DRINK GUINNESS

–

醉酒地躺單刀
DRUNKEN GROUNDWORK SABER
黃漢超演式
performed by Huang Hanchao
黃漢勛指導及說明
instructional text by Huang Hanxun [Wong Honfan]
天天日報攝影　攝時一九六〇年冬
originally photographed for Tin Tin Daily News in the winter of 1960 [made apparently for some of their earliest issues seeing as the newspaper was founded in Nov, 1960]
[text & photos published in book form in Hong Kong, 1972]

[translation by Paul Brennan, St. Paddy’s Day, 2022]

–

醉酒地躺單刀
Drunken Groundwork Saber
黃漢勛書
– calligraphy by Huang Hanxun

–

序
PREFACE

螳螂門中少地躺式之拳械，尤其羅師晚年發胖而更少作斯類之教導，是以港、粵同學更少此機會學習也。
漢屢向先師提出此問題，於是乃得師之授與；此刀難練處厥為「一字馬•劈刀」「藏刀朝天蹬」等式。十餘年來頗欲擇能者傳之，茲僅得黃漢超棣以後。學而能此，形式上頗合理想，惟氣勢與勁道仍須力練方能臻於妙境也。
一九六〇年十一月三十日。黃漢勛序於螳螂樓
Mantis Boxing has very few sets involving groundwork anyway, but as Master Luo got older and fatter, he gave less and less instruction in this kind of thing, and therefore very few of his Hong Kong students ever had the chance to learn it. Because I frequently nagged him about it, he finally taught it to me. This set has difficult maneuvers such as LOWER INTO A SPLIT, CHOPPING and STORING THE SABER, PRESSING KICK TO THE SKY. More than ten years ago, I was very eager to pass this set on to someone capable of executing these tricks. Huang Hanchao is so far the only one who has learned the set who also has the ability to perform it properly. His postures live up to the ideal, though he could still use some more work at acting drunk.
　　- written by Huang Hanxun at the Mantis School, Nov 30, 1960

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第一式：抱刀中平式
Posture 1: HOLDING THE SABER, STANDING STABLY

說明：
Explanation:
左手抱刀，刀鋒向前，近鋒端處則貼肩部，右掌直垂，雙足緊靠，目向前注視，站定西方為起式，面南背北，右西左東為方向，姿勢以平正為佳。如「第一圖」
Your left hand holds the saber, the edge facing forward, the tip near your left shoulder, your right hand hanging down, your feet together, your gaze forward. You are standing upright in the western part of the practice space, facing south, the north behind you, west to your right, east to your left. See photo 1:

功用：
Application:
凝神蓄氣，以俟刀法之展開，尚未及於用也。
Focus your mind and store your energy in readiness to begin executing saber techniques.

第二式：跨虎拉刀式
Posture 2: SITTING-TIGER STANCE, PULLING BACK

說明：
Explanation:
循上式，先殿右腳，出左腳，左刀右掌齊出至平，左刀交於右手，左掌反交疊於右腕之上，出右腳以替左腳。再出左腳以替右腳，右刀由下而撇過復拉高於肩項之上，左掌貼於右肩之內並原步不變，刀沿右肩轉過背後，再由右肩之外拉刀過右方，左掌貼刀背向前直出，合四圖為一齊動作，乃成。如：「第二圖」
Your right foot stomps and your left foot advances as your hands go out together until level in front of you. Your left hand puts the saber into your right hand and your left palm covers your right wrist as your right foot advances in front of your left foot. Then your left foot advances in front of your right foot as the saber swings down, to the rear, and rises up over your right shoulder, your left palm going to the inside of your right shoulder, and the saber continues its motion by arcing across your back to your left shoulder, pulls downward in front of you, and to the rear until beside the right side of your waist, your left palm going along with back of the saber and reaching out forward. See photo 2:

功用：
Application:
彼用長械分心直刺而來，我乃用下撇拉刀式破之也。
An opponent using a spear stabs straight along the centerline, so I send my saber swinging downward with a pulling action to smash his weapon away.

第三式：纒頭攔腰式
Posture 3: COIL AROUND YOUR HEAD, SLASH TO HIS WAIST

說明：
Explanation:
循上式，刀自右方腰下向面前南方斜斜撥出，至與左掌拍齊為止，同時提起右腳，身體則移過東方。再將刀繞過左肩，轉背後復從右肩撇出，以達於前東方，刀以橫齊為合度，左掌則斜橫於頭上，步隨刀勢落於東方成登山式，如：「第三圖」。
The saber deflects diagonally to the upper left, your right wrist meeting your left palm, as your left foot lifts up, your body shifting toward the east, and then your left foot comes down to make a left mountain-climbing stance as the saber continues to arc past your left shoulder, around your back, over your right shoulder, and swings out forward and across to your left ribs, your left hand placed diagonally over your head with the palm positioned sideways. See photo 3:

功用：
Application:
彼械自我左斜方刺來，欲上則以刀攔之，欲下乃提步卸之，先避其銳，再以刀橫劈之。
An opponent from my left stabs at me. If he is attacking high, I use my saber to block it. If he is attacking low, I lift my foot to evade it. Either way, I first deal with the tip of his weapon and then send my saber slashing across at him.

