FOUR-SECTION BOXING

四式拳圖解
FOUR-SECTION BOXING EXPLAINED
徐士金
by Xu Shijin
[published by the 漢口市國術館 Hankou Martial Arts Institute, 1935]

[translation by Paul Brennan, Dec, 2018]

徐士金著
by Xu Shijin:
四式拳圖解
Four-Section Boxing Explained
張學良題
– calligraphy by Zhang Xueliang

總理提倡國術之墨寶
Our president’s treasured calligraphy advocating martial arts:

強國強種
“Strengthen the nation by strengthening the people.”
孫文題
– calligraphy by Sun Yan-sen [made during his visit to Jiao Tong University in Shanghai in 1922, commemorating the tenth anniversary of the Republic]

自強不息
“Ceaselessly improve yourself.”
林森
– [calligraphy by] Lin Sen

士金先生著作之一
for Xu Shijin’s publication:
發揚蹈厲
“Practice with enthusiasm.”
[The original and more literal meaning of this line from the Book of Rites (chapter 19 – “On Music”) is also appropriate for martial arts training: “(The dancers) wave their hands and stamp their feet.”]
張學良
– [calligraphy by] Zhang Xueliang

積健為雄
“From the buildup of vigor comes the heroic.” [from Sikong Tu’s The Twenty-Four Kinds of Poetry, poem 1]
楊永泰
– [calligraphy by] Yang Yongtai

行健自強
“Act with vigor to improve yourself.”
[This is a consolidated version of a quote from the Book of Changes, hexagram 1: (天行健,君子以自強不息。) “Just as Nature acts with vigor, a gentleman ceaselessly improves himself.”]
鄭呈裕
– [calligraphy by] Zheng Chengyu

蔣委員長提倡國術之訓詞
SOME ENCOURAGEMENT TO PROMOTE CHINESE MARTIAL ARTS FROM CHIANG KAI-SHEK, CHAIRMAN OF THE MILITARY AFFAIRS COMMISSION
[originally published as a preface to 中央國術館彙刊 Central Martial Arts Institute Collection of Articles, issue #1, July, 1928, before he had the title of Chairman]

吾國成立五千年、稱雄寰宇、今乃降為列强之次殖民地、雖由文化衰微、經濟枯竭、關於政治上社會上事業、均落人後、然以國民忽視體育、缺乏訓練、失其競爭之工具、實為最大原因、蓋體育之良窳、即判人生之强弱、壽康夭折、勇敢頹靡、赴事之功、能否勝任愉快、遇敵之乘、能否努力奮鬥、直接間接、影響於國家之興亡者、至深且鉅、當此外侮日亟、凡屬國民、莫不同仇敵愾、奮起救國、熱忱志士、當於血氣激昂尤甚、惟當知欲肩救國之大任、必須有强健之體魄、庶足以任重致遠、捍禦邦國、國術者强健身體之捷徑、具有自衛之功能、為我先哲特創之技擊、方法途徑、別具神妙、其驕捷靈變之姿態、解脫搏擊之神通、非他邦所能企及、孟子曰、「國之本在家、家之本在身」、先總理曰「、無論個人或團體、或國家、要有自衛之能力、方能生存」、中正深信强國必先强種、强種必先强身、又深信三民主義、為救國主義、研究國術、亦為救國要途、兩者關係至為密切、民族圖存、必以武力為後盾、而武力之短兵相接、衝鋒格鬥、國術往往能操勝算、以德法復仇之役、前仆後繼、肉搏决勝、始克復失地以洗恥辱、原倡其始、而收其效者、厥為亞姻氏所辦之柏林體育會、由是而知國術之關於民族前途、槪可想見、質言之、研究國術、小可保障身家、大可捍衛種族、一經提倡、全國風行、發揚尚武精神、增進健全體魄、轉弱為强、可立而待也。
鄙人與張子薑先生及中央國術館同志、怵於帝國主義之橫肆侵凌、國勢愈弱、臥薪嘗胆、聞鷄起舞、誓為武化之發揚、以應時勢之要求、冀以滌除東亞病夫之惡謚、振起民族固有之精神、近更本斯旨、發行各種刊物、欲與國人共同研究、積極進行、嫻熟全民技擊、鞏固國家基礎、鍼弱砭懦、訓練有素、一旦義戰開始、劍及屨及、各挾取敵制勝之能、齊鼓所向無前之勇、躋中國於平等地位、達世界於和平目的、其成效所收、豈僅黨國前途之幸而已哉。戊辰六月蔣中正序
Our nation was founded five thousand years ago and ruled over a vast territory. But nowadays we are merely a vassal state to the great powers. Reasons for this are that our culture is in decline, our economy is exhausted, and political and social agendas have lost touch with the needs of the people. However, the fact that the people themselves have overlooked physical education, neglecting to train their bodies and thus losing the capacity to be competitive, is actually the biggest reason. The quality of a nation’s physical education determines the strength or weakness of the people, whether they will live long or die young, whether they will be brave or be depressed, whether they will be able to rise to challenges, whether they will make the effort to struggle when encountering enemies. Directly or indirectly, it has an enormous influence over the rise and fall of a nation.
  The current threat of foreign aggression is urgent. Our people have no problem hating a common enemy and shouting for the nation to be saved, for we are indeed people of integrity and righteous indignation, but it should be understood that in order to shoulder the great burden of rescuing the nation, we have to have healthy bodies as well. We have to have the capacity to carry a heavy load a great distance in order defend our homeland. Martial arts are a shortcut to making bodies healthy and also of course bring us the ability for self-defense. These fighting arts specially created by our wise forefathers are methods of peerless ingenuity. For postures of incredible agility and techniques that are beyond imagination, no other nation can match us.
  Mengzi said [Mengzi, chapter 4a]: “The basis of the nation is the family, and the basis of the family is the individual.” Sun Yat-sen said [from his first speech on the Power of the People (Mar 9, 1924)]: “Regardless of individual, group, or nation, there has to be the capacity for self-defense, and only then there will be the ability to survive.” I firmly believe that to strengthen the nation, we must first strengthen the people, and that to strengthen the people, we must first strengthen their bodies. I also firmly believe that the Three Principles of the People [Identity of the People, Power of the People, Livelihood of the People] are the keys to rescuing the nation, but studying martial arts plays a crucial role in this project. Both of these aspects [the principles and martial arts] are intimately connected.
  The survival of the people has to be backed up by military force. When this involves charging in until blades are clashing or men are wrestling each other, martial arts training can be the deciding factor. In former times, one German method during their revanchist battles [possibly referring to the battles of the Franco-Prussian War (July, 1870 – Jan, 1871), which contained an element of lingering revenge for the Napoleonic Wars], was to pounce forward and have troops continuously pouring in from the rear, ultimately overwhelming the enemy through hand-to-hand fighting. They thereby recovered lost territories and cleansed themselves of past shame. Right from the start, such outcomes were influenced by the work of Friedrich Ludwig Jahn with his Turnplatz open-air gymnasiums in Berlin. [Jahn was a pioneer of gymnastics in Germany during the early nineteenth century, who likewise believed that strengthening the people was the key to strengthening the nation.]
  We can infer from this example that our martial arts are relevant to the future of our people. In short, the study of martial arts can on the small scale be used to defend the self, and on the large scale be used to defend the group. Let us quickly spread our martial arts and make them popular throughout the nation. Let us develop our martial spirit and enhance the health of our bodies. Changing weakness into strength, we will then be able to stand against anything!
  Zhang Zijiang [Zhijiang] and I, together with our comrades at the Central Martial Arts Institute, beware the bullying of imperialist nations, who want our nation to become weaker still. We must toughen ourselves for what lies ahead and rouse ourselves to action right now. We must vow to develop our martial capacity in order to respond to the demands of our times. Let us look forward to washing away the vileness of being known as the “sick men of Asia”, and let that anticipation stir the innate spirit of our people. To get still closer to this goal, we must publish a variety of teaching materials, so that our countrymen may all study together and thereby make more vigorous progress. Making the whole population skilled in martial arts will give the nation a stronger foundation. Where there used to be weakness, there will instead be a people who are well-trained.
  Someday soon a just war will begin, in which we will go forth with swords and sandals if necessary, every one of us capable of subduing the enemy, and with the courage to advance unstoppably once the drum is sounded. China will at last achieve equal status with the other great nations and world peace will be the result. There is more at stake than the future of a political party!
  - written by Jiang Zhongzheng [Chiang Kai-shek], 5th year of the cycle, 6th month [July, 1928]


PREFACE [BY LIU FU]

