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少林迷蹤派羅漢拳
SHAOLIN MIZONG LUOHAN BOXING
潘茂容 葉雨亭
by Pan Maorong & Ye Yuting
[published in Hong Kong by the 健民國醫學院 Strengthen-the-People National Medical School, April 4, 1955]
[translation by Paul Brennan, June, 2019]
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少林迷蹤派羅漢拳
Shaolin Mizong Luohan Boxing
葉雨亭演式
performed by Ye Yuting
潘茂容攝影刷線說明并題
– photos, drawings, explanations, and calligraphy by Pan Maorong
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潘序
PREFACE BY PAN MAORONG
羅漢派拳術，乃少林迷踪派之支流，其拳步等法，異常神妙，忽而進，忽而退，忽而旁突，更忽而騰身踢脚，又忽而低馬撲腿，進退上下，縱躍變步，玄妙莫測，往往使對手者，無從捉摸，况加以手法之精奧，出神入化，外觀則似柔而無力，若遇之則勁疾無窮，眞不知其勁之所自來，其力之所由出，誠吾國北方名派拳術也。惟識迷踪派者固多，而精羅漢拳者則少，蓋羅漢拳，從前祗有家傳，甚少公開授受，是以未能普遍，故耳聞羅漢派之人也衆，而目睹羅漢拳之人也稀，在河之北，旣已如是，况在江之南，豈不更鳳毛麟角乎？香港地屬彈丸，誠恐更無覓處也歟？惟香島素號明珠，山明水秀，靈氣所鍾，具此地靈之勝，必聚人傑之材，此理之當然也。果也，該派之傑出拳師葉雨亭師傳，竟隱居於紅香爐峯下，加路連山中焉。
葉師雨亭，乃河北省，滄縣人也，尚義好俠，函仁者風，曩日幼年時，深好武術，嘗言曰：「生不願富與貴，富貴於我如浮雲，但願拳與藝，拳藝於我好修身。」其澹泊明志，潔身自愛也如此，故自幼即隨葉璽振羅漢派名家，家傳學藝，朝夕踢脚揮拳，風雨無間，苦練十餘載，年二十四，藝成，奉葉璽振之命，出任東北長勝鏢局鏢師，當時東北各地，長城內外，盜賊如毛，欺葉師初踏江湖，以為功夫有限，乃橫刧輜重，强奪鏢旗，豈意葉師初試寶刀，當之者無不披靡，由是長勝鏢局之名，葉雨亭鏢師之譽，一時大噪，翦徑之徒，睹長勝鏢旗而歛跡，聞葉鏢師之名而喪胆，其時北平九門提督王淮慶，耳葉之名，拔為軍中第一大隊總敎練，後王淮慶擢升北平衞戍總司令，遂遷葉師任敎衞戍，在職三年，連升三級，繼任七載，出葉師門下之軍旅，數以萬計，後該軍隊隸張學良將軍，葉師仍續任敎三年，後以家事辭歸，復得山東督軍張宗昌所賞識，禮聘葉師任敎練二年，迨張物化，葉師遂得抽身，投上海中央精武，拜趙連和師門下，苦心深造，習少林拳技，時年已將四十矣。筆者亦於此時，獲識葉師，相談之下，遂成莫逆，適香港南華體育會，增設羅漢派及少林拳班，特聘葉師南下，此為羅漢派拳南傳之蒿矢，迨職發，葉師南走廣州灣，任敎於西營新武堂，至光復後，南華會員，均深念葉師，力懇囘港復任，師以衆情難却，遂復歸南華會，筆者昨赴加山，造訪故人，睹葉師髮已斑斑，花甲重逢矣，然精神仍健健也，老當益壯，足為葉師賀。余偶攬鏡自照，鏡中人垂垂欲老矣，廻首風塵，憶與葉師廿年前談笑事，恍如黃粱一夢而已。話舊之餘，請葉師演羅漢拳一技，演來雄風猶在，不減當年，余一一攝入鏡頭，歸而顯影放大，印晒成帙，按圖細閱，但覺活然紙上，栩栩如生，雖攝時無心，惟演出有勁，閱之者再，味之者三，竟愛「閱」夜眠遲，頓忘砭骨之金風，迨晨鷄欲唱，猶携冊以到枕，沾沾自慶，如獲至寶，此愉快之心，益為愉快之情所縈繫，由是欲睡無眠，隨更漏而輾轉，但聽四壁虫聲唧唧，惹人秋思，竊念何幸得攝此名師所演之名拳，必應什襲珍藏之毋使蠹毀，方不負保存國術之衷也。復又念秘藏之，不如公開之，珍愛之，不如發揚之，若藏於金匱，何不智之甚歟？復又念，發揚光大之事，固所願也，但談何容易？蓋拳術之變化，玄奧莫測，任敎是筆可生花，亦難形其容而幻其變也，雖攝影乃能傳其眞，亦只可觀其姿勢而未能觀其動態也，念及此，眞不知從何着手，自慚心有餘而力有所不逮焉，意欲揚之而不可得，為之奈何？噫！所願不償，余之心，寧作寒灰矣，乃頽然而欲寐，寤寐之間，又聽四壁虫聲唧唧，如怨如惜，惱人心弦，鼓我思潮起伏，又未許成眠，因又念，世上無不可能之事也，昔歐陽修畫获而學，而文章甲於天下，張千秋畫地成圖，而山川瞭如指掌，敦煌之壁，臨之則肅然起敬，僧繇之龍，點睛而破壁可飛，此古人憑空構圖想像而繪，猶能如生，今以攝影而配以劃線，庶幾可達其意於萬一也歟？况照片劃加虛線，對於圖中演式，無傷也，旣無傷其原本，復有利於說明，有利而無害，何不試一為之？冀或有成，亦可稍償素願也，念至此，灰心重振，睡眠重睜焉，復又聽四壁虫聲唧唧，譏我畫蛇而添足，唧唧復唧唧，嘲我欲行而乏力，余聞虫聲而復又念，士各有志者也，應作則為，任敎蜀犬吠日，吠形吠聲，安能動我，况秋虫哀鳴，聲不震瓦，其唧唧而咿咿者，嚶嚶悲秋之鳴耳，於我何傷哉？然余深知蛇足之議，在所難免也，惟尤勝於畫餅充饑之自欺欺人者多矣。乃潛心製圖，决志殺靑，置成敗於腦後，任譭譽於當前，歷六閱月，特連刋於武術雜誌，所以求月旦也，何幸得蒙讀者靑睞，紛紛賜敎，促印單行本，余不敢自主作為，乃徵葉師，竟欣然，命即付梓，今書已成，雖不敢謂有助於研究，亦足以自慰惴惴之心焉，今執筆憶序，耳畔猶似覺唧唧虫鳴，豈又妬我附驥尾以達千里之遙也歟？是為序。
一九五五年四月一日愚人節，潘茂容序于健民國醫學院。
The Luohan boxing art is a branch of the Shaolin Mizong [“lost track”] system. Its stepping techniques are uncommonly ingenious, suddenly advancing, suddenly retreating, suddenly going off to the side, as well as suddenly jumping into a kick or dropping into a reaching-leg stance. With all of this forward and back, up and down, leaping and stepping, it is impossible to comprehend, causing the opponent to be unable to figure out what is going on. Furthermore, its hand techniques are exquisitely profound, beyond imagining. Outwardly it appears to be soft and lacking in power, but if you encounter it, the power is endlessly startling and you truly cannot understand where it is coming from. It is for these reasons that it is such a famous boxing art in the north.
However, although those who know of the Mizong art are many, experts of Luohan Boxing are few. This is because Luohan Boxing was previously passed down only as family tradition, very rarely taught publicly, and therefore it was not able to spread as widely. Thus it is common to hear about practitioners of the Luohan art and yet uncommon to actually see people performing Luohan Boxing. As this was already the case north of the Yellow River, the art would of course be as rare as phoenix feathers and unicorn horns when looking for it south of the Yangtze. Although Hong Kong is a tiny area, I fear there might be no other place to find it.
Hong Kong Island, commonly known as the “Bright Pearl”, has such beautiful scenery that it deeply inspires the spirit, and so naturally this powerfully spiritual place has attracted talented heroes. As a result, a teacher of this art, the boxing master Ye Yuting, happens to live below Red Incense Burner Summit, within the Caroline Hill area. Ye Yuting is from Cang County, Hebei. He values righteousness and chivalry, and treats others with compassion. In his youth, he had a passion for martial arts. He has said: “I don’t care about wealth or fame. To me, they’re like passing clouds. I only care about boxing and its artistry, which for me is the best way to cultivate myself.” In this way, the simplicity and purity of his lifestyle demonstrate his integrity and self-respect.
In his youth, he learned from the famous Luohan master Ye Xizhen, the art being passed down in his own family. From dawn to dusk, he kicked out his feet and hurled out his fists, undeterred by wind or rain. Practicing hard for more than ten years, he mastered the art by the age of twenty-four. He then accepted the command of Ye Xizhen to take a position in the Northeast Always-Victorious Bodyguards. In the northeast in those days, both within and beyond the Great Wall, bandits were everywhere. They assumed that because Ye was new to this group of wanderers, his skill would be limited. So when they tried to plunder a caravan and steal the signal flag of the Bodyguards, they were taken completely by surprise as Ye brandished his saber and swept right through them. Because of this, the fame of the Always-Victorious Bodyguards, and praise for Ye Yuting in particular, was given a great deal of noise. Highwaymen would hide whenever they saw the Bodyguards, struck with terror upon hearing Ye’s name.
Hearing of Ye’s fame, the commander over Beijing’s “Nines Gates” [the inner gates and therefore most important gates of the city], Wang Huaiqing, then appointed him as chief instructor to the 1st Army Group. When Wang Huaiqing was later promoted to commander-in-chief over the whole Beijing garrison, he made Ye the garrison instructor. Ye carried out this task for three years, rising in rank three times, then continued in the position for a further seven years, in which he taught tens of thousands of troops. He was then placed under the command of General Zhang Xueliang and served as instructor for three more years before finally deciding to return home. But then the provincial military governor over Shandong, Zhang Zongchang, recognized Ye’s great worth and enlisted him with extravagant ceremony to continue instructing, which he did until Zhang’s death two years later [1932].
Ye then retired from military service altogether and instead joined the Central Jingwu Association in Shanghai. He became a student of Zhao Lianhe to pursue more advanced studies, even though he had already been practicing Shaolin Boxing skills for more than forty years. I at that time also got to know Master Ye, conversing with him so much that we became friends. I came to feel that classes in the Luohan art and Shaolin Boxing would be a suitable addition to the South China Athletic Association in Hong Kong, and so I invited him to come south. This was the harbinger of Luohan Boxing being spread to the south. But then when duty called [to help in the fight against the Japanese], Ye went south to Guangzhou Bay [now called Port of Zhanjiang] to instruct at the Western Barracks New Martial Hall.
After the war, everyone at the South China Athletic Association greatly missed Master Ye and begged that he return to teach in Hong Kong. He found such sentiment hard to refuse, and so he returned to the South China Association. I went to Caroline Hill to pay a visit to my old friend. I saw that his hair was spotted with grey, for I was now seeing him as a man in his sixties, but his spirit was still so robust and he seemed to have actually increased his vigor as he aged, for which I congratulated him. I happened to then see myself in a mirror, and all I saw was a man who had gotten older. I looked back on the chaos of the war, and I remembered laughing with Ye twenty years ago like it was just a dream.
After reminiscing, I invited Ye to perform the postures of Luohan Boxing one at a time, which he did, and with no less heroic a bearing than in the past. I took a photo of each of them, one after another, then went off to develop and enlarge them, and put each print into a cloth-bound album so that I could examine them in detail. They seemed to move on the paper, so lifelike. Even though photographs [of postures] lack the intent [that is present in movement], his performance nevertheless exudes a power. I examined them over and over, savoring them again and again, so captivated that I stayed up much later than I intended and even forgot about the chilly autumn breeze. When I heard the roosters calling out that it was already dawn, I brought the book with me to my pillow, keeping it right next to me as though I had found a rare treasure.
However, this happy state of mind turned into one of anxiety. I slept without really sleeping. Time passed. I tossed and turned. Then I noticed the chirping of crickets filling my room, causing me to feel a sense of desolation [“autumn thoughts”]. I thought of how lucky I was to have obtained photos of this famous teacher performing this famous boxing set, and that I ought to store it away like a treasure and not let it get worm-eaten, and then in that way I would not be betraying my duty to preserve Chinese martial arts. I repeatedly thought about storing it away instead of sharing it, of treasuring it instead of spreading it. If I were to hide it away in a safe, would that not be the wisest thing to do?
I thought about this over and over. To spread the art is surely what Ye would have wished. But is that not easier said than done? The transformations throughout the boxing set are unfathomably profound, but even with the most beautiful writing [“the pen sprouting flowers”], it would still be extremely difficult to describe its magical changes. Although photographs can pass down authentic images, one can only see the postures, not the movements. I thought about this and truly did not know what to do. I felt ashamed that I wanted to make such a project work but did not have the power to carry it out, that I hoped to spread the art but frustratingly could not find a way to do it. This unfulfilled wish in my heart gradually dimmed its fire, and with a sense of despondency, I decided to just go to sleep.
Half asleep, half awake, I again became aware of the chirping of crickets surrounding me, as if they were equally criticizing me and pitying me. This pestered my heartstrings, provoking distracting thoughts in my mind that would not let me sleep, thoughts which kept recurring until the world seemed full of possibilities. In ancient times, Ouyang Xiu painted as he saw things, his “literati paintings” being considered the best of all; Zhang Qianqiu painted maps, having an uncanny recollection of geographical features; there were the painters of the walls of the Dunhuang Caves, whose works inspire veneration as soon as they are seen; and there was the story of Zhang Sengyou’s dragons, which had pupils added to their eyes and then became so lifelike that they broke free of their two-dimensional surface and flew away. These ancient men painted from their own imagination, and yet what they painted seemed true to life.
So I decided I would make line drawings based on actual photographs, though I wondered if even then I could approach the merest hint of what those men achieved. I would furthermore add dotted lines to the pictures without affecting the performance within the original photo. Since this would provide an aid to the explanations and would not be damaging to the pictures, I figured I might as well try it and see what happens. I had hopes that this method might succeed in some way and also be able to somewhat fulfill my nagging wish. Coming up with this idea restored my discouraged heart and at last I fell into a contented sleep.
But then I once again heard the chirping of the crickets, as though they were criticizing me that I was “making a drawing of a snake and then adding feet to it”. They chirped and chirped, ridiculing me and hoping I would give up on my plan. I heard this incessant sound and kept thinking about how scholars have ambitions and feel a need to do things, only to end up accepting teaching positions that are not meaningful, consigned to simply echo the words from lessons that someone else had prepared. But why should such thoughts dissuade me, much less some wailing autumn insects? Their noise was not shaking the roof tiles, so as their chirping chirps chirped with the melancholy of autumn, why should it distress me at all? I fully realized that some degree of superfluity probably was unavoidable, but also that it would be much better than the deception of “drawing pancakes to stave off hunger”. So I concentrated on making a draft and made up my mind that I would complete the project. I put success or failure in the back of my mind and would accept whatever glowing approval or damning criticism comes my way.
Throughout the last six months, this material has been getting published in serialized form in Chinese Boxing Magazine [over the course of 21 issues (occupying 2 pages per issue): vol 16, issue #11 (Nov 13, 1954) – vol 18, issue #7 (Apr 2, 1955)] in order to see what people would think of it. Somehow it received favor from readers, who one after another came forward with the advice that it should quickly be published as a separate volume. I did not feel it my place to do so, so I asked Master Ye, and he was only too pleased to give the command for it be published. Now that this book is finished, I would not presume to say that it is the most helpful of study aids, but I would suggest that it is sufficient to comfort those who have been anxious to better understand this material. As I write this preface, I can still hear those crickets chirping in my ears, as if they now envy me and want to be a part of any success this venture may have. And thus I have put them in my preface.
- written by Pan Maorong at the Strengthen-the-People National Medical School, on April Fools’ Day, 1955
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說明：
POSTURE EXPLANATIONS
凡單人練習之拳術，乃集綜該派手法之精華，將各手法聯為一連串之演式，以便於練習者也，至其實用，有單獨一式者，亦有聯合上下數式者，故說明上，應以每一式之動作為單位，如有應聯合數式者，則聯合說明之。
The solo practice of boxing arts is usually a matter of collecting the best techniques in a system and linking them together into a continuous performance in order to facilitate training. As for applications, there are applications for individual postures and also for connected series of postures. Therefore the explanations will focus on the movements of the individual postures, but when a posture is connected to the postures that precede or follow it, the explanation will also discuss how they are linked.
（一）「預備式」
Posture 1: “Readiness”
先立正，兩足拍齊，下垂兩臂，手作掌，掌背向前，注意於左方，假想敵人由左方進攻，故垂手運勁於雙掌，凖備迎敵。（如圖之一）
First I stand at attention, my feet stomping down in unison, my arms hanging down, the hands as palms, the backs of the palms facing forward. My attention is toward the left, for an imaginary opponent is coming to attack from that direction. The hanging of my arms sends energy into my palms, ready to engage him. (See image 1 below.)
（二）「變式動作」
Posture 2 (and its transitional movements):
假想敵由我左側前步衝來，用右馬右拳，向我面部進擊，我見來拳將近，急兩手一齊發動，右手則向左側經胸前挑上，用掌背挑撥敵方右手使向上拋起，而露出右脇，左手亦向左側挑出，用掌向敵方右肩後部一抹，使對方勢向前仆，以利我之踢腿也，立卽連隨一提右足，向後一躍，以較凖距離，而用左足向敵方右乳旁脇下一踢，立卽收腿，則對方殊難閃避及抵擋矣。（如圖之二）注意：两手向左側挑至水平時，立卽躍退右步，連隨踢左足，仝時右掌搭囘右側，左掌收囘左肩前，左足一踢卽收，動作要一致乃合。
The opponent steps forward from my left into a right-facing horse-riding stance and thrusts out his right fist to strike to my face. When I see his fist approaching, I quickly move my hands in unison, my right hand going toward the left, passing in front of my chest, and carrying upward, using the back of the palm to deflect his right hand and fling it away upward, thereby exposing his right ribs, my left hand also going out toward the left and carrying upward, using the palm to wipe at the back of his right shoulder, causing him to lean forward, giving me an opportunity to kick him. My right foot has quickly jumped back to create the proper distance and now my left foot kicks to his right ribs, and then I immediately withdraw the kick. This technique is very difficult for an opponent to either evade or resist. (Note: My right foot jumps back once my hands carrying upward to the left are level, then my left foot kicks as my right palm withdraws to my right side and my left palm withdraws in front of my right shoulder, after which the foot promptly withdraws, actions which should be performed in unison.) See image 2:
（三）「變式動作」
Posture 3:
上式，躍退右步，踢出左足，一踢卽收，遂成右脚獨立提左腿之勢，右臂則平伸於右側，竪起右掌，掌心向出，左手則曲肘覆掌於左肩前，此時，若敵方欲乘我獨立勢危之機，用右步右拳，向我面部衝來，我急用两手一齊搭出，左手則仰掌拿住對方來拳右上臂後部，近腋窩處，同時，右手覆掌搭出，拿住對方右腕，連隨將提起之左腿，乘坐右膝之勢，向前一伸，以阻住對方右馬前，卽內側脚眼處，立卽两手一齊用力，向下往右一拖，此時，對方之右馬，已被我用左腿攔住，而右臂被我向出一拖，故其勢必向前仆出矣。（演式圖之三）注意：一坐右膝伸左腿，兩手往右拖，要一齊動作為合。
In the previous posture, I hopped back with my right foot, kicked out with my left foot, and then withdrew the kick, making a right one-legged stance with the left leg lifted. My right arm is level, extended to the right, the palm upright and facing outward, and my left elbow is bent, the palm in front of my left shoulder and facing downward. The opponent now wants to take advantage of the vulnerability of my position by stepping forward with his right foot and thrusting out with his right fist to attack my face, so I quickly send out my hands in unison, my left hand taking control of his incoming punch by going behind his right upper arm near the armpit area, the palm facing upward, as my right hand catches his right wrist, the palm facing downward. My right knee at the same time squats down, my left leg going along with this action by reaching out forward to obstruct his front leg at the inner ankle area, and immediately I use both hands in unison to forcefully pull downward to the right. With his right leg stopped by my left leg as his right arm is being pulled, he will have to lean forward. (Note: The actions of squatting with my right knee, reaching out with my left leg, and pulling to the right with my hands should all be performed in unison.) See image 3:
（四）「變式動作」
Posture 4:
第三式與本第四式，是有連帶關係者，蓋上式對方之右馬，旣被我用左足阻住，復被我兩手向出往右一拖，其勢必向前仆出，此時若對方急提右腿，跨出我左足之前，俯身相就，欲得保持重心，以免仆地，我則立卽變式，蓋此時形勢，對方之右足在前，而我之左足變成勾住對方右馬之後矣，故立卽一變左弓式，乘變式之勢，左手用掌抵住對方右腋下，右掌向對方胸前，兩手合力將對方昂面一推，使對方仰面向後反跌。（演式圖第四）注意：右掌向左側推出時，應先收掌至腰，反上掌心蓄勢，用勁两手一齊推出左側為合。
Postures 3 and 4 are interrelated [i.e. performed as a single continuous technique] because the opponent’s right-sided horse-riding stance that played a part in the previous posture was obstructed by my left foot and then affected by my hands going out and pulling to the right, forcing him to topple forward. But if in this moment he quickly lifts his right leg and steps out in front of my left foot to save himself from leaning, hoping to preserve his balance instead of falling over, I then immediately change my stance. In his new position, his right foot has come forward, and so my left foot would now be in the role of hooking behind his right leg, therefore I immediately switch to a left bow stance, putting my left palm at his right armpit and my right palm toward his chest, and use the combined force of both hands to give him a high push, causing him to lean back and topple away. (Note: When my right palm pushes out to the left, it should first withdraw to my waist, turning over to be upright and storing power, and then both palms express power in unison, pushing out to the left.) See image 4:
反掌 竪掌
My right is turning over as it gets to my waist, then my palms are upright palm when they push out.
（五）「變式動作」
Posture 5:
上第四式，雙掌向左推出，成左弓式之勢，全力已向左方，故右方呈露虛象，假想敵人乘虛由我右方進攻，欲擊我背後，則其前馬，必須踏進我右足後馬內，始能近我以發拳也，故必形成互相扣馬之勢，我乃急收雙拳在腰，向右轉身先成馬式，旣能蓄勢待發，復利用右掙頂開來拳，連隨變右弓式，雙拳齊發，向右一衝，向敵方胸部反擊，（演式圖第五）
In the previous posture, I pushed out to the left with both palms, making a left bow stance. Because all of my force is going to the left, my right side is now exposed, and so an opponent takes advantage of this to attack me from behind. His front leg will have to advance to the inside of my right foot to be able to get near enough to hit me with his fist, therefore I have to match him by performing the technique of “reining in the horse”: I quickly withdraw my fists to my waist as my body turns to the right to first make a horse stance, storing power and waiting to issue, then I use a right block to knock aside his incoming fist, and then continue into a right bow stance as both fists thrust out together to the right to counterattack to his chest. See image 5:
右 覆衝拳
I turn around to the right. My fists thrust out with the centers of the fists facing downward.
（六）「變式動作」
Posture 6:
上式，雙拳衝向右方，則左側後方必然空虛，假想敵人右拳右馬，攻我背後，我急左轉身變左弓式，連隨先用左臂由上向左搭出，用拳背或前臂將來拳撥離左側外，但對方連環衝出左拳，擊我面部，我則用右臂由上向左搭出，亦用拳背或前臂，將敵方連環拳搭離右側外，連消兩拳，但敵方用連環衝拳法，又復衝右拳，攻我面部，我則乘左手搭落之餘勢，由後翻起用前臂向前，斜向右側劈落，將敵之右拳，劈向右側，使其不便再衝左拳也，連隨突飛左脚，用脚背襲擊敵右方乳旁脇肋處，一踢卽收，敵方不及提防，必能命中也，（演式圖第六）注意：左手先隨左迴身之勢由上向左伸直，搭出一直運落不停，右手則俟左手搭至左側水平時，卽成担扞式，亦跟住由上向左伸直搭出，亦一直運落不停，兩手分開輪轉，至左拳劈落，右拳掄起時，卽踢左腿乃合。
In the previous posture, I sent both fists thrusting out to the right side, meaning that I will now be exposed behind me to the left. The opponent behind me steps in with his right leg and sends out his right fist to attack my back, and so I quickly turn around to the left, switching to a left bow stance, first sending out my left arm toward the left from above, using the back of the fist or the forearm, to deflect his incoming fist outward to the left. But he continues by thrusting out his left fist to strike to my face, and so I now send out my right arm toward the left from above, also using the back of the fist or the forearm, to send his incoming fist outward to the right, thereby dispelling both of his punches. But since the opponent is using a continuous punching method, he again thrusts out his right fist to attack my face, and so I make use of the momentum of my left hand as it follows through downward and to the rear by bringing it up and sending the forearm forward and chopping diagonally downward to the right side, sending his right fist away to the right, which makes him think twice about thrusting out his left fist again. I continue by suddenly flinging out my left foot, using the top of the foot to strike to his right ribs and withdrawing the foot as soon as I have kicked, rendering him too slow to guard against it so that I will surely be able to hit the target. (Note: My left hand first goes along with the leftward turn of my body by reaching out to the left from above and moving downward without pausing. In the instant that my left arm has reached out to the left, it forms a horizontal line with my right arm, momentarily making the position of “carrying a shoulder pole”, but then my right arm follows by also reaching out to the left from above and also moving downward without pausing, my hands each making wheeling arcs. When my left fist finally chops down and my right fist swings up, my left foot should be kicking out.) See image 6:
左先
My left fist moves first.