第四式：跨虎拉刀式
Posture 4: SITTING-TIGER STANCE, PULLING BACK

說明：
Explanation:
循上式，乃由前拉過後方，再拉高至頭上，提左腳成獨立式，左掌收右肩內，左腳落下成左跨虎步，同時刀自右轉由左肩而出，左掌貼刀背直出如：「第四圖」
The saber pulls back on your right side and rises over your head as your left foot lifts to make a one-legged stance, your left palm withdrawing to your right shoulder, then your left foot comes down to make a left sitting-tiger stance as the saber arcs across your back to your left shoulder, forward, and then pulls back beside the right side of your waist, your left palm going along the back of the saber and reaching out. See photo 4:

功用：
Application:
與第二式相同。
Same as in Posture 2.

第五式：七星劈刀式
Posture 5: BIG-DIPPER STANCE, CHOPPING

說明：
Explanation:
循上式，出右腳以成右七星步，刀自後向前劈落，當至中途時，右腕與左掌相碰而發出「必卜」之聲如：「第五圖」
Your right foot goes forward to make a big-dipper stance as the saber goes to the rear, upward, forward, and chops downward, your left palm striking against your right wrist with an audible crack once the saber reaches the centerline and then continuing inward to withdraw to your right shoulder. See photo 5:

功用：
Application:
我拉刀旣將來械消去，乃乘勢進前疾以刀向其頭劈落。
Once my action of pulling has deflected the opponent’s incoming weapon, I then take advantage of the opportunity to advance and send my saber chopping down at his head.

第六式：轉刀旋風式
Posture 6: SPIN AROUND, WHIRLWIND KICK

說明：
Explanation:
循上式，先將右腳踏平，循左轉身提起左腳如獨立式，刀與手交疊，身隨步而轉，再循已轉將一半之身體疾向東方作全部之旋風腿法轉去至向正東方為止。當打旋風腿時刀由兜一圈復轉於左腰之內。如：「第六圖」
Your right foot comes down fully and you jump up, your left foot lifting, your body quickly spinning all the way around to the left to again be facing toward the east, the saber going across under your left arm to your left ribs, your right foot swinging across, your left hand slapping against the bottom of the foot. See photo 6:

功用：
Application:
斯為刀與腿之冒險方式，向準敵人作一齊之功擊，其唯一好處則可躱避對方自下攻來之勢。
This is a risky maneuver involving saber and kick making an almost simultaneous attack upon the opponent, leaving him with few options except to back off and hope to find targets below.

第七式：拉刀大轉身
Posture 7: SPIN AROUND, PULLING BACK

說明：
Explanation:
循上式，將打旋風腿之右腳向正東方如登山式落下，刀自腰部拉出至直，左掌緊貼於右腕，再循右向前作一車身重成為右登山式，刀則已拉過背後，左掌貼於右肩之內。刀由背後轉過左肩而出。如：「第七圖」
Your right foot comes down forward to almost make a right mountain-climbing stance as the saber goes forward from your ribs, your left palm at your right wrist, then your body turns all the way around, your feet advancing left and right to finish in a right mountain-climbing stance, as the saber goes around your back, forward from your left shoulder, and pulls back at the right side of your waist, your left palm pushing out forward. See photo 7:

功用：
Application:
當我施用旋風式時，對方欲退馬以避，我趁勢撇刀車身以進，使其無可躱避也。
The opponent tries to retreat in order to evade my whirlwind kick, so I chase him with my saber swinging, making it impossible for him to get away in time.

第八式：騎馬平刺式
Posture 8: HORSE-RIDING STANCE, LEVEL STAB

說明：
Explanation:
循上式，先將右腳畧畧拉起，乘拉起之勢向前一標，乃化登山為騎馬之最好方式，刀亦隨之向前刺出，掌則反往後平撐成相反之勢。如：「第八圖」
Your right foot slightly pulls back, lifting up, and then you make use of the momentum generated from this action by darting forward into a horse-riding stance, the saber going along with the motion by stabbing out forward, your left palm going against the motion by bracing out to the rear. See photo 8:

功用：
Application:
我上式旣已消去來械，乃順勢標步以求與彼接近，同時以刀平刺之是難解之法也。
Once I have deflected the opponent’s incoming weapon, I then seize the opportunity by darting forward to crowd him as I also send my saber stabbing forward, a difficult situation for him to deal with.

第九式：順步拉刀式
Posture 9: STEP FORWARD, PULLING BACK

說明：
Explanation:
循上式，身隨左轉身以成為左虛式步，右手舉直，刀平放於肩上，左掌收腰，再進前一步，以成右跨虎步，刀由右肩繞背轉過左肩向前拉出，左掌穿刀背而出。如：「第九圖」
Your body turns to the left, your left foot pulling back to make a left empty stance, as your right hand rises straight up, placing the saber over your right shoulder, the blade parallel with the ground, your left hand withdrawing to your waist. Then your right foot advances to make a right sitting-tiger stance as the saber coils around your back to your left shoulder, forward, and then pulls back beside the right side of your waist, your left palm threading out over the back of the saber. See photo 9:

功用：
Application:
對方自我後下路刺來槍，我卽拉刀往下撇之。
An opponent behind me attacks with a spear, stabbing to my lower area, so I perform a pulling action with my saber in order to deflect it further downward.

第十式：順步拉刀式
Posture 10: STEP FORWARD, PULLING BACK

說明：
Explanation:
循上式，刀與掌不動，先將右腳提起如獨立式之勢，再落右腳，進左腳以成左跨虎步，刀從右繞背左拉出。如：「第十圖」
With the saber and your left palm maintaining their position, first your right foot lifts up to make a one-legged stance, then it comes back down and your left foot advances to make a left sitting-tiger stance as the saber coils around your head from the right side of your back and then pulls back from your left side, your left palm threading out over the back of the saber. See photo 10:

功用：
Application:
與第九式同，祗左、右之別耳。
Same as in Posture 9, except with left and right reversed.

