WHITE APE LEAVES THE CAVE

白猿出洞
WHITE APE LEAVES THE CAVE
順德黃漢勛編述
by Huang Hanxun [Wong Honfan] of Shunde
山東蓬萊羅師光玉授
as taught by Luo Guangyu of Penglai, Shandong
攝影者:黃子英
photographed by Huang Ziying
校對者:黃翔
text proofread by Huang Xiang
[published 35th year of the cycle, 11th month, 10th day (Dec 20, 1958)]

[translation by Paul Brennan, June, 2018]

黃漢勋先生著
by Huang Hanxun:
白猿出洞
White Ape Leaves the Cave
蔡惠鴻题
– calligraphy by Cai Huihong

名稱
POSTURE NAMES

中平雙蓄勢
[1] STANDING STABLY, BOTH FISTS STORING POWER
登山左挫捶
[2] MOUNTAIN-CLIMBING STANCE, LEFT SUBDUING PUNCH
雙封手揪腿
[3] DOUBLE SEALING HANDS, SCOOPING KICK
穿掌右蹬𨁏
[4] THREADING PALM, RIGHT PAVING KICK
登山封統捶
[5] MOUNTAIN-CLIMBING STANCE, SEALING HAND, THRUST PUNCH
馬式右補捶
[6] HORSE-RIDING STANCE, RIGHT FILLING PUNCH
登山右挫捶
[7] MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH
扭步左黏肘
[8] TWISTING STANCE, LEFT STICKY ELBOW
劈圈右仰膀
[9] CHOPPING SWING, RIGHT PRESSING FOREARM
提腿左刁手
[10] LIFTING LEG, LEFT HOOKING HAND
登山右挫捶
[11] MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH
提腿右刁手
[12] LIFTING LEG, RIGHT HOOKING HAND
登山左挫捶
[13] MOUNTAIN-CLIMBING STANCE, LEFT SUBDUING PUNCH
提腿左刁手
[14] LIFTING LEG, LEFT HOOKING HAND
登山右偸手
[15] MOUNTAIN-CLIMBING STANCE, RIGHT SNEAKY HAND
提腿右刁手
[16] LIFTING LEG, RIGHT HOOKING HAND
登山左偸手
[17] MOUNTAIN-CLIMBING STANCE, LEFT SNEAKY HAND
中式右叫圈
[18] CENTERING STANCE, RIGHTWARD DRAMATIC CIRCLE
登山右圈捶
[19] MOUNTAIN-CLIMBING STANCE, RIGHT SWINGING PUNCH
馬式漏軋膝
[20] HORSE-RIDING STANCE, SLIPPING BELOW TO PRESS AWAY THE KNEE
登山右崩捶
[21] MOUNTAIN-CLIMBING STANCE, RIGHT AVALANCHE PUNCH
右閉門腿法
[22] RIGHT DOOR-CLOSING KICK
跨虎右挑掌
[23] SITTING-TIGER STANCE, RIGHT CARRYING PALMS
提腿雙封手
[24] LIFTING LEG, DOUBLE SEALING HANDS
返身軋腿勢
[25] TURN AROUND, CRUSHING KICK
撤步右統捶
[26] WITHDRAWING STEP, RIGHT THRUST PUNCH
轉身封統捶
[27] TURN AROUND, SEALING HAND, THRUST PUNCH
馬式右補捶
[28] HORSE-RIDING STANCE, RIGHT FILLING PUNCH
登山右挫捶
[29] MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH
入環右腰斬
[30] KNEELING STANCE, RIGHT SLASHING THE WAIST
轉身封統捶
[31] TURN AROUND, SEALING HAND, THRUST PUNCH
拳脚兩交加
[32] FIST & FOOT ACCOMPANY EACH OTHER
撤步左統捶
[33] WITHDRAWING STEP, LEFT THRUST PUNCH
馬式右補捶
[34] HORSE-RIDING STANCE, RIGHT FILLING PUNCH
登山右挫捶
[35] MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH
入環右腰斬
[36] KNEELING STANCE, RIGHT SLASHING THE WAIST
登山右反掌
[37] MOUNTAIN-CLIMBING STANCE, RIGHT BACKHANDED PALM STRIKE
雙封手蹬𨁏
[38] DOUBLE SEALING HANDS, PAVING KICK
登山封統捶
[39] MOUNTAIN-CLIMBING STANCE, SEALING HAND, THRUST PUNCH
馬式右屯掌
[40] HORSE-RIDING STANCE, RIGHT BRACING PALM
登山右崩捶
[41] MOUNTAIN-CLIMBING STANCE, RIGHT AVALANCHE PUNCH
右閉門腿法
[42] RIGHT DOOR-CLOSING KICK
跨虎右挑掌
[43] SITTING-TIGER STANCE, RIGHT CARRYING PALMS
左孤雁出羣
[44] LEFT “SOLITARY GOOSE LEAVES THE FLOCK”
登山右圈捶
[45] MOUNTAIN-CLIMBING STANCE, RIGHT SWINGING PUNCH
右抅摟採手
[46] RIGHT GRAB & PULL CATCHING TECHNIQUE
撤式左統捶
[47] WITHDRAWING POSTURE, LEFT THRUST PUNCH
馬式右補捶
[48] HORSE-RIDING STANCE, RIGHT FILLING PUNCH
跨虎捕蟬式
[49] SITTING-TIGER STANCE, CATCHING A CICADA

自序
AUTHOR’S PREFACE

余於十三年前卽開始出版「螳螂拳術闡秘」翌年再出「崩步拳」此兩書俱三年前先後再版或重訂矣,至今已出至第二十二種,又國術叢書三種,醫藥叢書一種,共二十六種,各書餘售去外存者亦有兩萬餘本,存貯需地,居處幾至容足無地,因此本擬作少休矣,惟叠承海內外友好摧促賡續出版「新書」因此乃有欲罷不能耳。因以螳螂拳甚普遍之「白猿出洞」編成以求敎於大雅君子之前。
白猿出洞雖普遍傳於螳螂門中人,惟「領白猿出洞」則知之者與學之者實不多也,余俟有機會當如「領崩步」一樣以之編印,俾學之者可作撤底之研究也。
戊戌小雪 黃漢勛於螳螂樓
Thirteen [twelve] years ago, I published Secrets of the Mantis Boxing Art, followed the next year by Avalanche Steps Boxing Set. Three years ago, these two books were reprinted as revised editions. There are now twenty-two volumes that have come out [in Huang’s “Mantis Book Series”], plus the three volumes of my “Martial Arts Book Series” and one volume on medicine, for a total of twenty-six books, which have sold more than twenty thousand copies. Since such amounts need so much storage space, there is almost no piece of floor in my home that I can step on, and so one might think that it is time for me to take a little break from this project. But with friends both local and abroad urging me to continue publishing new books, I cannot stop even if I wanted to.
  Because this set is such a well-known part of the Mantis curriculum, I consulted with experienced masters before completing the manuscript for White Ape Leaves the Cave. Although it is commonly taught by people giving instruction in the Mantis art, there are not many who know and practice the two-person version. I hope someday to publish a book of it, the same type of thing as when I made Understanding the Avalanche Steps Boxing Set [1955], in order for students to be able to make a more thorough study of this set.
  - Huang Hanxun at the Mantis School, 35th year of the cycle, during Slight Snow [period running through Nov 23–Dec 6, 1958]

