is the family name, and Tzu an honorific-a member of a Chinese clan of experts on arms and fighting, who had lived some 2,400 years earlier; the other, a librarian and student of the Chinese classics, Lionel Giles, who published his translation of The Art of War in 1910. He, too, was a son of eminence-his father was the great sinologist Herbert Giles-and he transported Sun Tzu's urgent injunctions on the nature of war across vast reaches of time and culture; the task was extraordinary, the impetus behind it almost saintly. The influence of the work of these two men colors our lives even as this text is written. But it did not come without effort, and even today, with a century of English-language scholarship on Asian literature, religion, and societies behind us, there is still much to puzzle the general reader.

World War I and its carnage would soon burst upon the world, leaving an estimated 25 million dead, twice the tally for all the wars of nineteenth-century Europe. Nicholas and his entire class would disappear amid the terrors of revolution in Russia, China, and Mexico, to name but the grandest uprisings. World War II would follow with no fewer than 60 million dead, and on its heels a whirl of wars for independence, civil wars, and the surrogate wars of Vietnam, Korea, Africa, the Balkans, and the Middle East-all in all, a century-long testament to the failure of humanity's best intentions. It would be an odd soul who did not find himself feeling as Abraham Lincoln did in his Second Inaugural Address, on March 4, 1865, as the American Civil War was ending: "Fondly do we hope-fervently do we pray-that this mighty scourge of war may speedily pass away."

Yet it takes little experience to understand the futility of belligerence alone, as Sun Tzu wrote: "[H]e who is destined to defeat first fights and afterwards looks for victory" (chap. IV, paragraph 15). On the world front or the level of the individual, the issue is not force, not arms-it is strategy. In his study of Mao Tse-tung, modern warfare's most ardent student of Sun Tzu, Robert Payne notes: "Sun Wu's ideas on war are exceedingly adaptable, . . . nearly all of them demonstrating how the commander of a small force can overcome a powerful enemy, given suitable conditions of his own making. These apothegms have a peculiarly Chinese flavor, hardheaded, deeply philosophical, often showing a disturbing knowledge of the human soul under stress" (Robert Payne, Mao Tse-tung; see "For Further Reading"). But how did Sun Tzu know what he knew? Where did he get his information? Can we trust it?