YANG STYLE TAIJI SWORD ACCORDING TO SHI DIAOMEI

太極劍譜圖說
A TAIJI SWORD HANDBOOK
施調梅
by Shi Diaomei
[published by 華新印書館有限公司 Huaxin Publishing Company of Taiwan, June, 1959]

[translation by Paul Brennan, April, 2020]

一 總說
PART ONE: INTRODUCTION

劍術:為吾國最古之技擊,法簡而奧妙無窮,初學必先依㝎式練習,以訓練其心眼身手步五到合一,為主要之基本工夫,依式練習至於純熟,然後再言用劍,依㝎式練習,是名舞劍,能舞不能用,不足以言技,知用不能舞,亦不能名技。
凡技擊,必以拳術為基礎,拳有各派,劍亦分各派,故太極劍,自必以太極拳為基礎,而身手步法,方能中式,蓋使劍亦如使拳,不外意氣為君,故舞劍之要,非身使劍,以意運劍,意先身後,是為入門要訣。
然後以閃展騰拿,腕活臂靈之手法,輕靈矯捷之步法,懸頂含胸,沉肩鬆腰之身法,綜之以氣沉神凝,完整而貫串,習之既久,身與劍合,劍與神合矣。
劍法亦有十三勢,即抽,帶,提,格,擊,刺,點,掤,劈,截,攪,壓,沉,是也,故又稱太極十三劍。
The sword art is our nation’s most ancient martial skill. Its methods are simple but limitlessly subtle. Beginners must start with a choreographed practice routine in order develop the habit of getting mind, eyes, body, hands, and feet to be working in unison. It is the training of essential fundamentals. Once you have become skillful at choreographed practice, then you will be able to move on to sparring. Choreographed practice is called “sword dancing”. If you can dance but cannot fight, you cannot be said to be skilled. However, it also has to be understood that if you can fight but cannot dance, you equally cannot be said to be skilled.
  Generally in martial arts, the boxing skills are the foundation. There are various styles of boxing arts, and also various styles of sword arts. In the case of Taiji Sword, Taiji Boxing is of course the foundation, ingraining the principles for the body, hands, and feet. The sword techniques are driven by the same engine as the boxing techniques: intention. The important thing in dancing with the sword is that it is not your body that wields the sword, but your mind. The fundamental key to it all: mind first, then body.
  The principles for the hands are: suddenly switch between expanding and contracting, and enliven the wrists and awaken the arms. The principles for the feet are: step with nimbleness and with agility. The principles for the body are: suspend the headtop but hollow the chest, and sink the shoulders and loosen the waist. Overall principles are: energy should be sinking down and spirit should be concentrated. All of these principles have to be maintained throughout. After practicing for a long time, body and sword will be united, and sword and spirit will be merged.
  This sword art is comprised of thirteen techniques: drawing, dragging, lifting, blocking, striking, stabbing, tapping, flicking, chopping, checking, stirring, pressing, and clearing. Therefore it is also known as Taiji Thirteen Dynamics Sword.

二 分圖別說
PART TWO: EXPLANATIONS FOR EACH POSTURE

起劍式
[1] BEGINNING POSTURE

左手握劍,向東端立,如太極拳之起式,鬆肩沉氣,目注前方,兩臂垂直,右手食中二指並伸平仰,大指握其餘二指成劍抉,左手以大指與中指握劍柄,食指伸直貼柄腹,無名指及小指輕握柄把,空掌心,劍尖向上,立於左臂後,劍脊輕貼左臂,劍刃向左右兩方,如第一圖。
With your left hand holding the sword, you are facing toward the east, the same as in the beginning posture of the boxing set. Your shoulders are loosened, your energy sinking, your gaze forward, your arms hanging straight down. Your right forefinger and middle finger are extended together with the thumb wrapping over the other two fingers, forming a “swordsman’s hex”. Your left thumb and middle finger grasp the sword hilt, the ring finger and little finger grasping the hilt more lightly, the forefinger extended along the handle, leaving the hollow of the palm empty. The sword tip is pointing upward, the sword upright behind your left arm, the sword spine gently touching the arm, the sword edges facing to the left and right. See photo 1:

如上圖端立後,先將左足上前一步,右足跟進,右足尖向東北踏實,鬆腰坐胯,兩腿隨屈,上體勿前傾,同時兩臂各向左右平舉,復向前拱抱,劍身橫臥於左前臂下,劍尖向正南,如第二圖。
Having established this position, your left foot now steps forward, then your right foot also advances, but coming down with the toes pointing toward the northeast. Loosen your waist, settle your hips, and bend your legs, but do not let your upper body lean forward. At the same time, your arms go to the sides, raising until level [as your left foot goes forward], then embrace inward, coming together in front of you [as your right foot goes forward], the sword body placed horizontal underneath your left forearm, the sword tip pointing toward the north. See photo 2:

仙人指路
[2] IMMORTAL POINTS THE WAY

拱抱後,上體隨腰向右轉,坐實右腿,同時右臂向右平伸,左手握劍隨腰轉至右脇旁,劍身平臥於左前臂下,劍尖向北,如第三圖。
After your arms embrace inward, your torso turns to the right, sitting fully onto your right leg, as your right arm extends level toward the right, your left hand going along with the turn until beside your right ribs, the sword held across under your left forearm, the sword tip pointing toward the north. See photo 3:

乃如太極拳式中之左摟膝拗步然,提左足向正北邁一大步,左手仍握劍隨步摟膝,右手仍持劍抉翻掌向上從耳際隨腰腿向前時伸出平指,同時左臂伸直,貼於左胯旁,如第四圖。
Then perform the same action as in BRUSH PAST YOUR LEFT KNEE IN A CROSSED STANCE from the boxing set. [See Posture 7 of Shi Diaomei’s description of the boxing set.] Your left foot lifts and takes a large step toward the north as your left hand (in this case holding a sword) brushes past your left knee and your right hand (in this case formed into a swordsman’s hex) goes along with the movement of your waist and legs by going upward, passing your ear, and extending forward and level, your left arm now straightening next to your left hip. See photo 4:

三環套月
[3] THREE LOOPS AROUND THE MOON

腰畧向左轉,提右足向前橫邁半步,體重仍寄左足,右臂隨轉至左脇旁,翻劍抉(掌心向上)
Your torso slightly turns to the left as your right foot lifts and goes forward a half step with the foot turning out sideways, the weight shifting fully onto your left leg, your right arm going along with the turn by shifting to be beside your left ribs, your swordsman’s hex turning over so the center of the hand is facing upward. See photo 5:

收至胸前,同時腰亦轉正,左臂向左揚起與肩齊,亦隨腰轉正橫前臂於胸前,位於劍抉之前上方,劍平臥左前臂下,目注前方,如第五圖,第六圖。
Your torso turns again to be facing forward, your swordsman’s hex now withdrawing in front of your chest, your left arm going along with the turn to place your left forearm in front of your chest at shoulder height, the sword held across under your left forearm and above your swordsman’s hex. Your gaze is forward, See photo 6:

斯時身仍向正北,然後上體向前坐實右腿,右手持劍抉平指前伸,左足在後伸直,如第七圖。
Your torso turns to be again facing toward the north, your body sitting onto your right leg, as your swordsman’s hex extends forward and level, your left leg straightening behind. See photo 7:

左足尖點地,身隨勢下蹲,同時右臂向後,左臂向前,各平伸成一字,劍抉指後方,目隨注視劍抉,左手握劍橫於臂後,劍脊輕貼臂背,身側向東,如第八圖。
Your body squats down, causing your left heel to rise so that foot is now touching down with the toes, as your right arm extends to the rear and your left arm extends forward, together forming a single line, your swordsman’s hex pointing to the rear, your left hand holding the sword across behind your left arm, the sword spine gently touching your arm. Your torso is facing toward the east, your gaze toward your swordsman’s hex. See photo 8:

