FOOTWORK-TRAINING SET (LIAN BU QUAN)

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練步拳圖說
A HANDBOOK FOR THE FOOTWORK-TRAINING SET
吳志青 
by Wu Zhiqing
[published by 大東書局 Great East Bookstore, March, 1931]

[translation by Paul Brennan, March, 2011]

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吳志青编
by Wu Zhiqing:
練步拳圖說
A Handbook for the Footwork-Training Set
馬公愚題
– calligraphy by Ma Gongyu

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尚武樓尚武樓叢書
for the book series of the Esteeming-the-Martial School:
武術津梁
“Martial arts are a bridge.”
王震題
– calligraphy by Wang Zhen

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欲健全其精神必須有健強之身體
“To strengthen the mind, you must strengthen the body.”
劉鳳池
– [calligraphy by] Liu Fengchi

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強國之基
“The basis of strengthening the nation”
鈕永建題
– calligraphy by Niu Yongjian

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自序
AUTHOR’S PREFACE

溯夫少林拳創始。為達摩禪師之十入手。（卽十八羅漢手是也）達摩旣化其徒曇宗等。佐唐太平王世充。有功者十三人。皆能習此十八手。運用精巧。變化無窮。嗣後宋太祖趙匡胤。研習最深。堪稱此中能者。精三十六長拳。六步猴拳。囮拳等。定鼎以後。庋其書於嵩山少林寺。後世傳習太祖之拳者。稱太祖門。及金元之時。有白玉峯者。剃度入山。實得少林之衣缽。以傳覺遠上人。變化增益。十八手為七十二手。化散為整。錯綜參互。盡其體用。復從七十二手。增為一百七十三手。遂有五拳之流。五拳者。龍虎豹蛇鶴。所以練神骨力氣精者也。蓋漢華陀氏之五禽戲拳。曰虎鹿熊猿鳥。白氏師承其意。改為龍虎豹蛇鶴焉。而與白氏同時之李叟。所傳大小洪拳。陜洛川楚。至今多宗之。
Tracing back, Shaolin boxing originated from zen master Damo’s Eighteen Techniques (namely, the Eighteen Lohan Techniques). Damo passed it down to his disciples, Tan Zong and the rest, and they assisted the Tang Dynasty in pacifying Wang Shichong. They were thirteen who performed this service, all of them capable with these eighteen techniques, applying them skillfully and adapting endlessly. Later, the first Song Dynasty emperor, Zhao Kuangyin, studied and trained very deeply. Among his skills, he was superb at Thirty-Six Long Boxing, Six-Step Monkey Boxing, Decoy Boxing, and so on. After establishing his new dynasty, he stored his books in the Songshan Shaolin Temple. Later generations transmitted the knowledge of the first emperor’s boxing, and so it is known as the Taizu [“first emperor”] School. During the Jin and Yuan Dynasties, there was Bai Yufeng, who shaved his head and became a monk, and truly obtained the Shaolin legacy. He taught his disciple, the monk Jue Yuan, who made changes and additions. Eighteen techniques became seventy-two techniques. They evolved into new methods and then were consolidated into standard patterns, their intricacies blending together, until they reached a peak of form and function. Then from seventy-two techniques, again more was added and became one hundred seventy-three techniques, finally branching into five categories of boxing. The five kinds of boxing are dragon, tiger, leopard, snake, and crane, training spirit, bone, sinew, breath, and power respectively. There was the Han Dynasty physician Hua Tuo’s Five Animal Frolics Boxing, being the tiger, deer, bear, ape, and bird. Bai transmitted his idea, changing them to dragon, tiger, leopard, snake, and crane. Contemporary with Bai was Old Li, who taught Large and Small Hong Boxing, which has spread all over south-central China [the text specifying 陜 Shaanxi, 洛 Henan, 川 Sichuan, and 楚 Hubei-Hunan] and today there are many traditions of it.
若本編之練步拳。卽少林五拳之一。龍拳是也。取其神化無窮。在今科學時代。已成過去之名詞。今復更名為練步拳。亦練神練骨之意也。此拳傳自川人武士會會長劉崇峻君。蓋劉君久歷秦隴河洛。探訪名師益友。專研少林五拳。及岳門短打。經三十餘年之旁搜博探。確認此拳為龍拳而無疑。去春同事中央國術館。公餘之暇。以龍拳示我。並述其顛末。余歎未曾前聞。見習一過。覺與他拳相異。且剛柔相濟。無太過亦無不及。恰似黃庭初寫。始信龍拳之神妙也。退而默念此路拳式。簡而明。精而約。不若其他之拳式繁蕪亢長。實可稱為少林上乘之拳法也。
If the “Footwork-Training Set” in this volume is one of the five kinds of Shaolin Boxing, it is the Dragon Boxing, because its spirit is that of constant change. In these modern times of technical terms, we have moved on from the name, and it has now been changed to Footwork-Training Set, also with the intention of training body and spirit. This set has been transmitted by the head of the Sichuan Bodyguards Association, Liu Chongjun. Liu spent a long time going through the Shaanxi and Gansu provinces between the Yellow and Luo rivers, seeking for famous teachers and colleagues to mentor him, concentrating on investigating the five Shaolin styles of boxing and the Yue school’s Short Fighting, passing more than thirty years searching far and wide for expertise, and confirming that this set is without doubt Dragon Boxing. Last spring, while working together in the Central Guoshu Institute, during our spare time, he showed the Dragon Boxing to me and also explained the whole thing from beginning to end. I exclaimed that I had never heard of it before. After seeing it practiced, I considered the similarities and differences between it and other styles. Hard and soft assist each other, it is neither excessive nor insufficient, everything just right, and I began to see the ingenuity of Dragon Boxing. As I learned each step, I contemplated its postures, so simple and clear, so efficient and economical. It is not like other boxing styles, which are overly complex and unnecessarily lengthy. Surely we can deem it the Mahayana [“great vehicle”] of the Shaolin Boxing arts.
今春休暇滬上。檢閱舊篋。得劉君口述大意。及岳門嫡派之聯成拳。加以整理。分別製圖。以期就正於劉君。早付剞劂。公諸同好。使少林之真諦。不為私人所祕。庶以廣流傳於永遠云爾。是為序。
During the break this New Year’s holiday in Shanghai, I was looking through an old chest of Liu’s notes of instructions and theories for it and also for the Yue school’s own Connected Boxing, arranging them into their proper order and distinguishing all of the drawings, hoping to get opinions from Liu so as to quickly make a book for all who might be interested, so that the true essence of this Shaolin art does not stay a secret between just the two of us, but spreads widely so it may last forever. And so I have written this preface.
十九年三月吳志靑記於海上尚武樓
Wu Zhiqing, writing from the Shanghai “Esteeming the Martial” School, March 1930

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凡例
HOW TO USE THIS BOOK

一本編取材少林正宗五拳之龍拳更改。今名為練步拳。此拳為四川廣漢劉崇峻君所傳述。志靑愛而好之。編為教本。以供國術同志參考。茲分二章。第一章。緒論、武術精義概要。第二章。詳解圖說應用教學諸法。
– This volume shows a modified form of Orthodox Shaolin Dragon Boxing, now called Footwork-Training Set. This set has been transmitted from Liu Chongjun of Guanghan, Sichuan. As I love and admire it, I have compiled it into a textbook for all martial arts comrades to consult. It is divided into two parts. Part One is introductory material and an outline of martial arts essentials. Part Two is a detailed explanation of its practical use to teach students all of its methods.
一本編按教育程序。分二章、四節、九段、三十六式。每段分四式。每式又附以術名、用法、說明、術解、式圖。使學者一目了然。易於練習。
– This volume functions according to a teaching procedure. It is divided into two chapters, four parts, nine sections, and thirty-six postures. Each section is divided into four postures. To each posture is then added the name of the technique, its function, an explanation of its movement, remarks on the technique, and a picture of the posture. This allows the student to immediately comprehend and easily practice.
一本編教授團體操。可參考軍事分排分隊法。
– This volume teaches group calisthenics and can be referred to by the military for training its companies and platoons.
一本編各式有口令。原為初學者便利起見。習熟後可删繁就簡。一氣呵成。以不違古人定法。及近代教育程序為原則。
– This volume has a command for each posture so that beginners may feel easily motivated from the start. After they are familiar with the movements, the simple counting may be done away with and it can flow without pauses. So as to not violate the principles of our forefathers and yet teach with a modern procedure, there is this way of doing it.
一本編假定行拳方位。為初學者便於記憶而設。練熟後則不拘方向。
– This volume assumes practice facing certain directions so that beginners can easily memorize and establish themselves in it. After drilling it until it is familiar, you can face any direction.
一本編謌譜。失傳已久。今按實用名詞。編定術名。集各式術名。編成謌訣。使學者口誦身行。為補助記憶之法也。
– This volume’s table of lyrics was lost long ago. Nowadays we make note of practical terms, organizing them into fixed technique names. We have gathered each posture’s name and arranged them into verse for students to recite and practice along with so as to aid memorization of the techniques.
一本編為劉先生得意之看家拳。曾在中央國術館教授全館生員。志靑朝夕研究。一得之愚。編輯成册。供獻國術同志。作為研究資料也可。幷希指正。幸甚。
– This volume is about Master Liu’s proudest specialty. He has taught it to all the students in the Central Guoshu Institute. I constantly studied it, and my meager perception of it I now compile into a book to offer to all my martial arts comrades. May it be worthwhile research material. I would be very pleased if you could make note of any mistakes.

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練步拳目次
CONTENTS

自序
Author’s Preface

凡例
How to Use This Book

第一章   緒論
Chapter One: Introductory Material

第一節   武術精義概要
Part 1: Outline of Martial Arts Essentials

（一）抱殘守缺
1. Cherishing the Old Stuff
（二）拳術源流
2. The Origin and Development of Boxing Arts
（三）育人殺人之分野
3. The Line Between Nurturing People and Murdering People
（四）陰陽勁
4. Passive or Active Strength
（五）五合三催
5. The Five Unions and Three Hastenings
（六）避正面
6. Avoid the Direct Line
（七）說動
7. Discussing Movement
（八）審勢
8. Examining Force
（九）四兩撥千斤
9. Four Ounces Moves a Thousand Pounds
（十）平均力
10. Balance
（十一）練拳黃金時代
11. The Best Times to Train

第二節   歌訣
Part 2: Instructions in Verse

第二章   圖說
Chapter Two: Illustrated Explanations

第一節   行拳方位圖說
Part 1: Diagram of the Directions Faced in Practicing the Set

第二節   教學法圖說
Part 2: Illustrated Explanations of the Teaching Method

第一段   術名   用法   術解
Section 1 (name of the technique / function / remarks on the technique):

第一式   懷抱太極
Posture 1: EMBRACING THE TAIJI SPHERE
開始動作由無極化太極之法
The beginning movement is a method of changing from inactivity to activity.
此式開始恰符生理次序準備運動之動作先行四肢而後漸及於軀幹循序漸進極合衞生之需要對於術上之應用以此式為變化之始中藏莫測之機為國術之要旨也
This posture is the beginning and it accords with a physiological sequence, preparing the exercise’s movements. First activate the four limbs, then gradually go into the trunk. Proceeding in order, go fully into the demands of health, then onward to practical skill. Use this posture as the beginning of transformation, concealing within so an opponent can see no opportunity, which is the main idea in martial arts.

第二式   平心掌
Posture 2: CHEST-LEVEL PALM
此為禦左防右之法
This is a method of resisting to the left and guarding to the right.
此式設敵由前直入伸拳衝來不動聲色幾為我太極式所破矣妙處卽在一托一按深望研究斯道三注意焉平心掌為禦敵之掌其功用全在掌根使用腕勁擊敵心房此為技術之動式也一式之中含有無窮之變化在善用者神而明之
In this posture, if an opponent is coming forward to attack, his fist rushing toward me, I do not react until it is the right moment to leave my Taiji Posture. The subtlety lies in one hand propping up and one hand pushing down. Deeply study this method, repeatedly giving it attention. Chest-Level Palm is a palm technique for warding away an opponent. Its use is entirely in the heel of the palm. Employ wrist strength and strike his chest. This is the movement and posture of this technique. Within this one posture is contained limitless possibilities. For one who is good at applying it, it is magical.

第三式   反身斷肘
Posture 3: TURN AROUND, STOP WITH THE FOREARM
設敵攻我後方反身拒敵之法
This is a method of dealing with an opponent attacking me from behind by turning around to ward him off.
此式為敵襲我後方則反身以應之而敵迫近我身以肘斷其來勢使敵無隙可侵則自衞固然後乘機克敵此為翻身斷敵之法術也
This posture is for when an opponent makes a surprise attack behind me which I turn around to respond to, and when he gets close to my body, I use my forearm to interrupt his incoming force, causing him to have no gap to invade through and making my defense solid. I then follow up by seizing the opportunity to defeat him. This is the skill of turning around to stop an opponent.

第四式   觸拳
Posture 4: CONNECTING FIST
此為順敵來勢以接觸敵之法
This is a method of seizing the opportunity of an opponent’s incoming force to connect to him.
此式設敵伸拳擊來我卽沿接其手以拳觸之此所謂將計就計之法使其無暇囘旋餘地受制於頃刻之間此拳有迅雷不及掩耳之妙用
In this posture, if the opponent extends a fist to strike me, I then connect along his hand, using my fist to make contact. In this way I beat him at his own game and make him have no chance or room to do anything. In a blink I am in control. This style has the subtleties of lightning speed.

