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教門彈腿圖說
A HANDBOOK FOR THE MUSLIM ART OF TANTUI
吳志青
by Wu Zhiqing
[published New Year’s Day, 1922]
[translation by Paul Brennan, July, 2017]
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目錄
CONTENTS
序
Preface
例言
Introductory Comments
歌訣
Song
行拳方位圖
Positioning Chart for the Boxing Movements
立正式圖說
Photo & Explanation for STANDING AT ATTENTION
開始式圖說
Photos & Explanations for BEGINNING POSTURE
第一路圖說 附研究問答
Photos & Explanations for Line 1, Including Q & A Section
收息式圖說
Photo & Explanation for RESTING POSTURE
休止式圖說
Photos & Explanations for FINISHING POSTURE
第二路圖說 附問答
Photos & Explanations for Line 2, Including Q & A Section
第三路圖說 附問答
Photos & Explanations for Line 3, Including Q & A Section
第四路圖說 附問答
Photos & Explanations for Line 4, Including Q & A Section
第五路圖說 附注意要項
Photos & Explanations for Line 5, Including Items for Attention
第六路圖說 附注意要項
Photos & Explanations for Line 6, Including Items for Attention
第七路圖說 附注意要項
Photos & Explanations for Line 7, Including Items for Attention
第八路圖說 附注意要項
Photos & Explanations for Line 8, Including Items for Attention
第九路圖說 附注意要項
Photos & Explanations for Line 9, Including Items for Attention
第十路圖說 附注意要項
Photos & Explanations for Line 10, Including Items for Attention
附少林宗法闡徵
Appendix: Explaining Some Subtleties of Traditional Shaolin Methods
一運使
1. Strengthening
二呼吸
2. Breathing
三剛柔
3. Hardness & Softness
四五要說
4. The Five Requirements
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自序
AUTHOR’S PREFACE
武術一科。門類極繁。雖經名師敎授。旣詳且盡。然無專藉。以資考證。無圖畫以便仿効。隨時隨地。必不能得師資。此淺顯圖說。所以頗投俗好也。彈腿一門。派别甚多。練法。試法。各有不同。即論踢腿一式。亦有分別。彈腿有不過膝之稱。而本書所演踢腿式。則不然。曰。高踢。矮試。（高踢。即練法。腿須踢平。試。即用法。須矮。何以故。即生理之變化。高踢。即胯骨可以展開。練成則運用自如。）一方對於生理上。各部肌肉。骨絡須十分開展。方能活動自如。夫然後則氣順。氣順則力足。力足。則變化自生。漸臻神妙。循循演進。功效自不可言喩。本會自聘楊奉眞。于振聲兩先生。掌敎以來。傳授斯術。悉心研究。是以不及三月。成績優美。彰彰在人耳目。鄙人不敢自秘。爰編成淺顯說明。幷繫以各圖。藉公同好。海內同志。當多嫻習於斯者。尚乞有以敎之。並繩愆糾繆焉。幸甚幸甚。
中華民國十年七月吳志靑序於上海中華武術會
In the science of martial arts, there is a vast variety of schools. Even if you learn from a famous teacher who explains everything in exhaustive detail, without specialized books to verify what you are receiving, and without pictures for you to imitate from, you would whatever the case surely be unable to achieve your teacher’s level. This easy-to-understand handbook is therefore offered up for the common good.
– The Tantui [“snapping kicks”] school diverges into a great many branches, each with different training and testing methods, even different theories as to how the kick is to be done. Tantui has the saying that the kick “does not go higher than the knee”, but in this book the performance of the kick is different, with the attitude of “kick it high, but use it low”. (The higher kick, which should be level, is for training purposes, while to test it, meaning to apply it, it must be low. What is the reason for this? In the interest of physiological development, kick high, which opens up the hip joint. By training this way, the action will be smoothly executed.)
– In terms of physiology, every part – muscles, bones, vessels – must be thoroughly opened up, and then you will be able to move freely. Your energy will thus become smooth, and with smoothed energy, your strength will be abundant. Sufficiently strengthened, transformation will happen naturally, and you will gradually achieve wonders. By methodically progressing, the effects will be beyond description.
– When I was taught this art by Yang Fengzhen and Yu Zhensheng, I studied it carefully, and after not even three months, I had achieved exquisite results which were noticeable to others. I would not dare to keep this art for myself, and so I have made this book of clear explanations, including a photograph with each movement, for the use of fellow enthusiasts. To the many experts throughout the nation, I beg for your instruction, and if you would correct me as to any mistakes I have made, I would feel truly fortunate.
– – written by Wu Zhiqing at the Chinese Martial Arts Association in Shanghai, July, 1921
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例言
INTRODUCTORY COMMENTS
一。語曰。南京到北京。彈腿出在敎門中。鄙人。民國四年春。識于師振聲。於江蘇省體育傳習所。以服膺其藝。夫及匝月。于師卽受南京高師之聘。民國八年。創辦武術會。又蒙介紹。馬先生子貞。技術隊總敎習。楊奉眞先生。來申敎授武術。楊于兩先生。目國祚之不振。受人欺侮。皆因積弱無能。何尤於人。是以遂出其敎中。秘不傳人之彈腿。廣為傳佈。以救人道於萬一耳。
– It is said: “Wherever in the nation you are, Tantui came from the Muslims.” In the spring of 1915, I met Yu Zhensheng of the Jiangsu Physical Education Institute and became thoroughly convinced of his skill. But less than a month later, he accepted the position of head instructor for the Nanjing Institute. In 1919, I established the Martial Arts Association and got to meet Ma Zizhen, coach of his martial arts performance team, and Yang Fengzhen, who had come to Shanghai to teach martial arts. Both Yang and Yu have perceived that the nation is in low spirits due to foreign humiliation, and all because we have for too long been weak and incapable. And why exactly? Because teachers have not been teaching Tantui! They have preferred to keep it secret rather than share it freely, but we should now spread it far and wide in a humane mission to help out in however small a degree.
一。本書。格式自左至右。因武術。練習之習慣。皆自右至左。故排姿勢照片。須自左至右。否則東西閱圖。殊非手續。不便按序演式。此編者。參攷各種技擊書藉。研究之心得。前拙著。雙人彈腿一書。亦係此式。閱者稱便焉。弗以醉心歐美。而誚編者。是所幸甚。
– In this book, the postures are patterned from left to right. This is because martial arts practice always goes from right to left, thus the photos have to be arranged from left to right, otherwise the photos will not match up with the hands east and west, and it will not be easy to conduct the practice according to the sequence. [i.e. The students in the class will be moving according their own perspective from right to left, while the instructor at the head of the group will be seeing the students moving from left to right, and the book is aligned with his perspective so that he may consult it while overseeing the group and have the photos matching the students.] I have examined a variety of martial arts books, making a personal study before engaging in my own writing. There is a book on two-person Tantui which closely relates to the postures in this book and which I found to be a very convenient reference. Since I have no affection for the ways of the West, if Westerners sneer at what I am doing, I will feel overjoyed to know that I am doing it right.
一本書。所編十路彈腿。皆自各路單獨演習。故每路開始。皆係自西而東。
– This book presents each line of the ten-line Tantui as an isolated drill [rather than a continuous set]. This is why from the beginning of each line, you are traveling from west to east. [To further clarify, when practicing all ten lines continuously, odd-numbered lines will travel west to east and even-numbered lines will travel east to west, bringing you back to where you started. If practicing a single line over and over, the first trip across will go west to east and the last trip across will go east to west, again bringing you back to where you started.]
一本書。所以用各路分開。單獨演習。使學者。專一練習不致蹈博而不專之弊。（各路練習精熟後。均可連續演習。）
– In this book, the reason the lines are divided up into isolated drills is to induce you to have a concentrated practice rather than making the error of turning it into an unfocused dance. (Once you have become skillful with each line, you may of course connect them all into a continuous practice.)
一本書。每路之後。附以問答。數則。一為姿勢上之疑問。二為生理上之功用。三為武術運用之巧妙。此為編者數年研究心得一二之處。貢諸同志。
– In this book, at the end of each line is included a question and answer section, often along the lines of: 1. questions about the posture, 2. physiological effects, 3. martial function. These are just a few things I have learned from my several years of study, offered up for all my comrades.
一本書。所定一。二。三。四。等口令。俾敎授多數人。不但便於記憶。而秩序上。亦收齊整之效。
– In this book, there is a standard command of “1, 2, 3, 4,…” in order to instruct many people at once. This not only makes it easier to remember the sequence, but also results in a consistent rhythm.
一本書第一路。開始。編成三動。習熟後可改為一動。至第十路。休止式。亦如之。
– In this book, the opening posture in the first line is presented as three movements. Once you have become familiar with it, it can become a single movement. The same goes for the finishing posture at the end of the tenth line.
一各路演習。次數之多寡。如欲休息。停止演習。須左式演完。至右式方可下停止口令。（如一。三。五。七。九。次數。均是左式）
– In the practice of each line, however many times you do the movements, when you want to finish with it, you must finish the line’s movements on the left side so that the closing posture can then happen on the right side, as commanded. (Whether you do the movements one, three, five, seven, or nine times, the last is always on the left side.)
一練習後。須緩行數百步。不可驟然坐定休息。否則。妨血液之運行。學者愼之。
– After practicing, you must walk around for several hundred paces. You should not suddenly sit down and rest, which would only hinder your blood circulation. Take careful note of this.
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舊有十路彈腿歌訣
AN OLD TEN-LINE TANTUI SONG
崑崙大山世界傳。名曰彈腿奧無邊。
From the great Kunlun Mountains to the rest of the nation,
Tantui is known to be profound without compare.
頭路。衝掃似扁擔。
Line 1 is called THRUSTING & SWEEPING, LIKE CARRYING A YOKE.
二路。十字人拉鑽。
Line 2 is called CROSS-SHAPED BODY, PULLING & DRILLING.
三路。盖捶雙披打。
Line 3 is called COVERING PUNCH, DOUBLE-DRAPING STRIKE.
四路。轉磨生奇關。
Line 4 is called TURNING & SLIDING WITH GREAT LIVELINESS.
五路。裁捶登來益。
Line 5 is called CUTTING PUNCH, CLIMBING TO GET CLOSER TO THE OBJECTIVE.
六路。堪管封畢然。
Line 6 is called ENCOUNTER & WATCH, SEAL OFF & FINISH.
七路。雙稱十字腿。
Line 7 is called DOUBLE BRACING, CROSS-SHAPED KICK.
八路。庒跥如轉環。
Line 8 is called STAND & STAMP, TRACING A RING.
九路。碰鎖重閃門。
Line 9 is called SPRING LOCK, BURST OPEN THE DOOR.
十路。裁花如箭彈。
Line 10 is called CUTTING FLOWERS, SHOOTING ARROW & SNAPPING KICK.
世人莫看式法單。多踢多練係根源。
Ordinary people do not notice the individual postures,
only seeing that it all comes down to: more kicking, more practice.
臨陣。自有防身護體壯膽。十路彈腿講究十個字。蹬。彈。𢐒。踢。撑。磨。扳。盤。鈎。排。
In order that you may protect and embolden yourself before facing battle, the ten-line Tantui also has ten terms to be given special study: pressing, snapping, bursting, pointing, bracing, sliding, turning, twisting, hooking, shooting.
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行拳方位圖
POSITIONING CHART FOR THE BOXING MOVEMENTS
back
背面
NW N NE
西北 北 東北
↖ ↑ ↗
W 西 ← → 東 E
↙ ↓ ↘
西南 南 東南
SW S SE
正面
front
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教門彈腿白話圖說
MUSLIM TANTUI – COLLOQUIAL EXPLANATIONS WITH PHOTOGRAPHS
立正式
STANDING AT ATTENTION
眼前視。頭宜正。上體及雙腿均宜伸。雙踵併齊。足尖外向。離開約九十度。雙手亦宜伸直。如第一圖面南。
Your gaze is forward, head upright. Your upper body, your legs, and your arms should be extended straight. Your heels are together, toes spread to make almost a ninety-degree angle. See photo 1:
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第一路 衝掃似扁擔
LINE 1: THRUSTING & SWEEPING, LIKE CARRYING A YOKE
開始式
BEGINNING POSTURE
一。抱肘式（開始式其一）
1. WRAPPING ELBOWS (BEGINNING POSTURE – Part 1)
聞一。兩掌握拳。四指捲緊。大指扣住四指。迅速屈肘。置於腰間。雙肘向後。收小腹。挺胸膛。眼東視。如第二圖面南。
Hear the command of “One!” Your palms grasp into fists – the four fingers curling tight, the thumb covering over the fingers – and quickly are placed at your waist, the elbows bending and going to the rear. Pull in your lower abdomen and stick out your chest. Your body is facing to the south, your gaze to the east. See photo 2:
二。雙拳平衝式。（開始式其二）
2. DOUBLE HORIZONTAL THRUST PUNCHES (BEGINNING POSTURE – Part 2)
聞二。雙拳由腰間。向南平衝。手背向上。兩虎口拼緊。拳與肩齊。眼視東。如第三圖面南。
“Two!” Your fists go from your waist with level thrust punches to the south, the backs of the hands facing upward, the tiger’s mouths close together, the fists at shoulder level. Your body is facing to the south, your gaze to the east. See photo 3:
三。雙札式（開始式其三）
3. DOUBLE SMASHING (BEGINNING POSTURE – Part 3)
聞三。兩臂翻轉。由西向東下札。兩掌邊相切。兩肘貼近肋前。同時左脚向東出一步。膝屈脚尖稍向內。右脚挺直。脚尖稍向內。眼東視。成左弓右箭式。如第四圖面南。
“Three!” The arms turn over and smash downward from west to east, the edges of the hands touching, the elbows close in front of your ribs, your left foot at the same time stepping out to the east, the knee bending, the toes turned slightly inward, your right leg straight, the toes also turned slightly inward, making a stance of left leg a bow, right leg an arrow. Your body is facing to the south, your gaze to the east. See photo 4:
問左弓右箭式。如何。
“What is the meaning of ‘left bow, right arrow’?”
答簡稱弓式。卽弓箭式。左弓右箭。左脚膝屈。似弓。右脚挺直。似箭。故曰。左弓右箭式。反是。則曰。右弓左箭式。
The “bow-and-arrow stance” is usually shortened to “bow stance”. In the case of “left bow, right arrow”, the left leg is straight like a bow, right leg straight like an arrow. The other side would be called “right bow, left arrow”.
