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工力拳
GONGLI BOXING SET
紹興縣國術館
by the Shaoxing County Martial Arts Institute
[1938]
[translation by Paul Brennan, May, 2019]
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工力拳
母拳
Gongli Boxing Set and its Basic Elements
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緒言
FOREWORD
處在這個人類互相殘殺的時代，生命的寄生，常在技能的不知不覺之間，人類要求生存，便須集合某一民族的心意，致力於集體的安全，所以要求大我的生存，便須自我出發，自力更生，以適應環境。
東浙具有數千年文化的歷史，文事武備的修明，早有事實的昭示，當此民族存亡生死關頭，國家有遷戌禦邊的權利，人民便應盡服役的義務，吾越自實施社會軍訓以來，大多數國民都已武裝，抱着敵愾同仇的朝氣，誓願效死疆場，執干戈以衞社稷，為民族求生存，可是返觀自從征兵以來，一般國民志願從戎而因體格的不合者甚多，致救國熱誠，有心餘力拙之歎，詎不知這種民族武力汩滅的由來，不是傳統的而是時間的問題，我們看，楚漢戰爭時的項羽，江東八千子弟兵，縱橫海內，所至無敵，充分表示浙東健兒的身手：越王勾踐含垢忍辱，十年生聚教育的結果，卒能沼強吳而霸天下，戚繼光練兵疏中，有：「寇入平原利車戰，在近邊利馬戰，在邊外利步戰，三者迭用，乃可制勝，今邊兵惟習馬耳，未嫻山戰林戰谷戰之道也，惟浙兵能之，願更予臣浙東殺手砲手各三千，再募西北壯士，足馬軍五枝，步軍十枝，專聽臣訓練。」極言浙兵的可用，其鎭守蘇州永平山海時，邊軍不知軍令，迨浙兵三千至，陳郊外，天大雨，自朝至日昃植立不動，邊軍大駭自是始知軍令，於是其兵精堅雄壯，可知東浙國民，本來有勇敢的精神，健全的身體，和紀律的服從，加以正規的訓練，遂可蕩寇滅倭，建保衞民族的功勳。現在強寇依恃着飛機大砲和坦克車，侵佔我土地，殺戳我同胞，刦掠我財產，非至中國亡滅種不止，我們為保衞國家民族而抗戰，已抱定犧牲的精神，大家起來站在最前線作抗日自衞的工作，同時深入敵人的後方，作廣泛的游擊戰，以為積極的抵抗，致敵於死命，在此場合，便須利用自我出發的技能，才能收勇敢堅強的效果，於是而古董式的國術，便為軍事輔助上的重要條件，所以我們對國術的訓練，便有如下的信條：
一、國術訓練，可以加強體力，肩負抗戰鉅任。
二、國術訓練，可以憑自我的技能，靈敏的態姿，以攻擊敵人。
三、國術訓練，可以博取最後五分鐘肉搏時的勝利。
四、國術訓練，可以在自衞的原則下，推廣至保衞國家。
五、國術訓練，可以激發國民尚武的精神，造成抗戰時堅強的壁壘。
本館主持全縣國術訓練事宜，已達六週，平時為着怎樣才可合於上述各條的要求的慾望，覺得僅靠着自我訓練的不夠，跟着這樣嚴重時期的進展，認為適應非常需要的國術，作普遍的倡導，便非釐訂一種進度最速，成效最著的國術教材不可，本館本此信仰，爰有戰時國術教材的選擇和撰述。
教材的選擇綦難，而求其切合於實用的教材更難，尤其是火器和科學的時代，根本談不到已落伍的古代國術，雖然國術的功效，還能在戰場上博得最後决鬭的勝負，然而怎樣才能合乎這必需的要求和適應游擊技術，則教材的邏輯，便含有很重要的意義。
戚繼光將軍說：「今之鄕兵，狃於平昔所習武藝之蔽，不信師教，遂誤大事者甚多。」又說：「當於經籍中採其精華，師以意而不泥，實事中造其知識，衡於己而通變，推而進之於眞武，直取上乘。」就是說，要求眞正的學問，必須有正統的傳授，狹聞摭取，臨事必不適用。近來國術人員，略知皮毛，率爾施教，訛以傳訛，不但無益，實妨礙整個訓練的目的，所以在此國術訓練目標徬徨的時代，不能不有一個中心的教材，作中流的砥柱。
這一本小册的敍述，我們認為教學的可以教用，而欠缺的，在編譯時，因着時間的關係，不能把使用法作詳細的解釋，實為遺憾的事，好在我們正在繼續的審編中，或須時間允許的話，再來一個使用法的說明，為教學者參考。
曾壽昌於紹興縣國術館 二七•九•三十•
We are now in a time in which human beings are massacring each other [the war with Japan (1937–1945) now in its second year], the taking of life being a constant underlying instinct. For any group of human beings to survive, they have to join together as one people, devoted to the safety of the whole community. But to strive for the survival of one’s nation, it has to start from oneself and one’s own efforts in order to adapt to the circumstances.
Eastern Zhejiang has several thousand years of cultural history, enlightened in both civil and martial matters, and this has been clear since its earliest days. But now these people are in a life-or-death crisis, for the whole nation has a right to be defended against destruction, and all of its people have a duty to do their utmost to protect it. Since we of eastern Zhejiang have implemented military training throughout our society, most of our people have been armed, are full of vigor to fight the common enemy, and have pledged to fight him to the death in battle. They carry their weapons to defend their homeland and keep the nation alive.
However, when we take a look at who is enlisting, it is ordinary people who aspire to join the cause but do not very often have a physique that is up to the task. They are earnest about saving the nation, but alas they are all willpower and no strength. How is it not understood that such people have little potential as part of a military force? This is not a traditional concern, but it is now a pertinent one.
We see that during the Chu-Han Contention [206–202 BC], Xiang Yu formed an army of eight thousand men from eastern Jiangsu and they swept throughout the land invincibly. For an example of valiance from eastern Zhejiang, King Goujian of Yue endured humiliation [by being forced to serve as the servant to King Fuchai of Wu for three years] and then trained himself for ten years to avenge it, with the result that he was ultimately able to conquer the state of Wu and rule over the whole realm.
It says in General Qi Jiguang’s True Record of Military Training [text actually from Zhang Tingyu’s Ming History, vol 212]: “When invading plains, use chariots. For more uneven terrain, use cavalry. For very difficult terrain [such as narrow mountain passes or thick jungle], use infantry. Alternating the use of these forces can bring victory. The army nowadays has been training only cavalry, and so they are unskilled in mountain warfare, jungle warfare, or valley warfare, but our Zhejiang army is very capable in these situations. However, I want to give my eastern Zhejiang forces an additional three thousand cannoneers, a further recruitment of warriors from the northwest, another five cavalry battalions, another ten infantry battalions, and then I will train them hard!”