第二段   術名   用法   術解
Section 2 (name of the technique / function / remarks on the technique):

第五式   上步搶掌
Posture 5: STEP FORWARD, SHOOTING PALM
此為側面應敵伺隙待懈法
This is a method of responding to an opponent from the side, waiting for the chance and catching him unsuspecting.
此式手眼身步法要處處相合不可須臾相拗所謂五合三催是也何謂五合三催之理見「緒論」此式兩手動作均須齊一不能有此快彼遲之弊庶幾於拳理近矣
In this posture, the hand, eye, body, and stepping methods should all be coordinated with each other and must not have a single moment of hesitation, as per the five unions and three hastenings (see Chapter One [Part 1, number 5]). In this posture, the movements of the hands are in unison and cannot have the error of one being fast while the other is slow. I hope you will realize the boxing principle.

第六式   反擒子午
Posture 6: RECEIVING BLOCK, SUNDIAL PUNCH
此為進步左擒右擊法
This is a method of advancing while doing a receiving block on the left and striking on the right.
此式左掌反擒敵手右拳隨擒而出擊敵正面名曰平心子午拳敵不動時我不動敵欲動而我先動兵法云其靜如山其動如風是也
In this posture, the left palm does a receiving block to the opponent’s hand, while the right fist at the same time comes out with a strike directly forward, called “chest-level sundial punch”. While the opponent does not move, I do not move. Once the opponent wishes to move, I move before him. Sunzi said: “Stillness like a mountain, then movement like the wind.”

第七式   退步趕肘
Posture 7: RETREAT, DRIVING AWAY WITH THE FOREARM
為誘敵深入以肘逐敵之法
This is a method of luring an opponent to overcommit and using the forearm to drive him out.
此式誘敵使其深入重圍我則乘機以克之又設我臂被敵所封則使趕肘以逐之雖兩臂一伸一縮須與全身進退取一致動作方為有效否則無功而有害
In this posture, I lure the opponent in to make him overcommit and be in a dangerous position, then take advantage of the opportunity and defeat him. Or if my arm is sealed off by him, then I use my forearm to drive him away. Although the arms are one extended and one retracted, they must move with the whole body, advancing and retreating as one unit for it to be effective. Otherwise it will be without skill and risky.

第八式   挂肘子午
Posture 8: HANG UP THE FOREARM, SUNDIAL PUNCH
為護衞追擊法
This is a method of guarding while chasing and striking.
此式為追擊之術然敵不動我亦不動觀其欲動我則順其來勢乘機進攻兵法云出其不意攻其無備是也然而攻人者反為人所攻何也夫人心之所欲必現諸形色自己不覺而他人洞若觀火所以反為人攻譬如第他人欲舉何手其肩必預為之準備欲與人談話眼必先注此為觀察敵情之一也
In this posture is the skill of chasing and striking. While the opponent does not move, I also do not move. When I see the opponent wishes to move, I then seize the opportunity of his incoming force, take advantage of it, and advance to attack. This is as Sunzi said: “Attack where he is not paying attention and where he is unprepared.” When confronted with an attacker, subvert his attack. How? What a person feels will manifest in all kinds of forms and colors. If he does not notice it himself but you are aware of it and read him right, then you have subverted his attack. For example, if you watch another person about to raise a hand, you can know which hand it will be because his shoulder must first prepare the action. Or if he wants to converse with someone, you will know who because his eyes must first establish contact. This is the same as examining the situation with an opponent.

第三段   術名   用法   術解
Section 3 (name of the technique / function / remarks on the technique):

第九式   封門搶掌
Posture 9: CLOSE THE DOOR, SHOOTING PALM
為佯攻誘敵法
This is a method of feigning an attack to lure an opponent in.
此式先以肘封敵之門戶迅卽出掌擊敵之胸部以為餌此為佯攻誘敵之法俟其出手防我恰中我邊捶之計矣
In this posture, I first use my elbow to cover the opponent’s attack then quickly strike with my palm toward his chest to bait him. This technique is for feigning an attack to lure the opponent in. I wait for him to block me, and when the moment is right I will use my sideways-punch technique.

第十式   邊捶
Posture 10: SIDEWAYS PUNCH
為出其不意之法
This is a method of attacking an opponent where he is not paying attention.
此式以上式誘敵暗藏邊捶乘敵忙於招架出其不意左臂猛然收囘右臂乘勢橫掃以拳脊背驟然擊之猶如軍艦上之邊礟猝發也
This posture continues from the previous posture, luring the opponent into a hidden punch from the side, exploiting his haste to block and attacking where he is not paying attention. The left [right] arm fiercely withdraws and the right [left] arm uses the momentum to sweep across, using the back of the fist to strike suddenly, just like cannon fire from the side of a battleship.

第十一式   上步斷肘
Posture 11: STEP FORWARD, STOP WITH THE FOREARM
為禦敵襲擊之法
This is a method of warding off an opponent’s surprise attack.
此式設敵來襲我則以肘斷其勢使敵無暇可侵則我侵機以使下式之鴛鴦肘蓋拳術路子均係一攻一守一進一退為全套之網領應如何設計防禦及攻克之技術均視當時環境而變化在學者善用時機耳
In this posture, if an opponent comes to attack me by surprise, I then use my elbow to interrupt his force and cause him to have no chance to invade, and then I seize the opportunity and make the following posture of Mandarin Duck Forearms. In the methods of boxing arts, always the aspects of attacking, defending, advancing, and retreating run through the whole set. You should consider what the best way to defend is, and then you will have the skill of overcoming opponents. One who adapts when spotting the right moment – that is a student who is good at making use of opportunity.

第十二式   鴛鴦肘
Posture 12: MANDARIN DUCK FOREARMS
此為乘機陷陣克敵法
This is a method of seizing the opportunity of an opponent’s bad position to defeat him.
此式名曰鴛鴦肘卽左右兩臂同時並用挾攻之意惟身體須活潑順乎手步之法旋身滚入勢若游龍深入敵境出全力以制之則勝莫自操矣
As this posture is called Mandarin Duck Forearms, both arms are at the same time using an intention of depending on each other. But the body must be lively and go along with the hand and stepping method, turning and rolling in, the dynamic like a swimming dragon, deeply entering the opponent’s space. Expressing your full power when you do it will ensure you grasp success.

第四段   術名   用法   術解
Section 4 (name of the technique / function / remarks on the technique):

第十三式   封門搶掌
Posture 13: CLOSE THE DOOR, SHOOTING PALM
為上佯下取法
This is a method of feinting above to catch him below.
此式以左掌封敵之門戶右掌搶出擊敵之咽喉與眼倘敵設防於上我取其下或取其中隨機變化不拘一格
In this posture, use the left palm to cover the opponent’s attack and the right palm to shoot out a strike toward his throat or eyes. If he defends above, I will catch him below or in his middle, adjusting to the situation and not getting stuck to a pattern.

第十四式   攔肘
Posture 14: BLOCK WITH THE FOREARM
為縮身上下抗敵法
This is a method of withdrawing the body above and below to resist an opponent.
此式為護頂攔敵之法亦為守勢之基礎兩手一上一下如撕綿然不分重輕遲鈍只要動作齊一用力均匀則守基自固矣
This posture is a method of guarding the head and blocking the opponent, and is also a basic defensive posture. The hands go one up and one down as if ripping silk, with no difference between them in terms power or speed. Only if they are moving in unison with force applied equally will the defense will be solid.

第十五式   撩陰掌
Posture 15: RAISING PALM TO THE GROIN
為變更方位襲敵法
This is a method of changing direction to surprise an opponent.
此式為襲擊敵人下部卽攻其無備之意當身轉變步亦隨之不可遲滯至失機會是為拳術之要旨也
This posture is for making a surprise attack to an opponent’s lower section, exemplifying the idea of attacking him where he is unprepared. When the body turns, the stance goes along with it. It must not be sluggish or you will lose your chance, which is the gist of boxing arts.

第十六式   退步趕肘
Posture 16: RETREAT, DRIVING AWAY WITH THE FOREARM
為佯退實拒法
This is a method of feigning a retreat to actually confront.
此式以上式之掌設被敵所封我則以肘逐之而抽後身退伺迎敵來復再乘勢以攻之
In this posture, if my palm in the previous posture has been sealed off by the opponent, I then use my forearm to drive his block away, withdrawing my body and retreating, waiting for him to attack, then again taking advantage of the opportunity to attack him.

第五段   術名   用法   術解
Section 5 (name of the technique / function / remarks on the technique):
第十七式   上步加封
Posture 17: STEP FORWARD, PASTE UP AN ANNOUNCEMENT
為進步追擊之法
This is a method of advancing with a chasing attack.
此式設敵乘我後退再逼一步我卽上右腳封其左腳出左手擒其臂右拳順勢繞擊其耳門
In this posture, if the opponent takes advantage of my retreat by taking another step toward me, I then step forward with my right foot to seal off his left foot, putting out my left hand to do a receiving block to his arm, my right fist seizing the opportunity to coil a strike to his ear.

第十八式   封門搶掌
Posture 18: CLOSE THE DOOR, SHOOTING PALM
為封敵運掌法
This is a method of closing off an opponent and executing a palm technique.
此式與上式連環使用為變化之手不落痕蹊使敵莫測其由來則拳術之術字其義廣矣
In this posture, it connects to and employs the previous posture, but varies the hand technique instead of repeating itself, so as to make the opponent unable to tell where the attack is coming from. Thus the boxing art earns its designation of art and its significance is broad.

第十九式   攔肘
Posture 19: BLOCK WITH THE FOREARM
為上下防護法
This is a method of guarding above and below.
此式設敵乘虛攻我下部我卽閃身以避之囘手以抗之夫國術貴乎自衞不以攻人為能始達體育之本旨矣
In this posture, if the opponent takes advantage of my unguarded area, attacking me below, I then dodge to evade it and withdraw my hand to resist him. What martial arts esteems is self-defense, not ability to attack people. This is the real intention of physical education.

第二十式   封門大閉
Posture 20: SLAM THE DOOR SHUT
此為伏敵之法
This is a method of prostrating the opponent.
此式設敵攻我中部我以右手封其左臂而左手卽乘勢下按身體閃開繞過敵後此所謂封門大閉是也
In this posture, if the opponent attacks my middle, I use my right hand to seal off his left arm, my left arm taking advantage of the momentum and pushing down, my body dodging and coiling around behind him. This is what is called slamming a door shut.

第六段   術名   用法   術解
Section 6 (name of the technique / function / remarks on the technique):

第二十一式   上步加封
Posture 21: STEP FORWARD, PASTE UP AN ANNOUNCEMENT
為防護反擊法
This is a method of preventing a counterattack.
此法以身法旋轉勢若游魚步隨身進盡其騰竄之能事手法則出其上下相應之技術眼則監視敵方情形舉動不失其機始可得尺寸之功
In this posture, the body spins with the dynamic of a swimming fish, the steps going along with the body’s advance, achieving a fish’s capacity to flip. The hands coordinate with each other above and below. The eyes keep a watch on the actions of the opponent. By not losing your opportunities, you will begin to obtain a standard of skill.

第二十二式   單邊掌
Posture 22: A PALM FROM THE OTHER SIDE
為乘隙擊敵法
This is a method of taking advantage of a gap to strike an opponent.
此式出其不意以連珠法乘懈以擊之步法雖不動而身法一閃亦隨之而變動身閃轉亦隨手勢而行總而言之伸屈閃轉均須一氣到底不卽不離是也
In this posture, attack the opponent where he does not expect with a rapid follow-up [to the previous technique], taking advantage of his inattention to strike him. Although the feet do not leave their location, the body is evasive, and they go along with it and adjust accordingly. The body’s evasive turn itself is done by going along with the momentum of the hands. In short, extending, contracting, evading, and turning all must be continuous rather than a matter of stops and starts.

第二十三式   滚肘
Posture 23: ROLLING ELBOW
為迫敵退卻法
This is a method of compelling an opponent to retreat.
此式設敵近我身旁利於短兵相接之時當以肘克之因伸出掌失其效用故也此肘以滚命名係出肘時注全力連身帶滚始可制勝惟步武須穩不然一鬆全功盡棄
In this posture, if an opponent is close beside me, a moment when it is best to fight at close quarters, I right away use my elbow to defeat him, since to throw out fists or palms would have no effectiveness. This elbow technique has rolling as its name. When the elbow comes out, focus on using the power of the whole body to lead the rolling and you will begin to be successful, but the stance must be stable, for if it is not and lower body is too loose, the whole thing will be in vain.

第二十四式   頂肘
Posture 24: GORING ELBOW
為應敵制敵法
This is a method of responding to an opponent by subduing him.
此式設敵由高撲下以肘承之順頂其胸部夫拳術欲操勝算捨短兵肉搏無由成功用肘用膝用臀用肩均係短兵之法也
In this posture, if an opponent pounces down from high above, use the elbow to hold him, conveniently pounding it into his chest. In boxing arts, if you want to be sure of success and yet you neglect close-in fighting, there will be no way to win. The use of the elbow, as well as the use of hip, shoulder, or knee are all related to methods of close-in fighting.