武器益精武術遂若可廢此炫於物質文明者之誤說也科學戰爭之堅甲利兵飛機巨礮誠足以襮威力而操勝算然操持而利用之者終不能不藉重夫人力人力之鍜鍊修養使克堅靱沈著持久於不敝則武術尚矣古名將練兵有練手練足練眼練耳練心練氣之說皆術也術精則其用器也亦精而精器之用乃出其始於一手一足之烈終乃收效於軍國之富强非細故也國人怵於外患日偪羣思訓練吾積弱之民衆以發憤而圖雄年來國術提倡不遺餘力舉先賢遺傳舒筋壯骨凝神運氣之一切法式輾轉流布所在多有卽拳術一道施敎且數十家猗歟盛哉皖泗徐先生鎔合太極八卦形意各家之長取精去粕成四式拳學一編將以繼往開來垂範後世而屬復為之叙復不文然受先生敎益者已數月深景先生之端重便捷誨人不倦絕非其他術士矜才使氣者所可比儗萬一而是編亦樸實詳盡圖說簡明手足腰脚眼耳心氣無一處不呈全功無一着不含妙用於以知先生深得循循善誘之道而其造詣亦特精且深也抑更有進者復年逾五十薄官遠遊連年感受風溼右臂不能自舉從先生習四式拳月餘豁然病已不假刀圭則四式拳之賜福於復者為至切實故敢以身之所膺者舉以告人而謹為之叙
受業劉復謹序
As weaponry became more refined, boxing arts seemed to waste away. This displays a flaw in our materialistic civilization. Scientific warfare’s hard armor and sharp blades, airplanes and large artillery, are truly enough to display military might and to ensure the success of strategies, but even the sharpest weapon depends on the person wielding it. The training of human ability makes us tough, calm, and gives us endurance. This is the value of martial arts. When ancient generals trained their troops, they had training for hands and feet, eyes and ears, mind and breath, every kind of skill. Once skill had been refined, then they moved on to the use of weapons. Thus mastery of wielding weapons was based in rigorous training of hands and feet, which is therefore ultimately what brings results to armies.
  To make a nation prosperous and strong is no trivial matter. In fear of foreign aggression encroaching upon us, our countrymen have been focusing on training away the protracted weakness of the masses, determined to build heroism in its place. In recent years, martial arts are being promoted, and people are doing their utmost to carry on the teachings of earlier masters: relaxing the sinews, toughening the bones, concentrating spirit, moving energy. All of these methods were passed down through the generations until they are now everywhere. The tradition of boxing arts being taught in so many schools is a wonderful thing.
  Xu Shijin of Si County, Anhui, has merged together the strong points of Taiji, Bagua, and Xingyi, taking the best of each system and leaving out the rest. He has made this volume of A Study of Four-Section Boxing in order carry forward the promoting of martial arts, setting an example for all, and he has urged me to write a preface. I am not highly literate, but I have received great benefit from my teacher’s instruction for many months now, deeply affected by how seriously he takes the material and how tireless he is in teaching it, totally without the self-conceit of so many other teachers, and so he is a rare one indeed. His book is straightforward yet thorough, explaining simply and clearly the use of hands and feet, waist and legs, eyes and ears, mind and breath. There is no part of it that does not present complete skill, no piece of text that does not contain wonders, and you will thereby understand the depth of his learning, the systematic nature of his method, and that his achievements are especially refined and profound.
  Furthermore, I am over fifty years old and my official duties have made me travel a lot over the years, and as a result of this, I had become so affected by rheumatism that I could no longer comfortably raise my right arm. But after learning Four-Section Boxing from Xu for just over a month, suddenly my illness was gone. This is no false medicine. Four-Section Boxing has been a blessing to me that has given me real effects. Therefore I dare to take it upon myself to inform people of it, and thus I sincerely make this preface.
  - written by your student, Liu Fu


PREFACE [BY LIU WENZHU]

「山外靑山樓外樓、西湖歌舞幾時休、暖風薰得遊人醉、直把杭州作汴州、」這首詩是南宋陸游、嘆息南朝君臣、只圖安樂、不顧大局的感想、當南宋之世、中原版蕩、强寇壓境、威脅逼迫、無時或已!而朝野上下、燕安偏處、莫知振作、幸一般忠臣大將如韓世忠岳武穆劉琦等戮力捍患禦侮、雪恥圖强、當岳武穆陳兵河洛、身臨大敵、而練軍作戰、更殫心竭智以備攻取、乃創明四式拳、敎練將佐、故其士卒無不以一當百、以少克衆、直可指日「痛飲黃龍」「還我河山」、惜功敗垂成、含寃殉國、良堪痛悼、顧今日國家大勢、與南宋時代情形不殊軒輊、國人體格孱弱羸虛、社會風氣、倫安怠惰、尚有品絲論竹、醉月看花之徒、更不知有國亡家破之慘禍者、蔣委員長痛國民泄沓因循、萎靡頹唐、於戎馬倥偬一刻萬幾之頃、期期以復興民族、亟須鍜鍊國人體魄、養成健全精神、勗勉國人一致注重體育、幷令公務人員、着先躬踐實行、為國人範、武漢黨政軍當局仰體斯旨、策勵各部屬員司、從事各種體育運動、幷列國術一門為運動科目、吾友漢口市國術館副館長徐士金同志、被延聘為各機關國術敎官、以國術一道、過去多涉神秘、敎學與練習、多莫明眞理、初學者更覺藝高術深、彷徨無措、徐同志則以昔日岳武穆敎練將佐之四式拳編秩成書、作為國術敎材、査四式拳、為各拳術中之精華、動作整齊、易於敎練、且編輯體裁、又合乎科學方法、非盡如過去一味承襲師傳之不變法門、洵為今日國術中最佳之範典、徐君囑余為其校讎幷擬序、余對於國術誠不學無術、焉敢妄參末議、惟覺今日國勢與南宋時代同一遭遇、且有甚之、四式拳又適於此時成書以見國人、不禁遂發深感、特濡筆出之是為序
劉文柱序於漢口特別市黨部 民國二十四年五月三十日
Green hills roll on and on, covered in opulent mansions.
Will the song and dance at West Lake never cease?
Warm breezes carry clouds of incense, and tourists celebrate the booze.
Hangzhou will truly be turned into Bianzhou.
  This poem by Lu You [actually by Lin Sheng] of the Southern Song Dynasty bemoans how both the nobles and subjects were living only for pleasure and ignoring the disaster looming over them. During the era of the Southern Song, the area of the central plains was in chaos, with invaders pressing at the borders and threatening to surge in and destroy everything at any moment. Those in government and the people at large were content to sit idly by, not knowing how to respond to the crisis. [Bianzhou, now called Kaifeng, in Henan, was the capital of the Song Dynasty until taken by the Jurchen invaders. Effectively a Chinese Babylon, being the biggest city in the world at the time, its place as a center of decadence had perhaps started to overshadow its role as a seat of government responsible for defense. Hangzhou was finally established five years later as the new capital of the remainder of the Song Dynasty, but then seemed to Lin Sheng to be destined for the same fate. The poem could probably be summed up by the English idiom: “Nero fiddled while Rome burned.”]
  Fortunately, there still were men with a sense of loyalty, capable generals such as Han Shizhong, Yue Fei, Liu Qi, and so on, who joined together to resist the foreign invaders and avenge the humiliation done to their people. By the time Yue Fei had amassed his troops at the Yellow River basin to confront the enemy, he had trained his army well. Devoting his mind to the task, he used all of his intelligence in preparing his troops to attack. To that end, he created the insightful Four-Section Boxing to train his officers, thereby making every one of his soldiers worth a hundred and rendering him able to use a small number to defeat a large number. His victories quickly produced declarations such as: “We will get drunk at the enemy’s stronghold!” And: “We shall win back our lands!” Alas, at the peak of his achievements, he was betrayed and put to death by his country, and has been mourned deeply by good men ever since.
  Looking at our current state of affairs, it seems no different from the situation during the Southern Song era. Our countrymen are weak and frail from a habit of lazy indolence dedicated only to listening to music and getting drunk in the moonlight, unaware that we facing the destruction of our nation. Chiang Kai-shek is bitter about how our people have become so decadent and complacent, so listless and dispirited. Among the myriad tasks he has undertaken throughout his very busy military career, he hopes to revive our sense of national identity, saying that we urgently have to toughen our countrymen’s physiques and strengthen their spirit, encourage them all to unanimously give attention to physical education, and to call upon all government officials to train their own bodies in order to set an example for the people. The military authorities in Wuhan have set the tone, fully embracing this idea, and have been urging their staff in every department to engage in various kinds of physical exercise, an exercise regimen coordinated alongside martial arts training.
  My colleague Xu Shijin, vice-director of the Hankou Martial Arts Institute, has been employed as a martial arts instructor by various organizations. Instruction in these arts has too frequently involved mystical nonsense, the teaching and training full of obscure “truths” that make beginners feel the material to be deeply profound but leaves them wandering around through a gibberish of postures. Xu has therefore made use of that training tool Yue Fei used to train his officers long ago, putting the Four-Section boxing set into a book to serve as more sensible martial arts teaching material. When you examine Four-Section Boxing, you will find that it contains the essence of various boxing arts. Its movements are choreographed into a very orderly arrangement that is easy to teach and the accompanying explanatory text is written in a style that is easy to understand. It also conforms to scientific methods, quite unlike other styles that are stubbornly unwilling to look beyond the precepts of their traditions, truly a first-rate example of our martial arts for our modern world.
  Xu has urged me to write a preface. When it comes to martial arts, I really know nothing and have no skills, so how I could I presume to put forth an opinion? However, I feel that our national situation nowadays is the same headlong course toward calamity as in the Southern Song era, very much so, and that Four-Section Boxing is very suitable for our times. Thus the fact that Xu has made a book about it to share with our countrymen moves me greatly to put some ink to paper.
  - written by Liu Wenzhu at the local Party Committee Headquarters in Hankou, May 30, 1935


PREFACE [BY TIAN GUO’AN]