第十一式：順步拉刀式
Posture 11: STEP FORWARD, PULLING BACK

說明：
Explanation:
循上式，將前左腳提起成獨立之勢，刀與掌皆不動，再進前拉刀過背以成。如：「第九定式」，卽「第十一圖」
With the saber and your left palm maintaining their position, first your left foot lifts up to make a one-legged stance, then it comes back down and your right foot advances to make a right sitting-tiger stance as the saber coils around your back to your left shoulder, forward, and then pulls back beside the right side of your waist, your left palm threading out over the back of the saber, same as in Posture 9. See photo 11:

功用：
Application:
與第九式相同。
Same as in Posture 9.

第十二式：偷步攔劈式
Posture 12: STEALTH STEP, BLOCK & CHOP

說明：
Explanation:
循上式，先將右腳倒退後方，刀與掌皆不動，再將左腳由後偷進以成偷步式，刀與掌俱向頂上作攔起之勢，然後將刀向右斜斜劈出，掌則橫架於頭上。如「第十二圖」
Your right foot retreats, the saber and your left palm maintaining their position, then your left foot does a stealth step, advancing behind your right foot, as the saber and your left palm rise over your head with a blocking action, and then the saber continues by chopping out diagonally to the right, your left palm continuing to block upward with the hand positioned sideways. See photo 12:

功用：
Application:
彼走過我斜右方突施攻擊，我為便於近攔起見，乃偷步攔之，再乘勢直劈一刀，斯卽招卽打之法也。
The opponent passes behind me and suddenly attacks from my right side, so I quickly crowd him, doing a stealth step while blocking upward, then take advantage of the opportunity to chop at him. This is a method of suddenly blocking and suddenly striking.

第十三式：偷步攔劈式
Posture 13: STEALTH STEP, BLOCK & CHOP

說明：
Explanation:
循上式，先開右腳再偷左腳仍成偷步式，刀仍作橫攔之勢，再劈出則成。如「第十三圖」
Your right foot steps out and then your left foot steps forward behind your right foot to again make a stealth-step position as the saber again blocks and chops out. See photo 13:

功用：
Application:
與第十二式相同。
Same as in Posture 12.

第十四式：偷步攔劈式
Posture 14: STEALTH STEP, BLOCK & CHOP

說明：功用：
Explanation & application:
與第十二三式相同。
Same as in Postures 12 & 13. See photo 14:

第十五式：纏頭攔腰式
Posture 15: COIL AROUND YOUR HEAD, SLASH TO HIS WAIST

說明：
Explanation:
循上式，先將刀掌齊交於頭上，然後循左轉身以成背北向南之左登山式再將刀自左繞過背部，復由右平劈而出，左掌仍橫架頭上。如「第十五圖」
First the saber and your left palm cross over your head, then your body turns around to the left, your left foot stepping out to make a left mountain-climbing stance facing toward the south, as the saber passes around your back and slashes across to the left to finish beside your left ribs, your left palm again blocking over your head with the hand positioned sideways. See photo 15:

功用：
Application:
彼欲繞過我斜方施突襲，我亦順其勢以還擊之。
The opponent tries to slip behind me in order to surprise me from an angle, so I go along with his action and catch him with a counterattack.

第十六式：跨虎拉刀式
Posture 16: SITTING-TIGER STANCE, PULLING BACK

說明：
Explanation:
循上式，刀由南方向下斜撇過於右肩之上，同時提起右腳以易背北面南為背東面西之勢跟著落右腳而上左腳以成左跨虎步，刀由右繞過左肩拉出。如「第十六圖」
The saber slashes diagonally downward to the right and rises over your right shoulder as your right foot lifts and you turn to face toward the west, then your right foot comes down and your left foot steps forward to make a left sitting-tiger stance as the saber arcs over your left shoulder, forward, and pulls back beside the right side of your waist. See photo 16:

功用：
Application:
與第四式同。
Same as in Posture 4.

第十七式：翻身滾刀式
Posture 17: ROLLING OVER ON THE GROUND

說明：
Explanation:
循上式，先將刀橫於頭上，將後腳朝起，再乘勢向前面西方滾下，當以滾往西方為定點。如：「第十七圖」
The saber is placed horizontally over your head, your left foot comes down fully, your body bends forward, your right foot lifting up behind, and you go along with the momentum by rolling over forward toward the west. See photo 17:

功用：
Application:
滾觔斗法亦屬於追擊或躱避之兩途，隨用者自擇可也。
Rolling can be forward to chase or backward to evade, depending on the situation.

第十八式：登山拉刀式
Posture 18: MOUNTAIN-CLIMBING STANCE, PULLING BACK

說明：
Explanation:
循上式，當我滾下後卽起身疾向右大轉身，仍以向西方為合，成右登山步，刀拉起於右肩之上。再將刀繞過左肩拉出以成。如：「第十八圖」
After rolling over, immediately rise up and spin all the way around to the right to again be facing toward the west and step out into a right mountain-climbing stance as the saber rises over your right shoulder, arcs across your back, over your left shoulder, forward, and pulls back beside the right side of your waist. See photo 18:

功用：
Application:
與一般拉刀法同。
Same general function as with other instances of pulling back.