第七段   術名   用法   術解
Section 7 (name of the technique / function / remarks on the technique):

第二十五式   雙披挂
Posture 25: DOUBLE DRAPING & HANGING
此為解危防護法
This is a method of defensively dispelling a threat.
此式為上抗下禦例如敵以雙封貫耳擊我太陽穴我以雙披手解之又以腿撩我陰則以雙按手以禦之此為防護之要法也
This posture is for resisting above and defending below. For example, if an opponent uses the technique of Double Sealing Through the Ears to strike to my temples, I use both hands to spread his and dispel it, and if he then raises a kick to my groin, I then use both hands to push down and defend against it. This is an essential method of guarding.

第二十六式   雙推
Posture 26: DOUBLE PUSH
此為後拒襲擊法
This is a method of resisting behind with a surprise attack.
此式設敵由後方襲擊我則轉身以應之雙掌托敵之小腹用掌根勁則傷腹用手腕勁則傾敵此式不著則已著則非跌卽傷學者不可輕試慎之慎之
In this posture, if an opponent does a surprise attack from behind, I turn around to respond to it with both hands propping up his lower abdomen. Applying power in the heels of the palms will injure his belly. Applying power in the wrists will collapse him. If this posture is not actually felt, it will be empty. But when touching, neither drop nor injure your partner. The student must not lightly try this. Be careful.

第二十七式   轉身撩陰
Posture 27: TURN AROUND, RAISING TO THE GROIN
為轉身反攻法
This is a method of turning around to counterattack.
此式與上式為連環變化攻敵之法欲其有效須身體轉動自如心靈手快無半點乾澀之狀則得心應手矣
This posture connects with the previous posture to be a method of continuously adjusting to attacking opponents. If you want it to be effective, the body must turn around smoothly, the mind nimble, the hands fast, without the slightest bit of difficulty, and then what is in your mind will be realized in your hands.

第二十八式   退步趕肘
Posture 28: RETREAT, DRIVING AWAY WITH THE FOREARM
為佯退禦敵法
This is a method of feigning a retreat to ward off an opponent.
此式設敵擒住我右手我以左臂肘驅趕之禦敵之法全憑一進一退一伸一縮之間得以化險為夷否則不堪設想
In this posture, if the opponent catches my right hand, I use my left forearm to drive his block away. In the methods of warding off opponents, regardless of advancing, retreating, extending, or contracting, first neutralize the threat, otherwise there will be no next step to think about.

第八段   術名   用法   術解
Section 8 (name of the technique / function / remarks on the technique):

第二十九式   上步加封
Posture 29: STEP FORWARD, PASTE UP AN ANNOUNCEMENT
為進步追擊法
This is a method of advancing with a chasing attack.
此式設敵擊我上部我以第拿封其手出右掌橫第其太陽穴惟左右腳步法須活不呆出步處處走外圈由側面而擊之否則無功
In this posture, if an opponent strikes at me above, I do a receiving block to seal off his hand and send out my right fist to smash across to his temple. But the stepping of both feet must be lively and should not be stiff, and the steps must ring around to the outside so the strike will come from the side, otherwise it will be ineffective.

第三十式   上步加封
Posture 30: STEP FORWARD, PASTE UP AN ANNOUNCEMENT
此為再進一步之法
This is a method of again advancing a step.
此式與上式同功異曲雖是如此然其變化殊妙非比平常皆因其左右逢源不落痕蹊故也
This posture is the same as the previous posture but with a different curve. Although it is similar, it is subtly different and not identical to what came before. It is good to be able to do things on both sides, but do not fall into a constant pattern.

第三十一式   勾絆
Posture 31: HOOK & TRIP
為三追克敵法
This is a method of chasing the opponent for the third time to overcome him.
此式右手扳敵脖左手勾其頸右腳管其足左腳掃其腿上勾下絆同時.並舉克敵太如於摧枯拉朽法雖如此非有真實功夫者不克臻此學者務宜第之
In this posture, the right hand pulls on the opponent’s neck while the left hand hooks his throat, the right leg controls his foot, and the left foot sweeps his leg, hooking above and tripping below. This not only defeats the opponent, it can destroy him, and although the technique is like this, it is not the behavior of one with real skill. To be better than this, you must work hard.

第三十二式   退步加封
Posture 32: RETREAT, PASTE UP AN ANNOUNCEMENT
此為以退為守之法
This is a method of retreating to defend.
此式為步步撤退之法以架為守不為敵所侵自古作戰攻堅不易退守尤難能進退自如則勝算可操矣
This posture is a method of repeatedly retreating to sustain a defense, so the opponent cannot get near. In ancient battles, storming fortifications was not easy, but falling back to defend was especially difficult. If you can advance and retreat smoothly, then a successful strategy can be carried out.

第九段   術名   用法   術解
Section 9 (name of the technique / function / remarks on the technique):

第三十三式   退步加封
Posture 33: RETREAT, PASTE UP AN ANNOUNCEMENT
此為步步防守法
This is a method of stepping repeatedly to defend.
此式連上式步步撤退而手之招架與進攻無殊而步法須要穩固不宜紊亂手法須要敏捷不宜遲鈍身心須要第靜而活潑不宜浮燥而輕滑庶幾稍得此中三昧矣
This posture continues the previous posture’s retreating, and the hands parry no differently from the advancing version. The footwork must be stable and should not be disordered, the hand techniques must be quick and should not be hesitant, the body and mind must be calm and lively and should not be impetuous or reckless, and then you will have almost got the knack.

第三十四式   轉身雙推
Posture 34: TURN AROUND, DOUBLE PUSH
為肅餘敵法
This is a method of mopping up any leftover opponent.
此式為囘顧後方防敵襲擊轉身雙推惟轉字須要十分注意而若轉動不靈則四方空虛不能照顧遂有顧此失彼之虞矣
This posture is for turning behind to defend against an opponent’s surprise attack, turning around to push with both hands. However that word “turning” must be paid careful attention. If the turning is awkward, it will disorient you as to the four directions, and you will not be able to attend to them, ending up anxious at having too many things to think about at once.

第三十五式   返身雙推
Posture 35: TURN BACK, DOUBLE PUSH
為鞏固初基法
This is a method of consolidating everything back to the beginning.
此式為預備收式返本歸原之法亦為卻敵之一法也
This posture is a method of preparing for the closing posture and returning to your original position, as well as a method of repulsing an opponent.

第三十六式   太極歸真
Posture 36: RETURNING TO TAIJI
此為返本歸真法
This is a method of returning to your original posture.
此式為拳之終止式亦卽起始無終無始無起無止歸於太極變化莫測此卽太極之意歟
This posture is the set’s ending posture. It is the same as the beginning posture. There is no ending or beginning, no start or stop, for you have returned to the Taiji Posture. Transform unpredictably – this is the meaning of Taiji.

–

練步拳 
FOOTWORK-TRAINING SET

第一章   緒論
CHAPTER ONE: INTRODUCTORY MATERIAL

第一節   武術精義概要
PART 1: OUTLINE OF MARTIAL ARTS ESSENTIALS

一   抱殘守缺
1. CHERISHING THE OLD STUFF

嘗閱向愷然先生見聞錄。明戚繼光著紀效新書。中列拳經一卷。吾國拳術。始有專書。早歲嘗一讀之。觀其所傳三十二式。有法無理。有用無體。精技擊者閱之。無裨其長。初學者研之。莫發其蒙。當世蓋用之以訓練士卒。故無取乎妙理焉。其他散見於雜書者。如武備志之類。擇焉不精。語焉不詳。而為小說家言者。又往往誕夸不經以衒奇。其離乎拳術之真相遠矣。近世大抵跳竄排撻鹵莽之事。非文人學士之所優焉。不能以文意達其所知。抱殘守缺。支離滅裂。其由來久矣。
From Xiang Kairan’s “Record of What I Have Seen and Heard”:
When Qi Jiquang of the Ming Dynasty compiled a new book containing a section called “Boxing Classic”, our country’s boxing arts started to have special books. When I was young I read it and looked at the thirty-two postures he passed down. There was method but no theory, function but no form. Expert boxers go through it but nothing in it helps their growth. Beginners study it but nothing in it dispels their ignorance. Nowadays we use it to train soldiers, and so we get no subtle wisdom from it.
     There are other miscellaneous books scattered around, such as the Record of Martial Training, inadequately compiled and insufficiently detailed.
     Then there are novelists, who frequently exaggerate without foundation to put out something exciting and they depart far from the reality of boxing arts. But in modern times, generally such low-class activities as jumping around and lashing out at others are not what a gentleman of letters engages in, and so it would not be a part of literature because such men know nothing about it.
     Let us cherish the old stuff. It may be a mess full of gaps, but it started a long time ago.

二、拳術源流
2. THE ORIGIN AND DEVELOPMENT OF BOXING ARTS

蓋拳術之為物。不多見於經史。莫能道其沿革者。穿鑿附會以求之。無益於技術。誠多事耳。大抵人類初生。與羣動同居。飛不如禽。走不如獸。其自衞者。豈徒智哉。蓋亦有其技矣。或以羣鬭之經驗。或師鳥獸之特長。以長百物。以雄醜類。而拳術於是乎興。弓矢出。戈矛成。蓋後世聖人製之。以補拳術之不逮。非械鬭起而後、有拳術也。（此則參看理論篇第一章第一節）
As far as anything to do with the boxing arts, there is not much to be seen in the classics and histories, nothing that can lead us through its development. To get carried away with unfounded conclusions would not help the art and would just make more of a problem.
     Generally speaking, human beings in the beginning moved and lived as a group. In flight, nothing compares to birds. In walking, nothing compares to beasts. Of their methods of self-defense, let us learn from their wisdom to also possess their skills, whether it be from the experience of fighting as a group or in imitating their attributes.
     For the propagation of all things, as well as the empowering of villains, the boxing arts came about. Bows and arrows appeared. Halberds and spears were made. The wise men of later generations had them made to make up for what the boxing arts could not do, but when there was no more weapon fighting, there were boxing arts.
     (This theme is continued from the previous piece.)

三、育人殺人之分野
3. THE LINE BETWEEN NURTURING PEOPLE AND MURDERING PEOPLE

近世戰鬭之械日精。拳術之用已失。縱使十年練臂。十年練眼。力如賁育。捷若慶忌。以三寸手槍當之足矣。而歷觀物質文明。極端之邦。尚兢兢研求不遑者何也。蓋近世提倡拳術之目的。與拳術最初之目的殊。古之拳術以殺人。今之拳術以育人。人之百為基於其躬。練拳術則身健。身健則魄力雄。意志强。魄力雄、意志强。天下事不足為也。故余之所述者。本諸見聞。求取實用。不張怪誕。以與邦人君子商榷之。
In modern times, the weapons of combat are being refined on a daily basis and the applicability of boxing arts has had its day. Even if you spend ten years training the arms, or ten years training the eyes, the strength you develop may be decorative and health-enhancing, and the speed you develop may get applauded and envied, and yet for fighting, a puny pistol is perfectly sufficient.
     It is by looking back in history that we can see how our present culture came about, though few seem to have the care and patience to do so. As for the goal in encouraging boxing arts nowadays and the specific goal of boxing arts in the first place, in ancient times boxing arts were for killing people whereas nowadays they are for nurturing people. For all types of people, the body is the foundation. Training boxing arts makes the body healthy. When the body is healthy, the spirit is bold and the will is strong. With a bold spirit and a strong will, you can do anything in the world. Therefore I relate these things from my own experience, seeking the practical instead of displaying the bizarre, so that we can all talk about them.

四、陰陽勁
4. PASSIVE OR ACTIVE STRENGTH

間訪吾國拳術至雜。省與省殊。縣與縣殊。人與人殊。一師各傳其弟子。弟子各守其心得。其傳術之式。變動不拘。美惡並見。不能集海內之拳師而合閱之。則不能知其技之短長。與其術之優劣。惟恆人所言者。為內外兩家。能內家者。如鳳毛麟角。余未之知也。外家雖雜。大抵分陰陽勁之二派。陽勁以剛勝。陰勁以柔勝。各臻其極。無所為優劣也。惟以身體發育而論。則陰勁不如陽勁。陰勁束身以避敵。猴胸短肋。氣歛局緊。陽勁挺膊舒筋。發揚蹈厲。以今日而倡拳術。實以陽勁為宜。
Our nation’s boxing arts are varied. One province is different from another, one county is different from another, and one person is different from another. Each teacher passes on his tradition to his pupils, and each pupil defends what he has learned. The art’s postures that have been transmitted change without limit, and correct ways and wrong are equally seen. If we cannot assemble the boxing teachers of the nation and combine their experiences, then we cannot know the extent of their skills and the good and bad points of their art. But commonly people talk of the two schools of internal and external. One who has ability in the internal school is as rare as a phoenix feather or a unicorn horn, and I do not yet know of anyone. Although the external school has a great variety, generally speaking it divides into the two branches of passive strength and active strength. Active strength uses hardness to win. Passive strength uses softness to win. Each reaches its extreme. Neither is better or worse, except when discussing how the body is nourished, and then the passive strength does not compare to the active strength. The passive strength restrains the body to avoid opponents, with the chest hollowed like a monkey’s and the ribs shrunk in, the energy gathered and strictly confined. The active strength extends the arms and lengthens the sinews, moving with vigor. To begin training in the boxing arts these days, surely the active strength is the suitable one.