踢腿 左手 右手
The movement of my kicking leg is represented by the solid lines. The movement of my left hand is represented by the long-dotted line. The movement of my right hand is represented by the short-dotted line. [This pattern will be repeated throughout these drawings, the left hand (左手) being represented by the long-dotted lines, right hand (右手) by short-dotted lines. The movements of the feet are represented by solid lines, whether the feet are stepping (步), performing stepping actions (步法), or are involved in kicking (踢腿), but there are no special lines to distinguish between left foot and right foot as with the hands.]
（七）「變式動作」
Posture 7:
上式之左右分手掄拳法，不獨能撩撥來拳而已也，抑且亦能連消帶打者焉，假想敵用左馬左拳從左方攻我後背，我立卽左轉迴身，直搭左手，利用左上臂撩來拳於左腋下，同時我之左拳已劈到其左肩，此時對方之左拳已被我左臂封於腋下，我連隨劈出右拳，擊對方後枕，對方必向後側身瀉避，更乘側身之勢，起左脚向我腹部撑來，故我右臂須一直運落之架之，對方急囘復左弓式，反左拳向我面部掛來，我急提左腿而劈左拳，將掛拳劈開卽還踢左腿，反踢對方左腋下，一踢卽收，以防被擒，對方見我踢腿，乃亦急提左腿，使身得往後移以避也，此時，見我收腿獨立勢危，必復搶進左步隨衝左拳，向我胸面等部攻擊，我急用右臂，向前經胸落下一彎，不獨能勾消來拳，且能收拳囘腰蓄勢也，對方以左拳被消必衝進右拳，我則突蹲右膝直竄出左腿，插入對方左馬之前，上挑左臂，變下式反攻（演式圖之七）
The method of swinging my fists in the previous posture not only can deflect incoming punches, it can also continue into striking. The opponent attacked from behind me to the left, so I immediately turned around and extended my left hand, using my left arm to deflect his incoming punch below my left armpit, my left fist chopping to his left shoulder, and with his left fist having been sealed off by my left arm, I continued by chopping out with my right fist to strike to the back of his head. He had to back off to evade this, and then took advantage of this position by turning his body sideways and lifted his left foot to do a bracing kick to my belly, meaning my right arm had to follow through downward to block it, but he quickly withdrew into a left bow stance and sent out his left fist to counterattack as a backfist. I quickly lifted my left leg, chopping with my left fist to send his fist aside, and counterattacked by kicking to his left armpit, then promptly withdrew the kick to keep it from being grabbed. When he sees my leg kicking, he quickly lifts his own left leg and shifts his body back to evade my kick. Seeing that I have withdrawn my leg into a one-legged stance and am now in a dangerous position, he will again rush in by stepping forward with his left foot and thrusting out his left fist to strike to my chest or face, so I quickly send my right arm downward, passing in front of my chest, to not only hook away his incoming fist, but also to withdraw it to my waist to store power, the arm bending. His left punch having been dispelled, he will thrust out his right fist, so I suddenly squat down with my right knee and shoot out my left leg past his front leg as I carry upward with my left arm, and then I will switch to the following posture to counterattack. See image 7:
左足將到地時突向前伸出
When my left foot comes down, it suddenly extends forward.
（八）「變式動作」
Posture 8:
上式，對方左馬衝右拳，打我面部，我突蹲下避過來拳，而竄伸左足插入其前馬，幷平伸左臂以防其踢左腿也，對方見我避過右拳蹲低仆腿，乃連隨用左拳向我頭上冚落，我急上挑左臂，向左用勁一撥，突變左弓式，助勢發右拳，反攻對方左腋下，此時，對方之左前馬已被我所扣住，而左臂又被我左臂向左一撥，其勢已梢向側傾矣，我乘機用右拳向其左腋一揮，故對方更難立足，自必向前仆出也。（演式圖之八）
In the previous posture, the opponent thrust out his right fist with his left leg forward to strike to my face, so I suddenly crouched down to evade his incoming fist while extending my left foot past his front leg and reaching out my left arm to defend against the kick from his left leg. He sees me evade his right punch by dropping down into a “reaching-leg stance” and then uses his left fist to smash down toward the top of my head, and so my left forearm quickly carries upward to forcefully deflect it away to the left as I suddenly switch to a left bow stance, adding to the motion by shooting out my right fist to counterattack to his left ribs. At this moment, his front leg is already being controlled by me and his left arm has been deflected to the left, and so his posture is already on the point of tipping over. I thus take advantage of the opportunity by swinging my right fist toward his left armpit, making it even harder for him to stand stably, and he is now sure to topple away forward. See image 8:
拳頭至X處反轉
The knuckles of my fist rotate at point X.
（九）「變式動作」
Posture 9:
上式，我左弓式左臂撥開對方左臂，衝右拳攻其左腋，若對方不善消解，必須跌，幸能急提左腿，免我扣馬所威挾，且可移身退避，同時乘勢挑囘左手，架我右拳，隨手一挑卽復打出，反攻我胸部，我則右拳向下一圈，消解來拳，連隨反拳掛出，誘其左臂上架，且對方亦勢必上架左臂也，故面部必呈空虛，我乃乘虛手足幷進，左掌直插以穿喉，同右時腿直踢以偷心，吾不知對方如何消解矣。注意，左掌先收至腰（X處），反掌心向上，然後隨踢腿一齊插出。
In the previous posture, I went into a left bow stance while using my left arm to deflect the opponent’s left arm and thrusting out my right fist to attack his left armpit. If he is not able to dispel my attack, he is sure to fall, but if he can quickly lift his left leg to keep me from trapping it with my front foot and can retreat away from me, while at the same time taking advantage of the opportunity to pull back his left hand and carry upward to prop away my right fist, it will be easy for him to then go from carrying to striking out, counterattacking to my chest. I then roll my right forearm downward to dispel his incoming punch and continue by sending out a backfist, which induces him to prop up with his left forearm, thereby exposing his face. I take advantage of this opening by sending out a hand and foot together, my left palm jabbing straight to his throat [as my right fist withdraws to my waist], my right leg at the same time sneaking in a kick to his solar plexus. I doubt he will be able to defend against this technique. (Note: My left hand as a palm first withdraws to my waist (at point X), the center of the palm turning over to be facing upward, then jabs out in unison with the kick.) See image 9:
右 左 右
My right fist was forward, my left fist was behind, and my right foot was behind.
（十）「變式動作」
Posture 10:
上式，我左掌右腿，手足幷進，對方急斜向左側一跳，跳至我右側身旁，立刻劈出右拳，向我右額打來，我見對方由右側進攻，乃向右側轉身，用左手由上向右勾落，消其右拳，同時突蹲左膝，竄出右腿，以攔住對方馬前，（演式圖第十）立卽變下式攻之。注意，上第九式，一踢右腿，應立卽收囘，以免被擒，且隨收腿之勢，立卽將身畧向右轉，此時右腿仍然提起，左手由上向右冚出勾落，右拳則貼胸放至左肩前，虎口向出，左拳則勾至右肩前，亦虎口向出，兩拳叉手抱胸，蓄勢待發，左臂在外，當左拳勾落時，卽連隨蹲下左膝，蹲至提起之右腿將到地時，急將右腿稍稍離地，水平撑出，卽成仆腿，然後急變下第十一式乃合。
In the previous posture, I did a left palm strike and a right kick, my hand and foot attacking together. The opponent quickly jumps away to his left to arrive at the right side of my body and immediately sends his right fist chopping out to strike to my right temple. When I see his attack from the right, I turn to the right while using my left hand to hook downward from above to send away his right fist, my left knee at the same time squatting down, my right leg reaching in order to obstruct his front leg, and then in the next posture I will immediately go on the offensive. (Note: In the previous posture, my right leg kicked out and then promptly withdrew in order to avoid being grabbed. Going along with the momentum of my leg withdrawing, my body immediately turns to the right, my right leg still lifted, and my left hand hooks downward from above as my right fist goes along my chest to be in front of my left shoulder, the tiger’s mouth facing outward, my left fist hooking until in front of my right shoulder, the tiger’s mouth also facing outward. My fists are crossed, the arms embracing in front of my chest, storing power in readiness to issue, my left arm on the outside. While my left fists hooks downward, my left knee is squatting down, bringing down my lifted right leg, which quickly slides out, not quite touching the ground on the way, to make a reaching-leg stance. I will then quickly switch to the following posture.) See image 10:
（十一）「變式動作」
Posture 11:
上式，對方跳至我之右側，用右弓式劈右拳攻我右額，我用左手向右勾落，勾消其來拳，同時下蹲而伸出右腿，已攔住對方馬前，立卽突變右弓式，用右拳向對方右腋後肩胛處，稍偏向右方一衝，可使對方向前傾仆矣。（演式圖第十一）。
In the previous posture, the opponent jumped to my right side and used a “right bow stance, right chopping fist” technique to attack my right temple, so I sent my left hand downward to the right to hook away his incoming fist, at the same time squatting down with my right leg reaching out to obstruct his front leg. Now I suddenly switch to a right bow stance and send my right fist thrusting to the right, going behind his right armpit and toward the right shoulder blade, causing him to lean forward. See image 11:
（十二）「變式動作」
Posture 12:
上式，我斜擺弓式，橫開兩手，故下路自屬空虛，若假想敵人，由我左側前正面進攻，則必取下路攻勢，蓋我兩手雖橫開左右，露出胸部，究竟招架容易，不如下路空虛之甚也，故敵若來攻，必取下路，我亦早知其如此，早作準備矣，敵方果然一脚撩陰腿，向我陰部踢來，我急手足齊用，將左足向正中一撥，兩膝一挾，成實丁式之勢，一則可以護陰，一則可撥消來腿，更同時，一垂左手，由下向正中撈上，將來腿後踭兜住，更同時右手用拳背由上打落，以打對方足背關節處，可能使對方足背關節打至錯落也。（演式圖第十二）注意，收左足，撈左手，落右拳，三個動作一齊為合。
In the previous posture, I swung myself diagonally across into a bow stance while spreading my hands apart to the sides, and therefore my lower area will now be an open target. If the opponent attacks from my left side, he will surely attack me below. Because my hands have spread apart to the sides, my chest is also open, but this is an area that is actually easy to parry attacks away from, and so my lower area is essentially much more vulnerable, and therefore he will most likely attack below. But because I am already aware of this, I can be prepared against it beforehand. He now raises a leg to kick to my groin, so I quickly use my hands and feet in unison, sending my left foot swinging across the midline, my knees pinching toward each other, making a T stance, which both covers my groin and deflects his kick. At the same time, I lower my left hand and scoop up from below to catch his leg behind the heel as I send my right fist downward from above to strike to the top of his ankle with the back of my fist, which can cause dislocation in his ankle. (Note: The three actions of withdrawing my left foot, scooping with my left hand, and dropping my right fist are all to be performed in unison.) See image 12:
（十三）「變式動作」
Posture 13:
上式，我擒得對方之腿，立卽雙手合力往上一拋，敵必仰跌者也，假如對方機警，一踢卽收，我則撈個着空，此時我俯腰而兩手下沉，面部空虛，敵用右拳攻我面部，我急兩手齊向上一揮，將來拳撇開，同時起立，兩拳分左右運囘腰部，說時遲，那時快，對方突衝左拳，攻我面部，我右拳遂無暇停留，連隨由下從左側圈過右側，抹面而過，撥開來拳，對方連環復衝右拳，衝我面門，我急用左臂由下從右側掛過左側，抹面而過，掛開來掌，同時突飛左脚，伸直脚尖，突踢對方下巴，一踢卽收，對方猝不及防，必能命中（演式圖第十三）注意，先两手一齊向上拱上，至頭上時，兩手分左右側運落不停，两拳一齊運落至前陰處，遂形成交加手，右手在外，左手貼腹，右拳繼續從左側運上，抹面運囘右側，左拳隨由右側運上，抹面掛囘左側，立卽連隨踢出左腿，一踢卽收，以防被擒為合。
In the previous posture, I grabbed the opponent’s leg in order to immediately used both hands to throw it upward, which would inevitably cause him to fall backward. But he is very alert, and so he promptly withdraws his kick, giving me nothing to scoop up. I am now leaning forward with my hands dropped down, meaning my face is an open target, so he sends his right fist to attack my face. I quickly swing both hands upward in unison to parry away his incoming punch while rising to a standing position, my fists then spreading apart to the sides and then withdrawing to my waist in a flash, suddenly thrusting out his left fist to attack my face, so I send my right arm without delay wiping upward to the right to deflect his incoming punch, but he again thrusts out his right fist toward my face, so I quickly send my left arm wiping upward to the left to hang aside his incoming punch, while suddenly shooting out my left foot to do a toe kick to his chin, and then promptly withdrawing the kick. Taking him by surprise, this technique will surely be able to hit the target. (Note: I first bring my arms upward in the form of an arch, and then once they are above my head, they spread apart to the sides and then come down, and without pausing they in unison lower in front of my groin, making a crossed shape, right hand on the outside, left hand near my abdomen. My right fist then continues by wiping toward the left, upward, and back to the right side, as my left fist wipes toward the right, upward, and back to the left side, and then my left leg immediately kicks out, promptly withdrawing to keep it from being grabbed.) See image 13:
「待續」
To be continued… [The appearance of these words here is simply a hangover from when this material was published in serialized form.]
–
（十四）「變式動作」
Posture 14:
上式，我左右手分左右圈開，左脚一踢卽收，成獨立之勢，若敵乘我胸部空虛，衝進左拳，我則急落右拳勾消之，立卽進左步，但敵方突撑右腿，攻我左脇，我勾落左掌以消之，敵恐踢腿被我勾住，故急收卽退成左弓式而衝右拳，攻我面部，我用右手順勢勾落，將來拳勾離右側，使敵露出右肩胛，立卽踏進右步作實丁式而撑左掌，攻敵右腋後肩胛處也。（演式圖第十四）
In the previous posture, my hands spread apart in arcs to the left and right as my left foot lifted, withdrawing to make a one-legged stance. Now the opponent takes advantage of my open chest area by thrusting out his left fist, and so I quickly lower my right fist to hook it away and immediately advance with my left foot. But he suddenly does a bracing kick with his right leg to attack my left ribs, and so I lower my left palm to hook it away. Fearing his kick will be caught by me, he quickly withdraws it and retreats into a left bow stance, thrusting out his right fist to attack my face, and so I use my right hand to hook downward, sending his incoming fist away to the right. This causes his right shoulder blade to be exposed, and thus I immediately advance with my right foot to make a T stance while bracing out with my left palm to attack behind his right armpit. See image 14:
右先勾落 变掌 畧停
My right fist first hooks downward. My left fist becomes a palm. My right hand comes a slight halt behind me.
（十五）「變式動作」
Posture 15:
上式，我作實丁式，伸左掌，右手勾向後，故左脇及面部空虛，假想敵用十字腿，踢右脚攻我左脇，同時衝右拳攻我面部，我須左右手一齊發動，左手從左側勾落，勾其脚，右手由正面挑上架其拳，立卽踢出左腿，反攻其胸，一踢卽收着地，但敵方急收右踢腿而起連環脚，右足着地卽撑左脚，撐我右脇，我急乘勢勾落右手，可能勾住其脚踭，同時用左掌兜落，撈住其膝抝，兩手合力一拖，更一提右腿，以助拖沉之力。（演式圖第十五）
In the previous posture, I settled into a T stance with my left palm extended and my right hand hooking behind. Therefore my left ribs and my face are now open. The opponent uses a crossed-body kick, kicking with his right foot to attack my left ribs while thrusting out his right [left] fist to attack my face, so I have to mobilize my hands in unison, my left hand lowering to my left side to hook away his foot, my right hand carrying upward in front of me to prop away his fist. Then I immediately kick out with my left leg to counterattack to his chest, then promptly withdrawing my foot and bringing it back down, but he has quickly withdrawn his right foot and goes into a continuous kick, his right foot coming down and his left foot doing a bracing kick to my right ribs. I quickly take advantage of the opportunity by lowering my right hand to hook his heel while using my left palm to scoop under his knee, then use the combined strength of both hands to give a tug, also lifting my right leg to assist the power of this downward pull. See image 15:
後勾左手挑上右掌連隨踢腿
My left hand hooks to the rear, my right palm carrying upward, and I continue into the kick.
停住踢腿 停
I stand where I am and kick. My left hand pauses behind me.
（十六）「變式動作」
Posture 16 [and 17]:
上式，假想敵所撑之左脚，能及時收囘，未為我所執，反退左足而衝右拳，擊我面部，我則踏右足而挑左掌，消其右拳，但對方又立卽更退右步而後衝左拳，向我面部一晃立卽跳退以誘我，我卽上挑右掌，連隨右脚用力一躍，全身躍進而踢右腿，可能踢中對方面門也，我腿一踢卽收，敵方亦急躍身跳退，我亦隨之左足着地，但對方乘我立足未牢，卽用左弓右拳，衝我面部，我用右掌抹面向左圈落，撥開來拳，同時下蹲左膝，直竄右足，躡入對方前馬後踭處，對方見我兩手低置，蹲下仆腿，以為我上部空虛，遂乘機收右拳而用左拳由上冚落，當頭打下，我則立用右臂，由下上而變右弓式，旣可架住對方冚落之左拳，復可利用變弓式之勢迫近對方，連隨用左掌向對方前陰部由下兜上，立刻撚掌變拳，一拿扣出，則對方猝不及防，且其前馬已被我右足扣住，更不易退步閃避，此乃迷踪派拳之暗着也。（演式圖第十七）
In the previous posture, the opponent withdrew his left foot before I could get hold of it, then retreats his left foot and thrusts out his right fist to strike to my face, so I step with my right foot while carrying upward with my left palm to dispel his right punch. But he immediately retreats his right foot and then thrusts out his left fist toward my face, an action involving suddenly hopping back to lure me in, and so I carry upward with my right palm while forcefully launching with my right [left] foot, my whole body leaping, and I send out my right foot to kick to his face. Once I have kicked, I promptly withdraw my leg, for he has quickly hopped back, and as my left foot comes down, he now takes advantage of the fact that I am not yet standing stably, getting into a left bow stance and thrusting out his right fist toward my face. I send my left palm wiping to the left and arcing downward, deflecting his incoming fist, while squatting down with my left knee and extending my right foot to sneak past his front heel. With my hands lowering and my body squatting down into a reaching-leg stance, he sees that my upper area is now open, so he takes advantage of the opportunity by withdrawing his right fist and sending his left fist to strike down toward my head from above. I thus immediately send my right arm upward from below to prop up his left fist as I switch to a right bow stance to crowd him and send my left palm upward and forward to attack his groin, the palm then immediately squeezing as a fist, taking him by surprise, and with his front leg being snared by my right foot, it will not be easy for him to retreat and evade this attack. This is a secret technique of the Mizong style of boxing. See image 17:
動作：右足踏進，即挑左手，連隨翻上右掌躍進而踢右腿，一踢即收，左足先着地，急竄出右足，先成撲腿而圈落右掌，立即隨变右弓式上架右臂，同時，左掌向右側敵方前陰，仰掌兜上，立即撚掌变拳。
Outline of the movements: [Posture 16] My right foot steps down forward as I carry upward with my left hand, then my right palm carries upward as I leap forward and kick out with my right leg, and then promptly withdraw the kick. [Posture 17] With my left foot coming down first, I quickly extend my right foot, first making a reaching-leg stance while arcing downward with my right palm, then immediately switching to a right bow stance while propping up with my right arm, my left palm at the same time going upward and forward to the right to attack the opponent’s groin, the palm then immediately squeezing as a fist.
（十八）「變式動作」
Posture 18:
上式，敵方乘我蹲下仆腿，掄左拳冚落，我則上挑右臂而變右弓式，架開左拳而仰兜左掌以撩陰，此時，對方之左臂，旣被我右臂擱於上，當不能下救也，故必須用左掌切落，將我左撩陰手撥離身前，連隨乘我左額空虛，立卽由左側圈上左拳，反轉拳頭，用拳背菱骨，擊我左額，我見來拳勢兇，乃左右手一齊動作，右手一挑，更將對方左臂拋開，順勢收右拳囘腰蓄勢以待發，同時左手亦向上一挑，挑上額前反拳背向上，作蒙頭以架開對方之左拳，順勢一變馬式，遠避來拳，復可較凖距離以利右拳衝上也，乃收左拳囘腰而衝上右拳，還擊對方下頷。（演式圖第十八）
In the previous posture, the opponent took advantage of my squatting down into a reaching-leg stance by swinging his left fist downward, so my right arm carried upward as I switched into a right bow stance, propping away his left fist and doing a raising attack to his groin. Now that his left arm has been blocked upward by my right arm, he cannot save himself unless he sends his left palm cutting downward to deflect my left hand away from his groin, then takes advantage of my left temple being an open target, his left fist immediately arcing upward to strike to the left side of my chin with a backfist. I see that the power of his incoming punch is fierce, and so my hands work in unison, my right hand carrying upward to again cast aside his left arm and then withdrawing to my waist in readiness to attack as my left hand also carries upward in front of my forehead, turning over so the back of the fist is facing upward, to guard my head by propping away his left fist. At the same time, I switch to a horse-riding stance to create some distance from his incoming punches and put me in a better range to then more accurately strike with my right fist. As my left fist withdraws to my waist, my right fist thrusts upward to counterattack to his chin. See image 18:
左拳挑至X處反轉拳背向上
By the time my left fist has carried upward as far as point X, it has rotated so that the back of the fist is facing upward.
（十九）「變式動作」
Posture 19:
上式，我用衝天拋拳，還擊其下頷，此時對方已收右拳在腰，見我右拳衝上，故一提左腿，身已後移，避過衝拳，又乘我拳上衝之餘勢，更在我右手掙底，仰右掌向上一托，則我之右臂必更被拋高，遂露空右脇，而對方又具有先提左腿之利，因利乘便，用左腿撑我右脇，一托掙卽踢脚，來勢急疾，若我方偶或疏虞，則被擊中，故凡用衝天拋拳者，必早防對方有此一着，以免吃虧也，今對方果用左腿踢來，幸我早有凖備，用右臂向下一劈，將來腿臂離右側身外，對方急收左腿跳退，我則急提左腿，作追趕狀，連隨分左右抓起雙爪，以虛張聲勢，誘對方注意於上，立卽右足用力躍進趕上一踢，往往能命中對方也，但須一踢卽收為要。（演式圖第十九）
In the previous posture, I used a “punch to the sky” to counterattack to the opponent’s chin. Having already withdrawn his right fist to his waist, he sees my right fist thrusting upward, and so he lifts his left leg and shifts his body back to evade my punch. Taking advantage of the momentum of my fist thrusting upward, he also sends his right palm to prop up under my right hand, and thus my right arm will get thrown high up, thereby exposing my right ribs, and so he will use his lifted left leg to do a bracing kick to my right ribs. Going from propping right into kicking, this attack will be very quick, and if I happen to not be paying attention, I will get hit. Therefore whenever I use a punch to the sky, I have to guard against the opponent using this technique in order to spare myself suffering. He now kicks out with his left leg, but fortunately I am already prepared and use my right arm to chop downward, sending his incoming leg away from my body to the right. He quickly withdraws his left leg and hops back, and so I quickly lift my left leg to chase him while throwing my hands up as a feint to draw his attention upward, then immediately my right foot forcefully leaps forward and upward with a kick, an action which can often hit the target, but I will then have to withdraw it as soon as I kick out. See image 19:
先提左腿，同時上舉双爪，右足用力一躍即踢，即踢即收，隨变下式。
First my left leg lifts, my hands rising up, then my right foot forcefully leaps and kicks. I promptly withdraw my foot as soon I have kicked out, then go right into the next posture.