Perhaps the best way to express the capacity of Qi’s Zhejiang troops is to point out that when they were put on standby at the Suzhou, Yongping, and Shanhai garrisons, they awaited orders with exemplary patience, three thousand soldiers standing outside in the heavy rain from sunrise to sunset without moving. Then once the alarm came, they knew what they were supposed to do and behaved like hardened heroes. This shows that the citizens of eastern Zhejiang fundamentally have courageous spirit, strong bodies, and the discipline to follow orders, and so if they simply add regular training, they will surely be able to wipe out the invading Japs, performing with distinction the meritorious service of defending the nation.
The current invaders are equipped with planes, artillery, and tanks. They have been pouring into our lands, slaughtering out compatriots, plundering our property, and will not stop until our nation is conquered and our people are exterminated. [This fear of genocide does not need seem to be an overstatement considering the Rape of Nanjing had occurred just a matter of months before this was written.] We will defend our nation and our people with a war of resistance. We have a spirit of holding fast and are willing to make sacrifices, everyone rising up to man the front lines to carry out the task of resisting Japan in defense of ourselves, and at the same time, we are creeping up behind the enemy, carrying out extensive guerilla warfare. We will resist him vigorously until he is dead!
In this situation, one has to start from one’s own level of ability and then be able to become ever more courageous and strong. Therefore our antique martial arts are an important factor in aiding the military. We who are engaged in giving martial arts training have the following precepts: 1. Martial arts training can increase strength and make one able to bear the great burdens of war, 2. can enable one to rely on one’s own ability and agility in order to attack the enemy, 3. can bring victory in those critical moments in which hand-to-hand combat has become the deciding factor, 4. can extend principles of self-defense into the defense of the nation, 5. and can rouse the martial spirit of the citizenry to form a strong resistance movement.
This institute has overseen the martial arts instruction for the whole of Shaoxing County for six years now, but peacetime training does not really seem to suit the needs of the items listed above, and we also feel that relying only on self-instruction is inadequate to make the necessary progress in the wake of this critical period. We believe that martial arts training fills an extraordinary need, but making it widespread cannot be achieved unless we produce teaching materials that will produce the best results in the shortest amount of time. On the basis of this, we have been selecting and compiling wartime martial arts teaching materials.
It is already very difficult to select teaching materials, but it is much more difficult to pick the most practical ones, particularly in this modern age of science and firearms, in which our antique martial arts get dismissed as obsolete. The effectiveness of our martial arts can still be the decisive factor in combat, but there is the issue of which ones will conform to requirements and be the most suitable for guerilla warfare. Therefore the reasoning behind selecting what belongs in such teaching materials contains great significance.
Qi Jiguang said [from the intro to New Book of Effective Methods]: “If today’s village militias hide behind their customary methods of martial training instead of trusting in their instructors, they will make a great many bad mistakes.” And also: “By drawing from the best ideas in classical literature, an instructor will use concepts that are not muddled, and through experience he will build his knowledge. He will assess himself and improve, encouraged to progress to the most authentic martial skills and striving for the highest quality.”
In other words, to seek genuine knowledge, it is necessary to have access to traditional teachings. When drawing from only a narrow range of material, little will probably be suitable for dealing with situations. Recently, martial arts practitioners with only a slight understanding of these arts have rashly taken to teaching them, consequently passing on many errors. Not only is this not beneficial, it actually impedes the whole purpose of the training. Therefore in this era of garbled martial arts training, there is a need for core teaching materials in order to act as an anchor.
We believe the contents of this little book can be used for instructional purposes. Wherever there are gaps in our presentation of this information, this is due to time constraints rendering us unable to make more detailed explanations, something we truly regret. But fortunately we will continue to examine our work, and if time permits [which it apparently did not], we will make another edition that will include application explanations for teachers and students to refer to.
- written by Zeng Shouchang at the Shaoxing County Martial Arts Institute, Sep 30, 1938
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編者自序
COMPILER’S PREFACE
在這全面抵戰時期中，要求得最後勝利，就須要發動民衆，訓練民衆，使全國民衆都武裝起來，成為抗敵的生力軍，那末；發動和訓練的項目，除了授以軍事的，政治的，各種實際智識外，同時對於國術也應該要同樣的訓練，我們可以槪略的分兩點來說；
第一點；大家都知道這次抗戰的中心戰略是發動擴大的游擊戰，同時都曉得游擊戰的中心任務，是擾亂敵人的後方，破壞敵人的交通，以整化零的去制勝敵人，但是敵人防備的嚴密，是我們意料中事，要想混入他們的後方，當然是一件困難的事情，所以我們唯一的方法，是赤手空拳，化裝假扮，在敵人的嚴密盤查下，又不能攜帶武器，在這種場合，我們要想制勝敵人，就須有强健的體魄，和殺敵的方法，要想達到這兩點目的，最低的要求，祗有練習國術，因為國術，一方面能夠强健體魄，一方面有徒手殺敵的方法，可以利用敵人的武器，致敵人於死命，從這點看起來，可以證明國術在抗戰時期是非常重要的一種技能。
第二點；我們囘溯過去一二八滬戰及喜峯口等處抗戰的情形都知道大刀隊衝鋒陷陣殺敵致果的利害，敵人的大炮飛機坦克車固然可怕，可是我們大刀隊有神出鬼沒的技能，趁其不備，而衝鋒陷陣，這時敵人的飛機大炮坦克車根本失去效用，我們大刀隊就以靈敏的手腕，把敵人殺得天花亂墜手忙足亂，這又可證明國術在抗戰時期中是輔助軍事的一種必要條件。
我們應着戰時國術的需要，為使訓練人員進一步的研究起見，特地編輯這本小册，名曰「戰時國術教材」內分拳術刀槍三種，動作簡單明暸，而殺敵的效果很大，是最適合戰時武裝同志閱讀研究的，不過我們對國術並沒有深刻的研究，錯誤的地方，自然很多，希望國術界同志加以指正，這是我們非常感激而榮幸的。
In this time of all-out war, to achieve a final victory we must first mobilize and train the masses so that the whole nation can take up arms and become a force to resist the enemy. This project of mobilizing and training has to be more than a matter of teaching practical knowledge of military affairs, political awareness, and various other fields. There should be a uniform mentality of instruction, which we can summarize in two parts:
1. Everyone knows that the core strategy in this war is to initiate widespread guerilla warfare [the Chinese version of this term meaning “wandering attack fighting”]. Everyone also knows that the main purpose of guerilla warfare is to throw lines of support into disorder and wreck communications, subduing the enemy by breaking his force into smaller and smaller parts. However, the enemy is on his guard and liable to anticipate what we are up to, and so sneaking up behind the enemy is naturally a difficult task. Therefore one of our only methods is to go unarmed and in disguise [as unobtrusive peasants, willing collaborators, or wearing Japanese uniforms of fallen soldiers, and so on] into his midst. Since we cannot always carry weapons in this kind of situation, to defeat the enemy we have to have methods of both strengthening our bodies and slaughtering theirs. If we want to achieve these two objectives, the minimum requirement is simply that we practice martial arts. This is because martial arts are capable of strengthening the body and also have unarmed methods of killing an enemy and of using his own weapons against him to bring him death. This point indicates that martial arts are an extremely important type of skill during wartime.
