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五郎八卦棍
FIFTH SON’S EIGHT-TRIGRAMS STAFF
黃漢勛
by Huang Hanxun [Wong Honfan]
[published by 香港鎮成書局 Zhencheng Bookstore of Hong Kong, 1955]
[translation by Paul Brennan, Jan, 2019]
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國術技擊 黃漢勛著
A book on Chinese martial arts by Huang Hanxun:
五郎八卦棍
Fifth Son’s Eight-Trigrams Staff
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尚武精神
Martial spirit!
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自序 黃漢勛
AUTHOR’S PREFACE
棍不過頭，槍不過手一語為武林前輩所訓導後人之名言，南方拳師以棍稱，北方拳師則多呼為棒，棒之長度由齊眉以至與頭平長為最合度，逾此者則當是別出心裁去習練或以槍化棍，以棍代槍之法矣。至槍之長度則應以舉手向上看齊為標凖，人或以古本小說所言古人動輒槍長丈八為問，余曰：古今之稱與尺之制度不同，且古人乘馬持械其可用長者為一定之理，今人步戰豈可以此相衡哉？短棒之為用與單刀同為步戰中可用之械，並不見於古戰場上乘馬者用之也，今人且利用收藏木桿式之棍作器可避過法律所給予之便利，且隨處皆可超起「扁担」「竹升」之類為用，故此「童子軍」有棍「警察」有棍，此風之盛大逾惜時也。
此套五郎棍法簡單易習易用，實為練棍之基本方式，因長而分為上下兩路，使初習者得分段以成，實乃寓意之良且善也，至其源流當於下路伸述其槪，俾愛好斯技者得其端倪也。
“The staff does not go past the head. The spear does not go past the hand.” This is a maxim used by elders in the martial arts community for guiding students. Southern boxing masters call the weapon a “staff”. Northern boxing masters often refer to it as a “stick”. The proper length of it [when held vertically with one end on the ground] is between eyebrow height and headtop level. If it reaches any farther than this, it implies a different kind of weapon. Practitioners might end up treating a spear like a staff, or a staff may get used in place of a spear. The proper spear length matches the height of your hand when the arm is stretched straight up.
Someone asked me why in ancient stories there are mentions of people who commonly used eighteen-foot spears. My response was that ancient and modern measurements of length are not the same. Also, although there was good reason in ancient times to wield very long weapons from horse-drawn chariots, they would not be practical for more modern foot soldiers. Conversely, the use of the shorter stick is similar to the single saber wielded by infantry troops, but was never used on ancient battlefields by soldiers in chariots.
People nowadays are using “staff” as a general term for any old wooden pole, whatever its function, for the sake of convenience, thereby avoiding having to always specify whether they are talking about a carrying pole, a dough presser, and so on. Thus now even the Boy Scouts have “staffs”, the police have “staffs”, everybody has “staffs”, and this new custom has maybe gotten a little silly.
The techniques of Fifth Son’s Staff are simple, easy to learn and easy to apply. It is truly a means of training fundamental staff methods. Because the set is quite long, it is divided into two parts so that beginners can absorb it in a couple of shorter sections and thus more easily master its contents. Some general discussion of the origin of the set is supplied below in order for enthusiasts to be able to know something about the background to this staff art.
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源流
ON THE ORIGIN OF THE ART
山後楊繼業（令公）一門忠義與勇武，據說連婢僕輩亦解武事，公生七子，除各有名號外並以大郎以至七郎為序。
歷史有名之「沙灘會」公率七子保宋帝會蕭天左於沙灘上，及兵敗公奮力保得帝離開沙灘返國，公以闖死於李陵碑下見志，當場死於皇事者有大郎、二郎、三郎等，四郎被俘，五郎出家於五台山為僧，七郎返國班取救兵而被害於潘仁美，僅六郎（延昭）生還耳！後六郎為報家報國仇掛帥征伐蕭氏，不幸又再次兵敗，被困五台山下，時五郎身雖出家但心仍繫念故國也。見大宋旗號帥字旗下大書一楊字，五郎（延德）知家族中人又興兵討伐外寇矣，但主帥方被困於山下，五郎身為出家人將於何處覓取武器呢！於是拔去閂門之短鐵桿跑下山崗奮力衝破敵陣，時六郎以為本國救兵已到因此精神大振，於是亦自內突出，六郎旣出，只見一和尚持短鐵棒到處追逐勇武絕倫，因此亦拍馬舞槍衝前助戰，蕭氏兵被逼暫時撤退，於是弟兄乃得陣上團叙，六郎勸五郎共返國以圖再次大舉，五郎曰：為兄已出家焉可復還俗，但蕭氏方勢大似未能求必勝，吾弟宜暫時撤兵囘國積極訓練兒郎以待他日之用，吾適間所用之棒法頗佳，吾弟何妨模倣之以為訓練士卒之用。六郎卒於戎馬倥偬中習之，後由六郎子宗保三次出兵率將頑敵推毀而雪兩敗之耻者，五郎之棒實著卓勛也，五郎棍之名因此歷千年尤膾炙人口者以此，且亦足證明吾說「棒脫胎槍法之源由」蓋五郎於卒然之間招棍作槍之使用法也，沿用五郎之名者亦至多，不論誰為眞傳或嫡傳總是皆以仰慕楊氏對棍法創設之紀念也。水滸中武松亦以用棒馳譽，卽今日之「行者棒」是也，棍法雖無悠久歷史，惟至今二十世紀年代，尤未被科學所淘汰者自有其可用之處，在練棍重點厥為圈、點、劈、軋、挑、撞、撒、殺。注意及之自當有成矣。
General Yang Jiye of Hebei [Shanxi] had a family that was loyal and valiant. It is said that even the girls were experts in military matters. He sired seven sons, each of which were nicknamed by their number: from First Son to Seventh Son.
There is a historical tale known as the “Gathering at Jinshatan”. At that place, Yang led his seven sons to protect the Song emperor against the forces of Xiao Tianzuo. When the imperial army had been defeated, the Yangs did all they could to ensure that the emperor was able to safely escape from the battlefield to return to the capital. Yang Jiye then killed himself by smashing his head against the monument stone to General Li Ling [in order to convince his sons to leave him there rather than be killed trying to rescue him now that he had been surrounded]. First Son, Second Son, and Third Son had already died on that battlefield in service to the emperor. Fourth Son was taken prisoner. Fifth Son (Yande) fled and became a monk at Mt. Wutai. Seventh Son was on his way home to gather reinforcements but was murdered on the way by Pan Renmei. Only Sixth Son (Yanzhao) returned alive, and he later dedicated himself to the cause of both home and homeland by leading an avenging army against Xiao. Unfortunately this army was also defeated, having been ambushed in the foothills of Mt. Wutai.
Although Fifth Son had become a monk, he still cared about his homeland. When he saw the banners of the Song Dynasty and that on the command banner was written “Yang”, he knew that someone in his family was leading a punitive expedition against the foreign invaders [i.e. the Khitans]. But that commander was being surrounded in the foothills, and so Fifth Son looked around for a weapon to use. Therefore he grabbed a short iron pole that was being used to bar a door, then ran out onto the hillside and put forth all his effort to smash away the enemy troops. He exhibited such powerful spirit that Sixth Son thought it was reinforcements sent from home. When Fifth Son suddenly emerged, Sixth Son came forward and saw only a monk holding a short iron staff chasing in all directions with a peerless courage. He then praised the “dancing spear” that had charged forward to his aid.
With Xiao’s army having been forced to make a retreat, the brothers then discussed the battle. Sixth Son urged Fifth Son to return home with him and make plans for future undertakings. Fifth Son said: “I’ve already become a monk. How can I go back to my old life? Although Xiao has a large force, there seems to be no way for him to win right now. You should withdraw your troops and go home, and then train them well to prepare them for the battles to come. The staff methods I used just now are rather effective. You might as well adopt them and use them to train your soldiers.”
Sixth Son eventually died in the midst of his chaotic military career. His son Zongbao later led armies three times to destroy enemy forces and avenge past defeats, in which Fifth Son’s staff methods performed meritorious service. The fame of the art has since been celebrated for a thousand years. To verify the saying that “the staff art is born from the spear art”, within the postures of Fifth Son’s Staff are contained many spear techniques. It is still called “Fifth Son’s Staff”, regardless of whether it is learned by someone within the family lineage or from outside it, for all admire and commemorate the staff art that Yang created.
Wu Song, from The Water Margin, was also famous for using a staff, what is nowadays known as “Pilgrim’s Staff” in his honor. Although there are no old records of Yang’s staff methods, the art by the twentieth century has been distilled over time through the ongoing experiment of competition to a selection of effective techniques. The keys to practicing the staff art are these [eight actions (hence “eight trigrams”)]: coiling, tapping, chopping, crushing, carrying, crashing, scattering, and smashing. Give these things attention and naturally you will succeed [although not all of these terms are actually used in the movement explanations below].
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[Included below is an earlier rendering of the same material, from Huang’s Notes on the Mantis Boxing Art (1951).]