五、五合三催
5. THE FIVE UNIONS AND THREE HASTENINGS

拳無論陰陽勁。一身之前後左右上下。皆有攻守之手。非然者。為不完全之拳式。初學必演拳式者。欲知其五合三催之理也。何謂五合。手與眼合。眼與心合。肩與腰合。身與步合。上與下合是也。何謂三催。手催、身催、步催、是也。
In boxing, regardless of passive or active energies, the whole body, front and back, left and right, above and below, all have offensive and defensive techniques. If that is not the case, then it is an incomplete boxing style. In the beginning it is necessary to train the boxing postures, and for that you should know the principles of the five unions and the three hastenings. What are the five unions? The hands unite with the eyes, the eyes unite with the mind, the shoulders unite with the waist, the body unites with the step, and the upper body unites with the lower. What are the three hastenings? The hands hasten, the body hastens, and the step hastens.

六、避正面
6. AVOID THE DIRECT LINE

拳術以避正面攻擊。為第一要義。陰勁之猴胸。陽勁之側身。皆所以殺之正力也。
In boxing arts, avoiding a direct line of attack is the first essential. There is the passive energy of hollowing the chest like a monkey or the active energy of turning the body sideways, both situations which reduce the opponent’s direct force.

七、說動
7. DISCUSSING MOVEMENT

王志羣曰。敵不動時我不動。敵欲動時我先動。兵法云其靜如山。其動如風。守如處女。出如脫兔。
My teacher Wang Zhiqun said: “While the opponent does not move, I do not move. Once the opponent wishes to move, I move before him.” As Sunzi said [Art of War, chapter 7]: “Stillness like a mountain, then movement like the wind. [and chapter 11] Be as guarded as a shy virgin, then shoot out like a bolting rabbit.”

八、審勢
8. EXAMINING FORCE

拳術貴審勢。勢之義有二。在己曰蓄勢。在敵曰乘勢。初學者、先學蓄勢。如鷙之將擊。卑飛歛翼。如猛獸之將搏。縮爪張牙。乘勢則神定而眼捷。以待敵隙。非老於技擊者不能也。
In boxing arts, it is valuable to examine force. Force has two meanings. Where the self is concerned, it is the storing up of potential. Where the opponent is concerned, it is the taking advantage of his momentum. A beginner first learns to store up potential, like a bird of prey about to strike, lowering in its flight and drawing in its wings, or like a beast of prey about to pounce, coiling in its claws and bearing its fangs. When taking advantage of his momentum, the spirit is sure and the eyes are quick, exploiting the moment he is vulnerable, and yet without long training, you will not be able to do this.

九、四兩撥千斤
9. FOUR OUNCES MOVES A THOUSAND POUNDS

蓋拳術較勝。以蠻力不如以法理。以法理須有精練純熟之工夫。始能運用其巧妙之技術。則勝算可操也。或問拳術尚方不尚巧。我以不尚蠢不如尚智力。術曰、「借人之力。順人之勢。」卽是四兩撥千斤的意思。何謂四兩撥千斤。譬如槓杆平放。力點在中心。

力
－θ－
點

槓竿直豎。力點在極下。

│
│
△
力點

若兩人鬭拳。甲方出拳。如有千斤之蠢力衝來。銳不可當。而乙方只須增加四兩引力。順著來勢。向後牽引。則甲方之力。非其所自有。卽為乙方所借矣。或甲方用千斤之力。向懷中猛拉。而乙方亦只須增加四兩送力。順勢推之。則甲方亦必失其重心而倒矣。又如人直立地上。兩腳穩如千斤鑄鼎。亦只須稍出微力。撥其腳踵。其人亦必立覆。是之所謂四兩撥千斤也。
In comparing successful outcomes in boxing arts, strength is no match for strategy. Strategy requires well-trained skill. When you can begin to apply this skill, then you can be successful. If asked if boxing arts emphasize straightforwardness over ingenuity, I say that not emphasizing stupidity is not as good as emphasizing intelligence. It is said in the art: “Borrow his power and make use of his momentum.” This is the idea of “four ounces moves a thousand pounds”. What is meant by “four ounces moves a thousand pounds”? If a lever lay flat, the force is in the center [representing a stable opponent]:

F
－θ－
R
C
E

But when the lever is vertical, the force is all the way at the bottom [representing an overcommitted opponent]:

│
│
△
FORCE

If two people are fighting and person A attacks as if with a thousand pounds of brute force which cannot be opposed, person B then only needs to add four ounces of force to draw A’s force in, making use of his incoming momentum to pull him. A’s force is thus no longer his own. B has borrowed it. Or if A uses a thousand pounds of force to grab and fiercely pull, B then only needs to add four ounces of force to send A’s force away, taking advantage of his momentum to push him. A’s force will thus defeat his own balance and topple him back. Also, if someone stands up straight, his feet stable as a thousand-pound cauldron, you only need emit a slight force to affect his heels and he will be uprooted. These examples are what is meant by “four ounces moves a thousand pounds”.

十、平均力
10. BALANCE

夫人之行立坐臥。得其平則安穩。失其平則攲斜。而不穩者皆平均力失其中庸所使然也。而練南派拳術。初入門者。以練習四平樁為不二法門。實得科學之真理。然四平工夫。練到深處。伸拳踢腿。輕若驚鴻。穩似泰山。一舉一動。係得重心之運用。則無往而不安穩矣。平常人未曾習練平均力者。除行立坐臥外。欲試非素習之動作。在在均有傾跌之處也。又如習舟楫者。舟行風浪之中。任其顛簸。如履平地。而不傾覆者、何也。蓋得平均力故也。
In walking, standing, sitting, or lying down, if it is balanced, you will be stable, and if not, you will lean. If you are not stable, then all your balance will be uncentered. When training in southern style boxing arts, for a beginner the best thing to do is practice the “four-level stance” [i.e. horse-riding stance] to solidly get a true rational sense of it. When the four-level skill has been trained to a deep level, then when you punch and kick, you move as lightly as an alarmed goose and yet remain as stable as Mt. Tai. In every movement, move through the use of your center of weight, and then every direction you go you will be stable. For ordinary people who do not yet train balance, then beyond walking, standing, sitting, or lying down, if they want it but do not train a lot, always they will collapse. Whereas one who practices rowing a boat in turbulent waters, and no matter how much it is bumped around, it is as though he is walking on a level road and is not overturned, that one indeed has balance.

十一、練拳黃金時代
11. THE BEST TIMES TO TRAIN

習拳術者。以三伏三九。為練工夫之黃金時代。其說如何。蓋三伏之天。太陽行近赤道。為一年中與地球最接近之期。地球受太陽所罩。則熱度亦因之驟增。而人之生理。亦因之變化。按全部骨骼筋肉。含膠質部分。均有弛懈之象徵。然習練工夫者。在此時期。加工鍛練。則能深入骨髓。其功必深。又因天熱骨柔。易於矯正姿勢。並且內臟所積之老廢物。由汗線盡量而洩。在熱天所受之暑氣。則排除淨盡。不但技術深入骨髓。關係身體之康强。亦有莫大之效用。至三九之天。因太陽離赤道遠。天氣至斯為最寒冷之期。人之全身骨骼筋肉。均有緊縮之象。習工夫者。以此時亦為黃金時代。蓋人身旣受嚴寒而萎縮。當在斯時加工鍛練。則體內熱力。乃充滿四肢。氣候雖至極寒。亦必出汗如瀋。一若三伏時也。然人之體魄因鍛練而强壯。精神因之而充足。事業因之而日進。豈僅關於身體而已哉。
For training in boxing arts, the hottest time of the year and the coldest time of the year are the best times to train. How so?
     In the hottest time of the year, the sun is higher in the sky. As the Earth approaches the middle of its year, it receives the sun’s rays more broadly, and the temperature increases. Human physiology also changes as a result. Notice that the whole body, skeleton, flesh, and joints, all are looser. Therefore by training at this time that much extra, your skill will deepen and the result will surely be profound. The heat also increases flexibility, making it easier to correct the postures. Furthermore, toxins built up in the organs will be expelled through the extreme sweating. Summer heat cleanses you. Not only will your skill become deeper, your body will become healthier.
     Also of the greatest effectiveness is the coldest time of the year, when the sun goes over into the southern sky. When the weather reaches this coldest period, the whole body, bones and muscle, has an attitude of shrinking away. To train at this time is also the best time to train. When the body receives severe cold, it atrophies. You should at this time do extra exercise so the body will have a heating power which fills the limbs. Although it is the coldest time of the year, you must still work hard enough to perspire as if it is the hottest time of the year, thus your body will be strengthened. Not to mention your spirit will be made abundant and everything you work on will improve, for it is not only the effects on the body that matter.

第二節   歌訣
PART 2: INSTRUCTIONS IN VERSE
[The structure is only seen in the Chinese text. Naturally no real sense of verse manifests in the translation.]

懷抱太極本心掌
斷肘觸拳連掌搶
反擒子午趕肘還
挂肘子午加搶掌
邊捶斷肘暗地藏
進步鴛鴦中門搶
攔肘撩陰趕肘還
上步加封先搶掌
攔肘封門又大閉
上步加封單邊掌
滚頂連肘雙披挂
雙推轉身又撩陰
退步趕肘加封進
上步加封勾絆急
加封退步分左右
雙推太極復歸真
Embrace the Taiji sphere and do a chest-level palm.
Stop with the forearm, connect with the fist, then shoot out a palm.
Do a receiving block and a sundial punch, then drive away with the forearm too.
Hang up the forearm and do a sundial punch, then add a shooting palm.
Do a sideways punch, then stop with the forearm, concealing within.
Advance with mandarin duck forearms and go through the door with a shooting palm.
Block with the forearm, raise to the groin, then drive away with the forearm too.
Step forward to paste up an announcement before shooting out a palm.
Block with the forearm and shut the door, slamming it shut.
Step forward to paste up an announcement, then send a palm from the other side.
Rolling and goring are continuous elbow techniques, then do double draping and hanging.
Do a double push, then turn around to again raise to the groin.
Retreat and drive away with the forearm, then advance to paste up an announcement.
Step forward to paste up announcements, then hook and trip violently.
Paste up announcements while retreating on both sides.
Do double pushes, and the Taiji Posture is then returned to.

–

第二章   練步拳圖說
CHAPTER TWO: ILLUSTRATED EXPLANATIONS FOR THE FOOTWORK-TRAINING SET

第一節   行拳方位圖說
PART 1: DIAGRAM OF THE DIRECTIONS FACED IN PRACTICING THE SET

N
北
↑
W 西–|–東  E
|
南
S

說明
Explanation of the diagram:
初學習國術。首須記淸方位。然後開始練習。或複習時。或自習時。庶不致盲然無所措手足。或偶遺忘。視方向便於追憶。所以初學者。首須識別方位。例如假定東南西北。習熟後。則不拘何方均可。此路拳假定由東往西。面南背北。如上圖。
When beginning to learn martial arts, you first must remember clearly the direction being faced, then you can start to practice, and whether you are reviewing or practicing by yourself, you will not get lost as to where to put your hands and feet. If you do forget, observe what direction you are facing and you will easily remember. Therefore in the beginning you must first discern directions, imagining for example that you are facing east, south, west, or north. After you have become familiar with them, then it doesn’t matter what actual direction you face. In this boxing set, assume you are going [with the initial step] from east to west [west to east], facing [in the beginning posture] south with your back to the north, as in the diagram above [the arrow not indicating the direction you are facing but merely serving as a general westernized compass needle].

立正式說明
Explanation of the posture of STANDING AT ATTENTION:
兩足跟宜在一線上靠攏並齊。兩足尖向外撇開。約六十度。兩腿自然伸直。上體體重平置於腰上。脊背伸直。微向前傾。兩肩宜平。稍向後張。兩臂自然下垂。兩手貼於股際。五指拼攏而微屈。頭宜正。頸宜直。口宜閉。由鼻呼吸。兩眼向南平視。如第一圖。
Your heels should be standing together on a line with each other, the toes opened outward about 60 degrees, your legs naturally straight. Your upper body’s weight is evenly distributed on top of your waist, your back straight and slightly inclined forward, and your shoulders should be level and slightly stretched to the rear. Your arms hang down naturally, your hands stay close to your thighs, and the fingers are together and slightly bent. Your head should be upright and your neck straight. Your mouth should be closed and the breathing done through your nose. Your gaze is level to the south. See photo 1:

第二節   教學法圖說
PART 2: ILLUSTRATED EXPLANATIONS OF THE TEACHING METHOD

第一段   口令數   一二三四
SECTION 1 (The command counts “1… 2… 3… 4…”):

第一式
Posture 1
術名
Name of the technique:
懷抱太極
EMBRACING THE TAIJI SPHERE
用法
Function:
開始動作由無極化太極之法。  
The beginning movement is a method of changing from inactivity to activity.
說明
Explanation of the movement:
聞令數一。由立正式全身不動。眼仍視南。左臂上提。小臂平舉於胸前。掌心向下。五指拼而微屈。同時右臂微提。小臂平橫於臍前。五指拼而微屈。掌心向上。與左掌心上下相印。中間相距約二十五生的。兩手形似太極。名曰懷抱。
太極定式如第二圖
Hear the command of “One!” From standing at attention, your whole body not moving and your gaze still to the south, your left arm rises up, forearm horizontal in front of your chest, palm facing downward, fingers together and slightly bent. At the same time, your right arm slightly lifts, forearm horizontal in front of your navel, fingers together and slightly bent, palm facing upward. Your palms face each other above and below and the distance between them is about 25cm. Your hands are in a shape like a taiji sphere [i.e. holding a yin/yang circle]. Hence it is called “embracing”. For the Taiji Posture, see photo 2:

術解
Remarks on the technique:
此式開始。恰符生理次序。準備運動之動作。先行四肢。而後漸及於軀幹。循序漸進。極合衞生之需要。對於技術上之應用。以此式為變化之始。中藏莫測之機。為國術之要旨也。
This posture is the beginning and it accords with a physiological sequence, preparing the exercise’s movements. First activate the four limbs, then gradually go into the trunk. Proceeding in order, go fully into the demands of health, then onward to practical skill. Use this posture as the beginning of transformation, concealing within so an opponent can see no opportunity, which is the main idea in martial arts.