2. Looking back on battles such as the Shanghai Incident [Jan–Mar, 1932] or Xifengkou Pass [March 12–24, 1933], everyone knows of the large saber units charging enemy lines and how devastating they were at killing the enemy and achieving victory. The enemy’s artillery, planes, and tanks were terrifying, but our large saber units had the ability to appear and disappear like ghosts, taking advantage of spots where the enemy was unprepared and charging through his lines, causing his planes, artillery, and tanks to lose their basic effectiveness. Our large saber units used incredible nimbleness to cause the enemy troops to drop dead like falling petals, maneuvering in such a way that the hands of our troops were a blur of movement and their steps were always unpredictable. This demonstrates that our martial arts are indeed an essential aid to the military during wartime.
To address the need for wartime martial arts studies, and for the purpose of helping instructors progress in their research, we have specially compiled handbooks such as this, called “wartime martial arts teaching materials”. Their contents are divided into the topics of boxing arts, sabers arts, and spear arts. The movements are simple and clear, and are very effective for killing enemies. This is the most suitable means of study for our armed comrades in wartime. However, unless we actually make a deep study of martial arts, we will naturally be bound to make many errors. We hope our comrades throughout the martial arts world will give us corrections, for which we would feel extraordinarily grateful and honored.
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目錄
CONTENTS
母拳法
Basics
組掌法圖式
Structure of the Palm
組鈎法圖式
Structure of the Hook
組拳法圖式
Structure of the Fist
右弓牮馬圖式
Bow & Arrow Stance
寒鷄步圖式
Shivering-Chicken Stance
平馬圖式
Level Horse-Riding Stance
工力拳
Gongli Boxing Set
霸王舉鼎
[1] XIANG YU LIFTS THE CAULDRON
信手投井
[2] HANDS SPLASH INTO THE WELL
烏龍探海
[3–6] BLACK DRAGON SEARCHES THE SEA
雙護腰拳
[7] BOTH FISTS GUARD YOUR WAIST
工力端四平
[8] SKILLFULLY HOLDING AN OBJECT LEVEL
夾肘雙撞
[9] SQUEEZING ELBOWS, DOUBLE RUSHING PUNCHES
貼身靠
[10] STICKING CLOSE AND LEANING IN
鎖脖通天
[11] WITH CHAINS AROUND YOUR NECK, PUNCH THROUGH THE SKY
撞腿
[12] RUSHING KICK
纏絲腿
[13] COILING-SILK KICK
衝搥
[14] THRUST PUNCHES
上脫手
[15] UPWARD STRIPPING PALM
敗勢摘茄
[16] FEIGNING DEFEAT, PLUCKING THE LOTUS
橫擂拳
[17] SIDEWAYS DRUMMING PUNCH
上脫手
[18] UPWARD STRIPPING PALM
三環吐月
[19–22] THREE CIRCLES, SPIT OUT THE MOON
夾肘雙撞
[23–25] SQUEEZING ELBOWS, DOUBLE RUSHING PUNCHES
上脫手
[26] UPWARD STRIPPING PALM
下脫手
[27] DOWNWARD STRIPPING PALM
坐盤擠捶
[28] SITTING TWISTED, CROWDING PUNCH
鎖脖蓋釘
[29] WITH CHAINS AROUND YOUR NECK, HAMMER A NAIL
上脫手
[30] UPWARD STRIPPING PALM
下脫手
[31] DOWNWARD STRIPPING PALM
敗勢摘茄
[32] FEIGNING DEFEAT, PLUCKING THE LOTUS
塡步窩掌
[33] PRESSURING STANCE, CHECKING PALM
穿掌單邊式
[34] THREADING PALM, SINGLE-SIDE POSTURE
下勢
[35] LOW POSTURE
塡步窩掌
[36] PRESSURING STANCE, CHECKING PALM
穿掌單邊式
[37] THREADING PALM, SINGLE-SIDE POSTURE
箭鐔
[38] SHOOTING AN ARROW
收式步
[39] CLOSING POSTURE
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母拳图説
董月楼
[PART ONE] EXPLANATIONS OF THE BASICS (calligraphy by Dong Yuelou)
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組掌圖
STRUCTURE OF THE PALM
大姆指貼住掌心四指拼實卽成掌掌之尖端為尖手背稱掌背手心稱掌心如上圖
With the thumb drawn close to the center of the palm and the fingers held tightly together, this shape makes a “palm”. The tips of the fingers are “the fingertips”, the back of the hand is “the back of the palm”, and the center of the hand is “the center of the palm”. See the drawing:
掌尖
the fingertips
掌背
the back of the palm
掌心
the center of the palm
組鉤圖
STRUCTURE OF THE HOOK
本部拳術之塡步窩掌式卽用鈎手其組法將四指紐攏大拇指扣住各指尖端如上圖
In this boxing set, there is a hooking hand involved in PRESSURING STANCE, CHECKING PALM [Posture 33 and 36]. The fingers are pinched together with the thumb covering over the fingertips. See the drawing:
組拳法
STRUCTURE OF THE FIST
拳有拳心拳背拳尖虎口之分組拳後之背為拳背手心為拳心大拇指與食指合攏為虎口其組法將四指捲攏以四平為基準同時大拇指扣住食中兩指卽成拳如上圖
The parts of the fist are divided into the center of the fist, the back of the fist, the knuckles, and the tiger’s mouth. The back of the hand is “the back of the fist”, the center of the hand is “the center of the fist”, and the area between thumb and forefinger forms the tiger’s mouth. When the four fingers are curled in fully and the thumb is covering over the forefinger and middle finger, this shape makes a “fist”. See the drawing:
拳背
the back of the fist
虎口
the tiger’s mouth
拳尖
the knuckles
拳心
the center of the fist
左右弓牮馬法
BOW & ARROW STANCE
其步法將右足曲膝成弓式左足牮直左膝不可曲下卽成右弓箭馬式（如上圖）而左弓箭馬式則成反比例（卽左足曲膝右足牮直卽成足與足距離約三尺弱）
Your right leg is bent like a bow, left leg straight like an arrow. Your left leg should not be bending. This makes a right bow & arrow stance. (A left bow & arrow stance is the reverse: left leg bent, right leg straight.) Your feet are just under three feet apart. See the drawing:
寒鷄步法
SHIVERING-CHICKEN STANCE
在本路「坐盤擠捶」用不過照上圖是成反此例右足曲膝全身重心完全在於右足左足在右足之前曲膝成虛步係足尖點地足跟蹺起足與足距離約一尺弱（如上圖）
This posture is used in SITTING TWISTED, CROWDING PUNCH [posture 28] but is performed on the opposite side compared to the drawing below, your right knee bending, the weight on your right leg, your left foot in front of your right foot with the knee also bent but no weight on it. Your front toes are touching down, heel lifted, your feet just under a foot apart. See the drawing:
平馬式法
LEVEL HORSE-RIDING STANCE
先排開兩足距離約三尺弱兩膝曲下跨當與膝相平膝頭與足尖對身仍保持立正姿勢（如上圖）
First your feet spread to be just under three feet apart, then your knees bend downward until your crotch is level with your knees. Your knees are aligned with your toes and your body remains upright. See the drawing:
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工力拳
董月楼
[PART TWO] GONGLI BOXING SET (calligraphy by Dong Yuelou)
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[Footwork Chart]
Front
前方
Left 左方 + 右方 Right
後方
Rear
表示半步（即0+5十之矩）
Boxes indicate a half step (50cm).