棒法探源
ORIGIN OF THE STAFF ART
棍者棒之別名也，考棒法實始於宋室中葉之楊延德「五郎」，諺曰：楊家無弱卒，連婢僕輩亦精於武事，世傳其井水能飲人以强力之故也，然事出怪誕筆者未敢苟同，實傳統性使然而已。楊家父子保宋帝會蕭天左於沙灘之上，結果，傷亡幾盡，祗六郎延昭逃陣生還，五郎敗陣失散，因而落髮五台山為僧，後延昭領兵復仇為敵所困，正危急間忽見一僧人手持短棒（即今之所謂齊眉棍是也），將敵乒擊散救出六郎，六郎謝之並通姓氏始知同胞骨肉（此即俗稱五郎救弟之故事也），六郎頗怪其兄為何用此短棒，五郎自言身雖出家，然無日忘懷沙灘會之慘狀，頃間見汝乃祖國披掛，旗上大書一楊字，因此助汝一臂之力，但臨時又缺乏器械使用，迫得以壓門短棒作器，雖應急之道，但適間亦頗運用自如，大槪前時在馬上作戰多用長槍大戟，今次因步戰之故是以頗為配合也，今後汝欲復父兄血仇，非以此法積極訓練兒郎不為功？（兒郎者今之大兵是也）是開棒法之先河也。後六郎囘國變通此特異之短棒，復與敵週旋竟奏大效，一挽大宋旣墮聲威，宋末行者武松亦精於棒法，傳至今日五郎棒法與行者棒均亨盛譽，今之以長桿子亦以棒法自命者，則與古之眞棒法相去遠矣。
“Staff” is another name for “stick”. Examining into the art, it surely begins with Yang Yande, or “Fifth Son”, of the middle of the Song Dynasty. There is a common saying: “The Yang family had no weak soldiers.” Even the girls were experts in military matters. The tales of the exploits of this family have given powerful inspiration to people, but I take exception to the more bizarre aspects of the stories, which are really just the blending in of conventional folktale tropes.
Yang Ye and his sons protected the Song emperor against the forces of Xiao Tianzuo at the Battle of Jinshatan, several of them dying as a result. The only ones left were Sixth Son, Yanzhao, who escaped and came home alive, and Fifth Son [Yang Yande], who fled the battlefield and became a monk at Mt. Wutai. When Yanzhao later led an army to get revenge on the enemy, during a moment of critical danger he suddenly saw a monk holding a short staff (what is nowadays called an “eyebrow-height staff”) who was beating away the enemy troops to rescue him. Sixth Son thanked him and asked his name, and then discovered they were of the same flesh and blood. (This tale is commonly known as “Fifth Son Rescues his Younger Brother”.)
Sixth Son was amazed by his older brother’s skill and asked him why he was using this short staff. Fifth Son said: “Although I’ve become a monk, I’ve never forgotten for a single day the horror on the field of Jinshatan. I saw that you are protecting the nation, and that on your banner is written ‘Yang’, and so I had to lend a helping hand. But I had no weapon to use, so I grabbed a short staff that was being used to bar a door, and even though I was simply using whatever was available in an emergency, I was nevertheless able to wield it rather efficiently just now. Generally in former times, soldiers on horseback wielded long spears or large halberds, but for infantry troops in our time, a staff method might be more suitable. If you want to avenge our father and our brothers, you should use this staff art to train your soldiers.” This was the beginning of the staff art.
Sixth Son went home changed by this distinctive staff art and used it to great effect when surrounded by enemies. But the great Song Dynasty was already losing its power, and by the end of the dynasty there was another expert in the staff art: “The Pilgrim” Wu Song. The arts of Fifth Son’s Staff and Pilgrim’s Staff have both been passed down to this day and are equally renowned. However, long pole methods are nowadays also classified as staff methods, making the authentic staff arts of long ago that much harder to find.
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[FIFTH SON’S STAFF – Part 1]
第一式 隻手擎天
Posture 1: A SINGLE HAND HOLDING UP THE SKY
説明：
Explanation:
假定在西方站立，應該為面南背北左東右西作起式左手握棍之中段至手直，棍平為凖確，右手掌直垂，注視前方如『定式圖』。
Stand in the western part of the practice space to begin this set, with the south in front of you, the north behind you, the east to your left, the west to your right. Your left hand is gripping the middle section of the staff, the arm straight, the staff parallel with the ground, and your right arm is hanging straight. Your gaze is forward. See photo 1:
功用：
Application:
棍尚未展開，動作故無功用可言，惟精神貫注，蓄勢以俟為武功不可缺少之修養也。
In this posture, you have not yet reached out with the staff, and thus there is no real application to speak of other than focusing your attention, storing power in preparation for martial action, which is in itself an indispensable part of the training.
第二式 螳螂探爪
Posture 2: MANTIS EXTENDS A CLAW
（説明）
Explanation:
循上式，双脚先未動，右掌向左肩靠貼，當掌過左時目隨向左注視，如『過渡式』圖
Continuing from the previous posture, with your feet not yet moving, your right palm goes to your left shoulder, your gaze going along with its movement by looking toward the left. See photo 2a:
再開右脚成騎馬式，右掌經過面前繞過右方成為刁手目亦隨手轉過右方而視，如『定式圖』
Then your right foot steps out to make a horse-riding stance as your right palm passes in front of you and arcs away to the right, becoming a hooking hand, your gaze going along with its movement to look toward the right. [According to the photo, your gaze either stays to the left or immediately turns back to the left.] See photo 2b:
功用：
Application:
雖亦在開式之內，但循掌化作刁手之作用，亦不可完全抹殺，假如対方在我後突襲時我可利用此為消卸也。
Although this action is still part of the beginning movement, the palm becoming a hooking hand cannot be ignored. If an opponent behind me makes a surprise attack, I can use this action to dispel it.
第三式 白猿問路
Posture 3: WHITE APE ASKS THE WAY
（説明：）
Explanation:
循上式，先拉起左脚繞至面前以成左跨虎歩，右刁手再化成掌向頭頂上橫架，成蒙頭式，目向左方而視，如『定式圖』
Continuing from the previous posture, your left foot pulls in and arcs forward to make a left sitting-tiger stance as your right hooking hand changes back to a palm and blocks across above your headtop to make a posture of covering your head. Your gaze is toward the left. See photo 3:
功用：
Application:
亦祗為開式中之姿势，雖無特殊之功用然對佳妙之姿緻亦須下苦功方能達成，姿態美妙有時亦大派用塲，抑亦武術同道所不敢忽視之也。
This action too is still just part of the opening movement. Although it has no particular function, you nevertheless have to work hard to make it elegant. Beauty is sometimes very useful [for instance in the way that posing impressively enough can often dissuade opponents and end fights before they begin] and so I urge my martial arts comrades not to overlook it.
第四式：橫攔天門
Posture 4: HORIZONTALLY BLOCKING TO THE SKY
（説明：）
Explanation:
循上式，原歩未動先將右掌握棍之上端，左手向下端移開務使两手相距間之三段棍，俱各為其尺度，然後移開左脚以成登山式，全棍平舉向上，為『定式圖』
Continuing from the previous posture, with your stance not yet changing, first your right palm grabs the upper end of the staff and your left hand shifts over toward the lower end so that the distance between your hands makes the upper, middle, and lower sections each of equal length. Then your left foot steps out to make a mountain-climbing stance as the entire staff rises up, held horizontally. See photo 4:
功用：
Application:
彼以長械自我頂上猛力劈下來勢殊兇悍，我在無法卸閃與不得不迎架時逼得以全棍往作平攔之勢我全械已上中路勢必空虛因此萬分註視其漏打之着為要
An opponent using a long weapon fiercely chops down toward my headtop with so much ferocity that there is no way I can evade, and so I have no choice but to block it by sending my entire staff upward until it is horizontal. With all of my weapon above me, my middle area will now be open, thereby putting me in a situation that will require my immediate attention.
第五式 右路劈殺
Posture 5: RIGHT ADVANCE, CHOPPING SMASH
説明：
Explanation:
循上式，原歩未動先將右手往右棍端移之至盡頭，然後進右脚成右登山歩，全棍沿身傍直殺而落，至終点時左右手相距之間，僅容大腿之位置耳，向外之棍尖端略為蹺起，如『定式圖』
Continuing from the previous posture, with your stance not changing, first your right hand slides all the way to the right end of the staff, then your right foot advances to make a right mountain-climbing stance as the whole staff smashes down beside your body [with your left hand sliding inward]. By the time it reaches its final position, the distance between your hands is no more than the thickness of your thigh, and the forward tip of the staff is slightly raised. See photo 5:
功用
Application:
彼以我招去其棍即欲卸馬用偷打法直取我中路，我不俟其棍抵達即搶先進馬順棍沿彼棍鋒殺下，我以双陰手劈殺之势，乃強勁絕倫者，輕易必不克與抗焉。
Once I have blocked away the opponent’s staff, he tries to back off and then sneak an attack to my middle area. Before his staff can arrive, I advance to strike first, sending my staff smashing downward along his staff. My hands are both using a downward-facing grip, which produces a much more powerful strike that he will surely not be able to withstand.