第十九式：拉刀中平式
Posture 19: STANDING STABLY AT ATTENTION

說明：
Explanation:
循上式，先將右腳拍齊成立正式，刀亦拉起至右肩之上，再自右繞背轉過左肩，由肩滑下，復交與左手握持。如「第十九圖」
Your right foot stomps down next to your left foot to form a position of standing at attention as the saber pulls back, rises up over your right shoulder, arcs around your back to your left shoulder, and then slides down to be put into your left hand. See photo 19:

功用：
Application:
此為過渡之法，以俟醉酒法之開始也。
This is a transitional action in preparation for the “drunkenness” that follows.

第二十式：繞塲走一匝
Posture 20: STUMBLING AROUND IN A CIRCLE

說明：
Explanation:
循上式，雙腳往下一坐，右手自左肩探過右方。如「過渡式甲圖」
Your legs squat down as your right hand [in the shape of holding a drinking gourd] passes near your left shoulder and reaches out to the right [miming pouring wine into your mouth as it passes your face]. See photo 20a:

再出右腳成低虛式狀，手隨步過左方如「過渡式乙圖」
Your right foot steps out to the left to make an empty stance, your right hand going along with it. See photo 20b:

再出左腳而走，務以走一圈為合。如「過渡式丙圖」
Your left foot makes a winding step back to the right. See photo 20c:

復開左腳以成騎馬式，右手探過左方，走時之動態須為醉酒之狀為佳。如「第二十丁圖」
Your left foot steps out to make a horse-riding stance as your right hand reaches out to the left. (These actions of stumbling around have to be done in the manner of a drunken man.) See photo 20d:

第廿一式：醉酒獻酒式
Posture 21: DRUNKARD OFFERS WINE

說明：
Explanation:
循上式，手由左轉右，同時起右腳軋過左方，身體作盪動動不定之醉狀如「過渡式甲圖」
Your right hand arcs across to the right as your right foot lifts up to come down to the left, the movement of your body looking drunken and unstable. See photo 21a:

就右腳軋出之點著地，但在未著地之前，卽以右腳替代左腳之軋出如「過渡式乙圖」
Just as your right foot is about to come down to the left, your left foot starts to rise up. See photo 21b:

再將左腳就勢著地，手則轉過左方，如「過渡式丙圖」
Your left foot comes down to the right as your right hand arcs across to the left. See photo 21c:

不俟上式擺定，卽以右後腳向右方開出，以成騎馬式，手由左下向右上挑出，連續四圖，俱作動盪不定之勢恰似醉酒之狀。如：「第二十一丁圖」
Before stabilizing in the previous position, your right foot steps out to the right to make a horse-riding stance as your right hand lowers and then carries upward to the right. (The actions in these four photos have to be performed as a continuous flow without settling into any positions of stability, just like a drunken man.) See photo 21d:

功用：
Application:
為練腰部靈敏之良法。
This is an excellent means of developing flexibility in the waist.

第廿二式：登山右統捶
Posture 22: MOUNTAIN-CLIMBING STANCE, RIGHT THRUST PUNCH

說明：
Explanation:
循上式，原步向左轉為登山式，右手化拳向左方直衝而出。如：「第二十二圖」
With your feet remaining in their location, your body turns to the left to make a left mountain-climbing stance as your right hand becomes a fist and thrusts out to the left. See photo 22:

功用：
Application:
我旣動盪方或作躱避式形勢之變動後，再採取正面攻擊之法。
After wobbling around evasively, I suddenly switch to making a frontal attack.

第廿三式：俯身敬酒式
Posture 23: BEND OVER AND OFFER A TOAST

說明：
Explanation:
循上式，全身往下一坐，使成低虛式，手亦隨之沉下，如「過渡式甲圖」
Your whole body squats down, making a low empty stance, your right hand sinking down along with it. See photo 23a:

原手全身向上起成獨立之勢，如「過渡式乙圖」
With your right hand maintaining its position, your body rises up, your left foot lifting to make a one-legged stance. See photo 23b:

再俯身而下，要著地之足直。越低越佳，手以著地為好，如「過渡式丙圖」
Your body bends over forward, the lower the better, ideally low enough for your right hand to touch the ground in front of your right foot. See photo 23c:

再提起如乙圖。卽：「第二十三丁圖」
Then rise back up with your left leg extended. See photo 23d:

功用：
Application:
此為姿勢之練法及腰步之表現，非經多練不易為之也。
This is a means of showing off skill in your waist and legs. It is difficult to perform without a great deal of practice.

第廿四式：伸腿添酒式
Posture 24: WITH A LEG EXTENDED, DRINK MORE

說明：
Explanation:
循上式，原位置及原手不變，祗將提起之左腳伸出，跟著全身往下沉，如「第二十四甲圖」，
Without changing the position of your upper body and left leg, your whole body squats down on your right leg. See photo 24a:

再復提起如「第二十四乙圖」
Then rise back up. See photo 24b:

功用：
Application:
出腿不難，難一起一落之費力耳。
This is a further method of showing off skill in your legs. Extending a leg is not difficult by itself, but lowering and rising with one leg extended requires great strength.