（二十）「變式動作」
Posture 20:
上式，對方收腿跳退，我提左腿，舉起雙爪，虛張聲勢，右足躍前趕上一踢，踢對方胸部，此時對方跳退已成左弓式，乃急用左掌，由左向右橫撥冚落，將我之右踢腿撥離身外，我腿一踢卽收，時左足已先着地，而右足仍然提起，未及着地者也，對方見我，雙手高舉，而又立足未牢，認為有虛可乘，乃急踏上右步，成右弓式，發右衝拳，直衝我胸部，我則順着地下沉之勢，两手往下一拖，右手則握對方之右腕，左手則拿其右上臂掙後，右足則後退着地，乘此後退下沉之勢，全身用力，两手將對方向自己右側一帶，蹲下右膝以助拖勢，伸直左足，以攔住對方右足馬前，此時，對方勢必跨進左步以就我幷必用左手着地，以防前仆也，故與我面對面矣，我立刻兜上左手以撩陰，拋上右拳衝其面。（演式圖第二十）
In the previous posture, the opponent withdrew his leg and hopped back, so I lift my left leg, raising up both hands as a feint, and my right foot launched forward and upward to kick to his chest. But by now he has already hopped away into a left bow stance, quickly sending his left palm across to the right to deflect my right leg away from his body, and so I promptly withdrew my kick. In this moment in which my left foot is already coming down but my right foot is still lifted, he notices that my hands are high up and that my feet are not yet in a stable stance, and recognizing that there is thus an opening to take advantage of, he quickly steps forward with his right foot to make a right bow stance and shoots out his right fist straight to my chest. I therefore go along with my momentum of dropping down by pulling downward with both hands, my right hand grabbing his right wrist, my left hand grabbing behind his right upper arm, my right leg coming down retreating. Taking advantage of this momentum of retreating and sinking, the force of my whole body and hands drag him toward my right side, my right knee squatting down to assist the pulling power, my left leg extended to hinder his right forward leg. He now has to lunge forward with his left foot in order to keep pressure on me, but also has to put his left hand on the ground to prevent himself from falling forward. Therefore he and I are now face-to-face, and so I immediately throw my left hand upward with a raising attack to his groin as I hurl my right fist upward with a thrust to his face. See image 20:
（二十一）「變式動作」
Posture 21:
上式，若對方被我抓往往下一拖，勢必跨進左步也，被我左手撩陰，右手擊面，必無可解救矣，此乃迷踪派之絕着也，故對方應見我雙手抓落時，急須將右拳往下垂落逃避，免被擒拿也，我雖抓不着對方右臂，亦勢必退右步以保持有利距離者也，對方見我退步蹲下，乃乘垂右手之餘勢，由後翻起輪拳向我左額冚落，我急挑左臂架之而收右拳在腰，連隨一變弓式以迫近對方，隨立刻直衝右拳，還擊其面，（演式圖二十一）
In the previous posture, the opponent has been grabbed and pulled down, inducing him to step forward with his left foot. Being attacked by both my left hand raising to his groin and my right hand striking to his face, there would be no way for him to save himself. (This is a signature technique of the Mizong art.) Therefore when opponent sees my hands coming down to grab him, he has to quickly drop his right fist to keep it from being grabbed. Failing to grab his right arm, I then have to retreat my right foot to maintain a safe distance. When he sees me retreat and squat down, he takes advantage of the momentum of his right hand dropping away by lifting it from behind to do a wheeling punch toward my left temple, so I quickly raise my left arm to prop it away while withdrawing my right fist to my waist, then switch to a bow stance in order to crowd him and immediately thrust out my right fist to counterattack to his face. See image 21:
（二十二）「變式動作」
Posture 22:
上式，我左弓右箭，挑左拳囘腰而衝出右拳，成左弓，抝步衝右拳之勢，假想敵由我背後來攻，踏進左步，迫近我方而衝左拳，欲擊我項背，此時，我俟對方之左拳，將至而未到之間，立卽向右囘身，用右臂隨向右囘身之勢，由上向右方搭出，此一搭手，其作用是以右上臂部，將對方來拳撩入腋下，順勢直劈，用右拳背還擊對方面部也，對方必急上圈左臂，挑架我之右拳，一挑卽撑右腿還擊我右脇下，此時，幸我之左臂，早已隨向右囘身搭右拳之際，亦隨卽向上翹起，正在隨右手劈出也，今見對方，起左脚，向我中部撑來，乃立刻更向右轉身而退右步，用左手隨勢直落一撈，以兜捉對方之左腿，同時為安全計，更將左步拍至右足處，以遠離避之，而右拳亦高舉於上，左拳則收囘臍下，蓄勢應變（演式圖二十二）
In the previous posture, I went into a stance of left leg a bow, right leg an arrow, which involved my left fist carrying upward and then withdrawing to my waist as I thrust out my right fist, the right punch making it a twisted bow stance [meaning that the torso is facing squarely rather than sideways]. Another opponent comes to attack from behind, advancing with his left foot to crowd me, and thrusts out his left fist to strike to the back of my neck. Just before his left fist reaches the target, I immediately turn my body around to the right, sending my right arm out to the right from above, going along with the force of my body turning, my upper arm making contact with his hand, and thus deflecting his attack downward toward my armpit area, and then I follow through by chopping, using the back of my right fist to counterattack to his face. He has to quickly circle his left arm around to carry aside my right fist, and then sends out his right leg with a bracing kick to my right ribs. Fortunately, my left arm is already on its way, also going along with the turning of my body, and has been rising up since the moment that my right arm made contact with his arm and is following the course of my right hand chopping out. I now see him lift his left foot and send out a bracing kick toward my middle area, so I immediately turn my body further to the right, retreating my right foot, as my left hand comes down to scoop under his left leg. I make my position safer still by stomping down my left foot next to my right foot in order to get even farther away from him, my right fist rising high, my left fist withdrawing below my navel to store power for whatever may happen next. See image 22:
右轉身，右拳搭至X處，乃開始搭上左拳
My body turns around to the right, my right arm making contact when the fist is at point X, and then my left fist starts to rise.
（二十三）「變式動作」
Posture 23:
上式，向右囘身，直劈右臂，右拳上運至「X」處時，左拳卽隨之運上，左右拳分開輪轉，至右拳輪落下垂時，左拳則輪舉向天，立卽向右轉身退右步，右拳隨退步之勢，由右側復運上舉起，左拳則向左側運落，連隨拍收左足，收左拳於臍下。（注意：左拳至臍下，右拳至頭上，左足拍至右足，三個動作，要一齊）此時，已成為立正舉右拳之勢，蓄勢應變，假想敵所踢之左腿，一踢卽收，故我雖兜落左手，亦未必能將對方左腿兜住，且對方更乘勢，踏進右步而衝右拳，向我左額攻來，我見來拳將到，立卽將右拳變掌，向左側垂掌由上揷落，用掌背撩撥對方右拳背腕後，同時左掌早已竄上右肩，蓄勢待發矣，我右掌背一搭到對方右拳背腕後時，立卽向右一撥，則對方之右拳，必被我撥起也，我連隨踏進左步成左弓式，以迫近對方，隨步用左掌由對方右臂下，沿對方右臂削進，竪掌直劈對方面門，而右掌亦已撥囘右側，遂成左弓担杆式姿勢。（演式圖二十三）
In the previous posture, I turned around to the right and chopped with my right arm, my left fist rising up once my right fist was above me, my fists each making wheeling arcs. Once my right fist had dropped down and my left fist had risen up, I immediately turned my body further to the right while retreating my right foot, my right fist going along with the retreat by rising up from the right side, my left fist lowering on my left side and then going along with my withdrawing left foot by withdrawing below my navel. (Note: The three actions of my left fist arriving below my navel, my right fist finishing above my head, and my left foot stomping down next to my right foot should all be performed in unison.) I am now in a position of standing straight with my right fist raised, storing power for whatever may happen next. After kicking out his left leg, the opponent has withdrawn it before my left hand could catch it and now he seizes the moment by advancing with his right foot, and thrusting out his right fist to attack my left temple. When I see his incoming fist about to arrive, I immediately change my right fist to a palm, send it downward to the left from above, and use the back of the palm to deflect his fist at the back of his wrist. My left palm at the same time has already come up to my right shoulder in readiness to shoot out. Once the back of my right palm has made contact with the back of his right wrist, it immediately deflects it to the right, and once his right fist has been deflected, I then advance with my left foot into a left bow stance to crowd him as I send my left palm forward, scraping along under his right arm, to chop straight to his face with the palm vertical, my right palm following through from its deflection by withdrawing to the right side, and I have finished in a position of carrying a shoulder pole in a left bow stance. See image 23:
左掌竄上右肩。右手勾至左側。左手貼胸為合。
When my left palm goes up to my right shoulder and my right hand hooks out to the left side, my left hand should be close to my chest.
（二十四）「變式動作」
Posture 24:
上式，我左右手，分左右橫担，成左弓担杆式，用左掌沿對方右臂內削進，以劈對方面門，故對方必須急速同右手順勢勾囘，將我左掌勾消，而衝左拳，向我面部還擊，我立卽一圈左腕，避過對方勾手，以免被扣，連隨反掌，由左向右冚落，立變勾手，將對方來拳，勾離左額外，立卽變抝步弓式，畧畧拖進左足，此時，對方立卽收左拳，突然低坐馬式，一衝右拳，向我腹部打來，我則急垂右臂，拳背向前，拳頭向地，用右前臂隨向左變抝步之勢，由右向左橫撥，將來拳撥離左側身外，連隨一撥立卽反拳挑上，向前掛出，用拳背菱骨，攻擊對方面門，對方見我反拳掛面，必急退右步，使身向後退避，同時仰左掌上托，將我掛面拳拋起，遂得消解。（演式圖二十四）
In the previous posture, my hands spread apart horizontally to make a posture of carrying a shoulder pole in a left bow stance, my left palm scraping forward along the inside of the opponent’s right arm to chop to his face. Therefore he has to quickly draw back his right hand to hook away my left palm and then he thrusts out his left fist to counterattack to my face. I immediately circle around with my left wrist to avoid his hooking hand and to keep from being grabbed, then my palm continues by going to the right, lowering, and becoming a hooking hand, which hooks away his incoming fist outward beyond my left temple as my stance switches to a twisted bow stance, my left foot shifting slightly farther forward. He now immediately withdraws his left fist, suddenly lowering into a horse-riding stance as he thrusts out his right fist to strike to my belly, and so I quickly drop my right arm with the back of my right fist facing forward, the knuckles pointing toward the ground, the forearm going along with the twisting of the stance by deflecting his incoming fist outward to the left, then immediately rolling over upward and going out as a backfist to attack his face. Seeing my backfist heading toward his face, he will quickly step back with his right foot, causing his body to retreat. At the same time that my left palm props up, my backfist is hurled out, a technique which he will then dispel. See image 24:
先冚勾左手，連隨变弓式，挑右拳掛出。
First my left hand hooks away, then I switch to a twisted bow stance as my right fist rises up and goes out as a backfist.
（二十五）「變式動作」
Posture 25:
上式，我倒勾左手，向左轉側身而弓步不變，遂成抝步勢，且擂挑右臂，反拳掛出，擊對方面部，對方立卽退右步，仰左掌上托，將我掛面右拳拋起，使我露出右脇，乘機踢左腿，踢我右脇，我見來腿勢兇，立卽劈下右拳，用右前臂，將來腿劈離右側外，對方左足亦一踢卽收着地，同時衝右拳，擊我面部，我急用左掌，由左向右，抹面撥落，撥囘左側將來拳撥解，而右拳亦繼續輪上，以備應變，對方見右拳被我左掌一抹所消解，乃連環再衝左拳，擊我面門，我則立卽用右拳，由右斜向左下方劈落，將來拳劈開，此時，我之左掌乃垂在左側腰後，而右拳又垂於臍下，則面部更呈空虛，故對方亦連隨收左拳而衝右拳，又向我面門進擊，我則用左掌，由左側，斜向右側，往上挑架，將來拳架起，立卽一提右腿，向對方胸前踢去，一踢卽收，對方亦急退左步，隨退步之勢，用右掌向下拍落，以抵擋我之右踢腿也，此時，我之踢腿亦急收囘作提腿狀，凖備應變。（演式圖二十五）
In the previous posture, my left hand hooked away as I turned my body to the left, staying in a bow stance, but now a twisted bow stance, and my right arm carried up and rolled over to do a backfist strike to the opponent’s face. He immediately retreats his right foot and he sends his left palm propping up to toss away my right backfist. This causes my right ribs to be exposed, and so he takes advantage of the opportunity by sending out his left leg to kick to my right ribs. Noticing the fierceness of his incoming kick, I immediately chop down with my right fist, using the forearm to send his leg away to my right side. He promptly withdraws left foot, brings it down, and thrusts out his right fist to strike to my face, so I quickly send my left palm wiping across to the right and downward, and then deflecting his incoming fist to the left side, my right fist following through by wheeling upward in readiness to deal with whatever may happen next. Seeing that his right punch is being dispelled by my left palm, he now thrusts out his left fist to strike to my face, so I immediately send my right fist downward to the left to chop away his incoming fist. With my left palm hanging down to the left behind my waist and my right fist also hanging down below my navel, my face is now an open target, and so he continues by withdrawing his left fist and thrusting out his right fist to again strike to my face, so I send my left palm diagonally upward to the right to prop away his incoming fist, then immediately lift my right leg and kick out to his chest. In this moment, he quickly retreats his left foot and sends his right palm slapping down to block my right kick, and so I quickly withdraw my kick back to a lifted-leg position in readiness for whatever may happen next. See image 25:
右拳勾至X處，左掌跟住抹落，右拳繼續圈上，向前打落，左掌向前挑上，立即踢腿。
My right fist hooks back until at point X as my left palm wipes downward, my right fist then continuing by circling upward, forward, and striking downward as my left palm carries forward and upward, and I immediately kick out with my right leg.
（二十六）「變式動作」
Posture 26:
上式，我踢右腿，一踢卽收，右腿仍然提起，右拳垂於腹下，左掌高舉者也，對方見我，垂右拳，舉左掌，本來我面部呈虛象，但須知我之右腿仍然提起，可能再服踢出者也，故對方必不敢迫近以攻我上路，惟急用右脚，中平撑出，直向我腹部撑來，我則急將提起之右足，向後一退，以遠離之，同時，左掌由上向左側翻落，兜底一撈，以兜捉對方之脚踭，連隨將左足拍囘右足處，而左手亦順勢一拖，則對方頗難立足矣，注意，一退右足時，左掌兜落，同時右手立卽由後翻上，以備救應也，（演式圖第二十六）
In the previous posture, I kicked out my right leg and then withdrew the kick, keeping the leg lifted, as I lowered my right fist below my belly and raised my left palm. The opponent sees me lowering my right fist and raising my left palm, and notices that my face is now open. But he is of course aware that my right leg is still lifted and able to kick out at him again, and so he does not dare to approach me to attack me above. Instead he quickly sends out his right foot with a level bracing kick to my belly, and so I quickly retreat my right foot to get farther away from him while lowering my left palm to the left side, turning it over and pulling in, catching his foot by the heel, my left foot pulling back to stomp down next to my right foot as my left hand pulls, thus making it hard for him to stand stably. (Note: As I retreat my right foot and my left palm pulls downward, my right hand immediately arcs upward from the rear in order to balance the posture.) See image 26:
先退右步翻上右手，左手同時向下一兜，連隨收左足拍囬右足處，待机應变。
First my right foot retreats as my right hand turns over and goes upward, my left hand at the same time pulling downward, then my left foot withdraws and stomps down beside my right foot, and I wait in readiness for whatever may happen next.
退先 拍後
First my right foot retreats, then my left foot stomps.
（二十七）「變式動作」
Posture 27:
上式，對方用右脚向我中部撑來，我急退右步，用左手翻落兜底一撈，冀將對方脚踭撈捉，但對方亦異常機警，一撑卽收，未被我撈着，且見我舉右臂，作立正式，面部當然空虛，故乘收脚着地之便，急衝左拳擊我面部，我見來拳將到，立卽用右掌，向前抹面搭出勾落，將其拳勾離，同時右足亦踏進半步，幷將左掌竄上右側肩前，蓄勢欲發，但對方亦矯捷，見左拳被我勾消，卽連隨又衝右拳，向我面門衝進，我急用左臂斜向上左側一架，將對方右臂擱起，使其不能下救，且使其右脇露出，我立卽一提左腿，欲用左膝頂撞對方右脇也，（演式圖二十七）本式與下式，應連貫續演不停為合。
In the previous posture, the opponent used his right foot to do a bracing kick toward my middle area, so I quickly retreated, lowering my left hand to scoop underneath his heel. But he is very alert and withdraws his kick before I can catch it, and also notices that in my position of standing straight up with my right arm raised, my face is now open, and therefore in the moment that he brings his foot down, he quickly thrusts out his left fist to strike to my face. When I see his fist about to arrive, I immediately send my right palm wiping forward and then hooking downward to send away his fist, my right foot at the same going forward a half step, and sending my left palm up in front of my right shoulder in readiness to shoot out toward him. But he remains quick-witted, for upon seeing that his left fist has been hooked away, he continues by thrusting his right fist forward toward my face. I quickly send my left arm diagonally upward to the left to prop up his right forearm so that he cannot easily lower it, thereby exposing his right ribs, and so I immediately lift my left leg to do a knee strike to his right ribs. (See image 27 below.) This posture should flow into the following posture without pausing.
（二十八）「變式動作」
Posture 28:
上式，我已將對方之右臂封架於上，正提左腿用膝頂進，但對方見我突然提腿，知非好意，恐我一提卽踢也，故為保安全計，乃急抽右步，向後跳退，以防不測，我見對方正在跳退避我，但我不肯放過，急連隨右足用力，單足一躍，趕上迫進，說時避，那時快，我單足一躍，左腿仍然提起，右足復着地時，已更迫近對方矣，此時我仍用左前臂將對方之右臂架於上者也，故乘機踏落左足成馬式，則與對方成面對面之勢，乃覆左掌隨勢向對方脇下一揷，對方猝不及防，頗難抵擋者矣，（演式圖第二十八）
In the previous posture, I propped up the opponent’s right arm and lifted my left leg to do a knee strike. But he notices me suddenly lifting my leg and knows I have nothing good in mind, thinking I am probably about to kick. Looking for a safer position, he quickly retreats his right foot in order to avoid any kind of attack. I see him trying to retreat, but I am not willing to let him get away, so I quickly use my right foot to push off forcefully into a hop, chasing him forward in a flash, hopping one-legged, my left leg still lifted. When my right foot comes down again, I am much closer to him, still using my left forearm to prop up his right arm, and I make use of the forward momentum by stepping my left foot into a horse-riding stance, putting me face-to-face with him, as I send my left [right] palm to jab to his ribs. Taken by surprise, it will very difficult for him defend against this technique. See image 28:
先勾落右手，進右步，竄上左掌，向左抹出提左腿躍進。（右足用力躍起。）
[Posture 27] First my right hand hooks downward as my right foot advances and my left palm rises up. [Posture 28] Then my left hand wipes away to the left as my left lifts and I hop forward (my right foot forcefully pushing off).
右单足躍進（先） 左足着地（後） 左足着地揷右掌 右先
First my right foot hops forward one-legged, then my left foot comes down and my right palm jabs. My right foot will come down first.
（二十九）「變式動作」
Posture 29:
上式，我見對方跳退，冀圖走避，我亦右單足躍進，俟右足一着地，立卽左足隨之着地成馬式而插出右掌攻其脇下，對方欲消解此着，應再跳退一步，以遠離避我，且在跳退之際，右臂得以收囘蓄勢，更反掛左拳，向我左額劈來，我則急先提左腿，用左臂向左側搭落，招開來拳，順便將左掌收囘腰際，立卽右足用力一躍，向左轉身，左腿隨卽踏在右足原有位置處，右足則提起，此名上落跳腿轉身法，乃轉身之最快者，且隨跳腿轉身之勢，同時翻起右掌，凖備攻守也，（演式圖第二十九）
In the previous posture, I saw the opponent jump back in the hope of running away, so I too jumped forward. Once my right foot came down, my left foot then came down into a horse-riding stance as my right palm shot out to attack his ribs. Wanting to dispel this technique, he again responds by jumping back a step in order to create distance to evade me. While he jumps back, his right arm withdraws to store power as his left fist turns over and chops out with a backfist toward my left temple. I therefore quickly lift my left leg, my left arm lowering on my left side to connect with and block aside his incoming punch, my left palm then following through by withdrawing to my waist, as my right foot forcefully jumps up and my body turns to the left, my left leg coming down where my right foot was as my right leg lifts. This technique is called “rising-and-dropping hopping legs with turning body”, involving rapidly turning while hopping into place, my right palm at the same time arcing upward in readiness to either attack or defend. See image 29:
（三十）「變式動作」
Posture 30:
上式，我跳腿向左轉身，仍提右腿而上舉右掌，對方因左拳被我右臂搭開，乃急再衝右拳，擊我面部，我急用右掌，由右向左，抹面一撥，撥消來拳，置掌於左肩前以蓄勢，同時左足一躍，右足跨過左足而先着地，縮左足，使身向左側跳過一步，對方更連隨橫揮左拳，向我右額橫擊，我左足急向後着地，曲左膝全身低坐，便成仆腿，遂得遠離避之，乃待機反攻也，（演式圖第三十）注意：此式與上第二十九式，是連貫動作，一氣演出者也，卽由上二十九式起，一提左腿，卽躍右腿而向左轉身，左足卽復着地，右足連隨跨過左側，左足一躍，右足着地，左足向左退一步着地，坐低卽成仆腿矣。
In the previous posture, my legs hopped into place as my body turned to the left, my right leg again lifting, my right palm rising up. Because the opponent’s left fist has been blocked aside by my right [left] forearm, he then quickly thrusts out his right fist to strike to my face. I quickly send my right palm wiping to the left to deflect his incoming fist, my palm then getting placed in front of my left shoulder to store power. At the same time, my left foot does a hop as my right foot steps across in front of my left foot and comes down first, my left foot withdrawing, causing my body to hop a step to the left. He continues by swinging his left fist across to strike to my right temple, and so my left foot quickly comes down to the rear, my left knee bending so that my body is sitting low into a reaching-leg stance, which gets me far enough away to evade his attack, and then I wait for the opportunity to counterattack. (Note: This posture and the previous posture are to be performed as a continuous technique. In the previous posture, my left leg lifted and my right leg hopped up as my body turned to the left, my left foot promptly coming down. Then my right foot steps across to the left as my left foot does a hop, my right foot coming down, followed by my left foot coming down retreating a step, and I sit low into a reaching-leg stance.) See image 30:
躍起 先着地
My left foot hops up. My right foot comes down first.
（三十一）「變式動作」
Posture 31:
上式，對方橫揮左拳，打我額角，我從容應付，亦不招架，只乘向左跨跳一步，左足恰着地時之勢，蹲身坐低，成仆腿式，遠離避之，則對方之橫拳，只從我面前掠過而已，此時，我蹲成仆腿勢，左掌在左腰也，右掌則在左肩前，尾指貼肩，虎口向出，兩手均蓄勢也，凡仆腿形勢，全身均遠離對方，故對方欲進攻，必須踏進右步，然後發拳可達我也，若進右步，則其右足必在我仆腿前足之內，如此則形成兩方互相扣馬之局矣，以此形勢觀之，彼立於上，我蹲於下，似乎彼佔優勢焉，豈知迷踪拳術，正以仆腿誘敵入馬，使自投羅網，而後突擊也，今對方果然中計，進右步冚右拳，攻我頭部，我則用右掌斜向右側挑上，將對方右手踭擱住，且隨挑掌變弓式迫近之而發左掌，在對方右肩後處，勁力偏右一按，此時對方之右足，因踏進時，早被我右足扣住者也，故經此一撥，必失重心而向前傾仆矣，（演式圖第三十一）
In the previous posture, the opponent swung his left fist across to strike to my forehead, so I calmly responded, not by blocking, but simply by hopping a step to the left, and then when my left foot came down, I sat low into a reaching-leg stance to get farther away from him, his fist thus sweeping across in front of me. In this position, my left palm is now at the left side of my waist and my right palm is in front of the left side of my shoulder, the little finger near the shoulder, the tiger’s mouth facing outward, both hands storing power. In my reaching-leg stance, I am far enough away from him that if he wants to attack, he will have to advance with his right foot for his fist to be able to reach me, and his right foot will surely step to the inside of my front leg. We are in a situation in which we have both come to a halt, and in this situation of him standing above me as I am squatting down, it would seem that he occupies the superior position. But he does not know that the Mizong boxing art uses the reaching-leg stance to lure an opponent into stepping forward into a trap and then suddenly attack him. He now takes the bait by advancing with his right foot and bringing down his right fist to attack my head, and so I send my right palm carrying diagonally upward to the right to block at his elbow as I switch to a bow stance to crowd him and then shoot out my left palm to the back of his right shoulder and forcefully push on it. When he has stepped forward, his leg is being obstructed by my right leg, and so he gets deflected from his path, loses his balance, and bends over forward. See image 31:
左掌在腰，右掌則隨仆腿变弓式之势由下斜向右挑上，連隨打出左掌，并拖進半步，以助攻势。
With my left palm at my waist, my right palm goes along with the bow stance by carrying diagonally upward to the right, then my left palm strikes out, my left foot advancing a half step to assist the power.
