BAFAN BOXING

岳氏八翻手
BAFAN BOXING OF THE YUE SCHOOL
王新午
by Wang Xinwu
[1930]

[translation by Paul Brennan, Dec, 2014]

《岳氏八翻手》 王新午 (1930) - portrait

著者小影
Portrait of the author

岳氏八翻手目錄
CONTENTS

自序
Author’s Preface
一 八翻手之源流
One: The Origins of Bafan Boxing
二 八翻手之真義
Two: The True Significance of Bafan Boxing
三 八翻手之特長
Three: The Special Characteristics of Bafan Boxing
第一路 抱拳挣錘式
Line 1: Embracing Fists & Fighting Punches
第二路 進退連環式
Line 2: Advancing & Retreating with Continuous Techniques
第三路 撇身捶式
Line 3: Torso-Flung Punch
第四路 葉裏藏化式
Line 4: Flower Hidden Under the Leaf
第五路 仙人掌舵式
Line 5: Immortal Steers the Boat
第六路 羈王捆猪式
Line 6: Emperor Ties up a Pig
第七路 二龍戲珠式
Line 7: Double Dragons Play with the Pearl
第八路 擺肘壓打式
Line 8: Swinging Elbow, Press & Strike
八翻手結論
A Brief Discussion of Bafan Boxing

岳氏八翻手自序
AUTHOR’S PREFACE

余幼多病。四歲不能行。先大人憂之。晨夕教以運動。始八歲。授以長拳。習縱躍。久之。體漸强。逮志學之年。游金臺。從京兆許禹生、滿洲紀子修、吴鑑泉、許先生。受太極十三式。又從河北衡水劉恩綬殿昇先生。學岳氏八翻手。其法由岳家散手變化而來。為清光緒間大槍劉敬遠德寬公所編創。傳為少林嫡系。恩綬先生為敬遠公高弟子。功行精邃。名盛一時。先生嘗自言。習是拳法。歷九寒暑而未間斷。亦可見前輩用心之苦矣。余從諸先生游、幾五載。耳提面命。恍如昨日。時同學多專太極拳。憚八翻手用功之艱苦。余以紀師為雄縣劉公仕俊弟子。精散手及太極。與敬遠公為同門。許師亦受教於敬遠公有年。內外皆精。故得不時請益。遍承教澤。夫然後知此拳法之所以自成一家也。相傳國術分內外二家。説者謂內家主柔。外家主剛。內家言勁。外家尚着。斯言也、竊嘗疑之。考國術之真義。剛柔不可偏廢。着勁固未忽離。精於剛着者。必明乎柔勁。邃於柔勁者。自曉乎剛着。則臻其妙者。固殊途而同歸矣。今之言外家者。多祖少林。以少林拳技。甲於天下也。惜乎師徒星散。衣鉢久失。後世英豪。徒切向往,劉公敬遠編創岳氏八翻手,簡而易習,樸實無華。復經諸先生數十年之苦心研求。參以太極剛柔相濟之精義。健身致用。綽有余裕。庚午歲。余創太原市國術促進會。集三晋名家。從事研究。諸同志復推余兼長教務部事。因印圖説。以廣流傳。并述其原委。俾少林之真。得不淪已。
中華民國十九年秋山西汾陽新午王華杰叙於陸軍第三方面軍總司令部
When I was child, I was frequently ill, so much so that at the age of four I could not even walk. My parents worried about me and constantly taught me exercise. Once I was eight, I was instructed in Long Boxing and practiced leaping and jumping. After a long time, my body gradually strengthened. When I reached the age of fifteen, I traveled to Jintai, where I learned from Xu Yusheng of Jingzhao, and the Manchurians Ji Zixiu and Wu Jianquan. While Xu taught me Taiji’s “thirteen dynamics”, I also learned Yue School Bafan Boxing [known varyingly as Bafanshou, Bafanmen, Bafanquan, etc.] from Liu Enshou of Hengshui, Hebei.
     Developed from Yue School Sanshou, its methods were devised during the reign of Emperor Guangxu by “Big Spear” Liu Jingyuan, called Dekuan, who was a Shaolin exponent. Liu Enshou was the top student of Liu Dekuan. His skill was refined and deep, and his fame spread quickly. He once said of himself that he trained in the art for nine years straight without a break. From this we can see the dedication of the older generation.
     I learned from my teachers for nearly five years. My ears still ring with their instruction as though it was but yesterday. At that time, many of my fellow students were specializing in Taiji Boxing, fearing that Bafan Boxing would be too much work. I found that Ji Zixiu was a student of Liu Shijun of Xiong County [in Hebei]. A fellow student of Liu Dekuan, he was an expert in Sanshou and Taiji. Xu Yusheng had learned from Liu Dekuan for several years, and mastered both the internal and external systems. Thus I frequently asked him for instruction.
     With such a well-rounded education, I then understood why this particular boxing art was created. Chinese martial arts are traditionally divided into the two schools of internal and external. It is said that the internal school emphasizes softness whereas the external school emphasizes hardness, that the internal school discusses energy whereas the external school values technique. These words seem doubtful to me. Examining the true essence of martial arts, neither hardness nor softness should be emphasized, and neither technique nor energy should be neglected. Expertise in hard techniques requires an understanding of soft energy. Skill in soft energy comes from a knowledge of hard techniques. Therefore those who have attained a very high level have indeed taken different paths but reached the same goal.
     When the external school is talked of nowadays, what is usually meant is Shaolin, the Shaolin boxing skills being considered peerless throughout the world. Alas, its teachers and students have become so dispersed that the legacy has long been lost. Yet later generations of heroes have ardently committed to it, such as Liu Dekuan in creating Yue School Bafan Boxing. It is simple and easy to practice, practical rather than decorative. Through the painstaking study of all my teachers over many decades, and with the basic concept from Taiji of hardness and softness complementing each other, it is more than adequate for the tasks of both fitness and self-defense.
     In 1930, I founded the Taiyuan Martial Arts Promotion Society, gathering Shanxi’s famous experts to engage in research. My comrades then encouraged me to both teach this art and to publish a handbook on it, spreading it widely by way of detailed descriptions so as to keep authentic Shaolin from sinking into oblivion.
     – written by Wang Huajie, called Xinwu, of Fenyang, Shanxi, at the Third Area Army General Headquarters, autumn, 1930

岳氏八翻手
BAFAN BOXING OF THE YUE SCHOOL

一、八翻手之源流
ONE: THE ORIGINS OF BAFAN BOXING

八翻手。為少林派之嫡系。余兒時、見鄉人有習子母拳者。言得之於大槍劉氏之傳。問以源流。不能對。其運勁作勢。亦异於是。及游金臺。得受教於劉師恩授。始悉八翻手即子母拳。以變化無窮而得名。又名岳氏連拳。相傳宋岳武穆得散手法於麗泉山僧。其初僅九手,其後每手各變為二十手。更分左右。衍為三百六十手。謂即達摩祖師之所傳。其步名鈎腿盤旋法。後人名之曰岳家散手。清同光之際。有雄縣劉仕俊先生。(即雄縣劉)得其真傳。授徒於北平護軍營。劉公敬遠。(名德寬人稱大槍劉)從而學焉。遂擇其精華。編為八路。左右互习。一路既盡。輒翻轉身法。再接一路。而其勁不斷。連續變化。神妙莫察。余於是恍然於鄉人之傳。蓋失其真矣。此拳尚有中八路、後八路、及敬遠公同年查君所編之夫子拳。皆發源於岳家散手。兹先取此拳。依法編述。然得此已足升堂入室。固在精而不貴多耳。少林衣缽。不絕如縷。學者幸勿以樸而不華輕視之。
Bafan Boxing is descended from Shaolin. When I was a boy, I watched a fellow villager practicing Zimu Boxing. He said he had learned from Big Spear Liu. I asked about the source of it, but he was unable to tell me. Its movements and postures were very unique. When I traveled to Jintai and received instruction from Liu Enshou, I then understood that Bafan Boxing is in fact Zimu Boxing, and that it gets its name [“ba fan” meaning “eight turnings”] from its endless changing. It is also called Yue School Continuous Boxing. Tradition has it that Yue Fei obtained the Sanshou method from the mountain monk Li Quan. It began with only nine techniques, then all the postures were altered and it became twenty techniques to be practiced on both sides, and later development brought it up to three hundred and sixty techniques. It is said to have been passed down from the founder Damo. Its footwork was called the “hooking-leg twisting-turn” method. Later generations called the art Yue School Sanshou.
     In the Qing Dynasty, during the reigns of Emperors Tongzhi [1861-1875] and Guangxu [1875–1908], there was a Liu Shijun of Xiong County (also called “Xiong County Liu”) who obtained the authentic teachings and then instructed the bodyguards in the Beijing barracks. Liu Jingyuan (called Dekuan, known by people as “Big Spear Liu”) learned from him, then took the essence of it and compiled it into eight lines performed on both sides equally. Once one line is finished, you then turn around and continue into another, and so its energy is uninterrupted. By continuously transforming, its ingenuities go unobserved. And thus I suddenly realized that I simply had not seen the genuineness of what my fellow villager had been teaching.
     In this art, there are also the “middle eight lines” and the “later eight lines” [the material in this particular book being the “early eight lines”]. Liu Jingyuan during the Tongzhi era scrutinized and consolidated the basics of his teacher’s art, all of which originated from Yue School Sanshou. By beginning with this set and practicing according to its methods as described, you will thereby already have all you need to achieve a level of mastery, for it truly values quality rather than quantity. This Shaolin legacy is in danger of disappearing, and I hope you will not look down on it as being something that is merely ordinary.

二、八翻手之真義
TWO: THE TRUE SIGNIFICANCE OF BAFAN BOXING

甲、關於運動者
A. Regarding it in terms of exercise:

運動之意義。純為求體魄之健康。然偏於激烈。及不合生理之動作。反足以致患。此拳式路簡單。動作平和。助人體之自然發育。左右互練。無偏顧之弊。深合於各級年齡之生理運動。且富於興味。人不厭倦。久習、則體力無形增進。轉弱為强。神經敏捷。智慧日增。在教練方面。個人團體皆所適宜。雖施以口令動作。而不影響其應用上之精神及作用。整齊雄壯。尤為特色。
The purpose of exercise is nothing more than to strive for the health of the body, but if it is performed too fiercely, it will not conform to physiological functioning, counterproductively resulting in disaster. The postures in the lines of this set are simple and the movements are performed moderately, helping the body to develop naturally. Left and right are trained equally without committing the error of overemphasizing either. It is a profoundly appropriate exercise for all levels and ages. It is also richly interesting, and so people will not get bored with it.
     After practicing it for a long time, physical power will have been enhanced without your even being aware of it, changing weakness to strength, as well as increasing alertness of nerves and sharpness of mind. For instructors, this is something that is suitable for training both individuals and large groups. Even if the movements are counted out, this will not have an adverse effect on the mentality or functionality of their applications. One of the distinguishing features of this art is that it is an organized martial system.

乙、關於應用者
B. Regarding it in terms of application:

習拳為御侮除暴。以講求應用為最要。然徒恃血氣之勇。未可必勝。故須研摩着勁。以術制人。此拳八路之中。無一式不有着。且無一式不講勁。剛柔進退。變化神奇。可玩敵於股掌之上。沉着穩固。更非花着贅勢徒悦人耳目者可比。至各路動作。所包含應用之方法。第一路、為攻防并用法。第二路、為正面捋打法。第三路、為側後面捋打法。第四路、為擒鎖靠打法。第五路、為捆拿推擲法。第六路、為捆鎖擠擲法。第七路、為截拿捆打法。第八路、為擺肘壓打法。總括言之。凡捋、打、擒、拿、推、按、攔、截,肘、靠、滚、壓、捆、鎖、擠、擲等法。無不應有盡有。包羅豐富。
Training in boxing arts is for defending against bullies and ridding the world of villains.
Therefore the most important thing is to give particular attention to application. By relying on reckless courage, you will never win, and so you must drill the techniques and energies in order to use the art to control opponents. Within the eight lines of this boxing set, there is not a single posture that does not have technique, nor a single posture that does not have to do with energy. By means of hardness and softness in advance and retreat, transforming unfathomably, you can toy with an opponent as though he is a mere object in your hand. Through calmness and steadiness, and by never using flowery techniques for showing off to others, you will stand a chance.
     As for the methods of application contained within the movements of each line:
     Line 1 has methods of both attack and defense.
     Line 2 has the methods of pulling in front and striking.
     Line 3 has the methods of pulling to the rear and striking.
     Line 4 has the methods of seizing, locking, crowding, and striking.
     Line 5 has the methods of tying, grabbing, pushing, and throwing.
     Line 6 has the methods of tying, locking, pressing, and throwing.
     Line 7 has the methods of cutting, grabbing, tying, and striking.
     Line 8 has the methods of “swinging elbow”, then “press & strike”.
     In sum, the methods of the art are: pulling, striking, seizing, grabbing, pushing, crushing, stopping, cutting, elbowing, crowding, rolling, pressuring, tying, locking, pressing, and throwing. Since these techniques comprise everything you will ever need, what is contained within the art is abundance.

三、八翻手之特長
THREE: THE SPECIAL CHARACTERISTICS OF BAFAN BOXING

凡各種國術。均各有其特長。如太極拳長於柔化。形意拳長於勇速。八卦之步。潭腿之腿。長拳之敏捷縱躍等。皆其獨到之能。此拳之特長。一、為專搏敵人之要害。二,為毁傷敵人之四肢。其用以制勝者。為掌與拳。其着之主要者、為捆與拿。蓋必制敵死命。不容其有絲毫抵抗之間。而我乃可策萬全。故剛而有應變性。柔而有警覺性。或上制敵手。或下制敵步。每路動作。以捋手當先。尤所獨到。其他着法、則千變萬化。惟心所欲耳。
The various martial arts all have their specialties. Taiji Boxing is good at neutralizing. Xingyi Boxing is good at boldly rushing in. Bagua has it steps, Tantui its kicks, Long Boxing its agile leaping. They all have their unique abilities. The specialty of this art is targeting an opponent’s weak points and injuring his limbs. It wins by way of palm or fist. Its main methods are tying and grabbing. I am sure to be in charge of the opponent’s fate, because by not opposing him with any resistance, my strategies are guaranteed. When he is hard, I adapt. When he is soft, I beware. I control his hands above and his steps below. The movements of each line [except 1 and 3] start with the “pulling hand” technique, which is particularly unique, but the rest of the techniques will be constantly changing as the mind dictates.

第一路 抱拳挣錘式
LINE 1: EMBRACING FISTS & FIGHTING PUNCHES

(釋名)此路以抱拳挣錘二主要動作組合而成。故名。
Explanation of the name:
The two main actions that blend together the movements of this line are “embracing fists” and “fighting punches”, hence the name.

預備式
PREPARATION POSTURE:

預備式。為拳式開始之先、振作精神之式。有如體操中之立正式。所以提起精神。唤醒注意。準備動作也。各項國術。開始動作時。均先作此式。此拳如分路單練。必先作預備式。若連續練習。則於第一路開式時作之。
A preparation posture is a way of rousing one’s spirit before the beginning of a boxing set. It is similar to standing at attention in gymnastics, which braces spirit and awareness in readiness for movement. When the various martial arts begin their movements, they all start with this posture. If the lines in this boxing set are drilled individually, they must each start with this posture. If the set is practiced all the way through, this posture will be the beginning of Line 1.

(口令)預――備
Command: “Ready!”