第廿五式：翻身滾刀式
Posture 25: ROLLING OVER ON THE GROUND

循上式，先將左腳收囘成獨立式，再左手刀交囘右手，往下俯身，刀攔頭上，右腳往後朝高。再往下一滾，以滾過東方。（圖是在滾中拍攝者，是以未及布置姿勢也。）如「第二十五圖」
Your left foot withdraws to make a one-legged stance, your left hand puts the saber back into your right hand, your body bends forward, the saber blocking over your head, your right foot lifting up behind you, and you roll forward toward the east. See photos 25a & 25b (displaying the rolling midway rather than a finished posture after the rolling is completed):

功用：
Application:
與第十七式同
Same as in Posture 17.

第廿六式：騎馬拉刀式
Posture 26: HORSE-RIDING STANCE, PULLING BACK

說明：
Explanation:
循上式，旣滾東方後，隨起身再向東循右方轉身以成騎馬式，刀則拉起至右肩之上。
再由右肩繞背轉過左肩之外拉出，左掌則抹刀背伸出如：「第二十六圖」
After rolling over, immediately rise up, turning around to the right, and step out to make a horse-riding stance as the saber rises over your right shoulder, arcs across your back, over your left shoulder, forward, and pulls back beside the right side of your waist, your left palm wiping along the back of the saber and reaching out. See photo 26:

功用：
Application:
與第十八式同，祗騎馬與登山之別耳。
Same as in Posture 18, except using a horse-riding stance instead of a mountain-climbing stance.

第廿七式：斜身右軋腿
Posture 27: LEANING BODY, RIGHT CRUSHING KICK

說明：
Explanation:
循上式，手與刀俱不變，右腳軋出，身向右傾斜，以比此圖更斜為佳如：「第二十七圖」
With your left hand and the saber maintaining their position, your right foot goes out with a crushing kick, your body leaning diagonally to the right (ideally leaning more than is shown in the photo). See photo 27:

功用：
Application:
我出其不意，攻其無備，突襲一腳，使其無防也。
I employ the tactic of [from Art of War, chapter 7] “Attack where he is not prepared, appearing where he does not expect.” Having drawn his attention above with my left palm, leaving him defenseless below, I now suddenly lash out with a kick below.

第廿八式：羅漢曬屍法
Posture 28: LUOHAN DRIES THE CORPSE IN THE SUNSHINE

說明：
Explanation:
循上式，趁右腳軋出之勢，卽往地上撲下，右腳先落，左腳則由上開盡過左方，以成交叉之形，刀乃置於左腿之上，眼注視左西方如：「第二十八圖」
After kicking out, pounce down onto the ground, your right leg coming down first, your left leg rising up and crossing over your right leg, the saber placed over your left leg, your gaze to the left toward the west. See photo 28:

功用：
Application:
當我用軋腿之時，彼必求躱避之法，我乘此全身撲下，以左腳抅之，抑亦掘定陷阱，以俟其攻也。
The opponent tries to evade my kick, so I follow him back by pouncing forward, my whole body on the ground with my feet out, and using my left leg to hook around and trap his legs, ready now for whatever he may try to do next.

第廿九式：翻身掃腿法
Posture 29: TURN OVER, SWEEPING LEGS

說明：
Explanation:
循上式，右腳及全身未動，先起左腳再全身翻過左方，
Your left leg rises up, your body turning over to the left. See photo 29:

左腳先著地，右腳自其上而過加於其上，使再成交叉之形，刀亦隨身而過如：「第二十九圖」
Your left leg comes down and your right leg rises up and crosses over your left leg, the saber going along with your body by moving across to the left.

註：
Note:
因拍攝時遺漏，本式實應與圖片所示左右相反始合。
There is a photo missing here which should show the right leg over the left.

功用：
Application:
我先用左腳橫掠其腰部，俟其欲搶之時，卽以右腳替之，使其不及防也。
My left foot rakes across the opponent’s waist, then before he can grab it, it disappears and my right foot attacks in its place, a very difficult situation for him to defend against.

第三十式：翻身掃腿法
Posture 30: TURN OVER, SWEEPING LEGS

說明：
Explanation:
循上式，先起右腳，再全身翻過右方，右腳先著地，左腳自其上而過，而復成交叉形如：「第三十圖」
Your right leg rises up, your body turning over to the right. Your right leg comes down and your left leg rises up and crosses over your right leg. See photo 30:

功用：
Application:
與上式相同，仍採連環之勢也。
Same as in the previous posture and performed as a continuous flow coming from it.

第卅一式：穿腿拉刀式
Posture 31: THREADING KICK, PULLING BACK

說明：
Explanation:
循上式，先將右腳拉曲，以便全身而起，旣起卽成左虛式步，刀拉高於右肩之上，左掌倚右肩之內，刀循右繞背轉過左肩而出，左掌與左腳齊出如：「第三十一圖」
Your right foot pulls back, the leg bending to support underneath you, and your whole body rises up into a left empty stance, the saber pulling up high, your left palm going to your right shoulder, then the saber arcs across your back to your left shoulder, goes out forward, and pulls back beside the right side of your waist as your left palm and left foot go out in unison. See photo 31:

功用：
Application:
我先以刀拉開來械，再以掌腿作上下之攻勢也。
I first deflect the opponent’s incoming weapon, then send out a palm strike and a kick to attack him above and below simultaneously.

第卅二式：跨虎劈刀式
Posture 32: SITTING-TIGER STANCE, CHOPPING

說明：
Explanation:
循上式，先落左腳，進右腳以成跨虎之勢，刀由右腰撇過左腰。再反刀斜撇而出，左掌則橫架於頭上如：「第三十二圖」
Your left foot comes down and your right foot advances to make a right sitting-tiger stance as the saber swings across past the left side of your waist, then turns over and chops out forward diagonally, your left palm blocking over your head with the hand positioned sideways. See photo 32:

功用：
Application:
彼欲對我左腿不利，我迅卽用刀斜撇之，再進馬用刀劈之。
The opponent tries to stab to my left leg, so I quickly send my saber swinging across diagonally to cast his weapon aside, then advance and attack him with a chop.