第六式 左路劈殺
Posture 6: LEFT ADVANCE, CHOPPING SMASH
説明：
Explanation:
循上式，原歩未動，先以左手探出至棍端，然後進左脚成左登山歩，棍隨歩進前用右端由後向前直殺而落，棍之劈法與左右手距離𢘻如上式，如『定式图』。
Continuing from the previous posture, with your stance not changing, first your left hand slides out all the way to the end of the staff, then your left foot advances to make a left mountain-climbing stance, the staff going along with the step by going forward with the other end, smashing down forward from the rear [with your right hand sliding inward], your hands again spaced to the thickness of your thigh. See photo 6:
功用：
Application:
我右方一殺，彼即感到措手不及之勢，彼但求迅即撤歩作逺距離或再乘機搶擊我中下路我皆以進馬再擊之法臨彼以為連環不絕之呼態也。
When I smash on the right side, the opponent feels he has been caught unprepared and tries to quickly retreat far away from me, perhaps hoping to then seize an opportunity to attack my middle area or lower area. In either case I advance and repeat the same kind of attack, giving him an impression of continuous echoes.
第七式：右門橫棒
Posture 7: SENDING THE STAFF ACROSS TO THE RIGHT
説明：
Explanation:
循上式，原歩未動，右手先向前棍端探出，然後以左棍端向前上方橫掃而出，當掃棍時進右脚成右登山歩，以資配合棍之活動，如『定式圖』
Continuing from the previous posture, with your stance not yet changing, first your right hand slides out to the front end of the staff, then your left hand sends the other end of the staff sweeping across forward and upward as your right foot advances to make a right mountain-climbing stance in coordination with the staff movement. See photo 7:
功用：
Application:
我继連续用劈殺之法向彼進逼，彼欲乘我用低殺之時，改向我上路威脅，我因此乃易下殺之势為向上橫殺其項部，務無法变易其攻守之势矣。
As I crowd in on the opponent with continuous chopping smashes, he tries to take advantage of my attacking below by switching to attacking me above, so I switch from smashing downward to smashing across above to his neck, causing him to have no chance to make the switch from defense to offense.
第八式：左門橫棒
Posture 8: SENDING THE STAFF ACROSS TO THE LEFT
説明：
Explanation:
循上式，原歩未動，先將左前手探出至棍端為止，然後進左脚以成左登山歩，右後手將棍末端自後往前橫殺，而出，與肩部看齊為度，如『定式圖』。
Continuing from the previous posture, with your stance not yet changing, first your left hand slides out to the front end of the staff, then your left foot advances to make a left mountain-climbing stance as your right hand sends the other end of the staff smashing across forward until at shoulder level. See photo 8:
功用
Application:
與上式成左右連環之作用，其實二而一耳，惟多練之則左右手平匀，而無偏廢之弊，習之者毋以重複而棄其長處為要。
Combined with the previous posture, this is a continuous technique performed to both sides, and so although it is two postures, it is actually a single technique. However, it is often the case that when practicing a movement that is done the same on both sides, the first side gets done well and then the other side is done lazily. It is important that you do not simply repeat the movement on the other side and end up performing it with less presence than the first time.
第九式：囬棍撩隂
Posture 9: PULL BACK THE STAFF, KICK TO THE GROIN
説明：
Explanation:
循上式，原歩未動，先將右前手探出至棍之中段，然後將棍往右身傍抽返，當棍方抽動時，右脚同時以撩隂腿方式向前疾出，如『定式圖』。
Continuing from the previous posture, with your stance not yet changing, first your right hand slides forward all the way to the middle section of the staff, and then it pulls back the staff on your right side as your right foot quickly shoots out with a groin kick. See photo 9:
功用：
Application:
彼械被殺開後立即改向我中下路擊來，我迅即沉棍抽去之，同時乘其不備而出脚撩之，雖未必出此重着而致人性命，但兵械相対中已是置生死於搏鬥之中，遑論出脚撩隂哉。
Once the opponent’s weapon has been smashed aside, he immediately switches to attacking to my middle area or lower area, so I quickly send my staff sinking down and drawing back to send his weapon away. At the same time, I take advantage of where he is unprepared by sending out a raising kick. Though not necessarily a deadly technique while in the mix of two people battling with weapons, which is already a life-or-death struggle, a kick to the groin is the last thing he needs.
第十式：推窗看月
Posture 10: PUSH OPEN THE WINDOW TO GAZE AT THE MOON
説明：
Explanation:
循上式，將踢起之右脚順势向原位置落地，俾成右登山歩，棍自右下方向前斜斜舉起，如『定式圖』。
Continuing from the previous posture, your right foot comes down forward to make a right mountain-climbing stance as the staff goes forward, lifting diagonally from the lower right. See photo 10:
功用：
Application:
彼以我实施撩隂腿，乃為之一驚，正在往後撤退，唯恐不及之中，我再出棍自下逆抽，而上，其目的仍以彼隂部為攻擊，势順而疾，輕易不能躱此險着也。
The opponent is alarmed by my kick and retreats just in time. Fearing I will miss the target, I then send my staff whipping out upward from below to attack the same target, speed coming from capitalizing on the momentum of the previous technique. This is not a technique to be used rashly, for it is likely to injure someone.
第十一式：左路劈殺
Posture 11: LEFT ADVANCE, CHOPPING SMASH
説明：
Explanation:
循上式，循左轉身以成左登山歩，两脚固不必轉移其原來位置也，棍亦左右不变，而隨翻身之势，而往後劈落如第六式焉，如『定式图』。
Continuing from the previous posture, turn around to the left to make a left mountain-climbing stance. Your feet do not need to leave their location [simply pivot on the heels] and your hands do not need to change their position on the staff [except for your right hand sliding inward], which simply go along with the turn of your body to chop downward to the rear. You finish in the same position as in Posture 6 [although facing in the opposite direction]. See photo 11:
功用：
Application:
棍之劈殺法，一如第六式，但此棍乃有向前疾轉歸後之劈法則是彼繞過我後方，或另一敵人自我後擊來，我逼得以此迹近盲目式之法為用耳。
This chopping-smash technique is the same as in Posture 6, but in that case it was a forward attack, whereas in this case it is a rapid turn to chop behind. The opponent dodges around behind me, or another opponent attacks from behind, so I am forced to use this technique as the best way to go in blind.
第十二式：右路劈殺
Posture 12: RIGHT ADVANCE, CHOPPING SMASH
説明：
Explanation:
循上式，往前劈落是也，與第五式相同，如『定式圖』。
Continuing from the previous posture, go forward with a downward chop, the same as in Posture 5. See photo 12:
功用：
Application:
與五六两式為連环性同。
[Together with the previous posture,] this is the same kind of continuous attack as in Postures 5 and 6.
第十三式：囬棍撩隂
Posture 13: PULL BACK THE STAFF, KICK TO THE GROIN
説明：
Explanation:
循上式，先將左手探出至棍之中段，然後將棍自左身傍極力抽返，當棍方抽動之時，同以左脚用撩隂法，向前踢出，如定式图』
Continuing from the previous posture, first your left hand slides forward all the way to the middle section of the staff, and then it pulls back the staff on your left side as your left foot kicks out forward with a groin kick. See photo 13:
功用：
Application:
與第九式同，祗左右之别耳
Same as in Posture 9, except with left and right reversed [and facing in the opposite direction].
第十四式：卧虎壓棍
Posture 14: CROUCHING TIGER PRESSES DOWN THE STAFF
説明：
Explanation:
循上式，先將踢起之左脚着地，棍自左方繞過右方，如『過渡式甲圖』。
Continuing from the previous posture, first your left foot comes down. See photo 14a:
再提右脚於前方以備作跳前之势如『過渡式』乙圖』。
Then your right leg lifts in front of you in preparation to jump forward [while the staff arcs from left to right]. See photo 14b:
再全身蹤前，連棍帶人扑下，双手緊壓棍之上，歩為左仆腿势，如『定式圖』。
Then your whole body leaps forward and the staff goes along with it to pounce downward, both hands pressing down on top of the staff, your feet now making a left reaching-leg stance. See photo 14c:
功用：
Application:
彼欲以械攻我下方，我乘踢腿之便，全身疾躍前用全棍力壓之。
The opponent is about to attack my lower area, so I continue the momentum from my kick by quickly leaping forward and using my entire staff to forcefully press down [his weapon].
第十五式：推窗看月
Posture 15: PUSH OPEN THE WINDOW TO GAZE AT THE MOON
説明：
Explanation:
循上式，由原歩向左前方起轉為左登山歩，棍亦由下起向前方掠出如『定式圖』
Continuing from the previous posture, your left foot comes down forward to make a left mountain-climbing stance as the staff sweeps out forward from below. See photo 15:
功用：
Application:
與第十式畧同，祗由下而上之法别耳。
Mostly the same as in Posture 10, except that the method of rising from below is different [rising straight up rather than from the side].
第十六式：獨立撑舟
Posture 16: ONE-LEGGED STANCE, USE A PUNTING-POLE TO MOVE THE BOAT
説明：
Explanation:
循上式，先原歩不動而將右手沿棍而落，至與左相貼，如『過渡式』圖。
Continuing from the previous posture, with your stance not yet changing, your right hand slides down the staff until it meets your left hand. See photo 16a:
再提右脚以成向右方之獨立式，左手再向下棍端直落，右手持棍往右身傍殺落至身後為止，如『定式圖』。
Then your right foot lifts to make a one-legged stance facing to the right as your left hand slides to the lower end of the staff and your right hand sends the staff smashing down to the right so that it is pointing behind you. See photo 16b:
功用：
Application:
彼閃身走過我右方擬自我下路擊來，我提歩躱之再掉轉棍上端作往下攔去來械。
The opponent dodges away his body to my right and now tries to attack my lower area, so I lift my leg to evade his attack and turn over my staff to send the upper end downward to block aside his incoming weapon.