上步合劍
[4] STEP FORWARD, GRAB THE SWORD

起身提左足向前一步,身隨腰胯向前坐實,同時兩手向前相合,左手隨將劍柄交與右手,兩掌心均向外,劍身平橫於掌前,如第九圖。
Your body rises, your left foot lifts and steps forward, and your body goes forward to sit onto your left leg as your hands come together in front of you, your left hand sending the sword handle into your right hand, the centers of both hands facing outward, the sword body placed across in front of you. See photo 9:

大魁星
[5] LARGE KUIXING POSTURE

右手握劍後,隨將劍展直,復向下劈,右足亦同時上步,向右前方虛點於地,如第十圖。
After your right hand grabs the sword, the sword extends forward and chops downward as your right foot steps to the forward right, touching down with the toes. See photo 10:

劈後復往後直刺,右足亦同時後退一步,目隨劍後視,體重亦移置右腿上,左手隨握劍抉,指向劍尖,如第十一圖。
After chopping, the sword stabs to the rear as your right foot retreats a step and the weight shifts onto your right leg, your left hand forming the swordsman’s hex and pointing toward the sword tip. Your gaze follows the sword to the rear. See photo 11:

身坐右腿後,左腿彎膝隨起,右腿漸隨身起直立,左前臂竪立於左膝蓋上,劍抉上指,同時右手握劍伸直向上以中陽劍繞向前方,劍身直向正北,位於頭頂之上,劍尖向前,劍抉在下,上指劍尖,頭頂虛懸,目視前方,含胸鬆腰,屹立於右腿上,如第十二圖。
After your body sits back onto your right leg, your left leg lifts with the knee bent, your right leg standing one-legged, your body rising up, your left forearm standing vertically over your left knee, your swordsman’s hex pointing upward, as the sword goes upward and forward to be placed over your head, your right hand switching to a half active position [tiger’s mouth facing downward], the sword body pointing toward the north, the sword tip pointing forward. Your swordsman’s hex is below the sword and pointing upward toward the sword tip. Forcelessly raise up your headtop. Your gaze is forward. Hollow your chest and loosen your waist. Stand tall on your right leg. See photo 12:

燕子抄水
[6] SWALLOW TAKES UP WATER

右手握劍隨腰轉向右後方,變中陰劍向東南角下劈,身隨勢下挫,開左足向左前方(即西北角)邁一大步,如第十三圖。
The sword goes along with the turning of your torso by going to the right rear, your right switching to a half passive position [tiger’s mouth facing upward] and chopping downward toward the southeast corner, your body squatting down, your left foot taking a large step to the forward left (i.e. toward the northwest corner). See photo 13:

上步後,隨將劈下之劍,由中陰而太陽而中陽,隨腰轉左,劍由下轉北向上平洗,左手劍抉置於額前,如第十四圖。
After stepping forward, the sword chopping downward, your right hand switches from a half passive position to a full active position [tiger’s mouth facing to the right] and then finally to a half active position [tiger’s mouth facing downward] going along with your torso as it turns to the left, the sword going from below, arcing upward to the north with a level clearing cut, your swordsman’s hex placed in front of your forehead. See photo 14:

左右攔掃
[7] LEFT & RIGHT BLOCKING SWEEPS

洗後,右手將劍隨腰後鬆之勢,轉向上向左變為太陰劍,左手劍抉扶右手腕,隨身向前,重心移於左腿,如第十五圖。
After the clearing cut, the sword goes along with your waist by arcing upward, to the left, and to the rear, your right hand switching to a full passive position [tiger’s mouth facing to the left], your swordsman’s hex assisting at your right wrist. See photo 15:

乃提右足向前跨一大步,鬆腰坐胯,以腰胯勁將劍隨腰向右平抽,目注劍尖,迨轉至東南角時,劍尖微向上反格,左手劍抉隨劍右抽時逐漸展開,向左後揚,如第十六圖。
Then your torso turns forward, the weight shifting fully onto your left leg, and your right foot takes a large step forward, your waist loosening and your hips settling as the sword does a level drawing cut to the right, driven by your waist, and arcs slightly upward with an overturned block, the sword tip pointing toward the southeast, your swordsman’s hex gradually spreading away upward behind you. Your gaze is toward the sword tip. See photo 16:

格後,乃以腰胯勁將劍變為太陽劍向左平帶,劍抉收置額前,如第十七圖。
After blocking, the sword does a level dragging cut to the left, your right hand switching to a full active position [tiger’s mouth facing to the right], your swordsman’s hex withdrawing to be placed in front of your forehead. See photo 17:

復再鬆腰將劍由上轉向左後方變太陰劍,左劍抉扶右手腕,隨身向前平截,如第十八圖。
Then you again loosen your waist as the sword arcs across to the left rear, your right hand switching to a full passive position [tiger’s mouth facing to the left], and goes forward with a level checking action, your swordsman’s hex assisting at your right wrist. See photo 18:

如是反覆二次或四次,至最末一次左足在前時,隨將劍尖翻上變中陽劍上帶,如第十九圖。
Repeat this technique one or two more times on each side, finishing with your left foot forward, and then the sword tips turns over upward, your right hand switching to a half active position [tiger’s mouth facing downward]. See photo 19:

復轉腰將劍向左後方下壓如第二十圖。
Then turn your waist [to the left] and send the sword pressing down to the left rear. See photo 20:

小魁星
[8] SMALL KUIXING POSTURE

乃上右足向右前方邁一步,再上左足,足尖點地,劍隨身向右前方以鬆腰坐胯之勢,向東北角提劍點刺,劍抉竪立當胸,如第二十一圖。
Your right foot steps out to the forward right and then your left foot steps forward, touching down with the toes, the sword going along with the movement by going to the forward right, lifting up and doing a tapping [flicking] stab toward the northeast, your swordsman’s hex placed upright in front of your chest. Loosen your waist and settle your hips. See photo 21:

黃蜂入洞
[9] WASP ENTERS THE HIVE

抽左足後退一步,劍與身同時隨腰由左向後轉,(向西南角)兩手扶持劍柄為太陽劍,平置胸前,坐實右足,目前視,含胸沉肩鬆腰胯,右足上提,如第二十二圖。
Your left foot pulls back and retreats a step as your body turns around to the left rear to be facing toward the southwest. Your right hand switches to a full active position [tiger’s mouth facing to the right] with the sword being placed level in front of your chest, carried by both hands, as you sit fully onto your right [left] leg and your right foot lifts up. Your gaze is forward. Hollow your chest, sink your shoulders, and loosen your hips. See photo 22:

靈貓捕鼠接蜻蜓點水
[10 & 11] QUICK CAT CATCHES THE MOUSE & DRAGONFLY SKIMS THE WATER

此時須有蓄勢待發之勢,以其隨接演下式,故其神若捕鼠之貓然也,右足向前一躍點地,復再向前一躍踏實,劍隨身躍向前下方直刺,目視劍尖,右足在前為實,左足在後為虛,此即靈貓捕鼠式也,下接蜻蜓點水,由前式之劍刺出後,以腰腿勁向後一抽,復再向前一刺,如蜻蜓點水然,上左圖為向下前刺之姿勢,點水不再另攝。
You should now be in a position of storing power in readiness to issue, as well as continuing the momentum from the previous posture, and therefore the spirit is like a cat about to pounce on a mouse. Your right foot goes forward with a hop, touching down with the ball of the foot, then does another hop forward, now coming down fully, the sword following the jumping action of your body by stabbing forward and downward. Your gaze is toward the sword tip. Your right foot in front is full and your left foot behind is empty. This describes the posture of QUICK CAT CATCHES THE MOUSE. It then continues right into DRAGONFLY SKIMS THE WATER. After the sword stabs out, it pulls back, driven by power from your hips, then stabs forward again, like a dragonfly barely hitting the water. See photo 23 (which shows the initial downward stab, and since the second stab is the same position, there is no need for a second photo showing it):