（三十二）「變式動作」
Posture 32:
上式，我由仆腿突變右弓式而上挑左臂，擱住對方右肘下，更發左掌，向對方肩後，偏右用勁一推，對方因前馬被我攔住，若不急速消解，必失重心而向傾仆矣，故對方見我突變弓式時，應立卽抽退右步，同時抽囘右，幷俟右步將退至着地時，左足用力一躍，右足着地，左足乘一躍之勢，立卽撩陰踢出，左掌同時向我面部揷進，手足齊到，上下夾攻，勢頗急疾，我見對方如此兇狼，乃急左右手一齊動作，左手則斜向左側勾落，以勾消其撩陰腿，右手則斜向右側抹面撥落，以消解其揷面掌，兩手一齊向右側抹落，則可消解其上下夾攻之勢矣，且左勾手，可能將對方之左撩陰腿後踭勾住者也，但對方亦甚機警，見我勾手捉脚，乃急一踢卽收，且立卽復着地成左弓式，而衝右拳，向我面門衝擊，此時，我左手勾向腰後，而右掌又在左脇，今見對方右拳衝面，乃急橫右臂抹上額前，架起來拳，使對方露出右腋窩，連隨用右脚踭，向對方腋下一撐，吾不知對方如何抵擋者矣。（演式圖第三十二）
In the previous posture, I suddenly switched to a right bow stance and sent my left [right] arm carrying upward to block under the opponent’s right elbow and shot out my left palm to the back of his shoulder and forcefully pushed toward the right. His front leg in this moment is being hindered, and so if he does not quickly dispel my attack, he will lose his balance and bend over forward. Therefore when he sees me suddenly shift into a bow stance, he immediately retreats his right foot and withdraws his right [arm], then just before his right foot comes down, his left foot forcefully leaps up, and as his right foot is coming down, his left foot is doing a raising kick toward my groin, his left palm at the same time attacking toward my face. His hand and foot and acting in unison, I am being attacked both above and below, and his movement is very fast. Seeing how fierce his posture is, I quickly move my hands in unison, my left hand going diagonally downward to the left to hook away his kick, my right hand wiping diagonally downward to the right [left] to deflect his palm strike. With both hands working in tandem, I am able to dispel both attacks, above and below. As my right hand wipes away downward, my left hand hooking away can catch his left leg behind the heel. But he is very alert and sees that my hooking hand is about to catch his foot, so he quickly withdraws his kick, immediately brings it down into a left bow stance, and thrusts out his right fist to strike to my face. At this moment, my left hand has hooked away behind my waist and my right palm is by my left ribs. When I see his right fist thrusting toward my face, I quickly send my right arm wiping across upward in front of my forehead to prop away his incoming fist, causing his right armpit to be exposed, then send my right heel with a bracing kick to his armpit, a technique that will surely be difficult for him to defend against. See image 32:
左手斜向左側勾歸後方，右掌抹面劈落至左腰側两手一齐動作，然後右掌架上蒙头，立即踢腿
My left hand goes diagonally to the left, hooking to the rear, as my right palm wipes across, chopping downward until at the left side of my waist, both hands moving in unison, then my right palm props up to cover my head and I immediately kick out.
踏進着地
After the kick, the foot will then come down forward.
（三十三）「變式動作」
Posture 33:
上式，我勾左手，消解對方之撩陰腿，且抹右手，撥解對方之插面掌，但對方連隨再衝右拳，擊我面部，我急用右臂上架蒙頭，架起其來拳，幷使對方露出右腋窩，乃急飛左脚，用脚踭向對方脇下一撑，此時對方脇下空虛，且屬左弓右拳，其右臂旣被我上挑右臂所擱住，則更成抝步之勢，被我乘虛起脚踢進腋下，當然非常危急，若不及早退左步以避，必無倖免，故對方立卽急退左步，以遠離避我，更隨退步之勢，左足一將着地時，立卽反躍踢右腿撩陰以反攻，此時，我所踢起之左腿，正踏進着地也，故陰部自然空虛，突見對方用右腿撩陰，乃急用右手，由左肩斜向右側勾落，一則可以護陰，且可以勾捉其撩陰腿也，同時左掌貼胸穿上右側肩前，尾指貼肩，虎口向出，蓄勢凖備應變，以預保上路也，但對方亦頗機警，見我右手勾落，欲勾捉其脚踭，為免被擒計，乃一踢卽收，卽復着地，隨着地之勢，立變右弓式面反掛右拳，用拳背菱骨，向我面部掛進，此時，其來勢頗急，幸我早為準備，已將左掌預置於右肩前也，今見右拳掛面，乃急用左前臂，抹面向左斜上架出，以抵開來拳，且可使對方前胸露出，乃乘機突飛右腿，攻其胸部，對方不防，則容易命中。（演式圖第三十三）
In the previous posture, I hooked with my left hand to dispel the opponent’s raising kick to my groin and wiped across with my right hand to deflect his palm strike to my face. But then he thrust out his right fist to strike to my face, so I quickly sent my right arm upward to cover my head and prop away his incoming fist, causing his right armpit to be exposed, and thus I quickly flung out my left foot, using the heel to do a bracing kick to his ribs. His ribs are now exposed in a position of doing a right thrust punch in a left bow stance, with his right arm having been carried aside by my right arm, and thus he is in even more of a twisted stance, giving me clear opportunity to lift my foot and kick to his armpit, a very dangerous situation indeed. If he does not quickly retreat his left foot to evade, he will have no way to escape, and thus he quickly steps back with his left foot in order to get farther away from me, and then as his left foot comes down, he immediately flings out his right leg to counterattack with a raising kick to my groin. At this moment, I am bringing my left leg down forward, thus inevitably putting my groin in a vulnerable position, and so when I suddenly see him sending out his right leg with a raising kick, I quickly send my right hand diagonally downward from my left shoulder, which can both protect my groin and hook away his leg. At the same time, my left palm goes close to my chest and threads upward in front of my right shoulder, the little finger close to the shoulder, the tiger’s mouth facing outward, storing power in readiness for whatever may happen next, prepared to defend my upper area. But he is very alert and notices my right hand hooking downward to try to catch his heel, and so he withdraws his kick to keep it from being seized, then immediately brings his foot down into a right bow stance and sends out his right fist, using the back of the fist to attack my face. His incoming force is extremely fast, but fortunately I am prepared with my left palm having already been placed in front of my right shoulder, so when I spot his right backfist, I quickly send my left forearm wiping diagonally upward to the left to prop it away. This can also cause his chest to be exposed, so I take advantage of the opportunity to suddenly fling out my right leg to attack his chest, and if he is unprepared, it will be easy to hit the target. See image 33:
右手抹面向左勾落復勾囬右側後方，左手至腰仰掌貼胸穿上右肩，然後兩向左架出兩手一齐動作，一架左手立即踢腿
My right hand wipes across, hooks downward, and then to my right rear, as my left hand comes to my waist, the palm turning over to be facing upward, goes close to my chest, threads up to my right shoulder, then props away toward the left, both hands moving in unison, and then I immediately kick out.
右 左足 右足 右足一踢連隨踏進
My right hand is raised. My left foot is kicking. My right foot is standing. After my right foot kicks, it will then step down forward.
（三十四）「變式動作」
Posture 34:
上式，我右手抹面勾落至右側腰後，左手上架於左額前，然後踢右腿，一踢連隨踏進着地，則全身均向右側，故左側背部，完全空虛者也，假想敵人由我左側背後進攻，用左拳左弓衝我後腦，我則急向左轉迴身，乘轉身之勢，用左臂向左前撩落，則來拳遂被我左上臂一搭而消解，且有可能被我將來拳挾入腋下也，我左手搭出，是用左上臂消解而用左拳還劈其面者也，對方必急向後瀉身避我左拳，而乘機踢起左撩陰腿反攻，我則用右手，由後翻起，運向前搭落，用右拳背撥解其撩陰腿，更低坐假虛式，使陰部縮入，以防不測，當右拳背將來腿撥離身前之際，則對方陰部亦必空虛，故立卽掛出左拳，反擊其陰部。（演式圖第三十四）
In the previous posture, my right hand wiped across and hooked downward until behind the right side of my waist as my left hand propped upward in front of my left temple, then kicked out with my right leg. I continue by bringing the foot down forward, and since my whole body is now committed toward the right, I am open behind me to the left. An opponent attacks from behind me to the left, getting into a left bow stance and thrusting out his left fist toward the back of my head, so I quickly turn around to the left, using the force of the turn to send my left arm to the left, forward, and downward, thus connecting to his incoming fist with my left upper arm and dispelling his attack, or I can also wrap around his fist with my arm and hold it at my armpit. When I send out my left hand to connect with his, I use my left upper arm to dispel his attack and then use my left fist to counterattack with a chop to his face. He has to quickly dodge back to evade my left fist, but takes advantage of the opportunity by lifting his leg to counterattack with a raising kick to my groin, so I send my right hand rising up from behind, forward, and connecting downward, using the back of the fist to deflect his kick, as I sit low, making a “false empty stance”, causing my groin to be withdrawn [further than in a normal empty stance] in order to guard against any unforeseen threat. Once my right backfist has deflected his kick, then his groin will now be an open target, and so I immediately send out my left fist to counterattack to his groin. See image 34:
右足踏進運隨向左轉身左手亦向左搭出囬腰，同時右手由下圈上由上向左圈落然後拋出左拳立即坐馬
My right foot steps forward as I turn around, my left hand going out to the left and then withdrawing to my waist, my right hand at the same time arcing upward from below, to the left, and downward, and then my left fist is hurled out as I sit low.
两手分左右成拉杆式輪轉為合
My hands should each be making wheeling arcs and pulling back.
• 未完待續 •
To be continued… [Same as the incidence of these words following Posture 13, these words show where there was a break in the material from when it was published in serialized form.]
–
（三十五）「變式動作」
Posture 35:
上式，我向左廻身，先搭左臂，可將對方左拳撩入腋下，且連消帶打，用左拳背直掛對方面門，而順便收拳囘腰，對方急用左足踢出撩陰腿，我急用右拳圈落，用拳背向對方左腿內脚眼處，撥離身前，立卽掛出左拳，反擊其陰部，此時，我蹲低成假虛式之勢，兩手在腹前，故上路自然空虛也，對方見我掛左拳撩陰，立卽縮退左脚，用左手撥落，遂得消解，更立卽再踏左步着地，隨步反掛左拳向我頭上掛落，此時，我正蹲下者也，今見左拳冚來，乃立卽两手作交叉狀，右拳在內，左拳在外，屹然起立，向上叉上額前，將對方右臂叉住，我正欲一勾左腕，擒捉其前臂而揮右拳進擊其左頰者也，但對方頗敏捷，其左拳一發卽收，避過我左手擒拿，且見我兩手挑舉於上，胸部露出，乃急衝右拳，擊我胸口，我則兩手分左右側兜落，右手則兜捉其腕，左手則兜拿其手掙上臂後部，兩手合力稍稍一拖，立卽撑出左腿，用脚踭力撑出，撑對方之右腋下或脇肋等部，則對方頗難抵擋，且一撑卽收，復變囘提左腿狀，準備應變也。（演式圖第三十五）
In the previous posture, I turned around to the left, first connecting with my left arm to deflect his left fist downward and then continuing into a strike, sending the back of my left fist toward his face, after which I followed through and withdrew my fist to my waist. He quickly sent out his left foot with a raising kick to my groin, so I quickly sent my right fist arcing downward, using the back of the fist to strike to his inner ankle and deflecting his kick away, and then I immediately sent out my left fist to counterattack to his groin. At this moment, I am squatting low in a false empty stance with my hands in front on my belly, and therefore my upper area is open. He sees my left fist raising toward his groin, so he immediately withdraws his left foot while sending his left hand downward to deflect my attack, and then immediately brings his left foot down, going along with the step by bringing a left backfist down toward my head. Still squatting low, I now see his left fist coming down, so I immediately cross my hands, right fist on the inside, left fist on the outside, and stand tall, my fists crossed in front of my head to block his arm. I am about to hook his left wrist aside and grab his forearm, and then swing my right fist to strike to his left cheek, but he is too quick and withdraws his left fist as soon as he shoots it out to keep it from being grabbed by my left hand. Due to my hands carrying upward, he notices that my chest is now exposed, and so he quickly thrusts out his right fist to strike to my solar plexus. My hands thus spread apart to the sides and wrap downward, my right hand catching his wrist, my left hand grabbing behind his upper arm, and my hands use their combined strength to give a slight tug as I immediately send out my left leg with a bracing kick, power expressed at the heel, kicking to his right armpit or ribs, a technique that will be difficult for him to defend against. Once I have kicked, I will promptly withdraw my leg, pulling back to a lifted-leg position in readiness for whatever may happen next. See image 35:
叉起两手即起立提左腿，两手兜落即踢腿。
Crossing my hands, I stand up and lift my left leg, then I lower my hands and kick out.
两手交叉，右手在內，拳背向外叉上額前，反拳头虎口相对，分左右兜下
My hands cross, right hand on the inside, the backs of the fists facing outward, blocking upward in front of my head, the tiger’s mouths facing toward each other, then spread apart to the sides and wrap downward.
（三十六）「變式動作」
Posture 36:
上式，對方衝右拳擊我胸部，我两手分左右兩側兜落至胸前，以拿對方之臂，而撐出左腿，若對方不及時縮手，致被我拿住，而撑左腿，則無法抵擋者矣，故應見我兩手兜落時，急抽右拳，以免被擒，見我踢腿，則急退左步乘收右手之利，用左臂劈我之踢腿，我見對方退避，故亦一踢卽收，以觀其變，對方見我收腿，遂連隨扳上左足迫來，反掛右拳，用拳背攻我面部，我急踏左足，隨用左拳穿上右側而後向左側架出，將來拳撥開，且順便收左拳囘腰蓄勢，同時，右拳亦穿上左肩前以備救應，今對方見右拳被我撥解，乃急衝左拳攻我面部，幸我早置右拳於左肩，見來拳將至，遂用右前臂由左向右抹面架出右側外，又將其左拳擱離，立卽一踢右腿，攻其左脇也。（演式圖第三十六）
In the previous posture, the opponent thrust out his right fist to strike to my chest, so my hands spread apart to the sides, lowered, and came together in front of my chest to grab his arm as I sent out my left leg with a bracing kick. If he does not withdraw his hand in time, it will be grabbed by me and he will then have no means of blocking my left bracing kick. Therefore when he sees my hands lowering, he quickly pulls back his right fist to keep it from being grabbed, and when he sees my leg kicking, he quickly retreats his left foot, making use of the momentum of his withdrawing right hand to send his left arm chopping toward my kicking leg. When I see him retreat, I promptly withdraw my kick and watch for what he will do next. When he sees me withdraw my leg, he then steps forward with his left foot in order to crowd me and sends out his right fist to attack my face using the back of the fist. I quickly step out with my left foot as I send my left fist threading upward to the right and then propping away toward the left, deflecting his incoming fist aside, then continue by withdrawing my left fist to my waist to store power, my right fist at the same time threading upward in front of my left shoulder in order to assist. When he sees that his right fist has been deflected, he quickly thrusts out his left fist to attack my face. Fortunately I have already placed my right fist by my left shoulder, and so when I see his incoming fist, I send my right forearm wiping from left to right to block away to the right, and once I have sent away his left fist, I immediately kick out with my right leg to attack his left ribs. See image 36:
左脚一𨅝即收着地，先挑左拳経右頰抹面復过左側圈落囬至腰，右拳隨之挑上左額抹面向右架出，然後踢腿。
My left foot promptly withdraws from its bracing kick and comes down as my left fist first wipes past my right cheek, then arcs downward to the left to withdraw to my waist, my right fist at the same time carrying upward, wiping past my left cheek and propping away toward the right, and then I kick out.
向左側踏落着地如下式
My kick will then step down to the left as in the following posture.
（三十七）「變式動作」
Posture 37:
上式，我用左臂撥開對方右拳，對方急衝左拳打來，我亦用右臂將其左拳架出右側，此時，對方之左乳脇肋腋下等部，均露出虛象，故我應乘虛急用右腿，運勁於脚尖，一提踢出，攻其疎虞也，若對方身手稍為呆滯，則必能命中，此種踢法，亦卽左乳脇肋要害部位打法之一也（請參閱拙著之點脉，截穴要害之研究一文。）故凡兩人對拆腿法者，應必步步小心，凡出腿亦應留有餘地，以免互相誤傷為要，至若練勁力踢腿，則只可單人練習而已，切勿兩人對拆，以免危險，蓋腿力較拳力雄勁，中着必傷內臟者也，愼勿作兒戲視之，今對方見我一飛右腿，向左側脇下要害部位進攻，乃乘收左手之便，用左手由左側向右橫撥，將我之右腿撥離身前，更連隨亦用左腿向我腰部撑來，我則乘右腿欲着地之勢，斜向左側拐步踏落着地，瀉身以避對方撑來之左腿也，更乘拐步着地時，用右拳由左額側，抹面斜向右側，用勁劈落，以劈對方左足內脚眼處，同時，左手亦應一齊動作，貼胸穿上右肩，抹面復掛過左側，一以平衡拐右步及劈右拳之重心力也，一以上舉左拳，凖備救應也。（演式圖第三十七）按，拳法，必須兩手此上彼落，此出彼收，使上下均得匀稱，以資保護，故自覺何部空虛，應卽預置拳於虛處，以補疏缺而防被襲為合。
In the previous posture, I used my left arm to deflect the opponent’s right fist, so he quickly switched to thrusting out his left fist, and I used my right arm to prop away his left fist to the right. With his left ribs and armpit area now exposed, I take advantage of the opening by quickly sending out my right leg, kicking with power expressing at the toes to attack this vulnerable area, and if his body and hands are at all sluggish, I will be sure to hit the target. (This kind of kick is a method of striking the left ribs, a vital area (which I explained in detail in my series of articles entitled “A Study of Attacking Vessels, Acupoints, and Vital Areas” [and which was published in book form four months after this book]), and therefore two people who are practicing this technique together have to be very cautious. Whenever you send out kicks, you should make allowances for unforeseen circumstances in order to avoid accidentally injuring each other. As for developing power in kicking, this must only be done as solo training, not when breaking down techniques with a partner, in order to prevent the training from becoming dangerous. Because a kick is more powerful than a punch, hitting the target can injure the internal organs, and therefore be careful and never treat such training as some kind of child’s play.) When he sees my right leg fly up to attack his left ribs, he then withdraws his left hand and sends it across to his right to deflect my right leg, and continues by sending his left leg to do a bracing kick to my waist. I therefore bring my right leg down by stepping down with the leg swung out diagonally to the left and dodging my body to evade his incoming kick. When I step down, I also send my right fist wiping past my left temple and diagonally downward to the right, bringing it down with a chopping power, to chop to the inner ankle area of his left foot. My left hand should be moving in unison with my right hand, threading upward to my right shoulder, the forearm sticking close to my chest, then wiping across to the left. One role of my left fist rising up is to provide balance while my right foot steps out and my right fist chops down, another being to get positioned in readiness to help out. (Note: This movement of the fists involves one hand going up as the other lowers, one going out as the other withdraws. This up and down symmetry gives a fuller means of coverage, so that if you feel an area is becoming unprotected, there will be a fist positioned to help guard any exposed area against sudden attack.) See image 37:
左拳貼胸穿上右肩抹面掛过左側，右拳経左額斜向右側劈落。
My left fist threads upward to my right shoulder, the forearm sticking close to my chest, then wipes across to the left, while my right fist passes my left temple and chops diagonally downward to the right.
掛左拳，劈右拳，足着地，三个一齐。
The three actions of my left fist carrying, right fist chopping, and right stepping down should all be performed in unison.
（三十八）（變式動作）
Posture 38:
上式，對方踢左腿攻我右腰，我拐右步瀉身劈右拳欲劈其內脚眼，對方亦機警，其所踢之左腿恐被我劈傷也，故急一踢卽收，當未着地時，急用右足一躍，一躍卽踢出右足，而左足亦恰着地，此名連環躍踢，來勢頗速，我立卽向右轉迴身，乘迴身之勢，用左足底橫撥其右腿外側，一撥卽勾囘護陰，連隨水平又復撑出，一撐卽收，以保實力，同時，左手亦已收囘胸前，以備應變，（演式圖第三十八）。
In the previous posture, the opponent kicked with his left leg to attack the right side of my waist, so I swung aside my right foot to turn away my body and used my right fist to chop to his inner ankle. But he is very alert and fears his left leg will be injured by my chop, so he quickly withdraws his kick, and before it comes down, he quickly jumps up with his right foot, which then kicks out as his left foot comes down, performing the technique of “jumping successive kicks”. Because his incoming attack is happening so quickly, I immediately turn my body to the right, using the momentum of this to send the sole of my left foot across to deflect to the outside of his right leg and hook inward to cover my groin, then continue into a level bracing kick, which I then also withdraw to guard myself, my left hand at the same time withdrawing in front of my chest in readiness to deal with whatever may happen next. See image 38:
左拳变掌，穿落右脇凖備應变。
My left fist becomes a palm and threads downward over my right ribs to be ready to deal with whatever may happen next.
向右逥身，左足隨势向右一勾立即水平用脚尾指側边插𨅝出，一𨅝即收囬。
I turn my body to the right, my left foot going along with the momentum by hooking to the right and then immediately going out with a level bracing kick using the outer edge of the foot, which I then promptly withdraw.
（卅九）「變式動作」
Posture 39:
上式，撥腿法：先將上身向右一轉，两足跟不動，两足尖向右擺，遂成拗步偷步之勢，連隨橫伸左足由左繞出，用足底由左向右橫撥，一撥卽勾囘護陰，一勾囘又立卽用脚底外側橫脚撑出，一撑卽收，仍作提腿護陰狀，此時，乙方之腿，被我撥脚勾消，見我撑脚反攻，亦急收腿護陰遠避，復乘我收腿之機，隨跴進右步而衝左拳攻我面，我上挑右臂，順勢收拳囘腰，挑解其左拳，同時踏進左步，躡入其右足後跟，坐馬式，正欲發左拳進攻也，但對方先發右拳擊我左額，我乃用左拳由右斜向左架上，幷勁力向後一揮，將來臂拋開，使其勢呈後仰，乘其後仰，用右拳偏向左方斜衝其喉間，其右馬後跟，被我左足躡住，不能向後移步以支持重心者也，故必向後仰跌矣。（演式圖卅九）
In the previous posture, I performed a deflecting kick, first turning my body to the right, my heels staying where they are, my toes swinging to the right, twisting into a stealth-step position, then extending my left foot in arc from the left, using the sole of my foot to deflect across to the right. After deflecting, I promptly hooked inward to protect my groin. After hooking, I immediately sent the sole of my foot outward with a sideways bracing kick. After the bracing kick, I promptly withdrew my leg to protect my groin, the leg still lifted. Once his leg has been hooked aside by my deflecting kick, he sees my bracing kick coming to counterattack, and so he too quickly withdraws his leg to protect his groin, but then he takes advantage of the moment that I withdraw my leg to step forward with his right foot and thrust out his left fist to attack my face. I carry upward with my right arm to dispel his left punch, following through to withdraw the fist to my waist as I step forward with my left foot to sneak behind his right heel and control his front leg. I am about to shoot out my left fist to attack him, but he first shoots out his right fist to strike to my left temple, and so I instead send my left fist propping diagonally upward to the left and forcefully swinging through to the rear, throwing aside his incoming arm. This causes him to lean back, and so I take advantage of his leaning by sending out my right fist diagonally to the left, thrusting toward his throat. With his right heel having been caught by my left foot, he is unable to shift back in order to maintain his balance, and so he will fall backward. See image 39:
隨踏進左步之势，同時挑右拳囬腰，左足着地，即挑左掌，挑至額前变拳，即衝右拳，左拳抹向後，右拳衝向前要一齐動作
As I step forward with my left foot, my right fist carries upward and withdraws to my waist, then once my left foot comes down, my left palm carries, becoming a fist once at forehead level, and then I thrust out with my right fist. The actions of my left fist wiping toward the rear and my right fist thrusting out forward should be performed in unison.
变拳 反
My left palm becomes a fist halfway through. My right fist turns over halfway through.