第一次左式
First time, on the left side:
一。扁擔式（左扁擔式）
1. YOKE-CARRYING PUNCH (LEFT)
聞一。雙拳收回於肩前。卽分東南衝出。似扁擔。兩拳眼斜向上。眼視左拳。腰直。肩鬆。順勢如第五圖。
“One!” Your fists withdraw in front of your shoulders, then thrust out to the east and south [west] so that you look as though you are carrying a yoke, the fist eyes facing diagonally upward. Your gaze is toward your left fist. With your waist upright, your shoulders loosen, making the posture effortless. See photo 5:
二。閃肘式
2. EVADING ELBOW
聞二。左臂卽向西閃。平屈於胸前。左拳眼置於右肩前。手心向下。右臂不動。仍平舉於西。步位仍係左弓式。眼視東如第六圖。
“Two!” Your left forearm then evades to the west, the arm bending in front of your chest, the fist eye facing the front of your right shoulder, the center of the hand facing downward, your right arm not moving from its position, still raised level to the west, your stance still a left bow stance. Your gaze is to the east. See photo 6:
三。前掃後衝式（前掃式）
3. SWEEPING IN FRONT, THRUSTING TO THE REAR ([Part 1] SWEEPING IN FRONT)
聞三。左臂伸直掃過膝前。身步仍不動如第七圖前掃式。
“Three!” Your left arm straightens and sweeps past the front of your [left] knee, your body position and stance not changing. See photo 7:
後衝式
[Part 2] THRUSTING TO THE REAR
卽轉向西平舉。拳眼斜向上。同時右拳。由西收回至肋。向東衝出。與左乳平。同時腰胯向北轉。右腿稍向東南移。順勢鬆開肩骨眼視右拳。如第八圖後衝式。
[Your left fist] then arcs to the west to be raised level, the fist eye facing diagonally upward, as your right fist gathers in from the west until at your ribs and thrusts out to the east at chest level, your waist and hips at the same time rotating toward the north, your right leg slightly shifting to the southeast. Make the posture effortless by loosening your shoulders. Your gaze is toward your right fist. See photo 8:
四。斫札式
4. CHOPPING SMASH
聞四。右臂翩轉手背。卽往下札。上膊貼近右肋。手心向上。小臂向東斜下舉。眼平視東。如第九圖。
“Four!” Your right arm turns over and smashes downward with the back of the hand, the upper arm going near your right ribs, the center of the hand facing upward, the forearm angled diagonally downward to the east. Your gaze is level to the east. See photo 9:
五。踢腿式（提腿式）
5. POINTING KICK ([Part 1] LIFTING THE LEG)
聞五。兩臂姿勢不變。右腿向東提平。小腿垂直。脚尖向下護襠。眼平視東方。（如第十圖。提腿式。）
“Five!” The posture of your arms does not change as your right leg lifts toward the east until level, the lower leg hanging straight, the toes pointing downward to cover your crotch. Your gaze is level to the east. See photo 10:
右踢腿式
[Part 2] RIGHT POINTING KICK
小腿迅卽向東平踢。脚背須挺。右胯盡力向東。如第十一圖。
The lower leg then quickly does a level pointing kick to the east. The top of the foot has to be straight. Your right hip is expressing strength toward the east. See photo 11:
踢腿落下式
[Part 3] COMING DOWN FROM THE KICK
右腿卽落下。成右弓式。面向東。身向北。如第十二圖。
Your right leg then comes down to make a right bow stance. You are facing to the east, your body facing to the north. See photo 12:
第二次右式
Second time, on the right side:
一。扁擔式（右扁擔式）
1. YOKE-CARRYING PUNCH (RIGHT)
聞一。承上右弓式。右拳收囘。從腰間向東衝出。眼東視右拳。仍右弓式。兩拳眼斜向上。如第十三圖。
“One!” Continuing from the previous posture, your right fist withdraws and thrusts out to the east from your waist, both fist eyes facing diagonally upward. Still in a right bow stance, your gaze is toward your right fist. See photo 13:
二。閃肘式
2. EVADING ELBOW
聞二。右臂卽向西閃。平屈於胸前。右拳眼置於左肩前。手心向下。左臂仍不動。平舉於西。眼向東平視。如第十四圖。
“Two!” Your right forearm then evades to the west, the arm bending in front of your chest, the fist eye facing the front of your left shoulder, the center of the hand facing downward, your left arm still not moving from its position, raised level to the west. Your gaze is level to the east. See photo 14:
三。前掃後衝式（前掃式）
3. SWEEPING IN FRONT, THRUSTING TO THE REAR ([Part 1] SWEEPING IN FRONT)
聞三。右臂伸直掃過膝前。（身步仍不動如第十五圖。前掃式。）
“Three!” Your right arm straightens and sweeps past the front of your [right] knee, your body position and stance not changing. See photo 15:
後衝式
[Part 2] THRUSTING TO THE REAR
卽轉向西平舉。拳眼斜向上。同時左拳。由西收回至肋。向東衝出與右乳平。同時胯向南轉。左腿稍向東北移。順勢鬆開肩骨。眼視左拳。如第十六圖。後衝式。
[Your right fist] then arcs to the west to be raised level, the fist eye facing diagonally upward, as your left fist gathers in from the west until at your ribs and thrusts out to the east at chest level, your waist and hips at the same time rotating toward the south, your left leg slightly shifting to the northeast. Make the posture effortless by loosening your shoulders. Your gaze is toward your left fist. See photo 16:
四。斫札式
4. CHOPPING SMASH
聞四。左臂翻轉。手背卽往下札。上膊貼近左肋。手心向上。小臂向東平舉。眼向東平視。如第十七圖。
“Four!” Your left arm turns over and smashes downward with the back of the hand, the upper arm going near your left ribs, the center of the hand facing upward, the forearm raised level [angled diagonally downward] to the east. Your gaze is level to the east. See photo 17:
五。踢腿式（提腿式）
5. POINTING KICK ([Part 1] LIFTING THE LEG)
聞五。兩臂姿勢不變。左腿向東提平。小腿垂直。脚尖向下護檔。眼平視東方。（如第十八圖。提腿式。）
“Five!” The posture of your arms does not change as your left leg lifts toward the east until level, the lower leg hanging straight, the toes pointing downward to cover your crotch. Your gaze is level to the east. See photo 18:
左踢腿式
[Part 2] LEFT POINTING KICK
小腿迅卽向東平踢。脚背須挺。左胯盡力向東。（如第十九圖。踢腿式。）
The lower leg then quickly does a level pointing kick to the east. The top of the foot has to be straight. Your left hip is expressing strength toward the east. See photo 19:
左弓式
[Part 3] [COMING DOWN FROM THE KICK INTO A] LEFT BOW STANCE
左腿卽落下。成左弓式。面向東。身向南如第二十圖。
Your left leg then comes down to make a left bow stance. You are facing to the east, your body facing to the south. See photo 20:
第三次左式
Third time, on the left side:
一。扁擔式
1. YOKE-CARRYING PUNCH [LEFT]
聞一。承上左弓式。左拳收回。從腰間向東衝出。眼東視左拳。仍左弓式。如二十一圖。
“One!” Continuing from the previous posture, your left fist withdraws and thrusts out to the east from your waist. Still in a left bow stance, your gaze is toward your left fist. See photo 21:
二。閃肘式
2. EVADING ELBOW
聞二。動作。同第一次左式。如二十二圖。
“Two!” The movement is the same as in the first time on the left side. See photo 22:
三。前掃後衝式
3. SWEEPING IN FRONT, THRUSTING TO THE REAR ([Part 1]
聞三。動作同第一次左式。如第二十三圖。（前掃式）二十四圖。（後衝式）
“Three!” The movement is the same as in the first time on the left side. See photos 23 (SWEEPING IN FRONT) & 24 (THRUSTING TO THE REAR):
四。斫札式
4. CHOPPING SMASH
聞四。動作第一次。左式如第二十五圖。
“Four!” The movement is the same as in the first time on the left side. See photo 25:
五。踢腿式
5. POINTING KICK
聞五。動作同第一。左式。如二十六圖。（提腿式）二十七圖。（踢腿式）
“Five!” The movement is the same as in the first time on the left side. See photos 26 (LIFTING THE LEG) & 27 ([RIGHT] POINTING KICK):
停。休息式
FINISH – RESTING POSTURE
聞停。右拳向東平衝。同時左拳收回抱肘。於腰間。卽提平左腿。小腿垂直。眼平視右拳。如第二十八圖。
“Finish!” Your right fist does a level thrust punch to the east as your left fist withdraws to your waist, the elbow wrapping, and you lift your left leg to be level, the lower leg hanging straight down. Your gaze is level toward your right fist. See photo 28:
落連續第二路。則向西演進可也。或再演第一路。亦可向西演進。
In this way, you can then continue into performing Line 2 toward the west, or you can repeat Line 1, now advancing toward the west.
一。休止式。（其一）
1. FINISHING POSTURE (Part 1)
聞一。左足向西落地。成左弓式。左拳即由腰間衝出。與扁擔式同。如第二十九圖面西。
“One!” Your left foot comes down to the west to make a left bow stance, your left fist thrusting out from your waist the same as in the YOKE-CARRYING PUNCH. You are facing to the west. See photo 29:
二。休止式。（其二）
2. FINISHING POSTURE (Part 2)
聞二。左右拳向前平合。手背向上。兩虎口相切。同時左脚收回。與右脚併攏。立正。如第三十圖。
“Two!” Your fists come together, level in front of you, the backs of the fists facing upward, the tiger’s mouths facing each other, your left leg at the same time withdrawing to be standing next to your right foot, and you stand at attention. See photo 30:
三。休止式。（其三）
3. FINISHING POSTURE (Part 3)
聞三。兩臂收回抱肘。如三十一圖面北。
“Three!” Your fists withdraw, the elbows wrapping. You are facing to the north. See photo 31:
附研究問答。
Q & A:
問扁擔式。前拳高低。姿勢如何。
“During the YOKE-CARRYING PUNCH, what is the height of the front fist?”
答。左右衝拳。前拳低與乳平。攻敵人之心房。後拳稍高與頂齊。係順前拳攻勢。不然則前拳無力。則身法亦滯而不靈矣。
When you thrust out your fists, your front fist is lower, at chest level, attacking the opponent’s chest, while the rear fist is slightly higher, at headtop level, complementing the front fist’s attacking posture. Without this arrangement, the front fist will lack power, and the body’s movement will also be sluggish and ineffective.
問。閃肘法如何。
“How does the EVADING ELBOW work?”
答。與敵交手。以實出以虛入。雖機變化。即兵法云。虛則實。實則虛之謂也。閃肘。須連腰帶胯速即轉正向下蹲于左（右）脚上。練成敏捷習慣。
When fighting with an opponent, go out with fullness and come in with emptiness, adapting according to the situation, as explained in the Art of War: “Where he is empty, fill, and where he is full, empty.” Your evading elbow has to be connected to your waist and hips, which quickly turn, squatting onto the front leg. Through practice, the nimbleness of this will become habitual.
問。斫札。如何不畫小圈。
“When performing the CHOPPING SMASH, why not draw a small circle?”
答。若畫小圈。徒為形式。不能實用。練拳係講實用。祗取應敵迅速。一翻卽札可耳。
If you draw a small circle, it would be a mere gesture rather than a practical technique. In the practice of boxing arts, when we speak of something being “practical”, it means that it can be used to quickly deal with an opponent. For the smash to work, the key is for the fist to turn over.
問。踢腿什麼要平踢
“Why should the POINTING KICK be level [instead of knee-height as in the twelve-line version]?”
答。練時須要踢平。則胯骨展開。筋絡伸長。則運動自如。用時則如彈弓然。一彈卽收。非一成不變之姿勢可同日而語也。
When training, the pointing kick has to be level so the hip will be extended and the muscles will be stretched, and then the exercise will have greater smoothness. When applying it, it is like using a pellet bow, snapping out and then retracting. That “unalterable” other version is inferior.
–
第二路十字人拉鑽
LINE 2: CROSS-SHAPED BODY, PULLING & DRILLING
一。抱肘式
1. WRAPPING ELBOWS
聞一。如第一路開始式。如第三十二圖面南。
“One!” Same as in the opening posture of Line 1. You are facing to the south. See photo 32:
二。衝拳式
2. THRUST PUNCH
聞二。左拳變鈎由東向北平挪至腰間。仍握拳。抱肘於腰。同時左脚向東出一步。成左弓式。右脚向南稍移。右拳卽由腰際衝出。如第三十三圖。
“Two!” Your left fist changes to a hook and moves across from east to north until again at your waist where it is again grasped into a fist, the elbow wrapping to your waist, your left foot at the same time stepping out to the east to make a left bow stance, your right foot slightly shifting toward the south, and your right fist thrusts out from your waist. See photo 33:
第一次左式
First time, on the left side:
一。左十字拉鑽式
1. LEFT CROSS-SHAPE, PULLING & DRILLING
聞一。右拳收回抱肘。同時左拳向東衝出。與乳平。拳眼斜向上。同時右腿提起。向東平踢卽落下。面東。腰直。眼平視。如第三十四圖
“One!” Your right fist withdraws, the elbow wrapping, as your left fist thrusts out to the east at chest level, the fist eye facing diagonally upward, your right leg at the same time lifting and doing a level pointing kick out to the east. The leg will then promptly come down. You are facing to the east, waist upright, your gaze level. See photo 34:
第二次右式
Second time, on the right side:
二。右十字拉鑽式
2. RIGHT CROSS-SHAPE, PULLING & DRILLING
聞二。左拳收回抱肘。同時。右拳向東衝出。與乳平。拳眼斜向上。同時提左腿向東平踢即落地。面東。腰直。眼平視。如第三十五圖。
“Two!” Your left fist withdraws, the elbow wrapping, as your right fist thrusts out to the east at chest level, the fist eye facing diagonally upward, your left leg at the same time lifting and doing a level pointing kick out to the east. The leg will then promptly come down. You are facing to the east, waist upright, your gaze level. See photo 35:
第三次左式
Third time, on the left side:
一。左十字拉鑽式
1. LEFT CROSS-SHAPE, PULLING & DRILLING
聞一。令動作同第一次左式。
“One!” The command and movement are the same as the first time on the left side. [See photo 36:]
停。休息式
FINISH – RESTING POSTURE
聞停。口令。右拳向東衝出。與肩平。同時。左拳收回抱肘。即提左腿。眼視右拳。身向北。如第三十六圖。
“Finish!” Your right fist thrusts out at shoulder level as your left fist withdraws, the elbow wrapping, and your left leg lifts. Your gaze is toward your right fist, your body facing to the north. See photo 36 [37]:
若連續第三路。則向西演進。可耳。或再演第二路。亦向西進行。欲休止。則下立正令。動作如第一路同。
In this way, you can then continue into performing Line 3 toward the west, or you can repeat Line 2, now advancing toward the west. When you want to finish, then perform STANDING AT ATTENTION, the commands and movements the same as in Line 1.
附問答。
Q & A:
問。第二路姿勢如何。
“What are the postures like in Line 2?”
答。不可抵頭。不可曲背不可聳肩。是為至要。
You must not lower your head, bend your back, or lift your shoulders. These things are very important.
問。第二路動作如何。
“What are the movements like in Line 2?”
答。拳之衝出。與收回及踢腿。須呵成一氣。
As the fist thrusts out, the other withdraws, and the leg kicks. All of these actions must be flowing together at the same time.