第卅三式：騎馬拉刀式
Posture 33: HORSE-RIDING STANCE, PULLING BACK

說明：
Explanation:
循上式，先將右腳放前成登山之勢，乃亦改鋒向右下斜撇，左掌倚於右肩之內再循右車身，反向西為東之勢，刀斜掛右肩之上，並纒繞背部轉過左肩而出。左掌抹刀背撐出如：「第三十三圖」
Your right foot steps forward into a right mountain-climbing stance as the saber tip droops diagonally downward to the right, your left palm going to your right shoulder, then your body turns around to the right so that you are facing toward the east, your left foot and then right foot advancing during the turn, as the saber rises over your right shoulder, arcs around your back, over your left shoulder, forward, and pulls back beside the right side of your waist, your left palm going along the back of the saber and bracing out. See photo 33:

功用：
Application:
與第二十六式同。
Same as in Posture 26.

第卅四式：提步抱刀式
Posture 34: LIFTING STEP, EMBRACE THE SABER

說明：
Explanation:
循上式，先將左腳退一步，以成右跨虎步，刀隨步穿下，再將右腳提起，刀則反鋒刃為向外，以手托刀之末處如：「第三十四圖」
Your left foot retreats a step to make a right sitting-tiger stance as the saber threads out below, then your right foot lifts up as the saber withdraws, the blade turning over to be facing upward, your left hand bracing against the pommel. See photo 34:

功用：
Application:
彼械由下刺來，我先退馬避之，再用刀穿繞之。
The opponent stabs below, so I step back to evade it while using my saber to thread out and coil around his weapon.

第卅五式：蹤跳直刺式
Posture 35: LEAP, STRAIGHT STAB

說明：
Explanation:
循上式，疾向東方跳出約兩步之遙，迨著地後卽成右登山式，刀由懷中直刺而出，手斜掛於頭上如：「第三十五圖」
Suddenly leap out toward the east, covering a distance of about two paces, coming down into a right mountain climbing stance, as the saber stabs straight out, your left hand placed diagonally above your head. See photo 35:

功用：
Application:
彼欲往後逃遁，我卽追蹤以刀直刺之。
The opponent backs off in an attempt to flee, but I immediately chase him with a straight stab.

第卅六式：獨立劈刀式
Posture 36: ONE-LEGGED STANCE, CHOPPING

說明：
Explanation:
循上式，往後轉身提起左腳，以成獨立之勢，刀由前往後方自上劈下，至定點則以左手迎之如：「第三十六圖」
Your body turns around to the left and your left foot lifts to make a one-legged stance as the saber rises up and chops down to the rear, your left hand bracing your right wrist as the saber reaches its final position. See photo 36:

功用：
Application:
當我正向前進擊時，後方突被暗襲下方，我卽提腿躱過之，再用刀疾劈其上。
While I am attacking the opponent in front of me, an opponent behind me suddenly attacks my lower area, so I lift my rear leg to evade it and quickly use my saber to chop to his upper area.

第卅七式：轉身旋風式
Posture 37: SPIN AROUND, WHIRLWIND KICK

說明：
Explanation:
循上式，先落左腳，提右腳，刀繞過頭上之左方再循左打一旋風腿，刀隨身轉而收於左腰之內如：「第三十七圖」
Your left foot comes down and your right foot steps forward, the saber coiling around your head to finish at your left ribs, and you jump up, spinning all the way around with a whirlwind kick. See photo 37:

功用：
Application:
與第六式同。
Same as in Posture 6.

第卅八式：虛步舉刀式
Posture 38: EMPTY STANCE, LIFTING THE SABER

說明：
Explanation:
循上式，先落右腳成登山式，刀斜向下右方，左掌倚於右肩內，然後循右車身轉一匝成由向西者，轉為向東之勢，刀由下舉上，左手托刀背，為虛式步如：「第三十八圖」
Your foot comes down to make a right mountain-climbing stance as the saber goes diagonally downward to the right, your left palm going to your right shoulder, then you turn around to the right to be facing toward the east, your right foot stepping back to make a left empty stance, as the saber rises up, your left hand propping up the back of the saber. See photo 38:

功用：
Application:
我旋風腿之後迅卽大轉身以雙手舉刀力架來械。
After my whirlwind kick, I immediately turn around and use both hands to lift my saber, forcefully blocking the opponent’s incoming weapon.

第卅九式：橫刀前躍式
Posture 39: HOLDING THE SABER ACROSS, JUMPING FORWARD OVER IT

說明：
Explanation:
循上式，原刀仍向上舉起，雙腳拍齊。再將刀平放，雙腳同時躍起，刀由前過後，腳則由後過前如：「第三十九圖」
With the saber staying in its raised position, your feet stomp down next to each other, and then the saber comes down, still held across, your feet leap up, and the saber goes to the rear under your feet. See photo 39:

功用：
Application:
此練習跳躍之法也。
This is a method of training better jumping ability.

第四十式：橫刀後躍式
Posture 40: HOLDING THE SABER ACROSS, JUMPING BACKWARD OVER IT

說明：
Explanation:
循上式，雙腳同時躍起，刀由後平過於前如：「第四十定式圖」
Your feet leap up and the saber goes forward under your feet. See photo 40:

功用：
Application:
與第三十九式同。
Same as in Posture 39.