（四十）「變式動作」
Posture 40:
上式，我用左足躡住對方前馬後跟，更被我揚左拳勁力橫向後一揮，則對方勢必後仰，且露出前胸，故我可乘機揮右拳斜衝其咽喉，對方若不曉消解，勢必受挫，故對方應預早防範，見我躡馬衝右拳時，不可强作抵擋，只須將右腿輕輕往上一提，則可身向後移，一則免被扣馬，二則遠離衝拳，遂可消解此着於無形矣，且更能乘提腿之便一提卽踢，向我穿心踢來，我見來勢狼毒，急用右手反掌，向左冚下，連隨斜向右側勾落，可能鈎住其右足後跟，將其右足鈎離我右側身外，立卽用右腿，向對方左腿跨下陰股之內一撑，同時，左掌向其腰部橫劈，如對方果成此勢，吾不知其如何消解者矣。（演式圖四十）
In the previous posture, I stepped my left foot behind the heel of the opponent’s front leg, and strongly swung my left fist across to the rear, causing him to lean back and thereby showing his chest area to be open, giving me the opportunity to diagonally thrust my right fist toward his throat. If he does not know how to deal with this situation, he will be thwarted, therefore he should guard against it beforehand. When he sees me step out and thrust out my right fist, he does not need to struggle to resist against it, he only has to lightly lift his right leg and shift his body back. For one thing, this will keep his leg from being snared, and for another, it will get him out of range of my thrust punch. Thus he can deal with my attack almost invisibly, and then also will be able to take advantage of his lifted leg by lashing out at me with a “heart-piercing kick”. Seeing how brutal this incoming attack would be, I quickly turn my right hand into a palm, cover downward to the left, and hook diagonally downward to the right, which can catch his right foot behind the heel and send his foot away from me to my right. I immediately send out my right leg with a bracing kick below his left hip to the inside of the thigh, my left palm at the same time chopping across to his waist. However, if he were to take advantage of the position I am now in, I am not sure that I would have a way to deal with it. See image 40:
右手斜向右下側勾至後方，左掌向右橫劈，右足𨅝直稍向左橫撥，三个一齐動作
The three movements of my right hand hooking diagonally downward to the right until behind me, my left palm chopping across to the right, and my right foot going out with a bracing kick which slightly deflects to the left should all be performed in unison.
向左冚手勾落右方 稍向左橫撥
My right hand hooks downward to the right. My right leg slightly deflects across to the left.
（四十一）「變式動作」
Posture 41:
上式，對方踢右腿穿心，見我冚右手鈎落，誠恐被我鈎住也，故急一踢卽收，順便退步着地，立卽再踢左脚穿心，向我胸部踢來，我見來勢迫急，遂將劈出之左拳，反掌向右冚落，亦向左側鈎下，將其左足外踝鈎住，立卽一撑左腿，向對方右大腿跨下陰股間撑進，同時亦劈右掌殺腰，手足齊到，使敵顧此失彼，無所措手足矣。（演式圖四十一）
In the previous posture, the opponent did a right heart-piercing kick and then noticed my right hand hooking downward. Fearing that his leg was about to be seized, he quickly withdrew his kick and stepped back, immediately sending out another heart-piercing kick, now with his left foot, to kick to my chest. Noticing the speed of his attack, I chop out with my left fist, turn the hand over as a palm and bring it downward to the right, then hook downward to the left, catching his foot at the outside of the ankle. Then I immediately do a bracing kick with my left leg toward the area between his right hip and the inner thigh, at the same time chopping to his waist with my right palm, my hand and foot arriving in unison, causing him to have too much to deal with at once and have no idea where to put his hands and feet. See image 41:
右足踏進着地，左掌向右冚落勾囬左側後方，右掌向左橫劈，左足稍畧向右𨅝出，一齐動作。
My right foot comes down forward as my left palm hooks downward to the right and then pulls back to the left rear, my right palm chopping across to the left, my left foot going out with a bracing kick slightly toward the right. All of these movements should be in unison.
（四十二）「變式動作」
Posture 42:
上式，我冚左手鈎對方之左腿，若對方不急收腿而被我鈎住，則必成敗局，無可挽救矣，故應一踢卽收，幷下架左臂，擋我之右殺腰掌，連隨復踏左足着地，而反掛左拳，擊我面部，我亦上挑右手而踏進左足，竄入對方跨下，蹲低作假虛式，連隨兜上左拳，扣其陰囊（演式圖四十二）
In the previous posture, I lowered my left hand to hook the opponent’s left leg. Unless he quickly withdraws his leg when he is hooked by me, he will end up in a losing position and have no way to save himself. Therefore he withdraws his kick and blocks downward with his left arm to keep my right palm from smashing his waist, then brings his left foot down and does a left backfist to strike to my face. I carry upward with my right hand and step forward with my left foot, slipping in under his crotch, squatting low in a false empty stance, then swing upward with my left fist to attack his groin. See image 42:
左足踏進着地，即挑右手囬腰，坐低腰馬，連隨拋上左拳。
My left foot comes down advancing, my right hand carrying upward and withdrawing to my waist. Squatting low, I throw my left fist upward.
（四十三）「變式動作」
Posture 43:
上式，對方反掛左拳攻我面部，我則上挑右手，消解來拳，順便收拳囘腰蓄勢，並且踏進左步，躡入對方跨下，連隨用左手由下兜上，扣其陰部，此時，對方見我突由下路進攻，拋拳撩陰，故迫得急退左步以避，且垂右臂由右向左橫架，將我左拳架離身前，遂得消解，更乘勢由身前圈上右拳，反拳向我頭頂掛落，我見對方退避而反掛右拳，乃亦乘勢橫挑左手於後，將其右掛拳撇開，同時蹲左膝，提右腿用低馬竄進穿入對方跨下，右手仰掌，亦隨步由下路直進，手步齊到，立卽拋上右掌撩陰一扣。（演式圖四十三）
In the previous posture, the opponent used a left backfist to attack my face, and so I sent my right hand carrying upward to dispel his incoming punch, my hand following through by withdrawing to my waist as a fist and storing power while my left foot advanced, slipping in under his crotch, and I sent my left hand upward from below to attack his groin. The opponent sees me suddenly attacking from below with a fist being hurled toward his groin, so he is compelled to suddenly retreat his left foot in order to evade it while lowering his right arm and sending it across to the left to prop away my left fist, thereby dispelling the threat, then takes advantage of the opportunity by bringing his right fist upward in an arc in front of his body and then sending it downward as a backfist toward my headtop. When I see him retreat and do a right backfist, I take advantage of the opportunity by sending my left hand carrying across to the rear to fling aside his right backfist as my left knee bends and my right leg lifts and uses a low stance to slip in under his crotch, my right hand going along with my step by going forward from below as an upward-facing palm, hand and step arriving in unison, and then I immediately hurl my right palm upward to attack his groin. See image 43:
蹲左膝，提右足竄進，成仆腿，橫揮左手於左後方，右手变掌，仰掌隨右步竄進，立即撩隂兜上。揮左手，上右步，要一齐，右步一到，即兜上右手為合。
My left knee bends and my right foot lifts and slips forward into a reaching-leg stance as my left hand waves across toward the left rear, my right hand becoming a palm and slipping forward along with my right step, the palm facing upward, and then immediately raising up to attack the opponent’s groin. My left hand waving and my right foot stepping forward should be performed in unison. Once my right foot is in place, my right hand should be attacking upward.
变掌 撩隂兜上
My right fist becomes a palm halfway through. My right palm then raises up to attack his groin.
（四十四）「變式動作」
Posture 44:
上式，我蹲左腿，提右腿用低馬竄進，手步齊到，立卽仰右掌兜上撩陰，此種抵馬竄進之步法，乃迷踪派專攻下路之特着，但不要忘記「攻下須防上，撩陰要護頭」之戰畧，試看其低馬進攻各式，均用一手應付上路，而一手隨步進攻下路者，此拳術之所謂上下匀稱，疏密得宜也，但欲使低馬進退靈活，必須將兩腿拗至柔軟，方能敏捷自如，否則不能低蹲，則失低馬之意義矣，今對方見我低馬竄進兜上右手撩陰，乃急用右掌劈落護陰，幷同時急提右腿，以遠離避我，我亦隨卽屹起，正欲追擊，但對方乘提右腿之便，先發撩陰踢來，我立卽覆右掌撥過左側以消解之，對方亦收右足踏進而衝左拳攻我面，我連隨上挑右掌抹面向右招架，而直衝左掌變弓式，還攻其面，（演式圖四十四）
In the previous posture, I squatted down onto my left leg, lifted my right leg and advanced, staying low, my hands and step finishing in unison, and then immediately my right palm raises up to attack the opponent’s groin. (This kind of low-stance advance is a special Mizong technique for attacking the opponent’s lower area. However, do not forget this rule: “Attacking below, you must guard above. When raising to the groin, protect your head.” Whenever you attempt a low-stance attack, always use one hand to deal with the situation above and the other hand to attack below, an example of what this art calls “up-down symmetry”, and the distance between them has to stay appropriate. If you want to be able to advance and retreat nimbly in low stances, you have to stretch until your legs are flexible, and then you will be able to do it with agility and naturalness. If not, you would be unable to squat down anyway and thus miss the significance of low stances.) He sees my low-stance attack and my right hand raising toward his groin, so he quickly uses his right palm to chop down to protect his groin, at the same time quickly lifting his right leg to get farther away from me. I immediately rise up to pursue him, but he makes us of his lifted right leg to shoot out a raising kick to my groin, so I immediately use my right palm to deflect it to the left. He then withdraws his right foot and it now steps forward as he thrusts out his left fist to attack my face, so I continue by sending my right palm carrying upward and blocking away toward the right as I switch to a bow stance and thrust straight out with my left palm to counterattack to his face. See image 44:
右手仰掌向上撩隂一兜，立即撥过左側，隨变弓式，抹面向右架上，跟住即撑左掌，并將左步畧畧拖進助势
My right palm immediately goes from raising to the groin to deflecting to the left, and then as I switch to a bow stance, my right palm props up to the right, my left palm at the same time bracing out, and my left foot comes slightly forward to assist the power.
覆掌向左撥 抹面架向右反掌
My right palm deflects to the left, then turns over as it props to the right.
（四十五）「變式動作」
Posture 45:
上式，對方踏進右步，成右弓式，衝左拳攻我面部，被我上挑右手，抹面架離右側；將來拳消解，而直衝左掌，還擊其面，對方見我衝左掌，乃急稍提右足，乘提腿之勢，用右拳由下斜向右側挑上，將我左掌挑開，且隨挑隨打，復踏進右步以助拳勢，用右拳衝我胸部，我亦急圈左掌，將掌向下勾垂，用掌背腕後，承住對方右拳腕後手眼處，隨着其拳衝進之勢，黏住其腕撩入胸前，連隨在其腕底挑起掌背，擱住其腕而向左側勾爪向下撩落擒拿其腕，此時，對方欲爭先手，趁我圈掌拿腕未牢之際，下部空虛，突順踢右腿撩陰，我急提退右腿遠避之，更乘退步之勢，左手用力，將對方右臂往後一拖，正欲發右手出擊，但對方以右腕被我拿住，知難掙脫掌握，見我右脇下呈露空虛，惟有用圍魏救趙戰畧，乃立卽發動攻勢，以圖解救，我亦急變下式應戰。（演式圖四十五）
In the previous posture, the opponent advanced his right foot to make a right bow stance and thrust out his left fist to attack my face. It was carried upward by my right hand and propped away to the right, and then having dispelled his incoming punch, I thrust out my left palm to strike to his face. He sees me thrust out my left palm and quickly lifts his right foot as he sends his right fist diagonally upward to the right to carry aside my left palm, then goes from carrying to striking by thrusting out his right fist to attack my chest, stepping forward with his right foot to assist the power. I quickly circle my left palm, hooking downward, and then using the back of the palm to ride along behind his wrist, going along with the momentum of his right fist thrusting out, sticking to his wrist, and raising it up in front of my chest, then carrying upward under his wrist with the back of my palm to send his wrist toward the left, and then hooking downward to grab his wrist. He wants to take control of this situation, so he takes advantage of the moment before the grab from my circling palm has firmed its grip, noticing that my lower area is open, and suddenly sends out his right leg with a raising kick to my groin. I quickly lift my right leg and retreat to get farther away from him, my left hand forcefully pulling his right arm to the rear, and I am about to shoot out my right hand to strike him. He knows that it would be difficult to free his right wrist from my grip, but he sees that my right ribs are now exposed, so he uses the strategy of “besieging Wei to rescue Zhao”, immediately starting an attack in order to save himself. I then quickly switch to the following technique in order to deal with his attack. See image 45:
左掌一圈，向左一搭，連隨提退右腿而向左抹面撥落右掌，立即变下式。
My left palm circles around and carries to the left, then my right leg lifts and retreats, and then I immediately switch to the following posture, my right palm already beginning to wipe to the left to then deflect downward.
撩入胸前 向左撩搭
My left palm draws in toward my chest and then carries away to the left.
（四十六）「變式動作」
Posture 46:
上式，對方右腕被我拿住，知不易掙脫，乃勉强急攻，欲使我釋手救應也，今見我右脇空虛，本應乘虛直攻我右脇，但對方亦善戰者也，突採聲東擊西戰術，先踢出左脚撩陰，意為我必釋手下救也，惟迷踪最善用腿法，當然善能消解踢腿者也，今見左腿撩陰，乃急提左腿護陰，擋住其撩陰腿，更連隨畧伸腿向外一撇，將來腿拋開，乘勢繞進着地，踏入對方跨下，此時對方，急衝左拳，攻我右脇，我急用右掌抹面向左側勾落，將對方被我捉住之右手掙後部，連同其衝來之左拳，一倂鈎出右側身外，立卽橫貫左拳，用拳背擊其左額，更提右腿頂其脇下以助拳勢（演式圖四十六）
In the previous posture, I grabbed the opponent’s right wrist. Knowing it will not be easy to break free, he then forces me to respond to an attack, hoping that this will cause me to let go in order to save myself. Noticing my right ribs are exposed, he ought to take advantage of this opening, but this opponent is smart, so suddenly employs the strategy of “threatening to the east and then striking to the west”, first kicking out with his left foot to do a raising attack to my groin, his intention being that I will have to let go of his wrist and lower my hand to save myself. However, Mizong excels at kicking techniques, and so I should easily be able to dispel his kick. When I see his left leg raise toward my groin I quickly lift my left leg to cover my groin and block his kick, continuing by slightly extending my leg outward to throw his leg aside, then coiling back in and advancing a step right below his crotch. He now quickly thrusts out his left fist to attack my right ribs, so I quickly use my right palm to wipe across to the left and then hook downward, thereby taking his right hand out of my left hand’s grip and drawing it behind me, then hooking his incoming left fist away to my right side, and then I immediately my left fist swings across with a backfist strike to the left side of his forehead, accompanied by my right leg lifting to strike his ribs or to assist the power of the punch. See image 46:
先提左腿，繞出身前踏進着地，連隨提右腿而橫掛左拳勾落右手。
I first lift my left leg, then coil out to step forward, and then lift my right leg as I do a backfist strike with my left fist, hooking downward with my right hand.
（四十七）「變式動作」
Posture 47:
上式，我勾落右手，將對方两手勾離身右側，且橫抒左拳擊其左額而又提膝頂其右脇，對方急向左側瀉退而上挑右手，將我左拳挑架，更一挑卽墮手打出，反攻我胸部，我則垂左掌揷下勾入胸前，用掌背挑其來拳腕下，連隨竪掌承托其腕底圈上，復搭落左側一兜，遂將其右腕拿住，同時，踏進右足，正欲發右拳擊之（演式圖四十七）但對方頗快捷，竟先順踢右腿撩陰，攻我下路，冀圖搶救被擒之右手也，我急變下式以應戰。
In the previous posture, I sent my right hand downward to hook the opponent’s hands away to my right side and swung my left fist across to strike to the left side of his forehead as I lifted my knee to strike to his right ribs. He quickly retreats to the left and sends his right hand carrying upward to prop away my left fist, then drops his hand into a strike to counterattack to my chest, and so I drop my left palm, hooking downward in front of my chest, then use the back of the palm to carry away his incoming fist, propping up under his wrist and arcing upward, then pull downward to the left, grabbing his right wrist, at the same time advancing with my right foot, and I am about to send out my right fist to attack him. (But he is too quick and suddenly sends out a raising kick to attack my lower area, hoping to keep his right hand from being grabbed, so I will quickly switch to the following posture in order to deal with it.) See image 47:
左手向左撩落，連隨变下式撩踢，不可稍慢。
My left hand raises and lowers to the left, and then I will continue into the raising kick in the following posture without the slightest slowing.
勾入胸前，向左撩落
My left hand hooks in front of my chest, then raises and lowers to the left.
立即如下式踢法
My left foot will immediately go into the kicking technique in the following posture.
右 左
My right foot steps down. My left foot will kick.
（四十八）「變式動作」
Posture 48:
上式，我將對方右腕拿住，正踏進右步，欲發右拳攻擊，但對方見我踏進右足，則陰部遂呈虛勢，正好乘虛突襲，冀迫我釋手救架，以圖搶救其被擒之右腕也，我見對方突然踢右腿撩陰，幸亦早知其可能有此一着，乃手足一齊動作，左手則將其被拿之右腕，向左上側外，用力一拋，使對方在起脚時，失却重心，因而牽亂其踢腿之目標，更隨拋其右臂之際，立卽用左脚，向右橫跨，用底脚在對方右脚之近內踝處，（卽內側脚眼），稍向左側用力一勾，遂將其撩陰腿撥出左側外，此時，試想對方之形勢，當其踢腿時，其右臂旣被我向上一拋，當然立足不牢，更被我用左足將其踢出之腿一勾，其勢必更傾向後仰，故其踢出之右腿，必須瀉向右後側着地，以支持重心者也，此時則其陰部，完全虛露，故我之左足，應一勾卽踢，撩陰反攻，右手亦早已翻上頭上，蓄勢以備救應，（演式圖四十八）
In the previous posture, I grabbed the opponent’s right wrist while stepping forward with my right foot. I am about to shoot out my right fist to strike him, but when I step forward with my right foot, he notices that my groin is an open target and wants to make a surprise attack, hope that it will make me let go of his right wrist to save myself. I see him suddenly send out his right leg with a raising kick to my groin, but fortunately I am already aware that this might happen, so I move with hand and foot in unison, my left hand forcefully throwing his right wrist away to the upper left, causing him to lose his balance while he lifts his foot and thereby ruining the targeting of his kick, while I immediately send my left foot across to the right, then hook aside forcefully to the left using the sole of my foot against his inner ankle area, thus deflecting his raising kick. His situation in this moment is that his right arm is being hurled upward in the instant that he kicks, and so he is already standing unstably, and then added to that I use my left foot to hook his leg aside, causing him to lean back, and therefore he has to pull back his leg and bring it down to the right rear in order to maintain his balance. At this moment, it is now his groin that is the open target, so I switch my left foot from hooking away to kicking, counterattacking with a raising kick to his groin, my right hand already arcing upward over my head to store power in readiness for whatever will happen next. See image 48:
挑上由左抹过右側 圈上由右抹面过左側
My left hand carries upward and wipes across to the right. My right hand arcs upward and wipes across to the left.
勾回即踢 着地变下式
My left leg hooks and then kicks. Once my foot comes down, I go right into the following posture.
（四十九）「變式動作」
Posture 49:
上式之撩腿撩陰踢法，是少林迷踪派之精妙腿法之一，亦卽以腿消腿法也，但須練習純熟，方知無窮妙用，其撩陰踢法，與上第卅八式，畧有不同，蓋第卅八式，是竪起脚底，將來腿撥向我之右側身前，乘機向對方臀下撑進其跨內者也，此則我之脚底稍跨過來腿之上，立卽垂低足尖，而用脚底反撥向我之左側後方，使其露出陰部，然後踢進者也，雖踢法似乎相同，但用法各有巧妙，好研究者，可細意味之，自易領畧，今對方之撩陰腿，旣被我鈎腿撥開，亦自知處境不利，乃急收腿退步，以保安全，更見我撩陰反踢，乃急坐馬式，垂左掌向右橫撥，撥消我之左腿，見我兩手高舉露出腹胸等部，立卽一變左弓式而衝右拳，攻我胸下，我乘勢踏進左足，用兩手交叉剪下，左掌則從右側撥落，將來拳復圈出左側，而右手亦同時從左撥落撥囘右側圈上，以預防其再發左拳攻我右脇也，同時提右腿而躍進左足，直迫對方，卽變下式攻之（演式圖四十九）
In the previous posture, the raising kick to the groin (which is a kicking specialty of the Shaolin Mizong system) also involves using a kick to dispel a kick, which has to be practiced to the point of skill in order to understand its limitless effectiveness. This raising kick to the groin is slightly different from the one used in Posture 38. That one had the foot upright, using the sole of the foot to deflect the opponent’s incoming kick toward the right and then I took advantage of the opportunity to do a bracing kick to the inside of his hip, whereas in this case I used the sole of my foot to meet his kick, but then immediately pointed my toes as I deflected it toward my left rear, thereby exposing his groin and then kicking forward to it. Although the kicking method seems to be the same kind of thing, the application in each case has its own ingenuity, as students who are able to meticulously analyze these things will easily come to understand. Now that the opponent’s raising kick to my groin has been deflected by my hooking leg, it is obvious to him that he is in a disadvantageous position, and so he quickly withdraws his leg to retreat a step in order to ensure his safety. Then he sees my raising kick counterattacking to his groin, and so he quickly shifts into a horse-riding stance [thereby covering his groin with his left knee] and sends his left palm across to the right to deflect my left leg, and then also noticing that my hands are lifted high, thus exposing my belly and chest area, he immediately shifts into a left bow stance and thrusts out his right fist to attack my belly. I seize the moment by bringing down my left foot as I cross my hands and use them to shear away downward, my left palm deflecting downward from the right and arcing toward the left to send away his incoming fist, my right hand deflecting downward from the left, to the right, and then arcing upward in readiness to defend against his left fist potentially shooting out to attack my right ribs as I lift my right leg and launch from my left leg to crowd in on him, and then I will go right into the following posture. See image 49:
左手向右，右手向左，交叉抹落，即提右腿連隨躍左腿，跟住分两側翻上两掌变下式
My left hand goes to the left and my right hand goes to the right, my hands crossing and wiping downward, then I lift my right leg and launch with my left leg as my hands spread apart to the sides and arc upward, and then I will go right into the following posture.
先提右腿 後躍左腿
First my right leg lifts, then my left leg launches.
（五十）「變式動作」
Posture 50:
上式，我交叉手撥落，將其右拳拋開，遂先提右腿，一躍左足迫進，本來左足一躍卽踢，但對方機警，亦急拔步躍退，以保安全，故我雖躍踢左足，亦恐無功，乃不如不踢也，對方旣已躍退，坐馬蓄勢以待，見我全身躍進，卽直衝左拳，欲與我胸腹間相撞，我已全身離地躍進，當然不復能退，故急用右掌從左側撥落撥過右側翻上右耳旁，將其左拳撥開，此時右足已先着地，乃連隨踏進左足，以迫近對方，當左足恰着地時，立卽俯腰，左手亦從右側圈落，反掌（虎口向地）向對方前馬後踭脚眼處，驟力向左側後方撈上，此時不論能否將對方撈跌，亦連隨繼落右手，抽捉對方後馬，如能捉得對方後馬，應立卽向右側身前抽上，則對方必不能健立矣（演式圖五十）
In the previous posture, I crossed my hands to deflect downward, throwing aside his right fist, then I lifted my right leg and launched with left leg in order to crowd him, an action which would ordinarily also involve the left foot kicking out. But he is very alert, quickly picking up his feet and hopping back to ensure his safety, and therefore although I have leapt up, kicking out with my left foot would be ineffectual. He has already retreated, positioning himself in a horse-riding stance and storing power to await me, and as he sees me jumping in, he thrusts out his left fist to strike to my chest or belly. With my whole body off the ground, I am of course incapable of retreating, and so I quickly send my right palm downward along the left side and across to the right to deflect his left fist aside, my hand then arcing upward beside my right ear. My right foot at this moment is coming down first and then my left foot advances to crowd him, and once my left foot is properly placed, I immediately bend at the waist, my left hand arcing downward from the right side with the palm turning over (so the tiger’s mouth is facing toward the ground) and grabbing the back of his front leg around the ankle, then dragging with sudden force toward the left [the idea seeming to be to yank his foot out from under him to make him fall and then punch him with the right fist while he is prone on the ground]. Regardless of whether or not I manage to yank out his foot in this way, my right hand comes down and will then pull his leg from behind, yanking upward toward the right, and thus he will be unable to stand stably. See image 50:
右掌由左抹落涇右側圈上右耳旁，曲肘握拳蓄势，俟左手向右抹落挑囬左後方，同時衝落右拳。右足一着地則两手齐抹落，左足著地則两手圈上。
My right palm wipes downward from the left, across to the right, and arcs upward beside my right ear, the elbow bent, hand grasped into a fist, and storing power while my left hand wipes downward from the right, and then as my left hand carries away to the left rear, my right fist thrusts downward. When my right foot comes down, my hands wipe downward, and when my left foot comes down, my hands arc upward.