談國術之興衰
ON THE RISE & DECLINE OF CHINESE MARTIAL ARTS

世事每是物極必反,靜極思動,安極必亂,亂極則治,斯為歷代史記所表現之成果也,余少時好閱讀歷史故事演義之類小說,莫不由治入亂為書之開始所叙述理由矣。
吾國武功始於皇帝製弓矢以戰勝蚩尤,是由石器時代轉為鐵器時代之進步,至漢唐之世則大盛,四夷揖服,晉吏往還不絕,是為我國全盛之時期。降及遜淸之世重文輕武,視武人如看戶之犬而已!因此乃有拳匪之變,嗣後國人反視武術為禍國禍己之源泉,固是武術以斯時為最衰頹,其不絕者如縷,國有滅亡之危,人陷滅種之弱,吾國歷史以來為慘淡之時期。及淸社旣屋,國人振力奮發,急起圖强,國勢為之丕振,當國者頒發「德」「智」「體」三育並行,於是又轉入為蓬勃時期矣,不料國人受歐風美雨所侵而捨己尚人。不論在學校體育課程或省運動,國運會等競技場中反無國術之一課,及後精武當局有見於此,而力爭全國運動會中必須增加國術比賽錦標一項,復急完成訓練人材之責,而廣派義務敎員於京滬學校任敎,一時風氣所及而又趨於全盛焉。
民二十五年冬全國童軍集訓於紫金山畔,時任全國童軍會長者為今總統蔣先生,開幕日蔣會長訓詞中(後通電訓令全國)强調國術於體育上之重要,訓令中曾指定中小學畢業課程上必須國術一項及格為標準,(時筆者方任職漢口精武敎職及省立體育專門學校籌備委員)閱報不勝雀躍之至,並剪存武漢日報一份,港陷時失去,致未能重錄於此也。
翌年卽發生全面抗戰,因此大好復興國術機會而未克執行為可惜也。
今日環觀國內外不論在「報章雜誌」「電影事業」「播音台上」「遊藝會中」俱不離有國術之一項,上述各節本為協助提倡國術之最佳辦法,但就余個人觀點上言則小說所叙述之人物,比之現世拳師其距離太遠。所描述之拳師方去世僅數年耳,其徒子徒孫縱目俱是,但武功相較相去何止萬與一之比,雖存有褒揚前人之美德,但相去太遠反惹起不信任現存者之武功矣,祗為亡者計不及為生存計,此缺憾末悉曾有人計及否?電影乃深入每個腦海印象最深之敎育性事業,武俠片曾經轟動一個時間,蓋精益求益與力求完美固然永久把握觀衆心理,但粗製濫造,或缺乏故事重心則終有一日為之一蹶不振也。播音事業為世界性者,一處播講可傳世界某一角落,其為播講武俠事蹟者為我武術界所拜領之實惠也,然講者固然要增加聽者興趣起見而加以渲染,惟以事不離實為宗旨則武術界實利賴之也。至表演場中為赤裸裸表露無遺之藝術,最遺憾者厥惟須人扶掖登台之小孩子亦尊稱之為「某師傳」,驟聽之似為開頑笑或引起觀衆興趣,其實旣予觀衆以不良印象,又引起一般稍自愛而淸高之名師不欲參與此等場面,余之不惜喋喋者特提出以供有心提倡武術者二已!
知我諒我固未遑計及功罪矣。
The way of human affairs is that things at their extreme will reverse their condition. For example, stillness at its peak sparks motion, stability at its peak will give way to disorder, and disorder at its peak will generate order. These phenomena appear throughout our historical records. When I was young, I loved reading historical novels, stories which all began with order giving way to chaos.
  Our nation’s martial achievements begin with the Yellow Emperor manufacturing bows and arrows to defeat Chiyou. We then progressed from the stone age into the iron age, and by the time of the dynasties of Han and Tang, our nation was flourishing, the surrounding barbarian tribes having all bowed in submission. Then during the Jin [Yuan] Dynasty, there was ceaseless cross-cultural sharing, and a golden age for our nation was in full swing.
  But later during the Qing Dynasty, the attitude was to emphasize intellectual pursuits and trivialize martial affairs. Warriors were regarded as if they were household dogs. This consequently led to the Boxer Rebellion, and our countrymen thereafter thought martial arts to be nothing but a source of calamity for both nation and self. This was indeed the greatest period of decline for our martial arts, in which they were in a continuously shabby state, and our nation itself was in danger of being destroyed, our people so weakened as to be on the edge of extinction. It was as gloomy a time as ever in our nation’s history.
  Therefore in the drawing rooms of Qing society, our countrymen became roused to exert themselves and urgently initiated schemes of empowerment. This greatly stimulated a sense of national strength and the government proclaimed that three kinds of education – physical, intellectual, ethical [corresponding to the “body, mind, spirit” of the YMCA’s red triangle emblem] – are to be taught together. Martial arts thereupon shifted into a period of flourishing, and our countrymen who had absorbed the influence of intruding Western culture now unexpectedly decided to put others before themselves [i.e. placed the national interest above personal gain].
  Whatever the physical education curriculum or provincial exercise regimen within a school, there were no martial arts seen on any of the sporting grounds of those institutions. In view of this, the heads of the Jingwu Association argued strongly that a martial arts competition, complete with prizes, should be added to the National Games [the first of which was held in the South Seas Bazaar in Nanjing – Oct, 1910], and then they urgently took it upon themselves to train talented people for it, branching out to teach in schools in both Beijing and Shanghai. Martial arts soon became the fashion and were at last on their way toward fully blossoming.
  In the winter of 1936, the Chinese Boy Scouts assembled to have a training camp beside Purple Mountain [in Nanjing]. Chiang Kai-shek was appointed to preside over the event, giving instructions on the first day (that were then cabled to the whole nation) in which he stressed the important of martial arts in physical education, ordering that martial arts be made a standard part of the curriculum in all schools. (I was at that time teaching at the Hankou Jingwu Association and was a member of the preparatory committee for the [Hubei] Provincial Physical Education Technical School.) I could not keep myself from jumping for joy when I read this in the newspaper. I clipped that section from the Wuhan Daily News in order to keep it, but I lost it during the capture of Hong Kong, and still have not been able to find another copy. The following year, the war against Japan had started, and thus even though we were primed at the best opportunity we had ever had to revive our martial arts, we unfortunately could no longer carry it out.
  But now in our current environment, both within the nation and overseas, everything contains a dose of martial arts, whether in newspapers and magazines, movies, radio broadcasts, or live exhibitions. While these are each excellent methods of helping to promote Chinese martial arts, it seems to me that the tales of characters in martial arts novels have gone too far and become totally unrepresentative of real-life martial artists. Descriptions are made of masters who had passed away only a few years before, saying that he had countless students and that his martial skills were far beyond compare. Although he gets praised for his virtuousness, praise turns to overpraise and leads to tales of martial achievements that stretch credulity. What is said about him after he is dead does not match up with what was said about him while he was alive. Because of this problem, can we really know if such a person even existed?
  Film makes a deep impression on the mind, and so it can be a profound teaching device. A period martial arts film may cause a sensation for a while. The more care that is put into it and the more that quality is strived for means it has a better chance of grabbing the audience’s attention for a long time. But if it is poorly made or lacks a central plot, then it will quickly flop. [The outcome is that a good film will inspire people to train whereas a bad film will only make people look down on martial arts.]
  Broadcasting is international, although a radio station can only transmit to its corner of the world. When heroic martial deeds are recounted over the radio, it gives a boost to our martial arts community that we are thankful for. The narrators naturally want to increase the interest of listeners and so they add some exaggerations, but as long as they stay intent on not departing from reality, its benefit to the martial arts world can be relied on.
  As for live performance, it gives an unshrouded view of martial arts. However, it does have an enormous flaw: when a child is put onto a stage and introduced as “Master So-and-So”. As soon as this is heard, the whole thing seems like a joke, and although it is only intended to attract the interest of the audience, it only ends up leaving a bad impression [by reducing an instructive display to a mere circus act]. This kind of thing leads to two types: most teachers, who value their self-respect and dignity and choose not to make a spectacle of themselves, and then the few that are left, who ignore the ridicule in order to promote martial arts.
  I hope you will forgive me for not going further here into the pros and cons of these media. [The subject of the decline of Chinese martial arts will be returned to in the following volume.]

第一式:中平雙蓄勢
Posture 1: STANDING STABLY, BOTH FISTS STORING POWER

說明:
Explanation:
假定由東方作起式,則在東方站定,背南望西,兩足緊靠雙手直垂如「過渡式圖」
If you start in the eastern part of the practice space, then you will stand in the east with the south behind you, facing to the west [north], feet together, hands hanging straight down. See photo 1a:

再雙手握拳抽起與胸平,如崩步或十八叟等起式同,如『定式圖』
Then your hands grasp into fists and lift up to chest level, same as in the opening posture of the Avalanche Steps set and the Eighteen Elders set [and you turn your head to face to the west]. See photo 1b:

功用:
Application:
雙手收拳抽起可使胸脯挺高,日久便可增强肺部之發展。
Your hands pulling up as fists will make your chest stick out. Practicing this for a long time can increase lung expansion [which will lead to better endurance in fighting situations].

