YANG STYLE TAIJI SWORD

太極劍
附太極長拳
TAIJI SWORD
Including TAIJI LONG BOXING
陳微明
by Chen Weiming
[1928]

[translation by Paul Brennan, Dec, 2012]

《太極劍》 陳微明 (1928) - callig 1

太極劍
附太極長拳
Taiji Sword & Taiji Long Boxing
孝胥
– [calligraphy by] Zheng Xiaoxu [鄭孝胥]

《太極劍》 陳微明 (1928) - callig 2

慎先婣世兄察書
For this study text by the friend of our family, Chen Shenxian [Weiming]:
武當嫡派
“Descended from Wudang”
八十三叟馮煦
– [calligraphy by] eighty-three year old Feng Xu

《太極劍》 陳微明 (1928) - callig 3

微明先生正
for Director Chen Weiming:
劍光凌雲
“The shine of the sword reaches to the clouds.”
戊辰年仲春
1928, 2nd month of spring
李景林
– [calligraphy by] Li Jinglin

《太極劍》 陳微明 (1928) - portrait 1

楊健侯先生遺像
Photograph of the late Yang Jianhou

《太極劍》 陳微明 (1928) - portrait 2

楊澄甫先生
Yang Chengfu

《太極劍》 陳微明 (1928) - portrait 3

著者陳微明
The author, Chen Weiming

《太極劍》 陳微明 (1928) - portrait 4

丙寅四月初九日致柔拳社公祝張三丰祖師壽誕攝影
1926, 4th month, 9th day – photo of the Achieving Softness Boxing Society [in its second year] commemorating Zhang Sanfeng’s birthday


PREFACE [BY QIAN CHONGWEI]

余弱不好弄長躭靜默武術諸書素未問津間於稠人廣坐遇一二魁梧其形精悍其色者識之為有拳術者而已戊午後久客滬瀆凡値武術運動開會傾動士女余亦未嘗一往乙丑歲閱報紙見有浠川陳微明君來設致柔拳社敎授太極拳術一寓目亦忘之矣丙寅春季偶過西武昌路覩門首榜揭致柔分社因憶及姑入觀焉登樓見一長髯者與一道士裝者相對立以手互相縈繞初不知為太極拳中之推手以為二人戲耳復見三數人演各種姿勢其動作舒而徐若惟恐用力者然且其舉步輕著地無聲心頗異之旋見一面白而儒雅者入就旁榻坐觀諸人久徐起矯正其姿勢就詢知為社長陳微明君余更訝焉蓋余意中社長必魁梧其形精悍其色寗為一意態閒逸之書生姑購所著太極拳術一册歸漏三下讀之竟始悉太極拳之源流及功用幷悉君為壬寅同年是歲與其兄若弟同捷者一門三魁傳為佳話余慨念君之曾祖秋舫先生以第一人及第才名冠世自嘉道迄同光殆無人不讀簡學齋詩者先德子靑年丈宿學潜德士林矜式太夫人周工書法雄偉渾厚懾服士大夫是固代以文學顯君今乃能積健為雄發揚內家奥旨以拳術鳴海上於是心怦然動翌日造廬請謁次月遂入社不以人事而輟不以風雨而阻迄將兩年雖年事旣長進境如登太行然亦自謂微有所得故好之愈篤中間先生更授以太極劍懼拳劍之不及兼顧也甫半而請止今先生復著太極劍術一書成堅索一言夫以未學劍之人欲論列劍術之奥旨自無能為役聊述余入社之巓末如此雖然余女余姪及余孫均從先生兼習拳劍則余學劍之志寧敢忘哉自今請賡續學劍且以太極拳之精微期以十年或有小成之可言今社中姑定三年為一段落殆不過如孩童之畢業於幼稚院耳明年余六十矣乃為幼稚院畢業之期屆時初度之辰先生倘以同年之誼而辱臨貺者余將率女孫輩執劍起舞於筵前還以一觥壽先生也幷書之以為息壤歲在戊辰春仲吳江錢崇威
When I was a boy, I had no fondness for playing, and as I matured, I luxuriated in quietude. I typically did not seek guidance from any martial arts books, but when I was in the midst of a crowded party, I would meet one or two who had a tough build and robust demeanor, who I at least recognized as being martial artists.
     Since 1918, I have been spending a long stay in Shanghai. When I got here, I found there were schools for martial arts exercise everywhere, winning the attention of men and women alike, except for me.
     In 1925, I was reading a newspaper and I glimpsed that a Chen Wieming of Xichuan had arrived in town and founded an Achieving Softness Boxing Society, instructing in the Taiji boxing art. But after having caught my eye, it then slipped my mind.
     Then in springtime, 1926, I was casually strolling down West Wuchang Rd, and I noticed a sign by a door proclaiming it to be a branch of the Achieving Softness Society, and as it brought it back into my memory, I shyly entered to take a look at it. I went upstairs and saw a man with a long beard and another donning Daoist robes standing in opposition, their hands tangling around each other’s. I was not yet aware this was Taiji Boxing’s pushing hands exercise. I thought they were just two people clowning around. Then I saw several people performing a variety of postures, their movements leisurely and slow, as though they were timid to put forth effort, and their steps lifted delicately and landed silently. I found it all very unusual.
     Before long, I noticed a clean-faced elegant gentleman come in, who sat aside on a couch and observed everyone for a long time, then he gently rose up and made corrections to their postures. I went to him and asked if he was the school’s director, Chen Weiming, and marveled further, for I expected the head of such a school would surely have a tough build and robust demeanor, not the languid bearing of an intellectual.
     Bashfully I purchased a copy of his Art of Taiji Boxing, then read it until hour after hour had leaked away and the whole night had been spent, in which I began to learn of Taiji Boxing’s source and functions.
     I also discovered that Chen had passed the imperial examination in 1902, as I had. It turned out his older brother and younger brother had passed in the same year too. That one home had three eminent persons in it is a tale I love passing on to people. [That was a provincial-level examination. Qian also later passed in the 1904 national-level examination. Throughout an examination, exam candidates were not called by their names and were instead given numbers. During the 1904 examination, Qian Chongwei happened to be known as Ling Ling Qi (“007”). Qian and Chen would have had extra reason to feel a sentimental fellowship about their 1902 ordeal, since they were among the last participants in a bygone tradition, the long-enduring imperial examination system having formally come to an end in 1906.]
     I give a reverent sigh when I think of his great-grandfather, Chen Qiufang [better known as Chen Hang] who scored 1st place in the [national-level] examination [of 1819], a famous talent of his generation. Throughout the nineteenth century [literally “From Jiaqing & Daoguang to Tongzhi & Guangxu”, meaning since during the era of the reign of Emperor Jiaqing (1796-1820), then Daoguang (1820-1850), followed by Xianfeng (1850-1861), on to Tongzhi (1861-1875), and Guangxu (1875-1908)], there had been almost no one who had not studied his Poems from the School of Simple Learning.
     Chen Ziqing, Weiming’s father, was the epitome of a scholar, erudite and ethical. Madame Zhou, his mother, worked as a calligrapher, and with a style so magnificent and direct as to be intimidating to males of the literati. Truly they [these Chens] have been illustriously literate for generations, and now in this generation, Chen Weiming has been able to build up health into a form of heroism. Promoting the deeper meaning of the internal styles, he is famous in Shanghai by way of his boxing arts.
     And so it was that in my heart I felt a moment of decision. The following day I went to Chen’s house and asked to see him, then joined the school starting from the next month. As I am not the kind of person who lets personal matters get in the way of anything, or makes excuses because of wind or rain, I have now been doing this for two years. Despite the advancing of my age, which makes progress seem like a climb in the Taihang Mountains [a well-chosen simile, the name meaning “extreme hike”], I can say I have obtained something, which makes me enjoy it with even more sincerity.
     Within this time, Chen had also been teaching me Taiji Sword. As I was apprehensive about attending to the boxing set and the sword set simultaneously, when I got halfway [through the sword] I requested a halt to it. But he has now completed a new book, on the Taiji sword art, and he has demanded an introduction of me.
     If a person has not yet learned the sword but wants to talk about the sword art’s deeper meaning, that person will not be able to do us any service. That is why I have spent the time as I have, by talking about the way I joined the school. But seeing as my daughter, nephew, and grandson are all learning both the boxing set and sword set simultaneously from Chen, how could I dare to ignore my aspirations to learn the sword too? Henceforth I will ask to reconvene my learning of the sword set, and what with the profound nature of the boxing set, hopefully in about ten years from now I will be able to say I have achieved some mediocrity.
     It has been provisionally determined in the school lately that the course curriculum should take three years [See Appendix 5 of Chen Weiming’s 1929 manual.], which will amount to me as if I am a boy finishing preschool. I will be sixty next year, and it will be time for my preschool graduation! And since it will fall on the occasion of my birthday: Dear Chen, if you can see your way to coming to my humble home in honor of our “old school tie” comradeship, I will lead my daughter and grandson in a demonstration of the sword set in front of everyone at the party, then make a toast to your longevity and to the fertility of your book.
     – Qian Chongwei of Wujiang [in Jiangsu], 1928, 2nd month of spring

太極劍序
PREFACE [BY HU PU’AN]

劍術甚古自昔文人學士皆習之魏志稱文帝為太子時與鄧展飲酣論及劍術不決時方食甘蔗因以習之下殿數交三中其臂戴子高顏習齋先生傳商水李子靑者大俠也館先生見先生攜短劍目曰君善此乎先生謝不敏子靑因請與試先生乃折竹為劍舞相擊數合中子靑腕觀此比劍專中腕臂與太極劍之用合顧其法皆不傳世之能劍者大抵皆舞劍之類如風捲如電馳如鳥落如龍翔容觀雖美未必適於用也吾師蘄水微明陳先生以儒者而精太極拳所著太極拳一書流行甚廣太極拳者由外家翻之靜中求動柔以克剛所謂內家拳是也太極劍卽本太極拳之意思用之於劍蓋劍之為用盡於一擊一刺左右前後上下進退皆擊之事皆剌之事也擊之事有正有反剌之事有衝有剪外家劍如是內家劍亦如是惟外家劍之擊剌恒動內家劍之動於靜求之守如處女出如脫兔後人發先人致也外家劍之擊剌恒剛內家劍之剛以柔濟之因勢變化莫可端倪當之則決按之仍虛也故太極劍之用不在於能擊能剌在於擊而不擊剌而不剌而其妙處則不擊而擊不剌而剌馴至於我不必擊人也人之擊我卽為人之自擊我不必剌人也人之剌我卽為人之自剌忘人忘我忘手忘劍運用於無心然後可以直之無前舉之無上按之無下運之無旁藏於九地之下動於九天之上順自然之極致莫能與之爭鋒韞玉幼讀儒書慕顏習齋之為人略習武術乏明師指導毫無家法十五年從先生遊循循善誘得稍知內家之門徑顧年已及艾筋骨漸僵僅心能知之口能言之而已兹先生太極劍成書命韞玉序之因謹述如上不能必知言之果無誤也
民國十七年一月受業涇縣胡韞玉樸安謹書
The sword arts are extremely old. Since ancient times, scholarly gentlemen have all practiced them.
     It says in the “Books of Wei” [the first thirty sections of the 三國志 Annals of the Three Kingdoms (a historical record, not to be confused with 三國演義 Romance of the Three Kingdoms, a historical novel), the anecdote below being drawn from Book 2] that when Emperor Wen [Cao Pi, first emperor of the kingdom of Wei, son of the warlord Cao Cao] was but a prince, he was drinking heavily with General Deng Zhan [a highly skilled martial artist] and having a discussion about the sword art, in which they found their opinions at odds. They then took up [the leftover stalks from] their finished sugarcane to practice with, and [according to Emperor Wen,] “We went into the main hall for a contest, and I tapped his arm three times [to the amusement of all].”
     It says in Dai Zigao’s Biography of Yan Xizhai: “There was a Li Ziqing of Shangshui, who was a great hero. He took Yan [aged fifty-seven] in as a guest in his home, and upon noticing Yan carried a short sword, asked him, ‘Are you any good with that?’ Yan replied, ‘Well, I’m not great.’ Li then asked for a try, so Yan broke off bamboo stalks to be used as swords to spar with. They struck at each other back and forth a few times, until Yan tapped Li’s wrist [to the amazement of Li].”
     These are demonstrations that sword fighting focuses on targeting the wrist or arm, conforming with the use of the Taiji Sword. But their theories [those of Cao Pi and Yan Xizhai] have not been passed down to us, and those who nowadays have some ability with a sword tend to wave their swords around like wind rolling, lightning bursting, birds diving, dragons coiling… gorgeous, useless. [This is always a good point but is perhaps a risky statement here, since the sword set that follows contains postures with names such as WIND ROLLS UP THE LOTUS LEAVES, METEOR CHASES THE MOON, SWALLOW TAKES UP WATER, and BLACK DRAGON COILS AROUND THE PILLAR.]
     My teacher is Chen Weiming of Qishui, who is a scholar and an expert at Taiji Boxing. He wrote The Art of Taiji Boxing, which has spread everywhere. Taiji Boxing is the reverse of the external styles, seeking movement in stillness [stillness in movement] and using softness to defeat hardness, and thus is considered an internal style. Taiji Sword is based in the principles of Taiji Boxing being applied to it.
     The functions of the sword come down to striking and stabbing, whether the situation be to the left or right, forward or back, up or down, advancing or retreating. Striking can be a case of orthodox or opposite [i.e. can be done using either the outer edge or inner edge]. Stabbing can be a case of thrusting or shearing [i.e. stabbing directly through the center or using a stabbing action just off center to slice an opponent open along the side]. These things are true for the swordwork of both external and internal styles.
     But the striking and stabbing of the sword of the external styles emphasizes activity, while the movement of the sword of the internal styles lies in seeking stillness. “Begin guardedly like a shy girl [until he opens his gates,] then invade like a rabbit diving into one of its bolt-holes.” [Art of War, chapter 11] “Leave after but arrive before.” [chapter 7]
     And the striking and stabbing of the sword of the external styles emphasizes hardness, while the hardness of the sword of the internal styles lies in it being transported through softness. By transforming according to the situation, no one can predict what you will do. When the moment comes, be decisive, and when there is pressure, disappear again.
     Therefore the use of the Taiji Sword does not lie in being capable at striking and stabbing, but in striking without striking and stabbing without stabbing. Its ingenuity is a matter of not striking and yet striking, not stabbing and yet stabbing. It gradually develops to the point that I should not need to strike the opponent, for when he strikes at me, he ends up striking himself. Nor should I need to stab the opponent, for when he stabs at me, he ends up stabbing himself. There ceases to be distinction between opponent and self, and between hand and sword.
     Once the movements are instinctive, then you will be able to “point it and nothing can stand before it, raise it and nothing can stand above it, lower it and nothing can stand below it, or swing it and nothing can stand beside it.” [Zhuangzi, chapter 30] It is “hidden below the deepest ground… moving above the highest sky.” [Art of War, chapter 4] It complies with the utmost naturalness, and so no one can strive against it.
     I studied Confucian texts as a boy, and Yan Xizhai was my idol. I practiced martial arts to an extent, but I had no good teacher to direct me and knew none of the principles. I have learned from Chen for fifteen years now [It is uncertain what he would have been initially learning from Chen since Chen himself had not even started learning from Sun Lutang fifteen years before this was written.]. He has taught me patiently and systematically, and I have obtained some understanding of the way of internal styles, but considering that I am now fifty and my joints have gotten somewhat stiffer, all I really have of it is the ideas and words. Having completed his manuscript, Chen assigned me to the writing of a preface, which I have solemnly attended to, but I cannot claim my words are free of errors.
     – sincerely written by your student, Hu Yunyu, called Pu’an, of Jing county [in Anhui], Jan, 1928

太極劍術序
PREFACE [BY HUANG TAIXUAN]

微明先生旣作太極拳術行於世世之人讀其書以求其術而獲却病延年者遍海內近復著太極劍術一書屆稿竟轉由湯子悟庵索序於予予於劍術誠門外漢顧能通其意蓋予固服膺三丰祖師之道者也晚近羽流徒襲形貌自歸淘汰而不知眞道所在與儒佛同源别有神妙不可思議之理卓然特立於天地間不求顯亦不求競知者自知不知者不强知一任緣法離合為眞理之推移太極劍術其一端也太極劍術與太極拳術皆為武當嫡派故太極劍術之步法手法略如太極拳之法不過一徒手一用劍耳其法虗靈超脫綿綿不斷凝神歛氣歸於自然與外家劍術迥乎不同洵非眞仙之遺傳不能臻斯神境也予嘗箋三丰全集至無根樹丹訣諸篇覺其玄微精奥神鬼爭啼眞有如說此法天龍八部羣相驚疑之旨而祖師之苦口婆心雖千萬世昭然若揭也惜乎衆生俶擾業因山積亡羊歧路予欲無言苟能本此册以尋端緒則豈特可藉國技以强種抑亦可返眞道以救國先生之功誠偉矣哉戊辰春求物治齋主人黄太玄序
Chen Weiming has authored The Art of Taiji Boxing, which has spread to the world. There are people who study it to seek for its skills, but those who use it to obtain a means of preventing disease and prolonging life are everywhere. He has lately authored a new book about the Taiji sword art. With his manuscript completed, a demand for a preface switched from Tang Wu’an [Zhenlong] to myself [both of these men being Chen’s students]. I am really a layman when it comes to the sword art but I am able to comprehend its principles since I have a firm grasp of Zhang Sanfeng’s theories.
     Daoist priests in recent years carry on in the trappings of tradition but then die off without having understood it. Daoism springs from the same source as Confuciansim and Buddhism, but is distinct from them by way of its ingenious and incredible ideas. It stands as something unique in the world by neither seeking to be seen as such nor prove it so. Those who understand it have understanding within themselves, while those who do not understand will not be made to understand, and by allowing them both their predispositions, departing from and merging with are equally developments toward truth. Such is also the case with this book.
     Both the Taiji sword art and boxing art derive from the Wudang school, which is why the footwork and hand techniques are mostly alike in either case, apart from one using hands and the other using a sword. Their principles are: effortless and aloof, continuous without pause, spirit concentrated and energy gathered, and returning to what is natural. This is entirely different from the sword arts of the external styles. Truly, if it is not bequeathed by an authentic sage, you will be unable to attain it to the level of a spiritual condition.
     I once made a commentary to the “Elixirist Formula of the Tree Without Roots”, as well as other sections of the Collected Works of Zhang Sanfeng [published 1844], which I found to be so profound and subtle, spirits and ghosts trying to out-wail each other really seems to sum up its method, or the eight legions of deities congregating in confusion over its concepts. But what Zhang tells us severely, yet with a heart of compassion, will ring true forever. [In other words, they are well-meaning unintentionally-obscurantist ravings that are nevertheless worth digging through for nuggets of eternal wisdom, as is not uncommon in the case of quests for spiritual fulfillment that involve the study of texts.]
     How unfortunate it is that we are all born into trouble, with so much karma piled up like Pelion on Ossa, and as lost sheep confronted by a fork in the road. I would rather not give any advice, but if we can seek a hint [about which direction to go] by way of books such as these, then not only can we make use of martial arts to strengthen the people, but we can also return to the authentic Way and thereby rescue the nation. Ah, truly grand is Chen’s achievement.
     – preface by Huang Taixuan, director of the School of Studying Nature to Manage the Self, spring, 1928

太極劍序
PREFACE [BY CHEN WEIMING]

易曰苟非其人道不虛行此言傳道之難其人也雖技藝亦然黄百家內家拳法言五不可傳心險者居其首余游京師聞廣平楊氏精太極拳心慕之問之與楊氏稔者皆言楊氏不肯傳人而楊氏之徒言亦若是豈不異哉及遇楊澄甫先生從之學始知楊氏非不傳人也嗟夫以得楊氏之傳食其技者乃誣其師門造種種不實之事聞之者卽據以作為筆記小說其居心非百家所謂不可傳者耶楊澄甫先生傳余太極拳劍拳術已付梓流行今復將劍術筆述成書公之於世此亦澄甫先生之志也太極劍之姿勢均以拳之姿勢為基礎其非太極拳之姿勢亦有名為太極劍者則余不敢知已前聞李芳宸將軍精劍術得異人之傳授孫祿堂先生嘗稱之今年將軍過滬往見焉將軍為人特俊爽慨然以二人比劍之法相授觀其意全運用腰腿與太極拳之推手聽勁無異惟有時劍不粘連相離半寸許耳眞武當太極劍法也澄甫先生所傳無二人相比之定法得此則太極劍之體用備矣俟習之精熟再述為書以餉世人丁卯冬十二月陳微明識
It says in the Book of Changes: “If it is not the right person for it, the Way cannot be effortlessly conveyed.” This refers to how it depends on the person as to whether or not one will easily get the idea, which is also the case when it comes to skills. It says in Boxing Methods of the Internal School by Huang Baijia that there are five kinds of people who should not be taught, those who are devious being the worst of all [the other four being those who love to fight, those who are addicted to booze, those who gossip, and those who are klutzy].
     I traveled to Beijing, having heard that the Yang family of Guangping were experts in Taiji Boxing, which I adored. I inquired of those who were familiar with the Yang family. Always I was told they would not consent to teach people, and the Yang family’s students said so too. Was this not odd [that they taught no one and yet had students]?
     When I finally met Yang Chengfu and learned from him, I became aware that it was not the case that they did not teach people, but that unfortunately there had been those who partook of the teachings and then misrepresented them, making up lots of fraudulent tales which others heard and then made use of in the writing of novels. People with ulterior motives – are they not among the “kinds of people who should not be taught”?
     Yang Chengfu taught me Taiji Boxing and Taiji Sword. His boxing art having already been published and spread around, I now put forth his sword art, recorded in a book so as to make it known to the world, and this I am directed to do by Yang himself. The postures in the Taiji Sword set are all based on the postures in the boxing set. As for why they are not treated as the boxing postures but have instead been specially named for the sword versions, I do not presume to understand.
     I had previously heard of General Li Fanchen [Jinglin], who is an expert in the sword art and had been taught by an exceptional man [Chen Shijun], when Sun Lutang happened to speak highly of him. Li came to Shanghai this year, so I went to see him. He is a brilliant and frank man, and was generous enough to teach me his two-person sparring method for the sword. Regarding its principles, it is entirely a matter of moving by way of the hips, and is no different from the listening energy in Taiji Boxing’s pushing hands, except for times when the swords are not sticking but are instead about a half inch apart, and so it is the authentic sword method of Wudang’s Taiji.
     In Yang Chengfu’s curriculum, there are no standard two-person sword sparring exercises, so by obtaining this [supplementary training from Li Jinglin], the Taiji Sword would then be complete in terms of its function as well as its essence. Once I have trained at it to the point of skillfulness, I will record it into a further book with which to supply the world. [Chen Weiming never produced such a book, presumably abandoning the idea when Li Jinglin’s two-person exercises were published in a book in 1931 by Huang Yuanxiu. Chen’s three Taiji books were each groundbreaking and he was perhaps not inclined to retread paths once others have taken them.]
     – written by Chen Weiming, Jan, 1928

