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In a sense, as soon as the so-called connoisseur makes a move, he will know whether there is one. Pen, fun, pavilion www. biquge。 info

Bai Qi's curiosity mainly comes from the descriptions that Zhang Jiashi has heard, and in many ways has a close relationship with Clausewitz's war experience.

And in a sense, Bai Qi thinks that this alone has a great attraction for him.

It's just that Bai Qi himself knows very well, even if he knows the content, he may not agree with the content in it, because Bai Qi, as a military master, understands a truth very well, that is, no matter how good a military book is, there is a limitation, that is, this military book is often just a representative work of the author's period.

And if a military book is applied to wars in different periods, then it is very likely that there is only one end, that is, those who do this will often die miserably.

As the saying goes, soldiers are impermanent, water is impermanent, and a military book is just a general's reference in a certain sense, and it is impossible for a general to completely follow the description of this military book.

......

The same is true.

In a sense, it is indeed the pinnacle of military writing during the Napoleonic Wars, but it is difficult to apply it completely.

Clausewitz, as the author, was also well aware of this, and he made his thoughts on this point explicit in the course of his theory of war:

Military art was initially understood only as the preparation of the army:

Previously, military art or military science was understood only as the sum total of knowledge and skills related to material things. The content of this knowledge and skills is the construction, manufacture and use of weapons, the construction of fortresses and field fortifications, the organization of armies and the mechanical regulations of their actions, etc., all in order to prepare an army that can be used in war. Here people are concerned only with material materials, with only one-sided activities, which, in the final analysis, are nothing more than an activity that gradually raises from handicrafts to sophisticated mechanical techniques. The relationship between all this and the struggle itself is not very different from the relationship between swordsmithing and fencing. As for the question of the use of the army in times of danger and when the parties constantly interact with each other, as well as the activities of intelligence and courage, such issues were not mentioned at that time.

For the first time in siege there is a question of the conduct of the struggle itself, that is, the question of certain intellectual activities using the above-mentioned substances, but in most cases this is only intellectual activity which can be quickly embodied in new material objects of approaching trenches, parallel trenches, counter-approaching trenches, artillery batteries, etc., and each of their development is marked by the appearance of such material objects. Intellectual activity here is only a necessary link to connect these creations. Since, in this form of warfare, intelligence is expressed almost exclusively in such things, it is enough that siege art can speak of these.

Later, tactics also attempted to establish mechanical regulations for the general deployment of the army in accordance with the characteristics of the army. Of course, this does involve activities on the battlefield, but it still does not involve free intellectual activity, but only of an army that becomes an automatic machine by forming and fighting in formation, and commands to act like a clock.

It was once believed that the real method of warfare, that is, freely

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