第二式:登山左挫捶
Posture 2: MOUNTAIN-CLIMBING STANCE, LEFT SUBDUING PUNCH

說明:
Explanation:
循上式,左脚向西方開出以成弓式步,右手由後向前封,如「過渡式圖」
Continuing from the previous posture, your left foot goes out to the west to make a bow stance as your right hand goes forward with a sealing action. See photo 2a:

再左拳反手由下衝上,勢雖與崩捶同,但崩捶乃由上打下者,此挫捶則由下而上,祈注意及之也,左肘之下置右封之拳,拳底便是左脚之膝絲毫不爽也,如『定式圖』。
Then your left hand thrusts upward from below. The finished posture looks similar to the “avalanche punch” [a backfist], but that punch strikes downward from above, whereas the “subduing punch” [an uppercut] goes upward from below, a point I hope you will pay attention to. Your right fist is placed under your left elbow and is directly above your left knee. See photo 2b:

功用:
Application:
彼手自我徧門中路打來,我先進馬,同時以右手封去來勢,左拳隨卽自下反抽而上,直取其頷下,斯卽挫捶法之妙諦也。
An opponent sends a hand to strike to my middle area from the side, so I step in while using my right hand to seal off his incoming attack, then I send out my left fist upward from below to attack his chin, which is the essence of the subduing punch.

第三式:雙封手揪腿
Posture 3: DOUBLE SEALING HANDS, SCOOPING KICK

說明:
Explanation:
循上式,右下手再向前封去,左拳跟住亦化封手向前封去,兩手成陰陽之勢,(如揷捶第十四式同)如「過渡式圖」
Continuing from the previous posture, your right hand goes out forward with a sealing action, your left hand following along to do likewise, your hands in a position of left palm facing upward, right palm facing downward. (This is the same as in Posture 14 of the Charging Punches set.) See photo 3a:

再右脚自後橫揪而出,全式之方向亦稍徧西南為合。如『定式圖』
Then your right foot goes across with a scooping kick, the direction of the posture slightly inclining toward the southwest. See photo 3b:

功用:
Application:
彼以手自我右方擊進,我卽用右手封其腕部,再以左封托其肘,使其手為我所控制,若不急求解脫則自陷絕地也,若單求脫出我手則我揪腿又如何克抵禦?於是乃難予應付矣。
The opponent sends a hand to attack me from my right side, so I use my right hand to seal off his wrist, then use my left hand to prop away his elbow, putting his arm under my control. Unless he escapes quickly, he will find himself in a dangerous situation, and if he only gets his hand free, he will still have no way to defend against my scooping kick. Therefore this technique is difficult for an opponent to deal with.

第四式:穿掌右蹬𨁏
Posture 4: THREADING PALM, RIGHT PAVING KICK

說明:
Explanation:
循上式將揪起之腿往西北斜方掃去,斯卽螳螂著名之蹬𨁏法也,兩手左拳右掌向南方推出,手脚一致方得螳螂蹬𨁏之神妙,左拳直出,右掌橫推,成左右齊出之勢,如『定式圖』
Continuing from the previous posture, your right foot sweeps out diagonally toward the northwest, performing Mantis Boxing’s famous “paving kick” technique, as your left fist and right palm push out to the south. The key to this technique is that the hands and foot operate in unison. Your left fist goes out as a straight fist, your right palm pushing as a sideways palm, both hands going out together. See photo 4:

功用:
Application:
吾以揪腿法破彼前鋒馬,彼乃以提腿法躱過,但提腿必難久持,終有落地之時也,當其着地之時我迅卽偸入彼後方,手脚分途並進,使彼重心盡失,我蹬𨁏法乃奏大效矣。
When I used a scooping kick to attack the opponent’s forward leg, he lifted his leg to evade it. But a lifted leg is hard to keep lifted for long, so when he brings his foot down, I will quickly sneak in behind it, advancing with my hands and foot spreading in opposite directions, causing him to lose his balance [i.e. pulling his arm across above while tripping him below], and thus my paving kick will be highly effective.

第五式:登山封統捶
Posture 5: MOUNTAIN-CLIMBING STANCE, SEALING HAND, THRUST PUNCH

說明:
Explanation:
循上式先將右脚拉成自東而西之直線以成右弓式,右手向西封去如「過渡式圖」,
Continuing from the previous posture, your right foot pulls in and then goes straight out from east to west to make a right bow stance, your right hand going out to the west with a sealing action. See photo 5a:

左平拳直向西統出,是為由斜而復歸正之勢也,如『定式圖』
Then your left fist does a level thrust punch to the west. You have now returned from moving in a diagonal direction to a straight one. See photo 5b:

功用,
Application:
我蹬𨁏勢為彼所解,當彼脫離後必自我右脅腰空位突擊,於是我乃改斜式為正線,先以手消去來勢,再以左拳作衝擊,使彼無喘息機會也。
The opponent escapes my paving kick and will surely make a sudden attack where I am now open at my right ribs, so I switch from a diagonal posture back to a straight one, first sending out a hand to dispel his incoming attack, then thrusting out my left fist to strike him, giving him no chance to do anything.

第六式:馬式右補捶
Posture 6: HORSE-RIDING STANCE, RIGHT FILLING PUNCH

說明:
Explanation:
循上式,此為標進式之換馬勢,右前脚往前一拉,左後脚往後一撑,約進一尺遠左右以成馬式,雖為進式,但左右兩脚絕未更改其方向也,右拳自腰部用補捶法與左掌相碰而出,左掌復置於右肩之上如『定式圖』。
Continuing from the previous posture, this is an action of darting forward into a horse-riding stance, your right foot pulling you forward, your left foot pushing off from behind, your feet each advancing about a foot. Although this is an advancing posture, your feet do not change their position. Your right fist at the same time goes out from your waist with a filling punch, hitting against your left palm on the way, which is then placed over your right shoulder. See photo 6:

功用:
Application:
彼以手來搭我左統捶,我卽用標馬法衝前,再改用右拳取其心胸,卽所謂黑虎偸心一類之巧妙也。
The opponent uses a hand to block my left thrust punch, so I dart forward into a horse-riding stance and use my right fist to attack his chest. This kind of technique is what is also called BLACK TIGER STEALS THE HEART.

第七式:登山右挫捶
Posture 7: MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH

說明:
Explanation:
循上式,右脚向西移動數寸,乃可轉成右登山式矣,左手向前自上封下而收於右肘之底,右拳則如崩捶之狀由下反抽而上,至與頭部看齊為最合標準。如『定式圖』
Continuing from the previous posture, your right foot shifts a few inches to the west, slightly turning, to make a right mountain-climbing stance. At the same time, your left hand goes forward to seal downward from above and withdraws under your right elbow as your right fist turns over and goes out upward from below to end up in the shape of an avalanche punch, finishing at head level. See photo 7:

功用:
Application:
彼以手來搭我上式之補捶,我卽以左手封去彼手,同時以右挫捶方式突襲其下頷,如普通所稱「通天炮」或「衝天炮」也,拳勢雖短,但貼身近打則頗予敵方以重大威脅也。
The opponent sends out a hand to block my filling punch, so I use my left hand to seal off his hand and send a right subduing punch to suddenly attack his chin. This technique resembles what is commonly called “cannon to the sky” or “cannon-shot through the sky”. Although it is only effective as a short-range technique, getting very close to the opponent will put him in a much more dangerous position.

第八式:扭步左黏肘
Posture 8: TWISTING STANCE, LEFT STICKY ELBOW

說明:
Explanation:
循上式雙足一扭以成坐盤之勢,右手往前一刁,左肘自下力托而上,如「崩步拳之扭身黏肘」如『定式圖』。
Continuing from the previous posture, your feet twist to make a sitting twisted stance as your right hand hooks in front and your left elbow forcefully props upward from below, the same as in the TWISTING STANCE, STICKY ELBOW from the Avalanche Steps set. See photo 8:

功用:
Application:
彼手剛來架我之挫捶,我卽順手刁之,趁勢扭馬再用左肘托上,彼肘被托卽有斷折之危,此式比之挫捶為更短,但若敵方恰予可用之機會時,則此着予敵以更大之創擊也。
The opponent forcefully sends a hand to block my subduing punch, so I smoothly hook it away while twisting my stance, then use my left elbow to prop upward against his elbow, putting it in danger of breaking. This posture has a shorter range than the subduing punch, and so if the opponent could make proper use of the opportunity, this technique might end up giving him an even greater chance to strike me.

第九式:劈圈右仰膀
Posture 9: CHOPPING SWING, RIGHT PRESSING FOREARM

說明:
Explanation:
循上式先上左脚,右手自後劈前,左手緊貼右肘之處,如「過渡圖式」
Continuing from the previous posture, first your left foot steps forward as your right hand chops forward from the rear, your left hand touching at your right elbow area. See photo 9a:

再上右脚以成右入環步,右手轉一弧形狀自內反向前出推進,左手緊貼右臂之中部,如『定式圖』。
Then your right foot steps forward to make a right kneeling stance as your right hand draws an arc, turning over from inside to push out forward, your left hand now touching at the middle of your right forearm. See photo 9b:

功用:
Application:
彼以手由中路進擊一捶,我乃以右臂由後劈前以消其勢,復反前靠近其體,藉左右之合力使彼難予躱避矣。
The opponent uses a hand to punch to my middle area so I send my right forearm chopping forward from the rear to dispel his incoming attack, then turn my arm over and crowd against his body. As this technique makes us of the combined force of my left arm and right arm, it is difficult for the opponent to evade it.