第四十一式：藏刀朝天式
Posture 41: STORING THE SABER, KICKING TO THE SKY

說明：
Explanation:
循上式，先開左腳以成登山式，刀繞過背後再出前為橫刀式，手在頭上，再出右腳踢高，並以左手握足尖，使之高至平直為度，刀則收於腰內如：「第四十一圖」
Your left foot steps out to make a mountain-climbing stance as the saber goes around your back from left shoulder to right shoulder and slashes across in front to be placed at your left ribs, then your right foot kicks high, high enough to make the sole of the foot flatly face the sky, your left hand going over your head and grabbing onto the toes. See photo 41:

功用：
Application:
此為表示腿功法之一。
This is method of showing off skill with the legs.

第四十二式：轉刀旋風式
Posture 42: SPIN AROUND, WHIRLWIND KICK

說明：
Explanation:
循上式，先落右腳，蹺起左腳，循左轉身，刀橫於頭上再轉身打一旋風腿如「第四十二圖」
Your right foot comes down to the left and you jump up, your left foot lifting, your body spinning all the way around to the left, and your right foot rises again to perform a whirlwind kick, your left hand slapping against the bottom of your right foot, the saber staying at your left ribs. See photo 42:

功用：
Application:
與第三十七式同。
Same as in Posture 37.

第四十三式：一字劈刀式
Posture 43: LOWER INTO A SPLIT, CHOPPING

說明：
Explanation:
循上式，右腳往西前方落下以成一字式，刀自腰間直劈而出，左掌橫架於頭上如：「第四十三圖」
Your right foot comes down forward toward the west, extending into a split, as the saber chops out from your waist, the blade vertical, and your left palm blocks over your head, the hand sideways. See photo 43:

功用：
Application:
斯亦為腿法之功力表現。
This is another display of skillfulness with the legs.

第四十四式：纏頭攔腰式
Posture 44: COIL AROUND YOUR HEAD, SLASH TO HIS WAIST

說明：
Explanation:
循上式，由一字馬上一提，以成左登山式，刀由前轉背圈前，以成橫刀之勢，與第三式同，如：「第四十四圖」
Rise up from your split to make a left mountain-climbing stance as the saber coils to the left, around your back, to the front, and across to your left ribs, same as in Posture 3. See photo 44:

功用：
Application:
與第三式同。
Same as in Posture 3.

第四十五式：拉刀還刀式
Posture 45: PULLING BACK AND THEN RETURNING

說明：
Explanation:
循上式，提左腳，拉刀往後，復歸於左前方，刀由右手交與左手再落左腳以式立正式如：「第四十五圖」
Your left foot lifts as the saber pulls back to the rear on your right side, then the saber returns to the forward left and is passed from your right hand into your left hand as your left foot comes down to form the position of standing at attention. See photo 45:

功用：
Application:
斯為收式。
This is a posture of gathering in.

第四十六式：立正中平式
Posture 46: STANDING STABLY AT ATTENTION

說明：
Explanation:
循上式，先將左腳拍齊，右掌由左繞一圈再下，以成如：「第四十六圖」
Your left foot stomps down next to your right foot and your right hand draws a counterclockwise circle, coming down to your right thigh. See photo 46:

至此全刀已畢。
(This posture completes the entire set.)

– – –

[As a bonus, included below is a chapter from Huang’s Notes on the Mantis Boxing Art (1951), followed by one from Further Notes (1955).]