太極劍目錄
CATALOGUE OF POSTURES IN THE TAIJI SWORD SET

太極劍起勢
[0] TAIJI SWORD BEGINNING POSTURE
三環套月
[1] THREE LOOPS AROUND THE MOON
大魁星
[2] LARGE KUIXING POSTURE
燕子抄水
[3] SWALLOW TAKES UP WATER
左右攔掃
[4 & 5] LEFT & RIGHT BLOCKING SWEEPS
小魁星
[6] SMALL KUIXING POSTURE
燕子入巢
[7] SWALLOW ENTERS ITS NEST
靈猫捕鼠
[8] QUICK CAT CATCHES THE MOUSE
蜻蜓點水
[9] DRAGONFLY SKIMS THE WATER
黃蜂入洞
[10] WASP ENTERS THE HIVE
鳳凰雙展翅
[11] PHOENIX UNFURLS ITS WINGS
左旋風
[12] LEFT WHIRLWIND
小魁星
[13] SMALL KUIXING POSTURE
右旋風
[14] RIGHT WHIRLWIND
等魚式
[15] WAITING FOR A FISH
撥草尋蛇
[16] SPREAD THE GRASS TO FIND THE SNAKE
懷中抱月
[17] EMBRACE THE MOON
宿鳥投林
[18] BIRD GOES INTO THE FOREST TO ROOST
烏龍擺尾
[19] BLACK DRAGON SWINGS ITS TAIL
風捲荷葉
[20] WIND ROLLS UP THE LOTUS LEAVES
獅子搖頭
[21] LION SHAKES ITS HEAD
虎抱頭
[22] TIGER HIDES ITS HEAD
野馬跳澗
[23] WILD HORSE JUMPS THE STREAM
翻身勒馬
[24] TURN AROUND, REIN IN THE HORSE
上步指南針
[25] STEP FORWARD, POINT LIKE A COMPASS NEEDLE
迎風拂塵
[26] BRUSHING OFF DUST AGAINST THE WIND
順水推舟
[27] GOING WITH THE CURRENT TO PUSH THE BOAT
流星趕月
[28] METEOR CHASES THE MOON
天馬行空
[29] SPIRIT HORSE FLIES THROUGH THE SKY
挑簾式
[30] RAISING THE CURTAIN
左右車輪劍
[31] LEFT & RIGHT WHEELING SWORD
大鵬單展翅
[32] RUKH UNFURLS A WING
海底撈月
[33] TRYING TO SCOOP THE MOON’S REFLECTION FROM THE WATER
懷中抱月
[34] EMBRACE THE MOON
夜叉探海
[35] NIGHT DEMON SEARCHES THE SEA
犀牛望月
[36] RHINO GAZES AT THE MOON
射燕式
[37] SHOOT THE GOOSE
白猿獻果
[38] WHITE APE OFFERS FRUIT
鳳凰雙展翅
[39] PHOENIX UNFURLS ITS WINGS
左右跨攔
[40] LEFT & RIGHT STRIDING BLOCKS
射雁式
[41] SHOOT THE GOOSE
白猿獻果
[42] WHITE APE OFFERS FRUIT
左右落花
[43] LEFT & RIGHT FALLING PETALS
玉女穿梭
[44] MAIDEN WORKS THE SHUTTLE
白虎搖尾
[45] WHITE TIGER TWITCHES ITS TAIL
虎抱頭
[46] TIGER HIDES ITS HEAD
鯉魚跳龍門
[47] CARP LEAPS THE DRAGON GATE
烏龍絞柱
[48] BLACK DRAGON COILS AROUND THE PILLAR
仙人指路
[49] IMMORTAL POINTS THE WAY
風掃梅花
[50] WIND SWEEPS THE PLUM FLOWERS
虎抱頭
[51] TIGER HIDES ITS HEAD
指南針
[52] COMPASS NEEDLE
抱劍歸原
[53] EMBRACE THE SWORD AND RETURN TO THE ORIGINAL POSITION

太極劍
TAIJI SWORD

太極劍起勢
[0] TAIJI SWORD BEGINNING POSTURE

左手執劍。拇指中指無名指小指。握劍雲頭。食指下垂。貼劍柄。劍平面貼臂後面。劍尖朝上。右手下垂。身正立。向南。如太極拳初起勢。如第一圖。
Your left hand holds the sword: the thumb, middle finger, ring finger, and little finger grasp the sword hilt, while the forefinger hangs down, sticking to the sword handle. The plane of the sword touches the back of the forearm, the sword tip pointing upward. Your right hand hangs down. Your body stands straight, oriented to the “south”. This posture is like the BEGINNING POSTURE in the boxing set [See Chen Weiming’s 1925 manual]. See photo 1:

《太極劍》 陳微明 (1928) - photo 1

三環套月
[1] THREE LOOPS AROUND THE MOON

右手揑劍訣。食中二指並直。無名指小指。屈於掌心。拇指屈按無名指頭節處。如太極拳之摟膝拗步。腰往下鬆。右手隨腰往後圓轉而上。轉由右耳邊指出。左手握劍。同時隨腰而上。由胸前往右。轉至左膝處。劍仍貼臂向後。左足同時往東邁一大步。腰隨手前進。左腿坐實。如第二圖。
Your right hand pinches to make a “swordsman’s hex”: the forefinger and middle finger are together in a line, the ring finger and little finger bend in to the center of the palm, and the thumb bends in and presses down the top knuckle of the ring finger. This posture will be like BRUSH KNEE IN A CROSSED STANCE in the boxing set [See Posture 5 in Chen Weiming’s 1925 manual]. Your waist loosens downward, your right hand goes along with your waist by curving behind, then up, then from beside your right ear to point out. At the same time, your left hand, grasping the sword, goes along with your waist by rising, then goes to the right from in front of your chest, curving to arrive at the area of your left knee, the sword still touching the back of the forearm and pointing behind you. Your left foot at same time takes a large step to the east. Your waist goes along with your [right] hand’s forward advance, the weight shifting onto your left leg. See photo 2:

《太極劍》 陳微明 (1928) - photo 2

左手握劍。直穿至右手上。右足同時前邁一小步。足尖點地。仍坐右腿。此式如太極拳之上步七星。如第三圖。
Your left hand, grasping the sword, threads straight over your right hand while your right foot takes a small step forward, toes touching down, the weight remaining on your right [left] leg. This posture is like STEP FORWARD WITH THE BIG DIPPER in the boxing set [See Posture 75 in Chen Weiming’s 1925 manual]. See photo 3:

《太極劍》 陳微明 (1928) - photo 3

两手同時两邊分開。轉一圓規。復合於前面。左足同時前邁一大步坐實。此式如太極拳之雙風貫耳。如第四圖。
Your hands spread apart in unison to the sides, each making a circle to again come together in front. At the same time, your left foot takes a large step forward, and the weight shifts onto it. This posture is like DOUBLE WINDS THROUGH THE EARS in the boxing set [See Posture 40 in Chen Weiming’s 1925 manual]. See photo 4:

《太極劍》 陳微明 (1928) - photo 4

大魁星
[2] LARGE KUIXING POSTURE

右手與左手相合。隨卽將劍轉換於右手。右手執劍。直面(劍刃向上下謂之直面)往下往後轉一大圓規。左手隨揑劍訣。隨右手在裏。同時轉一大圓規。眼神看劍尖。隨劍轉動。右手不停往後往上。將劍轉至頭上。仍是直面。劍尖向東。劍要極平。左手揑劍訣。轉至前面。兩指向上。坐實右腿。左腿提起。足尖向下。眼神亦轉向東看。此式如太極拳之金鷄獨立。如第五圖。
Your hands join for the sword to switch into your right hand. Your right hand, holding the sword vertically (meaning the sword edges are upward and downward), makes a large arc downward and to the rear, while your left hand now pinches to make a swordsman’s hex and goes along to the inside of your right hand. At the same time, your gaze is looking toward the sword tip and following the sword’s movements. Your right hand does not pause, going to the rear and then upward, sending the sword in an arc to arrive above your head, still a vertical blade. The sword tip is pointing to the east. The sword should be completely level. Your left hand, as a swordsman’s hex, is also arcing forward, the two fingers pointing upward, and with the weight entirely on your right leg, your left leg lifts, toes downward, your gaze turning to look to the east. This posture is like GOLDEN ROOSTER STANDS ON ONE LEG in the boxing set [See Posture 56 in Chen Weiming’s 1925 manual]. [Kuixing is the god of scholars, usually depicted standing on one leg while pointing his writing brush over his head at the Big Dipper. This posture seems to be just a general mimicking of that image and needs no strained interpretation.] See photo 5:

《太極劍》 陳微明 (1928) - photo 5

燕子抄水
[3] SWALLOW TAKES UP WATER

右手執劍。直面往西南砍去。隨轉向下。愈低愈好。掃地而起。轉為平面。(劍刃向左右謂之平面)劍尖向東南。畧朝上。眼神與腰亦隨之而轉。左手揑劍訣在裏。隨右手而轉至額上。左足同時向東北邁出坐實。步之距離。與太極拳之玉女穿梭相同。如第六圖。
Your right hand guides the sword as a vertical blade to the southwest with a chop. Then it goes along [with the movement of your waist] to arc downward, the lower the better, sweeping along the ground, and rises, turning to become a horizontal blade (meaning the edges are to the left and right), the sword tip pointing to the southeast and slightly upward. Your gaze goes along with the movement of your waist, turning along with it. Your left hand, as a swordsman’s hex, is inward and goes along with the arcing of your right hand to arrive above your forehead. Your left foot at the same time steps out to the northeast and the weight shifts onto it, the length of the step the same as in MAIDEN WORKS THE SHUTTLE in the boxing set [See Posture 51 in Chen Weiming’s 1925 manual]. See photo 6:

《太極劍》 陳微明 (1928) - photo 6

右攔掃
[4] RIGHT BLOCKING SWEEP

右手執劍。往上往北斜面轉動。又向下轉。轉為平面。至與左肩平時。隨往東南平砍。劍仍平面。劍尖向東北。左手揑劍訣。隨右手轉動。距右手腕二三寸許。右足同時向東南邁出坐實。眼神與腰。亦隨劍轉動。此式如太極拳之玉女穿梭。如第七圖。
Your right hand guides the sword in an upward and northward arc with the blade diagonal, then arcs it downward, turning it so the blade is horizontal. Once it is level with your right shoulder, it then slashes across to the southeast, the blade still horizontal, the tip pointing to the northeast. Your left hand, as a swordsman’s hex, goes along with the movement of your right hand, separated from your right wrist by about two or three inches. Your right foot at the same time steps out to the southeast, and the weight shifts onto it. Your gaze and your waist also go along with the sword’s movement. This posture is like MAIDEN WORKS THE SHUTTLE in the boxing set. See photo 7:

《太極劍》 陳微明 (1928) - photo 7

左攔掃
[5] LEFT BLOCKING SWEEP

右手執劍。往南平面轉動。又畧向下轉。仍為平面。轉至與右肩平時。隨往東北平砍。劍仍平面。尖向東南。左手揑劍訣。隨右手轉動。距腕二三寸許。左足同時向東北邁出坐實。眼神與腰。亦隨劍轉動。此式如太極拳之玉女穿梭。如第八圖。
Your right hand guides the sword in a [slightly upward and] southward arc with the blade horizontal, then slightly arcs it downward, [turning it over] so the blade is again horizontal. Once it is level with your right shoulder, it then slashes across to the northeast, the blade still horizontal, the tip pointing to the southeast. Your left hand, as a swordsman’s hex, goes along with the arcing movement of your right hand, separated from the wrist by about two or three inches. Your left foot at the same time steps out to the northeast, and the weight shifts onto it. Your gaze and your waist also go along with the sword’s movement. This posture is again like MAIDEN WORKS THE SHUTTLE. See photo 8:

《太極劍》 陳微明 (1928) - photo 8

左右攔掃。或二次或四次均可。
The blocking sweeps to the left and right can be done either twice or four times.

小魁星
[6] SMALL KUIXING POSTURE

右手執劍。由平面轉為直面。往上往北又往下轉動。右足往東南邁。足尖向南。坐實右足。左足亦往東南邁出。足尖點地。右手提劍不停。由下而起。轉至頭上。劍仍直面。劍尖斜向下。亦向東南。左手揑劍訣。同時隨右手轉動。兩指向上。與大魁星同。如第九圖。
Your right hand turns the sword over from a horizontal blade to a vertical blade, and takes it in an arc upward to the north and then downward as your right foot steps to the southeast, toes pointing to the south, and the weight shifts onto it. Your left foot steps out to the southeast, toes touching down, while your right hand lifts the sword, which has not paused, rising from below in an arc until above your head. The blade is still vertical, the tip pointing diagonally downward and to the southeast. Your left hand, as a swordsman’s hex, has gone along with the movement of your right hand, the two fingers pointing upward. The posture is similar to the large version. See photo 9:

《太極劍》 陳微明 (1928) - photo 9

燕子入巢
[7] SWALLOW ENTERS ITS NEST

右手執劍。往下往後圓轉。右足用足尖。亦隨之往後。轉向西北。左足斜向西北前邁坐實。左手在裏。隨右手轉至後面時。卽放開。托右手背。兩手托劍。往西北平面刺出。此式如太極拳之指襠錘。如第十圖。
Your right hand directs the sword in an arc downward and behind. Your right foot goes along with the movement by turning toward the northwest on the ball of the foot, your left foot steps diagonally forward to the northwest, and the weight shifts onto it. Your left hand is to the inside of your right hand and goes along with its arcing, then opens up once you are facing behind and props up the back of your right hand, and with both hands carrying the sword, stab with a horizontal blade to the northwest. This posture is similar to PUNCH TO THE CROTCH in the boxing set [See Posture 72 in Chen Weiming’s 1925 manual]. See photo 10:

《太極劍》 陳微明 (1928) - photo 10

靈猫捕鼠蜻蜓點水
[8 & 9] QUICK CAT CATCHES THE MOUSE & DRAGONFLY SKIMS THE WATER

兩手托劍回收。右足提起。足尖斜向下。如第十一圖。
Withdrawing the sword with both hands, your right foot lifts, the toes hanging down diagonally. See photo 11:

《太極劍》 陳微明 (1928) - photo 11

旋卽踢出。極力向西北邁去。左足騰起。向前一點。右足又往前一躍。右手之劍。同時向西北平面刺去。左手揑劍訣。轉至額上。右足坐實。如第十二圖。
Then [your right foot] kicks out and steps with energy to the northwest, your left foot jumps up, and right when it touches down forward, your right foot also hops forward. Your right hand stabs with the sword to the northwest as a horizontal blade while your left hand pinches to make a swordsman’s hex and arcs to arrive above your forehead. The weight is on your right foot. See photo 12:

《太極劍》 陳微明 (1928) - photo 12

右手之劍刺出後。又畧收回。向前一點。此之謂蜻蜓點水。此式如太極長拳之右扇通臂。
After the sword stabs, slightly withdraw it and then tap it forward. This is called DRAGONFLY SKIMS THE WATER. This posture is like RIGHT FAN THROUGH THE ARMS in the Taiji Long Boxing set [Posture 67 in the movement descriptions for the Long Boxing set].

黃蜂入洞
[10] WASP ENTERS THE HIVE

右足跟轉動。使足尖向南。右手執劍。隨腰轉向北。眼轉向西北看。左手屈抱。右足又用足尖旋轉一周。左足提起。亦旋轉一周。復往西北邁去。右手與左手。同時隨身旋轉一周。左手仍放開。托右手背。兩手托劍。往西北平面刺出。坐實左腿。參觀第九圖。
Your right foot pivots on the heel so the toes point to the south while your right hand guides the sword to go along with your waist, and you will spin around toward the north, your gaze turning [away momentarily to then return] to the northwest. With your left hand bending in to take hold [under your right hand], your right foot pivots on the ball of the foot to spin all the way around, with your left foot lifted, which then steps again out to the northwest. Your hands go along with the movement of your body spinning, your left hand again opening to prop up the back of your right hand, and with both hands carrying the sword, stab out with a horizontal blade to the northwest, shifting the weight onto your left leg. Review photo 9 [10].

鳳凰雙展翅
[11] PHOENIX UNFURLS ITS WINGS

左手放開。轉至右手腕上相合。左手揑劍訣。手心向下。左足跟向北轉。右手與左手分開。右手之劍。平面向東南削去在上。左手向西北分開在下。左手心向下。右手心向上。右足亦向東南邁去坐實。此式如太極拳之斜飛式。如第十三圖。
Your left hand comes away and arcs around to be above your right wrist while pinching to make a swordsman’s hex, the center of the hand downward, and your left foot pivots on the heel to the north. Your hands spread apart, your right hand guiding the sword to do an inner-edge cut upward to the southeast with a horizontal blade, your left hand spreading away downward to the northwest, the center of your left hand downward and the center of your right hand upward, while your right foot steps out to the southeast and the weight shifts onto it. This is like the DIAGONAL FLYING POSTURE in the boxing set [See Posture 17 in Chen Weiming’s 1925 manual]. See photo 13:

《太極劍》 陳微明 (1928) - photo 13

左旋風小魁星
[12 & 13] LEFT WHIRLWIND & SMALL KUIXING POSTURE

右手執劍。由平面轉為直面。往上往西北。又往下。隨腰轉動。坐實左腿。右足提起落下。足尖向南。坐實右足。左足往東南邁出。足尖點地。右手提劍不停。由下而起。轉至頭上。劍仍直面。劍尖斜向下。亦向東南。左手揑劍訣。同時隨右手轉動。兩指向上。參觀第八圖。
Your right hand turns the sword over from a horizontal to a vertical blade, and takes it in an arc upward to the northwest and then downward again, going along with the turning of your waist and the shifting of the weight onto your left leg. Your right foot lifts and comes down with the toes pointing to the south, the weight shifts onto it, and your left foot steps to the southeast, toes touching down, while your right hand lifts the sword, which has not paused, rising from below in an arc until above your head. The blade is still vertical, the tip pointing diagonally downward to the southeast. Your left hand, as a swordsman’s hex, has gone along with the movement of your right hand, the two fingers pointing upward. Review photo 8 [9].

右旋風等魚式
[14 & 15] RIGHT WHIRLWIND & WAITING FOR A FISH

右手執劍。劍直面往下往後圓轉。左足往後退一步。右手之劍。往後又轉上。又轉向東南。劍仍直面。左手同時隨右手轉回。揑劍訣。離右手二寸許。右足同時退後一步。足尖點地。亦向東南。如第十四圖。
Your right hand arcs the sword downward and behind as a vertical blade, your left foot taking a step back, and the sword arcs from behind to travel again upward and toward the southeast, still as a vertical blade. Your left hand, as a swordsman’s hex, goes along with the arcing and turning over of your right hand, and is separated from your right hand by about two inches. Your right foot at the same time retreats, toes touching down and pointing to the southeast. See photo 14:

《太極劍》 陳微明 (1928) - photo 14

撥草尋蛇
[16] SPREAD THE GRASS TO FIND THE SNAKE

右手執劍。由直面隨腰往左略轉。漸變平面。又向右轉回。往南砍去。劍仍平面。劍尖向東。劍與手平。眼神與腰。亦隨之而轉。左手揑劍訣。隨右手轉動。距右手腕二三寸許。右足同時向東南邁出坐實。眼神與腰。亦隨劍轉動。此式如右攔掃。惟劍低平。劍尖向東。略不同耳。參觀第七圖。
Your right hand guides the sword by going along with your waist to arc slightly to the left, changing it gradually from vertical blade to horizontal blade, then arcs back to the right, slashing to the south with the blade again horizontal, the tip pointing to the east, the sword level with your forearm. Your gaze and your waist go along with its movement. Your left hand, as a swordsman’s hex, goes along with your right hand, separated from your right wrist by about two or three inches. Your right foot at the same time steps out to the southeast, and the weight shifts onto it. Your gaze and your waist go along with the sword’s movement. This posture is like RIGHT BLOCKING SWEEP, except the sword is lower and the tip is pointing to the east, and so it is slightly different. Review photo 7.
右手執劍。往右畧轉。又往左轉回。劍仍平面。往北砍去。劍尖向東。劍與手平。眼神與腰。亦隨之而轉。左手揑劍訣。隨右手轉動。距右手腕二三寸許。左手同時向東北邁出坐實。眼神與腰。亦隨劍轉動。此式如左攔掃。參觀第八圖。
Your right hand guides the sword to the right in a slight arc, [turns over,] then arcs back to the left, slashing to the north with the blade again horizontal, the tip pointing to the east, the sword level with your forearm. Your gaze and your waist go along with its movement. Your left hand, as a swordsman’s hex, goes along with your right hand, separated from your right wrist by about two or three inches. Your left hand [foot] at the same time steps out to the northeast, and the weight shifts onto it. Your gaze and your waist go along with the sword’s movement. This posture is similar to LEFT BLOCKING SWEEP [except the sword is lower and the tip is to the east]. Review photo 8.
撥草尋蛇。可作三次或五次。
These movements can be performed either three times or five times.