表示一步（即0+50之矩）
Circles indicate a full step (an additional 50cm).
15 – half
20 – full
14 – half
19 – full
11, 16, 13, 8 – half
4, 21 – full
10 – full
7, 17 – half
9 – full
18, 12, 6, 5 – half
2 – full
24, 26, 22, 1 – full
23 – full
起步 beginning posture / 收步 finishing posture
[No explanation is given for why the steps for Posture 27–38 do not appear in this chart.]
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工力拳說明
ABOUT THE GONGLI BOXING SET
戰時國術教材之檢取這是一件很困難的事現時比不得從前有多大的餘暇來研究練習複雜奧妙之技術而是一個敵寇壓境最後决鬥的時期所以只須速成簡單臨敵應用防身保命以這幾個字為檢取材料的出發點我們工力拳為戰時國術教材之一種牠具備着上面速成簡單臨敵應用這幾個字的條件的論這路拳術是世傳山東龍潭寺某僧人名失記但實與否無從查攷惟在北派拳術中頗居重要地位就是潭腿門之拳術的一種南方人本無這路拳術的練習自從民國以後有河北人霍元甲先生來滬設立精武體育會凡在精武體育會裏的會員都有這路拳術的練習因此南方人亦多有練習了
It is rather difficult to examine martial arts teaching materials during wartime, for we have much less spare time than we used to. It would be nice to research into the training of complex and subtle skills, but once the enemy has invaded and fighting has already started, such studies have to be isolated to “something that can be learned rapidly, is uncomplicated, and is effective for dealing with opponents and saving one’s life”. These are the basic standards for such teaching materials. Our Gongli [often seen as an abbreviation of 工夫 gongfu and 力量 liliang, which would render the meaning as “skill and strength”] boxing set is appropriate for wartime martial arts instruction, for it fulfills the requirements of being rapidly learned rapidly, uncomplicated, and effective for dealing with opponents.
This boxing set was passed down from a certain monk, whose name has been forgotten, of Dragon Pool Temple in Shandong. This cannot actually be verified, but the set nevertheless holds a very important place among northern styles. It is an example of the Tantui [Tan as in “pool”, i.e. Dragon Pool Temple] school of boxing arts. Southerners did not practice this boxing set until the beginning of the Republic. Huo Yuanjia of Hebei came to Shanghai and established the Jingwu Athletic Association, the members of which all practice this set, and thus there are now many southerners who practice it as well.
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（一）預備
READINESS
聞預備口令兩手握拳置於腰間拳心向上兩足跟靠攏足尖離開約六十度目向前平視成立正姿勢（如圖）
Hear the command of: “Ready!” Your hands grasp into fists and are placed at the sides of your waist, the centers of the fists facing upward. Your heels are standing together with your toes spread apart to make a sixty degree angle. Your gaze is forward and level. You are in a posture of standing at attention. See drawing 1a:
Rear
後方
Right 右方 + 左方 Left
前方
Front
（一）霸王舉鼎
1. XIANG YU LIFTS THE CAULDRON
聞口令一兩拳盡力上舉拳心向內伸直後拳心卽轉向外方兩拳之距離以肩為度目仍向前方平視（如圖一）
“One!” Your fists forcefully lift up with the centers of the fists facing inward and then rotating to be facing outward by the time your arms are straight. Your fists are shoulder width apart. Your gaze is still forward and level. See drawing 1b:
Rear
後方
Right 右方 + 左方 Left
前方
Front
（二）信手投井
2. HANDS SPLASH INTO THE WELL
聞口令二兩拳向下沉拳與耳相平拳背相外曲肘肩與臂成水平線同時左足向左排開一步足與足之距離約二尺許然後兩足曲膝成平馬兩拳卽向馬襠內投下拳之距離以肩為度目注兩拳面仍向前方
“Two!” Your fists sink to be beside your ears, the backs of the fists facing outward, the elbows bent, the upper arms horizontal, as your left foot steps out toward the Left so that your feet are about two feet apart, your knees bending to make a level horse-riding stance. Your fists are then thrown down in front of your crotch, shoulder width apart. You are still facing toward the Front, your gaze toward the tops of your fists. See drawing 2:
Rear
後方
Right 右方 + 左方 Left
前方
Front
（三）烏龍探海
3. BLACK DRAGON SEARCHES THE SEA [Part 1]
聞「口令三」右拳卽收囘置於腰間拳心向上左拳向上撩曲肘肩與臂成水平線拳置於左耳旁拳心向外同時由平馬向左扭轉左足曲膝右足盡力牮直成左弓牮馬式右拳由腰際向前方打出虎口向左目視右拳面向左方（如圖三）
“Three!” Your right fist then withdraws to be placed at your waist, the center of the fist facing upward, as your left fist raises up, the elbow bent, the upper arm horizontal, to be placed beside your left ear, the center of the fist facing outward. Then your stance turns toward the Left, your left leg bending, right leg forcefully straightening, to make a left bow & arrow stance as your right fist strikes out forward from your waist, the tiger’s mouth facing toward your left. Your body is facing toward the Left, your gaze toward the top of your right fist. See drawing 3:
Rear
後方
Right 右方 + 左方 Left
前方
Front
（四）烏龍探海
4. BLACK DRAGON SEARCHES THE SEA [Part 2 – HANDS SPLASH INTO THE WELL]
聞「口令四」右拳收囘置於右耳旁曲肘肩與臂成水平線拳心向外同時兩拳向下打出成三十角度兩臂挺直拳心向內拳之距離以肩開為度目平視面仍向左方步馬不動（如圖四）
“Four!” Your right fist withdraws to be placed beside your right ear, the elbow bent, the upper arm horizontal, the center of the fist facing outward. Then your fists strike out downward, the arms straightening along a thirty degree slant, the centers of the fists facing inward, the fists at shoulder width. Your body is still facing toward the Left, your gaze toward the tops of your fists, and your stance has not changed. See drawing 4:
Rear
後方
Right 右方 + 左方 Left
前方
Front
（五）烏龍探海
5. BLACK DRAGON SEARCHES THE SEA [Part 3]
此式如（一）圖為龍探海成反比
(This posture is simply the reverse of Part 1 [drawing 3].)