第十式:提腿左刁手
Posture 10: LIFTING LEG, LEFT HOOKING HAND

說明:
Explanation:
循上式,站原來之位置,右脚往上一提使直立,當變式時左脚同時提起為獨立式,右拳收腰部,左手站身刁下而後,眼平視以注前方,不必隨手下視致牽累姿勢不美觀。如『定式圖』
Continuing from the previous posture, staying where you are, rise up to stand on your right leg and lift your left leg to make a one-legged stance, your right fist withdrawing to your waist, your left hand hooking downward and to the rear. Your gaze is forward and need not follow your hand, which would draw the posture downward and make it less elegant. See photo 10:

功用:
Application:
彼見我低樁而自後方用腿作突擊,我乃返身轉勢而採應付則為勢危殆,逼得先提步以減其目標,再以手刁下以解其勢,彼不但不得逞,或反為我所制矣。
An opponent behind me notices I am in a lowered position and suddenly attacks with a kick, so I turn around to catch it, which puts me in a dangerous position, and therefore I first have to lift a leg to reduce his target area, then send a hand hooking downward to dispel his attack. This will not only keep him from succeeding, but will also put him under my control.

第十一式:登山右挫捶
Posture 11: MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH

說明:
Explanation:
循上式,先踏下提起之左脚,再進右脚以成右登山式,上式刁手之左手反上再封下如「過渡式圖」
Continuing from the previous posture, first your left foot comes down, then your right foot advances to make a right mountain-climbing stance as your left hand turns over and seals downward from above. See photo 11a:

右拳由後自下逆衝而上以成挫捶,如『定式圖』。
Then your right fist thrusts upward from below with a subduing punch. See photo 11b:

功用:
Application:
我刁得來脚或手,彼必極力謀掙脫,於是我乃跟踪追前,再封而仍用挫捶法攻彼下頷,因其雄猛而勢順之故也。
When I hook the opponent’s foot or hand, he will do his utmost to slip out of it, so I follow him by chasing forward, sealing him off, and using a subduing punch to attack his chin, thus rendering the technique both fierce and flowing.

第十二式:提腿右刁手
Posture 12: LIFTING LEG, RIGHT HOOKING HAND

說明:
Explanation:
循上式原位置不動,先提起右脚作獨立式,左手收腰部,右手化拳為刁手,由上刁下如『定式圖』。
Continuing from the previous posture, staying where you are, your right foot lifts to make a one-legged stance as your left hand withdraws to your waist and your right hand changes from fist to hooking hand, hooking downward from above. See photo 12:

功用:
Application:
我攻彼上,彼必還擊我下,此為攻上打下,打下取上之定例,彼若以腿攻來則我刁手正恰好抅消來腿也。
When I attack the opponent above, he is sure to counterattack me below. This is the constant principle of “attack above to strike below and strike below to attack above”. If he uses a kick to attack below, my hooking hand is the best choice to deal with it.

第十三式:登山左挫捶
Posture 13: MOUNTAIN-CLIMBING STANCE, LEFT SUBDUING PUNCH

說明:
Explanation:
循上式落下右提之脚,再上左脚以成左弓式步,右抅下之手復反上封下如「過渡式圖」,
Continuing from the previous posture, your right foot comes down, and then your left foot steps forward to make a left bow stance as your right hand rolls over to seal downward from above. See photo 13a:

左捶自腰間逆衝而上,拳至定點時適與本身頭部看齊,如『定式圖』。
Then your left fist thrusts upward from your waist until at head level. See photo 13b:

功用:
Application:
彼來腿先為我提腿避過,復因我以刁手抅下而大受威脅,彼必連續退讓以來解脫,若彼自中路攻我,則我用封手挫捶法逆襲其下頷。
When I evade the opponent’s kick by lifting my leg and then use a hooking hand to grab downward and absorb most of this threat, he will again retreat to slip out of my control, and if he then attacks to my middle area, I will use a sealing hand and counterattack by sending a subduing punch to his chin.

第十四式:提腿左刁手
Posture 14: LIFTING LEG, LEFT HOOKING HAND

說明:
Explanation:
循上式,原位置不變,就地提起左脚,左手亦由挫捶之法順手抅下,右手收回腰部。如『定式圖』。
Continuing from the previous posture, staying where you are, your left leg lifts as your left hand switches from the subduing punch to hooking downward, your right hand withdrawing to your waist. See photo 14:

功用:
Application:
彼招去我挫捶,再自我下路踢來,因是我又提腿卸之,抅手破之也。
The opponent deflects my subduing punch and then kicks to my lower body, so I again lift my leg out of the way and use a hooking hand to defeat it.

第十五式:登山右偷手
Posture 15: MOUNTAIN-CLIMBING STANCE, RIGHT SNEAKY HAND

說明:
Explanation:
循上式落下前式之左提脚,再上右脚以成右弓式,左手收腰部,右掌自腰部橫蓋而下如「過渡式甲圖」
Continuing from the previous posture, your left foot comes down forward, then your right foot steps forward to make a right bow stance, your left hand withdrawing to your waist, your right palm going from your waist to cover downward as a sideways palm. See photo 15a:

左掌自腰部由上直蓋而下,右掌則收於左肘之下如「過渡式乙圖」
Then your left palm goes upward from your waist to cover [strike] downward as your right palm withdraws below your left elbow. See photo 15b:

右掌再自肘下橫撥而出時,左掌再歸於腰部,合三式而步皆不變是共為一個姿勢矣。如『定式圖』
Your right palm then goes out from below your elbow, deflecting across, as your left palm returns to your waist. This is a single technique involving three movements with no stance change. See photo 15c:

功用:
Application:
斯為偸手法,卽十四路中之第七路是也,第一橫掌乃蓋去彼手者,第二直掌則打其頭部,彼招之則我第三掌自下偸上以襲臉部是也。
This “sneaky hand” technique is the seventh line of the Fourteen Lines [i.e. Luo Guangyu’s fourteen-line version of Tantui]. The first movement is a sideways palm to cover the opponent’s hand, the second movement is a straight palm to strike to his head. If he deflects this second movement, I then sneak a third palm movement upward from below to make a surprise attack to his face.

第十六式:提腿右刁手
Posture 16: LIFTING LEG, RIGHT HOOKING HAND

說明:
Explanation:
循上式,提起右脚,右掌改為刁手,自上貼大腿刁下,左掌變拳同時緊貼腰部,如『定式圖』。
Continuing from the previous posture, your right foot lifts as your right palm changes to a hooking hand, hooking downward from above near your right thigh, your left palm becoming a fist and going tight against your waist. See photo 16:

功用:
Application:
我攻彼上,彼必還擊我下,此為攻上打下,打下取上之定例,我之連環提腿刁手者是破彼連環雙飛腿之法也。
When I attack the opponent above, he is sure to counterattack me below. This is the constant principle of “attack above to strike below and strike below to attack above”. My continuing into a lifting leg and hooking hand is a good means of defeating his flying double kick.

第十七式:登山左偷手
Posture 17: MOUNTAIN-CLIMBING STANCE, LEFT SNEAKY HAND

說明:
Explanation:
循上式,先落下右提起之脚,再上左脚便成為左弓式矣,左掌自腰部橫蓋而下,右手收腰部,如「過渡式甲圖」
Continuing from the previous posture, first your right foot comes down, then your left foot steps forward to make a left bow stance, your left palm going from your waist to cover downward as a sideways palm, your right hand withdrawing to your waist. See photo 17a:

再右掌直線自腰部由上打下,如「過渡式乙圖」
Then your right palm goes straight out upward from your waist to strike downward [as your left palm withdraws below your right elbow]. See photo 17b:

再左掌自肘下橫撇而出,右掌收回腰部如『定式圖』。
Then your left palm goes out from below your elbow, swinging across, as your right palm withdraws to your waist. See photo 17c:

功用:
Application:
與第十五式相同,祗差左右之分耳。
Same as in Posture 15, except with left and right reversed.