懷中抱月
[17] EMBRACE THE MOON

撥草尋蛇三次或五次。轉至右面時。左足向後(卽向西)退一步。右手之劍。往懷中裹回使手背向上者。變為手心向上。身隨劍收回之勢。坐實左腿。向下略低。右手執劍。近左脇處。劍平面。離身四寸許。劍尖向東。左手揑劍訣。亦隨右手收回。略在右手之上。眼神向東。如第十五圖。
Having performed SPREAD THE GRASS TO FIND THE SNAKE three times or five times, and therefore finishing on the right side, your left foot steps back (to the west) as your right hand wraps the sword in toward your chest, turning over to go from the back of the hand facing upward to the center of the hand being upward. Your torso goes along with the momentum of the sword’s withdraw and the weight shifts onto your left leg, slightly lowering. Your right hand guides the sword near to your left ribs, the blade horizontal, about four inches away from your body, the tip pointing to the east. Your left hand, as a swordsman’s hex, goes along with your right hand’s withdraw to be slightly above your right hand. Your gaze is to the east. See photo 15:

《太極劍》 陳微明 (1928) - photo 15

宿鳥投林
[18] BIRD GOES INTO THE FOREST TO ROOST

左足往前邁一步。(卽向東)身隨右足提起。右手執劍。往上剌去。(亦向東)左手亦隨右手向上。相距二寸許。左足提起。膝向西北。足心貼右腿。足尖向下。眼神隨劍尖往上看。如第十六圖。
Your left [right] foot steps forward (to the east), your torso going along with it, and your right [left] foot lifts as your right hand guides the sword, stabbing out upward (also east), your left hand following your right hand upward, separated from each other by about two inches. Your left foot is lifted with the knee pointing to the northwest, the sole near your right knee, toes downward. Your gaze follows the sword tip to look upward. See photo 16:

《太極劍》 陳微明 (1928) - photo 16

烏龍擺尾
[19] BLACK DRAGON SWINGS ITS TAIL

左足往後退一步。(卽向西退)身隨左足坐下。右手隨左足提回。如等魚式。足尖點地向東南。右手之劍抽回。由平面而變為直面。抽至右膝後。劍尖下垂。亦略向東南。左手揑劍訣。轉至額上。眼神下視劍尖。如第十七圖。
Your left foot steps back (to the west), your torso following and the weight shifting onto it, and your right hand [foot] follows the left foot by lifting and withdrawing as in WAITING FOR A FISH, the toes touching down pointed to the southeast. [At the same time,] your right hand draws the sword back until behind your right knee, the blade changing from horizontal to vertical, the tip hanging down pointed slightly to the southeast, while your left hand, as a swordsman’s hex, arcs to arrive above your forehead. Your gaze is downward toward the sword tip. See photo 17:

《太極劍》 陳微明 (1928) - photo 17

風捲荷葉
[20] WIND ROLLS UP THE LOTUS LEAVES

右足向西南退半步。右手之劍。隨右步退勢。由直面往外。又向裏裹。轉為平面。左足隨右足收回。略點一步。右手之劍。裹至脇下時。卽向東北刺去。左足亦同時往東北邁去。左手本在額上。由額上同時往外往下。轉至心口。又往上翻。仍至額上。左右手足。皆同時變動。不可有先後。如第十八圖。
Your right foot retreats a half step to the southwest while your right hand goes along with the momentum and guides the sword from going outwards as a vertical blade to wrapping inward as a horizontal blade, and your left foot follows your right foot by withdrawing to just barely touch down. Then once your right hand has wrapped the sword in to the point that it is below your ribs, it then stabs out to the northeast, your left foot also stepping out to the northeast. At the same time, your left hand, having started above your forehead, has gone outward and downward, arcing in to reach your solar plexus [in tandem with your feet stepping back and your right hand wrapping in], then returning upward until it is again above your forehead [when your left foot and right hand go forward]. Both of your hands and feet make their movements simultaneously and must not get ahead or behind of one another. See photo 18:

《太極劍》 陳微明 (1928) - photo 18

獅子搖頭
[21] LION SHAKES ITS HEAD

左足尖轉向東南。右手之劍。由手心向上。往脇內轉至手心向下。劍尖本向東北者。轉至劍尖向西北。右手之劍。往南往西轉動。右足隨右手轉身。往西北邁去。右手之劍。同時往北砍。劍尖向西。右手心仍向下。身向東北者。此時已轉向正西。左手亦隨右手轉動。揑劍訣。距右手二三寸許。如第十九圖。
Your left foot turns to point the toes to the southeast. Your right hand guides the sword toward your ribs, turning over so the center of the hand is changed from facing upward to facing downward, and the sword tip that had been pointing to the northeast arcs around until it is pointing to the northwest, your right hand guiding the sword in an arc toward the south and then toward the west. Your right foot goes along with your right hand and the turning of your torso to step out to the northwest as your right hand guides the sword in a slash to the north, the tip pointing to the west, the center of the hand still facing downward. Your torso was facing to the northeast and has now been turned to face directly west. Your left hand, as a swordsman’s hex, goes along with your right hand’s movement, and is separated from your right hand by about two or three inches. See photo 19:

《太極劍》 陳微明 (1928) - photo 19

右手之劍。手心向下者。往右略轉動。又往左轉回。轉至手心向上。劍仍平面。往南砍去。劍尖向西。劍與手平。眼神與腰。亦隨之而轉。左手揑劍訣。隨右手轉動。距右手腕二三寸許。左足同時略向後退半步坐實。此式如太極拳之倒輦猴。惟步略開耳。如第二十圖。
Your right hand guides the sword, the center of the hand downward, in a slight arc to the right, then arcing back to the left, turning over so the center of the hand is upward, and with the blade still horizontal, slashes out to the south, the tip pointing to the west, the sword level with your forearm. Your gaze and your waist go along with the movement, and your left hand, as a swordsman’s hex, goes along with your right hand’s arcing movement, separated from your right wrist by about two or three inches. Your left foot at the same time slightly retreats, stepping back a half step, and the weight shifts onto it. This posture is like RETREAT, DRIVING AWAY THE MONKEY in the boxing set [See Posture 16 in Chen Weiming’s 1925 manual], except here the step is slightly wider. See photo 20:

《太極劍》 陳微明 (1928) - photo 20

右手之劍。手心向上者。往左略轉動。又往右轉回。轉至手心向下。劍仍平面。往北砍去。劍尖仍向西。劍與手平。眼神與腰。亦隨之轉。左手同前。右足同時向後退一步坐實。此式如太極拳之倒輦猴。如第二十一圖。
Your right hand guides the sword, the center of the hand upward, in a slight arc to the left, then arcing back to the left, turning over so the center of the hand is downward, and with the blade still horizontal, slashes out to the north, the tip pointing to the west, the sword level with your forearm. Your gaze and your waist go along with the movement, and your left hand is as before. Your right foot at the same takes a step back, and the weight shifts onto it. This posture is again like RETREAT, DRIVING AWAY THE MONKEY in the boxing set. See photo 21:

《太極劍》 陳微明 (1928) - photo 21

或退四步。或退六步。退至右足在後而止。
Whether you retreat four steps or six steps, your right foot must be behind on the last one.

虎抱頭
[22] TIGER HIDES ITS HEAD

右足退後時。兩手向左右分開。又向內合。右手心向下者。向內合時。轉至手心向上。右手之劍。轉至胸前停住。左手在下。托右手背。左足坐實不動。右足提前。足尖點地。身仍向西。如第二十二圖。
After your right foot steps back [the final time], both hands separate to the sides, then come inward to join together. The center of your right hand is downward [when going to the side], then when it moves inward, it turns so the center of the hand is upward. Your right hand arcs the sword until in front of your chest and pauses there, your left hand going underneath to prop up the back of your right hand, while the weight shifts onto your left foot, which stays where it is, and your right foot lifts and goes forward, toes touching down. Your torso is still facing to the west. See photo 22 [reverse view]:

《太極劍》 陳微明 (1928) - photo 22

野馬跳澗
[23] WILD HORSE JUMPS THE STREAM

兩手托劍回收。右足提起。往西躍刺。與靈猫捕鼠步相同。惟略往高躍耳。刺出時。兩手仍托劍。參觀第十圖。
Withdrawing the sword with both hands, your right foot lifts. Leap and stab to the west. It is the same footwork as in QUICK CAT CATCHES THE MOUSE, except a slightly higher jump. When you stab, it is with both hands carrying the sword. Review photo 10.

翻身勒馬
[24] TURN AROUND, REIN IN THE HORSE

兩手托劍。劍平面往上起。由頭上轉過。身向西者。由右往左轉。使面向東。右足跟轉。坐實右足。左足提回。足尖點地向東。兩手所托之劍。同時由頭上平面落下回收。如第二十三圖。
With both hands carrying the sword, the sword raises up with the blade horizontal and passes over your head as your body, which was facing to the west, turns from right to left, until facing east, your right foot pivoting on the heel. With the weight on your right foot, your left foot lifts and draws back, toes touching down and pointing to the east, while with both hands carrying the sword, the sword comes down from passing over your head and draws back. See photo 23:

《太極劍》 陳微明 (1928) - photo 23

上步指南針
[25] STEP FORWARD, POINT LIKE A COMPASS NEEDLE

左足向前進一步。右足隨上。與左足並齊。兩手托劍。向前刺出。面仍向東。如第二十四圖。
Your left foot takes a step forward, and your right foot follows forward to stand next to it as you stab forward with both hands carrying the sword. You are still facing east. See photo 24:

《太極劍》 陳微明 (1928) - photo 24

迎風拂塵
[26] BRUSHING OFF DUST AGAINST THE WIND

右手之劍。向右轉動。腰亦隨轉。又往左轉回。劍平面往北砍去。左足前進。與左右攔掃相同。惟劍略高耳。或三次。或五次。參觀第七第八兩圖。
Your right hand guides the sword in an arc to the right, [turning it over,] your waist going along with the movement, then turns again to the left, [again turning it over,] and slashing across with a horizontal blade to the north as your left foot steps forward. It is the same as LEFT & RIGHT BLOCKING SWEEPS, except the sword is slightly higher. You can do this either three times or five times. Review photos 7 & 8.

順水推舟
[27] GOING WITH THE CURRENT TO PUSH THE BOAT

迎風拂塵。轉至左足在前時。右足往後退一步。左足隨之後退。足尖點地。右手之劍。同時由斜平面。而轉為直面。劍刃往下往後。轉一大圓規。左手揑劍訣。隨右手在裏。同時轉一圓規。眼神看劍尖。隨劍轉動。右手不停。往後往上。將劍轉至頭上。仍是直面。劍尖略向東北刺去。左足同時往東北邁一大步坐實。足尖亦向東北。左手揑劍訣。轉至前面。兩指向上。眼神亦隨劍尖往前看。此式如太極拳之扇通臂。如第二十五圖。
Having performed BRUSHING OFF DUST AGAINST THE WIND [three times or five times], and therefore finishing on the left side, your right foot takes a step back. Your left foot follows and retreats, toes touching down, while your right hand turns the sword from a diagonally horizontal blade to a vertical blade, the [outer] edge going downward and to the rear, and arcs in a large circle. Your left hand, as a swordsman’s hex, follows along to the inside of your right hand, making the circle along with it. Your gaze is toward the sword tip, following the sword’s movements. Your right hand does not pause, but goes to the rear and upward, sending the sword in an arc until above your head, still as a vertical blade, and the tip stabs out slightly to the northeast. Your left foot at the same time takes a step to the northeast, and the weight shifts onto it, the toes pointing to the northeast, while your left hand arcs until in front, the two fingers pointing upward. Your gaze follows the sword tip to be looking forward. This posture is like FAN THROUGH THE ARMS in the boxing set [See Posture 22 in Chen Weiming’s 1925 manual]. See photo 25:

《太極劍》 陳微明 (1928) - photo 25

流星趕月
[28] METEOR CHASES THE MOON

左足跟往南轉。使足尖向東南。右足同時往西北邁去。右手執劍。由頭上往西北砍去。左手同時亦分開向東南。如第二十六圖。
Your left foot pivots on the heel toward the south until the toes are pointing to the southeast. While your right foot then steps out to the northwest, your right hand guides the sword over your head in a chop to the northwest, your left hand spreading away to the southeast. See photo 26:

《太極劍》 陳微明 (1928) - photo 26

天馬行空
[29] SPIRIT HORSE FLIES THROUGH THE SKY

右手執劍。手心向南。由下往北轉上。左足往南邁一步。身卽向南。劍同時不停。由後面從頭上往南下砍。左手同時與右手相合。以手心扶右手腕上。左足亦同時往南邁一大步。足尖點地向南。眼神向南看。如第二十七圖。
Your right hand guides the sword, the center of the hand [in the previous posture] facing south [southwest], to arc from below to the north and upward. Your left foot takes a step to the south, which turns your torso to the south, and the sword, which has not paused, goes from behind, over your head, and chops downward to the south. At the same time, your left hand joins with your right hand, the palm assisting on top of your right wrist, as your left [right] foot takes a large step to the south, toes touching down and pointing south, your gaze to the south. See photo 27:

《太極劍》 陳微明 (1928) - photo 27

挑簾式
[30] RAISING THE CURTAIN

右足提起落下。足尖與左足跟相對。成八字形。相離五寸許。使足尖向西北。右手將劍提起至頭上。左手仍扶右手腕。劍尖斜向下。左足同時提起。足尖向下。如第二十八圖。
Your right foot lifts and comes down so the toes are forming a V shape with your left heel, about five inches from each other, the toes pointing to the northwest. [In other words, your feet are effectively in ballet’s 4th position, the V pointing to your left.] Your right hand lifts the sword up to arrive above your head, your left hand still assisting your right wrist, the sword tip pointing diagonally downward, while your left foot lifts, toes downward. See photo 28:

《太極劍》 陳微明 (1928) - photo 28

左右車輪劍
[31] LEFT & RIGHT WHEELING SWORD

左足落下。與右足成八字形。使足尖向西南。右手執劍。隨腰往東轉。由下而上。轉一大圓規。眼神隨劍尖轉動。右足同時往西邁一大步。劍由上往西砍去。左手同時與右手兩邊分開向東。眼神隨劍往西看。此式與流星趕月相同。惟方向不同耳。參觀第二十六圖。
Your left foot comes down to make a V shape with your right foot so the toes are pointing to the southwest. [This time your feet are in more of a 1st position, the V now pointing behind you.] Your right hand guides the sword, going along with the turning of your waist to the east, and goes [below from above then] above from below, making a large circle, your gaze following the movement of the sword tip. The right foot at the same time takes a large step to the west and the sword chops from above to the west, your left hand spreading away to the east, your gaze following the sword to be looking to the west. This posture is the same as METEOR CHASES THE MOON, except the direction is different. Review photo 26.
右手執劍。手心向東。由下往東而上。轉一大圓規。右足往西邁一大步。身卽向西。劍同時不停。由後面從頭上往西下砍。左手同時與右手相合。以手心扶右手腕上。左足亦同時往西邁一大步。足尖點地向西。眼神向西看。此式與天馬行空相同。惟方向不同耳。參觀第二十七圖。
Your right hand guiding the sword, the center of the hand [in the previous posture] facing east [south], goes from below to the east and upward, arcing in a large circle. Your right [left] foot takes a large step to the west, which turns your torso to the west, and the sword, which has not paused, goes from behind, over your head, and chops downward to the west. At the same time, your left hand joins with your right hand, the palm assisting on top of your right wrist, as your left [right] foot takes a large step to the west, toes touching down and pointing west, your gaze to the west. This posture is the same as SPIRIT HORSE FLIES THROUGH THE SKY, except the direction is different. Review photo 27.

大鵬單展翅
[32] RUKH UNFURLS A WING

右手執劍。往左略轉。轉至手心向上。左手轉至右手腕上面相合。手心向下。左足跟往北轉。使足尖略向東北。右足往東北邁去。右手之劍。由下漸漸而上。往東北平面削去。左手隨右手轉至胸前。手揑劍訣向北。眼神亦向北看。如第二十九圖。
Your right hand guides the sword, slightly turning it to the left until the center of the hand is upward, and your left hand arcs around to be above your right wrist with the center of the hand downward. Your left foot pivoting on the heel toward the north until the toes point slightly to the northeast, your right foot steps out to the northeast, and your right hand guides the sword gradually upward from below, doing an inner-edge cut to the northeast with a horizontal blade. Your left hand goes along with your right hand’s arc to arrive in front of your chest, the swordsman’s hex pointing north [northeast], and your gaze is to the north [northeast]. See photo 29:

《太極劍》 陳微明 (1928) - photo 29

海底撈月
[33] TRYING TO SCOOP THE MOON’S REFLECTION FROM THE WATER

右手之劍。復往右轉。略往下沈。使劍尖朝上。左手揑劍訣。亦隨之轉。在右手肘裏灣略停。劍由直面。往外又向裏裹。轉為平面。左足提起落下。使足尖向西南。右手執劍。裹至脇下時。卽向正西剌去。右足同時往西邁去。足尖向西。左手同時轉至額上。參觀第十一圖。
Your right hand guides the sword in an arc still farther to the right, and slightly sinks downward, making the tip point upward. Your left hand, as a swordsman’s hex, goes along with the movement and comes to a slight halt inside the bend of your right elbow. The sword goes from moving outward as a vertical blade to wrapping inward as a horizontal blade while your left foot lifts and comes down again with the toes pointing to the southwest. Once your right hand has wrapped the sword in below your ribs, it then stabs straight out to the west, your right foot at the same time steps out to the west, toes pointing to the west, your left hand arcing away to arrive above your forehead. Review photo 11 [12].

懷中抱月如前法如三十圖
[34] EMBRACE THE MOON as before [as in Posture 18, except in the opposite direction]. See photo 30:

《太極劍》 陳微明 (1928) - photo 30

夜叉探海
[35] NIGHT DEMON SEARCHES THE SEA

右足往西邁。身隨右足往前。劍往西往下刺去。左手亦隨右手而下。相離二寸許。左足提起。眼神隨劍尖往下看。如第三十一圖。
Your right foot steps to the west, your torso going forward along with it, and the sword stabs out downward to the west, your left hand following your right hand downward, separated from each other by about two inches by the time your left foot is lifted. Your gaze follows the sword tip to look downward. See photo 31:

《太極劍》 陳微明 (1928) - photo 31

犀牛望月
[36] RHINO GAZES AT THE MOON

左足往東橫邁一步。左手由下往東往上。轉一大圓規。右手之劍。由下提起。由西往東收回。在胸前。劍由平面而轉為直面。劍尖仍向西。左手同時轉至右手內相合。仍揑劍訣。左腿坐實。眼神仍向西看。此式如太極拳之披身伏虎。如第三十二圖。
Your left foot steps sideways to the east as your left hand goes from below, arcing in a large circle upward to the east, and your right hand guides the sword to lift from below, withdrawing from the west to the east to be in front of your chest. The sword is turned from horizontal blade to vertical and the tip is still pointing to the west. Your left hand at the same time, still formed into a swordsman’s hex, arcs until to the inside of your right hand. The weight is on your left leg. Your gaze is still to the west. This posture is like DRAPE THE BODY, FIGHTING TIGER POSTURE in the boxing set [See Posture 38 in Chen Weiming’s 1925 manual]. See photo 32:

《太極劍》 陳微明 (1928) - photo 32

射雁式
[37] SHOOT THE GOOSE

右足不動。右手之劍抽回。抽至右膝後。劍尖向下向東南。左足同時隨右足提回。足尖點地。亦向東南。左手同時提起在胸前。眼神及左手指。均向東南。如第三十三圖。
Your right foot not leaving its location, your right hand guides the sword to draw in until behind your right knee, the tip pointing downward to the southeast. Your left foot at the same time lifts and withdraws toward your right foot, toes touching down and pointing to the southeast, while your left hand lifts in front of your chest, pointing along with your gaze to the southeast. See photo 33:

《太極劍》 陳微明 (1928) - photo 33

白猿獻果
[38] WHITE APE OFFERS FRUIT

左足向東南前進一步。右足同時前進。與左足並齊。右手之劍。由直面變為平面。向東南上刺。左手心托右手背。身直立。眼神仍向東南。此式與指南針相同。惟劍略高耳。參觀第二十三圖。
Your left foot steps forward to the southeast and your right foot follows forward to stand next to it as your right hand guides the sword from vertical blade to horizontal in an upward stab to the southeast, your left palm propping up the back of your right hand. Your body is standing straight. Your gaze is still to the southeast. This posture is the same as COMPASS NEEDLE, except the sword is slightly higher. Review photo 23 [24].