現今之迷信觀念已破;凡事必據理推究固無所謂神奇也。乃一般國術導師,仍沿用陰陽,八卦,兩儀,四象,太極,无極,…………等學說以眩人,學者驚為虛玄而莫測,失其津梁而莫由,鑿柄如此,可為浩嘆!余習斯術有年,深知高遠之說,易惑學者,每欲得一同志,起而改革,然蹉跎數年,卒無所獲,今幸得吾友徐君。
君名士金,國術名家也。藝博而精,學淵而遠,敎人以理,不作眩人之說;著有四式拳一書,開示初學之門徑,瞭如指掌,猗歟尚矣!
國之不競,於今為極:民心靡於安逸,風俗澆於侈太,外患不足警其心,危亡不足振其氣,豈不知亡國之為痛哉?乃積弱之勢已成,雖有以健行倡者,或過或不及,而興發之道,終不得行於世也。今徐君是書,上辟拳家無稽之說,下闡後學莫釋之蒙,果能推行於時,則裨益家國,庸有涯涘耶?余欽其用心之苦,並喜其習術之可傳於世,爰書數語以為序。
襄平田國安識於武昌 二四、七、一五。
In our modern era, superstitious ideas have been demolished. Everything now has to be examined with reasoning, not recourse to mystical explanations. However, typical martial arts teachers still make use of terminology such as yinyang [passive & active], bagua [eight trigrams], liangyi [dual aspects], sixiang [four manifestations], taiji [grand polarity], wuji [nonpolarity], and so on, in order to impress people. Students are amazed by such profundities and distracted away from what matters, losing their way and having nothing to work from. This kind of situation is utterly lamentable.
  I have practiced these arts for years and am deeply aware of such lofty explanations. It is easy to delude students, who are simply wanting fellow comrades they can start revolutions with, and then after they have put in many years of work, they end up with nothing to show for it. Fortunately, there is my colleague Xu Shijin. A famous martial arts expert, his skill is abundant and refined. His knowledge is deep and extensive. He teaches people theory without making use of any abstract terminology. He has written a book on Four-Section Boxing to reveal a way in for beginners that is as refreshingly obvious as pointing at your own palm.
  Our nation has not been competitive and that is why we are now is a state of emergency: the willpower of the people has become lost in indolence, our culture drowned out by decadence. The threat of foreign aggression is not enough to stir their thoughts, the imminent peril of the nation not enough to rouse their anger. How do they not comprehend the anguish that becoming a conquered nation will bring? We are already in a condition of long-standing weakness.
  Although there are many who promote fitness, some go too far, some not far enough, and their ways of popularizing exercise have ultimately not managed to reach everyone. But Xu has now made a book that is on one hand free of the nonsense some “masters” spout and on the other hand hides nothing from students. If you can practice this material, you will thereby be benefiting the nation, breaking free of the limitations of ordinary people. I am full of admiration for Xu’s devoted effort and am delighted by how he is able to pass on his skills to others, and thus I have made this preface.
  - written by Tian Guo’an of Xiangping [old name for Liaoyang, in Liaoning], July 15, 1935

叙源
ON THE ORIGIN OF THE ART [AND HOW TO PRACTICE IT]

四式拳創於宋岳武穆,武穆受明師指敎,精通武術,槍法獨步,且發明形意拳盛行於現代。當時岳氏訓練將佐習形意,然形意初僅限於拳而掌甚少,乃探討拳掌幷用,而四式拳成焉。四式拳,含養氣修身之理,實與他家拳術不同,有鶴立鷄羣之槪,學者愼不可以其簡明而忽略之。然究其眞理甚深巧,窮極研究,不可得其奧義,關於陰陽進退,起落動靜,虛實活血强骨舒筋引氣,此拳無不包之。學者若能持之以恆,勤加鍜鍊,探得奧窔,則剛柔相濟,摧枯拉朽一反掌事也。
Four-Section Boxing was created by Yue Fei. He received instruction from insightful teachers and became a master of martial arts. Peerless in spear techniques, he also invented Xingyi Boxing, which is very popular nowadays. In his own era, Yue drilled his officers with Xingyi, but Xingyi in the beginning was limited to fists and hardly ever used palm techniques, so he explored using fist and palm equally, and Four-Section Boxing was the result.
  Four-Section Boxing contains the principles of nurturing energy and cultivating the body, and thus it is very different from other boxing arts, indeed generally superior to most of them. Be careful not to overlook it because of its simplicity. Instead study its principles very deeply, for even with the deepest study, you will still not be able to grasp all of its subtleties. As for passive and active, advancing and retreating, rising and lowering, movement and stillness, emptiness and fullness, livening the blood, strengthening the bones, loosening the sinews, and guiding the energy, this boxing art contains all of these things. If you can persevere, working hard to understand its subtleties, then hardness and softness will function together, and you will reverse a disadvantageous situation as easily as turning your palm.

練四式拳之三段注意
Things to pay attention to at the three different times:

1.練習前之注意:
Things to pay attention to before practicing:
練習以前勿飢餓,勿飽食,勿搆思,勿發怒,蓋飢則無力,飽則傷胃,搆思則腦易昏,發怒則氣暴而易亂。
Before practicing, do not be hungry, nor overly full, and do not be thinking hard, nor be angry. If you are hungry, you will lack strength. If you are full, you will hurt your stomach. If your thoughts are fixated on something else, your mind will easily fall into confusion. If you are angry, your energy will be too aggressive and you will easily fall into disorder.

2.練習中之注意:
Things to pay attention to while practicing:
練習中切記勿談笑,勿吐唾,勿通下氣,蓋談笑則神散而不聚,吐唾則喉乾而炎升,下氣通則氣消而不凝。
While practicing, you should not be talking or laughing, you should not be spitting, and you should not be releasing flatulence. If you talk or laugh, your spirit is scattered rather than focused. If you are spitting, your throat will become dry and hot. If you are releasing flatulence, this indicates that your energy is dispersing rather than being concentrated. [This may also serve as a reminder to tuck in your tailbone rather than sticking your butt out.]

3.練習後之注意:
Things to pay attention to after practicing:
練習以後,勿飲食,勿排洩,勿睡臥,蓋飲食則易滯,排洩則氣潰,睡臥則氣抑而不舒。
Right after practicing, do not eat or drink, do not excrete, and do not lay down and sleep. If you eat and drink, you will easily become sluggish. If you go off to excrete immediately, your energy will leak away. If you lie down and sleep, your energy will become restrained rather than relaxed.

四式拳之三叚練習法
Three stages of practice:

練習之方法固簡,然剛柔叚落,當究其詳,譬如每小時練習九蹚,則以前三蹚為初段,中三蹚為二段,後三蹚為三段,此就練習總蹚數分為三段之法也,然每蹚亦須分為三段,每蹚練習三往復,則以一次往復為初段,二次往復為二段,三次往復為三段,要之;
The practice methods are very simple, but there are stages of hardness and softness that have to be explained. For example, for every hour of practice, go through the set nine times: the first three times in stage one, the middle three times in stage two, the final three times in stage three. This is the method of practicing repetitions of the sets divided into three stages. Another way is to alternate through the stages with each set: the first time in stage one, second time in stage two, third time in stage three [and then repeat this process twice to complete nine performances of the set]. The three stages are explained below:

初段宜柔和徐緩,切勿過急,此所謂舒筋展骨誘導氣力是也。
In the first stage, the movement should be soft and slow, never too quick. This is called “relaxing the sinews, extending the bones, and guiding the energy”.

二段宜剛猛迅速,快上加快,卽應敵致用也。
In the second stage, the movement should be more fierce and quick, faster and then faster still. This is how it would be done when used against opponents.

三段宜剛柔相濟,不慢不急不滯,漸次收束而歸平靜,氣沉丹田,以免驟停之弊也。
In the third stage, there should be hardness and softness complementing each other. Movement is neither slow nor fast, nor pausing, simply slowing down to return to a state of stillness in which energy is sinking to your elixir field. In this way, you will avoid the error of suddenly coming to a halt.

拳經云:『練拳如作文,初段視題命義,下筆穩固,中段叙事透澈,技節叢生,如長江大河,一瀉千里,末段終結而始收束矣』。
These stages have been addressed in boxing classics in this way: “Learning a boxing set is like writing an essay. The first paragraph introduces the topic and establishes it firmly. The body paragraphs go into details to develop the theme, such as [quoting Chen Liang from his essay “An Anxious Youth in a Peaceful Hall”]: ‘a long river flowing a great distance to the wide ocean.’ The final paragraph is the conclusion in which you gather everything together.”

練習之三戒
Three things to avoid in the training:

一曰戒自是,
1. Do not be too certain.
刀,槍,劍,棍,拳,各種姿式雖簡,含理實深,似是而非,貴於理會,務須人是我非,互相研討,方能長進。
Whether saber, spear, sword, staff, or fist – even if the postures are simple, they will still contain deeper subtleties, and so you might think that you are doing them correctly but actually be performing them in the wrong way. What is most important is understanding. You have to accept that others may be right and you may have got something wrong, and then when studying together there can be progress.

二曰戒自滿,
2. Do not become complacent.
拳經云:『深無止境,廣無涯際』,惟拳術練習之時,數日卽可觀,卽十年亦非絕技,愼勿自視已足。
It says in the boxing classics [drawing from Li Cunyi’s 1916 manual]: “So deep there is no bottom, so vast there is no horizon.” When practicing boxing arts, you may notice results after just a few days, but even after ten years you will still not be a master. Be careful never to think that you are good enough.

三曰戒自棄,
3. Do not give up on yourself.
若以拳學難練而生畏心,或以天資愚鈍不肯力學,是自棄也。
For example, if you find the art to be too difficult to practice and end up becoming afraid of it, or feel that you are just naturally too dumb to learn anyway and so not even bother to study at all, this is what is meant by giving up.

徐士金謹識
  - sincerely written by Xu Shijin

第一節
SECTION ONE

第一式 立正式 口令 立正
Command for Posture 1.1: “Stand at attention!”