燕子入巢
[12] SWALLOW ENTERS ITS NEST

點後將劍翻為少陽劍,隨身向左平帶,如第二十四圖。
After tapping, the sword turns over, your right hand switching to a one-quarter [three-quarter] active position [tiger’s mouth facing to the lower right], and does a level dragging cut to the left, going along with your body as it shifts onto your left leg. See photo 24:

復再翻劍隨身向右平抽,如第二十五圖,此時體重先隨身移左足,復再隨身移右足,目注視劍尖隨轉,不可分離。
Then the sword turns over again [your right hand switching to a three-quarter passive position (tiger’s mouth facing to the lower left)] and does a level drawing cut to the right, going along with your body as it shifts onto your right leg. Your gaze closely follows the arcing of the sword tip. See photo 25:

抽後將劍下沉轉為太陰劍,身亦隨勢下伏,如上右圖。
Then the sword sinks down, your right hand switching to a full passive position [tiger’s mouth facing to the left], your body also sinking down. See photo 26:

乃將右足橫移至左足前,成內丁字,劍隨身由左向後轉時,轉為太陽劍。
Then your right foot steps in front of your left foot, turned in sideways so that your feet are making a T shape, the sword turning over, your right hand switching to a full active position [tiger’s mouth facing to the right], and going along with your body as it turns to the left rear. See photo 27:

復隨身轉至原方向(即西南角),伸劍向前平刺,左手劍抉置左額前,左足隨劍刺出時向左前方邁一步踏實,右足伸直為虛,如第二十七八圖,目注視劍尖。註:第二十八圖,應向西南方,惟因出劍位置被身體遮掩故特向西北方。
Then your body turns all the way around back to its original direction (toward the southwest corner) and the sword extends forward with a level stab, your swordsman’s hex placed in front of the left side of your forehead, as your left foot steps out to the forward left. Your left foot is full, right foot empty, the leg straight. Your gaze is toward the sword tip. See photo 28 (The direction of this posture should be toward the southwest, but then the body would be blocking the view of the sword in the photo, and therefore it is shown going toward the northwest only for the sake of showing a clearer view.):

鳳凰展翅
[13] PHOENIX SPREADS ITS WINGS

接下式,坐腰胯,向右轉腰,同時提右足向東北邁一大步,右手以少陽劍隨身向東北角上方反擊,如太極拳之斜飛勢然,左手持劍抉隨向西南角下方展開,目視劍尖,身向前,右足實,左足虛,如第二十九圖。
Continuing from the previous posture, your torso turns to the right as your right foot lifts and takes a large step toward the northeast, and the sword goes along with the movement of your body by doing a reverse strike toward the northeast, your right hand switching to a one-quarter active position [tiger’s mouth facing to the upper right], your swordsman’s hex spreading away downward toward the southwest. Your gaze is toward the sword tip. Your torso is facing forward. Your right foot is full, left foot empty. (It is just like DIAGONAL FLYING POSTURE in the boxing set. [See Posture 22 of Shi’s description of the boxing set.]) See photo 29:

右旋風
[14] RIGHT WHIRLWIND

由上式將身回坐於左足,虛右足,同時將劍轉為太陽劍收至胸前,復向前平刺,隨即將劍由右而上向左再由下而右成陽劍圈,向前隨攪隨躍進,此式全憑腰腿之勁,鬆腰胯,劍隨腰而攪成圈,前足雀躍而前進,後足則隨勢跟進,目注劍圈,左手持劍抉向後呼應作勢,體重寄於左足,沉肩鬆胯為要,如上右圖。
Continuing from the previous posture, your body sits back onto your left leg, your right foot emptying, as the sword withdraws in front of your chest, your right hand switching to a full active position [tiger’s mouth facing to the right], then goes forward with a level stab, and then draws active circles [i.e. with the center of the hand facing upward], stirring counterclockwise – up, left, down, right – as you advance. This technique depends entirely on power from your waist and legs, and on keeping your hips loose. The sword goes along with your waist by stirring circles as you advance with tiny bird-like hops, your right foot going forward, your left foot following, your swordsman’s hex balancing the posture to the rear. Your gaze follows the circling of the sword. You have to sink your shoulders and loosen your hips. See photo 30:

小魁星
[15] SMALL KUIXING POSTURE

約攪四五圈後,乃將劍變為中陰劍,向左後方繞一大圓圈,體重移於右足上,左足隨身隨劍置于右足前點地,成小魁星式,如上左圖。
After stirring for four or five circles, the sword goes to the left rear, your right hand switching to a half passive position [tiger’s mouth facing upward], drawing a large circle [that then takes it forward from below] as the weight shifts onto your right foot and your left foot goes along with the movement by going in front of your right foot, touching down with the toes. See photo 31:

左旋風
[16] LEFT WHIRLWIND

復由小魁星為左旋風時,先將劍由左向上展平成太陽劍,如下左圖。
Continuing from the previous posture, first the sword turns over, going to the left, up, and extending forward and level, your right hand switching to a full active position [tiger’s mouth facing to the right]. See photo 32:

復收至胸前成太陰劍,左手劍抉亦向左後方上揚,由左向上轉右攪圈,成陰劍圈,為左旋風,身仍坐左足上,向後躍進,劍隨身退而攪圈,其要領同右旋風,惟一則向前躍進,此則向後躍退耳。
Then the sword withdraws in front of your chest, your right hand switching to a full passive position [tiger’s mouth facing to the left], your swordsman’s hex again raising to the left rear, and the sword now draws passive circles [i.e. with the center of the hand facing downward], stirring clockwise – left, up, right, down – as you retreat with tiny bird-like hops, your left foot retreating, your right foot following. The principles of this technique are the same as in RIGHT WHIRLWIND [Posture 14], except in that case you were advancing, whereas in this case you are retreating.

釣魚式
[17] FISHING POSTURE

由前式雀躍而退,劍攪圈約至四五次後,將劍由下向左後方向上繞一大圈,同時左手劍抉扶劍柄,回至右前方時,變中陽劍,身微側向右,以腰胯下鬆之勢,將劍反壓前下方,同時左手仍持劍抉向左後方上揚置於後方成弧形,掌心向西,劍抉指向正北,左足實,右足收至右前方足尖點地,目視劍尖,如上右圖。
After performing retreating with stirring four or five times, the sword goes to the left rear and then upward, drawing a large circle, your swordsman’s hex assisting at the sword handle, and as the sword returns to the forward right, your right hand switches to a half active position [tiger’s mouth facing downward], your torso slightly turning to the right, your hips loosening downward. As the sword presses downward in front, your swordsman’s hex again raises to the left rear, forming a semicircle so that the center of the hand is facing toward the west and the hex is pointing toward the north. Your left foot is full, your right foot withdrawn with the toes touching down and pointing to the forward right. Your gaze is toward the sword tip. See photo 33:

撥草尋蛇
[18] SPREAD THE GRASS TO FIND THE SNAKE

由前式轉撥草尋蛇式時,仍以腰胯勁將劍翻為太陰劍,同時提右足向右前方邁步,身腰隨步向右前方轉動,左手扶劍亦隨身向右前方平截,劍尖畧向下,如上左圖(一)。
Continuing from the previous posture, the sword turns over and does a level checking action to the forward right, your right hand switching to a full passive position [tiger’s mouth facing to the left], as your right foot lifts and steps to the forward right, your torso going along with the step by turning to the right, your swordsman’s hex going to the forward right to assist the sword, the sword tip pointing slightly downward. See photo 34:

復提左足向左前邁步,身轉向左移,劍亦隨身移動時變為太陽劍向左前方平截,劍尖仍畧向下,目視劍端,左手劍抉扶劍柄,如下圖(二)如是左右各二次,邁步時上體須平持,勿使有忽高忽低有起伏之狀。
Then your left foot lifts and steps to the forward left, your torso turning to the left, as the sword turns over and does a level checking action to the forward right, your right hand switching to a full active position [tiger’s mouth facing to the right], the sword tip pointing slightly downward, your swordsman’s hex assisting at the sword handle. Your gaze is toward the sword tip. Perform the technique in this way again on each side, keeping your body at the same level while stepping, not going up and down. See photo 35:

懷中抱月
[19] EMBRACE THE MOON

由上式續演至第五次右足跨步前進後,將劍變為太陽劍,畧收至胸前,同時身亦移坐於左腿上收進右足點地,劍尖畧向上指,西北,左手劍抉扶右手腕,目視劍尖,含胸,沉肩,鬆腰,如上右圖。
Perform the previous technique a total of five times [right, left, right, left, right], finishing with your right foot advancing, then the sword turns over to make a full active position [tiger’s mouth facing to the right] and slightly withdraws in front of your chest as your body sits onto your left leg and your right foot withdraws, the toes touching down. The sword tip is pointing slightly upward toward the northwest, your swordsman’s hex assisting at your right wrist. Your gaze is toward the sword tip. Hollow your chest, sink your shoulders, and loosen your waist. See photo 36:

宿鳥投林
[20] BIRD GOES INTO THE FOREST TO ROOST

由上式將右足騰起前進半步,身隨勢向前,劍亦隨身向西北角上方直刺,斯時體重寄於右足,上體隨勢畧向前傾,左足提起向後翹起,左手劍抉向左展開,目注視劍端,如上右圖。
Continuing from the previous, your right foot lifts and advances a half step, your body going forward with it, the sword going along with the movement by stabbing upward toward the northwest, the weight shifting onto your right foot, your upper body slightly leaning forward, your left foot lifting up behind, your swordsman’s hex spreading away to the left. Your gaze is toward the sword tip. See photo 37:

烏龍擺尾
[21] BLACK DRAGON SWINGS ITS TAIL

上式刺後,左足向後一步著地,隨收右足近身點地,劍亦同時變中陰劍,隨身而下向右斜方反格,目亦隨下注劍尖,左手持劍抉向左後方展開,掌心向外,兩臂均取弧形如太極拳之退步跨虎式相似如下圖。
After stabbing in the previous posture, your left foot comes down a step to the rear and your right foot withdraws, touching down with the toes, as the sword goes downward, your right hand switching to a half passive position [tiger’s mouth facing upward], then goes diagonally to the right with an overturned block [the tiger’s mouth now facing downward], your swordsman’s hex spreading away to the left rear, the center of the hand facing outward, your arms forming a semicircle. Your gaze is downward, following the sword tip. (The final position resembles RETREAT, SITTING-TIGER POSTURE in the boxing set. [See Posture 92 of Shi’s description of the boxing set.]) See photo 38:

風捲荷葉
[22] WIND CURLS THE LOTUS LEAVES

以腰勁將劍提平為太陰劍,身亦隨勢右轉,同時,重心移於右胯,右足尖畧橫移,如上右圖(一)。
Your torso turns to the right, the sword going along with the movement by lifting until level, your right hand switching to a full passive position [tiger’s mouth facing to the left], the weight shifting to your right leg, your right toes slightly turning outward. See photo 39:

順勢將劍向內翻為太陽劍,提左足向左前方邁一大步,劍隨身向正西平刺,左手劍抉置於額前,目視劍端,左足實,右足虛,如上左圖(二)。
The sword continues to rotate, your right hand switching to a full active position [tiger’s mouth facing to the right], as your left foot lifts and takes a large step to the forward left, and the sword goes along with the movement [of the weight shifting onto your left leg] by doing a level stab toward the west, your swordsman’s hex placed in front of your forehead. Your gaze is toward the sword tip. Your left foot is full, right foot empty. See photo 40:

刺出後,將劍隨身右轉變太陰劍,提右足出半步,橫足尖向西北,右臂隨劍展開,左手劍抉亦向左分開,如中左圖(三)。
After stabbing out, your body turns to the right, the sword going along with the movement by spreading away to the right, your right hand switching to a full passive position [tiger’s mouth facing to the left], as your right foot lifts and goes out a half step with the foot turned out sideways, the toes pointing toward the northwest, your swordsman’s hex spreading away to the left. See photo 41:

再提左足向前橫步,足尖向東,由右轉身,同時右足提起使足尖向正南,左足再隨身橫上一步,足尖向南,如下右圖(四)。
With your body continuing to turn around to the right [and the sword simply carried along with the turning of your body], your left foot lifts and steps out forward with the foot turned in sideways, the toes pointing toward the east, then your right foot lifts and comes down with the toes pointing toward the south, and then your left foot steps out to the side with the toes also pointing toward the south. See photo 42:

重心再移左足時,同時劍亦變為太陽劍,置左胯前,左手劍抉置於右手腕,以助劍勢,如下右圖(五)。
Then the weight shifts onto your left leg as the sword is placed in front of your left hip, your right hand switching to a full active position [tiger’s mouth facing to the right], your swordsman’s hex placed at your right wrist to assist the posture. See photo 43:

獅子搖頭
[23] LION SHAKES ITS HEAD

接前式,以腰胯勁提右足向後斜方(即西北角)退一步,同時身劍隨勢向右移,重心落右足時,劍亦右抽為太陰劍。
Continuing from the previous posture, driven by your hips, your right foot lifts and steps back diagonally to the rear (toward the northwest corner), your body and the sword shifting to the right along with the movement, the weight shifting onto your right leg, the sword doing a drawing cut, your right hand switching to a full passive position [tiger’s mouth facing to the left]. See photo 44:

又提左足向後斜方(即東北角)退一步,同時身劍亦隨向左移,劍又左帶為太陽劍,重心移左足後。
Then your left foot lifts and steps back diagonally to the rear (toward the northeast corner), your body and the sword shifting to the left along with the movement, the weight shifting onto your left leg, the sword doing a dragging cut, your right hand switching to a full active position [tiger’s mouth facing to the right]. See photo 45:

再提右足後退,如是左右隨搖隨退,純以輕鬆靈活之腰胯勁,使身劍合一動作,而劍鋒恆在膝前抽帶,以其兩眼注視劍端,左右轉動,如獅子搖頭然,如上左右兩圖。
Then your right foot lifts and retreats, etc. Continue in this way, swaying side to side as you retreat. This technique depends entirely on having loose and flexible hips, and on your body and the sword moving in unison, the sword constantly pulling back in front of your knee with drawing and dragging cuts. Your gaze goes along with the sword tip, turning left and right like a lion shaking its head.

虎抱頭
[24] TIGER HIDES ITS HEAD

繼續後退至七八次後,體重落於右足時,將劍翻為太陽劍,收至胸前平舉,體重亦隨勢移於左足,右足收至左足前點地,此式須沉肩墜肘,含胸拔背,鬆腰坐胯,氣沉丹田為要,如第四十六圖。
After continuously retreating six or eight steps, finishing with the weight on your right foot, your right hand switches to a full active position [tiger’s mouth facing to the right] and withdraws in front of your chest, the sword raised level, as the weight shifts onto your left foot and your right foot gathers in to be in front of your left foot, touching down with the toes. Requirements for this posture: sink your shoulders and drop your elbows, hollow your chest and bulge your back, loosen your waist and settle your hips, and sink energy to your elixir field. See photo 46:

野馬跳澗
[25] WILD HORSE JUMPS THE STREAM

右足點地後,隨即提起向前一躍,及左足著地,右足再進一步,兩手捧劍(太陽劍)向前(正南)平刺,右實左虛,如第四十七圖。
Once your right foot touches down, it lifts up and you jump forward, your left foot coming down and your right foot advancing a step, and the sword goes forward with a level stab toward the south, your right hand making a full active position [tiger’s mouth facing to the right], both hands carrying the sword. Your right foot is full, left foot empty. See photo 47:

翻身勒馬
[26] TURN AROUND, REIN IN THE HORSE

由前式刺出後,身隨退坐後腿上,以腰胯勁兩手捧劍由左向後轉,即由南向北,再將身移坐右腿上,成勒馬式,工架要點,與虎抱頭相同,惟劍柄位置畧低,劍尖向上與眉同高,如上右圖。
Continuing from the previous posture, your body sits back, going onto your left leg, then you turn around to the left, driven by your hips, so that your torso goes from facing toward the south to facing toward the north, back hands carrying the sword along, and your body sits back onto your right leg. The position and principles are similar to TIGER HIDES ITS HEAD [Posture 24], except with the sword handle placed slightly lower, the sword pointing upward, the tip at eyebrow height. See photo 48:

上步指南針
[27] STEP FORWARD, POINT LIKE A COMPASS NEEDLE

左足微向前移進,身隨起立於左足上,右足隨上與左足並齊,兩手捧劍,以脊背之勁,向前平刺,高與肩齊,如上左圖。
Your left foot slightly advances and your body rises up, going onto your left foot, your right going along with the movement by going forward to stand next to your left foot, as the sword goes forward with a level stab at shoulder height, driven by power from your spine, both hands carrying the sword. See photo 49:

迎風撢塵
[28] BRUSHING OFF DUST AGAINST THE WIND

刺後,先上右步,兩手捧劍,隨身向右洗,如中左圖(一)。
After stabbing, first your right foot steps forward, the sword going along with the movement by doing a clearing cut to the right. See photo 50:

再上左步,劍隨左洗,目隨劍顧盼,如下右圖(二)。
Then your left foot steps forward, the sword going along with the movement by doing a clearing cut to the left. Your gaze follows the sword. See photo 51:

交步撩陰
[29] CROSSING STEP, RAISING TO THE GROIN

如是左右各兩次,劍隨身左轉,向後由上而下,右足上步,左足交於右足後,身俯下蹲伏劍由下向右展開反掤,左手劍抉向左平揚,身轉向西,目視劍端,如下左圖。凡舞劍不論進退,舉足跨步,必須鬆腰胯以輕靈出之,身劍步合一,乃最重要之一端,以上各圖說中,限於篇幅,不及備說,茲利用此頁篇幅有餘,特補述之。
After performing the previous technique twice on each side [finishing on the left], your body turns to the left, your right foot steps forward, your left foot crosses behind your right foot, and your body squats down, as the sword goes along with the movement by going upward, to the rear, downward, and spreading away to the right with an overturned flicking action, your swordsman’s hex raised level toward the left. Your torso is facing toward the west, your gaze toward the sword tip. (Always in sword dancing, whether advancing or retreating, when you lift a foot and step out, you have to loosen your hips in order to step nimbly. The most important thing is that the body, sword, and step are working in unison. These movement descriptions are necessarily limited in length, thereby sacrificing some completeness of explanation, but there seems to be enough room at this point to add this extra comment.) See photo 52:

順步抽腕
[30] STRAIGHT STANCE, DRAWING CUT TO THE WRIST

反掤後,隨抽右足向右前方斜跨一步(即東北角),以少陰劍隨身向右抽,劍尖與眼同高,左手劍抉向左斜方取勢,右足實,左足虛,如上右圖。
After the reverse flick, your right foot steps out to the forward right (i.e. toward the northeast), as the sword goes to the right with a drawing cut, your right hand switching to a one-quarter passive position [tiger’s mouth facing to the upper left], the sword tip at eye height, your swordsman’s hex extending to the left corner. Your right foot is full, left foot empty. See photo 53:

指襠劍
[31] SWORD TO THE CROTCH

身腰繼續向右,順勢收劍變為太陽劍,置於右脇旁,如上左圖(一)。
Your waist continues to turn to the right as the sword is placed beside your right ribs, your right hand switching to a full active position [tiger’s mouth facing to the right]. See photo 54:

乃以腰脊為軸,身腰轉左之勢,將劍轉為中陰劍,向前直刺,劍尖畧向下左手劍抉置於左額前,右足實,左足虛,目注視劍端,如下圖(二)。
Then your lower back pivots to send your waist now turning to the left as the sword stabs forward with the sword tip pointing slightly downward, your right hand switching to a half passive position [tiger’s mouth facing upward], your swordsman’s hex placed in front of the left side of your forehead. Your right foot is full, left foot empty. Your gaze is toward the sword tip. See photo 55:

順水推舟
[32] GOING WITH THE CURRENT TO PUSH THE BOAT

刺後先騰起右足,讓劍由右而下向後反劈,及右足著地,左足復騰起取勢,如上右圖(一)目視前方,左手劍抉向前伸。
Then your right foot lifts up as then sword goes downward from the right and does a reverse chop to the rear, and once your right foot touches down, your left foot then lifts up as your swordsman’s hex extends forward. Your gaze is forward. See photo 56:

左足騰起即向前進步,劍亦由後而上,舉臂翻為中陽劍,隨身腰推進,左手劍抉持右前臂助勢,如上左圖(二),目視劍端。
Your left foot then steps forward as the sword goes upward from behind, your right arm raising and turning over, your right hand switching to a half active position [tiger’s mouth facing downward], and the sword goes along with the movement of your torso by pushing forward, your swordsman’s hex assisting at your right forearm. Your gaze is toward the sword tip. See photo 57:

流星趕月
[33] METEOR CHASES THE MOON

劍復自左而上變中陰劍向右下劈,(即由前轉上向後)身向東作平馬勢,左手持劍抉向左後方平伸,目隨劍向右視前方,如第五十八圖。
The sword then goes upward from the left and chops downward to the right (the arc of the sword going upward and behind), your right hand switching to a half passive position [tiger’s mouth facing upward], as your torso turns to be facing toward the east and you make a horse-riding stance with the thighs flattening, your swordsman’s hex extending level behind you to the left. Your gaze follows the movement of the sword to look forward to the right. See photo 58:

天馬行空
[34] SPIRIT HORSE FLIES THROUGH THE SKY

劈後劍由右而後向上繞一大圈,同時提身先上左步,再上右步,隨勢舉劍向前下點,此時方向,面向正東,體重落於左腿上,右足在前虛點足尖,左手持劍抉微貼劍柄,目視劍端,垂兩肩,鬆腰胯,如第五十九圖。
After chopping, the sword draws a large arc from the right to the rear and then upward as your body rises up and your left foot steps forward, then your right steps forward, the sword going along with the movement by tapping forward and downward. You are now facing toward the south with the weight on your left leg, your right foot touching down in front with the toes, your swordsman’s hex assisting at the sword handle. Your gaze is toward the sword tip. Your shoulders should hang down and your hips should loosen. See photo 59:

起身挑簾
[35] RISING UP TO RAISE A CURTAIN

點後,右足畧提,足尖向南著地,身隨向南起立,劍隨身變中陽劍挑起,左足提起,足尖向東,劍抉竪立,收置胸前,目視前方,如第六十圖。
After tapping, your right foot slightly lifts and comes down with the toes pointing toward the south, your body turning to be facing toward the south and rising up, the sword going along with your body by switching to a half active position [tiger’s mouth facing downward] and carrying upward as your left foot lifts with its toes pointing toward the east. Your swordsman’s hex is standing upright, withdrawn in front of your chest. Your gaze is forward. See photo 60:

左右車輪
[36] LEFT & RIGHT WHEELING

左足向前橫邁半步,身劍隨勢下挫,向左轉腰,劍亦隨轉,目注劍轉,如第六十一圖,左手劍抉微貼右前臂。
Your left foot comes down a half step forward with the foot turned out sideways as your body and the sword lower into place, your waist turning to the left, the sword arcing along with it, your swordsman’s hex lightly touching your right forearm. Your gaze follows the sword’s arc. See photo 61:

劍尖復由左而上,跨右足向前一步,身隨步前移劍亦由上而前,劍抉向後平伸,目前視,如第六十二圖。
The sword tip then goes upward from the left, your right foot steps out forward, your body shifting forward along with it, and the sword goes forward from above, your swordsman’s hex extending level behind you. Your gaze is forward. See photo 62:

身復向右轉,劍亦由前而右向後下刺,劍抉向左前方伸展,如第六十三圖。
Then your torso turns to the right as the sword also goes to the right and stabs downward to the rear, your swordsman’s hex extending to the forward left. See photo 63:

燕子㘅泥
[37] SWALLOW PECKING AT MUD

上左足向東南方邁一步,劍由後而上繞一大圈,隨上右足,足尖點地,同時坐胯,劍向下劈,左手劍抉扶持右前臂以助其勢目隨視劍端,如第六十四圖。
Your left foot steps forward toward the southeast as the sword draws a large arc upward from the rear, then your right foot steps forward, touching down with the toes, your hips settling, as the sword chops down, your swordsman’s hex assisting at your right forearm. Your gaze follows the movement of the sword tip. See photo 64:

大鵬單展翅
[38] RUKH SPREADS A WING

開右足向西邁一步,劍隨身向右上方反擊,左手劍抉隨劍右指,目視劍尖,右實左虛,如第六十五圖。
Your right foot steps out toward the west and the sword goes along with the movement of your body by doing a reverse strike to the upper right, your swordsman’s hex going along with the movement by pointing to the right. Your gaze is toward the sword tip. Your right foot is full, left foot empty. See photo 65:

海底撈月
[39] TRYING TO SCOOP THE MOON’S REFLECTION FROM THE WATER

左足向南畧移半步,復跨右足向南邁一大步,劍以少陽劍由下向南而翻為中陽劍向下挑洗,身向前探,左手劍抉扶劍柄,目視劍尖,右實左虛,如第六十六圖。
Your left foot shifts a half step toward the south and then your right foot takes a large step toward the south as the sword goes downward, your right hand using a one-quarter active position [tiger’s mouth facing to the upper right], then goes toward the south with a clearing cut from below, your right hand switching to a half active position [tiger’s mouth facing downward], your swordsman’s hex assisting at the sword handle, your torso reaching forward. Your gaze is toward the sword tip. Your right foot is full, left foot empty. See photo 66:

懷中抱月
[40] EMBRACE THE MOON

收右足點地,身坐實左足,同時劍亦平收至胸前,劍尖指南,左劍抉扶劍柄,目視劍尖,如第六十七圖。
Your right foot withdraws, touching down with the toes, as your body sits back, your left foot filling, and the sword withdraws in front of your chest, the blade level, the sword tip pointing toward the south, your swordsman’s hex assisting at the sword handle. Your gaze is toward the sword tip. See photo 67:

夜叉探海
[41] NIGHT DEMON SEARCHES THE SEA

身突起向前,右足獨立,左足提起後揚,劍以中陽劍隨身向下直刺左劍抉向後上揚,如第六十八圖。
Your body rises up and goes forward, your right foot standing one-legged, your left foot lifting behind, as the sword goes along with the movement by stabbing downward, your right hand switching to a half active position [tiger’s mouth facing downward], your swordsman’s hex raising up behind. See photo 68:

犀牛望月
[42] RHINO GAZES AT THE MOON

左足向後跨一大步,身隨下坐左腿上,劍順勢收回向後直帶,上體畧轉向東,劍仍指南,劍抉扶右腕,目視劍尖,如第六十九圖。
Your left foot takes a large step to the rear and your body sits back onto your left leg, the sword going along with the movement by withdrawing with a dragging action, your torso slightly turning toward the east, the sword still pointing toward the south, your swordsman’s hex assisting at your right wrist. Your gaze is toward the sword tip. See photo 69:

轉身射雁
[43] TURN AROUND, SHOOT THE GOOSE

劍隨身左轉向東北,體重移於右足,收左足點地,右臂下垂,劍柄約當右胯,劍尖向上劍抉伸前上指,如第七十圖。
The sword goes along with your torso as it turns toward the northeast, the weight shifting over to your right foot, your left foot withdrawing, touching down with the toes, your right arm hanging down, the sword handle placed near your right hip with the sword tip pointing upward, your swordsman’s hex extending forward and pointing upward. See photo 70:

青龍探爪
[44] BLUE DRAGON EXTENDS A CLAW

左足前伸半步,身起立,右足隨身與左足並齊,同時以中陰劍向東北上前方直刺,左手劍抉坿貼右肱內部,目視劍尖,如第七十一圖。
Your left foot goes forward a half step and your body rises up, your right foot going along with the movement to stand next to your left foot as the sword stabs forward and upward toward the northeast, your right hand switching to a half passive position [tiger’s mouth facing upward], your swordsman’s hex assisting at the inner side of your right forearm. Your gaze is toward the sword tip. See photo 71:

鳳凰展翅
[45] PHOENIX SPREADS ITS WINGS

右足向後跨一步,身轉向西南,劍隨勢變太陽劍向右前方反擊,左手劍抉向後下伸,目視劍尖,如第七十二圖。
Your right foot steps out to the rear, your torso turning to be facing toward the west, and the sword goes along with the movement by doing a reverse strike to the forward right, your right hand switching to a full active [one-quarter active] position [tiger’s mouth facing to the upper right], your swordsman’s hex extending downward to the rear. Your gaze is toward the sword tip. See photo 72:

左右跨攔
[46] LEFT & RIGHT STRIDING BLOCKS

左足先向南跨一步,提右足向東交步於左,劍變少陽劍隨身向左帶,劍抉扶劍柄,目隨劍轉動,如第七十三圖。
First your left foot steps out toward the south and then your right foot lifts and does a crossover step toward the east to the left, the sword going along with the movement by doing a dragging cut to the left, your right hand switching to a one-quarter active [three-quarter active] position [tiger’s mouth facing to the lower right], your swordsman’s hex assisting at the sword handle. Your gaze follows the movement of the sword. See photo 73:

右足向西橫跨一步,劍亦轉變為少陰劍,隨身向右抽,同時左足向西交步於右,如第七十四圖。
Your right foot steps out sideways toward the west and then your left foot does a crossover step toward the west to the right, the sword going along with the movement by doing a drawing cut to the right, your right hand switching to a one-quarter passive [three-quarter passive] position [tiger’s mouth facing to the lower left]. See photo 74:

如是左右往復各二次,身劍步須往復不停為要,前式至最末一次,左足復向左橫跨一步,體重隨至左足,提右足向左騰起,身畧傾右隨勢將劍下沉,以中陽劍向西南點刺,目視劍尖,如上右圖(三)
Continue to perform the technique in this way a total of twice on each side. The sword, steps, and your body have to go back and forth without pausing. After going to the right the final time, your left foot steps out sideways to the left, the weight goes onto your left foot, and your right foot lifts up to the left, your body slightly leaning to the right, the sword going along with the movement by sinking down with a tapping stab toward the west, your right hand switching to a half active position [tiger’s mouth facing downward]. Your gaze is toward the sword tip. See photo 75:

刺後右足即轉身向西落步,左劍抉扶右腕,以太陰劍向西平截,劍尖向南,目視正西前方,如第上左圖(四)。
Then your right foot comes down to the west, your body correspondingly turning, as the sword goes across with a checking action toward the west, your right hand switching to a full passive position [tiger’s mouth facing to the left], your swordsman’s hex assisting at your right wrist, the sword tip pointing toward the south. Your gaze is forward toward the west. See photo 76:

射雁式
[47] SHOOT THE GOOSE

隨即坐右胯,提左足向西南角點地,劍成中陰劍,右肘下垂,以劍柄靠近右胯,劍尖向上,左手劍抉向前直指,成射雁式,如前第七十圖。
Sitting onto your right leg, your left foot lifts and steps toward the southwest, touching down with the toes, as your right hand switches to a half passive position [tiger’s mouth facing upward], your right elbow hanging down, the sword handle placed near your right hip with the sword tip pointing upward, your swordsman’s hex pointing forward. It is the same posture as in photo 70, [except pointing toward a different direction].