第十八式:中式右叫圈
Posture 18: CENTERING STANCE, RIGHTWARD DRAMATIC CIRCLE

說明:
Explanation:
循上式,左右步不變,先扭轉身體往西方,兩手以封手式自東拉往西方,與轉身時取得同一動作為合,至定式則為雙拳,步法則為中式卽兩脚到地而與入環步尺度相同者。如『定式圖』
Continuing from the previous posture, with your feet not leaving their location, your body twists around to be facing toward the west, your hands using a sealing action to pull from east to west, ideally being driven by your body turning [rather than only arm movement], and becoming fists by the time the posture finishes. As for the footwork for the centering stance, the distance between your feet shrinks to be the same as for the kneeling stance. See photo 18:

功用:
Application:
彼自我後方中路擊來一拳,我為求迅予反擊起見,立卽手隨身轉坐馬牽制之,使彼手受我控制,則其攻勢消失於無形,且我能封閉來勢之後,我隨時俱可予敵以重創也。
An opponent behind me punches to my middle area and I seek to quickly counterattack, so I immediately turn my body and sit into my stance to divert his attention away from my hands which are riding along with the turn, and thereby I gain control over his arm, dissolving his attack without him even noticing. Once I have sealed off his incoming attack, I can then give him a serious injury.

第十九式:登山右圈捶
Posture 19: MOUNTAIN-CLIMBING STANCE, RIGHT SWINGING PUNCH

說明:
Explanation:
循上式,前脚踏進半步以成右登山式,同時更以右下手向上圈去,至定點則以左掌抵之,使發出「劈拍」之聲,聲愈大愈顯出用力之大也,如『定式圖』。
Continuing from the previous posture, your front foot advances a half step to make a right mountain-climbing stance as your right hand swings out upward, your left palm meeting it with an audible slap. The louder the sound, the greater the expression of power. See photo 19:

功用:
Application:
我旣牽其手,不論彼謀解脫與否?彼上路皆有空隙,於是我乃順步突進,右手自下斜圈而上直圈打其太陽穴,勢强而迅疾,非庸手可能解禳也。
When I tug on the opponent’s hand, it does not matter whether or not he pulls it away, because in either case his upper area is open, therefore I suddenly step in with my right hand swinging upward from below to strike to his right temple. The technique is powerful and fast enough that it cannot be prevented by untrained hands.

第二十式:馬式漏軋膝
Posture 20: HORSE-RIDING STANCE, SLIPPING BELOW TO PRESS AWAY THE KNEE

說明:
Explanation:
循上式,前脚突前約半步以成馬式,左右兩脚仍未變更原來位置,右手自上順劈而下,左掌緊貼右肩以資呼應。如『定式圖』
Continuing from the previous posture, your front foot suddenly goes forward a half step to make a horse-riding stance, your feet still positioned in the same way, as your right hand chops downward [and rightward] from above, your left palm at the same time moving to touch your right shoulder. See photo 20:

功用:
Application:
我手已橫圈其上,為勢危而急,使彼無法援救,亦不得不救,於是我乃俟其往救而突漏下橫掃其前鋒馬,斯卽螳螂漏字訣之要着矣。
My hand already swinging across above is so dangerous and fast that the opponent has no way to save himself, and yet he also has no choice but to try. Therefore I wait for him to start to defend, then suddenly slip below and go across with a sweeping action to his front leg. This is the significance of the Mantis Boxing term “slipping”.

第二十一式:登山右崩捶
Posture 21: MOUNTAIN-CLIMBING STANCE, RIGHT AVALANCHE PUNCH

說明:
Explanation:
循上式,左右脚仍不變位置,順勢變為登山式便是,左手向前封,右拳反內轉前打出卽成崩捶矣(亦卽一般之崩捶是也)如『定式圖』。
Continuing from the previous posture, with your feet not leaving their location, your stance goes along with the technique by switching to a mountain-climbing stance as your left hand goes forward with a sealing action and your right fist rolls over to strike out forward from inside with an avalanche punch (finishing the same as an ordinary avalanche-punch posture). See photo 21:

功用:
Application:
上式我攻其下,此式乃變襲其上,以上數式聯接便成忽上忽下之攻勢矣,崩捶為螳螂拳中最普通之剛手,抑亦與一般無異也。
In the previous posture, I attacked low, so now I again attack high. With the previous several postures, this makes a continuous series [Postures 18–21] of sudden high-low attacks. The avalanche punch is the most common of the more powerful hand techniques in Mantis Boxing, and it is performed here no differently than usual.

第二十二式:右閉門腿法
Posture 22: RIGHT DOOR-CLOSING KICK

說明:
Explanation:
循上式,先將左拳貼胸收,再加右拳於其上,此卽使姿勢得美妙之成果也,左腿坐低,身畧傾斜,右脚以閉門脚踢出,脚雖直出,但足尖處畧勾彎於左,方是閉門脚也。如『定式圖』
Continuing from the previous posture, first your left fist withdraws to your chest and then your right fist goes over it, giving the posture a quality of elegance, as you sit back onto your left leg, your body slightly leaning away, and your right foot kicks out with a “door closing” kick. This means that although the leg goes out straight, the toes are slightly hooking to the left [as though nudging a door shut]. See photo 22:

功用:
Application:
崩捶與閉門脚是有相聯作用者。每起閉門脚之前多以崩捶為先,蓋收上下之妙也,此亦為螳螂派中之脚去身離之重要法則,若練本門拳術而不精此者,實大違背本門拳宗矣。
The avalanche punch and the door-closing kick are used together. Every door-closing kick is typically preceded by an avalanche punch, thus reaping the rewards of attacking both above and below. This technique also exhibits the essential principle in Mantis Boxing of “foot kicking, body leaning”. If you train in this boxing art but do not master this technique, you are truly dishonoring the tradition.

第二十三式:跨虎右挑掌
Posture 23: SITTING-TIGER STANCE, RIGHT CARRYING PALMS

說明:
Explanation:
循上式,踢出之右脚由前方往後落下,與左脚成交义形,再退左脚一步,右脚畧為拉近便成右跨虎式,(以上為動式,實無法再有更詳盡之說明矣。)兩手自胸前挑出,右掌直出而指尖向上,左掌貼右肩之內亦指尖向上便是。如『定式圖』。
Continuing from the previous posture, your right foot comes down to the rear, crossing over [in front of] your left foot, then your left foot retreats a step [involving a small hop], and your right foot slightly pulls back to make a right sitting-tiger stance. (As this is a continuation of the movement from the previous posture, there is really no way to explain it in proper detail.) At the same time, your hands go out from in front of your chest with a carrying action, your right palm going out with the fingertips pointing upward, your left palm going near the inside of your right shoulder, fingertips also pointing upward. See photo 23:

功用:
Application:
當我以脚去身離往後撤退時,彼追來自我頭上打下,或緊握我頭髮,若此則我反為彼所逼矣,於此我惟有用挑掌法挑上,使來手為我所解也。
When I retreat a step, the opponent chases me and then chops downward toward my head or grabs my hair. In order to keep him from closing in on me in such a situation, a carrying-palms technique is the only means of dispelling his incoming hand.

第二十四式:提腿雙封手
Posture 24: LIFTING LEG, DOUBLE SEALING HANDS

說明:
Explanation:
循上式先將右跨虎式之脚向前踏下,左後脚蹺起,左右掌亦同時由上封下,如「過渡式圖」。
Continuing from the previous posture, your right foot steps down forward and your left foot raises up as your palms seal downward from above. See photo 24a:

先起後左脚,往前縱跳而出,提右脚以成獨立之勢,兩手分陰陽封住牽歸右方,如『定式圖』。
Then your left foot leaps forward and your right foot lifts to make a one-legged stance as your hands seal, one hand facing upward, the other facing downward, dragging back on your right side. See photo 24b:

功用:
Application:
彼我距離遙遠,逼得以縱跳之法以求與彼接近,兩手分別封其腕肘,使彼無能反抗也。
The opponent moves farther away from me, so I leap toward him to close the distance while using my hands to seal his wrist and elbow, thus keeping him from getting away.