鳳凰雙展翅
[39] PHOENIX UNFURLS ITS WINGS

此式變法如前。惟右步往西北邁。劍由西北削去。兩手分開。參觀第十一圖。
This posture is different from before merely in that your right foot steps to the northwest and the sword does an inner-edge cut from the northwest [southeast] as your hands spread apart. Review photo 11 [13].

左右跨攔
[40] LEFT & RIGHT STRIDING BLOCKS

右足往南。橫邁一步。左足隨右足。亦往南橫邁一大步。右手之劍。由西北往南收回。橫在胸前。手心向上。劍仍為平面。劍尖向北。左手扶右手腕。如第三十四圖。
Your right foot takes a sideways step to the south, and your left foot follows it to also take a large sideways step to the south while your right hand withdraws the sword from the northwest to the south, crosswise in front of your chest, the center of the hand upward. The blade is still horizontal and the tip is pointing to the north. Your left hand assists at your right wrist. See photo 34:

《太極劍》 陳微明 (1928) - photo 34

足往北橫邁一步。右足隨左足。往北橫邁一大步。右手之劍。往左略轉。隨腰隨步。往北轉換。使手心向上者。變為手心向下。劍尖向北者。變為劍尖向南。橫在胸前。劍仍平面。左手扶右手腕背。如第三十五圖。
Your left foot takes a sideways step to the north, and your right foot follows it to also take a large sideways step to the north, your right hand guiding the sword to the left in a slight arc and then going along with your waist and step to turn it over and move it toward the north. The center of the hand was facing upward and is now downward, and the sword tip was pointing to the north and is now to the south. The sword is crosswise in front of your chest, again as a horizontal blade. Your left hand assists at the back of your right wrist. See photo 35:

《太極劍》 陳微明 (1928) - photo 35

射雁式向西北。變法如前。
[41] SHOOT THE GOOSE (performed as before [Posture 37], but to the northwest)

白猿獻果向正西。變法如前。
[42] WHITE APE OFFERS FRUIT (performed as before [Posture 38], but to the west)

左右落花
[43] LEFT & RIGHT FALLING PETALS

右手之劍。由左略轉。右足往後退一步。劍亦隨右足。向北往右砍。手心向上者。變為向下。左足復往後退一步。劍亦隨左足向南往左砍。手心復變為向上。一切均如左右獅子搖頭。惟劍略低耳。參觀第十七十八兩圖。
Your right hand guides the sword from the left in a slight arc. Your right foot retreats a step, the sword going along with your right foot by slashing to the right and to the north. The palm was upward and changes to be downward. Your left foot then retreats a step, the sword going along with your left foot by slashing to the left and to the south, the center of the hand turning over to face upward as before. Everything is like LION SHAKES ITS HEAD, except the sword is slightly lower. Review photos 17 & 18 [20 & 21].

玉女穿梭白虎攪尾
[44 & 45] MAIDEN WORKS THE SHUTTLE & WHITE TIGER TWITCHES ITS TAIL

退至右足在後時。兩手分開如前。將左足提起轉向南。邁一大步。兩手旋相合。往南剌去。左手心托右手腕背。如第三十六圖。
After your right foot steps back [the final time], both hands separate to the sides as before [as in TIGER HIDES ITS HEAD]. Lift your left foot, turn it toward the south, and take a large step as both hands turn and join to stab out to the south, your left palm propping up the back of your right wrist. See photo 36:

《太極劍》 陳微明 (1928) - photo 36

右手與左手相合。左手在上。手心向下。右手執劍在下。手心向上。左足跟往西轉。足尖向西。右手之劍。由南往北。平面削去。轉至北時。劍往上轉。使劍尖向上直立。劍平面向西。左手揑劍訣在胸前。右足略提起。往北移半步。足尖向西北。如大鵬單展翅。眼神向西看。
Your hands come together as left hand above, the center of the hand downward, and right hand holding the sword below, the center of the hand upward. Your left foot pivots on the heel toward the west to point the toes to the west. Your right hand guides the sword from south to north, doing an inner-edge cut with a horizontal blade. Once it has arced to the north [northwest], the sword arcs upward to make the tip rise up to stand straight. The blade is facing to the west horizontally [i.e. edges to west and east] and your left hand, pinched to make a swordsman’s hex, is in front of your chest. At the same time, your right foot slightly lifts and shifts a half step to the north [northwest], the toes pointing to the northwest. It is similar to RUKH UNFURLS A WING. Your gaze is to the west [northwest].

鯉魚跳龍門
[46 & 47] CARP LEAPS THE DRAGON GATE

兩手復相合。如虎抱頭式。復向西躍去如野馬跳澗。參觀第二十一圖。
Both hands again join together as in TIGER HIDES ITS HEAD [as your left foot turns to point southwest and your right foot withdraws to be pointing west]. You then leap again to the west as in WILD HORSE JUMPS THE STREAM. Review photo 21 [22].

烏龍絞柱
[48] BLACK DRAGON COILS AROUND THE PILLAR

右手執劍。由平面向上。漸變為直面。向上向東。隨腰轉一大圓規。往東砍。左手隨轉至胸前。如第三十七圖。
Your right hand guides the sword, moving it upward and to the east, gradually changing it from a horizontal blade to a vertical blade, going along with the turning of your waist by arcing in a large circle and chopping to the east. Your left hand goes along with the movement to arrive in front of your chest. See photo 37:

《太極劍》 陳微明 (1928) - photo 37

劍不停。由東復轉下。往西撩上。右足提起落下。使足尖向西北。身隨腰轉。劍不停。復由西往上往東砍。如第三十八圖。
The sword does not pause, but arcs downward from the east and raises upward to the west as your right foot lifts and comes down with the toes pointing to the northwest. Your torso goes along with the movement, your waist turning around, and the sword without pausing now goes from the west and upward, chopping to the east. See photo 38:

《太極劍》 陳微明 (1928) - photo 38

劍仍不停。轉至中間。復由外向脇裏裹。劍變為平面。左足同時提起往西邁一步。右足隨提起向西邁一大步。劍亦隨右步。向西剌去。左手分開。提起在額上。劍共轉兩輪。眼神亦隨之而轉。此式剌出。如靈猫捕鼠。惟中間轉動不同。參觀第十圖。
The sword still does not pause, but arcs until centered, returning from outward to wrap inward toward your ribs, the blade becoming horizontal. Your left foot at the same time lifts and takes a step to the west. Your right foot then lifts and takes a large step to the west, the sword going along with your right step by stabbing out to the west, your left hand spreading away and lifting up above your forehead. The sword wheels a total of twice, your gaze going along with the arcing. This posture’s stabbing out is like QUICK CAT CATCHES THE MOUSE, except the transitional movement in between is not the same. Review photo 10 [12].

仙人指路
[49] IMMORTAL POINTS THE WAY

左足往東橫邁一步。以後動作。均如犀牛望月。惟右手之劍。由上收回。落在胸前。劍尖向上直立。平面向外。如第三十九圖。
Your left foot steps sideways to the east, and the rest of the movement is all the same as in RHINO GAZES AT THE MOON, except your right hand guides the sword to withdraw from above and comes downward to be in front of your chest with the tip pointing straight upward, the blade horizontal to the outside [i.e. edges to the left and right]. See photo 39:

《太極劍》 陳微明 (1928) - photo 39

風掃梅花虎抱頭
[50 & 51] WIND SWEEPS THE PLUM FLOWERS & TIGER HIDES ITS HEAD

右手之劍直立者。復轉為平面。在左脇下。劍尖略向東。手心向下。左手在上。與右手相合。右足提起落下。使足尖向西北。左足提起。往北復往東。轉一大圓規。如太極拳之轉脚擺蓮。轉至面仍向南時。兩手分開復相合。右足在前點地。如虎抱頭式。
Your right hand guides the sword in an arc from standing straight up to the blade being horizontal below your left ribs, the tip pointing slightly to the east, the center of the hand downward, your hands coming together, left hand above. Your right foot lifts and comes down with the toes pointing to the northwest, and your left foot lifts and goes to the north and to the east, turning you around in a full circle, as in SPIN AROUND ON THE FOOT, SWINGING LOTUS KICK in the boxing set [See Posture 77 in Chen Weiming’s 1925 manual]. When the turn returns you to facing south, both hands spread to the sides then come back together, your right foot touching down in front, so that you are again performing TIGER HIDES ITS HEAD.

指南針抱劍歸原
[52 & 53] COMPASS NEEDLE & EMBRACE THE SWORD AND RETURN TO THE ORIGINAL POSITION

右足前進。左足隨之前進並立。兩手抱劍前剌。如指南針。右手之劍。交於左手。左手大指食指尖向下。三指尖向上握劍柄。手心向外。劍平面貼臂前直立。左手執劍。將劍轉至後面。如起勢歸原。參觀第一圖。
Your right foot steps forward, and your left foot follows forward to stand next to it while you stab forward with both hands carrying the sword, as in the COMPASS NEEDLE posture. Your right hand switches the sword to your left hand, and your left arm lowers. Your left thumb and forefinger are below, your other three fingers wrapped upward around the handle, the center of the hand facing outward [i.e. forward], and the sword stands straight, as a horizontal blade, the plane touching the front of your forearm. Your left hand then guides the sword, turning it over to be behind you, [as your right hand hangs down,] and you are now posed as in the BEGINNING POSTURE, returned to the manner in which started. Review photo 1.

太極長拳序
INTRODUCTION TO THE TAIJI LONG BOXING SET

澄甫先生傳余太極拳復傳余太極長拳其中有數式為太極拳內所無者其餘大槪相同惟轉換之處前後略變易耳所以表示太極本無定法亦無定形太極拳及長拳掤捋擠按採挒肘七種勁均含在內惟缺一靠勁余欲以大捋之靠加入拳內思索數年不得其連貫轉接之法今於無意中忽然得之相接之處竟如天衣無縫竊自欣喜又以太極拳之有左式而無右式者有右式而無左式者均為加入又見河南陳家所傳太極名為舊派者其倒輦猴如摟膝拗步左右退行轉身極為輕靈亦加入名為退步摟膝共約一百零八式取澄甫先生所傳長拳而擴大之不敢言有所發明然於太極之意有增多而無減少有變換而無雷同或者可為學者研究之一助焉丁卯冬月微明識
Yang Chengfu taught me the Taiji Boxing set, then taught me the Taiji Long Boxing set. Within it are several postures absent from the Taiji Boxing set, while the rest of it is mostly the same, except for slight alterations to the turnings. This demonstrates that Taiji is basically as amorphous in method as it is in shape.
     Both the Taiji Boxing set and Long Boxing set contain the seven energies of warding off, rolling back, pressing, pushing, plucking, rending, and elbowing, but lack the bumping energy. I wanted to add the bumping technique from the large rollback exercise into the set, and after pondering about it over several years, I still could not find any way to link it in. Recently it suddenly came to me by accident, and the place where it links in is so utterly seamless that I am delighted with it. [Chen placed his bumps into the second series of MAIDEN WORKS THE SHUTTLE, just before each of the four-corner pushes. (See postures 75-86.)]
     In the Taiji Boxing set, there are postures performed on the left side but not on the right, or on the right side but not on the left. I have made additions so that postures are performed on both sides. [In this way, almost every posture gets practiced on both sides, though there are still a few that are not.]
     We see in the “old style” Taiji taught by the Chen family of Henan that its RETREAT, DRIVING AWAY THE MONKEY is a left & right retreating BRUSH KNEE IN A CROSSED STANCE, turning around very nimbly. I have added this in and called it RETREAT WITH BRUSH KNEE.
     Altogether, there are now about a hundred and eight postures [by not counting the BEGINNING POSTURE]. I have taken the Long Boxing set that Yang Chengfu taught me and expanded it. [There are only fifty-nine postures in Yang Chengfu’s list.] I would not presume to say I have invented anything, but that I have added to the Taiji concept without diminishing it, so that there is some variation rather than mere duplication, and it perhaps can assist you in your studies.
     – written by Chen Weiming, Dec, 1927

楊澄甫先生所授太極長拳目錄
CATALOGUE OF POSTURES IN THE TAIJI LONG BOXING SET AS TAUGHT BY YANG CHENGFU
[The name Long Boxing certainly does not mean this let set is longer than the standard one, for it is in fact shorter. (Long before Zheng Manqing had come up with his famous short form, Yang Chengfu had already made one, though it is somewhat tricky that the Long set is not the “long set”.) The name Long Boxing refers to another name for Taiji Boxing itself, explained as being like river flowing into ocean, on and on ceaselessly, representing flow. Going by this definition, Long Boxing, which is a literal translation, connotatively translates as Flowing Boxing. That Yang Chengfu, unless it was an earlier Yang, chose to call this set Taiji Long Boxing as opposed to the other set being merely Taiji Boxing suggests the standard set may have been considered to be more of a posture awareness set while the Long Boxing set was used more as the actual flow set, though this of course is only a speculation.]

攬雀尾
[1] CATCH THE SPARROW BY THE TAIL
抎手
[2] CLOUDING HANDS
摟膝拗步
[3] BRUSH KNEE IN A CROSSED STANCE
琵琶式
[4] LUTE POSTURE
進步搬攔錘
[5] ADVANCE, PARRY, BLOCK, PUNCH
播箕式
[6] WINNOWING BASKET POSTURE
十字手
[7] CROSSED HANDS
抱虎歸山
[8] CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
單鞭
[9] SINGLE WHIP
提手
[10] RAISE THE HANDS
肘下錘
[11] PUNCH UNDER ELBOW
摟膝打錘
[12] BRUSH KNEE, PUNCH
轉身蹬脚
[13] TURN AROUND, PRESSING KICK
進步指襠錘
[14] ADVANCE, PUNCH TO THE CROTCH
野馬分鬃
[15] WILD HORSE VEERS ITS MANE
進步攬雀尾
[16] ADVANCE, CATCH THE SPARROW BY THE TAIL
單鞭
[17] SINGLE WHIP
玉女穿梭
[18] MAIDEN WORKS THE SHUTTLE
攬雀尾
[19] CATCH THE SPARROW BY THE TAIL
轉身野馬分鬃
[20] TURN AROUND, WILD HORSE VEERS ITS MANE
轉身單鞭下式
[21] TURN BACK, LOW-POSTURED SINGLE WHIP
金雞獨立
[22] GOLDEN ROOSTER STANDS ON ONE LEG
倒輦猴頭
[23] RETREAT, DRIVING AWAY THE MONKEY’S HEAD
斜飛式
[24] DIAGONAL FLYING POSTURE
提手
[25] RAISE THE HANDS
白鶴晾翅
[26] WHITE CRANE COOLS ITS WINGS
摟膝拗步
[27] BRUSH KNEE IN A CROSSED STANCE
海底珍珠
[28] PEARL UNDER THE SEA
扇通臂
[29] FAN THROUGH THE ARMS
撇身錘
[30] TORSO-FLUNG PUNCH
上步搬攔錘
[31] STEP FORWARD, PARRY, BLOCK, PUNCH
進步攬雀尾
[32] ADVANCE, CATCH THE SPARROW BY THE TAIL
單鞭
[33] SINGLE WHIP
抎手
[34] CLOUDING HANDS
單鞭
[35] SINGLE WHIP
高探馬
[36] RISING UP AND REACHING OUT TO THE HORSE
左右蹬脚
[37] PRESSING KICK TO BOTH SIDES
轉身蹬脚
[38] TURN AROUND, PRESSING KICK
左右摟膝
[39] BRUSH KNEE ON BOTH SIDES
雙叉手
[40] DOUBLE INSERTING HANDS
轉身踢脚
[41] TURN AROUND, KICK
左打虎式
[42] LEFT FIGHTING TIGER POSTURE
雙風貫耳
[43] DOUBLE WINDS THROUGH THE EARS
左蹬脚
[44] LEFT PRESSING KICK
轉身蹬脚
[45] TURN AROUND, PRESSING KICK
上步搬攔錘
[46] STEP FORWARD, PARRY, BLOCK, PUNCH
上步攬雀尾
[47] STEP FORWARD, CATCH THE SPARROW BY THE TAIL
高探馬
[48] RISING UP AND REACHING OUT TO THE HORSE
十字腿
[49] CROSSED-BODY KICK
上步攬雀尾
[50] STEP FORWARD, CATCH THE SPARROW BY THE TAIL
單鞭下勢
[51] SINGLE WHIP, LOW POSTURE
上步七星
[52] STEP FORWARD WITH THE BIG DIPPER
下步跨虎
[53] RETREAT TO SITTING TIGER POSTURE
轉身擺蓮
[54] TURN AROUND, SWINGING LOTUS KICK
彎弓射雁
[55] BEND THE BOW TO SHOOT THE TIGER
上步搬攔錘
[56] STEP FORWARD, PARRY, BLOCK, PUNCH
播箕式
[57] WINNOWING BASKET POSTURE
十字手
[58] CROSSED HANDS
合太極
[59] CLOSING POSTURE

增加太極長拳目錄
CATALOGUE OF POSTURES IN THE EXTENDED TAIJI LONG BOXING SET
[Chen Weiming added so much to Yang Chengfu’s shortened set that he lengthened it beyond the length of the standard set, consequently making his version of the Long Boxing set the longest set in all of Yang Style. In question #24 of his 1929 manual, Chen himself seemed to not hold this set in very high regard. Nevertheless, it his own unique contribution to the Taiji curriculum, and if we wished to find a “Chen Weiming style” of Taiji, it is here.]