(圖説)身體直立。兩手下垂。手指向前。手心向地。兩足距離。與肩之寬相等。胸稍內含。頦微內收。頭上頂。眼視前方三十步外。氣沉丹田。兩足用力著地。兩手力注指端。
Description of the posture:
Your body stands upright, arms hanging down, fingers pointing forward, palms facing the ground, feet at shoulder width. Your chest is slightly hollowed, your chin slightly withdrawn, your head pressing upward. Your gaze is forward and extends beyond thirty paces. Energy sinks to your elixir field. Both feet are fully touching the ground. Your hands focus energy all the way into the fingertips.

《岳氏八翻手》 王新午 (1930) - drawing 1

(注意)預備式、須存神静氣。停立片時。有警覺應變之意。
Points for attention:
In this posture, you must gather your spirit and calm your energy. By taking a moment to stand still, you will then have a sense of alertness and adaptability.

第一路第一動(一)(二)(三)(四)(五)
Line 1, Part 1 (movements 1-5):

一 抱拳
1. EMBRACING FISTS

(口令)第一路數――(一)
Command: “Line 1… one!”

(圖説)左足向左平行開步。蹲作乘騎式。兩手作拳。由面前直伸向上。拳心向內,旋下沉。由外向內抱。拳與肩平。兩臂上曲。兩肘貼胸向下。脊骨竪直。臀部內含。眼平視。如圖。
Description of the movement:
Your left foot steps out sideways to the left and you squat down into a horse-riding stance. At the same time, your hands make fists and extend straight upward in front of you, the centers of the fists facing inward, then sink down embracing inward, fists at shoulder level, arms bent and pointing upward, elbows drawn in toward your chest and pointing downward. Your spine is upright, buttocks tucked in. Your gaze is level. See the drawing:

《岳氏八翻手》 王新午 (1930) - drawing 2

(注意)此式兩足須用力着地。不稍動搖。姿勢須平正。運用腰脊之力。達於兩拳。曲蓄待發。準備進擊。
Points for attention:
In this posture, your feet must strive to be flat on the ground and should not be even slightly unsteady. The posture must be balanced and upright. Send power from your lower back to your fists. Bend inward and store it, waiting to issue, preparing to advance and attack.

(應用)凡敵手擊我胸腹各部。均可用此式、向左右格攔之。或合擊其肘腕關節。稍着即發。更繼以進攻。勢甚靈捷。
Application explanation:
Whenever an opponent’s hand is striking toward my chest or belly, I can always use this technique to block to either side or also to attack his elbow or wrist joints. After the slightest touch, I then issue, continuing into an attack, for this posture is ready to spring out.

二 拗步擰身
2. CROSSED STANCE WITH TWISTING BODY

(口令)――(二)
Command: “Two!”

(圖説)上身向左轉一百八十度。兩足附地左扭。使兩腿交叉。右膝抵左腿彎處、勢下坐。兩足成丁字形。左足全部着地。右足掌着地。後踵翹起。抱拳勢、如前不變。
Description of the movement:
Your upper body turns a hundred and eighty degrees to the left, your feet pivoting to the left so that your legs are crossed with your right knee touching the back of your left knee. Your feet are making a T shape, left foot fully on the ground, right foot touching down with the ball of the foot, heel lifted. The posture of “embracing fists” has not changed.

《岳氏八翻手》 王新午 (1930) - drawing 3

(注意)當擰身時。足力上提。則扭轉輕靈。尤須用力平均。上下相合。兩足着地、要穩固不搖。綿密緊凑。定而後發。用勁不得有過與不及之弊。
Points for attention:
When twisting your body, your feet are to have a lifting quality, thus you will turn nimbly. It is especially necessary to strive to move uniformly, upper body and lower coordinating with each other. Your feet should be stable on the ground rather than wobbling, moving with precision every inch of the way. To then issue in the context of stability, the result once you apply power will not be the errors of either excess or insufficiency.

(應用)敵拳或掌、若當胸擊來。即由外以兩臂搭其來手下壓。或以兩臂猛力截擊之。同時擰身吃住敵臂。進逼敵身。惟吃敵臂時。前手應緊壓敵之上膊中間。將其臂壓貼其身。使不能得力。後手搭壓其下膊。準備發着。如弓之引滿待發也。本路各着。皆主防人。第二路至八路。多主攻人。此式擰身應用。意在逼敵。而破其來攻之手。變化甚多。即如左手被敵左手拿住。即順勢後撤左肘。向左擰身。隨以左腕下壓敵腕。而以右拳擊敵左肘關節。敵必負痛撤脱。左右應用。可類推之、太極拳手揮琵琶式。有此化勁。
Application explanation:
If an opponent strikes to my chest with fist or palm, I bring both my arms across to connect to and press down his incoming arm, or I use both arms to perform a fierce cutting strike. At the same time, I turn my body to absorb his arm and press in close to his body. When absorbing his arm, my front hand should tightly press down on the middle of his upper arm to press his arm close to his body, making him unable to do anything with it, while my rear hand presses down on his forearm and prepares to strike, like a bow being drawn to the full and waiting to shoot.
     The techniques in this line all emphasize defense. Lines 2-8 all emphasize attack. The purpose of twisting my body is to press in closer to his and disrupt his attacking arm. There are many variations. For instance, if my left hand gets grabbed by his left hand, I take advantage of the situation by pulling back my left elbow while twisting my body to the left, using my left wrist to press down his wrist and using my right fist to strike to his left elbow joint. He is sure to suffer pain and will pull back. It is the same technique for either side. It can be considered the same kind of technique as Taiji Boxing’s PLAY THE LUTE posture, which has this type of neutralizing energy.

三 拗步挣錘
3. CROSSED STANCE WITH FIGHTING PUNCHES

(口令)――(三)
Command: “Three!”

(圖説)由前式、兩拳向左右齊發。步仍不變。眼視右手。
Description of the movement:
Continuing from the previous posture, your fists shoot out in unison to the left and right. Your stance has not changed. Your gaze is to your right hand.

《岳氏八翻手》 王新午 (1930) - drawing 4

(注意)兩拳分發時。腰脊起立。全體存下沉意。全神注視敵之變化。準備應付。尤其握拳之法。四指緊排。盡力內卷。復以大指按堵拳眼。惟大指指尖。不得突出食指之中關節以外。腕與拳須平直。不得仰腕彎拳。拳發出時。拳眼均向上。以後各式仿此。
Points for attention:
When your hands shoot out to the sides, your lower back straightens, your whole body has an intention of sinking down, and your whole mind is attentive to the opponent’s changes and prepared to deal with them. Of particular note is the method of making a fist: the four fingers are tight together and curl inward with all their strength, then the thumb presses down on the fist eye. The tip of the thumb should not protrude beyond the foreknuckle of the forefinger. Wrist and fist must make a straight line instead of bending inward or outward. When punching, the fist eyes are facing upward, which will also be the case for the rest of postures.

(應用)。以前式(即第二手)搭壓或截擊敵臂後。順勢以右拳擊敵胸肋。凡遇敵臂被我搭壓。皆可以挣捶式擊之。
Application explanation:
Continuing from the previous posture (Posture 2), after I connect to and press down, or do a cutting strike to the opponent’s arm, I seize the opportunity by using my right fist to strike to his chest or ribs. Whenever an opponent’s arm has been pressed down, I can then use fighting punches to strike him.

四 領手
4. LURING HAND

(口令)――(四)
Command: “Four!”

(圖説)由前式、向懷內撤領右拳。同時右下膊及右拳。由外向內轉。至拳眼向地。眼視拳心。上膊內合貼肋。肘彎向上。左手仍如前式不動。身向下坐。
Description of the movement:
Continuing from the previous posture, draw in your right fist toward your chest, the fist and forearm rotating inward until the fist eye faces to the ground [to the right]. Your gaze is to the center of the fist. The upper arm is vertical, tight to your ribs, elbow bent. Your left arm stays as before. Your body is squatting down.

《岳氏八翻手》 王新午 (1930) - drawing 5

(注意)領手時、身勿前傾。脊骨須直竪。左臂仍如前高舉。與肩平。勿垂下。
Points for attention:
When drawing in your hand, your body should not lean forward, instead your spine must be upright. Your left arm should stay at the same height that it was, shoulder level, and should not droop downward.

(應用)領手之意。於搭敵臂後。隨其力前進之方面。領而卸之。如以右手搭敵左臂。(敵臂在下)敵若向右上挑。則運勁於腕。內撤右肘。以領壓之。敵若向外挑。則以腕外鈎其臂。向上抬肘。卸敵勁後。順勢以拳擊敵左肋。此皆就已粘敵身而言。若尚未粘身。則無論敵手擊我胸部、或肋腹等部。即以此式向下領格之。敵手自不能進。或逕以臂運勁截擊之。
Application explanation:
The intention of the “luring hand” is that once I have connected with the opponent’s arm, I go along with the forward direction of his force, drawing it in to dispel it. If I use my right hand to connect to his left arm (my hand being on top of his arm) and he carries it upward to the right, I send energy to my wrist and withdraw my right elbow to lure in and press down. Or if he carries me off to the side, then I use the outside of my wrist to hook his arm, causing his elbow to lift upward. Once I have dispelled his energy, I will then seize the opportunity to punch to his ribs. This is all a matter of sticking to the opponent. If there is not yet contact, then whether his hand strikes to my chest, ribs, or belly, I may use this posture to do a downward luring block, which is sure to keep his hand from being able to attack me, or I may simply send energy into my arm and do a cutting strike.

五 進步挣錘
5. ADVANCE, FIGHTING PUNCH

(口令)――(五)
Command: “Five!”

(圖説)前式領回右拳。含蓄待發。此式緊接進右步。將右拳打出。左步亦隨之稍進。如圖。
Description of the movement:
In the previous posture, you draw in your right fist, storing in wait to issue. In this posture, you then immediately advance your right foot and send your right fist striking out. Your left foot also slightly follows forward. See the drawing:

《岳氏八翻手》 王新午 (1930) - drawing 6

(注意)前進發拳時。手足動作。務須一致。勇猛直上。動作敏捷。步法應練就一定尺寸。落勢以後。即穩固不動。勿有反復挪移之習慣。
Points for attention:
When your fist shoots out, the actions of hand and foot must be in unison. Be fierce and direct, moving with nimbleness. There should be a fixed size to your steps while practicing, thus when you come down into a stance, it will be stable and steady. Do not get into a habit of constantly wobbling.

(應用)此式右拳之發。用切勁、滚勁、向前衝出。應用之法。與本路第三手略同。再如右手被敵拿住。即用前式領手。向懷內滚腕驟領之。敵手自脱。隨用此式。向外滚腕前擊。風馳電掣。往復迅速。敵多莫測其妙也。
Application explanation:
In this posture, when my right hand shoots out, it uses the energies of cutting and rolling as it thrusts out forward. The application for it is almost the same as in Posture 3. If my right hand then gets grabbed by the opponent, I use the previous posture’s luring hand technique to suddenly draw in, wrist rotating inward, whereupon he automatically lets go, and then I use this posture to strike forward, wrist rotating outward, fast as lighting. The back and forth of these actions is so quick, it is usually too subtle for an opponent to see.

第一路第二動[二](二)(三)(四)(五)
Line 1, Part 2 (“TWO, two, three, four, five!”):

(説明)此拳各路所指之第幾動。本宜一氣練完。以求聯貫。不再另分。茲為便於初習起見。故將每路動作。詳分數式。若演練已熟。則凡一動。皆一氣作之。本路動作。共有五式如前。演至第(五)式。即重復由第一式再演。其動作為[二]抱拳式。(二)向右拗步擰身式。(三)拗步挣錘式。左拳在前。(四)左領手式。(五)進左步挣錘式。再繼則為[三](二)(三)[四](五)。[四](二)(三)(四)(五)。隨地點之大小。時間之長短。由教者自定。惟以兩動、四動、或六動為止。所异者。僅手足之左右、及方向耳。
Clarification:
Every line in this set has a certain number of movements. The set should be practiced as a continuous flow all the way to the end. Strive for continuity rather than separated movements, which are for the purpose of convenience in the beginning of the training. The postures of each line are presented individually in detail, but once they have been practiced to familiarity, then every single movement is put together into a single flow.
     This line’s movements amount to five postures, as described above. Once you have performed the fifth posture, then you will repeat them [on the other side] starting from Posture 1 – EMBRACING FISTS (which is now commanded as “TWO!”).
     “Two!” – CROSSED STANCE WITH TWISTING BODY to the right
     “Three!” – CROSSED STANCE WITH FIGHTING PUNCHES, left hand forward
     “Four!” – left LURING HAND
     “Five!” – left ADVANCE, FIGHTING PUNCH
     Then continue into “THREE, two, three, four, five!” And then “FOUR, two, three, four, five!”
     The size of the practice area and the duration of practice will be determined by the instructor, but finish the line with an even number, performing the postures perhaps only twice [once on each side], or four times, or even six times. The only things that are different [in performing the movements on both sides] is the left and right of your hands and feet, and the directions [that your body is] aligned toward.

第二路 進退連環式
LINE 2: ADVANCING & RETREATING WITH CONTINUOUS TECHNIQUES

(釋名)此路動作。以兩拳往復出入。一進一退。連環不絕而得名。使敵防不勝防。御無可御。各種國術姿式。以是為名者、亦有之。其取意大率類此。
Explanation of the name:
In the movements of this line, the fists go back and forth, one striking during retreat, then the other striking during advance. The movements are continuous without pause, hence the name, causing the opponent to defend unsuccessfully and rendering him incapable of defending. Various martial arts postures are named with the same idea in mind.

第二路第一動[一](二)(三)(四)
Line 2, Part 1 (Postures 1-4):

一 捋手
1. PULLING HAND

(口令)第二路數――[一]
Command: “Line 2… one!”

(圖説)演第一路、至第四動之(五)左拳打出時。向右後翻身。作第二路。一曰、捋手。捋者、勁之名。其手非掌非拳。若握物下捋。作此式時。右足向前探進數寸。左足隨之跟進。勢下坐。兩腿稍屈。重點寄於後足。同時右手作捋手狀。由胸左側出前捋。臂稍彎。肘下沉。左手作掌。置右肩前。名曰護肩掌。準備動作。眼隨右手前視。如圖。
Description of the movement:
After performing Posture 5 of Line 1 a fourth time – your left fist striking out – turn around to the right to perform Line 2, Posture 1 of which is called PULLING HAND, “pulling” being the name of its energy. The form of the hand is neither palm nor fist. It is like grabbing an object and pulling it downward. When doing this posture, your right foot reaches out, advancing forward several inches, your left foot follows forward, and you squat down, both legs slightly bent, the weight shifted to your rear foot. At the same time, your right hand makes a “pulling” action, coming out forward from the left side of your chest and pulling, arm slightly bent, elbow sinking down, while your left hand, as a palm, is placed in front of your right shoulder, called “shoulder-guarding palm”, and is prepared to act. Your gaze follows your right hand to look forward. See the drawing:

《岳氏八翻手》 王新午 (1930) - drawing 7

(注意)當翻身時。如有敵在後之意。翻身向後。後即前也。右足探進。所以逼敵。惟恐距之遠而難擊也。動步、動身、動手、刹那間一致作成。重點在後。兩腿稍屈。則易進易退。攻防皆宜。而眼光須隨身手步之動作。而領導之。神宜內含。威宜外露。本拳法出奇制勝。以此式為第一手。此手成功。則他手無不成矣。學者珍之。
Points for attention:
When turning around, imagine there is an opponent behind you, for when you turn to the rear, the rear becomes the front. Your right foot advances to crowd the opponent, because it is difficult to strike him if you are too far away. The movements of your feet, body, and hands should occur in unison. The weight is on your rear leg. With both legs slightly bent, it is easy to advance or retreat, convenient for both attack or defense. Your gaze must go along with the movements of your body, hands, and feet, guiding them. Spirit should be contained within, dominance expressed outwardly. This technique wins by way of surprise. Make use of it as an initiating technique, for once it does its job, all the techniques that may follow from it will also be successful. Treasure it.