–
第三路盖撞雙披打
LINE 3: COVERING PUNCH, DOUBLE-DRAPING STRIKE
開始式
BEGINNING POSTURE
一。抱肘式（其一）
1. WRAPPING ELBOWS
聞一。動作同第一路。開始式其一。如第三十八圖。面南。
“One!” The movement is the same as in Part 1 of the opening posture in Line 1. Your body is facing to the south. See photo 38:
二。雙拳平衝式（其二）
2. DOUBLE HORIZONTAL THRUST PUNCHES
聞二。動作同第一路。開始式其二。如第三十九圖面南。
“Two!” The movement is the same as in Part 2 of the opening posture in Line 1. Your body is facing to the south. See photo 39:
三。雙札式（其三）
3. DOUBLE SMASHING
聞三。動作同第一路。開始式其三。如第四十圖面南。
“Three!” The movement is the same as in Part 3 of the opening posture in Line 1. Your body is facing to the south. See photo 40:
第三路
Line 3:
第一次左式
First time, on the left side:
一。扁捶式（左扁擔式）
1. YOKE-CARRYING PUNCH (LEFT)
聞一動作同第一路。左扁擔式。如第四十一圖。
“One!” The movement is the same as in the YOKE-CARRYING PUNCH (LEFT) in Line 1. See photo 41:
二。盖捶式（盖捶式其一）
2. COVERING PUNCH (Part 1)
聞二。左拳由東向上。往西盖打。同時右拳收回。置於腰間。同時卽變右弓式。眼視西。如第四十二圖。面南。
“Two!” Your left fist goes upward from the east and does a covering strike to the west, your right hand at the same time withdrawing to be placed at your waist, your stance at the same time switching to a right bow stance. Your gaze is to the west, your body facing to the south. See photo 42:
盖捶式其二
COVERING PUNCH (Part 2)
同時左拳。由西向下往東摔。拳眼斜向南。同時右拳卽向上冲。拳眼亦向南。面向東。眼平視。如第四十三圖。
Then your left fist goes downward from the west and throws out to the east, the fist eye facing diagonally to the south, your right fist at the same time thrusting upward, the fist eye facing to the south. You are facing to the east, your gaze level. See photo 43:
三。雙披式（其一）
3. DOUBLE DRAPING (Part 1)
聞三。左拳由下往西與右臂平行。眼視東。如第四十四圖。
“Three!” Your left fist goes from below, moving to the west so the arm is parallel with your right arm. Your gaze is to the east. See photo 44:
雙披式（其二）
DOUBLE DRAPING (Part 2)
同時。轉身成左弓式。左拳卽由西往上。向東披。拳眼斜向上。同時。右拳由西向上。往東向下扎。手心向上。左拳平舉於西。右脚稍移向南。如第四十五圖。
Then your body turns to make a left bow stance as your left fist goes upward from the west and drapes to the east, the fist eye facing diagonally upward, your right fist at the same time going upward from the west and smashing downward to the east, the center of the hand facing upward, your left fist raised level to the west, your feet slightly shifting to be pointing to the south. See photo 45:
四。踢腿式
4. POINTING KICK
聞四。動作第一路。右踢腿式。如第四十六圖。（右踢腿式）如第四十七圖。（踢腿落下式）
“Four!” The movement is the same as in RIGHT POINTING KICK in Line 1. See photos 46 (RIGHT POINTING KICK) & 47 (COMING DOWN FROM THE KICK):
第二次右式
Second time, on the right side:
一。扁擔式（右扁擔式）
1. YOKE-CARRYING PUNCH (RIGHT)
聞一。動作同第一路。第二次。右式。如第四十八圖。
“One!” The movement is the same as in Line 1, second time, on the right side. See photo 48:
二。蓋捶式（其一）
2. COVERING PUNCH (Part 1)
聞二。右拳由東向上往西蓋打。同時左拳收回。置於腰間。同時卽變左弓式。眼視西。如第四十九圖。西北。
“Two!” Your right fist goes upward from the east and does a covering strike to the west, your left hand at the same time withdrawing to be placed at your waist, your stance at the same time switching to a left bow stance. Your gaze is to the west, your body facing to the south. See photo 49:
盖捶式（其二）
COVERING PUNCH (Part 2)
同時右拳西向下。往東摔。拳眼斜向北。同時左拳卽向上冲。拳眼亦向北。面向東。眼平視。如第五十圖。
Then your left fist goes downward from the west and throws out to the east, the fist eye facing diagonally to the north, your left fist at the same time thrusting upward, the fist eye facing to the north. You are facing to the east, your gaze level. See photo 50:
三。雙披式（其一）
3. DOUBLE DRAPING (Part 1)
聞三。右拳由下往西。與左臂平行。眼視東。如第五十一圖。
“Three!” Your right fist goes from below, moving to the west so the arm is parallel with your left arm. Your gaze is to the east. See photo 51:
雙披式（其二）
DOUBLE DRAPING (Part 2)
同時。轉身成右弓式。右拳即由西往上。向東披。拳眼斜向上。同時。左拳向上。往東向下扎。手心向上。左拳平舉於西。右脚稍移向北。如第五十二圖。
Then your body turns to make a right bow stance as your right fist goes upward from the west and drapes to the east, the fist eye facing diagonally upward, your left fist at the same time going upward and smashing downward to the east, the center of the hand facing upward, your left fist raised level to the west, your feet slightly shifting to be pointing to the north. See photo 52:
四。踢腿式
4. POINTING KICK
聞四。動作同第一路。第二次。右式。左踢腿。如第五十三圖。（左踢腿式）如第五十四圖。（踢腿落下式）
“Four!” The movement is the same as in the LEFT POINTING KICK in Line 1, second time, on the right side. See photo 53 (LEFT POINTING KICK) & 54 (COMING DOWN FROM THE KICK):
第三次左式
Third time, on the left side:
一。扁擔式（左扁擔式）
1. YOKE-CARRYING PUNCH (LEFT)
聞一。動作同第一路。第三次。左式。扁擔式。如第五十五圖。
“One!” The movement is the same as in Line 1, third time, on the left side. See photo 55:
二。盖捶式
2. COVERING PUNCH
聞二。動作同第一次左式。盖捶式。如第五十六圖。（其一）如第五十七圖。（其二）
“Two!” Your movement is the same as in the first time on the left side. See photo 56 (Part 1) & 57 (Part 2):
三。雙披式
3. DOUBLE DRAPING
聞三。動作同第一次。左式。雙披式。如第五十八圖。（其一）如第五十九圖。（其二）
“Three!” The movement is the as in the first time on the left side. See photo 58 (Part 1) & 59 (Part 2):
四。踢腿式
4. POINTING KICK
聞四。動作同第一路。第一次。右踢腿式。如第六十圖。（踢腿式）如第六十一圖。（踢腿落下式）
“Four!” The movement is the same as in the RIGHT POINTING KICK in Line 1, first time, on the left side. See photo 60 ([RIGHT] POINTING KICK) & 61 (COMING DOWN FROM THE KICK):
停。休息式
FINISH – RESTING POSTURE
聞停。動作同第一路。第三次左式。停如第六十二圖。
“Finish!” The movement is the same as in Line 1. See photo 62:
若連續第四路。則向西演進。或再演第三路。亦可向西進行。如欲休止。則下立正口令。動作與第一路同。
In this way, you can then continue into performing Line 4 toward the west, or you can repeat Line 3, now advancing toward the west. When you want to finish, then perform STANDING AT ATTENTION, the commands and movements the same as in Line 1.
附問答。
Q & A:
問。此節前後轉動。於實用上。價値如何。
“This section turns around front and back. What is the value of this as a practical technique?”
答。此節主要。在前後盼顧。進能取。退能守。如前攻則後虛。而敵人則侵虛而入。故用後顧法。以首應之。兵法云。常山之蛇。擊首。則尾應。擊尾。則首應。擊中則首尾相應。此之謂也。其價値可知矣。
The key to this section lies in looking both forward and behind so that when advancing you can catch the opponent and when retreating you can guard yourself. If you attack forward but neglect what is behind you, an opponent will invade where you are not paying attention. Therefore looking behind is a way of “responding with the head”. It says in the Art of War [chapter 11]: “The snake of Mt. Chang – Strike its head, its tail responds. Strike its tail, its head responds. Strike its middle, its head and tail respond together.” From these words, the value of this section can be understood.
–
第四路轉磨生奇關
LINE 4: TURNING & SLIDING WITH GREAT LIVELINESS
開始式 抱肘式
BEGINNING POSTURE – WRAPPING ELBOWS
聞抱肘。動作同第一路。開始式。其一。如第六十三圖。
“Wrap elbows!” The movement is the same as in Line 1. See photo 63:
第一次左式
First time, on the left side:
一。應手式
1. MEETING HAND
聞一。左脚向東北出一步。成左弓式。面身亦向東北。同時左拳變鈎。向東北摟至腰間。仍抱肘。同時右拳變掌。向東北出掌。右脚略向西南移。如第六十四圖。
“One!” Your left foot steps out to the northeast to make a left bow stance, your face and body both facing to the northeast, your left fist at the same time making a hook, dragging toward the northeast, and coming to your waist, the elbow again wrapping, as your right fist becomes a palm and goes out with a palm strike to the northeast, your right foot slightly shifting toward the southwest. See photo 64:
二。二虎登山式
2. TWO TIGERS CLIMB THE MOUNTAIN
聞二。右掌收回。置於腰間。同時向東北出左掌。踢右腿。如第六十五圖。卽落地於東北
“Two!” Your right palm withdraws to be placed at your waist, your left palm at the same time going out to the northeast, as you do a pointing kick with your right leg, which will then promptly come down to the northeast. See photo 65:
三。切掌式
3. CUTTING PALM
聞三。承腿落地。卽向東北出右掌。收回左掌於腰間。如第六十六圖。面東北。
“Three!” Continuing from the leg coming down, your right palm then goes out to the northeast, your left palm withdrawing to your waist. You are facing to the northeast. See photo 66:
四。倒叉步式（側面向東）
4. CROSSING-BEHIND STANCE (sideways view, viewed from the east)
聞四。左脚移至正南。倒叉於右脚。距離一脚之後。同時左掌置於右大膊下。手心向東。面身向北。右掌向南。如第六十七圖。
“Four!” Your left foot shifts to the south, crossing behind your right foot at a distance of about a foot behind it, your left palm at the same time placed below your right upper arm, the palm facing to the east. Your face and body are facing to the north, your right palm to the south. See photo 67:
五。撑磨腿式
5. BRACING SLIDING LEG
聞五。右脚向東南撑磨。成左弓式。右掌收囘。置於腰間。同時卽向西北出左掌。面向西北。如第六十八圖。
“Five!” Your right foot braces out to the southeast with a sliding action to make a left bow stance as your right palm withdraws to be placed at your waist and your left palm goes out to the northwest. You are facing to the northwest. See photo 68:
六。切掌式
6. CUTTING PALM
聞六。左掌收回。置於腰間。同時右掌向西北出。步位不變。仍左弓式。如第六十九圖。
“Six!” Your left palm withdraws to be placed at your waist as your right palm goes out to the northwest, your stance not changing, still a left bow stance. See photo 69:
第二次右式
Second time, on the right side:
一。切掌式（其一）摟腿
1. CUTTING PALM (Part 1 – DRAGGING ALONG THE LEG)
聞一。右掌變鈎同時轉身向東南。右鈎順身沿腿摟平。如第七十圖。
“One!” Your right palm changes to a hook as your body turns toward the southeast, and your right hooking hand moves along with your body to drag parallel to your [right] leg. See photo 70:
切掌式（其二）
CUTTING PALM (Part 2)
同時成右弓式。卽出左掌應手。右鈎卽向後摟。左脚略向東北移。面東南。如第七十一圖。
Then make a right bow stance and send out your left palm as a meeting hand, your right hooking hand dragging to the rear, your left foot slightly shifting toward the northeast. You are facing to the southeast. See photo 71:
二。二虎登山式
2. TWO TIGERS CLIMB THE MOUNTAIN
聞二。右掌收回置於腰間。同時向東北出右掌。踢左腿。面北。如第七十二圖。卽落於東南。
“Two!” Your right [left] palm withdraws to be placed at your waist, your right palm at the same time going out to the northeast, as you do a pointing kick with your left leg, which will then promptly come down to the northeast. You are facing to the north. See photo 72:
三。切掌式
3. CUTTING PALM
聞三。承腿落地。成左弓式。即向東南出左掌。收回右掌。於腰間。面西。如第七十三圖。
“Three!” Continuing from the leg coming down to make a left bow stance, your left palm then goes out to the southeast, your left palm withdrawing to your waist. You are facing to the west. See photo 73:
四。倒叉步式（側面向西）
4. CROSSING-BEHIND STANCE (sideways view, viewed from the west)
聞四。右脚移至正北。倒叉於左脚。距離一脚之後。同時掌置於左大膊下。手心向東。面身向南。如第七十四圖。
“Four!” Your right foot shifts to the north, crossing behind your left foot at a distance of about a foot behind it, your [right] palm at the same time placed below your left upper arm, the palm facing to the east. Your face and body are facing to the south. See photo 74:
五。撑磨腿式
5. BRACING SLIDING LEG
聞五。左脚向東北撑磨。成右弓式。左掌收回置於腰間。同時卽向西南出右掌。面向西南。如第七十五圖。
“Five!” Your left foot braces out to the northeast with a sliding action to make a right bow stance as your left palm withdraws to be placed at your waist and your right palm goes out to the southwest. You are facing to the southwest. See photo 75:
六。切掌式
6. CUTTING PALM
聞六。左掌收回置於腰間。左掌向西南出。步位仍不變。如第七十六圖。
“Six!” Your left [right] palm withdraws to be placed at your waist as your left palm goes out to the southwest, your stance not changing. See photo 76:
第三次左式
Third time, on the left side:
一。切掌式（其一）摟腿
1. CUTTING PALM (Part 1 – DRAGGING ALONG THE LEG)
聞一。左掌變鈎。同時轉身向東北。左鈎順身沿腿平摟。如第七十七圖。
“One!” Your left palm changes to a hook as your body turns toward the northeast, and your left hooking hand moves along with your body to drag parallel to your [left] leg. See photo 77:
切掌式（其二）
CUTTING PALM (Part 2)
同時成左弓式。卽出應手左鈎。卽向後摟。右脚略向東南移。面東北。如第七十八圖。
Then make a left bow stance and send out [your right palm as] a meeting hand, your left hooking hand dragging to the rear, your right foot slightly shifting toward the southeast. You are facing to the northeast. See photo 78:
二。二虎登山式
2. TWO TIGERS CLIMB THE MOUNTAIN
聞二。動作同第一次左式。二虎登山式。如第七十九圖。
“Two!” The movement is the same as in the first time on the left side. See photo 79:
停。休息式
FINISH – RESTING POSTURE
聞停。右脚移至東落下。提左腿。同時右鈎握拳。向東平衝。左掌變拳。抱肘。眼視右拳。身向北。如第八十圖。
“Finish!” Your right foot comes down to the east and your left leg lifts, your right hooking hand at the same time grasping into a fist and doing a level thrust punch to the east, your left palm becoming a fist, the elbow wrapping. Your gaze is toward your right fist, your body facing to the north. See photo 80:
若連續第五路。則向西演進。或再演第四路。亦可向西進行。欲休止。則下立正口令。動作與第一路同。
In this way, you can then continue into performing Line 5 toward the west, or you can repeat Line 4, now advancing toward the west. When you want to finish, then perform STANDING AT ATTENTION, the commands and movements the same as in Line 1.
附。問答
Q & A:
問。四路應注意何項。
“What are some items for attention in Line 4?”
答。應手式。指尖向前。不可掌心向前。五指須靠緊。指與肩齊。同時右（左）脚亦須向斜前移動。
For the “meeting hand”, the fingers are pointing forward, but the palm must not be facing forward. The fingers must be tight together, fingers at shoulder level. The opposite foot must at the same time shift diagonally forward.
二虎登山式。起腿須高彈。左。右。收。出。與腿。須連環一氣。
For TWO TIGERS CLIMB THE MOUNTAIN, the lifted leg must snap out high, one palm withdrawing, the other palm going out, and the leg kicking must all move in unison.
切掌式。出掌緣向前。手心略向內。五指靠緊。指尖向上。
For the CUTTING PALM, the edge of the palm goes forward, the center of the hand facing almost inward, fingers tight together, fingertips pointing upward.
倒叉步式。右（左）掌不變動。左（右）掌。卽置於大膊下。手掌向外。身體轉正。
For the CROSSING-BEHIND STANCE, one palm does not move from its position and the other is placed below its upper arm, that palm facing outward, your body turning to be squared.
撑磨腿式。腿須着地。用力掃去而掌須切近臂膊脫出。收回之掌。掌緣貼腰。手心向上。指尖向前。
For the BRACING SLIDING LEG, the leg must be touching the ground as it forcefully sweeps out, the palm going out must be stripping away against the other arm, and the withdrawing palm puts its palm edge against the waist, the palm facing upward, fingers pointing forward.