第十七式：推窗看月
Posture 17: PUSH OPEN THE WINDOW TO GAZE AT THE MOON
説明：
Explanation:
循上式，落提起之右脚以成右登山歩，棍自身傍抽出，如『定式图』
Continuing from the previous posture, your right foot comes down to make a right mountain-climbing stance as the staff whips out from beside your body. See photo 17:
功用：
Application:
我上式既已提歩撇去來械，彼必急謀脱去也，於是我乃乘彼求去之俄頃以下端棍抽出，使彼欲去無從矣。
In the previous technique, I had already lifted my leg and used my staff to swing aside his incoming weapon, and so now the opponent urgently has to find a way to escape from the bad position he finds himself in. I therefore take advantage of the moment he tries to get away by whipping out the lower end of my staff, causing him to want to get away but have nowhere to go.
第十八式：獨立撑舟
Posture 18: ONE-LEGGED STANCE, USE A PUNTING-POLE TO MOVE THE BOAT
説明：
Explanation:
循上式，原歩不動，先將左手沿棍直落至與右手拍齊為止，如『過渡式圖』
Continuing from the previous posture, with your stance not yet changing, your left hand slides down the staff until it meets your right hand. See photo 18a:
再提左脚成獨立式右手順落握下棍端，將棍往左後方撇去，如『定式圖』。
Then your left foot lifts to make a one-legged stance as your right hand slides to the lower end of the staff and you send the staff swinging aside to the left rear. See photo 18b:
功用：
Application:
其法與十六式完全相同惟其变動則略異耳。
Same as in Posture 16, except performed on the other side.
第十九式：推窗看月
Posture 19: PUSH OPEN THE WINDOW TO GAZE AT THE MOON
説明：
Explanation:
循上式，落左脚成登山式，棍沿左身傍抽出，如『定式图』。
Continuing from the previous posture, your left foot comes down to make a mountain-climbing stance as the staff whips out from your left side. See photo 19:
功用：
Application:
與十七式相同祗左右及方向之别耳。
Same as in Posture 17, except with left and right reversed and facing in the opposite direction.
第二十式：右路劈殺
Posture 20: RIGHT ADVANCE, CHOPPING SMASH
説明：
Explanation:
循上式，左右脚不变原來位置，唯循左方轉過右方以成登山式同時棍亦自左向右後方殺過，如『定式图』
Continuing from the previous posture, with your feet staying where they are, simply turn around to the right to make a mountain-climbing stance as the staff smashes through from the left to the right rear. See photo 20:
功用：
Application:
彼走過我後方，我為求便利及迅速起見，隨循其变而轉馬歸後，以棍力劈之。
The opponent dodges around behind me, so I strive for the easiest and quickest means of following him by pivoting around in my stance and forcefully chopping at him with my staff.
第二十一式 反手挑槍
Posture 21: REVERSING HANDS, CARRYING LIKE A SPEAR
説明：
Explanation:
循上式，先拉起右脚作跨虎歩，左手向前棍端探出至尽，如『過渡式』图
Continuing from the previous posture, first pull back your right foot to make a sitting-tiger stance as your left hand slides out to the forward end of the staff. See photo 21a:
再乘拉歩之便標前，变為騎馬式，右手自後將棍末端抽上，棍中段以緊貼腹部為合，如『定式图』。
Then make use of the momentum from pulling back your foot to dart forward into a horse-riding stance as your right hand sends the rear tip of the staff whipping out upward. The middle section of the staff should be close to your belly. See photo 21b:
功用：
Application:
彼為我劈殺之勢，過於猛烈，而求撤退避我，我不俟其退而亟用反抽棍法，逆抽其襠下，要害之處。
The opponent finds my chopping smash to be too fierce and seeks to evade it. Without giving him a chance to retreat, I urgently send my staff whipping upward toward his crotch, a very vulnerable area indeed.
第二十二式 左路劈殺
Posture 22: LEFT ADVANCE, CHOPPING SMASH
説明：
Explanation:
循上式左右脚不变原來位置由馬式向左轉為左登山歩棍亦右向左後方直劈而下如定式图
Continuing from the previous posture, your feet stay in their location and simply pivot to the left to make a left mountain-climbing stance as the staff chops down from the right to the left rear. See photo 22:
功用：
Application:
與第二十式相同祗左右及方向之别耳
Same as in Posture 20, except with left and right reversed and facing in the opposite direction.
第二十三式 反手挑槍
Posture 23: REVERSING HANDS, CARRYING LIKE A SPEAR
説明：
Explanation:
循上式先拉起左脚如跨虎歩勢，右手探出至前棍端而止，如過渡式图，
Continuing from the previous posture, first pull back your left foot to make a sitting-tiger stance as your left hand slides out to the forward end of the staff. See photo 23a:
再乘拉歩之便，往前標成為騎馬式，左手自後逆抽而上，棍中段緊貼腹部為合，如定式图
Then make use of the momentum from pulling back your foot to dart forward into a horse-riding stance as your left hand sends the staff whipping out upward from the rear. The middle section of the staff should be close to your belly. See photo 23b:
功用：
Application:
與二十一式同祗左右及方向不同耳
Same as in Posture 21, except with left and right reversed, and facing in the opposite direction.
第卄四式：囬馬迊攔
Posture 24: TURNING HORSE, TURNING BLOCK
説明：
Explanation:
循上式，左脚不動右脚自後進前，以求與左脚看齊其直線之騎馬式為止，棍由前移至左方，如『定式图』
Continuing from the previous posture, with your left foot staying where it is, your right foot goes forward to be in line with your left foot in a horse-riding stance as the staff shifts over to the left side. See photo 24:
功用：
Application:
彼閃過我反手之棍，而走過我左方，並以棍橫殺而來，我急轉馬用上下遮攔之法消去之
The opponent evades my reversing-hands technique, moving over to my left side, and uses his staff to smash across at me, so I quickly turn my horse-riding stance while using a technique of blocking that covers me both above and below.
第卄五式 撤勢劈槍
Posture 25: WITHDRAWING, CHOPPING LIKE A SPEAR
説明：
Explanation:
循上式，左右脚不变原來位置，但為求撤退計，乃先拉動右後脚往後一拖，使左脚受牽動而向後，撤約半歩，以成騎馬式，棍由橫遮之勢右手往下沉，左手順勢一拖，以成如『定式图』。
Continuing from the previous posture, with your feet not changing their position, they strive to retreat, your right foot first pulling to the rear, then your left foot following it, each foot withdrawing about a half step to again be in a horse-riding stance as the staff leaves its posture of blocking across [and going into a downward chop], your right hand sinking down, your left hand following it by pulling back. See photo 25:
功用：
Application:
彼偷棍欲刺我胸部，我急作撤勢之退讓，並順棍自上劈壓之
The opponent withdraws his staff and tries to stab toward my chest, so I quickly withdraw to retreat away from it while sending my staff chopping down from above to press it away.
第卄六式 青龍出洞
Posture 26: BLUE DRAGON LEAVES THE CAVE
説明：
Explanation:
循上式左脚不動，右脚自後偷前，以成坐盤之勢，棍則往前直標，棍鋒勿超逾本人，頭上為合如『定式圖』
Continuing from the previous posture, with your left foot staying where it is, your right foot goes forward with a stealth step behind your left foot to make a sitting-twisted stance as the staff darts forward. The tip of the staff should not go beyond your own height, headtop level being just right. See photo 26:
功用：
Application:
我旣劈去來械乃順勢用鎻喉槍法直取其喉部斯是險着毋逞一時意氣而輕舉妄動也
Once I have chopped away the opponent’s incoming weapon, I seize the opportunity to attack his throat with a spear-like thrust. This is a dangerous technique, and so you should never give in to any reckless impulse to show off with it.
第卄七式 倒反乾坤
Posture 27: REVERSING SKY & GROUND
説明：
Explanation:
循上式先將前左手由隂手化為陽手然後退囬右脚以再成為騎馬式同時將棍隨歩劈歸如『定式图』
Continuing from the previous posture, first your left hand switches its grip from the center of the hand facing downward to facing upward [this being the reversal in the posture name], then your right foot retreats to again make a horse-riding stance as the staff sweeps through with a chop. See photo 27:
功用：
Application:
彼招去我上式後即欲沿棍殺來我亦以撒歩方式反手劈殺之
The opponent deflects my previous attack and then tries to smash along my staff toward me, so I retreat a step, turning my hand over, and do a chopping smash.
第卄八式 右路劈殺
Posture 28: RIGHT ADVANCE, CHOPPING SMASH
説明：
Explanation:
循上式先將反握復成為隂手，進前一歩，以成為右登山歩，右後手自後向前劈落，如定式图
Continuing from the previous posture, first your [left hand] turns over to again make a downward-facing grip [and slides out all the way to the forward end of the staff], then your [right foot] steps forward to make a right mountain-climbing stance as your right hand sends the staff chopping down forward from the rear. See photo 28:
功用：
Application:
與第五式同，祗方向及歩法畧異耳。
Same as in Posture 5, except with the feet reversed [hands reversed] and the technique being performed on the opposite side of the body, and so it is slightly different.