太極起勢
[0] BEGINNING POSTURE
動步攬雀尾
[1] MOVING-STEP CATCH THE SPARROW BY THE TAIL
抎手
[2] CLOUDING HANDS
摟膝拗步
[3] BRUSH KNEE IN A CROSSED STANCE
右琵琶
[4] RIGHT LUTE POSTURE
換步摟膝
[5] CHANGING STEP, BRUSH STEP
左琵琶
[6] LEFT LUTE POSTURE
換步摟膝
[7] CHANGING STEP, BRUSH KNEE
右琵琶
[8] RIGHT LUTE POSTURE
進步搬攔錘
[9] ADVANCE, PARRY, BLOCK, PUNCH
播箕式
[10] WINNOWING BASKET POSTURE
雙托掌
[11] DOUBLE PROPPING PALMS
十字手
[12] CROSSED HANDS
抱虎歸山
[13] CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
肘下通臂錘
[14] THROUGH-THE-ARM PUNCH UNDER ELBOW
左歸山
[15] BACK TO THE MOUNTAIN – LEFT
肘下錘
[16] PUNCH UNDER ELBOW
猴頂雲
[17] MONKEY CARRIES THE CLOUDS ON ITS HEAD
摟膝打錘
[18] BRUSH KNEE, PUNCH
轉身蹬脚
[19] TURN AROUND, PRESSING KICK
進步指擋錘
[20] ADVANCE, PUNCH TO THE CROTCH
野馬分鬃
[21] WILD HORSE VEERS ITS MANE
動步攬雀尾
[22] MOVING-STEP CATCH THE SPARROW BY THE TAIL
單鞭
[23] SINGLE WHIP
玉女穿梭
[24] MAIDEN WORKS THE SHUTTLE
〔動步攬雀尾〕
[25 – MOVING-STEP CATCH THE SPARROW BY THE TAIL]
轉身野馬分鬃
[26] TURN AROUND, WILD HORSE VEERS ITS MANE
轉身單鞭下勢
[27] TURN BACK, LOW-POSTURED SINGLE WHIP
金雞獨立
[28] GOLDEN ROOSTER STANDS ON ONE LEG
退步摟膝
[29] RETREAT WITH BRUSH KNEE
斜飛式
[30] DIAGONAL FLYING POSTURE
提手
[31] RAISE THE HANDS
白鶴晾翅
[32] WHITE CRANE COOLS ITS WINGS
摟膝拗步
[33] BRUSH KNEE IN A CROSSED STANCE
海底珍珠
[34] PEARL UNDER THE SEA
扇通臂
[35] FAN THROUGH THE ARMS
撇身錘
[36] TORSO-FLUNG PUNCH
上步搬攔錘
[37] STEP FORWARD, PARRY, BLOCK, PUNCH
動步攬雀尾
[38] MOVING-STEP CATCH THE SPARROW BY THE TAIL
單鞭
[39] SINGLE WHIP
抎手
[40] CLOUDING HANDS
單鞭
[41] SINGLE WHIP
高探馬
[42] RISING UP AND REACHING OUT TO THE HORSE
左右蹬脚
[43] PRESSING KICK TO BOTH SIDES
轉身蹬脚
[44] TURN AROUND, PRESSING KICK
換步摟膝
[45] CHANGING STEP, BRUSH KNEE
換步栽錘
[46] CHANGING STEP, PLANTING PUNCH
雙叉手
[47] DOUBLE INSERTING HANDS
翻身二起脚
[48] TURN AROUND, DOUBLE KICK
披身伏虎式
[49] DRAPE THE BODY, FIGHTING TIGER POSTURE
回身蹬脚
[50] TURN BACK, PRESSING KICK
雙風貫耳
[51] DOUBLE WINDS THROUGH THE EARS
右蹬脚
[52] RIGHT PRESSING KICK
轉身左蹬脚
[53] TURN AROUND, LEFT PRESSING KICK
換步搬攔錘
[54] CHANGING STEP, PARRY, BLOCK, PUNCH
如封似閉
[55] SEALING SHUT
進步雙按
[56] ADVANCE, DOUBLE-HAND PUSH
右單鞭
[57] RIGHT SINGLE WHIP
右抎手
[58] RIGHT CLOUDING HANDS
右單鞭下勢
[59] RIGHT SINGLE WHIP, LOW POSTURE
金雞獨立
[60] GOLDEN ROOSTER STANDS ON ONE LEG
倒輦猴
[61] RETREAT, DRIVING AWAY THE MONKEY
左斜飛
[62] LEFT DIAGONAL FLYING POSTURE
左提手
[63] RAISE THE HANDS – LEFT
左晾翅
[64] WHITE CRANE COOLS ITS WINGS – LEFT
左摟膝
[65] LEFT [RIGHT] BRUSH KNEE
海底針
[66] NEEDLE UNDER THE SEA
右通臂
[67] RIGHT FAN THROUGH THE ARMS
撇身錘
[68] TORSO-FLUNG PUNCH
進步搬攔錘
[69] ADVANCE, PARRY, BLOCK, PUNCH
播箕式
[70] WINNOWING BASKET POSTURE
雙托掌
[71] DOUBLE PROPPING PALMS
十字手
[72] CROSSED HANDS
左抱虎歸山
[73] BACK TO THE MOUNTAIN – LEFT
右單鞭
[74] RIGHT [DIAGONAL] SINGLE WHIP
野馬分鬃
[75] WILD HORSE VEERS ITS MANE
進步肩靠
[76] ADVANCE, SHOULDER BUMP
玉女穿梭
[77] MAIDEN WORKS THE SHUTTLE
野馬分鬃
[78] WILD HORSE VEERS ITS MANE
進步肩靠
[79] ADVANCE, SHOULDER BUMP
玉女穿梭
[80] MAIDEN WORKS THE SHUTTLE
野馬分鬃
[81] WILD HORSE VEERS ITS MANE
進步肩靠
[82] ADVANCE, SHOULDER BUMP
玉女穿梭
[83] MAIDEN WORKS THE SHUTTLE
野馬分鬃
[84] WILD HORSE VEERS ITS MANE
進步肩靠
[85] ADVANCE, SHOULDER BUMP
玉女穿梭
[86] MAIDEN WORKS THE SHUTTLE
左右風輪
[87] WINDMILLING TO BOTH SIDES
動步攬雀尾
[88] MOVING-STEP CATCH THE SPARROW BY THE TAIL
單鞭
[89] SINGLE WHIP
抎手
[90] CLOUDING HANDS
高探馬
[91] RISING UP AND REACHING OUT TO THE HORSE
十字腿
[92] CROSSED-BODY KICK
左右摟膝打錘
[93] BRUSH KNEE AND PUNCH ON BOTH SIDES
左琵琶
[94] LEFT LUTE POSTURE
彎弓射雁
[95] BEND THE BOW TO SHOOT THE GOOSE
進步搬攔錘
[96] ADVANCE, PARRY, BLOCK, PUNCH
如封似閉
[97] SEALING SHUT
進步雙按
[98] ADVANCE, DOUBLE-HAND PUSH
左單鞭下勢
[99] LEFT SINGLE WHIP, LOW POSTURE
七星脚
[100] BIG DIPPER, KICK
退步踢脚
[101] RETREAT, KICK
轉身擺蓮
[102] TURN AROUND, SWINGING LOTUS KICK
彎弓射虎
[103] BEND THE BOW TO SHOOT THE TIGER
上步搬攔錘
[104] STEP FORWARD, BLOCK, PARRY, PUNCH
播箕式
[105] WINNOWING BASKET POSTURE
雙托掌
[106] DOUBLE PROPPING PALMS
十字手
[107] CROSSED HANDS
合太極
[108] CLOSING POSTURE

太極長拳
TAIJI LONG BOXING

動步攬雀尾
[1] MOVING-STEP CATCH THE SPARROW BY THE TAIL

起勢向南。如太極拳。惟捋回之時。左足略騰起前進半步。擠出時右足略騰起前進半步。擠後兩手收回時。左足復進半步。按出時右足復進半步。
The BEGINNING POSTURE faces “south”. [The movements of SPARROW] are as in the Taiji Boxing set, except that when you roll back, your left foot slightly lifts and advances a half step, then when you press out, your right foot slightly lifts and advances a half step, then when your hands withdraw after the press, your left foot again advances a half step, and then when you push, your right foot again advances a half step.

抎手
[2] CLOUDING HANDS

按後。兩手隨腰。轉一圓規。如太極拳。惟左手不作單鞭式。而作抎手。抎手共兩次。第二次右手抎至左肩上時。復回下。而作摟膝拗步。面向東。
摟膝拗步。右琵琶。又摟膝拗步。均如太極拳。
After the push, your hands go along with your waist by making a circle as in the Taiji Boxing set, except your left hand does not then make the SINGLE WHIP posture and instead you perform CLOUDING HANDS. Cloud for a total of two times, and once your right hand is over your left shoulder the second time, then it withdraws downward and you perform [3] BRUSH KNEE IN A CROSSED STANCE facing to the east.
     After BRUSH KNEE IN A CROSSED STANCE, then [4] RIGHT LUTE POSTURE, then another BRUSH KNEE IN A CROSSED STANCE, all as in the Taiji Boxing set.

換步摟膝
[5] CHANGING STEP, BRUSH KNEE

右足略騰起落下。右手與左手隨勢往右收。往下鬆。轉一圓規。左足復略騰起落下。左足尖向東北。坐左邊腰。兩手由右邊復轉上。左手由左邊往後轉一大圓規。右手摟膝。左手按出。變為左勢之摟膝拗步。
Your right foot slightly lifts and comes down, and your hands go along with the momentum by withdrawing to the right and loosening downward to make a circle. Your left foot also slightly lifts and comes down with the toes now pointing to the northeast. As your waist sits to the left, your hands continue upward from the right. Your left hand from the left goes [downward and] to the rear in a large circle, then your right hand brushes past your knee as your left hand pushes out, thus switching you to BRUSH KNEE IN A CROSSED STANCE on the left side. [To sum up this fuzzily explained circling of the hands, the right hand is making a full counterclockwise circle while the left hand is drawing a figure-eight.]

左琵琶
[6] LEFT LUTE POSTURE

左足略騰起落下。右足收回。兩手亦同時往回收。右手在前。左手在後。變為左琵琶式。由左琵琶。復變為左勢之摟膝拗步。
Your left foot slightly lifts and comes back down, and your right foot withdraws, your hands withdrawing at the same time, right hand in front, left hand behind, making the LEFT LUTE posture.
     Then change to BRUSH KNEE IN A CROSSED STANCE on the left side.

換步摟膝
[7] CHANGING STEP, BRUSH KNEE

左足略騰起落下。左手與右手。隨勢往左收。往下鬆。轉一圓規。右足復畧騰起落下。右足尖向東南。坐右邊腰。兩手由右邊復轉上。右手由右邊往後轉一大圓規。左手摟膝。右手按出。復變為右勢之摟膝拗步。由拗步復變為右琵琶式。進步搬攔錘。與太極拳無異。
Your left foot slightly lifts and comes back down, and your hands go along with the momentum by withdrawing to the left and loosening downward to make a circle. Your right foot also slightly lifts and comes down with the toes now pointing to the southeast. As your waist sits to the right, your hands continue upward from the right [left]. Your right hand from the right goes [downward and] to the rear in a large circle, then your left hand brushes past your knee as your right hand pushes out, thus switching you to BRUSH KNEE IN A CROSSED STANCE on the right side. [The left hand has made a full counterclockwise circle while the right hand has drawn a figure-eight.]
     Then change to [8] RIGHT LUTE POSTURE and then [9] ADVANCE, PARRY, BLOCK, PUNCH, same as in the Taiji Boxing set.

播箕式
[10] WINNOWING BASKET POSTURE

與如封似閉相同。惟兩手按出時。手心平向下。
This is the same as SEALING SHUT, except that when your hands push out, the palms are facing downward.

雙托掌
[11] DOUBLE PROPPING PALMS

右足略騰起。前進半步。兩手左右分開。轉一大圓規。轉至兩脇下。左足復騰起前進半步。兩手轉至脇下時。兩手心漸轉向上。復向前托出。由雙托掌變為十字手。如太極拳同。
Your right foot slightly lifts and advances a half step as your hands spread away to the sides and arc in large circles until below your ribs. Your left foot then lifts and advances a half step, and once your hands are below your ribs, the palms gradually turn upward, then come out forward, propping up.
     Then change to [12] CROSSED HANDS, same as in the Taiji Boxing set.

抱虎歸山
[13] CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN

由十字手。變抱虎歸山。亦與太極拳同。惟捋回擠出。兩步仍騰起。前進半步。擠出後。不再按。左手仍靠右手。往前轉一小圓規。腰亦隨動。隨卽變為肘下錘。與太極拳轉動皆相同。
From CROSSED HANDS, change to CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN, same as in the Taiji Boxing set, except that when rolling back and pressing out, both feet lift and advance a half step [left foot during the rollback, then right foot during the press], and after the press, there is no longer the push, but instead the left hand remains near the right hand, which arcs in a small circle and goes forward, your waist going along with the movement. [This single-hand version of the push resembles that of Wu style.]
     Then change to PUNCH UNDER ELBOW, all the movements of which are the same as in the Taiji Boxing set.

肘下通臂錘
[14] THROUGH-THE-ARM PUNCH UNDER ELBOW

由肘下錘。右手不斷。往上起至額前。右拳隨右足往前打出。其勢如扇通臂。惟右足在前耳。
From PUNCH UNDER ELBOW, your right [left] hand does not pause, but lifts upward until in front of your forehead, and your right fist goes along with your right foot to strike out forward. This posture is like FAN THROUGH THE ARMS, except your right foot is in front [and a fist is used instead of a palm].

左歸山
[15] BACK TO THE MOUNTAIN – LEFT

右掌鬆開往上轉。右足尖亦轉向東南。左足往東北邁去。右手由耳邊按出。左手收回。在左脇下。如抱虎歸山。惟在左面耳。捋回擠出。均如右邊之抱虎歸山。兩步亦騰起。前進半步。變為左邊之肘下錘。轉動均如右法。右掌在前。左拳在肘下。右足在前。
Your right palm [fist] opens [to become a palm] and arcs upward as your right foot turns so the toes point to the southeast [northwest]. Your left foot steps out to the northeast [southwest] while your right hand pushes out from your ear and your left hand withdraws to be below your left ribs. It is like CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN, except on the left side. Rolling back and pressing out are the same as in CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN, with both feet lifting and advancing a half step. [Perform also the small-circle single-hand push with your left hand, your right hand staying close.]
     Then change to the left version of [16] PUNCH UNDER ELBOW, the movements of which are the same as on the right side, but your right palm is forward, your left fist below your elbow, and your right foot in front. [You are again facing to the west.]

猴頂雲
[17] MONKEY CARRIES THE CLOUDS ON ITS HEAD

右手鬆開往後轉。右足往後退。變猴頂雲。與倒輦猴同。惟頭略向上頂。退四次。
Your right [left] hand opens and arcs to the rear as your right foot retreats, making MONKEY CARRIES THE CLOUDS ON ITS HEAD, which is the same as RETREAT, DRIVING AWAY THE MONKEY, except your head is pressing slightly upward. Retreat four times [therefore finishing with your right foot forward].

摟膝打錘
[18] BRUSH KNEE, PUNCH

右足提起略收回落下。使足尖向東南。右手同時向左邊下鬆。復圓轉向上折。轉隨腰往右握拳。左手摟膝。左足前進。右拳打出。
Your right foot slightly lifts, coming down with the toes pointing to the southeast. At the same time, your right hand loosens downward to the left side, then arcs upward and flips over as a fist, going along with the turning of your waist. Your left hand brushes past the knee as your left foot advances, and your right fist strikes out. [This is similar to PARRY, BLOCK, PUNCH.]

轉身蹬脚
[19] TURN AROUND, PRESSING KICK

左足跟轉動。使足尖向南。左手隨腰向上。轉至額前。手心向外。右拳收至左脇下。拳心向下。右足略提起。使足尖點地。向西南。兩手分開。右右向西蹬出。進步指襠錘。與太極拳同。
Your left foot turns on the heel to point the toes to the south while your left hand, going along with your waist, arcs upward until in front of your forehead, palm outward, your right fist withdrawing to be below your left ribs, the center of the fist downward. Your right foot slightly lifts, toes touching down pointed to the southwest. Your hands spread apart as your right foot presses out to the west. [This movement is similar to CROSSED-BODY KICK in the Taiji Boxing set.]
     Then perform [20] ADVANCE, PUNCH TO THE CROTCH, same as in the Taiji Boxing set.

野馬分鬃動步攬雀尾單鞭
[21] WILD HORSE VEERS ITS MANE
[22] MOVING-STEP CATCH THE SPARROW BY THE TAIL
[23] SINGLE WHIP

右拳鬆開。與左手相合。右足往西北邁去。兩手分開。作野馬分鬃式。變為動步攬雀尾單鞭。與太極拳野馬分鬃後變攬雀尾相同。惟步走動。如第一式。
Your right fist opens and your hands come together [as your right leg bends in]. Your right foot steps out to the northwest and your hands spread apart, performing WILD HORSE VEERS ITS MANE.
     Then change to MOVING-STEP CATCH THE SPARROW BY THE TAIL and SINGLE WHIP. WILD HORSE is the same as in the Taiji Boxing set, and CATCH THE SPARROW is the same apart from the moving steps, as before in Posture 1.

玉女穿梭
[24] MAIDEN WORKS THE SHUTTLE

左足跟轉動。足尖向南。左手向上。轉至額前。手心向外。右手屈至左脇下。右足提起。收至左足處。足跟與右足尖相對。足尖向西。成一八字形。左手由額上往下。轉一大圓規。右手沈至右脇。左手轉至右手處。復往上。左足往西南邁一大步。左手不停。轉至額上。手心向外。右拳打出。如玉女穿梭。惟掌變為拳耳。以下轉向東南東北西北四隅。均如太極拳之變動。均易掌為拳。由玉女穿梭變為動步攬雀尾。
Your left foot pivots on the heel to point the toes to the south while your left hand arcs upward to be in front of your forehead, palm outward, your right hand bends in to be below your left ribs, and your right foot lifts and withdraws to be next to your left foot. The toes of your right foot are pointing to the east, and so your feet are at a ninety degree angle to each other.
     Your left hand goes downward from above your forehead, arcing in a large circle to be by your right hand, which has slid over to your right ribs, then again upward. Your left foot takes a large step to the southwest while your left hand, which has not paused, arcs above your forehead, palm outward, and your right fist strikes out. It is like MAIDEN WORKS THE SHUTTLE [in the Taiji Boxing set], except that the palm is changed to a fist.
     Turning around to the rest of the four corners – southeast, northeast, then northwest – is all as in the Taiji Boxing set, but all using fist in place of palm.
     Then change to [25] MOVING-STEP CATCH THE SPARROW BY THE TAIL.

轉身野馬分鬃
[26] TURN AROUND, WILD HORSE VEERS ITS MANE

攬雀尾兩手雙按之後。不變單鞭。右手收回。轉一小圓規。卽往下分。手心向下。右足跟轉動。使足尖向南。左足往西北邁一大步。左手與右手。同時轉一大圓規。轉至右手脇下時。隨左足往西北分開。成野馬分鬃式。右手復與左手相合。右足往東南邁。兩手分開。共作野馬分鬃六次。第七次分鬃。左步往正東邁去。左手亦往正東。
After CATCH THE SPARROW’s double-hand push, do not change to SINGLE WHIP. Your right hand withdraws, making a small arc in which it will spread away downward [in tandem with the spreading away of your left hand], palm downward, while your right foot pivots on the heel to point the toes to the south. Your left foot takes a large step to the northwest [northeast] while your left hand makes a large arc, moving at the same time as your right hand, and once your right hand has arrived below your right ribs, [your left hand] then follows your left foot by spreading away to the northwest [northeast], performing WILD HORSE VEERS ITS MANE.
     Your hands then come together, your right foot steps to the southeast, and your hands spread apart. Perform WILD HORSE VEERS ITS MANE a total of six times. Then perform it a seventh time with your left foot stepping directly to the east, your left hand also extending due east.

轉身單鞭下勢
[27] TURN BACK, LOW-POSTURED SINGLE WHIP

由向東之野馬分鬃。右手向下。轉至東邊。與左手相近處。兩手復同時向上往西轉。眼神隨之。右手轉至西邊。變成吊手。身往下坐。在右腿上。左手作下勢式。左右金雞獨立。亦與太極拳同。
From WILD HORSE VEERS ITS MANE to the east, your right hand lowers in an arc until near your left hand in the east. Both hands then arc in unison upward and to the west, your gaze following their movement. Once your right hand has arrived in the west, it changes into a hanging hand, your torso squats down onto your right leg, and your left hand performs the LOW POSTURE.
     Then perform [28] GOLDEN ROOSTER STANDS ON ONE LEG on both sides, same as in the Taiji Boxing set.

退步摟膝
[29] RETREAT WITH BRUSH KNEE

由金雞獨立。左足往後往北邁。足尖向北。右足尖轉向東北。左手摟膝。右手轉一圓規。向北按出。轉動均如摟膝拗步。惟面向正北耳。左足跟轉動。使足尖向東南。右足往後往南邁。足尖向南。右手摟膝。左手按出。面向正南。共打五次或七次。右步按出而止。變斜飛式提手白鶴晾翅摟膝拗步。均如太極拳同。
From GOLDEN ROOSTER STANDS ON ONE LEG, your left foot steps behind and to the north, toes pointing to the north. Your right foot turns so the toes are pointing to the northeast, your left hand brushes past your knee, and your right hand makes a circle and pushes out to the north. The movement is all the same as in BRUSH KNEE IN A CROSSED STANCE, except the direction is to the north.
     Your left foot pivots on the heel to point the toes to the southeast, your right foot steps behind to the south, the toes pointing to the south, your left hand brushes past your knee, and your left hand pushes out. You are now facing to the south.
     Perform this for a total of five to seven [four to six] times, concluding on the right side [facing to the south].
     Then change to [30] DIAGONAL FLYING POSTURE [to the southwest], [31] RAISE THE HANDS, [32] WHITE CRANE COOLS ITS WINGS, and [33] BRUSH KNEE IN A CROSSED STANCE, same as in the Taiji Boxing set.

海底珍珠扇通臂
[34] PEARL UNDER THE SEA
[35] FAN THROUGH THE ARMS

海底珍珠。與海底針同。惟右掌收回時。須隨腰轉一圓規。落下。用拳而不用掌。扇通臂亦與太極拳同。惟左步前進稍遠。右足不離地。亦隨之前進。
撇身錘上步搬攔錘動步攬雀尾單鞭抎手單鞭高探馬均如前。
PEARL UNDER THE SEA is the same as NEEDLE UNDER THE SEA, except that when your right hand withdraws, it must go along with your waist and make a circle, and then come down using a fist instead of a palm.
     FAN THROUGH THE ARMS is also the same as in the Taiji Boxing set, except that the left step is slightly farther forward and your right foot advances correspondingly, sliding along the ground.
     Then perform these postures, all as in the Taiji Boxing set:
[36] TORSO-FLUNG PUNCH
[37] STEP FORWARD, PARRY, BLOCK, PUNCH
[38] MOVING-STEP CATCH THE SPARROW BY THE TAIL
[39] SINGLE WHIP
[40] CLOUDING HANDS
[41] SINGLE WHIP
[42] RISING UP AND REACHING OUT TO THE HORSE

左右蹬脚轉身蹬脚
[43] PRESSING KICK TO BOTH SIDES
[44] TURN AROUND, PRESSING KICK

由高探馬轉右蹬脚。兩手隨腰轉動而上。右手在前在上。左手在後在下。兩掌斜對相合。手尖均斜向東南。兩手復斜向下。轉一小圓規相合。右足蹬出。兩手分開。變左蹬脚時。兩手隨腰轉動而上。左手在前在上。右手在後在下。兩掌斜對相合。手尖均斜向東北。兩手復斜向下。轉一小圓規相合。左足蹬出。兩手分開。轉身蹬脚亦同太極拳。
From RISING UP AND REACHING OUT TO THE HORSE, change to RIGHT PRESSING KICK. Your hands go along with your waist and arc upward, right hand in front and above, left hand behind and below, the palms diagonally facing each other, the fingertips of both pointing diagonally to the southeast. Your hands then go diagonally downward, make a small circle to come together, and your right foot presses out, your hands spreading apart.
     When changing to LEFT PRESSING KICK, Your hands go along with your waist and arc upward, left hand in front and above, left hand behind and below, the palms diagonally facing each other, the fingertips of both pointing diagonally to the northeast. Your hands then go diagonally downward, make a small circle to come together, and your left foot presses out, your hands spreading apart.
     Then perform TURN AROUND, PRESSING KICK, same as in the Taiji Boxing set.