–
第五路裁捶登來益
LINE 5: CUTTING PUNCH, CLIMBING TO GET CLOSER TO THE OBJECTIVE
開始式 抱肘式
BEGINNING POSTURE – WRAPPING ELBOWS
聞抱肘。動作同第一路。開始式。其一如第八十一圖。
“Wrap elbows!” The movement is the same as in the OPENING POSTURE of Line 1. See photo 81:
第一次左式
First time, on the left side:
一。裁拳式
1. CUTTING PUNCH
聞一。左脚向東北出一步。成左弓式。同時左臂向東北上挑護前腦。右拳則東斜下裁。拳與乳平。身向。北眼視右拳。如第八十二圖。
“One!” Your left foot steps out to the northeast to make a bow stance, your left arm at the same time carrying upward to the northeast to protect your head, and your right fist cuts diagonally downward to the east to be at chest level. Your body is facing toward the north, your gaze toward your right fist. See photo 82:
二。雙扎式
2. DOUBLE SMASHING
聞二。左右拳猛向下扎。手心向上。右拳扎於小腹前。右肘貼於右肋。左拳置於腰間。面東。眼平視。如第八十三圖。
“Two!” Both fists fiercely smash downward, the centers of the hands facing upward, your right fist smashing to be in front of your abdomen, your right elbow against your right ribs, your left fist placed at your waist. You are facing to the east, your gaze level. See photo 83:
三。登來益式
3. CLIMBING TO GET CLOSER TO THE OBJECTIVE
聞三。提右腿。左腿挺直。脚尖向上。用脚底向東北直踹。如第八十四圖。卽向東南落地。
“Three!” Your left leg straightens as you lift your right leg, toes pointing upward, and use the sole of the foot to stamp straight to the northeast. The foot will then promptly come down to the southeast. See photo 84:
第二次右式
Second time, on the right side:
一。裁拳式
1. CUTTING PUNCH
聞一。承上右腿落地。卽向東南成右弓式。同時右臂向東南上挑護前腦。左拳則東斜下裁。拳與乳平身向南。眼視左拳。如第八十五圖。
“One!” Continuing from the previous posture, your right leg comes down to the southeast to make a right bow stance, your right arm at the same time carrying upward to the southeast to protect your head, and your left fist cuts diagonally downward to the east to be at chest level. Your body is facing toward the south, your gaze toward your left fist. See photo 85:
二。雙扎式
2. DOUBLE SMASHING
聞二。左右拳猛向下扎。手心向上。左拳扎於小腹前。左肘貼於左肋。右拳置於腰間。面東。眼平視。如第八十六圖。
“Two!” Both fists fiercely smash downward, the centers of the hands facing upward, your left fist smashing to be in front of your abdomen, your left elbow against your left ribs, your right fist placed at your waist. You are facing to the east, your gaze level. See photo 86:
三。登來益式
3. CLIMBING TO GET CLOSER TO THE OBJECTIVE
聞三。右腿挺直。提左腿。脚尖向上。用脚底向東南直踹。如第八十七圖。即落地。
“Three!” Your right leg straightens as you lift your left leg, toes pointing upward, and use the sole of the foot to stamp straight to the southeast. The foot will then promptly come down [to the northeast]. See photo 87:
第三次左式
Third time, on the left side:
一。裁拳式
1. CUTTING PUNCH
聞一。承上左腿落地。卽向東北。成左弓式。餘動作與第一次同。如第八十八圖。
“One!” Continuing from the previous posture, your left leg comes down to the northeast to make a left bow stance. The rest of the movement is the same as in the first time. See photo 88:
二。雙扎式
2. DOUBLE SMASHING
聞二。動作與第一次。左式同。如第八十九圖。
“Two!” The movement is the same as in the first time on the left side. See photo 89:
三。登來益式
3. CLIMBING TO GET CLOSER TO THE OBJECTIVE
聞三。動作與第一次。左式同。如第九十圖。
“Three!” The movement is the same as in the first time on the left side. See photo 90:
四。停休息式
4. FINISH – RESTING POSTURE
聞停。承上右腿落地。卽衝右拳。向東。左拳護腰。提左腿。眼視右拳。如第九十一圖。
“Finish!” Continuing from the previous posture, your right leg comes down and your right fist thrusts out to the east, your left fist guarding your waist, your left leg lifting. Your gaze is toward your right fist. See photo 91:
若連續第六路。則向西演進。或再演第五路。亦可向西進行。如欲休止。則下立正口令。動作與第一路同。
In this way, you can then continue into performing Line 6 toward the west, or you can repeat Line 5, now advancing toward the west. When you want to finish, then perform STANDING AT ATTENTION, the commands and movements the same as in Line 1.
附。注意事項
Items for Attention:
一。拳衝出。須順勢移左（右）脚向前斜出。眼須前視。挑手位於腦前。與頭頂平。裁拳與挑手齊出。兪速兪妙。
1. When your fist thrusts out [with the cutting punch], it must follow along with the opposite foot as it goes out forward diagonally. Your gaze has to be forward. Your carrying hand is placed in front of your head at headtop level. The cutting punch and carrying hand go out in unison, the faster the better.
二。踹腿向東北即向東南落。脚將落地迅速卽將雙拳前挑後裁。連成一氣。方為合法。
2. When doing the stamping kick to the northeast and then coming down to the southeast, bring the foot down quickly and then send out your fists, front hand carrying, rear hand cutting. When it is performed as a continuous flow, then it will be right.
三。踹腿法。舉膝小腿平屈。足尖向上。足心向東南。或東北。直伸氣力全在於足跟上。
3. The method of doing the stamping kick is to raise the knee so the lower [upper] leg is level, the leg bent, the toes pointing upward, the sole of the foot facing to the southeast or northeast, and the leg extends straight, strength expressed entirely at the heel.
–
第六路堪管封畢然
LINE 6: ENCOUNTER & WATCH, SEAL OFF & FINISH
開始式 抱肘式
BEGINNING POSTURE – WRAPPING ELBOWS
聞抱肘。動作同第一路開始式。其一如第九十二圖。
“Wrap elbows!” The movement is the same as in the opening posture of Line 1. See photo 92:
第一次左式
First time, on the left side:
一。應手式
1. MEETING-HAND
聞一。左脚向東出一步。成左弓式。左拳變掌向東應手。右臂伸直。拳即變鈎。即向後摟。身向東。眼平視。如第九十三圖。
“One!” Your left foot steps out to the east to make a left bow stance as your left fist becomes a palm and goes to the east as a meeting hand, your right arm straightening, the fist becoming a hook and dragging behind. Your body is facing to the east, your gaze level. See photo 93:
二。看管式
2. WATCHING POSTURE
聞二。左掌即閃回。平屈胸前。同時蹼左腿屈右膝眼平視東。右臂平放仍鈎。如第九十四圖。
“Two!” Your left palm then withdraws, bending across in front of your chest, as you flatten out your left leg and bend your right knee. Your gaze is level to the east. Your right arm is also level, still making a hook. See photo 94:
三。前手摟後手揷（前摟式）
3. FRONT HAND DRAGGING, REAR HAND INSERTING ([Part 1] DRAGGING POSTURE)
聞三。左臂伸直掌卽變鈎與左腿平行。面東。如第九十五圖。
“Three!” Your left arm straightens, the palm becoming a hook, and moves to be parallel with your left leg. You are facing to the east. See photo 95:
後揷式
[Part 2] INSERTING POSTURE
即向北摟至西。同時成左弓式。右鈎變掌即向東斜前揷掌。手心向下。手指向東。如第九十六圖。
Then drag toward the north and continue to the west, at the same time making a left bow stance, your right hooking hand becoming a palm and going out diagonally forward to the east as an inserting palm strike, the palm facing downward, fingers pointing to the east. See photo 96:
四。砍掌式
4. CHOPPING PALM
聞四。右掌翻轉手心向上往下砍。右肘貼於右肋前。眼前視。左臂仍鈎不動如第九十七圖。
“Four!” Your right palm turns over so the palm is facing upward and chops downward, your right elbow going close in front of your right ribs, your left arm not moving from its hooking posture. Your gaze is forward. See photo 97:
五。踢腿式
5. POINTING KICK
聞五。動作與第一路。第一次左式踢腿式同。如第九十八圖。即落地成左弓式。
“Five!” The movement is the same as the POINTING KICK in Line 1, first time on the left side. The leg will then promptly come down to make a left [right] bow stance. See photo 98:
第二次右式
Second time, on the right side:
一。應手式
1. MEETING-HAND
聞一。承上右脚落地。卽出右掌。應手。成左弓式。如第九十九圖。
“One!” Continuing from the previous posture, your right foot comes down to make a left [right] bow stance as your right palm goes out as a meeting hand. See photo 99:
二。看管式
2. WATCHING POSTURE
聞二。右掌即閃回。平屈於胸前。同時蹼右腿屈左膝。眼平視。右鈎仍原式不動。如第一百圖。
“Two!” Your right palm then withdraws, bending across in front of your chest, as you flatten out your right leg and bend your left knee. Your gaze is level. Your right [left] arm does not move from its hook posture. See photo 100:
三。前手摟後手揷（前摟式）
3. FRONT HAND DRAGGING, REAR HAND INSERTING ([Part 1] DRAGGING POSTURE)
聞三。右臂伸直掌即變鈎。與右腿平行。面東。如第一百零一圖。
“Three!” Your right arm straightens, the palm becoming a hook, and moves to be parallel with your right leg. You are facing to the east. See photo 101:
後揷式
[Part 2] INSERTING POSTURE
即向南摟至西同時成左弓式。左鈎變掌。卽向東斜前揷。掌心向下。指尖向東。如第一百零二圖。
Then drag toward the south and continue to the west, at the same time making a left [right] bow stance, your left hooking hand becoming a palm and going out diagonally forward to the east as an inserting palm strike, the palm facing downward, fingertips pointing to the east. See photo 102:
四。砍掌式
4. CHOPPING PALM
聞四。左掌翻轉。手心向上往下砍。左肘貼於左肋前。眼前視。右臂仍鈎不動。如第一百零三圖。
“Four!” Your left palm turns over so the palm is facing upward and chops downward, your left elbow going close in front of your left ribs, your right arm not moving from its hooking posture. Your gaze is forward. See photo 103:
五。踢腿式
5. POINTING KICK
聞五。動作與第一路第二次右式踢腿式同如第一百零四圖。即落地成左弓式
“Five!” The movement is the same as the POINTING KICK in Line 1, second time on the right side. The leg will then promptly come down to make a left bow stance. See photo 104:
第三次左式
Third time, on the right side:
一。應手式
1. MEETING-HAND
聞一。承上腿落地。即出左掌。應手。成左弓式。如鈎仍直不變。如第一百零五圖。
“One!” Continuing from the previous posture, your [left] leg comes down to make a left bow stance as your right palm goes out as a meeting hand, your [right] arm maintaining its straightness and again making a hook. See photo 105:
二。看管式
2. WATCHING POSTURE
聞二。動作與第一次左式同。如第一百零六圖。
“Two!” The movement is the same as in the first time on the left side. See photo 106:
三。前摟式後揷式
3. FRONT HAND DRAGGING, REAR HAND INSERTING
聞三。動作與第一次左式。（三）同。如第一百零七圖（前摟式）如第一百零八圖（後揷式）。
“Three!” The movement is the same as in Posture 3 of the first time on the left side. See photos 1o7 (FRONT HAND DRAGGING) and 108 (REAR HAND INSERTING):
四。斫掌式
4. CHOPPING PALM
聞四。動作與第一次左。（四）同。如第一百零九圖。
“Four!” The movement is the same as in Posture 4 of the first time on the left side. See photo 109:
五。踢腿式
5. POINTING KICK
聞五。動作與第一次左式（五）同。如第一百十圖。
“Five!” The movement is the same as in Posture 5 of the first time on the left side. See photo 110:
停。休息式
FINISH – RESTING POSTURE
聞停。動作與第一路。休息式同如第一百十一圖。
“Finish!” The movement is the same as in the resting posture in Line 1. See photo 111:
若連續第七路。則向西演進。或再演第六路。亦可向西進行。欲休止。則下立正口令。動作與第一路同。
In this way, you can then continue into performing Line 7 toward the west, or you can repeat Line 6, now advancing toward the west. When you want to finish, then perform STANDING AT ATTENTION, the commands and movements the same as in Line 1.
注意要件
Items for Attention:
應手。指端向前斜下。與乳房平。左右手須連環齊出。方可得首尾相應之効。
For the meeting hand, the fingertips go forward with a downward slant at chest level. Your hands have to go out in unison, then you can get the effect of “head and tail responding together”.
–
第七路雙稱十字腿
LINE 7: DOUBLE BRACING, CROSS-SHAPED KICK
開始式 抱肘式
BEGINNING POSTURE – WRAPPING ELBOWS
聞抱肘。動作與第一路。開始式同。如第一百十二圖。
“Wrap elbows!” The movement is the same as the opening posture in Line 1. See photo 112:
第一次左式
First time, on the left side:
一。前手摟。後手扎式。
1. DRAGGING WITH THE FRONT HAND, SMASHING WITH THE REAR HAND
聞一。左脚向東北出步。同時兩拳變掌。由西南上角。成陰陽和合掌。急向東北摟扎。左手摟至腰間成抱肘式。右掌變拳由上往下扎。手心向上。右大膊貼於肋。成左弓式。面東如第一百十三圖。
“One!” Your left foot steps out to the northeast as your fists become palms and go from the upper southwest corner to make “passive and active merged” palms, then they quickly go to the northeast with dragging and smashing, your left hand [becoming a fist and] dragging to your waist, the elbow wrapping, your right palm becoming a fist and smashing down from above, the center of the hand facing upward, your right upper arm tight against your ribs. Making a left bow stance, you are facing to the east. See photo 113:
二。應面式
2. GOING TO THE FACE
聞二。左拳由腰間。直向東北上角衝出。與鼻齊。同時右扎拳收回。置於左腰間。如第一百十四圖。
“Two!” Your left fist goes from your waist and thrusts out to the northeast corner at nose level, your right smashing fist at the same time withdrawing to be placed at the left [right] side of your waist. See photo 114:
三。黑虎搗心式
3. BLACK TIGER GOES FOR THE HEART
聞三。右拳向東斜下衝出。拳與心齊。同時左拳上架。面東。如第一百十五圖。
“Three!” Your right fist thrusts out diagonally downward to the east to be at solar plexus level, your left fist at the same time propping upward. You are facing to the east. See photo 115:
四。過頂式（其一）
4. PASSING THE HEADTOP (Part 1)
聞四。雙拳變掌。右掌向上。與左掌交叉。在頭頂上。手心向外。同時轉體向左。如第一百十六圖。
“Four!” Your fists become palms and your right palm goes upward to be crossed with your left palm higher than your headtop, the palms facing outward, your body at the same time turning to the left. See photo 116:
過頂式（其二）
PASSING THE HEADTOP (Part 2)
同時即向左右下落。合於臍前。兩掌緣相切。面向東。右腿提起。如第一百十七圖。
Then your hands lower to the sides and come together in front of your navel, the palm edges touching, and your right leg lifts. You are facing to the east. See photo 117:
五。雙稱腿式
5. DOUBLE BRACING, [CROSS-SHAPED] KICK
聞五。雙掌向東西撑開。左掌與頭頂齊。右掌與肩平。同時左腿向東排出。腿伸直成九十度。直角。全身向左轉。眼視東。如第一百十八圖。右腿即向東落地。
“Five!” Your palms spread apart to the east and west, your left palm level with your headtop, your right palm at shoulder level, as your left [right] leg shoots out to the east, the leg extending at a ninety-degree angle [making the cross shape relative to the line of your head and standing foot]. Your body is turned to the left, your gaze to the east. Your right leg will then promptly come down to the east. See photo 118:
第二次右式
Second time, on the right side:
一。前手摟後手扎式
1. DRAGGING WITH THE FRONT HAND, SMASHING WITH THE REAR HAND
聞一。承上右腿落地。右掌卽向東南。摟至腰間成抱肘式。同時左掌握拳。即向東下扎。左膊貼於肋。手心向上。如第一百十九圖。
“One!” Continuing from the previous posture, your right leg comes down as your right palm goes to the southeast and drags to your waist, the elbow wrapping, your left palm at the same time grasping into a fist and smashing downward to the east [southeast], your left upper arm tight against your ribs, the center of the hand facing upward. See photo 119:
二。應面式
2. GOING TO THE FACE
聞二。右拳由腰間直向東南上角衝出。與鼻齊。同時左扎拳收回置於左腰間如第一百二十圖。
“Two!” Your right fist goes from your waist and thrusts out to the southeast corner at nose level, your left smashing fist at the same time withdrawing to be placed at the left side of your waist. See photo 120:
三。黑虎搗心式
3. BLACK TIGER GOES FOR THE HEART
聞三。左拳向東斜下衝出拳與心齊。同時右拳上架。面東。如第一百二十一圖。
“Three!” Your left fist thrusts out diagonally downward to the east to be at solar plexus level, your right fist at the same time propping upward. You are facing to the east. See photo 121:
四。過頂式（其一）
4. PASSING THE HEADTOP (Part 1)
聞四。雙拳變掌。左掌向上。與右掌交叉在頭頂上。手心向外。同時轉體向右。如第一百二十二圖。
“Four!” Your fists become palms and your left palm goes upward to be crossed with your right palm higher than your headtop, the palms facing outward, your body at the same time turning to the right. See photo 122:
過頂式（其二）
PASSING THE HEADTOP (Part 2)
即向左右下落。合於臍前。兩掌緣相切。面向東。提起左腿。如第一百二十三圖。
Then your hands lower to the sides and come together in front of your navel, the palm edges touching, and your left leg lifts. You are facing to the east. See photo 123:
五。雙稱腿式
5. DOUBLE BRACING, [CROSS-SHAPED] KICK
聞五。雙掌向東西撑開。右掌與頭頂齊。左掌與肩平。同時左腿向東排出。腿伸直成九十度直角。全身向右轉。眼視東。如第一百二十四圖。左腿卽落地。
“Five!” Your palms spread apart to the east and west, your right palm level with your headtop, your left palm at shoulder level, as your left leg shoots out to the east, the leg extending at a ninety-degree angle. Your body is turned to the right, your gaze to the east. Your left leg will then promptly come down. See photo 124:
第三次左式
Third time, on the left side:
一。前手摟後手扎式
1. DRAGGING WITH THE FRONT HAND, SMASHING WITH THE REAR HAND
聞一。承上左腿落地。左掌即向東北。摟至腰間。成抱肘式。同時右掌握拳即向東下扎。右膊貼於肋前。手心向上。如第一百二十五圖。
“One!” Continuing from the previous posture, your left leg comes down as your left palm goes to the northeast and drags to your waist, the elbow wrapping, your right palm at the same time grasping into a fist and smashing downward to the east [northeast], your right upper arm tight against your ribs, the center of the hand facing upward. See photo 125:
二。應面式
2. GOING TO THE FACE
聞二。動作。與第一次。左式二同。如第一百二十六圖。
“Two!” The movement is the same as in Posture 2 of the first time on the left side. See photo 126:
三。黑虎搗心式
3. BLACK TIGER GOES FOR THE HEART
聞三。動作與第一次左式三同。如第一百二十七圖。
“Three!” The movement is the same as in Posture 3 of the first time on the left side. See photo 127:
四。過頂式
4. PASSING THE HEADTOP
聞四。動作與第一次左式四同。如第一百二十八圖。（其一）如第一百二十九圖。（其二）
“Four!” The movement is the same as in Posture 4 of the first time on the left side. See photos 128 (Part 1) & 129 (Part 2):
五。雙稱十字腿式
5. DOUBLE BRACING, CROSS-SHAPED KICK
聞五。動作與第一次左式五同。如第一百三十圖。
“Five!” The movement is the same as in Posture 5 of the first time on the left side. See photo 130:
停。休息式
FINISH – RESTING POSTURE
聞停。動作與第一路休息式同。如第一百三十一圖
“Finish!” The movement is the same as in the resting posture in Line 1. See photo 131:
若連續第八路。則向西演進。或再演第七路。亦可向西練習。如欲休止。則下立正口令。動作與第一路同。
In this way, you can then continue into performing Line 8 toward the west, or you can repeat Line 7, now advancing toward the west. When you want to finish, then perform STANDING AT ATTENTION, the commands and movements the same as in Line 1.