要領:
Requirements:
兩脚跟在一線上靠攏拚齊、兩足尖向外離開、大約六十度、兩腿挺直、身體重量、平落於腰部、胸部微向前挺、兩肩稍向後張、兩肩宜平、兩臂自然下垂、五指拚攏、微曲不必用力、其中指附於腿之外部、兩肘尖稍向前迎、頭宜正、頸宜直、口宜閉、下頷微向後縮、兩眼向前平視、如上圖、
Your heels are standing next to each other, the toes of your feet spread outward so that your feet are making a sixty-degree angle, and your legs are straight, your weight centered through your torso. Your chest is slightly sticking out, shoulders slightly stretching back. Your shoulders should be level, your arms hanging naturally. The fingers of each hand are together but slightly bent and do not need to putting forth any exertion, the middle fingers touching the outside of your thighs. Your elbows are brought slightly forward to be almost touching your body. Your head should be upright, neck straight. Your mouth should be closed, chin slightly drawn back. Your gaze is forward and level. [All orientations throughout this text use your body’s own directions of left/right, forward/rear in the context of each posture rather than using fixed compass indicators.] See photo 1:

第二式 預備式(一) 口令 預備(一)
Posture 1.2a: “Readiness – part one!”

要領:
Requirements:
由立正式週身不動、惟兩臂向前平伸、伸與兩肩同高、兩食指靠攏、兩虎口相距十生的,手心向下、兩大指尖亦向下、兩目注視兩手、如上圖、
From standing at attention, your body does not move except for your arms, which extend forward until at shoulder height, with the forefingers touching, the tiger’s mouths ten centimeters apart [thus forming a triangle shape], the palms facing downward, thumbs pointing downward. Your gaze is toward your hands. See photo 2:

第二式 預備式(二) 口令 預備(二)
Posture 1.2b: “Readiness – part two!”

要領:
Requirements:
由預備(一)起、兩手與兩臂向外翻、同時輾拳收囘、附於左右胯、成抱肘式、兩腿向下微曲、兩眼仍向前平視、如上圖、
Continuing from part one, your arms rotate outward as your hands curl into fists and withdraw to your hips, making a wrapping-elbows posture, your legs slightly bending downward. Your gaze is still forward and level. See photo 3:

第三式 上步反掌 口令 上步反掌
Posture 1.3: “Step forward, back-handed slap!”

要領:
Requirements:
由預備式二起、右脚不動、左脚向正前方一大步、同時左拳變掌、手心向上、手掌用力向右猛擊、再將右拳變掌、向前猛伸、手臂用力、右臂與右肩平、手心向左、五指向前、左手背緊貼於右肘尖、中指與右臂成平形、左腿下彎、右腿蹬直、左足尖向前、右足尖向右偏十五度、兩目注視右手、如上圖、
Continuing from the previous posture, with your right foot staying where it is, your left foot takes a large step forward. At the same time, your left fist becomes a palm, the center of the hand facing upward, which then forcefully strikes to the right, and then your right fist becomes a palm and fiercely goes forward [in an outward arc], power expressing at the forearm [back of the hand], the arm at shoulder level, the center of the hand facing to the left, the fingers pointing forward, the elbow touching the back of your left hand, the arm making a horizontal line all the way along the middle finger. Your left leg is bent, right leg straight, your left toes pointing forward, right toes pointing fifteen degrees toward the right. Your gaze is toward your right hand. See photo 4:

第四式 進步鎖手掌 口令 進步鎖手掌
Posture 1.4: “Advance, locking palm!”

要領:
Requirements:
由上步反掌起、兩腿不動、左手背沿右臂外部向前直推、推於右手背靠攏、然後將右手抽囘、垂直於右胯下、再將左足尖向左偏十五度、同時右腿向前一步、成騎馬式、右手向前猛出、手心用力向左猛擊、左掌收囘靠於左胯、兩目注視右手、如上圖、
Continuing from the previous posture, your legs stay where they are as your left hand pushes forward, the back of the hand going along the outside of your right arm until it is touching the back of your right hand, and then your right hand withdraws to hang down below your right hip. Then your left toes turn out fifteen degrees toward the left and your right leg steps forward to make a horse-riding stance as your right hand goes forward, fiercely striking to the left, power expressing at the center of the hand, your left palm withdrawing to your left hip. Your gaze is toward your right hand. See photo 5:

第五式 擊胸拳 口令 擊胸拳
Posture 1.5: “Punch to the chest!”

要領:
Requirements:
由進步鎖掌起、身體猛向右轉、轉時足跟用力、兩掌同時變拳、右拳成仰形收囘、成抱肘式、小指附於右胯骨左拳向正前方旋轉猛擊、拳背向上、拳心向下、拳與本身胸部同高、身體微向右偏、右腿下彎、左腿伸直、右足尖向前、左足尖向左偏十五度、兩目注視左拳、如上圖、
Continuing from the previous posture, your torso fiercely torques to the right, your heels pivoting. At the same time, your palms become fists, your right fist withdrawing with the center of the fist facing upward to make a wrapping-elbow posture, the little finger touching your right hip, as your left fist fiercely strikes forward, the hand rotating so the back of the fist is facing upward, the center of the fist facing downward, the fist at chest height, your torso facing slightly to the right. Your right leg is bent, left leg straight, your right toes pointing forward, left toes pointing fifteen degrees toward the left. Your gaze is toward your left fist. See photo 6:

第六式 進步指𦡁拳 口令 進步指𦡁拳
Posture 1.6: “Advance, punch to the crotch!”

要領:
Requirements:
由擊胸拳起、右足尖向右偏十五度、左腿向正前方一大步、左拳舉起、向後收回至頭部左額邊、拳眼與額相距十生的、拳背向左、拳心向右、肘尖向前、肩肘拳成三角形、以防敵攻已上部、右拳向前下方、敵之𦡁部猛擊、幷掩護己之下部、左腿彎屈、右腿伸直、左足尖向前、右足尖向右偏十五度、兩目注視右拳、如上圖、
Continuing from the previous posture, your right toes turn out fifteen degrees toward the right and your left leg takes a large step forward. At the same time, your left fist rises up, pulling back toward the left side of your forehead until the fist eye is ten centimeters away from it, the back of the fist facing to the left, the center of the fist facing to the right, the elbow pointing forward, with the shoulder, elbow, and fist forming a triangle shape to guard against an attack to your upper body, as your right fist goes forward and downward to strike to the opponent’s crotch, as well as to shield your own lower body. Your left leg is bent, right leg straight, your left toes pointing forward, right toes pointing fifteen degrees toward the right. Your gaze is toward your right fist. See photo 7:

第七式 原地反掌 口令 原地反掌
Posture 1.7: “Staying where you are, back-handed slap!”

要領:
Requirements:
由進步指𦡁拳起、兩腿完全不動、左拳變掌、向右下方手掌用力猛壓、同時右拳變掌、向前猛伸、手背用力、右臂與右肩平、手心向左、五指向前、左手背緊貼於右肘尖、中指尖與右臂成平形、兩目注視右手、如上圖、
Continuing from the previous posture, with your legs staying where they are, your left fist becomes a palm and forcefully presses down to the lower right, and then your right fist becomes a palm and fiercely goes forward [in an outward arc], power expressing at the back of the hand, the arm at shoulder level, the center of the hand facing to the left, the fingers pointing forward, the elbow touching the back of your left hand, the arm making a horizontal line all the way along the middle finger. Your gaze is toward your right hand. See photo 8:

第八式 跳步鎖手掌 口令 跳步鎖手掌
Posture 1.8: “Hopping step, locking palm!”

要領:
Requirements:
由原地反掌起、兩腿暫不動、左手背沿右臂外部向前直推、推於右手背靠攏、然後將右臂抽回、垂直於右胯下、左手暫停在原位、保護胸部、右脚向前輕躍、右手同時向前直伸、手心向左用力、左掌收回、成抱肘式、手掌附於左胯、手心向上、手背向下、左脚跟提起、足尖蹬地、(約全足部四分之一)與右脚中段相隔十生的距離、成丁字形、兩目注視右手、身體微向右傾、如上圖、
Continuing from the previous posture, your legs temporarily stay where they are as your left hand pushes forward, the back of the hand going along the outside of your right arm until it is touching the back of your right hand, and then your right hand withdraws to hang down below your right hip, your left hand momentarily holding this position to guard your chest. Then your right foot hops forward [your left foot following] as your right hand goes forward and to the left, power expressing at the center of the hand, your left palm withdrawing to make a wrapping-elbow posture, the palm at your left hip with the center of the hand facing upward, the back of the hand facing downward. Your left heel is lifted, toes touching down (so that only about a quarter of the foot is on the ground) ten centimeters away from the middle of your right foot, making a T shape. Your gaze is toward your right hand, your torso leaning slightly to the right. See photo 9:

第二節
SECTION TWO

第一式 寸腿橫掌 口令 寸腿橫掌
Posture 2.1: “Inch kick, sideways palm!”

要領:
Requirements:
由跳步鎖手掌起、右腿不動、左脚向左一步、同時右臂向上舉起、繞過頭部、再向左下方落下、約一圓週四分之二、與胸部成平形、手心向上、手背向下、再將左手背移於右臂上部、同時右腿向前猛踢、足跟用力、足尖向外偏三十度、左手背沿右前臂、用力向前下方猛翻擊去、同時右手收回、手掌緊靠於右胯骨、手心向上、手背向下左腿微彎、右腿向前下方伸直、身體半面向右、兩目注視左手、如上圖、
Continuing from the previous posture, with your right foot staying where it is, your left foot steps to the left as your right arm rises, arcs over your head, and comes down to the left until at chest level, thereby drawing about half a circle, the center of the hand facing upward, the back of the hand facing downward, and the back of your left hand shifts to be on top of your right arm [at the inside of the elbow]. Then your right leg fiercely kicks forward, power expressed at the heel, the toes swung outward thirty degrees, as your left hand goes along your right forearm and strikes out forward and downward, the hand turning over with a snap. At the same time, your right hand withdraws until the palm edge is against your right hip, the center of the hand facing upward, the back of the hand facing downward. Your left leg is slightly bent, your right leg extended forward and downward. Your torso is turned halfway to the right, your gaze toward your left hand. See photo 10:

第二式 寸腿撲胸掌 口令 寸腿撲胸掌
Posture 2.2: “Inch kick, palm strike to the chest!”