第二式
Posture 2
術名
Name of the technique:
平心掌
CHEST-LEVEL PALM
用法
Function:
此為禦左防右之法。
This is a method of resisting to the left and guarding to the right.
說明
Explanation of the movement:
聞令數二。由上式左腳向東出一步。左膝彎似弓。右腳直似箭。簡稱左弓式。反是則稱右弓式。或稱前後弓式。下稱倣此。同時左掌往下按。卽向東平推。左臂平舉於左。指尖向南。掌心向東。右掌卽向上托。（一按一托。同時並舉。）握拳收囘於右肋前。拳心向上。小臂平屈。肘尖正向西。眼卽順左掌平視東方。腰直胸挺。如第三圖。
“Two!” Continuing from the previous posture, your left foot steps out to the east, the knee bending like a bow, your right leg straightening like an arrow. The simple name is left bow stance, the opposite being right bow stance (or they could be called forward or backward bow stance), and from now on they will be termed thus. At the same time, your left palm presses down then pushes horizontally to the east, the arm raised horizontally to the left, fingertips pointing to the south, palm facing to the east, while your right palm props up, (pushing down and propping up happening at the same time), grasps into a fist, and withdraws in front of your right ribs, the center of the fist facing upward, the forearm level and bent, elbow pointing to the west. Your gaze follows your left palm to look level to the east. Your waist is erect and your chest sticks out. See photo 3:

術解
Remarks on the technique:
此式設敵由前直入。伸拳衝來。不動聲色。幾為我太極式所破矣。妙處卽在一托一按。深望研究斯道。三注意焉。平心掌為禦敵之掌。其功用全在掌根。使用腕勁。擊敵心房。此為技術之動式也。一式之中。含有無窮之變化。在善用者神而明之。
In this posture, if an opponent is coming forward to attack, his fist rushing toward me, I do not react until it is the right moment to leave my Taiji Posture. The subtlety lies in one hand propping up and one hand pushing down. Deeply study this method, repeatedly giving it attention. Chest-Level Palm is a palm technique for warding away an opponent. Its use is entirely in the heel of the palm. Employ wrist strength and strike his chest. This is the movement and posture of this technique. Within this one posture is contained limitless possibilities. For one who is good at applying it, it is magical.

第三式
Posture 3
術名
Name of the technique:
反身斷肘
TURN AROUND, STOP WITH THE FOREARM
用法
Function:
設敵攻我後方。反身拒敵之法。
This is a method of dealing with an opponent attacking me from behind by turning around to ward him off.
說明
Explanation of the movement:
聞令數三。由上式翻身向西。左腳不動。右腳收囘半步。腳尖點地。膝微屈。同時右拳由懷中往西平摔。拳眼朝上。大臂與小臂成曲尺形。左臂同時由上繞半圜向右。而掌卽護於右肩前。指端向上。小臂貼於胸前。頭向右轉。眼平視西。如第四圖。
“Three!” Continuing from the previous posture, turn your body to the west, your left foot not leaving its location, your right foot withdrawing a half step, toes touching down, knee slightly bent. At the same time, your right fist goes from your chest, swinging horizontally to the west, the fist eye facing upward, the upper arm and lower arm making a ninety-degree angle. Your left arm at the same time goes from above, coiling a semicircle to the right, the palm guarding in front of your right shoulder, fingers up, forearm close in front of your chest. Your head is turned to the right and your gaze is level to the west. See photo 4:

術解
Remarks on the technique:
此式為敵襲我後方。則反身以應之。而敵迫近我身。以肘斷其勢。使敵無隙可侵。則自衞固。然後乘機克敵。此為翻身斷敵之法術也。
This posture is for when an opponent makes a surprise attack behind me which I turn around to respond to, and when he gets close to my body, I use my forearm to interrupt his incoming force, causing him to have no gap to invade through and making my defense solid. I then follow up by seizing the opportunity to defeat him. This is the skill of turning around to stop an opponent.

第四式
Posture 4
術名
Name of the technique:
觸拳
CONNECTING FIST
用法
Function:
此為順敵來勢以接觸敵之法。
This is a method of seizing the opportunity of an opponent’s incoming force to connect to him.
說明
Explanation of the movement:
聞令數四。由上式右腳向西出半步成弓。同時左腳直為箭。稱曰右弓式。右斷肘卽向西伸直。作衝擊之狀。拳眼斜向上。左掌乃護於右肩前。腰直胸挺。眼平視西。如第五圖。
“Four!” Continuing from the previous posture, your right foot takes a half step to the west to make a bow stance. At the same time, your left leg straightens like an arrow, and so it is called right bow stance, and the right stopping elbow extends to the west in a punching manner, the fist eye facing diagonally upward. Your left palm still guards in front of your right shoulder. Your waist is erect and your chest sticks out. Your gaze is level to the west. See photo 5:

術解
Remarks on the technique:
此式設敵伸拳擊來。我卽沿接其手。以拳觸之。此所謂將計就計法。使其無囘旋餘地。受制於頃刻之間。此拳有迅雷不及掩耳之妙用。
In this posture, if the opponent extends a fist to strike me, I then connect along his hand, using my fist to make contact. In this way I beat him at his own game and make him have no chance or room to do anything. In a blink I am in control. This style has the subtleties of lightning speed.

第二段   口令一二三四
SECTION 2 (“1… 2… 3… 4…”):

第五式
Posture 5
術名
Name of the technique:
上步搶掌
STEP FORWARD, SHOOTING PALM
用法
Function:
此為側面應敵。伺隙待懈之法。
This is a method of responding to an opponent from the side, waiting for the chance and catching him unsuspecting.
說明
Explanation of the movement:
聞令數一。由上式左腳向正南上前一步。成左弓式。卽左腳彎。右腳直。同時右拳變掌。向前平擄。繞四分之一週。至右肋前。卽握拳。手心向上。同時左掌卽向南平搶出。指端向西。掌心向南。右臂平舉於前。眼向南正視。腰直胸挺。如第六圖。
“One!” Continuing from the previous posture, your left foot takes a step forward to the south, making a left bow stance, which is the left leg bent and the right leg straight. At the same time, your right fist becomes a palm, goes horizontally forward to capture, coiling a complete circle, and arrives in front of your right ribs, grasping into a fist, the center of the fist facing upward. At the same time, your left palm strikes out horizontally to the south, fingertips pointing to the west, palm facing to the south, the arm raised horizontally forward. Your gaze is directly to the south. Your waist is erect and your chest sticks out. See photo 6 [side view]:

術解
Remarks on the technique:
此式手、眼、身、步法。要處處相合。不可須臾相拗。所謂五合三催是也。何謂五合三催之理見緒論。此式兩手動作。均須齊一。不能有此快彼遲之弊。庶幾於拳理近矣。
In this posture, the hand, eye, body, and stepping methods should all be coordinated with each other and must not have a single moment of hesitation, as per the five unions and three hastenings (see Chapter One [Part 1, number 5]). In this posture, the movements of the hands are in unison and cannot have the error of one being fast while the other is slow. I hope you will realize the boxing principle.

第六式
Posture 6
術名
Name of the technique:
反擒子午
RECEIVING BLOCK, SUNDIAL PUNCH
用法
Function:
此為進步左擒右擊法。
This is a method of advancing while doing a receiving block on the left and striking on the right.
說明
Explanation of the movement:
聞令數二。由上式右脚上正南再出一步。成右弓式。同時左掌變拳作擒拿狀。卽向左肩前帶囘。拳與左耳齊。拳心向後。同時右拳由右肋前向南衝出。平舉於前。拳眼向東。眼視拳。腰直胸挺。如第七圖。（側面圖）
“Two!” Continuing from the previous posture, your right foot then steps out to the south, making a right bow stance. At the same time, your left palm becomes a fist and does a receiving block, in this case leading back to be in front of your left shoulder, level with your left ear, the center of the fist facing to the rear. Also at the same time, your right fist goes from in front of your right ribs and thrusts out to the south, raised horizontally in front, the fist eye facing to the east. Your gaze is toward your fist. Your waist is erect and your chest sticks out. See photo 7 (side view):

術解
Remarks on the technique:
此式左掌反擒敵手。右拳隨擒而出。擊敵正面。名曰平心子午拳。敵不動時。我不動。敵欲動。而我先動。兵法云。其靜如山其動如風是也。
In this posture, the left palm does a receiving block to the opponent’s hand, while the right fist at the same time comes out with a strike directly forward, called “chest-level sundial punch”. While the opponent does not move, I do not move. Once the opponent wishes to move, I move before him. Sunzi said: “Stillness like a mountain, then movement like the wind.”

第七式
Posture 7
術名
Name of the technique:
退步趕肘
RETREAT, DRIVING AWAY WITH THE FOREARM
用法
Function:
為誘敵深入。以肘逐敵之法。
This is a method of luring an opponent to overcommit and using the forearm to drive him out.
說明
Explanation of the movement:
聞令數三。由上式右腳向北。後退一步。成左弓式。同時右拳上翻。乘勢下降。左拳卽靠於右臂上。腰直。眼南視。如第八圖。（側面圖）
“Three!” Continuing from the previous posture, your right foot takes a step back to the north, making a left bow stance. At the same time, your right fist turns over upward and uses the momentum to drop, your left fist nearing over your right arm. Your waist is erect. Your gaze is to the south. See photo 8 (side view):

同時左腳收囘半步。膝彎。腳尖點地。右膝稍曲。成丁字式。右拳卽收囘於懷中。拳心向上。左臂順右臂收囘之勢。向前下趕出。拳心向下。身向前傾。腰腹後吞。胸挺。眼仍視南。如第九圖。（側面圖）
Then your left leg withdraws a half step, knee bent, toes touching down, your right knee slightly bent, making a T-shape stance, your right fist withdrawing to your chest, the center of the fist facing upward. Your left arm goes along with your right arm’s withdrawing momentum to drive out forward and downward, the center of the fist facing downward. Your body leans forward, your waist and belly absorbed to the rear, your chest sticking out. Your gaze is still to the south. See photo 9 (side view):

術解
Remarks on the technique:
此式誘敵。使其深入重圍。我則乘機以克之。又設我臂被敵所封。則使趕肘以逐之。雖兩臂一伸一縮。須與全身進退。取一致動作。方為有效。否則無功而有害。
In this posture, I lure the opponent in to make him overcommit and be in a dangerous position, then take advantage of the opportunity and defeat him. Or if my arm is sealed off by him, then I use my forearm to drive him away. Although the arms are one extended and one retracted, they must move with the whole body, advancing and retreating as one unit for it to be effective. Otherwise it will be without skill and risky.

第八式
Posture 8
術名
Name of the technique:
挂肘子午
HANG UP THE FOREARM, SUNDIAL PUNCH
用法
Function:
為護衞追擊法
This is a method of guarding while chasing and striking.
說明
Explanation of the movement:
聞令數四。由上式左腳向南半步。右腳跟蹤再上一步。成右弓式。同時左小臂上挂於左肩前。拳心向北。右拳卽由懷中向南衝出。平舉於前。拳心向下。腰直胸挺。眼仍視南。如第十圖。（側面圖）
“Four!” Continuing from the previous posture, your left foot takes a half step to the south and your right foot takes a full step forward, making a right bow stance. At the same time, your left arm is hung upward in front of your left shoulder, the center of the fist facing to the north, and your right fist thrusts out forward from your chest, raised horizontally forward, the fist eye facing downward. Your waist is erect and your chest sticks out. Your gaze is still to the south. See photo 10 (side view):

術解
Remarks on the technique:
此為追擊之術。然敵不動。我亦不動。觀其欲動。我則順其來勢。乘機進攻。兵法云。出其不意攻其無備是也。然而攻人者。反為人所攻。何也。夫人心之所欲。必現諸形色。自己不覺。而他人則洞若觀火。所以反為人攻。譬如觀他人欲舉何手。其肩必預為之準備。欲與人談話。眼必先注。此為觀察敵情之一也。
In this posture is the skill of chasing and striking. While the opponent does not move, I also do not move. When I see the opponent wishes to move, I then seize the opportunity of his incoming force, take advantage of it, and advance to attack. This is as Sunzi said [Art of War, chapter 7]: “Attack where he is not paying attention and where he is unprepared.” When confronted with an attacker, subvert his attack. How? What a person feels will manifest in all kinds of forms and colors. If he does not notice it himself but you are aware of it and read him right, then you have subverted his attack. For example, if you watch another person about to raise a hand, you can know which hand it will be because his shoulder must first prepare the action. Or if he wants to converse with someone, you will know who because his eyes must first establish contact. This is the same as examining the situation with an opponent.