注意要件
Items for Attention:
武術致勝。多在進退。且進退之要。必須腰腿一致以拳脚之動作為轉移。所行之動作。貴速。以不悞拳脚致勝之機為合法。此節拳脚。務須全體一致。其發拳脚須有抨簧之靈始收致勝之功也。
Victory in martial arts is often a matter of advancing and retreating. The key to advancing and retreating is that your waist and legs be functioning in unison. Transition by way of the movements of your hands and feet, the movements of which should be quick. The right method is to not miss the right moment to use your fists and feet to win. This point about the fists and feet requires that your whole body function in unison. The issuing of your fists and feet must have the nimbleness of a spring, and thereby you will achieve victory.
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第八路庄跥如轉環
LINE 8: STAND & STAMP, TRACING A RING
預備
PREPARATION POSTURE
立正。抱肘。面南。如第二圖。
Stand at attention, wrapping your elbows, facing to the south, same as in photo 2.
第一次左式
First time, on the left side:
一。右衝拳
1. RIGHT THRUST PUNCH
聞一。左脚向東出一步。成左弓式。同時左拳變掌。向東平摟至腰間抱肘。同時右拳向東衝出。右脚稍向西南移。面身均向東。如第一百三十二圖。
“One!” Your left foot steps out to the east to make a bow stance as your left fist becomes a palm, drags across to the east, and is placed at your waist, the elbow wrapping, your right fist at the same time thrusting out to the east, your right foot slightly shifting toward the southwest. Your body is facing to the east. See photo 132:
二。踢腿揷掌
2. POINTING KICK, INSERTING PALM
聞二。提右腿向東平踢。同時右拳收回抱肘。左拳變掌。即向東揷掌。面身均向東。如第一百三十三圖。
“Two!” Lift your right leg and do a level pointing kick to the east, your right fist at the same time withdrawing, the elbow wrapping, your left fist becoming a palm and doing an inserting palm strike to the east. Your face and body are both facing to the east. See photo 133:
三。逢身打
3. CROWDING-BODY STRIKE
聞三。承上踢腿揷掌腿落地。即出右拳。向東直衝。右掌置於右肩前。手心向東。成右弓式。面向東。眼視右拳。如第一百三十四圖。
“Three!” Continuing from the previous posture, come down from kicking and doing an inserting palm, sending out your right fist thrusting to the east, your right [left] palm placed in front of your right shoulder, palm facing to the east. Making a right bow stance, you are facing to the east, your gaze toward your right fist. See photo 134:
四。雙手過頂
4. BOTH HANDS GO ABOVE THE HEAD
聞四。右拳變掌及左拳同時向上。成弧形。於頂前。左脚卽收回成丁式。身向北。眼視西。如第一百三十五圖。
“Four!” Your right fist changes to a palm and goes upward in unison with your left fist [palm], the arms making a rounded shape in front of your headtop, as your left foot withdraws to make a T stance. Your body is facing to the north, your gaze to the west. See photo 135:
五。雙稱十字腿（其一）
5. DOUBLE BRACING, CROSS-SHAPED KICK (Part 1)
聞一兩掌由左右落下。相切於臍前。手心向上兩肘貼於肋。身北向。眼視西。腰直。如第一百三十六圖。
“One!” [“Five!”] Both hands lower from the sides cutting toward each other in front of your navel, palms facing upward, elbows tight against your ribs. Your body is facing to the north, your gaze to the west, your waist upright. See photo 136:
雙稱十字腿（其二）
DOUBLE BRACING, CROSS-SHAPED KICK (Part 2)
雙手旣相切即提左腿。身卽直立。如第一百三十七圖。
Once both hands have cut toward each other, promptly lift your left leg. Your body is upright. See photo 137:
雙稱十字腿（其三）
DOUBLE BRACING, CROSS-SHAPED KICK (Part 3)
雙掌卽向東西平展。左腿卽向西排出。右掌略高與頂齊。左掌略低與肩平。指尖均向前。腿須平。眼視西。如第一百三十八圖。卽落地。
Your palms then spread apart horizontally to the east and west as your left leg shoots out to the west, your right palm slightly higher, at headtop level, your left palm slightly lower, at shoulder level, the fingers of both hands pointing to the front. The kick has to be level, your gaze to the west. The leg will then promptly come down. See photo 138:
第二次轉式
Second time, turned around:
一。右衝拳
1. RIGHT THRUST PUNCH
聞一。承腿落地左掌收回抱肘。右掌握拳向西衝膝曲成左弓式。面身均向西。如第一百三十九圖。
“One!” Continuing from your leg coming down, your left palm [grasping into a fist] withdraws, the elbow wrapping, as your right palm grasps into a fist and thrusts out to the west, the knee bending to make a left bow stance. Your face and body are both facing to the west. See photo 139:
二。反踢腿
2. KICK POINTING BEHIND
聞二。右拳收回抱肘。出左掌同時向西踢右腿。腰直胸挺眼前視如第一百四十圖。
“Two!” Your right fist withdraws, the elbow wrapping, as you send out your left hand and do a pointing kick to the west with your right leg. Your waist is upright, your chest sticking out, your gaze forward. See photo 140:
三。回腿式
3. WITHDRAWING THE LEG
聞三。承右腿踢出卽向東回腿。同時左掌收回抱肘卽出右拳。向西衝出。眼前視如第一百四十一圖。
“Three!” Continuing from your right leg kicking, then withdraw the leg to the east, your left palm at the same time [grasping into a fist and] withdrawing, the elbow wrapping, as you send out your right fist thrusting to the west. Your gaze is forward. See photo 141:
四。雙手過頂轉環式（其一）
4. BOTH HANDS GO ABOVE THE HEAD, TRACING A RING (Part 1)
聞四。兩拳變掌同時由內向上成弧形。於頂前。身卽向南轉正。灣膝盤腿眼視東。如第一百四十二圖。
“Four!” Your fists change to palms and go upward from inward, the arms making a rounded shape in front of your headtop. Your body is turned to be facing to the south, your knees bent to make a twisted stance, your gaze toward the east. See photo 142:
雙手過頂轉環式（其二）
BOTH HANDS GO ABOVE THE HEAD, TRACING A RING (Part 2)
即將雙掌由東西落下。會於懷中。如第一百四十三圖。（其二）
Then both fists lower from the sides and come together in front of your torso. See photo 143:
五。雙稱十字腿（其一）
5. DOUBLE BRACING, CROSS-SHAPED KICK (Part 1)
聞五。起身提左腿。眼視東。如第一百四十四圖。
“Five!” Lift up your body and lift your left leg. Your gaze is toward the east. See photo 144:
雙稱十字腿（其二）
DOUBLE BRACING, CROSS-SHAPED KICK (Part 2)
同時雙掌向東西平展。腿亦即向東西排出。如第一百四十五圖。
Then your palms spread apart horizontally to the east and west as your [left] leg shoots out to the east. The leg will then promptly come down. See photo 145:
第三次左式
Third time, on the left side:
一。右衝拳
1. RIGHT THRUST PUNCH
聞一。左脚向東出一步。成左弓式。同時左掌向東。平摟至腰間抱肘。同時右拳向東衝出。右脚稍向東南移。面身均向東如第一百四十六圖。
“One!” Your left foot steps out to the east to make a bow stance as your left palm drags across to the east and is placed at your waist, the elbow wrapping, your right fist at the same time thrusting out to the east, your right foot slightly shifting toward the southeast. Your body is facing to the east. See photo 146:
二。踢腿揷掌
2. POINTING KICK, INSERTING PALM
聞二。提右腿平踢。同時右拳收回抱肘。左拳變掌卽向東揷掌。面身均向東。如第一百四十七圖。
“Two!” Lift your right leg and do a level pointing kick, your right fist at the same time withdrawing, the elbow wrapping, your left fist becoming a palm and doing an inserting palm strike to the east. Your face and body are both facing to the east. See photo 147:
停。休息式
FINISH – RESTING POSTURE
聞停。動作與第一路。休息式同。如第一百四十八圖。
“Finish!” The movement and posture are the same as in Line 1. See photo 148:
若連續第九路。則向西演進。或再演第八路。亦可向西練習。如欲休止。則下立正口令。動作與第一路同。
In this way, you can then continue into performing Line 9 toward the west, or repeat Line 8, also moving toward the west. When you want to finish, then perform STANDING AT ATTENTION, the commands and movements the same as in Line 1.
注意要項
Items for Attention:
第八路腿。重在轉環一式。關於生理與技術及姿勢上均有莫大關係。茲說其三者大端如下。
Line 8 emphasizes the posture of TRACING A RING. The keys to it are physiology, technique, and posture, as explained below:
一生理上。關於轉體之動作屬腹腰兩部肌肉。內臟。及腸胃之運動均賴之。故此種轉環動作能助消化。幷能鍛鍊腹部肌肉。收效甚鉅。
i. In terms of physiology, actions of turning the body depend on movement of the abdominal muscles, internal organs, and intestines. Therefore this type of movement can aid digestion as well as train the muscles of the abdomen, and is excellent at bringing results.
二。技術上。練習身段。轉動自如。眼則前顧後盼致不失制勝之機。洵為技術上必要之技能。其他長處甚多。無容道及也。
ii. In terms of technique, it develops the body’s poise for turning smoothly. Your eyes go from looking forward to looking behind so as not to miss the opportunity to defeat the opponent. Truly this is an indispensable ability to have, but there are still many other strong points not contained within the method.
三。姿勢之難亦以此節為最。如雙稱腿。轉環。盤腿等式。稍不注意。則生理上。技術上。不但無益。反而有害。何以故。姿勢不準確。則生理各部不得舒暢。反受壓迫之害。技術上。深恐悞入岐途。難求進步。倘使。姿勢不確。實用時。定必發生自縳之弊。其害更大矣。
iii. This section contains the greatest difficulty in terms of posture, namely in the action doing the DOUBLE-BRACING KICK coming from TRACING A RING in a twisted stance. With the slightest lack of attention, towards physiology and technique there would not only be no benefit, there would instead be harm. Why is this? If the posture is not performed with precision, then physiologically it would not be comfortable and you would instead feel harmful pressures. As regards technique, beware that neglectfulness will send you down the wrong path, making it difficult for you to progress. In such a case, if you perform the posture without precision, then when you try to apply it, you are sure to commit the error of tangling yourself up, making the potential harm even worse.