(應用)普通攻擊敵人。遇我先發手時。即以此式前手為攻。後手護肩。以肘當心為守。惟前手出發。須擊敵面部。垂肘下合。敵以拗手(我與敵皆右手或皆左手為拗手。)上挑。即捋其下膊回撤。亦有扣采敵衣者。則敵必前傾。我再施以他法擊之。如敵以順手(我右手敵左手或我左手敵右手為順手)上挑。則專用扣采之勁回撤。或以護肩之後手。由前手肘後穿出。捋敵之臂。同時撤替前手為護肩掌。在守的方面。設敵以拗手進擊我胸。即隨其來勢捋其腕。不煩先擊敵頭。誘其出手矣。惟捋敵時、若出手遠。則雖捋敵腕。而勁不能聚。敵腕每致撤脱。如存必捋之心。則非擊敵頭部。誘敵上挑。捋之不穩。且制敵貴一近字。愈近愈有把握。捋腕、捋臂、惟近則皆宜。如法以求之。十不失一。必更可證明此手之神妙也。
Application explanation:
Ordinarily when I am attacking an opponent, if I am the first to issue, I will use this technique, my front hand attacking and my rear hand guarding at my shoulder, the elbow covering my solar plexus. When my front hand comes out, it must strike to his face with the elbow hanging down. If he uses his rear hand to carry upward (both of us with our right hand forward and our left hand behind), then I pull his forearm downward and back, or pluck at his sleeve, causing him to lean forward, and I will then use the following technique to strike him.
     Or if he uses his front hand to carry upward (his left hand forward while my right hand is forward or his right hand forward while my left hand is forward), then I would concentrate on using the plucking energy to pull him in or send my rear hand forward from guarding at my shoulder to threading out from behind my elbow to pull on his arm, at the same time withdrawing my front hand to being the palm guarding at my shoulder, switching it to the defensive role. If he were to use his rear hand to attack my chest, I would then go along with his attack by pulling his wrist. I would not bother to start by striking to his head, but by luring out his hand.
     However, when I am pulling him, if my hand is having to reach out far to get to him, then even if I am pulling his wrist, energy will not be able to gather there and the result will always be his wrist escaping. If I am insistent upon pulling him, then I will not strike to his head, but if I lure him into being carried upward, my pulling will not be stable. But more than that, controlling him depends on being close to him. The closer I am to him, the greater the chance of success. When pulling his wrist or forearm, it is always best to be close to him, and if I strive to do the technique in this way, it will not fail me even once in ten tries. Surely this verifies the ingenuity of this technique.

二 上步撲面掌
2. STEP FORWARD, POUNCING PALM STRIKE TO THE FACE

(口令)――(二)
Command: “Two!”

(圖説)接前式、左步上前一步。脚尖內扣。右足向右轉九十度。勢下蹲。成乘騎步。上體向右轉之度。約一百八十度。同時左掌由右肩前撲。指尖向上。掌心向前。掌與肩平。此時眼向前看。右臂稍屈。以肘貼肋。仰腕當心。仍作捋手狀。
Description of the movement:
Continuing from the previous posture, your left foot takes a step forward, toes hooking inward, your right foot turning ninety degrees to the right, and you squat down, making a horse-riding stance, your upper body turned about a hundred and eighty degrees to the right. At the same time, your left palm pounces forward from your right shoulder, fingers pointing upward, palm facing forward, palm at shoulder level. Your gaze is now forward. Your right arm is slightly bent, elbow close to your ribs, top of the wrist at your solar plexus, still making a pulling posture.

《岳氏八翻手》 王新午 (1930) - drawing 8

(注意)上步後、兩膝內合。兩足着地要穩。撲面之掌。為撲擊勁。非推勁。身、手、步、三者。要同時發動。肩要鬆。則脊背之力。能注於兩手。勢須下沉。捋勁與撲勁。上下相應。含而不斷。撲勁之意。如印印泥。
Points for attention:
After stepping forward, both knees cover inward. Both feet should be stable, touching down fully. For the pouncing palm strike to the face, the “pouncing” energy is not a pushing energy. The three parts of the movement – body, hands, and stepping – should act in unison. Your shoulders should loosen so the power from your spine can concentrate into your hands. The posture must sink down. The pulling and pouncing energies should coordinate with each other above and below, and flow without interruption. The intention of the pouncing energy is like pressing a seal into the red ink.

(應用)此與捋手式應用銜接。敵右手既為我所捋。即上左步扣敵右步。(敵右步在前)以左掌撲擊敵面。撲眼則泪。撲鼻則血。撲額則敵仰面。隨按摸而使之倒。此名摸額、抹眉、理發。國術之普遍名詞也。摸勁、系以掌緊按敵額。隨頭之逃轉而摸。如由內向外。畫一半圓。如旋如揮。繼撲勁而常用之。惟同時五指籠按敵首。勿使逃遁。撲勁、則主擊。指掌合力。沉印而勢速。經常多用為虚手。所以驚敵。而引其他手也。然虚實原無定見。敵能防則為虚。不能防則為實。此拳捋手撲面兩式。為拳中基礎精華。千變萬化。多由此生。學之若精。其妙有不可言傳者矣。
Application explanation:
This posture links with the pulling hand technique in application. Having pulled the opponent’s right hand, I step my left foot forward to hook his right foot (his right foot being forward) and use my left palm to do a pouncing strike to his face. If the strike is toward the eyes, it will produce tears, or if to the nose, there will be bleeding from his nose. If the strike is to his forehead, it will make his face turn upward, and crushing downward at that point will then cause him to fall. This kind of issuing is called “rubbing the forehead” or “wiping the brow”, common terms in Chinese martial arts.
     The “rubbing” energy has to do with tightly pushing on the opponent’s forehead as he tries to escape by tilting his head back. It is like drawing a semicircle from inward to outward as though flopping the hand over in a waving gesture, following through from the pouncing energy with all five fingers covering and crushing down on his head, keeping him from escaping.
     Pouncing energy emphasizes striking, the combined force of fingers and palm stamping heavily and quickly. It is often applied as a feint to surprise an opponent and draw out his other hand, though it is not predetermined to be either a feint or a real technique. If he is able to defend against it, then it used as a feint. If he is not able to defend against it, then it used for real.
     In this set, the two postures of PULLING HAND and POUNCING PALM STRIKE TO THE FACE form the fundamental essence of the art, countless transformations coming from these techniques. Once you have learned them to perfection, their subtleties cannot be communicated in words.

三 擒腕齊眉錘
3. SEIZING THE WRIST, EYEBROW-HEIGHT PUNCH

(口令)――(三)
Command: “Three!”

(圖説)左手變擒拿手下扣。重點全移於右足。再以左足尖用力着地。足踵抬起。向後鈎撤。約四五寸。同時左擒拿手。向懷內撤。右手由捋手式變拳。自右肩上旋。齊眉前擊。拳眼向下。
Description of the movement:
Your left hand switches to grabbing and covers downward. The weight shifting to your right foot, your left toes determinedly touching down, heel lifted, the foot withdrawing by hooking in about four or five inches. At the same time, your left grabbing hand withdraws to be in front of your chest while your right hand switches from pulling to spiraling out from your right shoulder as a fist, striking forward at eyebrow height, the fist eye facing downward. [Through some error, the book does not include a drawing for this posture.]

(注意)左手變擒拿手時。右手之捋手。亦同時向右作勁下沉。左足尖畫地鈎撤時。腰向左稍擰。左手亦向左稍撤。右手之齊眉拳。須合左方之動作相應發出。
Points for attention:
When your left hand switches to grabbing, your right pulling hand goes to the right with a sinking energy. When your left toes scrape along the ground as the foot withdraws, your waist slightly twists to the left, your left hand also slightly withdrawing to the left. Your right hand’s eyebrow-height punch must issue in coordination with the movement of the left side of your body.

(應用)捋敵右腕。擊撲面掌時。若敵以左手挑格。即以左掌下合。擒拿其腕下扣。右捋手亦同時向右捋。使敵兩臂肘彎關節相搭。名曰鎖法。(此時敵左手在上)左足扣敵之右足跟。向後鈎撤。於時左手拿敵腕。向左斜領。則敵失其重點。必撲倒於我之左前方。同時再以右拳齊眉打出。擊其面部。敵必頭破血出矣。此式之關鍵。在交叉鎖手。敵手被鎖。餘着要如何便如何。無復顧慮。故於如何鎖敵之手。至應實際求其奧妙也。設撲面掌擊敵時。敵不挑格而下按。則左手隨其按勁下搬。而以右掌直衝。擊敵面部。或翻掌(掌心向上)托敵之臂而捋之。或擒采敵之衣袖。向左斜領。隨擊以齊眉錘可耳。若用此式對敵。已鎖敵臂。而願其倒。不欲傷其頭。則以左手斜領其腕。將右手作掌。向左按推敵之左肩。敵即仰跌。如用擊法。則以右拳衝擊敵之左脅。亦簡而致勝之手也。
Application explanation:
When I pull the opponent’s right wrist and do the pouncing palm strike to his face, if he uses his left hand to do a carrying block, I then send my left hand down to grab his wrist and cover it downward while my right hand is pulling to the right, thus causing his elbows to meet. This method is called “locking”. (In this moment, his left arm is on top.) My left foot trapping his right heel is pulling back, hooking him in as my left hand grabs his wrist and leads it diagonally to the left, causing him to lose his balance, and he is sure to topple to my forward left. At the same time, I also use my right fist to strike out at eyebrow level, striking to his face, which is sure to bloody his head.
     The key to this technique lies in tangling his hands. But once his hands have been locked up, how should the rest of the technique be performed, and how is it to be performed smoothly and without doubt? For that matter, how to lock up his hands to get the best result when applying it in reality? When doing the pouncing palm strike to his face, if he pushes down instead of doing a carrying block, I then use my left hand to go along with his pushing energy and parry downward, then use my right palm to thrust straight ahead with a strike to his face. Or I may turn my right palm over (so the palm is facing upward) to prop up his arm and then pull, or pluck his sleeve and lead him diagonally to the left, and I can then strike using the eyebrow-height punch.
     When using this technique against an opponent, if I have already locked up his arms and I want him to topple but do not wish to injure his head, then I would use my left hand to diagonally lead his wrist and send out my right palm to push on his left shoulder, whereupon he will lean and stumble away. If I use the striking version, then I may use my right fist to strike to his left ribs, also a simple technique that will bring victory.

四 進步四平拳
4. ADVANCE, FOUR-LEVEL PUNCH

(口令)――(四)
Command: “Four!”

(圖説)右拳齊眉前擊後。即撤回置頭頂上。同時將鈎回之左足。向前邁進。右足隨之。附地移進。作乘騎步。左拳向前打出。
Description of the movement:
After your right fist punches forward at eyebrow level, it then withdraws to be placed above your head. At the same time, your left foot advances hooking inward, your right foot following by sliding forward still on the ground, making a horse-riding stance, while your left fist strikes out forward.

《岳氏八翻手》 王新午 (1930) - drawing 9

(注意)此式右拳撤。左拳擊。左步進。右步跟。四者相合為一。同發同至。不得稍涉參差。尤須將脊力通於兩臂。注於拳端。
Points for attention:
In this posture, when your right fist withdraws, your left fist punches, and when your left foot advances, your right foot follows. These four parts are to be coordinated into a single action, issuing as one and arriving at the same time, no part out of synch with the rest. You especially must send power from your spine, through your arms, to be concentrated at your fists.

(應用)以齊眉錘擊敵時。敵若以右手上格。即進左步。以左掌變拳。衝擊敵之胸脅。凡與敵交手。遇敵上身後仰。或向上挑格我手。均可用此式擊之。惟須坐勢進衝。節短而勢猛。則可操勝券。切忌拖泥帶水。散緩失機。
Application explanation:
When using the eyebrow-height punch to strike the opponent, if he uses his right hand to block upward, I then advance with my left foot and use my left hand, making a fist, to thrust a punch to his chest or ribs. Whenever I am fighting with an opponent, if he happens to lean his upper body back or carry my hand upward, I can always use this technique to attack him. But in order to be able to succeed with it, I must sit down as I thrust forward, and I must act decisively and with ferocity, by all means avoiding slovenly movement [“driving your boat through the mud”], for distractred slowness will lose me my opportunity.

第二路第二動[二](二)(三)(四)
Line 2, Part 2 (“TWO, two, three, four!”):

(説明)〔二〕左手前捋式。(二)上右步右手撲面掌式。(三)右手擒腕左手齊眉錘式。(四)進右步四平拳式。右拳打出。

Clarification:
“TWO!” – left PULLING HAND
“Two!” – right STEP FORWARD, right POUNCING PALM STRIKE TO THE FACE
“Three!” – right SEIZING THE WRIST, left EYEBROW-HEIGHT PUNCH
“Four!” – ADVANCE with your right foot, right FOUR-LEVEL PUNCH

第三路 撇身錘式
LINE 3: TORSO-FLUNG PUNCH

(釋名)撇者、撇開之意。撇身錘、即撇開身勢。以錘擊敵也。在國術名詞中。撇字、有轉翻折叠之意。此路動作。以回身、翻身、兩者組合而成。注重身法。故有此名。
Explanation of the name:
To “fling” is to fling aside. The “torso-flung punch” is a posture of flinging aside with your body to punch an opponent. In martial arts terminology, “flinging” has an intention of turning around and folding up. The movements of this line are blended together by way of turning one way and then turning around the other, emphasizing body maneuvering, thus the name.

第三路第一動[一](二)(三)(四)
Line 3, Part 1 (Postures 1-4):

一 回身架打
1. TURN, PROP & STRIKE

(口令)第三路數――(一)
Command: “Line 3… one!”

(圖説)演第二路、至第四動之(四)右四平拳打出時。向右前方邁進右步。以右臂上架。橫曲頭頂。同時左拳由前式落下。向右前方打出。約在膝前。右腿向右前方前曲。左腿在後蹬直。成弓箭步。眼隨左拳前視。
Description of the movement:
After performing Posture 4 of Line 2 a fourth time – right “four-level punch” – your right foot advances to the forward right, your right arm propping up, bent across at headtop level. At the same time, your left fist lowers from its position in the previous posture by striking out to the forward right until almost in front of your knee, your right leg bending forward toward the forward right, your left leg straightening behind, making a bow and arrow stance. Your gaze follows your left fist to look forward.

《岳氏八翻手》 王新午 (1930) - drawing 10

(注意)演第一動之[一]。系向右前方回身。演第二動之[二]。系向左後斜方回身。其餘動作。左右皆同。此式上架之手。與栽擊之手。須同時發出。邁步回身時。要伸腰助勢。提後腿之力。送達拳端。但足跟緊着地勿離。
Points for attention:
When performing Part 1, go to the forward right and then turn around. When performing Part 2, you will go to the left rear and then turn around. The rest of the movements from then on will be the same, switching left and right. In this posture, the hand propping up and the hand doing the planting punch must issue in unison. When stepping while turning your body, you should stretch with your waist to assist the posture. Send power up from your rear leg into your fists, but do not lift the heel off the ground.