第二十五式:返身軋腿勢
Posture 25: TURN AROUND, CRUSHING KICK

說明:
Explanation:
上式乃背東面西之姿勢,循此先將右手收於腰部,全身由單脚站地中向左轉移,左手橫殺而下,同時右脚則橫軋而出,時間與發力務須以配合為佳,此動作為全拳之重大關鍵,雖然如此,但亦與最淺之第一路基本拳相同耳!祗單脚轉式之一點困難矣。如『定式圖』。
Continuing from the previous posture, in which your back is to the east and you are facing to the west, your right hand withdraws to your waist as your whole body turns around, still standing on one leg in the same spot, and then your left hand smashes downward with the palm sideways as your right foot does a crushing kick with the foot sideways, and they should be matching each other in terms of timing and power. (This movement is the crux of the whole set [being the centrally numbered posture, preceded by twenty-four movements and followed by twenty-four movements, although the pivotal nature of this movement could also have something to do with the way it turns like a hinge], even though it is the same technique as in the very simple first line of the fundamental set [i.e. Fourteen-Line Tantui], just with the one-legged pivoting to make it a little more difficult.) See photo 25:

功用:
Application:
瞻前顧後為拳擊之重要法則,我旣用竄跳出身之法奔騰遠出,惟我難料彼不突趨我後方攻擊也,於是乃有此着以防患未然也,拳技之道苟能稍用腦筋,必得意外之收穫也。
To be on your guard to both the front and rear is a major principle in boxing arts. I have just jumped a large distance toward one opponent, but it is now harder for me to anticipate a sudden attack from another one behind me, therefore I use this technique to prevent a threat before it manifests. It is the way of boxing arts that a moment of being smart will help you in ways you had not even thought of.

第二十六式:撤步右統捶
Posture 26: WITHDRAWING STEP, RIGHT THRUST PUNCH

說明:
Explanation:
循上式,撤退軋出之脚以成為左登山式,左拳收回腰部,右拳自腰部衝出便成如『定式圖』
Continuing from the previous posture, your kicking foot withdraws to make a left mountain-climbing stance as your left hand withdraws to your waist and your right fist thrusts out from your waist. See photo 26:

功用:
Application:
其功用大致與彈腿第一路相同,蓋彼提腿躱過我軋脚,但因提腿以至其身傾前,我俟其如此乃立卽撤退,而以直統捶法擊其面部。
This technique is mostly the same as in that first line of Tantui [which also follows the kick by doing a withdrawing-step punch]. The opponent lifts his leg to evade my crushing kick, but because this causes him to lean forward, I take advantage of his bad position by immediately withdrawing my leg while using a thrusting punch to strike to his face.

第二十七式:轉身封統捶
Posture 27: TURN AROUND, SEALING HAND, THRUST PUNCH

說明:
Explanation:
循上式,右手先往後封去如「過渡式」
Continuing from the previous posture, your right hand goes out to the rear with a sealing action. See photo 27a [which ought to show a reverse view of the position in photo 31a, but is instead a repeat of photo 5a]:

再原步左右不變,循往後封手之便而轉身換勢以成右登山式,右封之手收回腰部,同時以左拳自腰部打出如『定式圖』。
Then with your feet staying where they are, your torso follows your sealing hand by turning around to switch you into a right mountain-climbing stance, your right hand at the same time withdrawing to your waist, your left fist striking out from your waist. See photo 27b:

功用:
Application:
彼手自我後方打來,吾卽先以手封去彼手,再循而以左拳擊去,斯卽連消帶打之法也。
An opponent attacks from behind, so I first use a hand to seal off his hand, then flow into striking out with my left fist, a technique of defense continuing right into attack.

第二十八式:馬式右補捶
Posture 28: HORSE-RIDING STANCE, RIGHT FILLING PUNCH

說明:
Explanation:
循上式左右步不變,原步標前以成騎馬式,而右拳亦同時自腰間打出以補捶之法,如『定式圖』。
Continuing from the previous posture, without switching your feet, dart forward into a horse-riding stance as your right fist strikes out from your waist with a filling punch. See photo 28:

功用:
Application:
彼以手來招我左統之捶,我立卽標馬而前改用補捶「黑虎偸心」法攻入彼中部。
The opponent uses a hand to deflect my left thrust punch, so I dart forward with a horse-riding stance while switching to the filling-punch technique of BLACK TIGER STEALS THE HEART to attack his middle area.

第二十九式:登山右挫捶
Posture 29: MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH

說明:
Explanation:
循上式,左右脚不變,左後脚往後方一撑便成登山式矣,左手往前自上封下,右拳由下逆抽而上,至與頭看齊而止。此式之由馬式轉登山式時由一拉一撑之勢,而向前標上逾尺之遠者,乃功夫之上上矣。如『定式圖』。
Continuing from the previous posture, without your feet changing position, your left foot pushes behind you to move you into a mountain-climbing stance. At the same time, your left hand goes forward to seal downward from above and your right fist turns over to go out upward from below until at head level. When your switch from horse-riding stance to mountain-climbing stance by way of one foot pulling and one foot pushing can dart you forward more than a foot’s distance, your skill has reached a high level indeed. See photo 29:

功用:
Application:
彼以手來搭我手,我卽以左手封之,再以右拳用挫捶法攻彼下頷,不但可解彼封手之危,抑且反使彼為我所制矣。
The opponent sends out a hand to block my hand, so I use my left hand to seal it off, then use my right fist to attack his chin with a subduing punch. This technique not only can seal off the threat from his hand, but also puts him under my control.

第三十式:入環右腰斬
Posture 30: KNEELING STANCE, RIGHT SLASHING THE WAIST

說明:
Explanation:
循上式,左後脚進前一步,右脚跟住彎膝靠入便成入環步矣,左手向上一穿,右手往下一收,左手起頭上橫攔,右手化掌向左撇去便成腰斬之勢矣。如『定式圖』。
Continuing from the previous posture, your left foot advances a step and your right foot follows with the knee bending near it, making a kneeling stance. At the same time, your left hand threads upward, your right hand withdrawing downward, then your left hand rises to block higher than your head with the hand sideways as your right hand becomes a palm and swings out to the left with an action of slashing to the waist. See photo 30:

功用:
Application:
上式為高勢,此式則為低勢,彼以手來架或封我,我卽以左手自下穿之,再以低馬法深入彼陣內用腰斬法襲彼腰部,使彼上下有牽制之危也。
The previous posture went high, so this one goes low. The opponent sends out a hand to block or seal off my attack, so I use my left hand to thread out from below, then use a low stance to penetrate deep into his space while employing a slashing technique to attack his waist, putting him in the perilous situation of having his attention distracted upward and downward.

第三十一式:轉身封統捶
Posture 31: TURN AROUND, SEALING HAND, THRUST PUNCH

說明:
Explanation:
循上式先左右脚原位置不變,循右方轉身以右手封去,如「過渡式圖」
Continuing from the previous posture, your feet stay where they are [with your right foot slightly shifting back] and your right hand goes along with the rightward turning of your body by going out with a sealing action. See photo 31a:

再拉成右登山步,始再以左拳衝出。如『定式圖』
Then pull yourself forward into a right mountain-climbing stance as your left fist thrusts out. See photo 31b:

功用:
Application:
當我往前直攻之時,彼忽走我後方,或另一人自後攻我,我卽先以右手封去彼手,再轉馬以左拳攻彼面部,為勢疾捷而强勁勿輕忽之也。
When I attack forward, the opponent suddenly dodges around behind me, or another opponent attacks from behind, so I first use my right hand to seal off his hand, then rotate my stance to drive an attack to his face with my left fist. This technique is fast and powerful. You must not underestimate it.

第三十二式:拳脚兩交加
Posture 32: FIST & FOOT ACCOMPANY EACH OTHER

說明:
Explanation:
循上式,形勢及右脚不動,右拳自右方圈向左方與左掌相碰,同時左後脚則以軋腿法打出,手脚並施可使上下平衡,姿勢美妙也。如『定式圖』
Continuing from the previous posture, without changing your overall shape [i.e. facing the same direction with left hand still outstretched] or the position of your right foot, your right fist swings from right to left to strike against your left palm as your left foot strikes out with a crushing kick. Hand and foot give a balance to the posture above and below, giving it a degree of elegance. See photo 32:

功用:
Application:
彼欲招迎我上式之直衝捶,我為爭取主動及時間起見,乃卽以右拳橫擊其上部,再以左脚襲彼下路,使彼有顧此失彼之虞。
The opponent tries to deflect my thrust punch, so I seize the initiative and catch the opportunity by swinging my right fist across to strike to his upper area while using my left foot to attack his lower area, putting him in the predicament of having too much to deal with at once.