眉中點赤
[48] MAKING A RED SPOT BETWEEN THE EYEBROWS

身隨劍抉所指即提右足起立,右足與左足並齊,以太陽劍向西南角前方平刺,劍尖與眉同高,左手劍抉扶劍柄,目視前方,如第七十七圖。
Your body goes along with the direction your swordsman’s hex is pointing, your right foot lifting and stepping next to your left foot, as the sword does a level stab forward toward the southwest corner, your right hand switching to a full active position [tiger’s mouth facing to the right], the sword tip at eyebrow height, your swordsman’s hex assisting at the sword handle. Your gaze is forward. See photo 77:

白猿獻菓
[49] WHITE APE OFFERS FRUIT

左足向南橫跨一步,身轉向南,收右足與左足相並齊立,兩手捧劍如獻菓狀,身畧下蹲,懸頂沉肩,含胸,鬆腰,如第七十八圖。
Your left foot steps sideways toward the south, your torso turning to be facing toward the south, and your right foot withdraws to again stand next to your left foot as your hands hold the sword as though offering fruit, your body slightly squatting down. Suspend your headtop, but sink your shoulders. Hollow your chest and loosen your waist. See photo 78:

左右落花
[50] LEFT & RIGHT FALLING PETALS

先退右足,復退左足,其身法與步法,與獅子搖頭同,惟劍法作左右洗,又與迎風撢塵相同,彼則前進,此則後退耳,如上左右(一)(二)兩圖。
First your right foot retreats, then your left foot. The movements of your body and feet are the same as in LION SHAKES ITS HEAD [Posture 23], the only difference being that in this case the sword is going to both sides with clearing cuts. It is the same techniques as in BRUSHING OFF DUST AGAINST THE WIND [Posture 28], except in that case you were advancing, whereas in this case you are retreating. See photos 79 and 80:

玉女穿梭
[51] MAIDEN SENDS THE SHUTTLE THROUGH

從前式退至第四次時,隨身劍向左(東)轉,如中左圖(一)此時劍已翻為太陽劍。
Continuing from the previous posture, after you have retreated four times [finishing with your left foot], the sword goes along with your torso as it turns to the left toward the east, your right hand switching to a full active position [tiger’s mouth facing to the right]. See photo 81:

乃提左足,作蓄勢待發之姿勢,如靈貓捕鼠之身法相同,左手劍抉橫於額前,如下右圖(二)
Then your left foot lifts making a position of storing power in readiness to issue, just like in QUICK CAT CATCHES THE MOUSE [Posture 10], your swordsman’s hex placed sideways in front of your forehead. See photo 82:

乃上左步,以身劍一致之勁向左方直刺,如下左圖(三)。
Then your left foot steps forward as the sword stabs out to the left. See photo 83:

白虎攪尾
[52] WHITE TIGER TWITCHES ITS TAIL

劍隨身轉向南時,順勢由下向右攪一大圈,體重隨向右移,坐於右腿上,斯時劍亦向右開,伸臂竪立,目視前方,左手劍抉當胸前指,如上右圖。
Your torso turns to be facing toward the south, the weight shifting onto your right leg, as the sword goes along with the movement by doing a stirring action, drawing a large arc from below, spreading away to the right to stand vertically, your right arm extending, your swordsman’s hex placed in front of your chest. Your gaze is forward. See photo 84:

虎抱頭
[53] TIGER HIDES ITS HEAD

由此式轉虎抱頭時,將身移坐左腿上,收右足點地,要領姿勢與第四十八圖同,惟此乃向南耳。
Continuing from the previous posture, your body sits back onto your left leg and your right foot withdraws, the toes touching down. The posture and requirements are the same as in Posture 24, again facing toward the south.

魚躍龍門
[54] CARP LEAPS THE DRAGON GATE

接下式時,先將劍上挑,其他要領完全與野馬跳澗同,惟前者遠躍,此則高躍耳,如左上中(一)(二)兩圖。
Continuing from the previous posture, first the sword carries upward. The rest is the same as in WILD HORSE JUMPS THE STREAM [Posture 25], except that in that case it is a jump farther forward, whereas in this case it is jump farther upward. See photos 85 and 86:

烏龍攪柱
[55] BLACK DRAGON COILS AROUND THE PILLAR

由上式刺出後,體重移於後腿,同時劍由上而左向下劈(中陰劍)。
After stabbing out in the previous posture, the weight shifts back, going onto your left leg, as the sword chops down to the left from above, your right hand switching to a half passive position [tiger’s mouth facing upward]. See photo 87:

目隨劍轉,復隨左足劍轉向前(中陽劍),如下左右(一)(二)兩圖。
Then your left foot steps forward, the sword going forward along with it, your right hand switching to a half active position [tiger’s mouth facing downward]. Your gaze follows the arcing of the sword. See photo 88:

又隨身轉向後下劈(中陰劍),左手劍抉隨勢上揚,此式要領在劍隨身而轉,身在劍光籠罩之中,故身法極重要也,如上右圖(三)此時體重已隨劍向後下劈時移右足矣。
Then you turn to the right, the sword going along with the movement by chopping down behind you, your right hand switching to a half passive position [tiger’s mouth facing upward], your swordsman’s hex raising up, the weight going onto your right foot. The key to this technique is that the sword goes along with the turning of the body so that the body seems to be enveloped in the gleam of the sword, and therefore the movement of your body is crucial. See photo 89:

單鞭索喉
[56] WHIP WRAPS AROUND THE THROAT

由前式下劈後,劍由下而前變為太陽劍,同時提右足向前邁一大步,如上左圖(一)。
Continuing from the previous posture, the sword goes forward from below, your right hand switching to a full active position [tiger’s mouth facing to the right], as your right foot takes a large step forward. See photo 90:

此時劍亦隨身向前平刺,左手劍抉向後平伸,如中左圖(二)
The sword goes along with the turning of your body by doing a level stab forward, your swordsman’s hex extending level behind you. See photo 91:

老叟攜琴
[57] OLD MAN CARRIES THE ZITHER

刺後,上體隨坐左腿上,身轉向東,同時劍向左收至左肩旁竪立,左手劍抉在右臂內,向內當胸,兩臂相交,頭向南右盼,如下右圖。
After stabbing, sit back onto your left leg, your torso turning to be facing toward the east, as the sword withdraws to the left to stand upright beside your left shoulder, your swordsman’s hex placed to the inside of your right arm and in front of your chest, your forearms crossing. Your head is turned toward the south, your gaze to the right. See photo 92:

風掃梅花
[58] WIND SWEEPS THE PLUM FLOWERS

劍向左橫臥為太陰劍,右足尖橫轉向南著地,目視劍端,體重漸移於右腿上,如下左圖(一)
The sword goes to the left until it is horizontal, your right hand switching to a full passive position [tiger’s mouth facing to the left], as your right foot pivots so that the toes are pointing toward the south and the weight gradually shifts onto your right leg. Your gaze is toward the sword tip. See photo 93:

身向右轉南時,劍與劍抉同時分開,目視劍端,向右橫掃,如上右圖(二)。
Your torso turns to the right to be facing toward the south as the sword and your swordsman’s hex spread apart, the sword sweeping across to the right. Your gaze is toward the sword tip. See photo 94:

左足隨身由右轉西邁步,劍亦隨身橫掃而北,如上左圖(三)。
Your left foot goes along with the turning of your body by stepping toward the south, the sword also going along with the movement by sweeping across toward the north. See photo 95:

更轉向東,此時劍已翻為太陽劍,含胸鬆腰,作下一式之準備,如中左圖(四)。
Continue to turn around until you are facing toward the east, the sword now turning over, your right hand switching to a full active position [tiger’s mouth facing to the right]. Hollow your chest and loosen your waist. This position is preparation for the following posture. See photo 96:

上步指南針
[59] STEP FORWARD, COMPASS NEEDLE

上步指南針,動作要領,已見前,惟彼則向北,此則向東耳,如下左圖。
The movement requirements are the same as before [Posture 27], except in that case you were facing to the north, whereas in this case you are facing to the east. See photo 97:

手捧牙笏
[60.1] HANDS CARRYING THE IVORY TABLET

劍平出後,將劍竪立,如下右圖。
After sending out the sword horizontally, make the sword vertical. See photo 98:

抱劍還原
[60.2] EMBRACE THE SWORD AND RETURN TO THE ORIGINAL POSITION

劍竪立後,左掌心向上,指向下握劍,食指伸直貼於劍柄,如上右圖(一)。
Once the sword is standing straight up, your left palm comes up, points downward, and grabs the sword, the forefinger pointing along the sword handle toward the pommel. See photo 99:

再將劍由右橫轉而下,轉掌還原,右手握劍抉與劍同時下垂還原,目平視,如上左圖(二)。
Then the sword arcs downward to the left as your left hand rotates to bring it back to its original position behind the arm, your right hand forming a swordsman’s hex and hanging down in unison with the sword, also returning to its original position. Your gaze is level. See photo 100:

結論
[PART THREE] OVERVIEW

夫劍雖為短兵器之一,以其動作輕靈,剛柔相濟,舒展自然,有獨特之風格,至於運用方法,包括上中下三盤之姿勢與動作,自維年邁氣衰,腰腿已不如早年之靈活,祗能說明動作,不克表顯工架,惟願閱者諒之,再此太極十三劍,動作名稱,現今傳習者,亦不一致,就余所見者,已有三種不同之名式,然其輕靈舒展,剛柔並用之要領則同也,茲將全套名目,坿錄於後頁
Although the sword is one of the short weapons, its movements are nimble and express naturalness, with hardness and softness complementing each other. It has a very unique flavor. As for methods of performance, the postures and movements can be done at three levels – high, medium, low. Alas, I now have the hips of an old man, having lost some of the flexibility I had in my youth, and so I can only demonstrate the movements rather than fully expressing them. I hope readers will pardon me for this.
  The names of the postures in Taiji Thirteen Dynamics Sword (listed below) are not entirely the same as they used to be. I know of at least three different versions of the posture names [presumably referring to Chen Weiming’s 1928 Taiji Sword and Part Seven of Chen Yanlin’s 1943 Taiji Compiled in addition to the version in this book]. However, the principles of nimbleness, naturalness, and of using both hardness and softness are nevertheless the same in all cases.

太極十三劍全套名式
Posture Names for the Entire Taiji Thirteen Dynamics Sword Set:

1.起劍式
BEGINNING POSTURE
2.仙人指路
IMMORTAL POINTS THE WAY
3.三環套月
THREE LOOPS AROUND THE MOON
4.上步合劍
STEP FORWARD, GRAB THE SWORD
5.大魁星
LARGE KUIXING POSTURE
6.燕子抄水
SWALLOW TAKES UP WATER
7.左右攔掃
LEFT & RIGHT BLOCKING SWEEPS
8.小魁星
SMALL KUIXING POSTURE
9.黃蜂入洞
WASP ENTERS THE HIVE
10.靈猫捕鼠
QUICK CAT CATCHES THE MOUSE
11.蜻蜓點水
DRAGONFLY SKIMS THE WATER
12.燕子入巢
SWALLOW ENTERS ITS NEST
13.鳳凰展翅
PHOENIX SPREADS ITS WINGS
14.右旋風
RIGHT WHIRLWIND
15.小魁星
SMALL KUIXING POSTURE
16.左旋風
LEFT WHIRLWIND
17.釣魚式
FISHING POSTURE
18.撥草尋蛇
SPREAD THE GRASS TO FIND THE SNAKE
19.懷中抱月
EMBRACE THE MOON
20.宿鳥投林
BIRD GOES INTO THE FOREST TO ROOST
21.烏龍擺尾
BLACK DRAGON SWINGS ITS TAIL
22.風捲荷葉
WIND CURLS THE LOTUS LEAVES
23.獅子搖頭
LION SHAKES ITS HEAD
24.虎抱頭
TIGER HIDES ITS HEAD
25.野馬跳澗
WILD HORSE JUMPS THE STREAM
26.翻身勒馬
TURN AROUND, REIN IN THE HORSE
27.指南針
STEP FORWARD, POINT LIKE A COMPASS NEEDLE
28.迎風撢塵
BRUSHING OFF DUST AGAINST THE WIND
29.交步撩陰
CROSSING STEP, RAISING TO THE GROIN
30.順步抽腕
STRAIGHT STANCE, DRAWING CUT TO THE WRIST
31.指襠劍
SWORD TO THE CROTCH
32.順水推舟
GOING WITH THE CURRENT TO PUSH THE BOAT
33.流星趕月
METEOR CHASES THE MOON
34.天馬行空
SPIRIT HORSE FLIES THROUGH THE SKY
35.起身挑簾
RISING UP TO RAISE A CURTAIN
36.左右車輪
LEFT & RIGHT WHEELING
37.燕子㘅泥
SWALLOW PECKING AT MUD
38.大鵬單展翅
RUKH SPREADS A WING
39.海底撈月
TRYING TO SCOOP THE MOON’S REFLECTION FROM THE WATER
40.懷中抱月
EMBRACE THE MOON
41.夜叉探海
NIGHT DEMON SEARCHES THE SEA
42.犀牛望月
RHINO GAZES AT THE MOON
43.轉身射雁
TURN AROUND, SHOOT THE GOOSE
44.青龍探爪
BLUE DRAGON EXTENDS A CLAW
45.鳳凰展翅
PHOENIX SPREADS ITS WINGS
46.左右跨攔
LEFT & RIGHT STRIDING BLOCKS
47.射雁式
SHOOT THE GOOSE
48.眉中點赤
MAKING A RED SPOT BETWEEN THE EYEBROWS
49.白猿獻果
WHITE APE OFFERS FRUIT
50.左右落花
LEFT & RIGHT FALLING PETALS
51.玉女穿梭
MAIDEN SENDS THE SHUTTLE THROUGH
52.白虎攪尾
WHITE TIGER TWITCHES ITS TAIL
53.虎抱頭
TIGER HIDES ITS HEAD
54.魚躍龍門
CARP LEAPS THE DRAGON GATE
55.烏龍攪柱
BLACK DRAGON COILS AROUND THE PILLAR
56.單鞭索喉
WHIP WRAPS AROUND THE THROAT
57.老叟攜琴
OLD MAN CARRIES THE ZITHER
58.風掃梅花
WIND SWEEPS THE PLUM FLOWERS
59.上步指南針
STEP FORWARD, COMPASS NEEDLE
60.抱劍還原
EMBRACE THE SWORD AND RETURN TO THE ORIGINAL POSITION

武當劍法十三勢甲乙對劍五路劍譜
[PART FOUR] THE WUDANG SWORD ART’S FIVE-SECTION THIRTEEN-TECHNIQUES TWO-PERSON SWORD SET

[The text for this section was entirely reproduced from Yi Fanzhai’s 1939 Notes on the Wudang Sword Art.]

太極刀譜(又名十三勢刀)
[PART FIVE] TAIJI SABER (ALSO CALLED THIRTEEN DYNAMICS SABER)

[The text for this section was entirely reproduced from Part Eight of Chen Yanlin’s Taiji Compiled.]

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