(應用)敵由右前方、或左後方來擊。即回身順手上架。以拗手栽擊之。經常設以順手扣敵右腕。以右手擊敵頭部。敵以左手格架時。即貼身以左臂上挑敵臂。撤替右拳。擊敵脅腹等部。此式應用。與太極拳玉女穿梭、及栽錘式。大致相同。惟上架之手。務須架敵上膊。方能致用。尤須密接敵身。用近字訣也。
Application explanation:
An opponent attacks from my forward right, or left rear [in the case of performing Part 3 of this line], so I turn my body while propping up with my front hand and using my rear hand to do a planting punch. Were I to use my left hand to cover his right wrist and my right hand to strike to his head, if he then uses his left hand to do a propping block, I would close in on his body, using my left arm to carry his arm upward and switching to using my right fist to strike to his ribs or belly.
     The application of this posture is roughly the same as Taiji Boxing’s MAIDEN WORKS THE SHUTTLE combined with its PLANTING PUNCH. However, the hand that props up has to be propping up his upper arm for it to be effective. It is particularly necessary to be near to his body – that is the key to it.

二 翻身雙捋
2. TURN AROUND, DOUBLE PULLING HANDS

(口令)――(二)
Command: “Two!”

(圖説)接前式、向左翻身。右足以足踵為軸。左轉約一百二十度。同時兩手作捋手狀。向上翻身捋下。如拋物綫。右手在上。左手在下。置左膝旁。左足足尖著地。斂撤至距右足約六七寸。成丁字形。而右足為其橫。重點在右腿。上身胸稍含。背用頂力。目前視。
Description of the movement:
Continuing from the previous posture, turn around to the left, your right foot pivoting on the heel about a hundred and twenty degrees. At the same time, both hands perform the “pulling” technique as a parabola, going upward with your body turning, then pulling downward, right hand above, left hand below, to be placed beside your left knee. Your left toes are touching down, withdrawing to be about six or seven inches away from your right foot to make a T shape, your right foot forming the top of the T. The weight is on your right leg. Your chest is slightly hollowed and your back has an energy of pressing out. Your gaze is forward.

《岳氏八翻手》 王新午 (1930) - drawing 11

(注意)向後翻身。變前步為後步。後步為前步。身既翻矣。步既變矣。其主要為兩手之雙捋。及前步之內斂。雙捋之手。本式須卸勁於左膝之外。(因左步在前。手向左捋。若此式第二動之(二)。則卸勁於右膝之外。)免敵進壓己身。斂步之意。亦如之。故演時、各種動作。務當靈速而聯貫。
Points for attention:
When you turn your body around to the rear, your front foot becomes your rear foot and your rear foot becomes your front foot. Once your body has turned and the roles of your feet have been switched, the emphasis becomes the double pulling of your hands and the drawing in of your front foot. The double pulling of your hands must in this case be taking energy past your left knee. (With your left foot in front, your hands pull to the left, but in Part 2 they will be taking energy past your right knee.) Avoiding the opponent’s advance putting pressure upon your body is the purpose of the withdrawing step, which is likewise the other foot in Part 2. When performing the technique, each of the movements should be done quickly but smoothly.

(應用)敵由身後擊來。翻身雙捋其臂。敵必前傾。惟要卸敵勁於左右。免敵進壓。更須於敵在身後之時。早以眼光注意之。俟其手至。即翻身捋之。勿待敵手已擊我後始知。則變轉不靈。反受敵制矣。雙捋已成功。如不用以下架鎖各打法。則最簡捷之手。惟以右手扣敵左臂。釋左手變拳提擊敵之面部。(第二動之二。與此左右相反。)或作前撩掌擊之。
Application explanation:
An opponent attacks me from behind, so I turn around and do a double-handed pull to his arm. He is sure to lean forward, but I must take his energy to the side, be it left or right, to avoid the pressure of his attack. Furthermore, while he is behind me, I must observe him attentively early on and wait for his hand to come out, then I turn around and pull him. I do not wait for his hand to hit me in order to know he is there, for by then my adapting to him would be ineffective and I would counterproductively be under his control.
     After succeeding with the double pull, if I do not use a downward block to seal off his possible strikes, then the simplest technique would be to use my right hand to cover his left arm while I let go with my left hand to lift and strike to his face as a fist (with left and right reversed in the second posture of Part 2) or go forward with a raising palm strike to his face.

三 進步架打
3. ADVANCE, PROP & STRIKE

(口令)――(三)
Command: “Three!”

(圖説)進左步。以右手上架。左手打出。兩手皆作拳。蹲作乘騎步。
Description of the movement:
Advance with your left foot, using your right hand to prop up and your left hand to strike out, both hands making fists, squatting down to make a horse-riding stance.

《岳氏八翻手》 王新午 (1930) - drawing 12

(注意)進步時。後步隨之跟進。乘騎步。肩胯要平正不偏。腰脊直立。演時、以意送全身之力。達於兩臂。
Points for attention:
When advancing, your rear foot follows forward, making a horse-riding stance. Your shoulders and hips should be aligned with each other rather than twisting against each other. Your lower back should be upright. When performing the posture, use intention to send the power of your whole body into your arms.

(應用)用雙捋手。將敵捋下。若敵臂向上挑格。即以右臂上架。以左拳進擊敵胸腹。凡用捋手(不分單捋雙捋)時。敵若向上挑奪。即以另手。順其抵抗之勁、架起進擊。順步最宜。拗步亦可用之。
Application explanation:
When I use both hands to pull the opponent downward, if his arm goes upward with a carrying block, I then use my right arm to block it upward and use my left fist to strike forward to his chest. Whenever I apply the pulling technique (regardless of single-handed or double-handed), if an opponent forcefully carries upward, I then send my other hand along with his resisting energy, propping up and striking forward. It works best in a stance of same hand and foot forward, but it would also be effective in a crossed stance.

四 上步鑽打
4. STEP FORWARD, DRILL & STRIKE

(口令)――(四)
Command: “Four!”

(圖説)上右步。以左手上架。右手打出。仍作乘騎步。
Description of the movement:
Step your right foot forward, using your left hand to prop up and your right hand to strike out, again making a horse-riding stance.

《岳氏八翻手》 王新午 (1930) - drawing 13

(注意)鑽打與架打。大同小异。有稱展打者。上架之手。不必大挑。稍開即進。蓋其致用較架打更近。上架時、與敵腕相搭。用圓勁、向外化走。鑽身衝進。演時、手步動作。務應聯貫迅速。勿稍游移。因在實際上。稍緩即不能進。故於演練時。須養成聯速之習慣。
Points for attention:
DRILL & STRIKE is mostly the same as PROP & STRIKE with only minor differences.
It is also known as SPREAD & STRIKE. The hand that props upward does not need to carry very high, and it slightly spreads aside as you advance. In practical terms, it is very close to PROP & STRIKE. When propping upward, connect to the opponent’s wrist, then use a round energy to neutralize outward, drilling with your body and charging forward. When performing this posture, the movements of your hands and feet should be coordinated and quick, without the slightest hesitation, because in an actual situation you will not be able to advance if there is the slightest delay. Therefore when practicing, you must cultivate a habit of fluid speed.

(應用)以前式架打後。敵若格我左手。即向外化走。此看似挑似架。如鈎如摟。綜其真義。利用敵勁落空。乘機而進也。故即鑽身打其胸腹。兩手之勁。皆須沉着靈動。凡遇與敵臂相搭時。無論敵用架用搬。胥向外化走。乘勢以他手進擊。但擊時,鑽身進步則可勝。若探打、則無能為矣。
Application explanation:
Once I am propping and striking, if the opponent blocks my left hand, I then neutralize outward. This may appear as carrying, blocking, hooking, or dragging, but the real intention is to make use of his energy in order to make him lose his balance, then take advantage of the opportunity and advance. When I then drill with my body and strike to his chest or belly, the energy of my hands has to be both calm and alert. Whenever I connect with an opponent’s arm, regardless of whether he blocks or parries, I always neutralize it outward and take advantage of the opportunity by using my other hand to strike forward. However, I can only succeed when striking by drilling with my body and advancing with my step, whereas I will be unable to make it work if I simply reach out in order to strike.

第三路第二動〔二〕(二)(三)(四)
Line 3, Part 2 (“TWO, two, three, four!”):

(説明)〔二〕向左後斜方回身架打式。(二)向右翻身雙捋式。(三)進右步架打式。(四)上左步鑽打式。
Clarification:
“TWO!” – TURN to the left rear, PROP & STRIKE
“Two!” – TURN AROUND to the right, DOUBLE PULLING HANDS
“Three!” – ADVANCE with your right foot, PROP & STRIKE
“Four!” – left STEP FORWARD, DRILL & STRIKE

第四路 葉裏藏化式
LINE 4: FLOWER HIDDEN UNDER THE LEAF

(釋名)此路之名。自岳氏散手而來。屬於象形取義。亦有稱肘下捶、攔腰捶者、皆甚當。其動作、虚實相間。變化多方。誠妙手也。
Explanation of the name:
The name for this line comes from Yue School Sanshou. It is a description of the posture’s appearance. It is also known as PUNCH UNDER THE ELBOW and WAIST-DRIVEN PUNCH, which are both very fitting. As its movements are alternations of empty and full, and there many kinds of transformations, it is truly an ingenious group of techniques.

第四路第一動〔一〕(二)(三)(四)
Line 4, Part 1 (Postures 1-4):

一 捋手
1. PULLING HAND

(口令)第四路數――〔一〕
Command: “Line 4… one!”

(圖説)演第三路、至第四動之(四)左拳打出時。向右後方翻身。右手前捋。左手作護肩掌。與第二路之〔一〕同。
Description of the movement:
After performing Posture 4 of Line 3 a fourth time – your left fist striking out – turn around to the right rear and perform the pulling hand with your right hand, your left palm guarding at your shoulder, the same as in Posture 1 of Line 2.

《岳氏八翻手》 王新午 (1930) - drawing 14

(注意)與第二路之〔一〕同。
Points for attention: same as in Line 2, posture 1.
(應用)與第二路之〔一〕同。
Application explanation: same as in Line 2, posture 1.

二 上步扣手
2. STEP FORWARD, COVERING HAND

(口令)――(二)
Command: “Two!”

(圖説)上左步。作乘騎式。身向右轉。以左手下扣。約在左膝上。與小腹及右手平。
Description of the movement:
Step your left foot forward to make a horse-riding stance, your body turning to the right, and use your left hand to cover downward until almost on top of your knee, level with your lower abdomen and your right hand.

《岳氏八翻手》 王新午 (1930) - drawing 15

(注意)捋手、及扣手、狀皆非拳非掌。手指內攏。一含捋勁。一含扣勁。右肘貼脅。左肘下沉。兩膝內扣。脊骨要直。
Points for attention:
Both the pulling hand and covering hand are neither fists nor palms, simply a matter of the fingers curling inward. In one case there is a pulling energy, in the other a covering energy. Your right elbow is near your ribs, your left elbow sinking down. Both knees are covering inward. Your spine should be straight.

(應用)以右手捋敵右腕。上左步扣敵右步。以左手扣敵右臂。坐勢下沉。制敵之半身。使敵失却一半抵抗力。然後從而擊之。扣敵後、我身愈向右轉扭。則敵愈不能抵抗。但務得其中。勿有過與不及之弊。
Application explanation:
Having used my right hand to pull the opponent’s wrist, I now step my left foot forward to hook his right foot while using my left hand to cover his right arm, sitting down heavily. I thereby control half of his body, causing him to lose half of his power to resist, and then I will attack. Once I trap him, I am continuing to turn my body to the right, making him still more incapable of resisting. However, I must go only as far as is suitable and not make the mistake of either going too far or not far enough.

三 摜耳掌
3. HURLING PALM STRIKE TO THE EAR

(口令)――(三)
Command: “Three!”

(圖説)接前式、左手緊扣不移。以右手作掌橫貫。用鞭勁。
Description of the movement:
Continuing from the previous posture, your left hand does not shift from its position of covering, but your right hand hurls across with a palm strike, using whipping energy.

《岳氏八翻手》 王新午 (1930) - drawing 16

(注意)扣手不緊。則敵能抗。一釋捋手。即作摜耳掌。身更向敵前貼。摜時、肩膀要鬆。掌心蓄力。
Points for attention:
If your covering hand has no urgency, the opponent will be able to resist it. When your other hand switches from its pulling to hurl a palm strike to the ear, your body moves still closer to the opponent. During this hurling action, your shoulder should be loose, power stored in the palm.

(應用)左手扣敵右臂不動。右手作掌。橫摜敵面。約在太陽穴之上。此為虚手。然若擊中。則殊危也。
Application explanation:
My left hand does not move from covering the opponent’s arm, but my right hand hurls across as a palm toward his face, aimed approximately at his temple. This technique is a feint, yet there appears to be danger within this attack.

四 攔腰捶
4. WAIST-DRIVEN PUNCH

(口令)――(四)
Command: “Four!”

(圖説)向後卸身。稍斂左步。右掌撤回。橫頭上。掌心向外。隨以左手上挑。臂上屈。肘下沉貼脅。以右手攔腰後擊。置左肘下。拳眼向前。仍開左步。如圖。
Description of the movement:
Your body withdraws to the rear and you slightly draw back your left foot. Your right hand is withdrawing to be crosswise above your head, palm facing outward. Then use your left hand to prop up, arm bent until vertical, elbow sinking down near your ribs, and use your right hand to strike across with a “waist-driven punch” until placed below your left elbow, fist eye facing forward [upward], again stepping out with your left foot. See the drawing:

《岳氏八翻手》 王新午 (1930) - drawing 17

(注意)身之一卸一進。步之一斂一開。以及左手之挑。右手之擊。皆須動作合拍。與應用之意不違。
Points for attention:
When your body withdraws and advances, your step draws in and goes out, your left hand props up, and your right hand strikes. All of these actions must occur in coordination with each other and never be separate from their intended application.

(應用)以前式摜耳掌擊敵左臉部。敵必以左手挑格。即隨其挑勁、粘敵手後撤。則敵臂必伸直。再以左手穿其肘後上挑向後。愈高愈可得勢。架過我頭之後。即以右拳擊其左脅。若扣住敵步。則於挑起後。我身向左一擰。不待拳擊。敵即倒矣。若於使用摜耳掌時。敵手不挑而下扣。則右手回撤。向外翻掌捋其左腕。仍穿左臂於敵左肘後。左臂內合。右手外按。則敵臂可折也。惟此類着法。均須以腰勁助勢。抱肘式即此意。
Application explanation:
When in the previous posture I hurled my palm to attack the left side of the opponent’s face, he is sure to use his left hand to do a carrying block, so I go along with his carrying energy and withdraw my hand after connecting with him. This is certain to cause his arm to straighten, so I slip my left hand behind his elbow and prop up to the side. The higher I go with this, the more effective it will be. I prop up until it is past my head, then use my right fist to strike to his left ribs. If I have hooked his foot, then the act of propping up and taking him across, coupled with my body twisting to the left, will make him topple without my having to strike him.
     Or when I hurl out my palm strike, if he does not prop up but instead covers downward, I then withdraw my right hand, turning the palm to face outward, and pull his left wrist, then as before I slip my left arm behind his left elbow. With my left arm folding inward and my right hand pushing outward, his arm can be broken. These kinds of techniques all have to be assisted by power from the waist, as in the “embracing elbow” posture [explained below in Line 6, Posture 4].