換步摟膝換步栽錘
[45] CHANGING STEP, BRUSH KNEE
[46] CHANGING STEP, PLANTING PUNCH

左足蹬出後。變摟膝拗步。右手按出。與太極拳同。換步摟膝。左手按出如前。復換步。左手摟膝。右手往右轉上握拳。從耳邊向下打栽錘。眼神隨右拳看。
After your left foot presses out, change to BRUSH KNEE IN A CROSSED STANCE with your right hand pushing out, same as in the Taiji Boxing set.
     Then perform CHANGING STEP, BRUSH KNEE with your left hand pushing out as before.
     Again do the CHANGING STEP movements so your left hand is brushing past your knee while your right hand arcs upward, grasping into a fist, and goes downward from your ear with a planting punch, your gaze following along to look toward your right fist.

雙叉手
[47] DOUBLE INSERTING HANDS

右足向西邁一大步。兩手由下分開。轉上相合。與雙風貫耳同。惟兩手用掌。手心向下。指尖相對。
Your right foot takes a large step to the west while your hands spread apart from below and arc upward to come together, same as in DOUBLE WINDS THROUGH THE EARS, but instead using palms. The palms are facing downward [outward], fingertips pointing toward each other.

翻身二起脚
[48] TURN AROUND, DOUBLE KICK

右足跟轉動。足尖向南。坐實右腿。兩手隨腰向南。轉動相合。右手在額上。手心向外。左手在右脇下。手心向下。左足跟亦同時轉動。足尖向東北。坐實左腿。右足向東平踢起。右手心拍足背。左手轉至右腰際。手心向上。右足拍後。旋落下。足尖向南。兩手相合。作斜十字。左足向東平踢起。左手心拍足背。右手向西分開。
Your right foot pivots on the heel to point the toes to the south, and the weight shifts to your right leg. Your hands go along with your waist in turning to the south, arcing together so your right hand is above your forehead, palm outward, and your left hand is below your right ribs, palm downward, your left foot at the same time pivoting on the heel to point the toes to the northeast.
     The weight shifts to your left leg, and your right foot does a level kick to the east, your right palm slapping the back of the foot, your left hand turning over at the right side of your waist so the palm is upward.
     After your right foot has been slapped, it then comes down with the toes pointing to the south [southeast], your hands coming together to make the CROSSED HANDS shape. Your left foot does a level kick to the east, your left palm slapping the back of the foot, your right hand spreading away to the west.

披身伏虎式
[49] DRAPE THE BODY, FIGHTING TIGER POSTURE

左足踢後。卽落下。與右足並立。右手由西向上向東轉至左手處。左足往西平邁一大步。兩手轉動。作披身伏虎式。惟右拳在上。左拳在下。與太極拳相同。而形式相反。轉右足跟。左足往東北邁一大步。兩手轉動。作披身伏虎式。左拳在上。右拳在下。與太極拳相同。而方向形式均相反。
After your left foot kicks, it comes down to stand beside your right foot, your right hand arcing upward from west to east until by your left hand. Your left [right] foot takes a large sideways step to the west as your hands arc, performing DRAPE THE BODY, FIGHTING TIGER POSTURE, which apart from your right fist being above and left fist below, is the same as in the Taiji Boxing set, the [direction and] posture reversed.
     Pivoting on your right heel, your left foot then takes a large step to the northeast as your hands arc, performing DRAPE THE BODY, FIGHTING TIGER POSTURE with the left fist above, right fist below, same as in the Taiji Boxing set but with the direction and posture reversed [stepping to the northeast instead of southeast].

回身蹬脚雙風貫耳
[50] TURN BACK, PRESSING KICK
[51] DOUBLE WINDS THROUGH THE EARS

右拳轉上。與左拳合。復分開。轉身相合。身復向南。蹬左脚。兩手分開。左腿提回。兩手復翻轉相合。至左膝處。左足往東北邁一大步。兩手同時分開相合。作雙風貫耳式。與太極拳轉動均相同。惟方向相反。
Your fists come together and open, moving with your torso as it turns to face south, and as your left foot does a pressing kick, your hands spread apart. Your left leg withdraws lifted, your hands arcing together until by your left knee.
     Your left foot takes a large step to the northeast while your hands spread apart and come together, performing DOUBLE WINDS THROUGH THE EARS, the movements of which are the same as in the Taiji Boxing set, except the direction is reversed [to the northeast instead of southeast].

右蹬脚轉身左蹬脚
[52] RIGHT PRESSING KICK
[53] TURN AROUND, LEFT PRESSING KICK

身復轉向南。兩手隨身分開相合。作十字。右足蹬出。右足提回。身旋轉一周。仍向南。左足蹬出。一切轉動。均與太極拳相同。惟方向相反。
Your torso then turns to face south [north], [your left foot pivoting on the heel to point the toes to the north,] your hands going along with the movement by spreading apart and coming together to make the CROSSED HANDS shape. Your right foot presses out, [your hands spreading apart].
     Your right foot then withdraws lifted, your body makes a complete [leftward] spin to again be [to then be] facing south, [your hands coming together to make a CROSSED HANDS shape,] and your left foot presses out [with your hands again spreading apart]. All of these movements are the same as in the Taiji Boxing set, except with [left and right switched and] the direction reversed [this being the direction your torso is facing, not the direction of the kicks].

換步搬攔錘
[54] CHANGING STEP, PARRY, BLOCK, PUNCH

左足蹬出後。仍收回。足尖下垂落下。足尖向東北。左手隨左足往下鬆。復向上轉。左手轉至胸前。復隨左足往下沈。握拳藏於左脇下。進右步。右手搬攔。左手打拳。右手扶左腕處。左足復提起落下。換步之變動。與換步摟膝同。進左步。右手打步。左手扶右腕處。
After your left foot presses out, it again withdraws, toes hanging down, and comes down with the toes pointing to the northeast. Your left hand goes along with your left foot by loosening downward [to the right], arcs upward until in front of your chest, then sinks down [to the left], going along with [the weight shifting onto] your left foot, grasping into a fist, and is stored below your left ribs. Advancing with your right foot, your right hand does a parrying block, and your left fist strikes, your right hand assisting at your left wrist.
     Your left foot then lifts and comes down, the CHANGING STEP movements the same as in CHANGING STEP, BRUSH KNEE [i.e. Your left foot lifts and comes down, your hands lowering to the left, your right foot lifts and comes down with the toes pointing to the southeast, and your right hand grasps into a fist and is stored below your right ribs.]. Advancing with your left foot, [your left hand does a parrying block] and your right fist strikes, your left hand assisting at your right wrist.

如封似閉進步雙按
[55] SEALING SHUT
[56] ADVANCE, DOUBLE-HAND PUSH

如封似閉。如太極拳。惟兩手分開時。右步略提起前進。兩手按出時。左步亦略提起前進。兩手復往上鬆回。右步提起略進。兩手復按出。左步提起前進。如攬雀尾之按。惟左足在前。
SEALING SHUT is the same as in the Taiji Boxing set, except that when your hands spread apart, your right foot lifts and advances, and when your hands push out, your left foot lifts and advances.
     Your hands then loosen upward and withdraw as your right foot lifts and advances, then your hands push out again as your left foot lifts and advances. It is like the push in CATCH THE SPARROW, except with your left foot in front.

右單鞭
[57] RIGHT SINGLE WHIP

兩手復鬆回。左手隨腰轉一小圓規。右手隨腰轉一大圓規。左手成吊手。右手變單鞭。左足跟轉動。足尖向南。右足略往東北邁一大步。如太極拳之單鞭。惟左右手方向不同。
Your hands then loosen and withdraw, your left hand going along with your waist to make a small circle, your right hand going along with your waist to make a large circle. Your left hand makes a hanging hand and your right hand changes to SINGLE WHIP as your left foot pivots on the heel to point the toes to the south and your right foot takes a large step slightly to the northeast [northwest]. It is like SINGLE WHIP in the Taiji Boxing set, except your hands are switched left and right and the direction is reversed.

右抎手右單鞭下勢
[58] RIGHT CLOUDING HANDS
[59] SINGLE WHIP, LOW POSTURE

抎手由東往西行。變為右單鞭下勢。與太極拳方向相反。
金雞獨立。倒輦猴。左斜飛。左提手。左晾翅。左摟膝。海底針。右通臂。撇身錘。進步搬攔錘。播箕式。雙托掌。十字手。左歸山。右單鞭。以上各式。均如前法。惟右式變為左式。或左式變為右式。
Perform CLOUDING HANDS from east to west.
     Then change to SINGLE WHIP, LOW POSTURE as in the Taiji Boxing set, but with the direction reversed [and left and right switched].
     The postures below are all same as before [60-69 from the Taiji Boxing set, 70-74 from the Long Boxing set], except that postures on the right have been changed to the left and postures on the left have been changed to the right:
[60] GOLDEN ROOSTER STANDS ON ONE LEG [facing west]
[61] RETREAT, DRIVING AWAY THE MONKEY
[62] LEFT DIAGONAL FLYING POSTURE [facing southeast]
[63] RAISE THE HANDS – LEFT
[64] WHITE CRANE COOLS ITS WINGS – LEFT [facing west]
[65] LEFT [RIGHT] BRUSH KNEE
[66] NEEDLE UNDER THE SEA
[67] RIGHT FAN THROUGH THE ARMS
[68] TORSO-FLUNG PUNCH [facing east]
[69] ADVANCE, PARRY, BLOCK, PUNCH
[70] WINNOWING BASKET POSTURE
[71] DOUBLE PROPPING PALMS
[72] CROSSED HANDS [facing north]
[73] BACK TO THE MOUNTAIN – LEFT [southwest]
[74] RIGHT [DIAGONAL] SINGLE WHIP [northeast]

野馬分鬃
[75] WILD HORSE VEERS ITS MANE

由右單鞭復坐實左腿。右手隨腰收回。與左手相合。左手在上。右手在下。右足往西北邁一大步。兩手分開。右手在前。左手在後。面向西北。成野馬分鬃式。
From RIGHT [DIAGONAL] SINGLE WHIP, shift the weight to your left leg, [your left foot pivoting toward the west,] your right hand going along with your waist to withdraw toward your left hand, your hands coming together as left hand above, right hand below. Your right foot takes a large step to the northwest and your hands spread apart, right hand forward, left hand behind, facing to the northwest, making the posture of WILD HORSE VEERS ITS MANE.

進步肩靠
[76] ADVANCE, SHOULDER BUMP

左足提起。向西北前進半步。兩手略向上往裏相合。右足復提起。前進半步。兩手合至胸前時。左手輕扶右肘裏灣。右手向下鬆。轉一圓規。隨右步往下鬆直。左手仍扶原處。坐實右腿。眼神向西北看。此式如大捋之靠。
Your left foot lifts and advances a half step to the northwest as your hands come together inward and slightly upward. Your right foot then lifts and advances a half step. When your hands come together in front of your chest, your left hand lightly assists at the inside bend of your right elbow, your right hand loosens downward in an arc, then goes along with your right step by loosening straight down, your left hand still assisting at the same place, and the weight shifts onto your right leg. Your gaze is to the northwest. This posture is like the bump in the large rollback exercise.

玉女穿梭
[77] MAIDEN WORKS THE SHUTTLE

兩手復提起。提至額前。腰往後坐。兩手隨腰往後鬆轉。右手心本向內者。漸轉至手心向外。腰復往前進。右手轉至額上。左手按出。成玉女穿梭式。
Your hands lift again, lifting until in front of your forehead as your waist sits back, your hands going along with your waist by loosening in an arc to the rear. Your right palm, which was inward, gradually turns until the palm is outward while your waist again advances, your right hand arcing until above your forehead, your left hand pushing out, making the posture of MAIDEN WORKS THE SHUTTLE.

野馬分鬃進步肩靠玉女穿梭
[78] WILD HORSE VEERS ITS MANE
[79] ADVANCE, SHOULDER BUMP
[80] MAIDEN WORKS THE SHUTTLE

右足提起。向裏裹步。使足尖向東南。與左足成八字形。兩手隨步相合。右手在上。左手在下。轉身。左足往東北邁一大步。兩手分開。作野馬分鬃式。兩手略向上往裏相合。合至胸前時。右手輕扶左肘裏灣。左手向下鬆。轉一圓規。隨左步往下鬆直。右手仍扶原處。兩足提起前進如前法。坐實左腿。眼神向東北看。如大捋之靠。變玉女穿梭。如前法。惟兩手及方向不同。右足往東南邁一大步。野馬分鬃玉女穿梭如前法。此變為向東南方。右足仍向裏裹步。與右足成八字形。左足往西南邁一大步。野馬分鬃進步肩靠玉女穿梭如前法。此變為向西南方。
Your right foot lifts and wraps inward to point the toes to the southeast, making a ninety degree angle with your left foot, your hands going along with the step by coming together as right hand above, left hand below. Turning around, your left foot takes a large step to the northeast and your hands spread apart, making the posture of WILD HORSE VEERS ITS MANE.
     Your hands come together inward and slightly upward, and once they are together in front of your chest, your right hand lightly assists at the inside bend of your left elbow, your left hand loosens downward in an arc, then goes along with your left step by loosening straight down, your right hand still assisting at the same place. Your feet lift and advance in the same manner as before, and the weight shifts onto your left leg. Your gaze is to the northeast. It is like the bump in the large rollback exercise.
     Change to MAIDEN WORKS THE SHUTTLE, same as before, except the direction of the hands is different.
     Your right foot takes a large step to the southeast. Perform these postures as before, except now to the southeast:
[81] WILD HORSE VEERS ITS MANE
[82 – ADVANCE, SHOULDER BUMP]
[83] MAIDEN WORKS THE SHUTTLE
     Your right foot again wraps inward to make a ninety degree angle with your right [left] foot, and [turning around,] your left foot takes a large step to the southwest, then perform these postures as before, except now to the southwest:
[84] WILD HORSE VEERS ITS MANE
[85] ADVANCE, SHOULDER BUMP
[86] MAIDEN WORKS THE SHUTTLE

左右風輪
[87] WINDMILLING TO BOTH SIDES

右手往上鬆。往右轉動。左手往左鬆。往下轉動。右步往西北邁一大步。如野馬分鬃之步。左手隨腰隨右步往西北輪轉。手心向西北向外。手指向下。右手隨腰隨左步往上輪轉。手心向下。左手向左。又向上鬆轉。右手向右。又向下鬆轉。左步往西南邁一大步。右手隨腰隨左步往西南輪轉。手心向西南向外。手指向下。左手隨腰隨右步往上輪轉。手心向下。兩手如輪。與抎手相彷彿。惟步法不同。
With your right hand loosening upward and arcing to the right, and your left hand loosening to the left and arcing downward, your right foot takes a large step to the northwest, same as in WILD HORSE VEERS ITS MANE. Your left hand goes along with your waist and your right step by wheeling to the northwest, palm outward toward the northwest, fingers downward. Your right hand goes along with your waist and with the moving up of your left foot [a follow step] by wheeling so the palm is downward.
     With your left hand arcing upward to the left and your right hand arcing downward to the right, your left foot takes a large step to the southwest. Your right hand goes along with your waist and your step by wheeling to the southwest, palm outward toward the southwest, fingers downward. Your left hand goes along with your waist and with the moving up of your right foot by wheeling so the palm is downward.
     The wheeling of your hands seems like CLOUDING HANDS, but the stepping is different. [The movement is similar to the alligator technique in Xingyi.]

動步攬雀尾單鞭擅手高探馬
[88] MOVING-STEP CATCH THE SPARROW BY THE TAIL
[89] SINGLE WHIP
[90] CLOUDING HANDS
[91] RISING UP AND REACHING OUT TO THE HORSE

輪至右手在上時。左足前進半步。左手隨之捧出。變為動步攬雀尾。單鞭抎手高探馬。均如前法。
The windmilling action finishes with your right hand up, and your left foot advances a half step [instead of a full follow step], your left hand going along with it by warding off. Perform MOVING-STEP CATCH THE SPARROW BY THE TAIL, SINGLE WHIP, CLOUDING HANDS, and RISING UP AND REACHING OUT TO THE HORSE as before.

十字腿左右摟膝打錘
[92] CROSSED-BODY KICK
[93] BRUSH KNEE AND PUNCH ON BOTH SIDES

由高探馬左手穿出。轉身向東亦如前。惟以左手心拍右足背。拍後。左足提起落下。足尖向西北。左手摟膝。進左步。右手打拳。轉左足尖使向東北。右手摟膝。左手打錘。
From RISING UP AND REACHING OUT TO THE HORSE, your left hand threads out. Turn around toward the east [west] as before [in the Taiji Boxing set], except your left palm slaps the back of your right foot.
     After the slap, your left [right] foot lifts and comes down with the toes pointing to the northwest. Your left hand brushes past the knee as you advance your left foot, and your right hand strikes with a punch.
     Turn your left foot so the toes point to the northeast [southwest]. Your right hand brushes past the knee [as you advance your right foot], and your left hand strikes with a punch.

左琵琶彎弓射雁
[94] LEFT LUTE POSTURE
[95] BEND THE BOW TO SHOOT THE GOOSE

左足提起落下。右足提起收回。兩手亦同時收回。右手在前。左手在後。變左琵琶式。由左琵琶。兩手隨腰向上向右鬆轉。右手在上。左手在下。如捧球式。轉至右邊。復向下轉。左足向西南邁一大步。兩手轉至左膝外。復向西北轉上。作射雁式。右手略高。眼神亦隨之轉動。
進步搬攔錘如封似閉單鞭下勢。均如太極拳。
Your left foot lifts and comes down and your right foot lifts and withdraws as your hands withdraw, right hand in front, left hand behind, performing LEFT LUTE POSTURE.
     From LEFT LUTE, your hands go along with your waist by loosening into an arc upward and to the right, right hand above, left hand below, as if holding a ball. Once they have arced to the right side, they then arc downward, your left foot takes a large step to the southwest, your hands arcing until to the outside of your left knee, and then they arc upward to the northwest, making the SHOOT THE GOOSE posture, your right hand slightly higher [than your left]. Your gaze follows along with the movement. [This is not like the posture of the same name in the sword set, but is closer to the Sun style version of BEND THE BOW TO SHOOT THE TIGER with left and right switched.]
     Then perform these postures as they are in the Taiji Boxing set [as they are in the Long Boxing set in Postures 54-57, except with left and right switched and the directions reversed – facing west for Postures 96-98, then facing east for Posture 99]:
[96] ADVANCE, PARRY, BLOCK, PUNCH
[97] SEALING SHUT
[98 – ADVANCE, DOUBLE-HAND PUSH]
[99] SINGLE WHIP, LOW POSTURE

七星脚退步踢脚轉身擺蓮
[100] BIG DIPPER, KICK
[101] RETREAT, KICK
[102] TURN AROUND, SWINGING LOTUS KICK

七星脚如上步七星。惟右足隨進步時踢出。退步踢脚。如退步跨虎。惟左足隨退步時踢出。踢出後。足不落下。卽變轉身擺蓮。如前法。彎弓射虎上步搬攔錘播箕式雙托掌十字手合太極。均如前法。
BIG DIPPER, KICK is like STEP FORWARD WITH THE BIG DIPPER, except that when you advance, your right foot kicks out.
     RETREAT, KICK is like RETREAT TO SITTING TIGER POSTURE, except that when you retreat, your left foot kicks out.
     Then after you kick, the foot does not come down, but right away changes into TURN AROUND, SWINGING LOTUS KICK, performed as before [as in the Taiji Boxing set].
     Then perform these postures as before [103 & 104 as in the Taiji Boxing set, 105 & 106 as in the Long Boxing set, 107 & 108 as in the Taiji Boxing set]:
[103] BEND THE BOW TO SHOOT THE TIGER
[104] STEP FORWARD, PARRY, BLOCK, PUNCH
[105] WINNOWING BASKET POSTURE
[106] DOUBLE PROPPING PALMS
[107] CROSSED HANDS
[108] CLOSING POSTURE

太極拳名人軼事 陳微明
ANECDOTES ABOUT FAMOUS TAIJI BOXERS – by Chen Weiming

中國拳術。千門萬派。不可殫述。惟武當派太極拳。張三丰所傳。乃純粹內家。以其毫不用氣力也。(渾身鬆開。不用氣力。方能長內勁)。廣平楊露禪先生受術於河南陳長興。傳於其子班候健候。健候傳於其子少候澄甫。今將楊氏及其弟子就余所知者略述其軼事如右。
In Chinese martial arts, there are thousands of schools and tens of thousands of styles, too many to describe. Of the Wudang branch, Taiji Boxing was passed down from Zhang Sanfeng. It is the purest of the internal schools, not using any effort at all. (With your whole body loosened and using no effort, you will then be able to develop your internal power.) Yang Luchan of Guangping [in Hebei] learned the art from Chen Changxing of Henan. Yang passed it on to his sons, Banhou and Jianhou. Yang Jianhou then passed it on to his sons, Shaohou and Chengfu. Here I will present what I have been informed about the Yang family and their disciples, briefly conveyed through the anecdotes below:

[1 – Yang Luchan, part 1]
露禪嘗習外家拳。其後聞河南懷慶府陳家溝陳長興者。精太極拳。露禪傾產挈金。往懷慶從長興學。數年。偶與其師兄弟相較。輒負夜起溺。聞有聲於牆外。乃越牆往觀其異。見師兄弟輩。羣集於廳中。其師口講指授。皆拳中精意也。乃伏窗外竊窺。自後每夜必往。他日其師兄强露禪與之較。露禪不得已許之。不能勝露禪。衆人驚異。其師召露禪曰。吾察子數年。誠樸而能忍耐。將授子以意。明日來予室。翌日。露禪往見其師。假寐於椅。而仰其首。狀至不適。露禪垂手立於側。久之不醒。於是以手承師之首。良久。臂若折。而不敢稍移。及其師醒曰。孺子來耶。予倦睡矣。明日再來。露禪退。明日復如約而往。其師已陶然入睡鄕矣。露禪屛聲息氣而待之。其師或張目四顧。見露禪俟於旁。無怨色。且加敬焉。又言如前。露禪第三日往。其師曰。孺子可敎也。於是授之術。令歸習之。後其師兄弟或與之相比。而無有能勝之者。長興謂其他弟子曰。予以所有之功夫。與子輩而不能得也。不與露禪而已得之去矣。露禪學旣成而歸。財產已盡。或薦至京師某富家。其家先有一敎師。其人庸者。而富於嫉心。聞露禪之來。心其不快。强欲與露禪鬭。露禪曰。吾子必欲一較也。請往告主人。主人曰。子輩相鬭。以戲可耳。然不可致其命也。露禪旣至場中。直立而不動。敎師力擊之。未見露禪之還手也。而敎師已仆於丈外矣。主人大異之。揖露禪而言曰。不知吾子之功。如是其深也。於是設筵以欵之。宴畢。露禪束裝辭去。留之不可。遂授徒於京師。是以京師之習太極拳者。皆楊氏之弟子也。
Yang Luchan trained in external styles of boxing for a while, but then he heard about an expert in Taiji Boxing, Chen Changxing of the Chen village, Huaiqing prefecture, Henan. Yang sold all he had to build up enough funds and then went to Huaiqing to learn from Chen Changxing.
     For several years, he always lost whenever he sparred with the other students. He happened to get up one night to go for a pee and heard voices from the other side of a wall. He clambered up to have a look at what commotion was going on over the wall and saw that the students were assembled in the courtyard, and that Chen was instructing them in all of the art’s essentials. Concealing himself behind a window, Yang eavesdropped, and from that point on, made a point of doing so every night. Until one day, when one of the older students compelled Yang to spar. There was no avoiding it. But this time he could not defeat Yang and everyone was surprised.
     Chen beckoned Yang over and told him, “I’ve had my eye on you for several years. You are sincere and able to endure, and so I will instruct you in its principles. Tomorrow, come to my room.”
     When Yang went to meet with Chen the following day, Chen was dozing in a chair with his head lolling back awkwardly. Yang stood beside him with his arms down. Time passed but Chen did not awake, and so Yang used his hands to support Chen’s head. This went on for such a long time, he felt like his arms were going to break, but he did not dare to shift his position at all.
     Finally Chen awoke, and he said, “Arrived, have you? I’m so sleepy. Come back tomorrow.”
     Yang left and then went back for his appointment the next day only to find that Chen was in the middle of a lovely dream. Yang waited, breathing silently. Eventually Chen’s eyes opened and he looked all around him. He saw that Yang was waiting off to the side and that he did not have a frustrated countenance, but was instead looking even more reverent than the first time. Chen then repeated what he had said the day before.
     When Yang showed up for the third day, Chen said, “Young man, you can be taught.”
     He thereupon taught Yang the art and told him to go practice it. After that, there was not one amongst his fellow students who could best him.
     Chen said to the other students, “I shared my skill with you and you’re just not getting any of it. I hadn’t shared it with Yang Luchan and he’s already got all of it!”
     Once Yang’s studies were complete, he went back home, but he had no property left, so he was recommended by someone to a certain rich household in Beijing. There was already an instructor there, a common fellow full of envy. When he heard Yang was coming, he was very displeased and strongly wanted to fight with Yang.
     Yang said, “If we must have a bout, I suggest you let the owner of the house know.”
     The owner of the house said, “For you to fight each other for sport is okay, but you must not try to kill each other.”
     Yang went to the middle of the courtyard, stood up straight and motionless, and the instructor attacked him powerfully. Although he did not detect any counter from Yang, the instructor had fallen more than ten feet away.
     The owner was amazed and saluted Yang, saying, “I had no idea your skill was as profound as this.”
     He thereupon arranged a feast to honor Yang, but once the party was over, Yang announced he was leaving and could not accept a position there. He then taught students in Beijing, which is why those who practice Taiji Boxing in Beijing are all Yang stylists.

[2 – Yang Banhou, part 1]
露禪傳太極拳術於其子班候健候。期望甚深。日夜督責。二人不能勝任。一欲逃走。一欲雉經。皆覺而未果。然二人年未至冠。已成能手。名震京師。有貴胄聞之。聘班候為師。館於其家。月餽束修四十金。甚敬禮焉。雄縣劉某者。忘其名。練岳氏散手。有數百斤之氣力。授徒千餘人。有人兩面挑撥。班候志甚傲。聞之不平。遂相約於東城某處比試。一時傳遍都城。聚而觀者數千人。二人至場。雄縣劉卽出手。擒住班候之手腕。班候用截勁抖之。劉跌出。狼狽而去。班候由是名聲大著。班候歸。見其父。揚揚得意。眉飛色舞。述打劉之形狀。露禪冷笑曰。打得好。袖子已去了半截。這算是太極勁嗎。班候聞言。自視其袖果然。乃嗒喪而出。班候云。當其擒住手腕時。有如狗咬云。
Yang Luchan passed on the Taiji boxing art to his sons, Banhou and Jianhou. He was deeply demanding, strict with them day and night. Neither could handle this, and so one of them [Jianhou] tried to run away and the other tried to commit suicide by hanging himself. Both were discovered and prevented, and then before either had reached the age of manhood, they had already become masters, and their fame was the talk of Beijing. There was an aristocrat who learned of them, and he invited Yang Banhou to be his instructor, living in his house, and each month Yang was gifted with a tuition of forty gold pieces, so respected was he.
     There was a certain Liu Somebody of Xiong County, who trained in the techniques of the Yue school [which indicates he was likely an Eagle Claw practitioner], and who possessed a strength worth several hundred pounds and had over a thousand students. Some people had been sowing discord between the two of them, and since Yang Banhou had such an arrogant personality, he found the things he heard to be unjust, and so a challenge match was arranged for somewhere on the east side of town.
     In no time, word of it had spread throughout the capital and spectators had gathered in their thousands. Once both men had arrived at the place, Liu sent out his hand and seized Yang’s wrist, against which Yang applied intercepting energy and gave a tremble. Liu stumbled away, disoriented, and left the scene. From this was cemented Yang Banhou’s renown. He went home to tell his father about it, and full of himself and giddy, he described the encounter with Liu.
     Yang Luchan laughed with disdain and said, “You may have put up a good fight, but your sleeve is ripped halfway up. Is that to be considered the power of Taiji?”
     When Banhou heard this, he took a look for himself at his sleeve and saw that it was so. Dejected, he went out, complaining, “But the moment he seized my wrist, it was as if I’d been bitten by a dog.”

[3 – Fu Erye]
楊班候弟子。至今惟有陳秀峯及富二爺二人。秀峯武淸縣人。與澄浦先生同里。余未見之。富二爺住東城炒麵胡同。余聞澄浦先生言。亟往訪之。年七十餘矣。氣態若五十。其子年過五旬。不知者以為昆弟行也。余道欽仰之意。富二爺曰。吾雖為班候先生弟子。未能傳先生之技。蓋不練者已四十餘年。余問旣得班候先生之傳授。何以棄置不練。答曰。吾父不許練也。先是吾兄習摔角功夫極好。每日歸必敎吾摔角。後應募從軍。至甘肅。臨行。囑吾曰摔角功夫。不許間斷。别數年歸。一見卽問功夫如何。吾答曰。久不練習矣。兄聞之。意似不悅。吾乃告以從班候學太極拳。如何不用氣力。如何能化人之勁。兄不信。以拳擊吾。吾用搬攔錘還擊。不意兄由堂屋跌出院中。仰臥於地。竟不能起。吾大驚扶之起。已跌傷矣。臥養數日始愈。父大責斥。由是不許練習太極。殊為可惜。亦由年幼太冒失故也。
Of the students of Yang Banhou, the only two alive today are Chen Xiufeng and Fu Erye. Chen is a native of Wuqing county and lives in the same area of Beijing as Yang Chengfu, but I have not yet met him. Fu Erye lives in Fried Noodle Alley on the east side of town. When I heard Yang Chengfu talk about him, I eagerly went to visit the man. He is more than seventy years old, but has the bearing of a man of fifty. His son is over fifty, and people who are not acquainted with them assume they are brothers. I told him how much this impressed me.
     Then he told me, “Although a student of Yang Banhou, I’m incapable of teaching his skills, seeing as I haven’t practiced them in over forty years.”
     I asked him, “Having gained his teachings, how could you discard them and not practice?”
     He said, “My father wouldn’t allow me to practice. At first, my older brother was training in the art of Shuaijiao, and he got really good at it. When he came home from it each day, he had to teach me some, but then he was called up into army and sent to Gansu. As he was leaving, he urged me not to let my Shuaijiao training get interrupted.
     “Several years later, he came home, and right when he saw me, he asked how my training was going. I told him it was long gone. As he heard these words, I got the impression he was annoyed, so I told him about how I was learning Taiji Boxing from Yang Banhou, and about how it doesn’t use strength and can neutralize an opponent’s energy. He didn’t believe in this and so he punched at me. I countered with the PARRY, BLOCK, PUNCH technique.
     “Caught unawares, he stumbled out from the hall into the courtyard, fell to the ground, and couldn’t get up at all. I was shocked and helped him rise. He had been injured and had to lie down for several days before he began to recover. Our father gave me the most scalding scolding, and from that point I was no longer allowed to practice Taiji. It sure is too bad, but it comes down to the rashness of youth.”

[4 – Yang Luchan, part 2]
富二爺又曰。吾露禪師祖。喜吾勤謹。吾嘗在旁伺候。為裝旱煙。年八十餘。尚練工夫不息。偶至吾家坐談。一日天雨。泥濘載道。師祖忽至。而所着雙履。粉底尚潔白如新。無點汚。此卽蹋雪無痕之功夫也。蓋太極淸靈。能將全身提起。練到極處。實能騰空而行。班候亦有此功夫。知者極少。吾曾親見一次。
Fu Erye continued:
     “My grandteacher, Yang Luchan, was pleased with my hard work and sincerity, so I got to wait upon him, loading up [his pipe] with fresh tobacco. He was over eighty years old and still practiced his skills unceasingly. From time to time, he visited my home to have a seat and some conversation. On one of those days, it was raining, and the street was all mud. Yang suddenly arrived, but the soles of his shoes were still as clean as if they were new, not a speck of dirt.
     “This is a skill described as walking on snow without leaving tracks. By way of Taiji’s nimbleness, you can lift up your whole body, and once it is trained to the highest level, you really will be able to walk as if you are prancing in air. Yang Banhou also possessed this skill. There are very few who know of it, but I once got to see it for myself.”

[5 – Yang Luchan, part 3]
師祖函召弟子。於某日齊至其家。謂欲出門一游。有話吩咐。至期俱來。而門外並未套車。衆頗異之。是日師坐堂屋正中。弟子拜見畢。各裝旱烟一袋。肅立左右。師各呼至前勉勵數語。並傳授太極拳大意。頃之。師祖忽拂其袖。端坐而逝。
“Yang sent letters to his students telling everyone to assemble at his home at a specific date, saying that he wanted to take a trip and that he had instructions to give. We arrived together when the day came, but outside his door there was not yet a carriage, which we all felt was a little fishy, and that day we found him sitting in the center of the main hall.
     “After we had all finished our bows to him, we each took a turn to give him more tobacco to smoke and then solemnly stand off to the side. He called us forward one after another to give several words of encouragement, as well as passing on the gist of Taiji Boxing. Shortly after this, he suddenly adjusted his sleeves, straightened his posture, and died.”

[6 – Yang Banhou, parts 2 & 3]
露禪師祖逝世後。停靈於齊化門外某寺內。方丈某。亦嫺武術。寺為向南正殿五楹。東西各有廂房數間。靈櫬停於西廂內。吾師及健候師叔。宿西廂套間內。予亦隨侍焉。而東廂旋來一南省人。指甲甚修。語啁哳不可辨。不知為何許人。一日。吾師等外出。囑予曰。不可出此門。並不許與東廂之南人接談。予諾而異之。時予年十九。童心未改。師去後。悶坐無聊。靜極思動。忽忘前戒。啓關而出。至正殿游戲。時右手托一茶碗。於殿上旋轉而舞。一躍而登方桌之上。水不外溢。意得甚。適為東廂之南人所見。遽來問訊。予頓憶師言。惶急不敢對。逸歸臥室。次日方丈來。與吾師切切私語。吾師初有難色。繼似首肯。方丈出。旋偕南人來。吾師對之。其謙抑逾平時。相將出門。久之始歸。吾師有得意之色。南人卽整裝去矣。又曰。吾師有一女。年十七八。聰慧絕倫。師甚鍾愛之。忽急病而死。時吾師他往。聞訊馳回。已蓋棺矣。不覺踊躍痛哭。忽騰起七八尺之高。如懸之空際者。然旁觀者。咸舌撟而不能下。予亦親見之也。此無他。蓋吾師本有飛騰功夫。今痛極踊躍。遽於不知不覺間流露其絕技也。
“After Yang Luchan had died, his coffin was placed within a temple just outside of Qihua, the abbot of which was also an adept martial artist. The main hall of the temple faced south and had five pillars, and there were several rooms in both the eastern and western wings of the building. In the western wing was the coffin, and so Yang Banhou and Jianhou were occupying an apartment in the same part of the building, as was I, being in the role of personal servant to them. Meanwhile over in the eastern wing, a southerner then came for a stay. His fingernails were extremely clean, his chirping chirruping was all Greek to me, and I had no idea who he was.
     “One day, the Yangs had some business to attend to, and they advised me, ‘You must not leave this room, and under no circumstances are you to have any contact with the southerner staying in the eastern wing.’ I said okay but was confused as to why I should, for even though I was nineteen [or eighteen in western terms] years old at the time, I was still such a naive innocent.
     “After Yang had gone, I sat cooped up until tedium had made me sufficiently stir-crazy to finally ignore my warning. I unbarred the door and left, going out into the main hall and amusing myself by whirling and dancing around while holding up a teacup in my right hand, hopping upon a table without spilling any, doing whatever I felt like. Just then, I had been spotted by the southerner, who rushed up to me and started asking me things. I paused, remembering what Yang Banhou had said. Feeling awkward, I dared not having anything to with the man, so I ran away back to our room.
     “The next day, the abbot came and talked in a whisper with Yang Banhou, who began with a look of refusal and then concluded with a nod of acceptance, upon which the abbot went out and came back with the southerner. Yang now addressed him with unusual modesty, and together they exited through the doorway. Time passed and they reappeared, Yang wearing a proud look, while the southerner got his things together and departed.”
     [Still on the subject of funerals,] he continued:
     “Yang Banhou had a daughter of about seventeen or eighteen years old who was unsurpassingly bright, and he doted on her. She suddenly became ill and died while he was in another town. When he got word of it, he hurried back, but she had already been sealed into her coffin. He unconsciously leapt up, wailing with grief, rising up about seven or eight feet in the air as though he would hang there. The bystanders all opened their mouths but could say nothing. I also was a witness to it. This occurred only because Yang possessed leaping skill and his anguish at this moment was so intense that he suddenly demonstrated his unique skill without intending to and without even being aware of it.”

[7 – Yang Banhou, part 4]
楊氏昆仲。雖以精拳術聞於世。然深沈不露。尤善養氣。絕無爭雄競長之心。平居謙抑異常。不知者以為無能之輩。大智若愚。大勇若怯。誠哉不可以貌衡人也。某年有一南人來訪。時班候年屆六旬。南人極致欽慕之意。謂曰。聞君太極拳粘勁。如膠如漆。有使人不能脫離之妙。願承明敎。班候曰。鄙人以先人所習。僅粗知此中門徑。何曾有此功夫。堅持不允。南人再三請。乃曰。諒君必精於此。如老朽何足以相頡頏。無已。請示試之之法。不知能勉力追隨否。南人曰。試用磚數十塊。每塊距離二尺餘。匀列院中。如太極式。吾在前。君在後。以右手粘吾之背於磚上。作磨旋行。足不許落地。手不許離背。足落地。手離背者為負。班候曰。磨旋行。則頭腦易昏。恐非老朽所能。然旣承敎。敢不唯命。卽於院中如法佈置。畢。南人先上。緩步徐行。班候歛氣凝神。亦步亦趨。不離南人之背。繞行數匝。南人身輕如燕。漸走漸速。迅如飛輪。班候亦運其飛騰之術。追風逐電而行。依然不離分寸。南人無法擺脫。忽飛身一躍。蹤上屋面。回顧院中。不見班候踪跡。深為駭異。而不知班候。仍在其後。撫其背曰。君惡作劇。累煞老朽。且下一息何如。南人不禁愕然。乃大拜服。訂交而去。
The Yang brothers [Banhou & Jianhou], although famous everywhere for their expertise in boxing arts, did not flaunt it. Their main expertise was in nurturing their energy, and as for proving their martial superiority, they had no ambition at all. They were typically extremely modest, so those who did not know them assumed they had no abilities. “The wisest seem stupid. The bravest seem timid.” [quoted from “Congratulating Ouyang Xiu on His Early Retirement” by Su Dongpo] Indeed, people cannot not be judged based on appearances.
     During one year, there was a southerner who paid a visit. At that time, Yang Banhou had turned sixty years old. The southerner was downright reverential toward him as he said, “I have heard that your Taiji Boxing’s sticking energy is like glue and that it ingeniously causes the opponent to be unable to break away. I beg to receive your enlightened instruction.”
     Yang said, “I only scratched the surface of the art my father practiced. When could I have gained such a skill? I must firmly decline.”
     The southerner begged a second time, and then a third, so Yang said, “I’m guessing you must be good at this. How could a worn-out old man be adequate to rival you? I must ask you to show me the way to test it. I’m not sure I would have any ability at all to follow along with you.”
     The southerner explained, “We can test it using a couple dozen bricks, each more than two feet away from each other, laid out in the courtyard like a taiji symbol. With me in front and you behind, use your right hand to stick to my back while we walk in circles on top of the bricks. If your foot touches the ground or your hand stops touching my back, you fail.”
     Yang said, “But I’ll get dizzy from walking in a circle. I doubt a worn-out old man can do this. Yet seeing as I’m receiving instruction from you, I won’t presume to disobey.”
     The bricks were then placed in the courtyard as described. The southerner climbed on first and slowly started walking. Yang gathered his energy and concentrated his spirit, matching the steps and never coming away from the southerner’s back. Making several circuits, the southerner’s body seemed light as a swallow, and he got gradually faster until he was like a spinning wheel. Yang also wielded his flying skill, moving as though he was chasing wind or pursuing lighting, and was still not disconnecting even by an inch.
     Finding no method of escaping, the southerner suddenly bounded up onto the roof, and upon looking back down into the courtyard he saw no sign of Yang, which greatly astounded him. He was not aware that Yang was still there behind him until Yang tapped him on the back and said, “Shame on you for doing something that extreme and wearing out a worn-out old man. How about we go back down and take a break?”
     The southerner could not hold back his amazement and saluted him grandly. They became friends and he went on his way.

[8 – Yang Jianhou]
健候為神武營敎練時。年已七十餘矣。一日自外歸。有莽漢持棍。出其不意。自後擊之。健候忽轉身以手接棍。略送之。莽漢已跌出尋丈。健候能停燕子於手掌心。燕子不能飛去。蓋能聽其兩爪之勁。隨之下鬆。燕子兩足不得力不得勢而不能飛也。
When Yang Jianhou was instructor to the Shenwu [“divinely martial” – one of the long list of honorary names given to General Guan] battalion, already he was more than seventy years old. On his way home one day, some lout holding a staff came at him from behind to attack him by surprise. Yang suddenly turned around, touched the staff with a hand, expressed against it just barely, and the man stumbled away about ten feet.
     Yang Jianhou was able to keep a swallow in the palm of his hand, which could not fly because he was able to listen to the energy of its feet and correspondingly relax downwards. Since the legs of the bird could find no purchase to launch from, it could not take flight.

[9 – Li Binfu, part 1]
露禪之弟子王蘭亭。功夫極深。惜其早死。有李賓甫者。聞係從蘭亭學。藝亦甚高。訪之者極衆。而未嘗負於人。一日有少年來訪。口操南音。手離几椅數寸許。揚其手。几椅隨之騰起。懸於空中。賓甫見之駭然。少年欲與比試。賓甫遜謝不獲。少年遽進。時賓甫左手抱一小狗。僅右手與之招架。數轉之後。少年已跌於地。乃痛哭而去。
The skill of Yang Luchan’s disciple Wang Lanting was of profound depth, but unfortunately he died before his time. There was also a Li Binfu, who apparently had learned from Wang, and whose skill was also extremely high. Though a great many paid him visits, he was never defeated.
     One day an adolescent boy came for a visit, his accent indicating he had come from the south. The boy placed a hand between a small table and a chair, several inches from both. Raising his hand, the table and chair correspondingly rose up to be suspended in midair. Li looked upon this with astonishment. The boy now sought a challenge match, which Li very politely refused to grant him, but the boy rushed forward. At that moment, Li happened to be carrying a puppy in his left hand, and so had only his right hand with which to parry. Li shifted side to side, and then the boy fell down, started crying bitterly, and went away.