要領:
Requirements:
由寸腿橫掌起、左脚不動、右脚向前一步、再將左手猛翻、手心向上、同時將右手背、緊靠於左臂彎部、然後將左腿向前猛踢、踢時足跟用力、足尖向外偏三十度、右手沿左前臂向外猛翻擊去、手心向下、手背向上、手掌向前、左手隨卽收回、手掌緊靠於左胯骨、手心向上、手背向下、五指向前、右腿微彎、左腿向前直伸、兩目注視右手、如上圖、
Continuing from the previous posture, with your left foot staying where it is, your right foot steps forward as your left hand suddenly turns over so the center of the hand is facing upward and the back of your right hand goes against the inside of your left elbow. Then your left leg fiercely kicks forward, power expressed at the heel, the toes swung outward thirty degrees, as your right hand goes along your left forearm and strikes outward, the hand turning over with a snap, the center of the hand facing downward, the back of the hand facing upward, the palm edge facing forward. At the same time, your left hand withdraws until the palm edge is against your left hip, the center of the hand facing upward, the back of the hand facing downward, the fingers pointing forward. Your right leg is slightly bent, your left leg extended forward and downward. Your gaze is toward your right hand. See photo 11:

第三式 退步甩掌 口令 退步甩掌
Posture 2.3: “Retreat, throwing palm!”

要領:
Requirements:
由寸腿撲胸掌起、左腿向後箭一步、同時右脚提起、足尖離地、大約三十生的、足尖向下、再將右臂下垂、手心緊靠於右腿上部、左手向左前方猛伸、成旋迴式向右猛擊、擊時手掌用力、手心向上、手背向下、同時右腿向右橫一步、再將右手提起、提與胸齊、手背用力、向右前方成弧形打出、手背向下、手心向上、五指向右、臂之全部與肩同高、左手立卽收回、手背緊靠肩穴下、手心向外、五指向後、兩腿下彎、成騎馬式、兩目注視右手、如上圖、
Continuing from the previous posture, your left leg shoots back a step to the rear and your right foot lifts so the toes are pointing downward about thirty centimeters away from the ground, your right arm dropping to put the palm over your right thigh as your left hand suddenly goes to the left, forward, and arcs back inward to fiercely strike to the right, power expressing at the palm edge, the center of the hand facing upward, the back of the hand facing downward. Then your right leg steps to the right with the foot sideways as your right hand lifts until at chest level and strikes out forward to the right in an arc, power expressing at the back of the hand, the back of the hand facing downward, the center of the hand facing upward, the fingers pointing to the right, the arm at shoulder height, your left hand immediately withdrawing so the back of the hand is against your right armpit, the center of the hand facing outward, the fingers pointing to the rear. Your legs are bent, making a horse-riding stance. Your gaze is toward your right hand. See photo 12:

第四式 原地擊肋拳 口令 原地擊肋拳
Posture 2.4: “Staying where you are, punch to the ribs!”

要領:
Requirements:
由退步甩掌起、週身不動、右掌變拳收回、拳與右眼角齊、肘尖向下猛壓、肩肘拳成三角形、左手背沿右臂外部至肘尖向上舉起、舉與右拳背成交叉式、同時右拳向右旋轉打出、拳心向下、拳背向上、左掌變拳向上猛舉、與頭額距離十五生的、拳眼向下、拳心向前、兩腿下彎、成騎馬式、兩目注視右拳、如上圖、
Continuing from the previous posture, with the rest of your body not moving, your right palm becomes a fist and withdraws until beside your right eye, the elbow suddenly pressing downward so that the shoulder, elbow, and fist are forming a triangle shape, as the back of your left hand goes along the outside of your right arm as far as the elbow and then lifts until crossed with the back of your right fist. Then your right fist strikes out to the right, the fist rotating so the center of the fist is facing downward, the back of the fist facing upward, as your left palm becomes a fist and suddenly rises up until fifteen centimeters away from your forehead, the fist eye facing downward, the center of the fist facing forward. Your legs are still bent in a horse-riding stance. Your gaze is toward your right fist. See photo 13:

第五式 跳步取𦡁式 口令 跳步取𦡁式
Posture 2.5: “Hopping step, attack the crotch!”

要領:
Requirements:
由原地擊肋起、右臂不動、左拳落下、緊靠於左胯骨、同時左腿提起、左足向右擺下、左腿與右腿成交叉式、再將左拳向右肋下移動至右肋下、同時將右臂向上彎屈、再將左拳沿右臂向上磨擦、至左拳與右拳靠攏時、左脚向右猛箭一步、左脚落地時、同時右腿向右橫一大步、左拳隨卽向右打出,手心向下、拳眼向前、拳與肩同高、左拳收回、舉於頭部上、拳眼向下、拳心向前、左腿下彎、右腿伸直、兩目注視右拳、如上圖、
Continuing from the previous posture, with your right arm [leg] staying where it is and your left fist lowering to your left hip, your left leg lifts and swings down to the right to be crossing over your right leg as your left fist shifts below your right ribs and your right forearm goes upward, the arm bending, your left fist rubbing upward along your right forearm, your left fist and right fist coming together while your left foot is going out to the right with a sudden arrow step. Once the leg comes down, your right foot goes out a large step to the right with the foot sideways as your left [right] fist strikes out to the right, the center of the fist facing downward, the fist eye facing forward, the fist at shoulder height, your left fist withdrawing upward until above your head, the fist eye facing downward, the center of the fist facing forward. Your left leg is bent, right leg straight. Your gaze is toward your right fist. See photo 14:

第六式 丁步槍掌 口令 丁步槍掌
Posture 2.6: “T stance, shooting palm!”

要領:
Requirements:
由跳步取𦡁式起、右拳變掌落下、垂於右胯外、同時將左腿伸直、再將左脚移與右脚靠攏、脚跟提起、足尖三分之一蹲於地下、再將左拳變掌向右下方按壓、同時將右掌從右腿向上、手心至右乳時、再向右猛伸、伸時五指用力、手心向上、與肩同高、左掌收囘、緊附於右臂穴下、身體向右微傾、兩目注視右手、如上圖、
Continuing from the previous posture, your right fist becomes a palm and lowers to hang down to the outside of your right hip. Then your left leg straightens and your left foot shifts to be next to your right foot, the heel lifted, toes touching down so that only about a third of the foot is on the ground, as your left fist becomes a palm and presses down to the right. At the same time, your right palm goes upward from your right leg, and once the center of the hand is at the right side of your chest, the palm fiercely extends to the right, power expressing at the fingers, the center of the hand facing upward at shoulder height, your left palm withdrawing below your right armpit. Your torso is leaning slightly to the right, your gaze toward your right hand. See photo 15:

第三節
SECTION THREE

第一式 囘身砍掌 口令 囘身砍掌
Posture 3.1: “Turn around, slashing palm!”

要領:
Requirements:
由丁步槍掌起、右臂全部向上舉起、再將左腿向左一步、成騎馬式、同時右臂向左落下、將左手背移於右肩下沿右臂向左翻掌打去、手掌向左、手心向左下、五指向前、同時右掌收囘、緊附於右胯、手心向上、五指向前、身體垂直、胸部挺起、面部向左、下頷全部後縮、兩目注視左手、形如怒貓捉鼠、如上圖、
Continuing from the previous posture, your right arm rises up as your left leg steps to the left to make a horse-riding stance, and as the arm comes down to the left, the back of your left hand shifts from your right armpit, goes along your right arm, and strikes out to the left, the palm edge facing to the left, the center of the hand facing downward to the left, the fingers pointing forward, your right palm at the same time withdrawing to your right hip, the center of the hand facing upward, the fingers pointing forward. Your torso is upright, chest sticking out, your face turned to the left, chin drawn back, your gaze toward your left hand. The posture is like an angry cat catching a mouse. See photo 16:

第二式 轉身推掌 口令 轉身推掌
Posture 3.2: “Turn your torso, pushing palm!”

要領:
Requirements:
由囘身砍掌起、身體猛向左轉、左掌收囘、靠於左胯骨、手心向上、五指向前、同時將右掌猛力向前推出、五指向上、與右肩同高、左腿彎屈、右腿蹬直、左足尖向前、右足尖向右偏十五度、身體向左偏斜、兩目注視右手、如上圖、
Continuing from the previous posture, your torso suddenly torques to the left, your left palm withdrawing to your left hip, the center of the hand facing upward, the fingers pointing forward, as your right palm fiercely pushes out forward, the fingers pointing upward at shoulder height. Your left leg is bent, right leg straight, your left toes pointing forward, right toes pointing fifteen degrees toward the right. Your torso is facing slightly to the left, your gaze toward your right hand. See photo 17:

第三式 上步梅花掌 口令 上步梅花掌
Posture 3.3: “Step forward, plum blossom palms!”

要領:
Requirements:
由轉身推掌起、左手移至右肩外、手背緊靠右肩外、沿右臂向前推出、與右手交叉、再將右腿向前一步、身體左轉、成騎馬式、右手腕沿左手腕由下向前繞一圓週、仍成交叉式、兩手掌向前、兩手背相對、兩手心向外、形如梅花、身體垂直、胸部挺起、下頷後收、頭宜正、頸宜直、兩目向前平視、如上圖、
Continuing from the previous posture, your left hand shifts so the back of the hand goes against the outside of your right shoulder and then goes along your right arm to push out forward, crossing with your right hand. Then your right leg takes a step forward and your body turns to the left to make a horse-riding stance as your right wrist arcs a full circle around your left wrist to be underneath and in front of it, again making a crossed position, the palm edges facing forward, the backs of the hands facing each other, the centers of the hands facing outward, the shape like a plum blossom. Your torso is upright, chest sticking out, chin drawn back. Your head should be erect, neck straight. Your gaze is forward and level. See photo 18:

第四式 原地攔腰掌 口令 原地攔腰掌
Posture 3.4: “Staying where you are, slash to the waist!”