第四路第二動〔二〕(二)(三)(四)
Line 4, Part 2 (“TWO, two, three, four!”):

(説明)〔二〕左手向前作捋手式。(二)上右步扣手式。(三)左摜耳掌式。(四)右手上挑。左手擊攔腰捶式。
Clarification:
“TWO!” – left PULLING HAND
“Two!” – right STEP FORWARD, COVERING HAND
“Three!” – left HURLING PALM STRIKE TO THE EAR
“Four!” – right hand propping up, left WAIST-DRIVEN PUNCH

第五路 仙人掌舵式
LINE 5: IMMORTAL STEERS THE BOAT

(釋名)此路專重擲人。發勁時、須有定勁。則擲發準確。其擲發時。如掌舵式、故名。一名推山式。與太極拳如封似閉。形意拳之虎形等式相類。
Explanation of the name:
This focuses on powerfully throwing an opponent. When you issue power, you must have a stable energy, then your throwing will be precise. When throwing, the posture is as though your hands are working a rudder, hence the name. Also called PUSHING A MOUNTAIN, it is the same kind of technique as Taiji Boxing’s SEALING SHUT and Xingyi Boxing’s tiger.

第五路第一動〔一〕(二)(三)(四)
Line 5, Part 1 (Postures 1-4):

一 捋手
1. PULLING HAND

(口令)第二路數――〔一〕
Command: “Line 5… one!”

(圖説)演第四路、至第四動之(四)時。向左後方翻身。作左捋手式。
Description of the movement:
After performing Posture 4 of Line 4 a fourth time, turn around to the left and perform the pulling hand with your left hand.

《岳氏八翻手》 王新午 (1930) - drawing 18

(注意)見前。
Points for attention: same as before.
(應用)見前。
Application explanation: same as before.

二 上步撇面掌
2. STEP FORWARD, FLINGING PALM STRIKE TO THE FACE

(口令)――(二)
Command: “Two!”

(圖説)上右步。身向左轉一百八十度。右掌自左肩反掌前擊。掌心向內。左手仍作捋手狀。橫於腹前。
Description of the movement:
Stepping your right foot forward, your body turns a hundred and eighty degrees to the left and your right palm goes forward from your left shoulder with a reverse palm strike, palm facing inward. Your left hand remains in its posture from the pulling hand technique, placed crosswise in front of your belly.

《岳氏八翻手》 王新午 (1930) - drawing 19

(注意)此式動作。與第二路之撲面掌式同。惟彼以掌心向外。此則掌心向內。以掌背擊敵耳。
Points for attention:
This posture’s movement is the same as the pouncing palm strike to the face in Line 2, except that in that case the palm was facing outward, whereas in this case the palm is facing inward and the back of the hand is striking the opponent.

(應用)以左手捋敵左腕。進右步扣敵左步。以右掌反擊敵面。誘敵右手格架。則轉掌再捋其右腕。此着在本式為虚手。因專重擲發敵人。故下式為合手、雙推、等式。若用打法、則第二路已述其大略矣。
Application explanation:
Having used my left hand to pull the opponent’s left wrist, I now advance with my right foot to hook his left foot while using my right hand to do a backhanded strike to his face. This induces him to do a propping block with his right hand and I will then turn over my hand to pull on his wrist. This technique is a feint for the purpose of throwing him by way of the two following postures. If I were instead to use a striking method, the general idea for that was already described in Line 2.

三 合手
3. GATHERING HANDS

(口令)――(三)
Command: “Three!”

(圖説)右手轉掌下合。左手仍增用捋勁。隨之下合。兩肘束脅。上體稍屈。勢下蹲。
Description of the movement:
Your right hand turns over and gathers in downward, your left hand increasing its pulling energy to also be gathering in downward, your elbows binding in toward your ribs. Your upper body slightly bends, the posture squatting down.

《岳氏八翻手》 王新午 (1930) - drawing 20

(注意)兩手下合。拿敵雙腕。四臂相搭如十字。兩肘束脅。身體屈蹲。則全力下沉。敵不易挣脱。且蓄勁而發。可操必勝。名曰合手。所謂拿也。
Points for attention:
When your hands gather downward, you are grabbing an opponent’s wrists. Your arms and his are thus making an X shape. Your elbows bind in toward your ribs as your body bends and squats, thus the whole of your strength will be sinking down and it will not be easy for the opponent to pull away. Furthermore, when you store power and then issue, the technique you perform is sure to succeed. It is called “gathering hands”, but the meaning is “grabbing”.

(應用)兩手交叉。捋敵腕下合。身稍屈。肘貼脅。則蓄勁飽滿。斯時、敵雖不挣扎。亦準備擲發。挣扎、適以助我發勁。且凡雙捋下合。敵必前傾。前傾、則必後挣。此為自然之理。若有懂勁之手。順我合手而進。則閃身向斜方單捋之。令其落空。即撩手擊其面部。
Application explanation:
When my hands connect with the opponent’s, I pull his wrists and gather downward, my body slightly bending, my elbows nearing my ribs, so that I am storing power to the fullest. At this moment, he may struggle, but since I am already prepared to throw him out, his struggling only helps me to issue power. Whenever I pull downward with both hands, he is sure to lean forward. Once leaning forward, he will struggle to back off, a natural instinct. If he has the skill of identifying energy, he would go along with my gathering technique and advance, and then I would evade with my body while pulling diagonally with a single hand, causing him to lose his balance, then raise a hand to strike to his face.

四 推山掌
4. MOUNTAIN-PUSHING PALMS

(口令)――(四)
Command: “Four!”

(圖説)進右步。雙手前推。左步跟進。如圖。
Description of the movement:
Advance with your right foot, pushing forward with both hands, your left foot following forward. See the drawing:

《岳氏八翻手》 王新午 (1930) - drawing 21

(注意)兩手推時。要集中全力於雙掌。進步長腰以助勢。但推出後。兩肘不得過前膝。臂亦不得過直。以有含蓄為宜。後步跟進。須與前步同時。輕靈移動。勿就地拖擦。反分前進之勁。
Points for attention:
When your hands push, you should concentrate all your strength in your palms. Advance with your step and stretch your waist to assist the power. However, once you have pushed out, your elbows should not go past your knees and your arms should not straighten all the way, and should instead maintain some quality of storing. When your rear foot follows your front foot forward, it must move nimbly rather than dragging along the ground, which would be the opposite of an energy of advancing.

(應用)用合手時。敵若挣扎。即進步按其兩肘。內合前推。如敵手已開。則能推及其胸而擲之。此式發勁。要整而不散。即可致用。莫之能御也。各種擲發之手。多由此式變化而來。學者可觸類而引申之。
Application explanation:
When I apply the gathering hands, if the opponent struggles, I advance while pushing on his elbows. Having gathered inward, I then push forward. If his hands are already spreading open, I can then push to his chest to throw him out. The issuing of power in this technique should be in good order rather than sloppily carried out, and then it will be effective enough that it cannot be defended against. The various throwing methods are all variations based on this technique. You can get the general idea from this one and then extend it to the rest.

第五路第二動〔二〕(二)(三)(四)
Line 5, Part 2 (“TWO, two, three, four!”):

(説明)〔二〕右手作捋手式。(二)上左步撇面掌式。(三)合手式。(四)進左步推山掌式。
Clarification:
“TWO!” – right PULLING HAND
“Two!” – STEP FORWARD with your left foot, FLINGING PALM STRIKE TO THE FACE
“Three!” – GATHERING HANDS
“Four!” – advancing with your left foot, MOUNTAIN-PUSHING PALMS

第六路 羇王捆猪式
LINE 6: EMPEROR TIES UP A PIG

(釋名)此路之名。極形容其勇猛無敵。主要之著。為捆字訣。捆之、則任意擲打。莫之能御。名雖稍欠雅馴。然未便更易。以存其真。式中捆手。與摔角術之抖麻辮相同。
Explanation of the name:
The name of this line fully describes fierceness and invincibility. The main word is “tie”. Tie up the opponent and throw him away. No one can resist against it. Although the name may be somewhat lacking in elegance, it would not be convenient to change it, for it expresses so authentically the “tying” within the technique. It is the same as the “shaking braids” technique of Shuaijiao.

第六路第一動〔一〕(二)(三)(四)
Line 6, Part 1 (Postures 1-4):

一 捋手
1. PULLING HAND

(口令)第六路數――〔一〕
Command: “Line 6… one!”

(圖説)演第五路、至第四動之(四)時。向右後方翻身。作右捋手式。
Description of the movement:
After performing Posture 4 of Line 5 a fourth time, turn around to the right and perform the pulling hand with your right hand.

《岳氏八翻手》 王新午 (1930) - drawing 22

(注意)見前。
Points for attention: same as before.
(應用)見前。
Application explanation: same as before.

二 橫攔掌
2. SIDEWAYS STOPPING PALM

(口令)――(二)
Command: “Two!”

(圖説)接前式。上左步。左手自右肩伸臂橫攔。掌心向內。
Description of the movement:
Continuing from the previous posture, step your left foot forward while extending your left hand from your right shoulder, going across with a “stopping” technique, palm facing inward.

《岳氏八翻手》 王新午 (1930) - drawing 23

(注意)前撲面掌。系掌心向外擊敵。撇面掌。系掌心向內反掌擊敵。此種橫攔掌。系掌心向內。重以下膊攔擊敵面。誘敵他手來格也。斯數掌、名目動作雖稍异。其致用則一。出掌時。重點要穩。預伏捋合之勢。
Points for attention:
A pouncing palm strike to the face involves striking an opponent with the palm facing outward. A flinging palm strike to the face involves striking an opponent with the palm turned to be facing inward. This “sideways stopping palm” involves striking across to an opponent’s face with the forearm, the palm facing inward, and lures his other hand into blocking. Although these palm techniques have slightly different names, their function is the same. When sending the palm out, the most important thing is stability, thus preparing this striking technique to switch to the pulling technique that follows.

(應用)橫臂出掌。反擊敵面。與撲面掌、撇面掌、略同。若遇敵以左手擒我左腕。則向左前方稍開左步。以左手斜領上架。如第三路之〔二〕。以右拳栽擊敵之左脅。
Application explanation:
When I send out my palm and my arm goes across with a reverse strike to the opponent’s face, it is almost the same as a pouncing palm strike to the face or a flinging palm strike to the face. If he happens to use his left hand to seize my left wrist, I slightly step my left foot out to the forward left and use my left hand to diagonally prop upward, as in the beginning of Line 3, Part 2, in which I then use my right fist to do a planting punch to the opponent’s left ribs.

三 捆手
3. TYING HANDS

(口令)――(三)
Command: “Three!”

(圖説)左手反掌。掌心向外作擒拿勢。向左下方捋。右手捋手。仍用捋勁。稍向右上方提擰。
Description of the movement:
Your left palm turns over to face outward, making a seizing posture, and pulls downward to the left. Your right pulling hand is again using pulling energy as it goes slightly upward to the right, lifting and twisting.

《岳氏八翻手》 王新午 (1930) - drawing 24

(注意)此式意在以一手制敵雙手。向左右一捋一提。與第五路合手之勁异。因繼續之式。彼為擲發。此乃兼含打擊。惟下式之能否應用。全視合手或捆手之是否得力。此點則皆同。最要兩手用勁須相合相應。貴作實際之探討。自能領會其妙。
Points for attention:
The intention of this technique is to use one hand to control both of the opponent’s hands,
one hand pulling while the other is lifting into place. It is a different energy from the gathering hands in Line 5 because this technique flows right into the throw that follows, which simultaneously contains a striking attack. But as to whether or not any technique can follow from the gathering hands or the tying hands, this entirely depends on how effectively either of those techniques is carried out, and in this regard they are the same. The most important thing is that both hands put forth energy in unison, responding together. By putting value on exploring the practicality of a technique, we can naturally come to understand its subtleties.

(應用)以右手捋敵右腕。以左橫攔掌擊敵面部。敵必以左手格架。隨即反掌擒其左腕下捋。原捋手向上提擰。使敵右臂壓於左肘後方。則我捆手之能事畢矣。此時左手擒按敵腕。制敵兩手。愈向敵身推近。捆之愈緊。若恐敵擺脱。不及用下式手法時。可釋右手。擊其左脅。為最簡捷也。或有用齊眉錘者。則與第二路等矣。
Application explanation:
Having used my right hand to pull the opponent’s right wrist while doing a sideways stopping palm to attack his face, he is sure to do a propping block with his left hand. I promptly turn over my palm to seize his left wrist and pull down, at the same time lifting [my right hand upward] and twisting, causing his right arm to get pressed down behind his left elbow. Thus I can deflate the situation by way of the tying hands technique. At this time, my left hand has seized and pushed down his [left] wrist, thereby controlling both of his hands by pushing them closer to his own body, “tying” him up tightly. If I worry that he will shake me off, it would be better to apply the technique in the following posture, for the simplest thing to do would be to let go with my right hand and strike to his left ribs. Or I could also apply the eyebrow-height punch from Line 2.

四 滚擠手
4. ROLLING PRESSING HANDS

(口令)――(四)
Command: “Four!”

(圖説)左右手并釋。左手屈臂滚擠。滚出後、掌心向外。右手初助左臂滚擠。繼即前推。用擲勁。左步同時邁進。右足隨之。
Description of the movement:
Your hands loosen in unison. Your left arm bends into a “rolling pressing” technique, and once rolled outward, the palm is facing outward. Your right arm at first assists the rolling pressing of your left arm, then continues into a forward push, using throwing energy. Your left foot at the same time advances, right foot following.

《岳氏八翻手》 王新午 (1930) - drawing 25

(注意)滚擠進步時。兩手發勁須一致。此勁於演成捆手式時。即含蓄待發。進步後、勢穩堅下沉。全神向前貫注。
Points for attention:
When advancing with the rolling pressing action, your hands must issue in unison. When performing the tying hands, this energy is stored and waiting to be issued. Once your step has advanced, your stance becomes stable and heavy, and the whole of your spirit is focused forward.

(應用)敵手如前式、既被我捆鎖。即釋左手。以臂循敵左腕而上。至兩肘相交處。向外滚擠。右手按左腕。合勁助勢滚擲。惟變化極速。敵莫能遁。若不撤左手。則單以右掌推擲敵之左膊。敵必傾跌。有用前擊錘者。多於敵兩臂猛力上挑時擊之。與第二路架打。及第七八等路之用有同處。則重打而不重擲矣。但此路乃擲打并用之着法也。
Application explanation:
If the opponent has been trapped by me in the previous posture, I let go with my left hand and use my forearm to slide upward along his left forearm until our elbows are crossed, then I do a rolling press outward, my right hand pushing on his left arm. Use of gathering energy assists the power of the rolling becoming a throw, but I have to change from one to the other very rapidly so he is unable to escape. If I do not let go with my left hand and I use only my right hand to push on his left arm, he is sure to lean and fall away.
     The previous methods of striking forward have often been a matter of suddenly propping up both of the opponent’s arms and striking, as in Line 2’s PROP & STRIKE, and is a situation that will also appear in Lines 7 and 8. The result would be a powerful strike, but not a powerful throw. The version in this line is a method of throwing and striking applied simultaneously.