第卄九式 左路劈殺
Posture 29: LEFT ADVANCE, CHOPPING SMASH
説明：
Explanation:
循上式，先將右前手探至棍端，進左脚以成左登山歩，棍由後往前劈落，如定式图。
Continuing from the previous posture, first your right hand slides out all the way to the forward end of the staff, then your left foot advances to make a left mountain-climbing stance as the staff chops down forward from the rear. See photo 29:
功用：
Application:
與第六式，同祗歩與方向畧異耳。
Same as in Posture 6, except with the feet reversed [hands reversed] and the technique being performed on the opposite side of the body, and so it is slightly different.
第三十式 肩負千鈎
Posture 30: SHOULDERING A TON
説明：
Explanation:
循上式原歩不变左手先向前探出右手自下反抽而上左手枕於左肩之上如『定式图』
Continuing from the previous posture, with your feet staying where they are, first your left hand slides out forward along the staff, then your right hand slides back as the staff whips upward from below, your left hand placed over your left shoulder. See photo 30:
功用：
Application:
彼經我左右劈殺之後已連續作撒退躲避矣我緊食其撒退之弱奌而使出自下逆抽之法使彼有突如其來之感而無所措手也
The opponent evades my smashing chops to the left and right by continuously retreating, so I quickly make use of the flaw in his retreating position by instead attacking him from below, causing him to be taken by surprise and unable to respond in time.
第三十一式 右門橫棒
Posture 31: SENDING THE STAFF ACROSS TO THE RIGHT
説明：
Explanation [& application]:
與第七式同
Same as in Posture 7. See photo 31:
第三十二式 左門橫棒
Posture 32: SENDING THE STAFF ACROSS TO THE LEFT
説明： 功用：
Explanation & application:
與第八式同
Same as in Posture 8. See photo 32:
第三十三式 背棍撞鐘
Posture 33: PULL THE STAFF BEHIND YOU, RING THE BELL
説明：
Explanation:
循上式，先提右後脚成獨立式，右手棍往右下方拉低，如過渡式甲图。
Continuing from the previous posture, first your right foot lifts to make a one-legged stance as your right hand pulls the staff downward to the right, [your left hand lifting and pushing out forward]. See photo 33a:
再原脚不動，右手由後下方復轉為前上方，左手收於右腋之內如「過渡式」乙图。
Then with your stance not changing, your right hand sends the staff arcing upward and then forward, your left hand withdrawing to your right armpit. See photo 33b:
再落右脚成登山式，右手單持棍復轉歸於後方，左手化拳自腋部直衝而出，如定式圖。
Then your right foot comes down to make a mountain-climbing stance and your right hand sends the staff arcing to the rear, holding the staff on its own, as your left hand becomes a fist and thrusts out from your [right] armpit. See photo 33c:
功用：
Application:
此一棍法，不啻是普通之打半個棍花，可以之劈去中下路紛來之械，再藉機用拳衝擊之。
This staff action is simply an ordinary half-flourish, but it can be used to chop away an incoming weapon attacking to my middle area or lower area, and I then follow it up with a thrust punch.
第三十四式 反手挑槍
Posture 34: REVERSING HANDS, CARRYING LIKE A SPEAR
説明：
Explanation:
循上式，先拉起右前脚，左手返向腋內握囬棍之上段，如過『渡式图』，
Continuing from the previous posture, first pull back your right foot as your left hand withdraws under your [right] armpit to grab [with the center of the hand facing upward] the upper section of the staff [and your right hand sends the staff forward]. See photo 34a:
再先動右手向前轉後繞一圈狀，然後貼身抽出棍中段，切要貼腹如『定式圖』
Then [dart forward to make a horse-riding stance] as your right hand sends the staff arcing to the rear, drawing a [clockwise] circle [on your right side] that then sends the staff whipping out [upward]. The middle section of the staff should be close to your belly. See photo 34b:
功用：
Application:
與第二十三式同
Same as in Posture 23.
第三十五式 走馬纏槍
Posture 35: RUNNING HORSE, COILING LIKE A SPEAR
説明：
Explanation:
循上式，先拉起右脚，右手棍往後沉低，以備作圈棍之勢，如『過渡式』，圖
Continuing from the previous posture, first your right foot pulls back as your right hand sends the staff sinking down and heading toward the rear in preparation for drawing a circle. See photo 35a:
再往左方疾走，再成騎馬式，棍由右手主動向後方旋轉一匝，復縮緊於右腰部如『定式圖』。
Then step back quickly to the left to again make a horse-riding stance as your right hand sends the staff to the rear, drawing a [counterclockwise] circle that brings it back to the right side of your waist. See photo 35b:
功用：
Application:
彼漏過我挑槍之勢，而欲自下點我之膝盖，我因此乃用走馬而纏槍之法破觧之。
The opponent evades my carrying action and now tries to do a tapping attack to my [right] knee, so I use “running horse” stepping [to evade it] together with a “coiling spear” technique to knock it aside.
第三十六式 黃龍撞浪
Posture 36: YELLOW DRAGON CRASHES AGAINST THE WAVES
説明：
Explanation:
循上式先拉起右脚然後往，右方標去仍為騎馬式右手伸出全棍標出如定式圖
Continuing from the previous posture, your right foot first pulls back and then darts out to the right to again make a horse-riding stance as your right hand reaches out, sending the whole staff darting out to the right. See photo 36:
功用：
Application:
我上式雖能纒去來械但仍未予還擊因此乃有此着為之殿也抑亦發生聯擊之作用我緊食上式而直撞彼腹部焉。
Although in the previous technique I was able to coil aside the opponent’s incoming weapon, I have not yet counterattacked, and so I use this technique as a reinforcing rearguard, producing an effect of continuous attack. Capitalizing on my previous position, I now send my staff crashing straight into his belly.
第三十七式 左路劈殺
Posture 37: LEFT ADVANCE, CHOPPING SMASH
説明： 功用：
Explanation & application:
與第十一式同
Same as in Posture 11. See photo 37:
第三十八式 右路劈殺
Posture 38: RIGHT ADVANCE, CHOPPING SMASH
説明： 功用：
Explanation & application:
與第十二式同
Same as in Posture 12. See photo 38:
第三十九式 偷歩挿柳
Posture 39: STEALTH STEP, HANGING WILLOW
説明：
Explanation:
循上式左脚自前偷過右方以成偷歩之勢棍自頭頂反挿過後方如定式图
Continuing from the previous posture, your left foot steps to the right to make a stealth-step position and the staff goes over your head and pokes down behind you. See photo 39:
功用：
Application:
彼欲自我後追踪擊入我先偷歩以缷其勢再自頂上挿去一棍實寓攔架與挿擊在內也
The opponent behind me is closing in and about to strike, so I first do a stealth step to get farther away from him, then I send my staff over my head to block him with a movement that also contains a poking action.
第四十式 一柱金樑
Posture 40: A PILLAR SUPPORTING A ROOF BEAM
説明：
Explanation:
循上式先將右脚移過面前如過渡式圖
Continuing from the previous posture, first your right foot steps forward [to the right]. See photo 40a:
再左脚自後偷過右方以成坐盤式同時將棍調轉為左上右下如定式图
Then your left foot does a stealth step behind you to the right to make a sitting-twisted stance as the staff turns over [clockwise] so that your left hand is above, right hand below. See photo 40b:
功用：
Application:
彼擬自我右前方橫殺一棍我即轉歩攔之
The opponent uses his staff to smash across at me from my forward right, so I step in and turn my staff over to block it.
第四十一式 金龍盤柱
Posture 41: GOLDEN DRAGON COILS AROUND THE PILLAR
説明：
Explanation:
循上式先移左脚過左方如過渡式圖
Continuing from the previous posture, first your left foot steps to the left. See photo 41a:
再右脚自後偷過左方成坐盤式棍則調左手為下右手作上即全棍調轉是也如『定式圖』
Then your right foot does a stealth step behind you to the left to make a sitting-twisted stance as the staff turns over [counterclockwise] so that your left hand is below, right hand above. See photo 41b:
功用：
Application:
彼以橫殺我右方不果乃改向我左斜方殺來我移歩換棍再作遮攔
Having smashed across to my right side to no effect, the opponent switches to smashing across to my left side, so I step out in the other direction and turn my staff over the other way to block it.
第四十二式 推窗看月
Posture 42: PUSH OPEN THE WINDOW TO GAZE AT THE MOON
説明：
Explanation:
先將右脚自後繞出進前以成登山式右手棍自身傍抽出如『定式图』
[Continuing from the previous posture,] your right foot arcs around from behind and steps forward to make a mountain-climbing stance as your right hand sends the staff whipping out from beside your body. See photo 42:
功用：
Application:
與第十式同
Same as in Posture 10.