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第九路碰鎖重閃門
LINE 9: SPRING LOCK, BURST OPEN THE DOOR
撩掌丁式
[BEGINNING POSTURE] RAISING PALMS IN A T-STANCE
聞預備。由立正抱肘式。即出左腿。向東足指點地。同時兩拳變掌。左掌由左胯外向東上撩掌。右掌由右腿前向西上撩掌。兩肘內扣。左掌指尖與鼻齊。右掌指尖與耳齊。右腿微曲。左脚丁。眼前視。如第一百四十九圖。
“Prepare!” From STANDING AT ATTENTION, WRAPPING ELBOWS, send out your left leg to the east, toes touching down, your fists at the same time becoming palms, your left palm going from the outside of your left hip and moving upward to the east as a raising palm, your right palm going from in front of your right thigh and moving upward to the west as a raising palm, your elbows covering inward, your left fingertips at nose level, your right fingertips at ear level. Your right leg is slightly bent, your left foot touching down with the toes, and your gaze is forward. See photo 149:
第一次左式
First time, on the left side:
一。碰鎖跥步 碰鎖抄掌（其一）
1. SPRING LOCK, STOMP (Part 1 – SPRING LOCK, SCOOPING PALM)
聞一。左掌收回。屈平胸前同時右掌由左臂外緣上抄過身體畧轉向東。兩掌成鈎形。眼前視東。如第一百五十圖。
“One!” Your left palm withdraws, the arm bent across in front of your chest, as your right palm goes from the outside of your left arm and scoops upward until it has passed it, your body slightly turning to the east, both palms making hooking postures. Your gaze is forward to the east. See photo 150:
碰鎖跥步（其二）（其三）
SPRING LOCK, STOMP (Parts 2 & 3)
右掌即由上往下畫一弧形。左掌由下往上畫一弧形。相交於胸前。同時右脚移向東南。提腿即往下跥。同時身體蹲下。兩脚曲成九十度。腰直胸挺眼視東。如第一百五十一圖。如第一百五十二圖。
Your right palm then draws an arc downward from above as your left palm draws an arc upward from below and your hands cross in front of your chest, your right foot at the same time shifting to the southeast, the leg lifting and then stomping downward your body squatting down, your legs bending to a ninety degree angle. Your waist is upright, your chest sticking out, your gaze to the east. See photos 151 & 152:
二。蹤閃門（其一）
2. SUDDENLY BURST OPEN THE DOOR (Part 1)
聞二。雙掌上架。即提左腿。身體直立眼前視如第一百五十三圖。
“Two!” Both palms prop upward as your left leg lifts. Your body is upright, your gaze forward. See photo 153:
蹤起空中（其二）
(Part 2) SUDDENLY RISE INTO THE AIR
卽落下迅起右腿。蹤身向上騰空。雙掌即南北閃開。手心向前。是時胸須挺腰宜直。眼視東。如第一百五十四圖。
Then the leg lowers and you quickly lift your right leg, your body jumping upward, your palms flashing apart to the north and south, the palms facing forward. At this moment, your chest has to stick out, your waist should be upright, and your gaze is to the east. See photo 154:
落地撩掌（其三）
(Part 3) COMING DOWN, RAISING PALMS
即落右腿在前。左腿在後。惟右掌須由右腿外向東上撩掌。掌尖正對肩頭。左掌正對耳門。两肘內扣。左膝微曲。右足尖點地。與左足成丁字形。腰直胸挺。眼視前。身向北。如第一百五十五圖。
Come down so your right leg is forward, left leg behind, and your right palm has to go from the outside of your right leg and raise upward to the east, the fingertips at shoulder level, your left fingertips at ear level, your elbows covering inward, your left knee slightly bent, your right foot touching down with the toes so your legs are making a T-shaped stance. Your waist is upright, your chest sticking out, your gaze forward, your body facing to the north. See photo 155:
第二次右式
Second time, on the right side:
一。碰鎖跥步 碰鎖抄掌（其一）
1. SPRING LOCK, STOMP (Part 1 – SPRING LOCK, SCOOPING PALM)
聞一。右掌收回平屈胸前。同時左掌由右臂外緣上抄過。身體略轉向東。兩掌成鈎形。眼前視。如第一百五十六圖。
“One!” Your right palm withdraws, the arm bent across in front of your chest, as your left palm goes from the outside of your right arm and scoops upward, your body slightly turning to the east, both palms making hooking postures. Your gaze is forward. See photo 156:
碰鎖跥步（其二）（其三）
SPRING LOCK, STOMP (Parts 2 & 3)
左掌即由上往下畫一弧形。右掌由下往上畫一弧形。相交於胸前。同時身體蹲下。兩脚曲成九十度。腰直挺胸眼視東。如第一百五十七圖。如第一百五十八圖。
Your left palm then draws an arc downward from above as your right palm draws an arc upward from below and your hands cross in front of your chest, your body at the same time squatting down, your legs bending to a ninety degree angle. Your waist is upright, your chest sticking out, your gaze to the east. See photos 157 & 158:
二。蹤閃門（其一）
2. SUDDENLY BURST OPEN THE DOOR (Part 1)
聞二。雙掌上架。卽提右腿。身體直立。眼前視。如第一百五十九圖。
“Two!” Both palms prop upward as your right leg lifts. Your body is upright, your gaze forward. See photo 159:
蹤起空中（其二）
(Part 2) SUDDENLY RISE INTO THE AIR
即落下。迅起左腿。蹤身向上騰空雙掌即南北閃開手心向前。是時胸須挺腰須直。眼視東。如第一百六十圖。
Then the leg lowers and you quickly lift your left leg, your body jumping upward, your palms flashing apart to the north and south, the palms facing forward. At this moment, your chest has to stick out, your waist has to be upright, and your gaze is to the east. See photo 160:
落地撩掌（其三）
(Part 3) COMING DOWN, RAISING PALMS
即落左腿在前右腿在後。惟左掌須由左腿外向東上撩掌。掌尖正對肩頭。右掌尖正對耳門。兩肘內扣。右膝微曲。左足尖點地。與左足成丁字形。腰直胸挺。眼視前。身向北。如第一百六十一圖。
Come down so your right leg is forward, left leg behind, and your left palm has to go from the outside of your left leg and raise upward to the east, the fingertips at shoulder level, your right fingertips at ear level, your elbows covering inward, your right knee slightly bent, your left foot touching down with the toes so your legs are making a T-shaped stance. Your waist is upright, your chest sticking out, your gaze forward, your body facing to the north. See photo 161:
第三次左式
Third time, on the left side:
一。碰鎖跥步 碰鎖掌（其一）
1. SPRING LOCK, STOMP (Part 1 – SPRING-LOCK PALMS)
聞一。左掌收回。屈平胸前。同時右掌由左臂外緣上抄過。身體略轉向東。兩掌成鈎形。眼前視如第一百六十二圖。
“One!” Your left palm withdraws, the arm bent across in front of your chest, as your right palm goes from the outside of your left arm and scoops upward until it has passed it, your body slightly turning to the east, both palms making hooking postures. Your gaze is forward to the east. See photo 162:
碰鎖步（其二）（其三）
SPRING-LOCK, STOMP (Parts 2 & 3)
右掌卽由上往下畫一弧形。左拳由下往上畫一弧形相交於胸前。同時右脚移向東南。提腿即往下跥。同時身體蹲下。兩脚曲成九十度。腰直胸挺。眼視東。如第一百六十三圖。與第一百六十四圖。
Your right palm then draws an arc downward from above as your left palm draws an arc upward from below and your hands cross in front of your chest, your right foot at the same time shifting to the southeast, the leg lifting and then stomping downward your body squatting down, your legs bending to a ninety degree angle. Your waist is upright, your chest sticking out, your gaze to the east. See photos 163 & 164:
二。蹤閃門（其一）
2. SUDDENLY BURST OPEN THE DOOR (Part 1)
聞二。雙掌上架。卽提左腿。身體直立。眼前視。如第一百六十五圖。
“Two!” Both palms prop upward as your left leg lifts. Your body is upright, your gaze forward. See photo 165:
蹤起空中（其二）
(Part 2) SUDDENLY RISE INTO THE AIR
卽落下。迅起右腿。蹤身向上騰空雙掌卽南北閃開。手心向前。是時胸須挺。腰宜直。眼視東。如第一百六十六圖。
Then the leg lowers and you quickly lift your right leg, your body jumping upward, your palms flashing apart to the north and south, the palms facing forward. At this moment, your chest has to stick out, your waist should be upright, and your gaze is to the east. See photo 166:
落地撩掌（其三）
(Part 3) COMING DOWN, RAISING PALMS
卽落右腿在前。左腿在後。惟右掌須由右腿外向東上撩掌。掌尖正對肩頭。左掌正對耳門。兩肘裡扣。左膝微曲。右足尖點地與左足成丁字形腰直胸挺。眼視前。身向北。如第一百六十七圖
Come down so your right leg is forward, left leg behind, and your right palm has to go from the outside of your right leg and raise upward to the east, the fingertips at shoulder level, your left fingertips at ear level, your elbows covering inward, your left knee slightly bent, your left foot touching down with the toes so your legs are making a T-shaped stance. Your waist is upright, your chest sticking out, your gaze forward, your body facing to the north. See photo 167:
停。休息式
FINISH – RESTING POSTURE
聞停。動作。與第一路。休息式同。惟掌變拳。稍異耳。如第一百六十八圖。
“Finish!” The movement is the same as in the resting posture in Line 1, except with palms becoming fists. See photo 168:
若連續第十路。則向西演進。或再演第九路。亦可向西練習。如欲休止。則下立正口令。動作與第一路同。
In this way, you can then continue into performing Line 10 toward the west, or repeat Line 9, also moving toward the west. When you want to finish, then perform STANDING AT ATTENTION, the commands and movements the same as in Line 1.
注意要項
Items for Attention:
此節關於技術上。重在騰躍升降閃轉之技能。生理上。關於騰躍升降閃轉皆能激刺內臟器官之能力。並能輔助消化之功。洵為生理上。必需之運動也。
Regarding the technique in this section, it emphasizes the skills of leaping, landing, dodging, and turning. Regarding physiology, these skills all can stimulate the functions of your internal organs, and will have the effect of aiding digestion. In terms of physiology, it is thus an indispensable exercise.
–
第十路裁花如箭彈
LINE 10: CUTTING FLOWERS, SHOOTING ARROW & SNAPPING KICK
開始式 預備。撩掌丁式
BEGINNING POSTURE – IN READINESS, RAISING PALMS IN A T-STANCE
聞預備。由立正抱肘式。即出左腿向東。足指點地。同時兩拳變掌。由左胯外。向東上撩掌。右掌由右腿前。向西上撩掌。兩肘內扣。左掌尖與肩齊右掌尖與頂齊。右腿微曲。左脚丁。眼前視如第一百六十九圖。
“Prepare!” From STANDING AT ATTENTION, WRAPPING ELBOWS, send out your left leg to the east, toes touching down, your fists at the same time becoming palms, [your left palm] going from the outside of your left hip and moving upward to the east as a raising palm, your right palm going from in front of your right thigh and moving upward to the west as a raising palm, your elbows covering inward, your left fingertips at shoulder level, your right fingertips at headtop level. Your right leg is slightly bent, your left foot touching down with the toes, and your gaze is forward. See photo 169:
第一次左式
First time, on the left side:
一。裁花式（其一）
1. CUTTING FLOWERS (Part 1)
聞一。左掌收回平屈右肩前。提左腿。眼視東。如第一百七十圖。
“One!” Your left palm withdraws, the arm bending across, to be in front of your right shoulder, as your left leg lifts. Your gaze is to the east. See photo 170:
二。裁花式（其二）
2. CUTTING FLOWERS (Part 2)
聞二。左腿即落地。向東前進一步。左掌隨腿落下。右脚再進一步。同時左掌由下往上挑。提左腿。右臂收回。置於腰間。如第一百七十一圖。
“Two!” Your left foot then comes down, advancing a step to the east, your left palm going along with the leg by lowering, then your right foot advances a step, your left palm at the same time carrying upward from below, and your left leg lifts, your right forearm withdrawing to be placed at your waist. See photo 171:
三。箭彈腿
3. SHOOTING ARROW & SNAPPING KICK
聞三。左腿卽落下。未着地時。卽蹤身向上。飛起右腿向東彈出。同時右掌卽由腰間射出。如第一百七十二圖。右腿着地。繼續第二次裁花式。
“Three!” Your left leg then comes down, but before it touches the ground, you leap your body upward, launching your right leg up with a snapping kick out to the east, your right palm at the same time shooting out from your waist. When your right leg comes down, you will continue into the second CUTTING FLOWERS posture [on the other side]. See photo 172:
第二次右式
Second time, on the right side:
一。裁花式（其一）
1. CUTTING FLOWERS (Part 1)
聞一。右掌收回平屈右肩前。提右腿。眼視東。如第一百七十三圖。
“One!” Your right palm withdraws, the arm bending across, to be in front of your right [left] shoulder, as your right leg lifts. Your gaze is to the east. See photo 173:
二。裁花式（其二）
2. CUTTING FLOWERS (Part 2)
聞二。右脚卽落地向東前進一步。右掌隨腿落下。左脚再進一步。同時右掌由下往上挑。提右腿。左臂收回置於腰間。如第一百七十四圖。
“Two!” Your right foot then comes down, advancing a step to the east, your right palm going along with the leg by lowering, then your left foot advances a step, your right palm at the same time carrying upward from below, and your right leg lifts, your left forearm withdrawing to be placed at your waist. See photo 174:
三。箭彈腿
3. SHOOTING ARROW & SNAPPING KICK
聞三。左腿卽落下未着地時。卽蹤身向上。飛起左腿。向東彈出。同時左掌即由腰間射出。如第一百七十五圖。繼續第三次裁花式。
“Three!” Your left [right] leg then comes down, but before it touches the ground, you leap your body upward, launching your left leg up with a snapping kick out to the east, your left palm at the same time shooting out from your waist. [When your left leg comes down,] you will continue into the third CUTTING FLOWERS posture [again on the left side]. See photo 175:
第三次左式
Third time, on the left side:
一。裁花（其一）
1. CUTTING FLOWERS (Part 1)
聞一。左掌收回平屈右肩前。提左腿。眼視東。如第一百七十六圖。
“One!” Your left palm withdraws, the arm bending across, to be in front of your right shoulder, as your left leg lifts. Your gaze is to the east. See photo 176:
二。裁花式（其二）
2. CUTTING FLOWERS (Part 2)
聞二。左腿卽落地向東前進一步。左掌隨腿落下。右脚再進一步。同時左掌由下往上挑。提左腿。右臂收回。置於腰間。如第一百七十七圖。
“Two!” Your left foot then comes down, advancing a step to the east, your left palm going along with the leg by lowering, then your right foot advances a step, your left palm at the same time carrying upward from below, and your left leg lifts, your right forearm withdrawing to be placed at your waist. See photo 177:
三。箭彈腿
3. SHOOTING ARROW & SNAPPING KICK
聞三。左腿即落下。未着地時。即蹤身向上。飛起右腿。向東彈出。同時右掌。即由腰間射出。如第一百七十八圖。右腿着地右撩掌丁式。
“Three!” Your left leg then comes down, but before it touches the ground, you leap your body upward, launching your right leg up with a snapping kick out to the east, your right palm at the same time shooting out from your waist. When your right leg comes down, you will perform RIGHT RAISING PALMS IN A T-STANCE. See photo 178:
停。休息式
FINISH – RESTING POSTURE
聞停。右掌變拳。向東平衝。同時掌收回抱肘於腰間。即提平左腿。小腿垂直。眼平視右拳。如第一百七十九圖。
“Finish!” Your right palm becomes a fist and does a level thrust punch to the east, your [left] palm at the same time withdrawing to your waist, the elbow wrapping, as you lift your left leg to be level, the lower leg hanging straight down. Your gaze is level toward your right fist. See photo 179:
若連續演進。亦可向西演進。或演其他各路均可。
You can continue to advance in this way, or you can [turn around and] perform this advancing to the west, or you could also perform the rest of the lines again.
總休止式 立正
FINAL RESTING POSTURE – STANDING AT ATTENTION
一。休止式（其一）
1. RESTING POSTURE (Part 1)
聞一。左足向西落地。成左弓式。左拳卽由腰衝出。與扁擔式同。如第一百八十圖。
“One!” Your left foot comes down to the west to make a left bow stance, your left fist thrusting out from your waist the same as in the YOKE-CARRYING PUNCH. See photo 180:
二。休止式（其二）
2. RESTING POSTURE (Part 2)
聞二。左右拳向前平合。手背向上兩虎口相切。同時左腿收回。與右脚併攏立正。如第一百八十一圖。
“Two!” Your fists come together, level in front of you, the backs of the fists facing upward, the tiger’s mouths facing each other, your left leg at the same time withdrawing to be standing next to your right foot, and you stand at attention. See photo 181:
三。休止式（其三）
3. RESTING POSTURE (Part 3)
聞三。雙拳收回抱肘如第一百八十二圖。
“Three!” Your fists withdraw, the elbows wrapping. See photo 182:
注意要件
Items for Attention:
此節動作。初學時分三動。習熟可合為一動。於技術上大有關係。略分數端如下以供研究斯道者。有所指正焉。
This section of movements is divided into the three movements [(i) CUTTING FLOWERS – Part 1, (ii) Part 2, (iii) SHOOTING ARROW & SNAPPING KICK] for beginners. Once you have practiced it to familiarity, you can combine them into a single movement. There is great relevance to it in terms of technique. (Where anything important below has been left out, I hope those who are researching these methods will give corrections.)
一。此種演習。為養成矯捷之技能。如猫竄狗閃鷹翻等為此節之主腦。亦為技術上之要件。進能騰空竄進。避則左右閃轉。迎則鷹翻應敵。故不可拘於一二三。之口令。習貴熟。學貴精。如是則合於武術之旨矣。
i. [Regarding technique,] this kind of exercise will cultivate the quality of nimbleness, like a cat leaping, a dog dodging, and a hawk turning. This is the key to this section and is also the prerequisite for it in terms of technique. Advance with the ability to leap into the air, dodge by turning to the left and right, and meet the opponent like a hawk turning to target its prey. Therefore you must not become fixated on the commands of “One… two… three…” The point of practice is familiarity. The point of learning is mastery. By this means, your training will conform to the purpose of martial arts.
二。關於生理上。此種行進。騰躍。翻身轉體。為生理上自然之動作。能增進全身彈力實為衞生必備之運動也。
ii. Regarding physiology, this kind of advancing, involving leaping and turning the body, is a natural movement which can enhance the springiness of the whole body, and is thus truly an essential exercise for building health.
三。關於姿勢上。全部彈腿。以此路。為最自然活潑。惟欲姿勢之準確。非苦下功夫。難得其中三昧。
iii. Regarding the posture, out of this entire Tantui set, this line is the most natural and lively. But if you want the posture to be precise, you have to work very hard, otherwise it will difficult to obtain the knack.