[10 – Li Binfu, part 2]
有習頂功者。欲與賓甫角。賓甫謝之不肯。賓甫以手按其腹。未一月卽死於逆旅之中。
A practitioner of headbutting skill wanted to have a bout with Li Binfu. Li politely refused, while using his hand to press on the man’s belly, and then less than a month later, the man died in an inn.

[Advice from Yang Chengfu]
余從澄甫先生學習數年。澄甫先生曰。世間練太極拳者。亦不在少數。宜知分别純雜。以其味不同也。純粹太極。其臂如綿裹鐵。柔軟沉重。推手之時。可以分辨。(太極有二人推手之功夫。)其拿人之時。手極輕而人不能過。其放人之時。如脫彈丸。迅疾乾脆。毫不費力。被跌出者。但覺一動。而並不覺痛。已跌丈餘外矣。其粘人之時。並不抓擒。輕輕粘住。卽如膠而不能脫。使人兩臂酸麻。不可耐。此乃眞太極拳也。若用大力按人推人。雖亦可以制人。將人打出。然自己終未免喫力。受者亦覺得甚痛。雖打出亦不能乾脆。反之吾欲以力擒制太極拳能手。則如捕風捉影。處處落空。又如水上踩葫蘆。終不得力。此乃眞太極意也。其言之精如此。余試之誠然。不能不令人佩服矣。
I learned from Yang Chengfu for several years. Yang told me:
     “There is in the world no small number of those who practice Taiji Boxing, and you should know how to tell which versions are pure and which are corrupted, and the different qualities of them all.
     “For one who does the real stuff, his arms are like iron wrapped in cotton – soft and heavy – and you can tell if he has this quality during pushing hands, a two-person exercise in Taiji. When he grabs you, his hand is very light, but you cannot get away. When he sends you away, it is like shooting a pellet from a bow, quick, clean, and effortless, and you only feel a movement, no pain, but have stumbled away more than ten feet. When he sticks to you, he does not seize you, but sticks lightly, and yet it is like glue and cannot be escaped from, causing your arms to become unendurably sore and numb. This is the authentic Taiji Boxing.
     “If he uses great effort to press or push you, then even if he manages to control you or knock you away, in the end he cannot avoid wearing himself out, not to mention that you will experience much pain, and despite knocking you away, he is incapable of doing it with any precision.
     “By contrast, if I were to try to use effort to control a Taiji Boxing master, then it will be like I am grabbing the wind or grasping at shadows, always missing, or as if I am stepping on a gourd floating in the water, nothing to stand on. This is the authentic Taiji meaning.”
     As these words are at the very heart of the matter, I put them to the test and discovered they are correct, and I feel driven to cause people to admire them.

太極拳與各種運動之比較 陳志進
TAIJI BOXING COMPARED TO OTHER FORMS OF EXERCISE – by Chen Zhijin

太極拳與摔角之比較
SHUAIJIAO

摔角盛行於內外蒙古。又名摜跤。前淸政府。為防備蒙人起見。極力提倡。故北京保定等處。摜跤廠甚多。惟須少年之人。身體强壯。多力耐勞能吃苦者。始為合宜。一年卽可成功。故諺有三年把勢當年跤之語。然此一年中。練時甚苦。須半夜起身苦練。有跑墳之工夫。因北地之墳。都是上尖下大。且甚高大。練者由墳頂。直腿往下猛跑而不摔倒為止。有一足獨立之工夫。一足立牢。一足與二手頭身。成為水平線。以不搖動能久立為止。有踢袋之工夫。手提百十斤之砂袋。雙足交換而踢。以能踢飛而止。有摜砂袋之工夫。用數十斤之鐵砂袋。數人彼摜此抓。以不失落為止。故摔角之人。至老年時。雙腿僵直。行步艱難。入廠摜跤。有特製之衣。衣此衣。摔死不償命。心術壞者。每借此為害人之地。練太極拳。身體越練越康健。得其三昧。不自作聰明。按其規矩而練。身體筋骨。絕無僵硬之時。而跌人之妙。更過於摔角。楊露禪先生。八十餘歲時。在水泥上行走。鞋底不濕。可知其步履輕捷矣。
Shuaijiao is popular in Mongolia, and is also called Guanjiao [both names essentially meaning “throwing”]. The early Qing government strongly encouraged it as to way to guard against the Mongolians [which they soonafter absorbed into the empire], and this is why there are so many schools of it around the area of Beijing and Baoding. You must be young, fit, strong, diligent, and able to endure in order for it to be at all appropriate. Success can be gained after just one year, and so there is a common saying: “It takes three years of posing to equal one year of throwing.” Although, within this one year, the training is extremely arduous, requiring you to get up in the middle of the night for additional hard work.
     It has the skill of running up mounds, and because the mounds in the north tend to be pointed above and broad below, they are very tall. The practitioner then goes from the top of the mound by straightening his legs and suddenly jumping down to stand without falling.
     It has the skill of standing on one leg, in which one leg stands firm while the other, along with both arms, head, and torso, flatten out, until you are able to stand for a long period without any swaying.
     It has the skill of kicking bags, in which your hands hold up a sandbag of more than a hundred pounds while your feet alternate kicks to it until you are able to hop from one kick to another.
     It has the skill of tossing bags, filled with tens of pounds of iron pellets, in which there are several people throwing and seizing them back and forth without dropping or stopping.
     And so it is that when Shuaijiao practitioners get old, their legs have become stiff, and it is hard to walk. Upon joining a Guanjiao school, you get special garments to wear which are to keep you from getting killed when getting thrown, since evil-minded people often make use of this art to hurt people.
     As for the practice of Taiji Boxing, the more you practice, the healthier you will be.
When you get the knack of it, you will not think yourself clever but will instead credit it to the practice. Once your physique lacks all stiffness, your skill at throwing opponents will surpass that of Shuaijiao. [And as for difficulty in walking,] when Yang Luchan was eighty years old, he happened to walk on wet cement, but the soles of his shoes did not get wet. From this we can tell his steps remained rather nimble.

太極拳與八段錦之比較
EIGHT SECTIONS OF BROCADE

八段錦。為我國文人運動之一種。而種類亦復不少。有大八段錦。小八段錦。十二段錦。混言八段錦。九宫靠等。練之舒長筋骨。活動氣血。甚為有益。然祗一人。單獨練習。不動步。其效止於身體康强而已。不能防身禦侮也。練太極拳。亦是舒長筋骨。活動氣血。而內外齊練。週身活動。自始至終。一氣貫串。上下相隨。內外相合。練之者有强身之樂。有防身之能。無單練之寂寞。有推手之歡樂。
The Eight Sections of Brocade is a kind of exercise for our nation’s scholars. There are many varieties of it, such as Large Eight Sections, Small Eight Sections, Twelve Sections, Babbling Eight Sections, Nine-Palace Approachings, and so on. The practice of it stretches out the body and livens the energy and blood. It is extremely beneficial, but only for one person at a time. It is merely a stationary solo practice, and its effects go no further than making the body healthy, having no capacity for self-defense against bullies. However, practicing Taiji Boxing also stretches out the body and livens the energy and blood, plus:
     The internal and external are trained equally, exercising the whole body. From beginning to end, there is a continuous flow throughout. Upper body and lower coordinate with each other, and inside and out join with each other. The practitioner experiences the joy of invigorating the body and the ability of defending the self. It is without the loneliness of solo practice, for it comes with the camaraderie of pushing hands.

太極拳與彈腿之比較
TANTUI

彈腿傳自回敎。法甚簡單。今遍中國皆有練之者。大同小異。少有不同。練時尚彈勁。一發無餘。一拳一腿。須收回再出。有單練。有對打。余曾練二三年。故知其詳。太極拳循環無端。如常山蛇。首尾相應。粘處皆可放勁。接手卽能打出。不必收回之後。再去二勁也。
Tantui [“snapping kicks”] was passed down from Muslims. Its techniques are very simple, and it is nowadays practiced everywhere in China, more or less identically. When practicing, it emphasizes a snapping energy: with each issuing, there is no leftover power, and with every punch or kick, there must be a withdrawing in order to issue again. It has both a solo set and a partner set. I practiced it for two or three years, so I know the material in detail.
     Taiji Boxing cycles without limit, like the snake of Mt. Chang that responds with both head and tail at the same time [“Attack its head, its tail responds. Attack its tail, its head responds. Attack its middle, both head and tail respond together.” (Art of War, chapter 11)]. Wherever you stick, you can release energy, and as soon as you make contact, you are able to attack. It is not necessary to withdraw and then to issue as a second energy.

太極拳與柔軟體操之比較
CALISTHENICS

柔軟體操。傳自泰西。遍行於學校軍隊之中。與八段錦相似。亦無防身禦侮之能。而練之者。亦少興趣。不過國人震於泰西之傳授。極端迷信。而行之數十年。絕無成效之可言。若練太極拳。練熟之後。習慣成自然。終身練之。無論士農工商。每日有一小時之工夫。卽能內强其身。外防侮辱。而練柔軟體操者。一出學校。一離軍隊。每日自練者。有之乎。若太極拳。旣會之後。得其趣味。自有不能捨之之意。
Calisthenics come from the West and are practiced everywhere in schools and in the military. They are similar to the Eight Sections of Brocade, and likewise have no capacity for self-defense. Practitioners are rarely interested in them, and are only inspired by westerners to pass them on out of a very blind faith, for one can do them for decades and get no results to speak of.
     If you practice Taiji Boxing, once you have trained to the point of skill, it will have become second nature. If you practice it your whole life, whether you are a scholar, farmer, laborer, or merchant, by putting an hour into it every day, you will then be able to strengthen your body internally, and externally to fend off bullies. But for a practitioner of calisthenics, after you have left school or the military, practicing it daily on your own is not going to amount to anything. In the case of Taiji Boxing, after the group session is done, you will have caught the bug and be unable to give it up.

太極拳與田徑賽之比較
TRACK & FIELD EVENTS

田徑賽須少年為之。非盡人可能。練之者多受內傷。有吐血暈絕之患。每觀比賽。旁觀者鼓掌稱賀第一。而勝者已懨懨不堪。面無血色。渾身癱軟。二人架之。行數十分鐘。始能漸漸回復原狀。太極拳則不論老幼男婦。皆可練習。練之者身體日强。久而久之。得其趣味。雖欲捨之不練。亦不能矣。
For track & field events, one must be young. An exhausted person cannot do them. When training, one will receive many injuries, and be scourged with vomiting and bruising. Whenever we see these competitions, the spectators applaud and cheer the winner of 1st place, but the winner is completely worn out, his face a ghostly pale, he is weak and limp from head to foot, it takes a couple of people to support him, and it takes almost half an hour before he is able to gradually recover himself.
     Taiji Boxing can be practiced by all, regardless of young or old, male or female, and the practitioner’s body is daily strengthened. In the course of time, one gets hooked on it, and even if you wished to quit, you would not be able to let it go.

太極拳與足球之比較
SOCCER

足球練頂練肩練腿足。運動甚為有益。然亦祗能少年壯年能之。幼年老年則不相宜。練太極拳。要鬆肩垂肘矬手腕。含胸拔背提頂勁。足球之益。太極拳悉有之也。
Soccer works the headtop, shoulders, legs, and feet. It is a very beneficial exercise, but only the youthful and fit can do it, and it is inappropriate for young and old to be playing it together.
     When practicing Taiji Boxing, you should loosen your shoulders, hang your elbows, sit your wrists, hollow your chest, pluck up your back, lift your headtop… Taiji Boxing already possesses the benefits of soccer anyway.

太極拳與西洋拳術之比較
WESTERN BOXING

西洋拳術。專尚力。不從巧妙處用功。二人對打之時。帶皮手套。打胸部以上。頭臉以下。跌倒不為輸。且有種種限制。甚不自由。無趣味可言。而老年之拳術家。則未見之。太極拳與人對手。可以傷。可以不傷。傷不傷。在於心術之良否。不在拳脚上也。練太極拳工久者。週身不受擊。擊之者自跌。楊露禪先生。七十餘歲時。常釣魚於河上。背受二人之擊。擊之者反由露禪先生之頭上。跌入河中。露禪先生。坐釣如故。幷未動也。楊鏡湖先生。八十歲時。坐於椅上。腹受少年人之拳。力多者。跌出愈遠。
Western boxing arts emphasize strength rather than subtle skill. When two people fight, they put on leather gloves and pound each other’s chest and chin, and it is not treated as a defeat when someone falls down. They also have a wide variety of rules which are very restrictive and are tedious to discuss. Furthermore, old people are never seen in these boxing systems.
     When Taiji Boxing is used in fighting, it can injure or not injure, but to injure or nor to injure is a matter of the judgment of your intention and is not up to your fists and feet. If you practice the Taiji boxing skill for a long time, your whole body will no longer accept strikes, and those who strike you will end up throwing themselves away.
     When Yang Luchan was seventy years old, he often fished by the river, and once happened to be struck by two men from behind, upon which the attackers were flipped over his head and then fell into the river. Yang continued sitting and fishing as before, and had not moved.
     When Yang Jinghu [Jianhou] was eighty years old, he sat in a chair and received punches to his belly from young men. The stronger they were, the farther they fell.

太極拳與日本柔術之比較
JUJITSU

柔術本傳自我國之摔角。日本人又從而研究之。今盛行於三島之間。今者十人而九。日本之强盛。大有力焉。然不能與中國之拳術較。蓋拳術為我國人獨得之秘。地球之上。莫之能京。柔術之主要。在防人之攻擊。對練者多。單練者少。一人獨居。則無聊焉。太極拳獨練對習。皆有趣味。獨練走架。是知己工夫。是體。二人對練推手。是知人工夫。是用。練久者自知其妙。
Jujitsu is based on our nation’s Shuaijiao, which Japanese people also study and which currently flourishes in Mishima. Nowadays, the vast majority of people in Japan are strong and powerful, yet they are unable to compete against Chinese boxing arts. Boxing arts are our nation’s specialty, and there are none in the world who can triumph over them.
     Jujitsu is mainly for defending against an opponent’s attacks. Most of it is partner practice and very little of it is solo practice, and so for a person to practice it alone is very boring. Taiji Boxing has solo practices and partner practices which are both delightful. The practice of the solo set is the work of knowing oneself, and is the foundation. The partner practice of the pushing hands is the work of knowing the opponent, and is the function. One who trains at it for a long will naturally come to know is wonders.

太極拳與各種拳術之比較
THE VARIETY OF [CHINESE] BOXING ARTS

中國拳術。千門萬派。省省不同。約而言之。不過內工外工。花拳而已。江湖賣藝者流。習練花拳。博無識者之贊美。不過營業之一種。或為盜賊之媒。不登大雅之堂。置而不論。練外工者尚力。以能受擊為强。而忽於內。筋骨之强者。臨終時。散工之際。最為痛苦。欲死不能死。令人目不忍見。練太極拳者。無此病也。
In Chinese boxing arts, there are thousands of schools and tens of thousands of styles, differing from province to province. To describe them in brief, they do not go beyond internal training, external training, and exhibition. Itinerant street performers train in exhibition arts, which many ignorant people praise, but are only for making money. It is a tool for such villains and uncouth louts who make use of it unregardingly. Those who practice external training emphasize strength, consider it skill to be able to receive blows, ignoring the internal aspect, and when the ones who have mighty physiques approach death and it is time to leave their labor behind, it is such a pathetic thing the way they wish to die but are unable to, and so onlookers cannot stand to see them. Those who practice Taiji Boxing are without these defects.

太極拳之品格功用 陳志進
TAIJI BOXING’S MORAL QUALITIES & FUNCTIONS – by Chen Zhijin

太極拳為武當嫡派。乃張三丰祖師因觀鵲蛇之鬭。忽有會心。發明此拳。蓋恐修道之士。靜坐功深。血脈有凝滯之患。山行野宿。突然有野獸之厄。是以因觀鵲蛇之鬭智。仿禽獸之飛躍。法天地自然之理。參太極陰陽之秘。創此太極拳以傳修道之士。為靜功之助。久練之後。且有衞身之能。延壽之益。故其歌訣中有詳推用意終何在。益壽延年不老春之語。而練拳之時。純以神行。不尚拙力。故其歌訣中又有若言體用何為準。意氣君來骨肉臣之語。最要而最難者。為尾閭中正神貫頂。滿身輕利頂頭懸。此中大有講究。祖師雲游四方之時。憫文人之懦弱。時受强暴者之侮辱。而無抵禦之策。遂留傳世間。以柔克剛。以弱制强。無力打有力。借人之力。順人之勢。自此以後。太極拳為世所重。稱為武當派。出於少林之上。得斯術者。如獲至寶。不肯輕易傳人。必深知其人之德行操守。又加以多年之精密考察。始肯傳其秘訣。學拳之外。有必須遵守之規律。一不許保鏢護院。二不許沿街賣藝。三不許為綠林嚮馬。以玷身家而累師傅。由此觀之。非品格高尚之人不能學。非堅忍卓絕之人不能學。學之者有變化氣質之功能。性暴燥而急促者。可使之平和而安詳。蓋練拳之時。全身鬆開。順乎自然。渾圓流利。氣沉丹田。心中空空洞洞。思慮全無。如莊周之夢蝶。人蝶不分。練完之後。自己曾練與否。亦不之知。練太極拳到如此境界。有何病不可去。不但自己如此。旁觀之人。亦不覺心平氣和。與之俱化。練拳之時。不許脫衣赤身。須穿長衫馬褂。從容文雅。不咬牙瞪眼。亦不喝叱怪叫。夫太極拳之功用。未病者能使永無疾病。已病者雖沉疴宿患。皆能拔除。雖屬技藝。稱為醫王。有何不可。要知此種太極拳術。為養生却病之最妙法術。諸君觀之。當不以余言為河漢也。
Taiji Boxing descends from Wudang. The founder was Zhang Sanfeng, who observed a fight between a magpie and a snake, which gave him a sudden realization, and so he developed this boxing art. He worried that those who cultivated the Way were meditating so deeply that their blood was becoming perilously stagnant.
     While walking in the mountains and sleeping in the open, he would suddenly find himself at risk from wild animals. Hence because of his wisdom from having observed the magpie-versus-snake duel, he imitated the agile leaping of the birds and beasts. Then by modeling upon the natural principles of the universe, making use of the taiji concept with its passive and active aspects, he created Taiji Boxing to teach the Daoists and aid their meditation practice.
     After practicing it for a long time, you will have the ability to defend yourself and the benefit of prolonged life, as it says in the Song [of Thirteen Dynamics]: “What is emphasizing the use of intention going to lead you to? To a longer life and a longer youth.”
     When practicing the solo set, act only by way of spirit, and do not emphasize awkward effort, as it says in the Song: “Whether we are discussing in terms of theory or function, what is the constant? It is that mind is sovereign and body is subject.”
     The most important as well as the most difficult thing is [as the Song says]: “The tailbone is centered and spirit penetrates to the headtop, thus the whole body will be nimble and the headtop will be pulled up as if suspended.” This is the key point to pay attention to.
     When Zhang wandered all over China, he felt pity for the feebleness of scholars. When they were subjected to the violence of bullies, they had nothing with which to withstand them. Thereupon he handed down to the world the strategies of using softness to defeat hardness, of using weakness to overcome strength, of the one who puts forth no effort winning against the one putting forth effort, of borrowing the opponent’s energy and taking advantage of his momentum. Since then, Taiji Boxing has become prominent in the world, and has become known as the Wudang school, which emerged from Shaolin.
     To obtain this boxing art is like winning a rare treasure, and so do not be willing to pass it on to people casually. You must deeply know their virtue of conduct and sense of personal integrity. Also they are to be treated to many years of exacting inspection before you can be willing to teach them its secrets. Beyond their learning of the art, they must abide by certain rules:
     1. “I cannot become a bodyguard, protecting caravans and courtyards.”
     2. “I cannot become a street performer, making money off its exhibition.”
     3. “I cannot become an outlaw hiding in the forest, or a bandit ambushing from horseback.”
     [In other words, the purpose of this stuff is not to enable you to become a cop, a movie star, or a criminal.] These are flaws of self that would denegrate the teacher. From these points it can be seen that a person without moral integrity will not be able to learn it, and also that a person without a great deal of perseverance will not be able to learn it. Those who have learned it have been able to transform their temperaments, and so those who are hot-tempered or in a hurry can be made moderate and composed.
     When practicing the solo set, your whole body loosens, you comply with what is natural, movement is rounded and smooth, energy sinks to your elixir field, and your mind empties, all thoughts vanishing, like in Zhuangzi’s butterfly dream, in which there is no distinction between man and butterfly [Zhuangzi, chapter 2]. After you have finished practicing, you will not know whether or not you have practiced. When through your practice you have attained this state, what flaw is there that you cannot cast off? This will not only be the case for yourself, but for onlookers, who will unwittingly be calmed and transformed along with you.
     When practicing the solo set, you cannot be naked, but must wear a long gown and a classy jacket, combining leisure with refinement. [This style of dress is a little out of fashion, but the point is that you are to dress comfortably, which induces you to be relaxed in body, as well as elegantly, which spurs you to be graceful in mind.] Do not gnash your teeth or stare hard with your eyes. Do not shout aggression or make strange cries.
     As for Taiji Boxing’s functions, those who are without illness can be made forever free of illness, and even those who are scourged with severe chronic ailments can all be rid of them. Although it belongs in the category of martial arts, it has been called the king of medicine, and rightly so. It should be known that this art of Taiji Boxing is the most wonderful method for nourishing health and preventing disease. Everyone may observe this and need not rely upon my mere words.

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