第四十三式 左路劈殺
Posture 43: LEFT ADVANCE, CHOPPING SMASH
説明 功用：
Explanation & application:
與第十一式同
Same as in Posture 11. See photo 43:
第四十四式 背棍撞鐘
Posture 44: PULL THE STAFF BEHIND YOU, RING THE BELL
説明：
Explanation:
循上式先提右後脚成獨立式右手棍貼右身傍將棍拉返如過渡式甲圖
Continuing from the previous posture, first your right foot lifts to make a one-legged stance as your right hand pulls back the staff, [your left hand lifting and pushing out forward]. See photo 44a:
原歩不变右手由後復向前轉出左手收於右腋窩之內如過渡式乙图
Then with your stance not changing, your right hand sends the staff arcing upward and then forward, your left hand withdrawing to your right armpit. See photo 44b:
右脚向前落下以成登山式右手往後收於右腰後為單手持棍左手離棍变拳直衝而出如『定式图』
Then your right foot comes down forward to make a mountain-climbing stance and your right hand withdraws the staff behind the right side of your waist, holding the staff on its own, as your left hand lets go of the staff, becomes a fist, and thrusts out. See photo 44c:
功用：
Application:
與第三十三式同
Same as in Posture 33.
第四十五式 反手挑槍
Posture 45: REVERSING HANDS, CARRYING LIKE A SPEAR
説明：
Explanation:
循上式先拉起前右脚成跨虎歩狀左手返腋下握囬右手棍之上如過渡式圖
Continuing from the previous posture, first pull back your right foot to make a sitting-tiger stance as your left hand withdraws under your [right] armpit to grab the staff and your right hand sends the staff forward. See photo 45a:
再乘拉歩之便而前衝出成騎馬式右手棍由下逆抽而上如定式图
Then make use of the momentum from pulling back your foot to rush forward into a horse-riding stance as your right hand sends the staff [into a clockwise circle on your right side and] whipping out upward from below. See photo 45b:
功用：
Application:
與三十四式祗差方向耳
Same as in Posture 34, except facing in the opposite direction.
第四十六式 走馬纒槍
Posture 46: RUNNING HORSE, COILING LIKE A SPEAR
説明：
Explanation:
循上式先拉起右脚，右手棍沉低，以備作走馬及圈槍之用，如過渡式圖，
Continuing from the previous posture, first your right foot pulls back in preparation to hop away and your right hand sends the staff sinking down in preparation for drawing a circle. See photo 46a:
往後走歩以成騎馬式，右手棍往後下方繞轉成一圈，形然後成為如『定式圖』。
Then step away quickly to again make a horse-riding stance as your right hand sends the staff downward to the rear, drawing a [counterclockwise] circle. See photo 46b:
功用：
Application:
與第三十五式同祗方向之異耳
Same as in Posture 35, except facing in the opposite direction.
第四十七式 黃龍撞浪
Posture 47: YELLOW DRAGON CRASHES AGAINST THE WAVES
説明：
Explanation:
循上式先拉起右脚再全身原歩標前全棍同時向前撞出如『定式图』
Continuing from the previous posture, your right foot first pulls back and then your whole body darts forward [to again make a horse-riding stance] as the whole staff crashes out forward. See photo 47:
功用：
Application:
與第三十六式同祗方向之别耳
Same as in Posture 36, except facing in the opposite direction.
第四十八式 背棍撞鐘
Posture 48: PULL THE STAFF BEHIND YOU, RING THE BELL
説明：
Explanation:
循上式先提起右脚移過左方成獨立式棍亦前轉過左正方右手提出如過渡式甲图
Continuing from the previous posture, first your right foot lifts to make a one-legged stance as your right hand sends the staff arcing to the left [right], your right [left] hand lifting and pushing out forward. See photo 48a:
右脚落下成登山式左右手往後收於腋內如過渡式乙图
Then [with your stance not changing, your right hand sends the staff arcing upward and then forward as] your left hand withdraws to your right armpit. See photo 48b:
左手化拳衝出如定式图
Then [your right foot comes down to make a mountain-climbing stance and your right hand withdraws the staff behind you as] your left hand becomes a fist and thrusts out. See photo 48c:
功用：
Application:
與第三十三式及四十四式同祗差方向耳
Same as in Postures 33 and 44, except in a different direction.
第四十九式 救弟團圓
Posture 49: RESCUING LITTLE BROTHER AND HAVING A REUNION
説明：
Explanation:
循上式原歩不動左手先握囬棍之上段如過渡式甲图
Continuing from the previous posture, with your stance not yet changing, your left hand returns to grab the upper section of the staff. See photo 49a:
左脚拍前成立正狀右手棍自下挑出如過渡式乙图
Then your left foot stomps forward to make a posture of standing at attention as your right hand sends the staff carrying upward from below. See photo 49b:
再放右手变掌自下繞上加於頭頂如定式图
Then [rotate the staff clockwise so that your left hand goes upward and your right hand goes downward, and the end of the staff touches the ground]. Then your right hand lets go, becomes a palm, goes downward, and then arcs upward to be placed above your headtop. See photos 49c & 49d:
功用
Application:
撞鐘為順轉之打花式此為逆轉之打花式其用處亦大致相同上路至此已完
RING THE BELL involves a normal flourish, whereas this posture performs a reverse flourish. Its usage would be mostly the same [but in this case carrying aside an incoming weapon rather than chopping it away], and it also serves as the conclusion to Part 1.
–
[FIFTH SON’S STAFF – Part 2]
第一式 左路劈殺
Posture 50: LEFT ADVANCE, CHOPPING SMASH
説明：
Explanation:
循上路之團圓式作起式，兩手不動，先以右脚踢入棍內，如『過渡式甲圖』
Continuing from the final posture of Part 1, perform the opening posture of Part 2. With your hands not changing their position, your right foot kicks up the staff from the inner side [i.e. kicking it on its left side to get to rise to the right]. See photo 50a:
因踢起棍而以右手接囬棍之下段，右脚自面前踏進，左脚更進一歩以成左登山式，右手握棍由後向前劈落，如『定图式』
With the staff rising due to being kicked, your right hand grabs it at the lower section, then your right foot advances [to the left] and your left foot also advances a step to make a left mountain-climbing stance, your right hand at the same time sending the staff chopping down forward from the rear [with the hand sliding inward]. See photo 50b:
功用
Application:
彼自我左方刺來一械，我以右脚踢動竪地之棍然後進前歩半力劈之
An opponent uses a weapon to stab at me from my left, so I use my right foot to kick my staff back up off the ground, then advance a step and a half and forcefully chop at him.
第二式 右路劈殺
Posture 51: RIGHT ADVANCE, CHOPPING SMASH
説明：
Explanation:
循上式原歩未動右手先探出外棍端，進右脚成右登山歩，左手棍自後向前劈落，如『定圖式』
Continuing from the previous posture, with your stance not yet changing, first your right hand slides all the way to the outer end of the staff, then your right foot advances to make a right mountain-climbing stance as your left hand sends the staff chopping down forward from the rear. See photo 51:
功用：
Application:
彼退馬求觧禳，或更以械自我下刺来，我亦緊食其撤退之弱点，而再予以劈殺使彼無喘息機㑹也！
The opponent retreats, hoping of finding a way out of his predicament, or to reset himself and again stab at me below, so I quickly make use of the flaw in his retreating position by again giving him a chopping smash, and thereby giving him no chance to rest.
第三式 囬棍撩陰
Posture 52: PULL BACK THE STAFF, KICK TO THE GROIN
説明：
Explanation:
循上式左手拉棍往左身傍抽返右手自上掠出同時踢出左脚如定式图
Continuing from the previous posture, your left hand pulls back the staff on your left side, your right hand sweeping out above, as your left foot kicks out. See photo 52:
功用：
Application:
彼擬以械自我左腰部橫殺來一着我先囬棍卸之再乘時出脚威脅其下路焉
The opponent uses his weapon to smash across to the left side of my waist, so I pull back my staff to dispel it while also taking advantage of the opportunity to send out my foot to threaten his lower his area.
第四式 馬式力劈
Posture 53: HORSE-RIDING STANCE, POWERFUL CHOP
説明
Explanation:
循上式先落下踢起之左脚再提起右脚作躍前之凖備如『過渡式』图
Continuing from the previous posture, first your left foot comes down. Then your right foot lifts in preparation to jump forward [while the staff arcs from left to right]. See photo 53a:
因乘右脚提起之便而全身蹤跳而前以成騎馬式棍自左後方返殺過右前方如『定式图』
Then taking advantage of the momentum of your right leg lifting, your whole body leaps forward to make a horse-riding stance as the staff goes from the left rear to smash down forward to the right. See photo 53b:
功用：
Application:
彼為我踢脚威脅而往後再退我乘勢轉棍迊頭劈之
The opponent backs away, intimidated by my kick, so I take advantage of the momentum by [leaping forward while] drawing an arc with my staff that sends it chopping toward his head.
第五式 登山鎻喉
Posture 54: MOUNTAIN-CLIMBING STANCE, THRUST TO THE THROAT
説明：
Explanation:
循上式由騎馬式伸直右脚轉為左登山式右手棍往前直標而出使與左手拍貼為止如『定式图』
Continuing from the previous posture, your right leg straightens to switch you to a left mountain-climbing stance as your right hand sends the staff shooting out forward until the hand meets your left hand. See photo 54:
功用：
Application:
彼受我一劈而亟側首欲避或我已劈去來械乃順勢直取其喉部斯鎖喉槍法之一種險着也
The opponent sees my chop coming and quickly tilts his head away to evade it, or I have chopped away his weapon. In either case, I then seize the opportunity by going straight for the throat. This spear-like technique is a very dangerous action.