第六路第二動〔二〕(二)(三)(四)
Line 6, Part 2 (“TWO, two, three, four!”):

(説明)〔二〕左手作捋手式。(二)上右步橫攔掌式。(三)捆手式。(四)進右步滚擠手式。
Clarification:
“TWO!” – left PULLING HAND
“Two!” – step your right foot forward, SIDEWAYS STOPPING PALM
“Three!” – TYING HANDS
“Four!” – right foot advancing, ROLLING PRESSING HANDS

第七路 二龍戲珠式
LINE 7: DOUBLE DRAGONS PLAY WITH THE PEARL

(釋名)此路以第三動作之探指而得名。一名抱琵琶式。則以第四動作之抱肘、其狀如之。顧名思義。知厥所重。尤以截、拿、捆、打。四字為主要。全路動作。兩用截法。與第四路似同而實异。
Explanation of the name:
This line is so named because of its third posture – REACHING FINGERS [a double-finger poke]. It is also known as HOLDING THE LUTE, which manifests in the course of the fourth posture – EMBRACING ELBOW – because its appearance in that moment is as the name implies. Understand its essentials, especially cutting, grabbing, tying, and striking. These four terms are fundamental to this line, cutting in particular, which is used in two of its postures. This line might seem to be the same thing as Line 4, but is actually different.

第七路第一動〔一〕(二)(三)(四)
Line 7, Part 1 (Postures 1-4):

一 捋手
1. PULLING HAND

(口令)第七路數――〔一〕
Command: “Line 7… one!”

(圖説)演第六路、至第四動之(四)時。向左後方翻身。作左捋手式。
Description of the movement:
After performing posture 4 of Line 6 a fourth time, turn around to the left and perform the pulling hand with your left hand.

《岳氏八翻手》 王新午 (1930) - drawing 26

(注意)見前。
Points for attention: same as before.
(應用)見前。
Application explanation: same as before.

二 截錘
2. CUTTING FIST

(口令)――(二)
Command: “Two!”

(圖説)按前式、上右步。右手作拳打下。與左手為平行。前後相距約尺餘。同時身向左轉一百八十度。兩膝內扣。蹲作乘騎式。如圖。
Description of the movement:
Continuing from the previous posture, step your right foot forward, your right hand making a fist and striking downward to make a line with your left hand, your hands just over a foot apart. At the same time, your body turns a hundred and eighty degrees to the left, your knees covering inward as you squat down into a horse-riding stance. See the drawing:

《岳氏八翻手》 王新午 (1930) - drawing 27

(注意)前各路上步用掌。此路用拳下榨。上身須注意向左閃。因實際應用時。須防敵人右手探擊也。但雖含閃意。而緊貼敵身不離。勁須集中於右拳。下榨時、勢并下沉。
Points for attention:
The step forward in the previous line uses a palm attack, whereas in this line it is a fist pressing down. Your upper body must give attention to evading on the left, because when you actually apply this technique, you must defend against the opponent’s right hand reaching out and striking at you. However, even if you have an intention of evading, stay close to his body and do not draw away from him. Power must be concentrated at your right fist, and when it presses down, your stance should also be sinking down.

(應用)設敵以左手來擊。即以左手捋其腕。進右步。以右拳截榨其左臂彎處。或上膊中間。及肘後麻筋。凡與敵尚未粘身。或我腕被擒。即可用拳截擊其臂腕等處。兩拳如連環之兼施。惟前拳外砍。後拳內截。為不同耳。截臂之拳。若十分近身。則劈頭而下。終達於臂。為着尤凶。設左手捋敵左腕。不及施着。敵右手已來擊我時。則用本式進步。以右拳截擊敵右臂。
Application explanation:
If an opponent uses his left hand to attack me, I then use my left hand to pull his wrist while advancing my right foot and using my right fist to cut downward onto his left elbow, the middle of his upper arm, or behind his funny bone. Whenever I am not yet connecting to an opponent’s body or my wrist has been seized, I can use a fist to do a cutting strike to his forearm. But using both fists in succession, the front fist chopping outward followed by the rear fist cutting inward, is not quite the same thing.
     If a cutting strike to his arm is done when very close to his body, it will be a chop to his head and then continue downward to reach his arm, making it extra brutal. If I unsuccessfully use my left hand to pull his left wrist, and his right hand is already on its way to strike me, I then apply this technique, advancing and using my right fist to do a cutting strike to his right arm.

三 探指
3. REACHING FINGERS

(口令)――(三)
Command: “Three!”

(圖説)由前式截錘後。即將右拳變掌下扣。同時左手伸中食二指直伸前探。手之高、約與頭齊。右步在前作弓箭步。
Description of the movement:
Continuing from the cutting fist technique, your right fist becomes a palm and covers downward while your left hand reaches out forward with its forefinger and middle finger extended, hand at about head level. Your right foot is forward and you are making a bow and arrow stance.

《岳氏八翻手》 王新午 (1930) - drawing 28

(注意)右掌下扣時、用沉勁。探指手、須運勁達於指端。以意之消息運之。上體應正直勿前傾後仰。或左右偏倚。探指意在戳敵雙目。其尺寸當以己頭為標準。勿過高過低。失却真意。此着屬虚手誘敵。使被驚而速上也。探勁愈前。扣勁愈增。學者應特加注意。
Points for attention:
When your right palm covers downward, use sinking energy. When your fingers reach out, you must send energy to the fingertips. Move it there by way of intention. Your upper body should be upright, not leaning forward or back, nor inclining to either side. When your fingers reach out, the intention is to poke the opponent’s eyes. You should perform this as if your opponent is your own height, going neither too high nor too low, which would go against the real intention [i.e. producing habits of pointing uselessly over an opponent’s head or jabbing jarringly at his sternum]. This technique is a feint to lure him in. Catch him by surprise and then quickly advance upon him. The more forward the reaching energy goes, the more the covering energy will increase. You should pay particular attention to this.

(應用)用捋手截錘後。右拳變掌。下扣敵臂。撤左手。探指戳挖敵之兩眼。本着在本路為虚手。但我急敵緩。則虚者自實。如蓄意純用探指。以戳敵目。則於下扣敵臂時。稍用捋勁。敵必現前傾之勢。蓋身驟前傾未定之時。他手後墜。不暇來防。我乘機探指。敵目創矣。亦有以五指齊戳。抓毁敵面者。名曰鷹爪手。與此着原意异其虚實。當細辨之。
Application explanation:
After I apply the pulling hand and cutting fist, my right fist becomes a palm and covers the opponent’s arm downward while my withdrawn left hand reaches out its fingers to gouge his eyes. This technique is a feint, yet if I am quick and he is too slow, this fake technique will become real. If I focus entirely on reaching out my fingers to poke his eyes, then when I cover his arm downward, there will be more of a pulling energy, and he is sure to now lean forward. With his body suddenly leaning forward and unstable, his hand drops back, too busy to attack me, and so I seize the opportunity to reach out with my fingers to injure his eyes. I could also use all five fingers to poke together or to rake his face with what is called an “eagle’s claw”. The purpose of this technique is different depending on whether it is fake or real and should be carefully distinguished.

四 抱肘直打
4. EMBRACING ELBOW, STRIKE STRAIGHT AHEAD

(口令)――(四)
Command: “Four!”

(圖説)上體向左擰。左手撤回一半。變拳置於胸前。離胸約三四寸。右臂左伸。向上反右挑。此時如抱琵琶狀。右步稍斂。全身重點移於左足。繼即將上體右擰。正身向前。右臂外挑。左拳對心打出。右步稍前進。左步隨之。仍作弓箭步。如圖。
Description of the movement:
Your upper body twists to the left, your left hand withdrawing halfway and becoming a fist placed about three or four inches in front of your chest, your right arm extending upward to the left, the palm turning over and carrying upward to the right. You now look as though you are holding a lute. Your right foot has slightly withdrawn and the weight has shifted to your left foot. Your upper body then twists to the right to be squared forward, your right arm carrying outward as your left fist strikes out to the solar plexus, your right foot slightly advancing, left foot following, and you are again making a bow and arrow stance. See the drawing:

《岳氏八翻手》 王新午 (1930) - drawing 29

(注意)左手撤回時。上體左擰。右臂左伸上挑。左拳前擊時。上體右擰。右臂向外滚挑。動作互應。接合綿密。外挑之手。挑至向上折回下膊拳與肩齊垂肘貼脅為度。
Points for attention:
When your left hand withdraws, your upper body twists to the left and your right arm carries to the upper left. When your left fist strikes forward, your upper body twists to the right and your right arm goes outward with a “rolling carrying” action, the movements corresponding to each other, linked precisely. When the hand carries outward, carry upward until the forearm folds in to the point that the fist is almost at the shoulder and the elbow is at your ribs.

(應用)此式重用截法。抱肘即為截折敵臂。第四路攔腰錘式。附述之變化應用。即為此式之半。以手外挑。截折敵臂後。即繼以拳。擊其軟脅。設若順手扣敵左臂。敵右手來擊。即以左手稍向外格。右半身近貼敵身。撤右手穿敵右肘後。貼肘向右滚挑。緊壓敵肘後。同時撤左手進擊其右脅。此着以右手滚挑敵臂。有改用采敵衣袖者。謂之下纏手。亦甚得勢。
Application explanation:
This posture emphasizes cutting. The embracing elbow is for cutting away the opponent’s arm. It is the waist-driven punch from Line 4 adjusted in its function. Half of this posture is the hand carrying outward, cutting away his arm from behind, and the movement then continues into the punch, striking to his soft ribs. If my right hand has covered his left arm and he now attacks me with his right hand, I then use my left hand to block slightly outward, the right side of my body closing toward his, and withdraw my right hand to slip behind his right elbow. Sticking to his elbow, I then do a rolling carry to the right, pressing tightly behind his elbow, while my withdrawn left hand goes forward to attack his right ribs. In this technique, I use my right hand to do a rolling carry to his arm, but if I were to instead pluck his sleeve, called “twining under”, that would also be very effective.

第七路第二動〔二〕(二)(三)(四)
Line 7, Part 2 (“TWO, two, three, four!”):

(説明)〔二〕右手作捋手式。(二)上步截錘式。(三)右手探指式。(四)抱肘右拳前擊式。
Clarification:
“TWO!” – right PULLING HAND
“Two!” – step forward, CUTTING FIST
“Three!” – right REACHING FINGERS
“Four!” – EMBRACING ELBOW, STRIKE STRAIGHT AHEAD with your right fist forward

第八路 擺肘壓打式
LINE 8: SWINGING ELBOW, PRESS & STRIKE

(釋名)本拳重以捆拿勝人。而着法必近身以致用。不貴花着贅勢。遠擊偷打。蓋忽皮毛而切實際也。各路之中。尤以此路所含捆拿應用為法最多。其勝敵之妙。悉恃善於用肘。肘之擺運。變化莫測。而附以壓打各法。尤結合綿密。故名擺肘壓打式。
Explanation of the name:
This set emphasizes tying and grabbing in order to defeat an opponent, techniques which require getting close to his body for them to be effective. It does not value flowery techniques and redundant poses, or striking at him from far away and hitting him by getting lucky. It discards the superficial and focuses on the practical. Of all the lines in this set, it is this one that contains the most tying and grabbing. Its secret to defeating opponents is skill in employing the elbow. The action of the “swinging elbow” should be an unpredictable change, and then the connecting technique of “press & strike” should especially follow from it crisply. Hence the name for the line is SWINGING ELBOW, PRESS & STRIKE.

第八路第一動〔一〕(二)(三)(四)(五)
Line 8, Part 1 (Postures 1-5):

一 捋手
1. PULLING HAND

(口令)第八路數――〔一〕
Command: “Line 8… one!”

(圖説)演第七路、至第四動之(四)時,向右後方翻身作右捋手式。
Description of the movement:
After performing Posture 4 of Line 7 a fourth time, turn around to the right and perform the pulling hand with your right hand.

《岳氏八翻手》 王新午 (1930) - drawing 30

(注意)見前。
Points for attention: same as before.
(應用)見前。
Application explanation: same as before.

二 撇面掌
2. FLINGING PALM STRIKE TO THE FACE

(口令)――(二)
Command: “Two!”

(圖説)上左步。左手自右肩反背前擊。身向右轉一百八十度。作乘騎式。如圖。
Description of the movement:
Step your left foot forward, your left hand going forward from your right shoulder with a backhanded strike, your body turning a hundred and eighty degrees, and make a horse-riding stance. See the drawing:

《岳氏八翻手》 王新午 (1930) - drawing 31

(注意)此式動作。與第二路之撲面掌式同。惟彼以掌心向外。此則掌心向內。以掌背擊敵耳。
Points for attention:
This posture is the same as the pouncing palm strike to the face in Line 2, except the palm in that case was facing outward, whereas in this case it is facing inward for the back of the hand to be striking the opponent.

(應用)右手捋敵右腕後。上左步。以左掌反背擊敵面部。
Application explanation:
After my right hand pulls the opponent’s right wrist, I step my left foot forward and use my left hand to do a backhanded strike to his face.

三 擺肘指襠錘
3. SWINGING ELBOW, PUNCH TO THE CROTCH

(口令)――(三)
Command: “Three!”

(圖説)接前式、左手作拳。垂肘下落至腹。上體左擰。以肘貼脅緊夾。轉腕外擺。右拳指襠打出。變弓箭步。如圖。
Description of the movement:
Continuing from the previous posture, your left hand makes a fist, the elbow sinks to your belly, and your upper body twists to the left. With your elbow tightly clamping to your ribs, the wrist rotates and swings outward as your right fist does a punch to the crotch, your stance changing to a bow and arrow stance. See the drawing:

《岳氏八翻手》 王新午 (1930) - drawing 32

(注意)左肘外擺時。須密接左脅。用力緊夾。以腰力隨上體外運。左步在前弓出。足尖與膝須內合。
Points for attention:
When your left elbow swings outward, it must be touching your left ribs, deliberately clamping tightly. Use power from your waist to move your upper body outward. When your left leg bends forward, the toes and knee should be closing in on each other.