要領:
Requirements:
由上步梅花掌起、右掌向右對方攔腰打去、手掌向外、手心向下、同時左掌收囘、掌於左胯下、手心向上、手背向下、五指向前、頭部向右猛轉、兩目注視右手、如上圖、
Continuing from the previous posture, your right palm strikes out to the right with a slashing action to the opponent’s waist, the palm edge facing outward, the center of the hand facing downward. At the same time, your left palm withdraws until below your left hip, the center of the hand facing upward, the back of the hand facing downward, the fingers pointing forward, as your head turns fiercely to the right, your gaze toward your right hand. See photo 19:

第五式 轉身推掌 口令 轉身推掌
Posture 3.5: “Turn your torso, pushing palm!”

要領:
Requirements:
由原地攔腰掌起、身體猛向右轉、右掌收囘、靠於右胯、手心向上、手背向下、五指向前、同時將左掌用力向前猛推、五指向上、與左乳同高、右腿下彎、左腿蹬直、右足尖向前、左足尖向左偏十五度、身體微向右偏、胸部挺起、下頷後收、兩目注視左手、如上圖、
Continuing from the previous posture, your torso suddenly torques to the right, your right palm withdrawing to your right hip, the center of the hand facing upward, the back of the hand facing downward, the fingers pointing forward, as your left palm fiercely pushes out forward, the fingers pointing upward at chest [shoulder] height. Your right leg is bent, left leg straight, your right toes pointing forward, left toes pointing fifteen degrees toward the left. Your torso is facing slightly to the right, chest sticking out, chin drawn back, your gaze toward your left hand. See photo 20:

第六式 挑打撩陰拳 口令 挑打撩陰拳
Posture 3.6: “Carrying strike, punch to the groin!”

要領:
Requirements:
由轉身推掌起、右掌由下向前伸出、同時左掌向後收囘、繞過頭部向前下方伸出、再將右掌變拳收囘與肩同高、拳眼與肩窩相距十五生的、肩拳肘均平、成三角形、再將右脚提起向後退約半步、同時左腿向前一大步、左掌變拳收回舉與頭部上、拳眼與頭部距離十生的、肘尖向前、再將右拳向對方𦡁部猛擊、拳眼向左、拳心向下、身體向左稍偏、胸部稍向內含、左腿彎屈、右腿蹬直、左足尖向前、右足尖向右徧十五度、兩目注視右拳、如上圖、
Continuing from the previous posture, your right palm extends forward from below as your left palm withdraws to the rear, arcing past your head, and then your left palm goes downward and forward as your right palm becomes a fist and withdraws at shoulder height until the fist eye is fifteen centimeters away from the hollow of your shoulder so that the shoulder, elbow, and fist are forming a triangle shape, while your right leg lifts and retreats a half step. Then your left leg takes a large step forward as your left palm becomes a fist and withdraws rising up until the fist eye is ten centimeters away from your head, the elbow pointing forward, and your right fist fiercely strikes to the opponent’s crotch, the fist eye facing to the left, the center of the fist facing downward, your torso facing slightly toward the left, your chest slightly hollowing. Your left leg is bent, right leg straight, your left toes pointing forward, right toes pointing fifteen degrees toward the right. Your gaze is toward your right fist. See photo 21:

第七式 原地反掌 口令 原地反掌
Posture 3.7: “Staying where you are, back-handed slap!”

要領:
Requirements:
由挑打撩陰拳起、全身不動、左拳變掌、向前下方猛壓、同時右拳變掌、由內向外繞一圓週四分之三、手背用力向對方頸部反掌打去、左手背與右肘尖靠攏、五指向上、中指與右臂平、手心向外、右臂與右肩平、兩目注視右手、如上圖、
Continuing from the previous posture, with the rest of your body not moving, your left fist becomes a palm and fiercely presses down forward, and then your right fist becomes a palm and arcs outward from the inside, drawing three quarters of a circle, power expressing at the back of the hand, doing a back-handed palm strike to the opponent’s neck, the elbow touching the back of your left hand, the fingers pointing upward, the arm making a horizontal line all the way along the middle finger, the center of the hand facing outward, the arm at shoulder level. Your gaze is toward your right hand. See photo 22:

第八式 跳步鎖手掌 口令 跳步鎖手掌
Posture 3.8: “Hopping step, locking palm!”

要領:
Requirements:
由原地反掌起、兩腿暫不動、左手背沿右背外部向前直推、推於右手背靠攏、然後將右臂抽囘、垂直於右胯下、左手暫停在原位、保護胸部、右腿向前輕躍、右手同時向前直伸、手心向左用力、左手收囘、成抱肘式、手掌附於左胯、手心向上、手背向下、左腳跟提起、足尖蹬地、(約全足部四分之一)與右脚中叚相隔十生的距離、成丁字形、身體微向右傾、兩目注視右手、如上圖、
Continuing from the previous posture, your legs temporarily stay where they are as your left hand pushes forward, the back of the hand going along the outside of your right arm until it is touching the back of your right hand, and then your right hand withdraws to hang down below your right hip, your left hand momentarily holding this position to guard your chest. Then your right foot hops forward [your left foot following] as your right hand goes forward and to the left, power expressing at the center of the hand, your left palm withdrawing to make a wrapping-elbow posture, the palm at your left hip with the center of the hand facing upward, the back of the hand facing downward. Your left heel is lifted, toes touching down (so that only about a quarter of the foot is on the ground) ten centimeters away from the middle of your right foot, making a T shape. Your torso is leaning slightly to the right, your gaze toward your right hand. See photo 23:

第四節
SECTION FOUR

第一式 翻背拳 口令 翻背拳
Posture 4.1: “Turn and punch behind!”

要領:
Requirements:
由跳步鎖手掌起、左腿向左一步、脚落地時、脚跟用力、向左轉九十度、同時右腿向前一步、成騎馬式、左手移至右脅下、右前臂向上彎曲、左手沿右前臂與右手成交叉式、兩手心向外、兩手背相對、再將兩手變拳、右拳向右對方敵之肋部猛擊、拳心向下、拳眼向前、同時左拳收囘、舉於頭部上、拳眼向下、距頭頂十生的、身體垂直、胸部挺起、兩目注視右拳、如上圖、
Continuing from the previous posture, your left leg steps out to the left, and when the foot comes down, the heel pivots the foot ninety degrees to the left and your right leg steps forward to make a horse-riding stance. At the same time, your left hand shifts below your right ribs, your right forearm going upward, the arm bending, and your left hand goes along your right forearm to be crossed with your right hand, the centers of both hands facing outward, the backs of the hands touching, and then your hands become fists, your right fist fiercely striking to the opponent’s ribs, the center of the fist facing downward, the fist eye facing forward, as your left fist withdraws rising over your head, the fist eye facing downward ten centimeters away from your head. Your torso is upright, chest sticking out. Your gaze is toward your right fist. See photo 24:

第二式 金鷄獨立 口令 金鷄獨立
Posture 4.2: “Golden rooster stands on one leg!”

要領:
Requirements:
由翻背拳起、左腿不動、右腿提起、右膝與右胯成平線、足尖向下、足心向後、同時兩拳變掌、右掌由下向前、上方繞圓週四分之二、五指拚攏向上、手掌向前、食指與鼻尖同高、肘尖與膝蓋相距三十生的、成一垂直線、左手從頭頂由前向左後方落下、繞過左身側、約圓週四分之二、五指抱攏向上、距肫尾三十生的、身體垂直、胸部挺起、頭宜正、頸宜直、下頷竭力後收、兩目注視右掌、如上圖、
Continuing from the previous posture, with your left foot staying where it is, your right leg lifts until the knee is at hip level, the toes pointing downward, the sole of the foot facing to the rear. At the same time, your fists become palms, your right palm arcing downward, in front of you, and upward, drawing a half circle, the fingers together and pointing upward, the palm edge facing forward, the forefinger at nose height, the elbow thirty centimeters away from your [right] knee, the forearm vertical, your left hand arcing forward and downward to the left rear, passing the left side of your body, also drawing a half circle, all five fingers pinching together and pointing upward thirty centimeters away from your tailbone. Your torso is upright, chest sticking out. Your head should be erect, neck straight, chin drawn back. Your gaze is toward your right palm. See photo 25:

第三式 跳步打虎式 口令 跳步打虎式
Posture 4.3: “Hopping step, fighting tiger posture!”

要領:
Requirements:
由金鷄獨立起、左脚暫不動、右脚向左後方退大半步、同時兩手變、拳右拳從面部前落下、向右後方伸出、再向上舉起、臂成半月形、拳眼向下、距頭頂二十五生的、同時左腿提起、膝與左胯成平線、足尖向下、足心向後、再將左拳從肫尾繞過左胯、移至左膝蓋上、拳眼向裏、肘尖向前、成打虎式、兩目向前怒視、如上圖、
Continuing from the previous posture, with your left leg temporarily staying where it is, your right foot retreats a large half step to the left rear [a “half step” because it only covers the distance of a half step, but “large” because it is crossing in front of your left leg, thus producing the same kind of hopping action as in Postures 2.5 and 4.9, the “hop” in the name of this posture otherwise going unexplained] as your hands become fists, your right hand lowering from in front of your face, going to the right rear, and lifting up, the fist eye facing downward twenty-five centimeters away from your headtop, the arm making a crescent-moon shape. At the same time, your left leg lifts [to the left due to the leftward turning of your torso] until the knee is at hip level, the toes pointing downward, the sole of the foot facing to the rear, as your left fist arcs past your left hip to be on your left knee, the fist eye facing inward, the elbow pointing forward, thus making a “fighting tiger” posture. Your gaze is forward and fierce. See photo 26:

第四式 上步擊胸拳 口令 上步擊胸拳
Posture 4.4: “Step forward, punch to the chest!”