向左抹落 向右抹落
My left hand wipes downward to the left. My right hand wipes downward to the right.
先着地 連隨踏進
My right foot comes down first. My left foot then steps forward.
（五十一）「變式動作」
Posture 51:
上式，我正俯腰落右拳，成俯踞之勢，故右側背後，防務空虛，假想敵人由我右側背後進左馬，落左拳，擊我脊背，我立卽向右迴身，隨勢掛上右拳，由左側掛過右側，將來拳抹開，對方連隨衝右拳，擊我面部，我急橫左掌抹面蒙頭上架，亦將其右拳撥開，乃突拍上左步，迫近對方，提右膝頂進，對方急退避，我連隨踢腿穿心追擊，一踢卽收，以防被捉，（演式圖五十一。）
In the previous posture, I bent forward and brought down my right fist, making a posture of leaning and squatting, and therefore I am now exposed behind to the right. An opponent behind me advances with his left foot and punches downward with his left fist to strike to my back, so I immediately turn my body to the right, raising my right fist from the left side to the right side to wipe aside his incoming fist. He then continues by thrusting out his right fist to strike to my face, so I quickly wipe my left palm across to prop up over my head and deflect his right fist, then suddenly stomp forward my left foot to crowd him and lift my left knee to strike him. He evades this, so I follow through with a heart-piercing kick to chase him, then withdraw the kick to keep him from grabbing my leg. See image 51:
向右逥身，隨势斜向右掛上右拳囬至腰，立即向右拍上左足，上挑左掌，同時提右腿一踢即收。
I turn around to the right, diagonally raising my right fist and then withdrawing it to my waist as I immediately stomp my left foot forward toward my right foot and send my left palm carrying upward, at the same time kicking out with my right leg and then promptly withdrawing the kick.
拍上
My right foot stomps forward.
（五十二）「變式動作」
Posture 52:
上式，我先頂右膝，對方退避，我則乘其撤退未竟之際，急踢腿穿心，對方自知情急勢危，乃加速退馬，幷合兩掌拍出胸前，拍我右踢腿之脚背，幸得消解，此時，我未肯稍懈，且加緊進攻，乃左足輕力向前一躍，但不使離地，只將全身提輕，向前推進，立卽一擘右足，利用全身前向之力，拖進左足，側身向右蕩進，隨進勢竪起右掌，掌心向前撑出，右足同時着地變馬式，用掌心向對方口鼻處一捺，連隨曲指扣入對方兩眼窩內，（演式圖五十二）
In the previous posture, I first struck with my right knee, causing the opponent to retreat, then I took advantage of the moment before he had fully gotten away by quickly sending out a heart-piercing kick. Aware that he is in a dangerous situation, he retreats even faster while sending out both palms in front of his chest to slap the top of my right foot in the hope of dispelling my attack. But I am not willing at this moment to let up and I instead intensify my attack, my left foot slightly jumping forward, though not coming away from the ground, just enough to gently lift my body and spur me into advancing, and immediately my right foot shoots away, utilizing the force of my whole body to go forward, pulling my left foot along, the right side of my body turning forward. Going along with this advancing action, my right palm braces out, the palm upright, the center of the palm facing forward, as my right foot comes down to make a horse-riding stance. Using my palm to push onto his mouth and nose area, I can then follow up by bending my fingers to dig into his eyes. See image 52:
左足輕力一印，立即擘進右足，而拖進左足，同時直衝右掌，左掌不变。
My left foot gives a slight stomp and immediately my right foot advances, pulling my left foot along, my right palm at the same time thrusting out, my left palm not changing its position.
貼地拖進
As my left foot is pulled forward, it keeps in contact with the ground.
（五十三）「變式動作」
Posture 53:
上式，我撑右掌，捺對方之面，曲指而扣其目，對方必須叉兩手向上架起，將我右掌叉上額上，遂得消解，我亦乘機用右手粘住其右腕，向左冚落，將其右腕拿住，連隨向右側抽起，使其露出右脇，乃立卽提右腿向其右側脇下肋骨罅隙間，運勁於足尖，活然踢進，一踢卽收，此時，左掌亦早已收囘腰部，蓄勢以備應變。（演式圖五十三）注意，此式與下式，是連貫動作者，卽本式一踢右足立卽收囘，立卽變下式蕩進，不可稍慢為合。
In the previous posture, my right palm braced out to push on the opponent’s face. I will then curl my fingers to dig into his eyes, and so the opponent has to cross his hands and prop upward to send my right palm upward beyond his forehead, thereby dispelling the threat, but I take advantage of the opportunity to use my right hand to cover downward to the left in order to stick to and grab his right wrist, then pull it upward to the right in order to expose his right ribs. I then immediately lift my right leg and kick to his right ribs where he is now open, power expressing at the toes. Once I have sent a lively kick forward, I promptly withdraw it, my left palm at the same time withdrawing to my waist, storing power in readiness to deal with whatever may happen next. (Note: This posture and the following posture form a continuous technique. As soon as my right foot kicks and withdraws, I go right into the following posture, advancing without the slightest delay.) See image 53:
收左拳囬腰，右掌向左冚手擒拿，向右上側抽上，同時右腿一踢即收。
My left fist withdraws to my waist as my right palm covers to the left and then pulls upward to the right, my right at the same time kicking and promptly withdrawing.
反拳虎口向下
The tiger’s mouth of my right fist is facing downward.
立即变下式
I immediately switch to the next posture.
（五十四）「變式動作」
Posture 54:
此式與上式是連貫動作者，上式一抽右拳，立卽踢腿，一踢卽收，此時，我之上身，似有向前傾之勢，故我亦乘勢蕩進，乃將對方被我捉住之右臂，向右下方一拋，連隨仰掌圈入腋下蓄勢，同時，左足用力一印，使側身向右蕩進，同時，一進右足，亦利用身體前向之力，拖進左足，俟右足一着地，卽變馬式而仰右掌揷出，穿對方之咽喉。（演式圖第五十四）
This posture and the previous posture form a continuous technique. In the previous posture, I withdrew my right fist, immediately kicking out and then withdrawing the kick. My upper body now appears to be leaning forward, so I take advantage of this momentum by advancing, using my right arm to throw off the opponent’s grip downward to the right, my right hand then continuing into arcing below my armpit as an upward-facing palm, storing power. My left foot at the same time forcefully pushes off, causing me to turn my body sideways as I launch forward with my right foot and then make use of the forward force of my body by pulling my left foot forward. Once my right foot comes down, I make a horse-riding stance and poke out with my right palm, as an upward-facing palm, piercing toward his throat. See image 54:
右拳变掌由右側圈入右腋下仰掌隨步直揷出，步法如五十二式。
My right fist becomes a palm, arcs from the right side until below my right armpit, then pokes out as an upward-facing palm while I step, the footwork the same as in Posture 52.
此式與上式是連貫動作 拖進
This posture and the previous posture form a continuous action. My left foot drags along forward.
（五十五）「變式動作」
Posture 55:
上式，我將對方之右拳向外拋出而穿出右掌，對方立卽退步，橫劈左臂，消我穿掌，一劈卽踢左腿反攻，我急反掌下撥，用掌心將來腿撥出右側，但對方更躍右足而踢來，卽用連環上落腿進攻，我亦急退右步，以遠避之，同時，用右掌向左側撈上，兜捉對方之右踢腿，幷收左足一拖，如圖之五十五。
In the previous posture, I cast the opponent’s right fist outward and threaded through with my right palm. He immediately retreats and sends his left arm chopping across to send away my threading palm, then counterattacks by kicking with his left leg, so I quickly turn over my palm and deflect downward to send his leg away to the right. But then he jumps up and kicks with his right foot, attacking with a continuous-kicking technique, so I quickly retreat my right foot to increase the distance between us, at the same time using my palm to scoop up to the left, catching his right leg, while also pulling back my left foot. See image 55:
右掌向左冚手翻落，立即抽退右步，連隨仰反右掌向左捞上收囬胸前，同時拖收左足。
My right palm covers to the left, the hand turning over, and I immediately retreat my right foot, then turn over my palm again to be facing upward, scooping up to the left and withdrawing in front of my chest, as I pull back my left foot.
掌心向後
The palm faces outward.
（五十六）「變式動作」
Posture 56:
上式，我撈兜右掌，欲捉對方之右踢腿，但對方急收腿，成左弓式，而衝右拳，擊我面部，我乃用右掌由右翻上，抹過左側，同時進步，將來拳撥開，惟對方連衝左拳，攻我胸部，我則順勢仰右掌一托，將來拳拋起，使露出左脇，立卽踢出左腿，反攻對方左側乳下要害部位，且一踢卽收，以防被捉，遂如圖之五十六。
In the previous posture, I scooped with my right palm to catch the opponent’s right leg. But he quickly withdraws his leg, makes a left bow stance, and thrusts out his right fist to strike to my face, so I use my right palm to wipe across to the left to deflect the incoming punch while advancing [left foot then right foot]. But he continues by thrusting out his left fist to attack my chest, so I prop up with my right palm to cast away his incoming fist upward, thereby exposing his left ribs, and then I immediately kick out with my left leg to counterattack to that vulnerable area, and also promptly withdraw the kick to prevent him from catching hold of it. See image 56:
先踏左足進半步，立即進右步，右手由右側反上抹面向左肩拂出仰掌向上一托，即收囬而踢左足，一踢即收。
First I advance a half step with my left foot and immediately advance a full step with my right foot while my right hand wipes across past my left shoulder and then props up. I then withdraw my palm as I kick out with my left foot, and then promptly withdraw the kick.
（五十七）「變式動作」
Posture 57:
上式，我踢左腿，對方亦急冚勾左手撥我踢腿，我一踢卽收，對方又急衝右拳，攻我左頰，我用右手向前冚落勾囘右肩前，同時進左步迫近對方，趁對方右臂被我右手勾起之際，立卽劈出左掌，沿其右臂內側削進，擊對方之鎖柱骨，俟掌一到，立卽屆指扣入缺益穴中，此亦扣琵琶之打法也，如圖之五十七。
In the previous posture, I kicked with my left leg and the opponent quickly hooked downward with his left hand to deflect my leg, so I withdrew my kick. He then quickly thrusts out his right fist to attack my left cheek, and so I send my right hand forward to cover it and draw it in until it is in front of my right shoulder, at the same time advancing my left foot to crowd him. Once his right arm has been drawn in by my left hand, I immediately chop out with my left palm, scraping along the inside of his arm to strike to his collarbone. Once the hand has arrived, I immediately bend the fingers to dig into the pit behind the bone. This is the technique of “playing the lute”. See image 57:
踏進左足，隨步向前冚右掌勾囬右肩前，連隨拍上右足，豎左掌劈出。
My left foot advances, my right palm at the same time going forward and then drawing back in front of my right shoulder, my right foot following forward with a stomp, my left palm chopping out as a vertical palm.
（五十八）
Posture 58:
對方亦急由右側圈上右掌，將我左掌挑消，亦沿我左臂內削進，反攻我缺益穴，我急隨手向左勾落左手，將來掌鈎消，連隨反掛左拳，用拳背反攻其面，如圖之五十八。
The opponent quickly sends his right palm arcing upward from the right side to carry away my left palm, then scraping along the inside of my left arm to counterattack where I am now open. I quickly follow his hand with my left hand and hook it away downward to the left, then do a left backfist to counterattack to his face. See image 58:
左掌变勾手向左前勾落連隨反拳掛出步法不变。
My left palm changes to a hooking hand and hooks downward to the forward left, then goes out as a backfist, my stance not changing.
立正不須变步
The position of standing at attention does not need to change.
（五十九）「變式動作」
Posture 59:
對方用左掌上托，消我掛拳，順起左足向我腰部撑來，我劈落左拳擊其脚背，對方急收腿而衝右拳攻我面，我向左轉身而劈落右拳，將來拳消解，立卽撑出右腿，反攻對方小腹，遂如圖之五十九。
The opponent uses his left palm to prop up and send away my backfist, then lifts his left foot to do a bracing kick to my waist, so I chop down with my left fist to strike to the top of his foot. He quickly withdraws his leg and thrusts out his right fist to attack my face, so I turn my body to the left and chop down with my right fist to send away his incoming fist, then send out my right leg with a bracing kick to counterattack to his lower abdomen. See image 59:
右拳劈落時，左拳挑上，此上彼落。劈落左拳，踏左足進半步，立即向左轉身，劈落右拳，𨅝出右腿。
As my right fist chops down, my left fist carries upward, one hand going upward while the other goes downward. When chopping down with my left fist, my left foot advances a half step, then I turn my body to the left, chopping down with my right fist, and send out my right leg with a bracing kick.
（六十）「變式動作」
Posture 60:
上式，我撑出右腿，反攻對方之小腹，對方急劈落右拳，消我右腿，更連隨再衝左拳，向我面部進攻，我乘勢用右拳斜向右側挑上，將來拳架開，同時左足用力一躍向右轉身，更斜劈左拳，以預防對方再衝右拳搶進也，且一躍卽撑出左足向對方中部攻擊，遂如圖之六十。注意，右足未着地，先躍左足卽向右轉身撑出，同時右拳挑上，左拳劈落，右足着地等，各動作要一齊為合。
In the previous posture, I sent out my right leg with a bracing kick to counterattack to the opponent’s lower abdomen, so he quickly chops down with his right fist to send away my right leg, then thrusts out his left fist to again attack my face. I take advantage of the situation by sending my right fist diagonally to the right, carrying upward to prop away his incoming fist, my left foot at the same time forcefully hopping up, my body turning to the right, my left fist chopping down to prevent his right fist from getting through with another thrust punch, and my left foot goes out with a bracing kick to attack his middle area. (Note: Before my right foot comes down, my left foot hops up and goes out with a bracing kick as my body turns to the right, my right fist carrying upward, my left fist chopping downward, my right foot coming down, all of these actions happening in unison.) See image 60:
右足未着地時，左足躍起向右轉身𨅝出，同時挑上右拳，劈落左拳。
Before my right foot comes down, my left foot hops up, my body turning to the right, and goes out with a bracing kick, my right fist at the same time carrying upward, my left fist chopping down.
躍
My left foot hops up.
（六十一）「變式動作」
Posture 61:
上式，左足用力躍起向右轉身，連隨水平撑出左腿，此名連環躍撑，為少林羅漢派腿法之最常見者，此法攻守轉身俱備，如能活用之，亦屬以腿消腿之一法焉，今我蹲身躍撑，對方必急避者也，我乃乘撑腿之餘勢，立卽踏進着地成馬式，以搶近距離，同時，用左掌向前捫出，向對方面部，輕輕一按，立卽連隨曲指，挖扣對方兩目，對方必須仰頭閃避，同時，揮右手上架，將我左掌消解，圖之六十一。
In the previous posture, I forcefully hopped up with my left foot while turning my body to the right, then continued into sending out my left leg with a level bracing kick. (This technique is called “jumping successive kicks” and is a very common kicking technique in the Shaolin Luohan art. It involves both attack and defense while turning the body, and so if it can be applied adaptively, it is also a means of deflecting a kick with a kick.) When I turn my body and hop into doing the bracing kick, the opponent will have to quickly evade it, and so I will then go along with the momentum of the kick by immediately stepping down forward into a horse stance in order to crowd him, at the same time sending out my left palm to just barely touch his face and then immediately bend the fingers to dig into his eyes. He will surely lean back his head to evade this while propping up with his right hand to send away my left palm. See image 61:
左足連隨着地变馬式，同時搭出左掌，掌心向外，右手不变。
My left foot then comes down into a horse stance as my left hand goes out, the palm facing outward, my right hand staying as it is.
（六十二）「變式動作」
Posture 62:
上式，我搭出左掌，撫對方面部，被對方上揮右手，將我左掌架開，一架卽連隨順踢右腿，攻我左脇，我急抽左足半步，以保持安全距離，同時，斜向左側，圈落左臂，將來腿撥離左脇外，但對方又衝左拳攻我面部，我急用右臂斜向左側劈落，連隨踢出右腿反攻，一踢卽收，以防被捉，如圖之六十二。注意，左臂圈落，劈落右拳時，左手應從左外側圈上，左上右落要一齊為合。
In the previous posture, I sent out my left palm to touch the opponent’s face. He sends his right hand upward to prop away my left palm, then continues by kicking out his right leg to attack my left ribs, so I quickly pull back my left foot a half step to keep a safe distance from him. my left forearm at the same time arcing downward diagonally to the left to deflect his incoming leg away from my left ribs. But he then thrusts out his left fist to attack my face, so I quickly send my right arm chopping downward diagonally to the left, then continue into kicking out my right leg to counterattack, and then promptly withdraw the kick to keep it from being grabbed. (Note: My left forearm arcs downward, then as my right fist chops downward, my left hand correspondingly arcs upward from the left. My left hand going upward and my right hand going downward should happen in unison.) See image 62:
左足拖囬半步，向左轉身，左掌同時由左側勾落圈上，斜劈右拳，立即踢右腿，一踢即收。
My left foot pulls back a half step as I turn my body to the left, my left palm at the same time hooking downward from the left and arcing upward, my right fist chopping diagonally, and immediately I kick out with my right leg and then promptly withdraw the kick.
（六十三）「變式動作」
Posture 63:
上式，右足一踢卽收，遂成提腿獨立之勢，凡提腿獨立之用意，是欲覓地踏進或踏退，以較準距離也，今對方見我舉左手而垂右臂，上部空虛，乃突衝右拳，攻我面部，我則上揮右臂，用右手由左側身前圈上，架住來拳，連隨從右側圈落一兜，兜捉對方腕部，同時，右足踏進，左手亦一齊兜落，擒拿對方之手掙，兩手合力一拖，幷提左腿，用左膝向對方右脇下頂進，遂如圖之六十三。
In the previous posture, I kicked out with my right foot and then withdrew the kick, making a one-legged stance. (The purpose of a one-legged stance is usually to seek the best spot to step, whether advancing or retreating, in order to keep the best distance from the opponent.) When the opponent sees me raise my left hand and drop my right arm, he notices an opening at my upper area and suddenly thrusts out his right fist to attack my face, and so I swing my right arm from the left, passing in front of my body and arcing upward to prop away his incoming fist. I then continue by arcing downward from the right, grabbing and pulling his wrist, my right foot at the same time stepping down forward, my left hand also at the same time pulling downward, grabbing his elbow, my hands forcefully pulling toward each other as I lift my left leg, using the knee to strike his right ribs. See image 63:
挑上右掌，踏進右步，两手分两側兜落，立即提左腿。
I carry upward with my right palm, then step down forward with my right foot as I spread my hands to the sides and pull downward, immediately lifting my left leg.
（六十四）「變式動作」
Posture 64:
上式，我兩手兜落，擒拿對方之右臂，提左膝頂其脇下，惟對方頗機警，見我兜手擒捉未牢之際，急先收右拳逃脫，幷退右步以避，我立卽乘提腿之勢，踢腿追擊，對方急橫撥左掌，撥消此脚，而衝右拳攻我面部，我則踏進左足而叉上兩拳，一提右足，躍進左足，迫近對方，連隨竄伸左仆腿躡入對方前馬跨內，準備突襲也。如圖之六十四。
In the previous posture, I lowered my hands to grab the opponent’s right arm and lifted my left knee to strike his ribs. But he is very alert, noticing my hands coming down before I have securely captured him. He quickly withdraws his right fist to escape me and retreats his right foot to evade me, so I immediately take advantage of the situation by lifting my leg to chase him with a kick. He quickly sends his left palm across to deflect my foot and thrusts out his right fist to attack my face, so I advance with my left foot while raising up with crossed fists, then lift my right foot and jump forward with my left foot to crowd him, my left leg reaching out to slip in past his front leg in preparation to do a surprise attack. See image 64:
先踢左腿着地踏進，叉上双拳，分左右变掌兜落，即提右足，連隨左足一躍，右足跨進着地，竄伸左足成仆腿
I first kick with my left leg, then come down jumping forward as my crossed fists go upward, spread apart to the sides, and lower as palms. Once my right leg lifts, my left foot jumps, and once my right foot comes down forward, my left foot reaches out.
右拳在內，左拳在外，交叉叉上分左右兜落。
With my right fist on the inside, left fist on the outside, my crossed fists go upward, spread apart to the sides, and again wrap downward.
左足着地，即提右足。
As my left foot comes down, my right foot lifts.
先踢 着地 躍
My left foot first kicks, then comes down, and then jumps.
（六十五）「變式動作」
Posture 65:
上式，我躍步仆腿突進，躡入對方馬內，凖備突擊，此時對方以左弓式對我者也，睹我突然蹲低入馬，乃先順提左腿，撑我面門，我急用左拳向左側斜上橫挑，將來腿撥出左側外，同時已屹起成左弓式，對方之左腿被我向左橫撥，乃乘勢向右轉身而成右弓式，反掛右拳，向我面門掛落，我急用右臂，由右向左斜斜劈落，消解來拳，連隨踢右腿，反攻其右脇，圖六十五。
In the previous posture, I jumped forward into a reaching-leg stance, intruding under the opponent’s stance in preparation to do a surprise attack. Facing me in a left bow stance and seeing me drop down to enter his space, he then lifts his left leg and sends a bracing kick toward my face, so I quickly use my left fist to carry across diagonally upward to the left to deflect his incoming leg, at the same time rising into a left bow stance. Once his left leg has been deflected across to the left, he adapts to the situation by turning his body around to the right to then make a right bow stance and do a right backfist to my face, so I quickly use my right forearm to chop down diagonally from right to left to send away his incoming fist, then kick with my right leg to counterattack to his right ribs. See image 65:
屹起变左弓式挑上左拳，繼劈右拳，連隨踢右腿。
I rise into a left bow stance, my left fist carrying upward, then chop with my right fist, and then kick with my right leg.
先挑左拳 後劈右拳 最後踢腿
First my left fist carries, then my right fist chops, and lastly my right leg kicks.
（六十六）「變式動作」
Posture 66:
上式，我上挑左拳，下垂右臂向左踢出右腿，勢必背後空虛者也，假想敵人由我背後來攻，進右步揮右拳，打我後腦，我立卽收腿向右迴身，用左拳抹面勾落，將來拳勾消，此時，我兩手下垂於兩側，故上部必呈虛勢，對方乃乘虛急發左拳取我上，我急左右手齊起圈上，左掌抹面向右側冚落，消其左拳，同時橫揮右拳，反攻其左額，且將左足，由右足之後，偷進一步，以迫近距離而助拳勢，遂如圖之六十六。
In the previous posture, I carried upward with my left fist, chopped downward to the left with my right forearm, and kicked out with my right leg. Because this posture causes me to be open behind, an opponent attacks me from behind by advancing with his right foot and swinging his right fist to hit the back of my head, so I immediately withdraw my leg, turning my body to the right, as I use my left fist to wipe downward and hook away his incoming fist. With my hands now hanging down at my sides, my upper body is open, and he takes advantage of this gap by now sending out his left fist to catch me above, so I quickly lift my hands together in upward arcs, my left palm wiping toward the right and covering downward to send away his left fist while my right fist swings across to counterattack to the left side of his forehead, my left foot at the same time doing a stealth step behind my right foot to close the distance and assist the punch. See image 66:
收退着地，逥身向右。
I withdraw and retreat my right leg, turning my body to the right.
逥身抹面勾落 與右拳齐上 橫拳揮上 偷步揮拳一齐 偷步
As I turn my body, my left hand wipes across and hooks downward. My left hand then lifts up together with my right fist, which swings across upward as I do a stealth step with my left foot.
（六十七）「變式動作」
Posture 67:
上式，敵方衝左拳擊我面，我則冚左掌拍低其來拳而橫揮右拳，反攻其左額，且偷進左步以助拳勢，故發拳更加疾勁也，對方以我揮拳急勁，而其左拳，又被我左掌所壓掣，自知無法抵擋，遂急俯身一蹲，低頭閃避，故我之右拳，遂打不正着，只得從對方頭頂掠過而已，（如六十六圖）此時，我以對方俯身低頭閃避，故雖揮右拳，未能命中，乃不稍停留，連隨兩膝一蹲，成坐盆式隨坐盆勢掛落右拳，用拳背菱骨擊其面，遂如圖之六十七。注意，左拳亦同時掛開，用以平衡重心也。
In the previous posture, the opponent thrust out his left fist to strike to my head, so I used my left palm to slap down his incoming fist and then swung across with my right fist to counterattack to his head while advancing my left foot with a stealth step to add quickness to the punch. Due to the speed of my swinging punch and to the opponent’s left fist being pressed by my left palm, he knows there is no way to resist against it, so he quickly squats his body down to duck his head so that my right fist will simply sweep past his headtop (resulting in image 66). When he ducks and I miss, I do not linger in hesitation, instead I squat my knees to make a basin-sitting stance and use this momentum to do a right backfist to strike to his face, my left fist at the same time spreading away with another backfist to balance the posture. See image 67:
偷步不变，两膝蹲低，遂成坐盆式，两拳向左右掛開。
The position of my feet does not change, but my knees squat lower to make a basin-sitting stance as my fists spread apart with backfists to the left and right.