–
附少林宗法闡微
APPENDIX: EXPLAINING SOME SUBTLETIES OF TRADITIONAL SHAOLIN METHODS [text copied from the first two chapters of Secrets of the Shaolin Boxing Arts (1915)]
柔術之派別。習尚甚繁。而要以氣功。為始終之則。神功為造詣之精究。其極致所歸。終以參貫禪機。超脫於恐佈生死之域。而後大敵在前。槍戟在後。心不為之動搖。氣始可以壯往。此所謂泰山壓我側。東海傾我右。心仍泰然處之。若平素也。雖然。是豈易言哉。每見沉心。求道之士。平日養氣之言不離於口。靜悟之旨懷之在心。苟一旦臨以稍可駭愕之事。則面目改觀。手足失措。神魂乃振蕩出舍。不知歸於無何有之鄕。如是而求其能靜。以禦敵。眞有戞戞乎。其難之勢。然高尚者。且若是。至於一般浮動輕躁者。其氣之易搖。心易亂。乃或芸芸衆生。之固有性質。故誠舉目望氣功之微妙。變化空谷中。幾無跫然。嗣響之音。吾道之所以日益衰也。
氣功之說有二。一養氣。一練氣。養氣而後氣不動。氣不動。而後神淸。神淸而後操蹤進退。得其宜。如是。始可言命中。制敵之方。顧養氣之學。乃聖學之繫要關鍵。豈僅此邈爾。柔術所能範圍乎。不過柔術之功用。多在於取敵制勝之中。故於養氣為尤。不可緩也。正以此也。
練氣與養氣雖同。出一氣之源。覺有虛實。動靜及有形無形之別。養氣之學。以道為歸。以集氣為宗法。練氣之法。以運使為效。以呼吸為功。以柔而剛為主旨。以剛而柔為極致。及其妙用。則時剛時柔。半剛半柔。遇虛則柔。遇實則剛。柔退而剛進。剛左而柔右。此所謂剛柔相濟。虛實同進者也。
注曰。以上練氣之說。中有玄妙不可思議。若泛觀之。幾如贅語。重疊無關宏旨。不審此間。有急須注釋者。而精微乃見。否則以文字而墮入玩弄光景之障。則宜嫌詞費耳。今釋之如下。
There is a great variety of styles of the soft art that are commonly practiced, but they surely all use qigong [“breath work”] to regulate the training process and shengong [“spirit work”] to achieve mastery. In fact the ultimate goal is to enter into a Zen mental state. Be detached in terrifying life or death situations, and then even if you are surrounded by powerful enemies in front, spears and halberds behind, your mind will be unshaken, and thereby your energy will be robust. This is expressed by these words: “Mt. Tai collapses to my left, the eastern sea drains away to my right. When the mind is ruled by calm, everything seems ordinary.”
– But is this not simply easy to say? We may often see a practitioner of deep sincerity striving in the art, who every day has wisdom to tell about how to cultivate energy, and the goal of a silent realization is cherished in his heart. But someday something will catch him by surprise, and make his countenance change, his hands and feet will become confused, his spirit will become swayed and uncentered, and he will not even be sure of what is real. In such a moment, finding the ability to calmly deal with opponents would be very difficult indeed. This is true even for ambitious practitioners. As for those who do not take the art very seriously, their energy is easily agitated and their minds are easily distracted, because like all living things, we too have our inherent nature. Therefore take a good look at the art, at the subtle movements within the qigong exercises. Notice that such exercises have become like a valley that is almost empty of the sound of people carrying on their traditions, and this is the reason our art has been declining by the day.
– Qigong is explained in two ways: cultivating energy and training energy. When cultivating energy, the energy is not moved around. With the energy not moving, the spirit is then made clear. With the spirit clear, then your control over advancing and retreating will be appropriate. By this means, you will then be able to talk of methods of accurately reaching targets to subdue opponents. To fully appreciate the study of cultivating energy, sacred learning is the vital key, extending you beyond the scope of merely the soft art. However, the functionality of the soft art often lies within seeking to defeat opponents, and therefore the cultivating of energy especially must not be delayed.
– Although training energy and cultivating energy come from the same source, there seems to be a difference between them in terms of emptiness and fullness, movement and stillness, as well as shape and shapelessness. When learning to cultivate energy, let the Way be what you are returning to, and let the accumulation of energy be the tradition you are working from. When learning to train energy, use strengthening to get results, use breath to do the work, let softness that has a hardness be the process, and let hardness that has a softness be the goal. The subtlety of the training is that it is sometimes hard and sometimes soft. It is half hard, half soft. When encountering emptiness, be soft. When meeting fullness, be hard. Be soft when retreating, hard when advancing. Be hard when moving to the left, soft when moving to the right. This is called “hardness and softness complement each other” or “emptiness and fullness progress together”.
– The descriptions above about training energy are so profound as to be beyond comprehension. If merely glanced at, they will seem to blur together, become meaningless, and go unexamined. They need to be elaborated upon for you to get a fuller view of the details, otherwise the text will seem merely cute and become a bunch of wasted words. Hence they are further discussed below:
一運使
1. STRENGTHENING
旣云練氣。則重宜於運使。至於運使之法。以馬步為先。（又名站步或站𨀵）以身之上下伸縮為次。（如是則腰腎堅强起落靈捷將來練習拳法無腰痠腿戰之病）以足掌前後蹈地。能站立危狹之處。而推挽不墜為效果。究其練成功後時足二寸在危厓而堅立不能搖動也。（足掌前後蹈地須練習久使能平。常人之足前後不相應故一推挽即傾跌也）
以上乃練足之法。蓋以尋常未經練習之人。則多上浮。故上重而下輕。足踵又虛。蹈而鮮實力。倘一經他人推挽。則無根槁木。隨手即去。此氣之不練所致也。故運使之入手法門。即以馬步為先着。俗云未習打先練𨀵。即此意也。苟能於馬步練得好。則氣貫丹田。强若不倒翁。而後一切柔術。單行手法。及宗門拳術。可與日月漸進矣。
初練馬步時。如散懶之人。忽騎乘終日則腰足背腎必痠痛異常。反覺練過時其力較未練以前减退。殆盡此名為換力。凡從前之浮力虛氣。必須全行改換。但到此不可畏難。宜猛勇以進加。初夜能站一小時。次夜即加增數分。總以逐漸而進為最關緊要。又站覺得腿痠難忍。可以稍為休息。其功效總要以兩腿久站不痛。覺氣往丹田。足踵堅强為有得耳。
足旣堅矣。則練手尚焉。練手之法。以運使腋力令其氣由肩窩腋下運至指顚。如是而後全身之力。得以貫注乎手之用力。久則手足兩心相應。筋骨之血氣遂活潑聚一。任練習之使用無碍也。
For training energy, you should be diligent about your strengthening. As for the methods of strengthening, start with the horse stance (also called “stancework” or “standing like a stake”). Then work on stretching the body, above and below. (This will further strengthen your waist and lower back, make you more nimble at rising and lowering, and then as you practice the boxing methods into the future, you will be free of the troubles of backache and leg pain.) The result will be that, with your feet flat on the ground forward and back, you will be able to stand even in a riskily narrow posture and yet be pushed and pulled without falling. Once you have succeeded in the training, then even if your feet are two inches from a cliff’s edge, you will be able to stand firm and unshaking. (With your feet flat on the ground forward and back, you must practice for a long time to be able to have such an ability. The feet of ordinary people do not coordinate with each other forward and back, and so they fall with a single push or pull.)
– This has to do with methods of training the legs. For ordinary untrained people, their energy usually floats upward, and so they end up heavy above and light below. Also, their heels step emptily and rarely have any actual strength. As soon as they are pushed by someone, they are like trees without roots, a gesture of the hand sending them away. This is the result of energy not being trained. Therefore in the basic strengthening exercises of the art, the horse stance is the first thing to work on. A common saying goes: “Before practicing striking, first practice standing.” This is the same idea. If you can become skillful at practicing the horse stance, then energy will course through to your elixir field, and you will have the skill of an unteetering old master. From that point on, you will be able to consistently progress in all of the hand methods of the soft art and the boxing techniques throughout the tradition.
– In the beginning of practicing the horse stance, you will seem like a distracted and lazy person, but then suddenly you will find that you have ridden that horse all day long, and your waist, legs, and lower back will end up aching. You will paradoxically feel that your strength after training is less than it was before, but this experience is called an “exchange of strength”. People typically are inherently equipped with a floating strength and an empty energy, and these things have to be entirely exchanged. However, to achieve this you must not fear hard work, instead boldly dive into it. In the early nights of the training, once you can stand for an hour, then with each successive night add a few more minutes. Always the most important thing is to progress gradually and continuously. Also, if while standing you feel the ache in your legs is too hard to endure, you can rest a little. The effect of such training is that your legs will be able to stand for a long period without any pain, you will feel energy moving toward your elixir field, and you will obtain firmness in your heels.
– Once you have sufficient strength, then practice the hand techniques. The method of practicing the hand techniques is to use strength from the armpit area, causing energy to go from the hollow of the shoulder and armpit to the fingertips. In this way, the strength of the whole body will be able to course through to your hands. After employing such strength over a long period, your hands and feet will be well coordinated with each other, and the vigor of your muscles and bones will thereby be lively and concentrated, enabling you to perform techniques unimpeded.
二呼吸
2. BREATHING
肺為氣之府。氣乃力之君。故言力萬不能離氣。此古今一定之理。大凡肺强之人。其力必强。肺弱之人。其力必弱。何則。其呼吸之力微也。北派之柔術數十年前。乃有專習練呼吸以增益其氣力者。其成功頗覺可驚。因先本寡力之夫。十年呼吸練習之功。已增至兩手能舉七百數十斤之物。南派則練運使之法多。練習呼吸之法少。蓋以呼吸之功。雖能擴加血氣。有時不愼反以傷身。後以慧猛禪師挈錫南來。始傳呼吸之妙訣。於是南派亦有練習此術者。但不盛耳。未幾南派以呼吸為練習氣之良術。遂於運使之時益習呼吸。南派柔術。乃因之一變。兹將慧猛禪師口傳祕訣。記之如下。
The lungs are the mansion of the breath. The breath is the ruler of strength. Therefore, when we talk of strength, we cannot do so without discussing the breath. This is a fixed principle, whether in ancient times or modern. Generally speaking, a person with robust lungs will have a robust strength, whereas a person with weak lungs will have a diminished strength. Why would this be so? The strength that comes from breathing is subtle. The northern branch of the soft art several decades ago focused on breath training in order to increase physical strength, producing incredible results, enough to amaze. The basis of it initially was simply to enhance a person’s strength. After ten years of breathing practice, arm strength would be so increased that one could lift seven hundred pounds. In the southern branch, there was more emphasis on methods of strengthening and less on breathing practice. Although breath training can increase vigor, if one is not careful it sometimes can instead cause injury to the body. Later on, Zen master Huimeng brought the art south and taught the secrets of breath training, whereupon the southern branch was at last able to practice it, though it was not yet popular. But before long, the southerners made use of breathing methods to practice better energy skills, and then strength training was practiced in tandem with breath training, thereby transforming the southern branch of the soft art. Master Huimeng’s oral instructions on these secrets are presented below:
呼吸有四忌。
In breath training, there are four things to avoid:
（一）忌初進時太猛。
i. In the beginning, avoid progressing too forcefully.
初時呼吸以四九度為定。後乃緩緩加增。但不可一次呼吸至百度外也。
In the beginning, keep your breathing at only forty-nine percent. Later, you may gradually increase. You must not right away breathe past a hundred percent.
（二）忌塵烟汚雜之地。
ii. Avoid areas polluted with cigarette smoke.
宜於淸晨或曠寂幽靜之地。晚間練習宜庭外。不可緊閉一室也。
It is best to practice in the early morning, somewhere spacious and quiet. For evening practice, it is best to go outside rather than locked away in stuffy indoors.
（三）忌呼吸時以口出氣。
iii. Do not breathe through your mouth.
初呼時不妨稍以口吐肺胃之惡氣。以三度為止。向後之呼吸。須使氣從鼻孔中出入方免濁氣侵襲肺部之害。又呼吸時宜用力一氣到底。而後肺袋之漲縮。得以盡吐舊納新之用。而氣力生矣。
While breathing, there is nothing wrong with slightly using your mouth to release bad air from your lungs and stomach, about a third of a belch being enough. But at the end of this breath, you have to go back to breathing through your nose to prevent the harms of bad air entering your lungs. While breathing, you should also do your best to make full breaths, which will improve the elasticity of your lungs. You will thereby obtain the effect of expelling the old to take in the new, and this will lead to greater strength.
（四）忌呼吸時忽思亂想。
iv. While breathing, avoid sudden random thoughts.
大凡人身之氣血。行於虛而滯於實。如思想散馳。氣必凝結障害。久之則成氣痞之病。學者宜愼之。
Generally, the body’s energy and blood flows through where there is emptiness and becomes stagnant where there is fullness. If your thoughts are disordered, energy will build up in places and create harmful obstructions, and after a long time, this will lead to the problem of “energy constipation”. Students should be mindful of this.
以上四忌。須謹愼避之。自無後患。迨至成功時。則週身之筋脈靈活。骨肉堅實血氣行動。可以隨呼吸以為貫注。如欲運氣於指尖。臂膊。胸肋。腰腎之間。意之所動。氣卽赴之。倘與人搏。則手足到處。傷及膚裡。不可救療。氣之為功用神矣哉。惟萬不可輕於鬥很。戒之戒之。
洪惠禪師曰。呼吸之功。可以使氣貫週身。故有鼓氣胸肋腹首等處。令人用堅木鐵棍猛擊。而不覺其痛苦者。由於氣之鼓注包羅故也。但有一處為氣之所不能者。卽面部之兩頰處是也。他部雖不痛此部相反也。
呼吸之術。當時北派最盛。而江西河南兩派則以長呼短吸為不傳之秘法。河南派則名此為丹田提氣術。江西派則名之為提桶子勁。（勁即氣力之俗稱）究之名雖異而實則無甚差別。其法直身兩足平立。先呼出濁氣三口。然後曲腰以兩手直下而握固提上。其意以為若提携千斤者。然使氣貫丹田臂指間。迨腰直時。急左右手次第向前冲出而氣卽隨手而出。不可遲緩。惟冲出時須發聲喊放。方免意外之病。自此以後。手或向上冲。或左右手分提。仍須曲腰與前同。總以氣血能貫注流通為要也。又向上冲時。覺氣滿腋肋之間。左右分提時。仍伸指出。而握拳歸。儼如千萬斤在手。則丹田之氣不期貫而自貫矣。但提氣時須漸漸而進。有恆不斷。為成功之效果。學者須盡心求之。勿視為小道野術也。
The four items above must be carefully avoided in order to prevent future problems. When you achieve success, then throughout your body, your sinews and vessels will be livened, your bones and muscles will be robust, and the movement of blood and energy can be coordinated with your breath. If you want to move energy through your arms to your fingertips, or through your chest, ribs, waist, or lower back: wherever your intention goes, energy will follow. If you happen to fight with opponents, then wherever your hand and feet land will give him injuries that cannot be treated. Such is the magical effectiveness of energy! However, you must never rashly use it in a fight. Guard against doing so.
– Zen master Hong Hui said: “Breathing exercises can make energy course through your whole body. Once there is an abundance of energy in your chest, ribs, belly, and head, you can tell people to hit you full force with hard wood or metal clubs and not feel any pain, and this is because there is a concentration of energy covering these areas.” But there is an area where energy will not be sufficient – the cheeks. Although there are other areas that will not feel pain, it is not the case for this area.
– The art of breathing techniques now flourishes most of all in the northern branch, whereas in the art as it is taught in Jiangxi and Henan, the method of “long exhale, short inhale” is a secret that is not taught. In the Henan version, this technique is called “lifting energy from the elixir field”. In the Jiangxi version, it is called “lifting-bucket power” (“power” in this case being a common name for physical strength). Although the names are different, there is not really that much difference between them. The method is:
– With your body straight, feet standing parallel next to each other, first breathe out bad air through your mouth three times. Then bend at the waist with your hands hanging straight down. Then grab and lift up with an idea of picking up a great weight. This causes energy to course through from the elixir field to the arms and fingers. Once your waist is again upright, quickly shoot your hands out forward, left then right. Energy will follow the hands and go out, but you must not do the movement slowly. When the hands come out, you must release an audible shout, thus avoiding the error of your intention becoming distracted by things outside of you. After performing in this way, your hands may thrust upward, lifting left then right, again coming forward at the waist, all as before.
– It is always important that energy and blood be able to flow through smoothly. As you thrust upward, you will feel a fullness of energy in the area of your armpits and ribs. As your hands lift left then right, your hands straighten their fingers as you reach out and grasp into fists as they come back, just like there is a heavy weight in each hand. Energy from your elixir field will thus course through naturally and automatically. However, when [practicing this technique of] lifting energy, you must progress slowly and perseveringly in order for it to produce successful results. You must also strive to calm your mind. As long as you do not regard the exercise as a lesser path or a bumpkin’s art, it will be effective.