第三十三:撤步左統捶
Posture 33: WITHDRAWING STEP, LEFT THRUST PUNCH

說明:
Explanation:
循上式,將踢出之脚往後撤退以成右登山式,右拳收回腰部,左拳以直統捶法衝出。如『定式圖』。
Continuing from the previous posture, your left foot retreats to make a right mountain-climbing stance as your right fist withdraws to your waist and your left fist thrusts out. See photo 33:

功用:
Application:
彼欲躱我之腿或圈打之捶,我卽手脚同時撤退,而以單拳直衝彼面部。此式實合聲東擊西與虛實互用之法,上下手脚,似進實退頗使遇之者難求解禳之法也。
The opponent tries to evade my kick or swinging punch, so I withdraw my hand and foot together and do a thrust punch to his face with my other fist. This technique is actually a method of switching from a feint to a real technique, or of “threatening to the east but striking to the west”. With the hand and foot attacking above and below, I seem like I will be advancing, but then I instead retreat into place, causing him to have difficulty in finding a way out of his predicament.

第三十四式:馬式右補捶
Posture 34: HORSE-RIDING STANCE, RIGHT FILLING PUNCH

說明:
Explanation:
循上式,左右兩脚不變原來位置,先將右前脚往前一拉,左後脚往後一撑,一拉一撑中可突前有半步之遙也,右拳自腰間衝出與左掌相碰後卽成補捶之法矣。如『定式圖』
Continuing from the previous posture, without switching your feet, your right foot pulls you forward, your left foot pushing off from behind. This pull/push action can suddenly send you forward a half step. Your right fist at the same time thrusts out from your waist with a filling punch, hitting against your left palm on the way. See photo 34:

功用:
Application:
彼以高挑手來招我之直統捶,其中部至感空虛,我若以此取之,彼當感難於應付矣,因此我乃以「補捶式之黑虎偸心」法攻彼中路也。
The opponent sends a hand high to deflect my thrust punch, thereby exposing his middle area. If I then attack him there, he will find it too difficult to defend against, so I send in the filling-punch technique of BLACK TIGER STEALS THE HEART.

第三十五式:登山右挫捶
Posture 35: MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH

說明:
Explanation:
循上式,左右脚不變位置,先將右前脚往前一拉,後左脚往後一撑,不祗可成為右登山之式,且可藉此進前半步也。左手向前由上而下封去,如「過渡式圖」
Continuing from the previous posture, without your feet changing position, your right foot pulls you forward and your left foot pushes off from behind, an action which not only can put you into a right mountain-climbing stance, but can also advance you a half step. Your left hand at the same time goes forward to seal downward from above. See photo 35a [which ought to show an image with the right foot forward, but is instead merely a repeat of photo 11a]:

再右拳反手逆衝而上至與頭看齊而止。如『定式圖』
Then your right fist turns over and thrusts upward until at head level. See photo 35b:

功用:
Application:
彼以手來搭我手,我卽以左手封之,再以右拳用挫捶法攻彼下頷,不但可解彼封手之危,抑且反使彼為我所制矣。
The opponent sends out a hand to block my hand, so I use my left hand to seal it off, then use my right fist to attack his chin with a subduing punch. This technique not only can seal off the threat from his hand, but also puts him under my control.

第三十六式:入環右腰斬
Posture 36: KNEELING STANCE, RIGHT SLASHING THE WAIST

說明:
Explanation:
循上式,先左後脚進前一步,右前脚再往前一扣便成入環步矣,左手往上向前穿去,右手往後抽出,復以橫掌向前撇去,左手置於頂上便成「入環腰斬」之勢矣。如『定式圖』
Continuing from the previous posture, your left foot advances a step and your right foot also goes forward, the leg closing in toward your left foot, making a kneeling stance. At the same time, your left hand threads out forward and upward, your right hand withdrawing to the rear, then your right hand swings out forward as a sideways palm, making an action of slashing to the waist, your left hand placed higher than your head. See photo 36:

功用:
Application:
上式為高勢,此式則為低勢,彼以手來架或封我,我卽以左手自下穿之,再以低馬法深入彼陣內用腰斬法襲彼腰部,使彼上下有牽制之危也。
The previous posture went high, so this one goes low. The opponent sends out a hand to block or seal off my attack, so I use my left hand to thread out from below, then use a low stance to penetrate deep into his space while employing a slashing technique to attack his waist, putting him in the perilous situation of having his attention distracted upward and downward.

第三十七式:登山右反掌
Posture 37: MOUNTAIN-CLIMBING STANCE, RIGHT BACKHANDED PALM STRIKE

說明:
Explanation:
循上式,右脚進前一步以成右登山式,左上掌橫殺而落,右下掌沿左轉一弧形復由上蓋下,便成如『定式圖』。
Continuing from the previous posture, your right foot advances a step to make a right mountain-climbing stance as your left palm smashes down with the palm sideways and your right palm arcs to the left and then covers downward from above. See photo 37:

功用:
Application:
彼欲以手來捉我腰斬之手,我卽收回而以左手自上蓋制之,右掌轉過左方復迎頭蓋之。此亦是如「番天印」一般有如泰山壓頂之勢,勿以掌力輕微而忽視之,其實掌自頂上力壓之勢有如千鈞之勁道,祗在練藝所成之程度方能定出其優劣。
The opponent tries to use a hand to grab my hand from slashing to his waist, so I withdraw my hand and send my left hand from above to control him, my right palm arcing to the left and then covering his head. This technique resembles OVERTURNED-SKY STAMP or the more common MT. TAI CRUSHES THE HEAD. Do not look upon the power of a palm strike as a trivial thing, for in fact a palm descending upon a head can seem to have the force of many tons. Only when you have trained to a high level will you be qualified to judge the worth of this technique.

第三十八式:雙封手蹬𨁏
Posture 38: DOUBLE SEALING HANDS, PAVING KICK

說明:
Explanation:
循上式,先以左後脚拍前,再將右脚畧提起,左掌自肘下穿出,右掌稍縮,如「過渡式圖」
Continuing from the previous posture, first your left foot comes forward with a stomp, then your right foot slightly lifts as your left palm threads out from under your elbow, your right palm slightly withdrawing. See photo 38a:

再以右脚斜斜掃過右後方,同時雙掌化成封手向面前推出,如『定式圖』。
Then your right foot sweeps out diagonally to your right rear as your palms push out forward as sealing hands. See photo 38b:

功用:
Application:
彼以手來搭吾掌,吾以穿手脫去彼握持,再以右封手力托其肘部,使彼臂受吾牽制,並使用蹬𨁏法突入彼前鋒馬,往後以小掃膛法掃之,手步受制甚難脫出我上下環攻也。
The opponent sends a hand to meet my palm, so I use a threading hand to strip away his grip, then use my right sealing hand to forcefully prop away his elbow, causing his arm to be pulled forward, while using a paving kick to suddenly slip in behind his front leg and sweep to the rear with a kind of “hall sweeping” technique. It is very difficult for his arm and leg to escape my control, for I am attacking both above and below.

第三十九式:登山封統捶
Posture 39: MOUNTAIN-CLIMBING STANCE, SEALING HAND, THRUST PUNCH

說明:
Explanation:
循上式,先將前蹬𨁏之右脚移回正線以成右登山式之勢,右手往右方原手封去,再收回腰部,左拳以直統捶式衝前如『定式圖』。
Continuing from the previous posture, first your right foot withdraws and shifts back onto a straight line to make a right mountain-climbing stance as your right hand goes out to the right with a sealing action. Then your right hand withdraws to your waist [as a fist] as your left fist goes forward with a thrust punch. See photo 39:

功用:
Application:
彼避開我蹬𨁏之勢,再自我上部還以一捶,於是我乃以右手封之,亦還以左統捶之法以擊其中上路,封然後進擊此為螳螂穩紮穩打之習慣,得手與否俱無危險成份存在。
The opponent evades my paving kick and counterattacks with a punch to my upper area, so I send my right hand to seal it off and counter with a left thrust punch to strike to his middle or upper area. To seal and then strike is the habitual action in Mantis Boxing of firmly tying up the opponent to then strike him with greater certainty. Even if you miss, you will in this way at least be in less danger.

第四十式:馬式右屯掌
Posture 40: HORSE-RIDING STANCE, RIGHT BRACING PALM

說明:
Explanation:
循上式,原步左右不變,先拉起右前脚再標前以成騎馬式,右掌自腰部以橫掌直撑而出,同時左掌亦緊貼右肩部之內以成長短之勢,如『定式圖』
Continuing from the previous posture, with the location of your feet not changing, your right foot first pulls back and then charges forward to make a horse-riding stance as your right palm goes out from your waist, bracing with the palm sideways, your left palm touching to the inside of your right shoulder area to make a position of a long-range hand and a short-range hand. See photo 40:

功用:
Application:
彼以手招去我左統捶,我卽順來標前用如黑虎偸心法改用橫撑掌直取其中部,拳勁雖比掌為强猛,但其迅捷處則小及掌,臨陣應變見機而行,斯為拳擊上之至理,亦卽熟能生巧之成就也。
The opponent uses a hand to deflect my left thrust punch, so I go along with his incoming hand and then charge forward with the technique of BLACK TIGER STEALS THE HEART, using a sideways bracing palm to attack his middle area. Although a punch would have more ferocious power than a palm strike, it is not quite as quick as a palm. You must adapt on the battlefield, or “act according to circumstances”. Operating from this famous boxing arts maxim indicates that you have fulfilled another: “Practice generates skill.”