第三段   口令一二三四
SECTION 3 (“1… 2… 3… 4…”):

第九式
Posture 9
術名
Name of the technique:
封門搶掌
CLOSE THE DOOR, SHOOTING PALM
用法
Function:
為佯攻誘敵法。
This is a method of feigning an attack to lure an opponent in.
說明
Explanation of the movement:
聞令數一。由上式左腳向南上步。兩膝彎成騎馬式。同時左臂由左肩前向南下。平斷。微曲於左。右拳卽收囘。護於腰間。眼視南。如第十一圖。（側面圖）
“One!” Continuing from the previous posture, your left foot steps forward to the south and your legs bend, making a horse-riding stance. At the same time, your left arm goes from in front of your left shoulder downward to the south, level and bent, slightly curved to the left, your right fist withdrawing to guard your waist. Your gaze is to the south. See photo 11 (side view):

同時右腳伸直。左膝仍彎成左弓式。同時右拳變掌。搶向南出。指尖斜向上。左拳亦變掌。隨右臂下囘。護於右腋。掌心向下。眼仍視南。胸挺腰直。如第十二圖。（側面圖）
Then your right leg straightens, your left knee still bent, making a left bow stance. At the same time, your right fist becomes a palm and rushes out to the south, fingers diagonally upward, your left fist also becoming a palm, and going along with your right arm, withdrawing downward to guard your right armpit, palm facing downward. Your gaze is still to the south. Your chest sticks out and your waist is erect. See photo 12 (side view):

術解
Remarks on the technique:
此式先以肘封敵之門戶。迅卽出掌擊敵之胸部以為餌。此為佯攻誘敵之法。俟其出手防我。恰中我邊捶之計矣。
In this posture, I first use my elbow to cover the opponent’s attack then quickly strike with my palm toward his chest to bait him. This technique is for feigning an attack to lure the opponent in. I wait for him to block me, and when the moment is right I will use my sideways-punch technique.

第十式
Posture 10
術名
Name of the technique:
邊捶
SIDEWAYS PUNCH
用法
Function:
為出其不意之法。
This is a method of attacking an opponent where he is not paying attention.
說明
Explanation of the movement:
聞令數二。由上式右腳復彎。成騎馬式。同時左掌變拳。向南橫掃。拳眼向上。右掌卽收囘於右肋前。拳心向上。眼視左拳。胸張向東。腰直。如第十三圖。（側面圖）
“Two!” Continuing from the previous posture, your right leg again bends, making a horse-riding stance. At the same time, your left palm becomes a fist and sweeps horizontally to the south, the fist eye facing upward, your right palm withdrawing to be in front of your right ribs, palm facing upward. Your gaze is toward your left fist. Your chest is expanded to the east and your waist is erect. See photo 13 (side view):

術解
Remarks on the technique:
此式以上式。誘敵暗藏邊捶。乘敵忙於招架。出其不意。左臂猛然收囘。右臂乘勢橫掃。以拳脊背驟然擊之。猶如軍艦上之邊礟猝發也。
This posture continues from the previous posture, luring the opponent into a hidden punch from the side, exploiting his haste to block and attacking where he is not paying attention. The left [right] arm fiercely withdraws and the right [left] arm uses the momentum to sweep across, using the back of the fist to strike suddenly, just like cannon fire from the side of a battleship.

第十一式
Posture 11
術名
Name of the technique:
上步斷肘
STEP FORWARD, STOP WITH THE FOREARM
用法
Function:
為禦敵襲擊之法
This is a method of warding off an opponent’s surprise attack.
說明
Explanation of the movement:
聞令數三。由上式右腳向南出一步。膝彎。左膝微彎。成側馬式。同時右拳由右向左繞半圜。臂微曲。以肘橫斷於前。拳眼斜朝上。左拳卽變掌。囘護於右肩前。身軀隨步往左旋轉。上體略向前傾。眼平視南。如第十四圖。（側面圖）
“Three!” Continuing from the previous posture, your right foot steps out to the south, the knee bends, your left knee slightly bending, making a sideways horse-riding stance. At the same time, your right fist coils a semicircle from the right to the left, arm slightly bent, the elbow coming across in front, the fist eye facing diagonally upward, your left fist becoming a palm to shield in front of your right shoulder. Your body goes along with the step and turns to the left. Your upper body is slightly leaning forward. Your gaze is level to the south. See photo 14 (side view):

術解
Remarks on the technique:
此式設敵來襲我。則以肘斷其勢。使敵無懈可侵。則我乘機以使下式之鴛鴦肘。蓋拳術路子。均係一攻、一守、一進、一退。為全套之網領。應如何設計防禦。及攻克之技術。均視當時環境而變化。在學者善用時機耳。
In this posture, if an opponent comes to attack me by surprise, I then use my elbow to interrupt his force and cause him to have no chance to invade, and then I seize the opportunity and make the following posture of Mandarin Duck Forearms. In the methods of boxing arts, always the aspects of attacking, defending, advancing, and retreating run through the whole set. You should consider what the best way to defend is, and then you will have the skill of overcoming opponents. One who adapts when spotting the right moment – that is a student who is good at making use of opportunity.

第十二式
Posture 12
術名
Name of the technique:
鴛鴦肘
MANDARIN DUCK FOREARMS
用法
Function:
此為乘機陷陣克敵法。
This is a method of seizing the opportunity of an opponent’s bad position to defeat him.
說明
Explanation of the movement:
聞令數四。由上式左腳上前一步。成半馬式。同時左掌由右臂下沿右拳向南上繞抄。右拳卽變掌。上體順勢隨步滚進。左掌尖與鼻平行。左掌尖與下腭齊。一身傾東南。眼仍視前。如第十五圖。（側面圖）
“Four!” Continuing from the previous posture, your left foot takes a step forward to make a half horse-riding stance. At the same time, your left palm coils from below your right arm and along your right fist to lift up to the south, your right fist becoming a palm. Your upper body follows the momentum and goes along with the step to roll forward. The fingertips of your left palm are level with your nose. The fingertips of your left [right] palm are level with your chin. Your whole body inclines to the southeast. Your gaze is still forward. See photo 15 (side view):

術解
Remarks on the technique:
此式名曰鴛鴦肘。卽左右兩臂同時並用挾攻之意。惟身體須活潑。順乎手步之法。旋身滚入。勢若游龍。深入敵境。出全力以制之。則勝算自操矣。
As this posture is called Mandarin Duck Forearms, both arms are at the same time using an intention of depending on each other. But the body must be lively and go along with the hand and stepping method, turning and rolling in, the dynamic like a swimming dragon, deeply entering the opponent’s space. Expressing your full power when you do it will ensure you grasp success.

第四段   口令一二三四
SECTION 4 (“1… 2… 3… 4…”):

第十三式
Posture 13
術名
Name of the technique:
封門搶掌
CLOSE THE DOOR, SHOOTING PALM
用法
Function:
為上佯下取之法。
This is a method of feinting above to catch him below.
說明
Explanation of the movement:
聞令數一。由上式右腳向南上一步。膝彎。左腳直。成右弓式。同時右掌向南斜上搶出。指尖與眼成平行線。手心向上。左掌囘護於右腋下。眼平視南。腰直胸挺。如第十六圖。（側面圖）
“One!” Continuing from the previous posture, your right foot steps forward to the south, the knee bending and your left leg straightening, making a right bow stance. At the same time, your right palm shoots out diagonally upward to the south, fingertips at eye level, palm facing upward, your left palm guarding below your right armpit. Your gaze is level to the south. Your waist is erect and your chest sticks out. See photo 16 (side view):

術解
Remarks on the technique:
此式以左掌封敵之門戶。右掌搶出擊、敵之咽喉與眼。倘敵設防於上。我取其下。或取於中。隨機變化。不拘一格。
In this posture, use the left palm to cover the opponent’s attack and the right palm to shoot a strike toward his throat or eyes. If he defends above, I will catch him below or in his middle, adjusting to the situation and not getting stuck to a pattern.

第十四式
Posture 14
術名
Name of the technique:
攔肘
BLOCK WITH THE FOREARM
用法
Function:
為縮身上下抗敵法。
This is a method of withdrawing the body above and below to resist an opponent.
說明
Explanation of the movement:
聞令數二。由上式兩腿下彎。成騎馬式。同時左掌由右腋下托護於頭頂之前面。右掌握由內繞半圜下攔於右腿之外。拳眼斜向西南。眼平視南。身軀面西。腰直胸挺。如第十七圖。（側面圖）
“Two!” Continuing from the previous posture, both legs bend down to make a horse-riding stance. At the same time, your left palm goes from below your right armpit to prop up and guard your head in front of your face, and your right palm grasps into a fist and coils a semicircle inward to block down to the outside of your right leg, the fist eye facing diagonally to the southwest. Your gaze is level to the south. Your body is squared to the west. Your waist is erect and your chest sticks out. See photo 17 (side view):

術解
Remarks on the technique:
此式為護頂攔敵之法。亦為守勢之基礎。兩手一上一下。如撕綿然。不分輕重遲鈍。動作齊一。用力均匀。則守基自固矣。
This posture is a method of guarding the head and blocking the opponent, and is also a basic defensive posture. The hands go one up and one down as if ripping silk, with no difference between them in terms power or speed. Only if they are moving in unison with force applied equally will the defense will be solid.

第十五式
Posture 15
術名
Name of the technique:
撩陰掌
RAISING PALM TO THE GROIN
用法
Function:
為變更方位襲敵法。
This is a method of changing direction to surprise an opponent.
說明
Explanation of the movement:
聞令數三。由上式轉身向左。左膝仍彎。右腳蹬直。成左弓式。同時右拳變掌。由南向北下上撩掌心向上。五指微曲。左掌下降。護於右肩前。身軀向北。眼亦朝北平視。如第十八圖。（側面圖）
“Three!” Continuing from the previous posture, turn your body to the left, your left knee staying bent, your right leg pressing straight, making a left bow stance. At the same time, your right fist becomes a palm and goes from the south to the north, raising up from below, palm facing upward, fingers slightly bent. Your left palm comes down to guard in front of your right shoulder. Your body is squared to the north. Your gaze is also level to the north. See photo 18 (side view):

術解
Remarks on the technique:
此式為襲擊敵人下部。此卽攻其無備之意。而身轉變。步亦隨之。不可遲滯。至失機會。是為拳術之要旨也。
This posture is for making a surprise attack to an opponent’s lower section, exemplifying the idea of attacking him where he is unprepared. When the body turns, the stance goes along with it. It must not be sluggish or you will lose your chance, which is the gist of boxing arts.

第十六式
Posture 16
術名
Name of the technique:
退步趕肘
RETREAT, DRIVING AWAY WITH THE FOREARM
用法
Function:
為佯退實拒法。
This is a method of feigning a retreat to actually confront.
說明
Explanation of the movement:
聞令數四。由上式左腳收囘半步。腳尖點地。右腿下蹲。同時右掌握拳。收囘於肋前。左掌卽變拳。沿右臂向北斜下趕出。拳與左膝平行。拳眼斜向上。腰直胸挺。眼平視北。如第十九圖。（側面圖）
“Four!” Continuing from the previous posture, your left foot withdraws a half step, toes touching down, your right leg squatting down. At the same time, your right palm grasps into a fist and withdraws in front of your ribs, your left palm becoming a fist and going along your right arm to the north, rushing out diagonally downward to be level with your left knee, the fist eye facing diagonally upward. Your waist is erect and your chest sticks out. Your gaze is level to the north. See photo 19 (side view):

術解
Remarks on the technique:
此式以上式之掌。設被敵所封。我則以肘逐之。而抽身後退。伺迎敵來。復再乘勢以攻之。
In this posture, if my palm in the previous posture has been sealed off by the opponent, I then use my forearm to drive his block away, withdrawing my body and retreating, waiting for him to attack, then again taking advantage of the opportunity to attack him.

第五段   口令一二三四
SECTION 5 (“1… 2… 3… 4…”):

第十七式
Posture 17
術名
Name of the technique:
上步加封
STEP FORWARD, PASTE UP AN ANNOUNCEMENT
用法
Function:
為進步追擊之法。
This is a method of advancing with a chasing attack.
說明
Explanation of the movement:
聞令數一。由上式右腳向北出一步。膝彎。左腳伸直。成右弓式。同時右拳由肋前向西北上斜方繞擊。拳眼斜向上。左拳卽變掌。由前下往上繞腕。作反擒狀。卽護於右肩前。指尖向上。眼視右拳。身稍前傾。如第二十圖。（側面圖）
“One!” Continuing from the previous posture, your right foot takes a step to the north, the knee bending and your left leg straightening, making a right bow stance. At the same time, your right fist goes from in front of your ribs to the northwest, diagonally upward in a winding strike, the fist eye facing diagonally upward, while your left fist becomes a palm which goes from the lower front, coiling the wrist, to do a receiving block and guard in front of your right shoulder, fingertips pointing upward. Your gaze is toward your right fist. Your body is leaning slightly forward. See photo 20 (side view):

術解
Remarks on the technique:
此式設敵乘我後退。再逼一步。我卽上右腳。封其左腳。出左手擒其臂。右拳順勢繞擊其耳門。
In this posture, if the opponent takes advantage of my retreat by taking another step toward me, I then step forward with my right foot to seal off his left foot, putting out my left hand to do a receiving block to his arm, my right fist seizing the opportunity to coil a strike to his ear.