第六式 展旗劈殺
Posture 55: WAVE THE BANNER, CHOPPING SMASH
説明：
Explanation:
循上式先將左前登山向後轉為右登山歩左手離棍右手持棍往右後方撇去如過渡式甲图
Continuing from the previous posture, first your left mountain-climbing stance pivots to the rear to become a right mountain-climbing stance as your left hand lets go and your right hand swings the staff toward the right rear. See photo 55a:
再進左脚以成左登山式棍仍由右手單持由前繞過後方如過渡式乙圖
Then your left foot advances to make a left mountain-climbing stance as your right hand continues to send the staff arcing behind you. See photo 55b:
再原歩不变棍由後復向前左手再接囬原握處由上殺下，如『定图式』
Then with your stance not changing, the staff comes forward from the rear and your left hand grabs the staff again to send it chopping down from above. See photo 55c:
功用：
Application:
彼以多人多械紛紛自我上路作蜜集攻𨊥因此我乃使用此險着以觧此危。
There are many opponents attacking my upper area in rapid succession, and so I employ this somewhat risky maneuver to reduce the danger to me.
第七式偷歩左抽
Posture 56: STEALTH STEP, WHIPPING TO THE LEFT
説明：
Explanation:
循上式先將左前脚向左斜方移進如過渡式图
Continuing from the previous posture, first your left foot shifts diagonally to the left [as your left hand slides out all the way to the far end of the staff]. See photo 56a:
再將右脚自後偷過左方以成偷歩之勢左手棍向左肩上拉起右手棍自後向前上方抽起如『定式图』
Then your right foot goes behind you to the left to make a stealth-step position as your left hand rises up and pulls back the staff until it is over your left shoulder, your right hand at the same time sending the staff whipping out forward and upward. See photo 56b:
功用：
Application:
彼為展旗劈殺之勢所懾疾斜走我左方逃避我亦跟踪走過左方用右手棍自下逆抽之
Intimidated by my previous technique, the opponent quickly dodges away to my left, so I quickly follow him to the left as I use my right hand to send the staff whipping out from below.
第八式 偷歩右抽
Posture 57: STEALTH STEP, WHIPPING TO THE RIGHT
説明
Explanation:
循上式先將右脚移開過右方如過渡式图
Continuing from the previous posture, first your right foot steps out to the right [as your right hand slides out all the way to the far end of the staff]. See photo 57a:
再將左脚自後偷過右方以成偷歩式同時右手向外棍端探出至尽右手由外而返貼右肩之上左手棍由後下方抽出前上方如『定式图』
Then your left foot goes behind you to the right to make a stealth-step position as your right hand pulls back the staff until it is over your right shoulder, your left hand at the same time sending the staff whipping out forward and upward. See photo 57b:
功用：
Application:
彼以我跟入左方乃走過右方避我我亦隨而走過右方再換手換歩自下逆抽之
Once I am following the opponent to the left, he switches to dodging away to my right, so I now follow him in that direction, switching my hands and my feet to again send the staff whipping out at him from below.
第九式 登山直抽
Posture 58: MOUNTAIN-CLIMBING STANCE, WHIPPING STRAIGHT AHEAD
説明：
Explanation:
循上式由徧右方而將左脚往踏正取囬直線左手先向前棍端探出至尽如過渡式图
Continuing from the previous posture, your left foot goes from the right side to step forward back onto a straight line as your left hand slide out all the way to the forward end of the staff. See photo 58a:
然後髙返於左肩之上右手棍由後下方直抽出前上方如『定式图』
Then your left hand pulls back the staff until it is over your left shoulder as your right hand sends the staff whipping out upward and straight ahead. See photo 58b:
功用：
Application:
與七八两式大致相同祗斜正方向畧異
Mostly the same as in Postures 56 and 57, except this time going straight ahead instead of at an angle.
第十式 背棍撞鐘
Posture 59: PULL THE STAFF BEHIND YOU, RING THE BELL
説明：
Explanation:
循上式先提起右後脚如獨立之狀右手棍往後一拖左手棍向前一推如過渡式甲图
Continuing from the previous posture, first your right foot lifts to make a one-legged stance as your right hand pulls back the staff, your left hand lifting and pushing out forward. See photo 59a:
再落右脚於前方成登山歩右手再由後轉前復歸於腋下左手亦靠貼腋部如過渡式乙图
Then [with your stance not changing], your right hand sends the staff arcing upward and then forward, your left hand withdrawing to your right armpit. See photo 59b:
再放左手用拳直向前衝去如定式图
Then [your right foot comes down forward to make a mountain-climbing stance and your right hand withdraws the staff behind you as] your left hand becomes a fist and thrusts out forward. See photo 59c:
功用：
Application:
與上路第四十四式完全相同
Same as in Posture 44.
第十一式 反手挑槍
Posture 60: REVERSING HANDS, CARRYING LIKE A SPEAR
説明：
Explanation:
循上式先拉起前右脚作跨虎狀左手返囬原處握棍右手舉棍前出如過渡图
Continuing from the previous posture, first pull back your right foot to make a sitting-tiger stance as your left hand withdraws [under your right armpit] to grab the staff and your right hand sends the staff forward. See photo 60a:
右手返囬後下方繞半圈形再自下抽出同時亦將拉起之右脚標前成為騎馬式如『定式图』
Then your right hand sends the staff arcing through a [clockwise] half circle toward the rear [on your right side] and then whipping out from below as your right foot darts forward to make a horse-riding stance. See photo 60b:
功用：
Application:
與上路第四十五式同
Same as in Posture 45.
第十二式 走馬纒槍
Posture 61: RUNNING HORSE, COILING LIKE A SPEAR
説明：
Explanation:
循上式先提起左後脚以備作跳前之勢右手向下沉低如過渡式图
Continuing from the previous posture, first your left [right] foot pulls back in preparation to hop forward and your right hand sinks down. See photo 61a:
再全身向右前方躍進以成騎馬式棍由右手向下繞右轉左成一圈形而復收於腰部如『定式圖』。
Then your whole body hops forward to the right to again make a horse-riding stance as your right hand sends the staff arcing downward to the right and then [upward] to the left, drawing a [counterclockwise] circle that brings it back to your waist. See photo 61b:
按：—
Note:
上路之走馬纒槍，是跳後者，此式則反而跳前上路是棍由前轉後成一圈者，此式則是由後轉前繞成一圈者完全相反也。
In Part 1 [Postures 35 and 46], this is an action of hopping away, meaning that the circle takes the staff from front to rear, whereas in this case it is an action of hopping forward, meaning that the circle instead takes the staff from rear to front.
功用：
Application:
是用以纒繞対方之槍，使彼無法突入者，稍有機㑹，即用撞浪法攻入矣
I use a technique of coiling around the opponent’s spear to cause him to have no means of getting through, which also sets him up to be attacked by the following “crashing against the waves” technique.
第十三式 黃龍撞浪
Posture 62: YELLOW DRAGON CRASHES AGAINST THE WAVES
説明：
Explanation:
循上式原歩向右方尽力標前仍如騎馬式右手棍向右前方伸尽衝出如『定式图』
Continuing from the previous posture, your right foot [first pulls back] and then forcefully darts forward to the right to again make a horse-riding stance as your right hand sends the staff thrusting out forward to the right. See photo 62:
功用：
Application:
與上路第四十七式同
Same as in Posture 47.
第十四式 走馬纒槍
Posture 63: RUNNING HORSE, COILING LIKE A SPEAR
説明： 功用：
Explanation & application:
與第十二式同
Same as in Posture 61. See photos 63a & 63b:
第十五式 黃龍撞浪
Posture 64: YELLOW DRAGON CRASHES AGAINST THE WAVES
説明： 功用：
Explanation & application:
與第十三式同
Same as in Posture 62. See photo 64:
第十六式 走馬纒槍
Posture 65: RUNNING HORSE, COILING LIKE A SPEAR
説明： 功用：
Explanation & application:
與第十二式同
Same as in Posture 61. See photos 65a & 65b:
第十七式 黃龍撞浪
Posture 66: YELLOW DRAGON CRASHES AGAINST THE WAVES
説明： 功用：
Explanation & application:
與第十三式同
Same as in Posture 62. See photo 66:
第十八式 展旗劈殺
Posture 67: WAVE THE BANNER, CHOPPING SMASH
説明：
Explanation:
循上式左右脚不变原來位置祗化為向後之左登山式右手離棍左單手持棍撇過左後方如過渡式甲图
Continuing from the previous posture, your feet stay in their location and simply pivot to the rear to make a left mountain-climbing stance as your right hand lets go and your left hand swings the staff toward the left rear. See photo 67a:
右脚追前一歩右手仍為掌左手持棍轉過後方如過渡式乙图
Then your right foot continues forward a step as your left hand continues to send the staff arcing behind you, your right hand remaining a palm. See photo 67b:
成右登山式右手握囬棍之原處由面前劈落如定式图
Then as you make a right mountain-climbing stance, your right hand grabs the staff again and sends it chopping down forward. See photo 67c:
功用：
Application:
與第六式同祗左右手及方向畧異耳
Same as in Posture 55, except with left and right reversed and facing in the opposite direction.