聞「口令五」左拳卽收囘置於腰間拳心向上右拳向上撩曲肘肩與臂成水平線拳置於右耳旁拳心向外同時由左弓牮馬式轉身向右足曲膝左足挺直成右牮馬式左拳由腰際向前方打出虎口向右面向右方目注視左拳（如圖五）
“Five!” Your left fist then withdraws to be placed at your waist, the center of the fist facing upward, as your right fist raises up, the elbow bent, the upper arm horizontal, the fist placed beside your right ear, the center of the fist facing outward. Then you turn around from a left bow & arrow stance, your right leg bending, left leg forcefully straightening, to make a right bow & arrow stance as your left fist strikes out forward from your waist, the tiger’s mouth facing toward the right. Your body is facing toward the Right, your gaze toward the top of your left fist. See drawing 5:
Rear
後方
Right 右方 + 左方 Left
前方
Front
（六）烏龍探海
6. BLACK DRAGON SEARCHES THE SEA [Part 4 – HANDS SPLASH INTO THE WELL]
聞「口令六」左拳收囘置於左耳旁曲肘肩與臂成水平線拳心向外同時兩拳向下打出成三十角度兩臂挺直拳心向內拳之距離以肩為度面仍向右方步馬不動（如圖六）
“Six!” Your left fist withdraws to be placed beside your left ear, the elbow bent, the upper arm horizontal, the center of the fist facing outward. Then your fists strike out downward, the arms straightening along a thirty degree slant, the centers of the fists facing inward, the fists at shoulder width. Your body is still facing toward the Right and your stance has not changed. See drawing 6:
Rear
後方
Right 右方 + 左方 Left
前方
Front
（七）雙護腰拳
7. BOTH FISTS GUARD YOUR WAIST
聞「口令七」左足靠攏兩拳各打一圈卽置於腰間拳心向上目注右方面向右方（如圖七）
“Seven!” Your left foot steps next to your right foot as your fists each make a circle to be placed at the sides of your waist, the centers of the fists facing upward. Your body is facing toward the Right, your gaze also toward the Right. See drawing 7:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（八）工力端四平
8. SKILLFULLY HOLDING AN OBJECT LEVEL
聞「口令八」左足向前方排開一步曲膝成平馬式身體卽向前方扭轉左足曲膝右足挺直成左弓牮馬式兩拳向前方盡力打出拳心向下兩拳成水平線拳之距離與肩相並目注視兩拳面向前方（如圖八）
“Eight!” Your left foot steps out toward the Front, your knees bending to make a level horse-riding stance, and then your body turns toward the Front, your left knee bending, right leg straightening, to make a left bow & arrow stance as your fists forcefully strike out forward, the centers of the fists facing downward, the arms horizontal, the fists shoulder width apart. Your body is facing toward the Front, your gaze toward your fists. See drawing 8:
Right
右方
Front 前方 + 後方 Rear
左方
Left
（九）夾肘雙撞
9. SQUEEZING ELBOWS, DOUBLE RUSHING PUNCHES
聞「口令一」兩拳由右下方向上打一圈左足外撇右足向前方上一步曲膝成平馬式兩拳置於腰間面向左方同時身體扭轉前方右足曲膝左足挺直成右弓牮馬式兩拳盡力向前方打出拳與肩成水平綫拳心相下拳之距離與肩相平面向前方（如圖九）
“One!” Your fists go upward, each making a circle to bring them to the sides of your waist as your left foot swings outward and your right foot steps toward the Front, your knees bending to make a level horse-riding stance. Your body is facing toward the Left. Then your body turns toward the Front, your right knee bending, left leg straightening, to make a right bow & arrow stance as your fists forcefully strike out toward the Front, the arms horizontal, the centers of the fists facing downward, the fists shoulder width apart. Your body is facing toward the Front. See drawing 9:
Left [Right]
左方
Rear [Front] 後方 + 前方 Front [Rear]
右方
Right [Left]
（十）貼身靠
10. STICKING CLOSE AND LEANING IN
聞「口令二」右足退後一步足尖點地足跟蹺起左足曲膝向下重心完全落在左足左拳向後方打出拳心向下同時右拳成掌置於左肩旁目注左拳面向左方（如圖十）
“Two!” Your right foot retreats a step, the toes touching down, heel lifted, your left knee bending downward, the weight lowering fully onto your left foot, as your left fist strikes out toward the Rear, the center of the fist facing downward, your right fist becoming a palm and being placed beside your left shoulder. Your body is facing toward the Left, your gaze toward your left fist. See drawing 10:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（十一）鎖脖通天
11. WITH CHAINS AROUND YOUR NECK, PUNCH THROUGH THE SKY
聞「口令三」右掌向上撩至腰間成拳拳心向上同時身體由左方轉至右方兩膝向下一蹲左拳向上抓下置於右腋拳心向內右拳由腰間向上衝出手臂挺直拳心向外同時兩膝挺直成立正姿勢面向右方（如圖十一）
“Three!” Your right palm raises up and goes to your waist as a fist, the center of the fist facing upward, as your body turns around [rightward] from facing toward the Left to be facing toward the Right, your knees squatting down [with your left foot coming in next to your right foot], your left fist going upward and pulling in downward to be placed at your right armpit, the center of the fist facing inward. Then your right fist thrusts out upward from your waist, the arm straightening, the center of the fist facing outward, as your legs straighten to make a posture of standing straight. Your body is facing toward the Right. See drawing 11:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（十二）撞腿
12. RUSHING KICK
聞「口令四」左拳向下壓置於胯間用足跟蹬出向前方膝挺直面仍在右方目注左蹬腿（如圖十二）
“Four!” Your left fist presses down to be placed by your hips as your [left] heel presses out toward the Front, the knee straightening. You are still facing toward the Right, your gaze toward your left pressing kick. See drawing 12:
Right
右方
Front 前方 + 後方 Rear
左方
Left
（十三）纏絲腿
13. COILING-SILK KICK
聞「口令五」左足落地向外撇同時右拳向下壓置於胯間左拳由下提上伸直右足用足跟向前方蹬出膝挺直面向左方目注蹬腿（如圖十三）
“Five!” Your left foot comes down turning outward, then your right fist presses down to be placed by your hips as your left fist lifts up from below, the arm straightening, and your right heel presses out toward the Front, the knee straightening. Your body is facing toward the Left, your gaze toward your pressing kick. See drawing 13:
Right
右方
Front 前方 + 後方 Rear
左方
Left
（十四）衝搥
14. THRUST PUNCHES
聞「口令六」右足落地曲成平馬式兩拳置於腰間拳心向上面朝左方再扭轉至前方右足曲膝左足挺直成右弓牮馬式同時兩拳向前後衝出左拳略向上斜虎口向天目注右拳（如圖十四）
“Six!” Your right foot comes down, your legs bending to make a level horse-riding stance as your fists are placed at your waist, the centers of the fists facing upward. Your body is facing toward the Left. Then your body turns toward the Front, your right knee bending, left leg straightening, to make a right bow & arrow stance as your fists thrust out toward the Front and Rear, your left fist slightly higher and thus creating a diagonal line, the tiger’s mouth facing upward. Your gaze is toward your right fist. See drawing 14:
Right
右方
Front 前方 + 後方 Rear
左方
Left
（十五）上脫手
15. UPWARD STRIPPING PALM
聞「口令七」右拳成掌以掌背擊膝右足向右方退一步與左足尖成水平線曲成平馬式同時右掌向左拳底脫出向上繞至左肩旁掌心向左左拳向左方打出拳心向下拳與肩相平目注視左拳（如圖十五）
“Seven!” Your right fist becomes a palm, the back of the palm striking your [right] knee as your right foot retreats a step toward the Right, making a Left-Right line with your left foot, your knees bending to make a level horse-riding stance. Then your right palm strips away under your left fist and arcs upward to be placed beside your left shoulder, the center of the palm facing toward the Left, as your left fist strikes out toward the Left, the center of the fist facing downward, the fist at shoulder level. Your gaze is toward your left fist. See drawing 15:
Front
前方
Left 左方 + 右方 Right
後方
Rear
（十六）敗勢摘茄
16. FEIGNING DEFEAT, PLUCKING THE LOTUS
聞「口令八」左拳成掌向上撩左足向後方轉右足向左方踏上一步身體轉朝右方曲左膝右足挺直成左弓牮馬式同時右掌向背後摘拳左掌置於右肩旁面向右方目平視（如圖十六）
“Eight!” Your left fist becomes a palm and raises up to be placed beside your right shoulder as your left foot pivots toward the Rear and your right foot steps forward toward the Left, your body turning around to be facing toward the Right, your left knee bending, your right leg straightening, to make a left bow & arrow stance, with your right palm going behind you as a plucking fist. Your body is facing toward the Right, your gaze level. See drawing 16:
Rear
後方
Right 右方 + 左方 Left
前方
Front
（十七）橫擂拳
17. SIDEWAYS DRUMMING PUNCH
聞「口令一」卽扭轉身軀兩足由右方扭轉後方右足曲膝成右弓牮馬式同時兩拳向前後甩出虎口向上左拳略向下斜目視右拳（如圖十七）
“One!” Your body turns [rightward], your feet pivoting from the Right toward the Rear [Left], your right knee bending to make a right bow & arrow stance as your fists swing out toward the Front and Rear, the tiger’s mouths facing upward, your left fist slightly lower, creating a diagonal line. Your gaze is toward your right fist. See drawing 17:
Rear
後方
Right 右方 + 左方 Left
前方
Front
（十八）上脫手
18. UPWARD STRIPPING PALM
聞「口令二」右拳成掌以掌背擊右膝右足向前方退一步右足尖與左足尖成水平線曲膝成平馬式同時右掌由左拳底脫出向上繞至左肩旁掌心向後方左拳向後方打出拳心向下與肩相平目視左拳（如圖十八）
“Two!” Your right fist becomes a palm, the back of the palm striking your right knee as your right foot retreats a step toward the Front, making a Front-Rear line with your left foot, your knees bending to make a level horse-riding stance. Then your right palm strips away under your left fist and arcs upward to be placed beside your left shoulder, the center of the palm facing toward the Rear, as your left fist strikes out toward the Rear, the center of the fist facing downward, the fist at shoulder level. Your gaze is toward your left fist. See drawing 18:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（十九）三環吐月
19. THREE CIRCLES, SPIT OUT THE MOON [Part 1]
聞「口令三」左拳由下向上撩至腰際拳心向上同時左足向外撇足尖向左方右拳向上壓下置於臍前拳心向內虎口向上再把左拳向上架於腦前右足向後方踏出曲膝成平馬式面向右方然後身軀扭轉後方右足曲膝左足挺直成右弓牮馬式同時雙拳以拳背向左右豁出虎口向天目注右拳面朝後方（如圖十九）
“Three!” Your left fist raises up to then be placed at your waist, the center of the fist facing upward, as your left foot swings outward so that the toes are pointing toward the Left [Right], and your right fist presses downward from above to be placed in front of your navel, the center of the fist facing inward, the tiger’s mouth facing upward. Then your left fist props up in front of your head as your right foot steps out toward the Rear, your knees bending to make a level horse-riding stance, your body facing toward the Right. Then your body turns toward the Rear, your right knee bending, left leg straightening, to make a right bow & arrow stance as your fists rip apart to the left and right, striking with the backs of the fists, the tiger’s mouths facing upward. Your body is facing toward the Rear, your gaze toward your right fist. See drawing 19:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（二十）三環吐月
20. THREE CIRCLES, SPIT OUT THE MOON [Part 2]
聞「口令四」左拳由下向上撩至腰際拳心向上同時左足向外撇足尖向左方右拳向上壓下置於臍前拳心向內虎口向上再把右拳向上架於腦前虎口向下右足向前方踏出曲膝成平馬式面向左方然後身軀扭轉前方右足曲膝左足挺直成右弓牮馬式同時雙拳以拳背向左右豁出虎口向天目視前方（如圖二十）
“Four!” Your left fist raises up to then be placed at your waist, the center of the fist facing upward, as your left foot swings outward so that the toes are pointing toward the Left, and your right fist presses downward from above to be placed in front of your navel, the center of the fist facing inward, the tiger’s mouth facing upward. Then your right [left] fist props up in front of your head, the tiger’s mouth facing downward, as your right foot steps out toward the Front, your knees bending to make a level horse-riding stance, your body facing toward the Left. Then your body turns toward the Front, your right knee bending, left leg straightening, to make a right bow & arrow stance as your fists rip apart to the left and right, striking with the backs of the fists, the tiger’s mouths facing upward. Your gaze is toward the Front. See drawing 20:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（二一）三環吐月
21. THREE CIRCLES, SPIT OUT THE MOON [Part 3]
聞「口令五」右拳由下向上撩至腰際拳心向上同時右足向外撇足尖向右方左拳向上壓下置於臍前拳心向內再把右拳向上架於腦前左足向前方踏出曲膝成平馬式面向右方然後身軀扭轉前方左足曲膝右足挺直成左牮馬式同時雙拳以拳背向左右豁出虎口向天目注左拳面朝前方（如圖二一）
“Five!” Your right fist raises up to then be placed at your waist, the center of the fist facing upward, as your right foot swings outward so that the toes are pointing toward the Right, and your left fist presses downward from above to be placed in front of your navel, the center of the fist facing inward. Then your right fist props up in front of your head as your left foot steps out toward the Front, your knees bending to make a level horse-riding stance, your body facing toward the Right. Then your body turns toward the Front, your left knee bending, left leg straightening, to make a right bow & arrow stance as your fists rip apart to the left and right, striking with the backs of the fists, the tiger’s mouths facing upward. Your body is facing toward the Front, your gaze toward your left fist. See drawing 21:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（二二）三環吐月