（六十八）「變式動作」
Posture 68:
上式，低蹲偷步，遂成坐盆勢，兩拳左右掛開，如担杆式，假想敵由我左側進攻，發腿踢我左脇，我乃覆勾左手扣落，用左勾手勾其來腿，同時收右拳囘腰蓄勢，立即向左轉身，但對方急收腿着地，而衝右拳擊我面部，我則用左掌抺上，抹過左額，將來拳撥離，立即推進右步成馬式而探出左掌，撫按對方之口鼻，一按即曲指挖其雙目，故掌心應向外探出為合也，如圖之六十八。
In the previous posture, I squatted down in my stealth step to make a basin-sitting stance while my fists spread apart to the left and right, looking as though I am carrying a pole. An opponent now attacks from my left side with a kick to my left ribs, so I send my left hand covering downward and hook his leg away, at the same time withdrawing my right fist to my waist to store power and then turning my body to the left. But he quickly withdraws his leg and brings it down as he thrusts out with his right fist to strike my face, so I send my left hand wiping upward past my left temple to deflect his incoming fist, then immediately drive my right foot forward into a horse stance as I reach out with my left [right] palm to press the area of his nose and mouth. I will bend my fingers to dig into his eyes, and therefore the palm is facing outward. See image 68:
冚扣左手，收右拳囬腰蓄势，連隨向左轉身，左掌抹面过左額，探出右掌，推進右步成馬式。
I cover the opponent’s leg with my left hand, withdrawing my right fist to my waist to store power, and turn my body to the left. My left palm wipes past my left temple and I reach out with my right palm as I drive my right foot forward into a horse stance.
收拳囬腰蓄势 掌心向外
I withdraw my right fist to my waist to store power, then the palm goes out facing outward.
（六十九）「變式動作」
Posture 69:
上式，抹左掌，推進右步成馬式，隨步探出右掌，以按捺對方之面而扣其雙目，對方乃急收右拳，隨收拳之便，竪起右前臂，向左橫架，遂將我右掌架離面前，連隨一消即復發右拳，向我腋窩衝進，我亦隨收右掌之便，向右勾掌兜落，由肘下兜掌擒拿對方之右腕，此一兜手，不論能否將對方之右腕拿住，亦順勢抽囘左肩前蓄勢，幷收拍右步，以遠距離，同時，左掌亦向右側抹面圈落置右肩前，蓄勢應變，遂成立正交叉手之勢，如圖之六十九。注意：左右手交叉於胸前，是右手貼胸，左手在外為合。
In the previous posture, I wiped with my left palm and drove forward with my right foot to make a horse stance while reaching out with my right palm to push on the opponent’s face and dig into his eyes. He then quickly withdraws his right fist, making the forearm vertical and using it to block across to the left, to send my right palm away from his face, then again sends out his right fist, this time thrusting to my armpit. I then withdraw my right palm in an action of hooking to the right, pulling downward, and going under his elbow to catch his right wrist. Whether or not I am able to catch his wrist, my hand nevertheless pulls back in front of my left shoulder in readiness for whatever happens next. I also withdraw my right foot to get farther away from him, stomping down, my left palm at the same time wiping to the right and lowering in an arc to be placed in front of my right shoulder in readiness for whatever may happen next. I have now made a position of “standing at attention with hands crossed”. (Note: My hands are crossed in front of my chest with my right hand on the inside, left hand on the outside.) See image 69:
右掌向右勾掌兜落，收右步，抽右掌囬左肩前，同時抹面圈落左掌至右肩前，蓄势变下式。
My right palm hooks to the right, pulls downward, and then pulls back in front of my left shoulder as my right foot withdraws, my left palm at the same time wiping across and arcing downward until in front of my right shoulder, storing power in readiness to switch to the next posture.
（七十）「變式動作」
Posture 70:
上式，兜右掌囘左肩，（掌心向右，尾指貼左肩）又抹左掌至右肩，（掌心向左，尾指貼右肩），收右步成立正式蓄勢應變，以遠離敵方，對方見我加叉手在胸，立正蓄勢，乃亦拍上左足，向我迫近，隨拍進之勢，反右拳，用拳背菱骨，由右外側圈上，擊我左額，我見來拳勢兇，乃立即用左掌抹面架上，作蒙頭狀，遂將對方右拳架離面前，此時，對方之面部，亦必露出虛像，故我應乘虛用右拳，向其面部搭出，用掌心按其口鼻，且一按到面，立即曲指扣其雙目，此式不須進步迫近，蓋彼之右拳能及我之左額，則我之右掌亦能達彼之面部，互相距離，實正相等者也，如圖之七十。注意：右掌搭出時，左掌亦一齊向左側搭出以助勢為合。
In the previous posture, my right palm pulled toward my left shoulder (the palm facing to the right, the little finger near the shoulder), my left palm cleared toward my right shoulder (the palm facing to the left, the little finger near the shoulder), and my right foot withdrew to make a posture of standing at attention in order to get farther away from the opponent. Noticing me crossing my hands in front of my chest and getting into a position of standing in readiness for him, he stomps forward with his left foot to crowd me, at the same time turning his right fist over and arcing upward from outside on the right to strike to my left temple with the back of the fist. I see the threat of his incoming fist, so I immediately send my left palm wiping upward, making a position of covering my head, to prop away his right fist. His face is now an open target, so I take advantage of the gap by sending out my right palm to attack his face, covering his nose and mouth and then immediately bending the fingers to dig into his eyes. In this posture, I do not need to advance to crowd him, because since his right fist would be able to reach my left temple, my right palm will thus be able to reach his face. We are both in range of each other. (Note: When my right hand goes out, my left palm goes out to left at the same time to assist the posture.) See image 70:
先左掌抹面架上，作蒙头狀，連隨左右手向两側搁出，掌心向外。掌至X處，反掌心向出，然後一齐分左右搁出，不須变步。
First my left palm clears and props upward, making a posture of covering my head, and then my hands block away to each side, the palms facing outward. The points marked as X are where the palms turn over to be facing outward, and then they spread apart to the sides in unison. It is not necessary for my stance to change.
（七十一）「變式動作」
Posture 71:
上式，我搭出右掌，扣對方雙目，對方立即退右步，仰左掌托上，將我右掌托起，我則隨勢一勾右手，欲拿其左腕也，但對方急縮手而衝右拳擊我面，我乃用左掌向右勾落勾消之，連隨開右步拍進左足迫進，隨步又復搭出右掌，如前再扣其雙目，遂如圖之七十一。
In the previous posture, I sent out my right hand to cover the opponent’s eyes. He immediately retreats his right foot and props up with his left palm, so I prop up with my right palm, which then forms a hooking hand to grab his left wrist. But he quickly withdraws his hand and thrusts out his right fist to attack my face, so I send my left palm hooking downward to the right to dispel his attack, then step out with my right foot and stomp forward with my left foot while again sending out my right palm to cover his eyes. See image 71:
右掌向右勾手兜落，仰拳抽上左肩，同時進右步而抹面勾落左手，連隨搭出右掌抽左拳至左肩前而拍上左足。右掌心向前。
My right palm hooks downward to the right, then draws in until over my left shoulder as a fist, the center of the fist facing upward, as my right foot advances, my left hand wiping across and hooking downward. Then I send out my right palm, drawing back my left fist until in front of my left shoulder, as my left foot stomps forward, my right palm facing forward.
先進右步
I first advance with my right foot.
（七十二）「變式動作」
Posture 72:
上式，我側身進步，伸出左掌按捺對方口鼻，正欲曲指扣目也，幸對方急上挑左臂，將我左掌挑離左側額外，使我脇下空虛，連隨進右步成馬式而衝右拳，攻我右脇，我急退右步，以稍避來勢，且得以較凖距離，以便踢腿也，同時，右掌急向右側勾手兜落脇下，將對方之左腕兜捉，更連隨兜落左手，將對方之右手掙後部拿住，遂兩手合力，乘退步之勢，向後一拖，同時，一拖即踢出左足，運勁於足尖，向對方右脇下要害部位，用勁頂進，使力能直透於內臟也。遂如圖之七十二。
In the previous posture, I advanced with my body sideways, extending my left palm to push the opponent’s mouth and nose area. Just as I am about to curl my fingers to dig into his eyes, he quickly carries upward with his left arm, sending my left arm away beyond the left side of his forehead, which causes my lower ribs to become exposed, so he continues by advancing his right foot to make a horse-riding stance while thrusting out with his right fist to attack my right ribs. I quickly retreat my right foot to slightly evade his incoming force and to create enough distance to send out a kick while my right palm quickly goes to the right and hooks downward past my ribs, catching his left wrist, and I am also lowering my left hand to grab his right hand which he is trying pull back. Then using the combined strength of both hands, and taking advantage of the momentum of retreating, I pull to the rear, my left foot at the same time kicking out, power expressing at the toes to strike to the very vulnerable area of his right ribs. With power thus nailing forward, the force of it can penetrate to his internal organs. See image 72:
右掌向右勾手兜落擒拿同時退右步，連隨兜落左手，两手合力一拖，踢左腿。
My right palm goes to the right and then hooks downward to grab, my right foot at the same time retreating, while I also lower my left hand, and then I pull with the combined strength of both hands as my left leg kicks out.
退右步與兜落右手要一齐。
Retreating with my right foot and lowering my right hand should be done in unison.
兜提
My left hand lowers and then lifts into place before pulling.
（七十三）「變式動作」
Posture 73:
上式，我退右步，兩手兜落，欲將對方之右臂擒拿，而踢出左足者也，但對方亦機警，見我兜手捉臂，乃急向上一提，抽囘右拳，以免被捉，此時，我不論拿着與否，亦必踢腿，對方見我踢腿攻脇，急用右拳劈落，擊我足背，我亦急收腿退步，但對方急反掛右拳，擊我口鼻，幸我一踢即退，得以遠離避之，同時隨退左足之際，用左掌向右覆手扣落胸前，將對方掛出之右拳心按住，立即用右拳，由下擊上，剪擊對方之拳背後腕關節處，如是可使其腕部脫節也，如圖之七十三。
In the previous posture, my right foot retreated as my hands lowered to grab the opponent’s right arm, and then my left foot kicked out. But he is very alert and sees my hands lowering to catch his arm, so he quickly lifts up and pulls back his right fist to keep it from being captured. Regardless of whether or not I am able to grab, I still have to kick. The opponent sees my kicking leg attacking to his ribs, so he quickly chops downward with his right fist to attack the top of my foot. I quickly withdraw my leg and retreat a step, but he quickly does a right backfist to strike to my mouth or nose area, but fortunately I have gone from kicking to retreating, and so I have created enough distance between us to evade his attack. As my left leg retreats, I send my left palm to the right and cover downward in front of my chest, pushing down on the center of his right fist as his backfist strike comes out, then immediately use my right fist to strike upward from below, doing a scissoring attack to the back of his fist and to his wrist area [my left hand pulling down on the inside of his wrist as my right fist applies pressure on the back of his fist], which can cause dislocation in his wrist. See image 73:
左腿一踢即退，同時覆掌向胸前冚落左掌，立即弯右拳剪上。
Once my left leg kicks, it promptly retreats, my left palm at the same time covering downward in front of my chest, my right fist immediately bending upward to make a scissoring attack.
变掌向右冚落
My left fist becomes a palm and lowers to the right.
（七十四）「變式動作」
Posture 74:
上式，我右弓式，全神注於右側者也，故背後空虛，若假想敵由我背後直衝右拳攻我項背，我急向左迴身，隨勢伸直左拳，向左撩出，將來拳撩出左側外，連隨伸直右臂，向左劈出，反攻其面，對方急退右步，用左掌向右橫撥，將我右拳撥解，亦衝右拳擊我胸，幸我之左拳早已從左側後方翻起於上，遂因利乘便，用左拳斜向右側劈落，將來拳消解，同時提左腿，凖備踢出，如圖之七十四，注意，先廻身劈出左拳至兩拳分成担桿式狀時，右拳亦跟住向左劈出，兩拳分開運轉不停，至右拳運上，左拳適劈下時，立即提左腿。
In the previous posture, I got into a right bow stance, focusing all my attention to my right side, and therefore leaving my back open. An opponent from behind me thrusts out his right fist to attack the back of my neck, so I quickly turn around, raising my left fist to send his incoming fist outward to the left, then continue into sending my right arm chopping out to the left to counterattack to his face. He quickly retreats his right foot while using his left palm to deflect my right fist across to the right and thrusts out his right fist to strike to my chest. Fortunately, my left fist is already returning, rising up from behind me on my left, and easily chops diagonally downward to the right to dispel his incoming punch, my left leg at the same time lifting up in readiness to kick out. (Note: First I turn around, chopping out with my left fist so that my fists are momentarily in the position of carrying a shoulder pole, then my right fist follows it by also chopping out to the left, my fists drawing separate arcs without pause. Once my right fist is arcing upward and my left fist is chopping downward, I immediately lift my left leg.) See image 74:
向左逥身，隨势掛出左拳，至X處，不可停留，跟住向左側劈出右拳，亦不可停留，两拳分開運轉，至左拳劈落，右拳圈上，立即提左腿，以備踢出。
I turn around to the left, swinging out my left fist toward point X, but it must not pause there, for my right fist is following with another leftward chop, which also must not pause there. My fists are drawing separate arcs, and once my left fist is chopping downward and my right fist is arcing upward, I am immediately lifting my left leg in readiness to kick out.
（七十五）「變式動作」
Posture 75:
此式與上式，是連貫動作者，上式，我向左廻身，左右手分開運轉，至右拳由右側運上，左拳劈落時，立即一提左腿，凡羅漢拳術，每一提腿，必欲踢出者也，故上式一提左腿，立即踢出，攻對方之中部，對方急退左步以避，同時必用右掌，覆手拍落，拍我足背，遂得消解，此時，對方已成右弓之勢，我之左腿，不論踢中與否，亦應一踢即收，以防被捉也，考羅漢拳之腿法，必一踢即收囘護陰，一收即進，今見對方左弓勢，乃急立即低坐右膝，突伸左腿，躡入對方跨下，迫近對方，連隨兜上左掌，一兜即拿，扣其陰部，如圖之七十五。
This posture and the previous posture form a continuous action. In the previous posture, I turned around to the left, my hands drawing arcs, and once my right fist had arced upward to the right and my left fist had chopped downward, my left leg immediately lifting up. Generally in Luohan Boxing, every time a leg is lifted, it is going to kick out, therefore I immediately kick out with my left leg to attack the opponent’s middle area. He quickly retreats his left foot to evade into a right bow stance while using his right palm to slap down on the top of my foot, thus dispelling my kick. Whether or not my left kick reaches the target, I should promptly withdraw it to keep it from being grabbed. Examining the kicking techniques of Luohan Boxing, once a foot kicks, it will promptly withdraw to guard the groin, and then once it withdraws, it will promptly step forward. Seeing him now switch into a left bow stance, I immediately sit low with my right knee and suddenly extend my left leg to sneak in under his crotch, then send my left palm upward to attack his groin. See image 75:
一踢左腿，立即收囬護隂，連隨低坐右膝而竄進左足，成反弓式之势，拋上左拳。右拳不变。
My left leg kicks out, then immediately withdraws to guard my groin. Then I sit low with my right knee and extend my left foot forward, making a reverse bow stance, while throwing my left fist upward, my right fist not changing its position.
踢左腿，
My left leg kicks out.
（七十六）「變式動作」
Posture 76:
上式，我突竄伸左足，躡入對方跨下，迫近距離，隨步兜上左掌，一兜即拿，以扣對方之陰部也，對方見我兜手撩陰，必急提退右步，以遠離暫避，同時，隨退步之勢，用左手由左外側圈落一兜，遂將我之左腕拿住，此時，我應趁其拿腕未牢之際，立即連消帶攻，以消解之，凡互相搏鬥，若被對方拿得任何部位者，均易受制肘，應必急謀消解者也，今對方拿我左腕，我乃急穿右拳入左腋下，踏進右步，成假丁式，由左臂外側反右拳斜向右掛出，利用右手拗處抵住對方之左腕，同時畧縮左拳，遂得抽脫，且掛出之右拳，亦已擊中對方面部矣。如圖之七十六。
In the previous posture, I quickly reached out my left foot to sneak under the opponent’s crotch and crowd him, my left palm at the same time going upward to attack his groin. Noticing my hand raising toward his groin, he will quickly retreat his right foot to get farther away from me while sending his left hand arcing downward from outside on the left to grab my left wrist. In the moment before his grip becomes firm, I immediately escape to then attack. But escaping often involves struggling. If his grip gets any purchase on my wrist, he will easily be able to control my elbow, and so I have to quickly escape it. Once he grabs my left wrist, I quickly thread my right fist under my left armpit, advancing with my right foot to make a T stance, and my right fist goes from the outside of my left arm with a backfist diagonally toward the right, thereby breaking away his grip of my left wrist, my left fist at the same time slightly pulling back, and my right backfist continues toward his face. See image 76:
穿右拳入左腋下，由左臂外側反右拳掛出，同時踏進右步成假丁式。
I thread my right fist under my left armpit, then send a right backfist from the outside of my left arm, advancing with my right foot to make a T stance.
踏進 用拳背掛出
Stepping forward, I send out a backfist.
（七十七）「變式動作」
Posture 77:
上式，我左腕被捉，幸急進右步，用右拳由左臂下反掛偸出，一則可抽左腕，擺脫掌握，同時連消帶打，反攻對方面部也，對方見我反掛右拳攻面，亦即上挑左掌，挑我右拳於左側而直衝右拳攻我面，同時突踢右腿，向我撩陰踢來，手足並進，上下夾攻，其勢頗兇，我幾為所乘，蓋此時，我正右足在前，作假丁式勢，故陰部呈露虛象也，故對方乃乘此弱點，突衝右拳攻我上路，欲誘我注意於上而疏忽於下，遂連隨踢右腿撩陰，意為我必顧此失彼，招上而不及招下也，豈知羅漢拳術，左右匀稱，上下呼應者也，我今見對方手足齊發，乃亦兩手齊招，左掌則橫胸架上，架起其右衝拳，同時，右掌劈落跨下護陰，且將來腿之內脚眼處，向左一撥，使其右踢腿向橫擺開，自然露出陰部，故我連隨提右腿，撩陰踢出反攻，遂如圖之七十七。注意：手足一齊動作為合。
In the previous posture, my left wrist was grabbed, so I quickly stepped forward with my right foot while I sent my right fist sneaking out under my left forearm as a backfist, enabling my left wrist to withdraw, casting off the opponent’s grip, my right fist continuing by counterattacking with a strike to his face. He sees my right backfist attacking his face, and so he sends his left palm upward to carry my right fist off to his left side and thrusts out his right fist to attack my face. At the same time, he suddenly sends out his right leg with a raising kick to my groin. His hand and foot are attacking together, I am being attacked both above and below, and his posture is fierce. He is able to take advantage of my position because my right foot is forward, making a T stance, and therefore my groin is an open target. He takes advantage of this gap by suddenly thrusting out his right fist to attack my upper area, thereby luring my attention above so that I will neglect my lower area, and then sends out his right leg with a raising kick to my groin. His intention is that I will have too much to deal with at once and end up only blocking above and fail to block below. He is unaware that in the Luohan boxing art, the left and right sides function with symmetry, and the upper body and lower work in concert. I see that his hand and feet are being sent out in unison, and so I use both hands to block in unison, my left palm going upward from in front of my chest with the palm sideways to prop up his right fist, my right palm chopping downward below hip level to protect my groin, meeting his foot at the inner ankle and deflecting it to the left, causing his right leg to swing out sideways. This automatically exposes his groin, and so I continue by lifting my right leg and counterattacking with a raising kick to his groin. (Note: The movement of my hand and foot should be in unison.) See image 77:
橫左掌経胸前架上，掌心向外，右拳变掌劈落護陰，同時提右腿，撩陰踢出，連隨躍起变下式。
My left palm props up, passing in front of my chest, the palm sideways, the center of the palm facing outward, as my right fist becomes a palm and chops down to protect my groin. At the same time I lift my right leg and send out a raising kick to the opponent’s groin. This action then leads right into a hop, switching to the next posture.
（七十八）「變式動作」
Posture 78:
上式與本式，是連貫動作者，演來不可停留為合，上式，是互踢撩陰腿法，乃羅漢拳消解撩陰腿，而亦以撩陰腿反攻之毒着也，試觀其劈落右掌於跨下，此不獨撥解來腿而護陰，且可將踢來之右腿向橫撥開，使對方撑開跨下露出陰部，以利我之反踢，故此劈掌，應含有向左橫撥之意為合也。今對方被我踢右腿撩陰，乃急收退右腿，以遠離避我，遂成左弓式而左拳，反擊我右額，我亦急收右足，左足一躍向右轉身而上挑右臂，架其左拳，說時遲，那時快，對方連環復衝右拳，直向面部衝來，我乃乘躍起向右轉身之勢，用左拳斜向右側劈落，將其右衝拳消解，此時，對方乃左弓式而衝右拳者也，其跨下陰部，必呈虛象，故我應一躍左足轉身，連隨左足不俟着地，立即向對方陰部撑出，而右足亦恰着地，遂如圖之七十八。注意：左足一躍右轉身，挑上右拳，劈落左拳，躍撑左足要一齊動作為合。
This posture and the previous posture are to be performed as a continuous technique without pausing. In the previous posture, the opponent and I attacked each other with a raising kick to the groin. In Luohan Boxing, after dispelling a raising kick to the groin, we respond in kind by using a raising kick to the groin to viciously counterattack. I sent my right palm chopping downward below hip level, which not only deflected his incoming kick and protected my groin, it also sent his leg away to the side, thereby exposing his groin as a target for me to counterattack with a kick, and therefore this chopping palm has to contain an intention of deflecting aside toward the left. Now that he is being attacked by my right raising kick to his groin, he quickly retreats his right leg to get farther away from me, then makes a left bow stance and sends his left fist to counterattack to my right temple. I too quickly withdraw my right foot as my left foot hops, my body turns to the right, and my right arm carries upward to prop away his left fist. In a flash, he continues by thrusting out his right fist to attack straight to my face, so I take advantage of the situation and use my left fist to chop diagonally downward toward my right side to dispel his right thrust punch. While he thrusts out his right fist from his left bow stance, his groin area will be an open target, therefore I respond by hopping with my left foot, turning my body, and instead of my left foot coming down, it immediately goes out with a bracing kick to his groin just as my right foot comes down. (Note: The actions of my left foot hopping, my body turning to the right, my right fist carrying upward, my left fist chopping downward, and my foot bracing out should all be performed in unison.) See image 78:
橫右臂経胸挑上右拳，立即左足用力一躍向右轉身而𨅝出左足，同時劈落左拳，右足恰着地。
My right forearm goes across, passing my chest, my right fist carrying upward, as my left foot forcefully hops up and goes out with a bracing kick, my body turning to the right, my left fist chopping downward, just as my right foot comes down.
躍 𨅝
My left foot hops up and does a bracing kick.
（七十九）「變式動作」
Posture 79:
上式，我躍左足，向右轉身，上挑右拳，劈落左拳，撑出左腿，攻對方陰部，此時，對方正左弓式而伸右拳，其跨下空虛，故每易為我所乘，幸對方亦眼明手快，見我撑腿撩陰，乃急由左弓式，變坐馬式，隨變馬式之勢，用右拳由左上側斜向右側跨前劈落，向我左撑腿之內脚眼處襲擊，同時衝出左拳反擊我中部，此一劈拳，如能擊中，可能擊傷足踝者也，故我應急收腿，由右足之前跨過右側，且右足亦同時躍退，以避其左衝拳，當躍退時，兩手分兩側兜落，以捉其左臂，而坐右膝成假丁式，如能捉得其左臂，則凖備踢左腿也，如圖之七十九。
In the previous posture, my left foot hopped up as my body turned to the right, my right fist carrying upward, my left fist chopping downward, and my left leg did a bracing kick to attack the opponent’s groin. While he is extending his right fist in a left bow stance, his crotch is an open target, and so it is easy for me to take advantage of his position. But he luckily has keen eyes and quick hands, spotting my kick heading toward his groin, and so quickly switches from a left bow stance to a horse-riding stance while sending his right fist from the upper left to chop diagonally downward to the right side to suddenly strike to the inner ankle area of my left foot as it kicks out, his left fist thrusting out at the same time to counterattack to my middle area. If his chopping fist hits just right, he could injure my ankle, therefore I quickly withdraw my leg, stepping across to the right in front of my right leg, my right foot at the same time hopping back to evade his left thrust punch. As I hop back, my hands spread apart to the sides and pull down to catch his left arm, my right knee sitting to make a T stance. As long as I can catch his arm, I am positioned in readiness to kick out with my left leg. See image 79:
左足経右足之前，跨过右側，未着地時，右足一躍退，左足隨即着地，同時圈上左拳两手一齐分两边兜落，稍坐右膝成假丁式。
My left foot passes in front of my right foot, stepping across to the right. Before it comes down, my right foot hops back and then my left foot comes down. At the same time, my left fist arcs upward and then my hands spread apart to the sides and pull down, my right knee slightly sitting to make a T stance.