第四十一式:登山右崩捶
Posture 41: MOUNTAIN-CLIMBING STANCE, RIGHT AVALANCHE PUNCH

說明:
Explanation:
循上式,原步改變為右登山式,左掌向前封下,右拳反曲自上打下,如一般崩捶無異,如『定式圖』。
Continuing from the previous posture, your feet shift into a right mountain-climbing stance as your left palm seals downward and your right fist rolls over, the elbow bending, and strikes downward from above just like an ordinary avalanche punch. See photo 41:

功用:
Application:
我直撑橫掌為彼消去,我卽改攻其上,先以手封去彼來手,再以硬崩方式迎頭打下。
The opponent deflects my bracing palm, so I switch to attacking him above, first using a hand to seal off his incoming hand, then using a strong avalanche posture to strike downward to his head.

第四十二式:右閉門腿法
Posture 42: RIGHT DOOR-CLOSING KICK

說明:
Explanation:
循上式,先將上式之崩捶收貼胸部,左脚往下一坐,右脚斜尖直踢而出。如『定式圖』
Continuing from the previous posture, the fists of your avalanche technique withdraw to your chest as you sit back onto your left leg and your right foot kicks out with the toes pointing diagonally. See photo 42:

功用:
Application:
「崩捶踢脚走」是為螳螂拳中不可分離之要法,「脚去身離」之法亦在此,我旣以崩捶硬打彼上部,彼必集全力抵禦,於是我突施一脚常奏殊功也,脚去然後身離使彼無法追踪或捉摸也。
The “avalanche punch and kick” combo is an indispensable method in Mantis Boxing, and is an example of the principle of “foot kicking, body leaning”. When I use an avalanche punch to strike powerfully to the opponent’s upper area, he will devote all his strength to block it, and therefore suddenly sending out a kick is always one of the most effective things I can do in this situation. To kick out while leaning my body away causes him to be confused as to what is going on.

第四十三式:跨虎右挑掌
Posture 43: SITTING-TIGER STANCE, RIGHT CARRYING PALMS

說明:
Explanation:
循上式,踢起之脚自面前落歸後方,再退左脚,拉起右脚,(卽小跳)便成右跨虎式矣,收胸部之兩手亦由下挑上為變掌,右長左短如『定式圖』。
Continuing from the previous posture, your right foot comes down to the rear, then your left foot retreats (involving a small hop), and your right foot pulls back to make a right sitting-tiger stance, your hands at the same time carrying upward from below as palms, your right palm at long range, left palm at short range. See photo 43:

功用:
Application:
我用脚退身離法往後撤退,惟彼不捨,跟踪追來,以手握我頭髮,我任之握制則危殆矣,因是乃以挑手法穿彼臂肘之間,彼若不急退則其臂必斷矣。
I retreat away from the opponent by withdrawing my [kicking] foot to the rear, but he does not let go of the situation and instead follows me to grab me by the hair. If I let him grab me, I will be in a very dangerous position, so I use a carrying-hands technique to thread through to his elbow [i.e. creating a position in which your left hand is pressing down on his wrist and your right hand is pressing up under his elbow]. If he does not urgently retreat, his arm will get broken.

第四十四式:左孤雁出羣
Posture 44: LEFT “SOLITARY GOOSE LEAVES THE FLOCK”

說明:
Explanation:
循上式,前跨虎式一拉卽右登山式矣,右前掌化作封手如「過渡式圖」
Continuing from the previous posture, your front foot goes out to make a right mountain-climbing stance as your right palm switches to a sealing hand. See photo 44a:

再左捶直出,右手曲肘平肩便成孤雁出羣之勢矣,如『定式圖』。
Then your left fist thrusts out as your right hand pulls back at shoulder level, the elbow bent, thereby making the posture of SOLITARY GOOSE LEAVES THE FLOCK. See photo 44b:

功用:
Application:
彼以手攻我右太陽穴,我卽以手封之,再趁勢拖進以求與彼接近,左捶直統襲彼面門,勢順而急,法之至善也。
The opponent uses a hand to attack my right temple, so I use a hand to seal it off, then advance to close the distance, my left fist suddenly thrusting to his face. This technique works best when it is performed with both smoothness and urgency.

第四十五式:登山右圈捶
Posture 45: MOUNTAIN-CLIMBING STANCE, RIGHT SWINGING PUNCH

說明:
Explanation:
循上式用標步方式標前半步仍為右登山式,右後手自後圈前,以與左掌接觸,當相碰時卽發出極响亮之聲,此為假想敵與求定式正確,亦卽為螳螂拳之特徵也,如『定式圖』。
Continuing from the previous posture, dart forward a half step, still making a right mountain-climbing stance, as your right hand swings forward from the rear to connect with your left palm, making a loud crack when they meet. This is an example of how imagining an opponent is a means of making the posture correct, which is a characteristic feature of Mantis Boxing. See photo 45:

功用:
Application:
我以左攻法攻彼,彼必以左應我,彼此右方皆有空虛之憾,於是我乃先改變用右方作突擊使彼難予防範也。
When I use my left hand to attack the opponent, he will use his left hand to meet it, and thus we will both feel exposed on the right [left] side. Therefore I now switch to suddenly attacking with my right hand, which will be difficult for him to guard against.

第四十六式:右抅摟採手
Posture 46: RIGHT GRAB & PULL CATCHING TECHNIQUE

說明:
Explanation:
循上式,原步不變,右手先往外作刁式,如「過渡式甲圖」
Continuing from the previous posture, without your stance changing, your right hand first goes outward as a hooking hand. See photo 46a:

再以左手向下一摟如「過渡式乙圖」
Then your left hand pulls downward. See photo 46b:

右拳自腰部打出如『定式圖』
Then your right fist strikes out from your waist. See photo 46c:

功用:
Application:
抅為虛手,摟為實手,再加一拳便成虛實相輔之義矣。
The “grabbing” is a feint, the “pulling” is real, and then the addition of the punch completes the sense of a feint and a real action building one upon the other.

第四十七式:撤式左統捶
Posture 47: WITHDRAWING POSTURE, LEFT THRUST PUNCH

說明:
Explanation:
循上式,原步往後倒退約有半步之遠,當撤退中收右拳,出左拳以成如『定式圖』
Continuing from the previous posture, maintaining your foot position, retreat about a half step, withdrawing your right fist and sending out your left fist. See photo 47:

功用:
Application:
彼用欲招我抅摟採手之捶,我立卽改換以右手封閉之,再出左拳還攻,使彼在久攻之下而有所失也。
The opponent tries to deflect my punch, so I immediately switch to sealing off with my right hand and sending out another strike with my left fist, causing him to get lost in the midst of continuous attacks.

第四十八式:馬式右補捶
Posture 48: HORSE-RIDING STANCE, RIGHT FILLING PUNCH

說明:
Explanation:
循上式,左右步不變,標前以成騎馬式,同時右拳用補捶式打出如『定式圖』。
Continuing from the previous posture, without switching your feet, dart forward into a horse-riding stance as your right fist strikes out with a filling punch. See photo 48:

功用:
Application:
前兩手是取上部,此手則改為中下路之手勢,亦卽黑虎偸心之法也。
With the previous two techniques, I attacked the opponent’s upper area, and with this one I switch to attacking his middle or lower area. This technique is also called BLACK TIGER STEALS THE HEART.

第四十九式:跨虎捕蟬式
Posture 49: SITTING-TIGER STANCE, CATCHING A CICADA

說明:
Explanation:
循上式,拉起左脚轉身以成左跨虎式,兩手同時以如崩步一般之捕蟬式收勢。如『定式圖』
Continuing from the previous posture, your left foot pulls in as you turn around [leftward] to make a left sitting-tiger stance, your hands at the same time performing the CATCHING A CICADA posture to finish, the same as in the Avalanche Steps set. See photo 49:

功用:
Application:
回身以捕蟬勢抅摟彼手,左脚俟機踢起,亦為此拳之最後之收式也。
I turn around and use a “catching a cicada” gesture to grab and pull an opponent’s hand, my left foot seeming about to lift into a kick. This technique also serves as the closing posture.

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