22. THREE CIRCLES, SPIT OUT THE MOON [Part 4]
聞「口令六」左拳由下向上撩至腰際拳心向上同時左足向外撇足尖向左方右拳向上壓下置於臍前拳心向內虎口向上再把左拳向上架於腦前虎口向下右足向前方踏出曲膝成平馬式面向左方然後身軀扭轉前方右足曲膝左足挺直成右弓牮馬式同時雙拳以拳背向左右豁出虎口向天目視右拳面向前方（如圖二二）
“Six!” Your left fist raises up to then be placed at your waist, the center of the fist facing upward, as your left foot swings outward so that the toes are pointing toward the Left, and your right fist presses downward from above to be placed in front of your navel, the center of the fist facing inward, the tiger’s mouth facing upward. Then your left fist props up in front of your head, the tiger’s mouth facing downward, as your right foot steps out toward the Front, your knees bending to make a level horse-riding stance, your body facing toward the Left. Then your body turns toward the Front, your right knee bending, left leg straightening, to make a right bow & arrow stance as your fists rip apart to the left and right, striking with the backs of the fists, the tiger’s mouths facing upward. Your body is facing toward the Front, your gaze toward your right fist. See drawing 22:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（二三）夾肘雙撞
23. SQUEEZING ELBOWS, DOUBLE RUSHING PUNCHES [Part 1]
聞「口令七」左拳向上撩至腰際拳心向上同時左足向外撇足尖向右方右拳向上壓下置於腰間兩肘夾實右足向後方踏出成平馬式面朝右方身軀扭向後方右足曲膝左足挺直成右弓牮馬式雙拳向後方打出拳與肩相距離肩與拳相平拳心向下目視雙拳（如圖二三）
“Seven!” Your left fist raises up and then goes to your waist, the center of the fist facing upward, as your left foot pivots outward so the toes are pointing toward the Right, your right fist pressing downward from above to be placed at your waist, your elbows squeezing back, your right foot stepping out toward the Rear to make a level horse-riding stance, your body facing toward the Right. Your body turns toward the Rear, your right knee bending, your left leg straightening, to make a right bow & arrow stance as your fists strike out toward the Rear at shoulder level, shoulder width apart, the centers of the fists facing downward. Your gaze is toward your fists. See drawing 23:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（二四）夾肘雙撞
24. SQUEEZING ELBOWS, DOUBLE RUSHING PUNCHES [Part 2]
聞「口令八」雙拳由下向上撩至腰際肘與腰盡力夾實拳心向上同時右足向外撇左足向後方踏出曲膝成平馬式面向左身軀扭轉後方左足曲膝右足挺直成左弓牮馬式雙拳向後方打出拳與肩同距離拳與肩相平拳心向下目視雙拳（如圖二四）
“Eight!” Your fists raise up and then go to your waist, your elbows squeezing back, the centers of the fists facing upward, as your right foot pivots outward and your left foot steps out toward the Rear, your knees bending to make a level horse-riding stance, your body facing toward the Left. Your body turns toward the Rear, your left knee bending, your right leg straightening, to make a left bow & arrow stance as your fists strike out toward the Rear at shoulder level, shoulder width apart, the centers of the fists facing downward. Your gaze is toward your fists. See drawing 24:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（二五）夾肘雙撞
25. SQUEEZING ELBOWS, DOUBLE RUSHING PUNCHES [Part 3]
聞「口令一」雙拳由下向上撩至腰際拳心向上同時左足向外撇足尖向右方雙拳向上壓下置於腰間兩肘夾實右足向後方踏出一步成平馬式面朝右方身軀扭轉向後方右足曲膝左足挺直成右弓牮馬式雙拳向後方打出雙拳與肩同距離肩與拳相平拳心向下目視雙拳（如圖二五）
“One!” Your fists raise up and then go to your waist, your elbows squeezing back, the centers of the fists facing upward, as your left foot pivots outward so the toes are pointing toward the Right, and your right foot steps out toward the Rear, to make a level horse-riding stance, your body facing toward the Right. Your body turns toward the Rear, your right knee bending, your left leg straightening, to make a right bow & arrow stance as your fists strike out toward the Rear at shoulder level, shoulder width apart, the centers of the fists facing downward. Your gaze is toward your fists. See drawing 25:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（二六）上脫手
26. UPWARD STRIPPING PALM
聞「口令二」卽扭轉身軀向右方兩足曲膝成平馬式同時右拳成掌由左拳底脫出繞上置於左肩旁掌心向前方同時左拳向內朝前方平拳打出拳心向下身面朝右方（如圖二六）
“Two!” Your body turns toward the Right, your knees bending to make a level horse-riding stance as your right fist becomes a palm, strips away under your left fist, and arcs upward to be placed beside your left shoulder, the center of the palm facing toward the Front, your left fist at the same time coming in and then striking out toward the Front with a level punch, the center of the fist facing downward. Your body is facing toward the Right. See drawing 26:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（二七）下脫手
27. DOWNWARD STRIPPING PALM
聞「口令三」右掌由左拳上繞至拳底成拳再置於右腰際拳心向上同時把左拳收囘向前方以平拳打出步馬不動身面仍朝右方（如圖二七）
“Three!” Your right palm arcs over and then under your left fist, itself becoming a fist, and is placed at the right side of your waist, the center of the fist facing upward, as your left fist pulls back and then again strikes out toward the Front with a level punch. Your stance has not changed, your body still facing toward the Right. See drawing 27:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（二八）坐盤擠捶
28. SITTING TWISTED, CROWDING PUNCH
聞「口令四」左足收囘貼右足足尖點地足跟蹺起成寒鷄步左拳成掌由下向上再以左足向前方踏出右足向左足前踏出同時以左足向右足後偷步步對前方右拳急向上下方打出拳心向右方身朝左方（如圖二八）
“Four!” Your left foot withdraws near your right foot, the toes touching down, heel lifted, to make a shivering-chicken stance as your left fist becomes a palm and raises up. Then your left foot steps out toward the Front, your right foot steps out in front of your left foot, and your left foot does a stealth step behind your right foot, each step going toward the Front, as your right fist urgently goes upward and strikes out downward, the center of the fist facing toward the Right. Your body is facing toward the Left. See drawing 28:
Right
右方
Front 前方 + 後方 Rear
左方
Left
（二九）鎖脖蓋釘
29. WITH CHAINS AROUND YOUR NECK, HAMMER A NAIL
聞「口令五」轉身向前方右足踏上一步成平馬式左拳由上撩下成拳置於腰間右拳由下向上壓下虎口向上拳與肩相平身面朝左方（如圖二九）