第十八式
Posture 18
術名
Name of the technique:
封門搶掌
CLOSE THE DOOR, SHOOTING PALM
用法
Function:
為封敵運掌法。
This is a method of closing off an opponent and executing a palm technique.
說明
Explanation of the movement:
聞令數二。由上式身樁不動。右拳收囘於腋下。復變掌。卽向北斜上搶出。掌心向上。五指拼齊。微曲。同時左手由前往繞一周。卽封於右腋下。掌心向下。眼視右掌。如第二十一圖。（側面圖）
“Two!” Continuing from the previous posture, your body and stance do not change. Your right fist withdraws below the armpit, again becomes a palm, and shoots out diagonally upward to the north, palm facing upward, fingers together and slightly bent. At the same time, your left hand goes from in front, winding a full circle, and closes below your right armpit, palm facing downward. Your gaze is toward your right palm. See photo 21 (side view):

術解
Remarks on the technique:
此式與上式連環使用。為變化之手。不落恆蹊。使敵莫測其由來。則拳術之術字。其義廣矣。
In this posture, it connects to and employs the previous posture, but varies the hand technique instead of repeating itself, so as to make the opponent unable to tell where the attack is coming from. Thus the boxing art earns its designation of art and its significance is broad.

第十九式
Posture 19
術名
Name of the technique:
攔肘
BLOCK WITH THE FOREARM
用法
Function:
為上下防護法。
This is a method of guarding above and below.
說明
Explanation of the movement:
聞令數三。由上式兩腿下彎。成騎馬式。身軀朝東。同時右掌抽囘變拳。乘勢向外攔肘。拳眼向東。左掌上托護頂。掌心斜向上。眼向北平視。腰直胸挺。如第二十二圖。（側面圖）
“Three!” Continuing from the previous posture, both legs bend down, making a horse-riding stance, your body squared to the east. At the same time, your right palm withdraws and becomes a fist, taking advantage of the momentum and blocking outward with the forearm, the fist eye facing to the east. Your left palm props up to guard your head, palm facing diagonally upward. Your gaze is level to the north. Your waist is erect and your chest sticks out. See photo 22 (side view):

術解
Remarks on the technique:
設敵乘虛攻我下部。我卽閃身以避之。囘手以抗之。夫國術貴乎自衞。不以攻人為能。始達體育之本旨矣。
In this posture, if the opponent takes advantage of my unguarded area, attacking me below, I then dodge to evade it and withdraw my hand to resist him. What martial arts esteems is self-defense, not ability to attack people. This is the real intention of physical education.

第二十式
Posture 20
術名
Name of the technique:
封門大閉
SLAM THE DOOR SHUT
用法
Function:
此為伏敵之法。
This is a method of prostrating the opponent.
說明
Explanation of the movement:
聞令數四。由上式右腳繞至左腳前一步站地。腳尖旋轉。左腳隨旋身時。卽向北出一大步。右膝深彎。伏地。成左撲腿式。身軀朝正西。同時右拳變掌。由下往上繞轉。卽下按伏。左掌同時亦下按。身軀稍左傾。眼視北。腰直胸挺。如第二十三圖。（側面圖）
“Four!” Continuing from the previous posture, your right foot coils to be in front of your left foot, toes swinging out, and when your body turns, your left leg follows along, taking a large step out to the north. Your right leg bends deeply and crouches to the ground, making a left pouncing stance, your body squared to the west. At the same time, your right fist becomes a palm and goes from below to coil upward and then push down, your left palm at the same time pushing down. Your body leans slightly to the left. Your gaze is to the north. Your waist is erect and your chest sticks out. See photo 23 (side view):

術解
Remarks on the technique:
此式設敵攻我中部。我以右手封其左臂。而左手卽乘勢下按。身體閃開繞過敵後。此所謂封門大閉是也。
In this posture, if the opponent attacks my middle, I use my right hand to seal off his left arm, my left arm taking advantage of the momentum and pushing down, my body dodging and coiling around behind him. This is what is called slamming a door shut.

第六段   口令一二三四
SECTION 6 (“1… 2… 3… 4…”):

第二十一式
Posture 21
術名
Name of the technique:
上步加封
STEP FORWARD, PASTE UP AN ANNOUNCEMENT
用法
Function:
為防護反擊法。
This is a method of preventing a counterattack.
說明
Explanation of the movement:
聞令數一。由上式左腳繞至右腳前。向西出一步。身體向左旋轉。同時右腳順身繞半周。向北出一步。胸脯朝東。同時左掌由下向胸前繞轉一周。作反擒勢。卽護於右肩前。同時左掌卽變拳。由身前向外繞至右斜上方橫擊。拳眼向外。眼視北。腰直。如第二十四圖。（側面圖）
“One!” Continuing from the previous posture, your left foot coils to be in front of your right foot, taking a step to the west [south], your body turning to the left. At the same time, your right foot goes along with your body and coils a half turn, taking a step to the north, your chest facing to the east. Also at the same time, your left palm goes from below to coil a full circle in front of your chest as a receiving block, guarding in front of your right shoulder, and your left [right] palm becomes a fist and goes from in front of your body, coiling outward to the right and diagonally upward to do a horizontal strike, the fist eye facing outward. Your gaze is to the north. Your waist is erect. See photo 24 (side view):

術解
Remarks on the technique:
此式以身法旋轉。勢若游魚。步隨身進。盡其騰竄之能事。手法則出其上下相應之技術。眼則監視敵方形情舉動。不失其機。始可得尺寸之功。
In this posture, the body spins with the dynamic of a swimming fish, the steps going along with the body’s advance, achieving a fish’s capacity to flip. The hands coordinate with each other above and below. The eyes keep a watch on the actions of the opponent. By not losing your opportunities, you will begin to obtain a standard of skill.

第二十二式
Posture 22
術名
Name of the technique:
單邊掌
A PALM FROM THE OTHER SIDE
用法
Function:
為乘隙擊敵法。
This is a method of taking advantage of a gap to strike an opponent.
說明
Explanation of the movement:
聞令數二。由上式步位不動。右拳收囘。護於右肋前。同時左掌乘勢向北撐去。上體順勢向左轉。下步成右拗步。眼視掌指端。斜向上。掌心向北。定式如第二十五圖。（側面圖）
“Two!” Continuing from the previous posture, your stance does not change. Your right fist withdraws to guard in front of your right ribs. At the same time, your left palm uses the momentum to brace out to the north, your upper body going along with the momentum and turning to the left [right], your lower body making a right crossed stance [meaning a bow stance with the opposite arm forward]. Your gaze is toward your palm’s fingertips, which are slanted upward, palm facing to the north. See photo 25 (side view):

術解
Remarks on the technique:
此式出敵不意。以連珠法乘懈以擊之。步法雖不動。而身法一閃。亦隨之而變動。身體閃轉。亦隨手勢而行。總而言之。伸屈閃轉。均須一氣到底。不卽不離是也。
In this posture, attack the opponent where he does not expect with a rapid follow-up [to the previous technique], taking advantage of his inattention to strike him. Although the feet do not leave their location, the body is evasive, and they go along with it and adjust accordingly. The body’s evasive turn itself is done by going along with the momentum of the hands. In short, extending, contracting, evading, and turning all must be continuous rather than a matter of stops and starts.

第二十三式
Posture 23
術名
Name of the technique:
滚肘
ROLLING ELBOW
用法
Function:
為迫敵退卻法。
This is a method of compelling an opponent to retreat.
說明
Explanation of the movement:
聞令數三。由上式右腿伸。左腿彎。同時右臂曲彎。以肘向左滚。左掌卽護於右拳上。上體順肘勢。向左猛滚。下樁成拗步。眼亦隨肘向南平視。定式如第二十六圖（側面圖）
“Three!” Continuing from the previous posture, your right leg straightens and your left leg bends. At the same time, your right arm bends and uses the elbow to roll to the left, your left palm guarding above your right fist. Your upper body goes along with the elbow’s momentum, fiercely rolling to the left, your lower body below making a crossed stance. Your gaze also follows your elbow to look level to the south. See photo 26 (side view):

術解
Remarks on the technique:
此式設敵近我身旁。利於短兵相接之時。當以肘克之。因伸拳出掌。失其效用故也。此肘以滚命名。係出肘時注全力連身帶滚。始可制勝。惟步武須穩。不然。下部一鬆。全功盡棄。
In this posture, if an opponent is close beside me, a moment when it is best to fight at close quarters, I right away use my elbow to defeat him, since to throw out fists or palms would have no effectiveness. This elbow technique has rolling as its name. When the elbow comes out, focus on using the power of the whole body to lead the rolling and you will begin to be successful, but the stance must be stable, for if it is not and lower body is too loose, the whole thing will be in vain.

第二十四式
Posture 24
術名
Name of the technique:
頂肘
GORING ELBOW
用法
Function:
為應敵制敵法。
This is a method of responding to an opponent by subduing him.
說明
Explanation of the movement:
聞令數四。由上式左腿伸。右腿曲。部位不動。惟兩腳尖轉動。兩腿伸曲。同時右肘往北向上高頂。左掌托護右拳。上體旋轉。向左側傾。頭順肘勢。卽向右轉仰面向上。眼視肘尖。定式如第二十七圖。（側面圖）
“Four!” Continuing from the previous posture, your left leg straightens and your right leg bends, the location of your feet not changing, only the toes shifting while your legs straighten and bend. At the same time, your right elbow gores high upward to the north, your left palm propping up and protecting your right fist, your upper body turning [to the right], leaning to the left side. Your head goes along with your elbow’s momentum, turning to the right to face up, your gaze toward your elbow. See photo 27 (side view):

術解
Remarks on the technique:
此式設敵由高撲下。以肘承之。順搗其胸部。夫拳術欲操勝算。捨短兵肉搏。無由成功。用肘亦用臂。用肩用膝。均係短兵之法也。
In this posture, if an opponent pounces down from high above, use the elbow to hold him, conveniently pounding it into his chest. In boxing arts, if you want to be sure of success and yet you neglect close-in fighting, there will be no way to win. The use of the elbow, as well as the use of hip, shoulder, or knee are all related to methods of close-in fighting.

第七段   口令一二三四
SECTION 7 (“1… 2… 3… 4…”):

第二十五式
Posture 25
術名
Name of the technique:
雙披挂
DOUBLE DRAPING & HANGING
用法
Function:
此為解危防護法。
This is a method of defensively dispelling a threat.
說明
Explanation of the movement:
聞令數一。由上式左腳向北一步。兩腿下彎。成馬式。腰直胸挺。同時兩臂往上。左右分披開。掌心斜向東。全身面東。如第二十八圖。（側面圖）
“One!” Continuing from the previous posture, your left foot steps out to the north. Both legs bend down, making a horse-riding stance. Your waist is erect and your chest sticks out. At the same time, your arms go up, spreading apart to the sides, palms diagonal to the east, your whole body squared to the east. See photo 28 (side view):

同時兩掌由上經胸前下按。身樁不動。兩腿稍下沉。如第二十九圖。（側面圖）
Then your palms go from above, passing in front of your chest, to push down. Your body and stance do not change, but your legs sink slightly lower. See photo 29 (side view):

術解
Remarks on the technique:
此式為上抗下禦。例如敵以雙封貫耳。擊我太陽穴我以雙披手解之。又以腿撩我陰。則以雙按手以禦之。此為防護之要法也。
This posture is for resisting above and defending below. For example, if an opponent uses the technique of Double Sealing Through the Ears to strike to my temples, I use both hands to spread his and dispel it, and if he then raises a kick to my groin, I then use both hands to push down and defend against it. This is an essential method of guarding.

第二十六式
Posture 26
術名
Name of the technique:
雙推
DOUBLE PUSH
用法
Function:
此為後拒襲擊法。
This is a method of resisting behind with a surprise attack.
說明
Explanation of the movement:
聞令數二。由上式右腳由東往西出一步。右膝彎。左腳直。成右弓式。同時兩臂翻轉並行。用雙掌向東推出。指端斜向下。掌心仰上。同時身體順步法。右向後轉。腰直胸挺。眼平視西。如第三十圖。
“Two!” Continuing from the previous posture, your right foot steps from the east out to the west, the knee bending and your left leg straightening, making a right bow stance. At the same time, your arms turn over and move together, using both palms to push out to the east [west], fingertips pointing diagonally downward, palms upward. At the same time, your body goes along with your footwork, turning around to the right rear. Your waist is erect and your chest sticks out. Your gaze is level to the west. See photo 30:

術解
Remarks on the technique:
此式設敵由後方襲擊我。則轉身以應之。雙掌托敵之小腹。以用掌根勁則傷腹。用手腕勁則傾敵。此式不著則已。著則非跌卽傷。學者不可輕試。慎之慎之。
In this posture, if an opponent does a surprise attack from behind, I turn around to respond to it with both hands propping up his lower abdomen. Applying power in the heels of the palms will injure his belly. Applying power in the wrists will collapse him. If this posture is not actually felt, it will be empty. But when touching, neither drop nor injure your partner. The student must not lightly try this. Be careful.

第二十七式
Posture 27
術名
Name of the technique:
轉身撩陰
TURN AROUND, RAISING TO THE GROIN
用法
Function:
為轉身反攻法。
This is a method of turning around to counterattack.
說明
Explanation of the movement:
聞令數三。由上式身向左後轉。右腳伸直。左腳彎曲。成左拗步。同時右掌向東下撩掌。左掌卽護於右膊上。胸挺。眼平視東。如第三十一圖。
“Three!” Continuing from the previous posture, your body turns around to the left rear, your right leg straightening and your left leg bending, making a left crossed stance. At the same time, your right palm goes below to the east as a raising palm, your left palm guarding over your right arm. Your chest sticks out. Your gaze is level to the east. See photo 31:

術解
Remarks on the technique:
此式與上式為連環變化攻敵之法。欲其有效。須身體轉動自如。心靈手快。無半點乾澀之狀。則得心應手矣。
This posture connects with the previous posture to be a method of continuously adjusting to attacking opponents. If you want it to be effective, the body must turn around smoothly, the mind nimble, the hands fast, without the slightest bit of difficulty, and then what is in your mind will be realized in your hands.