（八十）「變式動作」
Posture 80:
上式，身向左方，坐右膝成假丁式，曲兩拳於胸前蓄勢者也，故背後必然空虛，假想敵由背後進攻，進右步，橫揮右拳，由後向我右額攻擊，我急將假丁式之左足，向前踏出半步，以稍避來勢，更連隨急向右囘身以應敵，隨轉身之勢，收右拳囘腰蓄勢應變，同時，用左掌由左腰斜向右側伸上額前，更提右腿，以遠距離，而凖備踢出，將對方右拳，架離左側外，如圖之八十，正欲踢腿進攻，但對方見我提腿，防我踢出，乃急先撤退，我急變下式追擊。
In the previous posture, I turned my body to the left as I sat unto my right knee to make a T stance, my fists bending in front of my chest to store power. In this position, I am open behind, and so an opponent attacks me from behind, advancing with his right foot and swinging across with his right fist to strike to my right temple. I quickly send out my left foot a half step forward to evade some of his incoming force and turn my body to the right to face him. As I turn around, I withdraw my right fist to my waist to store power while sending my left palm from the left side of my waist, extending it diagonally upward to be in front of my forehead, also lifting my right leg to keep him at a distance and as a preparation to kick out at him. Once I have propped his right fist away to the left, I want to kick forward to attack him, but when he sees me lift my leg, he guards against my kick by quickly retreating before it happens, so I will quickly switch to the following posture to pursue him. See image 80:
左足踏出半步，急向右轉身，同時收右拳囬腰，立即上架左掌提右腿。
My left foot goes out a half step and I quickly turn my body to the right, at the same time withdrawing my right fist to my waist, immediately propping up with my left palm and lifting my right leg.
（八十一）「變式動作」
Posture 81:
上式，我上架左臂而提右腿，正欲踢出攻擊，但對方機警，先行箭退遠避，我急踏進右步追迫之，對方見我迫近，急衝右拳攻我面，我順勢抹左掌過右側消解之，對方連環衝左拳，再攻面部，我則用右拳貼胸穿上左肩抹面過右側，架離其左拳，但對方復衝右拳攻我胸，我急用左手勾落，將來拳勾出左側外，此時，對方胸部，必呈空虛，故我一勾左手，立即提左腿直撑，運勁於足跟，向對方胸前撑進，遂如圖之八十一，注意：抹上右掌，勾落左手，撑出左脚，手足動作，一齊為合。
In the previous posture, I propped up with my left arm and lifted my right leg, intent upon sending a kick to attack the opponent. But he is very alert and retreats to evade it before I have started, so I quickly step down forward with my right foot to chase him. He sees me crowding in and quickly thrusts out his right fist to attack my face, so I send my left palm to wipe across to the right to dispel his attack. He continues by thrusting out his left fist to again attack my face, so I send my right fist threading along my chest, over my left shoulder, and wiping toward the right to prop away his left fist. But now he thrusts out his right fist to attack my chest, so I quickly hook downward with my left hand to send his incoming fist away to the left. His chest area is now open and I have to take advantage of the gap, therefore once I am hooking with my left hand, I immediately lift my left leg and do a bracing kick, power expressed at the heel, to attack his chest. (Note: The actions of wiping upward with my right palm, hooking downward with my left hand, and doing a bracing kick with my left foot should all be performed in unison.) See image 81:
先踏進右步，左掌抹面过右側，右掌貼胸穿上左肩，先成交叉手，連隨手足一齐動作，左手則斜橫勾至左後側，右掌則抹面架上額前，立即直𨅝左足，手足一齐為合。
I first step down forward with my right foot as my left palm wipes toward the right and my left palm threads along my chest until over my left shoulder, my forearms at first crossing [right hand inside, left hand outside]. Then my hands and foot act in unison, my left hand hooking across diagonally toward the left rear, my right palm propping up until in front of my forehead, and immediately I do a bracing kick with my left foot, my hands and foot moving together.
（八十二）「變式動作」
Posture 82:
上式，我撑左腿，敵急退避，我則順勢踏進，對方乘我踏進未定之際，急坐馬式，直衝右拳，向我胃腕中部襲擊，我急垂右拳，拳背向外，由右向左橫撥，連隨反拳掛出，反攻其面，遂如圖之八十二。
In the previous posture, I did a left bracing kick. The opponent quickly retreats, so I go along with him by advancing. He takes advantage of the moment before I have finished my advance by quickly getting into a horse-riding stance and doing a right thrust punch to attack my belly area, and so I quickly drop my right fist, the back of the fist facing outward, and deflect across to the left, then continue into doing a backfist to counterattack to his face. See image 82:
左足一𨅝，連隨踏進，同時右手垂下橫架撥至左腹角處，立即反拳掛出，左手不变。
After the bracing kick, my left foot then comes down forward as my right hand drops down and blocks across until at the left side of my belly, then immediately rolls over with a backfist, my left hand staying as it is.
（八十三）「變式動作」
Posture 83:
上式，我掛左拳反攻，敵方急上架右臂抵擋，連隨用左脚撑我右脇，我急右拳劈落消解之，同時翻起左掌而踏進右步，凖備劈出，但對方先躍步跳退，我亦隨進勢一提左足而躍右足，且兩手抹面圈落，以防突襲也，遂如圖之八十三。
In the previous posture, I counterattacked with a backfist, so the opponent quickly blocks upward with his right arm, then sends his left foot with a bracing kick to my ribs. I quickly chop down with my right fist to dispel his kick as I turn over and lift my left palm in readiness to chop out while advancing with my right foot. But he jumps back, so I correspondingly advance, lifting my left foot and jumping up with my right foot, my hands [left then right] wiping downward to prevent a surprise attack. See image 83:
右拳圈落，左手即掄上。躍即撥落。
My right fist arcs downward. My left hand swings upward, then deflects downward as I jump.
提腿即掄上，隨左手抹落。
My left hand swings upward as my left leg lifts, then wipes downward.
一提左足，即躍右足
My left foot lifts, then my right foot jumps up.
隨進右步圈落 先踏進 躍起
My right hand arcs downward as my right foot advances. There is first an advance, then a jump.
（八十四）「變式動作」
Posture 84:
上式，我劈落右掌，踏上右步翻起左掌，正欲劈出，但對方先躍步跳退，以保安全距離也，我見對方急退，亦隨進勢，蓄力於右足，一提左腿，立即右足用力躍進，且兩手先後抺面落圈，以防突襲，蓋恐對方可能乘我躍進未竟之際，衝拳撞我者也，故我必掩護而進，以免疏虞，但對方詭詐異常，俟我兩手抹落之後，則上路勢呈空虛，且乘我左足着地立足未牢之踪，突衝左拳，迎面直撞，幸我早有預防，先竄左掌置胸前蓄勢，而用右臂橫胸斜向右側抺上，將來拳架離右側，同時，乘躍進之餘勢，踏進右步而直撑左掌，反撫其面，若一達其面，則曲指扣其目也，如圖之八十四。
In the previous posture, my right palm chopped downward as my right foot stepped forward, then my left palm arced upward and is about to chop out, but the opponent has jumped back to maintain a safe distance. I saw him quickly retreat and followed him forward with my right foot storing power, my left leg lifting, and then immediately my right foot forcefully jumped forward, my hands wiping one after the other in downward arcs to prevent a sudden attack, in case he is able to take advantage of the moment before I jump forward by thrusting out a fist to strike to my face, and therefore making it necessary for me to shield myself as I advance to avoid getting caught by surprise. But this opponent is extremely cunning and waits until after my hands have wiped downward, which creates an opening above, and takes advantage of the moment before my left foot has come down firmly by suddenly thrusting out his left fist to strike straight to my face. Fortunately, I have already guarded against this, so I first put my left palm in front of my chest to store power while I send my right forearm across my chest and wiping diagonally upward to prop away his incoming fist to the right side, at the same time making use of the momentum from jumping forward by stepping forward with my right foot and bracing out with my left palm to counterattack to his face. Upon reaching his face, I will curl my fingers to dig into his eyes. See image 84:
先竄左掌置胸前，左足着地而踏進右足，橫胸抹上右臂連隨撑出左掌。
First my left palm is placed in front of my chest as my left foot comes down and my right foot steps forward, my right forearm wiping across upward from in front of my chest, and then my left palm braces out.
先着地 連隨踏進 橫胸抹上 抹右掌撐出
My right comes down first, then my left foot steps forward. My right arm wipes upward, then my right [left] palm braces out.
（八十五）「變式動作」
Posture 85:
上式，我右弓式，上挑右臂蒙頭，而直衝左掌，勢力似側重於右方，故左側後方，必呈象虛也，假想敵由我左側後方，乘虛攻進，進右步衝右拳，攻我腦後，我急向左迴身以臨敵，隨向左迴身之勢，用左臂由上向左側搭出，將對方之右拳撩開，幷連隨粘住其臂向下圈落，用手一兜，冀可將其腕擒拿也，縱使擒拿不着，亦應如此趁勢收拳囘腰蓄勢，以備應變也，對方見我兜拳捉腕，乃急收右拳而衝左拳攻我面，此時，我之右掌仍高舉於上，乃因利乘便，用右掌由左額角抺面勾落右側，將其左拳勾離右側外，急提右腿，以迫近距離而利攻擊，連隨衝出左拳，反攻其面，如圖之八十五。
In the previous posture, I got into a right bow stance, carried upward with my right forearm to cover my head, and thrust out with my left palm. With power being expressed to such an extent on my right side, my left side behind me will be open. An opponent behind me takes advantage of this opening and comes in to attack, his right foot stepping forward, his right fist thrusting out to attack the back of my head. I quickly turn around to the left to deal with this opponent, sending my left arm upward and out to the left to cast aside his right fist, following through by sticking to his forearm and arcing downward with an intention to then grab his wrist. He gets free as I fail to grab it, and I instead withdraw my fist to my waist, storing power in readiness to deal with whatever may happen next. Upon seeing me attempting to grab his wrist, he quickly withdraws his right fist, but now he thrusts out his left fist to attack my face. My right palm is still raised high and now seizes the moment to wipe across from near my left temple and hook away his left fist toward my right side as my right leg quickly lifts to make use of the opportunity to strike him due to the shortened range [shortened by the right hand’s hooking action drawing him in], and then my left fist thrusts out to counterattack to his face. See image 85:
先向左轉身，搭出左手兜落囬腰蓄势，然後向左勾落右手面提右腿，同時衝出左拳。左拳竄上胸前，由下巴底衝出為合。
First I turn around to the left, my left hand going out, lowering, and withdrawing to my waist, storing power, then my right hand goes to the left and hooks downward [to the right] as my right leg lifts, my left fist rising up in front of my chest and then thrusting out from below my chin.
左轉身 向左搭出囬腰 蓄势 向左勾 落提腿
My body turns to the left, my left hand going out to the left and then withdrawing to my waist, storing power. My right hand hooks to the left, lowering as my right leg lifts.
（八十六）「變式動作」
Posture 86:
上式，向左迴身，先搭左手兜落囘腰蓄勢，再勾落右手至右側後方而提右腿衝左拳，遂成左足獨立勢，此時，對方見我突衝左拳擊其鼻，且提右腿迫近，故我之左衝拳，攻勢甚急者也，幸對方及時退右步以避，且隨退步之勢，用右手由我左拳腕下，勾手搭上，欲擒我之左腕也，我早防有此一着，故急曲掙沉肘，收左拳囘左肩前蓄勢，（拳背向出，拳心向肩，手掙貼左脇。）對方見我收拳，更乘機進迫，拍右步進迫，而衝左掌擊我面，我立即退右步着地，以遠離之，同時用左拳圈上，挑消其來掌，而左拳亦在右拳腕下兜出，畧蹲右膝成假虛式勢，蓄銳以觀其變，圖八十六。
In the previous posture, I turned around to the left as first my left hand carried upward and pulled downward, withdrawing to my waist to store power, and then my right hand hooked downward to the right and behind me as my left fist thrust out, my right leg lifting to make a posture of standing one-legged on my left leg. The opponent sees my left fist suddenly thrust out to strike to his nose and my right leg lift to crowd him, and therefore gives my left fist priority. He steps back with his right foot to evade just in time while sending his right hand hooking upward from under my left fist to try to grab my wrist. I prevent his technique before it starts by quickly bending and sinking my elbow, my left fist withdrawing in front of my left shoulder, where it stores power (the back of the fist facing outward, the center of the fist facing toward my shoulder, the elbow near my left ribs). The opponent sees me withdraw my fist and takes advantage of the opportunity to attack by stomping forward with his right foot and thrusting out his left fist to strike to my face. My right foot immediately comes down retreating to create distance as my left [right] fist circles upward to carry aside his incoming fist, my left fist then going out from under my right fist as my right knee slightly squats down to make a false empty stance, storing power while I watch for what he will do next. See image 86:
退右步曲肘收左拳囬胸前蓄势，連隨挑上右拳而兜上左拳，坐右膝成假虛式。
My right foot retreats as my left fist withdraws in front of my chest to store power, the elbow bending, then my right fist carries upward and my left fist threads upward, my right knee crouching to make a false empty stance.
收拳至胸
My left fist withdraws toward my chest.
（八十七）「變式動作」
Posture 87:
上式，我退右步低蹲，挑右拳消解，蓄勢待變，此時對方以連攻不逞，師老無功，亦急自引退，按兵以待我也，我見對方無故而退兵，恐其中有詐，故不宜追擊，乃亦收左足，隨收足之勢兩掌分左右側，由下往後一齊圈上肩前，然後兩腿一齊挺立，同時兩掌經胸前壓落，分垂左右，立正收式，全神仍貫注於左側，以逸待勞，靜觀其變，如圖之八十七。
In the previous posture, my right leg stepped back and I squatted down on it as my right fist carried upward to dispel the opponent’s attack and is now storing power for whatever may happen next. But now that his barrage of attacks have been thwarted, we are in a stalemate, and so he too quickly retreats to get into a position of waiting to see what I will do. When I see him retreat for no apparent reason, I worry that he may be trying to lure me into a trap, and so I do not pursue him. Instead I withdraw my left foot my palms spreading apart to the sides and circling in unison to the rear, upward, in front of my shoulders, and then as my legs straighten up, my palms pass in front of my chest, pressing down to hang at my sides. I am now standing at attention in a closing posture. My attention is focused toward the left, waiting for the opponent to give up and watching to see if he starts up again. See image 87:
收左足，两掌分左右側由後圈上肩上，掌心向出，两掌一齐経胸前壓落，直立两腿立正收式。
My left foot withdraws as my palms spread apart to the sides and circle to the rear, upward, over my shoulders, the centers of the palms facing outward, and then pass in front of my chest, pressing down in unison, my legs straightening. I am standing at attention in a closing posture.
完
This completes the set.
至此，羅漢拳演式，已告終結，有勞葉師矣，順此道謝焉。惟自愧攝影糢糊，且詞不達意，解釋未能盡善，說明舛誤尤多，更不自量，妄劃虛線，冀助說明，無怪招來畫蛇添足之譏矣，幸高明之士，知我諒我，有以正之。（完）
With this posture, the Luohan Boxing set is concluded, and I greatly thank Master Ye for his performance. However, I feel ashamed that the photos are so dim and that no words are adequate to fully explain the movements. There are bound to be errors in the text, and my silly idea of adding line drawings full of dots and dashes to aid the explanations will probably be ridiculed as the addition of unnecessary features that only end up ruining what I was trying to achieve [to “make a drawing of a snake and then add feet to it”]. I hope that knowledgeable masters will pardon me and offer me corrections.
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跋語
POSTSCRIPT
古人讀萬卷書，其知可謂深矣，然猶恐見之未廣也，乃力行萬里路，實地觀察而綜合引證，謂之參考也。蓋讀書，可參理也，力行，可考證也，昔司馬遷，嘗週覽名山大川，退而作史記，孔仲尼週遊列國，歸而訂春秋，故史記春秋，乃參理考證之精華，無怪其為史學家之珍貴參考書也，由此可知，著書立說而能供人參考者，談何容易乎？試觀歷代以來，能供人參考之名著固多，而毫無參考價値者亦復不少，更有等夜郎之流，不學無術，而强自標奇立異，妄訂名稱，欺世以盜名，胡說亂道，遂使吾國固有之國粹，皂白混淆，涇渭不分矣，如我國古醫學術，傳至今日，衆論紛紜，莫衷一是者，即其一例也，此迨中古術士，邪說感人，以玄虛無稽之五行理論，為研究實用醫術之基礎，如建屋於浮沙，其何以立哉？猶尚詡言為學術之參考名著，豈知學術未因此而發揚光大，反因之而絮亂不明，誤己誤人，良可慨也！噫！從古如斯，今日如何？余欲無言矣！
夫學術，乃實用之術也，故學術之著作，必須筆述詳明，圖文幷茂，讀文則可以明意，觀圖則可以為法，能使讀者與作者之間，靈犀領會，始得謂之具有參考之眞價値也，其他學術，尚須如此，况拳術之變幻無窮者乎？是故欲以一本如「相簿」式之拳譜，謂只憑文字之說明，即可一目瞭然者，吾恐其未必，况巧立名目，以偽亂眞者，其名不正矣，更自號眞傳，惟我獨尊者，其言不順矣，此掛羊頭而賣狗肉，何異掩耳以盜鈴，足以自欺耳，而欲欺世人之聰耳明目者，其可得乎？
且夫學術之著作，匪獨文簡圖明而已也，抑作者之宗旨與品格，均對其作品有莫大關係焉。吾儕等，日夕追隨潘師左右，目睹潘師作羅漢拳一書也，製圖則殫精竭力，惟恐其不週，撰文則一字不苟，惟恐其不詳，時而埋頭而劃，時而靜坐沉思，時而擲筆而起，踢腿揮拳，跳躍進退，以求變式之動態也，必達其意而後劃，苟圖不成，則廢寢忘，其不自知也，吾儕嘗竊憂其苦，但又不敢勸其息，惟潘師則樂以成趣，無倦容也，由此可知潘師之苦心，純為宣揚國粹而努力，欲使一切學術，托於圖文，闡其秘而釋其義，發揚而光大之者必矣，其提倡國粹之精神，與夫啓廸吾儕之善誘，能不憚煩勞也如此，其純潔宗旨與凜然品格，均於言行中見之矣，此豈不學無術之流與沽名釣譽之輩，所能正視其項背哉？吾儕幸托門牆，常憂潘師為學術而形役，心欲分任其勞而力不可得，常介介於懷者久之。昨潘師以羅漢拳一書付梓，遂得機緣，得以稍償「有事弟子服其勞」之宿願，乃爭相校對，今書雖成，然其中疵瘕之誤，在所難免也，祈讀者諒之，釘裝將竣，以告潘師，潘師尚謂未盡說明之能事，猶引以為憾焉！吾儕唯唯，退而為跋。
主任校對。鄺述。鍾超。跋於香港健民國醫學院
Because ancient people read countless books, their knowledge could be considered deep, and yet they were never satisfied that they knew enough. They traveled thousands of miles to the actual places where things happened and made comprehensive notes on what they found. This is why their writings all called works of “reference” [to “examine and verify”]. Through study, we can examine theory, and then through putting those principles into practice, we can verify their validity. In ancient times, Sima Qian traveled amidst all of the famous mountains and great rivers, then retired to write the Historical Records. Confucius had likewise toured the various kingdoms, then returned home and wrote the Spring & Autumn Annals. Therefore the Historical Records and the Spring & Autumn Annals are the pinnacles of examining and verifying. No wonder historians treasure such works of reference.
We can know from this that to present ideas in books in order to supply people with reference material is easier said than done. History has supplied us with many famous works to refer to. Of course there are also many that have no value as reference material, as well as many that were made by writers who were half-hearted, ignorant, and incompetent, who were just trying to be different for the sake of putting their mark on something, thereby producing absurd conclusions and deceiving their generation to gain an undeserved fame. Their foolish and wild descriptions have inflicted upon our culture such confusion over things that ought to be a simple matter of black and white that people can no longer distinguish between things that are obviously different.
For example, our nation’s ancient medical science as it has been passed down to modern times is such a mess of confused ideas that hardly anything seems accurate. Once it got into the hands of the ancient occultists, they were so moved by its fallacies that they took illusory nonsense like the five-element theory and actually made it the foundation for a study of practical medicine. But if you build a house on sand, it will not stand [referring to Matthew 7:24–27 and Luke 6:47–49]. People still brag that such knowledge is recorded in a celebrated reference work [i.e. the Yellow Emperor’s Internal Classic]. They do not understand that the reason this knowledge became so widespread is not because the book is so famous, but instead because the theories have the mystique of being incomprehensible. They are deceiving both themselves and others, alas. As this kind of thing has been the case since ancient times, why would we expect it to be any different now?
Learning an art involves practicing the art. Writings about how to learn that art therefore have to be detailed and clear, and the accompanying pictures have to be excellent. Through reading the text, we can comprehend the ideas. Through looking at the pictures, we can turn them into actions. When an intuitive understanding is created between the reader and the author, then it can said to be a valuable reference work. This is surely true in learning any art, but even more so in the case of the constant changes throughout a boxing set. Therefore it is good to treat a manual like a photo album for boxing postures. To think that you can rely on only the text for understanding and that everything will then be clear at a glance seems rather doubtful. You are bound to start misinterpreting the text, confusing your false impressions with the true meanings, and then feeling that its use of certain words is not accurate. You would then start thinking that you know better, making yourself the authority, and increasingly disagree with what it says. This is like “advertising by hanging up a sheep’s head and then selling dog meat instead” or “covering your ears to steal a bell”, in which you would only be deceiving yourself and not be able to deceive the eyes and ears of others.
Furthermore, books for learning an art are nothing more than an isolated text and simple pictures, and so the author’s purpose and character are both of enormous relevance in producing a work. We have given all of our time to learning from Master Pan and we have seen him making this book on Luohan Boxing with our own eyes. He has put his utmost effort into producing the pictures, fearing that they might not be satisfactory. He has fully attended to the text without slacking over a single word, fearing that it might not be clear enough. Sometimes he would hunch over and lose himself in the act of drawing, sometimes sit silently and ponder, sometimes toss down his pen and get up to kick and punch, hopping around, advancing and retreating, in order to figure out precisely what is happening in the transitions from one movement to another, needing to understand the idea behind a movement in order to then draw it. If his drawings were not right, then he would forget to eat or sleep until they were.
We secretly worried that he was working too hard, but never dared to advise him to rest. He looked like he was enjoying himself too much and did not yet appear worn out from the work. It can be understood from this how hard he has labored, working purely to propagate the essence of our culture, and how much he feels compelled to present all of this knowledge in picture and text, to explain its mysteries and clarify its meanings, and see that it is carried forward majestically. Due to his spirit of promoting our culture and his ways of inspiring it in the rest of us, he is able to take extra pains as though it is no trouble at all. Both his purity of purpose and his disciplined character can be seen in his words and deeds. Considering how many teachers nowadays are ignorant, incompetent, or just seeking fame, there is no way he could he turn his back on this task.
In support of our teacher, we became more anxious that he was overdoing things and wished that he would divide up some of the work so that he does not have to do everything, but he is always such a perfectionist. Yesterday, Pan sent his Luohan Boxing book to the printers, and luck at last came our way as he brought fulfillment to our long-cherished hope with this comment [quoting from Lun Yu, 2.8]: “If there is [any remaining] work to be done, the young [in this case the students] will attend to it.” In the spirit of this, we all vied with each other to do the proofreading. Although the book has now been completed, there are inevitably still some errors within it, and we hope you will forgive this. Having pounded in our final nail, we informed Pan, who responded that it would be regrettable if anything had still been left out. We agreed, and retired to write this postscript.
- written by head proofreaders Kuang Shu and Zhong Chao of the Strengthen-the-People National Medical School of Hong Kong
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Brennan Translation 