第十九式 左路劈殺
Posture 68: LEFT ADVANCE, CHOPPING SMASH
説明：
Explanation:
循上式先探右手往前棍端尽處再進左脚成登山式左手棍由後往前直劈而下如『定式图』
Continuing from the previous posture, first your right hand slides out all the way to the forward end of the staff, then your left foot advances to make a mountain-climbing stance as your left hand sends the staff smashing down forward from the rear [with the hand sliding inward]. See photo 68:
功用：
Application:
與第六式畧同
Mostly the same as in Posture 6 [same as in Posture 29].
第二十式 偷歩斜舉
Posture 69: STEALTH STEP, RISING DIAGONALLY
説明：
Explanation:
循上式先將左脚自前往後偷返以成偷歩之势棍由面前斜斜舉起如『定式图』
Continuing from the previous posture, your left foot does a stealth step behind your right foot as the staff rises up diagonally. See photo 69:
功用：
Application:
彼以械偷擊我左方我趁勢將棍斜舉俾攔消來勢
The opponent uses his weapon to sneak an attack to my left side, so I respond to the situation by sending my staff diagonally upward to block away his attack.
第二十一式 崩打一棒
Posture 70: CUDGELING WITH AN AVALANCHE STRIKE
説明：
Explanation:
循上式先循轉身棍隨而轉過左方再轉身之勢变為右登山法左手離開棍右手用力向前劈落於地如『定式图』
Continuing from the previous posture, turn your body to the left, the staff passing over your left side, and switch to a right mountain-climbing stance [by advancing your right foot], as your right hand to forcefully sends the staff chopping forward all the way to the ground, your left hand coming away. See photo 70:
功用：
Application:
彼械為遮去後疾再刺來一着我先轉馬卸退之再施以猛劈之一着使無能再有反抗之力也
Once the opponent’s incoming stabbing attack has been blocked aside and I have retreated out of the way, I then change my stance and execute a fierce chopping technique that is so forceful it renders him unable to resist against it.
第卄二式 蹤歩卧虎
Posture 71: JUMPING STEP, CROUCHING TIGER
説明：
Explanation:
循上式先退右脚左手握囬原處如過渡式甲图
Continuing from the previous posture, first your right foot retreats [your right hand pulling the staff back] and your left hand goes back to grabbing the staff at the same spot as before. See photo 71a:
原棍不動拉起左脚以便作小跳如過渡式乙图
Then with the staff position not changing, pull back your left foot to go into a small hop. See photo 71b:
再往後方跳仆左腿全棍隨身仆下『如定式图』
Then hop to the rear and go into a left reaching-leg stance as the entire staff goes along with your body and pounces down. See photo 71c:
功用：
Application:
我旣崩殺來械彼漏過我劈殺且隨而由下疾發一着刺來因此我乃返身疾走以仆去之
Once I have smashed away the opponent’s incoming weapon, he pulls away from my chopping action and quickly sends a stab from below, so I just as quickly retreat my body and press his weapon down.
第卄三式 登山鎻喉
Posture 72: MOUNTAIN-CLIMBING STANCE, THRUST TO THE THROAT
説明：
Explanation:
循上式由左仆腿化作左登山式棍自地面起向前直標而去如『定式圖』
Continuing from the previous posture, switch to a left mountain-climbing stance as the staff rises off the ground and shoots out forward. See photo 72:
功用：
Application:
與第五式大致相同祗方向之别耳
Mostly the same as in Posture 54, except toward a different direction [actually still the same direction as before].
第卄四式 背棍撞鐘
Posture 73: PULL THE STAFF BEHIND YOU, RING THE BELL
説明：
Explanation:
循上式先提起右脚以向面前右手將棍往後拉如過渡式甲图
Continuing from the previous posture, first your right foot lifts forward [to make a one-legged stance] as your right hand pulls back the staff, [your left hand lifting and pushing out forward]. See photo 73a:
再原歩不变右手探前左手收於右腋部如過渡式乙图
Then with your stance not changing, your right hand sends the staff [arcing upward and then] forward, your left hand withdrawing to your right armpit. See photo 73b:
再落下右脚以成右登山式右手將棍往後收於背部左手離棍化拳向前衝出如『定式图』
Then your right foot comes down to make a mountain-climbing stance and your right hand withdraws the staff behind you as your left hand lets go of the staff, becomes a fist, and thrusts out forward. See photo 73c:
功用：
Application:
與上路第四十八式同
Same as in Posture 48.
第卄五式 救弟團圓
Posture 74: RESCUING LITTLE BROTHER AND HAVING A REUNION
説明：
Explanation:
循上式先左脚拍前以成立正之狀左手握囬棍之上段如過渡式图
Continuing from the previous posture, [with your stance not yet changing,] your left hand returns to grab the upper section of the staff. See photo 74a:
再左手不動右手向外舉起如過渡式乙图
Then [your left foot stomps forward to make a posture of standing at attention], and with your left hand maintaining its position, your right hand goes out and lifts up. See photo 74b:
再左手在上右手在下棍端着地如過渡式图
Then [rotate the staff clockwise so that] your left hand goes upward and your right hand goes downward, and the end of the staff touches the ground. See photo 74c:
右手離棍化掌從下繞上橫架於頭上如『定式图』
Then your right hand lets go, becomes a palm, goes downward, and then arcs upward to block across above your head. See photo 74d:
功用：
Application:
與上路第四十九式同亦全棍已完之收式
Same as in Posture 49, as well as serving as the closing posture for the whole set.
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[View an original Chinese edition of Fifth Son’s Eight-Trigrams Staff, provided by the Ravenswood Academy.]
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[Included below is a brief segment on the spear, also from Huang’s Notes on the Mantis Boxing Art (1951).]
槍術發秘
SECRETS OF THE SPEAR ART
凡談槍法者靡不知唐之羅家囘馬鎖喉槍，與夫宋末岳武穆之十三槍法，余曾聞某拳師言楊家槍者，蓋楊家并非以槍得名，山後楊令公繼業，世稱之為金刀楊令公，顧名思義則思過半矣，又何用乎筆者之喋喋奚為！
槍為古式兵械，亦為四大武器之一，然槍之構造形色亦各異，如張翼德之蛇矛槍，槍鋒之下加一鈎是為鈎鐮槍，古時用之為衝鋒陷陣，槍桿多屬鐵製，近人因火器日盛，縱有好於槍道者，亦因氣力關係，多以木桿代之，北方盛產白臘桿子，為槍桿之天然產品，南方則缺少此種植物，因以人工培植榕樹之大鬚，用生油浸之使加强靱性，古之所謂丈八長槍者，實因當時在馬上作戰，需連馬匹亦在保護之內，是以如此，或因古時之尺寸與今日略有差異，今之標準尺度應以舉手看齊為合，太長則不易使之靈活，太短則槍棒不分，致貽識者之笑。
槍軋一條龍，槍出一條線，此皆槍之要法，百日刀，千日槍是衡量其難易之處也，一槍之微，恆練數十年未臻妙境也，吾人豈可輕視之乎？
When discussing spear methods, everyone knows of the Luo family of the Tang Dynasty and their famous technique of turning and stabbing to the throat, and Song Dynasty general Yue Fei’s Thirteen-Method Spear. I once heard a certain boxing master say of the Yang Family Spear that it was not really a spear [but a staff being used in a spear-like way]. General Yang Jiye of Hebei [Shanxi] was known by all as “Golden Halberd” General Yang. The name says it all and I do not need to describe his weapon usage. The spear is an ancient weapon, one of the four main weapons of the military. But there was a variety of different spear shapes, such as Zhang Fei’s “snake-winding spear” or the “hooking-sickle spear” which had a hooked blade added below the spear tip.
In ancient times, spears were used for frontal assaults, and the spear shafts were often made of iron. In our modern times, there are more and more firearms, and so even though there are people who are fond of spear methods, they are practicing them mainly as a means of developing power. The shafts nowadays are thus typically made of wood instead of iron. [Wooden shafts are flexible and will shake, thereby revealing the extent of one’s power, whereas a firm iron bar will not show power being transmitted through the weapon, only the effect of impact.] In the north, there is an abundance of white waxwood poles, and so spear shafts are a natural product there. But in the south, there is a lack of such plants, and so people cultivate banyan trees as a source for spear shafts and then soak them in oils to increase resilience.
Ancient people talked of eighteen-foot spears. This is because they went into battle in chariots, positioned behind a team of four horses, and therefore the weapons had to have a long reach. Due to the differences in measurements between ancient times and modern, the standard nowadays is simply that it should reach the same height as an upward-stretched hand. Too long and it will not be easy to wield with nimbleness. Too short and it will be no different from a staff. The result in either case would be laughter from knowledgeable practitioners.
“The spear rolls like a dragon and shoots out like a thread.” This describes the major actions of the spear. “It takes a hundred days to learn the saber, a thousand days to learn the spear.” This reveals its level of difficulty in relation to other weapons. The subtleties of the spear are such that even after decades of persevering practice, one will still not have reached the highest level. Truly we could never look down on such a weapon.
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Brennan Translation 