“Five!” Your body turns around [leftward] toward the Front and your right foot steps forward to make a level horse-riding stance as your left hand comes down to your waist as a fist, and your right goes upward and then presses downward, the tiger’s mouth facing upward, the fist at shoulder level. Your body is facing toward the Left. See drawing 29:
Right
右方
Front 前方 + 後方 Rear
左方
Left
（三十）上脫手
30. UPWARD STRIPPING PALM
聞「口令六」右拳成掌由左拳底脫出繞上置於左肩旁掌心向前方同時左拳向內朝前方平拳打出拳心向內步馬不動身面朝右方（如圖三十）
“Six!” Your right fist becomes a palm, strips away under your left fist, and arcs upward to be placed beside your left shoulder, the center of the palm facing toward the Front, as your left fist comes in and then strikes out toward the Front with a level punch, the center of the fist facing inward. Your stance has not changed, your body facing toward the Right. See drawing 30:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（三一）下脫手
31. DOWNWARD STRIPPING PALM
聞「口令七」右掌由左拳上繞至肘底成拳再置於右腰際拳心向上同時把左拳收囘向前方以平拳打出步馬不動身面仍朝右方（如圖三一）
“Seven!” Your right palm arcs over and then under your left fist, itself becoming a fist, and is placed at the right side of your waist, the center of the fist facing upward, as your left fist pulls back and then again strikes out toward the Front with a level punch. Your stance has not changed, your body still facing toward the Right. See drawing 31:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（三二）敗勢摘茄
32. FEIGNING DEFEAT, PLUCKING THE LOTUS
聞「口令八」左拳成掌由下向上撩護於右肩旁左足向右方轉右足向後方踏出一步身軀向前方曲左膝右足挺直成左弓牮馬式同時右掌向背後摘拳面朝前方目平視（如圖三二）
“Eight!” Your left fist becomes a palm and raises up to guard beside your right shoulder as your left foot pivots toward the Right and your right foot steps out toward the Rear, your body turning around to be facing toward the Front, your left knee bending, your right leg straightening, to make a left bow & arrow stance, with your right palm going behind you as a plucking fist. Your body is facing toward the Front, your gaze level. See drawing 32:
Right
右方
Front 前方 + 後方 Rear
左方
Left
（三三）塡步窩掌
33. PRESSURING STANCE, CHECKING PALM
聞「口令一」卽扭轉身軀向後方左掌插入右拳底右拳成掌向上撩同時左足向後方踏出一步一蹤身向上右足向後方踢出右掌向下拍足卽將右足踏地曲膝成右弓牮馬式同時左掌向後鈎出右掌由下向上撩肘下沉掌與眉齊面朝後方（如圖三三）
“One!” Your body turns around [rightward] toward the Rear as your left palm slips through under your right fist, your right fist becoming a palm and raising up. Then your left foot steps out toward the Rear, your body leaping up, and your right foot kicks out toward the Rear, your right palm slapping down onto the foot. Your right foot then comes down with the knee bending to make a right bow & arrow stance as your left palm hooks away behind you, your right palm raising up to eyebrow level, the elbow sinking down. Your body is facing toward the Rear. See drawing 33:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（三四）穿掌單邊式
34. THREADING PALM, SINGLE-SIDE POSTURE
聞「口令二」左足向後方踏出一步卽提起右足足背貼住左足膝彎同時左掌由內向上穿出掌心向上右掌護於腋下面朝後方目注左穿掌（如圖三四）
“Two!” Your left foot steps out toward the Rear and your right foot lifts so the back of the foot is against the bend of your left knee as your left palm threads out upward from the inside, the center of the palm facing upward, your right palm guarding below your [left] armpit. Your body is facing toward the Rear, your gaze toward your left palm. See drawing 34:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（三五）下勢
35. LOW POSTURE
聞「口令三」落右足向前方跨出一步膝頭挺直左足曲膝向下成伏地勢左掌由上經下向後方成環形鈎出右掌由下向上撩掌尖與眉齊身面朝前方目注右掌（如圖三五）
“Three!” Your right foot comes down reaching out a step forward, the knee straightening, your left leg bending downward to make a posture of crouching on the ground, as your left palm passes through downward and then makes a circle that sends it toward the Rear as a hooking hand, your right hand raising upward until the fingertips are at eyebrow [navel] level. Your body is facing toward the Front, your gaze toward your right palm. See drawing 35:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（三六）塡步窩掌
36. PRESSURING STANCE, CHECKING PALM
聞「口令四」同時急轉變步法右足曲膝左足挺直成右弓箭馬式右掌上提左手仍後抅（如圖三六）
“Four!” Then quickly change your stance, your right knee bending, your left leg straightening, to make a right bow & arrow stance as your right palm lifts up, your left palm [lowering but] remaining as a hooking hand behind. See drawing 36:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（三七）穿掌單邊式
37. THREADING PALM, SINGLE-SIDE POSTURE
聞「口令五」左足向前方踏出一步卽提起右足足背貼住左足膝彎同時左掌由內向上穿出掌心向上右掌護於腋下面朝前方目注左穿掌（如圖三七）
“Five!” Your left foot steps out toward the Front and your right foot lifts so the back of the foot is against the bend of your left knee as your left palm threads out upward from the inside, the center of the palm facing upward, your right palm guarding below your [left] armpit. Your body is facing toward the Front, your gaze toward your left palm. See drawing 37:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（三八）箭鐔
38. SHOOTING AN ARROW
聞「口令六」右足落地兩足曲膝成平馬式右掌向上撩置於腦際掌心向天左掌成拳由內向前方打出成平拳拳與肩向平目注右拳身朝右方（如圖三八）
“Six!” Your right foot comes down [toward the Rear], both knees bending to make a level horse-riding stance as your right palm raises up to be placed by your head, the center of the palm facing upward, and your left palm becomes a fist, [withdrawing and then] striking out toward the Front at shoulder level. Your body is facing toward the Right, your gaze toward your right [left] fist. See drawing 38:
Left
左方
Rear 後方 + 前方 Front
右方
Right
（三九）收式
39. CLOSING POSTURE
聞「口令七」左足卽收囘與右足跟靠攏身體向上挺直成立正姿勢左拳成掌雙掌由下向上各豁一圈經耳旁向下按掌心向下身面向前方目平視（如圖三九）
“Seven!” Your left foot then withdraws for the heel to stand next to your right heel and your body stands straight up, making a posture of standing at attention, as your left fist becomes a palm and both palms [lower and] spread apart to the sides, each drawing a circle that takes it upward, and then they pass beside your ears, pushing downward, the palms facing downward. Your body is facing forward, your gaze level. See drawing 39:
Rear
後方
Right 右方 + 左方 Left
前方
Front
–
–
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Brennan Translation 