(應用)用左撇面掌擊敵面部後。即垂肘下夾敵之右臂。向外擺擰。右手作拳擊敵小腹。若左掌擊面時。敵握吾腕下按。即隨其按勁。以左臂向下平扣至敵身。以肘壓其右臂。撤右手作拳。提擊或直擊其面部。若與敵初交手。右腕被擒。敵并以左手來擊我頭胸等部時。不必與之力挣。即上步。以我撇面之左手。改為搬壓敵臂。約壓至胸下後。以肘格敵手擒我腕之相交處。我左肘向左。與右手向右。同時分格。敵手必開。或竟毁折拇指。我右拳、『開即進敵之胸。此時我姿勢即成擺肘式。惟右拳擊胸不擊襠耳。此為破敵擒拿。并倒敵之着。不可僅作打法看』。設與敵搭手時。右腕被敵擒拿。以左手撲擊敵面時。又被敵左手所擒。此時我左臂在上。右臂在下。交叉如十字形。解之之法。將左手用力後撤。此為問勁。敵覺此勁。必亦向後力撤。我則順其力直伸左臂。乘機坐勢。蓄勁於腰。驟垂左肘。外擺以夾敵右臂。則我右腕即脱。可作拳進擊。此時敵雖仍執我左腕。然毫不得力。無能為矣。若兩腕皆被敵執。惟右臂在上。左臂在下時。本可按前法。反其左右即可解脱。但此式尚有另法。即以右手向敵身力頂以問勁。敵必反力向我推出。則乘勢進身。以右手貼胸下行。以左臂上夾。此時敵之右下膊。插夾於我乳下。猶如以我左下膊橫於乳下。緊夾作插袋式。而敵右下膊由上插入也。我右腕斯時自可挣脱。并可以左手反扣敵之左腕。右手可任意擊敵。學者須明了擺肘之用。有下夾上夾之分也。若遇左手順扣敵右腕。敵以左手擒吾右腕。亦可問勁帶入。將敵左手插夾我左膊插袋內。挣脱右拳。擊其左脅。凡敵手被夾。如作拳挣扎。愈不能脱。作掌或可抽脱耳。此式着法至多。而各法之聯帶變化更無窮。形之筆墨。實覺累贅。前之所列。不過萬一而已。學者觸類旁通。可自求之。
Application explanation:
After I use my left hand to do a flinging palm strike to the opponent’s face, I drop my elbow, clamping his right arm, and twist outward, my right hand becoming a fist and striking to his lower abdomen. Or when my left palm strikes to his face, if he grabs my wrist and pushes down, I then go along with his pushing energy by bringing my left arm down to cover his body, using the elbow to press down his right arm, while withdrawing my right hand, which becomes a fist and does either a lifting punch or a punch straight to his face.
     As soon as I connect with an opponent [in the PULLING HAND posture], if my right wrist gets seized while he also uses his left hand to attack my head or chest, I do not need to struggle against it, I simply step forward and use my left hand to parry and press down his [left] arm instead of doing the flinging palm strike to the face, then once it has been pressed until almost below chest level, I use my elbow to obstruct his [right] hand seizing my wrist. With my left elbow going to the left and my right hand going to the right, spreading apart in unison, he will either let go or get a broken thumb. (Once my right fist is free, it attacks his chest. My posture has now performed the “swinging elbow” aspect of it, but my right fist happens to be striking to his chest rather than his crotch. This is a technique of defeating an opponent’s grab and knocking him down, and we must not look upon this posture only as a striking method.)
     If when my right wrist is grabbed by the opponent and I use my left hand to strike to his face, my left hand then gets seized so that my arms are crossed, my left arm on top, right arm under, the method of escaping is to forcefully withdraw my left hand. This is called “asking energy”. When he feels this energy, he surely will also forcefully withdraw. I will then go along with his force, extending my left arm straight ahead, and take advantage of the situation by squatting down, storing power at my waist, and suddenly dropping my elbow and swinging it outward to clamp his right arm, thus freeing my right wrist to be able to make a fist and strike forward. At this time, even if he is still holding on to my left wrist, there is no benefit in doing so, for there is nothing he can do with it. (If both of my wrists are being held by him, but with my right arm on top, left arm under, it is the same as described above, but with left and right reversed.)
     This technique has still other methods. For instance, if I were to instead use my right hand to forcefully press against his body with asking energy, he is sure to counter by forcefully pushing out toward me, so I take advantage of the situation by advancing my body, moving my right hand downward, staying close to my chest, as my left arm clamps over it. His right forearm is now clamped below my chest. It is as though my left forearm is the flap of a pocket and his right forearm has slipped into it from above. I can now easily pull out my right wrist, as well as turn over my left hand to cover his left wrist, and my right hand can strike him at leisure. (You need to understand that the use of the swinging elbow divides into clamping over and clamping under.)
     If my left hand happens to cover an opponent’s right wrist and he uses his left hand to seize my right wrist, I can again use asking energy to draw him out, sending his left hand into being clamped by my right forearm. My right fist then pulls away and strikes to his left ribs. Once his hand has been clamped, if I make a fist and pull it away, I might not be able to free it, but if I pull it away first as a palm, it can slip out.
     There are a great many ways to apply this posture, but all of its methods are a matter of limitlessly adapting. Writing down every scenario would be tiresome and tedious. The examples above amount to but a hundredth of a percent, and now that you have the gist of it, you can seek the rest on your own.

四 壓手點心錘
4. PRESSING DOWN, PUNCH TO THE SOLAR PLEXUS

(口令)――(四)
Command: “Four!”

(圖説)前式右拳指膊打出後。撤回、置拳右脅。向右擰上體。作乘騎步。左手下襠。向下壓打至腹前。上膊仍貼脅不動。隨以右拳當心打出。復原弓箭步。
Description of the movement:
After your right fist strikes out to the crotch in the previous posture, it withdraws to be placed at your right ribs, your upper body twisting to the right as you make a horse-riding stance. Your left forearm is blocking downward, pressing down until in front of your belly, and then its upper arm stays at your ribs as your right fist does a punch to the solar plexus, returning you to a bow and arrow stance.

《岳氏八翻手》 王新午 (1930) - drawing 33

(注意)左下膊橫壓時。用勁如第七路之截錘。惟彼以拳榨。此用膊壓。用壓手時。左上膊緊貼左脅不動。用點心錘時。橫壓之手壓下亦不動。
Points for attention:
When your left forearm presses down crosswise, it is using power in the same way as the cutting fist in Line 7, except in that case it is the fist that is pressing, whereas in this case it is the forearm that is pressing. During this downward pressing, your left upper arm stays tight against your left ribs and then its forearm does not move during the punch to the solar plexus.

(應用)用擺肘指襠錘時。敵若以左手下格。我即用左下膊壓榨其臂腕。運全力以制之。抽回右拳。衝擊其心部。有進身以右拳向上提擊其鼻頦等處者。此名上提手。如提物向上之勁。
Application explanation:
When applying SWINGING ELBOW, PUNCH TO THE CROTCH, if the opponent blocks downward with his left hand, I then use my left forearm to press down on his forearm, wholeheartedly acting to control the situation, while pulling back my right fist and then thrusting it out to attack his solar plexus. Or I send my right fist forward lifted upward to strike to his nose or chin. This is called “lifting up” because it has the same energy as lifting an object.

五 迎面錘
5. FIST TO THE FACE

(口令)――(五)
Command: “Five!”

(圖説)左右拳腕相搭如十字。上挑過頭。右手在內。左手在外。前步稍內斂蓄勢。旋進步。右拳迎面前擊。拳心向內。名反背錘。左拳高舉頭上不動。
Description of the movement:
Your fists cross at the wrists and carry upward above your head, right hand inside, left hand outside, your front foot slightly withdrawing. Then advance as your right fist does a strike to the face, the center of the fist facing inward, striking as a backfist, your left fist staying at head level.

《岳氏八翻手》 王新午 (1930) - drawing 34

(注意)此式步法。上挑時即斂。前擊時即進。務要相應。慎勿挺胸過度。牽動重點。凡以前各式動作。前進存後退意。上挑須含下壓意。所謂有開合勁、往復勁、為習拳所最要。用意為上。用力為次。故易言上九。曰、亢龍有悔也。學者玩之。
Points for attention:
As for the footwork in this posture, withdraw during the carrying upward and advance during the striking forward – it must correspond to the movement. Be sure not to overly stick out your chest, which would affect your balance. In the movements of the previous several postures, advancing should contain an intention of retreating, and carrying upward must contain an intention of pressing downward. The most important things in practicing this boxing set are considered to be the energies of opening and closing, and of coming and going, also that using intention is superior whereas using strength is inferior. It says in the Book of Changes [hexagram 1] about the solid upper line: “The proud dragon will have regrets.” Play with this idea.

(應用)用壓手點心錘時。敵如雙手挣脱。盡力上格。即以左下膊橫臂上挑。右手在上。隨之高起。如搭十字。挑起後、以右拳攧擊敵面。凡挑高敵手過頭之勢。皆可以此法擊之。惟須動作極速。否則中下兩盤過空。敵手雖不及進。尚應防其用腿也。常山蛇首尾之喻。應三復焉。
Application explanation:
While applying PRESSING DOWN, PUNCH TO THE SOLAR PLEXUS, if the opponent pulls away his hands and forcefully blocks upward, I use my left forearm to carry horizontally upward with my right hand on top, lifting high so my arms cross. After carrying upward, my right fist switches to striking to his face. Whenever I carry an opponent’s hand up to head level, I can always use this method to strike him, but I must act very fast to do so or I will be an open target below, and even if he does not get in with his hands, he could still kick me, like the three ways in which the snake of Mt. Chang can counterattack. [“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)].

第八路第二動〔二〕(二)(三)(四)(五)
Line 8, Part 2 (“TWO, two, three, four, five!”):

(説明)〔二〕左捋手式。(二)上右步撇面掌式。(三)右擺肘左指襠錘式。(四)右壓手左點心錘式。(五)左迎面錘式。
Clarification:
“TWO!” – left PULLING HAND
“Two!” – step forward with your right foot, FLINGING PALM STRIKE TO THE FACE
“Three!” – right SWINGING ELBOW, left PUNCH TO THE CROTCH
“Four!” – right PRESSING DOWN, left PUNCH TO THE SOLAR PLEXUS
“Five!” – left FIST TO THE FACE