第二十八式
Posture 28
術名
Name of the technique:
退步趕肘
RETREAT, DRIVING AWAY WITH THE FOREARM
用法
Function:
為佯退禦敵法。
This is a method of feigning a retreat to ward off an opponent.
說明
Explanation of the movement:
聞令數四。由上式右腳曲。左腳卽收囘半步。腳尖點地。同時左右兩掌卽握拳。左臂向前下趕肘。右臂卽收囘。護於右肋旁。眼仍視東。如第三十二圖。
“Four!” Continuing from the previous posture, your right leg bends and your left foot withdraws a half step, toes touching down. At the same time, both palms become fists, your left arm going to the lower front to drive away with the forearm, your right arm withdrawing to guard beside your right ribs. Your gaze is still to the east. See photo 32:

術解
Remarks on the technique:
此式設敵擒住我右手。我以左臂肘驅趕之。禦敵之法。全憑一進一退一伸一縮之間。得以化險為夷。否則不堪設想。
In this posture, if the opponent catches my right hand, I use my left forearm to drive his block away. In the methods of warding off opponents, regardless of advancing, retreating, extending, or contracting, first neutralize the threat, otherwise there will be no next step to think about.

第八段   口令   一二三四
SECTION 8 (“1… 2… 3… 4…”):

第二十九式
Posture 29
術名
Name of the technique:
上步加封
STEP FORWARD, PASTE UP AN ANNOUNCEMENT
用法
Function:
為進步追擊法。
This is a method of advancing with a chasing attack.
說明
Explanation of the movement:
聞令數一。由上式左腳向南踏出一步。右腳卽跟隨再出一步。膝彎。左腿伸直。成右弓式。同時左拳變掌。小臂由左繞小環一周。似擒拿之狀。同時右臂伸直。卽向南斜上橫擊。拳心仰向。左掌護於右肩前。眼平視拳。如第三十三圖。（右側面圖）
“One!” Continuing from the previous posture, your left foot steps out to the south, then your right foot follows along and steps out, the knee bending and your left leg straightening, making a right bow stance. At the same time, your left fist becomes a palm and the forearm goes from the left to coil a circle to do a receiving block. At the same time, your right arm extends, going to the south and diagonally upward to strike horizontally, the center of the fist facing upward, your left palm guarding in front of your right shoulder. Your gaze is level toward your fist. See photo 33 (right side view):

術解
Remarks on the technique:
此式設敵擊我上部。我以擒拿封其手。出右拳橫摧其太陽穴。惟左右腳步法須活。不宜呆。出步處處須走外圈。由側面而擊之。否則無效也。
In this posture, if an opponent strikes at me above, I do a receiving block to seal off his hand and send out my right fist to smash across to his temple. But the stepping of both feet must be lively and should not be stiff, and the steps must ring around to the outside so the strike will come from the side, otherwise it will be ineffective.

第三十式
Posture 30
術名
Name of the technique:
上步加封
STEP FORWARD, PASTE UP AN ANNOUNCEMENT
用法
Function:
此為再進一步之法。
This is a method of again advancing a step.
說明
Explanation of the movement:
聞令數二。由上式右腳由東向南活一步。左腳卽跟隨向南進一步。左膝彎。右腳伸直。成右弓式。同時右拳變掌。用臂腕由左繞一圈作擒拿狀同時左掌變拳伸臂由東向南前橫擊太陽穴。右掌卽護於右肩前。左臂斜上舉。眼視拳。腰直胸挺。如第三十四圖。（左側圖）
“Two!” Continuing from the previous posture, your right foot moves a step from the east to the south, then your left foot follows along, advancing a step to the south, your left knee bending and your right leg straightening, making a right bow stance. At the same time, your right fist becomes a palm and uses the arm and wrist to go from the left [right], coiling a circle to do a receiving block. At the same time, your left palm becomes a fist, extending the arm from the east to the south, going forward in a horizontal strike to the temple, your right palm guarding in front of your right shoulder. Your left arm is raised diagonally upward. Your gaze is toward your fist. Your waist is erect and your chest sticks out. See photo 34 (left side view):

術解
Remarks on the technique:
此式與上式同功異曲。雖是如此。然其變化殊妙。非比平常。皆因其左右逢源。不落恆蹊故也。
This posture is the same as the previous posture but with a different curve. Although it is similar, it is subtly different and not identical to what came before. It is good to be able to do things on both sides, but do not fall into a constant pattern.

第三十一式
Posture 31
術名
Name of the technique:
勾絆
HOOK & TRIP
用法
Function:
為三追克敵法。
This is a method of chasing the opponent for the third time to overcome him.
說明
Explanation of the movement:
聞令數三。由上式右腳向南出半步。膝稍彎。左腳卽向南橫掃。腳尖往內勾絆敵足。腿伸直。小腹歛。胸挺。眼平視南。同時左拳變掌。反擒繞半環於右腋下。卽變勾同時兩手各向東西平擄。掌心朝北。如第三十五圖。（右側圖）
“Three!” Continuing from the previous posture, your right foot takes a half step to the south and the knee slightly bends. Your left foot then sweeps across to the south, toes hooking inward to trip the opponent’s foot, your leg straightening. Your lower abdomen is gathered in and your chest sticks out. Your gaze is level to the south. At the same time, your left fist becomes a palm, does a capturing by coiling a semicircle below your right armpit, becoming a hook, and then your hands both horizontally capture to the east and west, the centers of the hands facing north. See photo 35 (right side view):

術解
Remarks on the technique:
此式右手扳敵脖。左手勾敵頸。右腳管敵足。左足掃敵腿。上勾下絆。同時並舉克敵。尤易於摧枯拉朽。法雖如此。非有真實功夫者。不克臻此學者宜勉之
In this posture, the right hand pulls on the opponent’s neck while the left hand hooks his throat, the right leg controls his foot, and the left foot sweeps his leg, hooking above and tripping below. This not only defeats the opponent, it can destroy him, and although the technique is like this, it is not the behavior of one with real skill. To be better than this, you must work hard.

第三十二式
Posture 32
術名
Name of the technique:
退步加封
RETREAT, PASTE UP AN ANNOUNCEMENT
用法
Function:
此為以退為守之法。
This is a method of retreating to defend.
說明
Explanation of the movement:
聞令數四。由上式右腳活半步向北。左腳同時倒退一步。腿伸直。右膝彎。成右弓式。同時左手由內繞半環反擒。護於右肩前。右勾卽變拳。橫擊於身前。手心仰上。拳與眼平。胸［挺腰直。］眼視拳。如第三十六圖。（側面圖）
“Four!” Continuing from the previous posture, your right foot moves a half step to the north and your left foot then retreats a step, the leg extending straight while your right knee bends, making a right bow stance. At the same time, your left hand coils a semicircle from [toward] the inside to do a receiving block, guarding in front of your right shoulder, and your right hook hand becomes a fist and does a horizontal strike in front, the center of the fist facing upward, the fist at eye level. Your chest sticks out and your waist is erect. Your gaze is toward your fist. See photo 36 (side view):

術解
Remarks on the technique:
此式為步步撤退之法。以架為守。不為敵所侵。自古作戰。攻堅不易。退守尤難。能進退自如。則勝算可操矣。
This posture is a method of repeatedly retreating to sustain a defense, so the opponent cannot get near. In ancient battles, storming fortifications was not easy, but falling back to defend was especially difficult. If you can advance and retreat smoothly, then a successful strategy can be carried out.

第九段   口令一二三四
SECTION 9 (“1… 2… 3… 4…”):

第三十三式
Posture 33
術名
Name of the technique:
退步加封
RETREAT, PASTE UP AN ANNOUNCEMENT
用法
Function:
此為步步防守法。
This is a method of stepping repeatedly to defend.
說明
Explanation of the movement:
聞令數一。由上式左腳先活半步。膝彎。同時右腳向北退後一大步。腿伸直。成左弓式。同時右拳變掌。向內繞半環。作反擒狀。左掌卽握拳。由外橫擊太陽穴。右掌護於左肩前。拳與眼齊。腰直胸挺。如第三十七圖。
“One!” Continuing from the previous posture, your left foot first moves a half step, the knee bending, then your right foot retreats a large step to the north, the leg extending straight, making a left bow stance. At the same time, your right fist becomes a palm and coils a semicircle inward to do a receiving block, your left palm grasping into a fist and going from the outside in a horizontal strike to the temple. Your right palm guards in front of your left shoulder. The fist is at eye level. Your waist is erect and your chest sticks out. See photo 37:

術解
Remarks on the technique:
此式連上式。步步撤退。而手之招架與進攻無殊。而步法須要穩固。不宜紊亂。手法須要敏捷。不宜遲鈍。身心須要鎮靜而活潑。不宜浮燥而輕滑。庶幾稍得此中三昧矣。
This posture continues the previous posture’s retreating, and the hands parry no differently from the advancing version. The footwork must be stable and should not be disordered, the hand techniques must be quick and should not be hesitant, the body and mind must be calm and lively and should not be impetuous or reckless, and then you will have almost got the knack.

第三十四式
Posture 34
術名
Name of the technique:
轉身雙推
TURN AROUND, DOUBLE PUSH
用法
Function:
為肅淸餘敵法。
This is a method of mopping up any leftover opponent.
說明
Explanation of the movement:
聞令數二。由上式兩腳部位不動。而腳尖轉向北。右膝彎。左腳直。成右弓式。同時左拳變掌。收囘於腹前。兩掌齊出。推敵小腹。指端斜向下。掌心仰起。眼平視北。胸挺腰直。如第三十八圖。（側圖）
“Two!” Continuing from the previous posture, your feet do not leave their location but the toes turn to the north, your right leg bending and your left leg straightening, making a right bow stance. At the same time, your left fist becomes a palm and withdraws in front of your belly. Your hands come out in unison to push to the opponent’s lower abdomen, fingertips pointing diagonally downward, palms upward. Your gaze is level to the north. Your chest sticks out and your waist is erect. See photo 38 (side view):

術解
Remarks on the technique:
此式為囘顧後方。防敵襲擊。轉身雙推。惟轉字須要十分注意。而若轉動不靈。則四方空虛。不能照顧。遂有顧此失彼之虞矣。
This posture is for turning behind to defend against an opponent’s surprise attack, turning around to push with both hands. However that word “turning” must be paid careful attention. If the turning is awkward, it will disorient you as to the four directions, and you will not be able to attend to them, ending up anxious at having too many things to think about at once.

第三十五式
Posture 35
術名
Name of the technique:
返身雙推
TURN BACK, DOUBLE PUSH
用法
Function:
此為鞏固初基法。
This is a method of consolidating everything back to the beginning.
說明
Explanation of the movement:
聞令數三。由上式兩腳部位仍不動。惟兩腳尖移動朝南。右腳伸直。左膝彎。成左弓式。同時身體向左後轉。兩臂隨轉。卽將兩掌收囘於懷中。向前下斜推出。掌微屈。手心仰向。指端斜下。眼平視南。胸挺腰直。如第三十九圖。（側面）
“Three!” Continuing from the previous posture, your feet do not leave their location, but the toes shift to the south, your right leg straightening and your left knee bending, making a left bow stance. At the same time, your body turns around to the left rear. Your arms go along with the turn, sending your hands to withdraw to your chest and then push out diagonally forward and downward, palms slightly bent and facing upward, fingertips pointing diagonally downward. Your gaze is level to the south. Your chest sticks out and your waist is erect. See photo 39 (side view):

術解
Remarks on the technique:
此式為預備收式。返本歸原之法。亦為卻敵之一法也。
This posture is a method of preparing for the closing posture and returning to your original position, as well as a method of repulsing an opponent.

第三十六式
Posture 36
術名
Name of the technique:
太極歸真
RETURNING TO TAIJI
用法
Function:
此為返本歸真法。
This is a method of returning to your original posture.
說明
Explanation of the movement:
聞令數四。由上式左腳收囘。與右腳靠攏。成立正式。同時兩臂收囘。左臂橫於胸前。掌心向下。右臂橫於臍上。掌心向上。兩掌心相印心前。似懷抱太極圖然。眼平視南。如第四十圖。
“Four!” Continuing from the preceding posture, your left foot withdraws to be next to your right foot, making a posture of standing at attention. At the same time, your arms withdraw, your left arm going across in front of your chest, the palm facing downward, and your right arm going across over your navel, the palm facing upward, your hands facing each other in front of your chest. It is the same as the posture of Embracing the Taiji Sphere. Your gaze is level to the south. See photo 40:

欲休止運動。兩臂下垂。還立正式。
When you want to cease the exercise, your arms hang down, returning you to the posture of Standing at Attention.
術解
Remarks on the technique:
此式為拳之終止式。亦卽起始式。無終無始。無起無止。歸於太極。變化莫測。此卽太極之意歟。
This posture is the set’s ending posture. It is the same as the beginning posture. There is no ending or beginning, no start or stop, for you have returned to the Taiji Posture. Transform unpredictably – this is the meaning of Taiji.

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