要領:
Requirements:
由跳步打虎式起、右腿不動、左腿向正前方、足跟用力、向敵之小腹踢去、再將右拳由頭部向後直伸落下、向前猛擊敵之胸部、同時左脚落地、腿下彎、右腿蹬直、左足尖向前、右足尖向右偏十五度、左拳仍在左膝不動、胸部挺起、下頷後收、兩目注視右手、如上圖、
Continuing from the previous posture, with your right leg staying where it is, your left leg kicks forward to the opponent’s lower abdomen. Then your right fist goes from your head to the rear and forward to fiercely strike forward to the opponent’s chest as your left foot comes down, the leg bending downward, your right leg straightening, your left toes pointing forward, right toes pointing fifteen degrees toward the right, your left fist still maintaining its position at your left knee. Your chest is sticking out, chin drawn back, your gaze toward your right hand. See photo 27:

第五式 預備式 口令 預備式
Posture 4.5: “Readiness posture!”

要領:
Requirements:
由上步擊胸拳起、左腿用力向前挺直、同時右足與左足靠攏拚齊、兩足尖向外離開約六十度、成立正式、同時右拳收回抱肘、手掌靠於右胯、拳心向上、拳眼向右、再將左拳向上猛伸、拳眼向下、拳心向前、身體向後仰十五度、兩目仰視左拳、如上圖、
Continuing from the previous posture, your left leg straightens forcefully as your right foot moves up to stand next to your left foot, the toes of your feet spread outward so that your feet are forming a sixty-degree angle, making a posture of standing at attention. At the same time, your right fist withdraws to your right hip to make a wrapping-elbow posture, the center of the fist facing upward, the fist eye facing to the right, as your left fist suddenly reaches upward, the fist eye facing downward, the center of the fist facing forward. Your torso is leaning back fifteen degrees, your gaze upward toward your left fist. See photo 28:

第六式 單風摜耳 口令 單風摜耳
Posture 4.6: “Single wind through the ear!”

要領:
Requirements:
由預備式起、左拳由左前方落下,成抱肘式、再將右腿向右橫一步、成騎馬式、同時右拳向右旋轉向敵之肋部擊去、拳眼向前、拳心向下、頭向右轉、兩目注視右拳、如上圖、
Continuing from the previous posture, your left fist lowers in front you to the left to make a wrapping-elbow posture as your right leg steps to the right with the foot sideways to make a horse-riding stance, and your right fist at the same time goes to the right to strike to the opponent’s ribs, the fist rotating so that the fist eye is facing forward, the center of the fist facing downward. Your head is turned to the right, your gaze toward your right fist. See photo 29:

第七式 雙風摜耳 口令 雙風摜耳
Posture 4.7: “Double winds through the ears!”

要領:
Requirements:
由單風摜耳起、兩腿暫不動、右拳向下落於右胯外、再向正前方直伸、同時左拳亦向前伸直、兩拳心向上、兩拳眼向外、兩臂與兩肩成水平線、兩拳下落於胯前靠攏、再將左足跟用力、向左轉九十度、右足向右前方一步、成騎馬式、同時兩拳向後復向前各繞一百八十度、兩拳相距十生的、兩臂與兩肩平抬成一圓形、兩拳心向外、兩拳眼向下、身體垂直、胸部挺起、頭宜正、頸宜直、口宜閉、下頷微向後收、兩目向兩拳怒視、如上圖、
Continuing from the previous posture, with your legs temporarily staying where they are, your right fist lowers to the outside of your right hip and then extends forward in unison with your left fist, the centers of the fists facing upward, the fist eyes facing outward, the arms at shoulder level. Then your fists lower in front of your hips as your left heel pivots the foot ninety degrees to the left, and your right foot steps forward to the right to make a horse-riding stance as your fists go to the rear and then forward, each drawing arcs of a hundred and eighty degrees, until they are ten centimeters apart, your arms forming a ring shape at shoulder level, the centers of the fists facing outward, the fist eyes facing downward. Your torso is upright, chest sticking out. Your head should be erect, neck straight. Your mouth should be closed, chin slightly drawn back. Your gaze is toward your fists and is fierce. See photo 30:

第八式 反單邊 口令 反單邊
Posture 4.8: “Turn around to one side!”

要領:
Requirements:
由雙風摜耳起、兩足跟用力、與身體同向右猛轉、右拳變掌下落、再向右平伸、五指抱攏、向後下方成梅花形、再將左拳變掌、移於右肩窩、手掌向前、虎口向裏、五指向上、右腿下彎、左腿蹬直、右足尖向前、左足尖向左偏十五度、身體微向前傾、頭向右轉、兩目注視右手、如上圖、
Continuing from the previous posture, your heels express strength and pivot along with your body as you fiercely torque to the right. At the same time, your right fist becomes a palm, lowers, and then extends to the right until level, the fingers pinching together and hanging downward to the rear, making a “plum blossom” shape [i.e. an impression of flowers hanging from a branch], as your left fist becomes a palm and shifts in front of your right shoulder, the palm facing forward, the tiger’s mouth facing inward, the fingers pointing upward. Your right leg is bent, left leg straight, your right toes pointing forward, left toes pointing fifteen degrees toward the left. Your torso is slightly leaning forward and your head is turned to the right, your gaze toward your right hand. See photo 31:

第九式 箭步取𦡁式 口令 箭步取𦡁式
Posture 4.9: “Arrow step, attack the crotch!”

要領:
Requirements:
由反單邊起、右腿不動、左腿向右擺動、與右腿成交叉式、左掌暫落於左胯下、同時將左腿向右猛箭一步、落地後急將右脚向右橫一大步、再將左手沿丹田移至右脅下、同時右臂前節向上舉起、左手沿右前臂向上移動、與右手成交叉式、兩手心向內、兩手背向外、同時兩手變拳、右拳向右對方𦡁部猛擊、拳眼向前、拳心向下、左拳同時收囘、拳眼向下、距頭頂十生的、左腿彎屈、右腿伸直、兩足尖向前、兩目注視右拳、如上圖、
Continuing from the previous posture, with your right leg staying where it is, your left leg swings around it to the right to be crossing over your right leg, your left palm temporarily lowering below your left hip while your left leg goes out to the right with a sudden arrow step, and once the leg comes down, your right foot quickly goes out a large step to the right with the foot sideways. At the same time, your left hand goes along your lower abdomen to be below your right ribs and your right forearm lifts up, your left hand shifting upward, going along your right forearm until your hands are crossing, the palms facing inward, the backs of the hands facing outward, and then your hands become fists, your right fist fiercely striking to the opponent’s crotch, the fist eye facing forward, the center of the fist facing downward, as your left fist withdraws, the fist eye facing downward ten centimeters away from your headtop. Your left leg is bent, right leg straight, the toes of both feet pointing forward. Your gaze is toward your right fist. See photo 32:

第十式 原地抓𦡁 口令 原地抓𦡁
Posture 4.10: “Staying in place, grab the crotch!”

要領:
Requirements:
由箭步取𦡁式起、兩腿暫不動、右拳落於右腿上部、同時由左向右繞一圓週四分之三、向右對方𦡁部、猛抓、再將左拳變掌握住右手腕、協力向敵之𦡁部猛推、右腿向前猛彎、左腿蹬直、身體向右前方傾三十度、右足尖向前、左足尖向左偏十五度、兩目怒視右手、如上圖、
Continuing from the previous posture, your legs temporarily do not move as your right fist lowers over your right leg and then arcs from left to right, drawing three quarters of a circle, to fiercely grab the opponent’s crotch. Then your left fist becomes a palm, grabs your right wrist, and your hands push together against the opponent’s crotch as your right leg suddenly bends forward, your left leg straightening. Your torso is leaning forward thirty degrees toward the right, your right toes pointing forward, your left toes pointing fifteen degrees toward the left. Your gaze is toward your right hand and is fierce. See photo 33:

第十一式 換步打𦡁 口令 換步打𦡁
Posture 4.11: “Switch feet, strike to the crotch!”

要領:
Requirements:
由原地抓𦡁起、兩脚暫不動、兩臂與兩手猛力帶囘、右腿向右後方箭一步、同時左脚提起、兩踝緊靠、左脚離地寸許、兩手暫移於右胯近處、再將左腿向左前方一大步、兩臂與兩手同時用力、左手仍握住右手腕、右拳向敵之𦡁部猛擊、拳心向下、拳眼向左、左腿彎屈、右腿蹬直、左足尖向前、右足尖向右偏十五度、兩目注視右拳、如上圖、
Continuing from the previous posture, your feet temporarily stay where they are as your hands suddenly withdraw, then your right leg shoots back a step to the right and your left foot lifts so that your ankles are right next to each other, your left foot about an inch away from the ground, your hands temporarily shifted to your right hip. Then your left foot takes a large step forward to the left as your hands express power, your right fist fiercely striking to the opponent’s crotch, the center of the fist facing downward, the fist eye facing to the left, your left hand still gripping your right wrist. Your left leg is bent, right leg straight, your left toes pointing forward, right toes pointing fifteen degrees toward the right. Your gaze is toward your right fist. See photo 34:

第十二式 打虎式 口令 打虎式
Posture 4.12: “Fighting tiger posture!”