三剛柔。
3. HARDNESS & SOFTNESS
柔術雖小道精而言之亦如佛釋有上中下三乘之別。三乘維何。卽剛柔變化三者而已。其宗派法門千差萬異。雖各其專家獨造之功。而剛柔變化之深淺。而上中下三乘。於是判焉。上乘者運柔而成剛。及其至也不剛不柔。亦柔亦剛。如猝然遇敵。隨機而動。變化無窮。指柔也。遇之則剛。若金錐身。似呆也變之則捷若猿兎。敵之遇之其受傷也。亦不知其何以傷。其傾跌也亦不知其何以傾跌。神龍矯夭莫測端倪。此技之神者矣。但柔而成剛一段。非朝夕所能奏效。此上乘之技術也。
中乘柔術。所謂中乘者何。即別於上乘之謂也。其故因學者初學步時。走入備道傍門。不得名師為之傳授指點。流於强使氣力。剛柔無相濟互用之效。或用藥力。或猛力强練手掌臂腿之專技。不辭痛楚。朝夕冲揭蠻習。遂致週身一部分之肌肉氣血。由活動而變為堅凝死壞。或致受他種之痛害。此等人頗覺不少。其與人搏焉。尋常人睹其形狀而生畏懼之心。不敢與較若遇上乘名家。則以柔術克之。雖剛亦何所用。俗云泰山雖重。其如壓不着我何。此剛多柔少之所以非上乘也。
下乘拳技術以柔為貴。至於專使氣力蠻野粗劣。出手不知師法。動步全無規則。旣昧於呼吸運使之精復不解剛柔虛實之妙。乃以兩臂血氣之力。習於一拳半腿之方。遂自命個中專家。此下乘之拳技。不得混以柔術稱之學者所宜明辨也。中乘之術。不過偏於剛多柔少之弊。然尚有師法。而不難趨入上乘之境界。惟下乘者無名師益友之指授。日從事於插沙。（鄕鄙之拳師敎人木桶乘沙使堅每日以手指頻頻插之使指如鐵石）打椿抓釘磨掌之事。（打樁者即用圓木一段釘入地中。每日朝夕用足左右打之。初淺而後次第加深。如打入地中二三尺之椿。則足力能經遇之必傷折。此拳師敎人練習足力之法。當時潮州嘉應肇慶等處多愛習之）
（抓釘者。敲打於板壁中。每日用手指抓之。以能抓出最深之釘為功效。如與人鬥。指力到皮膚為之破裂。此亦江西派所最愛練習者也）
磨掌之法。每日將掌邊向桌緣几側等處。頻頻擦磨。至外皮老結堅硬時。再以沙石勤擦。並以桐油等物塗之。總以掌緣堅皮高起。剛硬如鐵為止。故人遇其掌骨斫落。無異金石之器也）究其所到。不過與全未練習之人。遇則頗堪恐怖。如一旦遇柔術名家。鮮有不敗者也。
從此觀之。斯道以剛柔變化。能達於極品者為上乘。剛多柔少。謹守師法者為中乘。至於一拳一技之長。有剛而無柔。徒事於血氣之私者。於斯為下矣。嗟爾後學可以鑒也。
Although the soft art is a lesser method, it is perfect. It is also, like Buddhism, divided into three “vehicles” of greater, middle, and lesser. How are these three levels distinguished? Simply by changes of hardness and softness. The styles of the art exhibit countless differences. Although each has it experts and specialties, whether their level is greater, middle, or lesser is determined by the degree of their hardness and softness.
– A practitioner of the greater vehicle moves with softness and finishes with hardness. It is ultimately neither hard nor soft, yet both hard and soft. When he finds himself facing an opponent, he acts in accordance with the situation, transforming without limit. The finger seems soft, but when it touches is as hard as a metal drill. The body seems stiff, but changes as quickly as a monkey or rabbit. When the opponent encounters this, he will be injured and not know how he got injured, or he will fall and not know how he was made to fall. Moving as supple as a divine dragon, no one can see what is happening. This ability is magical. However, the skill of moving with softness and finishing with hardness cannot be achieved in a single day. Such is the skill of the “greater vehicle”.
– How is the middle vehicle different from the greater vehicle? When a beginner starts the training but has not yet received instruction from a noteworthy master, he will keep relying on physical strength instead of having the effect of hardness and softness complementing each other. Sometimes applying medicines or just using brute force, he trains hard to develop skills of palm, arm, leg, never complaining of pain, pounding away all day long, but he will only cause his whole body – muscles, energy, and blood – to go from a state of liveliness to being stiff as a corpse, and then he will suffer many other kinds of harms, harms which seem quite common to people engaged in similar training. When fighting against opponents, ordinary people will look at his posture, which will generate fear in their hearts, and not dare to compete against him. But if he encounters a master of the greater vehicle, the master would use soft techniques to overcome him. Despite his hardness, he would not be able to do anything. A common saying goes: “As heavy as Mt. Tai is, it won’t crush me.” But this approach of mostly hard and hardly soft is not the greater vehicle.
– As for the lesser vehicle, the art values softness, and yet those who emphasize strength, acting with a crude roughness, send out their hands without knowing any techniques, and they move and step entirely without standards. They are ignorant of the essence of breathing and strengthening, and so they do not understand the subtleties of hardness and softness, or emptiness and fullness. They rely on the brute strength of their arms, with their practice involving two thirds punching and one third kicking, and then they consider themselves to be experts. This is the “lesser vehicle” of boxing skill. You must not confuse it with the soft art. You have to distinguish between them. The middle vehicle of the art is simply a tendency toward the error of too much hardness and not enough softness, but there remain further teaching methods, and so it is not difficult to transcend it and enter the realm of the greater vehicle. But as for the lesser vehicle, it does not require instruction from noteworthy teachers or talented colleagues. It involves daily practice in activities such as:
– – poking sand (As taught by small-town boxing masters: use wooden barrels filled with sand, packed tight, and repeatedly poke your fingers into it. This will make your fingers as hard as iron or stone.)
– – striking posts (Pound a round section of wood into the ground and strike it with each foot every day, all day long, striking at first lightly, then building up to striking it powerfully. Once you are able to uproot a post that has been hammered two or three feet into the ground, the attacking power of your foot is sure to injury an opponent. For this method of training foot power, currently places such as Chaozhou, Jiaying, and Zhaoqing [all in Guangdong] are where there is the most fondness for practicing it.)
– – pulling out nails (Hammer nails into a board and pull on them every day until you are able to pull out even the deepest ones. Then when fighting with someone, everywhere you apply the strength of your fingers, his skin will tear. Practitioners in Jiangxi especially love this training.)
– – rubbing the palms (For the rubbing palm method: Every day, rub the edge of your palm across the edge of a table, over and over again. Once the skin has hardened from this, then rub the palm into gravel in tandem with applying tung tree oil to the hand. Always use the edge of the palm, thickening the skin until it is as hard as iron. When encountering a chop from such a hand, an opponent will feel it is just like a weapon made of metal or stone.)
– After completing such training, someone who has never trained will find you very intimidating. But if you ever meet a master of the soft art, he will not find you so invincible.
– It can be seen from this that this art is able to reach the highest level by way of alternating between hardness and softness, which is thereby the “greater vehicle”. If there is mostly hardness and little softness, you will only maintain the patterns, and so this is the “middle vehicle”. If in the subtleties of each technique there is only hardness and no softness, you would be focusing on your own vigor, and this would be the “lesser vehicle”. Woe to students who do not take heed of this.
五要說。
[4] THE FIVE REQUIREMENTS
術旣有剛柔之判。而利害亦隨剛柔而相生。練習者須識之於始。愼之於終。而後可以無傷身意外之患。此剛柔之術所宜擇。五要之說所由生焉。
The art separates into hard and soft aspects, the tricky part being that the hard and soft generate each other. You must recognize this in the beginning and be careful all the way to the end. You will thereby be able to be free of anxiety about accidentally hurting yourself. There must be distinguishing between hard and soft in this art, which is why these five requirements have come to be.
（一）初練習時漸進不可猛進。
i. In the beginning of the training, you should progress gradually rather than force the pace.
大凡平日未經練習之人。或已練習過而因故輟棄太久者。其周身之脈絡筋骨不甚靈活。倘遽爾用力過猛。輕則筋絡有漲弛之痛苦。重則臟腑起震裂之大患。數十年來士大夫。皆以採習柔術為規戒。蓋因少年愛習此道者。多罹殘與夭折之害。推求其故。實由於不知用力漸進之方。而又好逞血氣鬥搏之事。且以不遇名人。從事於下乘拳技。其受害大可驚嘆。定性禪師謂此為長生之術。今練習者。竟與此相背戾。此所謂操術不良。豈斯道之咎也哉。
Generally speaking, for someone who has not trained, or who for some reason quit long ago, his whole body, its vessels and channels, muscles and bones, is not very nimble. If you are in a hurry and force the pace, a moderate problem will be painful tensions through your muscles, and a serious problem will be alarming shocks arising in your organs. In the last few decades, the literati have been practicing the soft art as a method of self regulation. But young people who love to practice these methods often end up injured or die prematurely. As for why this is so, truly it is because they do not understand that they should discipline themselves to progress gradually, instead preferring to show off their animal vigor in fighting situations. Avoiding encountering noteworthy practitioners, they only go up against those with inferior boxing skills and are then greatly praised for defeating them. Zen master Dingxing proclaimed this to be a longevity art, but such practitioners nowadays end up at odds with this view. This is a case of using the art for evil purposes, and the art itself is not to blame.
（二）旣得方術。要以恆心赴之。勤敏持之。不可中道停輟也。
ii. Once you have obtained the art, you should attend to it with perseverance, maintain it with hard work and mindfulness, and you must not quit halfway.
萬事皆須有恆。柔術為尤要。吾嘗與人談及此道。愛之者十常八九。惟能始終不懈達成功之境者。千百中難得一人。皆因無恆心所致。大可嘆息也。此道朝夕不輟。則三年小成。十年大成。獲畢生之益。無一朝之患。旣保一身。又可扶危救弱。而長生猶其餘事也。
In all things one must be perseverant, but in the soft art especially so. I see that when people discuss this art, there are usually eight or nine out of ten who are enamored with it, but as for those who persist from beginning to end to achieve success, there is barely one in a thousand, and this is always the result of a lack of perseverance, truly a shame. If you can be unceasingly hardworking in this art, then you will have some small success after three years, great success after ten, and you will have obtained benefit that will last you for your entire lifetime and leave you without even a single day of anxiety. If you take care of yourself, you will also be able to come to the rescue of the weak when they are in distress, as well as gain longevity and thereby have the chance to fulfill unfinished tasks.
（三）練習要節。戒色慾及狂飲。
iii. While training, you should abstain from sex and alcohol.
人身之血氣。未鍛鍊則虛浮。而無力。旣鍛鍊則靈活而易動。倘於斯時不知節制愼守。則全副精華。必有如決江河一潰。而不可復之害。反不若不着手練習為佳。然此乃人生之大防。不僅為斯道所宜。然爾少年諸生。謹守先聖之古訓。而終身行之者也。
The human body’s energy and blood are before training empty and powerless, but after training are nimble and quick. If during training you do not understand how to restrain and carefully conserve yourself, then the whole of your essence is sure to be like a river breaking through a dam – with one crack there will be no regaining anything that leaks away – and you would instead have been better off not training at all. However, this grand barrier protecting one’s life is not only applicable to this art. Every youth should faithfully follow the maxims of Confucius and behave according to them for the rest of his life.
（四）已成功時。要靜氣凝神。涵養謹愼。不可有恃術凌人。與好勇鬥很之事。
iv. Once you have succeeded, you should calm your energy and focus your spirit. Be restrained and mindful. You must not use the art to humiliate others or engage in fighting for the sake of it.
吾宗旨習練此術。乃有深仇隱痛存乎其間。念故國山河已墮。披髮為奴之刼。懼筋肉弛廢勉奮鷄鳴舞劍之心。東海可移。此恨難消。磨精煉骨。留以有待故吾人夙夜孜孜於此。非一人一家之微。假使天不亡漢。成功終有其時。宜默識此意。不可懷一毫凌侮他人之心。為吾宗之罪人也。戒之戒之。
When our ancestors practiced this art, there was a deep anxiety dwelling within them. They thought of how our lands were being ruined and how the people were being coerced into slavery. Fearing the weakening of their muscles, they strived for the mentality of practicing swordplay from the moment the rooster calls. It would have been easier to move the eastern sea than to dispel such regret. Tempering the bones requires more and more work. Therefore we practice hard day and night. This has nothing to do with the subtleties of a particular person or a particular style. As long as the sky does not desert us, success will be inevitable. Yet while you should contemplate this idea, you must not harbor the slightest thought of humiliating others, for that would only make our ancestors look like villains. Avoid such behavior. Avoid it altogether.
（五）出外遊行時。要謹遵宗法。皈依十戒傳授他人。亦宜以此誥勉之。
v. When you go out to demonstrate the art, you should carefully abide by the tradition’s “ten prohibitions” [1. Never stop training. 2. Do not use your skills except in defense. 3. Do not behave disrespectfully toward the teacher. 4. Nor toward other people. 5. Do not show off. 6. Do not indulge in anger when fighting. 7. Do not drink alcohol or eat meat. 8. No sex. 9. Do not lightly teach laymen. 10. Do not have a competitive mentality.] and when teaching others you should strive to behave in accordance to them still.
吾宗之術法。雖創始於達摩禪師。而推闡變化以臻厥大成者。則以圓性禪師為首屈一指。（師生於晚明別創擊劍術及十戒規則）至明末諸故老。避難南來。更欲以此為磨襲筋骨之具。斯道乃重放一大光明。其開始以第一手以左右握拳。右手拊其背國仇之意。不知者祇以為開手作禮式也。地盤則以踏入中宮。亦為不忘祖國之意。不忘中國之意。凡在外如遇敵欲搏鬥。則先退三步。再進一步半。此為踏入中宫再舉手。如第一圖式。（從畧）若敵人係同宗派停手不交。此為少林最要之宗法。違之則犯大不敬。同人必有以滅除之。十戒之約始於圓性禪師。後經痛禪上人稍為增易。明不忘祖國也。（痛禪上人。即明皇族朱德疇剃度後之名也。上人傳聞係福王之堂叔。後數年復蓄髮往粤西。謀舉兵恢復不成。又復歸少林。旋為人偵悉。謀捕之。上人乃遁於台灣。依延平王之子。欲有所陳不聽遂鬱之。還至淡水死焉。聞上人柔術最精。當其在梧州時捕者十餘人。悉被次第拋至街心。上人乃得潜逃出險云）
Although the methods of our inherited art were created by Grandmaster Damo, they were transformed through the process of further study until reaching the level of a grand achievement. Grandmaster Yuanxing then became the top exponent of the art (born during the late Ming Dynasty, creator of sword techniques as well as the ten prohibitions).
– At the end of the Ming Dynasty, various masters took refuge in the south, where they became even more intent on using these methods of tempering the physique, and this art then became a means of glorifying the Ming Dynasty. For their opening gesture, they used the left hand to make a fist and the right hand to pat the back of the fist. This represented resistance [against the Manchus] and a spirit of national revenge. Those who did not understand this only used open hands to make their salute posture.
– When they got into a stance, they “stepped into the central palace”, also indicating an unwillingness to forget our homeland, to forget China. Whenever they encountered an opponent who wanted to fight, they first retreated three steps, then advanced one and a half steps. This is what is meant by stepping into the central palace. Then they raised their hands as in the opening posture (not shown here). If the opponent was from the same style, he would then halt and there would be no fight.
– This was the most important tradition in Shaolin. To violate this code would be greatly disrespectful and that student would have to be beaten and expelled. The code of the ten prohibitions was started by Grandmaster Yuanxing. Later they were added to by the Tongchan Monk [who made an additional list of ten] to express remembrance of the homeland.
– (The Tongchan Monk was the posthumous title of Zhu Dechou, a head-shaved disciple who was a member of the Ming imperial line. It is said that the Monk was a cousin of Fuwang [Emperor Shenzong’s son]. After a few years he returned to having long hair and went to western Guangdong, intent on mobilizing an army to restore the nation. Failing in this, he then went back to Shaolin, but on the way he was recognized and arrested. He then escaped and fled to Taiwan. According to the son of Yan Pingwang, he wanted to make a statement there. Not heeding advice, he dressed beautifully adorned, went to the Tamsui River, and drowned himself. [On the matter of his arrest,] it was heard that the Monk was highly skilled in the soft art. At that time in Wuzhou [in eastern Guangxi], more than ten men were sent to capture him. He tossed them one after another into the middle of the street, and then slipped away out of danger.)
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Brennan Translation 