拳師應有的丰度
ON THE DEMEANOR THAT TEACHERS OUGHT TO HAVE

挺胸凸肚，裝模作勢，語時口沫橫飛，動輒握拳捋臂，行於市上路人皆曰此拳師也，知時務者而投其好，趨炎附勢者更喜其所喜極揚聲稱曰某拳傳，而該拳師亦報以爽亢之聲隨而左右顧盼自豪，頗有南面稱孤模樣，畏事小民遠見之則避道而行，誠恐觸其怒而受無辜之辱，有識之士亦避之若凂，蓋厭其鄙陋之態，祗是憑其力而覓食者則奉之若神明耳。
拳師者為武技上之導師而已，何乃吃人憎如此，蓋積習相沿無人能自我檢討，由本身自改革其壞習所由來也。
不知世上逾敦厚謙恭，逾多人敬重，豈以威脅人始可得人尊崇耶，為人導師非祗以技術傳人便完責任，必須以身作則規己律人，然後方可維數千年歷史之武化而不替，否則縱有其驚人藝術，但道德觀點蕩然無存，此法豈可傳後世乎？
馳譽武壇之名宿非單恃武功卓越而已，其成名因素，實以道德為重，八卦拳已故大師孫祿堂氏由十餘齡開始練武至八十餘歲尤不敢以師傳自居，其歷史及聲譽在中國武壇上可稱為一代宗師，尚尤如是謙卑，如精武主幹盧煒昌氏在精武已有三十餘年歷史始終穿著學生制服，精武不鮮同志知見之事實，何況我輩靑年後學乎？大智若愚，大勇若懦古有明章，匹夫所為何足以敵天下？雖不作天下後世之崇拜，亦當為目前洗脫武牛之不美名。
Puffing up his chest, making exaggerated poses, spitting everywhere when speaking, always making fists and showing off his arms – this is what ordinary people think boxing arts teachers are like. Those who keep abreast of the latest trends tend to side with what is fashionable, and those who try to curry favor from people they consider to be superior are more than happy to loudly proclaim such people “masters”.
　　A teacher who has been declared a master is bound to follow the herd and start to actually believe their mythmaking, and end up becoming what many southerners call a “lonely one”. Worried that he might lose the good opinion of the common people, he starts to avoid doing anything at all just in case he somehow irritates the mob and embarrasses himself. He makes a point of steering clear of knowledgeable people, who can see through his pretensions, sensing that he has been put on a pedestal as some kind of divine being even though he merely relies on his strength to make a living.
　　A martial arts teacher is simply an instructor in martial skills. He should not take popular opinion so seriously. Although customs passed down through the generations might leave little room for self-examination, reforming bad habits nevertheless begins with oneself. Once a teacher has been proclaimed to be a master, he ceases to understand that the more sincere and polite he is, the more people will admire him, that intimidating others will not gain him respect. To be a genuine teacher, he is not only responsible for passing on his skills, he also has to set an example of proper conduct. Only in this way will he prevent thousands of years of martial tradition from being discarded. Despite having amazing skill, if he has no moral sense at all, the authentic art will not get passed down.
　　Within the martial arts community, masters are not famous only for their martial arts skill. The key element is actually their moral character. Bagua Boxing master Sun Lutang started his martial arts training during his adolescence, and yet all the way into his eighth decade he never considered himself to be a master, though he is renowned by the martial arts community as a giant of his era. Likewise highly esteemed for his humility was Jingwu Association director Lu Weichang, who throughout more than thirty years at Jingwu persistently wore the student uniform rather than that of a teacher, something that was taken to heart by all Jingwu members, especially young students.
　　An ancient insight tells us [quoted from “Congratulating Ouyang Xiu on His Early Retirement” by Su Dongpo]: “The wisest seem stupid. The bravest seem timid.” What then is there to stop the most ordinary man from being a match for any challengers? Even if he does not end up remembered with admiration by future generations, he can at least during his own lifetime wash away a reputation for being uncouth.

–

一字馬與武功之關係
THE RELATIONSHIP BETWEEN THE SPLITS & MARTIAL TRAINING

兩腳分左右直躺於地者為一字馬，以北方拳術為多見，甚至今日歐西演歌舞者，亦以開得一字馬為最悅於觀衆，而嶺南拳家則毛不重視於此！曾有人以之垂詢於意，余乃分析如左
中國拳術是以手足並用聞於世者，尤以北方拳則更有「北腿」之稱許，蓋北拳比南拳為多用腳之故而言也，其實南拳亦未嘗無腳，北拳固有拳也，乃因多用與小用之別耳！精武前輩盧煒昌氏，曾以「硬腳」者自居，然盧君之腳頗硬乎？其實盧之所硬，並非指硬實之硬，乃指其腳踢時為腿筋牽制而滯其踢起耳！後曾下大苦功，方使「硬腳」變軟，軟是柔軟之軟，非軟而無力之謂也，因此盧氏常戒後輩云：寧可十日不打拳，不可一日不抝腿也，其重視者如此，是可知練之難與保持之不易矣，若盲目練習，不知至何情度始算得初步之成功，迨於不知不覺間能輕舒兩腳至平地一字乃得之矣，一字馬便算是練腿之初步基本，再進便可達到一足站地，一足翹舉至頭上者乃（朝天蹬）矣，由一字馬再進（朝天蹬），須又經若干歲月及熬多若干痛苦始得之也，拳術中之眞實技術，用不著一字馬及朝天蹬，惟可表示其曾對此下過功夫，且對用腿之道，亦能比諸腿硬者較勝一籌矣，今之練拳者不妨練此，惟勿過份重視之，則對拳術整體運動中毫不防礙矣。
A split: the legs spreading to the sides to make a straight line on the ground. Performers of Western dance employ it often, it being such a crowd-pleasing stunt. Within our martial arts, it is more often seen in northern styles, Cantonese masters typically attaching no importance to it at all. Someone once asked me my opinion of its value, and my response was this analysis:
　　Chinese martial arts are famous for using the feet just as much as the hands, especially northern styles, which involve more kicking than southern styles, hence the saying “southern fists, northern legs”. Though southern styles do not lack kicks, just as northern styles do not lack punches, there is certainly a difference of emphasis.
　　Jingwu elder Lu Weichang used to say that he had “hard legs” – not meaning strong, but stiff – and that whenever he kicked, his tight muscles would make his kicks sluggish. After lots of hard work, his stiff legs became softer – soft as in supple, not weak. Lu often warned students against neglecting flexibility by saying: “Better a week without practicing than a day without stretching.” This demonstrates its importance. Clearly the gains got from such training are not easy to maintain.
　　If you do not know what you are doing, you might not have a good sense of how to gauge your progress, but eventually you will suddenly discover that you can rather easily open your legs into a full split on the ground. Practicing splits in this way can be regarded as fundamental training for the legs, after which you can advance to “stepping on the sky”: making a position of one foot standing on the ground, the other foot raised over your head. Progressing from a ground split to a standing split requires many years and much struggle.
　　The real skills in fighting arts do not necessarily require the ability to do a split, either horizontal or vertical, but it does show that you have trained seriously, and also that you will likely have more techniques that you can execute with your legs than someone who never stretches. Modern practitioners are very open to it as a normal part of their training, and as long as you do not overdo it, it will not interfere at all with your other skills.

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