要領:
Requirements:
由換步打𦡁起、兩脚用力、身體猛向右轉、將左手鬆開、右臂向右、由右向上、繞一圓週二分之一、拳眼向下、距離頂十生的、左掌變拳、附於左膝蓋上、拳眼向內、兩腿下彎、成騎馬式、頭向左猛擺、下頷後收、兩目向左前方怒視、如吼獅呑象之勢、如上圖、
Continuing from the previous posture, your feet pivot as your torso suddenly torques to the right. At the same time, your left hand lets go and your right arm goes to the right and then upward, drawing a half circle, until ten centimeters away from your headtop, the fist eye facing downward, your left palm becoming a fist, touching on top of your left knee, the fist eye facing inward. Your legs are bent, making a horse-riding stance, your head turned aggressively to the left with your chin drawn back. Your gaze is forward to the left and is fierce. Your attitude is like a roaring lion about to chomp on its prey. See photo 35:

第十三式 右脚擺蓮 口令 右脚擺蓮
Posture 4.13: “Right swinging lotus kick!”

要領:
Requirements:
由打虎式起、左腿向上伸直、同時將右腿提起、兩拳同時變掌、右掌不動、左掌舉起、掌背緊附於右掌心距頭額十五生的、兩手心向前、再將右脚向右前方彈出、兩手向右脚背拂打、身體向右前方傾三十度、兩目注視右足尖、如上圖、
Continuing from the previous posture, your left leg straightens up as your right leg lifts. At the same time, your fists become palms, your right palm staying where it is, your left palm lifting until the back of the hand is against your right palm, which is fifteen centimeters away from your forehead, the centers of the hands facing forward. Then your right foot snaps out to the forward right, your hands striking against the top of the foot [left hand hitting first], your torso leaning thirty degrees toward the forward right. Your gaze is toward your right toes. See photo 36:

第十四式 彎弓射虎 口令 彎弓射虎
Posture 4.14: “Bend the bow, shoot the tiger!”

要領:
Requirements:
由右脚擺連起、左腿不動、身體猛向右轉、右腿向前一大步、兩掌變拳、左拳用力向敵之胸部猛擊、拳眼向右、拳心向下、同時將右拳舉於頭部上、拳眼向下、距頭部寸許、右腿下彎、左腿伸直、右足尖向前、左足尖向左偏十五度、兩目注視左拳、如上圖、
Continuing from the previous posture, with your left leg staying in its location, your body suddenly torques to the right and your right leg goes forward a large step as your palms become fists, your left fist fiercely striking to the opponent’s chest, the fist eye facing to the right, the center of the fist facing downward, as your right fist raises above your head, the fist eye facing downward about an inch away from your head. Your right leg is bent, left leg straight, your right toes pointing forward, left toes pointing fifteen degrees toward the left. Your gaze is toward your left fist. See photo 37:

第十五式 上步收式(一) 口令 上步收式(一)
Posture 4.15a: “Step forward, closing posture – part one!”

要領:
Requirements:
由彎弓射虎起、左脚與右脚靠攏、(右脚不動)兩拳同時下落、附於兩胯、兩拳眼向外、兩拳心向上、兩肘尖向後、胸部挺起、兩眼向前平視、如上圖、
Continuing from the previous posture, your left foot steps next to your right foot (your right foot not moving) [although to return to the same spot you started at seems to work better if your right foot retreats next to your left foot] as your fists lower to your hips, both fist eyes facing outward, the centers of the fists facing upward, your elbows pointing to the rear, your chest sticking out. Your gaze is forward and level. See photo 38:

第十五式 上步收式(二) 口令 上步收式(二)
Posture 4.15b: “Step forward, closing posture – part two!”

要領:
Requirements:
由上步收式一起、週身不動、惟兩拳變掌、兩臂向下垂直、成立正式、如上圖、
Continuing from the previous posture, your body does not move except for your fists becoming palms, your arms hanging down, making a posture of standing at attention. See photo 39:

尾聲
Endnote:
本書配攝各圖式,有傾斜歪曲之恣態,似乎不甚端莊;為便於學者易於了解起見,不得不出如是鏡頭,務使每一圖式,卽可表示一節拳式,俾學習或參閱時,可按圖模倣推尋,保持本拳式之眞相,敬祈閱者諒之。
編者謹識
The photographs that are matched to the movement descriptions are sometimes showing postures from skewed angles, which may seem odd, but in order for students to more easily be able to see what is important in each posture, the photographs had to be made in this way. We have worked hard to fully show each posture so that when students are referring to these pictures, they will be able to imitate the postures more accurately, thereby preserving the authenticity of the postures. I hope you will pardon us for this.
  - respectfully written by the author

– – –

[Not long after Chiang Kai-shek wrote his rally cry which prefaces this book, the Central Martial Arts Institute held its famous National Tournament. Several years later, they held a second one, about which Xu Shijin himself penned a similar inspirational endorsement (dated Oct 20, 1934), included below.]

復興民族與國術國考 徐士金
A TOURNAMENT FOR REJUVENATING OUR NATIONAL IDENTITY & OUR MARTIAL ARTS by Xu Shijin

誰都知道中國是個衰弱到了極點的國家,可是只知道國家衰弱是因為政治不修,經濟不振,產業落後的促成,而很少知道中國積弱的根本原因,是民族性的喪失,以致民族墮落而造成了內憂外患,交相迭乘。積弱不堪的國家。
尚武原為我國固有的習風,自滿淸入主中國,深恐我民族尚武精神發展之結果,有不利於該族之統治,乃採用重文輕武的毒辣政策,以禁錮中華民族尚武的思想,可憐近二百年來,無量數的中國靑年志士,完全爭逐於科舉之場。文弱之習,相沿旣久,尚武之風,頹墮無餘,於是帝國主義者看穿了中國的主要弱點,毫無顧忌的挾持其大砲飛機之武力政策,長驅直入,可憐我們中華民族,個個斯文成性,毫無抵抗力量,只有伏在帝國主義的鐵蹄下痛楚呻吟而已!
中華民族因重文輕武而形成積弱的國家,因積弱的國家,而受帝國主義政治經濟武化的侵略,乃至於內憂外患相乘不已,造成了今日不可收拾的國難,我們看淸楚了這個原因,知道欲救中國,必先復興中華民族,振起尚武精神,排除一切文弱積習,練成人人鐵骨鋼肋,備具了健全的體魂,然後可以蘊蓄敏捷的思想,中國人人都造成了身強力壯,精神旺健的勇士,方能走到民族復興的捷徑,恢復了中華民族尚武的精神,方能挽救中國的國難。
中央國術館為提倡尚武精神,拔取武術眞才,儲為國用,一方面為喚起社會人士對國術事業之注意與認識,故有二屆國考之舉行,開幕以來,各省市選手躋躋蹌蹌,聚會一場,各展身手,一種勇武直前,親愛精誠的態度,實堪欽仰,和平奮鬥的精神,已充盜了首都的空間,但願我國術同志,一本此和平奮鬥的勇武精神,發揚光大,共同努力於復興中華民族之運動,以排禦目前非常之國難,這樣,才算了解了這次國考的眞正價値與意義。
Everyone knows that China is an extremely weak nation, but they all think that our nation’s weakness is simply due to a broken political system, economic depression, and tardy industrialization. Very few understand that the real reason for our nation’s long-standing weakness is that we have lost our sense of who we are. The crumbling of our national identity has put us in a constant cycle of both suffering from domestic strife and facing the threat of foreign invasion. We can no longer stand to be such a weak nation.
  Reverence for the martial quality used to be our nation’s innate culture. When the Manchus took over China [establishing the Qing Dynasty in 1644], they were terrified that our inherent martial spirit would grow as a result and make us a race of people too hard to rule over, so they employed the rather sinister strategy of making literary arts all-important and trivializing martial arts, in order to inhibit the Chinese people’s sense of martial pride. It is such a shame that nearly two century’s worth of potential heroes, countless Chinese youth, spent all their energy on seeking status through the civil-service examinations. A frail physique became the norm for generations and the custom of martial pride completely faded away. Consequently, the imperial powers noticed China’s fundamental weakness and unscrupulously took control of our lands with the threat of military force. As they surged in, our pathetic people, having grown so unaccustomed to being nothing but genteel, completely lacked the power to resist and ended up suffering and groaning under the iron heel of imperialism.
  So, because our people had turned to despising the martial quality, our nation weakened, and that in turn invited economic and military domination by imperialist governments, which then placed us in an endless state of both domestic strife and foreign threat, which has produced our current emergency. Able to clearly see the steps that led to our situation, we can understand that if we want to rescue the nation, we must first rejuvenate our Chinese identity and rouse our martial spirit. To eliminate all of our habitual frailty, we must train everyone to have “steel sinews and iron bones”. Stronger bodies contain better thoughts. When everyone’s body is made robust and carries the spirit of a valiant warrior, it is a short path to reviving our national identity, for once we restore the martial pride of our people, we will be able to rescue our nation.
  The Central Martial Arts Institute has been promoting the martial spirit by selecting martial artists of true skill to be of service to the nation. Because one of its purposes is to draw the attention of society and make people knowledgeable about martial arts, they are holding a second national tournament. As soon as it was announced, skilled practitioners from every province and every city were on the march to gather together in one place and show his abilities. What is seen is an attitude of forthrightness and camaraderie, a spirit of mutual admiration and friendly competition. Having filled up this large open space in Nanjing, I hope that our nation’s martial arts comrades will now work together in this valiant spirit of friendly competition to carry forward our greatness, doing their athletic best to rejuvenate our Chinese identity in order to resist the extraordinary national crisis that faces us. This will prove the value and significance of the Second National Tournament.

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