八翻手結論
A BRIEF DISCUSSION OF BAFAN BOXING

余今約略編述此拳法既竟。例應為總括之言論。以結束之。惟賦性偏率。雅不欲浪費筆墨。徒快口悦耳。且深惡世之大言感人者。以健身御侮之技。縱為茶餘酒後之談。筆為喜笑怒駡之句。或争門派。或競長雄。或挾神話以愚人。或騁文詞之淹博。窺其立意。不外射利求名而已。然其自私之過小。欺人之罪大。吾人生當國術中興之世。圖矯其弊。而補救之。莫若以實際與理論。治為一爐。脚踏實地。不尚空談。雖有班馬之筆。儀秦之口。第問其能否先行其言而後從之。非然者、僅可以過眼浮雲視之。蓋今有得一知半解。亦嘗執筆學為如此之文者矣。徒以考據詞藻相標榜。而於國術實際之精義。曾未夢見。吾人何貴有此亹亹之論。超超之著哉。余深惡之。余弗欲自蹈之。是惟有即其已知。尚未敢信其能者。書其大略。而勉其所不知不能矣。願國術同志。多加意於實際應用之研究焉。
岳氏八翻手拳法。簡單明晰。最便演習。視為健身之方可。視為御侮之具亦可。然人有疑其簡易。以繁複為喜者。蓋不知國術之應用。貴精而不在多。少則易用。多則難精。精一着一勁而名世者。不乏其人。况一着一勁精。而萬着萬勁咸具乎。即此八路。其變化已屬無窮。精則足以致用。既精而後求多。所謂學然後知不足也。此拳各路。前已分晰言之。今復總結而論。應注意行功之法如次。
行功者、演練拳式時應注意之要目。必如何行之、而後有功也。此拳各路。捋手當先者有七。授手之法。前已言其重要。演練之時。須存對敵之意。出手之高低尺寸。必含有與實際適符之把握。應沉着。毋輕脱。而手眼所至。全神注之。如鷹之搏兔。如猫之捕鼠。用步之法。非有進無退。前、後、左、右、中。皆可變化移動。設敵靠身過近。則步須後移。而移動之尺寸。以適合捋制敵手之機為依歸。變化神速。指顧間事。左右之移動。莫不皆然。故演練時。更應存變化之意。則步之動作。富警覺性。但以拳式動作有則。固未可率意改變。余因創為演習應用捋手。以合於實際之法。當演練拳式完畢。或另一時間。今學者分作兩隊。對面相向而立。間以適當之距離。施以口令。設甲隊為專用捋手者。乙隊為防範捋手者。甲存必捋之心。乙存必防之意。於時、隨其自然之進、退、左、右、而為之。若相互比賽者然。惟不得參以其他手法。存互仇之念。此則練習實際應用捋手之一法。而同時兼可練步法之進退左右也。更迭為之。三數月之功。即有可自由應用而不失機者。其效不可謂不速矣。此外各法。惟擊要害處之法。不可輕試。其餘亦編為演練實際應用法若干。動作繁複。學者可綜此意而為之。不必膠柱鼓瑟也。惟演練實際應用。須先定有原則。原則若何。即就各路所包之法。或練鎖拿。或練捆、擠。因是類推。打法則示意而已。此原則之理。即以發展人身自具固有之良能。而合於拳法之應用。久之、則各種着勁。均成自然。無意而皆意。不法而皆法。如演練攻人之着。除依法進攻外。對於敵之來手。盡自然之能力防範之。演練防人之法。則依法防範敵之來手外。盡自然之力。有隙即進攻之。總期發揮天賦自然之良能。而合於拳法所包之着勁。其效甚速。自可成為特殊之能力。而適於對敵之應用。但學者每樂於如是之演練。間有致不演拳路姿式者。此則大誤。拳路之編創。包羅富有。能盡通之者。蔚為全才。吾人相互演練應用。不過為補助之法。得一而遺萬。則不可也。故所謂行功者。於演練姿勢而外。再求適當之補助。而以之實施於應用耳。大成之道。仍在姿勢。此拳演習姿勢。約分二期。初學、以極端開展。沉着有力為主。所以流通血脉。暢發筋肉。堅固骨骼也。行之不懈。則百病自消。有力如虎。身健膽壯。可以致用。此為一期。繼則姿勢漸求緊凑。含蓄內勁。剛而不發。手眼身步。活潑靈敏。拳中着勁。發雖無形。動則有意。意至之處。着勁隨之。一動一靜之微。其變化莫能察矣。目進不息。如天之行健。積以歲月。其道大成。此為二期。能行純功者。一期二年。二期三年。約五載而有成。至其補助演練之法。隨時指導之宜。尤不可忽焉。昔人有言。演習時。無人如有人。故演練時。應出其全力以赴之。意之所至。情態逼真。是以論國術之功行。不以學習之年數多寡為標準。盡視其能否用意、及變動虚實之合理與否為判斷。練姿勢之年數雖多。而不明用意者。謂之盲練。健身而外。別無功行之可言。則不問其年數若何。自明晰着勁。出手有物之日起。始可計其功行。余謂三年有成者。即指此也。行功之道。必日有進步。斯為正軌。今日所不知。至明日而知之。今月所不能。至下月而能之。無間斷之時。無歧路之誤。則三年者。千餘日也。不為不多矣。其功行顧不巨哉。此拳行功之順序與方法。既如前述。然求演練與應用相合。為意尚多。今更擇要言之。曰拳、曰掌、曰步、拳之形式。四指卷緊。以大指捺食指之中節。平時如行路或獨坐時。即卷拳如式。由漸而緊。至拳緊力盡。徐徐伸放。兩掌相合。往復摩擦。以活其筋骨血液。稍息片時。復如法卷放。就個人時間之可能。每日預定為數小時之卷放。初行此法。時間過久。則手指脹痛。動作不靈。惟以漸增加。至久成為習慣。而遂安之。雖執綉花針。作蠅頭字。亦不减其原日之靈妙也。行此法時。卷拳須平正。指甲須常剪。兩臂須伸舒鬆靜。勿求救過急。以成為習慣、不害其他工作為主。至於演練時。則更應依法為之也。拳之應用。向前者、為擊面、擊心、擊襠、三者。即玄關、中腕、下丹田、三穴也。世稱死穴。擊重則死。擊面以立拳者。為撞勁。勁發自腰。以拳關節名為反背錘者。為榨勁。為顛勁。勁發自肩臂。擊心之拳。為鑽勁。為點勁。為衝勁。為滚切勁。勁發自全身。以身催臂。臂催拳。一發而莫遏。擊襠之拳。為栽勁。為插勁。勁發自脊。凡此前擊之拳。貴沉着而忌太過。欲得機勢。宜求之腰腿。向左右應用之拳。上擊頭部者。用拳底橫摜兩鬢。為摜勁。為榨勁。勁發自腰脊。中擊腰脅者。為榨勁。勁發自肩背。中擊腕臂者。為截勁。為榨勁。務須全勢下擊。翻身向後用拳下壓敵臂者。為壓勁。為合勁。進則衝擊。拳法實施應用。大抵如此。至各式變化。或挑、或格、或鈎、或攔、則腕膊之勁始於足。舉一反三。無待累述。掌之形式與應用。捋手、已詳述不計。在本拳法中。其勁名分之。約為撲勁、撇勁、慣勁、推按勁、擒拿勁、搬扣勁、發勁、挑勁、摟勁、摸勁、等。其形式依應用而异。前於解釋拳路。已分見其功法原理顧名思義。於演練時、順其應用。求而得之。因本拳法用掌處。半主於撲。擊、擒、拿。半主於誑誘驚敵。如取勝致果。仍專恃用拳。故在各路中。掌法當屬虚着。此則與用掌致勝之國術。其立意原不同耳。非有所偏也。再言步法。本拳法在應用上、貴於專精。而不恃多。此正短打法之獨到。各路之步法。共分五步。向前應用。為盤旋步。重在鈎扣敵腿。上用捋手。下制敵步。為打無不中之計。近敵而後。即用衝步。前進後跟。所向披靡。翻身向後。斂步當先。以退為進。後即是前。左右開步。意在逼敵。愈近愈穩。貴有把握。榨身叠步。此為正中。遇敵倉卒。變化在身。得勢即進。莫之敢攖。此五步者。前、後、左、右、中、面面俱到。千變萬化。存乎其人。各種拳法。亦衹五步而已。列名舉例。何貴乎多。五步之中。亦有進而無退。此步法之真義也。所尤要者。用步須要下勢。不問其為乘騎步、弓箭步、衝步、斂步、各種步式。為義則一。拳法、掌法、步法、之大略如此。其外指、腕、肩、臂、肘、胯、膝、足、等之用。重在聯貫相合。各盡其妙。總之、發揮自然之本能。以就拳法。勿為拳法所囿者、為上乘。而其妙則在乎有意識之演練。凡我同志。發明而光大之。此餘昕夕禱祝者矣。
Now that I have roughly described this boxing art, I should conclude by summarizing its theory. However, my personality is the type that usually does not wish to waste words or seek to please the ear with wit. Furthermore, I have contempt for those who use exaggeration to influence people, or those who treat the art of keeping fit and defending the self as but a topic of gossip to follow a meal, or who produce writings that ridicule it, or those who argue over which style is best, those who compete to see who is the toughest, those who spread fairy tales to ignorant people, or those who get carried away by presenting the art in impenetrable language. When I look at what they are doing, I find they are only seeking after their own notoriety. At the very least, this is plain selfishness, and at its worst, people are getting downright cheated.
     We are in a renaissance era for Chinese martial arts, in which we are working to rescue them through seeking to rectify their flaws. It is best to cook their reality and their theory in the same oven, maintaining a down-to-earth attitude toward them with no esteem for empty words, even when written or spoken with elegance. Let us then examine for whether a practitioner is capable of [from Lun Yu, 2.13] “doing what he says he is going to do”. If he is not, then you can look upon him as you would a passing cloud. He has only understood a fraction of what he has learned and has produced his writings based on only that level of experience.
     When we do research into writings about these arts, so flauntingly declared, the essentials of martial arts reality has hardly even been dreamt of within them. Why do we care about these kinds of babbling discourses by authors who have gotten carried away with themselves? I cannot stand such texts, nor do I wish to learn from them, because they really only take the material as far as what is already known. The ones who do not presume to believe they have abilities that they do not yet actually possess wisely write of these arts only in terms of general ideas, and they strive to understand that which they do not understand and to be able to do that which they are not able to do. Therefore I hope that my martial arts comrades will all pay special attention to studying practical application.
     The methods of Yue School Bafan Boxing are simple, obvious, and extremely convenient to practice. They can be seen as a way of making one’s body fit, or they can be seen as a way of defending oneself against bullies. However, people who have doubts about its simplicity and ease, finding more pleasure in what is overly complicated, do not understand that martial arts applications value precision over profusion. The fewer the techniques, the easier they will be to apply. The more the techniques, the harder they will be to master. There are plenty of people in the world who have mastered a single technique or a single energy, and it is another thing altogether to master countless techniques and energies. As for these eight lines, they are transforming endlessly anyway. In mastering them, you will thus be sufficiently equipped for practical purposes. Seeking for more after that point, you will discover that the more you learn, the less you know. The lines of this boxing set have already been described in detail. Now it is time to summarize the theory. Pay attention to these methods of practicing the skills:
     To develop skill, you should pay attention to essential points when practicing the boxing postures. How should we go about practicing to then possess skill? In the lines of this boxing set, the “pulling hand” technique initiates seven [six] of the lines. It has already been explained that this technique is extremely important. When practicing, you must have it in mind that you are facing an opponent. The height and range that your hands come out must be firmly based in reality. You should be serious about it rather than just playing around with it. Where your hands and feet arrive, focus your entire spirit, like an eagle capturing a rabbit, like a cat pouncing on a mouse. The footwork is not a matter of advancing without retreating. You should be able to shift in any direction – to the front, back, left, right, or center. If an opponent crowds too close to you, then you must step back, but the size of your step should depend on being able to take control of his hand with a pull, adapting with instant speed. This is always so, whether stepping with your left foot or right.
     When practicing, have a heightened intention toward adaptation, then the movements of your feet will be extremely alert. However, while this is true for the boxing postures and movements, you must not be changing arbitrarily. For this reason, I have created a drill for applying the pulling hand technique which conforms to realistic function. After finishing a practice of the boxing postures, or indeed at any other time, students are to be divided into two groups which stand facing each other at an appropriate distance. Give the command for group A to perform pulling and for group B to defend against it. Those in group A should be determined to pull, those in group B determined to defend. They step as is natural, advancing or retreating, going to the left or right. However, when competing with each other thus, they are not allowed to mix in other techniques or to have thoughts of revenge. This is thus a method of realistically training the pulling hand technique which can simultaneously train the footwork. With the groups alternating their roles for three or more months of such training, the resulting ability to fluently apply techniques and not miss opportunities will arise remarkably quickly.
     The various techniques beyond this are methods of attacking critical areas and so must not be experimented with recklessly. As for the rest of the practical applications in the set, the movements are more complicated, but you can work on them in the same way, and you do not need to be too stubborn about how they are to be performed. However, when practicing practical applications, you must first understand their purpose, i.e. the reasoning within such-and-such a technique. As for the methods contained within each of the lines, be they locking or grabbing, tying or pressing, they are identical in this regard, for it is only the striking techniques that are obvious.
     The theory behind these principles is to develop the body in order to enhance innate ability in the context of applying the boxing techniques. After a long time, the various techniques and energies will all have been achieved naturally, without any intent and yet intentful, without any technique and yet full of technique. When practicing methods of attacking opponents, go beyond attacking according to the techniques and instead respond according to the opponent’s attacks, then you will naturally develop the ability to defend against them. When practicing methods of defending against opponents, go beyond defending according to defensive techniques, and then you will naturally develop the ability to sense a gap and attack. Give time to expressing your innate abilities and they will merge with the techniques and energies in the boxing set, and with rapid results.
     You can thereby become particularly competent at correctly dealing with opponents. However, if you always give in to the delight of practicing in this way, you will never give any time to actually practicing the boxing postures. This is a huge mistake. This boxing set as devised has very rich contents. One who can come to fully understand it will mature into one with a complete talent. When we practice applications together, it is only supplemental to practicing the set, and to intuit countless techniques after having achieved our first one is not going to happen without it. On the other hand, when we talk of developing skills, we should go beyond just practicing the postures and engage in appropriate supplemental training, and with a mind toward realistic application. Yet the way toward the greatest achievement in the art still lies with the postures. Practicing the postures of this boxing art can be divided into roughly two stages:
     1. In the beginning, greatly open and extend the postures, emphasizing calmly expressing power. As a result, blood will circulate better, muscles will operate more smoothly, and bones will become more solid. By practicing perseveringly, all illnesses will naturally be eliminated, you will be as strong as a tiger, your body will have robust health, and you will be able to apply the art.
     2. Your postures are to then gradually seek to become compact, storing internal power, a hardness that is not expressed. Hand, eye, body, and step act with liveliness and nimbleness. Within the set, there are techniques and energies. Although there is issuing without shape, the movements are full of intent. Wherever intention goes, technique and energy follow. In the subtlety of every movement and stillness, transformations cannot be observed. With an eye toward ceaseless progress, it will be like the power of Nature’s operations [referencing the Book of Changes, hexagram 1: “Nature acts with power, and so a great man ceaselessly improves himself.”]. Accumulating progress over the course of years, you will achieve success in the method.
     For those can sincerely develop these skills, Stage 1 will take two years, Stage 2 will take a further three years, and so it will take about five years to complete. As for supplemental training methods, they can be practiced whenever they suit you, but must never be overlooked.
     Previous generations had a saying: “During practice, imagine an opponent when there isn’t one.” Therefore when practicing, put yourself into it entirely, so that wherever your intention goes, it is making the situation genuine. When we talk of developing martial arts skill, it is not a matter of how many years you have studied, but of whether or not you can use intention, as well as whether or not you can correctly judge how to alternate between emptiness and fullness. When one has practiced the postures for many years but does not understand how to use intention, this is called “blind training”. Beyond the fitness of the body, there would be no skill developed worth speaking of. Thus pay no attention to counting years, but instead to clearly understanding techniques and energies. When your hands express with a something that is increasingly manifesting, then you will be able to reckon the degree of skill you have developed. I submit that those who have achieved after only a few years have approached it in this way.
     The way to develop skill requires daily progress in order to be heading in the right direction. What you do not understand today will become clear to you tomorrow. What you are incapable of this month you will become capable of next month. When the time you put into it is not sporadic and you do not make the mistake of taking the wrong path, then the thousand days within three years will certainly not be felt to be but a few, and yet you will not look upon the level of skill that you have developed as anything grand.
     The sequence and methods of developing the skills in this boxing art have already been explained, but to make practice and application to conform to each other requires extra attention. Here is more detailed explanation about fist, palm, and step:
     As for the fist’s posture, the four fingers tightly curl in, the thumb presses down on the foreknuckle of the forefinger. Whenever you are walking or sitting alone, make a fist in this way, gradually tightening it until fully tightened, then slowly release it, extending the fingers. Put your palms together and rub them back and forth to liven the muscles, bones, and blood. After a short rest, repeat this exercise of curling and releasing for as long as you are individually capable, until finally you are setting aside several hours each day for curling and releasing.
     In the beginning of practicing this method, if you do it for too long at a time, your fingers will be swollen and aching, and the movements will be awkward, but by increasing gradually, you will after a long time become accustomed to it and at last find it comfortable. Even if you pick up an embroidery needle and use it to write tiny characters, you will find your original degree of dexterity has not been diminished. When practicing this method, your fist must curl in evenly, your fingernails must be trimmed frequently, your arms must be extended and relaxed, and you must not complain easily.
     Once you have become accustomed to it, do not neglect other exercises by giving priority to this one. When practicing the set, you should give extra attention to the techniques. The fist is used to strike forward to the three targets of the face, solar plexus, or crotch, or to the three acupoints of Xuan Guan [between the eyebrows], Zhong Wan [midway between solar plexus and navel], or the elixir field. They are commonly known as “death points”, because if they are struck powerfully, the result will be death.
     Punching to the face with a vertical fist uses a colliding energy. The power is expressed from your waist.
     To use the back of the knuckles makes it a “backfist”. This uses pressing energy and jolting energy. The power is expressed from your shoulders.
     Punching to the solar plexus uses drilling energy, pointing energy, thrusting energy, and a “rolling slicing” energy. The power is expressed from your whole body. Use your body to urge your arm, your arm to urge your fist. Once it issues, there is nothing to hold it back.
     Punching to the crotch uses planting energy and inserting energy. The power is expressed from your spine.
     All of these forward punches value cool-headedness and shun excessiveness. If you wish to obtain the right timing and position, you should seek for the answer in your waist and legs as you apply your punches alternating left and right.
     An upward attack to the head with the bottom of the fist hurling across to either of the temples uses hurling energy and pressing energy. The power is expressed from your lower back.
     A middle attack to the waist or ribs uses pressing energy. The power is expressed from your upper back.
     A middle attack to the forearm uses cutting energy and pressing energy. You must use your whole body in a downward strike.
     Turning to the rear to press down an opponent’s arm with your fist uses pressuring energy and gathering energy.
     Whenever you attack forward with a thrusting punch, the practical application of the technique will generally be the same: regardless of the variations of the posture – carrying, blocking, hooking, stopping, etc. – the power through the forearm begins at the foot. Grasping this, you will understand the same principle in further cases without needing to be nagged about it.
     The posture and use of the palm have already been explained in the pulling hand technique. Within this boxing set, the energies roughly divide into pouncing, flinging, hurling, pushing, grabbing, parrying, issuing, carrying, dragging, and wiping. The postures are different because they are performed in accordance with different applications. With the lines of the set having been explained above, you have already seen how the names of the postures fit with their respective techniques and principles. Practice according to the applications and you will succeed at it.
     Though this set’s use of the palm is half of the time emphasizing pouncing, striking, seizing, grabbing, and the other half emphasizing luring the opponent and then surprising him, its decisive moments of victory tend to rely on use of fists. Thus in each of the lines, the palm techniques are feints, and in this way it is different from other martial arts which focus on winning by use of palms, though it is not actually biased one way or the other.
     As for footwork, this boxing set’s applications value precise steps over many steps, for this art is actually a unique method of close-range fighting. The footwork of its lines divides into a total of five kinds of steps:
     For forward applications, use a [1] “twisting step” – emphasizing hooking around the opponent’s leg. While using the pulling hand above, controlling the opponent’s stepping below, and thereby attack with a strategy that never misses.
     To close in on an opponent so he moves back is to use a [2] “charging step” – front foot advancing, rear foot following. Induce him to flee, then turn to face whatever might be behind you.
     A [3] “withdrawing step” starts by making use of retreat as advance, for to go back is to then go forward.
     When doing a [4] “sideways step” with your left or right foot, the intention is to crowd the opponent. The closer it is, the more stable it will be, emphasizing confidence of success.
     Squeeze your body into a [5] “folding step”. This is when you stay in the center, dealing with an opponent suddenly by adapting with your body. Once you get into the right position from that point, advance and no one will dare to get in your way.
     These five steps attend to every direction – forward, back, left, right, center – while you change endlessly in response to opponents. All of the boxing techniques are performed using only these five kinds of steps, but to specifically list each technique as it is used with each step would be tediously long. Within the five steps, there is also the concept of advancing without retreating, and this is actually the true meaning of the footwork.
     Of particular importance is that you must have a lowering energy when taking a step, whether it be into a horse-riding stance or bow and arrow stance, whether it be a charging step or withdrawing step. Whatever the step or stance, this principle is always the same.
     For the methods of fist, palm, or step, this gives the general idea. As for the use of fingers, wrist, shoulder, forearm, elbow, hip, knee, and foot, they especially have to be coordinated with each other for each technique to be at its most effective.
     To sum up, give free rein to your natural ability, and when using these boxing methods, do not use them to limit you, but to help you achieve the highest level. Its marvels will come from training with awareness. It is my constant hope that all of my comrades will promote this art until it has spread everywhere.

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